Rose TheaterJazz at Lincoln Center’s Frederick P. Rose Hall

Please make certain all your electronic devicesare switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Wednesday, November 15, 2017, at 7:30 pm

Jordi SavallThe Routes of Slavery

Memories of Slavery1444–1888

John Douglas Thompson, Narrator

MALIKassé Mady Diabaté, Voice

Ballaké Sissoko, Kora and VoiceMamani Keita, Nana Kouyaté, Tanti Kouyaté, Chorus and Dance

MADAGASCARRajery, Valiha and Voice

MOROCCODriss el Maloumi, Oud and Voice

MEXICO / COLOMBIATembembe Ensamble Continuo

Ada Coronel, Vihuela, Wasá, Dance, and VoiceLeopoldo Novoa, Marimbol, Marimba de chonta, Tiple colombiano,

and VoiceEnrique Barona, Vihuela, Leona, Jarana, Quijada de caballo, Dance,

and VoiceUlises Martínez, Violin, Vihuela, Leona, and Voice

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American Airlines is the Official Airline of LincolnCenter

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital ofLincoln Center

Artist Catering provided by Zabar’s and Zabars.com

The Routes of Slavery was supported by theDepartament de Cultura of the Generalitat deCatalunya, the Institut Ramon Llull, and Unesco

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

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BRAZILMaria Juliana Linhares, SopranoZé Luis Nascimento, Percussion

ARGENTINAAdriana Fernández, Soprano

VENEZUELAIván García, Bass

UNITED STATESThe Fairfield Four

Joseph Edward ThompsonLevert Allison

Bobbye Lecolye SherrellLarrice Byrd Sr.

La Capella Reial de CatalunyaDavid Sagastume, Countertenor

Víctor Sordo, TenorFurio Zanasi, Baritone

Hespèrion XXIPierre Hamon, Flutes

Béatrice Delpierre, ShawmDaniel Lassalle, SackbutJordi Savall, Treble viol

Philippe Pierlot, Bass violXavier Puertas, Violone

Xavier Díaz-Latorre, GuitarAndrew Lawrence-King, Spanish Baroque harp

David Mayoral, Percussion

Jordi Savall, Director

This program is approximately 2 hours and 15 minutes long, including intermission.

Please join the artists for a White Light Lounge following the performance.

The Routes of SlaveryMemories of Slavery

1444–1888

PART I

Music Wind instruments and Percussion Narration 4th century BC: “Humanity is divided into two: the masters and the slaves”—Aristotle, Politics

Music Kora and Valiha Narration 1444: Chronicle of the discovery and conquest of Guinea Anonymous (Mali) Djonya (Introduction) Anonymous (Mali) Manden Mandinkadenou (Griot song)

Music Guitar (Romanesca) Narration 1505: King Ferdinand the Catholic writes a letter to Nicolas de Ovando. Mateo Flecha, the Elder La Negrina: San Sabeya Gugurumbé Jarocho son (traditional) Los Negritos / Gurumbé

Music Valiha Narration 1620: The first African slaves arrive in the English colonies. Lazir Sinval (Brazil, Vida ao Jongo (Jongo da Serrinha) African tradition) Slave song Another man done gone

Music Percussion Narration 1657: Richard Ligon publishes A True and Exact History of the Island of Barbados in London.Traditional (Veracruz, Mexico) La Iguana (Jarocho son)

Music Slow drums Narration 1661: The punishment of slaves in the “Slave Code of Barbados” Anonymous (Mali) Simbo (Griot song)

Music Harp Narration 1685: The “Black Code” promulgated by Louis XIV was enforced until 1848.Traditional / Escurinho (Brazil) Saí da casa (Ciranda)Fray Filipe da Madre de Deus Negro a 5: Antonya, Flaciquia, Gasipà

Music Malimba Narration 1748: Montesquieu, On the Slavery of Negroes Slave song Follow the drinking gourd

Intermission

PART II

Traditional spiritual song Velo que bonito (San Antonio) (Pacific, Colombia)

Music Guitar Narration 1772: Raynal’s A philosophical and political history of the settlements and trade of the Europeans in the East and West Indies Anonymous, Codex Trujillo Tonada del Chimo: Jaya llûnch, Jaya llôch (Indian (Peru, c. 1780) ritual song in Mochica language)

Music Kora Narration 1781: Thomas Jefferson‘s Notes of the State of Virginia Anonymous, Codex Trujillo Tonada El Congo: A la mar me llevan

Music Oud Narration 1782: The slave Belinda petitions the legislature of Massachusetts for a pension. Early Gospel Hallelujah (Love just bubbles over in my heart)

Music Percussion Narration 1852: Uncle Tom’s CabinAnonymous & improvisations Awal (instrumental) (Mali/Madagascar)

Music Guitar Narration 1855: Abraham Lincoln writes to Joshua Speed, a personal friend and slave owner in Kentucky. Traditional/Paolo Ró & Bom de Briga (Maracatu e Samba) Águia Mendes (Brazil)

Music Harp Narration 1865: The 13th Amendment to the United States Constitution abolishes slavery and involuntary servitude. Early Gospel The bells are tolling

Music Percussion Narration 1963: Why we can’t wait by Martin Luther King Anonymous (Mali) Touramakan (Griot song)

For an article about the music of The Routes of Slavery, turn to page 72.

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For my people everywhere singing their slave songs repeatedly: their dirges and their ditties and their blues and jubilees, praying their prayers nightly to an unknown god, bending their knees humbly to an unseen power;

For my people lending their strength to the years, to the gone years and the now years and the maybe years, washing ironing cooking scrubbing sewing mending hoeing plowing digging planting pruning patchingdragging along never gaining never reaping never knowing and never understanding;

For my playmates in the clay and dust and sand of Alabamabackyards playing baptizing and preaching and doctor and jail and soldier and school and mama and cooking and playhouse and concert and store and hair and MissChoomby and company;

For the cramped bewildered years we went to school to learn to know the reasons why and the answers to and the people who and the places where and the days when, in memory of the bitter hours when we discovered we were black and poor and small and different and nobody cared and nobody wondered and nobody understood;

For the boys and girls who grew in spite of these things to be man and woman, to laugh and dance and sing and play and drink their wine and religion and success, to marry their playmates and bear children and then dieof consumption and anemia and lynching;

For my people thronging 47th Street in Chicago and Lenox Avenue in New York and Rampart Street in New Orleans, lost disinherited dispossessed and happy people filling the cabarets and taverns and other people’s pockets needing bread and shoes and milk andland and money and something—something all our own;

Illumination

For My Peopleby Margaret Walker

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—From This Is My Century: New and Collected Poems (University ofGeorgia Press, 1989). Copyright © 1989 by Margaret Walker. Used with permission of the University of Georgia Press

For poetry comments and suggestions, please writeto programming@LincolnCenter.org.

For my people walking blindly spreading joy, losing time being lazy, sleeping when hungry, shouting when burdened, drinking when hopeless, tied, and shackled and tangled among ourselves by the unseen creatures who tower over us omnisciently and laugh;

For my people blundering and groping and floundering in the dark of churches and schools and clubs andsocieties, associations and councils and committees and conventions, distressed and disturbed and deceived and devoured by money-hungry glory-craving leeches, preyed on by facile force of state and fad and novelty, by false prophet and holy believer;

For my people standing staring trying to fashion a better wayfrom confusion, from hypocrisy and misunderstanding, trying to fashion a world that will hold all the people, all the faces, all the adams and eves and their countlessgenerations;

Let a new earth rise. Let another world be born. Let a bloody peace be written in the sky. Let a second generation full of courage issue forth; let a people loving freedom come to growth. Let a beauty full of healing and a strength of final clenching be the pulsing in our spirits and our blood. Let the martial songs be written, let the dirges disappear. Let a race of men now rise and take control.

Illumination

Meet the Artists

For more than 50 years, Jordi Savall, one ofthe most versatile musicians of his genera-tion, has rescued musical gems fromobscurity. A tireless explorer of early music,he interprets and performs the repertoryboth as a gambist and a conductor. Hisactivities as a concert performer, teacher,researcher, and creator of new musical andcultural projects have made him a leadingfigure in the reappraisal of historical music.Together with Montserrat Figueras, hefounded the ensembles Hespèrion XXI(1974), La Capella Reial de Catalunya(1987), and Le Concert des Nations (1989),with whom he creates musical worlds ofemotion and beauty shared with millions ofearly music enthusiasts around the world.

Mr. Savall has recorded and released morethan 230 albums covering the medieval,Renaissance, Baroque, and Classicalmusic repertories, with a special focus onthe Hispanic and Mediterranean musicalheritage, receiving many awards and dis-tinctions including six Grammy nomina-tions, the Midem Classical Award, and theInternational Classical Music Award. Hisconcert programs have made music aninstrument of mediation to achieve under-standing and peace between different andsometimes warring peoples and cultures.Accordingly, guest artists appearing withhis ensembles include Arab, Israeli, Turk ish,Greek, Armenian, Afghan, Mexican, andNorth American musicians. In 2008 Mr.Savall was appointed European UnionAmbassador for intercultural dialogue and,together with Montserrat Figueras, wasnamed “Artist for Peace” under theUNESCO Good Will Ambassadors program.

Tony Award–nominated actor JohnDouglas Thompson (narrator) is acclaimedfor his performances on and off Broadwayas well his appearances on screen. Herecently appeared in the leading role inHamlet at the American ConservatoryTheater, where he also starred in Satchmoat The Waldorf. Mr. Thompson’s Broadwaycredits include Jitney, which received theTony Award for Best Revival, A Time to Kill,Cyrano de Bergerac, and Julius Caesar.Off-Broadway, he has appeared in Troilusand Cressida, King Lear, and Julius Caesarat the Public Theater; The Iceman Comethat BAM (Obie and Drama Desk Awards); ADoll’s House, The Father, Macbeth,Othello (Obie and Lucille Lortel Awards),Tamburlaine the Great (Obie and DramaDesk Awards); Satchmo at the Waldorf(Drama Desk and Outer Critics CircleAwards) at the Westside Theatre; TheEmperor Jones at the Irish RepertoryTheatre (Joe A. Callaway Award); andHedda Gabler at New York TheatreWorkshop. Regional credits include JoeTurner’s Come and Gone at the MarkTaper Forum (Ovation Award); Antony andCleopatra at Hartford Stage; Othello,Richard III, King Lear at Shakespeare &Company; and Jesus Hopped the ‘A’ Trainat the Wilma Theater (Barrymore Award).

On television and film, Mr. Thompson hasappeared in Bull, The Immortal Life ofHenrietta Lacks, Wolves, MadamSecretary, Person of Interest, The BourneLegacy, Glass Chin, Law & Order, Law &Order: SVU, Conviction, Michael Clayton,Midway, and Malcolm X.

Jordi Savall

John DouglasThompson

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Kassé Mady Diabaté (voice) was born in1949 in the village of Kéla, Mali, to a vocallegacy. In 1970 he became lead singer ofthe Orchestre Régional Super Mandé deKangabaand and went on to win theNational Biennale music competition inBamako. Mr. Diabaté was then invited tojoin Las Maravillas de Mali, a groupfocused on interpretations of Cuban clas-sics. With their young vocalist at the helm,the Maravillas, later known as BademaNational, achieved success throughoutWest Africa.

In 1988 Mr. Diabaté left Mali and moved toParis, where he recorded his first soloalbum for the Senegalese record producerIbrahima Sylla. He spent the next decade inParis, recording Fode, then Kéla Tradition,an acoustic album of Kéla Jeli songs.Returning to Mali in the late 1990s, severalcollaborations followed, many of whichhave become landmark recordings:Songhai 2, the album he made with the fla-menco group Ketama and Toumani Diabaté,and Koulandjan, on which he collaboratedwith Taj Mahal and Toumani Diabaté andwhich Barack Obama cited as one of hisfavorite albums of all time. Collaborationswith Toumani Diabaté continued, starringToumani’s Symmetric Orchestra andAfrocubism projects, both recorded byWorld Circuit. Solo projects over the pastdecade have included the acoustic albumKassi Kassé, produced in 2002 by LucyDuran, and the critically acclaimed MandenDjeli Kan, released on Universal France in2009.

Master of the kora, improviser, and com-poser, Ballaké Sissoko (kora, voice) contin-ues a family legacy of masterful kora playersand enthusiasts. He is the son of DjelimadySissoko, director of the NationalInstrumental Ensemble of Mali and co-author of the first instrumental album ofkora music. Accepted to the NationalInstrumental Ensemble of Mali at the ageof 13, Mr. Sissoko studied alongside thegreat masters Sidiki Diabaté, N’Fa Diabaté,and Batrou Sékou Kouyaté, and madeappearances at the Mixed Music Festivald’Angoulême. He has collaborated withsuch singers as Kandia Kouyaté, AmyKoita, and Tata Bambo Kouyaté, as well asinstrumentalists Ross Daly, KeyvanChemirani, Dariush Talai, and LudovicoEinaudi. His first album, Kora Music fromMali, was released in 1997, followed by aneponymous album in 1998 and an albumwith Toumani Diabaté in 1999. Other albumcollaborations include Kulanjan with blues-man Taj Mahaland and a 2008 record withRajery and Driss El Maloumi as part of the3MA project. Mr. Sissoko’s ChamberMusic was the recipient of the Victoire duJazz for best foreign album and has soldover 25,000 copies worldwide. His newestproject, At Peace, was released in 2012 onthe label No Format.

An innovative virtuoso from the youngergeneration of Madagascar, Rajery (valiha,voice) has forged a unique style that is

Kassé MadyDiabaté Ballaké Sissoko

Rajery

refined and poetic. Despite an amputatedright hand, he has become one of the virtuosos of the valiha, and provides hisexpertise and work as a music therapist. Avaliha professor since 1989, Rajeryfounded his own school in 1994 and a val-iha-making workshop, with the assistanceof UNESCO and Handicap International, aspart of a campaign to abolish child laborand to help street children.

Oud master Driss el Maloumi (oud, voice)was born in Agadir, Morocco and is consid-ered one of the best of his generation. Hebegan his studies in Arab literature, butupon finding the oud, his interests rapidlychanged. A recipient of the first Oud playeraward in 1992, Mr. el Maloumi went on toacquire an award of perfection in 1993 andthe award of honor from the NationalMusic Conservatory of Rabat. He has sincecollaborated with other international musi-cians such as Françoise Atlan and PierreHamon from France, Xavi Maureta andJordi Savall (with his ensemble HespèrionXXI) from Spain, and Carlo Rizzo and PaoloFresu from Italy. Mr. el Maloumi prideshimself on deep artistic research, espe-cially in composing French shows likeOiseau de Lune, L’Amour Sorcier, andCaravane de Lune. He is known for mixingtraditional Moroccan Sufi music with newand modern roots of jazz and Baroquemusic, such as on the albums Noches andhis magnum opus, Jazz aux Oudayas.

Tembembe Ensamble Continuo Tembembe Ensamble Continuo is dedi-cated to exploring, recreating, and promot-ing the musical connections between theHispanic Baroque period and traditionalmusic from Mexico and Latin America. Thisoverlapping breaks the imaginary musicalwall dividing them by opening up new pos-sibilities for enjoying, expanding, and under-standing music. Tembembe EnsambleContinuo blends Baroque guitar musicpieces gathered from Spanish and Mexicantablatures, and links them with contempo-rary Mexican and Latin American sones. Byexploring commonalities of musical prac-tices and instrumentation, the group putstogether a music, singing, and dancingshow that revives the festive spirit of 17thcentury and contemporary fandango gath-erings (popular festivities with live songand dance). The ensemble members areEnrique Barona, Eloy Cruz, and LeopoldoNovoa, who studied music at the NationalSchool of Music in Mexico City, as well asin other music institutions in Mexico,Colombia, the U.S., and France. They cur-rently teach at UNAM, Morelos Center forthe Arts, and Ollin Yolistli Center, and orga-nize and direct workshops on building andplaying traditional instruments in theMexican state of Morelos.

Driss el Maloumi

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Maria Juliana Linhares (soprano) is aBrazilian vocalist, educator, and ethnomusi-cologist. Her vocal experience spans a mul-titude of styles, including flamenco, Latinmusic, opera, and Brazilian popular music,in which she has an original work titledVocal Petals. Ms. Linhares’s festivalappearances include Musical Farm, Weekin Music Performance, Music FestivalParaíba, Northeast Station, Folia Street, Sixand Half Project, and many others. Pastconcert engagements include Villa-Lobos’s“Invocation in Homeland Defense” andBeethoven’s Choral Fantasy with theYouth Symphony Orchestra of Paraiba, and“Songs of the Nativity” with the ChamberOrchestra of the City of João Pessoa. Soloengagements include concerts with theParaiba Symphony Orchestra at theNational Art Festival, Coral University ofParaíba, the � Camena Group� , the GuitarOrchestra of Paraiba, and the Arts WomanCamerata. As a vocal coach and educator,she has worked with groups such as theTheatre Group and Crop Group GreaseTheatre, and is currently employed as asubstitute music education professor atthe Federal University of Paraíba in Brazil.Her accolades include an honorable men-tion as a soloist in the 13th Festival andExhibition Maranhense of Lyrical Singingand the new artist prize in Brazilian popularmusic at the MPB/SESC Festival in 2006.

Virtuoso percussionist Zé Luis Nascimentowas born in Salvador de Bahia, Brazil. A for-mer dancer, his music career began as amusic director of the Bahian Folk Ballet.Upon arriving in France in 1996, Mr.Nascimento discovered new types ofEastern and Western percussions andbegan developing a profoundly originalrhythmic vocabulary of his own; he createsstunning coherence, drawing upon a wealthof instruments. Both on stage and inrecordings, Mr. Nascimento has collabo-rated with such greats as Michel Legrand,Césaria Evora, Georges Moustaki, Jean-LucPonty, Al Di Meola, Ayo, Tania Maria,Vladimir Cosma, Lokua Kanza, SouadMassi, and many more. He can be heard onmore than 100 international albums.

Argentine soprano Adriana Fernández is aprominent soloist and master of Baroqueand operatic repertoire. She has sung underthe batons of John Nelson, Armin Jordan,Kurt Masur, and Michel Corboz, and withorchestras such as L’Orchestre de la SuisseRomande, the Geneva Chamber Orchestra,Orchestre de Chambre de Lausanne,Verbier Festival Orchestra, Israel ChamberOrchestra, and the Buenos Aires Philhar -monic Orchestra, to name a few. A cham-pion of early music, her past solo engage-ments include Bach’s Passions, Magnificat,and Mass in B minor; Handel’s Il Trionfo delTempo e del Disinganno; Haydn’s MissaIn angustiis and Mass in C; as well as

Maria JulianaLinhares

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Mozart’s Requiem, Men delssohn’s Psalm 42,Dvorák’s Stabat Mater, and Poulenc’s SeptRéponds des Ténèbres. Her opera creditsinclude Dido and Aeneas, Louise, Le nozzedi Figaro, Idomeneo, La Damnation deFaust, Der Rosenkavalier, and Torrejón’sPurpura de la Rosa. A member of GabrielGarrido’s ensemble Elyma, Ms. Fernándezfrequently works with music ensemblessuch as Hespèrion XXI, Le Concert desNations, and Ensemble 415, among oth-ers. As an educator, she teaches at theCursos Internacionales Manuel de Falla,the Académie in Ambronay, and at theEarly Music Courses of Barbaste.

Venezuela native Iván García (bass) has col-laborated with some of the most outstand-ing musical and theatrical directors inEurope and Latin America, among themJordi Savall, Christian Zaccaria, ChristopherRousset, Edmon Colomer, Manuel Galduf,Paolo Arrivabeni, Gustavo Tambacio, andLindsay Kemp. A student of many styles,his repertoire includes oratorio, Baroqueopera, Classical, Romantic, contemporary,and popular music. Since his Europeandebut at the Glasgow Festival in 1996, Mr.García has performed in venues such asTeatro Colón in Buenos Aires, the IsraeliOpera of Tel Aviv, Opéra de Lyon,Montpellier Comédie, and Gran TeatroLiceu Barcelona. Past engagementsinclude L’Incoronazione di Poppea, DieZauberflöte, Don Giovanni, Così fan tutte,Die Entführung aus dem Serail, Fidelio, Ilbarbiere di Siviglia, The Rape of Lucretia,Copland’s Old American Song, and Barber’sHermit Songs. In 1999 Mr. García receivedthe National Artist Award in Venezuela. Hehas collaborated with La Capella Reial deCatalunya since 2001.

The Fairfield Four Known best for appearing at the end of thefilm O Brother Where Art Thou and on thesubsequent soundtrack release, TheFairfield Four sings in the traditional AfricanAmerican a cappella gospel style that thegroup has been known for since its incep-tion almost 100 years ago. The ensemble’scurrent members—Joseph EdwardThompson (the cousin of original membersRufus and Harold Carrethers), LevertAllison, Bobbye Lecolye Sherrell, andLarrice Byrd Sr.—are referred to as thethird generation of The Fairfield Four.

Founded in 1921 in Nashville, Tennessee,The Fairfield Four has maintained its authen-ticity by carrying on traditional stylings exem-plified by the Bessemer Sunset Four, theFamous Blue Jay Singers of Birmingham,Alabama, and the Famous Blue Jay Singerswith Silas Steele. The group was featured onJohn Fogerty’s Blue Moon Swamp on thetrack “A Hundred and Ten in the Shade,”and subsequently opened for Fogerty onmany of his tour dates.

The Fairfield Four has received multiplehonors, including three Grammy Awards:for Best Traditional Soul Gospel Album (ICouldn’t Hear Nobody Pray, 1997), Albumof the Year (O Brother Where Art Thousoundtrack, 2001), and Best Roots Gospelalbum (Still Rockin’ My Soul, 2016), in addi-tion to two Lifetime Achievement Awards.The group was inducted into the GospelMusic Hall of Fame in 1999.

Iván García

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La Capella Reial de CatalunyaFollowing the model of the famousmedieval “royal chapels” for which thegreat masterpieces of both religious andsecular music were composed on theIberian Peninsula, Jordi Savall andMontserrat Figueras, in 1987, founded LaCapella Reial, one of the first vocal groupsdevoted to the performance of Golden Agemusic on historical principles and consist-ing exclusively of Hispanic and Latinvoices. In 1990, when the ensemblereceived the regular patronage of theGeneralitat of Catalonia, it changed itsname to La Capella Reial de Catalunya. Thenewly formed ensemble specialized in therecovery and performance of historically-informed polyphonic and vocal music ofSpain and Europe from the Middle Agesand Golden Age up to the 19th century.The ensemble’s extensive repertory rangesfrom the medieval music of the various cul-tures of the Mediterranean to the greatmasters of the Renaissance and theBaroque. The group has distinguished itselfin various Baroque and Classical operarepertories, as well as in contemporaryworks by Arvo Pärt, and has received vari-ous awards and distinctions in recognitionof its more than 40 recordings.

Hespèrion XXIAncient music’s intrinsic value stems fromits ability as a universal artistic language totransmit feelings, emotions, and ancestralideas that even today can enthrall the con-temporary listener. With a repertoire thatencompasses the period between the 10th

and 18th centuries, Hespèrion XXIsearches continuously for new points ofunion between the East and West, with aclear desire for integration and for therecovery of an international musical her-itage, especially that of the Mediterraneanbasin and with links to the New World.

In 1974 Jordi Savall and MontserratFigueras, together with Lorenzo Alpert andHopkinson Smith, founded the ancientmusic ensemble Hespèrion XX in Basel asa way of recovering and disseminating therich and fascinating musical repertoire priorto the 19th century on the basis of histori-cal criteria and the use of original instru-ments. The name Hespèrion means “aninhabitant of Hesperia,” which in ancientGreek referred to the two most westerlypeninsulas in Europe: the Iberian and theItalian. It was also the name given to theplanet Venus as it appeared in the west.

At the turn of the 21st century, HespèrionXX became known as Hespèrion XXI. Fromits beginning, Hespèrion XXI set out on aclearly innovative and artistic course thatwould lead to the establishment of a schoolin the field of ancient music as the ensem-ble conceived and continues to conceive ofancient music as an experimental tool, atool with which it seeks maximum beautyand expressiveness in its performances.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism candivide the colors and make them appear; thisprism could be the spirit of the listener. —Arvo Pärt. Now in its eighth year, the WhiteLight Festival is Lincoln Center’s annualexploration of music and art’s power toreveal the many dimensions of our interiorlives. International in scope, the multidisci-plinary festival offers a broad spectrum ofthe world’s leading instrumentalists, vocal-ists, ensembles, choreographers, dancecompanies, and directors, complemented

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by conversations with artists and scholarsand post-performance White Light Lounges.

Lincoln Center for the PerformingArts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,

LCPA offers 15 programs, series, and festi-vals including American Songbook, GreatPerformers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer NightSwing, the Mostly Mozart Festival, and theWhite Light Festival, as well as the EmmyAward–winning Live From Lincoln Center,which airs nationally on PBS. As manager ofthe Lincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations.In addition, LCPA led a $1.2 billion campusrenovation, completed in October 2012.

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Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerWalker Beard, Production CoordinatorNana Asase, Assistant to the Artistic DirectorOlivia Fortunato, Programming AssistantDorian Mueller, House Program CoordinatorJanet Rucker, Company Manager

For the White Light FestivalJoshua Benghiat, Lighting DesignSupertitles created and operated by Melissa Wegner

For The Routes of SlaverySelection of Mali music: Kassé Mady Diabaté, Violet Diallo, 3MA (All of Kassé Mady Diabaté’s arrangements and improvisations are published by Carthage Music Ltd.)

Selection of Mexican and Colombian music: Leopoldo NovoaSelection of Brazilian music: Maria Juliana LinharesSelection of slave songs and early gospel: Jordi Savall, The Fairfield FourHistorical and literary research: Sergi Grau, Manuel Forcano, Jordi SavallProgram concept, final musical and text selection: Jordi Savall