program

Transcription

program

Sept / Oct 2013
perfOrming ArtS
SeASOn mAgAzine
A night in treme
celebrAting
the muSic Of
new OrleAnS
Plus
2013–14 seAsOn uPdAtes
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CONTENTS
Stanford Live is multidisciplinary performing arts on the campus of Stanford
University. 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
8
Magic in the Music: The Preservation and Survival of a Culture
BY JOHNATHAN EAGLIN
PROGRAMS
SEPT/OCT
2013
12
SEPT 22
Itzhak Perlman and the Young Virtuosos of the Perlman Music Program
16
SEPT 27
Special Stanford Student Concert: Phosphorescent
20
SEPT 29A Night in Treme: The Musical Majesty of New Orleans
with the Preservation Hall Jazz Band and Special Guests
24
OCT 9
Harmony for Humanity: Daniel Pearl World Music Days Concert
25
OCT 11
Live Simulcast of San Francisco Opera’s Falstaff
26
OCT 13
Sundays with the St. Lawrence: St. Lawrence String Quartet
32
OCT 25
Sing and Play the Bing
33
OCT 27
Jon Batiste and Stay Human
STANFORD LIVE
4
Stanford Live Staff & Sponsors
5
From The Director
6
Campus & Community
36
Stanford Live Donors
37
Bing Concert Hall Donors
38
Calendar
39
Things to Know
39
Parking / Venue / Seating
encore art sprograms.com 3
September/October 2013
Volume 6, No. 1
FOUNDATION &
GOVERNMENT PARTNERS
STAFF
Susan Peterson
Design & Production Director
Wiley Hausam
Executive Director of Stanford Live and Bing Concert Hall
Nancy Bertossa
Director of Marketing, Communications,
and Patron Services
Ana Alvira, Deb Choat, Robin Kessler,
Kim Love, Jana Rekosh
Design and Production Artists
Andrew W. Mellon Foundation
Robert Cable
Communications Manager
Paul Heppner
Publisher
Mike Hathaway
Advertising Sales Director
Marty Griswold,
Seattle Sales Director
Robert DeArmond
Web Developer
Gwendolyn Fairbanks, Jan Finn,
Ann Manning, Lenore Waldron
Seattle Area Account Executives
Drew Farley
Technical Manager
Staci Hyatt, Marilyn Kallins, Terri Reed
San Francisco/Bay Area Account Executives
Ben Frandzel
Institutional Gifts and Community Engagement Officer
Janeen Giusti
Operations Manager, Bing Concert Hall
IN-KIND PARTNERS
Sierra Gonzalez
Advertising and New Media Manager
Denise Wong
Sales Assistant
Jonathan Shipley
Ad Services Coordinator
www.encoreartsprograms.com
Elisa Gomez-Hird
Development Associate
Lisa LaFleur
Programs Manager
Paul Heppner
Publisher
Nick Malgieri
AV Manager
Leah Baltus
Editor-in-Chief
Danielle Menona
Donor Stewardship Coordinator
Marty Griswold
Sales Director
Julie Ornelas
Ticket Office Manager
Dan Paulus
Art Director
Janine Paver
Assistant Director of Development
Jonathan Zwickel
Senior Editor
Kimberly Pross
Production Manager
Gemma Wilson
Associate Editor
www.cityartsonline.com
Toni Rivera
Operations Coordinator
Matt Rodriquez
Director of Operations and Production
MEDIA PARTNERS
Joey Sandin
Production Assistant
Paul Heppner
President
Jan Sillery
General Manager, Stanford Live and Bing Concert Hall
Mike Hathaway
Vice President
Bill Starr
House Manager
Deborah Greer
Executive Assistant
PHOTO CREDITS
April Morgan
Accounting
Erin Johnston
Communications Manager
Cover: Preservation Hall Jazz Band, photo by Shannon Brinkman. Page 3: (top-bottom) St. Lawrence
String Quartet, photo by Marco Borggreve; Jon Batiste, courtesy photo; the Perlman Music Program,
courtesy photo. Page 5: Photo by Linda Cicero/Stanford News Service. Page 6: Death and the Powers,
photo by Jonathan Williams; Kurt Weill, photo by Stone, ca. 1946/courtesy of the Kurt Weill-Lenya Research
Center, Kurt Weill Foundation for Music, New York; Cecile McLorin Salvant, by JP Dodel Photography;
Phosphorescent, photo by Steve Gullick; Cellist Margaret Tait, photo courtesy of the San Francisco
Symphony. Page 7: Rigoletto simulcast, photo by Scott Wall. Page 8: Photo by Ingrid Hertfelder. Pages
16 & 18: Phosphorescent, photos by Steve Gullick. Pages 20 & 22: Preservation Hall Jazz Band, photos by
Shannon Brinkman. Page 24: Daniel Pearl, photo courtesy of the Daniel Pearl Foundation. Page 25: Bryn
Terfel in Falstaff, photo by Ken Howard/Metropolitan Opera. Pages 26 & 30: Photos by Marco Borggreve.
Page 32: Photo by Jeff Goldberg. Pages 33 & 34: Jon Batiste and Stay Human, courtesy photos.
4
STANFORD LIVE MAGAZINE
SEPTEMBER/OCTOBER 2013
Jana Rekosh
Project Manager/Graphic Design
Corporate Office
425 North 85th Street Seattle, WA 98103
p 206.443.0445 f 206.443.1246
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Encore Arts Programs is published monthly by Encore Media
Group to serve musical and theatrical events in Western
Washington and the San Francisco Bay Area. All rights reserved.
©2013 Encore Media Group. Reproduction
without written permission is prohibited.
From The Director
Welcome to the second (and first complete) season of Stanford Live and Bing Concert Hall!
We are so pleased that you have joined us!
Stanford Live is multi
disciplinary performing
arts on the campus of
Stanford University.
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.
Judging from the overwhelming response to our subscription campaign, I get the sense that
the program we’ve offered you has touched a responsive chord. All of us at Stanford Live
are very grateful. In response, we’ve added to the season eight additional, equally exciting
performances. (See more details on page 6.)
After a first season in which we presented only music, almost exclusively in Bing, this year we
will resume Stanford Live’s mission as a multidisciplinary presenter of music, dance, theater, and
opera in multiple venues around the Stanford campus.
Here are some fall highlights: On October 11, we’ll present a free live simulcast in Frost
Amphitheater of the San Francisco Opera’s production of Verdi’s Falstaff starring Bryn Terfel. On
November 18, we’ll launch our festival of the work of acclaimed French choreographer Jérôme
Bel in Memorial Auditorium with a production of The Show Must Go On, which features a cast of
professionals and “civilians” drawn from Stanford, Silicon Valley, and the greater Bay Area. And
on December 7, Linked Verse will have its world premiere in Bing. This is a singular evening-length
concerto for cello, Japanese shō, voice, sound, and live 3-D stereoscopic projection. We’ll even
provide the 3-D glasses! And, of course, we will continue to offer the finest in chamber music,
recitals, orchestral concerts, jazz, and world music as well as a season of concerts in Bing by
Stanford’s Department of Music.
Managing the scarcity of seats in our intimate 842-seat hall has been one of our greatest
challenges. (Admittedly, it is a nice challenge to have). We’d like everyone who wants to
attend performances at Bing to be able to do so, and we are at work on a plan to enlarge
access to our programs.
In the meantime, we have created a system through which seats released by ticket holders
can be resold to those who wish to attend a performance. If you find you cannot attend a
performance at the last moment, please let us know by responding to the email we will send
to you 24 hours prior to each show. For those wishing to purchase last-minute returned tickets,
go to our website and sign up for our notification list for each performance you are interested
in attending.
Finally, I’d like to thank all of you who are Bing members or contribute to our annual fund for your
generous support of our program. Rarely are artists of this stature presented in such an intimate
venue. Your gifts make possible the presence of the world’s finest artists in our community.
Sincerely,
Wiley Hausam
Executive Director, Stanford Live and Bing Concert Hall
P.S. Please let us know how you like our new 7:30 pm weekday start time.
CAMPUS & COMMUNITY
ADDED EVENTS
SEASON UPDATES
ANNOUNCED!
We have had a tremendous
response to the 2013–14
season—our second at Bing
Concert Hall—and although
many events are at capacity,
we are excited to announce
several newly added concerts
to the lineup. Season updates
include a Valentine’s Day
appearance by jazz vocalist
Cécile McLorin Salvant (Feb.
14), a performance of Kurt
Weill’s The Seven Deadly Sins
with the Stanford Philharmonia
Orchestra (May 10), an encore
presentation of the Linked Verse
world-premiere commission
(Dec. 8), a special Stanford
student concert by indie
folksinger Matthew Houck
a.k.a. Phosphorescent (Sept.
27), and three free events: a
lunchtime concert of chamber
music with members of the San
Francisco Symphony (Feb. 10),
a live simulcast of the Dallas
Opera’s production of Death
and the Powers (Feb. 10) by
composer Tod Machover,
and a community concert
entitled “Sing and Play the Bing,”
featuring Abhinaya Dance
Company, The Choral Project,
and Oriki Theater (Oct. 25).
The Department of Music
also has announced its series
of concerts at Bing, which
will include another series of
performances by the Stanford
Symphony and Philharmonia
Orchestras, Stanford Jazz
Orchestra, Center for
Computer Research in Music
and Acoustics, Stanford
Laptop Orchestra, and many
more. Visit music.stanford.edu
for the full calendar.
6
Live simulcast of Death and the Powers from the Dallas Opera
San Francisco Symphony
Musicians
Phosphorescent
Kurt Weill’s The Seven Deadly Sins
Cecile McLorin Salvant
PUBLIC PROGRAMS
iconic violinist and conductor
Itzhak Perlman rehearse with
the young virtuosos of the
Perlman Music Program before
their Sunday matinee concert.
The rehearsal is open to current
Stanford students only.
Matthew Houck (a.k.a.
Phosphorescent), students
are invited to join him in
the lobby for a meet and
greet student party.
PHOSPHORESCENT
AFTER-PARTY
7:00 PM
FRIDAY, SEPTEMBER 27, 8:45 PM
BING CONCERT HALL LOBBY
Immediately after the performance by singer-songwriter
JAZZ COMBO COACHING
MONDAY, OCTOBER 28,
BRAUN MUSIC CENTER
Jazz virtuoso Jon Batiste leads
a coaching session for Stanford
student jazz combo musicians.
Observers are welcome.
San Francisco Opera’s 2006 simulcast of Rigoletto at Frost Amphitheater
S.F. OPERA SIMULCAST
FRIDAY, OCTOBER 11, 8:00 PM
FROST AMPHITHEATER
Bring a blanket and pack a
picnic for the San Francisco
Opera’s return to Frost
Amphitheater in a live
simulcast from the War
Memorial Opera House
featuring Verdi’s Falstaff.
Register for free tickets
online at live.stanford.edu.
THE BODY ELECTRIC
THURSDAY, OCTOBER 24,
6:00 PM
CANTOR ARTS CENTER
Prior to its December performance in Linked Verse,
the OpenEndedGroup
digital-art collective will
participate in this series,
which explores the intersection between the live body
and digital representation.
STUDENT CABARET
MONDAY, OCTOBER 28,
The series is curated by Safiya
Nygaard, a current senior
and theater and performance
studies major at Stanford.
Jon Batiste
JON BATISTE JAM SESSION
MONDAY, OCTOBER 28,
8:00 PM
STANFORD COFFEE HOUSE
(COHO)
The day after his Bing
Concert Hall appearance,
Jon Batiste teams up with
Stanford Jazz Workshop musicians for a free jam session.
For Stanford Students
7:30 PM
MEET THE BING
BING STUDIO
SATURDAY, SEPTEMBER 21,
Stanford Live launches its
new cabaret series, which
will feature a variety of
student performers.
11:30 AM
BING CONCERT HALL
Students can explore Bing with
this rare opportunity to watch
STANFORD LIVE NEWS
STUDENT CURATORS
Stanford Live welcomes the
2013–14 student curators, who
will be programming opening
acts for select performances
in the coming season, and our
performance intern, who is
programming our new Student
Cabaret series. Stay tuned for
more details.
Kai Kane Aoki Izu is a
sophomore majoring in
human biology. A trained
dancer, he is a member of
Urban Styles, Stanford’s
contemporary dance troupe.
Sarah Jiang, class of 2016, is
a history major with a minor in
human biology. Also a singer
and visual artist, she currently
helps direct the Stanford
Talisman a cappella ensemble.
Noemi Berkowitz is a
sophomore double majoring
in Drama and Psychology.
At Stanford, she has acted in
The Crucible and Les Liaisons
Dangereuses, and is a member
of Stanford Theater Lab.
Safiya Nygaard is a current
senior and theater and
performance studies (TAPS)
major. At Stanford, she
has been involved with the
TAPS department, Stanford
Theater Lab, Ram’s Head
Theatrical Society, Arabesque
Middle Eastern Dance, and
Stanford Theater Activist
Mobilization Project.
REMINDER…
NEW START TIMES
In response to a growing
chorus of comments we’ve
heard from our audience,
we have moved our evening
performance times to 7:30 pm
(except for Sunday evenings,
which will remain at 7:00 pm,
and the San Francisco Opera
simulcast at 8:00 pm).
NEW BOX OFFICE HOURS
Also new this season, Bing
Concert Hall now has a fully
staffed box office dedicated to
serving Stanford Live patrons.
Regular hours are 12:00–5:00
pm, Tuesday–Friday. Hours on
weekends and performance
days vary; call 650-724-2464
(BING) for further information
on operating hours.
STANFORD LIVE FEATURE
MAGIC IN THE MUSIC:
THE PRESERVATION
AND SURVIVAL OF
A CULTURE
BY JOHNATHAN EAGLIN
T
he second-line parade—the festive latter half of the
traditional New Orleans–style funeral—has filled the
historic streets of the Treme neighborhood for generations.
The brass-band-led dirge that serenades the dead in song
transitions to pulsating horn riffs, thumping tubas, and jubilant
dancing that signals the celebration of a life well lived. Unique
to New Orleans, the second line is not your typical parade. It is
not a military exercise, a walking display for spectators, or an
occasion reserved solely for funerals. The spontaneous, often
ephemeral event is an improvised, harmonious meshing of band
and revelers who caravan as one big moving party gathered to
strengthen neighborhood ties, reinvigorate cultural norms, and
commemorate life and death.
Over the years as New
Orleans has experienced a
number of threats to its way
of life, this tradition can be
seen as an ironclad cultural
link that has remained
unbroken despite crippling
sociopolitical angst, urban
neglect and deterioration,
and subsequently the
destruction wrought by
Hurricane Katrina.
But even in the midst of
the most perilous times, the
trademark of the Crescent
City has always been its
proud penchant to party.
Treme, one of New Orleans’
oldest and most storied
communities, is now viewed
as the emblematic connection
to New Orleans life by way
of HBO’s critically acclaimed
drama Treme. In the Treme
enclave, life and music spills
out on the street, where
music becomes a magical
force, restoring the ethos of
a nearly destroyed city. The
music of Treme—the music of
New Orleans—is magic, and
it is life. As long as the music
is alive, New Orleans lives.
PRESERVING THE MAGIC
On September 29, Stanford
Live welcomes to Bing
Concert Hall a motley crew
of musicians dedicated to
keeping the music, culture,
and identity of New Orleans
alive and well. They will
transform Bing Concert Hall
into the scene of a frolicking
carnival and magical music
experience. Set to Treme’s
powerful story lines of
rebuilding life after Hurricane
Katrina, these musical
storytellers will be led by
the venerable Preservation
Hall Jazz Band. Joining the
group will be Stanton Moore,
drummer and cofounder of
the versatile band Galactic;
Ivan Neville of the funk/soul
quintet Dumpstaphunk; and
Leo Nocentelli, founding
member of the legendary
funk band the Meters.
Treme staff writer Lolis
Eric Elie, a noted journalist,
author, and twenty-year
resident of the Treme
neighborhood, sheds
valuable on the enduring
music that resonates from
the Big Easy. “There was a
revival of traditional New
Orleans music in the 1950s
because contrary to what
most of us feel about Louis
Armstrong, most of his
musical career he was not
playing music that sounded
like the streets of New
Orleans. A big part of New
Orleans music was group
improvisation—everybody
playing at the same time. One
of the things that Armstrong
did was feature solos.
So he revolutionized music
because he joined swing and
traditional New Orleans
music. And the music (jazz)
was and has been moving
in that direction ever since.
In addition, New Orleans
music appeals to people
across generational lines,
which is crucial because
when you hear it, you don’t
say, ‘Well, that’s my father’s
music.’ You say, ‘It’s music
that feels good.’ The truth
is that if you were to limit
New Orleans music to an era,
you would be talking about
your great-grandfather’s
music. I think that the
music is one component
of why people have a
romance with New Orleans,
and you can’t separate it
from the other things.”
PRESERVATION
Preservation Hall founders
Allan and Sandra Jaffe,
were seminal figures in the
resurgence of the traditional
New Orleans jazz that Elie
speaks of. They gathered
stalwart musicians like Sweet
Emma Barrett, George Lewis,
Cie Frazier, and more and
devoted their lives to them.
Allan and Sandra Jaffe saw
a fading culture with aging,
forgotten musicians and
gave them a sanctuary when
their music and way of life
was becoming extinct.
“The idea of creating an
environment that focused
solely on the musician and
the music was unheard of.
And that’s why it succeeded.
Without Preservation Hall,
New Orleans jazz, and
STANFORD LIVE FEATURE
many of the pioneers of
this tradition, would have
vanished,” says Ben Jaffe,
son of Allan and Sandra
Jaffe and Preservation Hall’s
current creative director.
Additionally, their effort
to preserve the tradition
is intertwined with the
sound of the music.
“I carried on the ‘hands off’
policy my parents had with
regards to the physical hall.
I’m glad no one ever changed
anything there! Imagine
how deflated it would feel
if you made a pilgrimage
to somewhere like Notre
Dame and someone thought
it would be a good idea to
paint the exterior! Some
places and things should exist
as they are,” adds Jaffe.
Preservation Hall Jazz
Band and Bing Concert
Hall should present a
sharp display of aurally
contrasting aural styles—a
nexus where tradition meets
innovation. Although they
have has performing at
venues world -renowned
for their sound quality like
Carnegie Hall and Lincoln
Center, their resident venue
is a nearly 300-year-old
edifice in the heart of New
Orleans’ French Quarter.
When Allan and Sandra Jaffe
purchased the building, part
of their mission to revitalize
traditional New Orleans
music led them to leave out
all the accoutrements of a
modern performance venue.
In contrast to Bing Concert
Hall’s 47-foot ceilings,
absorptive and reflective
10
acoustic sails, and soundsensitive microphones,
Preservation Hall remains
virtually untouched.
Preservation Hall is a venue
frozen in time to preserve
and protect a culture.
“We are primarily an
acoustic venue. We bring in
microphones when it makes
sense. I’m not in any way
antitechnology. I believe the
technology we use must serve
a purpose,” Jaffe explains.
INNOVATION
Today, Jaffe carries the
revivalist vision of his father
forward to the future.
Protecting the tradition is
at the core of his efforts
while he guides the band
into new territory with
an emphasis on diverse
collaboration and education.
Band has maintained
musical relevance for
50 years, recording and
performing classic, New
Orleans standards like “St.
James Infirmary,” “It Ain’t
My Fault,” and “I’ll Fly
Away.” Today Jaffe adds
spice to those standards
with tastefully unique
collaborations. On their
acclaimed 2012 release, St.
Peter and 57th Street, Jaffe
paired the band with pianist,
Allen Toussaint, Philadelphia
DJ, King Britt, hip hop
maverick, Yasiin Bey, and
Treme native, Trombone
Shorty in a bold, innovative
shift to reach new audiences.
Recently, Jaffe introduced
Preservation Hall Jazz Band
to the Generation X and
millennial crowd with a
performance at the Bonnaroo
Music and Arts Festival
Superjam—a collective of
diverse musicians, including
My Morning Jacket front
man Jim James, John Oates,
R. Kelly, Billy Idol, and Larry
Graham performing a catalog
of classic material from John
Lennon, Sly and the Family
Stone, and Bill Withers.
managed to thrive even in
the midst of massive budget
cuts to arts programs and
Hurricane Katrina.
“When I was growing up
in New Orleans, I spent a
good time of my childhood
in Treme. It’s where my first
band, the Treme Allstars,
used to practice. It’s where
I used to take lessons with
“Treme is the heart and soul of the New Orleans
music community. And to me, New Orleans
is the past, present, and future all at once.”
—Ben Jaffe, creative director of Preservation Hall
So the fusion between
Band—who released their
first recording of all-original
compositions on their 2012
album That’s It—drummer
Stanton Moore, and
funksters Leo Nocentelli and
Ivan Neville is significant
to the preservation and
future of New Orleans
music and culture. The best
way to honor tradition is
to respect the past by being
responsible with the future.
EDUCATION
That responsibility has
translated into educational
outreach programs like
Preservation Hall Junior
Jazz and Heritage Brass
Band; student workshops
at Tipitina’s Foundation, in
which Stanton Moore and
Ivan Neville are involved;
the 17,000-square-foot Ellis
Marsalis Center for Music;
and Treme native Derrick
Tabb’s Roots of Music
Program—all of which have
Walter Payton on string bass.
Treme is where I played my
first jazz funeral. Treme is the
heart and soul of the New
Orleans music community,”
says Jaffe. “And to me, New
Orleans is the past, present,
and future all at once. We
have a responsibility to
contribute to and build upon
the foundation that has
already been laid for us.”
Johnathan Eaglin is a writer
and music journalist whose
work appears in iRock Jazz,
the Revivalist, and JazzTimes.
Second-line parade photo by
Ingrid Hertfelder
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PROGRAM: THE PERLMAN MUSIC PROGRAM
SUNDAY, SEPTEMBER 22, 2013 / 2:30 PM / BING CONCERT HALL
ITZHAK PERLMAN &
THE YOUNG VIRTUOSOS
ARTISTS
PROGRAM
The Perlman Music Program Orchestra
Itzhak Perlman, Conductor
Wolfgang Amadeus Mozart: Divertimento in D Major, K. 136 (1772)
Allegro
Andante
Presto
The Perlman Music Program Chorus Patrick Romano, Conductor
We gratefully acknowledge the generous support
of Kristy Hinze Clark and James H. Clark.
Edward Elgar: As Torrents in Summer from Scenes from the
Saga of King Olaf, op. 30 (1896)
Edward Elgar: The Snow, op. 26, no. 1 (1894)
Wolfgang Amadeus Mozart: Dies irae, Lacrimosa, and Amen from
the Requiem in D Minor, K. 626 (1791)
*INTERMISSION*
Pyotr Ilyich Tchaikovsky: Serenade in C Major for Strings, op. 48 (1880)
Pezzo in forma di sonatina – Andante non troppo – Allegro moderato
Waltz – Moderato
Elegy – Larghetto elegiaco
Finale – Tema russo – Andante – Allegro con spirito
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.
12
LA DOLCE VITA & B EYON D 1950—1990
Since its founding in Rome in 1884, Bulgari has become synonymous with innovation
and luxury in jewelry design. This exclusive US exhibition highlights a pivotal period
in the evolution of Bulgari’s distinctive Italian style and the jewelry loved and worn by
celebrities and jet-setters. It features approximately 150 breathtaking pieces, including
several from the legendary collection of Elizabeth Taylor.
SEP 21, 2013—FEB 17, 2014
This exhibition is organized by the Fine Arts Museums of San Francisco in collaboration with Bulgari. Curator’s Circle: Mr. and Mrs.
Carl F. Pascarella. Benefactor’s Circle: Mrs. George Hopper Fitch, Dr. Alan R. Malouf, and Wells Fargo. Patron’s Circle: Jeri Dexter.
MEDIA SPONSOR
Golden Gate Park • deyoungmuseum.org
Elizabeth Taylor in Rome, wearing a Bulgari emerald and diamond tremblant brooch, 1962. Photograph by Gamma-Keystone via Getty Images;
brooch image by Antonio Barrella, Studio Orizzonte Roma; composite FAMSF
PROGRAM: THE PERLMAN MUSIC PROGRAM
WOLFGANG AMADEUS MOZART
(1756–1791)
DIVERTIMENTO IN D MAJOR, K. 136
(1772)
By the age of 16, when he wrote this
D-major divertimento, Wolfgang
Amadeus Mozart had already spent more
than two years away from his home
town of Salzburg in Austria. He had
lived in London and Paris and traveled
throughout Austria, Germany, France,
the Netherlands, and Italy. In addition
to giving concerts at court in order to
fill his family’s pockets with gold rings,
snuffboxes, and watches, he met many
of the famous musicians of the time and
had opportunities to study and hear
their music. Musical styles and traditions
were different in every country, and
Mozart’s early compositions are often
case studies of where his travels had most
recently taken him. He wrote the three
divertimentos, K. 136–138, in Salzburg,
after the second of three extended trips
to Italy. Not surprisingly, the Italian
influence on Mozart’s writing—in
particular, that of the Italian sinfonia— is
strong. Indeed, K. 136—with its lyrical,
independent first-movement violin line;
gentle slow movement; and playful finale
—is sometimes referred to (without firm
evidence) as one of Mozart’s three early
“Salzburg symphonies.”
EDWARD ELGAR (1857–1934)
AS TORRENTS IN SUMMER FROM
SCENES FROM THE SAGA OF KING
OLAF, OP. 30 (1896)
THE SNOW, OP. 26, NO. 1 (1894)
Edward Elgar wrote part-songs
throughout his life, many of them
for a thriving amateur choral
market. As Torrents in Summer is
the unaccompanied closing chorus,
to a text by Henry Wadsworth
Longfellow affirming the rewards
14
of faith, from a larger work, Scenes
from the Saga of King Olaf. Evoking
a wide range of emotions, The Snow,
to a poem by his wife Alice, is one
of Elgar’s most loved part-songs,
to which Elgar wrote orchestral
accompaniment for its premiere in
1904 in London’s Queen’s Hall.
WOLFGANG AMADEUS MOZART
(1756–1791)
DIES IRAE, LACRIMOSA, AND AMEN
FROM THE REQUIEM IN D MINOR,
K. 626 (1791)
Mozart’s Requiem, his final work,
unfinished at his death, was
commissioned from the sick composer
by Count Franz von Walsegg. The
supposedly mysterious circumstances
of the commission, compounded by
Mozart’s death while composing a
requiem mass for the dead, resulted in
many legends surrounding the work.
Meanwhile, the Requiem took its place
as one of Mozart’s most loved and most
frequently performed compositions, a
work of somber beauty and majesty.
With a view to keeping the commission
fee, his widow, Constanze, had the work
covertly completed by Mozart’s pupil
and assistant Franz Xaver Süssmayr, and
it is this version that is generally, if not
exclusively, performed today. Mozart’s
choice of instruments adds a mellow,
dark-hued intensity to the score. The
Dies irae sets these words: “Day of
wrath, that day will dissolve the world in
ashes, as David and the Sibyl prophesied.
Great trembling there will be when the
Judge descends from heaven to examine
all things closely.” The Lacrimosa,
containing probably the last notes
Mozart wrote, sets the following words:
“That day is one of weeping, when from
the ashes will rise the guilty man, to be
judged. Spare us by your mercy, Lord,
gentle Lord Jesus, grant them eternal
rest. Amen.”
PYOTR ILYICH TCHAIKOVSKY
(1840–1893)
SERENADE IN C MAJOR FOR STRINGS,
OP. 48 (1880)
“This is a piece from the heart,” Pyotr
Ilyich Tchaikovsky wrote to his patron,
“and so, I venture to say, it does not
lack artistic worth.” The title evokes
memories of Tchaikovsky’s idol,
Mozart. And with its clarity of texture
and wealth of ingratiating melodies,
Tchaikovsky certainly tips his hat to
aspects of Mozart that he loved. At the
same time, a Russian nationalist side is
no less clearly stated. The introduction
to the finale is based on a work song
from the Volga River area, and the
main theme of the same movement is in
the rhythm of the lively Russian dance
known as the trepak. This descending,
dance-like trepak theme is really the
seed from which all four movements
grow. The music follows the pattern of
the classical sonatina—heavy on grace,
charm, and restatements of the themes
and lighter on the development of
motifs within the themes. Tchaikovsky’s
individuality remains strong even as he
writes the sort of music he might have
written were he alive in the 18th century.
—© 2013, Keith Horner
THE PERLMAN MUSIC PROGRAM
Founded by Toby Perlman 20 years
ago, the Perlman Music Program (PMP)
offers unparalleled musical training to
young string players of rare and special
talent. With a world-class faculty led by
Itzhak Perlman and vibrant programs
in Shelter Island, New York City,
Florida, Vermont, and Israel, the PMP is
developing the future leaders of classical
music within a nurturing and supportive
community. This afternoon’s concert
marks the PMP’s West Coast premiere
and the inaugural performance of the
program’s 20th-anniversary season.
Nearly all of the 2013 Summer Music
School (SMS) students and several
PMP alumni have gathered together
from across the world to perform an
orchestra and chorus concert conducted
by Maestros Itzhak Perlman and Patrick
Romano today at Bing Hall. The SMS is
a seven-week summer residency on the
PMP’s Shelter Island campus for violin,
viola, cello, and bass students from ages
12 through 18. The program provides
a supportive community focused on
the overall well-being of its student
body, and acceptance to the SMS is
based solely on students’ musical talent
without regard to their financial means.
The SMS curriculum includes four-hour
daily practice sessions; chamber music,
orchestral, and choral repertoire studies;
and weekly lessons with an outstanding
faculty. The class of 2013 included 23
boys and 17 girls, hailing from across
the United States as well as Australia,
Canada, France, Germany, Hungary,
Israel, Norway, and South Korea. Once
accepted to the PMP, students are invited
to return through age 18.
Conducted by Mr. Perlman, the PMP
String Orchestra is truly one of a kind.
Every summer, new and familiar faces
join together under the maestro’s baton
to create a seamless ensemble of joyous
music making. Every student has the
opportunity to shine as players trade
seats. Apart from allowing students
to learn each part, this movement
sharpens the ear and focus, and it
teaches students that every chair in the
orchestra is equally important. Excellent
communication and a collaborative
atmosphere are the hallmarks of the
orchestra, resulting in the achievement of
the very highest musical standards.
Choral singing is integral to the PMP’s
unique curriculum. Conducted by
Mr. Romano, the chorus is a
noncompetitive musical activity that
the whole community—students and
faculty—can enjoy together. Performing
beautiful choral works by composers
whose music they play complements
students’ instrumental studies and is
essential to their development as wellrounded musicians.
The Perlman Music Program is deeply
grateful to Stanford Live for the
opportunity to perform in the beautiful
Bing Concert Hall and to Kristy and
James H. Clark for their profound
support of the future of classical music.
ITZHAK PERLMAN
Undeniably the reigning virtuoso of
the violin, Itzhak Perlman enjoys a
superstar status rarely afforded a
classical musician. Beloved for his charm
and humanity as well as his talent, he
is treasured by audiences throughout
the world who respond not only to
his remarkable artistry but also to the
irrepressible joy of making music that
he communicates. In January 2009, Mr.
Perlman was honored to take part in
the inauguration of President Barack
Obama, premiering a piece written
for the occasion by John Williams and
performing with clarinetist Anthony
McGill, pianist Gabriela Montero,
and cellist Yo-Yo Ma. In December
2003, the John F. Kennedy Center for
the Performing Arts recognized Mr.
Perlman as a Kennedy Center Honors
recipient, celebrating his distinguished
achievements and contributions to the
cultural and educational life of our
nation. In May 2007, he performed
at the state dinner for Her Majesty
the Queen and His Royal Highness
the Duke of Edinburgh, hosted
by President George W. Bush and
Mrs. Bush at the White House. as conductor with the New York
Philharmonic, Chicago Symphony,
Philadelphia Orchestra, Boston
Symphony, National Symphony, Los
Angeles Philharmonic, and St. Paul
Chamber Orchestra and with the
symphony orchestras of San Francisco,
Dallas, Houston, Pittsburgh, Seattle,
Montreal, and Toronto as well as
at the Ravinia and OK Mozart
Festivals. He was music advisor of
the St. Louis Symphony from 2002
to 2004, with which he made regular
conducting appearances, and he
was principal guest conductor of
the Detroit Symphony from 2001 to
2005. Internationally, Mr. Perlman has
conducted the Berlin Philharmonic,
Royal Concertgebouw Orchestra,
London Philharmonic, English Chamber
Orchestra, and Israel Philharmonic.
Numerous publications and institutions
have paid tribute to Mr. Perlman for
the unique place he occupies in the
artistic and humanitarian fabric of
our times. Harvard, Yale, Brandeis,
Roosevelt, Yeshiva, and Hebrew
Universities are among the institutions
that have awarded him honorary
degrees. He was awarded an honorary
doctorate and a centennial medal
on the occasion of Juilliard’s 100th
commencement ceremony in May
2005. President Reagan honored Mr.
Perlman with a Medal of Liberty in
1986, and in December 2000, President
Clinton awarded Mr. Perlman the
National Medal of Arts. His presence
on stage, on camera, and in personal
appearances of all kinds speaks
eloquently on behalf of the disabled,
and his devotion to their cause is an
integral part of Mr. Perlman’s life.
Mr. Perlman is a frequent presence on
the conductor’s podium, and through
this medium, he is further delighting
his audiences. He has performed
PROGRAM: SPECIAL STUDENT CONCERT—PHOSPHORESCENT
FRIDAY, SEPTEMBER 27, 2013 / 7:30 PM / BING CONCERT HALL
PHOSPHORESCENT
ARTIST
PROGRAM
Matthew Houck
Tonight’s program will feature music from
Phosphorescent’s latest album, Muchacho.
There will be a postconcert meet and greet
in the Gunn Atrium.
16
PHOSPHORESCENT
Nearly three years on from his
breakthrough album Here’s to Taking
It Easy, Phosphorescent returns to the
fray with his most stunning record yet:
Muchacho. During the tour for Here’s
to Taking It Easy, one could almost
hear jaws hitting the floor as audience
members witnessed a live band of such
infinite verve. The album drew high
praise: Mojo named it an album of the
month and voted it the eighth best album
of 2010. The Sunday Times and the
Independent named it an album of the
week, and it made Rough Trade’s list of
the five best albums of 2010. In addition,
the band supported The National over
the course of three sold-out nights
at Brixton Academy, a show that the
Independent gave a five-out-of-five rating
and called “a sublime, joyous gig.”
Matthew Houck, for he is
Phosphorescent, likes to work. The
Alabama native, now residing in
Brooklyn, New York, has delivered
five albums as Phosphorescent since his
2003 debut. Mr. Houck has a highly
distinctive artistic voice as well as a
refreshing, rolled-up-sleeves approach
to his expression, and if he had his way,
he’d have twice as many albums under
his belt by now. The singer-songwriter,
multi-instrumentalist, and producer is
envious of the time when prolificacy was
expected. He says, “In the 1960s and
1970s, they were making artists crank out
records every six months. With guys like
Waylon Jennings, John Prine, and even
Dylan, I don’t think those records would
have gotten made in today’s climate
because now you’re allowed—or even
required—to make a grand statement.
I have this ideal—and I know it’s not
possible because of the way the industry
works—of making a record every year.”
Mr. Houck may not have managed
that, but he still has an impressive
output—one born of commitment and
his soul’s need to have its say. It was
2007’s Pride—a delicate and spare,
haunted and haunting work of ragged
country, bittersweet Southern gospel,
and forlorn folkish drone—that first
caused ears to swivel appreciatively in
Phosphorescent’s direction. He followed it
with To Willie, a tribute to country legend
Willie Nelson, and then 2010’s Here’s
to Taking It Easy, an unapologetically
enthusiastic plunge into country rockand-rolling Americana. Now, his sixth
album flashes yet another color in the
subtly shifting Phosphorescent spectrum.
Muchacho reprises the understated
melancholia and sensuous minimalism of
Pride, while kicking up a little of Here’s
to Taking It Easy’s dust, but it also
strikes out into more adventurous waters
via rhythm and electronic textures. It
took shape if not quite by accident, then
partly as a result of events beyond Mr.
Houck’s control. After spending the
better part of 18 months touring for
his last record, Mr. Houck was, in his
words, “pretty fried.” In late 2011, he
returned to the Brooklyn Navy Yard
studio where he’d recorded his previous
two albums, planning “on taking this
whole thing down a few notches.” He
explains, “I wanted to make music, but
I was weary, so the specter of putting
anything out and getting back on the
road was a bit of a block.” In December,
he bought a load of old analog gear
and “just started playing around with
it, making these noises. They weren’t
songs. They were just strange sound
pieces. I’ve always had that element in
my work, and one or two weird ambient
pieces seem to squeeze themselves onto
every record, but suddenly I was doing
a lot of those.” Mr. Houck also turned
into a bit of a DIY electrician, since a
lot of the vintage gear needed fixing. “I
ended up spending a lot of time learning
about stuff like impedance matching
and ohms,” he laughs. “I really got
quite nerdy about how it all worked.”
Mr. Houck also got very enthusiastic
about the sounds that would eventually
feed into the strikingly raw, Can-like
“Ride On/Right On,” in which his simple
whooping vocal and 808 drum beats are
the focus; the production is echo heavy
and the guitar little more than abstract
background “choogling.” “I’ve always
been happy with the records I’ve made,”
the singer says, “but sonically, I think
there’s been something lacking. This
time, I was getting really excited about
the experimental sounds I was making.
I was thinking I might make an ambient
record that had vocals but no lyrics.
I was actually considering releasing it
under another name or even my own
name.” So Mr. Houck engaged in a
much-needed break, plus some enjoyable
messing around with noise, without
much thought as to how to use it. But
exactly as 2012 turned, Mr. Houck’s
life began to unravel. Almost perversely,
“Songs just started happening, and there
were five or six of them.” Mr. Houck
admits he was “in the middle of a bit of
a freak-out,” so in the small hours one
Sunday, he booked a ticket to Mexico
on a plane that was leaving three hours
later. “It sounds really cheesy, but I
went down there with a guitar and got
a little hut on the beach in Tulum on the
Yucatan Peninsula.” He spent a week
there, working to finish the songs that
would become Muchacho. He then went
back to New York City, found a new
place, fitted it out with his studio, and
began tracking the record in May 2012.
“Muchacho’s Tune”—with its opening
braid of twanging guitars, piano, and
electric keys and its warm, rich reverb and
poignant mariachi brass—is the song on
which the album turns. This was the first
song to come to Mr. Houck fully formed,
and it establishes the album’s lyrical
theme: “The possibility of redemption
through love and romance is not just
hopeful; it’s also viable. It definitely
exists. But what ends up happening is
PROGRAM:
SPECIAL STUDENT CONCERT—
PHOSPHORESCENT
more redemption through some vague
means that I don’t really understand.”
Q U AT T R O
CAC 080613 weems 1_3s.pdf
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18
The album is perfectly framed by “Sun,
Arise! (An Invocation, An Introduction)”
and “Sun’s Arising (A Koan, An
Exit),” the opening and closing tracks
respectively. Sweet, healing, and hugely
potent in their hymnal simplicity, they
not only recognize the diurnal rhythm
that governs our existence but also
remind us that however dark things
might get, the light will always reappear.
“Muchacho’s Tune,” the somber and
majestically slow “A New Anhedonia,”
and the seductively loose “The
Quotidian Beasts” are the album’s fullest
songs in terms of instrumentation and
arrangements. Mr. Houck called on
around 20 musicians at different times
to add various parts, which include
members of the superior five-piece
live band that has recently made such
an eloquent and physically powerful
contribution to Phosphorescent’s
soulful expression. But the album’s
composition and production are again
all his own. “It’s really always
me5:00
byPM
8/6/13
The Independent
myself, so much so that with Pride,
no one else played anything. I have a
group of really great dudes, and I’ll
happily trumpet how fantastic these
guys are, but a band going into the
studio, as one? That never happens.”
“A New Anhedonia”—a gorgeous,
charcoal gray song in which understated
piano, soft brush work, and ripples
of pedal steel guitar are matched with
heavy reverb and gently sighing backing
vocals—was the second song to come
fully formed to Mr. Houck. And the
crisis it describes was resolved by the
very writing. Anhedonia is a loss of the
ability to take pleasure in something the
sufferer usually finds enjoyable, and Mr.
Houck experienced it in those winter
months following that grueling tour. It
was quite a shock to hear him murmur,
“All the music is boring to me” and then
describe music as “foreign,” but that’s
how he felt for a short, dark while. Mr.
Houck explains, “In addition to what
was going on in my personal life, music
had always been the most reliable thing
for me, but I had a few really lost months
of not caring about it, of not deriving any
pleasure from music. I felt detached and
adrift from everything. Oddly enough, I
don’t think I knew the word anhedonia;
it just kind of popped up right around
the time of writing that song. That dread
was still quite prevalent, even after
the batch of songs came together.”
If losing one’s way results in something as
lustrous as the album’s second offering,
“Song for Zula,” more artists should
find life’s maze and walk around for an
indefinite period. It is such a glorious
gem that unfolds with Mr. Houck’s
cracked vocal stalking the perimeters
unabashed—and this amidst an
album positively riddled with highlights
like “Terror in the Canyons” and the
superlative “A Charm/A Blade,” all
barreling piano and stabby horns galore.
It’s indicative of Mr. Houck’s distinctive
talent, dedication to his work, and trust
in his muse, then, that a temporary
hurdle didn’t become a serious block.
“I got clear of it by just getting to
work on the recording,” he says,
simply. Sleeves rolled. Resolve
fixed. Muchacho delivered.
HERAS-CASADO
“a sublime, joyous gig. ”
Mendelssohn and Adès this Fall
Hear the work of Felix Mendelssohn and modern master Thomas Adès through the
artistry of conductor Pablo Heras-Casado, in programs juxtaposing works influenced by
Shakespeare, dance, literature, and more. Join the San Francisco Symphony and Chorus at
a two-week festival with repertoire for both large and intimate ensembles.
Mendelssohn and Adès: Heras-Casado conducts
A Midsummer Night’s Dream
THU OCT 10 10AM
K ATHARINE HANR AHAN
OPEN REHEARSAL
THU OCT 10 8PM
FRI OCT 11 8PM
SAT OCT 12 8PM
Pablo Heras-Casado conductor
Audrey Luna soprano
Isabel Leonard mezzo-soprano
Charlotte Hellekant mezzo-soprano
Alek Shrader tenor
Rodney Gilfrey baritone
San Francisco Symphony Chorus
San Francisco Symphony
Mendelssohn Suite from A Midsummer Night’s Dream
Thomas Adès Scenes from The Tempest
Mendelssohn The First Walpurgis Night
Katharine Hanrahan Open Rehearsal is a working rehearsal. The pieces
rehearsed are at the conductor’s discretion.
for a complete list of concerts in this festival, visit:
SFSYMPHONY.ORG (415) 864-6000
$15*
Concerts at Davies Symphony Hall. Programs, artists, and prices subject to change. *Subject to availability
Box Office Hours Mon-Fri 10am-6pm, Sat noon-6pm, Sun 2 hours prior to concerts
Walk Up Grove St between Van Ness and Franklin
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PROGRAM: A NIGHT IN TREME
SUNDAY, SEPTEMBER 29, 2013 / 7:00 PM / BING CONCERT HALL
A NIGHT
IN TREME
ARTISTS
PROGRAM
The Preservation Hall Jazz Band
A Night in Treme
(The Musical Majesty of New Orleans)
Mark Braud, Trumpet and Vocals
Charlie Gabriel, Clarinet and Vocals
Ben Jaffe, Creative Director and Tuba
Ronell Johnson, Tuba and Vocals
Joseph Lastie Jr., Drums
Freddie Lonzo, Trombone and Vocals
Clint Maedgen, Tenor Saxophone
and Vocals
Rickie Monie, Piano
A Night in Treme is produced by Danny Melnick
for Absolutely Live Entertainment in association
with Wendell Pierce.
Selections will be announced from
the stage.
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.
Special Guests
Stanton Moore, Drums
Ivan Neville, Keyboard and Vocals
Leo Nocentelli, Guitar
20
HOME IS IN YOUR HEART
The heavens opened and the storm
waters surged and the bowl began to
fill, and our favorite street paraders
and piano ticklers and rhythm and
blues singers and funkateers and
trumpeters were scattered to the winds.
They wondered whether they would
ever go home or would want to. For
some, it was a test of faith. Do you
rebuild? Can you afford to? Can
you afford not to? Will the future
be friendly? Others saw it as an
opportunity to reaffirm their trust in
the infinite wisdom of the universe.
They are more than musicians.
They are healers, and from the
diaspora of musical genius, they have
come together to heal themselves.
Some of them are here tonight.
Their stories are told on Treme, the
HBO drama that follows a group of
locals as they pick up the pieces in the
months after the levees failed in 2005.
Treme is about people who found the
grace to return to their silent streets and
look beyond the desolation and who
believed that their lives were turned
upside down for some divine reason.
fear and frustration and heartbreak
and heartache—their defiance and
devotion and the vulnerability.
Slowly, these musicians have rebuilt
the old neighborhood, even if it isn’t
there anymore, exactly. Tonight
in Treme, the music prevails.
—Leo Sacks
Leo Sacks is directing a feature
documentary about the New Orleans
gospel sensation Raymond Myles
(www.raymondmylesmovie.com). After
Katrina, he created the New Orleans
Social Club and produced the group’s
acclaimed album Sing Me Back Home.
He recently produced Take a Look:
Aretha Franklin Complete on Columbia
to celebrate the 50th anniversary of
the singer’s first pop recording.
ABOUT THE PRESERVATION HALL
JAZZ BAND
“If you don’t return to the roots of
a tree, it won’t be there anymore,”
Donald Harrison Jr., the saxophonist
and cultural anthropologist,
says. “From these roots, the fruit
grows all over the world.”
The Preservation Hall Jazz Band (PHJB)
derives its name from Preservation
Hall, the venerable music venue located
in the heart of New Orleans’ French
Quarter, founded in 1961 by Allan and
Sandra Jaffe. The band has traveled
worldwide on a mission to nurture and
perpetuate the art form of New Orleans
jazz. Whether heard at Carnegie Hall or
Lincoln Center, by British royalty or the
King of Thailand, this music embodies a
joyful, timeless spirit. Under the auspices
of current director Ben Jaffe, the son of
founders Allan and Sandra, Preservation
Hall continues with a deep reverence and
consciousness of its greatest attributes in
the modern day as a venue, band, and
record label.
Tonight we can smell the fragrance of
sweet jasmine and gardenias instead
of the mold and mud. Tonight we
celebrate how these musical healers
have worked through their rage and
The building that houses Preservation
Hall has housed many businesses over
the years, which include a tavern during
the war of 1812, a photo studio, and
an art gallery. It was during the years
Tonight, the gathered ones have come
to play for family and friends, for the
displaced and the forgotten, for their
elders and ancestors in the spirit world.
of the art gallery that Larry Borenstein,
the owner at the time, began holding
informal jam sessions for his close
friends. Out of these sessions grew
the concept of Preservation Hall. The
intimate venue, whose weathered
exterior has been untouched over its
history, is a living embodiment of this
vision. To this day, Preservation Hall
has no drinks, air conditioning, or other
typical accoutrements, offering people
of all ages one of the last pure music
experiences left on the earth.
The PHJB began touring in 1963,
and for many years, several bands
successfully toured under the name
Preservation Hall. Many of the band’s
charter members performed with the
pioneers who invented jazz in the early
20th century including Buddy Bolden,
Jelly Roll Morton, Louis Armstrong,
and Bunk Johnson. Band leaders over
the band’s history include the brothers
Willie and Percy Humphrey, husband
and wife Billie and De De Pierce, famed
pianist Sweet Emma Barrett, and in the
modern day Wendell Brunious and John
Brunious Jr. These founding artists and
dozens of others passed on the lessons of
their music to a younger generation who
now follow in their footsteps, like the
current PHJB lineup.
THE PRESERVATION HALL
JAZZ BAND IS:
Ben Jaffe, Creative Director and Tuba
As the son of cofounders Allan and
Sandra Jaffe, Ben Jaffe has lived his
whole life with the rhythm of the French
Quarter pulsing through his veins.
Raised in the company of New Orleans’
greatest musicians, Mr. Jaffe returned
from his collegiate education at Oberlin
College in Ohio to play with the group
and assume his father’s duties as director
of Preservation Hall. Today he serves as
creative director for both the PHJB and
PROGRAM: A NIGHT IN TREME
Clint Maedgen, Tenor Saxophone
and Vocals
Though Clint Maedgen is best known as
the leader of the multimedia alt-cabaret
group the New Orleans Bingo! Show,
he has been in love with the sound of
traditional New Orleans jazz since he
was a small child. After studying with
clarinet innovator Alvin Batiste at
Southern University in Baton Rouge,
Louisiana, Mr. Maedgen returned to
New Orleans’ French Quarter where he
cemented his reputation as an artist and
collaborator through an ongoing series
of eclectic and experimental musical
ensembles. As a full-time member of the
PHJB, he brings an infectious passion to
both his playing and singing.
the hall itself, where he has spearheaded
such programs as the New Orleans
Musician’s Hurricane Relief Fund.
Joseph Lastie Jr., Drums
As the nephew of two former PHJB
leaders, Wendell Brunious and John
Brunious Jr., Mark Braud is proud to
further his family’s musical legacy in the
company of so many historic players.
Beginning his career playing with the
Olympia Kids, a young players’ offshoot
of the famous Olympia Brass Band, Mr.
Braud has gone on to record, tour, and
play with New Orleans legends of both
traditional jazz and R & B, including
Eddie Bo, Henry Butler, Harry Connick
Jr., and Dr. Michael White.
Born and raised in the Lower Ninth
Ward, Joseph Lastie Jr. comes from a
long line of family members equally
dedicated to music and the church.
Having played his first job with a
rhythm section backing the Desire
Community Choir, he would go on to
study jazz with Willie Metcalf at the
Dryades Street YMCA with classmates
Wynton and Branford Marsalis. After a
brief move with his family to Queens,
New York, Mr. Lastie returned to
New Orleans where he was invited to
substitute on drums at Preservation Hall
in 1989. He’s been a regular with the
band ever since.
Charlie Gabriel, Clarinet and Vocals
Freddie Lonzo, Trombone and Vocals
Mark Braud, Trumpet and Vocals
The musical heritage of Charlie Gabriel
can be traced back as far as the 1850s.
Great-grandson of New Orleans bass
player Narcesse Gabriel, grandson of
New Orleans cornet player Martin
Joseph, and son of New Orleans
drummer and clarinetist Martin Manuel
Gabriel, Mr. Gabriel is truly a living
legend. At 76 years old, he’s played with
many well-known musicians that include
PHJB alumni Kid Howard, Kid Sheik,
Jim Robinson, and George Lewis.
22
Born and raised in New Orleans’
Uptown neighborhoods, Freddie Lonzo
was exposed to the music of the streets
in the form of brass band parades at a
very young age. Having cemented his
desire to play New Orleans jazz, these
parades would later offer him his first
professional gigs with E. G. Gabon
and Doc Paulin’s band. A true master
of every style of New Orleans music,
from marching brass to modern jazz,
Mr. Lonzo’s first appearances with
Preservation Hall date back to the mid1980s when he toured and played with
Percy Humphrey and Kid Sheik.
Rickie Monie, Piano
Born and raised in New Orleans’ Ninth
Ward to jazz-loving church musicians,
Rickie Monie was inundated at an
early age with the recordings of such
great jazz and gospel pianists as Art
Tatum, Oscar Peterson, and Teddy
Wilson. After majoring in woodwind
instruments at Dillard University, Mr.
Monie turned back to the piano and
picked up work in every style of music.
In 1982, Mr. Monie got his first call
from Preservation Hall to substitute
for the legendary resident pianist
Sweet Emma Barrett after she suffered
a stroke. To the delight of audiences
around the world, he’s stayed on board
ever since.
Ronell Johnson, Tuba and Vocals
Born and raised in New Orleans,
Ronell Johnson started on the trumpet
and piano around the age of six. He is
from a musical family and was taught
to play, in the beginning, by his three
older brothers who are also professional
musicians. He and his brothers are
the great-nephews of Joseph “Kid
Twat” Butler, who was the string bass
player with the legendary Kid Thomas
Valentine and the Preservation Hall Jazz
Band. Mr. Johnson is recognized around
the world and in a host of magazines
and journals as one of New Orleans’
prized musicians who adds a lot of
energy, animation, humor, and fire to
the bandstand.
GUEST ARTISTS
Stanton Moore, Drums
Born and raised in New Orleans,
Stanton Moore is a dedicated drummer
and performer especially connected to
the city, its culture, and its collaborative
spirit. Driven and inspired by the
thriving music scene of his hometown,
which includes such greats as Professor
Longhair, Doctor John, and the Meters,
Mr. Moore’s name is now mentioned
among these Big Easy mainstays. In
the early 1990s, Mr. Moore helped
found the New Orleans–based essential
funk band Galactic. The band’s first
album, 1996’s widely acclaimed
Coolin’ Off, led to an intense tour
schedule of nearly 200 gigs a year for
the next ten years. Building on its fan
base by adding an esteemed list of allstar collaborations to the six albums
that followed, Galactic continues
to amass a worldwide audience via
recording and touring globally.
out on his own, developing his style
with varied elements that span blues,
rock, rap, jazz, and funk, but he
considers himself a funk musician, first
and foremost. He and his band have
performed from coast to coast across
the United States, recently making an
Ivan Neville, Keyboard and Vocals
Born in New Orleans, Ivan Neville is a
multi-instrumentalist musician, singer,
and songwriter. He is the son of Aaron
Neville and nephew to members of
the Neville Brothers. He has released
four solo albums and had a Billboard
Top 40 hit with “Not Just Another
Girl” from his first solo album, If My
Ancestors Could See Me Now. His
second single, “Falling Out of Love,”
charted on the Billboard Hot 100 and
appeared on the soundtrack for the
John Ritter film Skin Deep in 1989.
Through the Tipitina’s Foundation,
Mr. Neville, along with other New
Orleans musicians, has been active in
performing benefit shows in support
of Hurricane Katrina charities.
Mr. Neville’s Dumpstaphunk band
includes Nick Daniels and Tony Hall,
both on bass (with Hall sometimes
on guitar); Ian Neville on guitar;
and Raymond Weber on drums.
appearance at the New Orleans Jazz
and Heritage Festival. He has penned
more than 200 songs, some of which
were recorded by Robert Palmer,
Joe Cocker, Etta James, the Neville
Brothers, Z. Z. Hill, Albert King, and
George Duke.
Pinewood is an independent, coeducational, non-profit,
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class size, challenging academic curricula,
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through
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a respected and vital member of our
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Unlimited Exploration
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Confident Self-Expression
We offer an environment where each student is
the opportunity for your student to become a part of the
Pinewood tradition of academic excellence. For more
information, please visit our website.
www.pinewood.edu
Leo Nocentelli, Guitar
Leo Nocentelli was one of the
original members of the Meters, a
groundbreaking funk group based
in New Orleans from the mid-1960s
to the mid-1970s. He has since gone
P
PROGRAM: HARMONY FOR HUMANITY—DANIEL PEARL WORLD
MUSIC DAYS CONCERT / FREE
WEDNESDAY, OCTOBER 9, 2013 / 7:30 PM / MEMORIAL CHURCH
PROGRAM
Matthias Schmitt: Ghanaia
Giuliano Kornberg and Carl Michnovicz
Welcome by Rabbi Patricia Karlin-Neumann
Senior Associate Dean for Religious Life
Jean-Marie Leclair: Sonata for Two Violins, op. 3, no. 5
Debra Fong and Livia Sohn
Franz Liszt: Schlaflos! Frage und antwort
(Sleepless! Question and Answer)
Pedja Muzijevic
Morton Feldman: Intermissions
Pedja Muzijevic
Franz Liszt: Bagatelle sans tonalité
Pedja Muzijevic
Richard Wagner (arr. Franz Liszt): Isolde’s “Liebestod”
from Tristan und Isolde
Pedja Muzijevic
HARMONY
FOR
HUMANITY
ARTISTS
Debra Fong, Violin
Livia Sohn, Violin
Pedja Muzijevic, Piano
Giuliano Kornberg, Marimba
Carl Michnovicz, Djembe
Franz Schubert: Fantasy in C Major for Violin and Piano, D. 934
Livia Sohn and Pedja Muzijevic
Daniel Pearl World Music Days was created in response to the
2002 kidnapping and murder of Wall Street Journal reporter and
Stanford University graduate Daniel Pearl at the hands of extremists
in Karachi, Pakistan. Daniel’s family and friends came together
to work toward a more humane world, forming the Daniel Pearl
Foundation. The mission of the foundation is to promote crosscultural understanding through journalism, music, and innovative
communications. For more information, visit www.danielpearl.org.
This program is presented in partnership with
Music at Stanford, the Office for Religious Life,
and Hillel at Stanford.
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.
24
PROGRAM: LIVE SIMULCAST OF SAN FRANCISCO OPERA’S FALSTAFF
FREE
FRIDAY, OCTOBER 11, 2013 / 8:00 PM / FROST AMPHITHEATER
PROGR AM
Falstaff
(sung in Italian with English subtitles)
Opera in three acts by Giuseppe Verdi
Libretto by Arrigo Boito, after The Merry Wives of Windsor
and parts of Henry IV by William Shakespeare
C A ST
(in order of appearance)
Sir John Falstaff
SAN FRANCISCO
OPERA’S
FALSTAFF
Bardolfo
Pistola
Mistress Quickly
Mistress Meg Page
Mistress Alice Ford
Nannetta
Fenton
Ford
Bryn Terfel
Greg Fedderly
Andrea Silvestrelli
Meredith Arwady
Renée Rapier
Ainhoa Arteta
Heidi Stober
Francesco Demuro
Fabio Capitanucci
TIME AND PL ACE
PRODUCTION
Nicola Luisotti, Conductor
Olivier Tambosi, Director
Frank Philipp Schlössmann, Scenery and Costume Designer
Christine Binder, Lighting Designer
Ian Robertson, Chorus Director
Windsor, England, on the banks of the Thames, during
the reign of Henry IV
ACT I
Scene 1: A taproom of the Garter Inn
Scene 2: The garden of Ford’s house
ACT II
Scene 1: The taproom of the Garter Inn
Scene 2: A room in Ford’s house
*INTERMISSION*
ACT III
Scene 1: Outside the Garter Inn
Scene 2: Herne’s Oak in Windsor Forest
The performance will last approximately three hours.
A separate program will be provided at the simulcast.
This production of Falstaff is owned by Lyric Opera of Chicago
and is made possible by a generous and deeply appreciated gift from
Abbott Laboratories.
Presenting sponsors Tad & Dianne Taube and the Koret Foundation.
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.
PROGRAM: SUNDAYS WITH THE ST. LAWRENCE
SUNDAY, OCTOBER 13, 2013 / 2:30 PM / BING CONCERT HALL
ST. LAWRENCE
STRING QUARTET
ARTISTS
PROGRAM
Geoff Nuttall
Violin
Franz Joseph Haydn: String Quartet in D Major, op. 71, no. 2 (1793)
Adagio – Allegro
Adagio cantabile
Menuetto
Finale
Scott St. John
Violin
Lesley Robertson
Viola
Christopher Costanza
Cello
Sundays with the St. Lawrence is presented
in partnership with Music at Stanford and
generously supported by Paul and Iris Brest.
Samuel Carl Adams: String Quartet in Five Movements (2013)
(West Coast premiere)
Old Music
Quiet, Rocking, with Sad Cello Solo
Summoning Haydn from Sirius
Minuet and Trio, Sometimes in 5
Hymn, Vanishing *INTERMISSION*
Ludwig van Beethoven: String Quartet in A Minor, op. 132 (1824–1825)
Assai sostenuto – Allegro
Allegro ma non tanto
Molto adagio – Andante
Alla marcia, assai vivace – Allegro appassionato
26
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FRANZ JOSEPH HAYDN (1732–1809)
STRING QUARTET IN D MAJOR, OP. 71,
speaking countries, they are known as
the Apponyi Quartets.
NO. 2 (1793)
On January 19, 1794, traveling in
a comfortable horse-drawn carriage
borrowed from the music-loving Baron
van Swieten, Franz Joseph Haydn
left Esterháza on a second journey to
England. He had his viola with him
and had it repaired and restrung while
in London. He also had some new
symphonies and six new string quartets
that were soon to become known as
Opus 71 and 74. They were different
from anything he had written before.
UNAFF 080113 film 1_6v.pdf
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Haydn was returning to London at the
insistence of the violinist and impresario
Johann Peter Salomon. This virtuoso
musician who, like Beethoven, was born
in Bonn but who now made London his
home, had a fine reputation as leader
of a string quartet. He introduced
Haydn to a new world of public—
not private—concerts that included
chamber music. He also introduced
Haydn to skilled musicians who could
speedily come to terms with new music
and to sophisticated concert audiences
who craved novelty—and were willing
to pay handsomely for it. This was all
very different from the insular court
life that Haydn had known for decades
at Esterháza and different, too, from
the more formal, semiprivate concerts
that were given in the homes of the
Viennese aristocrats. The six quartets of
Opus 71 and 74 were, in fact, initially
commissioned by an Austro-Hungarian
friend and patron, Count von Apponyi,
a Freemason who had sponsored
Haydn’s admittance to the craft eight
or nine years earlier. But Apponyi’s
sponsorship is not reflected in the music
of the six quartets. Salomon’s virtuoso
violin technique comes through in every
movement. In the English-speaking
world, the quartets tend to be known
as the Salomon Quartets; in German-
1
The D-major quartet, op. 71, no.
2, is characteristically drawn on a
broader canvas than the more intimate,
intense, and inward-looking Viennese
works. It is the most brilliant of the
set, and the one that most clearly
reflects Salomon’s fine technique as a
quartet leader. Typically, it opens with
two attention-grabbing forte chords,
designed to tell a London audience
in the Hanover Square Rooms that it
was time to stop chattering and to pay
attention to the music. The Allegro
is built upon octave leaps in the four
instruments. These are the building
blocks of the movement. Good
humor and technical ingenuity are the
chief characteristics of the opening
movement. The lyrical first-violin line
of the slow movement, an aria for the
violin, reflects Salomon’s playing. “He
plays quartets with more feeling and
imagination, more taste, expression,
and variety than we ever heard them
played,” a London newspaper wrote
at the time. The minuet is again built
upon the span of an octave, and an
elegant finale brings this superbly
crafted quartet to its conclusion.
—© 2013, Keith Horner
SAMUEL CARL ADAMS (B. 1985)
STRING QUARTET IN FIVE
MOVEMENTS (2013)
String Quartet in Five Movements
was commissioned by Spoleto
Festival USA for the St. Lawrence
String Quartet. The first performance
was given on June 2, 2013, at the
Dock Street Theatre in Charleston,
South Carolina. I began work on
SFLG 090811 violin 1_6v.pdf
the piece in Brooklyn, New York, in
the winter of 2013 and completed
the score the following spring. 8/1/13 11:32 AM
28
About two months prior to starting
work on this piece, I read a lecture by
Italo Calvino on the topic of lightness
in poetry. What I took from his words,
more than anything, was the point
that poetry—or any form of art—
need not indulge in the weight of the
world. Rather, poetry can refract the
weight—without necessarily evading
its presence:
“The only hero able to cut off
Medusa’s head is Perseus, who flies
with winged sandals; Perseus, who
does not turn his gaze upon the
face of the Gorgon but only upon
her image reflected in his bronze
shield...Whenever humanity seems
condemned to heaviness, I think I
should fly like Perseus into a different
space. I don’t mean escaping into
dreams or into the irrational. I mean
that I have to change my approach,
look at the world from a different
perspective, with a different logic and
with fresh methods of cognition and
verification.” (Italo Calvino from Six
Memos for the Next Millennium)
I found this image striking and
meaningful—timely, too, as I had
developed an anxiety about writing
for this particular medium. So this
piece is about lightness and, in
certain instances, extroversion. It
takes its inspiration from Calvino’s
approach to writing (or at least my
approximation of it). I reference the
work of people who I think achieved
this in their own work: people like
Francois Couperin, Joseph Haydn,
John Cage, and James Blake.
The piece is dedicated with admiration
to Geoff Nuttall, Scott St. John, Lesley
Robertson, and Christopher Costanza. —Notes by Samuel Carl Adams
LUDWIG VAN BEETHOVEN
(1770–1827)
STRING QUARTET IN A MINOR, OP. 132
(1824–1825)
The five string quartets and Great
Fugue that Beethoven composed during
the last five years of his life mark the
pinnacle of his chamber music. The
cycle began with a commission to write
“one, two, or three new quartets” for
Prince Nikolay Golitsyn, a wealthy
Russian amateur cellist who was living
in Vienna. Still in his twenties, Golitsyn
had made string quartet and quintet
transcriptions of all Beethoven’s piano
sonatas. It had been 12 years since
Beethoven last wrote a quartet, and his
priority first lay in completing his Ninth
Symphony. But then his sketchbooks
began to fill with ideas and his work on
the commission proceeded with great
intensity, with ideas from one work
spilling over to the next.
Beethoven originally laid out
this A-minor quartet in four
movements. Then, in the spring of
1825, he fell seriously ill with a variety
of debilitating diseases. Toward the
end of May, he began to recover,
and the change in his physical wellbeing had a profound impact on the
work. A central slow movement was
the immediate result. Beethoven marked
it Sacred Song of Thanksgiving to the
Deity from a Convalescent. It is one of
the most sublime pieces of music ever
written—and one of the longest quartet
movements, at almost half the length
of the quartet itself. Its contemplative
stillness is enhanced by the conscious
use of an old church mode known as
the Lydian mode. Beethoven mentions it
in the score, as if to remind us that the
old church modes, with their spiritual,
often mystical, and tonally ambiguous
connotations, were a deep source of
inspiration in his late works. In the
slow movement of the quartet, the
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successive alternations of adagio and
andante bring new expressions of relief
from the composer. These are noted
in the margin of his score as “Feeling
new strength,” “You returned my
strength to find me in the evening,”
and, in the final section, “With the
most intimate feeling.” Because of the
generally dark character of much of
the quartet, this transcendental slow
movement seems to radiate inner
release from outward suffering. Beethoven made this huge slow
movement the centerpiece of a vast,
arch-like structure. The quartet opens
with an Allegro, built around two
contrasting themes and presenting a
thread of unresolved contradictions. The movement departs from
conventional form as does the vast
scherzo that follows. Its central
pastoral episode, nominally a trio
section, begins with a musette-like
theme high on the first violin. It
continues with a ländler theme
that Beethoven wrote down in his
sketchbook when he first went to
Vienna many years earlier. After
the sublime, heavenly slow
movement, the mood is abruptly
broken by a march, which brings
us back to earth with a bump.
As in the Ninth Symphony, an
instrumental recitative leads to
the finale. Its impassioned, waltzlike theme, which gives way to an
unequivocal feeling of joy, was, in fact,
originally designed to be the finale of
the Ninth Symphony before Beethoven
decided on a choral ending for that
work. Both works end with a feeling
of transcendence and triumph. —© 2013, Keith Horner
30
ST. LAWRENCE STRING QUARTET
The St. Lawrence String Quartet
(SLSQ) has established itself among
the world-class chamber ensembles
of its generation. Its mission: bring
every piece of music to the audience
in vivid color, with pronounced
communication and teamwork and
great respect to the composer. Since
winning both the Banff International
String Quartet Competition and
Young Concert Artists International
Auditions in 1992, the quartet
has delighted audiences with its
spontaneous, passionate, and dynamic
performances. Alex Ross of the New
Yorker magazine writes, “The St.
Lawrence are remarkable not simply
for the quality of their music making,
exalted as it is, but for the joy they
take in the act of connection.”
Whether playing Haydn or premiering
a new work, the SLSQ has a rare
ability to bring audiences to rapt
attention. They reveal surprising
nuances in familiar repertoire and
illuminate the works of some of
today’s most celebrated composers,
often all in the course of one evening.
John Adams has written two critically
acclaimed works expressly for the
quartet, including String Quartet (2009)
and Absolute Jest (2012), which they
premiered with the San Francisco
Symphony in 2012. In 2011, the SLSQ
premiered Qohelet, a work by Osvaldo
Golijov, also composed for them.
The SLSQ maintains a busy touring
schedule. Some 2013–14 season
highlights include visits to Vancouver,
Princeton, Portland, Toronto,
Philadelphia, Ann Arbor, Palm Beach,
and Washington, D.C. The quartet also
will premiere a new work by George
Tsontakis in Carmel, California. They
will perform Absolute Jest with
the Toronto Symphony and on a
European tour with the San Francisco
Symphony. During the summer season,
the SLSQ is proud to continue its
long association with Spoleto Festival
USA in Charleston, South Carolina.
“A sound that has just about
everything one wants from a
quartet, most notably precision,
warmth and an electricity that
conveys the excitement of
playing whatever is on their
stands at the moment.”
The New York Times
Since 1998, the SLSQ has held the
position of ensemble-in-residence at
Stanford University. This residency
includes working with music students
as well as extensive collaborations
with other faculty and departments
using music to explore myriad topics.
Recent collaborations have involved
the School of Medicine, the School
of Education, and the Law School.
In addition to their appointment at
Stanford, the SLSQ are visiting artistsin-residence at Arizona State University.
The foursome’s passion for opening up
musical arenas to players and listeners
alike is evident in their annual summer
chamber music seminar at Stanford
and their many forays into the depths
of musical meaning with preeminent
music educator Robert Kapilow.
Violist Lesley Robertson is a founding
member of the group and hails from
Edmonton, Alberta. Cellist Christopher
Costanza is from Utica, New York, and
joined the quartet in 2003. Violinists
Geoff Nuttall and Scott St. John both
grew up in London, Ontario; Mr.
Nuttall is a founding member, and Mr.
St. John joined in 2006. According to
concert repertoire, the two alternate the
role of first violin. All four members of
the quartet live and teach at Stanford.
The St. Lawrence String Quartet appears
by arrangement with David Rowe Artists
(www.davidroweartists.com).
Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway
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Center for the Performing Arts • Pacific Northwest Ballet Paramount & Moore
Theatres • Seattle Children’s Theatre • Seattle Men’s
SophiSticated Chorus
• Seattle Opera • Seattle Repertory Theatre
• Seattle Shakespeare Company • Seattle Symphony
audience Seattle Women’s Chorus • Tacoma City Ballet • Tacoma
Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre Issaquah & Everett •
American Conservatory Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare
Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at
Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center
for the Performing Arts • Pacific Northwest Ballet • Paramount put your business here
& Moore Theatres • Seattle Children’s Theatre • Seattle
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Seattle Shakespeare Company • Seattle Symphony • Seattle
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• Taproot Theatre • UW World Series at Meany Hall • Village
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EAP House 1-6H REV.indd 1
3/26/13 11:22 AM
Master of Liberal Arts Program
A Part-time Graduate Degree Program Designed for Working Adults
EXPLORE THE PAST.
ENGAGE IN THE PRESENT.
CONTEMPLATE THE FUTURE.
Stanford’s MLA Program offers:
• Small seminars with Stanford faculty
• Part-time study
• Evening classes
• Affordable tuition
• Flexible academic schedule
• Access to Stanford’s vast library resources
Attend our next information session on October 3.
Applications are accepted September through January.
Learn More & Apply:
MLA.STANFORD.EDU
SMLA 081913 explore 1_2v.pdf
PROGRAM: SING AND PLAY THE BING / FREE
FRIDAY, OCTOBER 25, 2013 / 7:30 PM / BING CONCERT HALL
SING AND
PLAY THE
BING
ARTISTS
PROGRAM
Abhinaya Dance Company
This festive free evening, featuring performances from Silicon
Valley-based groups, highlights the wealth of cultural diversity
and artistic excellence in our community.
The Choral Project
Daniel Hughes, Artistic Director and
Conductor
Oriki Theater
A program insert will be provided at the performance.
32
PROGRAM: JON BATISTE AND STAY HUMAN
SUNDAY, OCTOBER 27, 2013 / 7:00 PM / BING CONCERT HALL
ARTISTS
Jon Batiste
Piano, Harmonaboard, and Vocals
Eddie Barbash
Alto Saxophone and Vocals
Ibanda Ruhumbika
Tuba and Trombone
Joseph Saylor
Drums and Tambourine
Jamison Ross
Percussion and Drums
Barry Stephenson
Bass
PROGRAM
The program will be announced from
the stage.
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.
The performance is co-sponsored by
KCSM Jazz 91.
JON BATISTE &
STAY HUMAN
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.
PROGRAM: JON BATISTE & STAY HUMAN
JON BATISTE
“I’m always about trying to fill a need
with what I do in my artistry,” says
Jon Batiste, an artist whose ambition is
nothing less than to transform the very
lives of his listeners. “There is definitely
a need in the performing arts world for a
movement to come along that seriously
connects with a next-generation audience
while still maintaining the timeless
artistic objectives present throughout the
history of the American music tradition.”
It’s a goal Mr. Batiste is steadily achieving
with every performance, every interview,
every song, every album.
Those two essential criteria—peerless
artistry combined with all the uplifting
pleasure of entertainment—exist squarely
at the heart of Mr. Batiste’s musical
vision. And they are both fully evident
in every exultant note on Social Music
(Razor & Tie), the new album by Mr.
Batiste and his irrepressible musical
collective, Stay Human. Both the title of
the album and the name of the band are
telling. Now a quartet (with Batiste on
piano, vocals, and melodica, which he
has renamed the harmonaboard; Eddie
Barbash on alto saxophone; Ibanda
Ruhumbika on tuba; and Joe Saylor on
drums), Stay Human has evolved over
the past eight years, running the spectrum
from a jazz trio to a quintet to a big band
with horns.
Social Music reflects that extraordinary
range. On “D-Flat Movement,” the
album’s opening track, you can hear Mr.
Batiste elegantly duetting with the sounds
of thunder. Meanwhile, “It’s Alright
(Why You Gotta)” slinks along on a
seductively funky cha-cha groove, and
“Express Yourself” jitters on an angular
harmonaboard riff, its encouraging
message balanced precariously all the
while. Throughout the album, elements
of jazz, classical music, and Americana
nuzzle up against beats that could light up
a club dance floor, and standards like “St.
34
“An endearingly rumpled,
brilliant enfant terrible and
master of wry, sly minimalism.”
The New York Times
James Infirmary” and “Naima’s Love
Song” nestle in alongside spoken-word
samples like “The Jazzman Speaks”
(featuring the voice of jazz legend
Jelly Roll Morton) and statements of
spiritual yearning like “Let God Lead.”
“This album is the latest evolution of
the band,” Mr. Batiste says.
In Mr. Batiste’s view, however,
making such distinctions among
styles of music and varieties of sound
is helpful but perhaps unnecessary.
“The purpose of this music is to bring
people together from all walks of
life by creating a montage of many
different music traditions and playing
it with the spirit of inclusiveness,” he
explains. “That intent is what gives
these different styles cohesion, and
that’s why I decided to call it ‘social
music.’ We are in a technological age,
and Social Music aims to reflect that
spirit of advancement, collaboration,
and connectivity while still remaining
‘human.’ And Stay Human, then, is a
reminder of what connects us all. It’s
our mantra. With so many ways to
communicate at our disposal, we must
not forget the transformative power
of a live music experience and genuine
human exchange. ”
Now 26, Mr. Batiste has defined a
vision based on the most-profound
aspects of what has already been a
rich artistic journey. He was born
in New Orleans into a family whose
deep musical heritage is part of the
inspiration for the HBO series Treme,
in which he has appeared. Over the
last decade, he has forged his own
artistic path by indelibly fusing himself
within the fabric of New York City
culture. After attending the prestigious
New Orleans Center for Creative
Arts (NOCCA), Mr. Batiste moved
to New York and graduated from the
Juilliard School, earning a master’s
degree in jazz and classical piano.
He has collaborated with the likes
of Prince, Cassandra Wilson, Lauryn
Hill, Wynton Marsalis, Jimmy Buffet,
Eve, Lenny Kravitz, Questlove, and
Asher Roth. He has also recorded
extensively, most recently putting out
the EP MY N.Y. with Stay Human
in 2011, which was recorded live in
the Manhattan subway system.
On the rough-and-tumble polyglot
streets of New Orleans and New
York, Mr. Batiste absorbed a musical
language that disregards genre
distinctions as long as all the musicians
are up to the game and everyone is
locked in and feeling the inspiration
of the moment. At NOCCA and
Julliard, he was solidly grounded
in the importance of standards and
tradition, the conviction that the best
of what has come before us must
be kept living and taught to future
generations. To further that lofty aim,
Mr. Batiste often lectures and gives
master classes, and he also serves as
artistic director at large of the National
Jazz Museum in Harlem, New York.
But Mr. Batiste strongly believes that
people must have their minds opened
in the streets as well as in schools and
museums. “Music always reflects the
culture it comes from,” he says. “The
world is connected more than it has
ever been. In such a globally connected
world, musicians now have the unique
opportunity to express all of the
cultural mash-ups we are experiencing
these days. I believe that the world has
reached a cultural turning point similar
to the blend of cultures that occurred
in early 20th-century New Orleans that
led to the birth of jazz.”
Using Twitter and Facebook to
announce their plans, Mr. Batiste and
Stay Human would ride the New York
subways with their instruments, playing
music from many different music
traditions and playing at the top of
their talent all the while. It was a way
to have some fun and to startle people
out of their preconceived notions—
about jazz, about where it’s appropriate
to listen to music, about what it
might mean to hear top-notch players
blasting away purely for the purpose
of entertaining and connecting with
you as you go about your day. Once
people receive and accept that positive
energy—and cracking the stoicism of
New York subway riders is no mean
feat—there’s no telling what further
transformations it might effect in their
lives and in all of our lives. Mr. Batiste
calls these spontaneous efforts to play
in nontraditional places “loveriots,”
and aptly so.
“If you’re going to call it social music,
then you have to figure out ways
to bring your music to the people,”
Mr. Batiste says. “You want to play
for people who might have never
considered going to a concert. You
want to destroy their stereotypes of
what they might think a live music
performance is all about. You also
want to bring the music to those who
might not ever hear it and share the
culture with them. Ultimately it’s about
breaking down the walls between
the musicians and the audience and
showing them that we all share the
same humanity.”
As strong an album as Social Music
is, Mr. Batiste believes that live
performance is where his vision
can most truly be set in motion and
realized. His goals are of the highest
order. “For me, what we’re doing
is a calling, bringing people to an
understanding that loving one another
is how we are called to be,” he says.
“I want to help people find truth. I
can give you a picture. When you go
to a show to hear us, the venue is one
way when you get there, but when
you leave, it’s totally transformed.
It’s become almost like a religious
ceremony, a communal experience.
People leave crying and laughing—
there’s a buzz. People stand around
when it’s done because they just don’t
want to go home. Hopefully this
experience will bring them to a greater
understanding of the truth. That
response is ideal.”
It’s ideal and potentially there to be
realized every day at every moment.
It’s a fully three-dimensional emotional
response—the highly desirable result
of staying human and allowing for the
full spiritual impact of Social Music to
settle into your soul.
To learn more about Mr. Batiste,
check out www.jonbatiste.com, www.
facebook.com/JonBatisteMusic, and
twitter.com/jonbatiste.
—Notes by Anthony DeCurtis
A classic American grill with a warm
and inviting neighborhood feel.
• Breakfast, lunch, dinner
and late night snacks
• Extensive wine-by-the-glass
list and craft brews
• Best outside dining in town
• No wine corkage fee
Parking is plentiful, easy and free
www.menlogrill.com
100 El Camino Real, Menlo Park, CA
Located at the Stanford Park Hotel
650-330-2790
STANFORD LIVE DONORS
Stanford Live thanks the
following donors for generously
supporting the 2013–14 season.
PRODUCING SPONSORS
($50,000+)
Helen & Peter Bing
Kristy Hinze Clark & James H. Clark
Marcia L. & John D. Goldman
Bonnie & Marty Tenenbaum
PERFORMANCE SPONSORS
($30,000+)
Paul & Iris Brest
Clinton & Mary Gilliland
BING MEMBERS BING CIRCLE
($25,000+)
Anonymous (2)
Gioia Fasi Arrillaga & John Arrillaga
Helen & Peter Bing
Roberta & Steven Denning
Barbara H. Edwards & William
C. Edwards
Laura Meier Fisher & John J. Fisher
Cynthia Fry Gunn & John A. Gunn
Dr. & Mrs. Jeffrey P. Hays
Deedee McMurtry & Burton
J. McMurtry
Bill Meehan
Linda Randall Meier & Anthony
P. Meier
Mindy Basham Rogers & Jesse
T. Rogers
BING MEMBERS DIRECTOR’S
CIRCLE ($15,000–$24,999)
Anonymous
Jeanne Aufmuth & Lawrence
A. Aufmuth
Shawn Byers & Brook Byers
Suzanne & JT Crandall
Annina R. Demmon
William & Nancy Farrar
Lynn & James W. Gibbons
Larry Horton
Dr. Mary T. Jacobson & Dr. Lynn
Gretowski
Franklin & Catherine Johnson
Kathy Kissick & John H. Kissick
Joan F. Lane
Leatrice Lowe Lee
Wendy Munger & Leonard L. Gumport
Barbara S. Oshman
Lee & Bill Perry
Madeline J. Stein & Isaac Stein
BING MEMBERS ARTIST’S
CIRCLE ($7,500–$14,999)
Anonymous
Jeff & Jamie Barnett
Alison L. & James J. Barta
Sally M. Benson & Terry Surles
Recia K. Blumenkranz & Mark
S. Blumenkranz
36
Tom & Polly Bredt
Janice L. Brody & Robert B. Rule
Eva & Chris Canellos
Jeffrey Chambers & Andrea Okamura
Steve & Jamie Chen
Joan Pearson Corely & John J. Corely
David & Ann Crockett
Julia & James Davidson
Sallie De Golia-Jorgenson &
John Decker Jorgenson
John & Danielle Dearborn
Mary L. Fitch & William L. Fitch
Frances K. Geballe & Theodore
Geballe
Marcia L. & John D. Goldman
Ann Griffiths
Richard C. Halton & Jean-Marc
Frailong
David & Marty Hamamoto
Anne M. Holloway & John T. Holloway
Rick Holmstrom & Kate Ridgway
Elizabeth Swindells Hulsey & Zachary
W. Hulsey
Betty B. Joss & Robert L. Joss
Roberta Reiff Katz & Charles J. Katz
Gregory & Patricia Krikorian
Ingrid Lai & William Shu
Michael R. Jacobson & Trine Sorensen
Andrea A. Lunsford
Carol Matre & Richard Swanson
Cathy McMurtry
Lloyd B. Minor & Lisa Keamy
Phyllis Moldaw
Betsy J. Morgenthaler
Dean & Lavon Morton
Sue Douthit O’Donnell & Robert
G. O’Donnell
Susan Packard Orr & Franklin M. Orr
Nancy H. Mohr & Lawrence G. Mohr
Suzanne & Robert Redfern-West
William E. Reller
Donna D. Robertson & Channing
R. Robertson
Charlotte Mailliard Shultz & George
P. Shultz
Barbara F. Silverman & Arnold
N. Silverman
Ken & Phyllis Sletten
Marian S. Sofaer & Abraham D. Sofaer
Jeremy A. Spielman
Harise Stein & Peter Staple
Hal & Diane Steuber
Andrea Stryer & Lubert Stryer
Carol Scilacci Tanner & Douglas
A. Tanner
Mark Vander Ploeg
David A. Wollenberg
BENEFACTOR ($5,000–$7,499)
Fred Alvarez & Beth McLellan Alvarez
John & Ann Doerr
Mrs. Ralph I. Dorfman
John & Mary Felstiner
Bruce & Eleanor Heister
Joyce J. Kaufman & Kenneth Kaufman
Rhoda Levinthal
Dr. Eila Skinner & Thomas C. Sadler
SUSTAINER ($2,500–$4,999)
Jonathan, Frances & Alison Axelrad
Stephen & Diane Ciesinski
The Stephen & Margaret Gill Family
Foundation
Buzz & Peg Gitelson
Michael Kronstadt & Dr. Joji Yoshimura
Og & Ogina
Dick R. Miller & James M. Stutts
Edward & Nadine Pflueger
Kathleen Quinn
Barbara & Greg Rosston
Dean Richard Saller & Dr. Tanya
Luhrman
Meryl & Rob Selig
Judy & Lee Shulman
David & Susan Young
PARTNER ($1,000–$2,499)
Anonymous
Jim & Marian Adams
Lisa Barrett
Lindy Barocchi
Elaine Baskin & Kenneth Krechmer
Deborah & Jonathan Berek
Dr. & Mrs. Bruce Bienenstock
Carol C. & Joel P. Friedman
Celeste Phaneuf Birkhofer &
Wendell Birkofer
Carolyn & Gary Bjorklund
Jane & Peter Carpenter
Dr. Michael Condie & Joanne Condie
Toni Cupal & Michaelangelo Volpi
Mr. & Mrs. DeLuca
Margaret Ann Fidler & Donald
A. Fidler
Joyce Firstenberger & Tom Dienstbier
Andrew Fowler
Betsey & David Fryberger
Bernd & Sabine Girod
Joerg Heilig
Mr. & Mrs. Albert T. Henley
Karen Hohner
Sally Pollock Lannin
Leslie Hsu & Richard Lenon
Stella J. Hwang & Philip King
Irene & Steve Johnson
Adrienne Jamieson & Patrick
Chamorel
Kay & Ed Kinney
Larry R. Langdon
Robert & Sue Larson
Dorothy Lazier
Patricia Lee
Mark Lieberman
Janet Littlefield & William Coggshall
Deirdre Lyell & Clifford Schireson
Peggie MacLeod
Joan Mansour
Charles Marks
Victoria & James Maroulis
Yoshiko Matsumoto & John Ryan
James & Victoria Merchant
Evelyn Miller & Fred Snively
Stan & Joan Myers
Margaret Neff
Diane Posnak
Nancy & Norman Rossen
Ramon Saldivar & Paula Moya
Doris Sayon
Erwin & Dorothy Shannahan
Diane A. Shemanski
Judith & Alan Schwettman
John Thompson
Jan Thomson & Roy Levin
Todd Yonemura & Stacey Quo
Casey Silvey
Dr. & Mrs. Irving Weissman
Darlene Wigler
John & Lysbeth Working
ADVOCATE ($500–$999)
Anonymous
Marilyn & Herbert Abrams
Guinevere Allen
Maude & Philip Brezinski
Mildred & Paul Berg
Tito & Cameron Bianchi
Charlotte & David Biegelsen
Curt & Dudley Carlson
George & Ann Crane
Stephen & Andrea Dover
Richard & Mary Lynn Dundas
Robert Dutton
Holly & Edmond Eger
Judy & Monty Frost
Aileen Furukawa
Mike & Donna Greenberg
Elizabeth M. Gulevich
Jerrol & Judith Harris
Richard T. Hoppe
Roy & Leigh Johnson
Martha & Michael Kahn
Randall & Mattie Keith
Carol Kersten & Markus Aschwanden
Doreen & David Leith
Deveda & Ernest Littauer
Albert Ko & Reiko Miura-Ko
Iris & Hal Korol
Dr. & Mrs. K. D. Kravitz
Morton R. Maser
Patrick & Darle Maveety
Bruce & Karen McCaul
David Moor
Dr. William & Linda Northway
John O’Farrell & Gloria Principe
Jeanne & Marshall O’Neill
Ginger Oros & Daniel W. Oros
Carole & Lowell Wayne Price
Darryl Putnam
Robert & Shirley Raymer
Rossannah Reeves
Maureen & Paul Roskoph
Lee Ann & Martin Shell
Barbara & Charles Stevens
Maryanna Gerbode Stockholm &
Charles M. Stockholm
William Edward Stone
Robert Sutis
Drs. Lucy Tompkins & Stanley Falkow
Barbara Tatum
Janet & Stephan Van Pelt
Ann & John Varady
Tom Wandless
Jim & Mary Weersing
Stephen & Katherine Wurburg
SUPPORTER ($250–$499)
Anonymous (4)
David & Susan Abernethy
Curtis & Maryvonne Abbott
Takeshi & Yoshiko Amemiya
Dorothy & Ted Anderson
Masahiko Aoki
Donald Baer
Laurence & Linda Baker
Katherine Bazak
Sharon Beckham
Steven & Linda Boxer
David Brady
Jeff Bramel & Kim Chu
Thomas Bush & Grace Marie Sanchez
John Carter
Donald & Judith Chamberlin
Cathy Combs
Jacqueline M. & Robert H. Cowden
Bruce & Suzanne Crocker
Anne O. Dauer
Genevieve & Norman Dishotsky
Ben Encisco & Judith Dean
George & Maria Erdi
Richard Fabian
Tram-Anh & Zephyr Frank
Anne & Alec Glover
Susan Goodhue
Catherine Gortner
Myrtle & Patrick Gunning
Ed Haertel & Drew Oman
Bill & Joan Hancock
Elizabeth Harmon
Lisa Henriksen
Laura Hofstadter & Leonard Shar
Sandra Horning & Richard Miller
Judith Humburg
Fran Jackler & Will Nelson
Adrienne Jamieson & Patrick
Chamorel
Dorothy & Rex Jamison
Jane & William Johnson
Grady & Kenneth Kase
Stina & Herant Katchadourian
John & Phyllis Kidd
David Kleiman
Renate Klipstas
Janna Smith Lang & Kurt F. Lang
Richard & Cathy Lampman
Emory & Ayleen Lee
Grace Lee
Jason & Lucy Lee
Philip & Joan Leighton
Donald & Rachel Levy
Marion Lewenstein
Shirley Liebhaber
BJ & Frank Lockfeld
John & Penny Loeb
Ruth Lycette
Richard Maltzman
Ellie & Dick Mansfield
Ann Mason
Ingrid Marlow
Thomas Marshburn
Bob & Myng Sook McIntyre
Maura McGinnity & Eric Rausch
Jim & Penny Meier
Servane & Emmanuel Mignot
Linda Millard
Jack Morris
Kathleen Much & Stanley Peters
Norman Naimark
Peter Nosler & Julie Veitch
Richard Olshen
Christine & Ronald Orlowski
Bert & Anne Raphael
Weien Raymond
Gilbert Reese
Laura Richardson
Joyce & Ed Rosenstiel
Barbara Ross
Elizabeth Roth & Ronald Katz
Ruth Rothman
Nicole Rubin
Elliot & Nancy Schrier
Mr. & Mrs. Richard Schumacher
Carla Schatz
Kerry Spear
Eleanor Sue
Jeff & Linda Suto
Sherrie & Mark Taguchi
Les Thompson & Freda Hofland
Orlin Trapp
Elizabeth Trueman & C. Raymond
Perrault
George & Sally Truitt
Ronald Trugman
Ellen E. Uhrbrock
Randy & Ting Vogel
Roger & Joan Warnke
Patti & Ed White
Gary & Mansie Williams
Maurice Werdegar
Rand White
Marilyn & Irvin Yalom
Sharon K. Yoerg & Robert L. Yoerg
Jane & Warren Zuckert
FOUNDATION &
GOVERNMENT PARTNERS
$100,000+
The Andrew W. Mellon Foundation
Koret Foundation
$50,000–$99,999
The William and Flora Hewlett
Foundation
$10,000–$49,999
The Ann and Gordon Getty
Foundation
Japan Foundation
$2,500–$9,999
The Aaron Copeland Fund for Music
The Leslie Family Foundation
Contributions listed are in support of
the 2013–14 season and were received
between 05/01/13 and 9/11/13.
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]
BING CONCERT HALL
DONORS
BUILDING DONORS
Peter and Helen Bing
Cynthia Fry Gunn and
John A. Gunn
John Arrillaga Family
Anne T. and Robert M. Bass
Roberta and Steve Denning
Elizabeth and Bruce Dunlevie
Jill and John Freidenrich
Frances and Theodore Geballe
Andrea and John Hennessy
Leslie and George Hume
Susan and Craig McCaw
Deedee and Burt McMurtry
Linda and Tony Meier
Wendy Munger and Leonard
Gumport
Jennifer Jong Sandling and
M. James Sandling
Regina and John Scully
Madeline and Isaac Stein
Akiko Yamazaki and Jerry Yang
BING EXPERIENCE
FUND DONORS
With appreciation for the following
donors who provide major support
for programming and musical
instruments for Bing Concert Hall.
STANFORD LIVE 2012 – 13
BING CONCERT HALL
TASK FORCE MEMBERS
The Task Force provides a
strategic advisory function
focusing on community outreach,
volunteer engagement, and
development.
Linda Meier, Chair
Jim Canales
John Goldman
Fred Harman
Srinija Srinivasan
Betsy Matteson
Bren Leisure
BING CONCERT HALL
CORE TEAM
Jenny Bilfield
Peter Bing
Maggie Burgett
Janeen Giusti
Wiley Hausam
Don Intersimone
David Lenox
Kären Nagy
Matt Rodriquez
Matthew Tiews
Anonymous
Apogee Enterprises, Inc.
The Adolph Baller Performance
Fund for Bing Concert Hall
Friends of Music at Stanford
Fred and Stephanie Harman
Fong Liu
Elayne and Thomas Techentin, in
memory of Beatrice Griffin
Bonnie and Marty Tenenbaum
The Fay S. and Ada S. Tom Family
Turner Corporation
The Frank Wells Family
CONTRIBUTIONS TO
BING CONCERT HALL
ENDOWMENT
William R. Brody and
Wendy Brody
Graham Sommer
Melanie Phelps Bean
Dennis R. Johnson
Linda Mankin
Shu-Ching Lin
Donald & Barbara Roberts
2013–2014 PERFORMING ARTS SEASON
*****************************************************************************************
SEPT
Sept 22
Itzhak Perlman and the Young Virtuosos
of the Perlman Music Program
Sept 27
Special Stanford Student Concert:
Phosphorescent
Sept 29
A Night in Treme:The Musical Majesty
of New Orleans with Preservation
Hall Jazz Band and Special Guests
OCT
Oct 9
Harmony for Humanity:
Daniel Pearl World Music Days Concert
Oct 11
Live Simulcast of San Francisco Opera’s
Falstaff
Oct 13
Sundays with the St. Lawrence:
St. Lawrence String Quartet
Oct 25
Sing and Play the Bing
Oct 27
Jon Batiste and Stay Human
Presented by Stanford Live
Stanford University
365 Lasuen Street, Second Floor
Littlefield Center, MC 2250
Stanford, CA 94305
38
TICKETS & INFORMATION
LIVE.STANFORD.EDU OR 650.724.BING (2464)
All programs are subject to change—visit the Stanford Live website for updates!
INFORMATION
PERFORMANCE VENUE INFORMATION
1 Bing Concert Hall &
Bing Concert Hall Ticket Office
2 Frost Amphitheater
UN
3 Memorial Church
4 Memorial Auditorium
5 Stanford Ticket Office
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Seating at Frost Amphitheater
is general admission. Access to
preferred seating is available to
donors of $250 or more.
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THINGS TO KNOW
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Seating at Memorial Church is
general admission. Access to the
reserved seating section is available
for donors of $250 or more.
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NOTE: MAP NOT TO SCALE
LASU
F Alumni Café, Arrillaga Alumni Center
BING CONCERT HALL
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Parking is FREE on the Stanford campus in metered and lettered parking
zones on weekdays after 4:00 pm and on weekends at all times. Disabled
parking, loading, and 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.
Directions
For 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!
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.
The primary restrooms 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.
Assisted listening devices are available
for Stanford Live performances. Please
visit Patron Services prior to the show for
more information.
The Bing lobby and box office
open 60 minutes prior to the
performance. Auditorium doors
open 30 minutes prior to curtain for
the audience to locate their seats.
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 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 their 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.
Stanford Hoover Pavilion
The Stanford Hoover Pavilion brings together state-of-the-art
technology, world-renowned physicians and the most advanced
clinical treatments available—all in a convenient Palo Alto location.
Come see how the newly renovated historic landmark delivers the
next generation of medicine.
EL
CLINICS
CA
MI
NO
RE
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DOWNTOWN
PALO ALTO
PALO ALTO
TRAIN STATION &
TRANSIT CENTER
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PAVILION
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St te
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•
Stanford Family Medicine
•
Stanford Internal Medicine
•
Center for Integrative Medicine
•
Blood Draw / Lab
•
Senior Care (formerly Geriatrics)
•
Medical Pharmacy
•
Stanford Coordinated Care
•
Community Physicians Practices
•
Express Care
•
Dermatology
ST
R
CKARD
DREN’S
SPITAL
AL
Construction area
PALM
D
M
AV
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STANFORD
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