april–may 2014
San Francisco Symphony • MAy 15
APRIL – MAY 2014
The art of performance draws our eyes to the stage
Sometimes the most meaningful communication happens without dialogue. Great performances tell us that we are not alone with our emotions. Mondavi Center, thank you for inspiring us.
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WELCOME
A MESSAGE FROM THE CHANCELLOR
It is my pleasure to welcome you to the 2013–14 season at the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis. This year we honor the legacy of Robert Mondavi on the occasion of what would have been his centennial. An expert winemaker, a wise businessman, a philanthropist and patron of the arts—Robert contributed immeasurably to his industry, the University and the community. The generous philanthropic support of both Robert and Margrit leaves more than buildings; it enhances the quality of life for
LINDA P.B. KATEHI
UC DAVIS CHANCELLOR
many generations to come. It is an ongoing testament to this vision that the Mondavi Center serves as a welcoming community gathering place. Truly, it is a crossroads where cultures from around our nation and the world come together: at once a source of learning and entertainment, a place of creative and intellectual stimulation and a venue for celebrating classics and exploring new pieces.
The Mondavi Center is a generous contributor to the quality of life in the region— a beautiful tribute to its namesakes.
The impact of Mondavi Center programs goes beyond the events in the venue itself. Many of the artists and speakers featured in Jackson Hall or the Vanderhoef Studio Theatre also venture out onto our campus and into our community. This exchange of ideas and expertise, the up close and personal experiences that can only happen during artist residencies, create inspiration and stimulation that benefit us all. Rich conversations radiate from the seats in the hall to the lobby or the rehearsal room and continue on to homes, cafés and other places in our community. This sort of dialogue ensures that the Mondavi Center stands firmly as a generous contributor to the quality of life in the region—a beautiful tribute to its namesakes. Thank you for being a part of the Mondavi Center’s season.
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SPONSORS CORPORATE PARTNERS
PLATINUM
MONDAVI CENTER STAFF Don Roth, Ph.D.
EXECUTIVE DIRECTOR
Jeremy Ganter
Alison Morr Kolozsi
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Marlene Freid
BUSINESS SERVICES SENIOR DIRECTOR OF DEVELOPMENT AND SUPPORT SERVICES
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4 MONDAVIARTS .ORG
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DIRECTOR OF MARKETING
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TICKET OFFICE
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ART DIRECTOR & SENIOR GRAPHIC ARTIST
Debbie Armstrong
Osteria Fasulo
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Phil van Hest
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Catering and BBQ
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INFORMATION TECHNOLOGY
ARTS EDUCATION COORDINATOR
Boeger Winery
SENIOR STAGE MANAGER, JACKSON HALL
Lara Downes
Jennifer Mast
El Macero County Club
DIRECTOR OF OPERATIONS
Christi-Anne Sokolewicz
Emily Hartman
ASSOCIATE TO THE EXECUTIVE DIRECTOR FOR ARTS EDUCATION AND STRATEGIC PROJECTS
Anderson Family
Herb Garman
ASSISTANT PRODUCTION MANAGER
BUILDING ENGINEER
Joyce Donaldson
SPECIAL THANKS
FACILITIES
Daniel J. Goldin
Greg Bailey
ARTS EDUCATION
MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS
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PRODUCTION MANAGER
ARTIST ENGAGEMENT COORDINATOR CURATOR: YOUNG ARTISTS PROGRAM
COPPER
Donna J. Flor
PROGRAMMING Erin Palmer
BRONZE
Debbie Armstrong
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DIRECTOR OF PROGRAMMING
SILVER
PRODUCTION
SENIOR DIRECTOR OF DEVELOPMENT AND SUPPORT SERVICES
Jeremy Ganter GOLD
DEVELOPMENT
Sarah Herrera
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Steve David
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Susie Evon
TICKET AGENT
Russell St. Clair TICKET AGENT
MASTER ELECTRICIAN HEAD AUDIO ENGINEER ARTIST SERVICES COORDINATOR
Kathleen Foster
ELECTRICIAN, VANDERHOEF STUDIO THEATRE/ STAGE TECHNICIAN
Adrian Galindo
AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE/STAGE TECHNICIAN
HEAD USHERS Huguette Albrecht Ralph Clouse Eric Davis George Edwards Donna Horgan Paul Kastner Jan Perez Mike Tracy Janellyn Whittier Terry Whittier
©2014 UC Regents
DR. MITCHEL BERGER IS
PIONEERING CARE FOR JENNY ALDEN
When Jenny Alden was diagnosed with a brain tumor, she started researching the best places for treatment, and UCSF Medical Center was at the top of the list. At UCSF, Dr. Mitchel Berger, world-renowned neurosurgeon, helped pioneer brain mapping, which revolutionized the field and helped save Jenny’s life. They both came to UCSF for a medical culture that rewards excellence and innovation. That’s why UCSF is one of the top six hospitals in the nation in neurosurgery. UCSF: pioneering care, one patient at a time. Visit PioneeringCare.com to read more.
IN THIS ISSU
A MESSAGE FROM THE EXECUTIVE DIRECTOR
DON ROTH, Ph.D. EXECUTIVE DIRECTOR
ROBERT AND MARGRIT
MONDAVI CENTER FOR THE PERFORMING ARTS
10 Cameron Carpenter
Arts lovers around the Sacramento valley are well aware that the Mondavi Center presents more than 100 performances— from superstars like Diana Krall to discoveries like Theo Bleckmann—each and every year. What is less obvious, but no less important, is the work we do to provide the young people of our region a chance to connect with the arts— work that reflects the UC Davis commitment to bettering the world around it. At a time when school finances have starved the arts out of many schools, this part of our mission seems more critical with each passing day.
12 AKOKA
Since our opening, more than 250,000 school children from 14 Northern California counties have experienced a school matinee in the Mondavi Center. As John Updike said, “Art offers … a certain breathing room for the spirit.” That is precisely the kind of impact we hope to have on the children who attend our matinees; even if they don’t become regular arts patrons, we want them to have art in their lives.
30 Diana Krall
18 Willie Nelson and Family 24 Peter Sagal 26 The John Scofield Überjam Band
32 Bill Frisell 36 San Francisco Symphony
Fortunately, the artists we bring to the Mondavi Center are as committed to education as they are to performance. When a world-class conductor like David Robertson lifts the spirits of more than 1,000 fifth graders in a joyful take on Copland’s Appalachian Spring; when jazz trombonist Delfeayo Marsalis works with middle schoolers on improvisational skills; when Yo-Yo Ma takes time out of his touring to teach cello master classes; when Harry Belafonte inspires a classroom of UC Davis freshmen with tales of his work with Martin Luther King, Jr.—they are providing life-changing experiences for the students involved.
Another unique role we play is supporting the growth of aspiring young artists through our Young Artists Competition (YAC) and the Mondavi Center High School Jazz All-Stars program. For more than half a dozen years, YAC has celebrated budding classical musicians and provided the winner a spot on the Mondavi Center season. Our third focus in arts education is providing professional development for teachers. Each year, 12 teachers from around the region participate in a year-long program, learning to use Shakespeare’s work as a teaching tool in their classrooms. Their final exam? A performance under the stars at Shakespeare’s Globe Theatre in London. For those teachers, now close to 100 in number, this program is transformational, both personally and professionally, and thousands of their students have benefited from this work. So, as you sit in Jackson Hall, I encourage you to reflect on the work the Mondavi Center does behind the scenes, in our schools and around our towns, work to ensure that the arts remain a vibrant part of our lives and our children’s lives. 6 MONDAVIARTS .ORG
BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance. • 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. Violators are subject to removal. • Please look around and locate the exit nearest you. That exit may be behind, 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 readmitted to his/her ticketed seat while the performance is in progress. • Assistive Listening Devices and opera glasses are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.
April – May 2014 Volume 1, No. 5
an exclusive wine tasting experience oF Featured wineries For inner circle donors
2013–14 Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7–8PM and during intermission if scheduled.
Orquesta Buena Vista Social Club® Raymond Vineyards Emmylou Harris & Rodney Crowell Clarksburg Wine Company Ballet Hispanico Heitz Cellar
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Caladh Nua Cline Cellars Academy of St. Martin in the Fields with Joshua Bell Bonny Doon Vineyard Jonathan Batiste and Stay Human Band Bonny Doon Vineyard Cameron Carpenter, organ Pride Mountain Vineyards Peter Sagal Grgich Hills Estate
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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2014 Encore Media Group. Reproduction without written permission is prohibited.
CAMERON CARPENTER
Organ
A Wells Fargo Concert Series Event Wednesday, April 2, 2014 • 8PM Jackson Hall
SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY
Wendell P. Jacob
10 MONDAVIARTS .ORG
CAMERON CARPENTER is “one of the rare musicians who changes the game of his instrument… He is a smasher of cultural and classical music taboos. He is technically the most accomplished organist I have ever witnessed … And most important of all, the most musical” (Los Angeles Times). He received the Leonard Bernstein Award in 2012, and in 2013 announced his multialbum contract signing with Sony Classical and the coming Spring 2014 launch of his international touring organ. A virtuoso composer-performer unique among keyboardists, Cameron’s approach to the organ is smashing the stereotypes of organists and organ music while generating a level of acclaim, exposure, and controversy unprecedented for an organist. His repertoire—from the complete works of J. S. Bach and Cesar Franck, to his hundreds of transcriptions of non-organ works, to his original compositions and his collaborations with jazz and pop artists—is perhaps the largest and most diverse of any organist. He is the first organist ever nominated for a Grammy Award for a solo album. As a keyboard prodigy, he performed Bach’s Well-Tempered Clavier at 11 before joining the American Boychoir School in 1992 as a boy soprano. During his four years of high school studies at The North Carolina School of the Arts, he made his first studies in orchestration and orchestral
composition, and transcribed for the organ more than 100 major works, including Gustav Mahler’s complete Symphony No. 5. Cameron continued composing after moving to New York City in 2000 to attend The Juilliard School. While at the School he composed art songs; the symphonic poem Child of Baghdad (2003) for orchestra, chorus and Ondes Martenot; his first substantial works for solo organ; and numerous organ arrangements of piano works by Chopin, Godowsky, Grainger, Ives, Liszt, Medtner, Rachmaninoff, Schumann, and others. Cameron received a master’s degree from The Juilliard School in New York in 2006. The same year, he began his worldwide organ concert tours, giving numerous debuts at venues including Royal Albert Hall, the Leipzig Gewandhaus, Melbourne Town Hall, Tschaikowsky Hall in Moscow, Davies Hall in San Francisco and many others. His first album for Telarc, the Grammy-nominated Revolutionary (2008), was followed in 2010 by the criticallyacclaimed, full-length DVD and CD Cameron Live! Edition Peters became his publisher in 2010, beginning the ongoing release of his original works with Aria, Op. 1 (2010). His first major work for organ and orchestra, The Scandal, Op. 3, was commissioned by the Cologne Philharmonie (KölnMusic GmbH) and premiered on New Year’s Day 2011 by the Deutsche Kammerphilharmonie
CAMERON CARPENTER under the direction of Alexander Shelley. Of Cameron the composer, DIE WELT’s Manuel Brug writes: “Carpenter… is proving himself to be a clever eclecticist, who understands to entertain with much finesse, and admits with a wink that he is ‘annoyed by intellectual music.’” Cameron is one of the only performing artists to make a practice of meeting his audience in person before his
performances—often spending more than an hour before each concert shaking hands and signing autographs on the floor of a concert venue. With combined millions of hits on YouTube and numerous television, radio and press features including CNN The Next List, CBS Sunday Morning, BBC Radio 3, ARD, ZDF, NDR Kultur, The New York Times, The New Yorker, The Wall Street Journal and many others, he is the world’s most visible organist.
Who’s Your Jeweler?
FURTHER LISTENING by Jeff Hudson
CAMERON CARPENTER How does Cameron Carpenter describe himself? “I guess I would say ‘The Revolutionary secular voice of the organ,’” Carpenter told me in a recent phone interview. “I’m a classical musician, yet I would say that my sensibility is a non-classical one. The organ, for me, is a kind of voice. A personal voice, not a voice characterized by any religion or institution, even the institution of the organ itself. The digital organ is my love and concentration.” Thus, while Carpenter admires composer J.S. Bach, he is not presently inclined to perform Bach’s sacred works for organ. “They are best interpreted by someone who believes in God, somebody who has an understanding of liturgy,” Carpenter told me. Instead, he’s far more likely to perform organ transcriptions of Bach’s works for solo violin and solo cello gorgeous music, not written specifically for the church. Carpenter recently told another interviewer: “My vision is to keep the best of the classical organ—its emotional magnitude, its sonic range, its coloristic drama—but to liberate these from the pipe organ’s immobility, its moving parts, its cost, its institutionality,” he says. “I want the ‘American Classic’ cathedral organ to combine with its counterpart, the cinema organ, in a single instrument.” Carpenter has spent the last seven years working with the organ builder Marshall and Ogletree to create a custom “touring organ” that is alas being transported to Europe at the moment, and therefore is not available for tonight’s concert at the Mondavi Center. But you can hear Carpenter’s special new instrument on his latest album on the Sony label, due for release in late April. The album’s title If You Could Read My Mind is drawn from a Gordon Lightfoot tune from the 1970s (which Cameron covers). Other selections range from organ arrangements of tunes by American composer George Gershwin to Argentine composer Astor Piazzolla, as well as tunes associated with country star Patsy Cline, folk singer Leonard Cohen, Leslie Bricusse (English composer of musicals), pop craftsman Burt Bacharach and others. There will also be an original by Cameron Carpenter. The album is the first in a long-term deal with Sony. With his new custom organ, Carpenter moves into a rather singular category. “Organists almost never own their instruments—meaning they play at the pleasure of whomever does … The digital organ stands to give organists the chance for deeper relationships with their craft,” he said. JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS & REVIEW.
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A Crossings Series Event Saturday, April 5, 2014 • 8PM Jackson Hall
Q&A Session Moderator: Sam Nichols, Lecturer, Department of Music, UC Davis Sam Nichols is a composer who lives and works in Northern California. He’s received commissions from a number of ensembles and organizations, including the Left Coast Chamber Ensemble, Earplay, the Empyrean Ensemble, and the Composers Conference at Wellesley College. His string quartet Refuge was selected for performance at the International Society for Contemporary Music’s “World Music Days 2014” in Wroclaw, Poland. He’s received awards from Composers, Inc. (Lee Ettelson Prize), the League of Composers, the University of Illinois (3rd prize, 2010 Salvatore Martirano Memorial Composition Prize), the International Center for the Arts at San Francisco State University, and the Third Millennium Ensemble, among others. Upcoming projects include a cello concerto for David Russell and the UC Davis Symphony Orchestra. Born in Maine, he attended Vassar College (B.A., 1994) and Brandeis University (M.A. 1999, Ph.D. 2006). He works as a lecturer in the UC Davis Department of Music; he also teaches in collaboration with the Technocultural Studies program. In the spring of 2011 he received the UC Davis Academic Federation Award for Excellence in Teaching. 12 MONDAVIARTS .ORG
AKOKA
The End of Time Clarinet Trio Brahms Divertimento from Gimpel the Fool Schiff INTERMISSION Akoka
David Krakauer (b. 1956)
Quatuor pour la fin du Temps (1940–41) Olivier Messiaen (1908–1992) Liturgie de cristal Vocalise, pour l’Ange qui annonce la fin du temps Abîme des oiseaux Intermède Lounge à l’Eternitè de Jésus Danse de la fureur, pour les sept trompettes Foullis d’arcs-en-ciel, pour l’Ange qui annonce la fin du temps Louange à l’Immortalitè de Jésus Meanwhile (A Messiaen Remix)
Socalled (b. 1977)
Akoka: Messiaen (Remix) was developed in a creative residency at The Banff Centre, in Banff, Alberta, Canada.
AKOKA: THE END OF TIME David Krakauer, clarinet
Centrally located in Downtown Davis
Matt Haimovitz, cello Maria Bachmann, violin Geoffrey Burleson, piano Socalled, samples Sound Design—David Merrill Lighting Design—Sarah Frankel Cellist Matt Haimovitz, clarinetist David Krakauer and beat writer Socalled came together to create a new project centered around Olivier Messiaen’s Quartet for the End of Time. Given that this piece was composed in a prisoner of war camp in the midst of tremendous world upheaval, and that the subject matter of the quartet describes cataclysmic events (the end of time itself ), Haimovitz and Krakauer are interested in creating a program of music surrounding and commenting on this aspect of the Messaien. The point of departure is the fact that the clarinetist, Henri Akoka, who gave the premiere in the prison camp was Jewish. Metaphorically, to focus on Akoka’s story (not literally, but rather poetically through music) is to bring out the human aspect of this composition seen through the “eyes” of one individual caught up in terrifying events beyond his control. The Messiaen work is bookmarked between two new compositions in a way that “lifts” it out of the polite confines of a normal chamber music performance. The 70-minute work, which proceeds without intermission, opens with a structured improv composed by David Krakauer with a raw quality that anticipates some of the musical gestures that we will hear in the Messiaen, which is then performed in its entirety. Immediately following is a composition by Canadian hip-hop artist and producer Socalled mixing beats, sequences and samples with the acoustic playing of the ensemble— including menacing and violent sound images—to comment on and frame the turbulence of the Quartet in a contemporary 21st-century context. Indeed, as the forces of fundamentalism, intolerance and violence intensify in todays’ world, this project seems all the more timely.
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Only a select few artists have the ability to convey their message to the back row, to galvanize an audience with a visceral power that connects on a universal level. David Krakauer is such an artist. Widely considered one of the greatest clarinetists on the planet, he has been praised internationally as a key innovator in modern klezmer as well as a major voice in classical music. Known simply as “Krakauer” to his fervent following, he is nothing less than an American original who has embarked on a tremendous journey transforming the music of his Eastern European Jewish heritage into something uniquely contemporary. That journey has led Krakauer to an astounding diversity of projects and collaborations ranging from solo appearances with orchestras to major festival concerts with his own improvisation-based bands. He has shared the stage with a wide array of artists such as the Klezmatics, Fred Wesley, Itzhak Perlman, Socalled, Eiko and Koma, Leonard Slatkin and Iva Bitova while being sought after by such composers as Danny Elfman, Osvaldo Golijov, David Del Tredici, John Zorn, George Tsontakis, Mohammed Fairouz and Wlad Marhulets to interpret their works. In addition, he has performed with renowned string quartets including the Kronos, Tokyo and the Emerson and as soloist with orchestras such as the Orchestre de Lyon, the Orquestra Sinfonica de Madrid, the Phoenix Symphony, the Brooklyn Philharmonic, the Dresdener Philharmonie and the Detroit Symphony, among many others. Writer Mark Stryker hinted at the visceral nature of Krakauer’s performance in his Detroit Free Press review: “Krakauer played with astounding virtuosity and charisma. A furiously improvised cadenza leapt between low and high registers in a way that suggested John Coltrane, building to an excited peak. After the concerto he also offered an encore, improvising by himself with an air of ritual, before playing a swift klezmer dance with the orchestra.” Having been showered with accolades 8/6/13 12:09 PM for his groundbreaking work in classical, klezmer and jazz, Krakauer now finds himself at an artistic crossroads and is
AKOKA
Proud Supporter of the Robert and Margrit MONDAVI CENTER for the Performing Arts UCDAVIS
ready to enter into a new phase in his career with his next project, The Big Picture. With an all-star crew of fellow musical renegades, Krakauer is reimagining familiar themes by such renowned film music composers as John Williams, Marvin Hamlisch, Randy Newman, Wojciech Kilar and Vangelis, as well as interpreting melodic gems by the likes of Sidney Bechet, Sergei Prokofiev, Mel Brooks, Ralph Burns, John Kander & Fred Ebb and Jerry Bock that have appeared in popular films. Having already contributed to films by directors Ang Lee and Sally Potter, Krakauer now takes on the challenge of bringing a modernist vision to tunes that resonate on a deeply emotional level with generations of moviegoers.
MATT HAIMOVITZ Matt Haimovitz is acclaimed for his artistry and as a musical visionary— pushing the boundaries of classical music performance, championing new music and initiating groundbreaking collaborations, all while mentoring an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal. Haimovitz made his debut in 1984, at the age of 13, as a soloist with Zubin Mehta and the Israel Philharmonic; at 17 he made his first recording for Deutsche Grammophon (Universal Classics) with James Levine and the Chicago Symphony Orchestra. Haimovitz made his Carnegie Hall debut when he substituted for his teacher, the legendary cellist Leonard Rose, in Schubert’s String Quintet, alongside Isaac Stern, Mstislav Rostropovich, Pinchas Zukerman and Shlomo Mintz. Haimovitz’s recording career spans more than 20 years of award-winning work on Deutsche Grammophon and his own Oxingale Records. His recent release Meeting of the Spirits was nominated for the Grammy Award for Best Classical Crossover Album and won the Grammy for Best Producer of the Year (Classical). A recording with pianist Christopher O’Riley, Shuffle.Play.Listen, celebrating the evolution of the listening experience since the iPod, has received unanimous acclaim. Haimovitz’s world-premiere recording of Philip Glass’s Cello Concerto No. 2
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AKOKA was recorded live with the Cincinnati Symphony and Dennis Russell Davis and released by Orange Mountain Music in March 2013. On the latest Oxingale Records release, Haimovitz leads his allcello ensemble, Uccello, in AngelHeart— a multi-media performance project that features narrator Jeremy Irons and mezzo Frederica von Stade in Luna Pearl Woolf’s setting of a new story from bestselling children’s author Cornelia Funke.
As the forces of fundamentalism, intolerance and violence intensify in todays’ world, this project seems all the more timely. The solo cello recital is a Haimovitz trademark, both in the concert hall and in more untraditional venues. In 2000, he made waves with his Bach ListeningRoom Tour, taking Bach’s cello suites out into clubs and attracting fans and acclaim. He was the first classical artist to play at New York’s CBGB club, in a performance filmed by ABC News for Nightline UpClose. Haimovitz’s honors include the Concert Music Award from ASCAP, the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, the Diapason d’Or, and the Premio Internazionale “Accademia Musicale Chigiana.” He was in the final studio of Leonard Rose at the Juilliard School and received a B.A. magna cum laude with highest honors from Harvard University. Haimovitz plays a Venetian cello, made in 1710 by Matteo Gofriller.
MARIA BACHMANN A violinist who combines outstanding musicianship with dazzling technical command, a tone of exceptional purity, and a magnetic stage presence, Maria Bachmann has been a featured soloist worldwide and has had the rare distinction of being profiled by Time and 16 MONDAVIARTS .ORG
Fanfare magazines. The New York Times has hailed her as “a violinist of soul and patrician refinement...warmly lyrical and unexpectedly sensuous.” The Boston Globe proclaimed her “astonishing in every musical and technical regard.” Highlights of the 2013–14 season include performances of the Tchaikovsky Violin Concerto with the Richmond Symphony (IN) and conductor Guy Bordo, Sarasate’s Carmen Fantasy and Zigeunerweisen with the Wisconsin Symphony and conductor Alex Platt, appearances with the Akoka ensemble, and at the Philip Glass Days and Nights Festival in Carmel, Calif. Maria’s most recent CD will be released on Naxos—Paul Moravec’s Violin Concerto with Rossen Milanov conducting Symphony in C. Her recordings encompassing works from Beethoven to new music can be found on Sony Masterworks, Sony/RCA Red Seal, Naxos, Endeavour Classics, Orange Mountain Music, and Bridge Records. Ms. Bachmann has made acclaimed debuts with The National Symphony at The Kennedy Center, The St. Louis Symphony, the Taipai and Shanghai Symphonies, and she has worked with conductors Leonard Slatkin, Robert Spano and Marin Alsop. In 2010, Ms. Bachmann performed Philip Glass’s Double Concerto for Violin, Cello and Orchestra with the Orchestra of The Hague in The Netherlands. Since her recital debut at New York’s Town Hall, Ms. Bachmann has performed recitals in Tokyo, London, Paris, Shanghai, Taipei, The Kennedy Center and Library of Congress in Washington, D.C., Herbst Theater in San Francisco, New York’s Weill Hall at Carnegie Hall, and Boston’s Jordan Hall. As a chamber musician, Ms. Bachmann is the founding violinist of Trio Solisti (with pianist Adam Neiman and cellist Alexis Gerlach) with whom she tours and has made several recordings including a new CD to be released in 2014 of French piano trios by Chausson and Ravel. Ms. Bachmann is also the artistic director of Telluride Musicfest, an annual festival in Telluride, Colo., which presents its 12th summer of concerts in 2014. Ms. Bachmann was awarded first prizes at The Fritz Kreisler Competition in Vienna, The Concert Artists Guild Competition in New York and The Pro Musicis Award. She
studied at the Curtis Institute of Music with Ivan Galamian and Szymon Goldberg and was awarded the Curtis Fritz Kriesler Prize for outstanding graduating violinist. She performs on a 1782 violin by Niccolo Gagliano.
GEOFFREY BURLESON Geoffrey Burleson, pianist, has performed to wide acclaim throughout Europe and North America, and is equally active as a recitalist, concerto soloist, chamber musician and jazz performer. The New York Times has hailed his solo performances as “vibrant” and “compelling” and has praised his “command, projection of rhapsodic qualities without loss of rhythmic vigor, and appropriate sense of spontaneity and fetching colors.” And The Boston Globe refers to Mr. Burleson as a “remarkable pianist” and “a first-class instrumental presence” whose performances are “outright thrilling.” His numerous acclaimed solo appearances include prominent venues in Paris (at the Église St-Merri), New York, Rome (American Academy), Athens (Mitropoulos Hall), Mexico City (National Museum of Art), Rotterdam (De Doelen), Chicago (Dame Myra Hess Memorial Series), Boston, Washington, Switzerland, England, Spain, and elsewhere. He has also appeared as soloist in many international festivals, including the Bard Music Festival, Santander Festival (Spain) and the Talloires International Festival. Mr. Burleson made his New York City solo recital debut at Merkin Hall in 2000, sponsored by the League of Composers/ ISCM. Concerto appearances include the Buffalo Philharmonic, the Boston Musica Viva, Arlington Philharmonic, New England Philharmonic, and the Holland Symfonia in the Netherlands, with repertoire ranging from Mozart, Weber and Saint-Saëns to Gershwin, Yehudi Wyner, David Rakowski and Klaas de Vries. Mr. Burleson is principal pianist with the Boston Musica Viva, The New York Art Ensemble, and David Sanford’s Pittsburgh Collective. Recent touring projects include “Akoka: Messiaen Remix,” a program featuring Messiaen’s Quartet for the End of Time, and including new works commenting on it by David Krakauer and
DJ Socalled, with David Krakauer, clarinet; Matt Haimovitz, cello; and Todd Reynolds, violin. Burleson also performs with the Tango Project, a trio with accordionist William Schimmel and violinist Mary Rowell, and Impetus, an avant-cabaret trio with vocalist Maria Tegzes and guitarist David “Knife” Fabris. He is additionally a member of Princeton University’s Richardson Chamber Players. As a jazz pianist, Mr. Burleson has performed extensively at home and abroad, both as soloist and in many ensembles. The Boston Globe has lauded his jazz performances, praising his “solos filled with complex harmonic and rhythmic figures,” as well as his “compact and dramatic” arrangements of works by such diverse artists as Eric Dolphy and Patti Smith. A laureate of the International Piano Recording Competition (Silver Medal), and the Vienna Modern Masters International Performers’ Competition, Mr. Burleson was also the recipient of a DAAD Grant from the German government to support a residency at the Academy of Arts in Berlin. A graduate of the Peabody Conservatory, New England Conservatory, and Stony Brook University (D.M.A.), his principal teachers include Gilbert Kalish, Leonard Shure, Veronica Jochum, Lillian Freundlich, and Tinka Knopf. Currently, Mr. Burleson is recording the complete piano works of Camille Saint-Saëns, being released on 5 CD volumes on the new Naxos Grand Piano label. Saint-Saëns: Complete Piano Works 1: Complete Piano Études, the inaugural release on the new label, Saint-Saëns: Complete Piano Works 2, and Character Pieces (Vol. 3) were all released in 2012, and have received high international acclaim. Other solo releases include Roy Harris—Complete Piano Music (Naxos), and Vincent Persichetti: Complete Piano Sonatas (New World Records), a 2-CD set on which all 12 of Persichetti’s piano sonatas are united on one release for the first time. The Persichetti recording was accorded high acclaim from the BBC Music Magazine (“BBC Music Choice”; 5/5 stars), a laudatory feature review in Gramophone, and was listed among the best recordings released in 2008 by Fanfare and the American Record Guide.
His extensive chamber music discography includes Odd Couple (Oxingale Records), a duo CD of American works with cellist Matt Haimovitz, featuring the Barber and Carter Sonatas, as well as newer works by David Sanford and Augusta Read Thomas. Mr. Burleson teaches piano at Princeton University and is Associate Professor of Music and Director of Piano Studies at Hunter College-City University of New York.
SOCALLED Socalled is a pianist, producer, composer, arranger, rapper, singer, journalist, photographer, filmmaker, magician, cartoonist and puppet maker based in Montreal, Quebec. The subject of The Socalled Movie, a feature documentary produced by the National Film Board of Canada, he has been making records and touring the world for more than a decade. Socalled has lectured and led master classes in music festivals around the world, from Moscow to Paris, London to Los Angeles, Krakow to San Francisco, and has performed on every continent in the world. As a producer, Socalled has created, amongst others, “Bubbemeises” for David Krakauer’s Klezmer Madness, “Tweet Tweet” for klezmerfunk supergroup, Abraham Inc. featuring Fred Wesley, and Enrico Macias’ latest album La Voyage d’une Melodie. His list of collaborators knows no generational, social, cultural or religious boundaries: he has played with, featured, recorded and arranged for Chilly Gonzales, Fred Wesley, Boban Markovic, the Mighty Sparrow, Roxanne Shante, Irving Fields, Killah Priest, Matisyahu, Theodore Bikel, Katie Moore, Enrico Macias and Derrick Carter. After several solo albums— including The Socalled Seder and 2007’s Ghettoblaster, which featured the breakout hits “The Good Old Days” and “You Are Never Alone,” it is time for Sleepover. Sleepover, featuring more than 30 incredible guests, is the further articulation of a mission to cross boundaries, to mix old and new sounds, acoustic and electric instruments, digital and analog recording techniques, while exploring different cultures and styles, all in the service of creating something catchy, smart, hilarious, emotional and timeless. encoremediagroup.com 17
A Just Added Series Event Wednesday, April 9, 2014 • 8PM Jackson Hall
WILLIE NELSON AND FAMILY
With special guest Lukas Nelson
Willie Nelson - Lead Guitar/Vocals Bobbie Nelson - Piano Mickey Raphael - Harmonica Kevin Smith - Bass Paul English - Drums Billy English - Percussion Lukas Nelson - Lead Guitar/Vocals Corey McCormick - Bass Anthony LoGerfo - Drums Tato Melgar - Percussion
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Born April 30, 1933, the iconic Texas singer-songwriter Willie Nelson has earned a permanent position in pop music’s pantheon with unforgettable songs that combine the sophistication of Tin Pan Alley with the rough-and-tumble grit and emotional honesty of country music. His six-decade-spanning catalog includes more than 60 studio albums in addition to live recordings, soundtracks, collaborations with other artists and more. A songwriter of rare and precise elegance, Willie brought the worlds of pop and
country together on the radio in the early 1960s penning evergreen classics like “Crazy” (Patsy Cline), “Hello Walls” (Faron Young), “Funny How Time Slips Away” (Billy Walker), “Night Life” (Ray Price) and others. By the mid-1970s, Willie Nelson had become an indelible superstar in his own right, as prime mover of a revolutionary and thriving outlaw country music scene. Red Headed Stranger, Willie’s first album for Columbia Records in 1975, catapulted the artist into the pantheon of archetypal popularity,
making his name familiar in country and city households across America and around the world. A seven-time Grammy Award winner, Willie Nelson has received numerous accolades including American Music Awards, Academy of Country Music Awards, Country Music Association Awards and others. He is a co-founder of Farm Aid, an annual series of fundraising events that began as an all-star benefit concert in 1985 to raise money for American family farmers. He continues to lobby against horse slaughter and produces his own blend of biodiesel fuel. An old-school road-dog troubadour with new school wheels, Willie plays concerts year-round, tirelessly touring on Honeysuckle Rose III (he rode his first two buses into the ground), taking his music and fans to places that are always worth the ride. In February 2012, Willie Nelson entered into a historic new record deal with Legacy Recordings, the catalog division of Sony Music Entertainment, marking a label homecoming for Nelson who, from 1975–1993, had cut a phenomenal string of top-selling singles and albums for Columbia Records, beginning with 1975’s seminal smash Red Headed Stranger. New titles by the artist under the Legacy imprint will include newly recorded songs and performances as well as archival releases, personally curated by the artist, drawn from all phases of his career including his recordings for RCA Records and others. As curator of his historic catalog, Willie is working with label archivists to select recordings, including previously released and previously unreleased tracks, for release in newly compiled collections and as bonus material on new editions of existing titles, providing fresh perspective and context to the artist’s profoundly influential and successful career. Heroes, Willie Nelson’s first release for Legacy, proved a hit with fans, press and radio, where the record spent five consecutive weeks at #1 on the Americana Radio Chart. Released on May 15, Heroes debuted at #18 on
National Volunteer Week April 6–12, 2014 In honor of National Volunteer Week, Mondavi Center gives thanks to our ushers! Please join us in recognizing and thanking all the volunteer ushers who work each performance. These talented and dedicated individuals are an invaluable asset to the Mondavi Center as they give their time and hospitality to provide our audiences with a memorable performance experience.
We could not open our doors without them.
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the Billboard 200 best-selling albums chart—Willie’s highest number on the Billboard 200 since Always On My Mind hit #2 in 1982—while opening at #4 on the Country Albums chart and #15 on the Top Digital Albums chart. Heroes is essential Willie Nelson, a seamless collection of top-flight, pop-country songs (including covers from the 30s and 40s and new songs by Willie, his sons Lukas Nelson and Micah Nelson, and more) performed with the easy-going homespun warmth and honesty that have become his trademarks. Heroes features Willie with an allstar roster of guest artists including Merle Haggard, Snoop Dogg, Kris Kristofferson, Billy Joe Shaver, Sheryl Crow, and Jamey Johnson as well as Willie’s sons Lukas Nelson and Micah Nelson. Produced by Buddy Cannon, Heroes was mainly recorded by Steve Chadie at Pedernales Recording Studio in Austin, Texas (with three tracks—”Hero,” “Roll Me Up and Smoke Me When I Die” and “Come On Back Jesus”—recorded by Butch Carr at Cannon Productions and Sound Emporium Recording Studios in Nashville). The nation’s music press was unanimous in its praise of Heroes with Rolling Stone luxuriating in the “stark beauty of solo songs like the weeper ‘That’s All There Is To This Song’” while People magazine, giving the album 3.5 out of 4 stars, marveled as “The iconic outlaw saddles up with some worshipful fans... showing his eternal cool....” The Huffington Post noted that Heroes is “...as spirited as it is poignant” while the album’s music “...Speaks of his spontaneity and his willingness to record with whomever he desires.” The San Antonio Current concurred with the simple remarkable observation that “Willie Nelson gets cooler and edgier with time.” Legacy Recordings launched a series of events celebrating Willie’s 80th birthday with the release of Let’s Face The Music And Dance, a collection of new studio performances by Willie Nelson and Family, on Tuesday, April 16, 2013.
WILLIE NELSON The album also celebrates more than 40 years on the road and in the studio with Family, the band he formed with his sister Bobbie Nelson (on piano), drummer Paul English and harmonica shaman Mickey Raphael—their name taken from his 1971 studio album Willie Nelson & Family. Rounding out the Family lineup on Let’s Face The Music And Dance are Billy English (Paul’s brother) on electric gut string and snare drum, Kevin Smith on upright bass and Jim “Moose” Brown on B-3 organ with Willie’s son, Micah Nelson, adding percussion on select tracks. Willie Nelson and his guitar, Trigger, appear on all the songs. A collection of deep pop country repertoire classics performed with transformative patented ease by Willie Nelson and Family, his long-time touring and recording ensemble, Let’s Face The Music And Dance was recorded at Pedernales Recording Studio in Austin, Texas, produced by Buddy Cannon and mixed by Butch Carr at Budro Music Repair Shop in Nashville, Tenn. Compiling the repertoire for Let’s Face The Music And Dance, Willie chose a range of pop, rock, jazz and country classics drawn from the 1930s (“Let’s Face the Music and Dance,” “Walking My Baby Back Home”), 1940s (“You’ll Never Know,” “I Wish I Didn’t Love You So,” “Shame On You”) and 1950s (“Matchbox”) covering evergreen songwriters Irving Berlin, Mack Gordon, Carl Perkins, Frank Loesser, Django Reinhardt and Spade Cooley, among others. Willie turns in a beautiful new version of his composition “Is The Better Part Over,” a song he introduced on 1989’s A Horse Called Music. In September 2013, Legacy Recordings will release To All The Girls..., a collection of newly recorded duets between Willie Nelson and a dream list of contemporary popcountry women singers including Dolly Parton, Mavis Staples, Sheryl Crow, Loretta Lynn, Wynonna Judd, Rosanne Cash, Alison Krauss, Miranda
Season on Sale April 2014
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3/26/13 11:22 AM
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 post-performance Q&A’s, 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 2013–14 season: • • • • • • • • • • •
Andreas Albrecht, Professor and Chair, Department of Physics Leopoldo M. Bernucci, Professor, The Russell F. and Jean H. Fiddyment Chair in Latin American Studies, Department of Spanish and Portuguese Gina Bloom, Associate Professor, Department of English Larry Bogad, Associate Professor, Department of Theatre and Dance Elizabeth Constable, Associate Professor, Women and Gender Studies Francis Dolan, Professor, Department of English Rick Grosberg, Professor of Evolutionary Ecology and Director of the Coastal & Marine Sciences Institute, Department of Evolution & Ecology, College of Biological Sciences Bella Merlin, Professor of Acting, Chair of Acting Program, Department of Theatre and Dance Sam Nichols, Lecturer, Department of Music Jon D. Rossini, Ph.D., Associate Professor and Chair, Department of Theatre and Dance Julia Simon, Department Chair of French and Italian, Professor of French
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WILLIE NELSON Lambert, Tina Rose, Carrie Underwood, Emmylou Harris, Norah Jones, Secret Sisters, Brandi Carlile, Lily Meola, Shelby Lynne, Melonie Cannon and Paula Nelson. The artist’s third full-length album of new music to be released in a mere 16 months, To All The Girls... celebrates Willie’s 80th birthday year with a selection of profoundly moving and heartfelt performances of classic songs from America’s country, pop and gospel repertoire and more. For this memorable occasion, Willie wears fashion designer John Varvatos on the To All The Girls… album materials. Varvatos is also featuring Willie along with his two sons, Lukas Nelson and Micah Nelson, in the brand’s Fall 2013 campaign, which includes striking black and white images and a short film lensed by Danny Clinch. 2013 proved a banner year for the pop country patriarch whose rollicking memoir, Roll Me Up and Smoke Me When I Die—Musings from the Road, published by HarperCollins in May 2012, is a New York Times bestselling non-fiction title. At 80 years young, Willie Nelson has recorded and released not one, but two complete albums of new studio music this year. Both To All The Girls... and Let’s Face The Music And Dance are essential additions to the archetypal outlaw country artist’s catalog of timeless recordings.
PETER SAGAL
Behind the Scenes of Radio’s Funniest Program A Distinguished Speakers Series Event Friday, April 11, 2014 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY
Lawrence and Nancy Shepard
Q&A Session Moderarator: Nick Brunner, Capitol Public Radio Nick Brunner grew up in rural Illinois with his sister, parents and a vast amount of corn. His first run-in with radio came when he and other cast members of the yearly musical would perform scenes on 1240-AM, WSDR in Sterling, Illinois. He discovered NPR in college when he was hired to work, part time, on the air at WGLT-FM. Over that five year period Brunner came to appreciate the alternative that NPR and its affiliates provide to a drab and predictable commercial radio landscape. These days Nick is experiencing his first taste of what he considers adulthood. He holds delusions of sophistication that often don’t match his modest lifestyle. As a result, he spends time trying to find just the right wine to accompany Tuna Helper . . . a Shiraz works well. 24 MONDAVIARTS .ORG
As the host of National Public Radio’s “Wait Wait … Don’t Tell Me!,” Peter Sagal is heard by more than 3 million people every week, broadcast on 450 public radio stations nationwide and via a popular podcast. The show celebrated its 10th anniversary in 2008 and received the prestigious Peabody Award. The hour-long show has captivated news junkies across the country with its lighthearted approach to current events and has become the biggest and most beloved weekend radio phenomenon since “A Prairie Home Companion.” Each week, Sagal leads NPR veteran newscaster Carl Kasell and esteemed guest panelists like humorist Roy Blount Jr., comedians Paula Poundstone and Paul Provenza, media personality Mo Rocca and author P.J. O’Rourke through a satirical review of the week’s news in the form of a quiz. It’s a revival of You Bet Your Life crossbred with the irreverence of The Daily Show. A centerpiece of the show is a segment called “Not My Job,” in which Sagal quizzes celebrities about things they know nothing about. The show made history in 2007 when, in May, Stephen Breyer became the first sitting Supreme Court Justice to appear on a quiz show. Then in July, in front of 10,000 fans at Chicago’s Millennium Park, Peter conducted the first interview with United States Attorney Patrick Fitzgerald since his conviction of White House Aide Scooter Libby. Sagal has traveled all around the country with “Wait Wait…,” playing to sold-out theaters from Seattle to Miami. At the podium, Sagal takes audiences behind the scenes of “Wait Wait…” to explore the shows beginnings, some of its more memorable moments and a look at today’s news stories. An adept moderator, Sagal is the perfect emcee, able to apply his quick wit to esoteric company stories, weaving jokes for an uproarious and unforgettable evening. Whether providing
insightful, colorful commentary on current events or a behind-the-scenes peek at the funniest show on radio, Sagal never fails to inform and entertain. Sagal is the host of PBS’ new series, Constitution USA with Peter Sagal. The show follows him as he travels across country—on a Harley Davison Road King—to find out where the Constitution lives, how it works, its history and its vital relevance today. The Book of Vice (Naughty Things and How to Do Them), Sagal’s first book, is a series of comic essays about people who misbehave, why they misbehave, and why they’re not necessarily having more fun than you are. The Orlando Sentinel said, “Vice is that kind of book full of passages so deliciously funny you keep elbowing the nearest person and saying, ‘Listen, I just have to read you this bit…’” and Publishers Weekly called it “a hilarious, harmlessly prurient look at the banality of regular people’s strange and wicked pleasures.” A native of Berkeley Heights, New Jersey, Sagal attended Harvard University and has worked as a literary manager for a regional theater, a stage director, an actor, an extra in a Michael Jackson video (“Remember the Time”), travel writer, an essayist, a ghostwriter for a former adult film impresario and a staff writer for a motorcycle magazine. He is the author of numerous plays that have been performed in large and small theaters around the country and abroad. He has also written a number of screenplays, including an original screenplay that became, without his knowledge, the basis for Dirty Dancing: Havana Nights. Sagal is a radio host, author, humorist and commentator on current events with a remarkably eclectic career and an inquiring mind. He lives in Chicago with his wife and three daughters.
Featuring George Balanchine’s Apollo with Premieres by Molly Lynch, KT Nelson and Melissa Barak
at Three Stages -
Harris Center for the Performing Arts May 15 & 16, 2014 • 7:30pm May 17, 2014 • 1:00pm Tickets: $45
Call: 916-608-6888
(Three Stages Box Office Mon - Sat: 10am-6pm)
Online:
www.threestages.net
Apollo Sponsored By: Individual Modern Masters Choreographers Sponsored By:
Photo by Keith Sutter
The Richard & Ursula Wertz Foundation Gary & Abby Pruitt Steve & Niko Mayer
THE JOHN SCOFIELD ÜBERJAM BAND
with Joshua Light Show Überjam band featuring Andy Hess, Avi Bortnick and Tony Mason
A Just Added Event Saturday, April 12 • 8PM Jackson Hall
The John Scofield Uberjam Band John Scofield, Guitar Andy Hess, Bass Avi Bortnick, Rhythm Guitar & Samplers Tony Mason, Drums Joshua Light Show Seth Kirby Ana Matronic Brock Monroe Briged Smith Joshua White with special guest Dennis Keefe Producer / Music Director, Nick Hallett Executive Producer, Thomas Kriegsmann/ArKtype 26 MONDAVIARTS .ORG
ÜBERJAM DEUX After leading and writing for various funky bands in the 80’s and recording and performing with MMW in the 90’s, Scofield started the Uberjam project in 2000. Once he found super rhythm guitarist Avi Bortnick, he played with various bass and drum teams searching for the right chemistry and found it for two cds…Grammy Nominated Uberjam and Up All Night. The Uberjam sound starts with compositions written for his lead guitar, Avi’s funky rhythm guitar and sampled loops in front of electric bass and drums. The project has been reunited in 2013 for the May release of a new recording - Überjam Deux and worldwide touring.
“The music on Überjam Deux is one of the styles I feel most comfortable with. I started with jazz-rock 40 years ago and the great thing about this music is that it’s still evolving. I’ve been interested in combining jazz with other rhythmic forms since I became involved in music. I was spurred on in this direction by my collaboration with Miles Davis among others. I’m from the fusion generation! If I were to tag a “concept” for the band, it would be exploring different forms of groove music. We get into funk, afro beat, reggae, house music, RnB....and a lot of what’s in between.” I love improvising over and inside this music and doing it with some of greatest musicians playing this way today. Many of these new tunes are co-written
by Avi and myself. Andy Hess’s old school bass sound and tireless dedication to grooving fits perfectly with our original drummer, Adam Deitch and new additions, drummers Louis Cato and Tony Mason.We have a great time playing for a broader and often younger audience with this material. They really know about music, they really listen, and their enjoyment is infectious. I get a real kick watching my audience grooving while knowing that this holds up as jazz – it’s not just dance music.” - John Scofield
BIOS JOHN SCOFIELD is one of the principal innovators of modern jazz guitar, a creative artist of the rarest sort: a stylistic chameleon who has forged a consistent and rock-solid aesthetic identity. Regardless of the stylistic setting, his distinct guitar sound and compositions are unmistakably Scofieldesque, always coupled with an improvisational excellence and dedicated to strongest jazz tradition. An artist with fan bases in many camps and several dozen albums to his credit, he expresses himself in the vernacular of bebop, blues, jazz-funk, acoustic chamber jazz, electronically tinged groove music and orchestral ensembles with ease and enthusiasm. Since the mid-70’s, he’s led his own groups in the international Jazz scene. His versatility and technical mastery have peppered his band-leading career with sideman stints as varied Miles Davis, and the Grateful Dead’s Phil Lesh. Scofield’s albums (many already classics) include collaborations with countless contemporary favorites like Pat Metheny, Charlie Haden, Medeski, Martin & Wood, Bill Frisell, Brad Mehldau, Mavis Staples, and Government Mule. He’s played and recorded with Miles Davis, Tony Williams, Jim Hall, Herbie Hancock, Joe Henderson, among many jazz legends. encoremediagroup.com 27
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ANDY HESS (Bass) moved to NYC in 1990 from Oakland, CA where he launched his career in the Blues and RnB scene. He worked for several years with Leo Nocentelli (of the original Meters) – a gig that put him together with Bernie Worrell of Parliament and Zigaboo Modeliste (also of the Meters.) Andy’s a former member of The Black Crowes and Govt Mule and Scofield’s Uberjam, Band in the early 2000s. He’s has toured extensively with singer, songwriter Freedy Johnston, singer Joan Osborne Robben Ford and Steve Kimock. Among his recordings: Scofield, The Black Crowes, Govt Mule, Freedy Johnston, blues singer Bill Sims, Tina Turner, David Byrne (Talking Heads) and Shawn Colvin. AVI BORTNICK (Rhythm Guitar & Samplers) was raised in St. Louis, Missouri. As a child he studied classical guitar and piano, moving to the San Francisco Bay Area at 19 to attend the University of California-Berkeley. He followed with studies at the University of Sao Paulo, Brazil. In 1994, he entered a graduate program in architectural acoustics at the University of Florida, Gainesville. An original member of Scofield’s Uberjam Band, he’s played with a variety of bands including the retro-soul band What It Is. His band the Dry Look was an early 1990’s pioneer of the groovejazz movement in San Francisco. Deeply involved with African and Caribbean music bands, most notably playing guitar with Kotoja, a Nigerian dance band. He has also11/19/13 played with Bobby McFerrin. Since the UJB days, he divides his professional time between his career as an acoustician and playing with Jim Weider, Jihae, Betty Black, Forro in the Dark, Ghost Train Orchestra, Rene Lopez, Jason Blum, and Karina Zeviani. Develops He also develops iPhone apps (Time Guru.)
11:31 AM
THE JOHN SCOFIELD ÜBERJAM BAND TONY MASON (Drums) grew up in Southern Pines, North Carolina and started playing percussion at age seven. After studying at East Carolina University for one year, Tony moved to NYC in 1986 to finish his education at The Manhattan School Of Music, receiving a performance degree in classical percussion. Tony appeared on the track “Thinking About You” on Norah Jones’ latest release, Not Too Late. He has backed numerous artists on various TV shows including David Letterman, American Love Story on PBS, Craig Kilborn, and The View. He has also played on tracks for commercials. Tony has worked with many top producers including Nile Rodgers, Camu Celli, Ron Saint Germain and Russ Titelman. He has toured and/or recorded with Norah Jones, Martha Wainwright, Cyril Neville, Joan Osborne, Paula Cole, Charlie Hunter, Bernie Worrell, Bill Sims Jr. Bo Diddley, Leo Nocentelli, Adam Levy, Jim Campilongo, Natalie Cole, Neil Sedaka, and many others. An interesting side note is that Tony’s brother-in-law is the legendary funk drummer, Zigaboo Modeliste.
JOSHUA LIGHT SHOW During the summer of 1967, San Francisco’s Fillmore rock impresario Bill Graham hired artist Joshua White to create a Bay Area light show for a series of concerts in Toronto featuring the Jefferson Airplane. Because Graham needed to sell all of the theater’s tickets, the lightshow could not occupy the balcony normally inhabited by a typical Bay Area lightshow. As a result of Graham’s challenge, White designed a system where projections would be performed from the stage itself behind a giant screen. This experience led to the formation of the Joshua Light Show. Six months later, Graham opened the Fillmore East in New York and hired the Joshua Light Show to be its resident artists. The venue welcomed performances by the
Who, Jimi Hendrix, Janis Joplin, Frank Zappa, the Grateful Dead and the Doors, among many other great musicians of the era. The lightshow provided visual support. During this time, Joshua Light Show created lighting effects for the legendary party sequence in the Academy Award-winning film Midnight Cowboy and performed at Woodstock. Soon thereafter, White left the light show to focus on video magnification for the everincreasing rock spectacle, which led to a career in television. The early 21st century saw a renewed interest in light shows–this time in the art world–and White returned to his former craft. In 2004, he teamed up with artist Gary Panter at Anthology Film Archives in New York. Over the next eight years, the regenerated light show evolved with the participation of new collaborators, including Alyson Denny, Seth Kirby, Ana Matronic, Brock Monroe, Doug Pope, Briged Smith, Bec Stupak and music director Nick Hallett. Recent performances include Barbican Hall, Los Angeles County Museum of Art, New World Center for Art Miami Basel, Lincoln Center, the American Museum of Natural History’s Hayden Planetarium, and the Haus der Kulturen der Welt for the Transmediale Festival. SPECIAL THANKS TO
George Holden, Darrin Martin, Robin Hill, Laura Record, and the UC Davis interns.
The Mondavi Center Thanks Andrew W. Mellon Foundation’s Support of Initiatives in
Classical Music
S
ince 2012, the Andrew W. Mellon Foundation has supported the Mondavi Center in initiatives to engage audiences more deeply with Classical Music. These have included activities by composers, symphonic and other classical musicians in residence to connect with community members and UC Davis students, not only in the concert hall but in schools, senior centers and dorms. Projects to re-work traditional concert formats, such as our cabaret-style “Studio Classics” also have received Mellon’s generous support. Through this grant, we have been able to develop the Aggie Arts internship program, an in-depth experience in arts leadership training for UC Davis students. At the Mondavi Center, we believe in the power of classical music and the musicians who create it and are deeply appreciative of the Mellon Foundation’s support of these programs to tap into that power.
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DIANA KRALL
A Just Added Series Event Sunday, April 13 • 8PM Jackson Hall
LINEUP
Diana Krall – piano/vocals Stuart Duncan – fiddle Patrick Warren – keyboards Dennis Crouch – bass Karriem Riggins – drums
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Diana Krall’s extraordinary new album, Glad Rag Doll (Verve Records) is an exhilarating and adventurous exploration of new sounds, new instrumentation and new musicians. It stars a singer and piano player, filled with mischief, humour and a renewed sense of tenderness and intimacy. The record reveals itself at that remarkable vanishing point in time where all music— swinging, rocking and taboo—collide with songs of longing, solace and regret. All are made new again in a vaudeville of Krall’s own imagining. It is at once a major departure and a natural progression for the gifted musician. Diana simply calls the album, “a song and dance record.” “We all just went in there as if the songs were written yesterday. I didn’t want to make a period piece or nostalgia record,” said Krall.
In fact, these are songs that Krall has spent a lifetime contemplating. Both her childhood home and her current address are stacked with 78rpm records and song folios filled with precious and unpolished gems, songs that have not worn out their lustre from repetition. If any of these songs could be identified as “’20s or ’30s music,” then they are ’20s or ’30s songs as imagined for the 21st century. The same could be said for a startling rendition of the Doc Pomus classic “Lonely Avenue,” first cut in the 1950s. The contemplative, contemporary reading of the old Gene Austin recording of “Let It Rain” finds a sympathetic echo in Krall’s exquisite rendition of Buddy’s and Julie Miller’s more recent ballad of spiritual longing, “Wide River To Cross.” Working for the first time with renowned producer T Bone Burnett and engineer Mike Piersante, Krall revels in a fresh sonic playground captured in the vivid grain and deep resonant focus of analog tape. Burnett has assembled a distinguished cast of remarkable men to complement Krall’s piano contribution at an 1890s Steinway upright. From the hushed to the howling, Marc Ribot’s poised and sympathetic solo guitar accompaniment on the title track contrasts beautifully with a range of surprising sounds and colors. As ever with a Diana Krall record, her distinctive feel and unique sense of time is crucial. She has established a new and exciting rhythmic rapport with drummer Jay Bellerose and bassist Dennis Crouch that has let loose some of her most joyous piano playing heard on record to date. Among the new elements brought into the spontaneous arrangement process are the mysterious, sometimes comedic commentaries coming from the keyboards of Keefus Green. Diana Krall has collaborated with Academy Award-winning costume designer Colleen Atwood and acclaimed photographer Mark Seliger to create a series of beautiful and striking images for Krall’s new album Glad Rag Doll. They are inspired by Alfred Cheney Johnston’s pictures of the girls of the Ziegfeld Follies taken during the 1920s. Diana Krall’s 2009 Grammy winning album, Quiet Nights, used Brazil as a musical point of reference and landed at #3 on the Billboard 200, her highest ever position on the chart and her fourth consecutive album to debut within the top 10.
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A Director’s Choice Series Event Wednesday, May 14, 2014 • 8PM Jackson Hall
INDIVIDUAL SUPPORT PROVIDED BY
Wanda Lee Graves
BILL FRISELL
All We Are Saying
PROGRAM NOTES Come together. In 1963 I was starting to get really fired up about music and the guitar. I was hearing The Ventures, The Astronauts, The Beach Boys, The Four Seasons, Peter Paul and Mary...stuff like that on the radio. Louie Louie. American Bandstand. In November, John Kennedy was killed. I was 12. 1964. I saw an article in Time magazine about a group called the Beatles. Wow! Look at their hair! And those suits, and boots, and stuff. They looked really far out (I didn’t use 32 MONDAVIARTS .ORG
The Songs of John Lennon
the term “far out” back then.) Then I heard the MUSIC. Man alive! That was IT. In February they played on the Ed Sullivan show. Seemed like the next day at school everybody wanted to get a guitar and play music. A few other things happened in 1964. I went to New York for the first time to the World’s Fair playing clarinet with the Gold Sash Band. Muhammad Ali (Cassius Clay) beat Sonny Liston, The Civil Rights Act was signed, Nelson Mandela was sentenced to life in prison, John Coltrane recorded A Love Supreme, Martin Luther King won the Nobel
Peace Prize. The times they are a changin’. I turned 13 and decided I had to get an electric guitar and try to play it. That’s pretty much what I’ve been doing ever since. About 45 years later, in the fall of 2005, I had a European tour set up with Jenny Scheinman and Greg Leisz. For our first concert we were asked to play the music of John Lennon as part of an event that was going on at the Cite de la Musique in Paris. This wasn’t my idea. I didn’t ask to do it. Ever since I’ve entered into the world of music, I’ve never really had to figure out what to do.
The music always tells you what to do, where to go. There’s always something new waiting right there in from of you. So, anyway, we went to Paris. It was so inspiring preparing for this concert and spending time with John Lennon’s music. We were learning so much. It felt so good that we decided to play this music for the rest of the tour. After Paris, it was never announced, or advertised that we would be doing this. We never told the audience. It was far out checking out their reaction when after two or three songs, they started realizing what was happening. The tour ended at Barbican Hall in London. It was a very special night for us having the chance to play that music, in that town. In 2010 I was asked to do a three-night residency at Yoshi’s with a different project each night. Seemed like a good moment to play John Lennon’s music again. This time we added Kenny Wollesen and Tony Scherr to the group. Not long after this, I began a relationship with Savoy, and they gave us the opportunity to record. John Lennon’s music has been with me, the band, everybody, the world...seems like forever. The songs are part of us. In our blood. There was nothing we really needed to do to prepare for this. We’ve been preparing our whole lives. The songs are there. All we had to do was play them. Everyone involved with this project (Jenny Scheinman, Greg Leisz, Tony Scherr, Kenny Wollesen, Lee Townsend, Adam Munoz, everyone at Savoy, and at Fantasy Studios) has their own personal, deep, long, relationship to John Lennon’s music. It connects us all and brings us together. I feel blessed having the chance to play this music with these people. –Bill Frisell
BILL FRISELL’S career as a guitarist and composer has spanned more than 35 years and many celebrated recordings. Frisell’s catalog has been cited by Downbeat as “the best recorded output of the decade,” including his recent albums for Savoy— Sign of Life with the 858 Quartet, Beautiful Dreamers and All We Are Saying, a collection of John Lennon interpretations. Frisell’s latest recording, Big Sur, is his debut for Okeh/Sony and features music commissioned by the Monterey Jazz Festival. Composed at the Glen Deven Ranch in Big Sur, the album’s unusual instrumentation of strings and drums comes alive in a newly
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BILL FRISELL assembled quintet comprised of long-time associates from his groups, the 858 Quartet and Beautiful Dreamers. Frisell’s Nonesuch output spans a wide range of musical expression, from original Buster Keaton film scores, to arrangements for extended ensembles with horns and strings (Blues Dream, History, Mystery, Unspeakable); collaborations with bassist Viktor Krauss and drummer Jim Keltner (Gone, Just Like a Train, Good Dog, Happy Man); an album with Nashville musicians (Nashville), a solo album (Ghost Town)), a collection of traditional American folk songs and originals inspired by them (The Willies), and two trio albums with jazz legends Dave Holland/Elvin Jones and Ron Carter/Paul Motian. The Intercontinentals blends Frisell’s brand of American roots music with Brazilian, Greek, and Malian influences. Disfarmer was inspired by the work of the mid-century rural Arkansas photographer Mike Disfarmer. Recognized as one of America’s 21 most vital and productive performing artists, Frisell was named an inaugural Doris Duke Artist in 2012. He is also a recipient of grants from United States Artists and Meet the Composer, among others. Currently he is the guest curator for the Roots of Americana series at Jazz at Lincoln Center and resident artistic director at SFJAZZ. Always on the lookout for opportunities to “dig around for where I’m coming from,” Frisell’s project, GUITAR IN THE SPACE AGE! is an homage to the inspirational popular music of his formative years made in the wake of “the birth of the Fender Telecaster guitar”—1951, the same year as Frisell’s own birth—that, he recalls, “got me super fired-up” about his instrument of choice. Frisell and his band mates explore material, recently recorded for release on Okeh/Sony Masterworks, associated with The Beach Boys, Junior Wells, Pete Seeger, The Byrds, Duane Eddy, The Ventures, The Kinks, Chet Atkins, Link Wray, Jimi Hendrix, Speedy West & Jimmy Bryant, The Astronauts, Merle Travis, Johnny Smith and others, as well as original material by Frisell. As on all of his projects, the proceedings will be, Bill understates, “rich with possibility”—and on this one especially, involve a potent dose of fun!
GREG LEISZ has been much in demand for playing country, folk, pop and rock music with such artists as Eric Clapton, Joni 34 MONDAVIARTS .ORG
Mitchell, Emmylou Harris, Willie Nelson, Linda Ronstadt, Beck, KD Lang, Randy Newman, Dave Alvin, Gillian Welch, Lucinda Williams, Sheryl Crow, Paula Cole, Fiona Apple, Brian Wilson, Jackson Browne, John Mayer, Matthew Sweet, Joe Cocker, Ray LaMontagne, Bon Iver and on Daft Punk’s Grammy Award-winning Album of the Year (2014), Random Access Memories. Leisz lives in his native Los Angeles and is well-known for his mastery of a variety of guitars and string instruments including pedal steel, dobro, National, Hawaiian Weissenborn, lap steel and mandolin, all of which he plays on Frisell’s CD’s Blues Dream, Good Dog, Happy Man, The Intercontinentals, Disfarmer and All We Are Saying. Greg also performs with Bill in both duo and larger group formats. In 2010, Greg received a Lifetime Achievement award from the Americana Music Association for Instrumentalist.
JENNY SCHEINMAN is a singer, violin player, composer and arranger. She grew up on a homestead in Northern California in a family of folk musicians, studied at Oberlin Conservatory, graduated with a degree in English literature from UC Berkeley, and has taken the #1 Rising Star Violinist title in the Downbeat magazine Critics Poll and has been listed as one of their Top Ten Overall Violinists for a decade. She has garnered numerous high-profile arranging credits with Lucinda Williams, Bono, Lou Reed, Metallica and Sean Lennon, and has toured and recorded with Bill Frisell, Bruce Cockburn, Norah Jones, Madeleine Peyroux, Nels Cline, Vinicius Cantuária, Rodney Crowell, Jimmie Dale Gilmore and Marc Ribot. She has seven CDs of original music to date: Mischief & Mayhem, Jenny Scheinman, Crossing The Field, 12 Songs, Shalagaster, The Rabbi’s Lover and Live At Yoshi’s. Brooklyn resident TONY SCHERR can usually be found singing and playing slide guitar with his band; Tony Scherr Trio (with Anton Fier & Rob Jost), or playing bass with Bill Frisell, or the band Sex Mob. He has also played guitar and/or bass with many other artists including The Lounge Lizards, Willie Nelson, Norah Jones, Rickie Lee Jones, Dakota Staton, Feist, and many more. Tony can be heard on recently released records such as Bill Frisell’s album of John Lennon music called All We Are Saying, Aaron
Neville’s doo wop album My True Story with Keith Richards and Don Was, Iron and Wine’s latest Ghost On Ghost, Sex Mob’s Cinema Circus & Spaghetti, and Tony Scherr Trio recorded live at the band’s perpetual Monday night series while at The Living Room in New York.
KENNY WOLLESEN is a drummer, vibraphonist, percussionist and instrument builder based in New York City. He is the founder of the Wollesonic Laboratories and the mastermind behind Sonic Massages and the Himalayas marching band. He has worked with John Zorn, Norah Jones, Tom Waits, Sean Lennon, Ben Goldberg, Steve Bernstein, Jonas Mekas, Butch Morris, Ilhan Ersahin, Hal Wilner, Eivind Opsvik, John Medeski, JIm Hall and has been a vital member of Bill Frisell’s ensembles and projects for more than 15 years. Born in 1963 and raised in Berkeley, Calif., CLAUDIA ENGELHART has been a professional live-sound engineer for 30 years. She began her career working in the historic San Francisco jazz club Keystone Korner. In 1983, she moved to New York City and continued mixing sound in clubs such as CBGB’s, The Bitter End, and S.O.B’s and then in 1985 began touring full time internationally as a front of house engineer. Since 1989 Claudia has been working full time for guitarist Bill Frisell. She has recorded two live albums for Frisell, East/West and Bill Frisell Live. She has also mixed and recorded just about all of his live converts over the past 22 years, which has resulted in a “Live Download Series” of concert recordings available for download on Frisell’s website. When not on tour with Frisell, Claudia has toured extensively with many other renowned artists including Wayne Shorter, Herbie Hancock, Laurie Anderson, Lou Reed, Rosanne Cash, Michael Brecker, Grover Washington Jr., John Patitucci, Dave Holland, John Scofield, Joe Henry, Ryichi Sakamoto, David Sylvian, Rosa Passos, Medeski Martin & Wood, John Zorn, The Kronos Quartet, Don Cherry, Cecil Taylor, Fred Frith, Eddie Palmieri, Willie Colon, Airto Moreira and Flora Purim. She has worked on special projects with such artists as Elvis Costello, David Byne, Allan Toussaint, Mose Allison, Bettye Lavette, Billy Bragg, Buddy Miller, Rickie Lee Jones, Van Dyke Parks, Loudon Wainwright III, Suzanne Vega, The Campbell Brothers and Chip Taylor.
SAN FRANCISCO SYMPHONY
Michael Tilson Thomas, music director and conductor
A Western Health Advantage Orchestra Series Event Thursday, May 15, 2014 • 8PM Jackson Hall SPONSORED BY
Christian Tetzlaff, violin
PROGRAM Lemminkäinen’s Homeward Journey, Opus 22, No. 4 Violin Concerto No. 2 Allegro non troppo Andante tranquillo Allegro molto
Sibelius Bartók
Christian Tetzlaff INTERMISSION
INDIVIDUAL SUPPORT PROVIDED BY
Symphony No. 4 in E Minor, Opus 98 Brahms Allegro non troppo Andante moderato Allegro giocoso—Poco meno presto—Tempo I Allegro energico e passionate—Più allegro
Patti Donlon Pre-Performance Talk Speaker: Elizabeth Seitz, Music History Coordinator, Boston Conservatory Elizabeth Seitz is the music history coordinator at the Boston Conservatory, where she has been teaching since 2005. She received her Ph.D. from Boston University. She has been a frequent lecturer at the Boston Symphony Orchestra, Boston Lyric Opera, Museum of Fine Arts in Boston, Rockport Chamber Music, Tanglewood, Road Scholar, and the New York Philharmonic. 36 MONDAVIARTS .ORG
PROGRAM NOTES LEMMINKÄINEN’S HOMEWARD JOURNEY, OPUS 22, NO. 4
JEAN (JOHAN JULIUS CHRISTIAN) SIBELIUS (Born in Hämeenlinna [sometimes referred to by its Swedish name, Tavastehus], Finland on Dec. 8, 1865, died in Järvenpää on Sept. 20, 1957.) Following an ill-fated attempt at an opera on the Kalevala, the famed collection of ancient Finnish epic myths, and energized by a study of Franz Liszt’s symphonic poems, Sibelius embarked on another Kalevalainspired project in the autumn of 1895. This time he turned his attention to the exploits of the reckless young Lemminkäinen, a sort of cross between Don Juan (with whom the
composer himself compares the hero), the young Siegfried, and Osiris. Sibelius decided to string together a series of orchestral tapestries in a suite of four movements, each based loosely on various episodes from Lemminkäinen’s picaresque adventures. The fourth of Sibelius’s Four Legends, Lemminkäinen’s Homeward Journey is a powerful example of Sibelius’s ability to whip repeated ostinato figurations into a sensation of driving momentum—thus making a splendidly effective contrast with the stasis of the second legend, The Swan of Tuonela. A C minor outburst undergirds a brief motif
SAN FRANCISCO SYMPHONY in the bassoon (B-flat-C-G), whose descending fourth immediately recalls the contour of the theme from the third legend, Lemminkäinen in Tuonela. Suddenly we realize that, though there is no single, recurrent leitmotif for the hero, Sibelius offers subtler hints of an overarching unity that adds coherence to the sequence of legends. This bassoon motif is especially fertile, eventually growing into the principal subject of this rondo-finale. Energy is generated from the rapid alternation of instrumental choirs against dizzying ostinato figurations in the strings that make a number of tonal detours before landing triumphantly in E-flat, the key from which the Four Legends had set out, and thus marking a homecoming on several levels at once.
becoming more sonorous and covering a greater range, while the harp is still fascinated by the running sixteenths of the previous variation. Dissonance enters in Variation 3, along with sharp accents and a deliberately “rough” style. The theme is shorn of ornament in Variation 4; it moves into cellos and basses, while the solo violin hangs garlands of alternating trills and scales. To this, Bartók adds a mysterious close with many canonic
imitations. Variation 5 is a perkily scored scherzo. Variation 6 presents new fantasies in embellishment, texture, and counterpoint, and leads to a coda in which the movement quietly dissolves. That last ppp is broken into by the rambunctious, dance-like opening of the finale, a rich and brilliant piece whose structure as well as whose themes have correspondences in the first movement.
CONCERTO NO. 2 IN B MINOR FOR VIOLIN AND ORCHESTRA
BÉLA VICTOR JÁNOS BARTÓK
(Born in Nagyszentmiklós, Hungary, now Sînnicolau Mare, Romania, on March 25, 1881, died in New York City on Sept. 26, 1945.) Bartók did not play the violin. Few composers, though, have understood the instrument so fully, and perhaps it is in his music for strings—the six quartets; the two sonatas for violin and piano; the sonata for violin solo; the Music for Strings, Percussion, and Celesta; the Forty-Four Duets; and of course the present concerto—that he is at his most unfailingly inventive and effective. Bartók begins his concerto with gentle preluding on the harp, which is soon joined by lower strings, also plucked. It is against this background that the soloist enters with a melody at once rhapsodic and elegant. Some sense of rhapsody, of quasi improvisation, is always present in this concerto, whether in the expansive and always unpredictable flights of lyric song or in the scrubbings and rushings of Bartók’s fiercely energetic bravura style. Bartók has built a formal cadenza of his own into the end of the first movement. At the beginning of that cadenza, before the soloist has induced the orchestra to keep quiet, the composer has introduced quarter tones in the violin part (as he would again in the solo Sonata of 1944). For the Andante tranquillo (consisting of a theme with variations), Bartók has invented a delicate theme of a haunting, “speaking” character, exquisitely accompanied by just a few strings with timpani and harp. In Variation 1, the violin part is elaborated in quicker figurations, and the accompaniment is further reduced. In Variation 2, the violin is less shy,
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SYMPHONY NO. 4 IN E MINOR, OPUS 98
JOHANNES BRAHMS
The brand is meant to represent not only Davis as a Co-op, but the city of Davis itself. Iconic Davis landmarks and architecture has been illustrated (in the style of the logo), and can be used in any heavily-illustrated piece. In the illustrations, shapes are flat and bold. There are no outlines; details are left out unless they play a key role in defining a structure. While their surroundings in a larger composition can be stylized or exaggerated, each structure should be proportionally correct.
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“THE BAGGINS” DOME HOUSES
(Born in the Free City of Hamburg on May 7, 1833, died in Vienna on April 3, 1897.) Brahms’s Fourth Symphony was written in 1885 when the composer was 52 and was starting to think of retirement. The work is at once a summation of its composer’s learning and technique, and a work of art that for all its complexities cuts as close to the heart of the heart as music can. One imagines that this is the work Brahms always wanted to write, the work that displays his essence most completely, in which form and function are balanced, in which the technical means always serve expression and expression is discovered through technique. If any of Brahms’s music conveys a world-view, this is it. Listen to the first sighs in the strings. The voice is at once resigned and searching and its broad phrases are transformed for a moment into a nervous figure in the winds before growing into a lament of deep longing. Throughout this movement, the nervous and the keening will alternate, and they fuse in the odd episode that sounds as though Brahms had entered the world of the tango, where dance steps offer a staccato accompaniment to long sighing lines. By the end of the movement, all this has changed. A chapter that began with music saturated in regret has taken on resolve. The broad searching phrases of the opening bars are compressed into projectiles of energy, gathering momentum until they erupt in a cataclysmic climax and a brief, unyielding denouement. The summons of a horn call begins the Andante moderato, outlining a figure that the winds take up, a pacing, tentative melody of closely spaced intervals, a melody that cannot range far from where it starts—we are still recovering from the shock of upheaval in which the first movement ended. Soon, however, the possibilities of warmth in this theme are revealed, and the high strings enter to transform tentatively ventured steps into a high-temperature flow of gloriously confident forward movement. Staccato bursts end this, but their energy dissipates quickly, and in their place comes one of Brahms’s most miraculously expansive creations. Even when those staccato jabs are later reprised in a more tortured form, the answer is the same. The opening movement 9/3/13second 4:13 PM was tragedy on an epic scale. The
SAN FRANCISCO SYMPHONY movement is the response, offered in more human proportions. The great song at the heart of this andante serves as a calmative to the stunned and anguished music that precedes it. The aggressively upbeat scherzo seems initially out of place, given what comes immediately before and after, and yet it is utterly apt. We need some relief from the unremitting seriousness of the first two movements, and here Brahms supplies it. His humor, though, also has a crueler side. For this happy music will be followed by what, in 1885, was the most uncompromising, pessimistic conclusion ever heard in a symphony. In his first two symphonies, Brahms had followed Beethoven’s model, ending each of those works in the affirmative. In his Third Symphony, he made an entirely novel ending, choosing to finish in quiet resignation. Here, in the finale, he wrote music not simply personal and not simply contemporary, but music that looked into the future, toward a century that would validate his apprehensions. The irony is that Brahms’s vehicle for conveying this vision was an ancient musical form. Brahms the traditionalist was fascinated with the music of Bach and Handel. In his studies of the Baroque he familiarized himself with forms such as the passacaglia, a set of variations over a recurrent bass. He was especially taken with one he found in a cantata listed in the Bach catalogue as No. 150, a cantata whose very title lends meaning to this movement of the symphony, Nach Dir, Herr, verlanget mich— “I long to be near you, Lord.” On the theme from Nach Dir, Herr—the eight chords that begin the finale—he builds his case: 32 variations that define a world. There is no happy ending here—in fact, the end comes almost before we know it is upon us. As in life. The road to understanding is filled with detours and washed-out bridges, and we only hope we can negotiate the obstacles with grace. As we head there, we can be grateful for a traveling companion like Johannes Brahms. —From notes by Thomas May (Sibelius), Michael Steinberg (Bartók), and Larry Rothe (Brahms) Program notes © 2014 San Francisco Symphony
BIOS MICHAEL TILSON THOMAS first conducted the San Francisco Symphony in 1974 and has been music director since 1995. A Los Angeles native, he studied with John Crown and Ingolf Dahl at the University of Southern California, becoming music director of the Young
Musicians Foundation Debut Orchestra at 19 and working with Stravinsky, Boulez, Stockhausen, and Copland at the famed Monday Evening Concerts. He was pianist and conductor for Piatigorsky and Heifetz master classes and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth. In 1969, Mr. Tilson Thomas won the Koussevitzky Prize and was appointed
FURTHER LISTENING by Jeff Hudson
MICHAEL TILSON THOMAS and CHRISTIAN TETZLAFF Michael Tilson Thomas will mark his 20th anniversary as music director of the San Francisco Symphony next season. He is already the longest-serving music director in the orchestra’s history—MTT’s tenure surpassed that of Pierre Monteux (who led the SFS from 1935 to 1952) about two years ago. Tilson Thomas conducted the San Francisco Symphony at the Mondavi Center’s opening gala on Oct. 2, 2002—the program included Ein Heldenleben by Richard Strauss, Béla Bartók’s Music for Strings, Percussion and Celesta, and MTT’s own Urban Legend. At the end, MTT turned to the audience and praised “your beautiful new instrument—this hall.” The San Francisco Symphony has returned on many occasions since then, sometimes conducted by MTT, sometimes by a guest conductor. If I had to pick a favorite, it would probably be the concert in 2009 that featured young composer Mason Bates’ The B-Sides, pianist Yuja Wang in the fiery Piano Concerto No. 2 by Prokofiev, and the Symphony No. 4 by Sibelius (with MTT remarking from the podium about the “gutsy” way the composer decided to end the piece). Violinist Christian Tetzlaff has been here before as well—he visited in January 2012, giving a memorable performance of the Ligeti Violin Concerto with the San Francisco Symphony under MTT. The Ligeti concerto is a piece that Tetzlaff has performed at Carnegie Hall and other major venues. And Ligeti was so pleased—both by Tetzlaff’s performance, and also his remarks about the violin concerto in an interview—that Ligeti sent Tetzlaff a postcard saying “not only do you play my concerto perfectly, but you talk about it with so much understanding and compassion. For a living composer it is the most beautiful thing to be so understood by an interpreter.” Tetzlaff is also known as an interpreter of Bach’s music for solo violin—in fact the San Francisco Symphony had him give an all-Bach recital at Davies Symphony Hall in San Francisco on May 11 as part of its Great Performers Series. (Maybe we’ll get to hear Tetzlaff play that music at the Mondavi Center someday! This season, we did hear Gil Shaham play some of that music on violin, and Chris Thile play some of the same Bach sonatas and partitas on mandolin.) Tetzlaff has recorded the piece he’ll play on tonight’s program, the Violin Concerto No. 2 by Béla Bartók, back in the early stages of his career (a 1992 album with the London Philharmonic, on Virgin Classics). JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS & REVIEW.
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SAN FRANCISCO SYMPHONY Michael Tilson Thomas
MUSIC DIRECTOR AND CONDUCTOR
Herbert Blomstedt
CONDUCTOR LAUREATE
Donato Cabrera
RESIDENT CONDUCTOR
Ragnar Bohlin
CHORUS DIRECTOR
Vance George
CHORUS DIRECTOR EMERITUS
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
SECOND VIOLINS
CELLOS
OBOES
TROMBONES
Dan Carlson
Michael Grebanier
Jonathan Fischer
Timothy Higgins
Paul Brancato
Peter Wyrick
Christopher Gaudi†
Paul Welcomer John Engelkes
ACTING PRINCIPAL DINNER & SWIG FAMILIES CHAIR ACTING ASSOCIATE PRINCIPAL AUDREY AVIS AASEN-HULL CHAIR
John Chisholm
ACTING ASSISTANT PRINCIPAL
Dan Nobuhiko Smiley
THE EUCALYPTUS FOUNDATION SECOND CENTURY CHAIR
Raushan Akhmedyarova David Chernyavsky Cathryn Down Darlene Gray Amy Hiraga Kum Mo Kim Kelly Leon-Pearce Chunming Mo Polina Sedukh Chen Zhao Sarah Knutson†
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 ISAAC STERN CHAIR
Yukiko Kurakata
CATHERINE A. MUELLER CHAIR
Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen
PRINCIPAL PHILIP S. BOONE CHAIR 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
Jonathan Vinocour
BASSES
Yun Jie Liu
Scott Pingel
Katie Kadarauch
Larry Epstein
John Schoening
Stephen Tramontozzi
ASSOCIATE PRINCIPAL ASSISTANT PRINCIPAL 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 Matthew Young
The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.
ACTING 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 Jerome Simas BASS CLARINET
BASS TROMBONE
TUBA Jeffrey Anderson
PRINCIPAL JAMES IRVINE CHAIR
HARP Douglas Rioth PRINCIPAL
TIMPANI David Herbert*
PRINCIPAL MARCIA & JOHN GOLDMAN CHAIR
Alex Orfaly†
BASSOONS
ACTING PRINCIPAL
PRINCIPAL
ASSOCIATE PRINCIPAL ASSISTANT PRINCIPAL RICHARD & RHODA GOLDMAN CHAIR
S. Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen
FLUTES
PRINCIPAL
Jacob Nissly
Rob Weir Steven Braunstein
Raymond Froehlich Tom Hemphill James Lee Wyatt III
ASSOCIATE PRINCIPAL
CONTRABASSOON
HORNS Robert Ward
PRINCIPAL JEANNIK MÉQUET LITTLEFIELD CHAIR
ASSISTANT PRINCIPAL
Jonathan Ring Jessica Valeri Kimberly Wright*
Robin Sutherland
JEAN & BILL LANE CHAIR
Margo Kieser
PRINCIPAL LIBRARIAN NANCY & CHARLES GESCHKE CHAIR
John Campbell
ASSISTANT LIBRARIAN
Dan Ferreira†
ASSISTANT LIBRARIAN
TRUMPETS
Robin McKee
Mark Inouye
ASSOCIATE PRINCIPAL CATHERINE & RUSSELL CLARK CHAIR
PRINCIPAL WILLIAM G. IRWIN CHARITY FOUNDATION CHAIR
Linda Lukas
Justin Emerich†
PICCOLO
KEYBOARDS
ASSOCIATE PRINCIPAL
Bruce Roberts
PRINCIPAL CAROLINE H. HUME CHAIR
Catherine Payne
PRINCIPAL
Nicole Cash
Tim Day
ALFRED S. & DEDE WILSEY CHAIR
PERCUSSION
Steven Dibner
ACTING ASSOCIATE PRINCIPAL PETER PASTREICH CHAIR
Guy Piddington
ANN L. & CHARLES B. JOHNSON CHAIR
Jeff Biancalana 40 MONDAVIARTS .ORG
PRINCIPAL ROBERT L. SAMTER CHAIR
Stephen Paulson
VIOLAS PRINCIPAL
ACTING PRINCIPAL EDO DE WAART CHAIR
*On Leave †Acting member of the San Francisco Symphony
SAN FRANCISCO SYMPHONY Assistant Conductor of the Boston Symphony. Ten days later he came to international recognition, replacing Music Director William Steinberg in mid-concert at Lincoln Center. He went on to become the BSO’s associate conductor, then principal guest conductor. He has also served as director of the Ojai Festival, music director of the Buffalo Philharmonic, a principal guest conductor of the Los Angeles Philharmonic, and principal conductor of the Great Woods Festival. He became principal conductor of the London Symphony Orchestra in 1988 and now serves as principal guest conductor. For a decade he served as co-artistic director of Japan’s Pacific Music Festival, which he and Leonard Bernstein inaugurated in 1990, and he continues as artistic director of the New World Symphony, which he founded in 1988. His television credits include the New York Philharmonic Young People’s Concerts, and in 2004 he and the SFS launched Keeping Score on PBS-TV. His compositions include From the Diary of Anne Frank, Shówa/Shoáh (commemorating the 50th anniversary of the Hiroshima bombing), Poems of Emily Dickinson, Urban Legend, Island Music, and Notturno. He is a Chevalier des Arts et des Lettres of France, was selected as Gramophone 2005 Artist of the Year, has been elected to the American Academy of Arts and Sciences, and in 2010 was awarded the National Medal of Arts by President Barack Obama.
CHRISTIAN TETZLAFF was born in Hamburg in 1966 into a musical family. He started playing the violin and piano at age 6, and began intensive study of the violin at the age of 14 with Uwe-Martin Haiberg at the conservatory in Lübeck. Highlights of Mr. Tetzlaff’s 2013–14 season in North America include appearances with the Philadelphia Orchestra and Los Angeles Philharmonic and the Chicago, Saint Louis, and National symphonies; recitals with pianist Lars Vogt; and two appearances in Carnegie Hall—with Orpheus Chamber Orchestra and with the Tetzlaff Quartet. Mr. Tetzlaff’s recent recordings include Jörg Widmann’s Violin Concerto, written for Mr. Tetzlaff, with the Swedish Radio Symphony Orchestra and Schumann’s Violin Sonatas with Lars Vogt, both on Ondine. Mr. Tetzlaff was a 2010–11 Carnegie Hall Perspectives artist and he was named Musical America’s Instrumentalist of the Year in 2005. He performs on a violin modeled after a Guarneri del Gesù made by Peter Greiner.
SAN FRANCISCO SYMPHONY The San Francisco Symphony gave its first concerts in 1911 and has grown in acclaim under a succession of distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and Michael Tilson Thomas, who assumed his post in 1995. The SFS has won
such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award, and the United States’s Grammy. Each year the Symphony offers Adventures in Music, the longest running education program among this country’s orchestras, which brings music to every child in grades 1 through 5 in San Francisco’s public schools. In 2004, the SFS launched the multimedia Keeping Score on PBS-TV and the web. For more information, go to www.sfsymphony.org.
Looking for a “relax and enjoy life” club? At El Macero, we believe that a busy life deserves the rewards of a club that unwinds and de-stresses. Our walkable 18 holes can be played all at once or in short loops, and there’s always room on the tee sheet to play on a whim. To keep healthy, Chef serves up homemade goodness made from scratch, the pool is heated year ‘round, and we prefer our yoga on the lawn under the trees. This is a place of mutual respect, where families are welcome and friendships are nurtured. Most importantly, we believe what we do at our club matters just as much as what we don’t do…and that’s how life is best lived.
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Call for details on how you can join us, and relax and enjoy your own life!
(530) 753.3363 | ElMaceroCC.org encoremediagroup.com 41
THE ART OF GIVING The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives. Annual donations to the Mondavi Center directly support our operating budget and
are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.
For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.
COLORATURA CIRCLE $50,000 AND ABOVE
John and Lois Crowe *
Barbara K. Jackson†* Anonymous
†
Patti Donlon
†
IMPRESARIO CIRCLE $25,000 – $49,999
Friends of Mondavi Center Anne Gray †*
Wendell Jacob Larry and Rosalie Vanderhoef †*
VIRTUOSO CIRCLE $15,000 – $24,999
Joyce and Ken Adamson Ann and Gordon Getty Foundation Mary B. Horton* 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* Thomas and Phyllis Farver* Dolly and David Fiddyment Wanda Lee Graves Dean and Karen Karnopp†* Hansen Kwok Nancy Lawrence, Gordon Klein, and Linda Lawrence†
Verne Mendel* M.A. Morris Gerry and Carol Parker Carole Pirruccello, John and Eunice Davidson Fund Grace and John Rosenquist† Dick and Shipley Walters* Anonymous
BENEFACTOR CIRCLE $6,500 – $9,999
Garry Maisel† Stephen Meyer and Mary Lou Flint† Suzanne and Brad Poling Randall E. Reynoso and Martin Camsey† Raymond Seamans Jerry and Helen Suran*
Camille Chan Michael and Betty Chapman† Eric and Michael Conn Cecilia Delury and Vince Jacobs† Samia and Scott Foster Benjamin and Lynette Hart* Lorena Herrig* †
† Mondavi Center Advisory Board Member 42 MONDAVIARTS .ORG
* Friends of Mondavi Center
PRODUCERS CIRCLE
$3,250 – $6,499
Neil and Carla Andrews Jeff and Karen Bertleson Charitable Fund Hans Apel and Pamela Burton Daniel Benson Cordelia S. Birrell Neil and Joanne Bodine Brian Tarkington and Katrina Boratynski California Statewide Certified Development Corp. Cantor & Company, A Law Corporation Robert and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Claudia Coleman Martha Dickman* Nancy DuBois* Wayne and Shari Eckert Merrilee and Simon Engel Charles and Catherine Farman Ron Fisher and Pam Gill-Fisher* Andrew and Judith Gabor Henry and Dorothy Gietzen Kay Gist in memory of John Gist Ed and Bonnie Green* Robert and Kathleen Grey Diane Gunsul-Hicks Charles and Ann Halsted John and Regina Hamel Judith and William Hardardt* Dee Hartzog Cameron and Clare Hasler-Lewis The One and Only Watson Charles and Eva Hess In Memory of Christopher Horsley* Ronald and Lesley Hsu Teresa Kaneko* Linda P.B. Katehi and Spyros I. Tseregounis Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Allan and Claudia Leavitt Robert and Barbara Leidigh Yvonne LeMaitre Joe and Shirley LeRoy Nelson Lewallyn and Marion Pace-Lewallyn Paul and Diane Makley* In Memory of Jerry Marr Grant and Grace Noda* Alice Oi Susan Strachan and Gavin Payne David Rocke and Janine Mozée Roger and Ann Romani* Hal and Carol Sconyers* Ellen Sherman Wilson and Kathryn Smith Tom and Meg Stallard* Tom and Judy Stevenson* Donine Hedrick and David Studer Rosemary and George Tchobanoglous Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Patrice White Robert and Joyce Wisner* Richard and Judy Wydick Yin and Elizabeth Yeh And 3 donors who prefer to remain anonymous
DIRECTOR CIRCLE
$1,250 – 3,249
Michelle Adams Ezra and Beulah Amsterdam Elizabeth and Russell Austin Laura and Murry Baria* Lydia Baskin* Drs. Noa and David Bell Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Rosa Marquez and Richard Breedon
Irving and Karen Broido* Robert Burgerman and Linda Ramatowski Jim and Susie Burton Davis and Jan Campbell Kyra and Ken Carson William and Susan Chen Simon Cherry and Laura Marcu Community Foundation for Greater New Haven David J. Converse, ESQ. Jim and Kathy Coulter* John and Celeste Cron* Terry and Jay Davison Bruce and Marilyn Dewey Dotty Dixon* DLMC Foundation Richard and Joy Dorf* Domenic and Joan Favero Sandra and Steven Felderstein Nancy McRae Fisher Doris and Earl Flint Carole Franti* Paul J. and Dolores L. Fry Charitable Fund Christian Sandrock and Dafna Gatmon Karl Gerdes and Pamela Rohrich Fredric Gorin and Pamela Dolkart Gorin John and Patty Goss* Jack and Florence Grosskettler* Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy In Honor of Barbara K. Jackson Ruth W. Jackson Clarence and Barbara Kado Barbara Katz Charlene R. Kunitz Mary Jane Large and Marc Levinson Frances and Arthur Lawyer* Hyunok Lee and Daniel Sumner Sally Lewis Lin and Peter Lindert David and Ruth Lindgren Spencer Lockson and Thomas Lange Angelique Louie Mr. and Mrs. Richard Luna Natalie and Malcolm MacKenzie* Debbie and Stephen WadsworthMadeiros Debbie Mah and Brent Felker* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Janet Mayhew* In memory of William F. McCoy Robert and Helga Medearis Joy Mench and Clive Watson John Meyer and Karen Moore Judith and Eldridge Moores Barbara Moriel Augustus and Mary-Alice Morr Patricia and Surl Nielsen John Pascoe and Sue Stover John and Misako Pearson Bonnie A. Plummer* Prewoznik Foundation Linda and Lawrence Raber* Lois and Dr. Barry Ramer John and Judith Reitan Kay Resler* Christopher Reynolds and Alessa Johns Tom Roehr Don Roth and Jolán Friedhoff Liisa Russell Ed and Karen Schelegle The Schenker Family
Neil and Carrie Schore Bonnie and Jeff Smith Ronald and Rosie Soohoo* Edward and Sharon Speegle Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick M. Stratton Edward Telfeyan and Jerilyn PaikTelfeyan Jennifer Thornton and Brandt Schraner Rovida Mott and Denise Verbeck Gretel and Geoffrey WandesfordSmith Dan and Ellie Wendin* Dale L. and Jane C. Wierman And 8 donors who prefer to remain anonymous
ENCORE CIRCLE
$600 – $1,249
The Aboytes Family Michael and Shirley Auman* Robert and Susan Benedetti Don and Kathy Bers* Muriel Brandt Dolores and Donald Chakerian John and Joan Chambers* Gale and Jack Chapman Robert D. and Nancy Nesbit Crummey Sharon Cuthbertson* John and Cathie Duniway John and Pamela Eisele Murray and Audrey Fowler Professor Andy and Wendy Huang Frank Paul and E. F. Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Lenonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Robert and Barbara Jones Paula Kubo Ruth Lawrence Dr. Henry Zhu and Dr. Grace Lee Michael and Sheila Lewis* Maria M. Manoliu Gary C. and Jane L. Matteson Don and Sue Murchison Bob and Kinzie Murphy Richard and Kathleen Nelson Linda Orrante and James Nordin Frank Pajerski Harriet Prato Larry and Celia Rabinowitz J. and K. Redenbaugh Ken Gebhart and Rhonda Reed Tracy Rodgers and Richard Budenz Jeep and Heather Roemer Tom and Joan Sallee Dwight E. and Donna L. Sanders Karen Zito and Manuel Calderon De La Barca Sanchez Shepard Gusfield Family Fund Betsy and Michael Singer Jeannie and Bill Spangler Elizabeth St. Goar Sherman and Hannah Stein Les and Mary Stephens De Wall Judith and Richard Stern Eric and Patricia Stromberg* Lyn Taylor and Mont Hubbard Roseanna Torretto* Henry and Lynda Trowbridge* Steven and Andrea Weiss* Denise and Alan Williams Ardath Wood Paul Wyman The Yetman Family Karl and Lynn Zender And 4 donors who prefer to remain anonymous
ORCHESTRA CIRCLE
$300 – $599
Mitzi Aguirre Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Elinor Anklin and George Harsch Rick and Dian Baker Antonio and Alicia Balatbat* Cynthia Bates Delee and Jerry Beavers Carol Beckham and Robert Hollingsworth Carol L. Benedetti Al J. Patrick, Attorney at Law Elizabeth Bradford Paul Braun Margaret E. Brockhouse Christine and John Bruhn Jackie Caplan Michael and Louise Caplan Anne and Gary Carlson Bruce and Mary Alice Carswell* Amy Chen and Raj Amirtharajah John Chuchel Betty M. Clark James Cothern David and Judy Covin Larry Dashiell and Peggy Siddons Micki and Les Faulkin Julia and Jay-Allen Eisen Janet Feil David and Kerstin Feldman Helen Ford Lisa Foster and Tom Graham William E. Behnk and Jennifer D. Franz Gloria G. Freeman Sevgi and Edwin Friedrich* Marvin and Joyce Goldman Judy and Gene Guiraud Darrow and Gwen Haagensen Sharon and Don Hallberg Marylee Hardie Jacqueline Harris Miriam and Roty Hatamiya Cynthia Hearden* Paul and Nancy Helman Jeannette E. Higgs* Bryan Holcomb Kenneth and Rita Hoots* Steve and Nancy Hopkins Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Nancy Gelbard and David Kalb Peter Kenner Joseph Kiskis and Diana Vodrey Susan Kauzlarich and Peter Klavins Paul Kramer Allan and Norma Lammers Irene Lara Darnell Lawrence Carol Ledbetter Stanley and Donna Levin Barbara Levine Mary Ann and Ernest Lewis* Robert and Betty Liu The Lufburrow Family Jeffrey and Helen Ma Bunkie Mangum Pat Martin* Robert Mazalewski Catherine McGuire Roland and Marilyn Meyer Nancy Michel Marcie Mortensson Robert and Susan Munn* William and Nancy Myers Douglas Neuhauser and Louise Kellogg Bill and Anna Rita Neuman Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker Harry Phillips Jerry L. Plummer John and Deborah Poulos John and Alice Provost Evelyn and Otto Raabe
J. David Ramsey John and Rosemary Reynolds Guy and Eva Richards Dr. Ronald and Sara Ringen Sharon and Elliot Rose Alan and Barbara Roth Tamra and Bob Ruxin Mark and Ita Sanders* Eileen and Howard Sarasohn John and Joyce Schaeuble Barbara Sheldon James Smith Judith Smith Al and Sandy Sokolow Tim and Julie Stephens Karen Street* Pieter Stroeve, Diane Barrett and Jodie Stroeve Tony and Beth Tanke Cap and Helen Thomson Virginia Thresh Dennis and Judy Tsuboi Peter and Carolyn Van Hoecke Ann-Catrin Van Ph.D. Don and Merna Villarejo Charles and Terry Vines Rita Waterman Charles White and Carrie Schucker Jim and Genia Willett Richard and Sally Yamaichi Iris Yang and G.R. Brown Jane Yeun and Randall Lee Phillip and Iva Yoshimura Ronald M. Yoshiyama Drs. Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous
MAINSTAGE CIRCLE
$100 – $299
Leal Abbott M. Aften Jill and John Aguiar Dorrit Ahbel Susan Ahlquist Suzanne and David Allen Jacqueline Ames David and Penny Anderson Dawnie Andrak Alex and Janice Ardans Debbie Arrington Jerry and Barbara August George and Irma Baldwin Charlotte Ballard and Robert Zeff Diane and Charlie Bamforth* Elizabeth Banks Michele Barefoot and Luis PerezGrau Carole Barnes Paul and Linda Baumann Lynn Baysinger* Bee Happy Apiaries Mark and Betty Belafsky Merry Benard William and Marie Benisek Alan and Kristen Bennett Robert C. and Jane D. Bennett Mrs. Vilmos Beres Linda and William Bernheim Bevowitz Family Boyd and Lucille Bevington Dr. Robert and Sheila Beyer John and Katy Bill Andrea Bjorklund and Sean Duggan Sam and Caroline Bledsoe Fred and Mary Bliss Bill Bossart Brooke Bourland* Jill and Mary Bowers Alf and Kristin Brandt Robert and Maxine Braude Dan and Mildred Braunstein* Frank Brown, MD Valerie and David Brown Alan Brownstein Edelgard Brunelle* Linda Clevenger and Seth Brunner Don and Mary Ann Brush
Martha Bryant* Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy W. Bellhorn Victor W. Burns William and Karolee Bush John and Marguerite Callahan Helen Campbell Lita Campbell* Jean Canary Tony Cantelmi John and Nancy Capitanio Michael and Susan Carl Carolyn Chamberlain Dorothy Chikasawa* Richard and Arden Christian Gail Clark L. Edward and Jacqueline Clemens Bill and Linda Cline Stephan Cohen Stuart and Denise Cohen Wayne Colburn Sheri and Ron Cole Collected Works Gifts, LLC Steve and Janet Collins David Combies and Loretta Smith Patricia Conrad Terry and Marybeth Cook Nicholas and Khin Cornes Fred and Ann Costello Catherine Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan Fitz-Roy and Susan Curry Robert Bushnell, DVM and Elizabeth Dahlstrom-Bushnell John and Joanne Daniels Kim Uyen Dao* Judy and David Day Lynne de Bie* Carl and Voncile Dean Steven E. Deas Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* Richard Doughty Mr. and Mrs. John Drake Anne Duffey Marjean DuPree Harold and Anne Eisenberg Eliane Eisner Allen Enders Sidney England and Randy Beaton Roberta Erb Carol Erickson and David Phillips Nancy and Don Erman Lynette Ertel* Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Cheryl and David Felsch Liz and Tim Fenton* Joshua Fenton and Lisa Baumeister Steven and Susan Ferronato Dave Firenze Kieran and Marty Fitzpatrick David and Donna Fletcher Walter Ford Marion Franck and Bob Lew Anthony and Jorgina Freese Larry Friedman and Susan Orton Kerim and Josina Friedrich Joan Futscher Myra A. Gable Lillian Gabriel Claude and Nadja Garrod Peggy Gerick Gerald Gibbons and Sibilla Hershey Elizabeth Gibson Mary Lou and Robert Gillis Barbara Gladfelter Eleanor Glassburner Louis J. Fox and Marnelle Gleason* Pat and Bob Gonzalez* Michele Tracy and Dr. Michael Goodman
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THE ART OF GIVING Jeffrey and Sandra Granett Steve and Jacqueline Gray* Mary Louise Greenberg Paul and Carol Grench Alex and Marilyn Groth Wesley and Ida Hackett* Paul W. Hadley Jane and Jim Hagedorn Frank and Rosalind Hamilton William Hamre Pat and Mike Handley Jim and Laurie Hanschu Susan and Robert Hansen Vera Harris Sally Harvey* Buzz Haughton Mary Helmich Joan Williams and Martin Helmke Roy and Dione Henrickson Rand and Mary Herbert Eric Herrgesell, DVM Fred Taugher and Paula Higashi Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Michael and Margaret Hoffman David and Gail Hulse Eva Peters Hunting Patricia Hutchinson* Lorraine Hwang Marta Induni Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Mun Johl Phil and Carole Johnson Michelle Johnston and Scott Arranto Warren and Donna Johnston Valerie Jones Jonsson Family* Andrew and Merry Joslin James Anthony Joye Martin and JoAnn Joye* Fred and Selma Kapatkin Tim and Shari Karpin Yasuo Kawamura Phyllis and Scott Keilholtz* Charles Kelso and Mary Reed Dr. Michael Sean Kent Robert and Cathryn Kerr
Pat Kessler Jeannette Kieffer Gary and Susan Kieser Larry Kimble and Louise Bettner Dr. and Mrs. Roger Kingston Dorothy Klishevich* Mary Klisiewicz Paulette Keller-Knox Winston and Katy Ko Marcia and Kurt Kreith Sandra Kristensen Elizabeth and C.R. Kuehner Leslie Kurtz Cecilia Kwan Ray and Marianne Kyono Bonnie and Kit Lam* Marsha M. Lang Susan and Bruce Larock Leon E. Laymon Marceline Lee and Philip Smith The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn Lewis David and Susan Link Motoko Lobue Mary Lowry Henry Luckie Ariane Lyons Edward and Susan MacDonald Leslie Macdonald and Gary Francis Kathleen Magrino* Alice Mak and Wesley Kennedy Vartan Malian Joseph and Mary Alice Marino Pamela Marrone and Michael J. Rogers David and Martha Marsh J. A. Martin Bob and Vel Matthews Leslie and Michael Maulhardt Katherine Mawdsley* Sean and Sabine McCarthy Karen McCluskey* Nora McGuinness* Dr. Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry
CORPORATE MATCHING GIFTS
In Honor of Werner Paul Harder, II DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Fred and Linda J. Meyers* Beryl Michaels and John Bach Lisa Miller Phyllis Miller Sue and Rex Miller Douglas L. Minnis Kathy and Steve Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Elaine and Ken Moody Amy Moore Hallie Morrow Diane and William Muller Judith and Terry Murphy Elaine Myer Nachtergaele-Devos Judy and Merle Neel Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Jenifer Newell Keri Mistler and Dana Newell* Malvina and Eugene Nisman Nancy Nolte and James Little Dana K. Olson Jim and Sharon Oltjen Marvin O’Rear Bob and Elizabeth Owens Jessie Ann Owens Mike and Carlene Ozonoff* Pamela Pacelli Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Brenda Davis and Ed Phillips Pat Piper Drs. David and Jeanette Pleasure Jane Plocher Vicki and Bob Plutchok Mark Powers Jerry and Bea Pressler Dr. and Ms. Rudolf Pueschel
LEGACY CIRCLE
Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.
We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.
Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Bob and Barbara Leidigh Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Anonymous
ARTISTIC VENTURES FUND
John and Lois Crowe Patti Donlon Richard and Joy Dorf Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef
If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation. If you are interested in learning about planned giving opportunities, please contact Ali Morr Kolozsi, Director of Major Gifts and Planned Giving (530.754.5420 or amkolozsi@ucdavis.edu ).
Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. 44 MONDAVIARTS .ORG
Mary Superak Joyce Nao Takahashi Yayoi Takamura and Jeff Erhardt Stewart and Ann Teal* Julie A. Theriault, PA-C Janet and Karen Thome Brian Toole Robert and Victoria Tousignant Michael and Heidi Trauner Rich and Fay Traynham James Turner Barbara and Jim Tutt Robert and Helen Twiss Nancy Ulrich* Unda/Serat Family Chris and Betsy Van Kessel Robert Vassar Bart and Barbara Vaughn* Catherine Vollmer Rosemarie Vonusa* Carolyn Waggoner and Rolf Fecht* Kim and James Waits M. Wakefield and Wm Reichert Carol Walden Andy and Judy Warburg Valerie Boutin Ward Marny and Rick Wasserman Royce and Caroline Waters Dr. Fred and Betsy Weiland Jack and Rita Weiss Douglas West Martha S. West Robert and Leslie Westergaard* Edward and Susan Wheeler Linda K. Whitney Jean and Don Wigglesworth Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Heather Young Phyllis Young Verena Leu Young Sandra A. Zachery Melanie and Medardo Zavala Darrel and Phyllis Zerger* Sonya and Tim Zindel Dr. Mark and Wendy Zlotlow And 37 donors who prefer to remain anonymous
Thank you to the following donors for their program gifts during the past fiscal year:
Chevron/Texaco Matching Gift Fund DST Systems Morgan Stanley U.S. Bank
We applaud our Artistic Ventures Fund’s founding members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies and programs made available free to the public.
Edward and Jane Rabin Dr. Anne-Louise and Dr. Jan Radimsky Mary Ralli Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Sandra Erslsine Reese Fred and Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Francis Resta David and Judy Reuben* Al and Peggy Rice Stephen Michael Rico Jeannette and David Robertson Alice and Richard Rollins Richard and Evelyne Rominger Andrea G. Rosen Linda Roth and Teddy Wilson Cathy and David Rowen Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Dr. Terry Sandbek and Sharon Billings* Patsy Schiff Julie Schmidt Janis J. Schroeder and Carrie L. Markel Jenifer and Bob Segar Dan Shadoan and Ann Lincoln Nancy Sheehan and Rich Simpson Mamie Shen Jill and Jay Shepherd Valerie Brown and Ed Shields Jane and Ray Shurtz Consuelo Sichon Sandi and Clay Sigg Dan and Charlene Simmons P. and C. Simpson Marion E. Small Robert Snider Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Marguerite Spencer Stephen Sporer Miriam Steinberg Harriet Steiner and Miles Stern Raymond Stewart Deb and Jeff Stromberg
YOUNG ARTISTS COMPETITION AND PROGRAM
John and Lois Crowe Merrilee and Simon Engel
Mary B. Horton Barbara K. Jackson
ARTS EDUCATION STUDENT TICKET PROGRAM
Donald and Dolores Chakerian Members of The Friends of Mondavi Center Carole Pirruccello, John and Eunice Davidson Fund Sharon and Elliott Rose
DANCE FOR PARKINSON’S PROGRAM
Tom and Lynda Cadman Douglas Clarke In Memory of Virginia Fong Gerald Hayward William and Madeleine Kenefick John Springer and Melourd Lagdamen Phyllis and Sunny Lee Jean Malamud Joy McCarthy Mia McClellan
David and Connie McKie Edward Melia and Elaine Silver-Melia Sybil and Jerry Miyamoto Maureen and Harvey Olander Parkinson’s Association of Northern California Mary and Edward Schroeder Samuel and Lynne Wells John Whitted Barbara Wilson
UC DAVIS STUDENT MEMBERSHIP PROGRAM
Eric Joshua Smith
BOARDS & COMMITTEES
MONDAVI CENTER ADVISORY BOARD
The Mondavi Center Advisory Board is a support group of University Relations whose primary purpose is to provide assistance through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.
13–14 ADVISORY BOARD MEMBERS Joe Tupin, Chair • John Crowe, Immediate Past Chair Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry Maisel • Stephen Meyer • Randy Reynoso • Grace Rosenquist • John Rosenquist • Joan Stone • Tony Stone • Larry Vanderhoef HONORARY MEMBERS Barbara K. Jackson • Margrit Mondavi
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. 13–14 COMMITTEE MEMBERS Lee Miller • Jim Forkin • Erin Jackson • Sharon Knox • Eleanor McAuliffe • Marta Altisent • Charles Hunt • Gabrielle Nevitt • Burkhard Schipper • Christine Chang • Timothy Colopy • Daniel Friedman • Susan Perez • Lauren Perry • Don Roth • Jeremy Ganter • Erin Palmer • Becky Cale
THE FRIENDS OF MONDAVI CENTER is an active donor-based 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. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431. 13–14 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Jo Anne Boorkman, President Sandi Redenbach, Vice President Jo Ann Joye, Secretary Jim Coulter, Audience Enrichment Lydia Baskin, School Matinee Support Leslie Westergaard, Mondavi Center Tours Karen Street, School Outreach Martha Rehrman, Friends Events Jacqueline Gray, Membership Joyce Donaldson, Chancellor’s Designee, Ex-Officio Shirley Auman, Gift Shop, Ex-Officio
EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Jo Anne Boorkman, President, Friends of Mondavi Center • Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis • Lee Miller, Chair, Arts & Lectures Administrative Advisory Committee
Friends
of Mondavi Center
is an active donor-based volunteer organization that supports activities of Mondavi Center’s presenting program.
Gift Shop at Mondavi Center The Gift Shop at the Mondavi Center is located in the southeast corner of the Yocha Dehe Grand Lobby. The Gift Shop is currently stocking new and festive holiday merchandise and is open prior to and during intermission for performances in Jackson Hall. Managed and staffed by Friends of Mondavi Center, the Gift Shop is a friendly gathering spot and perfect place to shop for a special gift. We hope to see you there! All profits from the Gift Shop help to support Mondavi Center’s Arts Education program. For more information regarding the Friends of Mondavi Center, call the Mondavi Center Arts Education Coordinator at 530.754.5431 encoremediagroup.com 45
POLICIES & INFORMATION TICKET EXCHANGE • Tickets must be exchanged at least one business day prior to the performance. • Tickets may not be exchanged after the 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 lowerpriced 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 $8 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.
Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.
CHILDREN (AGE 17 AND UNDER) A ticket is required for admission of all children regardless of age. Any child attending a performance should be able to sit quietly through the performance. For events other than the Children’s Stage Series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend.
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 email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.
GROUP DISCOUNTS
TOURS
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.
Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.
STUDENT TICKETS
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. 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,
UC Davis students are eligible for a 50% discount on all available tickets. Proof Requirements: School ID showing validity for the current academic year. Student ID numbers may also be used to verify enrollment. Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on all available tickets. (Continuing education enrollees are not eligible.)
46 MONDAVIARTS .ORG
ACCOMMODATIONS FOR PATRONS WITH DISABILITIES
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 or TDD 530.754.5402.
ASSISTIVE LISTENING DEVICES 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.
ELEVATORS 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.
LOST AND FOUND HOTLINE 530.752.8580
Copyright © UC Regents, Davis campus, 2013. All Rights Reserved.
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