2020 JANUARY–FEBRUARY

INSIDE

The legacy of jazz composer PERFORMING ARTS James Reese Europe, Rhiannon Giddens on the roots of Americana MAGAZINE music, dance legend Yang Liping, and more 1

M2_StanfordLive_Magazine_Season8_Jan-Feb_Cover_121819-fixed.indd 1 12/18/19 2:11 PM

CONTENTS

Stanford Live Staff p—5 & Sponsors

Welcome p—6

Upcoming Events p—8–14

Campus Partners p—15

Scene & Heard p—16–17

Behind the Scenes p—33 The Radical Inclusiveness of Membership p—34–35 Stanford Live & Bing p—36–37 Rhiannon Giddens Concert Hall Donors

By Randy Lewis, Calendar p—38 Copyright 2019. Los Angeles Times. Used with Permission. Plan Your Visit p—39 Rhiannon Giddens and Francesco Turrisi change the conversation around the origins of folk and Americana. p­­—18

Featurette Infographic Featurette

Get to Know Iconic Dancer and How Manual Cinema Creates At Stanford’s New Hospital, Art and Choreographer Yang Liping Live Shadow Puppet Shows Nature Aim to Benefit Healing Liping’s Rite of Spring will be A look behind the scenes of Stanford Health Care, Stanford Live’s presented at Stanford Live in February. Manual Cinema’s multimedia theater season sponsor, discusses the link performance No Blue Memories - between art and wellness. p—23 The Life of Gwendolyn Brooks. p—26 p—24

Infographic Featurette

The History of Back to Back Theater The Legacy of James Reese Europe For the past 30 years, the innovative and the Harlem Hellfighters Australian theater company has An interview with Jason Moran on his continued to address politics and performance honoring the World War I disability in performance. era ragtime band p—28 p—30

3 Untitled-3 1 12/11/19 12:46 PM January/February 2020 | Volume 12, No. 3

STAFF SEASON SPONSOR

Chris Lorway Executive Director

Bryan Alderman Assistant Director of Development Karim Baer Associate Director for Campus Engagement and Public Programs Dawn Bercow Development Events Manager FOUNDATION & GOVERNMENT PARTNERS Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Kelsey Carman Marketing Manager Vanessa Chung Artist Liaison & Executive Assistant Robert DeArmond CORPORATE PARTNERS Web Developer Laura Evans Director of Music Programs, Engagement and Education Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR & Administrative Associate IN-KIND PARTNERS PAUL HEPPNER President Katie Haemmerle Communications Manager MIKE HATHAWAY Senior Vice President Danielle Kisner KAJSA PUCKETT Vice President, Stage Technician Sales & Marketing Maurice Nounou GENAY GENEREUX Accounting & Associate Director of Ticketing and System Operations Office Manager Nick Oldham Production Audio Engineer & A/V Manager SUSAN PETERSON Vice President, Production Egan O’Rourke JENNIFER SUGDEN Assistant Production Production Manager Manager Kimberly Pross ANA ALVIRA, STEVIE VAN BRONKHORST Director of Operations and Production MEDIA PARTNERS Production Artists and Graphic Designers Jeremy Ramsaur Lighting Manager Sales MARILYN KALLINS, TERRI REED Nicola Rees Director of Development San Francisco/Bay Area Account Executives Toni Rivera BRIEANNA HANSEN, SHERRI JARVEY, Stanford Live’s 2019–20 season is generously supported Operations Coordinator ANN MANNING Seattle Area by Helen and Peter Bing. Account Executives Mike Ryan Director of Operations, Frost Amphitheater Underwriting for student ticket discounts for the 2019–20 CAROL YIP Sales Coordinator season is generously provided by the Bullard family. Bill Starr House Manager Marketing Stanford Live’s 2019-20 season jazz programs are SHAUN SWICK Brand & Creative Manager Krystina Tran generously supported by the Koret Foundation. CIARA CAYA Marketing Coordinator Director of Marketing, Communications, and Patron Services The Stanford Live Commissions and Programming Encore Media Group Michelle Travers Fund is generously supported by the Hornik Family, Artist Liaison Victoria and James Maroulis, and the Maurice 425 North 85th Street • Seattle, WA 98103 and Helen Werdegar Fund for Stanford Live. 800.308.2898 • 206.443.0445 Max Williams [email protected] Development Programs Manager encoremediagroup.com

Encore Arts Programs and Encore Stages are published PHOTO CREDITS monthly by Encore Media Group to serve performing arts events in the San Francisco Bay Area and Greater Seattle On the cover: Yang Liping, photo courtesy of artist; Page 3: Photo 1 by Karen Cox, 2 courtesy of Stanford Health Care, 3 by Area. All rights reserved. ©2019 Encore Media Group. Camille Blake, 4 by Drew Dir, 5 by Jeff Busby; Page 15: Photo 1 by Ajamu, 2 by Michael Spencer, 3 by Jennifer Manna; Page Reproduction without written permission is prohibited. 16–17: Photo 1 & 8 by Michael Spencer, 2 by Joel Simon, 3, 6 & 7 by Jess Yeung, 4 by Allie Foraker, 5 by Harrison Truong; Page 18–22: Photos 1, 3, 4 & 5 by Karen Cox, 2 courtesy of Creative Commons; Page 23: Photos courtesy of artist and Sadler’s Wells; Pages 24-25: Photo 1 by Nolis Anderson, 2 Courtesy of Manual Cinema, 3, 5 & 6 by Julia Miller, 4 by Paul Joseph; Pages 26-27: Photos courtesy of Stanford Health Care; Pages 28–29: Photo 1, 4, 5, 6 & 8 by Jeff Busby, 2 Courtesy of Geelong Performing Arts Centre, 3 by Nurith Wagner-Strauss, 7 courtesy of Back to Back Theatre; Page 30-32: Photos 1 by Camille Blake, 2 Courtesy of International Music Network; Page 33: Photos courtesy of Quinteto Latino; Pages 34–35: Photos by Joel Simon.

5 “Look at what’s happening in this world. Every day there’s something exciting or disturbing to write about. With all that’s going on, how could I stop?” Gwendolyn Brooks

Happy New Year! January marks the From the opposite side of the globe, we dawn of a new year and a new de- welcome Yang Liping and her thrilling cade—a time to reflect back on the past take on Rite of Spring, which makes its as we chart a course for the future. A US debut at Stanford after sold out century ago, poet Gwendolyn Brooks performances in Australia, Europe, was a child living on the South Side of and Asia. In August, members of the Chicago. Her experiences in both seg- Stanford Live Advisory Council had regated and integrated schools shaped the opportunity to catch its European

WELCOME a prolific writing career that focused on premiere at the Edinburgh Internation- issues of race and community. This win- al Festival and were blown away by its ter, Manual Cinema returns to Bing with scale and beauty. It’s definitely not to its signature take on her life and work. be missed!

Shortly following Brooks’ birth, band- We look forward to seeing you this leader James Reese Europe returned winter. to America after years of entertaining troops and civilians across France with Chris Lorway his acclaimed ensemble, the Harlem Executive Director Hellfighters. His life was tragically cut short just as he was establishing himself as one of the pioneers of a new Black American sound—one that would lay the groundwork for the great jazz bands that would follow. As part of his Stanford Live residency, composer and musician Jason Moran pays homage to Europe and another of his heroes, Dr. Martin Luther King Junior (whose biopic Selma was scored by Moran).

6

EVENTS

CLASSICAL THEATER VOCAL Kronos Quartet Manual Cinema Jason Danieley

The 60s, The Years That No Blue Memories – Changed America The Life of Gwendolyn Brooks

WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: WEDNESDAY, BING FRIDAY & BING SATURDAY, BING STUDIO JANUARY 15, CONCERT SATURDAY, CONCERT JANUARY 18, 7:30 PM HALL JANUARY 17 HALL 7:00 & 9:00 PM & 18, 7:30 PM

The groundbreaking Kronos The multimedia shadow In an evening of loving and Quartet performs composer puppetry masters of Manual remembering, critically Zachary James Watkins’ Cinema are back with a acclaimed Broadway star Peace Be Till, a work inspired work about the celebrated and concert performer Jason by Mahalia Jackson’s Pulitzer Prize–winning Danieley shares stories and advice that changed Rev. Chicago poet Gwendolyn songs filtered through jazz Dr. Martin Luther King Brooks (1917–2000), known and Broadway standards.

UPCOMING Jr.’s March on Washington for Annie Allen and A Street in speech. The concert includes Bronzeville. more music from a decade that altered the nation.

KEY

AMPLIFICATION

AUDIENCE INTERACTION

8 CLASSICAL Sundays with the St. Lawrence Beethoven and Adams

WHEN: VENUE: Palo Alto’s best SUNDAY, BING JANUARY 19, CONCERT 2:30 PM HALL address. Located steps from downtown Palo Alto and University Avenue and just blocks from Stanford, Webster House offers you world-

A cultural cornerstone class community living. of Stanford, the world- acclaimed St. Lawrence Webster House makes it easy for you to stay String Quartet continues its fabled partnership with the connected to the vibrancy of Palo Alto while University. In honor of 250 enjoying convenient services and security for years of Beethoven, they the future. perform a selection of pieces from the legendary composer as well as John Adams’ Explore your options and learn more about Second String Quartet. Webster House. For information, or to schedule a visit, call 650.838.4004.

covia.org/webster-house 401 Webster St, Palo Alto, CA 94301

A not-for-profit community owned and operated by Covia. License No. 435202504 COA# 328 EVENTS

JAZZ FILM CONTEMPORARY MUSIC James Reese Europe Selma Laurie Anderson and the Absence of Ruin Film with Live Score, featuring The Art of Falling Jason Moran, Marvin Sewell, Jason Moran & and orchestra conducted by the Harlem Hellfighters WHEN: VENUE: Sarah Hicks WEDNESDAY, BING JANUARY 29, CONCERT WHEN: VENUE: WHEN: VENUE: 7:30 PM HALL WEDNESDAY, BING SATURDAY, MEMORIAL JANUARY 22, CONCERT JANUARY 25, AUDITORIUM 7:30 PM HALL 7:30 PM Laurie Anderson is one of America’s most daring creative pioneers. Renowned for her Composer and pianist Jason The 2014 Oscar-winning multimedia presentations Moran presents a meditation movie tells the story of the and groundbreaking use of on the life, combat service, 1965 march from Selma to technology in the arts, she has and legacy of American Montgomery, Alabama, that cast herself in roles as varied musician and jazz composer protested segregationist as visual artist, composer, James Reese Europe, repression and helped poet, photographer, filmmaker, who created the band of lead to the passage of the electronics whiz, vocalist, World War I’s African- Voting Rights Act later that and instrumentalist. American 369th regiment, year. Jazz pianist Jason

UPCOMING the Harlem Hellfighters, Moran provides a live score CLASSICAL and helped popularize alongside guitarist Marvin jazz throughout France. Sewell and an orchestra NFM Wrocław conducted by Sarah Hicks. Philharmonic

With Bomsori Kim, violin Generously supported by Jeanne and Lawrence Aufmuth WHEN: VENUE: FRIDAY, BING JANUARY 31, CONCERT 7:30 PM HALL

Acclaimed violin virtuoso Bomsori Kim joins Poland’s NFM (National Forum of Music) KEY Wrocław Philharmonic under the baton of Giancarlo Guerrero. AMPLIFICATION

AUDIENCE INTERACTION

10 Cantor Arts Center - Stanford Live Jan/Feb 2020 Due: 11/22/19

For the full calendar, visit live.stanford.edu.

VOCAL

La Passion de Jeanne d’Arc Orlando Consort

WHEN: VENUE: SATURDAY, BING FEBRUARY 1, CONCERT 7:30 PM HALL

NOW ON VIEW Early music British quartet View more than 700 objects in the Stanford Family Collections that shed light on how Leland Jr.’s Orlando Consort performs a death led to the creation of a museum, university, and—by extension—the entire Silicon Valley. selection of a cappella works #MelancholyMuseum against a screening of Carl FREE ADMISSION museum.stanford.edu/melancholymuseum Dreyer’s 1928 silent film, La Passion de Jeanne d’Arc.

CLASSICAL

Vladimir Feltsman The Russian Experiment: From Mystical to Avant-Garde

WHEN: VENUE: WEDNESDAY, BING FEBRUARY 5, CONCERT 7:30 PM HALL

In The Russian Experiment, Feltsman plays works by dissident composers of his homeland, from Alexander Scriabin to the forgotten composers Scriabin influenced. EVENTS

THEATER FOLK VOCAL The Shadow Whose Rhiannon Giddens Talisman Prey the Hunter with Francesco 30th Anniversary Becomes Turrisi Concert Back to Back Theatre

WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: WEDNESDAY, BING FRIDAY, BING SATURDAY, BING THURSDAY, STUDIO FEBRUARY 7, CONCERT FEBRUARY 8, CONCERT FRIDAY & 7:30 PM HALL 7:30 PM HALL SATURDAY, FEBRUARY In celebration of the a 5, 6, 7 & 8, cappella group’s 30th 8:00 PM anniversary, Talisman SATURDAY, members and alumni from FEBRUARY 8, In this vivacious concert the past three decades will 2:30 PM at the Bing, Giddens and come together to sing and Turrisi explore their cultural showcase the many voices In this play from the crossovers and shared folk that have contributed innovative Australian theater traditions, from American to the group’s growth. company, five activists with minstrelsy to the Sicilian intellectual disabilities hold tarantella—and even farther a public meeting to start a back to Africa and the Middle

UPCOMING frank and open conversation East CLASSICAL/JAZZ about a history we would prefer not to know and an Co-presented with the Center Harlem ambivalent future amid the for Comparative Studies in Quartet rapid development of AI. Race and Ethnicity WHEN: VENUE: SUNDAY, BING FEBRUARY 9, CONCERT 2:30 PM HALL

The Harlem Quartet embraces classical, jazz, Latin, and contemporary KEY works. At the Bing, the group AMPLIFICATION performs works by Dizzy Gillespie, Billy Strayhorn, AUDIENCE Wynton Marsalis, and more. INTERACTION

12 For the full calendar, visit live.stanford.edu.

CLASSICAL

Philharmonia Baroque Orchestra The Well-Caffeinated Clavier with Music Director Designate Richard Egarr

WHEN: VENUE: WEDNESDAY, BING FEBRUARY 12, CONCERT 7:30 PM HALL INSPIRING THE BEST IN OUR K-12 STUDENTS

Richard Egarr pairs Bach’s Lower Campus Middle Campus Upper Campus lighthearted vocal work, “Coffee 477 Fremont Avenue 327 Fremont Avenue 26800 Fremont Road Cantata,” with some of Bach’s Los Altos, CA 94024 Los Altos, CA 94024 Los Altos Hills, CA 94022 grandest instrumental music. Joined by the extraordinary talents of Nola Richardson, James For more information, please visit our website at: Reese, and Cody Quattlebaum, WWW.PINEWOOD.EDU Eggar concocts another powerful brew of Bach’s brilliant music from the bench of the harpsichord.

COMEDY Catherine Cohen: Comedy at the Bing

WHEN: VENUE: THURSDAY, BING STUDIO FEBRUARY 13, 7:00 & 9:00 PM At the show Named one of five NYC comedians to look out for in or on the go 2018 by TimeOut, actress and comedian Catherine Cohen hosts Encore is your a weekly standup show, Cabernet companion to Cabaret, in New York City. Cohen brings a cabaret-style the Bay Area’s performance to the Bing Studio. performing arts. encorespotlight.com UPCOMING EVENTS For the full calendar, visit live.stanford.edu.

JAZZ/CLASSICAL CLASSICAL DANCE/THEATER JAZZ A Night in the Piano Hanzhi Wang Rite of Spring We Shall Overcome Bar with Brandon Yang Liping A Celebration of James Gwinn An Evening of Accordion Dr. Martin Luther King Jr. WHEN: VENUE: feat. Damien Sneed FRIDAY & MEMORIAL SATURDAY, AUDITORIUM WHEN: VENUE: WHEN: VENUE: WHEN: VENUE: FEBRUARY 21 FRIDAY, BING SATURDAY, BING STUDIO SUNDAY, BING & 22, 7:30 PM FEBRUARY 21, CONCERT FEBRUARY 15, FEBRUARY 16, STUDIO 7:30 PM HALL 8:00 PM 7:00 PM

Chinese dance legend Yang Liping brings her stunning Musical director, pianist, and reimagining of Stravinsky’s producer Damien Sneed’s Rite of Spring to Stanford. concert celebration of the life Liping’s Rite of Spring spins an of Dr. Martin Luther King Jr. abstract legend of the path includes an array of gospel, The Bing Studio is Praised for her captivating of salvation embodied by the spirituals, and inspirational transformed into a piano bar stage presence and sacrificial peacock. popular standards immortalized for a sing-along show from performances that are by the likes of Marvin Gaye, singer-pianist Brandon James technically and musically The Stanford Live presentation Aretha Franklin, Duke Ellington, Gwinn, a staple pianist at the masterful, groundbreaking is generously supported by the Tina Turner, and many others. historic Greenwich Village young accordionist Hanzhi Koret Foundation. piano bar Marie’s Crisis. Wang visits for a first-time He will be joined by special show at the Bing. DISCUSSION JAZZ guests from the Stanford community. National Sounds of Cuba: Geographic Live Jane Bunnett & Dr. Kara Cooney: “When Maqueque Women Ruled the World”

WHEN: VENUE: WHEN: VENUE: WEDNESDAY, BING FRIDAY & BING STUDIO FEBRUARY 26, CONCERT SATURDAY, 7:30 PM HALL FEBRUARY 28 & 29, 7:00 & In the season’s second 9:00 PM National Geographic Live event, Dr. Kara Cooney, professor of Egyptology, explores the reigns of Canadian soprano sax/flutist powerful ancient queens Jane Bunnett showcases to illuminate a time when the best young female jazz women ruled the world. artists from Cuba.

14 For the full calendar, visit live.stanford.edu. CAMPUS

Institute for Diversity in the Arts offer hands-on experience and access to DJ Lynnée Denise in Conversation with This winter, Stanford’s Institute for DJ culture, tools and artistry. Equipment Fredara Hadley Diversity in the Arts (IDA) welcomes will be provided, no experience necessary. Ethnomusicology in the Digital Age visiting artist DJ Lynnée Denise. A and Beyond lecturer in the African American Studies Mar 5, 12:00–2:00 PM DJ Lynnée Denise Presents: department at UCLA, she coined the Sweet Hall Conference Room 020 Black to Techno and the Black Music 80’s phrase “DJ Scholarship” to reposition Jan 30, 7:00 PM Fredara Hadley, scholar of the role of the DJ from party purveyor to Black Community Services Center ethnomusicology at Oberlin College, archivist, cultural custodian, and music discusses how ethnomusicology responds information specialist with critical value. In this public conversation and to the demands and trends of the digital performance lecture, DJ Lynnée Denise age. DJ Workshop with DJ Lynnée Denise presents her work, while delving into ties Jan 16, 12:30–2:00 PM with underground movements, 1980s Harmony House culture, migration studies, and electronic music of the African Diaspora. From turntables to mixing, beatmatching to vinyl catalogues, this workshop will

Artist, scholar, and writer DJ The mural “Are You Sure Sweetheart, Fredara Hadley, a visiting assistant Lynnée Denise is this winter’s Visiting That You Want To Be Well?” by artist professor of Ethnomusicology at

Artist at the Institute for Diversity in the Jess X. Snow at Harmony House, where Oberlin, is involved with the Society Arts (IDA). Photo courtesy of IDA. IDA is located. of Ethnomusicology, the International

Association for the Study of Popular Music, and Experience Music Project’s Popular Music Conference. PARTNERS

15 HEARD 1 2

3 SCENE &

4 5

16 6 1— DAYRAMIR 5— MUSICA NUDA GONZALEZ TRIO The Italian duo received a Cuban jazz pianist Dayramir huge encore and standing Gonzalez performed with his ovation immediately following quartet in Bing Studio and their show in the Studio. surprised his fans at the end with a CD signing. 6— NASSIM

2— WILLIE NELSON The five performances of NASSIM featured a different Bay Area Willie Nelson fans actor each night, resulting filled Frost Amphitheater in in unique and sometimes October to see the legendary humorous additions to Nassim country singer tour with Soleimanpour’s script. 7 his son Lukas Nelson & the Promise of the Real. 7— HOLIDAY HEIST WITH THE JAZZ MAFIA 3—JOSHUA BELL & ALESSIO BAX Jazz Mafia, the SF-based jazz ensemble that’s been a Renowned violinist Joshua Bay Area staple for a decade, Bell and pianist Alessio Bax returned to Stanford Live for a were welcomed by a sold-out five-night holiday show run in crowd which included over 170 the Studio. people seated on the stage. 8— JON BATISTE 4— KING’S SINGERS In his return visit to Bing In addition to their Concert Hall, Jon Batiste, performance at the Bing, bandleader of The Late the King’s Singers led Show with Stephen Colbert, workshops on Stanford’s performed a solo jazz set that campus for for local high got the crowd off their feet school, university, and and into a dance battle. 8 community choral groups.

17 MAIN FEATURE

Rhiannon Giddens is committed to promoting music from those who have historically been overlooked. Photo by Karen Cox.

The Radical Inclusiveness of Rhiannon Giddens

By Randy Lewis Copyright 2019. Los Angeles Times. Used with Permission.

Like a good gospel preacher midsermon, an even-keeled chuckle. “People who said. “I’m just asking, ‘Can we look at this Americana musician Rhiannon Giddens put Europe in the center of the universe, a little more accurately?’ “ becomes more and more impassioned they’re very fragile. They’ll say, ‘You’re so when she talks about her ongoing efforts smug, you’re stripping everything away Her reference to the origins of the lute ties -- a crusade, one might even call it -- to from the Europeans.’ But Europe is merely directly to her latest album, “There Is No promote the musical contributions of part of a larger global culture. Anybody Other,” her collaboration with Italian jazz- populations that have been overlooked, who thinks the lute just came out of a trained multi-instrumentalist Francesco or, as she puts it, “disappeared.” vacuum doesn’t know the history.” Turrisi, with whom she’s on a U.S. tour.

“There’s so much push back, even against “I’m not trying to strip anybody’s A couple romantically and a simple tweet,” Giddens, 42, said with accomplishments from anyone,” she professionally, Giddens and Turrisi have

18 “People who put Europe in the center of the universe, they’re very fragile. They’ll say, ‘You’re so smug, you’re stripping everything away from the Europeans.’ But Europe is merely part of a larger global culture. Anybody who thinks the lute just came out of a vacuum doesn’t know the history.”

—Rhiannon Giddens

married their respective fascinations with the roots of their distant homelands on the new album. That project reunited her with American roots musician and producer Joe Henry, who shared a traditional folk album Grammy Award with her and the members of her former band, the Carolina Chocolate Drops, for their 2010 album, “Genuine Negro Jig.”

“Musicians always find these points of connection,” she said of the bracingly eclectic collection that travels from folk-gospel standard “Wayfaring Stranger” to Italian opera composer Gian Carlo Menotti’s aria “Black Swan” to early 20th century singer- songwriter-banjo player Ola Belle The oud is a lute-like stringed instrument common in Middle Eastern music traditions. Reed’s “Gonna Write Me a Letter” to several of Giddens’ own compositions.

“We all have the same urges: You sing this way, and I play that way. They really The connective thread is Giddens’ “Rhiannon is next in a long line of singers go to the same places.” commanding and exceptionally versatile that include Marian Anderson, Odetta, and nuanced voice, which has made her Mahalia Jackson, Rosetta Tharpe. She The diversity of the album’s songs one of the most lauded singers of the can take this strange music that’s grown showcases both musicians’ instrumental new millennium. out of this convergence of cultures, and dexterity — she moves from her main take it back around the world. We need instrument, the minstrel banjo, to violin “It was clear the first time I heard that person in our culture.” and viola, while Turrisi hopscotches from her at rehearsal,” superstar producer accordion, cello, piano, oud and banjo T Bone Burnett told The Times about That’s precisely what she has continued to a variety of percussion instruments his impetus for drafting her to sing at a to do to considerable acclaim on many including frame drums and the tombak, multi-artist concert he had organized a fronts. The MacArthur Foundation a Persian hand drum. few years ago. awarded her one of its so-called genius

19 MAIN FEATURE

“She can take this strange music that’s grown out of this convergence of cultures, and take it back around the world. We need that person in our culture.”

—T Bone Burnett, record producer and musician

grants in 2017, a $625,000 prize paid in “I keep starting supergroups, writing five installments, something that she says ballets and things like that,” she hasn’t so much transformed her world as said. “I have to continue to work, allowed her to continue pursuing projects and I have to be touring, because she’d always envisioned “without having that’s how I earn a living. My idea to stress about doing them.” is to spread things out as much as I can. I like to pay people for what Those projects include the tour de they’re worth, and I also have to force album released this year, “Songs keep supporting my family while of Our Native Daughters,” highlighting I’m flying back and forth.” (Giddens songs based on writings of 19th century has a daughter, Aoife, 10 and a son, African American girls and women. Caoimhin, 6, from a previous marriage Giddens collaborated with three other with Irish musician Michael Laffan.) notable musicians, Amythyst Kiah, Leyla McCalla and Allison Russell, in adding Her impassioned scholarship spans music to century-old letters and poetry the rural mountain music of her native expressing the impact of slavery on North Carolina to the Celtic music in those women. which she immersed herself when she took up part-time residence in Ireland Fine American Classics. The cushion of the MacArthur grant also with Laffan, to the classical repertoire California Spirit. gave her some financial security as she she studied while pursuing opera completed the music for “Lucy Negro, training at the Oberlin Conservatory

Enjoy a meal with friends in the Redux,” the first ballet score written in Ohio. dining room, stop by for cocktails specifically for an African American in the bar, or reserve one of our ballerina, Kayla Rowser, who danced Her renown caught the attention of private event spaces... there’s a the title role in the work that Nashville documentary filmmaker Ken Burns, place for everyone here. Ballet premiered in February. The New who tapped her for a significant role in York Times called it “the kind of miracle his latest series, “Country Music,” now Nashville has never seen before.” airing on PBS.

And the MacArthur grant also helps “We love her to death,” Burns said in a smooth the path as Giddens chips separate interview. “In her debut, she’s away at her first opera commission, talking off-camera about stuff that a work slated to premiere next year ratifies a lot of assumptions people at the prestigious Spoleto Festival of have about country music. Then, we

At the Stanford Park Hotel 100 El Camino Real, performing arts in Charleston, S.C. pull back and we see this African

Menlo Park / 650-330-2790 / menlotavern.com 20 American woman with dyed hair, and it helps deconstruct whatever defenses you might have and helps enable people to hear this music.

The singer, songwriter, multi- instrumentalist and music historian has spent much of her life happily transcending barriers separating different realms of music and culture, a proclivity that grew out of her upbringing as the daughter of an Anglo father and African American mother who married shortly after laws banning interracial marriage were struck down in the state.

U.S. history and issues of racism are deeply personal for Giddens and powerfully informed her journey with the Chocolate Drops, a group that researched and brought to the fore the central role African American 3 musicians had in the emergence of string-band music in the U.S. in the 18th and 19th centuries.

(Giddens is a banjo nerd who can happily talk all night about the instrument’s origins in Africa.) 4

For her first post-Chocolate Drops solo album, “Tomorrow Is My Turn” in 2015, she saluted female musicians who had influenced her and shaped 3—Giddens popular music socially, politically and/ recorded her or aesthetically, including Odetta, Edith latest release, Piaf, Dolly Parton, Sister Rosetta Tharpe there is no Other, and Nina Simone. with Italian jazz composer In 2017, she turned to the music of the Francesco Turrisi. civil rights movement in “Freedom Photo by Karen Cox. Highway,” tackling songs she’d written, for the most part. 4—Giddens and Turrisi perform at Finally, she and Turrisi enlisted Henry the Met Museum to help them find a cohesive approach in New York City to the vastly disparate source material on October 4, that captured their fancy. 2019. Photo by Karen Cox.

21 MAIN FEATURE

the first black celebrities in the South ... Johnson went from being hard to find to being impossible to escape. Researching him was like writing a history of baseball and ‘rediscovering’ a hitter named Babe Ruth.”

During our interview, she also spoke of African American musicians highlighted in the Burns’ “Country Music” series, such as Lesley Riddle, who helped Carter Family patriarch A.P. Carter take down songs preserved through generations by oral tradition and bring them to wider audiences.

“So many of them are not just slighted but erased,” she said. “It’s all about Giddens and Turrisi will perform at Bing Concert Hall on Friday, February 7 what’s being sold, why it’s being sold at 7:30 pm. Photo by Karen Cox. and who it’s being sold to. Whether it’s money, nationalism, power or whatever, there’s always a reason “I heard it and kind of fell over,” Henry “The Americana scene is getting better, why a narrative gets foisted upon said. “I couldn’t respond fast enough. but it has had its own problematic racial something that didn’t happen before.” I told her, ‘However you see this through, stuff,” said Charles L. Hughes Jr., director I encourage you not to lose your nerve.’ “ of the Lynne & Henry Turley Memphis As that relates to country music, debates Center at Rhodes College and author of over who receives credit creatively — Giddens’ simultaneous quest to move “Country Soul: Making Music and Making and who profits financially — folds back music forward while understanding Race in the American South.” on her comment about simply wanting and honoring the past is a big part of to frame the question more honestly. the reason she was recently chosen, “For a long time, Americana was basically along with pioneering 19th century a white space, with just a few black artists “I’m still trying to form it so it all makes musician Frank Johnson, also from North in a real rootsy scene often thought as sense,” she said. “Why is this music Carolina, as recipients of the Americana being connected with the music of the so popular? Because it is a music of Music Assn.’s inaugural Legacy of past,” Hughes said. “Rhiannon has really working-class people coming from Americana Award. forced that issue in a powerful way.” different backgrounds and coming into all these amazing things. The Legacy Award is part of a new For her part, in discussing the Legacy partnership with the National Museum Award, Giddens typically redirected the “Who is benefiting from it and who is of African American Music, scheduled to spotlight from herself to Johnson, whose commodifying it? That’s where it gets open next year in Nashville. wide-reaching popularity and influence into problems. But the music itself is have largely been eliminated from musical always innocent.” The Americana Assn.’s partnership with histories of the 1800s. the African American music museum, Rhiannon Giddens with and the choice of Giddens and Johnson During her acceptance speech, Giddens Francesco Turrisi as the first Legacy award recipients, is cited a recent New Yorker profile about Fri, Feb 7 seen in some corners as a step in the her that dug deeply into Johnson’s history, 7:30 PM right direction to begin addressing quoting writer John Jeremiah Sullivan: Bing Concert Hall another racial imbalance. “By any calculus, [Johnson] was one of

22 Get to Know Iconic Dancer and Choreographer Yang Liping

Her Work Yang Liping became known as the famed “Peacock Princess” after her 1986 award-winning dance performance in Spirit of the Peacock, a work inspired by the lithe arm and finger movements of the Dai peacock dance. After her rise as an international dance legend, Liping turned to choreography with 2017’s Under Siege and a trilogy that includes Dynamic Yunnan, Echoes of Shan- gri-la, and Tibetan Myth.

Upbringing and Influence Liping is a member of the Dai ethnic minority and grew up in Dali, a village in China’s southwest province of Yunnan. With no formal training, the technique and elegance found in Liping’s dance and choreography is instead informed by her village’s folkloric dance traditions and her attention to the natural world. Once into her dance career, Liping returned to var- A Masterpiece ious villages throughout Yunnan to study of Ancient and the local dances and folk songs. Modern Dance A culmination of Liping’s cho- reographic skill, Rite of Spring is a stunning reimagining of Stravin- sky’s work that combines Tibetan Rite of Spring concepts of life with folkloric Choreographed by influences from Yunnan. The Yang Liping touring production of The Rite of Spring comes to Stanford Live on Fri, Feb 21 & Sat, Feb 22 February 21 and 22. 7:30 PM Memorial Auditorium

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YangLiping_Page_KT-fixed.indd 1 12/20/19 9:04 AM How Manual Cinema “We’re invested in giving the audience choice so Creates Live Shadow that they can watch the Puppet Shows big screen above like a movie, or look down at any Manual Cinema returns to Stanford Live with a multimedia moment and watch the production celebrating the life and poetry of Chicago poet Gwendolyn Brooks. The first black writer to receive the band jamming, or watch Pulitzer Prize, Brooks published more than 20 volumes the human freneticism of of poetry and was an active member and educator in her Chicago community. the actors in real time making all of the images The performance from Manual Cinema combines theater, live music, shadow puppetry, cinema, biography, and poetry, and emotional moments.” bringing together a range of artists, many of whom are Chicago treasures like Brooks herself. Go behind the scenes — Sarah Fornace to learn about the artistic collaboration that makes all the Manual Cinema Artistic Director moving parts of the live cinema experience possible.

Visuals After finalizing the script, the Manual Cinema team started storyboarding to assemble over 600 handmade paper cut- outs and puppets. Performers, who are visible to the audience beneath a large 6 by 9 foot screen, then use four overhead projectors to manipulate the cut-outs and puppets as though they’re making a film with cuts and edits. In addition to pup- pets, visuals feature the poetry of Brooks Storytelling and her friend and poet Haki R. Mad- No Blue Memories is the first show Manual hubuti as well as original work by Ewing Cinema has worked with outside writers. and Marshall. The Poetry Foundation reached out to Manual Cinema to create a piece that combines biography and poetry for Gwendolyn Brooks’ centennial celebration of her life and poetry. The Manual Cinema team then partnered with Chicago native poets Eve Ewing and Nate Marshall, asking them to write a script for a movie about Brooks. Their script opens up the poetry of Brooks while contextualizing her poems with events happening both in her personal life and society.

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M1_3-fixed.indd 3 12/18/19 3:29 PM Manual Cinema No Blue Memories—The Life of Gwendolyn Brooks

Fri Jan 17 & Sat Jan 18 7:30 PM Bing Concert Hall

Music As the puppets were being drawn, Manual Cinema sent the script and concept draw- ings to composers Ayanna and Jamila Woods, who are sisters and Chicago natives, to score the piece. Their score embraces poetry elements in Brooks’ work and borrows improvisational techniques from jazz. On stage, Ayanna is the band- leader, directing the band live in rhythm and in relationship to the puppetry and visuals from the performers.

Live Actors Performers also change in and out of dozens of costumes and wigs to work in shadow to play the characters and animate the movie live. Like the per- formers at the projectors, live actors and the back stage are all visible, giving the audience the joy of theater and live art while the cinema experience on the screen is moving in time and space through Brooks’ life. Sound Quadraphonic sound design creates an immersive experience—like in a movie theater, there are speakers surrounding the audience. While most of Manual Cinema’s productions function like silent films, No Blue Memories is the first one to include dialogue spoken between characters. The audience will also hear city sounds—doors opening, door bells ringing. Other effects are expressionist, like the moments when Brooks’ students start writing and a sort of poetry magic appears and magic sounds sweep over the audience. It’s these sound effects that bring the puppets alive and create the reality of the world. 254

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Leo Villareal, Buckyball, 2019. Collection of Stanford Health Care; commissioned by Stanford Health Care with the generous support of Cissy Pao & Shinichiro Watari. ©Leo Villareal

At New Hospital, Art and Nature Aim to Benefit Healing

Modified from Grace Hammerstrom’s article for Inside Stanford Medicine

Hundreds of pieces of artwork The answer was more than 400 outdoor in the recently opened Stanford sculptures, indoor murals, paintings, Hospital, along with rooftop gardens videos and other works, all donated or and an orchard, are helping patients paid for by donations, as well as 4 acres and family members heal while uplifting of garden space. The art and gardens the spirits of the healers. help create a mood, Wolf said: “We want people to walk in, feel welcome, Connie Wolf, consulting director and know they are in a place where of the hospital’s art program, and their health and spirit matter.” others involved in planning for the hospital knew that art and nature aid Both artwork and gardens have in recovery. As Wolf describes, they become standard elements in wondered, “How can we create an hospitals that adhere to evidence- Artist Jinnie Seo (right) and environment that supports the patients’ based design. Research has shown studio assistant Jihyun Lee during healing and well-being, provides that an environment filled with art installation of Rays of Hope, 2019; comfort to their families, and offers and nature can lower blood pressure collection of Stanford Health Care; relief to the complex and challenging and anxiety, reduce the use of pain commissioned by Stanford Health work of the staff?” medications, and shorten hospital stays. Care with the generous support of 26 Margaret Jonsson Rogers; ©Jinnie Seo Much of the artwork incorporates nature, The sculpture lies in one of the five science or spirituality. “I’m inspired by interconnected rooftop gardens on the light,” said artist Jinnie Seo. “There’s third level of the building, with walking physical light and spiritual light and light paths and places to sit and view the within each of us.” nearby hills. A vertical garden outside the interfaith chapel, also on the third Seo spent two months before the floor, creates an additional private space hospital opened painting Rays of Hope, for reflection. a mural in the interfaith chapel, with an assistant. She used a rendering as a guideline, but every stroke was free- form and spontaneous as she drew inspiration from the space. For some, the image is reminiscent of butterflies taking flight, she said. Sporting twelve different shades of metallic paint with a high-gloss finish, the mural shimmers in the chapel’s natural light.

“I wanted to give a person a space to pause and be still, even for one moment,” Seo said. “That moment can last an eternity and be a life-changing experience.”

Artist Leo Villareal, meanwhile, brought his passion for form and geometry to the 30- foot Buckyball, which features three nested spheres. The centerpiece of the hospital’s entrance plaza, Buckyball is illuminated at night in a never-repeating sequence of colors and patterns. Villareal was inspired by the geodesic dome popularized by architect and inventor Buckminster Fuller. Below, on the street level, stands an Ned Kahn, orchard of 85 trees including ginkgo, Air Cube, 2018; “I’ve always been interested in underlying loquat, apricot, olive, buckeye and live collection structures and rules and geometry,” oak, each selected for its medicinal of Stanford Villareal said. “The same geodesic or food-bearing properties in Eastern, Health Care; structure was discovered in a carbon Western and Native American cultures. commissioned by molecule by nanotechnologists,” he There’s also a dog park, complete with a Stanford Health added. “I thought it would be interesting water fountain and fire hydrant. Care with the to take something that you could never Even inside the hospital nature is present: generous support see with a naked eye and expand it on this each patient room has floor-to-ceiling of William Reller; monumental scale.” windows to let in natural light while © Ned Kahn providing views of the nearby foothills. Ned Kahn’s Air Cube, a 1,000-pound metal sculpture, interacts with the wind “There’s such a commitment at Stanford in the third-floor garden. Kahn aimed to recognizing that art and nature are to symbolically replicate the forms and part of the healing process,” Wolf said forces of nature by creating art that shortly before the hospital opened its interacts with natural processes. Air Cube doors in mid-November. “They help is lined with rows of metal flaps that move create an environment where people can freely and reflect light in dynamic and think about improving their health, their ever-changing ways. ability to heal.”

27 A History of Back to Back Theatre

In February, Back to Back Theatre brings to Stanford Live their play The Shadow Whose Prey the Hunter Becomes, an ambitious work about the impact of automation on human intelligence.

The company has been on a mission to create unique works ex- ploring the intersection of the political and the ethereal. What assumptions do we make about the role of theater, its actors, and the work they generate? While Back to Back Theatre’s works may often be seen as controversial, the role of art in spurring dialog to catalyze communication and change is a creative hall- mark that the ensemble proudly advocates.

1988 Back to Back Theatre’s first performance, Big Bag, was held at the Geelong Performing Arts Centre in Geelong, Australia, where the ensemble has been based for over 30 years.

2007 Back to Back Theatre has won the Melbourne, peer-based Green Room Award four times on two separate productions (small metal objects in 2007 and 1999 Ganesh Versus the Third Reich Artistic Director Bruce in 2012) for excellence Gladwin joins Back to Back in ensemble performance, Theatre. Gladwin’s commit- directorship, and production. ment to collaborating with the ensemble’s actors in the cultivation of new works has given Back to Back Theatre a unique creative voice.

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M1_3-fixed.indd 1 12/18/19 3:29 PM 2013 The company published their first book with Wales-based 2019 Performance Research Books In 2019 the company received titled, We’re People Who Do a $100,000 grant from Shows―Back to Back Theatre Creative Victoria to spearhead Performance, Politics, Visibility, a script for the company’s first a book about the history and feature film, co-authored by work of Back to Back Theatre the company’s ensemble of since its inception. It includes actors, which will be based essays on some of their most on the theatre production of regarded plays including Ganesh Versus the Third Reich. Food Court (right), Ganesh Versus the Third Reich, and small metal objects.

2011 International controversy sparked over Back to Back Theatre’s unconventional take on the Hindu deity Ganesh in the play Ganesh Versus the Third Reich. The impetus behind creating such a contentious 2019 work stemmed out of a desire Back to Back Theatre has to encourage dialog about been on the small screen as cultural appropriation as well well, producing a 28-minute as the ethics of Back to Back television pilot titled Oddlands, Theatre’s enrollment of actors which screened nationally with intellectual disabilities. on ABC, with plans to continue on to a six-part TV series.

The Shadow Whose Prey the Hunter Becomes Back to Back Theatre

Wed, Feb 5 - Sat, Feb 8 8:00 PM Sat, Feb 8 2:30 PM Bing Studio

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The Legacy of James Reese Europe and the Harlem Hellfighters

An Interview with Jason Moran By Loren Schoenberg

Born in Mobile, Alabama 15 years band member after a concert in Boston. featuring acclaimed pianist and 2010 after Appomattox, composer/ Dr. Martin Luther King Jr.’s lasting legacy MacArthur fellow Jason Moran. As a conductor James Reese Europe took has inspired generations of civil rights jazz musician, he has expanded the idiomatically pure African-American activists, and uplifted the nation and boundaries that defined the idiom music to Carnegie Hall and inspired a the world with his messages of peace. he inherited, stretching not only his generation’s worth of artists to challenge music but his modes of expression any and all racial barriers in their way. Both men will be recognized in to face a rapidly changing world. In 1918, he gave up an ever-burgeoning two special programs this January career to lead what became known as at Stanford Live—James Reese Moran shares his thoughts on both works the Harlem Hellfighters. He died the Europe and the Absence of Ruin and a with Loren Schoenberg, Senior Scholar following year, stabbed by an unstable screening of Selma with live score— at the National Jazz Museum in Harlem.

30 “Now we live in a contemporary society where I can’t imagine where we’d be without figures like them [James Reese Europe and Dr. Martin Luther King Jr.]. Maybe somebody else would have stepped in and done something different. But it’s because of the kind of bravery that happens on those

The stage of bandstands, that are on view, Jason Moran’s meditation on the and on these streets, fighting life and music of for people, that Europe and jazz composer James Reese King go together.” Europe. Photo by Camille Blake.

Martin Luther King’s legacy is as right near each other because they bang of jazz.” There’s something that celebrated as Europe’s remains represent a kind of citizen that rarely happens with that scale of musicians obscure. To place him in chronological gets the amplitude that they both had. that he’s using, and also the change of context, Europe had been gone for technique that they’re playing with—all just under a decade when King was Do you think it is fair to say that that kind of coming together launches born in Atlanta, Georgia. He died Duke Ellington was the second the country into another mode. at the same age as Europe, 39. James Reese Europe? King’s life has been analyzed and They are both such rare citizens of our Yes. Definitely. That’s clear. You can’t researched for 60 years. There country that I’m kind of overwhelmed at get to Ellington without James. And are few books on Europe alone. having to play both of these programs I’ve been trying to dub him the “big Were there sources you discovered

31 FEATURETTE something that I’ve learned how to do. My first favorite pianist is Thelonious Monk, and he did that with everybody’s music. So it feels like the duty of the artist playing someone else’s song to also find your way into the song, to find the story that you want to tell in the song.

For Selma, since it’s a film score, it’s a very different task than to play a concert. We know how the story ends before we walk into the theater. But we aren’t sure how we’ll feel as it evolves on the screen. A lot of the way the music works in the film is really just as support, and I think of it as James Reese Europe directed the Harlem Hellfighters, the WWI ragtime band emotional support for the audience. None of the 369th Regiment. Photo Courtesy of International Music Network. of the issues that are in the film are ever resolved. They aren’t resolved today. as you dug into Europe’s life that night, going to battle, bringing the The revolution sometimes comes from made a large impression on you? fighters but also bringing the music. a very humble space, but the ideas and figures are large, whether it’s James Noble Sissle, another major figure Your large-scale tributes transcend Reese Europe—who grew up in Alabama whose legacy remains obscure, wrote musical genres, and use multi-media and D.C., then moved to New York in an unpublished book about James effects so originally and memorably, search of his dream as a violinist and Reese Europe that’s on the Library of that they seem to go way beyond later formed this union and went off Congress website. He put down every what a film or theater piece could. to war—or MLK, whose parents raised feeling that he had about working with Which is part of why doing this piece is him in a way to put him on the path to James Reese Europe. In it, you hear my kind of go at it. The way we attack make the kind of change he envisioned. this awe that he has for his teacher, his it is very abstract. I attack the legacy of mentor, the person he was on the lines James Reese Europe through a missing Now we live in a contemporary society with, marching with, playing with. marker. There aren’t enough markers. where I can’t imagine where we’d The Arlington Cemetery is the marker be without figures like them. Maybe One of the most remarkable scenes we have for him. We have the marker somebody else would have stepped in in your Europe piece takes place in uptown in Harlem for the 369th. But and done something different. But it’s the bottom of a ship crossing the there’s not enough. The film that’s part because of the kind of bravery that Atlantic. How did that evolve? of our show has this totally black square happens on those bandstands, that are that is just sitting there, sometimes in the on view, and on these streets, fighting for It came from Noble Sissle’s book. He middle of a street or in the middle of a people, that Europe and King go together. was in the thick of everything when park, that you have to start to imagine, they [the Harlem Hellfighters] made “Well, whose story goes on there?” James Reese Europe and that first trip back across the Atlantic. the Absence of Ruin And I’m studying that trip back across Were there similar challenges in Jason Moran & the Harlem the Atlantic in an ancestral way. They adapting the music from such Hellfighters were brought here in slave ships, and disparate eras as Europe’s and King’s Wed, Jan 22 now generations later, here they go, for these two very different projects? 7:30 PM back across the Atlantic, to fight for Bing Concert Hall this country that essentially enslaves James Reese Europe’s music signals them. Sissle talks about the musicians every kind of Great Black Music that Selma who had to be quiet. They were at occurs after it, from the early 1900s on. Film with Live Orchestra the bottom of the boat, and they’d be Whether it’s R&B, whether it’s hip-hop, Sat, Jan 25 playing the song really softly, “Steal whether it’s rock-and-roll, whether 7:30 PM Away.” There’s something powerful it’s some free stuff. That music is easy Memorial Auditorium about painting a picture of a ship at to open up in that way, because it’s

32 THE SCENES Bringing the Arts to Schools through reflection of their values and identities. Stanford Live’s Teaching Artist Program The best art and music reflect the world By Armando Castellano and culture in which it is created, and the music learning that Stanford Live supports Since 2017 I have been Stanford Live’s in East Palo Alto does just that. Lead Teaching Artist in East Palo Alto’s Ravenswood City School District. A I also work with a professional wind teaching artist is a professional working quintet, Quinteto Latino. We commission musician who engages with communities composers to create works for students to to create collaborative projects. As perform with the quintet. What is unique an artist embedded in East Palo Alto about the composers and musicians is schools on behalf of Stanford Live, I have that they reflect the identities of the been given the opportunity to engage in students in the schools, culturally and conversation with the community over racially. We collaborate with students to several years, developing relationships, create works that represent the values assessing needs, listening to stories, and and lives of the students and communities acting as an advocate on behalf of the being served. The works are performed

BEHIND arts learning communities in the public collaboratively with the students, in the schools. A key component of my work communities they live in! This community- is the idea that the projects and music based, student-centered approach inspires my students create and perform are a true ownership of the works created.

Castellano helps fourth grade students Stanford Live Lead Teaching Artist Students at Willow Oaks pose with at Willow Oaks School compose music Armando Castellano. He founded Castellano after practicing and studying for their May 2019 concert at Café Zoë Quinteto Latino, a Bay Area quintet music. in Menlo Park. that performs works by Latino composers and builds community through their music.

33 MEMBERSHIP

Jorge and Molly Tapias at their home. Photo by Joel Simon.

Connecting the Community through the Arts

An Interview with Jorge and Molly Tapias

Jorge (’94) and Molly (’94) Tapias Lots of hair bands! Around high school You have eclectic tastes in your Stanford are Stanford Live members, and my sister was plugged into the cultural Live shows. Do you have some favorites? Jorge recently joined our Advisory scene in East L.A., and she took me to a Council. We sat down with them to co-op called Self-Help Graphics. It was Molly: Nufonia Must Fall, this incredible learn more about their involvement kind of famous artists as well as high live puppet musical story, was so moving. in the arts and community. school kids just wanting to do art—we They let us walk down to the stage actually still have a bunch of Self-Help and answered questions, and being How did your interest in the arts begin? Graphics art in the house. let in on the secret made it even more astounding. And then recently, Lucibela. Jorge: When I was a kid my older Molly: My mom made some art in high She has a way of connecting with the brother was into art. I’d see him with school and college that we had hanging audience and showing this depth of sketchbooks and paints, and it was a fun in our house, so I remember appreciating emotion. You could just feel the room view into how people create. For my 12th that everyday people can make art, and respond, and she had us all on our feet. birthday he took me to my first concert, it can be something that’s really striking Both of those performances for me are the Summer Strut at Anaheim Stadium. and intriguing. life memories I won’t ever forget.

34 “It’s about bringing vitality in the arts into a place I think is hungering for it, to people who are seeking access to art in all of its forms that inspires curiosity, thinking, emotion”

—Jorge Tapias

In addition to being a Stanford Live member, Jorge Tapias serves on the Stanford Live Advisory Council. Photo by Joel Simon.

You’re both active volunteers around our community. I think that’s part the same story I told, how my brother at Stanford and in the broader of the role that Stanford Live plays. took me here, my sister took me there. community. What role do That’s what I’m hoping for. you see Stanford Live playing What led you to become members of in the community? Stanford Live? With many volunteer commitments already, what led you to join our Jorge: It’s about bringing vitality in the Jorge: There’s some responsibility we feel Advisory Council? arts into a place I think is hungering for to support programs we believe in with it, to people who are seeking access respect to opening up that conversation, Jorge: It’s another dimension of that to art in all of its forms that inspires opening Stanford up to the community. same support. They’re a super engaged, curiosity, thinking, emotion. The other I love that idea, and we wanted to be a supportive group of people, an example night [at National Geographic Live] I small part of helping that happen. of “it takes a village.” I hope I bring ideas thought, what a great way to start some and support, and I also feel it’s important sort of political, cultural conversation Our daughter loves going to Bing shows, to contribute my own perspective. around art, around our neighborhoods, and maybe in thirty years she’ll tell you

35 Stanford Live Members

Stanford Live thanks Michael & Jane Marmor / The Marmor Caroline Hicks Maria & George Erdi Foundation Leslie Hsu & Richard Lenon James Feit the following members Cathy McMurtry Rex & Dede Jamison Jeffrey Fenton Tashia & John Morgridge Pamela S. Karlan Joan & Allan Fisch for their support: Dean Morton Randall Keith & Karen Hohner Shelley Fisher Fishkin Susan & Bill Oberndorf Carla Murray Kenworthy Sarah & Stan Freedman John O’Farrell & Gloria Principe Ed & Kay Kinney Carol C. & Joel P. Friedman BING CIRCLE Lynn & Susan Orr The Klements Markus Fromherz & Heike Schmitz Anthony Paduano & Ruth Porat Amy Ladd & Doug Fitzgerald Karen & Edward Gilhuly ($25,000+) Donna & Channing Robertson Albe & Ray Larsen Charles Goldenberg & Pamela Polos Amanda & Michael Ross Ayleen & Emory Lee Sara & Jeremy Goldhaber-Fiebert Anonymous (2) Barbara & Greg Rosston Y. K. Lee Margaret & Ben Gong Jeanne & Larry Aufmuth Mark & Theresa Rowland Fred Levin & Nancy Livingston Mike & Loren Gordon Helen & Peter Bing Tom Sadler & Eila Skinner Marcia C. Linn Jonathan & Natsuko Greenberg The Bullard Family Meryl & Rob Selig Kristen & Felix Lo Ester Gubbrud & Charles Ross Roberta & Steven Denning The Honorable & Mrs. George P. Shultz Edward Lohmann The Harrick Family Ann & John Doerr Barbara & Arnold Silverman Sandra & Joseph Martignetti Jr. Fran & Steve Harris Jill & Norm Fogelsong Dr. Harise Stein & Mr. Peter Staple Bettina McAdoo & Gordon Russell Robin Hatfield Mary & Clinton Gilliland Madeline & Isaac Stein Dick R. Miller & James M. Stutts Linc & Robin Holland Marcia & John Goldman Tracy Storer & Marcia Kimes Dr. Martha J. Morrell & Dr. Jaime G. Tenedorio Serena Hu & John Lenox Drs. 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Furukawa Jane Chung, MD Karen & Frank Sortino Sallie De Golia-Jorgenson & John Jorgenson Daniel Garber & Catharine Fergus Garber Ann Hammond Clark Saroja Srinivasan Betty & Bob Joss Jane & Bruce Gee Chris & Gina Clarke Trisha Suppes Roberta & Charles Katz Mike & Myra Gerson Gilfix Kalyani Comal & Arun Ramakrishnan Jorge & Molly Tapias Lisa Keamy & Lloyd Minor Eric Giovanola Jonah & Jesse Cool Rosi & Michael Taymor Kathy & John Kissick Cate & Michael Glenn Suzanne & Bruce Crocker Rachel Thomas Iris & Hal Korol Susan Goodhue Melanie & Peter Cross Katherine Tsai Caroline Labe Matthew Goodman Richard De Luce Penelope & Robert Waites Ingrid Lai & William Shu Ed Haertel & Drew Oman Michael Dickey Patti & Ed White Carolyn & William Langelier Eric Hanushek & Margaret Raymond Rosleyn Dumesnil Melanie & Ron Wilensky Bren & Lawrence Leisure Paul Harrison & Irene Lin Cori Duncan & Marco Marinucci John & Jane Williams Cynthia & Richard Livermore Tine & Joerg Heilig Ellen & Tom Ehrlich Polly Wong & Wai Fan Yau Rick & Amy Magnuson Anne & William Hershey Eleanor Eisner Mitchell & Kristen Yawitz

36 SUPPORTER Ann & Barry Haskell Grady Seale 2019–20 Advisory Council Howard & Nancy Hassen Michael Sego ($250 - $499) Yael Hasson Carla Shatz Jeffrey & Caron Heimbuck Winnie & Gil Siegel The purpose of the Stanford Live Advisory Anonymous (28) R. Carl Hertel Abby & Roger Simons Council is to support the mission of Stanford Mark Agnew Lance Hill Ashka Simpson Live and to provide advice on the strategic Matthew & Marcia Allen Mindy Spar The Hittle Family direction of the organization. Eugene An Ron Ho & Christina Lai Kerry Spear & Tim Bell Dana & Juliana Andersen Susan Holmes Helen & David Spiegel Fred Harman, Chair Daniel Appelman & Deborah Soglin Linda Hubbard Kathy Stark & Christopher Aoki Jeanne Aufmuth Linda Ara William Hurlbut Elliot & Karen Stein Peter Bing Adrian Arima & Monica Yeung Arima Keith Jantzen Sandra & James Stoecker Rick Holmstrom Dan & Leslie Armistead Dave Jefferson Rebecca & Ben Stolpa David Hornik Anne & Robert Baldwin Arthur Johnson Jenny Stone George H. Hume Simon Bare Jane & Bill Johnson Jay Jackman & Myra Strober Leslie P. Hume Deborah Barney & William Keats Zeev Kaliblotzky Yannie Tan Lisa Jones Brigid Barton & Orrin Robinson Patricia Chambers Kalish Nicholas Telischak Cathy McMurtry Grace Baysinger Bob Kanefsky Lothar & Ilse de Temple Roger McNamee Betsy & George Bechtel Pearl Karrer Harold & Jan Thomas Linda Meier Bernard Beecham & Cheryl Lathrop Melanie & Perry Karsen Chris & Carol Thomsen Trine Sorensen Amy Beim Stina & Herant Katchadourian Mary Toman Srinija Srinivasan Marilyn Belluomini Ron Katz & Libby Roth Elizabeth Trueman & Raymond Perrault Doug Tanner Rachel Bensen Jeffrey & Marcia Keimer Anne Tuttle Jorge Tapias Bethel Berhanu Shirley Kelley Jeanine Valadez & Reynette Au David Wollenberg Pamela Bernstein Maureen Kelly Victoria Valenzuela Yuet Berry Lynn & Richard Kelson The Vargas Family Justin Birnbaum Tahsin N. Khan Teri & Mark Vershel Ex officio: Ruth Brill Stephanie Kimbro Madeleine & Anders Viden Beverly Brockway Maude Brezinski Kenton J. King Lisa Voge-Levin Stephen Sano Bill Brownell Ralph King & Leslie Chin Roger & Wendy Von Oech Cliff & Ronit Bryant James Kitch Rita & Newton Wachhorst Anne Shulock Bernard Burke Dan Klotz Lora Wadsworth Frances Burr Cynthia Krieger & Stuart Friedman Joan & Roger Warnke Karen & Ben Cain Leslie Kriese Hans & Frauke Weiler Bing Concert Hall Donors Michael A. Calabrese The Kirincich Family Joseph & Erika Wells Peter & Jane Carpenter Norman & Nina Kulgein The Wendling Family Mike Cassidy Ralph & Rose Lachman Dr. & Mrs. R. Jay Whaley BUILDING DONORS Cecily Chang Lila LaHood Jeri & Kevin Wheaton Dr. James Chang & Dr. Harriet Roeder Cathy & Dick Lampman Ann & Matt White Peter and Helen Bing Alexander Chapman Ed Landels & Martha McDaniel Anne Wilbur Beth Charlesworth Jacob Langsner Justina Williams Cynthia Fry Gunn and John A. Gunn Gautam Chaudhary Donna Lera Paul Williams & Helge Ternsten The John Arrillaga Family Marianne Chen Laurie Leventhal-Belfer & Howard Belfer Catherine Wilson & Steven Callander Ada Cheung Anne T. and Robert M. Bass Lee Levitt Jennifer & Phil Winters Roberta and Steve Denning Nona Chiariello & Chris Field Raymond & Kathleen Levitt Living Trust Mike Wright Robert & Susan Christiansen Reuben Levy Warren Wu Elizabeth and Bruce Dunlevie Albert & Betty Cohen Hongquan Li Marilyn & Irvin Yalom Jill and John § Freidenrich Susie Cohen & Barry Weingast Susan Li Mariko Yoshihara Yang & Phillip Yang Frances and Theodore Geballe Bud & Roxanne Coleman Yanbin Li Mary H. Young Andrea and John Hennessy Moby Coquillard & Judy Heller Sandra Lillie Nicholas Yu Iva Correia Randall & Lori Livingston Yao Zou Leslie and George Hume Alana Corso Sarah Longstreth & Tom Culbertson Susan and Craig McCaw Elaine Costello & Bud Dougherty Carol & Hal Louchheim Deedee and Burton § McMurtry George Crow Ellen & James Lussier PERFORMANCE SPONSORS Linda and Tony Meier Alan Crystal Adrian & Margot Maarleveld Wendy Munger and Leonard Gumport James Cunningham Marion & Erick Mack Helen & Peter Bing Anthony Custodio & Meredith Ackley Helen & David MacKenzie Mary & Clinton Gilliland Jennifer Jong Sandling and William Damon & Anne Colby Fred Malouf Marcia & John Goldman M. James Sandling Tim & Patricia Daniels Grainger Marburg & Katie Woodworth Stephanie & Fred Harman Regina and John Scully Anne O. Dauer Leslie & George Hume Carol Matre & Richard Swanson Madeline and Isaac Stein Hilary Davis & Sanford Ratner Leslie Mayerson Trine Sorensen & Michael Jacobson Ingrid Deiwiks Laure & Sam Mazzara Bonnie & Marty Tenenbaum Akiko Yamazaki and Jerry Yang Howard Demroff James McElwee The Wollenberg Foundation Stephanie Dolin Nancy & Patrick McGaraghan Virginia & Gregory Donaldson Maura McGinnity & Erik Rausch BING EXPERIENCE Debra Doucette Hillary McKinney INSTITUTIONAL PARTNERS FUND DONORS Janet Driscoll Leslie McNeil Katharine & William Duhamel Wallace Mersereau $100,000+ Alison Elliott & Steve Blank John Micek The Koret Foundation With appreciation for the following Renee Euchner Alan F. Miller Stanford Medicine donors, who provide major support for Charles Evans & Luis Stevens-Evans James Miller The William and Flora Hewlett Foundation programming and musical instruments Patricia & Fred Evans Monica Moore & Deborah Burgstrum for Bing Concert Hall. Joyce Farrell & Brian Wandell Rudolf Moos $10,000 - $49,999 Tracy Fearnside & Joe Margevicius Coralie & Gerhard Mueller Anonymous Anonymous Laura Fechete Kathleen Murren California Arts Council Nancy & Tom Fiene Snehal & Hemali Naik Capital Group Apogee Enterprises, Inc. Kristen E. Finch Kevin & Brenda Narcomey Ann and Gordon Getty Foundation The Adolph Baller Performance Fund Renee Fitzsimons National Endowment for the Arts Susan Nash for Bing Concert Hall Barry Fleisher Drs. Ben and A. Jess Shenson Funds The Neumann Family Friends of Music at Stanford Leigh Flesher & Mark Bailey Joan Norton Wells Fargo Shelley Floyd & Albert Loshajian Richard & Susan Olshen Fred and Stephanie Harman Reg & Cynthia Ford Erik & Jill Olson $1,000 - $9,999 Fong Liu Gregory Franklin Dick & Sandi Pantages Aaron Copland Fund for Music Elayne and Thomas Techentin, Leah & Lawrence Friedman The Amphion Foundation, Inc. Kartikey Patel in memory of Beatrice Griffin Adam Frymoyer Gary & Sandy Peltz New Music USA Tim Gallaher Ann Perry Western States Arts Federation Bonnie and Marty Tenenbaum Gary Gibbons Caroline Petersen The Fay S. and Ada S. Tom Family Sarah & Patrick Gibbs Helen Pickering Contributions listed are from current Stanford Turner Corporation Bernd & Sabine Girod Live members who made gifts through 12/2/19. Klaus & Ellen Porzig The Frank Wells Family Carl & Elizabeth Gish Bert & Anne Raphael For corrections, or to make a contribution, Maurice and Helen Werdegar Matthew Glickman & Su Won Hwang James Reilly please contact us at 650.725.8782 or Molly Barnes Goodman & Randolph Goodman Martin Reinfried [email protected]. Ron & Jan Grace Laurie Reynolds Tatiana Granoff & Robert Olson Angela Riccelli To learn more about giving to Stanford Live, Walter Greenleaf Barry & Janet Robbins visit live.stanford.edu/give. Renee & Mark Greenstein Annette & William Ross Marla Griesedieck Ruth Rothman § Deceased Linda & John Griffin Joel & Rachel Samoff Waldo Griffin Denise Savoie & Darrell Duffie Andrew Gutow & Madeleine Blaurock Mary Schlosser Insook Han Celestine & Scott Schnugg Ginger Harmon Kevin Scott Courtney Harrison Joy & Richard Scott

37 Coming Up This Spring

Fri Sun MARCH MAR 13 APR 5 Comedy at the Bing: Colin Invoke Multi-String Quartet Tue Quinn MAR 3 Wed Common in Conversation Sat APR 8 MAR 21 Margaret Atwood in Wed Sounds of Cuba: Bobi Conversation MAR 4 Céspedes Michael Barenboim & West- Fri Eastern Divan Ensemble Sun APR 10 MAR 22 St. Lawrence String Quartet: Sounds of Cuba: Alfredo Good Friday Liturgical Rodríguez & Pedrito Martinez Performance Haydn’s Seven Last Words Sat MAR 28 Wed Fly Higher APR 15 Dorrance Dance Charlie Parker @ 100 Rebirth of a Nation Paul D. Miller aka DJ Spooky feat. Tue APRIL Catalyst Quartet MAR 10

Dorrance Dance Sat Wed & Thu SOUNDspace APR 18 APR 1 & 2 Maria Schneider Orchestra Tue The Choir of St. John’s College, MAR 10 Cambridge PBO Sessions Jewish Songlines – Performers, Fri Patronage, and Prejudice APR 3 Bang on a Can All-Stars Wed A Musical Utopia MAR 11 Treemonisha Philharmonia Baroque Orchestra Thu–Sun Romantic Reflections: Cherubini, APR 23–26 Mendelssohn, and Schubert Scott Joplin’s Treemonisha

Thu Mon MAR 12 Gong Linna APR 27 Dreamers’ Circus Sarah Chang with Telegraph Sat String Quartet Fri APR 4 MAR 13 Gong Linna: Cloud River Cécile McLorin Salvant with Mountain Darcy James Argue Bang on a Can All-Stars Ogresse

Single Tickets Now On Sale! Presented by Stanford Live LIVE.STANFORD.EDU OR 650.724.BING (2464) Stanford University Visit the Stanford Live website for updates. 365 Lasuen Street, Second Floor

CALENDAR All programs and prices are subject to change. Littlefield Center, MC 2250 Stanford, CA 94305 38 Plan Your Visit

The Interlude Café in Bing Concert Assisted-listening devices are available. Sign language interpreting is available Hall’s lobby serves guests before Please visit Patron Services prior to the with five business days’ notice given performances and during intermission. show for more information. to the administrative office—call For complete hours, menus, and 650.723.2551 or email us at: preordering options, visit: Change your plans? Exchange your [email protected]. live.stanford.edu/dining. tickets or make a tax-deductible donation at: live.stanford.edu/changes. Large-print programs are available with Latecomers arriving after curtain time 72 hours’ notice given to the administra- will be seated at a suitable interval Wheelchair seating, with up to three tive office. Please send all requests to: in the program or at intermission. We companion seats per wheelchair space, [email protected]. recommend that you arrive at least is available for all performances. Please 30 minutes prior to performances. indicate your needs when purchasing Volunteer usher positions are available tickets so that an appropriate location throughout the year. For more informa- can be reserved for you. tion, please send an email to: [email protected].

Performance Venue Information

N Parking for Bing Concert Hall and 101 TO Frost Amphitheater can be found in UNIVERSITY AVE the Galvez Lot and on Lasuen Street, ARB O RETUM RD Museum Way, Roth Way, and the Oval. EL CAMINO REAL / 82 S TO 101 EMBARCADERO RD CAMPUS DRIVE WEST

Parking for Memorial Church can be Anderson Collection P VEZ ST P GAL GA Cantor Arts LVEZ P LOT found along the Oval at the end of Palm Center ALM DR MUSEUM W P AY Drive, on Roth Way, on Museum Way, P P A DR T 1 CAMPUS DRIVE EAST OMI and on Lasuen Street. L N P ROTH W AY LASUEN ST P 2 Little eld F Directions Center Alumni Center THE STOC K FARM RD P OVAL MEMORIAL WAY For driving directions or public transpor- P

GALVEZ ST tation information, please consult our P 4 website: live.stanford.edu.

SAND HILL RD Hoover P MAIN QU Tower SERRA ST AD P For comprehensive campus parking 3 information and maps, visit : Tressider SANTA CRUZ Union visit.stanford.edu/plan/parking ALPINE RD

0 N JUNIPERO SERRA BLVD 8 2

TO

TO 280 S

1 Bing Concert Hall & Bing 3 Memorial Church P Public Parking Parking is FREE on the Stanford campus in Concert Hall Ticket Office 4 Memorial Auditorium --- Walking Path metered and lettered parking zones on weekdays

2 Frost Amphitheater F Alumni Café, Arrillaga after 4:00 pm and on weekends at all times. Alumni Center Disabled parking, loading, and service-vehicle restrictions are enforced at all times.

39 Every kind of care for every kind of patient.

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