Stanford Live Magazine - Mar/Apr 2018

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

INSIDE

MAR / APR 2018

Tanya Tagaq and the Kronos Quartet champion new works, plus classical music goes Hollywood, the subversive world of John Waters, and more.

CONTENTS

Stanford Live Staff & Sponsors Welcome

p—6

Upcoming Events Scene & Heard

p—8

p—14

Behind the Scenes

Classical Music Goes Hollywood

p—5

Membership

p—32

p—34

Stanford Live & p—36 Bing Concert Hall Donors

By John Mauceri As atonality bombarded the concert hall, traditional symphonists turned to film.

Calendar

p—38

Plan Your Visit

p—39

P A G E­­— 2 2

Featurette

Campus Voices

Kronos Quartet’s Bold Initiative

Stanford’s Jon Davies and Michael

Comes to Stanford

Kinney Discuss Filmmaker John Waters

p—16

p—28

Photo Essay

Infographic

Sights and Sounds from

Karaoke Culture in the Philippines

The Green Fog p—30

p—20

Featurette A Film Score Playlist

p—26

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Mar/Apr 2018 Volume 10, No. 4

S TA N FO R D L I V E M AG A Z I N E M A R / A P R 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

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.

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

PHOTO CREDITS On the cover: Tanya Tagaq, photo courtesy of Six Shooter Records. Page 6: Illustration by Hybrid Design. Pages 14-15: Photos 1, 3, 4, 5, and 7 by Azar Kafaei; 2 and 8 by Joel Simon; 6 by Cathy Xang. Page 16: Kronos Quartet, photo by Jake Blakesberg; Tanya Tagaq, photo by Katrin Naleid. Page 17: Photo by Tommy Lau. Pages 20-21: Photos courtesy of SFFILM and Tommy Lau. Page 34: Photo by Joel Simon. Page 35: Photo 2 by Azar Kafaei, 3 by Linda Cicero/Stanford News Service, 4 by Harrison Truong.

5

WELCOME

C H R I S L O R WAY EXECUTIVE DIRECTOR

“So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it’s gratifying to have something you have done linger in people’s memories.”

—JOHN WILLIAMS

I’ve often wondered why the U.S. is

the “contemporary music” crowd are now

Stanford Live presents

the only G8 nation that doesn’t have

viewed as some of the most important

a wide range of the finest

a Ministry of Culture. One theory is

contributors to the 20th–century classical

performances from around the

that the successful mass market of

music canon in this country.

world, fostering a vibrant learning community and providing dis-

commercial American cultural exports— film, TV, and music in particular—

We are excited to present the work of

tinctive experiences through the

mitigates the need for government

some of the most famous living film

performing arts. With its home at

support for the arts. Case in point: Few in

composers. This year’s Bing Fling will

Bing Concert Hall, Stanford Live is

the world don’t know the iconic opening

feature the Boston Pops playing the

simultaneously a public square, a

bars of the Star Wars theme.

music of popular composer and former

sanctuary, and a lab, drawing on

conductor John Williams. And composer

the breadth and depth of Stanford

As our journey into understanding

Danny Elfman will provide Stanford

University to connect perfor-

the evolution of the American sound

students a rare opportunity to perform

mance to the significant issues,

continues into post–World War II

his new violin concerto, written for soloist

ideas, and discoveries of our time.

America, we examine how opportunities

Sandy Cameron. Finally, we have co-

associated with a burgeoning film

commissioned with SFFILM a new score

industry caused a split in the classical

by Bay Area composer Jacob Garchik for

music community. John Mauceri’s essay

Guy Maddin’s The Green Fog—performed

details the long-standing relationship

live by the Kronos Quartet.

between storytelling and music and how composers who were once ostracized by

See you at the movies!

6

MAR / APR 2018

Upcoming Events

CLASSICAL

CLASSICAL

FA M I LY

Curtis

Stanford

Machine de

on Tour

Symphony

Cirque

Orchestra John Mauceri: Conductor Sandy Cameron: Violin

The American Sound

KEY:

A M P L I F I C AT I O N

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

WHEN: S U N DAY, M A RC H 4, 4 :00 P M

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

WHEN: SAT U R DAY, M A RC H 1 0, 7 : 30 P M

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

WHEN: F R I DAY, M A RC H 1 6, 7 : 30 P M

VENUE: MEMORIAL AU D I TO R I U M

SUN DAY, MA RC H 1 1 , 2 : 30 P M

SAT URDAY, M A RC H 1 7, 2 : 30 P M

This program pays tribute

John Mauceri, “a doyen

Machine de Cirque, founded

to Leonard Bernstein

of musical theatre”

in 2013 with the aim of

(a Curtis Institute alum),

(Gramophone), leads

engaging imaginations in the

Aaron Copland, and George

the Stanford Symphony

group’s community, adroitly

Gershwin, composers of some

Orchestra in Danny Elfman’s

blends acrobatics, juggling,

of America’s most iconic and

new violin concerto Eleven

music, dance, clowning, and

beloved music.

Eleven.

derring-do.

Generously supported by

Presented in partnership with

Mary and Clinton Gilliland

Music at Stanford

8

CLASSICAL

Ute Lemper and the Vogler Quartet Paris Days, Berlin Nights WHEN: SAT U R DAY, M A RC H 1 7, 7 : 30 P M

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

Sultry German chanteuse Ute Lemper joins her countrymen for a journey through time via Europe and Argentina.

CLASSICAL

Zurich Chamber Orchestra Daniel Hope: Music Director and Violin

WHEN: S U N DAY, M A RC H 1 8, 2 : 30 P M

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

Daniel Hope leads the ensemble in an unusual pairing of The Four Seasons with minimalist composer Max Richter’s Recomposed, an exciting reimagining of Antonio Vivaldi’s classic.

POP

BLUE: The Songs of Joni Mitchell Our life here

Queenie van de Zandt

Chris Gandel and Misty, joined in 2014 WHEN: F R I DAY, M A RC H 2 3, 8:00 PM

Amazing

SMILES Frequent Wags.

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

SAT URDAY, MA RC H 24, 8:00 PM

Australian chanteuse Queenie van de Zandt, along with musical director Max Lambert and a live band, explores her love of all things Joni.

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A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 435294364 COA #246. EPWH755-01KB 090117

SLA048.indd 10

2/6/18 3:38 PM

JAZZ

FILM

NEW MUSIC

POP

Jazzmeia

Vertigo

Kronos

Manila

Horn

Screening

Quartet

Disco Fever

With Special Guest Tanya Tagaq WHEN: S U N DAY, M A RC H 25, 7: 00 P M

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

WHEN: W E D N E S DAY, A P R I L 4, 6 :00 P M

VENUE: OSHMAN HALL

WHEN: F R I DAY, A P R I L 6, 7 : 30 P M

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

WHEN: SAT U R DAY, A P R I L 7, 7 : 30 P M

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

FREE

Winner of the 2015 Thelonious

In the nearly 60 years

The program features

Take a trip down memory

Monk International Jazz

since its premiere, this

The Green Fog, a new work

lane to the Filipino disco

Vocals Competition, Jazzmeia

romantic story of obsession,

for Kronos by filmmaker Guy

songs of the Manila Sound,

Horn has a name that speaks

manipulation, and fear has

Maddin, who set himself the

which began in Quezon City

for itself.

become the most studied

challenge of remaking Vertigo

in the late 1970s, continuing

and discussed film of Alfred

without using footage from

into the early 1980s.

Hitchcock’s career.

Hitchcock’s classic.

Generously supported by Stephanie and Fred Harman and the Koret Foundation JAZZ PROJECT

WORLD

FILM

JAZZ

DISCUSSION

Toumani and

The Triplets of

Akira Tana

John Waters in

Sidiki Diabaté

Belleville

and His Secret

Conversation

Le Terrible Orchestre de Belleville

Agent Band

With Noah Cowan, SFFILM

WHEN: S U N DAY, A P R I L 8, 2: 30 P M

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

WHEN: SAT U R DAY, A P R I L 14, 7:30 P M

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

WHEN: SAT U R DAY, A P R I L 14, 7:00 PM & 9:00 PM

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

WHEN: W E D N E S DAY, A P R I L 1 8, 7 : 30 P M

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

SUNDAY, APRIL 15, 2:30 P M

One of Africa’s greatest

This much-beloved animated

Spend an evening with music

For 50 years, the iconic

musicians, Grammy-winning

film will be screened as

from the world of James Bond.

filmmaker has been shocking

Toumani Diabaté and his

composer Benoît Charest

son Sidiki make mesmerizing

leads a live performance of

Malian music flavored with

his original score for the film.

Generously supported by Stephanie and Fred Harman and the Koret Foundation

American soul.

JAZZ PROJECT

and delighting audiences with his hilariously transgressive cult movies (such as Hairspray, Pink Flamingos, and Serial Mom).

11

SLA048.indd 11

2/6/18 3:38 PM

MAR / APR 2018

Upcoming Events

JAZZ

CLASSICAL

WORLD

Songs of

Boston Pops

Nano

Freedom

Esplanade

Stern

Joni Mitchell, Abbey Lincoln, and Nina Simone

Orchestra

WHEN: T H U R S DAY, A P R I L 19, 7:30 P M

Bing Fling 2018

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

WHEN: F R I DAY, A P R I L 2 0, 8:00 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

Under the baton of conductor Keith Lockhart, the worldExplore the 1960s through the

renowned orchestra brings

Singer and guitarist Nano

work of three prolific artists.

the music of celebrated

Stern is riding the crest of

Generously supported by

American film composer John

the new wave of Chilean

Williams to the Bing.

song with a style that is

the Koret Foundation

Generously supported by KEY:

WHEN: SAT U R DAY, A P R I L 2 8, 7:00 PM

indie-folk-rock-jazz fusion.

Marcia and John Goldman

JAZZ PROJECT

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

JAZZ

Sundays with

Uriel Herman

the St. Lawrence

Quartet

St. Lawrence String Quartet

More Events MARCH 1 Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma Generously supported by Marcia and John Goldman

WHEN: S U N DAY, A P R I L 29, 2:30 P M

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

WHEN: S U N DAY, A P R I L 2 9, 7:00 PM

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

MARCH 2 k. d. lang Generously supported

by Jeanne and Lawrence

The SLSQ performs music

This classically trained pianist

by Canadian composer

and composer operates on

R. Murray Schafer, in addition

the seam between jazz, rock,

to Haydn and Korngold,

and grunge.

with longtime accompanying

Generously supported by

pianist Stephen Prutsman.

Stephanie and Fred Harman

Presented in partnership with

and the Koret Foundation

Music at Stanford

Aufmuth APRIL 11 Rob Kapilow’s What Makes It Great?

The Music of Duke Ellington Generously supported by Bonnie and Marty Tenenbaum and the Koret Foundation

JAZZ PROJECT

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

12

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MAR / APR 2018

Scene & Heard

2

1 4

6 7

14

3

1

2

H O L I DAY S TO M P

THE RED VIOLIN

Even the little ones were

Violin soloist Lara St. John,

feeling the holiday stomp

with conductor Paul Phillips

when the Hot Sardines took

and Stanford Philharmonia

the Bing stage on December 9.

members, performs at the screening of The Red Violin on December 8 at Memorial Auditorium.

5

3

4

M O N T E BO O K E R

BRANDI CARLILE

Stanford Live launched its

Brandi Carlile and her

new presenting partnership

bandmates Tim and Phil

with Stanford Concert

Hanseroth closed out 2017

Network with a performance

as part of their Winter

by Monte Booker in the Bing

Acoustic Tour.

Studio on January 19.

5

6

S T U D E N T M AT I N E E

SONG OF LAHORE

The Bard met the big band

Pakistan’s Sachal Ensemble

on December 6 when Marcus

gave its first tour of the U.S.,

Shelby’s ace ensemble

which included a stop at Bing

offered K–12 students a

on November 15.

special performance of Duke Ellington’s suite inspired by Shakespeare.

8 7

8

H A P PY, J OYO U S

A CHANTICLEER

HANUKKAH

CHRISTMAS

On December 14, the

It wouldn’t be December at

Klezmatics brought the little

Stanford without the annual

known Hanukkah tunes of

concert of this beloved

Woody Guthrie to Bing.

a cappella male choir filling Memorial Church.

F E AT U R E T T E

1

Accelerating the Future Kronos Quartet’s Bold Initiative Comes to Stanford

By Thomas May Thanks to its untiring, consistent

Fifty for the Future: The Kronos Learning

commitment to new music, San

Repertoire is a five-year-long “legacy

Francisco–based Kronos Quartet has

project” that, with ten compositions

been reshaping how we think about

being released each year, by 2020 will

the string quartet itself—in both senses

have created a whole new repertoire

of the term: as a composition for a

of fifty pieces by living composers. But

particular medium and as the ensemble

bringing such a treasury of new music

of musicians who perform this type of

into existence is just one dimension

piece. But while commissioning and

of this hugely ambitious, generously

championing new works for string

conceived adventure. The pieces

quartet was already embedded in

themselves address a spectrum of issues

Kronos members’ DNA, in 2015 the

involved in quartet playing, at varying

group launched a project intended

levels of difficulty, and are meant to

to make a mark on an entire new

guide emerging ensembles in developing

generation of quartet players and

their skills. And accessibility is a key

their audiences.

component of the Fifty project:

2 16

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

3 Kronos is making the essential ingredients available free of charge in a kind of living archive on its website (www.kronosquartet.org/fifty-for-thefuture/). Anyone can go there to find digital versions of the complete scores and Kronos’ recordings of each piece they’ve released to date, along with interviews, background information, and educational materials.

Kronos has long been engaged in coaching young groups in conservatories and other venues around the world to pass on its experience with contemporary quartet music. “One issue we kept noticing is that these groups were having a lot of trouble locating scores and parts to play,” says David Harrington, violinist and founder of Kronos. “It’s so different from when I started out [in the early 1970s in Seattle] and could just go to the library and find the score and recording,” he adds, referring to his epiphany triggered by discovering Beethoven’s quartets, which first opened up Harrington to the unlimited potential of this art form. “Especially for young people who might come

(serendipity is a guaranteed delight

1.

to our shows and want to do similar

for anyone who delves into the Fifty

The Kronos Quartet

things, Fifty for the Future might be able

for the Future materials). Besides being

to have a similar effect.”

evenly divided between women and men, these fifty creative figures range

2.

Tanya Tagaq is a category-defying

“Eclectic” is far too pale an adjective to

widely in age, cultural background,

musician who

convey the array of composers Kronos

and aesthetic. “Hopefully this will

practices the art of

has chosen to participate. Some names

result in a mosaic of not only musical

are famous—Laurie Anderson, Philip

and cultural and instrumental issues

Glass, Zakir Hussain (all of them with

but also notational issues,” Harrington

scores already released) and Terry

points out. “We are hoping to give

Garchik’s score for

Riley (whose piece is in the works)—

other players real entry points into the

The Green Fog will be

and quite a few should be famous

art from a variety of places.”

performed at Bing

17

Inuit throat singing 3.

Composer Jacob

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 M A R / A P R 2 0 1 8

“What we want is for composers to make something that feels like themselves— something that feels like they are defining their creativity, their work.”

— DAV I D H A R R I N G TO N K RO N O S Q UA RT E T

Given such diversity, what guidelines

as “stop-motion animation for string

The string quartet is often considered

does Kronos set? “What we want is

quartet”—requires the musicians to play

one of the most daunting forms in

for composers to make something

whistling and gravity tubes as well as

classical music for composers and

that feels like themselves—something

large desk bells. Tanya Tagaq, who was

musicians alike—the music meant for

that feels like they are defining their

born in the High Arctic in Nunavut, is,

connoisseurs. Despite such associations,

creativity, their work. The music

characteristically for Kronos, a category-

Harrington hastens to underscore the

should be what it needs to be,” says

defying creative musician who practices

key role of youthful inspiration and the

Harrington, whose fellow Kronos

the art of Inuit throat singing and has

energy of those at an early point in

members include violinist John Sherba,

collaborated with Björk. “I love the way

their careers, or even just starting out.

violist Hank Dutt, and cellist Sunny

sound can embody your history, the way

During a visit to the Esterházy Palace

Yang. For Kronos, commissioning is

smells can,” she says. In her Sivunittinni

in Austria—where Joseph Haydn was

a very active process. It’s not about

(“The Future Ones”), Tagaq hopes “to bring

employed for a large part of his career

waiting for a perfected score to arrive

a little bit of the land to future musicians

and wrote the works that helped define

but a process that involves close

through this piece.”

the classical idea of the string quartet— Harrington chanced upon an assignment

collaboration with the composers. And sometimes that means the members

The multi-instrumentalist and composer

young Beethoven had undertaken: “It

of Kronos have to reach beyond their

Jacob Garchik, who has been involved

was his own copied-out version of one

strings and add another instrument

in collaborations with Kronos for

of Haydn’s Op. 20 quartets. Already

to the mix. The Korean composer Soo

years, arranged Tagaq’s music for the

Beethoven was eager to learn, and this

Yeon Lyuh’s Yessori, for example, adds

quartet and is doing similar work for

is how he studied. He didn’t wait to

a part for “a small gong, metal pot, or

other pieces in the project. His own

become a ‘mature composer.’ Waiting is

similar object.” Harrington explains,

score for Kronos will be featured in the

not something I recommend!”

“We recorded it with a Korean gong,

second half of the ensemble’s program:

but when we play it in concert, we use

music he wrote, applying “the Kronos

—Thomas May is a frequent contributor

a beautiful-sounding kitchen pot since

aesthetic,” to accompany filmmaker Guy

to Stanford Live. He blogs at

we don’t own a Korean gong. Whatever

Maddin’s The Green Fog–A San Francisco

https://memeteria.com.

is needed, we’ll add it.”

Fantasia (made with codirectors Evan Johnson and Galen Johnson), which

For the April 6 program at Bing Concert

offers a “parallel-universe version” of

Hall, Kronos is bringing examples of

Alfred Hitchcock’s classic film Vertigo

the unfolding Fifty for the Future rep to

using entirely original assemblages

Stanford for the first time. Both of these

of Bay Area footage. Seen at last

works, by Canadians, were initially

year’s San Francisco International

premiered in 2016. The composer and

Film Festival, The Green Fog was co-

sound artist Nicole Lizée’s Another

commissioned by Stanford Live to

Living Soul—which she describes

celebrate the festival’s 60th anniversary.

18

The Kronos Quartet Featuring Tanya Tagaq Fri, Apr 6, 7:30 PM Bing Concert Hall

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Learn more at newhospital.stanfordchildrens.org.

From The Green Fog

Photo Essay: Sights and Sounds

Filmmaker Guy Maddin and his team had never visited San The Green Fog—

Francisco before they began work on what would become

A San Francisco Fantasia

The Green Fog—A San Francisco Fantasia, but as they pored

Featuring the

through footage of the City by the Bay, they realized there

Kronos Quartet

would be no better cinematic tribute than a re-creation of

Fri, Apr 6,

the Hitchcock classic Vertigo. Co-commissioned by Stanford

7:30 PM

Live for the opening of the 2017 San Francisco Film Festival—

Bing Concert Hall

with an original score for the Kronos Quartet—the resulting homage is compiled of clips from hundreds of TV shows and films shot in San Francisco to create a sort of paralleluniverse version of the original. Here are a few scenes.

Maddin sourced clips from such movies and TV series as Hotel, High Anxiety, Dark Passage, Sudden Fear, The Towering Inferno, Flower Drum Song, Dirty Harry, An Eye for an Eye, Confessions of an Opium Eater, and Murder, She Wrote

20

Vincent Price is one of many actors who “portray” John “Scottie” Ferguson (Jimmy Stewart) in this mesmerizing cinematic collage based on Vertigo

San Francisco’s

(Image on the left-hand page)

cityscape is the main character of Guy Maddin’s The Green Fog

The Kronos Quartet performs at the world premiere

A scene featuring Joan Crawford drawn from 1952’s noir thriller Sudden Fear The Frenchinspired Victorian on Franklin Street used as the site of a high-end house of prostitution in 1981’s An Eye for an Eye

Martin Landau is among the many actors who show up in the film A

M A I N F E AT U R E

Film composer Danny Elfman, violinist Sandy Cameron, and conductor John Mauceri at the premiere of Elfman’s new concerto

Classical Music Goes Hollywood

By John Mauceri The founding director of the Hollywood

a theater organ, or by a symphony

and the acoustic is achieved in the

Bowl Orchestra explains how as

orchestra. With the synchronization

reverse order: vision first, music

atonality bombarded the concert hall,

of image and recorded music, the

after. The effect for the audience,

traditional symphonists turned to film.

specificity of the music and the

though, is exactly the same.

drama could be as finely achieved Cinema was never silent. Music was

as Wagner’s music dramas, in which

In the years before the Second World

always a part of the performance

he coordinated the action and scenic

War, orchestral music was developing

tradition and, indeed, the success

design with the exact beats and

quite nicely, with a mixture of new

of the medium, whether that was

gestures of his scores. ln cinema, the

ideas of an ever-extended tonality, the

music played on an upright piano, on

collaboration between the visual

acceptance of violence as a worthy

22

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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 M A R / A P R 2 0 1 8

aesthetic element in the language,

However, a generation of young

serious music critics supported what

and the continued influence of

composers who were born into the

might be called the “Second World War

popular dance form as well as exotic

horrors of the war in Europe began

School” to the exclusion of a vast and

instrumental colors from non-Western

their compositional life in the late

complex tradition of musical depiction

sources. And movie music was simply

1950s and early I960s, and what they

and storytelling that had always

another delivery system of these trends.

had to say was quite specific and, I

been at the heart of Western music.

believe, firmly rooted in their childhood experience. American universities and

The word contemporary no longer meant music composed at a certain time but referred to music of a certain style, even though that style had first been developed in the second half of the 20th century. And while many were quite convinced that those experiments in atonal and 12-tone music were just that, experiments, this nationality-free language spoke profoundly to this group of young and brilliant intellectual men. It was as if their earliest experiences seemed to find an appropriate voice in their new maturity, a maturity that needed to embrace that early trauma and confront the excesses of a romantic spirit that had been

All lu xury co n d o m i rro rs re fl e ct.

abused and an optimism that was now

OURS REFLECT A HAPPIER YOU.

devastatingly unacceptable. Truth was no longer Beauty—just look around.

Movies, however, did not care.

Movies—their directors, producers, studios, and, most of all, their

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audiences—simply continued on with theater music in the same Western lyric theater tradition. It continued to use the musical metaphors and similes that had developed since the era of the madrigals, while embracing, when appropriate, ideas of what was now called “contemporary music.”

Because of this, a vast legacy of

Yo u r L i f e . Yo u r W a y.

orchestral music was composed, performed, recorded, and promulgated to hundreds of millions throughout

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the world not in concert halls but in movie palaces. Movies continued the magic lantern theatrical experience that Wagner imported for his Bayreuth Festspielhaus. And it is not surprising

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that composers of film music used

Alfred Hitchcock, could require

Wagner’s aesthetic and compositional

and inspire vastly different musical

ideas (the leitmotif device, epic scale,

styles—jazz, high Romantic, atonal,

and so on) and continue to do so today.

So while it was quite normal for

pop, Russian constructivist—is just

Stanford Symphony Orchestra John Mauceri conducts a new violin concerto by Danny Elfman

one more example of the accepting

Sat, Mar 10, 7:30 PM

nature of film and film music.

Sun, Mar 11, 2:30 PM Bing Concert Hall

composers—like Aaron Copland, Miklós Rózsa, and William Walton—to write

That the greatest film composers were

for the movies and the concert hall

dismissed or even ridiculed by the

in the 1930s and 1940s, this became

composers and critics of contemporary

all but impossible in the late 1950s

music is, by now, very much beside the

and onward with the official language

point and should probably not be seen

of classical music being defined as

as an assessment of musical quality.

existing only within a certain style.

It was, and is perhaps best described

The European wunderkinder, who

as, a passionate difference of opinion.

had become American citizens—Max Steiner, Erich Wolfgang Korngold,

This article originally appeared in

Miklós Rózsa, Dimitri Tiomkin, and

the April 2011 issue of Gramophone

Franz Waxman—inspired the next

and is reproduced with permission

generation of cinema symphonists:

of the licensor through PLSclear.

The Triplets of Belleville Screening with Live Orchestra Sat, Apr 14, 7:30 PM Sun, Apr 15, 2:30 PM Bing Concert Hall Bing Fling Boston Pops Esplanade Orchestra The Music of John Williams Fri, Apr 20, 8:00 PM Bing Concert Hall

Elmer Bernstein, Jerry Goldsmith, Alex North, and Bernard Herrmann; and that influence continues today with John Williams, Danny Elfman, and Howard Shore. That Hans Zimmer works and lives in America brings the story full circle. Now it is up to classical music

Master of Liberal Arts

to look back and look around—which, of course, is exactly what it is doing these days—and that is a good thing.

It is no longer unacceptable for a John Corigliano, a Philip Glass, or a Tan Dun to write for the movies.

The Second World War School composers are, biologically speaking, passing out of this world. Their musical cosmos has left a memorial to a time that cannot ever be forgotten. Their music insists on our attention. Ironically,

Part-Time Evening Stanford Master of Liberal Arts Graduate Degree

History

Additional Sessions in August & October

Political Science

willing to accept new influences, so that the same vast audience that can accept a Korngoldian uplift also accepts the seemingly chaotic opacity

That the output of one film director,

Environmental Science

Philosophy

cinema music, which has always been

Ligeti in one score by John Williams.

Art History

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their musical style has also permeated

of avant-garde composer György

Anthropology

MLA.STANFORD.EDU

Literature

F E AT U R E T T E

James Stewart kisses Kim Novak in Vertigo, which features a romantic score

by Bernard Herrmann.

What Are the Greatest Film Scores of All Time?

A compendium of film critics—Anne Billson, Robbie Collin, David Gritten, and Tim Robey—offer a few of their favorites.

The Adventures of Robin Hood

Gone with the Wind (1939, Max Steiner)

An American Tragedy needed a real

(1938, Erich Wolfgang Korngold)

Max Steiner’s reeling masterpiece is

heart-bursting score, and Waxman was

A nostalgic choice: the first score

the film score to end all film scores, but

the man to supply it. The main theme’s

I recall being aware of as perfect

also the one to start them: its deluxe

infinitely mellow and versatile—suitable

accompaniment to a film. Czech-born

romanticism and flashes of cartoonish

for an elegant dance shuffle or slowed

Korngold was already an eminent

good humor prefigure the great

right down to capture the very essence

conductor and composer in Vienna and

Hollywood music that would follow, and

of doomed love. (Tim Robey)

Berlin before fleeing to Hollywood to

Elmer Bernstein, John Williams, John

avoid Nazism. He had a penchant for

Barry, and Hans Zimmer all owe it a

A Streetcar Named Desire

jaunty, breakneck orchestral sequences,

mighty debt. (Robbie Collin)

(1951, Alex North)

ideal for Errol Flynn’s swashbuckling epics like this one. (David Gritten)

Credited as one of the first crucial jazz A Place in the Sun (1951, Franz Waxman)

scores, North’s music for Elia Kazan’s

George Stevens’ grand, classical

electric battle of the sexes starts with

treatment of Theodore Dreiser’s

a two-note trumpet burst that’s like

26

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

Bond films’ saddest moment—it still

dreams, and the slinky seduction

gives me goose pimples and still makes

between sax and clarinet in “Four

me cry. (Anne Billson)

Deuces” is unforgettable. (TR) On the Waterfront (1954, Leonard Bernstein)

The Godfather (1972, Nino Rota) Rota’s astonishing score not only enhanced the popularity of the first

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A curiosity, this—Bernstein’s only film

two Godfather films but ingeniously

commission. It can stand alone as a

underscored the immigrant family

20-minute piece and contains a lyrical

experience with passages with a broad

interlude for the love story and recurring

emotional range: majestic, joyous,

percussive passages to signal violence.

solemn, frivolous, and melancholic.

Intriguingly, its urban, dissonant mood

One discerns deeply felt sentiment and

prefigures the music Bernstein wrote for

yearnings for a birthplace and a culture

the stage musical West Side Story. (DG)

left behind. (DG)

Vertigo (1958, Bernard Herrmann)

Suspiria (1977, Goblin)

The one and only—probably the prime

Right from the music-box ostinato that

test case for music that’s thrillingly

spider-walks over its opening credits,

effective in context while also fit for

Dario Argento’s immortal giallo begins

the concert hall in every way. It’s

in a state of hysterical panic and only

Herrmann’s most romantic score

cranks things up from there. The witches’

yet also his most chilling, giving all

stew of synths, drums, celesta, and

Hitchcock’s giddy, spiraling motifs the

bouzouki comes courtesy of the Italian

Personal attention

feel of a lush nightmare into which we’re

prog rock ensemble Goblin, whose

thoughtful litigation

inescapably tumbling. (TR)

work on Argento’s fairy tale of blood-

final resolution

red shoes and shattered nerves is, for The Good, The Bad and the Ugly

me at least, the most inventive and

(1966, Ennio Morricone)

accomplished score in a genre renowned

The coyote-call theme that opens

for them. Simply put, it’s what fear

Ennio Morricone’s score for the third

sounds like. (RC)

film in Sergio Leone’s Dollars trilogy

—© Telegraph Media Group Limited 2013

is now so much a part of Western movie lore that it is easy to forget how strange it must have sounded to cinemagoers at the time, who were used to the symphonic sweep of Hollywood productions such as The Magnificent Seven. The melodies blow through you

The Green Fog— A San Francisco Fantasia Featuring the Kronos Quartet Fri, Apr 6, 7:30 PM Bing Concert Hall

like a cold wind from the plains: this could be the most complete evocation of a landscape in all film music. (RC) On Her Majesty’s Secret Service (1969, John Barry) When I first saw this in the cinema with my dad, the reprise of John Barry’s title theme during the ski chase gave me goose pimples, and Louis Armstrong

The Triplets of Belleville Screening with live orchestra Sat, Apr 14, 7:30 PM Sun, Apr 15, 2:30 PM Bing Concert Hall Boston Pops Esplanade Orchestra The music of John Williams Fri, Apr 20, 8:00 PM Bing Concert Hall

singing “We Have All the Time in the 27

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L A W

World” made me cry. Classic action and

treatment of Blanche DuBois’ faded

F A M I LY

a riveting insult—but there’s a forlorn

CAMPUS VOICES

A John Waters Roundtable With Jon Davies and Michael Kinney

John Waters has been

What makes John Waters

MK: And have a very “normal”

and the normalcy that

called The Sultan of Sleaze,

a distinctly American

upbringing as kind of the

is often associated with

The Prince of Puke, and

filmmaker?

epitome of this stereotypical

mid-century suburban

queer kid in 1960s America

domesticity.

The King of Schlock—all titles he wears proudly. In

MK: In a way, the people

and then flourishing after

advance of his appearance

around John Waters all

he finds other like-minded

JD: I think there is a

with Stanford Live, we

had these relatively tame

people. That’s an interesting

nostalgia for queer identity

invited two aficionados of

upbringings but also these

part about the Dreamlanders

as something monstrous

the iconic Baltimore-born

extreme personalities that

[Waters’ cast and crew of

and criminal. The Life

filmmaker to share their

were maybe only the product

regulars] and John Waters—

magazine exposé on

insights. Jon Davies, a

of having lived in suburban

they all kind of found each

homosexuality in America

Ph.D. student in Stanford’s

areas. How do you reconcile

other through, or despite,

came out in 1964, which

Department of Art and Art

this other personality or

those normalized American

was when Waters was

History, wrote an M.A. thesis

identity within that very

environments.

making his first short films.

called “Trash Is Truth” on

cookie-cutter environment?

There was the beginning

queer performance in

What role does nostalgia

of a sea change. I think he

American underground

JD: Yeah, and that seems to

play in the worlds that

understood that being seen

film with a chapter on

get taken up in the way John

John Waters creates?

as a problem or perversion

Waters and his longtime

Waters talks about his past

collaborator Divine. Michael

and Divine as well. There’s

MK: For me, nostalgia is

films always seemed to be

Kinney, a Ph.D. student in

that book by Divine’s mother,

connected to his ability to

looking back on a model

musicology at Stanford,

and the joy of it is seeing

stand back and say, you

of queer identity that was

has presented papers on

Divine through her eyes and

know, this whole ideal of

prior to “liberation.”

Waters’ use of music in

just that idea that Divine

the American Dream is very

developing an aesthetic

could emerge from the most

strange. I think that the

of disgust.

banal circumstances.

nostalgic worlds he creates

has a lot of power to it. His

critique his upbringing 28

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

How does music contribute

JD: It seems to me a very

documentaries that he’s

to his subversive

distinctly queer cultural

become iconic for a much

cinematic aesthetic?

practice to be reading those

greater audience than I think

pop objects against the grain.

many of us ever imagined.

MK: In Waters’ early films,

Also, I think it’s important

he uses a mix of many

that he was so plugged into

MK: I always think it’s funny

different genres to enhance

the experimental film world

seeing him on talk shows.

his aesthetic of trash. But

in New York and seeing what

Everyone’s just so uneasy

he also uses songs that are

people like Kenneth Anger

around him, and I think that’s

often the B-sides of records.

(in L.A.) were doing. Anger’s

a good thing. He’s someone

Like in Pink Flamingos, you

soundtrack for Scorpio Rising

that forces you to check your

have these early proto-punk,

consists entirely of pop

values and your judgements

surfer-rock B-sides that no

songs that are kind of turned

at all times.

one’s ever heard of, and I

against themselves, and it

think that kind of adds that

was quite early to do that in

JD: I definitely think of

grittiness. But also in Pink

this avant-garde realm.

Oscar Wilde a lot.

like Little Richard’s “The

Where and in what ways

MK: That’s true. I hadn’t

Girl Can’t Help It” that are

do you see the influence

thought about that, but

used as musical backing

of John Waters in popular

they’re analogous. I think he’s

for Divine walking through

culture today?

present every time we feel the

Flamingos, you have songs

right to laugh at stuff that

downtown Baltimore. And it’s very clear that they’re

JD: Something that I’m just so

pushes boundaries. I think

appropriating this Jayne

delighted by every day when

he’s also there in how we

Mansfield image for Divine

I wake up is that he’s become

respond to irony, especially in

in this very ironic way.

this kind of public intellectual

film, and in terms of what we

Irony is key to how music

and a widely celebrated

find shocking but also what

is used in Waters’ films.

figure. He’s in so many

we have the tolerance for.

JD: I think that’s such a good point that so much of what makes up mainstream culture

“Nostalgia is connected to his ability to stand back and say, you know, this whole ideal of the American Dream is very strange.”

is so degraded now and should be shocking to us, but we’re kind of immune to it.

But then what I think makes his films so enduring is there’s always this extremely strong wit and intelligence behind the shock.

—MICHAEL KINNEY

John Waters in Conversation With Noah Cowan, SFFILM Wed, Apr 18, 7:30 PM Bing Concert Hall

29

The world’s first karaoke machine, the Juke 8, was built by Japanese inventor and musician Daisuke Inoue in 1971. But it is Filipino inventor Roberto del Rosario who holds the machine’s patent.

Karaoke Culture in the Philippines Manila Disco Fever

The Philippines was heavily influenced

region—the obsession with karaoke.

Manila Disco Fever

by Western pop music, so perhaps that’s

Whether it’s a universal love of singing

Sat, Apr 7,

one reason why the Filipino cover band is

or the thrill of humiliating oneself in

7:30 PM

such a global export. In April, we take a

front of others (maybe both), no

Bing Concert Hall

trip down memory lane with the sounds of

matter where you are around the globe,

Manila Disco Fever. But first, here’s a look

you’ll find a karaoke system in many

at another musical phenomenon of the

Filipino homes.

30

Filipinos are born belters. So they’ll try their best to imitate Whitney, Celine— anyone who has a powerhouse voice.

Filipinos have their own versions of Western talent programs like The X Factor.

These shows include The Singing Bee, which is a singing karaoke and spelling game competition. And of course, what country doesn’t have its own version of the The Voice?

Even Filipino celebrities like boxer Manny Pacquiao enjoy singing publicly. On the late-night show Jimmy Kimmel Live, for instance, Pacquiao created a viral hit when he performed a duet of John Lennon’s Imagine with actor Will Ferrell.

Just don’t request “My Way.” In the past decade, many Filipino bars have banned this Frank Sinatra song after reports of violent attacks during its performance.

Did emotions run high because someone sang out of tune?

31

MAR / APR 2018

Behind the Scenes

PUTTING IT TOGETHER The process for thinking about our 2018–19 season started late last spring, immediately following the release of the 17–18 season brochure. Our team of curators compiled ideas that explored life, love, and loss and the cross-cultural rituals that accompany us on this journey.

This framework allowed us to

1

start a dialogue with artists

3

and agents about works

2

that would tell this story.

Many of these conversations took place at three major conferences: the Western Arts Alliance (a gathering of West Coast presenters), the International Society for the Performing Arts, and the Association of Performing Arts Presenters in New York.

In addition to an extensive meeting schedule, these conferences include showcase performances and “pitch” sessions where artists share information about projects they are developing.

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

1

2

3

ISPA

C HO IR! C HO IR! C HO IR!

A PA P

Chris presents Taylor

Chris Lorway, Ryan Davis,

Stanford’s Director of

Mac with the ISPA 2018

and Stanford Concert

Music Programs Laura

Distinguished Artist Award.

Network student Rosalind

Evans (right) with Laura

Mac’s A 24-Decade History

Lutsky sing David Bowie’s

Greer of the Apollo Theater

of Popular Music was

“Heroes” with David Byrne

and Alison Loerke of Alia

copresented by Stanford

at the Choir! Choir! Choir!

Productions at the Geri Allen

Live and the Curran in San

showcase at the Under the

Tribute concert at Tishman

Francisco earlier this season.

Radar Festival.

Auditorium during this year’s Association of Performing Arts Presenters conference.

32

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Membership

MAR / APR 2018

1

An Exciting Time to Join Everything we do, from

full months of recognition and

reopening, we’ll become a full-

presenting world-renowned

benefits starting on the day

year presenter. With all this in

performers to bringing artists

you become a member.

mind, we’ll be discontinuing our ticket subscription program.

to underserved schools, depends on the generosity of

A thrilling event on the

Members and patrons will

our members. As we celebrate

horizon is the reopening of

be able to purchase tickets

our fifth anniversary, it’s

the Frost Amphitheater in

on a per-show basis with no

an exciting time to be, or

summer 2019, and a special

minimum requirements, which

to become, a Stanford Live

benefit for members will

gives our members and patrons

member, as we roll out a

be presale access to Frost

greater flexibility in choosing

redesigned and improved

concerts. We’ll also continue

their favorite performances.

membership program that’s

to offer presale access to all

more in tune with the changing

Stanford Live performances

If you’re already a member,

nature of our organization and

for members, from our

you’ll be receiving details,

our audience’s needs.

Bing Members ($7,500+)

and we’ll be sharing more in

through our Supporter-

our next magazine. We’re so

Memberships will now be

level members ($250+).

grateful for your support, and

based on an annual cycle,

Bing is jumping these days,

we look forward to welcoming

rather than the season you join,

with new shows added all

you to our redesigned

so you will always receive 12

the time, and with Frost

membership program!

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 C E L E B R AT E D A RT I S T S

2 S T U D E N T M AT I N E E S

3 MASTER CLASSES

4 MEET AND GREETS

In one of the most

Stanford Live matinee

Opportunities abound for

At a post-performance

anticipated events of the

programs are open to all

Stanford students to interact

reception last season, Yo-Yo

season, acclaimed soprano

Bay Area K–12 schools

with visiting artists, such as

Ma (returning on March 1)

Renée Fleming made her

and teachers. Pictured are

this recent dance class led by

mingles with Deedee and Burt

recital debut at the Bing on

younsters at December’s

members of the L.A. Dance

McMurtry, Cathy McMurtry,

January 31.

performance by Marcus

Project in January.

and Jim McLaughlin.

Shelby and his ace ensemble.

35

Stanford Live Donors Stanford Live thanks the following donors for their support: BING CIRCLE ($25,000+) Anonymous Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Scott & Molly Forstall Jill & John § Freidenrich Mary & Clinton Gilliland Marcia & John Goldman Drs. Lynn Gretkowski & Mary Jacobson Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Stephanie & Fred Harman Rick Holmstrom & Kate Ridgway The Hornik Family Leslie & George Hume Michael Jacobson & Trine Sorensen Fong Liu Deedee & Burton McMurtry Phyllis Moldaw Barbara Oshman Mindy & Jesse Rogers Marian & Abraham Sofaer Bonnie & Marty Tenenbaum Priscilla & Ward Woods

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36

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 & Ken Powell Sarah & Stanley Freedman Carol & Joel Friedman Aileen Furukawa Catharine & Daniel Garber Dianne & Wesley Gardiner Martha & Spencer Gates 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 M. Carol Stevens & William Kay 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 Patti & Ed 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 The Bullard Family Roberta & Steven Denning Margaret Dorfman 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 Foundation New England Foundation for the Arts Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 1/25/18. 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

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2017–18 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.

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

M AY / J U N E 2 0 1 8

Calendar

JUNE 2

MAY 16

Wed

M AY

JUNE

MAY 9 The Cornel West Concerto

Fri & Sat

Arturo O’Farrill and the

MAY 4 & 5

Afro-Latin Jazz Orchestra

JUNE 2

Wed

Flamenco Sketches

Lost & Found Dancespace Project

MAY 16

Sun

JUNE 10

Aesthetics of Nostalgia

Breathtaking: A Cornetto

Ragazzi Boys Chorus

In Conversation with

and a Voice Intertwine

30th Anniversary Concert

Claudia Rankine

San Francisco Early

Chano Domínguez

Sun

Whiteness and the

MAY 6

Sat

Music Society MORE SHOWS! Stay tuned for details about the 2018–19 season to be announced in late April!

MAY 6

MAY 9

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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Directions For driving directions or

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public transportation

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can be found along the Oval at the end of Palm Drive, on

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Lot and on Lasuen Street, the Oval.

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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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Stanford Medicine is driving this transformation by leveraging the art and science of medicine to predict and prevent disease before it strikes and cure it decisively if it does.

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