A Thousand Thoughts | A Live Documentary by Sam Green & Kronos Quartet

THU APR 25 • 8pm

A THOUSAND THOUGHTS A Live Documentary by Sam Green and Kronos Quartet

1 2 3 W e s t 4 3 r d S t N YC 1 0 0 3 6 | T H E T OW N H A L L . o r g

Voice of

“Wakanda” From

Grammy & Academy Award Winning Best Original Score

Black PantheR

Sat. May 4, 2019 · 8pm

Baaba

Maal

Global Music Ambassador

with the

Town Hall Ensemble Steven Bernstein // Musical Nels Cline Lakecia Benjamin JT Lewis Marika Hughes Marc Cary Bria Skonberg Ricardo Rodriguez Scott Robinson Sara Jacovino Marcus Rojas Mauro Refosco Christina Courtin

Director

T H U R S D A Y, A p r i l 2 5 , 2 0 1 9 • 8 P M

THE TOWN HALL PRESENTS

A Thousand Thoughts A Live Documentary WITH THE Kronos Quartet Written and Directed by Sam Green & Joe Bini Featuring

KRONOS QUARTET David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello Sam Green and Joe Bini, filmmakers Brian H. Scott, lighting design BRIAN MOHR, sound design A Thousand Thoughts: A Live Documentary by Sam Green & Kronos Quartet was commissioned by The Arts Center at NYU Abu Dhabi, Barbican, Center for the Art of Performance at UCLA, Exploratorium, Christos V. Konstantakopoulos, Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign, MASS MoCA, Melbourne Festival, Wexner Center for the Arts at The Ohio State University through its Wexner Center Artist Residency Award program.

Additional support was received from The DrumStick Fund, Genuine Article Pictures, JustFilms/Ford Foundation, Lear Family Foundation, Andrea Lunsford, The National Endowment for the Arts, Sundance Documentary Film Program with support from Open Society Foundation, Gottfried and Janet Tittiger, and Kenneth and Elizabeth Whitney.

This film was supported by Sundance Catalyst

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BILL DEHLING, Technical Director

ALEX KOVEOS, Digital Media Manager

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A Letter from the p res i dents

Welcome to The Town Hall.

We are delighted to welcome Sam Green and the Kronos Quartet to the Town Hall stage. Tonight promises to be a special night.

When the Hall opened in 1921, our founders tried to organized evenings where movies could be shown with an orchestra performing live on the stage. It was the silent era, so if you wanted to add sound, why not bring in an orchestra.

Unfortunately, in order to see the films, the stage had to be dark. So you would not actually get to see the musicians.

It turns out that New York City’s Fire Department never agreed to let Town Hall to run the movies. Back then, films were made of celluloid, a highly flammable substance made from cellulose nitrate and camphor.

Let’s fast forward to tonight: no more celluloid, in fact, no more film. Yes, it is the digital age. And just a few weeks ago Town Hall purchased a new projector.

This one doesn’t even have a bulb. Inside the 31,000 lumens projector is an ultra high definition lazer. Which make it possible for us to watch movies and, at the same time, keep the stage lights on.

After all, can you imagine having the Kronos Quartet on our stage and not seeing them play?

From everyone at Town Hall - thank you for coming, please enjoy the show.

Tom Wirtshafter Marvin Leffler President President Emeritus

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A bout the p rogram

Oscar-nominated filmmakers Sam Green and Joe Bini have teamed up with Grammy-winning Kronos Quartet for a wildly creative multimedia performance piece that blends live music and narration with archival footage and filmed interviews with such prominent artists as Philip Glass, Tanya Tagaq, Steve Reich, Wu Man and Terry Riley. As Green tells the multidecade and continent-spanning story of the groundbreaking string quartet, Kronos revisits its extensive body of work, performing music by George Crumb, Aleksandra Vrebalov and many others. Together on stage, Green and Kronos interact with the stirring cinematic imagery on screen to craft an important record and exploration of late 20th– and early 21st–century music.

Transcending the typical live music and film event, this collaboration quickly becomes a meditation on music itself – the act of listening to it closely, the experience of feeling it deeply, and the power that it has to change the world.

MUSICAL SELECTIONS Philip Glass / String Quartet No. 2 (Company): Movement II * Terry Riley / Requiem for Adam (excerpt) * George Crumb / Selections from Black Angels

10. God-music

1. Threnody I: Night of the Electric Insects (excerpt) Ryan Brown / Pinched * John Adams / Judah to Ocean from John’s Book of Alleged Dances * Tanya Tagaq (arr. Jacob Garchik) / Sivunittinni (excerpt) ** Ken Benshoof / Traveling Music: I. Gentle, easy * Fodé Lassana Diabaté (arr. Jacob Garchik) / Sunjata’s Time: 5. Bara kala ta ** Terry Riley / The Wheel * David Harrington / Drone from Dirty Wars * Café Tacvba (arr. Osvaldo Golijov) / 12/12 (excerpt) * Philip Glass / String Quartet No. 3 (Mishima Quartet): Blood Oath Aleksandra Vrebalov / The Sea Ranch Songs: 7. Chapel, Rainbows * Laurie Anderson (arr. Jacob Garchik) / Flow + John Zorn / Meditation (The Blue of Noon) from The Dead Man * Pérotin (arr. Kronos Quartet) / Viderunt Omnes (excerpt) + Clint Mansell (arr. David Lang) / Selections from Requiem for a Dream +

Lux Aeterna Ghosts of a Future Lost John Oswald / Spectre (excerpt) * Wu Man / Two Chinese Paintings: II. Silk and Bamboo (inspired by Huanlege) ** Ervin T. Rouse (arr. Danny Clay) / Orange Blossom Special (excerpt) + * Written for Kronos ** Written for Kronos and composed for Fifty for the Future: The Kronos Learning Repertoire + Arranged for Kronos

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Program notes

A bow made of wood and horsehair coated with resin from trees scrapes across a string, which makes vibrations in the hollow of the wooden instrument which travel as a series of sound waves in the subtle matter of the air and, perhaps, penetrate the labyrinth of a human ear, or a hundred or a thousand, and this vibration is interpreted by the brain or the brains as information that might have, to use a word that means such vibrations, resonance as a source of pleasure or pain or sorrow. This is one way to describe a note of music on a violin. It is as ephemeral as the waves of the sea or ripples in water; it arises, it fades, it exists in time, and that ephemerality always speaks of mortality and the desire to transcend it, of motion that exists in time, of life that is itself a kind of motion, since we call the living animate and the un-living inanimate.

Human beings have acknowledged and transcended mortality with culture, with rites and songs and other elaborations that can be passed on and bridge more than one human life, that can spread like ripples on a pond, like a sound, that can be reiterated. A Thousand Thoughts begins with the story of The Lost Chord, a song that was one of the first songs recorded as the technology to convert live sound into tiny impressions on a wax cylinder (and later on phonograph records [phono for sound, graph for writing; these were literally devices for writing down sound], and then on magnetic tape and then as digital data that shaved off some of the fuzz of the vibrations to make something perhaps a little pared down and cleaner than what sounded in the studio where the recording was made).

A Thousand Thoughts begins with the irony of The Lost Chord, because it was about music heard once and never recovered that offered some joy, some solution, some peace that then vanished, about the sense of loss that was tied to death and perhaps to the impossibility of hanging onto transcendent moments. Perhaps it begins with that story because in it is the desire of all art and the particular contradictions of art that unfolds in time, like music—that pleasure in the ephemeral, in sounds that can only exist in time itself, and that desire to transcend time, to shore something up against its depredations. A note is heard, it fades, it is gone. There is no music outside of time, and time itself is full of the impossibility of keeping and the inevitability of change, that force that sometimes feels like liberation and sometimes like tragedy.

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Photo: Š Mary Cybulski

Kronos founder David Harrington described something akin to The Lost Chord to Sam Green as a quest, saying “We have not created the bulletproof piece of music that will prevent harm from happening—you know, [that] a young child can wrap around herself or a grandparent can wrap around his family. We haven’t been able to do that yet, but I think it’s possible, and I spend every minute of my waking life trying to find that.”

A Thousand Thoughts, a thousand questions, mine, yours, ours, theirs, questions that perhaps open up things that definitive answers would only nail shut. Kronos Quartet’s long trajectory offers a series of questions that are solid and answers that are elusive: how do you find a path between predictability and instability, how do you have both a clear identity and an open door that lets in new ideas and collaborators, how do you keep the faith that what you’re doing matters, how do make an art that grows like a tree, ring by ring, year by year, and stands as a testament? How do you keep it alive through all the changes, how do you incorporate the change that is, as my photographic collaborator Mark Klett likes to say, the measure of time, or how do you proceed as Shunryu Suzuki-Roshi said in some instructions for Zen Buddhist practice, “not too tight, not too loose,” not so tied by custom and convention and the past, not so formless that you lurch and spill into whatever the present offers?

There was an old idea of immortality as a transcendence, as a beauty, as a power that was less about living forever than about lifting someone out of themselves and the gloom and despond of mortality, and there is also a particular beauty of mortality, of this light that will never shine the same way twice, of the spring that will be devoured by the summer, the youth that will be consumed by maturity, the freshness of beginnings and the ripeness of arrival.

The live music of this live film raises other questions, about irreproducible and evanescent experience, about the water that runs through your fingers, about the events that cannot be reconstituted. How do you swim upstream against what film and all our digital era has become, an immersion in recordings, images, and reproductions? Once, everything happened and was then irretrievable, though you could sketch it or describe it in words on paper or spoken aloud, and then in the late 1830s came photography, promising exact replication of the visible, and half a century later came recorded sound, promising exact replication of the audible. They had photographs, then phonographs; they thought that they had conquered time; we had even more recording technology, even more data stored, even more ease in capturing every moment.

Did we conquer time or were we conquered by substitutes for presence? Did we give up the moment itself, the things themselves, for their reproductions, did we fall into substitutes and fakes and lose our grasp on the moment, give up presence for absences and in the process lose ourselves that are also mortal, timebound, eternally changing, eternally invited to witness in the @TownHallNYC | 5

Program notes ( C O NT ’ D )

moment? Is there a way that thinking you will never die becomes a way to never live, like the person who tries to document the moment so that in the future the past will be retrievable and only misses the present. The present, that pun in English for gifts and for now.

The foundation for modern cinema was laid when Eadweard Muybridge animated sequential photographs and when Edison captured recorded sound on his wax cylinders. The latter man saw it as an uncanny act, a reaching into the grave, a dance with the dead.

Photo: © Waleed Shah

“In the year 1887,” Edison later remembered, “it occurred to me that it was possible to devise an instrument which would do for the eye what the phonograph does for the ear and that, by a combination of the two, all motion and sound could be recorded and reproduced simultaneously. I believe that in coming years by my own work and that of Dickson, Muybridge, Marey and others who will doubtless enter the field, that grand opera can be given at the Metropolitan Opera House at New York...with artists and musicians long since dead.”

He declares that cinema is a ghost dance, as I said somewhere else, that it is a raising of the dead or at least a fraternizing with the dead and the gone. It is not about presence but absence and the ability to be with who and what is absent. Harrington wanted to make a music that would protect a child from harm, but Edison aspired to revive the dead at least enough to make them sing for us. Perhaps in that is the difference between the present and the past recaptured.

Edison’s astonishing declaration raises as well a question Sam Green has tried to answer: what is live cinema, what is it to be fully present, what is it to have the thing itself and not its representation, what is it to be here and now in an age of being anywhere but here, and every time but this irreproducible moment? What is it to have a film mixed live before you, prone to accidents and serendipities, to be each time something else, of its time, and not outside it, to hear music as a vibration of horsehair and wood and the movement of muscles traveling through the air and then into the labyrinth of your ear, with all the nuances that get sanded down and painted over by a digital recording? What is the work of art in the age of digital reproduction, and what is it to be in the presence and the present?

— Rebecca Solnit 6 | @TownHallNYC

ABOUT THE ARTISTS

Sam Green // CO-WRITER / DIRECTOR / NARRATOR Sam Green is a New York-based documentary filmmaker. He received his Master’s Degree in Journalism from University of California, Berkeley, where he studied documentary filmmaking with the acclaimed filmmaker Marlon Riggs. Green’s most recent projects are the “live documentaries” The Measure of All Things (2014), The Love Song of R. Buckminster Fuller with Yo La Tengo (2012), and Utopia in Four Movements (2010). His performance work has screened at venues such as the Barbican, The Kitchen, TBA Festival, Fusebox Festival, Brighton Festival, and many others. Green’s 2004 feature-length film, the Academy Award–nominated documentary The Weather Underground, premiered at the Sundance Film Festival, was broadcast on PBS, was included in the 2004 Whitney Biennial, and has screened widely around the world.

JOE BINI // CO-WRITER / DIRECTOR Joe Bini is a filmmaker, writer and editor who works in both fiction and nonfiction forms. He is best known for his twenty-year collaboration with Werner Herzog, resulting in such notable films as, Grizzly Man, Cave of Forgotten Dreams, Into the Abyss, and The Bad Lieutenant: Port of Call New Orleans. He has also edited the groundbreaking films, We Need To Talk About Kevin and You Were Never Really Here, directed

by Lynne Ramsay, and American Honey, directed by Andrea Arnold, as well as Nick Broomfield’s, Tales of the Grim Sleeper. He has lectured on and taught cinema in film schools worldwide.

KIRSTEN JOHNSON

// Cinematographer

Kirsten Johnson is one of the most notable cinematographers working in documentary cinema today, having shot Citizenfour (2014), Happy Valley (2014), Fahrenheit 9/11 (2004), The Oath (2010), The Invisible War (2012), among others. With her new visually radical memoir Cameraperson (2016), Johnson presents an extraordinary and deeply poetic film of her own, drawing on the remarkable and varied footage that she has shot and reframing it in personal ways

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ABOUT THE ARTISTS

Kronos Quartet For more than 40 years, San Francisco’s Kronos Quartet – David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello) – has combined a spirit of fearless exploration with a commitment to continually reimagine the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 60 recordings, collaborating with an eclectic mix of composers and performers, and commissioning over 950 works and arrangements for string quartet. They have won over 40 awards, including a Grammy Award and the prestigious Polar Music and Avery Fisher Prizes. The nonprofit Kronos Performing Arts Association manages all aspects of Kronos’ work, including the commissioning of new works, concert tours and home season performances, education programs, and a self-produced Kronos Festival. In 2015, Kronos launched Fifty for the Future: The Kronos Learning Repertoire, an education and legacy project that is commissioning—and distributing for free—the first learning library of contemporary repertoire for string quartet.

Photo: Kronos Quartet © Jay Blakesberg

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A THOUSAND THOUGHTS | CREDITS Directed, written, and edited by Sam Green, Joe Bini Music performed by Kronos Quartet: David Harrington, John Sherba, Hank Dutt, Sunny Yang Cinematography by Kirsten Johnson Produced by Janet Cowperthwaite, Sam Green Executive Producers Josh Penn, Maida Lynn, Ken & Liz Whitney Co-Producers Thomas O. Kriegsmann, Brendan Doyle Additional Cinematography Yoni Brook Pete Sillen Raf Fellner Andrew Black David Kaplowitz Additional Editing Josh Mallalieu Assistant Editor Jonathan Rapoport Associate Producer Evan Neff Lighting Designer, Performance Brian H. Scott Sound Designer, Performance Scott Fraser Sound Mix Rich Bologna Colorist Ayumi Ashley Archival Research Sierra Pettengill Rosemary Rotondi Anna Hudak Production Sound Claudia Katanaygi Judy Karp Stephen Koszler Doug Dunderdale Paul Mendez

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Production Assistance Raf Fellner Ariel Hahn Sam Schnorr Mike Reid Chris Niesing Forrest Pound Tara Kutz Title Design Carl Williamson / Familiar Motion Design Work-Order Legal – Fair Use Peter Jazsi Produced in Association with C41 Media, The Department of Motion Pictures, ArKtype Footage Robert Ashley, “Music with Roots in the Aether.” Courtesy of Lovely Music Gene Cohn, Courtesy of the Lucretia Little History Room, Mill Valley Public Library The Edinburgh International Festival & Stuart Armitt Ephemeral Rift Jeppe Gudmundsen-Holmgreen Photography Jennifer Taylor Photography Kahn Photography KQED The Last Party by Mark Benjamin and Marc Levin Roberto Masotti / Lelli e Masotti Archivio Gjon Mili. © Time Inc. All rights reserved.

News From Home by Chantal Akerman Screenocean/Channel 4 For the Kronos Quartet / Kronos Performing Arts Association: Janet Cowperthwaite, Managing Director Mason Dille, Development Manager Dana Dizon, Business Operations Manager Sarah Donahue, Production Operations Manager Lauren Frankel, Development Associate Scott Fraser, Senior Sound Designer Sasha Hnatkovich, Communications Manager Sara Langlands, Community Engagement & Festival Manager Reshena Liao, Creative Projects Manager Nikolás McConnie-Saad, Office Manager Brian Mohr, Sound Designer, Technical Manager Kären Nagy, Strategic Initiatives Director Brian H. Scott, Lighting Designer Kronos Quartet/Kronos Performing Arts Association P. O. Box 225340 San Francisco, CA 94122-5340 USA kronosquartet.org facebook.com/kronosquartet instagram.com/kronos_quartet twitter.com/kronosquartet The Kronos Quartet records for Nonesuch Records

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