EASTMAN • THE ATRE EASTMAN PERFORMANCE SERIES 2018-2019 SEASON September - November Eastman Presents Kilbourn Concert Series Eastman-Ranlet Series Fernando Laires Piano Series Barbara B. Smith World Music Series EXPERIENCE EASTMAN EXCELLENCE insidewhat’s Welcome From the Director | 3 Dawn Upshaw & Gilbert Kalish | 21 The Historian’s Corner | 6 Sandro Russo | 25 Cyro Baptista’s Banquet of the Spirits | 8 St. Lawrence Quartet | 28 Pink Martini | 12 Leila Josefowicz | 30 Ying Quartet | 17 Aritmia Duo | 32 CONTACT US: Location: Eastman School of Music - ESM 101 EASTMAN THEATRE BOX OFFICE Phone: (585) 274-1109 Mailing Address E-mail: [email protected] Eastman School of Music Concert Office 26 Gibbs Street Mike Stefiuk, Director of Concert Operations Rochester, NY 14604 Julia Ng, Assistant Director of Concert Operations Eastman Theatre Box Office Greg Machin, Ticketing and Box Office Manager 433 East Main Street Joseph Broadus, Box Office Supervisor Rochester, NY 14604 Christine Benincasa, Secretary Ron Stackman, Director of Stage Operations, Phone Eastman Theatre Eastman Theatre Box Office: (585) 274-3000 Jules Corcimiglia, Assistant Director of Stage Lost & Found: (585) 274-3000 Operations (Kodak Hall) Eastman Concert Office: (585) 274-1109 Daniel Mason, Assistant Director of Stage Hall Rentals: (585) 274-1109 Operations (Kilbourn Hall) Michael Dziakonas, Assistant Director of Stage Operations (Hatch Recital Hall) ADVERTISING This program is published in association with Onstage Publications, Onstage Publications 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the 937-424-0529 | 866-503-1966 publisher. JBI Publishing is a division of Onstage Publications, Inc. e-mail: [email protected] Contents © 2018. All rights reserved. Printed in the U.S.A. www.onstagepublications.com EASTMAN PERFORMANCE SERIES 1 welcome from the director reetings, and welcome to one of the many Gconcerts in the new season of our Eastman Performance Series! To showcase the breadth of concerts here at Eastman, we have gathered together all five of our established concert series—Eastman Presents, the Kilbourn Concert Series, the Eastman-Ranlet Series, the Fernando Laires Piano Series, and the Barbara B. Smith World Music Series—all into one booklet. As you page through this program, you’ll note that the Eastman Performance Series focuses on diversity and inclusion, presenting cultural programs that appeal and bring together a wide audience. This ability to find unity in diversity is perhaps the most important aspect of the hundreds of performances presented here at Eastman each year. Eastman is a vibrant community of performers and artists, all at the top of their musical game as virtuosos and interpreters, presenting and performing for the larger Rochester community. We encourage you to participate in the enjoyment of listening, engage in a spirited dialogue about what you see and hear, and allow your curiosity to bring you back for another concert or two! Thank you for being here tonight on this musical journey and enjoy the 2018/19 season! Mike Stefiuk Director of Concert Activities P.S.–We’re always open to your feedback. Please, if you’re so inclined, take a moment to write us at [email protected] EASTMAN PERFORMANCE SERIES 3 EASTMAN PERFORMANCE SERIES 4 the historian’s corner The Planning and Construction of the Eastman Theatre 1919-1922 By Vincent Lenti he idea of establishing a music school and supervised by the well-known American muralist Ttheater for the University of Rochester was Ezra Winter. The interior walls, constructed of reportedly first suggested by George Eastman a product known as Zenitherm, created the in 1918, but it was not until February 1919 illusion of stone facing typical of an Italian that the announcement was made to the Renaissance palace. Ezra Winter was responsible public that Eastman had committed himself for the beautiful murals on the left side of the to providing a new concert hall and school of theater, which represent festival, lyric, martial, music “surpassed by no other in the world.” and sylvan music. The corresponding murals Prior to that announcement, a building site on on the right side were executed by Barry the corner of Main Street and Gibbs Street had Faulkner in a similar style, and they represent been selected, and the property and existing religious, hunting, pastoral, and dramatic music. buildings quietly acquired. By early 1920 the All of the figures on both sides were painted site had been cleared and construction against an Italian landscape background. began. The school and theater buildings were completed in a relatively short period of time. Forty carloads of marble were used in the The Eastman School of Music opened its doors theater’s construction, coming from American to students in September 1921, and the and Italian quarries. Marble was used in Eastman Theatre opened its doors to audiences the lobbies, stairways, the auditorium and a year later. mezzanine foyers, balconies, and general interior. Copies of the famous “Cupid and Two architectural firms were involved: Gordon Psyche” decorations, based on drawings of and Kaelber, local Rochester architects, were Jacques-Louis David and prepared by the engaged to provide only the basic floor plans, French artist Lafitte for Napoleon Bonaparte, while the noted New York firm of McKim, were installed in the lobby and the mezzanine. Mead, and White was chosen for the general Another artistic treasure was a painting architectural design and artistic decoration of entitled “Interlude” by Maxfield Parrish, which both the exterior and interior of the buildings. was placed in the stairway landing leading to The interior decoration of the theater was the balcony foyer. Because of concern for EASTMAN PERFORMANCE SERIES 6 the historian’s corner possible damage, the original was removed about twenty years ago and replaced by a photographic reproduction. The original, however, may still be seen in the Memorial Art Gallery. fixtures by using two galvanized washtubs The most striking feature of the theater is in which wiring and light bulbs were hastily the beautiful ceiling dominated by a 2.5 ton inserted. It was hoped that no one would notice crystal chandelier containing 546 lights and this “temporary” solution, but George Eastman 20,000 pieces of glass and crystal. The most not only noticed but was greatly amused and unusual feature of the theater, however, is pleased with the result of the workman’s the two smaller chandeliers on either side initiative. He insisted that the washtub light of the rear of the hall. The fixtures that were fixtures should not be replaced, and they ordered failed to arrive in Rochester in time remained in place, essentially undisturbed ever for the opening show on September 4, 1922. since their improvised installation in 1922. Therefore, workman cleverly improvised lighting Vincent Lenti, Professor of Piano and Eastman School Historian, received bachelor’s and master’s degrees from the school in 1960 and 1963, respectively. He has served on the Eastman faculty since then, and also directed Eastman’s Preparatory Department (now the Eastman Community Music School) from 1970 to 1996. In 2001 he was appointed Eastman School Historian. He has published the first two volumes of a history of the Eastman School: For the Enrichment of Community Life: George Eastman and the Founding of the Eastman School of Music (2004) and Serving A Great and Noble Art: Howard Hanson and the Eastman School of Music (2009). He is engaged in research for a third volume. EASTMAN PERFORMANCE SERIES 7 Barbara B. Smith World Music Series Thursday, September 20, 2018 Kilbourn Hall 7:30pm Cyro Baptista’s Banquet of the Spirits Cyro Baptista’s Banquet of the Spirits is exclusively represented by Bernstein Artists, Inc. www.bernsarts.com EASTMAN PERFORMANCE SERIES 8 program note This band is a musical manifestation of the We eat, we speak, we kiss, we smile and sing “process of eating, swallowing, and digesting The mouth is the portal to our brain, stomach all the tendencies that are part of the sonic and heart landscape. The music is a product of the sounds The mouth is the system connecting our intellect, these players have collectively consumed over emotion and spirit the years; some of them they have digested and And it digests everybody and everything in its others they have rejected. Through this process path it has been difficult to identify what belongs to All is gloriously regurgitated what country, culture, or religion. We choose the essentials And eat again We all have the anthropofagic nature within us And again We devour each other seeking transformation And again” The mouth is sacred because of all the things —Cyro Baptista that come in and go out guest artist and collaborating with myriad luminaries such as Paul Simon, Herbie Hancock, John Zorn, Laurie Anderson, Yo-Yo Ma, Caetano Veloso, and many others. Described by Thom Jurek of All Music as “simply one of the most limitless musicians we have,” Baptista’s many honors include the DownBeat Critics Poll Percussionist of the Year in 2013 and 2011, Jazz Journalists Association Percussionist of the Year in 2010 and 2007, Drum Magazine Percussionist of the Year in 2004 and 2003, and U.S. Artists Walker Fellow in 2009/10. Recent seasons have seen Baptista touring heavily with Phish lead-singer Trey Anastasio. CYRO BAPTISTA Meanwhile, his community building project through music, the Sound of