Mondavi Center 14-15 Program Book 4

Program March 2015 Lang Lang MAR 25 Photo by Harald Hoffmann

Timeless music all the time .

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WELCOME

A MESSAGE FROM THE CHANCELLOR

It is always a thrill to anticipate the upcoming season at the Robert and Margrit Mondavi Center for the Performing Arts, and I know everyone will find something to savor on the 2014-15 calendar.

Thanks to the tremendous generosity of the legendary winemaker and his wife, as well as our beloved Barbara Jackson and the vision of former UC Davis Chancellor Larry Vanderhoef, we have all come to love the Mondavi Center as the artistic heart and soul of our campus and a venue that enriches the entire region.

LINDA P.B. KATEHI

UC DAVIS CHANCELLOR

In my five years as Chancellor, among the most moving experiences I’ve had were when I was able to sit with an enraptured Mondavi Center audience and take in some of the extraordinary artists and speakers we have been able to bring to its stage.

We have all come to love the Mondavi

Every Mondavi Center season seems to top the one just before, and this year has the added bonus of more innovative and non-traditional classical music performances, thanks to year one of a three-year grant

Center as the artistic

from the Andrew W. Mellon Foundation.

heart and soul of our

We are blessed on our campus to have such a world-class venue that

campus and a venue

not only attracts brilliant and enjoyable performers from around the

that enriches the entire region.

world, but also serves as a showcase for so many talented UC Davis students, artists and faculty.

I’m glad you took the time to be part of this exciting season and hope you enjoy the experience.

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SPONSORS

MONDAVI CENTER STAFF

CORPORATE PARTNERS

Don Roth, Ph.D.

PLATINUM

ASSOCIATE EXECUTIVE DIRECTOR

EXECUTIVE DIRECTOR

Jeremy Ganter

Jill Pennington

EXECUTIVE ASSISTANT

PROGRAMMING Jeremy Ganter

GOLD

DIRECTOR OF PROGRAMMING

Erin Palmer

ASSISTANT DIRECTOR OF PROGRAMMING

Ruth Rosenberg

ARTIST ENGAGEMENT COORDINATOR

SILVER

Lara Downes OFFICE of CAMPUS COMMUNITY RELATIONS

CURATOR: YOUNG ARTISTS PROGRAM

ARTS EDUCATION Joyce Donaldson

DIRECTOR OF ARTS EDUCATION

Jennifer Mast ARTS EDUCATION COORDINATOR

BRONZE

AUDIENCE SERVICES Marlene Freid

AUDIENCE SERVICES MANAGER

COPPER

Yuri Rodriguez

PUBLIC EVENTS MANAGER

Natalia Deardorff

ASSISTANT PUBLIC EVENTS MANAGER

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

Dawn Kincade

ASSISTANT PUBLIC EVENTS MANAGER

Kerrilee Knights

ASSISTANT PUBLIC EVENTS MANAGER

Nancy Temple

ASSISTANT PUBLIC EVENTS MANAGER

SPECIAL THANKS API Global Transportation

Osteria Fasulo

Boeger Winery

Seasons

Ciocolat

Watermelon Music

El Macero County Club 4 MONDAVIARTS .ORG

HEAD USHERS

MARKETING

Huguette Albrecht Ralph Clouse Eric Davis John Dixon George Edwards Donna Horgan Paul Kastner Jan Perez Mike Tracy Janellyn Whittier Terry Whittier

Rob Tocalino

BUSINESS SERVICES

TICKET OFFICE MANAGER

Debbie Armstrong SENIOR DIRECTOR OF SUPPORT SERVICES

Mandy Jarvis

FINANCIAL ANALYST

Russ Postlethwaite

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

DEVELOPMENT Debbie Armstrong

DIRECTOR OF MARKETING

Erin Kelley

ART DIRECTOR & SENIOR GRAPHIC ARTIST

Sarah Schaale

DIGITAL MARKETING MANAGER

Dana Werdmuller

MARKETING MANAGER

TICKET OFFICE Sarah Herrera Steve David

TICKET OFFICE SUPERVISOR

Susie Evon

TICKET AGENT

Russell St. Clair TICKET AGENT

ARTIST SERVICES Jenna Bell

ARTIST SERVICES MANAGER

PRODUCTION

SENIOR DIRECTOR OF DEVELOPMENT

Donna J. Flor

FACILITIES

Adrian Galindo

Herb Garman

DIRECTOR OF OPERATIONS

Greg Bailey

BUILDING ENGINEER

INFORMATION TECHNOLOGY

PRODUCTION MANAGER ASSISTANT PRODUCTION MANAGER

Christi-Anne Sokolewicz SENIOR STAGE MANAGER, JACKSON HALL

Christopher C. Oca

SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE

Mark J. Johnston

Phil van Hest

Paul Altamira

Rodney Boon

LEAD APPLICATION DEVELOPER APPLICATIONS AND NETWORK SUPPORT ADMINISTRATOR

MASTER CARPENTER HEAD AUDIO ENGINEER

Jan Lopez

EVENT COORDINATOR

The lives we touch inspire us Like many girls her age, Precious loves animals of all kinds.

At 8 years old, after playing with a feral cat, she became ill with what doctors first suspected might be the flu.

Soon unable to swallow or stand, Precious was flown to UC Davis Children’s Hospital where she was diagnosed with severe brain inflammation caused by rabies – a combination that’s almost always fatal.

A team of UC Davis critical care and infectious disease specialists placed her in a drug-induced coma. With the help of antiviral medication and her own tenacious spirit, Precious fiercely wrestled the disease and became the third person in the U.S. to survive rabies without a vaccine. Today, this vibrant young girl dreams of becoming a veterinarian.

To learn more about Precious’ story and the ”one team” approach to care at this region’s one nationally ranked comprehensive hospital for children, visit children.ucdavis.edu One team. One choice.

One UC Davis.

THE REGION’S

COMPREHENSIVE HOSPITAL FOR CHILDREN

IN THIS ISSU

A MESSAGE FROM THE EXECUTIVE DIRECTOR

DON ROTH, Ph.D. EXECUTIVE DIRECTOR

March is traditionally one of the busiest months at the Mondavi Center. Artists and musicians based on the east coast or in Europe relish the opportunity to leave the cold behind for a bit, so our presenting calendar fills up quickly. In addition, it is in March that we put the final touches our forthcoming season, which we will introduce to you in early April.

As Associate Executive Director Jeremy Ganter and I put together the jigsaw puzzle that is each season’s program, we often have a clear idea of themes that we are interested in developing across a season. Sometimes, however, those themes, rather than being pre-determined, begin to emerge as we book what seem at first to be seemingly unrelated performances. Looking at the schedule now, almost a year after we put it to bed, it is clear that March 2015 has emerged as a month of storytellers – each of whom tells a story in a very different manner and medium.

In New York in January 2013, Jeremy and I experienced a preview of EarFilms. Encircled by a 3D sound system and blindfolded, we were brought into a fictional world where dreaming is outlawed. It was engrossing storytelling, but it also highlighted how individual our experiences of sound and stories are. We were hooked and knew that it was something we wanted to bring to UC Davis. We have it here in the Vanderhoef Studio Theatre from March 19-21. Since it was a shortened preview version, Jeremy and I are both eager to hear how the story ends!

Julian Sands is best known in the U.S. for his film roles in The Killing Fields, Leaving Las Vegas and A Room with a View. In 2005, the actor was invited by Nobel Prize winning playwright and poet Harold Pinter to work on a presentation of his poems. The collaboration afforded Sands a unique insight into Pinter’s personality and his work, and the presentation of poems evolved into a unique solo show, A Celebration of Harold Pinter, which we will be presenting on March 14-15, with audiences seated on the Jackson Hall stage.

Finally, there is Ira Glass. While we all know him as the host of This American Life, Glass has, for his newest show, taken up dancing. Glass himself has said that radio and dance “have no business being together,” but in Three Acts, Two Dancers, One Radio Host, he and dancers Monica Bill Barnes and Anna Bass have pulled off a successful marriage. Expect radio pieces come to life, just with a little fancy footwork thrown in for good measure.

Next month, I’ll have plenty to share with you, including news and new themes from the forthcoming season, and, perhaps, some final Just Added shows.

Until then, enjoy the performances.

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ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

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Young Artists Competition Winners Concert

10 Anonymous 4 14 Hugh Masekela and Vusi Mahlasela 18 Curtis Chamber Orchestra 24 Julian Sands 26 Danú 28 London Symphony Orchestra 36 Lang Lang, piano 40 Three Acts, Two Dancers, One Radio Host

BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance.

• As a courtesy to others, please turn off all electronic devices.

• If you have any hard candy, please unwrap it before the lights dim.

• Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited.

Violators are subject to removal.

• Please look around and locate the 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 be seated in an alternate seat upon re-admission while the performance is in progress. Re-admission is at the discretion of Management.

• Assistive Listening Devices and opera glasses are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.

March 2015 Volume 2, No. 4

an exClusiVe Wine tasting experienCe of tHese featured Wineries for inner CirCle donors

2012—13

Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold Seattle Sales Director

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

september FRI

19

24

Ellis Marsalis, Jr. and Delfeayo Marsalis Cakebread Cellars

Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives

oCtober FRI

Staci Hyatt, Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives

noVember THU

Carol Yip Sales Coordinator

deCember FRI

5

January SAT

24

Wendy Whelan boeger Winery

february FRI

13

Orchestre de la Suisse Romande robert mondaVi Winery

Jonathan Shipley Ad Services Coordinator www.encoreartssf.com

Paul Heppner President Mike Hathaway Vice President Erin Johnston Communications Manager Genay Genereux Accounting

marCH SAT april THU may FRI

28

16

8

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Akram Khan Company Justin Vineyards & Winery Academy of Ancient Music Hestan Vineyards Cantus putaH Creek Winery

Three Acts, Two Dancers, One Radio Host sCribe Winery Arlo Guthrie frank family Vineyards Academy of St. Martin in the Fields Chamber Ensemble todd taylor Wines

Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com

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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2015 Encore Media Group. Reproduction without written permission is prohibited.

For information about becoming a donor, please call 530.754.5438 or visit us online:

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YOUNG ARTISTS COMPETITION WINNERS CONCERT

Sunday, March 1, 2015 • 2PM Jackson Hall

THERE WILL BE ONE INTERMISSION

INDIVIDUAL SUPPORT PROVIDED BY

John and Lois Crowe Mary B. Horton Barbara K. Jackson

Young Artists Division: INSTRUMENTALISTS Elena Ariza, cello CUPERTINO, CA Tsutomu Copeland, violin PALO ALTO, CA Geneva Lewis, violin IRVINE, CA Mai Matsumoto, violin CUPERTINO, CA Hannah Song, violin IRVINE, CA

Young Artists Division: PIANISTS Marie Kelly NAPA, CA Kevin Takeda INDIAN WELLS, CA Elliot Wuu FREMONT, CA Roger Xia DAVIS, CA Victor Xie PALO ALTO, CA

Founders Division: CELLISTS Sophia Bacelar MARTINSVILLE, NJ Jared Blajian CLEVELAND, OH Brannon Cho RIDGEFIELD, NJ Russell Houston EVANSTON, IL Anna Litvinenko NEW YORK, NY Charles Seo LOS ANGELES, CA Special thanks to the jurors of the Tenth Annual Mondavi Center Young Artists Competition Lara Downes: Mondavi Center Cindy Hwang: Concert Artists Guild Melissa Kraut: Cleveland Institute of Music Charles Letourneau: Napa Valley Festival del Sole The sixteen Finalist candidates of the 2015 Young Artists Competition were selected through live auditions in four cities throughout the United States.

The 2016 Young Artists Competition will offer the Founders Prize for pianists ages 18-22, and the Young Artists Prize for instrumentalists and pianists ages 12-17. Application materials will be available in April 2015.

Special thanks to our national partners: Cleveland Institute of Music, Occidental College, Steinway & Sons, Concert Artists Guild and Napa Valley Festival del Sole.

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thoughtful home remodeling

ANONYMOUS 4 1865 (with Bruce Molsky) Friday, March 6, 2015 • 8PM

1865 (WITH BRUCE MOLSKY)

Jackson Hall

1865 focuses on the personal experience of men, women, and children from the North and from the South, toward the end of the Civil War and in its immediate aftermath -- as told in songs originally written for the stage and for the parlor, and in songs and instrumental tunes from the hills and back roads of America.

Many of the songs in 1865 were published between 1861 and 1865; others first appeared in print earlier, but were sung constantly during the terrible war years, perhaps in an effort to bring to mind the familiar and the good. Yet other songs and instrumental tunes are not datable; by the year 1865, they had already been passed down from generation to generation without the aid of the printed page. A few of the songs in 1865 promote either the Northern or the Southern cause. Despite this, these, as well as other favorite songs of the day, became incredibly popular in both North and South.

Whatever their origins or history or musical style, the songs that were most popular in the year 1865 are the stylized, versified “stories” preferred by those who lived through “This Cruel War.” They describe the cause and the call to fight; the agony of separation of lovers or of mothers and sons; the hopes, fears, and sacrifices of those who remained at home during the long wait for news of loved ones; the experiences of the soldiers themselves -- especially their desperate longing for home and family; homecoming for those who survived; grief for those who did not; the death of Lincoln; and the hope for reconciliation amidst a troubled peace.

IN PARTNERSHIP WITH

10

years of beautiful design and quality building

Anonymous 4 Ruth Cunningham Marsha Genensky Susan Hellauer Jacqueline Horner-Kwiatek Pre-Performance Talk: 7PM Speaker: Dale Cockrell, Professor Emeritus of Musicology, Vanderbilt University

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

10 MONDAVIARTS .ORG

Dale Cockrell, a specialist in 19thcentury American music, is Professor Emeritus of Musicology at Vanderbilt University and a Research Associate of the University of the Free State (South Africa). He is the author of 13 books and musical editions and numerous articles, papers, and monographs. His books have won various awards, he has been elected to high office by his colleagues and he has been the recipient of several major grants and honors. Professor Cockrell is also founder and president of The Pa’s Fiddle Project, an educational, scholarly, and musical program dedicated to recording the music of the Little House books and reconnecting the nation’s children with the rich music legacies embedded in them.

ANONYMOUS 4 Letters, diaries, and memoirs attest to the importance of music during the Civil War, whether performed on the battlefield by homesick soldiers or at home by those who waited for them.

Responding to the demand for music (and in doing so, creating an even greater market for it), songwriters and composers jumped into action, producing several thousand songs during the war years -- about 700 released by Southern publishers, the rest by Northern publishers.

Songs appeared in elegant sheet music with beautifully illustrated covers and in cheap single sheets referred to as song sheets or broadsides; and the lyrics of favorite songs both old and new were printed in pocket-sized collections called songsters, which were carried by both soldiers and civilians.

Despite the frenzy of musical composition and publication, and the speed with which certain new songs became huge hits, the single most popular song in both the North and the South during the Civil War actually pre-dated the war’s first shot by almost four decades, originating in the 1823 opera, Clari, or the Maid of Milan. Account after account tells of the singing of this song to ward off despair, or describes Northern and Southern soldiers camped on opposite sides of a river or a battlefield, singing or playing Union and Southern tunes in alternation, and finally joining together on… “Home Sweet Home.”

Like “Home Sweet Home,” many other songs in 1865 have nothing to do with side taking.

Northerners preferred the love song “Aura Lea”; Southerners preferred the love song “Sweet Evelina.” “Listen to the Mockingbird” became “The Mockingbird Quickstep,” played by military and civilian brass bands everywhere during the war years.

But the lyrics of some of our songs (and many other Civil War songs as well), did promote either the Northern or the Southern cause.

Even so, some of the best loved of them were sung with equal fervor in the North and the South. The Northern song “Weeping, Sad and Lonely, or, When This Cruel War is Over” was printed again and again by both Northern and Southern publishers with certain changes in text to indicate Union or Confederate allegiance.

Despite the fact that the extreme sadness of its theme caused such bad morale that generals tried to forbid their troops from singing it, sales of “Weeping, Sad and Lonely”adapproached nearly proofs.indd 1 a million copies, and songwriters on both sides of the Mason-Dixon Line churned out reply songs, parodies, and imitations.

WM 080613 mondavi 1_3s.pdf

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Although a few of the songs in 1865 fell into obscurity after the end of the Civil War, many others have lived on and become part of the American treasury of song. Certain songs have been sung and played in a surprising variety of settings. We particularly love the facts that “Aura Lea” is the source of the melody for the Elvis Presley hit “Love Me Tender,” and (despite its extremely sad lyrics) “Listen to the Mocking Bird” became a comic song, often featuring virtuosic whistling solos – and used as part of the theme song in the opening credits of the short films of “The Three Stooges”! “Shall We Gather at the River” has not only enjoyed a long and active life

here in the US, but made its way to the British Isles and has flourished there as well.

Featured in 1865 will be “Home Sweet Home,” the single most popular song during the Civil War, accompanied by the minstrel banjo; “Aura Lea” in an arrangement for voice and guitar; the Southern favorite “Sweet Evelina,” sung girl group style; our own country version of “Faded Coat of Blue”; fivepart harmonies on the Stephen Foster gem, “Hard Times, Come Again No More” and the 1860s bestseller, “Weeping, Sad, and Lonely”; the high lonesome sound on folk songs like “Bright Sunny South” and “The True Lover’s Farewell”; some great fiddle playing on tunes

FURTHER LISTENING ANONYMOUS 4

by Jeff Hudson

If you have a faint recollection connecting Anonymous 4 with UC Davis, you are correct. Anonymous 4 visited this area in 1998 (“pre-Mondavi”)…but the concert was not at UC Davis, even though the concert was hosted by the UC Davis Presents series.

That October 1998 concert by Anonymous 4 was at Westminster Presbyterian Church, next to Capitol Park in Sacramento. I remember, I was there. And I was oh-soglad to hear them singing in a church with a high domed ceiling, rather than in UCD’s Freeborn Hall (not fondly remembered for its acoustics).

That season also included a January 1999 recital (at Sacramento Community Center Theatre) by violinist Itzhak Perlman…the kickoff event for the fundraising effort to build what was then known as the provisionally titled Center for the Arts. The project became known as the Mondavi Center when Robert and Margrit Mondavi donated a “naming gift” in 2001, and UC Davis threw a party. (I remember the day!)

But back to Anonymous 4: the group was riding high in the 1990s. Their 1992 album of medieval music, An English Ladymass, caught the public’s fancy, and sold scads of copies. The follow-up album, 1993’s On Yoolis Night, was also popular, and it was the first of several Anonymous 4 albums featuring Christmas music from different lands. In the mid-‘90s, Anonymous 4 had three albums in the top 15 on Billboard’s classical chart.

Anonymous 4 became synonymous in most people’s minds with medieval music – much as Sacramento’s B Street Theatre became synonymous with comedies. But just as B Street also presents worthy productions of recent Pulitzer-winning dramas on its lessfamous B3 series, Anonymous 4 sometimes records contemporary music, and American music from the 1800s. Starting with 2004’s American Angels, then Gloryland in 2006, and now 1865 (released in January 2015), the group has earned respect and praise for their revival of American vocal harmony from the decades leading up to the Civil War. This current tour will likely be Anonymous 4’s last – they plan to disband later this year. They’ve announced retirement plans before (in 2004, then they changed their minds and decided to continue on a part-time basis). But this time, it appears they mean it. The four members of the group feel proud of what they’ve accomplished – they also have other projects that they wish to pursue. Thanks for nearly 30 years of music.

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

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like “Camp Chase” and “Rebel Raid”; and the four-part a cappella singing of Anonymous 4 on the anti-war song, “Tenting on the Old Camp Ground,” and the memorial song for Abraham Lincoln, “The President’s Grave.”

Joining Anonymous 4 for this program will be renowned singer and old-time fiddler, master banjo and guitar player, Bruce Molsky.

SONGS FROM 1865 All songs on tonight’s program have been arranged by members of Anonymous 4 and Bruce Molsky. Songs you may hear tonight: Home, Sweet Home WORDS: JOHN HOWARD PAYNE; MUSIC: SIR HENRY BISHOP (1823) Hard Times Come Again No More WORDS AND MUSIC: STEPHEN FOSTER (1854) Darling Nelly Gray WORDS AND MUSIC: B.R. HANBY (1856) The Faded Coat of Blue, or, The Nameless Grave WORDS AND MUSIC: J.H. MCNAUGHTON (1865) Listen to the Mocking Bird WORDS AND MUSIC: ALICE HAWTHORNE (AKA SEPTIMUS WINNER) (1856) The Southern Soldier Boy WORDS: CAPTAIN C.W. ALEXANDER (1863) Air: The Boy with the Auburn Hair (ca 1859) Sweet Evelina “WORDS BY M; MELODY BY T” (POSSIBLY T. BRIGHAM BISHOP) (1863) Weeping, Sad and Lonely, or, When this Cruel War is Over WORDS: CHARLES CARROLL SAWYER; MUSIC: HENRY TUCKER (1863) The Picture on the Wall WORDS AND MUSIC: HENRY CLAY WORK (1864) Tenting on the Old Camp Ground WORDS AND MUSIC: WALTER KITTREDGE (1864) Abide with Me WORDS: HENRY F. LYTE; MUSIC: WILLIAM H. MONK (1861) The Land of Beulah WORDS: JEFFERSON HASCALL; MUSIC: WILLIAM B. BRADBURY (1862) Shall We Gather at the River?

WORDS AND MUSIC: ROBERT LOWRY (1865) Bright Sunny South Brother Green The Maiden in the Garden The True Lover’s Farewell Camp Chase Polly Put the Kettle On Rebel Raid

ANONYMOUS 4 Four women got together for a music reading session one afternoon in the spring of 1986; they wanted to hear what medieval chant and polyphony would sound like when sung by female voices. Nearly 30 years later, Anonymous 4 has performed for sold-out audiences on major concert series and at festivals throughout North America, Europe, Asia, and the Middle East; and has made over 20 recordings for harmonia mundi usa, selling over two million copies.

Anonymous 4’s programs have included music from the year 1000; the ecstatic music and poetry of the 12th-century abbess and mystic, Hildegard of Bingen; 13th- and 14th-century chant and polyphony from England, France, and Spain; medieval and modern carols from the British Isles; American folksongs, shape note tunes, and gospel songs; and works newly written for the group. Their recordings have received France’s prestigious Diapason d’Or, Classic CD’s Disc of the Year, Classic FM’s Early Music Recording of the Year, several Gramophone Editor’s Choice awards, Italy’s Antonio Vivaldi Award, Le Monde de la Musique’s Choc award; the group has also twice been voted one of Billboard’s top classical artists.

Anonymous 4 recently returned to the Billboard charts with the release of Marie et Marion.

Composers who have written for Anonymous 4 include David Lang (love fail, a full-evening-length work premiered in June 2012), Richard Einhorn (Voices of Light, an oratorio with silent film; and A Carnival of Miracles, for vocal quartet and two cellos), John Tavener (The Bridegroom, for Anonymous 4 and the Chilingirian String Quartet), Peter Maxwell Davies (A Carnival of Kings), and Steve Reich (Know What is Above You).

Anonymous 4 has recorded and toured with the Chilingirian String Quartet, fabled harpist Andrew Lawrence King; newgrass stars Darol Anger (violin) and Mike Marshall (mandolin, guitar), and has collaborated with John Darnielle’s indie rock band, the Mountain Goats. The group’s newest project, 1865, featuring songs of hope and home from the American Civil War, pairs the ensemble with renowned singer and oldtime fiddler, master banjo and guitar player, Bruce Molsky.

BRUCE MOLSKY is “one of America’s premier fiddling talents” (Mother Jones) and a twice-GRAMMY nominated artist.

On the road over 200 days a year, Bruce tours the world solo, with Andy Irvine and Dònal Lunny’s Mozaik, as a trio with Aly Bain and Ale Möller, with The Old-Time Kozmik Trio, (Darol Anger and Rushad Eggleston), and in a new trio with Tony

Trischka and Michael Daves. With seven solo CDs behind him, No Depression called Bruce’s latest solo CD If It Ain’t Here When I Get Back, “an album from an absolute master.” Bruce is also Berklee College of Music’s first permanent visiting professor in their American Roots Music Program, and is the go-to guy for the next generation of fiddlers.

Henri de Toulouse-Lautrec, Le Divan Japonais, 1892/93. Color lithograph, 32 1/8 x 24 3/8 in. Gemeentemuseum, The Hague.

ANONYMOUS 4

Experience Paris at the turn of the 20th century—cabarets, cafés-concert, circuses, dancehalls, and brothels. This exhibition celebrates avant-garde artists who offered a new look at modern life in a shifting society. Don’t miss your chance to view world-famous art up close and personal at the Crocker.

216 O Street • Downtown Sacramento 916.808.7000 • crockerartmuseum.org encoreartsprograms.com 13

HUGH MASEKELA and VUSI MAHLASELA

20 Years of Freedom

A World Stage Series Event Tuesday, March 10, 2015 • 8PM Jackson Hall SPONSORED BY OFFICE of CAMPUS COMMUNITY RELATIONS

Pre-Performance Talk: 7PM Speaker: Hugh Masekela & Vusi Mahlasela in conversation with Rahim Reed, Associate Executive Vice Chancellor, UC Davis Rahim Reed is the Associate Executive Vice Chancellor for Campus Community Relations (AEVC) at UC Davis. He has more than 30 years of experience in administration, student affairs and affirmative action policy development at four major universities. Reed received his Bachelors Degree in Psychology and Black Studies from the University of Pittsburgh in 1977. He also holds a Masters Degree in Public Administration and a Masters Degree in Social Work from the University of Pittsburgh. He completed his legal studies in 1986 and holds a Juris Doctorate Degree from Rutgers University School of Law.

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HUGH MASEKELA is an innovator in the world music and jazz scene and continues to tour the world as a performer, composer, producer and activist. This iconic artist is best known for his Grammy-nominated hit single “Grazing in the Grass” which sold over four million copies in 1968 and made him an international star. He later played an integral role in Paul Simon’s tour for the classic album Graceland, which was one of the first pop records to introduce African music to a broader public.

Masekela showed musical ability from a young age and began playing piano as a child. Inspired by the movie Young Man with a Horn (in which Kirk Douglas plays a character modeled after American jazz trumpeter Bix Beiderbecke), Masekela began to play the trumpet. He was encouraged by antiapartheid activist Father Trevor Huddleston, who helped him acquire an instrument.

Masekela soon mastered the trumpet and began to play with other aspiring musicians in the Huddleston Jazz Band – South Africa’s first youth orchestra. Louis Armstrong sent the band a trumpet as a way of supporting their efforts.

Masekela later secured a gig in the pit band for the musical King Kong, South Africa’s first

blockbuster theatrical success, which toured the country with Miriam Makeba who would later become his wife. He later formed a band with Dollar Brand (later known as Abdullah Ibrahim) called The Jazz Epistles which became the first African jazz group to record an LP and perform to record-breaking audiences in Johannesburg and Cape Town. But life in South Africa was becoming unbearable under the strain of apartheid oppression. After the 1960 Sharpeville Massacre, where 69 peacefully protesting Africans were brutally gunned down, the South African government banned gatherings of 10 or more people. Masekela escaped South Africa with the help of Father Huddleston, who enlisted friends like Yehudi Menuhin and John Dankworth. With the assistance of Miriam Makeba and Harry Belafonte, Masekela was accepted into the Manhattan School of Music in New York. His first night in New York found him in several jazz clubs, seeing Thelonious Monk and Dizzy Gillespie in one, Charlie Mingus and Max Roach at a second and John Coltrane at a third. It was clear that New York would be the perfect place to pursue his jazz aspirations while studying Classical trumpet at school during the day.

Masekela was deeply affected by his life experiences and consequently made music that reflected the harsh political climate of South Africa during the 1950s and 1960s. Masekela’s music portrays the struggles and joys of living in South Africa, and voices protest against slavery and discrimination.

Masekela has collaborated with numerous artists in the U.S., Africa and Europe including Miriam Makeba, Dizzy Gillespie, Harry Belafonte, Herb Alpert, Fela Kuti and Franco. Renowned choreographer Alvin Ailey chose a piece by Masekela to create a work for his world famous Alvin Ailey American Dance Theater. Masekela also co-created the Broadway smash musical Sarafina! that introduced the sounds and passion of South African music to theater audiences worldwide.

Masekela’s work as an activist raised international awareness of the South African government’s restrictive apartheid policies. In the 1980s his hit song, “Bring Him Back Home,” became an anthem for the Free Nelson Mandela movement. In the 1990s, Masekela finally returned home to South Africa and renewed the musical ties to his homeland and the sounds and rhythms of Central and West Africa, in particular the mbaqanga style.

Masekela celebrated his 70th birthday in 2009 by releasing the CD Phola (meaning “to get well, to heal”) and with a highly acclaimed performance

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with the London Symphony Orchestra. In 2010, he created Songs of Migration, a theatrical tribute to the great songs of migrants across the African continent, which was staged at the Market Theatre in Johannesburg and featured Masekela as the Lead Storyteller. The piece was yet another facet of his continued efforts to protect and nurture South Africa’s musical and cultural heritage, which was nearly snuffed out during the apartheid era.

When South Africa hosted the 2010 World Cup, Masekela performed at the opening ceremony concert, broadcast worldwide for millions of people. As part of ESPN’s coverage of the World Cup, Masekela and his son Sal Masekela (who is an ESPN Sportscaster) hosted a series of video documentaries entitled Umlando—Through My Father’s Eyes. In 2011, Masekela joined the rock band U2 on stage in Johannesburg to a crowd of almost 100,000, the biggest concert the band has ever played.

Twenty-five years after Masekela first collaborated with Paul Simon and now legendary South African musicians like Miriam Makeba and Ladysmith Black Mambazo on the

Graceland album and subsequent tour, the two icons reunited on a Hyde Park Stage in 2012. The anniversary celebration included the original Graceland band as well as Ladysmith Black Mambazo and reggae star Jimmy Cliff.

April 30, 2012 marked the first International Day of Jazz, produced by the Thelonious Monk Institute and featuring concerts in Paris, New York and New Orleans. The concert at the UN General Assembly featured a who’s who of jazz giants such as Herbie Hancock, Wayne Shorter and Wynton Marsalis. Masekela had the honor of participating both in Paris and New York where he was introduced by Michael Douglas whose father’s role in the movie The Man with the Horn was his early inspiration. His blistering performance of “Grazin’“ featured none other than Stevie Wonder on the harmonica.

Articulate and brilliantly musical in any number of genres, Hugh Masekela has been a defining force in world music, the preservation of South Africa’s musical heritage, the safety and well-being of its poorest citizens as well as the struggle for freedom and human rights both in Africa and around the world.

indulge

HUGH MASEKELA

Timeline 1939 born in Witbank near Johannesburg 1953 began to play the trumpet 1954 joined South Africa’s first youth orchestra 1959 performed in touring musical King Kong 1959 formed The Jazz Epistles 1960 escaped South Africa 1960 accepted into the Manhattan School of Music 1963 released Trumpet Africaine 1968 released “Grazing in the Grass” 1986 “Bring Him Back Home” became an anthem for Free Nelson Mandela 1987 joined Paul Simon’s Graceland tour 1988 co-created Broadway musical Sarafina!

1990 returned home to South Africa 2004 released autobiography, Still Grazing: The Musical Journey of Hugh Masekela 2009 celebrated 70th birthday by releasing the CD Phola 2010 performed at the opening ceremony of South Africa-hosted World Cup 2010 created Songs of Migration, a theatrical tribute to migrants across Africa

FINE ITALIAN CUISINE

2010 received The Order of Ikhamanga from South African President Jacob Zuma 2011 joined U2 on stage in Johannesburg to a crowd of almost 100,000 2012 released Jabulani (the Zulu word meaning “rejoice”) 2012 reunited with Paul Simon for the Graceland 25th Anniversary Tour

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2012 performed at the UN General Assembly for the inaugural International Day of Jazz 2012 launched House of Masekela label

HUGH MASEKELA AND VUSI MAHLASELA VUSI MAHLASELA is simply known as “The Voice” in his home country, South Africa, celebrated for his distinct, powerful voice and his poetic, optimistic lyrics. His songs of hope connect apartheid-scarred South Africa with its promise for a better future.

Raised in the Mamelodi Township where he still resides, Vusi became a singer-songwriter and poet-activist at an early age teaching himself how to play guitar and later joining the Congress of South African Writers. After his popular debut on BMG Africa, When You Come Back, Vusi was asked to perform at Nelson Mandela’s inauguration in 1994 and continues to spread Mandela’s message as an official ambassador to Mandela’s HIV/AIDS initiative, 46664.

After world-wide touring and international acclaim, Americans first caught a glimpse of Vusi in the lauded documentary film Amandla! A Revolution in Four-Part Harmony, and the accompanying soundtrack. After the release of the film, long-time admirer and fellow South African Dave Matthews signed Vusi to his own ATO Records label and released The Voice (2003), a collection of the best songs from Vusi’s catalog. In 2007, ATO released his latest album, Guiding Star, his first full-length release in the States. ATO Records released the highly anticipated follow-up record to Guiding Star on January 18, 2011. The new album, Say Africa, produced by Taj Mahal and recorded at Dave Matthews’ studio in Charlottesville, VA, captures Vusi’s hope for the future of Africa: “Let all those who share in Mandela’s greatest wish—to one day see an Africa that is at peace with herself—SAY AFRICA.” After recording the album in the States, Vusi returned to his home in South Africa and was honored to help ring in the World Cup at FIFA’s Kick Off Concert at Orlando Stadium.

The concert was broadcast internationally to an estimated one billion viewers. Following his performance, Vusi proudly introduced fellow South African, Archbishop Desmond Tutu on stage. Vusi’s anthemic song “When You Come Back” was ITV’s official theme song for the World Cup in the U.K. Other recent highlights include performing at Mandela Day to honor Mandela’s birthday, touring with Bela Fleck behind the release of his Grammy-winning album Throw Down Your Heart, which features a live track from Vusi and Bela, two appearances at the TED conference and performing with Paul Simon.

In the midst of a busy international touring schedule, Vusi remains dedicated to his social activism and partnerships with non-profits, including his own Vusi Mahlasela Music Development Foundation, committed to the promotion of and preservation of African music. Other organizations that Vusi actively supports are OXFAM, The Acumen Fund, The African Leadership Academy and the ONE campaign.

Over a musically and socially consequential career, South African singersongwriter and poet-activist Vusi Mahlasela has successfully followed his muse and continued to give back to his country. As he puts it, he knows that “musicians have to be like watchdogs, just by seeing and speaking out, directly to the youth as well, because we need some kind of Cultural Revolution to remove ignorance.”

One Week Only! April 14–19, 2015 The Bay Area welcomes spring each year with this popular week-long exhibition featuring unique art and floral mash-ups in which floral designers create arrangements that pay tribute to and draw inspiration from the works in the de Young’s permanent collection.

Grand Patron Diane B. Wilsey

Event Leader

Event Contributor McGladrey

Media Sponsors

Golden Gate Park deyoungmuseum.org/bouquets

Unidentified artist, Girandole mirror (detail), ca. 1810. Limewood, glass, brass, and gilding. FAMSF, gift of Mrs. Virginia Bosche, 78.60. Floral design by Church Street Flowers. Photograph © Greg A. Lato / latoga photography.

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encoreartsprograms.com 17

CURTIS CHAMBER ORCHESTRA A Director’s Choice Event Friday, March 13, 2015 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY

Ralph and Clairelee Leiser Bulkley

Robert Spano, conductor Roberto Díaz, viola Rachel Sterrenberg, soprano

PROGRAM Symphony No. 1 in D Major, Op. 25 (“Classical”) Prokofiev Allegro con brio Larghetto Gavotte. Non troppo allegro Finale. Molto vivace Viola Concerto, Roberto Díaz, viola I. II. III.

Higdon

INTERMISSION Hölderlin-Lieder, Rachel Sterrenberg, soprano Lebenslauf Sokrates und Alcibiades An die Parzen

Spano, arr. Ludwig

Symphony No. 41 in C Major, K. 551 (“Jupiter”) Allegro vivace Andante cantabile Allegretto Molto allegro

Mozart

CURTIS CHAMBER ORCHESTRA ROSTER VIOLIN

Yu-Ting Chen Abigail Fayette Brandon Garbot Gergana Haralampieva Hsuan-Hao Hsu Maria Ioudenitich Shannon Lee Victor Li Laura Park Marié Rossano* Ji-Won Song 18 MONDAVIARTS .ORG

Alexandra Switala Stephen Tavani Adé Williams

Will Chow Timotheos Petrin

VIOLA

Robin Brawley Samuel Casseday

En-Chi Cheng Sung Jin Lee Yoshihiko Nakano Zsche Chuang Rimbo Wong

CELLO

Youna Choi Jean Kim

DOUBLE BASS

FLUTE

Lydia Roth Niles Watson

OBOE

Joshua Lauretig William Welter

CLARINET

Hongmin Fan Guangyao Xue

BASSOON

TRUMPET

Alexander Greene Nozomi Imamura

TROMBONE

Emeline Chong Sarah Tako

Daniel Schwalbach Jahleel Smith

HORN

TIMPANI AND PERCUSSION

Dana Cullen Ray Seong Jin Han Eric Huckins Amit Melzer

Won Suk Lee

*denotes concertmaster

A MESSAGE FROM ROBERTO DÍAZ, PRESIDENT OF THE CURTIS INSTITUTE OF MUSIC The Curtis Institute of Music is grateful to the Mondavi Center for the Performing Arts for welcoming the Curtis Chamber Orchestra to Davis. This performance is part of Curtis On Tour, the school’s global touring initiative, which is sending four large-scale tours across four continents this season.

This tour began at the Library of Congress with the world premiere of Jennifer Higdon’s Viola Concerto, followed by a livestream on our online stage, Curtis Performs, that allowed thousands of people all around the globe to experience tonight’s program.

This evening we are privileged once again to be performing the Viola Concerto by Curtis alumna and composition faculty Jennifer Higdon. Learning, rehearsing and performing this exciting work with our students has been a pleasure from start to finish.

This tour is truly an all-Curtis affair. I am honored to be onstage with these tremendously talented Curtis students, with my friend, fellow alumnus and colleague Robert Spano on the podium.

We are delighted to showcase Robert’s compositional talents by featuring his three moving Hölderlin-Lieder, sung by Curtis opera student Rachel Sterrenberg.

I believe I speak for all Curtis students, faculty and alumni in saying that Curtis is unique in the world, a vessel of timehonored teaching, innovation and renewal through the medium of great music for 90 years. We are thrilled to be sharing our music with you this evening and hope this will be one of many encounters—whether through Curtis On Tour, a performance in Philadelphia or a visit to Curtis Performs online. Thank you for being with us.

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Roberto Díaz

encoreartsprograms.com 19

COMPOSER STATEMENTS JENNIFER HIGDON: VIOLA CONCERTO Musicologists and critics have often written that my musical language sounds American and, while I don’t know exactly how to define that, I am sure that they are right.

Since the lead commissioner of this work is the Library of Congress, and the cocommissioners are all American institutions of learning and performance (the Curtis Institute of Music, the Aspen Music Festival and the Nashville Symphony), it seemed natural that an American sound would be the basic fabric. With this in mind, and inspired by the one of the world’s best violists, Roberto Díaz, the process of creating a new concerto for this instrument came naturally. I have always loved the viola … my first sonata was written for this expressive instrument. It is my privilege to add to the repertoire of an instrument that has moved from being embedded within ensembles to playing a prominent role at the front of the stage.

—Jennifer Higdon

ROBERT SPANO: HÖLDERLIN-LIEDER

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In the early 1990s, I encountered the poetry of Hölderlin, the 18th-century German poet beloved by the 19-century Romantics. I, too, was enraptured by the beauty of the language and the sublimity of ideas. The ideas of the three poems that inspired these songs might be succinctly expressed as: 1) returning to the source; 2) the supremacy of beauty; 3) human participation in the divine through the creative act.

The imagery of the poems sparked in me musical correspondences that I attempted to express through a late 19th-century musical vocabulary, in homage to the masters of the intimate and exquisite form of lieder.

Thanks to the Hermitage artist colony in Manasota Key (FL), I returned to this project 22 years later and was able to finish these songs. I was also writing them for soprano Jessica Rivera, who was certainly my muse in the process. Now I am so grateful to Rachel Sterrenberg for taking them on. I always imagined them sung by a voice as beautiful as hers, with an artistry as rich as hers.

—© Robert Spano

CURTIS CHAMBER ORCHESTRA PROGRAM NOTES SYMPHONY NO. 1 IN D MAJOR, OP. 25 (“CLASSICAL”) (1916-1917)

SERGEI PROKOFIEV

(Born April 23, 1891 in Sontsovka Died March 5, 1953 in Moscow) “In the field of instrumental music, I am well content with the forms already perfected. I want nothing better, nothing more flexible or more complete than sonata form, which contains everything necessary to my structural purpose.” This statement, given to Olin Downes by Prokofiev during an interview in 1930 for The New York Times, seems a curious one for a composer who had gained a reputation as an ear-shattering iconoclast, the enfant terrible of 20th-century music, the master of modernity. While it is certainly true that some of his early works (Scythian Suite, Sarcasms, the first two Piano Concertos) raised the hackles of musical traditionalists, it is also true that Prokofiev sought to preserve that same tradition by extending its boundaries to encompass his own distinctive style. A glance through the list of his works shows a preponderance of established Classical forms: sonatas, symphonies, concertos, operas, ballets, quartets, overtures and suites account for most of his output. This is certainly not to say that he merely mimicked the music of earlier generations, but he did accept it as the conceptual framework within which he built his own compositions.

Prokofiev’s penchant for using Classical musical idioms was instilled in him during the course of his thorough, excellent training: when he was a little tot, his mother played Beethoven sonatas to him while he sat under the piano; he studied with the greatest Russian musicians of the time — Glière, Rimsky-Korsakov, Liadov, Glazunov; he began composing at the Mozartian age of six. By the time he was 25, Prokofiev was composing prolifically, always brewing a variety of compositions simultaneously. The works of 1917, for example, represent widely divergent styles — The Gambler is a satirical opera; They Are Seven, a nearly atonal cantata; the Classical Symphony, a charming miniature. This last piece was a direct result of Prokofiev’s study with Alexander Tcherepnin, a good and wise teacher who allowed the young composer to forge ahead

in his own manner while making sure that he had a thorough understanding of the great musical works of the past. It was in 1916 that Prokofiev first had the idea for a symphony based on the Viennese models supplied by Tcherepnin, and at that time he sketched out a few themes for it. Most of the work, however, was done the following year, as Prokofiev recounted in his Autobiography: “I spent the summer of 1917 in complete solitude in the environs of Petrograd; I read Kant and I worked hard. I had purposely not had my piano moved to the country because I wanted to establish the fact that

thematic material worked out without a piano is better.... The idea occurred to me to compose an entire symphonic work without the piano. Composed in this fashion, the orchestral colors would, of necessity, be clearer and cleaner. Thus the plan of a symphony in Haydnesque style originated, since, as a result of my studies in Tcherepnin’s classes, Haydn’s technique had somehow become especially clear to me, and with such intimate understanding it was much easier to plunge into the dangerous flood without a piano.

It seemed to me that, were he alive

TEXT AND TRANSLATIONS HÖLDERLIN-LIEDER Music by Robert Spano—Text by Friedrich Hölderlin Lebenslauf

The Course of Life

Hoch auf strebte mein Geist, aber die Liebe zog Schön ihn nieder; das Leid beugt ihn gewaltiger; So durchlauf ich des Lebens Bogen und kehre, woher ich kam.

High up my spirit aspired, but love well and truly brought it down; suffering bowed it still more; so I follow the arc of life and return to where I began.

Sokrates und Alcibiades

Socrates and Alcibiades

“Warum huldigest du, heiliger Sokrates, “Diesem Jünglinge stets? kennest du Grössers nicht?

“Warum siehet mit Liebe, “Wie auf Götter, dein Aug’ auf ihn?”

Wer das Tiefste gedacht, liebt das Lebendigste, Hohe Jugend versteht, wer in die Welt geblickt, Und es neigen die Weisen Oft am Ende zu Schönem sich.

“Holy Socrates, why do you always look up to this young man? Are not greater things known to you? Why do you gaze at him with love, as you would at the gods?”

He who has pondered the deepest truths, loves what is most alive. He who has seen something of the world, understands the high aspirations of youth.

And often in the end the wise will bow to the beautiful.

An die Parzen Nur einen Sommer gönnt, ihr Gewaltigen!

Und einen Herbst zu reifem Gesange mir, Dass williger mein Herz, vom süssen Spiele gesättiget, dann mir sterbe.

Die Seele, der im leben ihr göttlich Recht Nicht ward, sie ruht auch drunten im Orkus nicht; Doch ist mir einst das Heil’ge, das am Herzen mir liegt, das Gedicht, gelungen, Willkommen dann, o Stille der Schattenwelt!

Zufrieden bin ich, wenn auch mein Saitenspiel Mich nicht hinab geleitet; Einmal Lebt ich, wie Götter, und mehr bedarfs nicht.

Translations by Michael Hamburger

To the Fates Only one summer grant me, you mighty ones, and only one autumn for mellow song, so that my heart, sated with its sweet playing, more willingly then may die.

The soul which in life did not obtain its divinely appointed right, down in Orcus too finds no rest, but if once I have accomplished that which is holy and dear to me, the poem, Then welcome, O silence of the world of shades! Contented I shall be, even if my lyre does not accompany me on that downward journey; once I lived as the gods live, and that suffices.

encoreartsprograms.com 21

CURTIS CHAMBER ORCHESTRA today, Haydn, while retaining his style of composition, would have appropriated something from the modern. Such a symphony I now wanted to compose: a symphony in the classic manner. As it began to take actual form I named it Classical Symphony; first, because it was the simplest thing to call it; second, out of bravado, to stir up a hornet’s nest; and finally, in the hope that should the symphony prove itself in time to be truly ‘classic,’ it would benefit me considerably.” Prokofiev’s closing wish has been fulfilled — the Classical Symphony has been one of his most successful works ever since it was first heard.

The work is in the four movements customary in Haydn’s symphonies, though at only fifteen minutes it hardly runs to half their typical length. The dapper first movement is a miniature sonata design that follows the traditional form but adds some quirks that would have given old Haydn himself a chuckle — the recapitulation, for example, begins in the “wrong” key (but soon rights itself ), and occasionally a beat is left out, as though the music had stubbed its toe. The sleek main theme is followed by the enormous leaps, flashing grace notes and sparse texture of the second subject.

A graceful, ethereal melody floating high in the violins is used to open and close the Larghetto, with the pizzicato gentle middle section reaching a brilliant tutti before quickly subsiding. The third movement, a Gavotte, comes not from the Viennese symphony but rather from the tradition of French Baroque ballet. The finale is the most brilliant movement of the Symphony, and calls for remarkable feats of agility and precise ensemble from the performers. ©2015 Dr. Richard E. Rodda

VIOLA CONCERTO (2014)

JENNIFER HIGDON

(Born December 31, 1962 in Brooklyn, New York) [see Composer Statement, p. 20]

HÖLDERLIN-LIEDER FOR SOPRANO AND ORCHESTRA (2014)

ROBERT SPANO

(Born May 7, 1961 in Conneaut, Ohio) [see Composer Statement, p. 20]

22 MONDAVIARTS .ORG

SYMPHONY NO. 41 IN C MAJOR, K. 551 (“JUPITER”) (1788)

WOLFGANG AMADEUS MOZART

(Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna) Mozart’s life was starting to come apart in 1788 — his money, health, family situation and professional status were all on the decline. He was a poor money manager, and the last years of his life saw him sliding progressively deeper into debt. Sources of income dried up. His students had dwindled to just two by summer, and he had to sell his new compositions for a pittance to pay the most immediate bills. He hoped that Vienna would receive Don Giovanni as well as had Prague when that opera was premiered there the preceding year, but it was met with a haughty indifference when first heard in the Austrian capital in May 1788. He could no longer draw enough subscribers to produce his own concerts, and had to take second billing on the programs of other musicians.

His wife, Constanze, was ill from worry and continuous pregnancy, and spent much time away from her husband taking cures at various mineral spas. On June 29th, their fourth child and only daughter, Theresia, age six months, died.

Yet, astonishingly, from these seemingly debilitating circumstances came one of the greatest miracles in the history of music. In the summer of 1788, in the space of only six weeks, Mozart composed the three greatest symphonies of his life: No. 39, in E-flat (K. 543) was finished on June 26th; the G minor (No. 40, K. 550) on July 25th; and the C major, “Jupiter” (No. 41, K. 551) on August 10th.

Three separate motives are introduced successively in the “Jupiter” Symphony’s first dozen measures: a brilliant rushing gesture, a sweetly lyrical thought from the strings, and a marching motive played by the winds. The second theme is a simple melody first sung by the violins over a rocking accompaniment. The closing section of the exposition introduces a jolly little tune that Mozart had originally written a few weeks earlier as a buffa aria for bass to be interpolated into Le Gelosie Fortunate (“The Fortunate Jealousy”), an opera by Pasquale Anfossi. Much of the development is devoted to an amazing exploration of the musical possibilities of this simple ditty. The thematic material is heard again in the recapitulation in a richer orchestral and harmonic setting. The ravishing Andante is spread across a fully realized

sonata form, with a compact but emotionally charged development section. The Minuet is a perfect blend of the lighthearted rhythms of popular Viennese dances and Mozart’s deeply expressive chromatic harmony. The finale has been the focus of many musicological assaults.

It is demonstrable that there are as many as five different themes played simultaneously at certain moments, making this one of the most masterful displays of technical accomplishment in the entire orchestral repertory. But the listener need not be subjected to any numbing pedantry to realize that this music is really something special. Mozart was the greatest genius in the history of music, and he never surpassed this movement. ©2015 Dr. Richard E. Rodda

FUNDING This project is supported by the National Endowment for the Arts, The Presser Foundation’s 75th Anniversary Celebration Special Projects Grant, and the Women’s Philharmonic Advocacy.

The Higdon commission was supported by a grant from the Musical Fund Society of Philadelphia, as well as generous funding from John J. Medveckis and the family of Cameron and Jane Baird.

ABOUT CURTIS

NINETY YEARS OF ARTISTIC PROMISE One of the world’s finest and most selective conservatories, Curtis offers a tuition-free, performance-inspired learning culture to 175 students from all corners of the world. Nurtured by a celebrated faculty, these extraordinary young musicians graduate to join 4,000 alumni who have long made music history. From Leonard Bernstein to Alan Gilbert, Samuel Barber to Jennifer Higdon, Benita Valente to Eric Owens, Richard Goode to Jonathan Biss, Curtis alumni personify the school’s commitment to excellence—on stage and in their communities—inventing careers with impact.

A busy schedule of performances—more than 200 a year in Philadelphia and around the world—is at the heart of Curtis’s distinctive “learn by doing” approach. Dedicated to a tradition of excellence and innovation since its founding in 1924, Curtis is looking toward its centenary in a flexible and forward-thinking way, evolving strategically to serve its timehonored mission.

ABOUT CURTIS ON TOUR Curtis On Tour is the global touring initiative of the Curtis Institute of Music. An embodiment of the school’s “learn by doing” philosophy, it offers students real-world, professional touring experience alongside celebrated alumni and faculty. In addition to performances, students frequently offer master classes, in-school demonstrations, and other community engagement activities. Since Curtis On Tour was established in 2008, students, faculty, and alumni have traveled to more than 50 destinations in Europe, Asia, and North and South America, with new venues added each year.

ABOUT THE CURTIS CHAMBER ORCHESTRA The Curtis Chamber Orchestra has recently performed at the Miller Theatre (New York), the Kennedy Center (Washington, D.C.), and the Kimmel Center (Philadelphia) with renowned violinists Jaime Laredo and Jennifer Koh. In 2011, the orchestra traveled to Asia through Curtis On Tour, performing in Beijing and Seoul under Mark Russell Smith. Praised for its “great elegance and style” (Washington Post), the orchestra appears regularly in Philadelphia on the Philadelphia Chamber Music Society’s concert series and at home at the Curtis Institute of Music.

ROBERTO DÍAZ A violist of international reputation, Roberto Díaz is president of the Curtis Institute of Music, following in the footsteps of renowned soloist/directors such as Josef Hofmann, Efrem Zimbalist, and Rudolf Serkin.

As a soloist, Mr. Díaz collaborates with leading conductors of our time on stages throughout the world. He has also worked directly with important 20th- and 21stcentury composers, including Jennifer Higdon, Krzysztof Penderecki, Edison Denisov, Ricardo Lorenz, and Roberto Sierra.

As a frequent recitalist, Mr. Díaz enjoys collaborating with young pianists, bringing a fresh approach to the repertoire and providing invaluable opportunities to artists at the beginning of their careers. In addition to performing with major string quartets and pianists in chamber music series and festivals worldwide, he is a member of the Díaz Trio and has recorded for the Artek, Dorian, Naxos, and New World labels.

In addition to his decade-long tenure as principal viola of the Philadelphia Orchestra, Mr. Díaz was also principal viola

of the National Symphony under Mstislav Rostropovich, a member of the Boston Symphony under Seiji Ozawa, and a member of the Minnesota Orchestra under Sir Neville Marriner. He is a graduate of the New England Conservatory of Music and the Curtis Institute of Music, where he continues to serve on the faculty, holding the James and Betty Matarese Chair in Viola Studies in addition to the Nina von Maltzahn President’s Chair.

JENNIFER HIGDON Born in Brooklyn, N.Y., but raised in the South, Jennifer Higdon received a Bachelor of Music from Bowling Green State University in Ohio, a diploma from the Curtis Institute of Music in 1988, and an M.A. and Ph.D. from the University of Pennsylvania. In addition she has studied conducting with Robert Spano and flute with Judith Bentley.

Dr. Higdon is the recipient of the 2010 Pulitzer Prize for Music for her Violin Concerto; a 2009 Grammy Award (Best New Contemporary Classical Recording) for her Percussion Concerto; Guggenheim, Koussevitzky, and Pew fellowships; and awards from the American Academy of Arts and Letters.

Her works are performed around the world, with commissions coming from a variety of ensembles and individuals, such as the Philadelphia and Cleveland orchestras; St. Paul Chamber Orchestra; Gary Graffman; Hilary Hahn; the President’s Own Marine Band; Tokyo String Quartet; Time for Three; Philadelphia Singers; Mendelssohn Club; eighth blackbird; and Opera Philadelphia and Santa Fe Opera.

She has works on more than four dozen recordings, including the Grammy-winning CD of her Concerto for Orchestra, and City Scape.

Dr. Higdon joined the faculty of the Curtis Institute of Music in 1994, and holds the Milton L. Rock Chair in Composition Studies.

ROBERT SPANO Conductor, pianist, composer and pedagogue Robert Spano is music director of the Atlanta Symphony Orchestra and the Aspen Music Festival and School, and has nurtured the careers of numerous classically trained composers and conductors.

Mr. Spano has led the Atlanta Symphony Orchestra at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. His guest engagements include the New York and Los Angeles philharmonics; the Cleveland, Philadelphia and Royal

Concertgebouw orchestras; the BBC, Boston, Chicago and San Francisco symphonies; and Orchestra Filarmonica della Scala. He has conducted at the Royal Opera House Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and Seattle Opera, where he led the 2005 and 2009 productions of Wagner’s Ring cycle.

This season Mr. Spano conducts three world premieres with the Atlanta Symphony Orchestra and joins both the Houston Grand Opera and Houston Symphony. Guest conducting in Milwaukee, Philadelphia, Helsinki, Copenhagen, Kuala Lumpur and Singapore is woven with Spano’s passion for education with the chamber orchestra of the Curtis Institute of Music on tour, and the New England Conservatory Philharmonic.

Mr. Spano’s recordings for Telarc, Deutsche Grammophon and ASO Medi, have received six Grammy Awards. He is on the faculty of Oberlin Conservatory and has received honorary doctorates from several institutions, including the Curtis Institute of Music, of which he is an alumnus.

RACHEL STERRENBERG Rachel Sterrenberg, from Madison, GA, entered the Curtis Institute of Music in 2012 and studies with Marlena Kleinman Malas.

All students at Curtis receive merit-based full tuition scholarships, and Ms. Sterrenberg is the Edith Evans Frumin Fellow.

Highlights of Ms. Sterrenberg’s 2014–15 season include the title role in Tchaikovsky’s Iolanta and Anne Trulove in Stravinsky’s The Rake’s Progress with the Curtis Opera Theatre, and performances as a soloist with the New Jersey Symphony and the Curtis Chamber Orchestra. She makes her Opera Philadelphia debut in June 2015 as Chan Parker, wife of the jazz soloist Charlie Parker, in the world premiere of Daniel Schnyder’s Yardbird.

Ms. Sterrenberg’s past roles with Curtis Opera Theatre include Adina (L’elisir d’amore), Blanche de la Force (Dialogues of the Carmelites), Pamina (The Magic Flute), Mrs. Coyle (Owen Wingrave), and Armida (Rinaldo).

She has also sung the Countess (Le nozze di Figaro) with the Princeton Symphony Orchestra and Ada Monroe in a workshop of Jennifer Higdon’s first opera, Cold Mountain, a co-commission of Santa Fe Opera and Opera Philadelphia. In 2014, Ms. Sterrenberg won second place in the Mid-Atlantic Region of the Metropolitan National Council Auditions. encoreartsprograms.com 23

A Director’s Choice Event Saturday, March 14, 2015 • 8PM Sunday, March 15, 2015 • 2PM Jackson Hall Stage

THERE WILL BE ONE 15-MINUTE INTERMISSION

JULIAN SANDS

A Celebration of Harold Pinter Directed by John Malkovich

A CELEBRATION OF HAROLD PINTER In 2005, Julian Sands was approached by the Nobel Prize winning playwright and poet Harold Pinter, to prepare a selection of his poems for a special presentation in London. Pinter “apprenticed” Mr. Sands, spending hours sharing his thoughts on how his work should be delivered. Every pause, every nuance in tone, had, and 24 MONDAVIARTS .ORG

has meaning. A bond was established between these two artists, one that gives a distinctive and very personal voice to Pinter’s words. This extraordinary collaboration became the foundation for a wonderfully rich, humorous and fascinating solo show directed by John Malkovich, A Celebration of Harold Pinter.

Performances at the Edinburgh Festival in 2011 and in New York at The Irish Repertory Theatre in 2012 were followed by engagements at Steppenwolf in Chicago,

Herbst Theatre in San Francisco as well as in Los Angeles, Mexico City, Budapest, London and Paris.

This is an evening of Homeric theater with an extraordinary actor, great words and an audience. Devoid of pretension or glittery trappings, A Celebration of Harold Pinter gets to the soul of the man—poet, playwright, husband, political activist, Nobel winner, mortal. A Celebration of Harold Pinter was nominated for a 2013 Drama Desk Award.

JULIAN SANDS HAROLD PINTER Born in London in 1930, Harold Pinter was a renowned playwright and screenwriter. His plays were particularly known for their use of understatement to convey characters’ thoughts and feelings.

After studying at the Royal Academy of Dramatic Art for a time, he worked in regional theater in the 1950s. Pinter wrote a short play, The Room, in 1957, and went on to create his first full-length drama, The Birthday Party. The Birthday Party premiered in London in 1958 to savage reviews, and closed within a week. With The Caretaker, Pinter had his first taste of success. The play, like many of Pinter’s works, conveys “a world of perplexing menace,” and in it Pinter uses “a vocabulary all his own,” as a critic for The New York Times once explained.

The Homecoming (1965), considered by some to be his masterwork, debuted on Broadway in 1967 and won a Tony Award—Pinter’s only Broadway honor.

The Homecoming was later turned into a film featuring many of its original cast, including Ian Holm, Terence Rigby and Vivien Merchant.

In the 1960s, Pinter branched out into film, writing the screenplays for his own works as well as the works of others. He wrote The Servant (1963) and Accident (1967), both directed by Joseph Losey and starring Dirk Bogarde. Losey and Pinter worked together on one more film—1970’s The Go-Between, starring Julie Christie and Alan Bates. Perhaps one of Pinter’s bestknown screen adaptations was 1981’s The French Lieutenant’s Woman, starring Jeremy Irons and Meryl Streep.

In 2005, Pinter was honored with the Nobel Prize for Literature. The selection committee cited Pinter as a writer “who, in his plays, uncovers the precipice under everyday prattle and forces entry into oppression’s closed rooms.” He wasn’t well enough to accept the prize in person, and he gave his Nobel lecture in a pre-recorded video played at the event.

Pinter’s work has inspired and informed generations of playwrights, especially Tom Stoppard and David Mamet. Pinter’s plays are still performed around the world, with new audiences experiencing the distinct, strange and foreboding atmosphere so often created by the late writer. Of Pinter,

fellow playwright David Hare once said, “The essence of Pinter’s singular appeal is that you sit down to every play he writes in certain expectation of the unexpected.”

JULIAN SANDS Julian Sands was born in Yorkshire, England. Wanting to be an actor from an early age he was able to gain experience in many school productions before attending the renowned Central School of Speech and Drama in London. Though he first anticipated a career in classical theatre, it was his work in film that led to his early successes.

Julian Sands has appeared in such films as the Oscar-nominated The Killing Fields, A Room With A View, Vatel, Leaving Las Vegas and The Girl With The Dragon Tattoo, and is notable for his roles in Warlock, Boxing Helena, Impromptu, Oceans 13, Arachnophobia and scores of other films.

He just completed the film Six Dance Lessons in Six Weeks. In addition, he has appeared in many European and American art films working with distinguished directors such as Paul Schrader, Wim Wenders and The Tavianni Brothers.

Throughout his career, he has established himself as both a romantic lead as well as an edgy character actor.

Television appearances include 24, the iconic Jor-El in Smallville and as the James Bond of ghost busters in Stephen King’s Rose Red. Most recently he filmed roles on Dexter and Banshee. His theatre and radio work is also extensive and diverse.

Julian was honored for playing Tony Blair in David Hare’s Stuff Happens at the Mark Taper Forum, and performed opposite Annette Benning in Female of the Species at The Geffen in Los Angeles. His work in A Celebration of Harold Pinter has been praised since it debuted at The Edinburgh Festival, earning a prestigious 2013 Drama Desk Award nomination in New York. Mr. Sands wishes to thank Lady Antonia Fraser DBE for her enthusiastic cooperation with this project. He also wishes to thank Judy Daish, agent, for the Harold Pinter Estate.

JOHN MALKOVICH Born in Illinois in 1953, John Malkovich’s love for the stage was immediate and in 1976, he left school and became a founding member of the Steppenwolf Theatre in

Chicago. On stage and with Steppenwolf, Malkovich had a number of memorable performances, including roles in a pair of Sam Shepherd plays, Curse of the Starving Class and True West. The latter helped launch Steppenwolf and earn Malkovich a coveted OBIE award when the performance moved to New York.

In 1984, Malkovich made his Broadway debut and teamed up with Dustin Hoffman in Arthur Miller’s Death of a Salesman. That same year, he showed up on the big screen, alongside Julian Sands, in The Killing Fields. But it was Places in the Heart (1984), which earned him an Oscar nomination for Best Supporting Actor.

He also received a Drama Desk Award nomination for his work in Lanford Wilson’s play, Burn This in 1987. He then appeared on film in The Glass Menagerie (1987) and Dangerous Liaisons (1988).

In 1993, Malkovich earned his second Oscar nomination for his supporting role in the Clint Eastwood film, In the Line of Fire. In 1999, he teamed up with director Spike Jonze in the smartly written Being John Malkovich, in which a team of office workers discover a secret tunnel into the mind of the actor.

Malkovich has continued his impressive run with films like Ripley’s Game (2002), The Hitchhiker’s Guide to the Galaxy (2005) and Burn After Reading (2008). He has also directed and appeared in many Pinter plays as well as worked with Pinter on a BBC production of Old Times in the early 1990s. He is currently performing in an opera based on the life of Casanova featuring music by Mozart entitled The Giacomo Variations. Mr. Malkovich and Mr. Sands are in discussion about other projects and remain good friends.

THE WORLD PREMIERE OF A CELEBRATION OF HAROLD PINTER: AUGUST 2011 EDINBURGH, SCOTLAND

The taking of photographs or the use of any kind of recording device is strictly prohibited.

A CELEBRATION OF HAROLD PINTER IS REPRESENTED BY BAYLIN ARTISTS MANAGEMENT WWW.BAYLINARTISTS.COM

encoreartsprograms.com 25

DANÚ

20th Anniversary Tour PHOTO: JOHN D. KELLY

A Mondavi Center Holiday Event Tuesday, March 17, 2015 • 7PM Jackson Hall

DANÚ Muireann Nic Amhlaoibh LEAD VOCALS, FLUTE & WHISTLES

Benny McCarthy BUTTON ACCORDION

SPONSORED BY

Oisin McAuley

FIDDLE AND BACKING VOCALS

Eamon Doorley THE IRISH BOUZOUKI

Donal Clancy

GUITAR, LEAD AND BACKING VOCALS

Martin O’Neill

BODHRAN (IRISH DRUM)

SPECIAL GUESTS Liam Flanagan BANJO AND FIDDLE

Ivan Goff

UILLEANN PIPES, FLUTE AND WHISTLES

26 MONDAVIARTS .ORG

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

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

ADDED! Buddy Guy WED, APR 8

Buddy Guy’s list of accomplishments is as profound as his signature guitar sound: Rock and Roll Hall of Fame inductee, a chief influence to rock titans like Hendrix, Clapton, and Vaughan, a pioneer of Chicago’s fabled West Side sound, and a living link to that city’s halcyon days of electric blues.

Bill Frisell and the Joshua Light Show

Jane Lynch THU, APR 9

FRI, APR 24

See Jane Sing

Guitar in the Space Age!

Jane Lynch cut her theatrical teeth at Second City, Steppenwolf, and “many church basements” all over Chicago.

Best known for her role as Sue Sylvester in Glee, she also had career-defining roles in Best in Show and The 40-Year-Old Virgin. Expect musical comedy and a not-too-serious exploration of American standards.

Bill Frisell mines the catalog of guitar-based music from the ‘50s and ‘60s: The Byrds, The Ventures, The Astronauts, Chet Atkins, and more. Paired with the Joshua Light Show, the originator of analog light shows for The Who and Jimi Hendrix in the ‘60s, the result is an explosive mix of art and musical performance.

Pick

3 Save 10%

ow!

N e l a S On A full list of the 2014–15 season is available at mondaviarts.org

GAUTIER DEBLONDE

LONDON SYMPHONY ORCHESTRA

Michael Tilson Thomas, conductor A Western Health Advantage Orchestra Series Event Saturday, March 21, 2015 • 8PM Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Ralph and Clairelee Leiser Bulkley John and Grace Rosenquist Pre-Performance Talk • 7PM Speaker: D. Kern Holoman, Distinguished Professor, emeritus, UC Davis Department of Music D. Kern Holoman is conductor emeritus of the UC Davis Symphony Orchestra. He is author of the first Catalogue of the Works of Hector Berlioz (Bärenreiter, 1987), the style guide Writing About Music (University of California Press, 1988; 2nd ed., 2008), Berlioz, A Life and Works (Harvard University Press, 1989), Masterworks, a multi-media textbook package (Prentice Hall, 1998, and subsequent eds.), The Société des Concerts du Conservatoire, 1828–1967 (University of California Press, 2004), Charles Munch (Oxford University Press, 2012), and The Orchestra: A Very Short Introduction (Oxford University Press, 2012).

28 MONDAVIARTS .ORG

Yuja Wang, piano

PROGRAM Four Sea Interludes from Peter Grimes, Op. 33a Britten Dawn Sunday Morning Moonlight Storm Concerto No. 1 for Piano, Trumpet and Shostakovich Strings, in C Minor, Op. 35 Yuja Wang, piano Allegro Moderato Lento Allegro con brio INTERMISSION Symphony No. 2 in D Major, Op. 43 Sibelius Allegretto Tempo andante, ma rubato Vivacissimo Finale. Allegro moderato Program subject to change.

COLUMBIA ARTISTS MANAGEMENT LLC TOUR DIRECTION: R. DOUGLAS SHELDON 1790 BROADWAY, NEW YORK, NEW YORK 10019-1412 WWW.CAMI.COM

LONDON SYMPHONY ORCHESTRA PROGRAM NOTES FOUR SEA INTERLUDES FROM PETER GRIMES, OP.33A (1944)

BENJAMIN BRITTEN (1913–76)

While staying with friends near Los Angeles during the summer of 1941, Benjamin Britten and Peter Pears came across an article by E M Forster on the Suffolk poet George Crabbe (1754–1832) in a back issue of The Listener. Britten (himself born in Suffolk) was later to comment: “I suddenly realized where I belonged and what I lacked,” and even more revealingly, “that I must write an opera.” Pears discovered a copy of Crabbe’s poems, including The Borough, which tells the tragedy of the fisherman Peter Grimes, in a rare book shop. His and Britten’s enthusiasm after making this discovery is obvious in a letter sent to their New York friend Elizabeth Mayer on July 29: “We’ve just discovered the poetry of George Crabbe (all about Suffolk) and are very excited – maybe an opera one day!!” The remainder of 1941 and the early part of 1942 were spent working on a draft synopsis and libretto for an opera based on Peter Grimes, but it was not until reaching the UK that a librettist was found—the left-wing writer Montagu Slater, with whom Britten had frequently collaborated in the 1930s—and serious progress made.

From the outset, chief among the opera’s distinctive features was the sequence of orchestral interludes (six in all) that introduce or separate scenes, a device in which the influence of Shostakovich’s Lady Macbeth of the Mtsensk District and Berg’s Wozzeck can be felt. On early typed libretto drafts Britten made important marginal notes throughout, in which he succinctly describes the kinds of music he intended to write. Those concerning the interludes are of particular interest and suggest that they were intended to have a programmatic function within the structure, a point made even clearer by the arrangement of four of them into a concert suite in which each was given a descriptive title by the composer: “Dawn” (Interlude I in the opera); “Sunday Morning” (Interlude III); “Moonlight” (Interlude V); and “Storm” (Interlude II).

“Dawn,” described by Britten in his libretto marginalia as an “Everyday, grey seascape,” comprises three ideas operating on three levels: the high-lying unison melody for flutes and violins; the bubbling rising and falling arpeggios on clarinets, harp and violas;

and the ominous chorale-like motif from bassoons, brass and low strings. “Sunday Morning” (“Sunny, Sparkling music”) is taken from the beginning of Act II of the opera, where the schoolmistress Ellen Orford sings “Glitter of waves / And glitter of sunlight / Bid us rejoice / And lift our hearts on high.”

Britten superimposes overlapping chords on the horns with (at first) a spiky idea on the woodwind, the quality enhanced by the bright D major tonality, brightened further by the use of a sharpened fourth note (G sharp) of the scale. Ellen’s words coincide with the second idea, an expressive melody on violas and cellos. “Moonlight” (“Summer night, seascape, quiet” in the composer’s description) introduces Act III of the opera. Quiet, slow throbbing syncopations are broken by chinks of moonlight (flutes and harp), before reaching a tumultuous climax.

The final interlude of the concert suite, “Storm,” speaks for itself. In the opera, it prefaces Act I Scene 2, set in The Boar, and reemerges throughout the scene as characters arrive at the pub. A rondo structure in E-flat

minor, the interlude not only provides a graphic portrayal of the physical storm but also the psychological storm in Grimes’ mind. © Philip Reed

CONCERTO NO. 1 FOR PIANO, TRUMPET AND STRINGS, IN C MINOR, OP. 35 (1933)

DMITRI SHOSTAKOVICH (1906–75)

As a young man, Shostakovich had ambitions to become a composer-pianist in the mold of Rachmaninoff or Prokofiev, and by his early twenties he had gained a notable position in Russia as a solo pianist. In 1927, he had even been one of the Russian competitors at the Chopin Competition in Warsaw, though he achieved only an honorable mention.

His performing style was very individual.

“Shostakovich emphasized the linear aspect of music and was very precise in all the details of performance,” recalled a friend, “he used little rubato in his playing, and it lacked extreme dynamic contrasts. It was an ‘anti-sentimental’ approach to playing which showed incredible clarity of thought.”

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LONDON SYMPHONY ORCHESTRA PRINCIPAL CONDUCTOR: VALERY GERGIEV PRINCIPAL GUEST CONDUCTORS: DANIEL HARDING, MICHAEL TILSON THOMAS CONDUCTOR LAUREATE: ANDRÉ PREVIN, KBE CHORAL DIRECTOR: SIMON HALSEY

FIRST VIOLINS

Roman Simovic, LEADER Carmine Lauri Lennox Mackenzie Clare Duckworth Nigel Broadbent Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Claire Parfitt Laurent Quenelle Colin Renwick Ian Rhodes Sylvain Vasseur Rhys Watkins David Worswick

SECOND VIOLINS

David Alberman Thomas Norris Miya Väisänen David Ballesteros Richard Blayden Matthew Gardner Julian Gil Rodriguez Naoko Keatley Belinda McFarlane William Melvin Iwona Muszynska Philip Nolte Harriet Rayfield Louise Shackelton

VIOLAS

Paul Silverthorne Malcolm Johnston German Clavijo Anna Green Julia O’Riordan Robert Turner Edward Vanderspar Heather Wallington Philip Hall Cian O’Duill Caroline O’Neill Alistair Scahill

CELLOS

CLARINETS

Rebecca Gilliver Minat Lyons Alastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones Amanda Truelove Mary Bergin

Andrew Marriner Chris Richards Chi-Yu Mo

DOUBLE BASSES

Rachel Gough Daniel Jemison Joost Bosdijk

Joel Quarrington Colin Paris Nicholas Worters Patrick Laurence Matthew Gibson Thomas Goodman Joe Melvin Jani Pensola

FLUTES

Gareth Davies Adam Walker Alex Jakeman

PICCOLO

Sharon Williams

OBOES

John Roberts Michael O’Donnell

COR ANGLAIS

Leila Ward

PERCUSSION

BASS CLARINET

Neil Percy David Jackson Sam Walton Antoine Bedewi Jeremy Cornes

E-FLAT CLARINET

Bryn Lewis

BASSOONS

John Alley

Lorenzo Iosco Chi-Yu Mo

CONTRA-BASSOON

HARP

PIANO / CELESTE LSO ADMIN

Kathryn McDowell, MANAGING DIRECTOR

Sue Mallet,

DIRECTOR OF PLANNING

Dominic Morgan

Frankie Hutchinson,

HORNS

Jemma Bogan, ORCHESTRA

Timothy Jones Stephen Stirling Angela Barnes Benjamin Jacks Jonathan Lipton

TRUMPETS

Philip Cobb Alan Thomas Gerald Ruddock Daniel Newell

TROMBONES

Dudley Bright Peter Moore James Maynard

BASS TROMBONE

TOURS & PROJECTS MANAGER PERSONNEL MANAGER

Iryna Goode,

SENIOR LIBRARIAN

Alan Goode,

STAGE & TRANSPORT MANAGER

Dan Gobey, STAGE MANAGER

www.lso.co.uk COLUMBIA ARTISTS MANAGEMENT LLC. TOUR DIRECTION R. Douglas Sheldon, SENIOR VICE PRESIDENT

TOUR COORDINATOR Karen Kloster EXECUTIVE ASSISTANT Marcus Lalli

Paul Milner

TOUR MANAGER Kay McCavic

Patrick Harrild

TUBA

HOTELS Maestro! Tour Management

TIMPANI

HOTEL ADVANCE Leanne Donlevy

Nigel Thomas Antoine Bedewi

WITH SPECIAL THANKS TO THE GENEROUS SUPPORTERS OF THE LSO’S 2015 U.S. TOUR Mr. Neil and Dr. Kira Flanzraich Bruce and Suzie Kovner Sir Michael Moritz KBE and Harriet Heyman Michael Tilson Thomas and Joshua Robison And those that wish to remain anonymous We would also like to extend our thanks to those who support the wider work of the LSO through the American LSO Foundation: Jane Attias, Mercedes T. Bass, Francesca & Christopher Beale, David Chavolla, Barbara G. Fleischman, The Reidler Foundation, Elena Sardarova, Daniel Schwartz, Mrs. Ernest H. Seelhorst.

30 MONDAVIARTS .ORG

He wrote this concerto for himself to play, composing it soon after completing the opera Lady Macbeth of Mtsensk District and the 24 Preludes for Piano, and gave the first performance with members of the Leningrad Philharmonic conducted by Fritz Stiedry on October 13, 1933. Shostakovich twice recorded the work, and there is even a brief film clip of him playing the finale at a recklessly fast tempo.

For a decade Shostakovich had taken full advantage of the excitement and confusion that reigned in post-Revolutionary Russia, producing a vast body of work that ranged from the modernist brutalism of the Second and Third Symphonies to the biting satire of The Nose, from light-hearted ballet scores to the deep seriousness of Lady Macbeth of Mtsensk.

The concerto is one of his most accessible and justly popular works from this period. Short and compact, the concerto constantly teases the listener with half-quotations, parodies and sudden changes of direction. Although it has its moments of seriousness, they are more apparent than real and tend to be swept aside by the anarchic humor which was a specialty of the young Shostakovich. Influences of Ravel, Prokofiev, Gershwin and Stravinsky can be heard, but equally important is Shostakovich’s own approach to music for stage and film.

One account suggests that Shostakovich’s initial idea was for a solo trumpet concerto.

Whether there is any truth in this or not, the final result is by no means a double concerto for equally-matched soloists, for the piano is very much in the foreground all the time. The trumpet plays a major role, however, often a thoroughly subversive one, and achieves a kind of lunatic glory in the Rossini-meets-MickeyMouse conclusion. © Andrew Huth

SYMPHONY NO. 2 IN D MAJOR, OP. 43 (1901–02)

JEAN SIBELIUS (1865–1957)

The beginning of 1901 found Sibelius in Italy, his mood tense and gloomy. The death of his 16-month-old daughter Kirst the previous year had been a severe blow, and although the First Symphony was beginning to meet with international success, he was uncertain about his musical future. Various unfocused ideas came to him. One evening, for example, he jotted down a musical phrase and over it wrote: “Don Juan. I sit in the twilight in my castle, a guest enters. I ask who he is— no answer.

I make an effort to entertain him. Still no answer.

LONDON SYMPHONY ORCHESTRA Eventually he breaks into song and then Don Juan notices who he is: Death.” Two months later he sketched another idea, which he labelled “Christus.”

These two themes later formed the basis of the Second Symphony’s Andante, but Sibelius was not then thinking of a new symphony: rather (among other, vague plans) of a series of four tone poems on the Don Juan legend or perhaps something related to Dante’s Divina commedia. “Several of my projects will not be ready for many years,” he wrote to a friend; but after his return to Finland that summer, the Second Symphony took shape.

“I have been in the throes of a bitter struggle with this symphony,” he complained. It was nearly finished in November, but further revisions caused two postponements of the planned premiere. It was at last completed in January 1902, and Sibelius conducted four performances that March in Helsinki.

When Finnish audiences heard Sibelius’ First Symphony in 1899, they expected it to reflect the world of the heroes of the Kalevala depicted in his earlier tone poems. In fact, though, Sibelius’ main concert was not to illustrate anything at all, but to explore a personal approach to purely symphonic momentum. The Second marks a big further step in this direction. Nevertheless, it still looks both forward and backwards, perhaps more so than any other work by Sibelius, giving rise to some curious contradictions in the relation and balance between the four movements.

The first movement is certainly a very original structure, pointing toward the new classicism Sibelius aimed for in later works.

The cool Nordic atmosphere is unmistakable, and so is the personal character of the themes, with such Sibelius fingerprints as swelling dynamics and long held notes ending in a flourish. The freshness of the coloring is achieved by the use, initially, of unmixed strings, woodwind and brass.

Ideas are presented in turn, then in different combinations and changing perspectives.

The movement ends modestly, with a sense of completion as neat as anything in Haydn.

The Andante, on the other hand, is more sectional, with a fluid tempo moving from the slow, bleak opening towards passages of dissonant anguish that are almost expressionistic. At a time when Finland was an oppressed province of the Russian Empire, the Second Symphony was often regarded from a nationalistic viewpoint.

prospects for the future.” Sibelius either kept a sensible silence about such associations or denied them outright. The various poetic ideas that filled his mind before composing the work— Don Juan, Christ, Dante, or whatever— may not be very significant in themselves, but they certainly have nothing to do with Finnish mythology or nationalism.

Taking a stylistic position somewhere between the cool Classicism of the first

Thus Sibelus’ staunch champion, the conductor Robert Kajanus, could write: “The Andante strikes one as the most heartbroken protest against all the injustices that threaten at the present time to deprive the sun of its light and our flowers of their scent …

The scherzo gives a picture of frenetic preparation … the finale develops towards a triumphant conclusion intended to arouse in the listener a picture of lighter and confident

The magic of

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movement and the unbridled Romanticism of the second, the last two movements owe a clear debt to Beethoven, and in particular his Fifth Symphony, with its transition from Scherzo to Finale. The sound of the music is of course very different, and the build-up of tension towards the end of the finale shows Sibelius as a master of symphonic momentum as the chorale theme first announced softly by the woodwind is subjected to repetition with suppressed dynamics and a rigidly controlled tempo before the final major key resolution.

Among the many tributes that the symphony earned him, Sibelius was especially pleased with comments from two fellow composers.

After conducting it in Berlin in 1905, he wrote to his wife: “Busoni is totally enamored of my symphony and understands its chaste concentration. In particular he thinks the second movement the best music in existence,” though the letter continues rather mysteriously, “he hasn’t said a word about the Finale. You realize that Busoni cannot understand its significance.” Unreserved praise came after the Stockholm premiere in October 1902 from the Swedish composer Wilhelm Stenhammar: “You have reached into the deepest depths of the unconscious and the ineffable and brought forth something of a miracle. What I suspected has been proved true: for me you emerge as the foremost, indeed the only major figure at this moment.” © Andrew Huth

MICHAEL TILSON THOMAS is Music Director of the San Francisco Symphony, Founder and Artistic Director of the New World Symphony and Principal Guest Conductor of the London Symphony Orchestra. Born in Los Angeles, he is the third generation of his family to follow an artistic career.

Tilson Thomas studied piano, conducting and composition at the University of Southern California and at the age of nineteen he was named Music Director of the Young Musicians Foundation Debut Orchestra where he worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles’ Monday Evening Concerts. During this same period he was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz.

In 1969, after winning the Koussevitzky Prize at Tanglewood, he was appointed Assistant Conductor of the Boston Symphony Orchestra.

That year he also made his New York debut with the Boston Symphony and gained international recognition after replacing Music Director

LONDON SYMPHONY ORCHESTRA William Steinberg in mid-concert. He was later appointed Principal Guest Conductor of the Boston Symphony Orchestra where he remained until 1974. He was Music Director of the Buffalo Philharmonic from 1971 to 1979 and a Principal Guest Conductor of the Los Angeles Philharmonic from 1981 to 1985.

In February 1988 he inaugurated the New World Symphony, an orchestral academy for graduates of prestigious music programs and, in the same year, he became Principal Conductor of the London Symphony Orchestra—a post he held until 1995.

He now enjoys a Principal Guest Conductor relationship with the LSO. Tilson Thomas became the Music Director of the San Francisco Symphony Orchestra in 1995.

This season celebrates his 20th anniversary with the orchestra. His tenure has been broadly covered by the international press with feature stories in Time, Newsweek, The Wall Street Journal, The New York Times, Los Angeles Times, The Times of London and The Frankfurter Allgemeine Zeitung among many others.

His recorded repertoire of more than 120 discs includes works by composers such as Bach, Beethoven, Mahler, Prokofiev and Stravinsky as well as his pioneering work with the music of Charles Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, George Gershwin, John McLaughlin and Elvis Costello. Most recently he completed the orchestral works of Gustav Mahler and Bernstein’s West Side Story, both with the San Francisco Symphony on their label, SFS Media.

Tilson Thomas’ television work includes a series with the London Symphony Orchestra for BBC Television, the television broadcasts of the New York Philharmonic Young People’s Concerts from 1971 to 1977 and numerous productions on PBS’s Great Performances.

Tilson Thomas and the San Francisco Symphony produced a multi-tiered media project, Keeping Score, which includes a television series, web sites, radio programs and programs in schools.

During the 2014–2015 season, Tilson Thomas marks his 70th birthday with a European tour with the San Francisco Symphony Orchestra, a west coast tour of the U.S. with the London Symphony Orchestra, appearances in Carnegie Hall and Washington D.C. with the New World Symphony and concerts with the Vienna Philharmonic Orchestra.

Tilson Thomas is a Chevalier dans l’ordre des Arts et des Lettres of France, was Musical

America’s Musician of the Year and Conductor of the Year, Gramophone Magazine’s Artist of the Year and has been profiled on CBS’s 60 Minutes and ABC’s Nightline. He has won 11 Grammy Awards for his recordings. In 2008, he received the Peabody Award for his radio series for SFS Media, The MTT Files. In 2010, President Obama awarded him with the National Medal of Arts, the highest award given to artists by the United States.

YUJA WANG is widely recognized as one of the most important artists of her generation.

Regularly lauded for her controlled, prodigious technique, the 28-year-old pianist has been praised for her authority over the most complex technical demands of the repertoire, the depth of her musical insight, as well as her fresh interpretations and charismatic stage presence.

Yuja is an exclusive recording artist for Deutsche Grammophon. Following her debut

FURTHER LISTENING

by Jeff Hudson

LONDON SYMPHONY ORCHESTRA The last time we saw conductor Michael Tilson Thomas and pianist Yuja Wang (then 22) together in Jackson Hall, they were playing a concerto by a Soviet composer. That concert was in May 2009, the piece was the Piano Concerto No. 2 by Sergei Prokofiev, and the orchestra was the San Francisco Symphony. It’s a concert that many still fondly recall.

Michael Tilson Thomas and Yuja Wang have continued to work together; in addition to regular appearances in San Francisco, she toured Asia with the orchestra in 2012. On January 15, Wang was one of six keyboard players performing in Liszt’s Hexameron for Six Pianos and Orchestra at MTT’s 70th birthday bash at Davies Hall.

(The other pianists were Emmanuel Ax, Jeremy Denk, Marc-Andre Hamelin, Jean-Yves Thibaudet and MTT himself.)

Wang also appears on the San Francisco Symphony’s recent album Masterpieces in Miniature, a collection of brief favorites; Wang plays on a seven-minute Scherzo from Henry Litolff’s Concerto Symponique No. 4. The album was picked by The New York Times as one of the best classical albums of 2014. MTT seemed pleased as well: “I’m so, so proud of this project,” he told an interviewer. “It’s like a little birthday present to the city.”

Wang is now 28, and cruising in high gear. New York Classical Review picked Wang’s December recital at Carnegie Hall as No. 1 among their Top Ten Performances of 2014: “one of the best piano recitals New York has heard in recent memory,” wrote Eric Simpson.

MTT, for his part, is bemused by his new status as an elder statesman. “What causes me to smile the most these days is that I so remember the experience of being the youngest person on the stage. And now, I’m suddenly realizing ‘My gosh, I’m the oldest person on the stage!’ How did this happen?” he told an interviewer. Tilson Thomas was also the subject of a detailed, cordial, career-spanning profile in The New York Times, the sort that only a few conductors receive.

Meantime, MTT and Yuja Wang are back in Jackson Hall tonight, this time with the London Symphony Orchestra (an ensemble MTT has conducted many times in the past). And they’re playing another piece by a Soviet composer, this time Shostakovich. It’s a concerto she’s performed recently with the Los Angeles Philharmonic and the St. Petersburg Philharmonic (there’s a nice video of the latter on YouTube).

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

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LONDON SYMPHONY ORCHESTRA recording, Sonatas & Etudes, Gramophone magazine named Yuja the Classic FM 2009 Young Artist of the Year. For her second recording, Transformation, Yuja received an Echo Klassik award as “Young Artist of the Year.”

Yuja next collaborated with Maestro Claudio Abbado and the Mahler Chamber Orchestra to record her first concerto album featuring Rachmaninoff’s Rhapsody on a Theme of Paganini and his Concerto No. 2 in C Minor which was nominated for a Grammy as “Best Classical Instrumental Solo.” This was followed

by Fantasia, a collection of encore pieces

by Albéniz, Bach, Chopin, Rachmaninoff, Saint-Saëns, Scriabin, and others. Yuja next collaborated with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra on a live recording of Prokofiev’s Concerto No. 2 and Rachmaninoff’s Concerto No. 3. Most recently, Yuja joined violinist Leonidas Kavakos to record the complete Brahms Violin and Piano sonatas for Decca Records.

In the years since her 2005 debut with the National Arts Center Orchestra led by Pinchas Zukerman, Yuja has already performed with many of the world’s most prestigious orchestras including those of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco and Washington in the U.S., and abroad with the Berlin Staatskapelle, China Philharmonic, Filarmonica della Scala, Israel Philharmonic, London Philharmonic, Orchestre de Paris, Orquesta Nacional de España, Simón Bolívar Symphony Orchestra, the NHK Symphony in Tokyo, Royal Concertgebouw Orchestra, Orchestra Mozart and Santa Cecilia, among others.

In 2006, Yuja made her New York Philharmonic debut at the Bravo! Vail Music Festival and performed with the orchestra the following season under Lorin Maazel during the Philharmonic’s Japan/Korea visit.

In 2008, she toured the United States with the Academy of St. Martin in the Fields led

by Sir Neville Marriner, and in 2009, Yuja performed as soloist with the YouTube Symphony Orchestra led by Michael Tilson Thomas at Carnegie Hall. That summer, Yuja joined Abbado at the Lucerne Music Festival performing and recording Prokofiev’s Piano Concerto No. 3, and went on to perform with the Lucerne Festival Orchestra and Abbado on tour in China.

Yuja regularly gives recitals in major cities throughout Asia, Europe and North America.

She is a dedicated performer of chamber 34 MONDAVIARTS .ORG

music appearing at summer festivals throughout the world including annual appearances at Switzerland’s Verbier Festival.

In March 2011, Yuja performed in a threeconcert chamber series at the Salle Pleyel in Paris with principal players from the Berlin Philharmonic. She made her Carnegie Hall recital debut at Stern Hall in October 2011.

Many of the world’s esteemed conductors have collaborated with Yuja including Abbado, Daniel Barenboim, Dudamel, Charles Dutoit, Daniele Gatti, Valery Gergiev, Mikko Franck, Manfred Honeck, Lorin Maazel, Zubin Mehta, Kurt Masur, Antonio Pappano, Esa-Pekka Salonen, Yuri Temirkanov and Michael Tilson Thomas.

Last season, the London Symphony Orchestra invited Yuja to be their featured artist in the LSO Artist Portrait series for 2014 which included performing three concertos and recitals in London, followed by a tour of China with Daniel Harding conducting.

She made her debut with the Hungarian National Philharmonic conducted by Zoltan Kocsis performing Bartók’s Piano Concerto No. 2. Yuja’s frequent summer collaborations with violinist Leonidas Kavakos extended further as they undertook multiple tours of Europe focusing on the great violin and piano sonatas of Brahms. She returned to the Los Angeles Philharmonic for subscription concerts and on tour in the U.S. with Dudamel conducting. Yuja also returned to the Boston Symphony, Sir Andrew Davis conducting, and the Cleveland Orchestra, Giancarlo Guerrero conducting.

In 2014–15, Yuja returns to the Concertgebouw to perform Shostakovich’s Concerto No. 1, with Mariss Jansons conducting. She is featured as Artist-inResidence with Tonhalle Orchestra Zurich, appearing three times over the course of the season. Yuja continues her collaboration with Leonidas Kavakos, touring North America and Europe. In spring 2015, the London Symphony Orchestra will tour to the U.S. with Yuja as soloist, Tilson Thomas conducting.

She makes her concerto debut with the Berlin Philharmonic in spring of 2015.

At a young age, Yuja entered the Central Conservatory of Music in Beijing to study under Ling Yuan and Zhou Guangren.

From 1999 to 2001, she participated in the Morningside Music summer program at Calgary’s Mount Royal College, an artistic and cultural exchange program between Canada

and China, and began studying with HungKuan Chen and Tema Blackstone at the Mount Royal College Conservatory. Yuja then moved to the U.S. to study with Gary Graffman at The Curtis Institute of Music in Philadelphia, where she graduated in 2008. In 2006, she received the Gilmore Young Artist Award, and in 2010, was awarded the prestigious Avery Fisher Career Grant. Yuja is a Steinway Artist.

THE LONDON SYMPHONY ORCHESTRA is widely regarded as one of the world’s leading orchestras. The LSO has an enviable family of artists, including LSO Principal Conductor Valery Gergiev, Michael Tilson Thomas and Daniel Harding as Principal Guest Conductors, and long-standing relationships with some of the leading musicians in the world – Yuja Wang, Leonidas Kavakos, Anne-Sophie Mutter, Mitsuko Uchida and Maria João Pires amongst others.

The LSO is proud to be Resident Orchestra at the Barbican, where it performs around 70 concerts a year. The LSO also enjoys successful residencies in New York, Paris and Tokyo. Regular tour destinations include the Far East, North America and all the major European cities. In late 2014, the Orchestra toured to Australia for the first time in over 30 years and tonight’s performance forms part of an extensive tour of the United States with Michael Tilson Thomas, celebrating his 70th birthday with the Orchestra this year.

The LSO is set apart from other international orchestras by the depth of its commitment to music education, reaching over 60,000 people each year. LSO Discovery enables the Orchestra to offer people of all ages opportunities to get involved in music-making. LSO On Track, a long-standing project involving young musicians from across London, has given a platform to talented teenagers to appear in the London Olympic Stadium, at outdoor concerts in Trafalgar Square, and also on Abbey Road recordings side-by-side with LSO musicians.

The Orchestra is a world-leader in recording music for CD, film and events.

LSO Live is the most successful label of its kind and last year celebrated its 100th release.

Recordings are available globally on CD, SACD and online. The LSO has also recorded music for hundreds of films, including Philomena, The Monuments Men, four of the Harry Potter films, Superman and all six Star Wars movies.

Directed by Granada Artist-In-Residence bob

Mcgrath in collaboration with Acclaimed Playwright neil labute’s free adaptation of georg büchner's Woyzeck with music by Pulitzer prize winning composer david lang Projections by Joan grossman Main TheaTre, WrighT hall Feb 26-28, 8PM March 1, 2PM

March 5-7, 8PM

March 8, 2PM

TickeTs are $20 general adMission, $15 For sTudenTs/seniors WiTh a sPecial $10 TickeT Price For Thursday PerForMances.

TickeTs can be Purchased by sending an eMail To: TdTickeTs@ucdavis.edu or calling The box oFFice aT 530 752 7111. due To MaTure TheMes no one under The age oF 18 Will be adMiTTed.

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LANG LANG, piano

A Wells Fargo Concert Series Event Wednesday, March 25, 2015 • 8PM Jackson Hall

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PROGRAM Italian Concerto in F Major (Clavier-Übung, Part II), BMV 971 (Allegro) Andante Presto The Seasons January: At the Fireside February: Carnival March: The Lark’s Song April: Snowdrop May: White Nights June: Barcarolle July: Song of the Reaper August: The Harvest September: The Hunt October: Autumn Song November: Troïka December: Christmas

J. S. Bach

Tchaikovsky

INTERMISSION Scherzo No. 1 in B Minor, Op. 20 Scherzo No. 2 in B-flat Minor, Op. 31 Scherzo No. 3 in C-sharp Minor, Op. 39 Scherzo No. 4 in E Major, Op. 54

36 MONDAVIARTS .ORG

Chopin

LANG LANG PROGRAM NOTES ITALIAN CONCERTO IN F MAJOR (CLAVIER-ÜBUNG, PART II), BWV 971 (PUBLISHED 1735)

JOHANN SEBASTIAN BACH

(Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig) Much of Bach’s early activity after being appointed Kantor for Leipzig’s churches in 1723 was carried out under the shadow of the memory of his predecessor, Johann Kuhnau, a respected musician and scholar who had published masterly translations of Greek and Hebrew texts, practiced as a lawyer in the city, and won wide fame for his keyboard music. In 1726, probably the earliest date allowed by the enormous demands of his official position for new sacred vocal music, Bach began a series of keyboard suites that were apparently intended to compete with those of Kuhnau. In addition to helping establish his reputation in Leipzig, these pieces also provided useful teaching material for his private students. Bach published his Partita No. 1 in B-flat major (BWV 825) in 1726 and issued one additional such composition every year or so until 1731, when he gathered together these six works and issued them collectively in a volume titled Clavier-Übung (“Keyboard Practice”), a term he borrowed from the name of Kuhnau’s keyboard suites published in 1689 and 1692.

The Partitas of what became Part I of the Clavier-Übung were well received, and Bach continued his series of Clavier-Übungen with three further volumes of vastly different nature: Part II (1735) contains the Italian Concerto and the ornate Overture (Suite) in the French Manner; Part III (1739), for organ, the Catechism Chorale Preludes, several short canonic pieces, and the “St. Anne” Prelude and Fugue; and Part IV (1742), the incomparable Goldberg Variations.

The “Concerto after the Italian Taste ...

Composed for Music Lovers, To Refresh Their Spirits,” as Bach dubbed the Italian Concerto on the title page of its original edition, was issued at Easter 1735 by Christoph Weigl of Nuremberg. The opening movement is a keyboard distillation of ritornello form, which is built from alternations of the full ensemble (tutti = “together”) and the solo instrument. Bach here delineated the

returns of the tutti from the solo episodes by specifying that both hands of the former be played on the forte (“loud”) keyboard of a two-manual harpsichord, while the left-hand accompaniment be played on the piano (“soft”) keyboard as background during the forte “solo” (right-hand) passages.

The Andante is an elaborate and melancholy melody given above an incessantly repeated figuration. The ritornello-form finale is brilliant and pyrotechnical.

THE SEASONS, OP. 37A (1875-1876)

PETER ILYICH TCHAIKOVSKY

(Born May 7, 1840 in Votkinsk, Russia Died November 6, 1893 in St. Petersburg) At the end of 1875, two years before he came under the benefaction of Nadezhda von Meck, Tchaikovsky was making a scant living by teaching at the Moscow Conservatory and writing criticism for a local journal. To augment his income, he accepted a proposal from Nikolai Bernard, editor of the St. Petersburg monthly music magazine Nuvellist, to compose short piano pieces depicting each of the twelve months that would appear as features of the publication throughout the coming year. Though he was not fond of writing to specific deadlines nor of channeling his creativity into such miniature forms (he characterized his attitude about composing these pieces as “making musical pancakes”), Tchaikovsky needed the money, so he accepted the commission. The pieces were composed methodically throughout 1876 — Tchaikovsky had his valet remind him of the due date every month, whereupon he would dash off a new piece in a single sitting — and published together the following year as The Months, Op. 37a. (Op. 37 was the 1876 Piano Sonata in G major.)

The first British and American editions were issued, unaccountably, as The Seasons, and the work has always been known under that title in English-speaking lands. “It is a sure mark of Tchaikovsky’s professionalism, his sheer competence as a composer,” wrote David Brown in his authoritative study of the composer, “that he could discharge such a lowly task as this series of pieces so admirably.”

January (At the Fireside) evokes a comfortable domestic scene well protected from the windy gusts suggested by the arpeggiated flourishes in the central

section. February (Carnival) uses a folk-like dance to depict the merriment of clowns.

March (The Lark’s Song) is a forlorn piece, a melancholy Russian counterpart to Schumann’s haunting Vogel als Prophet (“Prophet Bird”). April (Snowdrop) is a spacious, lyrical evocation of early spring.

May (White Nights) is quiet and tender in its outer sections, but becomes more animated at its center. Though Tchaikovsky called June a Barcarolle, the traditional song of the Venetian gondoliers, this movement is one of the most nationalistic in the set, taking as its theme a soulful melody with the vaguely Oriental character so beloved by the Russian Romanticists. The energetic regularity of the outer sections of July (Song of the Reaper) suggests a work song, its lively middle episode a country dance. The high spirits elicited by the opening and closing sections of August (The Harvest) are balanced by the movement’s placid central paragraph.

September (The Hunt) is a vigorous outdoor march with echoing horn calls. October (Autumn Song) is a sad strain contemplating the passing of summer. November (Troïka) depicts a frosty excursion in the three-horse sleigh of the title. December (Christmas) is a balletic waltz that would not be out of place in the party scene that opens The Nutcracker.

FOUR SCHERZOS

FRÉDÉRIC CHOPIN

(Born February 22, 1810 in Zelazowa-Wola, Poland Died October 17, 1849 in Paris)

SCHERZO NO. 1 IN B MINOR, OP. 20 (1830-1831) Chopin departed from Warsaw in November 1830 for his second visit to Vienna, hoping to further his career as a virtuoso pianist by building on the success he had enjoyed in that city a year earlier. His hope was in vain.

The Viennese were fickle in their taste for musical culture, and Chopin had expended his novelty value upon his first foray, so he found little easy response there to his attempts to produce some concerts for himself. His difficulties were exacerbated by the Polish insurrection against Russian oppression that erupted only days after he arrived in the Habsburg capital.

Conservative Austria was troubled by the anti-monarchial unrest to its north, and feared that the Czar might petition them for help against the uprising. Polish nationals in Austria were therefore thrown into an uncomfortable situation, and Chopin took encoreartsprograms.com 37

considerable care in expressing his patriotic sympathies too openly. He wallowed in indecision for another six months, unsure whether to head for London or Munich or Milan, but finally settled on Paris, where he arrived in September 1831. Within a year, he had become one of the most acclaimed musicians in France.

Though Chopin composed little during his difficult time in Vienna in 1830-1831, he

did write the first of his Scherzos, a work of strong, almost violent emotions that may well reflect some of his frustrations of those months. The “scherzo” as perfected

by Beethoven has about it an air of humor, or at least joie de vivre, that is reflected in its name, which, in both German and Italian, means “joke.” There is, however, little lighthearted sentiment in the outer sections of Chopin’s Scherzo in B minor (“How is

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‘gravity’ to clothe itself, if ‘jest’ goes about in dark veils,” Schumann wondered), but the central portions of the piece turn to sweeter thoughts by presenting a sumptuously lyrical theme derived from the old Polish Christmas song Sleep, Baby Jesus.

SCHERZO NO. 2 IN B-FLAT MINOR, OP. 31 (1837) Early in 1837, Chopin fell victim to the influenza epidemic sweeping Paris. He spent several miserable weeks in bed with a high fever and a bloody cough, and his spirits were further dampened by a letter from Countess Teresa Wodzinska, upon whose daughter, Maria, he had long had marital designs. The Countess hinted that the family might meet Chopin in Germany that summer, but the plans were left frustratingly tentative. After recovering sufficiently to accompany the pianist, publisher and sometime composer Camille Pleyel on a business trip to London, Chopin returned to Paris, where he received a letter from Countess Wodzinska confirming that she and Maria would not be seeing him that year; his hopes of marrying the girl vanished.

Emotionally emptied by this turn of events, Chopin found solace in composing and receiving the public approbation inspired by the publication of a steady stream of his music between October and December that included the Scherzo No. 2 in B-flat minor.

The Scherzo No. 2 retains the expressive urgency of the First Scherzo (Robert Schumann called it “Byronic”), but folds its emotions into the sort of perfectly balanced and precisely integrated form in which Chopin wrapped the most profound of his mature utterances. The work is large in scale and subtle in formal detail, but falls essentially into three sections: A–B–A. The outer portions are, by turns, sepulchral and tempestuous, given to sudden outbursts and dramatic statements; the central section is flowing and lyrical, with a grace and buoyancy that turn serious as the recapitulation of the opening music approaches.

SCHERZO NO. 3 IN C-SHARP MINOR, OP. 39 (1839)

http://occr.ucdavis.edu 38 MONDAVIARTS .ORG

By the summer of 1838, Chopin’s health was showing disturbing signs of decline, and he decided that he needed to leave Paris that autumn, before damp winter set in. He settled on the distant Mediterranean island of Majorca, off the eastern coast of Spain, which friends (who had not been there) assured him

LANG LANG was blessed with abundant sunshine and fresh air. The trip was a disaster, plagued by terrible weather, shabby accommodations and the lack of a piano on which he could compose. The venture’s nadir was reached when he was diagnosed with tuberculosis.

A piano finally arrived from Paris and he was well enough by the end of December to begin composing again. The Scherzo No. 3 in C-sharp minor was finished by the time he finally headed home on February 15th, however, his health was much worse than when he had arrived three months before.

The Scherzo No. 3 in C-sharp minor, the most dramatic of Chopin’s four specimens of the form, is built from the alternation of two sharply contrasting musical elements.

The first, passionate and stormy, is marked by strong accents and thundering scales in stark, open octaves. The other is graceful and luminous, combining a richly harmonized chorale phrase with an incandescent ripple of falling notes.

SCHERZO NO. 4 IN E MAJOR, OP. 54 (1842) Chopin first met the flamboyantly iconoclastic novelist George Sand late in 1836. Their friendship deepened into sincere if tempestuous and unconventional love during the following months, and Sand served for the next decade as Chopin’s muse and protectress. Beginning in the summer of 1839, they escaped from the heat and dust of Paris to Sand’s country villa at Nohant, near Châteauroux in the province of Berry. In 1842, Sand hustled Chopin off to Nohant in April, somewhat earlier than usual to help assuage his grief over the recent death of his life-long friend Jan Matuszynski. Though Chopin abandoned the concert stage that year (he did not play in public again until 1848), he remained active as a teacher and composer, and that summer he created four major works: Impromptu in G-flat major (Op. 51), F minor Ballade (Op. 52), Polonaise in A-flat major (Op. 53) and Scherzo No. 4 in E major (Op. 54).

The Scherzo No. 4 derives its overall threepart form (A–B–A) and its rapid triple meter from the Beethovenian model, but invests the medium with a sensitivity and range of expression that are unique to Chopin. The E major Scherzo, the most extended but also the most halcyon of Chopin’s four examples of the form, is, according to Herbert Weinstock, “happiness made manifest.” ©2015 Dr. Richard E. Rodda

LANG LANG If one word applies to Lang Lang, to the musician, to the man, to his worldview, to those who come into contact with him, it is “inspiration.” It resounds like a musical motif through his life and career. He inspires millions with openhearted, emotive playing, whether it be in intimate recitals or on the grandest of stages, such as the 56th Grammy Awards, where he played with Metallica; the Opening Ceremony of the 2008 Beijing Olympics, where more than four billion people around the world viewed his performance; the Last Night of the Proms at London’s Royal Albert Hall; or the Liszt 200th birthday concert broadcast live to more than 500 cinemas around the U.S. and Europe. He forms enduring musical partnerships with the world’s greatest artists, from conductors such as Daniel Barenboim, Gustavo Dudamel and Sir Simon Rattle, to artists from outside of classical music, among them dubstep dancer Marquese “nonstop” Scott and jazz titan Herbie Hancock. Thanks to his Sony ambassadorship, he brought Prokofiev’s 7th Piano Sonata to the soundtrack of the multi-million-selling computer game Gran Turismo 5 and 6. And he builds cultural bridges between East and West, frequently introducing Chinese music to Western audiences, and vice versa.

Yet he never forgets what first inspired, and continues to inspire him. Great artists, above all the great composers—Liszt, Chopin and the others—whose music he now delights in bringing to others. Even that famous old Tom and Jerry cartoon “The Cat Concerto” which introduced him, as a child, to the music of Liszt; and that childlike excitement at the discovery of music now surely stays with him and propels him to what he calls “his second career,” bringing music into the lives of children around the world, both through his work for the United Nations as a Messenger of Peace focusing on global education and through his own Lang Lang International Music Foundation. As he inspires, he is inspired. As he is inspired, he inspires others. It is this quality, perhaps, that led The New Yorker to call him “the world’s ambassador of the keyboard.”

Time Magazine named Lang Lang in the “Time 100”, citing him as a symbol of the

youth of China, and its future. Lang Lang is cultural ambassador for Shenzhen and Shenyang. And if the Chinese passion for piano isn’t solely due to him, he has played no small part as a role model, a phenomenon coined by The Today Show as “the Lang Lang effect.” Steinway Pianos for the first time named a model after a single artist when they introduced “The Lang Lang Piano” to China, specially designed for education.

And the child Lang Lang was and who, perhaps, is always with him, would surely have approved of the way he gives back to youth. He mentors prodigies, convenes 100 piano students at a time in concert, and dedicated his Lang Lang International Music Foundation to cultivating tomorrow’s top pianists, music education at the forefront of technology, and building a young audience.

Lang Lang has been featured on every major TV network and in magazines worldwide. He has performed for international dignitaries including the Secretary-General of the U.N. Ban Ki-moon, four US presidents, President Koehler of Germany, Russian President Putin, former French President Sarkozy and President Francois Hollande. Of many landmark events, he was honored to perform recently for President Obama and former President Hu Jin-Tao of China at the White House State Dinner, as well as at the Diamond Jubilee celebratory concert for Queen Elizabeth II at Buckingham Palace.

Honors include being added as one of the World Economic Forum’s 250 Young Global Leaders, Honorary Doctorates from the Royal College of Music and Manhattan School of Music, the highest prize awarded

by China’s Ministry of Culture, Germany’s Order of Merit and France’s Medal of the Order of Arts and Letters.

LANG LANG IS MANAGED BY: COLUMBIA ARTISTS MUSIC LLC 1790 BROADWAY, NEW YORK, NY 10019 WWW.CAMIMUSIC.COM JEAN-JACQUES CESBRON RONALD A. WILFORD LANG LANG IS AN EXCLUSIVE RECORDING ARTIST OF SONY MUSIC. WWW.LANGLANG.COM WWW.LANGLANGFOUNDATION.ORG WWW.FACEBOOK.COM/LANGLANGPIANO WWW.TWITTER.COM/LANG_LANG

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THREE ACTS, TWO DANCERS, ONE RADIO HOST

Ira Glass, Monica Bill Barnes and Anna Bass

A With a Twist Series Event

Monica Bill Barnes (Director/Choreographer/Dancer)

Saturday, March 28, 2015 • 8PM

Ira Glass (Speaker/Dancer)

Jackson Hall

Anna Bass (Dancer) Jane Cox (Lighting Designer) Kelly Hanson (Costume/Set Designer)

SPONSORED BY

Robert Saenz de Viteri (Producing Director) Tess James (Lighting Director/Stage Manager) Chip Rodgers (Production Manager) Isabella Byrd (Lighting Supervisor) Michelle Rose (Production Assistant)

INDIVIDUAL SUPPORT PROVIDED BY

Wanda Lee Graves

40 MONDAVIARTS .ORG

THREE ACTS, TWO DANCERS, ONE RADIO HOST IRA GLASS is the host and creator of the public radio program This American Life. The show is heard each week by over 2.2 million listeners on more than 500 public radio stations, with another million downloading the podcast. The show also airs each week on the CBC in Canada, the Australian Broadcasting Corporation’s radio network, and on BBC Radio 4 Extra in the UK. For years, the podcast of This American Life was the most popular podcast on iTunes, until the show started its first spin-off program Serial, which quickly became the most popular podcast in the world.

Glass began his career as an intern at National Public Radio’s network headquarters in Washington, DC in 1978, when he was 19 years old. Over the years, he worked on nearly every NPR network news program and held virtually every production job in NPR’s Washington headquarters. He has been a tape cutter, newscast writer, desk assistant, editor, reporter and producer. He has filled in as host of Talk of the Nation and Weekend All Things Considered.

Under Glass’s editorial direction, This American Life has won the highest honors for broadcasting and journalistic excellence, including five Peabody awards. The American Journalism Review declared that the show is “at the vanguard of a journalistic revolution.” A television adaptation of This American Life ran on the Showtime network for two seasons in 2007 and 2008, winning three Emmy awards including Outstanding Nonfiction Series.

MONICA BILL BARNES is the Artistic Director of Monica Bill Barnes & Company Productions, a New York City based dance company founded in 1997. Barnes creates full-length shows that tour the country’s biggest stages and tiniest rooms, bringing dance where it doesn’t belong: making site-specific dances in public places, mounting collaborations with radio hosts and bringing down the house at comedy shows. MBB&CO has performed throughout the U.S. in venues including The American Dance Festival, The John F. Kennedy Center for the Performing

Arts and Jacob’s Pillow Dance Festival.

Since 2006, Barnes has been making duets for herself and Anna Bass. She is continually inspired by their partnership on and off stage. Barnes began working with Ira Glass in 2012 when she created a solo for David Rakoff and performed with MBB&CO as a part of This American Life Live! Upcoming projects include a collaboration with Maira Kalman creating a guided museum workout and a new show featuring Barnes & Bass playing every character.

ANNA BASS began working with MBB&CO in 2003 and now serves as Associate Artistic Director. She has performed Barnes’ work all over the country, on stages ranging from public fountains and city parks to New York City Center and Carnegie Hall. Bass performed in Glass’s two most recent This American Life Live events – catching boxes while dancing as a part of TAL’s cinema event, and appearing as a roller-skating mouse alongside Mike Birbiglia in The Radio Drama Episode at the BAM opera house. She often assists Barnes with theater projects, and served as the Assistant Choreographer for productions at The Atlantic Theater, The Public Theater and Yale Repertory Theater. Bass is originally from a small town in Virginia where she studied almost every dance style, from classical ballet to country line dancing. She lives in Brooklyn, New York.

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MAESTRO CIRCLE $10,000 – $14,999

M.A. Morris* Gerry and Carol Parker Carole Pirruccello, John and Eunice Davidson Fund Randall E. Reynoso† and Martin Camsey Grace† and John Rosenquist† Helen and Jerry Suran* Donald and Denise Timmons

Wayne and Jacque Bartholomew* Thomas and Phyllis Farver* Dean and Karen Karnopp†* Nancy Lawrence†, Gordon Klein, and Linda Lawrence Hansen Kwok Robert and Barbara Leidigh Garry Maisel†

BENEFACTOR CIRCLE $6,500 – $9,999

Camille Chan Michael and Betty Chapman Eric and Michael Conn Dolly and David Fiddyment Samia and Scott Foster Andrew and Judith Gabor Benjamin and Lynette Hart* Lorena J. Herrig* Bill Koenig and Jane O’Green Koenig † Mondavi Center Advisory Board Member * Friends of Mondavi Center 42 MONDAVIARTS .ORG

Sean McMahon† Verne Mendel* Stephen Meyer† and Mary Lou Flint Suzanne and Brad Poling Raymond Seamans Carol Wall† and Patricia Kearney And 1 donor who prefers to remain anonymous

PRODUCER CIRCLE

$3,250 - $6,499

Neil and Carla Andrews Hans Apel and Pamela Burton Daniel Benson Jeff and Karen Bertleson Charitable Fund Cordelia S. Birrell Neil and Joanne Bodine California Statewide Certified Development Corp.

Brian Tarkington and Katrina Boratynski Cantor & Company, A Law Corporation Robert and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Cecilia Delury and Vince Jacobs Nancy DuBois Wayne and Shari Eckert Allen Enders Merrilee and Simon Engel Charles and Catherine Farman Nancy McRae Fisher Ron Fisher and Pam Gill-Fisher* Henry and Dorothy Gietzen Kay Gist Ed and Bonnie Green* Robert and Kathleen Grey Diane Gunsul-Hicks Charles H. and Ann W. Halsted John and Regi Hamel Judith and William Hardardt* Dee Hartzog Cameron Lewis and Clare Hasler-Lewis The One and Only Watson Charles and Eva Hess In Memory of Christopher Horsley* Teresa Kaneko* Linda P.B. Katehi and Spyros I. Tseregounis Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Allan and Claudia Leavitt Yvonne LeMaitre Nelson Lewallyn and Marion Pace-Lewallyn Paul and Diane Makley* In Memory of Allen G. Marr Judith and Eldridge Moores Grant and Grace Noda* Alice Oi John and Misako Pearson David Rocke and Janine Mozée Roger and Ann Romani Hal and Carol Sconyers* Wilson and Kathryn Smith Sandra R. Smoley Tom and Meg Stallard* Tom and Judy Stevenson* David Studer and Donine Hedrick Rosemary and George Tchobanoglous Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Patrice White Robert and Joyce Wisner* Richard and Judy Wydick Yin and Elizabeth Yeh And 4 donors who prefer to remain anonymous

DIRECTOR CIRCLE

$1,500 - $3,249

Beulah and Ezra Amsterdam Elizabeth and Russell Austin Laura and Murry Baria* Lydia Baskin* Carol Beckham and Robert Hollingsworth Drs. Noa and David Bell Jo Anne Boorkman* Edwin Bradley Linda Brandenburger Rosa Marquez and Richard Breedon Irving and Karen Broido*

Susan Brownridge Susie and Jim Burton Davis and Jan Campbell Simon Cherry and Laura Marcu Jim and Kathy Coulter* John and Celeste Cron* Jay and Terry Davison Bruce and Marilyn Dewey Martha Dickman* Dotty Dixon* DLMC Foundation Domenic and Joan Favero Carole Franti* Jolàn Friedhoff and Don Roth Paul J. and Dolores L. Fry Charitable Fund Christian Sandrock and Dafna Gatmon Karl Gerdes and Pamela Rohrich Erla and David Goller Fredric Gorin and Pamela Dolkart Gorin John and Patty Goss* Jack and Florence Grosskettler* In Memory of William F. McCoy Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy Ronald and Lesley Hsu Ruth W. Jackson Clarence and Barbara Kado Barbara Katz Gail W. Kelly* Charlene R. Kunitz Matt Donaldson and Steve Kyriakis Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Frances and Arthur Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert David E. and Ruth B. Lindgren Mr. and Mrs. Richard Luna Natalie and Malcolm MacKenzie* Debbie Mah and Brent Felker* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Maria M. Manoliu Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Janet Mayhew* Robert and Helga Medearis Augustus and Mary-Alice Morr John Pascoe and Sue Stover Bonnie A. Plummer* Chuck and Chris Powell Prewoznik Foundation Linda and Lawrence Raber* Lois and Dr. Barry Ramer John and Judith Reitan Kay Resler* Christopher Reynolds and Alessa Johns Tom Roehr Liisa Russell Ed and Karen Schelegle Neil and Carrie Schore Bonnie and Jeff Smith Edward and Sharon Speegle Richard L. Sprague and Stephen C. Ott Les and Mary Stephens De Wall Maril R. Stratton and Patrick Stratton Edward Telfeyan and Jerilyn Paik-Telfeyan Jennifer Thornton and Brandt Schraner D. Verbeck, R. Mott, J. Persin Debbie and Stephen WadsworthMadeiros Geoffrey and Gretel Wandesford-Smith Dan and Ellie Wendin*

Dale L. and Jane C. Wierman In Honor of Chuck and Ulla And 7 donors who prefer to remain anonymous

ENCORE CIRCLE

$600 - $1,499

The Aboytes Family Shirley and Mike Auman* Antonio and Alicia Balatbat Robert and Susan Benedetti Alan and Kristen Bennett Don and Kathy Bers* Muriel Brandt Marion Bray John and Christine Bruhn Manuel Calderon de la Barca Sanchez and Karen Zito Lynne Cannady and David Ford Dolores and Donald Chakerian Jack and Gale Chapman Sharon Cuthbertson* John and Cathie Duniway Doris Flint Murray and Audrey Fowler Gloria Freeman and Jerry L. Plummer Paul and E. F. Goldstene David and Mae Gundlach Paul and Nancy Helman Lenonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Mont Hubbard and Lyn Taylor Pat Hutchinson Barbara and Robert Jones Paula Kubo Ruth Lawrence John T. Lescroart and Lisa Sawyer Michael and Sheila Lewis* Gary and Jane L. Matteson Joy Mench and Clive Watson Nancy Michel Robert and Susan Munn* Don and Sue Murchison Bob and Kinzie Murphy Elaine Myer Linda Orrante and James Nordin Carol and John Oster Frank Pajerski Harriet Prato Evelyn and Otto Raabe Lawrence and Celia Rabinowitz J. and K. Redenbaugh C. Rocke Tracy Rodgers and Richard Budenz Heather and Jeep Roemer Tom and Joan Sallee Dwight E. and Donna L. Sanders Michael and Elizabeth Singer Al and Sandy Sokolow William and Jeannie Spangler Howard J. Spero and Charlene Sailer Elizabeth St. Goar Sherman and Hannah Stein Jan Stevens and Carole Cory Karen and Edward Street* Eric and Patricia Stromberg* Tony and Beth Tanke Captane and Helen Thomson Roseanna Toretto* Henry and Lynda Trowbridge* Helen and Robert Twiss Louise Walker and Larry Walker Steven and Andrea Weiss Kandi Williams and Dr. Frank Jahnke Ardath Wood Paul Wyman Gayle K. Yamada and David H. Hosley Lynn and Karl Zender And 2 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

$300 - $599

Jose and Elizabeth Abad Mitzi Aguirre Ralph and Teresa Aldredge Thomas and Patricia Allen Elinor Anklin and George Harsch Beverly and Clay Ballard Cynthia Bates Paul and Linda Baumann Carol L. Benedetti Philip Bettens Bob and Diane Biggs Al Patrick and Pat Bissell Clyde and Ruth Bowman Elizabeth Bradford Dr. Margaret Burns and Dr. Roy W. Bellhorn Victor W. Burns Jackie Caplan Michael and Louise Caplan Bruce and Mary Alice Carswell* Amy Chen and Raj Amirtharajah Betty M. Clark Charles and Mary Anne Charles Cooper James Cothern David and Judy Covin Robert D. and Nancy Nesbit Crummey Kim Uyen Dao* Larry Dashiell and Peggy Siddons Dolores Dautherty Anne E. Duffey John and Pamela Eisele Janet Feil David and Kerstin Feldman Helen Ford Lisa Foster and Tom Graham Jennifer D. Franz Edwin and Sevgi Friedrich* Jeffrey and Marsha Gibeling Marvin and Joyce Goldman June and Paul Gulyassy, M.D. Darrow and Gwen Haagensen Sharon and Don Hallberg Robin Hansen and Gordon Ulrey Marylee Hardie David and Donna Harris Mary A. Helmich Roy and Diane Henrickson Jeannette E Higgs Kenneth and Rita Hoots* Steve and Nancy Hopkins Mun Johl Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung David Kalb and Nancy Gelbard Patricia Kelleher* Peter G. Kenner Ruth A Kinsella* Joseph Kiskis and Diana Vodrey Peter Klavins and Susan Kauzlarich Paul Kramer Carol Ledbetter Mr. and Mrs. Levin Barbara Levine Mel and Rita Libman Robert and Betty Liu The Lufburrow Family Jeffrey and Helen Ma Bunkie Mangum Pam Marrone and Mick Rogers Catherine McGuire Roland and Marilyn Meyer Alison L. Morr Beverly J. Myers, MD William and Nancy Myers Bruno Nachtergaele and Marijke Devos Douglas Neuhauser and Louise Kellogg Bill and Anna Rita Neuman Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker

John and Deborah Poulos John and Alice Provost Lawrence and Norma Rappaport Rhonda Reed and Ken Gebhart Elizabeth and Eugene Renkin Judy and David Reuben* Sharon and Elliott Rose* Jane Rosenberg and Steve Deas Barbara and Dr. Alan Roth Bob and Tamra Ruxin Howard and Eileen Sarasohn John and Joyce Schaeuble The Shepard Family Philanthropy Fund Robert and Ruth Shumway James Smith Judith Smith Robert Snider Tim and Julie Stephens Judith and Richard Stern Pieter Stroeve, Diane Barrett and Jodie Stroeve Yayoi Takamura and Jeff Erhardt Virginia and Butch Thresh Dennis and Judy Tsuboi Robert Vassar Andy and Judy Warburg Rita Waterman Jack and Rita Weiss Charles White and Carrie Schucker Jim and Genia Willett Richard and Sally Yamaichi Iris Yang and G. Richard Brown Wesley and Janet Yates Ronald M. Yoshiyama Drs. Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous

MAINSTAGE CIRCLE

$100 - $299

Leal Abbott Mary Aften Susan Ahlquist David and Penny Anderson Val Anderson Chris Armanini Maria Balakshin George and Irma Baldwin Charlotte Ballard and Robert Zeff Diane and Charlie Bamforth* Elizabeth Banks Carole Barnes Lynn Baysinger* Malcolm Becker Marion S. Becker Bee Happy Apiaries Merry Benard William and Marie Benisek Jane D. Bennett Linda and William Bernheim Bevowitz Family Boyd and Lucille Bevington Dr. Robert and Sheila Beyer Joan and Roy Bibbens* John and Katy Bill Terry Sandbek* and Sharon Billings* Sam and Caroline Bledsoe Fred and Mary Bliss Bobbie Bolden Bill Bossart Brooke Bourland* Jill and Mary Bowers C and B Brandow Alf and Kristin Brandt Robert and Maxine Braude Dan and Mildred Braunstein* Elizabeth and Alan Brownstein Mike and Marian Burnham William and Karolee Bush Robert and Elizabeth Bushnell Joan and Edward Callaway Peter and Lorraine Camarco Lita Campbell* Jean Canary

John and Nancy Capitanio William and Pauline Caple James and Patty Carey Mike and Susan Carl Anne and Garry Carlson* Jan Carmikle Carolyn Chamberlain John and Joan Chambers* Dorothy Chikasawa* Richard and Arden Christian Gail Clark L. Edward and Jacqueline Clemens Linda Clevenger and Seth Brunner James and Linda Cline Stephan Cohen Stuart and Denise Cohen Sheri and Ron Cole Harold and Marjorie Collins Steve and Janet Collins Patricia Conrad Terry D. Cook Nicholas and Khin Cornes Fred and Ann Costello Cathy and Jon Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan John and Joanne Daniels Nita A. Davidson Relly Davidson Judy and David Day Lynne de Bie* Robert Diamond Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* Marjean DuPree James Eastman Scarlet and Harvey Edber Eliane Eisner Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Lynette Ertel* Joy Fabiano Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Richard D. Farshler Cheryl Felsch Liz and Tim Fenton* Dave Firenze Kiernan and Marty Fitzpatrick David and Donna Fletcher Robert Fowles and Linda Parzych Louis Fox and Marnelle Gleason* Marion Franck and Bob Lew Elaine A. Franco Anthony and Jorgina Freese Joel Friedman Larry Friedman and Susan Orton Kerim and Josie Friedrich Joan M Futscher Myra Gable Anne Garbeff* Cynthia Gatlin Peggy Gerick Gerald Gibbons and Sibilla Hershey Barbara Gladfelter Eleanor Glassburner Susan Goldstein Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart S Goodrich and M Martin Jeffrey and Sandra Granett Steve and Jacqueline Gray* Paul and Carol Grench Alex and Marilyn Groth Wesley and Ida Hackett* Jane and Jim Hagedorn Frank Hamilton William and Sherry Hamre Pat and Mike Handley Laurie and Jim Hanschu Robert and Susan Hansen Alexander and Kelly Harcourt Vera Harris

encoreartsprograms.com 43

THE ART OF GIVING Sally Harvey* Miriam and Roy Hatamiya Mary and Rand Herbert Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Michael and Margaret Hoffman Jeff Holcomb Herb and Jan Hoover David and Gail Hulse Lorraine Hwang Dr. and Mrs. Ralph B. Hwang Marta Induni Marion Jazwinski* Dr. and Mrs. Ronald C. Jensen Karen Jetter Jane and John Johnson* Michelle Johnston and Scott Arranto Warren and Donna Johnston Valerie Jones Jonsson Family Andrew and Merry Joslin James Anthony Joye Martin and JoAnn Joye* Fred and Selma Kapatkin Tim and Shari Karpin Jean and Steve Karr Yasuo Kawamura Phyllis and Scott Keilholtz* Charles Kelso and Mary Reed Michael Kent and Karl Jadney Robert and Cathryn Kerr Leonard Keyes Jeannette Kieffer Larry Kimble and Louise Bettner Kathryn and Leonard Goldberg Robert Kingsley and Melissa Thorme Dr. and Mrs. Roger Kingston Dorothy Klishevich John and Mary L. Klisiewicz* Jeannine Kouns Alan and Sandra Kreeger Marcia and Kurt Kreith Sandra Kristensen Lorenzo Kristov and Robin Kozloff

Elizabeth and C.R. Kuehner Leslie Kurtz Cecilia Kwan Ray and Marianne Kyono Kit and Bonnie Lam* Marsha M. Lang Anne Lawrence Leon E. Laymon Peggy Leander* Charlie and Joan Learned Marceline Lee and Philip Smith The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn A. Lewis Mary Ann and Ernest Lewis* Barbara Linderholm* Motoko Lobue Mary Lowry Henry Luckie Michael Luszczak Ariane Lyons Edward and Susan MacDonald Karen Majewski Alice Mak and Wesley Kennedy Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer Joseph and Mary Alice Marino David and Martha Marsh Dr. Carol Marshall J. A. Martin Vel Matthews Leslie Maulhardt Katherine Mawdsley* Harry and Karen McCluskey* Douglas McColm and Delores McColm Nora McGuinness* Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry DeAna Melilli Barry Melton and Barbara Langer The Merchant Family

CORPORATE MATCHING GIFTS

Johnson Controls Foundation

We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.

ARTISTIC VENTURES FUND

We applaud our Artistic Ventures Fund’s 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 Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef

Fred and Linda Meyers* Beryl Michaels and John Bach Leslie Michaels and Susan Katt Lisa Miller Sue and Rex Miller Keri Mistler and Dana Newell Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Irene Montgomery* Elaine and Ken Moody Amy Moore Marcie Mortensson Christopher Motley The Muller Family Terence and Judith Murphy Guity Myers* Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Nancy Nolte and James Little Marilyn Olmstead Dana K. Olson Jim and Sharon Oltjen Marvin O’Rear Jessie Ann Owens and Anne Hoffmann Bob and Elizabeth Owens Mike and Carlene Ozonoff* Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Niels Pedersen Henri and Dianne Pellissier* Mari Perla Ann Peterson and Marc Hoeschele Brenda Davis and Ed Phillips Pat B. Piper Jane Plocher Clifford Popejoy Dr. Robert Poppenga and Amy Kapatkin Jeff and Marrilee Posner Jerry and Bernice Pressler Ed and Jane Rabin

LEGACY CIRCLE

Raymond Stewart Deb and Jeff Stromberg Fred Taugher and Paula Higashi* Dr. Stewart and Ann Teal Francie F. Teitelbaum Julie A. Theriault, PA-C Brian Toole Robert and Victoria Tousignant Rich and Fay Traynham James E. Turner Nancy Ulrich* Ramon and Karen Urbano Ann-Catrin Van Ph.D. Peter and Carolyn Van Hoecke Chris and Betsy Van Kessel Diana Varcados Bart and Barbara Vaughn* Merna and Don Villarejo Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Kim and James Waits Maxine Wakefield and William Reichert Carol Walden Vivian and Andrew Walker Walnut Creek Civic Arts League Valerie Boutin Ward Marny and Rick Wasserman Douglas West Kimberly West Martha S. West Robert and Leslie Westergaard* Edward and Susan Wheeler Jane Williams Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Phillip and Iva Yoshimura Verena Leu Young* Melanie and Medardo Zavala Darrel and Phyllis Zerger* Dr.Mark and Wendy Zlotlow And 49 who prefer to remain anonymous

PATRON LOYALTY INITIATIVE

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.

We are grateful to the following donors who have made special gifts to the Mondavi Center’s Patron Loyalty Initiative. This project will provide MC leadership and staff with an important set of tools and analyses to assist our efforts to build the loyalty and commitment of our wonderful base of donors and subscribers.

Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Robert and Barbara Leidigh Yvonne LeMaitre Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Lynn Upchurch Anonymous

Ralph & Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Anne Gray Garry Maisel

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 Debbie Armstrong, Sr. Director of Development (530.754.5415 or djarmstrong@ucdavis. edu ).

Donor Listing as of 1/31/2015. We appreciate your support!

We apologize if we listed your name incorrectly.

Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.

44 MONDAVIARTS .ORG

Jan and Anne-Louise Radimsky Olga Raveling Sandi Redenbach* Catherine Ann Reed Dr. and Mrs. James W. Reede Jr. Mrs. John Reese, Jr. Fred and Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Francis E. Resta Ralph and Judy Riggs* Dr. Ronald and Sara Ringen Jeannette and David Robertson Ronald and Morgan Rogers Richard and Alice Rollins Richard and Evelyne Rominger Teddy Wilson and Linda Roth Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Raymond Salomon Beverly “Babs” Sandeen and Marty Swingle Mark and Ita Sanders* Elia and Glenn Sanjume Polly and Fred Schack Leon Schimmel and Annette Cody Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Jenifer and Bob Segar Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Edward Shields and Valerie Brown Consuelo Sichon Jo Anne Silber Dan and Charlene Simmons Marion E. Small Jean Snyder Ronald and Rosie Soohoo* Roger and Freda Sornsen Marguerite Spencer Janet L. Spliman Miriam Steinberg and Ben Glovinsky Harriet Steiner and Miles Stern Johanna Stek

Stephen Meyer & Mary Lou Flint Randy Reynoso & Martin Camsey Bill and Nancy Roe Joan and Tony Stone Joe and Betty Tupin

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

YOUNG ARTISTS COMPETITION AND PROGRAM

John and Lois Crowe Merrilee and Simon Engel

Mary B. Horton Barbara K. Jackson

ARTS EDUCATION STUDENT TICKET PROGRAM

Donald and Dolores Chakerian *Members of The Friends of Mondavi Center

Carole Pirruccello, John and Eunice Davidson Fund Sharon and Elliott Rose

DANCE FOR PARKINSON’S PROGRAM

Dr. & Mrs. Lowell L. Ashbaugh In Memory of Robert (Bob) Browner Thomas and Lynda Cadman Hugh Griffin Kathi Kalnoki Madeleine Kenefick Melourd and Carlo Lagdamen Sunny and Phyllis Lee Jean Malamud Joy A. McCarthy Mia McClellan David and Connie McKie

Sybil Miyamoto Frances and James Morgan Maureen and Harvey Olander Ronald and Maureen Olsen Bill Ross Elaine P. Silver-Melia Daria and Mark Stoner June Tanihana Karen Todd-Wilson Larry Von Kaenel Leo Warmolts Sam and Lynne Wells

BOARDS & COMMITTEES

MONDAVI CENTER ADVISORY BOARD

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

14–15 ADVISORY BOARD MEMBERS Joe Tupin, Chair • Patti Donlon • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry Maisel • Sean McMahon • Stephen Meyer • Randy Reynoso • Grace Rosenquist • John Rosenquist • Joan Stone • Tony Stone • Larry Vanderhoef • Carol Wall 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 • Francie Lawyer, President, Friends of Mondavi Center • Susan Kaiser, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis • Sharon Knox, Chair, 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.

14–15 COMMITTEE MEMBERS Sharon Knox, Chair • Marta Altisent • Lauren Brink • Catherine Dao Nguyen • Jim Forkin • Jeremy Ganter • Carol Hess • Charles Hunt • Ian Koebner • Cameron Mazza • Eleanor McAuliffe • Kyle Monhollen • Gabrielle Nevitt • Erin Palmer • Erica Perez • Susan Perez • Don Roth • Burkhard Schipper • Rob Tocalino

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.

14–15 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Francie Lawyer, President Sandi Redenbach, Vice President Jo Ann Joye, Secretary Wendy Chason, Friends Events Kathy Bers, Membership Judy Fleenor, Mondavi Center Tours Lydia Baskin, School Matinee Support Karen Street, School Outreach Shirley Auman, Gift Shop Representative, Ex-Officio Joyce Donaldson, Director of Arts Education, Ex-Officio

OF MONDAVI CENTER IS AN ACTIVE DONOR-BASED VOLUNTEER ORGANIZATION THAT SUPPORTS ACTIVITIES OF MONDAVI CENTER’S PRESENTING PROGRAM.

Membership in the Friends of Mondavi Center is open to all Mondavi Center annual fund donors. As a donor based volunteer organization, the mission of the Friends is to assist the presenting program with education, outreach, fundraising, and audience development. Primary to this mission is raising funds for over 1800 K-12 students each year to attend a Mondavi Center School Matinee. Friends also staff and manage the Gift Shop and Tours program, and provide free classroom talks prior to school matinees.

PLEASE CONTACT JENN MAST AT 530-754-5431 OR JMMAST@UCDAVIS.EDU FOR INFORMATION ON JOINING THESE EXTRAORDINARY, ARTS-LOVING MONDAVI CENTER PATRONS.

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POLICIES & 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.

• Prices subject to change.

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

GROUP DISCOUNTS Entertain friends, family, classmates or business associates and save! Groups of 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 UC Davis students are eligible for a 50% discount on all available tickets.

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

Student ID numbers may also be used to verify enrollment.

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

46 MONDAVIARTS .ORG

Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.

YOUTH (AGE 17 AND UNDER) A ticket is required for admission of all patrons regardless of age. Any child attending a performance should be able to sit quietly through the performance. For events other than the Children’s Stage Series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend.

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 email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.

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

ACCOMMODATIONS FOR PATRONS WITH DISABILITIES The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements. Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances.

Requests for sign language interpreting, real-time captioning, Braille programs

and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests.

Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

OPERA GLASSES Opera glasses are available for Jackson Hall.

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

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

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

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

SERVICE ANIMALS Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times.

Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.

LOST AND FOUND HOTLINE 530.752.8580

Music touches the heart From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.

We’re proud to salute Mondavi Center for the Performing Arts.

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