Duke Performances 2014/15 Brochure

IN DURHAM, AT DUKE, EXPEC T TH E E X TRAORD INA RY.

DUKE PERFORMANCES2014/2015 SEASON | MUSIC, THEATER, DANCE & MORE.

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HELLO AND WELCOME

It is with great joy that I offer Duke Performances’ 2014/2015 season. I hope that this handsome brochure and the programming it details will induce you to join us for this extraordinary sequence of live performing arts events.

At Duke Performances, we are constantly working to set programming that reflects the breadth, depth, and ambition of Durham and Duke University today. We seek to engage forward-thinking artists who will simultaneously edify, reward, challenge, and expand the lives of our friends and neighbors in the region.

In the interest of further activating this dialogue, we have put together a series of offers we hope lower the barrier to entry for all patrons. They include:

2 5 % P I C K- F O U R O R M O R E D I S C O U N T

Patrons take 25% off their total price when they purchase tickets for four or more shows at one time from Duke Performances’ 2014/15 season.

Q$ 1 0 D U K E S T U D E N T T I C K E T S

Duke students — both undergraduate and graduate — may purchase $10 tickets to any Duke Performances show. This remarkable student

ticket deal comes as the product of a special arrangement with the Duke University Provost.

Q$ 1 5 T I C K E T S F O R PA T R O N S A G E S 3 0 A N D U N D E R

Patrons ages 30 and under — whether young professionals, students, or youth — may purchase $15 tickets to nearly any Duke Performances

show on the 2014/15 season.

Q1 5 % D U K E E M P L O Y E E D I S C O U N T

All 35,000 of Duke’s employees are entitled to 15% off tickets to nearly any Duke Performances show on the 2014/15 season.

QC H A M B E R A R T S S E R I E S , P I A N O R EC I TA L S E R I E S ,

VO C A L E N S E M B L E S E R I E S , A N D C I O M P I Q UA R T E T S E R I E S

Subscription buyers to all of Duke Performances’ classical series receive substantial discounts to the best classical music in the world presented

at the acoustically superb Baldwin Auditorium.

I am hopeful that you will join us as we continue building a community in Durham dedicated to the performing arts.

A A R O N G R E E N W A L DE X E C U T I V E D I R E C T O R O F D U K E P E R F O R M A N C E S

D U K E P E R F O R M A N C E S

C O V E R P H O T O : S H AY L A A L AY R E C A L D W E L L O F R O N A L D K . B R O W N / E V I D E N C E D A N C E C O M PA N Y, P H O T O B Y J U L I E T A C E R VA N T E S .

PAT ME TH E N Y U N IT Y G ROU PF E AT U R I N G C H R I S P O T T E R , A N T O N I O S A N C H E Z ,

B E N W I L L I A M S & G I U L I O C A R M A S S I

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SATURDAY, AUGUST 9 | 8 PMCAROLINA THEATRE OF DURHAM

Tickets: $65 • $55 • $45 • $10 Duke Students | Reserved Seating

“A virtuoso guitarist, an expansive composer, and, above all, an inveterate searcher” (New York Times), legendary jazz artist Pat Metheny makes his return to small-combo performance with the Unity Group, a band gifted enough to keep up with the full range of his forty years of musical explorations. It is no surprise that with the Unity Group, Metheny won an astonishing 20th GRAMMY Award in 2013.

Returning to Duke Performances to make up a February 2014 date that was canceled due to snow, the Unity Group boast a fine lineup of “blazing virtuosi with musical intelligence to match” (Guardian): saxophonist Chris Potter, whom Metheny calls “one of the most exciting soloists in jazz on any instrument”; Ben Williams, “the baddest new bassist on the block” (The Revivalist); powerhouse drummer Antonio Sanchez; and extraordinary multi-instrumentalist Giulio Carmassi.

A co-presentation of Duke Performances andthe Carolina Theatre of Durham.

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THE CAMPBELL BROTHERSPLAY

JOHN COLTRANE’S A LOVE SUPREMEO P E N E R S : P H I L C O O K , J O H N D E E H O L E M A N & T H E R O U S T E R S

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FRIDAY, SEPTEMBER 5 | 6 PMHAYTI HERITAG E CENTER

(THE CAMPBELL BROTHERS BEG I N AT 8 PM)

Tickets: $35 Advance, $40 at the Door$10 Duke Students | General Admission

The sacred steel tradition was born of the ecstatic meeting of African-American gospel music and amplified steel guitar in the House of God Church. The electrifying Campbell Brothers are the musicians most responsible for bringing this form from the church to the concert stage. In Durham — commissioned by Duke Performances and Lincoln Center Out of Doors — they take on John Coltrane’s A Love Supreme, interpreting the seminal work anew.

“Pedal steel guitar lines swooping skyward like a gospel shouter, carrying the songsto peak after peak.”(New York Times)

In celebration of the 50th anniversary of Coltrane’s landmark recording, the Campbells lend their staggering virtuosity and devout conviction to one of the most deeply sanctified works in the jazz canon. This concert, presented at the Hayti Heritage Center, kicks off the annual Bull Durham Blues Festival. Arrive early to hear Phil Cook, Megafaun’s roots music savant, and Piedmont blues stalwart John Dee Holeman as they warm the room for the Campbells.

A co-presentation of Duke Performances andSt. Joseph’s Historic Foundation/Hayti Heritage Center.

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A Mali native, Vieux Farka Touré is the son of the late guitar luminary Ali Farka Touré, and he carries on the musical legacy he absorbed at his father’s feet. Touré extends the family tradition of creating pathbreaking music that is “both joyous and haunting, hooked up to deep tradition, but an essential soundtrack to modern urban Africa” (Mojo).

For his Duke Performances debut, Touré comes to Durham with his acoustic quartet, perhaps the best vehicle for his dazzling guitar playing and deft songwriting. Already an international star, and “set to be Africa’s next guitar hero” (Guardian), Touré’s sound continues to develop from the traditional music he inherited. Touré says of his recent work, “My music is more mature now, more evolved. It digs deeper into the past and, at the same time, pushes harder into the future.”

Made possible, in part, with support from the Duke Africa Initiative, a faculty-led initiative that brings together scholars from across the University and Health System who have a shared interest, whether through their research or programmatic activities, in the countries and cultures of the

African continent.

Internationally celebrated Austin, Texas theater collective the Rude Mechanicals have been delighting audiences with what they describe as a “genre-defying cocktail of big ideas, cheap laughs, and dizzying spectacle” for more than twenty years. The company makes its Durham debut with Now Now Oh Now, an immersive theatrical experience that explores the nature of beauty, evolution, choice, and chance.

Leading an intimate audience of only thirty people through a three-part cabinet of wonders in Duke’s Brody Theater, the Rude Mechs combine serious scientific content with the nerdy pleasures of interactive gaming and the undeniable satisfaction of Murder Mystery Theatre. The audience shapes the direction of each performance — which starts with a locked-room puzzle — making this an evening full of surprises for performers and audience alike. “Now Now Oh Now is a delightful way to have your mind blown” (Austin Chronicle).

Made possible, in part, by a Visiting ArtistGrant from the Council for the Arts, Office of the

Provost, Duke University, and supportfrom the Department of Theater Studies at

Duke University.

VIEUX FARKA TOURÉO O O

SATURDAY, SEPTEMBER 13 | 8 PMREYNOLDS I NDUSTRIES THEATER

Tickets: $34 • $28 • $15 Age 30 & Under$10 Duke Students | Reserved Seating

RUDE MECHANICALSNOW NOW OH NOW

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W EDNES DAY, S EPTEMBER 24 THROUG H S ATURDAY, S EPTEMBER 27 | 7PM & 9PM

BRODY THEATER

Tickets: $24 • $15 Age 30 & Under$10 Duke Students | General Admission

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25% PICK-FOUR OR MORE DI S COUNT

Take 25% off your total price when you purchase tickets to four or more showsat one time from Duke Performances’ 2014/15 season.

Renowned for their ethereal vocal blend and virtuosic ensemble singing, Anonymous 4 have been touring and recording for nearly thirty years. Long celebrated for their performances of medieval music — as well as American folksong, shape note tunes, and gospel — these four fine singers perform with a “signature radiant tone and pure blend of voices” (NPR).

To kick off Duke Performances’ Vocal Ensemble Series and to bid farewell to Durham before disbanding in 2015/16, Anonymous 4 bring their Grace and Glory program to Baldwin Auditorium. The first half of the program, Marie et Marion, showcases 13th-century French music, both sacred and profane, from the Montpellier Codex. After the intermission, the quartet shifts to a set of new arrangements of American folk music and hymns popular in 1865, commemorating the 150th anniversary of the conclusion of the Civil War.

P R O G R A M :

Marie et Marion: Anonymous works drawn from the 13th century Montpellier Codex.

1865: American folk songs and hymns popular at the end of the

U.S. Civil War.

For complete program, please visit dukeperformances.org

Founded four decades ago in Hungary, the Takács Quartet bring drama, humor, and warmth to their definitive interpretations of the string quartet repertoire. Renowned as a “benchmark ensemble among today’s string quartets” (Guardian), the Takács return to Duke Performances to inaugurate the 69th season of the Chamber Arts Series.

The program begins with Schubert’s “Quartettsatz,” the only finished movement from the composer’s 12th string quartet. This is followed by Beethoven’s monumental String Quartet in B-flat Major, op. 130, played here with the Finale, which Beethoven was persuaded to substitute for the original last movement, the Grosse Fuge. Violist Erika Eckert joins the Takács for Mozart’s Viola Quintet in G Minor, among the finest of Mozart’s chamber works, in which a mood of sorrow gives way to joyous ebullience.

P R O G R A M :

Schubert: String Quartet No. 12 inC Minor, D. 703 (“Quartettsatz”)

Beethoven: String Quartet in B-flat Major, op. 130 with Finale

Mozart: Viola Quintet inG Minor, K. 516

Malian kora virtuoso and two-time GRAMMY winner Toumani Diabaté shares the stage with his son Sidiki Diabaté, advancing a remarkable musical lineage that the family traces back seventy-two generations. Toumani Diabaté is the world’s greatest living player of the kora — a twenty-one-string West African harp-lute — and is known for his ability to beautifully render melody, rhythm, and bass simultaneously. The younger Diabaté apprenticed with his father, and is developing his own incisive voice on the instrument.

This exceptional and intimate concert features father and son performing as a duo. “We’re not going backwards, trying to play just how my father and grandfather did these songs,” the elder Diabaté says. “We have to do it our way. We’re modern griots, we live in the city, we’re connected to the world.” The two have only been playing together publicly since late 2013, and Nonesuch Records recently released their debut album, Toumani & Sidiki. The Times of London ranks the collaboration “among Toumani’s best work — joyous, spiritual, and uplifting.”

Made possible, in part, with support from the Duke Africa Initiative.

VOCAL ENSEMBLE SERIES

ANONYMOUS 4O O O

SATU R DAY, SEPTEMBER 27 | 8 PMBALD WI N AUD ITORIUM


CHAMBER ARTS SERIES

TAKÁCS QUARTETW I T H E R I K A E C K E R T, V I O L A

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S ATURDAY, OCTOBER 4 | 8 PMBALDW I N AUDI TORI UM

Tickets: $42 • $36• $15 Age 30 & Under$10 Duke Students | Reserved Seating

TOUMANI DIABATÉ& SIDIKI DIABATÉ

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THURSDAY, OCT OBER 2 | 8 PMREYNOLDS INDUSTRIES THEATER


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Subscribe to the Vocal Ensemble Series — Anonymous 4, Vox Luminis, New York Polyphony,Stile Antico, I Fagiolini — and get tickets to all five concerts for $125.

When Pakistani qawwali superstar Nusrat Fateh Ali Khan died in 1997, his family’s six-century musical tradition did not end. The legacy of qawwali — a devotional genre extolling mystical love and worship of God — was passed to his nephews, Rizwan and Muazzam, exceptional singers who carry on the Sufi tradition of musical devotion and exaltation.

“One of the most exhilarating improvised vocal styles on the planet.” (Guardian)

Performing songs that use hypnotic vocal repetition to induce a state of ecstasy, the brothers’ soaring voices are backed by a gharana, an ensemble of harmonium and tabla accompanied by handclaps. Intoxicating and entrancing, “Rizwan and Muazzam’s voices climb and swoop as if riding air currents; the harmonium seeks a similar undulating flight path while fingertips flutter like hummingbirds across the tablas” (BBC).

One of America’s finest concert pianists, Richard Goode has been hailed for music-making of tremendous emotional power, depth, and expressiveness. Celebrated for his “fluid, often tempestuous performances” (New York Times), Goode’s prodigious gifts will be shown to their best advantage in the acoustically pure setting of Baldwin Auditorium.

Goode’s program opens with Beethoven’s Sonata in G Major, op. 14, no. 2, a lively and lyrical work with touches of charming humor. Goode then turns to two turbulent late sonatas of Schubert, which showcase the composer’s adventurous harmonies and mature development. Between the Schubert sonatas, Goode plays Schoenberg’s Six Little Piano Pieces, a series of splendid miniatures lasting just five minutes.

P R O G R A M :

Beethoven: Piano Sonata No. 10 inG Major, op. 14, no. 2

Schubert: Piano Sonata No. 19 inC Minor, D. 958

Schoenberg: Six Little Piano Pieces, op. 19

Schubert: Piano Sonata No. 20 inA Major, D. 959

RIZWAN-MUAZZAM QAWWALI

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THURSDAY, OCTOBER 9 | 8 PMREYNOLDS I NDUSTRIES THEATER


PIANO RECITAL SERIES

RICHARD GOODEP I A N O

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FRI DAY, OCTOBER 10 | 8 PMBALDW I N AUDI TORI UM


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P IANO RECITAL S ERI ES

Subscribe to the Piano Recital Series — Richard Goode, Yefim Bronfman, Jeremy Denk,Vladimir Feltsman, Paul Lewis — and get tickets to all five concerts for $150.

Duke Performances has once again engaged the forward-leaning jazz trio The Bad Plus — Ethan Iverson, piano; Reid Anderson, bass; Dave King, drums — to make a daring evening-length project. In 2011, Duke Performances commissioned The Bad Plus’ On Sacred Ground, a bold new interpretation of Stravinsky’s The Rite of Spring. The intrepid trio —“about as badass as highbrow gets” (Rolling Stone) — now turns its sights to Ornette Coleman’s landmark 1972 recording Science Fiction following its 40th anniversary.

“Overflowing with brilliance” (AllMusic), Coleman’s Science Fiction is distinguished by its inventive combination of melodic beauty and avant-garde openness, enhanced by overdubs, vocals, and a sonic production unlike any other jazz recording in existence. The album has long been a touchstone for The Bad Plus: it is, for them, “the apotheosis of freedom and precision in improvised music.” At Baldwin Auditorium, they pay homage by boldly interpreting Science Fiction song-for-song, front-to-back, with help from an esteemed horn section of fine improvisers including Ron Miles, trumpet; Tim Berne, alto saxophone; and Sam Newsome, soprano saxophone.

After the soundtrack for La Bamba made overnight stars of Los Lobos in the mid-1980s, the East L.A. combo doubled back to its norteño roots, recording the all-Spanish album La Pistola y El Corazón in 1988. In celebration of the 25th anniversary of that GRAMMY-winning masterpiece, Los Lobos will play the entire record live at the Carolina Theatre.

Los Lobos are long-standing masters of an adept mix of garage rock, R&B, country, and traditional Mexican music — “the genius of Los Lobos resides in their innate ability to find the redemptive power of music, no matter the style they choose to play” (All About Jazz). In this unplugged show, essential Los Lobos tunes bookend their performance of La Pistola y El Corazón. “For four decades Los Lobos have been exploring the artistic possibilities of American biculturalism, moving back and forth between their Chicano roots and their love of American rock” (Rolling Stone).


THE BAD PLUSPLAY

ORNETTE COLEMAN’SSCIENCE F ICTION

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SATURD AY, OCTOBER 18 | 8 PMBALDWI N AUDITORIUM


LOS LOBOSPLAY

LA P ISTOLA Y EL CORAZÓNO O O

FRI DAY, OCTOBER 24 | 8 PMCAROLI NA THEATRE OF DURHAM

Tickets: $55 • $50 • $45$10 Duke Students | Reserved Seating

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$10 DUKE STUD ENT T I CK ETS

Duke Performances offers Duke students — both undergraduate and graduate — tickets to any event for just $10.Limit of two $10 tickets per student for each presentation. Quantities of available $10 tickets may be limited.

Duke student ID required at time of purchase.


Romanian violinist Corina Belcea founded her quartet while still a student at the Royal College of Music in London. Twenty years on, the Belcea still play like a “young quartet, seizing the music’s energy, shocking us out of our seats with every fortissimo” (Guardian).

The Belcea return to Durham with Mozart’s last quartet, No. 23, which Alfred Einstein noted “seems to mingle the bliss and sorrow of a farewell to life.” From this classical beginning, the Belcea turn to the early romantic “Rosamunde” Quartet of Schubert, written during the turmoil of the composer’s final illness. The evening culminates in Brahms’ lush and romantic op. 51, no. 1, the first quartet he was willing to publish after destroying his first twenty attempts.

P R O G R A M :

Mozart: String Quartet No. 23 in F Major, K. 590 (“Prussian”)

Schubert: String Quartet No. 13 inA Minor, D. 804 (“Rosamunde”)

Brahms: String Quartet No. 1 in C Minor, op. 51, no. 1

The commanding GRAMMY-winning pianist Yefim Bronfman displays his gifts on the world’s biggest stages as a first-call concerto player with such illustrious conductors as Daniel Barenboim, Kurt Masur, and Esa-Pekka Salonen. As a solo performer, his playing is distinguished by exceptional grace, with “brawny fingers seeming somehow to barely brush the keys, as though there were nothing to it” (Los Angeles Times).

Bronfman’s formidable program takes us from Haydn’s playful Sonata No. 60 in C Major to early Brahms, the bold and expansive Sonata No. 3 in F Minor. The evening’s highlight is undoubtedly Prokofiev’s Sonata No. 6 in A Major, the first of the composer’s three War Sonatas, which passes from flowing lyricism to dramatic fury.

P R O G R A M :

Haydn: Piano Sonata No. 60 inC Major, Hob. XVI:50

Brahms: Piano Sonata No. 3 inF Minor, op. 5

Prokofiev: Piano Sonata No. 6 in A Major, op. 82

Founded ten years ago, the young Belgian vocal ensemble Vox Luminis have quickly earned a reputation among choral music aficionados for their fervent dedication to renaissance and baroque repertoire, their exquisite tuning and blend, and their clarity of sound. In 2012, the ensemble won Gramophone Recording of the Year for their release of Heinrich Schütz’s Musikalische Exequien, a masterwork of 17th-century polyphony.

Schütz’s requiem forms half of Vox Luminis’ program in the contemplative and soaring setting of Duke Chapel. The evening’s second part is a rare opportunity to hear the motets of the extended Bach clan. J.S. Bach himself curated the work of his uncles, and in Vox Luminis’ interpretation of this brilliant family’s compositions, their sound is “warm and resonant — they sing this 300-year-old music with the freshness and ardor of true believers” (The Independent).

P R O G R A M :

Heinrich Schütz: Musikalische Exequien, op. 7, SWV 279-281, followed by seven motets by

members of the extended Bach family.


CHAMBER ARTS SERIES

B ELCEA QUARTETO O O

SATU R DAY, OCTOBER 25 | 8 PMBALDWI N AUD ITORIUM



YEFIM BRONFMANP I A N O

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S UNDAY, NOVEMBER 2 | 7 PMBALDW I N AUDI TORI UM



VOX LUMINISO O O

THURSDAY, OCTOBER 30 | 8 PMDUKE CHAPEL

Tickets: $36 • $20 • $15 Age 30 & Under$10 Duke Students | General Admission

With Limited Reserved Seating

CHAMBER ARTS S ERI ES

Subscribe to the Chamber Arts Series — Takács Quartet, Belcea Quartet, Horszowski Trio, St. Lawrence String Quartet,Calefax Reed Quintet, Jerusalem Quartet, Elias String Quartet, Artemis Quartet — and get tickets to all eight concerts for $180.

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In a meeting of New Orleans’ best-known musical treasures, R&B legend Allen Toussaint joins with traditional jazz giants the Preservation Hall Jazz Band as the Cresent City holds sway at the Carolina Theatre. Toussaint is one of the most influential figures in contemporary New Orleans music, a renowned songwriter and producer who is celebrated for his deft touch and funky feel on the piano. He is a member of the Rock and Roll Hall of Fame, a multiple GRAMMY nominee, and, like Preservation Hall, a National Medal of Arts recipient.

The ebullient Preservation Hall Jazz Band have kept traditional jazz alive in the French Quarter for a half-century. At the band’s 50th anniversary celebration at Carnegie Hall, audiences reveled in “the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time” (New York Times). When these musical institutions come together in downtown Durham, expect a deep dive into New Orleans’ vibrant musical heritage.


Virtuosic dancers from the favelas of Rio de Janeiro fuse hip-hop, samba, capoeira, and contemporary dance in the boldly imaginative choreography of Sonia Destri Lie’s Companhia Urbana de Dança, one of the most exciting new ensembles on the world stage. “The seven young men and one woman in this Brazilian hip-hop group are almost shocking in their individuality and physicality” (Dance Magazine).

Destri Lie deconstructs the thrilling kinetic expressions of street dance and shapes them into theatrical tableaux. “Classic hip-hop moves are visible — the rippling of arms, the rolling on backs — yet they have been stretched and shaped into something new” (New York Times). Companhia Urbana de Dança elicit a sense of euphoria wherever they perform; the San Francisco Chronicle raved that “this troupe from Brazil is an absolute marvel of gritty physical energy.”

ALLEN TOUSSAINT&

PRESERVATION HALLJAZZ BAND

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THURSDAY, NOVEMBER 6 | 8 PMCAROLI NA THEATRE OF DURHAM


COMPANHIA URBANADE DANÇA

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FRI DAY, NOVEMBER 7 &S ATURDAY, NOVEMBER 8 | 8 PM

REY NOLDS I NDUS TRI ES THEATER


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15% DUKE EMPLOY EE DI S COUNT

All 35,000 of Duke’s employees are entitled to 15% off tickets to nearly every Duke Performances show, all season long.Limit of two discounted employee tickets for each presentation. Duke employee ID required at time of purchase.

A vital young New York ensemble, the Horszowski Trio was founded in 2011, whereupon the New Yorker declared it “destined for great things.” Named for legendary teacher Mieczysław Horszowski, under whom pianist Rieko Aizawa studied as the master’s last pupil, the Trio have been praised for their “big, bold, dug-in tone” (Los Angeles Times).

The Horszowski guide us on an internal spiritual journey, which opens with the reverie of Haydn’s Trio in C Major, and then turns to the elegiac For Daniel, written by contemporary American composer Joan Tower upon the death of her young nephew. The pain of loss becomes a struggle for resolution with Tchaikovsky’s Piano Trio in A Minor.

P R O G R A M :

Haydn: Piano Trio in C Major,Hob. XV:21

Joan Tower: For Daniel

Tchaikovsky: Piano Trio inA Minor, op. 50

Academy Award-nominated documentary filmmaker Sam Green collaborates with new music sextet yMusic on The Measure of All Things, a film/music project loosely inspired by The Guinness Book of World Records. The Measure of All Things, which premiered in 2014 at the Sundance Film Festival, is a meditation on fate, time, and the outer contours of the human experience.

The performance weaves together a series of portraits of record-holding people, places, and things, including the tallest man (7 feet 9 inches); the oldest living thing (a 5,000-year-old Bristlecone pine); the man struck by lightning the most times (seven!); and the oldest living person (116), among other record holders. Drawing inspiration equally from old travelogues, the Japanese Benshi tradition, and TED talks, The Measure of All Things features Green’s disarming in-person narration and yMusic’s dynamic live soundtrack.

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.

CHAMBER ARTS SERIES

HORSZOWSKI TRIOO O O

SATURD AY, NOVEMBER 8 | 8 PMBALD WI N AUDITORIUM


YMUSIC & SAM GREENTHE MEASURE OF

ALL THINGSO O O

S ATURDAY, NOVEMBER 15 | 8 PMREY NOLDS I NDUS TRI ES THEATER

Tickets: $15 • $10 Duke Students | Reserved Seating

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2 0 1 4 / 2 0 1 5 E N S E M B L E I N R E S I D E N C E A T D U K E P H . D . P R O G R A M I N M U S I C C O M P O S I T I O N

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YMU SICDUKE PH.D. COMPOSER CONCERT

F E A T U R I N G H I D E A K I A O M O R I , C L A R I N E T; C J C A M E R I E R I , F R E N C H H O R N & T R U M P E T;C L A R I C E J E N S E N , C E L L O ; R O B M O O S E , V I O L I N & G U I T A R ; N A D I A S I R O T A , V I O L A ;

A L E X S O P P, F L U T E & P I C C O L O

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MONDAY, MARCH 2 | 8 PMMOTORCO MUS I C HALL

Tickets: $18 • $15 Age 30 & Under • $10 Duke Students | General Admission

Culminating a second year of residency with Duke’s Ph.D. program in Music Composition, yMusicplay a concert of world premiere pieces at the casual and intimate Motorco Music Hall.

With a husky, passionate lyricism honed in the cafés cantantes of Madrid, Diego El Cigala has become an international sensation — the world’s greatest living flamenco singer. His catalog includes a triumphant million-selling collaboration with Cuban pianist Bebo Valdés; more recently, the three-time GRAMMY winner and Deutsche Grammophon artist recorded Tango & Cigala, an “electrifying” tango record filled “with passion, fierceness, searing toughness, and a disarming directness” (Guardian).

“Flamenco has to be suffered. If there is no evidence of pain in your heart, there is no song.” (El Cigala)

Paco de Lucia described El Cigala as possessing “one of the most beautiful flamenco voices of our time, a voice of sweetness that flows over everything.” Join us at the Carolina Theatre for this rare Durham presentation of flamenco royalty.


Duke Performances has commissioned the exceptional solo guitarist William Tyler — who occupies the musical intersection of John Fahey and Bill Frisell — to make a new performance that reflects on the lingering legacy of the Civil War. In the piece, Corduroy Roads, Tyler creates a soundtrack to accompany extraordinary photographs of the Civil War taken by George Barnard and Alexander Gardner, 150-year-old artifacts that have recently been acquired by Duke University Libraries. Tyler’s piece offers a contemporary narrative on the distant past, as Barnard and Gardner’s photographs are joined with images of the South through the Great Depression and into the present day.

Corduroy Roads will be performed for an intimate audience at the new Shadowbox in Durham’s Golden Belt District. Join us for the premiere of this important new project by Tyler, whose debut solo release Behold the Spirit was lauded by Pitchfork as “the most vital, energized album by an American solo guitarist in a decade or more.”

Made possible, in part, with support from the Archive of Documentary Arts at the David M. Rubenstein Rare Book and Manuscript Library

at Duke University.

DIEGO EL CIGALAO O O

THURSDAY, NOVEMBER 20 | 8 PMCAROLINA THEATRE OF DURHAM


WILLIAM TYLERCORDUROY ROADS

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THURS DAY, NOVEMBER 20 | 8 PMFRI DAY, NOVEMBER 21 | 8 PM

S ATURDAY, NOVEMBER 22 | 8 PMS UNDAY, NOVEMBER 23 | 7 PM

THE S HADOW BOX


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$15 T ICKETS FOR PATRONS AG ES 30 & UNDER

Duke Performances offers patrons ages 30 and under tickets to nearly any event for just $15.Limit of two $15 tickets per patron for each presentation. Quantities of available $15 tickets may be restricted. ID required at time of purchase.

PABLO ZIEGLERQUARTET

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SATURDAY, DECEMBER 6 | 8 PMBALDWIN AUDI TORI UM


Pablo Ziegler began his career as a pianist with Ástor Piazzolla, the world’s foremost composer of tango music. In the four decades since that auspicious musical apprenticeship, Ziegler has further enriched Piazzolla’s nuevo tango, infusing fresh melodic structures, jazz improvisation, and contrapuntal harmonies into music that originated in the clubs of Buenos Aires and Montevideo.

“Straight from the beating, bleeding heart of nuevo tango, with its mix of swagger and sweetness.” (Guardian)

Ziegler brings his superb quartet — featuring piano, bandoneón, cello, and bass — to the elegant confines of Baldwin. In Durham, Ziegler demonstrates the musical ease of a natural-born tanguero: “he is cool, understated, and makes everything look easy and natural … just as a really suave tango dancer seems not to move with feet but on wheels, Ziegler skates the keyboard” (Los Angeles Times).

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“Universally admired as one of the most adventurous pianists to arrive on the jazz scene in years” (Los Angeles Times), Brad Mehldau has spent the last two decades extending and refining the possibilities of the piano trio. Mehldau takes center stage at Baldwin Auditorium with longtime trio partners Larry Grenadier, bass and Jeff Ballard, drums.

“Mehldau’s inventive powers are fresh as ever … and the interplay with Ballard and Grenadier is masterly.” (Daily Telegraph)

Whether playing his own exceptional compositions, Thelonious Monk classics, American Songbook standards, or more contemporary tunes, Mehldau has a gift for emotionally arching improvisations replete with extraordinary harmonic and rhythmic acuity. His most recent Nonesuch Records release, Ode, is a sparkling collection of original compositions “by the most influential jazz pianist of the last 20 years” (New York Times).

Stanford University ensemble-in-residence St. Lawrence String Quartet return to Duke Performances with their trademark combination of incisive playing and “irresistible exuberance” (Boston Globe). This quartet is “remarkable not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection” (New Yorker).

The evening opens with Haydn’s “Joke” quartet, a surprise-filled work that turns audience expectations upside down. This is followed by the third quartet of Erich Korngold, a composer who fled Nazi tyranny for Hollywood in 1938. After writing a series of successful film scores, Korngold fell silent until the waning days of the war, when he wrote this dazzling composition. The program ends with Bartók’s fourth quartet, inspired by Hungarian folk music, but also conveying a modern sound that employs muted strings, pizzicati, and glissandi.

P R O G R A M :

Haydn: String Quartet No. 30 inE-flat Major, op. 33, no. 2

(“Joke”)

Erich Korngold: String Quartet No. 3in D Major, op. 34

Bartók: String Quartet No. 4 in C Major, Sz. 91

GRAMMY-nominated vocal quartet New York Polyphony perform their holiday program, Wondrous Birth, O Wondrous Child, a reverent meditation on the Christmas season at the acoustically resonant Baldwin Auditorium. Praised for a “rich, natural sound that’s larger and more complex than the sum of its parts” (NPR), New York Polyphony is regarded as one of the finest vocal chamber ensembles in the world. The quartet applies a distinctly modern approach to repertoire ranging from austere medieval melodies to cutting-edge contemporary compositions.

The inspired program for this holiday concert spans nine centuries, from Victoria’s O Magnum Mysterium and early carols to newer music that includes a composition by New York Polyphony’s countertenor Geoffrey Williams, and a commission from composer Andrew Smith. Throughout the concert, expect New York Polyphony to sing with nothing less than “intelligence, subtlety, and consummate artistry”(Richmond Times-Dispatch).

P R O G R A M :

New York Polyphony’s program includes Advent and Christmas

music for four voices, from medieval carols and motets to

contemporary music inspired by ancient melodies.


BRAD MEHLDAUTRIO

O O O

THU R SDAY, D ECEMBER 11 | 8 PMBALD WI N AUD ITORIUM


CHAMBER ARTS SERIES

ST. LAWRENCESTRING QUARTET

O O O

S ATURDAY, DECEMBER 13 | 8 PMBALDW I N AUDI TORI UM



NEW YORKPOLYPHONY

O O O

FRIDAY, DECEMBER 12 | 8 PMBALDWIN AUDI TORI UM

Tickets: $38 • $32 • $15 Age 30 & Under $10 Duke Students | Reserved Seating

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DUKE PERFORMANCES

2014/2015O O O

SEASON CALENDAR

AUGUST ’14PAT METHENY UNITY GROUPSaturday, August 9Carolina Theatre of Durham

SEPTEMBER ’14THE CAMPBELL BROTHERSJOHN COLTRANE’S A LOVE SUPREMEFriday, September 5Hayti Heritage Center

VIEUX FARKA TOURÉSaturday, September 13Reynolds Industries Theater

CIOMPI CONCERT NO. 1FEAT. AWADAGIN PRATT, PIANOSaturday, September 20Baldwin Auditorium

RUDE MECHANICALSNOW NOW OH NOWWednesday, September 24 throughSaturday, September 27Brody Theater

ANONYMOUS 4Saturday, September 27Baldwin Auditorium

OCTOBER ’14TOUMANI & SIDIKI DIABATÉThursday, October 2Reynolds Industries Theater

TAKÁCS QUARTETFEAT. ERIKA ECKERT, VIOLASaturday, October 4Baldwin Auditorium

RIZWAN-MUAZZAM QAWWALI Thursday, October 9Reynolds Industries Theater

RICHARD GOODE, PIANOFriday, October 10Baldwin Auditorium

THE BAD PLUS ORNETTE COLEMAN’SSCIENCE FICTIONSaturday, October 18Baldwin Auditorium

LOS LOBOS LA PISTOLA Y EL CORAZÓNFriday, October 24Carolina Theatre of Durham

BELCEA QUARTETSaturday, October 25Baldwin Auditorium

VOX LUMINISThursday, October 30Duke Chapel

NOVEMBER ’14CIOMPI CONCERT NO. 2FEAT. AMERNET STRING QUARTETSaturday, November 1Baldwin Auditorium

YEFIM BRONFMAN, PIANOSunday, November 2Baldwin Auditorium

ALLEN TOUSSAINT & PRESERVATION HALL JAZZ BANDThursday, November 6Carolina Theatre of Durham

COMPANHIA URBANA DE DANÇAFriday, November 7 &Saturday, November 8Reynolds Industries Theater

HORSZOWSKI TRIOSaturday, November 8Baldwin Auditorium

YMUSIC & SAM GREENTHE MEASURE OF ALL THINGSSaturday, November 15Reynolds Industries Theater

DIEGO EL CIGALAThursday, November 20Carolina Theatre of Durham

WILLIAM TYLERCORDUROY ROADSThursday, November 20 through Sunday, November 23The Shadowbox

DECEMBER ’14PABLO ZIEGLER QUARTETSaturday, December 6Baldwin Auditorium

BRAD MEHLDAU TRIOThursday, December 11Baldwin Auditorium

NEW YORK POLYPHONY Friday, December 12Baldwin Auditorium

ST. LAWRENCE STRING QUARTETSaturday, December 13Baldwin Auditorium

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JANUARY ’15DAVID LANG & I.C.E.THE WHISPER OPERAFriday, January 16 & Saturday, January 17Reynolds Industries Theater

I.C.E.CHAMBER CONCERTSunday, January 18Nelson Music Room

NRITYAGRAM DANCE ENSEMBLESONGS OF LOVE & LONGINGThursday, January 22Reynolds Industries Theater

JEREMY DENK, PIANOFriday, January 23Baldwin Auditorium

CALEFAX REED QUINTETSaturday, January 24Baldwin Auditorium

BRANFORD MARSALIS QUARTETFriday, January 30 & Saturday, January 31Baldwin Auditorium

FEB RUARY ’15JORDI SAVALL, VIOLSunday, February 1Baldwin Auditorium

CIOMPI CONCERT NO. 3FEAT. NICHOLAS KITCHEN, VIOLIN& YEESUN KIM, CELLOSaturday, February 7Baldwin Auditorium

KURT ELLINGFriday, February 13Baldwin Auditorium

JERUSALEM QUARTETSaturday, February 14Baldwin Auditorium

RONALD K. BROWN/EVIDENCE & JASON MORAN & THE BANDWAGONTHE SUBTLE ONEFriday February 20 &Saturday, February 21Reynolds Industries Theater

STILE ANTICOSaturday, February 21Duke Chapel

ANTHONY BRAXTON DIAMOND CURTAIN WALL QUINTETFriday, February 27Baldwin Auditorium

MARCH ’15YMUSICDUKE PH.D. COMPOSERSMonday, March 2Motorco Music Hall

VLADIMIR FELTSMANFriday, March 6Baldwin Auditorium

JD SOUTHER & CARRIE RODRIGUEZSaturday, March 7Baldwin Auditorium

JENNY SCHEINMAN & H LEE WATERSKANNAPOLIS: A MOVING PORTRAITFriday, March 20Reynolds Industries Theater

ELIAS STRING QUARTETFEAT. BENJAMIN HOCHMAN, PIANOSaturday, March 21Baldwin Auditorium

ARI PICKERLION & THE LAMBFriday, March 27 & Saturday, March 28Nelson Music Room

APRIL ’15ROKIA TRAORÉWednesday, April 1Reynolds Industries Theater

PAUL LEWISFriday, April 3Baldwin Auditorium

CASSANDRA WILSONSaturday, April 4Carolina Theatre of Durham

ALICE RUSSELLFriday, April 10Reynolds Industries Theater

CIOMPI CONCERT NO. 4FEAT. ANTHONY ROTH COSTANZO, COUNTERTENORSaturday, April 11Baldwin Auditorium

ARTEMIS QUARTETFriday, April 17Baldwin Auditorium

A.C.M.E.CHAMBER MUSIC OF CAROLINE SHAWSaturday, April 18Motorco Music Hall

I FAGIOLINIFriday, April 24Baldwin Auditorium

MAY ’15LILA DOWNSSaturday, May 2Carolina Theatre of Durham

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I.C.E. International Contemporary Ensemble — “bracing, illuminating, reassuring” (Financial Times) — perform The Whisper Opera, Pulitzer Prize-winner David Lang’s compelling new work of lyric theater, for an audience of just fifty-two people per show at Duke Performances. The piece premiered at MCA Chicago and the Mostly Mozart Festival, where the New York Times praised the work’s “contemplative allure … which comes from its pervasive softness, stillness, intimacy.”

This one-of-a-kind work is performed with the musicians, singer, and audience enclosed in an intimate onstage set at Reynolds Theater. Scored for soprano, flute, clarinet, percussion, and cello, the libretto of The Whisper Opera is performed almost entirely in whispers, audible thanks to director Jim Findlay’s innovative design. As he developed the work, David Lang wondered: “what if a piece were so quiet and so personal to the performers that you needed to be right next them or you would hear almost nothing? A piece like this would have to be experienced live. The only way this piece can be received is if you are there, listening very very closely.”

Surupa Sen (choreographer/dancer) and Bijayini Satpathy (dancer), the magnificent duo from South India’s Nrityagram Dance Ensemble, perform a special program of solos and duets inspired by the epic Indian poem the Gita Govinda at Duke Performances. This dance performance — accompanied by a musical ensemble featuring voice, harmonium, mardala, violin, and bansuri — recounts the love between the immortal Krishna and the human Radha described in the 12th-century ballad.

Nrityagram Dance Ensemble, based in an intentional community near Bangalore, is regarded as India’s foremost dance company, and the leading exemplar of the classical dance form Odissi. Calling their New York debut “one of the most luminous dance events of the year,” the New York Times marveled as the company “performed with a burnished grace, a selfless concentration, and a depth that reflected their intensive training.” Although dedicated to an ancient practice, Nrityagram is also committed to carrying Indian dance into the twenty-first century by making new choreography and collaborating with contemporary Indian musicians.

THE WHISPER OPERAB Y D AV I D L A N G

P E R F O R M E D B Y I . C . E . I N T E R N A T I O N A L C O N T E M P O R A R Y E N S E M B L E

D I R E C T E D & D E S I G N E D B Y J I M F I N D L AY

O O O

FRI DAY, JANUARY 16 &SATURDAY, JANUARY 17 | 7 PM & 9 PM

REYNOLDS I NDUSTRIES THEATER


I .C.E INTERNATIONAL CONTEMPORARY ENSEMBLECHAMBER MUSIC CONCERT

F E A T U R I N G T O N Y A R N O L D S , S O P R A N O ; K I V I E C A H N - L I P M A N , C E L L O ;C L A I R E C H A S E , F L U T E ; R O S S K A R R E , P E R C U S S I O N ; J O S H U A R U B I N , C L A R I N E T

O O O

SUNDAY, JANUARY 18 | 7 PMNELSON MUS I C ROOM

Tickets: $18 • $15 Age 30 & Under • $10 Duke Students | General Admission

Following their presentation of The Whisper Opera at Reynolds Theater, I.C.E. play a concertof contemporary chamber music in the round at the intimate Nelson Music Room.

NRITYAGRAMDANCE ENSEMBLESONGS OF LOVE &

LONGINGO O O

THURS DAY, JANUARY 22 | 8 PMREY NOLDS I NDUS TRI ES THEATER


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Durham-born pianist Jeremy Denk, a 2013 MacArthur Fellow and winner of the 2014 Avery Fisher Prize, has steadily built a reputation as a refined and compelling artist with a broad and thought-provoking repertoire. In addition, Denk has achieved increasing recognition for his original and insightful writing on classical music, which The New Yorker critic Alex Ross praises for its “arresting sensitivity and wit.”

“Once you’ve entered the Denkian dimension, you won’t want to leave.” (NPR)

Denk’s return to Duke Performances will feature solo piano works by the triumvirate of Haydn, Mozart, and Beethoven. Specific pieces and program order will be announced nearer to the concert. The lack of program should not dissuade you from purchasing early, as the New York Times notes: “Mr. Denk, clearly, is a pianist you want to hear no matter what he performs, in whatever combination — both for his penetrating intellectual engagement with the music and for the generosity of his playing.”

P R O G R A M :

Program to include Haydn, Mozart, and Beethoven as part of Jeremy

Denk’s upcoming project The Classical Style.


Jazz titan Branford Marsalis is a GRAMMY winning saxophonist, composer, and bandleader; a record label owner responsible for some of the most electrifying jazz of the last decade; and the eldest child in a New Orleans family legendary for its dedication to jazz. A longtime Durham resident, Marsalis returns to Duke Performances with his quartet for a two-night stand at Baldwin Auditorium.

“One of the most imposing saxophonists in jazz, the comprehensive nature of his virtuosity matched by the substantive quality of his tunes.” (Chicago Tribune)

Profoundly influenced by his early mentor, the renowned drummer Art Blakey, Marsalis went on to record with such luminaries as Miles Davis, Dizzy Gillespie, Herbie Hancock, and Sonny Rollins. His quartet recently released Four MFs Playin’ Tunes, an album praised as “a knockout: hard-nosed and hyperacute, tradition-minded but modern” (New York Times). Marsalis will be joined by his critically lauded combo, which includes fellow Durham resident Joey Calderazzo, piano; Eric Revis, bass; and Justin Faulkner, drums.

The Calefax Reed Quintet, a unique reed ensemble from Amsterdam, has distinguished itself with its imaginative transcriptions that reach back to the Middle Ages, its “spectacular sound that draws in the audience” (El País), and its lively unseated performances.

Spanning 400 years, the program begins with a transcription of J.S. Bach’s Prelude & Fugue in E-flat Major from The Well Tempered Clavier. The ensemble reaches back to the 15th-century for the lamentations of Johannes Ockeghem’s motet-chanson Mort tu as navré, and then offers the 16th-century consort music of Christopher Tye, which once reverberated in the courts of Elizabethan England. The shimmering Prelude, Chorale, and Fugue of César Franck is followed by selections from Shostakovich’s Preludes & Fugues, the Russian composer’s tribute to J.S. Bach.

P R O G R A M :

J.S. Bach: Prelude & Fugue No. 7 inE-flat Major, from The Well-

Tempered Clavier Book II, BWV 876

Ockeghem: Mort tu as navré

Christopher Tye: Consort Music

César Franck: Prelude, Chorale, and Fugue

Shostakovich: 24 Preludes and Fugues, op. 87 (selections)


JEREMY DENKP I A N O

O O O

FR IDAY, JANUARY 23 | 8 PMBALDWI N AUD ITORIUM


BRANFORD MARSALIS QUARTET

O O O

FRI DAY, JANUARY 30 &S ATURDAY, JANUARY 31 | 8 PM

BALDW I N AUDI TORI UM


CHAMBER ARTS SERIES

CALEFAX REEDQUINTET

O O O

SATURDAY, JANUARY 24 | 8 PMBALDWIN AUDI TORI UM


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Jordi Savall, one of the world’s most illustrious performers of early music, is famed for the depth of feeling and exquisite technique he brings to the seven-string bass viol, the cello-like renaissance instrument that mirrors the human voice. Savall plays a special solo program at Duke’s acoustically flawless Baldwin Auditorium, an ideal fit for the musician about whom the Guardian raved: “the finesse of his almost whispered tone creates a dazzling intimacy.”

Composers who were also viol virtuosos wrote some of the outstanding music of the baroque era. Savall’s Duke Performances program features two such dazzling composers, Marin Marais and Monsieur de Sainte-Colombe, and also encompasses a more commonly known master of the baroque, J.S. Bach. Come and hear a rare solo concert by this exceptional artist whose musical career the New York Times described as “not simply a matter of revival, but of imaginative reanimation.”

P R O G R A M :

Jordi Savall’s solo program for viol highlights two masters of the

French baroque, Monsieur de Sainte-Colombe and Marin Marais.


The Jerusalem Quartet, enthusiastically received at Duke Performances in 2012, return to Durham with their unique combination of confident energy and exquisite sensitivity. The New York Times hailed the Jerusalem for playing with “passion and a tender sense of ownership.”

The program opens with Haydn’s op. 74, no. 3, a quartet filled with surprises; it is known as the “Rider” for the galloping theme of its final movement. Czech modernist composer Erwin Schulhoff, whose charming Five Pieces for String Quartet draws on a range of dance forms, was one of the first classical composers influenced by jazz and popular dance music. Well known in his day, Schulhoff perished in the Holocaust, and only recently has his work been revived. The concert concludes with Schubert’s anguished masterpiece, “Death and the Maiden.”

P R O G R A M :

Haydn: String Quartet inG Minor, op. 74, no. 3 (“Rider”)

Erwin Schulhoff: Five Pieces for String Quartet

Schubert: String Quartet No. 14 in D Minor, D. 810 (“Death and the

Maiden”)

The exceptional jazz vocalist Kurt Elling comes to Baldwin Auditorium on Valentine’s weekend with selections from his forthcoming album Passion World; commissioned by Jazz at Lincoln Center, this cosmopolitan project features ballads of love and loss from across the globe. The Washington Post offered the intrepid Elling this high praise: “since the mid-90s, no singer in jazz has been as daring, dynamic, or interesting. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz.”

Elling has won every DownBeat Critics Poll for Male Vocalist over the last fourteen years and has been named “Male Singer of the Year” by the Jazz Journalists Association eight times in that same span. Every one of Elling’s ten albums has been nominated for a GRAMMY. Elling’s rich baritone spans four octaves providing a vehicle for astonishing technical mastery and emotional depth. His repertoire includes original compositions and modern interpretations of standards, all of which are springboards for inspired improvisation, vocalese, and poetry.

JORDI SAVALLV I O L

O O O

SU NDAY, FEBRUARY 1 | 7 PMBALD WI N AUD ITORIUM


CHAMBER ARTS SERIES

JERUSALEM QUARTETO O O

S ATURDAY, FEBRUARY 14 | 8 PMBALDW I N AUDI TORI UM


KURT ELLINGPASSION WORLD

O O O

FRIDAY, FEBRUARY 13 | 8 PMBALDWIN AUDI TORI UM


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CHAMBER ARTS S ERI ES

Subscribe to the Chamber Arts Series — Takács Quartet, Belcea Quartet, Horszowski Trio, St. Lawrence String Quartet,Calefax Reed Quintet, Jerusalem Quartet, Elias String Quartet, Artemis Quartet — and get tickets to all eight concerts for $180.

RONALD K. BROWN/EVIDENCE DANCE COMPANY& JASON MORAN & THE BANDWAGON

THE SUBTLE ONEO O O

FRIDAY, FEBRUARY 20 &SATURDAY, FEBRUARY 21 | 8 PM

REYNOLDS INDUSTRI ES THEATER


In this new collaboration, commissioned and developed by Duke Performances, celebrated choreographer Ronald K. Brown and acclaimed pianist Jason Moran bring together their respective ensembles — Brown’s Evidence Dance Company and Moran’s Bandwagon jazz trio — for the world premiere with live music of The Subtle One. Set to a musical suite of the same name, this potent new work reflects on the spiritual presence of our ancestors and the profound impact they have on our daily lives.

Hailed as a “modern-dance savior” by the New York Times, Brown fuses the form and rhythms of African dance with contemporary choreography. Brown finds an ideal collaborator in Jason Moran — a composer, bandleader, and 2010 MacArthur Fellow — whom the Los Angeles Times describes as “a startlingly gifted pianist with a relentless thirst for experimentation.” Evidence rounds out the evening’s premiere with work from Brown’s deep repertoire, including Poinciana, Bellows, and Free Spirit, all accompanied live by Moran and the Bandwagon.

Made possible, in part, with a grant from South Arts in partnership with the National Endowment for

the Arts and the North Carolina Arts Council, and support from the Dance Program at Duke University.

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Stile Antico, a superb twelve-voice British chamber choir, return to Duke Chapel for a candlelit concert, In Pace: Music for Compline. Hailed for their masterful interpretations of renaissance and baroque choral music, they are winners of a Gramophone Award and a Diapason d’Or for their recordings on Harmonia Mundi. The performances of this exceptional ensemble have been praised for their liveliness, expressive lucidity, and imaginative response to text. The New York Times called them “an ensemble of breathtaking freshness, vitality, and balance.”

The program features intimate and uplifting works, all written for the late-evening Compline service, by three generations of English Catholic composers. The performance leads the listener from John Sheppard to Thomas Tallis and Tallis’ musical heir, William Byrd. “Stile Antico’s expressivity is inseparable from its technical achievement, such that attention is always drawn to the music’s ingenious intricacies, its startling richness, its sharp-turn surprises” (Boston Globe).

P R O G R A M :

Stile Antico’s program centers on the sublime choral music of

Tudor England, including works by John Sheppard, Thomas Tallis, and

William Byrd.


Virtuoso pianist Vladimir Feltsman was banned from performing in his native Russia for eight years after he tried defecting in 1979, but he has made up for this long period of silence since immigrating to the United States three decades ago. Feltsman sets a formidable standard with his vast repertoire, “an effortless yet Herculean technique, and an even more formidable ability to stretch a piece to its stylistic limits and beyond” (San Diego Union-Tribune).

Feltsman opens with the Haydn Piano Sonata No. 31, an impeccably-crafted showpiece containing one of the composer’s finest Adagios. Schubert’s first completed sonata, D. 537, anticipates Liszt with its extreme contrasts of serenity and storminess. The high point of the evening comes with two grand works by Liszt. The Ballade No. 2 is amongst Liszt’s finest works and contains a beautiful, quasi-operatic love theme. Liszt’s Bénédiction de Dieu dans la solitude evokes the transcendence of love over death. The evening closes with Scriabin’s Vers la Flamme, a masterful work in which the mystical composer evokes a fiery apocalypse.

P R O G R A M :

Haydn: Piano Sonata No. 31 in A-flat Major, Hob. XVI:46

Schubert: Piano Sonata No. 4 inA Minor, D. 537

Liszt: Ballade No. 2 in B minor, S. 171

Liszt: “Bénédiction de Dieu dans la solitude” from Harmonies poétiques

et religieuses, S. 173

Scriabin: Vers la Flamme, op. 72

For more than four decades, the legendary multi-instrumentalist and composer Anthony Braxton has been a sonic innovator. With his Diamond Curtain Wall Quintet, the 1994 MacArthur Fellow and 2014 NEA Jazz Master combines intuitive improvisation with interactive electronics. The musicians in the ensemble react both to the evocative graphic notation of Braxton’s Falling River Music and to the unique and responsive electronic patches the composer designed using SuperCollider programming software.

“I’m an African-American, and I play the saxophone, but I’m not a jazz musician. I’m not a classical musician, either. My music is like my life: it’s in between these areas.” (Anthony Braxton)

In a program not for the faint of heart, Braxton will be joined for this concert by an ensemble of celebrated avant-garde musicians: Taylor Ho Bynum, cornet; Mary Halvorson, electric guitar; Ingrid Laubrock, saxophone; and Andrew Raffo Dewar, saxophones and clarinet. “Braxton’s music is made of wonder,” Jazz Times wrote of a recent Kennedy Center showcase. “Digital timbres rippled and blended with the players’ restlessly held long tones; for a while, the music was full of migrating nodes, slippery tension, and cinematic beauty.”


S TILE ANTICOO O O

SATURDAY, FEBRUARY 21 | 8 PMDUKE CHAPEL

Tickets: $36 • $20 • $15 Age 30 & Under$10 Duke Students | General Admission

with Limited Reserved Seating

PIANO RECIAL SERIES

VLADIMIR FELTSMANP I A N O

O O O

FRI DAY, MARCH 6 | 8 PMBALDW I N AUDI TORI UM


ANTHONY BRAXTON DIAMOND CURTAIN

WALL QUINTETO O O

FRIDAY, FEBRUARY 27 | 8 PMBALDWIN AUDI TORI UM


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J.D. Souther and Carrie Rodriguez — a celebrated pair of Texas-born singer/songwriters — share a double-bill at Baldwin Auditorium. A principal architect of the Laurel Canyon sound, the Amarillo-reared Souther produced era-defining classics for Linda Ronstadt, Bonnie Raitt, and The Eagles. In addition, Souther put out a series of celebrated solo records in the late ’70s before going on a lengthy hiatus from the record business. Now based in Nashville, he returned to making records in 2008; JazzTimes described his new material as “whip-smart, adventurous, seductive, and shot through with the sublime longing that characterizes Souther’s finest work. And his voice — one of the most plaintive and soulful in rock ’n’ roll — has never sounded so immediate and so powerful.”

Born and bred in Austin and schooled at Berklee, Carrie Rodriguez — a songwriter, singer, and fiddle player — has emerged as one of the most compelling new voices in American roots music. “Hailed by Lucinda Williams, recruited by Alejandro Escovedo, and nurtured by Lyle Lovett” (Boston Globe), Rodriguez — the daughter of a fine Texas songwriter — keeps good company. She has recorded eight exceptional records in as many years, prompting The New Yorker to write, “Rodriguez creates beautiful music that is always slyly smart, which in turn makes it more beautiful.” These two superb musicians, who first collaborated in 2012 at the Aspen Songwriters Festival, come together again at Duke Performances.

Formed at Manchester’s Royal Northern College of Music and nurtured in Cologne, Germany, the Elias String Quartet has attracted notice for playing with “a beautiful sound, burnished yet translucent” (Sunday Times). Joining the Elias is pianist Benjamin Hochman, whose playing has been called “lucid, with patrician authority and touches of elegant wit” (Vancouver Sun).

The opening work is Mozart’s best-known string quartet, called the “Dissonance” for its bold departure from the standard rules of harmony. At the program’s center is Benjamin Britten’s third and last quartet, a deathbed farewell in which the composer echoes the themes of his gripping opera Death in Venice. Hochman joins the Elias for Schumann’s Piano Quintet, op. 44, the composer’s finest chamber work and a favorite of the romantic repertoire.

P R O G R A M :

Mozart: String Quartet No. 19 inC Major, K. 465 (“Dissonance”)

Britten: String Quartet No. 3,op. 94

Schumann: Piano Quintet inE-flat Major, op. 44

Duke Performances has commissioned Jenny Scheinman, an acclaimed composer, singer, and violinist, to make an original live score set to 70-year-old archival footage taken by the late North Carolina filmmaker H. Lee Waters. Scheinman and a trio of top-flight musicians will create a soundtrack of new folksongs, fiddle music, and field sounds to accompany Waters’ fascinating footage of the Piedmont in the early ’40s. “Scheinman [has] a distinctive vision of American music, suffused with plainspoken beauty and fortified all at once by country, gospel, and melting-pot folk, along with jazz and the blues” (New York Times).

During the ’30s and ’40s, H. Lee Waters made more than 200 films capturing life in the Piedmont, which he called Movies of Local People. The full slate of Waters’ movies — the only such collection from an itinerant American filmmaker of the era — are now housed at Duke’s Rubenstein Rare Book & Manuscript Library. Scheinman, who recently recorded The Littlest Prisoner for Sony Masterworks with Bill Frisell and Brian Blade, employs her formidable musical ingenuity to make a stirring new presentation drawing from this rich artifact of American cinema.

Made possible, in part, with support from New Music USA; a Visiting Artist Grant from the Council for the Arts, Office of the Provost, Duke University; and the Archive

of Documentary Arts at the David M. Rubenstein Rare Book and Manuscript

Library at Duke University.

J .D. SOUTHER & CARRIE RODRIGUEZ

O O O

SA TU R DAY, MARCH 7 | 8 PMBALDWI N AUD ITORIUM


CHAMBER ARTS SERIES

ELIAS STRINGQUARTET

W I T H B E N J A M I N H O C H M A N , P I A N O

O O O

S ATURDAY, MARCH 21 | 8 PMBALDW I N AUDI TORI UM


JENNY SCHEINMAN& H. LEE WATERS

KANNAPOLIS :A MOVING PORTRAIT

O O O

FRIDAY, MARCH 20 | 8 PMREYNOLDS INDUSTRIES THEATER


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Ari Picker is best known as the front man for the acclaimed orchestral indie rock band Lost in the Trees, but the Chapel Hill native also distinguished himself studying composition at Berklee School of Music. The Huffington Post enthused, “Ari Picker has Nick Drake speaking to him in one ear and Handel whispering in the other.” For Lion and the Lamb, a Duke Performances commission, Picker assembles a superb local ensemble of both indie rock and classical musicians for a new work inspired by Book of Hours, Rainer Maria Rilke’s early masterpiece of devotional poetry.

Lion and the Lamb finds Picker expanding his compositional palette, drawing new inspiration from minimalism and jazz improvisation, while maintaining his knack for writing “extraordinary arrangements for strings and choral voices [that] find no precedent in rock and pop” (Wall Street Journal). For the world premiere of this piece — which will be performed in the round at the Nelson Music Room — Picker is joined by vocalist Phil Moore (Bowerbirds), saxophonist Jacob Rodriguez, pianist Adam Benjamin (Kneebody), percussionist Peter Lewis (Lost in the Trees), and the New Music Raleigh String Quartet.

English pianist Paul Lewis, a protégé of Alfred Brendel, has devoted much of his career to the music of Beethoven. His award-winning recordings of the complete Beethoven sonatas on Harmonia Mundi were praised as “an unmissable benchmark” by the Guardian; the New York Times’ Anthony Tommasini went further still: “There are many prized recordings of the Beethoven sonatas from past masters and current artists. But if I had to recommend a single complete set, I would suggest Mr. Lewis’s distinguished recordings.”

Lewis brings his signature vigor and authoritative command to Beethoven’s final three sonatas for piano, written at a time when the composer was extending the boundaries of classical style. The program begins with the passionate and melancholy No. 30 in E Major, op. 109. The central work, No. 31 in A Flat Major, op. 110, expresses the wide-ranging moods of a man losing his hearing. To close the program, Lewis plays No. 32 in C Minor, op. 111, in which Beethoven evokes a journey from darkness to celestial light.

P R O G R A M :

Beethoven: Piano Sonata No. 30 in E Major, op. 109

Beethoven: Piano Sonata No. 31 in A-flat Major, op. 110

Beethoven: Piano Sonata No. 32 in C Minor, op. 111

The extraordinary Malian musician Rokia Traoré spent nearly two decades creating a sound that is utterly contemporary yet deeply rooted in her West African homeland. As the daughter of a Malian diplomat, the musician grew up traveling the globe, rapidly absorbing cultures as the family moved from Belgium to France to Algeria to Saudi Arabia. “Traoré is indeed a remarkable artist — it is difficult to think of anyone else who can switch from ancient Malian culture to African rock and roll” (Guardian).

“A singer-songwriter in the modern sense, embracing but also stretching centuries-old traditions.” (Chicago Tribune)

Traoré’s most recent release on Nonesuch Records, Beautiful Africa, earned five stars from the Observer and Songlines, which raved: “Music from Africa really doesn’t get better than this ... exciting, surprising, and always perfectly executed.” The New York Times wrote: “Traoré has a gentle voice with a steely core, one that’s revealed more clearly than ever on Beautiful Africa.” However fine her recordings, Traoré is perhaps most celebrated for her live show, which Time Out London says is “arguably the most exciting, most thrilling live African music show around.”

Made possible, in part, with support from the Duke Africa Initiative.

ARI P ICKER OFLOST IN THE TREESL I ON AND THE LAMB

O O O

FR IDAY, MARCH 27 &SATU R DAY, MARCH 28 | 8PM

NE LS ON MUSIC ROOM



PAUL LEWISP I A N O

O O O

FRI DAY, APRI L 3 | 8 PMBALDW I N AUDI TORI UM


ROKIA TRAORÉBEAUTIFUL AFRICA

O O O

WEDNESDAY, APRI L 1 | 8 PMREYNOLDS INDUSTRIES THEATER


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Cassandra Wilson, perhaps the greatest living jazz singer, comes to the Carolina Theatre to offer a special tribute concert to Billie Holiday on the centennial of Lady Day’s birth. Wilson has the goods to honor Holiday: TIME magazine recognized her as “America’s best singer” and “the true heir of Billie Holiday and Sarah Vaughan.”

“I’ve been in love with Billie Holiday’s voice since the moment I heard it, and she has inspired me throughout my career.” (Cassandra Wilson)

The New York Times noted approvingly that Wilson possesses “a contralto as rich and as supple as vintage leather,” with a distinctive “earthy majesty.” The BBC went further in describing her spectacular voice: “husky yet smooth, like sand mixed with honey, it’s sophisticated, wise, and sexy all at the same time, and seems to plug right in to the history of black American music.”

A co-presentation of Duke Performances and the Carolina Theatre of Durham.

The founding members of the Artemis Quartet developed their skills for a full ten years before offering their first concert. This dedication to excellence has not wavered, and their playing is known for its “apparently effortless grace and effervescent athleticism” (BBC). The Artemis return to Duke Performances for the third time.

The Artemis’ program opens with Dvor̆ák’s tribute to the American Midwest, evoking the composer’s experience of 19th-century pioneer life with a decidedly Czech accent. Shostakovich’s fifth quartet follows; played in three movements without pause, this spacious and elegiac quartet reflects the loss of one of the composer’s great loves. The first of Tchaikovsky’s string quartets, with a folk-song-based second movement that has become famous on its own, concludes the evening.

P R O G R A M :

Dvořák: String Quartet No. 12 inF Major, op. 96 (“American”)

Shostakovich: String Quartet No. 5 inB-flat Major, op. 92

Tchaikovsky: String Quartet No. 1 in D Major, op. 11 (“Accordion”)

From Dusty Springfield to Joss Stone, there is a glorious history of British R&B artists mastering the grit, swing, and swagger of American soul music. Alice Russell is the latest standard-bearer, with her languorous and intoxicating delivery, impeccable timing, and powerhouse stage show. “With due respect to fans of Amy Winehouse and Adele,” writes AllMusic, “songstress Alice Russell is the true blue-eyed soul queen from across the pond.”

“I freaking love Alice Russell!” (?uestlove)

Over the course of five studio albums Russell has garnered favorable comparison to her idol Chaka Khan and has collaborated with David Byrne, Quantic, and The Roots. “Alice Russell’s career has been something of a slow burn — full of experimentation and lots of thrilling collaboration” (WNYC). Russell’s anthemic tune, “Breakdown,” was featured in the opening segment for season seven of AMC’s Mad Men, another breakout moment for this fast-rising musician.

CASSANDRA WILSONCOMING FORTH BY DAY:

A CELEBRATION OFB I LL IE HOLIDAY

O O O

SA TU RD AY, APRI L 4 | 8 PMCAROLINA THEATRE OF DURHAM


CHAMBER ARTS SERIES

ARTEMIS QUARTETO O O

FRI DAY, APRI L 17 | 8 PMBALDW I N AUDI TORI UM


ALICE RUSSELLO O O

FRIDAY, APRI L 10 | 8 PMREYNOLDS INDUSTRIES THEATER


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A.C.M.E. American Contemporary Music Ensemble, “contemporary new music dynamos” (NPR), perform a program of chamber music by Caroline Shaw, 2013 winner of the Pulitzer Prize in Music. A composer, vocalist, violinist, violist, and NC native, Shaw was, at 30 years old, the youngest-ever winner of the Pulitzer for music; she performs as a member of A.C.M.E., as well as the new music vocal ensemble Roomful of Teeth.

“An original blending of vernacular music, ancient music, and avant-garde techniques at once fascinating and moving.” (Steve Mackey on Caroline Shaw)

The centerpiece of this special Duke Performances program is Shaw’s 30-minute Ritornello for string quartet, which is performed alongside a film made by the composer and inspired by architecture, memory, and the tale of Rip Van Winkle. Of Ritornello, Shaw says, “[it] evokes the notion of time folding in on itself, repeating and forgetting and unfolding again.” The program also includes Entr’acte, which Shaw wrote for the Brentano Quartet, as well By & By, which features settings and lyrics from old gospel tunes with vocals by Shaw.

The celebrated Mexican-American singer Lila Downs closes Duke Performances’ 2014/15 season with a special May concert at the Carolina Theatre. Renowned for her magnetic performances, Downs has created a singular exploration of Mexican roots music that engages the rich culture on both sides of the U.S./Mexican border. The ferocious sweep of Downs’ voice provides the foundation for her performance; as “she shifts from cumbia to norteño, jazz to balladry, Downs alternates the lower register of her voice with breezy, childlike murmurs and sustained, high-pitched bursts of passion” (New York Daily News).

“A Mexican-American Laurie Anderson, or Frida Kahlo if Frida were a musician instead of a painter.” (AllMusic)

Born in Oaxaca and raised in Minnesota, the daughter of an American professor and a Mixtec cabaret singer, Downs came of age in both countries. With her passionate lyrics, charismatic exuberance, and a musical vocabulary that ranges from Celtic folk to brassy banda, this GRAMMY Award winner “has reinvigorated the place in Mexican music where popular and traditional sound collide” (Washington Post).

A co-presentation of Duke Performances and the Carolina Theatre of Durham.

I Fagiolini, winners of the Royal Philharmonic Society Ensemble Award, are a British vocal ensemble of six singers specializing in dynamic, historically informed performances of renaissance vocal music. Far from ‘stand and deliver’ performers, I Fagiolini invest their concerts with a theatrical style that seeks to capture the spirit of the music.

With a program title that plays on the ensemble’s name and translates as “A Salad of Green Beans,” I Fagiolini present a meal fit for a king at Baldwin Auditorium, seasoned with the ensemble’s signature blend of dramatic skill and flawless technique. The program of madrigals, chansons, and ensaladas — songs with mixtures of languages and rhythms, written as entertainments for the Valencian court — had the Guardian raving, “bean salads rarely come as good as this … For all the humor, the program worked beautifully because of the deadly serious musicianship that is I Fagiolini’s gold standard.”

P R O G R A M :

I Fagiolini’s program is a feast of renaissance choral music from

across Europe, ranging from lesser-known compositions by Cipriano de Rore to the masterworks of

Monteverdi.


A.C.M.E. AMERICAN CONTEMPORARY

MUSIC ENSEMBLECHAMBER MUSIC

O F CAROLINE SHAWO O O

SATU RDAY, APRI L 18 | 8 PMMOTORCO MUSI C HALL


LILA DOWNSO O O

S ATURDAY, MAY 2 | 8 PMCAROLINA THEATRE OF DURHAM



I FAGIOLINIINSALATA I FAGIOLINI

O O O

FRIDAY, APRI L 24 | 8 PMBALDWIN AUDI TORI UM


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CIOM PI CONCERT NO. 1F E AT U R I N G

AWA DAGIN PR ATT, P IANOO O O

SATURD AY, SEPTEMBER 20 | 8 PMBALDWI N AUDITORIUM

Tickets: $25 • $10 Students | General Admission Seating

P R O G R A M :

Haydn: String Quartet in B-flat Major, op. 50, no. 1

Beethoven: String Quartet in F Minor, op. 95 (“Serioso”)

Brahms: Piano Quintet in F Minor, op. 34

CIOMPI CONCERT NO. 3F E AT U R I N G

NICHOL A S KITC HEN, VIOLIN& Y E E SUN KIM, C ELLO

O O O

SATURDAY, FEBRUARY 7 | 8 PMBALDWI N AUDITORIUM


P R O G R A M :

Bach: Prelude and Fugue in E-flat Major, BWV 552(“St. Anne”), arr. Nicholas Kitchen

Shostakovich: String Quartet No. 2 in A Major, op. 68

Brahms: Sextet in G Major, op. 36


AMERNET STRING QUARTETO O O

S ATURDAY, NOVEMBER 1 | 8 PMBALDW I N AUDI TORI UM


P R O G R A M :

Mozart: Adagio and Fugue in C Minor, K. 546

Tchaikovsky: String Quartet No. 1 in D Major, op. 11

Carl Schimell: Premiere of a new octet for strings

Shostakovich: Octet for Strings, op. 11


ANTHONY ROTH COSTANZO, COUNTERTENOR

W I T H E L A I N E F U N A R O, H A R P S I C H O R D& J A N E H AW K I N S , P I A N O

O O O

S ATURDAY, APRI L 11 | 8 PMBALDW I N AUDI TORI UM


P R O G R A M :

Schubert: String Quartet No. 12 inC Minor, D. 703 (“Quartettsatz”)

Handel: Arias for countertenor and strings

Stephen Jaffe: Premiere of a new string quartet

Henri Duparc: Three songs for voice and string quartet (transcribed by David Kirkland Garner)

Ernest Chausson: Chanson perpetuelle, op. 37

CIOMPI QUARTETO O O

The Ciompi, Duke’s resident string quartet for nearly five decades, are joined by a full roster of talented guest artists from the world stage, notably Durham’s own Anthony Roth Costanzo, countertenor, and Nicholas Kitchen, violin; as well as Awadagin Pratt, piano; Yeesun Kim, cello; and the Amernet String Quartet.

The season features a wealth of essential repertoire from Bach to Shostakovich, embraces the French romanticism of Duparc and Chausson, and includes two world premieres by composers Carl Schimell and Stephen Jaffe. Subscribe to the Ciompi Quartet’s 2014/15 season and get tickets to all four concerts for $100.

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DUKE PERFORMANCES ATTHE CAROLINA THEATRE OF DURHAM

C A R O L I N A T H E A T R E

THE C AR OLINA THEATRE OF DURHAM 309 WES T MORGAN STREET, DURHAM | CAROLINATH EATRE.ORG | 919-560-3030

Tickets for Duke Performances’ presentation at the Carolina Theatre may be purchased through the Duke Performances website (dukeperformances.org), by calling 919-560-3030, or by visiting the Carolina Theatre box office at 309 West Morgan Street. Tickets for Carolina Theatre performances are sold through Ticketmaster; Ticketmaster service charges will be applied.

Note: Because of Ticketmaster’s exclusive agreement with the Carolina Theatre, Duke Performances’ co-presentations of Pat Metheny Unity Group, Los Lobos, Allen Toussaint

and Preservation Hall Jazz Band, Diego El Cigala, Cassandra Wilson, and Lila Downs are excluded from the standard Pick-Four discount. However, the purchase of a standard Pick-Four package comes with a discount code — redeemable online, by phone, or at the Carolina Theatre — worth 25% off tickets to these presentations.

Duke students may purchase student tickets to Duke Performances shows at the Carolina Theatre through the University Box Office in the Bryan Center.

PAT M E T HE NY UNITY GR OUPS ATUR DAY, AUGUST 9

A L L E N TOUSSAINT &PRES E RVAT ION HALL JAZZ BAND

THUR S DAY, NOVEMBER 6

CA SSA N DR A WILSONS ATUR DAY, APRIL 4

LOS LOBOSLA P ISTOLA Y EL CORAZÓN

F RIDAY, OCTOBER 24

DIEGO EL CIGALATH URSDAY, NOV EMBER 20

LILA DOWNSSATURDAY, MAY 2

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VENUESO O O

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

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BA LDWI N AUDI TOR I UM

1336 Campus Drive | Durham, NC 27708dukeperformances.org

Baldwin Auditorium is located on Duke University’s East Campus at the intersection of Onslow Street and West Markham Avenue.

Parking at BaldwinParking for concerts at Baldwin Auditorium is now FREE in parking lots on Duke’s East Campus and in the adjacent neighborhood. Golf carts will no longer be available to

transport patrons from parking lots to and from Baldwin Auditorium.

Cars may drop off patrons with accessibility or mobility concerns at the rear traffic circle behind Baldwin Auditorium at the intersection of West Markham Avenue and Onslow Street prior to parking. For driving directions, visit dukeperformances.org.

DUK E CHAP EL

401 Chapel Drive | Durham, NC 27708 chapel.duke.edu

REYNO LDS INDUSTRIES THEATER

Bryan University Center125 Science Drive | Durham, NC 27708

dukeperformances.org

NELSO N MUSIC RO OM

1304 Campus Drive | Durham, NC 27708 dukeperformances.org

MOTOR CO MUSIC HALL

723 Rigsbee Avenue | Durham, NC 27701 motorcomusic.com

BRO DY THEATER

5 Brody Gym Drive | Durham, NC 22708dukeperformances.org

SHADO WBOX

947 East Main Street | Durham, NC 27701theshadowbox.org

HAYTI HE RITAGE CE N TER

804 Old Fayetteville Street | Durham, NC 27701 hayti.org

DUKE PERFORMANCES TICKET INFORMATIONO O O

T I C KET ON SALE DATES

Duke Performances 2014/15 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 Tuesday, June 24, at 11 am.

Single tickets to Duke Performances 2014/15 shows will go on sale Tuesday, July 15, at 11 am.

$10 Duke student tickets and $15 tickets for patrons ages 30 and under will go on sale Tuesday, August 19, at 11 am.

DUKE PER FOR MANCES DISCOUNTS

25% PIC K-FOU R OR MORE DI SCOUNT

Take 25% off your total price when you purchase tickets to four or more shows at one time from Duke Performances’ 2014/15 season.

Note: Because of Ticketmaster’s exclusive agreement with the Carolina Theatre, Duke Performances’ co-presentations of Pat Metheny Unity Group, Los Lobos, Allen Toussaint and Preservation Hall Jazz Band, Diego El Cigala, Cassandra Wilson, and Lila Downs are excluded from Pick-Four discounts. However, the purchase of a Pick-Four package comes with a discount code — redeemable online, by phone, or at the Carolina Theatre — worth 25% off tickets to these presentations.

$15 T ICKE TS FOR PATRONS AGE 30 A ND UN DER

Duke Performances offers patrons ages 30 and under tickets to nearly any event for just $15.

Limit of two $15 tickets per patron for each presentation. Quantities of available $15 tickets may be restricted. ID required at time of purchase.

$10 — AN AMAZ IN G STU D E NT T I C KET PR I C E

Duke Performances offers Duke students — both undergraduate and graduate — tickets to any event for just $10.

Limit of two $10 tickets per student for each presentation. Quantities of available $10 tickets may be limited. Duke student ID required at time of purchase.

15% DUKE EMPLOYE E D ISCOUNTEVE RY SHOW, AL L SE ASON — TA KE A DVA N TAGE.

All 35,000 of Duke’s employees are entitled to 15% off tickets to nearly every Duke Performances show, all season long.

Limit of two discounted employee tickets for each presentation. Duke employee ID required at time of purchase.

DUK E P ERF O RMANCES’ CLASSICAL MUSIC DISCO UNTS

CHAM BER ARTS SERIES

Package includes best available reserved seats in Baldwin Auditorium.Takács Quartet with Erika Eckert, Viola [$42] • Belcea Quartet [$38] • Horszowski Trio [$38] • St. Lawrence String Quartet [$42] • Calefax Reed Quintet [$38] • Jerusalem Quartet [$42] • Elias String Quartet with Benjamin Hochman, Piano [$38] • Artemis Quartet [$42]Regular price: $320. Series discount price: $180.

P IANO RECITAL SERIES

Package includes best available reserved seats in Baldwin Auditorium.Richard Goode [$48] • Yefim Bronfman [$48] • Jeremy Denk [$38] • Vladimir Feltsman [$38] • Paul Lewis [$38]Regular price: $210. Series discount price: $150.

VO CAL ENSEMBLE SERIES

Package includes best available reserved seats in Baldwin Auditorium and special reserved seating for performances by Vox Luminis and Stile Antico in Duke Chapel.Anonymous 4 [$42] • Vox Luminis [$36] • New York Polyphony [$38] • Stile Antico [$36] • I Fagiolini [$38]Regular price: $190. Series discount price: $125.

CIOM P I Q UARTET SERIES

General admission seating in Baldwin Auditorium.Ciompi Quartet Concert No. 1 feat. Awadagin Pratt, piano [$25] • Ciompi Quartet Concert No. 2 feat. the Amernet String Quartet [$25] • Ciompi Quartet Concert No. 3 feat. Nicholas Kitchen, viola & Yeesun Kim, cello [$25] • Ciompi Quartet Concert No. 4 feat. Anthony Roth Costanzo, countertenor [$25]Regular price: $100. Series discount price: $80.

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I N F O R M A T I O N

FOR TICK E T S, F ULL PR OGR AM D ETAILS & OTHER IMPORTANT INFORMATIONVISIT D UKEPER FORMANCES.ORG

ORDE RING T ICKE TS

By PhoneCall the University Box Office between Monday and Friday, 11 am to 6 pm, 919-684-4444. Credit card orders only.

OnlineLog on to Duke Performances’ website any time at dukeperformances.org.

In PersonVisit the University Box Office on the top level of the Bryan Center on Duke University’s West Campus between Monday and Friday,11 am to 6 pm. Box office will open at performance venues one hour prior to the start of each show.

A couple of notes on purchasing tickets with Duke Performances: There is a new 7.5% North Carolina sales tax that is included in the price of your tickets. New this season, for online or phone purchases, a processing fee of $1.50 will be added per single ticket, and $5 per ticket package (student tickets included).

IMPORTANT INFORM ATION

Directions & ParkingFor full driving directions and parking information, please visit dukeperformances.org and click on the button marked Venues.

Late Seating PolicyPlease allow enough time to park, claim your tickets, and get seated before the start-time of performances. Latecomers will be seated at the discretion of the house manager and Duke Performances staff.

Lost TicketsIf you lose your tickets and need replacements, please call the University Box Office at 919-684-4444. For shows at the Carolina Theatre please call the Carolina Theatre Box Office at 919-560-3030.

Performance Changes & Performance Cancellation Programs are subject to change without notice for reasons outside the control of Duke Performances. If a performance is canceled, you will be notified as early as possible and offered either an exchange or a refund. Join our email list, check dukeperformances.org, and follow us on Facebook and Twitter for the most up-to-date information.

If You Are Unable To AttendIf you are unable to attend a program for which you hold tickets, you may donate those tickets in person or via phone at 919-684-4444 to the University Box Office for a tax credit (no refunds).

Website & Email UpdatesVisit dukeperformances.org for updates on all events. We also encourage you to join Duke Performances’ email list which can be accessed through our website. We will use this list to inform you of any changes in the series.

AccessibilityIf you anticipate needing any type of special accommodation or have questions about physical access please contact the University Box Office at 919-684-4444 in advance of the concert.

RefundsTickets are nonrefundable except in the case of canceled events.

F UNDING THANKS

Friends of Duke Performances

Institutional SupportersDuke University Office of the President Duke University Office of the Provost Duke University Office of the Vice Provost for the Arts Archive of Documentary Arts at the David M. Rubenstein Rare Book and Manuscript Library at Duke UniversityMary Duke Biddle FoundationCouncil for the Arts, Office of the Provost, Duke University Duke Africa InitiativeDuke University Dance Program Duke University Department of Music Duke University Department of Theater StudiesNew Music USA, made possible by annual program support and/or endowment gifts from Helen F. Whitaker Fund, Aaron Copland Fund for Music, Mary Flagler Charitable Trust, Andrew W. Mellon Foundation, Rockefeller Brothers Fund, William and Flora Hewlett Foundation, Francis Goelet Charitable Lead Trusts, and AnonymousSouth Arts in partnership with the National Endowment for the Arts and the North Carolina Arts Council

Duke Performances EndowmentsArmentrout Endowment for the Visual and Performing Arts Artist Residency Endowment Fund Artists Series Enhancement Endowment Fund Blackburn Performing Arts Fund J.J. and Ruth M. Blum Endowment Fund Robert and Margaret Boyer Endowment Fund Les Brown Endowment FundRuth J. Carver Endowment FundEndowment for Wind Instruments Henry David Epstein Endowment Fund Ella Fountain Pratt Cultural Affairs EndowmentPatrick M. and Catherine Greer Williams Endowment Fund Nancy Hanks Resident Fellows Endowment Fund Edith London Endowment Fund for the Chamber Arts Society Eleanor Naylor Dana Endowment Fund Ernest W. Nelson Fund for the Performing ArtsRoy O. Rodwell Cultural Affairs Endowment Fund Frances and E.T. Rollins, Jr. Endowment Fund Charles M. and Shirley F. Weiss Fund for Creativity in the Arts

GIVE

In order to best serve our community, Duke Performances offers tickets at the lowest possible price, typically 30% less than tickets to comparable events in the area. Donations from patrons ensure that we can continue to offer tickets to exceptional programs at these low prices. Only a third of our operating budget comes from ticket revenue. With increasing pressure on our funding sources, we depend even more on the generosity of those who can support our efforts to provide the best performing arts to the widest possible audience.

When you make a gift to Duke Performances you ensure our ability to continue presenting top-flight, forward-thinking artists; foster meaningful interaction with students; and build a community in Durham dedicated to the performing arts.

Visit dukeperformances.org/give to make your fully tax-deductible contribution to Duke Performances. If you have any questions about how to further support Duke Performances, please contact us at either [email protected] or 919-660-3356.

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Duke Performances 2014/15 Brochure

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Transcript of Duke Performances 2014/15 Brochure