WHAT IS
HAPPENING
TO THE
ARTS AT
BRANDEIS?
A M AG A Z I N E D E VO T E D T O T H E C R E AT I V E A R T S FALL 2 0 0 9
VO L U M E 6 / N U M B E R 1
Brandeis University
The Value of Art
I know what you’re going to ask. Is the Rose Art Museum still
open? Well, happily, the answer is yes.
As a Brandeis arts patron, you no doubt heard last winter’s
news regarding the Rose. In January 2009, among several other
initiatives it is taking to address the economic downturn, the
university announced plans to close the museum and sell artwork.
This decision became a source of controversy, protest, and
debate on and off campus. Many people responded to the
symbolism. Arts advocates who were unfamiliar with Brandeis or
our museum took up the cause.
As a lifelong arts advocate myself, it was rewarding to see so
many people were concerned about our campus museum. In the
past, we often struggled to get students and local arts patrons
inside the Rose. Suddenly, it was acknowledged as a national
treasure and an essential part of a Brandeis education. Attendance
reached an all-time high as people across Greater Boston came to
appreciate this wonderful cultural resource that they had frequently
taken for granted.
The university reassessed. Brandeis’s president announced the
museum would stay open, and the provost appointed a Future of
the Rose Art Museum Committee to define the next steps. I
served on the committee, which comprised faculty, students,
academic staff, Rose staff and overseers, alumni, and trustees.
For six months we solicited a wide range of ideas about the Rose
through meetings, surveys, and interviews.
In September 2009, the committee issued our recommendations
to the Brandeis Board of Trustees and senior administration.
Following a time of transition, we hope the Rose will ultimately
become an even more meaningful part of Brandeis and the Greater
Boston arts community.
Crisis averted? Well, sort of.
The Great Recession is having a dramatic effect on the arts.
Nationwide, arts organizations and university arts programs are
in jeopardy. In August, the New York Times reported, “Tens of
thousands of students at public and private colleges and
universities around the country will find arts programs, courses,
and teachers missing—victims of piercing budget cuts—when
they descend on campuses this month and next.” The
Association of Performing Arts Service Organizations has
identified that 50 percent of America’s theaters, orchestras, and
dance companies are facing budget cuts, and 48 percent are
projecting deficits. Even the venerable Metropolitan Museum of
Art was forced to make $10 million in staff reductions this year.
State agencies, foundations, and donors that are lifelines for the
arts are facing their own economic troubles.
The Rose and Brandeis may have captured headlines for a
time, but we were really among the first to confront a thorny
predicament. Communities all across the country with
institutional and governmental deficits are facing tough
economic choices that are forcing them to evaluate and
sometimes redefine their values and priorities. And where do the
arts fall on your priority list?
Inevitably, it comes down to this question: What is the value
of art?
Trying to answer that question became the gift in the Rose
controversy. In many ways this was a difficult, even painful
experience for my community, and we have not yet put it behind
us. But the situation also caused people across campus—and, to
some degree, nationwide—to consider how and why the arts are
essential to higher learning. We engaged in complicated but real
conversations about the role of museums and art in our
communities, in education, and in our daily lives.
Amid all the discourse surrounding the Rose, fittingly, the
wisest response I encountered came from a Brandeis student. His
name is Maxwell Price, Class of 2011, and he isn’t even an arts
major. In an editorial in the student paper the Hoot, he wrote:
“It’s time to wake up, folks, because it’s a dog-eat-dog world
out there, and the arts are easy prey. I’m not saying that the
Brandeis administration initially decided to close the Rose
because students didn’t appreciate it enough. Yet I do believe
that if we had shown as much interest in the art during all the
years preceding the decision that we did in our protest, the
Board of Trustees might have expressed a little more hesitation.
“So here’s an idea. Let’s launch a demonstration to show how
much we value the arts. March to the Spingold Theater to see a
thought-provoking production by the Brandeis Theater
Company. Storm the Dreitzer Gallery to view the new
undergraduate art exhibition. Stage a sit-in of Slosberg Music
Center, where the Lydian String Quartet performs. At this
moment of transition, it’s time to turn the tide back toward the
arts in liberal arts. And it starts when you show that you care.”
State of the Arts provides you with myriad opportunities to do
just that. I hope you will join me in exhibiting what you value most.
Scott Edmiston
Director, Office of the Arts
Contents
FALL 2009
VOL. 6, NUMBER 1
2 happening
State of the Arts is published twice a
year by the Office of the Arts and the
Office of Communications.
The Office of the Arts
Director/Editor-in-Chief
Scott Edmiston
Program Administrator
Ingrid Schorr
6 visual arts
Office of Communications
Assistant Vice President
Ken Gornstein
Freelance Art Director
Eson Chan
University Photographer
Mike Lovett
Senior Editor
Theresa Pease
9 music
Publications Editor
Cathy Mallen
Production Manager
Tatiana Anacki ’98
Contributors
Nicholas Brown ’10
David Colfer
Roy Dawes
Judy Eissenberg
Leigh Hilderbrandt
Shawna Kelley
MaryPat Lohse
Lisa J. Lynch
Cheryl Nalbach
Mary Ruth Ray
Ann Tanenbaum ’66
Joy Vlachos
Valerie Wright
Correspondence:
Office of the Arts
MS 051 Brandeis University
PO Box 549110
Waltham, MA
02454-9110
14 theater arts
19 art
of the
matter
20 artifacts
brandeis.edu/arts
21 calendar
What’s the buzz?
Tell me what was
During the 2009
Leonard Bernstein
Festival of the
Creative Arts,
Brandeis imagined
new definitions
of art in the
twenty-first century.
By Ingrid Schorr
Festival Producer, Office of the Arts
I
n April, you could see and hear the
proclamation all over campus
during the Leonard Bernstein
Festival of the Creative Arts. “ART is
happening!” From the enormous banner
outside the Shapiro Campus Center to
the hundreds of handwritten “Art is…”
postcards inside the building’s atrium,
and from the shouts following
spontaneous performances in dining
halls to the 500-person standing ovation
given to Carmina Burana, art was
happening everywhere. The creative
energy and “wide-awakeness” were
uncontainable and irresistible. Estimated
attendance for the 2009 festival was the
highest on record—nearly 6,000 people
over five days.
This great Brandeis tradition was
founded in 1952 by the legendary
American composer and Brandeis faculty
member Leonard Bernstein in celebration
of the university’s first commencement.
Bernstein envisioned the Festival of the
Creative Arts as a symbol that “the art of
an era is a reflection of the society in
which it is produced, and through
creative endeavors the thoughts and
expression that characterize each
generation are revealed and
transformed.” The historic event included
the world premiere of Bernstein’s opera
Trouble in Tahiti, the American premiere
of Marc Blitzstein’s translation of The
Threepenny Opera performed by Lotte
Lenya, and the New England premiere of
Merce Cunningham’s choreography of
Les Noces. The festival offered art films,
music by Aaron Copland and Miles Davis,
poetry readings by William Carlos
HAPP E N I N G !
Williams, and symposia on the state of
the arts. The festival established the
Brandeis value system that art examines
and reveals truth, even unto its innermost
parts. Bernstein called it “a moment of
inquiry for the whole world when
civilization looks at itself appraisingly,
seeking a key to the future.” The event
was renamed in his honor in 2005.
For the 2009 Creative Arts Festival,
we wanted to recapture the artistic
experimentation that characterized that
first festival—and invigorate it through a
twenty-first-century sensibility. We came
up with two new elements: “Art is” and
“happenings.” Building on the habits of
the Twitter/Facebook generation, we
invited all Brandeis students, faculty, and
staff to define the status and meaning of
art by completing the sentence “Art
is….” Hundreds of community members
responded, and each description was
transcribed onto an art postcard and
suspended in the campus center,
creating an enormous mobile. We’ve
included a sample of those responses on
the following pages.
“Happenings” are spontaneous,
multidisciplinary performances that blur
the lines between artist and audience.
Some elements are planned, but
happenings really ignite when the artists
improvise together. Painter Allan Kaprow
coined the term in 1957, and the practice
flourished in the 1960s and ’70s; this
century’s technology reinvented
happenings as “flash mobs.” During the
five days of the festival, happenings
erupted indoors and out, between
classes and at the end of the work day,
fostering innovative and delicious
collaborations among dancers,
poets, actors, and visual artists—and
delighted spectators.
Sunday afternoon’s Performing Arts
Festival included Big Nazo, the
international commedia/street theater/
puppet performers; the Institute for
Infinitely Small Things, which transformed
the 2009 economic stimulus package
into origami; Sidewalk Sam, the beloved
Boston public artist; world music from
the Guy Mendilow Band; the enchanting
Tanglewood Marionettes; and Company
One’s ARTiculation, a thundering mix
of urban poetics and live theater.
The Lemberg Children’s Center at
Brandeis provided art activities and
workshops on the Great Lawn, while
Student Events sponsored rock concerts
on Chapels Field. The Rose Art Museum
was the scene of an extraordinary
dance-theater adaptation of Ovid’s
Metamorphoses, and Slosberg Music
Center resonated with jazz, opera, and
new musical compositions.
The Office of the Arts awarded grants
to support twenty-one original student
projects. Catherine McConnell ’10 and
Hannah Richman ’10 used lecture notes,
club flyers, and newspaper headlines to
create a sculpture defining the essence of
what it means to be a Brandeis student.
Ariella Silverstein-Tapp ’09 painted largescale portraits of people responding to
Barack Obama’s election. She told me,
“It is a privilege to feel like a valued
representative of the arts at Brandeis and
to have this chance to show that we are
here and we have lots of things to say.”
Mohammed Kundas ’10, whose band,
Mochila, premiered at last year’s festival
and this year released its first CD, wrote:
“This is the greatest moment of my life.”
On behalf of the artists in the festival, I
extend special thanks to four people
whose generous contributions made this
innovation possible: Eric Green, P’07,
David R. Hodes ’77, Sue Nager ’55, and
Jolie Schwab ’78. Planning is already
under way for the 2010 festival,
scheduled for April 27 to May 2. We have
commissioned the creation of a largescale public work of art by the brilliant
visual artist Michael Dowling, another
first in the festival’s distinguished history
of creative exploration. I like to think that
Leonard Bernstein would be proud.
Art is not what it
looks like, but what
it does to us.
Art is priceless.
Art is the ecstasy of achieving the perfect
fusion of human emotion and intellect.
Art is
emotion
made
manifest.
Art is like oxygen.
I can’t imagine living
without it.
Art is the answer to
“Why?” in 3/4 time.
Art is the beautiful core of truth’s innermost pARTs.
Art is genius + poverty.
Art is the use of craft and
imagination to express the
deepest visions and
yearnings of the soul.
Art is personal discovery
of a common truth.
Art is
community.
Art is a thirteen-year-old
on his first trip alone to
the city, alone with a
painting, captivated, the
feeling of a secret
between them.
Art is
ice cream for
the eyes.
Art is euphoric,
memorable, and
timeless.
Art is, Art was, and
Art shall ever be.
visual arts
OSE
ART
OSE
ART
OSE
ART
OSE
ART
OSE
OSE ART
ART
The Rose Art Museum at Brandeis
is home to one of the most extra­
ordinary art collections of any
academic institution. The collection
spans the last century in Western art,
from the early European and American
Modernists up to the twenty-first
century. The permanent collection
is used as a teaching resource and
is available for scholarly use by
appointment. The Rose is free and
open to the public. Visit go.brandeis.
edu/rose or call 781-736-3434.
<<
MUSEUM
MUSEUM
MUSEUM
MUSEUM
MUSEUM
MUSEUM
ROSE ART MUSEUM
An American Beauty
Cataloging the Rose
I
Gino Severini,
Still Life, c. 1919
Oil on board
Gift of the Glickstein Foundation
By Ann Tanenbaum, Class of ’66 and Rose Overseer
have rather limited recollections of the Rose Art Museum
from my years as a Brandeis undergraduate. I was an English
and American language major with a romantic interest in
an upperclassman who was housed in Ridgewood dorm,
so the Rose was very central to my walking path. It was a new
building on campus and didn’t beckon to me then. I have much
stronger recollections of the legendary professor Leo Bronstein,
who taught an art history course I thoroughly enjoyed and
whose Cambridge apartment I sublet in the summer of 1965.
While I was interested in the arts—and in fact remain enchanted
by a bronze sculpture I purchased in Cambridge during those
years—they didn’t yet have the compelling resonance they do
for me today. But I suppose some crucial seeds were planted at
Brandeis because I have subsequently devoted years to pub­
lishing books on art and related subjects.
I think, perhaps, young women in the early 1960s were less
advanced than their college counterparts of today. For example,
I’m currently working with a scientist, an artist, and an entrepreneur on developing a book with the working title “How A.R.T.
Can Save Our World” (A.R.T. = All Representation of Thoughts,
as well as art). This concept would not have come to mind in
the ’60s, irrespective of the focus on educator and philosopher
Marshall McLuhan’s declaration that “the medium is the mes-
sage.” Nevertheless, extraordinary art was being created in that
decade, and many of us now eagerly recall the remarkable artists
who were working then—and whose innovative visions comprise
a substantial part of the Rose collection.
As a young woman, I was immensely privileged to work,
beginning in 1969, for the trailblazing art publisher Harry N.
Abrams, who founded the company that carries his name. The
man was an inspiration, and he remains as alive in my mind
today as ever. He was amassing a brilliant art collection, and,
happily for his employees, chose to place some of it in our
offices. I’ll never forget waiting in the reception area for my
initial interview and being awed at the canvases hung on each
wall. That was only the beginning of the visual enticement that
ran throughout the office space. I felt I was in the Museum of
Modern Art in New York and wondered if I could possibly be
fortunate enough to spend my days in such an environment.
And fortunate I was: I occupied that space physically until 1976
and have occupied it mentally forever.
My recent involvement with the Rose Art Museum has been
a natural and seamless transition from my days at Harry N.
Abrams, Inc. I worked with Sam Hunter (the first Rose director
and principal architect of the Rose collection) while at Abrams.
Harry gave art to the collection at the Rose. As my thoughts
Works from the Collection
Opening October 28
Opening Reception: 6:00–8:00 p.m.
<<
In celebration of the first comprehensive catalog
of its permanent collection, published this fall,
the Rose presents a historic exhibition of its
great modern and contemporary masterworks.
The Rose collection numbers nearly 7,000
objects and is particularly strong in American
art of the 1960s and 1970s.
The collection represents significant cultural
movements of the past five decades. On view
are works by Willem de Kooning, Jasper Johns,
Roy Lichtenstein, Morris Louis, Andy Warhol,
Robert Motherwell, Helen Frankenthaler,
Max Weber, Cindy Sherman, Kiki Smith,
Larry Rivers, Philip Guston, Frank Stella,
Jennifer Bartlett, Hans Hofmann, Louise
Nevelson, and Ellsworth Kelly.
Dana Schutz,
How We Would Drive, 2007
Oil on canvas
Purchased with funds from the Rose Purchase Fund Endowment
and funds from the Rose Museum Board of Overseers. Courtesy
of Zach Feuer Gallery, New York.
turned to my alma mater, the museum was my natural nesting
place. I joined the Rose’s Board of Overseers and wanted to
make a meaningful, intellectual contribution there. I sponsored
the creation of a new curatorial fellowship position, and we hired
a gifted young woman named Adelina Jedrzejczak, who subsequently became the museum’s assistant curator.
The idea for a Rose Art Museum catalog naturally combined
my publishing experience with my recognition of the need for
a complete documentation of this seminal collection of modern
and contemporary art. To me, the collection is a cherished entity
assembled with knowledge, dedication, insight, and care. The
interest in a comprehensive catalog was born in the earliest
years of this century. And because part of me is drawn to symmetry, I expressed my thoughts to my longstanding Abrams
friend and publishing colleague, editor Margaret Kaplan.
Margaret and I thought through the concept and components
of the collection catalog, and I introduced her to then museum
director Michael Rush. The contract for the publication was
inked, and the book will be released on October 1 of this year. It
has been crafted from the collaborative efforts of distinguished
critics and scholars who include Brandeis faculty members,
alumni, and Rose staff, among others. I am especially delighted
that Adelina, who made a significant contribution to the book
during her years at the Rose, is guest
curator of the fall exhibition that
accompanies it.
The publication of this catalog fills
me with great hope. I hope there will
be an outpouring of interest from
students, alumni, and devotees of the
museum for this chronicle of an irreplaceable collection. I hope interested
readers of State of the Arts will acquire
a copy and join me in making the book
a success for the Rose and for Brandeis.
My over­arching hope is that the publication of the works in the collection
will draw the interest of those not yet
acquainted with its marvels. Finally,
I dearly hope that the museum will survive its current challenges
and that the true voice of the collection will be heard, nurtured,
and preserved in all its compelling, quiet majesty.
The Rose Art Museum at Brandeis (Abrams, 2009) is available
in the museum lobby, at Amazon.com, and in bookstores.
STATE OF THE ARTS
| brandeis university
7
visual arts
WOMEN’S STUDIES RESEARCH CENTER
KNIZNICK GALLERY
The Kniznick Gallery at the Women’s Studies Research Center is where research, art, and activism converge.
It is the only exhibition space in New England devoted to women’s art and art about gender. For more information,
call 781-736-8102 or visit go.brandeis.edu/wsrc.
Cairns
Through October 16
An elegant and eclectic selection of
artwork by WSRC Scholars. Now commonly built as commemorative landmarks,
cairns—or human-made stone piles—have
a rich and diverse history. Through painting, photography, and sculpture, these artists explore the ancient concept, both literally and conceptually. Featuring Marguerite
Bouvard, Emily Corbató, Karen Craddock,
Nurit Eini-Pindyck, Susan Eisenberg, Fran
Forman, Karen Frostig, Mary Oestereicher
Hamill, Suzanne Hanser, Karin Rosenthal,
and Rosie Rosenzweig.
<<
Karin Rosenthal,
Dancer Triptych, 2007
Afternoon Art
Thursday, October 8, 3:00 p.m.
WSRC curator Lisa Lynch offers a tour
of the exhibition.
DEPARTMENT OF
FINE ARTS EXHIBITIONS
The Brandeis Department of Fine Arts invites students to experience art as both scholarship and a
process of creation. It offers programs in studio art and art history, and its postbaccalaureate program
is recognized as one of the finest in the country. Student exhibitions are held in the Dreitzer Gallery at
the Spingold Theater Center and are free and open to the public. Visit go.brandeis.edu/finearts.
Brushes with Greatness
Prospect I and II
December 1–January 29
Reception: December 1, 5:00–7:00 p.m.
Enjoy paintings, prints, and drawings by emerging
and gifted undergraduate artists.
March 17–May 2
Experience the imaginations and technique of the
accomplished postbaccalaureate studio artists. Two
exceptional group shows feature original work in
painting, sculpture, drawing, and printmaking.
Dimensions 3
February 24–March 14
Reception: February 24, 5:00–7:00 p.m.
Travel to new dimensions in sculpture, 3D design,
and photography.
8
brandeis university |
STATE OF THE ARTS
Exhibiting the Future:
The Class of 2010
May 5–23
Reception: May 5, 5:00–7:00 p.m.
Celebrate the extraordinary talents of the graduating
artists in a group show featuring their year’s work.
music
Slosberg Music Center is home to exhilarating professional concerts of diverse styles and traditions. Tickets are
$10–$25 unless otherwise noted. Purchase tickets online at
go.brandeis.edu/BrandeisTickets, or call Brandeis Tickets:
781-736-3400.
Fauxharmonic Orchestra
Photo by: Matthew Garrett
Sunday, October 4, 3:00 p.m.
The Fauxharmonic Orchestra (www.fauxharmonic.com) is a
pioneering computer-based instrument created by Brandeis
alumnus and conductor Paul Henry Smith to perform orchestral music. Using Macs and Wii controllers, he will perform
Beethoven’s Second Symphony, Webern’s Symphonie, and student compositions. Includes a demonstration and Q&A about
this new mode of performing orchestral music. $10 general
admission; $5 for the Brandeis community and for seniors.
Smith studied conducting with Leonard Bernstein at
Tanglewood and received an MFA from Brandeis in 2004. His
career is devoted to promoting and improving the digital performance of orchestral music.
“I began wondering if technology was good enough to be
able to make music on a high level . . . or at a level I’m satisfied
with,” he writes. “My initial work convinced me that this is possible and that it’s just a matter of putting in the time and resources
to make it work. So, instead of seeing digital instruments with all
their current limitations and saying ‘They don’t work,’ I see them
with all their potential and say, ‘Let’s make them work!’
“I always knew that having many expressive possibilities and
an easy way to control those possibilities would be the most
important aspects and the hardest to work with. Still, I am a bit
surprised at how easy it has been to use off-the-shelf hardware
and software to do things like conduct the orchestra in real time
in a concert hall. I had imagined the need for specialized equipment and software
to do that. Now,
I just use Apple’s
Logic and a couple
of Nintendo Wii
controllers. Problem
solved!
“There is a lot
of work to do. But
the potential is
definitely there for
digital instruments
to be as expressive
as acoustic instruments when performing orchestral music. So
now, instead of troubleshooting balky technology, I can spend
hundreds of hours studying the music, crafting the right balance and phrasing, and trying out my musical ideas.”
Paul Rishell and Annie Raines
Friday, October 9, 8:00 p.m.
“W. C. Handy Award–winners Rishell & Raines are rousing
interpreters of country blues, the original acoustic style that
gave birth to electric blues, R&B, and rock. While their guitar,
harmonica, and vocals are roiling, muscular, and masterful,
their shows are down home–friendly and fun-loving.”
— Boston Globe.
Bob Nieske’s Big Wolf Band
Friday, November 20, 8:00 p.m.
Ten of Boston’s leading jazzmen unite for a session of new jazz
compositions. Featuring Allan Chase, Tony Carelli, Tom Hall,
sax; Phil Grenadier, Ken Cervenka, trumpet; Jeff Galindo, Phil
Swanson: trombone; Jon Damian, guitar; Bob Tamagni, drums;
and Brandeis professor Bob Nieske, bass.
STATE OF THE ARTS
| brandeis university
9
LYDIAN
STRING
QUARTET
LYDIAN STRING QUARTET
Around the World in
a String Quartet
Audiences around the world have experienced the exceptional musicianship of the
Lydian String Quartet. Daniel Stepner,
Judith Eissenberg, Mary Ruth Ray, and
Joshua Gordon continue their concert
series “Around the World in a String
Quartet,” presenting musical narratives
from Costa Rica to Russia. This season
also will feature solo concerts and a world
music collaboration with guest artists.
Concerts begin at 8:00 p.m. in Slosberg
Music Center unless otherwise noted and
are preceded by a free lecture at 7:00 p.m.
Tickets are $10–$25. Purchase tickets online
at go.brandeis.edu/BrandeisTickets, or call
Brandeis Tickets: 781-736-3400.
Germany/Russia/Austria
Saturday, October 3
Beethoven: Quartet in E-flat, op. 127
Shostakovich: Unfinished Quartet
Schoenberg: Quartet no. 2 with Dominique Labelle, soprano
Daniel Stepner: Together Again
Saturday, October 17, 8:00 p.m.
The renowned Lydian violinist performs an evening of unaccompanied Bach—
and standup comedy.
Austria/Costa Rica/Hungary
Saturday, November 7
Mozart: Quartet in E-flat, K. 428
Alejandro Cardona: Quartet no. 5
Bela Bartok: Quartet no. 4
Cellotica, Vol. 2: Eclectic Mix
Sunday, February 28, 3:00 p.m.
Lydian cellist Joshua Gordon is joined by pianist Randall Hodgkinson
for a concert mixing the familiar and exotic, including a world premiere
from acclaimed Boston composer Scott Wheeler.
music
MusicUnitesUS
WORLD MUSIC CONCERTS AND
INTERCULTURAL RESIDENCIES
Experience diverse histories and cultures through the universal
narrative of music. This year, MusicUnitesUS offers you journeys to
Cuba and Azerbaijan. Concerts begin at 8:00 p.m. in Slosberg Music
Center and are preceded by free lectures at 7:00 p.m. Tickets are
$10–$25 and available online. In association with these residencies,
Brandeis sponsors free films, open classes, and symposia on related
topics. For a schedule, visit go.brandeis.edu/MusicUnitesUS.
Obbini Tumbao
Obbini Tumbao
Saturday, October 24, 8:00 p.m.
Thrill to the Afro-Cuban tradition through the ebullient
rhythms of congas, timbales, bongos, piano, and bass.
Mix in two dynamic vocalists and a sizzling horn section,
and Obbini Tumbao will transport you to another world.
“If Mambo Kings Poncho Sanchez and Tito Puente got
together to jam with the Buena Vista Social Club, it might
sound something like Obbini Tumbao.” —Boston Globe
Alim and Fargana Qasimov:
The Spiritual Music of Azerbaijan
Saturday, March 6, 8:00 p.m.
Discover music of Central Asia with Azerbaijan’s most
beloved traditional singer in this haunting concert of Azeri
classical mugham and lyrical bardic songs.
Pacific Rim Brandeis
Lydian String Quartet and the Contemporary Music
Ensemble of Korea
Monday, April 26, 7:00 p.m.
An extraordinary music collaboration in which East meets
West, and tradition meets innovation.
Contemporary Music Ensemble
of Korea with Del Sol Quartet
Tuesday, April 27, 7:00 p.m.
Experience the exquisite charm of Pansori singing and
Korean instruments including the daegeum, gayageum,
guitar, and saenghwang.
DEPARTMENT OF
MUSIC CONCERTS
Brandeis student ensembles perform music from the Renaissance to contemporary jazz, and graduate students present
world premieres of their compositions in Slosberg Music Center. Tickets are $5–$10 unless otherwise noted. Purchase
tickets online at go.brandeis.edu/BrandeisTickets or call 781-736-3400.
Brandeis-Wellesley Orchestra
Messiah Sing
Sunday, October 18, 3:00 p.m.
Neal Hampton, conductor
Mendelssohn’s The Hebrides Overture op. 26
Mendelssohn’s Capriccio brillant op. 22, Michael Shafir, piano
Beethoven’s Symphony no. 1 in C, op. 21
Thursday, December 3, 4:00 p.m.
Shapiro Campus Center Atrium
Grab a Handel and join the Brandeis music ensembles
and other music lovers for our annual celebration.
Free and open to the public.
MusicFest ’09
Brandeis Jazz Ensemble
Sunday, October 25, 1:00 p.m.
Get the score on all six outstanding Brandeis ensembles,
from classical to jazz, in a blockbuster concert featuring
more than 200 student singers and musicians. A highlight
of Fall Fest weekend. Free and open to the public.
Saturday, December 5, 8:00 p.m.
Bob Nieske, director. New and favorite jazz classics.
New Music Brandeis
Saturday, October 31, 8:00 p.m.
Listen to the future through world premieres by graduate
composers. Free and open to the public.
Brandeis University Chorus and Chamber Choir
Saturday, November 14, 8:00 p.m.
James Olesen, director
Psalms: The Judeo-Christian Tradition featuring Purcell,
Monteverdi, Rossi, Haydn, Mozart, Schubert, Mendelssohn,
Berger, Thomson, Vaughan-Williams, and Stravinsky.
Brandeis Wind Ensemble
Sunday, November 15, 3:00 p.m.
Thomas Souza, director
Travel south of the border with music from Mexico,
Puerto Rico, and Brazil.
Brandeis Early Music Ensemble
Sunday, November 22, 3:00 p.m.
Sarah Mead, director
Point, Counterpoint: The Construction of a Period Sound-World.
Brandeis-Wellesley Orchestra
Sunday, November 22, 7:00 p.m.
Neal Hampton, conductor
Mendelssohn Piano Concerto no. 1 in G minor op. 25
Connie Tung, piano
Tchaikovsky’s Symphony no. 2 (Little Russian), op. 17 in C minor
12
brandeis university |
STATE OF THE ARTS
Leonard Bernstein Music Scholars in Concert
Sunday, December 6, 3:00 p.m.
Free and open to the public
Brandeis Improv Collective
Sunday, December 6, 7:00 p.m.
Tom Hall, director
Free and open to the public.
New Music Brandeis
Saturday, December 12, 8:00 p.m.
World premieres by graduate composers.
Free and open to the public.
music
Slosberg to Salzburg
Conducting Life as a Brandeis Music Student
By Nicholas Alexander Brown
Class of 2010
S
ome people say I eat, sleep, and breathe in the Brandeis
Department of Music. I don’t really. But I do everything
I can to support it and take advantage of the freedom
it offers me to pursue my creative dreams. My life as a
music major is filled with amazing opportunities both on and off
campus. As a conductor, French horn player, and baritone vocalist, I continue to be inspired by the vibrant arts life at Brandeis,
which is what first drew me to this university.
My goal is to be a conductor of a major orchestra one day.
I find it thrilling to interpret the work of composers, to take a
series of black dots on a piece of paper and make them come
alive as a living, breathing, emotional experience. Conducting
allows you to explore all aspects of making music—what the
composer wrote; the historical and cultural context; and how
the performers and instruments interact. A composer doesn’t
make a sound, and yet I lead the creation of sound. There is no
direct path to becoming a conductor. There’s a lot of luck and
net­working involved. As an undergraduate you can’t major in
conducting at Brandeis, so what I’m trying to do is get a broad
music education, learn the repertoire, and build foundations.
Through the department’s support I have created two new
musical organizations based at Brandeis: the Irving Fine Society
Singers & Ensemble, dedicated to the celebrated American
composer who founded the School of the Creative Arts; and the
Boston Unhinged Chamber Players, which comprises undergraduate and professional musicians performing large-scale
chamber works.
I also serve as the assistant conductor and ensemble manager for the Brandeis-Wellesley Orchestra and the Brandeis
University Chorus and Chamber Choir; assistant to the concert
manager, whom I help to coordinate nearly seventy concerts
and recitals a year in Slosberg Music Center; and undergraduate department representative—a liaison between music
students and faculty on scheduling, courses, and advising. This
is in addition to taking five courses a semester and attempting
to complete a second major in history. Leonard Bernstein once
said, “To achieve great things, two things are needed: a plan,
and not quite enough time.”
In 2008 I organized the Brandeis University Chorus’s concert
tour to Germany and Austria, the first international tour by any
student ensemble in the university’s history. We performed in
Salzburg and Munich and visited Mozart’s birthplace. The experience of performing century-old music in the halls it was written
for, honoring the past, immersing ourselves in other cultures,
and becoming a closer Brandeis family taught us that, no matter
where you are in the world, music affects the soul and can help
bring us together as one human race. Perhaps the most emotional part of the trip was our performance at the Dachau Concentration Camp. The mood of the group was very somber as we
entered through the gate adorned with the words arbeit macht
frei (work makes you free). Nobody
spoke until we quietly assembled to
sing a Hebrew psalm setting, followed
by a group recitation of the Jewish
Kaddish prayer.
A vital element of my education has
been participating in the rich Boston
cultural scene, attending music,
theater, visual arts, and dance performances. I have had the honor of
singing with the Tanglewood Festival
Chorus; interning with the Boston
Symphony Orchestra public relations
office; and serving in the 215th Army
Band of the Massachusetts Army
National Guard as a French horn
player. I have met musical legends
James Levine, James Conlon, Renee
Fleming, and Elliot Carter. These professional experiences, combined with
my studies, have opened my eyes to the important role music
plays in shaping society.
At Brandeis, I’ve explored the ideal of the artist as citizen.
Last year I had the privilege to conduct a concert of world premieres by Edwin Geist, an exceptional composer whose life
and music were silenced by the Holocaust. Through Brandeis
grants, I spent my summers traveling in Europe to research Paul
Hindemith’s music in Frankfurt and Beethoven’s symphonic
writing in Berlin, Bonn, and Vienna. To have these hands-on
experiences has been transformational, and I feel blessed to
attend a university that supports the ambitions of its students to
the extent that Brandeis does.
I don’t think I’m really that unusual. Most Brandeis students
are engaged in a dizzying blend of course work and activities
that nurture our aspirations and shape our identities—not just as
students but also as human beings. I invite you to attend one of
our student concerts at Slosberg this semester and experience
the same kind of transformation that I have known. As Brandeis’s
mission statement says, “from artist to audience, from generation to generation—across time, boundaries, and cultures.”
STATE OF THE ARTS
| brandeis university
13
theater
BRANDEIS THEATER COMPANY
The Department of Theater Arts presents a bold new season that delves into love and life in all its colors:
dark, light, always dazzling. The year offers works by two great American playwrights, a French eighteenthcentury dramatist, the beloved Bard, and a new voice in American theater. Productions are held on two
stages in the Spingold Theater Center. Tickets are $18–$20; five-play subscriptions start at $70–$80.
Contact Brandeis Tickets at 781-736-3400 or order online at go.brandeis.edu/BrandeisTickets.
<<
Everything in the Garden
By Edward Albee
From the play by Giles Cooper
Directed by Eric Hill
October 8–18
The only thing that stands in the way of happiness for suburbanites Jenny
and Richard is lack of money; enter neighbor Mrs. Toothe with a titillating
proposal. The extremes to which people will go to attain possessions,
and their ultimate price, are satirized in this biting comedy.
Funnyhouse of a Negro
Love’s Labour’s Lost
By Adrienne Kennedy
Directed by David R. Gammons
February 4–14
This pioneering, provocative, and phantasmagorical play
from the 1960s explores the psychological dimensions
of race and identity in America.
By William Shakespeare
Directed by Steve Maler
April 29–May 2
Four feckless friends swear off
love for academics in one of
Shakespeare’s most endearing
comedies, directed by
the artistic director
of the Commonwealth
Shakespeare Company.
By Rogelio Martinez
March 11–14
BTC collaborates with Primary Stages in New York City, known
for introducing works by A. R. Gurney, Donald Margulies,
Terrence McNally, and John Patrick Shanley, for an exciting
world premiere by an emerging playwright.
The 2009–10 Brandeis Theater Company season is made possible through generous support
from the Laurie Foundation; the Robin, Barbara, and Malcolm L. Sherman Endowment for the
Performing Arts; the Brandeis Arts Council; the Poses Fund; the Jaffe Foundation; the Ann ’56
and Clive Cummis Family Foundation; and the Herbert and Kim Marie Beigel New Play Fund.
14
brandeis university |
STATE OF THE ARTS
<<
Cocktail Time in Cuba
THE GAME OF LOVE AND CHANCE
By Marivaux
Translated and adapted by Stephen Wadsworth
Directed by Janet Morrison
November 12–22
In eighteenth-century France, the beautiful Silvia wants to know more about
the man her father has chosen for her to marry, so she trades places with
her maid. Mistaken identity leads to class conflicts as the young lovers must
gamble their hearts against fortune and fate.
Director’s Journal
June 22
Just got home from our first design
meeting in the Berkshires. I’m very
excited by the image research and
exchange of ideas! Natalie, the set
designer, brought in pictures showing
light reflecting off floors, coming
in windows, being blocked out. My
lighting designer, Michael, stressed the
“lightness” of the play, even mentioning
a glowing floor. . . . He pointed out
two evocative green walls among N’s
pictures. Deirdre, the costume designer,
showed us three sets of research:
lovely, period-appropriate clothes;
bold commedia dell’arte costumes;
and contemporary high fashion with
eighteenth-century silhouettes. The last
seemed just right. J (sound designer)
and I have both been listening to period
music—especially Rameau. We talked
about using music of Marivaux’s time
but occasionally having contemporary
music come out of that somehow.
In the meeting we considered
scattering framed paintings about the
stage that evoke a particular location,
situation, emotion. This design concept
sounded light and elegant at the time.
Now I’m struggling with how to stage
the play. I see a “real world” in my head
(house, terrace, garden), something that
the actors can use, not stand in
front of. The play is physical, and
the actors should be challenged to
embody and enact, not just speak
elegant words. Yet the play also wants
something alive, lithe, magical.
—Janet Morrison
Janet Morrison has been on the
Brandeis acting faculty since 1994.
BTC directing credits include Polaroid
Stories and The Waiting Room.
rediscovered
GENIUS
The Life and Times of Marivaux
By Scott Edmiston
The comedies of Pierre Carlet de
Chamblain de Marivaux have only
recently begun to be discovered in
America, even though his nearly forty
plays are produced
more frequently on
the French stage
than those of any
other playwright
with the exception
of Moliere. This
delay was largely
due to the lack of
English translations
that conveyed the
subtle grace of
Marivaux’s dialogue and his surprisingly modern understanding of the
psychology of the human heart.
Marivaux left almost no correspondence, and even the most elementary
facts of his biography have been
established from legal documents.
The following is a brief chronology of
his life and the elegant, turbulent era
that influenced and inspired him.
16
brandeis university |
1688 Pierre Carlet, later to adopt the
name of Marivaux, is born in Paris.
1700 William Congreve writes The Way
of the World, considered by many to be
the finest English Restoration comedy.
1710 Young Pierre Carlet begins to
study law. It is later speculated that his
law studies were undertaken only to
placate his family while he pursued a
career as a writer.
1713 Marivaux publishes three novels
within a year. As a young man of a
good family and literary ambitions,
he is invited by members of French
society to frequent the popular literary
salons of Paris. Philosophy, the arts,
and witty conversation are highly
valued at these celebrated “Age of
Enlightenment” social gatherings, and
Marivaux has the opportunity to meet
such famous writers as Fontenelle,
La Motte, and Montesquieu.
1715 The rococo style of painting,
architecture, and decoration, marked
by grace, lightness, and refinement
in both form and content, continues
to emerge in France. Notable rococo
painters who will flourish throughout
STATE OF THE ARTS
the mid-eighteenth century include
Watteau, Boucher, and Fragonard.
Rococo style will spread throughout
Europe in architecture, design,
and interior decorating.
1717 Jean-Antoine Watteau paints
The Embarkation for Cythera, a work of
sensuous brushwork and pastel tones
that wins him admission to the Royal
Academy. Watteau’s romantic style
influences not only painting but also
fashion and garden design. Watteau’s
many paintings of actors will lead him
to be associated often with the plays
of Marivaux.
theater
Watteau, The Signboard of Gersaint (1720)
1718 The six Brandenburg Concertos
are composed by German composer
Johann Sebastian Bach, representing a
peak of the baroque movement in music.
1720 Marivaux’s comedy Arlequin poli
par l’amour (Harlequin’s Lesson in Love)
becomes his first great theatrical success.
The pastoral comedy in which a fairy
tries to improve Harlequin’s manners
deviates from Moliere’s style of satiric
comedies. Marivaux declines to write in
verse like most of his contemporaries,
seeking instead to create prose
dialogue of artful naturalism, soon to
be known as marivaudage. Marivaux
also demonstrates a talent for investing
improbable romantic plots with emotional
complexity and psychological truth.
<<
1723 Louis XV, age thirteen, assumes
control of France. The country enthu­
sias­ti­c ally welcomes the boy king,
referring to him as “Louis the beloved.”
The affection will soon wane. Louis
lacks his predecessor’s administrative
skill and authority and will devote more
attention to his social life at Versailles
than to governing.
Marivaux’s La Double Inconstance
(Double Inconstancy) makes use of
Marivaux’s favorite theatrical device,
transvestissement, in which two
characters, often master and servant,
impersonate each other in order to test
the merits of their intended lovers.
1725 Italian composer Antonio Vivaldi
publishes the quartet of violin concerti
collectively known as The Four Seasons;
Jonathan Swift writes Gulliver’s Travels.
1730 Le Jeu de l’amour et du hasard
(The Game of Love and Chance)
premieres on January 23 at the Comedie
Italienne and is later performed at
Versailles. Actress Zanetta Rosa Benozzi
plays Silvia and becomes so identified
with the role that she is thereafter referred
to as Silvia instead of her own name. By
the twentieth century, Le Jeu will become
the most frequently performed of
Marivaux’s plays and considered by many
critics to be his masterpiece.
1732 Voltaire becomes an outspoken
critic of Marivaux’s work, calling it
affected, sentimental, and excessively
precise. An open hostility develops
between the two writers. During the next
few years, as revolutionary spirit starts
to gain momentum in France, Marivaux’s
comedies will begin to lose favor.
1742 Marivaux is unanimously voted
into the Academie Francaise, France’s
highest literary honor, in preference
to his longtime rival Voltaire. Ironically,
the election essentially coincides with
the end of Marivaux’s creative career.
1746 Marivaux stops writing,
and friends help to secure him a
small pension to prevent him from
becoming destitute.
1762 French Philosopher JeanJacques Rousseau writes The Social
Contract, a philosophical examination
of government and the populace.
The controversial work intensifies the
intellectual, political, and economic
discontent that will lead to the French
Revolution of 1789.
1763 After a prolonged illness,
Marivaux dies on February 12. Only
his mistress and his valet attend his
funeral. Voltaire, living in Geneva,
receives a letter from his friend Nicolas
Thieriot stating, “Carlet de Marivaux
has just died at the age of seventy-five.
He leaves comedies, novels, and other
forgotten works, in which some
people maintain that there is genius.”
STATE OF THE ARTS
| brandeis university
17
theater
Tympanium Euphorium’s Seussical the Musical
THEATER CLUBS
The Undergraduate Theater Collective presents studentproduced plays and musicals in the Shapiro Campus Center
Theater. Tickets are $3–$5 and are available at Brandeis
Tickets at 781-736-3400 and online at go.brandeis.edu/
BrandeisTickets.
Big Love
Brandeis Ensemble Theater
October 15–18
Fifty brides declare war on their grooms in this outrageous
comic battle of the sexes.
Lot’s Daughters
Brandeis Players
October 22–25
In 1944 Kentucky, two women embark on a forbidden
journey of the heart.
A Chorus Line
Tympanium Euphorium
November 5–8
The landmark musical about the dreams of Broadway
dancers and what they did for love.
The Dybbuk
Hillel Theater Group
November 19–22
The classic Yiddish fable about a young bride possessed
by the mischievous spirit of her dead first love.
Boris’ Kitchen
10th Annual Sketch Comedy Festival
December 4, 5
The irreverent laugh-a-thon featuring professional and
collegiate comedy troupes.
18
brandeis university |
STATE OF THE ARTS
Culture X
PERFORMING
PERFORMING
ARTS
CLUBS
ARTS CLUBS
Brandeis has a range of student performing-arts clubs,
including a cappella groups; improv and sketch comedy
teams; and ballet, folk, modern, hip hop, and ballroom
dance troupes. Through the Intercultural Center, students
of international backgrounds present performances
that celebrate their diverse cultural traditions. For more
information, visit go.brandeis.edu/clubs.
G
S
the art of the matter
Brandeis University’s 2009 honorary
doctoral degree recipients included
opera icon Marilyn Horne and James
Conlon, musical director of the Los
Angeles Philharmonic.
Several Brandeis students and alumni
appeared in the BTF’s production
of Leonard Bernstein’s Candide:
Julia Broder ’08, Rachel Copel ’11,
McCaela Donovan, MFA’11, Ben
Rosenblatt, MFA’11, Jae Han ’10, Hank
Lin ’10, Becky Webber ’08, Robert
McFadyen, MFA’11, Samantha
Richert, MFA’11, and Matt Stern ’08,
who served as musical director. Erin
Keirnan, MFA’10, designed the set.
released in July 2009. Its proceeds
benefit children in South Africa
orphaned by AIDS.
Brandeis-Wellesley Orchestra conductor Neal Hampton has composed a
new stage musical adaptation of Jane
Austen’s Sense and Sensibility, which was
given its inaugural staging by the Berkshire Musical Theater Workshop in May
and a New York workshop this fall.
Pulitzer Prize–winning music faculty
emeritus Yehudi Wyner turned eighty,
kicking off a series of tribute concerts
in New York and Boston, including a
June concert by the Lydian String
Quartet and the release of a new CD,
Orchestral Works.
Horne
Paintings by fine arts faculty member
Joe Wardwell are on exhibit through
February 21, 2010, in the Foster Gallery
at the Museum of Fine Arts Boston in
Contemporary Outlook: Seeing Songs.
The exhibition draws on music as inspiration and includes works by Wassily
Kandinsky and Stuart Davis.
Brandeis theater artists summered at
the Berkshire Theater Festival (BTF),
where faculty member Eric Hill directed
The Einstein Project featuring actor
Jesse Hinson, MFA’11, and costumes by
faculty member Chip Schoonmaker.
In April, the Rose hosted an alumni
symposium titled “Education Matters
in the Museum,” which featured Gary
Tinterow ’76, Metropolitan Museum of
Art; Kim Rorschach ’78, Nasher Museum
of Art; Reva Wolf ’78, State University of
New York; Andrea Aronson Morgan ’80,
San Francisco Museum of Modern Art;
and Karen Chernick ’06, Institute of
Fine Arts. It was hosted by fine arts
professor Nancy Scott.
Theater alumna Debra Messing ’90
joined Matt Damon, Helen Mirren,
Samuel L. Jackson, and Hugh Jackman
for a new audiobook recording, Nelson
Mandela’s Favorite African Folktales,
Candide
Dowling, Ruth Ann Perlmutter, and
President Jehuda Reinharz
Innovative visual artist and social activist Michael Dowling was awarded the
2009 Nathan and Ruth Ann Perlmutter
Artist-in-Residence Award in May. He
will create a large-scale public work of
art on the Brandeis campus for the 2010
Festival of the Creative Arts.
Marianna Bassham, MFA’02, received
the 2009 Elliot Norton Award as Outstanding Actress for her performance in
the Boston premiere of Blackbird. Office
of the Arts director Scott Edmiston was
named Outstanding Director for The
History Boys, The Light in the Piazza, and
Cat on a Hot Tin Roof. Janie Howland,
MFA’06, was honored as Outstanding
Designer for her History Boys set. Larry
Coen ’81 was honored for his ensemble
performance in The Seafarer.
artifacts
Each year, more than 350 professional and student art events take
place on the Brandeis campus, with annual attendance of more than
35,000. We believe that creativity, community, and arts participation
are essential to global citizenship and a new vision for this century.
Visiting the Rose Art Museum
Free Ticket Offers and E-mail Reminders
Visiting the Kniznick Gallery
Join the Arts at Brandeis E-List to receive monthly arts information
and invitations about campus arts events, as well as free and
discount ticket offers at arts venues throughout Greater Boston.
www.brandeis.edu/arts.
Arts at Brandeis Calendar Online
A monthly online arts calendar with more information and additional
programming, including film, dance, lectures, and related symposia,
is available at www.brandeis.edu/arts/calendar.
Purchasing Brandeis Tickets
To purchase tickets for events at the Spingold Theater Center,
Slosberg Music Center, or Shapiro Theater:
The museum is free and open to the public Wednesdays–Sundays,
noon–5:00 p.m. For more information, visit www.brandeis.edu/rose
or call 781-736-3434.
The Women’s Studies Research Center is located in the Epstein
Building at 515 South Street. It is free and open to the public
weekdays from 9:00 a.m. to 5:00 p.m. or by appointment. Visit
go.brandeis.edu/wsrc or call 781-736-8102.
Supporting the Arts
To keep the arts at Brandeis accessible and affordable, we rely on
the contributions of our community. When you make a gift to the
arts at Brandeis, you can direct it to support the Rose Art Museum,
the Brandeis Theater Company, the Brandeis Concert Season,
or the larger arts community through the Office of the Arts.
Please show your support by making a donation online at
go.brandeis.edu/arts.
• Online at go.brandeis.edu/BrandeisTickets
• By phone: 781-736-3400
Parking
• In person at the new Brandeis Box Office in the Shapiro Campus
Center, Mondays–Fridays, 10:00 a.m.–6:00 p.m.
All Brandeis arts venues are located on Lower Campus within easy
walking distance of each other. Free parking is available directly
behind Spingold Theater in the yellow theater parking area (T Lot).
Accessible parking spaces are located in front of Spingold,
Slosberg, and the Rose.
• Tickets are available for pick-up or purchase in the lobbies of
Spingold, Slosberg, and Shapiro one hour before curtain.
Reservations are recommended. Any person requiring
special or wheelchair accommodations should contact the
box office at 781-736-3400. For more information, visit
www.brandeis.edu/tickets.
Programs, artists, and dates are subject to change.
For updates and additional arts events, visit www.brandeis.edu/arts.
For directions to Brandeis University, call 781-736-4660 or visit www.brandeis.edu.
Brandeis Theater Company’s Siddhartha
20
brandeis university |
STATE OF THE ARTS
calendar highlights
Rose Art Museum
September 30, noon
Lydians at Noon
Zinner Forum, Heller School
Through October 16
Cairns
Kniznick Gallery
October 3, 8:00 p.m.
Lydian String Quartet
Slosberg Music Center
October 4, 3:00 p.m.
Fauxharmonic Orchestra
Slosberg Music Center
October 8–18
Everything in the Garden
Spingold Theater Center
October 15–18
Big Love
Shapiro Theater
October 17, 8:00 p.m.
Dan Stepner: Together Again
Slosberg Music Center
October 18, 3:00 p.m.
Brandeis-Wellesley Orchestra
Slosberg Music Center
October 22–25
Lot’s Daughters
Shapiro Theater
October 24, 8:00 p.m.
World Music Concert: Obbini Tumbao
Slosberg Music Center
October 24
Inside View: Touring the Collection
Rose Art Museum
October 25, 1:00 p.m.
MusicFest
Slosberg Music Center
Beginning October 28
Works from the Collection
Rose Art Museum
October 31, 8:00 p.m.
New Music Brandeis
Slosberg Music Center
November 4, noon
Lydians at Noon
Rose Art Museum
November 5–8
A Chorus Line
Shapiro Theater
November 7, 8:00 p.m.
Lydian String Quartet
Slosberg Music Center
November 12–22
The Game of Love and Chance
Spingold Theater Center
November 14, 8:00 p.m.
Brandeis Chorus and Chamber Choir
Slosberg Music Center
November 15, 3:00 p.m.
Brandeis Wind Ensemble
Slosberg Music Center
November 19–22
The Dybbuk
Shapiro Theater
November 20, 8:00 p.m.
Bob Nieske’s Big Wolf Band
Slosberg Music Center
November 22, 3:00 p.m.
Early Music Ensemble
Slosberg Music Center
November 22, 7:00 p.m.
Brandeis-Wellesley Orchestra
Slosberg Music Center
December 3, 4:00 p.m.
Messiah Sing
Shapiro Campus Center Atrium
December 4–5
Boris’ Kitchen Comedy Festival
Shapiro Theater
December 5, 8:00 p.m.
Brandeis Jazz Ensemble
Slosberg Music Center
December 6, 3:00 p.m.
Bernstein Scholars Showcase
Slosberg Music Center
December 6, 7:00 p.m.
Brandeis Improv Collective
Slosberg Music Center
Beginning December 1 Fine Arts Student Exhibition
Dreitzer Gallery
December 12, 8:00 p.m.
New Music Brandeis
Slosberg Music Center
State of the Arts
Brandeis University
Office of the Arts
MS 051 / PO Box 549110
Waltham, MA 02454-9110
Nonprofit Organization
U.S. Postage
Paid
Boston, MA
Permit No. 15731
www.brandeis.edu/arts
LEONARD
BERNSTEIN
FESTIVAL OF THE
CREATIVE ARTS
APRIL 27–MAY 2