duke performances 2014/15 spring brochure

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

DUKE PERFORMANCESSPRING 2015 SEASON | MUSIC, THEATER, DANCE & MORE.

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

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

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

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

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

O O O

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

REYNOLDS I NDUSTRIES THEATER

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

I .C.E. INTERNATIONAL CONTEMPORARY ENSEMBLE

CHAMBER MUSIC CONCERTO O O

S UNDAY, JANUARY 18 | 7 PMNELS ON MUS I C ROOM


I.C.E. International Contemporary Ensemble — described as “extraordinary” by The New York Times — follow their performances of The Whisper Opera with a concert of chamber music in the round at the intimate Nelson Music Room. This wide-ranging program explores the tremendous expressive breadth of contemporary music, from the 1960s to the present day. The program is framed by Mark Applebaum’s Composition Machine, a piece that constructs itself before the audience’s eyes. In 13 Changes, Pauline Oliveros, a close collaborator of I.C.E. who has been at the forefront of American experimental music for six decades, uses text instead of a traditional score. Marta Ptaszynska’s Recitativo, Arioso, and Toccata showcases violinist and North Carolina native Jennifer Curtis. Giacinto Scelsi’s Kho-Lho bends the ear and blurs the distinction between the sounds of the flute and the clarinet. Mario Diaz de León’s The Soul is the Arena is filled with references to rock, metal, and noise music. Brazilian composer Marcos Balter’s Alone is a lyrical work. In Michael Finnissy’s Ettelijke bange eenden (Several scared ducks), the players follow each other closely for musical cues, creating sounds that resemble a flock of birds. Don’t miss this rare chance to hear the ensemble The New Yorker calls “the new gold standard for new music.”

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

25% PICK-FOUR OR MORE DI S COUNT

Take 25% off your total price when you purchase tickets to four or more showsat one time from Duke Performances’ Spring 2015 season.

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

“The flow and precision of their movement makes you think of water, of unravelling silk ... Hypnotically lovely to watch.” (The Guardian)

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

NRITYAGRAM DANCE ENSEMBLESONGS OF LOVE & LONGING

O O O

THURSDAY, JANUARY 22 | 8 PMREYNOLDS INDUS TRI ES THEATER

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

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Durham-born pianist Jeremy Denk, a 2013 MacArthur Fellow and winner of the 2014 Avery Fisher Prize, has steadily built a reputation as a refined and compelling artist with a broad and thought-provoking repertoire.

Denk’s return to Duke Performances features Haydn’s dazzlingly inventive Sonata in C Major; selections from Janácek’s On the Overgrown Path, inspired by Moravian folk melodies; and dance music from Schubert’s Ländler, Moments musicaux, and Ländler & Ecossaisen, as well as the Grazer Galopp. The program ends with the Mozart Rondo in A Minor, K. 511, an intimate and melancholy piece, and Schumann’s Carnaval, a brilliant suite of twenty short dances and tone-pictures.

P R O G R A M :

Haydn: Sonata in C Major, Hob. XVI:50

Janáček: Selections from On the Overgrown Path

Schubert: Selections from Ländler,D. 366 & D. 790, and

Ländler & Ecosaissen, D. 734

Schubert: Selections from Moments musicaux, D. 780

Schubert: Grazer Galopp, D. 925

Mozart: Rondo in A Minor, K. 511

Schumann: Carnaval, Op 9

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

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

P R O G R A M :

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

Clavier Book II, BWV 876

Ockeghem: Mort tu as navré

Christopher Tye: Consort Music

César Franck: Prelude, Chorale, and Fugue

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

PIANO RECITAL SERIES

JEREMY DENKP I A N O

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FRI DAY, JANUARY 23 | 8 PMBALDWIN AUDITORIUM


CHAMBER ARTS SERIES

CALEFAX REEDQUINTET

O O O

S ATURDAY, JANUARY 24 | 8 PMBALDW I N AUDI TORI UM


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

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

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

BRANFORD MARSALIS QUARTET

O O O

FRIDAY, JANUARY 30 &SATURDAY, JANUARY 31 | 8 PM

BALDWIN AUDI TORI UM


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

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

P R O G R A M :

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

French baroque, Monsieur de Sainte-Colombe and Marin Marais. For complete program, please visit

dukeperformances.org

Please note that the original time of this performance has been changed

to accommodate the start of the Super Bowl.

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

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

P R O G R A M :

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

Erwin Schulhoff: Five Pieces for String Quartet

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

Maiden”)

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

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

JORDI SAVALLV I O L

O O O

SU NDAY, FEBRUARY 1 | 3 PMBALD WI N AUD ITORIUM


CHAMBER ARTS SERIES

JERUSALEM QUARTETO O O

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


KURT ELLINGPASSION WORLD

O O O

FRIDAY, FEBRUARY 13 | 8 PMBALDWIN AUDI TORI UM



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$10 DUKE STUD ENT T I CK ETS

Duke Performances offers Duke students — both undergraduate and graduate — tickets to any Spring 2015 event for just $10.Limit of two $10 tickets per student for each presentation. Quantities of available $10 tickets may be limited.

Duke student ID required at time of purchase.

| WORLD PREMIER E |

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

THE SUBTLE ONEO O O

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

REYNOLDS INDUSTRI ES THEATER


In this new collaboration, celebrated choreographer Ronald K. Brown and acclaimed pianist Jason Moran bring together their respective ensembles — Brown’s Evidence Dance Company and Moran’s Bandwagon jazz trio — for the world premiere with live music of The Subtle One. Set to a musical suite of the same name, this potent new work reflects on the presence of our ancestors and their profound impact on our lives. The Subtle One is paired with selections from Brown’s One Shot, based on the extraordinary life of Pittsburgh-based photographer Charles “Teenie” Harris; One Shot is set to music by Ahmad Jamal and Mary Lou Williams, played live by the Bandwagon. Opening the evening is Brown’s Grace, one of the most popular works in the repertory of the Alvin Ailey American Dance Theater, a rapturous depiction of a journey to the promised land set to recordings by Duke Ellington, Roy Davis, and Fela Kuti.

Hailed as a “modern dance savior” by The New York Times, Brown fuses the form and rhythm of African dance with contemporary choreography. Brown finds an ideal collaborator in Jason Moran — a composer, bandleader, and MacArthur Fellow — whom the Los Angeles Times describes as “a startlingly gifted pianist with a relentless thirst for experimentation.”

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

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


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New York sextet yMusic combines “all the prestige and virtuosity of classical music degrees with all the attitude and energy of an indie rock band” (Paste Magazine). They thrive comfortably in both spheres, bringing classical polish to indie rock artists from Sufjan Stevens to Dirty Projectors and indie rock fire to contemporary classical composers from Gabriel Kahane to Nico Muhly. Their new album, Balance Problems, produced by Son Lux, was called “beautifully intricate” by Utne Reader. The New York Times calls yMusic “co-conspirators in the compositional process, interacting with the music as a living document … The group has set the bar high.”

Now in their second year as ensemble- in-residence with Duke’s Ph.D. program in Music Composition, yMusic visits Durham three times this season to read and record works written for them by Duke’s graduate composers. The culminating event of this year’s residency is a concert of world premieres at the casual and intimate Motorco Music Hall.

F E AT. D U K E P H .D. CO M P O S E R S :

S A R A H C U R Z IB E N D A N I E L S

E R E N G U M R U K C U O G L UJ A M I E K E E S E C K E R

V L A D I M I R S M I R N O VYA H N W A G N E R

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

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

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

P R O G R A M :

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

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

William Byrd.

For complete program, please visit dukeperformances.org

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

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

In this adventurous program, Braxton will be joined by an ensemble of celebrated avant-garde musicians: Taylor Ho Bynum, cornet; Mary Halvorson, electric guitar; Ingrid Laubrock, saxophone; and Andrew Raffo Dewar, saxophones and clarinet. “Braxton’s music is made of wonder,” Jazz Times wrote of a recent Kennedy Center tribute. “Digital timbres rippled and blended with the players’ restlessly held long tones ... the music was full of migrating nodes, slippery tension, and cinematic beauty.”

VOCAL ENSEMBLE SERIES

S TILE ANTICOO O O

SATURDAY, FEBRUARY 21 | 8 PMDUKE CHAPEL

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

with Limited Reserved Seating

ANTHONY BRAXTON DIAMOND CURTAIN

WALL QUINTETO O O

FRIDAY, FEBRUARY 27 | 8 PMBALDWIN AUDI TORI UM


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YMUSICDUKE PH.D.

COMPOSER CONCERTO O O

TUES DAY, MARCH 3 | 8 PMMOTORCO MUS I C HALL


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

Feltsman opens with the Haydn Piano Sonata No. 31, an impeccably-crafted showpiece containing one of the composer’s finest Adagios. Schubert’s first completed sonata, D. 537, incorporates extreme contrasts of serenity and storminess. The program ends with Mussorgsky’s masterful Pictures at an Exhibition, in which the composer renders in music a friend’s exhibition of drawings and paintings in St. Petersburg. Mussorgsky recreates the experience of a visitor to the exhibition, pausing before each of ten pictures. Promenade music between the movements evokes both the physical experience of moving through a gallery, and the changes to the inner life inspired by great works of art.

P R O G R A M :

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

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

Mussorgsky: Pictures at an Exhibition

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

Born and bred in Austin and schooled at Berklee, Carrie Rodriguez — a songwriter, singer, and fiddle player — broke into the business working alongside Texas music legend Chip Taylor. Since then, she’s been “hailed by Lucinda Williams, recruited by Alejandro Escovedo, nurtured by Lyle Lovett, and has emerged as one of the most compelling new voices on the Americana scene" (The Boston Globe). She has recorded eight exceptional records in as many years, prompting The New Yorker to opine, “Rodriguez creates beautiful music that is always slyly smart, which in turn makes it more beautiful.”

PIANO RECIAL SERIES

VLADIMIR FELTSMANP I A N O

O O O

FRI DAY, MARCH 6 | 8 PMBALD WIN AUDITORIUM


J .D. SOUTHER & CARRIE RODRIGUEZ

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S ATURDAY, MARCH 7 | 8 PMBALDW I N AUDI TORI UM


DUKE PERFORMANCES

2014/2015O O O

SP RING CALEND AR

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

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

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

JEREMY DENK, PIANOFriday, January 23Baldwin Auditorium

CALEFAX REED QUINTETSaturday, January 24Baldwin Auditorium

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

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

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

KURT ELLINGFriday, February 13Baldwin Auditorium

JERUSALEM QUARTETSaturday, February 14Baldwin Auditorium

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

STILE ANTICOSaturday, February 21Duke Chapel

ANTHONY BRAXTON DIAMOND CURTAIN WALL QUINTETFriday, February 27Baldwin Auditorium

MARCH ’15YMUSICDUKE PH.D. COMPOSERSTuesday, March 3Motorco Music Hall

VLADIMIR FELTSMAN, PIANOFriday, March 6Baldwin Auditorium

J.D. SOUTHER & CARRIE RODRIGUEZSaturday, March 7Baldwin Auditorium

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

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

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

APRIL ’15VUSI MAHLASELAWednesday, April 1Reynolds Industries Theater

PAUL LEWIS, PIANOFriday, April 3Baldwin Auditorium

CASSANDRA WILSONSaturday, April 4Carolina Theatre of Durham

ALICE RUSSELLFriday, April 10Reynolds Industries Theater

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

ARTEMIS QUARTETFriday, April 17Baldwin Auditorium

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

I FAGIOLINIFriday, April 24Baldwin Auditorium

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

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V E N U E S

THE CAROLINA THEATRE OF DURHAM

309 West Morgan Street | Durham, NC 27701carolinatheatre.org

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

Note: Because of Ticketmaster’s exclusive agreement with the Carolina Theatre, Duke Performances’ co-presentations of Cassandra Wilson and Lila Downs are excluded from the standard Pick-Four discount. However, the purchase of a standard Pick-Four package comes with a discount code — redeemable online, by phone, or at the Carolina Theatre — worth 25% off tickets to these presentations.

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

VENUESO O O

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

DUK E CHAP EL

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

RE YN OL D S IND UST R I ES T H EAT ER

Bryan University Center125 Science Drive | Durham, NC 27708

dukeperformances.org

NELSO N MUSIC RO OM

1304 Campus Drive | Durham, NC 27708 dukeperformances.org

MOTO RCO MUSIC HALL

723 Rigsbee Avenue | Durham, NC 27701 motorcomusic.com

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BALD W IN AUDI TOR I UM

1336 Campus Drive | Durham, NC 27708dukeperformances.org

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

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

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

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

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

Made possible, in part, with support from New Music USA; a Visiting Artist Grant from the

Council for the Arts, Office of the Provost, Duke University; the Archive of Documentary Arts at the David M. Rubenstein Rare Book and

Manuscript Library at Duke University;and a gift from Neil D. Karbank.

| WORLD PREMIER E |

JENNY SCHEINMAN& H. LEE WATERS

KANNAPOLIS :A MOVING PORTRAIT

O O O

FRIDAY, MARCH 20 | 8 PMREYNOLDS INDUSTRIES THEATER


S P R I N G 2 0 1 5


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

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

P R O G R A M :

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

Britten: String Quartet No. 3,op. 94

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

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

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

CHAMBER ARTS SERIES

ELIAS STRINGQUARTET

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

O O O

SATURD AY, MARCH 21 | 8 PMBALDWIN AUDITORIUM


| WO R LD PR EMIER E |

ARI P ICKER OFLOST IN THE TREESL ION AND THE LAMB

O O O

FRI DAY, MARCH 27 &S ATURDAY, MARCH 28 | 8PM

NELS ON MUS I C ROOM


15% DUKE EMPLOY EE DI S COUNT

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

Celebrated South African singer-songwriter Vusi Mahlasela is known as “The Voice,” both for his extraordinary range as a singer, and for his role as a troubadour proclaiming freedom amidst tumult and reconciliation over recrimination. The South African Nobel Prize winner Nadine Gordimer had this to say about the musician: “Vusi Mahlasela sings as a bird does: in total response to being alive. Music was at the heart of the struggle for freedom; Vusi was there. Music is at the heart of reconstruction; Vusi’s music is here to stir and delight us. He is a South African national treasure.”

In the 20 years since the fall of apartheid, Mahlasela has gained a worldwide following. His most recent album, Say Africa, was produced by the great bluesman Taj Mahal, who praises Mahlasela’s “joyous energy.” This extraordinary musician, who sings in English, Sotho, and Swahili, has recorded numerous albums on Sony and with Dave Matthews’ ATO Records, has collaborated with artists from Ladysmith Black Mombazo to Sting, and was honored with a SAMA lifetime achievement award in 2012 — the South African equivalent of a GRAMMY. Mahlasela recently performed at Carnegie Hall with Hugh Masekela to mark twenty years of democracy in South Africa.

Vusi Mahlasela replaces the previously scheduled concert with Rokia Traoré.

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

S P R I N G 2 0 1 5


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

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

P R O G R A M :

Beethoven: Piano Sonata No. 30 inE Major, op. 109

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

Beethoven: Piano Sonata No. 32 inC Minor, op. 111

VUSI MAHLASELAO O O

WED NESDAY, APRIL 1 | 8 PMREYNOLDS INDUSTRIES THEATER


PIANO RECITAL SERIES

PAUL LEWISP I A N O

O O O

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


25% PICK-FOUR OR MORE DI S COUNT

Take 25% off your total price when you purchase tickets to four or more showsat one time from Duke Performances’ Spring 2015 season.

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

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

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

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

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

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

P R O G R A M :

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

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

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

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

“Working with a singer like Alice Russell was something new, terrifying, and ultimately amazing.” (David Byrne)

Over the course of five studio albums for the iconic British indie label Tru Thoughts, Russell has garnered favorable comparison to her idols Chaka Khan and Roberta Flack. In addition to her solo work, Russell has taken part in collaborations with a cadre of iconic musicians including David Byrne, Gilles Peterson, and The Roots. “Alice Russell’s career has been something of a slow burn — full of experimentation, lots of thrilling collaboration, and the fierce confidence of a true soul disciple” (WNYC).

CASSANDRA WILSONCOMING FORTH BY DAY:

A CELEBRATION OFB I LL IE HOLIDAY

O O O

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

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

CHAMBER ARTS SERIES

ARTEMIS QUARTETO O O

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


ALICE RUSSELLO O O

FRIDAY, APRI L 10 | 8 PMREYNOLDS INDUSTRIES THEATER


S P R I N G 2 0 1 5


$15 T ICKETS FOR PATRONS AG ES 30 & UNDER

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

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

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

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

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

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

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

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

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

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

P R O G R A M :

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

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

Monteverdi.

For complete program, please visit dukeperformances.org

A.C.M.E. AMERICAN CONTEMPORARY

MUSIC ENSEMBLECHAMBER MUSIC

O F CAROLINE SHAWO O O

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


LILA DOWNSO O O

S ATURDAY, MAY 2 | 8 PMCAROLINA THEATRE OF DURHAM

Tickets: $50 • $45 • $40$10 Duke Students | Reserved Seating

VOCAL ENSEMBLE SERIES

I FAGIOLINIINSALATA I FAGIOLINI

O O O

FRIDAY, APRI L 24 | 8 PMBALDWIN AUDI TORI UM


S P R I N G 2 0 1 5


S P R I N G 2 0 1 5

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

N ICHOL A S KITC HEN, VIOLA& Y E E SUN KIM, C ELLO

O O O

SATURDAY, FEBRUARY 7 | 8 PMBALDWI N AUDITORIUM

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

P R O G R A M :

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

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

Brahms: Sextet in G Major, op. 36

CIOMPI CONCERT NO. 4F E AT U R I N G

ANTHONY ROTH COSTANZO, COUNTERTENOR

O O O

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

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

P R O G R A M :

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

Handel: Arias for countertenor and strings

Stephen Jaffe: Premiere of a new string quartet

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

Ernest Chausson: Chanson perpetuelle, op. 37

CIOMPI QUARTETO O O

The Ciompi, Duke’s resident string quartet for nearly five decades, are joined by a full roster of talented guest artists from the world stage, notably Durham’s own Anthony Roth Costanzo, countertenor, a regular guest artist at the Metropolitan Opera, and Nicholas Kitchen, viola, a

Durham-born founder of the Borromeo String Quartet. The Spring 2015 season includes a wealth of essential repertoire from Bach to Shostakovich, embraces the French romanticism of Duparc and Chausson, and includes a world premiere by composer Stephen Jaffe.

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

ORDE RING T ICKE TS

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

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

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

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

IMPORTANT INFORM ATION

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

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

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

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

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

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

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

RefundsTickets are nonrefundable except in the case of canceled events.

F UNDING THANKS

Friends of Duke Performances

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

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

GIVE

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

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

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

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