CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE Sarah Small Sarah Today’s performance is sponsored by

Community Advisory Council The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective.

Nancy VanLandingham, chair Bonnie Marshall Lam Hood, vice chair Pieter Ouwehand Melinda Stearns Judy Albrecht Lillian Upcraft William Asbury Pat Williams Lynn Sidehamer Brown Nina Woskob Philip Burlingame Deb Latta student representatives Eileen Leibowitz Brittany Banik Ellie Lewis Stephanie Corcino Christine Lichtig Jesse Scott Mary Ellen Litzinger CENTER FOR THE PERFORMING ARTS AT PENN STATE presents

Brooklyn Rider

Johnny Gandelsman, Colin Jacobsen, violin Nicholas Cords, Eric Jacobsen,

7:30 p.m. Tuesday, April 14, 2015 Schwab Auditorium

The performance includes one intermission.

This concert is a component of the Center for the Performing Arts Project. With support from The Andrew W. Mellon Foundation, the project provides opportunities to engage students, faculty, and the community with classical music artists and programs. Marica Tacconi, Penn State professor of musicology, and Carrie Jackson, Penn State associate professor of German and linguistics, provide faculty leadership for the curriculum and academic components of the project.

sponsor Designer’s Studio media sponsor WPSU

The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. PROGRAM in G minor, Op. 74, No. 3, Rider ...... JOSEPH HAYDN (1732–1809) Allegro Largo assai Menuetto. Allegretto and Trio Finale. Allegro con brio

Each of the selections below appears on the The Brooklyn Rider Almanac album.

Maintenance Music ...... DANA LYN (b. 1974)

Five-Legged Cat ...... GONZALO GRAU (b. 1978)

INTERMISSION

Dig the Say ...... VIJAY IYER (b. 1971)

Carry the Ball This Thing Together Up from the Ground To Live Tomorrow

Tralala ...... CHRISTINA COURTIN (b. 1984)

Selections from John Steinbeck .. BILL FRISELL (b. 1951)

Ping Pong Fumble Thaw ...... GLENN KOTCHE (b. 1970)

Show Me ...... AOIFE O’DONOVAN (b. 1982)

Necessary Henry! ...... RUBIN KODHELI (b. 1977)

Brooklyn Rider records for Mercury Classics. Exclusive Management: Opus 3 Artists 470 Park Avenue South Ninth Floor North New York, NY 10016 www.opus3artists.com as G Major, not G minor. The stun- PROGRAM NOTES ning slow movement is surely the centerpiece of this quartet. Where String Quartet in G minor, we see opera played out in the slow Op. 74, No. 3, Rider movements of Mozart (Haydn’s great admirer), Haydn’s slow movements Inspiration has been the very life- emphasize the hymn-like possibilities blood of our tradition since the days of four string instruments in writing of Wolfgang Amadeus Mozart’s six of chordal perfection and beguil- “Haydn” quartets, lovingly dedicated ing harmonic shifts. The minuet and to the progenitor of our medium. trio movement lifts off in an idyllic This program celebrates inspiration pastoral scene (also cast in G Major), as creative catalyst in many different while the central trio, looking back guises, and it is with “Papa” Haydn in musical time, suggests an almost that our journey begins. Though we austere quality. And it is back on the are named after Der Blaue Reiter horse we go for the witty and rous- (more on that later), the great Rider ing finale! Quartet was certainly in our think- – Nicholas Cords ing while coining our name. Names themselves are often arbitrary, and Haydn’s quartets are full of them; a The Brooklyn Rider Almanac shaving accident, for example, result- Over a century ago, the cross-disci- ed in the moniker for the Razor Quar- plinary relationship between the Ger- tet, Op 55, No. 2. But as silly as these man composer Arnold Schoenberg names sometimes are, they become and Russian-born artist Wassily Kan- handy when grappling with Haydn’s dinsky greatly affected each of their vast output of eighty-plus works for creative psyches. The string quartet our medium alone! played a supporting role in their first encounter, and we look to their sym- The Rider, also referred to as The biotic friendship as a springboard for Horseman, is so-named because The Brooklyn Rider Almanac, a com- of the jaunty motives found in the missioning project and the title of outer movements. But it is the easy our latest album. inventiveness of Haydn that is ulti- mately so memorable, and his inge- Schoenberg’s Second String Quartet, nious democratization of the four the composer’s first full dip into the voices allows this inventiveness to opaque waters of atonality, was a play itself out conversationally. The musical lightning rod that sharply first movement is a great example divided audiences and critics alike. of Haydn’s flattened hierarchy and Following the riotous premiere in also demonstrates this work’s overall Vienna in 1908, the work received tendency from tonic minor to major. its Munich debut some three years It is not long after the stern opening later. In the audience for that perfor- unison that a great thawing occurs. mance sat Kandinsky. Transformed The eminent musical thinker Hans by Schoenberg’s music, Kandinsky’s Keller has even gone so far as to say style took a further step towards ab- this quartet should be thought of straction with his landmark painting, Impression III, a visual synthesis of eclecticism of Der Blaue Reiter Alma- that very concert. A friendship en- nach, we have embraced the varied sued between these visionaries, and results and feel that our boundaries Schoenberg soon became associated have been expanded in the process. with of a group of artists surrounding Kandinsky known as Der Blaue Rieter We are reminded at every turn of this (our very namesake). This group project that music is a deeply immer- published Der Blaue Reiter Almanach sive art form, something that cannot in 1912—a highly eclectic collection be understood divorced from its of artwork, essays, and music that broader cultural context. By magnify- served as an artistic testament to ing the creative force of inspiration, their era while also offering a vision we hope that you will endeavor, as for the future. we do, to hear the music as only the tip of an iceberg. The unquenchable drive for artistic – Brooklyn Rider exploration and open embrace of the collective spirit displayed by Der Blaue Reiter is similarly a hallmark Maintenance Music by of today’s artistic zeitgeist, and The Dana Lyn, inspired by Mierle Brooklyn Rider Almanac attempts to Laderman Ukeles honor the present. Using music as our project’s touchstone, we asked I first read about New York-based a select group of composers to cre- artist-activist Mierle Laderman Ukeles ate short works for us inspired by a in Dialogues in Public Art, a compi- creative muse from relatively recent lation of interviews edited by Tom memory. Not only did the composers Finkelpearl. Over forty years ago, as readily accept the challenge, but the an effort to synthesize her roles as a varied sources of inspiration—from mother and a creative artist in an art David Byrne to Keith Haring to Wil- world that would not accept her as liam Faulkner—were consistently a both, Ukeles coded her philosophy in surprise and a delight to us. the Maintenance Art Manifesto 1969! Proposal for an exhibition, CARE. The Additionally, this project afforded us proposal sought to bring attention to the opportunity to seek fresh per- the importance and cultural value of spectives on string quartet writing. all acts of domestic, public, and en- On the surface, these composers vironmental maintenance. What also come mostly from the other side of greatly impressed me about Ukeles the classical fence—the worlds of was her commitment to the city of jazz, rock, and folk. But more signifi- New York and to the welfare of its cantly they represent some of our public and domestic maintenance favorite musical thinkers, and we workers. For the past forty years, she were deeply confident they would has been artist in residence at the De- have much to offer our medium. Our partment of Sanitation (an unsalaried newly assembled cadre is inclusive position) and has staged countless ac- of old friends and certain “musical tions and performances dedicated to crushes”—those we have long wished the maintenance of the city itself and to approach but lacked proper cour- to the workers that carry out that task. age or circumstance. Recalling the “Maintenance Music” is inspired by so I love to explore different kinds Ukeles’ belief in the power of nam- of effects, borrowing techniques “a ing day-to-day acts of maintenance la Piazzola” or even asking Brooklyn as art. The piece is based on two Rider to expand and create their themes. The first is simply the open own. I also grew up playing many dif- strings of a string quartet (E, A, D, ferent types of percussion, so I push G, C) played to sound as if tuning, the players to use their instruments which is the string player’s first task and their whole bodies to comple- in maintenance each day. It is played ment the rhythms of merengue and with, pulled apart, and re-assembled to give life to this piece. as a motif: G–A–E–C–D. The second is a mantra-like theme, meant to This piece is overall inspired by Chick convey the sort of repetitious action Corea. Its colors, textures, and ac- that one feels ambivalent about; it is cents come from his enduring exam- re-harmonized throughout the piece ple. And what about the title, “Five- and later intertwined with the initial Legged Cat”? Venezuela is famous motif. for its idioms, lessons, and street say- ings. When someone is about to get – Dana Lyn in trouble, people say: “No le busques la quinta pata al gato (don’t look for Five-Legged Cat by Gonzalo the cat’s fifth leg).” This piece was Grau, inspired by Chick Corea born with a fifth leg, so I think we don’t even have to look for the cat When asked to write a piece for any longer. The Rider has it. Brooklyn Rider, I immediately – Gonzalo Grau thought about doing a Venezuelan merengue. I was born and raised in Caracas, Venezuela, and this is Dig the Say by Vijay Iyer, one of the styles of music I love the inspired by James Brown most. The Venezuelan merengue has When I was asked by Brooklyn Rider a five-eighth meter, perhaps one of to choose an artist who had inspired the only odd-metered rhythms in me, James Brown instantly came to the Americas. Very contagious and mind. His groove-based music fea- beautiful but hard to feel naturally. tures complex polyphony, expressive This rhythm comes from the capital, virtuosity, and a ritual-like intensity. Caracas, and it has an urban evolu- His vocals were electrifying, his lyrics tion. Influenced by contra dances pointedly political, his dance moves and polkas, it was played originally revolutionary, his sense of style larger in open squares. Venezuelan meren- than life, his cultural impact im- gue has evolved in many directions, measurably huge. Like many, I have sometimes a little more cool and studied his music. Of course, it’s best jazzy, sometimes very traditional to enjoy it with your body and soul, with a touch of early 1900s. but there is also much to learn from analyzing his music’s interlocking Brooklyn Rider is definitely the en- bass, drums, guitar, horn, and vocal semble to open Venezuelan meren- parts. Each song has its own vivid gue to the world’s ears. I began my and distinct identity, beginning with music studies at age 3 studying cello, the intricacies in the rhythm section. man’s album Crossing the Field The groove underlying “Super Bad” (Koch, 2008). I became a fan. I was is different from the beat for “Pay- thrilled when they asked me to be back,” neither of which is the same a part of this project. Back in 2012, as the rhythms of “Give it up or Turn I had the good fortune to be com- it Loose.” missioned by the Monterey Jazz Festival to write a piece of music to So I humbly offer this small tribute to be performed at the festival. Thanks this musical giant. The title “Dig the to the Monterey festival and the Say” and section subtitles come from Big Sur Land Trust, I was given the the lyrics to his song, “I Don’t Want amazing opportunity to stay in Big Nobody to Give Me Nothin’ (Just Sur, California, at the beautiful Glen Open Up the Door, I’ll Get it Myself).” Deven Ranch. It was there that I had I am very grateful to Brooklyn Rider the luxury of being alone in an ex- for offering me this opportunity and traordinary place with nothing to do for truly rising to the challenge them- but write music and be with my own selves. thoughts. There was time and space enough to follow through with musi- – Vijay Iyer cal ideas. The music I wrote there was first performed at the jazz festi- Tralala by Christina Courtin, val and soon after recorded on an al- inspired by Igor Stravinsky bum titled Big Sur for OKeh records. But, that wasn’t the end if it. There Impulsively, I blurted out “Stravinsky” was much more music—pages and as my influence for “Tralala” before pages. So, I was very happy when I even had a concept. I was listen- Brooklyn Rider approached me. The ing to The Firebird a lot at the time, timing was perfect. John Steinbeck wondering so many different things has long been an inspiration. Glen about how it came to be musically. Deven Ranch is not far from Mon- Listening to “Tralala” reminds me terey, Salinas, and the settings for little of the wonderful Igor, but I was many of Steinbeck’s stories. I had hoping to perhaps capture some recently read East of Eden. Naturally, of the simpler melodic ideas that he was on my mind, and the environ- Stravinsky crafts so well (without all ment was stirring my imagination. It the harmonic what have you). A sim- seemed fitting to dedicate the piece pler Stravinsky—for children? “Tra- to John Steinbeck. lala” is no masterpiece, but perhaps it offers a light, humorous destination – Bill Frisell for the listener’s ear and mind. – Christina Courtin Ping Pong Fumble Thaw by Glenn Kotche, inspired by John Steinbeck by Bill Jens Massel Frisell, inspired by John Several years ago, I heard a refresh- Steinbeck ing track of minimal electronic music from Cologne. The artist was Kandis, I first met Brooklyn Rider when we one of the monikers used by German played together on Jenny Schein- artist Jens Massel. I then found other releases of his under the monikers and something about the lonesome- Senking and Fumble. I began to listen ness of Quentin in Cambridge spilled to this music obsessively. It’s highly out in the melody. As the tune pro- rhythmic, yet sparse, with minimal gresses and the strings swell, I imag- grooves ebbing and flowing over ine Quentin Compson’s adventure on evocative sound environments. Being the Charles River, and his nostalgia a drummer, I am, of course, drawn to for the American South, resulting in the grooves but also love the sounds the fiddle tune. Faulkner has such Massel uses and combines to create an intricate way with words. He’s these ambient electronic percussion able to create such depth of feeling songs. This is electronic music that with sometimes coarse and simple somehow feels very human and or- language, and I find that inspiring ganic. across all art.

– Aoife O’Donovan I decided to write a solo drum kit piece inspired by some of these more high-energy recordings and then Necessary Henry! by Rubin used that as the blueprint for this Kodheli, inspired by Henry string quartet for Brooklyn Rider. Threadgill The title is comprised of words taken from Massel’s record titles that also My idea was to write a piece inspired work as descriptors for the four dis- by the great composer and saxo- tinct sections of the piece. phonist Henry Threadgill because I worked with him for years. I felt like I The opening section, “Ping,” is exclu- got a doctorate working with Henry, sively pizzicato and full of rhythmic and I wanted to give him tribute interplay. “Thaw” is comprised of because he transformed my musical long arco swells that directly contrast life. In particular, his unique approach the preceding material. “Pong” fea- to improvisations—twisting interval- tures woody battuto rhythms with lic shapes, long meter, retrograde the quartet acting more as drummers motion, and spontaneous chaos. than string players. “Fumble” is the My understanding of Henry’s music transition back into the hands of the came together even more through main pizzicato theme and ultimate the process of writing, which became resolution of the piece. a presentation of my knowledge of the Threadgillian universe. From funk – Glenn Kotche to metal to twenty-first-century, we all identify sonorities differently. The Show Me by Aoife name of the work comes from his O’Donovan, inspired by tune “Necessary Illusion.” I’m very thankful to Brooklyn Rider for initiat- William Faulkner ing the sparks of this piece. The first part of this tune started – Rubin Kodheli dancing around in my head during a train ride in Germany. I was in the middle of The Sound and the Fury, reading the classic for the first time, Sarah Small Sarah

BROOKLYN RIDER “They are four classical musicians performing with the energy of young rock stars jamming on their guitars, a Beethoven-goes-indie foray into making classical music accessible but also celebrating why it was good in the first place.” – Pittsburgh Post-Gazette

Hailed as “the future of chamber music” (Strings), the game-changing string quartet Brooklyn Rider presents eclectic repertoire in gripping performances that continue to draw rave reviews from classical, world, and rock critics alike. NPR credits Brooklyn Rider with “recreating the 300-year-old form of string quartet as a vital and creative twenty-first- century ensemble”; the Los Angeles Times dubs the group “one of the wonders of contemporary music”; and Vice likens its members to “moto- cross daredevils who never screw up a stunt.”

Equally at home in clubs and in concert halls, the quartet has played ven- ues as varied as Carnegie’s Zankel Hall, the San Francisco Jazz Festival, Le Poisson Rouge, Japan’s Todai-ji, Lincoln Center, Brooklyn’s Littlefield, the Library of Congress, the Telluride Bluegrass Festival, and South by Southwest. Through visionary programming and global collaborations, Brooklyn Rider’s “down-to-earth demeanor … demystifies contemporary classical music and invites everyone into the tent,” writes a Time Out New York reviewer.

Celebrating its tenth anniversary with its most ambitious venture to date, Brooklyn Rider launched the 2014–15 season with the release of The Brooklyn Rider Almanac, on Mercury Classics, accompanied by a U.S. tour. The album forms the centerpiece of a groundbreaking multidisci- plinary project for which the quartet commissioned fifteen new works, each inspired by a respective artistic muse, from composers ranging from Wilco’s Glenn Kotche of indie rock fame to jazz icon Bill Frisell. Like the quartet’s name, the project was inspired in equal parts by the cross-dis- ciplinary vision of Der Blaue Reiter (The Blue Rider), the pre-World War I Munich-based artistic collective, and the exploding array of cultures and artistic energy found in the group’s Brooklyn home.

Season highlights include a residency at the University of North Carolina at Chapel Hill, crowned by the world premiere of Veils and Vespers by Pulitzer Prize winner John Luther Adams; the premiere of Chalk and Soot, a collaboration between quartet violinist Colin Jacobsen and choreographer John Heginbotham, at Lincoln Center’s White Light Festival; and continued touring with banjo legend Béla Fleck, with whom Brooklyn Rider recently released The Impostor on Deutsche Grammo- phon/Mercury Classics. Summer brings the tenth anniversary season of the Stillwater Music Festival, a weeklong Minnesota chamber festival founded by the group in 2006 as a place to unveil new repertoire and collaborations.

Following the 2013 release of A Walking Fire on Mercury Classics, Brook- lyn Rider showcased repertoire from the album for its Wigmore Hall de- but and elsewhere on tour in the United States and in northern Europe. Superstar soprano Dawn Upshaw joined the quartet for performances at the University of Texas at Austin and the University of North Carolina. Recent seasons also saw performances at the Ojai Music Festival, the U.S. Open tennis tournament, the Cologne Philharmonic, Rome’s Ameri- can Academy, Sweden’s Malmö Festival, the Lincoln Center Festival, Philadelphia’s Kimmel Center, and Texas’ South by Southwest, where the quartet was the only classical group with an official invitation to play.

Brooklyn Rider often appears under the umbrella of outside initiatives started by members of the group. In 2003, violinist Johnny Gandelsman created In a Circle, a series of New York performance events exploring connections between music and the visual arts. He launched In a Circle Records in 2008 with the release of Brooklyn Rider’s eclectic debut re- cording, Passport, followed by Dominant Curve in 2010 and Seven Steps in 2012. The first two albums made NPR’s year-end round-ups, while the third was named an NPR listener favorite. In 2013, In a Circle released vio- list Nicholas Cords’ solo recording, Recursions. Colin and Eric Jacobsen are co-founders of the acclaimed New York City-based orchestral col- lective The Knights. All four members of the quartet enjoy longstanding participation in Yo-Yo Ma’s Silk Road Ensemble, with which they have performed worldwide and recorded three albums for Sony Classical.

A public radio favorite, Brooklyn Rider has been featured on NPR’s Tiny Desk Concerts, On Point, All Songs Considered, Deceptive Cadence, and All Things Considered; WNYC’s Soundcheck; and American Public Me- dia’s Performance Today. The quartet has also appeared on NY1 televi- sion in New York City. The ensemble’s recordings are played across North America on stations ranging in focus from classical to world, jazz, pop, and new music. brooklynrider.com facebook.com/BklynRider twitter.com/Brooklyn_Rider CENTER FOR THE PERFORMING ARTS AT PENN STATE NPR named Aswan, the project’s debut album, one of the “Five Must-Hear International Albums” of the year. The Nile Project Musicians from throughout the Nile basin unite to compose collectively and raise awareness of the environmental issues facing the region. 7:30 P.M. THURSDAY, APRIL 23 | EISENHOWER AUDITORIUM sponsor support provided by Sidney and Helen S. Friedman Endowment Nour Mohamed

cpa.psu.edu | 814-863-0255 Bold listings represent members who Members increased their donations by 10 percent The Center for the Performing Arts recognizes the following members or more this season. Be Bold! Contact for their support. For information on the membership program or Dave Shaffer, assistant director for how you may contribute to the Center for the Performing Arts, please special programs, at 814-863-1167. contact Dave Shaffer at 814-863-1167 or [email protected].

Leadership Encore Nancy L. Herron Circle Circle Lam and Lina Hood Cindy and Al Jones Chick King $3,000 and more $1,000 to $1,999 James and Bonnie Knapp James and Barbara Korner Lynn Sidehamer Brown Pamela M. Aikey John and Michelle Mason Mimi U. Barash Coppersmith Grace M. Bardine Patrick W. and Susan N. Morse Marty and Joan Duff Mary and Hu Barnes Marcia and Bill Newton Blake and Linda Gall Philip and Susan Burlingame Robert and Helen Harvey Edda and Francis G. Gentry Steve and Anne Pfeiffenberger Bob and Sonia Hufnagel Richard B. Gidez Jack and Sue Poremba Patricia Hawbaker Quinlivan Richard and Sally Kalin Judith Albrecht and Denny Gioia Andy and Kelly Renfrew Dan and Peggy Hall LeKander David and Margaret Gray Shirley Sacks Barbara Palmer Michael P. Johnson and Dotty and Paul Rigby Maureen Mulderig Sally L. Schaadt Louis P. Silverman and Stan and Debra Latta Russell and Jeanne Schleiden Veronica A. Samborsky Benson and Christine Lichtig Paul and K. C. Sheeler Vaughn and Kay Shirk George and Nina Woskob Kenneth and Irene Mcllvried Karen and Scott Shearer Susan and Lewis Steinberg Jackson and Diane Spielvogel Marilynne W. Stout Director’s Kenton Stuck Circle Carol and Rex Warland Terry and Pat Williams Mark and Anne Toniatti David and Diane Wisniewski Elizabeth Trudeau $2,000 to $2,999 George and Debbie Trudeau Mark and JoAnne Westerhaus Patricia Best and Thomas Ray advocate Mary Jane and William Wild Lynn Donald Breon Charlotte Zmyslo Janet Fowler Dargitz and $500 to $999 Karl George Stoedefalke P arTNER Rod and Shari Erickson Ned and Inga Book Edward R. Galus Jack and Diana Brenizer $250 to $499 Arnold and Marty Gasche Sandra Zaremba and Richard Brown Donald W. Hamer and Marie Bednar Richard Carlson and Lori Forlizzi Steve and Chris Adams Beverly Hickey Joseph and Annie Doncsecz William W. Asbury Honey and Bill Jaffe Michael T. and Ann F. Dotsey Dr. Deborah F. Atwater Kay F. Kustanbauter Steve and Sandy Elbin Sven and Carmen Bilén Eileen W. Leibowitz Mark A. Falvo Alan Brown Tom and Mary Ellen Litzinger Nancy S. Gamble Roger and Corinne Coplan Pieter W. and Lida Ouwehand John and Carol Graham Lee and Joan Coraor William Rabinowitz Bill and Connie Hayes Stephanie Corcino Robert Schmalz Steven L. Herb and Sara Willoughby-Herb partner (cONT’D) friend Tom Caldwell Memorial Fund $250 to $499 $150 to $249 Don Miller June Miller Jo Dixon Lynn and Ellis Abramson Gary and Judy Mitchell Margaret Duda Shirley Allan Betty and John Moore Heather F. Fleck Anne and Art Anderson Scott and Sandy Balboni Chris and Bobbie Muscarella Pamela Francis Robert F. and Donna C. Nicely Peg and Joe French Dr. Henry and Elaine Brzycki Claire M. Paquin Catherine Greenham John Collins and Mary Brown John M. Carroll and Mary Beth Rosson Guy and Grace Pilato Andrea Harrington Proforma LLH Promos, LLC Sue Haug George and Bunny Dohn Andrew and Jean Landa Pytel Dawn E. Hawkins Steven P. Draskoczy, M.D. Ed and Georgia Reutzel Dale T. Hoffman Terry and Janice Engelder Phil and Judy Roberts Anne Hummer Barry and Patti Fisher Frank and Vicki Forni Susan J. Scheetz Christopher and Gail Hurley The Shondeck Family John and Gina Ikenberry Bob and Ellen Frederick Donald Smith and Merrill Budlong Allen and Nancy Jacobson Andris and Dace Freivalds Allan and Sherrill Sonsteby Laurene Keck and Dave Sweetland David and Kay Green Carol Sosnowski and John and Gretchen Leathers Bethlyn and Scott Griffin Rosemary Weber Debra Leithauser Charlie and Laura Hackett Barry and Ellen Stein Fran E. Levin Elizabeth Hanley and JoLaine Teyssier Jack and Ellie Lewis Patrick Kolivoski James and Deena Ultman Dorothy and Kenneth Lutz John Lloyd Hanson Stephen and Jennifer Van Hook Richard and Juanita Lysle Betty Harper and Scott Sheeder Nancy and Wade VanLandingham Jodi Hakes McWhirter In Memory of Bob Harvey Alice Wilson and Friends Susan and Brian McWhirter Ann and Tom Hettmansperger David L. and Connie Yocum Jim and Sharon Mortensen Jackie and John Hook Joe and Sandy Niebel Jim and Susan Houser Eva and Ira Pell Steven and Shirley Hsi the jazz train Martena Rogers Daniel and Kathleen Jones Mike and Joan Roseberry Ed and Deb Klevans $250 and more John F. Knepp Robert and Peggy Schlegel Help us continue to present world-class Tom and Carolyn Schwartz Harry B. Kropp and Edward J. Legutko jazz artists by becoming a member of Dave Shaffer and Eve Evans The Jazz Train. For details, contact Dave John and Sherry Symons Thomas Kurtz and Grace Mullingan-Kurtz Shaffer at [email protected] or Shawn and Amy Vashaw 814-863-1167. Gary and Tammy Vratarich Mark and Theresa Lafer Barbara R. and Joel A. Weiss Fred and Louise Leoniak William W. Asbury Sue Whitehead Sharon and David Lieb Patricia Best and Thomas Ray David and Betsy Will Bob and Janice Lindsay David and Susan Beyerle Sharon and Carl Winter Herb and Trudy Lipowsky Lynn Donald Breon Craig and Diane Zabel Jane and Edward Liszka Philip and Susan Burlingame Dr. Theodore Ziff Nancy and John Lowe David and Lisa Coggins Cal and Pam Zimmerman Sandy and Betty Macdonald Gordon and Caroline DeJong Helen Manfull Jim and Polly Dunn Deborah Marron Edward R. Galus Betty McBride-Thuering Arnold and Marty Gasche Sherren and Harold McKenzie Charlene and Frank Gaus John and Michelle Groenveld Lee Grover and Anita Bear Steven L. Herb and Sara Willoughby-Herb Eentndowm Anne and Lynn Hutcheson Honey and Bill Jaffe Contributors Brian and Christina Johnson Michael P. Johnson and $150 and more Maureen Mulderig We recognize the following donors who have contributed to endow- Cindy and Al Jones Robert Martin and Kathy Weaver ments at the Center for the Performing Arts in the past year. For more Kathleen D. Matason and information about how to contribute to existing endowments, contact Richard M. Smith Dave Shaffer at 814-863-1167 or [email protected]. Randi and Peter Menard Dr. Marla L. Moon John L. Brown Jr. and Marlynn Steele Sidehamer Wilson and Maureen Moses Endowment William and Annemarie Mountz The Sturtz-Davis Family Larry and Kelly Mroz Nina C. Brown Endowment Jack and Sue Poremba Pamela M. Aikey Sally L. Schaadt David and Ann Shallcross-Wolfgang Richard Robert Brown Program Endowment Dan and Melinda Stearns Richard Brown and Sandra Zaremba Dennis W. and Joan S. Thomson Norma and Ralph Condee Chamber Music Endowment Dan and Linda Treviño Robert and Dorothy Cecil Barbara R. and Joel A. Weiss William F. and Kathleen Dierkes Condee Charlotte Zmyslo Honey and Bill Jaffe Endowment Honey and Bill Jaffe McQuaide Blasko Endowment Mr. and Mrs. James Horne Penn State International Dance Ensemble Endowment Elizabeth Hanley and Patrick Kolivoski

vision Enriching lives through inspiring experiences

mission The Center for the Performing Arts provides a context, through artistic connections, to the human experience. By bringing artists and audiences together we spark discovery of passion, inspira- tion, and inner truths. We are a motivator for creative thinking and examination of our relationship with the world. CENTER FOR THE PERFORMING ARTS AT PENN STATE

7:30 P.M. MONDAY, APRIL 20 EISENHOWER AUDITORIUM cpa.psu.edu 814-863-0255

support provided by Eisenhower Auditorium Endowment

Center for the Performing Arts Staff

George Trudeau, director Medora Ebersole, education and community Lea Asbell-Swanger, assistant director programs manager Annie Doncsecz, finance director Lisa Faust, audience services manager Tracy Noll, sales and development services director Deanna Heichel, assistant finance director Laura Sullivan, marketing and communications Tom Hesketh, events manager director Wanda Hockenberry, assistant to the director Amy Dupain Vashaw, audience and program Christine Igoe, ticket manager development director Urszula Kulakowski, art director Shannon Arney, assistant ticket manager Heather Mannion, advertising associate Erik Baxter, multimedia specialist Sherren McKenzie, group sales coordinator Shannon Bishop, downtown ticket center manager John Mark Rafacz, editorial manager Len Codispot, sales and development accounting , assistant director for special programs coordinator Dave Shaffer Chad Swires, production supervisor Gary Collins, production supervisor Mark Tinik, production supervisor Aimee Crihfield, contracts/logistics coordinator

1 2 3 Front cover photos: 1. Diavolo Kenneth Mucke 2. Antibalas Marina Abadjieff 3.Imago Theatre’s Frogz Jerry Mouawad 4 5 6 4. SISTER ACT © 2014 Joan Marcus 5. Cyrille Aimée 6. The King’s Singers Axel Nickolaus 7. Time for Three Sherry Ferrante 8. THE CHIEFTAINS Kevin Kelly 9. Brussels Jazz 7 8 9 Orchestra’s Graphicology Philip Paquet 10. eighth blackbird Luke Ratray 11. Rosanne Cash © Clay Patrick McBride 10 11 12 12. Theatreworks USA’s The Lightning Thief Jeremy Daniel 13. Brooklyn Rider Sarah Small 14. CAMELOT 15. The Nile 13 14 15 Project Matjaz Kacicnik