Zurich Chamber Orchestra PROGRAM | Tuesday, November 19, 2019

Zurich Chamber Orchestra Daniel Hope, music director and violin TUESDAY, NOVEMBER 19, 2019 • 7PM Jackson Hall, UC Davis Pre-Performance Talk: 6–6:30PM Speakers: Daniel Hope in conversation with Don Roth, Executive Director, Mondavi Center, UC Davis Sponsored by

Individual support provided by Clarence and Barbara Kado

MONDAVI CENTER 2019 –20 |

1

We should take a moment to acknowledge the land on which we are gathered.

For thousands of years, this land has been the home of Patwin people.

Today, there are three federally recognized Patwin tribes: Cachil DeHe Band of Wintun Indians of the Colusa Indian Community, Kletsel Dehe Wintun Nation, and Yocha Dehe Wintun Nation.

The Patwin people have remained committed to the stewardship of this land over many centuries. It has been cherished and protected, as elders have instructed the young through generations.

We are honored and grateful to be here today on their traditional lands. https://diversity.ucdavis.edu

MONDAVI CENTER 2019 –20 |

2

PROGRAM

Zurich Chamber Orchestra Daniel Hope, music director and violin The Four Seasons for Violin and Orchestra, Op. 8, Nos. 1–4

“Spring” (R. 269): Allegro—Largo e pianissimo sempre—

Danza Pastorale (Allegro)

“Summer” (R. 315): Allegro non molto—Adagio—Presto

“Autumn” (R. 293): Allegro—Adagio—Allegro

“Winter” (R. 297): Allegro non molto—Largo—Allegro

Antonio Vivaldi (1678–1741)

Daniel Hope, solo violin INTERMISSION

Alfred Felder (b. 1950)

Timeless for Violin and Strings

The Four Seasons Recomposed (after A. Vivaldi) for Violin, Harp, Harpsichord and Strings

Composed for Daniel Hope in 2012

Max Richter (b. 1966)

“Spring 0” “Spring 1” “Spring 2” “Spring 3” “Summer 1” “Summer 2” “Summer 3” “Autumn 1” “Autumn 2” “Autumn 3” “Winter 1” “Winter 2” “Winter 3”

Daniel Hope, solo violin North American management for the Zurich Chamber Orchestra and Daniel Hope

by David Rowe artists: www.davidroweartists.com Daniel Hope records exclusively for Deutsche Grammophon.

Please learn more about the Artists: www.zko.ch • www.danielhope.com The Zurich Chamber Orchestra tour is sponsored by Pro Helvetia – Swiss Arts Council.

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

MONDAVI CENTER 2019 –20 | 3

P R O G R A M S TAT E M E N T

I

first experienced Vivaldi as a toddler at Yehudi Menuhin’s festival in Gstaad, Switzerland, in 1975. One day I heard what I thought was birdsong coming from the stage. It was the opening solo of “La Primavera” from The Four Seasons. It had such an electrifying effect that I still call it my “Vivaldi Spring.” How was it possible to conjure up so vivid, so natural a sound, with just a violin?

In 1723 Vivaldi set about writing a series of works he boldly titled Il cimento dell’armonia e dell’invenzione (“The Contest between Harmony and Invention”), Opus 8. It consists of 12 concerti, seven of which—”Spring,” “Summer,” “Autumn and “Winter” (which make up The Four Seasons), “Pleasure,” “The Hunt” and “Storm at Sea”—paint astonishingly vivid, vibrant scenes. In “Storm at Sea,” Vivaldi reached a new level of virtuosity, pushing technical mastery to the limit as the violinist’s fingers leap and shriek across the fingerboard, recalling troubled waters.

In the score, each of the four seasons are prefaced by four sonnets, possibly Vivaldi’s own, that establish each concerto as a musical image of that season. At the top of every movement, Vivaldi gives us a written description of what we are about to hear.

These range from “the blazing sun’s relentless heat, men and flocks are sweltering” (“Summer”) to peasant celebrations (“Autumn”) in which “the cup of Bacchus flows freely, and many find their relief in deep slumber.” Images of warmth and wine are wonderfully intertwined. When the faithful hound “barks” in the slow movement of “Spring,” we experience it just as clearly as the patter of raindrops on the roof in the largo of “Winter.” No composer of the time got music to sing, speak and depict quite like this.

Today, The Four Seasons, with more than 1,000 available recordings, are being reimagined. Astor Piazzolla, Uri Caine, Philip Glass and others have all created their own versions. In Spring 2012, I received an enigmatic call from the British composer Max Richter, who said he wanted to “recompose” The Four Seasons for me. His problem, he explained, was not with the music, but how we have treated it. We are subjected to it in supermarkets, elevators or when a caller puts you on hold. Like many of us, he was deeply fond of the Seasons but felt a degree of irritation at the music’s ubiquity. He told me that because Vivaldi’s music is made up of regular patterns, it has affinities with the seriality of contemporary postminimalism, one style in which he composes. Therefore, he said, the moment seemed ideal to reimagine a new way of hearing it.

I had always shied away from recording Vivaldi’s original. There are simply too many other versions already out there. But Mr. Richter’s reworking meant listening again to what is constantly new in a piece we think we are hearing when, really, we just blank it out. In fact, working with Vivaldi Recomposed since 2012 inspired me to finally record The Four Seasons last year! In this program, pairing Vivaldi’s original with Max Richter’s brilliant new take, I feel both works inform and reflect on each other to create fresh and exciting connections.

—Daniel Hope

MONDAVI CENTER 2019 –20 |

4

PROGRAM NOTES

The Four Seasons, Op. 8, Nos. 1-4 (ca. 1720) ANTONIO VIVALDI Born March 4, 1678 in Venice Died July 28, 1741 in Vienna

known work, and one of the most beloved compositions in the orchestral repertory.

The Gazette d’Amsterdam of December 14, 1725, announced the issuance by local publisher Michele Carlo Le Cène of a collection of 12 concertos for solo violin and orchestra by Antonio Vivaldi—Il Cimento dell’Armonia e dell’Inventione, or “The Contest between Harmony and Invention,” Op. 8. The works were printed with a flowery dedication typical of the time to the Bohemian Count Wenzel von Morzin, a distant cousin of Haydn’s patron before he came into the employ of the Esterházy family in 1761. On the title page, Vivaldi described himself as the “maestro in Italy” to the Count, though there is no record of his having held a formal position with him. Vivaldi probably met Morzin when he worked in Mantua from 1718 to 1720 for the Habsburg governor of that city, Prince Philipp of HessenDarmstadt, and apparently provided the Bohemian Count with an occasional composition on demand.

(A bassoon concerto, RV 496, is headed with Morzin’s name.)

Vivaldi claimed that Morzin had been enjoying the concertos of the 1725 Op. 8 set “for some years,” implying earlier composition dates and a certain circulation of this music in manuscript copies, and hoped that their appearance in print would please his patron. The first four concertos, those depicting the seasons of the year, seem to have especially excited Morzin’s admiration, so Vivaldi made specific the programmatic implications of the works by heading each of them with an anonymous sonnet, perhaps of his own devising, and then repeating the appropriate verses above the exact measures in the score that they had inspired. The Four Seasons pleased not only Count Morzin, but quickly became one of Vivaldi’s most popular works. A pirated edition appeared in Paris within weeks of the Amsterdam publication, and by 1728, the concertos had become regular items on the programs of The Concert Spirituel in Paris. The “Spring” Concerto was adapted in 1755 as an unaccompanied flute solo by Jean Jacques Rousseau, the philosopher and dilettante composer who was attracted by the work’s musical portrayal of Nature, and as a motet (!) by Michel Corrette to the text “Laudate Dominum de coelis” in 1765. Today, The Four Seasons remains Vivaldi’s best-

Of Vivaldi’s more than 400 concertos, only 28 have titles, many of them referring to the performer who first played the work or to the occasion for which it was written. Of the few composition titles with true programmatic significance, seven are found in the Op. 8 collection: The Four Seasons plus La Tempesta di Mare (“The Storm at Sea”), La Caccia (“The Hunt”) and Il Piacere (“Pleasure”). Concerning the title of the Op. 8 set—“The Contest between Harmony and Invention”— Amelia Haygood wrote, “‘Harmony’ represents the formal structure of the compositions; ‘invention’ the unhampered flow of the composer’s creative imagination; and the ‘contest’ implies a dynamic balance between the two, which allows neither ‘harmony’ nor ‘invention’ to gain the upper hand. The perfect balance which results offers a richness in both areas: The outpouring of melody, the variety of instrumental color, the vivid musical imagery are all to be found within a formal framework which is elegant and solid.”

Though specifically programmatic (Lawrence Gilman went so far as to call The Four Seasons “symphonic poems” and harbingers of Romanticism), the fast, outer movements of these works use the ritornello form usually found in Baroque concertos. The opening ritornello theme (Italian for “return”), depicting the general emotional mood of each fast movement, recurs to separate its various descriptive episodes, so that the music fulfills both the demands of creating a logical, abstract form and evoking vivid images from Nature.

The slow, middle movements are lyrical, almost aria-like, in style. Though Vivaldi frequently utilized in these pieces the standard concertino, or solo group, of two violins and cello found in the 18th-century concerto grosso, The Four Seasons is truly a work for solo violin and orchestra, and much of the music’s charm comes from the contrasting and interweaving of the soloist, concertino and accompanying orchestra. Of these evergreen concertos, Marc Pincherle, in his classic biography of Vivaldi, wrote, “Their breadth, their clearness of conception, the obvious pleasure with which the composer wrought them, the favorable reception which has been theirs from the first, their reverberations since then—all these unite to make them one of the masterpieces of the descriptive repertory.”

MONDAVI CENTER 2019 –20 |

5

For the publication of The Four Seasons in 1725, Vivaldi prefaced each of the concertos with an explanatory sonnet: Spring The spring has come, joyfully, The birds welcome it with merry song, And the streams flow forth with sweet murmurs.

Now the sky is draped in black, Thunder and lightning announce a storm.

When the storm has passed, the little birds Return to their harmonious songs.

And in the lovely meadow full of flowers, To the gentle rustling of leaves and branches, The goatherd sleeps, his faithful dog at his side.

To the rustic bagpipe’s merry sound, Nymphs and shepherds dance under the lovely sky When spring appears in all its brilliance.

Summer In the heat of the blazing summer sun, Man and beast languish; the pine tree is scorched.

The cuckoo raises his voice.

Soon the turtledove and goldfinch join in the song.

A gentle breeze blows, But then the north wind whips, And the shepherd weeps As above him the dreaded storm gathers.

His weary limbs are roused from rest By his fear of the lightning and fierce thunder And by the angry swarms of flies and hornets.

Alas, his fears are borne out.

Thunder and lightning dominate the sky, Bending down the tops of trees and flattening the grain.

Autumn The peasant celebrates with dance and song The joy of a fine harvest; And filled with Bacchus’ liquor He ends his fun in sleep.

Everyone is made to leave dancing and singing.

The air is gentle and pleasing, And the season invites everyone To enjoy a delightful sleep.

At dawn the hunters set out With horns, guns and dogs.

The hunted animal flees, Terrified and exhausted by the noise Of guns and dogs.

Wounded, it tries feebly to escape, But is caught and dies.

Winter Freezing and shivering in the icy darkness, In the severe gusts of a terrible wind, Running and stamping one’s feet constantly, So chilled that one’s teeth chatter.

Spending quiet and happy days by the fire While outside the rain pours everywhere.

Walking on the ice with slow steps, Walking carefully for fear of falling, Then stepping out boldly, and falling down.

Going out once again onto the ice, and running boldly Until the ice cracks and breaks, Hearing the Scirocco, The North Wind, and all the winds battling.

This is winter, but such joy it brings.

Timeless for Violin and Strings (2019) ALFRED FELDER Born September 2, 1950 in Lucerne, Switzerland Alfred Felder was born in Lucerne, Switzerland, in 1950, and studied cello and composition at the Lucerne Conservatory before attending Mozarteum University of Salzburg for advanced studies in cello. From 1977 until 1983, Felder was a member of Festival Strings Lucerne and other chamber orchestras, and also performed as a soloist and chamber musician in Europe, Canada, India, China and Japan. As a composer, Felder has received commissions from the City of Zurich, Tonhalle Gesellschaft Zurich, Musikkollegium Winterthur, Festival Strings Lucerne, Zurich Chamber Soloists, Swiss Philharmonic Orchestra and other leading Swiss musical organizations, and had his orchestral works performed in Japan, South Africa, America and Russia.

Of Timeless, commissioned for the November 2019 American tour of the Zurich Chamber Orchestra, Daniel Hope wrote, “The ZCO has had a long tradition of supporting and commissioning Swiss composers. Alfred Felder is an engaging voice in the Swiss music world,

MONDAVI CENTER 2019 –20 |

6

and Timeless, his short piece for violin and strings, is a gentle and atmospheric soliloquy that should prepare the audience accordingly for Max Richter’s ingenious reinvention of Vivaldi’s classic work.”

The Four Seasons Recomposed (after A. Vivaldi) for Violin, Harp, Harpsichord and Strings (2012) MAX RICHTER Born March 22, 1966 in Hamelin, West Germany According to maxrichtermusic.com, “Richter’s sonic world, inspired equally by Bach, punk rock and ambient electronica, blends a formal classical training (he graduated from the Royal Academy of Music and was a pupil of renowned composer Luciano Berio) with modern technology. His unique and distinctive brand of heartbroken melodicism bridges the minimalist greats with pioneering electronics and the contemporary digital music production multiverse.” Max Richter is, in other words, a musician very much of the 21st century, filtering many of today’s streams of music through his own unique creative prism.

Richter was born in Germany in 1966 but has lived in England from childhood, growing up in Bedford and studying composition and piano at the University of Edinburgh, Royal Academy of Music, and privately with Luciano Berio in Florence. After finishing his studies, Richter co-founded the contemporary classical ensemble Piano Circus and began his recording and composing careers. He has released eight solo albums and composed concert music, operas, ballets, art and video installations, and multiple film, theater and television scores; his music was heard on Broadway in Alan Cumming’s acclaimed 2013 solo version of Macbeth. Max Richter was named 2008 European Composer of the Year and nominated for the Prix France Musique for his score to Ari Folman’s anti-war film Waltz with Bashir.

charming music with great melody and wonderful colors. Then, later on, as I became more musically aware—literate, studied and listened to a lot of music—I found it more difficult to love it. We hear it everywhere—when you’re on hold, in the shopping center, in advertising; it’s everywhere. For me, the record and the project are trying to reclaim the piece, to fall in love with it again ... I think my piece has been received in the spirit that I wrote it, which is, in a way, an act of love towards this fantastic masterpiece. And, you know, my piece doesn’t erase the Vivaldi original. It’s a conversation from a viewpoint. I think this is just one way to engage with it.”

Richter estimated that he kept perhaps 25% of Vivaldi’s original intact, but subjected even that to the phasing and looping processes familiar from postmodern and minimalist music. He spoke of his creative method: “I took the opening motif [of “Spring”], which I always thought was a dazzling moment in the Vivaldi, but in the original it’s only four bars. I thought, ‘Well, why don’t I just treat this like a loop, like something you might hear in dance music, and just loop it and intensify it, and cut and paste—jump-cut around in that texture, but keep that groove going.’ ... The first thing that was sort of difficult—and I wasn’t expecting this, actually— was trying to understand who I was at each moment of writing it. That sounds a bit crazy, but in the piece, there are sections which are just Vivaldi, where I’ve left it alone. And there are other bits where there’s basically only a homeopathic dose of Vivaldi in this completely new music. So, I had to figure out how much Max and how much Vivaldi there was going on at every moment.”

—Dr. Richard E. Rodda

Richter undertook The Four Seasons Recomposed in 2012 as part of a series of new-music recordings by the venerable German firm Deutsche Grammophon. The album topped the iTunes classical chart in the UK, Germany and the United States and was given its concert premiere on October 31, 2012, at the Barbican Centre in London by violinist Daniel Hope and the Britten Sinfonia, conducted by André de Ridder. “As a child, I fell in love with Vivaldi’s The Four Seasons,” Richter said in an interview with NPR. “It’s beautiful,

MONDAVI CENTER 2019 –20 |

7

Zurich Chamber Orchestra Daniel Hope, music director and violin

VIOLIN 1 Willi Zimmermann, concertmaster Donat Nussbaumer, assistant concertmaster Jana Karsko Inès Morin Kio Seiler Tanja Sonc VIOLIN 2 Daria Zappa, principal Silviya Savova-Hartkamp Anna Tchinaeva Philipp Wollheim

VIOLONCELLO Nicola Mosca, principal Anna Tyka Nyffenegger Silvia Rohner Geiser DOUBLE BASS Seon-Deok Baik, principal Ivo Schmid HARPSICHORD Naoki Kitaya HARP Jane Berthe

VIOLA Ryszard Groblewski, principal Frauke Tometten Molino Janka Szomor-Mekis Pierre Tissonnier

ZCO ADMINISTRATION Co-Managing Directors Lena-Catharina Schneider, Head of Artistic Administration & Planning Helene Eller, Finance & Personnel Artistic Team Valentina Anna De Marchi, Project Manager Artistic Administration Silvan Hürlimann, Orchestra Manager Matthias Kägi, Stage Manager Ivo Schmid, Librarian & Double Bass player Marketing/Communication Team Simone Pflüger, Marketing Melanie Hadam, Marketing Michel Bumann, Graphic designer Gisela Stäheli, Ticketing & Office “Friends of Zurich Chamber Orchestra” Thomas Hunziker, Ticketing Finance Roberto Lehner, Finance Office Daniel Hope Daniel Alexander Engstfeld, Artist Manager for Daniel Hope Christina Khosrowi, Assistant of Daniel Hope’s Management 2019/20 North American Tour produced by John Gilliland.

MONDAVI CENTER 2019 –20 |

8

ABOUT THE ARTISTS

Zurich Chamber Orchestra Founded in 1945 by Edmond de Stoutz, the Zürcher Kammerorchester (Zurich Chamber Orchestra) is now one of the leading ensembles of its kind. Under the direction of Edmond de Stoutz and later Howard Griffiths and Muhai Tang, the orchestra won international recognition. In the years of the world-acclaimed Principal Conductor Sir Roger Norrington, from 2011 to 2015, the Zurich Chamber Orchestra did much to establish and enhance its excellent reputation. Since the 2016–17 season the orchestra is led by Music Director Daniel Hope.

Regular invitations to international festivals, performances in Europe’s leading centers of music, concert tours on almost all continents and numerous critically acclaimed CD releases testify to the worldwide renown of the Zurich Chamber Orchestra. In the 2019–20 season, the Orchestra will tour North America with programs featuring Vivaldi’s Four Seasons and Max Richter’s Recomposed, as well as a program inspired by Yehudi Menuhin. Highlights include stops in Virginia, Oklahoma, Georgia, Michigan, California and Toronto, Ontario.

In 2017, two of the orchestra’s CD releases were honored with an Echo Classic Award in the Classics Without Borders category.

The repertoire is broadly based, extending from the Baroque (in historically informed performance on gut strings and with Baroque bows) through the Classical and Romantic eras to the present day. The orchestra is also notable for its work with musicians from other fields such as jazz, folk music and popular entertainment. The concerts for children of all ages, outreach work with children and young people and encouragement of young instrumentalists are in every way as important to the Zurich Chamber Orchestra as its close and continuing collaboration with world-renowned soloists.

Daniel Hope, music director and violin Violinist Daniel Hope has toured the world as a virtuoso soloist for 25 years and is celebrated for his musical versatility as well as his dedication to humanitarian causes.

Winner of the 2015 European Cultural Prize for Music, whose previous recipients include Daniel Barenboim, Plácido Domingo and the Berlin Philharmonic Orchestra, Hope appears as soloist with the world’s major orchestras and conductors, also directing many ensembles from the violin. Since the start of the 2016–17 season, Hope has been music director of the Zurich Chamber Orchestra—an orchestra with whom he is closely associated since his early childhood. In October 2017, the documentary film Daniel Hope—The Sound of Life was screened in European movie theatres.

Hope was raised in London and studied the violin with Zakhar Bron. The youngest ever member of the Beaux Arts Trio during its final six seasons, today Hope performs at all the world’s greatest halls and festivals: from Carnegie Hall to the Concertgebouw Amsterdam, from Salzburg to Schleswig-Holstein and Mecklenburg-Vorpommern (where he was artistic director from 2009 to 2013) and from Aspen to the BBC Proms and Tanglewood. He has worked with conductors including Kurt Masur, Thomas Hengelbrock and Christian Thielemann, as well as with the world’s greatest symphony orchestras including Boston, Chicago, Berlin, Paris, London, Los Angeles and Tokyo. Devoted to contemporary music, Hope has commissioned over 30 works, enjoying close contact with composers such as Alfred Schnittke, Toru Takemitsu, Harrison Birtwistle, Sofia Gubaidulina, György Kurtág, Peter Maxwell-Davies and Mark-Anthony Turnage. Hope is one of the world’s most prolific classical recording artists, with over 25 albums to his name. His recordings have won the Deutsche Schallplattenpreis, the Diapason d’Or of the Year, the Edison Classical Award, the Prix Caecilia, seven ECHOKlassik Awards and numerous Grammy nominations. His album of Mendelssohn’s Violin Concerto and Octet with the Chamber Orchestra of Europe was named one of the best of the year by The New York Times. His recording of Alban Berg’s Concerto was voted Gramophone magazine’s “top choice of all available recordings.” His recording of Max Richter’s Vivaldi Recomposed, which reached No. 1 in over 22 countries is, with 160,000 copies sold, one of the most successful classical recordings of recent times. Hope has been an exclusive Deutsche Grammophon artist since 2007.

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

In Germany, he also presents a weekly radio show for the WDR3 Channel and curates, since the 2016–17, season his own series “Hope@9pm,” a music and discussion event with well-known guests from culture and politics at the Konzerthaus Berlin. Since 2004 Hope has been associate artistic director of the Savannah Music Festival. In 2018, he began a new role as music director of the New Century Chamber Orchestra in San Francisco, having served as artistic partner since 2017, directing the ensemble from the violin. In 2019 he will also start his new position as artistic director of the Frauenkirche Dresden. Hope plays the 1742 “ex-Lipiński” Guarneri del Gesù, placed generously at his disposal by an anonymous family from Germany. He lives with his family in Berlin.

MONDAVI CENTER 2019 –20 |

9

Don Roth, Executive Director, Mondavi Center Don Roth became the Mondavi Center’s second Executive Director in 2006, following three decades as a leader in the performing arts field. Roth brought with him an interest in expanding and diversifying program offerings and audiences; in strengthening service to patrons and artists; in deepening ties to UC Davis’ students, faculty and staff; and in building stronger bridges to and community service within the wider region around the Center.

Roth served as Aspen Music Festival and School President.

Before Aspen, Roth led the St. Louis Symphony, which achieved major artistic successes including tours to Carnegie Hall and European capitals and received the largest gift ever at that time to an American symphony, $40M from the Jack Taylor Family.

In the 1980s and 1990s, Roth held leadership positions at the San Francisco Symphony as general manager

and the Oregon Symphony as president. While in San Francisco, Roth secured seven-figure funding to endow the Symphony’s long-standing Adventures in Music arts education program; similarly, in Oregon he shaped a regional touring and residency program serving small rural communities in California, Oregon and Washington, endowed by more than $1M in foundation and government grants.

Roth holds degrees in History from Brown University, Yale University and the University of Texas. His love of blues, rock and country music was demonstrated in his early writings for Rolling Stone and Texas Monthly. He is married to Jolán Friedhoff, a professional violinist and music teacher, with whom he shares a “Ring-Nut” level of passion for Wagner’s operas. He enjoys cycling and baseball, splitting his loyalties bi-coastally for San Francisco’s Giants and New York City’s Mets.

gateway What to Listen for:

Daniel Hope shares his favorite moments of Max Richter’s Recomposed

D

aniel Hope admits he was initially skeptical of Max Richter’s plan to “recompose” Antonio Vivaldi’s iconic set of violin concertos, The Four Seasons.

But Richter’s compelling motives and vast musical imagination won the violinist over, and Hope eventually premiered and recorded the new work in 2012.

“The Four Seasons is something we all carry around with us,” Richter told The Guardian. “It’s just everywhere. In a way, we stop being able to hear it.

So, this project is about reclaiming this music for me personally, by getting inside it and rediscovering it for myself—and taking a new path through a well-known landscape.”

Richter’s score resonates with Hope on many levels.

First, Vivaldi’s Four Seasons powerfully evokes images of the natural world, and the range of emotions that ebb and flood with the changing seasons. Hope notes that Richter’s career as a composer for film and dance makes him uniquely suited to create music to match this psychological, richly visual sonic terrain. Secondly, Hope believes Richter has struck the perfect balance

between reverence for the original, and following his own mischievous spirit in the new score. That mix of humility and hubris makes the music come alive, Hope says, and allows Recomposed to exist in a dynamic conversation with the source of its inspiration.

Richter lovingly de- and re-constructs Vivaldi’s music with compositional techniques drawn from electronic music, club music, minimalist concert music, and the recording studio to reframe Vivaldi’s musical vocabulary. The melody, or the tempo, or the character of a given movement may be very similar to Vivaldi’s original, but Richter has processed, phased, looped, or combined new elements in a way that is unique to his compositional voice. Sometimes he preserves a distinctive element of the original—a melody, perhaps—and modifies its accompaniment so that the melody takes on a different sheen in its new environs.

Other times, he calls attention to overlooked aspects of the original—a galloping rhythm, for example—by altering or offsetting it slightly, so that it takes on a new role.

MONDAVI CENTER 2019 –20 |

Con’t. on next page

10

Here are some of the revelatory moments in Richter’s score that thrill and delight Daniel Hope, again and again: HUMOR At the beginning of “Autumn 1,” Hope revels in Richter’s “subversive sense of humor”: “he takes the famous theme which everybody knows, and he bends the rhythm” by adding an extra beat here, removing one there …“tripping up what you know.” As a listener, the effect is subtle—you barely notice what is happening until Richter has sent you skipping down a wormhole.

SURPRISE The breathless movement “Summer 3” is “one of the most raucous and energetic, a tough one for the orchestra,” Hope says, because the musicians need to retrain themselves to play Richter’s new inventions, rather than lapse into their lifelong habits of playing Vivaldi’s familiar phrases. The “recompositions” keep everyone on their toes.

WHAT’S OLD IS NEW, IS OLD In “Autumn 3,” Richter takes a short phrase of four measures, and puts it in a repeating loop with a series of crisp interlocking rhythms against a slow, melancholy melody. “ ‘Autumn 3’ for me is a masterpiece,” Hope says. “Max creates a minimalist heaven—but the material isn’t by him, it’s by Antonio Vivaldi in 1725. And that’s an amazing ride to be on.”

INVENTION In “Winter 3,” Richter repeats Vivaldi’s eight-measure solo violin line in a loop, and composes entirely new music to go along with it. For Hope, this is among the work’s most successful moments, a “Vivaldi sample that has gone on a new journey.”

In the slow movement “Winter 2,” Richter has left the violin part completely untouched. “This is Vivaldi’s description of being at home when it’s raining, it’s cold outside and you’re inside in front of the fire. Max keeps that melody—he doesn’t touch it—but everything else is completely as if it’s on a different star,” Hope says. It’s otherworldly, he says, but “the essence is still there. It’s one of the most moving parts of the piece, of the whole concert—I always look forward to it.”

HEARING, PLAYING VIVALDI ANEW After performing Recomposed, Hope says his interpretation of the Vivaldi shifts, to highlight the differences between the two works. “You want the audience to have two separate pieces … so after the Richter, you become more classical, more Baroque when you play the Vivaldi on the same program.”

And the orchestra enjoys exploring those nuances of interpretation that make the Richter sound so modern, and the Vivaldi sound so timeless.

Given Richter’s influences in popular and rock music, one might expect his score to inspire the orchestra’s musicians to cathartic abandon—but the opposite is actually true. Hope says that playing the Richter makes the musicians of the Zurich Chamber Orchestra approach the Vivaldi with a “wilder, free-er” spirit.

Whereas the Richter score is tightly composed, with no room to deviate from the notated parts, by contrast, improvisation is built into the fabric of the Vivaldi score, and the musicians playing the accompaniment are expected to craft their own musical phrases based on a skeletal guide of the harmony. So, they can really cut loose once the Vivaldi is on the music stand—and they do, he says, night after night.

—Lisa Mezzacappa

LISA MEZZACAPPA is a journalist, arts administrator and independent musician/ composer. She works as a freelance copywriter, publicist and communications consultant for organizations including Cal Performances, Oakland Ballet and InterMusic SF.

Read more on our blog

mondaviarts.org/blog

MONDAVI CENTER 2019 –20 |

11

Thank you to our 2019–20 sponsors CORPORATE SPONSORS

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

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

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

This list reflects donors as of November 1, 2019.

COLORATURA CIRCLE

$50,000 AND ABOVE James H. Bigelow† Patti Donlon† Richard and Joy Dorf Dean and Karen† Karnopp* M.A. Morris*

IMPRESARIO CIRCLE

$25,000–$49,999 John† and Lois Crowe* Merrilee and Simon Engel Ann and Gordon Getty Foundation Wanda Lee Graves and Steve Duscha Bill and Nancy† Roe* The Lawrence Shepard† Family Fund

VIRTUOSO CIRCLE

$16,500–$24,999 Thomas and Phyllis† Farver* Nancy McRae Fisher Anne Gray*† Mary B. Horton* Clifford A. Popejoy† and Antonia K. J. Vorster Darell J. Schregardus, Ph.D. Rosalie Vanderhoef*

MAESTRO CIRCLE

$11,000–$16,499 GRANTORS AND ARTS EDUCATION SPONSORS

Gordon Klein° and Nancy Lawrence† Debbie Mah* and Brent Felker Grace† and John Rosenquist Raymond Seamans and Ruth Elkins Les and Mary Stephens De Wall Tony and Joan Stone

Dr. Jim P. Back Wayne and Jacque Bartholomew* Ralph and Clairelee Leiser Bulkley* Chan Family Fund† Andrew and Judith Gabor Benjamin and Lynette Hart* Clarence and Barbara Kado

BENEFACTOR CIRCLE $7,500–$10,999

ADDITIONAL SUPPORT Asanté Catering El Macero Country Club J. Lohr Vineyards and Wines Robert Mondavi Winery The Porch Restaurant

Carla F. Andrews Karen Broido* Susie† and Jim Burton Sandy and Chris Chong* Tony° and Ellie Cobarrubia* Michael and Kevin Conn Terry and Susan Eager†

Allen and Sandy Enders Charles and Catherine Farman Janlynn Fleener† Friends of Mondavi Center Karen Heald and K.C. McElheney Hansen Kwok† Garry Maisel† * Friends of Mondavi Center

MONDAVI CENTER 2019 –20 |

12

Diane Marie Makley*† Gerry and Carol Parker William Roth Celestine and Scott Syphax Joe Tupin* Claudette Von Rusten Yin and Elizabeth Yeh

†Mondavi Center Advisory Board Member

° In Memoriam

PRODUCER CIRCLE $3,750–$7,499

Lydia Baskin* Daniel R. Benson Cordelia S. Birrell Jo Anne Boorkman* Karen Broido* California Statewide Certified Development Center Mike and Betty Chapman Michele Clark and Paul Simmons Bruce and Marilyn Dewey* Wayne and Shari Eckert In Memory of Elliott and Sol In Memory of Flint, Ella and Marley Jolán Friedhoff and Don Roth In Memory of Henry (Hank) Gietzen The John Gist Family Ed and Bonnie Green* Charles and Ann Halsted John and Regi Hamel Judy Hardardt* Dee Hartzog Donine Hedrick and David Studer In Memory of Christopher Horsley* In Memory of Nicolai N Kalugin Teresa Kaneko* Barry and Gail Klein Jane and Bill Koenig Brian and Dorothy Landsberg Edward and Sally Larkin Drs. Richard Latchaw and Sheri Albers Linda Lawrence Allan and Claudia Leavitt Patricia Lewis Robert and Betty Liu Yvonne L. Marsh Judith E. Moores in Memory of Eldridge M. Moores Barbara Moriel Misako and John Pearson Joanna Regulska and Michael Curry Warren G. Roberts and Jeanne Hanna Vogel* Roger and Ann Romani Liisa A. Russell Neil and Carrie Schore Carol J. Sconyers* Kathryn Smith Tom and Meg Stallard* Tom and Judy Stevenson* Brian K. Tarkington and Katrina Boratynski Rosemary and George Tchobanoglous Ed Telfeyan and Jeri Paik-Telfeyan Ken Verosub and Irina Delusina Georgia Paulo John D. Walker Dick and Shipley Walters Patrice White Judy Wydick And 4 donors who prefer to remain anonymous

DIRECTOR CIRCLE $1,750–$3,749

The Aboytes Family Ezra and Beulah Amsterdam Russell and Elizabeth Austin Robert and Susan Benedetti Don and Kathy Bers Edwin Bradley Richard Breedon, Pat Chirapravati, and Rosa Marquez Marguerite Callahan Cantor & Company, A Law Corporation Margaret Chang and Andrew Holz

Allison P. Coudert Jim and Kathy Coulter* Terry Davison Joyce Donaldson* Matt Donaldson and Steve Kyriakis Noel Dybdal Karl Gerdes and Pamela Rohrich David and Erla Goller Dr. Eva G. Hess Sharna and Mike Hoffman Ronald and Lesley Hsu Martin and JoAnn Joye* Barbara Katz Nancy and John Keltner Robert and Cathryn Kerr Joseph Kiskis and Diana Vodrey Charlene R. Kunitz Thomas Lange and Spencer Lockson Francie and Artie Lawyer* Hyunok Lee and Daniel Sumner Bob and Barbara Leidigh Lin and Peter Lindert David and Ruth Lindgren Richard and Kyoko Luna Family Fund Natalie and Malcolm MacKenzie* Dennis H. Mangers and Michael Sestak Susan Mann Betty Masuoka and Robert Ono Janet Mayhew In Memory of William F. McCoy Sally McKee Mary McKinnon and Greg Krekelberg Katharine and Dan Morgan Craig Morkert Augustus B Morr Rebecca Newland John Pascoe and Susan Stover J. Persin and D. Verbeck Nancy Petrisko and Don Beckham Linda and Larry Raber Kay Resler* Marshall and Maureen Rice Dwight E. and Donna L. Sanders Christian Sandrock Ed and Karen Schelegle Bonnie and Jeff Smith Janet Shibamoto-Smith and David Smith Edward Speegle Maril and Patrick Stratton Geoffrey and Gretel Wandesford-Smith Dale L. and Jane C. Wierman Susan and Thomas Willoughby Verena Leu Young* And 3 donors who prefer to remain anonymous

ENCORE CIRCLE $700–$1,749

Drs. Ralph and Teresa Aldredge Michael and Shirley Auman* Laura and Murry Baria In Memory of Marie Benisek Al Patrick and Pat Bissell Muriel Brandt Craig and Joyce Copelan Robert and Nancy Crummey Gayle Dax-Conroy In Memory of Jan Conroy Dotty Dixon* Anne Duffey John and Cathie Duniway Melanie and Robert Ferrando Doris Flint Jennifer D. Franz Florence Grosskettler Mae and David Gundlach Robin Hansen and Gordon Ulrey Rick and Zheyla Henriksen Leonard and Marilyn Herrmann Ralph Hexter and Manfred Kollmeier B.J. Hoyt

James and Nancy Joye Peter G. Kenner Paul Kramer Paula Kubo Ruth M. Lawrence Michael and Sheila Lewis* Robert Medearis Roland and Marilyn Meyer John and Carol Oster Celia Rabinowitz John and Judith Reitan C. Rocke Tom and Joan Sallee Elizabeth St. Goar Sherman and Hannah Stein Karen and Ed Street* Eric and Pat Stromberg* Mont Hubbard and Lyn Taylor Cap and Helen Thomson Virginia Thresh Roseanna Torretto* Henry°and Lynda Trowbridge* Rita and Jack Weiss Steven and Andrea Weiss Dan and Ellie Wendin Kandi Williams and Frank Jahnke Paul Wyman Gayle K. Yamada and David H. Hosley Karl and Lynn Zender Karen Zito and Manuel Calderon de la Barca Sanchez And 3 donors who prefer to remain anonymous

ORCHESTRA CIRCLE $350–$699

Dorrit Ahbel Susan Ahlquist Andrew and Ruth Baron Paul and Linda Baumann Mrs. Marie C. Beauchamp Delee and Jerry Beavers Carol Benedetti Jane D. Bennett Robert Bense Ernst Biberstein Robert Biggs and Diane Carlson Biggs Brooke and Clay Brandow Meredith Burns Anne and Gary Carlson* Bruce and Mary Alice Carswell* Simon and Cindy Cherry Dr. Jacqueline Clavo-Hall Mr. and Mrs. David Covin Gwendolyn Doebbert and Richard Epstein Daniel and Moira Dykstra Nancy and Don Erman Helen Ford Edwin and Sevgi Friedrich* Joyce and Marvin Golman Paul N. and E.F. (Pat) Goldstene Tom Graham and Lisa Foster Darrow and Gwen Haagensen Sharon and Don Hallberg* Marylee Hardie Dione and Roy Henrickson Michael and Margaret Hoffman Jan and Herb Hoover Robert and Marcia Jacobs Don and Diane Johnston Weldon and Colleen Jordan Susan Kauzlarich and Peter Klavins Helen L. Krell, M.D. Bill and Laura Lacy Allan and Norma Lammers Ellen J Lange Larkin Lapides Sevim Larsen Carol Ledbetter Randall Lee and Jane Yeun Barbara Levine Ernest and Mary Ann Lewis Bunkie Mangum Joan and Roger Mann Dr. Maria I. Manea-Manoliu

David and Martha Marsh Katherine F. Mawdsley* Susan and David Miller Elaine and Ken Moody Robert and Susan Munn William and Nancy Myers Margaret Neu* Suzette Olson Frank Pajerski Sue and Jack Palmer Jill and Warren Pickett James D. and Lori K. Richardson Ms. Tracy Rodgers and Dr. Richard Budenz Ron and Morgan Rogers Sharon and Elliott Rose Shery and John Roth Bob and Tamra Ruxin Roger and Freda Sornsen Tony and Beth Tanke Robert and Helen Twiss Ardath Wood Iris Yang and G. Richard Brown Wesley Yates Melanie and Medardo Zavala And 8 donors who prefer to remain anonymous

MAINSTAGE CIRCLE $125–$349

M. Aften Elizabeth Allen* Penny Anderson Nancy Andrew-Kyle* Elinor Anklin Alex and Janice Ardans Antonio and Alicia Balatbat* Charles and Diane Bamforth Michele Barefoot and Luis Perez-Grau Carole Barnes Jonathan and Mary Bayless Lynn Baysinger Lorna Belden Merry Benard Kristen and Alan Bennett Bevowitz Family Dr. Robert and Sheila Beyer Elizabeth Ann Bianco Roy and Joan Bibbens* John and Katy Bill Sharon Billings and Terry Sandbek Dolores Blake Dr. Caroline Bledsoe Fredrick and Mary Bliss Judith Blum Brooke Bourland* Jerry and Verne Bowers—Advent Consulting Services Jill and Mary Bowers Carol Boyd* Melody Boyer and Mark Gidding Dan and Mildred Braunstein* Linda Brown Alan and Beth Brownstein Mike and Marian Burnham Dr. Margaret Burns and Dr. W Roy Bellhorn William and Karolee Bush Edward Callahan Nancy Callahan Richard and Marcia Campbell Nancy and Dennis Campos* James and Patty Carey Ping Chan* Bonnie and LeRoy Chatfield Amy Chen and Raj Amirtharajah Carol Christensen* Craig Clark and Mary Ann Reihman Gail Clark Linda Clevenger and Seth Brunner James and Linda Cline Sheri and Ron Cole Steve and Janet Collins Richard and Katie Conrad Terry Cook Nicholas and Khin Cornes Fred and Ann Costello Catherine Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan

† Friends of Mondavi MONDAVI CENTER *2019 –20 | 13Center Mondavi Center Advisory Board Member

°In Memoriam

Tatiana and Virgil Cullen Fitz-Roy and Susan Curry Laurence Dashiell Doug and Joy Daugherty Nita A. Davidson Relly Davidson Judy and Mike Davis Judy and David Day Ann Denvir Carol Dependahl-Ripperda Linda and Joel Dobris Marjorie Dolcini* Jerry and Chris Drane Karen Eagan James Eastman and Fred Deneke Laura Eisen and Paul Glenn Carol Erickson and David Phillips Eleanor E. Farrand* Michael and Ophelia Farrell Les and Micki Faulkin Janet Feil Cheryl and David Felsch Robin and Jeffrey Fine Maureen Fitzgerald and Frank DeBernardi Dave and Donna Fletcher Dr. and Mrs. Fletcher Glenn Fortini Daphna Fram Marion Franck and Bob Lew Marlene J. Freid* Larry Friedman and Susan Orton David Fudala In Memory of David Gatmon Barbara Gladfelter Ellie Glassburner Marnelle Gleason* and Louis J. Fox Mark Goldman and Jessica Tucker-Mohl Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart Joyce and Ron Gordon Karen Governor Halley Grain Jeffrey and Sandra Granett Jim Gray and Robin Affrime Paul and Carol Grench Don and Eileen Gueffroy Abbas Gultekin and Vicky Tibbs Cary and Susan Gutowsky Wesley and Ida Hackett* Myrtis Hadden Bob and Jen Hagedorn Jane and Jim Hagedorn Kitty Hammer William and Sherry Hamre M. and P. Handley Jim and Laurie Hanschu Susan B. Hansen

Alexander and Kelly Harcourt Kay Harse Anne and Dave Hawke Mary A. Helmich Rand and Mary Herbert Calvin Hirsch, MD Pamela Holm David Kenneth Huskey Lorraine J Hwang L. K. Iwasa Diane Moore and Stephen Jacobs Vince Jacobs and Cecilia Delury Karen Jetter Mun Johl Gary and Karen Johns* Michelle Johnston Andrew and Merry Joslin David Kalb and Nancy Gelbard Shari and Tim Karpin Steve and Jean Karr Patricia Kelleher* Sharmon and Peter Kenyon Leonard Keyes Nicki King Ruth Ann Kinsella* Camille Kirk Don and Bev Klingborg John and Mary Klisiewicz* Kerik and Carol Kouklis Sandra Kristensen Roy and Cynthia Kroener C.R. and Elizabeth Kuehner Kupcho-Hawksworth Trust Leslie Kurtz Kit and Bonnie Lam* Nancy Lazarus and David Siegel Peggy Leander* Evelyn A Lewis Barbara Linderholm* Motoko Lobue Joyce Loeffler and Ken McNeil Mary Lowry and Norm Theiss Karen Lucas* Melissa Lyans and Andreas Albrecht Ariane Lyons David and Alita Mackill Dr. Vartan Malian and Nora Gehrmann Drs. Julin Maloof and Stacey Harmer Theresa Mann Pam Marrone and Mick Rogers J. A. Martin Leslie Maulhardt* Keith and Jeanie McAfee Karen McCluskey* and Harry Roth* Jim and Jane McDevitt Tim and Linda McKenna Thomas R. McMorrow

Artistic Ventures Fund

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

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

Nancy McRae Fisher Wanda Lee Graves and Steve Duscha Anne Gray Barbara K. Jackson° Rosalie Vanderhoef

Endowment Giving

Thank you to the following donors whose support will leave a lasting impact on Mondavi Center programs.

James H. Bigelow Karen Broido Chan Family Fund Sandra Togashi Chong and Chris Chong John and Lois Crowe Richard and Joy Dorf

Mary B. Horton Barbara K. Jackson° Dean and Karen Karnopp Debbie Mah and Brent Felker Diane Marie Makley Rosalie Vanderhoef Verena Leu Young

Karen Merick and Clark Smith Joe and Linda Merva Cynthia Meyers Beryl Michaels and John Bach Leslie Michaels and Susan Katt Maureen Miller and Mary Johnson Sue and Rex Miller Vicki and Paul Moering James Moorfield Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Diane Muller Robert Nevraumont and Donna Curley Nevraumont Kim T. Nguyen R. Noda Jay and Catherine Norvell Jeri and Clifford Ohmart Jim and Sharon Oltjen Andrew and Sharon* Opfell Mary Jo Ormiston* John and Nancy Owen Mike and Carlene Ozonoff Thomas Pavlakovich and Kathryn Demakopoulos Pete Peterson The Plante Family Jane Plocher Bonnie A. Plummer Harriet Prato Otto and Lynn Raabe Lawrence and Norma Rappaport Olga Raveling Catherine Ann Reed Fred and Martha Rehrman* Maxine and Bill Reichert David and Judy Reuben Russ and Barbara Ristine Jeannette and David Robertson Denise Rocha Jeep and Heather Roemer Ron and Mary Rogers Maurine Rollins Carol and John Rominger Richard and Evelyne Rominger Warren Roos Janet F. Roser, Ph.D. Cathy* and David Rowen Cynthia Jo Ruff* Paul and Ida Ruffin Joy and Richard Sakai* Jacquelyn Sanders Elia and Glenn Sanjume Fred and Pauline Schack Patsy Schiff

Leon Schimmel and Annette Cody Dan Shadoan and Ann Lincoln Jeanie Sherwood Jennifer Sierras Jo Anne S. Silber Teresa Simi Robert Snider and Jak Jarasjakkrawhal Jean Snyder Nancy Snyder William and Jeannie Spangler* Curtis and Judy Spencer Tim and Julie Stephens Judith and Richard Stern Deb and Jeff Stromberg George and June Suzuki Bob Sykes Yayoi Takamura and Jeff Erhardt Stewart and Ann Teal Julie Theriault, PA-C Virginia Thigpen Henry and Sally Tollette Victoria and Robert Tousignant Justine Turner* Ute Turner* Sandra Uhrhammer* Ramon and Karen Urbano Ann-Catrin Van Marian and Paul Ver Wey Richard Vorpe and Evelyn Matteucci Craig Vreeken and Lee Miller Kim and James Waits In memory of Carl Eugene Walden Andrew and Vivian Walker Don and Rhonda Weltz* Doug West Martha S. West Robert and Leslie Westergaard* Nancy and Richard White* Sharon and Steve Wilson Janet G. Winterer Suey Wong* Jessica Woods Jean Wu Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Chelle Yetman Phillip and Iva Yoshimura Phyllis and Darrel Zerger* Marlis and Jack Ziegler Linda and Lou Ziskind Dr. Mark and Wendy Zlotlow And 23 donors who prefer to remain anonymous

Legacy Circle

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

Wayne and Jacque Bartholomew Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Nancy DuBois° Jolán Friedhoff and Don Roth Anne Gray

Benjamin and Lynette Hart L. J. Herrig° Mary B. Horton Margaret Hoyt Barbara K . Jackson° Roy and Edith Kanoff° Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary°

Ruth R. Mehlhaff ° Joy Mench and Clive Watson Trust Verne Mendel Kay Resler Hal° and Carol Sconyers Joe and Betty° Tupin Lynn Upchurch And one donor who prefers to remain anonymous

If you have already named the Mondavi Center in your own estate plans, we thank you.

We would love to hear of your giving plans so that we may express our appreciation.

If you are interested in learning about planned giving opportunities, please contact Nancy Petrisko, director of development, 530.754.5420 or npetrisko@ucdavis.edu.

Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. * Friends of Mondavi Center

MONDAVI CENTER 2019 –20 |

14

†Mondavi Center Advisory Board Member

°In Memoriam

Global Education for All

UC Davis Campus Global Theme 2020-21

Food for Thought:

Feeding Ourselves, Feeding the Planet Our inaugural Campus Global Theme, Food for Thought: Feeding Ourselves, Feeding the Planet, brings together the UC Davis community in exploring the complexities surrounding the notion of “Food for Thought,” linking to the UN Sustainable Development Goals (SDGs).

We invite you to join us as we engage in discussion, debate, and dynamic action related to how we feed our bodies, minds, souls, ecosystems, and economies, how we nourish our world, and more!

Find out about getting involved or attending upcoming events: globalaffairs.ucdavis.edu/ campus-global-theme

MONDAVI CENTER 2019 –20 |

15

Supporting all that the arts bring to life Creativity is personal, and so is your well-being. And research shows that they’re both linked in positive ways.

So go ahead and enjoy a classical performance or dance like nobody’s watching.

And when you need a team of experts behind you, you’ll always have partners in your care with UC Davis Health.

During open enrollment, make sure you choose one of the many health plans that gives you access to UC Davis Health primary care providers and 17 neighborhood clinics — including a location near you.

Davis location: 2660 W. Covell Blvd.

For more information visit

ChooseHealth.ucdavis.edu

MONDAVI CENTER 2019 –20 |

16