DUKE PERFORMANCES 2015/2016 SEASON | MUSIC, THEATER, DANCE & MORE.

IN DURHAM, AT DUKE, ART MADE BOLDLY. DUKE PERFORMANCES

HELLO & WELCOME

At Duke Performances, we offer an expansive array of expertly chosen shows. We’ve traveled the globe to vet and select the artists that appear here. Starting in mid-September and running through April, we’ll present over seventy performances at a collection of venues both on campus and in town. Durham is rapidly becoming the cultural hub of the region; it’s Duke Performances’ duty to spur that development further by programming art made boldly all over the city.

At Duke Performances, Durham and Duke come together — with audiences sitting elbow to elbow — to make community. A great community deserves art of the highest quality, featuring work that reflects the interests and backgrounds of its members. Thanks to stalwart financial support from private donors and the University, we’re able to bring in diverse work and price tickets as competitively as possible so that a broad portion of our community can afford to see our shows.

At Duke Performances, we’re cultivating a curious and discerning audience. We encourage patrons to check out shows with which they’re not familiar, or genres that they’d not normally frequent. Beyond performances, we offer more than fifty artist-in-residence activities per season — master classes, public conversations, screenings, and lectures — and these engagements provide patrons a chance to further their knowledge and deepen their experience.

I look forward to seeing you this season at Duke Performances.

AARON GREENWALD EXECUTIVE DIRECTOR OF DUKE PERFORMANCES

COVER IMAGE: BRIAN NEWBY OF RENNIE HARRIS PUREMOVEMENT, PHOTO BY BRIAN MENGINI. MAHMOUD AHMED

O O O

THURSDAY, SEPTEMBER 10 | 8 PM REYNOLDS INDUSTRIES THEATER

Tickets: $34 • $28 • $15 Ages 30 & Under • $10 Duke Students

In the early 1970s, Ethiopia experienced In the late ’90s, dozens of Ahmed’s a golden age of popular music with the recordings were reissued on the popular rise of “Ethio-jazz” — a mesmerizing Éthiopiques compilations — four volumes blend of zigzagging modal melodies and featured Ahmed exclusively — and he diminished harmonies played against a became his country’s foremost musical funky six-beat groove. At the center of the ambassador. In concert, his enigmatic scene was vocalist Mahmoud Ahmed, multi-octave voice “seizes on a note, who has been hailed as “one of the brief or sustained, and makes its pitch most exhilarating singers of the past half tremble as if its urgency could barely be century” (The New Yorker). Ahmed’s 1975 contained” (The New York Times). Count album Erè Mèla Mèla is a classic from on Ahmed and his ace ten-piece band the golden age of Ethiopian music and to open Duke Performances’ 2015/16 was the first East African release to be season on an exultant note. embraced by a broad Western audience.

2015 | 2016

DUKE PERFORMANCES

LULA PENA L. SUBRAMANIAM BETTYE LAVETTE

O O O O O O O O O

THURSDAY, SEPTEMBER 17 | 8 PM FRIDAY, SEPTEMBER 18 | 8 PM SATURDAY, SEPTEMBER 19 | 8 PM NELSON MUSIC ROOM BALDWIN AUDITORIUM BALDWIN AUDITORIUM

Tickets: $22 • $15 Ages 30 & Under Tickets: $34 • $28 • $15 Ages 30 & Under Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students | General Admission $10 Duke Students $10 Duke Students

Portuguese singer-songwriter Lula A master of the violin in the In 1962, at the age of sixteen, Pena’s longing lyrics and wandering Carnatic classical music tradition, Bettye LaVette was invited to guitar lines descend from the fado L. Subramaniam has spent a record her first single at Johnnie tradition, which originated two lifetime exploring the versatility Mae Matthews’ legendary Detroit hundred years ago in Lisbon and of his instrument. His work as a studio. “My Man, He’s a Loving has since provided fertile ground for prolific composer, performer, and Man” hit number seven on the musical reinvention. Pena calls her collaborator has brought global R&B charts, and a career was born. unique take on fado a palimpsest, with attention to the sound of the violin National tours with Otis Redding its layers of languages and musical in the music of South Asia, with and James Brown followed, along influences; singing in Portuguese, its distinctive slides, drones, and with recordings made in Memphis Spanish, English, and French, she controlled oscillations between two and Muscle Shoals. Though her draws on Latin American nueva notes. Subramaniam’s acclaimed fame never caught up with her canción, Portuguese folk music of the scores for films by Mira Nair and talent, LaVette worked steadily 1960s, and French chanson. Bernardo Bertolucci furthered his on the fringes of the music world, reputation as one of India’s most buoyed by a cult following. She NPR describes Pena’s music as “the accomplished and multifaceted artists. carries the grit of these lean years as perfect soundtrack for a dark, seaside a soul music survivor in her fierce club.” Her haunting second record, “Simply the best … the and singular alto. Troubador, came after a twelve-year hiatus from touring and recording greatest classical Indian “This is soul singing at its rawest and was accompanied by an violinist of our time.” and most persuasive,” proclaims acclaimed appearance at WOMEX (The Times of India) The New York Times. At last, LaVette 2014, bringing her music to a broader is getting her due, with a creative European audience. Pena’s lovely In the acoustically pristine Baldwin resurgence that began ten years ago hushed tunes are reminiscent of Auditorium, two other Carnatic when she teamed up with producer the intricate compositions of Karen musicians join Subramaniam: his and songwriter Joe Henry for her Dalton and the quiet mystery of son Ambi Subramaniam, also on album I’ve Got My Own Hell To Connie Converse; Pena will perform violin, and Mahesh Krishnamurthy, Raise. LaVette’s 2015 follow-up them for an intimate audience in-the- on mridangam — a traditional barrel- effort with Henry, Worthy, features round at the Nelson Music Room. shaped Carnatic drum. Renowned tunes by Bob Dylan, Keith Richards, violinist Yehudi Menuhin once said, and Mickey Newberry, a repertoire “I find nothing more inspiring than she brings to Baldwin Auditorium the music-making of my very great alongside favorites collected from colleague Subramaniam. Each time her five decades in R&B. I listen to him, I am carried away in wonderment.”

25% PICK-FOUR OR MORE DISCOUNT

Take 25% off your total price when you buy tickets to four or more shows from Duke Performances’ 2015/16 season.

2015 | 2016 DUKE PERFORMANCES

GREGORY PORTER RHIANNON GIDDENS

O O O O O O

THURSDAY, SEPTEMBER 24 | 8 PM FRIDAY, SEPTEMBER 25 | 8 PM PAGE AUDITORIUM PAGE AUDITORIUM

Tickets: $55 • $45 • $40 • $15 Ages 30 & Under Tickets: $55 • $45 • $40 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students

Brooklyn-based Gregory Porter compares North Carolinian Rhiannon Giddens sharing music with audiences to sharing first came to Duke Performances in 2007 food with friends: both endeavors are with the GRAMMY-winning string band communal, fortifying, and joyous. Each of the Carolina Chocolate Drops at Music in his three studio albums, filled with original the Gardens. In the intervening years, she material, has earned him an enthusiastic has returned to Duke Performances on fandom and garnered more and more multiple occasions and established herself critical acclaim. Porter continues to write as an international star. After Giddens songs that deftly blend gospel, rhythm sang on the soundtrack for the Coen and blues, jazz, and soul. Porter makes Brothers’ film Inside Llewyn Davis, producer his grand return to Durham at the newly T Bone Burnett invited the singer to join renovated Page Auditorium, following an his New Basement Tapes project alongside unforgettable sold-out concert at Duke Elvis Costello, Jim James, and Marcus Performances in the spring of 2014. Mumford. Her voice is an endless marvel, and with it she embodies “the fervor of a “Possessed of massive vocal power, his spiritual, the yips of a folk holler, and the interpretations flit between jazz and soul, sultry insinuation of the blues” (The New with the finesse of the former and the York Times). strength of the latter in equal measure” (Mojo). Porter’s latest album, Liquid Spirit In February 2015, Giddens released her — released on Blue Note — earned him debut solo album Tomorrow is My Turn a GRAMMY Award for Best Jazz Vocal on Nonesuch Records to widespread Album. On stage and on record, Porter critical acclaim. Produced by Burnett, is “a jazz singer of thrilling presence the record includes tunes made famous and a booming baritone with a gift for by Patsy Cline, Odetta, Dolly Parton, and earthy refinement and soaring uplift” Nina Simone. Giddens brings this music (Wall Street Journal). to Page Auditorium, backed by a band that features the current iteration of the Chocolate Drops.

PAGE AUDITORIUM RENOVATED & REOPENED

Page Auditorium, a 1,200-seat venue at Duke University, opened in the early 1930s as part of Duke’s original West Campus. The University has just completed a yearlong five million dollar renovation of the venue funded by a gift from the Duke Endowment. The space reopens for use during the 2015/16 season with seven special Duke Performances presentations: Gregory Porter; Rhiannon Giddens; Chucho Valdés & Irakere 40; Rosanne Cash; Patty Griffin, Sara Watkins & Anaïs Mitchell; Savion Glover & Jack DeJohnette; and Boban & Marko Markovic´ Orkestar + Fanfare Cioca˘rlia.

2015 | 2016

DUKE PERFORMANCES

BRENTANO PATRICIA IBAÑEZ THE FAIRFIELD FOUR STRING QUARTET & ABEL HARANA & THE MCCRARY SISTERS

O O O MEMORIA ANTIGUA ROCK MY SOUL

O O O O O O SATURDAY, SEPTEMBER 26 | 8 PM BALDWIN AUDITORIUM SATURDAY, SEPTEMBER 26 | 8 PM THURSDAY, OCTOBER 1 | 8 PM REYNOLDS INDUSTRIES THEATER CAROLINA THEATRE OF DURHAM Tickets: $38 • $32 • $15 Ages 30 & Under $10 Duke Students Tickets: $38 • $32 • $15 Ages 30 & Under Tickets: $48 • $36 • $24 $10 Duke Students $10 Duke Students

Over the course of twenty years, the Brentano String Quartet have built Hailing from Jeréz de la Frontera Nashville quartet The Fairfield Four a broad discography encompassing on the western coast of Andalusia, have been the foremost proponents the central European canon and new dancer and choreographer Patricia of the African American a cappella music alike, earning a reputation Ibañez is a luminary of contemporary gospel quartet tradition since 1921, as one of America’s great veteran flamenco. Over a twenty-year career passing the torch from generation ensembles. Recently succeeding she has shared the stage with the likes to generation and maintaining their the Tokyo Quartet as Artists-in- of Carmen Cortés, Eva Yerbabuena, seamless and unmistakable blend. Residence at Yale, the Brentano and Farruquito while maintaining a The Four had a resurgence in are known for their “luxuriously prestigious dance academy in Jeréz, popularity after their unforgettable warm sound and yearning lyricism” the center of Spanish flamenco. performance of “Lonesome Valley” (The New York Times). She and Abel Harana visit in the flood scene of the Coen Reynolds Industries Theater with Brothers’ film O Brother Where Art The evening opens with selections a performance of Ibañez’s dazzling Thou? The Los Angeles Times praises from Bach’s Art of the Fugue, a new duet Memoria Antigua. their “age-old approach to spirituals, landmark collection over which the singing in close harmony with only composer labored in the last decade Memoria Antigua — for two dancers, stomping feet for accompaniment.” of his life and left unfinished. two singers, and one guitarist — is These experiments in form remain flamenco at its finest, with lightning- In association with the PBS special a pinnacle of contrapuntal writing, fast footwork and the highest Rock My Soul, The Fairfield Four join and have been transcribed for standard of “taste, technique, and up for a very special collaborative dozens of different ensembles. agility” (La Voz Digital). For the performance at the Carolina The complexity of Bach serves as a musical repertoire, Ibañez reaches Theatre of Durham with a younger context for both the early lyricism into secluded corners of Spain and generation of luminaries, The of Mendelssohn’s op. 12 and the recalls a number of songs that have McCrary Sisters. These four sisters mature passion of Brahms’ op. 67. long fallen into disuse, incuding the are the daughters of Reverend Sam Seguiriya de Frijones from Jeréz and McCrary, who led The Fairfield the Zángano from Puente Genil. Four from the 1940s to the 1980s, PROGRAM: A rare opportunity to witness and they appear here accompanied flamenco directly from the source. by a stripped-down R&B ensemble. J.S. Bach: Selections from Art of the Fugue, BWV 1080 The New York Times raves that the new Buddy Miller-produced McCrary Sisters record “speaks to Mendelssohn: String Quartet the moment while ranking with No. 1 in E-flat Major, op. 12 the most potent roof-raising, pew- shaking music ever created.” Brahms: String Quartet No. 3 in B-flat Major, op.67 The Fairfield Four & The McCrary Sisters is a co-presentation of Duke Performances and The Carolina Theatre of Durham.

$15 TICKETS FOR PATRONS AGES 30 & UNDER

Patrons ages 30 & under — high school students, college students matriculating at neighboring institutions & young professionals — may purchase tickets to nearly every presentation on Duke Performances’ 2015/16 season for just $15. Note: Limit of two $15 tickets per patron for each presentation. Quantities of $15 tickets may be restricted. ID required at time of purchase.

2015 | 2016 DUKE PERFORMANCES

JULIAN SANDS ANA TIJOUX JONATHAN BISS PIANO A CELEBRATION OF O O O

HAROLD PINTER O O O THURSDAY, OCTOBER 8 | 8 PM DIRECTED BY JOHN MALKOVICH MOTORCO MUSIC HALL FRIDAY, OCTOBER 9 | 8 PM O O O BALDWIN AUDITORIUM Tickets: $22 • $15 Ages 30 & Under FRIDAY, OCTOBER 2 | 8 PM $10 Duke Students | General Admission Tickets: $38 • $32 • $15 Ages 30 & Under BALDWIN AUDITORIUM $10 Duke Students

Tickets: $38 • $32 • $15 Ages 30 & Under French-Chilean MC Ana Tijoux $10 Duke Students is one of today’s most compelling The Piano Recital Series begins with voices, working at the intersection the pianist, scholar, and New York of hip-hop, jazz, and Latin music. British actor Julian Sands is a City cultural linchpin Jonathan The daughter of Chilean parents veteran of stage, film, and television Biss. As the co-artistic director of who lived in exile during Pinochet’s perhaps best known for his Marlboro Music Festival with pianist dictatorship, she first achieved breakout role as the romantic lead Mitsuko Uchida, he brings analytical success as the frontwoman of in the 1985 Merchant Ivory film A and stylistic acumen to each program the Chilean band Makiza, whose Room with a View. In 2005, Sands he develops and performs. The understated lyrics and forward- had the pleasure of meeting Nobel formidable pianist and pedagogue thinking production earned the Prize-winning playwright, poet, and Leon Fleisher once said of Biss, “his group a reputation as a modern political activist Harold Pinter, an ability and interest go for things of classic of Latin American hip-hop. artist later eulogized as “the most transcendence and sublimeness.” influential, provocative, and poetic dramatist of his generation” (The “Sitting at the top of Biss comes to Duke Performances Guardian). When the two artists Chile’s vibrant hip-hop with a program of works by Mozart, decided to collaborate in preparing Schoenberg, and Schumann. Mozart’s a set of Pinter’s poems for a London scene, Tijoux is probably Sonatas K. 457 and K. 533 were two performance, a lasting friendship the best-known Latina of only six solo piano sonatas written was born. in his Vienna years, an era celebrated rapper on the international for his breakthroughs in chamber Pinter’s work with Sands is stage.” (Newsweek) music, opera, and symphonic the subject of a poignant and works. Biss separates these sonatas Since 2007, Tijoux has built a unsettlingly funny solo show, with Schoenberg’s extremely brief musically adventurous and politically written and performed by Sands Sechs Kleine Klavierstücke; The New engaged solo career, assailing human and directed by John Malkovich. York Times praised Biss’ interpretation rights injustices in Chile and Sands assumes the role of the for its “concentrated bursts of throughout Latin America with prickly-but-charming Pinter, reciting flavor.” The program is rounded her trademark rapid-fire flow. In poems, chiding the audience, and out by Schumann’s eight-movement her words, “hip-hop is the land of ruminating on his status as a literary Kreisleriana, which the composer the people that don’t have a land.” legend. The New York Times raves, famously called “my favorite work.” With both GRAMMY and Latin “[Sands] embodies the notion of GRAMMY nominations this past the actor as a transparent vessel year, Tijoux is making her best music PROGRAM: through which we see the thoughts yet; her work is “take-no-prisoners, and feelings of others.” precise, and powerful” (NPR). Mozart: Piano Sonata No. 14 in C Minor, K. 457

Schoenberg: Sechs Kleine Klavierstücke, op. 19

Mozart: Piano Sonata No. 15 in F Major, K. 533/494

Schumann: Kreisleriana, op. 16

2015 | 2016

DUKE PERFORMANCES

VIENNA BOYS’ CHOIR ABDULLAH IBRAHIM CUARTETO CASALS

O O O & EKAYA O O O

O O O TUESDAY, OCTOBER 13 | 8 PM SATURDAY, OCTOBER 17 | 8 PM BALDWIN AUDITORIUM FRIDAY, OCTOBER 16 | 8 PM BALDWIN AUDITORIUM BALDWIN AUDITORIUM Tickets: $48 • $42 • $15 Ages 30 & Under Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students Tickets: $52 • $46 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students

Established by the Holy Roman Characterized by “intense focus and Emperor Maximilian I in 1498, Since signing his first record deal a striking unanimity of gesture” (The the Vienna Boys’ Choir is not under the patronage of Duke New York Times), Cuarteto Casals is just the world’s most famous Ellington in 1964, South African the first Spanish string quartet to youth choir, but also one of jazz legend Abdullah Ibrahim achieve a genuinely international Europe’s longest-running cultural has made a staggering fifty-two profile. They visit Duke with a institutions. Consisting of twenty- albums as pianist and bandleader program of three treasures of the four trebles and altos ages ten to and has played a central role in his standard repertoire, rendered with fourteen, the ensemble brings country’s twentieth-century musical their unmistakable brand of bold their senza vibrato sound to a and political landscape. Born into and expressive playing. repertoire ranging from motets the rich culture of pre-Apartheid and Lieder to contemporary folk Cape Town, the eighty-one year old Mozart’s Quartet K. 387 was the first and new music. Ibrahim — who was once known by of his six “Haydn Quartets,” a cycle in the name Dollar Brand — absorbed which the composer heralded a shift “The mix of purity and lung power, the songs of the African Methodist toward increased chromaticism by childlike simplicity and mature Episcopal Church, the burgeoning integrating some of Haydn’s vocabulary command of breath control and marabi tradition in the townships, into his style. The Financial Times raves phrasing, is what this ensemble is and, of course, American jazz. that the Casals’ interpretations of all about,” declares The Washington these quartets are “bold in contrasts Post. The Vienna Boys’ Choir The result is a musical voice that and almost Beethovenian in their open the Vocal Ensemble Series at is at once intellectual and deeply mettlesome thrust.” The Mozart is Duke Performances with a program felt — his piano playing casts broad, followed by Shostakovich’s Quartet that will be announced over the hymn-like strokes with hints of No. 5, a work which finds the summer; it is certain to include Ellington’s colorful orchestrations composer in trademark form, equal ecclesiastical essentials from the likes in Ekaya, his seven-piece ensemble. parts sardonic, savage, and charming. of Monteverdi and Bach alongside After a 2014 performance at New The concert concludes with Ravel’s familiar tunes from beyond the York’s Schomburg Center, Ben String Quartet in F, originally intended European canon. Ratliff of The New York Times as an application to the Conservatoire said of the music, “It reached de Paris (he was rejected) and now the audience as if it were a music acknowledged as one of the great works PROGRAM: never heard before, and did so by of impressionism in any medium. degrees: first like a history lesson, The program for this concert then like a party, then like a deep will be drawn from the extensive and serious matter.” PROGRAM: repertoire of the Vienna Boys’ Choir: church music from the Mozart: String Quartet No. 14 in renaissance to the present day, G Major, K. 387 (“Spring”) opera choruses, classic Broadway musicals, and folk songs from around the world. Complete Shostakovich: String Quartet No. 5 in program to be announced on B-flat Major, op. 92 dukeperformances.org by late summer 2015. Ravel: String Quartet in F Major

2015 | 2016 DUKE PERFORMANCES

RENNIE HARRIS PUREMOVEMENT

O O O

FRIDAY, OCTOBER 23 & SATURDAY, OCTOBER 24 | 8 PM REYNOLDS INDUSTRIES THEATER

Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

Rennie Harris is one of the great veterans of hip-hop dance, having broken down barriers between the vocabulary of the street and the vocabulary of the concert hall for nearly forty years. At the age of twelve he formed his first crew, and by the age of twenty-five he had shared the stage with many of hip-hop’s founders, including Run DMC, Sugarhill Gang, Salt ’n’ Pepa, and Kurtis Blow. He comes to Reynolds Theater with his company Rennie Harris Puremovement, repeat Bessie Award-winners whom The New York Times call “phenomenal” and “seemingly without a semblance of gravity.”

As hip-hop rose to the mainstream and splintered into factions, Harris evolved, breathing new life into popping, locking, breaking, and voguing. The New Yorker calls Harris “the most respected — and the most brilliant — hip-hop choreographer in America.” Puremovement’s program begins with the new four-movement work Nuttin’ but a Word, which, as Harris says, aims to “challenge the hip-hop puritans at every turn.” After intermission the company perform two Rennie Harris classics: Continuum and Students of the Asphalt Jungle.

Made possible, in part, by a Visiting Artist Grant from the Council for the Arts, Office of the Provost, Duke University, and support from the Dance Program at Duke University.

$10 TICKETS FOR DUKE STUDENTS: A MIRACULOUS STUDENT TICKET PRICE

Duke students — both undergraduate & graduate — may purchase tickets to any and all shows on Duke Performances’ 2015/16 season for just $10. Note: Limit of two $10 tickets per student for each presentation. Quantities of available $10 Duke student tickets may be restricted. Duke student ID required at time of purchase.

2015 | 2016

DUKE PERFORMANCES’ ESSENTIAL CLASSICS 2015/16 CONCERT SEASON

CHAMBER ARTS SERIES Brentano String Quartet • Cuarteto Casals • Montrose Trio Ruske-Frautschi-Chien Horn Trio • Jennifer Koh & Shai Wosner Danish String Quartet • Parker Quartet feat. Kim Kashkashian Emerson String Quartet Regular price: $295. Series discount price: $180. Q PIANO RECITAL SERIES Jonathan Biss • Valentina Lisitsa • Igor Levit Fazil Say • Conrad Tao • Murray Perahia Regular price: $245. Series discount price: $185. Q VOCAL ENSEMBLE SERIES Vienna Boys’ Choir • Amarcord • The King’s Singers Cantus • Orlando Consort • Roomful of Teeth Regular price: $250. Series discount price: $185. Q CIOMPI QUARTET SERIES Ciompi Quartet featuring special guests Nnenna Freelon, Tony Arnold, Kyo-Shin-An Arts, and Edgar Meyer. Regular price $100. Series discount price: $80.

Chamber Arts, Piano Recital, and Vocal Ensemble series packages provide best available reserved seats in Baldwin Auditorium for a series discount price. Ciompi Quartet series package provides general admission seats in Baldwin Auditorium for a series discount price.

DUKE PERFORMANCES

BUENA VISTA IMANI WINDS SOCIAL CLUB FEATURING ADIÓS TOUR THE FISK JUBILEE SINGERS

O O O JOHN HOPE FRANKLIN @ 100

O O O MONDAY, OCTOBER 26 | 7 PM DURHAM PERFORMING ARTS CENTER THURSDAY, OCTOBER 29 | 8 PM BALDWIN AUDITORIUM Tickets: $85 • $65 • $50 • $40 $10 Duke Students Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students

In 1996, Cuban bandleader Juan de Marcos González, American guitarist Imani Winds, a quintet lauded as Ry Cooder, and British producer Nick “strikingly virtuosic and immaculately Gold assembled a group of old-guard tight” by the Boston Music Intelligencer, son musicians to record a collection of come to Baldwin Auditorium as part of a classic mambos, cha-cha-chás, and boleros, a University-wide celebration of historian tribute to Havana’s vibrant club scene in John Hope Franklin’s centenary. Dr. the 1930s and ’40s. Buena Vista Social Franklin, a Duke professor and author Club emerged as a near-perfect record: of the authoritative African American the album was certified platinum, won history From Slavery to Freedom, was the GRAMMY for Best Latin Album, awarded the Presidential Medal of and was the subject of an acclaimed Wim Freedom in his lifetime and chaired Wenders documentary. President Clinton’s Advisory Board for the Initiative on Race. Many of the original ensemble members — including trumpeter Guajiro Mirabal, The program is anchored by American laúd virtuoso Barbarito Torres, guitarist composer Frederic Rzweski’s Breath, Eliades Ochoa, and the incomparable a Duke Performances-commissioned singer Omara Portuondo — embark this world premiere, based on the melodies year on an ambitious Adiós tour, the end of spirituals and dedicated to Franklin’s of Buena Vista’s life on the road. This memory. The evening is further enriched special concert will feature those charter by a collaboration between Imani Winds members plus a twelve-piece band, and GRAMMY Hall of Fame inductees in a musical celebration sufficiently the Fisk Jubilee Singers, a sixteen-voice a memorable to fill the grand Durham cappella ensemble in continuous operation Performing Arts Center. The New York since 1871 at Dr. Franklin’s alma mater, Times says of the Buena Vista experience: Fisk University. This will be a unique “The stage is awash in such intense joy musical celebration dedicated to the life and camaraderie, you become convinced and legacy of a brilliant scholar and activist that making music is a key to longevity and a pillar of the Duke community. and spiritual well-being.”

Made possible, in part, with an award from Buena Vista Social Club is a co-presentation the National Endowment for the Arts; a of Duke Performances and grant from South Arts, in partnership with The Carolina Theatre of Durham. the National Endowment for the Arts and the North Carolina Arts Council; the Office of the President of Duke University; and the John Hope Franklin Centenary Committee.

2015 | 2016 DUKE PERFORMANCES

AMARCORD MONTROSE TRIO

O O O O O O

FRIDAY, NOVEMBER 6 | 8 PM SATURDAY, NOVEMBER 7 | 8 PM BALDWIN AUDITORIUM BALDWIN AUDITORIUM

Tickets: $38 • $32 • $15 Ages 30 & Under Tickets: $38 • $32 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students

In 1992, five erstwhile members of St. The brand-new Montrose Trio, featuring Thomas’ Boys Choir in Leipzig — where Martin Beaver and Clive Greensmith of the Bach himself once served as music recently-retired Tokyo Quartet alongside director — decided to continue their pianist Jon Kimura Parker, continues musical partnership into adulthood. the legacy of the Tokyo and channels its Thus the all-male vocal ensemble expertise into the piano trio repertoire. Amarcord was formed. In the twenty years since, they have toured six The Montrose bring their “sumptuous, continents and become great musical beautifully blended sonority” (The ambassadors of Germany, bringing to Strad) to a varied selection of works by their craft “a musically dazzling union of Turina, Beethoven, and Brahms. The intelligent emotion, glittering esprit, and program begins with Turina’s second supple elegance” (Schwäbische Zeitung). piano trio, which combines Spanish folk rhythms, impressionist-inspired harmonic Amarcord’s program focuses on works vocabulary, and shimmering sonic effects. from the nineteenth century, including Beethoven’s first piano trio marks the music by Schumann, Mendelssohn, emergence of his compositional voice; it Grieg, and Saint-Saëns. Though this is a sprightly trio with an undercurrent is rare terrain for most small vocal of tragedy. Brahms’ first piano trio, op. ensembles, the rich romantic harmonies 8, was drafted when the composer was are perfectly suited to their resounding twenty-one but rewritten towards the end blend; Amarcord’s new recording of of his career, taking its place among the this repertoire earned them the ECHO most accomplished of his chamber works. Klassik and Luxembourgian Supersonic Awards. Duke Performances’ presentation of Amarcord provides a fitting follow-up PROGRAM: to the Vienna Boys’ Choir in October, demonstrating how rigorous vocal Joaquín Turina: Piano Trio No. 2 in training in childhood can bloom, with B Minor, op. 76 age, into a virtuosic musical maturity. Beethoven: Piano Trio No. 1 in E-flat Major, op. 1 PROGRAM: Brahms: Piano Trio No. 1 in Amarcord’s program centers on B Major, op. 8 romantic music from the nineteenth and early twentieth centuries, much of it originally written for male chorus, including works by Schumann, Mendelssohn, Saint-Saëns, Grieg, Janáček, and Elgar. For complete program, please visit dukeperformances.org

25% PICK-FOUR OR MORE DISCOUNT

Take 25% off your total price when you buy tickets to four or more shows from Duke Performances’ 2015/16 season.

2015 | 2016

PHOTO BY WILLIAM GEDNEY, 1972 HISS GOLDEN MESSENGER & WILLIAM GEDNEY

O O O

FRIDAY, NOVEMBER 13 & SATURDAY, NOVEMBER 14 | 8 PM REYNOLDS INDUSTRIES THEATER

Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

Hiss Golden Messenger is the indie bold and ambitious new work. In this folk project of Durham-based musical case, Taylor’s cycle draws upon a group of omnivore M.C. Taylor. “At once firmly photographs from 1972 by documentarian steeped in tradition and immediately William Gedney (1932-1989), known accessible” (NPR), Hiss Golden Messenger for his uncanny ability to “catch fleeting calls up a wide spectrum of American moments of grace, joy, melancholy, and vernacular music, from Archie Brownlee to humor” (The New York Times). the Staple Singers, from Van Morrison to Townes Van Zandt. At Reynolds Industries Gedney’s visit to the Blue Diamond Theater, Duke Performances presents the Mining Camp in Leatherwood, Kentucky world premiere of a specially commissioned generated the poignant portfolio of song cycle by Taylor, complete with a large photographs of everyday life that provides electric and acoustic ensemble. the source material for this collection of songs. Working alongside OBIE-winning This project is the latest installment in stage director and designer Jim Findlay, Duke Performances’ From the Archives Taylor offers a set of songs that address initiative, which pairs artists with archival family, work, home, and love, as inspired resources from Duke’s Rubenstein Rare by the photos’ subjects. Book and Manuscript Library to develop

Made possible, in part, with an award from the National Endowment for the Arts, and support from the Archive of Documentary Arts at the David M. Rubenstein Rare Book and Manuscript Library at Duke University.

2015 | 2016 DUKE PERFORMANCES

CHUCHO VALDÉS THE KING’S SINGERS

& IRAKERE 40 O O O

O O O SATURDAY, NOVEMBER 21 | 8 PM MONDAY, NOVEMBER 16 | 7 PM BALDWIN AUDITORIUM PAGE AUDITORIUM Tickets: $52 • $46 • $15 Ages 30 & Under Tickets: $55 • $45 • $40 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students

With immaculate harmonies and a Latin jazz giant and pianist Chucho flawless blend, two-time GRAMMY Valdés visits Page Auditorium to winners and recent Gramophone Hall celebrate the 40th anniversary of his of Fame inductees The King’s Singers groundbreaking Havana-based ten-piece represent the “world standard in male band Irakere. A five-time GRAMMY a cappella singing” (The New Yorker). winner, three-time Latin GRAMMY They have released over 150 albums and winner, and the son of Cuban jazz pioneer premiered over 200 new works since their Bebo Valdés, Chucho single-handedly founding in 1968. Their repertoire is far- developed many of today’s Afro-Cuban reaching, with an emphasis on renaissance musical hallmarks: the combination of and twentieth-century choral music. bebop with guajeo-based horn lines, the use of the batá and other Cuban folkloric This program, Pater Noster, centers instruments, and rhythms that laid the around one of the most ancient aspects groundwork for timba. of Christian worship, the Lord’s Prayer. For each phrase of the prayer, The King’s Irakere emerged as a collection of recent Singers perform a selection of works conservatory graduates led by Valdés from different eras that find new ways and featuring Paquito D’Rivera and of setting these deeply-rooted words Arturo Sandoval. In 1979, after five to music, from Byrd’s text-painting years of international touring, they took to Stravinsky’s hymn-like harmonies. the world by storm with a self-titled Beginning and ending in plainsong, The live album — recorded at the Newport King’s Singers trace a musical, religious, and Montreux Jazz festivals — that and literary path that includes works by earned the GRAMMY for Best Latin Schütz, Purcell, and Bernstein. Recording. Valdés has helmed Irakere for the past four decades, swapping in the finest young Cuban musicians, PROGRAM: making certain the band swings hard, and persevering at the vanguard of The King’s Singers’ program explores the breadth and depth of musical Cuban jazz. El Periódico declares, “Valdés expression inspired by the words is the creator of a sound that is now the of the Lord’s Prayer, with works lingua franca in Latin Jazz, but forty years by composers from every era, ago … it sounded like a revolution.” including Byrd, Duruflé, Tavener, Stravinsky, Lassus, and Gibbons. For complete program, please visit dukeperformances.org

VOCAL ENSEMBLE SERIES

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2015 | 2016

DUKE PERFORMANCES

NICK LOWE RUSKE-FRAUTSCHI-CHIEN & LOS STRAITJACKETS HORN TRIO

O O O O O O

WEDNESDAY, DECEMBER 2 | 8 PM SATURDAY, DECEMBER 5 | 8 PM REYNOLDS INDUSTRIES THEATER BALDWIN AUDITORIUM

Tickets: $48 • $42 • $15 Ages 30 & Under Tickets: $38 • $32 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students

Duke Performances ushers in the holiday Eric Ruske (horn), Jennifer Frautschi season with British rock ’n’ roll legend (violin), and Gloria Chien (piano) come Nick Lowe and Nashville-based surf to Baldwin Auditorium with a program rockers Los Straitjackets. Lowe, who of rare and moving repertoire for horn achieved breakthrough success in the trio. The New York Times raved that late ’70s with his Top 40 single “Cruel Ruske’s playing “enchants by virtue of its To Be Kind,” is equally decorated as a confidence, imagination, and ebullient songwriter and producer; he was at the virtuosity.” Frautschi’s playing has been helm for classic albums by Elvis Costello, praised by Le Soleil for its “strength and Graham Parker, and The Pretenders. palpable intensity.” The Boston Globe In the 21st century he has re-emerged applauded Chien’s “wondrously rich as a tender-hearted but sharp-tongued palette of colors, which she mixes with songwriter without equal. dashing bravado.”

“Few musicians get better Brahms’ Horn Trio is a unique and exquisite component of his chamber with age, but Nick Lowe is an music catalogue. Originally scored for the exception.” (NPR) more melancholic Waldhorn (“natural” horn, without valves), it has become a Lowe first joined forces with Los benchmark for all composers trying their Straitjackets for the collaborative holiday hand at this uncommon instrumentation. album Quality Street: A Seasonal Selection Among those composers is György for All the Family, released in 2013 Ligeti, whose Horn Trio was a watershed on Hillsborough’s Yep Roc Records. piece, signaling a shift toward a highly Hailed as “characteristically great” (New rhythmic and polymodal style he claimed York Magazine) and “unimpeachably was “neither modern nor postmodern.” tasteful” (The Washington Post), the record These two works anchor the program, combines original songs with Yuletide complemented with chamber duets by standbys and lesser-known gems by the Schumann and Brahms. likes of Ry Cooder and Ron Sexsmith. Los Straitjackets, wearing their signature Mexican wrestling masks, help Lowe PROGRAM: bring irreverently classic cool to the end- of-year festivities, in a holiday show for Brahms: Violin Sonata No. 3 in grown-ups and children alike. D Minor, op. 108

Ligeti: Trio for Horn, Violin, and Piano

Schumann: Fantasiestücke for Horn and Piano, op. 73

Brahms: Horn Trio in E-flat Major, op. 40

2015 | 2016 DUKE PERFORMANCES

ROSANNE CASH VALENTINA LISITSA CÉCILE THE RIVER PIANO M CLORIN SALVANT

& THE THREAD O O O O O O

O O O FRIDAY, DECEMBER 11 | 8 PM SATURDAY, DECEMBER 12 | 8 PM BALDWIN AUDITORIUM BALDWIN AUDITORIUM THURSDAY, DECEMBER 10 | 8 PM PAGE AUDITORIUM Tickets: $38 • $32 • $15 Ages 30 & Under Tickets: $34 • $28 • $15 Ages 30 & Under Tickets: $55 • $45 • $40 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students $10 Duke Students

Valentina Lisitsa has a unique Miami-based singer Cécile McLorin Iconic songwriter Rosanne Cash story among contemporary concert Salvant is a rising star, possessed visits Duke Performances backed by pianists. Born and trained in Kiev, of a remarkable voice and critically a full band, for an evening-length she got her start as Hilary Hahn’s acclaimed for her authoritative live performance of songs from her accompanist, then found global performances. In the two short years recent GRAMMY Award-winning acclaim when her YouTube videos since releasing her debut record album The River & The Thread. of the Rachmaninoff Études — WomanChild on Mack Avenue, her With eleven number-one country filmed in her adopted home of New enormous dynamic range, perfect singles and a host of collaborators Bern, NC — went viral. Now, she pitch, and supple sense of swing have ranging from Bruce Springsteen counts over 70 million views on her earned her a GRAMMY nomination to Neko Case, Cash is a “deeply YouTube channel and a full calendar and praise from the likes of The personal and insightful” artist of international touring. The Daily New York Times: “She has a rich and (Los Angeles Times). No stranger to Telegraph proclaims, “Her essential varied tonal palette, exquisite taste Duke Performances, at her 2010 attribute is a fevered urgency, an in songs and phrasing, and a deep performance in Page Auditorium almost desperate desire to suck the connection to lyrics.” Cash surprised the audience by expressive marrow from a piece.” inviting Bruce Springsteen to join Wynton Marsalis was among the her for a performance of the classic At Duke Performances, Lisitsa first to take notice — soon after country tune “Sea of Heartbreak.” plays a bountiful and melodic Salvant won the Thelonious Monk program that explores short-form International Jazz Competition, Cash’s latest album is a self- works for piano. The first half is he invited her to perform with the described “mini-travelogue of the a retrospective of the ambitious Jazz at Lincoln Center Orchestra. South, and of the soul,” based on Russian composer Alexander Scriabin, The New York Times proclaimed a series of road trips with husband traversing decades of his career with after her JALC appearance that and music director John Leventhal. Preludes, Études, and Poèmes. After “McLorin Salvant has it all … If It navigates through centuries intermission, Lisitsa takes on all anyone can extend the lineage of of American history and weaves twenty-four of the celebrated Chopin the Big Three — Billie Holiday, together fragments of Cash family Études, a benchmark for Scriabin Sarah Vaughan, and Ella Fitzgerald lore into an “exquisitely profound” and countless other late nineteenth — it is this 26-year-old virtuoso.” whole (Rolling Stone). Cash is one century pianist-composers. Salvant closes Duke Performances’ of the great songwriters of the last fall season with her crackerjack forty years, and she is now working quartet, singing a carefully curated at the pinnacle of her craft. PROGRAM: clutch of rare and unrecorded jazz and blues tunes and a sophisticated Scriabin: Selections from Preludes catalogue of jazz standards. op. 2, 11, 27, and 35

Scriabin: Poèmes op. 41, 73, 34, and 38

Scriabin: Polonaise, op. 21

Scriabin: Three Études, op. 65

Chopin: Twenty-Four Études

2015 | 2016

BETTYE LAVETTE BUENA VISTA SOCIAL CLUB Saturday, September 19 | 8 PM Monday, October 26 | 7 PM DUKE PERFORMANCES Baldwin Auditorium Durham Performing Arts Center 2015/16 SEASON GREGORY PORTER IMANI WINDS O O O Thursday, September 24 | 8 PM FEAT. THE FISK JUBILEE SINGERS FALL 2015 Page Auditorium JOHN HOPE FRANKLIN @ 100 Thursday, October 29 | 8 PM RHIANNON GIDDENS Baldwin Auditorium Friday, September 25 | 8 PM SEPTEMBER ’15 Page Auditorium NOVEMBER ’15 SU M TU W TH F SA BRENTANO STRING QUARTET 1 2 3 4 5 AMARCORD Saturday, September 26 | 8 PM Friday, November 6 | 8 PM 6 7 8 9 10 11 12 Baldwin Auditorium Baldwin Auditorium 13 14 15 16 17 18 19 PATRICIA IBAÑEZ & ABEL HARANA 20 21 22 23 24 25 26 MONTROSE TRIO MEMORIA ANTIGUA Saturday, November 7 | 8 PM 27 28 29 30 Saturday, September 26 | 8 PM Baldwin Auditorium Reynolds Industries Theater OCTOBER ’15 HISS GOLDEN MESSENGER SU M TU W TH F SA OCTOBER ’15 & WILLIAM GEDNEY 1 2 3 Friday, November 13 & THE FAIRFIELD FOUR Saturday, November 14 | 8 PM 4 5 6 7 8 9 10 & THE MCCRARY SISTERS Reynolds Industries Theater 11 12 13 14 15 16 17 ROCK MY SOUL 18 19 20 21 22 23 24 Thursday, October 1 | 8 PM CHUCHO VALDÉS & IRAKERE 40 Carolina Theatre of Durham Monday, November 16 | 7 PM 25 26 27 28 29 30 31 Page Auditorium JULIAN SANDS NOVEMBER ’15 A CELEBRATION OF HAROLD PINTER THE KING’S SINGERS SU M TU W TH F SA Friday, October 2 | 8 PM Saturday, November 21 | 8 PM Baldwin Auditorium Baldwin Auditorium 1 2 3 4 5 6 7 8 9 10 11 12 13 14 CIOMPI CONCERT NO. 1 CIOMPI CONCERT NO. 2 15 16 17 18 19 20 21 FEAT. NNENNA FREELON, VOCALIST FEAT. TONY ARNOLD, SOPRANO Saturday, October 3 | 8 PM Sunday, November 22 | 7 PM 22 23 24 25 26 27 28 Baldwin Auditorium Baldwin Auditorium 29 30 ANA TIJOUX DECEMBER ’15 DECEMBER ’15 Thursday, October 8 | 8 PM Motorco Music Hall SU M TU W TH F SA NICK LOWE & 1 2 3 4 5 LOS STRAITJACKETS JONATHAN BISS, PIANO Wednesday, December 2 | 8 PM 6 7 8 9 10 11 12 Friday, October 9 | 8 PM Reynolds Industries Theater 13 14 15 16 17 18 19 Baldwin Auditorium 20 21 22 23 24 25 26 RUSKE-FRAUTSCHI-CHIEN VIENNA BOYS’ CHOIR HORN TRIO 27 28 29 30 31 Tuesday, October 13 | 8 PM Saturday, December 5 | 8 PM Baldwin Auditorium Baldwin Auditorium SEPTEMBER ’15 ABDULLAH IBRAHIM & EKAYA ROSANNE CASH Friday, October 16 | 8 PM MAHMOUD AHMED THE RIVER & THE THREAD Baldwin Auditorium Thursday, September 10 | 8 PM Thursday, December 10 | 8 PM Reynolds Industries Theater Page Auditorium CUARTETO CASALS Saturday, October 17 | 8 PM LULA PENA VALENTINA LISITSA, PIANO Baldwin Auditorium Thursday, September 17 | 8 PM Friday, December 11 | 8 PM Nelson Music Room Baldwin Auditorium RENNIE HARRIS PUREMOVEMENT Friday, October 23 & L. SUBRAMANIAM CÉCILE MCLORIN SALVANT Saturday, October 24 | 8 PM Friday, September 18 | 8 PM Saturday, December 12 | 8 PM Reynolds Industries Theater Baldwin Auditorium Baldwin Auditorium CANTUS DEVIANT SEPTET THE FOUR LOVES Friday, March 11 | 8 PM DUKE PERFORMANCES Sunday, January 31 | 7 PM Baldwin Auditorium 2015/16 SEASON Baldwin Auditorium PARKER QUARTET O O O FEBRUARY ’16 FEAT. KIM KASHKASHIAN, VIOLA SPRING 2016 Saturday, March 12 | 8 PM Baldwin Auditorium FILTER THEATRE & ROYAL SHAKESPEARE COMPANY SHAKESPEARE’S TWELFTH NIGHT CONRAD TAO, PIANO JANUARY ’16 Friday, February 5 & Friday, March 25 | 8 PM SU M TU W TH F SA Saturday, February 6 | 8 PM Baldwin Auditorium 1 2 Reynolds Industries Theater THE GLOAMING 3 4 5 6 7 8 9 Saturday, March 26 | 8 PM BLITZ THE AMBASSADOR 10 11 12 13 14 15 16 Thursday, February 11 | 8 PM Baldwin Auditorium 17 18 19 20 21 22 23 Motorco Music Hall 24 25 26 27 28 29 30 APRIL ’16 DANISH STRING QUARTET 31 Saturday, February 13 | 8 PM BECKETT TRILOGY: Baldwin Auditorium NOT I, FOOTFALLS, ROCKABY FEBRUARY ’16 FEAT. LISA DWAN SU M TU W TH F SA ABRAHAM.IN.MOTION Friday, April 1 & Saturday, April 2 | 8 PM WHEN THE WOLVES CAME IN Reynolds Industries Theater 1 2 3 4 5 6 Friday, February 19 & 7 8 9 10 11 12 13 Saturday, February 20 | 8 PM KASSÉ MADY DIABATÉ 14 15 16 17 18 19 20 Reynolds Industries Theater Friday, April 1 | 8 PM Baldwin Auditorium 21 22 23 24 25 26 27 IGOR LEVIT, PIANO 28 29 Friday, February 19 | 8 PM EMERSON STRING QUARTET Baldwin Auditorium Saturday, April 2 | 8 PM MARCH ’16 Baldwin Auditorium CIOMPI CONCERT NO. 3 SU M TU W TH F SA FEAT. KYO-SHIN-AN ARTS SHANGHAI QUARTET 1 2 3 4 5 Saturday, February 20 | 8 PM FEAT. WU MAN, PIPA 6 7 8 9 10 11 12 Baldwin Auditorium Friday, April 8 | 8 PM Baldwin Auditorium 13 14 15 16 17 18 19 TRIPLETS OF BELLEVILLE 20 21 22 23 24 25 26 Thursday, February 25 | 8 PM ORLANDO CONSORT 27 28 29 30 31 Reynolds Industries Theater VOICES APPEARED: LA PASSION DE JEANNE D’ARC APRIL ’16 PATTY GRIFFIN, SARA WATKINS Saturday, April 9 | 8 PM & ANAÏS MITCHELL Baldwin Auditorium SU M TU W TH F SA Friday, February 26 | 8 PM 1 2 Page Auditorium BOBAN & MARKO MARKOVIĆ 3 4 5 6 7 8 9 ORKESTAR + FANFARE CIOCĂRLIA FAZIL SAY, PIANO Monday, April 11 | 7 PM 10 11 12 13 14 15 16 Sunday, February 28 | 7 PM Page Auditorium 17 18 19 20 21 22 23 Baldwin Auditorium 24 25 26 27 28 29 30 CIOMPI CONCERT NO. 4 MARCH ’16 FEAT. EDGAR MEYER, BASS Saturday, April 16 | 2 PM JANUARY ’16 Baldwin Auditorium SAVION GLOVER & JACK DEJOHNETTE REZ ABBASI INVOCATION Thursday, March 3 | 8 PM TIMBER & RUSHES Friday, January 22 | 8 PM Page Auditorium Friday, April 22 & Baldwin Auditorium Saturday, April 23 | 8 PM Durham Fruit & Produce Company PETER ROWAN BLUEGRASS BAND THYMOS QUARTET FEAT. Friday, March 4 | 8 PM CHRISTOPH ESCHENBACH, PIANO Baldwin Auditorium MURRAY PERAHIA, PIANO Sunday, January 24 | 7 PM Friday, April 29 | 8 PM Baldwin Auditorium Baldwin Auditorium HURRAY FOR THE RIFF RAFF Saturday, March 5 | 8 PM JENNIFER KOH & SHAI WOSNER Baldwin Auditorium ROOMFUL OF TEETH Saturday, January 30 | 8 PM Saturday, April 30 | 8 PM Baldwin Auditorium Baldwin Auditorium

DUKE PERFORMANCES

REZ ABBASI THYMOS QUARTET JENNIFER KOH INVOCATION FEATURING & SHAI WOSNER CHRISTOPH ESCHENBACH O O O O O O PIANO

FRIDAY, JANUARY 22 | 8 PM O O O SATURDAY, JANUARY 30 | 8 PM BALDWIN AUDITORIUM BALDWIN AUDITORIUM SUNDAY, JANUARY 24 | 7 PM Tickets: $28 • $22 • $15 Ages 30 & Under BALDWIN AUDITORIUM Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students Invocation is Pakistani-born jazz Acclaimed and adventurous artists guitarist Rez Abbasi’s quintet Jennifer Koh (violin) and Shai featuring pianist Vijay Iyer and When Paris-based Thymos Quartet Wosner (piano) come together for saxophonist Rudresh Mahanthappa. visited the United States in 2012, The a performance of Beethoven’s three In this performance at Baldwin Washington Post called their Kennedy brilliant Sonatas for Piano and Auditorium, the quintet unveils a Center performance “detailed down Violin, op. 30. The New York Times new project that explores Carnatic to the last atom, and overflowing with declared that “Mr. Wosner’s singing classical music from Southern India human experience.” The Thymos tone and expressive musicality through the idiom of jazz. This is visit Durham with a program of complemented Ms. Koh’s insightful, the final installment in a triptych Schubert and French composer richly hued playing.” made by Abbasi that puts a jazz lens Olivier Dejours. They are joined on the musical traditions of South by the elegant pianist and conductor In this program, Koh and Wosner Asia; Invocation previously explored Christoph Eschenbach, hailed by the create a compositional conversation Hindustani music and qawwali in a Los Angeles Times for his “crystalline between Beethoven and American pair of critically acclaimed recordings. tone” and “hypnotic rhythmic composer Andrew Norman, from All About Jazz calls Abassi’s music animation” in his interpretations of whom they have commissioned “neither Eastern nor Western, but the music of Schubert. companion pieces to Beethoven’s effortlessly global … proof that jazz violin sonatas. Norman, whose music can be as vital and boundary-pushing Opening the evening is Schubert’s is often inspired by architecture, has as ever.” Quartet No. 13, “Rosamunde,” been praised by The New York Times written during the composer’s hiatus for his “daring juxtapositions and Abbasi — along with Iyer and from writing art song to focus on dazzling colors.” In response to the Mahanthappa — is one of a trio of jazz larger-scale works. This is followed rhythmic elegance of op. 30, no. 1, musicians who are forging distinctly by the world premiere of Olivier the dramatically syncopated sforzandi South Asian-inflected voices on the Dejours’ String Quartet no. 17, a of no. 3, and the expressive piano contemporary scene. Abbasi comes work that embodies Schubertian part that predominates in no. 2, to this endeavor honestly: he is one of melodic values. The concert Norman’s compositions shed new the foremost guitar players in modern culminates in Schubert’s enduringly light on a set of classics. jazz, a product of the Manhattan popular “Trout” Quintet, featuring a School of Music, and early in his final movement that spins seemingly career he made a pilgrimage to India infinite variations from the melody PROGRAM: to study intensively with tabla master of a single Lied. Ustad Alla Rakha, father of Zakir Beethoven: Sonata for Piano Hussain. The mission of Invocation’s and Violin No. 5 in A Major, op. 30, no. 1 music, Abbasi declares, is “to create PROGRAM: a global-based music steeped in jazz. Schubert: String Quartet No. 13 in Andrew Norman: This tradition follows in the footsteps Response to Beethoven op. 30 of some of the greatest jazz musicians. A Minor, D. 804 (“Rosamunde”) Coltrane, Ellington, and Gillespie all Beethoven: Sonata for Piano immersed themselves in music from Olivier Dejours: String Quartet and Violin No. 8 in around the world.” No. 17 (“Creation”) G Major, op. 30, no. 3

Schubert: Piano Quintet in Andrew Norman: The performance of Rez Abbasi’s Response to Beethoven op. 30 Invocation, presented in collaboration A Major, D. 667 (“The Trout”) with Asia Society and Walker Art Beethoven: Sonata for Piano Center, is supported by Presenter and Violin No. 7 in Consortium for Jazz, a program of C Minor, op. 30, no. 2 Chamber Music America funded through the generosity of the Doris Duke Charitable Foundation.

2015 | 2016 DUKE PERFORMANCES

CANTUS FILTER THEATRE & THE FOUR LOVES ROYAL SHAKESPEARE COMPANY WILLIAM SHAKESPEARE’S O O O TWELFTH NIGHT SUNDAY, JANUARY 31 | 7 PM DIRECTED BY SEAN HOLMES BALDWIN AUDITORIUM O O O Tickets: $48 • $42 • $15 Ages 30 & Under $10 Duke Students FRIDAY, FEBRUARY 5 & SATURDAY, FEBRUARY 6 | 8 PM REYNOLDS INDUSTRIES THEATER

Hailed by The Washington Post for their Tickets: $34 • $28 • $15 Ages 30 & Under “expressive power and spontaneous $10 Duke Students grace,” the nine-voice men’s choir Cantus was founded in 1995 when its members were students at St. Olaf College in Filter Theatre is quickly gaining a Minnesota. Singing without a conductor, reputation as one of London’s boldest their trademark warmth, blend, and and most inventive young Shakespeare engaging performances have earned them ensembles. The Daily Telegraph praises accolades from the likes of the Los Angeles their “work that dazzles the eye, enchants Times: “They revel in a heft of sound the ear, and stimulates both the mind hardly imagined possible from nine men and heart.” Duke Performances hosts singing without accompaniment.” Filter’s radically cut, fast-paced version of Shakespeare’s much-loved comedy, In this pre-Valentine’s Day concert, Twelfth Night, where iconic verse meets Cantus bring their unity and purity of madcap production. sound to a program of songs about the four loves of ancient Greek tradition. The classic farcical story of romance Highlights include Eric Whitacre’s and mistaken identity is combined ethereal Lux Aurumque, Gerald Finzi’s with Filter’s dynamic narrative drive romantic Thou Didst Delight My Eyes, and and a torrent of sound and music to Grieg’s rousing Brothers, Sing On! Cantus create one of the most entertaining and have also commissioned four new works accessible Shakespeare productions of for this program from composers David recent years. The Sunday Times raves, Lang, Roger Treece, Ysaye Barnwell, and “The most hardhearted purists would Joseph Gregorio. melt at Filter’s ninety-minute reworking of this play, directed with passion, panache, and precision. This is not a PROGRAM: send-up; it’s a celebration — mad, wild, loving, and hilarious.” Cantus’ program includes works from a wide range of composers — among them Poulenc, Eric Whitacre, Grieg, Beethoven, and Janáček — on the theme of the four loves of ancient Greek tradition. For complete program, please visit dukeperformances.org

25% PICK-FOUR OR MORE DISCOUNT

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2015 | 2016

DUKE PERFORMANCES

BLITZ DANISH THE AMBASSADOR STRING QUARTET

O O O O O O

THURSDAY, FEBRUARY 11 | 8 PM SATURDAY, FEBRUARY 13 | 8 PM MOTORCO MUSIC HALL BALDWIN AUDITORIUM

Tickets: $22 • $15 Ages 30 & Under Tickets: $42 • $36 • $15 Ages 30 & Under $10 Duke Students | General Admission $10 Duke Students

Ghanaian-American rapper Blitz the The recent emergence of the Denmark- Ambassador makes no bones about and Norway-based Danish String Quartet his mission. He blends elements of has brought a fresh voice to the world of Ghanaian highlife with the fiercest and chamber music. Having played together most socially engaged ’90s hip-hop, since the age of fifteen, they tackle a drawing inspiration from the super- remarkable variety of repertoire — Brahms, charged rhythms of Fela Kuti and the Nielsen, Scandinavian folk tunes, jazz thunderous delivery of his hero Chuck standards — with equal thoughtfulness and D. The result is a pointed commentary rigor. The Danish String Quartet recently about Africa and America that is at once performed on NPR’s popular Tiny Desk smart and outrageously danceable. “Blitz Concerts series, where they were lauded is one of the leading voices in the growing for their “warmth, wit, beautiful tone, and movement connecting the classic sound technical prowess.” of American hip-hop with stories and musical traditions of Africa and the In Durham, these four exceptional African diaspora” (Afropop Worldwide). and energetic players dive into an all- Beethoven program, starting with the Blitz is backed here by a seven-piece composer’s mastery of the form in op. 18 band in the intimate nightclub setting and culminating in the complexity and of Motorco Music Hall, a venue perfectly emotional depth of two of his colossal suited to his “sonic fireworks, horn late quartets, op. 135 and op. 131. The stabs, and percussive rumbles” (NPR). latter is routinely considered Beethoven’s Blitz’s latest release, Afropolitan Dreams, most strikingly innovative achievement, chronicles life as an African artist in with its nearly improvisatory wanderings America, faced with the constant hustle between permutations of its central between two different worlds. Blitz, themes. Stravinsky once called it “perfect, with his rapper’s winning bravado, inevitable, inalterable.” describes how he’s going to make it big: by dreaming large, working hard, and flowing indefatigably. PROGRAM:

Beethoven: String Quartet No. 6 in B-flat Major, op. 18

Beethoven: String Quartet No. 16 in F Major, op. 135

Beethoven: String Quartet No. 14 in C-sharp Minor, op. 131

CHAMBER ARTS SERIES

Subscribe to the Chamber Arts Series — Brentano String Quartet • Cuarteto Casals • Montrose Trio Ruske-Frautschi-Chien Horn Trio • Jennifer Koh & Shai Wosner • Danish String Quartet Parker Quartet feat. Kim Kashkashian • Emerson String Quartet — and get tickets to all eight concerts for $180.

2015 | 2016 DUKE PERFORMANCES

ABRAHAM.IN.MOTION WHEN THE WOLVES CAME IN

O O O

FRIDAY, FEBRUARY 19 & SATURDAY, FEBRUARY 20 | 8 PM REYNOLDS INDUSTRIES THEATER

Tickets: $38 • $32 • $15 Ages 30 & Under • $10 Duke Students

Abraham.In.Motion is the company of director and choreographer Kyle Abraham. A modern renaissance man, Abraham trained as a classical cellist and visual artist before turning his focus to contemporary dance. He is a MacArthur “Genius” and a recipient of both Princess Grace and Jacob’s Pillow Dance Awards. Dance Magazine praises his highly musical style, which “brings buried rhythms to the surface in swaths of luscious yet intricate movement.”

“An original and politically minded downtown sensibility … as much Merce and Martha, as it is Eadweard Muybridge and Michael Jackson.” (Vogue)

Abraham’s virtuosic ensemble of eleven dancers perform his latest work, When the Wolves Came In, at Reynolds Industries Theater. The work examines two triumphs of international civil rights: Lincoln’s Emancipation Proclamation and the abolishment of apartheid in South Africa. Anchored by the music of Robert Glasper and by the visuals of Glenn Ligon, When the Wolves Came In is a stylistic leap forward and a compelling new chapter for this modern dance visionary.

2015 | 2016

DUKE PERFORMANCES

IGOR LEVIT THE TRIPLETS OF PATTY GRIFFIN, PIANO BELLEVILLE SARA WATKINS &

O O O LE TERRIBLE ORCHESTRE DE ANAÏS MITCHELL BELLEVILLE WITH COMPOSER O O O FRIDAY, FEBRUARY 19 | 8 PM BENOÎT CHAREST BALDWIN AUDITORIUM O O O FRIDAY, FEBRUARY 26 | 8 PM PAGE AUDITORIUM Tickets: $34 • $28 • $15 Ages 30 & Under THURSDAY, FEBRUARY 25 | 8 PM $10 Duke Students REYNOLDS INDUSTRIES THEATER Tickets: $55 • $45 • $40 • $15 Ages 30 & Under $10 Duke Students Tickets: $38 • $32 • $15 Ages 30 & Under Twenty-eight-year-old Russian-born $10 Duke Students pianist Igor Levit has experienced Three great American songwriters a meteoric rise over the last twelve share the stage for an intimate To celebrate the 10th anniversary months. His debut recording for presentation of their finest songs. of the unclassifiable, outrageous, Sony Classical boldly tackled the Patty Griffin, Sara Watkins, and and universally acclaimed animated final three Beethoven sonatas, a Anaïs Mitchell have each spent the film The Triplets of Belleville, rare undertaking for such a young last decade developing some of the composer Benoît Charest leads the artist. The New Yorker’s Alex Ross most distinctive voices in American nine-piece Le Terrible Orchestre said of the recordings, “I was roots music. In this special show, de Belleville in a live performance transfixed. Here was playing of they will sing from their own of his original score in tandem with technical brilliance, tonal allure, catalogues, back each other vocally a screening of the film at Reynolds and intellectual drive.” and instrumentally, and recount Theater. The film features a cascade the stories behind the songs. Levit’s program spans two centuries, of memorable characters: square- shouldered noir-era henchmen, beginning with Bach’s Partita No. Griffin is a songwriting titan, an impossibly wiry Tour de France 4 from the composer’s last — and weaving folk, gospel, and anthemic cyclist, and of course the three most technically demanding — set country rock into her GRAMMY- eponymous jazz-era divas. The New of keyboard suites. Levit then turns winning catalogue. She “digs th York Times calls it “a tour de force of to the 19 century with Schubert’s deep into introspective lyrics… ink-washed, crosshatched mischief, complete Moments Musicaux and [using] the silence between notes and unlikely sublimity.” Beethoven’s stormy early sonata op. to create shimmering music you 31, no. 2. The evening concludes won’t soon forget” (American Charest’s score is a modern spin with Prokofiev’s politically charged Songwriter). Watkins, a founding on 1930s Parisian jazz, ranging Sonata op. 83. Written in 1942 member of progressive bluegrass from rollicking dance numbers in response to his close friend’s band Nickel Creek, has released to dusky chansons, including the murder at the hands of Stalin’s two solo albums on Nonesuch to Oscar-nominated tune “Belleville Secret Police, it ranks among critical acclaim, and Mitchell is a Rendez-vous.” This performance, Prokofiev’s most subversive and Vermont-bred maverick whom The developed as a special presentation celebrated works for piano. Independent on Sunday calls “the for the Montreal Jazz Festival, most original artist working in the comes complete with live jazz-age field of new American folk music.” music, singing, dancing, and live PROGRAM: This concert promises to be a rare Foley artist accompaniment. A and illuminating meeting of three Partita No. 4 in deluxe film and music presentation Bach: exceptionally creative musicians. D Major, BWV 828 fit for big and little kids alike.

Schubert: Moments musicaux, D. 780

Beethoven: Piano Sonata No. 17 in D Minor, op. 31, no. 2

Prokofiev: Piano Sonata No. 7 in B-flat Major, op. 83

2015 | 2016 DUKE PERFORMANCES

FAZIL SAY SAVION GLOVER & PIANO JACK DEJOHNETTE

O O O O O O

SUNDAY, FEBRUARY 28 | 7 PM THURSDAY, MARCH 3 | 8 PM BALDWIN AUDITORIUM PAGE AUDITORIUM

Tickets: $38 • $32 • $15 Ages 30 & Under Tickets: $55 • $45 • $40 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students

Born and raised in Ankara, pianist and Savion Glover is the world’s reigning composer Fazil Say is one of the most king of tap; over a thirty-year career he distinctive artists to emerge from Turkey has brought his staccato art form into in the last twenty years. His works blend a contemporary black context while folk traditions from his homeland with affirming its innate relationship to jazz elements of Western classical music. Say’s music. The New York Times declares, musical vocabulary, like the geography of “Glover’s strength doesn’t stop at his native country, is situated between his feet. It pumps through his body, Europe and Asia. Le Figaro raves, lanky and tightly wound, radiating “Say is not merely a pianist of genius; out like an electrical force.” At Duke undoubtedly he will be one of the greatest Performances, Glover collaborates with artists of the twenty-first century.” legendary drummer and NEA Jazz Master Jack DeJohnette, accompanied The program is half Mozart and half by DeJohnette’s eponymous quartet Say’s original work. Say begins with two featuring reedman Don Byron. Mozart sonatas, K. 331 and 332, written in Vienna. The final movement of K. 331, DeJohnette, famed for his “propulsive, uncoincidentally known as “Alla Turca,” percussive mastery” (NPR), launched features a march evoking an Ottoman his career with the Association for the Janissary band. After intermission, Say Advancement of Creative Musicians in treats the audience to three pieces of Chicago, played as a sideman for Bill his own, including a set of Jazz Fantasies Evans and Miles Davis (on Bitches Brew based on Mozart’s march. and Jack Johnson), and later recorded a run of albums for the ECM label. This will be an evening of rhythmic genius, with PROGRAM: DeJohnette’s drumming providing expert interplay for Glover’s cadenced dance. Mozart: Piano Sonata No. 11 in A Major, K. 331

Mozart: Piano Sonata No. 12 in F Major, K. 332

Fazil Say: Gezi Park 2, Sonata for Piano

Fazil Say: Ballads

Fazil Say: Jazz Fantasies

Made possible, in part, with an award from the National Endowment for the Arts.

2015 | 2016

DUKE PERFORMANCES

PETER ROWAN HURRAY FOR DEVIANT SEPTET

BLUEGRASS BAND THE RIFF RAFF O O O

O O O O O O FRIDAY, MARCH 11 | 8 PM FRIDAY, MARCH 4 | 8 PM SATURDAY, MARCH 5 | 8 PM BALDWIN AUDITORIUM BALDWIN AUDITORIUM BALDWIN AUDITORIUM Tickets: $28 • $22 • $15 Ages 30 & Under Tickets: $34 • $28 • $15 Ages 30 & Under Tickets: $34 • $28 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students $10 Duke Students

In 2010, seven of New York City’s Peter Rowan “is to country and Born to Puerto Rican parents, most sought-after and versatile bluegrass what Willie Nelson is to raised in the Bronx, and now a instrumentalists connected over Country and Western: so deep in resident of New Orleans, Alynda a shared love for Stravinsky’s the traditions that the music seeps Lee Segarra fronts Hurray for the magnificent L’Histoire du Soldat, and out of his pores” (San Francisco Riff Raff, a five-piece band that is Deviant Septet was born. Scored Chronicle). Both a traditionalist and equal parts jangly blues and goth- for a high and low voice from each an explorer, Rowan got his start tinged Americana, with Segarra’s instrumental family — violin and in the 1960s as the lead vocalist warm alto voice at the center. The bass, clarinet and bassoon, trumpet and guitarist in Bill Monroe’s Blue group visits Duke Performances and trombone — plus percussion, Grass Boys. with an evening of music drawing the concert version of L’Histoire from their breakthrough record explores a unique and marvelous When roots music became popular Small Town Heroes, released on ATO collection of sonic colors. and spread from the American South Records in 2014. throughout the country, Rowan Through a series of commissions, the formed the marquis bluegrass Since that release, Hurray for the “boisterously entertaining” (Lucid quartet Old and In the Way with Riff Raff have benefited from an Culture) Deviant Septet is currently Jerry Garcia, David Grisman, and increased profile, including features assembling new repertoire for their Vassar Clements. His flatpicking on NPR and in The New York Times, unusual instrumentation. At Duke style and belted harmonies have as well as appearances in Lincoln Performances, the first half of become influential ingredients of Center’s American Songbook series their program will consist of brand the bluegrass canon over the last and on the Newport Folk Festival’s new pieces by Duke Ph.D. student thirty years. Rowan’s performance main stage. Gramophone exclaims, composers, developed over the at Baldwin Auditorium alongside “Hurray for the Riff Raff’s junkyard course of the season while Deviant his traditional combo will showcase folk is stubborn, melancholy, and Septet are artists-in-residence at his mastery of a beloved American beautifully played. They are the Duke. After intermission, they art form. perfect soundtrack to your Southern perform their signature rendition gothic romance, a junebug serenade, of Stravinsky’s masterful L’Histoire a two-step bramble-bush waltz.” du Soldat.

Made possible, in part, with support from the Department of Music at Duke University and the Office of the Vice Provost for the Arts, Duke University.

$15 TICKETS FOR PATRONS AGES 30 & UNDER

Patrons ages 30 & under — high school students, college students matriculating at neighboring institutions & young professionals — may purchase tickets to nearly every presentation on Duke Performances’ 2015/16 season for just $15. Note: Limit of two $15 tickets per patron for each presentation. Quantities of $15 tickets may be restricted. ID required at time of purchase.

2015 | 2016 DUKE PERFORMANCES

PARKER QUARTET CONRAD TAO THE GLOAMING FEATURING PIANO O O O

KIM KASHKASHIAN O O O VIOLA SATURDAY, MARCH 26 | 8 PM BALDWIN AUDITORIUM O O O FRIDAY, MARCH 25 | 8 PM BALDWIN AUDITORIUM SATURDAY, MARCH 12 | 8 PM Tickets: $42 • $36 • $15 Ages 30 & Under BALDWIN AUDITORIUM Tickets: $34 • $28 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students Tickets: $38 • $32 • $15 Ages 30 & Under $10 Duke Students Dublin’s The Gloaming are a five- Conrad Tao began his musical piece ensemble featuring some of career as a wunderkind. As a pre- the world’s great Celtic musicians, The GRAMMY-winning Parker teenager he appeared as both a including singer Iarla Ó Lionáird Quartet brings “pinpoint precision violin and piano soloist with dozens and Martin Hayes, “one of the best and a spectacular sense of urgency” of top-tier orchestras, and later fiddlers on the planet” (San Francisco (Boston Globe) to their broad received eight consecutive ASCAP Chronicle). Rounding out the repertoire and multitude of musical Morton Gould Young Composer collaboration are hardanger fiddler collaborations. Recently appointed Awards. Now twenty-one, he has Caoimhin Ó Raghallaigh; guitarist Artists-in-Residence at Harvard transitioned gracefully into a mature Dennis Cahill; and Brooklyn-based University’s Department of Music, artist with interpretive depth well pianist and producer Thomas they are quickly becoming known as beyond his years. The Baltimore Sun Bartlett, aka Doveman, best known formidable interpreters of romantic declares, “Tao possesses startling for his work with The National, and contemporary works. technical élan and an ability to Grizzly Bear, and Nico Muhly. The communicate clearly, no matter Gloaming’s self-titled 2014 debut Beethoven’s op. 95 Quartet — how thorny a score may become.” album was named one of the year’s which he called “Serioso” — is the best by NPR. shortest in his catalogue; compared At Duke Performances, Tao plays to his late essays in the genre, it is a varied program of old favorites The Guardian raves of The Gloaming, a masterpiece of compactness and and new discoveries. The first half “one can only marvel at the intuitive intensity. Op. 95 is followed by a is anchored by American works: understanding between the five. new piece by Chicago composer excerpts from North American Ballads But it’s not just jigs and reels that Augusta Read Thomas, written in by the iconoclastic contemporary make them remarkable; the opening celebration of the Meselson-Stahl composer Frederic Rzewski sit “Song 44” has more in common DNA replication discovery in 1958. alongside Copland’s Piano Sonata. with post-rock than with Christy After intermission, the quartet In the second half, Tao takes on Moore. It’s a staggering display of is joined by their former mentor, Ravel’s Valses nobles et sentimentales, both emotion and virtuosity.” At GRAMMY-winning violist Kim a set of waltzes at the intersection Baldwin Auditorium, The Gloaming Kashkashian, for Dvor�ák’s Quintet of impressionism and modernism, summon this transfixing blend of op. 97, written during his 1893 stay followed by Schumann’s Carnaval, musical influences for an evening at a Bohemian enclave in Iowa. each movement of which represents that is at once visionary and firmly a different festal reveler. grounded in the rich musical traditions of Ireland. PROGRAM: PROGRAM: Beethoven: String Quartet No. 11 in F Minor, op. 95 (“Serioso”) Frederic Rzewski: North American Ballads: Which Side Are Augusta Read Thomas: You On? and Winnsboro Cotton Helix Spirals Mill Blues

Dvořák: String Quintet No. 3 in Copland: Piano Sonata E-flat Major, op. 97 Ravel: Valses nobles et sentimentales

Schumann: Carnaval, op. 9

2015 | 2016

SAMUEL BECKETT, PARIS, 1979. PHOTO BY RICHARD AVEDON. BECKETT TRILOGY: NOT I, FOOTFALLS, ROCKABY FEATURING LISA DWAN BY SAMUEL BECKETT DIRECTED BY WALTER ASMUS ORIGINALLY PRODUCED BY THE ROYAL COURT THEATRE

O O O

FRIDAY, APRIL 1 & SATURDAY, APRIL 2 | 8 PM REYNOLDS INDUSTRIES THEATER

Tickets: $34 • $28 • $15 Ages 30 & Under • $10 Duke Students

Samuel Beckett’s one-person plays contain A devoted acolyte of Beckett’s work notoriously thorny and challenging roles, and a longtime friend of his muse Billie requiring actors who possess both Herculean Whitelaw, Dwan has assembled an evening stamina and a formidable expressive range. of three one-person Beckett plays, fresh Irish actress Lisa Dwan first garnered off of successful runs at the Brooklyn acclaim as a Beckett interpreter a decade Academy of Music and the Royal Court ago with a captivating performance of Theatre. Not I features Dwan blindfolded Beckett’s treacherous and beautiful one- and chattering breathlessly; Footfalls depicts person play Not I. The New York Times a grieving daughter pacing metronomically calls Dwan “an instrument of Beckett, outside her dying mother’s bedroom; and in the same way saints and martyrs are Rockaby converts a rocking chair into an said to be instruments of God … these emblem of eternal sleep. These plays find plays, like dreams, stir up dormant parts Dwan in her element, enchanting and of your mind that you don’t acknowledge deeply committed to the affective power during the day.” of theater.

2015 | 2016 DUKE PERFORMANCES

KASSÉ MADY DIABATÉ EMERSON SHANGHAI QUARTET FEATURING O O O STRING QUARTET WU MAN O O O FRIDAY, APRIL 1 | 8 PM PIPA BALDWIN AUDITORIUM SATURDAY, APRIL 2 | 8 PM O O O BALDWIN AUDITORIUM Tickets: $34 • $28 • $15 Ages 30 & Under FRIDAY, APRIL 8 | 8 PM $10 Duke Students Tickets: $48 • $42 • $15 Ages 30 & Under BALDWIN AUDITORIUM $10 Duke Students Tickets: $38 • $32 • $15 Ages 30 & Under Singer Kassé Mady Diabaté is a $10 Duke Students descendant of the most distinguished The Emerson String Quartet griot family of the ancient Manding have been lauded as “the one Empire, the Diabatés of Kéla. His indispensible quartet” (Newsday). The Chamber Arts Series offers a name, alongside other griot legends In their forty-year career they have very special program set outside the Toumani Diabaté and Bassekou made unparalleled contributions to boundaries of standard repertoire: Kouyaté, signifies musical royalty in American chamber music, amassed the acclaimed Shanghai Quartet and Mali. Over a five-decade career, Diabaté thirty recordings, nine GRAMMYs, pipa (Chinese lute) virtuoso Wu Man has brought his nuanced, stirring voice and received induction into the unite to perform three new pieces by to a series of splendid recordings, American Classical Music Hall of contemporary Chinese composers for including 2010’s GRAMMY-winning Fame. They are frequent guests of string quartet and pipa. Afrocubism, and the collaborative the Chamber Arts Society, most record Kulanjan with Taj Mahal. Salif recently having come to Duke Called “wonderfully ferocious and Keita calls him “the greatest singer Performances in 2013, when they illuminating” by The Washington in Mali.” were newly energized by the addition Post, the Shanghai are recognized of cellist Paul Watkins. for their unique fluency in both Diabaté’s new record, Kiriké, is a Eastern folk and Western Classical return to Malian tradition. Diabaté The evening’s program begins idioms. This program showcases is backed by a stripped-down acoustic with Haydn’s tuneful “Emperor” their exceptional stylistic range band of n’goni, balafon, and kora, Quartet, followed by Bartók’s with works by composer Tan Dun the latter played by the legendary densely beautiful Fourth Quartet, and a world premiere from the Ballaké Sissoko. The Chicago Reader the five movements of which form a Shanghai’s own second violinist calls it “an intimate set” which palindrome of tempo and intensity Yi-Wen Jiang. Tan, who achieved “allows Diabaté’s voice to shine — an imbued with Hungarian folk tunes. international fame for his score airy, refined balance of sweetness and Schubert’s posthumously-published for Crouching Tiger, Hidden Dragon, soul, gentleness and force.” Diabaté Quartet in G is a fitting culmination blends elements of Western avant- promises an evocative performance not only of this concert, but also the garde, Chinese opera, and sounds at the exquisite Baldwin Auditorium: 2015/16 Chamber Arts Series. This of nature into one of today’s most “This is like sitting in a Bamako work finds the composer deeply remarkable musical voices. The compound late at night, under the engaged with modal mixture and program concludes with Zhao Jiping stars, and being sung to person to slippery modulations. The effect is & Zhao Lin’s Quintet for Pipa and person” (Arts Desk UK). a winding, sometimes disorienting, String Quartet. and ultimately satisfying journey — a crowning achievement of First Viennese School chamber music. PROGRAM:

Tan Dun: Ghost Opera PROGRAM: Yi-Wen Jiang: Chinese folk song Haydn: String Quartet No. 3 in arrangement C Major, op. 76 (“Emperor”)

Zhao Jiping & Zhao Lin: Quintet for Bartók: String Quartet No. 4 in Pipa and String Quartet C Major, Sz. 91

Made possible, in part, with Schubert: String Quartet No. 15 in an award from the National G Major, D. 887 Endowment for the Arts.

2015 | 2016

DUKE PERFORMANCES

ORLANDO CONSORT BOBAN & MARKO VOICES APPEARED: MARKOVIĆ ORKESTAR + LA PASSION DE JEANNE D’ARC FANFARE CIOCĂRLIA

O O O O O O

SATURDAY, APRIL 9 | 8 PM MONDAY, APRIL 11 | 7 PM BALDWIN AUDITORIUM PAGE AUDITORIUM

Tickets: $38 • $32 • $15 Ages 30 & Under Tickets: $45 • $35 • $30 • $15 Ages 30 & Under $10 Duke Students $10 Duke Students

In a special performance, Britain’s Page Auditorium will be swept up in Orlando Consort accompany a screening raucous celebration when two of today’s of the landmark Carl Theodor Dreyer pre-eminent Balkan brass bands play an film La Passion de Jeanne d’Arc (1928) with extraordinary double bill. Serbian-born the music of Dufay, Binchois, and other Boban Markovic´ is widely considered fifteenth-century composers. For twenty- the foremost trumpet virtuoso to emerge five years this five-voice ensemble has from the Balkans. His Boban Markovic´ produced renaissance vocal music noted Orkestar is a thirteen-piece ensemble for its vibrancy and precision; The New featuring his son, trumpeter Marko York Times praises their “consummate Markovic´, a rising star. Wall Street Journal mastery and refinement.” praises the Orkestar’s kitchen-sink aesthetic, which includes “Middle Eastern At Duke Performances, the Orlando pentatonics, Yiddishkeit minor key Consort honor the rich and meticulous moaning and wailing, Cubano-style clave, period detail of Dreyer’s depiction and even New Orleans funk backbeats.” of medieval France with a vivid live soundtrack of motets and plainsong. Fanfare Cioca˘rlia, hailing from the To further link the film and music, Romanian village of Zece Prajini, is a they have selected only music that was twelve-piece maelstrom of trumpets, tuba, composed during Joan of Arc’s lifetime: clarinets, saxophones, and percussion. 1412-1431. Renée Falconetti’s rapturous Noting their range of influences, from performance as the title heroine in the Duke Ellington to Balkan wedding movie remains a landmark in the history music, The Guardian raves, “They were of cinema; even devoted fans of the faster and more frantic than any other film will find new depths in Dreyer’s brass ensemble I can think of, but masterpiece when it is coupled with the never lost control, and constantly and Orlando Consort’s deeply moving score. ingeniously varied the repertoire.” Don’t miss these two outstanding ensembles whose collaborative album Balkan Brass PROGRAM: Battle was praised by AllMusic as “thrilling and packed with virtuosic playing.” The Orlando Consort’s program includes music composed during the lifetime of St. Joan of Arc, including works by Dufay, Binchois, Estienne Grossin, Johannes Le Grant, and Johannes Tapissier. For complete program, please visit dukeperformances.org

15% DUKE EMPLOYEE DISCOUNT; EVERY SHOW, ALL SEASON

Duke University employs 35,998 fine folks; each and every one is entitled to 15% off tickets to nearly every presentation on Duke Performances’ 2015/16 season. Note: Limit of two discounted employee tickets per presentation. Duke employee ID required at time of purchase.

2015 | 2016 DUKE PERFORMANCES

MICHAEL GORDON MURRAY PERAHIA ROOMFUL OF TEETH PIANO TIMBER & RUSHES O O O FEATURING MANTRA PERCUSSION O O O & THE RUSHES ENSEMBLE SATURDAY, APRIL 30 | 8 PM FRIDAY, APRIL 29 | 8 PM BALDWIN AUDITORIUM O O O BALDWIN AUDITORIUM Tickets: $28 • $22 • $15 Ages 30 & Under FRIDAY, APRIL 22 & SATURDAY, APRIL 23 | 8 PM Tickets: $62 • $54 • $15 Ages 30 & Under $10 Duke Students DURHAM FRUIT & $10 Duke Students PRODUCE COMPANY The eight-member GRAMMY- Tickets: $22 • $15 Ages 30 & Under The Piano Recital Series closes winning a cappella vocal ensemble $10 Duke Students | General Admission with three-time GRAMMY-winning Roomful of Teeth explore the concert pianist Murray Perahia. As expressive power and range of the the protégé of Vladimir Horowitz, human voice in the Vocal Ensemble Bang on a Can co-founder Michael Perahia developed a sound that is at Series’ closing concert. Formed Gordon, one of America’s most once stately and incendiary, taking at Williams College by music adventurous composers, writes bold interpretive liberties without professor Brad Wells, its members music characterized by “vigor sacrificing precision, poise, or are classically trained singers who and hypnotic intensity” (The New fidelity to the score. He has earned draw on techniques and genres as York Times). Mantra Percussion nine Gramophone Awards over disparate as yodeling and Tuvan and The Rushes Ensemble come thirty years for his recordings of throat singing. The ensemble to the Durham Fruit & Produce Bach, Mozart, Beethoven, Brahms, works closely with contemporary Company — a new downtown and Chopin, composers who form composers in creating an ecstatic, warehouse space dedicated to the the core of his repertoire. entirely commissioned repertoire. arts — with a program of two of NPR declares, “their singing is Gordon’s thematically-linked major Perahia, who holds an honorary fiercely beautiful and bravely, works that have never before been doctorate from Duke, has been utterly exposed.” presented in the United States in a performing on campus since his single evening. early twenties. The Chicago Tribune Caroline Shaw became the youngest- raves, “the commanding insights ever winner of the Pulitzer Prize for Timber, for six percussionists playing he brings to the essential keyboard Music for her piece Partita for 8 two-by-fours — like you might buy at repertory are more than enough to Voices, which she wrote for Roomful a lumber yard — creates a rhythmic breathe freshness and distinction of Teeth (of which she is a member). atmosphere of overtones that The into works we’ve heard many times Partita, a four-movement work Boston Globe describes as “a halo, before, but seldom played at this fashioned after a baroque dance an ethereal aura of sound.” Rushes inspired level.” Perahia’s program suite and inspired by a Sol LeWitt also makes inventive use of unusual at Duke Performances will be drawing, forms the backbone of this resources: it is a reflective, sixty- finalized in early 2016; regardless program at Baldwin Auditorium, minute tour de force scored for seven of repertoire this promises to be a alongside new pieces by New York bassoons and partially inspired by singular opportunity to hear one City composers Judd Greenstein, the ethos of Timber. The pieces will of the greatest living pianists in an Eric Dudley, and another recent be performed in adjacent spaces, close-up setting. Pulitzer awardee, Julia Wolfe. separated by an intermission. In this immersive, site-specific experience, Gordon intends to create “a quasi- PROGRAM: PROGRAM: meditative, almost ecstatic state in the listener as well as the performer.” Program to be finalized in early 2016. Roomful of Teeth’s program includes Caroline Shaw’s Pulitzer Prize-winning Partita for 8 Voices, in addition to new works by New York City composers Judd Greenstein, Eric Dudley, and Julia Wolfe. For complete program, please visit dukeperformances.org

2015/16 PIANO RECITAL SERIES

Subscribe to the Piano Recital Series — Jonathan Biss • Valentina Lisitsa • Igor Levit • Fazil Say Conrad Tao • Murray Perahia — and get tickets to all six concerts for $185.

2015 | 2016

CIOMPI QUARTET

CIOMPI CONCERT NO. 1 CIOMPI CONCERT NO. 3 FEATURING FEATURING NNENNA FREELON KYO-SHIN-AN ARTS JAMES NYORAKU SCHLEFER, SHAKUHACHI JAZZ VOCALIST YOKO KIMURA, SHAMISEN & VOICE YUMI KUROSAWA, KOTO O O O

O O O SATURDAY, OCTOBER 3 | 8 PM BALDWIN AUDITORIUM SATURDAY, FEBRUARY 20 | 8 PM BALDWIN AUDITORIUM Tickets: $25 • $15 Ages 30 & Under $10 All Students | General Admission Seating Tickets: $25 • $15 Ages 30 & Under $10 All Students | General Admission Seating PROGRAM: Haydn: String Quartet in G Major, op. 77, no. 1 PROGRAM: Beethoven: String Quartet in E-flat Major, op. 74 (“Harp”) Debussy: String Quartet in G Minor, op. 10 Mark Kuss: Slave Songs and Spirituals Zhou Long: Poems from Tang (commissioned by the Ciompi) with Nnenna Freelon, jazz vocalist James Nyoraku Schlefer: Dream Corner, for Japanese Sankyoku and String Quartet

CIOMPI CONCERT NO. 2 FEATURING CIOMPI CONCERT NO. 4 50TH ANNIVERSARY CELEBRATION TONY ARNOLD & DUKE ALUMNI CONCERT SOPRANO FEATURING

O O O EDGAR MEYER

SUNDAY, NOVEMBER 22 | 7 PM BASS

BALDWIN AUDITORIUM O O O

Tickets: $25 • $15 Ages 30 & Under SATURDAY, APRIL 16 | 2 PM $10 All Students | General Admission Seating BALDWIN AUDITORIUM

PROGRAM: Tickets: $25 • $15 Ages 30 & Under Schubert: String Quartet in A Minor, op. 29 (“Rosamunde”) $10 All Students | General Admission Seating Webern: Langsamer Satz PROGRAM: Webern: Six Bagatelles for String Quartet, op. 9 Bach: Brandenburg Concerto No. 3 in G Major Schoenberg: String Quartet No. 2 in F-sharp Minor, op. 10 Edgar Meyer: String Quintet with Tony Arnold, soprano Dvořák: String Quintet No. 2 in G Major, op. 77

2015 | 2016 VENUES

VENUES

O O O From formal halls and adaptable theaters to intimate nightclubs and black-box spaces, Duke Performances finds ideal stages for diverse artists and audiences in high-quality venues on campus and in town.

BALDWIN AUDITORIUM REYNOLDS INDUSTRIES THEATER

1336 Campus Drive (intersection of Onslow Street & West Markham Avenue) Bryan University Center Durham, NC 27708 125 Science Drive | Durham, NC 27708 dukeperformances.org dukeperformances.org

PAGE AUDITORIUM NELSON MUSIC ROOM

402 Chapel Drive | Durham, NC 27708 1304 Campus Drive | Durham, NC 27708 dukeperformances.org dukeperformances.org

DURHAM FRUIT & PRODUCE COMPANY MOTORCO MUSIC HALL

305 South Dillard Street | Durham, NC 27701 723 Rigsbee Avenue | Durham, NC 27701 dukeperformances.org motorcomusic.com

CAROLINA THEATRE OF DURHAM DURHAM PERFORMING ARTS CENTER

309 West Morgan Street | Durham, NC 27701 123 Vivian Street | Durham, NC 27701 carolinatheatre.org dpacnc.com

2015 | 2016 INFORMATION DUKE PERFORMANCES 2015/16 TICKET INFORMATION

O O O

TICKET ON SALE DATES

Duke Performances 2015/16 season ticket packages — including the Pick-Four or More, Chamber Arts Series, Piano Recital Series, Vocal Ensemble Series, and Ciompi Quartet Series — will go on sale to general public on TUESDAY, JUNE 23 at 11 AM.

Single tickets to Duke Performances 2015/16 shows will go on sale TUESDAY, JULY 14 at 11 AM.

$10 Duke student tickets and $15 tickets for patrons ages 30 and under will go on sale TUESDAY, AUGUST 25 at 11 AM.

DUKE PERFORMANCES 2015/16 DISCOUNTS & DEALS

2015/16 ESSENTIALS CLASSICS SERIES 25% PICK-FOUR OR MORE DISCOUNT AT DUKE PERFORMANCES

Take 25% off your total price when you buy tickets to four or more shows from Duke Performances 2015/16 season. Note: Because of Ticketmaster’s exclusive agreement with The Carolina Theatre & DPAC, Duke Performances’ co-presentations of The Fairfield Four & The McCrary Sisters and Buena Vista Social 2015/16 CHAMBER ARTS SERIES Club are excluded from Pick-Four discounts. However, the purchase Brentano String Quartet • Cuarteto Casals • Montrose Trio of a Duke Performances’ Pick-Four package comes with a discount code — redeemable online, by phone, or at the venue box office — Ruske-Frautschi-Chien Horn Trio • Jennifer Koh & Shai Wosner worth 25% off tickets to those presentations. Danish String Quartet • Parker Quartet feat. Kim Kashkashian, viola Emerson String Quartet CAS package provides best available reserved seats in Baldwin Auditorium. Regular price: $295. Series discount price: $180. $10 TICKETS FOR DUKE STUDENTS; A MIRACULOUS STUDENT TICKET PRICE

Duke students — both undergraduate & graduate — may purchase tickets to any and all shows on Duke Performances’ 2015/16 season for just $10. 2015/16 PIANO RECITAL SERIES Note: Limit of two $10 tickets per student for each presentation. Jonathan Biss • Valentina Lisitsa • Igor Levit • Fazil Say Quantities of available $10 Duke student tickets may be restricted. Conrad Tao • Murray Perahia Duke student ID required at time of purchase. PRS package provides best available reserved seats in Baldwin Auditorium. Regular price: $245. Series discount price: $185.

$15 TICKETS FOR PATRONS AGES 30 & UNDER

Patrons ages 30 & under — high school students, college students matriculating at neighboring institutions & 2015/16 VOCAL ENSEMBLE SERIES young professionals — may purchase tickets to nearly every Vienna Boys’ Choir • Amarcord • The King’s Singers • Cantus presentation on Duke Performances’ 2015/16 season for Orlando Consort • Roomful of Teeth just $15. VES package provides best available reserved seats in Baldwin Auditorium. Note: Limit of two $15 tickets per patron for each presentation. Quantities Regular price: $250. Series discount price: $185. of $15 tickets may be restricted. ID required at time of purchase.

15% DUKE EMPLOYEE DISCOUNT; EVERY SHOW, ALL SEASON 2015/16 CIOMPI QUARTET SERIES Duke University employs 35,998 fine folks; each and Ciompi Quartet Concert No. 1 feat. Nnenna Freelon, jazz vocalist every one is entitled to 15% off tickets to nearly every Ciompi Quartet Concert No. 2 feat. Tony Arnold, soprano presentation on Duke Performances’ 2015/16 season. Ciompi Quartet Concert No. 3 feat. Kyo-Shin-An Arts Ciompi Quartet Concert No. 4 feat. Edgar Meyer, bass Note: Limit of two discounted employee tickets per presentation. Duke employee ID required at time of purchase. Ciompi series employs general admission seating in Baldwin Auditorium. Regular price $100. Series discount price: $80.

2015 | 2016 INFORMATION

FOR TICKETS, FULL PROGRAM DETAILS & OTHER IMPORTANT INFORMATION VISIT DUKEPERFORMANCES.ORG

ORDERING TICKETS If You Are Unable To Attend If you are unable to attend a program for which you hold tickets, you By Phone may donate those tickets in person or via phone at 919-684-4444 to Call the Duke University Box Office between Monday and Friday, 11 the University Box Office for a tax credit. AM to 6 PM, 919-684-4444. Credit card orders only. Website & Email Updates Online Visit dukeperformances.org for updates on all events. We also Log on to Duke Performances’ website any time at dukeperformances.org encourage you to join Duke Performances’ email list which can be accessed through our website. We will use this list to inform you of In Person any changes to the series. Visit the University Box Office on the top level of the Bryan Center on Duke University’s West Campus between Monday and Friday, 11 Accessibility AM to 6 PM. Box office will open at performance venues one hour If you anticipate needing any type of special accommodation or have prior to the start of each show. questions about physical access please contact the University Box Office at 919-684-4444 in advance of the concert. TICKETING DETAILS FOR DUKE PERFORMANCES’ CONCERTS AT CAROLINA THEATRE OF DURHAM AND Refunds DURHAM PERFORMING ARTS CENTER Tickets are nonrefundable except in the case of canceled events.

The Fairfield Four & The McCrary Sisters Thursday, October 1 | 8 PM GIVE TO DUKE PERFORMANCES Carolina Theatre of Durham Tickets may be purchased through the Carolina Theatre website In order to best serve our community, Duke Performances offers at carolinatheatre.org, by calling 919-560-3030, or by visiting the tickets at the lowest possible price, typically 30% less than tickets Carolina Theatre box office at 309 W. Morgan St. Tickets for Carolina to comparable events in the region. Donations from patrons ensure Theatre performances are sold through Ticketmaster; Ticketmaster that we can continue to offer tickets to exceptional programs at these service charges will be applied. low prices. With increasing pressure on funding sources, we depend even more on the generosity of those who can support our efforts to Buena Vista Social Club provide the best performing arts to the widest possible audience. Monday, October 26 | 7 PM Durham Performing Arts Center When you make a gift to Duke Performances you ensure our ability Tickets may be purchased through the DPAC website at dpacnc.com, by to continue presenting top-flight, forward-thinking artists, foster calling 919-688-3722, or by visiting the DPAC box office at 123 Vivian meaningful interaction with students and build a community in Street. Tickets for DPAC performances are sold through Ticketmaster; Durham dedicated to culture and the arts. Ticketmaster service charges will be applied. Visit dukeperformances.org/give to make your fully tax-deductible Duke students may purchase $10 student tickets to these shows at the contribution to Duke Performances. If you have any questions about Carolina Theatre and Durham Performing Arts Center through the how to further support Duke Performances, please contact us at either Duke University Box Office in the Bryan Center. [email protected] or 919-660-3356.

IMPORTANT INFORMATION DUKE PERFORMANCES STAFF

Directions & Parking Aaron Greenwald / Executive Director For full driving directions and parking information, please visit 919-660-3357 / [email protected] dukeperformances.org and click on the button marked VENUES. Eric Oberstein / Associate Director Late Seating Policy 919-660-3359 / [email protected] Please allow enough time to park, claim your tickets, and get seated before the start-time of performances. Latecomers will be seated at the Ariel Fielding / Marketing Director discretion of the house manager and Duke Performances staff. 919-660-3348 / [email protected]

Lost Tickets Gray West / Graphic Designer If you lose your tickets and need replacements, please call the 919-660-3371 / [email protected] University Box Office at 919-684-4444. Suzanne Despres / Production Manager Performance Changes & Performance Cancellation 919-660-3379 / [email protected] Programs are subject to change without notice for reasons outside the control of Duke Performances. If a performance is canceled, you will be Gloria Hunt / Business Manager notified as early as possible and offered either an exchange or a refund. 919-660-3356 / [email protected]

THANK YOU FOR YOUR SUPPORT Nonprofit Org. U. S. Postage PAID Durham, NC Permit No. 60 DUKE PERFORMANCES 2014/15 SEASON BROCHURE BOX 90757 DURHAM, NC 27708

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SINGLE TICKETS TUESDAY, JULY 14

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