JENNIFER KOH TEAMS UP WITH ORPHEUS CHAMBER ORCHESTRAencoreartssf.com/sites/default/files/programs/stanford-live... · virtuoso! jennifer koh teams up with orpheus chamber orchestra

VIRTUOSO!JENNIFER KOH TEAMS UP WITH ORPHEUS CHAMBER ORCHESTRA

NOV/DEC 2014PERFORMING ARTS SEASON MAGAZINE

PLUSEARLY MUSIC AT BING, BRAD MEHLDAU, CHANTICLEER, AND MORE

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Stanford Live is Stanford University’s world-class arts presenter and producer. We are committed to sharing, celebrating, and advancing the art of live music, dance, theater, and opera. We unite celebrated and emerging artists with the Stanford campus and greater Bay Area communities in a broad range of experiences to engage the senses and emotions, stimulate minds, and enrich lives. We value artistic vitality, learning, and an inclusive community.

FEATURE

14 Through Music to Peace BY JASON VICTOR SERINUS

PROGRAMS20 NOV 1 Pomplamoose

22 NOV 2 Orpheus Chamber Orchestra

26 NOV 5 Philharmonia Baroque Orchestra

28 NOV 14 Apollo’s Fire

34 DEC 5 Brad Mehldau Trio

38 DEC 6 Sing and Play the Bing

42 DEC 11 Chanticleer

STANFORD LIVE7 Stanford Live Staff & Sponsors

9 Welcome

10 Campus & Community

12 Live Shots

44 Stanford Live Donors

45 Bing Concert Hall Donors

46 Calendar

47 Things to Know

47 Parking / Venues / Seating

NOV / DEC 2014CONTENTS

60+ PERFORMANCES THIS SEASON

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Cover: Jennifer Koh, photo by Juergen Frank. Page 5: (Clockwise from top) Apollo’s Fire; Pomplamoose, photo by Jeffrey Marini; Brad Mehldau Trio. Page 9: Photo by Linda A. Cicero/Stanford University News Service. Page 10: Photos by Yuto Watanabe. Page 11: Stanford Symphony Orchestra, photo by Joel Simon; Jennifer Koh, photo by Juergen Frank. Page 12: Photos 1 & 6 by Jeff Philips; photos 2-5 by Joel Simon. Page 14: Photo by Sisi Burns. Page 16: Jordi Savall, photo courtesy of the artist. Pages 20-21: Photos by Jeffrey Marini. Page 22: Photo by Larry Fink. Page 25: Photo by Juergen Frank. Page 26: Photo by Randi Beach. Page 27: Photo courtesy of Apollo’s Fire. Page 34: Photo courtesy of Brad Mehldau Trio. Page 38: Photo by Jeff Goldberg. Page 42: Photo by Lisa Kohler.

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November/December 2014Volume 7, No. 2

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Q U A T T R O

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Dear friends,

Welcome to Stanford Live! Now that we’re getting into our stride in this third season at Bing, it’s been heartening to see the number of Stanford students at our events. In fact, the performance by Sheryl Crow in October set a record for student attendance. So finding new ways to engage the campus is a critical part of our mission.

To that end, we are delighted to welcome recent Stanford grads Jack Conte and Nataly Dawn of Pomplamoose back to campus. This wildly popular indie rock duo is truly a YouTube sensation—with a dedicated music channel that has amassed over 100 million views—and their upcoming concert was selected by, and especially for, Stanford students.

Then get ready for a wealth of orchestral music. The Philharmonia Baroque Orchestra returns with the glorious German countertenor Andreas Scholl in a concert of Baroque gems. We also host notable debuts by the Orpheus Chamber Orchestra, joined by the sensational violinist Jennifer Koh, and Cleveland’s prized Apollo’s Fire in a performance of Monteverdi’s towering Vespers of 1610. And Bing Concert Hall’s resident student ensembles—the Stanford Symphony and Philharmonia Orchestras—will also begin their series of concerts.

Later in the coming weeks, the adventurous pianist/composer Brad Mehldau and his trio launch our jazz series and, for the third year in a row, we will showcase Silicon Valley community performers in our free Sing and Play the Bing concert. And finally, we invite you to relax into the holidays with another Chanticleer Christmas.

Thank you for joining us again and our very best wishes for a beautiful holiday season ahead!

Sincerely,

Wiley HausamExecutive Director, Stanford Live and Bing Concert Hall

Stanford Live is Stanford University’s world-class arts presenter and producer. We are committed to sharing, celebrating, and advancing the art of live music, dance, theater, and opera. We unite celebrated and emerging artists with the Stanford campus and greater Bay Area communities in a broad range of experiences to engage the senses and emotions, stimulate minds, and enrich lives. We value artistic vitality, learning, and an inclusive community.

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ARTS OPEN HOUSE

CAMPUS & COMMUNITY

In September, Stanford Live and the new Anderson Collection at Stanford University teamed up for Sound + Vision, a community open house designed to celebrate the growing arts district on campus. Festivities included art making, music, food trucks, and the opportunity to view one of the world’s most outstanding private assemblies of modern and contemporary American art—now made public.

A near-capacity crowd packed the museum while a Stanford jazz trio—Zachary Ostroff, Malcolm Campbell, and Jordan Bryan—serenaded. Then it was off to the Bing with a promenade across Museum Way led by the Bourbon Kings. Marcus Shelby and his quartet waited with more jazz in the Gunn Atrium as the party spilled onto the patio.

Visit live.stanford.edu/media for more photos.

SOUND + VISION OFFERED AN ARTS FEAST

10 STANFORD LIVE MAGAZINE NOVEMBER/DECEMBER 2014

MORE MUSIC AT THE BING

Crystal Children’s Choir

STANFORD WIND ENSEMBLEFRIDAY, NOVEMBER 7, 7:30 PMBING CONCERT HALLGiancarlo Aquilanti directs the Stanford Wind Ensemble with a special appearance by the Bay Area–based Crystal Children’s Choir.

STANFORD PHILHARMONIA ORCHESTRASATURDAY, NOVEMBER 8, 7:30 PMSUNDAY, NOVEMBER 9, 2:30 PMBING CONCERT HALLJindong Cai conducts the Stanford Philharmonia Orchestra

UPCOMING EVENTS

with piano soloist Hugo Kitano in a program featuring Chopin’s Piano Concerto No. 1 in E Minor and Mendelssohn’s Symphony No. 3 in A Minor (Scottish).

STANFORD JAZZ ORCHESTRAWEDNESDAY, NOVEMBER 12, 7:30 PMBING CONCERT HALLFredrick Berry directs the Stanford Jazz Orchestra with guest artist trumpeter Erik Jekabson. The program will include Jekabson’s own compositions, as well as jazz standards.

STANFORD SYMPHONY ORCHESTRASATURDAY, NOVEMBER 15, 7:30 PMSUNDAY, NOVEMBER 16, 2:30 PMBING CONCERT HALLJindong Cai conducts the Stanford Symphony Orchestra’s performance of Mahler’s Symphony No. 6 in A Minor (Tragic).

STANFORD PERCUSSION ENSEMBLEMONDAY, NOVEMBER 17, 7:30 PMBING CONCERT HALL STUDIOMark Veregge directs the Percussion Ensemble’s program.

PUBLIC PROGRAMS

Jennifer Koh

JENNIFER KOH, VIOLINMONDAY, NOVEMBER 3, 7:30 PMCOMMUNITY SCHOOL OF MUSIC AND ARTS, MOUNTAIN VIEWStanford Live’s annual “Informance” series continues with Jennifer Koh, a violinist renowned for her virtuosity and commanding performances. Join us for an evening of conversation and musical excerpts with this astonishing musician.

OPEN REHEARSAL WITH MEMBERS OF THE SAN FRANCISCO SYMPHONYMONDAY, NOVEMBER 3, 8:15 PMBING CONCERT HALLThe public is invited to a rare open coaching session with musicians from the

Stanford Symphony Orchestra

San Francisco Symphony—led by Concertmaster Alexander Barantschik, working with the Stanford Symphony Orchestra.

CONTEMPLATION BY DESIGNTHURSDAY, NOVEMBER 6, 12:00 PMBING CONCERT HALLEnjoy a noon hour “quarter rest” with Stanford Talisman, Stanford Taiko, and other Stanford musicians as they share the joy and vitality of music and contemplation. Presented by the Stanford Arts Institute, Stanford Live, HIP, and BeWell, Contemplation by Design is a campus-wide collaboration inviting the Stanford community to enjoy the power of the pause for the purpose of re-establishing balance, tranquility, compassion, and energy to support our creative excellence.


CAMPUS & COMMUNITY

LIVE SHOTS

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An Evening With Sheryl CrowOn October 17, Stanford Live welcomed multiple Grammy Award winner Sheryl Crow to the Bing for a special-event concert. Before she took the stage, Crow sat down with Stanford students to talk about the music industry, her songs, and her causes in an intimate Q & A session moderated by Associate Professor Heather Hadlock.

SLSQ Celebrates 25 YearsStanford’s prized St. Lawrence String Quartet launched its 25th-anniversary season on October 19 with a special concert featuring guest cellist David Finckel and a world-premiere commission by Stanford composer Jonathan Berger.

PBO With Steven IsserlisPrior to his performance on October 9, British cellist Steven Isserlis led a master class for Stanford students in the Bing Studio.

Photos:1. Steven Isserlis and conductor

Nicholas McGegan launch Philharmonia Baroque Orchestra’s series at the Bing.

2. Sheryl Crow and Heather Hadlock during the pre-concert Q & A.

3. Music Department Chair Stephen M. Sano and Stanford Live Executive Director Wiley Hausam honored the SLSQ with an onstage presentation.

4. Stanford students mingle with Sheryl Crow prior to the concert.

5. Sheryl Crow on the Bing stage.

6. Steven Isserlis with student Michael Chung.

Visit live.stanford.edu/media for more season photos.


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THROUGH MUSIC TO PEACE BY JASON VICTOR SERINUS

STANFORD LIVEFEATURE

Apollo’s Fire

What do these three programs share, besides repertoire of deep and enduring beauty? For one, they all reflect the influence of the Christian church. The young Claudio Giovanni Antonio Monteverdi (1567–1643), for example, was taught during his childhood by the maestro di cappella who conducted Catholic worship services at the Cathedral of Cremona. Much later in life, he became a priest.

Early in his career, Monteverdi combined both the sacred and the sensual in his festive and celebratory Vespers (Evening Service). The music, Sorrell postulates, was most likely composed for wedding celebrations that commenced in May 1608 for the son of his employer, the Duke of Mantua.

“The relationship between the [Vespers’] fixed, archaic medieval psalm tone and the flamboy-ant and imaginative Baroque

counterpoint that dances around it produces an extraordinary level of tension and beauty—indeed, it seems to evoke the struggle between ancient mysticism and modern enlightenment,” Sorrell writes in her essential program notes. That struggle is reflected in Monteverdi’s choice of texts, which intersperses sections of the Roman Catholic vespers service with settings of the sensuous love poetry from the Song of Solomon.

“It’s a profoundly moving and spiritual piece of music, but it’s also about the earthly love be-tween a man and a woman,” says Sorrell. “Monteverdi absolutely intertwined them. It’s one of the great epic centerpieces of western music. Much as Beethoven was at the cusp of two eras, forging the Romantic style from the Classi-cal out of his own inclination and force of will, Monteverdi played a similar role in transitioning from earlier forms to the Baroque.”

Wachner, in turn, brings us music by three of Monteverdi’s Baroque successors: Johann Sebastian Bach (1685–1750), Georg Philipp Telemann (1681–1767), and the German whom the Brits embraced as George Frideric Handel (1685–1759). They, too, wrote music that bridged the Christian religious and secular worlds.

Telemann, whose father was a church deacon and whose mother was the daughter of a clergyman, at one point became locked in a battle with composer Johann Kuhnau, cantor of the Thomaskirche and director of music in Leipzig, who denounced him as an “opera musician.” (More on that damning art form below.) Later on, while Telemann was musical director of five churches in Hamburg, his operas and secular activities were denounced for inciting lasciviousness. Perhaps they influenced his second wife,

who engaged in at least one extramarital affair and accrued a large gambling debt before packing her bags.

Bach, the son of a music director, alternated between working for royalty and the church. At one point, he even took over the directorship of the Collegium Musicum, a secular ensemble begun by Telemann. His three works on the November 5th program at the Bing—the Sinfonia from Cantata No. 42; Cantata No. 170, Vergnügte Ruh, beliebte Seelenlust (sung by the German countertenor Andreas Scholl); and the Brandenburg Concerto No. 1 in F Major—span both worlds. Cantata No. 170, which so suits Scholl’s voice and temperament that he has recorded it twice, starts with a gorgeous opening aria that extols the heavenly peace that comes to a virtuous heart that accepts the word of God and rejects the sins of hell. Subsequent sections detail the consequences of sin, vengeance, and hate, posit love as the answer, and extol the peace that comes with release from earthly existence.

Handel, who traveled from Germany to Italy before settling in London in 1712, abandoned composing opera in Italy after Pope Clement XI temporarily banned it in the Papal States. At the root of the prohibition was the Church’s moral conflict with the very idea of theater, which the pope had condemned. At one point, Clement extended his ban to all forms of theatrical entertainment. Even when theaters renewed attempts to stage operas, the Church

On the face of it, this season brings us three very different concerts of early music. The first, on November 5,

features the Bay Area’s marvelous Philharmonia Baroque Orchestra, returning under guest conductor/composer Julian Wachner in a program of familiar gems from the heyday of the Baroque era. The second, on November 14, brings Cleveland’s fine Baroque orchestra Apollo’s Fire, under founder/ harpsichordist Jeannette Sorrell, in a rare performance of her favorite music, Monteverdi’s glorious Vespers of 1610. Then, on February 22, come the great Spanish conductor/multi-instrumentalist Jordi Savall and his Hespèrion XXI ensemble with Istanbul, music from the Ottoman Empire, in dialogue with Armenian, Greek, and Sephardic traditions.


that comes with well-being. “The last possible bridge we have is through music and art,” he asserts. “When I began the Jerusalem and Balkans music projects, the first time I put together people from Palestine and Israel, it was difficult. But after three concerts, in the break, people would sing the same song together. The first time I put Iranian people with Turkish people, it was difficult for them to talk with each other. But now, they’re friends, and they understand and respect.”

Perhaps it is more than coincidence that, at this crucial time of accelerating war, polarization, and planetary destruction, Savall’s program of music from the crossroads of Europe and Asia follows on the heels of the two European programs.

“We need to start a new time in which we resolve problems without violence,” he says. “Every time you resolve a problem with violence, the people who have lost the war will start a war in a generation or two. It’s always like this.

“There can only be an end to violence if you resolve the problem with dialogue and justice. Music gives you a way to engage in dialogue. When you play music with other people, you develop a certain sympathy. You have to respect each other and find a way to tune together and listen to each other. It is the essential intercultural education.”•Jason Victor Serinus is an arts writer whose work appears in Opera News, Carnegie Hall Playbill, Stereophile, and San Francisco Classical Voice.

in the 1850s. The people lived in freedom, and everyone was respected, regardless of different languages and religions.”

Savall and his late wife, the glorious soprano Montserrat Figueras, first began exploring music from multiple cultures a half a century ago. Their research led to their first album, which contained two CDs, one of Spanish Christian songs and the other of songs of Spain’s Sephardic Jews.

“I think it has to do with the fact that I am from Spain, a country that has a very old multicultural tradition of music by Christians, Sephardic Jews, and Muslims,” Savall says. “After my wife and I made contact with musicians from Israel, Morocco, Istanbul, and Greece, we started to discover a new world of music that is not the art music we learn in conservatories but part of human life. The music of the Armenians, Sephardics, and all these exiled people who suffered a lot is authentic music from life that has helped them survive. This is, for me, the explanation for why this music carries such an incredible spiritual and emotional message.”

Savall posits that Sephardic songs evoke intense emotional responses because they were created to give people the energy to survive. He imagines a Sephardic family forced to leave Spain and starting a new life in Istanbul. As they gather at night and sing their ancestral songs, they experience a sense of peace and think that a solution may come. The principal power of music, he posits, is to give you peace, hope, and the happiness

STANFORD LIVEFEATURE

continued to ban women from the public stage, leaving high vocal parts to castrati (male vocalists who were intentionally castrated during boyhood to preserve their high voices).

And nowhere in any of these composers’ music will you hear the tritone, the augmented fourth (or diminished fifth) that was considered the “Devil’s interval” by the Catholic Church and outlawed in medieval Europe. Not until the heyday of Wagner and Debussy did the tritone reemerge with a vengeance previously reserved for the wrath of soldiers. That wrath spoke during a period of ongoing political and religious conflict and, as such, contrasts greatly with that offered by Jordi Savall and ensemble.

“The Ottoman Empire was the most tolerant space in Europe at the time,” says Savall. “While in Europe, there was one war after another—the Thirty Years War, the Hundred Years War, every year a new war—and people were burned in Spain, France, Italy, and Germany during the Inquisition because they were accused of being heretics or not orthodox enough, those same people were safe in Istanbul. The expelled Sephardic Jews from Spain and people from Albania and other places were able to be openly Muslim, Christian, and Jewish.

“I think this explains why this part of the Ottoman Empire remained stable for 400 years, from the conquering of Constantinople (Istanbul) in 1453 until Greece fought for its independence

Conductor/multi-instrumentalist Jordi Savall


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PROGRAM: POMPLAMOOSENOVEMBER 1 / 8:00 PMBING CONCERT HALL

ARTISTSJack ConteNataly Dawn

PROGRAMThe evening’s program will be announced from the stage.

PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you.


POMPLAMOOSEPioneering the style of VideoSongs on YouTube, Pomplamoose is a San Francisco–based indie-pop-rock duo composed of Jack Conte and Nataly Dawn. With the debut of its online presence in summer 2008, Pomplamoose (a derivation of the French word for grapefruit, pamplemousse) has since garnered a significant fan following. Often compared to artists like the Bird and the Bee, Feist, and Regina Spektor, the musicians quickly became renowned for their split-screen video editing that deliberately features every instrument used in the recording process. In 2010, they released their first viral VideoSong, a cover of Beyoncé’s “Single Ladies,” followed by a national Hyundai holiday ad campaign and two sold-out nationwide tours. Conte and Dawn took a break from the band in 2011 to focus on their solo careers. In 2013, the artists reunited to begin creating new material for Pomplamoose Season 2. This next stage of Pomplamoose promises to stay true to the band’s homegrown roots while incorporating new visual elements and a more electronic sound. Veering away from the traditional model, Pomplamoose remains unsigned to this day, successfully making a living from album sales, licensing deals, touring, and the enthusiastic support of its fans.

The daughter of missionaries, Nataly Dawn spent much of her childhood in Europe, where she attended Lycées Français in France and Belgium before returning to the United States to study art and French literature at Stanford University. It was there that she met Conte and formed Pomplamoose, and they eventually began performing, recording, and editing songs and videos entirely on their own in their Northern California home. Their first upload to YouTube was an original collaboration, “Hail Mary,” which was featured on the YouTube home page. In 2010 the duo began releasing creative covers of pop songs, such as Beyoncé’s “Single Ladies” and Lady Gaga’s “Telephone,” which grew its fan base even further. Pomplamoose played 20 live dates in 2011 to sold-out audiences across the United States.

In addition to being half of Pomplamoose, Jack Conte is a musician, filmmaker, and founder of Patreon, a sustainable crowd-funding site dedicated to helping content creators make a living. As a musician and filmmaker, he has created a catalog of videos on YouTube that has amassed over 100 million views. He spends half his days in a recording studio in Sonoma County and the other half at the Patreon Command Center, its Noe Valley office.•

“Pomplamoose has attained a level of success that is rare for any independent artist and unique in the way it was achieved.” —SF Weekly

Cantor Arts Center - Stanford Live: Sept/Oct & Nov/Dec 2014 Program Due: 8/1/14

ROBERT FRANK IN AMERICASeptember 10–January 5

This groundbreaking exhibition of photographs by Robert Frank

sheds new light on his legendary work in 1950s America.

CANTOR ARTS CENTER AT STANFORD UNIVERSITY3 2 8 L O M I T A D R I V E • S T A N F O R D , C A • 9 4 3 0 56 5 0 - 7 2 3 - 4 1 7 7 • M U S E U M . S T A N F O R D . E D U

Robert Frank, Detroit, 1955. Gelatin silver print. Gift of Raymond B. Gary. © Robert Frank. Courtesy Pace/MacGill Gallery

We gratefully acknowledge support of the exhibition and its accompanying catalogue from the Clumeck Fund, the Elizabeth Swindells Hulsey Special Exhibitions Fund, the Hohbach Family Fund, and the Mark and Betsy Gates Fund for Photography.


ARTISTSOrpheus Chamber OrchestraJennifer Koh, violin

PROGRAMEdvard Grieg: From Holberg’s Time, op. 40 (1885) Praeludium Sarabande Gavotte Air Rigaudon

Johann Sebastian Bach: Violin Concerto No. 1 in A Minor, BWV 1041 (ca. 1730) Allegro Andante Allegro assai Jennifer Koh, violin

INTERMISSION

Anna Clyne: Rest These Hands (2014) (World premiere)

Wolfgang Amadeus Mozart: Symphony No. 34 in C Major, K. 338 (1780) Allegro vivace Andante di molto Finale: Allegro vivace

PROGRAM: ORPHEUS CHAMBER ORCHESTRANOVEMBER 2 / 7:00 PMBING CONCERT HALL

This concert is supported in part by the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Department of Cultural Affairs in partnership with the City Council.

Orpheus is represented in North America exclusively by Baker Artists, LLC, and in Europe by Konzertdirektion Schmid. Orpheus has recorded for Deutsche Grammophon, Sony Classical, EMI Classics, BMG/RCA Red Seal, Decca, Nonesuch, Verve, Avex Classics, and its own label, Orpheus Chamber Orchestra Records.



EDVARD GRIEG (1843–1907)HOLBERG SUITE, OP. 40 (1885)

For the bicentennial of Norway’s most distinguished writer, Ludvig Holberg (1684–1754), composer Edvard Grieg penned two tributes: a cantata for men’s voices and a piano suite titled From Holberg’s Time. The next year, Grieg reworked his Baroque-inspired piano score into an arrangement for string orchestra.

Notes to Notice:Praeludium. Decades before the trend of “neoclassical” music, Grieg’s “Suite in the Olden Style,” as he subtitled it, mined Baroque conventions that flourished during Holberg’s life. The Praeludium, or prelude, embarks with a galloping rhythm in the accompaniment.

Sarabande. In character with the slow, three-beat dance that originated in Spain, Grieg’s Sarabande is ornate and dignified.

Gavotte. The telltale gesture of this muscular French dance is the lead-in that begins midway through the measure. A contrasting section takes the form of a musette, in which droning accompaniments imitate bagpipes.

Air. This peaceful movement, with a tempo marking of Andante religioso, leaves dance forms aside for a long, singing melody in a melancholy minor key. “Air” is equivalent to the Italian term aria, with its connotations of the human voice.

Rigaudon. This finale updates a lively French dance style while also touching on the Baroque tradition of the concerto grosso, with soloists—here a violin and a viola—offsetting the texture of the full string sections.

JOHANN SEBASTIAN BACH (1685–1750)VIOLIN CONCERTO NO. 1 IN A MINOR, BWV 1041 (CA. 1730)

Bach probably composed his two extant violin concerti around 1730, not long after he agreed

ANNA CLYNE (B. 1980) REST THESE HANDS (2014)

Rest These Hands was commissioned by Orpheus as part of its new commissioning initiative, titled American Notes. Through this program, the orchestra commissions original works from composers with varied musical styles and diverse personal backgrounds. The creative framework for each composer begins with the complex question of what defines the American spirit today—the characteristics, experiences, communities, and relationships. Each composer will develop his or her own musical exploration of this question, providing unique portraits of current American life and contributing to the ongoing global conversation of national identity.

British-born composer Anna Clyne, now a U.S. resident, has been described as “dazzlingly inventive,” combining resonant soundscapes with propelling textures that weave, morph, and collide in dramatic explosions. Currently the Chicago Symphony’s Mead Composer-in-Residence, she has been commissioned by the Chicago Symphony Orchestra, the Los Angeles Philharmonic, Carnegie Hall, Houston Ballet, Bang on a Can, and American Composers Orchestra, among others. Clyne’s work has been championed by some of the world’s finest conductors, including Marin Alsop and Esa-Pekka Salonen. She has received the Charles Ives Fellowship from the American Academy of Arts and Letters, eight consecutive ASCAP Plus Awards, and a Clutterbuck Award from the University of Edinburgh.

American Notes is supported by New Music USA, made possible by annual program support and/or endowment gifts from The Andrew W. Mellon Foundation, Mary Flagler Cary Charitable Trust, Rockefeller Brothers Fund, William and Flora Hewlett Foundation, Francis Goelet Charitable Lead Trusts, and others.

to lead the Collegium Musicum in Leipzig. This talented amateur group gave weekly performances, often in the informal setting of a coffeehouse, providing Bach with an outlet for secular music that would not have surfaced during his primary duties preparing music for church services. The violin concerti in A minor and E major were among the works that Bach recast in the late 1730s as keyboard concerti, also intended for the Collegium Musicum. The six keyboard concerti provide evidence that there were once other concerti for violin, but only the two solo concerti and a double violin concerto in D minor have survived.

Notes to Notice:Allegro. Bach crafted his violin concerti using the ritornello structure popularized by Italian composers, especially Vivaldi. Just as Bach’s fugue themes have unmistakable “heads” that draw attention to each entrance, his ritornello passages—the phrases that return multiple times to punctuate the form—tend to be exceedingly memorable. In this opening movement, the ear catches the initial pairs of rising notes, first leaping up a perfect fourth and then returning for a smaller rise of a half-step.

Andante. So much of the emotional tension in this slow movement occurs in the simple but profound bass line with its steady pulses, its hopeful ascents, and its many long silences that leave the soloist with only the fragile support of the violins and violas.

Allegro assai. The rolling triplet pulse of this finale is akin to the gigue (or, as it is called in the British Isles, the jig), the dance style with which Bach concluded many of his instrumental suites. In the solo part, broken chords and string crossings reveal Bach’s keen understanding of the violin and its idiomatic possibilities. As C. P. E. Bach wrote of his father in 1774, “from his youth up to fairly old age…[Bach] played the violin purely and with a penetrating tone and thus kept the orchestra in top form, much better than he could have from the harpsichord. He completely understood the possibilities of all stringed instruments.”

PROGRAM: ORPHEUS CHAMBER ORCHESTRA


WOLFGANG AMADEUS MOZART (1756–1791) SYMPHONY NO. 34 IN C MAJOR, K. 338 (1780)

Mozart, at 24, had long outgrown his hometown of Salzburg, where he lived under the shadow of his controlling father and worked for a troublesome archbishop. Just as his frustrations were reaching a boiling point, he received a welcome invitation to compose the opera Idomeneo for Munich; by the next year he had ridden that success to an independent career in Vienna. The last symphony Mozart wrote before leaving Salzburg was Number 34 in C major. He completed it on August 29, 1780, and probably performed it at court in the following days.

Notes to Notice:Allegro vivace. The first thematic group, in the home key of C major, avoids linear melodies in favor of detached, fanfare-like gestures, including prominent parts for trumpet and timpani. The movement gathers momentum as it transitions to the secondary key, and it keeps moving forward by skipping the customary repeat of the exposition section, instead plunging directly into a darker development section built from new material.

Andante di molto. Mozart eventually nudged the slow movement to a slightly faster tempo by adding “più tosto allegretto” in 1786. It dispenses with most of the winds, using only bassoon and strings (with the violas divided into two parts) to produce a warm and transparent sound.

Finale: Allegro vivace. The full-bodied, breathless textures of this finale make way for jolly duets for the oboes and a few choice phrases for the bassoons, echoing the chamber music character of the slow movement.—© 2014 Aaron Grad

ORPHEUS CHAMBER ORCHESTRAA standard-bearer of innovation and artistic excellence, Orpheus Chamber Orchestra is one of the world’s foremost chamber orchestras. Orpheus was founded in 1972 by Julian Fifer and a group of likeminded young musicians determined to combine the intimacy and warmth of a chamber ensemble with the richness of an orchestra. With 71 albums, including the Grammy Award-winning Shadow Dances: Stravinsky Miniatures and its first self-produced album featuring Beethoven’s Fifth and Seventh Symphonies, released in February 2014, and 42 commissioned and premiered original works, Orpheus rotates musical leadership roles for each work and strives to perform diverse repertoire through collaboration and open dialog.

Performing without a conductor, Orpheus presents an annual series at Carnegie Hall and tours extensively to major national and international venues, including those in Japan, Germany, and Colombia most recently. The 2014–2015 season will include debut appearances by pianist Fazıl Say and violinists Jennifer Koh and Augustin Dumay and also includes three newly commissioned works by Say, Timo Andres, and Anna Clyne. The season will also continue an ongoing exploration of Beethoven in performance with pianist Jonathan Biss, while new looks at favorites from the Orpheus catalog of recordings, including Haydn’s Symphony No. 80, Grieg’s Holberg Suite, and Wagner’s Siegfried Idyll, demonstrate how these musicians have evolved over decades of playing together.

Orpheus has trademarked its signature mode of operation, the Orpheus Process™, an original method that places democracy at the center of artistic execution. It has been the focus of studies at Harvard and Stanford and of leadership seminars at Morgan Stanley and Memorial Sloan Kettering Hospital, among others. Two unique education and engagement programs, Access Orpheus and Orpheus Institute, aim to bring this approach to students of all ages.

Orpheus Chamber EnsembleViolinRonnie BauchMartha CaplinLiang-Ping HowTodd PhillipsRichard RoodEriko Sato

ViolaChristof HuebnerNardo PoyDov Scheindlin

CelloEric BartlettMelissa MeellJonathan Spitz

Double BassJordan Frazier

OboeRita MitselJames Austin Smith

BassoonMarc Goldberg

HornJulie LandsmanStewart Rose

TrumpetRonald Sheppard

TimpaniMaya Gunji

KeyboardBradley Brookshire

PROGRAM: ORPHEUS CHAMBER ORCHESTRA


Access Orpheus, Orpheus’ educational initiative, shares the orchestra’s collaborative music-making process with public school students from all five boroughs in New York City. Because of declining resources for arts education, many public schools do not have access to full-time arts teachers to provide music instruction and exposure to art and culture. Access Orpheus helps to bridge this gap with in-class visits, attendance at working rehearsals, and free tickets for performances at Carnegie Hall.

Orpheus Institute brings the Orpheus Process and the orchestra’s musicians to select colleges, universities, and conservatories to work directly with musicians and leaders of tomorrow. Students in all fields of study learn from Orpheus’ creative process and in areas of collaboration, communication, creative problem solving, and shared leadership. In the coming seasons, Orpheus will continue to share its leadership methods and performance practices as the ensemble provides its audiences with the highest level of musicianship and programming.

JENNIFER KOH Jennifer Koh is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. She is dedicated to performing the violin repertoire of all eras from traditional to contemporary, believing that the past and present form a continuum. Since the 1994–1995 season, when she won the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition, and the Avery Fisher Career Grant, she has performed

with leading orchestras worldwide. Also a prolific recitalist, she appears frequently at major music centers and festivals. The exploration of Bach’s music and its influence in today’s musical landscape has played an important role in her artistic journey. Her Bach and Beyond recital series explores the history of the solo violin repertoire from Bach’s Sonatas and Partitas to works by modern-day composers, and her Two x Four project with her former teacher from the Curtis Institute of Music, violinist Jaime Laredo, pairs Bach’s Double Violin Concerto with newly commissioned double concerti. She recently launched a video series, “Off Stage On Record,” that gives a behind-the-scenes look at the life of a concert artist on her YouTube channel, www.youtube.com/jenniferkohviolin. Future projects include Bridge to Beethoven, a series of recitals with pianist Shai Wosner pairing Beethoven’s violin sonatas with new works by Andrew Norman, Vijay Iyer, and Anthony Cheung, and a recital of Bach’s complete Sonatas and Partitas staged by director Robert Wilson. Jennifer Koh regularly records for the Cedille label. Her most recent albums include Signs, Games, and Messages recorded with Shai Wosner and Two x Four with Jaime Laredo. For further information, visit www.jenniferkoh.com.•

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PROGRAM: PHILHARMONIA BAROQUE ORCHESTRANOVEMBER 5 / 7:30 PM BING CONCERT HALL



PROGRAM Johann Sebastian Bach: Sinfonia from Cantata No. 42, BWV 42 (1725)

George Frideric Handel: “Va tacito e nascosto” from Giulio Cesare (1724) “Dove sei, amato bene?” from Rodelinda (1724) “Aure, deh, per pietà” from Giulio Cesare Andreas Scholl, countertenor

Georg Philipp Telemann: Concerto in F Major for Violin, Oboe, and Two Horns, TWV 54: F1 (before 1768) Vivace Scherzando Loure Gigue Minuet Carla Moore, violin Gonzalo X. Ruiz, oboe R. J. Kelley, horn Paul Avril, horn

INTERMISSION

Bach: Cantata No. 170, Vergnügte Ruh, beliebte Seelenlust, BWV 170 (1726) Andreas Scholl, countertenor

Bach: Brandenburg Concerto No. 1 in F Major, BWV 1046 (1721) [Allegro] Adagio Allegro Minuetto – Trio I Polacca – Trio II Carla Moore, violino piccolo Gonzalo X. Ruiz, oboe Marc Schachman, oboe Michael DuPree, oboe Danny Bond, bassoon R. J. Kelley, horn Paul Avril, horn

A separate program will be provided at the performance. The concert will last approximately two hours.

ARTISTSPhilharmonia Baroque OrchestraJulian Wachner, conductorAndreas Scholl, countertenor


PROGRAM: APOLLO’S FIRENOVEMBER 14 / 7:30 PM BING CONCERT HALL



The CD recording of the Monteverdi Vespers by Apollo’s Fire, as well as other Apollo’s Fire CDs, will be on sale in the lobby.

PROGRAMClaudio Monteverdi: Vespers of 1610

Versicle and Response: Deus in adjutorium

Antiphon: Laeva eius sub capite meo Psalm 109: Dixit Dominus

Motet: Nigra sum Oliver Mercer, tenor

Antiphon: Nigra sum sed formosa Psalm 112: Laudate pueri

Motet: Pulchra es Molly Quinn and Nell Snaidas, sopranos

Antiphon: Pulchra es et decora Psalm 121: Laetatus sum

Motet: Duo Seraphim Karim Sulayman, Oliver Mercer, and Owen McIntosh, tenors

Antiphon: Iam hiems transit Psalm 126: Nisi Dominus

INTERMISSION

Motet: Audi coelum Karim Sulayman and Oliver Mercer (echo), tenors

Antiphon: Virgo prudentissima Psalm 147: Lauda, Jerusalem

Sonata sopra Sancta Maria Madeline Healey, soprano

Hymn: Ave maris stella Kristen Dubenion-Smith, alto, and Jesse Blumberg, baritone

Magnificat Antiphon: Sancta Maria succure miseris

Magnificat anima mea Et exultavit Quia respexit humilitatem Quia fecit mihi magna Et misericordia Fecit potentiam Deposuit potentes Esurientes Suscepit Israel Sicut locutus est Gloria Patri Sicut erat in principio

ARTISTSApollo’s FireJeannette Sorrell, conductorMolly Quinn and Nell Snaidas, sopranosKristen Dubenion-Smith, altoKarim Sulayman and Oliver Mercer, tenorsJesse Blumberg, baritoneJonathan Woody, bass

This tour by Apollo’s Fire is made possible by support from the National Endowment for the Arts.

29 encoremediagroup.com

THE MYSTERIES OF MONTEVERDIWe will perhaps never understand why great artists often create their most sublime works during periods of personal despondency and depression. From Monteverdi to Mozart, from Dostoyevsky to Van Gogh, the world has been graced with beauty that comes out of the suffering of artists.

The winter of 1607–1608 was such a period for Claudio Monteverdi. Exhausted and despondent over the recent death of his wife, he was also overworked and underpaid as an employee of the Duke of Mantua. Thus, his father wrote to the duke to request an honorable dismissal for his grief-stricken son, whose health was suffering as well as his spirits.

The plea was ignored and Monteverdi was ordered to return to work. Important things were afoot at the Mantuan palace, and music was needed: the duke’s son, Prince Francesco, was to be married to Margherita of Savoy. Though we don’t know for certain, it is probable that Monteverdi was ordered to compose his extraordinary Vespers for the wedding celebrations, which commenced in Mantua in May 1608 and eclipsed all other events for several years. The eminent Monteverdi scholar Iain Fenlon has argued convincingly that the Vespers were most likely composed for performance in Mantua in 1608, not for Venice in 1610, where the work was published.

Monteverdi’s Vespers are an extraordinary and revolutionary setting of the five psalms, hymn, and magnificat which make up a Roman Catholic vespers service. In addition to these standard movements, Monteverdi included four motets (sometimes called “concerti”) for one, two, three, and six voices, respectively, based primarily on love poetry from the Song of Solomon. There is also an instrumental sonata movement over which is woven the chant “Sancta Maria ora pro nobis.”

What makes Monteverdi’s setting of the psalms and the magnificat so remarkable

is that he uses the traditional psalm tones that would normally be chanted in a vespers service but turns them into a kind of cantus firmus—that is, a kind of slow-moving, repeated chant—around which he weaves the most elaborate and avant-garde counterpoint imaginable. The relationship between the fixed, archaic medieval psalm tone and the flamboyant and imaginative Baroque counterpoint that dances around it produces an extraordinary level of tension and beauty—indeed, it seems to evoke the struggle between ancient mysticism and modern enlightenment.

Three years after publishing the Vespers, Monteverdi finally escaped from his unhappy employment in Mantua in 1613 and became music director at St. Mark’s Basilica in Venice. Many conductors have assumed that Monteverdi conceived the Vespers for the vast and monumental basilica—even though he had already published the piece three years before auditioning there—and that he composed the piece to impress the staff at St. Mark’s. This theory then leads to an interpretation using large choral forces such as one would need in order to make a festive impression in the sprawling basilica. The fact is, though, that Monteverdi could hardly have had his eye on the St. Mark’s job when he published the Vespers in 1610, as the preceding St. Mark’s music director was still alive and healthy, and no one could have foreseen his unexpected death two years later, which resulted in a job opening.

By contrast, there is much evidence to suggest that the Vespers were composed and conceived for Mantua. It is apparent even from a quick glance at the score that the Vespers were written for the same vocal and instrumental ensemble as Monteverdi’s opera L’Orfeo—that is, the small virtuoso ensemble which performed in Mantua in 1607. Both works call for two sopranos, two tenors (one with major solo demands), two basses, and one alto (with a small part). The ranges of these singers are nearly identical in the two works, including the

unusually low tessitura of the lead tenor. The instrumentation is the same. Finally, the opening toccata from L’Orfeo reappears as the opening response in the Vespers; the music is based on material that may well have been the fanfare for the Duke of Mantua.

On May 25, 1608, it is reported that a “solemn vespers” service was celebrated at the Church of St. Andrea in Mantua, as part of the wedding festivities mentioned above. This was a major event, in which Prince Francesco was installed as the first member of a new order of knights. The term “solemn” vespers means polyphonic (rather than merely chanted); so, as Iain Fenlon has suggested, it is highly probable that the music performed at this service was Monteverdi’s Vespers. Of course, Monteverdi may have eventually performed his Vespers at St. Mark’s when he took up employment there, and he may well have used the work as his audition piece for the post. But it is clear that he did not originally conceive the piece for that space.

Most conductors who oppose the large-scale “St. Mark’s” approach to this piece have assumed that Monteverdi conceived the Vespers for the small ducal chapel at Mantua, which could have accommodated only a one-on-a-part performance (10 singers). However, there is no record of any festive event taking place in that chapel during 1608–1610 for which music as flamboyant as Monteverdi’s Vespers would have been appropriate. On the contrary, Monteverdi’s work would have been extremely appropriate for the wedding festivities at St. Andrea Church; the sensuous love poetry contained in Monteverdi’s text, drawn from the Song of Solomon, is ideal for a wedding celebration but would certainly seem out of place at any other vespers service.

All of this impacts one’s interpretation because there are so many questions left open by the score. The Vespers publication of 1610 (which is not even a score but a set of eight individual part-books) is typical of the time in that it contains minimal information about

PROGRAM: APOLLO’S FIRE


how the piece is to be performed. There are few indications of instrumentation and none at all of tempo, dynamics, or articulation.

Nor do we know what size of forces he conceived. While most scholars agree that instrumental parts were performed with only one player to a part in this period, there is much disagreement about how many singers should be used. Monteverdi lived on the cusp between the Renaissance and Baroque periods. Some conductors take a “Renaissance” approach to the Vespers, using singers one on a part to create a kind of madrigal ensemble. Other conductors take an 18th-century (or later!) approach, evoking the image of St. Mark’s and using a large Handel-sized chorus of 25 to 35 and soloists with operatic voices.

The fact is that Monteverdi was neither a Renaissance composer nor an 18th-century High Baroque composer. He was a revolutionary, living at the end of the Renaissance and pushing the limits to forge the new style which we call Baroque ( just as Beethoven forged the Romantic style out of the Classical period three centuries later). He used the finest professional singers and instrumentalists in the region and gave them daringly avant-garde music to perform—music that uses the tools of the Renaissance and stretches them to convey the flamboyant, emotional imagery of the early Baroque. This is music full of sudden contrasts, freedom of expression, and spontaneous flights of imagination. I do not think it is ideally suited to a massive Handelian chorus, nor can the necessary contrasts be achieved by a one-on-a-part madrigal ensemble.

We take the cue for our performance from the setting of St. Andrea Church in Mantua on that spring day in 1608: the grand opening of festivities for an extraordinary royal wedding. The excitement of the cantor is palpable as he intones the chant that sets the drama in motion: “Deus in adjutorium meum intende,”/ “God, make speed to save me”—the ordinary words of the vespers, but not so ordinary

today. The company of 37 musicians responds with electrifying joy, launching the fanfare, the pageantry, and the royal procession of the Gonzaga family and the House of Savoy.

Thus, our evocation of the “solemn vespers” at St. Andrea Church employs forces appropriate to a church of that size—20 singers and 16 instrumentalists. In choosing these midsize forces, I hope to have captured the fleetness, flexibility, and dynamic contrast that Monteverdi must have intended. —Jeannette Sorrell, Cleveland, Ohio

APOLLO’S FIRENamed for the classical god of music and the sun, Apollo’s Fire was founded in 1992 by the award-winning young harpsichordist and conductor Jeannette Sorrell. Sorrell envisioned an ensemble dedicated to the Baroque ideal that music should evoke the various Affekts or passions in listeners. Apollo’s Fire is a collection of creative artists who share Sorrell’s passion for drama and rhetoric.

Hailed as “one of the pre-eminent period-instrument ensembles” (Independent, London), Apollo’s Fire made its London debut in 2010 in a sold-out concert at Wigmore Hall, with a BBC broadcast. Apollo’s Fire returned to Europe in autumn 2011 and spring 2014 and has been met with standing ovations in Madrid (Royal Theatre), Bordeaux (Grand Théâtre de l’Opéra), Lisbon, Metz (France), Birmingham (United Kingdom), and Bregenz (Austria). Its return to London in 2014 was praised as “an evening of superlative music making…the group combines European stylishness with American entrepreneurialism” (Telegraph).

Apollo’s Fire has also toured throughout North America, appearing at the Aspen Music Festival, the Boston Early Music Festival series, the Library of Congress, the Tropical Baroque Festival in Miami, the Ojai International Festival in California, and major venues in Boston, Toronto, Los Angeles, and San Francisco. The ensemble performed an 11-concert tour of the Monteverdi Vespers in 2010 and

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a nine-concert tour of the Brandenburg Concerti in 2013. Apollo’s Fire is currently signed to Columbia Artists Management (CAMI) for exclusive representation in North and South America and is managed in Europe by Intermusica (London).

At home in Cleveland, Apollo’s Fire enjoys sold-out performances at its subscription series, which has drawn national attention for creative programming. Apollo’s Fire has released 20 commercial CDs and currently records for the British label Avie. Since the ensemble’s introduction into the European CD market in 2010, its recordings have won rave reviews in the London press: “a swaggering version, brilliantly played” (Times) and “the Midwest’s best-kept musical secret is finally reaching British ears” (Independent). Four of the ensemble’s CD releases have become best sellers on the classical Billboard chart: the Monteverdi Vespers, Bach’s Brandenburg Concerti, and Jeannette Sorrell’s two crossover programs, Come to the River and Sacrum Mysterium: A Celtic Christmas Vespers.

JEANNETTE SORRELLJeannette Sorrell has quickly gained international attention as a leading creative voice among the new generation of early music conductors. She has been credited by the United Kingdom’s BBC Music Magazine for forging “a vibrant, life-affirming approach to the remaking of early music…a seductive vision of musical authenticity.”

Sorrell was one of the youngest students ever accepted to the prestigious conducting courses of the Aspen and Tanglewood music festivals. She studied conducting under Robert Spano, Roger Norrington, and Leonard Bernstein and harpsichord with Gustav Leonhardt in Amsterdam. She won both First Prize and the Audience Choice Award in the 1991 Spivey International Harpsichord Competition, competing against over 70 harpsichordists from Europe, Israel, the United States, and the Soviet Union.

Sorrell founded Apollo’s Fire in 1992. Since then, she and the ensemble have built one of the largest audiences of any Baroque orchestra in North America. She has led AF in sold-out concerts at London’s Wigmore Hall, Madrid’s Royal Theater (Teatro Real), the Grand Théâtre de l’Opéra in Bordeaux, Boston’s Early Music Festival, and the Aspen Music Festival, among others.

Sorrell made her debut with the Pittsburgh Symphony in 2013 as conductor and soloist in the complete Brandenburg Concerti. With standing ovations every night, the event was hailed as “an especially joyous occasion” (Pittsburgh Tribune-Review). She has also appeared as conductor or conductor/soloist with the Los Angeles Chamber Orchestra, the Seattle Symphony, Opera Theatre of St. Louis with the St. Louis Symphony, the Handel and Haydn Society (Boston), the Omaha Symphony, the Grand Rapids Symphony, and Arizona Opera and has appeared with the Cleveland Orchestra as guest keyboard artist. Upcoming engagements include a debut with the New World Symphony in Miami and a return engagement with the Pittsburgh Symphony.

Sorrell has attracted national attention and awards for creative programming. She has received an honorary doctorate from Case Western University, two special awards from the National Endowment for the Arts for her work on early American music, and an award from the American Musicological Society. Passionate about guiding the next generation of performers, Jeannette Sorrell has led many Baroque projects for students at the Oberlin Conservatory.

GUEST ARTISTSJesse Blumberg, baritone, is equally at home on opera, concert, and recital stages, having performed roles at Minnesota Opera, Pittsburgh Opera, the Boston Early Music Festival, Boston Lyric Opera, and London’s Royal Festival Hall. He has made concert appearances with American Bach Soloists, Boston Baroque, the Oratorio Society of

New York, TENET/Green Mountain Project, Pacific MusicWorks, Apollo’s Fire, and on Lincoln Center’s American Songbook series. Blumberg has performed recitals with the New York Festival of Song, Marilyn Horne Foundation, and Mirror Visions Ensemble. His 2014–2015 season includes a European tour with the Boston Early Music Festival and debuts with Hawaii Opera Theatre and Atlanta Opera. Jesse Blumberg is also the founder and artistic director of Five Boroughs Music Festival, which brings chamber music of many genres to every corner of New York City. www.jesseblumberg.com

Kristen Dubenion-Smith, mezzo-soprano, enjoys an active performing career in oratorio, opera, and sacred vocal chamber music, particularly specializing in music of the medieval, Renaissance, and Baroque eras. She has been praised for her “plush” voice by the Baltimore Sun and voice of “sweet clarity” by the Pittsburgh Post-Gazette. Recent notable engagements include performances with the Folger Consort, the Washington Bach Consort, the Cathedral Choral Society, the Evolution Contemporary Music Series, and the Mark Morris Dance Group. Dubenion-Smith is also the cofounder of the award-winning medieval ensemble Eya, based in Washington, D.C., in addition to serving as cantor at the Washington National Cathedral. Originally from Michigan, Kristen Dubenion-Smith graduated from Alma College before moving to Baltimore to complete her studies in voice at the Peabody Institute.

Oliver Mercer, tenor, has been hailed by the New York Times as “excellent,” “particularly impressive,” and “sterling.” Recent opera roles include Eurimaco in Monteverdi’s L’incoronazione di Poppea with Iford Arts Festival, conducted by Christian Curnyn, Acis in Handel’s Acis and Galatea with Mid Wales Opera, and Don Pelagio in Haydn’s La canterina with Bampton Classical Opera. The works of Monteverdi have continually played a large part in his repertoire, and he has received critical acclaim for past performances of the title role in L’Orfeo for

PROGRAM: APOLLO’S FIRE


Opera Theater Company Ireland and Silent Opera, London, multiple performances of Vespro della Beata Vergine, as well as performances of excerpts from the books of madrigals. Future Monteverdi projects include a production of L’Orfeo with English National Opera in the spring of 2015. Early French repertoire is also an area of specialty, with past performances including operas by Charpentier, Rameau, and Grétry. A frequent guest artist with Apollo’s Fire, Oliver Mercer is an active concert soloist, specializing in the works of Handel, Mozart, and Bach.

Molly Quinn, soprano, has captivated audiences with her “radiant” soprano, possessing an “arresting sweetness and simplicity” (New York Times) in repertoire ranging from Monteverdi to the Rolling Stones. As a member of New York’s TENET, Quinn has been featured in many acclaimed projects, including UNO + One: Italia Nostra (Avie Records). She is a soloist on the Choir of Trinity Wall Street and Trinity Baroque Orchestra’s 2013 Grammy-nominated recording of Handel’s Israel in Egypt (Musica Omnia) and has appeared with the ensemble in London, Moscow, Paris, and New York’s Carnegie Hall and Alice Tully Hall. In 2012, Quinn also sang backup for rock legends the Rolling Stones. Recently, she has appeared with the Clarion Music Society, the Connecticut Early Music Festival, the Folger Consort, and the Mostly Mozart Festival and with conductor Joshua Rifkin. Molly Quinn was a 2013 season Virginia Best Adams Fellow at the Carmel Bach Festival. She attended the University of Cincinnati College-Conservatory of Music.

Nell Snaidas, soprano, has been praised by the New York Times for her “beautiful soprano voice, melting passion,” and “vocally ravishing” performances. Of Uruguayan-American descent, Snaidas is recognized for her specialization in historical performance practice, in particular for the repertoire of Italy and Spain. She began her career singing in zarzuelas in New York City’s Repertorio Español. Favorite projects include

her many appearances with the Boston Early Music Festival, singing with the Los Angeles Philharmonic at the Hollywood Bowl, recording the movie soundtrack of The Producers with Mel Brooks in the booth, and codirecting/creating Sephardic Journey with conductor Jeannette Sorrell for Apollo’s Fire. Snaidas was featured on CBC radio as one of the leading interpreters of Spanish Renaissance/Sephardic song and has recorded for Sony Classical, Sono Luminus, Koch International, and Naxos. In addition to serving as a Spanish/Latin American language coach to many of the leading early music ensembles in the United States, Nell Snaidas is the coartistic director of GEMAS, a new concert series devoted to early music of the Americas. Her latest recording, The Kingdoms of Castille, was nominated for a Grammy Award in 2012. She is also one of a small number of early music performers currently serving on the Board of Directors of Early Music America.

Karim Sulayman, tenor, is consistently praised for his sensitive musicality, vivid portrayals, and beautiful vocalism. With a vast repertoire that spans Renaissance to contemporary music, the young tenor has firmly established himself as a sophisticated and versatile artist of his generation. This season he records and debuts the role of Eurillo in Scarlatti’s Gli equivoci nel sembiante with Haymarket Opera, performs Messiah with the Atlanta Baroque Orchestra, and has multiple return engagements with Apollo’s Fire. Recent highlights include three seasons at the Marlboro Music Festival and engagements at Lincoln Center, the Kennedy Center, Carnegie Hall, New York City Opera, Boston Lyric Opera, Chicago Opera Theater, Cité de la Musique, Apollo’s Fire, the Casals Festival, the Aspen Music Festival, and the International Bach Festival. His growing discography includes the title role in Handel’s Acis and Galatea and two releases for Naxos in works of Philidor and Grétry, as well as forthcoming releases on the Avie and Furious Artisans labels. Karim Sulayman’s musical education began with violin studies at age three, followed by years

as a boy alto soloist, including performances with the Chicago Symphony Orchestra under Sir Georg Solti and the St. Louis Symphony under Leonard Slatkin. He holds degrees from the Eastman School of Music and Rice University. He also studied improvisation at the Second City Training Center in Chicago.

Jonathan Woody, bass-baritone, is a sought-after performer of early and new music in New York and nationwide. Equally comfortable as a soloist and an ensemble member, Woody is a member of the Grammy-nominated Choir of Trinity Wall Street, giving featured performances in works by Handel and Bach and earning praise as “charismatic” and “riveting” from the New York Times. He performs regularly across the United States; recent engagements include the Oregon Bach Festival Vocal Fellowship, the Carmel Bach Festival Virginia Best Adams Fellowship, the Green Mountain Project, the Clarion Music Society, the Antioch Chamber Ensemble, TENET, Ensemble Signal, the Prototype Festival, Brooklyn Baroque, and Gotham Chamber Opera. Jonathan Woody has recorded with the Choir of Trinity Wall Street under the Musica Omnia label, most recently being featured on the premiere recording of Ralf Yusuf Gawlick’s Missa Gentis Humanae for Eight Voices. Upcoming engagements include performances with BAM’s Next Wave Festival, the Bach Collegium San Diego, the Handel and Haydn Society, and the Nashville Symphony and a tour with Pegasus Early Music.•


ARTISTSBrad Mehldau, pianoLarry Grenadier, bassJeff Ballard, drums

PROGRAMThe evening’s program will be announced from the stage.


PROGRAM: BRAD MEHLDAU TRIODECEMBER 5 / 7:30 PM BING CONCERT HALL

This program was generously funded by the Koret Foundation. The Koret Jazz Project is a multiyear initiative to support, expand, and celebrate the role of jazz in the artistic and educational programming of Stanford Live.


Media Sponsors

November 8, 2014–February 16, 2015

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Through his graffiti-inspired drawings, paintings, sculptures, and murals, Keith Haring created an immediately recognizable iconography that speaks to a diverse population. Making its US premiere at the de Young with more than 130 works of art, The Political Line lends gravitas to the artist’s career by focusing on his political activism. Exuberant, profane, witty, and provocative, the works in this exhibition trace Haring’s creative development and his historical significance as an advocate for social justice.

This exhibition is organized by the Fine Arts Museums of San Francisco. Director’s Circle: Penny and James George Coulter. Curator’s Circle: Sloan and Roger Barnett, Ray and Dagmar Dolby Family Fund, Holly Johnson Harris and Parker Harris, and the Shimmon Family. Conservator’s Circle: The Buena Vista Fund of Horizons Foundation. Patron’s Circle: The Keith Haring Foundation. Supporter’s Circle: Juliet de Baubigny, and Richard and Peggy Greenfield.

http://deyoungmuseum.org

BRAD MEHLDAU Jazz pianist Brad Mehldau has recorded and performed extensively since the early 1990s. Mehldau’s most consistent output over the years has been in the trio format. Starting in 1996, his group released a series of five records on Warner Bros. entitled The Art of the Trio (repackaged and re-released as a five-disc boxed set by Nonesuch in late 2011). During that same period, Mehldau also released a solo piano recording entitled Elegiac Cycle and a record called Places that included both solo piano and trio songs. Elegiac Cycle and Places might be called “concept” albums, made up exclusively of original material with central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes, a trio outing with bassist Larry Grenadier and drummer Jorge Rossy.

His first record for Nonesuch, Brad Mehldau Live in Tokyo, was released in September 2004. After 10 rewarding years with Rossy playing in Mehldau’s regular trio, drummer Jeff Ballard joined the band in 2005. The label released its first album from the Brad Mehldau Trio—Day Is Done—on September 27, 2005. An exciting double live trio recording entitled Brad Mehldau Trio Live was released on March 25, 2008 (Nonesuch), to critical acclaim. On March 16, 2010, Nonesuch released a double disc of original work entitled Highway Rider, the highly anticipated follow-up to Largo. The album was Mehldau’s second collaboration with renowned producer Jon Brion and featured performances by Mehldau’s trio—drummer Jeff Ballard and bassist Larry Grenadier—as well as percussionist Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. In 2011 Nonesuch released Live in Marciac, a two-CD release with a companion DVD of the 2006 performance, and Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli. In 2012 Nonesuch released an album of original songs from the Brad Mehldau Trio—Ode—the

first from the trio since 2008’s live Village Vanguard disc and the first studio trio recording since 2005’s Day Is Done. Ode went on to garner a Grammy nomination. Nonesuch released the Brad Mehldau Trio’s Where Do You Start, a companion disc to the critically acclaimed Ode, in the fall of 2012. Whereas Ode featured 11 songs composed by Mehldau, Where Do You Start comprises the trio’s interpretations of 10 tunes by other composers, along with one Mehldau original. In 2013 Mehldau produced and performed on Walking Shadows, the acclaimed Nonesuch release from Joshua Redman. The year 2013 also saw a number of collaborative tours including a duo tour with mandolin virtuoso Chris Thile, piano duets with Kevin Hays, and a new electric project with prodigious drummer Mark Guiliana entitled Mehliana. Mehliana: Taming the Dragon, the debut release by Mehliana, was released to critical acclaim in early 2014.

Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination with the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind and the order in which they reveal themselves. Each tune has a strongly felt narrative arc, whether it expresses itself in a beginning and an end or something left intentionally open-ended. The two sides of Mehldau’s personality—the improviser and the formalist—play off each other, and the effect is often something like controlled chaos.

Mehldau has performed around the world at a steady pace since the mid-1990s, with his trio and as a solo pianist. His performances convey a wide range of expression. There is often an intellectual rigor to the continuous process of abstraction that may take place on a given tune and a certain density of

information. That piece could be followed by a stripped-down, emotionally direct ballad. Mehldau favors juxtaposing extremes. He has attracted a sizeable following over the years, one that has come to expect a singular, intense experience in his performances.

In addition to his trio and solo projects, Mehldau has worked on projects with a number of great jazz musicians, including a rewarding gig with saxophonist Joshua Redman’s band for two years, recordings and concerts with Pat Metheny, Charlie Haden, and Lee Konitz, and recordings as a sideman with the likes of Michael Brecker, Wayne Shorter, John Scofield, and Charles Lloyd. For more than a decade, he has collaborated with several musicians and peers whom he respects greatly, including the guitarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. Mehldau also has played on a number of recordings outside of the jazz idiom, like Willie Nelson’s Teatro and singer-songwriter Joe Henry’s Scar. His music has appeared in several movies, including Stanley Kubrick’s Eyes Wide Shut and Wim Wenders’ Million Dollar Hotel. He also composed an original soundtrack for the French film Ma femme est une actrice. Mehldau composed two new works commissioned by Carnegie Hall for voice and piano, The Blue Estuaries and The Book of Hours: Love Poems to God, which were performed in the spring of 2005 with the acclaimed classical soprano Renée Fleming. These songs were recorded with Fleming and released in 2006 on the Love Sublime record; simultaneously, Nonesuch released an album of Mehldau’s jazz compositions for trio entitled House on Hill. A 2008 Carnegie Hall commission for a cycle of seven love songs for Swedish mezzo-soprano Anne Sofie von Otter premiered in 2010. Love Songs, a double album that paired the newly commissioned song cycle with a selection of French, American, English, and Swedish songs that Mehldau and von Otter performed together, was released in late 2010 (on the Naïve label) to unanimous praise. In 2013 Mehldau premiered and performed Variations on a Melancholy

PROGRAM: BRAD MEHLDAU TRIO


Theme, a large-format orchestral piece which was performed with both Orpheus Chamber Orchestra and Britten Sinfonia.

Mehldau was appointed curator of an annual four-concert jazz series at London’s prestigious Wigmore Hall during its 2009–2010 and 2010–2011 seasons, with Mehldau appearing in two of the four annual concerts. In late January 2010, Carnegie Hall announced the 2010–2011 season-long residency by Mehldau as holder of the Richard and Barbara Debs Composer’s Chair at Carnegie Hall—as the first jazz artist to hold this position since it was established in 1995. Previous holders include Louis Andriessen (2009–2010), Elliott Carter (2008–2009), and John Adams (2003–2007).

LARRY GRENADIERLarry Grenadier (bass) attended Stanford University, where he received a B.A. in English literature. After moving to the East Coast, he played in the Gary Burton Band, touring the United States and Europe. He moved to New York City and played with Joe Henderson, Betty Carter, Pat Metheny, and the John Scofield Group. For the past year, when not touring and recording with the Brad Mehldau Trio, he has toured and recorded with the Pat Metheny Trio.

JEFF BALLARDJeff Ballard (drums, percussion) grew up in Santa Cruz, California. He toured with Ray Charles from 1988 to 1990 and moved to New York in 1990. Since then, he has played and recorded with Lou Donaldson, Danilo Pérez, Chick Corea, and Joshua Redman, to name a few. Currently, in addition to being a member of the Brad Melhdau Trio, he is a coleader of the collective group FLY (also featuring Mark Turner and Larry Grenadier) and Joshua Redman’s Elastic Band.•

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PROGRAM: SING AND PLAY THE BINGDECEMBER 6 / 7:30 PM BING CONCERT HALL

ARTISTSPeninsula Women’s ChorusChinese Performing Arts of AmericaCalmecac Tezkatlipoka Aztec Dance and Drum

PROGRAMThis festive free evening, featuring performances from Silicon Valley–based groups, highlights the wealth of cultural diversity and artistic excellence in our community.

The program will be announced.



Untitled-22 1 9/19/14 9:30 AM

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PENINSULA WOMEN’S CHORUSThe Peninsula Women’s Chorus (PWC) is a Palo Alto–based 50-voice women’s choir performing high-quality classical and contemporary music in the Bay Area and many parts of the world. Since its founding in 1966, the Peninsula Women’s Chorus has been committed to excellence in the performance of diverse and challenging choral literature for women’s voices, and it is recognized as the premier vocal ensemble for women in the San Francisco Bay Area. The PWC has come to national and international attention through live performances and recordings and has added significantly to the choral literature by commissioning new music. The chorus inspires and enriches its audiences in the Bay Area through its concert series, its ongoing program of premiering new works, and its numerous collaborations with other performing groups.

Martín Benvenuto has been artistic director of the Peninsula Women’s Chorus since 2003. Active as a clinician, panelist, and guest conductor, Benvenuto is also artistic director of WomenSing, has served as artistic director of the Contra Costa Children’s Chorus, and has been on the faculty of the Piedmont East Bay Children’s Choir for eight years. Recognized for his exacting technique and a passion for drawing the finest choral tone, Benvenuto has an extensive repertoire. In addition to the historical repertoire, his choirs are dedicated to commissioning new works from composers such as Libby Larsen, Chen Yi, Stacy Garrop, Charles Griffin, Cristián Grases, Judith Shatin, Frank Ferko, Brian Holmes, and David Conte.

Martín Benvenuto has prepared choirs for organizations such as San Francisco Opera, the Oakland East Bay Symphony, the Redwood Symphony, and the Kronos Quartet in works by Bach, Monteverdi, Britten, Mahler, Holst, Stravinsky, and Orff. He also regularly appears as tenor soloist with leading Bay Area ensembles.

CHINESE PERFORMING ARTS OF AMERICAFounded in 1991 as a performing ensemble focused on the Chinese cultural arts, Chinese Performing Arts of America (CPAA) has evolved into a midsized multifunction organization with three core program components. The organization produces, presents, and tours performances by CPAA’s company of professional performing artists throughout a yearlong season of more than 14 arts events in San Jose and throughout the Bay Area, sharing and interpreting Chinese culture with over 20,000 audience members. These performances are located at CPAA’s home facility, the 14,000 square foot International Performing Arts Center in West San Jose; at the Center for the Performing Arts in downtown San Jose (CPASJ); at other venues outside downtown such as Mexican Heritage Plaza; and regionally at De Anza College, Central Park in Fremont, and the Ethnic Dance Festival in San Francisco.

CPAA also has a Chinese cultural arts learning program—the CPAA Academy—which provides classes to 400 children and adults each week in Chinese traditional and contemporary performing arts as well as performance opportunities for children and

youth through competitions and festivals. In addition to the weekly classes and a summer camp program, CPAA organizes the CPAA dance group, the children’s choir, and the chamber orchestra. These three ensembles provide free performances in venues such as senior centers, schools, and churches, enriching cultural life in the community, providing valuable performing experience for the children and youth, and instilling a sense of public service. CPAA also administers the Silicon Valley International Arts Competition.

The International Performing Arts Center (IPAC) is an arts incubator program for over 20 organizations from diverse ethnic backgrounds that utilizes CPAA’s home facility’s eight small and four large studios and 350-seat auditorium to provide classes and activities for 2,000 children and adults each week. Launched initially as the CPAA Arts Center, the center was renamed the International Performing Arts Center in the 2013–2014 program year to reflect its role as a center for many cultural and artistic communities.

CALMECAC TEZKATLIPOKA AZTEC DANCE AND DRUMCalmecac Tezkatlipoka Aztec Dance and Drum (Tezkatlipoka) is a traditional school of Aztec dancing, drumming, and culture and a traditional Aztec dance circle based in San Jose. Tezkatlipoka is also well-known in Silicon Valley as a community-based performing arts dance group that promotes an appreciation and understanding of pre-Columbian art forms through traditional Aztec dance and music. Tezkatlipoka works towards integrating

PROGRAM: SING AND PLAY THE BING


all dimensions of Mesoamerican dance, music, and performance art while honoring the cultural traditions left behind by its ancestors. Tezkatlipoka has shown a deep commitment to the advancement of Aztec art forms by offering open weekly community classes and by providing arts education for schools and community-based cultural presentations and events. Through these cultural programs, Tezkatlipoka celebrates cultural diversity by exploring common links that connect all people together in a celebration of movement, art, and life. Tezkatlipoka’s mission is to share and promote indigenous Mesoamerican culture through Aztec dance and drumming. Tezkatlipoka strives to maintain a high level of integrity, teaching and presenting Aztec dancing and drumming that are true to form so that they can be preserved in all their beauty and strength for generations to come. The group’s philosophy centers on preserving the sacred traditions left behind by its ancestors while sharing and exchanging cultural knowledge as a way to foster a sense of unity between all peoples of the Earth.

Calmecac Tezkatlipoka Aztec Dance and Drum was founded in 1988 by Texomazatl (David Vargas) as a traditional Aztec dance circle and cultural performing arts group in San Jose, California. Currently, there are over 15 members in the dance circle, in addition to beginner students that attend weekly classes. The group also has a history of collaborating with other Bay Area Aztec dancers and dance groups, whether it be through participating in traditional ceremonies or inviting other dancers to different performances throughout the greater Bay Area.•

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PROGRAM: CHANTICLEERDECEMBER 11 / 7:30 PM MEMORIAL CHURCH



PROGRAMA Chanticleer ChristmasIVirga Jesse floruit PlainsongO Virgo virginum* Josquin Desprez (ca. 1450–1521)

IIAngelus ad pastores ait a 12 Giovanni Gabrieli (ca. 1557–1612)Pastores loquebantur Jacob Clemens non Papa (ca. 1510–1555)

IIIRosa das rosas Alfonso X de Castilla (1221–1284)Rose of Roses Fredrik Sixten (b. 1962) (Commissioned by Chanticleer in 2014)Portuguese Hymn (Adeste Fideles) John Francis Wade (1711–1786) (Adapted from The Southern Harmony)Sã qui turo zente pleta*† Anon., 17th-century Portuguese

IVEs ist ein Ros entsprungen* Hugo Distler (1908–1942)

VThe Lamb John Tavener (1944–2013)Molitva (Prayer) Georgy Sviridov (1915–1998) (From Tsar Fyodor Ioannovich)

Die Stimme des Kindes* Jaakko Mäntyjärvi (b. 1963)

INTERMISSION

VIAve Maria*† Franz Biebl (1906–2001)There Is No Rose of Such Vertu Fredrik Sixten (Adaptation commissioned by Chanticleer in 2014)

VIIA selection of traditional and popular carols to be selected from the following:

God Rest Ye Merry, Gentlemen/ Trad. English, arr. Reginald Jacques / Robin Wells Rejoice and Be Merry* Un flambeau, Jeanette, Isabelle!* Trad. Provençal, arr. Hugh Keyte/Andrew ParrottJul, jul, strålande jul Gustaf Nordqvist (1886–1949)Den signade dag Trad. Swedish, arr. Anders NybergLa ciantia di trëi rëisc Trad. Italian/Ladin carol, arr. Samuel RunggaldierNoël nouvelet*† Trad. French, arr. Joseph Jennings/Matthew OltmanFum, fum, fum! Trad. Spanish/Catalan, English text/arrangement by Ken MalucelliSee, Amid the Winter’s Snow* Trad. English, arr. John Stainer/David WillcocksIn the Bleak Mid-Winter*† Gustav Holst (1874–1934), arr. Joseph JenningsChristmas Medley*† Trad. Gospel and Spiritual, arr. Joseph Jennings Rise Up, Shepherd, and Follow Behold That Star Sweet Little Jesus Boy What Month Was Jesus Born In? Go Tell It on the Mountain

ARTISTSNathanael Pence, Kory Reid, Darita Seth, sopranoCortez Mitchell, Alan Reinhardt, Adam Ward, altoMichael Bresnahan, Brian Hinman, Ben Jones, tenorEric Alatorre, Matthew Knickman, Marques Jerrell Ruff, baritone and bassRagnar Bohlin, guest music director

A program insert will be provided at the performance.

*These works have been recorded and are available for purchase at tonight’s performance or at www.chanticleer.org.†These works are published by Hinshaw Music, Inc., as part of the Chanticleer Choral Series.

43 encoremediagroup.com

Stanford Live thanks thefollowing donors for generouslysupporting the 2014–15 season.

STANFORD LIVE DONORS

PRODUCING SPONSORS ($50,000+)Helen & Peter BingPenny & James G. CoulterMarcia L. & John D. Goldman

PERFORMANCE SPONSORS ($30,000+)Clinton & Mary Gilliland Dr. Mary T. Jacobson & Dr. Lynn

GretkowskiMichael Jacobson & Trine SorensenBonnie & Marty Tenenbaum

BING MEMBERS BING CIRCLE ($25,000+)AnonymousGioia Fasi Arrillaga & John ArrillagaHelen & Peter BingRoberta & Steven DenningAnn & John DoerrBarbara H. Edwards & William C. EdwardsJohn & Jill FreidenrichCynthia Fry Gunn & John A. GunnFred & Stephanie HarmanLeslie Parker Hume & George H. HumeDr. Mary T. Jacobson & Dr. Lynn

GretkowskiDeedee McMurtry & Burton J. McMurtryMindy Basham Rogers & Jesse T. Rogers

BING MEMBERS DIRECTOR’S CIRCLE ($15,000–$24,999)Jeanne & Larry AufmuthCarol & Myles BergSallie De Golia-Jorgenson & John

JorgensonLynn & James W. GibbonsLeonard Gumport & Wendy MungerLarry Horton & George WilsonKathy Kissick & John H. KissickLeatrice Lowe LeeBill MeehanLinda & Anthony MeierBarbara S. OshmanCondoleezza RiceMarian & Abraham SofaerMadeline J. Stein & Isaac Stein

BING MEMBERS ARTIST’S CIRCLE ($7,500–$14,999)AnonymousLinda Rosenberg Ach & Andrew AchAnne & Greg AvisJamie & Jeff BarnettFelicity Barringer & Philip TaubmanAlison L. & James J. BartaSally M. Benson & Terry SurlesRecia K. Blumenkranz & Mark S.

BlumenkranzJanice L. Brody & Robert B. RuleLouise & John BrysonShawn & Brook ByersJames E. Canales & James C. McCannEva & Chris CanellosDiane & Steve CiesinskiDavid & Ann CrockettJulia & James DavidsonMelissa & Trevor Fetter

Doris FisherLaura & John FisherMary L. Fitch & William L. FitchFrances K. Geballe & Theodore GeballeMarcia L. & John D. GoldmanAnn GriffithsThe Amos-Grosser Family & Dr. Morton

GrosserRichard C. Halton & Jean-Marc FrailongGail & Walter HarrisPaul & Deirdre HegartyAnne M. Holloway & John T. HollowayRick Holmstrom & Kate RidgwayElizabeth & Zachary HulseyMichael R. Jacobson & Trine SorensenBetty B. Joss & Robert L. JossRoberta Reiff Katz & Charles J. KatzLisa Keamy & Lloyd MinorIngrid Lai & William ShuJeanne & William LandrethBren & Lawrence LeisureRobert LenceDebra & Mark LeslieRichard Livermore & Cynthia Snorf

LivermoreAndrea A. LunsfordDrs. Michael & Jane Marmor, The Marmor

FoundationVictoria & James MaroulisCarrick & Andrew McLaughlinCathy McMurtryNancy H. Mohr & Lawrence G. MohrPhyllis MoldawBetsy MorgenthalerTashia & John MorgridgeDean & Lavon MortonSusan & William OberndorfSusan Packard Orr & Franklin M. OrrLee & Bill PerryWilliam E. RellerDonna D. Robertson & Channing R.

RobertsonVictoria & David RogersThomas Sadler & Dr. Eila SkinnerDonald & Peggy SatterleeCharlotte Mailliard Shultz & George P.

ShultzBarbara F. Silverman & Arnold N.

SilvermanPhyllis & Ken SlettenSusan SpeicherJeremy A. SpielmanLaurence & Suzanne SpittersPeter Staple & Harise SteinHal & Diane SteuberAndrea Stryer & Lubert StryerLisa & Ron SturzeneggerDouglas A. Tanner & Carol Scilacci TannerMark Vander PloegJohn WeedenKarin & Paul WickDavid A. Wollenberg

BENEFACTOR ($5,000–$7,499)Fred Alvarez & Beth McLellan AlvarezMrs. Ralph I. DorfmanBruce & Eleanor HeisterCharlotte & Larry LangdonRhoda LevinthalNadine & Edward Pflueger

SUSTAINER ($2,500–$4,999)Iris & Paul BrestJoyce Chung & Rene LacerteMary & John FelstinerThe Stephen & Margaret Gill Family

Foundation Milly & Robert KayyemVictoria & James MerchantDick R. Miller & James M. Stutts

John O’Farrell & Gloria PrincipeOg & OginaBarbara & Greg RosstonMeryl & Rob SeligSusan & David Young

PARTNER ($1,000–$2,499)Jim & Marian AdamsJonathan, Frances & Alison AxelradLindy BarocchiLisa BarrettElaine Baskin & Kenneth KrechmerDeborah & Jonathan BerekCameron & Tito BianchiDr. & Mrs. Bruce BienenstockCeleste Phaneuf Birkhofer & Wendell

BirkhoferCarolyn & Gary BjorklundJoanne BlokkerSusan BreyerJane & Peter CarpenterAlexis & David ColkerDr. Michael Condie & Joanne CondieToni Cupal & Michaelangelo VolpiMr. & Mrs. DeLucaTom Dienstbier & Joyce FirstenbergerDebbie Duncan & Bill StoneStanley Falkow & Lucy TompkinsMargaret Ann Fidler & Donald A. FidlerLeah & Lawrence FriedmanBetsy & David FrybergerKaren GilhulyBuzz & Peg GitelsonElizabeth GulevichEd Haertel & Drew OmanJerre & Nancy HitzKaren Hohner & Randall KeithLeslie Hsu & Richard LenonStella J. Hwang & Philip KingWilliam Kay & Carol StevensKay & Ed KinneyMichael Kronstadt & Dr. Joji YoshimuraJanna & Kurt LangAlbe & Raymond LarsenRobert & Sue LarsonDorothy LazierPatricia LeeRoy Levin & Jan ThomsonSanford LewisMark LiebermanDeirdre Lyell & Clifford SchiresonJoan MansourYoshiko Matsumoto & John RyanDarle & Patrick MaveetyEvelyn Miller & Fred SnivelyPaula Moya & Ramon SaldivarStan & Joan MyersMargaret NeffCelia OakleyJeanne & Marshall O’NeillJeanette & Christopher PayneShirley & Robert RaymerMargaret E. Raymond & Eric A. HanushekAngela RiccelliLaura RichardsonNancy & Norman RossenDoris SayonJudith & Alan SchwettmanLee Ann & Martin ShellDiane A. ShemanskiGuy ShoupJudy & Lee ShulmanJanet & Richard Cory SommerSrinija SrinivasanBarbara TatumSally & George TruittAnn & John VaradyMary & John WachtelDr. & Mrs. Irving WeissmanDarlene WiglerJohn & Lysbeth Working

ADVOCATE ($500–$999)AnonymousMarilyn & Herbert AbramsLaura AdamsMarcia & Matthew AllenJanice & William AndersonMarkus Aschwanden & Carol KerstenMildred & Paul BergCharlotte & David BiegelsenSusan & Richard BlishVera & Karl BlumeBonnie & William BlytheLinda & Steven BoxerBradley BreymanMaude & Phil BrezinskiJames Brooks & Sukey BryanLeeann & Jorge CaballeroLeon CampbellCurtis & Dudley CarlsonLinda CarsonJohn CarterMarta CervantesNelson ChangDonald Henry CheuHenry CheungAnn ClarkWilliam Coggshall & Janet LittlefieldHolly & Andrew CohenSheila Cohen & Richard MazzeKalyani ComalCathy & Steve CombsLance ConnJacqueline & Robert CowdenAnn & George CraneSuzanne & Bruce CrockerJoni CropperMelanie CrossNorman DishotskyHarriet & Sidney DrellStan Drobac & Michelle SwensonSally Dudley & Charles SieloffDana & Andy EckertEllen & Thomas EhrlichSally & Craig FalkenhagenDana FenwickGeorge FernJoan & Allan FischBarry FleisherMargaret Forsyth & Glenn RennelsRona FosterCarol & Joel FriedmanJudy & Otis FrostAileen FurukawaDonna Tepe GartonAnita GilliamSabine & Bernd GirodMatthew Glickman & Su Hwang Edie GoldbergSusan GoodhueDiane Greene & Mendel RosenblumSally Gressens & Lee YearleyMary Ann & John GrilliSteven GuggenheimJames S. Harris, Jr.Judith & Jerrol HarrisKeith HennesseyMiriam & Albert HenleyLisa HenriksenLance HillRichard T. HoppeAlyson & James IllichDorothy & Rex JamisonLucie JayLeigh & Roy JohnsonLil JohnsonGrady & Kenneth KaseLisa & Kenneth KelleyEdie KirkwoodPeter KlipstasMaureen & Kerry KravitzNora & Charles Kruger Terri Lahey & Stephen Smith


BING CONCERT HALLDONORSSally & Charles LanninDanielle Lapp & Jerome YesavageAyleen & Emory LeeShirley LeeYune LeeDoreen & David LeithMarion LewensteinShirley LiebhaberMarcia Linn & Jack MorrisLaurel & Joseph LipsickDeveda & Ernest LittauerKristen & Felix LoPenny & John LoebSharon LongPeggie MacLeodAddie & Al MacovskiLeslie & Timothy MaierCharlene & Richard MaltzmanRichard MamelokNino MarakovicIngrid MarlowThomas MarshburnMorton MaserJackie & Bob MathesValerie McGuireMolly & Bill McKennaAsena & Nicholas McKeownPenny & James MeierLuis Mejia & Julie SkeltonRani MenonJudy MohrDavid MoorPaula Moya & Ramon SaldivarLinda & William NorthwayPeter Nosler & Julie VeitchMargaret OishiChristine & Ronald OrlowskiGinger & Daniel OrosKevin Osinski & Marc SinykinMary Jane & Richard OtteMargo ParmacekKaren RechtRossannah ReevesKathleen & Michael RoederDiane & Joe RolfeAlice & Howard RosenbergMaureen & Paul RoskophDiana RussellPhilip RussellLoren SaxeNancy & Elliot SchrierJohn SchwabacherLorraine & Gerard SeeligLalit ShahaniWilliam ShilstoneDiane & Branimir SikicKerry SpearBarbara & Charles StevensEdward StormLinda & Jeffrey SutoChristopher ThomsenOnnolee & Orlin TrappRonald TrugmanSally & George TruittTing & Randy VogelWendy & Roger Von OechMary & James WeersingWafa WeiRand Nelson WhiteBernard WidrowAbigail & Henry WilderMansie & Gary WilliamsMarilyn WolperRobert WoodSharon & Robert YoergSelma Zinker

SUPPORTER ($250–$499)Susan & David AbernethyDorothy & Theodore AndersonPhyllis & Donald BaerRichard Baumgartner & Elizabeth Salzer

Lauren BlackCharles Bliss & Caroline BowkerBarbara & Robert BowersLise BuyerStephanie Chao & Brian EuleSusan & Robert ChristiansenGay & Steve ClyburnMark CohenRalph Cohen & Susan MillionJean & Michael CouchJudith Dean & Ben EnciscoCarol & Robert DresslerMaria & George ErdiLindaGrace & Martin FrostElisabeth & David GarciaDianne & Wesley GardinerCharles Goldenberg & Pamela PolosPaul GoldsteinMyrtle & Patrick GunningMary & Dale KaiserStina & Herant KatchadourianTobye & Ronald KayeSuzanne KoppettCaroline & Joseph KrauskopfGrace LeeJoan & Philip LeightonLeslie & Tai-Ping LiuKathryn LowVera LuthRuth LycetteMaura McGinnity & Eric RauschGayle & Grady MeansTia & Frazier MillerNorman NaimarkKirstin & Frederic NicholsJoan NortonDonald OrnsteinCarmela PasternakC. Raymond Perrault & Elizabeth TruemanDarryl PutmanRuth RothmanGloria & Matthew SakataNancy & Richard SchumacherAlfred SpivackEleanor SueThomas WandlessJoan & Roger WarnkePatti & Ed WhiteMarilyn & Irvin YalomJane & Warren Zuckert

FOUNDATION & GOVERNMENT PARTNERS

$100,000+The Andrew W. Mellon FoundationKoret Foundation

$50,000–$99,999The William and Flora Hewlett Foundation

$10,000–$49,999The Ann and Gordon Getty Foundation

$5,000–$9,999Silicon Valley Creates

$1,500–$4,999Association of Performing Arts PresentersWestern States Arts Federation

Contributions listed are in support of the 2014–15 season and were received between 05/01/14 and 09/29/14. Program deadlines and limitations prevent us from listing all of our greatly appreciated donors. For corrections, or to make a contribution, please contact Danielle Menona at 650-725-8782 or [email protected].

BUILDING DONORSPeter and Helen BingCynthia Fry Gunn and John A.

GunnJohn Arrillaga FamilyAnne T. and Robert M. BassRoberta and Steve DenningElizabeth and Bruce DunlevieJill and John FreidenrichFrances and Theodore GeballeAndrea and John HennessyLeslie and George HumeSusan and Craig McCawDeedee and Burt McMurtryLinda and Tony MeierWendy Munger and Leonard

GumportJennifer Jong Sandling and M.

James SandlingRegina and John ScullyMadeline and Isaac SteinAkiko Yamazaki and Jerry Yang

BING EXPERIENCE FUND DONORSWe appreciate the following donors, who provide major support for programming and musical instruments for Bing Concert Hall.

AnonymousApogee Enterprises, Inc.The Adolph Baller Performance

Fund for Bing Concert HallFriends of Music at StanfordFred and Stephanie HarmanFong LiuElayne and Thomas Techentin,

in memory of Beatrice GriffinBonnie and Marty TenenbaumThe Fay S. and Ada S. Tom FamilyTurner CorporationThe Frank Wells FamilyMaurice and Helen Werdegar

CONTRIBUTIONS TO THE BING CONCERT HALL ENDOWMENTWilliam R. Brody and Wendy BrodyMelanie Phelps BeanDennis R. JohnsonShu-Ching LinLinda MankinDonald & Barbara RobertsGraham Sommer

2014–15 ADVISORY COUNCILThe purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide strategic advice on programmatic goals and vision, financial sustainability, communications and marketing, development goals and strategies, community outreach and education, and the overall arts branding at Stanford University.

Leslie P. Hume, Co-chairGeorge H. Hume, Co-chairPeter BingJim CanalesJohn GoldmanFred HarmanBren LeisureBetsy MattesonLinda MeierSrinija Srinivasan

BING CONCERT HALL CORE TEAMJenny BilfieldPeter BingMaggie BurgettJaneen GiustiWiley HausamDon IntersimoneDavid LenoxKären NagyMatt RodriquezMatthew Tiews


SEPTEMBER 2014

SUN, SEPT 21Chris Thile and Edgar MeyerSAT, SEPT 27Sound + Vision: Arts Open HouseSUN, SEPT 28Toumani and Sìdiki Diabaté

OCTOBER

THURS, OCT 2Emmylou HarrisSUN, OCT 5Kronos QuartetTHURS, OCT 9Philharmonia Baroque OrchestraTUES, OCT 14 *FREE* Memorial ChurchHarmony for Humanity:Daniel Pearl World Music Days Concert

FRI, OCT 17Sheryl CrowSAT, OCT 18 *FOR FAMILIES*Dan Zanes and FriendsSUN, OCT 19St. Lawrence String QuartetTHURS, OCT 30 – SUN, NOV 2Bing Concert Hall StudioBlind Summit TheatreThe Table

NOVEMBER

SAT, NOV 1PomplamooseSUN, NOV 2Orpheus Chamber OrchestraWED, NOV 5Philharmonia Baroque OrchestraFRI, NOV 14Apollo’s FireMonteverdi’s Vespers of 1610

DECEMBER

FRI, DEC 5Brad Mehldau Trio

SAT, DEC 6Sing and Play the BingTHURS, DEC 11 Memorial ChurchA Chanticleer Christmas

JANUARY 2015

SUN, JAN 18St. Lawrence String QuartetFRI, JAN 30 Memorial AuditoriumBill T. Jones/Arnie Zane Dance Company Story/Time

FEBRUARY

THURS, FEB 5Emerson String QuartetFRI, FEB 6Dianne ReevesStrings AttachedFRI, FEB 13 Haydn—Patronage and Enlightenment St. Lawrence String Quartet

SAT, FEB 14 & SUN, FEB 15Haydn—Patronage and EnlightenmentStanford Chamber Chorale Stanford Chamber StringsSt. Lawrence String Quartet Stanford Philharmonia Orchestra

WED, FEB 18The Nile ProjectSUN, FEB 22Jordi Savall with Hespèrion XXIIstanbul

MARCH

THURS, MAR 5Susan Graham, mezzo-sopranoSUN, MAR 8Cecilia String QuartetWED, MAR 11Philharmonia Baroque OrchestraTHURS, MAR 19San Francisco SymphonySUN, MAR 22 *FOR FAMILIES*Memorial AuditoriumCirque MechanicsPedal Punk

APRIL

WED, APR 1 & THURS, APR 2The DemoFRI, APR 3 *FREE* Memorial ChurchGood Friday Concert St. Lawrence String QuartetFRI, APR 10Australian Chamber OrchestraSUN, APR 12St. Lawrence String QuartetWED, APR 15DakhaBrakhaSUN, APR 19Los Angeles Children’s ChorusTUES, APR 21 Memorial AuditoriumCompagnie KäfigKäfig BrasilWED, APR 22SFJAZZ CollectiveSUN, APR 26Imani Winds

MAY

SUN, MAY 3Avi AvitalFRI, MAY 15Selected Shorts Live in Performance

WED, MAY 20Sondheim Songbook

JUNE

FRI, JUN 5 & SAT, JUN 6 *FOR FAMILIES* Bing Concert Hall StudioCompagnia T.P.O.BLEU! The Mediterranean Sea

TICKETS & INFORMATION LIVE.STANFORD.EDU OR 650.724.BING (2464)

More free events still to be announced—visit the Stanford Live website for updates!All programs subject to change.

Presented by Stanford LiveStanford University365 Lasuen Street, Second FloorLittlefield Center, MC 2250Stanford, CA 94305

2014 – 2015 PERFORMING ARTS SEASON


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1 Bing Concert Hall & Bing Concert Hall Ticket O ce2 Frost Amphitheater3 Memorial Church4 Memorial Auditorium5 Stanford Ticket O ce6 Anderson Collection at Stanford University

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INFORMATION

PERFORMANCE VENUE INFORMATION SEATING INFORMATION

BING CONCERT HALL MEMORIAL AUDITORIUM

Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays after 4:00 pm and on weekends at all times. Disabled parking, loading, and service-vehicle restrictions are enforced at all times.

Parking for Bing Concert Hall and Frost Amphitheater can be found in the Galvez Lot and on Lasuen Street, Museum Way, Roth Way, and the Oval.

Parking for Memorial Church can be found along the Oval at the end of Palm Drive, on Roth Way, on Museum Way, and on Lasuen Street.

The Stanford Marguerite is Stanford University’s free public shuttle service. The shuttle travels around campus and connects to nearby transit, shopping, dining, and entertainment. For detailed schedules and maps, please visit transportation.stanford.edu/marguerite.

Bike to the Bing!Bing Concert Hall is a bicycle-friendly venue with 244 bike racks available in front of the main entrance and student entrance. Bicycles are not allowed to obstruct walkways, railings, doorways, or ramps intended for use by pedestrians or people with disabilities. Improperly parked bikes will be removed and impounded by Stanford Public Safety.

DirectionsFor driving directions or public transportation information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit www.stanford.edu/dept/visitorinfo/plan/parking.html.

Please allow 30 minutes to find parking and take your seat before the performance. Or come early, easily find parking, and enjoy a meal or a glass of wine and a snack at the new Interlude Café!

THINGS TO KNOW

Wheelchair seating, with up to three companion seats per wheelchair space, is available for all Stanford Live performances at every price level. Please indicate your needs when purchasing tickets so that an appropriate location can be reserved for you.

Assisted-listening devices are available for Stanford Live performances. Please visit Patron Services prior to the show for more information.

Sign language interpreting is available for Stanford Live performances with five business days’ notice given to the administrative office—call 650.723.7247 or email us at [email protected].

Large-print programs are available with 72 hours’ notice given to the administrative office. Please send all requests to [email protected].

Latecomers arriving after curtain time will be seated at a suitable interval in the program or at intermission. We recommend that you arrive at least 30 minutes prior to performances to find parking, have a drink or a snack at our new café, and locate your seat before the show begins.

Please turn off all cell phones and any other light- or sound-emitting devices before the performance. Also, please note the use of cameras—including cell phone cameras—and recording devices is strictly prohibited.

The primary restrooms in Bing Concert Hall are located on the stage level, easily accessible by going down the stairs at Doors C and F or by using the lobby elevator near the information desk. Additional restrooms are located on the lobby level across from Door D near the café.

The Bing lobby and box office open 60 minutes prior to the performance. Auditorium doors open 30 minutes prior to curtain for audience members to locate their seats.

The Interlude Café in Bing Concert Hall’s lobby serves guests before each performance and during intermission. You can also preorder beverages or snacks to be ready for you at intermission by visiting the café before the performance or online. For complete hours, menus, and preordering options, visit live.stanford.edu/dining.

Cell phone service is limited at Bing Concert Hall, especially in the auditorium, because of the design of the building. Medical professionals and others who may need to be reached during a concert can either check in a cell phone or pager device at the Patron Services desk or direct outside callers to call the Patron Services desk, with their seat location, at 650.725.3095. The desk is located across the lobby from Door F at the Coat Check.

Seating at Memorial Church is general admission. Access to the reserved-seating section is available for donors of $250 or more.


http://stanfordhealthcare.org

Documents

JENNIFER KOH TEAMS UP WITH ORPHEUS CHAMBER ORCHESTRAencoreartssf.com/sites/default/files/programs/stanford-live... · virtuoso! jennifer koh teams up with orpheus chamber orchestra