PERFORMING ARTS MAGAZINE

INSIDE JULY / AUG 2018 A season inspired by human togetherness, plus 300 years of the Crescent City, behind the scenes with Nitin Sawhney, and more

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Stanford Live Staff P—5 & Sponsors

Welcome P—6

Upcoming Events P—8

Campus Partners P—12

Scene & Heard P—14 The Ties That Bind Behind the Scenes P—32 and Unbind Membership P—34

By Natalie Jabbar Stanford Live & P—36 Bing Concert Hall Stanford Live’s new lineup Donors showcases the universal aspects of our shared humanity. Calendar P—38

PAGE­­—20 Plan Your Visit P—39

Infographic Infographic

300 years of the Crescent City Six degrees of Nitin Sawhney

p—16 p—28

Artist Voices Featurette

Wynton Marsalis on the spirit A conversation with Inua Ellams of New Orleans about his Barber Shop Chronicles p—18 p—30

Featurette

How Nitin Sawhney wrote music for a dance without dancers p—24

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©2018 City National Bank City National Bank is a subsidiary ofRoyal BankofCanada. City National Bankis a subsidiary CNB MEMBER FDIC “ my financiallifeintune.” City National helpskeep essence ofasuccessfulrelationship. ofwhatIdoandlove.being apart Thatisthe music toaudiencesallover theworld.Theyenjoy inhelpingmebringclassical and isinstrumental classical music.CityNational shares mypassion focus oncreating andsharingthe“adventures” of help keepmyfinanciallifeoncoursesoIcan ensemble. Ineedpeoplewhocancountonto city, adifferent pieceofmusic,adifferent So muchofmylifeisalwaysshifting;adifferent Call (866)618-5242orvisitcnb.com Citytrust National. The people you trust, Conductor, Educator andComposer TilsonMichael Thomas

5/4/18 11:10 AM July/Aug 2018 STANFORD LIVE MAGAZINE JULY / AUG 2018 Volume 10, No. 6

STAFF FOUNDATION & GOVERNMENT PARTNERS

Paul Heppner Chris Lorway Publisher Executive Director

Susan Peterson Bryan Alderman Design & Production Director Assistant Director of Development Rory Brown Ana Alvira, Robin Kessler, Operations Manager Stevie VanBronkhorst Production Artists and Graphic Design Diana Burnell Assistant Ticket Office Manager

Mike Hathaway Robert Cable Sales Director Communications Manager IN-KIND PARTNERS Ryan Davis Amelia Heppner, Marilyn Kallins, Associate Director of Engagement and Public Programs Terri Reed Robert DeArmond San Francisco/Bay Area Account Executives Web Developer Brieanna Bright, Laura Evans Joey Chapman, Ann Manning Director of Music Programs, Education, and Engagement Seattle Area Account Executives Drew Farley Technical Manager Carol Yip Ben Frandzel Sales Coordinator Institutional Gifts and Community Engagement Officer

Elisa Gomez-Hird MEDIA PARTNERS HR and Administrative Associate

Sierra Gonzalez Director of Marketing, Communications, and Patron Services

Maurice Nounou Assistant Director of Ticketing and Sales

Noreen Ong Paul Heppner Executive and Contracts Administrator President Egan O’Rourke Stanford Live’s 2017–18 season is generously supported by Mike Hathaway Audio/Video Assistant Manager Helen and Peter Bing. Vice President Kimberly Pross Underwriting for student ticket discounts for the 2017–18 Kajsa Puckett Director of Production season is generously provided by the Bullard family. Vice President, Jeremy Ramsaur Marketing & Business Development Lighting Manager

Genay Genereux Nicola Rees Accounting & Office Manager Director of Development Toni Rivera Shaun Swick Operations Coordinator Senior Designer & Digital Lead Ivan Rodriguez Barry Johnson Artist Liaison/Cabaret Manager Digital Engagement Specialist Mike Ryan Director of Operations, Frost Amphitheater Ciara Caya Customer Service Representative & Bill Starr Administrative Assistant House Manager Krystina Tran Marketing Manager Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] PHOTO CREDITS 800.308.2898 x105 www.encoremediagroup.com On the cover: Honji Wang and Sébastien Ramirez, photo Johan Persson. Page 6: Illustration by Hybrid Design. Page 12: Photo 1 courtesy of the Cantor Arts Center; 2 Li Huayi 李華弌 (China, b. 1948), Wind Nourishes, Rain Moistens, 2016. Ink and gold on paper. Collection of Akiko Yamazaki and Jerry Yang. Pages 14 & 15: Photos 1, 2, and 3 by Harrison Truong; 4, 5, and 6 by Joel Simon; Encore Arts Programs is published monthly by Encore Media 7 by Azar Kafaei; 8 by Jessica Yeung. Page 21: Photo by Azar Kafaei. Page 22: Photo by Marc Brenner. Page 24 & 26: Photos by Johan Persson. Page 25: Photo by Suki Dhanda. Page 29: Nitin Sawhney photo by Suki Dhanda. Page 30: Photo by Marc Brenner. Group to serve musical and theatrical events in the Puget Page 32: Photo 1 courtesy of Cal Performances, 2 by Joel Simon. Page 34: Photo by Joel Simon. Page 33: Photo 2 by Joel Simon, Sound and San Francisco Bay Areas. All rights reserved. 4 by Azar Kafaei. ©2018 Encore Media Group. Reproduction without written permission is prohibited. 5 WELCOME

CHRIS LORWAY

EXECUTIVE DIRECTOR

“One of the things that’s beautiful about New Orleans is how culturally rich we are and how well we have worked together. People call us a gumbo. It’s really important that we get focused on the very simple notion that diversity is a strength, it’s not a weakness.”

—MITCH LANDRIEU

In planning the 2018–19 program, we went for the Arts and individual donations) has Stanford Live presents down a number of paths probing universal allowed us to invite several artists to spend a wide range of the finest and deeply-felt expressions of life, love, and an extended period of time on campus. performances from around the loss. How do artists with various cultural Kicking this off is multidisciplinary artist Nitin world, fostering a vibrant learning backgrounds and histories ritualize these Sawhney who, as you will see, has his fingers community and providing dis- foundational stages of being? in many pots. His new work Dystopian Dream— tinctive experiences through the coproduced by Stanford Live—was developed performing arts. With its home at As we researched these ideas, we found with the brilliant dancers/choreographers Bing Concert Hall, Stanford Live is ourselves returning to the city of New Wang Ramirez and will be a core component simultaneously a public square, a Orleans, a place that embodies this nexus of Nitin’s residency with us. sanctuary, and a lab, drawing on of living like no other. Conveniently, it is also the breadth and depth of Stanford the 300th anniversary of its founding, so who In addition, Nigerian-born London writer University to connect perfor- better to talk about the city and its cultural Inua Ellams tells us about his play Barber mance to the significant issues, legacy than the legendary Wynton Marsalis Shop Chronicles, which I’m excited to bring to ideas, and discoveries of our time. who joins us for a public conversation in Stanford after sold-out runs in London. September. His lyrical statement in this issue Finally, our summer lineup offers a tip of the on the Crescent City was originally written hat to a few of next year’s programs. Classic as a tribute to the New Orleans Saints’ first Albums Live returns to the lawn outside the Super Bowl victory. Bing with music by artists who have played Frost (which will re-open next May). And A new residency initiative (supported Lucia Micarelli, star of HBO’s Treme, makes her through the office of the Vice President Stanford Live debut.

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INTERACTION AUDIENCE AMPLIFICATION Upcoming Events

JULY / AUG 2018 Jazz Festival Copresented Stanford the with guest guitarist Camila Meza. pianist Nitai Hershkovits and show, heperforms duetswith jazz scene. Inthisintimate versatile bassistsontheNYC of themostin-demandand Tel Aviv, OrBareket isone raised inBuenos Aires and Born inJerusalem and 7:00 PM JULY 1 SUNDAY, WHEN: For thefull calendar, visit live.stanford.edu. With special guest guest special With Or Bareket Camila Meza Camila

Duo JAZZ HALL STUDIO BING CONCERT VENUE: 8 vignettes with orchestra. Program perform staged of thefamed Merola Opera to life astheyoung artists greatest momentswillcome Hall performance, opera’s In thisspecialBingConcert 7:30 PM JULY 7 SATURDAY, WHEN: Merola Opera

Summer Concert Summer Schwabacher Program

CLASSICAL HALL BING CONCERT VENUE:

role onHBO’s Treme. with ChrisBotti andher for hercollaborations young violinistbestknown The Bingwelcomes the 7:00 PM JULY 8 SUNDAY, WHEN: Micarelli

CLASSICAL/POP Lucia HALL BING CONCERT VENUE: EAPfull-page template.indd1 4/27/18 1:06 PM EAP full-page template.indd 1 4/27/18 1:06 PM JAZZ POP/WORLD Jazz on Música en the Green el Jardín

Miles to Hip-Hop Latinas Take Over!

WHEN: VENUE: WHEN: VENUE: FRIDAY, BING CONCERT SATURDAY, BING CONCERT JULY 13 HALL LAWN JULY 14 HALL LAWN 6:30 PM 6:00 PM

Three bands perform at this Grammy Award–winning outdoor concert: the Miles rapper Mala Rodríguez and Electric Band; Kev Choice, a Mexican electronica band musician, emcee, and hip-hop Sotomayor take the stage for artist; and Sidewalk Chalk, a an evening of Latin hip-hop horn-driven unit that blends and dance. elements of jazz, funk, hip- Hosted by Sonido Clash hop, and R & B.

Copresented with the Stanford Jazz Festival

POP DISCUSSION JAZZ Classic Albums Silicon Valley Terrence Live Conversations Brewer

Future of Music: Acoustic WHEN: VENUE: Jazz Quartet FRIDAY, JULY 20, & BING CONCERT HALL LAWN Computer or Composer SATURDAY, JULY 21 7:00 PM

WHEN: VENUE: WHEN: VENUE: THURSDAY, BING CONCERT FRIDAY, BING CONCERT JULY 19 HALL JULY 27 HALL STUDIO 7:30 PM 8:00 PM Known for its faithful re-creations of classic rock albums from cover to cover, Classic Albums Live returns for two nights of rock favorites: Fleetwood Mac’s Rumours on July 20 and Creedence Clearwater Revival’s Chronicle Volume 1 on July 21. Tonya Mosley, KQED’s Guitarist and Stanford Jazz Silicon Valley bureau Workshop faculty artist chief, will host a special Terrence Brewer presents his evening of conversation and new project, the Acoustic performance looking at how Jazz Quartet, in the intimate technology is influencing Bing Studio. the future of music. Copresented with the Stanford Copresented with KQED Jazz Festival

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Encore connects Personal attention WHEN: VENUE: SUNDAY, BING CONCERT your business thoughtful litigation JULY 15 HALL LAWN 2:00 PM to arts patrons final resolution wherever they are. Our goal is to preserve our LAW FAMILY client’s dignity and humanity.

Three-time Grammy Award nominee Justin Roberts is truly one of the all-stars FA M I LYLAW G R OUP, P. C . of the indie family-music scene. For nearly 20 years, 575 Market Street, Suite 4000 To learn what Encore can Justin has been creating the San Francisco, CA 94105 do for your business, visit 415.834.1120 soundtrack to families’ lives, encoremediagroup.com. www.sflg.com crafting songs that navigate the joys and sorrows of growing up.

JAZZ Andrea Motis Quintet

With Wycliffe Gordon & SJW 50/50 Jazz Orch.

WHEN: VENUE: SATURDAY, BING CONCERT AUGUST 4 HALL 8:00 PM

Barcelona-bred prodigy Andrea Motis returns to Stanford Jazz Workshop to share her astonishing trumpet and vocal talent. She’s accompanied by her band, which includes Joan Chamorro, founder of the famed Sant Andreu Jazz Band.

Copresented with the Stanford Jazz Festival Campus Partners

JULY / AUG 2018 University Collection at Stanford CenterArts Anderson andthe Copresented Cantor by the Terraces andgalleries 11:00 AM–4:00PM July 8&Aug 12 Second Sunday:Family Day 1 arts.stanford.edu. magazine. For more, visit a cover article inArtforum addition to beingchosen for shows scheduled for 1970 in Hesse hadover 20group to theNew York artscene, women recognized ascentral Begleiter. Oneof thefew a documentary by Marcie a free screening of EvaHesse, Anderson Collection presents to ink. ThenonJuly 26, the about hisuniqueapproach Chinese painter LiHuayi Knight inconversation with the Cantor hostsMichael 墨境 and galleryadventures are talks, hands-onartmaking, family-focused days of art Sunday of themonth.These activities every second Collection offer free family Arts Center andtheAnderson do thissummer? TheCantor Looking for more thingsto July 19, aspartof the for visitors of allages. On

Ink Worlds exhibition,

12 and JerryYang Collection of Akiko Yamazaki Chinese Painting from the Ink Worlds: exhibition the with Presented inconjunction Cantor ArtsCenter Thu, July 19, 6:00PM Artist LiHuayi Lecture Series: Vinie Miller Distinguished The J. Sanford and 2 2 1 Contemporary

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Untitled-2 1 10/5/17 11:11 AM 2 JULY / AUG 2018 / AUG JULY Scene & HeardScene

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1 THE VOICE OF CHILE 2 SEASON PREVIEW

Called “the best young Also on April 28, Stanford Chilean songwriter of his Live executive director Chris generation” by none other Lorway offered Stanford Live than Joan Baez, Nano Stern members an exclusive preview brought his indie-folk-rock- of the 2018–19 season, jazz fusion to the Bing Studio which was followed by a on April 28. performance by jazz pianist Emmet Cohen.

3 URIEL HERMAN 4 LIGHTS, CAMERA… MUSIC!

5 Uriel Herman poses with fans On April 20 under the baton following his performance of Keith Lockhart, the Boston on April 29. The classically Pops Esplanade Orchestra trained jazz pianist made a celebrated over 50 years stop at the Bing Studio as of film composer John part of his U.S. debut tour. Williams—the man behind the soundtracks for E.T., Star Wars, Harry Potter, and more.

5 BING FLING 6 MUSIC AND ACTIVISM

The Boston Pops On May 9, Arturo O’Farrill’s performance was part of Cornel West Concerto featured Bing Fling, Stanford Live’s the African American scholar annual gala recognition event and activist Dr. Cornel West for Bing members. Guests in full oratorical splendor. were treated to a preconcert reception and dinner in the Bing’s Gunn Atrium. 8

7 AN ARTIST LOST 8 GIVE FACE TOO SOON

John Bernd was one of Stanford Live’s partnership the first artists in the NYC with the Stanford Concert dance community to be Network continued with diagnosed with HIV. In an Give Face, Stanford’s very evening conceived by Ishmael own fierce, fabulous, fantastic Houston-Jones, who danced drag show presented April 27 with Bernd in the 1980s, in the Bing Studio. excerpts from Bernd’s works were presented in the Bing Studio on May 4 and 5. 300 Years of the Crescent City

New Orleans is one of America’s most vivid sites of cultural encounter. Seated near the mouth of the Mississippi River, the city has been a vital port of entry for new cultural influences. It has been a scene of violent clashes over race, resources, and customs. But, as a nexus where disparate cultures commingle, it has also been an incubator of new and manifestly American forms of expression through performance, cuisine, and community living. To mark the city’s tricentennial this year, we put together a timeline highlighting this history of fusion.

Early 1700s 1789 1827

French Canadian explorer and colonial Saint Louis Cemetery was established. A group of students donned colorful administrator Pierre Le Moyne d’Iberville Because the city is built on a swamp, costumes and danced through the and his brother Jean-Baptiste Le Moyne the deceased have to be buried above streets of New Orleans on Mardi Gras, de Bienville landed at the mouth of ground. Burial sites feature elaborate emulating the pre-Lenten revelry they’d the Mississippi River in 1699. In the first stone crypts and mausoleums with observed while visiting Paris. Several decades of colonization, the indigenous decorative artwork embellishing the decades later, a secret society of tribes of the Mississippi Valley— tombs. These distinctive cemeteries businessmen called the Mistick Krewe including the Natchez, the Houma, and have come to resemble small villages. of Comus organized a torch-lit carnival the Chitimacha peoples—helped the They are known by the nickname of procession with marching musicians and French survive the difficult, swampy “Cities of the Dead” and have come rolling floats, setting the stage for the climate. Iberville coerced other tribes to to emblematize New Orleans’s unique public celebrations that would define the join him in making war on the region’s relationship to death and mourning— city’s festive spirit. The all-white Krewe most powerful tribe, the Chitimacha. from jazz funerals and voodoo altars of Comus became the focus of cultural to its vampire lore. debate about the relationship between race and the civic tradition more than a 1718 century later when required by the city to integrate or cease parading. Bienville wrote to the directors of the Mississippi Company in 1717 that he had discovered a crescent bend in the river, seemingly protected from tidal surges and hurricanes, and proposed the new capital of the colony be built there. La Nouvelle-Orléans was born.

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D2_StanfordLive_Magazine_July/Aug_Spreads_053018.indd 3 6/5/18 2:00 PM 1890 1960s 2005

Ferdinand Joseph LaMothe, known Dooky Chase’s Restaurant, originally Hurricane Katrina hit New Orleans, professionally as “Jelly Roll Morton,” was founded in 1941 as a sandwich shop, flooding 80 percent of the city born. In the late 1800s, brass bands and evolved into one of the country’s and leaving 40,000 people ragtime piano were popular, while poor first African American fine dining (disproportionately people of color) New Orleans neighborhoods added a restaurants and became an epicenter stranded in the Superdome and the West African and Caribbean touch to for civil rights organizing, jazz Ernest N. Morial Convention Center local music. From this mix emerged performances, and Creole cooking. for five days. In Louisiana, 1,577 people Charles “Buddy” Bolden, a cornetist who Thurgood Marshall, Oretha Castle lost their lives. Relief efforts were formed a group in 1895, fusing these Haley, and Dr. Martin Luther King Jr., monumental, with more than 1 million influences with blues, black Baptist music, among others, held strategy sessions volunteers flocking to New Orleans to and his own legendary improvisations— over meals by chef Leah Chase in the help rebuild the city. in effect, inventing jazz. Louis Armstrong upstairs meeting room. was born soon thereafter in 1901.

1930s–1940s 1970

In 1938, Tennessee Williams moved to The first New Orleans Jazz and Heritage New Orleans to write for the federal Festival debuted as a relatively small- Works Progress Administration, scale event in Louis Armstrong Park, eventually immortalizing the French attracting a mere 350 attendees. The Quarter’s romantic decay in numerous festival has since become one of the plays including A Streetcar Named Desire city’s major annual events, attracting and Vieux Carré. half-a-million-strong crowds and major 2017 international music acts. This same year Mayor Moon Landrieu inaugurated Inspired by conversations with jazz and began to oversee desegregation of band leader Wynton Marsalis, Mayor government and public services. Mitch Landrieu and his administration undertook the removal of four divisive Confederate monuments from public 1987 sites in New Orleans, reminding us, “There is no other place quite like it in Big Chief Allison “Tootie” Montana was the world that so eloquently exemplifies the recipient of a fellowship as a Master the uniquely American motto: e pluribus Traditional Artist from the Folk Art unum—out of many, we are one.” Program of the National Endowment for the Arts. Tootie was one of the city’s most famous “Mardi Gras Indians.” The more than century-old tradition among African American men involves dressing on Mardi Gras day in elaborate, handmade costumes reminiscent of the American Plains Indian dress and the beadwork of Yoruba peoples in Nigeria to pay homage to enslaved ancestors and the indigenous allies said to have aided those escaping bondage.

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D2_StanfordLive_Magazine_July/Aug_Spreads_053018.indd 4 6/5/18 2:00 PM ARTIST VOICES

The Spirit of New Orleans

By Wynton Marsalis

Down on the Bayou where drained and sprinkled with becomes laughter. In New Sundayed in Jackson the mighty Mississippi kisses gris-gris dust to house a Orleans we bury our dead Square or of the River Walk Lake Pontchartrain and wild, unruly population. A above ground. They always lovers holding hands…of spills into the Gulf of Mexico. city with they own cuisine, walk amongst us…but many who have fallen in There sits that jewel of the they own architecture, that music…It always ends love here, proposed here, Southland. What the French they own music…streets happy. So when a strong honeymooned here. Not just lost to the British who with names like Dorgenois rain brings angry winds the howling ghouls of the gave it to the Spanish who and Tchoupitoulas. howlin’ down the Mississippi frat-boy drunks on Bourbon lost it back to the French or up from the Gulf, those Street, but they also bring who sold it to America Drummers drag rhythms misty winds carry the the angels of all who have for…Well, some folks say in dirgey solemnity down dreams of ghosts, yes, but romanced in and with this Jefferson conned Napoleon neighborhood streets as not just the goblins of Marie beautiful land on the Delta. in a card game and won horns moan, mock, and moo. Laveau the Voodoo queen, it for some jambalaya Man, hot notes echo against or the tortured spirits of the Yes, the ‘haints become and a chicory coffee. the sky with such weight legendary, lascivious lovelies more famous but the as to be objects. Objects of Storyville sporting houses, Saints endure. Where New Orleans, N’Awlins, the of sorrow so passionately or even the undead demons were you when 85,000 Crescent City, the Big Easy, played that the dead begin of corrupt politicians who people gathered in the the northern capitol of the to cry. Then that trumpet have steeled our idealism last open-seated stadium Caribbean, Groove City. calls and everyone falls over three colorful centuries. in professional football to Man, they have things down in behind the band for a They also bring the spirits witness John Gilliam run our there you wouldn’t believe. second line parade and of Saints, of those who have very first kickoff 94 yards for A mythic place of Mardi those musicians get to lived here in quiet dignity a touchdown? When Tom Gras and mumbo, Voodoo hollerin and shoutin and and sanctified religiosity, Dempsey kicked that 63- and the moss-covered, folks get to struttin and of those who have raised yard field goal with half a alligator-spiked pathways steppin and the living let go kids in the shadow of the right foot? When Tom Fears, of backcountry swamp of the dead and sorrow soon St. Louis Cathedral and Hank Stram, and Jim Mora

18 STANFORD LIVE MAGAZINE JULY / AUG 2018

prowled the sidelines? Were your college days, the length demons, goblins, AND saints you there when Howard of the Civil War, WW II)… away forever. There goes Stevens, Danny Abromowicz, then 43 years is an eternity. old Jean Lafitte, the pirate, Rickey Jackson, and You ever wait for something relocated to Houston; there Archie Manning donned so long that waiting for it goes old Jelly Roll Morton the black and gold? Ahhh, becomes the something? off somewhere in Memphis those New Orleans Saints! You ever see grown folks with that diamond still Confined to a purgatory of put bags over their heads sparklin in his front tooth. their own making, looking in public, covering up to for the fast track to hell. hide from themselves like We live the moment. Laissez Maybe a brand-new dome an old alcoholic who won’t les bon temps rouler! Let the would appease the gods of admit? We can’t help it. Good Times Roll. I think I football—a Superdome. We’re with our Saints even hear that trumpet calling when we ain’t. New Orleans the children of the Who Fathers bounced kids on people are stubborn and Dat Nation home—not their knees while explaining hate to leave home. Down Gabriel’s or the horns that how we would certainly blow here, people like to brag blew down the walls of our 30-point halftime lead about how they handle Jericho—that jazz trumpet by game’s end…and the tragedy. Epochal hurricanes conjuring up the spirit world Saints did not disappoint. like Betsy and Camille with a Congo Square drum Were you there when the are discussed as if they’re cadence. Ghosts, goblins, Dome Patrol brought us people. “Betsy was bad but and ‘haints aggravate. to the upper chambers Camille, Lawd Have Mercy, Saints congregate. I hear of purgatory in search of the water was up here to them now bringing that playoffs, playoffs...playoffs? my neck.” Nobody brags on 43-year second line to a Yes, ‘haints become famous Katrina. She swept through glorious crescendo. “Who but Saints endure. Just ask here like death on a high Dat Say What Dat When Deuce. If 4 years is a long horse. Those floodwaters Us Do Dat?” It’s like waiting time (your high school years, seemed to run all the 43 years to hear somebody say “I Love You” back. And they do. Let the tale be told ‘bout the black and gold won the Super Bowl. “A mythic place of Mardi Gras And those jazzmen still play and mumbo, Voodoo and the sad songs, but they always end happy…they always do. moss-covered, alligator-spiked —Excerpted from pathways of backcountry…” wyntonmarsalis.org

Wynton Marsalis in Conversation Tue, Sep 25 7:30 PM Bing Concert Hall

19 MAIN FEATURE

1 The Ties That Bind and Unbind

By Natalie Jabbar

In her poem “Human Family,” the late Steeped in a media landscape replete In its past season, Stanford Live writer and activist Maya Angelou with discord and downright divisiveness, focused on how America and Canada recounts the vast differences that we may find it difficult to grasp, let define themselves—for better and for divide us, only to conclude with the alone believe, Angelou’s sentiment on worse—through their artistic voices. following refrain: our bleakest days. But it is precisely From Taylor Mac’s American pop this vital recognition of our human odyssey to poet Claudia Rankine’s We are more alike, my friends, togetherness that inspired the themes conversation about race in the than we are unalike. Stanford Live explores in its 2018–19 American imagination, more than 100 season: Life, Love, and Loss. artists unpacked notions of nationhood, We are more alike, my friends, identity, and nostalgia. than we are unalike.

20 STANFORD LIVE MAGAZINE JULY / AUG 2018

“The artists we bring to the stage here are authentic—their voices are coming from their own experience.”

—CHRIS LORWAY

2 Emerging from that exploration, the upcoming season seeks to transcend national borders and the rifts dividing daily across the seams of our globe by harnessing the power of live performance to showcase the universal aspects of our shared humanity.

“It makes sense that one of the only ways we can break down these political divides is to get to know each other better and to take away the mythology of ‘the other,’” says Stanford Live executive director Chris Lorway. “How can we cultivate a collective sense of empathy toward all sides?”

That quest for sincere engagement and deep empathy is at the root of the new season Life, Love, and Loss. What does it mean to chart a life? How do we form bonds of affection? What happens peoples, where the sounds of jazz mining industry. Imagine navigating the when we lose people important to us? from the likes of the Branford Marsalis New York dating scene as a queer man No matter who we are or where we are Quartet fill the electric air. Follow the with cerebral palsy during Ryan Haddad’s from, these questions are central to our bodies of Circa, a human circus from one-man show Hi, Are You Single? existence, though we may answer them Australia, as they twist their limbs in astonishingly different ways. And beyond comprehension. Listen to As they weave together ideas like these are the questions that artists from Catalan musician and composer Jordi migration, solace, lineage, rituals, and around the world will illuminate on stage Savall and a global array of artists community into the larger themes of this year through music, movement, as they pay musical tribute to the life, love, and loss, this season’s artists theater, conversation, film, and more. historic routes of slavery. Experience an invite us to witness how multifaceted immersive audio-visual performance but also how connected we as humans Travel to New Orleans, a vibrant city from Sō Percussion as the group reveals are. Whether they are choir singers or teeming with different culture and the complex layers of Britain’s coal writers, violin players or contemporary

21 MAIN FEATURE STANFORD LIVE MAGAZINE JULY / AUG 2018

3 1. Honji Wang and Sébastien Ramirez will be in residence at Stanford this fall

2. A scene from Monchichi, which Wang Ramirez performed in the Bing Studio last season

3. Inua Ellams’ Barber Shop Chronicles captures the way community and culture come to life in everyday gathering spaces

dancers, they are all storytellers as well. artists who will spend extended periods open to these artists so that they can If, as the late great political philosopher of time on campus, interacting with use Stanford to inform their own arts Hannah Arendt once wrote, “storytelling faculty, students, and the community. practice,” Elam continues. “This is reveals meaning without committing one of the first steps for truly making the error of defining it,” then each of “One of our major goals for the arts Stanford a destination for the arts.” these live performances tells a story at Stanford is to make our university a that unveils some aspect of a culture vibrant home for arts and artists. We see Residencies like these can be or a history without reducing it to a artists’ residencies as a vital component transformative for the artist, audience, mere data point. And that complex of this strategy. Next year’s Presidential and students alike. Stanford political story, in this era of distilled, distorted, Residencies with Nitin Sawhney and science PhD candidate and lifelong and simplified sound bites, is an Wang Ramirez will be an opportunity ballet and contemporary dancer Glory incomparable gift. for these artists to interact more closely Liu took a master class from visiting with Stanford students, particularly, international hip-hop duo Wang Ramirez To support the next generation of and with the Stanford community (Honji Wang and Sébastien Ramirez) last such vital storytelling and art making, more generally,” says Harry Elam, vice year. She says working intensely with Stanford Live and the university at large president for the arts and senior vice Honji Wang, learning the duo’s stories, are also now making an investment in provost for education. and then ultimately seeing them perform supporting cutting-edge artists and was both enriching and unforgettable: bringing them to campus. Through the “The residencies also are about “To have them come to us and bring a newly established Stanford Presidential helping the artists in ways that different set of traditions, languages, Residencies on the Future of the Arts, only Stanford can. The intellectual and stories opened our eyes to the much the university can invite a number of possibilities of this university will be larger world of dance.”

22 STANFORD LIVE MAGAZINE JULY / AUG 2018 “We’re staying in the home

As a scholar who focuses on political from the experience they are talking that we love, theory and American politics who is also about,” says Chris Lorway. “The thanks to passionate about movement, Liu says artists we bring to the stage here are dance—and the arts more broadly—is authentic—their voices are coming from Avenidas Village!” an essential language that offers us a their own experience.” way to express ideas that may otherwise be difficult to communicate. And perhaps by listening to these genuine voices as they embody and “A large part of the national perform love, life, and loss—and by conversation that’s happening now engaging in that magical dialogue is referred to as that empathy wall— that happens during the performance ‘we don’t understand the people in between the artist and each of us—we Louisiana’ and so forth,” she explains. might remember that we are, as Maya “But a lot of dancers are using art Angelou suggested, more alike than we as an empathy vehicle. Artists like are unalike. Wang Ramirez are using dance as a conversation to transcend ethnic and Natalie Jabbar is assistant director of national boundaries.” public relations for Stanford’s School of “Joining Avenidas Village Humanities and Sciences. gives us all the benefits of Nitin Sawhney, a British Indian a retirement community, musician, composer, and producer, will but we didn’t have to be in residence at Stanford this fall as Dystopian Dream move!” part of the new Stanford Presidential Nitin Sawhney and Residencies on the Future of the Arts. Wang Ramirez • 24/7 assistance Sawhney will collaborate with the Thu, Oct 4, & Fri, Oct 5 returning dancers Wang Ramirez to • Access to a network of 7:30 PM over 200 vetted vendors produce Dystopian Dream, a surreal Memorial Auditorium and transcendent journey about loss, • Discounts on services surrender, and continuity. In addition, Inua Ellams’ acclaimed play Barber Barber Shop Chronicles • Socializing Shop Chronicles is supported through A Fuel, National Theatre, and West • Cultural outings this initiative. Ellams, a writer who Yorkshire Playhouse coproduction immigrated from Nigeria to London as Thu, Nov 8–Sat, Nov 10 • Transportation a teenager, takes audiences into the Roble Studio Theater assistance intimate space of African barbershops in Johannesburg, Kampala, Accra, and • And more! London where they will witness stories unravel with every strand of hair shorn. “Call (650) 289-5405 for a free personal Whether in the artistic residencies consultation to see if or the full range of the 2018–19 Avenidas Village will offerings, the curators of Stanford work for you as well as Live’s season wanted to ensure that each cross-cultural voice or expression it has worked for us! had emanated from an informed, We love it!” experiential representation.

“We’ve become a society of talking heads, a lot of whom are not coming www.avenidasvillage.org

23 FEATURETTE

1

Nitin Sawhney: How I Wrote Music for a Dance Without Dancers

By Judith Mackrell

He has composed for films, TV series, Sawhney was still recovering from and orchestras. But his Dystopian Dream the marathon of writing music for could be his most ambitious work yet. all eight episodes of the BBC series Human Planet. He admits he was Editor’s Note: This article was originally not at his most receptive when the published in the Guardian on June 2, 2016. choreographer said to him: “Right Nitin, what I want here is 10 minutes Nitin Sawhney has always loved of just banging.” As he recalls: “I was writing music for dance, but he finds like, ‘What? What kind of banging?’ working with choreographers a very How is that going to work for me?” specific discipline—with very specific restraints. “You have to suspend However, once he’d worked out that your ego,” he laughs and mentions Khan wanted something that “sounded a particularly challenging moment very tribal, very primal,” he went during a collaboration with his good on to write music unlike anything friend Akram Khan. It was late and he’d ever composed before. “It was 2 24 STANFORD LIVE MAGAZINE JULY / AUG 2018

3 a ticking that gradually expanded into this huge pulse,” he says of his compositions for what became 2010’s Vertical Road. “It sounded so epic, so strong—it was like the beginning of the universe. Working with someone else’s vision can be such a revelation. Once you start digging into their thoughts, you create something you would never have got to by yourself.”

He may be a DJ, a producer, a guitarist, and a composer who’s written for films, TV shows, video games, and symphony orchestras, but dance has always been a force in Sawhney’s life. His mother trained as a bharata natya dancer when she was a young woman in India; and during his own teenage years in Kent, he became heavily involved in the local street dance scene. Seated in his Brixton studio, a magical hive crowded with instruments and recording equipment, he says: “I was a break- dancer when I was a kid. I was really into it.” Later, as a young composer, it was his study of classical kathak music that led Sawhney to write his first scores for dance, working with British- vocabulary. You can hear music in 1–2. based performers like Nahid Siddiqui. every movement the body makes. Even Sébastien Ramirez and Honji Wang perform in when there’s no movement, there’s Collaborating with Khan—a pairing Dystopian Dream a tension that is always exciting.” that began with the 1999 solo Fix— has brought a wider involvement 3. Sawhney has become such an integral The acclaimed artist with the art form. He makes proud part of the British dance scene, he’s and polymath Nitin mention of a charity event at which been made an associate artist of Sawhney he performed a solo choreographed Sadler’s Wells, the UK’s premier dance by Hofesh Shechter—“a rave dance house. He feels a deep affection with a glitter ball”—and says he for the London venue and his latest now attends dance performances project is almost a love letter to it. The regularly, and attentively. “It’s amazing work is part of , a series of to see how dance is put together. No Body multimedia installations designed for As a musician, it’s such a wonderful

25 FEATURETTE STANFORD LIVE MAGAZINE JULY / AUG 2018

Sébastien Ramirez and Honji Wang perform in Dystopian Dream

different parts of the building, which, emotion that’s been contained here the geography. Arranged over three although inspired by dance, involve no and is still imprinted on its walls.” floors, it will begin in the foyer and live performance. Instead, the event is then move upstairs until it ends in a conceived as a choreography of light, Working with the video artist Nick rehearsal room where, he promises, imagery, and sound, with creations Hillel, Sawhney trawled through “there will be some kind of revelation.” by lighting designers Michael Hulls an archive of old photographs and This physical ascent is Sawhney’s way and Lucy Carter and film by Siobhan playbills from the theater, piecing of referencing the wells around which Davies and Russell Maliphant. together a history that dates back the first theater on the site was built: “I to the early 1800s, when comedians wanted to create the feeling that the At first, Sawhney wasn’t clear exactly like Joseph Grimaldi were its stars. installation was rising from the depths why they should be ditching live This progresses to the 1930s, when of the past and up into the light.” performance. “To be honest, I couldn’t Margot Fonteyn was its fledgling get my head around where it was ballerina, before reaching the For his next dance project, another coming from.” But, turning the idea present day. Working with Hillel’s Sadler’s Wells coproduction, Sawhney over, he began to see it as a great images, Sawhney composed his own is very much in the physical here and opportunity to work in a new genre impressionistic, aural recall of the now. It’s a staged concert of his album and communicate something of what theater’s history, which the audience Dystopian Dream that will feature the theater means to him. “I had the will listen to through headphones as the hip-hop/contemporary dance idea of an installation that would they walk through the installation. duo Wang and Ramirez. During the explore the history of the building— writing of Dystopian Dream, Sawhney all the performers who’ve left their The final crucial component of Indelible, says he had an almost cinematic mark on the stage, all the heightened as Sawhney has titled his creation, is narrative running through his head,

26 and he imagined that at some point the album could be turned into a fully choreographed piece. He worked with Wang and Ramirez at the album’s launch, where they performed to the track “Redshift.” “They captured everything I was hoping for. This album has lots of layers, and they got that. They can work in ways that are symbolic but also deeply personal. They can go from something intimate to something quite epic.”

Sawhney talks of feeling a visceral thrill whenever he watches his music take on an independent physical life. “When I conducted the London Our life here Symphony Orchestra, that was wonderful. A month earlier, I’d been imagining this music in my head. Now Chris Gandel and Misty, joined in 2014 all these people were performing it. Dance is such a human, such a full-bodied form of expression; it’s Amazing always going to draw you in.” SMILES Frequent Wags.

Chris and Misty have found their place at Webster House, Palo Alto’s most appealing Life Plan Community where everything is taken care of. Chris has real peace of mind knowing that if she ever needs assistance with her daily activities, she can continue to live in her beautiful, independent living apartment. To learn more or for your personal visit, please call 650.838.4004.

Nitin Sawhney: A Musical Life Sat, Sep 29 7:30 PM Bing Concert Hall

Dystopian Dream Nitin Sawhney and Wang Ramirez Thu, Oct 4, & Fri, Oct 5 401 Webster Street, Palo Alto, CA 94301 websterhousepaloalto.org 7:30 PM A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 435294364 COA #246. EPWH755-01KB 090117 Memorial Auditorium Nitin Sawhney is one AKRAM KHAN of the most distinctive and versatile musical In 2002, Sawhney worked with voices around. A true dancer and choreographer polymath, he is a Akram Khan, writing the music world-class producer, for Khan’s work Kaash, which songwriter, DJ, toured worldwide. These two multi-instrumentalist, kindred spirits converged again orchestral composer, with zero degrees (2005), bahok and cultural pioneer—a (2008), Confluence (2009), and latter-day Renaissance Vertical Road (2010). man in the worlds of music, film, video games, dance, and theater. ANOUSHKA SHANKAR

He produced Anoushka Shankar’s Grammy- nominated album Traces of You, which features vocals by Norah Jones. Six Degrees of Nitin Sawhney Nitin of Degrees Six

JOHN HURT

Sawhney’s 2011 studio work, Last Days of Meaning, is a “parable about entrenchment and dogmatism” in modern- day Britain, according to the artist. On the album, songs and instrumental pieces are interspersed with spoken reflections voiced by actor Nitin Sawhney: John Hurt. A Musical Life

Sat, Sep 29 7:30 PM Bing Concert Hall

Dystopian Dream Nitin Sawhney and Wang Ramirez Thu, Oct 4 Fri, Oct 5 7:30 PM Memorial Auditorium

28

D2_StanfordLive_Magazine_July/Aug_Spreads_053018.indd 1 6/7/18 4:02 PM ANDY SERKIS

Sawhney composed the music for the Ninja Theory video games Heavenly Sword and Enslaved: Odyssey to the West, both of which star actor Andy Serkis.

CLAIRE FOY

He also recently scored Andy Serkis’ directorial debut Breathe, which features The Crown star Claire Foy.

MIRA NAIR

Sawhney’s notable film and TV scores include music for the BBC series Natural Fantasia and Human Planet and for Oscar-nominated director Mira Nair’s adaptation of Jhumpa Lahiri’s The Namesake.

PAUL MCCARTNEY

Sawhney’s 10 studio albums include 2008’s London Undersound, which contains the song “My Soul” recorded with Paul McCartney.

29

D2_StanfordLive_Magazine_July/Aug_Spreads_053018.indd 2 6/5/18 2:00 PM FEATURETTE

In Conversation with Inua Ellams

Writer of Barber Shop Chronicles

A key performance in Stanford Live’s shared a little about his purpose in one would fund me to do this, but the upcoming season upholding universal creating this work for the stage. idea stayed with me. The idea of the human dignity—rooted in the common poems turned to conversations, to experiences of life, love, and loss—is What inspired you to write this play? scenes, to settings, to drama, to politics, Barber Shop Chronicles, a play by UK- to anthropology, to history, to the based Nigerian playwright Inua Ellams Years ago I learned of a charity that was contemporary—to everything really. I that transcends identities, borders, trying to train barbers in the very basics wanted to capture the fragility of black and creeds. Depicting the barbershop, of counseling, and I never realized how men in their own setting. a space where everyday tasks of life’s intimate the conversations could get upkeep give way to profound community between barbers and clients. Initially How did you approach the piece? bonds, Ellams’ play offers a supple view I wanted to be voyeuristic and create of human continuity across the cultural poems. Just to record the conversations I went to London, South Africa, Uganda, complexities of the African continent and try and write poems about the Nigeria, and Ghana. I met individuals, and diaspora. Before the premiere, he interactions between these men. No transcribed and recorded, mixed things

30 STANFORD LIVE MAGAZINE JULY / AUG 2018

“I’ve tried to create that sense of camaraderie and a safe space for the men in the play to be themselves.”

—INUA ELLAMS

together, created whole new characters, of precision is out there in the public. scrapped some, and created this play Maybe the Caribbean men have more Barber Shop Chronicles that is 40 percent verbatim, 60 percent light shown on the many facets of the A Fuel, National Theatre, and West invented. It was a lot of work drawing island, but I don’t think there are that Yorkshire Playhouse coproduction strands together and churning. I’ve tried many of African men. Thu, Nov 8–Sat, Nov 10 to create that sense of camaraderie and Roble Studio Theater a safe space for the men in the play to —Courtesy of the National Theatre, 2017 be themselves.

What is the significance of the different places in the play? The UK, South Africa, Uganda, Nigeria, and Ghana?

Simply because they’re Anglophone Africa rather than Francophone Africa—I wanted to create a diasporas conversation between black African men in the UK and black African men on the continent. And those were the places I had the most friends and ins into barbershops.

What do you want people to take away from the piece?

Just how vast, complex, and nuanced the continent is. The very many types of black men that exist. The stereotypes created for us, for the actors perfumed on television, all of them lack in grace and specificity and are tired and dated. It is just so multilayered, multifaceted, a plethora of identities that we don’t have represented in the UK, and I wanted to share that. To show the kaleidoscopic nature of masculinity on the continent and here. And we know that black men know that, but I don’t think that level

EAP 1_3 S template.indd 1 4/11/18 10:09 AM We are proud to continue to deepen our partnerships with other organizations in the Bay Area. In particular, Stanford Live has been working closely with UC Berkeley’s Cal Performances to bring several artists to the

JULY / AUG 2018 / AUG JULY region for an extended period, allowing a larger number of audiences to experience 1 the work. “Our projects with Stanford Live have been 3 model artistic collaborations,” 2 says Matías Tarnopolsky,

Behind the Scenes executive and artistic director of Cal Performances. “We are thrilled to be partnering again on an exciting and deeply relevant new piece of music, Jimmy López’s Dreamer, which receives its premiere next March in Berkeley and at Stanford.” In addition to Dreamer, audiences on both sides of the Bay will be also be able to experience a variety of shows including Mouthpiece, Barber Shop Chronicles, and Jordi Savall’s The Routes of Slavery

CHRIS LORWAY EXECUTIVE DIRECTOR

1 2 3

Librettist Nilo Cruz with Last season’s production of the Mouthpiece, the two-woman conductor Esa-Pekka Salonen, “guerrilla folk opera” Counting show created and performed who will lead the premiere Sheep was presented in the by Amy Nostbakken and Norah of Dreamer, an oratorio Bing Studio before the Cal Sadava, will start its Bay Area co-commissioned with Cal Performances run in Oakland’s run in the Bing Studio next Performances and based Metro Opera House. January before heading to on stories of young people Berkeley in March. enrolled in the DACA program in Berkeley.

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JULY / AUG 2018 I metAyleen.” up to Mills how andthat’s exchange. Agroup of uswent was aStanford/Mills College College. Emoryrecalls, “There Ayleen was attending Mills they metinthe1950s when began raising afamily, but Law Schoolafter thecouple Ayleen attended Stanford American AlumniCluband Stanford AsianPacific Emory cofounded the aspects of theirlives. Live reflects several important their supportfor Stanford For EmoryandAyleen Lee, 1 Meet Our Members Our Meet Ayleen and Emory Lee have been Stanford Live Stanford been have Lee Emory and Ayleen

34 celebrated their recent wedding Live programs and even The Lees are often atStanford of publicservice. commitment to theimportance andalifetimeHuman Services Department of Healthand career attheSanFrancisco in Chinatown.” Thisledto a started doingvolunteer work I basically dropped outand seemed totally irrelevant, so dissertation Iwas working on Vietnam War. Emory says, “The school, around thetime of the Emory was ingraduate public servicebeganwhen The couple’s commitment to members since 2012 open upthecampus.” wonderful serviceandhelpsto Stanford Live really provides a acquainted with Stanford. creates for peopleto become music andtheopportunity it “Simply because we love the Lees to supportStanford Live? why isit important to the With theirmany commitments, enjoyable experience.” should gosee. AndIhave an know little aboutbutIthink I is goingto aprogram Imay notes, “What Ilike aboutBing recital thisseason. Ayleen anniversary at Jeremy Denk’s

2

3

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Ayleen and Emory Lee The Stanford Symphony Jeremy Denk’s Charles Ives Although their interests are pictured in their Palo Orchestra’s Beethoven recital on January 28 lean toward classical and Alto home. Project during the inaugural marked Ayleen and Emory’s jazz, Ayleen and Emory aren’t season at the Bing was anniversary. afraid to take a chance on a particular highlight for other offerings like Selected Ayleen and Emory. Shorts’ holiday show last year.

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Lang Beverly Brockway Jay & Sallie Whaley Lisa Lapin Lottie & Henry Burger Jeri & Kevin Wheaton Ex officio: Cathy & Stephen Lazarus Francis & Nancy Cavagnaro Diane Wieder Maude Brezinski Joan & Philip Leighton Beth Charlesworth Curt Williams Stephen Sano Doreen & David Leith Susan Christiansen Warren Wu Matthew Tiews Roxanne Leung Albert & Betty Cohen Cristina Zappacosta Sanford Lewis Susie Cohen Irene Lin Elaine Costello & Warren Dougherty Marcia Linn & Jack Morris Richard & Suzanne Cottle PERFORMANCE SPONSORS Bing Concert Hall Donors Sherry Listgarten Ann & George Crane Drs. John & Penny Loeb Jeanne & Larry Aufmuth Patricia & Tim Daniels BUILDING DONORS Teri Longacre & Richard Hildebrandt Angel & Jonrie Davila Helen & Peter Bing Rachel & Zohar Lotan Lothar De Temple The Bullard Family Peter and Helen Bing Kathryn Naylor Low Judith Dean & Ben Encisco Roberta & Steven Denning Patricia & George Lundberg Bernadine Donoghue Margaret Dorfman Cynthia Fry Gunn and John A. 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Alexander Glover Deedee and Burt McMurtry $100,000+ James Murphy The Goldhaber-Fiebert Family The Koret Foundation Linda and Tony Meier Katherine Jolluck & Norman Naimark Paul Goldstein & Dena Mossar Wendy Munger and Leonard Gumport Mariam Nayiny Harry & Diane Greenberg $50,000–$99,999 Jennifer Jong Sandling and Kirstin & Frederic Nichols Ann & Barry Haskell The William and Flora Hewlett M. James Sandling Christine & Ronald Orlowski Tanya Hastings Foundation Regina and John Scully Shari & Donald Ornstein Karin Heck Nancy & Stephen Player Jeffrey & Caron Heimbuck Madeline and Isaac Stein $10,000–$49,999 Barbara & Warren Poole Jeanne Hochman Akiko Yamazaki and Jerry Yang Anonymous Kitty & Lee Price Bebe & Rich Hoppe Chamber Music America Kathryn Pryor Rob Huffman & Emily Smith Nathan Cummings Foundation, BING EXPERIENCE Richard & Karen Recht Edmon Jennings with the support and encouragement Kyoko Robinson Patricia Johnson FUND DONORS of Jaimie Mayer Christine Robles Jane & Bill Johnson Ann and Gordon Getty Foundation Maureen & Paul Roskoph Zeev Kaliblotzky Drs. Ben and A. Jess Shenson Funds With appreciation for the following Ann Rossi Stina & Herant Katchadourian National Endowment for the Arts donors, who provide major support for Elise & Jay Rossiter Ron Katz & Libby Roth programming and musical instruments Loren & Shelley Saxe Barney & Keats $1,000–$9,999 for Bing Concert Hall. Paula & George Schlesinger Lynn & Richard Kelson California Arts Council Cora Schmid Norman & Nina Kulgein Aaron Copland Fund for Music Anonymous Sue Schmitt Ralph & Rose Lachman Kinder Morgan Foundation Schwabacher Family Uri Ladabaum Apogee Enterprises, Inc. Mid Atlantic Arts Foundation Robyn & Mark Setzen Cathy & Dick Lampman The Adolph Baller Performance Fund New England Foundation for the Arts Craig Sherman & Susan Shin Catherin Kawon Lee for Bing Concert Hall Western States Arts Federation Judith & William Shilstone Y. K. Lee Friends of Music at Stanford Judy & Lee Shulman Laurie Leventhal-Belfer Contributions listed are from current Stanford Fred and Stephanie Harman Diane & Branimir Sikic Reuben Levy Live members who made Fong Liu Mary Ann Sing Claire & Herbert Lindenberger gifts through 5/21/18. For corrections, Elayne and Thomas Techentin, Hannah & Richard Slocum Edward Lohmann or to make a contribution, please contact in memory of Beatrice Griffin Karen & Frank Sortino Marion & Erick Mack us at 650.725.8782 or supportstanfordlive@ Nancy Stanwood Jane & Thomas Marshburn Bonnie and Marty Tenenbaum stanford.edu. Barbara & Charles Stevens Michael McFaul & Donna Norton The Fay S. and Ada S. Tom Family Judith Stewart Meghan McGeary & Chih Sung Turner Corporation To learn more about giving to Stanford Live, Tracy Storer & Marcia Kimes Maura McGinnity & Erik Rausch The Frank Wells Family visit live.stanford.edu/give. Edward Storm Wallace Mersereau Maurice and Helen Werdegar Eleanor Sue Alan Miller § Deceased Rosalinda & Michael Taymor Steven Mitchel Carol & Christopher Thomsen Rudolf Moos Wendy & Roger Von Oech Mary Mourkas Penelope & Robert Waites Coralie & Gerhard Mueller Joan & Roger Warnke Jean & Bryan Myers Patti & Ed White Theodor & Lisa Nissim John & Jane Williams Joan Norton Polly Wong & Wai Fan You Cynthia & James Nourse

37 Wed Wed OCT 10 & 11 SEPTEMBER 26 OCTOBER 10 Jazz at Lincoln I’m With Her Center Orchestra Spaces with dancers Lil Buck Thu and Jared Grimes OCTOBER 11 Rob Kapilow’s Sat

SEP / OCT 2018 OCT / SEP What Makes It Great? Calendar SEPTEMBER 29 Love, Life, and Loss: The Music Nitin Sawhney: of Stephen Sondheim A Musical Life Sun OCT OCTOBER 14 Sundays with the St. Lawrence SEPT Wed St. Lawrence String Quartet OCTOBER 3 with Anne-Marie McDermott, Fri Philharmonia Baroque piano SEPTEMBER 21 Orchestra and Chorale Charles Lloyd and Mozart Magnified Thu & Fri the Marvels OCTOBER 18 & 19 With special guest Thu & Fri Hi, Are You Single? Lucinda Williams OCTOBER 4 & 5 Ryan Haddad Dystopian Dream Tue Nitin Sawhney and Sat SEPTEMBER 25 Wang Ramirez OCTOBER 20 Wynton Marsalis Kronos Quartet in Conversation Wed Music for Change: OCTOBER 10 The Banned Countries Rob Kapilow’s What Makes It Great? Sun Janáček’s Intimate Letters OCTOBER 21 Seong-Jin Cho

SEP 26 OCT 10

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