Mondavi Center Program Book Nov-Dec 2016 by Mondavi Center

Western Health Advantage Season of Performing Arts

Novâ&#x20AC;&#x201C;Dec 2016 The Ukulele Orchestra of Great Britain DEC 13

WELCOME

A MESSAGE FROM THE INTERIM CHANCELLOR

RALPH J. HEXTER

UC DAVIS INTERIM CHANCELLOR

We understand that artistic expression and the enjoyment and passion it engenders is essential.

“Art,” the author and social activist Thomas Merton said, “enables us to find ourselves and lose ourselves at the same time.” At UC Davis, we have spent decades celebrating a diverse presentation and appreciation of the arts because we understand that artistic expression and the enjoyment and passion it engenders is essential not only to a well-rounded education but also to a satisfying and well-lived life. Looking through the program for the 2016-17 Mondavi Center season, one cannot help but be struck by the range and quality of artistic offerings. There truly is something wonderful for everyone in our community and region to enjoy. You might choose to spend an evening with George Takei, who mixes wry wit and wisdom as he reflects on the amazing journey that is his life. Perhaps you’ll want to settle into your seats and be transported to another world by the virtuoso brilliance of violinists Itzhak Perlman and Joshua Bell. There is music for lovers of jazz and multiple classical genres, including Wynton Marsalis and the Jazz at Lincoln Center Orchestra, the Alexander String Quartet and the Rising Stars of Opera with members of the San Francisco Opera Adler Fellows and our own UC Davis Symphony Orchestra. If your musical preferences run more to funk, we have a true pioneer in the genre, Maceo Parker, with The Jones Family Singers, to get your feet tapping and your souls soaring. The Mondavi Center will also be hosting cutting-edge comedians, thoughtprovoking lecturers, extraordinary dancers and authors and the provocative L.A. Theatre Works production of Judgment at Nuremberg, a unique live radio theaterstyle performance that will be sure to make us reflect on the human condition. The great dancer and choreographer Twyla Tharp once said, “Art is the only way to run away without leaving home.” At UC Davis this season, we can experience inspiring performances from around the world right here in Davis thanks to the outstanding work of our Mondavi Center staff and because of your support. Some of my most enjoyable experiences on campus have been as an enchanted member of the Mondavi Center audience. I am confident that you, too, will be captivated and inspired as so many have been over the center’s first 14 seasons. On behalf of the entire UC Davis community, thank you for being a part of the performing arts on our campus. Please enjoy whatever shows you’ve chosen and we hope to see you again very soon.

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SPONSORS SEASON SPONSOR

MONDAVI CENTER STAFF Don Roth, Ph. D.

EXECUTIVE DIRECTOR

Jeremy Ganter

ASSOCIATE EXECUTIVE DIRECTOR

Debbie Armstrong

TICKET OFFICE Sarah Herrera

ASSOCIATE DIRECTOR OF TICKETING

Susie Evon

SENIOR DIRECTOR

EVENT SUPERVISOR AND GROUP SALES COORDINATOR

CORPORATE PARTNERS

Liz King

Jessica Miller

SERIES

ARTS EDUCATION

Russell St. Clair

EXECUTIVE ASSISTANT

Jennifer Mast

TICKET AGENTS

DEVELOPMENT

Raymond John Abayan Alexandria Butler Laura Elbaum Stephen Fan Andrea Gonzalez Castillo Mei Lin Jackson Allison Lopez Bianna Nikdel Alexis Pena Tomasetti Mallory Sellens Kali Sullivan Viviana Valle Tayler Ward

DIRECTOR OF DEVELOPMENT

Niki Fay Palmer

MEMBERSHIP MANAGER

Jill Pennington

MEMBERSHIP RELATIONS SPECIALIST

Liz King

EXECUTIVE ASSISTANT

FINANCE AND BUSINESS SERVICES Debbie Armstrong

EVENT

SENIOR DIRECTOR

Mandy Jarvis

FINANCE & BUSINESS SYSTEMS ANALYST

Russ Postlethwaite

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

Kathy Di Blasio

ADMINISTRATIVE ASSISTANT

INFORMATION TECHNOLOGY Paul Altamira

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

APPLICATIONS ADMINISTRATOR & PCI COMPLIANCE COORDINATOR

MARKETING Rob Tocalino

DIRECTOR OF MARKETING AND TICKETING

Dana Werdmuller

MARKETING MANAGER

Erin Kelley

ART DIRECTOR/SENIOR DESIGNER

SPECIAL THANKS Asante Catering Ciocolat

Black Pine Catering

Boeger Winery

El Macero Country Club

Winds of Change House 4 MONDAVIART S.ORG

TICKET AGENT

ARTS EDUCATION COORDINATOR

Nancy Petrisko

OFFICE OF CAMPUS COMMUNITY RELATIONS

TICKET OFFICE SUPERVISOR

OPERATIONS

Maria Giannuli Donna Horgan Paul Kastner Steve Matista Jan Perez FACILITIES Ryan Thomas

BUILDING ENGINEER

PRODUCTION Donna J. Flor

PRODUCTION MANAGER

Adrian Galindo

ASSISTANT PRODUCTION MANAGER

Christopher C. Oca

HEAD STAGE MANAGER & CREW CHIEF

Phil van Hest

MASTER CARPENTER/RIGGER

Rodney Boon

HEAD AUDIO ENGINEER

Christi-Anne Sokolewicz SENIOR STAGE MANAGER, JACKSON HALL

David M. Moon

Herb Garman

DIRECTOR OF OPERATIONS

SENIOR EVENTS COORDINATOR/ LIAISON TO UC DAVIS DEPARTMENTS

ARTIST SERVICES

Eric Richardson

Laurie Espinoza

MASTER ELECTRICIAN

ARTIST SERVICES MANAGER*

Wai Kit Tam

AUDIENCE SERVICES

Daniel Villegas

Marlene Freid

LEAD VIDEO TECHNICIAN AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE

AUDIENCE SERVICES AND VOLUNTEER ENGAGEMENT MANAGER

Holly McNeill

Yuri Rodriguez

John Bologni

PUBLIC EVENTS MANAGER

Natalia Deardorff

ASSISTANT PUBLIC EVENTS MANAGER

Dawn Kincade

ASSISTANT PUBLIC EVENTS MANAGER

Amy Miles

ASSISTANT PUBLIC EVENTS MANAGER

Nancy Temple

ASSISTANT PUBLIC EVENTS MANAGER

HEAD USHERS Ralph Clouse Eric Davis John Dixon George Edwards

STAGE MANAGER SCENE STAGE TECH

Karl Metts

SCENE STAGE TECH

Bryan Smith

SCENE STAGE TECH

PROGRAMMING Jeremy Ganter

DIRECTOR OF PROGRAMMING

Jenna Bell

PROGRAMMING MANAGER*

Ruth Rosenberg

ARTIST ENGAGEMENT COORDINATOR

Lara Downes

CURATOR, YOUNG ARTISTS PROGRAM

* Interim

WHEN LESS IS MORE

Chamber Music AT THE SYMPHONY

Five concerts, Sundays at 2pm

JAN 29 Music by Schumann, Mahler, and Beethoven

MAR 19 Music by Schubert, Prokofiev, Brahms

FEB 19 Music by Ravel, Gaubert, and Brahms

APR 30 Music by Martinů, Britten, and Dvořák

MAY 28 Music by Barber, Harrison, Goosens, and Poulenc

SUBSCRIBE TO THE SF SYMPHONY CHAMBER MUSIC SERIES

sfsymphony.org/chamber SECOND CENTURY PARTNER

415-864-6000

SEASON PARTNERS

Concerts at Davies Symphony Hall unless otherwise noted. Programs, artists, and prices subject to change. Box Office Hours Mon–Fri 10am–6pm, Sat noon–6pm, Sun 2 hours prior to concerts Walk Up Grove Street between Van Ness and Franklin Inaugural Partner

Official Airline

DON ROTH, Ph.D. EXECUTIVE DIRECTOR

The great 19th century writer George Sand said that the artist’s vocation was to “send light into the human heart.” Our hope is that such light shines often here at the Mondavi Center. As part of UC Davis, we feel a particular commitment and pleasure when we can share that light with our students, who after all, are the heart of the University. Many of us at the Mondavi Center began our life in the arts thanks to the grace and foresight of organizations who offered young people the opportunity to experience the arts for a pittance. Growing up in New York City, I first experienced Beethoven, Mahler and Monk for a song (excuse the pun). Those experiences were unforgettable, and that’s why each UC Davis student receives their first Mondavi Center ticket for free. That’s why since we opened our doors, every student ticket has been half-price. And that’s why every year we make it possible for thousands of students to experience the Mondavi Center as part of their classes thanks to the $5-a-ticket “Curriculum Connections” Initiative. But performances are just a portion of what we do at the Mondavi Center, and we are always searching for additional ways to engage students with our Center. Originally with funding from the Andrew W. Mellon Foundation we built an internship program that has become the Aggie Arts Advisory Committee, growing into a student-run group of 16 that leads an ongoing conversation about the a rts on campus. We also, beginning with the last academic year, have opened our doors for the first time as a classroom with over a thousand students weekly taking classes from great UC Davis faculty in Jackson Hall. This change inspired us to extend our lobby open hours during the day (9 a.m.-3 p.m. weekdays). It has become a space where students can now study or relax between classes. I know that many of you who attend performances had experiences early in life, as I did, that ensured the arts would always be central to you. It is our goal and our joy to be able to provide such experiences to the students who come here from around California, the U.S. and the world, in the hope that the artists we host on stage will shine George Sand’s light on them and all our audience members.

Don 6 MONDAVIART S.ORG

IN THIS ISSU

A MESSAGE FROM THE EXECUTIVE DIRECTOR

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

Diego El Cigala

10 Los Angeles Philharmonic 16 Ronald K. Brown/EVIDENCE, A Dance Company 23 David Sedaris 25 Havana Cuba All-Stars 27 Vienna Boys’ Choir 28 China Philharmonic Orchestra 33 American Bach Soloists 47 Chamber Music Society of Lincoln Center 54 The Ukulele Orchestra of Great Britain

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 emergency exit nearest you. That exit may be behind, to the side or in front of you and is indicated by a lighted green sign. 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 be seated in an alternate seat upon readmission while the performance is in progress. Readmission is at the discretion of Management. • Assistive Listening Devices and binoculars 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 2016 Volume 4, No. 2

Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Marilyn Kallins, Terri Reed, Rob Scott San Francisco/Bay Area Account Executives Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Jonathan Shipley Ad Services Coordinator Carol Yip Sales Coordinator

RDS

Paul Heppner

Anaïs Mitchell President

iano Y

AN EXCLUSIVE WINE TASTING EXPERIENCE OF THESE FEATURED WINERIES FOR INNER CIRCLE DONORS

Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Sara Keats Marketing Manager

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

OCTOBER 14 FRI • 7–8PM

SFJAZZ Collective JAMIESON RANCH VINEYARDS

NOVEMBER 2 WED • 7–8PM

Los Angeles Philharmonic ROBERT MONDAVI WINERY

DECEMBER 13 TUE • 6–7PM

The Ukulele Orchestra of Great Britain BOS WINE

JANUARY 14 SAT • 7–8PM

Itzhak Perlman and Rohan De Silva FRANCIS FORD COPPOLA WINERY

FEBRUARY 25 SAT • 7–8PM

Venice Baroque Orchestra with Nicola Benedetti BOEGER WINERY

MARCH 18 SAT • 7–8PM

St. Petersburg Philharmonic MODUS OPERANDI CELLARS

APRIL 5 WED • 7–8PM

Aziza: Dave Holland, Chris Potter, Kevin Eubanks and Eric Harland INHERIT THE SHEEP

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Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com

Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2016 Encore Media Group. Reproduction without written permission is prohibited.

For information about becoming an Inner Circle donor, please call 530.754.5438 or visit us online:

www.mondaviarts.org. encoreartsprograms.com 7

DIEGO EL CIGALA A World Stage Series Event Tuesday, November 1, 2016 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY

Raymond Seamans 7PM Pre-Performance Talk, Jackson Hall Speaker: Davin Rosenberg, Ph.D. student in ethnomusicology, Department of Music, UC Davis Davin Rosenberg is a third year Ph.D. student in ethnomusicology at UC Davis. His research focuses on North American flamenco and explores musicking (sound) and dancing (motion) in the reconstruction of time, space, and (sense of ) place; and transnational musical-cultural flows and interrelationships. Rosenberg has a master’s degree in musicology from Northern Arizona University and his master’s thesis focuses on sociocultural issues and dimensions of performance, instruction, and tradition within the flamenco community in Phoenix, Arizona.

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A restless artist, as curious as they come and used to great challenges, El Cigala has built a career that has reached the rare achievement of receiving awards such as the Latin Grammy for venturing in genres that are not his own, such as tropical music or Argentine tango. From his encounters with Caribbean music, El Cigala extracted great musical treasures, each time revealing a bit more about the common roots of the music on both sides of the Atlantic. These experiences have led him, inevitably, to come in contact with salsa and admire its songwriters and performers. And as it couldn’t have been any other way, El Cigala wanted to live the experience fully and immerse himself in the origins and development of salsa. For that, he embarked on an adventure that took him to some of the countries that contributed to its sound in New York City, where salsa emerged as the product of the realities of life in the Latin neighborhoods, as a way of communicating and as a compendium of the cultural expressions of the Latin immigrants, especially those from the Caribbean. Studying the movement, and inspired by its great talents, El Cigala has recorded a collection of songs by composers such as Ray Barreto, Tito Curet, Cheo Feliciano and René Touzet and from the repertoire of artists and ensembles such as Héctor

Lavoe, La Sonora Ponceña and the Fania All Stars. Recorded in different countries, each of these songs then took on the colors and sonorities of salsa in each territory. In this search, El Cigala visited Cali (Colombia), San Juan (Puerto Rico), Havana (Cuba), Punta Cana (Dominican Republic) and New York City and Miami (United States) recording parts of this album in each place. He then traveled to the south of Spain, to Jerez de la Frontera in Andalusia, and completed the project by adding flamenco elements such as guitar, coros (choruses), cajón and palmas (clapping). As part of this cultural exchange, El Cigala has had a chance to benefit from the talent of artists such as Oscar D’León, Bobby Valentín, Larry Harlow, Roberto Roena, Eddie Montalvo, Nicky Marrero, Jorge Santana, Gonzalo Rubalcaba, Los Muñequitos de Matanza, Luis Perico Ortiz, Horacio “el Negro” Hernández, José Aguirre and Diego del Morao. They are just some of the more than 70 musicians of various nationalities who contributed their essence to his album Indestructible. Indestructible because time will never be able to erase the legacy and musical richness of salsa, a genre that shows us that borders don´t exist.

DIEGO EL CIGALA DIEGO EL CIGALA Diego El Cigala is, quite simply, the most exciting and innovative flamenco singer in the world today. Passionate, profound, and immensely proud of his Spanish gypsy heritage, El Cigala has been called “the Sinatra of flamenco.” His earthy and exultant and richly emotive voice marks him as one of the great singers of the last century. He is also one of those rare crossover artists who has stayed true to his musical heritage yet achieved name recognition with mainstream audiences around the world. He was born on a cold December day in 1968, on Provisiones Street near Madrid’s famed flea market, El Rastro. His mother, Aurora Salazar Motos, sister of the great musician Rafael Farina from the Spanish city of Salamanca, did not pursue a professional career as a flamenco singer despite her great talent. His Andalusian father, José de Córdoba, made a living at popular tablaos (flamenco clubs) such as Torres Bermejas, El Corral de la Pacheca and Arco de Cuchilleros. Ramón Jiménez Salazar is the name shown on El Cigala’s passport. His commonly used name of “Diego” is the result of a family dispute while at the baptismal font. “El Cigala” was a nickname given to him by gypsy guitarists the Losada brothers—and not, as it is often said, by famed flamenco singer Camarón during one of their first tours together. El Cigala spent his time running after a soccer ball, but whenever he heard flamenco he would drop everything just to listen. Soon he started to sing for dancers, invited by well-known artists such as Cristóbal Reyes, Mario Maya, Manolete, Farrruco, Manuel Camacho and El Güito, among others. As well, musicians such as Camarón, Tomatito, Gerardo Nuñez and Vicente Amigo began to collaborate with him on their recordings. In 1997, he started his solo career with the album Undebel, produced by David Amaya. This album featured guitarists Antón Jiménez, David Amaya, Paquete and Tomatito. A mere four years later he was at the Latin Grammys, his Corren Tiempos de Alegría nominated for Best Flamenco CD. That was just the beginning of much bigger things to come, as a small initial collaboration on that CD between El Cigala and legendary Cuban pianist Bebo Valdés led in 2003 to a duo CD Lágrimas Negras (Black Tears) that became

one of the most astonishing breakthroughs in the realm of world music. Aside from winning El Cigala his first Latin Grammy (he now has three), Lágrimas became a huge global hit thanks to a combination of dynamic live shows, rave reviews and ecstatic word of mouth. This groundbreaking disc, with its fusion of gypsy fire and complex Cuban rhythms, sold more than a million copies worldwide. Aside from winning numerous awards, the CD was fawned over by Britain’s BBC Radio and hailed “record of the year” by The New York Times. This was unprecedented success for a flamenco singer—and it was to prove just the beginning. El Cigala won his second Latin Grammy in 2006 for Picasso en mis ojos (Picasso in my eyes), which also became a bestseller. Then in 2010, El Cigala travelled to Argentina, land of the tango, to immerse himself in that country’s powerful musical traditions. After merging his own band

with two of Argentina’s tango masters— bandoneonist Néstor Marconi and guitarist Juanjo Dominguez—the results were, once again, musical magic. Cigala & Tango won a Latin Grammy for Best Tango, and went on to generate fantastic sales, great reviews, and a sold-out tour that played to more than 160,000 fans. El Cigala’s recording, 2013’s Romance de la luna Tucuman, offers a fresh take on the Argentinean tango tradition. Notable for the contributions of Mexico’s famed electric guitarist Diego Garcia, known as “The Twanguero” for his embrace of cowboy, Hawaiian and surf music, Tucuman went on to triumph at the 2013 Latin Grammys, winning El Cigala a third Grammy, his second for Best Tango. It is this landmark CD that will be the focus for El Cigala’s upcoming tours through the United States, Europe, Australia and South America.

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LOS ANGELES PHILHARMONIC

Gustavo Dudamel, music and artistic director An Orchestra Series Event Wednesday, November 2, 2016 • 8PM Jackson Hall SPONSORED BY

Symphony No. 9

INDIVIDUAL SUPPORT PROVIDED BY

Ralph and Clairelee Leiser Bulkley Patti Donlon

10 MONDAVIART S.ORG

PROGRAM NOTES

PROGRAM Mahler

I. Andante comodo II. I m Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb III. R ondo-Burleske: Allegro assai. Sehr trotzig IV. A dagio. Sehr langsam und noch zurückhaltend

SYMPHONY NO. 9 (1910)

GUSTAV MAHLER (1860–1911)

With the Ninth Symphony, Gustav Mahler closed the circle of a musical autobiography that began in 1883 with Songs of a Wayfarer, to his own texts of love, longing and death. Some three decades later—with several leave-takings along the way (the notion of death plays a part in everything he wrote)—Mahler bid his final farewell twice, in words (those of Hans Bethge, based on ancient Chinese poems) in the song-symphony Das Lied von der Erde (The Song of the Earth) of 1909; and a year later, only months before his actual death, in the purely orchestral Ninth Symphony. One takes one’s pick as to which is the more heart-rending, the emotions made literal in the one (Das Lied), or the long, slow finale of the symphony, filtering down to pppp, marked “ersterbend” (dying away), “like the melting into the ethereal blue,” in the description of Bruno Walter, the composer’s friend and disciple, who conducted the posthumous first performance of the Ninth in Vienna in 1912. The Ninth Symphony was completed in April of 1910, toward the end of Mahler’s second season as conductor of the New York Philharmonic. He was already suffering from the heart condition diagnosed in 1907 which

resulted in his resignation from his post as principal conductor of the Vienna Opera. A healthier man might, however, not have been able to survive the punishing schedule that Mahler set for himself for most of his career. But the end was always in sight for Gustav Mahler, whether as finality or as a state from which one could recover, as in the Second Symphony, meaningfully subtitled “Resurrection.” A half-year before the completion of the Ninth Symphony, the composer Alban Berg was given the opportunity to study its first movement, of which he wrote to Helene Nahowski, his wife-to-be: “The whole first movement is the most heavenly thing Mahler has written ... an expression of an exceptional fondness for this earth, the longing to live in peace on it, to enjoy nature to its depths— before death comes. For he comes irresistibly. The whole movement is permeated by premonitions of death. Again and again it crops up, all the elements of earthly dreaming culminate in it ... most potently in the colossal passage where this premonition becomes certainty, where in the midst of the utmost intensity of almost painful joy in life [a reference to the first movement’s mightiest climax, about two thirds of the way through], Death itself is announced with the utmost violence...” Bruno Walter, writing in 1936 but no less obsessed with the romance of death, referred to the same music as “a tragically moving and noble paraphrase of the farewell feeling. A unique soaring between farewell sadness and a vision of heavenly light... lifts the movement into an atmosphere of celestial bliss.” The introductory opening measures, strikingly spare in texture (Webern is in the offing), set the mood for four thematic ideas which will recur throughout the movement: a cello and horn motif that inevitably suggests a faltering heartbeat; a tolling figure for the harp; a sad horn phrase; and what Mahler scholar Deryck Cooke called “a palpitation on the violas”—all building to what might be regarded as the movement’s main, D-major theme, based on sad falling seconds in the violins, in turn based on the central “Lebewohl” (Farewell) figure of Beethoven’s Piano Sonata in E-flat, op. 81a. The entire first half of the Symphony’s opening movement is rooted, to put the matter somewhat over simply, in the conflict between this D-major theme and another, more violent one, in D minor. The “big” themes are, however, part of a vast scenario that also includes numerous, seemingly independent sub-themes and thematic fragments, widely ranging in tonality.

And as soon as the composer has lulled you into a feeling of safe tonal haven, e.g., D major, the feeling of security is shattered by some unexpected modulation or harmonic twist. Mahler employs a welter of contrasting, not to say conflicting, ideas in juxtaposition, a collage effect producing a coherent picture, with the themes “interpenetrating each other,” in Deryck Cooke’s graphic description. Looking at the work more broadly—and it is easy to get stuck in the gorgeous rut of that vast, infinitely varied and expressive opening movement, which runs to nearly a half-hour’s playing time—it becomes apparent that it is the farewell not only to one man’s life but to a stylistic epoch, in which symphonic thought was governed in large part by sonata form, which Mahler has so modified here to serve his own ends—as with the sheer bulk and power of the first movement’s development section—as to barely resemble the classical model. All of which takes us, if we wish to go in that direction, down the tricky path of pondering whether the Mahler Ninth is an “ending” or a “beginning.” If we insist on viewing Mahler primarily as a harbinger of various stages of 20th-century musical thought, we lose sight of what a self-sufficient original he was. By contrast, the second movement—the Symphony’s scherzo—seems, at first, to ask no alarming questions, as Mahler’s marking suggests: “In the tempo of an easygoing Ländler, somewhat heavy footed and very vigorous.” It is in fact a subtle rhythmic transformation of the “Lebewohl” theme of the preceding movement. But the opening is a sucker punch: the innocence of the folksy theme (in nominally bright C major) barely outlasts its first statement, as it begins to stumble into violent, ever more dissonant vulgarity, giving way to a distorted waltz (the first trio). This is in turn supplanted by a reminiscence of the first movement’s D-major theme, now shorn of its longing sweetness, and then a second trio, suggestive once more of innocent revels gone violently wrong. The themes intermingle, menacingly—as a foretaste of the subsequent movement—and fade away, all energy spent. The Rondo-Burlesk, in A minor, is the most cruelly taunting, defiant, dissonantly “modern” music Mahler wrote—the birthplace of Shostakovich, perhaps. It is characterized by Deryck Cooke as a “ferocious outburst at the futility of everything... crazy music, made up of rapid, vehement motives combined in rhythmically disjointed counterpoints. A wild, wryly modulating march offers a chance of comparative stability, but is swept away in encoreartsprograms.com 11 EAP 1_6 V template.indd 1

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the general uproar.” Note the “lewd” (Cooke’s adjective) theme for the solo trumpet, whose mocking sweetness will evolve (as will the other horrors of the movement) into the hymn-like beauty of the finale. The finale in fact interweaves the pertinent themes from all of the preceding movements, stripping them (for the most part) of their bleakness, their irony, even their darkness, and ultimately bringing a profound peace and a farewell, without regrets, without recollections of life’s beastliness, only its beauties. Coming on the heels of the unease and doubt amid the first movement’s lyric beauties and the sardonic anger of movements two and three, the nobility and grandiose repose of the finale’s main theme—in which the strings are asked to produce all the throbbing tonal richness of which they are capable—comes as somewhat of a shock. Its luminousness takes getting used to, and perhaps the sudden injection of a curiously bleak bassoon solo to break the mood is intended to give us time to adjust—to prepare the ear for the strings’ even greater intensification of the main theme. And the composer subsequently pulls another of his shocking surprises, with several measures of skeletal, hollow music that would again seem to be leading us down some dark alley of the soul. Mocking phrases from the third movement are recalled. Then the heavenly music resumes, even slower than before. Cooke argues, convincingly by the way, that the overall structure of the Ninth Symphony was influenced by the layout of Tchaikovsky’s “Pathétique” (1893), with its two huge slow movements surrounding a steady dance and a fast march. Mahler had conducted the “Pathétique” when it was new with little enthusiasm, but returned to Tchaikovsky’s last symphony, now admiringly, in 1910 while orchestrating the Ninth. (In referring to Mahler’s Ninth Symphony as his last, it should be remembered that after finishing the Ninth he immediately began a tenth, completing only the first movement.) – Herbert Glass

LOS ANGELES PHILHARMONIC

110 F St. Davis, CA T (530) 753-3600 www.hallmarkinn.com

12 MONDAVIART S.ORG

The Los Angeles Philharmonic, under the leadership of music and artistic director Gustavo Dudamel, is invested in a tradition of the new, through a commitment to foundational works and adventurous explorations. Both at home and abroad, the Philharmonic is leading the way in groundbreaking programming. 2016–17 marks the orchestra’s 98th season.

LOS ANGELES PHILHARMONIC More than 250 concerts are either performed or presented by the Philharmonic each season at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl. During its 30-week winter subscription season at Walt Disney Concert Hall, the LA Phil creates festivals, artist residencies and other thematic programs designed to enhance the symphonic music experience and delve further into certain artists’ or composers’ work. The organization’s commitment to the music of our time is evident throughout the season programming, as well as in the exhilarating Green Umbrella series and the LA Phil’s extensive commissioning initiatives. Since 2003, the LA Phil’s home has been the inimitable Frank Gehry-designed Walt Disney Concert Hall, which embodies the energy, imagination and creative spirit of the city of Los Angeles and its orchestra. Praise for both the design and the acoustics of the Hall has been effusive. The orchestra’s involvement with Los Angeles extends far beyond symphony concerts in a concert hall, with performances in schools, churches and neighborhood centers of a vastly diverse community. Among its wide-ranging education initiatives is Youth Orchestra LA (YOLA). Inspired by Venezuela’s revolutionary El Sistema, the LA Phil and its community partners provide free instruments, intensive music training and academic support to over 700 students from underserved neighborhoods. Always inspired to expand its cultural offerings, the LA Phil each season produces concerts featuring distinguished artists in recital, jazz, world music songbook and visiting orchestra performances, in addition to special holiday concerts and series of chamber music, organ recitals and Baroque music. Through an ongoing partnership with Deutsche Grammophon, the orchestra has a substantial catalog of concerts available online. In 2011, the Los Angeles Philharmonic and Gustavo Dudamel won a Grammy for Best Orchestral Performance for their recording of the Brahms Symphony No. 4. The Los Angeles Philharmonic was founded by William Andrews Clark, Jr., who established the city’s first permanent symphony orchestra in 1919. Walter Henry Rothwell became its first music director, serving until 1927; since then, 10 renowned conductors have served in that capacity: Georg Schnéevoigt (1927–1929); Artur Rodzinski (1929–1933); Otto Klemperer (1933–1939); Alfred Wallenstein (1943–1956); Eduard van Beinum (1956–1959); Zubin Mehta (1962–1978);

Carlo Maria Giulini (1978–1984); André Previn (1985–1989); Esa-Pekka Salonen (1992–2009); and Gustavo Dudamel (2009–present).

GUSTAVO DUDAMEL

MUSIC AND ARTISTIC DIRECTOR Walt and Lilly Disney Chair As an internationally renowned symphonic and operatic conductor, Gustavo Dudamel is motivated by a profound belief in music’s power to unite and inspire. He currently serves as music and artistic director of the Los Angeles Philharmonic and music director

of the Simón Bolívar Symphony Orchestra of Venezuela, and the impact of his leadership extends from the greatest concert stages to classrooms, cinemas and innovative digital platforms around the world. Dudamel also appears as guest conductor with some of the world’s most famous musical institutions: in 2017, he tours Europe with the Berlin Philharmonic and is the youngest-ever conductor to lead the Vienna Philharmonic’s famous New Year’s Day Concert, watched annually by over 50 million people in 90 countries.

FURTHER LISTENING by Jeff Hudson

THE LOS ANGELES PHILHARMONIC AND GUSTAVO DUDAMEL This will be the first visit to the Mondavi Center for the Los Angeles Philharmonic and music director Gustavo Dudamel, and the piece that they are playing—the Ninth Symphony of Gustav Mahler—has a particular significance in the relationship between this particular conductor and orchestra. Mahler 9 was the first piece that they recorded together for the Deutsche Grammophon label, capturing a live 2012 performance in Walt Disney Hall. The CD received very positive reviews (BBC Music Magazine said: “It wins a special place among many fine (Mahler 9 recordings) with its unflinching clarity and general spaciousness…”) Dudamel has made other recordings with the LA Phil, including John Adams’ “City Noir” (commissioned by the LA Phil, Dudamel conducted the premiere in 2009), and Adams’ “The Gospel According to the Other Mary” (a 2013 performance), both on Deutsche Grammophon. Neither of these works has ever been performed at the Mondavi Center, and it would be lovely to hear them here someday (hint, hint). Dudamel seems to be everywhere nowadays. At the invitation of composer John Williams (his longtime friend), Dudamel conducted part of the soundtrack for Star Wars: The Force Awakens (released last December). In January, he conducted the Youth Orchestra LA during the Super Bowl halftime show, and had a cameo on the TV series Mozart in the Jungle. In July, Dudamel conducted a Hollywood Bowl extravaganza with pianist Lang Lang; in August, Dudamel was at the Salzburg Festival, conducting an operatic mounting of Leonard Bernstein’s West Side Story with mezzo Cecilia Bartoli (who sang here in Jackson Hall in 2005). The Los Angeles Philharmonic has also recorded music by Grammy-winning composer/ electric guitarist Steve Mackey. The album is American Grace (Canary Records) with pianist Orli Shaham and conductor David Robertson, containing Mackey’s “Stumble to Grace” and “Sneaky March,” as well as John Adams’ “Hallelujah Junction” and “China Gates.” Mackey earned his BA in music at UC Davis in 1978 (he was a long-haired undergrad in those days). Mackey’s been on the music faculty at Princeton since 1985. And when you’re looking at the orchestra, note bass principal Dennis Trembly, who joined the LA Philharmonic in 1970 (46 years ago). Trembly is a marvelous musician with a distinctive personality and a lot of style. His double bass stands several inches taller than he does, which makes for an interesting visual. JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

encoreartsprograms.com 13

LOS ANGELES PHILHARMONIC Gustavo Dudamel Music and Artistic Director Walt And Lilly Disney Chair Esa-Pekka Salonen Conductor Laureate Mirga Gražinytė-Tyla Associate Conductor Ann Ronus Chair John Adams Creative Chair Deborah Borda President and Chief Executive Officer David C. Bohnett Presidential Chair

FIRST VIOLINS

Martin Chalifour Principal Concertmaster Marjorie Connell Wilson Chair Nathan Cole First Associate Concertmaster Ernest Fleischmann Chair Bing Wang Associate Concertmaster Mark Baranov Assistant Concertmaster Philharmonic Affiliates Chair Akiko Tarumoto Michele Bovyer Rochelle Abramson Camille Avellano Elizabeth Baker Minyoung Chang Vijay Gupta Mischa Lefkowitz Edith Markman Judith Mass Mitchell Newman Stacy Wetzel

SECOND VIOLINS

VIOLAS

Carrie Dennis Principal John Connell Chair Dale Hikawa Silverman Associate Principal Ben Ullery Assistant Principal Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow* Leticia Oaks Strong Minor L. Wetzel Erik Rynearson†

CELLOS

Robert deMaine Principal Bram and Elaine Goldsmith Chair Ben Hong Associate Principal Sadie and Norman Lee Chair Dahae Kim Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum* Tao Ni Serge Oskotsky Brent Samuel Peter Myers†

BASSES

Lyndon Johnston Taylor Principal Dorothy Rossel Lay Chair Mark Kashper Associate Principal Kristine Whitson Johnny Lee

Dennis Trembly Principal Christopher Hanulik Principal Oscar M. Meza Assistant Principal David Allen Moore

Dale Breidenthal Ingrid Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Paul Stein Yun Tang Suli Xue Aroussiak Baltaian† Cheryl Norman Brick† Jason Uyeyama†

Jack Cousin Brian Johnson Peter Rofé Max Vaclavik† Joseph McFadden†

14 MONDAVIART S.ORG

FLUTES

Denis Bouriakov Principal Virginia and Henry Mancini Chair Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair Elise Shope Henry Sarah Jackson Lawrence Kaplan†

PICCOLO

Sarah Jackson

OBOES

Ariana Ghez* Principal Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove Lelie Resnick†

ENGLISH HORN

Carolyn Hove

CLARINETS

Boris Allakhverdyan Principal Burt Hara Associate Principal Andrew Lowy David Howard Amanda McIntosh†

E-FLAT CLARINET

Andrew Lowy

BASS CLARINET

David Howard

BASSOONS

Whitney Crockett Principal Shawn Mouser Associate Principal Michele Grego Patricia Kindel

CONTRABASSOON

Patricia Kindel

HORNS

Andrew Bain Principal John Cecil Bessell Chair Gregory Roosa William and Sally Rutter Chair Amy Jo Rhine Loring Charitable Trust Chair Brian Drake Reese and Doris Gothie Chair Ethan Bearman Assistant Bud and Barbara Hellman Chair Roger Kaza†

TRUMPETS

Thomas Hooten Principal M. David and Diane Paul Chair James Wilt Associate Principal Christopher Still Ronald and Valerie Sugar Chair Stéphane Beaulac

TROMBONES

David Rejano Cantero Principal James Miller Associate Principal Herbert Ausman

BASS TROMBONE

John Lofton

TUBA

Norman Pearson

TIMPANI

Joseph Pereira Principal Cecilia and Dudley Rauch Chair Nicholas Stoup†

PERCUSSION

Matthew Howard Principal James Babor Perry Dreiman

KEYBOARDS

Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP

Lou Anne Neill Maria Casale† Kazue Asawa McGregor* Kenneth Bonebrake Stephen Biagini* Librarians Jeffrey Neville Personnel Manager Paolo Bortolameolli* Elim Chan Kahchun Wong* Conducting Fellows * not on tour † extra musician on tour The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically. In those sections where there are two principals the musicians share the position equally and are listed in order of length of service. The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

As Dudamel enters his eighth season as music and artistic director of the Los Angeles Philharmonic, he has extended his contract to the end of the 2021–22 season. At his initiative, the Los Angeles Philharmonic has dramatically expanded the scope of its community outreach programs, including most notably the creation of Youth Orchestra Los Angeles (YOLA), influenced by the philosophy of Venezuela’s admired El Sistema, which encourages social development through music. With YOLA and diverse local educational initiatives, Dudamel brings music to children in underserved communities of Los Angeles. These programs have in turn inspired similar efforts throughout the United States, as well as in Sweden (Hammarkullen) and Scotland (Raploch). In his 18th season as music director of the entire El Sistema project in Venezuela, he continues to lead the Simón Bolívar Symphony Orchestra in Venezuela as well as on tour. Recordings, broadcasts and digital innovations are also fundamental to Dudamel’s passionate advocacy for universal access to music. A Deutsche Grammophon artist since 2005, Grammy winner Gustavo Dudamel has numerous recordings on the label, as well as many video/DVD releases that capture the excitement of significant moments of his musical life. He has independently produced an all-Wagner recording available exclusively for download, among others. Gustavo Dudamel is one of the most decorated conductors of his generation. He received the Americas Society Cultural Achievement Award in 2016, and the 2014 Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society from the Longy School. In 2013, he was named Musical America’s Musician of the Year and inducted into the Gramophone Hall of Fame. Other awards include the 2010 Eugene McDermott Award in the Arts at MIT; 2009 Chevalier de l’Ordre des Arts et des Lettres; being named one of TIME magazine’s 100 most influential people; and the 2008 “Q” Prize from Harvard. Additionally, he has received several honorary doctorates. He was born in 1981 in Venezuela, and access to music for all has been the cornerstone of Gustavo’s philosophy both professionally and philanthropically.

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RONALD K. BROWN/EVIDENCE A DANCE COMPANY A Dance Series Event

THE COMPANY

Saturday, November 5, 2016 • 8PM

Ronald K. Brown

Arcell Cabuag

Courtney Paige

Demetrius Burns

Shayla Caldwell

Annique Roberts

Kevyn Ryan Butler

Janeill Cooper

Keon Thoulouis

Jackson Hall SPONSORED BY OFFICE OF CAMPUS COMMUNITY RELATIONS

Question & Answer Session Following the performance, moderated by Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center, UC Davis Ruth Rosenberg is the artist engagement coordinator for the Mondavi Center, UC Davis, overseeing residencies by touring artists, pre-performance talks and Q&A sessions with the artists and student engagement efforts. Rosenberg started her career as a dancer. Artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990–2001, she also performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco.

16 MONDAVIART S.ORG

Clarice Young

PROGRAM IFE: MY HEART (2005) Choreography: Ronald K. Brown  Music: Solomon G. Ilori/Art Blakey “Prayer” Nikki Giovanni “My House” Art Blakey “Tobi Ilu” Ballet Folklortico Cutumba de Santiago “Ochune Dide” Ursula Rucker “Release” Costume Design: Omotayo Wunmi Olaiya Lighting Design: Dalila Kee Performers: Demetrius Burns, Kevyn Ryan Butler, Arcell Cabuag, Shayla Caldwell, Janeill Cooper, Courtney Paige, Annique Roberts, Keon Thoulouis, Clarice Young Originally commissioned and choreographed for the Alvin Ailey American Dance Theater in 2005. Ife/My Heart looks at the parallel journey of three traditions toward love: IFE (loving one another the way God loves us). With costumes that reference the U.S., Cuba and West Africa, the piece implores each of us to “release your heart” in response to the conflict/conditions in the world and in personal relationships.

INTERMISSION WHY YOU FOLLOW/POR QUE SIGUES (2013) Choreography by: Ronald K. Brown Assistant Choreographer: Arcell Cabuag Music By: Zap Mama, Gordheaven and Juliano, The Allenko Brotherhood, Gordheaven & Julian, The Heavy Quartez Lighting: Clifton Taylor Costumes: Keiko Voltaire Performers: Ronald K. Brown, Demetrius Burns, Kevyn Ryan Butler, Arcell Cabuag, Shayla Caldwell, Janeill Cooper, Courtney Paige, Annique Roberts, Keon Thoulouis, Clarice Young Originally performed by MalPaso, Why You Follow/Por Que Sigues is commissioned by The Joyce Theater Foundation, New York in 2014.

INTERMISSION

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LESSONS: March (excerpt) (1995) Choreography: Ronald K. Brown  Text: Dr. Martin Luther King Jr. Music: Bobby McFerrin Costume: Omotayo Wunmi Olaiya  Performers: Annique Roberts and Clarice Young

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Excerpts from Lessons: March is set to a speech by Dr. Martin Luther King Jr. that speaks to the value of a man. The movement embodies the sentiment of the text to illustrate a physical story of perseverance, dignity and collective strength and caretaking.

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-PAUSEFOUR CORNERS (2014) Choreography: Ronald K. Brown  Music: Carl Hancock Rux, Rahsaan Roland Kirk, Yacoub Mixed by RKB Costume Design: Keiko Voltaire Original Costume Design: Omotayo Wunmi Olaiya Lighting Design: Tsubasa Kamei Original Lighting Design: Al Crawford Performers: Demetrius Burns, Kevyn Ryan Butler, Arcell Cabuag, Shayla Caldwell, Janeill Cooper, Courtney Paige, Annique Roberts, Keon Thoulouis, Clarice Young …Beloved, you say your God, woman you’re earth, lamentations born, you son … Four Corners with blades and sheaths…….Stand Up…..

The Mondavi Center warmly welcomes the Jan and Maria Manetti Shrem Museum and the Ann E. Pitzer Center to the neighborhood!

Four Corners was commissioned by the Alvin Ailey American Dance Theater in 2014.

RONALD K. BROWN/EVIDENCE, A DANCE COMPANY

HERE’S TO THE ARTS AT UC DAVIS!

Founded by Ronald K. Brown in 1985 and based in Brooklyn, New York, EVIDENCE, A DANCE COMPANY focuses on the fusion of African dance with contemporary choreography and spoken word. This work provides a unique view of human struggles, tragedies and triumphs. Brown uses movement as a way to reinforce the importance of community in African American culture and to acquaint audiences with the beauty of African forms and rhythms. EVIDENCE tours to some 30 communities in the United States annually. It has traveled to Cuba, Brazil, England, France, Greece, Hungary, Hawaii, Ireland, encoreartsprograms.com 17

Visiting Artist Lecture Series Chris McCaw, Photographer Nov. 3 @ 4:30 PM

Art Anne x , room 107 â&#x20AC;¢ Free

Classic Drama: The Trojan Women Nov. 10 - 12 & Nov 17 - 19 @ 8 PM Nov. 12 & 19 @ 2 PM Wrig ht hAll, mAin the Atre

Jazz @ UC Davis: Fall DeC. 1 @ 7 PM

Ann e. Pit zer Center, reCitAl hAll

Dance: outside the Lines DeC 1 - 3 @ 7 PM

DeC. 3 @ 2 PM

Wrig ht hAll, mAin the Atre

University Chorus and UC Davis Symphony orchestra DeC. 2 @ 7 PM

mondAvi Center For th e PerForm ing Arts, JACkson hAll

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RONALD K. BROWN / EVIDENCE Holland, Mexico, Columbia, South Africa, Nigeria, Senegal, and in 2010, joined the U.S. State Department’s DanceMotion USA tour to perform, teach masterclasses and conduct demonstrations. EVIDENCE brings arts, education and cultural/historical connections to communities that have historically lacked these experiences. Annually, the company reaches an audience of more than 30,000.

RONALD K. BROWN (founder/ artistic director) founded EVIDENCE, A Dance Company in 1985. He has worked with Mary Anthony Dance Theater, Jennifer Muller/The Works and other choreographers and artists. Brown has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco, Muntu Dance Theater of Chicago, Ballet Hispanico and MalPaso. He won an AUDELCO Award for his choreography in Regina Taylor’s awardwinning play Crowns, received two Black Theater Alliance Awards and a Fred & Adele Astaire Award for Outstanding Choreography in the Tony Award- winning Broadway and national touring production of The Gershwin’s Porgy & Bess, adapted by Suzan Lori Parks, arrangement by Diedre Murray and directed by Diane Paulus. In addition, Brown was named Def Dance Jam Workshop 2000 Mentor of the Year and has received the Doris Duke Artist Award, John Simon Guggenheim Memorial Fellowship, National Endowment for the Arts Choreographers Fellowship, New York Foundation for the Arts Fellowship, United States Artists Fellowship, a New York Dance and Performance “Bessie” Award and The Ailey Apex Award. Brown is a member of Stage Directors & Choreographers Society.

ARCELL CABUAG (associate artistic director/ dancer) is a Filipino American native of San Jose, California. In 1995, he moved to New York

and attended the Alvin Ailey American Dance Center where he was first introduced to Ronald K. Brown. His professional experience prior includes: Rock the House for Paramount Pictures, The Shoji Tabuchi Show in Branson, Missouri, and the Richard Rodgers Centennial Production of The King and I. Cabuag can be seen in the episode “Choreographed” on Law and Order SVU and a Codorinu commercial with PILOBOLUS shot and aired in Barcelona. He serves his community as a dance professor at Long Island University (Brooklyn Campus), is the co-director of the Restoration Dance Youth Ensemble (Bed-Stuy, Brooklyn) and a masterclass instructor locally and abroad. Cabuag has also set EVIDENCE repertory at UMASS, Boston Arts Academy, the Peridance Certificate Program, The Ailey Fordham BFA Program, UArts and Boston Conservatory. Cabuag has assisted Brown in creating repertory on Philadanco Dance Company, MUNTU, Ballet Hispanico, the Alvin Ailey American Dance Theater, MalPaso of Havana Cuba, and is the associate choreographer for the Tony Award-winning Broadway and national touring production of The Gershwins’ Porgy and Bess. Cabuag joined EVIDENCE in 1997 and won a New York Dance and Performance “Bessie” Award in 2004.

CLARICE YOUNG (rehearsal director/ dancer), of New Roads, Louisiana, is a graduate of the University of Louisiana at Lafayette with a BFA in dance. Young is the first recipient of the Evelyn Elizabeth Lochman Dance Scholarship in 2001 and received a full tuition scholarship to attend the America Dance Festival in 2003. She has performed with many notable choreographers, including Francine E. Ott/The Walk, Camille A. Brown & Dancers, Shani Collins Achille and Bridget L. Moore. Young was featured in TRACE Magazine in 2007 as one of NYC’s “dancers on the rise” and received a ChoreoQuest Award for mentoring at The Restoration Youth Arts Academy. She joined EVIDENCE in 2007 and was appointed Rehearsal Director in 2011. Young received her MFA in dance from Hollins University in 2014.

ANNIQUE ROBERTS (assistant rehearsal director/dancer) of Atlanta, Georgia, trained at Tri-Cities High School for the Visual and Performing Arts, the Junior Division Summer Intensive Program at the Ailey School and at Jacob’s Pillow. She graduated magna cum laude with a BFA in dance from Howard University under the direction of Dr. Sherrill BerrymanJohnson. In 2004, she joined Garth Fagan Dance and became senior dancer in 2006. She also taught at the Garth Fagan Dance School and was featured in the August 2008 issue of Dance Magazine. Roberts joined EVIDENCE in January 2010 and was nominated for a 2013 New York Dance and Performance Award (Bessie) and was featured in TimeOut NY Magazine. She is currently enrolled in Savannah College of Art and Design’s arts administration master’s program.

KEVYN RYAN BUTLER (dancer) is a performing artist living in Queens, New York, who received his BFA in Dance from the University of Arizona. Originally from Oakland, California, Butler trained at the Oakland School for the Arts and graduated with an emphasis in dance. Butler has worked with choreographers such as Reginald Rey-Savage, Robert Garland, Collin Conor, Daniel Agami, Guy Shomroni and Yaniv Abraham. Butler is a recipient of the EVIDENCE Beth Young Scholarship and joined EVIDENCE in 2016.

SHAYLA ALAYRE CALDWELL (dancer) is a native of New Haven, Connecticut. She became heavily influenced by traditional West African dance after being introduced to the Guinean culture by her mother and dance mentor Shari Caldwell. She has worked under the instruction of Ali Tatchol Camara and Yamoussa Camara. She attended Educational Center for the Arts under the direction of Susan Matheke, Earl Mosley and Freddie encoreartsprograms.com 19

RONALD K. BROWN / EVIDENCE Moore. She went on to attend Virginia Commonwealth University, where she was honored to work with faculty Scott Putman, Christian Von Howard and Autumn Proctor. She works at The Caldwell Dance Center as artistic director/instructor. Caldwell joined EVIDENCE in 2011.

COURTNEY PAIGE (dancer) is a New Orleans, Louisiana, native and a professional dancer and teaching artist. She began her formal dance training with the NORD/NOBA Center for Dance. In middle school, she attended New Orleans Center for Creative Arts

(NOCCA) and graduated from Lusher Charter School with a certificate of artistry in dance. Paige moved to NYC to attend the Ailey/ Fordham BFA Program. While there, she studied and performed with many choreographers such as Hope Boykin, Dwight Rhoden and Darrell Grand-Moultrie, to name a few. Upon graduating with honors in Dance, she joined the Ailey II Company. Most recently, she appeared with Beyoncé in the 2016 VMA’s. Paige is a recipient of the EVIDENCE Beth Young Scholarship and has apprenticed with EVIDENCE since 2015. She joined EVIDENCE in 2016.

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(dancer) was born and raised in Brooklyn, New York. Before attending The Juilliard School, he began his training while being a part of a small neighborhood dance ensemble Honey Plus One (he was the plus one) under the beloved direction of the departed Ms. Velda Honeywell. He furthered his dance training at Fiorello La Guardia High School of Music and the Performing Arts where he studied ballet and Graham-based modern. He also attended the Alvin Ailey American Dance Center on scholarship and is a second level Arts Recognition recipient. Thoulouis has also worked with prestigious teachers and notable choreographers, and has performed with recording artist Tamia. In addition, Thoulouis appeared in the televised Michael Jackson 30th anniversary special and danced with the King of Pop himself along with Mya, Usher, Jill Scott, Whitney Houston, Deborah Cox and Al Jarreau. Thoulouis joined EVIDENCE in 2001–2008 and returned in 2014.

DEMETRIUS BURNS (dancer) was born in Anniston, Alabama, and grew up in Boston. He graduated from Boston Arts Academy and the Boston Conservatory where he choreographed Urinetown in the musical theatre department. He spent several summers at the Earl Mosley Institute of the Arts (EMIA) as a student, intern and instructor. While at EMIA he performed at Jacobs Pillow with Mosley’s Life Dance Company and

repertory by Ronald K. Brown. Burns attended the Bates Dance Festival and Jacobs Pillow with the American Dance Guild Scholarship under the direction of Camille A. Brown and Moncell Durden. Burns is a recipient of the EVIDENCE Dance Company Beth Young Scholarship and is celebrating his first season with EVIDENCE.

JANEILL COOPER (dancer) is a native of Queens, New York, where she began her dance training at the Edge School of the Arts. She continued her training at Frank Sinatra High School of the Arts, which led her to work with choreographers Jessica Lang and Desmond Richardson, and to perform with the Martha Graham Dance Company. She attended both the The Ailey School and Earl Mosley Institute of the Arts summer intensive programs. Cooper is a fourth year student of Dance at the University of the Arts in Philadelphia under the direction of Donna Faye Burchfield, where she has performed works by Sidra Bell, Gary Jeter and William Forsythe, among others. She is celebrating her first season with EVIDENCE.

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DAVID SEDARIS Friday, November 11, 2016 • 8PM Jackson Hall SPONSORED BY:

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-eminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today.

DAVID SEDARIS is the author of Barrel Fever and Holidays on Ice, as well as personal essay collections Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames, and his most recent book, Let’s Explore Diabetes with Owls, each of which became an immediate bestseller. The audio version of Let’s Explore Diabetes With Owls is a 56th Annual GRAMMY Awards Nominee for Best Spoken Word Album. He is the author of the NYT-bestselling collection of fables titled Squirrel Seeks Chipmunk: A Modest Bestiary (with illustrations by Ian Falconer). He was also the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’ pieces appear regularly in The New Yorker and have twice been included in “The Best American Essays.” There are a total of 10 million copies of his books in print and they have been translated into 25 languages.

He and his sister, Amy Sedaris, have collaborated under the name “The Talent Family” and have written half-a-dozen plays, which have been produced at La Mama, Lincoln Center and The Drama Department in New York City. These plays include Stump the Host, Stitches, One Woman Shoe, which received an Obie Award, Incident at Cobbler’s Knob and The Book of Liz, which was published in book form by Dramatists Play Service. David Sedaris’ original radio pieces can often be heard on the public radio show This American Life. David Sedaris has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His latest audio recording of new stories (recorded live) is David Sedaris: Live for Your Listening Pleasure (November 2009). A feature film adaptation of his story C.O.G. was released after a premiere at the Sundance Film Festival (2013). Since 2011, he can be heard annually on a series of live recordings on BBC Radio 4 titled “Meet David Sedaris.” David Sedaris’ next book will be a collection of his diaries, titled Theft By Finding (summer 2017).

encoreartsprograms.com 23

An extra-special delivery Josefina and Greg Walker were expecting, but their pregnancy came with a surprise – identical twins sharing a single amniotic sac. The babies were at risk for severe complications, including the possibility that one might not survive. Doctors transferred Josefina to UC Davis, where a team of fetal health experts monitored mother and twins for 45 days, successfully delivering Isabella and Sofia on Leap Day at just 32 weeks. The girls continued their development in the UC Davis Children’s Hospital Neonatal Intensive Care Unit’s Level IV nursery and today these rare twins – born on the rarest of days – are both healthy and home.

See the Walkers’ story at healthierworld.ucdavis.edu

HAVANA CUBA ALL-STARS

Cuban Nights A World Stage Series Event Saturday, November 12, 2016 • 8PM Jackson Hall SPONSORED BY:

INDIVIDUAL SUPPORT PROVIDED BY

William and Nancy Roe

HAVANA CUBA ALL-STARS Michel Padron trumpet, band leader Vicente Arencibia congas, lead vocal Adolfo (Fito) Florian tres, steel guitar, vocals Eney Aranda congas, bongos, vocals Yoan Sanchez timbal, drums, bongos Eikel Venegas trombone, trumpet Ricardo (Piqui) Fernández lead vocal, percussion Alain Leon Fernandez bass, lead vocal Daniel Carnago tres, bass, chorus Raúl Bermúdez violín Jorge L. Quevedo violín

PROGRAM

CORAZON Classic sounding son written by Adan Pedroso. VENGAN TODOS A BAILAR EL SON Contemporary son with the unique Asere sound. CACHA CHA CHA CHA The popular chachacha rhythm that inspired the world. CHANGUI PA MI GENTE Son rhythm born from French-Haitian roots. LA FLOR Y LA HOJA SECA A beautiful ballad in the Nueva Trova style celebrating the path of the troubadour. EL CANTANTE Mythical Sonero track popular across Latin America. A FAVOR DEL VIENTO Mento-son from the Jamaican-Cuban connection.

INTERMISSION ROMANTICA Nueva Trova style composed especially for Asere. PALO SANTO Classic son-montuno sound written by the great Sonero Henry Fiol. YO NACI EN UN SOLAR The worldwide famous rhythm Guaguanco composed by Vicente Arencibia. LUZ QUE NO ALUMBRA Classic son written over 100 years ago by the great Cuban composer Miguel Matamoros. TUMBAO SANGREAO Contemporary son piece with a narrative on Cuba today. HABANERA Son-rumba piece dedicated to the women of Havana.

HAVANA CUBA ALL-STARS Drawing their inspiration from traditional Cuban son, Cuba’s greatest musicians have created and maintained the songs and music of the rich culture of the Cuban people in the program Cuban Nights. Staying true to an acoustic base, they have developed a fresh sound with inventive songwriting and have preserved the traditions of the Cuban musical art form. The Cuban Nights program is representative of the extraordinary musical legacy of this wonderful country. The Havana Cuba All-Stars (also known as Asere) is a band comprised of Cuba’s greatest and most prominent musicians and is devoted to promoting the entire tapestry of Cuban music. The origin of the Havana Cuba All-Stars began when it was created to exemplify the great musical traditions of the Cuban people. This is the debut tour of Cuba’s greatest musicians in the United States and Canada.

encoreartsprograms.com 25

VIENNA BOYS’ CHOIR Christmas in Vienna

Tuesday, November 29, 2016 • 7PM Jackson Hall

ARTIST TOUR SPONSOR: The Hotel Residenz Palais Coburg

VIENNA BOYS’ CHOIR

Boys have been singing at the court in Vienna since the 14th century. In 1498, more than half a millennium ago, Holy Roman Emperor Maximilian I moved his court and his court musicians to Vienna. He gave instructions that there were to be six singing boys among his musicians; the boys came from different parts of the Holy Roman Empire, from the Netherlands, Italy, Germany and Austria. Historians have settled on 1498 as the foundation date of the Vienna Chapel Imperial (Hofmusikkapelle) and in consequence, the Vienna Boys’ Choir. Until 1918, the choir sang exclusively for the imperial court, at Mass, concerts and private functions and on state occasions. Musicians like Heinrich Isaac, Heinrich Ignaz Franz Biber, Johann Joseph Fux, Wolfgang Amadeus Mozart, Antonio Caldara, Antonio Salieri, Christoph Willibald Gluck and Anton Bruckner worked with the choir. Composers Jacobus Gallus and Franz Schubert were themselves choristers. Brothers Joseph Haydn and Michael Haydn, members of the choir of St. Stephen’s Cathedral, frequently sang with the imperial boys’ choir. In 1918, after the breakdown of the Habsburg Empire, the Austrian government took over the court opera, its orchestra and the adult singers, but not the boys’ choir. Josef Schnitt, who became Dean of the Imperial Chapel in 1921, turned the Vienna Boys’ Choir into a private instituion. The former court

choir boys became the Wiener Sängerknaben (Vienna Boys’ Choir); the imperial uniform was replaced by the sailor suit, then the height of boys’ fashion. There was not enough money to pay for the boys’ upkeep, and the choir started to give concerts outside of the chapel in 1926, performing motets, secular works, and—at the boys’ request—children’s operas. The impact was amazing. Within a year, the choir performed in Berlin (where Erich Kleiber conducted them), Prague and Zurich. Athens and Riga (1928) followed, then Spain, France, Denmark, Norway and Sweden (1929), the United States (1932), Australia (1934) and South America (1936). Since 1926, the choir has clocked up close to 1,000 tours in 100 different countries. Today there are 100 choristers from 30 different nations between the ages of 10 and 14, divided into four touring choirs. Between them, the four choirs give around 300 concerts and performances each year in front of almost half a million people. Each group spends nine to eleven weeks of the school year on tour. They visit virtually all European countries, and they are frequent guests in Asia, Australia and the Americas. Together with members of the Vienna Philharmonic Orchestra and the men of the Vienna State Opera Chorus, the Vienna Boys’ Choir maintains the tradition of the imperial musicians: as Hofmusikkapelle (Chapel Imperial) they provide the music for the Sunday Mass in Vienna’s Imperial Chapel, as they have done since 1498. encoreartsprograms.com 27

CHINA PHILHARMONIC ORCHESTRA Long Yu, artistic director and chief conductor Serena Wang, piano An Orchestra Series Event Saturday, December 3, 2016 • 8PM Jackson Hall SPONSORED BY

PROGRAM Enchantements oubliés Piano Concerto No. 1 in C Major, op. 15 Allegro con brio Largo Rondo: Allegro scherzando Serena Wang, piano

Chen Beethoven

INTERMISSION Symphony No. 9 in E Minor, op. 95, “From the New World” Dvorák Adagio–Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco Program subject to change. COLUMBIA ARTISTS MANAGEMENT LLC Tour Direction: R. Douglas Sheldon 1790 Broadway, New York, NY 10019 www.cami.com

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CHINA PHILHARMONIC ORCHESTRA PROGRAM NOTES

ENCHANTEMENTS OUBLIÉS (2004)

QIGANG CHEN (b. 1951)

Coming of age during China’s Cultural Revolution, Qigang Chen went through three years of “ideological re-education,” but he emerged determined as ever to study Western classical music. He was among the first class of students admitted to the Central Conservatory in Beijing when it reopened in 1977, and his top marks upon graduating in 1983 earned him a scholarship to study abroad. He moved in 1984 to Paris, and for the next four years he took private lessons with Olivier Messiaen, who once said of Chen: “His compositions display real inventiveness, very great talent and a total assimilation of Chinese thinking to European musical concepts.” Messiaen did more than provide a link to the French sound world of Debussy and Ravel that had long fascinated Chen; he was, Chen acknowledged, “the first person to tell me you have to be true to yourself. This is fundamental for an artist, but few of us are brave enough to face the truth. It took me many years to discover who I really am.” The orchestral work Enchantements oubliés (Forgotten Enchantments), commissioned by the Orchestre National de France in 2004, also relates to Chen’s process of self-discovery. In the liner notes for a recent recording on the Naxos label, Chen explained: “Refined beauty often shows too many traces of deliberate planning and, on close inspection, signs of deception and falseness. The most powerful beauty is of course the least processed: that is, nature. … In writing this piece, I wanted to set myself free of the usual technical constraints and let the music lead me to wherever it seemed willing to go by itself—and I would simply record the journey of this natural force by notating it.” Enchantements oubliés takes the form of a fanciful tone poem, moving freely through evocative episodes. Intimate solo passages and lyrical melodies impart a nostalgic mood, but there are also moments of considerable vigor and humor. Many of the themes are built on pentatonic modes, reflecting a characteristic sound from traditional Chinese music.

PIANO CONCERTO NO. 1 IN C MAJOR, OP. 15 (1795, REV. 1800)

SYMPHONY NO. 9 IN E MINOR, OP. 95, “FROM THE NEW WORLD” (1893)

When the 21-year-old Beethoven left his hometown of Bonn for Vienna, his patron sent him with this blessing: “May you receive Mozart’s spirit from the hands of Haydn.” Like his hero Mozart (whose own life in Vienna had ended just a year earlier), Beethoven initially made his mark as a composer-performer, establishing himself as the ranking keyboard virtuoso in the capital. His early compositions showcased his performing talents, with 21 of his first 27 published works involving piano, culminating with the Piano Concerto No. 1. Despite its numbering, the Piano Concerto in C Major was not Beethoven’s first. After an early attempt that failed to reach fruition, his first real concerto was the one in B-flat (now known as No. 2), initiated in 1788 and completed in 1795. The C-major concerto followed later that year, and Beethoven introduced it that December at a concert in Vienna presented by Haydn. It was also likely this same concerto, in its new revised version, appeared on Beethoven’s breakout concert in 1800 at the Burgtheater, the same venue where Mozart made history with his piano concertos in the 1780s. After undertaking that revision, Beethoven sent the C-major concerto to his publisher, followed a few months later by its older B-flat sibling, which is how their catalog sequence came to be reversed. One sign of Beethoven’s distinctive voice, even in this early work, is the prevalence in the first movement of a unifying motive, recognizable by its rhythmic pattern of long-short-short-long. This approach points the way toward some of Beethoven’s most memorable orchestral constructions, like the Fifth Symphony’s pervasive “fate” motive or the unflinching Allegretto from the Seventh Symphony. The central Largo opens with a slow variant of that same long-short-short-long rhythm in the accompaniment, establishing continuity across the movements—another Beethoven hallmark. The orchestration excludes the brighter tones of flute, oboes, trumpets and timpani, and instead features prominent clarinet lines to play off the sweet, melodious phrases from the piano. The tempo marking of Allegro scherzando indicates a joking, playful aspect to the fast finale. The rondo structure incorporates colorful antics (including mischievous detours to minor-key harmonies) between returns of the perky main theme.

In 1892, when Dvořák agreed to direct the National Conservatory in New York, he understood that his position involved more than running a music school. He wrote to a Czech friend, “The Americans expect great things of me. I am to show them the way into the Promised Land, the realm of a new, independent art, in short a national style of music! … This will certainly be a great and lofty task, and I hope that with God’s help I shall succeed in it. I have plenty of encouragement to do so.” Dvořák recognized two main sources that could provide the Native American flavor for an “American” school of composition: Native American and African-American traditions. His understanding of Native American culture was indirect, gleaned from his reading of Longfellow’s epic poem The Song of Hiawatha (1855) and from “Native” melodies that appeared in heavily edited songbooks published by Eurocentric scholars. Dvořák did have the benefit of more direct contact with African-American music through a student at the conservatory, Harry Burleigh, a singer and composer who had learned spirituals from his grandfather, a freed slave. Burleigh sang the spirituals to Dvořák, who saw in those melodies a particularly rich wellspring for American concert music. Dvořák noted essential similarities between Native American and African-American musical traditions, qualities he recognized in Scottish tunes as well. The shared trait among these styles—and folk music from around the world, to a varying extent—was the use of the pentatonic mode, as opposed to the major and minor scales of European art music. (An easy way to hear the contrast is on a piano: the black keys form a pentatonic mode, while the white keys form a major scale.) Dvořák let those folk influences filter through the symphony he composed in New York. The work debuted at Carnegie Hall on December 16, 1893, with the New York Philharmonic conducted by Anton Seidl. At the time, Dvořák numbered the symphony as his fifth, having disavowed several early works. It was actually his ninth and final symphony, and modern practice reflects that numbering. The subtitle, “From the New World,” was Dvořák’s own. Despite the subtitle, the symphony’s first movement is as much from the “Old World” as from the New. The main theme, a leaping motive sounded by the horns at the start of

LUDWIG VAN BEETHOVEN (1770–1827)

ANTONÍN DVOŘÁK (1841–1904)

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the Allegro molto section, becomes a building block for adventurous exploration, appearing in this movement and later in the symphony. This musical treatment owes more to Brahms (who mentored Dvořák) and Beethoven than American folk music. A contrasting major-key theme, first heard in the flute, introduces a more pastoral flavor. The Largo second movement reflects the spirituals Dvořák learned from his AfricanAmerican student, and it provides the English horn with its most endearing solo passage in the orchestral repertoire. Later, with the addition of lyrics by William Arms Fisher, this quasi-spiritual theme became the song “Goin’ Home.” The third movement fulfills the traditional function of a symphonic scherzo, in the mold of Beethoven and Mendelssohn, while also tying the work together with quotations from the two preceding movements. According to Dvořák, a wedding scene from The Song of Hiawatha served as inspiration for this festive music. The finale, like the opening movement, blends “Old World” themes and construction with glints of modal “New World” material, including sophisticated juxtapositions of the symphony’s earlier highlights. As the Czech composer duly acknowledged, “I should never have written the symphony ‘just so’ if I hadn’t seen America.” © 2016 Aaron Grad

CHINA PHILHARMONIC ORCHESTRA The China Philharmonic Orchestra (CPO) was established in 2000 and has experienced exponential growth and development while becoming China’s top orchestra as well as a leading figure in Asia with an international reputation. Achieving impressive accolades and worldwide attention in its 14 seasons, the CPO was named among the 10 most inspiring orchestras by Gramophone online in the spring of 2009. The CPO proudly and actively discovers innovative methods and platforms to promote classical music to a wider audience and in the last 16 years has presented over 3,000 compositions with more than 1,000 performances to millions of audience members, many featured as world and Chinese premieres. The CPO’s domestic and international tours have accumulated more than one million kilometers, an equivalent of circling the world 20 times and only in the past two seasons has the CPO toured the Silk Road and the Maritime Silk Road countries, as well as making its Russian debut last July. This is 30 MONDAVIART S.ORG

the third U.S. tour of the CPO and part of the “2016 Tour of the Americas” with prestigious concerts at Jackson Hall-Davis, California; Davies Symphony Hall-San Francisco, California; Disney Hall-Los Angeles, California; Memorial Hall-UNC Chapel Hill, North Carolina; Strathmore Hall-North Bethesda, Maryland; Tilles Center Concert Hall-Greenvale, New York, and David Geffen Hall-NYC. The orchestra will also make appearances in Canada and Cuba. The U.S. tour of the CPO is sponsored by the China Poly Group and Dalian Han Style International Culture Development Co. Ltd. The China Poly Group Corporation was founded in February 1992 with the approval of the State Council and over the past three decades, Poly Group has established a developing pattern featuring simultaneous development of five pillar industries: international trade , real estate development, culture and arts business, investment and exploitation in the resource field, and civilian explosive materials and blasting service, with its business covering over 100 countries worldwide and over 100 domestic cities. On the 2015 Fortune Top 500 list, Poly Group was ranked 457 with operating revenue of 26 billion USD in 2014. At present, Poly Group has four listed holding companies: Poly Real Estate (Group) Co., Ltd., Poly Property Group Co., Ltd., Poly Culture Group Co., Ltd. and Guizhou Jiulian Industrial Explosive Materials Development Co., Ltd. Dalian Han Style International Culture Development Co., Ltd, is an intellectual property enterprise listed on Dalian City Construction Group (ICCI) with its main business centered around creative development, activity planning, film and TV programs and artistic and cultural economy. Their philosophy, substance and spirit are derived from Confucianism, Buddhism and Taoism, “A thoughtful enterprise comes from inheritance, and an active enterprise is better than sitting and prattling about the general principle.” Dalian Han Style International Culture Development Co., Ltd have achieved the following awards: The Spirit of Gentlemen QIAN NIANSUN, The Ark of Han Style Culture 2015, The Exhibition of Spring Blessing 2015, Wudang Taoism Culture Transmission North Base 2015, Nominated Exhibition of Chinese Contemporary Masters 2016, The Star of World Piano & Yalun Wang Piano Concert 2016. Ride on a cloud - Han Style, the Style of the World.

LONG YU

ARTISTIC DIRECTOR AND CHIEF CONDUCTOR The preeminent Chinese conductor with an established international reputation, Long Yu is currently artistic director of the Beijing Music Festival and the China Philharmonic Orchestra, music director of the Shanghai and Guangzhou Symphony Orchestras, the co-director of MISA Shanghai Summer Festival and the principal guest conductor of the Hong Kong Philharmonic Orchestra. Yu frequently conducts the leading orchestras and opera companies around the world, including the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic Orchestra, Montreal Symphony Orchestra, Washington’s National Symphony, Cincinnati Symphony Orchestra, Orchestre de Paris, Bamberg Symphony Orchestra, Hamburg State Opera, Rundfunk-Sinfonieorchester Berlin, Rundfunk Sinfonie Orchester Leipzig, NDR Sinfonieorchester, Munich Philharmonic Orchestra, Sydney Symphony Orchestra, BBC Symphony Orchestra, Hong Kong Philharmonic, Tokyo Philharmonic and Singapore Symphony Orchestra. In 2008, for the first time in history, the China Philharmonic Orchestra (CPO) performed under the baton of Maestro Yu at the Vatican in the Paul VI Auditorium. The concert was attended by The Holy Father Pope Benedict XIV and marked a giant step in bringing eastern and western cultures closer together. Yu’s career has included both artistic and administrative appointments. In 1992, he was appointed principal conductor of the Central Opera Theatre in Beijing and involved in the planning of the Chinese New Year’s Concert series later that year and served as its conductor for three consecutive years. He created opera productions for The Urban Council of Hong Kong for five successive years. In 1998, he led the creation of the Beijing Music Festival and has been its artistic director ever since. Under his leadership, the Beijing Music Festival is regarded as one of the world’s most important music festivals. In 2005, with the provincial government’s support, he built up the Canton International Summer Music Academy and became its chairman for the following three years. He also established the MISA Shanghai Summer Music Festival in 2010 and later that year, the Canton Asian Music Festival.

CHINA PHILHARMONIC ORCHESTRA Born in 1964 into a music family in Shanghai, Yu received his early musical education from his grandfather Ding Shande, a composer of great renown, and went on to study at the Shanghai Conservatory and the Hochschule der Kunst in Berlin. He was the recipient of the 2002 Arts Patronage Award of the Montblanc Cultural Foundation. He also has been awarded the Chevalier dans L’Ordre des Arts et des Lettres in 2003, the title of L’onorificenza di commendatore by Italian Prime Minister Berlusconi in 2005 for his outstanding contribution in the field of music and culture. In 2010, Yu received an Honorary Academician from the Central Conservatory of Beijing for his great dedication on cultural exchanging and music development in China. In December 2010, he was awarded People of the Year in Arts Field in China. In 2013, Yu was awarded the national level arts award China Arts Award. In December 2014, he was awarded France’s highest honor of merit by receiving Chevalier de la Legion d’Honneur from the France government. In 2015, Yu was named “Morally and Artistically Excellent Artist” by state authority. He was also awarded “Global Citizen Award” by the Atlantic Council and the Sanford Medal by Yale University’s College of Music in 2015. In April, 2016, Yu was elected as a foreign honorary member of the American Academy of Arts and Sciences. In June 2016, he was an award recipient of The Order of Merit of the Federal Republic of Germany. Yu is vice-president of Chinese Musicians Association, member of the 11th and 12th the National Committee of the Chinese People’s Political Consultative Conference.

SERENA WANG

Born in October 2004, Wang started her piano lessons with Ms. Sumi Nagasama when she was 4. After eight months of study, she was first rewarded in America at the San Mateo County Fair Piano Competition. In February 2010, 5-year-old Wang became the youngest prize winner for her outstanding performance in Bach Piano Competition held by University of California, Berkeley. In the same year, she obtained first prize in the Piano Competition of the Northern California Chinese Music Teachers’ Society. In July 2010, Wang took part in the Second National Youth Piano Showing Competition at Gulangyu Island in Xiamen. Her lively performance not only won the golden prize in the Children’s Group, but also gained praise from judges and experts. On the invitation of the Chinese Musicians’ Society, she has been taught by renowned piano educationist Professor Dan Zhaoyi since September 2010. Wang was invited to participate in the piano performance in the First Youth Spring Festival Gala held by Chengdu Television Station in February 2011. She also played in the Childhood on Black and White Keys Concert specially held respectively in Hangzhou and Chongqing by Professor Dan Zhaoyi’s students to celebrate International Children’s Day at the end of May 2011. Wang was honored to appear in a book titled Dan Zhaoyi, a Piano Educationist Who Taught World Champions and in national tour concerts of his awarded students in November 2011. She played in the music hall of the Grand National Theatre and accompanied the Shenzhen Symphony Orchestra, which undoubtedly was an important milestone on her path of music.

PIANO In June 2015, 10-year-old piano prodigy Serena Wang successfully performed Beethoven’s Piano Concerto No.1 in C Major with the Shanghai Symphony Orchestra under the baton of 80-year-old internationally celebrated conductor Zubin Mehta, who praised Wang highly and was astonished by her musical talent. In August 2015, Wang was invited to play Beethoven’s “Choral Fantasy” in the General Assembly of the United Nations with the Shanghai Symphony Orchestra and celebrated Chinese conductor Maestro Long Yu in a musical celebration marking 70 years since both the ending of World War II and the establishment of the United Nations.

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CHINA PHILHARMONIC ORCHESTRA Long Yu, Artistic Director and Chief Conductor

Xia Xiaotang Principal Conductor Huang Yi Assistant Conductor Chen Yun Assistant Artistic Director Zou Ye Composer in Residence Chen Yun Concertmaster Wu Yang Concertmaster Zeng Cheng Associate Concertmaster Liu Rui Assistant Concertmaster

FIRST VIOLINS

Wang Haitao He Wei Song Xiaochen Zhang Han Li Wei Li Henan Intern Chen Su Chen Youxiang Luo Lin Jiang Shuai Zhao Chan Xu Haibo Jia Mei Cheng Baobao

SECOND VIOLINS

Jian Bei Principal Yan Ke Assistant Principal Wang Xin Wang Kun Shi Dan Liu Yuqi Bi Ahuan Tong Fei Song Wenhao Zhang Yuqing Zhang Bo Yang Zhaoci Chen Li Jiang Lu Mo Qi Cui Xiaolei

VIOLAS

Zhang Anxiang Principal Mao Xinguang Assistant Principal Cao Fei Assistant Principal Wen Chengjun Sun Yin Wu Di Wu Rui Zhang Jianli Li Jize Li Ming Li Yao Duan Ruonan Zhao Ling

CELLOS

Zhao Yunpeng Principal Ma Xinhua Guest Principal Guan Zhengyue Assistant Principal Ma Juelun Ye Wan Liu Yudong Wu Xia Zhang Bo Zhang Ji Yang Changying Chen Huachao Zhou Runqing Zheng Dawei Hou Xinwei Guo Xiaoheng

DOUBLE BASSES

OBOES

Zhang Zhengdi Principal Yuan Xiaogang Principal Huang Lili Xie Hongliang

CLARINETS

Fan Wei Principal Colin Liu Assistant Principal Yuan Yuan Guest Assistant Principal Li Hanqi Yang Yilin

BASSOONS

Li Lansong Principal Luo Shoujun Ren Biao Yang Bo Intern

HORNS

Jia Hui Principal Man Yi Guest Principal Zhao Qi Assistant Principal Wang Guan Zhang Ji Jiang Feng Tang Bing Zhi Qiang

Zhang Xiaodi Principal Zhai Feng Assistant Principal Wang Hua Wang Mudong Song Lisha Zhang Tianshu Zhang Shishuai Li Lijun Li Penggui Han Xing

Chen Guang Guest Principal Lu Xiaolin Principal Li Deqin Principal Xiao Xiaohu Guest Associate Principal Liu Haitao Huang Zhao Han Yanting

FLUTES

TROMBONES

Ni Yizhen Principal Cheng Xiaohua Principal Wang Shu Cao Lei

TRUMPETS

Liu Shuchang Principal Li Xiaonan Raymond Lam

TUBA

Sun Shuai

The U.S. tour of the China Philharmonic Orchestra is sponsored by the China Poly Group and Dalian Han Style International Culture Development Co. Ltd.

32 MONDAVIART S.ORG

PERCUSSION

Liu Ying Timpani Principal Ma Ping Chief of Percussion Section Wang Yue Wu Yongshuo Sha Mi

HARP

Guo Yue

PIANO

Chen Min Zhang Zhengdi Director of Orchestra Peronnel Ye Ping Deputy Director of Orchestra Personnel Yan Ming Librarian Zhang Duojia Stage Manager Ye Ping Yang Bin Zou Jin Shi Wenhai Stage Personnel Li Nan President Liu Jun Vice President Yang Yuan Vice President Zhu Limin General Accountant Yu Lei Assistant to President & Director of Administration Xia Xiaotang Assistant to President Zhao Yanan Director of Artistic Administration Yang Hua Director of Financial Department Yang Xiaoping Director of HR & Security Department Sun Maolin Vice Director of Administration Office

COLUMBIA ARTISTS MANAGEMENT LLC. TOUR DIRECTION

R. Douglas Sheldon Senior Vice President Karen Kloster Tour Coordinator Marcus Lalli Executive Assistant Kay McCavic Tour Manager Renee O’Banks Backstage Manager Matthew Densing Driver Maestro! Travel & Touring Hotels Sintec-Tur Air

AMERICAN BACH SOLOISTS Saturday, December 10, 2016 • 7PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY

Rosalie Vanderhoef

“The singers and instrumentalists of the ABS Choir and Orchestra were, as always, magnificent. There are simply not enough superlatives to adequately describe their mastery and musicianship, and do justice to their dedication and artistry.” — Niels Swinkels, San Francisco Classical Voice

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PROGRAM Messiah

Handel

PART THE FIRST SINFONY SCENE I RECITATIVE, accompanied – Tenor - Comfort ye, comfort 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 ARIOSO – Soprano - And lo, the Angel of the Lord came upon them RECITATIVE – Soprano - And the Angel said unto them, Fear not 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

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 34 MONDAVIART S.ORG

CHORUS - He trusted in God, that He would deliver Him RECITATIVE, accompanied – Tenor - Thy Rebuke hath broken His Heart ARIA – Tenor - 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 any time CHORUS - Let all the Angels of God worship Him 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 and 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.

AMERICAN BACH SOLOISTS PROGRAM NOTES

MESSIAH (FOUNDLING HOSPITAL VERSION, 1753)

GEORGE FRIDERIC HANDEL (1685–1759)

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 10 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 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 (1668–1751), 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 blue-blooded 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 was employed by manufacturing ventures, and the resulting pollution had turned the Thames River into, literally, a sewer. Still, 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 encoreartsprograms.com 35

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. 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 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 10 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 establishment of rules for acceptance. The requirement that children be aged no more than 2 months was relaxed by the House of Commons in 1756 36 MONDAVIART S.ORG

so that children up to 12 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 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 newest concert hall, which was built by the Charitable Music Society. Alternatively named the Great Music Hall on Fishamble Street, the New Music Hall, or Mr. Neale’s Hall (named after William Neale, the music publisher who led the Charitable Music Society), it was a stately building, designed by the Dublin architect Richard Castle, featuring two rows of boxes, a slanted parterre, lovely ornamental details including fluted columns and pilasters on the raised performance platform and an arched ceiling that created a fine acoustic. Mirrors were also incorporated into the trimmings, so that Dublin’s finest could view themselves approvingly. The hall had opened only a few weeks before Handel arrived to present his season of concerts. The premiere of Messiah 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, majestic 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

AMERICAN BACH SOLOISTS 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 20. 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. 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.” 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 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, 2016

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TEXTS MESSIAH AN ORATORIO Set to Musick by George-Frideric Handel, Esq.

PART ONE 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) ARIA - 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. (Haggai 2:6-7) 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. (Malachi 3:1) ARIA – 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) ARIA – 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 and 60:1) 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 38 MONDAVIART S.ORG

Light, and Kings to the Brightness of thy Rising. (Isaiah 60:2-3) ARIA - 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) ARIOSO - 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 ARIA - 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. (Isaiah 35:5-6) DUET – 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)

AMERICAN BACH SOLOISTS INTERMISSION PART TWO SCENE I CHORUS Behold the Lamb of God, that taketh away the Sin of the World. (John 1:29) ARIA - 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 and 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) ARIA - 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) ARIA - 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 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. (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 ARIA - 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 ARIA - 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 VII RECITATIVE - Tenor He that dwelleth in Heaven shall laugh them to scorn; the Lord shall have them in Derision. (Psalm 2:4) ARIA - 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, and 19:16) PART THREE SCENE I ARIA - 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

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the Dead, the First-Fruits of them that sleep. (Job 19:25-26; 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) ARIA - 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 15:52-53) 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 and 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) ARIA - 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 and 33-34) SCENE IV 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 5:1214) CHORUS Amen.

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HANDEL’S “HALLELUJAH” CHORUS – TO STAND OR NOT TO STAND… Perhaps the best-known and widely accepted concert “tradition” is standing for the “Hallelujah” chorus. Legend has it that King George II leapt to his feet when he heard it during one of the work’s performances in London. Because no person could remain seated while the King stood, the entire audience rose with him. Some credit this anecdote as the origin of the “standing ovation”. But a closer look at the facts reveals that there is no evidence that the King ever attended such a performance. The first written account of the story appeared in 1780, more than 35 years after the cited performance, and it was written by someone who admits to not having witnessed the King’s presence himself. However, the King was known to attend such events incognito. So he, in fact, at least might have been there. If he was in attendance, there is much speculation as to why he stood at all. Theories range from the reverent to the simply unflattering: he might have been stretching his legs to relieve symptoms of gout, or perhaps he was suddenly awakened by the forte entrance of the chorus, trumpets and timpani. But the general opinion is that his own sense of obeisance compelled him to stand upon hearing the majestic and undeniably enthralling music of the “Hallelujah” chorus. The custom is common in English-speaking countries, but essentially unknown in all others. Many have objected, in more contemporary eras, to the imperialistic implications of following the King’s lead in this manner. After all, the general audience only stood because they had to do so. But others are quick and well justified to point out that Handel’s Messiah is certainly the most wellknown and universally enjoyed major work in the Baroque oratorio genre—if not among all “classical” music works—and that standing as a group, in the name of tradition, unites the audience with the performers for a few minutes in a most energizing way. No matter how convincingly some can argue that this “tradition” is rooted in hearsay, you have only to look at the performers when you stand at that wondrous, thrilling moment: you will see their smiles and their spirits lifted even higher, knowing that millions upon millions of people have stood at that very same moment in music, and in virtually every corner of the world. Even Haydn stood with the crowd at a performance in Westminster Abbey. It is said that he wept and proclaimed of George Frideric Handel, “He is the master of us all.”

AMERICAN BACH SOLOISTS American Bach Soloists (ABS) was founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to bring this brilliant music to life. In 2013, to commemorate ABS Music Director Jeffrey Thomas’ 25-year tenure of inspired leadership, the ABS created the Jeffrey Thomas Award to honor, recognize and encourage exceptionally gifted emerging professionals in the field of early music. Bringing to fruition the ensemble’s commitment to introduce

AMERICAN BACH SOLOISTS audiences to newly discovered works from the Baroque era, ABS presented the West Coast premiere of Antonio Lotti’s Mass for Three Choirs in 2011, and the first North American performance of Heinrich Biber’s 53-part Missa Salisburgensis—perhaps the largest-scaled surviving work from the Baroque—utilizing the composer’s full instrumentation at the 2013 ABS Festival & Academy. In 2015, the Festival offered the first performances outside of Europe of Marin Marais’ 1709 opera, Sémélé. Handel’s complete serenata, Parnasso in festa, was given its North and South American premiere at the 2016 Festival & Academy. ABS are three-time winners of San Francisco Classical Voice “Best of the Bay” awards, placing first in “Best Choral Performers,” “Best Early Music/ Baroque Performance,” and “Best Festival” categories. The ABS's most recent audio recording features soprano Mary Wilson singing a collection of virtuoso vocal works by Handel, including his settings of Laudate pueri Dominum and Silete venti. ABS’s newest release is the feature film, Handel’s Messiah in Grace Cathedral, recorded in 5.1 DTS-HD™ Surround Sound and 2.0 DTS-HD™ Stereo, and is available on High Definition Blu-ray™ and DVD.

JEFFREY THOMAS (conductor) has brought thoughtful, meaningful and informed perspectives to his performances as artistic and music director of the ABS for more than 25 years. Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. He has directed and conducted recordings of more than 20 cantatas, the Mass in B Minor, Brandenburg Concertos, St. Matthew Passion, various concertos, and works by Schütz, Pergolesi, Vivaldi, Haydn and Beethoven. Fanfare Magazine has praised his series of Bach recordings, stating that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach

performance.” Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street Journal as “a superstar among oratorio tenors,” Thomas’ 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. Thomas has appeared with the

Baltimore, Berkeley, Boston, Detroit, Houston, National, Rochester, Minnesota and San Francisco symphony orchestras; with the Vienna Symphony and the New Japan Philharmonic; with virtually every American Baroque orchestra; and in Austria, England, Germany, Italy, Japan and Mexico. He has performed at the Santa Fe Chamber Music Festival, Spoleto USA Festival, Ravinia Festival, Saratoga Performing Arts Center, Berkeley Festival and Exhibition, Boston Early Music Festival,

FURTHER LISTENING by Jeff Hudson

AMERICAN BACH SOLOISTS AND MESSIAH If you enjoy this evening’s performance of Messiah, there are two recordings that may be of interest (and very likely they’re both available in the lobby during intermission). One is relatively new, the other is an old favorite. The recent release is a DVD/Blue-ray recording of Handel’s Messiah recorded live in San Francisco’s Grace Cathedral in December 2014 and released in March 2016. I got the DVD for my 84-year-old mom, who doesn’t drive anymore and therefore gets to fewer concerts nowadays, and she loves it. The old favorite is the ABS’ 2-CD Messiah album, recorded here in Jackson Hall in December 2004 and released on the Delos label in October 2005. These two releases represent the tip of the iceberg in terms of the American Bach Soloists’ discography. Other recordings include a 6-CD set covering various Bach cantatas; an album of Bach harpsichord concertos; Bach’s Brandenburg Concertos; his Mass in B Minor; and his St. Matthew Passion. There are other ABS albums focusing on choral works by Josef Haydn and Heinrich Schütz respectively, a Beethoven 9 recording and an album of Christmas carols and more. You can sample these recordings for free, using the ABS Player feature on their website. Once you start the player, you can select a particular piece, or just let the player pick the music on your behalf. ABS Music Director Jeffrey Thomas would never dispute the value of hearing music performed live—but he also feels that recorded music is valuable as well... just as the words and the music are both important in the oratorio you’ll hear tonight. Thomas says “Recordings—whether ‘live’ or produced in a studio—can provide opportunities that are essentially lacking in a concert performance. We were able to recreate an aspect of historically informed performance practice that is otherwise quite impractical: until the middle of the 19th century, and even beyond, choruses were quite often placed in front of their accompanying orchestras. The rhetorical expression of text was a driving force of the Baroque period and is, indeed, one of the primary goals of all of our performances. In Messiah, the chorus, in addition to the soloists, carries the dramatic action of the libretto, and placing them in the foreground of the listener’s experience gives their orations the prominence that they deserve.” JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

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FREE CONCERTS IN THE CORIN COURTYARD

All shows last about an hour and are free! Food and drinks available for purchase.

T ic k O f f et i ce

MONDAVI CENTER

City of Trees Brass Band

Prior to: Jazz at Lincoln Center Orchestra with Wynton Marsalis

Wednesday, September 28 • 6:30PM

Valo Boheme

Prior to: Rising Stars of Opera

Saturday, October 1 • 4PM

This is part of Taste 2016 and located in The Good Life Garden at the Robert Mondavi Institute for Wine and Food Science.

Byron Colborn Quintet Prior to: SFJAZZ Collective

Friday, October 14 • 6:30PM

Peter Petty and the Double P Revue Prior to: An Evening with George Takei

Saturday, October 15 • 6:30PM

The Hoots

Prior to: The Passing Zone

Sunday, October 16 • 1:30PM

One Eyed Reilly

Prior to: Dervish and Le Vent du Nord

Friday, March 17 • 5:30PM

Davis High School Chamber Orchestra Prior to: St. Petersburg Philharmonic Orchestra

Saturday, March 18 • 6:30PM

One Button Suit

Prior to: The Real Nashville: The Del McCoury Band & Béla Fleck and Abigail Washburn

Tuesday, March 21 • 6:30PM

Graham Sobelman Graham-A-Rama

Prior to: Alan Cumming Sings Sappy Songs

Thursday, March 30 • 6:30PM

Jessica Malone Duo Prior to: Arlo Guthrie

Saturday, April 15 • 6:30PM

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Subject to change. The Corin Courtyard is located just to the north side of the Mondavi Center Box Office.

Bethlehem Bach Festival, Göttingen Festival, Tage Alte Musik Festival in Regensburg, E. Nakamichi Baroque Festival in Los Angeles, the Smithsonian Institution and at the Brooklyn Academy of Music’s “Next Wave Festival,” and he has collaborated on several occasions as conductor with the Mark Morris Dance Group. Educated at the Oberlin Conservatory of Music, Manhattan School of Music, and The Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society and Southern Utah Early Music Workshops, presented masterclasses at the Eastman School of Music, the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College and Washington University, been on the faculty of Lehigh University in Pennsylvania and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis. He was a UC Davis Chancellor’s Fellow from 2001 to 2006; and the Rockefeller Foundation awarded him a prestigious Residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007, to work on his manuscript, “Handel’s Messiah: A Life of Its Own.” Thomas serves on the board of Early Music America and hosts two public radio programs on Classical KDFC.

HÉLÈNE BRUNET (soprano) has been hailed by the critics as “a singer of tremendous quality” with “a voice of perfect beauty” and “sincere expression” that is “vocally alluring”, “passionate and reverent”. She is particularly reputed for her interpretations of the works of Bach, Handel and Mozart. In recent seasons, Brunet has collaborated with reputed orchestras, including the American Bach Soloists, the Orchestre Métropolitain de Montréal, the Seattle

AMERICAN BACH SOLOISTS Baroque Orchestra, Columbus Symphony Orchestra, Tafelmusik Baroque Orchestra, I Musici de Montréal, Arion Baroque Orchestra, as well as Ensemble Caprice, Ensemble Thirteen Strings, Ensemble Les Boréades and l’Harmonie des Saisons. In opera, Brunet has sung the roles of Hymen in Lully’s Persée in Toronto and on tour at the Royal Opera House of the Château de Versailles, Laurette in Bizet’s Le Docteur Miracle (Tel Aviv), Galatea in Handel’s Acis and Galatea (Montreal). She was also featured as Dorinda in Purcell’s The Tempest at the Montreal Baroque Festival, and Rossini’s Il Barbiere di Siviglia at the Brott Music Festival. This year, the album Las Ciudades de Oro, on which she is featured with ensemble l’Harmonie des Saisons (ATMA Classique), won the Juno Award for Classical Album of the Year (vocal). Her 2016 season also included a recording of Bach cantatas under ATMA Classique. She has participated on several other recordings on Analekta label, Carus Records and Hännsler Classic. In 2014, she sang the role of Abra in Vivaldi’s Juditha Triumphans with Ensemble Caprice (Matthias Maute). That performance won the Opus Prize of Concert of the Year (Baroque music), awarded by the Conseil Québécois de la Musique. She is proud to be signed by the cutting edge and internationally renowned Québécois audio company, Simaudio as ambassador. A graduate of the University of Montreal, Brunet is an alumna of the first American Bach Soloists Academy in 2010.

EMILY MARVOSH (contralto) has been gaining recognition for her “sterling voice,” and “graceful allure,” on the stages of Carnegie Hall, Jordan Hall, Disney Hall, Lincoln Center, Prague’s Smetana Hall and Vienna’s Stefansdom. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society. Other recent solo appearances include the Charlotte Symphony (Messiah), Tucson Symphony Orchestra (Mahler’s Symphony No. 3), Chorus Pro Musica (Stravinsky’s Les Noces),

Music Worcester (Beethoven’s Ninth Symphony), L’academie (Vivaldi’s Nisi Dominus), Back Bay Chorale (Bach’s Magnificat), the Brookline Symphony (Elgar’s Sea Pictures), the Boston Early Music Festival Fringe, and the Chorus of Westerly (Dvořák’s Stabat Mater), she is often featured on the Music at Marsh, Bach Cantata Series. Marvosh’s contributions to 21st-century repertoire and performance include world premiere performances with the Juventas New Music Ensemble and the Manchester Summer Chamber Music Festival. In 2013, she created the roles of Viviane and the Mother in the world premiere of Hugo Kauder’s Merlin with the Hugo Kauder Society. Other ensembles highlighting new music she has performed with include, the Boston Modern Orchestra Project and the Boston Symphony Orchestra. She is a founding member of the Lorelei Ensemble, which promotes innovative new music for women and in which she has enjoyed collaborations with composer David Lang. One critic wrote, “Marvosh, whose stage presence was a joy to behold, offered a tone that had the velvety soulfulness of a cello … and lent a refreshing pious solemnity to this more joyful of Mass texts.” A frequent recitalist and proud native of Michigan, she has created a chamber recital that celebrates the history and culture of her home state. The Michigan Recital Project features commissions by emerging composers and performances by fellow Michiganders. The recital, for which Marvosh won a St. Botolph Club Foundation Emerging Artist Award, has ongoing performances across the country. Other awards include the prestigious Adams Fellowship at the Carmel Bach Festival, the American Prize in the Oratorio and Art Song divisions and second place in the New England Regional NATSAA competition. Ensemble appearances in recent and upcoming seasons include the Oregon Bach Festival, the Bachakademie Stuttgart, Portland Baroque Orchestra, True Concord Voices and Orchestra, Boston Camerata, the Skylark Chamber Ensemble, the Yale Choral Artists and Cambridge Concentus. She can be heard on two recent GRAMMY®-nominated recordings: Brahms’ Ein Deutsches Requiem with Seraphic Fire, and Prayers and Remembrances with True

Concord Voices and Orchestra. She holds degrees from Central Michigan and Boston Universities.

DEREK CHESTER (tenor) has been praised by The New York Times for his “beautifully shaped and carefully nuanced singing.” Chester began his professional career in Germany as a member of the Gächinger Kantorei and was heard as soloist in Bach cantatas with the Bach Collegium Stuttgart. He has also appeared as soloist at the Oregon Bach Festivals, in Bach’s St. John Passion during Bach Woche 2007 in Stuttgart and at the Toronto Bach Festival, and in Monteverdi’s Vespers of 1610 with Boston Baroque. He has performed with Jeffrey Thomas’ American Bach Soloists and is on the rosters of Miami’s professional chamber choir, Seraphic Fire and Austin’s Conspirare. Chester’s 2006 recording on ReZound of Bach’s St. John Passion (1725 version) with the Yale Schola Cantorum has received many accolades and reviews from Early Music and Choir and Organ magazines. Concert appearances include Haydn’s Creation with the Fort Worth Symphony, Bach’s St. John Passion at Chicago’s Beethoven Festival, Beethoven’s Missa Solemnis at the Berkshire Choral Festival, Britten’s War Requiem with the Korean Broadcasting System Symphony Orchestra, Mendelssohn’s Symphony: Lobgesang with the Buffalo Philharmonic Orchestra, Böhm’s St. John Passion (attributed to Handel) and Purcell’s Dido and Aeneas with the Dallas Bach Society, Howell’s Hymnus Paradisi with the Highland Park Chorale, Handel’s Messiah at St. Thomas Fifth Avenue in New York, and Acis and Galatea with Ars Lyrica, Houston, and major Bach works with the American Bach Soloists, to name but a few. Recent operatic work includes Ferrando in Così fan tutte, Belmonte in Die Entführung aus dem Serail, Nemorino in L’elisir d’amore, Peter Quint in Britten’s Turn of the Screw, and Oronte in Handel’s Alcina. Chester received his bachelor’s degree in vocal performance from the University of Georgia and completed his master’s degree at the Yale School of Music and encoreartsprograms.com 43

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44 MONDAVIART S.ORG

Institute of Sacred Music. As a Fulbright Scholar, he spent a year in Germany furthering his training with acclaimed German tenor Christoph Prégardien. He was the 2009 recipient of Carmel Bach Festival’s prestigious Adam’s Fellowship, and has also participated in professional training workshops at Carnegie Hall. While maintaining an active performing career, he received his doctorate in musical arts in voice performance and opera studies from the University of North Texas with a dissertation on the early education and juvenilia vocal works of American composer Samuel Barber. He serves on the voice faculty at the University of Northern Colorado and continues his career as a sought after clinician, masterclass teacher and interpreter of concert and operatic repertoire. Chester is thrilled to perform in his ninth season with ABS.

MISCHA BOUVIER (baritone) has been praised for his “soothing, cavernous baritone that can soar to heights of lyric beauty” (Opera News), his “rare vocal and interpretive gifts” (San Francisco Classical Voice), and his “rich timbre” and “fine sense of line” (The New York Times). He continues to impact audiences with his keen musicality and remarkable communicative ability. His recent performances have included the New York premiere of Jocelyn Hagen’s Amass with Musica Sacra at Lincoln Center, Arvo Pärt’s Passio (Evangelisti) for the “Collected Stories” series at Zankel Hall, curated by David Lang and conducted by Julian Wachner, Apollo in Handel’s Apollo e Dafne and Polyphemus in Handel’s Acis and Galatea with the American Bach Soloists, the role of Dr. P in Michael Nyman’s opera The Man Who Mistook his Wife for a Hat with the Orchestra of St. Luke’s and New York Live Arts, Fauré’s Requiem and Vaughan Williams’ Five Mystical Songs with the Princeton Glee Club, Bach’s St. Matthew Passion with Iván Fischer and the Orchestra of St. Luke’s at Stern Auditorium, and with Helmuth Rilling and the Orquesta Sinfónica de Puerto Rico at the Festival Casals, and debuts with the symphonies of Alabama

(Messiah), Columbus (Brahms’ Requiem), Stamford (Mozart’s Requiem), and Northwest Arkansas (Brahms’ Requiem). An avid recitalist, he has performed for the Rockport Chamber Music Festival, the Catskill High Peaks Festival, the Baldwin-Wallace Art Song Festival, the Lakewood Cultural Center in Colorado, the Chamber Music Society of Little Rock, Concerts at One at Trinity Church in New York City, New York Festival of Song, the Scottsdale Center for the Performing Arts, the Macon Concert Association at Wesleyan College, the Utsey Chamber Music Series at Clemson University, the Classical Convergence Series at Colorado State University and the Abbey Church at St. Martin’s University, and has premiered works by many composers including Russell Platt, Yotam Harber, Hans Gefors, Daniel Bernard Roumain, Bryan Page, Kjell Perder, Charles Fussell and Ylva Skog. Bouvier made his Carnegie Hall recital debut in 2012 with pianist Yegor Shevtsov. Recognition awards have included the American Bach Soloists Henry I. Goldberg Young Artist Award, the Oratorio Society of New York Solo Competition’s Docia Goodwin Franklin and Richard Westenberg Awards, the Louisville Bach Society Gerhard Herz Young Artist Competition, the American Prize’s Vocal Competition and the Concert Artists Guild International Competition. Bouvier holds degrees in voice from Boston University and the University of Cincinnati, and has participated in several training programs including the American Bach Soloists Academy and Tanglewood.

AMERICAN BACH SOLOISTS AMERICAN BACH SOLOISTS VIOLIN Elizabeth Blumenstock (Leader) Andrea Guarneri, Cremona, 1660* *The 1660 Andrea Guarneri violin played by Ms. Blumenstock is made available to her though the generosity of the Philharmonia Baroque Period Instrument Trust. Tatiana Chulochnikova (Principal 2nd) Joseph Hollmayr, Freiburg, Germany, circa 1760 Daria d’Andrea Anonymous, Neapolitan school, circa 1760 Andrew Davies Augustine Chauppy, Paris, 1749 Katherine Kyme Johann Gottlob Pfretzschner, Markneukirchen, 1791 Mishkar Núñez-Mejía Lu-Mi Workshop, Beijing, China; after 17th century Italian models, 2010 Holly Piccoli Jay Haide, El Cerrito, CA, 2012; after Tomasso Balestrieri, Mantua, circa 1772 Lindsey Strand-Polyak Richard Duke, London, 1776 Janet Worsley Strauss Matthias Joannes Koldiz, Munich, 1733 Noah Strick Celia Bridges, Cologne, 1988; after Nicolò Amati, Cremona, circa 1640 David Wilson Timothy Johnson, Hewitt, Texas, 2007; after Stradivari, Cremona, 18th century Jude Ziliak Anonymous Italian, circa 1730

VIOLA

Frédéric Rosselet Timothy Johnson, Bloomington, Indiana, 1999; after Nicolò Gagliano, Naples, circa 1711 William Skeen (Continuo) Anonymous, Italy, circa 1680

CONTRABASS Shawn Alger Gustav Adolf Pfretzschner, Markneukirchen,19th century; Baroque conversion, Thomas Wolf, The Plains, Virginia, 2014 Steven Lehning (Continuo) Anonymous, Austria, circa 1830 Jessica Powell Eig Anonymous, German, 19th century; Baroque conversion, Mike Weatherly, New York, 2011 Daniel Turkos Anonymous, Bohemian, mid 19th century.

OBOE John Abberger H. A. Vas Dias, Decatur, Georgia, 2003; after Thomas Stanesby, Sr., London, circa 1700 Brandon Labadie Joel Robinson & Brandon Labadie, New York, NY, 2011; “Saxon” Model, patterned on various makers from Dresden and Leipzig, circa 1720

BASSOON Joseph Jones Rufus Acosta, San Jose, 2014; after J.H. Eichentopf, Leipzig, ca. 1730 Charles Koster Paul Hailperin, Zell im Wiesental, Germany, circa 1990; after M. Deper, Vienna, circa 1725

Timothy Will Rainer Egger, Basel, Switzerland, 2013; after Johann Leonhard Ehe III, Nuremberg, 1746

Ramón Negrón Pérez Jay Haide, El Cerrito, CA, 2016; after Giovanni Paolo Maggini, Brescia, circa 1580

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

Clio Tilton (Principal) Eric Lourme, Le Havre, France, 2009; after Brothers Amati, Cremona, 17th century

VIOLONCELLO Gretchen Claassen Anonymous, German, 18th century Laura Gaynon Jay Haide, El Cerrito, CA, 2011; after Stradivari, Cremona, 18th century

SOPRANO

Jennifer Brody Michelle Clair Tonia D’Amelio Shauna Fallihee Clare Kirk Rita Lilly Allison Z. Lloyd Diana Pray Cheryl Sumsion Helene Zindarsian

ALTO

Jamie Apgar Dan Cromeenes Elisabeth Elliassen William Sauerland Amelia Triest Celeste Winant

TENOR

Edward Betts Michael Desnoyers Andrew Morgan Mark Mueller John Rouse Sam Smith

BASS

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

TRUMPET

Vijay Chalasani David T. Van Zandt, Seattle, Washington, 2015

Jason Pyszkowski Jay Haide, El Cerrito, California, 2008; after Giovanni Paolo Maggini, Brescia, circa 1580

AMERICAN BACH CHOIR

TIMPANI Kent Reed Anonymous, England, circa 1840

ORGAN Steven Bailey John Brombaugh & Associates, Eugene, Oregon, 1980

HARPSICHORD Corey Jamason (Continuo) Willard Martin, Bethlehem, Pennsylvania, 1990; after François Blanchet, Paris, circa 1730

encoreartsprograms.com 45

ADDED! On Sale Now! < Hasan Minhaj FRI, JAN 27 Dianne Reeves TUE, FEB 14 Brian Regan FRI, FEB 17 Experience Hendrix FRI, FEB 22 José González & The Göteborg String Theory FRI, MAR 3 Alton Brown Live Eat Your Science WED, MAR 22 Alan Cumming Sings Sappy Songs THU, MAR 30 Release The Hounds: An Evening with Julian Lage & Chris Eldridge | Aoife O’Donovan SUN, APR 23

mondaviarts.org

46 MONDAVIART S.ORG

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER A Concert Series Event Sunday, December 11, 2016 • 4PM Jackson Hall

INDIVIDUAL SUPPORT PROVIDED BY

Dick and Shipley Walters

PROGRAM Brandenburg Concerto No. 1 in F Major, BWV 1046 (1720) J.S. Bach [Allegro] Adagio Allegro Menuet—Trio—Polonaise Phillips, K. Lee, Sussmann, Chen, Eddy, Pingel, Weiss, Taylor, Ellis, Smith, Kolkay, Rose, Reed Brandenburg Concerto No. 2 in F Major, BWV 1047 (1720) [Allegro] Andante Allegro assai Sussmann, Kim, Smith, Washburn, S. Lee, K. Lee, Neubauer, Atapine, Kolkay, Pingel, Weiss Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1720) [Allegro] Adagio ma non tanto Allegro Neubauer, Chen, Eddy, Atapine, Robinson, Pingel, Weiss

INTERMISSION Brandenburg Concerto No. 3 in G Major, BWV 1048 (1720) [Allegro] Adagio Allegro Sussmann, S. Lee, K. Lee, Chen, Neubauer, Phillips, Robinson, Eddy, Atapine, Pingel, Weiss Brandenburg Concerto No. 5 in D Major, BWV 1050 (1720) Allegro Affettuoso Allegro K. Lee, O’Connor, Weiss, S. Lee, Neubauer, Atapine, Pingel Brandenburg Concerto No. 4 in G Major, BWV 1049 (1720) Allegro Andante Presto S. Lee, Kim, O’Connor, Sussmann, K. Lee, Chen, Robinson, Pingel, Weiss

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PROGRAM NOTES

THE BRANDENBURG CONCERTOS (1720)

JOHANN SEBASTIAN BACH (1685–1750)

Brandenburg, in Bach’s day, was a political and military powerhouse. It had been part of the Holy Roman Empire since the mid-12th century, and its ruler—the Markgraf, or Margrave—was charged with defending and extending the northern imperial border (mark, or marche in Old English and Old French), in return for which he was allowed to be an Elector of the Emperor. The house of Hohenzollern acquired the margraviate of Brandenburg in 1415, and a century later the family embraced the Reformation with such authority that they came to be regarded as the leaders of German Protestantism; Potsdam was chosen as the site of the electoral court in the 17th century. Extensive territorial acquisitions under Frederick William, the “Great Elector,” before his death in 1688 allowed his son, Frederick III, to secure the title and the rule of Brandenburg’s northern neighbor, Prussia, with its rich (and nearby) capital city of Berlin. He became King Frederick I of Prussia in 1701. Frederick, a cultured man and a generous patron, founded academies of sciences and arts in Berlin, and built the magnificent palace Charlottenburg for his wife, Sophie Charlotte, which became one of the most important musical centers in early 18th-century Germany. When Frederick William I succeeded his father in 1713, however, he turned the court’s focus from music to militarism, and dismissed most of the excellent musicians that his father had assembled. Several of them found employment at the court of Anhalt-Cöthen, north of Leipzig, where a young prince was just starting to indulge his taste and talents for music. Frederick William did, however, allow his uncle, Christian Ludwig, younger brother of the late King Frederick and possessor of the now-lesser title of Margrave of Brandenburg, to remain at the palace and retain his own musical establishment. Johann Sebastian Bach met Christian Ludwig, Margrave of Brandenburg, in 1719 during his tenure as music director at the court of Leopold of Anhalt-Cöthen, the young prince who had recently signed up some of the musicians fired by Frederick William I. Bach worked at Anhalt-Cöthen from 1717 to 1723, and early in 1719, Leopold sent him to Berlin to finalize arrangements for the purchase of a new harpsichord—a large, two-manual model made by Michael Mietke, instrument-builder to the royal court. While in Berlin, Bach played for Christian Ludwig, who was so taken with his music that he asked Bach to send some of his 48 MONDAVIART S.ORG

compositions for his library. Bach lost an infant son a few months later, however, and in 1720 his wife died, so it was more than two years before he fulfilled Brandenburg’s request. By 1721 Leopold had become engaged to a woman who looked askance at his huge expenditures for musical entertainment. Bach seems to have realized that when she moved in, he would probably be moved out, so he began casting about for a more secure position. Remembering the interest the Margrave of Brandenburg had shown in his music, he picked six of the finest concertos he had written at Cöthen and sent them to Christian Ludwig in March of 1721 with a flowery dedication in French—but to no avail. No job materialized at Brandenburg, and in 1723 Bach moved to Leipzig’s Thomaskirche, where he remained for the rest of his life. It is possible that the Margrave of Brandenburg never heard any of these magnificent works that immortalized his name, since records indicate that his modest Kapelle might not have been able to negotiate their difficulties and instrumental requirements. The concertos apparently lay untouched in his library until he died, 13 years after Bach had presented them to him, when they were inventoried at a value of four groschen each—only a few cents. Fortunately they were preserved by the noted theorist and pedagogue Johann Philipp Kirnberger, a pupil of Bach, and eventually came into the collection of the Royal Library in Berlin. They were brought to light during the 19th-century Bach revival, published in 1850, and have since come to be recognized as the supreme examples of Baroque instrumental music. The Brandenburg Concerto No. 1 originated in the three-movement Sinfonia in F Major (BWV 1046a) that Bach composed to introduce the “Hunting Cantata” he wrote to celebrate the birthday of Prince Christian of Saxe-Weissenfels in 1713—War mir behagt, ist nur die muntre Jagt (The Merry Hunt Is My Delight), BWV 208, source of the much-loved pastorale Sheep May Safely Graze. The opening movement contains a joyous abundance of notes driven by a muscular rhythmic energy. The Adagio is a poignant lament. The third movement is bright and virtuosic. The finale is a procession of dances. A rousing orchestral tutti begins the Second Brandenburg Concerto, after which each of the soloists is introduced in turn. The remainder of the movement is given over to scintillating musical discussions of the themes among the soloists and the orchestra. The second movement is a quiet but impassioned trio for flute, oboe and violin supported only by the bass and keyboard. The solo trumpet returns with a flourish in the finale.

The Sixth Brandenburg Concerto—which includes parts for two viola da gambas, an instrument favored by Bach’s employer, Prince Leopold—is in the three movements traditional for the form. The opening Allegro, driven and dance-like at the same time, brings the violas to the fore with strict canonic writing above the steady accompaniment, and the occasional comments, of the lower instruments. The second movement, which omits gambas, is one of Bach’s richest, long-limbed, contrapuntally bedecked melodic flights, informed with an intensity of emotion that borders on the operatic. The finale returns the buoyant mood and dancing rhythmic figurations of the opening movement. The Third Brandenburg represents a special type of the Baroque concerto grosso—the orchestral concerto. Rather than a specific group of concertino instruments being set off against the larger ensemble, the orchestra is, in effect, a collection of soloists. Each of the nine instruments making up the ensemble (three each of violins, violas and cellos) may act as soloist, but more frequently a single group is featured while the others serve as accompaniment. The opening measures not only introduce the movement, but also provide a storehouse of motives from which the ensuing music is spun. After the brief respite of a lone Adagio measure, the whirling motion resumes with a vigorous gigue. The solo instruments in the Brandenburg Concerto No. 5 are flute, violin and harpsichord, which was included as a featured instrument to show off the new instrument Bach had brought back from Berlin. The first movement opens with a vigorous tutti theme for the ensemble, after which the trio of soloists is introduced. It becomes clear as the movement progresses that the harpsichord is primus inter pares of the solo instruments, and its part grows more elaborate with the passing measures, finally erupting in a sparkling ribbon of unaccompanied melody and figuration in the closing pages. The second movement is an expressive trio for the soloists alone. The entire ensemble joins in for the exhilarating finale. Both the soloists and the thematic kernels of the opening movement are introduced at the outset of the Fourth Concerto. The movement bounds along with good humor and high spirits to its conclusion. The Andante is a dark-hued lament whose character would allow it to fit easily into Bach’s most fervent church cantatas. The festive mood of the opening movement returns in the finale, whose rhythmic propulsion gives it the spirit of a great, whirling dance. © 2016 Dr. Richard E. Rodda

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER KENNETH WEISS, harpsichord KRISTIN LEE, violin SEAN LEE, violin ARNAUD SUSSMANN, violin DANIEL PHILLIPS, violin/viola CHE-YEN CHEN, viola PAUL NEUBAUER, viola DMITRI ATAPINE, cello TIMOTHY EDDY, cello KEITH ROBINSON, cello SCOTT PINGEL, double bass SOOYUN KIM, flute TARA HELEN O’CONNOR, flute RANDALL ELLIS, oboe JAMES AUSTIN SMITH, oboe STEPHEN TAYLOR, oboe PETER KOLKAY, bassoon ERIC REED, horn STEWART ROSE, horn DAVID WASHBURN, trumpet

DMITRI ATAPINE has been described as a cellist with “brilliant technical chops” (Gramophone), whose playing is “highly impressive throughout” (The Strad). He has appeared on some of the world’s foremost stages, including Alice Tully Hall at Lincoln Center, Zankel and Weill halls at Carnegie Hall and the National Auditorium of Spain. An avid chamber musician, he has previously performed with The Chamber Music Society of Lincoln Center and his frequent festival appearances have included Music@Menlo, La Musica Sarasota, Pacific, Aldeburgh, Aixen-Provence, Nevada and Cactus Pear, with performances broadcast in Spain, Italy, the U.S., Canada, Mexico and South Korea. His multiple awards include the first prize at the Carlos Prieto Cello Competition, as well as top honors at the Premio Vittorio Gui and Plowman chamber competitions. He has collaborated with such distinguished musicians as ChoLiang Lin, Paul Neubauer, Ani and Ida Kavafian, Wu Han, Bruno Giuranna and David Shifrin. His recordings, among them a critically acclaimed world premiere of Lowell Liebermann’s complete works for cello and piano, can be found on the Naxos, Albany, MSR, Urtext Digital, BlueGriffin and Bridge record labels. Atapine holds a doctorate from the Yale School of Music, where he was a student of Aldo Parisot. The artistic director of Ribadesella Chamber Music Festival and the Argenta Concert Series, he is the cello professor at the University of Nevada, Reno and a member of Chamber Music Society Two (CMS Two). Taiwanese-American violist CHE-YEN CHEN is a founding member of the Formosa Quartet, the first prize winner of the 2006 London International String Quartet Competition. He was awarded first prize in the 2003 Primrose International Viola Competition, and has been described by the San Diego Union Tribune as an artist whose “most impressive aspect of his playing was his ability to find not just the subtle emotion, but the humanity hidden in the music.” Having served as the principal violist of the San Diego Symphony for eight seasons, and having appeared as principal violist with numerous major orchestras in North America, he now devotes his time to the Formosa Quartet and teaching, recitals and other chamber music projects. The quartet’s many commissions have contributed to the 21st century’s string quartet literature. In 2016, the ensemble premiered Lei Liang’s Song Recollections. Based on music indigenous to aboriginal tribes of Taiwan, the piece is the result of a two-year commissioning project that looks ahead to a new disc of music inspired

by Hungarian and Taiwanese folk traditions. Other commissions include Shih-Hui Chen’s Returning Souls: Four Pieces on Three Formosan Amis Legends and Fantasia on the Theme of Plum Blossom, Dana Wilson’s Hungarian Folk Songs and Wei-Chieh Lin’s Pasibutbut. A former member of CMS Two, Chen is on the faculty at the USC Thornton School of Music, and has given masterclasses at major conservatories and universities across North America and Asia. Cellist TIMOTHY EDDY has earned distinction as a recitalist, soloist with orchestra, chamber musician, recording artist and teacher of cello and chamber music. He has performed with the Dallas, Colorado, Jacksonville, North Carolina and Stamford symphonies, and has appeared at the Mostly Mozart, Ravinia, Aspen, Santa Fe, Marlboro, Lockenhaus, Spoleto and Sarasota music festivals. He has also won prizes in numerous national and international competitions, including the 1975 Gaspar Cassado International Violoncello Competition in Italy. He is a member of the Orion String Quartet, which recently recorded the complete Beethoven string quartets for the Koch label. A former member of the Galimir Quartet, the New York Philomusica and the Bach Aria Group, Eddy collaborates regularly in recital with pianist Gilbert Kalish. A frequent performer of the works of Bach, he recently presented the complete six cello suites of Bach in two consecutive days at Colorado’s Boulder Bach Festival and Vermont’s Brattleboro Music Center. He has recorded a wide range of repertoire from Baroque to avant-garde for the Angel, Arabesque, Columbia, CRI, Delos, Musical Heritage, New World, Nonesuch, Vanguard, Vox and SONY Classical labels. He is professor of cello at The Juilliard School and Mannes College of Music, and he was frequently a faculty member at the Isaac Stern Chamber Music Workshops at Carnegie Hall. Eddy plays a Matteo Goffriller cello (1728). RANDALL ELLIS is the principal oboist of Lincoln Center’s Mostly Mozart Festival Orchestra, Little Orchestra Society, and is solo English horn in the New York Pops Orchestra. He is the oboist in the Windscape woodwind quintet, which is ensemble-in-residence at the Manhattan School of Music. He is principal oboist and serves on the faculty of the Eastern Music Festival in Greensboro, North Carolina. He was principal oboist of the New York Chamber Symphony and in that capacity received two Grammy nominations, including one for his recording of Howard Hanson’s Pastorale. He has performed with the New York Philharmonic, Seattle Symphony, San encoreartsprograms.com 49

Diego Symphony and the Florida Orchestra. Ellis has toured extensively as a guest artist with the Orpheus Chamber Orchestra and he has been a soloist with the New England Bach Festival, the International Bach Festival of Madeira, the Philharmonia Virtuosi of New York and Chamber Music at the 92nd Street Y. He has freelanced with the Ensemble WienBerlin, Orchestra of St. Luke’s, the New York Philomusica and the Orchestras of the Martha Graham, Paul Taylor and the American Ballet Theatre dance companies. Ellis has recorded for EMI/Angel, Columbia, Sony, RCA, Vox, Nonesuch, CRI, Pro Arte, Delos and Deutsche Grammophon. He received his bachelor’s degree from the North Carolina School of the Arts and his master’s degree from SUNY Stony Brook, where he studied with Ronald Roseman. He teaches oboe and chamber music at Skidmore College in Saratoga Springs, New York. Praised as “A rare virtuoso of the flute” by Libération, SOOYUN KIM has established herself as one of the rare flute soloists in the classical music scene. Since her concerto debut with the Seoul Philharmonic Orchestra at age 10, she has enjoyed a flourishing career performing with orchestras around the world including the Bavarian Radio, Munich Philharmonic, Munich Chamber and Boston Pops orchestras. She has been presented in recital series worldwide in Budapest, Paris, Munich, Kobe, Helsinki, Stockholm, the Algarve in Portugal, and Seoul; and at the Gardner Museum, Kennedy Center and Carnegie and Jordan halls. Her European debut recital at the Louvre was streamed live on medici.tv to great acclaim. This season’s highlights include orchestral appearances with Glacier Symphony, Kobe City Chamber and Amadeus Festival orchestras performing concertos of Christopher Rouse, Mercadante and Mozart. Also, as a member of Third Sound, she performed music of American composers at the Havana Contemporary Music Festival in Cuba. A winner of the Georg Solti Foundation Career Grant, Kim has received numerous international awards and prizes including the third prize at the ARD International Flute Competition. An avid chamber musician, her summer appearances include the Music@ Menlo, Spoleto USA, Yellow Barn, Rockport, Olympic and Chamber Music Northwest festivals. A former member of CMS Two, she studied at the New England Conservatory under the tutelage of Paula Robison. Kim performs on Verne Q. Powell Flutes. Called “superb” by The Washington Post and 50 MONDAVIART S.ORG

“stunningly virtuosic” by The New York Times, PETER KOLKAY is the only bassoonist to receive an Avery Fisher Career Grant and win first prize at the Concert Artists Guild International Competition. He is associate professor of bassoon at the Blair School of Music at Vanderbilt University and was named a Chancellor’s Faculty Fellow for 2015–17. He has presented solo recitals at Weill Recital Hall, Merkin Hall, the Chicago Cultural Center and the Teatro Nacional in Panama City. He is a regular performer at the Spoleto USA, Music@Menlo and Bridgehampton Chamber Music summer festivals. He actively engages with composers in the creation of new works for the bassoon; he recently gave the world premiere of Joan Tower’s bassoon concerto and will premiere a new piece by Tania León this season. His debut solo disc, BassoonMusic (CAG Records), spotlights works by 21st-century American composers. He is a member of the IRIS Orchestra in Germantown, Tennessee, and an alum of CMS Two. Kolkay holds degrees from Lawrence University (Appleton, Wisconsin), the Eastman School of Music and Yale University, and studied with Frank Morelli, John Hunt, Jean Barr and Monte Perkins. A native of Naperville, Illinois, he now calls downtown Nashville home. Recipient of a 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and the Astral Artists’ 2010 National Auditions, KRISTIN LEE is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician and educator. She has appeared with top orchestras such as The Philadelphia Orchestra, St. Louis Symphony, New Jersey Symphony, St. Paul Chamber Orchestra, the Ural Philharmonic of Russia, the Korean Broadcasting Symphony and in recitals on many of the world’s finest stages including Carnegie Hall, Avery Fisher Hall, Kennedy Center, Kimmel Center, Phillips Collection, Metropolitan Museum of Art, Louvre Museum, Korea’s Kumho Art Gallery and the Ravinia Festival. An accomplished chamber musician, she has appeared with Camerata Pacifica, Music@Menlo, La Jolla Festival, Medellín Festicámara of Colombia, the El Sistema Chamber Music Festival of Venezuela and the Sarasota Music Festival. She is the concertmaster of the Metropolis Ensemble, with which she premiered Vivian Fung’s Violin Concerto, written for her, which appears on Fung’s CD Dreamscapes (Naxos) and won the 2013 Juno Award. Born in Seoul, Lee moved to the U.S. to study under Sonja Foster and

soon after entered The Juilliard School’s PreCollege. She holds a master’s degree from The Juilliard School under Itzhak Perlman. A former member of CMS Two, she is a member of the faculty of the Aaron Copland School of Music at Queens College and the co-founder and artistic director of Emerald City Music in Seattle. Violinist SEAN LEE has attracted audiences around the world with his lively performances of the classics and adventurous blending with other genres. A recipient of the 2016 Avery Fisher Career Grant, he enjoys a multifaceted career as both performer and educator. A former member of CMS Two, he continues to perform regularly with The Chamber Music Society of Lincoln Center in New York City, as well as on tour in the 2016–17 season across the United States and Asia. Embracing the legacy of his late teacher, violinist Ruggiero Ricci, Lee is one of the few violinists who perform Niccolò Paganini’s 24 Caprices in concert, and his YouTube series, Paganini POV, continues to draw attention for his perspective and insight for aspiring young violinists. His recital and concerto performances have taken him to Carnegie Hall, Festival di Carro Paganiniano, Wiener Konzerthaus and Tel Aviv Museum of Art. Lee has called New York City home since moving there at the age of 17 to study at The Juilliard School with his longtime mentor, violinist Itzhak Perlman. He teaches at the Perlman Music Program, where he was a student, as well as The Juilliard School’s Pre-College Division. He performs on a violin originally made in 1999 for violinist Ruggiero Ricci, by David Bague. Violist PAUL NEUBAUER’s exceptional musicality and effortless playing led The New York Times to call him “a master musician.” Last season he recorded the Aaron Jay Kernis Viola Concerto with the Royal Northern Sinfonia in the United Kingdom, a work he premiered with the St. Paul Chamber Orchestra, Los Angeles Chamber Orchestra, Chautauqua Symphony and Idyllwild Arts Orchestra in 2014. A solo album of music recorded at Music@Menlo was also released last season. At Alice Tully Hall, he premiered Joan Tower’s Purple Rush for solo viola, a CMS commission and the fourth work Tower has composed for him. Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the New York, Los Angeles and Helsinki philharmonics; National, St. Louis, Detroit, Dallas, San Francisco and

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER Bournemouth symphonies; and Santa Cecilia, English Chamber and Beethovenhalle orchestras. Neubauer performs in a trio with soprano Susanna Phillips and pianist AnneMarie McDermott. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter and Tower. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal and Sony Classical. He is on the faculty of The Juilliard School and Mannes College. TARA HELEN O’CONNOR is a charismatic performer noted for her artistic depth, brilliant technique and colorful tone spanning every musical era. Winner of an Avery Fisher Career Grant and a two-time Grammy nominee, she was the first wind player to participate in the CMS Two program. A Wm. S. Haynes flute artist, she regularly participates in the Santa Fe Chamber Music Festival, Music@Menlo, the Chamber Music Festival of the Bluegrass, Spoleto USA, Chamber Music Northwest, Mainly Mozart Festival, Music from Angel Fire, the Banff Centre, the Great Mountains Music Festival, Chesapeake Music Festival and the Bravo! Vail Music Festival. A much sought after chamber musician and soloist, she is a founding member of the Naumburg Award-winning New Millennium Ensemble, a member of the woodwind quintet Windscape and the legendary Bach Aria Group. She has premiered hundreds of new works and has collaborated with the Orion String Quartet, St. Lawrence Quartet and Emerson Quartet. She has appeared on A&E’s Breakfast with the Arts, Live from Lincoln Center, and has recorded for Deutsche Grammophon, EMI Classics, Koch International, CMS Studio Recordings with the Chamber Music Society and Bridge Records. She is associate professor of flute, head of the wind department and coordinator of classical music studies at Purchase College Conservatory of Music. Additionally, she is on the faculty of Bard College Conservatory and the contemporary program at Manhattan School of Music and is a visiting artist, teacher and coach at the Royal Conservatory of Music in Toronto. Violinist/violist DANIEL PHILLIPS enjoys a versatile career as an established chamber musician, solo artist and teacher. A graduate of Juilliard, his major teachers were Ivan Galamian, Sally Thomas, Nathan Milstein, Sandor Vegh and George Neikrug. He is a founding member of the 29-year-old

Orion String Quartet, which is in residence at Mannes College of Music and performs regularly at The Chamber Music Society of Lincoln Center. Available on recording are the complete quartets of Beethoven and Leon Kirchner. Since winning the 1976 Young Concert Artists Auditions, he has performed as a soloist with the Pittsburgh, Houston, New Jersey, Phoenix, San Antonio and Yakima symphonies. Last season marked his concerto debut with the Yonkers Symphony. He appears regularly at the Spoleto USA Festival, Santa Fe Chamber Music Festival, Chamber Music Northwest, Chesapeake Music Festival and has participated in the International Musicians Seminar in Cornwall, England since its inception by Sandor Vegh. He also serves on the summer faculty of the Heifetz Institute. He was a member of the renowned Bach Aria Group, and has toured and recorded in a string quartet for SONY with Gidon Kremer, Kim Kashkashian and Yo-Yo Ma. He is a professor at the Aaron Copland School of Music at Queens College and on the faculties of the Mannes College of Music, Bard College Conservatory and The Juilliard School. He lives with his wife, flutist Tara Helen O’Connor, on Manhattan’s Upper West Side. In 2004, SCOTT PINGEL became the principal bass of the San Francisco Symphony and the San Francisco Chronicle named him one of the most prominent additions to the ensemble. Previously, he served as principal bass of the Charleston Symphony Orchestra, performed with the Metropolitan Opera and served as guest principal with the National Arts Center Orchestra in Canada. His solo performances with ensembles such as the San Francisco Symphony, the San Francisco Academy Orchestra and the Charleston Symphony Orchestra, and his recitals (frequently consisting of his own arrangements) have received critical acclaim. As a chamber musician, he has collaborated with luminaries including Yo-Yo Ma and members of the Emerson, Miro, Pacifica, St. Lawrence, Danish and Takács quartets. He can often be heard at the Arizona Musicfest, Music@Menlo and Music in the Vineyards festivals and on television and radio programs including NPR’s Performance Today. Formerly active as a jazz musician and electric bassist, he worked with greats including Michael Brecker, Geoff Keezer and James Williams, and performed in venues from Birdland in New York to Fasching in Stockholm. He held a tenured position at the University of Michigan, and currently serves on the faculty of the San Francisco Conservatory of Music.

Pingel’s primary instructors were James Clute, Peter Lloyd and Timothy Cobb. He earned a bachelor’s degree from the University of Wisconsin-Eau Claire, a master’s degree from the Manhattan School of Music, and spent two years as a fellow at the New World Symphony. ERIC REED is an internationally recognized horn player, chamber musician and educator. Based in New York City, he has played concerts and presented masterclasses on five continents and in a variety of ensembles and musical styles. He is the newest member of the American Brass Quintet (ABQ), and serves on the horn and chamber music faculties of The Juilliard School and New York University. In addition to his work with the ABQ, he performs regularly with the Orchestra of St. Luke’s and Orpheus Chamber Orchestra. He is a former member of the Canadian Brass and Carnegie Hall’s Ensemble ACJW. Additionally, he has been on the rosters of the Oregon, New World and Harrisburg symphonies, and has performed with dozens of New York City’s diverse cultural organizations. He holds degrees from Rice University’s Shepherd School of Music and The Juilliard School. He is a member of the newly formed Ensemble Échappé, a sinfonietta dedicated to music of the 21st century. He has recently given world premiere performances of works by composers Eric Ewazen, William Bolcom, Robert Paterson, Kenneth Fuchs, Eric Nathan and John Zorn. In addition to his endeavors in and around New York, he maintains an active performance and teaching schedule away from home. He is on the faculty of the Round Top Festival Institute and Aspen Music Festival and School, and has appeared at the Cape Cod Chamber Music Festival and the Strings Music Festival in Steamboat Springs, Colorado. Cellist KEITH ROBINSON is a founding member of the Miami String Quartet and has been active as a chamber musician, recitalist and soloist since his graduation from the Curtis Institute of Music. He has had numerous solo appearances with orchestras including the New World Symphony, The American Sinfonietta and the Miami Chamber Symphony, and in 1989 won the P.A.C.E. “Classical Artist of the Year” Award. His most recent recording released on Blue Griffin Records features the complete works of Mendelssohn for cello and piano with his colleague Donna Lee. In 1992, the Miami String Quartet became the first string quartet in a decade to win First Prize of the Concert encoreartsprograms.com 51

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Artists Guild New York Competition. The quartet has also received the prestigious Cleveland Quartet Award, won the Grand Prize at the Fischoff Chamber Music Competition and was a member of CMS Two. Robinson regularly attends festivals across the United States, including the Santa Fe Chamber Music Festival, Music@Menlo, Kent Blossom Music, Mostly Mozart, Bravo! Vail, Savannah Music Festival and the Virginia Arts Festival. Highlights of recent seasons include international appearances in Bern, Cologne, Istanbul, Lausanne, Montreal, Rio de Janeiro, Hong Kong, Taipei and Paris. Robinson hails from a musical family and his siblings include Sharon Robinson of the Kalichstein-LaredoRobinson Trio, and Hal Robinson, principal bass of the Philadelphia Orchestra. He plays a cello made by Carlo Tononi in Venice in 1725. Praised by The New Yorker for his “forceful yet elegant virtuosity,” French hornist STEWART ROSE is one of the preeminent horn players of his generation. In recent seasons he has performed as guest principal horn with the New York Philharmonic, Philadelphia Orchestra, Metropolitan Opera Orchestra, St. Paul Chamber Orchestra and the Saito Kinen Orchestra. He has appeared at the Marlboro, Tanglewood, Mostly Mozart, Spoleto, Edinburgh, Eastern Shore and Bridgehampton festivals, and is a frequent guest with The Chamber Music Society of Lincoln Center. A native New Yorker, he began playing with the Orpheus Chamber Orchestra in 1981 and has been principal horn of Orchestra of St. Luke’s since 1983. He also served as principal horn with the New York City Opera for 25 years. Rose’s first solo CD, From the Forest—a collection of early classical works for horn and orchestra by Haydn, Telemann, Leopold Mozart and Christoph Forster with St. Luke’s Chamber Ensemble—was released on St. Luke’s Collection to great critical acclaim. Other recent recordings include his appearance as first horn on New York Philharmonic releases including Berlioz’s Harold in Italy with Lorin Maazel, Sebastian Currier’s Time Machine with Anne-Sophie Mutter and Alan Gilbert and Concerto: One Night in Central Park with Andrea Bocelli; Tchaikovsky: Winter Dreams and The Tempest with Pablo Heras-Casado and Orchestra of St. Luke’s; and Kevin Puts’ Seven Seascapes premiere recording with the Bridgehampton Chamber Music Festival.

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER Praised for his “virtuosic,” “dazzling” and “brilliant” performances (The New York Times) and his “bold, keen sound” (The New Yorker), oboist JAMES AUSTIN SMITH performs equal parts new and old music across the United States and around the world. Smith is an artist of the International Contemporary Ensemble (ICE) and Talea as well as co-artistic director of Decoda, the Affiliate Ensemble of Carnegie Hall. He is a member of the faculties of the Manhattan School of Music and Purchase College and is co-artistic director of Tertulia, a chamber music series that takes place in restaurants in New York and San Francisco. His festival appearances include Marlboro, Music@Menlo, Lucerne, Chamber Music Northwest, SchleswigHolstein, Stellenbosch, Bay Chamber Concerts, Mecklenburg-Vorpommern and Spoleto USA; he has performed with the St. Lawrence, Orion and Parker string quartets and recorded for the Nonesuch, Bridge, Mode and Kairos labels. His debut solo recording Distance was released in early 2015 on South Africa’s TwoPianists Record Label. Smith holds a master of music degree from the Yale School of Music and bachelors of arts (political science) and music degrees from Northwestern University. He spent a year as a Fulbright Scholar at the Mendelssohn Conservatory in Leipzig, Germany and is an alumnus of Carnegie Hall’s Ensemble ACJW. Smith’s principal teachers are Stephen Taylor, Christian Wetzel, Humbert Lucarelli and Ray Still. Winner of a 2009 Avery Fisher Career Grant, ARNAUD SUSSMANN has distinguished himself with his unique sound, bravura and profound musicianship. Minnesota’s Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you’ll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener.” A thrilling young musician capturing the attention of classical critics and audiences around the world, he has appeared on tour in Israel and in concert at Lincoln Center’s Alice Tully Hall, the Dresden Music Festival in Germany and the Phillips Collection in Washington, D.C. He has been presented in recital in Omaha on the Tuesday Musical Club series, New Orleans by the Friends of Music, Tel Aviv at the Museum of Art and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Moritzburg, Caramoor, Music@Menlo, La Jolla SummerFest, Mainly Mozart, Seattle Chamber Music, Bridgehampton and the Moab Music

festivals. Sussmann has performed with many of today’s leading artists including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenasi, Wu Han, David Finckel, Jan Vogler and members of the Emerson String Quartet. A former member of CMS Two, he regularly appears with CMS in New York and on tour, including performances at London’s Wigmore Hall. STEPHEN TAYLOR, one of the most soughtafter oboists in the country, holds the Mrs. John D. Rockefeller III solo oboe chair at the Chamber Music Society. He is a solo oboist with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St. Luke’s Chamber Ensemble (for which he has served as codirector of chamber music), the American Composers Orchestra, the New England Bach Festival Orchestra and Speculum Musicae, and is co-principal oboist of the Orpheus Chamber Orchestra. His regular festival appearances include Spoleto, Aldeburgh, Caramoor, Bravo! Vail Valley, Music from Angel Fire, Norfolk, Santa Fe, Aspen and Chamber Music Northwest. Among his more than 200 recordings is Elliott Carter’s Oboe Quartet for which Taylor received a Grammy nomination. He has performed many of Carter’s works, giving the world premieres of Carter’s A Mirror on Which to Dwell, Syringa and Tempo e Tempi; and the U.S. premieres of Trilogy for Oboe and Harp, Oboe Quartet and A 6 Letter Letter. He is entered in Who’s Who in American Colleges and Universities and has been awarded a performer’s grant from the Fromm Foundation at Harvard University. Trained at The Juilliard School, he is a member of its faculty as well as of the Yale and Manhattan schools of music. Taylor plays rare Caldwell model Lorée oboes. DAVID WASHBURN is the principal trumpet of the Los Angeles Chamber Orchestra and associate principal trumpet of the Los Angeles Opera Orchestra. Previously he served as principal trumpet and soloist with the Hong Kong Philharmonic Orchestra and Redlands Symphony. He has been a featured soloist with such orchestras as the Los Angeles, St. Louis, Hong Kong and California philharmonics; the Los Angeles, San Diego, St. Matthew, and South Bay chamber orchestras; and the Berkeley, Burbank and Glendale symphonies. He has performed at the Santa Fe, La Jolla and Music@Menlo chamber music festivals as well as The Chamber Music Society of Lincoln Center. Active in the recording studio, he has played principal trumpet for the soundtracks of Fast and Furious 7, 10 Cloverfield Lane, Independence Day Resurgence,

Godzilla, The Amazing Spiderman, White House Down, Karate Kid, Avatar, The Legend of Zorro, A Beautiful Mind, Troy, Titanic and Deep Impact. He is a faculty member at Azusa Pacific University, Biola University, and the University of California, Irvine. He received his master of music degree with distinction from the New England Conservatory of Music, and his bachelor of music from the Thornton Music School at the University of Southern California. He is a Yamaha Performing Artist. KENNETH WEISS is an American harpsichordist with an active career as a soloist, conductor, chamber musician and teacher. Highlights of the 2015–17 seasons include Bach’s Well- Tempered Clavier in Japan and Israel, Bach’s Musical Offering at the Auditorio National de Madrid and the Paris Opera, guest conducting the Jerusalem Camerata and the Orchestre de Rouen and the premiere of a new ballet by Robyn Orlin. As soloist and chamber musician he has performed extensively in Europe, North America and Asia—Wigmore Hall, Tokyo’s Bunkakaikan Hall, Theatre de la Ville in Paris, Library of Congress, Carnegie Hall, Lincoln Center, La Roque d’Antheron, Auditorio National de Madrid and Amsterdam Concertgebouw. He is a frequent guest with The Chamber Music Society of Lincoln Center, Bridgehampton Chamber Music Festival and NYC’s Music Before 1800. He is professor of harpsichord at the Haute Ecole de Musique in Geneva, Switzerland, and professor of chamber music at the Conservatoire de Paris. Born in New York City, he attended the High School of Performing Arts and the Oberlin Conservatory of Music, where he studied with Lisa Goode, later studying with Gustav Leonhardt at the Amsterdam Conservatory. His recordings for Satirino records have been widely acclaimed. They include Bach’s Goldberg Variations, partitas and The Well-Tempered Clavier, a CD dedicated to transcriptions of Rameau’s operas and ballets, two Scarlatti albums and two CDs devoted to Elizabethan keyboard music: A Cleare Day and Heaven and Earth.

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THE UKULELE ORCHESTRA OF GREAT BRITAIN Holiday Show A With A Twist Series Event Tuesday, December 13, 2016 • 7PM Jackson Hall

THE UKULELE ORCHESTRA OF GREAT BRITAIN GEORGE HINCHLIFFE JONTY BANKES