program - Seattle Children`s Theatre • Seattle Men`s Chorus • Seattle

JULY/AUG 2014
PERFORMING ARTS
SEASON MAGAZINE
WELCOME TO SUMMER!
LA SANTA CECILIA &
LOS CENZONTLES LAUNCH
INAUGURAL SERIES
PLUS
LAVAY SMITH
LEADS SWING
DANCE PARTY
Cultivate
your curiosity
Engaging
classes
Diversity of
minds
Evenings and
weekends
New courses
every quarter
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We invite you to join our open learning community.
Summer quarter is underway, please visit our website for upcoming courses, weekend
workshops, and free events.
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CONTENTS
Stanford Live is Stanford University’s world-class arts presenter and producer.
We are committed to sharing, celebrating, and advancing the art of live music,
dance, theater, and opera. We unite celebrated and emerging artists with
the Stanford campus and greater Bay Area communities in a broad range of
experiences to engage the senses and emotions, stimulate minds, and enrich lives.
We value artistic vitality, learning, and an inclusive community.
FEATURE
10
Summer Swing at the Bing
BY JANICE BERMAN
PROGRAMS
16
JUL 20
La Santa Cecilia and Los Cenzontles
18
JUL 26
Dance Party with Lavay Smith and Her Red Hot Skillet Lickers
20
AUG 2
Shawn Colvin
22
AUG 6MILOŠ
STANFORD LIVE
6
Stanford Live Staff & Sponsors
7
Welcome
8
Campus & Community
26
Stanford Live Donors
27
Bing Concert Hall Donors
JULY/AUG
2014
28
Live Context
30
Calendar
31
Things to Know
31
Parking / Venue / Seating
encore mediagroup.com 5
July/August 2014
Volume 6, No. 6
FOUNDATION &
GOVERNMENT PARTNERS
STAFF
Susan Peterson
Design and Production Director
Wiley Hausam
Executive Director, Stanford Live and Bing Concert Hall
Robert Cable
Communications Manager
Ana Alvira, Deb Choat,
Robin Kessler, Kim Love
Design and Production Artists
Andrew W. Mellon Foundation
Robert DeArmond
Web Developer
Paul Heppner
Publisher
Mike Hathaway
Advertising Sales Director
Marty Griswold
Seattle Sales Director
Claudia Dorn
Operations Associate
Gwendolyn Fairbanks,
Ann Manning, Lenore Waldron
Seattle Area Account Executives
Laura Evans
Director of Music Programs, Education, and Engagement
Drew Farley
Technical Manager
Ben Frandzel
Institutional Gifts and Community Engagement Officer
IN-KIND PARTNERS
Staci Hyatt, Marilyn Kallins,
Tia Mignonne, Terri Reed
San Francisco/Bay Area Account Executives
Denise Wong
Executive Sales Coordinator
Jonathan Shipley
Ad Services Coordinator
Elisa Gomez-Hird
Development Associate
www.encoremediagroup.com
Sierra Gonzalez
Associate Marketing Director
Michelle Hennessy
Ticket Office Assistant Manager
Paul Heppner
Publisher
Anastasia Herold
Interim Education and Engagement Manager
Leah Baltus
Editor-in-Chief
Johnny Kolasinski
Marketing Coordinator
Marty Griswold
Sales Director
Nick Malgieri
AV Manager
Joey Chapman
Account Executive
Danielle Menona
Donor Stewardship Coordinator
Dan Paulus
Art Director
Julie Ornelas
Ticket Office Manager
MEDIA PARTNERS
Jonathan Zwickel
Senior Editor
Gemma Wilson
Associate Editor
Kyle J. Polite
Director of Development
www.cityartsonline.com
Kimberly Pross
Production Manager
Toni Rivera
Operations Coordinator
Matt Rodriquez
Director of Operations and Production
Jan Sillery
General Manager, Stanford Live and Bing Concert Hall
CORPORATE PARTNER
Bill Starr
House Manager
Paul Heppner
President
Mike Hathaway
Vice President
Deborah Greer
Executive Assistant
Erin Johnston
Communications Manager
PHOTO CREDITS
April Morgan
Accounting
Cover: La Santa Cecilia, photo by Humberto Howard. Page 5: (top-bottom) Shawn Colvin, photo by Michael
Wilson; Miloš Karadaglić, photo by Margaret Malandruccolo/DG; Los Cenzontles. Page 7: Photo by Linda A.
Cicero/Stanford University News Service. Page 8: Photos by Jonathan Poto and Stanford Video. Page 9: (L-R)
Photos by Jonathan Poto and Linda A. Cicero/Stanford University News Service. Page 10: Photos by Steve
Castillo. Page 12: Photo courtesy of Paul Csonka/Wednesday Night Hop. Pages 13-14: Photos courtesy of Lavay
Smith. Page 16: Photo by Humberto Howard. Page 18: Photo courtesy of Lavay Smith. Pages 20-21: Photos by
Michael Wilson. Page 22: Margaret Malandruccolo/DG. Page 24: Photo by Lars Borges/Mercury Classics. Page 28:
The Nile Project, photo by Matjaz-Kacicnik; The Demo, workshop photo by Valerie Oliveiro. Page 30: (top-bottom)
Shawn Colvin, photo by Michael Wilson; Miloš Karadaglić, photo by Margaret Malandruccolo/DG; Chris Thile and
Edgar Meyer, photo by McClister; The Demo, workshop photo by Valerie Oliveiro.
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6
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
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.
©2014 Encore Media Group. Reproduction
without written permission is prohibited.
From The Director
Dear Friends,
Stanford Live is
Stanford’s worldclass performing arts
presenter and producer.
We are committed to
sharing, celebrating,
and advancing the art
of live music, dance,
theater, and opera. We
unite celebrated and
emerging artists with
the Stanford campus
and greater Bay Area
communities in a broad
range of experiences
to engage the senses
and emotions, stimulate
minds, and enrich
lives. We value artistic
vitality, learning, and an
inclusive community.
Welcome to Stanford Live’s first summer at the Bing!
The response to our first two seasons has been tremendous, so I’m thrilled to be able
to throw open the doors—literally—for our first foray into summer programming.
We’re so pleased that you’re here to experience the hall in a new way. Grammywinning folk and rock artists; a brilliant young, classical guitarist; and a swing dance
party in the lobby—all preceded by delicious cuisine served by Off the Grid’s terrific
food trucks—will combine to make a festive summer both in and outside of the
Bing. Added to these four artists will be the Bing debut of the Bay Area’s lauded
Midsummer Mozart Festival for two performances (July 19 and 27) as part of the
festival’s 40th-anniversary celebration.
I’d also like to draw your attention to another very active—and perhaps less
well known—side of Stanford Live. People are sometimes surprised when
they hear about the multitude of free public and student programs we offer. In the
past year alone, we presented an impressive array of master classes, coaching sessions,
workshops, and more with great artists like soprano Deborah Voigt, the San Francisco
Symphony, and Philharmonia Baroque Orchestra to provide a deeper experience
with the performing arts. See page 8 for a photo essay of some highlights.
Looking ahead, you should have heard all the details about our 2014–15 offerings by
now. We’re very excited about the expanded new season, which will offer more than
60 performances. Later this summer, we’ll announce concerts by two more major
artists. We know you’ll want to subscribe to the new season so that you can be sure to
hear these two ladies. We’ve reached our advance capacity on a number of concerts,
but many are still available.
Of particular interest to me is a new series we’re launching called Live Context:
Art + Ideas. This is a more in-depth exploration of ideas that inform select
performances. It will feature examinations of arts philanthropy in connection with
Joseph Haydn, water and sustainability with The Nile Project, and—as a highlight of
the season—life in the digital age with the world premiere of The Demo. See page 28
for more details.
Thank you for your support and for joining us. I very much look forward to seeing you
this summer and in the months to come.
Sincerely,
Wiley Hausam
Executive Director, Stanford Live and Bing Concert Hall
encore mediagroup.com 7
CAMPUS & COMMUNITY
ARTIST VISITS
Community chamber workshop
Ute Gfrerer master class
San Francisco Symphony coaching
Stanford Live offered a full
calendar of events this past
year designed to deepen
students’ experiences of the
performing arts. Throughout
the academic year, San
Francisco Symphony
members coached Stanford
Symphony Orchestra and
Stanford Philharmonia
Orchestra musicians in fall,
winter, and spring sectionals
and rehearsals leading up
to their performances in
Bing Concert Hall. The
hands-on intensive work
Deborah Voigt master class
that musicians do in small
groups is a vital part of
the training process for
performing in an orchestra.
Other highlights included
guest clinicians from the
San Francisco Opera
giving master classes for
Stanford student singers
and a listening party led by
Kronos Quartet’s violinist
and founding member, David
Harrington, for ITALIC,
the Stanford University
residential program for arts
immersion. Philharmonia
Baroque Orchestra—one of
the world’s leading periodmusic ensembles—worked
with Stanford students;
participated in the Reactions
to the Record program for
an afternoon that included
a discussion, master class,
and concert demonstration
of historical performance;
and conducted a community
music-making workshop.
Also this past quarter,
soprano Deborah Voigt—
Visit live.stanford.edu/media for more photos of season highlights.
8
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
in town for a Bing Concert
Hall recital—gave a master
class for students and
soprano Ute Gfrerer visited
students at both Gunn High
School and Palo Alto High
School before her Seven
Deadly Sins performance
with the Stanford
Philharmonia Orchestra.
UPCOMING EVENTS
Stanford Youth Orchestra
Student Matinee
Midsummer Mozart
George Cleve
The Midsummer Mozart
Festival—now celebrating
its 40th anniversary—comes
to Bing Concert Hall for
two performances led by its
founder, maestro George
Cleve, one of the world’s
most persuasive Mozart
interpreters.
SATURDAY, JULY 19, 7:30 PM
BING CONCERT HALL
Highlights include Symphony
No. 40 in G Minor and guest
artist mezzo-soprano Tania
Mandzy Inala performing
the concert arias “Chi sà,
chi sà, qual sia” and “Vado,
ma dove?”
D Minor, K. 466, and the San Francisco Boys
Chorus performs choral
selections. The program also includes “Parto, parto,”
from the opera La clemenza
di Tito, sung by mezzosoprano Anna Yelizarova.
More Music at Bing
program that features
John Rutter’s Mass of the
Children, Eric Whitacre’s
The Seal Lullaby,
selections from Randall
Thompson’s Frostiana,
James MacMillan’s A Child’s
Prayer, and Paul Caldwell
and Sean Ivory’s Hope for
Resolution.
STANFORD YOUTH
ORCHESTRA
FRIDAY, JULY 25, 7:30 PM
BING CONCERT HALL
Jindong Cai conducts the
Stanford Youth Orchestra’s
final program of the summer,
which will feature selections
from Prokofiev’s Romeo
and Juliet performed by
the student winners of the
orchestra’s 2014 Concerto
Competition. This is
presented by Stanford
Pre-Collegiate Studies in
association with Music
at Stanford.
CHORUS
SUNDAY, JULY 27, 3:00 PM
FRIDAY, AUGUST 8, 7:30 PM
BING CONCERT HALL
BING CONCERT HALL
Seymour Lipkin performs the
dramatic Piano Concerto in
Rafael Ornes conducts
this Summer Chorus
Public Programs
SAVE THE DATE: STUDENT
MATINEES
BING CONCERT HALL
The 2015 student matinees
will feaure House Jacks on
Tuesday, October 21, The
Nile Project on Wednesday,
February 18, and Cirque
Mechanics on Monday,
March 23. Dates for the
teacher training workshops
are to come.
STANFORD LIVE
“INFORMANCE”
COMMUNITY SCHOOL
OF MUSIC AND ARTS,
MOUNTAIN VIEW
Chick Corea
STANFORD JAZZ FESTIVAL
SATURDAY, AUGUST 9, 8:00 PM
BING CONCERT HALL
STANFORD SUMMER
Corea continues to thrill
listeners with The Vigil, his
latest electroacoustic project.
Pianist and National
Endowment for the Arts
Jazz Master Chick Corea
closes the 2014 Stanford Jazz
Festival with a solo concert.
A true living legend at 72,
Stanford Live presents
another series of free, informal
performances beginning with
violinist Jennifer Koh on
Monday, November 3. All
Informances are held at the
Community School of Music
and Arts in Mountain View.
encore mediagroup.com 9
CAMPUS & COMMUNITY
LIVE SHOTS
On April 26, Stanford Live
celebrated its Bing Members and
Performance Sponsors with the
annual Bing Fling, which featured
an evening with Patti LuPone
and Mandy Patinkin. The event
began with a cocktail reception
and dinner in the Gunn Atrium,
which was followed by the
sold-out performance with the
Tony Award–winning virtuosos.
Next year’s Bing Fling will be
highlighted by an intimate solo
recital by the superstar pianist
Lang Lang on March 20, 2015.
1
1: Jim McLaughlin, Cathy
McMurtry, Terry McLaughlin,
and Scott McLaughlin
2
3
2: Grace Hinton, Stephen
Hinton, and Linda Meier
3: Cynthia Fry Gunn and
John Gunn
4: Carol Tanner and
Douglas Tanner (far left)
6
4
5: Stanford Live Advisory
Council Co-chair George
Hume, John Gunn, and
Cynthia Fry Gunn
6: Joanna Oshman, Stanford
Live Advisory Council
Co-chair Leslie Hume, and
Stephanie Oshman
5
10
6
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
STANFORD LIVE FEATURE
SUMMER SWING
AT THE BING
BY JANICE BERMAN
S
wing dancing and summertime seem
to go together, with breezes, if the
crowd is lucky, carrying the music on the
evening air. Dancers—casual or dressy,
adept or striving or slightly abashed—
jump to the beat, maybe pausing for a sip
of something cool. It’s a popular pastime
all over but nowhere more so than in the
Bay Area, and now it’s part of the
offerings of Stanford Live.
In a turn—or maybe a
twirl—away from Bing
Concert Hall’s usual
programs, Lavay Smith and
Her Red Hot Skillet Lickers,
a local institution, are playing
not the auditorium but the
lobby. The band’s sizzling
jazz will come complete with
swing dance instruction from
two Stanford grads, Paul
Csonka and Rachel Liaw.
Smith, a one-of-a-kind diva
in full retro-swing mode,
and her brassy nine-piece
orchestra will perform in
the unusual circular Gunn
Atrium with its views of
the campus. In addition,
the evening will feature the
added amenity of food trucks
stationed outside the hall.
After all, the Bing draws
a diverse audience, but it
could always use an even
larger one, and this type of
programming is a great way
to make contact, according
to Stanford Live’s executive
director, Wiley Hausam.
“We got a sense that there
would be an interest in
summer performances,” said
Hausam “It’s an opportunity
to reach out to audiences
we don’t customarily serve,
with more-informal and
lighter programming.”
He noted that this summer’s
lineup still highlights
important artists though.
With performances by La
Santa Cecilia, which won a
Grammy this year; singersongwriter Shawn Colvin,
who wrote the hit “Sunny
Came Home,” among
others; and the classical
and Latin guitarist Miloš
Karadaglić, “we will test
the waters,” said Hausam.
“I hope we will attract
the Latin community and
also a younger audience.”
Shows like these “could
become part of the mix”
year-round. But Hausam
added, “We wouldn’t start
doing singer-songwriters
and omit the string quartets,
for example.” Indeed,
two Midsummer Mozart
concerts punctuate this
summer’s lighter fare.
Citing the popular pricing,
lower than the rest of the
year, as well as the casual
spirit embodied by the food
trucks, wine, and beer,
Hausam hopes Stanford
can emulate the success of
Lincoln Center Out of Doors.
This festival has grown
summer by summer, drawing
in many New Yorkers who
never attend performances
at the Metropolitan Opera
House, Koch Theater,
or Avery Fisher Hall.
Midsummer Night Swing,
the weekly dance party
on Lincoln Center’s plaza,
inspired Stanford Live’s
invitation to Lavay Smith
and the Skillet Lickers. The
band has played Lincoln
Center festivals and other
Lavay Smith
New York venues as well
as around the country, in
Canada, and in Europe.
The band’s brand of
music and dancing are
“intoxicating,” Smith said
from her home in San
Francisco’s Mission District.
People who have heard
her often agree. Born in
1967 in “a working class
place called Lakewood” in
Southern California, Smith
began putting on talent
shows as a child and singing
in school plays, taking up
the guitar at 16. Her father,
a naval shipyard worker,
and grandfather sang in the
1934 Chicago World’s Fair.
“My grandfather sang like
Fred Astaire and my father
like Bing Crosby,” she said.
When she was 12, her family
moved to the Philippines,
and in her teens, she sang
in “Sin City,” she laughed,
spelling it out for good
measure, “where they
get down.” The town’s
real name is Olongapo.
Smith noted, “I was a real
rebellious child, looking for
the coolest, newest thing.”
Everything old became new
again when Smith found
what she was looking for in
recordings by Bessie Smith,
Billie Holiday, and Dinah
Washington. She explained,
“They were expressing
what I was feeling.” She
returned to Orange County,
California, for high school
but spent most of her free
time in Hollywood. In 1989,
living in San Francisco and
pursuing jazz singing, she met
pianist Chris Siebert, her life
partner, and they put together
their band. Today Lavay
Smith and Her Red Hot
Skillet Lickers has Siebert
on piano, six horns, a bass,
and drums. The musicians’
ages range from 30s to 70s;
their resumes include the
bands of Count Basie and
Duke Ellington—whose
“delicious harmonies” are
a Smith focal point —Ray
Charles, Santana, Van
Morrison, Esther Phillips,
and Big Mama Thornton.
The Skillet Lickers’
Ellington transcriptions are
encore mediagroup.com 13
STANFORD LIVE FEATURE
Lavay Smith’s
shows are “an
unforgettable thenand-now display of
bop, boogie-woogie
and barrelhouse
blues.”
—JazzTimes
Lavay Smith
by former Jazz at Lincoln
Center Orchestra arranger
David Berger, “because
he’s the best,” said Smith.
Smith’s own distinctive
performances are sui
generis. She manages to
mix frank sexuality with
sassy humor and a knowing,
strong-yet-tender voice.
Her luscious red lipstick,
pale skin, dark hair, and
curvaceous figure that can
hold up even the lowest
of her low-slung bodices
(she buys her distinctive
gowns online) all add up
14
STANFORD LIVE MAGAZINE
to an alluring look that’s
topped off with a flower in
her hair, a Billie Holiday
tribute—“people started
bringing them, so I started
wearing them,” she said.
Her theme song, written
with Siebert and Berger, is
titled “Everybody’s Talkin’
‘Bout Miss Thing.” Jazz
writer Sean Daly described
one of her New York
shows as “an unforgettable
display of bop, boogiewoogie and barrelhouse
blues.” No wonder the
tunes are so danceable.
JULY/AUGUST 2014
And should you want to
try dancing, Paul Csonka
(Stanford University Ph.D.,
class of 2012) and Rachel
Liaw (Stanford University
B.A., class of 2011) will
be on hand to help. They
began dancing together at
school. Both were active
in Swing Time, a Stanfordbased performance troupe.
(You can catch their act,
of course, on YouTube).
Csonka, a lanky Oregonian
who works at Google X,
had never danced until he
went to Stanford. Today
he seems unstoppable. He’s
not alone. Swing Kids had
600 members, he said, 200
of them active ones. “It’s
rare to be in a class with
somebody who doesn’t
take social dance,” Csonka
added. “Stanford has maybe
40 dance groups.” And
engineers (his major was
mechanical engineering)
seem drawn to social dance.
At the weekly Wednesday
Night Hop, a big group
meeting in a rented dance
studio in Mountain View,
about 75 percent of the
students of all ages circling
the floor as they learned the
Charleston were engineers.
“It’s partly because we’re
in Silicon Valley,” Csonka
stated. “But it’s also the
desire to visualize patterns
and move spatially.”
Couples can be coed or
not; the instructor asks
everyone to move forward
to a new partner at the
end of each phrase. Those
who lead may become
those who follow, a good
way to learn any dance.
At the Bing, Csonka and
Liaw will talk about the
background of swing,
introduce some common
terms, and teach a little basic
footwork for free before the
actual dance party begins.
“From there, we’ll start
teaching figures, a couple
of turns for leaders and
followers, and at least one
cool and flashy move,” said
Csonka. “The goal is to
get people having some fun
and dancing to the band.”
The evening may even
provide benefits beyond
amazing music and a
fabulous night of dancing.
According to Smith, “If you
want to meet a very nice guy
with a good job, you’d better
start swing dancing!” Would
Miss Thing misspeak?
A Former New York
Newsday dance critic, Janice
Berman writes frequently on
the arts and entertainment.
Photo: a dance party at Mountain
View’s Wednesday Night Hop.
PROGRAM: LA SANTA CECILIA AND LOS CENZONTLES
SUNDAY, JULY 20, 2014 / 3:00 PM / BING CONCERT HALL
LA SANTA CECILIA AND
LOS CENZONTLES
ARTISTS
PROGRAM
La Santa Cecilia
Marisoul Hernández,
Lead Vocals and Jarana
Alex Bendana, Bass and Vocals
Pepe Carlos, Accordion, Requinto,
and Vocals
Miguel Ramirez, Percussion and Vocals
Marco Sandoval, Guitar
Wally Valdez, Drums
The program will be announced from the stage.
Los Cenzontles
Lucina Rodriguez,
Voice, Jarana and Percussion
Fabiola Trujillo, Voice
Eugene Rodriguez,
Guitar, Requinto, and Vihuela
Emiliano Rodriguez, Bass
Carlos Caro, Congas and Cajon
Tregar Otton, Violin
Juan Carreon, Drums
Emely Reachi, Percussion and Dance
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.
16
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
LA SANTA CECILIA
La Santa Cecilia consists of accordionist
and requintero Jose “Pepe” Carlos,
bassist Alex Bendana, percussionist
Miguel Ramirez, and lead vocalist La
Marisoul, whose captivating voice sings
about love, loss, and heartbreak. Their
influences range from Miles Davis to the
Beatles, Led Zeppelin to Janis Joplin,
and Mercedes Sosa to Ramón Ayala.
Their common love of music and
openness to all genres led them to the
concept of La Santa Cecilia in 2007,
and they named the band after this
patron saint of musicians.
LOS CENZONTLES
Los Cenzontles (Nahuatl for “The
Mockingbirds”) digs deep into Latino
traditions to promote dignity, pride,
and cultural understanding. The group
has pioneered revivals of Mexican roots
music in California, bringing traditions
to new generations. Los Cenzontles now
creates a powerful, new hybrid sound,
creating a fresh Chicano voice for a new
generation. The group’s core members
also operate Los Cenzontles Cultural
Arts Center in San Pablo, California.
The center has been training area youth
in traditional Mexican music, dance,
and crafts since 1994.
and production coordinator for the
Los Cenzontles Cultural Arts Academy.
Fabiola Trujillo joined Los Cenzontles
at 15 and manages the Los Cenzontles
Cultural Arts Academy. Born in
Guadalajara, Jalisco, Mexico, Lucina
Rodriguez also joined Los Cenzontles
at 15 and is the external program
coordinator and the dance instructor
for the Los Cenzontles Cultural Arts
Academy. Los Cenzontles has recorded
20 CDs of traditional and original
music with collaborators that include
Linda Ronstadt, Los Lobos, Jackson
Browne, the Chieftains, Ry Cooder,
and Taj Mahal. Los Cenzontles “both honors
and upends traditional
Mexican music, tapping
deep roots as it flowers into
Stanford Live: Apr/May 2014 Program • Due: 2/21/14
something completely new,
and distinctly American.”
—New York Times
C A N T O R
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S
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F
A R T S
O
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C E N T E R
N
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Carleton Watkins (U.S.A., 1829–1916), The Lower Yosemite Fall, Yosemite, 1865–1866, from the album Photographs of the Yosemite Valley.
Albumen print. Lent by Department of Special Collections, Stanford University Libraries.
In 2013, the band released its major-label
debut, Treinta Dias (Thirty Days), which
featured a captivating collaboration with
fan Elvis Costello on “Losing Game.”
Now, just after its Grammy win for
Best Latin Rock, Urban, or Alternative
Album, the band presents its new album,
Someday New. The album features seven
new tracks, which include a heartfelt
Spanglish rendition of the Beatles’
iconic “Strawberry Fields Forever”; the
unforgettable new Mexican classic
“Como Dios manda”; a fresh, new
radio edit of their single “Monedita”;
and the full version of their moving and
militant “ICE el hielo.”
Los Cenzontles was founded in 1989
as a youth music group by Eugene
Rodriguez. He has produced more
than 20 albums, and in 1994, he was
nominated for a Grammy Award for
his production of Papa’s Dream with
Los Lobos and Lalo Guerrero. Born
in San Francisco, Emiliano Rodriguez
has been a student at Los Cenzontles
Mexican Arts Center for more than
nine years and is also the audiovisual
E
R
S
I
T
Y
CARLETON
WATKINS
The Stanford
Albums
Apr 23–Aug 17
Remarkable views of
Yosemite and the northern
Pacific Coast by America’s
greatest 19th-century
landscape photographer
Free Admission
One block from Palm Drive, facing Bing Concert Hall
•
museum.stanford.edu
We gratefully acknowledge the Elizabeth Swindells Hulsey Exhibitions Fund, the Clumeck Fund, and Cantor Members for support of the exhibition,
and the Hohbach Family Fund for making possible the accompanying catalogue.
encore mediagroup.com 17
PROGRAM: DANCE PARTY WITH LAVAY SMITH
SATURDAY, JULY 26, 2014 / 7:30 PM / BING CONCERT HALL, GUNN ATRIUM
LAVAY SMITH AND HER
RED HOT SKILLET LICKERS
ARTISTS
PROGRAM
Lavay Smith, Vocals
Dave Bendigkeit, Trumpet
Scott Englebright, Trumpet
Danny Armstrong, Trombone and Vocals
Jules Broussard, Alto Saxophone
Rob Barics, Tenor Saxophone and Clarinet
Joe Cohen, Baritone Saxophone
Chris Siebert, Piano
John Wiitala, Bass
Howard Wiley, Drums
This evening features a free swing dance
lesson at 6:30 pm to be followed by the
dance party at 7:30 pm.
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.
PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones and pagers, and
avoid any flash photography. Thank you.
18
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway
Reach a 5th
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 •
Following a free dance lesson from Paul
Csonka and Rachel Liaw of Wednesday
Night Hop in Mountain View, the
evening’s dance party will feature the
music of Count Basie, Duke Ellington,
and more.
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
Men’s Chorus • Seattle Opera • Seattle Repertory Theatre
Seattle Shakespeare Company • Seattle Symphony • Seattle
Women’s Chorus Tacoma City Ballet • Tacoma Philharmonic
• Taproot Theatre • UW World Series at Meany Hall • Village
www.encoremediagroup.com
LAVAY SMITH AND HER RED HOT
SKILLET LICKERS
Lavay Smith and her all-star nine-piece
“little big band” are one of the top
groups in the world performing classic
mid-20th-century American music. With
a repertoire that includes favorites as
well as obscure gems by Billie Holiday,
Ella Fitzgerald, Dinah Washington, Sarah
Vaughan, Duke Ellington, Count Basie,
and Ray Charles, Lavay Smith and Her
Red Hot Skillet Lickers have spread the
gospel of swing throughout the United
States, Canada, Europe, and Japan.
Ms. Smith’s all-star ensemble includes
alumni from the bands of Ray Charles,
Etta James, Johnny Otis, Esther Phillips,
and Wynton Marsalis, with years of
experience in the jazz, blues, and R &
B scenes. This world-class aggregation
features the legendary saxophonist Jules
Broussard, a Bay Area favorite and the
elder statesman of Ms. Smith’s band for
20 years.
Great art lives forever, and the past
25 years have seen an explosion of
interest in the golden age of American
popular music, including a revival of
the Lindy Hop and other swing dances
from the 1930s and 1940s. Ms. Smith
and her band helped to ignite this
global renaissance and have been at the
forefront ever since. 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.
1+#,/!ȉ0/,$/*,ƛ"/0ǿ
• Small seminars with Stanford faculty
• Part-time study
• Evening classes
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• Access to Stanford’s vast resources
Attend our next information session on August 14.
Applications are accepted September through January.
Learn More & Apply:
MLA.STANFORD.EDU
EAP 1_2 V template.indd 1
encore mediagroup.com
19
6/9/14 1:33 PM
PROGRAM: SHAWN COLVIN
SATURDAY, AUGUST 2, 2014 / 7:30 PM / BING CONCERT HALL
SHAWN COLVIN
ARTIST
PROGRAM
Shawn Colvin, Vocals and Guitar
The program will be announced from the stage.
PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and
watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not
permitted. Thank you.
20
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
SHAWN COLVIN
In an era when female singer-songwriters
are ever more ubiquitous, Shawn Colvin
stands out as a singular and enduring
talent. Her songs are slow-release works
of craft and catharsis that become
treasured lifetime companions for their
listeners. As a storyteller, Ms. Colvin is
both keen and warmhearted, leavening
even the toughest tales with tenderness,
empathy, and a searing sense of humor.
In the 23 years since the release of
her debut album, Ms. Colvin has won
three Grammy Awards, released nine
albums, maintained a nonstop national
and international touring schedule,
appeared on countless television
and radio programs, had her songs
featured in major motion pictures, and
created a remarkable canon of work.
Combined sales of her albums total
more than 2.5 million copies in the
United States alone, and Ms. Colvin
continues to tour nonstop throughout
the year. Over the years, she has
shared the stage and toured with
legendary artists such as Jackson
Browne, Bonnie Raitt, Bruce Hornsby,
Emmylou Harris, John Hiatt, Don
Henley, and Lyle Lovett. She has
toured internationally throughout
her career, returning to places as near
as the U.K. and Europe and as far as
Asia, Australia, and New Zealand.
Ms. Colvin was born in Vermillion,
South Dakota, where she lived until
she was eight. A small-town childhood
in the university town of Carbondale,
Illinois, drew her to the guitar by the
age of 10. She made her first public
appearance on campus at the University
of Illinois at age 15. By the late 1970s,
Ms. Colvin was singing in a Western
swing band in Austin, Texas—the
city she now calls home. Moving to
New York at the decade’s end, she
remained in the country music field as
a member of the Buddy Miller Band
12 songs written or cowritten by Ms.
Colvin as well as covers of songs by
Robbie Robertson, Gnarls Barkley, and
the Talking Heads. Shawn Colvin Live
captures the beauty and intimacy of
Ms. Colvin’s performances, showcasing
her inimitable voice and matchless
guitar stylings. Praised by both critics
and fans, the album was honored with
a Grammy Award nomination for
Best Contemporary Folk Recording.
until she met producer, guitarist, and
cowriter John Leventhal. Leventhal
inspired Ms. Colvin to find her own
voice as a songwriter. She began
honing her skill and was soon signed
to Columbia Records. Her first album,
Steady On, won a Grammy Award for
Best Contemporary Folk Recording.
Ms. Colvin continued to win fans and
critics with her subsequent releases
Fat City (1992) and Cover Girl
(1994). In 1996, she released A Few
Small Repairs, which would prove
to be her breakthrough. The murder
ballad “Sunny Came Home” gave
Ms. Colvin a Top 10 hit and two of
Grammy’s biggest honors: Record
of the Year and Song of the Year.
Ms. Colvin’s latest offering, All Fall
Down, is her eighth studio album and
the first to be produced by her longtime
friend and cohort Buddy Miller.
Recorded in Nashville, it features a
group of stellar musicians, including
Alison Krauss, Emmylou Harris, Bill
Frisell, and Jakob Dylan. The album’s
release was simultaneous with the
publication of her memoir, Diamond
in the Rough. With the wit, lyricism,
and empathy that characterize Ms.
Colvin’s performances, Diamond in
the Rough looks back over a rich
lifetime of highs and lows with stunning
insight and candor. Through its pages,
we witness the inspiring story of a
woman honing her artistry, finding her
voice, and making herself whole. Next came Holiday Songs and Lullabies
(1998), recorded while Ms. Colvin was
eight and a half months pregnant with
her daughter Caledonia, Whole New
You (2001), and Polaroids (2004).
Her Nonesuch debut, These Four
Walls (2006), was lauded by People
magazine as “the most self-assured
album of her career” and described as
“one for the ages” by the Washington
Post. The Austin American-Statesman
called it “an exquisite portrait of
strength and vulnerability.”
Shawn Colvin Live followed in 2009.
Recorded during a special three-night
solo engagement at San Francisco’s
famous jazz club Yoshi’s, Live includes
encore mediagroup.com 21
PROGRAM: MILOŠ
WEDNESDAY, AUGUST 6, 2014 / 7:30 PM / BING CONCERT HALL
PROGRAM
Fernando Sor: Grand Solo in D, op. 14 (publ. ca. 1810–1823)
Joaquín Rodrigo: Invocación y danza (1961)
Johann Sebastian Bach: Lute Suite BWV 997 (ca. 1740-1741)
Praeludio
Fuga
Sarabande
Gigue
Double
MILOŠ
*INTERMISSION*
Roberto Gerhard: Fantasia (1957)
Enrique Granados: Danza Española No. 5, Andaluza
(ca. 1888-1890), arr. Michael Lewin
Enrique Granados: Danza Española No. 2, Orientale
(ca. 1888–1890), arr. Michael Lewin
Manuel de Falla: Danza del molinero from El sombrero de
tres picos (1916–1919), arr. Michael Lewin; Homenaje: Pour
Le tombeau de Claude Debussy (1920); Danza Española No. 1
(1913), arr. Michael Lewin
Carlo Domeniconi: Koyunbaba, op. 19 (1985)
Moderato
Mosso
Cantabile
Presto
ARTIST
Miloš Karadaglić, Guitar
Mr. Karadaglić appears by arrangement
with IMG Artists, 152 W. 57th St., 5th Floor,
New York, NY, 10019.
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.
22
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
“First Republic shares our passion for innovation
and world-class performance.”
ANDREA MILLER
Founder, Artistic Director and Choreographer, Gallim Dance
2014 Guggenheim Fellow
(650) 329-8883 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC
Member FDIC and
Equal Housing Lender
PROGRAM: MILOŠ
folk song and flamenco. Gerhard
initially wrote the piece, his only work
for solo guitar, as an intermezzo to
be played during a performance of
Seven Spanish Songs, which he had
written in 1956 for voice and guitar.
The 12 Danzas Españolas (12 Spanish
Dances) by Enrique Granados (1867–
1916) precede his masterpiece, the
piano cycle Goyescas. Granados, also
Catalan, by birth if not by ancestry,
began to publish the collection in the
1890s while establishing a reputation as
a pianist. Much of his piano music, 11
stage works, and songs include music
derived from the rhythms of Spanish
folk song. Improvisation, too, lies at
the heart of some of his finest music,
such as the melancholy, reflective,
and intensely romantic Orientale, the
second of these Spanish dances.
SELECTED PROGRAM NOTES
The 65 guitar works by the Barcelonaborn Catalan composer Fernando Sor
(1778–1839) form a key part of the
classical guitar repertory. The Grand
Solo in D, op. 14, was published in
both Paris and Sor’s adopted home of
London during the peak of his success as
a composer of guitar music, ballet, song,
and popular music. An introduction
in the minor key gives a hint of things
to come. This opens into a vigorous
theme full of energy and vitality—in
complete contrast with a lyrical second
theme and its variants, which are
drawn straight from the opera house.
An extended coda turns the movement
into, in effect, a fine concert overture.
The music of Spanish composer Joaquín
Rodrigo (1901–1999) travels well
beyond the Aranjuez of his earliest
and best-known concerto, written
in 1939. His long journey (he was
98 when he died) took him through
170 compositions in many genres, 11
of which are concertos. In his 1961
24
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
Invocación y danza (Invocation and
Dance), Rodrigo adopts the French
tradition of the musical homage in his
own tribute to his fellow countryman
Manuel de Falla. As in the Falla
Homenaje, which Rodrigo quotes,
the mood in this substantial onemovement piece is primarily melancholic
and inward looking, though the
gestures are frequently emphatic.
More than a century later, the deeply
felt heritage and ideals of Roberto
Gerhard (1896–1970), another
Catalan composer, led to his exile in
England for the last 30 years of his
life. By nature, Gerhard celebrated
the vitality of Catalan folk song. By
nurture, however, he spent much of
his later years exploring the potential
of post-Schoenberg serialism in a
series of abstract orchestral works,
which were at the leading edge
of musical modernism. His short
Fantasia for solo guitar marries the
discipline of his formal composition
with the gestures and inflections of
With sets and costumes designed by
Pablo Picasso and choreography by
Léonide Massine, the full-length ballet
El sombrero de tres picos (The ThreeCornered Hat) by Spanish composer
Manuel de Falla (1876–1946) was
a triumph at its 1919 premiere in
London by Sergei Diaghilev’s Ballets
Russes. The music had already brought
Falla considerable success as a staged
pantomime. Now, with full orchestra,
Falla’s music provided Massine with one
of his most famous ballets and a dance,
the Danza del molinero (The Miller’s
Dance). Massine continued to perform
onstage to the assertive rhythms and
idiomatic Spanish atmosphere of this
dance until the end of his long career.
Falla wrote his only piece for guitar—
a short, reflective Homenaje (Homage)
to Debussy—the following year. He
composed it in Granada, and in it,
he pays tribute to Debussy’s piano
piece Evening in Granada (Estampes),
drawing on its habanera rhythm and
opening sigh-like motif and, toward
the end, employing a direct quotation
from the French composer he admired.
Granada is also the setting for Falla’s
short opera La vida breve (The
Brief Life), the earliest of his mature
works. Its characters inhabit an
emotional world full of joy, sorrow,
dancing, and the agony of a broken love
affair. The popular Danza Española
No. 1 is drawn from the opera.
Italian by birth, German by training
(he lives in Berlin), and adopted
Turkish through marriage, guitarist
and composer Carlo Domeniconi (b.
1947) has written music based on
several different cultures. But it is his
1985 composition Koyunbaba that has
defined his success. Domeniconi taught
guitar at the Istanbul Conservatory
during the 1970s and based the
evocative four-movement piece on
the traditional music he heard there.
A song, “Uzun nce bir yoldayim” (“I
Travel a Long and Narrow Path”), is
heard at the beginning of Koyunbaba,
and it forms an underlying motif in all
four movements. The sounds of the
bagˇlama or saz, the Turkish lute, are
echoed. The music ranges widely from
the reflective, improvisatory opening
movement to the whirling, hypnotic
repetitions of the finale. “Koyunbaba
uses very difficult techniques that make
the instrument almost not sound like a
guitar anymore,” Miloš says. “I always
feel like I’m in a trance when I play it.”
—© 2014, Keith Horner
MILOŠ
One of the hottest properties in classical
music, Miloš Karadaglić came to
international attention in 2011 with his
debut album, The Guitar (Mediterráneo).
In the span of just a few months, the
album topped classical charts around
the world, became an international
best-selling sensation, and earned
Mr. Karadaglić the prestigious
Gramophone Award for Young Artist
of the Year. An exclusive Deutsche
Grammophon recording artist, Mr.
Karadaglić released his second album,
Latino (Pasión), in 2012 and went
on to receive both Classic Brit (U.K.)
and Echo Klassik (Germany) awards.
Reviewing the album, Gramophone
commented, “Karadaglić is a guitarist
of superior musical and technical
gifts who allows his personality to
sing through the music with taste and
intelligence.” The Daily Telegraph
added, “This new Latin American
program is outstanding in its finesse,
warm sensuality, and sheer beauty.”
Latino proved so successful that it
was subsequently rereleased as Latino
Gold, which featured 30 minutes of
newly recorded tracks from a wealth
of Latin American–inspired music.
Meanwhile, Miloš: Heartstrings,
a documentary filmed throughout
2012 that charts the guitarist’s story
to date, was released on DVD and
aired on numerous TV stations.
The breakthrough year on the concert
stage for Mr. Karadaglić was 2012–13
with sold-out debut performances
and tours around the word. “Part
of the reason Karadaglić has such a
large following,” commented the West
Australian, “is his ability to straddle
both hard-core classical and pop
classical camps.” This was echoed
by the London press following his
celebrated Royal Albert Hall debut,
about which the Guardian commented,
“More extraordinary by far, however,
was the way a single guitarist, playing
an intimate and understated set, and
equipped with a single microphone
and some clever lighting, could
shrink the Hall’s cavernous space into
something so close.” The Independent
concluded, “Defying its many critics
to offer a dramatic and rounded
evening of classical music, the guitar
itself was the breakout star here—a
sleight of hand that makes Karadaglić
not only a magician, but a serious
and accomplished musician.”
Mr. Karadaglić’s passion for the
guitar is matched with an intuitive
sense of how to bring the instrument
across to his public, whether for an
audience of 3,000 in the Royal Albert
Hall or an intimate chamber music
performance for 100 people. He
enjoys performing in the major concert
halls as much as in nontraditional
venues, such as New York’s Le
Poisson Rouge, London’s Roundhouse
(iTunes Festival), and Deutsche
Grammophon’s Yellow Lounge club
nights in London, Berlin, Amsterdam,
Madrid, New York, and Seoul.
The 2013–14 season promises to take
Mr. Karadaglić to new heights with
extensive tours throughout Europe,
North America, and the Middle East;
in recitals and concerto performances;
and with appearances at prestigious
festivals, such as Cheltenham (U.K.),
Ravinia (U.S.), Gstaad (Switzerland),
Rheingau (Germany), and MecklenburgVorpommern (Germany). His much
anticipated third album on Deutsche
Grammophon/Mercury Classics will
be released in July 2014 and includes
Rodrigo’s Concierto de Aranjuez and
Fantasia para un gentilhombre, recorded
with Yannick Nézet-Séguin and the
London Philharmonic Orchestra.
Born in Montenegro in 1983,
Mr. Karadaglić first started playing
the guitar at the age of eight. He uses
D’Addario J46 strings and plays a 2007
Greg Smallman guitar, kindly lent to
him by Paul and Jenny Gillham.
encore mediagroup.com 25
STANFORD LIVE DONORS
Stanford Live thanks the
following donors for generously
supporting the 2013–14 season.
PRODUCING SPONSORS
($50,000+)
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PERFORMANCE SPONSORS
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BING MEMBERS BING CIRCLE
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STANFORD LIVE MAGAZINE
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JULY/AUGUST 2014
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Curt & Dudley Carlson
Gay & Steve Clyburn
George & Ann Crane
Stephen & Andrea Dover
Richard & Mary Lynn Dundas
Robert Dutton & Carol Walsh-Dutton
Holly & Edmond Eger
George & Maria Erdi
Judy & Monty Frost
Aileen Furukawa
Mike & Donna Greenberg
Elizabeth M. Gulevich
Jerrol & Judith Harris
Richard T. Hoppe
Roy & Leigh Johnson
Martha & Michael Kahn
Randall Keith & Karen Hohner
Carol Kersten & Markus Aschwanden
Albert Ko & Reiko Miura-Ko
Iris & Hal Korol
Dr. & Mrs. K. D. Kravitz
Doreen & David Leith
Deveda & Ernest Littauer
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
Robert & Shirley Raymer
Rossannah Reeves
Maureen & Paul Roskoph
Erwin & Dorothy Shannahan
Lee Ann & Martin Shell
Sommer Family
Jason E. Smith & Christopher K. Morris
Barbara & Charles Stevens
Maryanna Gerbode Stockholm &
Charles M. Stockholm
William Edward Stone
Robert Sutis
Barbara Tatum
Drs. Lucy Tompkins & Stanley Falkow
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 & Phyllis Baer
Laurence & Linda Baker
Katherine Bazak
Sharon Beckham
Steven & Linda Boxer
David Brady
Frank Brennan
Jeff Bramel & Kim Chu
Thomas Bush & Grace Marie Sanchez
John Carter
Donald & Judith Chamberlin
Allan & Nancy Chapman
Cathy Combs
Jacqueline M. & Robert H. Cowden
Bruce & Suzanne Crocker
Anne O. Dauer
Ben Encisco & Judith Dean
Catherine De Villeneuve
Genevieve & Norman Dishotsky
Ellen & Tom Ehrlich
Stan Drobac & Michelle Swenson
Richard Fabian
Tram-Anh & Zephyr Frank
Alec E. Glover
Susan Goodhue
Catherine Gortner
Myrtle & Patrick Gunning
Ed Haertel & Drew Oman
Bill & Joan Hancock
Elizabeth Harmon
Joerg Heilig
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
Jason McKinley
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 Shatz
Branimir & Diane Sikic
Kerry Spear
Eleanor Sue
Jeff & Linda Suto
Sherrie & Mark Taguchi
Les Thompson & Freda Hofland
Alicia Torregrosa & Stuart Weiss
Orlin Trapp
Elizabeth Trueman &
C. Raymond Perrault
George & Sally Truitt
Ronald Trugman
Darryl Putnam
Ellen E. Uhrbrock
The Van Pelts
Randy & Ting Vogel
Roger & Joan Warnke
Maurice & Helen Werdegar
Patti & Ed White
Rand White
Gary & Mansie Williams
Alan & Susan Wyatt
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
National Endowment for the Arts
BING CONCERT HALL
DONORS
BUILDING DONORS
Peter and Helen Bing
Cynthia Fry Gunn and
John A. Gunn
John Arrillaga Family
Anne T. and Robert M. Bass
Roberta and Steve Denning
Elizabeth and Bruce Dunlevie
Jill and John Freidenrich
Frances and Theodore Geballe
Andrea and John Hennessy
Leslie and George Hume
Susan and Craig McCaw
Deedee and Burt McMurtry
Linda and Tony Meier
Wendy Munger and Leonard
Gumport
Jennifer Jong Sandling and
M. James Sandling
Regina and John Scully
Madeline and Isaac Stein
Akiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND
DONORS
With appreciation for the following
donors who provide major support
for programming and musical
instruments for Bing Concert Hall
Anonymous
Apogee Enterprises, Inc.
The Adolph Baller Performance
Fund for Bing Concert Hall
Friends of Music at Stanford
Fred and Stephanie Harman
Fong Liu
Elayne and Thomas Techentin,
in memory of Beatrice Griffin
Bonnie and Marty Tenenbaum
The Fay S. and Ada S. Tom Family
Turner Corporation
The Frank Wells Family
Maurice and Helen Werdegar
2013–14
ADVISORY COUNCIL
The purpose of the Stanford
Live Advisory Council is to
support the mission of Stanford
Live and to provide strategic
advice on programmatic goals
and vision, financial sustainability,
communications and marketing,
development goals and strategies,
community outreach and education,
and the overall arts branding at
Stanford University.
Leslie P. Hume, Co-chair
George H. Hume, Co-chair
Peter Bing
Jim Canales
John Goldman
Fred Harman
Bren Leisure
Betsy Matteson
Linda Meier
Srinija Srinivasan
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
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
$2,500–$9,999
The Kurt Weill Foundation for Music
Silicon Valley Creates
Western States Arts Federation
Contributions listed are in support
of the 2013–14 season and were received
between 05/01/13 and 1/30/14.
Program deadlines and limitations
prevent us from listing all of our greatly
appreciated donors. For corrections, or
to make a contribution, please contact
Danielle Menona at 650.725.8782 or
[email protected].
encore mediagroup.com 27
LIVE CONTEXT
As part of the 2014–15 season, Stanford Live will be launching a performance series
called Live Context: Art + Ideas, an in-depth exploration of key themes to create a
unifying experience. Where does art find its purpose? What are the circumstances that
led to its creation? And how can it push the boundaries of our everyday lives? Live
Context embraces Stanford’s rich intellectual and inquisitive culture to bring you three
explorations of the ideas that inform the art.
HAYDN—PATRONAGE
& ENLIGHTENMENT
The series begins with Haydn—
Patronage and Enlightenment
(February 13–15), which focuses on culture
and the arts in the late 18th century.
Stanford Live, Music at Stanford, and the
Stanford Arts Institute will collaborate
with other Stanford partners to present
three concerts featuring the St. Lawrence
String Quartet. The concerts are part of
a campus-wide exploration of the life and
times of composer Joseph Haydn and the
shifting landscape of support for the arts
during the Enlightenment that will include
classes, symposia, and exhibitions as well
as a planned program organized by the
Stanford Humanities Center on patronage
in the modern era.
THE NILE PROJECT
THE DEMO
The Nile Project (February 18) looks at
life and music along the famous African
river. Musicians representing Egypt, Sudan,
and Ethiopia bring musically diverse
styles to Bing Concert Hall for this global
conversation about water, conflicting
interests, collaboration, and sustainability,
a topic sure to resonate with Californians.
A pan-African percussion section will play
ancient and modern instruments and be
accompanied by the voice of EthiopianAmerican singer Meklit Hadero.
In spring, the world-premiere performance
of The Demo (April 1 and 2) reflects on a
pivotal moment in Silicon Valley’s history.
Douglas Engelbart’s 1968 demonstration
in San Francisco of the fundamental
features of personal computing was
a watershed moment in the world of
technology. This music-theater work,
cocreated by composers-performers Mikel
Rouse and Ben Neill and directed by Bob
McGrath, reimagines his demonstration
as a technologically infused music and
media event that will showcase Bing
Concert Hall’s capacity for immersive
video. Stanford is the perfect environment
to evoke the wonderment of the public’s
introduction to personal computing and to
reflect upon our lives in the digital age.
More information about all these programs will be available at live.stanford.edu this fall.
Join us to experience the live context of the arts and ideas of our time.
28
STANFORD LIVE MAGAZINE
JULY/AUGUST 2014
Perched high on a bluff overlooking the rugged Pacific coastline of the Carmel Highlands, our AAA Four Diamond hotel
offers upscale elegance, extraordinary service, and spectacular vistas. Recently refined guestrooms, lobby and lounge
adorned with earth inspired details have further elevated our scenic ocean-front hotel. Dine at the award-winning Pacific’s
Edge Restaurant, enjoy luxury boutique shopping in downtown Carmel or let our Les Clefs d’Or Concierge arrange a day
trip to Monterey or a round of golf at nearby Pebble Beach. The options are limited only by your imagination at our
picturesque retreat. For reservations or more information, call 831 620 1234 or visit hyattcarmelhighlands.com.
Hyatt. You’re More Than Welcome.
2014 INAUGURAL SUMMER SEASON
*****************************************************************************************
JUL
Jul 19
Midsummer Mozart Festival Program 1
Jul 20
La Santa Cecilia and Los Cenzontles
Jul 26
Dance Party with Lavay Smith
and Her Red Hot Skillet Lickers
Jul 27
Midsummer Mozart Festival Program 2
AUG
Aug 2
Shawn Colvin
Aug 6
MILOŠ
2014–15 SEASON
Subscriptions on sale now! Single tickets go on sale to the public on
Sunday, September 7.
Visit live.stanford.edu for updates.
Presented by Stanford Live
Stanford University
365 Lasuen Street, Second Floor
Littlefield Center, MC 2250
Stanford, CA 94305
30
STANFORD LIVE MAGAZINE
TICKETS & INFORMATION
LIVE.STANFORD.EDU OR 650.724.BING (2464)
All programs are subject to change—visit the Stanford Live website for updates!
JULY/AUGUST 2014
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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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!
THINGS TO KNOW
Wheelchair seating, with up to three
companion seats per wheelchair
space, is available for all Stanford Live
performances at every price level. Please
indicate your needs when purchasing
tickets so that an appropriate location can
be reserved for you.
Assisted-listening devices are available
for Stanford Live performances. Please
visit Patron Services prior to the show for
more information.
Sign language interpreting is available
for Stanford Live performances with
five business days’ notice given to the
administrative office—call 650.723.7247 or
email us at [email protected].
Large-print programs are available
with 72 hours’ notice given to the
administrative office. Please send all
requests to [email protected].
Latecomers arriving after curtain time
will be seated at a suitable interval in
the program or at intermission. We
recommend that you arrive at least 30
minutes prior to performances to find
parking, have a drink or a snack at our
new café, and locate your seat before the
show begins.
Please turn off all cell phones and any
other light- or sound-emitting devices
before the performance. Also, please
note the use of cameras—including cell
phone cameras—and recording devices
is strictly prohibited.
The primary restrooms in Bing
Concert Hall are located on the stage
level, easily accessible by going down
the stairs at Doors C and F or by using
the lobby elevator near the information
desk. Additional restrooms are located
on the lobby level across from Door D
near the café.
The Bing lobby and box office
open 60 minutes prior to the
performance. Auditorium doors
open 30 minutes prior to curtain for
the audience to locate their seats.
The Interlude Café in Bing Concert
Hall’s lobby serves guests before each
performance and during intermission.
You can also preorder beverages or
snacks to be ready for you at intermission
by visiting the café before the
performance or online. For complete
hours, menus, and preordering options,
visit live.stanford.edu/dining.
Cell phone service is limited at
Bing Concert Hall, especially in the
auditorium, because of the design of
the building. Medical professionals and
others who may need to be reached
during a concert can either check in a
cell phone or pager device at the Patron
Services desk or direct outside callers
to call the Patron Services desk, with
their seat location, at 650.725.3095.
The desk is located across the lobby
from Door F at the Coat Check.
encore mediagroup.com 31
Stanford
Primary Care
Stanford Primary Care specializes in you. We offer
adult, family, and senior primary care, as well as
programs we customize to fit your lifestyle in a clinic
near you.
Stanford Primary Care offers:
•
•
•
•
Expert medical attention and care for everyone in the family
Adult-focused primary care
Compassionate senior care and caregiver resources
The convenience of online scheduling, telephone and email
communications, and more
To learn more or schedule an appointment today, visit
stanfordhospital.org/primarycare or call 650.498.9000.
More convenient locations
in a neighborhood near you!
Hoover Pavilion
211 Quarry Road
Palo Alto, CA 94304
Portola Valley
3240 Alpine Road,
Portola Valley, CA 94208
Los Altos
Coming early Fall 2014!