March 2018 Mondavi Center Program

TH

ANNIVERSARY

MAR 2018 Compañía Nacional de Danza Carmen MAR 3–4

MUSIC

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After tonight’s performance, don’t leave your passion at the concert hall. Take it with you and tune in daily to CapRadio, your constant companion for great music.

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C AP ITA L P U BL IC RA DIO P RO GRA MS

Music

Kevin Doherty classical

Donna Apidone classical

News

Acid Jazz

Classical Music

Hey, Listen!

At the Opera

Excellence in Jazz

Insight Music

Connections

Mick Martin’s Blues Party

Cale Wiggins classical

Victor Forman jazz/classical

Gary Vercelli jazz

Nick Brunner pop

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

Liz King

EXECUTIVE ASSISTANT

ARTS EDUCATION Ruth Rosenberg

DIRECTOR OF ARTS EDUCATION AND ARTIST ENGAGEMENT

Jennifer Mast

ARTS EDUCATION COORDINATOR

DEVELOPMENT Nancy Petrisko

DIRECTOR OF DEVELOPMENT

Jill Pennington

MEMBERSHIP RELATIONS SPECIALIST

Liz King

EXECUTIVE ASSISTANT

FINANCE AND BUSINESS SERVICES Yulia Kiefer

Russ Postlethwaite

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

STUDENT LEADS Alexandria Butler Stephen Fan Viviana Valle TICKET AGENTS Monika Aldabe Hanna Baublitz Olivia Blair Zoe Ehlers Pablo Garcia Camille Kafesjian Audrey Nelson Yanise Nevarez Alexis Pena Tomasetti Camille Riggs Olivia Schlanger Arthur Shaffer

DIRECTOR OF OPERATIONS

Ryan Thomas

BUILDING ENGINEER

AUDIENCE SERVICES Marlene Freid

Yuri Rodriguez

Erin Kelley

ART DIRECTOR/SENIOR DESIGNER

Mike Tentis

DIGITAL MARKETING SPECIALIST

ASSISTANT PRODUCTION MANAGER

Christopher C. Oca Phil van Hest

TICKET AGENT LEAD

INFORMATION TECHNOLOGY

MARKETING MANAGER

Adrian Galindo

Kelly Kim

ADMINISTRATIVE ASSISTANT

Dana Werdmuller

PRODUCTION MANAGER

HEAD STAGE MANAGER & CREW CHIEF

AUDIENCE SERVICES AND VOLUNTEER ENGAGEMENT MANAGER

DESKTOP SUPPORT ADMINISTRATOR

PRODUCTION Donna J. Flor

TICKET OFFICE MANAGER

Kathy Di Blasio

DIRECTOR OF MARKETING AND TICKETING

4 MONDAVIART S.ORG

Rebekah Laibson

Herb Garman

Rob Tocalino

Asante Catering • Boeger Winery • El Macero Country Club Morgan’s On Main • The Porch Restaurant and Bar

EVENT SUPERVISOR AND GROUP SALES COORDINATOR

Mandy Jarvis

MARKETING

SPECIAL THANKS

Susie Evon

OPERATIONS

Kevin Alcione GRANTORS AND ARTS EDUCATION SPONSORS

ASSISTANT DIRECTOR OF TICKETING

INTERIM DIRECTOR OF FINANCE FINANCE & BUSINESS SYSTEMS ANALYST

PERFORMANCE

TICKET OFFICE Sarah Herrera

MASTER CARPENTER/RIGGER

Rodney Boon

HEAD AUDIO ENGINEER

Christi-Anne Sokolewicz SENIOR STAGE MANAGER, JACKSON HALL

David M. Moon

SENIOR EVENTS COORDINATOR/ LIAISON TO UC DAVIS DEPARTMENTS

Eric Richardson

MASTER ELECTRICIAN

Wai Kit Tam

LEAD VIDEO TECHNICIAN

Daniel Villegas

AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE

Tristan D. Wetter

ASSISTANT ELECTRICIAN

Holly McNeill

STAGE MANAGER

Maya Severson STAGE MANAGER

SENIOR STAGE TECHS

John F. Bologni Karl Metts Ian Strother Christine Richers

PUBLIC EVENTS MANAGER

PROGRAMMING

ASSISTANT PUBLIC EVENTS MANAGERS

Jeremy Ganter

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

DIRECTOR OF PROGRAMMING

Jenna Bell

ASSISTANT DIRECTOR, ARTIST SERVICES

Laurie Espinoza

ARTIST SERVICES COORDINATOR

Colt McGraw

HOSPITALITY ASSISTANT MANAGER

Lara Downes

CURATOR, YOUNG ARTISTS PROGRAM

What if getting older wasn’t a “drag” after all?

DESPITE THE YEARS AND WISDOM OF GOOD OL’ MR. JAGGER...AGING HAS MASSIVE REWARDS. And a good number of those rewards hinge on a real relationship with your doctor and a direct connection to a vast network of the brightest, most progressive minds in medicine. And frankly, as you start getting up there in years, that’s not such a bad song to be singing.

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

Don Roth, Ph.D.

Executive Director

In the rhythm of a Mondavi Center season, there is a pronounced quickening of the heartbeat as spring approaches. March is typically a busy month on stage, as artists from the East Coast and beyond are eager for respite from the winter months. And, of course, March is also the month that the final touches are put on our forthcoming season, which will be announced the first week of April.

While it is always satisfying to bring back audience favorites to the Mondavi Center, it is the discovery of new artists and projects that is so central to our programming mission. Our annual booking conference in New York was particularly revelatory this year: We saw two new projects that captivated and raised our spirits, and we are thrilled to share them with you. Veronica Swift, a young jazz singer whose poise, fearlessness and technique belie her years; and a project from gospel great Damien Sneed that pays tribute to Martin Luther King, Jr. through the power of music. Mondavi Center audiences will have chance to hear both artists during the upcoming season.

That’s enough teasing about next year for now, however. We have plenty more to capture your attention in the weeks and months ahead, including a discovery from last year’s booking conference, Cuban percussionist Pedrito Martinez, the Boston Pops playing the music of famed film composer John Williams, our third and final UC Davis Student Open Mic Night and Terence Blanchard’s e-Collective.

Settle in and enjoy the ride.

Don

6 MONDAVIART S.ORG

IN THIS ISSU

A Message from the Executive Director

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

8

Compañía Nacional de Danza de España

13 Academy of St Martin in the Fields

19 Danú and Goitse

20 Zurich Chamber Orchestra

26 Jazz at Lincoln Center with Chick Corea

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.

March 2018 Volume 5, No. 4

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

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

Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Shaun Swick Senior Designer & Digital Lead

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

OCTOBER 11 WED • 7–8PM

Garrison Keillor BOEGER WINERY

NOVEMBER 2 THU • 7–8PM

Mariinsky Orchestra BURGESS CELLARS

DECEMBER 8 FRI • 7–8PM

The Hot Sardines ST. CLAIR BROWN WINERY

JANUARY 27 SAT • 7–8PM

Royal Philharmonic Orchestra GRGICH HILLS ESTATE

FEBRUARY 9 FRI • 7–8PM

Bill Charlap Trio with Cécile McLorin Salvant ROBERT MONDAVI WINERY

MARCH 21 WED • 7–8PM

Jazz at Lincoln Center Orchestra with Chick Corea WENTE FAMILY ESTATES

APRIL 13 FRI • 7–8PM

The O’Connor Band with Mark O’Connor VINEYARD 511

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

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A Dance Series Event Saturday, March 3, 2018 • 8PM Sunday, March 4, 2018 • 2PM Jackson Hall SPONSORED BY

PROGRAM Carmen Choreography Johan Inger Choreography assistant Urtzi Aranburu Music Rodion Shchedrin and Georges Bizet Additional original music Marc Álvarez Original editor of Carmen Suite, Bizet-Shchedrin:

INDIVIDUAL SUPPORT PROVIDED BY Hansen Kwok Rosalie Vanderhoef Donors to the Artistic Ventures Fund Question & Answer Session Following the performances, 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 has 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.

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Musikverlag Hans Sikorski, Hamburg, Germany Costumes David Delfín Dramaturgy Gregor Acuña-Pohl Set design Curt Allen Wilmer (AAPEE) Assistant set designer Isabel Ferrández Barrios Lighting design Tom Visser Duration: 1 hour, 30 minutes (ballet in two acts)

photo: Jesús Vallinas

COMPAÑÍA NACIONAL de DANZA de ESPAÑA José Carlos Martínez, artistic director

COMPAÑÍA NACIONAL de DANZA de ESPAÑA COMPAÑÍA NACIONAL de DANZA de ESPAÑA Artistic director José Carlos Martínez Executive director Daniel Pascual Head of administration Sonia Sánchez Co-artistic director Pino Alosa Lead Principals Kayoko Everhart Alessandro Riga Isaac Montllor Soloists Aída Badía Elisabet Biosca YaeGee Park Erez Ilan Toby William Mallitt Aleix Mañé Daan Vervoort Corps de Ballet Mar Aguiló Rebecca Connor Sara Fernández Agnés López Sara Lorés Shani Peretz Ana Pérez-Nievas Leona Sivoš Irene Ureña Ion Aguirretxe Nicolò Balossini Juan José Carazo Álvaro Madrigal Marcos Montes Benjamin Poirier Rodrigo Sanz

ABOUT CARMEN World premiere by Compañía Nacional de Danza (CND) on April 9, 2015, at Teatro de la Zarzuela, Madrid, Spain. Johan Inger was awarded with the 2016 Benois de la Danse Prize for his choreography of Carmen, created for the CND. When Johan Inger was asked to create a new version of Carmen, being Swedish and Carmen a piece with a strong Spanish nature, he faced an enormous challenge— but it was also a great opportunity. The story witnessed through the eyes of a young watcher reveals the tale stripped to its mythic and universal elements of passion and violence:

“There is a certain mystery within this character, it could be any kid, it could be Don José when he was a boy, and it could be a young Michaela or Carmen and José’s unborn child. It could even be ourselves, with our very first goodness wounded due to a violent experience that, though brief, has had a negative impact in our lives and our ability to interact with others forever.”

—Johan Inger

COMPAÑÍA NACIONAL de DANZA de ESPAÑA Compañía Nacional de Danza (CND) was founded in 1979 under the name of Ballet Nacional de España Clásico with Víctor Ullate as its first director. His successors in the post were María de Ávila and the extraordinary Russian ballerina Maya Plisétskaya. Then, in 1990, Nacho Duato was named artistic director of the company.

Duato’s appointment brought innovative change to the company. Up to his departure in 2010, he contributed 45 choreographic works, praised by critics worldwide.

After one year under the artistic direction of Hervé Palito, the CND appointed its current artistic director, José Carlos Martínez. He took office on September 1, 2011, after leaving his post as principal dancer from the Paris Opera Ballet.

Martínez’s goal for the CND is to promote dance and to make this art form better known. His repertory is wide, ranging from classical and neoclassical ballet to modern choreographic language within a setting of full artistic and creative freedom. It embraces both Spanish and international creations, drawing in new audiences and boosting the company’s national and international presence.

JOSÉ CARLOS MARTÍNEZ ARTISTIC DIRECTOR José Carlos Martínez began his ballet studies in Cartagena, under Pilar Molina, continuing in 1984 at the Centre de Danse International Rosella Hightower in Cannes.

In 1987, he won the Lausanne Prize and joined the Paris Opera Ballet School. In 1988, he was personally selected by Rudolf Nureyev to join the Ballet Company of the Paris Opera as a corps de ballet dancer.

In 1992, he was promoted to principal dancer and won the gold medal in the

International Competition of Varna. In May 1997, he was appointed “Etoile” of Paris Opera Ballet, the highest category a dancer can achieve.

During his career, Martínez was awarded numerous prizes: Prix de l ‘AROP; Prix Carpeaux; Premio Danza & Danza; Prix Léonide Massine-Positano; Spanish National Dance Prize; Gold Medal of the City of Cartagena; Prize Elegance et Talent France/Chine; Scenic Arts Prize for best dancer (Valencia); Benois de la Danse for his choreography of Les Enfants du Paradis and the Prize Dansa València. He is Commandeur de l’Ordre des Arts et des Lettres (France).

Martinez’s repertoire as a dancer is characterized by his famous choreographies of classical and neo-classical ballet. He has worked with most of the important choreographers of the 20th century, such as Maurice Bejart, Pina Bausch, Mats Ek and William Forsythe—some of whom created pieces especially for him. He has also featured as guest performer with many of the world’s most prestigious ballet companies.

As a choreographer, Martínez is behind many creations. For students of the Paris Opera Ballet School he created Mi Favorita (2002), Delibes-Suite (2003) and Scaramouche (2005). For the Paris Opera Ballet he created Paréntesis 1 (2005), Soli-Ter (2006), El Olor de la Ausencia (2007), Les Enfants du Paradis (2008) and Scarlatti pas de deux (2009). For the Shanghai Ballet he created Marco Polo and the Last Mission (2010). For Compañía Nacional de Danza de España he has created Sonatas (2012), Raymonda Variations, Don Quixote Suite (2015) and La Favorita (2017). He also created Resonance (2014) for the Boston Ballet.

Martínez is also behind the CND’s first full-length classical ballet for 20 years: his own version of Don Quixote, which was premiered at Teatro de la Zarzuela Madrid, in December 2015 and has since been touring through Spain and abroad with huge success and unanimous praise from reviewers. In 2018, he will premiere his version of Nutcracker, of which the pas de deux of Act II was pre-staged last October at Centro Niemeyer, Avilés.

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COMPAÑÍA NACIONAL de DANZA de ESPAÑA JOHAN INGER CHOREOGRAPHER Johan Inger (born in Stockholm, 1967) had his dance training at the Royal Swedish Ballet School and at the National Ballet School in Canada. From 1985 to 1990 he danced with the Swedish Royal Ballet in Stockholm, the last year performing as a soloist. Fascinated by the works of Czech choreographer Jiří Kylián, Inger was convinced that a next step in his dance career should take him to Nederlands Dans Theater (NDT). In 1990, the hour had come.

He joined NDT I and was a high-profile dancer in this company until 2002.

When Inger tried his hand at NDT’s annual choreography workshops, Kylián noticed his talent for choreography. In 1995, after four workshop pieces, Inger was allowed to make his first choreography for Nederlands Dans Theater II. The resulting Mellantid marked his official debut as a choreographer. It was part of the Holland Dance Festival and was an immediate and resounding success. It brought him the 1996 Philip Morris Finest Selection Award in the Contemporary Dance category. In 2001, Mellantid was nominated for the Laurence Olivier Award in the Best New Dance Production category.

Since his debut, Inger has made various works for NDT (Sammanfall, Couple of Moments, Round Corners, Out of Breath). For his ballets, Dream Play and Walking Mad, he received the Lucas Hoving Production Award in October 2001. Walking Mad—as it was later performed by Cullberg Ballet—was awarded the Danza & Danza’s Award in 2005.

Inger himself was nominated with Dutch prizes such as the Golden Theatre Dance Prize in 2000 by the VSCD Dance Panel and the Merit Award in 2002 from the Stichting Dansersfonds ’79.

Inger left NDT for the artistic leadership of Cullberg Ballet in 2003. He has made various choreographies for this company: Home and Home, Phases, In Two, Within Now, As If, Negro con Flores and Blanco, among others. To celebrate Cullberg Ballet’s 40th anniversary, he created the work Point of Eclipse (2007).

In the summer of 2008, Inger ended his artistic directorship so as to devote himself entirely to choreography. In February 2009, he produced a new work for Cullberg titled Position of Elsewhere. Later that year, Inger created a new work, Dissolve in This, for NDT I & II for the opening of Nederlands Dans 10 MONDAVIART S.ORG

Theater’s 50th jubilee season. Since 2009, Inger has held the position of associate choreographer with NDT. In 2010, the Göteborg Ballet in Sweden premiered Falter while NDT premiered Tone Bone Kone. In 2011, Inger created Rain Dogs, based on music by Tom Waits, for the Basel Ballett in Switzerland. In 2012, Inger created I New Then for NDT II and in 2013, Sunset Logic for NDT I in The Hague, The Netherlands, and in 2013 he created Tempus Fugit for Ballet Basel. In 2014, he created B.R.I.S.A. for NDT II and The Rite of Spring for the Royal Swedish Ballet in Stockholm. In 2015, Inger created One on One for the NDT II and in May 2017 he realized his most recent creation, Peer Gynt, for the Ballet Theater Basel. Inger was awarded with the Benois de la Danse prize in 2016 for his choreography of Carmen.

COMPAÑÍA NACIONAL de DANZA de ESPAÑA Artistic coordinator Jesús Florencio Pianists Carlos Faxas, Viktoria Glushchenko Physical therapist José Ignacio Pérez, Laura Hernández Masseur Mateo Martín Communication manager Maite Villanueva Assistant to communication manager José Antonio Beguiristain Production director Luis Martín Oya Production Javier Serrano Assistant to executive director Amanda Pérez Vega Administration Susana Sánchez-Redondo Staff Rosa González Concierges Miguel Ángel Cruz, Teresa Morató Technical director Luis Rivero Technical office team Eduardo Castro, Deborah Macías Stage manager José Álvaro Cotillo Stage hands Francisco Padilla, Germán Arjona Electricians Lucas González, Juan Carlos Gallardo, José Manuel Román Video and sound Jesús Santos, Pedro Álvaro, Rafa Giménez Wardrobe Ana Guerrero, Mª del Carmen Ortega, Mar Aguado, Teresa Antón, Mar Rodríguez Wardrobe archive Luisa Ramos, Eva Pérez Properties José Luis Mora Storehouse Reyes Sánchez

photos: Jacobo Medrano

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Joshua Bell, director and violin An Orchestra Series Event Monday, March 12, 2018 • 8PM Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY John and Lois Crowe

PROGRAM Overture for Violin and Orchestra

Edgar Meyer

Joshua Bell, violin

Violin Concerto No. 2 in D Minor, op. 22

Allegro moderato Romance

Allegro con fuoco—Allegro moderato (à la zingara)

Henryk Wieniawski

Joshua Bell, violin

INTERMISSION Symphony No. 6 in F Major, op. 68, “Pastoral” Ludwig van Beethoven

The Awakening of Cheerful Feelings at the Arrival in the Country

Scene at the Brook

Merry Gathering of the Peasants Storm

Shepherd’s Song: Joyful, Thankful Feelings after the Storm The Academy’s work in the U.S. is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields.

Joshua Bell’s position as music director is supported by Klara and Larry A. Silverstein together with the American Friends of the Academy of St Martin in the Fields.

Exclusive Management for Academy of St Martin in the Fields: Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York, NY 10016 | www.opus3artists.com encoremediagroup.com/programs 13

photo: © Alan Kerr

ACADEMY OF ST MARTIN IN THE FIELDS

ACADEMY OF ST MARTIN IN THE FIELDS PROGRAM NOTES

OVERTURE FOR VIOLIN AND ORCHESTRA (2017) EDGAR MEYER (b. 1960) Joshua (Bell) and I have been friends for most of our lives, and he has been a significant influence on my musical voice.

We check in from time to time and think about what potential projects might be mutually engaging. A few years ago, Joshua and I talked about me writing a 10–12-minute violin concerto for him and the Academy of St Martin in the Fields.

Subsequently, Anne-Marie McDermott and Jaqui Taylor of Bravo! Vail talked to me and the Academy about my writing an overture for a series of overtures that they were commissioning. Concerned that I might not have two pieces left in me, I asked if these two opportunities could be combined.

Hence, the Overture for Violin and Orchestra.

I will discuss lightly one particular aspect of this piece. It has nine beats to the bar. It is probably fair to say that over half of all easily listenable music has two or four beats to the bar, i.e., it is fundamentally duple. Groups of five or seven beats seem to be comparatively irregular. Groups of nine, potentially three groups of three, occupy a pleasant middle ground—familiar, although less so, and entirely regular. From this starting place it is possible to reference rhythms both obvious and obscure.

One of my objectives is to provide listeners with things they can feel and also with elements that may be less known—to establish trust and to provoke interest. This combination seems to get my attention in any number of contexts.

—Edgar Meyer

VIOLIN CONCERTO NO. 2 IN D MINOR, OP. 22 (1862) HENRYK WIENIAWSKI (1835–1880) Henryk Wieniawski was among the most remarkable violinist-composers of the 19th century. His father was a prosperous physician in Lublin, Poland, some 100 miles southeast of Warsaw, and his mother was an excellent pianist whose brother, Edouard Wolff, was a friend (and imitator) of Chopin and one of the most esteemed keyboard artists and teachers in Paris. Wieniawski’s extraordinary talent on the violin was 14 MONDAVIART S.ORG

discovered very early, and Wolff convinced his sister to bring her son to Paris for training at the Conservatoire. He entered the school at age 8 and graduated three years later with a first prize in violin, an accomplishment unprecedented in the Conservatoire’s history for one so young. After a concert in Paris in January 1848, Wieniawski traveled to St. Petersburg, where his performances won him praise from Henri Vieuxtemps, the imperial court violinist, and an excellent Guarneri violin from Emperor Nicholas I. After successful appearances in Finland, the Baltic provinces and Warsaw, he returned to the Paris Conservatoire in 1849 for further training in composition, graduating the following year in that discipline, again with a first prize.

After his apprentice years, Wieniawski spent the rest of his life as a touring virtuoso and teacher. Between 1851 and 1853, he played extensively in Russia with his younger brother Jósef, an accomplished pianist and composer, and published the first of his original compositions, including a violin sonata and several pieces based on Polish dances. He created a considerable stir among German music lovers when he introduced his First Violin Concerto at the Leipzig Gewandhaus in November 1853 and appeared extensively thereafter throughout Europe and Britain; he married the Englishwoman Isabella Hampton in 1860. Later that year, Anton Rubinstein invited him to return to St. Petersburg, and soon he was appointed to the faculty of the new St. Petersburg Conservatory. For the next dozen years, Wieniawski was a potent influence in Russian music, serving as a teacher at the conservatory, solo violinist to the Tsar, principal violinist of both the orchestra and string quartet of the Russian Musical Society, and composer of numerous violin works, most notably the Second Violin Concerto of 1862. In 1872, he made an exhausting tour of the United States with Rubinstein in an effort to cover the costs of his gambling debts and bad investments.

Wieniawski remained in this country for another year, but the strain of a second tour (which took him as far as California) endangered his health without significantly improving his financial situation. Upon returning to Europe, he taught for two years at the Brussels Conservatory as the successor to Vieuxtemps, and then resumed

his grueling concert tours throughout Germany, France and Russia, despite health seriously deteriorated by a heart condition.

He collapsed during a performance in Berlin in November 1878, and his friend and colleague, Joseph Joachim, who was in the audience, took up his violin and finished the program. Though his health was nearly shattered, financial need forced Wieniawski to continue playing, and he returned again to Russia. By November 1879, however, he had to be admitted to a hospital in Moscow.

Three months later, broken in body and penniless, he was taken into the Moscow home of Nadezhda von Meck, who had already won an important place in music history as Tchaikovsky’s patroness. He died there on March 31, 1880, four months shy of his 45th birthday. Eleven days before Wieniawski passed away, Tchaikovsky wrote to Madame von Meck, “In him, we shall lose an incomparable violinist and a gifted composer.”

Wieniawski was one of the most accomplished musical artists of the mid–19th century—Rubinstein called him “without a doubt the greatest violinist of his time.” He was known for the richness of his tone, the perfection of his technique and the fiery Slavic temperament that electrified his playing. The two concertos are the most important of his four dozen compositions, but several of his smaller pieces are also familiar items in the violin literature: Souvenir de Moscou (on Russian themes) and Légende, both for violin and orchestra; Le Carnaval Russe for violin and piano; two collections of solo etudes; and numerous mazurkas, polonaises and other works, including the Reminiscences of San Francisco. Wieniawski’s Second Concerto, written in 1862, during his extended residence in Russia, is his most familiar composition and one of the staples of the violin repertory (Heifetz played it at his spectacular American debut in 1917), a work that achieves a superb blend of Romantic sentiment and dazzling virtuosity.

It is, as well, a daring and successful experiment in musical form that pays obeisance to the traditional models while achieving a continuity and integration that is not common among 19th-century works of its species.

The Concerto, dedicated to the virtuoso Pablo de Sarasate upon its publication in 1870, follows the three movements

(fast–slow–fast) typical of the genre, but the structure of the opening Allegro remains incomplete, requiring the music to continue through the slow movement and finale to achieve formal closure.

The first and last movements are linked by recalling the lovely second theme of the Allegro in the finale. (Wieniawski’s inspiration for such a procedure may well have come from the Fourth Symphony of Schumann, whose works were then gaining significant popularity in Russia; Robert and Clara Schumann had toured the country together in 1844.) The opening movement is comparable to the exposition section of traditional concerto form, consisting of an orchestral introduction presenting the somber main theme (properly shared with the soloist), some subsidiary motives and a songful violin melody in a brighter key, a fiery closing passage, and a stormy orchestral ritornello. Rather than proceeding to the expected development section, however, the music quiets for the clarinet, which presents a benedictory bridge passage leading without resolution to the Romance, a radiant nocturne whose sweet lyricism and touching sentiment fully justify its title. The finale, which is launched by some vigorous prefatory gestures traded between the soloist and the orchestra and a brief cadenza, is a rondo based on a fiery gypsy theme dashed off by the soloist.

The subsidiary subject from the Allegro is recalled and other episodes follow before the music is transformed into a whirling, major-tonality dance to bring this excellent concerto to a brilliant close.

SYMPHONY NO. 6 IN F MAJOR, OP. 68, “PASTORAL” (1807–08) LUDWIG VON BEETHOVEN (1770–1827) There is a fine and often fluid line that separates program and absolute music.

Usually composers intend their work to be heard either with some extra-musical reference or as a universe unto itself, but Beethoven tried to link both worlds in his “Pastoral” symphony. This work, with its bird calls and its horn calls, its thunder, wind and rain, its peasant dances and babbling brooks, is decidedly and lovably programmatic. Yet the composer insisted that the symphony is “more an expression of feeling than painting”—that it is more pure, abstract emotion than mere imitations of

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various familiar country noises. It is, in truth, both.

The extra-musical associations of the “Pastoral” symphony run far deeper than its simulations of nightingales and thunderstorms. Actually, there are at least three simultaneous levels of meaning here.

The first and most obvious of these three is the evocation of natural noises, but this was only a point of departure for Beethoven into the second degree of reference in this work, since these woodland sounds were simply the external manifestations of what was, for him, a much deeper reality: that God was to be found in every tree, in every brook; indeed, that God and nature are, if not the same, certainly indivisible. The third plane on which the “Pastoral” symphony exists is heavily influenced by the other two.

This third level, the purely musical, reflects the stability, the calm and the sense of the infinite that Beethoven perceived in nature.

“Oh, the sweet stillness of the woods!” he wrote. The “Pastoral” symphony, the most gentle and childlike work that Beethoven ever composed, grants us not only a deeper understanding of the great composer, but also, through his vision, a heightened awareness of ourselves and the world around us.

Beethoven gave each of the five movements of his “Pastoral” symphony a title describing its general character. The first movement, filled with verdant sweetness and effusive good humor, is headed The Awakening of Cheerful Feelings at the Arrival in the Country. The violins present a simple theme that pauses briefly after only four measures, as though the composer were alighting from a coach and taking a deep breath of the fragrant air before beginning his walk along a shaded path. The melody grows more vigorous before it quiets to lead almost imperceptibly to the second theme, a descending motive played by violins above a rustling string accompaniment.

Again, the spirits swell and then relax before the main theme returns to occupy most of the development. To conclude the first movement, the recapitulation returns the themes of the exposition in more richly orchestrated settings.

The second movement, Scene at the Brook, continues the mood and undulant figuration of the preceding movement.

The music of this movement is almost

entirely without chromatic harmony and exudes an air of tranquility amid pleasing activity. The form is a sonata-allegro whose opening theme starts with a fragmentary idea in the first violins sounded above a rich accompaniment. The second theme begins with a descending motion, like that of the first movement, but then turns back upward to form an inverted arch. A full development section utilizing the main theme follows. The recapitulation recalls the earlier themes with enriched orchestration and leads to a most remarkable coda. In the closing pages of this movement, the rustling accompaniment ceases while all nature seems to hold its breath to listen to the songs of three birds— the nightingale, the dove and the cuckoo.

Twice this tiny avian concert is performed before the movement comes quietly to its close. When later Romantic composers sought stylistic and formal models for their works it was to Beethoven that they turned, and when program music was the subject, this coda was their object.

Beethoven titled the Scherzo Merry Gathering of the Peasants, and filled the music with a rustic bumptiousness and simple humor that recall a hearty if somewhat ungainly country dance. The central trio shifts to duple meter for a stomping dance before the scherzo returns.

The festivity is halted in mid-step by the sound of distant thunder portrayed by the rumblings of the low strings. Beethoven built a convincing storm scene here through the tempestuous use of the tonal and timbral resources of the orchestra that stands in bold contrast to the surrounding movements of this symphony. As the storm passes away over the horizon, the silvery voice of the flute leads directly into the finale, Shepherd’s Song: Joyful, Thankful Feelings after the Storm. The clarinet and then the horn sing the unpretentious melody of the shepherd, which returns, rondo-fashion, to support the form of the movement. The mood of wellbeing and contented satisfaction continues to the end of this wonderful work.

—Richard E. Rodda, Ph.D., 2018

ACADEMY OF ST MARTIN IN THE FIELDS ACADEMY OF ST MARTIN IN THE FIELDS The Academy of St Martin in the Fields is one of the world’s greatest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest Classical music.

Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959.

Through unrivalled live performances and a vast recording output—highlights of which include the 1969 bestseller Vivaldi’s Four Seasons and the soundtrack to the Oscar-winning film Amadeus—the Academy quickly gained an enviable international reputation for its distinctive, polished and refined sound. With over 500 releases in a much-vaunted discography and a comprehensive international touring program, the name and sound of the Academy is known and loved by Classical music audiences throughout the world.

Today the Academy is led by music director and virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductorless ensemble which has become an Academy hallmark. Under Bell’s direction, and with the support of leader and director Tomo Keller and principal guest conductor, Murray Perahia, the Academy continues to push the boundaries of play-directed performance to new heights, presenting symphonic repertoire and chamber music on a grand scale at prestigious venues from New York to Beijing.

Complementing a busy international schedule, the Academy continues to reach out to people of all ages and backgrounds through its learning and participation programs. The orchestra’s flagship project for young people provides performance workshops for primary and secondary school children; partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama, the Royal Northern College of Music and master classes on tour further the development of the professional musicians of tomorrow; the Academy provides a creative outlet for some of London’s most vulnerable adults at a center for homeless people; and a regular program of pre-concert talks and podcasts create opportunities for Academy audiences the world over to connect and learn with the orchestra.

VIOLIN I

TROMBONE

Joshua Bell Harvey de Souza Miranda Playfair Jeremy Morris Helen Paterson Martin Gwilym-Jones Richard Milone Alicja Smietana

Roger Harvey Andrew Cole

VIOLIN II

Sir Neville Marriner CH, CBE

Jennifer Godson Fiona Brett Mark Butler Rebecca Scott-Smissen Sijie Chen Joanna Wronko

VIOLA

Fiona Bonds Alexandros Koustas Martin Humbey Matt Maguire

CELLO

Stephen Orton William Schofield Juliet Welchman Reinoud Ford

DOUBLE BASS

Lynda Houghton Benjamin Russell

FLUTE

Fiona Kelly Sarah Newbold Rebecca Larsen

OBOE

Tom Blomfield Rachel Ingleton

CLARINET

Fiona Cross Sarah Thurlow

BASSOON

Emily Hultmark Richard Skinner

HORN

Stephen Stirling Tim Caister Alexia Cammish James Shields

TRUMPET

Mark David William O’Sullivan

TIMPANI

Adrian Bending

MUSIC DIRECTOR

Joshua Bell

FOUNDING PRESIDENT

PRINCIPAL GUEST CONDUCTOR

Murray Perahia KBE

LEADER/DIRECTOR

Tomo Keller

ADMINISTRATION

Alan Watt, Chief Executive Alison Tedbury, Director of Concerts Richard Brewer, Concerts and Tours Manager Nigel Barratt, Orchestra Manager (USA Tour) Hattie Rayfield, Concerts and Participation Assistant Katherine Adams, Librarian Charlotte O’Dair, Learning and Participation Producer Andrew McGowan, Director of Development Amy Scott, Development Manager Fiona Bell, Marketing Manager Rebecca Driver, PR Consultant, Media Relations

FOR OPUS 3 ARTISTS

David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists & Attractions Tania Leong, Associate, Touring Division Grace Hertz, Assistant, Artists & Attractions Kay McCavic, Company Manager encoremediagroup.com/programs 17

ACADEMY OF ST MARTIN IN THE FIELDS JOSHUA BELL DIRECTOR, VIOLIN With a career spanning more than 30 years as a soloist, chamber musician, recording artist and conductor, Joshua Bell is one of the most celebrated violinists of his era, and his restless curiosity, passion and multifaceted musical interests are almost unparalleled in the world of Classical music. Named the music director of the Academy of St Martin in the Fields in 2011, he is the only person to hold this post since Sir Neville Marriner formed the orchestra in 1958, and he recently renewed his contract through 2020.

An exclusive Sony Classical artist, he has recorded more than 40 CDs garnering Grammy, Mercury, Gramophone and Echo Klassik awards, and is a recipient of the Avery Fisher Prize. The Joshua Bell Virtual Reality video produced by Sony received a Lumiere Award. The Academy of St Martin in the Fields’ first release under Bell’s leadership, Beethoven Symphonies No. 4 and 7, debuted at No. 1 on the Billboard charts and was followed up by the critically acclaimed Bach. In 2016, Sony released Bell’s album For the Love of Brahms with the Academy of St Martin in the Fields, cellist Steven Isserlis and pianist Jeremy Denk, followed in 2017 by the Joshua Bell Classical Collection, a 14-CD set of Bell’s Sony recording highlights from the past 20 years. Soon to be released is Bell’s recording with the Academy of St Martin in the Fields of Bruch’s Scottish Fantasy and G Minor Concerto.

Convinced of the value of music as a diplomatic and educational tool, Bell participated in President Obama’s Committee on the Arts and Humanities’ first cultural mission to Cuba. He is also involved in Turnaround Arts, another project implemented by the Committee and the John F. Kennedy Center for the Performing Arts, which provides arts education to lowperforming elementary and middle schools.

Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18thcentury French bow by François Tourte.

Bell appears by arrangement with Park Avenue Artists and Primo Artists.

Press representation for Joshua Bell: Jane Covner, JAG Entertainment 18 MONDAVIART S.ORG

FURTHER LISTENING

by Jeff Hudson

JOSHUA BELL AND THE ACADEMY OF ST MARTIN IN THE FIELDS Joshua Bell’s association with the flashy Wieniawski Second Violin Concerto goes w-a-a-a-y back to his boyhood days.

“The first recording I remember buying was a cassette tape of Jascha Heifetz playing the Wieniawki Second Violin Concerto,” Bell told The Guardian in a January 2017 interview. “I would listen to it at summer camp under my bedcovers after ‘lights out.’”

You can still find that Jascha Heifetz recording of the Wieniawki Second Violin Concerto online (with the London Philharmonic Orchestra, Sir John Barbirolli conducting, recorded around 1940).

Bell also recorded the Wieniawski Second Violin Concerto quite early in his career, with the Cleveland Orchestra under the baton of Vladimir Ashkenazy. You can find that recording online as well, paired with the Tchaikovsky Violin Concerto, and as part of several compilation albums.

Bell also told The Guardian that “The first CD I bought was Mozart’s Requiem performed by Neville Marriner and the Academy of St Martin in the Fields … My first CD player had an alarm clock, and I set it to wake me up every day to this recording.

My family thought [waking up to the Requiem] was a bit morbid, but I found it an inspiring way to start the morning.”

Bell first worked with the Academy of St Martin in the Fields (under Marriner) when he was 18, on an album that featured the Bruch Violin Concerto and the Mendelssohn Violin Concerto. Bell reportedly wants to revisit the Mendelssohn concerto someday for another recording with the Academy.

Bell (who turned 50 last December) and the Academy are steadily working their way through the Beethoven symphonies. They recorded the 4th and 7th in 2013, and they’ve performed the 1st, 2nd, 3rd, 5th and 8th. This year, they add the 6th (on tonight’s program). “As for the 9th,” Bell told Stay Thirsty magazine about a year ago, “it will be a while before I am ready for that! … I shall keep doing (the Beethoven symphonies) as much as I can, and when I feel ready, I’ll record them.”

And this evening, if you like composer and bassist Edgar Meyer’s recent Overture for Violin and Orchestra (composed with Bell in mind, and premiered last year), check out the Academy’s interesting 15-minute podcast episode on SoundCloud with Bell and Meyer discussing the piece. (Meyer is no stranger here, having performed at the Mondavi Center several times.)

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

photo: Colin Gillen

photo: John D. Kelly

DANÚ AND GOITSE A World Stage Series Event Saturday, March 17, 2018 • 7PM Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Cliff Popejoy DANÚ Nell Ní Chróinín lead vocals, flutes, whistles Benny McCarthy button accordion Oisin McAuley fiddle, backing vocals Eamon Doorley Irish bouzouki Ivan Goff Uilleann pipes, flute, whistles Tony Byrne guitar, backing vocals Amy Richter bodhran (Irish drum) GOITSE Áine McGeeney vocals, fiddle Colm Phelan bodhrán Tadhg Ó Meachair piano, piano accordion Conal O’Kane guitar Alan Reid banjo, mandolin

DANÚ Hailing from County Waterford, Kerry, Dublin and Donegal in Ireland, Danú is one of the leading traditional Irish ensembles of today. Their standing-room-only concerts throughout Ireland are true events featuring high-energy performances and a glorious mix of ancient Irish music and new repertoire.

For over a decade, Danú’s virtuosi players on flute, tin whistle, fiddle, button accordion, bouzouki,and vocals (Irish and English), have performed around the globe and recorded seven critically acclaimed albums. Their live DVD, One Night Stand, was filmed at Vicar St. Dublin. Winners of numerous awards from the BBC and Irish Music Magazine, Danú has toured throughout Europe and North America with stops at the Hollywood Bowl in Los Angeles and Symphony Space in New York City. Danú takes its audiences on a musical journey to their native Ireland, offering a moving and memorable concert experience. Danú’s popular recordings are available on the Shanachie label and live performances are often broadcast on NPR, the CBC and the BBC.

GOITSE The popular and multi-award-winning quintet Goitse was forged in the white-hot creative crucible of Limerick’s Irish World Academy. Named Live Ireland’s Traditional Group of the Year, Chicago Irish American News’ Group of the Year, as well as winning the prestigious Freiburger International Leiter 2016 award in Germany, Goitse have become a leader of the new generation of traditional Irish ensembles.

Goitse has released four critically-acclaimed recordings and maintains a year-round touring schedule that includes performances throughout Ireland and the UK, Germany, France and the United States. Their distinctive sound lies in the quality of their own compositions, interspersed with traditional tunes from the countryside of Ireland and abroad, which make each performance unique. Laying the foundations for the music are World and All-Ireland Bodhrán Champion Colm Phelan and Conal O’Kane, who is quickly making a name for himself as one of the finest guitarists of his generation. The gripping rhythm section sets a powerful drive for the music while the sweet, charismatic voice of Áine McGeeney draws audiences into a song the way few performers can.

Together, the quintet Goitse makes what Irish Music magazine calls “Music that’s brimming with energy and creative zeal.”

encoremediagroup.com/programs 19

photo: Sandro Diener

ZURICH CHAMBER ORCHESTRA

Daniel Hope, music director and violin A Concert Series Event Monday, March 19, 2018 • 8PM Jackson Hall SPONSORED BY

PROGRAM TRIBUTE TO YEHUDI MENUHIN Concerto for Two Violins, Strings and Continuo in D Minor, BWV 1043

Vivace

Largo; ma non tanto

Allegro

INDIVIDUAL SUPPORT PROVIDED BY Thomas and Phyllis Farver

J. S. Bach

Daniel Hope, violin Donat Nussbaumer, violin

Introduction and Allegro for Strings, op. 47 Unfinished Journey for Violin and String Orchestra Commisioned by Daniel Hope for the 10th anniversary of Menuhin’s death

Edward Elgar Bechara El-Khoury

Daniel Hope, violin

Concerto for Violin and Orchestra in D Minor

Allegro

Andante

Allegro

Felix Mendelssohn

Daniel Hope, violin

INTERMISSION Tour Management: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 www.opus3artists.com 20 MONDAVIART S.ORG

String Quartet No. 14 in D Minor, D. 810 “Death and the Maiden” (version for string orchestra)

Allegro

Andante con moto

Scherzo: Allegro molto

Presto

Franz Schubert

ZURICH CHAMBER ORCHESTRA PROGRAM NOTES

TRIBUTE TO YEHUDI MENUHIN Yehudi Menuhin is the reason I became a violinist. I was privileged to know Menuhin all my life—as he used to say, I fell into his lap as a baby of 2.

For my parents, life in 1970s South Africa had become intolerable. We lived in Durban, where my father co-founded the literary magazine Bolt, publishing poems by writers of many races. From that moment on, his phone was tapped and my parents were placed under permanent surveillance. They had no option but to leave the country—my father was offered a so-called exit permit.

This meant we could leave—but never return.

My parents settled in London, where very soon, their money ran out. At the 11th hour, facing a calamity, we had some incredible luck: An employment agency offered my mother a compelling choice of part-time jobs: secretary to the Archbishop of Canterbury or to the violinist, Yehudi Menuhin. She chose Menuhin. What should have lasted six months, became 24 years.

Our life changed immediately, and forever.

I grew up in Menuhin’s house in Highgate, London, where my mother would take me every day to play while she worked. To this day, Menuhin’s violin sound remains in my ear, so unique and fascinatingly beautiful.

Many years later, with Menuhin in his role as conductor, we performed over 60 concerts around the world, including his final concert.

I have curated tonight’s program in celebration of Menuhin’s unique talent: It says a lot, too, about the diversity of his tastes in music. The Bach Concerto is one of the works I performed most with him; he discovered the Mendelssohn Concerto and gave its world première in New York in 1952; and I commissioned El-Khoury to write a work to commemorate the 10th anniversary of Menuhin’s death.

On March 7, 1999, I played Alfred Schnittke’s Concerto in Düsseldorf, conducted by Menuhin. It was to be his final concert. After the Schnittke, Menuhin encouraged me to play an encore. I spontaneously chose Ravel’s Kaddish, Ravel’s musical version of the Jewish prayer for the dead. I had grown up on Menuhin’s interpretation of this work and wanted to

dedicate it to him. Menuhin pushed me out onto the stage and, different than the other nights, sat amongst the orchestra listening to it. Perhaps it may have been in some way prophetic. Five days later, he passed away.

I am thrilled to be bringing this program to the United States, the country of Menuhin’s birth. Menuhin often called himself “my musical grandfather.” Now, in celebration of what would have been his centenary, my friends and I can pay our respects to this great musician in a way I feel sure he would have loved.

—Daniel Hope

CONCERTO FOR TWO VIOLINS, STRINGS AND CONTINUO IN D MINOR, BWV 1043 (1717–1723) JOHANN SEBASTIAN BACH (1685–1750)

It was long thought that Bach composed his three extant violin concertos—two for solo violin and one for two violins—while serving as “Court Kapellmeister and Director of the Princely Chamber Musicians” at AnhaltCöthen, north of Leipzig, from 1717 to 1723, a productive period for instrumental music when he wrote the Brandenburg Concertos, orchestral suites, many sonatas and suites for solo instruments and keyboard, suites and sonatas for unaccompanied violin and cello, and such important solo harpsichord pieces as the French Suites and Book I of The Well-Tempered Clavier. In the Bach tercentenary issue of Early Music published in May 1985, however, Harvard professor and Bach authority Christoph Wolff surmised from stylistic evidence and from the fact that the only extant performance materials for the Concerto in A Minor (BWV 1041) and the Concerto in D Minor for Two Violins (BWV 1043) were copied around 1730 that at least those two works date from the years (1729–1736) that Bach was directing the Leipzig Collegium Musicum, the city’s leading concert-giving organization.

The first movement of the Concerto for Two Violins is filled with a darkly expressive vitality. In the second movement, one of the most poignantly beautiful pieces of music ever written, the soloists soar above a simple accompaniment from the orchestra, which, unlike the first and third movements, makes no attempt to converse with them. This gently swaying lullaby, in a key suffused with cool sunlight, is full of surpassing calm and

ravishing beauty. The sense of urgency and drama from the first movement returns in the finale.

INTRODUCTION AND ALLEGRO FOR STRINGS, OP. 47 (1905)

EDWARD ELGAR (1857–1934)

When the London Symphony Orchestra (LSO) was formed in 1904 by a band of disgruntled musicians who quit Henry Woods’ popular Promenade Concerts Orchestra, A. J. Jaeger of the music publisher Novello and Company asked his friend Edward Elgar to contribute a piece for the ensemble’s inaugural season. In October 1904, Jaeger inquired, “I hope you can write the Symphony Orchestra a short new work.

Why not a brilliant quick String Scherzo, or something for those fine strings only? A real bring-down-the-house torrent of a thing as Bach could write ... It wouldn’t take away from your big work for long. You might even write a modern Fugue …” Elgar was riding the greatest wave of success of his life at the time, not only receiving a cartful of honorary doctorates from universities on both sides of the Atlantic, but also having his name appear on the Queen’s List for knighthood that year. He decided to tackle the work for the new orchestra, and started it right after the Christmas holidays. On January 26, 1905, he wrote to Jaeger, “I’m doing that string thing in time for the Symphony Orchestra concert. Intro: & Allegro—no working-out part but a devil of a fugue instead. G major and the second divvel [section] in G minor with all sorts of japes and counterpoint.”

Elgar completed the work on February 13, 1905, and conducted the premiere only three weeks later (March 8) with the fledgling LSO. The exceptionally fine quality of the Introduction and Allegro was not immediately recognized by the audience, but Alice, the composer’s wife and one of his shrewdest critics, said, “Many people think it is the finest thing he has written.” Time has proven her correct.

The Introduction and Allegro resembles the opening movement of a symphony in form, but instead of a development section (Elgar’s “working-out” mentioned above) there is an elaborate fugue. The slow introduction opens with a short, bold statement for the full ensemble. After the quartet presents a quicker motive that encoremediagroup.com/programs 21

ZURICH CHAMBER ORCHESTRA becomes the main theme of the Allegro, the solo viola sings a folkish tune, which is then taken up by the entire orchestra. Another hearing of the bold opening gesture and a quiet recall of the folkish tune leads to the Allegro. There are three large theme groups in its expository section: a flowing melody that describes a perfect arch shape; a skittering succession of 16th notes traded between quartet and orchestra; and a grand tune (marked “nobilmente” in the score) based on the work’s opening measures. In place of a development is a sturdy fugue, a contrapuntal tour-de-force that is one of the great achievements in Elgar’s music. A recapitulation of the three theme groups from the exposition occupies much of the remainder of the work, with a coda built on a grand statement of the folkish tune and the main theme of the Allegro.

UNFINISHED JOURNEY FOR VIOLIN AND STRING ORCHESTRA (2009)

BECHARA EL-KHOURY (B. 1957)

Bechara El-Khoury, born into a Christian family in Beirut, Lebanon, in 1957, was thoroughly trained in music as a youngster and early on demonstrated exceptional gifts as a composer, pianist, conductor, chorus-master and poet—he wrote some 100 musical compositions, published three volumes of poetry and was appointed choir director of the Church of Saint Elias in Antelias while he was still a teenager. In 1979, El-Khoury moved to Paris and came to prominence in 1983, when Erato released a two-record album of his symphonic and concert music and a televised gala concert organized for the centenary of celebrated Lebanese-American artist, poet and philosopher Khalil Gibran featured his compositions. His music has since been performed by distinguished orchestras and soloists across Europe and America and recorded extensively on the Naxos and Forlane labels. His distinctions include the Lebanese Broadcasting Corporation International’s Prize for Arts and Culture, Prix Rossini of the Académie des Beaux-Arts (Institut de France) and Knighthood in the National Order of the Cedars of Lebanon; in 2003, his Les Fleuves Engloutis (The Rivers Engulfed) was a finalist in the Masterprize International Competition in London.

Unfinished Journey for Violin and Strings was commissioned for Daniel Hope 22 MONDAVIART S.ORG

in 2009 as a tribute to humanitarian, conductor and violinist Yehudi Menuhin on the 10th anniversary of his death by the Menuhin Festival Gstaad, founded by him in 1957, where El-Khoury was composer-in-residence that summer.

Unfinished Journey holds a deep significance for Hope, whose grandparents escaped Germany for South Africa during World War II and whose outspokenly anti-apartheid parents in turn had to flee to London when Daniel was 2. There, his mother became secretary to Menuhin and eventually his longtime manager. Two years later, the piece became the musical and emotional core around which El-Khoury created his War Concerto for Hope, and his thoughts about that work relate directly to the expressive intent of Unfinished Journey: “It was inspired by the story of Daniel Hope’s family, their uprooting, and specifically the memory of his grandparents and their escape from Germany. It is also my story: an uprooted Christian who left Lebanon for Paris in 1979 after having lived for several years in the face of war under daily bombardment. This music is a journey whose final destination is still unknown or does not yet exist: It represents the voice of hope at the heart of the human drama.”

CONCERTO FOR VIOLIN AND ORCHESTRA IN D MINOR (1823)

FELIX MENDELSSOHN (1809–1847)

A frequent participant in the concerts in the Berlin home of the Mendelssohn family was Eduard Rietz, a close friend of young Felix and a violinist of excellent talent and taste. Rietz, born in Berlin in 1802 (seven years before Mendelssohn), was the son of a musical family—his father was a musician at the Prussian court; his brother, Julius, a noted cellist, conductor and composer, succeeded Mendelssohn as director of the Leipzig Gewandhaus concerts upon the composer’s death in 1847 and edited his complete works for publication in the 1870s.

In appreciation and friendship, Mendelssohn composed the Violin Concerto in D Minor for Rietz in 1822, and three years later presented him with the superb Octet for Strings as a birthday gift.

The D-minor violin concerto of 1822 (the famous E-minor concerto was written 22 years later) opens with a long orchestral introduction that presents the

first movement’s two dominant thematic ideas: a falling scalar figure in quick notes and a gentler motive that moves gradually upward by small steps. The violin enters and provides flowing embellishments around these thematic materials. There is a certain exuberantly youthful showing-off in the lengthy and adventurous development section, but Mendelssohn’s innate sense of good taste and formal balance exerted itself by omitting the gentle second theme from the recapitulation. The young composer may have regarded the Andante as an experiment in harmony, a way of seeing how chromaticism, modulation and passages in minor keys could heighten the emotional effect of the D-major tonality in which the movement begins and ends. The finale is a nimble rondo of feather-stitched figurations and buoyant spirits.

STRING QUARTET NO. 14 IN D MINOR, D. 810 “DEATH AND THE MAIDEN” (1824) FRANZ SCHUBERT (1797–1828) When Wilhelmine von Chezy’s play Rosamunde, with extensive incidental music

by Franz Schubert, was hooted off the stage at its premiere in Vienna on December 20, 1823, the 27-year-old composer decided to turn his efforts away from the theater, where he had found only frustration, and devote more attention to his purely instrumental music. The major works of 1823—the operas Fierrabras and Der häusliche Krieg, the song cycle Die schöne Müllerin and Rosamunde— gave way to the String Quartets in D Minor (“Death and the Maiden”) and A Minor, the A-Minor Cello Sonata (“Arpeggione”), several sets of variations and German Dances, and the Octet.

The first movement of the D-minor quartet opens with a bold, dramatic gesture, founded upon a pregnant triplet-rhythm motive. This opening motive is whipped into a considerable frenzy before the music quiets, pauses on two chords surrounded by silence, and then launches into the subsidiary subject, a lilting violin duet of contrasting lyrical quality. The development section is a compact and closely worked contrapuntal elaboration of the second theme. A rising wave of expressive tension leads without pause to the recapitulation, which is announced by a stark, barren octave splayed across the full ensemble.

The sobriquet of the D-minor quartet— “Death and the Maiden”—is derived from the source of the theme of its second movement, a song Schubert had composed on a poem of that title by Matthias Claudius in February 1817. Claudius’ brief text contrasts the terror of a young girl (“Pass by, horrible skeleton! Do not touch me!”) with the mock-soothing words of death (“I am your friend. Be of good cheer! I am not fierce!

You shall sleep softly in my arms!”). The song begins with a piano introduction depicting the solemn tread of death, continues with the maiden’s music of panic and fear and ends with the words of death set to the strains of the introduction. It is from the opening and closing sections of the song that Schubert borrowed the theme for the quartet, which he worked as a set of five variations. The Scherzo, with its unsettling rhythmic syncopations and restless expression, reinstates the defiant mood of the first movement. The finale, a feverish tarantella, combines formal elements of rondo and sonata.

—Richard E. Rodda, Ph.D., 2018

ZURICH CHAMBER ORCHESTRA Founded in 1945 by Edmond de Stoutz, the Zurich Chamber Orchestra is one of the leading ensembles of its kind. Under the direction of Edmond de Stoutz, and later Howard Griffiths and Muhai Tang, the orchestra won international recognition. In the years of the world-acclaimed Principal Conductor Sir Roger Norrington, from 2011 to 2015, the Zurich Chamber Orchestra did much to establish and enhance its excellent reputation. Since the 2016–17 season the orchestra is led for the first time not by a conductor but, in the person of Music Director Daniel Hope, by an instrumentalist.

Regular invitations to international festivals, performances in Europe’s leading centers of music, concert tours on almost all continents and numerous critically acclaimed CD releases testify to the worldwide renown of the Zurich Chamber Orchestra. In 2017, two of the orchestra’s CD releases were honored with an ECHO Klassik Award in the Classics Without Borders category.

The repertoire is broadly based, extending from the Baroque (in historically informed performance on gut strings and with Baroque bows) through the Classical and encoremediagroup.com/programs 23

ZURICH CHAMBER ORCHESTRA Romantic eras to the present day. The orchestra is also notable for its work with musicians from other fields such as jazz, folk music, and popular entertainment. The concerts for children of all ages, outreach work with children and young people and encouragement of young instrumentalists are in every way as important to the Zurich Chamber Orchestra as its close and continuing collaboration with worldrenowned soloists.

DANIEL HOPE

MUSIC DIRECTOR, VIOLIN The violinist Daniel Hope has toured the world as a virtuoso soloist for 25 years and is celebrated for his musical versatility as well as his dedication to humanitarian causes. Winner of the 2015 European Cultural Prize for Music, whose previous recipients include Daniel Barenboim, Plácido Domingo and the Berlin Philharmonic Orchestra, Hope appears as soloist with the world’s major orchestras and conductors, also directing many ensembles from the violin. Since the start of the 2016–17 season, Hope is music director of the Zurich Chamber Orchestra—an orchestra with whom he is closely associated since his early childhood.

In March 2017, he released his latest album For Seasons. It is Hope’s very personal homage to the seasons featuring 12 single works—exclusively dedicated to each month of the year—and the Four Seasons by Antonio Vivaldi, accompanied by the Zurich Chamber Orchestra. This album was awarded the 2017 ECHO Klassik prize. Hope has been an exclusive Deutsche Grammophon artist since 2007. In early October 2017, the documentary Daniel Hope—The Sound of Life will be screened in European Movie Theatres.

Daniel Hope was raised in London and studied the violin with Zakhar Bron. The youngest ever member of the Beaux Arts Trio during its final six seasons, today Hope performs at all the world’s greatest halls and festivals: from Carnegie Hall to the Concertgebouw Amsterdam, from Salzburg to Schleswig-Holstein and MecklenburgVorpommern (where he was artistic director from 2009 to 2013) and from Aspen to the BBC Proms and Tanglewood. He has worked 24 MONDAVIART S.ORG

with conductors including Kurt Masur, Kent Nagano and Christian Thielemann, as well as with the world’s greatest symphony orchestras, including Boston, Chicago, Berlin, Paris, London, Los Angeles and Tokyo.

Devoted to contemporary music, Hope has commissioned over 30 works, enjoying close contact with composers such as Alfred Schnittke, Toru Takemitsu, Harrison Birtwistle, Sofia Gubaidulina, György Kurtág, Peter Maxwell-Davies and Mark-Anthony Turnage.

Daniel Hope is one of the world’s most prolific Classical recording artists, with over 25 albums to his name. His recordings have won the Deutsche Schallplattenpreis, the Diapason d’Or of the Year, the Edison Classical Award, the Prix Caecilia, seven ECHO-Klassik Awards and numerous Grammy nominations. His album of Mendelssohn’s Violin Concerto and Octet with the Chamber Orchestra of Europe was named one of the best of the year by the New York Times. His recording of Alban Berg’s Concerto was voted Gramophone Magazine’s “top choice of all available recordings.”

His recording of Max Richter’s Vivaldi Recomposed, which reached No. 1 in over 22 countries is, with 160,000 copies sold, one of the most successful Classical recordings of recent times.

Daniel Hope has penned four bestselling books published in Germany by the Rowohlt publishing company. He contributes regularly to The Wall Street Journal and has written scripts for collaborative performances with the actors Klaus Maria Brandauer, Sebastian Koch and Mia Farrow.

In Germany he also presents a weekly radio show for the WDR3 Channel and curates, since the 2016–17 season his own series Hope@9pm, a music and discussion event with well known guests from culture and politics at the Konzerthaus Berlin. Since 2004 Hope has been associate artistic director of the Savannah Music Festival.

From September 2017, he will begin a new role as “artistic partner” of the New Century Chamber Orchestra in San Francisco, directing the Ensemble from the violin.

Hope plays the 1742 “ex-Lipiński” Guarneri del Gesù, placed generously at his disposal by an anonymous family from Germany. He lives with his family in Berlin.

DONAT NUSSBAUMER

VIOLIN

Donat Nussbaumer studied with Francoise Zöldy-Pfister and graduated with a teaching diploma in 1992. Advanced studies followed with Uwe-Martin Haiberg at the University of the Arts Berlin and Thomas Füri at the Music Academy in Basel, leading to the concert examination. He attended the master classes of Igor Oistrakh and Vladimir Spivakov.

Nussbaumer won first prize in a number of competitions such as the Young Soloists of the Canton of Zurich and the Zurich Kiwanis Chamber Music Competition, and for many years was in receipt of a study scholarship from the Migros-Genossenschaftsbund and the Bursary of the Canton of Schwyz. He has appeared as a soloist and has gained orchestral experience as a member of the Festival Strings of Lucerne and other ensembles. From 1998 to 2003 he was deputy section leader of the second violins in the Radio Symphony Orchestra of Berlin and since 2003 he has been the deputy leader of the Zurich Chamber Orchestra.

FURTHER LISTENING

by Jeff Hudson

DANIEL HOPE AND THE ZURICH CHAMBER ORCHESTRA I saw Daniel Hope perform with the New Century Chamber Orchestra (a Bay Area ensemble) back in February 2016, and I was favorably impressed. The concert was titled “Hope for Menuhin,” and the program—a tribute to his mentor, violinist Yehudi Menuhin—featured some of the same music to be heard at the Mondavi Center this evening. Some of this music is also found on Hope’s 2016 album My Tribute to Yehudi Menuhin (on the Deutsche Grammophon label).

“Yehudi Menuhin is the reason I became a violinist,” Hope wrote in his notes for that album. “As he used to say, I fell into his lap as a baby of 2.” And Hope relates how his parents left segregated South Africa (where Hope was born in 1973) and moved to London, where his mother became Menuhin’s longtime secretary. Menuhin, at that time, was a legendary concert veteran (he debuted in San Francisco in 1924, at age 7; he recorded the Elgar’s Violin Concerto (with Elgar conducting) in 1932; he was the first Jewish artist to perform with the Berlin Philharmonic after the war. And Hope went on to study with Menuhin, and he performed with Menuhin in over 60 concerts around the world—Menuhin sometimes referred to himself as Hope’s “musical grandfather.”

You may also want to check out Hope’s 2017 album For Seasons (also on Deutsche Grammophon), which includes the familiar Vivaldi Four Seasons (recorded with the Zurich Chamber Orchestra) as well as shorter pieces by figures ranging from French Baroque composer Jean-Philippe Rameau to contemporary British pop artist Aphex Twin. This interdisciplinary album recently picked up one of Europe’s ECHO Klassik awards (in the Classical Without Borders category).

Hope became the principal conductor of the Zurich Chamber Orchestra in 2016, succeeding Roger Norrington (the Zurich Chamber Orchestra’s discography extends back over 50 years, under various conductors, including founder Edmond de Stoutz).

And Hope has a somewhat parallel position as artistic partner with the New Century Chamber Orchestra (founded in 1992 in the Bay Area), succeeding Nadja SalernoSonnenberg. With both groups, Hope participates as both conductor and soloist.

Working regularly with orchestras in Zurich and San Francisco doubtless contributes prodigiously to Hope’s frequent flier mileage. If you want to check out the New Century Chamber Orchestra, that ensemble—sans Hope—will be performing at the Mondavi Center with pianist Simone Dinnerstein on May 16, 2018.

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

ZURICH CHAMBER ORCHESTRA Daniel Hope, solo violin and music director

VIOLIN 1

Donat Nussbauer, assistant concertmaster Kio Seiler Jana Karsko Tanja Sonc Asa Konishi

VIOLIN 2

Daria Zappa Anna Tchinaeva Inès Morin Arlette Meier-Hock Jakub Nitsche

VIOLA

Ryszard Groblewski Frauke Tometten Pierre Tissonnier Micha Rothenberger

VIOLONCELLO

Nicola Mosca Anna Tyka Nyffenegger Cecilia Garcia

DOUBLE BASS

Seon-Deok Baik Hayk Khachatryan

HARPSICHORD

Naoki Kitaya

LUTHE

Emanuele Forni

HARP

Jane Berthe

FOR OPUS 3 ARTISTS

David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists & Attractions Tania Leong, Associate, Touring Division John C. Gilliland III, Company Manager

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JAZZ AT LINCOLN CENTER ORCHESTRA WITH CHICK COREA A Jackson Hall Jazz Series Event

CHICK COREA

Wednesday, March 21, 2018 • 8PM

Since embarking on a solo career in 1966, Chick Corea has been at the forefront of jazz, both as a renowned pianist forging new ground with his acoustic jazz bands and as an innovative electric keyboardist with Return to Forever, the Elektric Band and now the electro/acoustic Vigil.

His extensive discography boasts numerous albums, beginning with his 1968 classic, Now He Sings, Now He Sobs.

A DownBeat Hall of Famer and NEA Jazz Master, 22-time Grammy winner and keyboard virtuoso, Corea has attained living legend status after five decades of unparalleled creativity and an artistic output that is simply staggering.

Corea is the fourth most–nominated artist in the history of the Grammys, with 63 nominations. He’s also earned three Latin Grammy Awards, the most of any artist in the Best Instrumental Album category.

From straight ahead to avant-garde, bebop to fusion, children’s songs to chamber music, along with some far-reaching forays into symphonic works, Corea has touched an astonishing number of musical bases in his illustrious career, while maintaining a standard of excellence that is awe-inspiring. A tirelessly creative spirit, Corea continues to forge ahead, continually reinventing himself in the process.

Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

David Rocke and Janine Mozée

JAZZ AT LINCOLN CENTER ORCHESTRA Ryan Kisor trumpet Kenny Rampton trumpet Marcus Printup trumpet Vincent Gardner trombone Chris Crenshaw trombone Elliot Mason trombone Sherman Irby alto and soprano saxophones, flute, clarinet Ted Nash alto and soprano saxophones, flute, clarinet

26 MONDAVIART S.ORG

Victor Goines tenor and soprano saxophones, clarinet, bass clarinet Walter Blanding tenor and soprano saxophones, clarinet Paul Nedzela baritone and soprano saxophones, bass clarinet Dan Nimmer piano Carlos Henriquez bass Ali Jackson drums

JAZZ AT LINCOLN CENTER ORCHESTRA The Jazz at Lincoln Center Orchestra (JLCO), comprising 15 of the finest jazz soloists and ensemble players today, has been the Jazz at Lincoln Center resident orchestra since 1988. Featured in all aspects of Jazz at Lincoln Center’s programming, this remarkably versatile orchestra performs and leads educational events in New York, across the U.S. and around the globe with an ever-expanding roster of guest artists. Under Music Director Wynton Marsalis, the Jazz at Lincoln Center Orchestra performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Centercommissioned works, including compositions and arrangements by Duke

Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman, Charles Mingus and many others.

Education is a major part of Jazz at Lincoln Center’s mission; its educational activities are coordinated with concert and Jazz at Lincoln Center Orchestra tour programming. These programs include the celebrated Jazz for Young People family concert series, the Essentially Ellington High School Jazz Band Competition & Festival, the Jazz for Young People Curriculum, educational residencies, workshops and concerts for students and adults worldwide.

Jazz at Lincoln Center, NPR Music and WBGO have partnered to create the next generation of jazz programming in public radio: Jazz Night in America. The series showcases today’s vital jazz scene while also underscoring the genre’s storied history.

Hosted by bassist Christian McBride, the program features hand-picked performances from across the country, woven with the colorful stories of the artists behind them. Jazz Night in America and Jazz at Lincoln Center’s radio archive can be found at jazz.org/radio.

Over the past few years, the Jazz at Lincoln Center Orchestra has performed collaborations with many of the world’s leading symphony orchestras, including the New York Philharmonic, the Russian National Orchestra, the Berlin Philharmonic Orchestra, the Boston, Chicago and London Symphony Orchestras; the Orchestra Esperimentale in São Paolo, Brazil; and others. In 2006, the Jazz at Lincoln Center Orchestra collaborated with Ghanaian drum collective Odadaa!, led by Yacub Addy, to perform Congo Square, a composition Marsalis and Addy co-wrote and dedicated to Marsalis’ native New Orleans. The Jazz at Lincoln Center Orchestra performed Marsalis’ symphony, Swing Symphony, with the Berliner Philharmoniker in Berlin and with the New York Philharmonic in New York City in 2010 and with the Los Angeles Philharmonic in Los Angeles in 2011. Swing Symphony is a co-commission by the New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic and The Barbican Centre.

Concerts by the Jazz at Lincoln Center Orchestra have aired in the U.S. and around the world, including live broadcasts on XM Satellite Radio and PBS stations nationwide. The Jazz at Lincoln Center’s Higher Ground Benefit Concert raised funds for the Higher Ground Relief Fund that was established by Jazz at Lincoln Center and administered through the Baton Rouge Area Foundation to benefit the musicians, music industry–related enterprises, and other individuals and entities from the areas in

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JAZZ AT LINCOLN CENTER ORCHESTRA WITH CHICK COREA Greater New Orleans who were impacted by Hurricane Katrina. The band is also featured on the Higher Ground Benefit Concert CD that was released on Blue Note Records following the concert. In 2015, Jazz at Lincoln Center announced the launch of Blue Engine Records, a new platform to make its vast archive of recorded concerts available to jazz audiences everywhere. The label is dedicated to releasing new studio and live recordings as well as

archival recordings from past Jazz at Lincoln Center performances, and its first record—Live in Cuba, recorded on a historic 2010 trip to Havana by the Jazz at Lincoln Center Orchestra with Wynton Marsalis—was released in October 2015. Blue Engine’s second offering— Carlos Henriquez’s The Bronx Pyramid—was released in 2016, as was Big Band Holidays from the Jazz at Lincoln Center Orchestra with Wynton Marsalis. The most recent release

March is Membership Month at the Mondavi Center Your support as a Mondavi Center member helps strengthen the performing arts events and education programs we offer throughout the region.

In appreciation and recognition of this support, Mondavi Center provides year-long benefits that help enhance members’ enjoyment of the arts.

Learn more about becoming a new Mondavi Center member, review membership benefits or renew your membership by: Visiting our website: mondaviarts.org/ways-to-give, or Calling Mondavi Center membership staff at 530.754.5438

28 MONDAVIART S.ORG

is The Abyssinian Mass, a Wynton Marsalis composition featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis, Damien Sneed, 70-piece Gospel Choir Chorale Le Chateau, and special guest Reverend Dr. Calvin O. Butts, III. To date, 14 other recordings featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis have been released and internationally distributed.

RYAN KISOR (trumpet) was born on April 12, 1973, in Sioux City, Iowa, and began playing trumpet at age 4. In 1990, he won first prize at the Thelonious Monk Institute’s first annual Louis Armstrong Trumpet Competition. Kisor enrolled in Manhattan School of Music in 1991, where he studied with trumpeter Lew Soloff.

He has performed or recorded with the Mingus Big Band, the Gil Evans Orchestra, Horace Silver, Gerry Mulligan and Charlie Haden’s Liberation Music Orchestra, the Carnegie Hall Jazz Band, the Philip Morris Jazz All-Stars and others. In addition to being an active sideman, Kisor has recorded several albums as a leader, including Battle Cry (1997), The Usual Suspects (1998) and Point of Arrival (2000). He has been a member of the Jazz at Lincoln Center Orchestra since 1994.

KENNY RAMPTON (trumpet) joined the Jazz at Lincoln Center Orchestra in 2010. In addition to performing in the JLCO, Rampton leads his own groups. He released his debut solo CD Moon Over Babylon in 2013. He is also the trumpet voice for the popular PBS TV series Sesame Street. In the summer of 2010, Rampton performed with The Scottish National Jazz Orchestra at the Edinburgh International Festival and was the featured soloist on the Miles Davis/Gil Evans classic version of Porgy and Bess. Rampton has been a regular member of The Mingus Big Band/ Orchestra/Dynasty, Mingus Epitaph (under the direction of Gunther Schuller), George Gruntz’ Concert Jazz Band, Chico O’Farrill’s Afro-Cuban Jazz Orchestra, Bebo Valdez’ Latin Jazz All-Stars, and The Manhattan Jazz Orchestra. He spent much of the 1990s touring the world with The Ray Charles Orchestra, The Jimmy McGriff Quartet, legendary jazz drummer Panama Francis (and the Savoy Sultans), as well as jazz greats Jon Hendricks, Lionel Hampton and Illinois Jacquet. As a sideman, Rampton has also performed with Dr. John, Christian McBride, The Maria Schneider Orchestra, Charles Earland, Geoff Keezer and a

host of others. Some of Rampton’s Broadway credits include Anything Goes, Finian’s Rainbow, The Wiz, Gentlemen Prefer Blondes, Young Frankenstein, and The Color Purple.

MARCUS PRINTUP (trumpet) was born and raised in Conyers, Georgia. His first musical experiences were hearing the fiery gospel music his parents sang in church. While attending the University of North Florida on a music scholarship, he won the International Trumpet Guild Jazz Trumpet competition. In 1991, Printup’s life changed when he met his mentor, the great pianist Marcus Roberts, who introduced him to Wynton Marsalis. This led to Printup’s induction into the Jazz at Lincoln Center Orchestra in 1993. Printup has recorded with Betty Carter, Dianne Reeves, Eric Reed, Madeline Peyroux, Ted Nash, Cyrus Chestnut, Wycliffe Gordon and Roberts, among others.

He has recorded several records as a leader: Song for the Beautiful Woman, Unveiled, Hub Songs, Nocturnal Traces, The New Boogaloo, Peace in the Abstract, Bird of Paradise, London Lullaby, Ballads All Night, A Time for Love, and his most recent, Homage (2012) and Desire (2013), featuring Riza Printup on the harp. He made a big screen appearance in the 1999 movie Playing by Heart and recorded on the film’s soundtrack. Education is important to Printup, as he is an in-demand clinician teaching middle schools, high schools and colleges across the U.S. He teaches privately at the prestigious Mannes New School of Music.

VINCENT GARDNER (trombone) was born in Chicago in 1972 and was raised in Hampton, Virginia. After singing, playing piano, violin, saxophone and French horn at an early age, he decided on the trombone at age 12. He attended Florida A&M University and the University of North Florida. He soon caught the ear of Mercer Ellington, who hired Gardner for his first professional job. He moved to Brooklyn, New York, after graduating from college, completed a world tour with Lauryn Hill in 2000 and then joined the Jazz at Lincoln Center Orchestra. Gardner has served as instructor at The Juilliard School, as visiting instructor at Florida State University and Michigan State University and as adjunct instructor at The New School. He is the director of the Jazz at Lincoln Center Youth Orchestra, and he has contributed many arrangements to the Jazz at Lincoln Center Orchestra and other ensembles. In

2009, he was commissioned by Jazz at Lincoln Center to write The Jesse B. Semple Suite, a 60-minute suite inspired by the short stories of Langston Hughes. In addition, Gardner is a popular instructor at Jazz at Lincoln Center’s ongoing jazz education program, Swing University, teaching courses on bebop and more. Gardner is featured on a number of notable recordings and has recorded five CDs as a leader for Steeplechase Records.

He has performed with The Duke Ellington Orchestra, Bobby McFerrin, Harry Connick, Jr., The Saturday Night Live Band, Chaka Khan, A Tribe Called Quest and many others. Gardner was chosen as the #1 Rising Star Trombonist in the 2014 DownBeat Critics Poll.

CHRIS CRENSHAW (trombone) was born in Thomson, Georgia, in 1982. Since birth, he has been driven by and surrounded by music. When he started playing piano at age 3, his teachers and fellow students noticed his aptitude for the instrument. This love for piano led to his first gig with Echoes of Joy, his father Casper’s gospel quartet group.

He started playing the trombone at 11, receiving honors and awards along the way.

He graduated from Thomson High School in 2001 and received his bachelor’s degree with honors in jazz performance from Valdosta State University in 2005. He was awarded Most Outstanding Student in the VSU Music Department and College of Arts. In 2007, Crenshaw received his master’s degree in jazz studies from The Juilliard School, where his teachers included Dr. Douglas Farwell and Wycliffe Gordon. He has appeared as a sideman on fellow JLCO trumpeter Marcus Printup’s Ballads All Night and on Wynton Marsalis and Eric Clapton Play the Blues. In 2006, Crenshaw joined the Jazz at Lincoln Center Orchestra, and in 2012 he composed God’s Trombones, a spiritually-focused work that was premiered by the orchestra at Jazz at Lincoln Center.

ELLIOT MASON (trombone) was born in England in 1977 and began trumpet lessons at age 4 with his father. At age 7, he switched his focus from trumpet to trombone. At 11 years old, he was performing in various venues, concentrating on jazz and improvisation. At 16 years old, Mason was chosen to receive a full tuition scholarship to attend Berklee College of Music. He has won the following awards: Daily Telegraph

Young Jazz Soloist (under 25) Award, the prestigious Frank Rosolino Award, the International Trombone Association’s Under 29 Jazz Trombone competition, and Berklee’s Slide Hampton Award in recognition of outstanding performance abilities. He moved to New York City after graduation, and in 2008 Mason joined Northwestern University’s faculty as the jazz trombone instructor. Mason has performed with Count Basie Orchestra, the Mingus Big Band, the Maria Schneider Orchestra, and the Maynard Ferguson Big Bop Nouveau. A member of the Jazz at Lincoln Center Orchestra since 2006, Mason also continues to co-lead the Mason Brothers Quintet with his brother. The Mason Brothers released their debut album, Two Sides, One Story in 2011.

SHERMAN IRBY (alto and soprano saxophones, flute, clarinet) was born and raised in Tuscaloosa, Alabama. He found his musical calling at age 12, and in high school he played and recorded with gospel immortal James Cleveland. He graduated from Clark Atlanta University with a B.A. in music education. In 1991 he joined Johnny O’Neal’s Atlanta-based quintet.

In 1994 he moved to New York City and recorded his first two albums, Full Circle (1996) and Big Mama’s Biscuits (1998) on Blue Note. Irby toured the U.S. and the Caribbean with the Boys Choir of Harlem in 1995 and was a member of the Jazz at Lincoln Center Orchestra from 1995 to 1997.

During that tenure he also recorded and toured with Marcus Roberts and was part of Betty Carter’s Jazz Ahead Program and Roy Hargrove’s ensemble. After a four-year stint with Roy Hargrove, Irby focused on his own group, in addition to being a member of Elvin Jones’ ensemble in 2004 and then Papo Vazquez’ Vazquez’s Pirates Troubadours after Jones’ passing. From 2003 to 2011, Irby was the regional director for JazzMasters Workshop, mentoring young children, and he has served as artist-in-residence for Jazz Camp West and an instructor for Monterey Jazz Festival Band Camp. He is a former board member for the CubaNOLA Collective.

He formed Black Warrior Records and released Black Warrior, Faith, Organ Starter, Live at the Otto Club, and Andy Farber’s This Could Be the Start of Something Big. Since rejoining, Irby has arranged much of the Jazz at Lincoln Center Orchestra’s music, and he encoremediagroup.com/programs 29

JAZZ AT LINCOLN CENTER ORCHESTRA WITH CHICK COREA has been commissioned to compose new works, including Twilight Sounds and his Dante-inspired ballet, Inferno.

TED NASH (alto and soprano saxophones, flute, clarinet) enjoys an extraordinary career as a performer, conductor, composer, arranger and educator. Born in Los Angeles into a musical family (his father, Dick Nash, and uncle, the late Ted Nash, were both

well-known jazz and studio musicians), Nash blossomed early, a “young lion” before the term became marketing vernacular. Nash has that uncanny ability to mix freedom with accessibility, blues with intellect, and risk-taking with clarity. His group Odeon has often been cited as a creative focus of jazz.

Many of Nash’s recordings have received critical acclaim and have appeared on the “best-of” lists in The New York Times, The

New Yorker, The Village Voice, and The Boston Globe. His recordings, The Mancini Project and Sidewalk Meeting, have been placed on several “best-of-decade” lists. His album Portrait in Seven Shades was recorded by the Jazz at Lincoln Center Orchestra and was released in 2010. The album is the first composition released by the JLCO featuring original music by a band member other than bandleader Wynton Marsalis. Nash’s latest album, Chakra, was released in 2013, and the Jazz at Lincoln Center Orchestra recently premiered his commissioned work, Presidential Suite, in 2014.

VICTOR GOINES (tenor and soprano saxophones, clarinet, bass clarinet) is a native of New Orleans, Louisiana. He has been a member of the Jazz at Lincoln Center Orchestra and the Wynton Marsalis Septet since 1993, touring throughout the world and recording over 20 albums. As a leader, Goines has recorded seven albums, including his latest releases, Pastels of Ballads and Blues (2007) and Love Dance (2007) on Criss Cross Records, and Twilight (2012) on Rosemary Joseph Records. A gifted composer, Goines has more than 50 original works to his credit, including 2014’s Crescent City, premiered by the Jazz at Lincoln Center Orchestra. He has recorded or performed with many noted jazz and popular artists including Ahmad Jamal, Ruth Brown, Dee Dee Bridgewater, Ray Charles, Bob Dylan, Dizzy Gillespie, Lenny Kravitz, Branford Marsalis, Ellis Marsalis, Dianne Reeves, Willie Nelson, Marcus Roberts, Diana Ross, Stevie Wonder and a host of others. He is the director of jazz studies and professor of music at Northwestern University. He received a Bachelor of Music degree from Loyola University in New Orleans in 1984, and a Master of Music degree from Virginia Commonwealth University in Richmond in 1990.

WALTER BLANDING (tenor and soprano saxophones, clarinet) was born into a musical family in 1971 in Cleveland, Ohio, and began playing the saxophone at age 6. In 1981, he moved with his family to New York City; by age 16, he was performing regularly with his parents at the Village Gate. Blanding attended LaGuardia High School of Music & Art and Performing Arts and continued his studies at the New School for Social Research, where he earned a BFA in 2005. His 1991 debut release, 30 MONDAVIART S.ORG

JAZZ AT LINCOLN CENTER ORCHESTRA WITH CHICK COREA Tough Young Tenors, was acclaimed as one of the best jazz albums of the year, and his artistry began to impress listeners and critics alike. He has been a member of the Jazz at Lincoln Center Orchestra since 1998 and has performed, toured and recorded with his own groups and with such renowned artists as the Cab Calloway Orchestra, Roy Hargrove, Hilton Ruiz, Count Basie Orchestra, Illinois Jacquet Big Band, Wycliffe Gordon, Marcus Roberts, Wynton Marsalis Quintet, Isaac Hayes and many others. Blanding lived in Israel for four years and had a major impact on the music scene while touring the country with his own ensemble and with U.S. artists such as Louis Hayes, Eric Reed, Vanessa Rubin, and others invited to perform there. He taught music in several Israeli schools and eventually opened his own private school in Tel Aviv. During this period, Newsweek International called him a “Jazz Ambassador to Israel.”

PAUL NEDZELA (baritone and soprano saxophones, bass clarinet) has become one of today’s top baritone saxophone players.

He has played with many renowned artists and ensembles, including Wess Anderson, George Benson, The Birdland Big Band, Bill Charlap, Chick Corea, Paquito D’Rivera, Michael Feinstein, Benny Golson, Wycliffe Gordon, Roy Haynes, Christian McBride, Eric Reed, Dianne Reeves, Herlin Riley, Maria Schneider, Frank Sinatra Jr., The Temptations, The Vanguard Jazz Orchestra, Reginald Veal and Max Weinberg. Nedzela has performed in Twyla Tharp’s Broadway show, Come Fly Away, and in major festivals around the world.

He has studied with some of the foremost baritone saxophonists in the world, including Joe Temperley, Gary Smulyan and Roger Rosenberg. Nedzela graduated with honors from McGill University in Montreal with a Bachelor of Arts degree in mathematics in

2006. A recipient of the Samuel L. Jackson Scholarship Award, he continued his musical studies at The Juilliard School and graduated with a Master of Music degree in 2008.

DAN NIMMER (piano) was born in 1982 in Milwaukee, Wisconsin. With prodigious technique and an innate sense of swing, his playing often recalls that of his own heroes, specifically Oscar Peterson, Wynton Kelly, Erroll Garner and Art Tatum. As a young man, Nimmer’s family inherited a piano and he started playing by ear. He studied Classical piano and eventually became interested in jazz. At the same time, he began playing gigs around Milwaukee. Upon graduation from high school, Nimmer left Milwaukee to study music at Northern Illinois University. It didn’t take him long to become one of Chicago’s busiest piano players. Working a lot in the Chicago scene, Nimmer decided to leave school and make the big move to New York City, where he immediately emerged in the New York scene. A year after moving to New York City, he became a member of the Jazz at Lincoln Center Orchestra and the Wynton Marsalis Quintet. Nimmer has worked with Norah Jones, Willie Nelson, Dianne Reeves, George Benson, Frank Wess, Clark Terry, Tom Jones, Benny Golson, Lewis Nash, Peter Washington, Ed Thigpen, Wess “Warmdaddy” Anderson, Fareed Haque, and many more. He has appeared on The Tonight Show with Jay Leno, The Late Show with David Letterman, The View, The Kennedy Center Honors, Live from Abbey Road, and PBS’ Live from Lincoln Center, among other broadcasts. He has released four of his own albums on the Venus label (Japan).

CARLOS HENRIQUEZ (bass) was born in 1979 in the Bronx, New York. He studied music at a young age, played guitar through junior high school and took up the bass while enrolled in The Juilliard School’s Music Advancement Program. He entered LaGuardia High School of Music & Arts and Performing Arts and was involved with the LaGuardia Concert Jazz Ensemble, which went on to win first place in Jazz at Lincoln Center’s Essentially Ellington High School Jazz Band Competition & Festival in 1996.

In 1998, swiftly after high school, Henriquez joined the Wynton Marsalis Septet and the Jazz at Lincoln Center Orchestra, touring the world and featured on more than 25 albums.

Henriquez has performed with artists,

32 MONDAVIART S.ORG

Southern Classics including Chucho Valdés, Paco De Lucía, Tito Puente, the Marsalis Family, Willie Nelson, Bob Dylan, Stevie Wonder, Lenny Kravitz, Marc Anthony, and many others. He has been a member of the music faculty at Northwestern University School of Music since 2008, and was music director of the Jazz at Lincoln Center Orchestra’s cultural exchange with the Cuban Institute of Music with Chucho Valdés in 2010.

Reimagined!

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ALI JACKSON (drums) developed his talent on drums at an early age. In 1993, he graduated from Cass Tech High School and in 1998 was the recipient of Michigan’s prestigious Artserv Emerging Artist award.

As a child, he was selected as the soloist for the “Beacons Of Jazz” concert that honored legend Max Roach at New School University.

After earning an undergraduate degree in music composition at the New School University for Contemporary Music, he studied under Elvin Jones and Max Roach.

Jackson has been part of Young Audiences, a program that educates New York City youth on jazz. He has performed and recorded with artists including Wynton Marsalis, Dee Dee Bridgewater, Aretha Franklin, George Benson, Harry Connick, Jr., KRS-1, Marcus Roberts, Joshua Redman, Vinx, Seito Kinen Orchestra conductor Seiji Ozawa, Diana Krall and the New York City Ballet. His production skills can be heard on George Benson’s GRP release Irreplaceable. Jackson is also featured on the Wynton Marsalis Quartet recordings The Magic Hour (Blue Note, 2004) and From the Plantation to the Penitentiary.

Jackson collaborated with jazz greats Cyrus Chestnut, Reginald Veal and James Carter on Gold Sounds (Brown Brothers, 2005) that transformed songs by indie alternative rock band Pavement into unique virtuosic interpretations with the attitude of the church and juke joint. He has been a member of the Jazz at Lincoln Center Orchestra since 2005. Jackson performs with the Wynton Marsalis Quintet, Horns in the Hood, and leads the Ali Jackson Quartet. He also hosted “Jammin’ with Jackson,” a series for young musicians at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola. He is also the voice of “Duck Ellington,” a character in the Penguin book series Baby Loves Jazz that was released in 2006.

satisfacti n — YOU’LL KNOW IT WHEN y u see it Welcome to a different place, Hyatt Place UC Davis, proud sponsor of the Mondavi Center. Here you’ll enjoy free Wi-Fi, roomy rooms and our a.m. Kitchen Skillet™ breakfast that’s free with your stay — along with every modern comfort you deserve. Plus, you’ll be near the Mondavi Center for Performing Arts, UC Davis Conference Center, minutes from downtown Davis, close proximity to the freeway and best of all our hotel is located on the University of California Davis Campus.

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encoremediagroup.com/programs 33

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†

L. J. Herrig Estate° 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

Helen and Jerome Suran Shipley and Dick Walters* Wells Fargo

Nancy M. Fisher Mary B. Horton* Diane M. Makley* Tony† and Joan Stone

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 Benjamin and Lynette Hart* †

† Mondavi Center Advisory Board Member 34 MONDAVIART S.ORG

Charles and Eva Hess 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* 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 Rebecca Newland 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 7 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 Gwendolyn Doebbert and Richard A. Epstein 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 John Pascoe and Susan Stover Nancy Petrisko and Don Beckham Prewoznik Foundation Joanna Regulska and Michael Curry John and Judith Reitan Kay Resler* Marshall and Maureen Rice 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

*Friends of Mondavi Center

Louise Kellogg and Douglas Neuhauser Paul Kramer 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 Morgan Rogers 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 6 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

° In Memoriam

Paula Higashi and Fred Taugher Michael and Margaret Hoffman Jan and Herb Hoover 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 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. Marian and Paul Ver Wey 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* Clark and Paula Allison 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 Marj 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

encoremediagroup.com/programs 35

MEMBERSHIP Kerim and Josie Friedrich Myra Gable Anne Garbeff* Dr. Gordon and Renee Garcia Peggy Gerick Fran Gibson Barbara Gladfelter Eleanor Glassburner Marnelle Gleason* and Louis J. Fox Kathy Gleed 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 Alan Hastings and Elaine Fingerett 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 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 Mary Jo Ormiston* 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

ARTISTIC VENTURES FUND

Jerry and Bea Pressler 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 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 Francie F. Teitelbaum 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 L. J. Herrig Estate° 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

36 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

Com

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 • Karen Karnopp • Hansen Kwok • Nancy Lawrence • Garry Maisel • Cliff Popejoy • Nancy Roe • Grace Rosenquist • Lawrence Shepard

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

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

HONORARY MEMBERS Barbara K. Jackson • Rosalie Vanderhoef

SPOTLIGHT ON

Community Engagement Beginning with the 2016–17 season, the Mondavi Center has been offering sensory-friendly experiences for children and adults on the autism spectrum.

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.

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

In collaboration with Curtis on Tour: Curtis Chamber Orchestra and Paul Dresher’s Sound Maze, community groups TEAM Davis, TEAM Dixon and TEAM Vacaville attended special events that included adaptations to make everyone feel comfortable, such as:

• • • • •

Relaxed arts experience where it is okay to talk and move about during the performance Pre-visit story guide Softer lighting and music Hands-on exploration Quiet room To find out more about future sensory-friendly offerings, contact Ruth Rosenberg, director of arts education and artist engagement at 530.752.6113 or rrosenberg@ucdavis.edu.

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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.)

38 MONDAVIART S.ORG

Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year.

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

YOUTH 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

DESIGN

“It’s Bugged: Insects’ Role in Design” NOW through APRIL 22

FREE

UC DAVIS DESIGN MUSEUM, CRUESS HALL, MONDAY–FRIDAY: NOON–4 PM, SUNDAY: 2-4 PM MUSIC

Jazz Bands of UC Davis MARCH 8 @ 7 PM

PITZER CENTER, RECITAL HALL ART

Aliza Nisenbaum

BETTY JEAN AND WAYNE THIEBAUD ENDOWED LECTURE

MARCH 9 @ 4 PM

FREE

MANETTI SHREM MUSEUM, COMMUNITY EDUCATION ROOM MUSIC

UC Davis Symphony Orchestra, University and Alumni Choruses WORKS BY MAHLER, SAINT-SAËNS AND VAUGHAN WILLIAMS

MARCH 11 @ 7 PM

MONDAVI CENTER, JACKSON HALL DESIGN

“Impression, Expression” Picnic Day Fashion Show APRIL 21 @ 11 AM & 1:30 PM

ACTIVITIES AND RECREATION CENTER (ARC) BALLROOM

ART & ART HISTORY

arts.ucdavis.edu

FOR TICKETS AND THE LATEST ARTS INFORMATION

ART STUDIO CINEMA & DIGITAL MEDIA DESIGN MUSIC THEATRE & DANCE

IMAGE CREDITS: Dragon Robe, China, late 19th Century, 100% silk with tapestry motifs. Gift of Susan Schwartz, JoAnn C. Stabb Design Collection; “Kayhan Reading The New York Times”

(Resistance Begins at Home) 2017, Oil on linen, 77 x 63 in; “Aspire” Picnic Day Fashion Show 2017, courtesy of UC Davis Fashion and Design Society