Mondavi Center 14-15 Program Book 2 by Mondavi Center

Program

Novemberâ&#x20AC;&#x201C;December 2014

Irvin Mayfield and the New Orleans Jazz Orchestra NOV 18

Timeless music all the time . 91.7 FM 88.9 FM Sonora/Grovela nd S a c r a m 88.7 FM ento Sutte r/Yuba C ity

WELCOME

A MESSAGE FROM THE CHANCELLOR

It is always a thrill to anticipate the upcoming season at the Robert and Margrit Mondavi Center for the Performing Arts, and I know everyone will find something to savor on the 2014-15 calendar. Thanks to the tremendous generosity of the legendary winemaker and his wife, as well as our beloved Barbara Jackson and the vision of former UC Davis Chancellor Larry Vanderhoef, we have all come to love the Mondavi Center as the artistic heart and soul of our campus and a venue that enriches the entire region.

LINDA P.B. KATEHI

UC DAVIS CHANCELLOR

In my five years as Chancellor, among the most moving experiences I’ve had were when I was able to sit with an enraptured Mondavi Center audience and take in some of the extraordinary artists and speakers we have been able to bring to its stage.

We have all come to love the Mondavi

Every Mondavi Center season seems to top the one just before, and this year has the added bonus of more innovative and non-traditional classical music performances, thanks to year one of a three-year grant

Center as the artistic

from the Andrew W. Mellon Foundation.

heart and soul of our

We are blessed on our campus to have such a world-class venue that

campus and a venue

not only attracts brilliant and enjoyable performers from around the

that enriches the entire region.

world, but also serves as a showcase for so many talented UC Davis students, artists and faculty. I’m glad you took the time to be part of this exciting season and hope you enjoy the experience.

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SPONSORS CORPORATE PARTNERS

PLATINUM

MONDAVI CENTER STAFF Don Roth, Ph.D.

EXECUTIVE DIRECTOR

BUSINESS SERVICES

Jeremy Ganter

Debbie Armstrong

ASSOCIATE EXECUTIVE DIRECTOR

Margaret Goldbar EXECUTIVE ASSISTANT

PROGRAMMING Jeremy Ganter

GOLD

DIRECTOR OF PROGRAMMING

Erin Palmer

ASSISTANT DIRECTOR OF PROGRAMMING

Ruth Rosenberg

ARTIST ENGAGEMENT COORDINATOR

SILVER

Lara Downes OFFICE of CAMPUS COMMUNITY RELATIONS

CURATOR: YOUNG ARTISTS PROGRAM

ARTS EDUCATION Joyce Donaldson

Osteria Fasulo Seasons

Ciocolat

Watermelon Music

El Macero County Club 4 MONDAVIARTS .ORG

Debbie Armstrong SENIOR DIRECTOR OF DEVELOPMENT

FACILITIES Herb Garman

TICKET AGENT

Russell St. Clair TICKET AGENT

PRODUCTION Donna J. Flor

PRODUCTION MANAGER

Christi-Anne Sokolewicz SENIOR STAGE MANAGER, JACKSON HALL

Christopher C. Oca

DIRECTOR OF OPERATIONS

SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE

Greg Bailey

Phil van Hest

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MASTER CARPENTER

AUDIENCE SERVICES

MARKETING

LEAD APPLICATION DEVELOPER

Rob Tocalino

DIRECTOR OF MARKETING

Erin Kelley

PUBLIC EVENTS MANAGER

ART DIRECTOR & SENIOR GRAPHIC ARTIST

Nancy Temple

Dana Werdmuller

ASSISTANT PUBLIC EVENTS MANAGER

Boeger Winery

DEVELOPMENT

Susie Evon

Rodney Boon

Yuri Rodriguez

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BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

TICKET OFFICE SUPERVISOR

Mark J. Johnston

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SPECIAL THANKS

Russ Postlethwaite

Steve David

ARTS EDUCATION COORDINATOR

Marlene Freid

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

FINANCIAL ANALYST

TICKET OFFICE MANAGER

Dale Proctor

Jennifer Mast

COPPER

Mandy Jarvis

Sarah Herrera

INFORMATION TECHNOLOGY

DIRECTOR OF ARTS EDUCATION

BRONZE

SENIOR DIRECTOR OF SUPPORT SERVICES

TICKET OFFICE

MARKETING MANAGER

MASTER ELECTRICIAN HEAD AUDIO ENGINEER

Jenna Bell

ARTIST SERVICES MANAGER

Adrian Galindo

AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE/STAGE TECHNICIAN

HEAD USHERS Huguette Albrecht Ralph Clouse Eric Davis John Dixon George Edwards Donna Horgan Paul Kastner Jan Perez Mike Tracy Janellyn Whittier Terry Whittier

Main theatre, WriGht hall nov 13-15, 8PM, nov 16, 2PM nov 20-22, 8PM, nov 23, 2PM General $18/22; StuDentS, chilDren & SeniorS $16/20

Written by Susannah centlivre Directed by Granada Artist-In-Residence fidelis Morgan

(866) 754-2787 || ticketS.MonDaviartS.orG theatreDance.ucDaviS.eDu facebook.coM/ucDtheatreDance

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d ey dmun v r E ha by

y s" c b sque i s u e , M oman s ne Les R o J " m alled o c t by play s a ic Lyr by & d ok ste Bo gge (Su

Wyatt theatre Dec 4-6, 8PM Dec 7, 2PM Dec 11-13, 8PM Dec 14, 2PM General $18/22; StuDentS, chilDren & SeniorS $16/20 For information on tickets please email tDticketS@ucDaviS.eDu theatreDance.ucDaviS.eDu facebook.coM/ucDtheatreDance The Fantasticks is presented through special arrangement with Music Theatre International (MTI) All authorized performance materials are also supplied by MTI

IN THIS ISSU

A MESSAGE FROM THE EXECUTIVE DIRECTOR

DON ROTH, Ph.D. EXECUTIVE DIRECTOR

When the Mondavi Center season brochure comes out every spring, a natural impulse is to thumb through it to look for the household names of music, dance and theater —and, of course, they are always there, whether a classical artist like Lang Lang or a jazz master like Ellis Marsalis or a down home roots player like Dr. John. We are proud to present such revered figures to you. But our programming team especially enjoys the opportunity to “break” artists that bring the same artistic commitment and brilliance as those more established in their careers. When we presented Max Raabe and the Palast Orchester several seasons back, few audience members knew the ensemble’s amazing work, and attendance was modest. For Raabe’s return appearance this spring, bolstered by word of mouth from those who saw him last time, tickets are flying off the shelf.

This year, we’ve latched onto another group, which like Max Raabe’s, is uncategorizable. Yes, they are Irish (and Irish-American) and yes they play the instruments associated with Celtic music, but no they are not quite the Chieftains and not quite Danu. This band is called The Gloaming . It’s a word that refers to the time after sunset and before dark, and it is a perfect metaphor for a group that roams in the “gloam” between genres. Jeremy has taken to calling it “alt-Celtic”, alt being a very nice prefix to describe those who come out of a genre (is Wilco “altcountry”?) but are not quite of it. Every member of The Gloaming is a world class musician, conversant with all the ins and outs of Celtic music, but they bring to it a very contemporary feel, a thoughtful aesthetic and, at times, the kind of melancholy we associate with that time just before dark (and Irish singers and poets over the centuries). For me, this is one of the evenings I’m anticipating most this season. I am sure once The Gloaming has appeared on our stage, this will become a ticket as hot as that of the more well-known Irish ensembles. It’s a great and varied month of music and dance. I am so glad you are here to join us.

P.S. – Two very different looking events in this playbill have a very interesting connection . On December 4 we have one of the great jazz pianists working today, Brad Mehldau, while on November 5 we present classical pianist Jeremy Denk in his Mondavi Center debut. But look closer and you will see that Denk is performing a brand new work, written for him by none other than Brad Mehldau. Check them both out and you will hear some of the greatest piano playing, regardless of genre, around today! 6 MONDAVIARTS .ORG

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

Regina Carter

11 Jeremy Denk 14 Czech Philharmonic 21 Academy of Ancient Music 24 The Gloaming 26 David Sedaris 28 Irvin Mayfield & NOJO 31 Dr John & the Nite Trippers 34 Brad Mehldau Trio 36 Cantus 39 Mariachi Sol de Mexico 41 American Bach Soloists

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.

November – December 2014 Volume 2, No. 2

an exClusiVe Wine tasting experienCe of tHese featured Wineries for inner CirCle donors

2012—13 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold, Seattle Sales Director Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Tia Mignonne, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Executive Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoremediagroup.com

Paul Heppner Publisher Marty Griswold Associate Publisher Leah Baltus Editor-in-Chief Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Amanda Townsend Events Coordinator www.cityartsonline.com

Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7–8PM and during intermission if scheduled.

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noVember THU

Ellis Marsalis, Jr. and Delfeayo Marsalis Cakebread Cellars Akram Khan Company Justin Vineyards & Winery Academy of Ancient Music Hestan Vineyards

deCember FRI

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marCH SAT april THU may FRI

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Three Acts, Two Dancers, One Radio Host sCribe Winery Arlo Guthrie frank family Vineyards Academy of St. Martin in the Fields Chamber Ensemble todd taylor Wines

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REGINA CARTER

An American Heritage Event Saturday, November 1, 2014 • 8PM Jackson Hall Regina Carter, violin Will Holshouser, accordion Marvin Sewell, guitar Chris Lightcap, bass Alvester Garnett, drums Chris Hinderaker, tour manager Pre-Performance Talk • 7PM Regina Carter in conversation with Elisa Joy White, PhD, Associate Professor, African American and African Studies, UC Davis PRE-PERFORMANCE TALK MODERATOR:

Elisa Joy White is an Associate Professor of African American and African Studies at UC Davis. She holds a PhD in African Diaspora Studies (UC Berkeley). Dr. White is the author of Modernity, Freedom, and the African Diaspora: Dublin, New Orleans, Paris (Indiana University Press, 2012). 8 MONDAVIARTS .ORG

REGINA CARTER Violin virtuoso Regina Carter is considered the foremost jazz violinist of her generation; she is also a MacArthur Fellow (and a recipient of the famed “genius grant”). Drawing from a diverse well of influences which include classical, jazz, Motown, swing, funk, and world music among others, Carter was born in Detroit and began studying piano at age two before taking up the violin. Her earliest training was in classical music, but an interest in jazz eventually took over. In 1987, she joined the all-female pop-jazz quintet Straight Ahead and appeared on their first three albums before leaving the band in 1991 and moving to New York, where she picked up session work with artists including Aretha Franklin, Lauryn Hill, Mary J. Blige, Billy Joel, Dolly Parton, Max Roach and Oliver Lake. She released her self-titled solo album on Atlantic in 1995, followed by Something for Grace, an album dedicated to her mother and released in 1997. Carter

also toured with Wynton Marsalis that same year, then switched to the Verve label where she released Rhythms of the Heart in 1999. Motor City Moments, a tribute to her hometown, followed in 2000. In December 2001, she traveled to Genoa, Italy, and made musical history by being the first jazz musician and the first African American to play the legendary Guarneri Del Gesu violin, made in 1743 and owned by classical music virtuoso and composer Niccolo Paganini. This encounter inspired her 2003 album, Paganini: After a Dream, which featured works by Maurice Ravel, Claude Debussy and Italian film composer Ennio Morricone. She recorded I’ll Be Seeing You: A Sentimental Journey in 2006 as a tribute to her late mother. That same year Carter was awarded the MacArthur Fellowship, given to a highly select group who “show exceptional merit and promise for continued and enhanced creative work.” Reverse Thread, released in May 2010, was a celebration of traditional

REGINA CARTER African music via a contemporary perspective. Carter also took her pioneering spirit on the road in the late summer and fall of 2012 for a twomonth world tour with rock icon Joe Jackson’s stellar ensemble in support of his release The Duke, a collection of interpretations of Duke Ellington’s work. Carter continues her musical quest for beauty and history with her SONY Music Masterworks debut Southern Comfort, in which she investigates her family history and explores the folk tunes her paternal grandfather, a coalminer, would have heard as he toiled in Alabama. The expanded project includes a blend of folk songs and spirituals, serving as Carter’s interpretation of her roots through a modern lens.

TRACK BY TRACK SOUTHERN COMFORT “MINER’S CHILD” This is a traditional Appalachian song that Carter found perfect for the project because of her grandfather’s experience working in coal mines. Since guitarist Marvin Sewell is from Alabama, he seemed to be the perfect contender to come up with the arrangement. “Originally, we were going to start it slow and come in together,” Carter said, “but the way the layers come in, grow, and everyone picks a line, it felt so good. Everyone picks their line and we improvise in between them.”

“TRAMPIN’” Carter wanted something to sound more modern and funky, so naturally she looked to bassist Jesse Murphy to devise the arrangement. “I wanted this to be a relief, so it’s like an original blues piece—not 12 bars, but moreso the feeling.” Carter said “…it’s like our James Brown ‘take it to the bridge’ song. It’s fun and very different from everything else.”

“HICKORY WIND” When bassist Chris Lightcap brought this Gram Parsons song to Carter’s attention, she found the simple beauty of the tune to be a challenge. “It forced me to not play so much all the time and be mindful that it’s a

different kind of standard, however, it’s not a jazz standard so I had to be in a different kind of mindset musically and understand that space is so important.”

“SHOO-RYE” Pianist Laurence Hobgood—whose Appalachian mother collected folk tunes from her region—arranged this traditional children’s song for Carter. Originally, the group planned on using a vocal sample, but ended up using Carter’s own voice on the finished recording. “…the band just said, ‘You sing it!’ I asked the engineer to mess with it so it would sound old, like it maybe was the original record with a little bit of funkiness to it.”

“BLUES DE BASILE” This Cajun dance song written by Dennis McGee and arranged by accordionist Will Holshouser had been included in the live sets before Carter planned this recording. “The tempo is very freeing,” said Carter. “It’s almost like a party tune at the end of the night. Like the third set of the club that’s not so formal.”

“I’M GOING HOME” This particular field recording struck an emotional chord from the time of its initial listening. Says Carter, “every time I hear it, it goes straight to my gut, my core and just makes me cry.” Guitarist Adam Rogers put together the gorgeous, meditative arrangement which Carter affectionately refers to as “the ‘Call To Prayer Song.’”

“HONKY TONKIN’” One of Hank Williams’ most famous tunes, Chris Lightcap’s arrangement has often reminded Carter of an Ornette Coleman piece with its jagged, funky edges. “It’s fun to solo over,” Carter said. “We just have that loose vibe going.”

“CORNBREAD CRUMBLED IN GRAVY” The first time Carter heard folksinger Vera Ward Hall’s recording of the traditional piece, she immediately fell in love with her voice. Pianist Xavier Davis arranged this version which Carter said has “almost a baroque feel.” She adds, “With every arranger, I made a point of not telling them how to arrange it. I wanted the piece to speak to them individually.”

“SEE SEE RIDER” Throughout the 20th century, ‘See See Rider’ has become a well known standard, and gone through several transformations. However, Adam Rogers’ arrangement is derived from a far earlier field recording from a rural all-girls’ school. “After I was listening to the original field recording so much, it was tricky for me to play this arrangement, because I had the original so in my head with its beautiful feel and rhythms. But Adam wrote an absolutely fantastic rendition. It was a lot of fun.”

“Every time I hear it, it goes straight to my gut, my core and just makes me cry.” “I MOANED AND I MOANED” When Carter heard the field recording of an early gospel quartet sing this piece, she was reminded of attending church with her in-laws in rural Virginia. This version, arranged by Lucas Madrazo, features a more contemporary sound of Carter’s violin intertwined with layered electric guitars. “I had kind of wanted to stay away from guitar, because when people hear violin and guitar, their minds go to Django Reinhardt and Stephane Grappelli,” Carter said. “Now with this, it’s obviously so far away from that. Adam and Marvin are such incredible, tasteful players. They were perfect to have on this project.”

“DEATH HAVE MERCY/BREAKAWAY” Stefon Harris arranged these pieces, which Carter adapted from the folklore collections of John Work III. Fueled by electric guitars, the dark tone of the first section blends into a sunnier conclusion. Says Carter, “Once we were in the studio, we got more of a concept of what Stefon was looking for. To have it be layered, have that hypnotic motif going underneath constantly, but not to take away from the other layers. It’s not necessarily about the solos, but about something beautiful.”

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Keith Haring, Untitled, 1982. Vinyl ink on vinyl tarpaulin. Collection of Sloan and Roger Barnett. Artwork © Keith Haring Foundation

Through his graffiti-inspired drawings, paintings, sculptures, and murals, Keith Haring created an immediately recognizable iconography that speaks to a diverse population. Making its US premiere at the de Young with more than 130 works of art, The Political Line lends gravitas to the artist’s career by focusing on his political activism. Exuberant, profane, witty, and provocative, the works in this exhibition trace Haring’s creative development and his historical significance as an advocate for social justice.

November 8, 2014–February 16, 2015 This exhibition is organized by the Fine Arts Museums of San Francisco. Director’s Circle: Penny and James George Coulter. Curator’s Circle: Sloan and Roger Barnett, Ray and Dagmar Dolby Family Fund, Holly Johnson Harris and Parker Harris, and the Shimmon Family. Conservator’s Circle: The Buena Vista Fund of Horizons Foundation. Patron’s Circle: The Keith Haring Foundation. Supporter’s Circle: Juliet de Baubigny, and Richard and Peggy Greenfield.

Media Sponsors

Wednesday, November 5, 2014 • 8PM Jackson Hall

PROGRAM Sonata No.46 in E Major, Hob.XVI:31 Haydn Moderato Allegretto Finale: Presto Sonata Mehldau Sonata No. 30 in E Major, Op. 109 Beethoven Vivace, ma non troppo. Sempre legato — Adagio espressivo — Tempo I — Adagio espressivo — Tempo I Prestissimo Tema: Andante molto cantabile ed espressivo — Variazioni I-VI INTERMISSION Rondo in A Minor, K.511 Mozart Carnaval, Op. 9 Schumann Préambule — Pierrot — Arlequin — Valse noble — Eusebius — Florestan — Coquette — Réplique — (Sphinxes) — Papillons — ASCH-SCHA (Lettres dansantes) — Chiarina — Chopin — Estrella — Reconnaissance — Pantalon et Columbine — Valse allemande — Intermezzo: Paganini — Aveu — Promenade — Pause — Marche des Davidsbündler contre les Philistins

JEREMY DENK

Piano

MICHAEL WILSON

PROGRAM NOTES SONATA NO.46 IN E MAJOR, HOBOKEN XVI:31 (1776)

Bach. The finale, part rondo, part variations, is built on a lively theme of quirky harmonic personality.

SONATA (2013)

JOSEPH HAYDN (1732-1809)

BRAD MEHLDAU (BORN IN 1970)

From his earliest clavichord divertimentos to his last set of three piano sonatas written in London, Haydn composed more than sixty solo keyboard sonatas, mostly for students, friends and amateurs, though some were intended for performing virtuosos. The set of six sonatas published in Vienna in 1776 (H. XVI:27-32) appeared at the time that Haydn’s fame was spreading throughout Europe and were meant to satisfy the demand among musical amateurs for his works. They were also among the first of his keyboard compositions with dynamic markings, an indication that they were written for the increasingly popular fortepiano rather than for the waning harpsichord, which could play at only one dynamic level. These sonatas are all in three movements, crisply constructed in their forms, without extreme demands of technique, and pleasing in content. The opening movement of the Sonata in E major of 1776 (H[oboken] XIV:31) follows the expected sonata form, here subjected to one of Haydn’s delicious formal inventions by having the downward rushing scales of the main theme turned upside down to form the second theme. The Allegretto, with its walking bass line and its somber E minor tonality, has a stately tread and noble severity reminiscent of the music of Johann Sebastian

Commissioned for pianist Jeremy Denk by Music Accord. Brad Mehldau, born in Jacksonville in 1970, started playing piano when he was four and studied classical piano from the age of six. By the time he was ten, his family had settled in Hartford, Connecticut, where he participated in the nationally recognized jazz program at Hall High School. Mehldau moved to New York in 1988 to study jazz at The New School. He began working with a wide variety of jazz artists while still a student, and in 1994 formed his own trio. He started performing as an unaccompanied soloist around 1998. Mehldau began recording with his trio in 1995, and he has since made more than seventy recordings that earned three Grammy nominations. In recent years, Mehldau has written concert works, including the Sonata for Jeremy Denk in 2013.

SONATA NO. 30 IN E MAJOR, OP. 109 (1820)

LUDWIG VAN BEETHOVEN (1770-1827)

Beethoven composed the Op. 109 Sonata between May and September 1820 in the Austrian village of Mödling, south of Vienna, where he had rusticated for the two previous summers (though he had to find new lodgings that year since his landlord of 1819 refused to rent to the stone-deaf composer again because encoremediagroup.com 11

of his “noisy disturbances”). Those country residencies were times of spiritual and creative retreat for Beethoven, when, according to his amanuensis and biographer, Anton Schindler, he was “rapt away from the world.” Sketches for the Sonata appear among those for the Credo and the Benedictus of the Missa Solemnis, an appropriate balance of the personal and public manifestations of the transcendent visions he was seeking to embody within the creations of his last years. The dominant emotional state of the outer movements of the E major Sonata is optimism and joy that is thrown into relief by the stormy central Prestissimo. The opening movement is the epitome of Beethoven’s distillation of the sonata principle in his late works: the two themes (the first — fast, flowing, diatonic, arpeggiated; the second — slow, ruminative,

chromatic, chordal) are given in bare, economical juxtaposition, without introduction or transition. The development section is a seamless, superbly directed elaboration of the main theme that reaches its peak at the moment the recapitulation begins. The second subject returns before the movement ends with a luminous coda built upon the principal theme. The fiery Prestissimo, which serves as the Sonata’s scherzo and its emotional foil, is also in sonata form, though, unlike the opening movement, its themes are little contrasted with each other. The finale, twice the length of the first two movements combined, is an expansive set of six variations founded upon the hymnal two-part theme presented at the outset. An ethereal restatement of the theme, virtually a benediction to the entire work, brings the Sonata to a sublime close.

FURTHER LISTENING JEREMY DENK

by Jeff Hudson

Talk about a crowded calendar. In July, Jeremy Denk gave a recital at the Aspen Music Festival in Colorado. In August, he was with the Philadelphia Orchestra in Saratoga Springs, NY, plus a recital at the Tanglewood Festival in Massachusetts. Denk’s October schedule included three concerts with the New York Philharmonic (his debut with that orchestra), plus three concerts with the St. Paul Chamber Orchestra in Minnesota. During late October/early November, Denk had dates with the Los Angeles Philharmonic. Then his recital at the Mondavi Center. After further recitals in New York, Massachusetts and Ontario, Denk closes November with the San Francisco Symphony, followed by a Dec. 4 Carnegie Hall performance of “The Classical Style”: An Opera (of Sorts) with a libretto by Denk, based on the masterful book by musicologist Charles Rosen (who visited UC Davis several times). Denk also released a new album in September, Bach’s Goldberg Variations. Writing for NPR’s Deceptive Cadence blog last year, Denk said, “The best reason to hate the Goldberg Variations — aside from the obvious reason that everyone asks you all the time which of the two [Glenn Gould] recordings you prefer — is that everybody loves them. Yes, I’m suspicious of the Goldbergs’ popularity. Classical Music is not really supposed to be that popular. I worried for years that I would be seduced into playing them, and would become like all the others — besotted, cultish — and that is exactly what happened. I have been assimilated into the Goldberg Borg.” Yeah, Denk is a respected writer, too… he’s been in The New Yorker and he’s working on a book for Random House. Did I mention that Denk won a MacArthur “Genius Grant” in 2013? Or that Musical America picked him as 2014 Instrumentalist of the Year? No wonder Denk hasn’t found time to keep up his blog (“Think Denk”). When I checked in mid-September, the most recent posting dated from May. Hey, he’s been busy making breakthroughs. And yes, if Denk looks familiar, it’s because he performed at the Mondavi Center in 2006, sharing the bill with violinist Joshua Bell. And Denk played beautifully on that occasion, as I recall. JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

12 MONDAVIARTS .ORG

RONDO IN A MINOR, K. 511 (1787)

WOLFGANG AMADEUS MOZART (1756-1791) Mozart entered the Rondo in A minor into his catalog of works on March 11, 1787, soon after returning to Vienna from performances of The Marriage of Figaro in Prague. The piece may have been intended for a concert given by the oboist Friedrich Ramm at the Kärntnertor Theater three days later on which Mozart directed one of his symphonies (which is unknown) and presented an aria with his sister-in-law and old flame, the soprano Aloysia Lange. The new Rondo may well have been included in the evening’s entertainment. The piece was published by Hoffmeister later that year. With the ruminative chromaticism of its principal theme, the quietly gentle melancholy of its emotional personality and the chiaroscuro of its fluctuating tonalities, the A minor Rondo exemplifies the most sophisticated expressive manner of Mozart’s later years.

CARNAVAL, OP. 9 (1834-1835)

ROBERT SCHUMANN (1810-1856)

Schumann’s Carnaval depicts characters at a masked ball, some real people, some stock figures from the pantomime and commedia dell’arte, though Schumann admitted to the pianist Ignaz Moscheles that he added the titles only after the music was completed. Carnaval is a quintessential document of Romanticism — colorful, evocative, virtuosic, varied, melodious, daring, stirring. It is the first music in which Schumann’s full genius blossomed, and the work that offers the most rounded view of him as creator, musician and person. “The more one penetrates Schumann’s ideas, the more power and vitality one finds in them,” wrote Franz Liszt. “The more one studies them, the more one is astonished by their richness and fertility.” Carnaval begins with a heraldic Préambule in the manner of a fanfare. Pierrot, stolid and hesitant, and Arlequin, coy and mocking, descend from the stage of the French pantomime to join the fête. The Valse noble is an elegant realization of the dance form that was still considered deliciously risqué in the 1830s. Schumann next introduces himself with the contrasting elements of his personality: Eusebius, dreamy and romantic, and Florestan, impetuous and mercurial. Coquette, flirtatious and teasing, draws a reply (Réplique) from a suitor or imitator. Papillons (“Butterflies”) evokes the nattily dressed single men whose dancing is more enthusiastic than graceful. A.S.C.H.–S.C.H.A. is based on the letters of the hometown (Asch) of a girlfriend Schumann had thrown over when he fell hopelessly in love

JEREMY DENK with Clara Wieck, the brilliantly gifted daughter of his piano teacher. The awkward, grace-note treatment of the Asch motive leaves little doubt that by the time Schumann wrote this music, his affection had shifted to Clara, who is portrayed in Chiarina in the most impassioned episode in the entire work. A piece of luxuriant counterfeit Chopin follows. (Chopin resented having his name and style borrowed by Schumann, and he could find nothing better to say about Carnaval than that he “enjoyed the charming mise-en-scéne.”) Next comes a darkly colored waltz titled Estrella. The composer described Reconnaissance as “a lovers’ meeting.” The commedia dell’arte figure Pantalon is usually a gullible old merchant who is deceived in amorous matters, perhaps, this time, by the sweet-tongued but sly Columbine. The Valse Allemande (“German Waltz”) is interrupted by a brilliant reminiscence of Paganini, whose dazzling Caprices Schumann arranged for piano as his Opp. 3 and 10. Aveu is a tender avowal of love. A general Promenade for all the dancers and a breathless Pause, borrowed from an episode in the Préambule, lead to the grand finale of Carnaval, the March of the League of David Against the Philistines. During the early 1830s, Schumann found companionship in a group of fellow admirers of the German Romantic writers Jean Paul and E.T.A. Hoffmann who banded themselves together into the Davidsbund — the League of David — to do battle against the enemies of all true art, the “Philistines.” The principal weapon of these would-be warriors of artistic rectitude was the pen, and to further their aims they established the Neue Zeitschrift für Musik (“New Journal for Music”) in 1833 and issued the first number on April 3, 1834. The purpose of the periodical was to stem the rising tide of empty virtuoso pieces and simple Biedermeier musical confections for home consumption while championing the works of the great Classicists and the emerging generation of young Romantics, including Chopin, Berlioz, Mendelssohn and, of course, Schumann. Schumann took over the editorship of the journal soon after it was founded, and he became one of the most important and respected music critics in Europe during his decade in that position. This closing March flies in the face of convention with its triple meter, and portrays the League’s enemies with the Grandfather Dance, a mundane 17th-century German tune traditionally used to signal the conclusion of an evening’s festivities. The Préambule is again recalled to close this musical sortie against the Philistines with total victory for the forces of Schumann. ©2014 Dr. Richard E. Rodda

JEREMY DENK One of America’s most thought-provoking, multi-faceted, and compelling artists, pianist Jeremy Denk is the winner of a 2013 MacArthur “genius” Fellowship, the 2014 Avery Fisher Prize, and Musical America’s 2014 Instrumentalist of the Year award. He has appeared as soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London, and regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the United States. Next season, he looks forward to launching a four-season tenure as an Artistic Partner of the Saint Paul Chamber Orchestra; making debuts with the Cleveland Orchestra under Susanna Mälkki and the New York Philharmonic led by Esa-Pekka Salonen; appearing as a soloist with the Los Angeles Philharmonic and San Francisco Symphony; and performing Bach concertos on tour with the Academy of St. Martin-in-the-Fields. Other upcoming engagements include a return to the Wigmore Hall, and his recital debut at Amsterdam’s Concertgebouw playing Bach’s Goldberg Variations, which he also performs as part of the Barbican’s season at LSO St. Luke’s and throughout Europe, with performances at Piano aux Jacobins, the Rheingau Musik Festival, and the Thüringer Bachwochen. To coincide with the release of his second Nonesuch Records album, Bach: Goldberg Variations, Denk opened the 2013-14 season with performances of the “Goldbergs” in Boston, Chicago, and Washington; the album reached number one on Billboard’s Classical Chart and was featured in “Best of 2013” lists by The New Yorker and The New York Times. Other season highlights included his return to Carnegie Hall to play Mozart’s Piano Concerto No. 25 on tour with the San Francisco Symphony and Michael Tilson Thomas, and performances of the concerto with the symphony orchestras of Cincinnati and Baltimore, as well as with the Saint Paul Chamber Orchestra, which he led from the keyboard. Summer sees Denk return to the Tanglewood Festival to perform the Goldberg Variations, and play Beethoven’s First Piano Concerto with the Philadelphia Orchestra. As Music Director of the 2014 Ojai Music Festival, he performs, curates, and presides over the world premiere of a comic opera, The Classical Style: An Opera (of Sorts), which is set to the pianist’s own libretto by Pulitzer Prize-winning

composer Steven Stucky. Inspired by Charles Rosen’s eponymous seminal text, the opera—a co-commission of the Ojai Music Festival, Carnegie Hall, Cal Performances, and the Aspen Music Festival—features the characters of Haydn, Mozart, and Beethoven. Carnegie Hall and the Aspen Festival look forward to presenting it in 2014-15. Denk is known for his original and insightful writing on music, which Alex Ross praises for its “arresting sensitivity and wit.” The pianist’s writing has appeared in The New Yorker, The New Republic, The Guardian, and on the front page of the New York Times Book Review. One of his New Yorker contributions, “Every Good Boy Does Fine,” forms the basis of a memoir he is writing for future publication by Random House. Recounting his experiences of touring, performing, and practicing, his blog, Think Denk, was recently selected for inclusion in the Library of Congress web archives. For his work as a writer and pianist, Out magazine included Denk on its “Out 100” list celebrating the most compelling people of 2013. In 2012, Denk made his Nonesuch debut with a pairing of masterpieces old and new: Beethoven’s final Piano Sonata No. 32, Op. 111, and György Ligeti’s Études. The album was named one of the best of 2012 by The New Yorker, NPR, and the Washington Post, and Denk’s account of the Beethoven sonata was selected by BBC Radio 3’s Building a Library as the best available version recorded on modern piano. Denk has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives’s two piano sonatas featured in many “best of the year” lists. In March 2012, the pianist was invited by Michael Tilson Thomas to appear as soloist in the San Francisco Symphony’s American Mavericks festival, and he recorded Henry Cowell’s Piano Concerto with the orchestra. Having cultivated relationships with many living composers, he currently has several commissioning projects in progress. Denk has toured frequently with violinist Joshua Bell, and their recently released Sony Classical album, French Impressions, won the 2012 Echo Klassik award. He also collaborates regularly with cellist Steven Isserlis, and has appeared at numerous festivals, including the Italian and American Spoleto Festivals, and the Santa Fe Chamber Music, Verbier, Ravinia, Tanglewood, Aspen Music, and Mostly Mozart Festivals. Jeremy Denk has earned degrees from Oberlin College, Indiana University, and the Juilliard School. He lives in New York City, and his web site and blog are at jeremydenk.net.

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CZECH PHILHARMONIC

Jean-Yves Thibaudet, Piano COURTESY OF DECCA

A Western Health Advantage Orchestra Series Event Saturday, November 8, 2014 • 8PM Jackson Hall

Jiří Bělohlávek, Chief Conductor and Music Director

DANIEL HAVEL

PROGRAM NOTES FROM BOHEMIA’S WOODS AND MEADOWS AND ŠÁRKA FROM MÁ VLAST (“MY COUNTRY”) (1875)

BEDŘICH SMETANA (1824-1884) SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Nancy Lawrence, Gordon Klein, and Linda Lawrence

PROGRAM From Bohemia’s Woods Smetana and Meadows and Šárka from Má Vlast Piano Concerto No. 2 in A Major, Op. 23 Liszt Adagio sostenuto assai — Allegro agitato assai — Allegro moderato — Allegro deciso — Marziale un poco meno Allegro — Allegro animato Played without pause

INTERMISSION Symphony No.9 in E Minor, op. 95, Dvořák Adagio, Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

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It is one of the great ironies in 19thcentury music that Smetana conceived the first melody for Má Vlast (“My Country”), the splendid cycle of six tone poems inspired by the land and lore of his native Bohemia, at the same time he lost his hearing. Had he not been able to look to the example of the deaf Beethoven, he might well have abandoned this work, but he pressed on and completed Vyšehrad, a tribute to the medieval castle guarding the approach to Prague along the Vltava River, by November 1874 and immediately began The Moldau, which was finished in less than three weeks, on December 8th. Šárka dates from 1875; From Bohemia’s Woods and Meadows was composed between June 3rd and October 18th of the same year; Tábor was finished in 1878 and Blaník in 1879. The first complete performance of Má Vlast, on November 2, 1882 in Prague (the cycle is dedicated to that city), was the occasion for a patriotic rally, and, like Sibelius’ great national hymn Finlandia, this music has since become an emblem of its country’s national pride. Má Vlast is the traditional music played every year on May 12th, the anniversary of Smetana’s death, to open the Prague Spring Festival. Smetana wrote of From Bohemia’s Woods and Meadows, “This is a general impression of the feelings aroused on

VACLAV JIRASEK

seeing the Czech countryside. Here, from all directions, fervently sung songs, some cheerful and others melancholy, resound from the groves and meadows. The woodlands (in solos for the horns), the gay, fertile Elbe lowlands and various other parts besides, are all celebrating. Everyone may interpret this work as he pleases; the poet has a clear field before him.” The composer himself provided some of the music’s poetic details in a conversation with his friend V.V. Zeleny: “The opening resembles the strong impression experienced on going into the countryside; hence the powerful beginning with the emphatic chord of G minor. Then comes G major, as if a naïve country girl were going out. [The following music depicts] the beauty of being in the woods in summer during the middle of the day when the sun is directly overhead. Twilight prevails in the woods, and the sun’s bright beams seldom penetrate between the tops of the trees. An everpresent phrase indicates the twittering of birds. [The closing section represents] the harvest, or at least a festival of some kind.” The work was such a great success at its premiere, conducted by Adolf Čech on December 10, 1876 in Prague, that the audience demanded its immediate encore. Of the third movement of Má Vlast, the composer noted, “This poem depicts the story of Šárka. It begins with the enraged Šárka [one of the girls at the court of the Přemysl, the founding family of Bohemia, who rebelled at being ruled by men after the death of Queen Libuše] swearing vengeance on the whole male

CZECH PHILHARMONIC race for the infidelity of her lover. From afar is heard the arrival of armed men led by Ctirad, who has come to punish Šárka and her rebellious maidens. In the distance, Ctirad hears the feigned cries of a girl (Šárka) bound to a tree. On seeing her, he is overcome by her beauty and so inflamed with love that he frees her. By means of a previously prepared potion, she intoxicates Ctirad and his men, who fall asleep. As she sounds her horn (a pre-arranged signal), the rebel maidens, hidden in nearby rocks, rush to commit the bloody dead. The horror of general slaughter and the passion and fury of Šárka’s fulfilled revenge form the end of the composition.” Šárka, the most graphically detailed movement of Má Vlast, is divided into five continuous, almost cinematic, sequences. The first section (marked “with fire” in the score) portrays the fury of the avowed man-hater. Next comes a swaggering march to accompany the entry of Ctirad and his knights. A solo clarinet intones the duplicitous cry of Šárka, to which Ctirad (solo cello) gives an impassioned response as he loosens her bonds. An episode of warmly lyrical music suggests Ctirad’s wooing of the cunning maid before a soft, trilled string chord introduces the scherzo-like fourth section, which depicts the drunken revels of the warriors. Šárka’s philter has its effect, and the festive music dies away as the men fall asleep (the low C’s on the bassoon suggest their snoring). Šárka sounds her horn and exhorts her followers (another clarinet solo) to undertake the slaughter that fills the last chapter of this dramatic tone poem.

PIANO CONCERTO NO. 2 IN A MAJOR, OP. 23 (1839, 1849)

FRANZ LISZT (1811-1886)

The procedure on which Liszt built the Second Piano Concerto and other of his orchestral works is called “thematic transformation,” or, to use the rather more jolly phrase of American critic William Foster Apthorp, “The Life and Adventures of a Melody.” Never bothered that he was ignoring the Classical models of form, Liszt concocted his own new structures around this transformation technique. Basically, the “thematic transformation” process consisted of inventing a theme

that could be used to create a wide variety of moods, tempos, orchestrations and rhythms to suggest whatever emotional states were required by the different sections of the piece. It is not unlike a single actor changing costumes to play Puck, Bottom the Weaver and Oberon all in the same production (now that’s an actor) — recognizably the same at the core, but dressed up differently for each scene. There are at least six such scenes in Liszt’s Second Piano Concerto. The composer provided no specific plot for any of these, but wrote music of such extroverted emotionalism that it is not difficult for imaginative listeners to provide their own: languor, storm, love, strife, resolve and battle is only one possible sequence. It is a diverting game to play, and Liszt has invited all to take part. The melody on which this Concerto is based is presented immediately at the beginning by the clarinet. It courses through each section, and can most easily be identified by the little half-step sigh at the end of the first phrase.

SYMPHONY NO. 9 IN E MINOR, OP. 95, “FROM THE NEW WORLD” (18921893) ANTONÍN DVOŘÁK (1841-1904)

When Antonín Dvořák, aged 51, arrived in New York on September 27, 1892 to direct the new National Conservatory of Music, both he and the institution’s founder, Mrs. Jeanette Thurber, expected that he would help to foster an American school of composition. He was clear and specific in his assessment: “I am convinced that the future music of this country must be founded on what are called Negro melodies. They can be the foundation of a serious and original school of composition to be developed in the United States…. There is nothing in the whole range of composition that cannot find a thematic source here.” The “New World” Symphony was not only Dvořák’s way of pointing toward a truly American musical idiom but also a reflection of his own feelings about the country. “I should never have written the Symphony as I have,” he said, “if I hadn’t seen America.” The “New World” Symphony is unified by the use of a motto theme that occurs in all four movements. This bold, striding phrase, with its arching contour, is played

by the horns as the main theme of the sonata-form opening movement, having been foreshadowed (also by the horns) in the slow introduction. Two other themes are used in the first movement: a sad, dance-like melody for flute and oboe that exhibits folk characteristics and a brighter tune, with a striking resemblance to Swing Low, Sweet Chariot, for the solo flute. Many years before coming to America, Dvořák encountered Longfellow’s epic poem The Song of Hiawatha, which he read in a Czech translation. The great tale remained in his mind and he considered making an opera of it during his time in New York. That project came to nothing, but Hiawatha did have an influence on the “New World” Symphony: the second movement was inspired by the forest funeral of Minnehaha; the third, by the dance of the Indians at the feast. The finale employs a sturdy motive introduced by the horns and trumpets after a few introductory measures in the strings. In the Symphony’s closing pages, the motto theme, the hymnal melody from the second movement and the scherzo motive are all gathered up and combined with the principal subject of the finale to produce a marvelous synthesis of the entire work — a look back across the sweeping vista of Dvořák’s musical tribute to America. ©2014 Dr. Richard E. Rodda

THE CZECH PHILHARMONIC For over a century, the Czech Philharmonic has represented the pinnacle of Czech cultural achievement, delighting audiences across the globe with its warm, vibrant sound. Today, the orchestra is enjoying a renewed reputation as one of the most exciting ensembles on the world stage, performing with artists including Hélène Grimaud, Lang Lang, Janine Jansen, Anne-Sophie Mutter and Frank Peter Zimmermann, to name but a few. The Czech Philharmonic has also been joined by soloists Garrick Ohlsson, Frank Peter Zimmermann and Alisa Weilerstein in recording Antonín Dvořák’s complete symphonies and his three concertos, under the baton of Jiří Bělohlávek, the encoremediagroup.com 15

orchestra´s chief conductor, to be released in 2014 by the Decca label. The Czech Philharmonic has a history of working with outstanding musicians. Dvořák himself conducted the orchestra in its debut performance on 4 January 1896 at the Rudolfinum in Prague, which is still home to its Prague concerts, and is now the centre for its Orchestral Academy. The Academy is just one of numerous successful education projects through which the Czech Philharmonic engages with new audiences, from young children, to university students and adults seeking to learn more about classical music. Other conductors in the orchestra’s history include Gustav Mahler, who conducted the Czech Philharmonic for the world premiere of his Symphony No. 7 in Prague, in 1908. The orchestra’s international reputation grew under the direction of Václav Talich, the energetic leadership of Rafael Kubelík helped steer the Czech Philharmonic through the difficult wartime years, and in the postwar era of Karel Ančerl it embarked on its busy and varied touring schedule. Today, the orchestra performs in the world’s most prestigious concert halls, including recent and forthcoming concerts at the Philharmonie in Berlin and Suntory Hall in Tokyo, as well as, in 2014, Carnegie Hall in New York and the NCPA in Beijing. Scheduled international appearances in 2015 and 2016 include three concerts at the Musikverein in Vienna, one in London’s Royal Festival Hall, and one in the Viennese Konzerthaus. Festival appearances include, in 2014, concerts at the BBC Proms and the Edinburgh Festival. With its Chief Conductor, Jiří Bělohlávek, the Czech Philharmonic has also undertaken successful tours in Australia, Germany, Japan, Luxembourg, Spain, the United Arab Emirates, and the UK. The Czech Philharmonic is privileged to welcome many distinguished guest conductors, including recent and forthcoming collaborations with, among others, Herbert Blomstedt, Semyon Bychkov, Christoph Eschenbach, Valery Gergiev, Robin Ticciati, and David Zinman. The Czech Philharmonic has received numerous awards and nominations, including ten Grands Prix du Disque de 16 MONDAVIARTS .ORG

CZECH PHILHARMONIC l’Académie Charles-Cros, five Grand Prix du Disque de l’Académie française, several Cannes Classical Awards, a position in Gramophone’s Top 20 Best Orchestras in the World (2008), as well as nominations for Grammyand Gramophone Awards. In a fitting tribute to its first conductor, the Czech Philharmonic has made nine new television programmes each of which features a full performance of one of Dvořák’s Nine Symphonies. The shows will be broadcast by Czech Television in 2014, and distributed internationally by UNITEL. The orchestra is also producing a Czech Television documentary (in association with Rhombus Media) about Dvořák, Jiří Bělohlávek, and the current work of the Czech Philharmonic itself. The documentary is directed by Barbara Willis Sweete, who has worked with the MET Opera, New York, among others, on a number of prestigious films. Further exciting projects include the launch of a competition for composers, the winner of which will have their work performed by the Czech Philharmonic, and another competition for aspiring Czech soloists, the winner of which will perform with the orchestra. In seeking to foster new talent, the Czech Philharmonic continues its journey into the future, a future which looks brighter than ever. TOUR DIRECTION: TIM FOX AND ALISON AHART WILLIAMS COLUMBIA ARTISTS MANAGEMENT LLC NEW YORK, NY WWW.CAMI.COM

BIOGRAPHIES JIŘÍ BĚLOHLÁVEK Jiří Bělohlávek was born in Prague in 1946. His love of music became apparent at an early age, and following studies in cello and conducting, he was invited to become assistant conductor to Sergiu Celibidache in 1968. Bělohlávek won the Czech Young Conductors’ Competition in 1970 and reached the final of the Herbert von Karajan Conducting Competition in 1971. In 1977, Jiří Bělohlávek began to serve as Chief Conductor of the Prague Symphony Orchestra, a position he held until 1990, when he was appointed Chief Conductor

of the Czech Philharmonic. In 1994, he founded the Prague Philharmonia, an orchestra he then led as Chief Conductor and Music Director until 2005, when he was appointed its Conductor Laureate. After serving as its Principal Guest Conductor between 1995 and 2000, Jiří Bělohlávek was appointed Chief Conductor of the BBC Symphony Orchestra in 2006. He conducted the orchestra at the Last Night of the Proms in 2007, becoming the first artist whose principal language is not English to undertake this important role. He performed at the Last Night of the Proms again in 2010 and 2012. Jiří Bělohlávek has also regularly conducted the Berlin Philharmonic, Boston Symphony, Cleveland Orchestra, Gewandhausorchester Leipzig, New York Philharmonic, Sächsische Staatskapelle Dresden and the San Francisco Symphony Orchestra, among others. He was recently appointed Principal Guest Conductor of the Rotterdam Philharmonic Orchestra. Jiří Bělohlávek has worked in the world of opera throughout his career, with regular appearances at the world’s main opera houses including Berlin, Covent Garden, Glyndebourne, the Metropolitan Opera in New York, Opéra Bastille and Teatro Real. Recent and forthcoming highlights include new productions of Dvořák’s Rusalka at the Vienna Staatsoper (2014), Tchaikovsky’s The Queen of Spades at the Zürich Opera House (2014), and Janáček’s Jenůfa at the San Francisco Opera (2016). Jiří Bělohlávek has an extensive discography, including a complete Dvořák Symphonies cycle recently released by Decca, and is the first conductor since Herbert von Karajan to receive the Gramophone Award for Orchestral Recording two years running. In 2012, Queen Elizabeth II appointed Jiří Bělohlávek an honorary CBE for services to music. © Joanna Wyld, 2014

JEAN-YVES THIBAUDET One of today’s most sought-after soloists, Jean-Yves Thibaudet has the rare ability to combine poetic musical sensibilities and dazzling technical prowess. His talent at coaxing subtle and surprising colors and textures from each work he plays led The New York Times to write that “every note he fashions is a pearl…the joy, brilliance and

musicality of his performance could not be missed.” Thibaudet, who brings natural charisma and remarkable musical depth to his career, has performed around the world for more than 30 years and recorded more than 50 albums. Jean-Yves Thibaudet’s 2014-2015 season is an intriguing combination of a wide variety of music: a balance of orchestral appearances, chamber music, and recitals and a repertoire that includes familiar pieces, unfamiliar work by well-known composers, and new compositions. He will also be following his passion for education and fostering the next generation of performers by becoming the first-ever resident artist at the Colburn School of Los Angeles, which hopes to embed an active first-tier soloist into the curriculum long-term. He will end the summer of 2014 by touring with Mariss Jansons and the Royal Concertgebouw Orchestra at the Concertgebouw Amsterdam, Usher Hall Edinburgh, the Lucerne Festival, and the Ljubljana Festival. Mr. Thibaudet then travels to play Gershwin paired with a new piano concerto “Er Huang” by Quigang Chen, which Long Yu will conduct to open the China Philharmonic season in Beijing and then again in Paris. In October, with the Philadelphia Orchestra and its Music Director Yannick Nézet-Séguin, he will perform the Khachaturian Piano Concerto, which he will also play in the spring with the Cincinnati Symphony and on tour in Germany and Austria with the German Symphony Orchestra Berlin under the baton of Tugan Sohkiev. After concerts in Prague, Mr. Thibaudet embarks on a US tour with the Czech Philharmonic Orchestra in November, reaching both East and West coasts with a grand finale at Carnegie Hall. The end of the year will be a whirlwind of Gershwin, Ravel, and Liszt with the Radio Symphony Orchestra Stuttgart, the Berlin Radio Symphony Orchestra, the Oslo Philharmonic Orchestra, and the Gürzenich Orchestra Cologne. In the new year, audiences will hear Mr. Thibaudet play MacMillan’s Piano Concerto No. 3, which he premiered in 2011, with the St. Louis Symphony and New York Philharmonic, both conducted by Stéphane Denève, and then Liszt’s Piano Concert No. 2 with the Cleveland Orchestra encoremediagroup.com 17

and the Naples Philharmonic. After playing a duo recital with Renaud Capuçon in his native France at the Festival de Pacques in Aix-en-Provence, Thibaudet will return to the United States to play Ravel’s Piano Concerto in G Major—one of his signature pieces from the French repertoire for which he is renowned—with the Atlanta and Boston Symphony Orchestras and Poulenc and Fauré with the Boston Symphony Chamber Players. Under Michael Tilson’s Thomas’s baton, he will

perform Bernstein’s “Age of Anxiety” in San Francisco, where he will be celebrating Thomas’s 70th birthday earlier in the year by playing the Liszt Hexaméron with Emanuel Ax, Jeremy Denk, Yuja Wang, and Marc-André Hamelin. Mr. Thibaudet will perform Ravel’s Piano Concerto for the Left Hand with Gustavo Dudamel and the Los Angeles Philharmonic before performing both the Ravel Piano Concerto and Messiaen’s Turangalîla with the Chicago Symphony Orchestra and Esa-Pekka

FURTHER LISTENING JEAN-YVES THIBAUDET

by Jeff Hudson

Tonight will be the third Mondavi Center appearance in three years by pianist Jean-Yves Thibaudet. He visited in February 2014 with the Bahia Orchestra Project, playing the Ravel Piano Concerto in G Major. (And how often does a youth orchestra from South America get to tour with a soloist of Thibaudet’s artistic stature?) He also visited in January 2012 with the Royal Philharmonic Orchestra (Charles Dutoit conducting), playing the Saint-Saëns Piano Concerto No. 5 (“Egyptian”). This pianist likes the music of George Gershwin as well (and of course Gershwin loved Paris, and wanted to study composition with Ravel). He also plays Shostakovich (and Shostakovich was interested in jazz, as was Gershwin) – including the Shostakovich First Piano Concerto with the San Francisco Symphony last April, with conductor James Conlon. (You may recall Conlon with the San Francisco Symphony at the Mondavi Center in 2011, performing the Shostakovich Symphony No. 14, and Ravel’s orchestration of “Pictures at an Exhibition”). Thibaudet’s most recent CD release is part of a recording of Gershwin’s Piano Concerto and Rhapsody in Blue with Marin Alsop and the Baltimore Symphony Orchestra. Thibaudet splits his time between Los Angeles and Paris. Being part- French, Thibaudet likes wine, and people connected to the world of wine like Thibaudet (his admirers include Margrit Mondavi). In 2010, Thibaudet told Wine Spectator that “My family comes from St.-Romain, in the Côte de Beaune near Auxey-Duresses. We have property there... My father taught me to love and respect wine deeply. I grew up around vineyards and vintners, looking at the bottles, knowing this is something very special, very beautiful.” On stage, he dresses stylishly in clothing by Vivienne Westwood. In 2012, Thibaudet told the Houston Chronicle “I’ve loved fashion since I was a little boy, and I was always fascinated by the fashion industry. But 20 years ago, I felt that classical music had become old-fashioned and too traditional, and it was a complete turnoff for young people. And I asked myself why all the men who play classical music have to dress the same way. The ladies can have the most incredible gowns – and even change halfway through the concert – but the men’s clothes were boring. So I felt it was important to break with the tradition.” JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

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Salonen as part of the orchestra’s 2015 Reveries and Passions Festival. He will then travel to Europe to perform with the Frankfurter Museumsorchester (Venzago), Dresden Philharmonic (de Billy), and the Munich Philharmonic (Bychov), among others, before ending the season in dramatic fashion with Beethoven’s Choral Fantasy with the Orchestre de L’Opéra de Paris under the baton of Music Director Philippe Jordan. The summer of 2015 will also see collaborations between Mr. Thibaudet and cellists Gautier Capuçon and Sol Gabetta at summer music festivals, including the Menuhin Festival in Gstaad, where he is Artist in Residence. A distinguished recording artist, Jean-Yves Thibaudet has won the Schallplattenpreis, the Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo awards, and the Edison Prize. In 2010 he released Gershwin, featuring big jazz band orchestrations of Rhapsody in Blue, variations on “I Got Rhythm,” and Concerto in F live with the Baltimore Symphony and music director Marin Alsop. On his Grammy-nominated recording Saint-Saëns, Piano Concerti Nos. 2&5, released in 2007, Thibaudet is joined by long-standing collaborator Charles Dutoit and the Orchestre de la Suisse Romande. Thibaudet’s Aria—Opera Without Words, which was released the same year, features transcriptions of arias by Saint-Saëns, R. Strauss, Gluck, Korngold, Bellini, J. Strauss II, Grainger, and Puccini; some of the transcriptions are by Mikhashoff, Sgambati, and Brassin, and others are Thibaudet’s own. Among his other recordings are Satie: The Complete Solo Piano Music and the jazz albums Reflections on Duke: Jean-Yves Thibaudet Plays the Music of Duke Ellington and Conversations With Bill Evans, his tribute to two of jazz history’s legends. Known for his style and elegance on and off the traditional concert stage, Thibaudet has had an impact on the world of fashion, film and philanthropy. His concert wardrobe is by celebrated London designer Vivienne Westwood. In 2004 he served as president of the prestigious Hospices de Beaune, an annual charity auction in Burgundy, France. He had an onscreen cameo in the Bruce Beresford

CZECH PHILHARMONIC feature film on Alma Mahler, Bride of the Wind, and his playing is showcased throughout the soundtrack. Thibaudet was the soloist on Dario Marianelli’s Oscarand Golden Globe-award winning score for the film Atonement and his Oscarnominated score for Pride and Prejudice. He recorded the soundtrack of the 2012 film Extremely Loud & Incredibly Close, composed by Alexandre Desplat. He was also featured in the 2000 PBS/Smithsonian special Piano Grand!, a piano performance program hosted by Billy Joel to pay tribute to the 300th anniversary of the piano. Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age fifteen, he won the Premier Prix du Conservatoire and, three years later, the Young Concert Artists Auditions in New York City. In 2001 the Republic of France awarded Thibaudet the prestigious Chevalier dans l’Ordre des Arts et des Lettres, and in 2002 he was awarded the Premio Pegasus from the Spoleto Festival in Italy for his artistic achievements and his long-standing involvement with the festival. In 2007 he received the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. The Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame in 2010. Previously a Chevalier of L’Ordre des Arts et des Lettres, Thibaudet was promoted to the title of Officier by the French Minister of Culture in 2012. MR. THIBAUDET’S WORLDWIDE REPRESENTATION: IMG ARTISTS, LLC MR. THIBAUDET RECORDS EXCLUSIVELY FOR DECCA RECORDS

THE CZECH PHILHARMONIC FIRST VIOLINS Josef Špaček Jr. * Jan Fišer * Miroslav Vilímec Miluše Skoumalová Magdaléna Mašlaňová Jan Jouza Eduardo Garcia Salas Barbora Kolářová Zdeněk Starý Jindřich Vácha Milan Vavřínek Zdeněk Zelba Viktor Mazáček Pavel Nechvíle Marie Dvorská Luboš Dudek Bohumil Kotmel

SECOND VIOLINS František Havlín Václav Prudil Ondřej Skopový Jan Ludvík Marcel Kozánek Zuzana Hájková Petr Havlín Libor Vilímec Jiří Ševčík Jan Jírů Pavel Herajn Jitka Kokšová Petra Brabcová Vítězslav Ochman

VIOLAS Jaroslav Pondělíček Pavel Ciprys Dominik Trávníček Jaromír Páviček Petr Žďárek Jaroslav Kroft Jan Šimon Jan Mareček * Concert Master/Principal

Jiří Řehák Lukáš Valášek Jiří Poslední Ondřej Kameš

BASSOONS Ondřej Roskovec Jaroslav Kubita Václav Vonášek Tomáš Františ

CELLOS Václav Petr * Josef Špaček Sr. Josef Dvořák František Lhotka Jakub Dvořák Tomáš Hostička Jan Holeňa Peter Mišejka Marek Novák Ivan Vokáč

DOUBLE BASSES Jiří Hudec Petr Ries Jiří Valenta Ondřej Balcar Martin Hilský Jaromír Černík Jiří Vopálka Pavel Hudec

FLUTES Radomír Pivoda Jan Machat Petr Veverka Oto Reiprich

OBOES Ivan Sěquardt Jana Brožková Vojtěch Jouza Vladislav Borovka

CLARINETS František Bláha Tomáš Kopáček Zdeněk Tesař Petr Sinkule

FRENCH HORNS Jan Vobořil Jiří Havlík Zdeněk Divoký Zdeněk Vašina Jindřich Kolář Kateřina Javůrková

TRUMPETS Jaroslav Halíř Ladislav Kozderka Zdeněk Šedivý Antonín Pecha

TROMBONES Břetislav Kotrba Robert Kozánek Lukáš Moťka Karel Kučera

TUBA Karel Malimánek

HARP Jana Boušková

PERCUSSION Petr Holub Michael Kroutil Pavel Polívka

ORGAN Kosinová Valtová

CONDUCTOR Jiří Bělohlávek

SOLOISTS Jean-Yves Thibaudet – piano

encoremediagroup.com 19

The lives we touch inspire us When fatigue, upper body pain and nausea overwhelmed Crystal one day, she brushed off suggestions she could be having a heart attack. After all, she was young and had no obvious risk factors. But heart disease symptoms in women can be subtle and unique, and often go unrecognized. Friends pointed Crystal to UC Davis, home of the nation’s first program dedicated to treating and preventing cardiovascular conditions in women. Tests revealed three narrowed blood vessels, including one dangerous enough to require a stent. With help from the UC Davis Women’s Cardiovascular Medicine Program, Crystal has since changed her diet and exercise regimen to avoid future problems. Now she shares her story so other women will “know their numbers” and the warning signs of a cardiac event. To learn more about Crystal’s new lease on a heart-healthy life and the comprehensive, nationally ranked cardiovascular services available at UC Davis, visit medicalcenter.ucdavis.edu One team. One choice. One UC Davis.

THE REGION’S

BEST HOSPITAL FOR HEART CARE*

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A Wells Fargo Concert Series Event Thursday, November 13, 2014 • 8PM Jackson Hall

ACADEMY OF ANCIENT MUSIC

SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Tony and Joan Stone

Irvin Mayfield, artistic director and trumpet Barney Floyd, lead trumpet Glen Hall, trumpet Eric Lucero, trumpet Ashlin Parker, trumpet James Williams, sousaphone, slide trumpet, vocals Michael Watson, trombone, vocals David Harris, trombone Emily Fredrickson, trombone Khari Lee, lead alto saxophone Rex Gregory, 2nd alto saxophone, clarinet

IRVIN MAYFIELD AND THE NEW ORLEANS JAZZ ORCHESTRA

Clarence Johnson, 1st tenor saxophone Ed Petersen, 2nd tenor Saxophone Jason Marshall, baritone saxophone Victor Atkins, piano Jasen Weaver, bass Adonis Rose, drums Jaz Sawyer, drums Don Vappie, banjo

28 MONDAVIARTS .ORG

Pre-Performance Talk: 7PM Irvin Mayfield in conversation with Marcus Crowder, Theater critic/senior writer, The Sacramento Bee Marcus Crowder is a senior writer at The Sacramento Bee having covered theater, jazz and popular music for the paper since 2000. He has interviewed and written about hundreds of jazz artists including Wayne Shorter, Sonny Rollins, Branford Marsalis, Bill Charlap, McCoy Tyner, Dave Holland, Renee Rosnes, John Zorn, Pharaoh Sanders, David Sanchez, Miguel Zenon and Pat Metheny. He has a BA in English from UC Davis and an MFA in Screenwriting from the American Film Institute.

THE NEW ORLEANS JAZZ ORCHESTRA The NOJO mission is to inspire freedom and culture in the individual and the global community by creating authentic, engaging Jazz experiences that celebrate the origins and transform the future of Jazz. Our Vision is to enhance every day of life with Jazz. Artistic Director Irvin Mayfield founded NOJO in 2002 as a powerful vehicle for celebrating and advancing the cultural and historical legacy of New Orleans Jazz. The concept came to Mr. Mayfield after he created the Institute of Jazz Culture at Dillard University as the youngest member of the faculty. As he looked around the city for a partner in the Jazz industry, he found that there was no institution committed solely to the business of Jazz or performing it 24 hours a day, seven days a week, in the city that created it. This led Mr. Mayfield to create the New Orleans Jazz Orchestra, designed to celebrate and fortify the American Jazz portfolio while providing infrastructure for developing the New Orleans Jazz industry. Mr. Mayfield assembled an 18-piece big band and enlisted NOJO president and CEO Ronald Markham. NOJO had its first performance in early 2003 at Tipitina’s in New Orleans. NOJO then made history on November 17, 2005, when they symbolically reopened New Orleans with the performance of a piece composed by Mr. Mayfield, All the Saints, at Christ Church Cathedral. This commission served as the first major cultural event inside the city post-Katrina. As a nonprofit organization, NOJO has forged an academic partnership with the University of New Orleans, where it oversees the New Orleans Jazz Institute (NOJI). NOJO has now headlined all of America’s major performing arts venues and clubs and produced the first local, ticketed Jazz concert series in the history of New Orleans. NOJO’s latest album, Book One on World Village, a subsidiary of the Harmonia Mundi label, won the 2010 GrammyAward for Best Large Jazz Ensemble.

Proud Supporter of the Robert and Margrit MONDAVI CENTER for the Performing Arts

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An American Heritage Series Event Wednesday, December 3, 2014 Jackson Hall

Dr. John, vocals, piano, guitar Sarah Morrow, musical Director, trombone Dave Yoke, guitar Dwight Bailey, bass Reggie Jackson, drums

DR. JOHN & THE NITE TRIPPERS The legendary Dr. John is a six-time Grammy Award-winning musician and Rock & Roll Hall of Fame inductee. Known throughout the world as the embodiment of New Orleans’ musical legacy, Dr. John is a true icon in American culture. His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex and Frankie Ford. Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones’ Exile On

Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John the Night Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots. Several of his many career highlights include the masterful album Sun, Moon and Herbs in 1971 which included cameos from Eric Clapton and Mick Jagger and 1973’s In the Right Place, which contained the chart hits “Right Place Wrong Time” and “Such A Night.” In addition to his six Grammy wins (1989, 1992, 1996, 2000, 2008 and 2013), encoremediagroup.com 31

916-852-5466 ApiLimos.com TCP 31349-A

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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(530) 753.3363 | ElMaceroCC.org 32 MONDAVIARTS .ORG

he has received six other Grammy nominations over the years. In 2006, he was nominated for Sippiana Hericane, his Hurricane Katrina benefit disc. After Hurricane Katrina, Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007, he was also inducted into the Louisiana Music Hall of Fame and the Blues Hall of Fame. In 2008, he released City That Care Forgot, winning a Grammy for Best Contemporary Blues Album. His 2012 release Locked Down, with Dan Auerbach of The Black Keys also won a Grammy for Best Contemporary Blues Album. In 2013, Dr. John was awarded an honorary doctorate from Tulane University alongside His Holiness the Dalai Lama. On August 19, 2014, Dr. John released SkeDat-De-Dat…The Spirit Of Satch on Concord Records, an album in tribute to another larger-than-life New Orleans legend: Louis “Satchmo” Armstrong. He honors Armstrong’s musical genius as well as his effervescent personality with 13 classic numbers drawn from various phases of the seminal trumpeter and vocalist’s five-decade career, with Dr. John joined by a stellar supporting cast, including Bonnie Raitt, Ledisi, the McCrary Sisters, Anthony Hamilton, Shemekia Copeland, the Blind Boys of Alabama, the Dirty Dozen Brass Band and trumpeters Nicholas Payton, Terence Blanchard, Arturo Sandoval, Wendell Brunious and James Andrews. After a half century of creating music for others and himself, Dr. John continues to write, arrange, produce and interpret with a passion that has yet to wane.

SARAH MORROW (Trombonist/Producer/ Composer/Arranger) broke into the international jazz scene in 1995 as the first female instrumentalist to join Ray Charles’ all-star orchestra. After touring with Charles for two years, she landed a record deal with French label RDC Records, sending her to Paris, where she lived until 2013. During that time Sarah recorded and toured the world with many great artists, including Dee Dee Bridgewater, David Murray, the Duke Ellington Orchestra, organist Rhoda Scott, tenor sax legends Pee Wee Ellis and Hal “Cornbread” Singer, the American All-Stars in Paris, The Charles Mingus Tribute, and funk legends Foley and Bootsy Collins. To date, Sarah has recorded four projects under her own name—her most recent being the 2006 revolutionary Elektric

DR. JOHN & THE NITE TRIPPERS Air, an adventurous and experimental project featuring pianist Robert Glasper, drummer Chris Dave and DJ Qmillion, the first time The Experiment recorded together. Sarah has won countless awards and accolades, has written and produced many songs for film and is adored worldwide for her unique musical voice and talent. Sarah currently serves as Music Director for New Orleans R & B icon Dr. John. Most recently this “SuperStar of the Trombone” collaborated with Dr. John as producer and arranger of his newest release, Ske-Dat-DeDat: The Spirit of Satch which debuted at #1 on Billboard, CJC and iTunes!

DWIGHT BAILEY (electric bass guitar) is from Detroit Michigan, but resides in Central Ohio. He has studied with many great bassists over the years such as Chuck Rainey & Victor Wooten (Bass Nature Camp), Dr. Salona Lee (The American School of Double Bass), Dr. Paul Robinson (The Ohio State University) & Eddie Brookshire (University of Dayton). He has performed, toured and recorded with many gospel, R&B, blues & jazz artist over the years such as Bobby Jones, Douglas Miller, Dawkins & Dawkins, Wilbert Longmire, Teeny Tucker & most recently the legendary Dr. John. DAVE YOKE (guitar) taught himself guitar in his native Anniston, Alabama drawing on the blues enthusiasm of his older siblings. He launched his career as a founding member of the long-standing, regionally popular Second Hand Jive. In the mid-90s, Yoke moved to Atlanta and became an indemand session player, joining forces with (Clarence “Gatemouth” Brown associate) Dr. Dan Matrazzo. Yoke was then invited to become a full-time member of the oft-Grammy-nominated Susan Tedeschi Band. He is also a permanent member of Scrapomatic, with whom he tours and has recorded three albums. As testament to his blues roots, Dave is regularly invited to sit in with the Allman Brothers Band, the Tedeschi Trucks Band, and Americana artist Kristina Train. REGGIE JACKSON (drums) a Columbus, Ohio, native, is a graduate of The Ohio State University with a bachelor’s degree in music performance. In college the drummer began working with recording artist Kim Pensyl.

After graduation, Reggie was hired by jazz legend Diane Schuur. While maintaining that chair he also has worked with several underground hip-hop artists which led to his work with Aftermath recording artist Truth Hurts. He is currently working with Rock-n-Roll Hall of Fame inductee Dr. John. In addition to working with these artists, Reggie has also performed with Frank Foster, Benny Golson, Arturo Sandoval,

Eddie Daniels, Anthony Hamilton, Terence Blanchard, Kirk Whalum, Nicholas Payton, Wycliffe Gordon, Wendell Brunious, Rodney Whitaker, Marcus Belgrave, Lew Tabackin, Dee Dee Bridgewater, and Antonio Hart. The versatile drummer has performed in over 20 countries, on the “The Tonight Show” with Jay Leno, and can be heard on recordings ranging from jazz to hip-hop, gospel, classical and R&B.

The UC Davis Office of Campus Community Relations is a proud supporter of the Mondavi Center

The mission of the The Office of Campus Community Relations (OCCR) is to ensure the attention to those components of the campus community that affect community, campus climate, diversity and inclusiveness.

http://occr.ucdavis.edu encoremediagroup.com 33

A Capital Public Radio Jackson Hall Jazz Event Thursday, December 4, 2014 Jackson Hall SPONSORED BY

BRAD MEHLDAU TRIO

Brad Mehldau, piano Larry Grenadier, bass Jeff Ballard, drums

Pre-Performance Talk: 7PM Cory Combs, Director of Outreach, Music, and Enrichment, The Nueva School Cory Combs is Director of Outreach, Music, and Enrichment for the Nueva School. He introduced initiatives such as digital music, digital filmmaking, jazz band, improvisation, rock band and rock history to the school. He served as director of education for SFJAZZ, one of the preeminent artistic jazz performance and education programs in the United States.

Jazz pianist BRAD MEHLDAU has recorded and performed extensively since the early 1990s. Mehldau’s most consistent output over the years has taken place in the trio format. Starting in 1996, his group released a series of five records on Warner Bros. entitled The Art of the Trio (recently re-packaged and rereleased as a 5-Disc box set by Nonesuch in late 2011). During that same period, Mehldau also released a solo piano recording entitled Elegiac Cycle, and a 34 MONDAVIARTS .ORG

record called Places that included both solo piano and trio songs. Elegiac Cycle and Places might be called “concept” albums made up exclusively of original material with central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes—a trio outing with bassist Larry Grenadier and drummer Jorge Rossy. His first record for Nonesuch, Brad

BRAD MEHLDAU TRIO Mehldau Live in Tokyo, was released in September 2004. After ten rewarding years with Rossy playing in Mehldau’s regular trio, drummer Jeff Ballard joined the band in 2005. The label released its first album from the Brad Mehldau Trio—Day is Done—on September 27, 2005. An exciting double live trio recording entitled Brad Mehldau Trio Live was released on March 25th, 2008 (Nonesuch) to critical acclaim. On March 16, 2010 Nonesuch released a double-disc of original work entitled Highway Rider, the highly anticipated follow up to Largo. The album was Mehldau’s second collaboration with renowned producer Jon Brion and featured performances by Mehldau’s trio—drummer Jeff Ballard and bassist Larry Grenadier—as well as percussionist Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. In 2011 Nonesuch released Live in Marciac – a two CD release with a companion DVD of the 2006 performance, and Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli. In 2012 Nonesuch released an album of original songs from the Brad Mehldau Trio – Ode - the first from the trio since 2008’s live Village Vanguard disc and the first studio trio recording since 2005’s Day is Done. Ode went on to garner a Grammy-Nomination. Nonesuch released the Brad Mehldau Trio’s Where Do You Start, a companion disc to the critically acclaimed Ode, in the fall of 2012. Whereas Ode featured 11 songs composed by Mehldau, Where Do You Start comprises the Trio’s interpretations of 10 tunes by other composers, along with one Mehldau original. In 2013 Mehldau produced and performed on Walking Shadows, the acclaimed Nonesuch release from Joshua Redman. 2013 also saw a number of collaborative tours including a duo tour with mandolin virtuoso Chris Thile, piano duets with Kevin Hays and a new electric project with drummer Mark Guiliana entitled “Mehliana” which will have its debut release in 2014. Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of

music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves. Each tune has a strongly felt narrative arch, whether it expresses itself in a beginning, an end, or something left intentionally open-ended. The two sides of Mehldau’s personality—the improviser and the formalist—play off each other, and the effect is often something like controlled chaos. Mehldau has performed around the world at a steady pace since the mid1990s, with his trio and as a solo pianist. His performances convey a wide range of expression. There is often an intellectual rigor to the continuous process of abstraction that may take place on a given tune, and a certain density of information. That could be followed by a stripped down, emotionally direct ballad. Mehldau favors juxtaposing extremes. He has attracted a sizeable following over the years, one that has grown to expect a singular, intense experience in his performance. In addition to his trio and solo projects, Mehldau has worked with a number of great jazz musicians, including a rewarding gig with saxophonist Joshua Redman’s band for two years, recordings and concerts with Pat Metheny, Charlie Haden and Lee Konitz, and recording as a sideman with the likes of Michael Brecker, Wayne Shorter, John Scofield, and Charles Lloyd. For more than a decade, he has collaborated with several musicians and peers whom he respects greatly, including the guitarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. Mehldau also has played on a number of recordings outside of the jazz idiom, like Willie Nelson’s Teatro and singer-songwriter Joe Henry’s Scar. His music has appeared in several movies, including Stanley Kubrick’s Eyes Wide Shut and Wim Wender’s Million Dollar Hotel. He also composed an original soundtrack for the French film, Ma Femme Est Une Actrice. Mehldau composed two new works commissioned by Carnegie Hall for voice and piano, The Blue Estuaries and The Book of Hours: Love Poems to God, which were performed in the spring of 2005 with the acclaimed classical soprano, Renee Fleming. These songs were recorded with Fleming

and released in 2006 on the Love Sublime record; simultaneously, Nonesuch released an album of Mehldau’s jazz compositions for trio entitled House on Hill. A 2008 Carnegie Hall commission for a cycle of seven love songs for Swedish mezzo-soprano Anne Sofie von Otter premiered in 2010. Love Songs, a double album that paired the newly commissioned song cycle, with a selection of French, American, English, and Swedish songs that Mehldau and von Otter performed together, was released in late 2010 (on the Naïve label) to unanimous praise. Mehldau was appointed as curator of an annual four-concert jazz series at London’s prestigious Wigmore Hall during its 200910 and 2010-11 seasons, with Mehldau appearing in at least two of the four annual concerts. In late January 2010 Carnegie Hall announced the 2010-11 season-long residency by Mehldau as holder of the Richard and Barbara Debs Composer’s Chair at Carnegie Hall—the first jazz artist to hold this position since it was established in 1995. Previous holders include Louis Andriessen (2009–2010), Elliott Carter (2008–2009), and John Adams (2003–2007).

LARRY GRENADIER (Bass) attended Stanford University where he received a BA Degree in English Literature. After moving to the East Coast he played Gary Burton Band, touring U.S. and Europe. He moved to New York City and played with Joe Henderson, Betty Carter, Pat Metheny and the John Scofield Group. For the past year when not touring and recording with Brad Mehldau Trio he tours and records with the Pat Metheny Trio. JEFF BALLARD (Drums, Percussion) grew up in Santa Cruz, California. Toured with Ray Charles from 1988 – 1990. Moved to New York in 1990. Since then, he has played and recorded with Lou Donaldson, Danilo Perez, Chick Corea, and Joshua Redman to name a few. Currently, as well as being a member of the Brad Melhdau Trio, he is a co-leader of the collective group FLY (feat. Mark Turner, Larry Grenadier, Jeff Ballard) and Joshua Redman’s Elastic Band.

encoremediagroup.com 35

Cantus and Theater Latté Da present

ALL IS CALM:

THE CHRISTMAS TRUCE OF 1914

by Peter Rothstein musical arrangements by Erick Lichte and Timothy C. Takach CURTIS JOHNSON

A Mondavi Center Holiday Event Friday, December 5, 2014 • 8PM Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED IN HONOR OF

Friends of Mondavi Center

36 MONDAVIARTS .ORG

PROGRAM Will Ye Go to Flanders? Scottish Folk Song, arr. Erick Lichte Come on and Join (Alexander’s Ragtime Band) Irving Berlin, harmonized by Cantus God Save the King English Traditional, harmonized by Cantus It’s a Long Way to Tipperary Jack Judge and Harry Williams, harmonized by Cantus Pack Up Your Troubles in Your Old Kit Bag George Henry and Felix Powell, harmonized by Cantus The Old Barbed Wire English Traditional, harmonized by Cantus I Want to Go Home Lieut. Gitz Rice, harmonized by Cantus Deutschlandlied Franz Joseph Haydn, harmonized by Cantus Keep the Homefires Burning Ivor Novello, harmonized by Cantus Christmas in the Camp Harrington and Scott We Wish You a Merry Christmas English Traditional Carol Die Wacht Am Rhein Karl Wilhelm, harmonized by Cantus Christmas Day in the Cookhouse Traditional English O Tannenbaum German Carol, arr. Timothy C. Takach Silent Night Franz Gruber, arr. Erick Lichte Bring a Torch, Jeannette, Isabella French Carol, harmonized by Cantus In Dulci Jubilo German Carol, harmonized by Cantus Wassail arr. Erick Lichte, based on traditional wassail texts O Holy Night (Minuit Chretien) Adolph Adam, harmonized by Erick Lichte Will Ye Go to Flanders (Reprise) Scottish Folksong, arr. Erick Lichte Wie Schön Leuchtet der Morgenstern Philip Nicolai, arr. Erick Lichte Good King Wenceslas Piae Cantionis, harmonized by Cantus Auld Lang Syne Scottish Folk Tune, arr. Timothy C. Takach The Last Post English Bugle Call (performed by Tom Garvin, trumpet) Silent Night (Reprise) Franz Gruber, arr. Erick Lichte

CANTUS AND THEATER LATTÉ DA

Zachary Colby, TENOR

Chris Foss, BASS

Matthew Goinz, BARITONE

CREATING ALL IS CALM: THE CHRISTMAS TRUCE OF 1914 I studied World War I in high school and college, but I don’t remember reading about the Christmas Truce in any of my textbooks. And if I had, I certainly would have remembered. This extraordinary event took place in 1914, the first year of the war, and was never again repeated. Thousands of men put down their guns and left their trenches to meet their enemies in No Man’s Land. They exchanged gifts of tobacco, rum and chocolates; even photographs of love ones. They sang songs, played a game of soccer and buried each other’s dead. Upon orders from above, they eventually returned to their trenches and re-instigated a war that would last four more years. So why did I not learn of this remarkable event? The propaganda machine of war is powerful, and news of soldiers fraternizing across enemy lines would put a human face on the Germans and readily undermine public support for the war. Also, the heroes of this story are not the generals, the battle strategists, the kings and queens, the stuff of bibliographies and history books. The heroes of this story are the lowest ranks of the armies, the young, the hungry, the cold, and the optimistic. Those who acted with extraordinary courage to put down their guns, overcoming a fear that put a gun in their hands in the first place. Their story puts a human face on war, and that’s the story we hope to tell. Two years ago I attended a Cantus Christmas concert. I was struck by not only their remarkable sound, but also how their work was pushing the boundaries of chamber music in the ways Theater Latté

Samuel Green, BASS

Aaron Humble, TENOR

Blake Morgan, TENOR

Da was pushing the boundaries of musical theater. I approached Cantus’ Artistic Director Erick Lichte about collaborating on a piece about the Christmas Truce. He immediately said yes, and our work began. I am interested in creating performance where content dictates the form. In the creative process I continually ask myself: If the characters were left to their own devices, how would they tell their story? What language, what tools were available to them? There was our answer, radio. Radio was critical to military operations; it was the primary means of mass communication and mass entertainment. Our piece would be a radio musical drama, using only the tools of radio: music and text. The music ranges from trench songs to patriotic and sentimental tunes, as well as Christmas music from the various countries. The text is taken from an array of sources including letters, journals, official war documents, poetry, grave stone inscriptions - even an old radio broadcast. One of the reasons I love working in the theater versus film or television, is because the theater is a two-way street. It asks the audience to engage their imagination in order to complete the story. So, here are the words, the songs - the sounds of that extraordinary event. Picturing the human face - well, that’s up to you. To the thousands of men who changed history, thank you. May we do your story justice. - Peter Rothstein

Paul John Rudoi, TENOR

Shahzore Sha, TENOR

Matthew Tintes, BARITONE

LIST OF PEOPLE CITED Private Frank Bass, 9th Battalion Norfolk Regiment Robert Burns, 7th Queens Own Cameron Highlanders Dick Barron, 2nd London Mounted Brigade Winston Churchill, First Lord of the Admiralty Private W. T. Colyer, Artists’ Rifles Corporal John Fergusen, Seaforth Highlanders Count Gleichen, Brigadier General 15th Brigade Captain Sir Edward Hulse, Scots Guards Hugo Klemm, 133rd Saxon Regiment Maurice Laurentin, commandant 6e compagnie Francis Edward Ledwidge, Royal Inniskilling Fusiliers Second Lieutenant Geoffrey Lillywhite George Littlefair, 1/8th Durham Light Infantry Private Tom Macdonald, 9th Batalion Royal Sussex Regiment Patrick MacGill, London Irish Regiment Lt. General C.F.N. Macready British Army Private Peter McGregor, 14th Battalion, Argyle and Sutherland Highlanders Albert Moren, 2nd Queen’s Regiment Sgt. G. H. Morgan, Royal Warwickshire Regiment Oberstleutnant Johannes Niemann, 133rd Royal Saxon Regiment Wilfred Owen, Manchester Regiment Second Lieutenant Arthur Pelham-Burn, 6/ Gordon Highlanders Pope Benedict XV Jack Rogers, 1/7th Sherwood Foresters Siegfried Sassoon, Royal Welch Fusiliers Private Frank Sumpter, London Rifle Brigade Private Jack Sweeney, 1st Batallion, Lincolnshire Regiment G. T. Forrestier-Walker, Brigadier General Frank and Maurice Wray, London Rifle Brigade.

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MARIACHI SOL DE MÉXICO DE JOSÉ HERNÁNDEZ

José Hernández, Musical Director

A Mondavi Center Holiday Event Sunday, December 7, 2014 • 3PM Jackson Hall THERE WILL BE ONE INTERMISSION IN THIS AFTERNOON’S PROGRAM.

THE ENSEMBLE José Hernández, Musical Director FIRST VIOLINS

Erick Hernández, Joaquín Rodríguez SECOND VIOLINS

Fernando Moreno, Roberto López THIRD VIOLINS

Gustavo Pena, Guadalupe González TRUMPETS

José Hernández, Jorge Contreras Adrian Mendoza HARP

Guillermo G. Acuña GUITARRON

Jorge Flores VIHUELA

Anthony Zúñiga GUITAR

Jesús Hernández

THE ORIGIN OF MARIACHI

THE INSTRUMENTS OF MARIACHI

The word “mariachi” is a term that can be used to describe the individual musician, the ensemble or the musical genre itself. A definitive origin has never been established. Perhaps the most common misconception is that the term is derived from the French word for “marriage” - mariage - the theory being that these unnamed ensembles were often hired by the French court in Mexico during the Maximilian epoch (1861-1867) to play at fiestas and weddings. Presumably, Mexicans began calling these groups of strolling musician’s “mariachi.” Today there are many facts to support the idea that the term predates the French occupation. Many Mexican scholars argue that groups called “mariachi” were already in existence by 1830. Scholarly investigations also support the possibility of indigenous roots. Evidence substantiates the existence of an Indian “mariachi” that used a single-head skin drum. One investigation suggests the term derives from the Yutonahuatl language group, signifying a hard floor or dance area called a miriache of tarima. Another hypothesis suggest the term comes from celebrations honoring the Virgin know as “Maria H” - “Maria Hache” - that evolved into the word “mariachi.”

The original mariachi came from rural Western Mexico, primarily the states of Jalisco, Colima, Michoacán, Nayarit and Sinaloa. The first groups were string-based ensembles, making the term mariachi “band” inappropriate as bands, by definition, emphasize brass and woodwinds. The first mariachi instrumentation consisted primarily of violins and the diatonic harp - a non-pedal and therefore nonchromatic instrument. The harp provided rhythmic and harmonic support while the violins played the melodic lines. As the mariachi ensemble developed, a small, generally five-stringed flat-back guitar, called a quinta or guitarra de golpe was added to support the rhythm. In the area around Cocula, for reasons not completely understood, a rounded-back set of instruments was used instead. The fivestringed vihuela, a rounded-back instrument, along with the more recent addition of the guitar, provides the underlying rhythm essential for the musical sound of every mariachi ensemble. The guitarron, a larger rounded-back instrument, plays the bass-line. The original guitarron used four or five gut strings; eventually the instrument became encoremediagroup.com 39

MARIACHI SOL DE MÉXICO DE JOSÉ HERNÁNDEZ standardized with six nylon strings, giving it sufficient volume to support the bass. Because it is capable of modulating to different keys (and easier to carry), the guitarron eventually replaced the harp in most ensembles. In the early 1930s, when the ensembles began to think in terms of arrangements and commercial possibilities, a trumpet was added, the rationale being that it would create a better, more penetrating sound for radio broadcasts. In later years, two trumpets became a standard part of mariachi ensembles, although it is not uncommon to find three or more in some of today’s groups. Mariachi Sol de México instrumentation includes three trumpets.

MARIACHI SOL DE MÉXICO DE JOSÉ HERNÁNDEZ BACKGROUND In 1981 Mr. Jose Hernandez, at the age of 23, founded Mariachi Sol de Mexico in Los Angeles, California. As true representatives of a treasured musical heritage, the 33 year old Mariachi Sol de Mexico has grown to become a dynamic team that has accepted the mantel as the Nations Mariachi Ambassadors. More than any American citizen, Maestro Hernandez is responsible for the recognition that this musical tradition is receiving throughout the world. His ensemble of musical artists brings together refined vocal power and superb musicianship. His 13 member concert mariachi ensemble is one of the finest mariachi ensembles to be found both in Mexico and the United States. Mr. Hernandez’ compositions are bright, splashy celebrations. No one else in the mariachi music scene navigates traditional Mexican folk, classical, and pop with such grace. Their 8th CD was nominated for a Grammy in 2001 Tequila con Limon con El Mariachi Sol de Mexico. This nomination made them the first mariachi to receive such an honor. Their 13th CD 25 Anniversario José Hernández y Su Mariachi Sol de México was also nominated for a Grammy in 2007. Their most recent recording “LA MUSICA, Mariachi Sol de México de José Hernández con La Sinfónica Nacional de Las Américas” was also nominated for a Latin Grammy in 2013. 40 MONDAVIARTS .ORG

Hernandez has taken his ensemble to perform with the New Mexico, Denver, Sacramento, San Francisco, and the Los Angeles symphony orchestras. Sol has recorded with American and Mexican artists such as: Linda Ronstadt, Willie Nelson, Juan Gabriel, Lola Beltran, Vicente Fernandez, Green Day, Luis Miguel, Shaila Durcal and Vikki Carr. Mr. Hernandez has grown to become an American cultural ambassador having toured to Spain, Chile, Venezuela and Colombia, as well as holding the distinction of being the first mariachi to perform in the Peoples Republic of China and North Korea. Jose Hernandez comes from a family that has been performing mariachi music for five generations. He has shared the stage with his five brothers since the age of three. His fluent mastery of the medium has led him to assist in many film scores and have participated in more than 20 Hollywood soundtracks, including Rango, Sea Biscuit, Don Juan De Marco, and A Million to Juan. Mariachi Sol de Mexico represents 126 years of mariachi tradition. This year marks their 33rd Anniversary. Jose Hernandez, is a descendent of five generations of mariachi musicians, he has been performing along with his five brothers since the tender age of three. His fluent mastery of the medium has led him to assist in many film score’s and compose, arrange, produce and tour internationally to universally sold-out audiences. Jose arranged and produced “Tu Solo Tu” from Selena’s “Dreaming of You” album which has established a new record for billboard magazine, and set an historic precedent for traditional ranchero music. 8 weeks at # 1 on the hot Latin tracks. Under the leadership of Jose, Mariachi Sol de Mexico emerges as the rightful heir to the title “The Nation’s Premier Mariachi”. Mariachi Sol de Mexico became the first mariachi group in the United States to play symphonic mariachi arrangements scored by Maestro Hernandez, himself. When he created Mariachi Sol de Mexico 1981, Jose set the scene for the tide of creative irreverence that set the Latin musical world afire. His style is an in-your-face fusion of classical, traditional and contemporary voicing mixed with modern harmonic chord structures. Jose today finds himself a link to a time when mariachi music meant honest emotion and true originality.

Because Jose’s mastery of the mariachi medium, he does not have to sweat the test of tradition. One way to judge Jose’s success is to look at the musical company he keeps and the reviews he has earned. He has recorded with the most respected and recognized names in the industry, including: Selena, Vicente Fernandez, Linda Ronstadt, Vikki Carr, Willie Nelson, Juan Gabriel, Lucha Villa, Lola Beltran, Rocio Durcal and Guadalupe Pineda. Many of these albums have gone double platinum. Jose and his Mariachi Sol de Mexico have become an international institution, a traveling cultural icon that symbolizes electric musicianship and communal cross-generations joy. From Puerto Rico to Hawaii, from Latin America to the most famous symphonic venues in the world. Playing together with the prestigious Los Angeles Philharmonic, the Texas, Denver, Sacramento and Inland Empire Symphony Orchestras, Sol de Mexico’s performances are consistently sold out. Jose and his Mariachi Sol de Mexico is the 1st mariachi to ever perform in the socialist countries of China and North Korea. Jose Hernandez who believes that Mariachi music is not only sacred, but also mutable conceived the innovative idea of an all -female group. Because Jose is a master of the medium, he is free to play with new sounds and ideas. Always striving to expand mariachi music and bridge the gender of cultural gaps that have confined mariachi music to older, Hispanic audiences, Jose set out a nationwide screening to discover the best female mariachi musicians in the country. When finished, he collected a powerhouse of all-female talent that he named in honor of the City of Angeles. With the creation of Mariachi Reyna, Jose Hernandez clinches his position as the man doing the most to bring mariachi, a great music of the 20th century, into the 21st. It is a long way from creating and performing music to helping children or is it? In 1991, Jose decided to parlay his notoriety and knowledge into helping children connect with their own musical traditions by forming the Mariachi Heritage Society. To date, over 6000 students have participated in the program. If music is the universal language, then mariachi is its Latin accent. And, no one speaks the language more brilliantly than Jose Hernandez.

A Mondavi Center Holiday Event Sunday, December 14, 2014 • 4PM

AMERICAN BACH SOLOISTS

Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY HANSEN KWOK

Jeffrey Thomas, conductor Mary Wilson, soprano • Eric Jurenas, countertenor Wesley Rogers, tenor • Jesse Blumberg, baritone

PROGRAM

RECITATIVE – Soprano - And the Angel said unto them, Fear not

George Frideric Handel (1685-1759) Messiah (Foundling Hospital version, 1753) PART THE FIRST SINFONY SCENE I

RECITATIVE, accompanied – Tenor - Comfort ye, comfort

RECITATIVE, accompanied – Soprano - And suddenly there was with the Angel a Multitude CHORUS - Glory to God SCENE V ARIA – Soprano - Rejoice greatly, O Daughter of Sion RECITATIVE – Alto - Then shall the Eyes of the Blind be open’d ARIA – Alto & Soprano - He shall feed his Flock like a shepherd CHORUS - His Yoke is easy

ye my People ARIA – Tenor - Ev’ry Valley shall be exalted CHORUS - And the Glory of the Lord shall be revealed

SCENE II RECITATIVE, accompanied – Bass - Thus saith the Lord of Hosts

ARIA – Alto - But who may abide the Day of his coming? CHORUS - And he shall purify the Sons of Levi SCENE III RECITATIVE – Alto - Behold, a Virgin shall conceive, and bear a Son ARIA – Alto & CHORUS - O thou that tellest good Tidings to Zion RECITATIVE, accompanied – Bass - For behold, Darkness shall cover the Earth ARIA – Bass - The People that walked in Darkness have seen a great Light CHORUS - For unto us a Child is born

SCENE IV PIFA

RECITATIVE – Soprano - There were Shepherds abiding in the Field

RECITATIVE, accompanied – Soprano - And lo, the Angel of the Lord came upon them

—INTERMISSION— PART THE SECOND SCENE I

CHORUS - Behold the Lamb of God ARIA – Alto - He was despised and rejected of Men CHORUS - Surely he hath borne our Griefs CHORUS - And with His Stripes we are healed CHORUS - All we, like Sheep, have gone astray RECITATIVE, accompanied – Tenor - All they that see him laugh him to scorn CHORUS - He trusted in God, that he would deliver him RECITATIVE, accompanied – Soprano - Thy Rebuke hath broken his Heart ARIA – Soprano - Behold, and see

SCENE II RECITATIVE, accompanied – Soprano - He was cut off out of the Land of the Living ARIA – Soprano - But Thou didst not leave his Soul in Hell

SCENE III SEMICHORUS - Lift up your Heads, O ye Gates SCENE IV RECITATIVE – Tenor - Unto which of the Angels said He at

SCENE V ARIA – Alto - Thou art gone up on High CHORUS - The Lord gave the Word ARIA – Soprano - How beautiful are the Feet of them CHORUS - Their Sound is gone out into all Lands SCENE VI ARIA – Bass - Why do the Nations so furiously rage together?

CHORUS - Let us break their Bonds asunder SCENE VII RECITATIVE – Tenor - He that dwelleth in Heaven shall laugh them to scorn

ARIA – Tenor - Thou shalt break them with a Rod of Iron CHORUS - Hallelujah! PART THE THIRD SCENE I

ARIA – Soprano - I know that my Redeemer liveth CHORUS - Since by Man came Death SCENE II RECITATIVE, accompanied – Bass - Behold, I tell you a Mystery

ARIA – Bass - The trumpet shall sound SCENE III RECITATIVE – Alto - Then shall be brought to pass DUET - Alto & Tenor - O Death, where is thy Sting? CHORUS - But Thanks be to God ARIA – Alto - If God is for us, who can be against us? SCENE IV CHORUS - Worthy is the Lamb that was slain CHORUS - Amen.

any time

CHORUS - Let all the Angels of God worship Him

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PROGRAM NOTES Within the decade that followed Handel’s composition of Messiah in 1741, nearly a dozen different casts and configurations of vocal soloists were employed by the composer during those first ten years of what would become a never-ending history of performances worldwide. In each case, and for the remaining years of Handel’s life, he made revisions to his score in order to best utilize the particular talents of the solo singers on hand. While it is certainly true that Handel’s arrangements and transcriptions of arias that were employed for the work’s premiere in Dublin (1742) were due to the inadequacy of some of the singers at his disposal there, all subsequent revisions sought to show both the artists and the work in their best light. Customizing a musical work for the sake of the performers was not uncommon. In fact, it was not unheard of for an operatic vocalist (of necessarily considerable reputation) to carry along his or her favorite arias from city to city, insisting that they be incorporated into otherwise intact and singularly composed musical works for the stage. This indulgence was not as unreasonable as one might first assume. The operatic style during Handel’s day has since become known as opera seria, a term that literally means “serious” opera and that was devised to mark the differences between those works and opera buffa, comic operas that were the outgrowth of commedia dell’arte. There were strict conventions within opera seria, including the utilization of the da capo, or A-B-A, format for arias. Secco recitatives, accompanied only by continuo (usually harpsichord with violoncello), were used to reveal plot details and to introduce the arias (or, rarely, duets) that would illuminate the emotions of whichever character would sing them. But there were also non-musical conventions of equally practical importance. In most cases the singer would exit at the end of an aria; hence the term “exit aria.” Of course, one of the primary reasons for this theatrical device was to solicit applause from the audience for the singer (although some of the approval might just as well have 42 MONDAVIARTS .ORG

been intended for the composer). And each principal singer would fully expect to sing a number of arias in a variety of moods: lamentation, revenge, defiance, melancholy, anger, and heroic virtue were common sentiments. The texts of the arias were rarely longer than four or eight lines, and rather generic, so it was more or less reasonable that a singer could substitute a favorite aria from another work so long as the general emotion was appropriate.

HANDEL’S PLIANT SCORE Other traditions further supported this kind of expected artistic license. In most cases, final arias within any opera of the period were always awarded to the most important singer, not necessarily the most important character. This sort of deference to the talent made a great deal of sense as, during Handel’s day, the singers themselves were as much of an attraction to the audience, if not more so, as the composers and their works might have been. So, in Handel’s implementations of various casts of Messiah soloists, he made redistributions of the workload to be fair or, in some cases, to be flattering to the members of any particular roster. When surveying all of the versions of Messiah, it is very interesting to look first at the assignment of the final aria, “If God be for us.” Although originally composed for soprano, even for the premiere he altered the key so that it could be sung by the contralto, Susanna Cibber, a singing actress that Handel found to be tremendously compelling. Over the next few years he continued to assign that “status” aria to her until 1749, the year before the first performance of Messiah as a charity event for London’s Foundling Hospital. In this case it was awarded to a treble, or boy soprano, perhaps as a prescient indication of discussions that were underway to bring the oratorio into that venue, a home for abandoned or orphaned children. And the following year, in 1750, it was again transposed down a few keys so that it could be sung by the most recently arrived operatic star, the great Italian castrato, Gaetano Guadagni (1728-1792). Only for the last performance of Messiah conducted by Handel in 1754 was the final aria heard as it was first composed, for soprano.

AN EPOCH OF CHARITY London’s Foundling Hospital, a home “for the maintenance and education of exposed and deserted young children,” was established in 1739 in the Bloomsbury area. Its founder, Thomas Coram (16681751), was a sea captain and had spent a number of his early years in the American colonies. Following a career as a successful London merchant, he turned his attention to philanthropy and, in particular, rescuing homeless, abandoned children. At that time, charity and philanthropy had become not only critically essential to the survival of Londoners as a whole, but it had also gained an oddly self-serving functionality as part of the fantastic expansion of London and the greater English empire. The rate of growth of London during the 18th century was exponential. About three fourths of Londoners had been born elsewhere. Its culture was as diverse as the most modern 21st-century city. London offered opportunities and wealth to the industrious and ambitious, as well as a thriving underworld, anonymity, and meager subsistence to criminals and the unskilled. Its hierarchical systems of social status were engrained, accepted, and treasured, despite the fact that the 18th century offered all Londoners the chance to upgrade their places and stations within that cosmopolis. Ironically, though, even those who were able to buy into higher levels of society through their success as merchants were as eager as the blueblooded aristocracy to maintain whatever distinctions of social status could be maintained. The wealthy typically lived in five-story townhouses while the lower classes (those not housed as servants in the top floors of the elite’s homes) often lived in terribly unhealthy and cramped hovels. During most of the 1700s, Londoners were subjected to dreadful pollution, reprehensibly unsanitary conditions, and mostly unbridled crime. Many of those poor conditions were the result of the preponderance of manufacturing industries within London’s commercial organism. About a third of London’s population were employed by manufacturing ventures, and the resulting pollution had turned the Thames River into, literally, a sewer. Still,

AMERICAN BACH SOLOISTS this flourishing business culture helped increase overseas trade at least threefold during the century, and the spoils were global political power and domestic wealth. But the victims of all this were the children. Many lived only a few short years, and still others were abandoned to live on their own in the filth, smoke, and mire of London’s poorer quarters. In the face of such undeniable misery, the wealthy could hardly turn a blind eye. During an era of destitution, depravity, and victimization, the beliefs of the Latitudinarian branch of the Church of England were timely assertions that benevolent and charitable deeds, rather than (or at least in addition to) the formalities of church worship, were essential to the quality of the moral state of the individual. Only by engaging in acts of compassion and by the establishment of a supporting relationship with the less fortunate could their plights, their suffering, and the terrible waste of human life be acceptably mitigated and tolerated. Thus, charity became fashionable. Merchants supported charities that in turn supported the working class. They needed healthy workers in great numbers to keep their machines well-oiled and their industries thriving. Consumers were needed on the other side of the coin, so to speak, so the maintenance of the lower classes was in the best interest of those entrepreneurs. The kingdom itself needed to be defended at sea and abroad, so healthy battalions had to be provided. By supporting the less fortunate and encouraging their strength and independence, to a degree, those who had newly acquired wealth could gain prestige and propriety while nurturing their economic self-interests. To have a “bleeding heart” was especially in vogue among London’s upper-class women. Their ever-increasing opportunities to fashion socially relevant activities led quite naturally to their involvement in charities, which in turn substantiated their refinement, respectability, and moral rank. William Hogarth (1697-1764), the great English painter, satirist, and cartoonist, called this transformative time “a golden age of English philanthropy” and one of the greatest results of it was the Foundling Hospital.

and Handel, firmly established the Foundling Hospital as one of England’s most long-lived and admirable benevolent institutions. Even before the buildings were completed—a process that took ten years from 1742 to 1752—children were first admitted to temporary housing in March, 1741. No questions were asked, but overcrowding quickly led to the

In 18th-century London, the term “hospital” was applied to institutions for the physically ill as well as for the mentally ill, and to organizations that, through hospitality, supported particular factions of London’s population including sailors, refugees, penitent prostitutes, and destitute children. To a great degree, the efforts of Coram, assisted by Hogarth

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AMERICAN BACH SOLOISTS establishment of rules for acceptance. The requirement that children be aged no more than two months was relaxed by the House of Commons in 1756 so that children up to twelve months would be accepted. During the next few years, more than 15,000 infants were left at its doors. Even within the Hospital, though, more than two thirds of them would not survive long enough to be apprenticed during their teenage years.

THE GENESIS, FIRST PERFORMANCES, AND EVOLUTION OF MESSIAH In the same year that the Foundling Hospital accepted its first charges, Handel composed Messiah. Charles Jennens, the librettist for Messiah, had probably made the suggestion to Handel that the premiere of the work might take place in Dublin as a charity event. In fact, on March 27, 1742, Faulkner’s Dublin Journal published an announcement that: “For Relief of the Prisoners in the several Gaols, and for the Support of Mercer’s Hospital in Stephen’s Street, and of the Charitable Infirmary on the Inns Quay, on Monday the 12th of April, will be performed at the Musick Hall in Fishamble Street, Mr. Handel’s new Grand Oratorio, call’d the Messiah…” The previous decade or so had been quite unpleasant for Handel. He had begun to suffer financial difficulties, and by the early 1730s his professional life was simply unraveling. He was nearly bankrupt and had fallen very much out of the critical favor of the aristocratic public for whom he had composed his Italian operas. They were expensive to produce and not accessible enough for his audience. But, in fact, Handel himself was the object of what must have felt like brutal betrayal by his patrons, his audience, and even his musicians. For the first half of his life, Handel had led a charmed existence. He seems to have waltzed into one happy situation after another, in which he enjoyed the patronage of royalty, the aristocracy, and the culture-seeking population at large. He was unexaggeratedly a national hero, despite his non-domestic origins. He had lived in extravagant estates, kept the most celebrated artists, writers, and musicians in his closest circles, and profited—although, not necessarily 44 MONDAVIARTS .ORG

financially—from the tremendous favor that was bestowed upon him by an entire empire. His unprecedented success was so irreproachable that he was, without a doubt, completely unprepared for what amounted to a staggering fall from grace. But what emerged in 1741-42 was a work that would transcend the boundaries of musical forms, subject matter, social and cultural expectations, and, eventually, the bitterness of his rivals. And it would restore “the great Mr. Handel” to the revered status that he had enjoyed decades before. The first performance of Messiah took place on April 13, 1742, in Dublin’s new music hall on Fishamble Street, and was a tremendous success. The review that appeared in Faulkner’s Dublin Journal proclaimed: “Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.” Performances in subsequent years took place in London, but those were met with less enthusiastic receptions. Messiah had blurred the distinctions between opera, oratorio, passion, and cantata, and perhaps some Londoners found this to be a fundamental fault. So it is fascinating to note that when the function of Messiah was returned to that of a work presented for the benefit of charities, and when the venue became an ecclesiastical structure rather than a theater, the oratorio took hold of its permanent place in the hearts of audiences, then in London and now throughout the world. For at least one year before the first Foundling Hospital performance of Messiah in 1750, Handel was involved with the charity, probably drawn to it through his associations with Hogarth and the music publisher John Walsh (1709-1766) who had been elected a governor in 1748. On May 4, 1749, Handel had made an offer, which was gratefully accepted, to present a benefit concert of vocal and instrumental music to help in the completion of the hospital’s chapel. The hospital reciprocated with an invitation to Handel, which he initially declined, to become one of its governors. On May 27th, Handel directed a performance (in the unfinished chapel) of

excerpts from his Fireworks Music, Solomon, and the newly composed Foundling Hospital Anthem, “Blessed are they that considereth the poor and needy.” (The Foundling Hospital Anthem was Handel’s last work of English church music.) The “Hallelujah” chorus from Messiah was the final work, a premonition of what was in store for the following year. Royalty were in attendance. Nearly one year later, on May 1, 1750, Handel performed Messiah in the (still not quite finished) chapel. That day marked what could be seen as the most significant day in Handel’s career. The benefit concert’s success was extraordinary. More than 1,000 people crowded into the space, and more were turned away. Massive public attention to the event, coupled with unequivocal approbation for the oratorio, served Handel well and generated new commitment on the part of the London audience to uphold Handel and his oratorios as the great beacons of English music that they are. He became a governor of the hospital; since more than £1,000 had been raised by his performances, the fee required of governors was waived. Due to the overcrowded conditions on May 1, a second performance was offered on May 15, especially to those who were turned away a fortnight before, that resulted in the first documentation of an entire audience standing for the “Hallelujah” chorus. The most noteworthy musical aspect of the 1750 Foundling Hospital version of Messiah is the reworking of the aria, “But who may abide.” In this year, Handel employed the castrato, Gaetano Guadagni, who had arrived in London as part of an Italian opera company two years before, in 1748, at the age of twenty. The music historian Charles Burney (1726-1814) wrote about Guadagni: “His voice was then a full and well toned counter-tenor; but he was a wild and careless singer. However, the excellence of his voice attracted the notice of Handel, who assigned him the parts in his oratorios of the Messiah and Samson, which had been originally composed for Mrs. Cibber…” Handel composed a new middle section of the aria, taking advantage of Guadagni’s bravura vocal technique as well as his apparently considerable low notes. Two other arias were also reworked

for Guadagni: “Thou art gone up on high” and “How beautiful are the feet.” Recent research seems to indicate that the alto arrangement of “How beautiful are the feet” was only an afterthought. For the May 1, 1750, performance, Handel had seven soloists (female soprano, boy treble, female contralto, male castrato, countertenor, tenor, and bass). But two weeks later, on May 15, when the work was offered for a second time especially to those who were turned away a fortnight before, the soprano must have fallen ill. Emergency reassignments were put in place, and the alto arrangement of “How beautiful are the feet” was one of them. In all fairness, however, it might have been that Handel was so pleased with Guadagni’s singing that he took that opportunity to give the singer another one of the oratorio’s “gem” arias.

Soon, though, the Foundling Hospital Chapel was due for its official opening. Messiah was performed in April of 1753 in the Covent Garden Theatre, and three days later the Chapel was officially dedicated at a performance of the Foundling Hospital Anthem. The last report of any public performance conducted by the blind Handel comes from the May 1 revival of

Messiah for the benefit of the Hospital. For this performance, the configuration of soloists was somewhat conventional for that era: one soprano, one male alto, one tenor, and one bass. The celebrated castrato Guadagni returned to London to sing his last performance of Messiah on this occasion, and Handel, although debilitated by blindness, played a voluntary and an

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TOTAL ECLIPSE In subsequent years, the Foundling Hospital continued to rely upon annual performances of Messiah for significant income. But Handel’s life was approaching its very real twilight. The great colleague whom Handel never met, Johann Sebastian Bach, had undergone two operations on his eyes, both unsuccessful, the second of which led within months to Bach’s death in 1750. By the next year, Handel’s own eyesight was deteriorating rapidly. By March 1751, he was blind in one eye but nevertheless directed two performances of Messiah (in the still unfinished chapel) and even played voluntaries on the organ. 1752 brought more performances of Messiah, still under the composer’s direction, but his eyesight continued to deteriorate despite various treatments and an operation. On August 17 a London newspaper reported that Handel had been “seiz’d a few days ago with a Paralytick [sic] Disorder in his Head which has deprived him of Sight,” and in March of 1753 Handel’s dear and longtime friend, Lady (Susan) Shaftesbury, reported that (at a performance) “it was such a melancholy pleasure, as drew tears of sorrow, to see the great though unhappy Handel, dejected, wan and dark, sitting by, not playing on the harpsichord, and to think how his light had been spent by being overplied in music’s cause.”

Current and Upcoming Exhibitions Our America: The Latino Presence in American Art September 21, 2014 – January 11, 2015 The Provoke Era: Japanese Photography from the Collection of SFMOMA October 12, 2014 – February 1, 2015 Arte Mexicano: Legacy of the Masters October 12, 2014 – February 1, 2015 Toulouse-Lautrec and La Vie Moderne: Paris 1880 – 1910 February 1, 2015 – April 26, 2015

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AMERICAN BACH SOLOISTS Jeffrey Thomas, conductor

VOCAL SOLOISTS

Noah Strick

Joshua Lee

David Wilson

ORGAN

Celia Bridges, Cologne, 1988; after Nicolò Amati, Cremona, circa 1640.

Mary Wilson, soprano Eric Jurenas, countertenor Wesley Rogers, tenor Jesse Blumberg, bass

VIOLIN Elizabeth Blumenstock (leader) Andrea Guarneri, Cremona, 1660. *

Timothy Johnson, Hewitt, TX, 2007; after Stradivari, Cremona, 18th century.

Steven Bailey

VIOLA

HARPSICHORD

Clio Tilton (principal)

Corey Jamason

Eric Lourme, Le Havre, France, 2009; after Brothers Amati, Cremona, 17th century.

Jude Ziliak (principal 2nd) Anonymous Italian, circa 1730.

Vijay Chalasani

Tatiana Chulochnikova

Joseph Hollmayr, Freiburg, Germany, circa 1760.

Karin Cuellar

Jean-Baptiste Salomon, Paris, circa 1760.

Daria D’Andrea

Anonymous, Neapolitan school, circa 1760.

Andrew Davies

Augustine Chauppy, Paris, 1749.

Anonymous, 19th century; Baroque conversion, Devin Hough, Davis, CA, 2011.

Jason Pyszkowski

Jay Haide, El Cerrito, CA, 2008; after Giovanni Paolo Maggini, Brescia, circa 1580.

Ramón Negrón Pérez

Arthur Richardson ~ R.T. Model, Crediton, Devon, England, 1948.

VIOLONCELLO

Joseph Edelberg

Jacob Stainer, Absam bei Insbruck, 1673.

Katherine Kyme

William Skeen (principal, continuo) Anonymous, The Netherlands, circa 1680.

Gretchen Claassen

Johann Gottlob Pfretzschner, Markneukirchen, 1791.

Anonymous, German, 18th century.

Laura Gaynon

Andrew McIntosh

Jay Haide, El Cerrito, CA, 2011; after Stradivari, Cremona, 18th century.

Anonymous, Saxony, mid 18th century.

Mishkar Núñez-Mejía

Andreas Vera

Lu-Mi Workshop, Beijing, China; after 17th-century Italian models, 2010.

Anonymous Italy, circa 1685.

Lindsey Strand-Polyak

CONTRABASS

Carlos Moreno, Madrid, Spain, 2012; after “Lady Stretton” Bartolomeo Giuseppe Guarneri del Gesù, Cremona, 1726.

Steven Lehning (principal,

Janet Worsley Strauss

Anonymous, Austria, circa 1830.

Matthias Joannes Koldiz, Munich, 1733.

John Pickering, Greenmont, NH, 1783.

continuo)

Jessica Powell Eig

Anonymous, German, 19th century.

John Brombaugh & Associates, OR, 1980.

John Phillips, Berkeley, CA; after RuckersTaskin, 1780.

OBOE John Abberger

H. A. Vas Dias, Decatur, GA, 2003; after Thomas Stanesby, Sr., London, circa 1700.

Debra Nagy

Randall Cook, Basel, 2004; after Jonathan Bradbury, London, circa 1720.

BASSOON Charles Koster

Paul Hailperin, Zell im Wiesental, Germany, circa 1990; after M. Deper, Vienna, circa 1725.

Dominic Teresi

Guntram Wolf, Kornach, Germany, 2003 after “HKICW” (maker’s mark), Germany, circa 1700.

TRUMPET John Thiessen (solo)

Keavy Vanryne, London, 1987; after Johann Wilhelm Haas, Nuremberg, circa 1710-1720.

William Harvey

Keavy Vanryne, London, 2003; after Johann Wilhelm Haas, Nuremberg, circa 1710-1720.

TIMPANI Kent Reed

Anonymous, England, circa 1840. * The 1660 Andrea Guarneri violin played by Ms. Blumenstock, is made available to her though the generosity of the Philharmonia Baroque Period Instrument Trust.

AMERICAN BACH CHOIR SOPRANOS

ALTOS

TENORS

BASSES

Jennifer Brody Cheryl Cain Michelle Clair Tonia D’Amelio Clare Kirk Rita Lilly Allison Zelles Lloyd Diana Pray Brett Ruona Cheryl Sumsion Helene Zindarsian

Jesse Antin James Apgar Dan Cromeenes Elisabeth Eliassen Ruth Escher William Sauerland Gabriela Estephanie Solis Meghan Spyker Amelia Triest Celeste Winant

Edward Betts Mark Bonney Michael Desnoyers Michael Jankosky Andrew Morgan Mark Mueller John Rouse

John Kendall Bailey Hugh Davies Thomas Hart Jefferson Packer Daniel Pickens-Jones Chad Runyon David Varnum

46 MONDAVIARTS .ORG

organ concerto for the Foundling Hospital audience. Annual performances to benefit the charity continued until his death in 1759 and beyond, leading to more than 250 years of performances throughout the world, having reached millions upon millions of listeners. Handel was a man of quiet yet firm religious convictions. Almost certainly nudged to embrace Catholicism during his years in Rome, and having been presented with the idea of converting to the Church of England especially during the years of rather significant monarchical patronage in London, he remained a rather staunch Lutheran. Ecclesiastics were prevalent in his mother’s family, and his EvangelicalLutheran identity may very well have stemmed partially from a desire to retain a life-long connection to his Saxon background and heritage. It follows then that, while Messiah is certainly considered by any audience to be a “Grand Musical Entertainment”—as it was sometimes called in Handel’s day—the composer is purported to have said, “I should be sorry if I only entertained them; I wished to make them better.” © Jeffrey Thomas, 2014

THE AMERICAN BACH SOLOISTS

THE AMERICAN BACH SOLOISTS were founded in 1989 with the original mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to provide their audiences with meaningful and memorable performances, recordings, and educational programs that celebrate the music of Bach and the Baroque. Critical acclaim has been extensive: The Wall Street Journal praised ABS for its “unique group style, level of artistry, and sense of community” and named ABS “the best American specialists in early music…a flawless ensemble…a level of musical finesse one rarely encounters.” San Francisco Chronicle recently extolled the ensemble’s “divinely inspired singing” and

AMERICAN BACH SOLOISTS San Francisco Classical Voice declared, “… historically informed performance at its best.” For twenty-five years, Jeffrey Thomas has brought thoughtful, meaningful, and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists. Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, Fanfare Magazine proclaimed that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

JEFFREY THOMAS (conductor) has loved the music of the Baroque era since his teenage years when he took up harpsichord and organ studies. He attended the Oberlin Conservatory and The Juilliard School, and enjoyed brief forays in musical theater (including dancing with the legendary hoofer, Ann Miller), before beginning his professional career as a tenor at the Spoleto USA Festival and the San Francisco Opera, which awarded him one of their first prestigious Adler Fellowships. While at the SFO, he made the acquaintance of the immortal Laurette Goldberg, the pioneering doyenne of early music in California, who introduced him to Gustav Leonhardt. A concert collaboration ensued that set in motion Thomas’s career in early music. Engagements with most major US symphonies and Baroque orchestras followed, including collaborations with the greatest early music conductors and scholars including Hogwood, Koopman, Norrington, Parrott, and Rifkin. Appearances abroad took him to the UK, Europe, Japan, and Southeast Asia. Cited by the Wall Street Journal as “a superstar among oratorio tenors,” Mr. Thomas’s extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics, and Arabesque. For the past 25 years, as Artistic and Music Director of ABS, he has worked with superb colleagues that have inspired him to continue his pursuit of perfection in the performance of the music of Bach and others. With American Bach Soloists, he has released twenty additional CD recordings of

works by Bach, Beethoven, Corelli, Handel, Haydn, Scarlatti, and Schütz. Thoroughly dedicated to the education and mentorship of new generations of early music performers, he established the ABS Academy, a groundbreaking program that has brought together young Bach and Baroque virtuosi with members of ABS. Mr. Thomas holds a Barbara K. Jackson Professorship in Conducting at the University of California, Davis. He was awarded a UC Davis Chancellor’s Fellowship from 2001 to 2006, a prestigious Residency at the Rockefeller Foundation’s Bellagio (Italy) Study and Conference Center at Villa Serbelloni for April 2007, and the title of Resident Scholar at San Francisco’s Grace Cathedral. Listeners around the world enjoy his weekly streaming broadcasts of choral music and Baroque music produced by Classical KDFC.

MARY WILSON (soprano) is acknowledged as one of today’s most exciting artists. Cultivating a wideranging career singing chamber music, oratorio and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News). Receiving consistent critical acclaim from coast to coast, “she proves why many in the opera world are heralding her as an emerging star. She is simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing. She literally stole the spotlight…” (Arizona Daily Star). In high demand on the concert stage, she has most recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Jacksonville Symphony, Dayton Philharmonic, VocalEssence, and at the Hollywood Bowl. She has worked with conductors including Jeffrey Thomas, Bernard Labadie, Martin Pearlman, Martin Haselböck, JoAnn Falletta, Nicholas McGegan, Michael Stern, Anton Armstrong, Philip Brunelle, and Leonard Slatkin. An

exciting interpreter of Baroque repertoire, especially Handel, she has appeared with American Bach Soloists, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Musica Angelica, Baltimore Handel Choir, Florida Bach Festival, Philharmonia Baroque, Brooklyn Academy of Music, the Casals Festival, and the Carmel Bach Festival. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle, Songs Old and New, written especially for her by Ned Rorem. On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgirard’s Joseph Merrick dit L’Elephant Man. She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Mississippi Opera, Southwest Opera, Brooklyn Academy of Music and the Goodman Theatre. An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota and Washington University in St. Louis, Missouri. Currently she is on the voice faculty at the University of Memphis and resides in Memphis, Tennessee, with her husband, son, and two dogs.

ERIC JURENAS (countertenor) has been declared by the New York Times as an artist with “beautiful, well-supported tone and compelling expression,” and defined as having a “rich, mature voice,” (Third Coast Digest) with “incredible power,” (Opus Colorado). He has performed as a featured soloist with The Santa Fe Opera, The Dayton Philharmonic, Opera Philadelphia, Michigan Opera Theatre, American Bach Soloists, Colorado Bach Ensemble, Calvin College Choirs, Kentucky Bach Choir, and the Bel Canto Chorus of Milwaukee, among others. Highlights of 2013-2014 season included performances with American Bach Soloists in Bach’s Magnificat and Handel’s Messiah, and appearances with Juilliard415, New Juilliard Ensemble, and Burlington Choral Society. He recently performed with Michigan Opera Theatre (Handel’s Giulio encoremediagroup.com 47

Cesare) where he was applauded by Opera News for his “performances of admirable gusto.” His Northern California debut was in Handel’s Ariodante at the American Bach Soloists Academy. Mr. Jurenas received his Bachelor’s degree from the CollegeConservatory of Music at the University of Cincinnati, and is currently pursuing a Master of Music degree at The Juilliard School. An avid competitor around the country and the world, Mr. Jurenas has won and received awards from several vocal competitions including a prestigious award from The Sullivan Foundation, first place in the Hal Leonard Online Vocal Competition, and prizes from the Dayton Opera Guild Competition, Kentucky Bach Choir Competition, and the Bel Canto Chorus of Milwaukee Competition.

WESLEY ROGERS (tenor) begins his 2014-15 season with the Dayton Opera, in a concert of Russian repertoire. A frequent performer in Europe, he will be heard at the Concertgebouw in Amsterdam as the Shepherd in Stravinsky’s Oedipus Rex. His performances last season included Belmonte in Mozart’s Die Entführung aus dem Serail at the Opéra Royal de Wallonie (Liege) under the baton of Christophe Rousset, Ferrando in a new production of Mozart’s Cosi fan tutte at the Opera de Montpellier, Belmonte at the Prinzregententheater in Munich, and the tenor soloist in Mozart’s Requiem with the Madison Symphony Orchestra. He performed the role of Don Ottavio in Mozart’s Don Giovanni with the Green Mountain Opera Festival. Previous seasons included performances as Belmonte in Die entführung aus dem Serail at the Semperoper Dresden, with L’Opéra National de Montpellier, with Opéra de Liège in Belgium, and in concert at the Théatre des Champs-Elysées in Paris. More performances of Mozart included Don Ottavio in Don Giovanni with the Madison Opera and the National Theatre Opera Prague, and Tamino in Mozart’s Die Zauberflöte at the Crested Butte Musical Festival in Colorado. Locally, Mr. Rogers has appeared in performances of the Berlioz Te Deum and Elgar’s Dream of Gerontius at the UC Davis Mondavi Center, and he will reprise his critically praised performance of the Evangelist in Bach’s St. Matthew Passion with American Bach Soloists in January, 2015. 48 MONDAVIARTS .ORG

JESSE BLUMBERG (baritone) is equally at home on opera, concert, and recital stages, performing repertoire from the Renaissance and Baroque to the 21st century. His performances have included the world premiere of Ricky Ian Gordon’s The Grapes of Wrath at Minnesota Opera, Agostino Steffani’s 17th-century opera Niobe, Regina di Tebe at the Boston Early Music Festival, Bernstein’s MASS at London’s Royal Festival Hall, and appearances with New York City Opera, Pittsburgh Opera, Utah Opera, and Boston Lyric Opera. Recital highlights include appearances with the Marilyn Horne Foundation and New York Festival of Song, and performances of Schubert’s Die schöne Müllerin and Winterreise with pianist Martin Katz. He has performed major works with American Bach Soloists, Los Angeles Master Chorale, Oratorio Society of New York, Apollo’s Fire, Berkshire Choral Festival, TENET/Green Mountain Project, and on Lincoln Center’s American Songbook series. Additionally, he has given the world premieres of Ricky Ian Gordon’s Green Sneakers, Lisa Bielawa’s The Lay of the Love and Death, Conrad Cummings’ Positions 1956, and Tom Cipullo’s Excelsior, and has collaborated with several other renowned composers as a member of the Mirror Visions Ensemble. In the 2014-2015 season, Mr. Blumberg returns to Boston Early Music Festival in November for Pergolesi chamber operas, and in January for a European concert tour of Niobe, Regina di Tebe. He will also return to American Bach Soloists, Boston Baroque, and Apollo’s Fire, and will make debuts in the spring with Hawaii Opera Theatre and Atlanta Opera. His 2013-2014 season included debuts with Kentucky Opera, Opera Omnia, and Boston Baroque, and a return to Minnesota Opera for Mozart’s Die Zauberflöte. Mr. Blumberg’s extraordinary singing has been recognized in several competitions, and he was awarded Third Prize at the 2008 International Robert Schumann Competition in Zwickau, becoming its first American prizewinner in over thirty years. He received a Master of Music degree from the College-Conservatory of Music at the University of Cincinnati and received undergraduate degrees in History and Music from the University of Michigan. He is also the founder and artistic director of Five Boroughs Music Festival, which brings chamber music of many genres to every corner of New York City.

LIBRETTO THE FOLLOWING LIBRETTO IS ADAPTED FROM THE PRINTED WORD-BOOK FOR THE FIRST LONDON PERFORMANCES OF MESSIAH IN 1743, AND INCORPORATES HANDEL’S OWN DESIGNATIONS OF PART HEADINGS, SCENES, AND MOVEMENT HEADINGS.

MESSIAH AN ORATORIO SET TO MUSICK BY GEORGE FRIDERIC HANDEL, ESQ. PART THE FIRST SINFONY SCENE I RECITATIVE, accompanied - Tenor Comfort ye, comfort ye my People, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her Warfare is accomplish’d, that her Iniquity is pardon’d. The Voice of him that crieth in the Wilderness, prepare ye the Way of the Lord, make straight in the Desert a Highway for our God. (ISAIAH 40:1-3) SONG - Tenor Ev’ry Valley shall be exalted, and ev’ry Mountain and Hill made low, the Crooked straight, and the rough Places plain. (ISAIAH 40:4) CHORUS And the Glory of the Lord shall be revealed, and all Flesh shall see it together; for the Mouth of the Lord hath spoken it. (ISAIAH 40:5) SCENE II RECITATIVE, accompanied - Bass Thus saith the Lord of Hosts; Yet once a little while, and I will shake the Heav’ns and the Earth; the Sea and the dry Land: And I will shake all Nations; and the Desire of all Nations shall come. The Lord whom ye seek shall suddenly come to his Temple, ev’n the Messenger of the Covenant, whom ye delight in: Behold He shall come, saith the Lord of Hosts. (HAGGAI 2:6-7; MALACHI 3:1) SONG – Alto But who may abide the Day of his coming? And who shall stand when He appeareth? For He is like a Refiner’s Fire. (MALACHI 3:2) CHORUS And he shall purify the Sons of Levi, that they may offer unto the Lord an Offering in Righteousness. (MALACHI 3:3) SCENE III RECITATIVE - Alto Behold, a Virgin shall conceive, and bear a Son, and shall call his Name Emmanuel, GOD WITH US. (ISAIAH 7:14; MATTHEW 1:23) SONG - Alto & CHORUS O thou that tellest good Tidings to Zion, get thee up into the high Mountain: O thou that tellest good Tidings to Jerusalem, lift up thy Voice with Strength; lift it up, be not afraid: Say unto the Cities of Judah, Behold your God. O thou that tellest good Tidings to Zion, Arise, shine, for thy Light is come, and the Glory of the Lord is risen upon thee. (ISAIAH 40:9; ISAIAH 60:1)

AMERICAN BACH SOLOISTS RECITATIVE, accompanied - Bass For behold, Darkness shall cover the Earth, and gross Darkness the People: but the Lord shall arise upon thee, and his Glory shall be seen upon thee. And the Gentiles shall come to thy Light, and Kings to the Brightness of thy Rising. (ISAIAH 60:2-3) SONG - Bass The People that walked in Darkness have seen a great Light; And they that dwell in the Land of the Shadow of Death, upon them hath the Light shined. (ISAIAH 9:2) CHORUS For unto us a Child is born, unto us a Son is given; and the Government shall be upon his Shoulder; and His Name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace. (ISAIAH 9:6) SCENE IV PIFA RECITATIVE - Soprano There were Shepherds abiding in the Field, keeping Watch over their Flock by Night. (LUKE 2:8) RECITATIVE, accompanied - Soprano And lo, the Angel of the Lord came upon them, and the Glory of the Lord shone round about them, and they were sore afraid. (LUKE 2:9) RECITATIVE - Soprano And the Angel said unto them, Fear not; for behold, I bring you good Tidings of great Joy, which shall be to all People. For unto you is born this Day, in the City of David, a Saviour, which is Christ the Lord. (LUKE 2:10-11) RECITATIVE, accompanied - Soprano And suddenly there was with the Angel a Multitude of the heav’nly Host, praising God, and saying ... (LUKE 2:13) CHORUS Glory to God in the Highest, and Peace on Earth, Good Will towards Men. (LUKE 2:14) SCENE V SONG - Soprano Rejoice greatly, O Daughter of Sion, shout, O Daughter of Jerusalem; behold, thy King cometh unto thee: He is the righteous Saviour; and He shall speak Peace unto the Heathen. (ZECHARIAH 9:9-10) RECITATIVE - Alto Then shall the Eyes of the Blind be open’d, and the Ears of the Deaf unstopped; then shall the lame Man leap as an Hart, and the Tongue of the Dumb shall sing. (ZECHARIAH 35:5-6)

SONG – Alto & Soprano He shall feed his Flock like a shepherd: and He shall gather the Lambs with his Arm, and carry them in his Bosom, and gently lead those that are with young. Come unto Him all ye that labour, come unto Him all ye that are heavy laden, and He will give you Rest. Take his Yoke upon you and learn of Him; for He is meek and lowly of Heart: and ye shall find Rest unto your souls. (ISAIAH 40:11; MATTHEW 11:28-29)

CHORUS His Yoke is easy, his Burthen is light. (MATTHEW 11:30)

—INTERMISSION— PART THE SECOND SCENE I CHORUS Behold the Lamb of God, that taketh away the Sin of the World. (JOHN 1:29) SONG - Alto He was despised and rejected of Men, a Man of Sorrows, and acquainted with Grief. He gave his Back to the Smiters, and his Cheeks to them that plucked off the Hair: He hid not his Face from Shame and Spitting. (ISAIAH 53:3; ISAIAH 50:6) CHORUS Surely he hath borne our Griefs and carried our Sorrows: He was wounded for our Transgressions, He was bruised for our Iniquities; the Chastisement of our Peace was upon Him. (ISAIAH 53:4-5) CHORUS And with His Stripes we are healed. (ISAIAH 53:5)

CHORUS All we, like Sheep, have gone astray, we have turned ev’ry one to his own Way, and the Lord hath laid on Him the Iniquity of us all. (ISAIAH 53:6) RECITATIVE, accompanied - Tenor All they that see him laugh him to scorn; they shoot out their Lips, and shake their Heads, saying ... (PSALM 22:7) CHORUS He trusted in God, that he would deliver him: let him deliver him, if he delight in him. (PSALM 22:8) RECITATIVE, accompanied - Tenor Thy Rebuke hath broken his Heart; He is full of Heaviness: He looked for some to have Pity on him, but there was no Man, neither found he any to comfort him. (PSALM 69:21)

SONG - Tenor Behold, and see, if there be any Sorrow like unto his Sorrow! (LAMENTATIONS 1:12) SCENE II RECITATIVE, accompanied - Soprano He was cut off out of the Land of the Living: For the Transgression of thy People was He stricken. (ISAIAH 53:8) SONG - Soprano But Thou didst not leave his Soul in Hell, nor didst Thou suffer thy Holy One to see Corruption. (PSALM 16:10)

SCENE III

PART THE THIRD

SEMICHORUS Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord Strong and Mighty; the Lord Mighty in Battle. Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts: he is the King of Glory.

SONG - Soprano I know that my Redeemer liveth, and that He shall stand at the latter Day upon the Earth: And tho’ Worms destroy this Body, yet in my Flesh shall I see God. For now is Christ risen from the Dead, the FirstFruits of them that sleep. (JOB 19:25-26;

(PSALM 24:7-10)

SCENE IV RECITATIVE - Tenor Unto which of the Angels said He at any time, Thou art my Son, this Day have I begotten thee? (HEBREWS 1:5) CHORUS Let all the Angels of God worship Him. (HEBREWS 1:6)

SCENE V SONG - Alto Thou art gone up on High; Thou has led Captivity captive, and received Gifts for Men, yea, even for thine Enemies, that the Lord God might dwell among them. (PSALM 68:18)

CHORUS The Lord gave the Word: Great was the Company of the Preachers. (PSALM 68:11) ARIA - Soprano How beautiful are the Feet of them that preach the gospel of peace, and bring glad tidings of good things. (ROMANS 10:15) CHORUS Their Sound is gone out into all Lands, and their Words unto the Ends of the World. (ROMANS 10: 18)

SCENE VI SONG - Bass Why do the Nations so furiously rage together? and why do the People imagine a vain Thing? The Kings of the Earth rise up, and the Rulers take Counsel together against the Lord and against his Anointed. (PSALM 2:1-2)

CHORUS Let us break their Bonds asunder, and cast away their Yokes from us. (PSALM 2:3)

SCENE I

1 CORINTHIANS 15:20)

CHORUS Since by Man came Death, by Man came also the Resurrection of the Dead. For as in Adam all die, even so in Christ shall all be made alive. (1 CORINTHIANS 15:21-22) SCENE II RECITATIVE, accompanied - Bass Behold, I tell you a Mystery: We shall not all sleep, but we shall all be chang’d, in a Moment, in the Twinkling of an Eye, at the last Trumpet. (1 CORINTHIANS 15:51-52) SONG - Bass The trumpet shall sound, and the Dead shall be rais’d incorruptible, and We shall be chang’d. For this corruptible must put on Incorruption, and this Mortal must put on Immortality. (1 CORINTHIANS 15:52-54) SCENE III RECITATIVE - Alto Then shall be brought to pass the Saying that is written; Death is swallow’d up in Victory. (1 CORINTHIANS 15:54) DUET - Alto & Tenor O Death, where is thy Sting? O Grave, where is thy Victory? The Sting of Death is Sin, and the Strength of Sin is the Law. (1 CORINTHIANS 15:55-56)

CHORUS But Thanks be to God, who giveth Us the Victory through our Lord Jesus Christ. (1 CORINTHIANS 15:57)

SONG - Alto If God is for us, who can be against us? Who shall lay anything to the Charge of God’s Elect? It is God that justifieth; Who is he that condemneth? It is Christ that died, yea, rather that is risen again; who is at the Right Hand of God, who maketh intercession for us. (ROMANS 8:31; 33-34) SCENE IV

SCENE VII RECITATIVE - Tenor He that dwelleth in Heaven shall laugh them to scorn; the Lord shall have them in Derision. (PSALM 2:4) SONG - Tenor Thou shalt break them with a Rod of Iron; thou shalt dash them in pieces like a Potter’s Vessel. (PSALM 2:9) CHORUS Hallelujah! for the Lord God Omnipotent reigneth. The Kingdom of this World is become the Kingdom of our Lord and of his Christ; and He shall reign for ever and ever, King of Kings, and Lord of Lords. Hallelujah! (REVELATION 19:6; 11:15; 19:16)

CHORUS Worthy is the Lamb that was slain, and hath redeemed us to God by His Blood, to receive Power, and Riches, and Wisdom, and Strength, and Honour, and Glory, and Blessing. Blessing and Honour, Glory and Pow’r be unto Him that sitteth upon the Throne, and unto the Lamb, for ever and ever. (REVELATION 5:12-14) CHORUS Amen.

encoremediagroup.com 49

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.

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$1,500 - $3,249

Beulah and Ezra 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* Susie and Jim Burton Davis and Jan Campbell Simon Cherry and Laura Marcu Jim and Kathy Coulter* John and Celeste Cron* Jay and Terry Davison Bruce and Marilyn Dewey Dotty Dixon* Richard and Joy Dorf* Domenic and Joan Favero Doris Flint Carole Franti* Jolàn Friedhoff and Don Roth Christian Sandrock and Dafna Gatmon Karl Gerdes and Pamela Rohrich Erla and David Goller Fredric Gorin and Pamela Dolkart Gorin John and Patty Goss* Jack and Florence Grosskettler* In Memory of William F. McCoy Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy Ronald and Lesley Hsu Ruth W. Jackson Clarence and Barbara Kado Barbara Katz Gail W. Kelly* Charlene R. Kunitz Matt Donaldson and Steve Kyriakis Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Frances and Arthur Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert David E. and Ruth B. Lindgren 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* Robert and Helga Medearis Judith and Eldridge Moores Augustus and Mary-Alice Morr John Pascoe and Sue Stover John and Misako Pearson Bonnie A. Plummer* Chuck and Chris Powell Prewoznik Foundation Linda and Lawrence Raber* Lois and Dr. Barry Ramer John and Judith Reitan Kay Resler* Christopher Reynolds and Alessa Johns Tom Roehr Liisa Russell Ed and Karen Schelegle Neil and Carrie Schore Bonnie and Jeff Smith Ronald and Rosie Soohoo* Edward and Sharon Speegle Richard L. Sprague and Stephen C. Ott Maril R. Stratton and Patrick Stratton Edward Telfeyan and Jerilyn Paik-Telfeyan D. Verbeck, R. Mott, J. Persin Louise Walker and Larry Walker Geoffrey and Gretel WandesfordSmith

Dan and Ellie Wendin* Dale L. and Jane C. Wierman In Honor of Chuck and Ulla And 8 donors who prefer to remain anonymous

ENCORE CIRCLE

$600 - $1,499

Shirley and Mike Auman* Robert and Susan Benedetti Alan and Kristen Bennett Don and Kathy Bers* Muriel Brandt Marion Bray John and Christine Bruhn Manuel Calderon de la Barca Sanchez and Karen Zito Lynne Cannady and David Ford Dolores and Donald Chakerian John and Joan Chambers* Jack and Gale Chapman Robert D. and Nancy Nesbit Crummey Sharon Cuthbertson* John and Cathie Duniway John and Pamela Eisele Jeffery and Marsha Gibeling Paul and E. F. Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Paul and Nancy Helman Lenonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Barbara and Robert Jones Paula Kubo Ruth Lawrence John T. Lescroart and Lisa Sawyer Michael and Sheila Lewis* Maria M. Manoliu Gary and Jane L. Matteson Joy Mench and Clive Watson Robert and Susan Munn* Don and Sue Murchison Bob and Kinzie Murphy Linda Orrante and James Nordin The Aboytes Family Frank Pajerski Harriet Prato Lawrence and Celia Rabinowitz J. and K. Redenbaugh C. Rocke Tracy Rodgers and Richard Budenz Heather and Jeep Roemer Tom and Joan Sallee Dwight E. and Donna L. Sanders Michael and Elizabeth Singer William and Jeannie Spangler Howard J. Spero and Charlene Sailer Elizabeth St. Goar Sherman and Hannah Stein Les and Mary Stephens De Wall Judith and Richard Stern Jan Stevens and Carole Cory Eric and Patricia Stromberg* Tony and Beth Tanke And 3 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

$300 - $599

Mitzi Aguirre Ralph and Teresa Aldredge Thomas and Patricia Allen Elinor Anklin and George Harsch Antonio and Alicia Balatbat Carol Beckham and Robert Hollingsworth Carol L. Benedetti Philip Bettens Bob and Diane Biggs Al Patrick and Pat Bissell

Elizabeth Bradford Susan Brownridge Dr. Margaret Burns and Dr. Roy W. Bellhorn Jackie Caplan Michael and Louise Caplan Anne and Gary Carlson Bruce and Mary Alice Carswell* Amy Chen and Raj Amirtharajah Betty M. Clark Charles and Mary Anne Charles Cooper James Cothern David and Judy Covin Kim Uyen Dao* Larry Dashiell and Peggy Siddons Anne E. Duffey Janet Feil David and Kerstin Feldman Helen Ford Lisa Foster and Tom Graham Jennifer D. Franz Edwin and Sevgi Friedrich* Marvin and Joyce Goldman June and Paul Gulyassy, M.D. Darrow and Gwen Haagensen Sharon and Don Hallberg Marylee Hardie David and Donna Harris Miriam and Roty Hatamiya Mary A. Helmich Jeannette E Higgs Kenneth and Rita Hoots* Steve and Nancy Hopkins Mun Johl Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung David Kalb and Nancy Gelbard Patricia Kelleher* Peter G. Kenner Ruth A Kinsella* Joseph Kiskis and Diana Vodrey Peter Klavins and Susan Kauzlarich Paul Kramer Dolores Dautherty Carol Ledbetter Mr. and Mrs. Levin Barbara Levine Mary Ann and Ernest Lewis* Mel and Rita Libman Robert and Betty Liu The Lufburrow Family Jeffrey and Helen Ma Bunkie Mangum Pam Marrone and Mick Rogers Catherine McGuire Roland and Marilyn Meyer Nancy Michel Alison L. Morr Marcie Mortensson Beverly J. Myers, MD William and Nancy Myers Bruno Nachtergaele and Marijke Devos Bill and Anna Rita Neuman Carol and John Oster Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker Gloria Freeman and Jerry L. Plummer John and Deborah Poulos John and Alice Provost Evelyn and Otto Raabe Rhonda Reed and Ken Gebhart Judy and David Reuben* Dr. Ronald and Sara Ringen Sharon and Elliott Rose* Jane Rosenberg and Steve Deas Barbara and Dr. Alan Roth Bob and Tamra Ruxin Howard and Eileen Sarasohn John and Joyce Schaeuble Robert and Ruth Shumway James Smith

Judith Smith Al and Sandy Sokolow Tim and Julie Stephens Karen and Edward Street* Pieter Stroeve, Diane Barrett and Jodie Stroeve Captane and Helen Thomson Virginia and Butch Thresh Dennis and Judy Tsuboi Ann-Catrin Van Ph.D. Merna and Don Villarejo Rita Waterman Charles White and Carrie Schucker Jim and Genia Willett Richard and Sally Yamaichi Iris Yang and G. Richard Brown Wesley and Janet Yates 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 Mary Aften Susan Ahlquist David and Penny Anderson Val Anderson Jerry and Barbara August Maria Balakshin George and Irma Baldwin Charlotte Ballard and Robert Zeff Diane and Charlie Bamforth* Elizabeth Banks Carole Barnes Cynthia Bates Connie Batterson Anonymous Paul and Linda Baumann Lynn Baysinger* Malcolm Becker Marion S. Becker Merry Benard William and Marie Benisek Jane D. Bennett Linda and William Bernheim Bevowitz Family Boyd and Lucille Bevington Dr. Robert and Sheila Beyer Joan and Roy Bibbens* John and Katy Bill Terry Sandbek* and Sharon Billings* Andrea Bjorklund and Sean Duggan Sam and Caroline Bledsoe Fred and Mary Bliss Bill Bossart Brooke Bourland* Jill and Mary Bowers C and B Brandow Alf and Kristin Brandt Robert and Maxine Braude Dan and Mildred Braunstein* Elizabeth and Alan Brownstein Linda Clevenger and Seth Brunner Mike and Marian Burnham Victor W. Burns William and Karolee Bush Joan and Edward Callaway Peter and Lorraine Camarco Lita Campbell* Jean Canary John and Nancy Capitanio William and Pauline Caple James and Patty Carey Mike and Susan Carl Jan Carmikle Carolyn Chamberlain Dorothy Chikasawa* Richard and Arden Christian Gail Clark

L. Edward and Jacqueline Clemens James and Linda Cline Stephan Cohen Stuart and Denise Cohen Sheri and Ron Cole Harold and Marjorie Collins Steve and Janet Collins Patricia Conrad Terry D. Cook Nicholas and Khin Cornes Fred and Ann Costello Cathy and Jon Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan Robert and Elizabeth Bushnell John and Joanne Daniels Nita A. Davidson Relly Davidson Judy and David Day Lynne de Bie* Robert Diamond Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* Marjean DuPree James Eastman Eliane Eisner Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Lynette Ertel Joy Fabiano Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Richard D. Farshler Cheryl Felsch Liz and Tim Fenton* Dave Firenze Kiernan and Marty Fitzpatrick David and Donna Fletcher Robert Fowles and Linda Parzych Marion Franck and Bob Lew Anthony and Jorgina Freese Joel Friedman Larry Friedman and Susan Orton Kerim and Josie Friedrich Joan M Futscher Myra Gable Anne Garbeff* Peggy Gerick Gerald Gibbons and Sibilla Hershey Barbara Gladfelter Eleanor Glassburner Louis Fox and Marnelle Gleason* Susan Goldstein Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart S Goodrich and M Martin Jeffrey and Sandra Granett Steve and Jacqueline Gray* Paul and Carol Grench Alex and Marilyn Groth Wesley and Ida Hackett* Jane and Jim Hagedorn Frank Hamilton William and Sherry Hamre Pat and Mike Handley Laurie and Jim Hanschu Robert and Susan Hansen Vera Harris Sally Harvey* Roy and Dione Henrickson Mary and Rand Herbert Fred Taugher and Paula Higashi Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Michael and Margaret Hoffman Jeff Holcomb Herb and Jan Hoover David and Gail Hulse Pat Hutchinson*

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THE ART OF GIVING Lorraine Hwang Dr. and Mrs. Ralph B. Hwang Marta Induni Marion Jazwinski* Jane and John Johnson* Dr. and Mrs. Ronald C. Jensen Karen Jetter 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 Jean and Steve Karr Yasuo Kawamura Phyllis and Scott Keilholtz* Charles Kelso and Mary Reed Michael Kent and Karl Jadney Robert and Cathryn Kerr Leonard Keyes Jeannette Kieffer Gary and Susan Kieser Larry Kimble and Louise Bettner Kathryn and Leonard Goldberg Robert Kingsley and Melissa Thorme Dr. and Mrs. Roger Kingston Dorothy Klishevich John and Mary L. Klisiewicz* Jeannine Kouns Alan and Sandra Kreeger Marcia and Kurt Kreith Sandra Kristensen Lorenzo Kristov and Robin Kozloff Elizabeth and C.R. Kuehner Leslie Kurtz Cecilia Kwan Ray and Marianne Kyono Scarlet and Harvey Edber Kit and Bonnie Lam* Marsha M. Lang Anne Lawrence

Leon E. Laymon Peggy Leander* Charlie and Joan Learned Marceline Lee and Philip Smith The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn A. Lewis Barbara Linderholm Motoko Lobue Mary Lowry Henry Luckie Michael Luszczak Ariane Lyons Edward and Susan MacDonald Karen Majewski Alice Mak and Wesley Kennedy Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer Joseph and Mary Alice Marino David and Martha Marsh Dr. Carol Marshall J. A. Martin Vel Matthews Leslie Maulhardt Katherine Mawdsley* Harry and Karen McCluskey* Douglas McColm and Delores McColm Nora McGuinness* Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry DeAna Melilli Barry Melton and Barbara Langer The Merchant Family Fred and Linda Meyers* Beryl Michaels and John Bach Leslie Michaels and Susan Katt Lisa Miller Sue and Rex Miller Steve and Kathy Miura* Kei and Barbara Miyano Vicki and Paul Moering

CORPORATE MATCHING GIFTS

Johnson Controls Foundation

We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.

ARTISTIC VENTURES FUND

We applaud our Artistic Ventures Fund’s members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies, and programs made available free to the public.

Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef

Joanne Moldenhauer Ruth and Lloyd Money Irene Montgomery* Elaine and Ken Moody Amy Moore Christopher Motley The Muller Family Terence and Judith Murphy Elaine Myer Guity Myers* Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell Nancy Nolte and James Little Marilyn Olmstead Dana K. Olson Jim and Sharon Oltjen Marvin O’Rear Jessie Ann Owens and Anne Hoffmann Bob and Elizabeth Owens Mike and Carlene Ozonoff* Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Niels Pedersen Henri and Dianne Pellissier Mari Perla Ann Peterson and Marc Hoeschele Brenda Davis and Ed Phillips Pat B. Piper Jane Plocher Dr. Robert Poppenga and Amy Kapatkin Jeff and Marrilee Posner Jerry and Bernice Pressler Ed and Jane Rabin Jan and Anne-Louise Radimsky Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Catherine Ann Reed Dr. and Mrs. James W. Reede Jr. Mrs. John Reese, Jr.

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.

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 Yvonne Le Maitre Robert 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 Lynn Upchurch Anonymous

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 Debbie Armstrong, Sr. Director of Development (530.754.5415 or djarmstrong@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. 52 MONDAVIARTS .ORG

Fred and Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Elizabeth and Eugene Renkin Francis E. Resta Ralph and Judy Riggs Jeannette and David Robertson Ronald and Morgan Rogers Richard and Alice Rollins Richard and Evelyne Rominger Teddy Wilson and Linda Roth Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Raymond Salomon Beverly “Babs” Sandeen and Marty Swingle Mark and Ita Sanders Elia and Glenn Sanjume Polly and Fred Schack Leon Schimmel and Annette Cody Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Bee Happy Apiaries Jenifer and Bob Segar Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Edward Shields and Valerie Brown Consuelo Sichon Jo Anne Silber Dan and Charlene Simmons Marion E. Small Robert Snider Jean Snyder Roger and Freda Sornsen Marguerite Spencer Janet L. Spliman Miriam Steinberg and Ben Glovinsky Harriet Steiner and Miles Stern Johanna Stek Raymond Stewart Deb and Jeff Stromberg Yayoi Takamura and Jeff Erhardt Dr. Stewart and Ann Teal Francie F. Teitelbaum

Julie A. Theriault, PA-C Brian Toole Robert and Victoria Tousignant Michael and Heidi Trauner Rich and Fay Traynham James E. Turner Nancy Ulrich* Ramon and Karen Urbano Peter and Carolyn Van Hoecke Chris and Betsy Van Kessel Diana Varcados Robert Vassar Bart and Barbara Vaughn* Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Kim and James Waits Maxine Wakefield and William Reichert Carol Walden Vivian and Andrew Walker Walnut Creek Civic Arts League Andy and Judy Warburg Valerie Boutin Ward Marny and Rick Wasserman Jack and Rita Weiss Douglas West Kimberly West Martha S. West Robert and Leslie Westergaard* Edward and Susan Wheeler Jane Williams Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Heather Young Verena Leu Young Melanie and Medardo Zavala Darrel and Phyllis Zerger* Dr.Mark and Wendy Zlotlow And 44 donors who prefer to remain anonymous

PATRON LOYALTY INITIATIVE

We are grateful to the following donors who have made special gifts to the Mondavi Center’s “Patron Loyalty Initiative”. This project will provide MC leadership and staff with an important set of tools and analyses to assist our efforts to build the loyalty and commitment of our wonderful base of donors and subscribers.

Ralph & Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Anne Gray Garry Maisel Stephen Meyer & Mary Lou Flint

Randy Reynoso & Martin Camsey Bill and Nancy Roe Joan and Tony Stone Joe and Betty Tupin

Thank you to the following donors for their special program support.

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

Dr. & Mrs. Lowell L. Ashbaugh Thomas and Lynda Cadman Hugh Griffin Jean Malamud Mia McClellan

Sybil Miyamoto Maureen and Harvey Olander June Tanihana Leo Warmolts

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.

14–15 ADVISORY BOARD MEMBERS Joe Tupin, Chair • Patti Donlon • Mary Lou Flint • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry Maisel • Sean McMahon • Stephen Meyer • Randy Reynoso • Grace Rosenquist • John Rosenquist • Joan Stone • Tony Stone • Larry Vanderhoef • Carol Wall HONORARY MEMBERS Barbara K. Jackson • Margrit Mondavi

EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Francie Lawyer, President, Friends of Mondavi Center • Susan Kaiser, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis • Sharon Knox, Chair, Arts & Lectures Administrative Advisory Committee

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. 14–15 COMMITTEE MEMBERS Sharon Knox, Chair • Marta Altisent • Lauren Brink • Catherine Dao Nguyen • Jim Forkin • Jeremy Ganter • Carol Hess • Charles Hunt • Ian Koebner • Cameron Mazza • Eleanor McAuliffe • Kyle Monhollen • Erin Palmer • Erica Perez • Susan Perez • Don Roth • Rob Tocalino

of Mondavi Center is an active donor-based volunteer organization that supports activities of Mondavi Center’s presenting program.

Membership in the Friends of Mondavi Center is open to 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. 14–15 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Francie Lawyer, President Sandi Redenbach, Vice President Jo Ann Joye, Secretary Lydia Baskin, School Matinee Support Judy Fleenor, Mondavi Center Tours Karen Street, School Outreach Wendy Chason, Friends Events Kathy Bers, Membership Joyce Donaldson, Chancellor’s Designee, Ex-Officio Shirley Auman, Gift Shop, Ex-Officio

all Mondavi Center annual fund donors. As a donor based volunteer organization, the mission of the Friends is to assist the presenting program with education, outreach, fundraising, and audience development. Primary to this mission is raising funds for over 1800 K-12 students each year to attend a Mondavi Center School Matinee. Friends also staff and manage the Gift Shop and Tours program, and provide free classroom talks prior to school matinees.

PLEASE CONTACT JENN MAST AT 530-754-5431 OR JMMAST@UCDAVIS.EDU FOR INFORMATION ON JOINING THESE EXTRAORDINARY, ARTS-LOVING MONDAVI CENTER PATRONS.

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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. • Prices subject to change.

PARKING PARKING You may purchase parking passes for individual Mondavi Center events for $9 per event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.

GROUP DISCOUNTS 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.

STUDENT TICKETS 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.)

54 MONDAVIARTS .ORG

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.

YOUTH (AGE 17 AND UNDER) A ticket is required for admission of all patrons 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.

TOURS 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.

ACCOMMODATIONS FOR PATRONS WITH DISABILITIES 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, 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.

OPERA GLASSES Opera glasses are available for Jackson Hall. They may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID be held until the device is returned.

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

Music touches the heart From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.

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