Fall Program 2014

Fresh Produce from Local Farms & Seafood from SB Fish Market

Wine Country Cuisine | SB-Exclusive Wine List | Intimate Patio Dining�9 West Victoria Street 805.730.1160 BouchonSantaBarbara.com

American Riviera Cuisine | Extensive Wine List | European Courtyard813 Anacapa Street 805.966.9463 WineCask.com

It’s showtime!

DEPOSIT CHECKS • PAY BILLS • PAY A PERSON

Member FDIC

1. Jazz at Lincoln Center Orchestra with Wynton Marsalis performs “What is a Big Band?” for 2,000 school children at the Arlington Theatre (Mountain View Elementary School students pictured) 2. 2014 Grammy Award Winners La Santa Cecilia perform at Isla Vista Elementary School as part of a Viva el Arte residency 3. Hālau Hula O Pualanina’auali’Ioha in a free hula workshop at Campbell Hall

• Classical/contemporary music ensemble wild Up will give an educational performance for 300 local elementary and junior high school students

• Novelist Alexander McCall Smith will do a Q-and-A with UCSB students and faculty

• Pilobolus Dance Theater will conduct a dance class for the community and workshops with UCSB dance students

• Danish String Quartet will lead workshops for UCSB music students

• Shakespeare’s Globe Theatre will give workshops in play analysis, Shakespeare and acting for UCSB students

• Irish band Danú will perform lecture-demonstrations for UCSB music students and Isla Vista Elementary School students

(805) 893-3535 / www.ArtsAndLectures.UCSB.edu4

What you see on stage is only the beginning…

• Classical pianist Charlie Albright will visit San Marcos High School and give a master class for UCSB students

• Jazz composer and saxophonist Phillip Johnston will appear in a Q-and-A with UCSB students and faculty

• Music group Tinariwen will give a workshop for UCSB world music students

• Violinist Joshua Bell will give a meet-the-artist session for UCSB music students

• Dance company BalletBoyz® will lead a dance class for the community and give workshops for UCSB dance students

• Singer-songwriter Patty Griffin and musicians from her band will give a workshop for UCSB music students

• Batsheva Dance Company will conduct dance workshops for UCSB dance students

Arts & Lectures in the Classroom and Community

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(805) 893-3535 / www.ArtsAndLectures.UCSB.edu 5

WILLIAM H. KEARNS FOUNDATION

Community Partner

Did you know?Arts & Lectures features a nationally recognized, award-winning arts education outreach program that serves more than 30,000 students annually.

We believe that it is our responsibility to make this educational connection happen between students and arts professionals, enriching the lives of generations of students in our community.

Arts & Lectures gratefully acknowledges the generous support of SAGE, William H. Kearns Foundation, and A&L Community Partner Orfalea Foundation who help take artists and speakers off the stage and into K-12 schools and other public settings throughout our region to serve children and families with unique opportunities for arts engagement.

For information on how you can support arts education and outreach activities in our community, please contact A&L’s Director of Development, Elisabeth Leader, at (805) 893-3465.

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Why Endowment?“Because this is the gift that keeps on giving.”– A&L Council Co-chair Sara Miller McCune

with Yo-Yo Ma, Council Co-chair Dan Burnham and Council member Lynda Weinman

Why Producers Circle?“Because it is the best way to ensure that A&L will continue to bring our community together to be entertained, inspired and informed by world-class talents and leading thinkers.”– Producers Circle member Ginger Salazar

with Brett Matthews and Alan Alda

Why Sponsor an Event?“Because if I didn’t, the silence would be deafening.”– A&L Council member Fredric E. Steck

with Emily Steck and Lyle Lovett

Join the Campaign for Arts & Lectures TodayThere are so many ways to get involved.

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s: Kim

berly

Citro

Arts & Lectures Campaign Office: (805) 893-217466 Arts & Lectures Campaign Office: (805) 893-2174

Why Sponsor an Event?“Because if I didn’t, the silence would be deafening.”– A&L Council member Fredric E. Steck

with Emily Steck and Lyle Lovett

Our Campaign seeks to raise $20 million

Thanks to your generous support, we’ve reached

$14.8 million toward our $20 million goal!

$10 million designated to current programming and operations

$10 million committed to the

A&L Endowments, to ensure financial stability now and forever

1. Vienna Philharmonic Orchestra Principal Flutist Walter Auer with UCSB student Azeem Ward in master class 2. Jeremy Neal from Abraham.In.Motion with Santa Barbara High School advanced dancers 3. Gabriel Kahane with fourth graders at Franklin Elementary School 4. Wynton Marsalis greets young fan at a post-show event co-presented with Children’s Creative Project

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Council for Arts & LecturesSara Miller McCune (Co-chair), Dan Burnham (Co-chair),

Barrie Bergman, Timothy O. Fisher, Richard Janssen, Tom Kenny, Kath Lavidge, Susan McCaw, Lois Mitchell, Natalie Orfalea,

Lady Leslie Ridley-Tree, Fredric E. Steck, Tom Sturgess, Anne Towbes, Milton Warshaw, and Lynda Weinman

Arts & Lectures Campaign Office: (805) 893-2174 77Arts & Lectures Campaign Office: (805) 893-2174

UCSB_arts&Lectures_031214_3.pdf 1 3/12/14 4:31 PM

Contact us at (805) 893-2174 or email Sandy.Robertson@sa.UCSB.edu for a wide range of commitment levels and participation opportunities.

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Producers Circle $2,500+

• VIP Ticket Concierge Service and Priority Seating for all events

• Invitation to A&L’s exclusive Season Announcement Party

• Advance notice of selected events with early ticket-buying privileges

• Invitation to Producers Circle receptions with featured artists and speakers

• Invitation to be a guest of A&L at a performance or lecture of the season

• Opportunity to attend master classes and other education outreach activities

•

NEW THIS YEAR Complimentary wine or champagne in the McCune Founders Room at The Granada Theatre before events and during intermissions of A&L performances and lectures

Plus all benefits of lower giving levels

Leadership Circle $10,000+

The Leadership Circle is a select group of key visionar-ies giving $10,000 to $100,000 or more each year, mak-ing a significant, tangible difference in the community and yielding unparalleled access to A&L’s roster of pre-mier artists and global thinkers. A range of exclusive opportunities include hosting artists and speakers at private dinners or receptions, sponsoring events, VIP Concierge service, and more. Plus all benefits of lower giving levels

* Fair market value of tickets provided may affect portion of gift which is tax-deductible. Gifts are tax-deductible less the fair market value of benefits received. You may choose to decline benefits at the time you make your gift, in which case the full gift amount is tax-deductible to the extent allowed by law.

Executive Producers Circle$5,000+

• High Priority Seating for all events

• Invitation to a post-performance Green Room meet-and-greet opportunity with a featured artist or speaker

• Invitations to receptions at private residences with featured artists or speakersPlus all benefits of lower giving levels

Circle of Friends

$1,500+ Headliner • Invitation to A&L annual fundraiser

Plus all benefits of lower giving levels

$1,000+ Director • Membership in the UC Santa Barbara Chancellor’s Council, with all attendant benefits, including access to complimentary campus parking and invitations to university eventsPlus all benefits of lower giving levels

$500+ Partner • Invitation to season kick-off

Plus all benefits of lower giving levels

$250+ Patron • Invitation to annual Donor Appreciation Day reception with featured artist and/or guest speakerPlus benefits of lower giving level

$100+ Friend • Recognition in A&L quarterly event programs

• NEW THIS YEAR Option to join A&L’s new Book Club

Join Arts & Lectures - Become a Member TodayMake a difference now, and enjoy exclusive benefits all year long!

Anonymous (4) Judy & Bruce Anticouni

John P. & Jody M. ArnholdGary & Mary Becker

Arlene & Barrie BergmanMeg & Dan Burnham

Marcy CarseyMarcia & John Mike Cohen

Cohen Family Fund of the Community Foundation for Southeast Michigan

Barbara Delaune-Warren Audrey & Timothy Fisher

Genevieve & Lewis Geyser Patricia Gregory for the Baker Foundation

Carla & Stephen* Hahn The James Irvine Foundation

Luci & Richard JanssenRobert & Gretchen Lieff

Tom Kenny & Susan McMillanLillian & Jon* Lovelace

lynda.comMarilyn & Dick MazessSusan & Craig McCaw

Sara Miller McCuneKay R. McMillan

Orfalea FoundationLady Leslie Ridley-Tree

SAGE PublicationsHarold & Hester Schoen

Fredric E. SteckHeather & Tom SturgessAnne & Michael Towbes

James Warren Marsha* & Bill Wayne

Lynda Weinman & Bruce HeavinWilliam H. Kearns Foundation

Irene & Ralph WilsonYardi Systems, Inc.

UC Santa Barbara Arts & Lectures is honored to recognize donors whose lifetime giving to A&L is $100,000 or more. We are very grateful for their longtime, visionary support

of A&L and for believing, as we do, that the arts and ideas are essential to our quality of life.

UC Santa Barbara Arts & Lectures wishes to recognize those who are leading the way to

educate, entertain and inspire by participating in

Recognition based upon cumulative giving during The Campaign Recognition is based on cumulative, lifetime giving.

$500,000 - $999,999 Anonymous ‡

Audrey & Timothy Fisher ‡Susan & Craig McCaw ‡

Orfalea FoundationSAGE Publications ‡

$1,000,000 and above

lynda.comSara Miller McCune ‡

Anne & Michael Towbes ‡

$250,000 - $499,999

Jody M. & John P. ArnholdArlene & Barrie Bergman

Cohen Family Fund of the Community Foundation for Southeast Michigan

Tom Kenny & Susan McMillan ‡Kay R. McMillan ‡

$100,000 - $249,999

Anonymous ‡Meg & Dan Burnham ‡

Marcy Carsey ‡Marcia & John Mike Cohen

Carla Hahn ‡Luci & Richard Janssen ‡Lady Leslie Ridley-Tree

Fredric E. Steck ‡Heather & Tom Sturgess ‡

Lynda Weinman & Bruce Heavin ‡ William H. Kearns Foundation ‡

‡ Indicates those that have made gifts to UC Santa Barbara Arts & Lectures endowed funds, in addition to their annual program support. * Deceased

(805) 893-3535 / www.ArtsAndLectures.UCSB.edu10

Arts & Lectures Campaign Office: (805) 893-2174 11

Arts & Lectures AmbassadorsArts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by providing advice to the A&L Miller McCune Executive Director, cultivating new supporters and assisting with fundraising activities.

Judy AnticouniArlene BergmanMeg BurnhamAnnette CaleelGenevieve & Lewis GeyserEva HallerLuci JanssenNancy Walker KoppelmanDonna Christine McGuireMaxine PrisyonBobbie RosenblattHeather SturgessAnne Smith Towbes

Arts & Lectures Legacy CircleArts & Lectures is pleased to acknowledge the generous donors who have made provisions for future support of our program through their estate.

Judy & Bruce AnticouniEstate of Helen BorgesAudrey & Timothy FisherSara Miller McCuneEstate of Hester SchoenConnie J. SmithIrene & Ralph Wilson

Arts & Lectures Honor Roll of DonorsArts & Lectures is pleased to acknowledge the generous donors whose support enables us to offer quality programming, provide arts education and outreach activities to UC Santa Barbara students and the community, and maintain affordable ticket prices.

Recognition is based upon a donor’s cumulative giving/pledges within a 12-month period. Every effort has been made to assure accuracy. Please notify our office of any errors or omissions at (805) 893-3465. List current as of September 10, 2014.

Leadership Circle

Diamond - $100,000+Anonymous (2)Arlene & Barrie BergmanMeg & Dan BurnhamMarcy CarseyMarcia & John Mike CohenMargo Cohen-Feinberg & Bob FeinbergAudrey & Timothy FisherCarla HahnLuci & Richard JanssenTom Kenny & Susan McMillanlynda.comSusan & Craig McCawSara Miller McCuneKay R. McMillanOrfalea FoundationLady Leslie Ridley-TreeSAGE PublicationsFredric E. SteckHeather & Tom SturgessAnne & Michael TowbesLynda Weinman & Bruce HeavinWilliam H. Kearns Foundation

Platinum - $50,000+AnonymousJohn P. & Jody M. ArnholdMary & Gary BeckerAnnette & Dr. Richard CaleelEva & Yoel HallerEllen & Peter O. JohnsonSanta Barbara FoundationPatricia & James Selbert The Towbes Fund for the

Performing ArtsDr. Bob Weinman

Gold - $25,000+Sue & Brian KellyBob & Siri MarshallDiana and Simon Raab FoundationLiza RassnerSusan J. Rose & Allan S. GhittermanYardi Systems, Inc.

Silver - $10,000+AnonymousSheila & Michael BonsignoreWilliam & Christine Fletcher Martha & John GabbertGenevieve & Lewis GeyserPatricia Gregory for the Baker

Foundation

Judith HopkinsonHutton Parker FoundationMelissa R. & Ralph T. IannelliMorris and Irma JurkowitzGretchen & Robert Lieff Lillian LovelaceMarilyn & Richard MazessMontecito Bank & TrustJillian & Peter MullerRoddick FoundationRusty’s PizzaThe Simms/Mann Family FoundationStephanie & Jim SokoloveJohn & Amy Underwood Marsha* & Bill WayneWestmont CollegeNoelle & Dick Wolf

Producers Circle

Executive Producer - $5,000+Glenn & Valerie AlgerPat & Evan AptakerSarah ArgyropoulosTim & Monica BabichLeslie & Ashish BhutaniLyn & Mark Brillo-SonninoNancy BrownRoger & Sarah ChrismanNancyBell Coe & William BurkeComer Foundation FundWilliam B. Cornfield Deanna & Jim DehlsenERG Resources, LLCConnie Frank Foundation Allison & Brian FrederickLisa & George HagermanIrina & Stefan HearstJudy & Jeff HenleyJoan & Robert R. HollmanElaine & Herbert KendallPatricia & John MacFarlaneMission Wealth Management, LLCSuzanne & Duncan MellichampEric & Nina PhillipsLisa Reich & Robert JohnsonCristina & Erck RickmersVicki Riskin & David W. RintelsNancy & Mike SheldonLinda Stafford BurrowsBarbara StupayIna Tornallyay

The Towbes FoundationWilliam E. Weiss Foundation, Inc.Scott Wood

Producer - $2,500+Roxana & Fred AnsonJudy & Bruce AnticouniHiroko BenkoCelesta M. Billeci & John HajdaSusan E. BowerSusan D. BoweyNatalie BryantRobin & Daniel CerfBeth Chamberlin Endowment for

Cultural Understanding Karla & Richard ChernickDean & Darcy ChristalTana & Joe ChristieMary & Richard ComptonAnn DanielPhyllis DePicciottoWhitney & Tyler DuncanDoris & Tom EverhartBaroness Léni Fé BlandNancy & Michael GiffordMelinda GoodmanPaul Guido & Stephen Blain Betsy & Jule HannafordLaurie Harris & Richard HechtMary J. HarveyRuth & Alan HeegerFaith & Mel HenkinAndrea & Richard HuttonShari & George IsaacHollye & Jeff JacobsJulie & Jamie KellnerMargaret & Barry KempLinda & Bill KitchenJill & Barry KitnickMark LinehanCatherine Lloyd Sandra L. LynneBarbara Mathews, MD & Michael ZirolliBrett Matthews & Ginger SalazarDiane Meyer SimonAnne & Hale MilgrimLois & Mark MitchellThe Neubauer FamilyNanette & Henry NevinsJoan Pascal & Ted RhodesAnn & Michael PlessStacy & William PuliceBobbie & Ed RosenblattBruce S. Russell & Andy OakleyDr. William E. Sanson

Arts & Lectures Campaign Office: (805) 893-217412

Dr. Robert & Leila NoelDrs. Joseph & Annelie PurdyRobin & Chuck RickershauserChristiane Schlumberger Mary SipesSteve Starkey & Olivia ErschenBarbara Voorhies

Patron $250+Pamela Benham & Paul HansmaDouglas & Rachel BurbankBarbara CalderDavid & Claudia ChapmanMargo ChapmanJo Ann ChasePenny DarcyNancy & Roger DavidsonBarbara Lynn DegrootDr. Jeana L. DresselMichael K. DunnPriscilla & Jason GainesParry Gripp & Aylene Rhiger GrippTamar P. HandelmanDouglas H. HarrisLaura Haston & Frank DavisValerie J. Hoffman & Roland NoeCarla J. MarcinkusDonna & Ron MelvilleKathlyn & Bill PaxtonCraig PennerDeborah & Ken PontifexJulie & Chris ProctorLoretta Redd, Ph.D.Mary Lou & Clay RunningErlaine H. SeegerChuck & Missy SheldonSusan Sheller & Bob RoeRobert A. SorichElizabeth & K. Martin StevensonGail & David Teton-LandisAnne & Tony ThacherJoseph ThomasJustine & Roger ThompsonJo Ellen & Thomas WatsonRonald & Helayne WhiteMuriel Zimmerman

Friend $100+Vickie Ascolese & Richard VincentJulie AntelmanCatherine AlbaneseChristine AllenChristopher & Ariana Arcenas-UtleyLaurel BarrackElizabeth & Richard Barton

John A. SonquistMary Jo SwalleyDiana SwartzRobert & Leah TemkinPatricia ToppelSandra & Sam TylerElizabeth & Taylor Tyng Sherry & Jim VillanuevaMaryBeth & Jim VogelzangKathy & Bill WeberJean WeidemannHarold Williams & Nancy EnglanderWinick Architecture & DesignCarolyn & Philip WyattJoAnne & Michael Young

A special thanks to all our new Producers Circle members – your support is making a difference!

Circle of Friends

Director $1,000+Lyn & David H. AndersonBonnie & Frank BurgessJoan & Bill CrawfordDebbie & Dan Gerber Joyce M. GreeneMary & Thomas JacobEric KronvallJohn La Puma, M.D.J. Roger & Almeda MorrisonDale & Michael NissensonAlex & Bob NourseSusanuah E. RakeElizabeth TyngBruce & Susan Worster

Partner $500+Steve & Peggy BarnesVirginia Castagnola-HunterCurt & Sallie CoughlinDr. Jane De Hart & Bejamin CohenMichael Doherty & Margaret RicksDodd & Beth GeigerGhita D. GinbergStina Hans & Joel KreinerPaula KislakNancy & Robert KnightPat Lambert & Rick DahlquistElinor & James LangerDavid & Janice Toyo LevasheffJere & Fima LifshitzMary LockJoan & Bill Murdoch

Marianne & Paul GertmanElaine & Jerry GibsonArlyn & Marlowe GoldsbyMarianne GordinNatalie & Richard HarphamYonie HarrisMichael Hayes & Kim PhillipsLinda Hedgepeth & Michael MillhollanCecia & Milt HessDonna & Daniel HoneSharyn JohnsonGerd & Peter JordanoMartha & Peter KaroffLinda & Sid KastnerSusan Keller & Myron Shapero M.D.Mr. & Mrs. Richard B. KennellyLinda Kiefer and Jerry RobertsRobert W. KohnNancy Walker Koppelman

& Larry KoppelmanCarol KosterkaZoë Landers Carl & Diana LasnerThe Lehrer Family FoundationCarol Spungen & Aaron LiebermanMarilyn MagidRuth & John MatuszeskiR. Emmett & Jadwiga McDonoughSheila & Frank McGinityAmanda & James* McIntyreMartin McKenzieRonnie Haran Mellen & Chase Mellen IIIGinger & Marlin Miller Maryanne Mott Mayra & Spencer NadlerDale & Michael NissensonJanet OetingerLynn & Mel PearlConstance PenleyEllen & Robert RaedeDr. Raymond B. & Barbara RobinsJean RogersKyra & Tony RogersSybil RosenGayle & Charles RosenbergJulie & George RusznakJo & Ken SaxonMarilyn Rickard Schafer & Donald

SchaferLila & Joseph ScherMary Lane Scherer & Jim BrousEd & Maureen SederNed Seder & Lilyan CuttlerDr. Jack & Anitra SheenConnie J. SmithAnita & Eric Sonquist

Mark & Lynda SchwartzStephanie & Fred ShumanJoan SpeirsSuzanne & John SteedRussell SteinerDebra & Stephen StewartThe Stone Family FoundationJames S. & Denise TaylorCaroline ThompsonBarbara & Samuel ToumayanDianne & Daniel VapnekSue & Bill Wagner Carol Wilburn & Charles McClintockIrene & Ralph WilsonNicole & Kirt WoodhouseCrystal & Clifford WyattLaura & Geofrey Wyatt Lori & George ZimmerDiane & Steve Zipperstein

Associate Producer - $1,500+Anonymous (2) Alison Allan & Chuck BlitzSherri BallKathleen Barry, Ph.D.Arnie & Jill BelloweVirginia Berns & Anthony AiraLeslie & Philip BernsteinVicky Blum & David LebellRochelle & Mark BookspanKaren & Peter BrillWendy BrussM. Peyton & Suzanne BucyBonnie & Frank BurgessAndrew D. ButcherDinah & Ricardo CalderonCarol & Andrew CampbellLynne Cantlay & Robert KleinSusan & Claude CaseYvon Chouinard and Malinda PennoyerDrs. Susanne & J.W. ColinTrudy & Howard CoopermanLaurie Deans & Joseph MedjuckPatty DeDominic & Gene SinserJosie & Jeff DeVineDr. David W. Doner Jr. Ginni & Chad DreierDonnelley & Cinda ErdmanMaria & Joe FazioMarion & Richard FlacksDorothy FlasterCarole & Ron FoxTeri & Eric GabrielsenCindy & Robert GelberDavid Gersh & Anne Ready

Arts & Lectures Campaign Office: (805) 893-2174 13

Thank You! Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

Arts & Lectures StaffCelesta M. Billeci,

Miller McCune Executive DirectorRoman Baratiak,

Associate DirectorMeghan Bush,

Director of Marketing & Communications

Michele Bynum, Senior Artist

Emily Cesca, Finance & Operations Manager

Diane Deal, Special Projects Manager

Janelle Kohler, Public Events & Administrative Assistant

Kevin Grant, Business Analyst

Karna Hughes, Senior Writer / Publicist

Mari Levasheff, Media / Marketing Associate

Elisabeth Leader, Director of Development

Jim Muneio, Ticket Office Manager

Cori Ochoa, Development Assistant

Cathy Oliverson, Manager for Performing Arts & Educational Outreach

Sandy Robertson, Senior Director of Development & Special Initiatives

Heather Silva, Programming Manager

Campbell Hall StaffSarah Jane Bennett,

Public Events Manager John O. Davis,

Campbell Hall ManagerCameron Squire,

Public Events Manager

Kathleen WitteDiana WoehleTheresa YandellDon & Anna YlvisakerSeyburn Zorthian & Marc McGinnes

*deceased

Granting OrganizationsCalifornia Arts CouncilCohen Family Fund of the Community

Foundation for Southeast MichiganThe James Irvine FoundationNew England Foundation for the Arts’

National Dance ProjectNational Endowment for the ArtsOrfalea FoundationSanta Barbara County Arts CommissionSanta Barbara FoundationThe Towbes FoundationUCSB Office of Academic PreparationWestern States Arts Federation

Arts & Lectures EndowmentsThe Fund for Programmatic ExcellenceThe Commissioning of New Work FundThe Education and Outreach FundBeth Chamberlin Endowment for

Cultural UnderstandingThe Harold & Hester Schoen

EndowmentSonquist Family Endowment

Susan MatsumotoElizabeth & J. Merrick MatthewsChristine & James McNamaraLori K. MeschlerKatharine Metropolis & Jeff RichmanRaymond H. MilkmanEllicott MillionSusan & Max NeufeldtCarol & Steve NewmanMireille & Peter NooneJohn NorrisTom & Victoria OstwaldCarol PattilloDennis J. PerryDorris Phinney & Owen PatmorChristopher PilafianD.E. Polk & J.P. LoganbachH & M Pompe van MeerdervoortBonnie & Jess RandDr. Madison RichardsonLeslie & Gary RobinsonAdele R. RosenJustus & Helen SchlichtingRhonda & Larry SheakleyBarbara SilverHarvey H. & Ellen SilverbergGeorge & Jan SirkinLisa Stratton & Peter SchuylerDena SteinColleen SterneRaymond L. & Louise StoneTerry & Art SturzMarshall M. ThomasLila Trachtenberg & George HandlerFrederick & Marion TwichellMary WalshRobert Warner & Isabel DownsJohn & Susanne WeaverDr. Alex Weinstein & Dr. Betty HeltonMort & Judy WeismanRichard Weist

Lisa BassRalph & Janice BaxterJohn & Nan BedfordNorrine BesserLinda & Peter BeuretMary & John BlairEileen & Doug BristolDrs. Paula & Thomas BruiceDiana & Steve CharlesAnnie & George ChengBurt & Wilma ChortkoffArthur CollierAshe CouttsThomas Dain ConstructionAndrew & Adrianne DavisGwen & Rodger DawsonLila DeedsEdward S. DeLoretoThomas & Joan DentElizabeth Downing & Peter HaslerAnn & David DwelleyMargaret & Jerrold EberhardtJim & Jennifer EbyRebecca EldridgeGail ElnickyGlenn Fout & Lorraine LimJohn & Carole GarandTheresa GoreyLinda & Robert GruberLorna HardyBetty & Stan HatchMaren HenleKristine HerrJorge HerreraGeoffrey HornbyGail & Stephen HumphreysHannah-Beth Jackson & George EskinSarah JacobsBarbara Janelle Mary JanottaJudy & Craig JenningsKristen JohansenRuth & Blake JohnsonMary Ann Jordan & Alan StaehleCheryl & G.L. JusticeFrancesca KeckDaniel & Diane Krieger-CarlisleChristopher & Eleanor LandDon & Carol LauerWayne A. & Catherine LewisPamela & Russell LombardoMartin LynchLinda & Richard LynnCraig & Sherry MadsenGail & Robert Magnuson

“We aren’t likely to see a recording career like this again.” The New York Times

“His voice is still a technical marvel, and no one else on Earth can make a lyric written eight decades ago sound as natural as a conversation at a coffee shop.” New York Magazine

No one in popular American music has recorded for so long and at such a high level of excellence as Tony Bennett. In the last 10 years alone he has sold 10 million records. The essence of his longevity and high artistic achievement was imbued in him in his loving childhood home in the Astoria section of Queens where he was born on Aug. 3, 1926. His father died when Tony was 10 and his mother Anna raised Tony and his older brother and sister, John and Mary, in a home surrounded by loving relatives who were Tony’s first fans, filling him with encouragement and optimism. He attended the High School of Industrial Arts in Manhattan, where he continued nurturing his two passions, singing and painting. From the radio he developed a love of music, lis-tening to Bing Crosby, Louis Armstrong and James Durante.

As a teenager Tony sang while waiting on tables. Then he en-listed in the Army during World War II, and while in Europe he performed with military bands. He later had vocal studies

at the American Theatre Wing School. The first time Bennett sang in a nightclub was in 1946 when he sat in with trom-bonist Tyree Glenn at the Shangri-La in Astoria. Bennett’s big break came in 1949 when comedian Bob Hope noticed him working with Pearl Bailey in Greenwich Village in New York City. As Bennett recalls, “Bob Hope came down to check out my act. He liked my singing so much that after the show he came back to see me in my dressing room and said, ‘Come on kid, you’re going to come to the Paramount and sing with me.’ But first he told me he didn’t care for my stage name (Joe Bari) and asked me what my real name was. I told him, ‘My name is Anthony Dominick Benedetto,’ and he said, ‘We’ll call you Tony Bennett.’ And that’s how it happened. A new Americanized name – the start of a wonderful career and a glorious adventure that has continued for over 60 years.”

With millions of records sold worldwide and platinum and gold albums to his credit, Bennett has received 17 Grammy awards – including a 1995 Grammy for Record of the Year for his MTV Unplugged CD, which introduced this American master to a whole new generation – and the Grammy Lifetime Award. His 2007 prime-time special, Tony Bennett: An American Classic, won seven Emmy awards. His initial successes came via a string of Columbia singles in the early 1950s, including such chart-toppers as “Because of You,” “Rags to Riches” and a remake of Hank Williams’ “Cold, Cold Heart.” He had 24 songs in the Top 40, including “I Wanna Be Around,” “The Good Life,” “Who Can I Turn to (When

Principal Sponsor: Lady Leslie Ridley-Tree

Tony Bennett with very special guest Antonia BennettTHU, OCT 2 / 7 PM / GRANADA THEATRE

Mike Renzi, pianoGray Sargent, guitarHarold Jones, drumsMarshall Wood, bass

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ing contributions to music.

Throughout his career, Tony Bennett has always put his heart and time into humanitarian concerns. He has raised millions of dollars for the Juvenile Diabetes Foundation, which es-tablished a research fund in his name. His original paintings each year grace the cover of the American Cancer Society’s annual holiday greeting card, proceeds from which are earmarked for cancer research. He is active in environmental concerns and social justice. He marched with Dr. King in the historical Selma to Montgomery civil rights march and the Martin Luther King Jr. Center in Atlanta bestowed upon him their Salute to Greatness Award for his efforts in fighting racial discrimination.

In 1999, Tony Bennett, with his wife Susan Benedetto, a former public school teacher, founded Exploring the Arts to strengthen the role of the arts in public high school educa-tion. ETA connects private funders, individual artists and cultural institutions to partner schools to achieve greater equality of resources and opportunity for youths of all means and backgrounds.

Today Tony Bennett’s artistry and accomplishments are ap-plauded here at home and all over the world by people from 12 to 90 years old. Recently former President Bill Clinton observed, “Now in his seventh decade of singing, Tony Bennett has somehow kept his unique voice, with its beauty and range, its strength and style, and still in perfect pitch. But as talented as he is, Tony’s most impressive quality is his giving spirit!”

www.tonybennett.com www.zenofbennett.com www.exploringthearts.com

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

Nobody Needs Me)” and his signature song, “I Left My Heart in San Francisco,” which garnered him two Grammy awards.

Tony Bennett is one of a handful of artists to have new albums charting in the ’50s, ’60s, ’70 s, ’80s, ’90s, and now in the first two decades of the 21st century. He has introduced a multitude of songs into the Great American Songbook that have since become standards for pop music. He has toured the world to sold-out audiences with rave reviews whenever he performs. Bennett re-signed with Columbia Records in 1986 and released the critically acclaimed The Art of Excellence. Since his 1991 show-stopping performance at the Grammy Awards ceremony of “When Do the Bells Ring for Me,” from his Astoria album, he has received a string of Grammy awards for releases including Stepping Out, Perfectly Frank and MTV Unplugged.

In the new millennium, Bennett’s artistry and popularity was greater than ever. In 2006, the year of his 80th birthday, his Duets: An American Classic was released. The album – which included performances with Paul McCartney, Elton John, Barbra Streisand, Bono and others – won three Grammy awards and went on to be one of the best-selling CDs of the year and Tony’s career. Bennett’s first Duets album also inspired the Rob Marshall-directed television special Tony Bennett: An American Classic, which won seven Emmys, making it the most honored program at the 2007 Emmy Awards. In celebration of his 85th birthday in 2011, the release of Bennett’s highly anticipated Duets II featured Tony performing with a new roster of celebrated artists, including the late Amy Winehouse (her last recording was their duet of “Body and Soul”), Michael Bublé, Aretha Franklin, Josh Groban, Lady Gaga, John Mayer and many others. Duets II debuted at No. 1 on the Billboard album charts, making Tony the only artist at the age of 85 to achieve this in the history of recorded music. Bennett won two Grammys for Duets II in the 2012 Grammy ceremony, and the same year marked the 50th anniversary of the recording and release of his signature song, “I Left My Heart in San Francisco.” A documentary titled The Zen of Bennett, which was created and conceived by Danny Bennett, Tony’s son and manager, premiered at the Tribeca Film Festival in 2012. At the end of 2012, Bennett also authored his fourth book, the New York Times best-seller Life Is a Gift, which highlights his personal philosophies from throughout his life and career. Tony’s latest endeavor is a col-laborative jazz album with Lady Gaga, released in September, titled, Tony Bennett & Lady Gaga: Cheek To Cheek.

Tony Bennett became a Kennedy Center Honoree in 2005 and was named an NEA Jazz Master in 2006. He received a Citizen of the World award from the United Nations and a Billboard Magazine Century Award in honor of his outstand-

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women, and I don’t need to talk anymore about it because on this recording I am letting the voices of the women show their beauty to the world,” she adds. “My goal is to offer a perspective on Africa that is different from the miserable one so many people seem to accept as fact. My home continent has become a magnet for many negative perceptions about women, and Eve is all about show-casing the positivity they bring to their villages, cities, culture and the world.”

As a Goodwill Ambassador with UNICEF since 2002, Kidjo – named one of the Top 100 Most Inspiring Women in the World by The Guardian – has traveled to many countries in Africa. Two trips in particular played a role in inspiring the Eve project. The first was a 2007 jaunt to visit women from Darfur in a refugee camp in Chad as part of an eight-woman delegation from U.K.-based Oxfam. “The purpose was for us to go talk to these wom-en who are invisible in the face of the media,” Kidjo says. “Those women taught me humility and forgiveness and embodied the strength to overcome hardship. They were in horrifying circumstances, but they were not dwelling on the negative or crying. They had lost husbands and their children had lost fathers, but they maintained their dignity.”

In August 2012, Kidjo traveled to Kenya with UNICEF and CNN to film a documentary on stunting, which is the acute malnutrition from infancy to 2 years that irrevers-ibly affects the future mental and physical development of many children in the world, especially in Africa. It prevents them from studying correctly and working,

In an expansive career marked as much by extraordinary musical achievement as passionate advocacy and philan-thropy for her homeland of Africa, Angélique Kidjo has found many ways to celebrate the rich, enlightening truth about the continent’s women beyond the media spotlight.

On Eve, her Savoy Records debut, named for her own mother as well as the mythical “mother of all living,” the Benin-born, Grammy Award-winning singer-songwrit-er builds on this ever-evolving legacy with a 13-track, three-interlude set of melodically rich, rhythmically powerful expressions of female empowerment. These songs become all the more intimate and emotionally ur-gent with Kidjo’s dynamic collaborations with traditional women’s choirs from Kenya and various cities and villages in Benin. The singer and her newfound native vocalists sing in a wide array of native Beninese languages, includ-ing Fon (Kidjo’s first language), Yoruba, Goun and Mina.

“Eve is an album of remembrance of African women I grew up with and a testament to the pride and strength that hide behind the smile that masks everyday troubles,” says Kidjo, whose accolades include a 20-year discogra-phy, thousands of concerts around the world and being named “Africa’s premier diva” (Time magazine) and “the undisputed Queen of African Music” (The Daily Telegraph). “They exuded a positivity and grace in a time of hardship. These songs bring me back to the women I shared my life with, including my mother, grandmother and cousins.”

“I’ve spoken for many years about the beauty of African

Angélique KidjoSAT, OCT 4 / 8 PM / CAMPBELL HALL

Angélique Kidjo, vocalsDominic James, guitarMagatte Sow, percussionBen Zwerin, bassYayo Serka, drums

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The singer released Eve in conjunction with the publica-tion of Spirit Rising: My Life, My Music, an autobiography written with Rachel Wenrick. With a foreword by Bishop Desmond Tutu and a preface from Alicia Keys, the book chronicles Kidjo’s rise from a childhood where her voice was censored by the Communist regime to a visionary artist and activist who made her dreams a reality – and how she is inspiring others all around the world to do the same. The telling of Kidjo’s dramatic rise ties in perfectly with the female empowerment themes that make Eve an epic achievement in her career.

“Eve is dedicated to the women of Africa, to their resil-ience and their beauty,” says Kidjo. “What I discovered along this journey is that these women find joy in being mothers and wives and also in being financially indepen-dent, running businesses in markets and finding ways to feed their kids. So let us celebrate the beauty and human-ity of women, respect them fully and find no comfort in humiliating them or making them feel inferior. What I enjoyed most about creating Eve was the women giving me the authority and strength to continue speaking about justice, love, empathy and compassion. As an artist, this is all about me inspiring myself and others to find the strength to love and find solutions to our problems. As long as we are strong, we will move forward with dignity.”

which in turn affects the country’s economy. The singer visited the Samburu region in northern Kenya. When she entered the small village of Merti, she met with a group of women who were part of a community center advocating for better nutrition. They welcomed her with a beautiful chant that she captured on her iPhone. Kidjo was so in-spired by the passion and strength of their voices that she created “M’Baamba” (which became the opening track on Eve) around the magical iPhone sample of their voices.

“At the time, I was starting to write songs for a new album about the empowerment of women, but that experience nailed the importance of it for me,” says Kidjo, who had recently released her live album Spirit Rising, the soundtrack to her PBS Special Performance concert. “The sense of bonding I experienced with these women gave me the desire to expand the idea and work with other choirs of African women to create Eve. Through my many trips to Africa, I have seen that women are the backbone of the continent and that empowering them would be the key to a lasting change.”

Each track on Eve touches on different aspects of the experience of womanhood in Africa, as seen through the artistic eyes of Kidjo. For example, with its Kenyan voices and hypnotic Congolese guitar, she sings words on “M’Baamba” that translate to “Hands in hands, we’re able to create a chain of sisterhood.” The high-energy, Afrobeat-driven “Shango Wa” is about Shango, the Yoruba god of thunder that is both a man and a woman; he dress-es like a woman during ceremonies showing that a man has a feminine part and a woman a manly part. The idea is that we are not so different. The moody and seductive “Eva,” featuring vocals by Nigerian singer Asa, is a song about the friendship between women. After the breath-less chant interlude “Agbade,” the high-spirited “Bomba” (whose title references the African dress, the “boubou”) is about the fact that African women, even the poorest ones, have a special elegance and pride.

Kidjo brought to the meticulous and exciting process of creating Eve a deep, colorful history of advocacy on behalf of African women. Along with Mary Louise Cohen and John R. Phillips, Kidjo founded the Batonga Foundation, which gives girls a secondary school and higher educa-tion so that they can take the lead in changing Africa. The foundation is doing this by granting scholarships, build-ing secondary schools, increasing enrollment, improving teaching standards, providing school supplies, supporting mentor programs, exploring alternative education models and advocating for community awareness of the value of education for girls.

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Matt GroeningMatt Groening, creator and executive producer of the Emmy Award-winning series The Simpsons, made televi-sion history by bringing animation back to prime time and creating an immortal nuclear family. The Simpsons is now the longest-running scripted series in TV history and was named “Best Show of the 20th Century” by Time magazine.

Groening also served as producer and writer during the four-year creation process of the hit feature film, The Simpsons Movie, released in 2007. In 2009, a series of Simpsons U.S. postage stamps personally designed by Groening were released nationwide. The television series just celebrated its 25th anniversary and is in production on the 26th season; Groening continues to serve as executive producer of the show.

Originally brought to life in 1987 for short animated inter-stitials (shown between segments) on The Tracey Ullman Show, The Simpsons was Groening’s introduction into the animation world. He was previously best known for his Life in Hell cartoon strip, which was syndicated in more than 250 weekly newspapers for more than 30 years, and the books, calendars and merchandise based on Groening’s irreverent portrayal of love, work, school, life and relation-ships.

Groening’s other Emmy Award-winning creation,

Futurama, launched in 1999 and ran for seven seasons. This included four direct-to-DVD full-length original feature releases: Bender’s Big Score, The Beast with a Billion Backs, Bender’s Game and Into the Wild Green Yonder. Futurama enjoyed great success with new episodes on Cartoon Network and then on Comedy Central and con-tinues in widespread syndication.

In 1993, Groening formed Bongo Comics Group, for which he serves as publisher of more than 400 domestic and internationally licensed comic books, trade paperbacks and trade books, in both print and digital form, along with a host of yearly Life in Hell, Simpsons and Futurama calendars. To date there are more than 15 million Groening publications, based on The Simpsons, Futurama and Life in Hell.

The multitude of awards bestowed on Groening’s cre-ations include Emmys, Annies (animation awards), the prestigious Peabody Award and the Rueben Award for Outstanding Cartoonist of the Year, the highest honor pre-sented by the National Cartoonists Society.

Lynda Barry Lynda Barry has worked as a painter, cartoonist, writer, illustra tor, playwright, editor, commentator and teacher

An Evening with

Matt Groening & Lynda BarryLove, Hate & Comics: The Friendship That Would Not DieFRI, OCT 10 / 8 PM / ARLINGTON THEATRE

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Lynda Barry has received many awards for her work, in-cluding the 2013 Lifetime Visual Arts Award, two William Eisner awards, the American Library Association’s Alex Award, the Wisconsin Library Association’s R.R. Donnelly Award and the Washington State Governor’s Award.

Barry is currently associate professor in interdisciplinary creativity at the University of Wisconsin-Madison; she teaches writing and picture-making and runs the Image Lab at the Wisconsin Institute for Discovery. Her research centers on what the biological function of this thing we call “the arts” may be, why children feel able to draw, write, dance, sing and act, and adults do not, and why the long-ing to be able to do these things persists well after we have given up on the possibility of ever being able to do so.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Pre-signed books are available for purchase in the lobby

and found they are very much alike. She is the inimitable creator of Ernie Pook’s Comeek, the seminal comic strip fea-turing Freddy, that was syndicated across North America for two decades. Barry is also the author of the books One Hundred Demons, The Greatest of Marlys, Cruddy: An Illustrated Novel, Naked Ladies Naked Ladies Naked Ladies, and The Good Times are Killing Me, which was adapted as an off-Broadway play and won the Washington State Governor’s Award.

Her best-selling and acclaimed creative writing-how-to-graphic novel for Drawn & Quarterly, What It Is, won the Eisner Award for Best Reality Based Graphic Novel and R.R. Donnelly Award for highest literary achievement by a Wisconsin author. Barry’s prose novel, and the follow-up and creative drawing companion to What It Is, is titled Picture This: The Near-Sighted Monkey Book. She is cur-rently working on a book titled Syllabus: Notes From an Accidental Professor (Drawn & Quarterly, October 2014).

What It Is is based on Barry’s “Writing the Unthinkable” workshop, which is founded upon a tried-and-true creative method that is playful, powerful and accessible to anyone with an inquisi tive wish to write or remember. Lynda ex-plores the depths of the inner and outer realms of creation and imagination, where play can be serious, monsters have purpose, and not knowing is an answer unto itself.

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About the ProgramFranz Schubert (1797-1828): Two Impromptus from op. 90Schubert wrote his eight Impromptus for piano during the summer and fall of 1827, probably in response to a request from his publisher for music intended for the growing num-ber of amateur musicians with pianos in their homes: This music is melodic, attractive and not so difficult as to take it

out of the range of good amateur pianists. The term “im-promptu” lacks precise musical meaning. It refers to a short instrumental piece, usually for piano, without specified form; the title suggests music that gives the impression of being improvised on the spot. But the notion that this music

Up Close & Musical series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman

Charlie Albright, pianoWED, OCT 15 / 7 PM / HAHN HALLA private reception for Producers Circle members and Arts & Lectures series subscribers will follow the concert

Schubert: Two Impromptus from op. 90No. 3 in G-flat MajorNo. 2 in E-flat Major

Janáček: Piano Sonata (“Zulice, 1 X 05” From the Street, 1 October, 1905)

The Presentiment (Predtucha): Con motoDeath (Tod): Adagio

Strauss/Schulz-Evler: Concert Arabesques on themes from “On the Beautiful Blue Danube”

Albright: Improvisation

- Intermission -

Chopin: Etudes, op. 25No. 1 in A-flat MajorNo. 2 in F MinorNo. 3 in F MajorNo. 4 in A MinorNo. 5 in E MinorNo. 6 in G-sharp MinorNo. 7 in C-sharp MinorNo. 8 in D-flat MajorNo. 9 in G-flat MajorNo. 10 in B MinorNo. 11 in A Minor (“Winter Wind”)No. 12 in C Minor (“Ocean”)

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into the Vltava River. He noted: “They did not want to sink. The paper bulged and floated on the water like so many white swans.” This time, though, the pianist was ready – she had made copies of these two movements and saved them. Nearly 20 years later, in 1924, Janáček agreed to their publication.

The two surviving movements are quite short, and both are unified around the same rhythmic and thematic figures. The opening Con moto (subtitled “The Presentiment”) commences with a generalized theme-shape that becomes, in the fourth measure, the germinal cell for the entire sonata. All the other themes evolve in some way from this figure. It becomes, for example, the accompaniment to the chordal second theme, and throughout the sonata it is transformed by Janáček’s fluid rhythmic sense – the music speeds ahead, holds back and seems to be stretched or compressed as we listen. The main theme of the Adagio (subtitled “Death” but originally subtitled “Elegie”) also grows out of the first movement’s central theme. Full of a wild and wistful quality, this movement grows more ani-mated and then subsides to an elegiac close.

One wonders what the last movement was like.

Johann Strauss II (1825-1899): Concert Arabesques on themes from “On the Beautiful Blue Danube” (arr. Adolf Schulz-Evler)This waltz, whose full title is “On the Beautiful Blue Danube,” has become so famous that it needs no intro-duction. Perhaps Johann Strauss II’s good friend Johannes Brahms said it best. When he was once asked to autograph a woman’s fan, Brahms wrote out the opening melody of this waltz and signed it: “Unfortunately not by Johannes Brahms.”

“The Blue Danube Waltz” is heard in this concert in a piano arrangement by Adolf Schulz-Evler (1852-1905). Polish-born, Schulz-Evler studied in Berlin and taught in Russia. He composed a great deal of original music, but all this has vanished, and he is remembered today for the vast number of arrangements he made for piano of music by other composers. His arrangement of Strauss’ “Blue Danube Waltz” has become the best known of these. It offers a fairly straightforward version of Strauss’ famous music, but to this, Schulz-Evler brings a number of tweaks, embellishments and fabulous pianistic techniques, so that some have found it decidedly over the top, an arrangement almost more exhilarating for what it brings to this music than for its fidelity to Strauss’ original.

is improvised should be speedily discounted: Schubert’s im-promptus are very carefully conceived music, set in a variety of forms that include variation, rondo and minuet.

Some have hailed Schubert as the inventor of the im-promptu and the composer who freed piano music from sonata form. They see these pieces as opening the way for the wealth of short piano pieces by composers such as Chopin, Schumann, Mendelssohn and others. Perhaps the case has been overstated. A number of composers earli-er than Schubert, including Mozart and Beethoven, had written short piano pieces not in sonata form, and several composers before Schubert had used the title Impromptu. Still, Schubert’s impromptus have become the most popu-lar music published under this title. When someone says “impromptu,” we automatically think of Schubert.

This program offers two impromptus Schubert wrote late in the summer of 1827, only a year before he died. In No. 3 in G-flat Major, Schubert spins an extended, song-like melody over quietly rippling accompaniment; measure lengths are quite long here (eight quarters per measure) to match the breadth of his expansive and heartfelt melody. Throughout, one hears those effortless modulations that mark his ma-ture music. No. 2 in E-flat Major is built on long chains of triplets that flow brightly across the span of the keyboard; the center section is stormy and declarative, and Schubert rounds the work off with a brief coda.

Leoš Janáček (1854-1928): Piano Sonata (“Zulice, 1 X 05” From the Street, 1 October, 1905)Throughout his long life, Janáček remained a passionate Czech nationalist, committed to freeing the Czechs from German domination. On Oct. 1, 1905, came an event that fired these passions even more deeply. When the Czechs in Brno asked for the creation of a Czech university, the Germans demonstrated against them, and the Czechs re-taliated with a counter-demonstration. Troops were called in to quash the violence, and in the process a 20-year-old Czech worker was bayoneted to death. Outraged, Janáček composed a three-movement piano sonata that he titled after the date of that violence; its subtitle has been translat-ed variously “From the Street” or “Street Scene.”

The sonata was originally in three movements, but at a rehearsal, Janáček – apparently overcome by the quality of works on the program by other composers – stormed onto the stage and, in front of the astonished pianist, burned the last movement. After the next rehearsal, Janáček took the manuscripts to the first two movements and threw them

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the scales and an artist’s hand combining them with all kinds of fantastic embellishments.” The floating, dancing rhythms of No. 9 in G-flat Major have earned it the nick-name “Butterfly” (a nickname that did not originate with the composer, who wanted this music considered solely as music, not garnished with fanciful titles); this étude exploits the ringing sound of the piano’s high registers.

The last three études are all extraordinary, in differ-ent ways. Chopin gives No. 10 in B Minor the marking Allegro con fuoco and requires legato octaves in the outer sections; the extended center section brings a peaceful in-terlude before the return of the storm. No. 11 in A Minor opens with a bleak four-bar slow introduction; this figure becomes the main theme at the Allegro con brio, where it is heard in the left hand beneath the right hand’s volcanic accompaniment. No. 12 in C Minor is built on arpeggiat-ed themes that thunder across the range of the keyboard. Its furious energy rushes without relief to the concluding C-major chord.

Program notes by Eric Bromberger

Charlie AlbrightWinner of the prestigious 2010 Gilmore Young Artist Award and the 2009 Young Concert Artists International Auditions, pianist Charlie Albright won the coveted Avery Fisher Career Grant Prize in 2014. He made his Washington, D.C., and New York recital debuts to critical acclaim. Hailed as “among the most gifted musicians of his generation” by The Washington Post, he was praised for his “jaw-dropping technique and virtuosity meshed with a distinctive musicality” by The New York Times. In 2013, he performed three all-Schubert recitals at Boston’s Isabella Stewart Gardner Museum, and he returns there in 2016 to begin a new cycle of three recitals centered around “Theme & Variations.” In April of 2015, he tours the U.S. with the BBC Concert Orchestra of London with Keith Lockhart conducting, performing in 14 different cities.

Over the past two seasons, Albright has made orchestral debuts with the Boston Pops with conductor Keith Lockhart, the Seattle Symphony with conductor Gerard Schwarz, the Phoenix and Lansing Symphonies, and with Alondra de la Parra at the San Francisco Symphony, where he has been re-engaged for their “Summer and the Symphony” concerts.

Continuing his blazing successes, Albright appears as

Frédéric Chopin (1810-1849): Etudes, op. 25While still a teenager in Warsaw, Chopin heard a perfor-mance of Niccolò Paganini’s Caprices for Solo Violin and was astonished – as were so many other musicians of that era – by what the Italian composer had achieved in this music. Here were extraordinarily complex works for the violin that presented specific technical problems for the performer yet managed to be exciting and engaging music at the same time. Chopin resolved to write something similar for the piano, and over the next few years – a diffi-cult time for the composer – he did just that.

Chopin left Poland in 1830, never to return (it was then being swallowed up by Russia), and settled the following year in Paris. Even before leaving Warsaw, Chopin had begun work on a series of études for the piano, and he published this set of 12 in Paris in 1832 as his opus 10. He continued to write études, and over the next few years, he completed a further set of 12, which he published in 1839 as his opus 25. Chopin had dedicated the first set to Liszt; he dedicated opus 25 to Liszt’s mistress, the Countess Marie d’Agoult.

This was a period when Chopin had turned away from the life of the public virtuoso and was devoting his time to giving recitals in private salons and to teaching, and the Etudes should be understood first as teaching pieces. Written for Chopin’s students, these brief studies present different kinds of pianistic problems, ranging from the most finger-breaking virtuoso hurdles to the ability to sustain a long melodic line. Along the way, however, they offer breathtaking music that delights general audiences while it challenges pianists.

The 12 études of opus 25 are in general brilliant music. Some create specific technical problems for the pianist (No. 6 in G-sharp Minor is in thirds, No. 8 in D-flat Major is in sixths), while some present unusual hurdles: No. 4 in A Minor demands treacherous leaps from the left hand, and No. 5 in E Minor is in Lombard rhythms (dotted rhythms with the short note coming first). Some of the most haunting music in the set comes in the one slow étude, No. 7 in C-sharp Minor, a lento étude with the melody in the left hand as the right accompanies.

But the most dazzling études capture the imagination. No. 1 in A-flat Major was actually the last of the set to be com-posed, in September 1836. Its rippling arpeggios brought it the nickname “Aeolian Harp,” after Robert Schumann’s description of this music as “an aeolian harp having all

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Mecklenburg-Vorpommern Festival Prize.

Born in Centralia, Wash., Albright began piano lessons at the age of 3. He has studied with Nancy Adsit and has participated in master classes with Richard Goode, Leif Ove Andsnes and Abbey Simon. Albright earned an associate of science degree at Centralia College while he was also in high school and was the first classical pianist accepted to the new Harvard College/New England Conservatory joint program, completing his bachelor’s degree as a pre-med and economics major at Harvard in 2011 and a master of music degree in piano performance at the New England Conservatory in 2012 with Wha-Kyung Byun. He is currently in the Artist Diploma program at The Juilliard School. Albright is a Steinway Artist.

Special thanks to

soloist with the Fort Smith, Hilton Head, Great Falls and Whatcom symphonies; in a three-recital series spanning two seasons of Schubert works at the Isabella Stewart Gardner Museum in Boston; and at the ShortGrass Music Festival. As recipient of the 2013 Arthur W. Foote Award, Albright performed a recital at the Harvard Musical Society. He made his recital debuts at Merkin Hall in New York and The Kennedy Center in Washington, D.C., in the Young Concert Artists Series, which featured the premiere of ’Til It Was Dark by YCA composer Chris Rogerson. In addition, Albright has also performed in recital at the Morgan Library & Museum, the Buffalo Chamber Music Society, the Krannert Center for the Performing Arts and as part of Gilmore’s Rising Stars Series and the Irving S. Gilmore International Keyboard Festival.

Albright has collaborated five times with cellist Yo-Yo Ma: at a concert for the 10-year anniversary remembrance of the 9/11 attacks in a performance of Messiaen’s Quartet for the End of Time; at a Harvard University ceremony at which Senator Ted Kennedy received an honorary degree; in an event commemorating the 60th anniversary of the Universal Declaration of Human Rights, honoring Nobel Laureate Toni Morrison; at the Aspen Institute’s Citizen Artistry conference at the Danny Kaye Playhouse in New York; and with the Silk Road Project.

In 2011, Albright was the youngest artist in residence on Performance Today, which included a week of performances and interviews. His debut CD Vivace was released by CAPC Music in 2011, featuring works by Haydn, Menotti, Schumann-Liszt, Janáček, Chopin and Albright himself.

Winner of the 2011 Louis Sudler Prize in the Arts from Harvard University, Albright was also named artist in residence for Harvard University’s Leverett House, a position once filled by another Harvard-educated musician, cellist Yo-Yo Ma. At the 2009 Vendome Prize Piano Competition in Lisbon, Portugal, he was awarded a Vendome Virtuoso Prize and the Elizabeth Leonskaya Special Award.

Charlie Albright’s Young Concert Artists honors include the Paul A. Fish First Prize, the Ronald A. Asherson Prize, the Summis Auspiciis Prize, the John Browning Memorial Prize, the Sander Buchman Special Prize, the Ruth Laredo Memorial Award, and four concert prizes: the Bridgehampton Chamber Music Festival Prize, the Friends of Music Prize, the Embassy Series Prize, and the

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In his Pulitzer Prize-winning masterpiece, Maus – a mov-ing father-son memoir about the Holocaust drawn with cats and mice – Art Spiegelman changed the definition of comics forever. In WORDLESS! – a new and stimulating hybrid of slides, talk and musical performance – he probes further into the nature and possibilities of his medium.

Spiegelman, noted as a historian and theorist of comics as well as an artist, collaborates with Phillip Johnston, the crit-ically acclaimed jazz composer who wrote all-new scores he will be performing live with his sextet. Johnston’s music accompanies the cartoonist’s personal tour of the first legit-

imate “graphic novels” – silent picture stories made by early 20th century masters like Frans Masereel, Lynd Ward and Milt Gross – and their influence on him. As Spiegelman ex-plores “the battle between Words and Pictures,” he smashes at the hyphen between High and Low Art in a presentation featuring a new work drawn specifically for this project, “Shaping Thought.”

WORDLESS! was originally commissioned by the Sydney Opera House for GRAPHIC.

Principal Sponsor: Diana and Simon Raab Foundation

WORDLESS! An Evening of Words, Music and ComixWords & Pictures by Art SpiegelmanMusic Composed by Phillip Johnston FRI, OCT 17 / 8 PM / CAMPBELL HALL

Musicians:Phillip Johnston, soprano saxophoneJoe Fiedler, tromboneMike Hashim, baritone saxophoneNeal Kirkwood, piano & melodicaDave Hofstra, bassRob Garcia, drums

With wordless works by:A.B. FrostFrans Masereel (credit: © 2013 Artists Rights Society (ARS),

New York / VG Bild-Kunst, Bonn)

H.M. Bateman (courtesy of Lucy Willis)

Lynd Ward (courtesy of Robyn Ward Savage)

Otto NückelMilt Gross (courtesy of Joan Optican Herman)

Si Lewen (courtesy of the artist)

Wilhelm Busch & Art Spiegelman

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Pantheon, which has published many of his subsequent works.

He and Mouly co-edited Little Lit, a series of three com-ics anthologies for children published by HarperCollins (“Comics – They’re not just for Grown-ups Anymore”) and Big Fat Little Lit, collecting the three comics into one volume. He and his wife have published a series of ear-ly readers called Toon Books – picture books in comics format. They have co-edited A Toon Treasury of Classic Children’s Comics (2009). His work has been published in many periodicals, including The New Yorker, where he was a staff artist and writer from 1993 to 2003.

In 2005, Art Spiegelman was named one of Time mag-azine’s 100 Most Influential People, and in 2006 he was named to the Art Director’s Club Hall of Fame. He was made an Officier de l’ordre des Arts et des Lettres in France in 2005 and – the American equivalent – played himself on an episode of The Simpsons in 2008. In 2011, Pantheon published MetaMaus, a companion to The Complete Maus – it is the story of why he wrote Maus, why he chose mice, cats, frogs and pigs, and how he got his father to open up. MetaMaus was awarded the 2011 National Jewish Book Award in the Biography, Autobiography, and Memoir category.

In 2011, Art Spiegelman won the Grand Prix at the Angoulême International Comics Festival, marking only the third time an American has received the honor (the other two were Will Eisner and Robert Crumb). The honor also included a retrospective exhibition of his artwork, shown in the Pompidou Center and traveled to the Ludwig Museum in Cologne, the Vancouver Art Gallery, the Jewish Museum in New York City and the AGO Art Gallery of Ontario. The accompanying book is titled CO-MIX: A Retrospective of Comics, Graphics, and Scraps, published by Drawn & Quarterly (2013).

Representation: Steven Barclay AgencyOriginating Producer: Joanne Kee, Places & SpacesFilm Editing & Animation: Lindsay Nordell and Annalise OlsonAnd a tip of the hat to: Françoise Mouly / RAW Books & Graphics, Julia Phillips, Robbie Saenz de Viteri and Sara Bixler

Pre-signed books are available for purchase in the lobby

Phillip Johnston, composerA saxophonist and composer of both jazz and New Music, Phillip has been a significant figure in the underground mu-sic scene of New York’s downtown since the beginning of the 1980s. He has composed extensively for film and theater.

Throughout, he has maintained a parallel career as a sax-ophonist, both working with others and leading his own bands. He currently performs in Australia with The Phillip Johnston Quartet, and Tight Corners: The Phillip Johnston/Jex Saarelaht Quartet play the music of Thelonious Monk, Steve Lacy and Herbie Nichols, and in the U.S. and Europe with The Microscopic Septet and The Spokes. His original scores for silent film have been performed in Australia at the Sydney Opera House, the Melbourne Festival, and the Sydney and Perth film festivals. Other current projects include Do Good and You Will be Happy, with Hilary Bell, a musical based on Cole’s Funny Picture Book, and a new silent film score for Lotte Reiniger’s The Adventures of Prince Achmed (1926). In March of 2015, he will be featured in a one-week residency at John Zorn’s New York venue, The Stone, performing with 12 different ensembles over the course of a week.

www.phillipjohnston.com

Art Spiegelman Art Spiegelman has almost single-handedly brought comic books out of the toy closet and onto the literature shelves. In 1992, he won the Pulitzer Prize for his masterful Holocaust narrative Maus – which portrayed Jews as mice and Nazis as cats. Maus II continued the remarkable story of his parents’ survival of the Nazi regime and their lives later in America. His comics are best known for their shift-ing graphic styles, their formal complexity, and controver-sial content.

Having rejected his parents’ aspirations for him to become a dentist, Art Spiegelman studied cartooning in high school and began drawing professionally at age 16. He went on to study art and philosophy at Harpur College before becom-ing part of the underground comix subculture of the ’60s and ’70s. As creative consultant for Topps Bubble Gum Co. from 1965 to 1987, Spiegelman created Wacky Packages, Garbage Pail Kids and other novelty items, and taught history and aesthetics of comics at the School for Visual Arts in New York from 1979 to 1986. In 1980, Spiegelman founded RAW, the acclaimed avant-garde comics maga-zine, with his wife, Françoise Mouly. Maus was originally serialized in the pages of RAW before being published by

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Financial journalist and best-selling author Michael Lewis has published more than a dozen books on subjects ranging from politics to Wall Street. Lewis’ latest release, the New York Times No. 1 best-seller Flash Boys, has taken the financial market and business world by storm since its release in March 2014. The story reveals how the legal – but highly questionable – practice of high-frequency trading has allowed certain Wall Street players to work the stock market to their advantage, and has been called one of the most provocative books to hit shelves since Lewis’ The Big Short.

In The Blind Side, published in 2006, Lewis tells the sto-ry of NFL offensive tackle Michael Oher, and how his life is transformed from being a teen living on the streets of Memphis after he is adopted by white evangelical Christians. Before that, Lewis wrote Moneyball, a book ostensibly about baseball but also about the way mar-kets value people. Both of his books about sports became Oscar-nominated films.

Two of his most popular releases, The Big Short and Boomerang, are narratives set in the global financial crisis. His other works include The New New Thing, about Silicon Valley during the Internet boom; Coach, about the trans-formative powers of his own high school baseball coach; Losers, about the 1996 presidential campaign; and Liar’s Poker, a Wall Street story based in part on his own experi-ence working as a bond salesman for Salomon Brothers.

Lewis is a columnist for Bloomberg News and a contributing writer to Vanity Fair. His articles have also appeared in The

New York Times Magazine, The New Yorker, Gourmet, Slate, Sports Illustrated, Foreign Affairs and Poetry Magazine. He has served as editor and columnist for the British weekly The Spectator and as senior editor and campaign corre-spondent for The New Republic. He has filmed and narrated short pieces for ABC-TV’s Nightline; created and present-ed a four-part documentary on the social consequences of the Internet for the BBC; and recorded stories for the American public radio show, This American Life.

Lewis grew up in New Orleans and remains deeply inter-ested and involved in the city. He holds a bachelor’s degree in art history from Princeton and a master’s degree in eco-nomics from the London School of Economics. He lives in Berkeley, Calif., with his wife Tabitha Soren and their three children: Quinn, Dixie and Walker. In 2009, he published Home Game: An Accidental Guide to Fatherhood about his attempts to raise them.

Pre-signed books are available for purchase in the lobby

Special thanks to

Principal Sponsors: Susan & Craig McCaw

Community Partner:

An Evening with

Michael LewisTUE, OCT 21 / 8 PM / GRANADA THEATRE

photo

: Tabit

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In his young career, ukulele wizard Jake Shimabukuro has already redefined a heretofore under-the-radar instrument, been declared a musical “hero” by Rolling Stone, won acco-lades from the disparate likes of Eddie Vedder, Perez Hilton and Dr. Sanjay Gupta, wowed audiences on TV (Jimmy Kimmel, Conan), earned comparisons to Jimi Hendrix and Miles Davis, and even played in front of the Queen of England.

With his record Grand Ukulele, Shimabukuro’s star has been burning even brighter. An ambitious follow-up to 2011’s Peace, Love, Ukulele (which debuted at No. 1 on the Billboard World Charts), the Hawaiian musician’s record found him collaborating with legendary producer/engineer Alan Parsons, best known for his work on Pink Floyd’s Dark Side of the Moon, The Beatles’ Abbey Road and his own highly successful solo project. “It was very organic how it happened,” says Shimabukuro. “He attended a couple of my shows near where he lives in Santa Barbara and the concert promoter put us in touch. I was stunned. I mean, THE Alan Parsons? We ended up having dinner before the show and he casually mentioned the idea of possibly working together on a project. It was a priceless opportunity I didn’t want to pass up – he’s a genius.”

While still highlighting Shimabukuro’s musical dexterity on the uke, Grand Ukulele also showed off new sides to the musician. “Alan wanted me to arrange each song as if I were performing it solo, then add the band around it,” he says. Highlights from the album include originals like “Island Fever Blues”, a beautiful and traditional Hawaiian song titled “Akaka Falls” and a unique track called “Missing

Three,” performed with only three strings – an entire song created during a day when Jake was missing the third string on his instrument.

Given that Shimabukuro first won acclaim for a YouTube video of him covering George Harrison’s “While My Guitar Gently Weeps,” it’s no surprise that Grand Ukulele features a number of wonderful reinterpretations, including Sting’s “Fields of Gold” and, most prominently, Adele’s “Rolling in the Deep,” a seemingly ubiquitous song given new life on the four-string.

For Shimabukuro, Grand Ukulele feels like the next step in a career that really started at the age of 4 when he first picked up the instrument, through a successful local career in Hawaii and his first brush with fame on YouTube. Now, he’s a respected, popular musician looking to make a last-ing musical mark.

“I feel really connected to this record,” he says. “It was an honor to work with Alan and all those great musicians. It really felt like old friends coming together – there was so much positive energy surrounding the project – it was a magical experience that I’ll never forget.”

Special thanks to

Principal Sponsors: Arlene & Barrie Bergman

Jake ShimabukuroTHU, OCT 23 / 8 PM / CAMPBELL HALL

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NBA legend… two-time Hall of Famer… entrepreneur… philanthropist… and motivational speaker are just a few honors of distinction that show the culmination of great-ness possessed by Earvin “Magic” Johnson. The business mogul has successfully parlayed his skills and tenacity on the court into the business world, propelling his company to the status of No. 1 urban brand in America.

A former point guard for the Los Angeles Lakers, he spent 13 seasons in the NBA. After winning championships in high school and college, Johnson was selected first overall in the 1979 NBA Draft by the Lakers. He won a champion-ship and an NBA Finals Most Valuable Player Award in his rookie season, and won four more championships with the Lakers during the 1980s. Johnson retired abruptly in 1991 after announcing that he had contracted HIV, but returned to play in the 1992 All-Star Game, winning the All-Star MVP Award. He retired again for four years, but returned in 1996 and played 32 games for the Lakers before retiring for the third and final time.

Johnson was a three-time NBA MVP, made nine finals ap-pearances and was named to 12 all-star teams. Johnson was a member of the 1992 United States men’s Olympic bas-ketball team (“The Dream Team”) which won the Olympic gold medal in 1992. Johnson was named as one of the 50 Greatest Players in NBA history in 1996 and was elected to the Basketball Hall of Fame in 2002 for his individual career, and again in 2010 as a member of the Olympic team. Since his retirement, Johnson has been an advocate for HIV/AIDS prevention and safe sex.

He is currently the chairman and CEO of Magic Johnson Enterprises, which provides high-quality products and services that focus primarily on ethnically diverse and underserved urban communities through strategic allianc-es, investments, consulting and endorsements. The con-glomerate is comprised of multiple business entities and partnerships that include Canyon Johnson, a $1 billion real estate fund; Yucaipa Johnson, a $500 million private equity fund; ASPIRE, a new African-American television network; SodexoMAGIC; Magic Airport Holdings; Best Buy; T.G.I. Friday’s Restaurant; Inner City Broadcasting Corporation; Detroit Venture Partners; and Vibe Holdings, LLC. Johnson is the chairman of the multicultural media company that houses the Vibe, Uptown and Soul Train brands.

He is noted for his unprecedented Starbucks partnership, which served as the catalyst for redevelopment in urban communities and is literally the blueprint for corporate America’s engagement and success with urban consumers.

Johnson has also teamed up with Tim Lieweke of AEG in an effort to build a new stadium and bring an NFL team back to Los Angeles as well as thousands of jobs to the city. The story of Johnson and Larry Bird’s inspiring friendship and rivalry was unveiled April 2012 in Magic/Bird, a Broadway play. Johnson also serves as chairman and founder of the Magic Johnson Foundation.

Special thanks to

Presented in Association with UCSB Athletics

An Evening with

Earvin “Magic”Johnson The Magic of WinningFRI, OCT 24 / 8 PM / ARLINGTON THEATRE

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The desert is a place of hardship and subtle beauty, a stark world that reveals its secrets slowly and carefully. Life in the desert is resilient and strong, and the people are gentle giants among the sand, storms and sun. For Saharan blues band Tinariwen, the desert is their home, and their hypnotic and electrifying guitar rock reflects complex realities of their home base in northwest Africa.

They are Tuareg, descended from nomadic people who have wandered the dunes for millennia, but the music of Tinariwen travels, too, reverberating far from the dusty plains of Mali. Their 2011 album Tassili, recorded in the Algerian desert – in a tent and under the stars with an esteemed cadre of musicians, including Nels Cline and TV on the Radio’s Tunde Adebimpe and Kyp Malone – won a Grammy Award for best world music. Now their record Emmaar returns to their roots, deliv-ering stripped-down dirges, effervescent anthems and, above all, a return to simplicity and honesty.

Due to political instability in their country, the band recorded Emmaar away from their homeland for the first time, setting up shop in another desert: Joshua Tree, Calif. “This is the first time we are recording out of Africa; it has to be in a desert,” says bassist Eyadou Ag Leche. “We would like to live in peace in the north of Mali, but this is very difficult, there is no adminis-tration, no banks, no food, no gas. Joshua Tree is in the high desert of California. We love all the desert. These are places where we feel good to live and to create.”

Recorded over three weeks in a studio built in a house in the region known for spaced-out rock ’n’ roll and psy-chedelic cowboy folk, Emmaar showcases an organic feel, from the rolling hand drums and meandering guitars of album opener “Toumast Tincha” to the galloping beats of the forward-marching “Chaghaybou.” “We were not in a proper studio or outside in the desert like Tassili,” Ag Leche says. “We built a studio in a big house in Joshua Tree. Everybody in the same room, with no separation. We wanted something which sounded natural and live.”

Along with the original members who founded the group in the 1980s (vocalists and guitarists Ibrahim Ag Alhabib, Abdallah Ag Alhousseyni and Alhassane Ag Touhami) and the younger generation who grew up listening to the band and joined in the 1990s (multi-instrumentalist Eyadou Ag Leche, guitarist Elaga Ag Hamid and percus-sionist Said Ag Ayad), a group of American musicians appear on the album. Accompanied by Red Hot Chili Peppers guitarist Josh Klinghoffer, Matt Sweeney from Chavez, Nashville fiddler Fats Kaplin and poet Saul Williams, Emmar is a richly layered listen solidified by atmospheric textures and gritty guitar work.

Recording away from Mali created a nuanced sound that Ag Leche says could have been inspired by the new land-scape and American experiences. “We think that the air is different, the moods are different, recording in America and doing a small tour in California, Arizona, New Mexico and Texas, brought us in a special mood – the landscape, the big space, the South. We watched Western movies during the recording and ate burritos, and the

TinariwenSUN, OCT 26 / 7 PM / CAMPBELL HALL

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a stick and a tin can. The band was founded in the 1980s in Tuareg camps in Libya, where the nomadic peoples had relocated to find work and a new life away from their homeland of the Sahara. Disillusioned by the promises of (Moammar) Gadhafi at the time, the Tuareg became rest-less again and longed for home. But the interaction with city life yielded unexpected consequences: They became exposed to Western music – most notably the guitar-driv-en anthems of Jimi Hendrix and the American blues – which they mixed with their own soulful dirges that they performed in the camps by the fire with battery-operated amps.

When revolution broke out back in Mali, they left Libya behind, hung up their guitars and picked up guns to fight for Tuareg independence. When the discord died down, the band returned to music, delivering songs imbued with aching beauty and lonesome poetry. Their music was bootlegged and traded around the region, earning them a devout following. Then in the late 1990s, they were dis-covered by Western musicians and for the first time, their songs left the Sahara and were introduced to the world. For the next 10 years, the nomads traveled the world, per-forming at nearly every notable festival and venue around the globe, providing the world with a taste of the aching beauty and lonesome pleasures of Saharan assouf (Tuareg music).

Special thanks to

engineer who worked with us is from Nashville, so I suppose it changed the way our music is captured.”

But while the location was new, their music still focused on life in the Sahara. “The new songs of this album talk about what we feel today,” Ag Leche says, “the Tuareg issues, the need of being recognized by the adminis-tration of our country. But also some poetic ways of describing our feelings. The Tamasheq language is using a lot of metaphors, and it comes from the old tradition-al Tuareg poetry that tells about the Tuareg tribes, their adventures in the desert, the wars, but also the beauty of the desert, the sky, the lands, and the Assouf, our blues and nostalgia of an old time.” If Tinariwen pays homage to old times, it’s because their present is in flux. Turmoil has embroiled their region once again, as governments and powers rise and fall, al-most with the regularity of the seasons. “It is going to be a very long way to peace in the north,” says Ag Leche. “It’s been up and down. The Islamists are all around in the north but also some thieves and bad people taking advantage of this chaos to frighten our people.”

Mali, it seems, is the forgotten, or ignored, brother of the Arab Spring, but on Emmaar, Tinariwen tells about the trials of their people and tells the world of the plight of their families. “The ideals of the people have been sold cheap, my friends / A peace imposed by force is bound to fail / And gives way to hatred,” Ag Leche sings on “Toumast Tincha.”

Though the band’s success has brought them around the world, they rarely can go home, facing threats of incarceration and death by thugs in power. But like creatures of the desert, they adapt and carry on; after all, Tinariwen is a band born into chaos.

“Our people are used to moving all the time,” Ag Leche says, “since the late ’60s we have always been moved between Mali, Algeria, Libya, Chad, Mauritania, Niger. Nowadays a lot of our families moved to the Algerian border or close to Niger because of the situation with the Malian administration. We are refugees in a lot of countries in Africa.”

Tinariwen’s own story burgeons with myth and mythos in their home country and beyond. Their tale is the stuff of legends. Founding member Ibrahim Ag Alhabib grew up in desolation in Mali, where he witnessed his own father’s death at the age of 4. Later, after seeing a western film, he built his first guitar from a bicycle wire,

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Franz Schubert (1797-1828): Sonata for Violin and Piano in A Major (“Duo”), D. 574, op. 162

Allegro moderatoScherzoAndantinoAllegro vivace

Edvard Grieg (1843-1907): Sonata for Violin and Piano in F Major, op. 8

Allegro con brioAllegretto quasi AndantinoAllegro molto vivace

- Intermission -

Sergei Prokofiev (1891-1953): Sonata for Violin and Piano in F Minor, op. 80

Andante assaiAllegro bruscoAndanteAllegrissimo

Additional works to be announced from the stage

Program is subject to change

Event Sponsors: Sara Miller McCune Bill Wayne in honor of Marsha Wayne

Joshua Bell, violinAlessio Bax, pianoTUE, OCT 28 / 7 PM / GRANADA THEATRE

About the Program Franz Schubert (1797-1828): Sonata for Violin and Piano in A Major (“Duo”), D. 574, op. 162Schubert grew up in a musical but poor family in Vienna. His father, a schoolteacher, assumed that his sons would assist him at school to help supplement the meager fam-ily income, and so in the fall of 1814 his 17-year-old son Franz – desperate to become a composer – found himself instead teaching schoolboys. The young man was miserable in the classroom and constantly tried to break free. After

two years, he seemed to have found an opportunity: The mother of one of his wealthy friends offered him rooms, and Schubert moved away from his family and tried to support himself as a composer. The experiment was short-lived – Schubert had to move back to his family a year later and resume teaching – but from 1816 to 1817 he had the freedom to compose. This was the period between his fifth and sixth symphonies, and much of that year went to piano sonatas and songs, but in August 1817, Schubert wrote a piece for violin and keyboard.

He called the work simply Duo. Perhaps the young com-poser was wary of calling it a sonata, which it actually is, though it has four movements rather than the sonata’s

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slows the tempo to Andante, and the development begins darkly and solemnly. Gradually he returns to his open-ing tempo, and the development turns fiery. Eventually the movement drives to an exciting conclusion, and then comes a final surprise – Grieg brings back that solemn Andante to close out the movement quietly.

The central movement is in ternary form. Its poised open-ing section gives way to a brief central episode that fea-tures some of the most appealing music in the sonata. The previous fall, Grieg had met the Norwegian violinist Ole Bull, who introduced him to the hardangerfidel, or har-danger fiddle: the Norwegian folk violin. That instrument could sound with a harsh twang, and in this trio section, Grieg gives us some of that twang, mixing discordant sounds with some appealing fiddle tunes. The movement is rounded off with a brief recall of the opening section and concludes with two quiet pizzicato strokes.

Grieg specifies that the finale should be Allegro molto vivace, and this sonata-form movement rides along a shaft of bright energy, contrasting the furious energy of its opening with secondary material marked tranquillo. The development features some fugal writing, but this passes quickly, and it is the full-throated energy of the opening that dominates this finale. At this moment in his life the young Grieg may have been unsure of his future course as a composer, but that did not prevent his writing a sonata that remains – a century and a half later – a fresh and appealing piece of music.

Sergei Prokofiev (1891-1953): Sonata for Violin and Piano in F Minor, op. 80Prokofiev’s first violin sonata in F minor had a difficult genesis. Prokofiev began work on it in 1938 during the one of the most horrifying moments in Soviet history – the period of Stalin’s purges – but found that he could not com-plete it. He set the score aside, but before he could return to it, another of the most traumatic events in Russian history – the Second World War – occurred. In response to the war, Prokofiev wrote some of his greatest scores, including the opera War and Peace and the mighty Fifth Symphony. Only after the war was over did he return to complete this sonata, eight years after it was begun. This made for prob-lems with numbering: During the war, Prokofiev had writ-ten another violin sonata; he called this his second, even though it was completed before the first. Violinist David Oistrakh, dedicatee of the first sonata, gave the premiere performance in Moscow on Oct. 23, 1946.

While the second sonata is one of Prokofiev’s sunniest

customary three. Full of amiable and agreeable music, the Duo passes by in a very compact 20 minutes. Schubert played both violin and piano, and the writing for both instruments here is idiomatic and comfortable. The open-ing Allegro moderato is an endless outpouring of attractive music: It is built on a wealth of themes – five separate ideas in all – which are introduced by both instruments. The “development” is quite brief, and then Schubert plunges back into a recapitulation that offers an almost literal repeat of the sequence of themes that opened the movement. The “extra” movement in the Duo is the second, a Scherzo in ABA form; its fast outer sections feature athletic skips and an energetic violin part, broken by a flowing trio that glides smoothly along its chromatic lines. The Andantino, which remains unfailingly melodic throughout, is nevertheless subdued and wistful in mood, while the concluding Allegro vivace returns to the extroverted manner of the Scherzo. The writing here is vigorous: Both instruments leap across a broad range, with the melodic line moving easily between them. Schubert’s second subject is a waltz (that craze was just beginning in Vienna); this waltz tune is full of har-monic freedom, chirping grace notes and smooth runs. Particularly impressive are Schubert’s quiet but graceful key changes and the calm just before the dramatic concluding chords.

Edvard Grieg (1843-1907): Sonata for Violin and Piano in F Major, op. 8This attractive sonata is the work of a very young com-poser: Grieg had just turned 22 when he wrote it in Copenhagen during the summer of 1865. In those years Grieg was struggling to find his way as a composer. He had never been comfortable with the conservative classical training he had received at the Leipzig Conservatory, and only gradually was he becoming aware of the Norwegian culture and music that would shape so much of his ma-ture work. Now, as he wrote his first violin sonata, Grieg seemed simultaneously to look back to his classical training and ahead to the Norwegian traditions that would soon capture his imagination. Grieg was the pianist and Anders Petterson the violinist at the sonata’s premiere in Leipzig in November 1865.

The opening Allegro con brio, cast in the expected sonata form, already shows some of Grieg’s characteristic harmon-ic freedom, gliding smoothly through unexpected keys. The piano’s two-chord introduction gives way to the violin’s opening theme, which rocks gracefully along its 6/8 meter. Piano alone introduces the second subject, and Grieg springs a surprise at the development. Rather than pressing forward with a vigorous development of these ideas, he

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of Beethoven’s Fourth and Seventh symphonies debuted at No. 1 on the Billboard classical chart. Bell’s recording of the Bach violin concertos with the orchestra was released Sept. 29, 2014 to coincide with the airing of the HBO documen-tary special Joshua Bell: A YoungArts MasterClass.

Equally at home as a soloist, chamber musician, record-ing artist and orchestra leader, Bell’s 2014 summer high-lights included performances with the Indianapolis and Detroit symphonies and the Los Angeles Philharmonic at the Hollywood Bowl. Appearances at Aspen, Festival del Sole in Napa, Ravinia, Verbier, Salzburg, Mostly Mozart, Tanglewood and two concerts with the New York Philharmonic in New York’s Central and the Bronx’s Van Cortland parks rounded out the summer. Bell kicked off the new season at the New York Philharmonic, Toronto and National symphony orchestra galas. A U.S. and European recital tour with pianist Alessio Bax, a week with the New York Philharmonic and a European tour with the Academy of St Martin in the Fields are just some of this year’s highlights.

Next year (2015) commences with European tours with the Academy and with the Chamber Orchestra of Europe, plus a U.S. and Canadian recital tour with pianist Sam Haywood. Spring performances with orchestras include the Munich Philharmonic and Orquesta Nacional de España and three Czech chamber music concerts at London’s Wigmore Hall with cellist Steven Isserlis and pianist Jeremy Denk.

In 2007, Bell performed incognito in a subway station for a Washington Post story examining art and context. The story earned writer Gene Weingarten a Pulitzer Prize and sparked an international firestorm of discussion, which continues thanks to the children’s book The Man With the Violin by Kathy Stinson, illustrated by Dušan Petričić.

An exclusive Sony Classical artist, Bell has recorded more than 40 CDs since his first recording at age 18 on the Decca label, which have garnered Mercury, Grammy, Gramophone and Echo Klassik awards.

Releases include Bell’s holiday CD, Musical Gifts From Joshua Bell and Friends; French Impressions with pia-nist Jeremy Denk; the eclectic At Home With Friends; the Defiance soundtrack; Vivaldi’s The Four Seasons; Tchaikovsky’s Violin Concerto with the Berlin Philharmonic; The Red Violin Concerto; Voice of the Violin and Romance of the Violin, which Billboard named the 2004 Classical CD of the Year, and Bell, the Classical Artist of the Year. His discography encompasses critically acclaimed perfor-

scores (it shows no trace of the war that raged during its creation), the first is grim, and Soviet commentators were quick to put the politically correct interpretation on such dark music: Some heard it as resistance to the Nazis, others, as a portrait of oppressed Russia, and so on. Nearly 70 years after the completion of this sonata, it is far better to let the music speak for itself than to impose extraneous interpreta-tions on it.

Beneath the lyric surface of this music, the mood is often icy and dark – even brutal. Some of this unsettling quality comes from Prokofiev’s extremely fluid metrical sense: In this score, the meter sometimes changes every measure. The marking for the opening Andante assai is 3/4 4/4, and Prokofiev alternates those two meters, though he will sometimes fall into just one of them for extended passages. The somber first movement opens with an ostinato-like piano passage over which the violin makes its muttering, tentative entrance. Much of the main section is dou-ble-stopped, and in the final moments come quietly racing runs for muted violin; Prokofiev said that these should sound “like the wind in a graveyard,” and he marks the violinist’s part freddo: “cold.”

The second movement, Allegro brusco (“brusque”) is in sonata form. The pounding opening subject gives way to a soaring second theme marked eroico (“heroic”); the brusque and the lyric alternate throughout this movement, which ends with the violin rocketing upward to the con-cluding high C. Prokofiev began the Andante – which he described as “slow, gentle, and tender” – before the war, but did not complete it until 1946. Muted throughout, the violin has the main subject over rippling triplets from the piano. The concluding Allegrissimo brings back the metrical freedom of the opening movement: Prokofiev’s metric indi-cation is 5/8 7/8 8/8. The alternating meters give the music an asymmetric feel, which is intensified by the aggressive quality of the thematic material. The cold winds from the first movement return to blow icily through the sonata’s final pages and to bring this music to its somber close.

Program notes by Eric Bromberger

Joshua BellJoshua Bell is one of the most celebrated violinists of his era. His restless curiosity, passion and multifaceted mu-sical interests have earned him the rare title of “classical music superstar.” Recently named the music director of the Academy of St Martin in the Fields, Bell is the first person to hold this post since Sir Neville Marriner formed the or-chestra in 1958. Their first recording under Bell’s leadership

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which he also recorded a pair of Mozart concertos – and debuts at The Kennedy Center, Carnegie Hall, The Metropolitan Museum of Art, the 92nd Street Y and Teatro Colón in Buenos Aires. He also received Lincoln Center’s 2013 Martin E. Segal Award, which recognizes young art-ists of exceptional accomplishment.

Bax graduated with top honors at the record age of 14 from the conservatory of his hometown in Bari, Italy, where he studied with Angela Montemurro. He studied in France with François-Joël Thiollier and attended the Chigiana Academy in Siena under Joaquín Achúcarro. In 1994, he moved to Dallas to continue his studies with Achúcarro at Southern Methodist University’s Meadows School of the Arts, and he is now on the teaching faculty there. He and his wife, pianist Lucille Chung, reside in New York City.

Joshua Bell records exclusively for Sony Classical – a MASTERWORKS label www.joshuabell.com

Bell appears by arrangement with IMG Artists, LLC, Carnegie Hall Tower, 152 West 57th Street, 5th Floor, New York, NY 10019 www.imgartists.com

Bax is a Steinway Artist and records with Signum Classics and Warner Classics.

For more information on Bax, please visit www.alessiobax.com

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

mances of the major violin repertoire in addition to John Corigliano’s Oscar-winning soundtrack, The Red Violin.

Born in Bloomington, Ind., Bell received his first violin at age 4 and at 12 began studying with Josef Gingold at Indiana University. Two years later Bell came to nation-al attention in his debut with Riccardo Muti and the Philadelphia Orchestra and, at 17, debuted at Carnegie Hall.

Bell performs on the 1713 Huberman Stradivarius.

Alessio BaxPianist Alessio Bax creates “a ravishing listening experi-ence” with his lyrical playing, insightful interpretations and dazzling facility, says Gramophone magazine. “His playing quivers with an almost hypnotic intensity,” leading to what Dallas Morning News calls “an out-of-body expe-rience.” First-prize winner at the Leeds and Hamamatsu international piano competitions – and a 2009 Avery Fisher Career Grant recipient – he has appeared as soloist with over 100 orchestras, including the London and Royal Philharmonic orchestras, the Dallas and Houston sym-phonies, the NHK Symphony in Japan, the St. Petersburg Philharmonic with Yuri Temirkanov, and the City of Birmingham Symphony Orchestra with Sir Simon Rattle.

Bax launched the 2014-15 season with the Chamber Music Society of Lincoln Center, playing two Mozart piano concertos for the society’s opening night gala. October brings the release of his next Signum Classics solo album, an all-Beethoven program pairing the “Hammerklavier” and “Moonlight” sonatas with the pianist’s own tran-scriptions of pieces from The Ruins of Athens. Upcoming orchestral highlights include performances of Beethoven’s “Emperor” Concerto and Rachmaninov’s Second Piano Concerto with London’s Royal Philharmonic Orchestra on a U.K. tour, Brahms’s Piano Concerto No. 1 in Denmark, and Rachmaninov’s Rhapsody on a Theme of Paganini in Finland. With superstar violinist Joshua Bell, Bax embarks on three extensive tours of Europe and the U.S., crowned by dates at London’s Wigmore Hall and L.A.’s Disney Hall. In May, he rejoins the Chamber Music Society of Lincoln Center for concerts at Alice Tully Hall and Boston’s Gardner Museum.

Among Bax’s recent highlights are appearances with the St. Petersburg Philharmonic under Temirkanov, the Dallas Symphony under Jaap van Zweden and at the Grant Park Festival in Chicago, the Los Angeles Chamber Orchestra under Hans Graf, the U.K.’s Southbank Sinfonia – with

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Principal Sponsor: Fredric E. Steck

Derek Trucks, guitarSusan Tedeschi, guitar & vocalsKofi Burbridge, keyboards & fluteTyler Greenwell, drums & percussionJ.J. Johnson, drums & percussionMike Mattison, harmony vocals

Tedeschi Trucks Band is an 11-member collective that thrills audiences worldwide with its transcendent live per-formances and award-winning albums. Formed in 2010 by husband and wife Susan Tedeschi and Derek Trucks, and featuring two harmony singers, a three-piece horn section, keyboards, bass and a pair of drummers, TTB disproves the adage “less is more” while building a devoted following of fans and critics alike.

Tedeschi Trucks Band has toured extensively throughout the U.S., Canada, Australia, Europe and Japan, headlin-ing the venerable Newport Jazz Festival, co-headlining tours with B.B. King and The Black Crowes, and playing to packed houses in the world’s most celebrated venues, from Red Rocks Amphitheatre and the Beacon Theatre to the Hollywood Bowl and Royal Albert Hall. TTB’s debut release Revelator, produced at the couple’s Swamp Raga home studio, earned both Grammy and Blues Music awards, while 2011’s dynamic live follow-up, Everybody’s

Mark Rivers, harmony vocalsKebbi Williams, saxophoneMaurice Brown, trumpetSaunders Sermons, tromboneTim Lefebvre, bass guitar

Talkin’, delivered a double-disc classic reminiscent of legendary concert recordings like Joe Cocker’s Mad Dogs & Englishmen and The Allman Brothers Band’s At Fillmore East. Its second studio effort, Made Up Mind, entered the Billboard 200 at No. 11 and was hailed by Rolling Stone as “equal parts Stax and Muscle Shoals without dilution of either.”

Emerging as one of the most respected guitarists of his generation, Trucks led his own Derek Trucks Band for over 15 years prior to teaming with Tedeschi. Presently and for the past 13 years, the Florida native also performs as a full member of The Allman Brothers Band and has toured with both Eric Clapton and Carlos Santana. Additionally, as the youngest musician to make the list, the slide guitar wun-derkind was voted No. 16 of the top 100 Guitarists of All Time (Rolling Stone, 2011) by a panel of fellow musicians and industry experts.

Tedeschi Trucks BandTHU, OCT 30 / 8 PM / ARLINGTON THEATRE

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No stranger to center stage herself, singer-guitarist Susan Tedeschi started playing in bands in her hometown of Boston at age 13. Her knack for combining American roots music – particularly electric blues, Southern soul and gospel – with passionate, awe-inspiring vocal prowess has resulted in a prolific solo career full of award-winning records, six Grammy nominations and a devoted following. Blessed with a voice that ranges from powerful R&B belters to gentle ballads, Tedeschi is a talented guitarist as well, her style alternately recalling post-war electric blues and Hendrix-inspired rock.

Easily capable of shining as individuals, this ensemble of 11 is concerned more with the sound than the spotlight. Sharing a level of respect and camaraderie rarely found in rock and roll, Tedeschi Trucks Band has found a mag-ical combination that delivers nightly an unforgettable, can’t-miss concert experience, one the Boston Herald says, “booms like a soul thunderclap.” For these musicians and their audiences, more is indeed more.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

Gregory Porter 2014 Grammy Winner for

Best Vocal Jazz AlbumTHU, JAN 15 / 8 PM / CAMPBELL HALL

Cécile McLorin Salvant THU, FEB 12 / 8 PM / CAMPBELL HALL

Cassandra WilsonComing Forth By Day:

A Celebration of Billie HolidaySUN, FEB 22 / 7 PM / CAMPBELL HALL

Chick Corea & Herbie HancockSUN, MAR 22 / 7 PM GRANADA THEATRE

ser iesJazz

$157

There is still time to

subscribe to the Jazz series and save 20% on single tickets

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Andrea Carrucciu Simone Donati Flavien Esmieu Marc Galvez Adam Kirkham

the TALENT

SerpentChoreography: Liam ScarlettMusic: Max RichterLighting: Michael Hulls

Premiere: Jan. 18, 2013, Watford Palace Theatre, U.K.Co-produced by Sadler’s Wells

All tracks composed by Max Richter and taken from the album Memoryhouse. Published by Imagem and licensed by kind permission of Imagem and BBC Worldwide Ltd.

- Intermission -

Edward Pearce Leon Poulton Matthew Rees Matthew Sandiford Bradley Waller

FallenChoreography: Russell MaliphantMusic: Armand AmarLighting: Michael Hulls

Premiere: Jan. 18, 2013, Watford Palace Theatre, U.K.Co-produced by Sadler’s Wells

Dance series sponsored in part by Margo & Robert Feinberg and the Cohen Family Fund

BalletBoyz®the TALENTMichael Nunn and William Trevitt, Co-Artistic DirectorsSAT, NOV 1 / 2 PM & 8 PM / CAMPBELL HALL

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About the CompanyMichael Nunn & William Trevitt, founders of BalletBoyz®, have been hailed as pioneers for making dance accessible and reaching a wider audience through their celebrated stage and television work. They came to prominence through their popu-lar Channel 4 documentaries BalletBoyz I & II, Strictly Bolshoi, The Royal Ballet in Cuba, BalletBoyz: The Next Generation and BalletBoyz: The Rite of Spring for BBC Three.

BalletBoyz has established itself as one of the most cheekily original and innovative forces in modern dance: revolutionizing traditional programming formats, commissioning new work, collaborating with a wide range of talents and building a big following through its TV work. The company’s chief aim is to challenge, excite and enlighten audiences with a wide body of work, bringing together elements from diverse realms of the arts such as composers, artists, designers, filmmakers and pho-tographers. It continues to develop groundbreaking education initiatives, particularly working with boys in dance, and prides itself on dancer-led workshops that provide invaluable insight into the company’s repertoire.

Since its formation in 2000, the company has won numerous awards and nominations including an Olivier Award, two South Bank Show Award nominations, as well as a Rose d’Or, International Emmy and Golden Prague Grand Prix for its TV work. The company has performed all over the U.K. and internationally and has approximately 35 works in its repertoire, over 30 of which are original commissions.

Now housed at its very own state-of-the-art rehearsal/creation space in the heart of Kingston, BalletBoyz is thrilled to finally have a permanent home. The new space was completed in November 2012 and provides the company with two beautiful custom-designed rehearsal studios, offices for company man-agement and a fully equipped AV editing suite. BalletBoyz has been an Associate Company at Sadler’s Wells since 2005.

About the Creative Team Michael Nunn and William Trevitt, Co-Artistic Directors Nunn and Trevitt met at The Royal Ballet Upper School and joined The Royal Ballet together in 1987. During their 12 years at The Royal Ballet, between them they danced all the principal roles. In 2000, they co-founded BalletBoyz. They danced all over the world for 10 years and won numerous awards and accolades working with leading dancers, chore-ographers and designers.

In 2010, they retired from the stage and launched the first edition of the groundbreaking project, the TALENT. Nunn and Trevitt selected eight young male dancers from a variety of backgrounds and worked with them closely, mentoring and coaching to create a company of first-class perform-ers. Now in its fifth year, the company has expanded to 10 dancers and regularly tours the U.K. and internationally. In 2013, BalletBoyz won the National Dance Award for Best Independent Company.

Nunn and Trevitt both live in West London with their families. They are ambassadors for Prince Charles’ chari-ty, Children and The Arts. They were made Officers of the British Empire in 2012 for their services to dance.

Cameron McMillan, Rehearsal DirectorBorn in New Zealand, McMillan trained at The Australian Ballet School and is currently an independent dancer, cho-reographer and teacher. He is associate artist with Dance East and was a leading dancer for Rambert Dance Company, English National Ballet, Royal New Zealand Ballet and Bonachela Dance Company. He has also performed as a principal guest artist for the RNZB, Australian Dance Theatre and Sydney Dance Company. He was recently awarded a prestigious New Generation Artist Award at the New Zealand Arts Awards 2012.

He has danced many principal and featured roles in the classical repertoire and has performed work by contempo-rary choreographers, including Mark Morris, Jiří Kylián, Christopher Bruce, Michael Clark, Wayne McGregor, Merce Cunningham and Rafael Bonachela among others.

He has restaged Bonachela’s work for Candoco Dance Company and the National Dance Company of Venezuela and has also been a guest teacher for the RNZB, BalletBoyz, Michael Clark Company, Australian Dance Theatre and Sydney Dance Company.

Liam Scarlett, Choreographer

Born in Ipswich, England, Liam Scarlett trained at the Linda Shipton School of Dancing and at The Royal Ballet School, where he won prizes including the Kenneth MacMillan and Ursula Moreton Choreographic Awards and the inaugural De Valois Trust Fund Award. Scarlett joined the company in 2005 and was promoted to first artist in 2008. He was appointed Royal Ballet Artist in Residence in 2012 and created works for the company, including Despite, Vayamos al diablo, Of Mozart (nominated for a Critics’ Circle Dance Award for Best Choreography), Asphodel Meadows (win-

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Armand Amar, ComposerBorn in Jerusalem and of French-Moroccan origin, Amar learned to play tablas, zarbs and congas under various masters of traditional music. He first started composing for dance in 1976, working with many choreographers, including Marie-Claude Pietragalla, Carolyn Carlson and Francesca Lattuada.

Since collaborating with Costa-Gavras for the film Eyewitness, Amar has created numerous scores, including Days of Glory by Rachid Bouchareb, Home by Yann Arthus-Bertrand and The Concert by Radu Mihaileanu, which won the César Music Award for Best Soundtrack in 2009. He co-founded the record label Long Distance, which now boasts more than 60 titles. For the Fez Festival of World Sacred Music in Morocco, Amar also created his first ora-torio, Leylâ & Majnûn, which uses an international cast of over 40 singers and musicians.

BalletBoyz® 52a Canbury Park Road Kingston Upon Thames Surrey KT2 6JX T: 020 8549 8814 E: info@balletboyz.com

The Production Production Manager: Andrew Ellis

The Company Artistic Directors: Michael Nunn & William Trevitt Executive Director: Kerry Whelan General Manager: Jemma Robinson Project Development: Annamie Athayde Administration Assistant: Florence Hawkins

Board of Trustees Mary Anne Cordeiro (Chair) Dame Vivien Duffield, DBE Lady Gavron Tom Hope Aud Jebsen Paul Roberts Edward Watson

ner of the 2011 Critics’ Circle National Dance Award for Best Classical Choreography), Sweet Violets, “Diana and Actaeon” (Metamorphosis: Titian 2012, in collaboration with Will Tuckett and Jonathan Watkins) and Hansel and Gretel. Other companies worldwide for which Scarlett has created works include New York City Ballet, San Francisco Ballet, English National Ballet, Miami City Ballet, BalletBoyz, K-Ballet and Norwegian National Ballet.

Russell Maliphant, ChoreographerRussell Maliphant trained at The Royal Ballet School and graduated into Sadler’s Wells Royal Ballet before leaving to pursue a career in independent dance. He formed Russell Maliphant Company in 1996 and has worked with renowned companies and artists, including Sylvie Guillem, Robert Lepage, Isaac Julian, BalletBoyz and Lyon Opera Ballet.

He has received numerous awards for his work, including the Critics’ Circle National Dance award for best modern choreography, a South Bank Show award and an Olivier Award for PUSH, with Sylvie Guillem. In 2011, Maliphant was awarded an honorary doctorate of arts from Plymouth University. Russell became an associate artist of Sadler’s Wells in 2005.

Max Richter, ComposerThe work of the award-winning British composer Max Richter includes concert music, film scoring and a series of acclaimed solo albums. Projects include the ballet INFRA, for Wayne McGregor at The Royal Ballet; the award-win-ning score to Ari Folman’s Waltz with Bashir; and the music installation The Anthropocene, at White Cube.

Richter’s music has formed the basis of numerous dance works, including pieces by Lucinda Childs, Nederlands Dans Theater, Ballet du Rhin, American Ballet Theatre, Dresden Semper Oper, The Dutch National Ballet, Norwegian National Ballet, among many others, while filmmakers using work by Richter include Martin Scorsese (Shutter Island). Recent commissions include the opera SUM, based on David Eagleman’s acclaimed book, which premiered at The Royal Opera House, London and Mercy and was commissioned by Hilary Hahn. Current projects include Vivaldi Recomposed for Deutsche Grammophon, recorded by British violinist Daniel Hope and the Konzerthaus Orchester, Berlin. In 2015, Richter will release his much-awaited new album on DG, as well as music for a full-length ballet for Wayne MacGregor and The Royal Ballet inspired by the life and works of Virginia Woolf.

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American Kid, Patty Griffin’s seventh album, is her first al-bum of mainly new material since Children Running Through in 2007. In between, she made the Grammy Award-winning Downtown Church (2010), her version of classic gospel. She also became a member of Band of Joy, the group in which leader Robert Plant and his cohorts meld British and American folk, rock and spiritual music.

American Kid, much of which Griffin says “was written to honor my father,” returns to typical Patty Griffin territory, which is to say that it features a group of remarkably power-ful, personal and unpredictable songs arranged and per-formed in a style that doesn’t entirely repeat anything she’s done on her previous albums while drawing on all of them. Yet Griffin’s catalog is among the most unified in modern popular music, because her singing is as unmistakable and inimitable as her songwriting.

Griffin has lived in Austin and recorded either in Austin or Nashville throughout her career (she released her first album, Living with Ghosts, in 1996) but American Kid is her first album whose music sounds stylistically rooted in Americana.

Craig Ross, responsible for the production of an earlier Griffin collection (2004’s Impossible Dream), co-produced American Kid with Griffin. Ross plays – usually guitar, but also bass, mandolin, baritone, omnichord and organ – on all but two tracks on the album.

The album’s lyrical focal point is Patty’s father, a high school science teacher who fought in World War II, lost his father

young and his mother almost immediately after he returned from the war, lived for a time in a Trappist monastery, raised seven children, bought Patty Sgt. Pepper’s Lonely Hearts Club Band for her birthday and changed her life.

Mr. Griffin’s impending death sparked the songs. But these aren’t songs about death, even though American Kid features ample reference to mortality. “Go Wherever You Want to Go,” which opens the album, was written “as I was getting ready to lose him. So it was really to honor him. Then a whole other story opened up – my father’s story started tell-ing me a bigger story,” says Griffin.

John FullbrightIt was just two years ago that young Oklahoman John Fullbright released his debut studio album, From the Ground Up, to a swarm of critical acclaim. The LA Times called the record “preternaturally self assured,” while NPR hailed him as one of the “10 Artists You Should Have Known in 2012,” saying, “it’s not every day a new artist… earns comparisons to great songwriters like Townes Van Zandt and Randy Newman, but Fullbright’s music makes sense in such lofty company.” If there was any doubt that his debut announced the arrival of a songwriting force to be reckoned with, it was put to rest when From the Ground Up was nominated for Best Americana Album at the Grammy Awards.

Special thanks to

Patty GriffinWith special guest John FullbrightSUN, NOV 2 / 7 PM / CAMPBELL HALL

MusiciansCraig RossDavid PulkinghamBilly Harvey

Principal Sponsor: Dancing Tides Foundation

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About the Company Batsheva Dance Company has been critically acclaimed and popularly embraced as one of the foremost contem-porary dance companies in the world. Together with its junior Batsheva Ensemble, the company boasts a roster of 34 dancers drawn from Israel and abroad. Batsheva Dance Company is Israel’s biggest company, maintaining an ex-tensive performance schedule locally and internationally with over 250 performances and over 75,000 spectators per year.

Hailed as one of the world’s preeminent contemporary choreographers, Ohad Naharin assumed the role of artis-tic director in 1990 and propelled the company into a new era with his adventurous curatorial vision and distinctive choreographic voice. The Batsheva dancers take part in the creative processes in the studio and create themselves in the annual project, “Batsheva Dancers Create,” sup-

ported by The Michael Sela Fund for Cultivation of Young Artists at Batsheva.

Batsheva Dance Company was founded as a repertory company in 1964 by the Baroness Batsheva de Rothschild, who enlisted Martha Graham as its first artistic adviser. Since 1989, Batsheva Dance Company has been in resi-dence at the Suzanne Dellal Centre in Tel Aviv.

Ohad Naharin, Artistic Director and ChoreographerAs artistic director of Batsheva Dance Company since 1990, Ohad Naharin has guided the company with an adventurous artistic vision and reinvigorated its repertory with his captivating choreography.

Batsheva Dance CompanySADEH21Ohad Naharin, Artistic Director and ChoreographerTUE, NOV 4 / 8 PM / ARLINGTON THEATRE

Principal Sponsors: Jody M. & John P. Arnhold

Dance series sponsored in part by Margo & Robert Feinberg and the Cohen Family Fund

Stephanie Amurao William Barry Ariel Cohen Or Schraiber Omri Drumlevich

DancersBret Easterling Maya Tamir Eri Nakamura Chen-Wei Lee Ori Ofri

Shamel Pitts Oscar Ramos Nitzan Ressler Ian Robinson Maayan Sheynfeld

Bobbi Smith Zina Zinchenko Adi Zlatin Bobbi Smith

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for Batsheva’s dancers. Gaga has also attracted a wide fol-lowing among dancers around the world and appealed to the general public in Israel, where open classes are offered regularly in Tel Aviv and other locations.

Naharin’s compelling choreographic craft and inventive, supremely textured movement vocabulary have made him a favorite guest artist in dance companies around the world. His works have been performed by prominent compa-nies including Nederlands Dans Theater, Ballet Frankfurt, Lyon Opera Ballet, Compañía Nacional de Danza (Spain), Cullberg Ballet (Sweden), the Finnish National Ballet, the Paris Opera Ballet, Balé da Cidade de São Paulo, Cedar Lake Contemporary Ballet (New York), Hubbard Street Dance Chicago, and Les Grand Ballets Canadiens de Montréal. Naharin’s rehearsal process with Cedar Lake Contemporary Ballet during a restaging of Deca Dance was the subject of Tomer Heymann’s documentary Out of Focus (2007).

Naharin’s rich contributions to the field of dance have garnered him many awards and honors. In Israel, he has received a doctorate of philosophy, honoris causa by the Weizmann Institute of Science (2004), the prestigious Israel Prize for dance (2005), a Jewish Culture Achievement Award by the Foundation for Jewish Culture (2008), a doctorate of philosophy, honoris causa by the Hebrew University (2008) and the EMET Prize in the category of Arts and Culture (2009). Naharin has also been named Chevalier de l’ordre des Arts et des Lettres by the French government (1998). He has received two New York Dance and Performance (Bessie) awards (for Virus at the Brooklyn Academy of Music in 2002 and Anaphaza at the Lincoln Center Festival in 2003), the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement (2009) and a Dance Magazine Award (2009).

CreditsSADEH21By Ohad Naharin In collaboration with Batsheva Dance Company dancers, 2010-2011 season Lighting and Stage Design: Avi Yona Bueno (Bambi) Soundtrack Design: Maxim Waratt Costume Design: Ariel Cohen Video Subtitle Design: Raz Friedman

Music: Autechre & The Hafler, “3HAE” (AEO3 & 3HAE); David Darling, “Stones Start Spinning” (Prayer For Compassion); Brian Eno & Harold Budd, “Against the Sky” (The Pearl);

Born in 1952 on Kibbutz Mizra, Ohad Naharin began his dance training with the Batsheva Dance Company in 1974. During his first year with the company, visiting choreog-rapher Martha Graham singled out Naharin for his talent and invited him to join her own company in New York. While in New York, Naharin studied on a scholarship from America-Israel Cultural Foundation at the School of American Ballet, furthered his training at The Juilliard School, and polished his technique with master teachers Maggie Black and David Howard. He went on to perform internationally with Israel’s Bat-Dor Dance Company and Maurice Béjart’s Ballet du XXe Siècle in Brussels.

Naharin returned to New York in 1980, making his choreo-graphic debut at the Kazuko Hirabayshi studio. That year, he formed the Ohad Naharin Dance Company with his wife, Mari Kajiwara, who died of cancer in 2001. From 1980 until 1990, Naharin’s company performed in New York and abroad to great critical acclaim. As his choreographic voice developed, he received commissions from world-renowned companies, including Batsheva, Kibbutz Contemporary Dance Company and Nederlands Dans Theater.

Naharin was appointed artistic director of Batsheva Dance Company in 1990 and has served in this role except for the 2003-2004 season, when he held the title of house choreog-rapher. During his tenure with the company, Naharin has choreographed over 20 works for Batsheva and its junior division, Batsheva Ensemble. He has also restaged over 10 of his dances for the company and recombined excerpts from his repertory to create Deca Dance, a constantly evolving evening-length work.

Naharin trained in music throughout his youth, and he has often used his musical prowess to amplify his choreograph-ic impact. He has collaborated with several notable musical artists to create scores for his dances, including Israeli rock group The Tractor’s Revenge (for Kyr, 1990), Avi Belleli and Dan Makov (for Anaphaza, 1993) and Ivri Lider (for Z/na, 1995). Naharin also worked with Ohad Fishof on soundtracks for Three (2005), Telophaza (2006) and Furo (2006) and with Maxim Waratt who composed music for MAX (2007) and edited and mixed the soundtracks for Mamootot (2003), Hora (2009), SADEH21 (2011) and The Hole (2013). Naharin also combined his talents for music and dance in Playback (2004), a solo evening which he directed and performed.

In addition to his work for the stage, Naharin has pio-neered Gaga, an innovative movement language. Gaga, which emphasizes the exploration of sensation and avail-ability for movement, is now the primary training method

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David Darling, “Music of a Desire” (Prayer For Compassion); Autechre, “Vletrmx” (Garbage); Jun Miyake, La Clé (Mondo Erotica) / guignorama; Brian Eno, Variation on the Canon in D major by Johann Pachelbel: (iii) Brutal ardor (Discreet mu-sic); Brian Eno & Harold Budd, “The Silver Ball” (The Pearl); Angelo Badalamenti, “Diane and Camilla” (Mulholland Drive, Original Motion Picture Score); David Darling, “Remembering Our Mothers” (Prayer For Compassion)

The piece is dedicated to Noa Eshkol World premiere: May 2011, Sherover Theater, Jerusalem

Original Cast / Creative Collaborators (2010-2011 season):Shachar Binyamini, Matan David, Iyar Elezra, Ariel Freedman, Shani Garfinkel, Chen-Wei Lee, Doug Letheren, Eri Nakamura, Bosmat Nossan, Ori Moshe Ofri, Rachael Osborne, Shamel Pitts, Ian Robinson, Michal Sayfan, Idan Sharabi, Guy Shomroni, Bobbi Smith, Tom Weinberger, Adi Zlatin, Erez Zohar

SADEH21 was commissioned by Luminato, Toronto Festival of Arts & Creativity and The Israel Festival, Jerusalem; produced by Batsheva Dance Company with the generous support of the Michael Sela Fund for Development of Young Artists

Batsheva Dance Company Artistic Director: Ohad Naharin Executive Director: Dina Aldor Co-Artistic Director: Adi Salant Company Manager & Stage Manager: Yaniv Nagar Senior Rehearsal Director: Luc Jacobs

International Tours: Director: Iris Bovshover Producer: Naomi Friend Chief Technical Director: Roni Cohen Lighting: Gadi Glik Sound: Dudi Bell Technician: Aliaksei Prezhyn Wardrobe: Ofer Amram, Osher Ohana Physiotherapist: Dudu Kishban House Photographer: Gadi Dagon

“Simply stunning: can human beings really dance so brilliantly

with such apparent ease?” The Independent (U.K.)

Coming in Winter 2015

TUE, FEB 24 / 8 PM GRANADA THEATRE

Paul Lightfoot, Artistic Director

Dance series sponsored in part by Margo & Robert Feinberg and the Cohen Family Fund

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Fish Out of Water The Moth in Santa BarbaraWED, NOV 5 / 8 PM / CAMPBELL HALL

About The Moth The Moth is an acclaimed not-for-profit organization ded-icated to the art and craft of storytelling, and a recipient of a 2012 John D. and Catherine T. MacArthur Foundation MacArthur Award for Creative & Effective Institutions. Through its ongoing programs – The Moth Mainstage, The Moth StorySLAMs, The Moth Community & Education Programs, and Moth Corporate Programs–The Moth has presented more than ten thousand stories, told live and without notes, to standing-room-only crowds worldwide. The Moth podcast is downloaded nearly 25 million times a year, and the Peabody Award-winning The Moth Radio Hour, produced by Jay Allison and presented by PRX, The Public Radio Exchange, airs weekly on radio stations nationwide. The new Moth Mobile App for iOS and Android, and the national best-seller, The Moth: 50 True Stories (Hyperion), are available now.

themoth.org

The Moth Radio Hour is produced with support from the Corporation for Public Broadcasting.

Major support is provided by:

The Moth Radio Hour is supported by the John D. and Catherine T. MacArthur Foundation, committed to building a more just, verdant, and peaceful world. More information at macfound.org.

This project is supported in part by an award from the National Endowment for the Arts, which believes that a great nation deserves great art.

With additional generous support from:

We would like to thank Maker’s Mark for their continued support.

We are delighted to welcome Movado, Life Reimagined, California Endowment for the Arts and Wells Fargo as 2014 sponsors.

Special thanks to

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About the Ensemblewild Up is a modern music collective – a group of Los Angeles-based musicians committed to creating visceral, thought-provoking happenings. Their programs are eclectic studies of people, places and ideas that they find interest-ing. The group believes that music is a catalyst for shared experiences, and that the concert venue is a place for chal-lenging, exciting and igniting the community around us.

Christopher RountreeChristopher Rountree is the 31-year-old artistic director, conductor and founder of the adventurous chamber group, wild Up, a 24-piece orchestra that blends new music, classi-cal repertoire, performance art and pop. Rountree has been praised by the Los Angeles Times for his “infectious enthusi-asm” and The New York Times for his “elegant clarity.”

wild Up rose to national attention with a long-running 2012 residency at the Hammer Museum in West LA, where the group staged dozens of events ranging from full orches-tra concerts in the courtyard to sonic experiments in the bathrooms.

In the 2013-14 season, Rountree debuted on the Los Angeles Philharmonic’s Green Umbrella series, and with the San Diego Symphony, the Colorado Symphony, the Los Angeles Chamber Orchestra and Ensemble LPR. He also conducted the San Francisco Conservatory Orchestra’s per-formance of The Rite of Spring on the work’s centenary.

Chris has been assistant conductor of the Brooklyn Philharmonic, guest conductor at Monday Evening Concerts and is lecturer in conducting at UC Santa Barbara. He has been artistic advisor for New Music for the American Youth Symphony and music director of the Michigan Pops Orchestra. He has conducted many more orchestras in the U.S., Europe and Canada, including the Winnipeg Symphony, Bohuslav Martinu Philharmonic and American Youth Symphony.

Starting in fall 2013, Rountree began a series of collaborative concerts featuring wild Up and the Colburn Conservatory of Music, where he serves as both guest conductor and guest lecturer in music business.

Rountree received his master’s degree in orchestral conduct-ing from the University of Michigan in 2009. He has been a student of Larry Rachleff, Marin Alsop, Gustav Meier, Kurt Masur, Catherine Comet, Joana Carneiro and Kenneth Kiesler.

Rountree fell in love with music as the bassist in a garage band, trombone player in a brass band and watching the Berlin Philharmonic play Brahms and Bartók. Besides being a musician, Rountree is a yogi, unpaid psychoanalyst, cutter of vegetables, storyteller, writer and burrito enthusiast.

Special thanks to

Up Close & Musical series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman

wild Up PULPChristopher Rountree, Artistic Director and ConductorSAT, NOV 8 / 7 PM / HAHN HALL

Program to be announced from the stage

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Two-time Pulitzer Prize winner and New York Times columnist Nicholas D. Kristof is often called the “reporter’s reporter” for his human rights advocacy and his efforts to give a voice to the voiceless.

In 1990, Kristof and his wife, Sheryl WuDunn, then also a New York Times journalist, became the first husband-wife team to win a Pulitzer Prize for journalism for their coverage of China’s Tiananmen Square democracy movement. Kristof won his second Pulitzer in 2006 for what the judges called “his graphic, deeply reported columns that, at personal risk, focused attention on genocide in Darfur and that gave voice to the voiceless in other parts of the world.”

Kristof and WuDunn have written three best-selling books: Half the Sky: Turning Oppression into Opportunity for Women Worldwide; China Wakes: The Struggle for the Soul of a Rising Power; and Thunder from the East: Portrait of a Rising Asia. Oprah Winfrey devoted two full programs to their work and they have been on countless other television programs. Archbishop Desmond Tutu dubbed Kristof “an honorary African” for his reporting on conflicts there. President Bill Clinton claimed “there is no one in journalism, anywhere in the United States at least, who has done anything like the work he has done to figure out how poor people are actually living around the world and what their potential is.”

Kristof graduated from Harvard College, Phi Beta Kappa, and won a Rhodes Scholarship to Oxford, where he studied law and graduated with first-class honors. He later studied Arabic in Cairo, Chinese in Taipei, and Japanese in Tokyo.

After working in France, he began backpacking in Africa and Asia, writing articles to cover his expenses. Kristof has lived on four continents, reported on six, and traveled to more than 150 countries. During his travels, he has caught malaria, experienced wars, confronted warlords, encoun-tered an Indonesian mob carrying heads on pikes, and survived an African airplane crash.

After joining The New York Times in 1984, Kristof served as a correspondent in Los Angeles, Hong Kong, Beijing and Tokyo. He has covered presidential politics, interviewed everyone from President Obama to Iranian President Ahmadinejad, and was the first blogger on The New York Times website. Ben Affleck executive produced an HBO documentary on him titled Reporter. He has won innu-merable awards including the Dayton Literary Peace Prize, the Anne Frank Award, and the Fred Cuny Award for Prevention of Armed Conflict. He serves on the board of Harvard University and the Association of American Rhodes Scholars.

Books are available for purchase in the lobby and a signing follows the event

Presented in conjunction with:

Presented in conjunction with the UCSB Center for Nanotechnology in Society conference, “Democratizing Technologies: Assessing the Role of NGOs in Shaping Technological Futures”, and Direct Relief

Principal Sponsor: Sara Miller McCune

Community Partner:

Nicholas KristofA Path Appears: Transforming Lives, Creating OpportunityTHU, NOV 13 / 8 PM / CAMPBELL HALL

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Principal Sponsor: Sara Miller McCune

Alexander McCall Smith has written and contributed to more than 100 books, including specialist academic titles, short story collections, and a number of immensely popular children’s books. He is best known for his interna-tionally acclaimed and best-selling No. 1 Ladies’ Detective Agency series, which currently has 13 volumes. The series has now been translated into 45 languages and has sold over 20 million copies worldwide. The first episode of a film adaptation premiered on HBO in March 2009. The 14th book in the series, The Minor Adjustment Beauty Salon, was released in November 2013. Another series, beginning with The Sunday Philosophy Club, about an intriguing woman named Isabel Dalhousie, appeared in 2004 and immediately leapt onto national best-seller lists, as did its sequels. McCall Smith’s serial novel, 44 Scotland Street, was published in book form to great acclaim in 2005 and has been followed by many sequels. A solo novel, La’s Orchestra Saves the World, came out in 2009. Corduroy Mansions, a series depicting the lives of the inhabitants of a large Pimlico house, was published and podcasted by the U.K.’s Daily Telegraph.

In addition, McCall Smith’s German professor series, beginning with Portuguese Irregular Verbs, now has four volumes. He is also the author of several children’s books and recently published a book about W. H. Auden titled, What W. H. Auden Can Do for You (2013).

McCall Smith was born in what is now Zimbabwe and was educated there and in Scotland. He became a law professor in Scotland, and it was in this role that he first returned to Africa to work in Botswana, where he helped to set up a

new law school at the University of Botswana. For many years he was professor of medical law at the University of Edinburgh, and has been a visiting professor at a number of other universities elsewhere, including ones in Italy and the U.S. He is now a professor emeritus at the University of Edinburgh.

In addition to his university work, McCall Smith was for four years the vice-chairman of the Human Genetics Commission of the U.K., the chairman of the British Medical Journal Ethics Committee, and a member of the International Bioethics Commission of UNESCO. He is the recipient of numerous awards, including The Crime Writers’ Association’s Dagger in the Library Award, the U.K.’s Author of the Year Award in 2004, the Saga Award for Wit, and Sweden’s Martin Beck Award. In 2007, he was made a CBE for his services to literature in the Queen’s New Year’s Honor List. In 2010, McCall Smith was award-ed the Presidential Order of Merit by the President of Botswana.

Alexander McCall Smith currently lives in Edinburgh with his wife Elizabeth (an Edinburgh doctor). His hobbies include playing wind instruments, and he is the co-found-er of an amateur orchestra called The Really Terrible Orchestra, in which he plays the bassoon and his wife plays the horn.

Pre-signed books are available for purchase in the lobby

An Evening with

Alexander McCall SmithFRI, NOV 14 / 8 PM / CAMPBELL HALL

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DancersShawn Fitzgerald AhernAntoine Banks-SullivanKrystal Butler

Benjamin CoalterJordan Kriston

Dance series sponsored in part by Margo & Robert Feinberg and the Cohen Family Fund

Pilobolus Dance TheaterRobby Barnett and Michael Tracy, Artistic DirectorsRenee Jaworski and Matt Kent, Associate Artistic DirectorsMON, NOV 17 / 8 PM / GRANADA THEATREA private reception for Producers Circle members will follow the performance

About the CompanyFounded in 1971, Pilobolus has built its fervent and expand-ing international following by showing the human body to be the most expressive, universal and magical of media. Pilobolus maintains its own singular style, evolving inter-play with shape-shifting, shadow play and other explora-tions, while actively collaborating with the best and bright-est minds from all conceivable professions the world over. The results of these collaborations have proven amazing feats can be achieved, and Pilobolus has been recognized for its developments in dance and multimedia art. Based in Washington Depot, Conn., in recent years Pilobolus has transformed from avant-garde dance company into an international entertainment brand featured on the likes of Oprah, Late Night with Conan O’Brien and the Academy Awards. The company has explored worlds as disparate as advertising, publishing, film and music videos. (Pilobolus was nominated for a 2012 Grammy Award for the video for OK Go’s “All Is Not Lost.”) Pilobolus achieves all this without ever losing sight of their core mission: to make art that builds community.

Robby Barnett, Artistic Director Robby Barnett was born and raised in the Adirondack Mountains and attended Dartmouth College. He joined Pilobolus in 1971.

Michael Tracy, Artistic Director Michael Tracy was born in Florence and raised in New England. He met the other Pilobolus founders at Dartmouth in 1969, and became an artistic director after graduating magna cum laude in 1973. Michael toured with Pilobolus for 14 years – for eight as the only touring director – and con-tinues to choreograph and direct the company. He has set his work on the Joffrey, Ohio, Hartford, Nancy and Verona ballets and choreographed a production of Mozart’s Magic Flute with John Eliot Gardiner, the Monteverdi Choir and the English Baroque Soloists and a national tour produc-tion for the National Theater of the Deaf. Michael taught at Yale University for two decades and lives in northwestern Connecticut.

Derion LomanMike Tyus

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Itamar Kubovy, Executive Producer Itamar Kubovy oversees the many moving parts of Pilobolus. After joining Pilobolus in 2004, he founded and co-curates Pilobolus’ critically acclaimed International Collaborators Project, which opens the choreographic pro-cess to artists and thinkers from diverse fields. Recent col-laborators include the MIT Distributed Robotics Lab; Steve Banks, head writer of SpongeBob SquarePants; choreogra-pher Sidi Larbi Cherkaoui; comics artist Art Spiegelman; puppeteer Basil Twist; masters of trickery Penn & Teller; and writers Etgar Keret and Shira Geffen. Itamar is one of the creators of Pilobolus’ Shadowland, the evening-length hit show. He also evolved Pilobolus Creative Services, collaborating with clients such as Google, IBM, Boston Consulting Group, the U.S. Olympic Committee, the NFL Network, Pfizer and many others to develop movement for film, advertising, publishing and corporate events. Prior to joining Pilobolus, Itamar studied philosophy at Yale, ran theaters in Germany and Sweden, directed plays by John Guare, co-directed the 2002 season finale of The West Wing, and made a film, Upheaval, starring Frances McDormand.

Lily Binns, Co-Executive Director, Development Lily Binns works to strengthen Pilobolus’ diverse commu-nity of supporters and build a productive, sustainable fu-ture for the organization. Before joining Pilobolus in 2008, she worked in the world of food as managing editor of Saveur magazine and as a book editor at Ten Speed Press. She is the co-author of The Hungry Scientist Handbook (Harper Collins, 2008) and author of the fiction chapbook The First American Wilderness (JR Vansant, 2011). She graduated from Columbia University in 2003 with a degree in English and creative writing.

Karen Feys, Co-Executive Director, Sales & TouringKaren Feys was born and raised in Belgium. She start-ed her career as a classical and contemporary dancer in Latvia, Russia and the U.K. Combining a dance and cho-reography career with studies of theater, dance and man-agement in London, Karen felt a shortcoming of business and sales experience in the arts industry so decided to move into the software industry to gain that experience. She started as an account manager for Benelux at Mercury Interactive (acquired by HP) and moved to Red Hat as international sales manager after two years at Mercury. Having gained corporate and sales experience, she wanted to incorporate that in a position in the arts industry. Karen took on a maternity cover contract at IMG Artists, manag-ing art organizations such as Pilobolus, Miami City Ballet,

and Colin Dunne among others. In 2010, she became the co-founder and executive director of the dance company by internationally renowned Belgian-Moroccan choreog-rapher, Sidi Larbi Cherkaoui. Karen is very happy to have joined Pilobolus in 2011.

Renée Jaworski, Associate Artistic DirectorRenée Jaworski received her BFA from the University of the Arts in Philadelphia. Upon graduating, she began work with MOMIX, performing and teaching throughout the world, as well as creating her own work in Philadelphia. She began performing with Pilobolus in 2000, working on exciting projects such as the 2007 Academy Awards. She has served as dance captain, master teacher, rehears-al director and most recently associate artistic director and choreographer for many of the company’s collabora-tions with artists and entities such as Dan Zanes, Steven Banks, Takuya Muramatsu, the rock band OK Go, Michael Moschen, Radiolab and Sidi Larbi Cherkaoui. In 2010, her alma mater honored her with the University’s Silver Star Alumni Award for work as an artist in the field of dance. Renée lives in Connecticut with her husband and daughter.

Matt Kent, Associate Artistic Director Matt Kent has worked with Pilobolus since 1996 as a dancer, collaborator, creative director, choreographer and associate artistic director. Past Pilobolus projects in-clude: head choreographer for Andre Heller’s Magnifico, a large-scale circus production; choreographer for a Sports Emmy-nominated teaser created in collaboration with the NFL network; and choreographer for a television appear-ance on Late Night with Conan O’Brien; choreographer for Shakespeare’s The Tempest co-directed by Teller and Aaron Posner. Matt is one of the creators of the Pilobolus international hit Shadowland, and has performed in over 24 countries and on Pilobolus’ appearance in the 79th Academy Awards. Outside of Pilobolus, he has worked as choreographer for AMC’s hit series The Walking Dead and as movement consultant on the Duncan Sheik musical, Whisper House. Matt lives in Connecticut with his wife and two sons.

Shawn Fitzgerald Ahern, Dance Captain Shawn Fitzgerald Ahern grew up in Dublin, N.H. He made his dancing debut at age 3, enthusiastically jumping around on the living room couch in his tighty-whities to the sound of the B-52s. Since then, he has studied in Austria and in the granite state (New Hampshire) and graduated magna cum laude from Keene State College as a theater and dance

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the direction of Ella Hay, after which he transferred to the University of North Carolina School of the Arts, graduat-ing in 2012 with a BFA in contemporary dance. Ben can’t thank his parents enough for supporting him in his career change into the arts and putting their trust in God that he would have a job upon graduation. Ben joined Pilobolus in 2012.

Jordan Kriston, Dancer Jordan Kriston was born in Illinois and grew up in Phoenix, Ariz. She earned a BFA in dance perfor-mance from Arizona State University while performing with Movement Source Dance Company of Phoenix. In 2006, she moved to Brooklyn. During her time in New York, Jordan performed with H.T. Chen and Dian Dong, Douglas Dunn and Karl Anderson, before join-ing Pilobolus. She takes pride in making new work with Pilobolus and is grateful to be able to share and teach all over the world. Jordan also enjoys writing, caring for horses and reading National Geographic Magazine. She will always be thankful for the family and friends who have helped shape who she is and encouraged her along the way. Jordan joined Pilobolus in 2010.

Derion Loman, Dancer Derion Loman was born in Fairfield, Calif. His interest in dance came from his involvement in color guard, where he toured with the World Championship Blue Devils Drum and Bugle Corps. Derion started dancing his sophomore year of college and graduated in 2012 with a BA in psy-chology and a BFA in dance from UC Santa Barbara. Most recently, he was a pioneer member of BHdos, Ballet Hispanico’s second company, where he performed at a variety of events and venues including Symphony Space Theatre, the FBI and the Presidential Inauguration. Derion would like to thank his colleagues, mentors, friends, family and you – the audience – for allowing him to cultivate and share his artistry. This is his first season with Pilobolus.

Mike Tyus, Dancer Mike Tyus grew up in Los Angeles and started training in jazz and ballet at age 12. He began performing profes-sionally three years later and fell in love with the power of live art. He was given the opportunity to share his passion touring the world with dance theater company Urban Poets and the Montreal-based circus company Cirque du Soleil. This is his first season with Pilobolus.

major under the mentorship of William Seigh. Shawn owes his passion for movement and for learning to his family, as well as the inspired instructors at KSC and the American Dance Festival. Shawn thanks you for sustaining the arts, and he thanks his family from the bottom of his heart for all of the unending support and love they bring into his life. Shawn joined Pilobolus in 2010.

Antoine Banks-Sullivan, Dancer Antoine Banks-Sullivan was born and raised in Chicago, Ill. He attended Whitney Young Magnet High School where he began dance training under the instruction of Lisa Johnson-Willingham at age 16. He has since trained with Deeply Rooted Dance Theater, Ballet Chicago, Joel Hall and Central Florida Ballet. Since his first contract with Walt Disney Co., Antoine has danced with Busch Gardens Florida, Cleo Parker Robinson, High School Musical Live, Cirque Dreams and Las Vegas Contemporary Dance Theater. In his free time, Antoine enjoys cooking, party planning and traveling the world. He would like to thank his friends and family, especially his loving mother and husband Thomas for their unending support. After three auditions, Antoine was thrilled to join Pilobolus in 2014.

Krystal Butler, DancerKrystal Butler began her dance training at age 13 at the Duke Ellington School of the Arts in Washington, D.C., under the direction of Charles Augins. Butler moved to New York City and graduated from Long Island University, Brooklyn Campus. She has received scholarships and completed summer programs at the Ailey School, ADF, Earl Mosley Institute for the Arts and Arkè Danza. Krystal was a member of INSPIRIT, a dance company and Forces of Nature Dance Theater. She has toured with the theater company Art Creates Life in Senegal performing in the play Junkanoo and in Europe in the show MAGNIFICO produced by Andre Heller. She has been a member of Pilobolus’ Shadowland since 2011. Krystal will be joining Pilobolus Dance Theater. This will be her first year. Krystal thanks her family and friends for all their love and support and a special thank you to her father, Andre. From her heart, EXPLORE.CREATE.CHANGE.

Benjamin Coalter, Dancer Benjamin Coalter is from Hurricane, W.Va. He began his undergraduate work in engineering and international affairs at Marshall University in Huntington, W.Va. During his second year at Marshall, Ben took his first formal dance class. He continued training for the next five months under

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a media technology intern at Actors Theatre of Louisville, video intern at New York Stage and Film’s Powerhouse Theatre and a directing intern at Woolly Mammoth Theatre Company in Washington D.C. for their production of The Elaborate Entrance of Chad Deity. Chris currently resides in Chicago as a freelance director and videographer.

Shelby Sonnenberg, Production Stage ManagerShelby Sonnenberg was born and raised in Wisconsin. She graduated from the University of Wisconsin-Madison with a BFA in dance in 2012 and completed production appren-ticeships at Bates Dance Festival and New York Live Arts in 2013. Shelby joined Pilobolus in 2013 and would like to thank her mom and dad for all their love and support.

Eric Taylor, Stage OpsEric Taylor is from Tennessee, where he still spends his time off from touring working as a rigger and stagehand for area theater productions and corporate events. Eric has enjoyed touring with Pilobolus since 2011.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

Jun Kuribayashi, Artistic AssociateJun Kuribayashi was born in Japan and raised in the U.S. since age 5. Before pursuing a career in dance, he was a competitive swimmer and break-dancer and stud-ied various martial arts. At 22, he began learning dance technique at the University of Kansas, where he earned his BFA. He debuted professionally with MOMIX in 2004 and shortly after joined Pilobolus and toured as a dancer, then dance captain and communications liaison for 10 years. He gives special thanks to the dance faculty at KU, fami-lies (Kuribayashi and Jones) and friends who have always shown unwavering support, and especially to his wonderful wife, Casey, who always keeps him grounded and lev-el-headed. Jun joined Pilobolus in 2004.

Shane Mongar, Director of Production Shane Mongar is originally from Chattanooga, Tenn. Mongar joined Pilobolus in 2008.

Kristin Helfrich, Production ManagerKristin Helfrich holds a BA in lighting design and pho-tography from Columbia College in Chicago. She started working for Pilobolus in 2008 as production stage manager. Prior positions include production manager for the Kelly Strayhorn Theater in Pittsburgh; production manager and lighting supervisor for Deeply Rooted Dance Theater in Chicago; master electrician for the American Dance Festival in Durham, N.C.; and assistant lighting designer and master electrician for the National Playwrights Festival at the Eugene O’Neill Theater Center in New London, C.T.

Mike Faba, Lighting SupervisorMike Faba is a graduate of the Professional Theater Arts Training Program in lighting design at the Seattle Repertory Theater and holds a BA in drama from Vassar College. He worked as the production stage manager and lighting supervisor for the Kate Weare Company and for Radiolab Live: In the Dark, a collaboration between WNYC’s Radiolab and Pilobolus. He was the lighting supervisor for Martha Clarke’s Angel Reapers and spent two summers working as the master electrician at the American Dance Festival. Mike joined Pilobolus in 2012.

Chris Owens, Video TechnicianChris Owens is from the great state of Nebraska. He attend-ed Doane College in Crete, Neb., and earned a BFA in the-ater, journalism and media. Since college, Chris has been

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Up Close & Musical series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman

About the Program

Franz Joseph Haydn (1732-1805): String Quartet in G Major, op. 77, no. 1Haydn turned the string quartet into a great form. Music for two violins, viola and cello had been written for years – usually as background or entertainment music – but in his cycle of 83 quartets, Haydn transformed the quartet into an ensemble of four equal partners, wrote music that demand-ed the greatest musicianship and commitment from all four performers and made the quartet the medium for some of his most refined expression. His quartet writing, however,

came to an end in the late 1790s. Haydn had just returned from two quite successful visits to London, and now in his mid-sixties he was losing interest in purely instrumental music. He would write no more symphonies and would instead devote his final years to vocal music: From these last years came his oratorios The Creation and The Seasons, as well as the great masses.

Just as he was embarking on these new directions, Haydn completed the two string quartets of his opus 77 (and

Danish String QuartetTUE, NOV 18 / 7 PM / HAHN HALL

Frederik Øland, violinRune Tonsgaard Sørensen, violinAsbjørn Nørgaard, violaFredrik Schøyen Sjölin, cello

Franz Joseph Haydn (1732-1805): String Quartet in G Major, op. 77, no. 1

Allegro moderatoAdagioMenuetto: PrestoPresto

Thomas Agerfeldt Olesen: String Quartet No. 7 (“The Extinguishable”)*

Ludwig Van Beethoven (1770-1827): String Quartet No. 14 in C-sharp Minor, op. 131

Adagio, ma non troppo e molto espressivoAllegro molto vivaceAllegretto moderatoAndante, ma non troppo e molto cantabilePrestoAdagio quasi un poco andante Allegro

*West Coast premiere

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The title “The Extinguishable” relates to the fact that it was because of Carl Nielsen (who gave his Fourth Symphony the by-name “The Inextinguishable”) that I met the Danish String Quartet. In 2011, we were both awarded the Carl Nielsen Prize, instituted on the basis of revenues from Carl Nielsen’s works. I gave his poetic title a morbid twist, since I am not convinced that either life or music is inextinguish-able, and that was originally Carl Nielsen’s idea with his title. That lack of conviction is one of the most fundamental things in my perspective, as a human being and as a composer. Perhaps both life and music are ‘extinguishable,’ perhaps not. The thought was a particularly strong background sense at the time when I wrote the new quartet and it crept into all aspects of its formulation, both technical and sculp-tural: in the conception of a music of memory – that something is both familiar and unknown at the same time and thus both has something in it that is dead and something that is alive.

In the introductory portrait of four music types running in parallel (like four courses of life) the life of the four music types is constantly interrupted at various points in their progress, and always leaves one of the types alone until this last course of life, too, is cut off. There are passages in the piece where the music does not refer to such a meta-layer but is itself. And thus the perspective shifts now and then to being either ‘in harmony with oneself ’ (perhaps one could say ‘without ulterior motives’) or referring to the past or to ideas (perhaps comparable to living either in the past or ‘with ulterior motives’).

Ludwig van Beethoven (1770-1827): String Quartet No. 14 in C-sharp Minor, op. 131Beethoven had been commissioned in 1822 by Prince Nikolas Galitzin of St. Petersburg to write three string quartets, though he had to delay them until after he finished the Missa solemnis and the Ninth Symphony. He completed the three quartets for Galitzin in 1825, but those quartets had not exhausted his ideas about the form, and he pressed on to work on another. Begun at the end of 1825, the Quartet in C-sharp Minor was complete in July 1826. This is an astonishing work in every respect. Its form alone is remarkable: seven continuous movements lasting a total of 40 minutes. But its content is just as remarkable, for this quartet is an unbroken arc of music that sustains a level of heartfelt intensity and intellectual power through every instant of its journey. This was Beethoven’s favorite among his quartets.

actually began one more, destined to remain unfinished). Commissioned by Prince Lobkowitz, who would later be Beethoven’s patron, the two opus 77 quartets of 1799 rep-resent the culmination of a lifetime spent developing and refining the form: The Quartet in G Major performed in this concert is widely considered one of Haydn’s finest, and that is saying a great deal. Audiences might best approach this quartet by listening for the many signs of a master’s touch: the liberation of all four voices, the rapid exchanges of melodic line between them and the beautifully idiomatic writing for all four instruments – including the often-ne-glected viola.

The opening Allegro moderato is in the expected sonata form, though with some original thematic touches: The main subject is a genial march-like tune – the steady 4/4 pulse of this march strides along easily throughout the movement. The second subject is hardly a theme at all, just a flowing two-measure figure that moves between the two violins. It is a measure of Haydn’s mature mastery that he can find so much in such simple material. The Adagio is built on a single theme, which is then repeated, growing more elaborate with each recurrence. The brisk minuet (its marking is Presto!) sends the first violin soaring from the bottom of its range to the very top, while the trio makes a surprising leap from the minuet’s G major to the unexpect-ed key of E-flat major, which in turn slides into C minor as it goes. The finale, also marked Presto, is a miniature sonata-form movement that blisters along at a pace that makes it feel almost like a perpetual motion. Some suspect that Haydn derived its central theme from a Hungarian folk song, but, whatever its origin, this movement is a real showcase for the first violin, and Haydn demands spar-kling, athletic playing from all four players throughout this movement.

Thomas Agerfeldt Olesen (1969-): String Quartet No. 7 (“The Extinguishable”)Thomas Agerfeldt Olesen studied cello and composition at the Royal Danish Academy of Music, and his teach-ers have included Poul Ruders and Henryk Górecki. His music – which includes works for stage, orchestra, cham-ber ensembles, piano and voice – has been performed in Europe, South America and the U.S.; among these works is an opera, The Picture of Dorian Gray, based on the novel by Oscar Wilde. In 2011, Olesen was awarded the Carl Nielsen Prize, the most distinguished award possible for a Danish artist.

Olesen’s seventh quartet was completed in 2014. The com-poser offered this perspective on the work:

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ing sound by bowing directly on the tops of their bridges.

There follows a heartfelt Adagio, its main idea introduced by the viola. Beethoven distills stunning emotional power into the briefest of spans here: This movement lasts only 28 measures before the concluding Allegro bursts to life with a unison attack three octaves deep. In sonata form, this furiously energetic movement brings back fragments of the fugue subject (sometimes inverted) from the first move-ment. It is an exuberant conclusion to so intense a journey, and at the very end the music almost leaps upward to the three massive chords that bring the quartet to its close.

Program notes by Eric Bromberger

About the QuartetEmbodying the quintessential elements of a chamber music ensemble, the Danish String Quartet has established a reputation for possessing an integrated sound, impecca-ble intonation and judicious balance. With its technical and interpretive talents matched by an infectious joy for music-making and “rampaging energy” (Alex Ross, The New Yorker) the quartet is in demand worldwide by concert and festival presenters alike. Since making its debut in 2002 at the Copenhagen Festival, the group of musical friends has demonstrated a passion for Scandinavian compos-ers, who they frequently incorporate into adventurous contemporary programs, while also proving skilled and profound performers of the classical masters. In 2012, The New York Times selected the quartet’s concert as a highlight of the year, saying the performance featured “one of the most powerful renditions of Beethoven’s Opus 132 String Quartet that I’ve heard live or on a recording.” This scope of talent secured them a three-year appointment in the cov-eted Chamber Music Society of Lincoln Center’s CMS Two Program that began in the 2013-14 season. The quartet was also named as a BBC Radio 3 New Generation Artist for 2013-15.

The Danish String Quartet’s 2014-15 season brings first-time tours to Israel, including Tel Aviv, Jerusalem and Haifa, and to South America. Other international tours feature them in Brussels, Copenhagen, Glasgow, Dortmund, Weimar and London as well as the Lofoten Festival in Norway. With increasing popularity, the quartet is considered one of the most sought-after quartets in the United States. Their repertoire is diverse, from Nielsen, Abrahamsen, Adès and Shostakovich to Beethoven, Mendelssohn, Debussy and Haydn. Currently in their sec-ond season with the CMS Two program, they will perform concerts in the Rose Studio and Alice Tully Hall with pia-

On the manuscript he sent the publisher, the composer scrawled: “zusammengestohlen aus Verschiedenem diesem und jenem” (“stolen and patched together from various bits and pieces”). The alarmed publishers were worried that he might be trying to palm off some old pieces he had lying around, and Beethoven had to explain that his remark was a joke. But it is at once a joke and a profound truth. A joke because this quartet is one of the most carefully unified pieces ever written, and a truth because it is made up of “bits and pieces”: fugue, theme and variations, scherzo and sonata form among them.

The form of the Quartet in C-sharp Minor is a long arch. The substantial outer movements are in classical forms, and at the center of the arch is a theme-and-variation move-ment that lasts a quarter-hour by itself. The second and third and the fifth and sixth form pairs of much shorter movements, often in wholly original forms.

The opening movement is a long, slow fugue, its haunt-ing main subject laid out immediately by the first violin. There is something rapt about the movement (and perhaps the entire quartet), as if the music almost comes from a different world. In a sense, it did. Beethoven had been completely deaf for a decade when he wrote this quartet, and now – less than a year from his death – he was writing from the lonely power of his musical imagination. Molto espressivo, he demands in the score, and if ever there has been expressive music, this is it. The fugue reaches a point of repose, then modulates up half a step to D major for the Allegro molto vivace. Rocking along easily on a 6/8 meter, this flowing movement brings relaxation – and emotional relief – after the intense fugue. The Allegro moderato opens with two sharp chords and seems on the verge of develop-ing entirely new ideas when Beethoven suddenly cuts it off with a soaring cadenza for first violin and proceeds to the next movement. The Allegro moderato seems to pass as the briefest flash of contrast – the entire movement lasts only 11 measures.

The longest movement in the quartet, the Andante ma non troppo e molto cantabile, is one of its glories. Beethoven presents a simple theme, gracefully shared by the two violins, and then writes six variations on it. At times the variations grow so complex that the original theme almost disappears; Beethoven brings it back, exotically decorated by first violin trills, at the very end of the movement. Out of this quiet close explodes the Presto, the quartet’s scherzo, which rushes along on a steady pulse of quarter-notes; this powerful music flows easily, almost gaily. Beethoven makes use of sharp pizzicato accents and at the very end asks the performers to play sul ponticello, producing an eerie, grat-

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NORDMETALL-Ensemble Prize at the Mecklenburg-Vorpommern Festival in Germany and, in 2011, received the prestigious Carl Nielsen Prize.

In 2006, the Danish String Quartet was Danish Radio’s Artist-in-Residence, giving them the opportunity to record all of Carl Nielsen’s string quartets in the Danish Radio Concert Hall, subsequently released to critical acclaim on the Dacapo label in 2007 and 2008. The New York Times review said, “These Danish players have excelled in perfor-mances of works by Brahms, Mozart and Bartok in New York in recent years. But they play Nielsen’s quartets as if they owned them.” In 2012, the Danish String Quartet released an equally acclaimed recording of Haydn and Brahms quartets on the German AVI-music label. Anthony Tommasini of The New York Times said: “What makes the performance special is the maturity and calm of the playing, even during virtuosic passages that whisk by. This is music making of wonderful ease and naturalness.” It recorded works by Brahms and Fuchs with award-winning clarinetist Sebastian Manz at the Bayerische Rundfunk in Munich released by AVI-music in 2014 and recently signed with ECM Records for future recording projects.

Violinists Frederik Øland and Rune Tonsgaard Sørensen and violist Asbjørn Nørgaard met as children at a music summer camp where they played both football and music together, eventually making the transition into a serious string quartet in their teens and studying at Copenhagen’s Royal Academy of Music. In 2008, the three Danes were joined by Norwegian cellist Fredrik Schøyen Sjölin. The Danish String Quartet was primarily taught and mentored by professor Tim Frederiksen and has participated in master classes with the Tokyo and Emerson string quartets, Alasdair Tait, Paul Katz, Hugh Maguire, Levon Chilingirian and Gábor Takács-Nagy.

www.danishquartet.com

nists Gilles Vonsattel and Jon Kimura Parker. In 2014, the quartet launched their recording of Danish folk songs titled Wood Works released on the Dacapo label.

The quartet will present the U.S. premiere of the Danish composer Thomas Agerfeldt Olesen’s Quartet No. 7 “The Extinguishable” in October at the University of Chicago Presents series and subsequently performs this work in St. Paul, Santa Barbara, Pasadena, New Haven, Gainesville, Jacksonville and Laramie. In addition to its commitment to performing works by Scandinavian composers, the Danish String Quartet derives great pleasure in traditional Scandinavian folk music, which inspired their recent disc. They will include these works in Philadelphia’s Chamber Music Society, Tulsa and New Orleans programs. Their robust schedule rounds out with appearances with the Washington Performing Arts Society, Vancouver Recital Society, La Jolla Music Society and Da Camera of Houston.

The Danish String Quartet made its West Coast debut in summer 2013 at Music@Menlo, described by San Francisco Classical Voice as “a concert of one ravishing performance after another, culminating in the Beethoven, weaving magic over the full house, which gave a genuine stand-ing ovation to the quartet, not one of those half-hearted crouching applauses. No, this was very real, really loud, and more than well-deserved.” They returned to Menlo in 2014 to perform programs of Haydn and Beethoven quartets as part of a busy summer festival schedule that included per-formances in Ireland, France and at home in Denmark.

Since winning the Danish Radio P2 Chamber Music Competition in 2004, the quartet has been greatly in demand throughout Denmark, and in November 2014 it will present the eighth annual DSQ-Festival, a four-day festival held in Copenhagen that brings together musi-cal friends the quartet has met on its travels. In 2009, the Danish String Quartet won first prize in the 11th London International String Quartet Competition, as well as four additional prizes from the same jury. This competition is now called the Wigmore Hall International String Quartet Competition, and the Danish String Quartet has per-formed at the famed hall on several occasions. It returned to Wigmore Hall in April 2014 to perform a program of Beethoven and Haydn.

The Danish String Quartet was awarded first prize in the Vagn Holmboe String Quartet Competition and the Charles Hennen International Chamber Music Competition in Holland and the Audience Prize in the Trondheim International String Quartet Competition in 2005. The Danish String Quartet was awarded the 2010

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Principal Sponsors: Audrey & Timothy Fisher

John Cleese achieved his first big success in London’s West End and as a scriptwriter and performer on The Frost Report. He went on to co-create the legendary Monty Python films that include Monty Python and the Holy Grail and Life of Brian. In the mid-1970s, John Cleese and his first wife, Connie Booth, co-wrote and starred in the now classic sitcom, Fawlty Towers. Later, he wrote and co-starred in A Fish Called Wanda and Fierce Creatures. He has appeared in many other films, from James Bond to Harry Potter to Shrek, and has guest-starred in TV shows that have included 3rd Rock from the Sun, Will & Grace and Entourage. He lives in London.

Cleese’s towering comedic influence has stretched across generations; his sharp satirical eye and the unique brand of physical comedy he perfected with Monty Python, on Fawlty Towers and beyond, now seem written into comedy’s DNA. In his rollicking new memoir, So, Anyway… (Nov. 4, Random House), Cleese takes readers on a Grand Tour of his ascent in the entertainment world, from his humble beginnings in a sleepy English town and his early comedic days at Cambridge University (with future Python partner Graham Chapman), to the founding of the landmark come-dy troupe that would propel him to worldwide renown.

After getting his start as a writer and actor on the landmark David Frost-hosted The Frost Report, where he worked alongside many who would also later become comedy icons, Cleese landed his most famous role as a star of the TV show Monty Python’s Flying Circus. To the legions of Python fans and comedy aficionados, Cleese’s work with the Pythons has become the stuff of legend. His signature characters

– including the Minister of Silly Walks and the owner (and would-be returner) of a dead parrot – embodied his knack for madcap buffoonery played completely straight and catapulted him to the shortlist of funniest men alive.

Twisting and turning through amazing stories and hilari-ous digressions – with some brief pauses along the way that comprise a fascinating primer on what’s funny and why – So, Anyway is the story of a young man’s journey to the pinnacle of comedy – and a masterly performance by a master per-former.

Pre-signed books are available for purchase in the lobby

Special thanks to

An Evening with

John Cleese WED, NOV 19 / 7 PM / GRANADA THEATRE

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SynopsisOld King Lear, who wants to retire from power, decides to divide his realm among his three daughters. Goneril and Regan both proclaim their love for him, whereas Cordelia can’t find words to describe her feelings. This infuriates Lear and he disinherits her and divides the kingdom be-tween Regan and Goneril.

Goneril and Regan begin to undermine Lear’s authority. Unable to believe that his beloved daughters are betraying him, Lear slowly goes insane and flees to wander on a heath during a great thunderstorm.

Meanwhile, an elderly nobleman named Gloucester also experiences family problems. His son, Edmund, tricks him

into believing that his other son, Edgar, is trying to kill him. Fleeing his father, Edgar disguises himself as a beggar and calls himself “Poor Tom.” Like Lear, he heads out onto the heath.

When the loyal Gloucester realizes that Lear’s daughters have turned against their father, he decides to help him. Regan discovers him helping Lear, accuses him of treason, blinds him and turns him out to wander the countryside. He ends up being led by his disguised son, Edgar, toward the city of Dover, where Lear has also been brought.

At Dover, a battle breaks out and the English, led by Edmund, defeat the French troops, led by Cordelia. In a

Principal Sponsor: Sara Miller McCune

Shakespeare’s Globe TheatreKing LearBill Buckhurst, DirectorTHU, NOV 20 & FRI, NOV 21 / 8 PM / CAMPBELL HALL

Goneril / Curan: Gwendolen ChatfieldCordelia / Fool: Bethan Cullinane King Lear: Joseph MarcellEdgar / Duke of Cornwall / Duke of Burgundy: Alex Mugnaioni Earl of Kent: Bill Nash Edmund / Oswald / King of France: Daniel Pirrie Regan: Shanaya RafaatEarl of Gloucester / Duke of Albany / Doctor: John Stahl

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Hero. Television credits include: The Bold and the Beautiful, Jericho, The Fresh Prince of Bel Air, Brothers and Sisters, Madmen and Specialists, EastEnders, End of the Line, Empire Road, In the House, Frost and Living Single.

Alex Mugnaioni, Edgar / Duke of Cornwall / Duke of BurgundyAlex trained at Rose Bruford on the Actor Musicianship Course. Theater credits include: One Georgie Orwell, Faust (Greenwich Theatre); Richard III (Changeling Theatre); Charlie Peace: His Extraordinary Life and Astounding Legend (Nottingham Playhouse/Belgrade Theatre, Coventry) and The Drowned Man: A Hollywood Fable (Punchdrunk/National Theatre). Film credits include: Challenge 25 and Once Upon a Time in Italy. Television credits include: The Borgias and Mr. Sloane (Sky Atlantic).

Bill Nash, Earl of KentBill trained at The Poor School in London. Previous work for Shakespeare’s Globe includes: The Bible. Other theater credits include: Macbeth (Minerva Theatre, Chichester/Gielgud Theatre/Brooklyn Academy of Music/Lyceum, Broadway); Twelfth Night (Chichester Festival Theatre); The Cherry Orchard, Faust, The Duchess of Malfi, Measure for Measure, Cymbeline, The Taming of the Shrew (RSC); Beasts and Beauties (Bristol Old Vic); All My Sons (Northcott Theatre, Exeter) and Woyzeck (Gate Theatre, London). Film credits include: Pride and Die Another Day. Television credits include: Utopia, Serious and Organised and Doctors.

Daniel Pirrie, Edmund / Oswald / King of FranceDaniel trained at the London Academy of Music and Dramatic Art. Theater credits include: Gaslight (Salisbury Playhouse); The Vortex (Apollo Theatre); Sting for Nolte (Gilded Balloon/Old Red Lion); Beckett (Theatre Royal Haymarket); The Arab-Israeli Cookbook (Gate and Tricycle Theatres) and Never the Sinner (Arts Theatre). Film credits include: Stuck, Diana and The Awakening. Television cred-its include: Cilla, The Assets, The Selection, Downton Abbey, Doctor Who, Case Histories, Jane Eyre, Waking the Dead and Holby City.

Shanaya Rafaat, ReganShanaya trained at RADA. Previous work for Shakespeare’s Globe includes: King Lear (2013 tour). Theater credits include: Twelfth Night, The Malcontent (Custom/Practice); The Illusion (Secret/Heart, Southwark Playhouse); The Secret Love Life of Ophelia (Bloomsbury Festival);

climactic ending, Cordelia is captured and executed, her sister Goneril poisons her other sister Regan and then kills herself, and Lear dies from absolute grief. The country is left under a cloud of sorrow and regret.

Gwendolen Chatfield, Goneril / CuranGwendolen trained at the Royal Scottish Academy of Music and Drama. Her theater credits include: The Playboy of the Western World (The Old Vic); Sexing the Cherry (Southbank Centre); Hot Mess (Arcola Theatre); Eight (Trafalgar Studios/tour); Coalition (Theatre503); Arlo (Southwark Playhouse); The Folk Contraption (Old Vic Vaults); Reminded of Beauty (The Tron/The Traverse/Hampstead Theatre) and Julius Caesar (RCS). Film credits include: The Invisible Woman. Television credits include: Downton Abbey.

Bethan Cullinane, Cordelia / FoolBethan trained at the Royal Academy of Dramatic Art. Previous work for Shakespeare’s Globe includes: The Merchant of Venice and King Lear (2013 tour). Other theater credits include: Ladybird (SecretHeart at The New Diorama); The Rest is Silence (RSC/Lift/Brighton Festival/dreamthinkspeak); The Secret Love Life of Ophelia (Bloomsbury Festival) and Climate Week Play in a Day (Arcola Theatre). Film credits include: Alpha: Omega, Thyme and Murder in Three Acts. Television credits include: Shakespeare Uncovered (Season 2). Radio credits include: Stevenson in Love (BBC Radio 4).

Joseph Marcell, King LearPrevious work for Shakespeare’s Globe includes: Omeros, King Lear (2013 tour), Much Ado About Nothing, Coriolanus and Under the Black Flag. Other theater credits include: A Freeman of Colour (Lincoln Centre); Inherit the Wind, King Lear, As You Like It, The Taming of the Shrew (Old Globe, San Diego); Romeo and Juliet (Shakespeare Theatre, D.C); Antony and Cleopatra, Julius Caesar, Our Friends in the North, Peter Pan, The Great White Hope (RSC); As You Like It (Folger Theatre, D.C.); Gem of the Ocean (Tricycle Theatre/Arena Stage, USA); Othello (Lyric Theatre/Arts Theatre); Breakfast with Mugabe (Ustinov Theatre, Bath); Radio Golf, Let There Be Love, Walk Hard Talk Loud, King Hedley II, Joe Turner’s Come and Gone (Tricyle Theatre); Hamlet (Basingstoke); Master Harold and the Boys, Peer Gynt (National Theatre); Sherlock Holmes (Broadway); Romeo and Juliet (Shakespeare Co., U.S.) and Seniors (Hudson, L.A.). Film credits include: Cry Freedom, Sioux City, A Beautiful Life, We Three, Playing Away and

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Jonathan Fensom, DesignerPrevious work for Shakespeare’s Globe includes: Julius Caesar, Hamlet, (world tour), The Duchess of Malfi, Gabriel, A Midsummer Night’s Dream, Henry V, The Globe Mysteries, Hamlet, Henry IV Parts 1 & 2, King Lear and Love’s Labour’s Lost. Other theater credits include: The American Plan (Bath/London); The Accrington Pals (Royal Exchange, Manchester); The Thrill of Love (St James Theatre); Our Boys (West End); Goat (The Traverse Theatre); Swan Lake (San Francisco Ballet); Journey’s End (West End/Broadway); The American Plan, Pygmalion (New York) and Wozzeck (Birmingham Opera/European tour). Jonathan was associate designer on Disney’s The Lion King, which premiered at the New Amsterdam Theatre on Broadway and has subsequently opened worldwide. His set design for Journey’s End was nom-inated for a Tony Award in 2007. The production won the Tony Award for Best Revival.

Georgina Lamb, ChoreographerPrevious work for Shakespeare’s Globe includes: The Merchant of Venice, King Lear (2013 tour), The Taming of the Shrew, Romeo and Juliet, As You Like It, A Midsummer Night’s Dream, Doctor Faustus and The Frontline. Movement director/chore-ographer credits include: The Secret Garden (Grosvenor Park Open Air Theatre); Every Last Trick (Royal and Derngate); The Roaring Girl (RSC); The Witches (Chichester Festival Theatre); Hopelessly Devoted (Birmingham Repertory Theatre); The Lion, the Witch and the Wardrobe (360 Productions at Kensington Palace Garden) and Much Ado About Nothing (Wyndham’s Theatre). Choreography (film and television) credits include: True Stories, Once Upon a Time, Hansel & Gretel and Macbeth. Television credits include: Tales from the Old Bailey, Some Dog’s Bite, Hollyoaks, Doctors, EastEnders, Whitechapel and Sugar Rush.

Kirsty Patrick Ward, Assistant DirectorKirsty is artistic director of Waifs + Strays theater compa-ny and an associate director for Nabokov Theatre. She was shortlisted for the JP Morgan Emerging Directors award in 2013 and was a finalist for the JMK Young Directors award in 2012. She also took part in the Old Vic New Voices TS Eliot US/UK Exchange in 2011 and has assisted directors includ-ing Michael Buffong, Simon Godwin, Charlotte Gwinner and Joe Murphy. Directing credits: Skin a Cat (Rich Mix); People Like Us (Pleasance Theatre); Snow White (The Old Vic/edu-cational tour); Chavs (Lyric Hammersmith/Latitude); Present Tense (Live Theatre); Brave New Worlds (Soho Theatre); Life Support (York Theatre Royal) and the Old Vic New Voices 24 Hour Plays 2011 (The Old Vic).

Miniaturists 30 (Arcola Theatre); A Midsummer Night’s Dream (Dash Arts/Roundhouse/RSC/international tour); Judith, Sexual Perversity in Chicago, Manifestly False and Hayavadana (Industrial Theatre Co./National Centre for the Performing Arts, Mumbai) and The Maids (Industrial Theatre Co./National Gallery of Modern Art, Mumbai). Film credits include: Complicit (Channel 4) and Honeycomb Lodge (Delhi International Film Festival 2013). Television credits include: Silk (BBC).

John Stahl, Earl of Gloucester / Duke of Albany / DoctorJohn trained at the Royal Scottish Academy of Music and Drama. Previous work for Shakespeare’s Globe includes: Much Ado About Nothing, The Mysteries, Troilus and Cressida, The Frontline, Othello and We, the People. Other theater credits include: Hamlet, As You Like It, All’s Well that Ends Well, King John, Richard III, A Soldier in Every Son, The Gods Weep, The Crucible, Dog in the Manger, Tamar’s Revenge, Pedro, The Great Pretender (RSC); Frankenstein (National Theatre); The Weir, The Alice Trilogy (Royal Court Theatre); The Whisky Taster (Bush Theatre); Angels and Saints, Blue Eyes and Heels (Soho Theatre); Macbeth (Royal Exchange, Manchester) and Mary Stuart (National Theatre of Scotland). Television credits include: Game of Thrones, Being Human, Holby City, Brighton Boy, Murder Rooms, A Sense of Freedom, Rebus and Taggart.

Bill Buckhurst, DirectorPrevious work for Shakespeare’s Globe includes: Hamlet (world tour, co-director), Omeros, King Lear (2013 tour), The Merchant of Venice, A Midsummer Night’s Dream, Macbeth and Romeo and Juliet (Shakespeare’s Globe/UAE tour, “Playing Shakespeare with Deutsche Bank”). Other directing credits include: A Midsummer Night’s Dream; Barbarians, Tinderbox (Tooting Arts Club); Omeros, King Lear (2013 tour) The Merchant of Venice, Much Ado About Nothing, A Midsummer Night’s Dream (Stafford Festival Shakespeare); Riff Raff (Arcola Theatre); The Vegemite Tales (West End/Riverside Studios); Normal (The Union); Penetrator and The Night Before Christmas (Theatre503). Assistant direc-tor credits include: Get Santa! and Aunt Dan and Lemon (Royal Court Theatre). Acting credits (theater) include: seasons at RSC, Royal Court, Shakespeare’s Globe, Propeller, Chichester, Northampton and Oxford Stage Company. Acting (film and television) credits include: Skyfall, World War Z, New Tricks, MI-5, Collision, Murphy’s Law, EastEnders, Coronation Street, Holby, Bad Girls and As If.

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Alex Silverman, ComposerPrevious work for Shakespeare’s Globe includes: King Lear (2013 tour), The God of Soho, The Comedy of Errors, A Midsummer Night’s Dream, Romeo & Juliet and Much Ado About Nothing. Other music credits for stage in-clude: All’s Will that Ends Will (Bremer Shakespeare Company); Prometheus/Frogs (Cambridge Arts Theatre); The Merchant of Venice (Creation); Unfinished Dream (LIFT); The Hound of the Baskervilles (Peepolykus); Angus, Thongs and Even More Snogging (WYP); Snow Queen (Rose Theatre, Kingston); The Coronation of Poppea (London’s Little Opera House) and Hamlet! The Musical (Royal & Derngate Theatre, Northampton/Richmond Theatre). Alex has contributed music to 17 productions at the Edinburgh Fringe, where his work has twice been nominated for Total Theatre awards; he has also fulfilled commissions for BBC Radio, Channel 4, ITV1 and SkyArts.

Director: Bill Buckhurst Designer: Jonathan Fensom Composer: Alex Silverman Choreographer: Georgina Lamb Fight Director: Kevin McCurdy Globe Associate – Text: Giles Block Globe Associate – Movement: Glynn MacDonald Voice & Dialect: Martin McKellan Assistant Director: Kirsty Patrick Ward Text Assistant: Nicola Pollard Associate Producer: Tamsin Palmer Production Manager: Paul Russell Assistant Production Manager: Fay Powell-Thomas Stage Managers: Naomi Buchanan Brooks, Rebecca Toland, Cynthia Cahill Supervisor: Laura Rushton Tour Wardrobe Manager: Jessica Hughes Marketing & Press Officer (Touring & Events): Helena Miscioscia Transport: Paul Liengaard Artistic Director: Dominic Dromgoole Executive Producer: Tom Bird Theatre General Manager: Lotte Buchanan Theatre Finance Manager: Helen Hillman Director of Music: Bill Barclay Company Manager: Marion Marrs Technical Manager: Wills Casting Director: Matilda James Casting, Creative & Filming Associate: Karishma Balani Artistic Coordinator & Assistant to the Artistic Director: Jessica Lusk International Tour Associate: Malú Ansaldo Playhouse Associate: Emily Benson Playhouse Coordinator: Rosie Townshend Assistant Company Manager: Harry Niland

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The second Sam Wanamaker Playhouse Season opens on

23 October with ‘Tis Pity She’s a Whore by John Ford

Enjoy the Globe experience at home with Globe on Screen

DVD’s from our online shop or go to the Globe website to find

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Patrons of Shakespeare Globe Centre USA

Special thanks to

60

Mike BirbigliaThank God for JokesTHU, DEC 4 / 8 PM / CAMPBELL HALL

Over the past 12 years, comedian Mike Birbiglia has devel-oped a one-of-a-kind storytelling style in the world of standup comedy. Time magazine calls him “master of the personal, embarrassing tale.” The New York Times describes him as a “supremely enjoyable monologist.”

Birbiglia’s recent off-Broadway hit, My Girlfriend’s Boyfriend, won the Lucille Lortel Award for Outstanding Solo Show and was named a Critics Pick by The New York Times, New York Magazine and Time Out New York. Following a successful New York run, Mike brought the show to more than 70 cities worldwide, including the Sydney Opera House, London’s Soho Theatre and Carnegie Hall.

Mike has made more than 40 network television appearanc-es on shows including Letterman, Kimmel, Conan, Craig Ferguson and Jimmy Fallon. He is a regular contributor to the Peabody Award-winning radio show This American Life. Birbiglia has released four albums, and both The Onion and USA Today named My Secret Public Journal Live one of “The Best Comedy Albums of the Decade.”

In 2012, Mike directed and starred in the feature film adapta-tion of his one-man show, Sleepwalk With Me. The film won an audience award at the Sundance Film Festival, was released in theaters nationwide by IFC Films and was one of the top three most critically acclaimed comedies of the year on Rotten Tomatoes, with top critics rating it 87 percent.

Currently Birbiglia is touring the country with his all-new show, Thank God for Jokes, and planning his follow-up feature film.

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Event Sponsor: Sara Miller McCune

Audra McDonaldSUN, DEC 7 / 7 PM / GRANADA THEATRE

Andy Einhorn, Music Director and pianoMark Vanderpoel, bassGene Lewin, drums Program to be announced from the stage

photo

: Autu

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Wild

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Audra McDonald is unparalleled in the breadth and versatility of her artistry as both singer and actress. With a record-breaking six Tony awards, two Grammy awards, and a long list of other accolades to her name, she is among today’s most highly regarded performers. Blessed with a luminous soprano and an incomparable gift for dramatic truth-telling, she is equally at home on Broadway and opera stages, as in roles on film and television. In addition to her theatrical work, she maintains a major career as a concert and recording artist, regularly appearing on the great stages of the world.

Born into a musical family, McDonald grew up in Fresno, Calif., and received her classical vocal training at The Juilliard School. A year after graduating, she won her first Tony Award for Best Performance by a Featured Actress in a Musical for Carousel at Lincoln Center Theater, directed by Nicholas Hytner. She received two additional Tony awards in the featured actress category over the next four years for her performances in the Broadway premieres of Terrence McNally’s Master Class (1996) and Ahrens and Flaherty’s Ragtime (1998), earning her an unprecedented three Tony awards before the age of 30. In 2004 she won her fourth Tony, starring alongside Sean “Diddy” Combs in A Raisin in the Sun, and in 2012 she won her fifth – and her first in the leading actress category – for her role in The Gershwins’ Porgy and Bess. In 2014, she made Tony history by winning a record-breaking sixth Tony Award for Best Performance by a Leading Actress in a Play for her riveting portrayal of legendary singer Billie Holliday in a revival of Lady Day

at Emerson’s Bar and Grill. Directed by Lonny Price, the production features such timeless standards as “What a Little Moonlight Can Do,” “T’ain’t Nobody’s Biz-ness” and “Strange Fruit.” McDonald’s other theater credits include The Secret Garden (1993), Marie Christine (1999; Tony nomina-tion), Henry IV (2004), 110 in the Shade (2007; Tony nom-ination), and her Public Theater “Shakespeare in the Park” debut in Twelfth Night alongside Anne Hathaway (2009).

After summer 2013 appearances at the Festival del Sole, the Caramoor Festival, and with John Williams and the Boston Symphony at Tanglewood, Audra McDonald opened the 2013-14 season of the San Francisco Symphony under the baton of Michael Tilson Thomas. She then embarked upon a 22-city concert tour, including appearances in Los Angeles; Chicago; Washington, D.C.; Toronto; Las Vegas; Arizona; Utah; Michigan; Illinois; Indiana; Missouri; Texas; Arkansas; Kentucky and New Jersey.

McDonald made her opera debut in 2006 at Houston Grand Opera, where she starred in a double bill of Poulenc’s monodrama La voix humaine and the world premiere of its companion piece, Send, written by one of McDonald’s frequent collaborators, Michael John LaChiusa. She made her Los Angeles Opera debut in 2007 starring alongside Patti LuPone in John Doyle’s production of Kurt Weill’s Rise and Fall of the City of Mahagonny. The resulting recording won McDonald two Grammy awards: for Best Opera Recording and Best Classical Album.

On the concert stage, McDonald has premiered music by Pulitzer Prize-winning composer John Adams and sung with virtually every major American orchestra – includ-ing the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, National Symphony, New York Philharmonic, Philadelphia Orchestra and San Francisco Symphony – and under such conductors as Sir Simon Rattle, Esa-Pekka Salonen and Leonard Slatkin. She made her Carnegie Hall debut in 1998 with the San Francisco Symphony under the baton of Michael Tilson Thomas in a season-opening concert that was broadcast live on PBS. Internationally, she returns to the BBC Proms in London (where she was only the second American in more than 100 years invited to appear as a guest soloist at the Last Night of the Proms) and the Théâtre du Châtelet in Paris, as well as to the London Symphony Orchestra and Berlin Philharmonic.

It was the Peabody Award-winning CBS program Having Our Say: The Delany Sisters’ First 100 Years that first introduced McDonald to television audiences as a dramatic actress. She went on to co-star with Kathy Bates and Victor Garber in the lauded 1999 Disney/ABC television remake of Annie, and in 2000 she had a recurring role on NBC’s hit series, Law and Order: Special Victims Unit. After receiving her first Emmy nomination for her performance in the HBO film version of the Pulitzer Prize-winning play Wit, directed by Mike Nichols and starring Emma Thompson, McDonald returned to net-work television in 2003 in the political drama Mister Sterling, produced by Emmy Award-winner Lawrence O’Donnell Jr. (The West Wing) and starring Josh Brolin. In early 2006, she joined the cast of the WB’s The Bedford Diaries, and over the next season she had a recurring role on NBC’s television se-ries Kidnapped. In 2008, she reprised her Tony-winning role in A Raisin in the Sun in a made-for-television movie adap-tion, earning her a second Emmy Award nomination. From 2007 to 2011, she played Dr. Naomi Bennett on the hit ABC medical drama, Private Practice.

A familiar face on PBS, McDonald is the series host of Live from Lincoln Center, which televised her recent solo concert for Lincoln Center’s Spring Gala. She has headlined telecasts, including an American Songbook season-opening concert, a presentation of Sondheim’s Passion, a tribute concert to Rodgers and Hammerstein titled Something Wonderful, and three galas with the New York Philharmonic: a New Year’s Eve performance in 2006, a concert celebrating Stephen Sondheim’s 80th birthday, and Carnegie Hall’s 120th Anniversary Concert. She was also featured in the PBS tele-vision special, “A Broadway Celebration: In Performance at the White House,” singing at the request of President Barack Obama and First Lady Michelle Obama.

McDonald’s film career began with her role in Seven Servants in 1996, and her list of credits has since grown to include The Object of My Affection (1998), Cradle Will Rock (1999), It Runs in the Family (2003), The Best Thief in the World (2004), and She Got Problems (2009), a mockumentary movie musical written, starring and directed by her sister, Alison McDonald. Most recently, Audra McDonald appeared in the 2012 release Rampart, starring Woody Harrelson and now available on DVD.

As an exclusive Nonesuch recording artist, McDonald has released five solo albums on the label, interpreting songs from the classic (Gershwin, Arlen and Bernstein) to the contem-porary (Michael John LaChiusa, Adam Guettel and Ricky Ian Gordon). The New York Times dubbed her first Nonesuch album, 1998’s Way Back to Paradise, the Adult Record of the Year. Following the best-selling How Glory Goes in 2000 and Happy Songs in 2002, she released the 2006 album Build a Bridge, which saw the singer stretch her repertoire to include songs by the likes of Randy Newman, Elvis Costello/Burt Bacharach, Rufus Wainwright and Nellie McKay. Her recent album, Go Back Home, released in May 2013, is her most personal recording to date, featuring songs by Sondheim, Guettel, Kander & Ebb and introducing a new generation of songwriters including Adam Gwon and Goldrich & Heisler. McDonald’s ensemble recordings include the acclaimed EMI version of Bernstein’s Wonderful Town conducted by Sir Simon Rattle, the New York Philharmonic release of Sondheim’s Sweeney Todd, and Dreamgirls in concert, as well as the first re-cording of Rodgers and Hammerstein’s Allegro and Broadway cast albums of Carousel, Ragtime, Marie Christine, 110 in the Shade, and The Gershwins’ Porgy and Bess.

McDonald’s other accolades include five Drama Desk Awards, four Outer Critics Circle Awards, four NAACP Image Award nominations, an Ovation Award, a Theatre World Award, and the Drama League’s 2000 Distinguished Achievement in Musical Theatre and 2012 Distinguished Performance Award. In addition to her six Tony awards, she received nominations for her performances in Marie Christine and 110 in the Shade.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

63

DanúA Christmas Gathering: Féile Na NollagFRI, DEC 12 / 8 PM / CAMPBELL HALL

About the ProgramThe acclaimed Irish ensemble, Danú, celebrates Christmas with Féile na Nollag (A Christmas Gathering). Christmas in Ireland is one of the most important holidays for families and friends, as many Irish people living abroad come home to gather in celebration. Local community choirs singing traditional songs for Christmas and Wrens Day are a com-mon sight throughout Ireland each December. Music and dance gatherings, in communities both urban and rural, have often combined for generations to offer a great variety of songs, music and stories for the holidays. Danú’s Christmas Gathering offers a taste of these extraordinary events, which have been held across Ireland for hundreds of years.

About the EnsembleHailing from historic County Waterford, Danú is one of the leading traditional Irish ensembles of today. Their stand-ing-room-only concerts throughout Ireland are true events featuring high-energy performances and a glorious mix of ancient Irish music and new repertoire. For over a decade, Danú’s virtuosi players on flute, tin whistle, fiddle, button accordion, bouzouki and vocals (Irish and English), have performed around the globe and recorded seven critically ac-claimed albums. Their live DVD, One Night Stand, was filmed at Vicar St. Dublin. Winners of numerous awards from the BBC and Irish Music Magazine, Danú takes its audiences on a musical journey to their native Ireland, offering a moving and memorable concert experience. Danú’s popular recordings are available on the Shanachie label and live performances are often broadcast on NPR, the CBC and the BBC.

Members of Danú first met up at the 1994 Oireachtas Festival in Dungarvan, County Waterford. Benny McCarthy, Donal Clancy and Donnchadh Gough from County Waterford, with Dubliner Daire Bracken, were invited to the renowned Lorient Interceltic Festival in France. The band was named Danú after the Celtic goddess by a good friend, Trisha Hutton.

In Lorient, the band became an instant success, and they were immediately invited to return in 1996, this time with brothers Tom and Eamonn Doorley from Dublin. Danú won La Boulée des Korrigan in 1996, a prestigious award for the best new band of the festival, previously won by groups such as Clannad and The Bothy Band. The band released its debut album in 1997, which coincided with a debut tour in the U.S. and generated a lot of publicity and interest in Danú. The band’s high-energy performances quickly became much sought after by the festival circuit. In 1999, they signed to the U.S.-based Shanachie record label. Subsequent albums in-cluded Think Before You Think (2000), All Things Considered (2002), The Road Less Traveled (2003), Up in the Air (2004) and When All is Said and Done (2006). The band also re-corded a live performance in one of Ireland’s favorite venues, Vicar St in Dublin; the DVD of the show was released in 2006, aptly titled One Night Stand.

Special thanks to

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Santa Barbara Montessori School • Toddler–8

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Thank You!Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

Terrifi c Granada Seating starts at just $25! For ticket and subscription information, call the Granada Box O� ce

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OCTOBER 18-19, 2014

Rachmaninoff and ChopinIngrid Fliter, piano

SHOSTAKOVICH • CHOPIN • RACHMANINOFF

NOVEMBER 15-16, 2014

Beethoven: Student to Master

Caroline Goulding, violinHAYDN • BEETHOVEN

DECEMBER 31, 2014

New Year’s Eve Pops Concert

Bob Bernhardt, guest conductorBroadway, Stage, Movies, and MORE!

JANUARY 17-18, 2015

Chaplin: ‘City Lights’ fi lm with live orchestra

accompanimentVERDI • CHAPLIN

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a NAKED SHAKES production

A MIDSUMMER NIGHT’S DREAM by WILLIAM SHAKESPEARE directed by IRWIN APPEL OCT 10 - 12

MIDDLETOWN: A PLAY by WILL ENO directed by TOM WHITAKER NOV 14 - 22

FALL DANCE CONCERT New choreography by students and faculty concert director CHRISTINA MCCARTHY DEC 12 - 13

FALL 2014

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Great Care is Growing in the Good Land.

Opening in early 2015, the new Goleta Valley Cottage Hospital will feature:• An expanded Emergency Department with 20 private rooms• 52 private patient rooms for medical/surgical and intensive care• A Healing Arts Program featuring 280 pieces created by Central Coast artists• Four hyperbaric oxygen therapy chambers in a new Center for Wound Management within the hospital• Seven surgical suites to support services that include the renowned Cottage Center for Orthopedics and Oral and Maxillofacial Surgery Program for restorative and reconstructive procedures

It will be a hospital distinctly Goleta, and decidedly Cottage. The new hospital will provide an expanded, modern facility and advanced technologies to support the personal touch and excellence in care that is already a trademark of Goleta Valley Cottage Hospital. Great care is growing.

Depiction of the new Goleta Valley Cottage Hospital lobby, featuring a landscape painting by local artist Hank Pitcher.

www.cottagehealthsystem.orgCottage is a not-for-profit, community organization dedicated to providing medical excellence close to home.

CottageGVCHad_A&L.indd 1 9/6/14 9:07 PM

Great Care is Growing in the Good Land.

Opening in early 2015, the new Goleta Valley Cottage Hospital will feature:• An expanded Emergency Department with 20 private rooms• 52 private patient rooms for medical/surgical and intensive care• A Healing Arts Program featuring 280 pieces created by Central Coast artists• Four hyperbaric oxygen therapy chambers in a new Center for Wound Management within the hospital• Seven surgical suites to support services that include the renowned Cottage Center for Orthopedics and Oral and Maxillofacial Surgery Program for restorative and reconstructive procedures

It will be a hospital distinctly Goleta, and decidedly Cottage. The new hospital will provide an expanded, modern facility and advanced technologies to support the personal touch and excellence in care that is already a trademark of Goleta Valley Cottage Hospital. Great care is growing.

Depiction of the new Goleta Valley Cottage Hospital lobby, featuring a landscape painting by local artist Hank Pitcher.

www.cottagehealthsystem.orgCottage is a not-for-profit, community organization dedicated to providing medical excellence close to home.

CottageGVCHad_A&L.indd 1 9/6/14 9:07 PM

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