Issue 8: Apr–May 2012 by Mondavi Center

mondavi center

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Ballet Preljocaj: Blanche Neige Photo by Jean-Claude Carbonne

program Issue 8: Aprâ&#x20AC;&#x201C;May 2012 3

The Improvised Shakespeare Company

Maya Beiser

san francisco symphony

patti smith

new york philharmonic

ODC/Dance The Velveteen Rabbit

CYro Baptista's Banquet of the spirits

• As a courtesy to others, please turn off all electronic devices. • If you have any hard candy, please unwrap it before the lights dim. • Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited. • Please look around and locate the exit nearest you. That exit may be behind you, to the side or in front of you. In the unlikely event of a fire alarm or other emergency please leave the building through that exit. • As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may not be re-admitted to his/her ticketed seat while the performance is in progress.

Accommodations for Patrons with Disabilities 530.754.2787 • TDD: 530.754.5402 In the event of an emergency, patrons requiring physical assistance on the Orchestra Terrace, Grand Tier and Upper Tier levels please proceed to the elevator alcove refuge where this sign appears. Please let us know ahead of time for any special seating requests or accommodations. See page 51 for more information. Donors 530.754.5438 Donor contributions to the Mondavi Center presenting program help to offset the costs of the annual season of performances and lectures and provide a variety of arts education and outreach programs to the community. Friends of Mondavi Center 530.754.5000 Contributors to the Mondavi Center are eligible to join the Friends of Mondavi Center, a volunteer support group that assists with educational programs and audience development. Volunteers 530.754.1000 Mondavi Center volunteers assist with numerous functions, including house ushering and the activities of the Friends of Mondavi Center and the Arts and Lectures Administrative Advisory Committee. Tours 530.754.5399 One-hour guided tours of the Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre and Yocha Dehe Grand Lobby are given regularly by the Friends of Mondavi Center. Reservations are required. Lost and Found Hotline 530.752.8580 Recycle We reuse our playbills! Thank you for returning your recycled playbill in the bin located by the main exit on your way out.

t is hard to believe that our Mondavi Center season is drawing to a close, but with this wonderful and varied group of programs, we say goodbye to 2011–12. Before bringing down the curtain, we will have some fun with Shakespeare, absorb the eclectic influences that have gone into Maya Beiser’s Provenance, enjoy two great American orchestras and hear from author and singer Patti Smith, whose Just Kids is one of the most beautiful memoirs of our day. By the time the season is done, more than 100,000 people will have come through the doors of the Mondavi Center for our own presentations, for our school matinees, for wonderful UC Davis performing arts and for various university and community events. How fortunate are we in this region to have a facility which can showcase beautifully such a variety of events.

In October, we will celebrate that we have had this facility for 10 full years! By now you have seen our new season brochure (if not, drop by the subscription table in the lobby and pick one up), so you know that the 2012–13 season will bring some of the best-known and loved artists in the world: Yo-Yo Ma, Itzhak Perlman, Bobby McFerrin, Bonnie Raitt, Alvin Ailey American Dance Theater and Wynton Marsalis leading the Jazz at Lincoln Center Orchestra. As always, we hope you will also join us for those artists who are less well known, but of equal artistic stature, such as the wonderful men’s chorus Cantus, “sacred steel” guitarist Robert Randolph, the Akram Khan dance company (look for Khan’s choreography at the opening of the London Olympics) and National Theatre of Scotland’s production The Strange Undoing of Prudencia Hart, which will transform the Vanderhoef Studio Theatre into a pub. And, please do not miss The Ukulele Orchestra of Great Britain—if you have never heard “Smells like Teen Spirit” on eight ukuleles, you have not been leading a truly full life!

info

Photo: Lynn Goldsmith

Before the Curtain Rises, Please Play Your Part

from the directo

before the show

We also welcome back two groups that have been on the program for every one of our Mondavi Center seasons: the American Bach Soloists, which makes a departure from Handel’s Messiah to present a special holiday concert with the San Francisco Girls Chorus, and the Alexander String Quartet visiting the works of Schubert in three-and-a-half concerts. Subscribing to one or more of the series we offer is, I strongly believe, the very best way to experience the variety of Mondavi Center offerings—with the best discounts and guaranteed seats. I do hope you enjoyed the current season, which many patrons have told us has been one of their favorites; I also hope that as you look at 2012–13, you will believe, as we do, that the best may very well be yet to come.

Don Roth, Ph.D. Executive Director Mondavi Center for the Performing Arts, UC Davis

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MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

Creativity Collaboration Remembering Professor Della Davidson, Department of Theatre and Dance

he Mondavi Center joins the UC Davis family in

established. Each piece of choreography usually took

mourning the loss of our professor, artistic collabo-

years to complete, as she worked interactively with the

rator and good friend Della Davidson, a vital creative

dancers and other collaborators to develop the work.

force for the Department of Theatre and Dance for over

A survivor of Hodgkin’s disease that she conquered at

ten years and a central figure in the Bay Area dance

the age of 28, her gift was to make work darkly-toned

world since the early 1980s. She has been described

yet human, with beautiful movement that faced tragedy

as one of the West Coast’s most fluent writers for the

with hope. Driven by an urge to get away from the

body, a dance maker of works that ruminate with

“roles” she and other women had been brought up to

poignancy and beauty on topics ranging from a

inhabit, she often created dance that evoked the raw

woman’s anger to disease, death and the fragility of

energy of forceful women, their strength, physicality

human existence. Her work echoed with references to

and sensuality. Heavily ironic, pieces such as 10 P.M.

the United States tradition in modern dance, and yet

Dream or Fierce/Pink/House displayed gender stereo-

her dancers perform with a passionate abandonment

types only to expose them as insidious traps, and she

of commitment and rage. Over her successful career, she

was firmly committed to feminism as a challenge to

created more than 40 works and received many awards

oppression and small-mindedness.

including the Isadora Duncan Award for Outstanding Achievement in Choreography and the 1990 North

A recipient of the UC Davis Chancellor’s Fellowship

American Award for Choreography.

here at UC Davis, much of her new work was involved in multidisciplinary choreography. Working again with

Jessie Ann Owens, dean of the Division of Humanities,

Ellen Bromberg, the choreographer/dance filmmaker,

Arts and Cultural Studies, said of Davidson, “Della was

she co-created The Weight of Memory and, with the

a big and generous presence on our campus—someone

Keck CAVES institute in the Department of Geology,

who touched all of us lucky enough to work with her and

Collapse (suddenly falling down). Della Davidson

learn from her. I will miss her wise counsel and her abso-

was working with Bromberg on a new piece for this

lute dedication to her art. She was truly an inspiration.”

spring, “and the snow fell softly on all the living and the dead,” which will premiere in May 2012.

Davidson arrived at UC Davis to become a professor of dance in 2001 just as the Department of Theatre

Davidson’s bywords were “creativity” and “collabora-

and Dance became a merged department. At UC Davis

tion,” and one of her greatest gifts was to recognize

she wore many hats, not the least of which was to help

potential in others and bring out their strengths, whether

articulate what an interdisciplinary M.F.A. in theatre and

they were her students, her dancers, her collaborators,

dance might become. She was the artistic director of the

her colleagues or her friends.

department’s Sideshow Physical Theatre, which she also

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Photo by Alex Erde

Debut

The Improvised Shakespeare Company A With a Twist Series Event Thursday–Saturday, April 19–21, 2012 • 8PM Sunday, April 22, 2012 • 3PM and 7PM Jackson Hall Stage, Mondavi Center, UC Davis

There will be one intermission.

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

Download to listen to your favorite news and music anytime

Capital Public Radio App

With Appreciation

for iPhone, iPad & Android

It is our privilege at the Mondavi Center to draw on the expertise of our great UC Davis faculty. Through engagement activities, such as Pre-Performance Talks and PostPerformance Q&As, faculty members help audiences achieve a richer understanding of Mondavi Center performances. We gratefully acknowledge the work of the following faculty who graciously participated in audience engagement activities during the 2011–12 season:

•

Emilio Bejel, Professor, Department of Spanish

and Portuguese

•

Anthony Dumas, ethnomusicology Ph.D. candidate,

Department of Music

•

Jaimey Fisher, Associate Professor, German and

Director of Cinema and Technocultural Studies

capradio.org/ mobileapp 4

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• • • • •

Mika Pelo, Assistant Professor, Department of Music Eric Rauchway, Professor, Department of History Christopher Reynolds, Chair, Department of Music Henry Spiller, Associate Professor of Music Patricia A. Turner, Professor, Departments of African

and African American Studies and American Studies

2o11–12

The improvised shakespeare company

The Improvised Shakespeare Company Fully Improvised Plays Using the Language and Themes of William Shakespeare Created and Directed by Blaine Swen

ased on one audience suggestion (a title for a play that has yet to be written) the Improvised Shakespeare Company creates a fully improvised Shakespearean masterpiece right before your eyes. Nothing is planned out, rehearsed or written. All of the dialogue is said for the first time, the characters are created as you watch and if ever you’re wondering where the story is going ... so are they! You’ve never seen the Bard like this before!

Show History The Improvised Shakespeare Company, founded in 2005, has been performing its critically acclaimed show every Friday night at the world famous iO Theater for more than five years and continues to entertain audiences around the globe with its touring company. The ISC has been featured at the Piccolo Spoleto Fringe Festival, the Bumbershoot Music and Arts Festival and the prestigious Just For Laughs festival in Montreal and Chicago. It has been named Chicago’s best improv group by both the Chicago Reader and the Chicago Examiner and has received a New York Nightlife Award for Best Comedic Performance by a Group. The ISC was recently honored by the Chicago Improv Foundation as its Ensemble of the Year. Join Us! Facebook.com/improvisedshakespeare Follow Us! Twitter.com/ImprovShakesCo View Us! www.improvisedshakespeare.com

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MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

question & answer moderator: jeremy ganter Jeremy Ganter became the associate executive director and director of programming at the Mondavi Center in September 2006 after serving as the artistic administrator and then director of programming for five years. an exclusive wine tasting experience of featured wineries for inner circle donors Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7-8PM and during intermission if scheduled.

April 28 Maya Beiser Corison Winery May 2 San Francisco Symphony Chamber Ensemble Traverso Wines 12 New York Philharmonic D’Argenzio Winery

Ganter is on the Board of Directors of the Western Arts Alliance (WAA), serves as the chair of the WAA Communications Committee and served several terms on the board of California Presenters, both as a director and as treasurer. At the Mondavi Center, Ganter oversees the implementation of a season consisting of more than 80 productions and 100 performances. During the 2007–08 season, Ganter directed the Mondavi Center’s Creativity Project, a year-long, multidisciplinary look at the creative spark, including the commissioning of five new works, an extensive residency with the UC Davis campus and community and performances by the Merce Cunningham Dance Company, Kronos Quartet, Shen Wei Dance Arts, Sideshow Physical Theatre Company and the Empyrean Ensemble. In recent seasons, Ganter has led the Mondavi Center’s development of more in-depth performance and residency programs in jazz, including a two-week performance and teaching residency for Sacramento and Davis area students with trombonist Delfeayo Marsalis and the development of the Mondavi Center SFJAZZ High School All-Stars program. Ganter lives in Davis with his wife Allison and their two sons.

Featured wineries

For information about becoming a donor, please call 530.754.5438 or visit us online: www.mondaviarts.org. Sponsored by

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Maya Beiser Provenance A Crossings Series Event Saturday, April 28, 2012 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis

Question & Answer Session Moderator: Jeremy Ganter, Associate Executive Director and Director of Programming, Mondavi Center, UC Davis Question & Answer Sessions take place in the performance hall after the event.

further listening see p. 14

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MONDAVI CENTER PROGRAM Issue 8: Aprâ&#x20AC;&#x201C;May 2012 |

BALLET DIRECTOR

RON CUNNINGHAM ISSUE #6

PLAYWRIGHT

GREGG COFFIN ISSUE #7

TONY WINNER

FAITH PRINCE ISSUE #8 ACTOR

COLIN HANKS ISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDI ISSUE #16

BROADWAY STAR

MARA DAVI ISSUE #19

Available at Raley's, Nugget Markets and Barnes & Noble.

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maya beiser

Maya Beiser Provenance Maya Beiser, Cello Bassam Saba, Oud and Ney Shane Shanahan, Percussion Matt Kilmer, Percussion

In collaboration with Director Robert Woodruff Dave Cook, Sound Engineer Shahrokh Yadegari, Sound Design Robert Wierzel and Stephen Arnold, Lighting Design Stephen Arnold, Lighting Supervisor and Technical Director Oana Botez-Ban, Costume and Set Design

The Echo of Decay For solo cello and live electronics

Raz Mesinai

Samai Nahawand For cello, oud and percussion

Simon Shaheen

Mar De Leche For cello, oud and percussion

Tamar Muskal

Like Smoke For cello and vocals, arranged by Evan Ziporyn

Anonymous

Only Breath For cello and live electronics

Douglas J. Cuomo

I Was There For cello, oud and percussion

Kayhan Kalhor

Longa Farahfaza For cello, oud and percussion

Riyad Alâ&#x20AC;&#x201C;Sunbati

Kashmir For cello and percussion

Jimmy Page/Robert Plant arr. Evan Ziporyn

The creation and touring of Provenance has been made possible thanks to the support of Ronald P. Stanton, Newman Center for the Performing Arts at the University of Denver, the Carnegie Hall Corporation, the International Festival of Arts and Ideas, the Venice Festival, the Jerome Foundation, the Kathy Abelson Foundation, NYFA and NYSCA.

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MONDAVI CENTER PROGRAM Issue 8: Aprâ&#x20AC;&#x201C;May 2012 |

maya beiser

Program Notes From the 9th to the 15th centuries, the area which is now modern Spain was home to the greatest peaceful agglomeration of cultures ever known in the post-literate world. The cultural richness of this time was so remarkable that historians speak of it as the “Golden Age.” Even more remarkable than the flowering of art itself was the confluence of cultures that produced it: under the rule of Islam, Moslems, Jews and Christians lived and worked together in relative harmony. Over the ensuing centuries, the threads of cultural collaboration have often frayed. But the music still resonates with the common source. In creating Provenance—the word itself means origins—I wanted to illuminate the Golden Age of Spain and transpose its spirit to the present. I was seeking to reproduce a musical environment in which different traditions can once again occupy the same shared space. Provenance outlines a musical landscape in which cultural differences are brought together for the artistic energy they release with each encounter. Provenance embraces co-existence not as an abstract ideal but as a creative necessity: Indeed, the shared legacy to outlive the Golden Age, long after those cultures separated in war and acrimony, is the music. —Maya Beiser

“The Echo of Decay,” Raz Mesinai I first heard the music of Raz in the downtown clubs of NYC. His music stayed with me: I heard the desert, could feel the Middle Eastern sun shining through his edgy, urban electronic music. And so, when Raz and I started our collaboration we imagined the sounds of the desert dunes singing through my cello. Mesinai writes: “Composed of an intricate web of trance inducing rhythms and fragile harmonics that are processed live with electronics, ‘The Echo of Decay’ is a meditation on the cycle of life, death and the rise and fall of ancient civilizations heard through the tones and pulses of the desert sands. As we pass through this landscape we hear an echo of the future calling from afar.” “Samai Nahawand,” Simon Shaheen Like me, Simon grew up in the Galilee region of Israel. At the beginning of our musical road we each went our own way: Simon dedicated himself to the study of traditional Arabic music, and I to the study of classical western music. When we met again in New York, we found ourselves moving towards a common musical language. I asked Simon to write a piece for me inspired by our shared childhood landscape at the foothills of the Galilee. The Samai is a genre of instrumental Turkish classical music. It was introduced into Arabic music in the 19th century and became particularly popular in Egypt.

“Mar De Leche,” Tamar Muskal

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Tamar Muskal is an Israeli composer known for her articulate and powerful musical language. She and I spent many afternoons together listening to traditional Ladino music. I wanted to give voice to her contemporary Israeli take on the music created by the Sephardic Jews exiled from Spain. “Mar De Leche” is the perfect expression of her ability to juxtapose modern musical sensibilities with an ancient love song. Muskal writes: “As part of her concert’s vision, Maya asked me to write a piece that is based on a Ladino song. Ladino, an ancient language that is a mixture between Hebrew and Spanish, was spoken by the Sephardic Jews who arrived in Spain in 711. “The Jews were expelled from Spain in 1492, but until then, they lived peacefully with the Islamic Moorish rulers. Sephardic Jewish communities can be found across North Africa, in Turkey, the Balkans and the Middle East. As a result of the contact between the Arabs and the Jews, before and after 1492, one can clearly hear some mixture of Arabic and Jewish music among the different musical trends of Ladino music. Prior to composing the piece, I listened to dozens of recordings of ladino song collections; finally I found one song that really spoke to my heart: Mar De Leche (Sea of Milk). There was something about the contour of the melody that was very appealing to me. “Growing up in Israel surrounded by Jewish and Arabic music, the task of composing this piece was fairly natural for me. At the beginning of the piece I introduce the original song, ‘Mar De Leche,’ followed by a few sections; some are variations on the song, others have different materials—all are borrowed from the original song.” “Mar De Leche” Text in Ladino (traditional) If the sea were made of milk, I would become a fisherman. I would fish my sorrows, With little words of love. If the sea were made of milk I would become a peddler, Walking and asking, Where does love begin? In the sea there is a tower, In the tower a window, In the window a young lady Who calls out to the sailors. Give me your hand dove, To climb up to your nest. It is a curse that you sleep alone I am coming to sleep with you!

In Evan Ziporyn’s arrangement, my voice and the voice of my cello strive to weave a double helix of sanctity and intimacy. Two of three melodic strands are performed on the cello; the third is sung. The text, sung in Hebrew, is my own adaptation of a poem by Yehuda Amichai. “Like Smoke” Text in Hebrew by Yehuda Amichai God, the soul you gave me is smoke Memories of love burning on eternal pyre Once born, we immediately begin to torch And so, Until all the smoke vanishes Like smoke “Only Breath,” Douglas J. Cuomo Last summer I traveled with Doug to the Andalusian towns of Cordoba and Granada. We sought to immerse ourselves in the region’s musical traditions, in particular those ranging back to the “Golden Age.” We came across several rare recordings of Muslim-Andalusian Sufi chanting. Of all the music that we had encountered during our journey in Andalusia, those were the most captivating and entrancing for me. Those chants became the inspiration for ‘Only Breath.’ In the process of working on the piece, we spent many hours at the state-of-the-art facilities at CALIT2 of the University of California, San Diego. We worked in collaboration with Shahrokh Yadegari, to create a sense of music that floats in space, curving around itself, repeating but never ceasing to change. Cuomo writes: “‘Only Breath’ was inspired by the stillness and sounds of the countryside of Andalusia and the experience of being awakened before dawn in a small village in Turkey by the sound of the Sufi call to prayer emanating simultaneously (and entirely independently) from a number of different minarets. I think of this piece as a free rumination on the sound of the wind, breath and melodies swirling around in space. Electronics capture the sound of the cello in real time and spin it around the listener, creating an aural landscape that is reminiscent of these two experiences and yet also one that is ‘not composed of elements at all,’ as Rumi says in his poem ‘Only Breath’.”

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maya beiser

“Like Smoke,” Anonymous Like Smoke is based on Tsmindao Ghmerto (Holy God), a 13th century Sanctus from the orthodox Georgian Liturgy. Georgia has one of the world’s most ancient polyphonic singing traditions, unique in its harmonic and extreme polyphonic approach. Many songs have distinct archaic traits dating from pre-Christian times. The harmonies are unlike anything in European music, with untempered intervals and striking harmonic convergences.

“Only Breath” Text in Farsi by Jelalludin Rumi Not Christian or Jew or Muslim, not Hindu, Buddhist, sufi, or zen. Not any religion or cultural system. I am not from the East or the West, not out of the ocean or up from the ground, not natural or ethereal, not composed of elements at all. I do not exist, am not an entity in this world or the next, did not descend from Adam and Eve or any origin story. My place is placeless, a trace of the traceless. Neither body or soul. I belong to the beloved, have seen the two worlds as one and that one call to and know, first, last, outer, inner, only that breath breathing human being. Translation by Coleman Barks with John Moyne Essential Rumi, HarperCollins 1995 “I Was There,” Kayhan Kalhor Kayhan Kalhor is the world’s leading master of the kamancheh, an upright spike fiddle. I think of the kamanchech as the Middle Eastern ancestor of the western cello. I met Kayhan at a teahouse in Brooklyn. He was visiting from Tehran, on tour with Yo-Yo Ma. We spoke about Ziryab, the mysterious, legendary Persian Kurdish musician, poet, singer and trendsetter. Ziryab arrived at the Umayyad court in Cordoba during the early part of the 9th century and was accepted as a court musician in the court of Abd Al-Rahman II. A former slave, he became the most influential musician of his time and is considered to be the founder of the Andalusian music traditions of North Africa and the Middle East. Kayhan is a Kurd himself, from northern Iran. He remembered a melody from his region that was attributed to Ziryab. This melody became the basis of the piece he had composed for me. “Longa Farahfaza,” Riyad Al–Sunbati Riyad al-Sunbati was a renowned Egyptian oud player and composer. Most of his work was done with the legendary Arabic singer Oum Kaltsoum, who he met in 1922. In 1936, he wrote one of the most famous songs of Oum Kaltsoum, featured in the movie Take Me to Your City My Love. Al-Sunbati took classical Arabic music to new heights. He gave a unique contribution and inspired millions of people all over the world with his taksims and compositions.

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

maya beiser

“Kashmir,” Jimmy Page/Robert Plant (arranged by Evan Ziporyn) Evan and I have worked closely together since our Bang on a Can days in the 1990s, when we shared many musical experiences as we traveled the world. With Bang on a Can we constantly sought ways to bring all the music we love together, not just classical music and rock and roll, but also music from all over the world— Bali, Brazil, Burma, wherever. Early on Evan arranged a Nirvana tune as an encore for the band. Evan writes: “I was struck by how deeply Maya was able to evoke the spirit of Kurt Cobain on her cello. Her playing always comes out of the human voice, and she’ll dig deep to find the sounds she needs—her classical technique is just a starting point. We share a love of Led Zeppelin, and ‘Kashmir’ exemplifies why: its rhythms are complex but compelling, its melodies straddle the line between East and West, and—last but not least—it rocks out. Robert Plant’s vocal range is basically identical to a cello, and Maya also understands the Middle Eastern string lines that he sings to the original. Her playing brings these two extremes together, the blues merging with the Middle Eastern Maqam.” Biographies Maya Beiser (cello), throughout her adventurous and versatile career, has re-imagined the concert experience, creating music that transcends boundaries and genres with large sonic and visual canvases. Described by the The New Yorker as a “cello goddess” and by the Washington Post as “the diva of the cello,” she has captivated audiences worldwide with her virtuosity, eclectic repertoire and relentless quest to redefine her instrument. Raised in the Galilee Mountains in Israel by her French mother and Argentinean father and surrounded with the music and rituals of Jews, Muslims and Christians, Beiser has dedicated her work to reinventing solo cello performance in the mainstream classical arena. Over the past decade, she has created new repertoire for the cello, commissioning and performing many works written for her by today’s leading composers. She has collaborated with composers Tan Dun, Brian Eno, Philip Glass, Osvaldo Golijov, Steve Reich, Louis Andriessen and Mark O’Connor among many others. Beiser is a featured performer on the world’s most prestigious stages, having appeared as soloist at the Sydney Opera House, New York City’s Lincoln Center, London’s Barbican and the World Expo in Nagoya, Japan. Beiser has conceived, performed and produced her critically acclaimed multimedia concerts, including World To Come, which premiered as part of the inaugural season of Carnegie Hall’s Zankel Hall; Almost Human, a collaboration with visual artist Shirin Neshat; and Provenance, which premiered at Carnegie Hall in October 2008 and forms the basis of her latest recording. Her soldout concerts at Carnegie’s Zankel Hall have been chosen by The New York Times critics as among the Best of the Year.

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Highlights of her U.S. tours include performances at the Kennedy Center in Washington, D.C., Royce Hall in Los Angeles, the Kimmel Center in Philadelphia, the Ravinia Festival in Chicago, the Newman Center in Denver, the Celebrity Series in Boston and the International Festival of Arts and Ideas in New Haven. Other recent performances include major venues and festivals in Barcelona, Paris, Tokyo, Shanghai, Athens, Atlanta, Chicago, Philadelphia and Los Angeles. She has appeared with many of the world’s top orchestras performing new works for the cello. Her recent appearances with orchestras include the St. Paul Chamber Orchestra, Montreal Symphony, Brooklyn Philharmonic, Sydney Symphony and China Philharmonic among many others. In March 2011, she was invited to make a presentation at the prestigious TED conference in Long Beach, California. Her TED performance garnered rave reviews as well as hundreds of thousands of views on the Internet. The world premiere of Maya’s new CelloOpera, Elsewhere, will take place at Carolina Performing Arts at Chapel Hill, followed by the New York premiere at the BAM 2012 Next Wave Festival. Beiser’s most recent recording, Provenance, was one of the most successful classical and world music albums of 2010. Her performance of Steve Reich’s Cello Counterpoint is featured on the Nonesuch disc You Are, which was chosen by The New York Times as one of the top albums of the year. She is also the soloist on the Sony Classical CD release of Tan Dun’s Water Passion and has performed his Academy Award-winning score Crouching Tiger Concerto with orchestras around the globe. She has released four solo CDs with Koch Entertainment including Oblivion, Kinship, World To Come and Almost Human. Beiser is a featured soloist on several film soundtracks. Collaborating with renowned film composer James Newton Howard, she is the featured soloist on Universal Studios upcoming release of Rupert Sanders’s Snow White and the Huntsman (summer 2012), as well as on M. Night Shyamalan’s The Happening, Denzel Washington’s The Great Debaters and Edward Zwick’s Blood Diamond. Beiser is a graduate of Yale University. Her major teachers were Aldo Parisot, Uzi Weizel, Alexander Schneider and Isaac Stern. She was the founding cellist of the new music ensemble, the Bang on a Can All-Stars. For more information please visit Beiser’s website: www.mayabeiser.com Bassam Saba (oud and ney) is one of the nation’s leading figures of Arabic music. Saba is a world-renowned ney player and multiinstrumentalist, performing on oud, violin, buzuq, saz and western classical flute. Saba began playing oud, ney and violin at the age of five. Saba studied ney, oud and violin at the Lebanon National Conservatory; received his bachelor of arts in western classical music and flute performance at the Conservatoire Municipal des

Shane Shanahan (percussion) has been touring around the world performing with Yo-Yo Ma as a member of the Silk Road Ensemble since 2001. He is also a member of Glen Velez’s Frame Drumming Ensemble and has performed with Philip Glass, Simon Shaheen, Jamey Haddad, Cyro Baptista, Sonny Fortune, Howard Levy and Steve Gorn among others. Shane has performed at most of the major venues abroad and in the U.S., including Carnegie Hall, the Hollywood Bowl, Lincoln Center and at four Percussive Arts Society International Conventions. He has also been seen and heard on TV and radio in many different countries including appearances on The David Letterman Show, Good Morning America, National Geographic, NHK and NPR. In the spring of 2000, Shanahan was the director of the percussion department at the Hartt School, University of Hartford. In the fall of 2006, he was a Guest Artist in Residence at the Hartt School, focusing on multicultural hand drumming. He received his bachelor’s and performer’s certificate from the Eastman School of Music and his master’s from the Hartt School. Matt Kilmer (percussion), since graduating from Berklee College of Music in 2002, has performed with some of contemporary music’s most notable performers including Grammy Awardwinning vocalist Lauryn Hill and master oudist Simon Shaheen. Currently residing in Brooklyn, New York, Kilmer composes music for comedian Louis CK’s sitcom Louie on the FX network. His debut album, Wild Poppies with his band the Mast, was released in the summer of 2011. Raz Mesinai (composer), a producer and multi instrumentalist, was born in Jerusalem in 1973 and raised in New York City. He composes innovative, avant-garde electro-acoustic music under his own name and is also well known for his hybrid Middle Eastern and dub productions under the alter ego Badawi. Mesinai’s music is usually highly rhythmic with a particularly keen sense of microtonal sound. Considered by some to be a “sound alchemist,” Mesinai began playing frame drum and piano at the age of seven and was highly influenced by shamanic and trance ritual music as a child by his single, transient mother who raised him in the Buddhist, Jewish, Sufi and Christian traditions. At the age of 12,

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maya beiser

Gobelins and an master of arts in western flute performance and music education at the Gnessin Musical Pedagogical Institute of Moscow (1985). Upon his return to Beirut, Saba began to work extensively with Fairouz, Ziad Rahbani and Marcel Khalife. Saba has worked with artists such as Yo-Yo Ma, Simon Shaheen, Marcel Khalife, Paul Simon, Alicia Keys, Wu Man, Sting, Santana and jazz musicians Herbie Hancock, Sonny Fortune, Wayne Shorter and Quincy Jones. Saba currently performs his compositions with his own group, the Bassam Saba Ensemble, and conducts the largest Arabic orchestra in America—the New York Arabic Orchestra. Saba also performs in Christian Jarvi’s Absolute Ensemble, premiering a pioneering concerto for ney composed for him by Daniel Schnyder. Saba recently performed as a soloist with the Hannover Philharmonic and has upcoming performances with the Vienna Philharmonic and Berlin Philharmonic.

Mesinai left his mother to study religion in the ultra orthodox community of Mea Shearim and was influenced by the anarchist Hassidic sect, the Neturei Karta. Later Mesinai abandoned religion and became fully devoted to music at the age of 15 upon returning to New York City. Simon Shaheen (composer) is one of the most significant Arab musicians, performers and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. This unique contribution to the world of arts was recognized in 1994 when Shaheen was honored with the prestigious National Heritage Fellowship award at the White House. A Palestinian, born in the village of Tarshiha in the Galilee, Shaheen’s childhood was steeped in music. His father, Hikmat Shaheen, was a professor of music and a master oud player. Shaheen studied Arabic music with his father and Western music in Haifa and the Jerusalem Academy of Music. His consequential fusion of Arabic and Western classical music has uniquely defined him as a composer and performer. He is the founder of two legendary groups, the Near Eastern Music Ensemble and Qantara. Tamar Muskal (composer) writes that music harmonizes the unique cultural aspects of both her homeland, Israel, and the United Sates. Her music is always in a counterpoint style, carefully structured and with great attention for details. She studied viola, music theory and composition at the Rubin Academy for Music and Dance in Jerusalem. Muskal came to the United States in 1994 and subsequently earned her master’s degree from Yale, where she received four awards for her compositions and achievements. Her composition The Yellow Wind was nominated for a Pulitzer prize. Douglas J. Cuomo (composer) has composed highly acclaimed and original music for concert and theatrical stages, television and film. His music, with influences from jazz, world music, classical and popular sources, is as personal, distinctive and recognizable as it is wide-ranging. His compositions range from well-known television themes—Sex and the City and Now with Bill Moyers, among others—to evening-length works for theater, including “Arjuna’s Dilemma,” an opera-oratorio based on the story of the Bhagavad Gita. Kayhan Kalhor (composer) is an Iranian kamancheh player and composer of Kurdish descent. In 2004, two of his works were nominated for Grammy Awards. Kalhor consciously pins Persian classical music structures to the rich folk modes and melodies of Northern Khorasan, the cultural heart of historic Persia and a bridge to Central Asia. Kayhan Kalhor’s music speaks from an ancient Persian tradition while sounding timeless and spiritually invigorating today.

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

maya beiser

further listening

Maya Beiser by jeff hudson Maya Beiser visited the Mondavi Center with her program World to Come in April 2007, and at the time I could only wonder why she hadn’t gotten here sooner. Beiser made a splash in the fall of 2003, when World to Come figured in the inaugural season at Zankel Hall (the 599-seat venue that opened as part of the Carnegie Hall complex that season). In World to Come, she used a live, amplified cello, layered with seven or eight recorded cello parts, and two recorded vocal parts, together with a series of large-scale projected video images (displayed on scrims hanging behind her onstage) to create a complex and often breathtaking “solo” performance (and I use the term “solo” advisedly). World to Come toured extensively, with stops at the Kennedy Center, UCLA’s Royce Hall and the Ravinia Festival in Chicago, and of course there was an album (on the Koch label) as well. By the time Beiser visited Mondavi in 2007 (performing World to Come), she had another solo album out: Almost Human (2007, Koch). The New York Times picked the 2006 premiere of Almost Human as one of the “Best of 2006” events. Beiser’s 2010 album Provenance came out on the Innova label. Provenance combines music of contemporary composers from Armenia, Kurdish Iran, Israel and the U.S.—plus an attention-getting cello-driven cover of Led Zeppelin’s “Kashmir” (a tune from that band’s Physical Graffiti album, which thundered at many a college party when I was an undergraduate at UC Santa Barbara in the 1970s).

Beiser has more projects in the works, which I suppose could become albums at some point. Current projects include: —Canyengue- The Soul of Tango. Beiser works with Pablo Ziegler (you may recall his appearance in Jackson Hall in April 2011). —Just Ancient Loops. Beiser teams with composer/ pianist Michael Harrison in a concert that includes an extended piece by Harrison, as well as Harrison’s arrangement of music by two composers he reveres, Arvo Pärt (“Fratres”) and J.S. Bach. (the Cello Suite in G Major, with the cello tuned for “just intonation” rather than the standard tuning). Pärt visited Davis several times in the 1990s, working with choral conductor Paul Hillier, then on the UC Davis faculty. (I remember attending one of Hillier’s Theater of Voices concerts at Davis Community Church and being more than slightly surprised when Pärt quietly came in and sat in the pew right in front of me). —Elsewhere. This is described as a “CelloOpera” built around a retelling of the Biblical tale of Lot’s wife, incorporating video, choreography, spoken and sung words, amplified and distorted cello, etc. If you look into Beiser’s back catalog, you’ll also find her collaborating with names you may recognize. The 2000 album Caught by Sky with Wire put her together with percussionist Steven Schick (who was featured in Paul Dresher’s Schick Machine, which played in the Vanderhoef Studio Theatre). Beiser was also involved with several Bang on a Can projects, and touring groups associated with Bang on a Can have visited Mondavi as well.

Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise and Sacramento News and Review.

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Dave Cook (sound engineer) has been a sound engineer for 23 years. His work in the pop/rock world has landed him gold and platinum album credits with artists such as 10,000 Maniacs, the B-52’s (The Love Shack) and many more. He has engineered and mixed live broadcasts with David Bowie, Radiohead and Morphine to name a few. Live concert mixing credits include Elvis Costello with the Charles Mingus Orchestra, Carly Simon, Nine Circles Chamber Theater, ETHEL, Ravi Shankar, Anoushka Shankar and Marc Cohn.

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maya beiser

Robert Woodruff (director) has helped stage more than 50 productions at the Lincoln Center, the New York Shakespeare Festival, Edinburgh International Festival, Sydney Arts Festival, the Hong Kong Festival for the Arts and most recently the world premiere of Appomattox by Phillip Glass for the San Francisco Opera. Woodruff was artistic director at the American Repertory Theatre in Cambridge from 2002–07, where he produced 35 productions with artists from 12 countries.

Robert Wierzel (lighting design) has worked as a lighting designer with artists from diverse disciplines and backgrounds in theater, dance, new music, museums and opera on stages throughout the country and abroad. Productions with opera companies of Paris (Garnier), Tokyo, Toronto, Boston, San Diego, San Francisco, Houston, Washington, Seattle, Virginia, Chicago (including Lyric Opera and Chicago Opera Theatre), Montreal, Vancouver, Minnesota, Florida, Portland, San Diego, Wolf Trap, Omaha, Glimmerglass and New York City Opera among others. Numerous collaborations (22 years) with choreographer Bill T. Jones, as well as composer Philip Glass and visual artists Paul Kaiser, Lesley Dill, Robert Longo, Bill Katz, Red Grooms and Gretchen Bender among others.

Stephen Arnold (lighting design) strives to reflect and enhance the underlying sentiments of each of the unique productions that he has collaborated on. He has worked on a great diversity of projects from dance to theater and musical theater to the avant-garde. His work has been presented in festivals including Springdance, Kontracom, Venice Bienalle, Next Wave, Dance Chicago and Festival Internacional Música y Escena and in cities including Salzburg, Venice, Stockholm, Athens, Chicago, Minneapolis, Seattle, Mexico City, Utrecht, Rotterdam, Singapore, Istanbul, Los Angeles, London and New York. Further credits available at srald.com.

Caffé Italia breakfast • lunch

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1121 Richards Blvd., Davis (Downtown Exit—Just off Hwy 80) Mon–Thurs 6am–10pm • Fri & Sat 6am–11pm • Sun 7am–10pm

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MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

Sunday, May 6, 2012 Jackson Hall, Mondavi Center

7:00 pM

Fauré: Prelude to Pénélope Bauer: Concerto for Flute, Clarinet, Violin, Cello, and Orchestra (world premiere) Mahler: Lieder eines fahrenden Gesellen (Songs of a Wayfarer) Wolfgang Brendel, baritone Kodály: Dances of Galánta Wolfgang Brendel is an operatic German baritone. In 1997 he was awarded the Bundesverdienstkreuz (The Order of Merit of the Federal Republic of Germany). His most recent appearances have been as Scarpia, Mandryka, Sachs, Eisenstein, and Holländer. Brendel regularly conducts master classes and courses in the United States (including at the Boston and San Francisco Conservatories of Music) and is professor of voice at the Munich Hochschule für Musik und Theater. He began studies at the Wiesbaden Conservatory of Music at the age of 16.

$8 Stu & Ch, $12/15/17 A | StAndArd SeAting Tickets are available through the Mondavi Center Box Office

Noon–6:00 pM Monday–Saturday | 530.752.2787 mondaviarts.org

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In Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy. He turned to conducting only in middle age, after two decades as a violinist and concertmaster, a background which gave him special insight into the relationship between conductor and orchestra. At the podium, his bond with his musicians unleashed something in them and in himself. "A certain magic took wing that amounts to the very essence of music in concert," the author writes, as if "public performance loosed the facets of character and artistry and poetry otherwise muffled by his timidity and simple disinclination to say much." Following the Symphony's performance on May 6, D. Kern Holoman will be available for a special book-signing at which Charles Munch will be made available at 20% off of the listed price. Please reserve your copy by calling Phil Daley at (530) 752-7896 or via pedaley@ucdavis.edu by April 15.

Robert and Margrit Mondavi

Center for the Performing Arts

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Presents

Alexander Barantschik

San Francisco Symphony Michael Tilson Thomas, music director

Members of The San Francisco Symphony Alexander Barantschik, leader and violin A Wells Fargo Concert Series Event Wednesday, May 2, 2012 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis There will be one intermission. Sponsored by

Additional support provided by Anne Gray Raventos in memory of Antolin Raventos, M.D.

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MONDAVI CENTER PROGRAM Issue 8: Aprâ&#x20AC;&#x201C;May 2012 |

MIDTOWN

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r! a t S l l A n Become a

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High school students are welcome to apply to be a part of our second season of the Mondavi Center SFJAZZ High School Allâ&#x20AC;&#x201C;Stars. This program provides advanced training for serious jazz students through rehearsals, master classes with members of the SFJAZZ Collective and regular performance opportunities. Audio applications will be accepted until September 24, 2012. Guidelines and application are available at http://www.mondaviarts.org/jazzallstars/. Questions? Contact Ruth Rosenberg, Artist Engagement Coordinator rrosenberg@ucdavis.edu or (530) 752-6113.

san francisco symphony

Members of The San Francisco Symphony Alexander Barantschik, leader and violin

Brandenburg Concerto No. 1 in F Major, BWV 1046 [Allegro] Adagio Allegro Minuet Trio I Polacca Trio II

J.S. Bach

Oboe: William Bennett, Pamela Smith and Russ deLuna Horn: Robert Ward & Jonathan Ring

Brandenburg Concerto No. 4 in G Major, BWV 1049 Allegro Andante Presto

J.S. Bach

Flute: Tim Day & Linda Lukas

Intermission

Water Music Suite No. 2 in D Major [No tempo indicated] Alla Hornpipe Minuet Lentement BourrĂŠe Brandenburg Concerto No. 5 in D Major, BWV 1050 Allegro Affettuoso Allegro

Handel

J.S. Bach

Flute: Tim Day Harpsichord: Robin Sutherland

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MONDAVI CENTER PROGRAM Issue 8: Aprâ&#x20AC;&#x201C;May 2012 |

WHAT DO YOU SEE? We see your vision for a healthier future. You see your personal health-care champions. When looking for a personal physician, you want a doctor who not only sees you when you need to be seen, but who sees you as a unique individual. When you choose any of UC Davis Health System’s 160 primary care physicians, you’ll find your personal health-care team of expert doctors, nurses and specialists. You’ll enjoy conveniences such as same- and next-day appointments when needed and access to your medical records online. And you’ll have peace of mind knowing we’ll be there with expert care when you need it most. To see the full story and more, visit YouSeeTheFuture.UCDavis.edu. To choose a UC Davis physician, call 800-2-UC DAVIS.

YOU SEE THE FUTURE

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SAN FRANCISCO SYMPHONY Michael Tilson Thomas, Music Director and Conductor Donato Cabrera, Resident Conductor Ragnar Bohlin, Chorus Director Vance George, Chorus Director Emeritus Herbert Blomstedt, Conductor Laureate

First Violins Alexander Barantschik Concertmaster Naoum Blinder Chair Nadya Tichman Associate Concertmaster San Francisco Symphony Foundation Chair Mark Volkert Assistant Concertmaster 75th Anniversary Chair Jeremy Constant Assistant Concertmaster Mariko Smiley Paula & John Gambs Second Century Chair Melissa Kleinbart Katharine Hanrahan Chair Yun Chu Sharon Grebanier Naomi Kazama Hull In Sun Jang Yukiko Kurakata Catherine A.Mueller Chair Suzanne Leon * Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen Second Violins Dan Nobuhiko Smiley Principal Dinner & Swig Families Chair Dan Carlson Associate Principal Audrey Avis Aasen-Hull Chair Paul Brancato Assistant Principal Kum Mo Kim The Eucalyptus Foundation Second Century Chair Raushan Akhmedyarova David Chernyavsky John Chisholm Cathryn Down Darlene Gray Amy Hiraga Chunming Mo Kelly Leon-Pearce Polina Sedukh * Isaac Stern Chair Robert Zelnick Chen Zhao

Violas Jonathan Vinocour Principal Yun Jie Liu Associate Principal Katie Kadarauch Assistant Principal John Schoening Joanne E. Harrington & Lorry I. Lokey Second Century Chair Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Stephanie Fong† Cellos Michael Grebanier Principal Philip S. Boone Chair Peter Wyrick Associate Principal Peter & Jacqueline Hoefer Chair Amos Yang Assistant Principal Margaret Tait Lyman & Carol Casey Second Century Chair Barbara Andres The Stanley S. Langendorf Foundation Second Century Chair Barbara Bogatin Jill Rachuy Brindel Gary & Kathleen Heidenreich Second Century Chair Sébastien Gingras David Goldblatt Christine & Pierre Lamond Second Century Chair Carolyn McIntosh Anne Pinsker

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Basses Scott Pingel Principal Larry Epstein Associate Principal Stephen Tramontozzi Assistant Principal Richard & Rhoda Goldman Chair S. Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen Flutes Tim Day Principal Caroline H. Hume Chair Robin McKee Associate Principal Catherine & Russell Clark Chair Linda Lukas Alfred S. & Dede Wilsey Chair Catherine Payne Piccolo Oboes William Bennett Principal Edo de Waart Chair Jonathan Fischer Associate Principal Pamela Smith Dr. William D. Clinite Chair Russ deLuna English Horn Joseph & Pauline Scafidi Chair Clarinets Carey Bell Principal William R. & Gretchen B. Kimball Chair Luis Baez Associate Principal E-flat Clarinet David Neuman Steve Sánchez † Bass Clarinet

Bassoons Stephen Paulson Principal Steven Dibner Associate Principal Rob Weir Steven Braunstein Contrabassoon Horns RobertWard Principal Jeannik Méquet Littlefield Chair Nicole Cash Associate Principal Bruce Roberts Assistant Principal Jonathan Ring Jessica Valeri Kimberly Wright * Trumpets Mark Inouye Principal William G. Irwin Charity Foundation Chair Glenn Fischthal Associate Principal Peter Pastreich Chair Michael Tiscione * Ann L. & Charles B. Johnson Chair Jeff Biancalana Micah Wilkinson † Trombones Timothy Higgins Principal Robert L. Samter Chair Paul Welcomer John Engelkes Bass Trombone Tuba Jeffrey Anderson Principal James Irvine Chair

Harp Douglas Rioth Principal Timpani David Herbert Principal Marcia & John Goldman Chair Percussion Jack Van Geem Principal Raymond Froehlich Tom Hemphill James Lee Wyatt III Keyboards Robin Sutherland Jean & Bill Lane Chair John D. Goldman President Brent Assink Executive Director John Kieser General Manager Nan Keeton Director of External Affairs D. Lance King Director of Development John Mangum Director of Artistic Planning Oliver Theil Director of Public Relations Rebecca Blum Orchestra Personnel Manager Margo Kieser Orchestra Librarian Joyce Cron Wessling Manager, Tours and Media Production Tim Carless Production Manager Vance DeVost Stage Manager Dennis DeVost Stage Technician Rob Doherty Stage Technician Roni Jules Stage Technician

*On Leave †Acting member of the San Francisco Symphony The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

san francisco symphony

Program Notes Brandenburg Concerto No. 1 in F Major, BWV 1046 Brandenburg Concerto No. 4 in G Major, BWV 1049 Brandenburg Concerto No. 5 in D Major, BWV 1050 Johann Sebastian Bach (Born in Eisenach, Thuringia, March 21, 1685; Died in Leipzig, Saxony, July 28, 1750.) This evening we present a program of Baroque classics, played by ensembles scaled to the contours of this music. Aside from the fact that these performances will be on modern instruments, the sounds we hear are essentially those as they would have been imagined by Bach and Handel. Johann Sebastian Bach moved to Cöthen at the end of 1717 to assume the post of Capellmeister to His Most Serene Highness, Leopold, Prince of Anhalt‑Cöthen, a dignitary who loved music. Bach’s chief task was to compose instrumental music and see to its performance, and he was staggeringly productive. Bach composed the concertos we know as the Brandenburgs no later than March 1721 in the ordinary fulfillment of his duties to Prince Leopold, but by then he had grown restless and was determined to leave Cöthen. With his departure in mind, he prepared a presentation copy and sent it to His Royal Highness Christian Louis, Margrave of Brandenburg. (Brandenburg is the Prussian province immediately north of Berlin). That copy went accompanied by a letter in Bach’s most courtly French, a bid for employment. The presentation is as to a connoisseur, and Bach picked carefully from his Cöthen repertory, revising while he was at it, and, as usual when assembling a collection, taking pains to make its members as diverse as possible. Musicians have always been struck by the wonderful timbral variety of the Brandenburgs. No doubt Bach wished to impress his prospective patron with the coloristic possibilities a composer on his plane of imagination and technique could draw from a band of 18 players. Bach was the first composer to respond to the orchestra as such, not just to the nature of specific instruments. Again and again in the Brandenburgs, he defines and articulates the succession of musical events by textural‑timbral means. This is music “about” its textures, its color and its instrumentation. Concerto No. 1 in F for “two hunting horns, three oboes, bassoon, solo violino piccolo, two violins, one viola and violoncello with figured bass”—This concerto exists in two versions, the violino piccolo and the Minuet with its three trios (one of them marked “Polacca”) being the principal new features of the later one, performed at this concert. In sound and form, this is the most complex concerto in the set. The violino piccolo is tuned a minor third higher than a normal violin, thus sounding shriller and possessing its own peculiar repertory of multiple stops. It is the primary solo instrument. One oboe joins it in duet for the Adagio, but in general the wind players together

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form something like a secondary solo group. In the Adagio, the bass entrance of the melody leads to a famous harmonic collision. The orchestral possibilities here frequently lead Bach into a nine‑layered polyphony. Nowhere in the Brandenburgs is Bach’s concern with texture more explicitly manifest than in the Adagio’s last measures with their separation on successive beats into bass, oboes and unsupported high strings. The concerto in its final form finds an unexpected formal extension in the Minuet with its three contrasting interludes: a true trio for oboes and bassoon, a polonaise for strings only and in a quicker tempo, and then, in a new meter, a virtuosic page for the two horns playing against all the oboes in unison. Thus the work crystallizes in this final divertissement those fastidiously structured timbral sequences that are its most basic and serious compositional concern. Concerto No. 4 in G for “principal violin, two recorders, two violins, one viola and bass in the orchestra, violoncello and figured bass”—This concerto has interesting solo‑tutti combinations. In the first movement the solo violin dominates, and the flutes are secondary. In the Andante, flutes dominate, while the violin provides their bass in the vigorous dialogue with full orchestra. The orchestra then plays its largest role in the quick fugal finale, but no violinist negotiating Bach’s scales at about a dozen notes per second will feel that the composer has neglected his soloists. Concerto No. 5 in D for “one transverse flute, one principal violin, one violin and one viola in the orchestra, violoncello, bass and solo harpsichord”—Bach himself must have played harpsichord in this music, the first known concerto to feature a solo part for a keyboard instrument. The harpsichord’s new dominance is assured in a spectacular 65‑bar cadenza at the end of the first movement. During the Affettuoso, the orchestra remains silent, but the concerto contrast continues. Sometimes the harpsichord is soloistic (usually in duet with either flute or violin), but at the beginning and the end, and three times between, it provides a quasi‑tutti effect with its figured bass accompaniments. Water Music Suite No. 2 in D Major George Frideric Handel (Born February 23, 1685, in Halle, Germany; died April 14, 1759, in London.) Many anecdotes come from Handel’s life, none more famous than the story of the Water Music. In 1712–13, Handel, then Capellmeister to the Elector of Hanover, outrageously overstayed a leave of absence. He had gone to England and had all but settled there. In the summer of 1714, the Elector of Hanover became King George I of England, so Handel found himself again within easy reach of his former and understandably angry employer. Baron Kielmansegge, Master of the Horse at Hanover and now part of the new king’s court in London, arranged reconciliation. When the king took an excursion by barge on the Thames, Kielmansegge had a second barge with musicians follow. The music they played was by Handel, and it so enchanted the king that he forgave the delinquent composer.

Several movements exist in variant versions, but no autograph material exists for any of the Water Music. The whole composition consists of 22 movements that fall into three groups, or suites, distinguished by key and instrumentation. This eloquent and ingratiating music captures the spirit of 18th-century dance. We can well imagine how delighted the king must have been. —Michael Steinberg Michael Steinberg, the San Francisco Symphony’s program annotator from 1979–99 and a contributing writer to the Symphony’s program book until his death in 2009, was one of the nation’s pre-eminent writers on music. His books are available at the Symphony Store in Davies Symphony Hall and at sfsymphony.org/store. The San Francisco Symphony, which celebrates its centennial this season, gave its first concerts in December 1911. Its music directors have included Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award and the United States’s Grammy. For RCA Red Seal, Michael Tilson Thomas and the SFS have recorded music from Prokofiev’s Romeo and Juliet, Berlioz’s Symphonie fantastique, two Copland collections, a Gershwin collection, Stravinsky ballets (Le Sacre du printemps, The Firebird and Perséphone) and Charles Ives: An American Journey. Their cycle of Mahler symphonies has received seven Grammys and is available on the Symphony’s own label, SFS Media. Some of the most important conductors of the past and recent years have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein and Sir Georg Solti, and the list of composers who have led the orchestra includes Stravinsky, Ravel, Copland and John Adams. The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and Godfather III. For two decades, the SFS Adventures in Music program has brought music to every child in grades 1 through 5 in San Francisco’s public schools. SFS radio broadcasts, the first in the U.S. to feature symphonic music when they began in 1926, today carry the orchestra’s concerts across the country. In a multimedia program designed to make classical music accessible to people of all ages and backgrounds, the SFS has launched Keeping Score on PBS-TV, DVD, radio and at the website keepingscore.org. San Francisco Symphony recordings are available at shopsfsymphony.org.

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Charming as the story is, it does not seem to be true. Handel was never in trouble with the king. What is true is that Handel did compose music for at least one royal river excursion, and at the king’s request. The one we know of for certain took place on July 17, 1717. Similar royal river trips with music followed. That the music on those occasions was Handel’s is possible but not certain.

Alexander Barantschik (leader and violin) began his first season as concertmaster of the San Francisco Symphony in September 2001. Former concertmaster of the London Symphony Orchestra (1989–2001) and Netherlands Radio Philharmonic Orchestra (1982–2001), he has also been an active soloist and chamber musician throughout Europe. He has collaborated in chamber music with André Previn and, on a number of occasions, Mstislav Rostropovich, with whom he participated in a series of concerts that also featured violinist Maxim Vengerov and violist Yuri Bashmet. As leader of the LSO, Barantschik toured Europe, Japan and the U.S. and served as concertmaster for acclaimed cycles of Mahler, Stravinsky and Debussy with Michael Tilson Thomas, as well as major symphonic cycles with Rostropovich and Bernard Haitink. He was also concertmaster for Pierre Boulez’s year-long, three-continent 75th birthday celebration. Born in Saint Petersburg in 1953, Barantschik attended the Saint Petersburg Conservatory and went on to perform with the major Russian orchestras, including the Saint Petersburg Philharmonic. After emigrating from Russia in 1979, he served as concertmaster of Germany’s Bamberg Symphony Orchestra. His awards include first prize in the International Violin Competition in Sion, Switzerland, and in the Russian National Violin Competition. Since joining the SFS, Barantschik has led the orchestra in several concerts and often appears as soloist. Later this month he performs Schnittke’s Violin Concerto No. 4 with Michael Tilson Thomas conducting the San Francisco Symphony.

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

2012—13

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Anniversary

Jonathan Ring (horn) joined the orchestra’s horns in 1991 after holding positions in the Columbus Symphony and Fort Wayne Philharmonic. He studied at the Oberlin Conservatory and Northwestern University, earning a bachelor’s degree in 1983. He is a founding member of the Bay Brass.

Tim Day (flute) is principal flutist and occupant of the Caroline H. Hume Chair. He served as principal flutist with the Baltimore Symphony for 12 seasons, has been acting principal flute with the Minnesota Orchestra and was guest principal flutist with the Boston Symphony. He is a graduate of Oberlin Conservatory.

Pamela Smith (oboe), occupant of the Dr. William D. Clinite Chair, studied at the Royal Conservatory of Music in Belgium and at the San Francisco Conservatory. She has served as assistant principal oboist in the Atlanta Symphony and principal oboist in the Honolulu Symphony. She joined the SFS in 1988.

Russ deLuna (English horn and oboe) joined the San Francisco Symphony as English horn player in 2007 and is occupant of the Joseph & Pauline Scafidi Chair. He was previously principal oboist of the Atlanta Opera Orchestra, and he played English horn with the Atlanta Ballet and the Alabama Symphony. He holds a master’s degree from Boston University.

Robin Sutherland (harpsichord), occupant of the Jean and Bill Lane Chair, studied with Rosina Lhevinne at the Juilliard School and with Paul Hersh at the San Francisco Conservatory of Music. His recording of J.S. Bach’s Goldberg Variations was released in 1996 on the d’Note label.

Linda Lukas (flute) joined the SFS flutes in 1990 and is occupant of the Alfred S. and Dede Wilsey Chair. She holds degrees from Ohio State University, the University of Iowa and the École Normale de Musique in Paris. She has served as principal flute with the San Diego Chamber Orchestra and was a member of the San Diego Opera Orchestra.

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William Bennett (oboe) is principal oboist of the SFS and occupant of the Edo de Waart Chair. He studied at Yale and the Juilliard School and joined the orchestra in 1979. A frequent soloist with the orchestra, he gave the world premiere of John Harbison’s Oboe Concerto and recorded it for London Records.

Robert Ward (horn), principal horn and occupant of the Jeannik Méquet Littlefield Chair, joined the SFS in 1980. A graduate of Oberlin College Conservatory, he also studied at the Berkshire Music Center at Tanglewood.

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

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question & answer moderator: christopher reynolds Christopher Reynolds came to UC Davis in 1985 and is currently chair of the Department of Music. He is the author of numerous articles and two books, one on Renaissance music in 15th-century Rome, and another, published by Harvard University, on how composers in the 19th century influenced each other, called Motives for Allusion: Context and Content in Nineteenth-Century Music. Throughout his career Reynolds has investigated the ways in which composers have derived musical ideas from each other. His interest in questions of allusion and compositional response has been a constant in his work, whether the repertoire is 15th-century chansons and masses, 16th-century madrigals, 18th- and 19th-century vocal and instrumental music, 20th-century opera, film music and, most recently, rock songs of the 1960s and 1970s. His article “Porgy and Bess: An ‘American Wozzeck’,” marshals both musical and biographical arguments to demonstrate Gershwin’s extensive indebtedness to the atonal Viennese composer, Alban Berg. It won both the H. Colin Slim Award from the American Musicological

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Society and the Kurt Weill Prize from the Kurt Weill Foundation for best article on musical theater published during the preceding two years. Reynolds has also built a collection of 4,200 songs composed by women and published between the years 1800–1950. This collection is now mostly housed in the University Library in Special Collections. He has held visiting professorships at several institutions, including Yale, Stanford and UC Berkeley, and in Germany at the University of Heidelberg and University of Goettingen. He has received the UC Davis Distinguished Teaching Award, in part because of the success of his class on the history of rock and roll. He was recently selected to be the next President of the American Musicological Society during the years 2013–14.

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Presents

Photo by Edward Mapplethorpe

Debut

Patti Smith A Distinguished Speakers Series Event Wednesday, May 9, 2012 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis

Individual support provided by Lawrence and Nancy Shepard.

Question & Answer Session Moderator: Christopher Reynolds, Chair, Department of Music, UC Davis Question & Answer Sessions take place in the performance hall after the event.

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patti smith

Patti Smith

seminal American artist, Patti Smith has produced a body of work thats influence branches out through generations, across disciplines and around the world. Born in Chicago and raised in South Jersey, Smith is a poet, a singer and a songwriter. She is also a photographer and fine artist. Emerging in the nascent cultural hotbed of mid-1970s New York City, Smith forged a reputation as one of the decade’s first visionary artists—merging poetry and rock in vital new ways. Her 1975 debut album, Horses, is routinely ranked as one of the greatest albums of all time. In 2007, she was inducted into the Rock and Roll Hall of Fame. In 2010, she won the National Book Award for Non-Fiction for Just Kids, a bestselling memoir about her early days in New York when she met and made art with her friend Robert Mapplethorpe. Smith and her band released eight studio albums on Arista Records from 1975–2002, including Horses, Radio Ethiopia, Easter, Wave, Dream of Life, Gone Again, Peace and Noise and Gung Ho. In 2004, on Columbia, she released trampin’, a critically acclaimed album whose varied subject matter includes motherhood and the preemptive strike on Iraq. Her 2007 release, Twelve, a collection of cover songs, was hailed by many as the best of the year. In 2010, Smith received ASCAP’s Founders Award, for lifetime achievement. In 2011, Smith was listed among the TIME 100 Most Influential People in the World, as well as one of Rolling Stone’s 100 Greatest Artists. She has received an honorary doctorate degree from the university at Chicago’s Institute of Art and was the 2011 recipient of Sweden’s Polar Award—an international acknowledgement for significant achievements in music. Smith’s poetry collections include Auguries of Innocence, published by Ecco Press. Previously published books include Babel, Early Work, The Coral Sea and Complete. As a fine artist, Smith has exhibited at various galleries and museums. Her 2002 exhibit, Strange Messenger, containing drawings, silkscreens and photos from 1967–2002, showed at the Andy Warhol Museum in Pittsburgh before traveling throughout the United States, Europe and Japan. A solo exhibit of drawings and photographs also showed at the Fondation Cartier Pour L’Art Contemporain in Paris. In 2005, the French Ministry of Culture awarded her the prestigious title of Commandeur of Arts & Letters. Smith also has honorary doctorate degrees from Rowan University and Pratt Institute.

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MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

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Robert and Margrit Mondavi

Center for the Performing Arts

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Presents

Photo by Chris Lee

Debut

New York Philharmonic Alan Gilbert, music director and conductor Yefim Bronfman, piano A Western Health Advantage Orchestra Series Event Saturday, May 12, 2012 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis There will be one intermission. Sponsored by

Individual support provided by Ken and Joyce Adamson and Grant and Grace Noda. further listening see p. 38

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new york philharmonic

New York Philharmonic Alan Gilbert, music director and conductor Yefim Bronfman, piano Saturday, May 12, 2012, marks the 15,366th Concert of the New York Philharmonic

Carnival, Op. 92 Piano Concerto No. 3 in C Minor, Op. 37 Allegro con brio Largo Rondo: Allegro

Dvořák

Beethoven

Intermission

Symphony No. 4 in F Minor, Op. 36 Andante sostenuto—Moderato con anima Andantino in modo di canzona Scherzo. Pizzicato ostinato: Allegro Finale: Allegro con fuoco

Tchaikovsky

nyphil.org

Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair. Programs of the New York Philharmonic are supported, in part, by public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts and the National Endowment for the Arts. Instruments made possible, in part, by the Richard S. and Karen LeFrak Endowment Fund. Steinway is the Official Piano of the New York Philharmonic. Breguet is the Exclusive Timepiece of the New York Philharmonic. Classical 105.9 FM WQXR is the Radio Station of the New York Philharmonic. The New York Philharmonic This Week, nationally syndicated on the WFMT Radio Network, is broadcast 52 weeks per year; visit nyphil.org for information. The New York Philharmonic’s concert-recording series, Alan Gilbert and the New York Philharmonic: 2011–12 Season, is now available for download at all major online music stores. Visit nyphil.org/recordings for more information. Follow the New York Philharmonic on Tumblr, Facebook, Twitter and YouTube.

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MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

new york philharmonic

Program Notes Carnival, Op. 92 (1891) Antonín Dvoř ák (Born: September 8, 1841, in Mühlhausen (Nelahozeves), Bohemia; Died: May 1, 1904, in Prague) World premiere: April 28, 1892, in Prague, with the composer conducting the Orchestra of the National Theatre Antonín Dvoř ák developed rather slowly as a composer and was still laboring in poverty and obscurity as he approached middle age. His lucky break finally came in 1877, when the influential Viennese music critic Eduard Hanslick took a shine to some of his pieces and encouraged the 36-year-old Czech composer to send some scores to Johannes Brahms. That eminence was so delighted with what he received that he recommended Dvoř ák to his own publisher, Fritz Simrock, who immediately published Dvoř ák’s Moravian Duets, commissioned a collection Slavonic Dances and contracted a first option on all of the composer’s new works. Dvoř ák and Brahms became personal friends, and the former quickly gained the support of other important figures of the Brahms circle, including the violinist Joseph Joachim and the conductors Hans Richter (to whom Dvoř ák would dedicate his Sixth Symphony) and Hans von Bülow (who made Dvoř ák’s Hussite Overture a mainstay of his repertoire). Thus was launched the career of the man who would be embraced as the quintessential Bohemian composer, both in his native land and beyond Czech borders. In 1883, Dvoř ák was invited to conduct in London in what would prove to be the first of nine visits to England; during one of them, in July 1891, he was awarded an honorary doctorate from Cambridge University. This he added to a growing shelf of awards that already included the Austrian Order of the Iron Crown (bestowed in 1889) and an honorary doctorate from the Czech University of Prague (in 1890). In January 1891, Dvoř ák began teaching in the capacity of professor of composition and instrumentation at Prague Conservatory, and that June he was approached by Jeannette Thurber, a Paristrained American musician who had become a New York philanthropist bent on raising American musical pedagogy to European standards. To that end she had founded the National Conservatory of Music in New York, incorporated by special act of Congress in 1891. She was successful in persuading Dvoř ák to serve as its director, and in September 1892, he and his family moved to New York. He would remain there until 1895 (though spending summer vacations elsewhere), building the school’s curriculum and faculty, appearing as a guest conductor and composing. Dvoř ák’s popular Carnival dates from this period when honors began falling on his shoulders, just as he was weighing Mrs. Thurber’s flattering offer. The piece was the second of a triptych of concert overtures intended to portray impressions of what a human soul might experience, in both positive and negative

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aspects. Nature, Life, and Love was his original name for the set, which was to be published under the single opus number 91, and it is in that form that the pieces were presented at their joint premiere. But the composer soon decided to publish them with more distinct identities, and when they appeared in print it was as three separate pieces: In Nature’s Realm (with the opus number 91 all to itself, composed from March 31 to July 8, 1891), Carnival (Op. 92, written from July 28 to September 12) and Othello (Op. 93, begun that November and completed on January 18, 1892). Dvoř ák provisionally used the title Life (Carnival) in his sketches for the second of these pieces, but later opted for the more general Carnival. This work does indeed depict the high-spirited tumult of a festive carnival setting—barkers and vendors, boisterous crowds, and even, in a gentle passage, what Dvoř ák said was “a pair of straying lovers.” In a letter to the publisher Simrock, Brahms judged this work to be “merry” and remarked that “music directors will be thankful to you” for publishing the overtures, which they are. Dvoř ák conducted the joint premiere of the three pieces in Prague in April 1892, and six months later he included them in the program he led at Carnegie Hall on October 21, 1892. That event was billed as a celebration (nine days late) of the 400th anniversary of Columbus’s “discovery” of America, but it was surely of more compelling interest for officially introducing musical New York to its distinguished new member. Instrumentation: two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, tambourine, triangle, harp and strings.

Piano Concerto No. 3 in C Minor, Op. 37 (1796–1803) Ludwig van Beethoven (Born: December 16, 1770 in Bonn, Germany; Died: March 26, 1827, in Vienna) World premiere: April 5, 1803, at Vienna’s Theater an der Wien, the composer as soloist Ludwig van Beethoven had moved from his native Bonn to Vienna in 1792 in order to embark on a course of study with Joseph Haydn. Although Beethoven’s composition lessons with that eminence would prove to be few and generally unfruitful, he respected the older master’s works as symphonic models and adhered to generally Classical structures in his early symphonies and concertos. However, when it came to melodies, rhythmic gestures and phrasing, it seems to have been the recently departed Mozart that Beethoven held most dear. A music-lover listening to Beethoven’s C Minor Piano Concerto may entertain more than fleeting thoughts about an earlier C Minor Piano Concerto, the brooding, even despairing one that Mozart had composed in 1786. During Mozart’s lifetime, however, it could be played only from manuscript parts. It was not published until 1800, the same year Beethoven brought the first move-

By the turn of the 19th century Beethoven had gained renown in Vienna as a pianist, and aristocrats were beginning to seek him out to provide the piano lessons that were all but obligatory for their daughters. He had composed quite a few pieces, some more inspired than others, and was already embarking on his earliest works in the major large-scale musical genres. On April 2, 1800, at Vienna’s Burgtheater, Beethoven had undertaken his first benefit concert (in those days, a benefit concert being understood to mean “for the benefit of the composer”). The program included a Mozart symphony, excerpts from Haydn’s newly unveiled oratorio The Creation, piano improvisations, one of Beethoven’s piano concertos (whether the B-flat major or the C major we don’t know for sure, but it was probably the latter), and two new Beethoven pieces: the Septet (Op. 20) and the Symphony No. 1 (Op. 21). Beethoven had planned to unveil his C minor Piano Concerto on that high-profile occasion but managed to complete only the first movement and a detailed sketch of the second. That’s why he switched the program to include one of his “old” concertos and basically stopped working on the new one until an opportunity for another prominent concert arose, which it did in 1802. But for some reason that concert didn’t happen, and again Beethoven devoted himself to other more immediately profitable projects rather than finish his concerto. As a result, the composition of this concerto ended up stretching over a good three and a half years, not counting preliminary sketches, which reached back to 1796— plus a further year if you count the time it took him to actually write out the piano part, and yet another five beyond that untill he wrote down the first-movement cadenza. Neither of these last two was necessary so long as Beethoven was the soloist; he knew how the piece should go, after all. Despite the elongated compositional process, this work displays a striking unity of vocabulary and tautness of structure. One might argue that this is the first of his five canonical piano concertos to sound like fully mature Beethoven. Despite its obvious connection to Mozart’s C minor Concerto, we sense that Beethoven is here throwing down the gauntlet towards that work, clambering up on its shoulders to create something still more towering, rather than exploring the essentially Mozartian territory that had characterized his earlier piano concertos in B-flat major and C major.

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new york philharmonic

ment of his own C Minor Piano Concerto into reasonably finished form. Beethoven went on record as a great aficionado of the Mozart work. Walking in the company of the pianist and composer Johann Baptist Cramer, he came within earshot of an outdoor performance (or perhaps a rehearsal) of it. He is reputed to have stopped in his tracks, called attention to a particularly beautiful motif, and exclaimed, with a mixture of admiration and despondency, “Cramer, Cramer! We shall never be able to do anything like that!” “As the theme was repeated and wrought up to the climax”—according to the account of Cramer’s widow— “Beethoven, swaying his body to and fro, marked the time and in every possible manner manifested a delight rising to enthusiasm.”

Instrumentation: pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, plus timpani and strings, in addition to the solo piano. Cadenza: In Beethoven’s Piano Concerto No. 3, Yefim Bronfman performs the one that the composer wrote out in 1809.

Symphony No. 4 in F Minor, Op. 36 (1877) Pyotr Ilyich Tchaikovsky (Born: May 7, 1840, in Votkinsk, Russia; Died: November 6, 1893, in St. Petersburg) World premiere: February 10, 1878, at a concert of the Russian Musical Society in Moscow, Nikolai Rubinstein, conductor Pyotr Ilyich Tchaikovsky became involved with his mysterious patron, Nadezhda von Meck, and began composing his Fourth Symphony practically at the same time, so that the two “projects” were greatly intermeshed in his mind. In letters to her he often referred to it as “our symphony,” sometimes even as “your symphony.” By May 1877, he completed the lion’s share of work on the new piece. “I should like to dedicate it to you,” he wrote that month, “because I believe you would find in it an echo of your most intimate thoughts and emotions.” Then something bizarre happened: Tchaikovsky hastily married and then just as quickly abandoned his bride. During the misadventure of his wedding and subsequent meltdown, the Fourth Symphony was put on hold. Only in the latter half of 1877 did Tchaikovsky return to edit and orchestrate what he had composed between February and May. “Our symphony progresses,” he wrote to von Meck late that summer: The first movement will give me a great deal of trouble with respect to orchestration. It is very long and complicated: at the same time I consider it the best movement. The three remaining movements are very simple, and it will be easy and pleasant to orchestrate them. Tchaikovsky’s comment is apt: the center of gravity is indeed placed on the first movement, and the other three stand as shorter, less imposing pendants. When von Meck begged him to explain the meaning behind the music, Tchaikovsky broke his rule of not revealing his secret programs and penned a rather detailed description in prose of the opening movement: The introduction is the seed of the whole symphony, undoubtedly the central theme. This is Fate, i.e., that fateful force which prevents the impulse towards happiness from entirely achieving its goal, forever on jealous guard lest peace and well-being should ever be attained in complete and unclouded form, hanging above us like the Sword of Damocles, constantly and unremittingly poisoning the soul. Its force is invisible, and can never be overcome. Our only choice is to surrender to it, and to languish fruitlessly …

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

new york philharmonic

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When all seems lost, there appears a sweet and gentle daydream. Some blissful, radiant human image hurries by and beckons us away … How good this feels! How distant now seems the obsessive first theme of the Allegro … No! These were dreams, and fate wakes us from them. Thus all life is an unbroken alternation of harsh reality with fleeting dreams and visions of happiness … There is no escape … We can only drift upon this sea until it engulfs and submerges us in its depths. That, roughly, is the program of the first movement. And so he continues, at length, for each of the ensuing movements: the second, “another phase of depression,” “that melancholy feeling that comes in the evenings when, weary from your labor, you sit alone, and take a book—but it falls from your hand”; the third, comprising “the elusive images that can rush past in the imagination when you have drunk a little wine and experience the first stage of intoxication”; the fourth, “a picture of festive merriment of the people.” Even if we recognize that Tchaikovsky penned these words after he had essentially completed the symphony, we may find something authentic and convincing in his program, given the emotional roller coaster he had ridden in the preceding months. On the other hand, music is not prose, and its essence is different from that of the written word—or, as Tchaikovsky reminded von Meck by quoting Heine, “Where words end, music begins.” To his pupil and friend Sergei Taneyev, Tchaikovsky wrote: Of course my symphony is program music, but it would be impossible to give the program in words … But ought this not always to be the case with a symphony, the most lyrical of musical forms? Ought it not to express all those things for which words cannot be found but which nevertheless arise in the heart and cry out for expression? Instrumentation: two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, four trumpets, three trombones, tuba, timpani, triangle, cymbals, bass drum and strings.

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—James M. Keller, program annotator, The Leni & Peter May Chair

new york philharmonic

New York Philharmonic Roster

Violins Glenn Dicterow Concertmaster The Charles E. Culpeper Chair Sheryl Staples Principal Associate Concertmaster The Elizabeth G. Beinecke Chair Michelle Kim Assistant Concertmaster The William Petschek Family Chair Enrico Di Cecco Carol Webb Yoko Takebe Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair Lisa GiHae Kim Kuan Cheng Lu Newton Mansfield The Edward and Priscilla Pilcher Chair Kerry McDermott Anna Rabinova Charles Rex The Shirley Bacot Shamel Chair Fiona Simon Sharon Yamada Elizabeth Zeltser The William and Elfriede Ulrich Chair Yulia Ziskel Marc Ginsberg Principal Lisa Kim* In Memory of Laura Mitchell Soohyun Kwon The Joan and Joel I. Picket Chair Duoming Ba Marilyn Dubow The Sue and Eugene Mercy, Jr. Chair Martin Eshelman Quan Ge The Gary W. Parr Chair Judith Ginsberg Stephanie Jeong+ Hanna Lachert Hyunju Lee Joo Young Oh Daniel Reed Mark Schmoockler Na Sun Vladimir Tsypin Shan Jiang++ Marta Krechkovsky++

2011–12 SEASON Alan Gilbert Music Director, The Yoko Nagae Ceschina Chair Case Scaglione, Assistant Conductor Joshua Weilerstein, Assistant Conductor Leonard Bernstein, Laureate Conductor, 1943–90 Kurt Masur, Music Director Emeritus Violas Cynthia Phelps Principal The Mr. and Mrs. Frederick P. Rose Chair Rebecca Young* The Joan and Joel Smilow Chair Irene Breslaw** The Norma and Lloyd Chazen Chair Dorian Rence Katherine Greene The Mr. and Mrs. William J. McDonough Chair Dawn Hannay Vivek Kamath Peter Kenote Kenneth Mirkin Judith Nelson Robert Rinehart The Mr. and Mrs. G. Chris Andersen Chair Maurycy Banaszek ++ Cellos Carter Brey Principal The Fan Fox and Leslie R. Samuels Chair Eileen Moon* The Paul and Diane Guenther Chair Eric Bartlett The Shirley and Jon Brodsky Foundation Chair Maria Kitsopoulos Elizabeth Dyson The Mr. and Mrs. James E. Buckman Chair Sumire Kudo Qiang Tu Ru-Pei Yeh The Credit Suisse Chair in honor of Paul Calello Wei Yu Wilhelmina Smith++ Alexei Gonzales ++ Alberto Parrini++ Basses Timothy Cobb++ Acting Principal The Redfield D. Beckwith Chair Orin O’Brien* Acting Associate Principal The Herbert M. Citrin Chair William Blossom The Ludmila S. and Carl B. Hess Chair Randall Butler David J. Grossman Satoshi Okamoto Joel Braun++ Stephen Sas++ Rion Wentworth++

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Flutes Robert Langevin Principal The Lila Acheson Wallace Chair Sandra Church* Mindy Kaufman Helen Campo++ Piccolo Mindy Kaufman Oboes Liang Wang Principal The Alice Tully Chair Sherry Sylar* Robert Botti The Lizabeth and Frank Newman Chair Keisuke Ikuma++ English horn Keisuke Ikuma++ Clarinets Mark Nuccio Acting Principal The Edna and W. Van Alan Clark Chair Pascual Martinez Forteza* Acting Associate Principal The Honey M. Kurtz Family Chair Alucia Scalzo++ Amy Zoloto++ E-flat clarinet Pascual Martinez Forteza Bass clarinet Amy Zoloto++ Bassoons Judith LeClair Principal The Pels Family Chair Kim Laskowski* Roger Nye Arlen Fast+ J. Jeff Robinson++ Contrabassoon Arlen Fast+ J. Jeff Robinson++

Trumpets Philip Smith Principal The Paula Levin Chair Matthew Muckey* Ethan Bensdorf Thomas V. Smith Trombones Joseph Alessi Principal The Gurnee F. and Marjorie L. Hart Chair Daniele Morandini++* Acting Associate Principal David Finlayson The Donna and Benjamin M. Rosen Chair Bass trombone James Markey The Daria L. and William C. Foster Chair Tuba Alan Baer Principal Timpani Markus Rhoten Principal The Carlos Moseley Chair Kyle Zerna** Percussion Christopher S. Lamb Principal The Constance R. Hoguet Friends of the Philharmonic Chair Daniel Druckman* The Mr. and Mrs. Ronald J. Ulrich Chair Kyle Zerna Harp Nancy Allen Principal The Mr. and Mrs. William T. Knight III Chair Keyboard In Memory of Paul Jacobs Harpsichord Paolo Bordignon+

Horns Philip Myers Principal The Ruth F. and Alan J. Broder Chair Stewart Rose++* Acting Associate Principal Cara Kizer Aneff R. Allen Spanjer Howard Wall David Smith++

Piano The Karen and Richard S. LeFrak Chair Eric Huebner+ Jonathan Feldman+ Organ Kent Tritle+

Librarians Lawrence Tarlow Principal Sandra Pearson**+ Sara Griffin** Orchestra Personnel Manager Carl R. Schiebler Stage Representative Joseph Faretta Stage Crew Robert W. Pierpont Michael Pupello Robert Sepulveda Audio Director Lawrence Rock+ *Associate Principal **Assistant Principal +On Leave ++Replacement/Extra The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster. Honorary Members of the Society Emanuel Ax Pierre Boulez Stanley Drucker Lorin Maazel Zubin Mehta Carlos Moseley New York Philharmonic Gary W. Parr, Chairman, Board of Directors Zarin Mehta, President and Executive Director Matthew VanBesien, Executive Director Designate Administration Eric Latzky, Vice President, Communications Miki Takebe, Vice President, Operations Edward Yim, Artistic Administrator Nishi Badhwar, Orchestra Personnel Assistant/Auditions Coordinator James Eng, Operations Assistant Joliene R. Ford, Assistant to the Music Director Brendan Timins, Operations Manager

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

new york philharmonic

new york philharmonic by jeff hudson

further listening

Want to wrap your mind around the discography of the New York Philharmonic?

Sacramento, Matthew Muckey, now associate principal in the trumpet section.

Since 1917, the New York Philharmonic has reportedly recorded nearly 2,000 albums—of which more than 600 recordings are currently available for sale.

In was also in 2006 that the Philharmonic became the first major orchestra to offer downloadable concerts of live performances. These become available quite soon after the actual concert—in February 2012, it was possible to download some of the December 2011 material.

There is, in fact, an entire book devoted to this subject: New York Philharmonic: The Authorized Recordings 19172005 by James H. North. It runs some 439 pages, and in the fashion of our time, you can buy the paper tome or the ebook. The introduction includes a nice credit to Prof. D. Kern Holoman of UC Davis, and the standards he outlined in his book Writing About Music, University of California Press, 2008.

There are also regular On The Music podcasts, which offer a mix of music and commentary discussion, often featuring conductor Alan Gilbert and guest artists. These can be downloaded and heard at the listener’s convenience through the orchestra’s website, and of course you can subscribe: http://nyphil.org/broadcast/podcasts/index.cfm

The old 1917 Philharmonic recordings were done under conductor Josef Stransky and included music by the likes of Ambroise Thomas and Antonín Dvořák (who led the orchestra that would become the Philharmonic in the 1890s). The 1917–19 recordings were issued, of course, on 78 RPM records, which is to say that you could fit only five minutes of music per side. While these early recordings have historical value, most scholars agree that the Philharmonic was making much better recordings (in terms of the performances and the recording technology) later under conductor Arturo Toscanini, who led the orchestra from 1928–36. There are any number of famous recordings from Leonard Bernstein’s era as the orchestra’s conductor (1958–69). These would include the Grammy-winning album of Bernstein’s own Symphony No. 3 (Kaddish) from 1965. The recordings of this era were on LPs. There is also a big group of recordings from conductor Kurt Masur’s years at the NY Philharmonic (1991–2002). And still more from the years under conductor Lorin Maazel (2002–09). We add that Maazel was the one who in 2006 hired a 20-something trumpet player from

The NY Philharmonic also does good-old-fashioned overthe-air radio broadcasts—Capital Public Radio carries their concerts on Sundays at 4 p.m. Picking out a highlight in the midst of all this material is difficult, but I’ll try. The 2005 recording of John Adams’s On The Transmigration of Souls, Lorin Maazel conducting, on the Nonesuch label. This 25-minute piece was commissioned by the NY Philharmonic to mark the first anniversary of the terrorist attacks on September 11, 2001. Adams drew on ideas found in the music of Charles Ives (that great American musical pioneer) creating elegaic patterns that build and recede. Adams won a Pulitzer Prize for Music, and the recording picked up a Grammy Award as Best Classical Album. (And yeah, I’m an unabashed advocate of the American Maverick tradition that runs from Ives into Adams, incorporating other wonderful West Coast composers like Lou Harrison and Harry Parch along the way.)

Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise and Sacramento News and Review.

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Photo by Dario Acosta

Photo by Chris Lee

Gilbert’s 2011–12 Philharmonic season comprises world premieres and pillars of the repertoire to shed fresh perspectives on both the new and the established. It also includes tours to Europe and California, appearances at Carnegie Hall and a program at the Park Avenue Armory featuring Stockhausen’s Gruppen. Gilbert also made his Philharmonic debut as soloist when he joined Frank Peter Zimmermann in J.S. Bach’s Concerto for Two Violins in October 2011. Last season’s highlights included celebrated tours of European music capitals, Carnegie Hall’s 120th Anniversary Concert and the acclaimed performances of Janáček’s The Cunning Little Vixen. Gilbert is Director of Conducting and Orchestral Studies and holds the William Schuman Chair in Musical Studies at the Juilliard School. Conductor Laureate of the Royal Stockholm Philharmonic Orchestra and Principal Guest Conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras around the world. He made his acclaimed Metropolitan Opera debut conducting John Adams’s Doctor Atomic in 2008, the DVD of which received a 2011 Grammy Award for Best Opera Recording. His recordings have also received top honors from the Chicago Tribune and Gramophone magazine. In May 2010, Gilbert received an honorary doctor of music degree from the Curtis Institute of Music, and in December 2011, Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.”

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New York Philharmonic Founded in 1842, the New York Philharmonic is the oldest symphony orchestra in the United States and one of the oldest in the world; on May 5, 2010, it performed its 15,000th concert. Music Director Alan Gilbert, The Yoko Nagae Ceschina Chair, began his tenure in September 2009, succeeding a distinguished line of 20th-century musical giants that goes back to Gustav Mahler and Arturo Toscanini. The Orchestra has always played a leading role in American musical life, commissioning and/or premiering works by each era’s leading composers, some of which have won the Pulitzer Prize. Renowned around the globe, the Philharmonic has appeared in 430 cities in 63 countries — including the February 2008 historic visit to Pyongyang, DPRK, for which the Philharmonic earned the 2008 Common Ground Award for Cultural Diplomacy. The Philharmonic, which appears annually on Live From Lincoln Center on PBS, is the only American orchestra to have a 52-weekper-year nationally and internationally syndicated radio series — The New York Philharmonic This Week — which is also streamed on nyphil.org. The Orchestra has made nearly 2,000 recordings since 1917, with more than 500 currently available, and including several Grammy Award winners. Since June 2009 more than 50 concerts have been released as downloads, available at all major online music stores, and the Philharmonic’s self-produced recordings will continue in the 2011–12 season. Famous for the long-running Young People’s Concerts, the Philharmonic has developed a wide range of education programs, among them the School Partnership Program that enriches music education in New York City, and Learning Overtures, which fosters international exchange among educators. Credit Suisse is the exclusive Global Sponsor of the New York Philharmonic. MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

new york philharmonic

Alan Gilbert (music director and conductor), the Yoko Nagae Ceschina Chair, began his tenure at the New York Philharmonic in September 2009, launching what New York magazine called “a fresh future for the Philharmonic.” The first native New Yorker in the post, he has introduced the positions of Marie-Josée Kravis Composer-in-Residence and Mary and James G. Wallach Artist-inResidence, an annual three-week festival and CONTACT!, the newmusic series and has sought to make the orchestra a point of civic pride for the city as well as for the country.

Yefim Bronfman (piano), a Grammy Award-winning pianist, has received critical acclaim worldwide for his solo recitals, orchestral engagements and expanding catalogue of recordings. Highlights of his 2011–12 U.S. season include performing the world premiere of the New York Philharmonic’s Marie-Josée Kravis Composer-in-Residence Magnus Lindberg’s Piano Concerto No. 2 with Music Director Alan Gilbert and New York Philharmonic in New York and on the California 2012 tour; he also appears with Philadelphia, Chicago Symphony and Toronto Symphony orchestras, in a residency with Cleveland Orchestra and on a winter recital tour that culminated at Carnegie Hall. In Europe, Bronfman performs in recital and with Esa-Pekka Salonen and the Philharmonia Orchestra, Michael Tilson Thomas and the London Symphony Orchestra and on tour with the Bavarian Radio Symphony Orchestra, also with Salonen. His wide-ranging discography includes Bartók’s three piano concertos with Salonen and the Los Angeles Philharmonic, which won a Grammy Award in 1997. Born in Tashkent in the Soviet Union in 1958, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. Bronfman trained at The Juilliard School, Marlboro Music Center and the Curtis Institute of Music, with Rudolf Firkusńy, Leon Fleisher and Rudolf Serkin. He was awarded the prestigious Avery Fisher Prize in 1991.

Robert and Margrit Mondavi

Center for the Performing Arts Presents

ODC/Dance The Velveteen Rabbit A Davis Food Co-op Childrenâ&#x20AC;&#x2122;s Stage Series Event Sunday, May 13, 2012 â&#x20AC;˘ 3PM Jackson Hall, Mondavi Center, UC Davis

There will be one intermission.

Sponsored by

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MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

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featuring

Tim Sparks and Shanir Blumenkranz

Banquet of the Spirits is the tight touring band of Cyro Baptista, one of the world’s most creative and adventurous percussionists. Baptista’s endless sonic curiosity and intense rhythmic drive have brought him to ongoing collaborations with everyone from Herbie Hancock and John Zorn to Yo-Yo Ma and Laurie Anderson, to Paul Simon, Trey Anastasio, Medeski, Martin and Wood and Sting. Bassist Shanir Blumenkranz, a founding member of Banquet of the Spirits and one of the best young musicians out of the New York downtown scene, approaches music with a wild imagination and indefatigable creativity. For the Mondavi Center performance, Cyro and Shanir have invited to join this Banquet a long time collaborator, virtuoso jaw-dropping fingerpicking guitarist Tim Sparks. Sparks has recorded three beautiful albums with Cyro as his percussive complement: Tanz, At The Rebbe’s Table and Little Princess, all favorites from John Zorn’s label Tzadik. Banquet of the Spirits has bestowed us with three excellent albums and performances in every corner of the planet including Europe, Japan, Brazil and North America. Tim Sparks will bring to the Banquet table far-flung sounds of the Jewish Diaspora that will be concocted with Brazilian melodies to create one more chapter of the Antrophofagic Banquet that always devours, digests and regurgitates all the sounds from our shared sonic landscape.

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cyro baptista’s banquet of the spirits

Cyro Baptista’s Banquet of the Spirits

Discography Banquet of the Spirits—Tzadik 2008 “it is undeniable how provocative, powerful and deeply enjoyable it is as a listening experience.” —Thom Jurek All Music Guide Banquet of The Spirits play John Zorn’s Book Of Angels (CAYM)— Tzadik 2011 “you feel like you’re listening to a captivating travelogue, as told by a group of nomads who are at home everywhere.” —Milo Miles, NPR’s Fresh Air Little Princess, Tim Sparks—Tzadik 2009 “Sparks’s own playing, which was always jaw dropping, has risen to a such a level that now he’s virtually in a league of his own. The way he combines so many different musical techniques and genres into his own idiosyncratic fingerstyle picking is not only technically remarkable, it’s savvy and wildly creative at the same time. Virtually every one of these ten cuts is an example of how intuitive, sophisticated and creative Sparks is.” —Thom Jurek All Music Guide At The Rebbe’s Table, Tim Sparks—Tzadik 2002 “For his second Tzadik album, Sparks intelligently and lovingly arranges some of his favorite songs from the Oriental, Sephardic and Yiddish canons of Jewish music for his guitar and Sparks conveys the pathos of the Diaspora in his music.” —5 stars in DownBeat Magazine

Infinito, Cyro Baptista—Tzadik 2009 “despite the wide-ranging sources and inspirations, the music never sounds forced or clumsy; the sound is seamless and organic, owing to the leader’s highly developed vision of music as a global art that exists beyond any artificial national or genre divisions.” —Joel Roberts All About Jazz New York

CyroBaptista.com TimSparks.com

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

Mondavi Center

Corporate Partners Platinum

g n i v i g f o t r a e th Donors

Your generous donation allows us to bring world-class artists and speakers to the Sacramento Valley and energize and inspire tens of thousands of school children and teachers through our nationally recognized Arts Education programs. In appreciation of your gift, you receive a host of benefits which can include: Priority Seating • Access to Donor-Only Events • Advance ticket sales for Just Added shows • Invitation to a cast party • Much, much more … •

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Remember: Ticket sales cover only 40% of our costs.

silver Office of Campus Community Relations

For more information about how you can support the Mondavi Center, please contact: Mondavi Center Development Department 530.754.5438.

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Visit our video booth and share your Mondavi Moment.

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

The Andrew W. Mellon Foundation

Tell Your Stor y Simply pop in by yourself or with a friend or family member and start talking!

As our audience, you have been a vital part of our success over the last 10 years. Now that we’re approaching our 10th anniversary, we want to hear your stories. Tell us how the performing arts at the Mondavi Center have thrilled you, inspired you and entertained you!

EVENT & ADDITIONAL SUPPORT PARTNERS

Boeger Winery Caffé Italia Ciocolat El Macero Country Club Hot Italian

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Hyatt Place Osteria Fasulo Seasons Restaurant Strelitzia Flower Company Watermelon Music

Talk to us about: • A favorite show • A time with friends or family • Something that surprised you • The show that made you think The video booth will be in the lobby before the shows and during intermission. Your few moments of sharing will play an important role as we get ready to celebrate our 10th season.

mondavi center

Mondavi Center

Individual Supporters

MondaviCenter InnerCircle Inner Circle Donors are dedicated arts patrons whose leadership gifts to the Mondavi Center are a testament to the value of the performing arts in our lives. Mondavi Center is deeply grateful for the generous contributions of the dedicated patrons who give annual financial support to our organization. These donations are an important source of revenue for our program, as income from ticket sales covers less than half of the actual cost of our performance season. Their gifts to the Mondavi Center strengthen and sustain our efforts, enabling us not only to bring memorable performances by worldclass artists to audiences in the capital region each year, but also to introduce new generations to the experience of live performance through our Arts Education Program, which provides arts education and enrichment activities to more than 35,000 K-12 students annually. For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.

† Mondavi Center Advisory Board Member * Friends of Mondavi Center

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Impresario Circle $25,000 and up

John and Lois Crowe †* Barbara K. Jackson †* Friends of Mondavi Center And one donor who prefers to remain anonymous virtuoso Circle $15,000 – $24,999

Joyce and Ken Adamson Ann and Gordon Getty Foundation Anne Gray †* Mary B. Horton* Grant and Grace Noda* William and Nancy Roe †* Lawrence and Nancy Shepard † Tony and Joan Stone † Joe and Betty Tupin †* Maestro Circle $10,000 – $14,999

Wayne and Jacque Bartholomew †* Ralph and Clairelee Leiser Bulkley* Oren and Eunice Adair-Christensen* Dolly and David Fiddyment † M. A. Morris* Shipley and Dick Walters* Benefactors Circle $6,000 – $9,999 California Statewide Certified Development Corporation Camille Chan † Cecilia Delury and Vince Jacobs † Patti Donlon † First Northern Bank † Samia and Scott Foster Benjamin and Lynette Hart †* Dee and Joe Hartzog † Margaret Hoyt* Bill Koenig and Jane O’Green Koenig Garry Maisel † Stephen Meyer and Mary Lou Flint† Randall E. Reynoso and Martin Camsey Grace and John Rosenquist* Chris and Melodie Rufer Raymond and Jeanette Seamans Ellen Sherman Larry and Rosalie Vanderhoef †*

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

Producers Circle $3,000 – $5,999

Neil and Carla Andrews Hans Apel and Pamela Burton Cordelia Stephens Birrell Kay and Joyce Blacker* Neil and Joanne Bodine Mr. Barry and Valerie Boone Brian Tarkington and Katrina Boratynski Michael and Betty Chapman Robert and Wendy Chason Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Claudia Coleman Eric and Michael Conn Nancy DuBois* Stephen Duscha and Wanda Lee Graves Merrilee and Simon Engel Catherine and Charles Farman Domenic and Joan Favero Donald and Sylvia Fillman Andrew and Judith Gabor Kay Gist Fredric Gorin and Pamela Dolkart Gorin Ed and Bonnie Green* Robert Grey Diane Gunsul-Hicks Charles and Ann Halsted Judith and Bill Hardardt* The One and Only Watson Lorena Herrig* Charley and Eva Hess Suzanne and Chris Horsley* Sarah and Dan Hrdy Dr. Ronald and Lesley Hsu Debra Johnson, MD and Mario Gutierrez Teresa and Jerry Kaneko* Dean and Karen Karnopp* Nancy Lawrence, Gordon Klein, and Linda Lawrence Greiner Heat, Air, and Solar Brian and Dorothy Landsberg Drs. Richard Latchaw and Sheri Alders Ginger and Jeffrey Leacox Claudia and Allan Leavitt Robert and Barbara Leidigh Yvonne LeMaitre John T. Lescroart and Lisa Sawyer Nelson Lewallyn and Marion Pace-Lewallyn Dr. Ashley and Shiela Lipshutz Paul and Diane Makley* In memory of Jerry Marr Janet Mayhew* Robert and Helga Medearis Verne Mendel* Derry Ann Moritz Jeff and Mary Nicholson Philip and Miep Palmer Gavin Payne Suzanne and Brad Poling 50

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Lois and Dr. Barry Ramer David Rocke and Janine Mozée Roger and Ann Romani* Hal and Carol Sconyers* Tom and Meg Stallard* Karen and Jim Steidler Tom and Judy Stevenson Donine Hedrick and David Studer Jerome Suran and Helen Singer Suran* Rosemary and George Tchobanoglous Della Aichwalder Thompson Nathan and Johanna Trueblood Ken Verosub and Irina Delusina Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Cantor & Company, A Law Corporation* Bob and Joyce Wisner* Richard and Judy Wydick And six donors who prefer to remain anonymous Directors Circle $1,100 – $2,999 John and Kathleen Agnew Dorrit Ahbel Beulah and Ezra Amsterdam Russell and Elizabeth Austin Murry and Laura Baria* Lydia Baskin* Connie Batterson Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Robert Burgerman and Linda Ramatowski Davis and Jan Campbell David J. Converse, ESQ. Gail and John Cooluris Jim and Kathy Coulter* John and Celeste Cron* Terry and Jay Davison Bruce and Marilyn Dewey Martha Dickman* Dotty Dixon* Richard and Joy Dorf* Shari and Wayne Eckert Thomas and Phyllis Farver* Tom Forrester and Shelly Faura Sandra and Steven Felderstein Nancy McRae Fisher Carole Franti* Paul J. and Dolores L. Fry Charitable Fund Karl Gerdes and Pamela Rohrich Henry and Dorothy Gietzen Craig A. Gladen John and Patty Goss* Jack and Florence Grosskettler* Virginia Hass Tim and Karen Hefler Sharna and Myron Hoffman Claudia Hulbe

Ruth W. Jackson Clarence and Barbara Kado Barbara Katz* Hansen Kwok Thomas Lange and Spencer Lockson Mary Jane Large and Marc Levinson Edward and Sally Larkin* Hyunok Lee and Daniel Sumner Linda and Peter Lindert Angelique Louie Natalie and Malcolm MacKenzie* Stephen Madeiros Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Maria Manoliu Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Ken McKinstry Joy Mench and Clive Watson Fred and Linda J. Meyers* John Meyer and Karen Moore Eldridge and Judith Moores Barbara Moriel Mary-Alice and Augustus B. Morr Patricia and Surl Nielsen Linda Orrante and James Nordin Alice Oi, In memory of Richard Oi Jerry L. Plummer Prewoznik Foundation Linda and Lawrence Raber* Larry and Celia Rabinowitz Kay Resler* Prof. Christopher Reynolds and Prof. Alessa Johns Thomas Roehr Don Roth and Jolán Friedhoff Liisa A. Russell Beverly “Babs” Sandeen and Marty Swingle Ed and Karen Schelegle The Schenker Family Neil and Carrie Schore Bonnie and Jeff Smith Wilson and Kathryn Smith Ronald and Rosie Soohoo* Richard L. Sprague and Stephen C. Ott Peter Stamos Maril Revette Stratton and Patrick Stratton Brandt Schraner and Jennifer Thornton Verbeck and friends Louise and Larry Walker Scott Weintraub Dale L. and Jane C. Wierman Mary Wood, Ph.D. Paul Wyman Yin Yeh Howard and Diane Zumsteg And five donors who prefer to remain anonymous

Mondavi Center Donors

Encore Circle $600 – $1,099

Gregg T. Atkins and Ardith Allread Drs. Noa and David Bell Marion Bray Kent and Susan Calfee Don and Dolores Chakerian Gale and Jack Chapman William and Susan Chen Robert and Nancy Nesbit Crummey John and Cathie Duniway Doris and Earl Flint Murray and Audrey Fowler Gatmon-Sandrock Family Jeffery and Marsha Gibeling Paul N. and E. F. “Pat” Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Cynthia Hearden* Lenonard and Marilyn Herrmann Katherine Hess Barbara and Robert Jones Paula Kubo Frances and Arthur Lawyer* Gary and Jane Matteson Don and Sue Murchison Robert Murphy Richard and Kathleen Nelson Frank Pajerski John Pascoe and Susan Stover Jerry and Ann Powell* J. and K. Redenbaugh John and Judy Reitan Jeep and Heather Roemer Jeannie and Bill Spangler Sherman and Hannah Stein Les and Mary Stephens Dewall Judith and Richard Stern Eric and Patricia Stromberg* Lyn Taylor and Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Donald Walk, M.D. Geoffrey and Gretel Wandesford-Smith Steven and Andrea Weiss* Denise and Alan Williams Kandi Williams and Dr. Frank Jahnke Karl and Lynn Zender And three donors who prefer to remain anonymous

Orchestra Circle

$300 – $599 Michelle Adams Mitzi Aguirre Susan Ahlquist Paul and Nancy Aikin Jessica Friedman Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Fred Arth and Pat Schneider Al and Pat Arthur Shirley and Michael Auman* Robert and Joan Ball Beverly and Clay Ballard In memory of Ronald Baskin Delee and Jerry Beavers Robert Hollingsworth and Carol Beckham Carol L. Benedetti Donald and Kathryn Bers* Bob and Diane Biggs Al J. Patrick, Bankruptcy Law Center Elizabeth Bradford Paul Braun Rosa Maquez and Richard Breedon Joan Brenchley and Kevin Jackson Irving and Karen Broido* In memory of Rose Marie Wheeler John and Christine Bruhn Manuel Calderon De La Barca Sanchez Jackie Caplan Michael and Louise Caplan Anne and Gary Carlson Koling Chang and Su-Ju Lin Jan Conroy, Gayle Dax-Conroy, Edward Telfeyan, Jeri Paik-Telfeyan Charles and Mary Anne Cooper James and Patricia Cothern Cathy and Jon Coupal* David and Judy Covin Larry Dashiell and Peggy Siddons Thomas B. and Eina C. Dutton Micki Eagle Janet Feil David and Kerstin Feldman Sevgi and Edwin Friedrich* Dr. Deborah and Brook Gale Marvin and Joyce Goldman Stephen and Deirdre Greenholz Judy Guiraud Sandeep Kumar Guliani Darrow and Gwen Haagensen Sharon and Don Hallberg Alexander and Kelly Harcourt David and Donna Harris Roy and Miriam Hatamiya Stephen and Joanne Hatchett Paula Higashi Brit Holtz Herb and Jan Hoover Frederick and B.J. Hoyt Pat and Jim Hutchinson* Mary Jenkin Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Nancy Gelbard and David Kalb Douglas Neuhauser and Louise Kellogg Charles Kelso and Mary Reed Ruth Ann Kinsella* Joseph Kiskis Judy and Kent Kjelstrom Peter Klavins and Susan Kauzlarich Charlene Kunitz Allan and Norma Lammers Darnell Lawrence and Dolores Daugherty Richard Lawrence Ruth Lawrence Carol and Robert Ledbetter Stanley and Donna Levin Barbara Levine Ernest and Mary Ann Lewis* Michael and Sheila Lewis* David and Ruth Lindgren

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Jeffrey and Helen Ma Pat Martin* Yvonne Clinton Mazalewski and Robert Mazalewski Sean and Sabine McCarthy Catherine McGuire Michael Gerrit Nancy Michel Hedlin Family Robert and Susan Munn* Anna Rita and Bill Neuman John and Carol Oster Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker Brenda Davis and Ed Phillips Bonnie A. Plummer* Deborah Nichols Poulos and Prof. John W. Poulos Harriet Prato John and Alice Provost J. David Ramsey Rosemary Reynolds Guy and Eva Richards Ronald and Sara Ringen Tracy Rodgers and Richard Budenz Sharon and Elliott Rose* Barbara and Alan Roth Marie Rundle Bob and Tamra Ruxin Tom and Joan Sallee Mark and Ita Sanders Eileen and Howard Sarasohn Mervyn Schnaidt Maralyn Molock Scott Ruth and Robert Shumway Michael and Elizabeth Singer Al and Sandy Sokolow Edward and Sharon Speegle Curtis and Judy Spencer Tim and Julie Stephens Pieter Stroeve, Diane Barrett and Jodie Stroeve Kristia Suutala Yayoi Takamura Tony and Beth Tanke Butch and Virginia Thresh Dennis and Judy Tsuboi Ann-Catrin Van Ph.D. Robert Vassar Don and Merna Villarejo Rita Waterman Norma and Richard Watson Regina White Wesley and Janet Yates Jane Y. Yeun and Randall E. Lee Ronald M. Yoshiyama Hanni and George Zweifel And six donors who prefer to remain anonymous

Mainstage Circle $100 – $299

Leal Abbott Thomas and Betty Adams Mary Aften Jill Aguiar Suzanne and David Allen David and Penny Anderson Elinor Anklin and George Harsch Janice and Alex Ardans Debbie Arrington Shota Atsumi Jerry and Barbara August George and Irma Baldwin Charlotte Ballard and Bob Zeff Diane and Charlie Bamforth* Elizabeth Banks Michele Barefoot and Luis Perez-Grau Carole Barnes Gail Kristine Baum Paul and Linda Baumann Lynn Baysinger*

Claire and Marion Becker Sheri Belafsky Merry Benard Robert and Susan Benedetti William and Marie Benisek Robert C. and Jane D. Bennett Marta Beres Elizabeth Berteaux Bevowitz Family Boyd and Lucille Bevington Ernst and Hannah Biberstein Katy Bill Andrea Bjorklund and Sean Duggan Lewis J. and Caroline S. Bledsoe Fred and Mary Bliss Bobbie Bolden William Bossart Mary and Jill Bowers Alf and Kristin Brandt Robert and Maxine Braude Daniel and Millie Braunstein* Pat and Bob Breckenfeld Margaret Brockhouse Francis M. Brookey Linda Clevenger and Seth Brunner Mike and Marian Burnham Margaret Burns and Roy W. Bellhorn Victor W. Burns Catherine Buscaglia* William and Karolee Bush Gary Campbell and Sharon Lewis Lita Campbell* Robert and Lynn Campbell Robert Canary John and Nancy Capitanio James and Patty Carey Michael and Susan Carl John and Inge Carrol Bruce and Mary Alice Carswell* Jan and Barbara Carter* Dorothy Chikasawa* Frank Chisholm Richard and Arden Christian Michael and Paula Chulada Betty M. Clark Gail Clark L. Edward and Jacqueline Clemens James Cline Stuart and Denise Cohen Wayne Colburn Sheri and Ron Cole Steve and Janet Collins In honor of Marybeth Cook Nicholas and Khin Cornes Victor Cozzalio and Lisa Heilman-Cozzalio Lorraine Crozier Bill and Myra Cusick Elizabeth Dahlstrom-Bushnell* John and Joanne Daniels Nita Davidson Johanna Davies Voncile Dean Mrs. Leigh Dibb Ed and Debby Dillon Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val Docini and Solveig Monson Val and Marge Dolcini* Katherine and Gordon Douglas Anne Duffey Marjean Dupree Victoria Dye and Douglas Kelt David and Sabrina Eastis Harold and Anne Eisenberg Eliane Eisner Terry Elledge Vincent Elliott Brian Ely and Robert Hoffman Allen Enders Adrian and Tamara Engel Sidney England Carol Erickson and David Phillips Jeff Ersig David and Kay Evans Valerie Eviner Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Richard D. Farshler Cheryl and David Felsch Liz and Tim Fenton Steven and Susan Ferronato

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

Martin Filet and Mary McDonald Bill and Margy Findlay Judy Fleenor* Manfred Fleischer David and Donna Fletcher Glenn Fortini Lisa Foster Robert Fowles and Linda Parzych Marion Franck and Bob Lew Anthony and Jorgina Freese Joel Friedman Larry Friedman Kerim and Josina Friedrich Joan M. Futscher Myra Gable Charles and Joanne Gamble Peggy E. Gerick Gerald Gibbons and Sibilla Hershey Louis J. Fox and Marnelle Gleason* Pat and Bob Gonzalez* Michael Goodman Susan Goodrich Louise and Victor Graf Jeffrey and Sandra Granett Jacqueline Gray* Donald Green Mary Louis Greenberg Paul and Carol Grench Alexander and Marilyn Groth June and Paul Gulyassy Wesley and Ida Hackett* Paul W. Hadley Jim and Jane Hagedorn Frank and Ro Hamilton William Hamre Jim and Laurie Hanschu Marylee and John Hardie Richard and Vera Harris Cathy Brorby and Jim Harritt Sally Harvey* Ken and Carmen Hashagen Mary Helmich Martin Helmke and Joan Frye Williams Roy and Dione Henrickson Rand and Mary Herbert Roger and Rosanne Heym Larry and Elizabeth Hill Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Michael and Peggy Hoffman Steve and Nancy Hopkins Darcie Houck David and Gail Hulse Lorraine J. Hwang Marta Induni Jane Johnson* Kathryn Jaramillo Robert and Linda Jarvis Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Pamela R. Jessup Carole and Phil Johnson SNJ Services Group Michelle Johnston and Scott Arranto Warren and Donna Johnston Valerie Jones In memory of Betty and Joseph Baria Andrew and Merry Joslin Martin and JoAnn Joye* John and Nancy Jungerman Nawaz Kaleel Fred Kapatkin Shari and Timothy Karpin Anthony and Beth Katsaris Yasuo Kawamura Phyllis and Scott Keilholtz* Patricia Kelleher* Dave and Gay Kent Robert and Cathryn Kerr Gary and Susan Kieser Louise Bettner and Larry Kimble Ken and Susan Kirby Dorothy Klishevich Paulette Keller Knox Paul Kramer Dave and Nina Krebs Kurt and Marcia Kreith Sandra Kristensen

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Leslie Kurtz Cecilia Kwan Donald and Yoshie Kyhos Ray and Marianne Kyono Melourd Lagdamen Bonnie and Kit Lam* Angelo Lamola Marsha M. Lang Bruce and Susan Larock Harry Laswell and Sharon Adlis C and J Learned Marceline Lee Lee-Hartwig Family Nancy and Steve Lege Suzanne Leineke The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn A. Lewis Melvyn Libman Motoko Lobue Mary S. Lowry Henry Luckie Maryanne Lynch Ariane Lyons Ed and Sue MacDonald Leslie Macdonald and Gary Francis Thomas and Kathleen Magrino* Deborah Mah* Mary C. Major Jean Malamud Vartan Malian Julin Maloof and Stacey Harmer Joan Mangold Bunkie Mangum Raymond and Janet Manzi Joseph and Mary Alice Marino Donald and Mary Martin J. A. Martin Mr. and Mrs. William R. Mason Bob and Vel Matthews Leslie Maulhardt Katherine F. Mawdsley* Mia McClellan Karen McCluskey* John McCoy Nora McGuinness* Donna and Dick McIlvaine Tim and Linda McKenna Blanche McNaughton* Richard and Virginia McRostie George A. Mealy and Lenore Steiner Martin A. Medina and Laurie Perry Cliva Mee and Werner Paul Harder III DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland and Marilyn Meyer Beryl Michaels Leslie Michaels and Susan Katt Jean and Eric Miller Phyllis Miller Sue and Rex Miller Douglas Minnis Steve and Kathy Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Lloyd and Ruth Money Louise S. Montgomery Amy Moore Hallie Morrow Marcie Mortensson Christopher Motley Robert and Janet Mukai Bill and Diane Muller Terry and Judy Murphy Steve Abramowitz and Alberta Nassi Judy and Merle Neel Sandra Negley Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell K. C. Ng Denise Nip and Russell Blair Forrest Odle

Yae Kay Ogasawara James Oltjen Marvin O’Rear Jessie Ann Owens Bob and Beth Owens Mike and Carlene Ozonoff* Michael Pach and Mary Wind Charles and Joan Partain Thomas Pavlakovich and Kathryn Demakopoulos Dr. and Mrs. John W. Pearson Bob and Marlene Perkins Pat Piper Mary Lou Pizzio-Flaa David and Jeanette Pleasure Bob and Vicki Plutchok Ralph and Jane Pomeroy* Bea and Jerry Pressler Ann Preston Rudolf and Brigitta Pueschel Evelyn and Otto Raabe Edward and Jane Rabin Jan and Anne-Louise Radimsky Kathryn Radtkey-Gaither Lawrence and Norma Rappaport Evelyn and Dewey Raski Olga Raveling Dorothy and Fred Reardon Sandi Redenbach* Paul Rees Sandra Reese Martha Rehrman* Eugene and Elizabeth Renkin David and Judy Reuben* Al and Peggy Rice Joyce Rietz Ralph and Judy Riggs* David and Kathy Robertson Richard and Evelyne Rominger Andrea Rosen Catherine and David Rowen Rina Roy Paul and Ida Ruffin Michael and Imelda Russell Hugh Safford Dr. Terry Sandbek* and Sharon Billings* Kathleen and David Sanders* Glenn Sanjume Fred and Polly Schack John and Joyce Schaeuble Patsy Schiff Tyler Schilling Leon Schimmel and Annette Cody Fred and Colene Schlaepfer Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Rick Schubert Brian A. Sehnert and Janet L. McDonald Dinendra Sen Andreea Seritan Dan Shadoan and Ann Lincoln Ed Shields and Valerie Brown Sandi and Clay Sigg Joy Skalbeck Barbara Slemmons Marion Small Judith Smith Juliann Smith Robert Snider Jean Snyder Blanca Solis Roger and Freda Sornsen Marguerite Spencer Johanna Stek Raymond Stewart Karen Street* Deb and Jeff Stromberg Mary Superak Thomas Swift Joyce Takahashi Francie Teitelbaum Jeanne Shealor and George Thelen Julie Theriault, PA-C Virginia Thigpen Janet Thome Robert and Kathryn Thorpe Brian Toole Lola Torney and Jason King

Michael and Heidi Trauner Rich and Fay Traynham James E. Turner Barbara and Jim Tutt Robert Twiss Ramon and Karen Urbano Chris and Betsy Van Kessel Diana Varcados Bart and Barbara Vaughn* Richard and Maria Vielbig Charles and Terry Vines Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner* M. Therese Wagnon Carol Walden Marny and Rick Wasserman Caroline and Royce Waters Marya Welch* Dan and Ellie Wendin* Douglas West Martha S. West Robert and Leslie Westergaard* Linda K. Whitney Jane Williams Marsha Wilson Linda K. Winter* Janet Winterer Michael and Jennifer Woo Ardath Wood Timothy and Vicki Yearnshaw Elaine Chow Yee* Norman and Manda Yeung Teresa Yeung Phillip and Iva Yoshimura Heather Young Phyllis Young Verena Leu Young* Melanie and Medardo Zavala Phyllis and Darrel Zerger Mark and Wendy Zlotlow And 48 donors who prefer to remain anonymous

CORPORATE MATCHING GIFTS Bank of America Matching Gifts Program Chevron/Texaco Matching Gift Fund DST Systems Exxon Mobile Matching Gifts Program Morgan Stanley We appreciate the many Donors who participate in their employers’ matching gift program. Please contact your Human Resources department to find out about your company’s matching gift program. Note: We are pleased to recognize the Donors of Mondavi Center for their generous support of our program. We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5438 to inform us of corrections.

Join the Friends of Mondavi Center! The Friends of Mondavi Center is an active donorbased volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. When you join the Friends of Mondavi Center, you are able to choose from a variety of activities and work with other Friends who share your interests. There are so many ways to participate! Gift Shop – Managed and staffed by Friends of Mondavi Center, profits from the Gift Shop support Mondavi Center Arts Education. School Matinee Support – Friends present pre-matinee classroom talks in which docents visit classrooms before a school matinee to prepare students for their visit to the Mondavi Center. Docents use materials that are researched and written by Friends. In addition, Friends volunteer as ushers for all Mondavi Center School Matinees. Audience Enrichment – Friends distribute information to community members about the educational activities that are held at the Mondavi Center. They also support the public relations activities of the Mondavi Center. In addition, they organize the Spotlight Series which feature talks by artists and arts administrators on the performing arts for Friends of Mondavi Center.

Printed on recycled paper. Please recycle this playbill for reuse.

Tours – Since the Mondavi Center’s 2002-2003 inaugural season, Friends of Mondavi Center have managed and staffed the public tours program. To arrange a tour of the Mondavi Center, call the Tour Hotline at 530-754-5399. Tours can be arranged for groups of any size. Friends Events – Fundraisers for the School Matinee Ticket Program and fun social events are organized by a creative group of Friends. Fundraiser revenue provides tickets to students who would not otherwise have the opportunity to attend a performance at Mondavi Center. The Friends Outreach Committee coordinates distribution of tickets to targeted school districts in the Sacramento region. Ad Hoc – Ad hoc volunteers provide support for Arts Education activities such as artists’ master classes, the Young Artists Competition and the Globe Education Academy Workshops.

For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431.

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

Mondavi Center Staff DON ROTH, Ph.D. Executive Director

AUDIENCE SERVICES Emily Taggart Audience Services Manager/ Artist Liaison Coordinator

Jeremy Ganter Associate Executive Director

Yuri Rodriguez Events Manager

PROGRAMMING Jeremy Ganter Director of Programming

Natalia Deardorff Assistant Events Manager

Erin Palmer Programming Manager

Nancy Temple Assistant Public Events Manager

Ruth Rosenberg Artist Engagement Coordinator

BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services

Lara Downes Curator: Young Artists Program

Mandy Jarvis Financial Analyst

ARTS EDUCATION Joyce Donaldson Associate to the Executive Director for Arts Educaton and Strategic Projects

Russ Postlethwaite Billing System Administrator

DEVELOPMENT Debbie Armstrong Senior Director of Development Alison Morr Kolozsi Director of Major Gifts Elisha Findley Corporate & Annual Fund Officer Amanda Turpin Donor Relations Manager FACILITIES Herb Garman Director of Operations Greg Bailey Lead Building Maintenance Worker INFORMATION TECHNOLOGY Darren Marks Programmer/Designer

MARKETING Rob Tocalino Director of Marketing

production Donna J. Flor Production Manager

Will Crockett Marketing Manager

Christopher Oca Stage Manager

Erin Kelley Senior Graphic Artist

Christi-Anne Sokolewicz Stage Manager

Morissa Rubin Senior Graphic Artist

Adrian Galindo Scene Technician Kathy Glaubach Scene Technician Daniel Thompson Scene Technician

Jenna Bell Production Coordinator

Amanda Caraway Public Relations Coordinator

Zak Stelly-Riggs Master Carpenter Daniel Goldin Master Electrician

TICKET OFFICE Sarah Herrera Ticket Office Manager Steve David Ticket Office Supervisor Susie Evon Ticket Agent

Head Ushers Huguette Albrecht George Edwards Linda Gregory Donna Horgan Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

Michael Hayes Head Sound Technician Gene Nelson Registered Piano Technician

Russell St. Clair Ticket Agent

Mark J. Johnston Lead Application Developer

Jennifer Mast Arts Education Coordinator

Mondavi Center Advisory Board The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance and the presenting program of the Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center. 11-12 Season Board Officers John Crowe, Chair Joe Tupin, Patron Relations Chair Randall Reynoso, Corporate Relations Co-Chair Garry P. Maisel, Corporate Relations Co-Chair

Members Jeff Adamski Wayne Bartholomew Camille Chan Michael Chapman John Crowe Lois Crowe Cecilia Delury Patti Donlon

David Fiddyment Dolly Fiddyment Mary Lou Flint Anne Gray Benjamin Hart Lynette Hart Dee Hartzog Joe Hartzog Vince Jacobs

Garry P. Maisel Stephen Meyer Randall Reynoso Nancy Roe William Roe Lawrence Shepard Nancy Shepard Joan Stone Tony Stone

Joe Tupin Larry Vanderhoef Rosalie Vanderhoef Honorary Members Barbara K. Jackson Margrit Mondavi

Ex Officio Linda P.B. Katehi, Chancellor, UC Davis Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis Jo Anne Boorkman, Friends of Mondavi Center Board Don Roth, Executive Director, Mondavi Center, UC Davis Erin Schlemmer, Arts & Lectures Chair

Arts & Lectures Administrative Advisory Committee

friends of Mondavi Center

The Arts & Lectures Administrative Advisory Committee is made up of interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

11-12 Executive Board

11-12 Committee Members Erin Schlemmer, Chair Celeste Chang Prabhakara Choudary Adrian Crabtree Susan Franck

Kelley Gove Aaron Hsu Holly Keefer Danielle McManus Bella Merlin

| mondaviarts.org

Lee Miller Kayla Rouse Hulleah Tsinhnahjinnie

Jo Anne Boorkman, President Laura Baria, Vice President Francie Lawyer, Secretary Jim Coulter, Audience Enrichment Jacqueline Gray, Membership Sandra Chong, School Matinee Support Martha Rehrman, Friends Events Leslie Westergaard, Mondavi Center Tours Phyllis Zerger, School Outreach Eunice Adair Christensen, Gift Shop Manager, Ex Officio Joyce Donaldson, Director of Arts Education, Ex Officio

Accommodations for Patrons with Disabilities

Ticket Exchange

The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements.

• • • • • • • •

Tickets must be exchanged at least one business day prior to the performance. Tickets may not be exchanged after your performance date. There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers. If you exchange for a higher-priced ticket, the difference will be charged. The difference between a higher and a lower-priced ticket on exchange is non-refundable. Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season. Balances may not be transferred between accounts. All exchanges subject to availability. All ticket sales are final for events presented by non-UC Davis promoters. No refunds.

Parking You may purchase parking passes for individual Mondavi Center events for $7 per event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.

Group Discounts

Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances. Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last minute requests. Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

Special Seating Mondavi Center offers special seating arrangements for our patrons with disabilities. Please call the Ticket Office at 530.754.2787 [TDD 530.754.5402].

Assistive Listening Devices

Entertain friends, family, classmates or business associates and save! Groups of 20 or more qualify for a 10% discount off regular prices. Payment must be made in a single check or credit card transaction. Please call 530.754.2787 or 866.754.2787.

Assistive Listening Devices are available for Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID to be held at the Patron Services Desk until the device is returned.

Student Tickets (50% off the full single ticket price*)

Elevators

Student tickets are to be used by registered students matriculating toward a degree, age 18 and older, with a valid student ID card. Each student ticket holder must present a valid student ID card at the door when entering the venue where the event occurs, or the ticket must be upgraded to regular price.

Children (50% off the full single ticket price*) Children’s tickets are for all patrons age 17 and younger. No additional discounts may be applied. As a courtesy to other audience members, please use discretion in bringing a young child to an evening performance. All children, regardless of age, are required to have tickets, and any child attending an evening performance should be able to sit quietly through the performance.

Privacy Policy The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently. We sometimes share names and addresses with other not-for-profit arts organizations. If you do not wish to be included in our e-mail communications or postal mailings, or if you do not want us to share your name, please notify us via e-mail, U.S. mail or telephone. Full Privacy Policy at MondaviArts.org.

POlicies

Policies and Information

The Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.

Restrooms All public restrooms are equipped with accessible sinks, stalls, babychanging stations and amenities. There are six public restrooms in the building: two on the Orchestra level, two on the Orchestra Terrace level and two on the Grand Tier level.

Service Animals Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times. Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.

*Only one discount per ticket.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 8: Apr–May 2012 |

september 2011

december 2011

21 30

7–10 8 11 15 18

Return To Forever IV with Zappa Plays Zappa Ricky Skaggs and Kentucky Thunder

october 2011 1 2 6 8 13 19 20 21 24 29 29–30

Wayne Shorter Quartet Alexander String Quartet Yamato Jonathan Franzen San Francisco Symphony Scottish Ballet k.d. lang and the Siss Boom Bang Rising Stars of Opera Focus on Film: Thirty Two Short Films About Glenn Gould Hilary Hahn, violin So Percussion: “We Are All Going in Different Directions”: A John Cage Celebration

november 2011 4 5–6 7–8 9–11 12 12–13 14 14–15

mondavi center–

Tia Fuller Quartet Mariachi Sol de México de Jóse Hernàndez Lara Downes Family Concert: Green Eggs and Ham Blind Boys of Alabama Christmas Show American Bach Soloists: Messiah

january 2012 5 9 14–15 19 25–28 27 29 30

San Francisco Symphony Focus on Film: Platoon Alexi Kenney, violin and Hilda Huang, piano Soledad Barrio and Noche Flamenca Alfredo Rodriguez Trio Royal Philharmonic Orchestra Alexander String Quartet Focus on Opera: Tosca

february 2012

3 4 Cinematic Titanic Jennifer Johnson Cano, mezzo-soprano If God Is Willing and da Creek Don’t Rise 9 Hot 8 Brass Band 11–12 Trey McIntyre Project 14 and Preservation Hall Jazz Band 17 Lara Downes: 18 13 Ways of Looking at the Goldberg Focus on Film: Salaam Bombay! 22 Growing Up In India: 25 A Film and Photo Exhibition

Oliver Stone Rachel Barton Pine, violin, with the Chamber Soloists Orchestra of New York Les Ballets Trockadero de Monte Carlo CIRCA Loudon Wainwright III & Leo Kottke Eric Owens, bass-baritone Chucho Valdés and the Afro-Cuban Messengers The Chieftains Overtone Quartet

Media Clips & More Info:

MondaviArts.org

Rachel Barton Pine

530.754.2787

2 9 10–11 17–18 18 22 24–25 29

Angelique Kidjo Garrick Ohlsson, piano Curtis On Tour Ballet Preljocaj: Blanche Neige Alexander String Quartet Zakir Hussain and Masters of Percussion Circus Oz SFJAZZ Collective

april 2012 1 9 11 13 14–15 17 18–21 19–22 28

2 9 12 13 14 16–19

530.754.2787

| mondaviarts.org

march 2012

Young Artists Competition Winners Concert Focus on Opera: The Elixir of Love Sherman Alexie Bettye LaVette Zippo Songs: Poems from the Front Anoushka Shankar The Bad Plus The Improvised Shakespeare Company Maya Beiser: Provenance

may 2012

Call for Tickets!

2o11 12

866.754.2787 (toll-free)

San Francisco Symphony Chamber Ensemble Patti Smith New York Philharmonic ODC/Dance: The Velveteen Rabbit Focus on Opera: Lucia di Lammermoor Supergenerous: Cyro Baptista and Kevin Breit

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The art of performance draws our eyes to the stage

Our community’s commitment to arts and culture says a lot about where we live and it brings us together from the moment the lights go down and the curtains come up.

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8/4/11 3:10 PM

can The health plan that

take care of your employees. And your bottom line.

As a founding partner of the Mondavi Center, Western Health Advantage has been a strong supporter of local arts. Which might explain why we’ve lifted local health care to an art form. What’s our method? We deliver friendly, responsive service, keep costs low, and provide access to 2,300 area physicians and specialists. Maybe that’s why over 4,000 local businesses offer our plans and 90,000 individuals and families choose our coverage. That kind of recognition is worthy of a standing ovation.

Visit westernhealth.com to learn more about our health plans.