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General public tickets on sale Mon, Apr 6 at 10 AM

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

Dear Arts & Lectures’ Friends and Supporters,Thank you for choosing to spend an evening (or afternoon) with UCSB Arts & Lectures.

We’re deeply grateful to you all – students, families, concertgoers, dance fans, classical music aficionados, newshounds, book lovers, adventure seekers, armchair travelers, rock and rollers, teenage poets, and all the rest. Because an engaged audience is part of what makes Arts & Lectures events so special.

In this book you’ll find the many ways that we educate, entertain and inspire. It’s our mission, and we’re most successful when these three are seamlessly blended together: when we’re enthralled by beauty while learning about the world around us, when brilliant performances inspire us to push past our own limits, when we’re captivated by stories of discovery and adventure.

Which is why you will find an envelope in this book. Because the task of entertaining, educating and inspiring is a community project: everybody participates, everybody enjoys the rewards.

Taking a leadership role in supporting Arts & Lectures is our Corporate Season Sponsor lynda.com, along with the A&L Producers Circle, our Event Sponsors and our Education Sponsors. Fundamental to our success are the students of UCSB – both undergrads and grad students, who have voted to support Arts & Lectures because it enriches the classroom experience and enhances the value of their education.

You, the ticket buyer, are an equally important partner to Arts & Lectures. As a group you are a tremendous force! Stitching together support from these varied sources – contributions, student fees, ticket sales – is the only way we can have a world-class resource like Arts & Lectures in a community the size of Santa Barbara.

If you haven’t yet considered making a gift to the Campaign for Arts & Lectures, now is the time. When our endowment is fully funded we can be certain that Arts & Lectures programs will continue to entertain, educate and inspire us now and forever.

With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

Only Southern California Appearance

“Malala is a testament that women everywhere will not be intimidated into silence.” Time

Malala YousafzaiAn Afternoon with the

2014 Nobel Peace Laureate

SAT, JUN 27 / 3 PM ARLINGTON THEATRE

“This award [the Nobel Peace Prize] is not just for me. It is for those forgotten children who want education. It is for those frightened children who want peace.” – Malala Yousafzai in her Nobel acceptance speechAfter she was shot by the Taliban in 2012 for defying their edict barring girls from school, the then-15-year-old Malala Yousafzai from northern Pakistan made a miraculous recovery. Now studying in England, she has gone on to champion the right to an education for children everywhere and advocate for peace. For her humanitarian efforts, Malala was awarded the 2014 Nobel Peace Prize – and, in so doing, became the youngest Nobel Laureate in history.

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(805) 893-3535 / www.ArtsAndLectures.UCSB.eduArlington tickets can also be purchased at: (805) 963-4408

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Congratulations to Sara Miller McCune and SAGE on 50 years of publishing true scholarship, original ideas and research in service of the academic community,

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SPRING 2015SPRING DANCE CONCERT

SOUL PARTICLES concert director CHRISTINA MCCARTHY APR 10 - 12 UCSB HATLEN THEATER

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UCSB Arts & Lectures is a co-commissioner of Gil Shaham Bach Six Solos for Violin with original films by David Michalek

Gil Shaham, violinBach Six Solos for Violin with original films by

David MichalekTUE, MAR 31 / 7 PM (note special time) / GRANADA THEATRE

Sonata No. 1 in G Minor, BWV 1001AdagioFuga (Allegro)SicilianaPresto

Partita No. 1 in B Minor, BWV 1002Allemanda DoubleCorrente Double (Presto) Sarabande DoubleTempo di Borea Double

- Intermission -Sonata No. 2 in A Minor, BWV 1003

GraveFugaAndanteAllegro

Partita No. 2 in D Minor, BWV 1004AllemandaCorrenteSarabandaGigaCiaccona

- Intermission -Sonata No. 3 in C Major, BWV 1005

AdagioFugaLargoAllegro assai

Partita No. 3 in E Major, BWV 1006PreludioLoureGavotte en RondeauMenuet I, Menuet IIBouréeGigue

Johann Sebastian Bach (1685-1750):

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Gil ShahamGil Shaham is one of the foremost violinists of our time: His flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. Highlights of his 2014-15 season include a Parisian-themed opening-night gala with the Seattle Symphony, launching a new season that sees him rejoin the San Francisco Symphony under Michael Tilson Thomas for Mozart’s “Turkish” concerto, and, on the or-chestra’s 20th-anniversary tour, for Prokofiev’s Second at venues including Carnegie Hall. The Prokofiev is one of the works showcased in his long-term exploration of “Violin Concertos of the 1930s.” Besides giving the world premiere performances of a new concerto by David Bruce with the San Diego Symphony, the violinist’s upcoming orchestral highlights also include performances in Philadelphia, Berlin, London, Dallas, Tokyo, Canada and Luxembourg. In recital, he presents Bach’s complete solo sonatas and partitas at Chicago’s Symphony Center, LA’s Disney Hall, and other venues in a special multimedia collaboration with photographer and video artist David Michalek.

Shaham already has more than two dozen concerto and solo CDs to his name, including best-sellers that have ascended the record charts in the U.S. and abroad. These recordings have earned multiple Grammys, a Grand Prix du Disque, Diapason d’Or and Gramophone Editor’s Choice. His recent recordings are issued on the Canary Classics label, which Shaham founded in 2004. Recent releases include 1930s Violin Concertos, Vol. 1; Nigunim: Hebrew Melodies; Haydn Violin Concertos and Mendelssohn’s Octet with the Sejong Soloists; Sarasate: Virtuoso Violin Works, and the Elgar’s Violin Concerto with the Chicago Symphony Orchestra and conductor David Zinman, among others. Upcoming titles include Bach’s complete works for solo violin.

Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. In 2012, he was named “Instrumentalist of the Year” by Musical America, which cited the “special kind of humanism” with which his performances are imbued. He plays the 1699 “Countess Polignac” Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

David Michalek David Michalek was born and raised in California. He lives and works in New York City. While in college, Michalek assisted photographer Herb Ritts and for several years follow-ing graduation, worked as a commercial photographer with an emphasis on fashion and celebrity. Since 2001, he redi-

rected his focus to creating his own work, which ranges from photography, video/sound installations and live performance to site-specific works of public art. Face and body as prime media of affective expression and communication have been a consistent presence in his work. This concentration is explored through the use of performance techniques, sto-rytelling, movement and gesture in both live and recorded contexts. His work in video has been focused on capturing marginal moments – carefully staged – that with minimal action develop density through the interplay of image, sound and, most especially, time. Exploring notions of durational and rhythmic time (as opposed to the referential time used in cinema) in both form and content, his works engage in intimate yet open narratives. His recent work considers the potentiality of various forms of slowness alongside an exam-ination of contemporary modes of public attention.

gilshaham.com facebook.com/gilshaham twitter.com/gilshaham Mr. Shaham records exclusively for Canary Classics

Exclusive Management: Opus 3 Artists 470 Park Ave. South 9th Floor North New York, NY 10016 www.opus3artists.com

Original films by David Michalek were commissioned by Cal Performances at the University of California, Berkeley; Carnegie Hall; Carolina Performing Arts at The University of North Carolina at Chapel Hill; Celebrity Series of Boston; Krannert Center for the Performing Arts; College of Fine + Applied Arts, University of Illinois at Urbana-Champaign; Los Angeles Philharmonic Association; Orchestre Symphonique de Montréal; Princeton University Concerts; Symphony Center Presents, Chicago; UCSB Arts & Lectures; UMS at the University of Michigan, Ann Arbor; UW World Series, University of Washington, Meany Hall; and Weill Hall at Sonoma State University’s Green Music Center.

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

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His other books, Bobos in Paradise and On Paradise Drive, are in a style he calls “comic sociology” – descriptions of how we live and “the water we swim in” that are as witty and entertaining as they are revealing and insightful. Bobos in Paradise was a New York Times best-seller.

Brooks is currently teaching a course at Yale University. He holds honorary degrees from Williams College, New York University, Brandeis University and Occidental College, among others. In 2010, Brooks became a member of the American Academy of Arts and Sciences.

David Brooks has worked at The Weekly Standard, joining the magazine at its inception and serving as senior editor. He has been a contributing editor at Newsweek and the Atlantic Monthly. He worked at The Wall Street Journal for nine years in a range of positions, including op-ed editor.

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

Special thanks to

David Brooks has a gift for bringing audiences face to face with the spirit of our times, with humor, insight and quiet passion. He is a keen observer of the American way of life and a savvy analyst of present-day politics and foreign affairs.

He holds several prestigious positions as a commentator: as a biweekly op-ed columnist for The New York Times and a regular analyst on PBS NewsHour and NPR’s All Things Considered.

Brooks is the author of the forthcoming book, The Road to Character (on sale date: April 14), in which he tells the story of 10 great lives that illustrate how character is developed, and how we can all strive to build rich inner lives, marked by humility and moral depth.

His previous book, The Social Animal: The Hidden Sources of Love, Character and Achievement, uses the story of a fictional American couple to explain the importance of neuroscience and sociology in understanding America’s politics, culture and future. It turns out that the unconscious mind is most of the mind – not a dark, vestigial place but a creative and enchanted one, where most of the brain’s work gets done. This is the realm of emotions, intuitions, biases, longings, genetic predispositions, personality traits and social norms: the realm where character is formed and where our most im-portant life decisions are made. Brooks turns these discover-ies into a moving and nuanced intellectual adventure, a story of achievement and a defense of progress.

An Evening with

David BrooksWED, APR 8 / 8 PM / CAMPBELL HALL

Event Sponsors: Meg & Dan Burnham Community Partner:

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Event Sponsors: Ellen & Peter O. Johnson

The aristocrats of Vienna who had long supported Beethoven and for whom he composed most of his music were losing their wealth and power at the time when the “Archduke” Trio was composed. Suffering financial du-ress, and increasingly irritated by his duties to Archduke Rudolph, Beethoven still managed to create a work of purest inspiration. In addition to the diminishing afflu-ence of aristocratic society, a similar decline occurred in the amount of time they were able to devote to mastering instrumental techniques and performing the works of Beethoven and other composers. Ultimately, profession-al musicians from the middle class replaced the ama-teur aristocrats, and most chamber music-making took place in public concert halls instead of palace salons. The “Archduke” Trio marks the beginning of a wave of music composed expressly for professional players and to be per-formed in a public hall for a middle-class audience.

About the ProgramBeethoven (1770-1827): Trio in B-flat Major, op. 97 (“Archduke”) The Trio in B-flat Major, op. 97, prevails as one of Beethoven’s most exquisite compositions, and is an unparalleled tour de force of the piano trio repertoire. Its nickname “Archduke” reflects the refinement and regality of its musical form. The work is dedicated to Archduke Rudolph of Austria (1788-1831), Beethoven’s pupil and patron. Beethoven began sketches for this composition in 1810, completing the work in merely three weeks, from March 3 to 26, 1811. The Trio was premiered at a charity concert held at Vienna’s Hotel zum Römischen Kaiser on April 11, 1814, with Beethoven at the piano, violinist Ignaz Schuppanzigh and cellist Joseph Lincke. Due to his worsening deafness, this was the last time Beethoven played in public.

The Mutter-Bronfman-Harrell TrioAnne-Sophie Mutter, violin Yefim Bronfman, piano Lynn Harrell, celloFRI, APR 17 / 7 PM (note special time) GRANADA THEATRE

Beethoven: Piano Trio in B-flat Major, op. 97 (“Archduke”)Allegro moderatoScherzo (Allegro)Andante cantabile ma però con moto. Poco più adagio.Allegro moderato

The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.

- Intermission -

Tchaikovsky: Piano Trio in A Minor, op. 50Pezzo elegiacoTema con variazioni: Andante con moto

Program subject to change

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afterward, Tchaikovsky was unable to write, but finally in December of that year he was to begin work on this piano trio. Previously, Tchaikovsky had considered the combina-tion of piano and strings as unfavorable to him. Indeed, he wrote very little chamber music. (In addition to this piano trio, Tchaikovsky wrote three string quartets and a sextet for strings, Souvenir de Florence.) But as the composer planned a memorial to his great friend and advocate, a work for piano trio began to take shape. Dedicated to “the memory of a Great Artist,” the Trio in A Minor was com-pleted in January 1882 and received its first performance in a private concert at the Moscow Conservatory, com-memorating the first anniversary of Rubinstein’s death. The first public performance took place on October 30, 1882, in Moscow.

The Trio is composed in two very lengthy movements. The first is called Pezzo elegiaco, or “Elegy Piece.” Tchaikovsky is, of course, a supreme master of melody, and in this one movement he presents four distinctive themes, each differ-ing in style and mood. The first, warm and melancholy, is announced by the cello before being taken up by the violin with a syncopated accompaniment for the piano. The sec-ond theme is presented by the piano alone. It is thoroughly Russian in style and a triumphant song. A sweet, sad melo-dy follows as the violin and cello play in octaves. The final theme is highly expressive, leading to intricate transforma-tions of all the melodic material previously presented.

Throughout the first movement the piano is prominent and extremely difficult, in tribute to Rubinstein’s pianistic virtuosity. The second movement, however, pays tribute to Rubinstein’s love of folk music. It is said to recall a very personal moment for the composer and his friend when, in May of 1873, the two traveled with other professors at the Moscow Conservatory for a picnic at Sparrow Hill on the outskirts of Moscow. Rubinstein bought food and wine for the curious peasants who had gathered, and the peasants, at Rubinstein’s urging, began to sing and dance. The theme that Tchaikovsky uses in this movement is original; however, it possesses the simplicity and direct-ness of the folk music he heard that day. It is announced by piano alone and is subjected to 11 variations, each imaginatively developed and recalling various aspects of Rubinstein’s personality and incidents in his friendship with the composer. The concluding section, Finale e coda, is actually a summation of all that has come before in the form of a 12th variation. It returns to a glorious restate-ment of the opening theme of the first movement before building to a rhapsodic funeral march, bringing to a close this unique and magnificent tribute.

1997 Columbia Artists Management Inc.

The Allegro moderato opens with a gentle, stately theme presented by the solo piano. After expanding to include the strings, the opening theme continues in unison and proceeds into the second subject, a commanding theme in G major which is staccato in articulation and consists of pairs of descending phrases. The development, divided into three distinct sections, is alternately lively and modest. The movement then progresses to the recapitulation, which presents a slightly embellished version of the opening theme. A radiant coda completes the movement.

Instead of the conventional slow second movement, Beethoven introduces a sprightly Scherzo, which more often sounds like a minuet than a scherzo. The movement begins with a rhythmic figure by the cello alone, then predominating until it introduces a striking chromatic passage, which contrasts with bursts of a waltz melody. The second theme, a lighthearted dance melody, is introduced shortly thereafter. Both sections are repeated, creating an overall form of A-B-A-B-A-coda.

One of Beethoven’s most beautiful slow movements, the Andante cantabile is based on a theme of exquisite sim-plicity in D major that he states at the beginning and then subjects to five interconnected variations. These refashion the original melody by expanding on the rhythmic motif while maintaining the elemental melodic and harmonic characteristics, creating music of indescribable beauty.

The finale, Allegro moderato, is a casual romp in rondo form and brings to mind images of Beethoven himself at the keyboard. Prior to his forthcoming deafness, Beethoven was a superior pianist, although he was probably known more for his intensity and brilliance than for any air of del-icacy. This dynamic last movement boldly intrudes on the serenity Beethoven had created in the Andante cantabile. Following the Andante without a pause, the finale springs forth with the B-flat refrain, repeating and refining it five times. The last two manifestations are modified into 6/8 meter. Increasing in momentum, the final refrain simplifies the theme and spins hastily into an extended coda, marked Presto. Beethoven concludes the “Archduke” Trio in a bril-liant, colossal sweep.

1994 Columbia Artists Management Inc. – Ileen Zovluck

Tchaikovsky (1840-1893): Trio in A Minor, op. 50 (“In Memory of a Great Artist”)In March of 1881, pianist Nicholas Rubinstein, Tchaikovsky’s former teacher and longtime friend, died, filling the composer with deep remorse. For months

The Mutter-Bronfman-Harrell TrioAnne-Sophie Mutter, violin Yefim Bronfman, piano Lynn Harrell, celloFRI, APR 17 / 7 PM (note special time) GRANADA THEATRE

- Intermission -

Tchaikovsky: Piano Trio in A Minor, op. 50Pezzo elegiacoTema con variazioni: Andante con moto

Program subject to change

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Yefim Bronfman, pianoYefim Bronfman’s 2014-2015 season will begin with summer festivals at Tanglewood, Aspen, Vail, La Jolla and Santa Fe, and will include U.S. performances with the symphonies of Chicago, St. Louis, San Francisco, Dallas, Seattle, Atlanta, Pittsburgh, New World Symphony, Metropolitan Orchestra, Berlin Philharmonic and the New York and Los Angeles philharmonics. Performances of Magnus Lindberg’s Concerto No. 2 are scheduled with the Göteborgs Symfoniker and the London Philharmonic. With the Cleveland Orchestra & Franz Welser-Möst, he will play and record both Brahms concerti, repertoire he will also take to Milan’s La Scala with Valery Gergiev.

He will return to Japan for recitals and orchestral concerts with London’s Philharmonia Orchestra and Esa-Pekka Salonen and to Singapore, Hong Kong, Taipei, Beijing, Sydney and Melbourne. In the spring he will join Anne-Sophie Mutter and Lynn Harrell for their first U.S. tour together.

Bronfman was awarded the Avery Fisher Prize in 1991 and the Jean Gimbel Lane Prize in piano performance from Northwestern University in 2010. He was nom-inated for a Grammy Award in 2009 for his Deutsche Grammophon recording of Esa-Pekka Salonen’s piano concerto, with whom he won a Grammy Award in 1997 for his recording of the three Bartók Piano Concerti with the Los Angeles Philharmonic. He was nominated for a 2013 Grammy with the New York Philharmonic for their recording of Magnus Lindberg’s second piano concerto commissioned for him by that orchestra in 2012.

Born in Tashkent in the Soviet Union on April 10, 1958, Yefim Bronfman immigrated to Israel with his family in 1973. He studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the U.S., he studied at The Juilliard School, Marlboro and the Curtis Institute, and with Rudolf Firkusny, Leon Fleisher and Rudolf Serkin.

Bronfman is a Steinway Artist.

Anne-Sophie Mutter, violinAnne-Sophie Mutter has been recognized as one of the world’s greatest violinists for more than 35 years. A four-time Grammy Award winner with a longstanding collabo-ration with Deutsche Grammophon, the violinist’s pledge to the future of string playing is evidenced by her whole-hearted championship of contemporary music. Her current tally of world premiere performances includes 22 compo-sitions, with works composed for her by Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutoslawski, Norbert Moret, Krzysztof Penderecki, Sir André Previn and Wolfgang Rihm.

In addition to curating a six-concert series as Carnegie Hall’s 2014-2015 Perspectives Artist, Mutter makes guest appearances with the Pittsburgh and San Francisco symphonies, Berlin and Vienna philharmonics, and London Symphony Orchestra, and tours with the Royal Concertgebouw Orchestra, Danish National Symphony, National Orchestra of Spain, New World Symphony and Cherubini Youth Orchestra. Also this season she embarks on a six-city tour with the Mutter-Bronfman-Harrell Trio to the cities of Montreal; New York; Northridge, Calif.; Santa Barbara; Costa Mesa and Sonoma. The violinist joined her string ensemble, the Mutter Virtuosi, on its first North American tour to Carnegie Hall in New York; The Kennedy Center in Washington, D.C.; Chicago; Toronto; Atlanta; Naples and Kansas City, which featured North American premieres of Sebastian Currier’s Ringtone Variations and Sir André Previn’s Concerto for Violin and String Orchestra.

Anne-Sophie Mutter has long used her public profile to support charitable causes, notably those associated with the alleviation of medical and social problems. Her benefit concerts – 62 to date – have raised funds for such orga-nizations worldwide. Mutter’s many awards and honors reflect the nature of her humanitarian work as well as the excellence of her artistry. She received the prestigious Ernst von Siemens Music Prize in 2008, the Légion d’hon-neur in 2009 for services to contemporary French music and the 2011 Erich-Fromm-Preis for the advancement of humanism through social engagement. Additional honors include the Merit Cross 1st Class of the Federal Republic of Germany, the Mendelssohn and Brahms prizes, the Herbert von Karajan Music Prize and the Bavarian Order of Merit. In 2013, Anne-Sophie Mutter was inducted into the American Academy of Arts & Sciences as a Foreign Honorary Member.

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Lynn Harrell, cello Lynn Harrell is a frequent guest of many leading orches-tras, including Chicago, New York, Philadelphia, San Francisco, Ottawa, Pittsburgh and the National Symphony. In Europe he partners with the orchestras of London, Munich, Berlin, Dresden, Leipzig, Tonhalle and Israel. He has also toured extensively to Australia and New Zealand, Japan, Korea, Malaysia, Taiwan and Hong Kong. He reg-ularly collaborates with such noted conductors as James Levine, Sir Neville Marriner, Kurt Masur, Zubin Mehta, Sir André Previn, Sir Simon Rattle, Leonard Slatkin, Yuri Temirkanov, Michael Tilson Thomas and David Zinman.

Recent highlights include the premiere of Augusta Reed Thomas’ cello concerto with the Boston Symphony and Christoph Eschenbach, closing the Carnegie Hall and Metropolitan Opera Orchestra’s 2013-2014 season alongside James Levine, appearing with the Los Angeles Philharmonic and the late Rafael Frühbeck de Burgos, a European tour with the Gewandhaus Leipzig and Riccardo Chailly, and concerts with the China Philharmonic with Jiří Bělohlávek and Sydney Symphony. A summer festival veteran, Harrell has appeared at Verbier, Grand Teton, Tanglewood and Aspen – the latter relationship spanning over 60 years, and where his 2014 performance reprised the Read Thomas Concerto.

Current season highlights include performances with sym-phonies of Detroit and Atlanta and the Seoul Philharmonic, a tour in trio with Anne-Sophie Mutter and Yefim Bronfman in both North America and Europe, and a chair on the cello panel of Moscow’s International Tchaikovsky Competition, with connecting engagements with the Mariinsky Theatre Orchestra in Moscow and St. Petersburg.

An accomplished recording artist, Lynn Harrell’s extensive discography of more than 30 recordings include the com-plete Bach Cello Suites (London/Decca) and two Grammy wins with Itzhak Perlman and Vladimir Ashkenazy – in 1981 for the Tchaikovsky Piano Trio and in 1987 for the complete Beethoven Piano Trios (both Angel/EMI).

Harrell plays a 2008 Dungey cello. He makes his home in Santa Monica, Calif.

For Anne-Sophie Mutter

Columbia Artists Management Inc. R. Douglas Sheldon Mutter records for Deutsche Grammophon and is available on EMI Classics and Erato/Warner Classics.

For Yefim Bronfman

Opus 3 Jenny Vogel Bronfman has recorded for Sony Classics, Deutsche Grammophon, Canary Classics, RCA and Arte Nova Classics.

For Lynn Harrell

Columbia Artists Management Inc. R. Douglas Sheldon / Gabriella Campos Harrell has recorded for EMI Classics, London/Decca, New World, SONY Classical and Telarc.

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

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Daniel J. Levitin is the James McGill Professor of Psychology and Neuroscience at McGill University. He holds associate appointments in the school of computer science, faculty of education, department of neurology and neurosurgery, and school of music. He received the Principal’s Prize for Excellence in Teaching in 2006 at McGill, the university’s highest teaching honor.

Dr. Levitin earned his Ph.D. in cognitive psychology at University of Oregon, his B.A. in cognitive psychology from Stanford University and completed post-doctoral training at Stanford University Medical School and UC Berkeley. He has been a visiting professor at Stanford University, UC Berkeley and Dartmouth.

Levitin has published more than 100 scientific articles and over 300 popular articles about music and music technology in magazines including Billboard, Electronic Musician, Mix and Grammy. His research has been featured in PBS NewsHour, The New York Times, The Times (U.K.), Scientific American and Rolling Stone. He is a frequent guest on NPR and CBC Radio.

He is the author of the three consecutive No. 1 best-selling books: This Is Your Brain on Music, The World in Six Songs and his newest book, The Organized Mind: Thinking Straight in the Age of Information Overload, released in 2014.

As a musician (tenor saxophone, guitar and bass), he has performed with Mel Tormé, David Byrne, Rosanne Cash, Victor Wooten, Sting, Bobby McFerrin, Rodney Crowell and Blue Öyster Cult. Levitin served as vice president

of 415 Records/Columbia Records (now Sony Records) from 1984 to 1988, and as president in 1989. After 415 was sold to Sony, Levitin ran a successful production company whose clients included every major American record label and several film companies. He has produced and consulted on albums by artists including Stevie Wonder, Steely Dan and Blue Öyster Cult, and on the films Good Will Hunting and Pulp Fiction. For his technical and marketing contributions to the recording industry, Levitin has been awarded 14 gold and platinum records.

Levitin has given keynote addresses for the Glenn Gould Foundation, Kindermusik, California Music Educators, Canadian Music Week and Brandtrust Advertising Executives. He has given lectures by invitation to the United States Library of Congress, the Naval Undersea Warfare Center and the National Institute of Standards and Technology, as well as a presentation to the Canadian ministers of culture on the future of music and copyright. In 2008, he was chosen to deliver the annual Linus Pauling Memorial Lecture in Portland, Ore.

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

Event Sponsors: Marcia & John Mike Cohen

Co-presented with the SAGE Center for the Study of the Mind

Daniel J. LevitinThe Organized Mind: Thinking Straight in the Age of Information OverloadTUE, APR 21 / 8 PM / CAMPBELL HALL

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Beethoven: Sonata No. 1 in D Major, op. 12 no. 1Allegro con brioTema con variazioni. Andante con motoRondo. Allegro

Vijay Iyer: “Bridgetower Fantasy”

-Intermission-

Beethoven: Sonata No. 9 in A Major, op. 47 (“Kreutzer”)Adagio sostenuto – PrestoAndante con variazioniFinale. Presto

Event Sponsors: Annette & Dr. Richard Caleel

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

Jennifer Koh, violinShai Wosner, pianoBridge to Beethoven: Finding Identity Through MusicWED, APR 22 / 7 PM (note special time) / HAHN HALL

About the ProgramBridge to Beethoven explores the impact and sig-nificance Beethoven has had on a diverse group of composers and musicians. By pairing Beethoven’s 10 sonatas for violin and piano with new works over four programs, this project seeks to ignite cre-ative conversations around his music not only as a cornerstone of classical music but as a universal, culture-crossing source of inspiration. Bridge to Beethoven I features a new commission from com-poser Vijay Iyer to be paired with Beethoven’s “Kreutzer” Sonata; Bridge to Beethoven II pairs Jörg Widmann’s Sommersonate with Beethoven’s “Spring” Sonata; Bridge to Beethoven III features newly com-missioned, interweaving works by Andrew Norman throughout Beethoven’s opus 30 sonatas (numbers 6,7 and 8); and Bridge to Beethoven IV pairs a new commis-sion by Anthony Cheung to be paired with Beethoven’s final, 10th sonata. We passionately believe in the constant evolution of classical music as a vital, living organism through its capacity to include a myriad of

influences and hope to illustrate the sustained power of Beethoven’s revolutionary voice in our present-day community of artists and audiences.

– Jennifer Koh and Shai Wosner

Beethoven (1770-1827): Sonata No. 1 in D Major, op. 12, no. 1At the age of not quite 22, Ludwig van Beethoven arrived in Vienna in November 1792, to remain there the rest of his life. In his adopted city he studied with Haydn and Salieri (among others) and quickly established a reputation as a virtuoso pianist. More slowly, he began to make his name as a composer. At first he wrote primarily for piano (his first 10 opus numbers include eight piano sonatas), but he wrote for strings, too, and between 1797 and 1798 he com-posed his first violin sonatas, a set of three works which he published as his opus 12. These three sonatas may lack the originality and high profile of Beethoven’s later violin sona-

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him as an ambiguous figure who, in embodying differ-ence, provoked inspiration, fantasy, desire, anger and finally, erasure.

My piece is a collection of imaginings about George Bridgetower. It is not programmatic, but it takes on an episodic character, assembled from contrasting frag-ments. The dance rhythms, recurring figures and gestural contours are intended to feature the embodied expertise and expressivity of the performers, who at times must access liminal sounds and execute complex synchronies. I am grateful to Jenny and Shai for involving me in their beautiful, virtuosic music-making. 

– Vijay Iyer

Beethoven: Sonata No. 9 in A Major, op. 47 (“Kreutzer”)Beethoven wrote this sonata, his ninth for violin and piano, in the spring of 1803. It was first performed on May 24 of that year, though Beethoven barely got it done in time: He called his copyist at 4:30 that morning to begin copying a part for him, and at the concert he and the violinist had to perform some of the music from Beethoven’s manuscript. The violinist on that occasion was George Polgreen Bridgetower (1778-1860), a virtuoso who had performed throughout Europe. Beethoven was so taken with Bridgetower’s playing that he intended to dedicate the sonata to him, and we might know this mu-sic today as the “Bridgetower” Sonata but for the fact that the composer and the violinist quarreled, and Beethoven dedicated it instead to the French violinist Rodolphe Kreutzer, whom he had met in Vienna a few years earlier. But Kreutzer found this music beyond his understanding and – ironically – never performed the sonata that bears his name.

As soon as he completed this sonata, Beethoven set to work on his “Eroica” Symphony, which would occupy him for the next six months. While the “Kreutzer” Sonata does not engage the heroic issues of the first movement of that symphony, it has something of the Eroica’s slashing power and vast scope. Beethoven was well aware of this and warned performers that the sonata was “written in a very concertante style, quasi-concerto-like.” From the first instant, one senses that this is music conceived on a grand scale. The sonata opens with a slow introduction (the only one in Beethoven’s 10 violin sonatas), a cadenza-like entrance for the violin alone. The piano makes a similarly dramatic entrance, and gradually the two instruments outline the interval of a rising half-step that will figure prominently in the first movement. At the Presto, the music explodes forward, and while Beethoven provides

tas, but to contemporary ears they sounded daring enough: One early reviewer complained that these sonatas offered “a forced attempt at strange modulations, an aversion to the conventional key relationships, a piling up of difficulty upon difficulty.”

Listening to the very beginning of Beethoven’s Sonata in D Major, one can understand that reviewer’s concerns: This so-nata seems to explode in a shower of rockets going off in every direction. The first movement is marked Allegro con brio, with the emphasis on the con brio: This is fiery, spirited music, full of explosive chords and much rushing up and down the scale. A flowing second theme brings some relief, but the principal impression is of energy boiling up off the page, and the move-ment ends with the same massive chord that opened it.

The second movement is a set of variations. The piano in-troduces the song-like theme, which is then repeated by the violin. Four variations follow: The first is for piano accom-panied by violin, the second for violin with a complex piano accompaniment, the third moves into A minor (and turns violent), and the fourth is built on quiet syncopations before a brief coda brings the movement to its close. The high-spir-ited finale is a rondo whose central theme is energized by off-the-beat accents; Beethoven teases the audience nicely just before the rush to the close.

Program notes by Eric Bromberger

Vijay Iyer (b. 1971): Bridgetower Fantasy (2015)The “Kreutzer” Sonata was originally dedicated not to Rodolphe Kreutzer (who never performed it), but to George Bridgetower, a famed 18th century Afro-European concert violinist. In an early draft, Beethoven joking-ly labeled the piece in starkly racialized terms: “Sonata Mulattica composed for the mulatto Brischdauer, big wild mulatto composer.”

Beethoven and Bridgetower performed the premiere, which was by all accounts a success, even featuring some improvised embellishments by the violinist. While celebrating afterwards, the two quarreled about what Beethoven construed as Bridgetower’s insult of a female acquaintance; the composer then revoked the original ded-ication, adding Kreutzer’s name instead. The work gained acclaim, while Bridgetower’s career languished; he eventu-ally died in poverty.

Bridgetower has been the subject of considerable research and speculation, most notably in poet Rita Dove’s book, Sonata Mulattica. From our 21st century vantage, consid-ering Bridgetower’s unique circumstance, we can only see

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isodes on creativity, collaboration and body are available on her YouTube channel (www.youtube.com/jennifer-kohviolin). In addition to Bridge to Beethoven, her forth-coming projects include The Life and Death of J.S. Bach, a recital of Bach’s complete Sonatas and Partitas staged by director Robert Wilson to be premiered in 2016.

Koh has been heard with leading orchestras around the world, including the New York and Los Angeles philhar-monics; Cleveland and Philadelphia orchestras; and the Baltimore, Chicago, Cincinnati, Detroit, Houston, New World, Montreal, and National symphonies. She has ap-peared abroad with the BBC London and Scottish sym-phonies, Czech Philharmonic, Helsinki Philharmonic, Lahti Symphony, Mariinsky Theatre Orchestra and Orquestra Sinfônica do Estado de São Paulo in Brazil. A prolific recitalist, she frequently appears at major music centers and festivals.

Cedille Records releases Bach and Beyond Part 2, Koh’s 10th album on the label, in the spring of 2015. Her Cedille discography includes Two x Four, a recording of the aforementioned project; Signs, Games + Messages with Wosner, performing works by Janáček, Bartók and Kurtág; Bach & Beyond Part 1; Rhapsodic Musings: 21st Century Works for Solo Violin; the Grammy-nominated String Poetic, featuring the world premiere of Jennifer Higdon’s eponymous work and performed with pianist Reiko Uchida; Schumann’s complete violin sonatas, also with Uchida; Portraits with the Grant Park Orchestra un-der Carlos Kalmar, featuring concertos by Szymanowski, Martinů and Bartók; Violin Fantasies, featuring fantasies for violin and piano by Schubert, Schumann, Schoenberg and saxophonist Ornette Coleman, again with Uchida; and her first Cedille album, from 2002, Solo Chaconnes, an earlier reading of Bach’s Second Partita coupled with chaconnes by Richard Barth and Max Reger.

Born in Chicago of Korean parents, Koh began play-ing the violin by chance, choosing the instrument in a Suzuki-method program only because spaces for cello and piano had been filled. She made her debut with the Chicago Symphony Orchestra at age 11 and went on to win the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition and an Avery Fisher Career Grant. Koh has a bachelor’s degree in English literature from Oberlin College and studied at the Curtis Institute, where she worked extensively with Jaime Laredo and Felix Galimir. Koh is the artistic direc-tor of MusicBridge, a nonprofit organization she founded in 2013 to support innovative, artist-driven commission-ing projects and music education initiatives. 

calmer episodes along the way, including a chorale-like second subject marked dolce. The burning energy of this Presto opening is never far off: The music whips along on an almost machine-gun-like patter of eighth-notes, and these eventually drive the movement to its abrupt ca-dence.

Relief comes in the Andante con variazioni. The piano in-troduces the central theme, amiable but itself already fair-ly complex, and there follow four lengthy variations. The final movement – Presto – returns to the mood of the first. A simple A-major chord is the only introduction, and off the music goes. Beethoven had written this movement, a tarantella, in 1802, intending that it should be the finale of his Sonata in A Major, op. 30, no. 1. But he pulled it out and wrote a new finale for the earlier sonata, and that was a wise decision: This fiery finale would have overpowered that gentle sonata. Here, though, it becomes the perfect conclusion to one of the most powerful pieces of chamber music ever written.

Program notes by Eric Bromberger

Jennifer KohViolinist Jennifer Koh is recognized for her intense, com-manding performances, delivered with dazzling virtuosity and technical assurance. With an impassioned musical curiosity, she is forging an artistic path of her own devis-ing, choosing works that both inspire and challenge. She is dedicated to performing the violin repertoire of all eras from traditional to contemporary, believing that the past and present form a continuum.

The exploration of Bach’s music and its influence in to-day’s musical landscape has played an important role in Koh’s artistic journey. She is also passionate in her efforts to expand the repertoire for violin and has established relationships with many of today’s composers, regular-ly commissioning and premiering new works. In 2009, she debuted Bach and Beyond, a three-part recital series exploring the history of solo violin repertoire, from Bach’s Sonatas and Partitas to modern-day works; in 2012, with former teacher and violinist Jaime Laredo, she launched Two x Four – a project that pairs Bach’s Double Violin Concerto with newly commissioned double concerti; and she frequently performs the complete Bach Sonatas and Partitas in a single concert.

Koh recently launched Off Stage On Record, a video series that gives a behind-the-scenes look at the life and career of a concert artist. The first three documentary-style ep-

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and in 2010, his debut solo recording of works by Brahms and Schoenberg. Cedille Records released Signs, Games + Messages, a joint recording with violinist Jennifer Koh, featuring works by Bartók, Janáček and Kurtág, in 2013.

Wosner is widely sought after by colleagues for his ver-satility and spirit of partnership and often performs duo recitals with Koh, Viviane Hagner and Veronica Eberle. He is a former member of Lincoln Center’s Chamber Music Society Two and performs regularly at various chamber music festivals. For several consecutive summers, he took part in the West-Eastern Divan Workshop led by Daniel Barenboim and toured as soloist with the West-Eastern Divan Orchestra.

Commissions for Bridge to Beethoven are funded by SF Performances and MusicBridge, a non-profit founded by Jennifer Koh. For more information visit www.musicbridge.org.

Exclusive Management: Opus 3 Artists 470 Park Ave. South 9th Floor North New York, NY 10016

Shai WosnerPianist Shai Wosner has attracted international recog-nition for his exceptional artistry, musical integrity and creative insight. His performances of a broad range of repertoire, from Beethoven and Mozart to Schoenberg and Ligeti, as well as music by his contemporaries, communicate his imaginative programming and in-tellectual curiosity. He has appeared with major or-chestras worldwide, including the Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, Orpheus Chamber Orchestra, Philadelphia Orchestra and San Francisco Symphony in the U.S., and the Barcelona Symphony, Frankfurt Radio Symphony, Hamburg Symphony, LSO St. Luke’s and Staatskapelle Berlin in Europe, among others. He has worked with such conductors as Daniel Barenboim, James Conlon, Alan Gilbert, James Judd, Zubin Mehta, Peter Oundjian, Donald Runnicles, Leonard Slatkin and Yan Pascal Tortelier. Wosner made his debut with the Vienna Philharmonic Orchestra in Salzburg, during the 250th anniversary celebrations of Mozart’s birth. As a BBC New Generation Artist in the 2007-2009 seasons, he performed and recorded regularly with the various BBC orchestras, including at the BBC Proms with Donald Runnicles. Wosner is the recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award – a prize he used to commission Michael Hersch’s concerto Along the Ravines, which he then performed with the Seattle Symphony and Deutsche Radio Philharmonie-Saarbrücken in its world and German premieres.

Widely praised for his interpretations of Schubert’s solo repertoire, Wosner has focused on the composer in recent seasons and has performed his solo works in recitals across the U.S. and at London’s Wigmore Hall. In early 2015, he curated The Schubert Effect at the 92nd Street Y in New York, where he was joined by the Parker Quartet for a two-part recital series juxtaposing solo and chamber works by Schubert, Kurtág and Missy Mazzoli. He also performed solo works by Schubert and Mazzoli on a recording released by Onyx in November.

His orchestral engagements this season include a return to the Hamburg Symphony to perform Mozart concer-tos, following his debut with the orchestra last season; his debut with the Orchestre symphonique de Québec playing Ravel’s Piano Concerto for the Left Hand, and performances with the Indianapolis Symphony and Wisconsin Chamber Orchestra. He also performs in re-cital in Atlanta and Philadelphia. In 2011, Onyx released Wosner’s solo recording of a selection of piano works by Schubert that incorporate elements of folk music,

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The First World War, 1914-1918During the First World War, millions of soldiers wrote let-ters home to their loved ones. Millions died in the fire and the mud. Millions returned home with stories that could not be told – or could not be heard. Just like after any war.

In this live animation film, Dutch theater company Hotel Modern and composer Arthur Sauer try to make the sol-diers’ experiences tangible. On stage, a scaled-down film set is built; the audience sees the landscapes and trenches of the Western Front being brought to life in miniature, using sawdust, potting soil, rusty nails and parsley “trees.” With small cameras, the actors dive into the trenches and tell a story through the eyes of the fighting soldiers. The images are projected on a big screen. Foley artist and composer Arthur Sauer provides the soundtrack for the film – drum-ming on a table to create the sound of an exploding hand grenade and striking a match to suggest escaping mustard gas. These images and sounds are interspersed with spoken testimonies and authentic letters home written by trench soldiers. The result is amazingly intense and realistic.

Hotel Modern was awarded the CJP Trophy and the European Prix de Coppet for The Great War. The perfor-mance has toured around Europe, Russia, Singapore, Hong Kong, China, Egypt, Canada and the United States over the past few years.

About Hotel ModernDutch theater company Hotel Modern blends visual art, object theater, drama, music, film, modeling and perfor-mance in its evocative productions. Scale models play an important role in its performances; these are used to literally view the world from a macro perspective. Hotel Modern’s approach is unique in the field of theater and it enables them to focus on subjects in entirely new ways.

Its piece Kamp is a theatrical portrait of Auschwitz, in which a scale model of a concentration camp is brought to life. The group also produces more absurd and lighter work. Shrimp Tales, for example, is a funny play about hu-manity, performed by 350 real dried shrimp.

Hotel Modern was founded in 1997 in Rotterdam. Its members are Arlène Hoornweg and Pauline Kalker, who both graduated from Arnhem Theatre Academy, and visual artist, model maker and performer Herman Helle. The company has won numerous theater awards, including the prestigious Dutch VSCD Mime Prize.

Arthur Sauer Arthur Sauer studied music composition and recording at the Royal Conservatory in The Hague. He composes for both acoustic and electronic instruments, for film, theater and other media. He also builds acoustic and electronic instruments, is a software programmer, and appears as a live musician in theater performances.

Hotel Modern & Arthur SauerThe Great WarSAT, APR 25 / 8 PM / CAMPBELL HALL SUN, APR 26 / 2 PM / CAMPBELL HALL

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with Toshi Reagon and BIGLovely in

CreditsConcept: Herman Helle, Arthur SauerScenario and Production: Pauline Kalker, Arlène Hoornweg, Herman HelleVisuals: Herman HelleSound Concept and Live Sound: Arthur SauerTexts and Letters: soldier Prospert Eyssautier, Max Beckmann, Erich Maria Remarque a.o.Puppet Modeling of veterans and horse: Cathrin BoerTechnician: Joris van Oosterhout, with thanks to Edwin van SteenbergenTour Managers: Aram Visser and Marijke de RuyterSpecial Thanks to: André Dekker and the Rotterdamse SchouwburgSupported by: Dutch Performing Arts Fund and the City of Rotterdam

Hotel Modern StaffArtistic Directors: Pauline Kalker, Arlène Hoornweg, Herman HelleFinances & Planning: Corinne van LelieveldProduction Manager: Linda van den BergPublicity & Education: Sascha BroedersBookings (U.S., Canada, Australia, New Zealand): Menno Plukker Theatre Agency, Inc.

Special thanks to

Dance series sponsored in part by Margo Cohen-Feinberg & Robert Feinberg

and the Cohen Family Fund

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The Blues Project

DorranceDance

Live Music and

Tap Dance

SAT, MAY 2 / 8 PM / GRANADA THEATRETickets start at $35 / $19 UCSB students

A Granada facility fee will be added to each ticket price

A&L: (805) 893-3535 Granada: (805) 899-2222 www.ArtsAndLectures.UCSB.edu

Co-presented with the Solid State Lighting & Energy Electronics Center and the Office of the Chancellor

Shuji Nakamura was born on May 22, 1954 in Ehime, Japan. He obtained B.E., M.S. and Ph.D. degrees in electrical engi-neering from the University of Tokushima, Japan in 1977, 1979 and 1994, respectively. He joined Nichia Chemical Industries Ltd. in 1979. In 1988, he spent a year at the University of Florida as a visiting research associate. In 1989, he started researching blue LEDs using group-III nitride materials. In 1993 and 1995, he developed the first group-III nitride-based blue/green LEDs. He also developed the first group-III nitride-based violet laser diodes (LDs) in 1995.

The development of nitride-based semiconductors by Professor Nakamura represents one of the most important achievements in the materials science of semiconductors in the last 30 years. Specifically, the discovery of p-type doping in gallium nitride (GaN) and the development of blue, green and white light emitting diodes (LEDs) and blue laser diodes (LDs) has enabled energy-efficient lighting and displays. Dr. Nakamura discovered that p-type GaN films could be obtained by doping GaN with Mg coupled with successive post-thermal annealing in a nitrogen ambient at temperatures above 400°C. Professor Nakamura also de-veloped InGaN films of the highest crystal quality, which enabled the realization of bright blue double heterostructure light emitting devices. These achievements have resulted in great benefits to mankind through their use in devices for energy-efficient solid-state lighting, displays, medicine and the next generation of Blu-ray optical storage. The general conclusion among scientists at this time is that Professor Nakamura’s inventions are so reliable and energy efficient that they are destined to replace Thomas Edison’s light bulb and save the world billions of dollars in energy costs.

Professor Nakamura has received numerous awards for his work, including the Nishina Memorial Award (1996), the Materials Research Society Medal (1997), the Institute of Electrical and Electronics Engineers’ Jack A. Morton Award (1998), the British Rank Prize (1998), the Benjamin Franklin Medal Award (2002), the Millennium Technology Prize (2006), the Czochralski Award (2007), the Prince of Asturias Award for Technical Scientific Research (2008), The Harvey Award (2009), and the Technology & Engineering Emmy (2012) awarded by The National Academy of Television Arts & Sciences. He was elected as a fellow of the U.S. National Academy of Engineering in 2003. He is the 2014 Nobel Laureate in Physics for the inven-tion of efficient blue light-emitting diodes, which has enabled bright and energy-saving white light sources. Dr. Nakamura received the Order of Culture Award in Japan. He received the 2015 Charles Stark Draper Prize for Engineering in February and was inducted as a fellow of the National Academy of Inventors in March.

Since 2000, he has been a professor of materials and electrical & computer engineering at the University of California, Santa Barbara. He holds more than 200 U.S. patents and over 300 Japanese patents. He has published over 550 papers in his field. Professor Nakamura is the research director of the Solid State Lighting & Energy Electronics Center and the Cree Chair in Solid State Lighting & Displays. He co-founded Soraa, Inc. in 2008, which operates vertically integrated fabrication facilities in California’s Silicon Valley and Santa Barbara.

Pre-signed books are available for purchase in the lobby

2014 Nobel Laureate in Physics Professor of Materials and Electrical & Computer Engineering at UCSB

Shuji NakamuraInvention of Blue LED, Laser and Solid State LightingIllustrated Public Talk and LED Demonstrations with Local CompaniesTUE, APR 28 / 7:30 PM (note special time) / CAMPBELL HALL

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For the past 20 years, Michael Pollan has been writing books and articles about the places where the human and natural worlds intersect: food, agriculture, gardens, drugs and architecture. He is the author of the best-sellers In Defense of Food: An Eater’s Manifesto and The Omnivore’s Dilemma: A Natural History of Four Meals, which was named one of the 10 best books of 2006 by The New York Times and The Washington Post. It also won the California Book Award, the Northern California Book Award, the James Beard Award for best food writing and was a finalist for the National Book Critics Circle Award. Pollan’s previous book, The Botany of Desire: A Plant’s-Eye View of the World, was also a New York Times best-seller, received the Borders Original Voices Award for the best non-fiction work of 2001 and was recognized as a best book of the year by the American Booksellers Association and Amazon.com. PBS premiered a two-hour special documentary based on The Botany of Desire in 2009. His most recent book is Food Rules: An Eater’s Manual, which was an immediate No. 1 New York Times best-seller upon publication; an expanded, illustrated edition of Food Rules was published in 2011. His most recent book is Cooked: A Natural History of Transformation, released in 2013.

He is also the author of A Place of My Own (1997) and Second Nature (1991). A contributing writer to The New York Times Magazine since 1987, his writing has received numerous awards, including the James Beard Award for best magazine series in 2003; the John Burroughs prize (for the best natural history essay in 1997); the QPB New Vision Award (for his first book, Second Nature); the 2000 Reuters-I.U.C.N. Global Award for Environmental Journalism for his reporting on genetically modified crops and the 2003 Humane Society of

the United States’ Genesis Award for his writing on animal agriculture. In 2009, he was named one of the top 10 “New Thought Leaders” by Newsweek magazine. His essays have appeared in many anthologies, including Best American Essays (the 1990 and 2003 editions), Best American Science Writing (2004), and the Norton Book of Nature Writing. In addition to publishing regularly in The New York Times Magazine, his articles have appeared in Harper’s Magazine (where he served for many years as executive editor), Mother Jones, Gourmet, Vogue, Travel + Leisure, Gardens Illustrated and The Nation. He also wrote the foreword to the 10th anniversary edition of Marion Nestle’s Food Politics. Michael Pollan was chosen by Time magazine for the 2010 Time 100 in the “Thinkers” category.

In 2003, Pollan was appointed the John S. and James L. Knight Professor of Journalism at UC Berkeley’s Graduate School of Journalism, and the director of the Knight Program in Science and Environmental Journalism. In addition to teaching, he lectures widely on food, agriculture and gardening.

Michael Pollan, who was born in 1955, grew up on Long Island and was educated at Bennington College, Oxford University and Columbia University, from which he received a Master’s degree in English.

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

An Evening with

Michael Pollanin conversation with

Community Partner:

Co-presented with

Dr. Fred KassWellness Medical Director of Cancer Center of Santa Barbara with Sansum Clinic

Dr. Kurt RansohoffCEO and Chief Medical Officer of Sansum Clinic

THU, APR 30 / 8 PM / GRANADA THEATRE

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Support Arts & Lectures: (805) 893-2174

This spring, the following artists and speakers will lead educational workshops, seminars and master classes throughout Santa Barbara

We educate, entertain AND inspire.

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UCSB and local college students will visit with: Gil Shaham, The Mutter-Bronfman-Harrell Trio, Daniel J. Levitin, Hotel Modern, Anna Halprin, Dorrance Dance, Rhiannon Giddens, Cristina Pato Quartet

Local schoolchildren will connect with: Piper Kerman, Laurie Berker, Jennifer Koh & Shai Wosner, Les Arts Florissants, Cristina Pato Quartet

Families and community members will participate in workshops with: David Brooks, Michael Pollan, Dorrance Dance

WILLIAM H. KEARNS FOUNDATION

Community Partner

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.

The Story Pirates perform for students at Peabody Charter School

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Support Arts & Lectures: (805) 893-2174

“At Arts & Lectures I’ve seen Archbishop Desmond Tutu, the Dalai Lama, and the great Dr. Paul Farmer, who has transformed healthcare in Haiti and Rwanda – all heroes whose special gift is to look so hard at reality that they can find the possibility hiding out within it. And I’ve gotten to hear writers and thinkers whom I’ve never come close to hearing while living in New York or near London. Part of the special beauty of Arts & Lectures is that it not only teaches students and our community about what the greater world looks like; it gives us practical and inspiring ways to try to make it a better place.”

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- Derion Loman UCSB alumnus ’12, dancer in Pilobolus Dance Theater

Arts & Lectures Makes a Difference

“Arts & Lectures has given me the opportunity to make my future come alive. I was a biology major and [seeing] Paul Farmer had a profound impact on my interest in global medicine, and getting to meet Nicholas Kristof, too. You read about these people, you get inspired by it, and then getting to meet them in person and ask them questions, it’s something I’ll always remember and look back on fondly.”

- Andrew Florin UCSB alumnus ’11

Dr. Paul Farmer and patient phot

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UCSB alumnus and Pilobolus dancer Derion Loman (right) teaches a master class in the Department of Theater and Dance

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Cohen Family Fund of the Community Foundation for Southeast Michigan

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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.

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

$500,000 - $999,999 Anonymous (2) ‡

Audrey & Timothy Fisher ‡Orfalea Foundation

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$1,000,000 and above

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Sara Miller McCune ‡Anne & Michael Towbes ‡

$250,000 - $499,999

Meg & Dan Burnham ‡Marcy Carsey ‡

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

29Support Arts & Lectures: (805) 893-2174 29

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Council for Arts & LecturesSara Miller McCune (Co-chair)Dan Burnham (Co-chair)Barrie BergmanTimothy O. FisherRichard JanssenTom KennyKath LavidgeSusan McCawLois MitchellNatalie OrfaleaLady Leslie Ridley-TreeFredric E. SteckTom SturgessAnne TowbesMilton WarshawLynda Weinman

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 KoppelmanAlicia LancashireDonna 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

Leadership CircleThe Leadership Circle is a group of key visionaries giving $10,000 to $100,000 or more each year, making a significant, tangible difference in the community and making it possible for A&L’s roster of premier artists and global thinkers to come to Santa Barbara.

Diamond - $100,000+AnonymousMarcy Carseylynda.comSusan & Craig McCawSara Miller McCuneOrfalea FoundationLady Leslie Ridley-TreeSAGE PublicationsAnne & Michael TowbesLynda Weinman & Bruce HeavinWilliam H. Kearns Foundation

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the Performing Arts

Gold - $25,000+Sarah ArgyropoulosMary & Gary BeckerArlene & Barrie BergmanAnnette & Dr. Richard CaleelMargo Cohen-Feinberg

& Robert FeinbergGenevieve & Lewis GeyserEva & Yoel HallerSiri & Bob MarshallMarilyn & Richard MazessDiana & Simon Raab FoundationRoddick FoundationDr. Bob WeinmanYardi Systems, Inc.

Silver - $10,000+AnonymousSheila & Michael BonsignoreChristine & William Fletcher Connie Frank FoundationMartha & John GabbertPatricia Gregory for the

Baker FoundationJudith HopkinsonMorris & Irma Jurkowitz Gretchen & Robert Lieff Lillian LovelaceKay R. McMillanSusan McMillan & Tom KennyMontecito Bank & TrustJillian & Peter MullerThe Stone Family FoundationMarsha* & Bill WayneWestmont CollegeNoelle & Dick WolfNicole & Kirt Woodhouse

Producers CircleRecognition 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) 893-2174. List current as of Feb. 16, 2015.

Executive Producer - $5,000+Pat & Evan AptakerMonica & Tim BabichLaurel Beebe BarrackLeslie & Ashish BhutaniLyn BrilloSarah & Roger ChrismanNancyBell Coe & William BurkeComer Foundation FundWilliam B. Cornfield Deckers Outdoor CorporationDeanna & Jim DehlsenBaroness Léni Fé Bland*Lisa & George HagermanIrina & Stefan HearstJoan & Robert R. HollmanJulie & Jamie KellnerElaine & Herbert KendallLisa LoiaconoPatricia & John MacFarlaneMission Wealth Management, LLCAmanda & James* McIntyreSuzanne & Duncan MellichampLisa Reich & Robert JohnsonSusan J. Rose & Allan S. GhittermanNancy & Mike SheldonMark SonninoLinda Stafford BurrowsBarbara StupayIna TornallyayThe Towbes Foundation

Producer - $2,500+AnonymousRoxana & Fred AnsonJudy & Bruce AnticouniJill & Arnie BelloweCelesta M. Billeci & John HajdaHiroko BenkoSusan E. BowerSusan D. BoweyNatalie Bryant

Support Arts & Lectures: (805) 893-2174 31Support Arts & Lectures: (805) 893-2174 31

Mary & Thomas JacobLisa & Scott JohnsonEric KronvallAlicia LancashireJohn La Puma, M.D.J. Roger & Almeda MorrisonSusanuah E. RakeElizabeth Tyng Susan & Bruce Worster

Partner $500+Steve & Peggy & Steve BarnesSallie & Curt CoughlinOlivia Erschen & Steve StarkeyDodd & Beth GeigerNancy & Robert KnightPat Lambert & Rick DahlquistElinor & James LangerDavid & Janice Toyo LevasheffFima & Jere LifshitzLeila & Dr. Robert NoelRobin & Chuck Rickershauser Christiane Schlumberger Mary SipesBarbara VoorhiesDiana Woehle

Patron $250+Pamela Benham & Paul HansmaLinda & Peter BeuretRachel & Douglas BurbankBarbara CalderClaudia & David ChapmanJo Ann ChaseAnnie Pham-Cheng

& George ChengBarbara Lynn DegrootDr. Jeana L. DresselMichael K. DunnPeyton EvansSusan GwynneDouglas H. HarrisRenee HarwickLaura Haston & Frank DavisValerie J. Hoffman & Roland NoeCarla J. MarcinkusDonna & Ron MelvilleElizabeth & Charles NewmanKathlyn & Bill PaxtonCraig PennerDeborah & Ken Pontifex

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& Larry KoppelmanCarol KosterkaZoë Landers Diana & Carl LasnerMartin McKenzieMayra & Spencer NadlerJanet OetingerKim Phillips & Michael HayesAnne Ready & David GershKyra & Tony RogersSybil RosenGayle & Charles RosenbergJulie & George RusznakJo & Ken SaxonLila & Joseph ScherAnitra & Dr. Jack SheenAnita & Eric Sonquist John A. SonquistCarol Spungen & Aaron LiebermanMary Jo SwalleyLeah & Robert TemkinKathy & Bill WeberJean WeidemannJudy & Mort WeismanCarolyn & Philip WyattJoAnne & Michael Young

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

Circle of Friends

Headliner $1,500+Wendy BrussBetsey Moller Nanette & Henry NevinsMalinda Pennoyer

& Yvon Chouinard

Director $1,000+Lyn & David H. AndersonPaul Blake & Mark BennettBonnie & Frank BurgessElizabeth GaylordDebbie & Dan Gerber Joyce M. Greene

Dr. Raymond & Barbara RobinsJustine Roddick & Tina SchlieskeBobbie & Ed RosenblattGinger Salazar & Brett MatthewsDr. William E. SansonMark & Lynda SchwartzStephanie & Fred ShumanSusan & Howard SilverStephanie & Jim SokoloveJoan SpeirsSuzanne & John SteedRussell SteinerDebra & Stephen StewartDenise & James S. TaylorCaroline & Steve ThompsonPatricia ToppelBarbara & Samuel ToumayanSandra & Sam TylerDianne & Daniel VapnekVillanueva FamilySue & Bill Wagner Carol Wilburn & Charles McClintockIrene & Ralph WilsonCrystal & Clifford WyattLaura & Geofrey Wyatt Deann & Milton ZampelliDiane & Steve Zipperstein

Associate Producer - $1,500+Alison Allan & Chuck BlitzVicky Blum & David LebellRochelle & Mark BookspanKaren & Peter BrillElizabeth & Andrew ButcherSusan & Claude CaseDrs. Susanne & J.W. ColinLaurie Deans & Joseph MedjuckPatty DeDominic & Gene SinserNancy Englander & Harold WilliamsMarion & Richard FlacksDorothy FlasterCarole & Ron FoxTeri & Eric GabrielsenCindy & Robert GelberMarianne & Paul GertmanMarianne GordinYonie HarrisLinda Hedgepeth

& Michael MillhollanCecia & Milt HessDonna & Daniel HoneSharyn JohnsonMartha & Peter Karoff

Robin & Daniel CerfBeth Chamberlin Endowment for

Cultural Understanding Karla & Richard ChernickDarcy & Dean ChristalTana & Joe ChristieMary & Richard ComptonTrudy & Howard CoopermanLilyan Cuttler & Ned SederAnn DanielJudy DartPhyllis DePicciotto & Stan RodenDr. David W. Doner Jr. Ginni & Chad DreierChristine & Robert EmmonsDoris & Tom EverhartNancy & Michael GiffordMelinda GoodmanPaul Guido & Stephen Blain Betsy & Jule HannafordLaurie Harris & Richard HechtMary J. HarveyRuth & Alan HeegerFaith & Mel HenkinAndrea & Richard HuttonJodie Ireland & Chris BakerShari & George IsaacHollye & Jeff JacobsMargaret & Barry KempLinda Kiefer-Roberts

& Jerry RobertsLinda & Bill KitchenJill & Barry KitnickRobert W. KohnThe Lehrer Family FoundationDenise & George LillySandra L. LynneMarilyn MagidSheila & Frank McGinityNancy McGrathRonnie Haran Mellen

& Chase Mellen IIIDiane Meyer SimonAnne & Hale MilgrimGinger & Marlin MillerMaryanne MottThe Neubauer FamilyDale & Michael NissensonAndy Oakley & Bruce S. RussellJoan Pascal & Ted RhodesAnne & Michael PlessStacy & William PuliceVicki Riskin & David W. Rintels

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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

Kevin Grant, Business Analyst

Caitlin Karbula, Director of Development

Janelle Kohler, Administrative Assistant

Mari Levasheff, Marketing Business Analyst

Beatrice Martino, Public Events Assistant

Hector Medina, Development & Marketing Associate

Jim Muneio, Ticket Office Manager

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

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 FoundationUCSB Office of Academic PreparationWilliam E. Weiss Foundation, Inc.

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

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.

Hannah-Beth Jackson & George Eskin

Sarah JacobsBarbara Janelle Mary Ann Jordan & Alan StaehleDanson KiplagatDiane & Daniel Krieger-CarlisleCarol & Don LauerCatherine & Wayne A. LewisPamela & Russell LombardoMartin LynchLinda & Richard LynnSherry & Craig MadsenSusan MatsumotoSandra McCartneyJulie McLeodLori K. MeschlerKatharine Metropolis

& Jeff RichmanEllicott MillionSusan & Max NeufeldtJohn NorrisDennis J. PerryDorris Phinney & Owen PatmorChristopher PilafianD.E. Polk & J.P. LoganbachH & M Pompe van MeerdervoortAlbert ReidAdele R. RosenRhonda & Larry SheakleyBarbara SilverEllen & Harvey H. SilverbergJan & George SirkinLisa Stratton & Peter SchuylerDena SteinDrs. Beverly & Michael L Steinfeld Colleen SterneLouise & Raymond L. StoneTerry & Art SturzMarshall M. ThomasDoris ThomeMarion & Frederick TwichellMary WalshSusanne & John WeaverRichard WeistTheresa YandellAnna & Don YlvisakerSeyburn Zorthian & Marc McGinnes

*In Memoriam

Julie & Chris ProctorLoretta Redd, Ph.D.Mary Lou & Clay RunningMissy & Chuck SheldonSusan Sheller & Bob RoeRobert A. SorichElizabeth & K. Martin StevensonGail & David Teton-LandisAnne & Tony ThacherJoseph ThomasJo Ellen & Thomas WatsonHelayne & Ronald White

Friend $100+Anonymous (2)Vickie Ascolese & Richard VincentJulie AntelmanCatherine AlbaneseChristine AllenAriana & Christopher Arcenas-UtleyLisa BassJanice & Ralph BaxterIla BayhaMary & John BlairSuzanne & Peter BrownDrs. Paula & Thomas BruiceJaneen & James CassidyDiana & Steve CharlesThomas Dain ConstructionAdrianne & Andrew DavisGwen & Rodger DawsonEdward S. DeLoretoJoan & Thomas DentVictoria DillonBarbara Ann Dobbs-WhiteElizabeth Downing & Peter Hasler Ann & David DwelleyMargaret & Jerrold EberhardtJennifer & Jim EbyRebecca EldridgeKerin FridenPriscilla & Jason GainesTheresa GoreyLinda & Robert GruberLorna HardyBetty & Stan HatchDr. Betty Helton

& Dr. Alex WeinsteinMaren HenleKristine HerrJorge HerreraGeoffrey Hornby

Support Arts & Lectures: (805) 893-2174

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

Dorrance Dancewith Toshi Reagon and BIGLovely in the The Blues ProjectSAT, MAY 2 / 8 PM / GRANADA THEATRE

Created by: Michelle Dorrance, Derick K. Grant, Toshi Reagon & Dormeshia Sumbry-Edwards

Composer and Musical Director: Toshi ReagonChoreography by: Michelle Dorrance, Derick K. Grant and Dormeshia Sumbry-Edwards with solo improvisation by the dancers. Additional African Choreography: Karida GriffithTop/Up Rocking Consultant: Ephrat AsherieDancers: Christopher Broughton, Elizabeth Burke, Michelle Dorrance, Derick K. Grant, Karida Griffith, Claudia Rahardjanoto, Dormeshia Sumbry-Edwards, Byron Tittle, Nicholas Van Young; Megan Bartula, Understudy; Demi Remick, Understudy; Gabe Winns, UnderstudyAcoustic Guitar & Vocals: Toshi ReagonElectric Guitar: Adam WidoffElectric Bass: Fred CashViolin: Juliette JonesDrums & Percussion: Allison MillerDance Captain: Elizabeth BurkeTechnical Direction: Tony MayesLighting Design: Kathy KaufmannCostume Design: Andrew JordanProduction Assistant: Ali DietzExecutive Director: Alison HartCompany & Communications Manager: Anna RogovoyAssistant to the Director: Donovan Dorrance

A Note from the Artistic DirectorTo me, Toshi Reagon is a revolutionary, but simultaneously an artist who honors and embodies tradition. Musically, she blows genre out of the water but also carries a tremen-dous folk, blues and spiritual music history. On top of loving her music since I was 18 years old, I wanted to work with her because she wields music the way I want to wield tap dance – by manifesting the spirit of the great American traditions. I see Derick K. Grant and Dormeshia Sumbry-Edwards in a very similar light. Both were mentored by torchbearers of tap dance’s legacy and grew up performing alongside the master hoofers of the swing and bebop eras, yet they are two of the most unique, creative and cut-ting-edge hoofers on the planet. These three artists have inspired the exploration of music, sound and movement in this work – thank you for joining us!

– Michelle Dorrance

The Company Michelle Dorrance (Artistic Director, Choreographer and Dancer/Soloist) founder and artistic director of Dorrance Dance, is a 2014 Alpert Award winner, 2013 Jacob’s Pillow Dance Award winner, 2012 Princess Grace Award Winner, 2011 Bessie Award Winner and “one of the most imagina-tive tap choreographers working today” (The New Yorker). Dorrance performs, teaches and choreographs throughout the world. Mentored by Gene Medler, she grew up study-ing at The Ballet School of Chapel Hill while performing with the North Carolina Youth Tap Ensemble and has

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since performed with the New York and North American touring casts of STOMP, Savion Glover’s company Ti Dii, Manhattan Tap, JazzTap Ensemble, Barbara Duffy & Co, RumbaTap, Mable Lee’s Dancing Ladies, Dr. Harold Cromer’s original Opus One, Derick Grant’s Imagine Tap! and Jason Samuels Smith’s Chasing the Bird to rave reviews. Other credits include playing bass for indie-pop sensation Darwin Deez, performing with Paul Simon and the cast of STOMP on Late Night with Jimmy Fallon and collaborat-ing on a short film for high-fashion shoe designer Tabitha Simmons, to name a few. Most recently, Dorrance set Lamentation Variation on the legendary Martha Graham Dance Company. She holds a bachelor’s degree from New York University and teaches on faculty at Broadway Dance Center and for Nicholas Young’s Institute for the Rhythmic Arts.

Derick K. Grant (Choreographer and Dancer/Soloist) is a performer, choreographer and director who has an established career that spans over three decades. Under the direction of Tony Award winner George C. Wolfe, he was an original company member and Dance Captain for Bring in ‘da Noise, Bring in ‘da Funk at both The Public Theater and on Broadway. He starred in the role of ‘da Beat for the first national tour. Grant created the critically acclaimed show Imagine Tap! His choreography has been featured on Fox’s hit series So You Think You Can Dance, and he has performed and recorded with Grammy Award winner Dan Zanes. Grant was the recipient of the Princess Grace Award for Upcoming Young Artist, the Helen Hayes Award for Outstanding Lead Actor, two Los Angeles Ovation awards for choreography and Best Ensemble Performance in Noise/Funk, and was most recently rec-ognized for Best Choreography for Imagine Tap! He is currently a corporate tap spokesperson for Só Dança and continues to transform and inspire dance communities around the world.

Dormeshia Sumbry-Edwards (Choreographer and Dancer/Soloist) is known for setting high standards in the world of tap dance. Tap coach to the king of pop, Michael Jackson, over the course of 11 years, she received a Bessie Award for her featured performance in Jason Samuels Smith & Company at The Joyce, and an Astaire Award for Best Female Performer for her featured performance in After Midnight on Broadway. She is currently on the board as the tap advisor for Dance Magazine. As the offi-cial tap spokesperson for Capezio, she was featured in its international advertising campaign. Performances include Tony Award-winning productions on Broadway such as Black and Blue and Bring in ‘da Noise, Bring in ‘da Funk; the international tour of Noise/Funk (dance captain/prin-

cipal dancer/understudy to the lead role); the national tour of Wild Woman Blues; and Debbie Allen’s Sammy (the life and times of Sammy Davis Jr.). She most recently performed as a special guest at New Jersey Performing Arts Center with Grammy-winning recording artist and fellow After Midnight star Fantasia. Sumbry-Edwards was also nominated for Best Actress for the starring role in The Rise and Fall of Miss Thang (Lavender House Films), which toured film festivals nationwide. Other notable film credits include Tap with Gregory Hines, Spike Lee’s Bamboozled (assistant choreographer/actress) and The Rodgers and Hart Story: Thou Swell, Thou Witty. Sumbry-Edwards’ choreography has been featured on national and international stages, as well as in Michael Jackson’s music video “You Rock My World” and in weekly shows at the world-famous Cotton Club in Harlem.

Christopher Broughton (Dancer) began his career at age 12 under Paul and Arlene Kennedy at Universal Dance. He joined their acclaimed Kennedy Tap company where he re-ceived the national NAACP ACT-SO Award twice. He now travels worldwide both as a soloist and with Jason Samuels Smith’s A.C.G.I., Rasta Thomas’ Tap Stars and Dorrance Dance. Performances include New York City Center’s Cotton Club Parade, JUBA! Masters of Tap & Percussive Dance at The Kennedy Center, and the Broadway production After Midnight, which won Tony and Astaire awards. Broughton owes his sincerest gratitude to his sister, Chantel Heath, who introduced him to the world of dance; Tonie Nicholas, son of the legendary Fayard Nicholas; and Paul and Arlene Kennedy, without whom he wouldn’t be where he is today.

Elizabeth Burke (Dance Captain, Dancer) has been work-ing with Dorrance Dance since the company’s inception in 2010 and is an alumna of the North Carolina Youth Tap Ensemble (2010), the School at Jacob’s Pillow (2014) and Marymount Manhattan College (B.A. political science and communication arts, magna cum laude, 2014). Burke is on faculty at the American Tap Dance Foundation and has worked with choreographers Nicholas Young, Derick Grant and Jason Samuels Smith. She is honored and humbled to have worked with Dorrance and her co-choreographers, Dormeshia Sumbry-Edwards and Derick Grant, on The Blues Project. She also thanks her mentor, Gene Medler.

Karida Griffith (Dancer) is from Portland, Ore. Her stage credits include: Cirque du Soleil’s Banana Shpeel, Radio City Rockettes, Black and Blue (Henry LeTang & Dianne Walker), New York City Center’s Fall for Dance Festival, Sinatra (Des McAnuff & Casey Nicholaw), Spoleto Festival

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Tap, RumbaTap, Dorrance Dance and Beat The Donkey; has toured as a drummer for Darwin Deez; and spent almost a decade performing with STOMP. Van Young recently pre-miered his dance company Sound Movement and is currently collaborating with Michelle Dorrance on a new project of dance and music featuring innovative and unique tap-dance instruments of Young’s own design.

The MusiciansToshi Reagon (Composer & Music Director) has been described as “a talented, versatile singer, composer, produc-er and musician with a profound ear for sonic Americana – from folk to funk, from blues to rock” by critic/blogger Eva Yaa Asantewaa of InfiniteBody. “She masters each of these genres with vocal strategies that easily spiral and swoop from the expressively sinuous to the hard-charging, a combination of warmth and mischief.” While her expan-sive career has landed Reagon comfortably in residence at Carnegie Hall, the Paris Opera House and Madison Square Garden, you can just as easily find her turning up at a music festival, intimate venue or local club. Her dance and the-ater collaborations include work with Urban Bush Women, Jane Comfort & Company, LAVA and two operas with her mother Bernice Johnson Reagon and Robert Wilson. Toshi Reagon has been the recipient of a New York Foundation for the Arts award for Music Composition and The Black Lily Music and Film Festival Award for Outstanding Performance. She is a National Women’s History Month Honoree and is the 2010 recipient of OutMusic’s Heritage Award. In 2011, she received a Stonewall Honors Award with her partner J. Bob Alotta. Reagon founded the festival Word*Rock*& Sword: A Festival Celebration of Women’s Lives. It is now in its fifth year and will occur again in September 2015 in New York City for eight days.

Of Fred Cash (Electric Bass) Toshi Reagon says: “His list of recording and performance credits is too long to list here. He comes from Chicago, Illinois. Thank God he decided to land in N.Y.C. because the N.Y. music scene has been made better by his participation. He is a longtime member of the band BIGLovely but has created great work with Morley, Carl Hancock Rux, Alicia Keys, Mary J. Bilge, Martha Redbone, the late great Sekou Sundiata: on and on I could go. This man makes everyone he plays with better. This is not a bio – it’s a testimony.”

Juliette Jones (Violin): After years of classical and conser-vatory training, Juliette Jones moved to New York City from Buffalo, New York, and established herself as a multi-genre acoustic and electric violinist. She currently performs as a live and studio recording artist and also works extensive-

USA, CTFD Gala (Randy Skinner), CREATIONS (produc-er), NYC Tap Festival and Jacob’s Pillow Dance. Television credits include: Boardwalk Empire (HBO), the Tony Awards and The Today Show. She has performed with Dorrance Dance, Cotton Club Sophisticated Ladies, Barbara Duffy & Co, and the Children’s Theatre Company (board of directors). Griffith loves teaching students of all ages and is currently on the tap faculty at Broadway Dance Center. www.karidagriffith.com

Claudia Rahardjanoto (Dancer) was born and raised in Berlin and started dancing professionally at the age of 9 at the Deutsche Oper Berlin. Named one of “25 to Watch” by Dance Magazine in 2010 and featured on the cover of Dance Teacher Magazine in 2011, Rahardjanoto is blessed to have danced with and learned from Andreas Dänel, Sven Göttlicher, Dianne Walker, Ted Levy, Dormeshia Sumbry-Edwards, Derick Grant, Roxane Butterfly, Andrew Nemr, Barbara Duffy, Jane Goldberg, Jared Grimes, Max Pollak, Michael Minery, the late Harold “Stumpy” Cromer and the legendary Mable Lee, among others.

Byron Tittle (Dancer) has been dancing since the age of 5 in his hometown of New York. Starting with tap and ballet, he soon grew to enjoy the different genres and aesthetics in the entire realm of dance. He began tapping with the American Tap Dance Foundation’s Tap City Youth Ensemble, meeting Michelle Dorrance through workshops and classes held there. He has toured the nation with The Tap Kids under the direction of Lisa Hopkins and Phillip Stern. He danced on Fox’s The X Factor with creative direc-tion by Brian Friedman and choreography from Tessandra Chavez and Tucker Barkley.

Gabe Winns (Understudy) was born in San Diego and began dancing at the age of 11. Since then, his love for tap dance has never stopped growing. He has toured both nationally and internationally as a cast member of Tap Kids and was part of the cast that won a five-star review at the 2009 Edinburgh Fringe Festival in Scotland. Since moving to New York City in January of 2013, Winns has made his presence felt, working with numerous choreogra-phers, including Michelle Dorrance, Cartier Williams, Lisa LaTouche and Aaron Tolson, as well as teaching at various studios in the city.

Nicholas Van Young (Dancer), a New York-based danc-er, choreographer, musician and master teacher, began his professional career under Acia Gray and Deidre Strand with Tapestry Dance Company in Austin, Texas, and eventually became a principal dancer and resident choreographer. Since moving to New York, he has performed with Manhattan

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Tony Mayes (Technical Director/Production Manager) has been producing since 2001 when he began working with the American Tap Dance Foundation’s Tap City, the New York City Tap Festival. Since then he has produced, designed and performed in countless productions in New York and nationally, including recently working with tap dancer Jared Grimes at the Spoleto Festival, to sold-out audiences. He was recently the associate producer of Truth Values: One Girl’s Romp Through M.I.T.’s Male Math Maze, which has sold out across the country. In between projects, Mayes teaches tap dance at Peridance Capezio Center in New York City.

Ali Dietz (Production Assistant) grew up in Orchard Park, N.Y., studying at Mary Alice’s Dance Studio under the di-rection of her mother. After receiving a degree in personal and professional communication from SUNY Geneseo, she moved to New York City and began working for Dorrance Dance in late 2012. She is the founder of the nonprofit organization Dancers Give Back, which has raised over $217,000 for cancer research and patient support. Aside from running DGB, she presently teaches tap dance in New Jersey and Buffalo, N.Y.

Donovan Dorrance (Assistant to the Director) hails from Chapel Hill, N.C., where he studied piano for six years before studying guitar under singer-songwriter Djángo Haskins. After serving on the board of directors for One Song Productions, a nonprofit theater organization, Dorrance enrolled at The University of North Carolina. He studied philosophy and music while singing in the all-male a cappella group, the UNC Achordants, and drumming in the indie-rock band I Am Fenwick.

Andrew Jordan (Costume Design) is a visual artist work-ing in various media, including sculpture, performance, fashion, costume design and photography. He received his M.F.A. with an emphasis in sculpture from the Cranbrook Academy of Art and his B.F.A. in fine arts (minoring in media studies) from the Columbus College of Art and Design. Jordan experiments with the interplay between various art forms driven by his interest in the relationship of sculpture, installation and puppetry to the movement of the human body. www.andytoad.com

Administrative StaffAlison Hart (Executive Director) joined the Dorrance Dance team in 2015.   For the six years prior, she worked in Development at Jacob’s Pillow where she managed their in-dividual giving programs and annual gala.  Other formative career experiences include serving as the Associate Director of the Bates Dance Festival, completing a Fellowship in the

ly with bands, DJs and solo artists. A Broadcast Music Incorporated composer and songwriter, Jones completed album projects for Ryan Leslie, Donnie McClurkin and Donald Lawrence under the direction of Darin Atwater. She has taped for Late Night with Jimmy Fallon, MTV’s Unplugged, Saturday Night Live, Victoria’s Secret Fashion Show, Good Morning America, The Late Show with David Letterman and BET’s 106 & Park. Jones performed her solo debut with the Buffalo Philharmonic Orchestra in 2003 and has since performed with Florence + The Machine, Nicki Minaj, Kid Cudi, April Nevels, Tye Tribbett, Richard Smallwood, Hezekiah Walker, Kim Burrell and Sheila E.

Allison Miller (Drums/Percussion): New York City-based drummer Allison Miller defies all boundaries bringing her individual sound to diverse types of music while preserving their stylistic authenticity. She goes from leading her band Boom Tic Boom to playing with legendary songwriting vo-calists Ani DiFranco, Brandi Carlile and Natalie Merchant, to touring with avant-garde saxophonist Marty Ehrlich and legendary organist Dr. Lonnie Smith. Miller approaches each of these musical situations with her own stylistic iden-tity and a creative, fresh and energetic approach. She was chosen as Rising Star Drummer in DownBeat’s 53rd and 58th annual Critics Polls.

Adam Widoff (Guitar) is a talented multi-instrumental-ist who currently can be found playing guitar with Toshi Reagon and BIGLovely and also with P-Funk veterans Clip Payne, Lige Cury and Gary Shider in a vicious unit called Drugs. He has studied Indian music extensively and was a student of sitar master Ustad Jamaluddin Bhartiya. Widoff spent time as a guitarist for Lenny Kravitz during the Let Love Rule era. Other credits include Memorial Garage, Karl Denson, Mercury Rev, Marc Copely and with David Torn and McKinley on many more live and studio appearances.

Production & Technical Staff Kathy Kaufmann (Lighting Designer): a New York City native, Kathy Kaufmann has designed lighting throughout the world. Recent projects include designs for Eiko and Koma, Michelle Dorrance, Sally Silvers, Douglas Dunn, Keely Garfield, Joanna Kotze, Kota Yamazaki, Enrico Wey and Jack Ferver. She is the resident designer for David Parker and the Bang Group, Gina Gibney, Ben Munisteri, Jacques d’Amboise’s National Dance Institute, Hilary Easton, Cherylyn Lavagnino and the Danspace Project at St. Mark’s Church. Kaufmann received a 2004 Bessie Award for her lighting designs as well as a 2009 Bessie for her work on Yvonne Meier’s Stolen.

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Government Affairs Office of the National Endowment for the Arts, and producing the music series Inspired by Appalachia at the Arrowmont School of Arts and Crafts. Alison holds degrees from Grinnell College and the University of Texas at Austin’s LBJ School of Public Affairs. 

Anna Rogovoy (Company and Communications Manager) moved to Brooklyn after graduating from Bennington College with a BA in dance and literature. She has been a critic, producer, and publicist, and has performed and shown choreography throughout New York. Anna joined Dorrance Dance as Company Manager in 2014.

The Presentation of Dorrance Dance was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with ad-ditional support from the National Endowment from the Arts.

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

Cristina Pato Quartet

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

WED, MAY 13 / 8 PM / CAMPBELL HALL$25 / $10 UCSB students

Renowned for her exuberant showmanship, Pato fuses Sephardic, Latin, jazz, pop and contemporary influences

to create a high-energy, flamboyant and virtuosic performance. Don’t miss this audience favorite, who will

forever change how you think of the bagpipe!

Event sponsors: Jody & John Arnhold

Santa Barbara Debut

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“Imagine the timbres of an oboe, a metal-ready electric guitar and a screaming trumpet rolled into a single, virtuosic burst of energy.” The New York Times

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-eminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today.

Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames, and his most recent book, Let’s Explore Diabetes with Owls, each of which became an immediate best-seller. The audio version of Let’s Explore Diabetes With Owls was nominated for a Grammy Award for Best Spoken Word Album. He is the author of the New York Times-best-selling collection of fables titled Squirrel Seeks Chipmunk: A Modest Bestiary (with illustrations by Ian Falconer). He was also the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’ pieces appear regularly in The New Yorker and have twice been included in The Best American Essays. There are a total of seven million copies of his books in print and they have been translated into 25 languages.

He and his sister, Amy Sedaris, have collaborated under the name “The Talent Family” and have written half a dozen plays, which have been produced at La Mama, Lincoln Center and The Drama Department in New York City. These plays include Stump the Host; Stitches; One Woman Shoe, which received an Obie Award; Incident at Cobbler’s Knob and The Book of Liz, which was published in book form by Dramatists Play Service. David

Sedaris’ original radio pieces can often be heard on the public radio show This American Life. Sedaris has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. A feature film adaptation of his story “C.O.G.” was released after a premiere at the Sundance Film Festival (2013).

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

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

An Evening with

David SedarisMON, MAY 4 / 8 PM / ARLINGTON THEATRE

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Les Arts Florissants Airs Sérieux et á Boire, vol. 1 (Serious Airs and Drinking Songs)TUE, MAY 5 / 7 PM (note special time) / CAMPBELL HALL

William Christie, musical direction and harpsichordEmmanuelle de Negri, sopranoAnna Reinhold, mezzo-sopranoReinoud Van Mechelen, high tenorMarc Mauillon, baritoneLisandro Abadie, bassFlorence Malgoire, Tami Troman, violinsMyriam Rignol, viola da gamba (basso continuo)Thomas Dunford, theorbo (basso continuo)

Michel Lambert“D’un feu secret je me sens consumer”“Le repos, l’ombre, le silence”“Ah, qui voudra désormais s’engager”“Il faut mourir plutôt que de changer”

François CouperinÉpitaphe d’un paresseuxLes Pellerines

Michel Lambert“Iris n’est plus; mon Iris est ravie”“Bien que l’amour fasse toute ma peine”

Joseph Chabanceau de la Barre“Quand une âme est bien atteinte”

Marc-Antoine CharpentierIntermèdes nouveaux du Mariage forcé (H. 494)

- Intermission -

Michel Lambert“Chantez petits oiseaux dans la saison nouvelle”“Pour vos beaux yeux, Iris mon amour est extrême”“Que d’Amants séparés languissent nuit et jour”

Honoré d’Ambruys“Le doux silence de nos bois”

Marc-Antoine CharpentierAyant bu du vin clairet (H. 446)Auprès du feu (H. 447)Beaux petits yeux d’écarlate (H 448)

Michel Lambert“Jugez de ma douleur en ces tristes adieux”“Il est vrai, l’amour est charmant”“Tout l’Univers obéit à l’Amour”

Score credits: Published at Éditions des Abbesses in the Les Arts Florissants collection (Catherine Massip – Fannie Vernaz): Michel Lambert, Airs et Récits à quatre ou cinq voix: “D’un feu secret je me sens consumer”; “Il faut mourir plutôt que de changer”;“Chantez petits oiseaux dans la saison nouvelle”; “Que d’Amants séparés languissent nuit et jour”; “Tout l’Univers obéit à l’Amour.”

This tour is made possible with the support of The American Friends of Les Arts Florissants.

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About the ProgramWhat is an air de cour? The term was first coined in 1571 when Adrien Le Roy published a collection of songs for voice and lute titled Livre d’airs de cour mis sur le luth. The term “air de cour” was adopted after replacing “voix de ville,” which had become corrupted to “vaudeville.” It refers to a simple air that can be sung by anyone – labor-ers and ladies’ maids alike. However, in the 17th century, this popular genre gravitated from the street to the salon, where it became fashionable among the rich and aristo-cratic who took to it with extraordinary fervor. It was by turns serious, joyful and even licentious, at times con-taining lovelorn shepherds and solitary longings. The air de cour requires artists who specialize in its performance: Pierre de Nyert and Michel Lambert, Lully’s father-in-law, were the most illustrious of its champions. As early as 1984, William Christie and Les Arts Florissants took an interest in the genre, producing their first recording on the Harmonia Mundi label, dedicated to the work of Michel Lambert. The current program explores all the possibilities of the air de cour, a genre that can also be performed by groups of voices, male and female alike, depending on what is appropriate. The serious airs tell of love’s sorrows, whereas the drinking songs invite joyful companions to sing of pleasure and licentiousness, in counterpoint to the lovers’ moans. This performance also provides the opportunity to hear Joseph Chabanceau de la Barre and the rarely heard Honoré d’Ambruys.

Les Arts FlorissantsThe vocal and instrumental ensemble Les Arts Florissants is one of the world’s most renowned and respected early music groups. Dedicated to the performance of Baroque music on original instruments, the ensemble was found-ed in 1979 by William Christie and takes its name from a short opera by Charpentier. Les Arts Florissants have been largely responsible for the resurgence of interest in France in 17th century French repertoire as well as in European music of the 17th and 18th centuries in general. Since the acclaimed production of Lully’s Atys in Paris in 1987, Les Arts Florissants has found most success in the field of op-era. The ensemble has an impressive discography of nearly 100 recordings. In 2012, William Christie and Les Arts Florissants created the festival Dans les Jardins de William Christie, in partnership with the Conseil Général de la Vendée, in France. An annual event, the festival brings together artists from Les Arts Florissants, pupils from The Juilliard School and laureates of Le Jardin des Voix for concerts and musical promenades in the gardens created by William Christie at Thiré, in the Vendée.

Les Arts Florissants receive financial support from the Ministry of Culture and Communication, the City of Caen and the Région Basse-Normandie. They are artists in resi-dence at the Théâtre de Caen. Imerys and Alstom are spon-sors of Les Arts Florissants.

William Christie William Christie – harpsichordist, conductor, musicol-ogist and teacher – is the inspiration behind one of the most exciting musical adventures of the last 30 years, and has pioneered work that has led to a renewed apprecia-tion of 17th and 18th century French repertoire. Christie studied at Harvard and Yale universities and has lived in France since 1971. The turning point in his career came in 1979 when he founded Les Arts Florissants. As director of the ensemble, he brings new interpretations of largely neglected or forgotten repertoire to fruition. He is greatly in demand as a guest conductor at festi-vals, including Glyndebourne, and opera houses, such as The Metropolitan Opera in New York, and has created a discography of over 100 recordings. Wishing to further develop his work as a teacher, he created Le Jardin des Voix, an academy for young singers in Caen, France, in 2002. Since 2007, he has been artist-in-residence at The Juilliard School of New York, where he gives master class-es twice a year accompanied by the musicians of Les Arts Florissants. In 2008, Christie was elected to the Académie des Beaux-Arts.

Emmanuelle de NegriThis season the soprano Emmanuelle de Negri appears as Telaïre in Rameau’s Castor and Pollux under the baton of Emmanuelle Haïm in Dijon and Lille. She performs on stage with Les Arts Florissants and William Christie in Les fêtes vénitiennes by Campra, at Paris’ Opéra-Comique and in Caen. She also sings in operatic concerts (Platée in London, Orfeo with Accentus) and in concerts (Fauré’s Requiem, Cantatas by Mendelssohn, Les quatres saisons by Charpentier). She will be on tour with Les Arts Florissants both in the U.S. and France. On stage she has sung many roles from various repertoires, including Papagena, Yniold (Pelléas et Mélisande, Oberto (Handel’s Alcina), Miles (The Turn of the Screw), Clorinda (La Cenerentola) and Despina (Cosi fan tutte). Baroque repertoire is one of her favorite genres. Her collaboration with Les Arts Florissants dates back to the Jardin des Voix, and since then, she was Sangaride in Atys, Belinda in Dido and Aeneas and the Statue in Pygmalion in France and abroad.

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dedicated to Machaut, Mon chant vous envoy, and Miroirs brûlants, featuring melodies composed by Poulenc on texts by Éluard, accompanied by the pianist Guillaume Coppolla. He performs this repertoire at Besançon and Condette in 2015. An album with Anne le Bozec, dedicated to songs of the first World War, has been released this year.

Lisandro AbadieIn 2014, the bass-baritone Lisandro Abadie sang in Handel’s Riccardo primo, staged by Benjamin Lazar at the International Handel Festival in Karlsruhe. Later in the year he performed Bach’s Matthäus-Passion in the Concertgebouw Amsterdam, as well as the Johannes-Passion with the Liverpool Philharmonic Orchestra. He toured with Skip Sempé for Rameau’s Le service funèbre as well as with Les Arts Florissants for Monteverdi’s Seventh Book of Madrigals and performed the role of Argante in Handel’s Rinaldo at the National Theatre in Prague. This season he tours again with Les Arts Florissants and re-turns to the Karlsruhe and Göttingen Handel festivals. On stage he has performed many roles, including Le mage du Maghreb (Nino Rota’s Aladdin et la lampe merveilleuse), Handel’s Siroe and Giulio Cesare, Ullmann’s Der Kaiser von Atlantis. In 2010, he originated the title role of the opera Cachafaz by Oscar Strasnoy, staged by Benjamin Lazar (Opéra Comique).

Anna ReinholdIn the 2014-2015 season, Anna Reinhold appears in the roles of Menesteo and Pace in Elena at Angers-Nantes Opera as well as at Rennes Opera (production of Festival d’Aix-en-Provence under the direction of Leonardo Garcia Alarcón). She performs Labirinto d’amor in con-cert at many venues and during the Festival Radio France in Montpellier. Reinhold also gives concerts with Les Folies françoises, La Simphonie du Marais and Cappella Mediterranea, and will take part in an American tour with Les Arts Florissants. After graduating from Conservatoire National Supérieur de Musique de Paris, she participated in the Jardin des Voix – the vocal Academy of Les Arts Florissants. Christie has given her the role of Cybèle in Atys by Lully. She has been invited to perform in many operas of Baroque repertoire. She is nevertheless fond of contempo-rary music as well. Her latest recordings contain a program of arias for five singers with Les Arts Florissants and a recording dedicated to Cavalli with Mariana Flores and the ensemble Cappella Mediterranea.

Reinoud Van MechelenReinoud Van Mechelen was born in 1987 in Belgium and studied singing at the Conservatoire Royal in Brussels. In 2007, he took part in the Académie Baroque Européenne in Ambronay and performed Plutus in Le Carnaval et la Folie by Destouches under the baton of Hervé Niquet. He subsequently started a collaboration with ensembles including Il Gardellino, L’Arpeggiata, Ausonia, the Poème Harmonique, Ludus Modalis, B’Rock, Ricercar Consort and the European Union Baroque Orchestra. From 2011 through 2013, he was a member of the Jardin des Voix of William Christie and Paul Agnew. With Le Jardin des Voix, he took part in numerous concerts and performed the role of Zéphir in Lully’s Atys on concert tour with Les Arts Florissants. He has also performed with Les Arts Florissants at the Festival d’Aix-en-Provence, at the Edinburgh Festival and at the Château de Versailles.

Marc MauillonIn the 2014-2015 season, French baritone Marc Mauillon can be heard with Les Arts Florissants (Rameau’s Grands Motets) in South and North America and Europe, in Les fêtes vénitiennes by Campra in Caen and Paris, with Les Talens Lyriques in Lully’s Armide at l’Opéra National de Lorraine. He also collaborates with Jordi Savall and gives many recitals. Two 2013 recordings (Eloquentia) featuring Marc Mauillon show the breadth of his repertoire. They contain early and contemporary music, with an album

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Rhiannon GiddensIt was toward the end of the T Bone Burnett–curated September 2013 Another Day, Another Time concert at New York City’s Town Hall – a celebration of the early ’60s folk revival that had inspired the Joel and Ethan Coen film Inside Llewyn Davis – when singer Rhiannon Giddens indisputably stole the show. Performing Odetta’s “Water Boy” with, as The New York Times put it, “the fervor of a spiritual, the yips of a folk holler, and the sultry insinuation of the blues,” Giddens brought the star-studded audience to its feet. She was the talk of the lobby during intermission as those attendees unfamiliar with her Grammy Award–win-ning work as a member of African-American folk inter-preters Carolina Chocolate Drops wondered who exactly Rhiannon Giddens was, with her elegant bearing, prodi-gious voice, and fierce spirit.

On her Nonesuch solo debut Tomorrow Is My Turn, Giddens and Burnett revisit “Water Boy,” its Odetta-arranged work-song rhythm serving as both provocation and a statement of power. Giddens delivers an equally thunderous rendition, one made all the more striking when placed between a gentle, ruminative interpretation of Dolly Parton’s “Don’t Let It Trouble Your Mind” and a version of Hank Cochran’s “She’s Got You,” popularized by Patsy Cline, that Giddens imbues with “an old-timey R&B vibe,” abetted by Carolina Chocolate Drops band-mate Hubby

Jenkins. The breadth of musical vision on Tomorrow Is My Turn fulfills the promise of that brief but stunning star turn at Town Hall. The album incorporates gospel, jazz, blues, and country, plus a hint of proto-rock and roll, and Giddens displays an emotional range to match her dazzling vocal prowess throughout.

The life that Giddens explores at the climax of Tomorrow Is My Turn is her own creative one, on the lilting, self-penned ballad “Angel City.” Though she regards herself far more as singer than songwriter, “Angel City,” composed in the course of a single night during the recording of the Burnett-helmed The New Basement Tapes project, fits perfectly at the close of the set, gently paying homage to the elder artists whose work comprise the rest of the album. “It was these women, these artists, who had helped me, who had come with me on this journey, and here are lyrics that represented that.”

Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of la-bel-mates Punch Brothers; percussionist Jack Ashford of Motown’s renowned Funk Brothers; inventive drummer and Burnett stalwart Jay Bellerose; veteran folk-blues

Event Sponsors: Mary & Gary Becker Siri & Robert Marshall

Rhiannon GiddensFounding member of Carolina Chocolate DropsFRI, MAY 8 / 8 PM / CAMPBELL HALL

Rhiannon Giddens, fiddle, banjo, vocalsHubby J. Jenkins, banjo, guitar, mandolinMalcolm Parson, cello, melodicaRowan Corbett, guitar, banjo, cajon, bonesJamie Dick, drumsJason Sypher, bass

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delicacy. Rowan can also MacGyver anything you bring him; it’s truly dizzying to watch.

Jamie DickDick, who possibly has the most ironic name in the history of mankind, is a gentleman of the highest order and one with a delicate hand on the skins. Content with whatever groove fits the song he has no need for fancy fills and fur-belows* (tho’ he has them when he needs them); he rather shows his brilliance with subtle shifts of tempo and tone. It was an incredibly hard task finding someone to play drums for songs recorded with the great Jay Bellerose – but with certainty, it has been done, and with aplomb.

*That “fills and furbelows” is an injoke to anyone who reads 19th century literature. It’s not a typo.

Jason SypherSypher plays the bass. I’m just kidding! Sypher doesn’t just play the bass, he caresses the bass – he schools the bass; he makes that bass do whatever he wants it to do. Known all around New York as the Best Bass Player You Could Ever Want To Play With (™) he has sharpened his skills on Irish, bluegrass, old time, cajun – any music that needs a bass (and even a few that don’t), he has played, and played beautifully. If a bass player could play the phone book, he would be the one.

Musicians’ bios by Rhiannon Giddens

Special thanks to

guitarist Colin Linden; legendary backup singer Tata Vega; and Nashville session great, bassist Dennis Crouch. Giddens enthuses, “We had Dennis and Paul on stand-up bass at the same time on some of these tracks. They are all ‘musicians’ musicians and they did cool stuff they don’t always get the opportunity to play. It was a bit of a chal-lenge for them too, all these different kinds of music; ev-ery day was something new. We’d start the day by watch-ing the original inspiration for the song on YouTube, and then we would go cut it. They were a diverse group of people, but it felt like a real band.”

The songs here, says Giddens, “are all facets of the human condition.” Taken together, they answer the question Twyla Tharp posed at the beginning of Giddens’ solo adventure. Tomorrow Is My Turn is a composite portrait of “Ruby,” of America, and of Giddens herself, whose turn is clearly right now.

—Michael Hill

Hubby J. JenkinsJenkins is a renowned banjoist of high degree – feted for his witty repartee, his intricate fretwork, and his luck with the ladies. A long time member of the Carolina Chocolate Drops, he enriches the band with his deep knowledge of American music; as a Brooklyn native, he is not afraid to say what he thinks. Whether it be on banjo, guitar or man-dolin his commitment to the tradition shines through and illuminates us all.

Malcolm ParsonParson is that rarest of creatures, a jazz enthusiast who is not afraid to play old time music – on his cello he sparkles and shines on a nimble solo during one song and then thumps his hallowed instrument like a church bass, hold-ing down the chord progression and playfully altering it when the spirit strikes. He is a Berklee graduate, a compos-er, and one of the most patient people you will ever meet.

Rowan CorbettCorbett, a native of North Carolina, came to the string band music through the love of the music of Celtic lands – one of the best and most intricate bones player on stage today, he slowly added to his instrument repertoire through his adventures in Renaissance Festivals and celtic rock bands and went from having the easiest flight check-in to the hardest. He brings a lovely rock aesthetic to the old time world but always with the greatest of taste and

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Cristina Pato, gaita (Galician bagpipe)Internationally acclaimed as a gaita master and classical pianist, Cristina Pato uses her artistry and unprecedented virtuosic skill to bring her musical vision to life by fus-ing the influences of Latin, jazz, pop and contemporary music. In 1998, she became the first female gaita player to release a solo album, and since then has collaborated with world music, jazz, classical and experimental art-ists including the Chicago Symphony, Yo-Yo Ma, The Chieftains, Arturo O’Farrill, World Symphony Orchestra and Paquito D’Rivera. She is a member of Yo-Yo Ma’s Silk Road Ensemble.

Pato’s unique and powerful style has been acclaimed by The New York Times as “a virtuosic burst of energy.” The Wall Street Journal has called her “one of the living masters of the gaita.”

An active recording artist and performer since age 12, Pato has released four solo gaita recordings and two as a pianist. She has also collaborated on more than 30 recordings as a guest artist, including the Grammy Award-winner Yo-Yo Ma and Friends: Songs of Joy and Peace (Sony BMG 2008); Miles Espanol: New Sketches of Spain (Entertainment One Music, 2011); and the Grammy-nominated Silk Road Ensemble album, Off the Map (World Village, 2010).

Cristina Pato holds a Doctorate of Musical Arts in Collaborative Piano from the Mason Gross School of the Arts at Rutgers University, where she studied with a fellow-ship from Fundacion Barrie de la Maza and was awarded

the Edna Mason Scholarship and the Irene Alm Memorial Prize for excellence in scholarly research and perfor-mance (2008). Pato holds degrees in Piano Performance, Music Theory and Chamber Music (with honors) from the Conservatorio de Musica del Liceu (Barcelona). She also holds a Master of Fine Arts Degree in Digital Arts (Computer Music) from the Universitat Pompeu Fabra (Barcelona).

Pato served as a founding member of the Silk Road Ensemble Leadership Council, collaborating closely on programming at Harvard University, where the Ensemble is in residence. She has served as a panelist, mentor and fac-ulty member on various projects with the Harvard Business School and the Harvard Graduate School of Education.

During the last season, Pato toured Africa, Europe and the U.S. with her own band; China and Korea with the Silk Road Ensemble; and India with Sandeep Das’ HUM Ensemble. She collaborated on the album Miles Espanol and participated with the Silk Road Ensemble, John Williams, and James Taylor in the Kennedy Center Honors gala honoring Yo-Yo Ma.

Pato has given lectures and workshops and participated on panels at the WWW conference (with will.i.am, Yo-Yo Ma and Damian Woetzel), Chicago Civic Orchestra, University of Texas at Austin and Princeton University. She also collaborates with the Vail International Dance Festival and The Aspen Institute.

Event Sponsors: Jody M. & John P. Arnhold

Cristina Pato QuartetWED, MAY 13 / 8 PM / CAMPBELL HALL

Cristina Pato, gaita (Galician bagpipe) Victor Prieto, accordionEdward Perez, double bassEric Doob, drums

Approx. 90 min, no intermission.

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Celtic, Brazilian, jazz, tango and classical music. Prieto also developed a new technique for the accordion called “chord approach on both hands,” which creates rich and elaborate harmonies.

Prieto performed and recorded with Yo-Yo Ma (the 2010 Grammy-winning album Songs of Joy and Peace, Sony BMG Masterworks), Arturo O’Farrill’s Afro Latin Jazz Orchestra, Billy Hart, Paquito D’Rivera and Chris Cheek, among others. He is involved in collaborations with the Christian Howes Group, the Cristina Pato Quartet, Emilio Solla’s Jazz Tango Conspiracy and The Maria Schneider Orchestra.

Edward Perez, double bassEqually at home in jazz, Latin-jazz, and South American music, bassist Edward Perez has delighted audiences at the Lincoln Center, Kennedy Center, The Blue Note and a host of theaters throughout the world, alongside such greats as Lee Konitz, Paquito D’Rivera, Kenny Werner and Ignacio Berroa. He has recorded with jazz luminaries Seamus Blake, Mark Turner and Lionel Loueke and appears on Hector Martignon’s Grammy-nominated album Second Chance. He has enjoyed stints with celebrated singers Eva Ayllón (of Peru) and Lucia Pulido (of Colombia). Recent projects include arranging and directing the album Afrodélico, by Latin Grammy nominee Jorge Pardo.

Eric Doob, drumsBorn in Boston, Eric Doob began playing music profes-sionally at age 15 and at 17 received a scholarship to the Berklee College of Music in Boston. While at Berklee, he became the inaugural recipient of the college’s Keith Copland/Sabian Cymbals Scholarship Award. Shortly after graduating in 2006, Doob began performing and touring with 14-time Grammy Award winner Paquito D’Rivera. In addition to working with D’Rivera, he has toured with the groups of Miguel Zenon, Christian Scott and Dave Samuels. He has appeared as a guest artist with Wynton Marsalis and the Jazz at Lincoln Center Orchestra as well as with the NDR Big Band of Hamburg, Germany. For his performance on Manuel Valera’s New Cuban Express, Doob shared in the nomination for Best Latin Jazz Album in the 2013 Grammy Awards. He has performed throughout North America, Central America, South America, Europe and Asia, and has appeared at some of the world’s most prestigious venues, including Carnegie Hall and Lincoln Center. He currently resides in Brooklyn, N.Y.

In 2014, Pato’s Gaita and Orchestra Commissioning Project was awarded a grant from New Music USA. With this award, she hopes to build a repertoire for the gaita and symphony orchestra. Pato is collaborating with composers Octavio Vazquez, Emilio Solla and David Bruce to create music that would combine her two passions: world mu-sic and classical music. Emilio Solla’s A Galician Voyage: Concerto for Gaita, Piano & Orchestra is scheduled for its premiere in Barcelona (Orquestra Simfònica del Vallès) and with the Chicago Sinfonietta at Chicago Symphony Hall with Mei-Ann Chen conducting in 2015.

In May, 2014, Pato was part of a performance at The White House, hosted and organized by First Lady Michelle Obama and The President’s Committee on the Arts and the Humanities, the U.S. Department of Education and the National Association of Music Merchants. She was joined by the students from Turnaround Arts schools – a program that brings arts education to students in some of the lowest performing schools across the nation – as well as fellow Silk Road members Kojiro Umezaki and Shane Shanahan.

Pato was named Mellon Visiting Artist in Residence for the 2014-2015 season at the College of Holy Cross. Her resi-dency is part of the launch of “Arts Transcending Borders” (ATB@HC), a new initiative designed to infuse the fine and performing arts in students’ academic lives and create new opportunities by transcending cultural, geographic and disciplinary boundaries.

In 2015, Pato will release a new album titled Latina. In this album she embraces the strength of women in Latin culture through one of the essential rhythms of traditional music: the 6/8. Latina is a musical journey that begins with the Italian rhythm, the tarantella and the Galician muineira, and on to the Americas, where the joropo, the llano and the festejo thrive to this day.

Back in Galicia, Pato is the founder and artistic director of Galician Connection, an annual world music festival and forum held in Galicia, Spain. She has lived in New York City since 2004.

Victor Prieto, accordionA native of Galicia, Spain, Victor Prieto is considered one of the best jazz/world music accordionists in the world. He has changed the way musicians and spectators view accordion by revolutionizing both technique and sound. His love for traditional Galician music and classical edu-cation enriches his compositions with explosive rhythm and colors. He uniquely combines his Galician roots with

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Thank You!to UCSB students for your continued support through registration and activity fees.

Ukulele player Jake Shimabukuro poses with UCSB students after a free concert in Storke Plaza

CNN host Fareed Zakaria in a session with UCSB Global & International Studies students

Revered cellist Yo-Yo Ma in a public master class with students from the UCSB Department of Music

The Nrityagram Dance Ensemble teaches students in the UCSB

Department of Theater & Dance

London-based dance company BalletBoyz® leads a ballet class in the UCSB Department of Theater & Dance

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