TH
ANNIVERSARY
APR–MAY 2018 Terence Blanchard featuring the E-Collective APR 20
MUSIC
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WELCOME A MESSAGE FROM THE CHANCELLOR
GARY S. MAY
UC DAVIS CHANCELLOR
“The Mondavi Center is a place of imagination.”
One of my first pleasures as the new UC Davis chancellor is to welcome all of you to the 15th anniversary season of the Robert and Margrit Mondavi Center for the Performing Arts. Our university is so fortunate to have such a spectacular public place of enjoyment and enrichment for our broader Northern California community. Together, we experience a remarkable array of highly acclaimed musicians, dancers, comedians and speakers from around the world. The Mondavi Center is a place of imagination, where we examine our own dreams and desires through the brilliant lens of artistic achievement we see on stage. This is also a place that invites free expression of all sorts of ideas, including those that may be unwelcome in other settings. Robert and Margrit Mondavi recognized the important role the arts play in the development of an enlightened society. It is a testament to their vision and generosity, as well as to the many donors and audience members who have filled the Mondavi Center with life, that we are celebrating our 15th anniversary season. I take inspiration from the UC Davis mission that grounds our teaching and research in public service. We aim to send our Aggies out into the world as well-rounded, true contributors to society. The Mondavi Center plays an important part in fulfilling this mission: giving students the opportunity to experience the arts, and giving our community a place to share in the awe and wonder of the world’s greatest performers.
Sincerely, Gary S. May Chancellor
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SPONSORS 15TH ANNIVERSARY SEASON SUPPORTERS Chan Family Fund John and Lois Crowe Patti Donlon Thomas and Phyllis Farver Wanda Lee Graves and Steve Duscha Anne Gray
Barbara K. Jackson Nancy Lawrence and Gordon Klein Diane M. Makley M.A. Morris William and Nancy Roe
CORPORATE PARTNERS SERIES
MONDAVI CENTER STAFF Don Roth, Ph. D.
EXECUTIVE DIRECTOR
Jeremy Ganter
ASSOCIATE EXECUTIVE DIRECTOR
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
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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
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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 that weird little mole is just a weird little mole?
CONCERNS, FEARS, UNANSWERED QUESTIONS...DON’T LET THEM HAUNT YOU. AFTER ALL, MOST AREN’T THAT SCARY. There’s a certain confidence and freedom that come from having clarity. And it all starts with a UC Davis doctor and an open door to an entire network of today’s most progressive and brightest medical minds. During OPEN ENROLLMENT, ask yourself the most crucial question first. The best answer…will immediately follow.
GET ALL THE ANSWERS YOU NEED TO THE MOST IMPORTANT QUESTION YOU CAN ASK. answers.ucdavis.edu
IN THIS ISSU
A Message from the Executive Director
Don Roth, Ph.D.
Executive Director
As our 15th anniversary season draws to a close, it is a good time to reflect on the many highlights of the past seven months. The remarkable U.S. debut of Carmen from the Compañía Nacional de Danza. Our first Open Mic Nights for UC Davis students. Remarkable concerts by the Royal Philharmonic Orchestra, Academy of St Martin in the Fields and the Bill Charlap Trio with Cecile McLorin Salvant. And a few Just Added presentations (including one by Secretary of State Hillary Clinton). And, as they say on late night TV, much, much more! These last two months of the season offer some final opportunities to engage with many of the forms we treasure: Speakers (J.D. Vance), Jazz (Terence Blanchard and Arturo O’Farrill), Classical (Vladimir Feltsman, New Century Chamber Orchestra and the San Francisco Symphony), American Heritage (Mark O’Connor) and a special treat in the Boston Pops on Tour playing the music of John Williams. As these varied, wonderful events unfold in the present, inside the Mondavi Center we always have a focus on the future. While Just Added events come about after months of planning, events like Carmen, are the end result of years of planning. This is true for the 2018–19 season which we are proudly announcing this month, years in the making, and a great source of pride for the Mondavi Center. The 2018–19 season continues some traditions and finds new ways to propel us forward. From our first hologram-based concert (Maria Callas in recital with the Sacramento Philharmonic) to a debut by jazz singer Veronica Swift. From the masterful Joan Baez, to the new generation of folk singers represented in I’m With Her. From the return of Ballet Preljocaj to the first visit by Company Wang Ramirez. From serious issues taken seriously (Jodi Kantor and Preet Bharara) to serious issues unfolded with a wicked grin (John Leguizamo). And, of course, there are always more Just Added performances waiting in the wings. We hope you continue to share these moments with family and friends and make these artists and the Mondavi Center a treasured aspect of your life. Sincerely,
Don 6 MONDAVIART S.ORG
ROBERT AND MARGRIT
MONDAVI CENTER FOR THE PERFORMING ARTS
8
J.D. Vance
11 Mark O’Connor featuring the O’Connor Band 12 The Boston Pops On Tour 17 Terence Blanchard featuring the E-Collective 18 Vladimir Feltsman 26 Arturo O’Farrill and the Afro Latin Jazz Orchestra 28 New Century Chamber Orchestra 34 San Francisco Symphony
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.
April/May 2018 Volume 5, No. 5
AN EXCLUSIVE WINE TASTING EXPERIENCE OF THESE FEATURED WINERIES FOR INNER CIRCLE DONORS
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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
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DECEMBER 8 FRI • 7–8PM
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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
Mark O’Connor featuring The O’Connor Band VINEYARD 511
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J.D. VANCE A Speaker Series Event
J.D. VANCE
Wednesday, April 11, 2018 • 8PM
J.D. Vance is an investor, commentator and author of the No. 1 New York Times best seller Hillbilly Elegy: A Memoir of a Family and Culture in Crisis, described by the National Review as a “brilliant book” and by The Economist as “one of the most important” reads of 2016. Ron Howard and Brian Grazer of Imagine Entertainment have announced plans to produce a movie based on Vance’s book. Raised by his working-class grandparents in Middletown, Ohio, Vance graduated from Middletown High School in 2003 and then immediately enlisted in the U.S. Marine Corps. During his time in the Marines, he deployed to Iraq in support of Operation Iraqi Freedom. When he finished his four-year enlistment, Vance enrolled at Ohio State University, where he studied political science and philosophy, and helped coordinate the university’s bipartisan voter education drive in 2008. After graduating from college, he studied at Yale Law School, where he worked at Yale’s Veterans Legal Services Clinic, providing free legal counsel to veterans of our nation’s wars in Vietnam and Iraq. Vance earned his law degree in 2013. After a stint at a large corporate law firm, Vance moved to San Francisco to work in the technology industry. He serves as a principal at a leading Silicon Valley venture capital firm, Mithril Capital, co-founded by Peter Thiel and Ajay Royan. As an investor, Vance has taken a special interest in the biotechnology industry and other transformative sectors of the economy. In early 2017, Vance joined AOL founder Steve Case’s venture capital company Revolution LLC as a partner, which concentrates on bolstering entrepreneurship and disruptive, high-growth companies outside of the sphere of Silicon Valley. He also returned home to Ohio to found Our Ohio Renewal, a nonprofit organization dedicated to addressing the state’s opioid crisis and bringing high-quality employment and educational opportunities to Ohioans. He regularly discusses politics and public policy, having appeared on ABC, CBS and FOX News, and serves as a contributor on CNN. Vance lives in Columbus, Ohio, with his wife and two dogs, where he works on his nonprofit and investment activities.
Jackson Hall SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY Lawrence Shepard Family Foundation Diane Makley Question & Answer Session Following the performance, moderated by Scott Syphax, president, Syphax Strategic Solutions; host and co-executive producer of Studio Sacramento on PBS affiliate KVIE Scott Syphax is the Emmy Award–winning executive producer, head writer and host of the California Capital region’s program of record, Studio Sacramento, discussing the issues and events that shape our region, our state and our nation. Syphax is the chief executive officer of Syphax Strategic Solutions, a Sacramentobased, national economic development, social enterprise and real estate development corporation focused on empowering low-wealth communities. He serves on the boards of Federal Home Loan Bank of San Francisco, Norcal Mutual Insurance Company, Medicus Insurance Company, FD Insurance Company, Valley Vision, the Bay Area Council, as well as the Mondavi Center’s advisory board.
8 MONDAVIART S.ORG
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MARK O’CONNOR FEATURING THE O’CONNOR BAND An American Heritage Series Event
MARK O’CONNOR
Friday, April 13, 2018 • 8PM
Mark O’Connor is an iconic, astonishingly versatile American violinist and composer who has had exceptional success melding various genres of music—country and bluegrass, jazz and classical—into his own unique style and voice. This has resulted in two Grammy awards, dozens of his own albums, collaborations with a diversity of other musicians, such as Yo-Yo Ma, Edgar Meyer, Renée Fleming, James Taylor, Chris Thile, Alison Krauss and Marin Alsop, and a playing method program widely used by string students. In 1986, O’Connor, Meyer, Béla Fleck, Jerry Douglas and Sam Bush formed the band Strength in Numbers, which played some of O’Connor’s own pieces. His first Grammy award came in 1991 for his album New Nashville Cats. O’Connor’s music became increasingly sophisticated, utilizing elements of folk, classical, jazz and world music—what he calls the “four pillars of string playing.” His first album on Sony Classical, Appalachia Waltz (1996), with cellist Yo-Yo Ma and bassist Meyer, impressed classical critics with its originality and attractiveness and became a huge crossover hit. The trio’s next
Jackson Hall SPONSORED BY
THE O’CONNOR BAND Mark O’Connor fiddle Maggie O’Connor fiddle Forrest O’Connor mandolin, vocals Kate Lee fiddle, vocals Joe Smart guitar Geoff Saunders double bass, banjo
album, Appalachian Journey (2000), won O’Connor his second Grammy award. His Fiddle Concerto, composed in 1993, has been performed around the world. By 2010, he had written another six concertos and the Americana Symphony which was recorded by Alsop and the Baltimore Symphony.
THE O’CONNOR BAND The O’Connor Band performs an engaging, dynamic show featuring compelling arrangements of Americana rich with virtuosic solos and tight vocal harmonies, and features O’Connor family members Maggie O’Connor (fiddle), Forrest O’Connor (mandolin and vocals) and Kate Lee (fiddle and vocals). Rounding out the band is national flatpick guitar champion Joe Smart and double bassist and old-time banjoist Geoff Saunders.
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photo: Winslow Townson
THE BOSTON POPS ON TOUR
Lights, Camera … Music! Six Decades of John Williams Keith Lockhart, conductor John Williams, conductor laureate Thursday, April 19, 2018 • 8PM Jackson Hall SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY Patti Donlon
PROGRAM Main Title and Overture from Heidi
INTERMISSION
Theme from Jaws
“Raiders March” from Raiders of the Lost Ark
Main Title from The Towering Inferno
John Williams: Facing History and Ourselves
Around the World with John Williams
Theme from JFK
“Sayuri’s Theme” from Memoirs of a Geisha Ronald Lowry, cello
Theme from Schindler’s List Katherine Winterstein, violin
Suite from Far and Away County Galway, June 1892 The Fighting Donellys Joseph and Shannon Blowin’ Off Steam (The Fight) Finale
Theme from The Patriot
May the Force Be with You
The Magic of John Williams
“The Imperial March” from The Empire Strikes Back
“Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone
“The Rebellion Is Reborn” from Star Wars: The Last Jedi
“Stargazers” from E.T. the Extra-Terrestrial Ina Zdorovetchi, harp
Main Title from Star Wars
“Flying Theme” from E.T. the Extra-Terrestrial 12 MONDAVIART S.ORG
“Devil’s Dance” from The Witches of Eastwick
THE BOSTON POPS ON TOUR PROGRAM NOTES
JOHN WILLIAMS’ GIFT TO FILM When one of the Star Wars films is shown, a cheer often goes up from the audience the moment John Williams’ Main Title begins playing. What moviegoers around the world instantly recognize is not the famous march theme but the three bars of preliminary splendor that precede it: a brief, brilliant chord in the horns and trumpets, followed by rapid-firing fanfares in the brass. The law of the lowest common denominator would suggest that the most popular music would be the simplest, yet these few bars are far from simple. Having affirmed a bright major key, Williams’ orchestra detours into a different harmonic realm, one defined by the interval of the fourth. Furthermore, the rhythms of the fanfares are tricky, setting patterns of four against three. There’s a hint of chaos in this tangy sound, as if freespirited individuals were scrambling to coalesce into a whole. Even when the march theme kicks in, it retains an uneven, lopsided feeling—the perfect image of the rag-tag rebel army that is defying Darth Vader. Williams is the most successful composer in Hollywood history—he has received 51 Academy Award nominations, and the 100-odd movies on which he has worked have grossed in excess of $20 billion—not because he peddles the simplest possible material but because he presents easily grasped ideas with sophistication, skill and unflagging invention. When you look at one of his scores, you see everywhere signs of immaculate craft. Orchestras like the Boston Pops, which Williams led from 1980 to 1993, find this music a pleasure to play, although it is not unchallenging: If you were to give Star Wars to an unrehearsed student ensemble, you’d probably hear a mess. Musicians feel affection for Williams for another, more personal reason: His series of scores for Steven Spielberg and George Lucas in the 1970s and ’80s—including the Star Wars and Indiana Jones movies, Superman, Close Encounters and E.T.—are widely credited with helping to rescue the business of orchestral film music, which circa 1975, was losing ground to pop song soundtracks. Tonight’s program features music from Heidi and The Towering Inferno, both of which have been unavailable on recording since the time of their original release. At the
end come selections from various Star Wars films. The main leitmotifs of the cycle—the Rebel march, the Force theme, the Imperial March, and so on—are by now so familiar that the composer can refer to them in subtle, disguised fashion, knowing that even youngsters whose parents were not born when Star Wars was released will pick them out. (Wagner, in The Ring, deployed his leitmotifs in the same way, letting them intermingle and comment on one another.) Small wonder that Lucas, Spielberg and dozens of other directors line up to praise this composer: No matter whose name heads the credits, he has cast the most enduring spell on all those people in the dark. —from notes by Alex Ross
15
years of beautiful design and quality building
THE BOSTON POPS In 2018, the Boston Pops enters its 133rd season of entertaining audiences in Boston and beyond. Boston Pops conductor Keith Lockhart marks his 24th year at the helm of the orchestra. In 1881, Civil War veteran Henry Lee Higginson founded the Boston Symphony Orchestra (BSO), calling its establishment “the dream of my life.” From the start he intended to present, in the warmer months, concerts of light classics and the popular music of the day. From a practical perspective, Higginson realized that these “lighter” performances would provide yearround employment for his musicians. In May 1885—a little more than a month before the inaugural “Promenade Concert”—Germanborn conductor Adolf Neuendorff, under the aegis of the BSO, conducted a series of “Popular Concerts” in the Boston Music Hall, where the audience sat in typical concert seating and no refreshments were served. On July 11, 1885, Neuendorff—who became the first conductor of the Pops, before that name was officially adopted—led the first official “Promenade Concert,” distinguished from “Popular Concerts” by virtue of seating (tables and chairs instead of auditoriumstyle rows), program format (three parts divided by two intermissions, during which patrons could promenade around the concert hall), and the availability of food and beverages. For the rest of the 19th century, although formally called “Promenade Concerts,” they continued to be referred to informally as “Popular,” which eventually
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became shortened to “Pops,” the name officially adopted in 1900. The following year the orchestra performed for the first time in its new home, Symphony Hall. There were 17 Pops conductors— beginning with the aforementioned Adolf Neuendorff—who preceded the legendary Arthur Fiedler (1930–1979). The first American-born musician to lead the orchestra, Fiedler established the Boston Pops as a national icon. When John Williams (1980–1993) succeeded Fiedler in 1980, he was the most highly acclaimed composer in Hollywood, and today, with 51 Academy Award nominations, he is the most-nominated living person in Academy history. With the Pops, Williams made a series of best-selling recordings, broadened and updated the Pops repertoire and entertained audiences with live orchestral accompaniment to film clips of memorable movie scenes, many of which featured iconic music from his own scores. Keith Lockhart (1995–present) has led concerts spotlighting artists from virtually every corner of the entertainment world, all the while maintaining the Pops’ appeal to its core audience. He has made 79 television shows, led 42 national and four overseas tours, led the Pops at several high-profile sports events and recorded 14 albums. Lockhart’s tenure has been marked by a dramatic increase in touring, the orchestra’s first Grammy nominations, the first major network national broadcast of the July 4th concert on the Charles River Esplanade, and the release of the Boston Pops’ first selfproduced and self-distributed recordings. In 2017, the July 4th concert opened a new page in its history, as the Pops organization presented its first self-produced Boston Pops Fireworks Spectacular.
KEITH LOCKHART
CONDUCTOR
Having celebrated his 20th anniversary as Boston Pops conductor in 2015, Keith Lockhart is the second longest–tenured conductor of the Boston Pops Orchestra since its founding in 1885. He took over as conductor in 1995, following John Williams’ 13-year tenure from 1980 to 1993; Williams succeeded the legendary Arthur Fiedler, who was at the helm of the orchestra for nearly 50 years. Lockhart has conducted
14 MONDAVIART S.ORG
THE BOSTON POPS ON TOUR more than 1,900 Boston Pops concerts, most of which have taken place during the orchestra’s spring and holiday seasons in Boston’s historic Symphony Hall. He has also led annual Boston Pops appearances at Tanglewood, 42 national tours to 146 cities in 37 states and four international tours to Japan and Korea. The annual July 4th Boston Pops concert draws a live audience of over half a million people to the Charles River Esplanade and millions more who view it on television or live webcast. The list of more than 250 guest artists with whom Lockhart has collaborated is a virtual “who’s who” of performers and pop culture icons. He has led eight albums on the RCA Victor/BMG Classics label, including two—The Celtic Album and The Latin Album—that earned Grammy nominations. Recent releases on Boston Pops Recordings include A Boston Pops Christmas–Live from Symphony Hall and The Dream Lives On: A Portrait of the Kennedy Brothers. Released at the beginning of the 2017 Pops season, Lights, Camera … Music! Six Decades of John Williams features Lockhart leading the Boston Pops in a collection of Williams’ compositions from the 1960s onward, some of which can be considered rarities. Lockhart’s increased focus on musical theater has attracted leading Broadway artists to the Pops stage. He has worked closely with hundreds of talented young musicians, including Fellows of the Tanglewood Music Center, college students from the Boston Conservatory and Berklee College of Music and area high school students. He introduced the PopSearch talent competition and the innovative JazzFest and EdgeFest series, featuring prominent jazz and indie artists performing with the Pops. In addition to occupying the Julian and Eunice Cohen Boston Pops Conductor chair, Lockhart is chief guest conductor of the BBC Concert Orchestra in London, which he led in the June 2012 Diamond Jubilee Concert for Queen Elizabeth II, and artistic director of the Brevard Music Center summer institute and festival in North Carolina. Prior to his BBC appointment, he spent 11 years as music director of the Utah Symphony, which he led at the 2002 Olympic Winter Games in Salt Lake City. He has appeared as a guest conductor with virtually every major symphonic ensemble
in North America, as well as several in Asia and Europe. Prior to coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincinnati Chamber Orchestra.
Born in Poughkeepsie, New York, Lockhart began his musical studies with piano lessons at the age of 7. He holds degrees from Furman University and Carnegie Mellon University, and honorary doctorates from several American universities.
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THE BOSTON POPS ON TOUR THE BOSTON POPS ON TOUR Keith Lockhart Julian and Eunice Cohen Boston Pops Conductor endowed in perpetuity John Williams George and Roberta Berry Boston Pops Conductor Laureate
FIRST VIOLINS
CELLOS
Ronald Lowry Andrew Mark Jennifer Lucht Kevin Crudder Eugene Kim Melanie Dyball Steven Laven Leo Eguchi
BASSES
Katherine Winterstein Charles Dimmick Lisa Crockett Christine Vitale Kristina Nilsson Cynthia Cummings Gregory Vitale Liana Zaretsky Akhiezer Sasha Callahan Sarita Uranovsky Susan Faux Zoya Tsvetkova
Robert Caplin Susan Hagen Barry Boettger Randall Zigler Elizabeth Foulser Anthony D’Amico
SECOND VIOLINS
OBOES
Clayton Hoener Colin Davis Dorothy Han Sarah Atwood Heidi Braun-Hill Judith Lee Stacey Alden Melissa Howe Julie Leven James Orent
VIOLAS
Scott Woolweaver Stephen Dyball Susan Culpo Jean Haig Kenneth Stalberg Donna Jerome David Feltner Barbara Wright
16 MONDAVIART S.ORG
FLUTES
Renée Krimsier Lisa Hennessy
PICCOLO
Ann Bobo
TRUMPETS
Terry Everson Michael Dobrinski Bruce Hall Richard Kelley
TROMBONES
Hans Bohn Alexei Doohovskoy John Faieta
BASS TROMBONE
Angel Subero
TUBA
Takatsugu Hagiwara
TIMPANI
Richard Flanagan
PERCUSSION
Jim Gwin Neil Grover Patrick Hollenbeck John Tanzer
HARP
Andrew Price Amanda Hardy
Ina Zdorovetchi
ENGLISH HORN
Benjamin Cook
PIANO
Barbara LaFitte
CLARINETS
LIBRARIAN
Ian Greitzer Kai Yun Lu
Mark Fabulich
BASS CLARINET
Kristie Chan
BASSOONS
Tuaha Khan
David Martins
Ronald Haroutunian Adrian Jojatu
HORNS
Kevin Owen Kate Gascoigne Whitacre Hill Clark Matthews Hazel Dean Davis
PERSONNEL MANAGER STAGE MANAGER
TERENCE BLANCHARD FEATURING THE E-COLLECTIVE A Jackson Hall Jazz Series Event
TERENCE BLANCHARD
Friday, April 20, 2018 • 8PM
“Music and art have the power to change hearts and souls,” expresses composer and trumpeter Terence Blanchard—a belief brought to life through the music of Blanchard and his E-Collective. This revolutionary ensemble thrives off the perfect mixture of Blanchard’s genius and the innovations of four young musical pioneers: guitarist Charles Altura, pianist Fabian Almazan, bassist David “DJ” Ginyard Jr. and drummer Oscar Seaton. It was while recording the scores for Spike Lee’s Inside Man and Kasi Lemmons’ Talk to Me that Blanchard and Seaton first dreamt of a band that layered grooves teeming with funk, R&B and blues colors. Years later, that dream came to fruition and formed the foundation for the E-Collective’s signature sound. Following a poignant E-Collective performance in Staten Island, Blanchard was overwhelmed by the healing impact of his music on the audience. In attendance were many friends and family of Eric Garner—a local man who had been fatally injured in an altercation with police and to whom the E-Collective’s debut album, Breathless, is dedicated. Motivated by this experience, the E-Collective’s 2015 album was recorded live in Twin Cities, Cleveland, Dallas and Harlem, all cities that have been similarly wounded by racial tensions. Coinciding with these recording sessions, Blanchard worked with local community leaders to host panel discussions encouraging dialogue for positive social change. As the E-Collective ventures into uncharted territories, there is a common understanding that creation and communication generate change.
Jackson Hall SPONSORED BY
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Terence Blanchard trumpet Charles Altura guitar Fabian Almazan, piano David “DJ” Ginyard Jr. bass Oscar Seaton drums
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VLADIMIR FELTSMAN, PIANO A Concert Series Event Wednesday, May 2, 2018 • 8PM Jackson Hall
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PROGRAM Partita No. 1 in B-flat Major, BWV 825 Prelude Allemande Courante Sarabande Minuet I Minuet II Gigue Sonata No. 8 in C Minor, op. 13 (“Pathétique”) Grave—molto allegro e con brio Adagio cantabile Rondo: Allegro
Johann Sebastian Bach
Ludwig van Beethoven
INTERMISSION The Four Ballades No. 1 in G Minor, op. 23 No. 2 in F Major, op. 38 No. 3 in A-flat Major, op. 47 No. 4 in F Minor, op. 52
Frederic Chopin
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VLADIMIR FELTSMAN PROGRAM NOTES PARTITA NO. 1 IN B-FLAT MAJOR, BWV 825 (1726)
JOHANN SEBASTIAN BACH (1865–1750)
In 1726, Bach announced in a Leipzig newspaper the publication of a large suite with prelude. This suite was followed by five others, each published separately; all six finally appeared in a single volume in 1731. Bach himself engraved and printed his Partitas at his own cost, marking them as Opus 1. This does not mean that it was his first composition, but that it was the first to be published. The title reads, “ClavierÜbung, Consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Menuets and Other Gallantries Composed for the Pleasurable Diversion of Music Lovers.” The Clavier-Übung, (“Keyboard Exercises”) would in time be expanded to include three more volumes. The second book contains an Italian concerto and a French overture, the third book contains works for organ (an organ Mass), and the fourth book comprises the Goldberg Variations. The compositions collected in the Clavier-Übung represent the most popular musical forms, genres and styles of keyboard music of that time. The Partitas represent the gallant style, which means, for the most part, French; the Italian Concerto represents the grand Italian style, tutti-soli-ritornellos; the French Overture is an expanded model, a blend of partita and orchestral suite; and the Goldberg Variations are a highly contrapuntal German experiment. In composing the Clavier-Übung, Bach was following the example of his immediate predecessor as cantor of St. Thomas Church in Leipzig, Johann Kuhnau, who had published his own collection of partitas, also entitled Clavier-Übung, consisting of two volumes with seven partitas in each. Altogether, Bach composed three sets of suites, the earliest being the six English Suites, which are filled with imitative counterpoint and somewhat archaic in style. Bach also composed six French Suites, written in the gallant style (without preludes), and finally, the six Partitas. In the Partitas, Bach found a supreme style. There is a perfect balance of traditional dance movements, gallant melodies, harmonic foundations and a
new, sophisticated keyboard texture. His treatment of movements is inventive and innovative. Every opening movement, traditionally called Praeludia, is original in form, substance and name. Bach gave a new and different opening to each Partita— Praeludium, Sinfonia, Fantasia, Overture, Praeambulum and Toccata. Allemandes, Courantes and Sarabandes retain their conventional titles but are treated with great diversity. Allemandes range widely from simple and traditional in the third and fifth Partitas to the grandest of them all in the fourth Partita. In Courantes, he artfully explores all possible combinations of triple time. Sarabandes range from austere simplicity in the fourth Partita to an elaborate richness of Baroque rhetoric in the sixth. The closing movements are Gigues, except in the second Partita, which ends with a Capriccio. They range from the joyful and playful Gigue in the first Partita with its hand-crossing inspired by Rameau, to the highly dramatic and expressive ending of the sixth Partita, written in double dotted rhythm, full of chromatic tension and immense energy. As a true son of his age, Bach was very much aware of the different levels and layers of meaning possible in music. He was a master of numerology—the meanings of numbers and their permutations—the numerical values of letters and names, the symbolism of intervals and intonation, the number of bars and pulses in the construction of musical forms were all known to him. This is a fascinating topic. There are two points of numerological interest connected with the Partitas. The first is the meaning of the number six. All of Bach’s collections of suites, partitas, sonatas and concertos are set in groups of six. Six English Suites, six French Suites, six Partitas, six Suites for Unaccompanied Cello, six Brandenburg Concertos, and three sonatas and three partitas for solo violin. Why? There are two plausible explanations. Seven is a number of fullness and perfection. Bach was a truly humble man. For him, composing music was an act of worship and offering. At the end of his most important works, instead of his signature, he always wrote “S.D.G.”— Soli Deo Gloria (For the Glory of God Alone). S.D.G. became his “true” signature. Perhaps Bach felt that it would be immodest for him to compose works in sets of seven. Another
possible explanation is that the number six refers to the six days of creation, six days of work and on the seventh day, rest. The second point of interest is the harmonic design and structure of the Partitas. The first Partita, Prima, is in B-flat; the second Partita, Seconda, is in C, which is two (seconda) up from B-flat; the third is in A, three down from C; the fourth Partita is in D, four up from A; the fifth Partita is in G, five down from D; and the sixth Partita is in E, six up from G. Within this structure, the harmonic design works like a pendulum with B(ach) at the center. If we were to continue this logic, the swing of the pendulum would inevitably come to F— seven (septima) down from E. The second book of the Clavier-Übung opens with the Italian Concerto, which is written in F major. The fourth book of the Clavier-Übung, which contains the Goldberg Variations, is a bridge—a connection of sorts to his later “final” works—to the enigmatic beauty and mystery of the Musical Offering, to the infinite possibilities of the Art of Fugue and to the absolute perfection of the Credo of the B-minor Mass. Bach was working with different musical forms, styles and genres. He had an extraordinary ability to integrate and utilize different traditions, diverse ideologies and styles. He was a master of synthesis—a great unifier. One can easily recognize the influences in his music—French gallant style, Italian Concerto Grosso style, German strict counterpoint. In his works, these different traditions have been renewed, transformed and have found their clearest, most eloquent and powerful expression. One can look upon Bach’s music in its totality as one of the true miracles of nature—as a manifestation of grace—and simply feel grateful and reassured that he was.
SONATA NO. 8 IN C MINOR, OP. 13 (“PATHÉTIQUE”) (1798)
LUDWIG VAN BEETHOVEN (1770–1827)
By dedicating his first set of three piano sonatas, Opus 2, simply to Joseph Haydn, rather than to “My teacher, Joseph Haydn,” Beethoven confidently presents himself as an independent composer who has fully mastered the Viennese style of Haydn and Mozart and brought his own ideas and methods to this preexisting idiom.
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The piano was at the center of Beethoven’s musical experiments during his first period in Vienna. The evolution of his style and command of his craft are clearly evident in his piano sonatas, which became progressively more and more inventive, unorthodox and unmistakably personal. The composer himself takes center stage and becomes the main personality, the protagonist in his works. This evolution culminated in the “Eroica” symphony, which radically transformed the cultural attitude towards musical aesthetics (and ethics!) and the position that the artist could claim for himself. The opus 13 sonata was composed in 1798–99 and dedicated to Beethoven’s friend and patron Carl von Lichnowsky. Its title, “Pathetique,” is not Beethoven’s, but was added by the editor. A truly groundbreaking work that opened new musical horizons, it brought a previously unimagined urgency and intensity into music. It is Beethoven’s first dramatic sonata and the first that starts with a slow introduction, somber, dark and tragic. There is a relatedness of thematic material, as in all of Beethoven’s works. The second theme from the first movement becomes material for the second theme in the second movement (in inverted form) and for the main theme of the finale. The first movement is in sonata form with a slow (Grave) introduction. Beethoven modifies the usual sonata form by returning to the introduction section twice—first at the beginning of the development and again before the coda. This makes it possible to regard the whole structure of the first movement in a different way—the introduction becomes a main theme that returns twice, as it should in sonata form. A similar formula would be used much later in his string quartet opus 127 in E-flat major. A swift coda closes the first movement with the utmost power and urgency, like a tightly wound spring that finally can’t hold the tension any longer and snaps. The second movement (Adagio cantabile) opens with the famous tune that has been used (and abused) so often by the mass culture, in films, pop and rock music and even hip hop. The main theme comes back three times, and there are two middle episodes in between, with an eight bar (Schubertian) coda. 20 MONDAVIART S.ORG
The finale (Rondo: Allegro) opens with a wistful, nostalgic theme that is borrowed from the second theme of the first movement, but sounds new here. In Beethoven, the context is everything. The main theme comes back three times (as in the second movement). The second middle episode is written in a very ingenious manner—the voices mirror each other simultaneously (in inverted counterpoint) four times before proceeding further. There is a coda with dramatic gestures that is repeated six times, building the tension that picks up into the long scale that runs from the top down and suddenly stops at the dominant chord (6/4) to the A-flat; then in a few short steps it is quickly resolved into the final dramatic rundown. The opus 27 no. 2 in C-sharp minor, “Quasi una fantasia” (“Moonlight Sonata”) was completed in 1801 and dedicated to Beethoven’s pupil, Countess Giulietta Guicciardi, who was 17 years old at the time, and with whom Beethoven is thought to have been in love. The title “Moonlight” was given to this sonata by the music critic Ludwig Rellstab after Beethoven’s death. Beethoven is opening yet another chapter in this work, experimenting with the sonata form and incorporating new models. Indeed, Beethoven would never stop experimenting with musical form. The “Moonlight Sonata” starts with a slow movement instead of an Allegro. Usually the main dramatic event of a sonata or symphony is given in the first movement, which sets the tone of the whole work. In the “Moonlight” this order is reversed and the main dramatic event is reserved for the Finale. There is a very telling marking in the first movement: “Si deve suonare tutto questo pezzo delicatissimamente e senza sordino” (It is necessary to play this whole piece very delicately and without dampers), meaning that the whole movement should be played on one open pedal. The idea is quite radical, but it is sustainable on the fortepianos of Beethoven’s time, creating a very special shimmering sound atmosphere. However, it is not possible to play the whole first movement on one pedal on a modern piano. The volume and duration of the sound on the older fortepianos are very different from the modern piano and the pedal on modern piano lasts much longer. The same instruction to play on one pedal appears at
the beginning of the finale of the “Waldstein” sonata. Beethoven was not the first composer to use the pedal in this manner— in the first movement of his C major sonata opus 79 Haydn put a pedal marking that lasts four and a half bars in spite of changes in harmonies. The first movement is marked Adagio sostenuto, but the time signature is alla breve C, meaning that it should move by two (slow two), not by four beats. This movement is among the most recognizable of Beethoven’s works, along with the beginning of the 5th Symphony and “Für Elise.” Usually the first four bars are considered an introduction, with the main theme starting from the fifth bar on the top. In fact, however, the main theme begins at the very first bar in the bass and is presented again in the fifth bar. The melody in the upper voice starts with a funeral march rhythmical formula, repeated twice. (The same rhythmical formula opens the “Appassionata.”) Beethoven is playing a very subtle game here. A true magician, he manipulates our perceptions and makes us believe in what we hear. But music is more than we hear with our ears. We can’t fully appreciate the value of music and the craft of the composer without understanding of what is going on behind the notes—the more you look, the more you see, and this process seems unending. Beauty is in the eye of the beholder, but our eyes and minds must be developed to the maximum in order to recognize it fully. The second movement is a brief Scherzo with a traditional trio in the middle. It is sunny and pastoral, free of worries and complications. It derives its theme from part of the main theme of the first movement (bars 7–9). The finale (Presto agitato) begins without warning with relentless ascending arpeggios in the right hand (that derive from the arpeggio pattern of the first movement) and a basso ostinato figure in the left hand. This movement is a vivid example of Sturm und Drang in Beethoven’s music. The dominant dynamic marking, however, (often ignored) is piano, jolted with electric explosions—sforzandos on the top chords. The atmosphere is gloomy and sinister. This movement spins with an enormous and untamable energy. It is one of the most powerful expressions of agitation, anxiety and despair in all of music. All attempts
VLADIMIR FELTSMAN to break out of the vicious circle fail and the sonata comes to a ferocious ending (very similar to that of the “Appassionata”), consumed by the demons it created.
THE FOUR BALLADES (1831–1842)
FREDERIC CHOPIN (1810–1849)
Chopin is rightly credited with the invention of the ballade as a musical form. His Ballades inspired Liszt and Brahms, among others, to explore this form and compose ballades of their own. The ballade was one of the favorite idioms of 19th-century Romantic poetry, and an ideal medium for storytelling. Chopin’s Ballades can be seen as stories inspired by other stories. There is no such thing as a “new” story. Every story deals with the past, with something that has already happened: an event, a feeling, a situation, the moment that is no more. Art can recreate these lost moments, recapture the things of the past and make them last forever. Chopin was one of the great masters of this art. His Ballades are among the finest, most original and enduring works that capture the essence of the Romantic perception of the world and aesthetic. Each of the Ballades has its own unique form and tells its own story, independent of the poetic sources that may have inspired Chopin. Chopin detested programmatic music and titles (unlike his great admirer and champion, Schumann). He thought that the music itself should tell the story, and he was perhaps the greatest master of musical narration. Ultimately, what inspires the artist to create his works does not matter, only the quality of the work itself. The Four Ballades belong to Chopin’s mature period, 1835 to 1842 (when he was between 25 and 32 years old!). They were composed in various parts of France and Spain. All four are written in varieties of triple meter. The only exceptions are the improvisatory opening and coda of the Ballade No. 1 in G Minor. This ballade was written in Paris during 1835–36 and dedicated to Monsieur le Baron de Stockhausen. The introduction (largo) is written in parallel octaves and contains an ascending sequence that transforms itself into the theme of the first episode, a nostalgic waltz that keeps returning, as if mesmerized by itself. It is difficult to pinpoint the precise form of this ballade; it has its own ingenious form, with two themes that are
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brought back three times, keeping the first intact while transforming the second from an intimate tune to a triumphant melody. The turbulent and furious coda (which is quite challenging technically and has caused lots of trouble for many pianists) introduces new material and spins with an enormous, untamable energy. The benign waltzing figure of the first theme is transformed into a gesture of desperation, and this amazing ballade collapses in a catastrophic, crashing conclusion. The Ballade No. 2 in F Major was written in Nohant and Majorca and completed in 1839. It opens very simply with a repeated note in unison octave that magically delivers us into the main theme—a theme that actually begins with the very first note. Chopin, like Beethoven, was a master of deception and ambiguity, of subtle transitions and hidden connections. What we hear is often not what is really there. The main theme unfolds and rocks gently, following its rhythmic pattern, free of worry. A contrasting and highly charged middle episode introduces a brief dramatic motif in the bass. Right and left hands are moving in opposite directions like overlapping waves. The rhythmic formula of the main theme reappears in a very different shape, becoming a heroic gesture. The turbulence of the middle episode gradually subsides and the main theme returns. This time it is developed skillfully—there are hidden strettos and inventive harmonic sequences with two passionate outbursts that bring us back to the middle episode. A long, sustained dominant to A minor (the key of the coda) builds tremendous tension; the rhythmic formula of the main theme is repeated three times like a call to arms (or call of destiny?) that cannot be denied. There are desperate attempts to resist and escape, but the accumulated energy and tension inescapably resolve into the coda through four descending trills. The coda is charged with agitation and passion, enhanced by the rhythm of the waltz. This macabre waltz spins around and around, making your head spin. Transformed and condensed, the material of the middle episode comes back for several bars and abruptly stops at the highest point of tension. The main theme reappears in a minor mode and stops after one phrase—there is nothing more to be done and nothing more to say. After a pause—a long breath—comes the simple
VLADIMIR FELTSMAN and unpretentious ending. After the music stops, the rhythm is still pulsating within us. The Second Ballade was considered by many (including Schumann, to whom it was dedicated in return for Schumann’s dedication of his “Kreisleriana” to Chopin) the weakest of the set. Most certainly, it is not. There are no inferior Ballades; each is a masterpiece. The Ballade No. 3 in A-flat Major was composed in 1840–41 and dedicated to Mademoiselle Pauline de Noailles. It is the sunniest of the set and the only one that ends in a major key. There are some hidden polyphonic intricacies in this ballade, more than in the first and second, but less than in the fourth, which is the most polyphonically charged and dense. The Third Ballade begins with a charming theme on top that is continued in the bass. The order is immediately reversed; the theme starts again in the bass and is continued on top. From the very beginning Chopin skillfully manipulates our perspective. This theme is not developed in any way and returns only once at the end as a triumphant climax presented flamboyantly in rich chords. The middle episode is not contrasting; it starts very softly with repeated notes spaced an octave apart that descend gently in the rhythmical pattern of the main theme of the Second Ballade. This pattern is maintained all the way through the middle section. A charming waltz appears and disappears without warning. The climax is carefully prepared and calculated—after three chromatically ascending sequences the first theme reappears in shining armor. The waltz returns bursting with joyful energy, climbing up and up. The Third Ballade ends with a brilliant run from the top down. Four chords follow and seal the triumphant ending. The Fourth Ballade also ends with four chords, but there they seal a tragic, fatal ending. Ballade No. 4 in F Minor was composed in 1842 in Paris and Nohant (revised in 1843) and dedicated to Madame la Baronne C. de Rothschild. It is the longest and most challenging of the set musically and technically. This ballade is a real human drama that unfolds and is completed in about 12 minutes. The texture becomes increasingly rich and polyphonically intricate as it progresses. There are incredible harmonic modulations and effects, like a foretaste of Wagner and
Debussy. The structure and its thematic developments are complex and fascinating. Several connected themes are developed simultaneously. A passionate surge before the coda ends abruptly with three chords played fff (triple forte). After a long pause (it should indeed be a really long pause), five chords pp (pianissimo) follow. The coda erupts suddenly with astonishing intensity and power; it is the main dramatic event of the Fourth Ballade. Any lingering doubt about the tragic outcome is banished, and despite the resistance of the very thick, polyphonically and chromatically charged texture, the coda rushes on to an unavoidable end. —Vladimir Feltsman
VLADIMIR FELTSMAN Pianist and conductor Vladimir Feltsman is one of the most versatile and interesting musicians of our time. His vast repertoire encompasses music from the Baroque to 21st-century composers. He has appeared with all the major American orchestras and on the most prestigious musical stages and festivals worldwide. Highlights of Feltsman’s 2016–17 season were concerts in Moscow and St. Petersburg, Montevideo, Mexico City and Naples, Florida, as well as at the Aspen, Ravinia and Verbier festivals. Scheduled in 2017–18 are a performance with the Mozart Orchestra of New York, Gerard Schwarz, conducting; a performance in Washington, D.C., as part of Feltsman’s “Russian Experiment” project (conceived to explore music written by Russian non-conformist composers of the 20th century); in Mexico with the Boca del Rio Philharmonic, Jorge Mester, conducting; and recitals in New York City and at the University of California, Davis. Feltsman expressed his lifelong devotion to the music of J.S. Bach in a cycle of concerts, which presented the major clavier works of the composer and spanned four consecutive seasons (1992–1996) at the 92nd Street Y in New York. His more recent project, Masterpieces of the Russian Underground, unfolded a panorama of Russian contemporary music through an unprecedented survey of piano and chamber works by 14 different composers, from Shostakovich to the present day, and was presented by the Chamber Music Society of Lincoln Center in January 2003
with great success. Feltsman served as artistic director for this project as well as performing in most of the pieces presented during the three concerts’ cycle. The programs included a number of world and North American premieres and were also presented in Portland, Oregon, and in Tucson, Arizona, at the University of Arizona. In the fall of 2006, Feltsman performed all of the Mozart Piano Sonatas in New York at the Mannes School of Music and NYU’s Tisch Center presented by New School on a specially-built replica of the Walter fortepiano. Born in Moscow in 1952, Feltsman debuted with the Moscow Philharmonic at age 11. In 1969, he entered the Moscow Tchaikovsky State Conservatory of Music to study piano under the guidance of Professor Jacob Flier. He also studied conducting at both the Moscow and Leningrad (now St. Petersburg) Conservatories. In 1971, Feltsman won the Grand Prix at the Marguerite Long International Piano Competition in Paris; extensive touring throughout the former Soviet Union, Europe and Japan followed this. In 1979, because of his growing discontent with the restrictions on artistic freedom under the Soviet regime, Feltsman signaled his intention to emigrate by applying for an exit visa. In response, he was immediately banned from performing in public and his recordings were suppressed. After eight years of virtual artistic exile, he was finally granted permission to leave the Soviet Union. Upon his arrival in the United States in 1987, Feltsman was warmly greeted at the White House, where he performed his first recital in North America. That same year, his debut at Carnegie Hall established him as a major pianist on the American and international scene. A dedicated educator of young musicians, Feltsman holds the Distinguished Chair of Professor of Piano at the State University of New York, New Paltz, and is a member of the piano faculty at the Mannes College of Music in New York City. He is the founder and artistic director of the International Festival-Institute PianoSummer at New Paltz, a three-week, intensive training program for advanced piano students that attracts major young talents from all over the world. In 2012, Feltsman and his wife, Haewon, established the Feltsman Piano Foundation, encoremediagroup.com/programs 23
VLADIMIR FELTSMAN
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which helps young musicians realize their potential and advance their careers. Feltsman’s extensive discography has been released on the Melodiya, Sony Classical, Musical Heritage and Nimbus labels; it includes more than 50 CDs and is expanding. He recently completed a recording of all the Schubert Sonatas and the works by Schumann for Nimbus. Feltsman’s discography includes all major clavier works of J.S. Bach; recordings of Beethoven’s last five piano sonatas, the “Moonlight”, “Pathétique” and “Appassionata” Sonatas, and “Diabelli Variations”; solo piano works of Haydn, Chopin, Liszt, Brahms, Tchaikovsky, Scriabin, Mussorgsky, Messiaen and Silvestrov; as well as concerti by Bach, Brahms, Chopin, Tchaikovsky, Rachmaninoff and Prokofiev. His most recent recording with orchestra is a release of Rachmaninoff’s Concerto No. 3 with the Russian National Symphony Orchestra, conducted by Mikhail Pletnev from a November 1992 performance at the Bolshoi Hall of Moscow Conservatory. Since 2011, the Nimbus label has released 20 albums by Feltsman of works by Bach, Rachmaninoff, Chopin, Scriabin, Tchaikovsky, Liszt, Haydn, Schubert, Schumann and Schnittke. Feltsman is an American citizen. He lives with his wife, Haewon, in upstate New York.
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ARTURO O’FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA A World Stage Series Event
THE AFRO LATIN JAZZ ORCHESTRA
Friday, May 11, 2018 • 8PM
Arturo O’Farrill piano and musical director
Jackson Hall
Ricardo Rodriguez bass Vince Cherico drums
SPONSORED BY
Carly Maldonado percussion Keisel Jiménez percussion Iván Renta tenor sax Chad Lefkowitz-Brown tenor sax
7PM Pre-Performance Talk, Jackson Hall Arturo O’Farrill in conversation with Jeremy Ganter, associate executive director and director of programming, Mondavi Center, UC Davis Jeremy Ganter oversees the curation and implementation of each Mondavi Center season, manages the Mondavi Center’s programming and arts education departments, and as associate executive director, oversees the Mondavi Center’s operations division, playing a leadership role in the center’s overall management and strategic direction. He has programming expertise in a broad and eclectic range of performing arts genres, with a special commitment to jazz, modern dance, Cassical music, and developing young talent. Recent work with UC Davis faculty has included four biennial contemporary music festivals with the UC Davis Department of Music, a symposium on indigenous arts featuring Inuk throat singer Tanya Tagaq, a season-long festival featuring the performing arts of India, and “Imagining Sound,” a showcase of UC Davis’ pioneering research at the intersection of science and art.
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Bobby Porcelli alto sax Mercedes Beckmann alto sax Larry Bustamante baritone sax Jim Seeley trumpet Seneca Black trumpet Bryan Davis trumpet David Neves trumpet Earl McIntyre bass trombone Abulrahman “Rocky” Amer trombone Frank Cohen trombone Rafi Malkiel trombone
ARTURO O’FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA ARTURO O’FARRILL Arturo O’Farrill, pianist, composer and educator, was born in Mexico and grew up in New York City. He received his formal musical education at the Manhattan School of Music, Brooklyn College Conservatory and the Aaron Copland School of Music at Queens College. O’Farrill’s professional career began with the Carla Bley Band and continued as a solo performer with a wide spectrum of artists including Dizzy Gillespie, Lester Bowie, Wynton Marsalis and Harry Belafonte. In 2007, he founded the Afro Latin Jazz Alliance as a nonprofit organization dedicated to the performance, education, and preservation of Afro Latin music. In December 2010, O’Farrill traveled with the original Chico O’Farrill Afro Cuban Jazz Orchestra to Cuba, returning his father’s musicians to his homeland. He continues to travel to Cuba regularly as an informal cultural ambassador, working with Cuban musicians, dancers and students, bringing local musicians from Cuba to the U.S. and American musicians to Cuba. Concurrently, O’Farrill is the director of jazz studies at CUNY’s Brooklyn College. During 2016–17, O’Farrill has performed with orchestras and bands including his own Afro Latin Jazz Orchestra and Boss Level Sextet, as well as other orchestras and smaller ensembles in the U.S., Europe, Russia, Australia and South America. An avid supporter of all the arts, O’Farrill has performed with Ballet Hispanico and the Malpaso Dance Company, for whom he has written three ballets. In addition, the Alvin Ailey Dance Company is touring a ballet titled Open Door, choreographed by Ron Brown to several of O’Farrill’s compositions and recordings. Brown’s own Evidence Dance Company has commissioned O’Farrill to compose New Conversations, which premieres in the summer of 2018 at Jacob’s Pillow in Becket, Massachusetts. O’Farrill has received commissions from Meet the Composer, Jazz at Lincoln Center, The Philadelphia Music Project, The Apollo Theater, Symphony Space, the Bronx Museum of the Arts, the Young Peoples Chorus of New York and the New York State Council on the Arts.
O’Farrill’s well-reviewed and highly praised “Afro-Latin Jazz Suite” from the album CUBA: The Conversation Continues (Motéma) took the 2016 Grammy Award for Best Instrumental Composition and the 2016 Latin Grammy Award for Best Latin Jazz Album. His powerful “Three Revolutions” from the album Familia-Tribute to Chico and Bebo was the 2018 Grammy Award (his sixth) winner for Best Instrumental Composition.
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NEW CENTURY CHAMBER ORCHESTRA
Zachary DePue, guest concertmaster Simone Dinnerstein, piano A Concert Series Event Wednesday, May 16, 2018 • 8PM Jackson Hall
INDIVIDUAL SUPPORT PROVIDED BY
Ray Seamans 7PM Pre-Performance Talk, Jackson Hall Simone Dinnerstein in conversation with Ruth Rosenberg, director of arts education and artist engagement Ruth Rosenberg oversees the School Matinee Series, residency activities by touring artists, pre-performance talks and Q&A sessions with the artists, the Mondavi Center’s partnership with the Esparto Unified School District and student engagement initiatives for UC Davis students. Rosenberg started her career as a dancer. She was artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990 to 2001 and performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco. She is featured in the 2017 documentary Unstoppable Feat, The Dances of Ed Mock. 28 MONDAVIART S.ORG
PROGRAM Chacony in G Minor
Henry Purcell (arr. Britten)
Aheym
Bryce David Dessner
Concerto Grosso in D Minor, No. 12, “La Folia”
Francesco Geminiani
Keyboard Concerto No. 7 in G Minor, BWV 1058 Simone Dinnerstein, piano
Johann Sebastian Bach
Piano Concerto No. 3 Simone Dinnerstein, piano
This concert is dedicated to the memory of Robert Mondavi (June 18, 1913 – May 16, 2008)
Philip Glass
NEW CENTURY CHAMBER ORCHESTRA PROGRAM NOTES
CHACONY IN G MINOR (1680) (ARR. BRITTEN)
HENRY PURCELL (1659–1695) arranged by BENJAMIN BRITTEN (1913–1976) The first instrumental ensemble that can be called a true orchestra was formed in France as Les Vingt-quatre violons du Roi (“The Twenty-Four Violins of the King”), in 1626. What made this group a “true orchestra” was the fact that there were several players playing the same instrumental part. This new form of music-making was soon imitated in England, where a similarly-named band was established by King Charles II in the early 1660s. The young Henry Purcell joined the royal court at the age of 18 in 1677; it is believed (although we cannot be entirely certain) that he composed his Chacony for the King’s orchestra. A chaconne (like its close relative, the passacaglia) is a Baroque dance cast in the form of a set of variations over a recurrent ground bass or a recurrent harmonic progression. Purcell was very fond of this form, which he used in several of his stage works. The present Chacony (to use Purcell’s spelling) is a self-standing piece, in which the composer handled the variation form with remarkable freedom and virtuosity. As British Purcell authority Peter Holman has noted, “There is a tension between the conventions of the dance genre and an astonishingly rich and adventurous musical language.” In addition to altering the rhythm and ornamenting the melody, he varied the instrumentation as well, occasionally omitting the bass altogether and at one point moving the bass melody to the treble part. Benjamin Britten had a lifelong love for Purcell’s music. He performed and recorded it frequently with his partner, the great tenor Peter Pears, and published many modern editions and realizations, which contributed considerably to the Purcell renaissance in the 20th century. He made his arrangement of the Chacony in 1947–48, but it wasn’t published until 1965.
AHEYM (2009) BRYCE DESSNER (b. 1976) Bryce Dessner, who first became known as a member of the American rock group The National, has in recent years established himself as a prominent composer of concert music, with major commissions from several leading orchestras in the United States and Europe and regular collaborations with such world-famous groups as the Kronos Quartet, the Ensemble Intercontemporain and many others. Aheym, originally written for the Kronos, was first performed at the Celebrate Brooklyn! festival in 2009. The composer offered the following comments on his piece: “Aheym means ‘homeward’ in Yiddish, and this piece is written as musical evocation of the idea of flight and passage. As little boys, my brother and I used to spend hours with my grandmother, asking her about the details of how she came to America. (My father’s family were Jewish immigrants from Poland and Russia.) She could only give us a smattering of details, but they all found their way into our collective imagination, eventually becoming a part of our own cultural identity and connection to the past. In her poem, Di rayze aheym, the AmericanYiddish poet Irena Klepfisz, a professor at Barnard in New York and one of the few child survivors of the Warsaw Ghetto, writes: ‘Among strangers is her home. Here right here she must live. Her memories will become monuments.’ Aheym is dedicated to my grandmother, Sarah Dessner.”
CONCERTO GROSSO IN D MINOR, NO. 12, “LA FOLIA” (1729) FRANCESCO GEMINIANI (1687–1762) Italian-born Francesco Geminiani arrived in London in 1714, two years after Handel, and like his illustrious colleague, spent the rest of his musical career in the British Isles. Next to Handel, Geminiani was one of the most important practitioners of the concerto grosso form, as first developed by Arcangelo Corelli in Rome in the first years of the new century. Geminiani, who had studied with Corelli, did a great deal to develop the rich potential of this new genre and to popularize it in London, Paris and Dublin—the three cities at the center of his professional activities. An outstanding
violinist as well as an important composer of instrumental music, Geminiani also wrote a number of influential treatises on musical performance that are indispensable sources for understanding the Baroque style. In addition to writing a celebrated set of original concerti grossi, Geminiani also arranged Corelli’s Op. 5 violin sonatas (which included the famous Folia variations) for a larger ensemble, including a solo string quartet and a ripieno (orchestral) group. The folia is a ground bass progression, popular since the 16th century as a theme for sets of variations, often combined with the rhythm of the sarabande dance. Corelli’s virtuosic version became hugely popular in Europe, and Geminiani’s reworking preserves all the brilliance of the original. —Peter Laki
KEYBOARD CONCERTO NO. 7 IN G MINOR, BWV 1058 (1738) JOHANN SEBASTIAN BACH (1685–1750) This concerto is better known in its original form as Bach’s Violin Concerto in A Minor, BWV 1041, written around 1720, shortly after Bach had gotten to know Vivaldi’s concertos. The keyboard arrangement was made about 15 years later, in the mid-1730s, when Bach, in addition to his duties as Thomaskantor, took on a second job as the music director of the Collegium Musicum in Leipzig. This was a weekly concert series, held at Zimmermann’s coffee house, at which Bach and his two grown sons, Wilhelm Friedemann and Carl Philipp Emanuel, performed a great deal of keyboard music to the accompaniment of a small string ensemble. Bach prepared a total of 16 concertos for one, two, three and even four harpsichords for these events (including two for harpsichord, flute and violin). These works are all arrangements of earlier concertos, in the majority of cases violin concertos. Although many of the original versions are lost, scholars are fairly confident that they once existed, as the musical material strongly suggests a string or wind instrument as the primary source of inspiration. Perhaps the most remarkable feature of the present concerto’s first movement is the way the two-note opening gesture is immediately imitated in the bass, introducing a polyphonic element that will be amply exploited in the course of encoremediagroup.com/programs 29
the movement. The second movement combines two very different types of material: a rhythmically driven bass melody emphasizing repeated pitches, and a freely flowing, ornamented melodic line. Sometimes the two appear in succession and sometimes simultaneously; it is a movement of rare dramatic power, reinforced by the dynamic markings forte and piano, which Bach uses only on relatively rare occasions. The concerto closes with a spirited, dance-like movement in 9/8 time. In the keyboard transcription, Bach did not merely transfer the violin melody to the right hand over a simple bass line in the left hand. Instead, he made the texture idiomatic to the harpsichord by giving both hands plenty of rapid passagework to play.
PIANO CONCERTO NO. 3 (2017) PHILIP GLASS (b. 1937) “Several years ago, Simone Dinnerstein visited me at my home in New York City and played a short program of Schubert and Glass. She played with a complete mastery of technique, depth of emotion, and understanding. Right away I knew I would someday compose music for her. The opportunity presented itself soon after when she asked for a new piano concerto. About a year later I heard a rehearsal of the new work—Piano Concerto No. 3. I am very pleased with the result of our work and hope our audiences will enjoy our work together.” —Philip Glass The idea for Glass’ Third Piano Concerto came after that fateful meeting between pianist Dinnerstein and Glass at the composer’s home on the Lower East Side of Manhattan in September 2014. Glass was aware of Dinnerstein’s interpretations of Bach on recording and had the occasion to hear Dinnerstein play privately at his home the music of Schubert as well as Glass, and he first heard her perform live at the end of 2016, when the composer was awarded the Eleventh Glenn Gould Prize in Ottawa. It was on that program that Glass finally heard Dinnerstein play his music in front of the public, and he instantly recognized the rapport between the pianist and her audience. The new concerto is cast in three movements and is scored for piano and 30 MONDAVIART S.ORG
strings. The piece is overtly Romantic in nature and reflects Glass’ most recent approach to composing concertos that eschew the model of the concerto as soloist versus orchestra. Remarking on this, Dinnerstein said, “It’s as if the piano grows out of the orchestra.” Also, rather than revisiting the format of the slow–fast–slow concerto format, Glass has composed a concerto in a slow–slower–slowest format. Indeed, the third and final movement of Piano Concerto No. 3 is dedicated to Estonian composer Arvo Pärt. As such, this new work is perhaps one of the more disciplined and peaceful works Glass has ever composed. Glass stated, “I was thinking about Arvo Pärt—the third movement is an homage to Arvo. It’s a piece which you’ll recognize as being inspired by him yet it’s something that he would never have written.” All this contributed to a concerto that is unlike any other Glass has composed. Glass has always been a composer whose music drives forward, very rarely looking backward. However, recently, his works have taken on a new dimension of a kind of rare beauty and acceptance. These are pieces which have nothing to prove but seem to ruminate, to look into the language of music itself, finding a new kind of old beauty. —Richard Guérin
NEW CENTURY CHAMBER ORCHESTRA The New Century Chamber Orchestra, one of only a handful of conductorless ensembles in the world, was founded in 1992. The 19-member string ensemble includes San Francisco Bay Area musicians and those who travel from across the U.S. and Europe to perform together. Musical decisions are made collaboratively, resulting in an enhanced level of commitment from the musicians to concerts of remarkable precision, passion and power. In the 2017–18 season, British violinist Daniel Hope takes the role of artistic partner and concertmaster for the ensemble, bringing new vibrancy and leadership to the orchestra. Hope is preceded by previous music directors Nadja Salerno-Sonnenberg (2008–17), Krista Bennion Feeney (1999– 2006) and Stuart Canin (1992–99). In addition to performing classic pieces of chamber orchestra repertoire, New
Century commissions important new works, breathes new life into rarely heard jewels of the past and performs world premieres. Through the Featured Composer program, the orchestra commissions composers to write new works, with the goals of expanding chamber orchestra repertoire and providing audiences with a deeper understanding of today’s living composers. The orchestra provides insight into the breadth of the Featured Composer’s work by performing a variety of pieces by the composer throughout the season. Beyond regular season concerts in the San Francisco Bay Area, New Century has toured nationally, with 2011 performances in the Midwest, East Coast and Southern California regions garnering recordbreaking audiences and national critical acclaim. In January and February 2013, New Century followed with a highly successful eight-state national tour, the largest and most ambitious artistic undertaking in the organization’s history. In addition to touring efforts, New Century’s national footprint has also continued to grow with a rapidly increasing national radio presence. The ensemble has been broadcast over 30 times on American Public Media’s Performance Today, with each broadcast heard on 260 radio stations across the country. The orchestra has released seven compact discs. The most recent, From A to Z: 21st Century Concertos, is a compilation of four of New Century’s live world premiere performances of its newly commissioned works by William Bolcom, Ellen Taaffe Zwilich, Clarice Assad and Michael Daugherty. The recording was released in May 2014 on the NSS Music label. Two additional recordings were released on the NSS Music label, LIVE: Barber, Strauss, Mahler, released in November 2010, and Together, released in August 2009. The Orchestra’s first concert DVD, On Our Way, was released in May 2012, and weaves together documentary footage and a live tour concert from a February 2011 performance at the Broad Stage in Santa Monica. The DVD was filmed by Paola di Florio, director of the 1999 Academy Award–nominated film Speaking in Strings. Other recordings include a 1996 collaborative project with Kent Nagano and Berkeley Symphony Orchestra featuring the work of 20th–century Swiss composer Frank
NEW CENTURY CHAMBER ORCHESTRA Martin, and Written With the Heart’s Blood, a 1997 Grammy Award finalist, both on the New Albion label. In 1998 the orchestra recorded and released works of Argentine composers Alberto Williams and Alberto Ginastera on the d’Note label, and in 2004, the orchestra recorded and released Oculus, a CD of Kurt Rohde’s compositions on the Mondovibe label. All of the recordings have been distributed both in the United States and internationally.
ZACHARY DEPUE
GUEST CONCERTMASTER Known for his virtuosic, high-energy performances, violinist Zach DePue successfully balances his roles as concertmaster, soloist, chamber musician, fiddler, community leader and mentor with passion and dedication. A rising star among both classical and crossover music fans, he was appointed concertmaster of the Indianapolis Symphony Orchestra (ISO) in 2007 and became one of the youngest concertmasters in the country. He graduated in 2002 from the Curtis Institute of Music in Philadelphia, where he studied with renowned violinists Ida Kavafian and Jaime Laredo. He earned a full-tuition scholarship to Curtis and he also held the David H. Springman Memorial Fellowship. He served as concertmaster of the Curtis Symphony Orchestra before becoming a violinist in the Philadelphia Orchestra. Prior to entering Curtis, he attended the Cleveland Institute of Music, where he studied with William Preucil, concertmaster of the Cleveland Orchestra. With an innate talent for improvisation and arranging, DePue found much of his inspiration from his three older brothers, all violinists and fiddlers. In 1985, the four classically-trained brothers formed their own acclaimed group, The DePue Brothers, which combines classical and bluegrass for an eclectic, fun concert experience. The group’s father is Wallace DePue, a composer and professor emeritus at Bowling Green State University. DePue is also a founding member of Time for Three, ISO’s first ever ensemblein-residence, alongside his fellow Curtis
colleagues, violinist Nick Kendall and double bassist Ranaan Meyer. With its dynamic energy and unique mash-ups of bluegrass, jazz and classical music, Time for Three has reinvented the ISO’s Happy Hour Series and has introduced a new audiences to the symphony experience. DePue’s violin was made by Ferdinand Gagliano of Naples, Italy, in 1757.
SIMONE DINNERSTEIN
PIANO
American pianist Simone Dinnerstein is a searching and inventive artist who is motivated by a desire to find the musical core of every work she approaches. The New York–based pianist gained an international following with the remarkable success of her recording of Bach’s Goldberg Variations, which she
independently raised the funds to record. Released in 2007 on Telarc, it ranked No. 1 on the U.S. Billboard Classical Chart in its first week of sales and was named to many “Best of 2007” lists, including those of The New York Times, The Los Angeles Times and The New Yorker. Dinnerstein’s performance schedule has taken her around the world since her acclaimed New York recital debut at Carnegie Hall’s Weill Recital Hall in 2005, to venues including the Kennedy Center for the Performing Arts, Vienna Konzerthaus, Berlin Philharmonie, Sydney Opera House, Seoul Arts Center and London’s Wigmore Hall; the Lincoln Center Mostly Mozart Festival, and the Aspen, Verbier and Ravinia festivals; and performances with the Vienna Symphony Orchestra, Dresden Philharmonic, Staatskapelle Berlin, RAI National Symphony Orchestra, Royal Scottish National Orchestra, Czech Philharmonic, Danish National Symphony
April 15–21, 2018 POWERED BY
In honor of National Volunteer Week, the Mondavi Center gives thanks to our ushers! National Volunteer Week offers opportunities to thank some of America’s most valuable assets—our volunteers—and to recognize the myriad of ways they improve our communities. Our volunteer ushers give their time and hospitality to provide our audiences with a memorable performance experience. They are an invaluable asset to our organization with their talent and dedication. For more information on how you can volunteer at the Mondavi Center, visit: mondaviarts.org/support-us/volunteering
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NEW CENTURY CHAMBER ORCHESTRA Orchestra, New York Philharmonic, Minnesota Orchestra, Atlanta Symphony, Baltimore Symphony, Montreal Symphony Orchestra, Melbourne Symphony Orchestra, Orquestra a Sinfonica Brasileira and the Tokyo Symphony. Dinnerstein has played concerts throughout the U.S. for the Piatigorsky Foundation, an organization dedicated to bringing classical music to non-traditional venues. She gave the first classical music performance in the Louisiana state prison system at the Avoyelles Correctional Center and performed at the Maryland Correctional Institution for Women in a concert organized by the Baltimore Symphony Orchestra. Dedicated to her community, in 2009 Dinnerstein founded Neighborhood Classics, a concert series open to the public hosted by New York public schools, which raises funds for their music education programs. Dinnerstein is a graduate of The Juilliard School, where she was a student of Peter Serkin. She also studied with Solomon Mikowsky at the Manhattan School of Music and in London with Maria Curcio. She is on the faculty of the Mannes School of Music and is a Sony Classical artist. She is managed by Andrea Troolin at Ekonomisk Mgmt with booking representation through Helen Henson at Blu Ocean Arts.
FURTHER LISTENING by Jeff Hudson
NEW CENTURY CHAMBER ORCHESTRA AND SIMONE DINNERSTEIN Mondavi Center audiences have seen several visiting orchestras led by a violinist: Joshua Bell and the Academy of St Martin in the Fields, Pinchas Zukerman and the Royal Philharmonic Orchestra, among others. Several chamber orchestras are conductor-less by design—the Orpheus Chamber Orchestra (which visited here in 2016), and San Francisco’s New Century Chamber Orchestra (NCCO). (And during the early years of the Academy of St Martin in the Fields, Neville Marriner led that group from the concertmaster’s chair). When the NCCO came here in February 2011, they were led by concertmaster and music director Nadja Salerno-Sonnenberg, who was a prominent soloist with many major orchestras from the 1980s into the 2000s. During her years as music director, the NCCO went on several tours, raising its profile outside of Northern California. When Salerno-Sonnenberg announced her retirement in January 2016, the transition to a new leader was fairly swift, In October 2016, the NCCO announced a contract with violinist Daniel Hope (who had performed with NCCO as a guest artist in early 2016) in the role of artistic partner, directing the orchestra from the violin in multiple performances over three seasons. In March, the NCCO announced that Daniel Hope has been signed as artistic director through 2023. Hope performed here in March with the Zurich Chamber Orchestra; as music director with the Zurich ensemble, his Bay Area post with the NCCO, and a third post as associate artistic director of the Savannah Music Festival, a spring series in Georgia, Hope presumably accrues an impressive number of frequent flier miles. Hope is not expected to be in Davis this evening with the NCCO—he’s got multiple appearances in Zurich this month—but Mondavi Center audiences may recall that tonight’s pianist, Simone Dinnerstein, was here in January 2011, with singer/ songwriter Tift Merritt. Dinnerstein has several albums on Sony and Telarc. Tonight’s guest concertmaster, Zachary DePue, is a 2002 graduate of the Curtis Institute of Music (which sends Curtis on Tour ensembles to Mondavi annually) and serves as concertmaster with the Indianapolis Symphony. And if you enjoyed Hope’s appearance here with the Zurich Chamber Orchestra in March, and want to hear him with the NCCO, their Bay Area concert sets typically include a Sunday afternoon performance at the Osher Marin Jewish Community Center in San Rafael (about 75 minutes from Davis by car). JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
We mourn the passing of our dear friend and supporter GRACE NODA (1919–2018)
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NEW CENTURY CHAMBER ORCHESTRA
It is our privilege at the Mondavi Center to draw on the expertise of our great
UC Davis Faculty
VIOLIN I
Zachary DePue, guest concertmaster Robin Mayforth, associate concertmaster Iris Stone Karen Shinozaki Sor Hrabba Atladottir
VIOLIN II
Candace Guirao, principal Deborah Tien Price Michael Yokas Jory Fankuchen Evan Price
VIOLA
Anna Kruger, principal Cassandra Lynne Richburg Jenny Douglass
CELLO
Michelle Djokic Isaac Melamed Robin Bonnell Kathleen Balfe
BASS
Anthony Manzo
HARPSICHORD
JungHae Kim
Through engagement activities, such as pre-performance talks and post-performance Q&As faculty members help audiences achieve a richer understanding of Mondavi Center performances.
Pre-Performance Talk on Çudamani by Henry Spiller | FEB 24, 2018
We gratefully acknowledge the work of the following faculty who graciously participated in audience engagement activities during the 2017–18 season: Charles Hunt, professor, Department of Electrical and Computer Engineering Sam Nichols, lecturer, Department of Music Archana Venkatesan, chair, Department of Religious Studies; associate professor, Religious Studies & Comparative Literature We also thank the campus departments that partnered with us during the season: Academic Technology Services Department of Music First Year Aggie Connections First Year Seminars Government and Community Relations Graduate School of Management Hemispheric Institute of the Americas Humanities Institute Office of Campus Community Relations Offices of the Chancellor and Provost Office of Global Affairs Office of Research Religious Studies Strategic Communications Sacramento Area Youth Speaks (SAYS) Student Housing UC Davis Health UC Davis Study Abroad University Honors Program Veterinary Medicine
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photo: Stefan Cohen
SAN FRANCISCO SYMPHONY
David Robertson, conductor Kirill Gerstein, piano An Orchestra Series Event Thursday, May 24, 2018 • 8PM Jackson Hall SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY Anne Gray 7PM Pre-Performance Talk, Jackson Hall David Robertson in conversation with Don Roth, executive director, Mondavi Center, UC Davis Don Roth joined the Mondavi Center in 2006. His tenure has added partnerships with institutions, such as the Curtis Institute; and residencies by world-renowned companies, such as the St. Louis Symphony. Previously, Roth served as president of the Aspen Music Festival, the St. Louis and Oregon symphonies and as the San Francisco Symphony general manager. He teaches a course at UC Davis on engaging with the performing arts and serves as board chair for San Francisco Classical Voice, which is dedicated to high quality music journalism and to connecting new audiences to great music. 34 MONDAVIART S.ORG
PROGRAM Engelsflügel Symphony No. 102 in B-flat Major Largo—Allegro vivace Adagio Menuetto. Allegro—Trio Finale: Presto
Brett Dean Franz Joseph Haydn
INTERMISSION Concerto No. 1 in D Minor for Piano and Orchestra, op. 15 Maestoso Adagio Rondo: Allegro non troppo
Kirill Gerstein, piano
Johannes Brahms
SAN FRANCISCO SYMPHONY PROGRAM NOTES ENGELSFLÜGEL (2013)
BRETT DEAN (b. 1961)
Although Australian Brett Dean has been active as a composer for fully three decades, he leapt to a new plateau of international attention when he was named the recipient of the 2009 Grawemeyer Award for Music Composition, one of the most lucrative prizes in the music world. The piece that earned him this honor was The Lost Art of Letter Writing, a four-movement, 40-minute violin concerto, premiering in 2007. It was appropriate that he should have gained such distinction through a violin concerto: He himself is a string player, a violist who for 15 years, from 1984 to 2000, played in the viola section of the Berlin Philharmonic. In 1988, he started composing in earnest, producing experimental scores for film and radio. In the years following, he has kept busy composing dance pieces, orchestral works and operas, such as Bliss, which premiered by Opera Australia in 2010. In addition, he has completed a group of works inspired by the paintings of his wife, Heather Betts. Dean continues apace, taking on the role of creative chair at the Tonhalle Orchestra in Zurich for the 2017–18 season and appearing as composer, conductor and soloist with the Berlin Radio Symphony. His opera, Hamlet, was unveiled at Glyndebourne in summer 2017 and recently received its Australian premiere at the Adelaide Festival. Later in 2018, the Berlin Philharmonic and Simon Rattle will give the world premiere of a newlycommissioned work by Dean. The composer has offered the following note on Engelsflügel: On my first visit to Louisville University in 2009, I had the great pleasure of hearing the university’s wind symphony in full flight; confident, marvelous playing of strong and robust music. It’s such a wonderful tradition in American universities and Louisville seems particularly well-catered for in this regard, with great players and excellent teaching and direction. Having been asked by the university to write a work for Fred Speck and his wind symphony, I thought from the outset it would be fascinating to write a somewhat atypical piece for an ensemble of such potent sonic potential: quiet, fragile music that only
hints momentarily at the latent power within its instrumental lineup. What emerged is entitled Engelsflügel, or “Wings of Angels,” a short essay in mostly hushed, inward, even flighty textures. It found its beginnings in a recent set of piano pieces of mine that paid homage to the piano music of Johannes Brahms. Having started out as an examination and exploration of the very particular accompanying figurations found in Brahms’ songs and duo sonatas, Engelsflügel took on a life of its own as I investigated the many timbral possibilities of this ensemble. The music oscillates between secretive whispers, cascading wind arpeggios and austere, almost funereal brass chorales. —Brett Dean
SYMPHONY NO. 102 IN B-FLAT MAJOR (1794)
FRANZ JOSEPH HAYDN (1732–1809)
In 1790, Haydn’s employer of nearly three decades, Prince Nicholas Esterházy, died and was succeeded by his son, Paul Anton. The new prince, it turned out, did not much care for music, and Haydn’s services would prove largely unnecessary to his court. For the first time in decades, Haydn was free to explore. Numerous invitations were forthcoming, and in the end it was the English impresario Johann Peter Salomon who prevailed to secure a Haydn tour. Over the next five years Haydn completed two residencies in England, for which he consented to write a group of 12 symphonies (his nos. 93 through 104). The works—since dubbed the “London” or the “Salomon” symphonies—exhibit enormous diversity, and the set as a whole represents the apex of his symphonic achievement. If anything, the symphonies composed for Haydn’s second visit exceed the earlier ones in subtlety. The Symphony No. 102 in B-flat Major is one of the set’s finest, covering a broad emotional range that suggests witty Mozartian grace at one end and sober Beethovenian profundity at the other. The latter comes immediately to mind in the first movement’s dignified introduction, in which the orchestra’s winds roll in waves of octaves whose harmonic questing exalts mystery over transparency. The body of the symphony’s opening movement—a Vivace—dispels these deep concerns, though attentive ears may discern that the violins’ lighthearted theme is derived from the mysterious music of the introduction. As the movement progresses, Haydn’s mischief makes itself known through
startling fortissimo chords, sudden silences, unpredictable start-and-stop progressions, rhythmic syncopations, widely contrasting dynamics and some high-flavored dissonances. The ensuing Adagio is tame by comparison, but in a most welcome way, given its heartfelt poignancy. This music, essentially a sequence of free variations, also served Haydn as the haunting slow movement of his Piano Trio in F-sharp Minor (Hob.XV:26), though there is some debate over which setting was the original and which the adaptation. The third movement minuet-and-trio serves as an object lesson about Haydn’s central position between the styles of Mozart and Beethoven. Its trio displays the sweet harmony-in-sixths and the elegant chromatic embellishment of the former, while the minuet proper exhibits a gruff, folksy humor that looks ahead to Beethoven’s third movement scherzos. The finale presses a Croatian folk song into use as its principal subject and concludes with a display of the sort of musical joke that was Haydn’s trademark: The first violins, running into a block of some sort, stutter away valiantly without managing to articulate the theme quite correctly. Haydn lets them suffer awhile, much like an unfortunate school child who has forgotten the poem he is trying to recite, before loudly introducing the rest of the orchestra to steer them back on track and towards a high-spirited conclusion. —James M. Keller
CONCERTO NO. 1 IN D MINOR FOR PIANO AND ORCHESTRA, OP. 15 (1858)
JOHANNES BRAHMS (1833–1897)
In 1854, Johannes Brahms set out to compose a sonata for two pianos. By June of that year he was already uncertain about it and wrote to his good friend, conductor and violinist Joseph Joachim: “I’d really like to put my D-Minor sonata aside for a long time … Actually, not even two pianos are really enough for me … I am in such a confused and indecisive frame of mind that I can’t beg you enough for a good, firm response. Don’t avoid a negative one either; it could only be useful to me.” That March, he had traveled the few miles from Düsseldorf to Cologne to hear the Beethoven Ninth for the first time. More than 22 years would pass before he allowed himself to complete a symphony, but from then on, the idea of writing such a work gave him no peace. Before long, the sonata turned into the symphony it had really wanted to be in the first encoremediagroup.com/programs 35
place. At the same time, the piano sonority would not go away. To turn the music into a piano concerto seemed to be the answer, and by April 1856, he was sending drafts to Joachim. So it went for months more. In December 1857, Brahms wrote, “Nothing sensible will ever come of it.” To which Joachim wisely replied, “Aber Mensch, but I beg you, man, please, for God’s sake let the copyist get at the concerto.”“I made more changes in the first movement,” Brahms reported in March 1858, and even risked not sending them to Joachim. That good friend made his orchestra in Hanover available for a reading rehearsal in March, and, bit by bit, Brahms came to face the inevitable—he must let the work go and perform it. The official premiere in Hanover went well enough, but the performance in the more important city of Leipzig a few days later, with Julius Rietz and the Gewandhaus Orchestra, was a disaster. Brahms reported to Joachim: “No reaction at all to the first and second movements. At the end, three pairs of hands tried slowly to clap, whereupon a clear hissing from all sides quickly put an end to any such demonstration … I think it’s the best thing that could happen to one, it forces you to collect your thoughts and it raises your courage. After all, I’m still trying and groping. But the hissing was really too much, yes? … For all that, one day, when I’ve improved its physical structure, this concerto will please, and a second one will sound very different.” He was right on both counts, though in fact he revised only some details. The impact of the Beethoven Ninth shapes the First Concerto’s general demeanor, its artistic and rhetorical ambition, and Brahms was very deliberate when he cast his work in D minor, the key of Beethoven’s last symphony. In the end, Brahms’ daring and scarred and great concerto is weightier in content and much longer than any such work that had come before. —Michael Steinberg Program notes ©San Francisco Symphony, 2018.
SAN FRANCISCO SYMPHONY The San Francisco Symphony (SFS) gave its first concerts in 1911 and has grown in acclaim under a succession of distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and 36 MONDAVIART S.ORG
Michael Tilson Thomas, who assumed his post in 1995. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award, and the United States’ Grammy. The SFS education program, Adventures in Music, brings music to every child in grades 1 through 5 in San Francisco’s public schools. In 2004, the SFS launched the multimedia project Keeping Score on PBS-TV and the web. In 2014, the SFS inaugurated SoundBox, a new experimental performance venue and music series located backstage at Davies Symphony Hall. SFS radio broadcasts, the first in the nation to feature symphonic music when they began in 1926, today carry the Orchestra’s concerts across the country.
DAVID ROBERTSON
CONDUCTOR
Conductor David Robertson is celebrated worldwide as a champion of contemporary composers, an adventurous programmer and a masterful communicator. Currently in his valedictory season as music director of the St. Louis Symphony, and his fifth season as chief conductor and artistic director of the Sydney Symphony Orchestra, he has served as artistic leader to many musical institutions, including the BBC Symphony Orchestra, the Orchestre National de Lyon, and Ensemble Intercontemporain. With frequent projects at the world’s most prestigious opera houses, including the Metropolitan Opera, La Scala, Bavarian State Opera, Théâtre du Châtelet, San Francisco Opera and more, Robertson returns to the Met in 2018 to conduct Così fan tutte. During his 13-year tenure with the St. Louis Symphony, Robertson’s established and fruitful relationships with artists across a wide spectrum is evidenced by the orchestra’s ongoing collaboration with composer John Adams. The 2014 release of City Noir (Nonesuch Records)—comprising works by Adams performed by the St. Louis Symphony—won the Grammy Award for Best Orchestral Performance. Robertson is the recipient of numerous musical and artistic awards, and in 2010 was made a Chevalier de l’Ordre des Arts et des Lettres in France. Devoted to supporting young musicians, Robertson has worked with students at the festivals of Aspen, Tanglewood, Lucerne, at
the Paris Conservatory, the Juilliard School, Music Academy of the West, and the National Orchestra Institute. In 2014 he led the USA Coast to Coast tour of the National Youth Orchestra of Carnegie Hall. Born in Santa Monica, California, Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. He is married to pianist Orli Shaham.
KIRILL GERSTEIN PIANO Brought up in the former Soviet Union studying both classical and jazz piano, Kirill Gerstein moved to the U.S. at age 14, where he was the youngest student to attend Boston’s Berklee College of Music. Shifting his focus to the classical repertory, he studied with Solomon Mikowsky in New York, Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. He received first prize at the Arthur Rubinstein Competition in 2001, a Gilmore Young Artist Award in 2002, and in 2010, both an Avery Fisher Career Grant and the Gilmore Artist Award, which led him to commission new works from Timothy Andres, Chick Corea, Alexander Goehr, Oliver Knussen and Brad Mehldau. Highlights of his 2017–18 season include debuts with the Pittsburgh and National symphonies; return engagements with the Minnesota Orchestra and the Boston, Chicago, Indianapolis, Houston, Colorado and Oregon symphonies; summer festival appearances at Ravinia and Aspen, and his debut at the Mostly Mozart Festival; and a tour with cellist Clemens Hagen with performances in Philadelphia, Toronto and Montreal. Internationally, Gerstein works with the Leipzig Gewandhaus Orchestra in Leipzig and on tour in Paris and Vienna; the Bavarian Radio Orchestra; the BBC Proms in London; and the Czech, Rotterdam, Stockholm and Oslo philharmonics. Autumn 2017 marked the release of a recording of Scriabin’s Piano Concerto with the Oslo Philharmonic and Vasily Petrenko on LAWO Classics, and a recording of Scriabin’s Prometheus, the Poem of Fire with the same forces. His most recent release is of Gershwin’s Piano Concerto in F and Rhapsody in Blue with the St. Louis Symphony and David Robertson for Myrios Classics.
SAN FRANCISCO SYMPHONY SAN FRANCISCO SYMPHONY Michael Tilson Thomas Music Director & Conductor Herbert Blomstedt Conductor Laureate Christian Reif Resident Conductor Ragnar Bohlin Chorus Director Vance George Chorus Director Emeritus
FIRST VIOLINS
Alexander Barantschik Concertmaster Naoum Blinder Chair Nadya Tichman Associate Concertmaster San Francisco Symphony Foundation Chair Jeremy Constant Assistant Concertmaster Mariko Smiley Acting Assistant Concertmaster Paula & John Gambs Second Century Chair Melissa Kleinbart Katharine Hanrahan Chair Yun Chu Sharon Grebanier Naomi Kazama Hull In Sun Jang Yukiko Kurakata Catherine A. Mueller Chair Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen Sarah Knutson†
SECOND VIOLINS
Dan Carlson Principal Dinner & Swig Families Chair Helen Kim Associate Principal Audrey Avis Aasen-Hull Chair Paul Brancato Assistant Principal Dan Nobuhiko Smiley The Eucalyptus Foundation Second Century Chair Raushan Akhmedyarova David Chernyavsky John Chisholm Cathryn Down Darlene Gray Stan & Lenora Davis Chair Amy Hiraga Kum Mo Kim Kelly Leon-Pearce* Eliot Lev Isaac Stern Chair
Chunming Mo Polina Sedukh Chen Zhao
VIOLAS
Jonathan Vinocour Principal Yun Jie Liu Associate Principal Katie Kadarauch Assistant Principal John Schoening Joanne E. Harrington & Lorry I. Lokey Second Century Chair Gina Cooper Nancy Ellis David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young
CELLOS
Michael Grebanier Principal Philip S. Boone Chair Peter Wyrick Associate Principal Peter & Jacqueline Hoefer Chair Amos Yang Assistant Principal Margaret Tait Lyman & Carol Casey Second Century Chair Barbara Andres The Stanley S. Langendorf Foundation Second Century Chair Barbara Bogatin Jill Rachuy Brindel* Gary & Kathleen Heidenreich Second Century Chair Sébastien Gingras David Goldblatt Christine & Pierre Lamond Second Century Chair Carolyn McIntosh Anne Pinsker
BASSES
Scott Pingel Principal Daniel G. Smith Associate Principal Stephen Tramontozzi Assistant Principal Richard & Rhoda Goldman Chair S. Mark Wright Lawrence Metcalf Second Century Chair Charles Chandler Lee Ann Crocker* Chris Gilbert Brian Marcus William Ritchen
FLUTES
Tim Day Principal Caroline H. Hume Chair Robin McKee Associate Principal Catherine & Russell Clark Chair Linda Lukas Alfred S. & Dede Wilsey Chair Catherine Payne Piccolo
OBOES
Eugene Izotov Principal Edo de Waart Chair James Button Associate Principal Pamela Smith Dr. William D. Clinite Chair Russ deLuna English Horn Joseph & Pauline Scafidi Chair
CLARINETS
Carey Bell Principal William R. & Gretchen B. Kimball Chair Luis Baez Associate Principal & E-flat Clarinet David Neuman Jerome Simas Bass Clarinet
BASSOONS
Stephen Paulson Principal Steven Dibner Associate Principal Rob Weir Steven Braunstein Contrabassoon
HORNS
Robert Ward Principal Nicole Cash* Associate Principal Bruce Roberts Assistant Principal Jonathan Ring Jessica Valeri Daniel Hawkins
TRUMPETS
Mark Inouye Principal William G. Irwin Charity Foundation Chair Guy Piddington Ann L. & Charles B. Johnson Chair Jeff Biancalana
TROMBONES
HARP
Douglas Rioth Principal
TIMPANI
Edward Stephan Principal Marcia & John Goldman Chair
PERCUSSION
Jacob Nissly Principal Raymond Froehlich Tom Hemphill James Lee Wyatt III
KEYBOARDS
Robin Sutherland Jean & Bill Lane Chair
LIBRARIANS
Margo Kieser Principal Nancy & Charles Geschke Chair John Campbell Assistant Matt Gray Assistant * on leave † acting member of the SFS Sakurako Fisher President Mark C. Hanson Executive Director Matthew Spivey Director of Artistic Planning Andrew Dubowski Director of Operations Rebecca Blum Director of Orchestra, Education, and Strategic Initiatives Oliver Theil Director of Communications Joyce Cron Wessling Manager of Tours and Media Production Bradley Evans Orchestra Personnel Manager Robert Doherty Stage Manager Michael “Barney” Barnard Stage Technician Roni Jules Stage Technician Mike Olague Stage Technician The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.
Timothy Higgins Principal Robert L. Samter Chair Nicholas Platoff Associate Principal Paul Welcomer John Engelkes Bass Trombone
TUBA
Jeffrey Anderson Principal James Irvine Chair
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MEMBERSHIP The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives. Annual donations to the Mondavi Center directly support our operating budget and
PRODUCER CIRCLE
$3,500–$6,999
are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.
Donor information as of March 1, 2018. 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 38 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 6 donors who prefer to remain anonymous
DIRECTOR CIRCLE
$1,500–$3,499
The Aboytes Family Beulah and Ezra Amsterdam Elizabeth and Russell Austin Laura and Murry Baria Lydia Baskin* Drs. Noa and David Bell Robert and Susan Benedetti Don and Kathy Bers* Jo Anne Boorkman* Neil and Elizabeth Bowler Edwin Bradley Linda Brandenburger James and Susanne Burton Davis and Jan Campbell Cantor & Company, A Law Corporation Margaret Chang and Andrew Holz Susan Chen Sue Cipolla and Palma Lower Allison P. Coudert Jim and Kathy Coulter* John and Celeste Cron*
Terry and Jay° Davison 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 7 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 Ken and Elaine Moody 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 and John 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* Barbara E. Bower 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
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MEMBERSHIP Marlene J. Freid* Larry Friedman and Susan Orton 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 Jean Horan 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 and 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 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 Donna Petre and Dennis Styne
ARTISTIC VENTURES FUND
Jill and Warren Pickett Drs. David and Jeanette Pleasure Charles and Christine Powell 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 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 Nancy Trueblood 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
40 MONDAVIART S.ORG
Barbara K. Jackson Nancy Lawrence and Gordon Klein Diane M. Makley* M.A. Morris William and Nancy Roe* *Friends of Mondavi Center
Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Joy Mench and Clive Watson Trust Verne Mendel Kay Resler* Hal° and Carol Sconyers Joe and Betty Tupin Lynn Upchurch 1 Anonymous ° In Memoriam
If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation. If you are interested in learning about planned giving opportunities, please contact Nancy Petrisko, Director of Development (530.754.5420 or npetrisko@ucdavis.edu).
We appreciate your support! Note: Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.
BOARDS & COMMITTEES
MONDAVI CENTER ADVISORY BOARD The Mondavi Center Advisory Board is a support group of University Relations whose primary purpose is to provide assistance through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.
2017–18 ADVISORY BOARD MEMBERS Tony Stone, Chair • Janlynn Fleener, Vice-chair • Scott Syphax, Vice-chair • Jim Bigelow • Camille Chan • John Crowe • Patti Donlon • Phyllis Farver • Karen Karnopp • Hansen Kwok • Nancy Lawrence • Garry Maisel • Cliff Popejoy • Nancy Roe • Grace Rosenquist • Lawrence Shepard
EX OFFICIO Gary S. May, Chancellor • Ralph J. Hexter, Provost & Executive Vice Chancellor • Elizabeth Spiller, Dean, College of Letters & Sciences • Don Roth, Executive Director, Mondavi Center • Yevgeniy Gnedash, Chair, Arts & Lectures Administrative Advisory Committee • Sandra Togashi Chong, Chair, Friends of Mondavi Center HONORARY MEMBERS Barbara K. Jackson • Rosalie Vanderhoef
THE ARTS & LECTURES ADMINISTRATIVE ADVISORY COMMITTEE is made up of
interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season. Yevgeniy Gnedash, Chair Ekaterina Alekseenko Kenneth Beck Marielle Berman Jochen Ditterich Petr Janata Kelila Krantz Hyunok Lee Jason Mak Sally McKee
Michael Montgomery Victoria M. Nguyen Greg Ortiz Luna Qiu Nancy Rashid Sheetal Shah Gina Werfel Amy Yip Yuanxin Zhang Helena Zittel
THE FRIENDS OF MONDAVI CENTER is an active, donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at: jmmast@ucdavis.edu or call 530.754.5431. 2017–18 FRIENDS EXECUTIVE BOARD Sandra Togashi Chong, President Leslie Westergaard, Vice President Karen Broido, Secretary Debbie Mah, Treasurer COMMITTEE CHAIRS Pat Stromberg, Friends Events Marge Dolcini, Gift Shop Wendy Chason, Membership Tom Farver, Mondavi Center Tours Verena Leu Young, School Matinee Support Carol Christensen, School Matinee Ushers/ Front of House Liaison Lynette Ertel, School Outreach Marlene Freid, Audience Services and Volunteer Engagement Manager, Ex-Officio
GIFT SHOP @Mondavi Center
The Mondavi Center Gift Shop will be open to the public on Saturday, October 28, from 10am to 12pm noon for BRUNCH AND BROWSE, the Friends of Mondavi Center’s annual event launching the holiday shopping season.
NOW accepting credit cards! The gift shop is open before the show and Friends will during have loads of new merchandise and intermission. everyone is welcome, with no charge for parking.
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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.)
42 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
THEATRE:
“The Bluest Eye”
MAY 10-13 & 17-19 @ 7 PM MAY 13 & 19 @ 2 PM MAIN THEATRE, WRIGHT HALL
ART:
2018 Arts and Humanities Graduate Exhibition MAY 29—JUNE 24
FREE
MANETTI SHREM MUSEUM DESIGN:
Damon Rich
ALBERINI FAMILY SPEAKER SERIES
MAY 30 @ 5 PM
LOCATION TBA MUSIC:
FREE
Jazz Bands of UC Davis MAY 31 @ 7 PM
PITZER CENTER, RECITAL HALL MUSIC:
Concert Bands of UC Davis JUNE 1 @ 7 PM
MONDAVI CENTER, JACKSON HALL
ART & ART HISTORY
arts.ucdavis.edu
FOR TICKETS AND THE LATEST ARTS INFORMATION
ART STUDIO CINEMA & DIGITAL MEDIA DESIGN MUSIC THEATRE & DANCE
PHOTO CREDITS: “Ouroboros” photo Luke Younge; Damon Rich, John D. & Catherine T. MacArthur Foundation; Concert Band of UC Davis, courtesy Department of Music