Jan-Feb 2018 Mondavi Center Program

TH

ANNIVERSARY

JAN–FEB 2018 Çudamani Gamelan and Dance of Bali FEB 24

MUSIC

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WELCOME A MESSAGE FROM THE CHANCELLOR

GARY S. MAY

UC DAVIS CHANCELLOR

“The Mondavi Center is a place of imagination.”

One of my first pleasures as the new UC Davis chancellor is to welcome all of you to the 15th anniversary season of the Robert and Margrit Mondavi Center for the Performing Arts.

Our university is so fortunate to have such a spectacular public place of enjoyment and enrichment for our broader Northern California community. Together, we experience a remarkable array of highly acclaimed musicians, dancers, comedians and speakers from around the world.

The Mondavi Center is a place of imagination, where we examine our own dreams and desires through the brilliant lens of artistic achievement we see on stage. This is also a place that invites free expression of all sorts of ideas, including those that may be unwelcome in other settings.

Robert and Margrit Mondavi recognized the important role the arts play in the development of an enlightened society. It is a testament to their vision and generosity, as well as to the many donors and audience members who have filled the Mondavi Center with life, that we are celebrating our 15th anniversary season.

I take inspiration from the UC Davis mission that grounds our teaching and research in public service. We aim to send our Aggies out into the world as well-rounded, true contributors to society. The Mondavi Center plays an important part in fulfilling this mission: giving students the opportunity to experience the arts, and giving our community a place to share in the awe and wonder of the world’s greatest performers.

Sincerely, Gary S. May Chancellor

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SPONSORS 15TH ANNIVERSARY SEASON SUPPORTERS Chan Family Fund John and Lois Crowe Patti Donlon Thomas and Phyllis Farver Wanda Lee Graves and Steve Duscha Anne Gray

Barbara K. Jackson Nancy Lawrence and Gordon Klein Diane M. Makley M.A. Morris William and Nancy Roe

CORPORATE PARTNERS SERIES

MONDAVI CENTER STAFF Don Roth, Ph. D.

EXECUTIVE DIRECTOR

Jeremy Ganter

ASSOCIATE EXECUTIVE DIRECTOR

Debbie Armstrong SENIOR DIRECTOR

Liz King

EXECUTIVE ASSISTANT

ARTS EDUCATION Ruth Rosenberg

DIRECTOR OF ARTS EDUCATION AND ARTIST ENGAGEMENT

Jennifer Mast

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DEVELOPMENT Nancy Petrisko

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Jill Pennington

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PRODUCTION Donna J. Flor

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PERFORMANCE

TICKET OFFICE Sarah Herrera

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Camille Adams Natalia Deardorff Dawn Kincade Joelle Robertson Nancy Temple HEAD USHERS Lorrie Bortuzzo Eric Davis John Dixon George Edwards Maria Giannuli Donna Horgan Paul Kastner Steve Matista Jan Perez

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PROGRAMMING Jeremy Ganter

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Laurie Espinoza

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Colt McGraw

HOSPITALITY ASSISTANT MANAGER

Lara Downes

CURATOR, YOUNG ARTISTS PROGRAM

What if all your little questions just tripled?

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During OPEN ENROLLMENT, ask the most crucial question first.

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GET ALL THE ANSWERS YOU NEED TO THE MOST IMPORTANT QUESTION YOU CAN ASK. answers.ucdavis.edu

Don Roth, Ph.D.

Executive Director

At the Mondavi Center, we believe all of our presentations are deserving of close attention— that’s why we bring them to the region. But each season there are specific events that have a special resonance for us, two of which I would like to draw your attention to here.

The St. Louis Symphony Orchestra (SLSO) is near and dear to me, as I was president of the organization in the 1990s. Conductor David Robertson is a friend and it is an honor and a privilege to welcome this remarkable American orchestra back to the Mondavi Center on Robertson’s farewell tour as music director.

Personal feelings aside, it is the extracurricular work the SLSO has done with us, supported by a grant from The Andrew W. Mellon Foundation and the National Endowment for the Arts, that has us particularly excited about the upcoming visit. When the orchestra is here, its members will sit down with the UC Davis Symphony Orchestra in a side-by-side rehearsal under the baton of Robertson. This is certain to be a transformational experience for our student musicians. In addition, SLSO musicians will perform brand new pieces by four young composers in a special concert on January 18 at 4 p.m. as part of the Revision/s Festival. The festival, a joint venture of the Mondavi Center and the UC Davis Department of Music, runs from January 18–20; I invite you to check out the very interesting events that make up Revision/s at arts.ucdavis.edu/revisions.

Finally, in March, we bring Compañía Nacional de Danza’s Carmen, perhaps the most significant piece of dance theater we have presented since Ballet Preljocaj’s Blanche Neige (Snow White) in our 10th anniversary season. This work was “discovered” by Associate Executive Director Jeremy Ganter in 2015. At the time, the company had no representation in the United States, but Jeremy was so committed to the piece that he has worked diligently over the past three years to land this remarkable work, touring to only three U.S. cities.

We look forward to welcoming you to the Mondavi Center in 2018!

Don

6 MONDAVIART S.ORG

IN THIS ISSU

A Message from the Executive Director

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

8

St. Louis Symphony Orchestra

14 Circa – Il Ritorno 18 Royal Philharmonic Orchestra 26 Janet Mock 28 Berlin Philharmonic Wind Quintet 35 Bill Charlap Trio with Cécile McLorin Salvant 38 Çudamani

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.

January/February 2018 Volume 5, No. 3

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ST. LOUIS SYMPHONY ORCHESTRA

David Robertson, music director Augustin Hadelich, violin An Orchestra Series Event Wednesday, January 17, 2018 • 8PM Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY Grace and John Rosenquist Donors to the Artistic Ventures Fund 7PM Pre-Performance Talk, Jackson Hall David Robertson in conversation with Don Roth, executive director, Mondavi Center, UC Davis Don Roth joined the Mondavi Center in 2006, arriving from the Aspen Music Festival and School, where he served as president from 2001 to 2006. His tenure at the Mondavi Center has seen the initiation of new artistic and educational partnerships with the San Francisco Symphony and the Curtis Institute; and the development of residencies by world-renowned companies such as Shakespeare’s Globe and the St. Louis Symphony Orchestra. Previously, Roth served as president of the St. Louis and Oregon Symphonies and as general manager of the San Francisco Symphony.

8 MONDAVIART S.ORG

PROGRAM Powder Her Face Suite (SLSO co-commission)

Overture –

Scene with Song –

Wedding March –

Waltz –

Ode –

Paperchase –

Hotel Manager’s Aria “It is too late” Finale Violin Concerto, op. 15

Moderato con moto –

Vivace –

Passacaglia: Andante lento (un poco meno mosso)

Thomas Adès

Benjamin Britten

Augustin Hadelich, violin

INTERMISSION Symphony No. 1 in F minor, op. 10

Allegretto; Allegro non troppo Allegro

Lento –

Lento; Allegro molto

Dmitri Shostakovich

This project is supported in part by an award from the National Endowment for the Arts.

Support for the St. Louis Symphony Orchestra residency activities provided by The Andrew W. Mellon Foundation.

ST. LOUIS SYMPHONY ORCHESTRA PROGRAM NOTES Thomas Adès, Benjamin Britten and Dmitri Shostakovich were all under the age of 30 when they wrote the pieces on today’s program. Adès’ opera, Powder Her Face, and Shostakovich’s Symphony No. 1 launched their composers to fame, receiving international performances soon after their premieres. Britten’s Violin Concerto has burned its way into the repertoire more slowly, increasingly recognized for its subtlety and beauty.

There are also personal, professional and aesthetic connections between these three composers. In the 1960s, Britten and Shostakovich became friends, connected by their mutual collaborator, the cellist Mstislav Rostropovich. Though two generations younger, Adès, an Englishman, was artistic director of the Aldeburgh Festival, which Britten founded in 1948.

All three works show a concern for public relevance, belying the narrative that 20thcentury classical music invariably drifted toward academic obscurity. Here is a strand of complex musical artistry, attuned to audience understanding, running from 1926 to present day.

POWDER HER FACE SUITE (1995/2017) (SLSO co-commission)

THOMAS ADÈS (b. 1971) Powder Her Face is Thomas Adès’ 1995 chamber opera, based on Margaret Campbell, Duchess of Argyll, whose real-life 1963 divorce created a sensational sex scandal in England. Her husband accused her of infidelity, introducing a set of stolen Polaroid photos as evidence in court. Later in life, she squandered her inheritance and ended up living in a hotel suite. This is where the opera finds her, as she slips into the past, conjuring scenes set in the 1930s through the 70s.

Both the 24-year-old Adès and his librettist, Philip Hensher, were drawn to the tabloid tale when they were commissioned

by London’s Almeida Opera in the mid1990s. “The Almeida didn’t disguise their complete bewilderment at what we were proposing,” Hensher told The Guardian in 2008. “The director of opera said he had no idea what I meant when I said I wanted it to seem like scenes from the life of a medieval saint, only with shopping expeditions instead of miracles. “The opera was met

with a mix of outrage and admiration—and is now one of the most frequently produced operas of the late 20th century.

In 2007, Adès extracted three orchestral numbers from the opera and published them as Dances from Powder Her Face. Since the original score used a 15-piece pit band, he rescored the music for full orchestra. For the 2017 Powder Her Face Suite performed on today’s program, he added five more movements, now including some vocal writing transcribed for purely instrumental forces. The expanded suite was cocommissioned by the Berlin Philharmonic, the Danish National Symphony Orchestra, the London Philharmonic Orchestra, the Philadelphia Orchestra, Carnegie Hall and the St. Louis Symphony Orchestra.

The Berlin Philharmonic and Simon Rattle premiered it in May 2017.

“Scene with Song” comes from the opera’s opening, where a maid and an electrician fool around in the Duchess’ hotel room, laughing and mocking the old woman behind her back. “Wedding March,” “Waltz” and “Ode” call back to her earlier life, and draw on the popular dance styles of the time. “Paperchase” finds the Duke searching for incriminating evidence. In the libretto’s stage directions, “he goes over to the trunk and starts pulling out clothes and letters. Papers scatter everywhere, on the floor, on the bed … finally in the last drawer, he finds a camera. He rips it open and pulls out the film.” “Hotel Manager’s Aria” and “Finale” return to the end of the Duchess’ life, when she is evicted from the hotel. “The Manager,” originally sung by a bass, and here portrayed by the horn, is an avatar of death.

VIOLIN CONCERTO, OP. 15 (1939)

BENJAMIN BRITTEN (1913–1976)

Britten is so closely associated with his native England that it may be hard to imagine that for a few years at the beginning of the Second World War he immigrated to the United States—and might have stayed, had he not grown homesick by 1942. But it was an important three-year detour: His relationship with his traveling companion, Peter Pears, grew from an ambiguous friendship into affirmed romance. He found critical success in New York and then drove across the continent with Pears in a borrowed Ford, arriving to stay with friends in Escondido, California. It

was in a Southern California bookshop in 1941 that he picked up a collection by the 19th-century English poet George Crabbe, which made him nostalgic for his coastal home in Suffolk and inspired his 1945 opera, Peter Grimes.

Britten’s American journey was motivated by his commitment to pacifism in the face of war in Europe. He began the Violin Concerto in England and completed it in Quebec during the summer of 1939, just before he and Pears settled temporarily in New York. The piece feels more of its time than of a particular place: It’s serious and uneasy, with lyrical surfaces built on a dangerously unstable foundation.

Britten creates this impression through harmony: From the start, he undermines the clarity of the key. The opening violin melody starts in F major, but by the third measure drifts toward F minor, then falls a woozy half step toward F-flat, before recovering back up—all while tracing the contour of a much more conventional tune.

This is just one example of this concerto’s tonal ambiguities, which crop up on both small and large scales.

The first movement’s second theme is bold and belligerent, yet also lighthearted, perhaps mocking military pomp. Later, in what might be the concerto’s most breathtaking moment, the orchestral strings take up the opening violin melody— now hushed, muted and elongated—while the soloist picks up the original orchestral accompaniment (mixed with the restless second theme) in sharp accents, plucking and strumming.

Though the concerto’s three movements are linked together without pause, the beginning of the second movement is clear from its instant rambunctiousness. But the movement also holds periods of stasis, which grow into surprising colors. One passage finds the violin in its highest range, whistling almost pitchlessly. Then it hands the effect over to two piccolos before the tuba enters, six octaves below, creating a harrowing chasm of range. The movement ends with a cadenza, which plays with material from both the first and second movements.

With an echo of the concerto’s opening theme, the cadenza bridges into the finale.

The trombones enter down low with a phrase that will be repeated—sometimes boldly and sometimes subtly—throughout encoremediagroup.com/programs 9

ST. LOUIS SYMPHONY ORCHESTRA the movement. This is the Passacaglia, an idea Britten borrowed from Baroque music, where a whole piece is built over a repeated ground bass. Britten, however, weakens the form’s usual stability with another harmonic trick: The first four entrances each shift down a half step—almost imperceptible to the listener, but enough to maintain the concerto’s deep-seated unease. Toward the end of the movement, a newfound brightness starts to shine through. In the final measures, the concerto coalesces around the key of D, shedding most of its harmonic complications, while still wavering between sweet major and bitter minor.

The New York Times review of the March 1940 premiere (at Carnegie Hall with the New York Philharmonic and violinist Antonio Brosa) noted, “the ending is uncommon, very earnest and far from the conventional ‘hoopla’ finale.” The writer also struck a note of praiseful restraint, observing “there is more in this interesting work than was to be fully grasped or finally assessed at first hearing.”

SYMPHONY NO. 1 IN F MINOR, OP. 10 (1925)

DMITRI SHOSTAKOVICH (1906–1975)

In the mid-1920s, a decade before Shostakovich was denounced by Stalin and made to fear for his life, his troubles were simply those of a student: not enough money, conflicts with teachers, and shaky confidence in his own work. He held evening jobs playing piano in cinemas, which he detested, while studying at the Leningrad Conservatory.

Shostakovich began his Symphony No. 1 as a conservatory assignment, and it became his graduation piece. At first he was dismissive, writing in October 1924, “Now I’m writing a symphony … which is quite bad, but I have to write it so that I can be done with the conservatory this year.”

He grew more invested in the project and defended it from the criticism of his teacher, Maximilian Steinberg, who thought its drafts were excessively grotesque. By May of 1925, Shostakovich completed a two-piano version of the symphony, which he played for his teachers as a final exam. He passed, and was pleased with his work, but could not have expected it would soon bring him international fame.

The public premiere of the complete, orchestrated symphony came a year later, in 10 MONDAVIART S.ORG

May 1926, with the Leningrad Philharmonic, on a special concert presented by the Leningrad Association for Contemporary Music. It was an immediate success, pleasing both the composer and the public. It also established Shostakovich as an emblematic Soviet composer, fit for export abroad.

In January 1927, Shostakovich met the conductor Bruno Walter in Leningrad and played his new symphony on the piano for him. Walter was impressed and promised to perform the piece in Germany with the Berlin Philharmonic. Shostakovich attended the concert the following spring, traveling at the expense of the Soviet government, though he chose to sit anonymously in the hall, unacknowledged.

From Europe, the piece spread to the United States, where it was premiered by the Philadelphia Orchestra under Leopold Stokowski in 1928 (five years before the U.S. and the Soviet Union would establish diplomatic relations). It was first taken up by the St. Louis Symphony Orchestra in 1939, under the direction of the Mexican composer and conductor Carlos Chávez.

Shostakovich’s aunt, Nadezhda, had immigrated to America, where she heard a performance of her nephew’s symphony.

She later told a biographer that she recognized themes from his childhood piano improvisations and early, now-lost compositions. The final two movements are tenuously linked to Hans Christian Andersen’s “The Little Mermaid”—a story which interested Shostakovich and inspired sketches for a ballet he left incomplete.

Under one interpretation, the dramatic snare drum roll linking the third and fourth movements of the symphony represents the mermaid’s transition from the underwater world to the land of human beings.

Whatever the sources, there is an unmistakable collage quality to the First Symphony. And it’s very plausible that—like many young artists—Shostakovich drew from adolescent sketches to complete his first large-scale work. The process of revisiting and reworking is part of what gives a composer a distinctive voice, and already in the Symphony No. 1, you can hear the recognizable voice of Shostakovich. It is not as harrowed as his later works, and its sarcastic edges gleam with acerbity more than grim irony. But it’s this youthful voice that first made an impression on listeners around the globe, who had never before

heard of Shostakovich, and had no idea of his later (now nearly mythologized) torment.

The symphony is also striking for its creative orchestration, sometimes surprisingly thin, verging on chamber music. Exposed solos pop from bare textures, with especially prominent roles for the concertmaster, principal cello and piano. The first two movements, Allegretto and Allegro (also called a scherzo in Shostakovich’s notes)— are lean, brisk and satirical. The expressive weight of the symphony rests on the third and fourth movements. In them you can hear a premonition of the later symphonies in his towering output. © Benjamin Pesetsky 2018

ST. LOUIS SYMPHONY ORCHESTRA Celebrated as one of today’s most exciting orchestras, the St. Louis Symphony Orchestra is the second-oldest in the country and widely considered one of the world’s finest. Now in its 138th season, the SLSO is committed to artistic excellence, educational impact and community connection—all in service of its mission to enrich lives through the power of music.

American conductor David Robertson is the 12th music director in the orchestra’s history and has solidified the SLSO’s standing as one of the nation’s most vital and innovative ensembles. Defined by musical excellence, widespread acclaim, artistic partnerships, innovative programing, Grammy award-winning recordings and unprecedented orchestral achievements, the Robertson era is recognized as one of this storied institution’s most illuminating. The SLSO pays tribute to Robertson as both a musical visionary and a gifted communicator as his remarkable 13-year tenure concludes at the close of the current season.

In addition to concerts at Powell Hall, the orchestra’s home for 50 years, the SLSO is an integral part of the diverse St. Louis community, presenting hundreds of free education programs and performances throughout the region each year. Through weekly Saturday night concert broadcasts, celebrated recordings and regular touring activity, the SLSO influences the entire orchestral world.

Robertson and the SLSO most recently toured California during the 2015/16 season, with stops in Berkeley and at Los Angeles’ Walt Disney Concert Hall. The tour featured

stunning performances of Messiaen’s Des canyons aux étoiles…, which included video of the American Southwest landscapes that inspired the composer, created by artist Deborah O’Grady especially for the orchestra. This season’s tour of California will be Robertson’s final tour as music director.

Today, the SLSO builds on the institution’s current momentum on all fronts, including its artistry, financial health, audience growth, and community impact. The orchestra looks toward the future with Stéphane Denève, who begins his tenure as music director in the 2019/20 season. Denève has made frequent appearances as a guest conductor with the SLSO since 2003.

Thanks to all Mondavi Center donors who contributed during the 2017 calendar year.

You helped support performances and programs in the Concert Hall, in the Community and in the Classroom.

DAVID ROBERTSON

David Robertson— conductor, artist, thinker and American musical visionary— occupies some of the most prominent platforms on the international music scene.

A highly sought-after podium figure in the worlds of opera, orchestral music and new music, Robertson is celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator whose passionate advocacy for the art form is widely recognized. A consummate and deeply collaborative musician, Robertson is hailed for his intensely committed music making.

Currently in his valedictory season as music director of the St. Louis Symphony Orchestra, and his fifth season as chief conductor and artistic director of the Sydney Symphony Orchestra, he has served as artistic leader to many musical institutions, including the BBC Symphony Orchestra, the Orchestre National de Lyon, and, as a protégé of Pierre Boulez, the Ensemble Intercontemporain. With frequent projects at the world’s most prestigious opera houses, including the Metropolitan Opera, La Scala, Bayerische Staatsoper, Théâtre du Châtelet, the San Francisco Opera and more, Robertson will return to the Met Opera in 2018 to conduct the premiere of Phelim McDermott’s new production of Così fan tutte.

During his 13-year tenure with the St. Louis Symphony Orchestra, Robertson has solidified its standing as one of the nation’s

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most enduring and innovative orchestras.

His established and fruitful relationships with artists across a wide spectrum is evidenced by its ongoing collaboration with composer John Adams. The 2014 release of City Noir (Nonesuch Records)—comprising works

by Adams performed by the SLSO with Robertson—won the Grammy Award for best

orchestral performance. Robertson is the recipient of numerous musical and artistic awards, and in 2010 was made a Chevalier de l’Ordre des Arts et des Lettres.

FURTHER LISTENING

by Jeff Hudson

AUGUSTIN HADELICH, DAVID ROBERTSON AND THE ST. LOUIS SYMPHONY ORCHESTRA Conductor David Robertson and the St. Louis Symphony Orchestra visited Davis for a week in March 2013. Their stop included a formal concert and a side-by-side rehearsal with young musicians from the UC Davis Symphony Orchestra. There was also a delightful “Egghead Walk” that stopped at the popular outdoor sculptures around the UC Davis campus created by the late Robert Arneson of the UC Davis art faculty (accompanied by performances of original short pieces by UC Davis faculty composers).

Now the St. Louis Symphony Orchestra is back, with Robertson conducting on his “farewell tour.” Robertson became music director of the SLSO in 2005, and has enjoyed a long, productive run with an ensemble that has been regarded as one of the nation’s best. Robertson and the SLSO have also recorded three albums of music by Northern California composer John Adams. Robertson continues as the chief conductor of the Sydney Symphony Orchestra in Australia through 2019.

The SLSO’s current visit also includes a free Thursday (January 18) 4 p.m. event (well worth attending) featuring works written for chamber orchestra by Revision/s Composer Fellows Jenny Beck and Lily Chen, and Composer Fellows/UC Davis graduate students Phil Acimovic and Chris Castro.

The SLSO has a venerable past, tracing back to 1880. The noted American conductor Leonard Slatkin led the SLSO from 1979 to 1996 and was noted for introducing new music. Slatkin was succeeded by the Dutch conductor Hans Vonk (who led the orchestra in a concert at the Sacramento Community Center Theatre in the 1990s).

Violinist Augustin Hadelich (born in Italy in 1984) has performed on the Mondavi Stage before—he played here with the Orpheus Chamber Orchestra in 2015 (as soloist in a piece by Russian composer Igor Stravinsky), and also in 2013, with the San Francisco Symphony under conductor laureate Herbert Blomstedt (then 85), performing the Beethoven Violin Concerto.

This time, Hadelich performs English composer Benjamin Britten’s Violin Concerto (premiered in New York in 1940, when the composer was in his 20s). The orchestra will perform the First Symphony of Dmitri Shostakovich (written when the Soviet composer was 18); and a 20-minute piece by British composer Thomas Adès (Powder Her Face Suite) which was co-commissioned by the SLSO in 2007, when Adès was in his 30s. Hadelich’s recent albums include a 2016 recording with pianist Joyce Yang (who visited Mondavi in December with the Alexander String Quartet).

JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW. 12 MONDAVIART S.ORG

AUGUSTIN HADELICH VIOLIN Musical America’s 2018 instrumentalist of the year, Augustin Hadelich has firmly established himself as one of the great violinists of today. He has performed with every major orchestra in the United States, many on numerous occasions, as well as an ever-growing number of major orchestras in Europe and Asia.

One of the highlights of Hadelich’s 2017–18 season will be a return to the Boston Symphony, performing the Ligeti Concerto with Thomas Adès on the podium, featuring the U.S. premiere of Adès’ new cadenza for the concerto. Additional highlights include performances with the San Francisco Symphony and the symphony orchestras of Atlanta, Detroit, Houston, Indianapolis, Milwaukee, Nashville, Oregon, Pittsburgh, Seattle and Utah. Abroad, he will play with the Seoul Philharmonic Orchestra, Polish National Radio Orchestra, the Lahti Symphony, Royal Scottish National Orchestra, the Hallé Orchestra and the Orquesta Sinfónica de Castilla y León.

Among recent and upcoming worldwide performances are the BBC Philharmonic, BBC Symphony, Bournemouth Symphony, Concertgebouw Orchestra, Danish National Symphony, Finnish Radio Orchestra, Hamburg Philharmonic, Hong Kong Philharmonic, London Philharmonic, Mozarteum Orchestra, Netherlands Philharmonic, Norwegian Radio Orchestra, NHK Symphony, São Paulo Symphony, and the radio orchestras of Cologne, Frankfurt, Saarbrücken and Stuttgart.

Hadelich’s career took off when he was named gold medalist of the 2006 International Violin Competition of Indianapolis. Since then, he has garnered an impressive list of honors, including the inaugural Warner Music Prize in 2015 and a 2016 Grammy Award for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes, with the Seattle Symphony under Ludovic Morlot.

Hadelich plays the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.

ST. LOUIS SYMPHONY ORCHESTRA ST. LOUIS SYMPHONY ORCHESTRA 138TH SEASON 2017–2018 David Robertson Music Director

Eva Kozma Assistant Principal

Christopher Carson Acting Associate Principal

Gemma New Resident Conductor and Director of the St. Louis Symphony Youth Orchestra

Andrea Jarrett Rebecca Boyer Hall Nicolae Bica Janet Carpenter Lisa Chong Elizabeth Dziekonski Ling Ling Guan Jooyeon Kong*** Asako Kuboki Wendy Plank Rosen Shawn Weil Mary Edge*

David DeRiso Donald Martin Ronald Moberly Adam Anello** Mary Reed** Timothy Weddle*

Amy Kaiser Director of the St. Louis Symphony Chorus AT&T Foundation Chair Kevin McBeth Director of the St. Louis Symphony IN UNISON® Chorus

FIRST VIOLINS

David Halen Concertmaster Eloise and Oscar Johnson, Jr. Chair Heidi Harris Associate Concertmaster Louis D. Beaumont Chair Celeste Golden Boyer Second Associate Concertmaster Erin Schreiber Assistant Concertmaster Dana Edson Myers Justice Joseph H. and Maxine Goldenhersh Chair Jessica Cheng Margaret B. Grigg Chair Ann Fink Emily Ho Silvian Iticovici Second Associate Concertmaster Emeritus Melody Lee Xiaoxiao Qiang Angie Smart Mary and Oliver Langenberg Chair Hiroko Yoshida Hyorim Han* Grace Kim* Jecoliah Wang*

SECOND VIOLINS

HARP

Allegra Lilly Principal Elizabeth Eliot Mallinckrodt Chair

FLUTES

Kathleen Mattis Associate Principal

Mark Sparks Principal Herbert C. and Estelle Claus Chair

Jonathan Chu Assistant Principal

Andrea Kaplan Associate Principal

Susan Gordon Leonid Gotman Morris Jacob Chris Tantillo Shannon Farrell Williams Christian Woehr Xi Zhang Carrie Dennis* Laura Reycraft*

Jennifer Nitchman Ann Choomack

CELLOS

Philip Ross Associate Principal

VIOLAS

Daniel Lee Principal Frank Y. and Katherine G. Gladney Chair Melissa Brooks Associate Principal Ruth and Bernard Fischlowitz Chair David Kim Assistant Principal

PICCOLO

Ann Choomack

OBOES

Jelena Dirks Principal Morton D. May Chair

Cally Banham Xiomara Mass**

ENGLISH HORN

Cally Banham

CLARINETS

Scott Andrews Principal Walter Susskind Chair

BASSOONS

Andrew Cuneo Principal Molly Sverdrup Chair Andrew Gott Associate Principal Felicia Foland Vincent Karamanov Henry Skolnick*

CONTRABASSOON

Vincent Karamanov

CONTRAFORTE

Henry Skolnick*

Alan Stewart Associate Principal Alyn and Marlynn Essman Chair

HORNS

Roger Kaza Principal W.L. Hadley and Phoebe P. Griffin Chair Thomas Jöstlein Associate Principal Christopher Dwyer Tod Bowermaster Julie Thayer Lawrence Strieby

TRUMPETS

Karin Bliznik Principal Symphony Volunteer Association Chair Thomas Drake Associate Principal

Tina Ward Mabel Dorn Reeder Honorary Chair

DOUBLE BASSES

Tzuying Huang

Timothy Myers Principal Mr. and Mrs. William R. Orthwein, Jr. Chair

BASS CLARINET

Amanda Stewart Associate Principal

Kristin Ahlstrom Associate Principal Virginia V. Weldon, M.D. Chair

Erik Harris Principal Henry Loew Chair

PERCUSSION

James Romain* Alto and Tenor Saxophone

Diana Haskell Associate Principal Wilfred and Ann Lee Konneker Chair

Tzuying Huang Nathan Nabb* James Romain*

Thomas Stubbs Associate Principal Paul A. and Ann S. Lux Chair

SAXOPHONES

Nathan Nabb* Soprano Saxophone

Anne Fagerburg Elizabeth Chung James Czyzewski Alvin McCall Bjorn Ranheim Yin Xiong Davin Rubicz*

Alison Harney Principal Dr. Frederick Eno Woodruff Chair

TIMPANI

Shannon Wood Principal Symphony Volunteer Association Chair

William James Principal St. Louis Post-Dispatch Foundation Chair

Jeffrey Strong Michael Walk David J. Hyslop Chair

Underwritten in part by a generous gift from Dr. Jeanne and Rex Sinquefield

TUBA

Michael Sanders Principal Lesley A. Waldheim Chair

TROMBONES

Jonathan Reycraft

BASS TROMBONE

Thomas Stubbs Stephen Kehner*

KEYBOARD INSTRUMENTS

Peter Henderson* Florence G. and Morton J. May Chair

MUSIC LIBRARY

Elsbeth Brugger Librarian

Henry Skolnick Associate Librarian Amanda Tallant Assistant Librarian Roberta Gardner Library Assistant

STAGE STAFF

M. Jason Pruzin Stage Manager

Ron Bolte, Jr. Assistant Stage Manager (Sound) Joseph Clapper Assistant Stage Manager (Lighting) Rick McKenna Stagehand *Extra musician **Replacement ***Leave of absence

Gerard Pagano

encoremediagroup.com/programs 13

CIRCA

Il Ritorno A Dance Series Event Friday, January 26, 2018 • 8PM Jackson Hall SPONSORED BY

Question & Answer Session Following the performance, moderated

by Ruth Rosenberg, director of arts education and artist engagement.

Ruth Rosenberg oversees the school matinee series, residency activities by touring artists, pre-performance talks and Q&A sessions with the artists, the Mondavi Center’s partnership with the Esparto Unified School District and student engagement initiatives for UC Davis students. Rosenberg started her career as a dancer. She was artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990 to 2001 and performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco. She is featured in the 2017 documentary Unstoppable Feat, the Dances of Ed Mock.

14 MONDAVIART S.ORG

IL RITORNO Created by Yaron Lifschitz with Quincy Grant and the Circa Ensemble A powerful physical poem of absence and separation. Against a stark black wall, acrobats strive to connect with each other, while music from Monteverdi’s opera Il Ritorno d’Ulisse in Patria is played and sung by a live chamber ensemble. Akin to a physical poem, the staging sees six highly skilled artists precariously lift, hold, levitate and fall, their movements driven by the forces of desire, devastation and absence. At the core of this show is the hunger to return home—saturated with loss and war, powered by longing and haunted by the past. ll Ritorno is co-commissioned by Brisbane Festival, The Barbican, Les Nuits de Fourvière, Espace Jean Legendre, Théâtre de Compiègne - Scène nationale de l’Oise en prefiguration, Dusseldorf Festival and Les Théâtres de la ville de Luxembourg and was first presented at the Brisbane Festival. Circa acknowledges the assistance of the Australian Government through the Australia Council, its arts funding and advisory body and the Queensland Government through Arts Queensland.

CIRCA Circa Contemporary Circus is one of the world’s leading performance companies. Since 2004, from its base in Brisbane, Australia, Circa has toured the world—performing in 39 countries to over a million people. Circa’s works have been greeted with standing ovations, rave reviews and sold-out houses across six continents.

Circa is at the forefront of the new wave of contemporary Australian circus—pioneering how extreme physicality can create powerful and moving performances. It continues to push the boundaries of the art form, blurring the lines between movement, dance, theatre and circus, and is leading the way with a diverse range of thrilling creations that “redraw the limits to which circus can aspire” (The Age).

Under the direction of circus visionary Yaron Lifschitz, Circa features an ensemble of exceptional, multiskilled circus artists who have been a regular fixture at leading festivals and venues in New York, London, Berlin and Montreal, with seasons at Brooklyn Academy of Music, The Barbican Centre, Les Nuits de Fourvière and the Chamäleon Theatre, as well as major Australian festivals.

Circa is committed to fostering the next generation of circus artists and runs a training center from its studio in Brisbane. Circa also runs regular circus programs with communities throughout Queensland and around Australia.

3 March 4 March

JOHAN IN

GER’S

A MODERN RETELLING OF A TIMELESS M Y T H.

Compañía Nacional de Danza

2PM

mondaviarts.org

CARMEN

8PM

CIRCA As a champion of live performance, Circa manages arTour and is the creative lead for the Gold Coast 2018 Commonwealth Games arts and cultural program.

YARON LIFSCHITZ (artistic director) is a graduate of the University of New South Wales, University of Queensland and National Institute of Dramatic Arts (NIDA) where he was the youngest director accepted into its prestigious graduate director’s course. Since graduating, Lifschitz has directed over 60 productions, including large-scale events, opera, theatre, physical theatre and circus. His work has been seen in 39 countries across six continents by over one million people. He was founding artistic director of the Australian Museum’s Theatre Unit, head tutor in directing at Australian Theatre for Young People and has been a regular guest tutor in directing at NIDA since 1995. With Circa, Lifschitz has created works such as by the light of stars that are no longer…, CIRCA, Wunderkammer, How Like an Angel, “S,” Beyond, Opus, Carnival of the Animals, Il Ritorno, Humans and One Beautiful Thing. He lives in Brisbane with his son, Oscar.

THE ENSEMBLE CAROLINE BAILLON discovered circus when she was just 7 years old and could never imagine doing anything else. In 2009, she moved to Quebec City, where she joined the professional circus program at the prestigious Ecole Nationale de Cirque. She discovered how to work and play with other artists while studying hand-to-hand and banquine. She has toured extensively in her duo Conor and Caroline to a number of countries and prestigious events. She also specializes in, and has created, her own aerial routine and interpretation of the multicorde. Baillon joined the Circa ensemble in 2017 and performed in the premiere season of Spanish Baroque. She toured with Circa, performing the UK tour of Depart and Humans at the Edinburgh Festival Fringe.

16 MONDAVIART S.ORG

NATHAN BOYLE has been a natural performer his whole life. After terrorizing his parents at a young age with handstands and cartwheels, his parents saw his passion for performing and acrobatics and enrolled him in gymnastics. His passion for acrobatics took him to sports acrobatics, where he represented and won titles for New South Wales at many national championships. After accepting his position at the National Institute of Circus Arts, Boyle specialized in cloudswing, adagio, bungee trapeze and teeterboard. A memorable moment for Boyle while at NICA was performing at the International Circus Festival in Auch, France, in 2009. Boyle joined Circa as a full-time ensemble member in 2011 and has since entertained audiences nationally and internationally. Some highlights for Boyle have been creating and world premiering “S” at the Brisbane Festival and traveling around Australia on the Circa National Tour in 2012.

MARTY EVANS came to circus by a more roundabout route than most. After watching nothing but circus videos during his lunchbreaks at Australia’s only nuclear reactor, Evans left behind his published scientific career, embracing his physical sports background to pursue a career in circus. His first taste of circus came at the University of Sydney in 2010 as he tried to entertain himself during free periods by learning to throw people into the air and trying to catch them. Evans trained at the National Institute of Circus Arts in Melbourne. He is a fiercely determined and hardworking hand-to-hand base who enjoys exploring new challenges and techniques.

Evans joined the Circa ensemble full time in 2015 and has been involved in the creation of numerous Circa productions, including When One Door Closes and Humans.

BRIDIE HOOPER tumbled into Spaghetti Circus at the age of 11, where her imagination became entirely unleashed. She was taught to bend, fly and dream, and at 16, Hooper ventured south to the banks of the Murray River to join the Flying Fruit Fly Circus. In 2008, Hooper bid Australian soil adieu to complete her studies at the Montréal National Circus School, where she had the opportunity to perform in the Vancouver Olympics Opening Ceremony, at Festival CIRCA and in the Montreal Completement Cirque Festival in 2010 and 2011. Upon graduating in 2012, Hooper toured Quebec with Vague de Cirque, performed in GOP Variété Dummy and returned to Australia to work for Circa. Since then, Hooper has toured across America, Europe and Australia and has participated in several new creations for Circa, including When One Door Closes, Humans and One Beautiful Thing.

NATHAN KNOWLES had the luck of being introduced to circus at the age of 7 when he marched home from school to tell his parents that one day he would leave suburbia behind and maybe never look back. After 10 years of studying acrobatic dance and contortion, Knowles was accepted into Montréal’s renowned National Circus School, where he spent four years specializing in hand balancing, contortion and aerial hoop. Knowles joined the Circa ensemble in 2016, touring Mexico, Australia and Europe, and has since participated in the creation of Humans and One Beautiful Thing.

TODD KILBY, from the New South Wales coastal city of Newcastle, was born into the life of surfing and all things beach.

He is a black belt in tae kwon do and has both trained and performed with Circus Avalon and Hands Free Physical Theatre with whom he won a CONDA for stunt choreography.

Kilby joined the National Institute of Circus Arts in 2008 and while there worked with the Tangentyre Council in Alice Springs teaching in the local Indigenous Youth Circus Arts Centre. While specializing in Chinese pole and hoop diving, he has also been trained in teeterboard, adagio, tumbling and knockabout. Kilby is a multifaceted performer with a uniquely Australian style combining circus, dance, martial arts and drama. Kilby has a passion for performing and entertaining audiences through exploration and raw human energy. For Kilby, Circa is an elephant of awesome in the savannah of circus.

CECILIA MARTIN grew up as an only child, and with Spanish as her first language, she was engaging with her friends physically before she could communicate verbally.

She grew up surrounded by sport, music and art and found a passion for circus early on, attending Warehouse Circus in Canberra.

Martin went on to co-found the company Poncho Circus at the age of 15, where she created and performed in circus shows as part of an ensemble. Martin is also a talented musician, demonstrating this by composing scores to three different circus productions.

Upon graduating high school, Martin went on to study circus full time at the National Institute of Circus Arts (NICA), where she specialized in dance trapeze, Washington trapeze and group acrobatics. She joined the Circa ensemble in late 2016 and has since participated in the creation of Humans and One Beautiful Thing.

MUSICIANS Natalie Murray-Beale musical director, piano, harpsichord Nicholas Bootiman violin, viola Pal Banda cello Cecilia de Santa Maria harp Kate Howden vocals Benedict Nelson vocals

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ROYAL PHILHARMONIC ORCHESTRA

Thierry Fischer, conductor Jean-Yves Thibaudet, piano An Orchestra Series Event Saturday, January 27, 2018 • 8PM Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY Ralph and Clairelee Leiser Bulkley Nancy Lawrence and Gordon Klein

PROGRAM Fountains of Rome

The Valle Giulia Fountain at Dawn

The Triton Fountain at Morning

The Trevi Fountain at Noon

The Villa Medici Fountain at Sunset Piano Concerto No. 2

Adagio sostenuto assai

Allegro agitato assai

Allegro moderato

Allegro deciso

Marziale un poco meno Allegro

Allegro animato

Ottorino Respighi

Franz Liszt

Jean-Yves Thibaudet, piano

INTERMISSION Petrushka, Ballet in Four Tableaux (1911)

The Shrove-Tide Fair

Petrushka’s Room

The Moor’s Room

The Shrove-Tide Fair Towards Evening

18 MONDAVIART S.ORG

Igor Stravinsky

ROYAL PHILHARMONIC ORCHESTRA PROGRAM NOTES

FOUNTAINS OF ROME (1916)

OTTORINO RESPIGHI (1879–1936)

The Fountains of Rome is the earliest of the Roman trilogy of symphonic poems by which Respighi is primarily represented in the world’s concert halls. (The Pines of Rome followed in 1924, Roman Festivals in 1929.)

It was also his first great public success, though his notoriety was not achieved without a certain difficulty. Arturo Toscanini had agreed to conduct the premiere of Fountains, late in 1916. Germany and Italy were at war then, however, and there had been recent bombings of Italian towns that resulted in heavy casualties. Despite heated anti-German feelings, Toscanini refused to drop selections by that arch Teuton Richard Wagner from his programs.

When he began Siegfried’s Funeral March on one November concert, grumbling arose in the audience and finally erupted with a shout from the balcony: “This piece is for the Paduan dead.” The infuriated Toscanini hurled his baton at the unruly audience and stormed off the stage and out of Rome.

Plans for the premiere of The Fountains of Rome were delayed, and the work had to wait until the following March to be heard, in a concert conducted by Antonio Guarnieri. Respighi’s wife, Elsa, reported that the premiere was not a success. Indeed, the composer, whose music had not yet found much favor, expected as much. Trying to make light of the possibility of failure, he warned one of his friends to “take your umbrella and galoshes” to the premiere of this modern-day “Water Music.” It was with Toscanini’s performances in Milan and Rome of the following year that The Fountains of Rome—and Respighi’s reputation—became established.

Respighi told his wife that he thought it strange no one had ever depicted the famous Roman fountains in music, that no one had ever made them sing, “for they are the very voice of the city,” he said. This sparkling work paints colorful pictures of four of these famous landmarks as seen through the dawn-to-dusk cycle of a single day. Its musical style combines elements of Debussian Impressionism and Straussian vigor with Respighi’s own brilliant sense of lyricism and orchestral color. Elsa noted that The Fountains of Rome was written “to satisfy

a spiritual need. It is in a way a synthesis of Respighi’s feelings, thoughts and sensations during those first few months of life in Rome.” Respighi prefaced the orchestral score of The Fountains of Rome with the following description of the music: “In this symphonic poem the composer has endeavored to give expression to the sentiments and visions suggested to him by four of Rome’s fountains contemplated at the hour in which their character is most in harmony with the surrounding landscape, or in which their beauty appears most impressive to the observer.

“The first part of the poem, inspired by the fountain of Valle Giulia, depicts a pastoral landscape: droves of cattle pass and disappear in the fresh damp mists of a Roman dawn.

“A sudden loud and insistent blast of horns above the whole orchestra introduces the second part, The Triton Fountain. It is like a joyous call, summoning troops of naiads and tritons, who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.

“Next there appears a solemn theme borne on the undulations of the orchestra. It is the Trevi Fountain at mid-day. The solemn theme, passing from the woodwind to the brass instruments, assumes a triumphal character.

Trumpets peal: across the radiant surface of the water there passes Neptune’s chariot drawn by sea-horses, and followed by a train of sirens and tritons. The procession then vanishes while faint trumpet blasts resound in the distance.

“The fourth part, The Villa Medici Fountain, is announced by a sad theme which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, birds twittering, leaves rustling.

Then all dies peacefully into the silence of the night.”

PIANO CONCERTO NO. 2 (1830–49)

FRANZ LISZT (1811–1886)

By 1848 Liszt had made his fortune, secured his fame and decided that he had been touring long enough, so he gave up performing, appearing in public during the last four decades of his life only for an occasional benefit concert. Amid the

variegated patchwork of duchies, kingdoms and city-states that constituted pre-Bismarck Germany, he chose to settle in the small but sophisticated city of Weimar, where Sebastian Bach held a job early in his career.

Once installed at Weimar, Liszt took over the musical establishment there and elevated it into one of the most important centers of European artistic culture. He stirred up interest in such neglected composers as Schubert, and encouraged such younger ones such as Saint-Saëns, Wagner and Grieg by performing their works. He also gave much of his energy to his own original compositions, and created many of the pieces for which he is known today—the symphonies, piano concertos, symphonic poems and choral works. Liszt had composed before he moved to Weimar, of course—his total output numbers between 1,400 and 1,500 separate works—but the early pieces were mainly piano solos for use at his own recitals. His later works are not only indispensable components of the Romantic musical era in their own right, but also were an important influence on other composers in their form, harmony and poetic content.

Liszt sketched his two piano concertos in 1839 during his years as a touring virtuoso, but they lay unfinished until he accepted a position as music director at the court of Weimar. He completed the second concerto, in A major, in the summer of 1849, but he did not get around to having it performed for more than seven years. Liszt required of a concerto that it be “clear in sense, brilliant in expression, and grand in style.” In other words, it had to be a knockout. While it was inevitable that this concerto would have a high percentage of finger-churning display, it was not automatic that it should also be of high musical quality—but it is.

The procedure on which Liszt built this concerto and other of his orchestral works is called “thematic transformation,” or, to use the rather more jolly phrase of William Foster Apthorp, “The Life and Adventures of a Melody.” Never bothered that he was ignoring the Classical models of form, Liszt concocted his own new structures around this transformation technique. (“Music is never stationary,” he pronounced.

“Successive forms and styles can only be like so many resting places—like tents pitched and taken down again on the encoremediagroup.com/programs 19

ROYAL PHILHARMONIC ORCHESTRA

ADDED! FEB 28

EDDIE IZZARD BELIEVE ME

Y, COMED PAINTED NAILS, S, POLITIC ...

MY LIFE

road to the Ideal.”) Basically, the “thematic transformation” process consisted of inventing a theme that could be used to create a wide variety of moods, tempos, orchestrations and rhythms to suggest whatever emotional states were required by the different sections of the piece. It is not unlike a single actor changing costumes to play Puck, Bottom the Weaver and Oberon all in the same production (now that’s an actor)—recognizably the same at the core, but dressed up differently for each scene.

There are at least six such “scenes” in Liszt’s Second Piano Concerto. The composer provided no specific plot for any of these, but wrote music of such extroverted emotionalism that it is not difficult for imaginative listeners to provide their own: languor, storm, love, strife, resolve and battle is only one possible sequence. It is a diverting game to play, and Liszt has invited all to take part. The melody on which this concerto is based is presented immediately at the beginning by the clarinet. It courses through each section, and can most easily be identified by the little half-step sigh at the end of the first phrase.

piece in which the piano would play the most important part—a sort of Konzertstück.

In composing the music, I had a distinct picture of a puppet, suddenly endowed with life.... Having finished this piece, I struggled for hours to find a title which would express in a word the character of my music and, consequently, the personality of this creature. One day I leaped for joy, I had indeed found my title—Petrushka, the immortal and unhappy hero of every fair in all countries. Soon afterwards, Diaghilev came to visit me. He was much astonished when, instead of the sketches of the Sacre, I played him the piece I had just composed and which later became the second scene of Petrushka. He was so pleased with it that he would not leave it alone, and began persuading me to develop the theme of the puppet’s sufferings and make it into a whole ballet.”

PETRUSHKA, BALLET IN FOUR TABLEAUX (1911)

Tableau I. St. Petersburg, the Shrove-Tide Fair.

Crowds of people stroll about, entertained by a hurdy-gurdy man and dancers. The Showman opens the curtains of his little theater to reveal three puppets—Petrushka, the Ballerina and the Blackamoor. He charms them into life with his flute, and they begin to dance among the public.

IGOR STRAVINSKY (1882–1971) Stravinsky burst meteor-like onto the musical firmament in 1910 with the brilliant triumph of his first major score for the Ballet Russe, The Firebird. Immediately, Serge Diaghilev, the enterprising impresario of the troupe, sought to capitalize on this success by commissioning Stravinsky to write a second score as soon as possible.

Stravinsky was already prepared with an idea that had come to him even before finishing The Firebird. “I saw in imagination a solemn pagan rite,” he recalled in his Autobiography of 1936. “Sage elders, seated in a circle, watched a young girl dance herself to death.

They were sacrificing her to propitiate the god of spring. Such was the theme of Le Sacre du Printemps.” Diaghilev was as excited about this vision as was Stravinsky, and he sent the composer off to write the score with all possible haste. Stravinsky continued the story in his Autobiography: “Before tackling The Rite of Spring, which would be a long and difficult task, I wanted to refresh myself by composing an orchestral 20 MONDAVIART S.ORG

Though his progress on the score was interrupted by a serious bout of “nicotine poisoning,” Stravinsky finished the work in time for the scheduled premiere on June 13, 1911. The production was a triumph.

Tableau II. Petrushka’s Cell. Petrushka suffers greatly from his awareness of his grotesque appearance. He tries to console himself by falling in love with the Ballerina. She visits him in his cell, but she is frightened by his uncouth antics, and flees.

Tableau III. The Blackamoor’s Cell. The Blackamoor and the Ballerina meet in his cell. Their love scene is interrupted by the arrival of Petrushka, furiously jealous. The Blackamoor tosses him out.

Tableau IV. The Fair. The festive scene of Tableau I resumes with the appearance of a group of wet-nurses, a performing bear, Gypsies, a band of coachmen and several masqueraders. At the theatre, Petrushka rushes out from behind the curtain, pursued

by the Blackamoor, who strikes his rival down with his sword. Petrushka dies. The Showman assures the bystanders that Petrushka is only a puppet, but he is startled to see Petrushka’s jeering ghost appear on the roof of the little theatre. ©2018 Dr. Richard E. Rodda

ROYAL PHILHARMONIC ORCHESTRA In 2016, the Royal Philharmonic Orchestra (RPO) celebrated 70 years at the forefront of music-making in the UK. Its home base since 2004 at London’s Cadogan Hall serves as a springboard for 14 residencies across the country, often in areas where access to live orchestral music is very limited. With a wider reach than any other UK large ensemble, the RPO has truly become Britain’s national orchestra.

The regional program, plus regular performances at Cadogan Hall, Southbank Centre’s Royal Festival Hall and a hugely popular series at the Royal Albert Hall, have been conducted by a distinguished roster of musicians including Pinchas Zukerman, the inspirational principal guest conductor; Alexander Shelley, the dynamic young principal associate conductor since January 2015, and the esteemed permanent associate conductor Grzegorz Nowak.

International touring is vital to the orchestra’s work, taking it to many prestigious destinations worldwide. The 70th anniversary season included concerts at the festivals of Montreux and Granada, an extensive tour of the U.S. and visits to central Europe and Asia, including South Korea and China.

For more than 20 years RPO Resound, the orchestra’s community and education program, has taken music into the heart of the regions that the orchestra serves. From Azerbaijan to Jamaica and from Shanghai to Scunthorpe, the team—comprising the majority of the orchestra—has worked with young people, the homeless, recovering stroke patients (in the STROKEstra project in Hull) and in settings ranging from the Sea Life London Aquarium to hospitals, orphanages and children’s hospices.

In 1986, the RPO became the first UK orchestra to launch its own record label.

Continuing its tradition of entrepreneurial innovation, in 2015 the RPO started an online radio station, The Sound of the Royal encoremediagroup.com/programs 21

Philharmonic Orchestra, which broadcasts via its website and RPO TV, an online video channel streaming fly-on-the-wall shorts written, directed and filmed by the musicians.

The orchestra has become increasingly active on social media platforms, inviting audiences to engage informally on Facebook and Twitter and to enjoy behind-the-scenes insights on the RPO blog, YouTube and Instagram. It also offers a digital booking service on its app, RPO Rewards, offering audiences loyalty points.

Although the RPO embraces 21st-century opportunities, including appearances with pop stars and on video game, film and television soundtracks, its artistic priority remains paramount: the making of great music at the highest level for the widest possible audience. This would have been lauded by its founder and first conductor, Sir Thomas Beecham, who set up the RPO in 1946, leading a vital revival in the UK’s orchestral life after World War II. Since then, the orchestra’s principal conductors have included Rudolf Kempe, Antal Doráti, Walter Weller, André Previn, Vladimir Ashkenazy, Yuri Temirkanov and Daniele Gatti; and its repertoire has encompassed every strand of music from the core Classical repertoire to music of the 20th and 21st centuries, such as the three Stravinsky ballets with which it toured during 2016, and works by leading composers of recent years, including Sir Peter Maxwell Davies and Sir John Tavener.

As the 70th anniversary season unfolded, the RPO’s versatility and high standards marked it out as one of today’s most open-minded, forward-thinking symphony orchestras. Now it proudly looks forward to the next 70 years.

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THIERRY FISCHER CONDUCTOR Thierry Fischer has been music director of the Utah Symphony Orchestra since 2009 and principal guest conductor of the Seoul Philharmonic since January 2017. During his tenure in Utah he has revitalized the orchestra, and his contract was recently extended to 2022. He led the orchestra in annual single composer cycles including Mahler, Ives and Nielsen, has toured to Utah’s five national parks, and forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman and Augusta Read Thomas on Reference Recordings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th symphony in Utah with the world-renowned Tabernacle Choir, released in autumn 2017. He visits Seoul at least four times a season, will tour internationally with the orchestra, and plays an important role in the artistic planning.

Fischer has guested with many leading orchestras, most recently the Boston, Atlanta, Cincinnati and Detroit Symphonies and Mostly Mozart Festival Orchestra (New York), London Philharmonic, BBC Symphony, Oslo Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, Maggio Musicale Firenze, Salzburg Mozarteumorchester and the Orchestre de la Suisse Romande. In autumn 2016, Fischer visited South America for the first time to conduct the São Paulo Philharmonic. He has also recently conducted the Scottish, Swedish and Munich chamber orchestras, London Sinfonietta and Chamber Orchestra of Europe. He is committed to contemporary music and has performed and commissioned many world premieres—this season he conducts the Ensemble Intercontemporain for the first time. While principal conductor of the BBC National Orchestra of Wales 2006–2012 Fischer appeared every year at the BBC Proms and toured internationally. He also made many recordings, notably for Hyperion (Honegger, d’Indy, Florent Schmitt) but also Stravinsky for Signum and Orfeo. His Hyperion recording of Frank Martin’s opera Der Sturm with the Netherlands

Radio Philharmonic Orchestra and Chorus won the International Classical Music Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label.

Fischer started out as principal flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was principal flute under Claudio Abbado. He spent his apprentice years in Holland, and became principal conductor and artistic advisor of the Ulster Orchestra 2001–2006.

He was chief conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now honorary guest conductor.

JEAN-YVES THIBAUDET PIANO For more than three decades, Jean-Yves Thibaudet has performed worldwide, recorded more than 50 albums and built a reputation as one of today’s finest pianists. He plays a range of solo, chamber and orchestral repertoire— from Beethoven through Liszt, Grieg and Saint-Saëns; to Khachaturian and Gershwin, and to contemporary composers Qigang Chen and James MacMillan. From the very start of his career, he delighted in music beyond the standard repertoire, from jazz to opera, which he transcribed himself to play on the piano. His profound professional friendships crisscross the globe and have led to spontaneous and fruitful collaborations in film, fashion and visual art.

This season takes Thibaudet to 14 countries, including extensive concerts in Asia with the Singapore, NHK and Guangzhou symphony orchestras and the Malaysian, Hong Kong and China Philharmonics. As artist-in-residence at the Boston Symphony Orchestra, he plays the Bach Triple Concerto with Thomas Adès and Kirill Gerstein, Ravel’s Piano Concerto for the Left Hand, chamber music with symphony musicians, and Bernstein’s Age of Anxiety, both in Boston and at Carnegie Hall. Thibaudet is considered one of the premiere interpreters of the solo part for

ROYAL PHILHARMONIC ORCHESTRA this symphony, which he will also perform with the Atlanta and National symphony orchestras; the San Francisco and Houston symphonies; the China Philharmonic and the Philadelphia Orchestra at home and on tour in Germany, Austria and Israel throughout Bernstein’s centennial season.

Other season highlights include Ravel with the New York and Los Angeles Philharmonics, Cleveland Orchestra and Chicago Symphony Orchestra; a recital in Carnegie Hall with violinist Janine Jansen; a tour with the Royal Philharmonic Orchestra in California, and a trip to his hometown to play Qigang Chen’s Er Huang, which was written for him, with the Orchestre National de Lyon.

In 2017–18, the Colburn School extends Thibaudet’s artist-in-residency an additional three years and has announced the JeanYves Thibaudet Scholarships to provide aid for music academy students, whom Thibaudet will select for the merit-based awards, regardless of their instrument choice. His passion for education and fostering young musical talent extends to his tour with the Gustav Mahler Youth Orchestra, playing Gershwin’s Piano Concerto in F and Messiaen’s Turangalîla-Symphonie together in many of the great concert halls of Europe, including the Concertgebouw, the new Elbphilharmonie and the Teatro alla Scala.

Thibaudet’s recording catalogue of more than 50 albums has received two Grammy nominations, the Preis der Deutschen Schallplattenkritik, the Diapason d’Or, the Choc du Monde de la Musique, the Edison Prize, as well as Gramophone and Echo awards. Last season he released to great acclaim Bernstein’s Age of Anxiety with the Baltimore Symphony Orchestra and Marin Alsop, with whom he previously recorded Gershwin (2010), which featured big jazz band orchestrations of Rhapsody in Blue, variations on I Got Rhythm and the Concerto in F. In 2016, on the 150th anniversary of Erik Satie’s birth, Decca released a box set of Satie’s complete solo piano music performed by Thibaudet— one of the foremost interpreters and champions of the composer’s works. On his Grammy-nominated recording SaintSaëns, Piano Concerti Nos. 2&5, released in 2007, he is joined by Orchestre de la Suisse Romande. Thibaudet’s Aria–Opera Without Words, released the same year,

features aria transcriptions, some of which are Thibaudet’s own. His other recordings include the jazz albums Reflections on Duke: Jean-Yves Thibaudet Plays the Music of Duke Ellington and Conversations With Bill Evans.

Thibaudet has also had an impact on the world of fashion, film and philanthropy.

He played Aaron Zigman’s soundtrack for Wakefield, a drama by Robin Swicord, which was the first time that the composer had allowed a pianist other than himself to perform his film work. Thibaudet was soloist in Dario Marianelli’s award-winning scores for the films Atonement (which won an Oscar for Best Original Score) and Pride and Prejudice, and recorded Alexandre Desplat’s soundtrack for the 2012 film Extremely Loud & Incredibly Close. He had a cameo in Bruce Beresford’s film on Alma Mahler, Bride of the Wind, and his playing is showcased throughout. In 2004 he served as president of the prestigious charity auction Hospices de Beaune. His concert wardrobe is designed

by Dame Vivienne Westwood.

Thibaudet was born in Lyon, France, where he began his piano studies at age 5 and made his first public appearance at age 7. At 12, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age 15, he won the Premier Prix du Conservatoire and, three years later, the Young Concert Artists Auditions in New York City. Among his numerous commendations is the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique.

In 2010 the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame.

Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012.

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ROYAL PHILHARMONIC ORCHESTRA FIRST VIOLINS Duncan Riddell Tamás András Sulki Yu Laura Dixon Shana Douglas Joana Valentinaviciute Andrew Klee Kay Chappell Anthony Protheroe Erik Chapman Joanne Chen Charlotte Reid Dunja Lavrova Rosemary Hinton Sophie Mather Geoffrey Silver SECOND VIOLINS Andrew Storey Elen Hâf Rideal Jennifer Christie Charlotte Ansbergs Peter Graham Stephen Payne Manuel Porta Charles Nolan Sali-Wyn Ryan Colin Callow Nicola Hutchings Molly Cockburn Sophie Lockett Sheila Law

VIOLAS Abigail Fenna Carol Ella Liz Varlow Michelle Bruil Ugne Tiškuté Chian Lim Esther Harling Jonathan Hallett Triona Milne Andrew Sippings Helen Picknett Zoe Matthews CELLOS Richard Harwood Jonathan Ayling Chantal Webster Roberto Sorrentino William Heggart Rachel van der Tang Naomi Watts Anna Stuart Anna Beryl George Hoult DOUBLE BASSES Christian Geldsetzer David Gordon Benjamin Cunningham Ben Wolstenholme Mark O’Leary Siret Lust Jamie Kenny David FC Johnson FLUTES Emer McDonough Joanna Marsh Lianne Barnard Helen Keen

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PICCOLOS Helen Keen Lianne Barnard OBOES John Roberts Timothy Watts Lauren Sansom Patrick Flanaghan

TRUMPETS James Fountain Adam Wright Mike Allen Toby Street TROMBONES Matthew Gee Matthew Knight

COR ANGLAIS Patrick Flanaghan

BASS TROMBONE Roger Argente

CLARINETS Katherine Lacy Sonia Sielaff Thomas Lessels Katy Ayling

TUBA Kevin Morgan

BASS CLARINET Katy Ayling

PERCUSSION Stephen Quigley Martin Owens Gerald Kirby Oliver Yates Jo Cooper

BASSOONS Emily Hultmark Simon Durnford Fraser Gordon Simon Estell CONTRABASSOON Fraser Gordon FRENCH HORNS Laurence Davies Nicolas Fleury Jonathan Bareham Philip Woods Carsten Williams

TIMPANI Matt Perry

HARPS Sally Pryce Daniel De Fry PIANO Olga Gross CELESTA Alistair Young

A L U M N I . AT T O R N E Y S . S U P P O R T E R S

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JANET MOCK

Redefining Realness A Speakers Series Event

JANET MOCK

Monday, February 5, 2018 • 8PM

Janet Mock is the author of two memoirs, Redefining Realness (2014) and Surpassing Certainty (2017), the host of the conversation series Never Before, a contributing editor and columnist for Allure and a feminist intent on tackling stigma through storytelling.

Mock broke ground in 2014 with the release of her first book Redefining Realness, a pioneering and profound memoir, which was the first biography written from the perspective of a young trans person. It debuted on The New York Times bestsellers list in 2014 and Mock was interviewed by Oprah Winfrey for SuperSoul Sunday. Her second book, Surpassing Certainty, a memoir about the years in her life when she was not public about being trans, was praised by Kirkus as a “defining chronicle of strength and spirit…brimming with liberated selfdiscovery.”

On January 21, 2017, the sought-after speaker and advocate who founded #GirlsLikeUs and #TransBookDrive addressed millions on stage at the Women’s March on Washington, where she urged for an intersectional and inclusive movement that included all women: trans women, undocumented people, sex workers and disabled folk: “I stand here today, most of all, because I am my sister’s keeper…Our approach to freedom need not be identical, but it must be intersectional and inclusive.”

Mock began her media career at People.com (People magazine’s website), where she worked for five years climbing the ranks at Time Inc. from staff writer to staff editor upon her departure in 2012.

She has since produced the HBO documentary The Trans List, where she conducted all interviews and worked with Timothy GreenfieldSanders. She also created the column “Beauty Beyond Binaries” for Allure.com, which broke ground by exploring pretty privilege, and the interview podcast Never Before for Lenny Letter with Pineapple Street Media, which has featured Tina Knowles-Lawson, Rep. Maxine Waters

Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY The Lawrence Shepard Family Fund Question & Answer Session Mikael Villalobos, associate chief diversity officer, UC Davis, will moderate following the performance.

Mikael Villalobos, Ed.D., leads the campus diversity and inclusion education program and is frequently called upon by academic and administrative departments and units regarding diversity and inclusion issues. Villalobos leads the UC Davis Diversity Trainers Institute, a team of UC Davis diversity educators who develop, teach and facilitate workshops and courses to students, staff and faculty on topics related to diversity, equity and inclusion. A UC Davis alumnus, he has been a UC Davis staff member since 1993. He holds a doctorate in educational leadership from UC Davis.

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JANET MOCK and Lena Dunham. She also served as a correspondent for Entertainment Tonight (interviewing Queen Latifah and Jeffrey Tambor); a contributing editor for Marie Claire (for which she wrote the November 2016 cover story on Nicki Minaj); and is an on-air contributor and host for MSNBC, where she helmed the groundbreaking series, So POPular! interviewing Lena Dunham, Salma Hayek, Issa Rae and Amber Rose, cohosted the 2015 Global Citizen Festival with Alex Wagner and Willie Geist, filled in for Melissa Harris-Perry, and executive-produced the original docu-series, Beyond My Body.

Born in Hawaii, Mock’s story of growing up trans caught the nation’s attention in a 2011 Marie Claire article. Since then she’s become a millennial media powerhouse.

Variety named her one of its 2017 “Power of Women,” TIME called her one of “the most influential people on the internet” and one of “12 new faces of black leadership” while Fast Company named her one of 2015’s “most creative people in business.”

Mock has been interviewed on Wendy Williams, Late Night with Seth Meyers, Desus & Mero, and Real Time with Bill Maher. Her writing has appeared in Lenny Letter, The New Yorker, Marie Claire and The Advocate. She wrote the foreword for famed photographer Mark Seliger’s collection, On Christopher Street: Transgender Stories, contributed to the anthology, The Feminist Utopia Project, and has appeared on the covers of Paper, OUT and C★NDY magazines. The Ms. Foundation, Planned Parenthood, Feminist Press, GLSEN, Shorty Awards and the Sylvia Rivera Law Project have all honored Mock for her work.

Mock attended the University of Hawaii at Manoa, earned her MA in journalism from New York University and serves on the board of the Arcus Foundation. She lives in New York City with her husband, Aaron, and their dog, Cleo.

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BERLIN PHILHARMONIC WIND QUINTET

Stephen Hough, piano A Concert Series Event Wednesday, February 7, 2018 • 8PM Jackson Hall SPONSORED BY:

INDIVIDUAL SUPPORT PROVIDED BY Dick and Shipley Walters

7PM Pre-Performance Talk, Jackson Hall Stephen Hough in conversation with Don Roth, executive director, Mondavi Center, UC Davis (for Don Roth’s bio, see page 8.)

BERLIN PHILHARMONIC WIND QUINTET Michael Hasel flute Andreas Wittmann oboe Walter Seyfarth clarinet Fergus McWilliam horn Marion Reinhard bassoon

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PROGRAM Was mit den Tränen geschieht, Trio for Piccolo, Bassoon and Piano

Lento giusto

Allegro brilliante

Andante Quintet for Piano and Winds in E-flat Major, KV 452

Largo; Allegro moderato

Larghetto

Allegretto

Stephen Hough

Wolfgang Amadeus Mozart

INTERMISSION Summer Music, op. 31 Sextet for Piano and Wind Quintet, FP 100

Allegro vivace

Divertissement

Finale

Samuel Barber Francis Poulenc

The Berlin Philharmonic Wind Quintet appears by arrangement with David Rowe Artists www.davidroweartists.com The Berlin Philharmonic Wind Quintet (www.windquintet.com) records exclusively for BIS Records (www.bis.se)

BERLIN PHILHARMONIC WIND QUINTET PROGRAM NOTES

WAS MIT DEN TRÄNEN GESCHIEHT; TRIO FOR PICCOLO, BASSOON AND PIANO (2008) STEPHEN HOUGH (b. 1961) When Michael Hasel first suggested I write a trio for piccolo, contrabassoon and piano I had the same reaction as everyone to whom I have mentioned this piece—a smile or chuckle at the thought of such a Laurel and Hardy combination. But as I gave the idea some thought I began to see, behind the slapstick clichés, a potential ensemble of great poignancy: two instruments with the rare impossibility of meeting on the same pitch; both discovering a sort of self-sufficiency in their tessitural isolation; both finding their truest lyrical possibilities outside of the piano’s dominant middle register. I had recently set some poems by Rilke (that expert explorer of the terrains of loneliness), and I decided to take a line from one of them as an inspirational starting point, and to deflect any expectation of a humorous piece.

The first four bars contain three short motives of three notes each, the building blocks out of which the entire piece is constructed. Two feroce triads—one up, one down; one for piccolo, one for contrabassoon—form a six-note group from which two of these motives are derived: a rising 6th descending a step (notes 2, 3 and 4—MOTIVE I); and a tritone resolving to a perfect 5th (notes 1, 5 and 6—MOTIVE II). The third motive comes from the accompaniment to MOTIVE I in its first appearance in the piano in bar 4—a circular theme revolving around a third. MOTIVE I is much developed and transformed, obviously and immediately as the descending step extends down the scale. From this motive flows all of the principal melodic material of the piece. MOTIVE III is used mainly as countermelody, accompaniment and decoration. MOTIVE II has a more discreet presence, but it is the principal voice at two important moments of mood change (bars 68–78, and bars 294–300), as well as the jagged interruptions in the piano part between bars 164 and 184.

There are three main sections in the piece (slow-fast-slow). After an introduction in which the three motives are laid out, a flowing, ascending G-sharp minor arpeggio

begins the main exposition—a lyrical, pastoral exploration of MOTIVES I and III. As this calmly winds down, there is the first important appearance of MOTIVE II, introducing a more sombre mood. After a brief silence the piano plays MOTIVE I, now PPP and blanched into C major block chords, marked molto concentrado. This moment, “holding the breath” of the music, is interrupted by the piccolo tootling a giocoso combination of MOTIVES I and III. The contrabassoon joins with the piccolo and this uneasy juxtaposition of moods increases in intensity to a high point where the blanched chords are heard in screaming dissonance at the extremes of all three instruments. This is a moment of crisis, and the piano suddenly tumbles into the central section with cascading ribbons of arpeggios outlining MOTIVE III. This whole second section is without let-up and restlessly transforms the motives in changing moods of sentiment, passion, irony, anger and delirium. After a final bar of crudo trills there is a bar of silence. The third section begins as if in shock, the wind instruments at their extreme registers, soft and out of sync. The piccolo’s descending, sequential distortion of MOTIVE I is accompanied by a freddo, staccato Alberti bass in the contrabassoon.

After another bar of silence the piano begins an ascending sequence of the same motive but now emotionally focused and expressive. There is a big crescendo up to a rolled G-sharp minor chord where the piccolo enters with a tolling combination of MOTIVES I and III, as if ceremonial bells are ringing. The piano interrupts, pesante dolente, and is eventually joined by the contrabassoon as they both descend to the depths of their instruments. We hear once more the melody deriving from MOTIVE II, in darkest colours, and this fades away to a low B-flat in the piano. A brief coda inverts the introduction’s opening triads, now dolce, and the piece ends at rest but not at peace.

—Stephen Hough

QUINTET FOR PIANO AND WINDS IN E-FLAT MAJOR (1784) WOLFGANG AMADEUS MOZART (1756–1791) In the repertoire for wind quintet, the music of Mozart is regrettably notable for its absence. The standardized combination of instruments for a wind quintet was not established until the Bohemian composer Antonín Rejcha (Anton Reicha) did so in 1813–14; his 25 quintets form, so to speak, a wind pendant to the period’s abundant and extremely popular production of music for string quartet.

Admittedly, Mozart’s output includes a large number of pieces for various wind ensembles, ranging from early divertimenti for two flutes, five trumpets and timpani up to the crowning glory of the classical wind ensemble repertoire, the Gran Partita, KV 361, for 12 wind instruments and double bass. The most common combination, however, is the so-called wind band music (Harmoniemusik), the then very popular combination of two oboes, two clarinets, two bassoons, two horns and a single double bass.

Luckily, Mozart left at least one work that can be played by wind quintets: the Quintet, KV 452, for piano, oboe, clarinet, horn and bassoon; in this piece the flautist of a wind quintet is normally demoted to the rank of page-turner for the pianist. After the very successful premiere of KV 452 in Vienna on April 1, 1784, Mozart wrote in a letter to his father: “I have written two big concertos and also a quintet that has been very well received; I myself consider it to be the best thing I have ever written.” Mozart’s only work for this ensemble also seems a stroke of genius if we consider that he wrote such a perfectly balanced piece in terms of both form and sonority for an instrumental combination that was hitherto unknown. In that period, the sound of wind instruments was principally reserved for divertimentos, light music and open-air performances, and Mozart now used the same instruments an elaborate, refined piece of chamber music that is in no way less demanding than a string quartet.

In terms of both style and difficulty, the piano writing corresponds to that found in the immediately contemporaneous piano concertos KV 450, KV 451 and KV 453. The four wind instruments not only serve as a sort of miniature orchestra but also, each in encoremediagroup.com/programs 29

BERLIN PHILHARMONIC WIND QUINTET its own specific way, appear in dialogue with the piano and the other wind instruments.

The harmony deserves special mention, in particular the development sections of the first and second movements, in which Mozart, by writing lengthy chromatic modulations, opens up expressive areas that must have seemed new and extremely unusual to audiences of the time.

—Michael Hasel

SUMMER MUSIC, OP. 31 (1956) SAMUEL BARBER (1910–1981) Most works in the history of Western music have been written to order, on commission, as it were, to meet the requirements of the musicians, occasion and performance situation specified by a church, court, theatre, individual or organization. Samuel Barber’s Summer Music for woodwind quintet arose from that tradition, but with an unprecedented twist—it was paid for not by a single entity but by a public subscription of dozens of individuals each contributing a few dollars that was organized by the Chamber Music Society of Detroit in 1954.

The first performance was given at the Detroit Institute of Arts on March 20, 1956,

by Detroit Symphony principals James Pellerite (flute), Arno Mariotti (oboe), Albert Luconi (clarinet), Charles Sirard (bassoon) and Ray Alonge (horn).

Summer Music is suggestive, not programmatic: Its clear, bright wind sonorities, its leisurely formal progression, its genial, expansive mood evoke the feelings if not the pictures of warm months and unhurried days. The work is in two chapters, each comprising several continuous sections. Horn and bassoon open the piece with a motto phrase of small intervals and gently undulant rhythms (to be played “slow and indolent” according to the score), strewn with delicate arabesques from flute and clarinet. The oboe then sings a broad, flowing melody before the ensemble begins a passage of crisp staccato chords in quicker tempo. The broad oboe melody returns, as does the motto phrase, considerably extended. The second formal chapter is occupied with a breezy dance in catchy rhythms initiated by the oboe. The dance pauses twice for a reminiscence of the motto phrase (a rest in the hammock?) before

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bringing this delightful evocation of summer to a sunny close.

—Richard Rodda

SEXTET FOR PIANO AND WINDS, FP 100 (1932) FRANCIS POULENC (1899–1963) Poulenc had his first major successes as an 18-year-old composer without a single composition lesson. Despite some study, he was largely self-taught. In fact, his music is so individual, it’s difficult to imagine what anyone could have taught him. The music is eminently tuneful—his major strength—and he can be regarded as a melodist fit to keep company with Franz Schubert and Wolfgang Mozart. As a French songwriter, he is the great successor to Fauré.

Poulenc behaved like a sophisticated eccentric (he once chatted up a stupefied Cannes bartender about an ingenious harmonic progression he managed to pull off that morning), and the eccentricity not surprisingly showed up in his music. Many have called attention to his split artistic personality, “part monk, part guttersnipe,” but really he was more multifaceted. Like most French composers of his generation, he fell under the influences of Stravinsky and Satie. Yet he doesn’t imitate either. You can identify a Poulenc composition immediately with its bright colours, strong, clear rhythms, and gorgeous and novel diatonic harmonies.

He is warmer and less intellectual than Stravinsky, more passionate and musically more refined than Satie.

In the 1920s, Poulenc was part of “Les Six,” an informal confederation of French composers who wanted to divorce both Impressionism and Germanicism from French music and create an amalgam from Stravinsky, Satie and popular forms (Poulenc loved French vaudeville, especially Maurice Chevalier; Darius Milhaud, another member, liked American jazz and Brazilian dances). Artistically, they allied themselves with Cubism; in literature, with the French surrealists Cocteau, Eluard and Apollinaire.

Poulenc’s works around this time include the brilliant Rapsodie negre, in which a baritone chants the “Madagascan” word “Ho-nolu-lu” over and over, the surrealist opera Les Mamelles de Tirésias, a classic ballet for Diaghilev, Les Biches, about flirtatious girls, and the Concert champêtre for harpsichord.

In the last two works, the neoclassic

influence stands out clearly, but it’s Poulenc’s own brand of classicism, recalling 18thcentury France rather than Mozart’s realm.

The composer called his Sextuor for piano and wind quintet of 1932–39 “a homage to the wind instruments which I have loved from the moment I began composing.” If Poulenc deliberately sets out to write music which is entertaining, that does not preclude moments that touch the heart as well: Initially apparently light-weight in style, the death of a close friend in 1935 brought a new depth to his work in general.

Poulenc, like Haydn and Schubert, is one of the few great composers not only content with, but modestly amazed at being human. The music doesn’t strive for the extraordinary, not even the religious music. Humanity is extraordinary enough. It possesses a sincere simplicity of effect.

—Fergus McWilliam

BERLIN PHILHARMONIC WIND QUINTET The Berlin Philharmonic Wind Quintet (Philharmonisches Bläserquintett Berlin) was founded in 1988, during the era of Herbert von Karajan, the first permanently established wind quintet in the famous orchestra’s rich tradition of chamber music.

With four original members since inception (Marion Reinhard succeeded founding bassoonist Henning Trog in 2009), they are living musical witnesses to the hugely productive and influential musical partnerships of the Berlin Philharmonic not only with Karajan, but also with its two most recent musical directors: Claudio Abbado and Sir Simon Rattle. Naturally, as members of the Berlin Philharmonic, they have also enjoyed important collaborations with every other major conductor of their time, whether Leonard Bernstein, Carlos Kleiber, Sir John Barbirolli, Günter Wand, Carlo Maria Giulini, Bernard Haitink, Riccardo Muti, James Levine or Daniel Barenboim, to name only a few.

The Berlin Philharmonic Wind Quintet continues to astonish audiences worldwide with their range of expression, their tonal spectrum and their conceptual unity.

Indeed many listeners and critics agree that the ensemble has succeeded in virtually redefining the sound of the classic wind quintet.

Their repertoire covers not only the entire spectrum of the wind quintet literature but

BERLIN PHILHARMONIC WIND QUINTET also includes works for enlarged ensemble, e.g. the sextets of Janáček and Reinicke or the septets of Hindemith and Koechlin. In addition, collaboration with pianists, such as Lars Vogt, Stephen Hough, Jon Nakamatsu and Lilya Zilberstein, have intensified in recent years.

The ensemble’s commitment to the wind quintet repertoire is passionate, and in 1991 they found the perfect partner for their recording plans, the Swedish company BIS Records, already well known in its own right for its uncompromising standards. The results of this long and exclusive collaboration have received critical accolades worldwide—indeed many of these recordings are already widely held to be “definitive” or “reference” performances.

In addition to their concert appearances throughout Europe, North and South America, Israel, Australia and Asia, the Berlin Philharmonic Wind Quintet are also popular guests at international festivals, such as the Berliner Festwochen, the Edinburgh Festival, the London Proms, the QuintetteBiennale Marseille, the Rheingau Festival and the Salzburg Festival. Their television productions and radio broadcasts are seen and heard throughout Europe, Asia and North America.

In recent years the members of the Berlin Philharmonic Wind Quintet have intensified their teaching and coaching roles with youth; they give chamber music workshops and instrumental instruction in many countries, with a particular commitment, for example, to the youth orchestra program of Venezuela.

STEPHEN HOUGH PIANO Stephen Hough is regarded as a Renaissance man of his time. Over the course of his career he has distinguished himself as a true polymath, not only securing a reputation as a uniquely insightful concert pianist, but also as a writer and composer. Hough is commended for his mastery of the instrument along with an individual and inquisitive mind, which has earned him a multitude of prestigious awards and a longstanding international following.

In 2001, Hough was the first Classical performing artist to win a MacArthur Foundation Fellowship. He was awarded

32 MONDAVIART S.ORG

Northwestern University’s 2008 Jean Gimbel Lane Prize in Piano, won the Royal Philharmonic Society Instrumentalist Award in 2010 and in January 2014 was made a Commander of the Order of the British Empire by Queen Elizabeth in the New Year’s Honors List. He has appeared with most of the major European and American orchestras and plays recitals regularly in major halls and concert series around the world. His recent engagements include performances with the Czech, London and New York Philharmonics; the Chicago, Boston, Pittsburgh, San Francisco, St. Louis, National, Detroit, Dallas, Atlanta and Toronto symphonies; the Philadelphia, Minnesota, Budapest Festival and Russian National Orchestras; and a performance televised worldwide with the Berlin Philharmonic and Sir Simon Rattle. He is also a regular guest at festivals, such as Aldeburgh, Aspen, Blossom, Edinburgh, Hollywood Bowl, Mostly Mozart, Salzburg, Tanglewood, Verbier, Chicago’s Grant Park, Blossom and the BBC Proms, where he has made over 20 concerto appearances, including playing all of the works written by Tchaikovsky for piano and orchestra over the summer of 2009, a series he later repeated with the Chicago Symphony.

Hough’s catalogue of over 50 albums has garnered international prizes including the Deutsche Schallplattenpreis, Diapason d’Or, Monde de la Musique, several Grammy nominations, eight Gramophone magazine awards, including Record of the Year in 1996 and 2003, and the Gramophone Gold Disc Award in 2008, which named his complete Saint-Saëns piano concertos as the best recording of the past 30 years. His 2012 recording of the complete Chopin waltzes received the Diapason d’Or de l’Annee, France’s most prestigious recording award.

His 2005 live recording of the Rachmaninoff piano concertos was the fastest-selling recording in Hyperion’s history, while his 1987 recording of the Hummel concertos remains Chandos’ best-selling disc to date.

His most recent releases, all for Hyperion, include Grieg lyric pieces; a recording of his mass, Missa Mirabilis, with the Colorado Symphony and Andrew Litton; a recital disc with Steven Isserlis including Hough’s sonata for cello and piano (Les Adieux); a solo recital of Scriabin and Janáček; and the Dvořák

and Schumann concertos with the City of Birmingham Symphony Orchestra (CBSO) and Andris Nelsons.

Published by Josef Weinberger, Hough has composed works for orchestra, choir, chamber ensemble and solo piano. His Mass of Innocence and Experience and Missa Mirabilis were respectively commissioned by and performed at London’s Westminster Abbey and Westminster Cathedral. In 2012, the Indianapolis Symphony commissioned and performed Hough’s own orchestration of Missa Mirabilis, which was subsequently performed by the BBC Symphony as part of Hough’s residency with the orchestra.

Hough has also been commissioned by the musicians of the Berlin Philharmonic, the Gilmore Foundation, London’s National Gallery, Wigmore Hall, Le Musée de Louvre and Musica Viva Australia, among others.

Hough resides in London, where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School.

THE QUINTET MICHAEL HASEL (flute) was born in Hofheim near Frankfurt and began conducting, along with piano and organ studies, intending to graduate as a church musician. His first flute teachers were Herbert Grimm and Willy Schmidt, and he went on to study piano and conducting with Francis Travis and flute with Aurèle Nicolet at the Freiburg Musikhochschule.

He completed his conducting studies with Michael Gielen. Hasel‘s first orchestral appointment as flutist was from 1982 to 1984 with the Frankfurt Radio Symphony Orchestra, after which he became a member of the Berlin Philharmonic under Herbert von Karajan. For several years he performed as principal flute with the Bayreuth Festival Orchestra under conductors such as Daniel Barenboim, Pièrre Boulez and James Levine.

In 1994, he was appointed professor of wind ensemble and chamber music at the Heidelberg-Mannheim Musikhochschule.

Both as conductor and soloist Hasel has appeared in Europe, Japan and South America with renowned ensembles such as Ensemble Modern, the Junge Deutsche

Philharmonie, the Gustav Mahler Chamber Orchester, Orchestra Simon Bolivar and the Berliner Philharmoniker.

ANDREAS WITTMANN (oboe) was born in Munich. He studied oboe at the Hochschule für Musik in Munich with Manfred Clement and later at the Hochschule der Künste in Berlin with Hansjörg Schellenberger.

In Munich he studied conducting with Hermann Michael and participated in conducting master classes with Sergiu Celibidache. Wittmann spent only one year as a scholarship student at the Berlin Philharmonic Orchestra Academy before being appointed to the Berlin Philharmonic itself in 1986. He is an internationally active soloist, chamber musician and teacher, whose career has also included performing as principal oboe with the Bayreuth Festival Orchestra and the Berlin Philharmonic. He taught at the Berlin Philharmonic Orchestra Academy for several years before becoming its general manager in 2013. Wittmann is permanent guest conductor of Brazil‘s Orquesta Sinfónica Salvador de Bahia. He regularly conducts the Sinfonie-Orchester Berlin, as well as the Sibelius-Orchester of Berlin.

WALTER SEYFARTH (clarinet) is a native of Düsseldorf and was a first-prize winner at the age of 16 in the Deutscher Tonkünstlerverband competition. Following his studies at the Freiburg Musikhochschule with Peter Rieckhoff and with Karl Leister at the Berlin Philharmonic Orchestra Academy, he was appointed to the Saarbrücken Radio Symphony Orchestra. In 1985, he joined the Berlin Philharmonic as solo E-flat clarinetist.

It was Seyfarth who was the driving force behind the founding of the Berlin Philharmonic Wind Quintet in 1988. He is also a member of the larger ensemble The Winds of the Berlin Philharmonic. Among his teaching and mentoring responsibilities are the Berlin Philharmonic Orchestra Academy, the Jeunesses Musicales World Orchestra and the Venezuelan Youth Orchestras Programme, El Sistema.

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BERLIN PHILHARMONIC WIND QUINTET FERGUS MCWILLIAM (horn) was born on the shores of Scotland’s Loch Ness and studied initially in Canada (with John Simonelli, Frederick Rizner and at the University of Toronto with Eugene Rittich), having made his debut as a soloist with the Toronto Symphony under Seiji Ozawa at the age of 15. Further studies were undertaken in Amsterdam with Adriaan van Woudenberg and Stockholm with Wilhelm Lanzky-Otto. From 1972 through 1979, McWilliam was a member of several Canadian orchestras and chamber music ensembles before joining the Detroit Symphony Orchestra. From 1982 to 1985 he was a member of the Bavarian Radio Symphony and in 1985 he was appointed to the Berlin Philharmonic under Herbert von Karajan. He is not only active internationally as a soloist and chamber musician but teaches at a number of internationally renowned music schools, including the Berlin Philharmonic Orchestra Academy.

He has worked with the Venezuelan youth music program El Sistema for a decade and now is a board director of Sistema Scotland.

McWilliam served on Berliner Philharmoniker committees for 23 years and is the author of the acclaimed book Blow Your OWN Horn.

MARION REINHARD (bassoon) was born in Nuremberg (Nürnberg) and, from 1991 to 1995, studied at the Meistersinger Conservatory with Walter Urbach and Karsten Nagel. While still only a student, she began performing with the Nuremberg Philharmonic Orchestra as contra bassoonist.

In 1995, she won a scholarship to study at the Berlin Philharmonic Orchestra Academy with Stefan Schweigert and Daniele Damiano. Further studies with Georg Kluetsch in Weimar rounded out her musical training, and in 1999 Reinhard was appointed to the Berlin Philharmonic, where she became a direct colleague of Henning Trog. From 1996 until her appointment to

the Berlin Philharmonic Wind Quintet, she was a founding member of the Orsolino Wind Quintet, an ensemble which was mentored by Michael Hasel. They won many international prizes, including the Munich A.R.D. Competition and also made numerous recordings.

We mourn the passing of our dear friends and supporters SUE K. DRAKE (1921–2017) HAROLD W. “HAL” SCONYERS (1928–2017)

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BILL CHARLAP TRIO WITH CÉCILE McLORIN SALVANT

Somewhere: The Songs of Leonard Bernstein A Jackson Hall Jazz Series Event

BILL CHARLAP TRIO

Friday, February 9, 2018 • 8PM

Bill Charlap is one of the world’s premier jazz pianists and has performed with many leading artists of our time, ranging from Phil Woods and Tony Bennett to Gerry Mulligan and Wynton Marsalis. He is known for his interpretations of American popular songs, and has recorded albums featuring the music of Hoagy Carmichael, Leonard Bernstein, George Gershwin, Irving Berlin, Cole Porter, Richard Rodgers and Duke Ellington.

Charlap’s collaboration with Tony Bennett, The Silver Lining: The Songs of Jerome Kern, on the RPM/Columbia label, won the 2016 Grammy Award for Best Traditional Pop Vocal Album. It features Charlap and Bennett together and in collaboration with The Bill Charlap Trio and duo piano performances with Renee Rosnes.

The Bill Charlap Trio, with bassist Peter Washington and drummer Kenny Washington, marks its 20th year together this season. The Trio’s latest recording, Uptown Downtown, was released in September on Charlap’s current label, Impulse!/Verve, and has been nominated for a Grammy Award for Best Instrumental Jazz Album. Last season’s Notes from New York, received a 5-star review in Downbeat, and The Trio has received two additional Grammy Award nominations: for Somewhere: The Songs of Leonard Bernstein, and for The Bill Charlap Trio: Live at the Village Vanguard, both on the Blue Note label. The Bill Charlap Trio tours all over the world, and their New York appearances include regular extended engagements at Jazz at Lincoln Center and the Village Vanguard.

Next summer Bill Charlap celebrates his 14th year as artistic director of the Jazz in July festival at the Tisch Center for the Arts at New York City’s 92Y. He has also produced concerts for Jazz at Lincoln Center, New Jersey Performing Arts Center (NJPAC), the Chicago Symphony Center and the

Jackson Hall SPONSORED BY

7PM Pre-Performance Talk, Jackson Hall Speaker: Jeremy Ganter, associate executive director and director of programming, Mondavi Center, UC Davis Jeremy Ganter became the associate executive director and director of programming at the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, in 2006, after serving as the artistic administrator and then director of programming for five years. Ganter oversees the curation and implementation of each Mondavi Center season, manages the Mondavi Center’s programming and arts education departments, and as associate executive director oversees the Mondavi Center’s operations division and plays a leadership role in the center’s overall management and strategic direction.

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BILL CHARLAP TRIO WITH CÉCILE McLORIN SALVANT

FURTHER LISTENING

by Jeff Hudson

LEONARD BERNSTEIN The Mondavi Center is hosting several events this season in honor of the 100th anniversary of composer and conductor Leonard Bernstein’s birth in 1918—tonight’s concert by the Bill Charlap Trio and singer Cécile McLorin Salvant (who have performed here before separately) being one.

Charlap’s fondly recalled 2004 album Somewhere: The Songs of Leonard Bernstein features tunes from Bernstein’s shows (the Broadway musicals On The Town, mounted

by Sacramento’s Music Circus last summer; Wonderful Town, mounted last summer by the Davis Shakespeare Festival; the oft-staged West Side Story; and from the operetta Candide and the ballet Fancy Free).

A second Bernstein-related project at the Mondavi Center, back on January 20, featured pianist Lara Downes performing music from her new album Anniversaries for Lenny, featuring Bernstein’s “Anniversaries for Piano” alongside 20 newly-commissioned pieces by contemporary composers, with Bernstein’s son Alexander as narrator.

Downes is a familiar figure here, having performed at the Mondavi Center many times.

The third Bernstein project comes on February 25, when the Curtis on Tour ensemble visit with a salute that includes Bernstein’s Clarinet Sonata (played by veteran David Shifrin), plus works by Bernstein’s contemporaries George Gershwin and Aaron Copland (a mentor). Bernstein is perhaps the most famous graduate of Philadelphia’s Curtis Institute of Music; the Mondavi Center has hosted Curtis on Tour ensembles for several years in a row.

Bernstein will forever be remembered for his work with the New York Philharmonic, where he was music director from 1958 to 1969 and laureate conductor until his passing in 1990. (Violinist William Barbini, a longtime Davis resident, played in New York under Bernstein, and loves to relate his recollections of those days).

Bernstein left a vast discography—primarily with the New York Philharmonic, but also with other ensembles. As a composer, Bernstein’s musicals (especially West Side Story) are probably performed more frequently these days than his ambitious concert hall works. He always had an ear for the popular music of his day—incorporating Latin American themes (reflecting New York’s increasingly diverse population) as well as jazz and rock. His lifestyle looks a bit awkward in retrospect—he was a notorious chain smoker, often photographed with a cigarette in one hand and a cocktail in the other, but he grew up in an age when those habits were more admired than they are now.

And to answer the oft-asked question (still circulating after all these years): His name is pronounced Bernstein (like “mine”). Even NPR’s Morning Edition gets it wrong on occasion.

JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

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Hollywood Bowl. Charlap is currently director of jazz studies at William Paterson University in Wayne, New Jersey. Founded in 1973, the program is one of the longestrunning and most respected jazz programs in the world.

Born in New York City, Charlap began playing the piano at age 3. His father was Broadway composer Moose Charlap, whose credits include Peter Pan, and his mother is singer Sandy Stewart, who toured with Benny Goodman, appeared on the Ed Sullivan and Perry Como shows, and earned a Grammy Award nomination for her recording of “My Coloring Book.”

Charlap is married to renowned jazz pianist Renee Rosnes. The couple released their highly acclaimed two-piano album, Double Portrait, in 2010 on the Blue Note label.

KENNY WASHINGTON (drums) was born in Brooklyn. In 1977, while still in his teens, he worked with Lee Konitz and his nonet. He has been a member of the Bill Charlap Trio for the past 13 years and has performed and recorded with dozens of major artists, giving him a discography of hundreds of titles.

Artists include Benny Carter, Betty Carter, Johnny Griffin, Ron Carter, Clark Terry, Milt Jackson, Tommy Flanagan, Dizzy Gillespie, Arturo Sandoval and Benny Goodman.

Washington is a noted jazz historian and radio personality; he has written liner notes and helped prepare re-releases by Art Blakey, Count Basie and others, and has been a disc jockey on WBGO and Sirius satellite jazz radio. He serves on the faculties of Purchase College, State University of New York and The Juilliard School, teaching drums and jazz history.

PETER WASHINGTON (bass) is one of the most in-demand and recorded bassists in modern jazz, with a discography of over 400 recordings. Born in Los Angeles, Washington played classical bass as a teen and majored in English literature at UC Berkeley, where he became interested in jazz. He was invited

by Art Blakey to join the Jazz Messengers in New York. From there, Washington became part of two of jazz’s most celebrated trios: the Tommy Flanagan Trio, and for the past 13 years, the Bill Charlap Trio. Washington’s freelance work roster is a “who’s who” of jazz, including Dizzy Gillespie, Clark Terry, Milt Jackson, Johnny Griffin, Bobby Hutcherson

and the Carnegie Hall Jazz Band. In 2008, Washington became part of The Blue Note 7, a septet formed in honor of the 70th anniversary of Blue Note Records. The group recorded the album Mosaic and toured the U.S. in 2009.

CÉCILE MCLORIN SALVANT Grammy Award–winning vocalist Cécile McLorin Salvant has had a remarkable rise to stardom in her professional career.

McLorin Salvant first made waves in the jazz world when, at the urging of her mother, she entered the most prestigious jazz vocal competition in the world. Having nearly missed the submission deadline, she made it to the finals as their youngest performer and was selected by an illustrious panel of judges—Dee Dee Bridgewater, Dianne Reeves, Kurt Elling, Patti Austin and Al Jarreau—as the 2010 Thelonious Monk Competition winner. While she had bypassed the traditional U.S. conservatories and jazz schools, McLorin Salvant studied at France’s Aix-en-Provence before returning for the competition’s semifinals; the judges noted her remarkable voice and striking ability to inhabit the emotional space of every song she heard and turn it into a compelling statement.

In 2013, McLorin Salvant made her Mack Avenue Records debut with WomanChild, garnering a Grammy Award nomination, NPR Music’s pick for Best Jazz Vocal Album of the Year, and three placements in DownBeat’s critics’ poll as Jazz Album of the Year, Top Female Vocalist and Best Female Jazz Up and Coming Artist of the Year, among many other accolades. Her 2015 follow-up release, For One to Love, won the Grammy Award for Best Jazz Vocal Album.

McLorin Salvant’s music has been featured in multiple Chanel “Chance” campaigns and is included in the soundtrack for HBO’s acclaimed film, Bessie. New York Times Magazine included her recording of “Trolley Song” as one of “25 Songs That Tell Us Where Music Is Going,” The New Yorker profiled her at age 27, Vanity Fair featured her in their “Millennials That Are Shaking Up The Jazz World” piece, Essence Magazine noted her as one of “13 Emerging Black Women in Music,” and Gilles Peterson included her as an “Artist to Watch” in The Atlantic.

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ÇUDAMANI

Gamelan and Dance of Bali A World Stage Series Event Saturday, February 24, 2018 • 8PM Jackson Hall

PROGRAM Rangrang Tari Amurwa Bhumi (Dalem) (Wise Leader of the World)

7PM Pre-Performance Talk, Jackson Hall Speaker: Professor Henry Spiller, chair, department of music, UC Davis Henry Spiller is an ethnomusicologist whose research focuses on Sundanese music and dance from West Java, Indonesia. He is interested particularly in investigating how individuals deploy music and dance in their personal lives to articulate ethnic, gender and national identities. He has studied Sundanese music and dance for more than 30 years, and he has conducted fieldwork in Bandung, West Java, on many occasions. At UC Davis, Spiller teaches world music classes and graduate seminars and directs the department of music’s gamelan ensemble. His latest book, Javaphilia: American Love Affairs with Javanese Music and Dance (University of Hawai’i Press, 2015), chronicles the careers and motivations of 20th-century North Americans who were attracted to Javanese music and dance to develop a better understanding of American Orientalism and the subtleties of identity formations. The book was awarded SEM’s Bruno Nettl Prize in 2016.

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Tari Legong Pertiwi (Legong for Mother Earth) Tari Baris Cecanangan (An Offering of the Guardians) INTERMISSION Tari Kebyar Duduk (Seated Kebyar) Tari Tamulilingan Ngisep Sari (Bee in Search of Nectar) Sekar Sandat (The Ylang Ylang Flower, even when it is wilted, remains fragrant) Tabuh Kebyar Perak (Silver Explosion) Cak Sato - Animal Kecak

ÇUDAMANI ARTISTIC DIRECTORS I Dewa Putu Berata I Nyoman Cerita I Dewa Putu Rai Emiko Saraswati Susilo PRODUCERS Judy Mitoma and The Foundation for World Arts PERFORMERS Dewa Gde Guna Arta Dewa Putu Berata Nyoman Cerita Dewa Putu Rega Elyana Ida Bagus Anom Mandhara Giri Kadek Juliantara Made Karjana Dewa Ayu Dewi Larassanti Putu Swaryandana Ichi Oka Kadek Dedy Maelan Pratama Wayan Wika Cendana Putra Dewa Made Mega Putra Dewa Ayu Eka Putri Dewa Putu Rai Dewa Gde Sanjaya Made Yogisatya Satwika Wayan Sudiarsa Made Supasta Emiko Saraswati Susilo Dewa Ayu Swandewi Anak Agung Gede Anom Sweta Putu Wibi Wicaksana Ida Bagus Made Widnyana Made Joker Winangun Ida Bagus Putu Eka Wirawan COSTUME DESIGN Dewa Putu Berata Nyoman Cerita Emiko Saraswati Susilo Putu Wibi Wicaksana TOUR ADMINISTRATION Anuradha Ganpati Kishore Monica Favand Campagna Marcia Argolo

Bhumi — Mother Earth There is — the Divine, the Universe, and Humanity Balinese Hinduism and the Artist Path Hinduism is deeply and gently interwoven with Bali’s sacred connection to the elements of the Earth and nature, resulting in a belief system that is uniquely Balinese Hinduism. Through the arts we maintain balance and harmony in our connection to the Divine, the Universe and each other. Our arts are an offering of gratitude and love to the world around us and are an essential part of Balinese culture.

Bhumi — Mother Earth has a life cycle like all living beings. The Earth is made of the same elements as we are, thus we are part of the Earth. The signs of Mother Earth are easily ignored in today’s world, but gamelan, dance, ceremonies and offerings are one way we connect with and honor Mother Earth.

Samsara — Cycles of Change The Earth, like all things, has cycles. Positive and negative, light and dark, all are in a constant search for balance. Balinese ceremonies and Balinese music and dance reflect the cycles of the seasons, of life and death—repeating and circling with nuanced variations. Having too much is not an advantage, greed can create imbalance and the Earth, just like a human, can become ill when balance is lost.

With natural disasters, both the positive and negative is born. As we write these notes, Gunung Agung erupts, bringing both destruction and renewal. Even “disaster” can be seen in a positive light. People across the island are opening their doors and hearts to help others. In welcoming those in need, we seek to balance the all-powerful force of Bhumi.

PROGRAM NOTES RANGRANG COMPOSER: I DEWA PUTU RAI The word rangrang refers to that which is intertwined or knit together, just as we are interwoven with one another and the universe around us. Balinese gamelan often starts with a section called a peng-rangrang, a flowing abstraction of the core melody, the benang merah or “red thread” that weaves through the fabric of the composition. The piece is inspired by and a tribute to master composers of our ancestors, such as Kak Lotring, and the belief that each sound, each note has a sacred resonance, each pattern an intrinsic beauty. Beauty and inspiration are brought together in a way that is rooted in those heirlooms of artistry that we have inherited and is joyfully relevant to the young generations of today.

TARI AMURWA BHUMI (DALEM) (Wise Leader of the World) CHOREOGRAPHER: I NYOMAN CERITA MUSICAL ARRANGEMENT: I DEWA PUTU BERATA Every aspect of a true leader’s life is bound by the laws of nature and the universe, and a leader’s influence in the world has consequences. Characterized by strong, controlled, thoughtful and refined technique—every movement, every step of Dalem expresses clarity, nobility, balance and harmony, qualities that we expect in our wise leaders. The cascading melodic lines flow fluidly, following structures laid down for countless generations.

TARI LEGONG PERTIWI (Legong for Mother Earth) CHOREOGRAPHER: I NYOMAN CERITA COMPOSER: I DEWA PUTU RAI Pertiwi is the goddess of the Earth, the womb of the origins of life, who contains and maintains all that we need to live as humans. She is life, and to the extent that life is cherished and revered, she is cherished and revered. Legong Pertiwi is an homage to Mother Earth, Ibu Bhumi, the Universe and all that exists within. Remembering that her destruction would be our destruction, we offer our energy, focus and work to care for and honor Her. The music is gamelan

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selonding, an ancient form of iron gamelan, deeply rooted in the rituals of Balinese Hinduism.

TARI BARIS CECANANGAN (An Offering of the Guardians) CHOREOGRAPHER: I NYOMAN CERITA COMPOSER: I DEWA PUTU RAI An offering of music and dance founded on the concepts of Shiwam, Satyam and Sundaram are an expression of our hope for enlightenment, truth and harmonious life with the Divine, Natural and Human worlds.

The movements of this new work evoke the ancient Baris Gede that Balinese men have offered in temples since the time of our ancestors, an impressive realization of the male energy’s guardian power. The dance and music illustrate the ever-evolving cycles of life and delve deeply into the mystical life in Bali. The use of palawakya recitation and musical techniques of gong gede create an awareness of other universes, and remind us of our responsibility to the ancient power of community and the mystical radiance that resides all around us.

TARI KEBYAR DUDUK (Seated Kebyar) CREATOR: BAPA MARIO One of the most technically challenging dances of the Balinese repertoire, the movements are inspired by nature and connect the dancer to the Earth. Imbued with elements of great refinement, precision and strength, the dance is a reflection of our own human path seeking a balance between masculine/feminine; strength/ softness; bravery/caution. The ability of the solo dancer to match and augment the powerful music of the full gamelan is one of the most demanding and impressive aspects of this dance.

TARI TAMULILINGAN NGISEP SARI (Bee in Search of Nectar) CREATOR: BAPA MARIO The interdependence of life inspires this dance where the beauty of the flower attracts the bee to collect nectar and in return, pollinate the flowers. The relationship is completely symbiotic each nurturing the other in a gentle cycle filled with love and care. This rarely-performed version has its

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home in the Peliatan region of Bali. Taught to Çudamani in 2015 by the original dancer of the piece, Ni Gusti Ayu Raka Rasmin, who, in her 70s, is still a stunning performer and dedicated teacher.

SEKAR SANDAT (The Ylang Ylang Flower, even when it is wilted, remains fragrant.)

This much-loved song uses the metaphor of flowers to talk about our lives as humans.

The Sandat flower is famously not beautiful for a tropical flower. However, it is fragrant even after it is wilted and is an essential part of Balinese ceremonies and life. The lesson being that our true beauty lies not on the surface, but in our hearts. If we work to make the world a better place, then even when we have passed away, our name and our work will remain “fragrant” in the memories of those who have known us.

TABUH KEBYAR PERAK (Silver Explosion) TAUGHT AND ARRANGED BY: BAPAK I WAYAN GANDRA Kebyar means explosion or light, and perak is silver, which has a white color. Like the sacred light that emanates from the Earth and from each of us, the sounds of the different instruments in this gong kebyar masterpiece evoke the dynamic rhythms of life—cycles of seasons, night and day, changing eras. When these sounds are intertwined, there is a balance that brings profound joy.

CAK SATO (Animal Kecak) DIRECTED BY DEWA PUTU BERATA AND CREATED WITH THE ENTIRE COMPANY Freedom and harmony—this new cak is inspired by sato, or animals. We want to pay homage to animals as well as our own animal nature. Like humans, to survive animals must seek balance and find peace in their world. Cak Sato draws upon the rich vocal chanting traditions of Bali. The fast, playful and sometimes humorous version that Çudamani has created here, reflects the dynamic musical landscape of Bali, with many elements of the piece created by the performers themselves in their shared expression of their loving and joyful connection to one another.

ÇUDAMANI traces its roots to the 1970s when the children of Pengosekan—a village well known for its community of painters, weavers and musicians—gathered after school to play music in the village balai (pavilion). Over the years these independent-minded children formed a new kind of organization that has become a pride of the village and respected across Indonesia.

Tourism has had a powerful impact on the arts in Bali—particularly so in Ubud, the famous tourist town north of Pengosekan.

By the 1990s most of the musicians of Ubud were playing for tourists in lieu of supporting the needs of the community.

The youth of Pengosekan often found themselves working in this system— experiencing the financial benefits of tourism while keenly aware of the artistic and cultural dangers of this arrangement. In September 1997, Director Dewa Putu Berata, Artistic Director Dewa Ketut Alit, and others from Pengosekan called together a number of talented and promising young people from different areas in Bali to form Sanggar Çudamani.

For 20 years Çudamani has maintained the highest standards of excellence and performs primarily as a spiritual offering for temples and for the activities of their village community. The group is activist and responds to the philosophical, practical and problematic issues that face Balinese life today. They invite master artists to teach rarely-performed repertoire, and members are well known for the creation of new work. As a way to disseminate their message and offer their members a chance for international travel, the senior company has toured since 2002 in the U.S., Canada, Italy, Greece, Netherlands and Japan. Many master musicians, scholars and ethnomusicologists from around the world turn to Çudamani for creative collaborators.

In their village, Çudamani offers free music and dance instruction for different age groups. These youth offer their music and dance as a form of prayer in temple ceremonies and village events. Their contribution is both a benefit and point of pride for the village. Of special importance is the serious training of their girls’ gamelan group. Many say they have set a high bar of excellence for other groups in Bali. Çudamani youth groups have been invited

ÇUDAMANI to the prestigious Bali Arts Festival, where the children perform before audiences of 3,000 with technical precision, artistic excellence, and incredible spirit and cohesion. As with the senior company, the children of Çudamani have an island-wide reputation. Indeed, many of these children find their way to the senior company.

DEWA PUTU BERATA FOUNDING DIRECTOR Born and raised in the village of Pengosekan, son of a great drummer, Berata was immersed in Balinese performing arts from birth. He is renowned for his compositional skills in both traditional and innovative styles and a rare ability to communicate a diverse knowledge of Balinese arts to both Balinese and international artists. He is the founder and director of Çudamani and has led Çudamani on tours to venues, including the Jazz at Lincoln Center (New York), the World Festival of Sacred Music (Los Angeles), the Cultural Olympiad (Greece), EXPO (Japan) and the Tong Tong Festival (Netherlands), among others. As a result of Berata’s vision, Çudamani has become an important artistic center in Bali where the study and preservation of classic forms is nurtured alongside the creative energies of young artists in Bali. He frequently serves as the guest musical director of Berkeley-based Gamelan Sekar Jaya. He is a graduate of STSI, Denpasar (Bali’s National Academy of the Arts).

EMIKO SARASWATI SUSILO ASSISTANT DIRECTOR Susilo was raised in a family rich with the arts. She began her study of Balinese dance with Ibu Ni Made Wiratini and her study of Javanese dance with late Master Rama Sasminta Mardawa, teacher of the Court of Yogyakarta. She is a gamelan and vocal student of Bp. Tri Haryanto and Ki Midiyanto.

Susilo is a founding member of Çudamani and has been a core leader since the group’s inception. She works closely with Çudamani’s groundbreaking girls’ gamelan program. Susilo has a deep love of bringing together traditional and contemporary forms and ideas across the disciplines of dance, music, voice and visual arts. For six years she served as director of the Berkeleybased Gamelan Sekar Jaya. She received her B.A. from UC Berkeley and her M.A. from the University of Hawai’i.

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DEWA PUTU RAI MUSIC DIRECTOR One of Çudamani’s core founding members, Dewa Rai is one of the most in-demand composers on the island of Bali. Known for both his instrumental and dance music, Rai’s aesthetic blends creative innovation with traditional sensibilities. His compositional skills and breathtaking drumming are complemented by his deep understanding of dance and his dedication to teach and mentor some of Bali’s most vibrant young musicians.

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years of beautiful design and quality building

I NYOMAN CERITA DANCE DIRECTOR One of Bali’s most influential choreographers and teachers, Cerita hails from the village of Singapadu, renowned for its vibrant dance traditions. He has been Çudamani’s senior dance advisor since the group’s inception and is in demand all over Bali as a choreographer and teacher. His works range from large-scale dance dramas to new works for youth and children. He has trained some of Bali’s finest award-winning dancers and always remains dedicated to the teaching of Balinese children. He received his B.A. from ASTI, his S1 from STSI and his M.F.A. from UCLA. He has served as the head of the dance department at ISI Denpasar (Institut Seni Indonesia) and recently completed his Ph.D. at Udayana University.

430 F Street Ste. B phone | 530.750.2209 fax | 530.750.3151 Davis, CA 95616 www.makdesignbuild.com lic. | 840316

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MEMBERSHIP The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives.

Annual donations to the Mondavi Center directly support our operating budget and

PRODUCER CIRCLE

$3,500–$6,999

are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.

Donor information as of August 31, 2017.

For more information on supporting the Mondavi Center, visit mondaviarts.org or call 530.754.5438.

COLORATURA CIRCLE $50,000 AND ABOVE

James H. Bigelow John† and Lois Crowe*

Patti Donlon† Barbara K. Jackson*

†

IMPRESARIO CIRCLE $25,000–$49,999

Anne Gray Nancy Lawrence† and Gordon Klein M.A. Morris William and Nancy Roe†* The Lawrence Shepard Family Fund

Ralph and Clairelee Leiser Bulkley* Chan Family Fund Thomas and Phyllis† Farver* Ann and Gordon Getty Foundation Wanda Lee Graves and Steve Duscha

VIRTUOSO CIRCLE $15,000–$24,999

Nancy M. Fisher Mary B. Horton* Diane M. Makley*

Tony† and Joan Stone Shipley and Dick Walters* Wells Fargo

MAESTRO CIRCLE $10,000–$14,999

Dr. Jim P. Back Wayne and Jacque Bartholomew* Dean and Karen† Karnopp* Hansen Kwok† Gerry and Carol Parker Cliff Popejoy†

David Rocke and Janine Mozée Grace† and John Rosenquist Raymond Seamans Donald and Denise Timmons Rosalie Vanderhoef*

BENEFACTOR CIRCLE $7,000–$9,999

Mike and Betty Chapman Tony and Ellie Cobarrubia* Eric° and Michael Conn Richard and Joy Dorf Catherine and Charles Farman Janlynn Fleener† Samia and Scott Foster Andrew and Judith Gabor Charles and Eva Hess †

† Mondavi Center Advisory Board Member 42 MONDAVIART S.ORG

Kathaleen† and Daniel Johnson Clarence and Barbara Kado Jane and Bill Koenig Garry Maisel† Verne Mendel* Alice Oi William Roth Celestine and Scott† Syphax *Friends of Mondavi Center

° In Memoriam

Carla F. Andrews Hans Apel and Pamela Burton Daniel Benson Cordelia S. Birrell Karen Broido* California Statewide Certified Development Corp.

Robert° and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Bruce and Marilyn Dewey Wayne and Shari Eckert* Allen Enders Merrilee and Simon Engel Jolan Friedhoff and Don Roth Henry° and Dorothy Gietzen Kay Gist Ed and Bonnie Green* Robert and Kathleen Grey Charles H. and Ann W. Halsted John and Regi Hamel Judy and Bill Hardardt* Benjamin and Lynette Hart* Dee Hartzog Karen Heald and K.C. McElheney In Memory of Christopher Horsley* In Memory of Flint and Ella Teresa Kaneko* Barry and Gail Klein Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Linda Lawrence Allan and Claudia Leavitt Robert and Barbara Leidigh Nelson Lewallyn and Marion Pace-Lewallyn David and Ruth Lindgren In Memory of Allen G. Marr Eldridge and Judith Moores Barbara Moriel Grant and Grace Noda* Misako and John Pearson Sue and Brad Poling Linda and Lawrence Raber* Warren Roberts and Jeanne Hanna Vogel* Roger and Ann Romani* Hal° and Carol Sconyers* Kathryn R. Smith Tom and Meg Stallard* Tom and Judy Stevenson* David Studer and Donine Hedrick Brian Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jeri Paik Betty and Joe Tupin* Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Claudette Von Rusten John Walker and Marie Lopez Patrice White Judy Wydick Yin and Elizabeth Yeh And 6 donors who prefer to remain anonymous

DIRECTOR CIRCLE

$1,500–$3,499

The Aboytes Family Beulah and Ezra Amsterdam Elizabeth and Russell Austin Laura and Murry Baria Lydia Baskin* Drs. Noa and David Bell Robert and Susan Benedetti Don and Kathy Bers* Jo Anne Boorkman* Neil and Elizabeth Bowler Edwin Bradley Linda Brandenburger James and Susanne Burton Davis and Jan Campbell Cantor & Company, A Law Corporation Margaret Chang and Andrew Holz Susan Chen Sue Cipolla and Palma Lower Allison P. Coudert Jim and Kathy Coulter* John and Celeste Cron*

Terry and Jay Davison Joyce Donaldson* Matt Donaldson and Steve Kyriakis Carole Franti* Karl Gerdes and Pamela Rohrich David and Erla Goller Fredric and Pamela Gorin Patty and John Goss Florence Grosskettler* Robin Hansen and Gordon Ulrey Tim and Karen Hefler Sharna and Mike Hoffman Ronald and Lesley Hsu Martin and JoAnn Joye* Barbara Katz Nancy and John Keltner Robert and Cathryn Kerr Joseph Kiskis and Diana Vodrey Charlene R. Kunitz Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Arthur and Frances Lawyer* Hyunok Lee and Daniel Sumner Sally Lewis Lin and Peter Lindert Richard and Kyoko Luna Family Fund Natalie and Malcolm MacKenzie* Debbie Mah* and Brent Felker Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Richard and Ann Mansker Yvonne L. Marsh Betty Masuoka and Robert Ono Janet Mayhew In Memory of William F. McCoy Don McNary Stephen Meyer and Mary Lou Flint Montgomery-Steimle Family Katharine and Dan Morgan Augustus Morr Rebecca Newland John Pascoe and Susan Stover Prewoznik Foundation Joanna Regulska and Michael Curry John and Judith Reitan Kay Resler* Liisa Russell Dwight E. and Donna L. Sanders Ed and Karen Schelegle Neil and Carrie Schore Arun Sen Jeff and Bonnie Smith Judith Smith Edward and Sharon Speegle Elizabeth St. Goar Les and Mary Stephens De Wall Maril R. and Patrick M. Stratton D. Verbeck, J. Persin, R. Mott Geoffrey and Gretel Wandesford-Smith Dan and Ellie Wendin Dale and Jane Wierman Susan and Thomas Willoughby Paul Wyman Gayle K. Yamada and David H. Hosley And 1 donor who prefers to remain anonymous

ENCORE CIRCLE

$600–$1,499

Shirley and Mike Auman* In Memory of Marie Benisek Patricia Bissell and Al J Patrick Muriel Brandt Marion Bray In Memory of Jan Conroy Dotty Dixon* Anne Duffey John and Cathie Duniway Melanie and Robert Ferrando Doris Flint Jennifer D. Franz Paul N. and E.F. (Pat) Goldstene Diane Gunsul-Hicks Mary A. Helmich Leonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Robert D. and Barbara F. Jones Louise Kellogg and Douglas Neuhauser Paul Kramer

*Friends of Mondavi Center

Paula Kubo Ruth Lawrence Jonathan and Jeanette Lewis Michael and Sheila Lewis* Robert and Betty Liu Dr. Roberta Marlowe and Ilse Laudi Shirley Maus Roland and Marilyn Meyer Nancy Michel Robert and Susan Munn Don and Sue Murchison Robert and Kinzie Murphy John and Carol Oster Frank Pajerski Bonnie A. Plummer Celia Rabinowitz J. and K. Redenbaugh Christopher Reynolds and Alessa Johns C. Rocke Heather and Jeep Roemer Tom and Joan Sallee Shepard Family Philanthropy Fund Michael and Elizabeth Singer Sherman and Hannah Stein Ed and Karen Street* Eric and Pat Stromberg* Dr. Lyn Taylor and Dr. Mont Hubbard Helen and Cap Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Dennis and Judy Tsuboi Louise and Larry Walker Rita and Jack Weiss Steven and Andrea Weiss* Kandi Williams and Dr. Frank Jahnke Ardath Wood* The Yetman Family Drs. Matthew and Meghan Zavod Karl and Lynn Zender Karen Zito and Manuel Calderon de la Barca Sanchez And 5 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

$300–$599

Joseph and Elizabeth Abad Drs. Ralph and Teresa Aldredge Peter and Margaret Armstrong Paul and Linda Baumann Carol Benedetti Alan and Kristen Bennett Jane D. Bennett Bevowitz Family Robert Biggs and Diane Carlson Biggs Mr and Mrs Bryan Bonino Clyde and Ruth Bowman C and B Brandow Marguerite Callahan Helen Campbell Gary and Anne Carlson* Bruce and Mary Alice Carswell* Simon and Cindy Cherry Michael Chin and Lorraine Tortosa Donna and Russ Clark Dr. Jacqueline Clavo-Hall Stuart and Denise Cohen Kathleen Conrad Nicholas and Khin Cornes James Cothern Mr. and Mrs. David Covin Robert D. and Nancy Nesbit Crummey Larry Dashiell and Peggy Siddons Joy Daugherty Daniel and Moira Dykstra Robert H. and Eleanor S. Fairclough Micki and Les Faulkin Kerstin and David Feldman Helen Ford Lisa Foster and Tom Graham Edwin and Sevgi Friedrich* Marvin and Joyce Goldman Alexander and Marilyn Groth Darrow and Gwen Haagensen Sharon and Don Hallberg Alexander and Kelly Harcourt Marylee Hardie Anne and Dave Hawk Zheyla and Rickert Henriksen Paula Higashi and Fred Taugher Michael and Margaret Hoffman Jan and Herb Hoover

° In Memoriam

Sarah and Dan Hrdy Patricia Hutchinson Vince Jacobs and Cecilia Delury Mun Johl Weldon and Colleen Jordan David Kalb and Nancy Gelbard Susan Kauzlarich and Peter Klavins Peter G. Kenner Ruth Ann Kinsella* Scarlet La Rue Laura and Bill Lacy Ellen J. Lange Sevim Larsen Darnell Lawrence Carol Ledbetter Donna and Stan Levin Barbara Levine Mary Ann and Ernest Lewis Robert and Patricia Lufburrow Jeffrey and Helen Ma Sue MacDonald Subhash Mahajan Bunkie Mangum David and Martha Marsh Katherine F. Mawdsley* Sally McKee Robert and Helga Medearis David Miller William and Nancy Myers Margaret Neu* Sally Ozonoff and Tom Richey Dr. John and Barbara Parker Harriet Prato John and Alice Provost Evelyn and Otto Raabe Francis Resta David and Judy Reuben* Dr. Ron and Sara Ringen Ms. Tracy Rodgers and Dr. Richard Budenz Morgan Rogers Sharon and Elliott Rose* Bob and Tamra Ruxin Saltzen Family Carolyn Savino* John and Joyce Schaeuble Robert Snider and Jak Jarasjakkrawhal William and Jeannie Spangler* Tim and Julie Stephens Tony and Beth Tanke Virginia and Butch Thresh Robert and Helen Twiss Ramon and Karen Urbano Ann-Catrin Van Ph.D. Ms. Rita Waterman Charles White and Carrie Schucker Iris Yang and G.R. Brown Wesley Yates Jane Yeun and Randall Lee Ronald M. Yoshiyama Zweifel Family And 7 donors who prefer to remain anonymous

MAINSTAGE CIRCLE

$100–$299

Leal Abbott Ryan Adame and Kaitlyn Avery Mary Aften Matthew and Michelle Agnew Thomas Ahern and Patrice Norris Susan Ahlquist Paul and Victoria Akins Liz Allen* Jacqueline Ames Penny Anderson Nancy Andrew-Kyle* Elinor Anklin and George Harsch Alex and Janice Ardans Heidi Arnold Henry Arredondo Debbie Arrington and Jack Shinar Diana Bachelor Alicia Balatbat* Charlotte Ballard and Robert Zeff Charles and Diane Bamforth Malelk and Leslie Baroody Cynthia Bates David and Nancy Baum Jonathan and Mary Bayless Lynn Baysinger* Marion S. Becker Bee Happy Apiaries

Lorna Belden and Milton Blackman Merry Benard Robert Bense and Sonya Lyons Drs. Susan and Jerry Bereika Louise Bettner Dr. Robert and Sheila Beyer Elizabeth Bianco Roy and Joan Bibbens* John and Katy Bill Fred and Mary Bliss Roger and Dorothy Bourdon Brooke Bourland* Jill and Mary Bowers Dan and Mildred Braunstein* Alan and Beth Brownstein Dr. Margaret Burns and Dr. Roy Bellhorn Meredith Burns William and Karolee Bush Robert and Elizabeth Bushnell Betty Bussey Peter Camarco Lita Campbell Michael Campbell Nancy and Dennis Campos* Pauline and William Caple James and Patty Carey Mike and Susan Carl Carole Cory and Jan Stevens Ping Chan* Amy Chen and Raj Amirtharajah Carol Christensen* Craig Clark and Mary Ann Reihman Ed and Jacqueline Clemens Linda Clevenger and Seth Brunner Bill and Linda Cline Sheri and Ron Cole Michael Coleman Janet and Steve Collins David Combies and Loretta Smith Melanie Conover Richard and Katie Conrad Terry Cook Larry and Sandy Corman Fred and Ann Costello Cathy Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Herb and Lois Cross Tatiana Cullen Susan and Fitz-Roy Curry Kim Uyen Dao Nita A. Davidson Relly Davidson Judy and Mike Davis Judy and David Day Lynne de Bie* Fred Deneke and James Eastman Joan and Alex DePaoli Carol Dependahl-Ripperda Sabine Dickerson; Marietta Bernoco John F. Dixon Linda and Joel Dobris Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* Jerry and Chris Drane Leslie A. Dunsworth Karen Eagan Laura Eisen and Paul Glenn Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Wallace Etterbeek Robbie and Tony Fanning Andrew D. and Eleanor E. Farrand* Glenda Farrell Michael and Ophelia Farrell Janet Feil Chery and David Felsch Joshua Fenton and Lisa Baumeister Liz and Tim Fenton* Curt and Sue A. Finley Maureen Fitzgerald and Frank DeBernardi Kieran and Martha Fitzpatrick Dave and Donna Fletcher Glenn Fortini Twylla Fowler Marion Franck and Robert Lew Elaine A. Franco Barbara and Edwin Frankel Anthony and Jorgina Freese Marlene J. Freid* Larry Friedman and Susan Orton Kerim and Josie Friedrich

encoremediagroup.com/programs 43

MEMBERSHIP Myra Gable Anne Garbeff* Dr. Gordon and Renee Garcia Peggy Gerick Fran Gibson Barbara Gladfelter Eleanor Glassburner Marnelle Gleason* and Louis J. Fox Mark Goldman and Jessica Tucker-Mohl Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart Sandra and Jeffrey Granett Stephen and Deirdre Greenholz Paul and Carol Grench John Griffing and Shelley Mydans Harutyun Grigoryan Elise Gumm Wesley and Ida Hackett* Myrtis Hadden Ann Haffer Bob and Jen Hagedorn Jane and Jim Hagedorn Katherine Hammer William and Sherry Hamre Theresa Hancock M. and P. Handley Jim and Laurie Hanschu Robert and Susan Hansen Vera Harris° The Hartwig-Lee Family Sally Harvey* Dr. Clare Hasler-Lewis and Cameron Lewis Cynthia Hearden Roy and Dione Henrickson Rand and Mary Herbert Roberta Hill Dr. Calvin Hirsch and Deborah Francis Clyde Hladky and Donna Odom Jorja Hoehn Ron Hoffman Elizabeth Honeysett Steve and Nancy Hopkins Roger and Judy Hull Lorraine Hwang Dr. and Mrs. Ralph B. Hwang Linda Iwasa Jason Jackson Mr. and Mrs. Robert L. Jacobs Dr. and Mrs. Ron Jensen Karen Jetter Gary and Karen Johns* Don and Diane Johnston

Michelle Johnston and Scott Arrants Warren and Donna Johnston Valerie Jones Jonsson Family Andrew and Merry Joslin James and Nancy Joye Beth and Stephen Kaffka Shari and Tim Karpin Steve and Jean Karr Peter James Kassel Yasuo Kawamura Susan L. Keen Patricia Kelleher* Charles Kelso and Mary Reed Bruce and Peggy Kennedy Sharmon and Peter Kenyon Leonard Keyes Robert Kingsley and Melissa Thorme Roger and Katharine Kingston Bob abd Bobbie Kittredge John M. Klineberg Donald and Beverly Klingborg Mary Klisiewicz* Kerik and Carol Kouklis Sandy and Alan Kreeger Marcia and Kurt Kreith Sandra Kristensen Claire Krohmer C.R. and Elizabeth Kuehner Sherrill Kulp Kupcho-Hawksworth Trust Leslie Kurtz Kit and Bonnie Lam* Marsha Lang Susan and Bruce Larock Kirk Larson Peggy Leander* Jennifer and Dr. Eugene Lee Jeannette and Joel Lerman Mel and Rita Libman Barbara Linderholm* Susan and David Link Jeffrey Lloyd Motoko Lobue Jim Long and Tina Andolina Mary Lowry Elizabeth and Davis Lum Melissa Lyans and Andreas Albrecht Pamela Lynch Ariane Lyons Judy Mack* David and Alita Mackill Karen Majewski Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer

Joan Mann Maria Manea Manoliu Sandra Mansfield and Brian Higgins Joseph and Mary Alice Marino Pam Marrone and Mick Rogers J. A. Martin Leslie Maulhardt* Karen McCluskey* James L. and Jane Mcdevitt Nora McGuinness* Kenneth McNeill Martin A. Medina and Laurie Perry Barry Melton and Barbara Langer Sharon Menke Sam and Rita Meyer Beryl Michaels and John Bach Leslie Michaels and Susan Katt Lisa Miller Sue and Rex Miller Kei and Barbara Miyano Vicki and Paul Moering Ken and Elaine Moody Amy Moore Diane Moore and Stephen Jacobs Margaret Morita Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Diane Muller Mark G. Murphy Cathy Neuhauser and Jack Holmes Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* Eric and Patricia Newman Jay and Catherine Norvell Bob Odland Jeri and Clifford Ohmart Jim and Sharon Oltjen Jessie Ann Owens Mike and Carlene Ozonoff Michael Pach and Mary Wind Peter and Jill Pascoe Thomas Pavlakovich and Kathryn Demakopoulos Erin Peltzman Mr. Luis Perez-Grau and Michele Barefoot In Memory of Ross H. Peters Ann Peterson and Marc Hoeschele Jill and Warren Pickett Drs. David and Jeanette Pleasure Charles and Christine Powell Jerry and Bea Pressler

ARTISTIC VENTURES FUND

Jan and Anne-Louise Radimsky Kathryn Radtkey-Gaither Lawrence and Norma Rappaport Olga C. Raveling Sandi Redenbach* Catherine Ann Reed Dr. and Mrs. James W. Reede Jr Mrs. John Reese, Jr. Fred and Martha Rehrman* Eugene and Elizabeth Renkin Maureen and Marshall Rice Ralph Riggs* Russ and Barbara Ristine Jeannette and David Robertson Robert Rodriguez Mary and Ron Rogers Ron and Morgan Rogers Maurine Rollins Carol and John Rominger Richard and Evelyne Rominger Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Terry Sandbek and Sharon Billings* Jacquelyn Sanders Elia and Glenn Sanjume Fred and Pauline Schack Leon Schimmel and Annette Cody Geoff and Sharon Schladow Brandon Schlenker Schrimmer Family Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Jeanie Sherwood Ed Shields and Valerie Brown Nancy and Chuck Shulock Nancy and David Siegel Jo Anne S. Silber Bradford and Elizabeth Smith Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Dolores and Joseph Spencer William Stanglin Alan and Charlene Steen Harriet Steiner and Miles Stern Johanna Stek Judith and Richard Stern Deb and Jeff Stromberg Anatoly Stukanov Dennis Styne Dr. Stewart and Ann Teal Julie A. Theriault, PA-C Bud and Sally Tollette William and Esther Tournay

Robert and Victoria Tousignant Michael and Heidi Trauner James Turner Ute Turner* Nancy Ulrich* Peter and Carolyn Van Hoecke Chris and Betsy van Kessel Vicki Vandergriff and Dave Brent Diana Varcados Barbara Smith Vaughn* Alicia Villareal* Merna and Don Villarejo Richard Vorpe and Evelyn Matteucci Kim and James Waits Maxine Wakefield and William Reichert Carol L Walden M. Andrew and Vivian Walker Naomi J Walker Kevin Walters Andy and Judy Warburg Doug West Martha S. West Robert and Leslie Westergaard* Jim and Barbara Whitaker Frances White Nancy and Richard White* Buzz and Jan Wiesenfeld Mrs. Jane Williams Mr. and Mrs. Jonathan Williams James and Lucia Wilson Tom Wilson Janet G. Winterer Suey Wong* Jessica Woods Jean Wu Charlotte Xanders Tim and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Sharon and Doyle Yoder Phillip and Iva Yoshimura Heather M. Young and Peter B. Quinby Verena Leu Young* Melanie and Medardo Zavala Phyllis and Darrel Zerger* Marlis and Jack Ziegler Timothy and Sonya Zindel Dr. Mark and Wendy Zlotlow And 46 donors who prefer to remain anonymous

*Friends of Mondavi Center

LEGACY CIRCLE

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

Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.

James H. Bigelow Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf

Wayne and Jacque Bartholomew Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe* Dotty Dixon Nancy Dubois° Anne Gray Benjamin and Lynette Hart Mary B. Horton Margaret Hoyt Barbara K. Jackson Roy and Edith Kanoff °

Nancy M. Fisher Anne Gray Barbara K. Jackson Rosalie Vanderhoef

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

YOUNG ARTISTS COMPETITION AND PROGRAM Karen Broido Jeff and Karen Bertleson John and Lois Crowe*

Merrilee and Simon Engel Mary B. Horton Barbara K. Jackson

Debbie Mah Linda and Lawrence Raber

15TH ANNIVERSARY SEASON SUPPORTERS Chan Family Fund John and Lois Crowe* Patti Donlon Thomas and Phyllis Farver* Wanda Lee Graves and Steve Duscha Anne Gray

44 MONDAVIART S.ORG

Barbara K. Jackson Nancy Lawrence and Gordon Klein Diane M. Makley M.A. Morris William and Nancy Roe

Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Joy Mench and Clive Watson Trust Verne Mendel Kay Resler Hal and Carol Sconyers Joe and Betty Tupin Lynn Upchurch 1 Anonymous ° In Memoriam

If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation.

If you are interested in learning about planned giving opportunities, please contact Nancy Petrisko, Director of Development (530.754.5420 or npetrisko@ucdavis.edu).

We appreciate your support! Note: Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.

BOARDS & COMMITTEES

MONDAVI CENTER ADVISORY BOARD The Mondavi Center Advisory Board is a support group of University Relations whose primary purpose is to provide assistance through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.

2017–18 ADVISORY BOARD MEMBERS Tony Stone, Chair • Janlynn Fleener, Vice-chair • Scott Syphax, Vice-chair • Jim Bigelow • Camille Chan • Betty Chapman • John Crowe • Patti Donlon • Phyllis Farver • Kathy Johnson • Karen Karnopp • Hansen Kwok • Nancy Lawrence • Garry Maisel • Cliff Popejoy • Nancy Roe • Grace Rosenquist • Lawrence Shepard

EX OFFICIO Gary S. May, Chancellor • Ralph J. Hexter, Provost & Executive Vice Chancellor • Elizabeth Spiller, Dean, College of Letters & Sciences • Don Roth, Executive Director, Mondavi Center • Yevgeniy Gnedash, Chair, Arts & Lectures Administrative Advisory Committee • Sandra Togashi Chong, Chair, Friends of Mondavi Center HONORARY MEMBERS Barbara K. Jackson • Rosalie Vanderhoef

THE ARTS & LECTURES ADMINISTRATIVE ADVISORY COMMITTEE is made up of

interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

Yevgeniy Gnedash, Chair Ekaterina Alekseenko Kenneth Beck Marielle Berman Jochen Ditterich Petr Janata Kelila Krantz Hyunok Lee Jason Mak Sally McKee

Michael Montgomery Victoria M. Nguyen Greg Ortiz Luna Qiu Nancy Rashid Sheetal Shah Gina Werfel Amy Yip Yuanxin Zhang Helena Zittel

THE FRIENDS OF MONDAVI CENTER is an active, donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at: jmmast@ucdavis.edu or call 530.754.5431.

2017–18 FRIENDS EXECUTIVE BOARD Sandra Togashi Chong, President Leslie Westergaard, Vice President Karen Broido, Secretary Debbie Mah, Treasurer COMMITTEE CHAIRS: Pat Stromberg, Friends Events Marge Dolcini, Gift Shop Wendy Chason, Membership Tom Farver, Mondavi Center Tours Verena Leu Young, School Matinee Support Carol Christensen, School Matinee Ushers/ Front of House Liaison Lynette Ertel, School Outreach Marlene Freid, Audience Services and Volunteer Engagement Manager, Ex-Officio

GIFT SHOP @Mondavi Center

The Mondavi Center Gift Shop will be open to the public on Saturday, October 28, from 10am to 12pm noon for BRUNCH AND BROWSE, the Friends of Mondavi Center’s annual event launching the holiday shopping season.

NOW accepting credit cards!

The gift shop is open before the show and Friends will during have loads of new merchandise and intermission. everyone is welcome, with no charge for parking.

encoremediagroup.com/programs 45

POLICIES & INFORMATION TICKET EXCHANGES

• Tickets must be exchanged over the phone or in person at least one business day prior to the performance. (Closed Sundays) • Returned tickets will not scan valid at the door.

• A $5 per ticket exchange fee may apply.

• Tickets may not be exchanged or donated after the performance date.

• For tickets exchanged for a higher priced ticket, the difference will be charged. The difference between a higher and lower priced exchanged ticket is not refundable.

• Gift certificates will not be issued for returned tickets.

• Event credit may be issued to subscribers and donors for all Mondavi Center Presenting Program events and expire June 30 of the current season. Credit is not transferable.

• All exchanges are subject to availability.

• All ticket sales are final for events presented by non-UC Davis promoters.

• PRICES SUBJECT TO CHANGE. • NO REFUNDS.

PARKING

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

GROUP DISCOUNTS

Entertain friends, family, classmates or business associates and save! Groups of 10 or more qualify for a 10% discount off regular prices. Payment options with a deposit are available. Please call 530.754.4658.

STUDENT TICKETS

UC Davis students are eligible for a 50% discount on all available tickets.

Proof Requirements: School ID showing validity for the current academic year.

Student ID numbers may also be used to verify enrollment.

Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on all available tickets. (Continuing education enrollees are not eligible.)

Proof Requirements: School ID showing

46 MONDAVIART S.ORG

validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year.

Student discounts may not be available for events presented by non-UC Davis promoters.

YOUTH TICKETS (AGE 17 AND UNDER)

Youth are eligible for a 50% discount on all available tickets. For events other than the Children’s Stage series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend. A ticket is required for admission of all children regardless of age. Any child attending a performance should be able to sit quietly through the performance.

PRIVACY POLICY

The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently.

We sometimes share names and addresses with other nonprofit arts organizations. If you do not wish to be included in our email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone.

Full Privacy Policy at mondaviarts.org.

TOURS

Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.

ACCOMMODATIONS FOR PATRONS WITH DISABILITIES

The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements. Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation.

The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances. Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests. Requests for these accommodations may be made when

purchasing tickets at 530.754.2787 or TDD 530.754.5402.

BINOCULARS

Binoculars are available for Jackson Hall.

They may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID be held until the device is returned.

ASSISTIVE LISTENING DEVICES

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

ELEVATORS

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

RESTROOMS

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

SERVICE ANIMALS

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

LOST AND FOUND HOTLINE

530.752.8580

T H E D E P A R T M E N T O F T H E AT R E A N D D A N C E P R E S E N T S

Book by

ROGER O. HIRSON

Music & Lyrics by

STEPHEN SCHWARTZ

Originally produced on the Broadway stage by STUART OSTROW Directed on the Broadway stage by BOB FOSSE Theo Ending Originally Conceived In 1998 by MITCH SEBASTIAN Directed and Choreographed by

MINDY COOPER

FEB. 22-24 & MARCH 1-3 @ 7 PM FEB. 24 & MARCH 3 @ 2 PM MAIN THEATRE, WRIGHT HALL Adults: $22, Faculty/Staff: $20, Students/Seniors: $15

UC DAVIS TICKET OFFICE, north side of Aggie Stadium by phone (530) 752-2471, Mon-Fri 10 A.M. to 5 P.M. or online ARTS.UCDAVIS.EDU/THEATRE-AND-DANCE

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