A Chinese Home

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A Chinese Home 中国之家

Conceived by Wu Man 吴蛮, David Harrington and Chen Shi-Zheng 陳士爭

Part I.  Return 回归
Part II. Shanghai 上海
Part III.  The East Is Red 东方红
Part IV.  Made in China 中国制造
   Played without pause



Chen Shi-Zheng, director and visual designer
Laurence Neff, lighting and scenic designer
Scott Fraser, sound designer
Camilla French, video photography
flora&faunavisions, video editing
Laurence Xu, costume designer
Lisa Iacucci, assistant director
Calvin Ll. Jones, associate sound designer

Repertoire List:
A CHINESE HOME 中国之家 (2009)

Part I.  Return 回归
WU MAN and DAVID HARRINGTON
Lusheng Improvisation
TRADITIONAL – FROM THE DONG, GUIZHOU PROVINCE
(arr. Jacob Garchik)
Song of Cicadas 蝉歌

TRADITIONAL – FROM THE YI, YUNNAN PROVINCE
(arr. Jacob Garchik) 
Left Foot Tune 左脚调

TRADITIONAL – FROM THE BUYI, YUNNAN PROVINCE
(arr. Jack Body) 
Folk Tune

TRADITIONAL PUPPETEER MUSIC – FROM SHAANXI PROVINCE
(arr. Jacob Garchik)
The Round Sun and Crescent Moon in the Sky 太阳圆,月亮弯都在天上

TRADITIONAL – FROM SHAANBEI, SHAANXI PROVINCE
Sesame Oil 芝麻油

TRADITIONAL – FROM THE SANI, YUNNAN PROVINCE
(arr. Jacob Garchik)
Lehu Tune 勒胡调

TRADITIONAL – FROM THE LISU, YUNNAN PROVINCE
(arr. Jack Body) 
Qibu’e Tune 其布厄调

TRADITIONAL – FROM THE 9TH CENTURY
(arr. Wu Man & Kronos) 
Namu Amida (Homage to the Buddha of Immeasurable Light) 南无阿弥陀佛


Part II.  Shanghai 上海 

CHEN GEXIN 陈歌辛 (1914–1961)
(arr. Jacob Garchik)
Shanghai Night 夜上海
Recorded performance by Zhou Xuan 周璇

LIANG LEYIN 梁乐音 (1910–1989)
(arr. Jacob Garchik) 
Plum Blossom 梅花

LI HOUXIANG 李厚襄 (1916–1973)
(arr. Jacob Garchik) 
Stop Singing 不要唱吧

SAMMY FAIN (1902-1989)
I’ll Be Seeing You
Recorded performance by Billie Holiday

YAN ZHEXI 严折西 (1909–1993)
(arr. Jacob Garchik) 
Listen Up 且听我说

LIU XUE’AN 刘雪庵 (1905–1985)
(arr. Jacob Garchik)
Will You Ever Come Back 何日君再來


Part III.  The East Is Red 东方红 
TRADITIONAL
The East Is Red 东方红

NIE ER 聂耳 (1912–1935)
(arr. Jacob Garchik)
March of the Volunteers 义勇军进行曲

TRADITIONAL
(arr. for Kronos and Wu Man by Jacob Garchik)
The Revolution Suite: Selections from The East Is Red

I. Inner Mongolia
Cup and Bowl Dance 盅碗舞

II. Tibet
Chairman Mao, We Wish You Many Years of Life 毛主席, 祝您万寿无疆

III. Inner Mongolia
Paean 赞歌

IV. Xinjiang (Uyghur)
Tambourine Dance 手鼓舞

WANG XIREN 王锡仁 (b. 1929)
(arr. Jacob Garchik) 
The Sun Is Reddest, Chairman Mao Is Closest 太阳最红 毛主席最亲

MA KE 马可 (1918–1976)
Picture of Liu Zhidan 图刘志丹

Part IV.  Made in China 中国制造 

KRONOS QUARTET AND WU MAN
Collage
with electronic elements by Jonathan Wong

About the Work

I visited Yin Yu Tang at the Peabody Essex Museum for the first time in 2003. This house—an 18th-century home from southeastern China that was disassembled and re-erected piece-by-piece at PEM in Massachusetts—brought back many memories for me. I stayed in the home for quite a long while; I looked through each room, touching tables, chairs and beds, taking in every little detail. It reminded me of my grandma’s home and my childhood life. I didn’t want to leave until the staff came to get me!

A year later, when the Kronos Quartet and I were discussing the possibility of a new project, Yin Yu Tang of course came to mind. During the process of working on A Chinese Home, David Harrington and I listened to hundreds of Chinese musical works, and spent hours and hours discussing and selecting each piece of music. We also visited Yin Yu Tang together, and we even took trip to a Huang village in Anhui Province, Yin Yu Tang’s original home in China, where we met with villagers and gained a true sense of the land, its people and the stories this work might tell.

As we began working on A Chinese Home, Yin Yu Tang became the key for us to unlock the past and explore the music of China, not only from the time of this particular house, but across the centuries. For me personally, this project has reconnected me with the history of my home country through music, and this has affected me deeply—especially the experience of working on Part III, “The East is Red,” which explores the period I was born in and grew up in. To me, the essence of this project is the notion that a person’s home is where personal histories unfold, and that those personal tales can also tell a universal story. The more people I met in China and the more homes I visited, the more this concept resonated with me, and the more the potential for A Chinese Home expanded. I am immensely grateful to the Kronos Quartet and Chen Shi-Zheng for so enthusiastically and wholeheartedly embarking on this journey with me, and for embracing the theme of the home being a lens through which history can be viewed.

As a musician, it has been extremely rewarding to have spent so much time discovering and rediscovering the vast array of Chinese music that could be used to tell these histories. Although I have collaborated with the Kronos Quartet for over 17 years, they continue to delight me with their musical insights, scholarly curiosity and ability to surprise! A Chinese Home is no exception. I would also like to thank Nancy Berliner at PEM and Wang Shu Kai, who brought me to Yin Yu Tang—the seed from which this project has flowered.

—WU MAN


In 1992, I visited the home of composers Zhou Long and Chen Yi in New York. They shared a lot of music with me that evening, including the brilliant artistry of Wu Man, who had recently arrived in the United States. I heard all sorts of possibilities in Wu Man’s vivid pipa sound, and I got in touch with her immediately.

Wu Man has been one of Kronos’ favorite collaborators since that time. She combines the virtuosity of Heifetz with an expansive view of all things Chinese. Over the years we have had many conversations about Chinese music, instruments, composers, culture and traditions. In 2006 we visited Yin Yu Tang at the Peabody Essex Museum, and I remember our conversation about that experience very clearly. We decided to make a piece inspired by Yin Yu Tang, and we began our discovery of A Chinese Home.

I felt A Chinese Home should be dramatic and bold, and we would need to re-imagine our roles as performers. I wanted the piece to begin during the intermission, with a soundscape that would give an immense sense of tension, construction, activity, movement—layers of sound—to create an impression of the Grand Canyon-ness of Chinese culture.

From the wooden, postered walls of Yin Yu Tang itself, the silence of vanished time created musical questions that stirred my imagination. So many sounds of life, so many pivots of history, so many births, deaths…. I embarked on a listening project that has taken me through many worlds of China. I wanted the layers of time, events and environment to collide in a detailed musical fabric: the rural and the urban, the private and the public, the ancient and the wildly modern. Amid the seemingly endless presence of Mao and the brassy machinations of public music, the Westernized pop music of the 1930s and ’40s, the earliest recorded Chinese music from the 1890s, the latest remixes and mash-ups, the clamor of industry, mass migration, tradition, banality, religion… where was home?

It has been an amazing pleasure to explore these questions together. We have been inspired and dazzled by Chinese culture, and appalled by the magnitude of suffering in much of its history. We have tried to celebrate the constant renewal the open door of music allows us.

—DAVID HARRINGTON


When I came into this project at the beginning, David and Wu Man had already talked a lot about the music that would make up A Chinese Home. We spent a week going through all the music together, making selections, and trying to make sense of the story behind it all. I realized in this process that the music that David and Wu Man collected and liked is really about China in the 20th century. David was fascinated by the revolutionary music and 1930s Shanghai music, as well as traditional music, so I thought that we could create a suite, putting all the music together in chronological order in four parts. We start at the beginning of the 20th century— timeless, traditional China—then move to urban China of the 1920s and ’30s. Then we enter the era of Mao and the emergence of Red China, and end with modern China.

I went to China to shoot the video and collect the images. While shooting the video I thought about this piece like a travelogue, where we bring you to the old China and then come back, leading you through 20th-century China through the images. What you see is a montage of artifacts produced in the 20th century: old movie footage from 1930s Shanghai, The East Is Red spectacle, Maoist opera.

Wu Man and I are from the same generation, and I feel that this piece is quite close to how we grew up in China, how much we remember. Especially the Cultural Revolution, that period is very vivid. The same songs were constant for us, the soundtrack of our lives. And Mao’s image was predominant, the only thing we knew, and so in Part III of A Chinese Home, Mao’s voice overrides all the music and his image dominates. I wanted to give a sense of what you would have faced if you lived through that period.

Wu Man is the person on stage that embodies the process of change in China. She starts as just a presence, in a robe like everybody else, and then she develops into a Shanghai lady, and then she changes into Red Guard. Her presence is very important, in order for our audience to realize what’s changing in Chinese history—not just through the costumes, but also by the attitude, the persona, and the body language, all in relation to the music. We want to give you a sense of Wu Man and Kronos revisiting a certain period of China, to give an understanding of how they behave, how they play the music, how the music sounds in relation to the film behind you.

What I do mostly now is create new works, so I quite enjoy working with artists like Kronos and Wu Man. They’re always trying to create something new, trying to break a certain kind of formality and convention. We are trying to find a new way to tell a story, to link all this fascinating music. In that process, A Chinese Home has becomes a kind of composition, something that we hope has momentum and emotion and impact.

—CHEN SHI-ZHENG

About the Music
Part I.  Return
The first part of A Chinese Home, “Return,” looks back to the early years of Yin Yu Tang, the 19th-century Qing-dynasty Huang mansion of Anhui province. The songs and dances of this section were collected from the rugged mountains of China’s southwest and north, in Yunnan, Guizhou and Shaanxi provinces. Remote from the lowlands of the Han Chinese, the music of the many minority groups of these regions preserves some of the oldest musical traditions in China.

Startling vocal ensembles can be heard in the south, most spectacularly among the Dong people. The da ge, or Big Songs, of the Dong contain up to eight parts. Rich in dissonances, the sound of these songs (which include this evening’s “Song of Cicadas”) is reminiscent of the thick harmonies produced by the Chinese mouth organ, the lusheng, the sound of which opens A Chinese Home. The Buyi minority also has a notable tradition of polyphonic songs sung fireside by the household’s older women—elaborate ballads that can last up to a week.

The countryside’s rich variety of instruments and dance music is also represented. The musicians try to evoke the timbre of the Sani people’s lehu, a three-string fiddle, which bombards double- and triple-stops in octaves and fifths. It is the most popular instrument of the Sani, played by old folks in the evening and by young men courting even later at night. The hypnotic, curious melodies of the Lisu are often played on the qibu’e, a small lute of three or four strings. Lacking frets and often retuned in the course of performance, it easily adapts to the many scales found in Lisu music. The “Left Foot Tune” is the centerpiece of many Yi celebrations—a great circular dance drawing in several dozens of participants from several villages. The boisterous Shaanxi song “The Round Sun and Crescent Moon in the Sky” was taken from the repertoire of the shadow puppet theater of the northern Huashan region.

The first portion of A Chinese Home closes with evocations of Buddhist rituals old and new. The “Namu Amida” is a funeral chant. It is believed that even a single act of pronouncing the name of the Amida Buddha is enough to ensure salvation and rebirth in the Pure Land. The quartet also employs Buddha Boxes, small devices the size of a transistor radio, which play infinite loops of sacred chant.

Part II.  Shanghai

“Shanghai,” the second part of A Chinese Home, portrays the arrival of mass culture in the Chinese home. A city built up at the point of a gun to accommodate European and American commercial interests, Shanghai in the 1930s and ’40s was the Chinese hub of capitalist glamour and capitalist misery—the birthplace of Chinese cinema and pop music, and the birthplace of Chinese communism. The words of Chen Gexin’s “Shanghai Night” captures the ambivalence felt by many: “City with no night, colorful lights, cars honking, putting on a false show of prosperity. Look at her smiling, welcoming face—no one knows the sadness in her heart, living at night to keep on living.”

Hollywood, Tin Pan Alley and Paris entered China through Shanghai. The clothes of stars were copied, hairstyles changed and movies such as The Thief of Baghdad were turned into Chinese operas. Young Shanghai composers, educated in the newly-founded music schools and apprenticed in the new jazz ensembles, poured forth a stream of music that flooded China’s gramophones, radios and movie theaters. Sometimes the assimilation was complete: “Listen Up” by Yan Zhexi is a blues such as Billie Holiday might have sung. Sometimes the imitation was a little too apparent: for “Stop Singing,” Li Houxiang “borrowed” the melody of Margarita Lecuona’s Cuban hit “Tabu” and sinicized it by adapting it to the Chinese pentatonic scale.

While many of these songs spoke of love, a striking number were overtly or covertly political. The absent lover in Liu Xue’an’s hit “Will You Ever Come Back” is clearly fighting off Japanese invaders in the War of Resistance. The ominous undertones of “Shanghai Night” might be attributed to the fact that Chen Gexin himself was imprisoned for three months in Japanese-occupied Shanghai.

Part III.  The East Is Red
With the communist “liberation” of China in 1949, the country’s musical landscape abruptly changed yet again. Every hour, Shanghai’s clock tower intoned “The East Is Red,” a Shaanxi folk tune originally called “Sesame Oil” that was given a Maoist text by Li Youyuan in 1941. Nie Er’s “March of the Volunteers” became the new national song, and the pop music of the 1930s and ’40s was banned as “decadent” and “pornographic.”

Liang Leyin and Li Houxiang fled to Hong Kong, which would become the new entertainment capital of the Chinese world. Liang Leyin’s 1957 song “Plum Blossom” is a souvenir of this period. The composers who stayed behind were much less fortunate. Liu Xue’an spent 22 years in disgrace because “Will You Ever Come Back” was associated with a pop star who defected to the Japanese. Yan Zhexi stopped composing altogether, and turned to painting and children’s books. This did not keep him from being declared an “Enemy of the Revolution” in 1966, nor did it keep his house from being ransacked by Red Guards. Chen Gexin was declared a “rightist” in 1957, sent to a labor camp, and died a few years later.

The massive production titled The East is Red was one effort by the Chinese Communist party to establish its own musical voice. Produced in 1964 to commemorate the 15th anniversary of the liberation, this monumental historical pageant used some 3,000 participants to portray the history of the Chinese revolution. Assembled in just three months, the production was a collaboration of dozens of the day’s leading artists, all overseen personally by Premier Zhou Enlai.

The music of tonight’s “Revolution Suite” is taken from the final tableau of the 1965 film: representatives of China’s largest ethnic groups assemble in Tiananmen Square to celebrate the revolution and thank Mao Zedong. While the scene seems a clumsy attempt to symbolize Chinese hegemony over the restive border areas of Tibet, Xinjiang and Mongolia, it did provide an unprecedented opportunity to disseminate the work of Chinese minority singers and dancers on the widest scale. Zhou Enlai took a personal interest in the promotion of Chinese minority artists, supervising the formation and staffing of the Eastern Song and Dance Ensemble, which provided the personnel for the closing of The East Is Red. At Zhou Enlai’s request, the Manchurian Hu Songhua composed the “Paean” in a single night. The bouffanted Hu (later known as “The Horseback Singer”), the alluring and athletic Ayi Tula, and the indefatigable dancer and choreographer Mode Gema were launched on successful careers, seen throughout China and touring the world.

Part Three closes as the Cultural Revolution did, with the death of Mao Zedong. In the weeks following the Chairman’s passing, the Sichuanese one-hit wonder Wang Xiren commemorated him with “The Sun is Reddest, Chairman Mao is Closest.” In Bian Xiaoshen’s recording, it was an unexpected success, giving voice to the grief and bewilderment of those mourning the absence of the formerly omnipresent Mao.
Part IV.  Made in China
“Made in China” reflects a tumult in the country that resists all efforts at harmonization. The older music tenaciously survived the blasted decade of the Cultural Revolution, but its audiences are dwindling. Newer traditions have yet to establish themselves: mainland pop and rock is stifled by conformity, and pales beside the work of Hong Kong and Taiwanese artists. At the moment, China’s most widely diffused cultural products are toys. The characteristic sounds of today’s Chinese apartment are ones of economic prosperity. As millions flock from the countryside in one of the greatest mass migrations in human history, the noise of construction and urban life is inescapable. Though the new freedoms and new affluence are to be welcomed, “Made in China” sounds a cautionary note. The toll of development on the environment is unsustainable. How it will end, nobody knows…

—Greg Dubinsky


© 2009 The Carnegie Hall Corporation. Reprinted by permission.


Wu Man

Since moving to the United States from China in 1990, pipa virtuoso Wu Man has not only introduced the traditional Chinese instrument and its repertoire to Western audiences, she has successfully worked to give this ancient instrument a new role in today’s music, making the pipa available to a larger audience and seeing it valued by musicians and composers for its unique tonal qualities and virtuosic character. These efforts were recognized when she was made a 2008 United States Artists Broad Fellow.

Cited by the Los Angeles Times as “the artist most responsible for bringing the pipa to the Western World,” Wu Man continually collaborates with some of the most distinguished musicians and conductors performing today. She has performed as soloist with many of the world’s major orchestras and her touring has taken her to the major music halls of the world.  Wu Man often performs and records with the groundbreaking Kronos Quartet, and is a principal member of Yo-Yo Ma’s Silk Road Project. 

Wu Man began her 2009–10 concert season with two concerts at Carnegie Hall as part of the “Ancient Paths, Modern Voices” festival celebrating Chinese culture.  Her travels in China to find the musicians to perform on these concerts have been documented in a film, Discovering a Musical Heartland—Wu Man’s Return to China.

In November 2009, Wu Man and the Kronos Quartet present the world premiere of a new staged work with video, A Chinese Home, directed by Chen Shi-Zheng.  In May 2010 Wu Man performed in Moscow with Yuri Bashmet and the Moscow Soloists, with whom she was nominated for a Grammy Award in 2009 for Best Small Ensemble Performance for the world-premiere recording of Tan Dun’s Pipa Concerto.  In 2010 she also toured Europe and Asia with the Silk Road Ensemble and performed as soloist in Taipei in November with the Taipei Chinese Traditional Orchestra.

Recent recordings include: Terry Riley’s The Cusp of Magic with the Kronos Quartet on Nonesuch; Traditions and Transformations: Sounds of Silk Road Chicago that features Wu Man’s performance of Lou Harrison’s Pipa Concerto with the Chicago Symphony Orchestra on the CSO Resound label; and New Impossibilities with the Silk Road Ensemble on Sony/BMG.  In 2009 Wu Man was nominated for two Grammy Awards.

Born in Hangzhou, China, Wu Man studied at the Central Conservatory of Music in Beijing, where she became the first recipient of a master’s degree in pipa.  Wu Man was selected as a Bunting Fellow at the Radcliffe Institute of Advanced Study at Harvard University, and was selected by Yo-Yo Ma as the winner of the City of Toronto Glenn Gould Protégé Prize in music and communication. She is also the first artist from China to have performed at the White House.  For more information on Wu Man, please visit www.wumanpipa.org.

Chen Shi-Zheng

Chen Shi-Zheng is a China-born, New York-based director, internationally renowned for his innovative and provocative staging of operas as diverse as Monteverdi’s Orfeo, Wagner’s The Flying Dutchman, and Tang Xianxu’s The Peony Pavilion. He recently conceived, wrote and directed a stage production of Monkey: Journey to the West, executed in collaboration with creators of the virtual rock band Gorillaz. Mr. Chen made his film directorial debut with Dark Matter, starring Meryl Streep and Liu Ye and winning Sundance Film Festival’s Alfred P. Sloan Award.

As a child growing up without parents during the Cultural Revolution in Changsha, Hunan Province, he was taken under the wing of traditional funeral singers, who were among some of the great out-of-work masters of Chinese opera. He later became a leading young opera actor, performing until his mid-20s in many productions throughout China, simultaneously recording albums of folksongs and contemporary pop music. He emigrated to the United States in 1987, and has since developed his own artistic expression transcending the boundaries between East and West as well as between music, theatre, dance and film. In 2000, Mr. Chen was awarded the title Chevalier des Arts et des Lettres by the French Ministry of Culture.

In 1999, his landmark 19-hour production of The Peony Pavilion was hailed as one of the most important theatrical events our time. The Peony Pavilion premiered as the centerpiece of Lincoln Center Festival in New York and at Festival d’Automne in Paris, and toured to Piccolo Teatro in Milan, Perth International Arts Festival, Aarhus Festival in Denmark, Berlin Festival, Vienna Festival and at the Esplanade Centre in Singapore. It has been filmed for home video distribution by RM Associates.

A selection of Chen’s other directing credits includes Mercury Light World (Berlin Festival); My Life as a Fairy Tale (Lincoln Center Festival, New York, and Aarhus Festival, Denmark); a trilogy of contemporary theater works based on Chinese classics –  Orphan of Zhao in two versions (Lincoln Center Theater & Lincoln Center Festival), Snow in June (American Repertory Theatre), and Peach Blossom Fan (RedCat); Dido and Aeneas in two versions (Handel & Haydn Society, Spoleto Festival USA); The Flying Dutchman (Spoleto Festival USA); Night Banquet (co-commissioned by Festival d’Automne à Paris, Kunstenfestival des Arts Brussels, Hebbel-Theater Berlin, Ensemble Modern Frankfurt, and Lincoln Center Festival); the documentary film Cultural Warriors of the Revolution (TV France 3); Cosi fan tutte (Aix-en Provence Festival and Théâtre des Champs Elysées, Paris); and Alley (New Zealand Festival of the Arts). He made his directorial debut in 1996 with The Bacchae (China National Beijing Opera Company, Hong Kong International Arts Festival and Athens Festival).

He invented a new genre called circus opera with Monkey: Journey to the West, which premiered at Manchester International Festival and Théâtre du Châtelet in Paris in 2007. It toured to Spoleto Festival USA, on to Covent Garden, London last summer, and has completed an extended run at the O2 Theatre in London this winter. He also premiered The Coronation of Poppea for English National Opera in fall 2007 as part of a complete Monteverdi cycle that he began with Vespers of 1610 and continued with Orfeo (nominated for a Laurence Olivier Award for Best New Opera Production, 2006). During the season 2008/09, he directed the world premiere of The Bonesetter’s Daughter at San Francisco Opera and La Traviata at Lithuanian National Opera in Vilnius.

Future projects include a Chinese opera Legend of the White Snake for the Lincoln Center Festival, a new opera by composer Judith Weir, commissioned by Bregenzer Festspiele and Royal Opera House London, a collaboration with viol player Jordi Savall, and a musical film production in China.

Photos

Videos

Kronos Quartet & Wu Man: A Chinese Home (excerpts) - Return (1 of 3)

Kronos Quartet & Wu Man: A Chinese Home (excerpts) - Shanghai (2 of 3)

Kronos Quartet & Wu Man: A Chinese Home (excerpts) - The East Is Red & Made In China (3 of 3)

Rehearsal: Wu Man, an electric pipa, and some Black Sabbath.

What exactly is a home, or a homeland? Is it a physical place? A spiritual condition? A cultural construct? Can a home, or a homeland, pick itself up and go flying across the globe? A Chinese Home—a multimedia happening led by the Kronos Quartet and Wu Man, the pipa virtuoso and singer—answers "yes," essentially, to all those questions...this [was an] engaging hourlong spectacle—a new kind of musical stage show, meditating on a world of crisscrossing cultural influences, of homes in flux.

Richard Scheinin, San Jose Mercury News

a satisfying one-two punch of Chinese culture through music...a delightful romp.

Tom Huizenga, The Washington Post

Production Credits

Producer: Janet Cowperthwaite
Production Management: Kronos Performing Arts Association
Production Assistant: Julie Yip

Kronos Quartet and Wu Man play tuned benches and electric pipa, designed and constructed by Walter Kitundu

Intermission sound collage created by David Harrington and Calvin Ll. Jones. Constructed from field recordings by Wu Man, Chen Shi-Zheng, Gregory Dubinsky, and Jeremy Cowperthwaite, and additional sources

For Kronos Quartet/Kronos Performing Arts Association:
Janet Cowperthwaite, Managing Director
Laird Rodet, Associate Director
Sidney Chen, Artistic Administrator
Scott Fraser, Sound Designer
Christina Johnson, Communications Manager
Nikolás McConnie-Saad, Office Manager
Hannah Neff, Production Associate
Laurence Neff, Production Director
Lucinda Toy, Business Operations Manager

Kronos Quartet/Kronos Performing Arts Association
P. O. Box 225340
San Francisco, CA 94122-5340 USA
www.kronosquartet.org
www.facebook.com/kronosquartet
www.myspace.com/kronosquartet
Twitter: @kronosquartet #kronos

The Kronos Quartet records for Nonesuch Records.

For Wu Man:
Earl Blackburn
Opus 3 Artists
470 Park Avenue South
9th Floor North
New York, NY 10016
www.Opus3Artists.com

Shuman Associates Inc.
120 West 58th Street
New York, NY 10019

Wu Man records for Nonesuch, Naxos, Nimbus Records, Sony/BMG, CSO Resound, Traditional Crossroads, and Orange Mountain.

For Chen Shi-Zheng:
Xenia Hu
Karsten Witt Musik Management GmbH
Leuschnerdamm 13, D-10999 berlin
www.karstenwitt.com

Kronos Quartet thanks Jeremy Geffen, Kathy Schuman, Jenny Bilfield, Mike Ross, Susie Farr, Ruth Waalkes, Paul Brohan, Anna Thompson, Steve MacQueen, David Lieberman, Greg Dubinsky, Laura Hazlett, Michael Hearst, Anne Luft, Hannah Neff, Jill Neff, Kehren Barbour, Dr. Rembrandt Wolpert, Archeophone Records, Clarion Music, Albert Behar and Yuanlin Chen.

Wu Man thanks Earl Blackburn, Wang Shukai, Nancy Berliner, Ying-hsin Chen and Jennifer Scott.

Chen Shi-Zheng thanks Steven Holl Architects, Beijing; The Beijing Planning Museum; MAD Architects, Beijing; MAO Livehouse, Beijing; The Village Sanlitun, Beijing; Yi Liming, Beijing; Susu, Dali, Yunnan province; Lao San, Dali, Yunnan province; Cobbler’s Hill Old Inn, Shangrila, Yunnan province; Guo Jian Hong, Shangrila, Yunnan province; Gabriella Chen, Shanghai; Caitlin Ward; and Zhang Liping.

Yin Yu Tang photos courtesy of Peabody Essex Museum.

A Chinese Home was commissioned for the Kronos Quartet and Wu Man by Carnegie Hall and the University of Notre Dame’s DeBartolo Performing Arts Center.  The work was co-commissioned by the Clarice Smith Performing Arts Center, University of Maryland at College Park, with funds from The Leading College and University Presenters Program of the Doris Duke Charitable Foundation; Florida State University’s Seven Days of Opening Nights; Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign; and Stanford Lively Arts, Stanford University. Additional support was provided by the National Endowment for the Arts.

DateLocationVenuePresenter
3-9-13Auckland, New ZealandGreat Hall, Auckland Town HallAuckland Festival
6-15-11Toronto, CanadaJane Mallet Theatre, St. Lawrence Centre for the Performing ArtsLuminato Festival
6-4-11San Francisco, CaliforniaYBCA ForumYerba Buena Center for the Arts & Kronos Performing Arts Association
6-3-11San Francisco, CaliforniaYBCA ForumYerba Buena Center for the Arts & Kronos Performing Arts Association
2-18-11Tallahassee, FloridaRuby Diamond AuditoriumSeven Days of Opening Nights
1-12-11Sydney, AustraliaState TheatreSydney Festival
3-27-10South Bend, IndianaLeighton Concert HallDeBartolo Performing Arts Center at University of Notre Dame
2-12-10College Park, MarylandClarice Smith Performing Arts CenterUniversity of Maryland
1-28-10Urbana, IllinoisTryon Festival TheaterKrannert Center for the Performing Arts
1-16-10Stanford, CaliforniaMemorial AuditoriumStanford Lively Arts

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Concert Schedule

Jan18Berkeley, CaliforniaHertz Hall
Feb7Iowa City, IowaHancher Auditorium
Feb10Hanover, New HampshireSpaulding Auditorium
Feb12Chapel Hill, North CarolinaMemorial Hall
Feb21Irvine, CaliforniaIrvine Barclay Theatre
Mar5Blacksburg, VirginiaAnne and Ellen Fife Theatre, Street and Davis Performance Hall

Kronos tours often! View all of our venues and dates.

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