Stanford Live Magazine - Nov/Dec 2017

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

INSIDE

N OV / D EC 2017

Brandi Carlile joins the season, the secret lives of instruments, the power of tradition, plus a playlist for the holidays.

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CONTENTS

Stanford Live Staff & Sponsors Welcome

p—8

Upcoming Events Scene & Heard

p—10

p—14

Behind the Scenes Membership

Keepers of the Flame

By Loren Schoenberg Performances by Jason Moran and the Sachal Ensemble Deal with Cultural Traditions

p—7

p—32

p—34

Stanford Live & p—36 Bing Concert Hall Donors Calendar

p—38

Plan Your Visit

P A G E­­— 2 2

Twelve Songs for

Photo Essay

Christmas

Meet Ronnie Burkett’s Marionettes From The Daisy Theatre

Pitchfork music critic Simon Reynolds

p—28

Offers a Personal Playlist p—16

Featurette

Artist Voices

The Secret Lives of

Rob Kapilow on the Jews

Instruments

Who Wrote Christmas

p—18

p—30

Infographic Mapping The Red Violin

p—20

5

p—39

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Nov/Dec 2017 Volume 10, No. 2

S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7

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 Robert Cable Communications Manager Ryan Davis Associate Director of Engagement and Public Programs

IN-KIND PARTNERS

Robert DeArmond Web Developer Laura Evans Director of Music Programs, Education, and Engagement Drew Farley Technical Manager Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR and Administrative Associate Sierra Gonzalez Director of Marketing, Communications, and Patron Services

MEDIA PARTNERS

Danielle Menona Development Associate Maurice Nounou Assistant Director of Ticketing and Sales

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

Egan O’Rourke Audio/Video Assistant Manager Kimberly Pross Director of Production

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

Jeremy Ramsaur Lighting Manager

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

Nicola Rees Director of Development Toni Rivera Operations Coordinator Ivan Rodriguez Artist Liaison/Cabaret Manager Jan Sillery General Manager Bill Starr House Manager

Corporate Office

Krystina Tran Marketing Manager

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

PHOTO CREDITS Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2017 Encore Media Group. Reproduction without written permission is prohibited.

On the cover: Brandi Carlile photo by David McClister. Page 8: Chris Lorway illustration by Hybrid Design. Pages 14- 15: Photos 1, 2, and 6 by Joel Simon; 3, 4, and 5 by Little Fang; 7 and 8 by Harrison Truong. Page 18: Photo by James Farley.

Page 20-21: Infographic by Hybrid Design. Page 22: Photo by Clay Patrick McBride. Page 24: Photo courtesy of the Sachal Ensemble. Pages 28-29: Photos by Alejandro Santiago. Page 32: Rehearsal photo by Lucy White. Page 34: Photo by Joel Simon. Page 35: Dianne Reeves photo by Joel Simon.

7

WELCOME

C H R I S L O R WAY EXECUTIVE DIRECTOR

“Almost any American can connect on some level to a family background of having come across some ocean. They say, ‘My great-grandparents came from wherever...this is why we have this last name, why we do this thing at Christmas.’ All the details get watered down but don’t quite disappear.”

— J H U M PA L A H I R I

You could make a strong argument

In the coming months, we have peppered

Stanford Live presents

that the holiday season is

the program with a series of events to

a wide range of the finest

responsible for America’s greatest

commemorate the season, including a

performances from around the

musical canon. Over the last

folk roots concert by cover artist Brandi

world, fostering a vibrant learning

century, hundreds of songs have

Carlile and our annual Chanticleer

community and providing dis-

been written to provide a nostalgic

concert at Memorial Church. We also

tinctive experiences through the

backdrop for family gatherings,

believe the holidays are a time for

performing arts. With its home at

staff parties, and visits to the mall.

dancing, so we’ve left space on the

Bing Concert Hall, Stanford Live

Where many of these songs came

floor of Bing to do so for both the

is simultaneously a public square,

from may surprise you. In this issue

Hot Sardines and the Klezmatics.

a sanctuary, and a lab, drawing

of Stanford Live magazine, Rob

on the breadth and depth of

Kapilow takes you to the Lower

Finally, Stanford Live is very excited to

Stanford University to connect

East Side of Manhattan, where

welcome Paul Phillips, Stanford’s new

performance to the significant

Jewish immigrants were crafting

director of Orchestral Studies. Members

issues, ideas, and discoveries of

many of the songs we know and

of the Stanford Philharmonia—with

our time.

love. And for those of you looking to

Paul at the helm—and violinist Lara

refresh your annual playlist, music

St. John will bring to life the music

journalist Simon Reynolds provides

of the iconic film The Red Violin. This

a list of his favorite holiday tunes.

project will be the start of a very exciting partnership. Stay tuned!

8

NOV / DEC 2017

Upcoming Events

DISCUSSION

T H E AT E R

CLASSICAL

Chuck

Longing Lasts

Sundays with the

Klosterman and

Longer

St. Lawrence

Simon Reynolds

Penny Arcade

St. Lawrence String Quartet

Nostalgia and Pop‑ Culture Throwbacks

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: W E D N E S DAY, N OV E M B E R 1, 7:30 P M

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

WHEN: F R I DAY, N OV E M B E R 3, & SAT U R DAY, N OV E M B E R 4 8:00 PM

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

WHEN: S U N DAY, N OV E M B E R 5, 2 : 30 P M

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

POST-SHOW TALK: NOVEMBER 3

Best-selling writer Chuck

Penny Arcade’s hilariously

The St. Lawrence String

Klosterman (But What If We’re

iconoclastic monologue,

Quartet, which has in the

Wrong: Thinking about the

created by one of Andy

past presented immersive

Present As If It Were the Past)

Warhol’s underground

encounters with the music

and Pitchfork music critic

superstars, addresses

of Franz Joseph Haydn,

Simon Reynolds (Retromania:

perennially political

holds an all-Haydn “Bing-

Pop Culture’s Addiction to

issues of class and gender

fest” with all six of his

Its Own Past) discuss how

and everyday woes

Opus 20 string quartets.

nostalgia drives pop culture

like gentrification.

and the music industry.

Presented in partnership with Music at Stanford

10

DISCUSSION

JAZZ

JAZZ

WORLD

In Conversation

Jason

Patricia Barber

Song of Lahore

with

Moran

Trio

Sachal Ensemble

Samantha Bee

In My Mind

WHEN: F R I DAY, N OV E M B E R 10, 7 : 30 P M

VENUE: MEMORIAL AU D I TO R I U M

WHEN: SAT U R DAY, N OV E M B E R 11, 7:30 P M

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

WHEN: SAT U R DAY, N OV E M B E R 1 1 , 8:00 PM & 10:00 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, N OV E M B E R 1 5, 7 : 30 P M

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

Canada’s Samantha Bee,

In this centenary year of

The resident jazz pianist and

Inspired by the documentary

who learned her craft as a

Thelonious Monk’s birth, jazz

vocalist from Chicago’s Green

film of the same name, Song

correspondent on The Daily

virtuoso Jason Moran explores

Mill brings her trio to the Bing.

of Lahore is a cross-cultural re-

Show with Jon Stewart, has

Monk’s roots and impact.

Generously supported by

creation of songs made iconic

Generously supported by the

Stephanie and Fred Harman

Koret Foundation and the

and the Koret Foundation

become a sharp political commentator with a ribald voice that never loses its charm or its funny.

National Endowment for the Arts

by Duke Ellington, the Beatles, Dave Brubeck, Henry Mancini, and Richard Rodgers.

Join us for a free screening

JAZZ PROJECT

of the film on November 8.

JAZZ PROJECT

T H E AT E R

WORLD

T H E AT E R

CLASSICAL

The Daisy

Victoria

Betty

Rolston String

Theatre

Hanna

Buckley

Quartet

Ronnie Burkett WHEN: W E D N E S DAY, N OV E M B E R 15– SAT U R DAY, N OV E M B E R 18, 8: 0 0 P M

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

Story Songs WHEN: W E D N E S DAY, N OV E M B E R 29, 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: F R I DAY, D EC E M B E R 1 , & SAT U R DAY, D EC E M B E R 2 8:00 PM

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

WHEN: S U N DAY, D EC E M B E R 3, 2 : 30 P M

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

S U N DAY, N OV E M BE R 19, 7:00 PM

The Jerusalem-based singer-

With legendary performances

These rising Canadian stars

Don’t bring the kiddies to

songwriter is known for

in such shows as 1776, Cats,

came together in 2013,

puppeteer Ronnie Burkett’s

mesmerizing interpretations

and Sunset Boulevard to

eventually winning first prize

rather bawdy, thoroughly

of Jewish texts that combine

name a few, Betty Buckley

at the Banff International

entertaining The Daisy Theatre.

Middle Eastern sounds with

has been dubbed the

String Quartet Competition.

rap and hip-hop.

“voice of Broadway.”

That same year, the ensemble won the John Lad Prize, which brings it to the Bing.

11

CLASSICAL

JAZZ

The Red Violin

The Hot Sardines’

Film with Live Orchestra Featuring Lara St. John

Holiday Stomp

WHEN: F R I DAY, D EC E M B E R 8, 7 : 30 P M

VENUE: MEMORIAL AU D I TO R I U M

WHEN: SAT U R DAY, D EC E M B E R 9, 7 : 30 P M

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

Canadian violinist Lara St.

Dance ’til you drop to a

John, with the help of a live

yuletide blend of hot jazz,

orchestra featuring members

including swinging renditions

of the Stanford Philharmonia,

of classics like The Nutcracker

will perform the score at a

Suite and “White Christmas”

screening of The Red Violin,

and less traditional tunes like

which follows an antique

Ella Fitzgerald’s “Santa Claus

violin’s odyssey from Europe

Got Stuck in My Chimney.”

to modern Montreal.

Copresented with Music

Generously supported by the Koret Foundation

at Stanford This film is rated R.

JAZZ PROJECT

POP

CLASSICAL

WORLD

An Evening with Brandi Carlile

A Chanticleer

The Klezmatics

Winter Acoustic Tour

Christmas

Happy, Joyous Hanukkah

WHEN: F R I DAY, D EC E M B E R 15, 7:30 P M

VENUE: M E M O R I A L AU D I TO R I U M WHEN: W E D N E S DAY, D EC E M B E R 1 3, 7 : 30 P M

VENUE: MEMORIAL C H U RC H

WHEN: T H U R S DAY, D EC E M B E R 14, 7 : 30 P M

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

The Grammy–nominated singer-songwriter, who first rose to wide acclaim with the 2007 hit The Story, comes to Stanford with longtime bandmates Tim and Phil Hanseroth (aka “the twins”) as part of their holiday tour.

12

It wouldn’t be December at

Woody Guthrie and

Stanford without the annual

Hanukkah? Who knew? The

concert of this beloved a

Grammy-winning Klezmatics

cappella male choir, filling

riff off Guthrie’s original

Memorial Church with sound

melodies and create new

and hearts with joy. Who

tunes in this unremittingly

knows? Your first visit may

cheerful fusion of klezmer

launch a family tradition.

music and American sounds.

Business, meet box office.

Encore connects your business to arts patrons wherever they are.

To learn what Encore can do for your business, visit encoremediagroup.com.

SPOKEN WORD

Selected Shorts Holiday Nostalgia

WHEN: S U N DAY, D EC E M B E R 10, 2 : 30 P M

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

Pinewood is an independent, coeducational, non-profit, K–12 college-prep school. Students benefit from small

class size, challenging academic curricula,

A public radio watchword for years, Selected Shorts broadcasts weekly on 150 listeners across the country— not to mention its devoted podcast audience. At the Bing, the nostalgia of the holidays takes center stage with host Chris Bauer

Passionate Expertise High Academic Expectations Unlimited Exploration

(The Wire, True Blood) and

Grounded Moral Examples

reader Christina Pickles

Confident Self-Expression

(St. Elsewhere, Legends of the Fall).

K12 enrichment activities. through

stations to some 300,000

and a wide choice of

We offer an environment where each student is a respected and vital member of our educational community. We invite you to explore the opportunity for your student to become a part of the Pinewood tradition of academic excellence. For more information, please visit our website.

www.pinewood.edu

NOV / DEC 2017

Scene & Heard

2

1 4

6 7

14

3

1

2

B U F F Y SA INTE- MA RIE

B U F F Y SA INTE- MA RI E

Buffy Sainte-Marie, a critical

Prior to the show, Shawon

voice for indigenous issues

Kinew, from Stanford’s Art

and the recipient of the

and Art History Department,

Polaris Prize (Canada’s top

introduced Sainte-Marie in

musical honor), launched

her native language.

the Stanford Live season on September 22.

5

3

4

TAYLO R MAC

A RT S I N T E N S I V E

Stanford Live and the Curran

As part of a three-week

teamed up to produce Taylor

workshop, students from

Mac’s A 24-Decade History of

Stanford’s Arts Intensive

Popular Music over four days

helped design and build

in San Francisco.

new costumes and other production elements.

5

6

ARTS INTENSIVE

TAYLO R MAC

Prior to the San Francisco

On September 27, Mac

run, Arts Intensive students

presented a new abridged

pose backstage at the Curran

version of A 24-Decade History

with costume designer

created especially for Bing

Machine Dazzle.

Concert Hall.

7

8

TAYLO R MAC

TAYLO R MAC

Mac involves a member of

Mac works the audience

the audience on the Bing

during the abridged

stage.

performance at the Bing.

8

ARTIST VOICES

Twelve Songs for Christmas

By Simon Reynolds

Pitchfork music critic Simon

Slade, “Merry Xmas

Paul McCartney, “Wonder-

The Greedies, “A Merry

Reynolds and best-selling

Everybody,” 1973

ful Christmastime,” 1979

Jingle,” 1979

writer Chuck Klosterman

Fronted by the Lennon-

This ought to be too

What most likely started out

are two of today’s sharpest

as-foghorn blast of Noddy

ingratiatingly sickly to

as a beery jape conceived

wits breaking down what

Holder, Slade was Britain’s

stomach, but Macca’s deft

in a Soho pub—“let’s give a

makes pop culture tick. In

biggest hit-maker during

craftsmanship and clever

brace of yuletide standards a

advance of his conversation

the glam early 1970s. But

touches (synth squiggles like

lumpen sub-punk do-over,

at the Bing, Reynolds was

out of its half-dozen number

bubble bath, that burbling

shall we lads?”—became a

kind enough to put together

ones, it is “Merry Xmas

reverb-shimmered bass) make

minor UK hit.

a short playlist in time for

Everybody” that has endured

this song charming rather

the holidays. It’s a selection

as a hardy perennial.

than cloying.

Wizzard, “I Wish It Could Be

The Stranglers, “Don’t Bring

Fresh from her disco-noir

Christmas Everyday,” 1973

Harry,” 1979

remake of Peggy Lee’s “Is

Another glam-era chart

Punk-era misanthropes

That All There Is?”—with

topper, Wizzard’s Roy Wood

the Stranglers released

altered lyrics so decadent

was a pasticheur with an

this morosely languid ditty

that original lyricists Leiber

uncanny facility for repli-

about heroin—personified

and Stoller had the cover

cating the signature sound

as the creepy and insidious

version suppressed—Cristina

of admired predecessors.

“Harry”—as a Christmas

made a contribution to

Not for the first time, the

single in 1979. Amazingly

ZE Records’ A Christmas

target of Wood’s sincere

they would have a huge

Album that was a nihilist

flattery here is Phil Spector.

winter hit a couple of years

subversion of the seasonal

later with another song

song, festering not festive.

that might surprise you.

Listen on live.stanford.edu/xmas

John Lennon and Yoko Ono/ Plastic Ono Band, “Happy Xmas (War Is Over),” 1971 It’s hard to believe that the man capable of the acrid disillusion of “Working Class Hero,” “God,” and “My

Cristina, “Things Fall Apart,” 1981

Mummy’s Dead” could just

about smack, the gorgeously

one year later record this

bittersweet and implicitly

soppy sway-along.

hymnal “Golden Brown.”

16

S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7

Maccca's deft craftsmanship and clever touches make this song charming rather than cloying.

X Project, “Walking in

Wrapping,” 1982

the Air,” 1993

Best known for “I Know What

This rambunctious bass-

Boys Like,” these Akron New

booming rave anthem is

Wavers also scored with this

a Christmas song only by

wonderfully tart tale about

association, sampling Welsh

being too busy and too jaded

choirboy Aled Jones’ hit

to celebrate the holidays.

single “Walking in the Air.”

The Pretenders,

Killer Mike, “A Christmas

“2000 Miles,” 1983

Grind,” 2003

Another Akron New Waver,

Off the album Crunk and

Chrissie Hynde is one of

Disorderly, “A Christmas Grind”

rock’s true originals as a

belongs to a surprisingly

vocalist, with her magnetic

sizeable subgenre of holiday-

alloy of tender and tough,

themed rap songs: Kurtis

needy and nasty. But

Blow’s “Christmas Rappin’,”

here the edge softens and

the Treacherous Three’s

Hynde allows herself a

“Santa’s Rap,” Run DMC’s

completely moist moment

“Christmas in Hollis,” Ludacris’

of Christmassy wistfulness.

“Ludacrismas,” Master P’s

Proud to Support the Arts at Stanford

“Christmas in da Ghetto,” Frankie Goes to Hollywood, “The Power of Love,” 1984 Frankie dominated 1984 with

Ying Yang Twins’ “Ho Ho

Personal attention

Ho,” and Run the Jewels’ “A

thoughtful litigation

Christmas F*cking Miracle.”

final resolution

a triptych of singles with epic

Our goal is to preserve our client’s dignity and humanity.

themes. “Relax” was about sex, transgression, and shock

Chuck Klosterman &

(it was banned by the BBC);

Simon Reynolds

“Two Tribes” grappled with

A Conversation on

war, Armageddon, and U.S.

Nostalgia and Pop-

vs. USSR geopolitics; and the

Culture Throwbacks

ballad “The Power of Love”

Wed, Nov 1, 7:30 PM

hymned the redemptive

Bing Concert Hall

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

575 Market Street, Suite 4000 San Francisco, CA 94105 415.834.1120 www.sflg.com

power of devotion and faith.

17

F A M I LY

The Waitresses, “Christmas

L A W

— S I M O N R E Y N O L D S O N PAU L M C C A RT N E Y ’ S “ WO N D E R F U L C H R I S T M A S T I M E "

F E AT U R E T T E

Lara St. John performs in The Red Violin

The Secret Lives of Instruments From the Artists Who Played Them The title “character” in The Red Violin—

Lara St. John, violin soloist in

brought out and sold, but it’s a very

a perfect, red-colored instrument—

The Red Violin screening:

poignant story nevertheless. It’s on loan

inspires passion, making its way

The 1779 Guadagnini (Turin) I have

to me thanks to an anonymous donor.

through several owners and countries

played on for the past 17 years has a

over three centuries. In anticipation

story similar to The Red Violin. It came

Wu Man on the 2013 airline incident

of the performance here at Stanford,

to the American continent in the 1920s

that destroyed her precious, custom-

we thought it would be fun to hear

as a gift from a father to his young son,

made pipa, a plucked four-string

from a few artists who have played

who was studying with Efrem Zimbalist

Chinese instrument:

or will play at Stanford about the

and performed at the Hollywood

An instrument is a life, not a piece of

provenance of and their relationship

Bowl. Unfortunately, he contracted

luggage. My other pipa had been with

to their own instruments.

tuberculosis and died at 17, and his

me for 18 years and basically established

heartbroken father entombed him with

my music career in the United States.

this Guadagnini and some bows. A few

Right after it was broken, when I told

years later during the Depression, the

Man Rui Xing (the master instrument

family needed money, so the violin was

craftsman) in Beijing the story, he was

18

S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7

very cool—he said, “Don’t worry, I will

string. By the early 20th century, it

from performing and toward business,

make you a new one.” There is a space

seems that the instrument was in

this friend decided to sell the cello

in my heart for my old pipa. It’s like a

the hands of a Jewish family. This

to me in 2007. I have never been so

relationship between two people, the

unnamed family fled Europe in the

charmed by a musical instrument, and

instrument and yourself. But the new

1930s and arrived in America, and the

I look forward to the day when another

one had a new sound and a different

cello was unfortunately forgotten and

young cellist can fall for it, too!

quality that I was excited to try. We get

left to deteriorate in a closet. Andrew

along very well now.

Dipper, a Minnesota-based luthier, bought the pieces in the 1970s and,

Geraldine Walther, violist for the

after several years, decided to piece it

The Red Violin

Takács Quartet:

back together. As he studied the wood,

Film Screening with Live Orchestra

When I joined the quartet 12 years

Dipper noticed that in an earlier time

Fri, Dec 8, 7:30 PM

ago, I had been playing on a beautiful

the cello had indeed had ten peg holes.

Memorial Auditorium

instrument on loan to me by the San

He knew that he just had to reconstruct

Francisco Symphony that I knew I

this beautiful and voluptuous wooden

would have to return. So the Takács

body back into its original five-string

Quartet managed to find a beautiful

form. What he ended up with was

Guadagnini viola for me that came

such a superb specimen. In the early

Philharmonia Baroque

from an amateur player’s great

1990s, it was put up for auction in Los

Orchestra & Chorale

collection. I have since learned this

Angeles, where a good friend and

Fri, Mar 9 & Wed, Apr 25, 7:30 PM

viola was used by the great English

appraiser took one look at it and paid

Bing Concert Hall

violist Watson Forbes, in the London-

for it outright. Eventually turning away

based Aeolian Quartet during the 1930s and 1940s.

All that spring, after I had won the job, that viola sat in its case looking at me, wondering when I would get to know it. It needed another visit to the workshop to be just right for me, and now, from being a stranger, it has become a real friend for me onstage and off in times of slight panic as well as great euphoria.

William Skeen, cellist with Philharmonia Baroque Orchestra: Most players aren’t able to know much of the backstory to their instrument, but I know something about mine. Built in the late 17th century as a five-string cello, this instrument probably lived much of its life as a normal fourstring cello. Cellos with five strings, though relatively common in the 17th and early 18th centuries, had fallen out of fashion by the end of the 18th century. It must have been at this point that the instrument lost its fifth

Takács Quartet Fri, Feb 23, 7:30 PM Bing Concert Hall

Mapping The Red Violin

The Red Violin tells the story of a mysterious red-colored violin and its many owners. This guide traces its winding path through five distinct historical moments and cultural milieus.

The Red Violin Film Screening with Live Orchestra Fri, Dec 8, 7:30 PM Memorial Auditorium

FILM

CREMONA

VIENNA

1681

1793

Nicolò Bussotti is a

The violin comes into the

violin maker whose wife,

possession of Kaspar Weiss,

Anna Rudolfi, is pregnant.

a young but brilliant

Anna asks her servant

violin prodigy.

Cesca to foretell her unborn

—Compiled by Francesca Dawis

child’s future.

H I S TO RY

The world’s earliest and most

Haydn composed his six

renowned luthiers—Nicolò

Apponyi Quartets in Vienna

Amati, Bartolomeo Giuseppe

in 1793 just after he made his

Guarneri, and Antonio

first visit to London—where,

Stradivari—were all from

for the very first time, the

Cremona, making it a center

composer heard his music

of musical instrument

played for the public rather

manufacturing.

than in performances restricted to the Esterházy court.

20

OX FO R D VIENNA

MONTREAL

SHANGHAI

CREMONA

OX FO R D Late

1890s

SHANGHAI Late

1960s

MONTREAL

1997

Frederick Pope comes across

In the chaos of China’s

An appraiser arrives in Montreal

the Gypsy procession setting

Cultural Revolution, any

and, almost immediately, he

up camp on his estate,

ideas or items deemed

notices the Red Violin and believes

as a Gypsy woman plays

“bourgeois” are denounced

it may be the legendary lost violin

the violin.

and marked for destruction.

of Nicolò Bussotti.

Romani music is mainly

Chairman Mao Zedong initially

Canada played a significant role in

instrumental and usually

allowed Western music in his

aiding China’s resurgence after the

performed on classical

country, so long as it “served

Cultural Revolution. Beginning in

guitar and fiddle.

the Chinese, and art served

the early 1980s, Canadians

politics.” But in the 1960s, Mao

collaborated with Chinese colleagues

became more reactionary in his

in areas such as management,

fear of Western elements.

education, agriculture, health, the environment, and higher education teaching.

21

M A I N F E AT U R E

1

Keepers of the Flame

By Loren Schoenberg

Tradition has been defined as “the

quite different but that actually

decades after, audiences preferred

handing down of information,

share commons goals at their root.

to dance to live musicians—imagine

beliefs, and customs by word of

that! And as the music became more

mouth or by example from one

Popular music has always been derived

sophisticated, another audience

generation to another without

from its function as music to dance

developed who preferred to listen

written instruction.� Stanford Live

to. The social rituals that surround the

to the music rather than dance, and

is presenting two ensembles, Jason

dance were vital before the explosion

venues began to cater to their desire.

Moran and his Big Bandwagon and

of technology and social media began

the Sachal Ensemble, that deal with

to render them less important, if not

Duke Ellington had a particularly

their specific cultural traditions in

altogether moot. Similarly, before the

felicitous phrase to represent music

ways that on the surface sound

advent of recordings, and for many

that made your toes tap; he called

22

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S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7

2 1.

Jason Moran reimagines Thelonious Monk’s historic 1959 Town Hall concert 2.

Members of the Sachal Ensemble perform music from Song of Lahore

it “encouraging the terpsichorean

for jazz, has long been pursuing an

Fats Waller’s music that transposes

urge.” And no matter how seemingly

approach to jazz that takes into

the Harlem of the 1930s squarely into

complex or fascinating or deep the

consideration not only the notes

contemporary times without losing

music becomes, if part of you isn’t

played but also the historical and

the essence of the original. Not one

vibrating in rhythm, it might be time

cultural contexts that produced

to shy away from nontraditional

to see the doctor. The three spheres

those notes. His brilliant adaption

approaches—after all, his mentor was

of music are traditionally said to

of a signal event in jazz history—

the brilliant and idiosyncratic pianist

be rhythm, melody, and harmony.

Thelonious Monk’s 1959 Town Hall

Jaki Byard—Moran uses multimedia

There’s a fourth one, as well. The

concert—is as much Moran as it is

throughout his Monk program that

writer Stanley Crouch has named it

Monk. And that is as it should be.

is all functional; it relates directly

timbre, which means the sound of

Monk himself was the legatee of the

to Monk and in novel ways.

music. Of all of these spheres, rhythm

brilliant Harlem stride piano players of

is the primal one; after all, we are

the first decades of the 20th century.

The Sachal Ensemble has also found

conceived in rhythm. Whether the

All throughout his music are echoes

its own voice using the music of the

music has its roots in Harlem USA or

of the music of Fats Waller, James

past as its roots. In the group’s native

in Lahore, Pakistan, focusing on the

P. Johnson, and their peers. What

Pakistan, a rich musical culture with

rhythms that you’ll be hearing from

made Monk’s music so original was

a determinedly international mix

both ensembles is the entryway into

that he found a way to combine those

was suddenly made verboten in 1977

a deeper appreciation of the music.

influences into a new, coherent whole.

with the imposition of Sharia law.

That is what Jason Moran has done,

All of a sudden, an entire population

Pianist Jason Moran, currently the

in turn, with Monk’s world. He has

of musicians and people whose

Kennedy Center’s artistic director

also created a program dealing with

livelihood was tied to music was left

24

S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7

adrift. Miraculously, over the ensuing

Brubeck, an inveterate listener to new

Tigers recording in 1995. McBride

years, various members of what was

sounds and musicians, called it “one

later became the director of the Dave

once a large musical aristocracy

of the most interesting recordings

Brubeck Summer Jazz Colony and

managed to keep the traditions alive.

of the song I’ve ever heard.” He was

continues to be a major presence

Producer and music lover Izzat Majeed,

also entranced with bassist Christian

across many musical genres. Besides

along with Mushtaq Soofi, secretly

McBride (no stranger to jazz at

being an artistic director at the

gathered these musicians at his Sachal

Stanford), whom he invited to play

National Jazz Museum in Harlem,

Studios, for many years making sure to

on his classic Young Lions and Old

among many other distinguished

keep their activities under the radar.

Many times, this undertaking came at great personal risk, as you will see in Song of Lahore, a documentary film about their trip to New York to play with Wynton Marsalis at Lincoln Center. And it is that award-winning documentary that brings them to Stanford. It had a particularly strong effect on Chris Lorway, executive director of Stanford Live. “After seeing the brilliant documentary,” he wrote, “I was struck by two things that are important to consider at this moment: how soft power—like the State Department’s Jazz Ambassadors program—was used in the late 1960s to mitigate international perceptions of racial division and inequality; and how the Lahore musicians’ sometimes frustrating rehearsals with

A l l l uxur y condo mir ror s re f lect .

OURS REFLECT A HAPPIER YOU.

Jazz at Lincoln Center can be seen as a metaphor for the immigrant experience, an often challenging transition into the melting pot.”

Dave Brubeck made a huge impact on Pakistan’s musicians during his

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1958 U.S. State Department tour. “Take Five,” recorded the following year, was Brubeck’s most well-known recording, and something about it resonated with the musicians who eventually formed

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

the Sachal Ensemble. They had no idea when they posted their version of the Brubeck piece on YouTube in 2011 that

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it would explode internationally. It was covered by the BBC, and something about the blend of traditional Pakistani instruments with the undulating curves of a jazz classic created a new sound.

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positions, McBride is also the host of NPR’s outstanding radio series Jazz Night in America. Jason Moran’s Monk project was featured extensively on one of its broadcasts.

Learn more at encoremediagroup.com.

On top of the music, an insightful interview with Moran is interspersed throughout, adding so much depth to the understanding of what he’s after with this ambitious project. He pulls no punches when it comes to the challenges faced by the musicians who make this music in the contemporary world. Moran talks about being questioned by the police while doing nothing but waiting in his car for his wife to come down from their Harlem apartment. And in Song of Lahore, one of the featured players learns about the murder of one of their colleagues for no other reason than that he was carrying an instrument. The various forms of privilege that are given to or denied members of society are not an abstract thing for the people whose music you’ll be listening to, and it is that quality, the feeling of purpose and mission, that unites both ensembles in what they do. To be sure, the realities of day-to-day life in Pakistan and in the United States are very different, but when it comes down to it, the way that the ruling class deals with “the other” is what ultimately defines them.

Put side-by-side, these two ensembles coming from opposite ends of the planet bring not only dancing rhythms and the virtuosic control of instruments replete with many surprises of tone and time but also a joie de vivre that must be heard in person to be truly felt. As the Bing’s superb acoustics and sightlines have resonated with audiences, its reputation has also spread in the musical community.

Somehow, the hall has a chameleonlike ability to make any sized ensemble,

from the largest right down to a solo artist, sound as if they’re in the perfect, intimate setting. It’s a rare and wonderful opportunity that is being presented for the Stanford community to welcome all of these musicians to its home. There will be pre-concert lectures, and the more intrepid attendees will more than likely be able to meet the artists, as well. And that’s where the real magic happens.

Film Screening: Song of Lahore Wed, Nov 8, 6:00 PM Oshman Hall Jason Moran Sat, Nov 11, 7:30 PM

Our life here

Bing Concert Hall Sachal Ensemble

Chris Gandel and Misty, joined in 2014

Wed, Nov 15, 7:30 PM Bing Concert Hall

Amazing

SMILES Frequent Wags.

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Esmé Massengill, this bastard “love child of Tallulah Bankhead and Mr. Magoo,” reminds me constantly how silly, vulgar, dangerous, and ridiculous puppetry can—and should—be.

Jolie Jolie Band and Rosemary Focaccia alternate in our final number of the show. Jolie is fierce and French, a faded rose from the heyday of Parisian cabaret.

Rosemary Focaccia is a warhorse from the stages of Vegas. Where Jolie is simultaneously funny and heartbreaking in her battered romantic haze, Rosemary is as vulgar and brash as the town she plays.

Mrs. Edna Rural is easily one of the most beloved of The Daisy Theatre cast. Her saltof-the-earth, simple, and always somewhat confused interpretation of the world around her is unabashedly Canadian.

Meyer Lemon & Little Woody are my loving nod to vaudeville, which The Daisy Theatre format borrows heavily from. These are two of my favorite characters, although, oddly, I consider them one marionette.

Meet the Marionettes Schnitzel,

Photo Essay

the little fairy boy without wings, is a fan favorite, and regardless of the antics of any given Daisy show, Schnitzel’s goodnight to the audience closes every show.

In his narrative essay “On the Marionette

We invited master puppeteer Ronnie

Theater,” the German Romantic poet and

Burkett to share some of his favorite

dramatist Heinrich von Kleist suggests

creations for this vintage art form.

that marionettes exhibit a certain inherent grace onstage—in contrast to the awkwardness and inhibitions of human performers. This season, the art

The Daisy Theatre

of marionette theater seemed like an

Ronnie Burkett,

apt medium for reflecting on the cultural

Theatre of Marionettes

force of nostalgia—that distorting pang

Wed, Nov 15–Sun, Nov 19

felt for a more innocent time, when

Bing Concert Hall Studio

things were simpler. But were they really?

29

ARTIST VOICES

The Jews Who Wrote Christmas

By Rob Kapilow

When Alexander II, the great

plan worked, and between

many Jews in show business,

names but all traces of

Russian reformer who freed

1881 and 1914 more than two

Minnie Marx—the mother

their Jewishness, as well.

the serfs, was assassinated

million Jews left Russia, with

of the Marx Brothers—said,

As outsiders, they were

in 1881, his son Alexander III

America being the prime

“Where else can people

extraordinarily sensitive

ascended to the throne,

destination. Though the

who don’t know anything

to the hopes and dreams

and it quickly became clear

influx of Jewish immigrants

make so much money?”

of the American middle

that his repressive regime

had a major impact on

would have an enormous

the country as a whole, no

The overwhelming impulse

wanted to enter. And in the

impact on every aspect of

single city was affected

among the children of Jewish

1940s, as a deeply troubled

Russian society. What was

more than New York City.

immigrants was toward

America watched the world

class they so desperately

not nearly as clear was that

assimilation, and the first

collapse amidst the horror

his regime would also have a

Many of these poor

step in becoming “American”

of World War II, Jewish

major impact on the history

immigrants congregated

nearly always involved

songwriters provided comfort

of the Broadway musical

in the filthy tenements of

changing their names. Israel

by creating a songbook for

and the entire soundtrack

New York’s Lower East Side,

Baline became Irving Berlin,

a secular Christmas that

of America’s Christmas.

where they desperately

Jacob and Israel Gershowitz

they invented purely out of

tried to eke out a living in

became George and Ira

their own imaginations.

Alexander III did everything

whatever menial jobs they

Gershwin, Hyman Arluck

he possibly could to undo

could find. Since the Jews

became Harold Arlen, Asa

Before Irving Berlin’s “White

his father’s liberal reforms

were forbidden entrance into

Yoelson became Al Jolson,

Christmas” broke all sales

and stigmatize the Jews.

nearly all of the professions

and Isidore Hochberg

records in 1942, composers

According to one of

and had restricted access

became “Yip” Harburg.

had spent little time focusing

Alexander’s closest advisors,

to higher education, a

the hope was that “one-third

surprisingly large number

However, in their desire

it seemed as if their appeal

of the Jews will convert, one

found their way into the

to become mainstream

could only be short-term and

third will die, and one-third

world of popular music. When

Americans, most of them

seasonal. But 1942 was the

will flee the country.” The

asked why there were so

left behind not only their

first Christmas that millions

on Christmas songs because

30

S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7

of American soldiers would

Christmas,” “Rockin’ around

spend away from their homes,

the Christmas Tree,” “Winter

and “White Christmas” struck

Wonderland,” “It’s the Most

a deep chord both overseas

Wonderful Time of the

and at home. Though the

Year,” and “Let It Snow! Let

song contains only two

It Snow! Let It Snow!” were

images of Christmas—

all written by these largely

treetops glistening and

unknown Jewish songwriters.

children listening to sleigh bells—that was enough to

In 1957, Irving Berlin tried to

allow Americans to imagine

ban Elvis Presley’s recording

a reassuring, idealized,

of “White Christmas,” but it

Norman Rockwell, Currier

quickly reached number one

and Ives, small town, New

on Billboard’s Pop LP chart. Its

England past with sleigh rides

phenomenal success opened

and falling snow: a mythic,

the floodgates for the rock

secular American Christmas

versions of Christmas songs

on which the country

that continue to inundate the

could project its dreams.

market each year. But this all began with the children

The phenomenal success

of Jewish immigrants,

of “White Christmas” led

desperate to leave their

other Jewish songwriters

pasts behind and become

to follow Berlin’s path, and

part of mainstream America.

they quickly began to create

And today, at this polarizing

a songbook for the new

moment in our history, when

secular holiday. Though

the place of immigrants in

names like George Wyle

our society is under intense

(born Bernard Weissman),

scrutiny, it might be valuable

Eddie Pola (Sidney Pollacsek),

to remember that these songs

Felix Bernard, Jay Livingston

of immigrants have become

(Jacob Levison), Ray Evans,

the voice of America’s

Gloria Shayne Baker (Gloria

Christmas. They are the

Shain), Robert Wells (Robert

music of America’s melting

Levison), Robert May, and

pot. They are the soundtrack

Johnny Marks might be

of the American dream.

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songwriters like Mel Tormé, Jule Styne, and Sammy Cahn—wrote the core of the secular Christmas-song repertoire. “Do You Hear What I Hear?”, “Silver Bells,” “The Christmas Song,” “Rudolph the Red-Nosed Reindeer,” “A Holly Jolly

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711 El Camino Real Palo Alto, CA 94301

Feb 7 & Apr 11, 7:30 PM

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Bing Concert Hall

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NOV / DEC 2017

Behind the Scenes

You may have noticed the words “commissioned by” or “coproduced by” attached to certain Stanford Live shows. Both of these phrases indicate that we have made a commitment to the development of the work prior to it being presented in its final form. These funds support workshops, writing/composing time, 1

and investment in sets, props, and costumes.

3 2

So why would we do this?

There are three primary reasons: 1) to support artists during the creation process so that they have adequate time and resources to realize their vision for a work; 2) to have the first right to present a work in our market; and 3) to build an institutional brand among artists and peers as being artist-centric and good partners.

Here are some other shows that we have commissioned for this and for future seasons.

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

1

2

3

T REEMONIS HA

THE GRE E N FOG

DYSTOP IA N D RE A M

A new adaptation of Scott

Filmmaker Guy Maddin’s

This exciting new dance

Joplin’s almost unknown 1911

take on Vertigo with a new

work, in which Wang Ramirez

work, the first black opera

score for the Kronos Quartet,

directs and performs, is

composed in North America

in partnership with SFFILM.

made to Nitin Sawhney’s

to survive to the present day.

acclaimed 2015 album of the same name.

To support Stanford Live’s commissioning fund, please contact Nicola Rees at nicola.rees@stanford.edu or 650.497.4809.

32

“City National helps keep my financial life in tune.”

So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship.

City National is The way up® for me.

Michael Tilson Thomas Conductor, Educator and Composer

©2017 City National Bank

Hear Michael’s complete story at cnb.com/Tuned2SF

CNB MEMBER FDIC

The way up.

®

Call (866) 618-5242 to learn more or visit cnb.com

Membership

NOV / DEC 2017

1

A Jazz-Filled Season The Koret Foundation Makes Performances and Community Programs Possible For Stanford Live, 2017−18

piece on the life of Louis

campus, as guest jazz artists

will be our biggest jazz season

Armstrong. And we’ve been able

frequently coach Stanford jazz

ever, with six main-stage

to introduce remarkable new

students, in partnership with

concerts by leading jazz

artists like Esperanza Spalding

Stanford’s Department of Music.

figures, six shows by eclectic

and Cécile McLoren Salvant.

artists in our new Studio series,

We’re especially excited for our

and a K–12 student matinee.

The Project also supports a

first full jazz season in the Bing

This is just the latest milestone

partnership with the National

Studio, generously sponsored by

in the Koret Jazz Project, our

Jazz Museum in Harlem.

Stanford Live donors Stephanie

initiative that began in 2009

Saxophonist/scholar Loren

and Fred Harman. Coming up

through the generous support

Schoenberg, the Museum’s

on January 20, the Studio’s

of the Koret Foundation.

founder, brings his mix of

intimate, club-style setting

erudition, musicianship, and

will host the U.S. debut tour of

Over the last several years,

storytelling to his popular Jazz

piano virtuoso Uriel Herman

Koret support has enabled

Talks, pre-show discussions,

and his Quartet, who combine

jazz programs as varied as

and student coaching

jazz, Middle Eastern influences,

celebrated vocalist Dianne

sessions. Jazz is also central

and alternative rock for a

Reeves and a family theater

to our educational mission on

uniquely captivating sound.

34

2

3

4

Stanford Live’s performances and programs are made possible through the generous gifts of individual donors and the support of all our Stanford Live members.

To make a gift to support Stanford Live, please contact Danielle Menona at 650.725.8782 or dmenona@live.stanford.edu.

1 J E L LY A N D G EO RG E

2 S T R I N G S AT TAC H E D

3 JA Z Z TA L K S

4 URIEL HERMAN

Winner of the top prize in

The regal-voiced Dianne

For several years, Loren

The classically-trained pianist

the 2010 Thelonious Monk

Reeves, heir to the soaring

Schoenberg’s jazzy talks

and composer Uriel Herman,

International Vocal Jazz

jazz tradition of Sarah

have been a favorite with

who comes to the Bing Studio

Competition, Cécile McLorin

Vaughan and Ella Fitzgerald,

audiences at the Cantor Arts

in January, operates on the

Salvant first came to Bing

appeared most recently in

Center and the Anderson

seam between jazz, rock, and

in 2014. She returned last

2015 with her Strings Attached

Collection at Stanford.

grunge with influences of

season in a celebration of

program, featuring her

the music of Jelly Roll Morton

intimate trio.

Israeli sound.

and George Gershwin.

35

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

PRODUCING SPONSORS Helen & Peter Bing Roberta & Steven Denning Scott & Molly Forstall Marcia & John Goldman The Hornik Family

PERFORMANCE SPONSORS Mary & Clinton Gilliland Stephanie & Fred Harman Michael Jacobson & Trine Sorensen Bonnie & Marty Tenenbaum

BING CIRCLE ($25,000+) Anonymous Jeanne & Larry Aufmuth Helen & Peter Bing Sharon & Edward Bullard Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Jill & John Freidenrich Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Drs. Lynn Gretkowski & Mary Jacobson Stephanie & Fred Harman

Rick Holmstrom & Kate Ridgway Leslie & George Hume Michael Jacobson & Trine Sorensen Deedee & Burton McMurtry Phyllis Moldaw Barbara Oshman Mindy & Jesse Rogers Bonnie & Marty Tenenbaum

John O’Farrell & Gloria Principe Lynn & Susan Orr Anthony Paduano & Ruth Porat Donna & Channing Robertson Barbara & Greg Rosston Tom Sadler & Eila Skinner Meryl & Rob Selig Charlotte & George Shultz Barbara & Arnold Silverman Peter Staple & Harise Stein Diane & Hal Steuber Andrea & Lubert Stryer Lena & Ken Tailo Carol & Doug Tanner Lorna & Mark Vander Ploeg David Wollenberg

BING DIRECTOR’S CIRCLE ($15,000–$24,999) Carol & Myles Berg Shawn & Brook Byers Marcia & John Goldman Morton Grosser Catherine & Franklin Johnson Joan F. Lane Leatrice Lee Sandra Magnussen Carrick & Andrew McLaughlin Linda & Tony Meier William Reller Condoleezza Rice Marian & Abraham Sofaer Madeline & Isaac Stein Karin & Paul Wick

BENEFACTOR ($5,000–$7,499) Fred Alvarez & Beth McLellan Alvarez Regina & Gerhard Casper Sissy & Theodore Geballe

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

BING ARTIST’S CIRCLE ($7,500–$14,999) Anonymous (3) Felicity Barringer & Philip Taubman Luiz Barroso & Catherine Warner Alison & Joe Barta Sally Benson & Terry Surles Nancy & James Bildner Recia & Mark Blumenkranz Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Diane & Stephen Ciesinski Carla Baird & David Crane Ann & David Crockett Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey Phyllis & William Draper III Debbie Duncan & Bill Stone Barbara Edwards Melissa & Trevor Fetter Mary & William Fitch Jean-Marc Frailong & Richard Halton Lynn & James Gibbons Fred Grauer Ann Griffiths Gail & Walter Harris Eleanor & Bruce Heister Anne & Jack Holloway Larry Horton & George Wilson Elizabeth & Zachary Hulsey Sallie De Golia-Jorgenson & John Jorgenson Betty & Bob Joss Roberta & Charles Katz Lisa Keamy & Lloyd Minor Kathy & John Kissick Ingrid Lai & William Shu Sujitpan Lamsam & Scott Sagan Bren & Lawrence Leisure Robert Lence Debra & Mark Leslie Cynthia & Richard Livermore Jane & Michael Marmor Victoria & James Maroulis Jim McLaughlin & Cathy McMurtry Nancy & Lawrence Mohr David Morandi Tashia & John Morgridge Dean Morton Susan & Bill Oberndorf

PARTNER ($1,000–$2,499) Anonymous (2) Marian & Jim Adams Lysbeth Anderson & John Working Keith Baker Linda & Laurence Baker Lindy Barocchi Lisa Barrett Jill & Bruce Bienenstock Gary & Carolyn Bjorklund Susan Zaroff Breyer McKenzie Brooks Terri Bullock Jane & Peter Carpenter John Carter & Edie Goldberg Alexis & David Colker Joanne & Michael Condie Janet & Richard Cory Sommer William Coughran Jr. Thomas Dienstbier & Joyce Firstenberger Stan Drobac & Michelle Swenson Diane Elder & Bruce Noble Anna Espinosa Margaret Ann & Don Fidler Betsy & David Fryberger Jane & Bruce Gee Susan Goodhue Ed Haertel & Drew Oman Eric Hanushek & Margaret Raymond Leslie Hsu & Richard Lenon Lucie Jay Julie Kaufman & Doug Klein Grace Kim

36

Kay & Ed Kinney Iris & Hal Korol Sally & Charles Lannin Albe & Ray Larsen Ayleen & Emory Lee Philip Lee & Carlene Wong Shirley Liebhaber Marge & Roger Lobbes Joan Mansour Yoshiko Matsumoto & John Ryan Dick Miller & James Stutts Evelyn Miller & Fred Snively Betsy Morgenthaler Paula Moya & Ramon Saldivar Joyce & Joseph Nishimura Edward & Nadine Pflueger Robert & Shirley Raymer Laura Richardson Nancy & Norman Rossen Lela & Gerry Sarnat Doris Sayon J. Schwabacher Family Diane Shemanski Charles Sieloff Onnolee & Orlin Trapp Mary & John Wachtel Kenneth Weinberg Mariko Yang Wai Yau Sharon & Robert Yoerg

ADVOCATE ($500–$999) Anonymous (7) 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 Marie & Douglas Barry Brigid Barton & Orrin Robinson Elaine Baskin & Kenneth Krechmer Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Mary Bechmann Bernard Beecham & Cheryl Lathrop 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 Tasha Castaneda Andrew Chan Donald Cheu Gloria & Michael Chiang Shelli Ching 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 Harvey L. Dixon Carol Dressler Kathleen Dumas Robert Dutton & Carol Walsh-Dutton Ellen & Tom Ehrlich Eleanor Eisner Patricia Engasser Dennis Facchino & Angela Sowa Sally & Craig Falkenhagen Lynne & Michael Federle 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 Celia & Terry Harms Joyce & James Harris Stephen Harris Joerg Heilig Anne & William Hershey Freda Hofland & Lester Thompson Robin & Linc Holland Tamaki & Takeo Hoshi 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 Rene Lacerte & Joyce Chung Jean Lane Janna & Kurt Lang Lisa Lapin Cathy & Stephen Lazarus Cynthia & Bob Leathers Hau Lee Lucy & Jason Lee Joan & Philip Leighton Doreen & David Leith 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 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 Bettina McAdoo & Gordon Russell Thompson W. Ryan Loren & Shelley Saxe Elizabeth & Mark Schar Chris Iannuccilli & Michele Schiele Paula & George Schlesinger Cora Schmid Sue Schmitt Nancy & Richard Schumacher Vandana & Arvind Sharma Craig Sherman & Susan Shin Judith & William Shilstone Katie & John Shoven Judy & Lee Shulman Diane & Branimir Sikic Ilze Silis 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 Mansie & Gary Williams Polly Wong Robert Wood Marilyn & Irvin Yalom Mary H. Young Roy Zemlicka Jiecheng Zhang Selma Zinker

SUPPORTER ($250–$499) Anonymous Byron Bader Mary Bellack Ann & George Crane Judith Dean & Ben Encisco Susan Emerick Leah & Lawrence Friedman Paul Goldstein & Dena Mossar Jane & William Johnson Vera Luth Wendy McPherson Elyce Melmon Elisabeth Merkel Jean & Bryan Myers Joan Norton Grady Seale Audrey Shafer Carla Shatz Nerija Sinkeviciute-Titus Gayle & Scott Spencer Elizabeth Trueman & C. Raymond Perrault Susan & Lew Wexler Jeri & Kevin Wheaton

STANFORD LIVE LEGACY GIFT Audrey Avis Aasen-Hull §

INSTITUTIONAL PARTNERS $100,000+ Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 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 Association of Performing Arts Presenters California Arts Council Aaron Copland Fund for Music Kinder Morgan Foundation New England Foundation for the Arts Western States Arts Federation Contributions listed are in support of the 2017–18 season and were received between 4/1/2017 and 9/30/2017. 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 strategic advice on programmatic goals and visions, financial sustainability, communications and marketing, community outreach and education, and the overall arts branding at Stanford University.

Leslie P. Hume, Cochair George H. Hume, Cochair Jeanne Aufmuth Peter Bing Fred Harman Rick Holmstrom Bren Leisure Betsy Matteson Linda Meier Trine Sorensen Srinija Srinivasan 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

JAN / FEB 2018

Calendar

JAN. 31

Sun

Sat

JANUARY 28

FEBRUARY 10

Jeremy Denk and

Bill Charlap Trio

Stefan Jackiw play Ives

With special guests Mary Stallings and Freddy Cole

Wed Sun

JANUARY 31

Renée Fleming

FEBRUARY 11

Sundays with the St. Lawrence St. Lawrence String Quartet

FEBRUARY Sat

Wed–Fri

FEBRUARY 3

FEBRUARY 14–16

Cameron Carpenter

The Fever 600 HIGHWAYMEN

JANUARY

Wed Fri

FEBRUARY 7

Fri JANUARY 19

St. Louis Symphony

Rob Kapilow’s What Makes It

FEBRUARY 23

Great?

Takács Quartet

Songs of Leonard Bernstein

With Marc-André Hamelin, piano

Sat

Wed–Sat

JANUARY 20

FEBRUARY 7–10

Uriel Herman Quartet

Counting Sheep

FEBRUARY 28

Lemon Bucket Orkestra

Çudamani: Gamelan and

Wed

Fri & Sat

Dance of Bali

JANUARY 26 & 27

Fri

L.A. Dance Project

FEBRUARY 9

Darlene Love With the Stanford Symphony Orchestra

JAN. 26 & 27

FEB. 3

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

preordering options, visit

Wheelchair seating, with up

live.stanford.edu/dining.

to three companion seats per

stanfordlive@stanford.edu.

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

Anderson Collection at

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Directions For driving directions or

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public transportation

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

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Lot and on Lasuen Street, the Oval.

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Alumni Center

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Alumni Café, Arrillaga

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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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