UCSB Arts & Lectures - Fall Program 2015

Fall Program 2015

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SANTA YNEZ VALLEY NEWS

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By finding, filtering, shaping, curating, certifying, editing, promoting, disseminating and rewarding ideas, a scholarly publisher helps convert them into cultural products that

enable their transmission from the minds of writers and editors into the minds of readers.Ziyad Marar, Global Publishing Director

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By finding, filtering, shaping, curating, certifying, editing, promoting, disseminating and rewarding ideas, a scholarly publisher helps convert them into cultural products that

enable their transmission from the minds of writers and editors into the minds of readers.Ziyad Marar, Global Publishing Director

US_advert_letter.indd 2 24/08/2015 21:52

Dear Arts & Lectures’ Friends and Supporters,If you’re reading this, you’ve already made a commitment to Arts & Lectures by making time for us on your calendar, buying a ticket, maybe hiring a sitter, possibly setting aside a briefcase full of work or a backpack full of books, and in this and countless other ways saying “no” to any number of pressing needs.

And we are most grateful that you’ve made this commitment to be here.

So here is the commitment we make to you: we will continue to bring you the very best dance companies, the most exquisite classical music, the sharpest minds and the hottest new bands. We will make sure that tonight’s event is not just worth your while, but that it will leave you thinking “I can’t believe I seriously considered staying home tonight!”

Your ticket entitles you to an evening out, but you’re free to enjoy lasting memories of the beauty you’re witnessing on stage. You’re free to be changed by what happens tonight. You’re free to sing more often in the shower, or dance a few steps while crossing the street. You’re free to let tonight’s ideas impact your thinking about politics, science, life and love. It’s all yours!

If you’d like to help us fulfill our commitment to continue bringing you these long-lasting experiences – and we hope that you will! – then please remember that we’re in the final year of our five-year Campaign for UCSB Arts & Lectures, and now is the time for you to get involved. Make a one-time contribution, or join one of our membership groups (see page 37 for details), or make space for Arts & Lectures in your estate plan (call (805) 893-3755 for help with how to do this).

Thanks again for being here this evening. We hope that you will choose to join us often this season.

With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

Fall 2015 Added Lectures

Dale RussakoffThe Prize: Who’s in Charge of America’s Schools? SAT, OCT 3 / 3 PM CAMPBELL HALL

FREE

Gary SnyderAn Evening of Poetry and ConversationWED, NOV 4 / 8 PM CAMPBELL HALL

Diane AckermanThe Human Age: The World Shaped by UsMON, OCT 12 / 8 PM CAMPBELL HALL

FREE

Héctor TobarDeep Down Dark: The Untold Stories of 33 Men Buried in a Chilean Mine, and the Miracle that Set Them FreeMON, NOV 2 / 8 PM CAMPBELL HALL

(805) 893-3535 / www.ArtsAndLectures.UCSB.edu

Garry KasparovWinter is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be StoppedTUE, NOV 17 / 8 PM CAMPBELL HALL

Event Sponsors: Marcia & John Mike Cohen

An Evening with

Alex HonnoldAlone on the WallSUN, NOV 22 / 7 PM CAMPBELL HALL

Fall 2015 Added Lectures

Dale RussakoffThe Prize: Who’s in Charge of America’s Schools? SAT, OCT 3 / 3 PM CAMPBELL HALL

FREE

Gary SnyderAn Evening of Poetry and ConversationWED, NOV 4 / 8 PM CAMPBELL HALL

Diane AckermanThe Human Age: The World Shaped by UsMON, OCT 12 / 8 PM CAMPBELL HALL

FREE

Héctor TobarDeep Down Dark: The Untold Stories of 33 Men Buried in a Chilean Mine, and the Miracle that Set Them FreeMON, NOV 2 / 8 PM CAMPBELL HALL


Garry KasparovWinter is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be StoppedTUE, NOV 17 / 8 PM CAMPBELL HALL


An Evening with

Alex HonnoldAlone on the WallSUN, NOV 22 / 7 PM CAMPBELL HALL

Anna Deavere SmithNever Givin’ Up

“The most exciting individual in

American theater.” Newsweek

SUN, OCT 18 / 7 PM / CAMPBELL HALL

A powerful exploration of the voices and stories that gave shape to the civil rights movement, Never Givin’ Up delivers contrasting threads of strength, love, reason and outrage to the stage and shares the potency – and timeliness – of Dr. Martin Luther King, Jr.’s seminal text, “Letter from a Birmingham Jail.”

“The ultimate impressionist, she does people’s souls.”

The New York Times

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New Orleans native Trombone Shorty began his career as a bandleader at the young age of six, toured internation-ally at age 12, and spent his teens playing with various brass bands throughout New Orleans and touring world-wide with Lenny Kravitz. He fronts Trombone Shorty & Orleans Avenue, a funk/rock/jazz/hip-hop band. Together they have toured across the U.S., Europe, Australia, Russia, Japan and Brazil. In 2010, Trombone Shorty released his debut album, the Grammy-nominated Backatown, fol-lowed by For True in 2011, which topped Billboard maga-zine’s Contemporary Jazz Chart for 12 weeks. His newest album, Say That to Say This, was released in 2013 and features funk/jazz elements of New Orleans. Trombone Shorty appeared in several episodes of HBO’s Treme, and has recently appeared on The Tonight Show with Jay Leno, Jimmy Kimmel Live, Late Night with Jimmy Fallon and Conan. In 2012, he performed at the White House in honor of Black History Month with music royalty such as B.B. King, Mick Jagger, Jeff Beck and Booker T. Jones. At this year’s Grammy Awards, he performed alongside Madonna, Macklemore & Ryan Lewis, and Mary Lambert. In 2012, he received the President’s Medal from Tulane University in recognition of his charitable work with the Trombone Shorty Foundation, which donates quality instruments to schools across New Orleans.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

After the performance, enjoy New Orleans-inspired drink specials next door at The Good Lion.

Trombone Shorty & Orleans AvenueFRI, SEP 18 / 8 PM / GRANADA THEATRE

Trombone Shorty, trombone, trumpet & vocalsMike Ballard, bass guitarBK Jackson, tenor saxophonePete Murano, guitarDan Oestreicher, baritone saxophoneJoey Peebles, drums

Opening Night Celebration!ph

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About Ry Cooder Ry Cooder’s stock-in-trade is the guitar. He sometimes plays mandolin and has been known to occasionally handle the bajo sexto and tres. Cooder likes to play blues, gospel, coun-try and western music, a calypso tune or two and cowboy ballads. He has written film scores, produced recordings of an elderly group of Cubans and has hung out with Gabby Pahinui. Cooder hired Don Tosti to voice an alien and made a record about a cat that lived in a suitcase. He owns an ice cream truck that was displayed at the Petersen Automotive Museum and he has also adopted an owl. These days, Cooder and his son Joachim have taken to playing with Ricky Skaggs, Sharon White, Buck White and Mark Fain.

About Sharon White Sharon White is a member of beloved country-gospel family band The Whites and has been making music alongside her father Buck and sister Cheryl for more than four decades. The family trio became well known for their string of coun-try hits in the 1980s, including “Hangin’ Around,” “Give Me Back That Old Familiar Feeling” and “Pins and Needles.” The Whites are Grand Ole Opry members and combine a respect for traditional country and bluegrass with a refreshing style in each of their performances. They were involved in the 2001 hit movie and soundtrack, O Brother, Where Art Thou? and have gone on to win multiple awards, including Grammy, Country Music Association and Dove Awards, among others.

About Ricky Skaggs With 12 No. 1 hit singles, 14 Grammy Awards, 11 International Bluegrass Music Association Awards, nine Academy of Country Music Awards and eight Country Music Association Awards, Ricky Skaggs is truly a pioneer of bluegrass and country music. Since he began playing music more than 50 years ago, Skaggs has released more than 30 albums and has performed thousands of live shows. Skaggs and his band, Kentucky Thunder, perform more than 80 live dates each year. He started his own record label, Skaggs Family Records, in 1997 and has since released 12 consecu-tive Grammy-nominated albums. And the Grand Ole Opry member released his autobiography, Kentucky Traveler, which details his life and provides a descriptive history of country and bluegrass music, as told by the master himself.

Occasional guest performances by Buck White and Cheryl White


Special thanks to

Event Sponsors: Fredric E. Steck Marilyn & Dick Mazess

Cooder - White - Skaggs TUE, SEP 29 / 8 PM / GRANADA THEATRE

Ry Cooder, guitar & vocalsSharon White, guitar & vocals Ricky Skaggs, guitar, mandolin & vocals Joachim Cooder, drums; Mark Fain, bass

Santa Barbara Debut

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Event Sponsors: Anne & Michael Towbes

David McCullough has been widely acclaimed as a “master of the art of narrative history.” He is twice winner of the Pulitzer Prize, twice winner of the National Book Award and has re-ceived the Presidential Medal of Freedom, the nation’s highest civilian award.

McCullough’s most recent book, The Wright Brothers, was published in May. The New York Times writes, “Merely by choosing them, Mr. McCullough makes his subjects ex-tra-estimable. And in the case of the Wrights that may be fitting.” His previous book, The Greater Journey: Americans in Paris, was called “dazzling,” … “history to be savored.” His work 1776 has been praised as “a classic,” while John Adams, published in 2001, remains one of the most praised and widely read American biographies of all time. McCullough’s other books include The Johnstown Flood, The Great Bridge, The Path between the Seas, Mornings on Horseback, Brave Companions, and Truman. As may be said of few writers, none of his books has ever been out of print.

McCullough is a familiar presence on public television as host of Smithsonian World, The American Experience and narrator of numerous documentaries including Ken Burns’ The Civil War. His is also the narrator’s voice in the movie Seabiscuit. John Adams, the HBO mini-series produced by Tom Hanks and based on McCullough’s book, was one of the most celebrated television events of recent years.

McCullough has been honored with the National Book Foundation Distinguished Contribution to American Letters Award, the National Humanities Medal and the Gold Medal for Biography given by the American Academy of Arts and Letters.

He is twice winner of the Francis Parkman Prize. He has been elected to the American Academy of Arts and Sciences, as well as the American Academy of Arts and Letters.

In 2013 the city of Pittsburgh, where McCullough was born in 1933, renamed its landmark 16th Street Bridge the David McCullough Bridge in his honor. In 2014 McCullough was named an Officer of the Legion of Honor by decree of the President of the Republic of France.

McCullough was educated at Yale, which awarded him one of his 52 honorary degrees, stating, “As an historian, he paints with words, giving us pictures of the American people that live, breathe and above all, confront the fundamental issues of cour-age, achievement and moral character.”


Books are available for purchase in the lobby and a signing follows the event

Special thanks to

David McCulloughLessons in Leadership from the Pioneers of FlightTHU, OCT 1 / 8 PM / GRANADA THEATRE

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Event Sponsors: Lynda Weinman & Bruce Heavin

Santa Barbara Debut

A Columbia Artists Production

Bollywood Masala Orchestra and Dancers of IndiaSpirit of IndiaMON, OCT 5 / 8 PM / CAMPBELL HALL

Program

Tabla soloEnsemble of khartal, tabla and dholak“Dhoom Tana” Song from the film Om Shanti Om (2007)“Nimbooda” Traditional Rajasthani songRoyal Rajasthani Ghoomar Courtly spinning dance of the Maharaja

- Intermission -

“Dil Na Diya” Song from the film Krrish (2006)Bhavai Dance Traditional Rajasthani display of dance and daredevilry including standing on swords, balancing pots and fire-breathing“Khwaja Mere Khwaja” Song celebrating the deeds of the Sufi Saint Moinuddin Chishti from the film Jodhaa Akbar (2008)Chari Dance Traditional Rajasthani dance performed while balancing brass pots on heads“Begha Ghara Ayo Sajan” Traditional creation song from the Dhoad clan of RajasthanKalbeliya Dance Snake Charming Dance

About the ProgramThe Bollywood Masala Orchestra and Dancers of India present Spirit of India, a new step toward a bold vision in Indian live music and dance being presented to the world for the first time. The Bollywood Masala Orchestra and Dancers of India invite you on a lively musical journey from Rajasthan to Mumbai.

The Bollywood Masala Orchestra and Dancers of India is a vision of Artistic Director Rahis Bharti, who invites you into the world of music, dance, dynamic rhythm and spirituality that characterizes the incredible India we know today. From an early age, Bharti was captivated by both the rich traditions and modern interpretations of his country’s signature sound and vision. Bharti has travelled the world performing, transforming each prestigious festival, concert hall or theatre into a lavish and courtly stage of his own imagining. Experience the soul of India, with 17 artists on stage amidst a veritable feast of Indian sounds, featuring a mix of Indian and Western instruments such as bass drums, side drums, trombone, tabla, dholak, harmonium and clarinet, among many others. Your feet will soon be tapping along without you even realizing it. The Bollywood Masala Orchestra and Dancers of India give an authentic taste of the richness and excitement of Indian music.

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Patton Oswalt finds success in all areas of entertainment, from his Grammy Award-nominated comedy specials to his memorable performances in television and film – in-cluding Parks and Recreation, for which he received a TV Critics Choice Award. He is known for his starring role on The Heart, She Holler and as the narrator on the breakout comedy The Goldbergs. He received critical acclaim for his performance in Robert Siegel’s film Big Fan, which earned him a Gotham Award nomination. His brilliant performance in Jason Reitman’s Young Adult, starring opposite Charlize Theron, earned him a Critics Choice Award nomination. More recently, Oswalt became a New York Times best-selling author with his first book, Zombie Spaceship Wasteland. His latest book, Silver Screen Fiend, hit shelves in January, and has been hailed as “A very funny book by the Funniest Man Alive” (GQ).

Oswalt has shot five television specials and recorded four critically acclaimed albums, including his latest Grammy Award-nominated special Tragedy Plus Comedy Equals Time. His Finest Hour received a Grammy nomination for Best Comedy Album and was recorded as a one-hour special on Showtime. Oswalt’s first Grammy Award nomination was in 2009 for his album My Weakness Is Strong. He also starred in The Comedians of Comedy, an independent feature film, television series and long-running tour.

In addition to his recent guest roles on Veep, Agents of S.H.I.E.L.D., Battle Creek, Parks and Recreation, Justified, Two and a Half Men, Portlandia and Burn Notice, Oswalt played Spence on The King of Queens for nine seasons. He was a series regular on United States of Tara, appeared as a guest

star on Bored to Death, Flight of the Conchords and The Sarah Silverman Program, and has appeared on Seinfeld, Aqua Teen Hunger Force and Tim and Eric’s Awesome Show, Great Job! He was also a regular contributor to Countdown with Keith Olbermann and Real Time with Bill Maher.

Oswalt is known as the voice for Remy, the rat, in Pixar’s Oscar winning Ratatouille, as well as for characters on Word Girl, Neighbors from Hell, Bob’s Burgers and The Simpsons.

He has appeared in more than 20 films, including Magnolia, Starsky and Hutch, Reno 911!: Miami, Steven Soderbergh’s The Informant, Observe and Report with Seth Rogen and The Secret Life of Walter Mitty with Ben Stiller.


Special thanks to

Books are available for purchase in the lobby

Santa Barbara Debut

An Evening with

Patton OswaltWED, OCT 7 / 8 PM / GRANADA THEATRE(Mature content)

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Choreography by Twyla TharpCostumes and Scenics by Santo LoquastoLighting by James IngallsThe Company: John Selya, Rika Okamoto, Matthew Dibble, Ron Todorowski, Daniel Baker, Amy Ruggiero, Ramona Kelley, Nicholas Coppula, Eva Trapp, Savannah Lowery, Reed Tankersley, Kaitlyn Gilliland, Eric Otto

About the Choreographer/Director Since graduating from Barnard College in 1963, Twyla Tharp has choreographed more than 160 works: 129 dances, 12 televi-sion specials, six Hollywood movies, four full-length ballets, four Broadway shows and two figure skating routines. She received a Tony Award, two Emmy Awards, 19 honorary doctorates, the Vietnam Veterans of America President’s Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize and a 2008 Kennedy Center Honor. Her many grants include the John D. and Catherine T. MacArthur Fellowship. She is a member of the American Academy of Arts and Sciences, the American Philosophical Society and an Honorary Member of the American Academy of Arts and Letters. In 1992 Tharp published her auto-biography Push Comes to Shove. She went on to write The Creative Habit: Learn it and Use it for Life, followed by The Collaborative Habit: Life Lessons for Working Together. She is currently working on a fourth book. Today, Tharp continues to create.

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Dance series sponsored in part by: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund

Santa Barbara Premiere

Twyla Tharp50th Anniversary Tour

FRI, OCT 9 / 8 PM / GRANADA THEATRE

Dance series subscribers will enjoy a post-performance reception with Twyla Tharp and dancers

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First FanfareChoreography by Twyla TharpMusic by John ZornMusic performed by The Practical Trumpet SocietyCostumes by Santo LoquastoLighting by James IngallsPerformed by The Company“Antiphonal Fanfare for the Great Hall” by John Zorn. Used by arrangement with Hips Road.

- Pause -

Preludes and Fugues Dedicated to Richard BurkeChoreography by Twyla TharpMusic by Johann Sebastian BachMusic performed by David Korevaar and Angela HewittCostumes by Santo LoquastoLighting by James IngallsPerformed by The Company“Well-Tempered Clavier” Volume 1 recorded by MSR Records, Volume 2 recorded by Hyperion Records Ltd.

- Intermission -

Second Fanfare Choreography by Twyla TharpMusic by John ZornMusic performed by American Brass QuintetCostumes by Santo LoquastoLighting by James IngallsPerformed by The Company“In Excelsis” by John Zorn. Used by arrangement with Hips Road.

- Pause -

YowzieChoreography by Twyla TharpMusic: American JazzMusic performed by Henry Butler/Steven Bernstein and The Hot 9Costumes and Scenics by Santo LoquastoLighting by James IngallsPerformed by John Selya, Rika Okamoto, Matthew Dibble, Ron Todorowski, Daniel Baker, Amy Ruggiero, Ramona Kelley, Nicholas Coppula, Eva Trapp, Savannah Lowery, Reed Tankersley, Kaitlyn Gilliland“Buddy Bolden’s Blues,” music by Jelly Roll Morton, © ASCAP / Morris Edwin H & CO“Wolverine Blues,” music by Jelly Roll Morton, © ASCAP / Morris Edwin H & CO / Spanish Fly Music“Gimme a Pigfoot,” music by Wesley Wilson, © ASCAP / Spanish Fly Music“Viper’s Drag,” music by Thomas “Fats” Waller, © ASCAP / Morris Edwin H & CO / Ann Rachel Music corp“Booker Time,” music by Henry Butler, © ASCAP / Hitocracy Music“King Porter,” music by Jelly Roll Morton, © ASCAP / Morris Edwin H & CO / Spanish Fly Music“Henry’s Boogie,” music by Henry Butler, © ASCAP / Hitocracy Music“Buddy Bolden’s Blues,” “Wolverine Blues,” “Gimme a Pigfoot,” “Viper’s Drag,” “Booker Time,” “King Porter,” and “Henry’s Boogie” as performed by Henry Butler & Steven Bernstein (P) 2014 JAF, Inc. / under exclusive license of impulse! Universal Music France.

Program

Twyla Tharp’s The One HundredsSAT, OCT 10 / PUBLIC PERFORMANCE AT 3 PM / ALAMEDA PARK / FREE AND OPEN TO THE PUBLIC

“The One Hundreds, an experimental work from 1970, a moment when ordinary people, doing ordinary moves, had transfixed the dance avant-garde.” The New YorkerTwyla Tharp brings her groundbreaking work The One Hundreds to Santa Barbara. 100 dancers and non-dancers perform 100 movement phrases at 11 seconds each. This must-see spectacle is a dynamic display of order in breathtaking chaos. Community members are invited to perform in this interactive piece. (Participation is first-come, first-served. See A&L website for details.) Be a part of performance art history in the making!

Co-presented with Santa Barbara Dance Alliance, Santa Barbara DANCEworks and the UCSB Department of Theater/Dance.

Don’t miss this special community

event!

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mercial dance. He has been a member of Complexions Contemporary Ballet, Cedar Lake Contemporary Ballet, The Parsons Dance Company, Mia Michaels “RAW” and has guested for many others. He was most recently part of the original cast of Finding Neverland on Broadway. Other Broadway credits include Twyla Tharp’s Come Fly Away, The Times They Are A-Changin’ and Movin’ Out, along with Wicked, Guys and Dolls and Footloose. He starred in London’s West End production and first national tour of Movin’ Out, where he received a Helen Hayes Award for Best Actor in a musical. Off Broadway and other theater credits include Andrew Lippa’s The Wild Party, Chess for the Actor’s Fund with Josh Groban, Barry Manilow’s Copacabana, Spirit and Cinderella. Some television and film credits in-clude Saturday Night Live, The Today Show, Good Morning America, The View, the Tony Awards, the Video Music Awards and the feature film Winter’s Tale. He has choreo-graphed original work for Wayne State University, BC Beat in NYC and worked as Assistant Choreographer for Seven Brides for Seven Brothers at the Lyric Theater in Oklahoma City as well as Celine Dion’s A New Day in Las Vegas. He recently shot a music video for Nate Ruess’ new single, “A-Ha.” Thanks to family, Ryan and Twyla for this incredible opportunity.

Daniel Baker was born in Newcastle, Australia. He studied at the School of American Ballet, the official school of the New York City Ballet. He later went on to become a soloist in the Miami City Ballet and danced for the San Francisco Ballet. Baker has performed works by Tharp, Balanchine, Cranko, Forsythe, Morris, Neumeier, Ratmansky, Robbins, Taylor, Tudor and Wheeldon. Baker was a finalist on the hit show So You Think Can Dance and has danced alongside the Rockettes at the Radio City Music Hall. Baker has appeared in two PBS Great Performances specials and performed Tharp’s Movin’ Out at the 2014 Gershwin Awards honor-ing Billy Joel. He received the New York Choreographic Fellowship Award and has choreographed for the New York Choreographic Institute in Lincoln Center.

Amy Ruggiero New York: Manon at the Metropolitan Opera (Degas Ballerina, soloist), The Radio City Christmas Spectacular (Ensemble), Heart and Lights (Ensemble, workshop and original cast), Lindsay Nelko’s Awakening (Dancer); 1st National and Japan Tours of Come Fly Away (Dance Captain/Swing, u/s Babe, u/s Betsy, u/s Slim); Regional: Little Dancer at the Kennedy Center (Dance Captain/Swing, u/s Young Marie); Equity showcase: R/evolution the Musical; Companies: American Repertory Ballet, Ballet Austin (apprentice); Other theater: Opera New Jersey’s The Merry Widow (Dancer); Film/TV: Flesh and Bone (Audition Dancer, pilot ep), Beyoncé’s The Mrs.

About The CompanyJohn Selya trained at the School of American Ballet. Selya went on to join American Ballet Theatre, where he danced and choreographed. Following his departure from A.B.T., Selya joined Twyla Tharp’s company. He created the role of Eddie in Tharp’s Tony Award-winning Broadway musical Movin’ Out, which earned him numerous awards and nom-inations. Following Movin’ Out, Selya performed in other Broadway productions including Guys and Dolls and Tharp’s Come Fly Away. He directed and starred in the national tour of Come Fly Away and in 2013, he staged the work for the Royal Danish Ballet where it became an audience favorite and broke box office records. In addition to the world’s stag-es, Selya’s dancing can also be seen in movies such as Woody Allen’s Everyone Says I Love You, Julie Taymore’s Across the Universe and John Turturro’s Romance and Cigarettes. Selya is a recipient of a fall 2015 fellowship at New York University’s Center for Ballet and the Arts.

Rika Okamoto, originally from Japan, moved to the U.S. in 1988 and began dancing with the Martha Graham Dance Company, where she met Twyla Tharp. Okamoto first danced for Tharp in 1993. She was an original cast member in Tharp’s Broadway Musicals Movin’ Out and Come Fly Away. Currently she teaches Tharp’s technique class and repertory and assists in the development of Tharp education programs. She has been a guest Tharp teacher/ballet master at many colleges and institutions worldwide. Okamoto has also worked for various productions with many choreog-raphers, including Maryl Tankard and Pichon Baldin for Disney’s Broadway Musical Tarzan, Robert Wilson, Mark Morris, Daniel Ezralow, Jessica Lang, Buglisi/Foreman, as well as her teachers – Kazuko Hirabayashi, Pearl Lang and Yuriko. She appeared in numerous commercials, television shows and films, including the film Across the Universe, di-rected by Julie Taymore. She was chosen by Steven Spielberg to play the title role for his pre-production project.

Matthew Dibble was born in Halifax, West Yorkshire, England, and began his training at the Royal Ballet School. After five years with the Royal Ballet, Dibble became a founding member of K Ballet in Japan, and in 2001 he joined Twyla Tharp Dance. He later danced a principal role (James) on the Movin’ Out tour and created the role of Chanos in Come Fly Away on Broadway, both choreo-graphed and directed by Twyla Tharp. Dibble has also danced for Scottish Ballet, Matthew Bourne, Roland Petit, Christopher Wheeldon and Benjamin Millepied. Today he dances and sets works for Twyla Tharp all around the world.

Ron Todorowski is originally from Pittsburgh and has had a diverse career in concert, musical theater and com-

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in Balanchine’s The Nutcracker, one of her favorite roles. Lowery has had the privilege to work with many renowned choreographers, including Christopher Wheeldon and Susan Stroman, and is thrilled to be working with the in-comparable Twyla Tharp.

Reed Tankersley is a native of the San Francisco Bay Area, where he began his dance training at the age of 5. He attended The Juilliard School (2014) in New York, where he performed works by Merce Cunningham, Twyla Tharp, Pina Bausch, Murray Louis and Alex Ketley. Tankersley has had the pleasure of working and performing interna-tionally in works by Peter Chu, Gustavo Ramirez Sansano and Johannes Weiland. In 2012 he performed Alexander Ekman’s Episode 31 at the Edinburgh International Festival with the Juilliard Ensemble. Shortly after graduation, he began working with Twyla Tharp as well as performing with other choreographers such as Jonah Bokaer, Jonathan Royse Windham, Cheryl Copeland and Lilja Rúriksdóttir. Working with Twyla for the past year has truly been an honor and he is very excited to be a part of her 50th Anniversary Celebration.

Kaitlyn Gilliland began her dance training at the Minnesota Dance Theatre and continued her studies at the School of American Ballet. From 2006-2011, Gilliland danced with the New York City Ballet, receiving the company’s 2009-2010 Janice Levin Dancer Award. She has since appeared with BalletNext, Ballet Collective, Ballet Tech, Emery LeCrone Dance, Intermezzo Dance Company, JV Squad – Designated Movement, New Chamber Ballet, Pontus Lidberg Dance, Trainor Dance and Twyla Tharp. She graduated summa cum laude, Phi Beta Kappa from Columbia University this year.

Eric Otto was born and raised in Westchester, N.Y. He began dancing at the age of 7 with the School of American Ballet in New York City. He has danced professionally with the New York City Ballet, American Ballet Theatre, Metropolitan Opera Ballet, Cedar Lake Contemporary Ballet and Ballet X. He was an original cast member of Twyla Tharp’s Come Fly Away (Sid u/s). In 2003 Otto was invited to join the cast of Movin’ Out (James u/s). He has most recently appeared on Broadway in The Phantom of the Opera. Otto has performed an extensive repertoire including ballets by Frederik Ashton, George Balanchine, John Cranko, Jiří Kylián, Kenneth MacMillan and Jerome Robbins. He has danced roles created for him by Twyla Tharp, Paul Taylor, Matthew Neenan, Lynne Taylor- Corbett and Natalie Weir.

Carter Show World Tour Opening Video (Ballerina), The Radio City New York Spring Spectacular commercial (Degas Ballerina), The Verdon Fosse Legacy LLC Archival Footage. B.A. in Dance with Biological Sciences from Goucher College.

Ramona Kelley is originally from California, where she began her training at Berkeley Ballet Theater under the direction of Sally Streets. She is a National Foundation for the Advancement of the Arts scholarship award winner and she holds a B.F.A. in Dance from New York University’s Tisch School of the Arts. Kelley first worked with Twyla Tharp when she danced the principal role of Betsy in the North American/Japanese tour of Tharp’s Come Fly Away. She has also worked with Cherylyn Lavagnino Dance, Oakland Ballet Company and The Phantom of the Opera 25th Anniversary Tour, among others.

Nicholas Coppula was born in Pittsburgh, Pa., where he trained in tap and ballet from a young age. He later moved on to train with the Pittsburgh Ballet Theatre School, American Ballet Theatre, and at the Chautauqua Institute with North Carolina Dance Theatre. After high school, he joined Pittsburgh Ballet Theatre for eight years. During this time he performed soloist and principal roles in Nutcracker, Swan Lake, Jorden Morris’s Moulin Rouge, George Balanchine’s Serenade and Twyla Tharp’s In the Upper Room and Nine Sinatra Songs. Coppula now lives in New York City with his wife and partner, Eva Trapp, where they work with the Twyla Tharp Dance Foundation.

Eva Trapp was born in Kentucky and started her profes-sional training with Michigan Ballet Theatre and Pittsburgh Ballet School. She began her career with Ohio Ballet where she danced for four seasons. She then went to dance for eight seasons with Pittsburgh Ballet Theatre as a soloist. Trapp had the honor of being the first ballerina from an American company to perform Blanche in John Neumeier’s A Streetcar Named Desire. Currently, Trapp resides in New York City with her husband and fellow dancer, Nicholas Coppula, where she is working for Twyla Tharp.

Savannah Lowery was born in Largo, Fla. She began dancing at the age of 3 under the direction of Judith Lee Johnson at The Judith Lee Johnson Studio of Dance. At age 14, Lowery moved to New York City to attend the School of American Ballet. After two years of devout training from Balanchine experts Kay Mazzo, Suki Schorer and Suzy Pillare, she was offered an apprenticeship with the New York City Ballet. In 2002 Lowery officially joined the Company as a member of the corps de ballet. In 2007 she was promoted to the rank of soloist after her performance as the Dewdrop

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These works were commissioned by The Joyce Theater, New York, with funds from the Estate of John L. Klebanoff, and The John F. Kennedy Center for the Performing Arts, Washington D.C. (lead commissioners); Auditorium Theatre of Roosevelt University & Ravinia Festival Association, Chicago; TITAS Presents in association with AT&T Performing Arts Center, Dallas; and The Wallis Annenberg Center for the Performing Arts, Beverly Hills. This work was also made possible by the New England Foundation for the Arts National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts.

Twyla Tharp Dance Foundation 50th Anniversary Tour Gratefully Acknowledges: David Herro & Jay Franke for lead funding Tam O’Shaughnessy, in memory of Sally Ride, for sponsorship of Preludes and Fugues Patsy & Jeff Tarr and the JCT Foundation for many years of support Catherine & Bill Miller for underwriting first rehearsal period Cathy & Stephen Weinroth for underwriting second rehearsal period Vincente Wolf for his generosity Sara Rudner & Rose Marie Wright for their absolute commitment

Stephen Terry, Technical Director Billie Pierce, Wardrobe Supervisor Jessie Ksanznak, Stage Manager Jill DuBoff, Sound Engineer

Administrative Staff Jesse Huot, Executive Director Alexander Brady, Company Manager Chelsea Keys, Administrative Assistant

Special thanks to Ruven Afanador, Sean Kelleher, Amy Lehman, Joe Mizrahi, Kevin Posey, Norma Stevens, and Shelley Washington.

Press representation by Ellen Jacobs Associates, www.ejassociates.org.

Tour Management: Opus 3 Artists LLC David V. Foster, President 470 Park Avenue South - 9th Floor North New York, NY 10016


Special thanks to

About the Artistic StaffSanto Loquasto (Scenic and Costume Design) is a design-er for theatre, film, dance and opera. He has received three Tony Awards and has been nominated 18 times. Loquasto has collaborated with Twyla Tharp since 1974 on numerous occasions, including iconic works such as Push Comes to Shove, In the Upper Room and Movin’ Out. He has collab-orated with Woody Allen on 28 films, including costume design for Zelig and production design for Radio Days and Bullets Over Broadway, for which he received Academy Award nominations. Recent designs on Broadway include A Delicate Balance, Bullets Over Broadway, Fences, Wit and The Assembled Parties. He received the Merritt Award for Excellence in Design and Collaboration in 2002, was in-ducted into the Theater Hall of Fame in 2004, and received the Pennsylvania Governor’s Award for the Arts in 2006, the Robert L.B. Tobin Award for Lifetime Achievement in 2007, and the Gaudium Award in 2013.

James F. Ingalls (Lighting Designer) was the stage manager and lighting supervisor for the Twyla Tharp Dance Foundation from 1978-1980. Since becoming a lighting designer in 1980, his work has included designs for dance, ballet, opera, the-ater and symphony concerts. He has designed Twyla Tharp’s Waiting at the Station for Pacific Northwest Ballet, Seattle. Recent design for ballet and dance includes The Sleeping Beauty, choreographed by Alexei Ratmansky [American Ballet Theatre at Segerstrom Center/Costa Mesa, CA and Metropolitan Opera House/NYC], Celts, choreographed by Lila York [Boston Ballet], Sea Lark and Death and the Maiden [Paul Taylor Dance Company] and the 25th anniversary production of L’Allegro, il penseroso ed il moderato [Mark Morris Dance Group at the Teatro Real/Madrid and The New York State Theatre]. Recent opera includes Henry Purcell’s The Indian Queen [English National Opera/London, Teatro Real/Madrid and Opera Perm/Russia] and John Adams’ The Gospel According to the Other Mary [English National Opera/London], both directed by Peter Sellars. His recent work in theater includes DruidShakespeare, directed by Garry Hynes [Druid Theatre Company/Galway and Lincoln Center Festival/NYC], The Second Girl [Huntington Theatre Company/Boston], Long Day’s Journey Into Night [Oregon Shakespeare Festival], The Price [Mark Taper Forum/LA] and Carmen De Lavallade’s As I Remember It [Jacob’s Pillow/MA and US tour]. He often collaborates with Melanie Rios Glaser and the Wooden Floor dancers in Santa Ana, Calif.

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http://www.ejassociates.org


Omara Portuondo Omara Portuondo began her career as a dancer at the famous Tropicana when she was still a teenager, where she danced alongside her sister Haydee. The two girls also sang with a group called Los Loquibambla, a combo that specialized in a Cubanized version of the bossa nova with touches of American jazz. Later – joined by Elena Burke and Moraima Secada – they became the Quarteto Las d’Aida, directed by pianist Aida Diestro. Portuondo toured with the group for 15 years before recording her first solo album, Magia Negra, in 1959. She stayed with the quartet for several more years before launching her solo career in 1967. Portuondo also sang with Cuba’s high-profile Orchestra Aragón, with which she recorded several albums and toured all over the world through the ‘70s and ‘80s.

Propelled by her success with Buena Vista, Portuondo entered the 21st century as an international sensation, with tours and festival dates that crisscrossed the globe. Her awards and accolades have been numerous and most re-cently include a Latin Grammy for her solo album, Gracias. In 2011 alongside the pianist Chucho Valdés, Portuondo released a new album, Omara & Chucho, which has been critically acclaimed.

Manuel “Guajiro” Mirabal Guajiro has been a key figure in the Cuban music scene for over 50 years and has played with just about every Cuban star you could care to mention during his years in

Orquesta Buena Vista Social Club®Adiós Tour Featuring Omara Portuondo, Eliades Ochoa, Guajiro Mirabal, Jesús “Aguaje” Ramos and Barbarito TorresTUE, OCT 13 / 8 PM / GRANADA THEATRE

Omara Portuondo, lead vocalsEliades Ochoa, guitar, vocalsJesús “Aguaje” Ramos, musical director, trombone, vocalsGuajiro Mirabal, trumpetBarbarito Torres, laúdPapi Oviedo, tresPedro Pablo, double bass

Rolando Luna, pianoIdania Valdés, vocals, minor percussionCarlos Calunga, vocalsAlberto La Noche, bongosFiliberto Sánchez, timbalesAndrés Coayo, congasLuis Alemañy, trumpetGuajirito Mirabal, trumpet

photo

: Alej

andro

Perez

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Eliades Ochoa Hailing from the countryside near Santiago in the east of Cuba, Eliades Ochoa’s roots are in guajira (Cuban coun-try music) and his trademark cowboy hat and penchant for wearing black have led some to dub him ‘Cuba’s Johnny Cash.’ His contribution to the Buena Vista Social Club sessions included his distinctive guitar playing and his lead vocals on “El Cuarto de Tula” and his own guajira showcase on “El Carretero.” Away from the Buena Vista connection, Eliades recorded the 1998 album CubAfrica with Manu Dibango and released Sublime Ilusión in 1999, produced by John Wooler and with special collaborations by Charlie Musselwhite, David Hidalgo from Los Lobos and Ry Cooder. The album was nominated for a Grammy Award for Best Tropical Latin Album. In 2010 the album AfroCubism was released, on which Ochoa plays with Grupo Patria and Malian musi-cians such as Toumani Diabate (kora), Bassekou Kouyate (ngoni), Kasse Mady Diabate (singer) and Djelimady Tounkara (electric guitar). Tours for AfroCubism have taken the group through Europe, Canada and The United States. In 2012 the album was nominated for Best World Music Album at the Grammy Awards.


Special thanks to

the Orquesta Riverside, the Orquesta Cubana de Música Moderna and playing at the famous Tropicana. With these groups and others such as the Estrellas Areito and Opus 13, Guajiro toured Europe and Latin America extensively. During World Circuit’s now legendary recording blitz in Havana in 1996, Guajiro featured on all three of these sem-inal albums: Afro-Cuban All Stars’ A Toda Cuba Le Gusta, Buena Vista Social Club, and Introducing Rubén González. Having been an integral part of many albums in the Buena Vista series and a key member of Ibrahim Ferrer’s touring band, Guajiro released his debut solo album, the Latin Grammy-nominated Buena Vista Social Club Presents Manuel Guajiro Mirabal in 2004.

Jesús “Aguaje” Ramos Aguaje was born in 1951 in Pinar del Rio, where he began his musical studies in the National School of Arts. He played the trombone in local groups until 1979, when he moved to Havana and began playing with the great female quartet Las D’Aida, with whom he toured in Europe, Latin America and Africa. That same year he took part in the “Estrellas de Areito” recordings. During the 1980s and 1990s, Aguaje toured and recorded with a number of artists and groups, such as the Caribe Expreso, Adalberto Álvarez, Reinaldo Montesinos, Omara Portuondo, Tata Güines and Richard Egües to name but a few. Aguaje has played on the World Circuit recordings of the Buena Vista Social Club and Afro-Cuban All Stars, and the solo albums of Ibrahim Ferrer, Rubén González and Omara Portuondo. He was Rubén González’s musical director and he has been touring extensively since 1997 with the various Buena Vista Social Club projects.

Barbarito Torres Barbarito Torres’ professional career started in 1970 with Serenata Yumunina, a group led by Higinio Mullens. In three years he was discharged and travelled with Siembra Cultural, later renamed Grupo Yarabi. Eventually he settled in Havana and became a permanent member of Orquesta Cubana de Cuerdas. Later, he joined Celina Gonzalez and her Grupo Campoalegre as their musical director; at the same time, he was featured with Grupo Manguare, recording and touring with both groups. Torres is well known for his contribution with the Afro Cuban All Stars and the Buena Vista Social Club. Both ensembles won a number of awards, including a Grammy for the Buena Vista Social Club album in 1998. Since the Buena Vista project, Torres has continued with his solo career, touring around the world with his group. In 1999 his first solo album, Havana Café, was released. In 2003 he released his second album, Barbarito Torres.

Rolando Luna, pianoIdania Valdés, vocals, minor percussionCarlos Calunga, vocalsAlberto La Noche, bongosFiliberto Sánchez, timbalesAndrés Coayo, congasLuis Alemañy, trumpetGuajirito Mirabal, trumpet

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Up Close & Musical series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman

Ray Chen, violinJulio Elizalde, pianoWED, OCT 21 / 7 PM / HAHN HALL

Program

Beethoven: Sonata in D Major for Violin and Piano, op. 12, no. 1

Allegro con brioTema con Variazioni: Andante con motoRondo: Allegro

Saint-Saëns: Violin Sonata No.1 in D Minor, op. 75Allegro agitato; AdagioAllegretto moderato; Allegro molto

- Intermission -

Up Close & Musical series subscribers will enjoy a post-performance opening night party with Ray Chen and Julio Elizalde

Ysaÿe: Sonata No. 4 in E Minor for Solo Violin, op. 27, no. 4Allemande: Lento maestosoSarabande: Quasi lentoPresto ma non troppo

Falla: Suite Populaire EspagnoleEl paño moruno (Allegretto vivace)Asturiana (Andante tranquillo)Jota (Allegro vivo)Nana (Calmo e sostenuto)Canción (Allegretto)Polo (Vivo)

Monti: CsardasProgram subject to change

About the ProgramBeethoven (1770-1827): Sonata in D Major for Violin and Piano, op. 12, no. 1At the age of not quite 22, Beethoven arrived in Vienna in November 1792, to remain there the rest of his life. In his ad-opted city he studied with Haydn and Salieri (among others) and quickly established a reputation as a virtuoso pianist.

More slowly, he began to make his name as a composer. At first he wrote primarily for piano (his first 10 opus numbers include eight piano sonatas), but he wrote for strings too, and in 1797-98 he composed his first violin sonatas, a set of three works which he published as his Opus 12. These three sonatas may lack the originality and high profile of Beethoven’s later violin sonatas, but to contemporary ears

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themes. While the second movement is marked Adagio, it shares the restless mood of the first. The piano has the quiet main theme, but the music seems to be in continuous motion before coming to a quiet close.

The agreeable Allegretto moderato is the sonata’s scherzo. It dances gracefully, skittering easily between G major and G minor. At the center section, the violin has a haunting chorale tune over quietly-cascading piano arpeggios; as the movement comes to its close, Saint-Saëns skillfully twines together the chorale and the dancing opening theme and presents them simultaneously. Out of this calm, the con-cluding Allegro molto suddenly explodes – the violin takes off on the flurry of sixteenth-notes that will propel the finale on its dynamic way. This is by far the most extrovert-ed of the movements, and it holds a number of surprises: a declamatory second theme high in the violin’s register and later a brief reminiscence of the lyric second theme of the opening movement. At the end, Saint-Saëns brings back the rush of sixteenth-notes, and the sonata races to a close so brilliant that one almost expects to see sparks flying through the hall.

Ysaÿe (1858-1931): Sonata No. 4 in E Minor for Solo Violin, op. 27, no. 4 Though the name Eugene Ysaÿe is generally unfamiliar to audiences today, he was one of the finest violinists of all time, famed for his profound (and original) musical intel-ligence, consummate technique and rich sound. A student of Vieuxtemps and Wieniawski, Ysaÿe was a true champion of new music: he gave the premieres of the Franck Sonata and the Chausson Poeme (both of which were dedicated to him), and his string quartet gave the first performance of the Debussy Quartet. Ysaÿe was also a conductor (he led the Cincinnati Symphony Orchestra from 1918 to 1922) and a composer who wrote eight violin concertos, two operas and many shorter works. So greatly admired was Ysaÿe as man and artist that his funeral in 1931 became the occasion for national mourning in Belgium.

Ysaÿe’s set of six sonatas for unaccompanied violin dates from 1924. Ysaÿe had two purposes in this music: he wanted to write a cycle of six works for unaccompanied violin in the manner of Bach’s music for solo violin, and he dedicated each sonata to a different violin virtuoso, trying to capture something of that performer’s style. The list of dedicatees includes some very distinguished names – Szigeti, Kreisler, Enesco and Thibaud – as well as two whose fame has not survived: Matthew Crickboom and Manuel Quiroga. So fascinated was Ysaÿe by the idea of adapting these pieces to individual performers that he composed this music almost

they sounded daring enough: an early reviewer complained that these sonatas offered “a forced attempt at strange mod-ulations, an aversion to the conventional key relationships, a piling up of difficulty upon difficulty.”

Listening to the very beginning of Beethoven’s Sonata in D Major, one can understand that reviewer’s concerns: this sonata seems to explode in a shower of rockets going off in every direction. The first movement is marked Allegro con brio, with the emphasis on the con brio: this is fiery, spirited music, full of explosive chords and much rushing up and down the scale. A flowing second theme brings some relief, but the principal impression is of energy boiling up off the page, and the movement ends with the same massive chord that opened it.

The second movement is a set of variations. The piano in-troduces the song-like theme, which is then repeated by the violin. Four variations follow: the first is for piano accom-panied by violin, the second for violin with a complex piano accompaniment, the third moves into A minor (and turns violent), and the fourth is built on quiet syncopations before a brief coda brings the movement to its close. The high-spir-ited finale is a rondo whose central theme is energized by off-the-beat accents. Beethoven teases the audience nicely just before the rush to the close.

Saint-Saëns (1835-1921): Violin Sonata No. 1 in D Minor, op. 75Saint-Saëns wrote his First Violin Sonata in 1885. At age 50, he was at the height of his powers. In that same year he wrote his Wedding Cake Waltz, and the following year he would write two of his most famous works: the “Organ” Symphony and the Carnival of the Animals. Although Saint-Saëns did not play the violin, he clearly understood the instrument – already he had written three violin concertos and the famous Introduction and Rondo Capriccioso; the Havanaise would follow two years later.

The structure of the sonata is unusual. It has four move-ments, but the first and second are connected, as are the third and fourth, dividing the sonata into two extended parts. Saint-Saëns’ marking for the opening movement – Allegro agitato – is important, for this truly is agitat-ed music. Beneath its quiet surface, the movement feels constantly restless. Its opening theme, a rocking tune for violin, alternates meters, slipping between 6/8 and 9/8; perhaps some of the music’s air of restlessness comes from its failure to settle into a constant meter. The lyric second idea – a long, falling melody for violin – offers a measure of calm, and the dramatic development treats both these

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overnight: he went up to his room with instructions that he was not be disturbed (meals were sent up to him), and when he came down 24 hours later he had sketched all six sonatas.

Ysaÿe dedicated his Sonata No. 4 in E Minor to Fritz Kreisler (1875-1962), one of the best-loved violinists who ever stepped onto a stage. Though virtuoso performers have a reputation for jealousy and egotistic rivalry, Ysaÿe and Fritz Kreisler were quite good friends. Kreisler, 17 years young-er, had grown up idolizing Ysaÿe’s playing; in 1899, when Kreisler was 24, Ysaÿe heard the young man play, and now it was Ysaÿe’s turn to be astonished. The two became friends and colleagues and often played string quartets together at informal gatherings. Kreisler in fact returned Ysaÿe’s dedica-tion of this sonata to him by dedicating an unaccompanied violin work of his own – the Recitativo and Scherzo-Caprice, Opus 6 – to Ysaÿe.

Kreisler was not known for his performances of Bach (though he recorded the Double Concerto in D Minor with Efrem Zimbalist in 1915). He did, however, compose a num-ber of pieces in the manner of various baroque composers, and Ysaÿe makes a nod in this direction by including two movements – Allemande and Sarabande – that are part of the 17th-century instrumental suite. Though the titles might have come right out of Bach, the slow-slow-fast sequence of movements does not. The introduction of the Allemande alternates powerful gestures with delicate, almost haunting passagework, and the main subject of this music is in the unexpected meter of 3/8 – its noble melodic line and pow-erful chording do sound distinctly Bach-like. The Sarabande features a one-measure ghost theme that repeats throughout as a sort of ground bass; Ysaÿe encases this within music that grows increasingly complex, then falls away to a near-silent close. The finale is the most overtly Bach-like of the three movements: it has some of the same perpetual-motion quality of the last movements of all three of Bach’s unaccom-panied sonatas, yet it also manages to sound like the music of Fritz Kreisler (which makes a very pleasing combination). Rather than being in the binary form Bach favored for such movements, this one is in ternary form, and its mid-dle section recalls the opening Allemande. Ysaÿe sets this movement in the unusual meter 5/4, then changes meters constantly in the breathless final seconds.

Falla (1876-1946): Suite Populaire EspagnoleFalla had moved from Madrid to Paris in 1907, but re-turned to Spain at the beginning of World War I. His Seven Popular Spanish Songs, completed in Paris in 1914, was his final work before his departure. It comes from a period of unusual creativity: El Amor Brujo would follow in 1915 and

Nights in the Gardens of Spain in 1916. In arranging that collection of songs, Falla took the unaccompanied melodic line of seven Spanish popular or folk songs and harmo-nized them himself, occasionally rewriting or expanding the original melodic line to suit his own purposes. Several years later the Polish violinist Paul Kochanski arranged six of the songs – with the approval of the composer – for violin and piano and published them as Suite Populaire Espagnole (Kochanski also rearranged the order of the movements in his arrangement).

1. El paño moruno or “The Moorish Cloth” (Allegretto vivace) is based exactly on the famous song, and Kochanski’s arrangement makes imaginative use of har-monics and pizzicato.

2. Asturiana (Andante tranquillo) is a tune from Asturia, a province in the northwest part of Spain. Here the violin, muted throughout, plays the melodic line above a quiet sixteenth-note accompaniment.

3. Jota (Allegro vivo) is the best-known part of the suite. A jota is a dance in triple time from northern Spain, some-times accompanied by castanets. Slow sections alternate with fast here, and the extensive use of chorded pizzicatos may be intended to imitate the sound of castanets.

4. Nana (Calmo e sostenuto) is an arrangement of an old Andalusian cradle song, Falla said that hearing this melody sung to him by his mother was his earliest memory. The violin is muted throughout, and the piano accompaniment is quietly syncopated.

5. Canción (Allegretto) repeats a dance theme continuously: the entire middle section is performed on artificial har-monics.

6. Polo (Vivo) is a specific form: an Andalusian folksong or dance in 3/8 time, sometimes with coloratura outbursts. This particular polo, while based on Andalusian elements, is largely Falla’s own composition.

Monti (1868-1922): CsardasIn its original form, a csardas (or czardas) was an old Hungarian folk-dance, usually constructed in several sec-tions set at different tempos. By the end of the 19th century, the csardas had been adopted by the many “gypsy” musi-cians of Eastern Europe, and in the process it became a fea-ture of popular culture. The form occasionally crossed over into classical music: Tchaikovsky wrote a famous Czardas in Act III of Swan Lake, and Johann Strauss II included a vocal czardas in his operetta Die Fledermaus.

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Perhaps the most famous example of the form in the concert hall is the Csardas of Vittorio Monti. Trained as a violinist, Monti achieved some fame as a conductor and also composed ballets and operettas, but the Csardas, which dates from 1904, is his only composition to survive today. It is an excellent example of the form, and in its version for violin and piano this music nicely evokes the spirit of gypsy violin-playing. A brief introduction leads to the violin’s long and haunting melody, full of unexpected leaps and harmonic surprises. Monti then leads this theme through a series of episodes at sharply-contrasting tempos – sometimes the music is languid and sensual; sometimes it is fiery and virtuosic. It is also terrific violin music, calling for passages played entirely in artificial harmonics, rapid passagework and some gorgeous lyricism.

Music this attractive has appealed to many different musi-cians. Monti’s Csardas has been heard in arrangements for band, for orchestra, for accordion and many, many other instrumental combinations.

Program notes by Eric Bromberger

About Ray ChenWinner of the Queen Elisabeth and Yehudi Menuhin Competitions, Ray Chen is among the most compelling young violinists today.

Chen has released three critically acclaimed albums on Sony: a recital program titled Virtuoso including works by Bach, Tartini, Franck and Wieniawski which was dis-tinguished with the prestigious ECHO Klassik award; a recording of the Mendelssohn and Tchaikovsky concertos with the Swedish Radio Orchestra and Daniel Harding; and his latest recording, an all-Mozart album with Christoph Eschenbach and the Schleswig-Holstein Festival Orchestra.

Chen continues to win the admiration of fans and fellow musicians worldwide. On Bastille Day in 2015, he joined Daniele Gatti and the Orchestre National de France for a televised concert on the Champs-de-Mars in Paris in front of an audience of more than 800,000.

Chen recently completed a five-city tour of China with the Gothenburg Symphony and Kent Nagano as well as a European tour with the London Philharmonic and Christoph Eschenbach. Other highlights of the past season include his debuts with the Rotterdam Philharmonic, a recital at the Amsterdam Concertgebouw and a second en-gagement with Gatti and the Orchestre National de France.

Expanding the appeal of classical music to young audienc-es is a commitment that encompasses Chen’s work, both onstage and off. Chen’s use of social media, in particular his series of quirky, self-made online videos, has proven an effective tool in broadening the reach of classical music through humor and education.

Born in Taiwan and raised in Australia, Chen was accepted to the Curtis Institute of Music at age 15, where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 “Joachim” Stradivarius violin on loan from the NipponMusic Foundation.

This instrument was once owned by the famed Hungarian violinist, Joseph Joachim (1831-1907).

About Julio ElizaldeThe gifted American pianist Julio Elizalde is one of the most sought-after and multi-faceted artists of his genera-tion. He has performed in many of the major music centers throughout the U.S., Europe, Asia and Latin America to popular and critical acclaim. After three seasons as co-Ar-tistic Director of the Olympic Music Festival near Seattle, Wash., this summer marked Elizalde’s debut season as Artistic Director of the 32-year-old arts organization.

Elizalde has appeared with many of the leading artists of our time. He tours internationally with world-renowned violinists Sarah Chang and Ray Chen and has performed alongside conductors Itzhak Perlman, Teddy Abrams and Anne Manson. He has collaborated with artists such as violinist Pamela Frank, composers Osvaldo Golijov and Stephen Hough, baritone William Sharp and members of the Juilliard, Cleveland, Kronos and Brentano string quar-tets.

Elizalde is a founding member of the New Trio, winner of both the Fischoff and Coleman National Chamber Music Competitions and recipient of the Harvard Musical Association’s prestigious Arthur W. Foote Prize.

Elizalde received a Bachelor of Music degree with hon-ors from the San Francisco Conservatory of Music and holds Master and Doctor of Musical Arts degrees from the Juilliard School in New York City.

Elizalde regularly performs with the assistance of an Apple iPad Air using forScore music reading software. Page turns are executed by a wireless foot pedal by AirTurn. Twitter & Instagram: @JulioThePianist

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Director’s noteAlchemy is an ancient art, Egyptian in origin (the name itself is Arabic). For me, it is an aspirational art, more about the process than the product – the process itself is the philosopher’s stone, involving creative stimulation of the elements of nature, or in my case, of dance theater: fire and water, earth and air, male and female, the heavy and the light, the light and the dark, in opposition and in union (the climax that alchemists call conjunctio). The show is linear only in the way that dreams are, but the lines below may help you follow the action. You may see (or imagine) an ancient city, an alchemical furnace, alembics for distilla-tion, the torment of the metals (a stage in their transforma-tion), the tablet of Hermes and the face of Horus, the myth-ical phoenix, the alchemical egg, the snake (the ourobouros) eating its tail…

Shamanic drums: the heartbeat of the alchemist, a cry for light. The element of fire, calling for its opposite. Mercury’s serpent swims through the pillars of the city of Atlantis as it sinks beneath the waves into dancing magma. The female escapes from the fire and becomes the fire. Combustion begins and the landscape dries to desert. The male with his man-pipes arises for the reddening, forging a cage that draws the woman from the rock.

Wild winds fan the anatomical furnace. Shapes shift chaotically. Impregnated with fire, the women recede into a wall of stone. The alchemist’s heart beats inside the womb. The retort begins to spin, blood-red, and dervishes whirl and swirl to bring on black lightning, the night of Saturn, the burning of the bones in the fires of the stars. Adam and Eve appear out of the distillation, then crystallize. The sisterhood of the Moon at the alchemical wedding is crashed by male magnets. Three women hang like dripping alembics ready for sublimation: The entrance of the white peacock! In the mirrors the multiplication and division of the crystals reveals the Golden Pyramid. The elements transform in the eye of imagination. Now comes the torment of the metals, crying for the return of the female as three, the moment of triple conjunction uniting Earth and Air, Fire and Water, what is below and what is above. (curtain – but wait, there’s more) Cracking the alchemical egg: tonight’s encore.

MOMIXAlchemiaMoses Pendleton, Artistic DirectorTHU, OCT 22 / 8 PM / GRANADA THEATRE

Running time: approx. 80 min. No intermission.

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Part 1 - Quest for FireWater

Part 2 - Led into Gold

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Debhorah’s Theme” played by Yo-Yo Ma on the album Yo-Yo Plays Ennio Marricone, published by Sony BMG Music

Ralph Zurmuhle: “Horizon” from Our Mother

Sounds From the Ground: “Tumbledown (featuring BJ Cole)” from Luminal, composed by Nick Woolfson, Elliot Morgan Jones, BJ Cole and published by Nettwerk Songs

Vas: “Remembrance” from Sunyata and “Kali Basa” from Feast of Silence, composed by Azam Ali and Greg Ellis

Liquid Bloom: “Whispers of our Ancestors” from Spa India

Silvard: “Rain” from Life is Grand…On Cape Cod

Sanjiva: “Four Dimensional Interaction” from Slumberland Episode Two Awake and Dreaming

Ennio Marricone: “Penance” and “Refusal” from The Mission, published by Virgin Records

Escala: “Chai Mai” from Escala, composed by Ennio Marricone and published by SIAE UK

Escala: “Palladio” from Escala, composed by Karl Jenkins

About the CompanyMOMIX is a company of dancer-illusionists under the direc-tion of Moses Pendleton. In addition to stage performances worldwide, MOMIX has worked in film and television, recently appearing in a national commercial for Hanes un-derwear and a Target ad that premiered during the airing of the 67th Annual Golden Globe Awards. With performances on PBS’s Dance in America series, France’s Antenne II and Italian RAI television, the company’s repertory has been broadcast to 55 countries. Joining the Montreal Symphony in the Rhombus Media film of Mussorgsky’s Pictures at an Exhibition, winner of an International Emmy for Best Performing Arts Special, the company’s performance was distributed on laser disc by Decca Records. MOMIX was also featured in IMAGINE, one of the first 3-D IMAX films to be released in IMAX theaters world-wide. MOMIX dancers Cynthia Quinn and Karl Baumann, under Moses Pendleton’s direction, played the role of Bluey in the feature film FX2, and White Widow, co-choreographed by Moses Pendleton and Cynthia Quinn, was featured in Robert Altman’s movie

About the Program“The changing of bodies into light and light into bodies is very conformable to the course of nature, which seems delighted with transmutation.” – Isaac Newton, Opticks

“I drew aside the curtains and looked out into the dark-ness, and it seemed to my troubled fancy that all those little points of light filling the sky were the furnaces of innu-merable divine alchemists, who labor continually, turning lead into gold, weariness into ecstasy, bodies into souls, the darkness into God; and at their perfect labor my mortality grew heavy, and I cried out, as so many dreamers and men of letters in our age have cried, for the birth of that elabo-rate spiritual beauty which could alone uplift souls weight-ed with so many dreams.” – W.B. Yeats, Rosa Alchemica

MusicDanna & Clement: “Sunrise West” from Slumberland Episode Two Awaken and Dreaming, published by Summerland Music/ SOCAN

Oreobambo: “Track 12” from Tollan, published by EM Productions

Daimon: “Skin to Skin” from Temenos, courtesy of Waveform Records

Escala: “Requiem for a Tower” from Escala, composed by Clinton Mansell and published by Universal Music Publishing

Ennio Morricone: “Remorse” from The Mission

Oreobambo: “Track 10” from Tollan, published by EM Productions

Magna Canta: “Gilentium” from Enchanted Spirits, composed by Junior Deros and Ray Frederico

Skin to Skin: “Nekyia I” from Temenos, courtesy of Waveform Records

A Positive Life: “Lighten Up!” from Synaesthetic, courtesy of Waveform Records

Ennio Morricone: “Once Upon a Time in America:

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based on the writings of Artaud, for the Deutsch Opera Berlin. He created the role of the Fool for Yuri Lyubimov’s production of Mussorgsky’s Khovanschina at La Scala and choreographed Rameau’s Platee for the U.S. Spoleto Festival in 1987. He contributed choreography to Lina Wertmuller’s production of Carmen at the Munich State Opera in 1993. More recently, he has choreographed new works for the Arizona Ballet and the Aspen Santa Fe Ballet. He teamed up with Danny Ezralow and David Parsons to choreograph AEROS with the Romanian National Gymnastics Team.

His film and television work includes the feature film FX2 with Cynthia Quinn, Moses Pendleton Presents Moses Pendleton for ABC ARTS cable (winner of more than 10 international awards including a Cine Golden Eagle award and the U.S. Film and Video Competition – now known as Sundance – Special Jury Award), and Pictures at an Exhibition with Charles Dutoit and the Montreal Symphony, which received an International Emmy for Best Performing Arts Special in 1991. Pendleton has made music videos with Prince, Julian Lennon and Cathy Dennis, among others.

Pendleton is an avid photographer with works presented in Rome, Milan, Florence and Aspen. Images of his sunflower plantings at his home in northwestern Connecticut have been featured in numerous books and articles on gardening. He is the subject of the book Salto di Gravita by Lisavetta Scarbi, published in Italy in 1999. Pendleton was a recipient of the Connecticut Commission on the Arts Governor’s Award in 1998. He received the Positano Choreographic Award in 1999 and was a Guggenheim Fellow in 1977. He is a recipient of a 2002 American Choreography Award for his contributions to choreography for film and television. In 2010 Pendleton received an Honorary Doctorate of Fine Arts (HDFA) and delivered the keynote address to the University of the Arts in Philadelphia. Pendleton choreo-graphed the Doves of Peace, featuring Diana Vishneva, for the Opening Ceremony of the 2014 Sochi Winter Olympics. His photographs accompany the 16 cantos of Phil Holland’s The Dance Must Follow (2015), which takes Pendleton’s own creative process as its subject.

Margaret Selby, President, 1790 Broadway @ 5 Columbus Circle, 16th Floor, New York, NY 10019 (212) 841-9554 • [email protected]


The Company. Commissioned by corporations such as Kohler, Fiat and Mercedes Benz, MOMIX performed at Fiat’s month long 100th Anniversary Celebration in Torino, Italy, and Mercedes Benz’s International Auto Show in Frankfurt, Germany. Participating in the Homage a Picasso in Paris, the company was also selected to represent the U.S. at the European Cultural Center at Delphi. With the support of the Scottsdale Cultural Council Scottsdale Center for the Arts in Scottsdale, Ariz., Pendleton created Bat Habits to celebrate the opening of the San Francisco Giants’ new spring training park in Scottsdale. This work served as the forerunner of Baseball and joins such acclaimed original productions as Lunar Sea, Opus Cactus, Orbit, Passion and Botanica. With nothing more than light and shadow, props, the human body and an epic imagination, MOMIX has astonished audiences on five continents for more than 35 years.

About the Artistic DirectorMoses Pendleton has been one of America’s most innovative and widely performed choreographers and directors for more than 40 years. A co-founder of the groundbreaking Pilobolus Dance Theater in 1971, he formed his own compa-ny, MOMIX, in 1980. Pendleton has also worked extensively in film, television and opera and as a choreographer for ballet companies and special events.

Pendleton was born and raised on a dairy farm in north-ern Vermont. His earliest experiences as a showman came from exhibiting his family’s dairy cows at the Caledonian County Fair. He received his BA in English Literature from Dartmouth College in 1971. Pilobolus began touring imme-diately and the group shot to fame in the 1970s, performing on Broadway under the sponsorship of Pierre Cardin, tour-ing internationally and appearing in PBS’s Dance in America and Great Performances series.

By the end of the decade, Pendleton had begun to work outside of Pilobolus, performing in and serving as principal choreographer for the Paris Opera’s Integrale Erik Satie in 1979 and choreographing the Closing Ceremonies of the Winter Olympics at Lake Placid in 1980. In 1981 he created MOMIX, which rapidly established an international reputation for highly inventive and often illusionistic choreography. The troupe has been touring steadily and is currently performing several programs internationally. The company has made numerous special programs for Italian and French television and received the Gold Medal of the Verona Festival in 1994.

Pendleton has also been active as a performer and cho-reographer for other companies. He has staged Picabia’s Dadaist ballet Relache for The Joffrey Ballet and Tutuguri,

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Event Sponsor: Sara Miller McCune

Additional support provided by Barbara Delaune-Warren

Dance series sponsored in part by Annette & Dr. Richard Caleel and Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund

New York City Ballet MOVESMON, OCT 26 & TUE, OCT 27 8 PM / GRANADA THEATRE

Mon, Oct 26Justin Peck: In Creases William Forsythe: Herman Schmerman Pas de Deux Jerome Robbins: A Suite of Dances Alexei Ratmansky: Pictures at an Exhibition

Tue, Oct 27Jerome Robbins: In the Night Jean-Pierre Frohlich: Varied Trio (in four) Jerome Robbins: Other Dances Christopher Wheeldon: This Bitter Earth Peter Martins: Hallelujah JunctionPrograms and cast are subject to change

The MusiciansAnn Kim, celloPablo Riepi, percussionElaine Chelton, pianoCameron Grant, pianoAlan Moverman, pianoKurt Nikkanen, violin

Ballet Masters Jean-Pierre Frohlich Lisa Jackson Christine Redpath Jonathan Stafford Kathleen Tracey

Touring StaffGregory Russell, Company ManagerMarquerite Mehler, Production Stage ManagerPenny Jacobus, Lighting DirectorMarlene Olson Hamm, Wardrobe MistressEric Rudy, Wardrobe MasterNorman Kirtland III, Master Carpenter

Peter Martins, Artistic Director Jean-Pierre Frohlich, Artistic Administrator

The Dancers

Principals Tyler Angle, Gonzalo Garcia, Sterling Hyltin, Rebecca Krohn, Tiler Peck, Amar Ramasar, Teresa Reichlen, Daniel Ulbricht, Andrew Veyette

Soloists Zachary Catazaro, Georgina Pazcoguin

Corps de Ballet Sara Adams, Devin Alberda, Daniel Applebaum, Harrison Ball, Emilie Gerrity, Joseph Gordon, Kristen Segin, Lydia Wellington, Indiana Woodward

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Repertory Notes (Tue, Oct 27)In The NightAfter the enormous popularity of Dances at a Gathering in 1969, Jerome Robbins built on his love affair with Chopin’s piano works with In the Night. While the earlier ballet primar-ily uses mazurkas, waltzes and études, In the Night, which pre-miered in 1970, conjures up a post-dusk scenario to four of the composer’s nocturnes. Choreographed for three couples of distinct personality, the ballet uses the music as a jump-ing-off point to explore subtle dance dramas. The Nocturne Op. 27, No. 1 takes on a stately quality before melting into lyricism. Nocturnes Op. 55, No. 1 and No. 2 are, respective-ly, bittersweet and tempestuous in their melodies. The final piece, Nocturne Op. 9, No. 2 uses the rondo form, but in a tender, almost ethereal andante.

- Intermission -

Varied Trio (in four)Jean-Pierre Frohlich’s Varied Trio (in four) is a duet to Lou Harrison’s Varied Trio. It premiered in Jackson Hole with New York City Ballet MOVES, for which Frohlich serves as Artistic Administrator. Frohlich is a former NYCB Soloist and current Ballet Master with the Company, and also stages Robbins ballets for dance companies around the world.

Other DancesJerome Robbins was a great admirer of the Russian stars Natalia Makarova and Mikhail Baryshnikov, who each famously defected and made new careers in America. Other Dances, a pas de deux created in 1976 for a New York Public Library for the Performing Arts benefit, was specifically crafted to display their legendary technique and artistry; Robbins chose four mazurkas and one waltz by Chopin, the composer whose piano music had inspired him for Dances at a Gathering. Although Chopin did not invent the mazurka, a stylized Polish dance in triple meter, his com-positions brought them to the public attention and raised them to a new level of sophistication. Other Dances, through its simplicity and virtuosity, pays homage to both Chopin’s Romanticism and the fluidity of classical ballet technique.

- Intermission -

This Bitter EarthThis Bitter Earth is a pas de deux from Christopher Wheeldon’s Five Movements, Three Repeats. The full work was originally created for Fang-Yi Sheu & Artists, a group led by

Repertory Notes (Mon, Oct 26)In CreasesIn Creases is the first work Justin Peck, New York City Ballet’s Resident Choreographer and Soloist, created for the Company. The ballet for eight dancers is set to Philip Glass’ Four Movements for Two Pianos, and received its world pre-miere in July 2012 during NYCB’s annual summer residen-cy at the Saratoga Performing Arts Center in upstate New York. Since In Creases was first performed, Peck has created eight additional ballets for NYCB.

Herman Schmerman Pas De DeuxHerman Schmerman pairs William Forsythe’s angular, contemporary choreography with an electronic score by longtime collaborator Thom Willems. Forsythe added a pas de deux to the five-person ballet in 1993, and decided to present only the pas de deux in 1999. It has been per-formed that way ever since.

A Suite of DancesTowards the end of his life, Jerome Robbins was especially inspired by his love for Bach’s music, and he choreographed three of his late works to Bach. A Suite of Dances is set to the Six Suites for Solo Cello, composed when Bach served as Kappellmeister in Cöthen and which cover a broad range of emotional territory. In the early 1990s, when Mikhail Baryshnikov expressed interest in working with Robbins again, the choreographer called to say he had “an idea for a little dance.” This charming, naturalistic ballet was the result. In it, the solo dancer and cellist act as part-ners, playing off each other with easy-going camaraderie.

- Intermission -

Pictures at an ExhibitionCreated for New York City Ballet during the fall of 2014, Pictures at an Exhibition is Alexei Ratmansky’s fourth work for the Company. Using Modest Mussorgsky’s famed piano score, Pictures at an Exhibition, the ballet includes lighting design by Mark Stanley and projections of Wassily Kandinsky’s Color Study Squares with Concentric Circles, designed by Wendall K. Harrington. The 10 dancers are costumed in designs by fashion designer Adeline Andre, a frequent collaborator of Ratmansky’s.

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In 1946 Kirstein and Balanchine formed Ballet Society and presented their new company at the City Center of Music and Drama in New York. After seeing a Ballet Society perfor-mance, the chairman of the City Center finance committee in-vited Balanchine and Kirstein’s fledgling company to officially join the performing arts center. On October 11, 1948, New York City Ballet was born with a performance that featured Balanchine’s Concerto Barocco, Orpheus and Symphony in C.

Balanchine served as Ballet Master of New York City Ballet from its inception until his death in 1983, choreographing countless works and creating a company of dancers known for their linear purity, sharpness of attack and overall speed and musicality. In 1949 Jerome Robbins joined the Company as associate director and, with Balanchine, created a varied repertory that grew each season. In 1964 NYCB moved into its current home at Lincoln Center’s David H. Koch Theater (formerly the New York State Theater), where it currently is on stage 21 weeks of the year. Each December, the Company presents George Balanchine’s The Nutcracker, which has been performed every year since its premiere in 1954. In 1966 New York City Ballet performed at the opening ceremony for the Saratoga Performing Arts Center, in upstate New York; the Company has had a residency there every summer since. NYCB also tours regularly, both in the U.S. and abroad.

Following Balanchine’s death in 1983, Jerome Robbins and Peter Martins were named Co-Ballet Masters in Chief, and since 1990 Mr. Martins has assumed sole responsibility for the Company’s artistic direction. In 2009 Katherine Brown was named NYCB’s first-ever Executive Director, a position created to oversee the administrative management of the Company. Widely acknowledged for its enduring contribu-tions to dance, NYCB is committed to promoting creative excellence and nurturing a new generation of dancers and choreographers.

New York City Ballet MOVES is a new performance group launched by Peter Martins and the New York City Ballet during the summer of 2011. Composed of a select group of NYCB dancers and musicians, MOVES provides an opportu-nity to showcase NYCB’s extraordinary artists and repertory for new audiences around the world.

For more information on New York City Ballet please visit www.nycballet.com

Special thanks to

former Martha Graham Dance Company star Fang-Yi Sheu that included NYCB dancers Wendy Whelan, Tyler Angle and Craig Hall. Set to a remix of Dinah Washington’s This Bitter Earth and Max Richter’s On the Nature of Daylight, the ballet had its Company premiere at NYCB’s 2012 Fall Gala.

Hallelujah JunctionPeter Martins’ Hallelujah Junction is set to a score of the same name by John Adams. The music was written for two pianos and named after a small truck stop near the California-Nevada border. Adams said of the piece, “It was a case of a good title needing a piece, so I obliged by composing this work for two pianos.” The work centers on delayed repetition between the two pianos, creating an ef-fect of echoing sonorities. There is a constant shift of pulse and meter, but the main rhythms are based on the rhythms of the word “Hal-le-LU-jah.” The ballet, originally created for the Royal Danish Ballet, features a principal couple in white, a male soloist in black, and a small corps de ballet.

About New York City BalletFounders: George Balanchine, Lincoln Kirstein Founding Choreographers: George Balanchine, Jerome Robbins Ballet Master in Chief: Peter Martins Executive Director: Katherine E. Brown

New York City Ballet is one of the foremost dance com-panies in the world, with a roster of spectacular dancers and an unparalleled repertory. The Company was founded in 1948 by George Balanchine and Lincoln Kirstein, and it quickly became world-renowned for its athletic and contemporary style. Jerome Robbins joined NYCB the following year and, with Balanchine, helped to build the astounding repertory and firmly establish the Company in New York.

New York City Ballet owes its existence to Lincoln Kirstein, who envisioned an American ballet where young dancers could be trained and schooled under the guidance of the greatest ballet masters. When he met George Balanchine in London in 1933, Kirstein knew he had found the right person for his dream. Balanchine traveled to America at Kirstein’s invitation, and in 1934 the two men opened the School of American Ballet, where Balanchine trained danc-ers in an innovative style and technique that matched his idea of a new, unmannered classicism.

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Sharon Jones & the Dap-Kings rose from the ashes of Desco Records, a fiercely independent label that de-veloped an international underground following for releasing hard funk vinyl in the 1990s. After the label’s demise in 1999, the musicians that populated its roster regrouped to form an all-star band, the fiery Sharon Jones and the Dap-Kings.

The band released their first album, Dap Dippin’, in 2002. Over the next decade, they toured vigorously, each album release bringing them wider acclaim. 2005’s Naturally brought them their first of numerous television per-formances. 2007’s 100 Days, 100 Nights would sell over 100,000 copies in the U.S. alone. 2010’s I Learned the Hard Way debuted at No. 16 on Billboard’s Top 200 Album chart, outselling its predecessor in the first few months. 2014’s Grammy Award-nominated Give the People What They Want would be the band’s dramatic return from Sharon’s 2013 battle with pancreatic cancer.

They have been sampled, licensed for film and television and called upon to join other artists in studio and on stage. Mark Ronson famously used the Dap-Kings when he produced Amy Winehouse’s Grammy Award-winning album Back to Black, as well as for his own No. 1 hit “Uptown Funk (featuring Bruno Mars).”

Jones and the band opened for Prince at New York’s Madison Square Garden and in Paris. They joined John Legend with the National Symphony Orchestra at the Kennedy Center and with the LA Philharmonic at the Hollywood Bowl. The Dap-Kings have backed Beck, worked with David Byrne and laid down studio tracks with producer Bob Rock.

Jones has collaborated with David Byrne, They Might Be Giants, Rufus Wainwright and Lou Reed. She joined Michael Bublé on Saturday Night Live to perform the duet “Baby (You Got What it Takes).” She also acted and sang in the Denzel Washington film The Great Debaters and the band joined her in Wolf of Wall Street. Given the band’s heavy touring schedule and their participation in other outfits, it’s easy to understand why the American Association of Independent Music (A2IM) awarded them the Hardest Working Band of the Year in 2014.

This year, the band will release its first holiday record and return to the studio to record a new album.

Special thanks to

Sharon Jones & the Dap-Kings WED, OCT 28 / 8 PM / CAMPBELL HALL

Sharon Jones, vocals Neal Sugarman, tenor saxophone Gabriel Roth, bass Homer Steinweiss, drums Binky Griptite, guitar Dave Guy, trumpet Cochemea Gastelum, baritone saxophone Fernando Velez, percussion Joe Crispiano, guitar

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Héctor Tobar is a Los Angeles born author and journalist. Deep Down Dark: The Untold Stories of 33 Men Buried in a Chilean Mine, and the Miracle That Set Them Free is his most recent book. His novel, The Barbarian Nurseries, was a New York Times Notable Book and has been translated into French, German and other languages. The Barbarian Nurseries won the California Book Award Gold Medal for Fiction, a distinction Tobar shares with John Steinbeck, Michael Chabon, T.C. Boyle and many other distinguished California writers. He is also the author of Translation Nation: Defining a New American Identity in the Spanish-Speaking United States and the novel The Tattooed Soldier, a finalist for the PEN USA West Award for First Fiction.

For two decades, Tobar worked at the Los Angeles Times, on assignments that spanned from Alaska to Patagonia and from East Los Angeles to Iraq. Throughout his tenure, he was a city reporter, national and foreign correspondent, columnist and Bureau Chief in Buenos Aires and Mexico City. He was part of the reporting team that won a Pulitzer Prize for coverage of the 1992 LA riots. Tobar has also worked as Features Editor at The LA Weekly and as editor of the bilingual San Francisco magazine El Tecolote.

Tobar has a Master in Fine Arts in Creative Writing from the University of California, Irvine, and stud-ied at University of California, Santa Cruz, and at the Universidad Nacional Autónoma de México in Mexico City. He is married, the father of three children and the son of Guatemalan immigrants.

The 33, a film starring Antonio Banderas and Juliette Binoche, will release in November 2015, and is based on Tobar’s book Deep Down Dark.


Héctor TobarDeep Down Dark: The Untold Stories of 33 Men Buried in a Chilean Mine, and the Miracle That Set Them FreeMON, NOV 2 / 8 PM / CAMPBELL HALL

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About Jeff Daniels Jeff Daniels has spent the past 12 years playing in notable venues across the country. He has shared the stage with Lyle Lovett, John Hiatt and Keb Mo’, and has studied with Stefan Grossman. In 2012 the Martin Guitar Company began selling an OM Jeff Daniels Custom Artist Edition Guitar. His sixth recording, Days Like These, is available under his independent label Boomadeeboom Records (jeffdaniels.com).

“When I moved to New York City to chase acting as a career,” Daniels says, “what I didn’t plan on was be-ing influenced by all the playwrights I would work with Off-Broadway. In particular Lanford Wilson – who would later go on to win a Pulitzer Prize for his play Talley’s Folly – taught me so much about the writing pro-cess: the love/hate relationship one has with such a solitary pursuit, the endless rewriting, the search and struggle to find a way to say it better. In Hollywood, the joke is, ask any actor what he wants to do next and he’ll say, ‘Direct.’ All I wanted to do was write. So, I did. Almost 40 years later, I still am. Days Life These is my best effort so far.”

About the Ben Daniels BandWhen Ben Daniels decided he was going to be a musician, it was more than a career choice. A natural poet, this young songwriter went to school on Bob Dylan, Robert Johnson and Jack White, among others. His lyrics speak directly to a younger generation that hears, sees and thinks about the very things he’s writing. From their opening song to the finale of their set, the Ben Daniels Band (BDB) cut through with their originality, musicianship and a sound that spans Americana, Blues, Jazz and Rock.

The son of actor Jeff Daniels, Ben Daniels has quietly mon-itored what it takes to live life as an artist and believes in hard work, perseverance and creatively challenging himself and the audience. Throughout years of touring, BDB’s live shows never fail to take over the venue. Their songs be-come anthems with arrangements that pull people inside their sound. With five CDs under their belts – Coming from the C, Checkin’ in to the Michigan Inn, Can’t You See, The Mountain Home EP, the dual album & movie release Old Gold, and their most recent release, Roll – the Ben Daniels Band has grown to be a formidable group that sounds pleasantly familiar, yet unforgettably unique.

Jeff Danielsand the Ben Daniels BandTUE, NOV 3 / 8 PM / THE NEW VIC

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(805) 893-3535 / www.ArtsAndLectures.UCSB.eduSupport Arts & Lectures: (805) 893-2174

This fall, the following artists and speakers will lead educational workshops, seminars and master classes throughout Santa Barbara

We educate, entertain AND inspire.

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Artist workshops on campus:Bollywood Masala Orchestra and Dancers of India, Twyla Tharp Dance Foundation, Diane Ackerman, Anna Deavere Smith, Ray Chen & Julio Elizalde, MOMIX, New York City Ballet MOVES, Arturo O’ Farrill and the Afro Latin Jazz Orchestra, Lise de la Salle, Akram Khan Company

Artist workshops in the community*:Bollywood Masala Orchestra and Dancers of India, Twyla Tharp Dance Foundation, Ray Chen & Julio Elizalde, MOMIX, New York City Ballet MOVES, Arturo O’ Farrill and the Afro Latin Jazz Orchestra, Story Pirates *See A&L website for details and locations (public events only)

WILLIAM H. KEARNS FOUNDATION

Community Partner

Arts & Lectures gratefully acknowledges the following people and organizations who help take

artists and speakers off the stage and into K-12 schools and other public settings throughout our region to serve children and families with unique

opportunities for arts engagement.

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Because inspiring children is essential.A&L education and outreach events serve thousands of children and youths each year

Because a great city deserves great ideas.A&L guest speakers and visiting artists set the standard for creative excellence.

Because A&L membership yields great benefits. Members-only events greatly enrich the experience of A&L programs.

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Arts & Lectures Makes a Difference

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2015-2016 Producers Circle members-only parties with artistsOrquesta Buena Vista Social Club® (Oct 13), New York City Ballet MOVES (Oct 26), The Silk Road Ensemble with Yo-Yo Ma (Feb 21), Serial creators Sarah Koenig and Julie Snyder (Mar 3), Rosanne Cash (Mar 9)


Anonymous (4)Judy & Bruce Anticouni

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Arlene & Barrie BergmanMeg & Dan Burnham

Annette & Dr. Richard CaleelMarcy Carsey

Marcia & John Mike CohenMargo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund

Barbara Delaune-WarrenAudrey & Timothy Fisher

Ralph H. Fertig*Genevieve & Lewis Geyser

Patricia Gregory, for the Baker FoundationCarla & Stephen* Hahn

Eva & Yoel HallerThe James Irvine Foundation

Luci & Richard JanssenEllen & Peter O. JohnsonRobert & Gretchen Lieff

Susan McMillan & Tom KennyLillian & Jon* Lovelace

lynda.comMarilyn & Dick MazessSusan & Craig McCaw

Sara Miller McCuneKay R. McMillan

Orfalea FoundationDiana & Simon Raab Foundation

Lady Leslie Ridley-TreeSAGE Publications

Patricia & James SelbertHarold & Hester Schoen*

Fredric E. SteckHeather & Tom SturgessAnne & Michael Towbes

James WarrenMarsha* & Bill Wayne

Lynda Weinman & Bruce HeavinWilliam H. Kearns Foundation

Irene & Ralph WilsonYardi Sytems, Inc.

UC Santa Barbara Arts & Lectures is honored to recognize donors whose lifetime giving to A&L is $100,000 or more. We are very grateful for their longtime, visionary support

of A&L and for believing, as we do, that the arts and ideas are essential to our quality of life.

UC Santa Barbara Arts & Lectures wishes to recognize those who are leading the way to

educate, entertain and inspire by participating in

Recognition based upon cumulative giving during The Campaign Recognition is based on cumulative, lifetime giving.

$500,000 - $999,999 Anonymous ‡

Audrey & Timothy O. Fisher ◊‡Orfalea Foundation

Lady Leslie Ridley-TreeSAGE Publications ‡

Lynda Weinman & Bruce Heavin ‡

$1,000,000 and above

Eva & Yoel Haller ◊‡lynda.com

Susan & Craig McCaw ‡Sara Miller McCune ◊‡

Heather & Tom Sturgess ◊‡Anne & Michael Towbes ‡

$250,000 - $499,999

Anonymous ‡Meg & Dan Burnham ‡

Marcy Carsey ‡Marcia & John Mike Cohen ‡

Carla Hahn ‡Luci & Richard Janssen ‡

Fredric E. Steck ‡William H. Kearns Foundation ‡

Support Arts & Lectures: (805) 893-2174

Jody M. & John P. ArnholdArlene & Barrie Bergman

Annette & Dr. Richard CaleelMargo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund

Susan McMillan & Tom Kenny ‡Kay R. McMillan ‡

Marsha* & Bill WayneYardi Systems, Inc

$100,000 - $249,999

◊ Indicates those who have made plans to support UCSB Arts & Lectures through their estate.

‡ Indicates those that have made gifts to UC Santa Barbara Arts & Lectures endowed funds, in addition to their annual program support. * In Memoriam

38 Support Arts & Lectures: (805) 893-217438

(805) 893-3535 / www.ArtsAndLectures.UCSB.eduSupport Arts & Lectures: (805) 893-2174Support Arts & Lectures: (805) 893-2174 39

Council for Arts & LecturesSara Miller McCune (Co-chair)Dan Burnham (Co-chair)Barrie BergmanTimothy O. FisherRichard JanssenTom KennyKath LavidgeSusan McCawLois MitchellNatalie OrfaleaLady Leslie Ridley-TreeFredric E. SteckTom SturgessAnne TowbesMilton WarshawLynda Weinman

Arts & Lectures AmbassadorsArts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by providing advice to the A&L Miller McCune Executive Director, cultivating new supporters and assisting with fundraising activities.

Judy AnticouniArlene BergmanMeg BurnhamAnnette CaleelGenevieve & Lewis GeyserEva HallerLuci JanssenNancy Walker KoppelmanAlicia LancashireDonna Christine McGuireMaxine PrisyonBobbie RosenblattHeather SturgessAnne Smith Towbes

Arts & Lectures Program AdvisorBruce Heavin

Arts & Lectures Legacy CircleArts & Lectures is pleased to acknowledge the generous donors who have made provisions for future support of our program through their estate plans.

Judy & Bruce AnticouniEstate of Helen BorgesEstate of Ralph H. FertigAudrey & Timothy FisherEva & Yoel HallerSara Miller McCuneEstate of Hester SchoenConnie J. SmithHeather & Tom SturgessIrene & Ralph Wilson

Leadership CircleThe Leadership Circle is a group of key visionaries giving $10,000-$100,000 or more each year, making a significant, tangible difference in the community and making it possible for A&L’s roster of premier artists and global thinkers to come to Santa Barbara

Diamond ($100,000+)Susan & Craig McCawSara Miller McCuneOrfalea FoundationLady Leslie Ridley-TreeSAGE PublicationsAnne & Michael TowbesLynda Weinman & Bruce HeavinWilliam H. Kearns Foundation

Platinum ($50,000+)Anonymous (2)Jody M. & John P. ArnholdMary & Gary BeckerMarcy CarseyMarcia & John Mike CohenAudrey & Timothy O. FisherCarla HahnLuci & Richard JanssenEllen & Peter O. JohnsonCristina & Erck RickmersSanta Barbara FoundationPatricia & James SelbertFredric E. SteckHeather & Tom Sturgess

Gold ($25,000+)Arlene & Barrie BergmanMeg & Dan BurnhamAnnette & Dr. Richard CaleelMargo Cohen-Feinberg

& Robert FeinbergGenevieve & Lewis GeyserStefan & Irina HearstMarilyn & Dick MazessDiana & Simon Raab FoundationJustine Roddick & Tina SchlieskeDr. Bob WeinmanYardi Systems, Inc.

Silver ($10,000+)Judy & Bruce Anticouni Sarah ArgyropoulosMonica & Timothy BabichJill & Arnold BelloweSheila & Michael BonsignoreCasa DorindaBarbara Delaune-WarrenChristine & Bill FletcherConnie Frank & Evan ThompsonMartha & John GabbertPatricia Gregory,

for the Baker FoundationEva & Yoel HallerMelissa & Ralph Iannelli Irma & Morris JurkowitzMargaret & Barry KempGretchen & Robert LieffLillian LovelaceKay R. McMillanSusan McMillan & Tom KennyMosher FoundationJillian & Peter MullerNancy & Mike SheldonIrene Stone Family FoundationBill Wayne in honor of Marsha WayneWestmont CollegeNoelle & Dick WolfNicole & Kirt Woodhouse

Producers CircleRecognition is based upon a donor’s cumulative giving/pledges within a 12-month period. Every effort has been made to assure accuracy. Please notify our office of any errors or omissions at (805) 893-2174. List current as of August 11, 2015.

Executive Producer ($5,000+)Pat & Evan Aptaker Laurel Beebe Barrack Leslie & Ashish Bhutani Albert and Elaine Borchard Foundation Lyn Brillo Nancy Brown Sarah & Roger Chrisman Darcy & Dean Christal Tana & Joe Christie NancyBell Coe & William Burke ‡Guy Comer Deckers Outdoor Corporation Deanna & Jim Dehlsen Deirdre Hade & Will ArntzLisa & George Hagerman Ruth & Alan Heeger Samvada Hilow & Jeff FrankJudith Hopkinson ‡ Joan & Palmer Jackson, Sr. Ann & Lawrence Jett Martha & Peter Karoff Jamie & Julie Kellner Elaine & Herb Kendall Linda Kiefer-Roberts & Jerry Roberts Lisa Loiacono & Christopher LloydPatricia & John MacFarlane Siri & Bob Marshall ‡Mrs. James McIntyre ‡ Suzanne & Duncan Mellichamp Mission WealthLisa Reich & Robert JohnsonSharon & William Rich Lynda & Mark Schwartz Elva & Byron Siliezar Mark Sonnino Linda Stafford Burrows Barbara Stupay Leah & Robert Temkin Ina Tornallyay Crystal & Clifford Wyatt

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Eric Kronvall John La Puma, M.D. Patricia Lambert

& Frederick Dahlquist Alexandra Lamm & Tonia Simon Alicia Lancashire Zoë Landers Linda & Richard Lynn Betsey Von Summer Moller

& John Moller Almeda & J. Roger Morrison Nanette & Henry Nevins Malinda Pennoyer & Yvon Chouinard Christopher Quilter Susannah E. Rake Mary Sipes Channing Soladar Lynne Sprecher Dale & Greg Stamos Elizabeth Tyng Jo Beth von Geldern Alexis & Mike Weaver Susan & Bruce Worster

Partner ($500+)Peggy & Steve Barnes Catherine Brozowski Rachel & Douglas Burbank Bonnie & Frank Burgess Sallie & Curt Coughlin Beth & Dodd Geiger Genni Klein Nancy & Robert Knight Elinor & James Langer Janice Toyo & David LevasheffFima & Jere Lifshitz Leila & Dr. Robert Noel Robin Rickershauser Christiane Schlumberger Diane & Charles Sheldon Dr. Barbara Voorhies Diana Woehle

Patron ($250+)Becky & Peter AdamsCatherine Albanese Christine Allen & Gerald JacobsPamela Benham & Paul HansmaLinda & Peter Beuret Drs. Beverly & Michael L. SteinfeldRobert BrunswickBarbara Calder Diana & Steve Charles Jo Ann Chase Annie & George Cheng Sally & Bob Corlett Barbara Lynn Degroot

Stephanie & James Sokolove Anita & Eric Sonquist ‡ John Sonquist Joan Speirs Carol Spungen & Aaron Lieberman Suzanne & John Steed Russell Steiner Pru & Rob Sternin Debra & Stephen Stewart Mary Jo Swalley Denise & James S. Taylor Caroline & Steve Thompson Patricia Toppel Barbara & Samuel Toumayan Iona & Burton Tripathi Sandra & Sam Tyler Dianne & Daniel Vapnek Sherry & Jim Villanueva Mary Beth & Jim Vogelzang Sue & Bill Wagner Nancy Walker Koppelman

& Larry Koppelman Kathleen & Will Weber Judith & Mort Weisman Carol Wilburn & Charles McClintockIrene & Ralph Wilson Carolyn & Philip Wyatt Laura & Geofrey Wyatt Karen Young Deann & Milton Zampelli Diane & Steve Zipperstein

A special thanks to all our new Producers Circle members – your support is making a difference!

Circle of Friends

Director ($1,000+)Alison Allan & Chuck Blitz Lyn & David H. Anderson Paul Blake & Mark Bennett Carol & E. Alan Brumberger Wendel Bruss Drs. Susanne & J.W. Colin Jennifer & Jim Eby Olivia Erschen & Steve Starkey Elizabeth Gaylord Joyce M. Greene Jane & Norman Habermann Yonie Harris Anne & Houston Harte Margaret Ingalls Mary & Thomas* Jacob Lisa & Scott Johnson Connie & Richard Kennelly

Jodie Ireland & Chris Baker Shari & George Isaac Hollye & Jeff Jacobs Sharyn Johnson Linda & Sidney Kastner Susan Keller & Myron Shapero, M.D. Linda & Bill Kitchen ‡ Jill & Barry Kitnick Robert W. Kohn Carol Kosterka Diana & Carl Lasner The Lehrer Family FoundationDenise & George Lilly Mark Linehan Marilyn Magid Maison K Nohl Martin & Stephen Vella Dr. Bruce McFadden

& Bruce McFadden, Jr.Sheila & Frank McGinity Nancy McGrath Ronnie Haran Mellen

& Chase Mellen III Diane Meyer Simon Anne & Hale Milgrim Ginger & Marlin Miller Lois & Mark Mitchell Val & Bob Montgomery Maryanne Mott Myra & Spencer Nadler Shelley & David Neubauer Dale & Michael Nissenson Nancy & Doug Norberg Jan Oetinger Pacific Rim Adventures, Inc. ‡ Nancy Paley Joan Pascal & Ted Rhodes Dori Pierson & Chris Carter Anne & Michael Pless Stacy & Ron Pulice Anne Ready & David Gersh Victoria Riskin & David W. Rintels Barbara & Dr. Raymond Robins Kyra & Tony Rogers Susan Rose & Allan Ghitterman ‡ Sybil Rosen Gayle & Charles Rosenberg Bobbie & Ed Rosenblatt Bruce S. Russell & Andy Oakley Julie & George Rusznak Ginger Salazar & Brett Matthews Dr. William E. Sanson Jo & Ken Saxon Lila & Joe* Scher Anitra & Jack Sheen Stephanie & Fred Shuman Susan & Howard Silver Judith & Lawrence Silverman

Producers Circle ($2,500+)Anonymous (2)Roxana & Fred Anson Margo Baker Barbakow

& Jeffrey Barbakow Kathleen Barry Hiroko Benko Celesta M. Billeci & John Hajda Vicky Blum & David Lebell Rochelle & Mark Bookspan Susan E. Bower Susan D. Bowey Karen & Peter BrillMichele & Arnold Brustin Natalie Bryant Elizabeth & Andrew Butcher Susan & Claude Case Robin & Daniel Cerf Willy Chamberlin* ‡ Zora & Les Charles Vicki & Stephen Cherner Karla & Richard Chernick Mary & Richard Compton Trudy & Howard Cooperman William Cornfield Lilyan Cuttler & Bernard Seder Ann Daniel Judy Dart Laurie Dean & Joe Medjuck Patty DeDominic & Gene Sinser Jane Delahoyde & Edwin Clark Phyllis DePicciotto & Stan Roden David W. Doner Jr., MD Ginni & Chad Dreier Christine & Robert Emmons Nancy Englander & Harold Williams Cinda & Donnelley Erdman Doris & Tom Everhart Miriam & Richard Flacks Dorothy Flaster Carole & Ron Fox Teri & Eric Gabrielsen Cindy & Robert Gelber Marianne & Paul Gertman Nancy & Michael Gifford Melinda Goodman Marianne Gordin Paul Guido & Stephen Blain Betsy & Jule Hannaford Laurie Harris & Richard Hecht Mary J. Harvey Linda Hedgepeth

& Michael Millhollan Faith & Mel Henkin Cecia & Milt Hess Donna O. & Daniel W. Hone Andrea & Richard Hutton

(805) 893-3535 / www.ArtsAndLectures.UCSB.eduSupport Arts & Lectures: (805) 893-2174 41Support Arts & Lectures: (805) 893-2174 41

Arts & Lectures StaffCelesta M. Billeci,

Miller McCune Executive DirectorRoman Baratiak,

Associate DirectorAshley Aquino,

Administrative Assistant Meghan Bush,

Director of Marketing & Communications

Michele Bynum, Senior Artist

Emily Cesca, Finance & Operations Manager

Rachel Crandall, Ticket Office Operations Analyst

Erin Davison, Ticket Office Manager

Kevin Grant, Business Analyst

Alina Harper, Development Analyst

Caitlin Karbula, Director of Development

Janelle Kohler, Financial Analyst

Mari Levasheff, Marketing Business Analyst

Beatrice Martino, Public Events Assistant

Hector Medina, Development & Marketing Assistant

Caitlin O’Hara, Senior Writer/Publicist

Cathy Oliverson, Manager for Performing Arts & Educational Outreach

Sandy Robertson, Senior Director of Development & Special Initiatives

Heather Silva, Programming Manager

Campbell Hall StaffSarah Jane Bennett,

Public Events ManagerMiguel DeCoste,

Public Event ManagerErik Moore,

Technical DirectorCameron Squire,

Public Events Manager

Dena Stein Colleen Sterne Louise & Raymond L. Stone Lisa Stratton & Peter Schuyler Terry & Art Sturz Zoe Ann & Jeff Summers Marshall M. Thomas Doris Thome David Turpin Marion & Frederick Twichell Gordon Walsh Mary Walsh John Warnock John W. Watson Theresa Yandell Anna & Don Ylvisaker Seyburn Zorthian & Marc McGinness

*In Memoriam

Granting OrganizationsAlbert & Elaine Borchard FoundationCohen Family Fund of the Community

Foundation for Southeast MichiganThe James Irvine FoundationNew England Foundation for the Arts’

National Dance ProjectNational Endowment for the ArtsOrfalea FoundationSanta Barbara County Arts CommissionSanta Barbara FoundationUCSB Office of Academic PreparationWilliam E. Weiss Foundation, Inc.

Arts & Lectures EndowmentsThe Fund for Programmatic

ExcellenceThe Commissioning of New Work FundThe Education and Outreach FundBeth Chamberlin Endowment for Cultural

UnderstandingThe Harold & Hester Schoen EndowmentSonquist Family Endowment

Thank You! Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

Ann & David Dwelley Margaret & Jerrold Eberhardt Rebecca Eldridge Kerin Friden Priscilla & Jason Gaines Linda & Robert Gruber Lynda Healy Dr. Betty Helton & Dr. Alex Weinstein Maren Henle Kristine Herr Jorge Herrera Geoffrey Hornby Gail & Stephen Humphreys M. Josef Istrin Hannah-Beth Jackson & George Eskin Sarah Jacobs Mary & Joseph Jannotta Blake Johnson Mary Ann Jordan & Alan Staehle Francesca Keck Whitney Kimmel Danson Kiplagat Paula Kislak Diane & Dan Krieger-Carlisle Carol & Don Lauer Catherine & Wayne A. Lewis Lorraine Lim & Glenn Fout Alix-Ann Loveland & Tim Cardy Martin Lynch Sherry & Craig Madsen Diana MaganaFrancess Marsh Shannon Marsh Susan Matsumoto Elizabeth & J. Merrick Matthews Sandra McCartney Julie McLeod Christine & James McNamara Katharine Metropolis

& Jeffrey Richman Ron Meyer Ronnie Morris Phyllis Myers Susan & Max Neufeldt Dennis Perry Sophia Reinders-Peterzell

& Paul PeterzellDoris Phinney & Owen Patmor Donald E. Polk & J. Paul Loganbach Minie C. & H.F. Pompe van

Meerdervoort Albert Reid Adele Rosen Rhonda & Larry Sheakley Cynthia Shilkret Barbara Silver Ellen & Harvey Silverberg Janet & George Sirkin

Edward S. DeLoreto Jeana Dressel, Ph.D. Michael K. Dunn Peyton Evans Ghita Ginberg Susan Gwynne Douglas H. Harris Dr. Renee Harwick Laura Haston & Frank DavisBetty & Stan Hatch Valerie J. Hoffman & Roland NoePamela & Russell Lombardo Carla J. Marcinkus Donna & Ron Melville Ellicott Million Joan & William Murdoch Elizabeth F. & Charles A. Newman Kathlyn & William Paxton Craig Penner Deborah & Kenneth Pontifex Julie & Chris Proctor Erlaine Seeger Elizabeth & K. Martin Stevenson Gail & David Teton-Landis Anne & Anson Thacher Jo Ellen & Thomas Watson Helayne & Ronald White Muriel Zimmerman

Friend ($100+)Diane Adam Caren Adelman Lynn & Joel Altschul Julie Antelman Libby Appel Vickie Ascolese & Richard Vincent Bernadette Bagley Lisa Bass Ila Bayha Norrine Besser Mary & John Blair Suzanne Tomlinson Brown

& Peter Brown Drs. Paula & Thomas Bruice Janeen & James Cassidy Claudia & David Chapman Wilma & Burt Chortkoff Arthur Collier Thomas Dain Adrianne & Andrew Davis Gwen & Rodger Dawson Dr. Jane De Hart & Benjamin Cohen Lila Deeds Mrs. & Dr. Thomas L. Dent Victoria Dillon Barbara Ann Dobbs-White Elizabeth Downing & Peter Hasler Michael K. Dunn


Afro Latin Jazz OrchestraThe Grammy Award-winning Afro Latin Jazz Orchestra (ALJO) – led by pianist, composer and director Arturo O’Farrill – brings together the drama of big band jazz, the culture of Latin music and the virtuosity of 18 of the world’s most accomplished solo musicians. 12 years of critically acclaimed performances internationally have established the ALJO as the standard-bearer for creative interpretation of Latin jazz greats, such as Tito Puente, Frank “Machito” Grillo and Chico O’Farrill, as well as the driving force behind new commissions from Latin music’s most talented composers and arrangers. The ALJO commissions and performs inno-vative compositions and big band arrangements by Vijay Iyer, Miguel Zenón, Dafnis Prieto, Guillermo Klein, Pablo Mayor, Arturo O’Farrill, Michele Rosewoman, Emilio Solla, Papo Vazquez and many others.

Their newest album, Cuba: The Conversation Continues, was recorded in December 2014 during the historic reestablish-ment of diplomatic ties between the United States and Cuba. It was released in August on Motéma.

Arturo O’FarrillA celebrated composer with a forward looking perspec-tive that frequently breaks new ground, O’Farrill has received commissions from the Apollo Theater, Meet the Composer, the Big Apple Circus, the Philadelphia Music Project, Symphony Space and the Bronx Museum of the Arts. He has also composed music for films, including Hollywoodland and Salud.

O’Farrill has recorded numerous CDs and can be heard on the soundtracks of two critically acclaimed films, Calle 54 and Chico and Rita. He and the ALJO received their first Grammy nomination in 2006 for Una Noche Inolvidable (Palmetto) and won a 2008 Grammy for Best Latin Jazz Album for Song for Chico (Zoho). They were again nominated for Best Large Jazz Ensemble Album in 2011 for 40 Acres and a Burro (Zoho). His fourth album with ALJO, The Offense of the Drum (Motéma), received a 2015 Grammy for Best Latin Jazz Album. In 2001 O’Farrill agreed to direct his father’s band, the Chico O’Farrill Afro Cuban Jazz Orchestra, until it concluded its 15-year residency at the famed Birdland nightclub in 2011. That orchestra’s last album, Final Night at Birdland (Zoho), was awarded a 2014 Latin Grammy for Best Latin Jazz Album.

O’Farrill is a member of the Board of Governors of the New York chapter of National Academy of Recording Arts and Sciences. He is currently collaborating with theater di-rector Moises Kaufman of the Tectonic Theater on an Afro Cuban version of Georges Bizet’s opera Carmen.

Special thanks to

Event Sponsors: Jody M. & John P. Arnhold

Arturo O’Farrill and the Afro Latin Jazz OrchestraTHU, NOV 5 / 8 PM / CAMPBELL HALL

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Lake Street Dive find themselves on the cusp of stardom, though they insist they will always be the same people whose stage outfits once consisted of matching sweater vests. “We realize this could all go away tomorrow,” says Rachael Price. “But that won’t change what we do. We want to continue to do this for a long, long time. This is what we love. We just want to make sure we keep enjoy-ing ourselves.”

Lake Street Dive have been performing for nearly a de-cade after meeting as fellow students at the New England Conservatory in Boston. The band was hand-picked by Minneapolis trumpet/guitar player Mike Olson and named after an actual neighborhood of seedy bars in his hometown. Vocalist Rachael Price came from outside Nashville, Tenn., stand-up bassist Bridget Kearney was an Iowa native, while drummer Mike Calabrese called Philadelphia home. “I wasn’t only impressed with their musicianship,” says Olson, who acquired the nickname “McDuck” while at the conservatory for his reclusive ways. “They were also a lot of fun just to hang out with. The first four years of rehearsals were more like glorified dinner parties.”

Lake Street Dive has come a long way, but this just could be the start of something even bigger.

It took a casually made video featuring the band gath-ered around a single mic, performing a cover of Jackson 5’s “I Want You Back,” shot on a Brighton, Mass., street corner to grab the public’s attention – its YouTube views now hurtling past a million. What followed was nothing

less than a modern-day music business success story – T Bone Burnett tapping them to perform on the Another Day, Another Time show at Town Hall featuring music from and inspired by the Coen brothers’ Inside Llewyn Davis, taped for an upcoming special on Showtime. The New Yorker raved of their Town Hall performance: “I can’t imagine, then, that Lake Street Dive – a quartet led by an amazing young singer, Rachael Price – won’t be getting some air time soon.” Rolling Stone called the band “un-expected showstoppers,” while Hollywood Reporter noted the group “delivered one of the show’s best moments with the swinging ‘You Go Down Smooth,’ with stirring vocals by lead singer Rachael Price.” The New York Daily News was similarly enthused, saying Lake Street Dive “was the evening’s wild card,” and noting Price “has the soulful howl of a young Etta James.”

And just like that, Lake Street Dive went from playing for a small devoted following to selling out venues and planning an initial European tour, with dates on several late-night TV shows in the offing.

While “I Want You Back,” a track from their six-song Fun Machine EP, which included five covers and an original track, was spreading like wildfire on the Internet, the band had little idea what was happening. They were en-sconced at Great North Sound Society, a recording studio located on an 18th century farmhouse in Parsonsfield, Maine, with producer/engineer Sam Kassirer (Josh Ritter). The location was so remote, cell phone reception was spotty and web access non-existent.

Santa Barbara Debut

Lake Street DiveFRI, NOV 6 / 8 PM / CAMPBELL HALL

Rachael Price, vocalsMichael “McDuck” Olson, guitar and trumpetBridget Kearney, bassMichael Calabrese, drums

phot

o: Ja

rrod M

cCab

e

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The new album, Bad Self Portraits, was released by the Northampton, Mass. indie label Signature Sounds Recording. As the follow-up to a self-titled EP, it is a microcosm of Lake Street Dive’s evolution from an alt-country jazz group to a pop-soul juggernaut that turns to 1960s influences like Brill Building girl groups (“Stop Your Crying”), British Invasion rock (“Bobby Tanqueray”), horn-driven Stax R&B (“You Go Down Smooth”), Motown soul (“Use Me Up”) and even The Band-like gospel blues (“What About Me”).

“Our musical development has been like Google Earth,” explains Olson, “going from the entire universe to a specific place. That’s how we’ve honed in on our sound. We had the whole world of music at our fingertips, and we were unsure of what direction to take, but now we’re zeroing in a little closer.”

All four members of the band take part in the writing. The Kearney-penned title track is a wry commentary on how those selfie iPhone photos are just a cover for loneliness, but it could also refer to the rest of the album, each song a polaroid glimpse of a band that is constantly evolving.

“Nothing we do is set in stone,” says Olson about the band’s recording process in the studio. They are, first and fore-most, a live outfit. “Songs change when we start to play them for people. That determines the stylistic direction more than anything else. When we record a song, that’s just a snapshot of where it was at that moment. And it contin-ues to grow as we perform it.”

And as things are rapidly growing for Lake Street Dive, the nine years that they spent focusing on their musical devel-opment has left them with one constant to strive for. “We are named in homage to dive bar bands,” says Calabrese. “We were, are and always will be a dive bar band. Whether we’re playing for 10 people or 10,000, we want them to have that feeling.”

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Event Sponsor: Fredric E. Steck

About Lyle Lovett A singer, composer and actor, Lyle Lovett has broad-ened the definition of American music, in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of Americana, swing, jazz, folk, gospel and blues in a convention-defy-ing manner that breaks down barriers. Whether touring as a Duo or with his Acoustic Group or The Large Band, Lovett’s live performances show not only the breadth of this Texas legend’s deep talents, but also the diversity of his influences, making him one of the most infectious and fascinating musicians in popular music. Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music’s most vibrant and iconic performers. His oeuvre, rich and eclectic, is one of the most beloved of any living artist working today.

About John Hiatt John Hiatt has always been a keen observer of life’s flings and foibles alike. Usually mixed well together, Hiatt’s insights and skills at sharing them have only sharpened over the years. He recently released his 22nd studio album, Terms of My Surrender, 40 years into his record-ing career. Along the way, his songs have attracted many other singers, through whom some have gained a wider world of fans via other artists’ versions, such as Rosanne Cash’s “Pink Bedroom” and most famously Bonnie Raitt’s hit version of “Thing Called Love.” Hiatt’s recent series of shows with Lyle Lovett, which he calls “our little Smothers Brothers comedy show,” has brought out other spins on his art, as well as elements already familiar to those who’ve been there all along. Alternately bemused and profound, Hiatt is a self-aware chronicler of both his own and others’ stumbles and epiphanies, the tales richer with each step forward.

Special thanks to

An Acoustic Evening with

Lyle Lovett & John HiattSAT, NOV 7 / 8 PM / CAMPBELL HALL

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Up Close & Musical series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman

Santa Barbara Recital Debut

Lise de la Salle, pianoSUN, NOV 8 / 4 PM / HAHN HALL

Program

Beethoven: Piano Sonata in C Major, op. 2, no. 3Allegro con brio AdagioScherzo: AllegroAllegro assai

Ravel: Gaspard de la nuitOndineLe gibetScarbo

- Intermission -

Debussy: Selections from the PreludesLes sons et le parfumsLes fées sont d’exquises danseusesLa fille aux cheveux de linLa danse de PuckDanseuses de DelphesCe qu’a vu le vent d’ouest

Brahms: Variations and Fugue in B-flat Major on a Theme by Handel, op. 24Program subject to change

About the ProgramBeethoven (1770-1927): Piano Sonata in C Major, op. 2, no. 3Haydn returned to Vienna in August 1795 after his sec-ond visit to England, and shortly thereafter – at one of Prince Lichnowsky’s Friday morning concerts – the young Beethoven played three piano sonatas for him. These were Beethoven’s first piano sonatas (they would eventually com-prise his Opus 2), and evidence suggests that he had written them somewhat earlier and then performed them privately for friends and refined them over a period of time. When the sonatas were published in March 1796, they bore a dedica-tion to Haydn, but Beethoven would not identify himself as a “Pupil of Haydn” on the title page, as the older composer wished him to do: he may have respected his former teacher, but he remained ambivalent as to how much he had learned from Haydn and refused to acknowledge the connection in the published score.

The three sonatas of Opus 2 have their roots in the classical piano sonata, but already Beethoven is willing to experiment with the form: these sonatas are in four movements rath-er than three, and the “extra” movement – the third – is in the second two sonatas a scherzo rather than the minuet of classical form. And beyond this the sonatas are notable for their scope and difficulty: the Sonata in C Major heard on this concert stretches out to nearly half an hour in length and is written in a virtuoso manner that almost tends toward concerto style at moments. This music is also notable for its many surprising (and often piquant) modulations. These may

46


be Beethoven’s first sonatas and he may still be working to master the form, but already he is willing to make it his own.

The Allegro con brio opens with a pregnant figure, full of pauses; this is soon succeeded by the flowing and aristocratic second subject, and Beethoven even hints at a third theme. The treatment of the opening material is virtuosic, and the music reaches an unexpected conclusion: Beethoven drives to a climax, then the music falls away into a series of filmy arpeggios. Gradually these accelerate in the manner of a cadenza and then crest in a great flourish before picking up the opening subject and driving to the close. This episode is very much like a cadenza in a concerto: it occupies the same position formally and requires the same sort of virtuosity.

The Adagio opens in E major with a noble but halting epi-sode, full of stops between its brief phrases. Beethoven soon modulates to E minor for a quiet interlude that might almost be described as moonlit in its silvery, subdued expressiveness. Soon there are outbursts, and the opening material returns and threatens to become violent; Beethoven combines these two themes over the second half of the movement before it trails off into silence.

The Scherzo, with its neatly-terraced entrances, is attrac-tive, but the real surprise comes at the trio section, which is brilliant: triplet runs rip stormily across the range of the keyboard. This episode is very exciting – and over almost too quickly: Beethoven rounds things off with a da capo repeat and a brief coda in which the scherzo rhythm gradually dissolves. The Allegro assai finale dances agreeably. The sur-prise here is that much of this graceful music is chordal and requires an accomplished touch to make it sound as effortless as it should. A second subject, marked dolce and also chord-al, makes brief appearances in the general rush of things. Beethoven concludes with a coda that seems suspended on a series of trills; gradually the opening rhythms assert them-selves, and the sonata rushes to its vigorous close.

Ravel (1875-1937): Gaspard de la nuitMaurice Ravel had a lifelong fascination with magic and the macabre, and they shaped his music in different ways. While still a student at the Paris Conservatory, he fell in love with a curious book written 60 years earlier: Gaspard de la nuit, a collection of prose-poems by Aloysius Bertrand (1807-1841). Bertrand said that these spooky tales from the middle ages were “after the manner of Callot and Rembrandt” (it was an engraving by Callot – “The Huntsman’s Funeral” – that inspired the third movement of Mahler’s First Symphony), and Bertrand gave these tales a further whiff of brimstone by claiming that the manuscript had been delivered to him by a stranger: Gaspard himself, simply an alias for Satan.

Ravel composed his Gaspard de la nuit – a set of three pieces that blend magic, nightmare and the grotesque – in 1908, at exactly the same time he was writing his collection of luminous fairyland pieces for children, Ma mère l’oye. Ravel’s completed work descends from a curiously mixed artistic ancestry: Bertrand’s prose-poems were originally inspired by the visual arts (paintings, etchings and woodcuts), and in turn – his imagination enlivened by Bertrand’s literary images – Ravel composed what he called “three poems for piano.” This heterogeneous background makes itself felt in the music, for at its best Ravel’s Gaspard de la nuit blends word, image and sound.

Each of the three pieces in Gaspard de la nuit was inspired by a particular prose-poem, and Ravel included these in the score. But Gaspard de la nuit should not be understood as the attempt to recreate each tale in music; rather, these pieces evoke the particular mood inspired by Bertrand’s prose-po-ems. Still, there are moments of such detailed scene-painting that one imagines Ravel must have had specific lines in mind as he wrote.

Ondine pictures the water sprite who tempts mortal man to her palace beneath the lake. Ravel’s shimmering music evokes the transparent, transitory surfaces of Bertrand’s text, the final line of which reads: “And when I told her that I was in love with a mortal woman, she began to sulk in annoy-ance, shed a few tears, gave a burst of laughter, and vanished in a shower of spray which ran in pale drops down my blue window-panes.” It is impossible not to hear a conscious set-ting of these images over the closing moments of this music, which vanishes as suddenly as the water sprite herself.

Le gibet (“The Gallows”) evokes quite a different world, and all commentators sense the influence of Poe here (during his American tour of 1928, Ravel made a point of visiting Poe’s house in Baltimore). Bertrand’s text begins with a question: “Ah, what do I hear? Is it the night wind howling, or the hanged man sighing on the gibbet?” He considers other pos-sibilities, all of them horrible, and finally offers the answer: “It is the bell that sounds from the walls of a town beyond the horizon, and the corpse of a hanged man that glows red in the setting sun.” Muted throughout, this piece is built on a constantly-repeated B-flat, whose irregular tolling echoes the sound of that bell.

The concluding Scarbo is a portrait of some bizarre creature – part dwarf, part rogue, part clown – who seems to hover just outside clear focus. The text concludes: “But soon his body would start to turn blue, as transparent as candle wax, his face would grow pale as the light from a candle-end – and suddenly he would begin to disappear.” Ravel’s music

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continually to what was for him one of the most demanding and rewarding of musical forms. Among his works one finds Variations on an Original Theme, Variations on a Hungarian Song, Variations on a Theme of Robert Schumann, Variations on a Theme of Haydn, and Variations on a Theme of Paganini (two sets). The Variations and Fugue on a Theme of Handel, one of Brahms’ finest sets of variations, was written in Hamburg in 1861, when the composer was 28.

Brahms chose the original theme from the last movement of the Suite No. 1 in B-flat Major from Handel’s Suites de pièces de clavecin, published in London in 1733. Handel’s theme falls symmetrically into two four-bar phrases and naturally presents great opportunities for variation: Handel himself wrote five variations on it. In his version, Brahms first states Handel’s theme (like Handel, Brahms titles it “Aria”), creates twenty-five variations, then concludes with a tremendous fugue derived from Handel’s original theme. The variations themselves are extremely ingenious, and Brahms complicates his task by composing some of them not just as variations on Handel’s theme but also to conform simultaneously with other music forms: Variation 6, for example, is a baroque canon, No. 19 a siciliana. Brahms stays in the home key of B-flat major almost exclusively: only three of his variations are not in that key.

Nearly everyone who has written about the Handel Variations has commented on the “orchestral texture” of the piano writing and has professed to hear the orchestral instru-ments Brahms “must” have had in mind when he composed each variation. In fact, the Handel Variations have been orchestrated – in 1938 by the English composer Edmund Rubbra – and that version is occasionally performed and has been recorded. Comparison of the two versions inevitably reveals, however, that the music makes best sense on the instrument for which Brahms wrote it.

The Handel Variations figured prominently in a very unusual context. On February 6, 1864, three years after this music was written, Brahms and Wagner spent an evening together at the villa the latter had rented outside Vienna. Wagner later had derisive things to say about Brahms (as he did about virtually everyone else), but this evening at least proved cordial, and on that occasion Brahms played his Handel Variations for Wagner. One would expect the proponent of Zukunftmusik – “the music of the future” – to have no use for so ancient and constrained a form as the theme-and-varia-tions, but in fact Wagner was generous enough on this oc-casion to recognize what the younger composer had accom-plished. “It shows what can still be done with the old forms by somebody who knows how to handle them,” he said.

Program notes by Eric Bromberger

– with its torrents of sound, sudden stops, and unexpected close – suggests different appearances of this apparition.

It should be noted that Gaspard de la nuit is music of stupefy-ing difficulty for the performer, and this was by design: Ravel consciously set out to write a work that he said would be more difficult than Balakirev’s Islamey, one of the great tests for pianists. He succeeded brilliantly. From the complex (and finger-twisting) chords of Ondine through the dense textures of Le gibet (written on three staves) and the consecutive seconds of Scarbo, Gaspard de la nuit presents hurdles that make simply getting the notes almost impossible. And only then can the pianist set about creating the range of tone color, dynamics and pacing that bring this evanescent music to life.

Debussy (1862-1918): Selections from the PreludesDebussy composed his two books of piano preludes relatively late in life. The first appeared in 1910, and he composed the second book of twelve preludes over the next several years while he was completing one of his most subtle orchestral scores, the ballet Jeux. Book II was published in Paris on April 19, 1913, just six weeks before Stravinsky’s Le sacre du printemps stood that city on its head.

Though he has been inescapably tagged an Impressionist, Debussy disliked that term. He would have argued that he was not trying to present a physical impression of some-thing but instead trying to create in sound the character of his subject. So little was he concerned to convey a physical impression that he placed the evocative title of each prelude at its end rather than beginning – he did not wish to have an audience (or performer) fit the music into a preconceived mental set but rather wanted the music heard for itself first, identified with an idea or image later. In fact, some have gone so far as to say that perhaps Debussy wanted the music to suggest the title.

On this recital, De la Salle offers six of these preludes, drawn primarily from Book I. The preludes of Book I were inspired by a range of places, images and topics. Some evoke natural scenes, such as warm evening breezes (Les sons et les parfums) or wind (Ce qu’a vu le vent d’ouest). Others evoke settings like ancient Greece (Danseuses des Delphes) or figures from liter-ature (La danse de Puck). Also in this set is one of Debussy’s most famous piano pieces, La fille aux cheveux de lin.

Brahms (1833-1897): Variations and Fugue in B-flat Major on a Theme by Handel, op. 24Brahms was fascinated by variation form throughout his life. From his early piano works through the magnificent passacaglia that concludes his final symphony, he returned

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She made her fourth appearance with the Los Angeles Philharmonic, made her debut with Hans Graf and the Houston Symphony, and was also heard as a soloist with Roberto Abbado and the St. Paul Chamber Orchestra, as well as Eugene Tzigane and the New Jersey Symphony.

Her critically acclaimed Naïve CDs include an all-Chopin disc with a live recording of the Piano Concerto 2, Opus 2 with Fabio Luisi conducting the Staatskapelle Dresden, and the Four Ballades. In 2011, Naïve issued her sixth recording, released in celebration of Liszt’s Bicentennial. The record-ing includes both original Liszt compositions and Liszt’s transcriptions of others’ pieces, such as Mozart’s Lacrymosa and Schubert’s Ständchen. Diapason Magazine named the album the Diapason D’or, and it was the Editor’s Choice in Gramophone Magazine, which stated, “The wonderfully gifted 23-year-old Lise de la Salle gives us a Liszt recital of astonish-ing strength, poetry and, for one so young, musical maturity.”

Born in Cherbourg, France in 1988, De la Salle began study-ing the piano at the age of f 4 and gave her first concert at 9 in a live broadcast on Radio-France. When she was 11, she received special permission to enter the Paris Conservatoire Supérieur de Musique to study with Pierre Réach. At 13, she made her concerto debut with Beethoven’s Piano Concerto No. 2 in Avignon, and her Paris recital debut at the Louvre before going on tour with the Orchestre National d’Ile de France playing Haydn’s Concerto in D Major. De la Salle graduated in 2001 and subsequently enrolled in the postgrad-uate cycle with Bruno Rigutto. Since 1997 she has worked closely with Pascal Nemirovski and studied with Genevieve Joy-Dutilleux.

In 2003 De la Salle won the European Young Concert Artists Auditions in Paris, and in 2004 she won the Young Concert Artists International Auditions in New York. At the Ettlingen International Competition in Germany, De la Salle won First Prize and the Bärenreiter Award. She has also won First Prize in many French piano competitions, including the Steinway, Sucy, Vulaines and Radio-France Competitions. In 2003 she won the “Groupe Banque Populaire Natexis” Prize, for which she received a three-year scholarship.

For more information, please visit www.lisedelasalle.com.

Lise de la Salle is managed in North America by: Frank Salomon Associates 121 W. 27th Street, Suite 703 New York, NY 10001-6262 www.franksalomon.com

Lise de la Salle records for Naïve: www.naive.fr

About Lise de la SalleIn just a few years, through her international concert appear-ances and her award-winning recordings, 26 year-old Lise de la Salle has established a reputation as one of today’s most exciting young artists. Her playing inspired a Washington Post critic to write, “For much of the concert, the audience had to remember to breathe... The exhilaration didn’t let up for a second until her hands came off the keyboard.”

A native of France now living in Paris, De la Salle first came to international attention in 2005, at the age of 16, with a Bach/Liszt recording that Gramophone Magazine selected as Recording of the Month. De la Salle, who records exclusively with the label Naïve, was similarly recognized in 2008 for her recording of Liszt’s, Prokofiev’s and Shostakovich’s first concertos – a remarkable feat for someone only 20 years old. Her most recent recording, released in 2014, offers works of Schumann, including Kinderszenen and the C Major Fantasy.

De la Salle most recently made her London Symphony Orchestra debut with Fabio Luisi, who had invited her to become the first Artist-in-Residence of the Zurich Opera in 2014. Together, they are performing and recording the entire piano and orchestra works of Rachmaninoff. She has also appeared frequently with the Maestro and the Vienna Symphony, including a performance in New York on the Great Performers Series at Lincoln Center. She has played with the Boston Symphony, Chicago Symphony at the Ravinia Festival, San Francisco Symphony and three times with the Los Angeles Philharmonic, among others. In her second appearance with the Minnesota Orchestra, she played the Gershwin Concerto in F, a performance that in-spired one critic to exclaim that “she might just be the most exciting young artist in classical music right now.”

During the 2015-2016 season, De la Salle will be heard with leading symphonic ensembles in London, Paris, Munich, Tokyo, Baltimore, Detroit and Quebec, among others, with such esteemed conductors as Herbert Blomstedt, Osmo Vanska and Douglas Boyd. Concertos of Mozart, Beethoven, Brahms, Ravel and Rachmaninoff will demonstrate her fresh interpretations and compelling musicality. Her Rachmaninoff recordings with Fabio Luisi and the Zurich Opera Orchestra are scheduled for release this fall. She will make her debut in the Chicago Symphony recital series with additional recitals and chamber music performances to be heard in New York, St. Paul, Winter Park and Portland, Ore.

During the 2014-2015 season, De la Salle was heard with Jiri Belohlavek and the Rotterdam Philharmonic, Mikhail Pletnev and the Russian National Orchestra and on tour with Sir Neville Marriner and the Staatskapelle Weimar.

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About the Program Akram Khan teamed up with the celebrated talents of Anish Kapoor and Nitin Sawhney to present his company’s first full-length evening work 13 years ago. “Hindu Gods, black holes, Indian time cycles, tablas, creation and de-struction” were the starting points for this work. Performed by a strong international cast of dancers, Kaash (Hindi word for “if only”) continued Akram Khan’s quest to build bridges between the worlds of contemporary dance and the Indian classical dance form Kathak.

“As our first full-length company piece back in 2002, where I had the great opportunity of collaborating with Anish Kapoor and Nitin Sawhney, Kaash holds a very special place in our journey and in our hearts, and I am excited that it is now our first ever revival. Our new five-strong cast of international performers will shed another light and en-ergy on the piece, focused on physicality and precision, that I believe still has all its relevance today.” – Akram Khan

World premiere: Mar. 28, 2002, Maison des Arts, Créteil (France) Original tour: 133 shows, 65 venues, 23 countries Closed on Feb. 7, 2004 at Théâtre de la Ville, Paris (France) Open Dress Rehearsal – Sat., Nov. 22, 2014 Trinity Laban Conservatoire of Music and Dance, London Revival Premiere – Fri., Dec. 12, 2014 MC2: Grenoble (France)

About Akram Khan Akram Khan is one of the most celebrated and respected dance artists today. In little more than a decade, he has created a body of work that has contributed significantly to the arts in the U.K., where he is based, and abroad. His rep-utation has been built on the success of imaginative, highly accessible and relevant productions such as DESH, iTMOi, Vertical Road, Gnosis and zero degrees.

An instinctive and natural collaborator, Khan has been a magnet to world-class artists from other cultures and disciplines. His previous collaborators include the National Ballet of China, actress Juliette Binoche, ballerina Sylvie Guillem, choreographer/dancer Sidi Larbi Cherkaoui, singer Kylie Minogue, visual artists Anish Kapoor, Antony Gormley and Tim Yip, writer Hanif Kureishi and com-posers Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost.

Khan’s work is recognized as being profoundly moving, in which his intelligently crafted storytelling is effortlessly intimate and epic. Described by the Financial Times as an artist “who speaks tremendously of tremendous things,” a recent highlight of his career was the creation of a section of the London 2012 Olympic Games Opening Ceremony that was received with unanimous acclaim.

Dance series sponsored in part by Annette & Dr. Richard Caleel and Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund

Akram Khan CompanyKaashAkram Khan, Artistic DirectorTUE, NOV 10 / 8 PM / GRANADA THEATRE

Revival for 5 DancersKristina Alleyne, Sadé Alleyne, Sung Hoon Kim, Nicola Monaco, Sarah Cerneaux

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About Anish Kapoor Anish Kapoor is one of the most influential sculptors of his generation. He was born in Bombay in 1954 and lives and works in London. He studied at Hornsey College of Art (1973–77), followed by postgraduate studies at Chelsea School of Art, London (1977–78). Recent major solo exhibitions include Sakıp Sabancı Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013); Museum of Contemporary Art, Sydney (2012); Le Grand Palais, Paris (2011); Mehboob Studios, Mumbai and National Gallery of Modern Art, New Delhi (2010); Royal Academy of Arts (2009) and the Turbine Hall, Tate Modern, London (2002). He represented Britain at the 44th Venice Biennale (1990), for which he was awarded the Premio Duemila and he won the Turner Prize in 1991. He has honorary fellowships from the London Institute and Leeds University (1997), the University of Wolverhampton (1999), the Royal Institute of British Architecture (2001) and the University of Oxford (2014). His major permanent commissions include Cloud Gate (2004) for the Millennium Park in Chicago and Orbit for the London 2012 Olympic Park. He collaborated with architect Arata Isozaki to design the world’s first inflat-able concert hall, Ark Nova, which was launched for the Lucerne Festival in Japan in 2013. He was elected Royal Academician in 1999, awarded the Premium Imperiale in 2011 and the Padma Bhushan in 2012. He was knighted in the Queen’s Birthday Honours in 2013.

About Aideen MaloneAideen Malone has been a Lighting Designer since 1994, working extensively in theater, dance and opera. She has collaborated with the English Touring Opera, Nottingham Playhouse, Theater Rites, Clod Ensemble, Theatre Centre, Theatre O, Discover Children’s Centre, Salida Productions, Arc Dance, Guilhall School of Music and Drama, Yellow Earth, Mercury Theatre, Cleanbreak, Young Vic, Gate Theatre, Hackney Music Development Trust, Angika Dance Company, Theatre Royal Manchester, Unicorn Theatre, Royal and Derngate, Turtle Key Arts, Sadhana Dance Company, Bush Theatre, Bristol Old Vic, Paco Pena, Yasmin Vardimon Co., Red Cape Theatre, Smith Dance Theatre, Southbank Centre, Flying Cloud, Bristol Old Vic and The Rose Theatre Kingston. Malone has been a free-lance Lighting Designer and Tutor at Academy of Live and Recorded Arts since 2006. She is also a director of Junction, designing lighting sculptures and installations.

Khan has been the recipient of numerous awards through-out his career, including the Laurence Olivier Award, the Bessie Award (New York Dance and Performance Award), the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award, the Herald Archangel Award at the Edinburgh International Festival, the South Bank Sky Arts Award and several Critics’ Circle National Dance Awards. Khan was award-ed an MBE (Member of the Most Excellent Order of the British Empire) for services to dance in 2005. He is also an Honorary Graduate of Roehampton and De Montfort Universities and an Honorary Fellow of Trinity Laban.

Khan is an Associate Artist of Sadler’s Wells, London.

About Nitin SawhneyNitin Sawhney is arguably the busiest, most versatile and sought after composer and producer around. As the holder of six honorary doctorates and three fellowships, he is now signed to Reservoir Publishing, has worked with a host of celebrated artists including Paul McCartney and Sting and has made nine studio albums, for which he has been nom-inated for a Mercury Music prize, won a MOBO (Music of Black Origin) Award, two BBC Radio 3 awards and a South Bank Show Award. He has also received two Ivor Novello nominations.

He has scored over 50 films for cinema and television, with an Ivor Novello nomination for best score, leading to his much acclaimed orchestral music to the BAFTA-nominated BBC series The Human Planet, Mira Nair’s film The Namesake, three film scores for live performance by the London Symphony Orchestra, two acclaimed video game scores and composition for Olivier winning theat-rical and dance productions with Complicite and Akram Khan. Sawhney has scored music for Deepa Mehta’s film adaptation of Salman Rushdie’s book Midnight’s Children, Hitchcock’s early silent movie The Lodger, Khyentse Norbu’s Vara: A Blessing, Ridley and Tony Scott’s Japan in a Day, Tom Roberts’ Every Last Child and a recent documen-tary about Nelson Mandela.

In 2013 Sawhney released OneZero, a career retrospective of 17 songs rearranged for his virtuoso nine piece band and recorded live at Metropolis Studios. The project includes highlights from his catalog as well as tracks from his forth-coming album, Dystopian Dream, due to be released this fall. Sawhney hosts his own show for BBC Radio 2 – Nitin Sawhney Spins the Globe, and he composed for the BBC’s 2014 five part television series Wonders of the Monsoon.

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Artistic TeamArtistic Direction and Choreography: Akram Khan Composer: Nitin Sawhney Set Design: Anish Kapoor Lighting Design: Aideen Malone Costume Design: Kimie Nakano Additional Music: “Spectre” by John Oswald played by The Kronos Quartet Voice: Akram Khan, B C Manjunath Sound recording: Bernhard Schimpelsberger Produced by: Farooq Chaudhry Associate Producer for the Revival: Bia Oliveira North American Representation: John Luckacovic and Eleanor Oldham, 2 Luck Concepts Rehearsal Director: Andrej Petrovic With the support of: Eulalia Ayguade Farro, Moya Michael and Yen-Ching Lin Technical Director: Richard Fagan Technicians: Alex Castro, Peter Swikker Project and Tour Manager: Mashitah Omar

Material originally devised and performed by (2002-2004) Akram Khan, Rachel Krische, Moya Michael, Inn Pang Ooi, Shanell Winlock and Eulalia Ayguade Farro

Kaash was originally created with the generous support of Southbank Centre (London), Tramway (Glasgow), Vooruit (Gent), Sampad (Birmingham), DanceEast (Ipswich), Maison des Arts de Créteil and Wexner Center for the Arts at The Ohio State University with support from the Doris Duke Charitable Foundation.

Kaash was also created with generous support from The Quercus Trust, The Jerwood Space and Birmingham DanceXchange.

The 2014 revival of Kaash was supported by a residency at Trinity Laban Conservatoire of Music and Dance, London.

Akram Khan is an Associate Artist of Sadler’s Wells, London.

Supported by Arts Council England


About Kimie NakanoKimie Nakano studied literature at Musashino University in Tokyo, theater costume at Ecole Nationale Supérieure des Arts et Techniques du Théâtre in Paris and holds a theater design M.A. at Wimbledon College of Art in London.

Nakano has recently designed costumes for several pieces by Akram Khan Company, including the revival of Kaash; Dust, Khan’s piece for English National Ballet’s Lest We Forget; Vertical Road/The Rashomon Effect, Khan’s piece for the National Youth Dance Company; and TOROBAKA, Khan’s duet with flamenco star Israel Galván. Previous designs for Akram Khan Company include costumes for Gnosis and iTMOi and costume supervision for DESH.

Nakano designed sets and costumes for choreographer Didy Veldman’s Carmen for The Lithuanian National Opera and Ballet Theatre and The Little Prince for Les Grands Ballets Canadiens de Montréal; choreographer Eda Megumi’s 8:15 for the Rambert Dance Company; and Megumi Nakamura’s Sand Flower.

Nakano designed costumes for Aditi Mangaldas Dance Company’s Now Is and Timeless, choreographer Miguel Altunaga’s The Mustard Seed for Rambert Dance Company, Carlos Acosta’s Premieres Plus, Van Huynh Company’s Mural Study, and choreographer Jose Agudo’s A Thousand Shepherds.

Nakano’s set and costume designs for opera and theater include Yabu no Naka, directed by Mansai Nomura, a modern noh/kyogen play that received a Tokyo Art Festival Award; Ali to Karim, directed by Hafiz Karmali, on its U.S. Tour; Samuel Beckett’s Not I and Come and Go at the Théâtre National Populaire in Lyon, The Oslo Group’s The Oslo Experiment at Stratos in Oslo, Paul Sellar’s 2 Graves, performed at the Arts Theatre in London and the Edinburgh Festival Theatre, La Nuit du Train de la Voie Lactée, direct-ed by Hirata Oriza, for the Théâtre de Sartrouville, Dream Hunter, directed by Carmen Jacobi, and Michael Morpugo’s Kensuke Kingdom, at the Polka Theatre.

She has also designed 800 costumes for Shadow of Memory, commemorating the 20th anniversary of the Rwandan genocide. Most recently, she worked on the set and cos-tumes for Tristan und Isolde, directed by Carmen Jakobi, for Longborough Festival Opera.

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http://oberonbooks.com/author/paul-sellar/


At the age of 64, in her fifth and final attempt, Diana Nyad successfully fulfilled her lifelong dream of completing the 110-mile swim from Cuba to Florida on September 2, 2013. Upon completing her grueling 53-hour journey, a breath-less Nyad told the world, “I have three messages. One is we should never ever give up. Two is you are never too old to chase your dreams. And three is it looks like a solitary sport, but it takes a team.”

Nyad has never been one to quit. In July of 2010, at the age of 60, she began her “Xtreme Dream” quest of swimming from Cuba to Florida, a task she had failed to finish thirty years previously. When asked her motivation, she replied, “I’d like to prove to the other 60-year-olds that it is never too late to start your dreams.” Nyad was unsuccessful in her quest in 2010 and tried two more times 2011 and 2012 before completing the historic swim in 2013.

Back in the 1970s, Nyad was the greatest long-distance swimmer in the world. Her world records, such as circling Manhattan Island and crossing the 102.5 miles between the Bahamas and Florida, have led to induc-tions to many Halls of Fame, such as the International Women’s Sports Hall of Fame.

Nyad became a prominent sports broadcaster, filing com-pelling reports for NPR, ABC’s Wide World of Sports, Fox Sports, and The New York Times. She has written three books and speaks French and Spanish fluently. Nyad has also earned a reputation as a uniquely passionate and en-tertaining public speaker, earning standing ovations with a broad spectrum of audiences.

Nyad recently debuted the one-woman show, Onward! The Diana Nyad Story, in Los Angeles and Key West. Directed and adapted by Joshua Ravetch, who helped shape Carrie Fisher’s show Wishful Drinking, Onward! has received praise among the theater community. Her memoir, Find a Way, was published in October.


An Afternoon with

Diana NyadSAT, NOV 14 / 3 PM / CAMPBELL HALL

phot

o: Ju

lie M

illiga

n

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A billion stars out in an endless sky, and I won’t be alone, won’t be alone, won’t be alone tonight.

Resolute yearning, longing for connection, for contact, for touch, have been the core forces powering Melissa Etheridge’s cherished songs throughout her singular career. But these words hold new meaning in the rousing chorus of “I Won’t Be Alone Tonight,” the opening song of her album This Is M.E.

With this album, Etheridge’s 12th collection of new materi-al, she is not alone as a songwriter. For the vibrant collec-tion, she teamed with some of the most creative, inventive figures on the music scene: Jerrod Bettis (Adele, One Republic, Eric Hutchinson, Gavin DeGraw), Jon Levine (Nelly Furtado, K’Naan, Selena Gomez), JerryWonda (Grammy Award-winning producer of the Fugees, Mary J. Blige, Akon) and Roccstar (Usher, Chris Brown). It was a very new way of doing things for Etheridge, who counts two Grammy Awards and 17 nominations, an Academy Award (for “I Need to Wake Up” from the Al Gore documentary An Inconvenient Truth) and a star on the Hollywood Boulevard Walk of Fame among her many accolades.

Recording the new album proved an inspiring, electrify-ing experience for her, the best kind of challenge. And the resultant energy is clear in the songs.

“I haven’t been this excited about making music and cre-ating in ages,” Etheridge says. “Song after song was a great experience.”

The album’s declarative title is fitting – not despite the collaborations, but because of them. The powerful lyrics and incomparable voice, the indelible melodies, the blazing guitars could be from no one else. And same for the soulful joy and unbridled passion powering every note, from the big sing-along pop hooks of “A Little Hard Hearted” and “Do It Again” to the greasy, swampy sounds of “Ain’t That Bad” and “Stranger Road.”

These are songs right from her heart, frisky flirtation “Take My Number” and mystery-trip “Stranger Road” among those drawing on scenes and settings of her Kansas up-bringing. “Who Are You Waiting For” closes the album on the most intimate, emotional, personal, lump-in-the-throat note of her entire career. It’s the song she wrote for and debuted at her wedding to Linda Wallem.

“I opened a door to my inner little heart and wrote a song,” she says. “I sat down at the piano, started writing and the chorus came out, about how we were friends for years and years, and as we got closer it was, ‘Who are you waiting for? I’m right here!’”

Etheridge made a voice memo of what she’d written and sent it to Levine. “He went crazy over it, said, ‘You gotta warn me before playing something like that!’”

Levine put together the arrangement, including the organ that comes in toward the end. “That gets you,” she says. “The first time I heard that I burst into tears. I wasn’t there when he did it. It floored me.”

Santa Barbara Solo Debut

Melissa EtheridgeThis is M.E. SoloSUN, NOV 15 / 7 PM / CAMPBELL HALL

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she says. “‘Won’t Be Alone’ was one of those. And ‘Stranger Road’ is a perfect example. We created musical beds to-gether and then I wrote the lyrics and melodies.”

Jerry Wonda, the Grammy Award-winning producer of the Fugees, Mary J. Blige and many others, came on board as Etheridge explored her lifelong love for soul and urban music – “this side of me I’d never let out.” She went to his studio in Manhattan and found another new approach.

“With Jon Levine it was his him and me and a few ma-chines and then I’d go away and write,” she says. “With Jerry it was him and me, a drummer and two keyboard players all in the studio control room, and other people rounding it out. I’d say, ‘Play me something.’ And we’d start creating and right away he’d bring in other musicians and we would create the track. It was amazing!”

Young hip-hop rising force Roccstar brought in other ele-ments, and Etheridge returned the favor for him.

“He had this march beat – boom-boom-BOOM. But he’d never worked with live guitars, so I put on my Les Paul and started playing and he’s screaming and we’re having so much fun, and we created ‘Ain’t That Bad’ right there.”

The chance to experiment led to some unexpected touches, such as bringing in cellist Neyla Pakarek from the folkie band the Lumineers to contribute to a couple of songs. Etheridge had been turned onto the band by her daughter and became a fan. When Levine suggested bringing in a string player, Etheridge suggested Pakarek, who not only added cello to “Stranger Road” and an entire string section, playing all the parts, on “Who Are You Waiting For,” but showcased her singing on “A Little Hard Hearted.”

This is M.E. comes in a very active stretch for Etheridge. In addition to her steady touring, both with her band and as a solo act, she did a week stint in the role of St. Jimmy in American Idiot on Broadway in 2011, continued her noted activism speaking to the United Nations on LGBT rights as human rights, sang her own “Uprising of Love” and John Lennon’s “Imagine” as part of 2014’s New Year’s Eve celebration in Times Square and performed at the opening ceremonies of 2014’s WorldPride week in Toronto.

But the making of the album was inspired and inspiring, she says, simply: “I’ve made an album I love.”

Special thanks to

And that was only the preview of the song’s profound debut.

“I sang it at the wedding,” Etheridge says. “I was able to keep her from hearing it before. It was my vows.”

As the album title says, this is all Melissa Etheridge – ME.

“It’s still me – I’m just riding around in different cars,” she says. “Music is a collaborative art anyway. I gave it every-thing I could and pushed my creativity more than I ever have, by collaboration. Collaboration is not compromise. It’s a plus, bringing in people who make what I do better.”

Ideas flowed freely and quickly. “A Little Bit of Me” was written in the course of a plane ride to New York, Etheridge working from a beat and a melody Bettis had come up with. Similarly, the words for the swampy “Monster,” with its slinky slide guitar, came as she was on her way to the United Nations to speak as the global body was declaring LGBT rights as human rights, the song’s theme of being the “other,” the feared outsider, coming directly from her personal experience growing up gay.

This is M.E. also marks the debut of her independent label, ME Records. Distributed by Caroline Records and overseen in coordination with Primary Wave, a full-service music management and marketing strategy firm, the venture gives Etheridge new freedoms to explore creative avenues.

The whole process, she says, has been invigorating.

“It’s a liberating responsibility,” she says, noting that it’s not a contradiction in terms. “I was liberated to make my own choices, to be in charge of where every dime went, who ex-actly I wanted to record with. And it was a responsibility to say, ‘How can I get the best out of me and get the end result I’m looking for.’”

It was Primary Wave that first suggested she work with Jerrod Bettis and Jon Levine. Bettis tapped his origins as a drummer to create rhythm tracks as foundations on which Etheridge could build.

“I would take them and go home and write,” Etheridge says. “‘Take My Number’ – there it is!”

Levine, an accomplished keyboard player as well as pro-ducer, bonded quickly with Etheridge over their mutual love for Bruce Springsteen.

“We said, ‘Let’s make the songs we would want to hear,’”

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Garry KasparovWinter is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be StoppedTUE, NOV 17 / 8 PM / CAMPBELL HALL

Born in Baku, Azerbaijan, in the Soviet Union in 1963, Garry Kasparov became the under-18 chess champion of the USSR at the age of 12 and the world under-20 champi-on at 17. He came to international fame at the age of 22 as the youngest world chess champion in history in 1985. He defended his title five times, including a legendary series of matches against arch-rival Anatoly Karpov. Kasparov broke Bobby Fischer’s rating record in 1990 and his own peak rating record remained unbroken until 2013. His famous matches against the IBM super-computer Deep Blue in 1996-97 were key to bringing artificial intelligence, and chess, into the mainstream.

Kasparov’s outspoken nature did not endear him to the Soviet authorities, giving him an early taste of opposition politics. In 1990 he and his family escaped ethnic violence in his native Baku as the USSR collapsed. Kasparov, in his 20th year as the world’s top-ranked player, abruptly retired from competitive chess in 2005 to join the vanguard of the Russian pro-democracy movement. He founded the United Civil Front and organized the Marches of Dissent to protest the repressive policies of Vladimir Putin. In 2012 Kasparov was named chairman of the New York-based Human Rights Foundation, succeeding Vaclav Havel. Facing im-minent arrest during Putin’s crackdown, Kasparov moved from Moscow to New York City in 2013.

The U.S.-based Kasparov Chess Foundation promotes the teaching of chess in education systems around the world. Its program is already in use in schools across the United States, and has centers in Brussels, Johannesburg, Singapore and Mexico City. Kasparov and his wife, Dasha, travel frequently to promote the proven benefits of chess in

education and have toured Africa extensively. Kasparov is the author of two award-winning series of chess books, My Great Predecessors and Modern Chess.

Kasparov’s book on decision-making, How Life Imitates Chess, is available in over 20 languages. He has been a contributing editor to The Wall Street Journal since 1991 and is a regular commentator on politics and human rights. He speaks frequently to business audiences around the world on innovation, strategy, decision-making, and achieving peak mental performance. In 2013 he was named a Senior Visiting Fellow at the Oxford-Martin School with a focus on human-machine collaboration and cross-disciplinary futurism.

Kasparov’s new book, Winter is Coming: Why Putin and the Enemies of the Free World Must Be Stopped, was released in October.


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About the Program Sofia Gubaidulina (b. 1931): String Quartet No. 4 (1993)Sofia Gubaidulina was born in Chistopol in the Tatar Republic of the Soviet Union in 1931. Until 1992 she lived in Moscow. Since then, she has made her primary residence in Germany, outside Hamburg. Gubaidulina’s compositional interests have been stimulated by the tactile exploration and improvisation with rare Russian, Caucasian and Asian folk and ritual instruments collected by the Astreia Ensemble, of which she was a co-founder; the rapid absorption and personalization of contempo-rary Western musical techniques (a characteristic of other Soviet composers of the post-Stalin generation including Edison Denisov and Alfred Schnittke); and a deep-rooted belief in the mystical properties of music.

Her uncompromising dedication did not endear her to the Soviet musical establishment, but her music was championed in Russia by a number of devoted perform-ers including Vladimir Tonkha, Friedrich Lips, Mark Pekarsky and Valery Popov. Since 1985, when she was first allowed to travel to the West, Gubaidulina’s stature in the world of contemporary music has skyrocketed. She has been the recipient of prestigious commissions from the Berlin, Helsinki and Holland Festivals, the Library of Congress, the Chicago Symphony Orchestra, the New York Philharmonic and many other organiza-tions and ensembles.

Kronos QuartetTHU, NOV 19 / 7 PM / CAMPBELL HALL

David Harrington, violinJohn Sherba, violinHank Dutt, violaSunny Yang, cello

ProgramSofia Gubaidulina: String Quartet No. 4 *

Geeshie Wiley (arr. Jacob Garchik): Last Kind Words ‡

Wu Man (arr. Danny Clay): Four Chinese Paintings *i. Gobi Desert at Sunsetii. Turpan Danceiii. Ancient Echoiv. Silk and Bamboo

Composed for Fifty for the Future: The Kronos Learning Repertoire

Aleksandra Vrebalov: Pannonia Boundless *

Missy Mazzoli: Harp and Altar *

Laurie Anderson (arr. Jacob Garchik): Flow ‡

Nicole Lizée: Death to Kosmische *

- Intermission -

Hildegard von Bingen (arr. Marianne Pfau): O Virtus Sapientie ‡

Mary Kouyoumdjian: Silent Cranes *i. slave to your voiceii. you did not answeriii. [with blood-soaked feathers]iv. you flew away

Program subject to change / * Written for Kronos / ‡ Arranged for Kronos

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Leg Blues,” and provided backup for a few additional tracks. Nevertheless, her recording of “Last Kind Words” has given Wiley the reputation of being one of the great early blues musicians. Blues scholar Don Kent has written,

If Geeshie Wiley did not exist, she could not be in-vented: her scope and creativity dwarfs most blues artists. She seems to represent the moment when black secular music was coalescing into blues… Moreover, despite her sensual voice, the persona she presents is as tough as Charley Patton: money before romance and she sweetly says, while extolling her sexual charms, that she’s calmly capable of killing you… [“Last Kind Words”] is one of the most imaginatively constructed guitar arrangements of its era and possible one of the most archaic. Although the lyrics date it to the late World War I era, its eight-bar verse structure appears to be older.

The lyrics read, in part, “The last kind words I heard my dad-dy say: ‘If I die in the German war, please don’t bury my soul. Ah, child, just leave me out, let the buzzards eat me whole.’”

Jacob Garchik’s arrangement of “Last Kind Words” by Geeshie Wiley was commissioned for the Kronos Quartet by the David Harrington Research and Development Fund.

Wu Man (b. 1963): Four Chinese Paintings (2015) Recognized as the world’s premier pipa virtuoso and leading ambassador of Chinese music, Grammy Award-nominated musician Wu Man has carved out a career as a soloist, educator and composer giving her lute-like instrument – which has a history of over 2,000 years in China – a new role in both traditional and contemporary music. Having been brought up in the Pudong school, one of the most presti-gious classical pipa styles of Imperial China, Wu Man is now recognized as an outstanding exponent of the traditional repertoire as well as a leading interpreter of contemporary pipa music by today’s most prominent composers. Wu Man’s efforts were recognized when she was named Musical America’s 2013 Instrumentalist of the Year, the first time this prestigious award has been bestowed on a player of a non-Western instrument.

Born in Hangzhou, China, Wu Man studied with Lin Shicheng, Kuang Yuzhong, Chen Zemin and Liu Dehai at the Central Conservatory of Music in Beijing, where she became the first recipient of a master’s degree in pipa. Accepted into the conservatory at age 13, Wu Man’s audition was covered by national newspapers and she was hailed as a child prodigy, becoming a nationally recognized role model for young pipa players. In 1985 she made her first visit to the U.S., as a member of the China Youth Arts Troupe. Wu Man

Gubaidulina is a member of the Akademie der Künste in Berlin and the Freie Akademie der Künste in Hamburg, of the Royal Music Academy in Stockholm and of the German order “Pour le mérite.” Her awards include the prestigious Praemium Imperiale in Japan, the Sonning Prize in Denmark, the Polar Music Prize in Sweden, the Great Distinguished Service Cross of the Order of Merit of the Federal Republic of Germany and the Living Composer Prize of the Cannes Classical Awards. In 2004 she was elected as a foreign honorary member of the American Academy of Arts and Letters.

Of String Quartet No. 4, Gubaidulina writes,

What interested me especially with this piece was how the “real” arises from the “unreal”: the “real” normal play of arco or pizzicato arising from the “unreal” trans-parent sounds of rubber balls on the strings; the “real” on-stage playing of the quartet arising from the “un-real” playing by the same musicians on a pre-recorded tape; the “real” colored lights arising from the “unreal” white and black (white and black, after all, represent the absence of light; color becomes “unreal” within them).

As such, three trinities unfold: the sound of the quartet and its two recorded hypostases; the real form and its two recorded satellites; the creative reality of the play of light and its two unreal protagonists of complete light and complete darkness.

All the details of the piece – both its material essence and its compositional design – are derived from the basic idea that “real genuine” is born of the “unreal artificial” (and not the reverse). For me, this idea was best expressed in T. S. Eliot’s “Four Quartets.” I would be pleased if my composition were to be heard and perceived as a musical response to the creative world of that great poet.

Sofia Gubaidulina’s String Quartet No. 4 was commissioned for Kronos by Mrs. Ralph I. Dorfman, the Barbican (London) and Théâtre de la Ville (Paris). Kronos’ recording of String Quartet No. 4 can be found on the Nonesuch recordings Night Prayers and Kronos Quartet: 25 Years. Gubaidulina’s String Quartet No. 2 appears on Kronos’ Nonesuch recording Short Stories.

Geeshie Wiley (early 20th cent.): Last Kind Words (c. 1930) Arranged by Jacob GarchikIn 1930 Geeshie Wiley recorded “Last Kind Words” in Grafton, Wis., for Paramount Records. Beyond this, very little information is confirmed about this singer’s life, though there are reports that she came from Mississippi. She recorded a second song at the same session, “Skinny

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Kronos for the album Floodplain. Her string quartet Pannonia Boundless, also for Kronos, was published by Boosey & Hawkes as part of the Kronos Collection and recorded for the album Kronos Caravan.

Vrebalov recently finished a song cycle on Charles Simic’s poetry commissioned by ASCAP/Kingsford Fund and a sound installation with architect Ronit Eisenbach, converting an old bank building into a music box in Chestertown, Md. She is currently working on a new piece for Kronos as part of the Fifty for the Future project and collaborating with choreog-rapher Patricia Okenwa on a new piece to be premiered by Rambert Dance Company in London in February 2016. For more information, please see aleksandravrebalov.com.

The Pannonia of Vrebalov’s title reminds us of the mutability of boundaries past and present. Pannonia was once a Roman province, before parts passed to the Holy Roman Empire, the Ottomans, the Habsburgs and the Soviets. The dawning of the 21st century saw its redrawn frontiers embracing Serbia, Austria, Croatia, Slovenia and Hungary.

About Pannonia Boundless, Vrebalov writes,

Pannonia is a completely open and wide land of many crossroads that connects the Mediterranean with north-east Europe and the Orient. There are no mountains or hills as far as the eye can see. It is a special, limitless place. I based Pannonia Boundless on Gypsy tunes that have been so typical for Vojvodina, the region of the former Yugoslavia where I was born and grew up.

The piece is about freedom, continuous journey, fric-tion between an individual and society, love and pas-sion for life. It is a musical journal on faces, landscapes and sounds of the region where Gypsy caravans and traveling musicians are still a part of everyday life. If you ache for freedom, if you’d rather go than stay, if you live your dreams and your fears, if your home is where your soul is, then you will understand. Journey is what matters, with no goal, no plans, no rest.

Vrebalov’s Pannonia Boundless was commissioned for the Kronos Quartet by Hancher Auditorium/University of Iowa and appears on Kronos’ Nonesuch release Kronos Caravan. Sheet music for Pannonia Boundless is available in Volume 1 of the Kronos Collection, a performing edition published by Boosey & Hawkes.

Missy Mazzoli (b. 1980): Harp and Altar (2009)Missy Mazzoli, born in Pennsylvania, has had her music performed all over the world by the Kronos Quartet, eighth blackbird, Emanuel Ax, American Composers Orchestra, JACK Quartet, New York City Opera, Minnesota Orchestra, Detroit Symphony, Maya Beiser, Jennifer Koh, Dublin’s Crash

moved to the U.S. in 1990 and currently resides with her husband and son in California.

Wu Man’s new work was written for Kronos’ Fifty for the Future program. Kronos Quartet/Kronos Performing Arts Association has launched an exciting new commission-ing initiative – Fifty for the Future: The Kronos Learning Repertoire. Beginning in the 2015/16 season, Fifty for the Future will commission 50 new works – 10 per year for five years – devoted to contemporary approaches to the quartet and designed expressly for the training of students and emerging professionals. The works will be created by an eclectic group of composers – 25 men and 25 women. Kronos will premiere each piece and create companion dig-ital materials, including scores, recordings and performance notes, which will be distributed online for free. Kronos’ Fifty for the Future will present string quartet music as a living art form. Kronos, Carnegie Hall and an adventurous list of project partners will join forces to support this exciting new commissioning, performance, education and legacy project of unprecedented scope and potential impact.

Fifty for the Future: The Kronos Learning Repertoire is a program of the Kronos Performing Arts Association and is made possible by generous support from an adventurous group of partners, including Carnegie Hall and many others.

Aleksandra Vrebalov (b. 1970): Pannonia Boundless (1998)Aleksandra Vrebalov, a native of the former Yugoslavia, left Serbia in 1995 and now lives in New York City. She has written more than 60 works, ranging from concert music to opera and modern dance to music for film. Her works have been commissioned and/or performed by the Kronos Quartet, Serbian National Theater, Carnegie Hall, Moravian Philharmonic, Belgrade Philharmonic and Providence Festival Ballet. Vrebalov is a fellow of MacDowell Colony, Rockefeller Bellagio Center, New York’s New Dramatists, American Opera Projects, Other Minds Festival and Tanglewood. Her awards include The Harvard Fromm Commission, The American Academy of Arts and Letters Charles Ives Fellowship, Barlow Endowment Commission, MAP Fund, Vienna Modern Masters, Meet the Composer and Douglas Moore Fellowship. Her works have been re-corded for Nonesuch, Innova, Centaur, Records and Vienna Modern Masters.

Vrebalov’s collaborative work with director Bill Morrison, Beyond Zero (1914–1918), was commissioned and pre-miered by Kronos at U.C. Berkeley’s Cal Performances in April 2014 and had its European premiere at the Edinburgh International Festival that summer. Her string quartet …hold me, neighbor, in this storm… was written for and recorded by

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Crane learn that one of its key builders, Washington Roebling, had once lived at the same address. Every day I take long walks around my Brooklyn neighbor-hood, often ending up at the site of the house where Crane lived when he wrote these lines. In writing this piece for the Kronos Quartet I tried to imagine the Brooklyn Bridge through Crane’s eyes, a new monu-ment to technology, a symbol of optimism and faith.

Many thanks to the Kronos Quartet, Gabriel Kahane, Margaret Dorfman and the Ralph I. Dorfman Family Fund for making this work possible.

Sampled Vocals by Gabriel Kahane.

Mazzoli’s Harp and Altar was commissioned for the Kronos Quartet by Margaret Dorfman and the Ralph I. Dorfman Family Fund.

Laurie Anderson (b. 1947): Flow (2010) Arranged by Jacob Garchik (b. 1976)Laurie Anderson is one of America’s most renowned and daring creative pioneers. Her work, which encompasses music, visual art, poetry, film and photography, has chal-lenged and delighted audiences around the world for more than 30 years. Anderson is best known for her multimedia presentations and musical recordings. Anderson’s first al-bum, O Superman, launched her recording career in 1980, rising to No. 2 on the British pop charts and subsequently appearing on her landmark release Big Science. She went on to record six more albums with Warner Brothers. In 2001 Anderson recorded her first album with Nonesuch Records, the critically lauded Life on a String, followed by Homeland in 2010. (The original version of “Flow” is the final track on her 2010 Nonesuch album Homeland and was nominated for a Grammy for Best Pop Instrumental.) Recent multimedia productions include Delusion (2010) and Dirtday (2011), the third in a cycle that also includ-ed the works Happiness (2001) and The End of the Moon (2004). Anderson collaborated with the Kronos Quartet on the 2013 work Landfall. Anderson’s visual and installation work has been presented since 1980 in major museums throughout the world. In addition she has directed several films and recorded many works for film and dance.

Jacob Garchik’s arrangement of Flow, by Laurie Anderson, was commissioned for the Kronos Quartet by the David Harrington Research and Development Fund.

Nicole Lizée (b. 1973): Death to Kosmische (2010)Nicole Lizée is a composer, sound artist and keyboardist based in Montreal, Quebec. Her compositions range from works for large ensemble and solo turntablist featuring DJ techniques fully notated and integrated into a concert mu-

Ensemble, Sydney Symphony and others. She is Composer-in-Residence with Opera Philadelphia, Gotham Chamber Opera and Music Theatre-Group and is on the composition faculty at the Mannes College of Music.

The 2014/15 season included a new work for the string quartet Ethel and the release of her band Victoire’s second album, works recorded with Glenn Kotche and Lorna Dune. With librettist Royce Vavrek, Mazzoli is working on Breaking the Waves, a chamber opera based on Lars von Trier’s film, commissioned by Opera Philadelphia. The 2013/14 season included the Carnegie Hall premiere of Mazzoli’s Vespers for a New Dark Age. She also created new works commissioned by the LA Philharmonic, Young People’s Chorus of New York and Emanuel Ax. Other recent projects include her first opera, Song from the Uproar, in a Beth Morrison production in 2012. Her second operatic work, SALT, written for Maya Beiser and Helga Davis, premiered as part of the BAM Next Wave Festival.

Mazzoli is an active pianist and keyboardist and often per-forms with Victoire, which she founded in 2008. She is the recipient of four ASCAP (American Society of Composers, Authors and Publishers) Young Composer Awards, a Fulbright Grant to The Netherlands and grants from the Jerome Foundation, American Music Center and the Barlow Endowment. From 2007 to 2010 she was Executive Director of the MATA Festival, an organization dedicated to promot-ing the work of young composers. Mazzoli attended the Yale School of Music, the Royal Conservatory of the Hague and Boston University. Her music is published by G. Schirmer.

About Harp and Altar, Mazzoli writes:

Harp and Altar is a love song to the Brooklyn Bridge. The title comes from a poem by Hart Crane, in which he describes the Brooklyn Bridge as “that harp and altar of the Fury fused.” The Borough of Brooklyn is impossible to describe, but the Brooklyn Bridge seems to be an apt symbol for its vastness, its strength and its history. Halfway through the work the vocalist sings fragments of these lines from Crane’s poem “The Bridge”:

Through the bound cable strands, the arching path Upward, veering with light, the flight of strings, Taut miles of shuttling moonlight syncopate The whispered rush, telepathy of wires.

Crane lived for some time at 110 Columbia Heights in Brooklyn, in an apartment overlooking the Brooklyn Bridge. Only after completing his poem did

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She also teaches graduate seminars at the Musicological Institute of the University of Hamburg, Germany. Pfau has published extensively on Hildegard of Bingen, and edits 18th-century music for Baroque Oboe. She leads an active musical life as baroque oboist and recorder soloist, perform-ing and recording in the U.S. and in Europe. She often joins American Bach Soloists, Jubilate Baroque Orchestra and California Bach Society in San Francisco, Trinity Consort in Oregon, Ensemble Rebel in New York, Musica Alta Ripa, L’Arco Baroque Orchestra Hannover, Corona Musica Kassel, Cythara Ensemble Hamburg, Accademia dell’Arca-dia Poznan and many others. As director of the ensembe Toutes Suites, she has recorded five CDs of newly discovered 18th-century music for Baroque Hautbois Band on the labels GENUIN classic in Leipzig, virtilia in Hamburg and for Bayerischer Rundfunk in Nuremberg.

Pfau’s arrangement of O Virtus Sapientie by Hildegard von Bingen appears on Kronos’ Nonesuch recording Early Music.

Mary Kouyoumdjian (b. 1983): Silent Cranes (2015)Note: Silent Cranes includes recorded interviews with survivors of the Armenian Genocide. Some of the verbal accounts of the atrocities are graphic and may be disturbing for some audience members.

Mary Kouyoumdjian was selected as the recipient of the fifth commission offered through the Kronos: Under 30 Project. Begun in 2003, the Kronos: Under 30 Project is a commissioning and residency program for composers under 30 years of age, created to acknowledge the 30th anniversary of the founding of the Kronos Quartet. The program supports the creation of new work by young artists and helps Kronos cultivate stronger connections with young composers in order to develop lasting ar-tistic relationships with the next creative generation. Kouyoumdjian’s work Bombs of Beirut, written for the Kronos: Under 30 Project, has been performed in major venues throughout the U.S. and Europe, including the Edinburgh International Festival.

Kouyoumdjian is a composer with projects ranging from concert works to multimedia collaborations and film scores. As a first generation Armenian-American and hav-ing come from a family directly affected by the Lebanese Civil War and Armenian Genocide, she uses a sonic pallet that draws on her heritage, interest in folk music and back-ground in experimental composition to progressively blend the old with the new.

Kouyoumdjian has received commissions from the Kronos Quartet, Carnegie Hall for This Should Feel Like Home, the American Composers Forum/JFund for Dzov

sic setting, to other unorthodox instrument combinations that include the Atari 2600 video game console, Simon and Merlin handheld games and karaoke tapes. Lizée has received commissions from artists and ensembles such as l’Orchestre Métropolitain du Grand Montréal, CBC, So Percussion and Darcy James Argue’s Secret Society. In 2010 she was awarded a fellowship from the prestigious Civitella Ranieri Foundation based in New York City and Italy. She has twice been named a finalist for the Jules-Léger Prize, most recently in 2007 for This Will Not Be Televised, scored for chamber ensemble and turntables, and recommended among the Top Ten at the 2008 International Rostrum of Composers. In 2002 she was awarded the Canada Council for the Arts Robert Fleming Prize, and in 2004 she was nominated for an Opus Prize.

About Death to Kosmische, Lizée writes:

Death to Kosmische is a work that reflects my fasci-nation with the notion of musical hauntology and the residual perception of music, as well as my love/hate relationship with the idea of genres. The musi-cal elements of the piece could be construed as the faded and twisted remnants of the Kosmische style of electronic music. To do this, I have incorporated two archaic pieces of music technology (the Stylophone and the Omnichord) and have presented them through the gauze of echoes and reverberation, as well as through imitations of this technology as played by the strings. I think of the work as both a distillation and an expansion of one or several memories of music that are irrevocably altered by the impermanence of the mind. Only ghosts remain.

Lizée’s Death to Kosmische was commissioned for the Kronos Quartet by Margaret Dorfman and the Ralph I. Dorfman Family Fund.

Hildegard von Bingen (1098-1179): O Virtus Sapientie (12th Century)Arranged by Marianne PfauHildegard von Bingen lived all her life close to the river Rhine, in what is now Southwestern Germany. She was a composer, a poet, a dramatist and a mystic who saw visions of the struggle between good and evil, of Judgment Day and of the Eternal City. She was also a practical person of the world, an Abbess who defended the interests of her monas-tery and her nuns, who wrote letters of advice and condem-nation to bishops, popes, kings and emperors and books about medicine and the natural world.

Marianne Pfau, teaches Western music history at University of San Diego, with a specialization in music before 1800.

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first, second and fourth movement titles quote directly from the folk song lyrics. Those who were lost during the genocide are cranes in their own way, unable to speak of the horrors that happened, and it is the responsibility of the living to give them a voice.

The prerecorded backing track includes testimonies by genocide survivors, recordings from the genocide era of Armenian folk songs and a poem from investigative jour-nalist David Barsamian in response to the question, “Why is it important to talk about the Armenian Genocide 100 years later?”

Special thanks to those who shared their history, to those who contributed recordings, to Laurie Olinder for creating a visual narrative for this project, to David Barsamian for his words and light and to the Kronos Quartet and Kronos Performing Arts Association for telling this story that so desperately needs to be heard. Silent Cranes is dedicated to those lost and to those living who can promote change.

Folk Songs:Groung (Crane) performed by Komitas Vardapet/Armenak Shah Muradian and Andouni (Homeless) performed by Komitas Vardapet in Paris, France, 1912 (courtesy of Traditional Crossroads); Groung (Crane) performed by Zabelle Panosian in Harlem, New York, 1916 (courtesy of Tompkins Square)

Survivor Testimonies:Araxie Barsamian, Bishop Hagop, Victoria Mellian (courtesy of David Barsamian); Haig Baronian, Aghavnie Der Sarkissian, Elise Hagopian Taft, Nium Sukkar (courtesy of the Armenian Film Foundation); Azniv Guiragossian (interviewed by Taleen Babayan and the composer)

Silent Cranes Credits:Projection Design: Laurie OlinderPoetry: David Barsamian, excerpts from “A Century….”Lighting Design: Brian H. ScottSound Design: Brian MohrProducer: Janet CowperthwaiteProduction Management: Kronos Performing Arts Association

Special thanks to

Yerku Kooynov [Sea of Two Colors], REDSHIFT, the Los Angeles New Music Ensemble, the Nouveau Classical Project, Friction Quartet, Experiments in Opera and Ensemble Oktoplus. She has had composer residencies with Roulette/The Jerome Foundation, Con Edison’s Exploring the Metropolis and Montalvo Arts Center. Her music has been described as “eloquently scripted” and “emotionally wracking” by The New York Times and “utterly moving… well-crafted, thoughtful and engaging from beginning to end” by I Care if You Listen. In her work as a composer, orchestrator and music editor for film, she has collaborated on a diverse array of motion pictures and recently orchestrated on the soundtrack to The Place Beyond the Pines (Focus Features). Currently based in Brooklyn, N.Y., Kouyoumdjian also actively promotes the growth of new music in her native state of California.

Holding an M.A. in Scoring for Film & Multimedia from New York University and a B.A. in Music Composition from the University of California, San Diego, she has studied contem-porary composition with Chaya Czernowin, Steven Kazuo Takasugi and Chinary Ung; new music performance with Steven Schick; and modern jazz with Anthony Davis. She is studying for her D.M.A. in Composition as a Dean’s Fellow at Columbia University this fall. Kouyoumdjian is also a co-founder and the executive director of the New York-based contemporary music ensemble Hotel Elefant, co-founder of the New Music Gathering and teaches at the New York Philharmonic’s Very Young Composers Bridge Program. www.marykouyoumdjian.com

About Silent Cranes, Kouyoumdjian writes,

April 24, 2015 marks the centennial of the Armenian Genocide, a tragic event that led to the mass extermina-tion of 1.5 million Armenians by the Ottoman Turks that was the first genocide of the 20th century. While over 20 countries and 43 U.S. states have formally recognized the Armenian Genocide, modern-day Turkey has yet to do so and threatens imprisonment to those who push the topic within its borders. Even now, 100 years later, this historic event continues to be just as unresolved as it was before. As an Armenian-American composer who values free-dom of speech and whose family fled the genocide, I feel this is an essential time to remember those who were lost, while continuing a dialogue about what happened and how we can prevent further genocides from happening in the future.

Silent Cranes is inspired by the Armenian folk song Groung (Crane) in which the singer calls out to the mi-gratory bird, begging for word from their homeland, only to have the crane respond with silence and fly away. The

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Alex HonnoldAlone on the WallSUN, NOV 22 / 7 PM / CAMPBELL HALL

A visionary of the sort that comes along only once in a generation, Alex Honnold is a professional adventure rock climber whose audacious free-solo ascents of America’s biggest cliffs have made him one of the most recognized and followed climbers in the world. His specialty is free soloing, a type of climbing performed without a rope, part-ner, or hardware for aid or protection. The results of climb-ing this way are breathtaking, but the stakes are ultimate: if you fall, you die.

Only a few years ago, Alex Honnold was little known be-yond a small circle of hardcore climbers. Today, he is prob-ably the most famous adventure athlete in the world. In that short time, he has proven his expertise in many styles of climbing and has shattered speed records, pioneered routes, and won awards within each discipline. More spec-tacularly still, he has pushed the most extreme and danger-ous form of climbing far beyond the limits of what anyone thought was possible.

A gifted and hard-working athlete, Honnold is sponsored by The North Face, Black Diamond, La Sportiva, and Maxim Ropes. He has been profiled by 60 Minutes and The New York Times, featured on the cover of National Geographic, appeared in international television commer-cials and starred in numerous adventure films including the Emmy-nominated Alone on the Wall.

In the book Alone on the Wall, Honnold recounts the seven most astonishing climbing achievements so far in his meteoric and still-evolving career. He narrates the drama of each climb and illuminates the inner workings of his highly

perceptive and discerning mind. We share in the jitters and excitement he feels waking in his van (where he lives full time) before a climb; we see him self-criticize in his climb-ing journal (a veritable bible for students of the sport); and we learn his secrets to managing fear – his most enviable talent. Alone on the Wall takes us around the world and through the highs and lows in the life of a climbing super-star known for his death-defying feats. Honnold’s extraor-dinary life, and his idiosyncratic worldview, have much to teach us about risk, reward and the ability to maintain a singular focus, even in the face of extreme danger.

Alex “No Big Deal” Honnold is recognized as much for his humble, self-effacing attitude as he is for the dizzyingly tall cliffs he has climbed without a rope to protect him if he falls. He is the founder of the Honnold Foundation, an environmental non-profit, and to this day, he maintains his simple “dirtbag-climber” existence, living out of his van and traveling the world in search of the next great vertical adventure.


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Event Sponsors: Anne & Michael Towbes

Co-sponsor: Patricia Gregory, for the Baker Foundation

Pink Martini Holiday ShowTHU, DEC 3 / 8 PM / ARLINGTON THEATRE

Thomas M. Lauderdale, piano Storm Large, vocals Gavin Bondy, trumpet Robert Taylor, trombone Nicholas Crosa, violin

Phil Baker, upright bass Dan Faehnle, guitar Timothy Nishimoto, vocals and percussion Brian Davis, congas and percussion Anthony Jones, drums and percussion

“Pink Martini is a rollicking around-the-world musical adventure… If the United Nations had a house band in 1962, hopefully we’d be that band.” – Thomas Lauderdale, bandleader/pianist

In 1994 in his hometown of Portland, Ore., Thomas Lauderdale was working in politics, thinking that one day he would run for mayor. Like other eager politi-cians-in-training, he went to every political fundraiser under the sun, but was dismayed to find the music at these events underwhelming, lackluster, loud and un-neighborly. Drawing inspiration from music from all over the world – crossing genres of classical, jazz and old-fashioned pop – and hoping to appeal to conservatives and liberals alike, he founded the “little orchestra” Pink Martini in 1994 to pro-vide more beautiful and inclusive musical soundtracks for political fundraisers for causes such as civil rights, afford-able housing, the environment, libraries, public broadcast-ing, education and parks.

One year later, Lauderdale called China Forbes, a Harvard

classmate who was living in New York City, and asked her to join Pink Martini. They began to write songs togeth-er. Their first song, “Sympathique,” became an overnight sensation in France, was nominated for Song of the Year at France’s Victoires de la Musique Awards, and to this day re-mains a mantra (“Je ne veux pas travailler” or “I don’t want to work”) for striking French workers. Says Lauderdale, “We’re very much an American band, but we spend a lot of time abroad and therefore have the incredible diplo-matic opportunity to represent a broader, more inclusive America… the America which remains the most hetero-geneously populated country in the world… composed of people of every country, every language, every religion.”

Featuring a dozen musicians, Pink Martini performs its multilingual repertoire on concert stages and with sym-phony orchestras throughout Europe, Asia, Greece, Turkey, the Middle East, Northern Africa, Australia, New Zealand, South America and North America. Pink Martini made its European debut at the Cannes Film Festival in 1997 and its orchestral debut with the Oregon Symphony in

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Powell, Rufus Wainwright, Martha Wainwright, Henri Salvador, Chavela Vargas, New York performer Joey Arias, puppeteer Basil Twist, Georges Moustaki, Michael Feinstein, filmmaker Gus Van Sant, Courtney Taylor-Taylor of The Dandy Warhols, clarinetist and conductor Norman Leyden, Japanese legend Hiroshi Wada, Italian actress and songwriter Alba Clemente, DJ Johnny Dynell and Chi Chi Valenti, Faith Prince, Mamie Van Doren, the origi-nal cast of Sesame Street, the Bonita Vista High School Marching Band of Chula Vista, Calif., the Portland Youth Philharmonic, and the Pacific Youth Choir of Portland, Ore. Singer Storm Large began performing with Pink Martini in March 2011, when China Forbes took a leave of absence to undergo surgery on her vocal cords. Forbes made full recovery and now both she and Large continue performing with Pink Martini.

Bandleader Thomas Lauderdale began work on Pink Martini’s seventh studio album when he recorded the Charlie Chaplin song “Smile” with the legendary Phyllis Diller in 2012. The album, Get Happy, was released in 2013 and features 16 globe-spanning songs in nine lan-guages. The band’s beloved vocalist China Forbes anchors the recording with her new co-lead singer Storm Large, recording with Pink Martini for the first time, along with a cavalcade of special guests including Rufus Wainwright, Philippe Katerine, Meow Meow, The von Trapps & Ari Shapiro.

While still in the studio for Get Happy, Lauderdale simul-taneously began work on the band’s eighth studio album, Dream a Little Dream, featuring Sofia, Melanie, Amanda and August von Trapp, the great-grandchildren of Captain and Maria von Trapp, made famous by the movie The Sound of Music. These siblings have been singing together for 12 years and have toured all over the world in concert. Drawn into the magical orbit of Thomas Lauderdale, they now live together in a house in Portland, Ore., and have been frequent guest performers with Pink Martini for the past two years. The album, released in 2014, traverses the world, from Sweden to Rwanda to China to Bavaria, and features guest appearances by The Chieftains, Wayne Newton, “Jungle” Jack Hanna and Charmian Carr, who played Liesl in The Sound of Music.


1998. Since then, the band has gone on to play with more than 50 orchestras around the world, including multiple engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony, the Cleveland Orchestra, and the BBC Concert Orchestra at Royal Albert Hall in London. Other appearances include the grand opening of the Los Angeles Philharmonic’s Frank Gehry-designed Walt Disney Concert Hall, with return sold-out engagements for New Year’s Eve 2003, 2004, 2008 and 2011; four sold-out concerts at Carnegie Hall; the opening party of the remodeled Museum of Modern Art in New York City; the Governor’s Ball at the 80th Annual Academy Awards; the opening of the 2008 Sydney Festival in Australia; multiple sold-out appearances and a festi-val opening at the Montreal Jazz Festival, two sold-out concerts at Paris’ legendary L’Olympia Theatre; and Paris’ fashion house Lanvin’s 10-year anniversary celebration for designer Alber Elbaz. In its 20th year, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame.

Pink Martini’s debut album Sympathique was released inde-pendently in 1997 on the band’s own label Heinz Records (named after Lauderdale’s dog), and quickly became an international phenomenon, garnering the group nomina-tions for Song of the Year and Best New Artist in France’s Victoires de la Musique Awards in 2000. Pink Martini released Hang on Little Tomato in 2004, Hey Eugene! in 2007 and Splendor in the Grass in 2009. In 2010 the band released Joy to the World – a festive, multi-denominational holiday album featuring songs from around the globe. Joy to the World received glowing reviews and was carried in Starbucks stores during the 2010 and 2011 holiday seasons. All five albums have gone gold in France, Canada, Greece and Turkey.

In 2011 the band released two albums – A Retrospective, a collection of the band’s most beloved songs spanning their 18-year career, which includes eight previously unreleased tracks, and 1969, an album of collaborations with legend-ary Japanese singer Saori Yuki. 1969 has been certified plat-inum in Japan, reaching No. 2 on the Japanese charts, with the Japan Times raving, “The love and respect Saori Yuki and Pink Martini have for the pop tradition shines through on every track.” The release of 1969 marked the first time a Japanese artist hit the American Billboard charts since Kyu Sakamoto released “Sukiyaki” in 1963. Pink Martini albums have sold over 3 million copies worldwide.

The band has collaborated and performed with numer-ous artists, including Jimmy Scott, Carol Channing, Jane

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THU, OCT 29 / 7:30 PM / CAMPBELL HALL

(805) 893-3535 / www.ArtsAndLectures.UCSB.edu$15 / $10 UCSB students and Youth (18 & under)

A six-senses experience of art, adventure, culture and the environment in an eclectic and exciting program of 14

short films, animation and digital media.

Visitors have received a warm welcome at the

Franciscan Inn since its early days as a beachside

ranch in the 1920s. Today, the Inn provides a wide range of

accommodations, from singles to suites, individually deco-

rated with an emphasis on comfort, privacy, and the highest

level of personalized service.

109 Bath Street, Santa Barbara, CA 93101

(805) 963-8845 Fax (805) 564-3295

www.franciscaninn.com

• One block from beach & marina

• Minutes from State Street shopping & dining

• Easy access to Highway 101 and the wineries

of Santa Ynez Valley

• Heated pool & spa

• Complimentary continental breakfast and

fresh-baked cookies at afternoon reception

ust Steps From the Beach, and the Heart of Santa Barbara

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AdFranInnFull_12.11.13_Layout 1 12/11/13 12:25 PM Page 1

Distinctly Californian with an Italian influence, Bella Vista offers the freshest local seafood, organic produce and an extensive selection of fine wines. And as the name suggests, the panoramic views of the Pacific from our heated outdoor terrace are simply beautiful.

To make a reservation, please call 1 (805) 969-2261 or visit fourseasons.com/santabarbara

Farm-to-table cuisine.Table-to-oceanviews.

• Complimentary Breakfast Buffet • Complimentary speCialty Coffees • free Wi-fi everyWhere • fitness Center on site • transportation to and from airport/uCsB • Walk to restaurants & shops

[email protected] Calle Real, Goleta, CA

800-350-3614 • 805-967-3200

Welcome.

Fabulous Granada seats from $28 / 805.899.2222 / www.thesymphony.org

NIR KABARETTI I Music & Artistic Director GISÈLE BEN-DOR I Conductor Laureate

2015- 16 SEASON

LET’SPLAY

C E L E B R A T I N G M A E S T R O K A B A R E T T I ’ S 1 0 T H A N N I V E R S A RY

October 17-18, 2015Carmina Burana: the ultimate symphony, choral and ballet collaboration!

November 14-15, 2015“O Romeo, Romeo, wherefore art thou Romeo?”Shakespeare Set To Music

December 31, 2015New Year’s Eve Pops

January 16-17, 2016Handel’s Water Music + Bartok and more!

February 13-14, 2016Rachmaninoff’s Most Popular Rhapsody on a Theme by Paganini and Symphonic Dances

March 12-13, 2016Kabaretti’s Favorites The Best of Wagner, Hummel and Brahms

April 9-10, 2016Timothy Chooi Returns! with Tchaikovsky’s Violin Concerto & Sounds of the Ocean - 3 favorite interpretations

May 14-15, 2016 The Best of Classical Guitar with OrchestraConcerts are on Saturdays at 8pm and Sundays at 3pm. Programs, dates and artists are subject to change

For complete program listings visit thesymphony.org

Granada Theatre Box Office p 805.899.2222 1214 State Street, Santa Barbara, CA

Come experience world class musicians performing music you know, remember and cherish

Thank You to Our Generous Sponsors

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