Mondavi Center Playbill ISSUE 8: APRIL 2013 by Mondavi Center

ANNIVERSARY

2012—13 ISSUE 8: APRIL 2013 • Bobby McFerrin p. 5 • Paul Dresher Ensemble p. 8 • Shantala Shivalingappa p. 15 • The Ukulele Orchestra of Great Britain p. 18 • Alexander String Quartet p. 23 • San Francisco Symphony p. 29 • Arlo Guthrie, solo p. 34 • Medeski Martin & Wood with Joshua Light Show p. 36

Season Sponsors

PROGRAM

We’ve lifted health care to an art form. Who better to create the perfect health plan but health care professionals with families of their own. So that’s just what we did. Fifteen years ago, UC Davis Health System, Dignity Health and NorthBay Healthcare System came together to create a quality alternative to national HMOs. The result is a health plan committed to improving the health and well-being of our community. So, if you are interested in getting just what the doctor ordered, give us a call.

As a founding partner, Western Health Advantage is proud to celebrate Mondavi Center’s 10th anniversary.

ANNIVERSARY

2012—13

A MESSAGE FROM THE CHANCELLOR

t is my pleasure to welcome you to the Robert and Margrit Mondavi Center for the Performing Arts, a genuine jewel of our UC Davis campus. In its 10 years of existence, the Center has truly transformed our university and the Sacramento region.

Linda P.B. Katehi UC Davis Chancellor

Arts and culture are at the heart of any university campus, both as a source of learning and pleasure and of creative and intellectual stimulation. I have been fortunate to be a part of several campuses with major performing arts centers, but no program I have experienced exceeds the quality of the Mondavi Center. The variety, quality and impact of Mondavi Center presentations enhance the worldwide reputation of our great research university. Of course, this great Center serves many purposes. It is a place for our students to develop their cultural literacy, as well as a venue where so many of our wonderful faculty can share ideas and expertise. It is a world-class facility that our music, theater and dance students use as a learning laboratory. As a land grant university, UC Davis values community service and engagement, an area in which the Mondavi Center also excels. Through school matinees, nearly 100,000 K–12 students have had what is often their first exposure to the arts. And through the Center’s many artist residency activities, we provide up close and personal, life-transforming experiences with great artists and thinkers for our region. Thank you for being a part of the Mondavi Center’s 10th anniversary season.

Season Sponsors

MondaviArts.org

10TH ANNIVERSARY SEASON SPONSORS

MONDAVI CENTER STAFF DON ROTH, Ph.D. Executive Director Jeremy Ganter Associate Executive Director

CORPORATE PARTNERS Platinum

Becky Cale Executive Assistant PROGRAMMING Jeremy Ganter Director of Programming Erin Palmer Programming Manager

Gold

Ruth Rosenberg Artist Engagement Coordinator Lara Downes Curator: Young Artists Program

Silver OFFICE OF CAMPUS COMMUNITY RELATIONS

Bronze

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

The Andrew W. Mellon Foundation

ARTS EDUCATION Joyce Donaldson Associate to the Executive Director for Arts Education and Strategic Projects Jennifer Mast Arts Education Coordinator AUDIENCE SERVICES David Szymanski Audience Services Manager Yuri Rodriguez House/Events Manager Nancy Temple Assistant House/Events Manager

SPECIAL THANKS Anderson Family Catering & BBQ Atria Senior Living Boeger Winery Buckhorn Catering Caffé Italia Ciocolat El Macero Country Club

Elliott Fouts Gallery Fiore Event Design Hot Italian Hyatt Place Osteria Fasulo Seasons Sherman Clay Watermelon Music

For more information about how you can support the Mondavi Center, please contact: Mondavi Center Development Department 530.754.5438 2

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

Natalia Deardorff Assistant House/Events Manager BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services Mandy Jarvis Financial Analyst Russ Postlethwaite Billing System & Rental Coordinator

DEVELOPMENT Debbie Armstrong Senior Director of Development Alison Morr Kolozsi Director of Major Gifts & Planned Giving Elisha Findley Corporate & Annual Fund Officer Amanda Turpin Donor Relations Manager Casey Schell Development/Support Services Assistant OPERATIONS Herb Garman Director of Operations Greg Bailey Building Engineer INFORMATION TECHNOLOGY Darren Marks Web Specialist/ Graphic Artist Mark J. Johnston Lead Application Developer MARKETING Rob Tocalino Director of Marketing Will Crockett Marketing Manager Erin Kelley Senior Graphic Artist Amanda Caraway Public Relations Coordinator TICKET OFFICE Sarah Herrera Ticket Office Manager Steve David Ticket Office Supervisor Susie Evon Ticket Agent Russell St. Clair Ticket Agent

PRODUCTION Donna J. Flor Production Manager Daniel J. Goldin Assistant Production Manager/Master Electrician Zak Stelly-Riggs Assistant Production Manager/Master Carpenter Christi-Anne Sokolewicz Senior Stage Manager, Jackson Hall Christopher Oca Senior Stage Manager, Vanderhoef Studio Theatre Jenna Bell Artist Services Coordinator Daniel B. Thompson Campus Events Coordinator, Theatre and Dance Department Liaison/Scene Technician Kathy Glaubach Music Department Liaison/Scene Technician Adrian Galindo Audio Engineer— Vanderhoef Studio Theatre/Scene Technician Gene Nelson Registered Piano Technician HEAD USHERS Huguette Albrecht Eric Davis George Edwards Linda Gregory Donna Horgan Paul Kastner Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

ROBERT AND MARGRIT

MONDAVI CENTER for the Performing Arts • UC DAvis

PROGRAM ISSUE 8: APRIL 2013

Photo: Lynn Goldsmith

IN THIS ISSUE:

A MESSAGE FROM DON ROTH

Mondavi Center Executive Director

ith apologies to the old “days-of-the-month” poem, 30 days hath April, and fully half of them are filled with Mondavi Center events. From the return of the San Francisco Symphony to the Mondavi Center debut of the eight-person Ukulele Orchestra of Great Britain, we are closing out the final months of our 10th anniversary season in style. Making it an even busier month, subscriptions for the Mondavi Center 2013–14 season go on sale April 15. We believe next season continues to build on all the energy of our first decade, with the finest in music, dance, theater and speakers, balancing some favorite MC artists, some extraordinary debuts, along with some of the most cutting-edge work out there. The more adventurous among you should pay close attention to our VST Visions performances. These are shows we think are worthy of much wider attention, so we’ve set a standard $30 price to encourage you to indulge your curiosity.

• Bobby McFerrin p. 5 • Paul Dresher Ensemble p. 8 • Shantala Shivalingappa p. 15 • The Ukulele Orchestra of Great Britain p. 18 • Alexander String Quartet p. 23 • San Francisco Symphony p. 29 • Arlo Guthrie, solo p. 34 • Medeski Martin & Wood with Joshua Light Show p. 36 • Mondavi Center Policies and Information p. 44

Whatever your tastes, we look forward to welcoming all our returning subscribers back for more one-of-a-kind experiences in Jackson Hall and the Vanderhoef Studio Theatre. If you are new to subscribing, or just interested in finding out more, I encourage you to take advantage of our Open House on April 27. More information is available on www.mondaviarts.org. I say this every year, but only because I firmly believe it to be true: taking a subscription series journey with us (and adding on a few more of your favorites) is the absolute best way to explore what makes the Mondavi Center a unique asset in the Capital region. We offer our deepest discount to subscribers, because we believe so intensely in the power of the experience. But, before we get ahead of ourselves, there are more shows to enjoy. Have a happy April!

BEFORE THE SHOW

O AH •

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 tpe of audio or video recording equipment is strictly prohibited.

•

Please look around and locate the exit nearest you. That exit may be behind, to the side or in front of you. In the unlikely event of a fire alarm or other emergency please leave the building through that exit.

•

As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may not be re-admitted to his/her ticketed seat while the performance is in progress.

Don Roth, Ph.D. Executive Director Mondavi Center for the Performing Arts, UC Davis

MondaviArts.org

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

BOBBY McFERRIN

Photo by Carol Friedman

spirityouall

A Chevron American Heritage Series Event

Bobby McFerrin, Vocals

Friday, April 5, 2013 â&#x20AC;˘ 8PM

Gil Goldstein, Piano, Electric Piano, Accordion and Arranger

Jackson Hall

David Mansfield, Violin, Mandolin, National Resonator Guitar and Lap Steel

Sponsored by:

The Andrew W. Mellon Foundation

Question & Answer Session With Paul Dresher Question & Answer Sessions take place in the theatre following the performance.

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

DOUBLE DUO Road Movies, 1st movement for violin & piano “Relaxed Groove”

John Adams

Double Ikat, Part II, for violin, piano and percussion

Paul Dresher

Bird As Prophet, for violin and piano Glimpsed From Afar, for quadrachord and marimba lumina

Martin Bresnick Paul Dresher

Intermission Chorale Times Two—2nd movement of the Concerto Paul Dresher for Violin and Electro-Acoustic Band, for violin, electric guitar, electronic percussion and electronic keyboard Racer—3rd movement from Elapsed Time, for violin and piano Willie’s Way, for piano soloist, violin, electric guitar and electronic percussion

Paul Dresher

Martin Bresnick

Double Duo is a program of contemporary works for acoustic, electro-acoustic and invented instruments by John Adams, Paul Dresher and Martin Bresnick. Double Duo, Paul Dresher and the Paul Dresher Ensemble are represented by Bernstein Artists Inc. www.dresherensemble.org

PROGRAM NOTES Road Movies, 1st movement for violin & piano “Relaxed Groove” (1995) John Adams (Born February 15, 1947, in New England) After years of avoiding the chamber music format I have suddenly begun to compose for the medium in earnest. The 1992 Chamber Symphony was followed by the string quartet, John’s Book of Alleged Dances, for Kronos (1994), and now Road Movies. For years the chamber music scenario remained a not particularly fertile bed in which to grow my musical ideas. My music of the 1970s and 1980s was principally about massed sonorities and the physical and emotional potency of big walls of triadic harmony. These musical gestures were not really germane to chamber music, with its democratic parceling of roles, its transparency and timbral delicacy. Moreover, the challenge of writing melodically, something that chamber music demands above and beyond all else, was yet to be solved. Fortunately, I experienced a breakthrough in my melodic writing while composing The Death of Klinghoffer, an opera whose subject and mood required me to reevaluate my own musical language.

Double Ikat, Part II, for violin, piano and percussion (1988–90) Paul Dresher (Born January 8, 1951, in Los Angeles) For several years, percussionist William Winant had been asking me to write a piece for a trio of Bay Area musicians he was working with, but while interested in theory, I was preoccupied with my work in music theater. It wasn’t until I saw the trio perform Lou Harrison’s Varied Trio at his 70th birthday concert that I was truly inspired to create a work for Willie, David Abel and Julie Steinberg. The opportunity came in 1988 when I was commissioned by choreographer Brenda Way and her company ODC San Francisco to compose a score for their new work, Loose the Thread, whose imagery was based on material drawn from the lives of the people in the Bloomsbury Group. I took the opportunity to compose a work for both the dance and the trio. The version that resulted took its form largely from the dance and so in 1989, I took the material from that work and recomposed and edited it into an entirely different form, strictly as a concert work. The dance version was composed in 1988, the first concert version premiered in 1989 and was then revised into the current form in 1990. Each of the two movements of the piece can be, and often are, performed as autonomous works. The title refers to a style of weaving common in Southeast Asia in which both the threads of the warp and weave are dyed to create the pattern or image. For me, the title thus relates to the interrelationships of the three instruments and to the title of the choreographic work from which it sprang. I wish to thank Brenda Way for creating much of the atmosphere which infuses the work; Lou Harrison for providing the inspiration to create my most blatantly lyrical work to date and Willie, Julie and David for working closely with me throughout the composition, rehearsal and revision of the piece. The last section of Part Two of the work, with the extended slow violin melody, is an homage to North Indian sitarist Nikhil Banerjee, one of the finest musicians of this century, with whom I had the honor of studying for several years and who died at far too early an age in 1986. —Paul Dresher

Bird As Prophet, for violin and piano Martin Bresnick (Born in 1946 in the Bronx) Bird As Prophet is the last in a series of 12 pieces entitled Opere della musica povera (Works of a Poor Music). The title refers to a piano miniature of the same name from Robert Schumann’s Waldszenen. Bird As Prophet’s combination of simple programmatic suggestiveness and abstract patterning seeks to recapture the vivid, oracular, but finally enigmatic spirit of Schumann’s (and Charlie Parker’s) remarkable musical prophecies. The work was originally commissioned by and dedicated to the Rosa/Laurent (violin/piano) Duo.

The title Road Movies is total whimsy, probably suggested by the “groove” in the piano part, all of which is required to be played in a “swing” mode (second and fourth of every group of four notes are played slightly late). Movement I is a relaxed drive down a not unfamiliar road, with musical ideas recalled in sequence much like rondo form.

—Martin Bresnick

Road Movies was commissioned by the Library of Congress in Washington, D.C. and premiered at the Kennedy Center in October 1995.

Glimpsed from Afar is the second concert work created for this duo of invented instruments (the first was In The Name(less) from 2002). It was commissioned by the San Francisco Jewish Music Festival and pre-

Glimpsed From Afar, for quadrachord and marimba lumina (2006) Paul Dresher

—John Adams MondaviArts.org

miered at the Festival in March 2006. In a different form, much of the music in the work was integrated into the live score for the collaboration with the Margaret Jenkins Dance Company on the dance work A Slipping Glimpse, which premiered in May 2006 in San Francisco. The creation and development of the work is indebted to percussionist Joel Davel, whose ideas and performance have been integral to both the composition and performance of the work. As in In The Name(less), my compositional approach that combines, in much the same way as jazz or many non-classical traditions organize their forms, germinal composed materials (including live looping/ layering and the technical manipulation of the sounds) and a predetermined sequence of distinct sections with substantial improvisational development within each of these sections. Perhaps this is reflective of my musical roots, which are in many improvised musical forms, from blues, through free(ish) jazz and into North Indian Classical music. While not sounding like any of these, these works share both a philosophical desire and emotional imperative that all these musics embody: the need to combine both freedom and structure, the rational (and expected) with the intuitive (and unexpected). The instruments are described in more detail on page 12. We also want to thank composer Roger Reynolds and percussionist Steven Schick for the concept of “oddities” that plays an important part in the work, as well as composer Mark Applebaum for the processing patch he created for his work for the Ensemble’s Electro-Acoustic Band Martian Anthropology 8. We use an evolution of this patch for the opening of Glimpsed From Afar. —Paul Dresher

Chorale Times Two—2nd movement of the Concerto for Violin and Electro-Acoustic Band, for violin, electric guitar, electronic percussion and electronic keyboard (1996–97) Paul Dresher There are two exceptions for me in the second movement of this Concerto. Generally, I dislike chords and synthesizers and rarely use them in my own compositions, preferring to create harmony through counterpoint and electronic sounds through digital sampling and signal processing. However, in the summer of 1994, while composing Din of Iniquity, I was experimenting with a Yamaha SY-99 synthesizer and created a synthesizer timbre which intrigued me sonically and from which kept emerging a simple expanding chord progression, something which suggested the kind of core harmonic progressions embodied in Bach Chorales, which are often used as models in beginning studies of harmony and voice leading. This idea had no place at all in Din of Iniquity but kept hanging around and nagging for attention, which it finally received in the Concerto. There are two big arcs of harmonic progression, the second one a permutation of the first, hence the title. I have always been rather ambivalent about the concerto form, at least as it has come down to us through the heritage of the late 18th and 19th centuries. The form largely seemed to be expressed in terms of conflict and resolution between the soloist and ensemble, and it was often a vehicle for technical display at the expense of other musical values. This was inherently against my basic interest in an equal-voiced or layered contrapuntal approach in forming the relationships between musicians playing together. In approaching this form I explored different possible relationships, ones that more honestly reflected both my

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

musical and social perspectives. Thus in each of the movements, which may be performed as separate works, I have used contrasting models for the instrumental ensemble. In the first movement, Cage Machine, it is that of a rock and roll band; in the second, it is of an orchestra. In the third, it is that of a chamber ensemble. The Concerto was originally composed for the extraordinary violinist David Abel who performed the work for many years with the Paul Dresher Ensemble Electro-Acoustic Band. All the percussion sounds used in the work are samples of pianist Julie Steinberg’s preparation for her performance of John Cage’s seminal work Sonatas and Interludes for Prepared Piano. I am deeply indebted to Julie for the exemplary quality of her “preparation” and for her permission to use these sounds in an entirely different context. Her recording of the work is available on the Music and Arts label. My thanks also to composer Jay Cloidt with whom I worked in recording and editing these samples. —Paul Dresher

Racer—3rd movement from Elapsed Time, for violin and piano (1998) Paul Dresher Elapsed Time was composed for pianist Julie Steinberg and violinist David Abel. The title refers to how the nature of musical development affects the listener’s sense of the passage of time, as well as my teenage obsession with top fuel drag racing—a feature most evident in the third movement. Racer is a long sprint with only one short breather. It is definitely more than a quarter mile! The work’s harmonic realm is derived from two contrasting modes: an octatonic scale of alternating whole and half steps and the diatonic scale. These contrasts are particularly attractive to me because of their systematically derived harmonic possibilities rich in both architectural and emotional effect. The work was commissioned by the McKim Fund in the Library of Congress and written for David Abel and Julie Steinberg, who premiered it at the Library of Congress in 1998. —Paul Dresher

Willie’s Way, for piano soloist, violin, electric guitar and electronic percussion (2001, revised 2011) Martin Bresnick The inspiration for this work came in spring of 1968, while I was sitting, not completely in my right mind, at a table in a very large house in Palo Alto rented by a group of Stanford medical students. These future doctors were then my very own merry pranksters, and I had often tagged along while they tried radical politics, communal living, vegetarian foods, medical school laboratory pharmaceuticals, even raising a lion cub, whose nightly roaring eventually finally alerted the neighbors and gave one of the students a rare African lion disease. But on this night, they retired to their rooms, leaving me alone in the immense dining room, while a recording I had never heard before played. As I stared intently at the remains of a dinner that in my peculiar state resembled a disorderly old Dutch Masters still life, a basic blues grew relentlessly from elemental simplicity into melodic improvisations worthy of a south Indian master, and the blues pulse

multiplied into an infinity of polyrhythmic patterns, and the individual lines became a counterpoint that extended above and beyond the fifth species and then, finally, when after a shattering climax of impassioned instrumental virtuosity, Willie Dixon’s great tune returned, I knew I had heard something I would never forget: “that spoon, that spoon, that – spoonful.” Over the years, Willie’s Way/Fantasia has been arranged for different instrumental groups: the original for solo piano and electro-acoustic ensemble (2001), for solo piano (2006), for woodwind quintet (2012) and the current arrangement (2011) for the Double Duo. —Martin Bresnick

Karen Bentley Pollick (violin) has been a member of the Paul Dresher Ensemble since 1999 and performs a wide range of solo repertoire and styles on violin, viola, piano and Norwegian hardangerfele. A native of Palo Alto, California, she studied with Camilla Wicks in San Francisco and with Yuval Yaron, Josef Gingold and Rostislav Dubinsky at Indiana University, where she received both bachelors and masters of music degrees in violin performance. She has several recordings of original music, including Electric Diamond, Angel, Konzerto and Succubus and Ariel View, for which she has received three music awards from Just Plain Folks, including Best Instrumental Album and Best Song. On her own record label Ariel Ventures, she has produced Dancing Suite to Suite, <amberwood> and Homage to Fiddlers. She filmed Dan Tepfer’s Solo Blues for Violin and Piano in Shoal Creek, Alabama, in June 2009. Pollick was concertmaster of the New York String Orchestra at Carnegie Hall in 1984 and has participated in the June in Buffalo and Wellesley Composers Conferences. She has appeared as soloist with Redwood Symphony in the world premiere of Swedish composer Ole Saxe’s Dance Suite for Violin and Orchestra, the Alabama Symphony and orchestras in Panama, Russia, Alaska, New York and California. She has performed in recital with Russian pianist/composer Ivan Sokolov at the American Academy of Rome, Seattle and New York City, throughout the Czech Republic with cellist Dennis Parker at the American Spring Festival and in England at the Huddersfield Contemporary Music Festival. Along with choreographer Teri Weksler and percussionist John Scalici, Pollick received a Cultural Alliance of Greater Birmingham 2008 Interdisciplinary Grant to Individual Artists. Pollick received a grant from the Alabama State Council for the Arts and the National Endowment for the Arts for her March 2010 Solo Violin and Alternating Currents concerts in Birmingham, Seattle and at Music Olomouc 2011. With Australian pianist Lisa Moore, Pollick formed the duo Prophet Birds in 2009 and the Double Duo with Paul Dresher and Joel Davel. Pollick performs on a violin made by Jean Baptiste Vuillaume in 1860 and a viola made in 1987 by William Whedbee.

Lisa Moore (piano and electronic keyboard), described by The New York Times as “beautiful and impassioned ... lustrous at the keyboard,” is uniquely able to combine music, theater and expressive, emotional power—whether in the delivery of the simplest song, a solo recital or a fiendish chamber score. Crowned “New York’s queen of avant-garde piano” and “visionary” by The New Yorker, this Australian virtuoso has performed with a large and diverse range of musicians and artists—the London Sinfonietta, New York City Ballet, Chamber Music Society of

Lincoln Center, Bargemusic, Bang on a Can All-Stars, TwoSense, Steve Reich Ensemble, Grand Band, So Percussion, Don Byron Adventurers Orchestra, Signal, Le Train Bleu, Third Coast Percussion, Da Capo Chamber Players, Paul Dresher Double Duo, Eighth Blackbird, American Composers Orchestra, Mabou Mines Theater, Susan Marshall Dance, Sequitur, Music at the Anthology, St. Lukes Orchestra, Australia Ensemble, Westchester Philharmonic, New York League of Composers ISCM, Alpha Centauri Ensemble, Terra Australis and the John Jasperse Dance Company. Pitchfork writes, “She’s the best kind of contemporary classical musician, one so fearsomely game that she inspires composers to offer her their most wildly unplayable ideas.” Moore’s past solo shows include American Berserk, In My Hands, ipiano: my brilliant career, Wilde’s World, the totally wired piano, Janacek—from the street and Musically Speaking. Her repertoire moves between composers such as Joseph Haydn, Robert Schumann, Leos Janacek, Bela Bartok, Modeste Mussorgsky, Gyorgy Ligeti, Randy Newman, Rufus Wainwright, Martin Bresnick, John Adams, Missy Mazzoli and Frederic Rzewski. Moore has released seven solo discs (Cantaloupe Music, Tall Poppies) and more than 30 collaborative discs (Sony, Nonesuch, DG, CRI, BMG, Point, New World, ABC Classics, Albany, New Albion). Her recent Cantaloupe solo EP Stainless Staining (July 2012) presents original music by Irishman Donnacha Dennehy. A founding member of the Bang on a Can All-Stars, with whom she performed for 16 years, Moore’s resume includes collaborations with composers as varied as Meredith Monk, Phillip Glass, Sonic Youth’s Thurston Moore and Ornette Coleman. She has performed in La Scala, the Musikverein, Sydney Opera House, Carnegie Hall and the Royal Albert Hall. Her guest appearances at festivals include Lincoln Center, Southbank’s Meltdown, Dublin’s Crash, Hong Kong, Turin, Barcelona, Heidelberg, Berlin, Perugia, Tanglewood, Mendocino, FENAM Sacramento, Sundance Institute, Jacob’s Pillow, Aspen, Ojai, Other Minds, NY’s Sonic Boom, BAM Next Wave, MassMoca, Bang on a Can, Adelaide, Perth, Queensland, Canberra, Sydney, Sydney’s Olympic Arts, Sydney Big Ideas, Brisbane Biennale and the Darwin Festival. For more Moore please visit www.lisamoore.org

Joel Davel (marimba lumina and quadrachord) has toured and recorded with new music and jazz groups performing original music and premieres by today’s leading composers. He has also composed for and appeared as an on-stage accompanist for several theater and dance companies both as soloist and most recently in duos with composer and instrument-builder Paul Dresher. His primary interests are in nontraditional instruments, interdisciplinary work and performing original contemporary music both written and improvised. Davel is noted for his solo electronic performances. His appearance at a Lincoln Center event prompted the Wall Street Journal’s comment: “percussionist Joel Davel blew everyone away with his virtuosic improvisation on the Marimba Lumina, an electronic invention that emulates and extends the vocabulary of conventional mallet instruments, and the [Buchla] Lightning, played by waving wireless wands in space.” Davel has made frequent appearances as a solo electronic percussionist at the San Jose Tech Museum of Innovation as well as at events such as the Other Minds Film Festival, at the Experience Museum in Seattle and on tour in Russia.

MondaviArts.org

As a technician, Davel has worked since 1993 with Don Buchla to build and design innovative electronic music instruments. Davel was involved in almost every aspect in the creation of the Marimba Lumina. Davel is dedicated to breaking new ground in a variety of musical contexts. He performs with the new music ensemble, the Paul Dresher Ensemble, but also has a long history as a mallet player with jam jazz group Jack West and Curvature, electronic-avant-cabaret diva Amy X Neuburg and the Eastern European and Klezmer-influenced violinist Kaila Flexer. Davel’s accompaniment of dance and theater includes work with California Shakespeare Theater, Cream City Semi-Circus, Nancy Karp + Dancers, ODC/San Francisco, Asian American Dance Performances, danceNAGANUMA, Margaret Jenkins Dance Company and the Allyson Green Dance Company.

Paul Dresher (quadrachord and electric guitar) is an internationally active composer noted for his ability to integrate diverse musical influences into his own coherent and unique personal style. He pursues many forms of musical expression including experimental opera/music theater, chamber and orchestral composition, live instrumental electroacoustic music, musical instrument invention and scores for theater and dance. A recipient of a Guggenheim Fellowship for 2006-07, he has received commissions from the Library of Congress, Saint Paul Chamber Orchestra, Spoleto Festival USA, Kronos Quartet, the San Francisco Symphony, California EAR Unit, Zeitgeist, San Francisco Ballet, Walker Arts Center, Seattle Chamber Players, Present Music, the Berkeley Symphony Orchestra and Chamber Music America. He has performed or had his works performed throughout the world at venues including the New York Philharmonic, Los Angeles Philharmonic, Alice Tully Hall, the Festival d’Automne in Paris, the Brooklyn Academy of Music’s Next Wave Festival and the Minnesota Opera. Dresher’s most recent project was his Concerto for Quadrachord & Orchestra—a three-movement work for the Berkeley Symphony Orchestra and featuring the Quadrachord, one of his large-scale invented instruments. The premiere was conducted by Joana Carneiro in October 2012, and the work was reprised by the La Jolla Symphony under Steven Schick in March 2013. Other recent projects have included Schick Machine, a music theater work from 2009 created in collaboration with writer/director Rinde Eckert and percussionist Steven Schick that toured to Hong Kong in 2012 and continues to tour in the United States. In 2008, the San Francisco Ballet premiered Dresher’s orchestral score for Thread, his collaboration with choreographer Margaret Jenkins. Dresher’s chamber opera The Tyrant premiered at Opera Cleveland in 2006 and has now been produced in a dozen cities, including two productions in Europe. Upcoming projects include a duo for the Bang-On-A-Can cellist Ashley Bathgate and pianist Lisa Moore, the score for the Margaret Jenkins Dance Company’s Times Bones—in celebration of their 40th anniversary—and a new work with choreographer Brenda Way and ODC Dance.

The Paul Dresher Ensemble interprets the ideas and sounds of today’s most innovative and irreverent composers. With energy, virtuosity and incredible attention to the theatrical dimensions of performance, it produces and tours its own works of opera and experimental

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

music theater (developed in collaboration with Obie Award-winning performer Rinde Eckert), and as the Electro-Acoustic Band, performs the work of an amazing range of contemporary composers with instrumentation that combines traditional acoustic and contemporary electronic instruments. Virtuoso solo performers like Terry Riley, Joan Jeanrenaud and David Abel frequently join the Electro-Acoustic Band for concerts that redefine contemporary chamber music.

A NOTE ABOUT THE INVENTED INSTRUMENTS

The Quadrachord has a total string length of 160 inches, four strings of differing gauges but of equal length and an electric bass pickup next to each of the two bridges. The instrument can be plucked like a guitar, bowed like cello, played like a slide guitar, prepared like a piano and drummed on like a percussion instrument. Because of the extremely long string length (relative to our conventional bowed and plucked instruments), and very low open string/fundamental pitches, the instrument is capable of easily and accurately playing the harmonic series up to the 24th partial and higher. Thus it is a remarkable tool for exploring alternative tuning systems based on the harmonic series. In live performance, the instrument is typically used in conjunction with live digital looping and various signal processing devices (most importantly a programmable graphic equalizer) that together allow Dresher and Davel to build up complex multi-track layers, each of which is defined by a distinct timbre and spectral characteristics.

The marimba lumina, a recent instrument design by synthesizer pioneer Don Buchla in collaboration with Joel Davel and Mark Goldstein, is a sophisticated electronic instrument that has more expressive control than a typical electronic keyboard. Modeled somewhat after its acoustic namesake, it is a dynamically sensitive electronic mallet controller that brings an extended vocabulary and range of expression to the mallet instrument family. The marimba lumina’s playing surface includes a traditionally arrayed set of electronic bars. Each bar is made up of two overlapping antennas that receive proximity information from each of the four mallets. This allows the marimba lumina to respond to new performance variables such as position along the length of each bars. In addition, each mallet is tuned to a unique frequency which allows one to program different instrumental responses for each mallet. This all augments the potential for expressive control with easily implemented pitch, volume and timbre modulation.

MAIN STAGE DANCE ROCKY HORROR PICTURE SHOW SING-ALONG SOLO EXPLORATIONS HOUR OF 5’S UNDERGRADUATE ONE-ACTS THU-SUN APRIL 25-28 & MAY 2-5 W R I G H T H A L L , U C DAV I S

TICKETS

53 0.754 . A R T S

TH E ATR E DAN C E .U C DAV IS. E DU MondaviArts.org

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

2012—13 Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7–8 p.m. and during intermission if scheduled.

SEPTEMBER 18 Bonnie Raitt Justin Vineyards & Winery 27 San Francisco Symphony Chimney Rock Winery OCTOBER 6 Rising Stars of Opera Le Casque Wines 25 From The Top with Christopher O'Riley Oakville Station NOVEMBER 7 Philharmonia Baroque Carol Shelton Wines 16 David Sedaris Senders Wines DECEMBER 5 Danú Boeger Winery JANUARY 18 Monterey Jazz Festival Pine Ridge Vineyards 29 Yo-Yo Ma Robert Mondavi Winery FEBRUARY 7 Kodo ZD Wines 16 Itzhak Perlman Valley of the Moon Winery MARCH 7 Sarah Chang Michael David Winery 19 Jazz at Lincoln Center Ramey Wine Cellars APRIL 5 Bobby McFerrin Groth Vineyards & Winery 19 Arlo Guthrie Trefethen Family Vineyards MAY 3 Christopher Taylor Flowers Winery 23 David Lomelí Francis Ford Coppola Winery Featured wineries

For information about becoming a donor, please call 530.754.5438 or visit us online: www.mondaviarts.org.

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

Q&A Question & Answer Moderator: Sudipta Sen Sudipta Sen is professor of history at UC Davis. A historian of late medieval and early modern India and the British Empire, his work has focused on the early colonial history of British India. He is the author of two books, Empire of Free Trade: The English East India Company and the Making of the Colonial Marketplace and Distant Sovereignty: National Imperialism and the Origins of British India. He is currently working on two book-length manuscripts. The first, Ganga: Many Pasts of an Indian, is an exploration of the idea of a cosmic, universal river at the interstices of myth, historical geography and ecology, and the other is a longer-term project entitled Imperial Justice: Law, Punishment and Society in Early British-India, 1770–1830.

Debut SHANTALA SHIVALINGAPPA

Photo by C.P. Satyajit

GAMAKA

A Studio Dance Series Event Thursday–Saturday, April 11–13, 2013 • 8PM Vanderhoef Studio Theatre Individual support provided by William and Nancy Roe.

Gamaka World Premiere: June 2007 at Théâtre de la Ville/des Abbesses, Paris Conceived and directed by Shantala Shivalingappa Savitry Nair, Artistic Advisor

Question & Answer Session

Nicolas Boudier, Light Design and Technical Management

Thursday, April 11, 2013

Marie-Josée Petel, Light Technician

Moderated by Sudipta Sen, Professor, Department of History, UC Davis

Christopher Romilly, Sound Technician

Question & Answer Sessions take place in the theater

Valérie Cusson, Tour Management

following the performance.

Orchestra Each performance will be preceeded by a screening of The Dancer Films.

J. Ramesh, Chant B.P. Haribabu, Nattuvangam and Percussion

The Dancer Films

The Dancer Films are a collection of very short films based on legendary cartoonist Jules Feiffer’s beloved character, the modern Dancer—with a live dancer.

N.Ramakrishnan, Mridangam K. S. Jayaram, Flute

Audiences may remember The Dancer (she hasn’t aged) or may be meeting her for the first time. Cool men, bad weather and stultifying past Presidents sometimes foil her efforts to dance; she springs back with an irrepressible desire to express herself as she navigates the complicated, bracing and rapturous world in which we all reside. The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal. MondaviArts.org

Prayer song to Vani, Goddess of the Arts Pranavakaaram Uthukkadu Venkata Subbier, Music and Lyrics Varnam Dr. M. Balamuralikrishna, Music and Lyrics Kélvi-Badil Jaavali Annamacharya, Music and Lyrics Tillanna Lalgudi G. Jayaram, Music and Lyrics Sunny Artist Management Inc., North American Representative www.sunnyartistmanagement.com Production: Per Diem & Co, France

PROGRAM NOTES Gamaka—vibrations of sound and movement All of creation is vibration. At different levels, velocities, in different shapes and intensities, the core of all things is vibrating, from the most minute and gentle quiver, to great thunderous spasms. In dance, the elements of movement, rhythm, sound, melody and poetry come together, as vibrations that resonate, calling each other, playing, escaping, mingling, deviating, forming patterns of great beauty and harmony. All the intricacies, complexities of movement and sound, in their various combinations and marriages, give rise to a myriad images, emotions, shapes and forms: Ganesha, Hanuman, Krishna, Shiva, Sita, Kamakshi … ( Divinities of Indian mythology ) all a manifestation of vibration at different levels, expressing different emotions, depicting diverse landscapes of imagination, continuously being transformed in the creative flow of energy. But at the core, still, always, pure and eternal the primal vibration, the source of all life, which never ceases, even in stillness and silence, it is the life current which pervades the universe and which each one can feel in his own breath. —Shantala Shivalingappa Pranavakaaram Poem in praise of Lord Ganesha, the elephant-headed God O Ganesha, you embody the form of OM, with your ever-smiling face. You are the protector of the world. You are like a wish-giving tree full of sparkling gems. In the midst of your devotees, you dance in joyful ecstasy accompanied by the rhythm of percussions. O son of the Divine Mother, your eyes are filled with compassion. You are the symbol of supreme purity. We offer you our salutations.

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

Varnam A Varnam is a complex musical composition of the South Indian tradition, which is often the centerpiece of a classical Indian dance program. It combines the two aspects of Indian dance: pure rhythmic dance and narrative dance. Typically, a Varnam starts with a rhythmic pattern in three speeds: slow, medium and fast. This Varnam is dedicated to OM, the primal sound and the pure, eternal vibration which is the source of the universe. The last part of this Varnam will be danced on a brass plate, a technique typical of the Kuchipudi style. From OM came forth the word, melody, and rhythm. The energy of OM sustains the three worlds. In the primal Ocean, OM was born from a lotus, sprung out from the belly of Lord Vishnu, the Protector. OM is the source of eternal bliss. Creation, Destruction, the Earth, the Sky, the Wind, Water, Fire, Nature and all Beings are born from OM.

Kélvi-Badil A rhythmic dialogue An artist rooted in a solid tradition delves into it with all his heart. His passion is thus expressed to the audience in a very lively manner. Having been thoroughly trained in a very rigorous technique, he can then play with the tools he has mastered. Thus begins artistic creation. Here, the two percussionists improvise a rhythmic conversation, with their hands and palms to the tips of their fingers, with their voice, with syllables, with different objects and with their instruments. The conversation ends with a specific rhythmic pattern performed and accelerated by the dancer and percussionists. Jaavali A narrative dance based on a romantic poem where the dancer uses facial expressions, hand gestures and body language to enact the lyrics of the song. A young girl disturbed and confused by the love she feels blossoming in her heart for the first time, seeks advice from her friend: Dear friend, please tell me, is Love black or white? Don’t turn away, please answer me! Is Love deep like a well, or big and high like a mountain? Should I fear the God of Love as I would fear a tiger, or a bear? The buzzing of the bees seems to my ears as harsh as thunder and lightning, why? Why does this fragrant, fresh sandal paste feel like a burning snakebite to my skin? Is it the cool breeze, or my heart, which makes my body shiver so? Why do tears flow like a river from my eyes? If I turn away my face from him, will he think that I am arrogant, or shy? Is this the right time to feel love? Will his face be as sweet as honey? Will he come to me at the right moment? Dear friend, don’t turn away, please answer me!

Tillanna A dynamic, rhythmic dance which ends the performance on a lively note. In a soundscape created by a melody playing with repetitive rhythmic syllables, the Tillanna develops different aspects of pure dance including movements of the eyes, of the neck, of the eyebrows, intricate rhyhmic patterns, etc. This Tillanna is dedicated to Shiva Nataraja, the Lord of Dance.

Kuchipudi Kuchipudi is a classical dance form of South India. It takes its name from a small village called Kuchipudi, in the state of Andhra Pradesh, where it was born around the 15th century. Like all Indian classical dance forms, its technique is rooted in the Natya Shastra, a 2,000 yearold treaty on dramatics, which gives a very precise and highly developed codification of dance, music and theater.

instruments • accessories • sheet music • lessons • rentals • repairs

But Kuchipudi also received the influence of the popular folk dance and music traditions which were prevalent at the time in that particular region and which developed themes of religious devotion. The result is a style which is highly evolved and structured, but also vibrant and lively, extremely intricate and utterly graceful. Kuchipudi uses the two important techniques, which are developed in different ways in each of the Indian classical dance styles: pure dance and expressive dance. Pure dance, nrtta, is rhythmic and abstract. The footwork executes the complex rhythmic patterns of the accompanying music, while the rest of the body, from the head to the tip of the fingers, follows sometimes with forceful precision, sometimes with flowing, graceful movements.

• Locally owned and operated since 1996 •

Expressive dance, or abhinaya, is narrative. Here, each part of the body is used to bring alive the text, poem or story recited in the song. The hand gestures—mudras—are codified into a very precise language. The facial expressions are stylized so as to convey a wide range of complex and subtle sentiments and feelings. The whole body comes alive to communicate the emotions which arise from the song. Kuchipudi is a harmonious combination of these two aspects, where the dancer alternates or blends together moments of pure dance, rhythmic, bright, vivacious, full of beauty and grace, and narrative moments based on the Hindu mythology, where the focus is on the use of gestures, facial expressions and body language. The Kuchipudi performance is accompanied by a live classical orchestra, comprising singing, flute, veena and percussions. The dance, music and rhythm are very closely interlinked, and each element is developed in relation with the other.

207 E Street • Davis • C A • 9 5616 • 53 0.7 5 8.4010 M-F • 10-7 • Sa • 10-6 • Su 12-6 • www.watermelonmusic.com

In the field of Kuchipudi, Master Vempati Chinna Satyam has clearly marked the last four decades. Through his dedication, extraordinary talent and sheer hard work and through his collaboration with greatly knowledgeable and sensitive scholars, composers and musicians, he brought Kuchipudi from its little village to the forefront of the artistic scene in India, and also to an international audience. He renewed and restored a diluted and cruder form of Kuchipudi, at a time when it was fading in rigor and vibrancy, forging a very personal, precisely structured, pure and elegant style.

ANDERSON FAMILY CATERING & BBQ

• We stock over 20,000 print music titles • • We offer “guaranteed lowest price” on our huge and diverse inventory of instruments •

Watermelon Music

In 1963, he founded the Kuchipudi Art Academy in Madras, and from there, created a repertoire of solo dances as well as dance dramas or ballets. Today, thanks to him, Kuchipudi occupies a privileged position among other Indian classical forms, and his students continue his work in and out of India. Shantala Shivalingappa (dancer), born in Madras, India, and brought up in Paris, is the child of the East and the West. She grew up in a world filled with dance and music, initiated at a tender age by her mother, dancer Savitry Nair. Deeply moved and inspired by Master Vempati Chinna Satyam’s pure and graceful style, Shivalingappa dedicated herself to Kuchipudi and received an intense and rigorous training from her master. Driven by a deep desire to bring Kuchipudi to the Western audience, she has performed in important festivals and theaters, earning praise and admiration from all. Acclaimed as a rare dancer by artists and connoisseurs in India and Europe, Shivalingappa combines perfect technique with flowing grace and a very fine sensitivity. Since the age of 13, she has also had the privilege of working with some of the greatest artists of our times: Maurice Béjart, Peter Brook, Bartabas and Pina Bausch. Such experiences make her artistic journey a truly unique one.

Our name has become synonymous with great food, service and attention to detail. Contact us today at andersonfamilycatering.com for a quote.

www.shantalashivalingappa.com MondaviArts.org

Debut THE UKULELE ORCHESTRA OF GREAT BRITAIN

A With a Twist Series Event

David Suich

Friday, April 12, 2013 • 8PM

Peter Brooke Turner

Jackson Hall

Hester Goodman George Hinchliffe

Individual support provided by

Kitty Lux

Wayne and Jacque Bartholomew.

Richie Williams Will Grove-White

There will be one intermission.

One. Play once only as an intro               

  

                G

10 7 7 7

The Ukulele Orchestra of Great Britain is a touring musical

3 Two Three Four Five                                                         3 3 3 3 3 3 3 3    30   30         0 0   00   0    0 0 0 0   0   

Audience members are encouraged to bring their own ukuleles to the Mondavi Center performance of The Ukulele Orchestra of Great Britain. Uke-playing audience members will need to check their ukulele cases at the coat check before entering Jackson Hall, but the instruments are welcome inside. The audience will be invited to play “Relentlessly in C” with the Orchestra during the performance. There will be a play-along rehearsal for “Relentlessly In C,” at the Ukulele Play-Along held in the Corin Courtyard on April 12 from 6:30–7:30 PM.   Six    

          

  

        

Seven

  3    

  

Eight

  7    

  

  

Ten 10      Nine                                   C C C   30  30  30  30   30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30  0 0 0   00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00    00 0 0 0        G Eleven. Play this once. Wait for cue when everyone is playing Ten.

12                                                          



10 10 10 10 7

10 10 10 10 10 10 10 10 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

10 10 10 10 7

10 10 10 10 10 10 10 10 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

V.S.

group that has been delighting audiences, raising the roof, selling out performances and receiving standing ovations since 1985; a group of “all-singing, all strumming” ukulele players that has been active for 27 years, using instruments bought for loose change, which holds that all genres of music are available for reinterpretation as long as they are played on the ukulele. It is owned and directed by the founders and performers, George Hinchliffe and Kitty Lux. Current members also include founding performers David Suich and Richie Williams and (performing with the orchestra since 1990) Will Grove-White and Hester Goodman, Jonty Bankes (1992 to date) and Peter Brooke Turner (1995 to date).

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

The orchestra is celebrated for its rapport with audiences and eliciting a joyous feel-good reaction. A description of the concert’s basis sounds astoundingly simple: eight performers, eight instruments, eight voices (no gimmicks, no stage set, props or scenery, no fireworks, no special effects, no light show, no dancers, no laptops, no samples). And yet, as millions have enthused over the years, the orchestra tears the house down with music, songs, catchy, emotive, stomping and toe tapping tunes, banter and wit and inexplicably draws the audience in to a joyous world beyond the conflicts of musical genre or the difference between a serious concert and comedy. Many audience members have attested to the fact that prior to the show, their expectations were slight, and that the actual enjoyment factor in the ukes’ show caused an immense and exponentially increasing burst of goodwill and joy. It is not uncommon for a “convert” to bring friends (ukulele orchestra virgins) along to a show, not telling them what they will be seeing, so that part of the enjoyment for the “convert” is seeing the upwelling and growing happiness in the spirit of the “ukulele orchestra virgins” as they experience a sequence of “ah ha” moments and find, through their own senses, the magic of the “impossible-to-verbalize” Ukulele Orchestra appeal. The orchestra walks on stage, bows and somehow instantly communicates to the audience that they are in safe, responsible, friendly and entertaining hands, being totally in command of the art and craft and mastery of the stage. The audience is made to feel completely at home, perhaps with an irreverent joke, but by then the orchestra is already racing through a solid-as-a-rock comfortingly hot melody, perhaps an old jazz or country standard. This could be followed up, once the audience think they know what the show will be all about, by a gently “wrong footing” joke, as the show changes direction and subverts expectations. But before that has taken hold, we’re already listening to a stomping rock song, and by then, the tide of the unexpected elements is in full flow: humor, cynical and witty comments or changes of direction, classical music, punk classics, a deconstruction of the language of music and the conventions of performance and pop. At this point, the audience will sit back and allow the orchestra to take the show where they will—all prior assumptions forgotten, as they enjoy the pure entertainment of what the U.K. Independent called “the best musical entertainment in the country.” Since the first sold-out concert in 1985 “The Ukes,” or the “UOGB” as fans know the orchestra, have released many CDs, albums and DVDs, appeared on TV and radio in many countries and toured the world during approximately 9,000 days and nights of ukulele action. Though happy to work with external promoters, agents and other media companies, the “UOGB” is a trail-blazer of the currently fashionable business model of organizing all its own affairs, with a healthy schedule of recording, production, licensing, agency and concert promotion and management activities. The orchestra is independent, anarchic, funny, virtuosic, thought-provoking and mind blowing. It has “16-handedly changed the face of the ukulele world.” This, the current version of the UOGB’s “original” show, brings the audience a “genre-crashing” ride through popular music; a funny, virtuosic, twanging, awesome, foot-stomping obituary of rock and roll, and melodious light entertainment in a collision of post-punk performance and toe-tapping oldies. It is a rhythmic, joyous, thought-provoking journey through songs that you’ve heard, songs you’ve forgotten, songs you’ve never heard and songs you perhaps wish you hadn’t encountered, all transformed into a lively, headlong stream of transcendent

sounds, musical delight and warm personality featuring only the “bonsai guitar” and a menagerie of voices. The individual performers have varied backgrounds but a complementary expertise, featuring strong individual voices and instrumental abilities. Their different perspectives and styles coexist in one varied yet harmonious show as they engage with the audience through speech, song and ukulele playing. The effect of encountering the orchestra’s performers is of eight refugees exiled from other diverse and completely contrasting musical groups, all paradoxically coexisting on the same stage; a gang of misfits, a troupe of mismatched pick-n-mix musicians, who somehow work together like clockwork. As though we are seeing Yogi Bear, Sherlock Holmes, Robin Hood, a street hustler, a Noble Lord, Peter Pan, Joan of Arc and Popeye the Sailorman on stage together. Icons and archetypes, cartoons and timeless figures. Yet audiences overwhelmingly relate to the human scale of the UOGB show, the sheer entertainment value, the enjoyment of music and performance and the diverse range of material the show consists of. Zooming from Tchaikovsky to Nirvana via Otis Reading, to current anthems via 1960s Beat Instrumentals and Dueling Banjo-style picking, taking in film themes and Spaghetti Western soundtracks, everyone has a good time with the Ukulele Orchestra. Using instruments ranging from the very small to the very large, in high and low registers, whether playing intricate melodies, simple tunes or complex chords (and let’s not forget that with eight performers and thus 16 hands, eight voices and with four strings on each instrument, up to 32 instrumental notes and eight vocal notes can be sounded simultaneously), the orchestra, sitting in chamber group format and dressed in formal evening wear (regardless of the time of day or the venue, whether Glastonbury Festival or Carnegie Hall), uses the limitations of the instrument to create a musical freedom as it reveals unsuspected musical insights. Both the beauty and the vacuity of popular and highbrow music are highlighted, the pompous and the trivial, the moving and the amusing. Sometimes a foolish song can touch an audience more than high art; sometimes music that takes itself too seriously is revealed to be hilarious. As the orchestra’s publicity states: “You may never think about music in the same way once you’ve been exposed to the ukes’ depraved musicology,” as “with instruments bought for loose change,” on their “world tour with only hand luggage,” they bring you “one plucking thing after another.” The orchestra has inspired thousands of people to take up the ukulele, and to reconnect with music from a fun-oriented perspective. People who had thought they had no musical talent have been moved to begin learning the ukulele and to sing and to find that musical enjoyment can be for everyone. While a proportion of the UOGB audience are ukulele enthusiasts who recognize the valuable proselytizing efforts of the orchestra, most of the audiences simply are attracted to the UOGB show as entertainment. Having said that, it is a surprising fact that sales of ukuleles have now surpassed those of guitars; and many music shop owners have contacted the UOGB to say: thank you for turning their town on to ukuleles, as sales have gone “through the roof” after a ukes concert. Music shop proprietors have reported what their customers have said: “Some performers make their virtuosity look difficult; the effect of witnessing their performance is to make you throw your instrument away in despair, whereas the Ukulele Orchestra make it look easy and fun, inspiring everyone to buy a ukulele and try it for themselves.” The reality of course, is that though the instrument is relatively easy to get a tune out of, many hours of practice are required to

MondaviArts.org

play with virtuosity, as with any instrument. But isn’t this the right way to approach things, enthusiasm and inspiration first, with the theory and science and craft following on, through practice, study, hard work and application, when it is required? Without the inspiration and the vision of the benefits, would any of us work at anything? Many teachers and professional musicians have communicated with the orchestra, grateful for signposts in how to re-frame their approach to music. It is easy to be jaded and bored with a job; the UOGB shows music can be fun and competent, professional yet joyous. Educators have held the UOGB up as an example of how to play music, to retain the playful spirit even while making music as full-time “work.” Sometimes one hears that someone “doesn’t know the first thing about music.” The orchestra points out that it is possible to know the second, third, fourth things about music, but to literally not know “the first thing about music,” i.e. that it needs to be fun, playful, imbued with the life spirit. So we can say with confidence that the Ukulele Orchestra does know the “first thing about music!” The Ukulele Orchestra started off as “a bit of fun” (which is not at all the same thing as saying that it started as a joke). After all, music should be playful; we play music, rather than “work” it. The first gig, intended as a one-off, was an instant sell out and led to national radio, TV, album recordings and international tours. Since then the orchestra has given thousands of concerts with TV and radio appearances all over the world. There have been tours in England, Scotland, Northern Ireland, Wales, France, Germany, Norway, Sweden, Finland, Denmark, the Netherlands, Belgium, the U.S., Canada, New Zealand, Slovenia, Switzerland, Japan, Czech Republic, Monaco, Spain, Poland, Estonia, Italy, Australia and current plans for China and the North Pole. Broadcasts have been made on six continents. The Orchestra has spawned many imitators. In 1985, when the ukes began, the term “Ukulele Orchestra” could have sounded ironic, as one might hear “The Sahara Desert Sub-Aqua Club.” Over time, the term has become the default label for a group of ukulele players, and indeed the Orchestra can be seen to have popularized the trend for playing ukuleles in groups. Many clubs and ukulele societies exist in many countries now, and the conception of the ukulele as suitable for ensemble-playing, or as a “consort” or as a social activity seems to have been derived from the Ukulele Orchestra. There are now literally thousands of ukulele groups, many of which call themselves Ukulele Orchestras. Some of these are conscious tributes to the UOGB, some have outstanding merit in their own right, while some merely aspire to pass themselves off as the original, fooling some of the people some of the time. Certainly, a large part of the energy in the current ukulele wave is derived from the oldest and best Ukulele Orchestra: The Ukulele Orchestra of Great Britain. Beginning in 2012, a wide-ranging Ukulele Orchestra tour is underway. This includes the U.K., France, Germany, Sweden, Finland, Estonia, Norway, the U.S., Australia, New Zealand, China, Japan and more. From the North Pole to Sydney Opera House, via Carnegie hall and Royal Albert Hall (where they’ve already had sold-out concerts) the Ukes of GB are touring planet Earth with their funny, stomping, toe-tapping, all-singing-all-plucking obituary of rock and roll and melodious light entertainment.

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

David Suich (the long-haired one), a founder member of the Ukes, has competed at the Glastonbury Festival. You might find him singing “Silver Machine” (Hawkwind) with the Ukes. Peter Brooke Turner is possibly the tallest ukulele player in the world, has been a Eurovision Song Contest finalist and sings “Smells Like Teen Spirit” (Nirvana) with the Ukes. Hester Goodman was a member of the Hairy Marys, an all-female Irish-dance comedy theater company, and can be heard singing “Teenage Dirtbag,” with the Ukes. George Hinchliffe, founder and director, has played the ukulele since he was eight years old and has written a ukulele opera Dreamspiel. Kitty Lux is a founder and director of the UOGB. Her previous bands include Sheeny and the Goys and Really. Richie Williams, a founder member, has played guitar with many Motown artists and soul. Will Grove-White has made award-winning movies and TV productions. He had to obtain permission from his head teacher in order to play his first gig with the UOGB. Jonty Bankes has played bass for many major rock and blues musicians and is a talented whistler. Ukulele Orchestra music has been used in films, TV, advertisements, plays and commercials and online video clips have been watched many millions of times. Collaborators with the Ukulele Orchestra have included Madness, the Kaiser Chiefs, the Ministry of Sound, Yusuf Islam (Cat Stevens). CDs and DVDs from www.ukuleleorchestra.com and www.amazon.com. MP3s available on itunes. Follow @theukes on Twitter and find us on Facebook U.S. Tour Management: Arts Management Group, Inc.

CAMPUS COMMUNITY RELATIONS IS A PROUD SPONSOR OF THE ROBERT AND MARGRIT MONDAVI CENTER FOR THE PERFORMING ARTS

Founded in 1962, the College of Engineering at UC Davis has awarded more than 21,000 graduate and undergraduate degrees. The college has more than 200 faculty, including 12 members of the prestigious National Academy of Engineering (NAE), 45 recipients of PECASE/CAREER awards, and numerous fellows. Our researchers collaborate with numerous partners at UC Davis, including those from the School of Medicine, the School of Veterinary Medicine and the Graduate School of Management. Our global industry and government partners include many from Silicon Valley, the Bay Area and the Sacramento Region. Annual research expenditures at the College of Engineering total more than $90 million (2010-11). UC Davis Engineering is consistently ranked among the Top 20 U.S. public university engineering programs (U.S. News & World Report 2011). UC Davis Engineeringâ&#x20AC;&#x2122;s key research strengths are in energy, environment and sustainability; engineering in medicine; and information technology and applications.

MondaviArts.org

BALLET DIRECTOR

RON CUNNINGHAM ISSUE #6

PLAYWRIGHT

GREGG COFFIN ISSUE #7

TONY WINNER

FAITH PRINCE ISSUE #8 ACTOR

COLIN HANKS ISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDI ISSUE #16

BROADWAY STAR

MARA DAVI ISSUE #19

Available at Raley's, Nugget Markets and Barnes & Noble.

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

AlExAnDER STRinG QUARTET “Death and the Maiden” and Black Angels Zakarias Grafilo and Frederick Lifsitz, Violins Paul Yarbrough, Viola Sandy Wilson, Cello Robert Greenberg, Lecturer

An Alexander String Quartet Add-On Event Sunday, April 14, 2013 • 2PM Vanderhoef Studio Theatre

String Quartet No. 14 in D Minor, D. 810 “Death and the Maiden” Allegro Andante con moto Scherzo: Allegro molto Presto

Schubert

Intermission Individual support provided by Anne Gray; Thomas and Phyllis Farver.

Black Angels (Thirteen Images from the Dark Land – Images I) Departure Threnody I: Night of the Electric Insects Sounds of Bones and Flutes Lost Bells Devil-music Danse Macabre Absence Pavana Lachrymae Threnody II: Black Angels! Sarabanda de la Muerte Oscura Lost Bells (Echo) Return God-music Ancient Voices Ancient Voices (Echo) Threnody III: Night of the Electric Insects

Crumb

The Alexander String Quartet is represented by BesenArts LLC www.BesenArts.com The Alexander String Quartet records for FoghornClassics www.asq4.com The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal. MondaviArts.org

Waited for years to get this close.

You.* Every time. *Patron. Donor. Arts enthusiast.

The Mondavi Center

Birthday splurge. Using neighborâ&#x20AC;&#x2122;s tickets.

is participating in the Arts Day of Giving. Make a contribution to any participating arts organization on April 29 and your donation will be matched!

10529-78289 License #577000881

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

The Licensed Seat program lets you stake your claim to some of our best seats for every single Mondavi Center presenting program show.

Thatâ&#x20AC;&#x2122;s right. Every show. Every series. This and other great donor benefits start at the Producer Circle level. Call 530.754.5436 to learn more.

PROGRAM NOTES String Quartet No. 14 in D Minor, D. 810 “Death and the Maiden” (1824) Franz Schubert (Born January 31, 1797, in Vienna; died November 19, 1829, in Vienna) In the fall of 1822, Schubert became extremely ill, and every indication is that he had contracted syphilis. The effect on him—physically and emotionally—was devastating. He was quite ill throughout 1823, so seriously in May that he had to be hospitalized. His health had in fact been shattered permanently, and he would never be fully well again; the cause of his death five years later at 31, officially listed as typhoid, was probably at least partially a result of syphilis. Emotionally, the illness was so destructive that he never went back to complete the symphony he had been working on when he contracted the disease—it would come to be known as the “Unfinished.” By early 1824, Schubert had regained some measure of health and strength, and he turned to chamber music, composing two string quartets, the second of them in D minor. The nickname Der Tod und Das Mädchen (“Death and the Maiden”) comes from Schubert’s use of a theme from his 1817 song by that name as the basis for a set of variations in the quartet’s second movement. In the song, which sets a poem of Matthias Claudius, death beckons a young girl; she begs him to pass her over, but he insists, saying that his embrace is soothing, like sleep. It is easy to believe that, under the circumstances, the thought of soothing death may have held some attraction for the composer. The quartet itself is extremely dramatic. The Allegro rips to life with a five-note figure spit out by all four instruments. This hardly feels like chamber music. One can easily imagine this figure stamped out furiously by a huge orchestra, and the dramatic nature of this movement marks it as nearly symphonic (in fact, Gustav Mahler arranged this quartet for string orchestra in 1894, and that version is still performed and recorded today). A gentle second subject brings a measure of relief, but the hammering triplet of the opening figure is never far away—it can be heard quietly in the accompaniment, as part of the main theme and as part of the development. The Allegro, which lasts a full quarter of an hour, comes to a quiet close with the triplet rhythm sounding faintly in the distance. The Andante con moto is deceptively simple. From the song Der Tod und Das Mädchen, Schubert uses only death’s music, which is an almost static progression of chords; the melody moves quietly within the chords. But from that simple progression Schubert writes five variations that are themselves quite varied—by turns soaring, achingly lyric, fierce, calm—and the wonder is that so simple a chordal progression can yield music of such expressiveness and variety. After two overpowering movements, the Scherzo: allegro molto might seem almost lightweight, for it is extremely short. But it returns to the slashing mood of the opening movement and takes up that same strength. The trio sings easily in the lower voices as the first violin flutters and decorates their melodic line; an unusual feature of the trio is that it has no repeat—Schubert instead writes an extension of the trio, almost a form of variation itself. The final movement, appropriately marked Presto, races ahead on its 6/8 rhythm. Some listeners have felt that this movement is death-

haunted, and they point out that its main theme is a tarantella, the old dance of death, and that Schubert also quotes quietly from his own song Erlkönig. Significantly, the phrase he quotes in that song sets death’s words “Mein liebes Kind, komm geh mit mir” (My dear child, come go with me), which is precisely the message of the song Der Tod und das Mädchen. What this movement is “about” must be left to each listener to decide, but it is hard to believe this music death-haunted. The principal impression it makes is of overwhelming power—propulsive rhythms, huge blocks of sound, sharp dynamic contrasts—and the very ending, a dazzling rush marked Prestissimo that suddenly leaps into D major, blazes with life. Black Angels (Thirteen Images from the Dark Land – Images I) (1970) George Crumb (Born October 24, 1929, in Charleston, West Virginia) Like Ives, George Crumb received his first musical instruction from his bandmaster father. He graduated from Mason College in West Virginia, then did his graduate training at the University of Illinois and the University of Michigan, where he studied with Ross Lee Finney; he also studied with Boris Blacher in Berlin and at Tanglewood. Crumb taught briefly at the University of Colorado, but in 1965, he became a professor of music at the University of Pennsylvania and remained there for more than 30 years—among his many students are such distinguished composers as Osvaldo Golijov, Jennifer Higdon and Uri Caine. The recipient of numerous grants and fellowships, Crumb won the Pulitzer Prize in 1968 for his Echoes of Time and the River and a Grammy Award in 2001 for Star-Child, a massive work that calls for soprano, boys’ choirs, bell-ringers, a huge orchestra—and four conductors. He retired from the University of Pennsylvania in 1997. Crumb composed his Black Angels for electric string quartet in 1970, at the height of the Vietnam War, and he takes note of that difficult era in his manuscript, which is inscribed “in tempore belli”: “in the time of the war.” The composer has prepared a note for Black Angels that makes clear its connection to the Schubert quartet performed on this program: Black Angels (Thirteen Images from the Dark Land) was conceived as a kind of parable on our troubled contemporary world. The numerous quasi-programmatic allusions in the work are therefore symbolic, although the essential polarity—God versus Devil—implies more than a purely metaphysical reality. The image of the “black angel” was a conventional device used by early painters to symbolize the fallen angel. The underlying structure of Black Angels is a huge arch-like design which is suspended from the three “Threnody” pieces. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption). The numerological symbolism of Black Angels, while perhaps not immediately perceptible to the ear, is nonetheless quite faithfully reflected in the musical structure. These “magical” relationships are various expressed; e.g., in terms of phrase-length, groupings of single tones, durations, patterns of repetition, etc. An important pitch element in the work—descending E, A and D-sharp—also symbolizes the fateful numbers 7-13. At certain points in the score there occurs a kind of ritualistic counting in the various languages, including German, French, Russian, Hungarian, Japanese and Swahili. There are several allusions to tonal music in Black Angels: a quotation from Schubert’s “Death and the Maiden” quartet (in the Pavana Lachrymae and also faintly echoed on the last page of the work); an original Sarabanda, which is stylistically synthetic; the sustained B-major tonality of the GodMusic; and several references to the Latin sequence Dies Irae (“Day of

MondaviArts.org

Wrath”). The work abounds in conventional musical symbolisms such as the Diabolus in Musica (the interval of the tritone) and the Trillo Di Diavolo (the “Devil’s trill,” after Tartini). The amplification of the stringed instruments in Black Angels is intended to produce a highly surrealistic effect. This surrealism is heightened by the use of certain unusual string effects; e.g., pedal tones (the intensely obscene sounds of the Devil-Music); bowing on the “wrong” side of the strings (to produce the viol-consort effect); trilling on the strings with thimble-capped fingers. The performers also play maracas, tam-tams and water-tuned crystal goblets, the latter played with the bow and the “glass-harmonica” effect in God-Music. Black Angels was commissioned by the University of Michigan and first performed by the Stanley Quartet. The score is inscribed: “finished on Friday the Thirteenth, March, 1970 (in tempore belli).” —George Crumb

—Eric Bromberger

The Alexander String Quartet has performed in the major music capitals of five continents, securing its standing among the world’s premier ensembles over three decades. Widely admired for its interpretations of Beethoven, Mozart and Shostakovich, the quartet has also established itself as an important advocate of new music through more than 25 commissions and numerous premiere performances. The Alexander String Quartet is a major artistic presence in its home base of San Francisco, serving there as directors of the Morrison Chamber Music Center at the School of Music and Dance in the College of Arts and Humanities at San Francisco State University and Ensemble in Residence of San Francisco Performances. The Alexander String Quartet’s annual calendar of concerts includes engagements at major halls throughout North America and Europe. The quartet has appeared at Lincoln Center, the 92nd Street Y and the Metropolitan Museum in New York City; Jordan Hall in Boston; the Library of Congress and Dumbarton Oaks in Washington; and chamber music societies and universities across the North American continent. Recent overseas tours have brought them to the U.K., Czech Republic, Netherlands, Italy, Germany, Spain, Portugal, Switzerland, France, Greece, the Republic of Georgia, Argentina and the Philippines. The many distinguished artists to collaborate with the Alexander String Quartet include pianists Menahem Pressler, Gary Graffman, Roger Woodward, Jeremy Menuhin and Joyce Yang; clarinetists Eli Eban, Charles Neidich, Joan Enric Lluna and Richard Stoltzman; cellists Lynn Harrell, Sadao Harada and David Requiro; violist Toby Appel; mezzosoprano Joyce DiDonato; and soprano Elly Ameling. Among the quartet’s more unusual collaborations have been numerous performances of Eddie Sauter’s seminal Third Stream work, Focus, in collaboration with Branford Marsalis, David Sánchez and Andrew Speight. A particular highlight of the 2012–13 season was a celebratory concert presented by San Francisco Performances marking the quartet’s 30th anniversary. For the occasion, San Francisco Performances commissioned a new work by Jake Heggie, Camille Claudel: Into the Fire, a work for string quartet and mezzo-soprano; the Alexander was joined in the world premiere by Joyce DiDonato. Highlights of the current season include multi-concert Schubert projects for San Francisco Performances, Mondavi Center and Baruch College in New York, as well as a series of programs for San Francisco Performances interweaving observations of the Britten centennial and the 75th anniversary of the outbreak of World War II. They also continue their annual residen26

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

cies at Allegheny College and St. Lawrence University in collaboration with the Crane School of Music at SUNY Potsdam. There are also performances at Amherst College, Duke University and an unusual collaboration in an all-Shostakovich program in collaboration with the poet Carolyn Fourché reading from her works at Seton Hall University. The Alexander String Quartet added considerably to its distinguished and wide-ranging discography over the past decade. Recording exclusively for the FoghornClassics label, their recording of music of Gershwin and Kern was released in the summer of 2012, and this past spring there was a recording of the clarinet quintet of Brahms and a new quintet from César Cano, in collaboration with Joan Enric Lluna, as well as a disc in collaboration with the San Francisco Choral Artists. Coming up are the combined string quartet cycles of Bartók and Kodály (recorded on the renowned Ellen M. Egger matched quartet of instruments built by San Francisco luthier Francis Kuttner) and a multi-disc Brahms album. The Alexander’s 2009 release of the complete Beethoven cycle was described by Music Web International as performances “uncompromising in power, intensity and spiritual depth,” while Strings Magazine described the set as “a landmark journey through the greatest of all quartet cycles.” The FoghornClassics label released a three-CD set (Homage) of the Mozart quartets dedicated to Haydn in 2004. Foghorn released a six-CD album (Fragments) of the complete Shostakovich quartets in 2006 and 2007 and a recording of the complete quartets of Pulitzer Prize-winning San Francisco composer Wayne Peterson was released in the spring of 2008. BMG Classics released the quartet’s first recording of the Beethoven cycle on its Arte Nova label to tremendous critical acclaim in 1999. Other recent Alexander premieres include Patagón by Cindy Cox and Rise Chanting by Augusta Read Thomas, commissioned for the Alexander by the Krannert Center and premiered there and simulcast by WFMT radio in Chicago. The quartet has also premiered String Quartets Nos. 2 and 3 by Wayne Peterson and works by Ross Bauer (commissioned by Stanford University), Richard Festinger, David Sheinfeld, Hi Kyung Kim and a Koussevitzky commission by Robert Greenberg. The Alexander String Quartet was formed in New York City in 1981, and the following year became the first string quartet to win the Concert Artists Guild Competition. In 1985, the quartet captured international attention as the first American quartet to win the London International String Quartet Competition, receiving both the jury’s highest award and the Audience Prize. In 1995, Allegheny College awarded Honorary Doctor of Fine Arts degrees to the members of the quartet in recognition of their unique contribution to the arts. Honorary degrees were conferred on the ensemble by St. Lawrence University in May 2000.

Robert Greenberg was born in Brooklyn, New York, in 1954, and has lived in the San Francisco Bay area since 1978. Greenberg received a B.A. in music, magna cum laude, from Princeton University in 1976. In 1984, Greenberg received a Ph.D. in music composition, with distinction, from the University of California, Berkeley, where his principal teachers were Andrew Imbrie and Olly Wilson in composition and Richard Felciano in analysis. Greenberg has composed more than 45 works for a wide variety of instrumental and vocal ensembles. Recent performances of his works have taken place in New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy and the Netherlands, where his Child’s Play for String Quartet was performed at the Concertgebouw of Amsterdam.

Greenberg has received numerous honors, including three Nicola de Lorenzo Composition Prizes and three Meet-The-Composer Grants. Recent commissions have been received from the Koussevitzky Foundation in the Library of Congress, the Alexander String Quartet, San Francisco Contemporary Music Players, Strata Ensemble, San Francisco Performances and the XTET ensemble. Greenberg is a board member and an artistic director of Composers, Inc., a composers’ collective/production organization based in San Francisco. Greenberg has performed, taught and lectured extensively across North America and Europe. He is currently music historian-in-residence with San Francisco Performances, where he has lectured and performed since 1994, and a faculty member of the Advanced Management Program at the University of Pennsylvania’s Wharton School of Business. He has served on the faculties of the University of California, Berkeley; California State University, East Bay and the San Francisco Conservatory of Music, where he chaired the Department of Music History and Literature from 1989-2001 and served as the Director of the Adult Extension Division from 1991–96. Greenberg has lectured for some of the most prestigious musical and arts organizations in the United States, including the San Francisco Symphony (where for 10 years he was host and lecturer for the Symphony’s nationally acclaimed “Discovery Series”), the Ravinia Festival, Lincoln Center for the Performing Arts, Van Cliburn Foundation, Chautauqua Institute (where he was the Everett Scholar in Residence for the summer of 2006), Dallas Symphony Orchestra, Hartford Symphony Orchestra, Music@Menlo and the University of British Columbia (where he was the Dal Grauer Lecturer in September 2006). In addition, Greenberg is a sought after lecturer for businesses and business schools and has recently spoken for such diverse organizations as S.C. Johnson,

Canadian Pacific, Deutsches Bank, the University of California/Haas School of Business Executive Seminar, the University of Chicago Graduate School of Business, Harvard Business School Publishing, Kaiser-Permanente, the Strategos Institute, Quintiles Transnational, the Young Presidents’ Organization, the World Presidents’ Organization and the Commonwealth Club of San Francisco. Greenberg has been profiled in The Wall Street Journal, the Times of London, Los Angeles Times, Christian Science Monitor and San Francisco Chronicle. For many years Greenberg was the resident composer and music historian to National Public Radio’s Weekend All Things Considered and presently plays that role on Weekend Edition, Sunday with Liane Hansen. In 2003, the Bangor (Maine) Daily News referred to Greenberg as “the Elvis of music history and appreciation,” an appraisal that has given him more pleasure than any other. Greenberg is currently writing a book on opera and its impact on Western culture, to be published by Oxford University Press. In 1993, Greenberg recorded a 48-lecture course, How to Listen to and Understand Great Music for the Teaching Company/SuperStar Teachers Program, the preeminent producer of college level courses-on-media in the United States. Twelve further courses—Concert Masterworks, Bach and the High Baroque, The Symphonies of Beethoven, How to Listen to and Understand Opera, Great Masters, The Operas of Mozart, The Life and Operas of Verdi, The Symphony, The Chamber Music of Mozart, The Piano Sonatas of Beethoven, The Concerto and The Fundamentals of Music—have been recorded since, totaling more than 500 lectures.

The magic of Offering Private INDOOR & OUTDOOR Dining Rooms

Perfect for your next: • Holiday Party • Cocktail Reception • Company Mixer • Family Reunion • Retirement Party • or Special Occasion 102 F STREET, DAVIS | (530) 750-1801 WWW.SEASONSDAVIS.COM

Voted “Best Place to Eat Before a Mondavi Center Performance.” —Sacramento Magazine (2010) MondaviArts.org

Seeking a club in the Sacramento area? Just minutes from the UC Davis campus, El Macero features 18 holes of championship golf, a vibrant social life, fresh and locally sourced dining, and premier meeting and event space. Our members enjoy reciprocal privileges at other Troon-Privé managed private clubs, as well as preferred rates at Troon’s resort and daily fee properties around the globe.

Proud to Support the Arts

For membership details & incentives, call 530.753.3363 | ElMaceroCC.org | TroonPrive.com

PPT Pre-Performance Talk Speaker: Scott Foglesong Scott Foglesong is chair of musicianship and music theory at the San Francisco Conservatory of Music and a contributing writer to the San Francisco Symphony’s program book. He has prepared an extensive audio history of SFS recordings, available at www.sfsymphony.org/fromthearchives. He also teaches in the Fall Freshman Program at UC Berkeley, is on the faculty of the Fromm Institute for Lifelong Learning at USF and is program annotator and scholar in residence for the Philharmonia Baroque Orchestra. As a pianist he has appeared with the Francesco Trio, Chanticleer and members of the San Francisco Symphony, and he has played solo and chamber recitals nationwide. As pianist and commentator he has been heard on radio shows such as West Coast Weekend and My Favorite Things.

Innovative Make Over Coming Fall 2012

www.hallmarkinn.com (800)753-0035

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

San Francisco Symphony Principal Oboe William Bennett, 1956–2013 The Mondavi Center and San Francisco Symphony are deeply saddened by the passing of Principal Oboe William Bennett, who died February 28. Bill had been hospitalized since February 23, after suffering a brain hemorrhage during his performance as soloist in the Strauss Oboe Concerto. He was fifty-six. Bill joined the Orchestra in 1979 as Assistant Principal Oboe and became Principal Oboe in 1987. During his many years as a Symphony mainstay, he attracted the esteem and admiration of colleagues and listeners alike. The San Francisco Symphony is accepting written condolences and cards on behalf of the Bennett family at 201 Van Ness Avenue, San Francisco, CA 94102. All of us extend our sympathy to Bill Bennett’s family and many friends.

SAN FRANCISCO SYMPHONY Michael Tilson Thomas, Music Director Herbert Blomstedt, conductor Augustin Hadelich, violin

PROGRAM

A Western Health Advantage Orchestra Series Event Thursday, April 18, 2013 • 8PM Jackson Hall

Beethoven

Violin Concerto in D Major, Op. 61 Allegro ma non troppo

Sponsored by

Larghetto Rondo: Allegro Intermission

Individual support provided by Anne Gray.

Nielsen

Symphony No. 5, Op. 50, FS 97 Tempo giusto—Adagio non troppo Allegro—Presto—Andante un poco tranquillo—Allegro

Pre-Performance Talk Thursday, April 18, 2013 • 7PM Jackson Hall Speaker: Scott Foglesong, Chair, Musicianship and Music Theory, San Francisco Conservatory of Music

PROGRAM NOTES Violin Concerto in D Major, Op. 61 (1806) Ludwig van Beethoven (Born circa December 16, 1770, in Bonn; died March 26, 1827, in Vienna) The Beethoven Violin Concerto was first performed in December 1806, and although occasional performances were given over the next three or four decades, the work took a while to catch on. The first violinist to make a success of it was the 12-year-old Joseph Joachim, who played it in London in 1844 with Felix Mendelssohn conducting. Joachim came pretty much to own the concerto, and it was mainly through his advocacy that it took its place as an indispensable repertory item. The music begins with five soft beats on the kettledrum. On the fifth of those gently resonant taps, woodwinds begin a tranquil and dolce melody. We could take those beats to be nothing more than a simple introduction to the melody, but the violins’ immediate imitation of the timpani notes on a strange pitch quickly disposes of that idea. The pattern of four knocks, sometimes with, sometimes without a resolving fifth note, is more than a colorful incident. This movement is saturated with it. The dense knots of repeated short notes that accompany the next idea, a scale melody for clarinet and bassoon, are a variant of the drumbeat motif and so is the rhythmic pattern of the first orchestral outburst. When the woodwinds sing the concerto’s most famous and loved theme, the violins, with discreet support from horns, trumpets and timpani, make sure we do not forget the pervasive tapping. Indeed, as that lyric paragraph expands, the drum rhythm becomes an integral part of the melody itself. One more grandly sweeping melody is heard before the solo entrance. Then, when the long orchestral passage has subsided, the violin rises from the receding orchestra. It is a beautiful touch of fantasy. So is the unexpectedly quiet resumption of the movement after the cadenza. Here Beethoven gives us something we have—perhaps unconsciously—been waiting for but that he has withheld until now, the lyric melody played by the solo violin all the way through and in its simplest form. The slow movement is the concerto’s still point. The orchestral strings are muted and the motion of the harmonies is minimal. The movement is a set of variations on a theme that has the simplicity of a chorale. The fourth of these variations introduces a lyrical episode, touchingly ornamented and beautifully accompanied in utmost simplicity by clarinets and bassoons. Now the music loses itself in new improvisations and sinks almost out of hearing. The orchestral strings declare that we have had enough of musing, the soloist responds, and we move into the amiable finale. Here, too, there is room for a passage given to the soloist alone, and again Beethoven devises a striking re-entrance for the orchestra. He also invents a long and eventful coda. The close is brilliant. Symphony No. 5, Op. 50, FS 97 (1922) Carl Nielsen (Born June 9, 1865, in Denmark; died October 3, 1931, in Copenhagen) Carl Nielsen was born into a large family beset by poverty. His father was a house painter who earned extra pennies playing violin and cornet, and his mother sang. Carl discovered at three or so that sticks in the woodpile outside the house yielded different pitches according to their thickness and length. At six, he progressed to his father’s three-quartersize violin, and soon after, at an aunt’s house, he encountered a piano. That great engine enchanted him. On the violin it was necessary to search for the notes; the piano laid them out, as he said, “in long shining rows before my very eyes; I could not only hear but see them, and I made one big discovery after another.” At 14, he became a bandsman in

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

the 16th Battalion of the Royal Danish Army, acquiring new instrumental skills. A year later, a kindly older musician introduced him to Mozart, Beethoven and eventually Bach. With these models before him he began to compose. After two years at the Copenhagen Conservatory he continued theory studies privately, supporting himself by playing violin in the orchestra at the Tivoli Gardens. For years he would depend financially on his playing and conducting. Meanwhile, the catalogue of his compositions grew: symphonies, the operas Saul and David and Maskerade and a Violin Concerto, all interspersed with piano music, chamber music, choral works and strikingly beautiful songs. When he died in 1931 he was an honored figure at home, but scarcely a name to most musicians abroad. Nielsen’s Second, Third and Fourth symphonies bear titles. That the Fifth does not is surprising, given the drama that takes place in it. Its two movements are divided into sharply characterized, distinct sections. The first begins in “tempo giusto,” a direction one could translate as “the right tempo.” Violas are stuck on two notes, C and A. A certain obsessive quality is characteristic of the piece. Winds wander about in pairs, strings introduce a more sinuously winding theme, and in the middle of all that, a snare drum insists on a simple rhythmic figure. Meanwhile, the lower strings and the timpani are equally committed to a manic repetition of two other notes, F and D. It is threatening and uneasy music, and almost nothing about it is scarier than the fact that it just goes away, its place taken by a lusciously scored, expressive adagio. A sudden timpani roll is a warning signal. The obsessed snare drummer returns, charged now by Nielsen to improvise in a manner as though determined to break up the performance. It takes the full, ferocious force of the orchestra to silence him, but even in the epilogue to this movement, with the still small voice of the clarinet heard across a motionless chord in horns and strings, the remembrance of the threat stays with us. What Nielsen has portrayed here is a profoundly frightening vision of madness and of the invasion of order by disorder. Nielsen’s music is full of conversations or confrontations, of the kind initiated here by the snare drum. We should look for a moment at the composer’s long-range architectural designs. Nielsen was deeply interested in questioning traditional formal procedures. Contrary to classic procedure from Haydn to Shostakovich, for example, Nielsen often ends a symphony in a key that is not the one in which it began. The acquisition of the final key is the crux of the symphonic drama. Commentator Robert Simpson cited this as an essential feature of Nielsen’s style, calling it “progressive tonality.” He writes that, for Nielsen, “a sense of achievement is best conveyed by the firm establishment of a new key.” Nielsen knew that most listeners could not “follow” a harmonic structure and put names to their experiences. But he also knew that listeners can and do respond to the events themselves. B major is the key into which he leaps for the opening of the second movement, and a long and bold leap it is after the voyage of the first movement. Here we enter the world of the really energetic allegro. It is also and still a world of obsessions, the B from all the strings and the timpani, the return of that ticking D from the first movement. Then there are two fugal sections, one very rapid and on a subject that can’t seem to get past its initial upbeat, the other on a carefully stepping but tranquil and exploring theme. Finally, Nielsen makes a return to something like the opening music. There is one last mania. It provides the entry to the drama’s resolution in grandly triumphal affirmation. —Michael Steinberg Michael Steinberg, the San Francisco Symphony’s program annotator from 1979–99 and a contributing writer to its program book until his death in 2009, was one of the nation’s pre-eminent writers on music. His books are available at the Symphony Store in Davies Symphony Hall and online at shopsfsymphony.org.

SAN FRANCISCO SYMPHONY Michael Tilson Thomas, Music Director and Conductor Herbert Blomstedt, Conductor Laureate Donato Cabrera, 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

Mark Volkert

Assistant Concertmaster 75th Anniversary Chair

Jeremy Constant

Assistant Concertmaster

Mariko Smiley

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

Violas Jonathan Vinocour Principal

Yun Jie Liu

Associate Principal

Katie Kadarauch

Assistant Principal

John Schoening

Joanne E. Harrington & Lorry I. Lokey Second Century Chair

Nancy Ellis Gina Feinauer 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 Second Violins Dan Nobuhiko Smiley

Principal Dinner & Swig Families Chair

Dan Carlson

Associate Principal Audrey Avis Aasen-Hull Chair

Paul Brancato

Assistant Principal

John Chisholm

The Eucalyptus Foundation Second Century Chair

Raushan Akhmedyarova David Chernyavsky Cathryn Down Darlene Gray Amy Hiraga Kum Mo Kim Chunming Mo Kelly Leon-Pearce Polina Sedukh Isaac Stern Chair

Robert Zelnick* Chen Zhao Sarah Knutson†

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

Larry Epstein

Associate Principal

Stephen Tramontozzi

Assistant Principal Richard & Rhoda Goldman Chair

S. Mark Wright 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

Horns Robert Ward

Principal Jeannik Méquet Littlefield Chair

Nicole Cash

Associate Principal

Bruce Roberts

Assistant Principal

Jonathan Ring Jessica Valeri Kimberly Wright Trumpets Mark Inouye

Principal William G. Irwin Charity Foundation Chair

Catherine Payne

Justin Emerich†

Oboes William Bennett

Guy Piddington

Piccolo

In Memoriam Principal Edo de Waart Chair

Jonathan Fischer* Associate Principal

Christopher Gaudi†

Acting 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

Acting Associate Principal Peter Pastreich Chair Ann L. & Charles B. Johnson Chair

Jeff Biancalana Trombones Timothy Higgins

Principal Robert L. Samter Chair

Paul Welcomer John Engelkes Bass Trombone

Tuba Jeffrey Anderson

Principal James Irvine Chair

Sakurako Fisher President

Brent Assink

Executive Director

John Kieser

General Manager

Anne Johnson

Director of Development

Nan Keeton

Director of External Affairs

John Mangum

Director of Artistic Planning

Oliver Theil

Director of Communications

Rebecca Blum

Orchestra Personnel Manager

Margo Kieser

Orchestra Librarian Nancy & Charles Geschke Chair

John Campbell

Assistant Librarian

Dan Ferreira

Assistant Librarian

Joyce Cron Wessling

Manager, Tours and Media Production

Tim Carless

Production Manager

Rob Doherty

Stage Manager

Dennis DeVost

Stage Technician

Roni Jules

Stage Technician

Mike Olague

Stage Technician

Harp Douglas Rioth Principal

Timpani David Herbert

Principal Marcia & John Goldman Chair

*On Leave †Acting member of the San Francisco Symphony

Bassoons Stephen Paulson

Percussion James Lee Wyatt III

The San Francisco

Steven Dibner

Raymond Froehlich Tom Hemphill Victor Avdienko†

utilizes revolving seating on

Principal

Associate Principal

Rob Weir Steven Braunstein Contrabassoon

Acting Principal

Keyboard Robin Sutherland

Symphony string section a systematic basis. Players listed in alphabetical order change seats periodically.

Jean & Bill Lane Chair

MondaviArts.org

The San Francisco Symphony gave its first concerts in December 1911. Its music directors have included Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award and the United States’s Grammy. For RCA Red Seal, Michael Tilson Thomas and the SFS have recorded music from Prokofiev’s Romeo and Juliet, Berlioz’s Symphonie fantastique, two Copland collections, a Gershwin collection, Stravinsky ballets (Le Sacre du printemps, The Firebird and Perséphone) and Charles Ives: An American Journey. Their cycle of Mahler symphonies has received seven Grammys and is available on the Symphony’s own label, SFS Media, and their recording of John Adams’s Harmonielehre won the 2013 Grammy for Best Orchestral Performance. Some of the most important conductors of the past and recent years have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein and Sir Georg Solti, and the list of composers who have led the Orchestra includes Stravinsky, Ravel, Copland and John Adams. The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and The Godfather III. For two decades, the SFS Adventures in Music program has brought music to every child in grades 1–5 in San Francisco’s public schools. SFS radio broadcasts, the first in the U.S. to feature symphonic music when they began in 1926, today carry the Orchestra’s concerts across the country. In a multimedia program designed to make classical music accessible to people of all ages and backgrounds, the SFS has launched Keeping Score on PBS-TV, DVD, radio and at the website keepingscore.org. San Francisco Symphony recordings are available at sfsymphony.org/store, as is the book Music for a City, Music for the World, a history recounting the Symphony’s first century.

Augustin Hadelich (violin), is among today’s top young violinists. After his debut with the Boston Symphony at Tanglewood in August playing the Barber Violin Concerto, he made his subscription debut with the New York Philharmonic at Lincoln Center playing Lalo’s Symphonie espagnole.

Herbert Blomstedt (conductor) served as SFS music director

www.augustin-hadelich.com

from 1985–95, and is now conductor laureate. Born in Springfield, Massachusetts, in 1927, Blomstedt moved with his family to Sweden in 1929 and later attended the Royal College of Music in Stockholm and the University of Uppsala. He studied contemporary music at Darmstadt and Baroque music at the Schola Cantorum Basiliensis, also continuing his conducting studies with Igor Markevitch in Salzburg, with Jean Morel at Juilliard and with Leonard Bernstein at Tanglewood’s Berkshire Music Center. Honors and accomplishments followed quickly: in 1953, the Koussevitzky Conducting Prize; in 1954, his conducting debut (with the Stockholm Philharmonic) and first appointment as a music director (with Sweden’s Norrköping Symphony) and in 1955, first prize at the Salzburg conducting competition. In his decade as music director of the SFS, Blomstedt led the Orchestra to worldwide recognition. Together, he and the SFS toured Europe, Asia, and the U.S. and presented concerts at the festivals of Salzburg, Edinburgh, and Lucerne. Their recordings, which include complete cycles of the Nielsen and Sibelius symphonies, captured France’s Grand Prix du Disque, Britain’s Gramophone Award and two Grammys. From 1975– 85, Blomstedt was chief conductor of the Dresden Staatskapelle, leading that ensemble in its first visits to the U.S. and on many recordings, including complete cycles of the Beethoven and Schubert symphonies. From 1996–98, he was music director of Hamburg’s NDR Symphony Orchestra. In 2005, Blomstedt concluded his tenure as music director of the Gewandhaus Orchestra of Leipzig, a post he assumed in 1998. Blomstedt is honorary conductor of the Leipzig Gewandhaus Orchestra, NHK Symphony, the Danish and Swedish radio symphonies and the Bamberg Symphony, which he has conducted since 1982. His many distinctions include membership in the Royal Musical Academy of Stockholm and several honorary doctorates. In 1992, he was awarded Columbia University’s Ditson Award for distinguished service to American music. He received Austria’s Anton Bruckner Prize in 2001 and Denmark’s Carl Nielsen Prize in 2002. He is a Knight of the North Star, Stockholm and a Knight of the Dannebrogen, Copenhagen. In the fall of 2003, he was awarded Germany’s Great Cross of Merit. 32

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

An enthusiastic recitalist, Hadelich has appeared at Carnegie Hall, the Frick Collection (New York), Kennedy Center, the Chamber Music Society o\f Detroit, Kioi Hall (Tokyo), the Louvre, Philadelphia Chamber Music Society and the Vancouver Recital Society. As chamber musician, he has been a participant at the La Jolla, Marlboro, Ravinia, and Seattle festivals and has collaborated with Midori at Lincoln Center’s Rose Theater. Hadelich has recorded two CDs for AVIE: Flying Solo, a CD of masterworks for solo violin (including the Bartók solo sonata) and Echoes of Paris, which features French and Russian repertoire influenced by Parisian culture in the early 20th century. For Naxos, he has recorded Haydn’s complete violin concerti with the Cologne Chamber Orchestra and Telemann’s complete Fantasies for Solo Violin. A new CD, Histoire du Tango, will be released this spring. The 2006 gold medalist of the International Violin Competition of Indianapolis, Hadelich is the recipient of Lincoln Center’s Martin E. Segal Award (2012), an Avery Fisher Career Grant (2009), and a Borletti-Buitoni Trust Fellowship in the U.K. (2011). Born in Italy in 1984, the son of German parents, Hadelich holds an artist diploma from the Juilliard School, where he was a student of Joel Smirnoff. He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society.

HYATT PLACe IS A PROUD SPONSOR OF THe ROBeRT AnD MARGRIT MOnDAvI CenTeR FOR THe PeRFORMInG ARTS, UC DAvIS

HYATT PLACe UC DAvIS 173 OLD DAvIS ROAD exTenSIOn DAvIS, CA 95616, USA PHOne: +1 530 756 9500 FAx: +1 530 297 6900 www.HYATTPLACeUCDAvIS.COM

HERBERT BLOMSTEDT

by JEFF HUDSON

Being a longtime resident of Northern California, when I think about the recordings of conductor Herbert Blomstedt, I naturally think about the discs he made with the San Francisco Symphony during his tenure there (1985–95). Together, they recorded a lot of music by Scandanavian composers—the seven symphonies of Jean Sibelius, the six symphonies of Carl Nielsen (including the Nielsen Fifth, on the program tonight) and the two “Peer Gynt” suites by Edvard Grieg. Lovely recordings, all. But Blomstedt’s career began long before he got to San Francisco and has continued since he transitioned into conductor laureate status with that orchestra more than 15 years ago. Indeed, it would be fair to describe Blomstedt as a “man of many cycles,” because he recorded the complete symphonies of Beethoven and Schubert while he was with the Dresden Staatskapelle (1975–85) and another cycle of the Nielsen symphonies with the Danish Radio Symphony. And this year there should be a box set of the Bruckner symphony recorded by Blomstedt and the Leipzig Gewandhaus orchestra (which he led from 1998–2005, and is now a conductor laureate). In addition, Blomstedt toured with the Vienna Philharmonic last summer and reportedly plans to conduct that orchestra in Vienna in October. He will also mark his 86th birthday in July.

FURTHER LISTENING Which, among the hundreds of recordings he’s made, might be his favorite? Well, when Blomstedt was interviewed by BBC Music Magazine last October, he picked five albums for his “music choice,” and the list included his own recent recording of the Bruckner Symphony No. 4 with the Leipzig Gewandhaus Orchestra (on the Querstand label). Also on Blomstedt’s list was Bruno Walter’s 1959 recording of the Schubert Ninth Symphony with the Stockholm Philharmonic. “Bruno Walter was my hero,” Blomstedt said. “His recording introduced me to this Schubert symphony—so lofty, so serene, so pure.” (Blomstedt recently conducted it with the Vienna Philharmonic.)

Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise and Sacramento News and Review.

HOT ITALIAN MIDTOWN

. N ET

Complimentary Mondavi Dessert Special

PUBLIC MARKET

MondaviArts.org

ARLO GUTHRIE HERE COMES THE KID

A Just Added Event

Here Comes The Kid

Friday, April 19, 2013 • 8PM

Arlo Guthrie’s Solo Tribute to Woody Guthrie’s 100th

Jackson Hall

Birthday Throughout his own career Arlo Guthrie has honored his

There will be one intermission.

father in song as well as in life. With the centennial of Woody Guthrie’s birthday, Guthrie will embark on a new solo tour, Here Comes The Kid, a celebration of Woody Guthrie’s immeasurable contributions to the landscape of American folk music. Since childhood, Guthrie was amazed by the creative genius of his father and his friends that would drop by: Leadbelly, Brownee McGhee and Cisco Houston to name a few. Not surprisingly, Guthrie drew from those experiences, and he in turn became a delineative figure for a new generation. Arlo has long paid homage to his dad with his own renditions of Woody’s songs, but of equal importance—Woody Guthrie’s legacy is well defined in Guthrie’s own works: in his humor, his political and social activism and his undeniable gift for storytelling.

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

Arlo Guthrie Folk music icon Arlo Guthrie is a legendary artist who shares timeless stories and unforgettable classic songs as he carries on the Guthrie family legacy. With his singular voice as both a singer-songwriter and social commentator, he has maintained a dedicated fan base that spans the globe. A celebrated figure in American music, Guthrie connects with communities far and wide leaving a lasting impression of hope and inspiration. His artistic ventures help bridge an often-divided world through his powerful spirit of song and his inimitable musical ingenuity forges to new creative heights as he continues to entertain generations. Guthrie left the major record label system in 1983 to pursue life as a truly independent artist, bringing his thriving career into the hands of a family-run business with the launch of his own label Rising Son Records. Currently operated by daughters Annie and Cathy Guthrie, Rising Son debuted with the release of Guthrie’s Someday (1986). Since its inception, Rising Son has served as a family label housing Guthrie’s complete catalogue as well as albums by Woody Guthrie and family: Pete Seeger & Guthrie, Sarah Lee Guthrie & Johnny Irion (Rt. 8 Records), Abe Guthrie and his band Xavier, Folk Uke (Cathy Guthrie and Amy Nelson, daughter of Willie Nelson), plus the soundtrack to Woody Guthrie Hard Travelin’. In Times Like These (2007), one of Rising Son’s most recent releases, features Guthrie alongside the University of Kentucky Symphony Orchestra. The album marks the culmination of his work with 27 different symphony orchestras and more than 40 live concerts. His show at Boston Symphony Hall, conducted by Keith Lockhart, was recorded and aired on PBS’s Evening at the Pops. In 2001, the Fourth of July celebration with the Pops was broadcast live by A&E. A compelling collection of original songs and select American classics performed by Guthrie and the University of Kentucky Symphony Orchestra, In Times Like These was released on vinyl in the fall of 2009. In celebration of the 40th anniversary of Woodstock, Rising Son released Tales of ’69 (August 18, 2009). Recorded just prior to Woodstock, the recently discovered lost tape highlights Guthrie live in concert in Long Island, New York, and features nine tracks including an epic 28-minute talking blues tale as well as three previously unrecorded songs. Guthrie’s ambitions have always included various community projects in addition to his artistic pursuits. In 1991, he purchased the old Trinity Church near Stockbridge, Massachusetts, which is now home to the Guthrie Center, named for his parents, and the Guthrie Foundation. The Guthrie Center is a not-for-profit interfaith church foundation dedicated to providing a wide range of local and international services. The Guthrie Foundation is a separate not-for-profit educational organization that addresses issues such as the environment, health care, cultural preservation and educational exchange. In 2009, Guthrie was awarded the ASCAP Foundation Champion award for making a difference through social action on behalf of worthwhile causes and demonstrating exceptional efforts in humanitarianism.

INDULGE

FINE ITALIAN CUISINE

2657 PORTAGE BAY EAST, DAVIS CA 95616 (530) 758-1324 OSTERIAFASULO.COM FREE PARKING FASTEST & EASIEST WAY TO THE MONDAVI CENTER

MondaviArts.org

Debut MEDESki MARTin & WOOD WITH JOSHUA LIGHT SHOW

A Crossings Series Event

Medeski Martin & Wood

Saturday, April 20, 2013 â&#x20AC;˘ 8PM

John Medeski, Keyboards

Jackson Hall

Billy Martin, Drums Chris Wood, Basses

There will be one intermission.

Joshua Light Show Joshua White, founder Light Show Artists: Nick Hallett Seth Kirby Ana Matronic Brock Monroe Briged Smith Joshua White Thomas O. Kriegsmann, ArKtype, Executive Producer, U.S. Tour Nick Hallett, Music Director and Producer The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

Medeski Martin & Wood

Joshua Light Show

Wide open: That’s the phrase John Medeski uses to describe his bandmates’ musical sensibilities, the attitude he seeks in himself and the spirit of musical adventure that Medeski Martin & Wood have pursued for two decades.

With its origins in the psychedelia movement of the 1960s, the Joshua Light Show was and remains a collaborative practice of artists improvising with projections to live music. During the summer of 1967, San Francisco’s Fillmore rock impresario Bill Graham hired multimedia artist Joshua White to create a Bay Area light show for a series of concerts in Toronto featuring the Jefferson Airplane. Bay Area light shows were typically projected from the balcony, but Graham needed to sell all of the theater’s tickets; the lightshow could not to occupy the balcony. As a result of Graham’s challenge, White designed a system where projections would be performed from the stage itself behind a giant screen. This experience led to the formation of the Joshua Light Show. Six months later, Graham opened the Fillmore East in New York and hired the Joshua Light Show to be its resident artists. The venue welcomed performances by the Who, Jimi Hendrix, Janis Joplin, Frank Zappa, the Grateful Dead and the Doors, among many other great musicians of the era. Using the same design developed during the Toronto run, the Joshua Light Show provided visual support, transforming these concerts into multimodal experiences, immersions into a dreamlike world of images, which in the minds of the attendees will be forever associated with the sounds of these bands.

The trio’s amalgam of jazz, funk, “avant-noise” and a million other musical currents and impulses is nearly impossible to classify, which is just how they like it. Medeski’s keyboard excursions, Chris Wood’s hard-charging bass lines and Billy Martin’s supple, danceable beats have come to resemble a single organism, moving gracefully between genredefying compositions and expansive improvisation atop a relentless groove. Though they started out with a more-or-less straightforward pianobass-drums jazz setup, the threesome expanded their sound with unusual configurations. Medeski added electric piano (outfitted with distortion pedals and other effects) and began switching back and forth among Hammond organ, Clavinet, Mellotron and other keys. Wood alternated between stand-up and bass guitar, stuck paper behind his strings for a “snare” effect and occasionally employed a drumstick as a slide. Martin, who enjoys, in his words, “the whole pots and pans approach,” began keeping an international assortment of percussion instruments in his battery, as well as objects for banging that are not typically considered musical. “You need to be in touch with that feeling you had as a child when you listened to sound,” Medeski insists. “Everything going on around you is music. When you’re in touch with that, you can play from that deep place more easily—you can create music with real freedom and openness.” The band’s onstage adventurousness sparked an experimental approach to recording as well—as on the solar-powered Shack-Man (1996), recorded in a plywood shack amid the mango trees and plumerias on Hawaii’s big island (and featuring Martin’s artwork on its cover); the funked-out 1998 Blue Note disc Combustication, which enlisted two radically different engineers to create complementary sonic approaches; the acoustic live set Tonic (2000), recorded in New York, and its plugged-in twin, Electric Tonic (2001); End of the World Party (Just in Case) (2004), produced by John King of the Dust Brothers; their two collaborations with guitarist John Scofield, A Go Go (1998) and Out Louder (2006, under the name Medeski Scofield Martin & Wood); the 2008 children’s record Let’s Go Everywhere; and the 2008-09 Radiolarian series, a trilogy of albums generated according to a strict policy of “Write > Tour > Record > Repeat,” as the band noted in an online announcement. They’ve also founded and run their own label, Indirecto. “Musically, we’re changing all the time,” Martin asserts, adding that the band’s constant improvisation produces moments when: “we look at each other like, ‘Oh my God, how in the hell did we just decide to do that?’ We look at each other with our mouths open sometimes, and that’s the beautiful thing about it.” “This band is each of us expressing who we really are,” summarizes Medeski. “That’s all.” And so Medeski Martin & Wood enter their third decade together, as wide open as ever.

Up to 10 members of the ensemble worked with an arsenal of film-, slide- and overhead-projection equipment, conjuring up an infinite and breathtaking multiplicity of colors and shapes. Around this time, the Joshua Light Show created the visual design for the iconic party scene of John Schlesinger’s Academy Award-winning film Midnight Cowboy and projected their imagery for Leopold Stokowski at a concert of Berlioz’s Symphonie Fantastique in Carnegie Hall. Soon after their performance at the historic Woodstock music festival, White departed the lightshow and started Joshua Television, implementing video magnification into the concert experience. White soon segued into a career as a television director. In the early 2000s, as the result of interest from major art institutions such as the Tate Liverpool, Hirshhorn Museum, MOCA Los Angeles, Whitney Museum and Centre Georges Pompidou among others, White returned to lightshows. In 2004, White teamed up with artist Gary Panter and regenerated the light show at Anthology Film Archives in New York. Over the next eight years, the show evolved with the participation of new collaborators and a highly creative relationship with music director Nick Hallett. Recent New York performances include Lincoln Center, the American Museum of Natural History’s Hayden Planetarium and a new annual festival at NYU’s Skirball Center. Recent international appearances include Berlin’s Haus der Kulturen der Welt, documented on the recently released DVD Manuel Göttsching and The Joshua Light Show: Live at Transmediale. The lightshow’s team includes Alyson Denny, Seth Kirby, Ana Matronic, Brock Monroe, Doug Pope, Briged Smith and Bec Stupak, among others. The structure of the current light show differs little from the original of nearly a half-century ago. Digital techniques have been combined with the classic analog effects—including the recognizable “liquid light”—to create a visual experience that captures the entire history of the moving image, and perhaps offers a glimpse into its future as well. www.joshualightshow.com www.arktype.org

MondaviArts.org

The Art of Giving Mondavi Center Donors are dedicated arts patrons whose gifts to the Mondavi Center are a testament to the value of the performing arts in our lives. Mondavi Center is deeply grateful for the generous contributions of the dedicated patrons who give annual financial support to our organization. These donations are an important source of revenue for our program, as income from ticket sales covers less than half of the actual cost of our performance season. Gifts to the Mondavi Center strengthen and sustain our efforts, enabling us not only to bring memorable performances by worldclass artists to audiences in the capital region each year, but also to introduce new generations to the experience of live performance through our Arts Education Program, which provides arts education and enrichment activities to more than 35,000 K-12 students annually.

Legacy Circle During this 10th Anniversary season, we are pleased to announce the creation of the Mondavi Center Legacy Circle, an honorary society that recognizes our supporters who have remembered the Center in their estate plans. These gifts make a difference for the future of performing arts, and we are most grateful. Please join us in thanking our founding Legacy Circle members: Wayne and Jacque Bartholomew John and lois Crowe Anne Gray Margaret E. Hoyt Barbara k. Jackson Jerry and Marguerite lewis Don Mcnary Verne E. Mendel kay E. Resler Hal and Carol Sconyers Anonymous

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

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

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 to help the Mondavi Center bring performing arts to future generations, please contact Ali Morr Kolozsi, Director of Major Gifts and Planned Giving (530) 754-5420 or amkolozsi@ucdavis.edu.

DONORS IMPRESARIO CIRCLE $25,000 AnD ABOVE John and Lois Crowe †* Barbara K. Jackson †* VIRTUOSO CIRCLE $15,000 – $24,999 Joyce and Ken Adamson Friends of Mondavi Center Ann and Gordon Getty Foundation Anne Gray †* Mary B. Horton* William and Nancy Roe * Lawrence and Nancy Shepard Tony and Joan Stone † Joe and Betty Tupin †* MAESTRO CIRCLE $10,000 – $14,999 Wayne and Jacque Bartholomew †* Ralph and Clairelee Leiser Bulkley* Thomas and Phyllis Farver* Dolly and David Fiddyment Robert and Barbara Leidigh Mary Ann Morris* Carole Pirruccello, John and Eunice Davidson Fund Larry and Rosalie Vanderhoef †* Dick and Shipley Walters* And one donor who prefers to remain anonymous BENEFACTORS CIRCLE $6,500 – $9,999 Camille Chan † Michael and Betty Chapman † Cecilia Delury and Vince Jacobs † Patti Donlon † Wanda Lee Graves Samia and Scott Foster Benjamin and Lynette Hart †* Lorena Herrig Margaret Hoyt Bill Koenig and Jane O’Green Koenig Greiner Heating and A/C, Inc. Hansen Kwok Garry Maisel Stephen Meyer and Mary Lou Flint † Randall E. Reynoso † and Martin Camsey Grace and John Rosenquist Raymond Seamans Jerome Suran and Helen Singer Suran *

PRODUCERS CIRCLE $3,250 – $6,499 Neil and Carla Andrews Jeff and Karen Bertleson Cordelia S. Birrell California Statewide Certified Development Corporation Neil and Joanne Bodine Mr. Barry and Valerie Boone Brian Tarkington and Katrina Boratynski Robert and Wendy Chason Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Claudia Coleman Eric and Michael Conn Nancy DuBois* Merrilee and Simon Engel Charles and Catherine Farman Andrew and Judith Gabor Henry and Dorothy Gietzen Kay Gist in Memory of John Gist Ed and Bonnie Green* Robert and Kathleen Grey Diane Gunsul-Hicks Charles and Ann Halsted Judith and William Hardardt* Dee and Joe Hartzog The One and Only Watson Charles and Eva Hess Suzanne Horsley* Dr. Ronald and Lesley Hsu Jerry and Teresa Kaneko* Dean and Karen Karnopp* Nancy Lawrence, Gordon Klein and Linda Lawrence Brian and Dorothy Landsberg Ed and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Claudia and Allan Leavitt Yvonne LeMaitre Shirley and Joseph LeRoy Nelson Lewallyn and Marion Pace-Lewallyn Dr. Clare Hasler-Lewis and Cameron Lewis Dr. Ashley and Shiela Lipshutz Paul and Diane Makley* Kathryn Marr Verne Mendel* Jeff and Mary Nicholson Grant and Grace Noda* Alice Oi Philip and Miep Palmer Gerry and Carol Parker Susan Strachan and Gavin Payne Sue and Brad Poling Lois and Dr. Barry Ramer David Rocke and Janine Mozée Roger and Ann Romani* Hal and Carol Sconyers* Ellen Sherman Wilson and Kathryn R. Smith Tom and Meg Stallard* Tom and Judy Stevenson* Priscilla Stoyanof and David Roche David Studer and Donine Hedrick Nancy and Robert Tate Rosemary and George Tchobanoglous † Mondavi Center Advisory Board Member * Friends of Mondavi Center

MondaviArts.org

Nathan and Johanna Trueblood Ken Verosub and Irina Delusina Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Cantor & Company, A Law Corporation Patrice White Robert and Joyce Wisner* Richard and Judy Wydick And three donors who prefer to remain anonymous

DIRECTORS CIRCLE $1,250– $3,249 Ezra and Beulah Amsterdam Russell and Elizabeth Austin In Honor of Barbara K. Jackson Murry and Laura Baria* Lydia Baskin In Memory of Ronald Baskin* Drs. Noa and David Bell Daniel R. Benson Kay and Joyce Blacker* Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Patricia Brown* Robert Burgerman and Linda Ramatowski Jim and Susie Burton Davis and Jan Campbell David J. Converse, ESQ. Jim and Kathy Coulter* John and Celeste Cron* Jay and Terry Davison Bruce and Marilyn Dewey Martha Dickman* Dotty Dixon* DLMC Foundation Richard and Joy Dorf Wayne and Shari Eckert Sandra and Steven Felderstein Nancy McRae Fisher Carole Franti* Paul J. and Dolores L. Fry Charitable Fund Christian Sandrock and Dafna Gatmon Karl Gerdes and Pamela Rohrich Fredric Gorin and Pamela Dolkart Gorin Patty and John Goss* Jack and Florence Grosskettler* In Memory of William F. McCoy Tim and Karen Hefler Sharna and Mike Hoffman John and Magda Hooker Sarah and Dan Hrdy Ruth W. Jackson Clarence and Barbara Kado Barbara Katz Joshua Kehoe and Jia Zhao Thomas Lange and Spencer Lockson Mary Jane Large and Marc Levinson Hyunok Lee and Daniel Sumner Lin and Peter Lindert David and Ruth Lindgren Angelique Louie Natalie and Malcolm MacKenzie* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus*

Janet Mayhew* Ken McKinstry Mike McWhirter Joy Mench and Clive Watson John Meyer and Karen Moore Eldridge and Judith Moores Barbara Moriel Augustus and Mary-Alice Morr Patricia and Surl Nielsen John and Misako Pearson Bonnie A. Plummer* Prewoznik Foundation Linda and Lawrence Raber* Kay Resler* Christopher Reynolds and Alessa Johns Tom Roehr Don Roth and Jolán Friedhoff Liisa Russell Beverly “Babs” Sandeen and Marty Swingle Ed and Karen Schelegle The Schenker Family Neil and Carrie Schore Bonnie and Jeff Smith Ronald and Rosie Soohoo* Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick Stratton Brandt Schraner and Jennifer Thornton Denise Verbeck and Rovida Mott Donald Walk, M.D. Louise and Larry Walker Geoffrey and Gretel Wandesford-Smith Barbara D. Webster Weintraub Family Dale L. and Jane C. Wierman Paul Wyman Yin and Elizabeth Yeh

Suzanne and Donald Murchison Robert and Kinzie Murphy Linda Orrante and James Nordin Frank Pajerski John Pascoe and Susan Stover Jerry L. Plummer and Gloria G. Freeman Larry and Celia Rabinowitz J. and K. Redenbaugh John and Judith Reitan Jeep and Heather Roemer Tom and Joan Sallee The Shepard Family The Shepard Gusfield Family Jeannie and Bill Spangler Edward and Sharon Speegle Elizabeth St. Goar Sherman and Hannah Stein Les and Mary Stephens De Wall Judith and Richard Stern Eric and Patricia Stromberg* Lyn Taylor and Mont Hubbard Roseanna Torretto* Henry and Lynda Trowbridge* Steven and Andrea Weiss* Denise and Alan Williams Kandi Williams and Dr. Frank Jahnke Ardath Wood Bob and Chelle Yetman Karl and Lynn Zender And three donors who prefer to remain anonymous

And nine donors who prefer to remain anonymous

ENCORE CIRCLE $600 – $1,249 Aboytes Family Michelle Adams Mitzi Aguirre Paul and Nancy Aikin Gregg T. Atkins and Ardith Allread Merry Benard Donald and Kathryn Bers* Marion Bray Rosa Marquez and Richard Breedon Irving and Karen Broido* Dolores and Donald Chakerian Gale and Jack Chapman William and Susan Chen John and Cathie Duniway Mark E. Ellis and Lynn Shapiro Doris and Earl Flint Murray and Audrey Fowler Dr. Deborah and Brook Gale Paul and E. F. Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey John and Katherine Hess Barbara and Robert Jones Mary Ann and Victor Jung Robert Kingsley and Melissa Thorme Paula Kubo Charlene Kunitz Frances and Arthur Lawyer* Dr. Henry Zhu and Dr. Grace Lee Kyoko Luna Debbie and Stephen Wadsworth-Madeiros Maria M. Manoliu Gary C. and Jane L. Matteson Catherine McGuire Robert and Helga Medearis

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

As the Mondavi Center celebrates our 10th Anniversary Season, please join us in recognizing and thanking all the volunteer ushers who serve at each performance. These talented and dedicated individuals are an invaluable asset as they give their time and hospitality to provide our audiences with a memorable performance experience. We could not open our doors without them! If you are interested in becoming a volunteer usher, applications are available at our Patron Services Desk or email us at mcvolunteers@ucdavis.edu.

ORCHESTRA CIRCLE $300 – $599 Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Fred Arth and Pat Schneider Michael and Shirley Auman* Frederic and Dian Baker Beverly and Clay Ballard Delee and Jerry Beavers Carol Beckham and Robert Hollingsworth Mark and Betty Belafsky Carol L. Benedetti Bob and Diane Biggs Dr. Gerald Bishop Al Patrick and Pat Bissell Donna Anderson and Stephen Blake Fred and Mary Bliss Elizabeth Bradford Paul Braun Margaret E. Brockhouse Christine and John Bruhn Manuel Calderon De La Barca Sanchez Jackie Caplan Michael and Louise Caplan Anne and Gary Carlson Amy Chen and Raj Amirtharajah Frank Chisholm Betty M. Clark Wayne Colburn Mary Anne and Charles Cooper James and Patricia Cothern David and Judy Covin Robert Crummey and Nancy Nesbit Crummey Larry Dashiell and Peggy Siddons Sue Drake* Thomas and Eina Dutton Dr. and Mrs. John Eisele Mark E. Ellis and Lynn Shapiro Leslie Faulkin Janet Feil David and Kerstin Feldman Lisa Foster and Tom Graham Sevgi and Edwin Friedrich* Marvin and Joyce Goldman Judy and Gene Guiraud Darrow and Gwen Haagensen Sharon and Don Hallberg Marylee Hardie David and Donna Harris Roy and Miriam Hatamiya Cynthia Hearden* Mary Helmich Lenonard and Marilyn Herrmann Fred Taugher and Paula Higashi Darcie Houck B.J. Hoyt Pat and Jim Hutchinson* Don and Diane Johnston Weldon and Colleen Jordan Nancy Gelbard and David Kalb Ruth Ann Kinsella* Joseph Kiskis Kent and Judy Kjelstrom Peter Klavins and Susan Kauzlarich Allan and Norma Lammers Darnell Lawrence Ruth Lawrence Carol Ledbetter The Lenk-Sloane Family Dr. and Mrs. Stanley Levin Ernest and Mary Ann Lewis* Michael and Sheila Lewis* Sally Lewis Melvyn Libman Jeffrey and Helen Ma Bunkie Mangum Pat Martin* Yvonne Clinton-Mazalewski and Robert Mazalewski Gerrit Michael Nancy Michel Hedlin Family Robert and Susan Munn* William and Nancy Myers Bill and Anna Rita Neuman K. C. N

Dana K. Olson John and Carol Oster Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker John and Deborah Poulos Jerry and Ann Powell* Harriet Prato John and Alice Provost J. David Ramsey John and Rosemary Reynolds Guy and Eva Richards Sara Ringen Tracy Rodgers and Richard Budenz Sharon and Elliott Rose* Bob and Tamra Ruxin Dwight E. and Donna L. Sanders Mark and Ita Sanders* Eileen and Howard Sarasohn John and Joyce Schaeuble Robert and Ruth Shumway Michael and Elizabeth Singer Judith Smith Robert Snider Al and Sandy Sokolow Tim and Julie Stephens Karmen Streng Pieter Stroeve, Diane Barrett and Jodie Stroeve Kristia Suutala Tony and Beth Tanke Cap and Helen Thomson Virginia Thresh Dennis and Judy Tsuboi Peter Van Hoecke Ann-Catrin Van, Ph.D. Robert Vassar Rita Waterman Jeanne Wheeler Charles White and Carrie Schucker James and Genia Willett Iris Yang and G. Richard Brown Wesley and Janet Yates Jane Yeun and Randall Lee Ronald M. Yoshiyama Hanni and George Zweifel And six donors who prefer to remain anonymous

MAINSTAGE CIRCLE $100 – $299 Leal Abbott Thomas and Betty Adams Mary Aften John and Jill Aguiar Susan Ahlquist The Akins Jeannie Alongi David and Penny Anderson Valerie Jeanne Anderson Elinor Anklin and George Harsch Alex and Janice Ardans Debbie Arrington Jerry and Barbara August Alicia Balatbat* George and Irma Baldwin Charlotte Ballard and Robert Zeff Charles and Diane Bamforth* Elizabeth Banks Michele Barefoot and Luis Perez-Grau Carole Barnes Connie Batterson Paul and Linda Baumann Lynn Baysinger* Janet and Steve Collins Robert and Susan Benedetti William and Marie Benisek Alan and Kristen Bennett Robert C. and Jane D. Bennett Mrs. Vilmos Beres Bevowitz Family Boyd and Lucille Bevington Robert and Sheila Beyer John and Katy Bill Andrea Bjorklund and Sean Duggan Sam and Caroline Bledsoe Bobbie Bolden William Bossart Brooke Bourland*

Mary A. and Jill Bowers Alf and Kristin Brandt Robert and Maxine Braude Dan and Millie Braunstein* Edelgard Brunelle* Linda Clevenger and Seth Brunner Don and Mary Ann Brush Martha Bryant Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy W. Bellhorn Victor W. Burns William and Karolee Bush John and Marguerite Callahan Lita Campbell* John and Nancy Capitanio James and Patty Carey Michael and Susan Carl Hoy Carman Jan Carmikle, ‘87 ‘90 Bruce and Mary Alice Carswell* John and Joan Chambers Caroline Chantry and James Malot Dorothy Chikasawa* Rocco Ciesco Gail Clark L. Edward and Jacqueline Clemens James Cline Stephan Cohen Stuart Cohen Sheri and Ron Cole Harold E. Collins Janet and Steve Collins David Combies Ann Brice Rose Conroy Terry Cook Nicholas and Khin Cornes Fred and Ann Costello Catherine Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Mrs. Shauna Dahl Robert Bushnell, DVM and Elizabeth Dahlstrom-Bushnell* John and Joanne Daniels Nita Davidson Mary H. Dawson Judy and David Day Carl and Voncile Dean Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* John and Margaret Drake Anne Duffey Marjean DuPree John Paul Dusel Jr. Harold and Anne Eisenberg Eliane Eisner Robert Hoffman Allen Enders Randy Beaton and Sidney England Carol Erickson and David Phillips Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Ophelia and Michael Farrell Richard D. Farshler Eric Fate Liz and Tim Fenton Steven and Susan Ferronato Bill and Margy Findlay Dave Firenze Kieran and Marty Fitzpatrick Bill and Judy Fleenor* David and Donna Fletcher Alfred Fong Glenn Fortini Marion Franck and Bob Lew Frank Brown Andrew and Wendy Frank Marion Rita Franklin* William E. Behnk and Jennifer D. Franz Anthony and Jorgina Freese Larry Friedman Kerim and Josina Friedrich Joan M. Futscher Myra A. Gable Lillian Gabriel Charles and Joanne Gamble Tony Cantelmi Peggy Gerick Patrice and Chris Gibson* Mary Gillis Eleanor Glassburner Louis J. Fox and Marnelle Gleason* Pat and Bob Gonzalez*

MondaviArts.org

Michele Tracy and Dr. Michael Goodman Victor and Louise Graf Jeffrey and Sandra Granett Steve and Jacqueline Gray* Tom Green David and Kathy Greenhalgh Paul and Carol Grench Alex and Marilyn Groth Janine Guillot and Shannon Wilson June and Paul Gulyassy Wesley and Ida Hackett* Jane and Jim Hagedorn Frank and Rosalind Hamilton William and Sherry Hamre Pat and Mike Handley Jim and Laurie Hanschu N. Tosteson-Hargreaves Michael and Carol Harris Richard and Vera Harris Cathy Brorby and Jim Harritt Sally Harvey* Sharon Heath-Pagliuso Paul and Nancy Helman Martin Helmke and Joan Frye Williams Roy and Dione Henrickson Rand and Mary Herbert Eric Herrgesell, DVM Jeannette Higgs* Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Michael and Margaret Hoffman Garnet Holden Mr. and Mrs. Hoots* Herb and Jan Hoover Steve and Nancy Hopkins David and Gail Hulse Eva Peters Hunting Lorraine Hwang Marta Induni Jane and John Johnson* Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Carole and Phil Johnson Steve and Naomi Johnson Michelle Johnston and Scott Arranto Warren and Donna Johnston In Memory of Betty and Joseph Baria Andrew and Merry Joslin Martin and JoAnn Joye* Fred and Selma Kapatkin Shari and Tim Karpin Anthony and Elizabeth Katsaris Yasuo Kawamura Phyllis and Scott Keilholtz* Patricia Kelleher* Charles Kelso and Mary Reed Dave Kent Dr. Michael Sean Kent Robert and Cathryn Kerr Frank Kieffer Gary and Susan Kieser Larry Kimble and Louise Bettner Bob and Bobbie Kittredge Dorothy Klishevich Mary Klisiewicz* Paulette Keller Knox Paul Kramer Nina and David Krebs Marcia and Kurt Kreith Sandra Kristensen Leslie Kurtz Cecilia Kwan Don and Yoshie Kyhos Ray and Marianne Kyono Corrine Laing Bonnie and Kit Lam* Marsha M. Lang Susan and Bruce Larock Leon E. Laymon Peggy Leander* Marceline Lee The Hartwig-Lee Family Nancy and Steve Lege Joel and Jeannette Lerman Evelyn A. Lewis David and Susan Link Motoko Lobue Henry Luckie Robert and Patricia Lufburrow Linda Luger Ariane Lyons Edward and Susan MacDonald Leslie Macdonald and Gary Francis

Kathleen Magrino* Debbie Mah and Brent Felker* Alice Mak and Wesley Kennedy Renee Maldonado* Vartan Malian Julin Maloof and Stacey Harmer Joan Mangold Marjorie March Joseph and Mary Alice Marino Pamela Marrone and Mick Rogers Dr. Carol Marshall Donald and Mary Martin J. A. Martin Bob and Vel Matthews Leslie Maulhardt Katherine Mawdsley* Karen McCluskey* Doug and Del McColm Nora McGuinness* Donna and Dick McIlvaine Tim and Linda McKenna R. Burt and Blanche McNaughton* Richard and Virginia McRostie Martin A. Medina and Laurie Perry Cliva Mee and Paul Harder Julie Mellquist Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland and Marilyn Meyer Fred and Linda J. Meyers* Beryl Michaels and John Back Leslie Michaels and Susan Katt Eric and Jean Miller Lisa Miller Phyllis Miller Sue and Rex Miller Douglas Minnis Kathy and Steve Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Lloyd and Ruth Money Mr. and Mrs. Ken Moody Amy Moore Hallie Morrow Marcie Mortensson Barbara Mortkowitz* Robert and Janet Mukai The Muller Family Terence and Judith Murphy Steve Abramowitz and Alberta Nassi Judy and Merle Neel Sandra Negley Nancy and Chris Nelle Romain Nelsen Margaret Neu* Jack Holmes and Cathy Neuhauser Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell Jenifer Newell* Janet Nooteboom Forrest Odle Jim and Sharon Oltjen Marvin O’Rear Mary Jo Ormiston* Bob and Elizabeth Owens Jessie Ann Owens Mike and Carlene Ozonoff* Thomas Pavlakovich and Kathryn Demakopoulos Bob and Marlene Perkins Ann Peterson and Marc Hoeschele Harry Phillips Pat Piper Drs. David and Jeanette Pleasure Jane Plocher Bob and Vicki Plutchok Bea and Jerry Pressler Ashley Prince* Diana Proctor Dr. and Ms. Rudolf Pueschel Evelyn and Otto Raabe Edward and Jane Rabin Dr. Anne-Louise and Dr. Jan Radimsky Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Mrs. John Reese, Jr. Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Francis Resta David and Judy Reuben*

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

Al and Peggy Rice Joyce Rietz Ralph and Judy Riggs* Peter Rodman Richard and Evelyne Rominger Barbara and Alan Roth Cathy and David Rowen Chris and Melodie Rufer Paul and Ida Ruffin Francisca Ruger Kathy Ruiz Michael and Imelda Russell Hugh and Kelly Safford Dr. Terry Sandbek and Sharon Billings* Fred and Polly Schack Patsy Schiff Tyler Schilling Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Brian A. Sehnert and Janet L. McDonald Andreea Seritan Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Ed Shields and Valerie Brown The Shurtz Dr. and Mrs. R.L. Siegler Sandra and Clay Sigg Marion E. Small Brad and Yibi Smith James Smith Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Marguerite Spencer Miriam Steinberg Harriet Steiner and Miles Stern Johanna Stek Raymond Stewart Ed and Karen Street* Deb and Jeff Stromberg Yayoi Takamura Constance Taxiera* Stewart and Ann Teal* Francie F. Teitelbaum Julie A. Theriault, PA-C Janet and Karen Thome Brian Toole Lola Torney and Jason King Robert and Victoria Tousignant Benjamen Tracey and Beth Malinowski Michael and Heidi Trauner Rich and Fay Traynham Elizabeth Treanor Mr. Michael Tupper James E. Turner Barbara and Jim Tutt Liza Tweltridge* Robert Twiss Mr. Ananda Tyson Nancy Ulrich* Gabriel Unda Ramon and Karen Urbano Chris and Betsy Van Kessel Diana Varcados Bart and Barbara Vaughn* Richard and Maria Vielbig Don and Merna Villarejo Charles and Terry Vines Catherine Vollmer Rosemarie Vonusa* Evelyn Matteucci and Richard Vorpe Carolyn Waggoner* Carol Walden Andrew and Vivian Walker Anthony and Judith Warburg Marny and Rick Wasserman Caroline and Royce Waters Dan and Ellie Wendin* Douglas West Martha S. West Robert and Leslie Westergaard* Susan Wheeler Carol Marie White* Linda K. Whitney Mrs. Jane L. Williams Marsha L. Wilson Janet Winterer Henry and Judy Wolf* Dr. Harvey Wolkov Jennifer and Michael Woo Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Norman and Manda Yeung Sharon and Doyle Yoder Phillip and Iva Yoshimura Heather Young

In Memory of Larry Young Larry Young and Nancy Edwards Phyllis Young Verena Leu Young Medardo and Melanie Zavala Drs. Matthew and Meghan Zavod Phyllis and Darrel Zerger* Sonya and Tim Zindel Mark and Wendy Zlotlow And 44 donors who prefer to remain anonymous

CORPORATE MATCHING GIFTS Bank of America Matching Gifts Program Chevron/Texaco Matching Gift Fund DST Systems U.S. Bank

We appreciate the many Donors who participate in their employers’ matching gift program. Please contact your Human Resources department to find out about your company’s matching gift program.

Note: We are pleased to recognize the Donors of Mondavi Center for their generous support of our program. We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5438 to inform us of corrections.

Globe Education Academy The Los Rios Community College District; the School Of Education, UC Davis; the Mondavi Center, UC Davis; and Shakespeare’s Globe in London are partners in a professional development initiative that provides in-depth learning opportunities for selected drama and English teachers of grades 7–12 and community colleges in the Sacramento region. Now in its 7th year, Globe Academy teachers are immersed in the world of Shakespeare both at UC Davis and in London. They participate in workshops presented by Shakespeare’s Globe Theatre practitioners and from faculty at UC Davis. The Academy will travel to Shakespeare’s Globe in London for a two week summer residency with Globe Education and celebrates their extraordinary experience with a festival day of theatre with their students on stage at the Mondavi Center in the fall. In 2013, the Academy will focus on The Taming of the Shrew.

Congratulations to the following teachers of the 2013 Globe Education Academy! Christine Baker Sacramento New Technology High School, Sacramento City Unified School District

Susan Kaar Pleasant Hill Middle School, Mt. Diablo Unified School District

Helen Spangler Davis Senior High School, Davis Joint Unified School District

Kelly Boske Cordova High School, Folsom Cordova Unified School District

Aimee Korynta Vanden High School, Travis Unified School District

Danielle Starkey American River College, Los Rios Community College District Sacramento City College, Los Rios Community College District

Debbie Cole Smedberg Middle School, Elk Grove Unified School District Rhiann Eddy Rio Vista High School, River Delta Unified School District

Anne Martyn Los Gatos High School, Los Gatos-Saratoga Unified High School District Bradley Moates Franklin High School, Elk Grove Unified School District, Short Center South Sacramento City College, Los Rios Community College District

Connie Steinman Hiram Johnson High School, Sacramento City Unified School District Sara Townsend Monterey Trail High School, Elk Grove Unified School District

MONDAVI CENTER ADVISORY BOARD

The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance and the presenting program of the Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center. 12–13 ADVISORY BOARD MEMBERS Joe Tupin, Chair • John Crowe, Immediate Past Chair Wayne Bartholomew • Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray Benjamin Hart • Lynette Hart • Vince Jacobs • Stephen Meyer • Randall Reynoso • Joan Stone • Tony Stone • Larry Vanderhoef HONORARY MEMBERS Barbara K. Jackson • Margrit Mondavi EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Jo Anne Boorkman, President, Friends of Mondavi Center Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis Lee Miller, Chair, Arts & Lectures Administrative Advisory Committee

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.

12–13 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Jo Anne Boorkman, President • Sandi Redenbach, Vice President • Francie Lawyer, Secretary Jim Coulter, Audience Enrichment • Lydia Baskin, School Matinee Support • Leslie Westergaard, Mondavi Center Tours • Karen Street, School Outreach Martha Rehrman, Friends Events • Jacqueline Gray, Membership • Mary Horton, Gift Shop Ad Hoc • Joyce Donaldson, Chancellor’s Designee, Ex-Officio

ARTS & lECTURES ADMiniSTRATiVE ADViSORy COMMiTTEE The Arts & Lectures Administrative Advisory Committee is made up of interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

12–13 COMMITTEE MEMBERS

Lee Miller • Jim Forkin • Erin Jackson • Sharon Knox Maria Pingul • Prabhakara Choudary • Charles Hunt • Gabrielle Nevitt Schipper Burkhard • Carson Cooper • Daniel Friedman • Kelley Gove Aaron Hsu • Susan Perez • Don Roth • Jeremy Ganter • Erin Palmer MondaviArts.org

POLICIES AND INFORMATION TICKET EXCHANGE • Tickets must be exchanged at least one business day prior to the performance. • Tickets may not be exchanged after the performance date. • There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers. • If you exchange for a higher-priced ticket, the difference will be charged. The difference between a higher and a lower-priced ticket on exchange is non-refundable. • Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season. Balances may not be transferred between accounts. • All exchanges subject to availability. • All ticket sales are final for events presented by non-UC Davis promoters. • No refunds.

PARKING You may purchase parking passes for individual Mondavi Center events for $7 per event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.

GROUP DISCOUNTS Entertain friends, family, classmates or business associates and save! Groups of 20 or more qualify for a 10% discount off regular prices. Payment must be made in a single check or credit card transaction. Please call 530.754.2787 or 866.754.2787.

STUDENT TICKETS (50% off the full single ticket price*) Student tickets are to be used by registered students matriculating toward a degree, age 18 and older, with a valid student ID card. Each student ticket holder must present a valid student ID card at the door when entering the venue where the event occurs, or the ticket must be upgraded to regular price.

CHILDREN (50% off the full single ticket price*) Children’s tickets are for all patrons age 17 and younger. No additional discounts may be applied. As a courtesy to other audience members, please use discretion in bringing a young child to an evening performance. All children, regardless of age, are required to have tickets, and any child attending an evening 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 not-for-profit arts organizations. If you do not wish to be included in our e-mail communications or postal mailings, or if you do not want us to share your name, please notify us via e-mail, 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. *Only one discount per ticket. 44

MONDAVI CENTER PRESENTS Program Issue 8: APR 2013

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.

SPECIAL SEATING Mondavi Center offers special seating arrangements for our patrons with disabilities. Please call the Ticket Office at 530.754.2787 or TDD 530.754.5402.

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