Mondavi Center Playbill Issue 7: Mar 2013

MondaviArts.org 530.754.2787 866.754.2787 (toll-free)Rachel Barton Pine

The art of performance draws our eyes to the stage

wellsfargo.com © 2012 Wells Fargo Bank, N.A. All rights reserved.Member FDIC. (731175_06032)

Our community’s commitment to arts and culture says a lot about where we live. It brings us together from the moment the lights go down and the curtains come up.

Mondavi Center, we applaud this production.

Davis MainSouth Davis (Safeway)Covell Market Place

ANNIVERSARY

2012—13Season Sponsors

PROGRAM

ISSUE 7: MAR 2013• Young Artists Competition Winners Concert p. 5• Julian Lage Group p. 8• Sarah Chang, violin; Ashley Wass, piano p. 11• The Improvised Shakespeare Company p. 16• Cashore Marionettes Simple Gifts p. 19• St. Louis Symphony p. 23• Jazz at Lincoln Center Orchestra with Wynton Marsalis p. 29• Lara Downes, Piano; Build p. 34

We’ve lifted health care to an art form.

Who better to create the perfect health plan but

health care professionals with families of their

own. So that’s just what we did. Fifteen years ago,

UC Davis Health System, Dignity Health and

NorthBay Healthcare System came together to

create a quality alternative to national HMOs.

The result is a health plan committed to improving

the health and well-being of our community. So, if

you are interested in getting just what the doctor

ordered, give us a call.

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

MondaviArts.org | 1

I t is my pleasure to welcome you to the Robert and Margrit Mondavi Center for the Performing Arts, a genuine jewel of

our UC Davis campus. In its 10 years of existence, the Center has truly transformed our university and the Sacramento region.

Arts and culture are at the heart of any university campus, both as a source of learning and pleasure and of creative and intellectual stimulation. I have been fortunate to be a part of several campuses with major performing arts centers, but no program I have experi-enced exceeds the quality of the Mondavi Center. The variety, quality and impact of Mondavi Center presentations enhance the worldwide reputation of our great research university.

Of course, this great Center serves many purposes. It is a place for our students to develop their cultural literacy, as well as a venue where so many of our wonderful faculty can share ideas and expertise. It is a world-class facility that our music, theater and dance students use as a learning laboratory.

As a land grant university, UC Davis values community service and engagement, an area in which the Mondavi Center also excels. Through school matinees, nearly 100,000 K–12 students have had what is often their first exposure to the arts. And through the Center’s many artist residency activities, we provide up close and personal, life-transforming experiences with great artists and thinkers for our region.

Thank you for being a part of the Mondavi Center’s 10th anniversary season.

Linda P.B. KatehiUC Davis Chancellor

A MESSAGE FROM THE CHANCELLOR

ANNIVERSARY2012—13

Season Sponsors

2 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

MONDAVI CENTER STAFF

DON ROTH, Ph.D.Executive Director

Jeremy GanterAssociate Executive Director

Becky CaleExecutive Assistant

PROGRAMMINGJeremy GanterDirector of Programming

Erin PalmerProgramming Manager

Ruth RosenbergArtist EngagementCoordinator

Lara DownesCurator: Young Artists Program

ARTS EDUCATIONJoyce DonaldsonAssociate to the Executive Director for Arts Educationand Strategic Projects

Jennifer MastArts Education Coordinator

AUDIENCE SERVICESDavid SzymanskiAudience Services Manager

Yuri RodriguezHouse/Events Manager

Nancy TempleAssistant House/Events Manager

Natalia DeardorffAssistant House/Events Manager

BUSINESS SERVICESDebbie ArmstrongSenior Director of Support Services

Mandy JarvisFinancial Analyst

Russ PostlethwaiteBilling System & Rental Coordinator

DEVELOPMENTDebbie ArmstrongSenior Director of Development

Alison Morr KolozsiDirector of Major Gifts& Planned Giving

Elisha FindleyCorporate & Annual Fund Officer

Amanda TurpinDonor Relations Manager

Casey SchellDevelopment/Support Services Assistant

OPERATIONS Herb Garman Director of Operations

Greg BaileyBuilding Engineer

INFORMATION TECHNOLOGYDarren MarksWeb Specialist/ Graphic Artist

Mark J. JohnstonLead Application Developer

MARKETINGRob TocalinoDirector of Marketing

Will CrockettMarketing Manager

Erin KelleySenior Graphic Artist

Amanda CarawayPublic Relations Coordinator

TICKET OFFICESarah HerreraTicket Office Manager

Steve DavidTicket Office Supervisor

Susie EvonTicket Agent

Russell St. ClairTicket Agent

PRODUCTIONDonna J. FlorProduction Manager

Daniel J. GoldinAssistant Production Manager/Master Electrician

Zak Stelly-RiggsAssistant Production Manager/Master Carpenter

Christi-Anne SokolewiczSenior Stage Manager, Jackson Hall

Christopher OcaSenior Stage Manager, Vanderhoef Studio Theatre

Jenna BellArtist Services Coordinator

Daniel B. ThompsonCampus Events Coordinator, Theatre and Dance Department Liaison/Scene Technician

Kathy GlaubachMusic Department Liaison/Scene Technician

Adrian GalindoAudio Engineer— Vanderhoef Studio Theatre/Scene Technician

Gene NelsonRegistered Piano Technician

HEAD USHERSHuguette Albrecht Eric DavisGeorge Edwards Linda Gregory Donna Horgan Paul KastnerMike Tracy Susie Valentin Janellyn Whittier Terry Whittier

Anderson Family Catering & BBQAtria Senior Living Boeger WineryBuckhorn CateringCaffé Italia Ciocolat

El Macero Country ClubFiore Event DesignHot ItalianHyatt PlaceOsteria FasuloSeasonsWatermelon Music

The Andrew W. Mellon Foundation

Gold

Silver

Bronze

Platinum

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

SPECIAL THANKS

OFFICE OF CAMPUSCOMMUNITY RELATIONS

10TH ANNIVERSARY SEASON SPONSORS

CORPORATE PARTNERS

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

2 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013 MondaviArts.org | 3

My late friend the wonderful American conductor James DePreist often spoke about the importance of an

orchestra being “ubiquitous” in its community. From March 15 through 17, the great Saint Louis Symphony, in a residency sponsored by the Andrew W. Mellon Foundation, will live up to that standard in our region. Over those three days, members of the St. Louis Symphony will travel to schools, hospitals, museums, community centers and dorms, conducting master classes, an intimate contemporary music concert at the Crocker Art Museum (March 14), and a side-by-side rehearsal with our own UC Davis Symphony Orchestra. In addition to their full Sunday evening performance, we have commissioned site-specific works from six UC Davis Department of Music composers, inspired by Robert Arneson’s Eggheads, which members of the St. Louis Symphony will perform next to the beloved sculptures here on the UC Davis campus on March 15. The economics of touring orchestras have long prevented us from engaging these remarkable symphonic ensembles and musicians in anything other than the occasional pre-performance talk or post-show meet and greet. But, due to the generosity of The Andrew W. Mellon Foundation, which is pursuing an interest in expanding audiences for classical music, we will have the St. Louisians with us in this multitude of guises and activities. I hope you can walk with us amongst the Eggheads, join us at a community event, listen to small scale contemporary works at the Crocker and the full orchestra playing Brahms, Berg and Beethoven in Jackson Hall. You can find more information about the residency on our website, MondaviArts.org. I encourage you to engage!

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

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ith A MESSAGE FROM DON ROTH Mondavi Center Executive Director

PROGRAMISSUE 7: MARCH 2013ROBERT AND MARGRIT MONDAVI CENTER for the Performing Arts • UC DAvis

• 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.

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

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

BEFORE THE SHOW

O A H O O O O A A A A HHHH

IN THIS ISSUE:

• Young Artists Competition Winners Concert p. 5

• Julian Lage Group p. 8

• Sarah Chang, violin p. 11 Ashley Wass, piano

• The Improvised Shakespeare Company p. 16

• Cashore Marionettes p. 19 Simple Gifts

• St. Louis Symphony p. 23

• Jazz at Lincoln Center Orchestrawith Wynton Marsalis p. 29

• Lara Downes, Piano p. 34Build

• Mondavi Center Policies and Information p. 44



A Mondavi Center Special Event

Sunday, March 3, 2013 • 2PM

Jackson Hall

There will be one intermission.

Individual support provided by John and Lois Crowe,

Mary B. Horton and Barbara K. Jackson.

YOUNG ARTISTS COMPETITION WInnerS COnCerT

Special thanks to the jurors of the Eighth Annual Mondavi Center Young Artists Competition:

Lara Downes, Mondavi Center Artist-in-ResidenceCharles Letourneau, IMG Artists and Festival del Sole Cindy Hwang, Concert Artists GuildKristin Schuster, IMG ArtistsSheri Greenawald, San Francisco OperaMina Perry, The Colburn SchoolMona Lands, UCLAClare Burovac, Portland OperaRichard AldagMalcolm Mackenzie

Calder Quartet Photo by Tyler Boye

The Mondavi Center Young Artists Competition is directed by Mondavi Center artist-in-residence Lara Downes, who founded the competition in 2004 with the generous support of founding sponsors John and Lois Crowe, Mary B. Horton and Barbara K. Jackson. The Young Artists Competition attracts pre-professional young musicians at the highest level from throughout the United States, offering scholarships and performance opportunities for pianists, instrumentalists, chamber ensembles and vocalists ages 10–22.

Auditions for the 2014 competition will be held nationwide beginning November 2013.

www.mondavidarts.org/youngartists

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.



FINALISTS FOR THE 2013 MONDAVI CENTER YOUNG ARTISTS COMPETITION

Founders Division VoiceErika Baikoff: Brooklyn, NY

Jacob Brown: Santa Rosa, CA

Yelena Dyachek: Elverta, CA

Darren Jackson: Castle Hyne, NC

Robert May: New York, NY

Johnathan McCullough: Philadelphia, PA

Nicole Shorts: Los Altos, CA

Young Artists Division InstrumentalistsMichael Chung: Cupertino, CA

Alexander Goldberg: Redwood City, CA

Geneva Lewis: Irvine, CA

Derek Louie: New York, NY

Benjamin Penzner: Pasadena, CA

Alexander Stroud: Mountain View, CA

Albert Yamamoto: Berkeley, CA

David Yoon: Irvine, CA

Young Artists Division PianistsHo-Joon Kim: Los Angeles, CA

Nathan Kim: Portland, OR

Emily Kvitko: Palo Alto, CA

Ray Ushikubo: Riverside, CA

Roger Xia: Elk Grove, CA

Catharine Xu: San Jose, CA

Eun Young (Isabel) Park: Santa Clara, CA

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

That’s right. Every show. Every series. This and other great donor benefitsstart at the Producer Circle level.Call 530.754.5436 to learn more.

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

Using neighbor’s tickets.

Birthday splurge.

Waited for years to get this close.

*



A Capital Public Radio Studio Jazz Series Event

Wednesday–Saturday, March 6–9, 2013 • 8PM

Vanderhoef Studio Theatre

Sponsored by:

JuLIAn LAGe GrOup

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Julian Lage Group

Juilan Lage, Guitar

Dan Blake, Saxophone

Aristides Rivas, Cello

Jorge Roeder, Bass

Tupac Mantilla, Drums

DebutMC


Following his Grammy-nominated 2009 debut Sounding Point, vir-tuoso guitarist Julian Lage returns with the evocative and finely

wrought Gladwell—the second effort by his offbeat, eclectic group.

The album unfolds according to a fanciful and story-driven plan, as Lage explains: “We began playing with the idea of creating a story we could use as a guiding light in our writing process ... The result was the development of an imaginary and forgotten town known as Gladwell ... As a metaphor, Gladwell presented us with a clear archi-tecture, to compose songs that evoke feelings of people and places we hold dear.”

“Some songs specifically identify with particular parts of the town,” writes Lage, “while other pieces simply fit into the overall concept and musical direction. The intention of the music is to encourage the listener, at every turn, to take a step towards the unknown.”

As with his firtst album Sounding Point, Gladwell reflects Lage’s wide-ranging musical interests and talents, ranging from chamber music, American folk and bluegrass to Latin, world, string-band tradition and modern jazz. The album also exhibits contemporary singer-songwriter aesthetics.

The leader’s fluid improvisations and rich, beautifully captured tone on electric and acoustic guitars anchor the music at every step, but the contributions of the band members are equally indispensable.

“Dan has a background in classical composition as well as improvisa-tion,” says Lage, “so he brings a sense of curiosity to the band that is deeply rooted in a variety of traditions. From Aristides we’ve learned a tremendous amount about how to play as a chamber-like ensemble, how to utilize dynamics and blending, and how to move and breathe as a unit. The sound of cello has opened our ears to the world that lives between classical music and jazz, and it is amazing to witness how Aristides so uniquely marries the two. Tupac is like a conductor of energy, using his diverse palette of colors to shape and inform the music—his approach is never static, and it is exhilarating to share in his passion for uncovering new approaches. Jorge [who was the first member to join the band] has an incredible grounding force that enables the band to really take off in any direction at any point in time—I feel Jorge’s presence as kind of like the narrator of a story, always keeping an eye on the bigger perspective while remaining an active participant at every turn.”

Lage’s recent trio appearances with fiddle master Mark O’Connor (also collaborating with the violinist’s group, Hot Swing) and bass giant John Patitucci have only strengthened the imprint of Americana and acoustic music on his work. In fact, Lage debuted on record at age 11 on Dawg Duos (1999), featuring David Grisman, Vassar Clements, Edgar Meyer, Béla Fleck and more. “Those were my heroes,” Lage marvels. (He went on to recruit Fleck for three tracks on Sounding Point)

“Working with Mark O’Connor made me realize you can bring that simplicity and elegance of the guitar to the main stage,” says Lage. “A lot of times growing up I felt the guitar had to be more like a saxophone or a piano—it was never really encouraged in jazz to use capos or open tuning, for instance. With Mark I felt I had permis-sion to cultivate those sonic elements, and I discovered so much new music, like ‘Freight Train’ or old bluegrass tunes or old-time music. It’s so coupled with the design of the instrument. When you’re play-ing that music on the guitar, it’s as though all the lights are green.”

Hailed by All About Jazz as “a giant in the making,” Lage grew up in California and was the subject of an Academy Award-nominated documentary, Jules at Eight. He gained pivotal early exposure as a protégé of legendary vibraphonist Gary Burton, recording and touring with Burton on two projects: Generations (2004) and Next Generation (2005). Other recent high-profile sideman appearances include Lucky To Be Me and Let It Come To You by longtime friend and close collaborator, pianist Taylor Eigsti. Having reunited with Gary Burton for live engagements beginning in 2010, Julian can also be heard this year as a member of the New Gary Burton Quartet on the forthcoming CD, Common Ground (featuring Scott Colley and Antonio Sanchez).

With his previous Sounding Point, Lage arrived at a unique approach to composition and ensemble craft, a searching yet accessible sound that earned him his 2009 Grammy nomination for Best Contemporary Jazz Album. The music was “a major find,” declared Time Out New York—“springy, intelligent chamber Americana that fits perfectly into a spectrum of Nonesuch-style players like Bill Frisell and Chris Thile’s Punch Brothers.” This new album represents another stage in that evolution, building on the proven strengths of and solidifying a unique identity for Lage’s working band but continuing to open new doors and exploring new horizons. As Lage himself puts it: “Welcome to Gladwell.”


Sunday, March 10, 2013 7:00 pMJackSon hall, Mondavi center

Elgar: The Dream of GerontiusUniversity and Alumni Choruses | Jeffrey Thomas, conductor

Sacramento Opera Chorus

UC Davis Symphony Orchestra | Christian Baldini, music director

Wesley Rogers, tenor (Gerontius)Kendall Gladen, mezzo-soprano (Angel)Kevin Deas, bass-baritone (Priest, Angel of Agony)

D. Kern Holoman, conducting

$8 StudentS & children, $12/15/17 adultS | Standard SeatingTickets are available through the Mondavi Center Box Office | 530.752.2787 | mondaviarts.org



A Wells Fargo Concert Series Event

Thursday, March 7, 2013 • 8PM

Jackson Hall

Sponsored by

Individual support provided by John and Lois Crowe.

SArAh ChAnG, vIOLInAShLeY WASS, pIAnO

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Cantabile in D Major, MS 109 Paganini

Chaconne in G Minor (attributed to) Vitali

West Side Story Suite for Violin and Piano Bernstein

Arr. Newman

Intermission

Sonata No. 2 for Violin and Piano in D Major, Op. 94a Prokofiev

Andantino

Scherzo: Allegretto

Andante

Allegro con brio

DebutMC


PROGRAM NOTES

Cantabile in D Major, MS 109 (ca. 1824)Niccolò Paganini(Born October 27, 1782, in Genoa, Italy; died May 27, 1840, in Nice, France)

Of equal importance in Paganini’s technical arsenal to the multiple stops, trills, extended registers, harmonics, flashing scales and lightning arpeggios was his ability to conjure from the violin an unprecedented lyricism and sweetness of tone. Franz Schubert maintained that in Paganini’s slow playing he “heard an angel sing.” Gioacchino Rossini confessed that he had “wept only three times in my life. The first time when my earliest opera failed, the second time when, with a boating party, a truffled turkey fell into the water, and the third time when I heard Paganini play.” Of one Paganini performance, the respected Berlin novelist and music critic Ludwig Rellstab wrote, “The Adagio of his concerto was so straightforward that any student could have played it without difficulty—it was nothing more than a simple, plaintive air ... But never in my life have I heard such weeping. It was as if the lacerated heart of this suffering mortal were bursting with its sorrow ... I never knew that music contained such sounds. He spoke, he wept, he sang, and yet—compared with this Adagio—all virtuosity is as nothing. When the conclusion came, a burst of jubilation broke loose. The ladies leaned over the balustrade of the gallery to show they were applauding; the men stood on chairs to see him and call to him; I have never seen a Berlin audience so.” The lovely Cantabile, a touching manifestation of the songful strain in Paganini’s musical personality, was originally composed for violin and guitar. His reputation was, of course, founded upon his peerless violin playing, but it is little known that he was also a master of the guitar, which he enjoyed playing in private, and the most important 19th-century composer for the instrument outside Spain—some 200 works for guitar, including solo pieces, duos and chamber compositions with strings, were discovered among his effects after his death. The Cantabile, reminiscent of the melodious style of the Italian cantilena, is one of his most endearing lyrical inspirations.

Chaconne in G MinorAttributed to Tomaso Antonio Vitali(born March 7, 1663, in Bologna, Italy; died May 9, 1745, in Modena, Italy)

Tomaso Vitali’s father, Giovanni Battista, was an important figure in the development of Italian instrumental music and a leading musician in Bologna, where Tomaso was born on March 7, 1663. Tomaso learned composition and violin from his father and went with him to Modena when Giovanni joined the court musical establishment of the Estes in that city in 1674. Tomaso’s talent flourished quickly in Modena: he was playing in the court orchestra by 1675 and was later appointed the ensemble’s leader, and he remained in the employment of the Estes until 1742, just three years before his death in Modena. In 1706, Vitali was honored with membership in the distinguished Accademia Filarmonica of his native Bologna. His creative output consists principally of four volumes of trio sonatas in the style of Corelli issued in Modena between 1693 and 1701, but his fame rests largely on the well-known Chaconne in G Minor (though recent scholarship has thrown his authorship of the piece into doubt). The chaconne is an ancient variations form in which a short, repeated chord pattern is decorated with changing figurations and elaborations. This work (originally for violin and organ) is often cited as the most imposing predecessor of the majestic Chaconne that closes Johann Sebastian Bach’s Partita No. 2 for Unaccompanied Violin.

West Side Story Suite for Violin and Piano (1957; arranged in 2011)Leonard Bernstein(Born August 25, 1918, in Lawrence, Massachusetts; died October 14, 1990, in New York City)Arranged by David Newman(Born March 11, 1954, in Los Angeles)

West Side Story was one of the first musicals to explore a serious subject with wide social implications. More than just the story of the tragic lives of ordinary people in a grubby section of New York, it was concerned with urban violence, juvenile delinquency, clan hatred and young love. The show was criticized as harshly realistic by some who advocated an entirely escapist function for the musical, depicting things that were not appropriately shown on the Broadway stage. Most, however, recognized that it expanded the scope of the musical through references both to classical literature (Romeo and Juliet) and to the pressing problems of modern society. Brooks Atkinson, former critic of The New York Times, noted in his book Broadway that West Side Story was “a harsh ballad of the city, taut, nervous and flaring, the melodies choked apprehensively, the rhythms wild, swift and deadly.” West Side Story, like a very few other musicals—Show Boat, Oklahoma, Pal Joey, A Chorus Line, Sunday in the Park with George, Rent—provides more than just an evening’s pleasant diversion. It is a work that gave an entirely new vision and direction to the American musical theater.

The West Side Story Suite for Violin and Piano was arranged in 2011 for Sarah Chang by David Newman, who belongs to one of Hollywood’s most distinguished musical families: his father was Alfred Newman, composer of 230 film scores, nine of which won Oscars; one uncle, conductor-composer Lionel, headed the music department at 20th Century Fox; another uncle, Emil, scored more than 50 films; his cousin is singer and songwriter Randy Newman and his brother is Thomas Newman, one of Hollywood’s busiest composers. David Newman was born in Los Angeles in 1954 and started working as a studio musician even before receiving degrees in violin and conducting from the University of Southern California. He began composing for films with a song (the appetizing The Worm Eaters) for the 1977 You’ll End Up Eating Worms and scored his first complete features with Vendetta and Critters of 1986. He has since provided the music for nearly 100 films, including Throw Momma from the Train, The War of the Roses, The Mighty Ducks, Hoffa, Honeymoon in Vegas, Operation Dumbo Drop, The Phantom and Out to Sea. He has shown a remarkable skill in writing for comedies and animated features in recent years, scoring such movies as The Nutty Professor, Scooby Doo, The Cat in the Hat, Daddy Day Care, How to Lose a Guy in 10 Days, 102 Dalmatians, Ice Age and Alvin and the Chipmunks: The Squeakuel. David Newman has also served as music director of the Sundance Institute, music director and conductor of the Los Angeles Pops Orchestra and a guest conductor with the Utah Symphony, Los Angeles Philharmonic, American Symphony Orchestra (New York), National Orchestra of Belgium, New Japan Philharmonic and London’s Royal Philharmonic. He received his first Academy Award nomination in 1998 for Anastasia; in 2007, he was elected president of the Film Music Society and two years later was honored with BMI’s Richard Kirk Award, given annually for significant contributions to film and television music.

Sonata No. 2 for Violin and Piano in D Major, Op. 94a (composed for flute in 1942–43; arranged for violin in 1944)Sergei Prokofiev(Born April 23, 1891, in Sontzovka, Russia; died March 5, 1953, in Moscow)


Prokofiev conceived a special fondness for the flute during his stay in the 1920s in the United States, where he encountered what he called the “heavenly sound” of the French virtuoso Georges Barrère, solo flutist of the New York Symphony Orchestra and teacher at the Juilliard School. Two decades later, during some of the darkest days of World War II in the Soviet Union, Prokofiev turned to the flute as the inspiration for one of his most halcyon compositions. “I had long wished to write music for the flute,” he said, “an instrument which I felt had been undeservedly neglected. I wanted to write a sonata in delicate, fluid Classical style.” The Sonata for Flute and Piano in D Major, his only such work for a wind instrument, was begun in September 1942 in Alma-Ata, where he and many other Russian artists had been evacuated as a precaution against the invading German armies. Indeed, the city served as an important movie production site for the country at that time, and Prokofiev worked there with director Sergei Eisenstein on their adaptation of the tale of Ivan the Terrible as a successor to their brilliant Alexander Nevsky of 1938. It was as something of a diversion from the rigors and subject matter of Ivan that Prokofiev undertook the Flute Sonata, telling his fellow composer Nikolai Miaskovsky that creating such a cheerful, abstract work during the uncertainties of war was “perhaps inappropriate at the moment, but pleasurable.” Early in 1943, Prokofiev moved to Perm in the Urals, and it was in the relative calm of that city that the Sonata was completed during the summer. When the work was premiered in Moscow on December 7, 1943, by flutist Nikolai Kharkovsky and pianist Sviatoslav Richter, it drew as much attention from violinists as flutists, and David Oistrakh persuaded the composer to make an adaptation for violin, which that master string player and Lev Oborin introduced on June 17, 1944, as the Violin Sonata No. 2, Op. 94a. (Though Prokofiev’s only other sonata for violin, begun in 1938, was not completed until 1946, he dubbed it No. 1.) The D Major Sonata has since come to be regarded equally as the province of wind and string recitalists.

Israel Nestyev called this Sonata “the sunniest and most serene of [Prokofiev’s] wartime compositions,” and Dmitri Shostakovich allowed that it was “a perfectly magnificent work.” The piece has frequently been compared in its formal lucidity and immediate appeal to the “classical” symphony, though the sly, youthful insouciance of the earlier work is here replaced by a mature, comfortably settled mode of expression. “The character of the Sonata’s principal images,” Nestyev continued, “the quiet, gentle lyricism of the first and third movements, the capricious merriment of the second movement and the playful dance quality of the finale—suit the color of the instruments splendidly.” Each of the four movements is erected upon a Classical formal model. The main theme of the opening sonata-form Andantino is almost wistful in the simplicity with which it outlines the principal tonality of the work. A transition of greater animation leads to the subsidiary subject, whose wide range and dotted rhythms do not inhibit its lyricism. In typical Classical fashion, the exposition is marked to be repeated. The development elaborates both of the themes and adds to them a quick triplet figure played by the violin to begin the section. A full recapitulation, with appropriately adjusted keys, rounds out the movement. The second movement is a brilliantly virtuosic scherzo whose strongly contrasting trio is a lyrical strain in duple meter. The Andante follows a three-part form (A–B–A), with a skittering central section providing formal balance for the lovely song of the outer paragraphs. The finale is a joyous rondo based on the dancing melody given by the violin in the opening measures.

—Dr. Richard E. Rodda

An exCLuSIve WIne TASTInG experIenCe Of feATured WInerIeS FOR INNER CIRCLE DONORS

SEPTEMBER18 Bonnie Raitt Justin vineyards & Winery27 San Francisco Symphony Chimney rock Winery

OCTOBER6 Rising Stars of Opera Le Casque Wines25 From The Top with Christopher O'Riley Oakville Station

NOVEMBER7 Philharmonia Baroque Carol Shelton Wines 16 David Sedaris Senders Wines

DECEMBER5 Danú Boeger Winery

JAnuArY18 Monterey Jazz Festival pine ridge vineyards29 Yo-Yo Ma robert Mondavi Winery

FEBRUARY7 Kodo Zd Wines16 Itzhak Perlman valley of the Moon Winery

MARCH7 Sarah Chang Michael david Winery19 Jazz at Lincoln Center ramey Wine Cellars

APRIL5 Bobby McFerrin Groth vineyards & Winery19 Arlo Guthrie Trefethen family vineyards

MAY3 Christopher Taylor flowers Winery23 David Lomelí francis ford Coppola Winery

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

Featured wineries

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

2012—13


Sarah Chang (violin) is recognized as one of the world’s great violinists. Since her debut with the New York Philharmonic at the age of eight she has performed with the greatest orchestras, conductors and accompanists internationally in a career spanning more than two decades. In 2012, she will have recorded exclusively for EMI Classics for 20 years.

Chang tours extensively throughout the year. Recent highlights in the U.K. and U.S. include appearances with the London Symphony Orchestra, Los Angeles Philharmonic, National Symphony Orchestra (Washington), Royal Philharmonic Orchestra, Pittsburgh and Detroit symphony orchestras. She also performed in Norway, Romania, Austria, Canada, Poland and Denmark. Chang appears regularly in the Far East and returned to Seoul for concerts with the London Philharmonic Orchestra and to Guangzhou to perform with the Symphony Orchestra as part of the Asian Games Opening Festival.

In recital, Chang regularly travels internationally and her last season tour included visits to cities such as London, Zurich, Dublin, San Francisco, Los Angeles, Moscow and St. Petersburg. As a chamber musician, she has collaborated with such artists as Pinchas Zukerman, Wolfgang Sawallish, Yefim Bronfman, Leoif Ove Andsnes, Yo-Yo Ma, the late Isaac Stern and members of the Berlin Philharmonic Orchestra.

Chang’s most recent recording for EMI Classics, performances of Brahms and Bruch violin concertos with Kurt Masur and the Dresdner Philharmonie, was received to excellent critical and popular acclaim and was her 20th album for the label. Her 2007 recording of Vivaldi’s Four Seasons attracted international commendation, with BBC Music Magazine stating: “She has never made a finer recording.” She has also recorded Prokofiev Violin Concerto No.1 and Shostakovich Violin Concerto No.1 live with the Berliner Philharmoniker under the baton of Sir Simon Rattle, Fire and Ice, an album of popular shorter works for violin and orchestra with Placido Domingo conducting the Berliner Philharmoniker and Dvorák concerto with the London Symphony Orchestra and Sir Colin Davis, as well as several chamber music and sonata discs with artists including pianists Leif Ove Andsnes and Lars Vogt.

In 2006, Chang was honored as one of 20 Top Women in Newsweek’s “Women and Leadership, 20 Powerful Women Take Charge” issue. In March 2008, Chang was honored as a Young Global Leader for 2008 by the World Economic Forum (WEF) for her professional achievements, commitment to society and potential for shaping the future of the world.

In 2005, Yale University dedicated a chair in Sprague Hall in Chang’s name. For the June 2004 Olympic games, she was given the honor of running with the Olympic Torch in New York, and that same month, became the youngest person ever to receive the Hollywood Bowl’s Hall of Fame award. In 2004, Chang was awarded the Internazionale Accademia Musicale Chigiana Prize in Siena, Italy. She is a past recipient of the Avery Fisher Prize, Gramophone’s “Young Artist of the Year” award, Germany’s “Echo” Schallplattenpreis, “Newcomer of the Year” honors at the International Classical Music Awards in London and Korea’s “Nan Pa” award. Chang has been named the U.S. Embassy’s Artistic Ambassador since 2011.

Ashley Wass (piano), described as an endlessly fascinating artist, is firmly established as one of the leading performers of his genera-tion. He is the only British winner of the London International Piano Competition, prizewinner at the Leeds Piano Competition and a for-mer BBC Radio 3 New Generation Artist.

Increasingly in demand on the international stage, Wass has per-formed at many of the world’s finest concert halls including Wigmore Hall, Carnegie Hall and the Vienna Konzerthaus. He has performed as soloist with numerous leading ensembles, including all of the BBC orchestras, the Philharmonia, Orchestre National de Lille, Vienna Chamber Orchestra, Hong Kong Philharmonic, RLPO and under the baton of conductors such as Simon Rattle, Osmo Vanska, Donald Runnicles, Ilan Volkov and Vassily Sinaisky.

In June 2002, he appeared alongside Sir Thomas Allen, Mstislav Rostropovich and Angela Gheorghiu in a gala concert at Buckingham Palace to mark the Golden Jubilee of Queen Elizabeth II, a per-formance broadcast live to millions of viewers around the world. In recent years he has become a regular guest at the BBC Proms, making his debut in 2008 with Vaughan Williams’s Piano Concerto and returning in following seasons to perform works by Foulds, Stravinsky, Antheil and McCabe.

Renowned for a broad and eclectic repertoire, Wass has received great critical acclaim for his recordings of music from a wide range of styles and eras, with glowing reviews of his interpretations of com-posers such as Liszt, Franck, Beethoven and Bridge. His survey of Bax’s piano music was nominated for a Gramophone Award, and his discography boasts a number of Gramophone Editor’s Choice record-ings and BBC Music Magazine Choices.

Much in demand as a chamber musician, Wass regularly partners many of the leading artists of his generation. He is a frequent guest of international festivals such as Pharos (Cyprus), Bath, Ako (Japan), Cheltenham, Kuhmo, Mecklenburg, Gstaad, City of London and Ravinia and Marlboro in the U.S., playing solo recitals and cham-ber works with musicians such as Mitsuko Uchida, Steven Isserlis, Emmanuel Pahud, Richard Goode and members of the Guarneri Quartet and Beaux Arts Trio.

Wass is the artistic director of the Lincolnshire International Chamber Music Festival. The Festival has grown from strength to strength during his tenure, with sold-out performances of challeng-ing repertoire and broadcasts on BBC Radio 3.

Wass is currently a professor of piano at the Royal College of Music, London, and is an associate of the Royal Academy of Music.

ˇ


FURTHER LISTENING SARAH CHANG by Jeff hudSOn

The first time I saw Sarah Chang was in November 1995—she performed in Freeborn Hall under the old UC Davis Presents series. At the time, she was just shy of her 15th birthday and already had several albums to her credit on EMI.

Well, nearly 18 years have passed. And as Sarah Chang performs again in Davis tonight—in the 10-year-old Mondavi Center—she is a mature artist (albeit still in her early 30s) with 20 albums to her credit and a long list of appearances with major orchestras.

The “child prodigy” tag can be a challenging label to wear as an artist who became famous at an early age moves into adulthood. She took a complete break from performing for about a month and a half at age 18. Last year, Chang described that prodigy-to-pro adjustment in an interview with the Montreal Gazette. “It changes pretty quickly because people get tired of the child prodigy thing. You see this tiny eight-year-old in a pink puffy dress and she’s cute as a button and they go ‘Ahhh,’ because she’s so young. But then the whole game of this business that we’re in is that you strive for actual relationships within the musical community. It’s not about going to London once and having a great debut, it’s about longevity and it’s about having relationships with those conductors and those orchestras. So they invite you the first time and you do your

debut, but then when they invite you back the next visit has to be better than the previous visit, and the 10th visit has to be better than the ninth.”

Will she ever pick up a baton, as Joshua Bell did recently with the Academy of St. Martin in the Fields? “No, I wouldn’t because that is not what I do,” she told an interviewer in Manchester, England, last November. “I have so much respect for conductors and especially the ones that I have worked with. I managed to start out my career at a time when all these great maestros were around, such as Kurt Masur and Wolfgang Sawallisch, all living legends conducting. Out of my respect for them I could never dare to think that I could conduct. If it’s a small Mozart or Vivaldi piece where you can play and direct from the violin then I would do that.”

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

12 | MONDAVIARTS.ORG

IS A PROUD SPONSOR OF

THE ROBERT AND MARGRITMONDAVI CENTER FOR THE PERFORMING ARTS

CAMPUS COMMUNITY RELATIONS



A With A Twist Series Event

Tuesday, March 12, 2013 • 8PM

Jackson Hall

Sponsored by

There will be one intermission.

THE IMPROVISED SHAKESPEARE COMPANY

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THE IMPROVISED SHAKESPEARE COMPANYFully improvised plays using the language and themes of William Shakespeare.

Based on one audience suggestion (a title for a play that has yet to be writ-ten) The Improvised Shakespeare Company creates a fully improvised Shakespearean masterpiece right before your eyes. Nothing is planned out, rehearsed or written. All of the dialogue is said for the first time, the charac-ters are created as you watch and if ever you’re wondering where the story is going … so are they! You’ve never seen the Bard like this before!

Show HistoryThe Improvised Shakespeare Company, founded in 2005, has been perform-ing its critically acclaimed show every Friday night at the world famous iO Theater more than over seven years and continues to entertain audiences around the globe with its touring company. The ISC has been featured at the Piccolo Spoleto Fringe Festival, Bumbershoot Music and Arts Festival and the prestigious Just For Laughs festival in Montreal and Chicago. It has been named Chicago’s best improv group by both the Chicago Reader and the Chicago Examiner and has received a New York Nightlife Award for “Best Comedic Performance by a Group.” The ISC was recently honored by the Chicago Improv Foundation as its Ensemble of the Year.

Facebook.com/improvisedshakespeareTwitter.com/ImprovShakesCowww.improvisedshakespeare.com


Founded in 1962, the College of Engineering at UC Davis has awarded more than 21,000 graduate and undergraduate degrees. The college has more than 200 faculty, including 12 members of the prestigious National Academy of Engineering (NAE), 45 recipients of PECASE/CAREER awards, and numerous fellows.

Our researchers collaborate with numerous partners at UC Davis, including those from the School of Medicine, the School of Veterinary Medicine and the Graduate School of Management. Our global industry and government partners include many from Silicon Valley, the Bay Area and the Sacramento Region. Annual research expenditures at the College of Engineering total more than $90 million (2010-11).

UC Davis Engineering is consistently ranked among the Top 20 U.S. public university engineering programs (U.S. News & World Report 2011). UC Davis Engineering’s key research strengths are in energy, environment and sustainability; engineering in medicine; and information technology and applications.

Blaine Swen is the creator and director of The Improvised Shakesepare Company. He comes from California where he performed with ComedySportz, Ultimate Improv and iO West. Currently, he can be seen performing at iO Chicago with the DelTones and the Armando Diaz Experience. His other iO credits include the house team Bullet Lounge and the one-man improvised musical, BASH!. He enjoys touring with the iO Road Show and the Second City’s BizCo. He has performed in Chicago with the Chicago Shakespeare Theatre, Pegasus Players Theatre and the Second City Education Company. The Chicago Reader recently named him 2010’s “Best Improviser in Chicago.”

Joey Bland moved to Chicago from Virginia, where he attended the College of William & Mary. Outside The Improvised Shakespeare Company, he has performed with ComedySportz, the iO Theater and the Second City. For two years, Bland traveled the world with the Second City Touring Company, and in 2009, he played the title role in the Second City’s hit, original musical, Rod Blagojevich, Superstar. Bland is a two-time Jeopardy champion.

Brendan Dowling is a Massachusetts native and a graduate of the College of William & Mary. In Chicago, he has toured with the Second City’s National Touring Company and has been a member of ComedySportz. He also performed in the Second City Denver’s inaugural production of Red Scare, as well as writing and performing the Second City Denver’s How I Lost My Denverginity. Dowling can also be seen creating improvised musicals with Baby Wants Candy. He would like to thank his family for being so great.

Greg Hess originally hails from Virginia and is a graduate of the College of William & Mary. He moved to Chicago to study acting and improvisation at iO Chicago and the Second City, where he was a member of the Second City’s national touring company. Currently, he is an ensemble member of Baby Wants Candy, and performs weekly with his critically acclaimed four-man show Cook County Social Club. He is a graduate of the School at Steppenwolf.

Hans Holsen toured the U.S. with the Second City National Touring Company for two years, and toured the Netherlands with Boom Chicago for two years as well, but was mainly tethered to Boom’s main stage in Amsterdam. He currently performs with Second City’s Improv All-Stars at the Second City’s Up Comedy Club. At iO, he also performs with Ringo Starr. At The Annoyance, he performs with FishNutz and in the Holy F*** Comedy Hour. At the Apollo Theater, Holson plays as a member of the worldwide musical improv concern Baby Wants Candy. Film credits include and are limited to Let’s Go to Prison. Find some commercials and stuff at hansholsen.com.


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

BALLET DIRECTOR

RONCUNNINGHAM

ISSUE #6

PLAYWRIGHT

GREGG COFFINISSUE #7

TONY WINNER

FAITH PRINCEISSUE #8

ACTOR

COLIN HANKSISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDIISSUE #16

BROADWAY STAR

MARA DAVIISSUE #19



A Hallmark Inn, Davis

Children’s Stage Series Event

Friday, March 15, 2013 • 7PM

Saturday–Sunday, March 16–17, 2013

• 2PM and 7PM


Sponsored by

THE CASHORE MARIONETTESSIMPLE GIFTS

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Maestro Janos Zelinka in The Lark AscendingMusic by R. Vaughan Williams

Oxford University Press (ASCAP). Used by permission. All rights reserved. Courtesy of Capitol Records.

Elmo in The Stand-In“The Blue Danube Waltz” by Johann Strauss

Courtesy of CBS Records.

A LullabyConcerto in D Major, Largo by Antonio Vivaldi

Courtesy CBS Records.

Ramul in The Encounter

Old Mike in No Address“Corral Nocturne” by Aaron Copland

By arrangement with The Aaron Copland Fund for Music, copyright owner; and Boosey & Hawkes, Inc., sole publisher and licensor.

Courtesy CBS Records.

SIMPLE GIFTS

Program continued on p. 21


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Cyclone in A PastoralSymphony No. 6 in F Major by Beethoven and The Moldau by Smetana

Courtesy DeWolfe Music.

In The Dream TimeMusic composed and performed by Rodney Whittenberg

Closing music composed and performed by Angelo Marano

Sara in The Scholar

Bo in Simple Gifts“Calm and Flowing” by Aaron Copland (“Simple Gifts”—Shaker melody)

By arrangement with the Aaron Copland Fund for Music, copyright owner; and Boosey & Hawkes, Inc., sole publisher and licensor.

Courtesy CBS Records

MetalMusic performed by Matt Mazurek.

The Quest“The Flying Dutchman” by R. Wagner and “Triumphal March” from Aida by G.Verdi.

Courtesy DeWolfe Music.

mance. Also, let them know that applause and laughter are the audi-ence’s way of letting the performers know if they’re doing a good job.

Thank you again for your assistance as we introduce young people to live theater and educate audiences for the future.

Joseph Cashore, at the age of 11, created his first marionette from clothespins, wood string and a tin can. It was while playing with this puppet that he was startled by the sudden but momentary sensation that the puppet was alive.This illusion had nothing to do with the appearance of the marionette and everything to do with the quality of the movement.

After graduation from college, Cashore made his second marionette. He remembered that first marionette from childhood and thought he would try to make a puppet that could sustain and extend that sensation of being alive. He quickly discovered that in order to have the fluid motion he sought, he would have to create his own control designs. For the next 19 years, while pursuing a career in oil paint-ing, Cashore experimented with the construction of the marionettes and devised totally new control mechanisms.

Cashore has been performing full-time since 1990 across North America, Europe and Asia. He has received numerous awards includ-ing a Pew Charitable Trusts Fellowship for Performance Art, based upon his artistic accomplishment. He has also received a Henson Foundation Grant, an award intended to help promote puppetry to adult audiences. Cashore has been awarded the highest honor an American puppeteer can receive, a UNIMA Citation of Excellence. UNIMA states that Citations are “awarded to shows that touch their audiences deeply; that totally engage, enchant and enthrall.”

Cashore lives in Colmar, Pennsylvania, with his wife, Wilma, the assistant for this performance.

PROGRAM NOTES

A marionette is a puppet controlled from above by strings. The word “marionette” is derived from “Mary” and originated in Europe in the Middle Ages when nativity plays were performed using the stringed puppets. However, marionettes themselves are much older, and no specific date can be given.

In the U.S., puppet shows are often considered to be exclusively for children; however throughout the rest of the world, puppet and marionette plays are classically adult entertainment.

www.cashoremarionettes.com

An Important Note to ParentsThank you for bringing your family to this production of the Cashore Marionettes. This show is perhaps different from other puppet shows you may have attended. Without the use of words, the marionettes create images and evoke emotions which are often humorous or whimsical but which, at times, may be quiet or serious. The mood can be easily disrupted by audience behavior that might be acceptable in a different theatrical context.

Children may not realize that the performer can hear them if they talk during the performance. Children who are absorbed with the show may not even realize that they are speaking out loud. However, calling out comments, talking and eating snacks can be very distracting to the performers as well as to the rest of the audi-ence, particularly at quiet, serious moments in the show.

Please take this time before the show begins to tell your children of the important role they play as audience members in ensuring the success of a live presentation. Assure your children that they can dis-cuss everything they see with you after the performance is over. But, during the show is the time for them to quietly focus on the perfor-

The Cashore Marionettes are represented by Baylin Artists Management.


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Don Roth is the executive director of the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis. A native of New York City, Roth joined the Mondavi Center in June 2006, arriving from the Aspen Music Festival and School, where he served as president from 2001–06. His tenure at the Mondavi Center has seen the initiation of new artistic and educational partnerships with the San Francisco Symphony and the Curtis Institute; the development of residencies by world-renowned com-panies such as Shakespeare’s Globe and the St. Louis Symphony; the launching of initiatives to increase interest in classical music funded by a major Andrew W. Mellon Foundation grant; and the beginnings of the popular Just Added events. Previously Roth served as president of the St. Louis and Oregon symphonies and as general manager of the San Francisco Symphony.

Currently, Roth serves as the co-chair of Sacramento Mayor Kevin Johnson’s regional arts initiative, “For Arts’ Sake” and on the Board of Directors of San Francisco Classical Voice. Roth is also an over-seer of the Curtis Institute of Music and a member of the Directors Council (emeritus Board) of the League of American Orchestras. He has chaired numerous panels for the National Endowment for the Arts and chaired the Orchestra League’s Management Fellowship Program. Roth has served as a member of the Executive Committee of the Board of Directors of the Sacramento Philharmonic. Roth holds a doctorate from the University of Texas with a specialty in African-American History. He has written about popular music for Rolling Stone and Texas Monthly.

PPT

pre-performance Talk Speaker: don roth


A Western Health Advantage Orchestra Series Event


Jackson Hall

Sponsored by

Support for the St. Louis Symphony residency activities

provided by The Andrew W. Mellon Foundation

Individual support provided by Ralph and Clairelee

Leiser Bulkley.

pre-performance TalkSunday, March 17, 2013 • 6PMJackson HallSpeakers: David Robertson, Music Director and Conductor, in conversation with Don Roth, Executive Director of the Mondavi Center, UC Davis


ST. LOuIS SYMphOnYdavid robertson, music director and conductor

James ehnes, violin

Variations on a Theme of Joseph Haydn, Op. 56a Brahms Chorale St. Antoni: Andante Variation I: Poco più animatoVariaton II: Più vivaceVariation III: Con moto Variation IV: Andante con motoVariation V: VivaceVariation VI: VivaceVariation VII: Grazioso Variation VIII: Presto non troppoFinale: Andante

Violin Concerto Berg Andante; Allegretto Allegro; Adagio

James Ehnes, violin

Symphony No. 2 in D Major, Op. 36 BeethovenAdagio molto; Allegro con brio

Larghetto Scherzo: Allegro Allegro molto

Intermission

PROGRAM


PROGRAM NOTES

Variations on a Theme of Joseph Haydn, Op. 56a (1873)Johannes Brahms(Born May 7, 1833, in Hamburg, Germany; died April 3, 1897, in Vienna)

Were he not a composer, Johannes Brahms might have become an outstanding music historian. He collected a large library of manu-scripts and printed scores from all periods and was a serious student of compositional practice from the Renaissance until his own time. Among his friends were a number of musicologists, and he was keenly attentive to their work. But Brahms was a composer first and foremost, and his interest in the music of earlier eras had its most significant results in his own work. It particularly affected his choice of forms. He was one of the few musicians of his day with a practical knowledge of such venerable procedures as passacaglia and variation set, and he never questioned that these could still be vehicles for original and contemporary musical invention.

Nowhere did Brahms demonstrate that conviction more convincingly than in the Variations on a Theme of Joseph Haydn, written in 1873. Brahms initially composed this work for two pianos, but he must have sensed immediately its potential for larger instrumental forces, for the two-piano score was scarcely finished when he commenced an orchestration of it.

Variations and Passacaglia: The subject of these remarkable Variations is a modest theme known as “St. Anthony’s Chorale,” which Brahms found in a wind-band partita attributed to Haydn. (Recent scholar-ship has questioned Haydn’s authorship of the work, but no mat-ter.) Brahms presents this melody in timbres that suggest its source, assigning it to the orchestral woodwinds in the opening section of the piece. Each of the eight variations that follow preserves the harmonic outline of the theme but offers entirely new elements of rhythm, melodic contour, texture and instrumental color. The finale is not properly a variation of the theme, since it does not follow the phrases of the original melody. It is, rather, a passacaglia, a self-contained set of variations over a recurring five-measure figure heard at the outset in the basses and cellos. Over and around this figure Brahms spins a succession of countermelodies. When, at the move-ment’s climax, the humble chorale melody emerges from the general texture, it has been transformed to something unexpectedly glorious.

Violin Concerto (1936)Alban Berg(Born February 9, 1885, in Vienna; died December 24, 1935, in Vienna) Concerto as Requiem: Alban Berg was, along with Arnold Schoenberg and Anton Webern, part of a triumvirate of Viennese composers who pioneered a radically new musical language in the early decades of the 20th century. Even so, Berg was not a musician of revolutionary temperament. On the contrary, he had great reverence for musical tradition. His Violin Concerto is not an iconoclastic piece but, rather, one that draws substance from, and pays homage to, the musical past.

We owe this composition to the American violinist Louis Krasner,

who early in 1935 asked Berg to write a new work for him. In response, the composer began sketching a violin concerto, but the character of the composition soon took on a new dimension. In April, the composer learned that Manon Gropius, the 18-year-old daughter of Alma Mahler by her second husband, the archi-tect Walter Gropius, had died. Berg had remained close to Gustav Mahler’s widow since that composer’s death, in 1911. He was par-ticularly fond of Manon, and he now developed a conception of the Violin Concerto as a requiem for her. Working at a pace unprec-edented in his career, he completed it in a matter of months. Sadly, he never heard this, his final composition. By the end of the year, Berg himself was dead from blood poisoning resulting from an insect sting.

The Memory of an Angel: The concerto is built from a 12-note series that is pregnant with beautiful musical ideas. As its most basic fea-ture, the series outlines a number of major, minor and altered chords that permeate the work with dark harmonies and fleeting tonal relationships. Most of the thematic material also derives from the series, but Berg relaxes his serial procedures to allow two extrane-ous quotations. The first is an Austrian folk song that appears near the end of the first movement. The second, and more significant, is the Lutheran chorale Es ist genug (“It is enough”) in its familiar har-monization by Bach. Although both melodies are tenuously related to the series, their appearance in the concerto can be attributed to poetic rather than formal considerations.

The concerto is in two movements, each in turn divided into two sub-sections. The first movement, widely regarded as a portrait of Manon Gropius, begins with an elegiac Andante in which the solo violin is heard “tuning up” on its open strings. This tuning motif, the concerto’s most important theme, will recur in varied forms through-out the work. There follows a scherzo-like section in which Berg mimics popular Viennese tunes. Here we encounter the Austrian folk song, sung nostalgically by the French horn.

The second movement opens with an accompanied soliloquy for the solo instrument. Beginning with a succession of violent chords, this section builds to a climax, with the rhythms of the folk song transformed into piercing orchestral cries. This gives way almost at once to the comforting strains of the chorale, around which Berg constructs the final Adagio. Again and again, phrases of the hymn emerge from the musical texture: “Es ist genug—It is enough.” A last, wistful recollection of the folk song dissolves back into the chorale, and the tuning motif brings the concerto to rest peacefully. The rev-erent quality of this final movement explains and is explained by, Berg’s dedication of the score: “To the Memory of an Angel.”

Symphony No. 2 in D Major, Op. 36 (1803)Ludwig van Beethoven(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)

De Profundis: The first years of the 19th century brought a period of growing crisis to Beethoven’s life. For some time the composer had been noticing a progressive deterioration in his hearing, a develop-ment he found, understandably, more than a little disturbing. Early in 1802, Beethoven had placed his medical care in the hands of one Dr. Johann Schmidt, a prominent Viennese physician. Schmidt could not have cured the ailment that most concerned Beethoven. Medical


investigators now generally agree that the cause of the composer’s deafness was an irreversible deterioration of the auditory nerve. But the physician treated his illustrious patient as best he could. In the summer of 1802, he urged Beethoven to take lodgings in Heiligenstadt, a village outside Vienna, where the composer could spare his hearing as much as possible and bathe at a spa in whose curative powers Schmidt placed great stock.

In Heiligenstadt, where he remained all summer and into autumn, Beethoven’s hearing continued to fade, and the long hours of isola-tion allowed him to brood with increasing despondency on his con-dition. Finally, no longer able to contain his despair, the composer made out a will, an extraordinary document now known as the “Heiligenstadt Testament,” in which he gave voice to his anguish in dramatic and desperate language and even broached the possibility of suicide.

Bright Music: The emotional abyss reflected in the “Heiligenstadt Testament” might have paralyzed another artist, or perhaps yielded bleak music full of grief or fury. Yet the chief product of Beethoven’s season at Heiligenstadt was his Symphony No. 2, one of the com-poser’s sunniest works. Beethoven had made sketches for this piece during the previous winter and spring and brought them to Heiligenstadt. By the time he returned to Vienna, in the early autumn of 1802, the score was all but complete.

The first movement begins with a slow introduction. Its purpose seems to be not merely to precede the main body of the movement but to gather energy and momentum that can only be released in a quicker tempo, making the Allegro not merely a conventional consequence but a necessary one. The music of this latter section derives a good deal of its vitality from the relentless forward drive of Beethoven’s themes and the purposeful manner in which the composer employs them.

The Larghetto second movement has about it the air of a nocturnal serenade. By contrast, the ensuing scherzo is a merry romp, its sud-den forte crashes and off-beat accents reflecting the rough humor that all Beethoven’s acquaintances attributed to him. This jocular spirit carries over into the finale. Here sudden outbursts and rhyth-mic surprises again enliven the music, whose energy rivals that of the first movement.

—Paul Schiavo

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ST. LOuIS SYMphOnY 133rd SeASOn, 2012–13ned O. Lemkemeier, Chairman of the Board of Trustees

fred Bronstein, President and Chief Executive Officerdavid robertson, Music Director

Amy Kaiser, Director of the St. Louis Symphony Chorus, AT&T Foundation ChairKevin McBeth, Director of the St. Louis Symphony, IN UNISON Chorus

First ViolinsDavid HalenConcertmasterEloise and Oscar Johnson, Jr. Chair

Heidi HarrisAssociate ConcertmasterLouis D. Beaumont ChairMabel Dorn Reeder Honorary Chair

Celeste Golden Boyer Second Associate Concertmaster

Erin SchreiberAssistant Concertmaster

Dana Edson MyersJustice Joseph H. and Maxine Goldenhersh Chair

Jessica ChengMargaret B. Grigg Chair

Charlene ClarkEmily HoSilvian IticoviciSecond Associate Concertmaster Emeritus

Helen KimJane and Whitney Harris Chair

Joo KimManuel RamosXiaoxiao QiangAngie SmartMary and Oliver Langenberg Chair

Hiroko YoshidaEllen dePasquale**

Second ViolinsAlison HarneyPrincipal Dr. Frederick Eno Woodruff Chair

Kristin AhlstromAssociate PrincipalVirginia V. Weldon, M.D. Chair

Eva KozmaAssistant Principal

Rebecca Boyer HallNicolae BicaDeborah BloomLisa ChongElizabeth Dziekonski

Lorraine Glass-HarrisLing Ling GuanJooyeon KongAsako KubokiWendy Plank RosenShawn Weil

ViolasBeth Guterman ChuPrincipal Ben H. and Katherine G. Wells Chair

Kathleen Mattis Associate Principal

Christian Woehr Assistant Principal

Weijing Wang***Mike Chen***Gerald FlemingerSusan GordonLeonid GotmanMorris JacobDi ShiShannon Farrell WilliamsEva Stern**Chris Tantillo**

CellosDaniel Lee Principal Frank Y. and Katherine G. Gladney Chair

Melissa BrooksAssociate Principal Ruth and Bernard Fischlowitz Chair

Catherine LehrAssistant Principal

Anne FagerburgJames CzyzewskiDavid KimAlvin McCallBjorn RanheimElizabeth Chung**Davin Rubicz**

Double BassesUnderwritten in part by a generous gift from Jeanne and Rex Sinquefield

Erik Harris Principal Henry Loew Chair

Carolyn White Associate Principal

Christopher Carson Assistant Principal

David DeRisoWarren GoldbergSarah HoganDonald MartinRonald Moberly

HarpPrincipal*Elizabeth Eliot Mallinckrodt Chair

Megan Stout**Acting Principal

FlutesMark SparksPrincipal Herbert C. and Estelle Claus Chair

Andrea KaplanAssociate Principal

Jennifer Nitchman

Piccolo*

OboesPeter BowmanPrincipalMorton D. May Chair

Barbara OrlandActing Co-Principal

Philip RossActing Co-Principal

Michelle Duskey**Cally Banham

English HornCally Banham

ClarinetsScott Andrews PrincipalWalter Susskind Chair

Diana HaskellAssociate PrincipalWilfred and Ann Lee Konneker Chair

Tina WardJames Meyer

E-flat ClarinetDiana Haskell

Bass ClarinetJames Meyer

BassoonsAndrew Cuneo Principal Molly Sverdrup Chair

Andrew GottAssociate Principal

Felicia FolandAndrew Thompson

ContrabassoonAndrew Thompson

HornsRoger KazaPrincipal W.L. Hadley and Phoebe P. Griffin Chair

Thomas JöstleinAssociate Principal

James WehrmanTod BowermasterGregory Roosa***Lawrence StriebyJulia Erdmann**

TrumpetsPrincipal* Symphony Women’s Association Chair

Thomas DrakeActing Principal

Michael WalkActing Associate Principal David J. Hyslop Chair

Joshua MacCluer***Caroline Schafer**Kevin Cobb**

TrombonesTimothy MyersPrincipalMr. and Mrs. William R. Orthwein, Jr. ChairAssociate Principal*

Vanessa Fralick**Acting Associate Principal

Jonathan ReycraftGerard Pagano

Bass TromboneGerard Pagano

TubaMichael SandersPrincipal Lesley A. Waldheim Chair

TimpaniPrincipal*Symphony Women’s Association Chair

Thomas StubbsAssociate PrincipalPaul A. and Ann S. Lux Chair

PercussionWilliam JamesPrincipal St. Louis Post-Dispatch Foundation Chair

John KasicaDistinguished Percussion Chair

Thomas Stubbs

Keyboard InstrumentsPrincipal* Florence G. and Morton J. May Chair

Music LibraryElsbeth BruggerLibrarian

Henry SkolnickAssistant Librarian

Roberta GardnerLibrary Assistant

Stage StaffBruce MourningStage Manager

Joseph ClapperAssistant Stage Manager

Joshua RiggsStage Technician

Jeffrey Stone

*Chair vacant**Replacement***Leave of Absence


David Robertson (music director and conductor) is a consummate musician, masterful programmer and dynamic presence. He has estab-lished himself as one of today’s most sought-after American conduc-tors. A passionate and compelling communicator with an extensive orchestral and operatic repertoire, he has forged close relationships with major orchestras around the world through his exhilarating music-making and stimulating ideas. In fall 2012, Robertson launched his eighth season as music director of the 133-year-old St. Louis Symphony. In January 2014, while continuing as St. Louis Symphony music director, Robertson also will assume the post of chief conductor and artistic director of the Sydney Symphony in Australia.

In September 2012, the St. Louis Symphony and Robertson embarked on a European tour, which included appearances at London’s BBC Proms, at the Berlin and Lucerne festivals and at Paris’s Salle Pleyel. Violinist Christian Tetzlaff was the featured soloist for this tour, which marked the Symphony’s first European engagements since 1998 and first ever with Music Director Robertson. In March 2013, Robertson and his orchestra return to California for their second tour of the season, which includes tonight’s concert at the Mondavi Center for the Performing Arts. The orchestra will also perform at venues in Costa Mesa, Palm Desert and Santa Barbara, with St. Louis Symphony principal flute, Mark Sparks, as soloist.

In addition to his current position with the St. Louis Symphony, Robertson is a frequent guest conductor with major orchestras and opera houses around the world. During the 2012–13 season he appears with prestigious U.S. orchestras such as the New York Philharmonic, Los Angeles Philharmonic and San Francisco Symphony, as well as internationally with the Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks, Vienna Radio Symphony Orchestra, Israel Philharmonic and Ensemble Intercontemporain. In past seasons he has appeared nationally with the Boston and Chicago symphonies, Philadelphia and Cleveland orchestras and internationally with the Berlin Philharmonic, Staatskapelle Dresden, Royal Scottish National Orchestra and Sydney and Melbourne symphonies, among others.

With more than 45 operas in his repertoire, Robertson, who returned to the Metropolitan Opera in October 2012 for Mozart’s Le nozze di Figaro, has appeared at many of the world’s most prestigious opera houses including La Scala, Opéra de Lyon, Bayerische Staatsoper, Théâtre du Châtelet, Hamburg State Opera, Santa Fe Opera and San Francisco Opera.

Born in Santa Monica, California, Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. Robertson is the recipient of numerous awards and honors.

James Ehnes (violinist) is known for his virtuosity and probing musi-cianship. Ehnes has performed in more than 30 countries on five con-tinents, appearing regularly in the world’s great concert halls and with many of the most celebrated orchestras and conductors.

In the 2012–13 season Ehnes performs in the United States, Canada, United Kingdom, Sweden, Germany, Netherlands, France, Australia and New Zealand. Season highlights include the Brahms Concerto with Valery Gergiev and the London Symphony Orchestra at New

York’s Avery Fisher Hall, a tour to the far north of Canada with the National Arts Centre Orchestra, a solo violin recital at the Aix-en-Provence Easter Festival and return engagements with the Philharmonia, Rotterdam Philharmonic and San Francisco, Toronto, Gothenburg and City of Birmingham symphony orches-tras. An avid chamber musician, Ehnes will tour with his string quartet, the Ehnes Quartet, and lead the winter and summer festi-vals of the Seattle Chamber Music Society, where he is the artistic director.

Ehnes has an extensive discography of more than 25 recordings featuring music ranging from J.S. Bach to John Adams. Recent projects include two CDs of the music of Béla Bartók as well as a recording of Tchaikovsky’s complete works for violin. Upcoming releases include another Bartók disc as well as concertos by Britten, Shostakovich and Prokofiev. His recordings have been honored with many international awards and prizes, including a Grammy, a Gramophone and six Juno Awards.

Ehnes was born in 1976 in Brandon, Manitoba, Canada. He began violin studies at the age of four and at age nine became a protégé of the noted Canadian violinist Francis Chaplin. He studied with Sally Thomas at the Meadowmount School of Music and from 1993–97 at the Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation. Ehnes first gained national recognition in 1987 as winner of the Grand Prize in Strings at the Canadian Music Competition. The following year he won the First Prize in Strings at the Canadian Music Festival, the youngest musician ever to do so. At age 13, he made his major orchestral solo debut with the Orchestre symphonique de Montréal.

He has won numerous awards and prizes, including the first-ever Ivan Galamian Memorial Award, the Canada Council for the Arts’ Virginia Parker Prize and a 2005 Avery Fisher Career Grant. In 2005, Ehnes was honored by Brandon University with a Doctor of Music degree (honoris causa), and in 2007, he became the young-est person ever elected as a Fellow to the Royal Society of Canada. On July 1, 2010, the Governor General of Canada appointed Ehnes a Member of the Order of Canada.

James Ehnes plays the “Marsick” Stradivarius of 1715. He lives in Bradenton, Florida, with his wife and daughter.

ST. LOUIS SYMPHONY Founded in 1880, the St. Louis Symphony is the second-oldest orchestra in the country and is widely considered one of the world’s finest. In September 2005, internationally acclaimed conductor David Robertson became the 12th music director and second American-born conductor in the Orchestra’s history. In its 133rd season, the St. Louis Symphony continues to strive for artis-tic excellence, fiscal responsibility and community connection.

The St. Louis Symphony is one of only a handful of major American orchestras invited to perform regularly at the prestigious Carnegie Hall, with a return in November 2013 for a concert performance of Britten’s Peter Grimes in celebration of the com-poser’s centenary. Recordings by the Symphony have been honored with six Grammy Awards and 56 Grammy nominations over the


years. The Symphony has embraced technological advances in music distribution by offering recordings over the Internet including live performances of John Adams’s Harmonielehre, Szymanowski’s Violin Concerto No. 1, with Christian Tetzlaff, and Scriabin’s The Poem of Ecstasy, available exclusively on iTunes and Amazon.com. In 2009, the Symphony’s Nonesuch recording of John Adams’s Doctor Atomic Symphony and Guide to Strange Places reached No. 2 on the Billboard rankings for classical music and was named “Best CD of the Decade” by the Times of London. A Nonesuch recording of Adams’s City Noir and his upcoming concerto for saxophone, with Robertson and the Symphony, is planned for the near future.

In September 2012, the St. Louis Symphony received acclaim for its first European tour with Music Director David Robertson. The Symphony visited international festivals in London, Berlin and Lucerne, as well as Paris’s Salle Pleyel.

In 2008, the St. Louis Symphony launched Building Our Business, which takes a proactive, two-pronged approach: build audiences and re-invigorate the St. Louis brand, making the Symphony and Powell Hall the place to be; and build the donor base for enhanced institu-tional commitment and donations. This is all part of a larger strategic plan adopted in 2009 that includes new core ideology and a 10-year strategic vision focusing on artistic and institutional excellence, dou-bling the existing audience and revenue growth across all key operat-ing areas.

Innovative Make Over Coming Fall 2012

www.hallmarkinn.com (800)753-0035


A Capital Public Radio Jackson Hall Jazz Series Event

Tuesday, March 19, 2013 • 8PM

Jackson Hall

Sponsored by

Individual support provided by Tony and Joan Stone.


JAZZ AT LINCOLN CENTER ORCHESTRAWITH WYNTON MARSALIS

The Jazz at Lincoln Center Orchestra with Wynton Marsalis’s

25th Anniversary Tour

Wynton Marsalis, Music Director, TrumpetRyan Kisor, Trumpet

Marcus Printup, TrumpetKenny Rampton, Trumpet

Vincent R. Gardner, TromboneElliot Mason, Trombone

Chris Crenshaw, TromboneSherman Irby, Saxophones

Ted Nash, Alto and Soprano Saxophones, ClarinetWalter Blanding, Tenor and Soprano Saxophones, ClarinetVictor Goines, Tenor and Soprano Saxophones, B-flat and

Bass ClarinetsPaul Nedzela, Baritone and Soprano Saxophones, Bass

ClarinetDan Nimmer, Piano

Carlos Henriquez, BassAli Jackson, Drums

Artists are subject to change.

OFFICE OF CAMPUSCOMMUNITY RELATIONS

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

The Jazz at Lincoln Center Orchestra has also been featured in sev-eral education and performance residencies in the last few years, including in Vienne, France; Perugia, Italy; Prague, Czech Republic; London; Lucerne, Switzerland; Berlin; São Paulo, Brazil; Yokohama, Japan and elsewhere.

Television broadcasts of Jazz at Lincoln Center programs have helped broaden the awareness of its unique efforts in the music. Concerts by the Jazz at Lincoln Center Orchestra have aired in the U.S., England, France, Spain, Germany, the Czech Republic, Portugal, Norway, Brazil, Argentina, Australia, China, Japan, Korea and the Philippines. Jazz at Lincoln Center has appeared on sev-eral XM Satellite Radio live broadcasts and eight Live From Lincoln Center broadcasts carried by PBS stations nationwide; including a program which aired on October 18, 2004, during the grand open-ing of Jazz at Lincoln Center’s new home, Frederick P. Rose Hall, and on September 17, 2005, during Jazz at Lincoln Center’s Higher Ground Benefit Concert. Jazz at Lincoln Center’s Higher Ground Benefit Concert raised funds for the Higher Ground Relief Fund that was established by Jazz at Lincoln Center and administered through the Baton Rouge Area Foundation to benefit the musicians, music industry-related enterprises and other individuals and entities from the areas in Greater New Orleans who were impacted by Hurricane Katrina, and to provide other general hurricane relief. The band is also featured on the Higher Ground Benefit Concert CD that was released on Blue Note Records following the concert. The Jazz at Lincoln Center Orchestra was featured in a Thirteen/WNET produc-tion of Great Performances entitled Swingin’ with Duke: Lincoln Center Jazz Orchestra with Wynton Marsalis, which aired on PBS in 1999. In 2002, BET Jazz premiered a weekly series called Journey with Jazz at Lincoln Center, featuring performances by the Jazz at Lincoln Center Orchestra from around the world.

To date, 14 recordings featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis have been released and internationally dis-tributed: Vitoria Suite (2010); Portrait in Seven Shades (2010); Congo Square (2007); Don’t Be Afraid …The Music of Charles Mingus (2005); A Love Supreme (2005); All Rise (2002); Big Train (1999); Sweet Release & Ghost Story (1999); Live in Swing City (1999); Jump Start and Jazz (1997); Blood on the Fields (1997); They Came to Swing (1994); The Fire of the Fundamentals (1993) and Portraits by Ellington (1992).

Brooks Brothers is the official clothier of theJazz at Lincoln Center Orchestra with Wynton Marsalis.

www.jalc.orgfacebook.com/jazzatlincolncenter

twitter.com/jalcnycyoutube.com/jazzatlincolncenter

Jazz at Lincoln Center is dedicated to inspiring and growing audi-ences for jazz. With the world-renowned Jazz at Lincoln Center Orchestra and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education and broadcast events for audiences of all ages. These productions include concerts, national and international tours, resi-dencies, weekly national radio programs, recordings, publications, an annual high school jazz band competition and festival, a band director academy, jazz appreciation curriculum for students, music publishing, children’s concerts, lectures, adult education courses, student and educator workshops and interactive websites. Under the leadership of managing and artistic director Wynton Marsalis, execu-tive director Greg Scholl and chairman Robert Appel, Jazz at Lincoln Center produces thousands of events each season in its home in New York City, Frederick P. Rose Hall, and around the world.

The Jazz at Lincoln Center Orchestra (JLCO), comprising 15 of the finest jazz soloists and ensemble players today, has been the Jazz at Lincoln Center resident orchestra since 1988. Featured in all aspects of Jazz at Lincoln Center’s programming, this remarkably versatile orchestra performs and leads educational events in New York, across the U.S. and around the globe; in concert halls; dance venues; jazz clubs; public parks and with symphony orchestras; ballet troupes; local students and an ever-expanding roster of guest artists. Education is a major part of Jazz at Lincoln Center’s mission; its educational activities are coordinated with concert and Jazz at Lincoln Center Orchestra tour programming. These programs, many of which feature Jazz at Lincoln Center Orchestra members, include the celebrated Jazz for Young People family concert series; the Essentially Ellington High School Jazz Band Competition & Festival; the Jazz for Young People Curriculum; educational residencies; workshops; and concerts for students and adults worldwide. Jazz at Lincoln Center educational programs reach more than 110,000 stu-dents, teachers and general audience members annually.

The Jazz at Lincoln Center weekly radio series, Jazz at Lincoln Center Radio, is distributed by the WFMT Radio Networks. Winner of a 1997 Peabody Award, Jazz at Lincoln Center Radio is produced in conjunction with Murray Street Enterprise, New York. Under Music Director Wynton Marsalis, the Jazz at Lincoln Center Orchestra spends over a third of the year on tour. The big band performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Center-commissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Billy Strayhorn, Dizzy Gillespie, Benny Goodman, Charles Mingus, Chick Corea, Oliver Nelson and many others. Guest conductors have included Benny Carter, John Lewis, Jimmy Heath, Chico O’Farrill, Ray Santos, Paquito D’Rivera, Jon Faddis, Robert Sadin, David Berger, Gerald Wilson and Loren Schoenberg. Jazz at Lincoln Center also regularly premieres works commissioned from a variety of composers including Benny Carter, Joe Henderson, Benny Golson, Jimmy Heath, Wayne Shorter, Sam Rivers, Joe Lovano, Chico O’Farrill, Freddie Hubbard, Charles McPherson, Marcus Roberts, Geri Allen, Eric Reed, Wallace Roney and Christian McBride, as well as from current and former Jazz at Lincoln Center Orchestra members Wynton Marsalis, Wycliffe Gordon and Ted Nash.

Over the last few years, the Jazz at Lincoln Center Orchestra has per-formed collaborations with many of the world’s leading symphony


Wynton Marsalis (music director, trumpet) is the managing and artistic director of Jazz at Lincoln Center. Born in New Orleans, Louisiana, in 1961, Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered the Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Marsalis made his recording debut as a leader in 1982, and has since recorded more than 70 jazz and classical albums which have garnered him nine Grammy Awards. In 1983, he became the first and only artist to win both classical and jazz Grammys in the same year; he repeated this feat in 1984. Marsalis’s rich body of compositions includes “Sweet Release,” “Jazz: Six Syncopated Movements,” “Jump Start and Jazz,” “Citi Movement/Griot New York,” “At the Octoroon Balls,” “In This House, On This Morning” and “Big Train.” In 1997, Marsalis became the first jazz artist to be awarded the prestigious Pulitzer Prize in music for his oratorio Blood on the Fields, which was commissioned by Jazz at Lincoln Center. In 1999, he released eight new recordings in his unprecedented Swinging into the 21 series, and premiered several new composi-tions, including the ballet Them Twos, for a 1999 collaboration with the New York City Ballet. That same year, he premiered the monu-mental work “All Rise,” commissioned and performed by the New York Philharmonic along with the Jazz at Lincoln Center Orchestra and the Morgan State University Choir. Sony Classical released “All Rise” on CD in 2002. Recorded on September 14 and 15, 2001, in Los Angeles in the tense days following 9/11, “All Rise” features the Jazz at Lincoln Center Orchestra along with the Los Angeles Philharmonic, the Morgan State University Choir, the Paul Smith Singers and the Northridge Singers. In 2004, he released The Magic Hour, the first of six albums on Blue Note Records. He followed up his Blue Note debut with Unforgivable Blackness: The Rise and Fall of Jack Johnson, the companion soundtrack recording to Ken Burns’s PBS documentary about the great African-American boxer; Wynton Marsalis: Live at The House Of Tribes (2005); From the Plantation to the Penitentiary (2007); Two Men with the Blues, featuring Willie Nelson (2008); He and She (2009) and Here We Go Again (2011), featuring Willie Nelson, Wynton Marsalis and Norah Jones. To mark the 200th anniversary of Harlem’s historical Abyssinian Baptist Church in 2008, Marsalis composed a full mass for choir and jazz orchestra. The piece premiered at Jazz at Lincoln Center and fol-lowed with performances at the celebrated church. Marsalis’s second symphony, Blues Symphony, was premiered in 2009 by the Atlanta Symphony Orchestra and by the Boston Symphony Orchestra in 2010. That same year, Marsalis premiered his third symphony, Swing Symphony, a co-commission by the New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic and the Barbican Centre.

Walter Blanding (tenor saxophone) was born into a musical fam-ily on August 14, 1971, in Cleveland, Ohio, and began playing the saxophone at age six. In 1981, he moved with his family to New York City; by age16, he was performing regularly with his parents at the Village Gate. Blanding attended LaGuardia High School of Music & Art and Performing Arts and continued his studies at the New School for Social Research, where he earned a B.F.A. in 2005. His 1991 debut release, Tough Young Tenors, was acclaimed as one of the best jazz albums of the year, and his artistry began to impress listeners and critics alike. He has been a member of the Jazz at Lincoln Center Orchestra since 1998 and has performed, toured and/or recorded with his own groups and with such renowned artists as the Cab Calloway Orchestra, Roy Hargrove, Hilton Ruiz, Count Basie Orchestra, Illinois Jacquet Big Band, Wycliffe Gordon, Marcus

Roberts, Wynton Marsalis Quintet, Isaac Hayes and many others. Blanding lived in Israel for four years and had a major impact on the music scene while touring the country with his own ensemble and with U.S. artists such as Louis Hayes, Eric Reed, Vanessa Rubin and others invited to perform there. He taught music in several Israeli schools and eventually opened his own private school in Tel Aviv. During this period, Newsweek International called him a “Jazz Ambassador to Israel.”

Chris Crenshaw (trombone) was born in Thomson, Georgia, on December 20, 1982. Since birth, he has been driven by and sur-rounded by music. When he started playing piano at age three, his teachers and fellow students noticed his aptitude for the instru-ment. This love for piano led to his first gig with Echoes of Joy, his father Casper’s group. He picked up the trombone at 11 and hasn’t put it down since. He graduated from Thomson High School in 2001 and received his bachelor’s degree with honors in jazz perfor-mance from Valdosta State University in 2005. He was awarded Most Outstanding Student in the VSU Music Department and College of Arts. In 2007, Crenshaw received his master’s degree in jazz stud-ies from the Juilliard School where his teachers included Douglas Farwell and Wycliffe Gordon. He has worked with Gerard Wilson, Jiggs Whigham, Carl Allen, Marc Cary, Wessell Anderson, Cassandra Wilson, Eric Reed and many more. In 2006, Crenshaw joined the Jazz at Lincoln Center Orchestra and in 2012, he composed “God’s Trombones,” a spiritually focused work which was premiered by the orchestra at Jazz at Lincoln Center.

Vincent Gardner (trombone) was born in Chicago in 1972 and was raised in Hampton, Virginia. After singing and playing piano, violin, saxophone and French horn at an early age, he decided on the trombone at age 12. He attended Florida A&M University and the University of North Florida. He soon caught the ear of Mercer Ellington, who hired Gardner for his first professional job. He moved to Brooklyn, New York, after graduating from college, com-pleted a world tour with Lauryn Hill in 2000, then joined the Jazz at Lincoln Center Orchestra. Gardner has served as instructor at the Juilliard School, as visiting instructor at Florida State University and Michigan State University and as adjunct instructor at the New School. He has contributed many arrangements to the Jazz at Lincoln Center Orchestra and other ensembles. In 2009, he was commis-sioned by Jazz at Lincoln Center to write “The Jesse B. Semple Suite,” a 60-minute suite inspired by the short stories of Langston Hughes. Gardner is featured on a number of notable recordings and has recorded five CDs as a leader for Steeplechase Records. He has performed with the Duke Ellington Orchestra, Bobby McFerrin, Harry Connick, Jr., the Saturday Night Live Band, Chaka Khan, A Tribe Called Quest and many others.

Victor Goines (tenor saxophone) is a native of New Orleans, Louisiana. He has been a member of the Jazz at Lincoln Center Orchestra and the Wynton Marsalis Septet since 1993, touring throughout the world and recording more than 20 albums. As a lead-er, Goines has recorded seven albums including his latest releases, Pastels of Ballads and Blues (2007) and Love Dance (2007), on Criss Cross Records. A gifted composer, Goines has more than 50 original works to his credit. He has recorded and/or performed with many noted jazz and popular artists including Ahmad Jamal, Ruth Brown, Dee Dee Bridgewater, Ray Charles, Bob Dylan, Dizzy Gillespie, Lenny


Kravitz, Branford Marsalis, Ellis Marsalis, Dianne Reeves, Willie Nelson, Marcus Roberts, Diana Ross, Stevie Wonder and a host of others. Currently, he is the director of jazz studies/professor of music at Northwestern University. He received a bachelor of music degree from Loyola University in New Orleans in 1984 and a master of music degree from Virginia Commonwealth University in Richmond in 1990.

Carlos Henriquez (bass) was born in 1979 in the Bronx, New York. He studied music at a young age, played guitar through junior high school and took up the bass while enrolled in the Juilliard School’s Music Advancement Program. He entered LaGuardia High School of Music & Arts and Performing Arts and was involved with the LaGuardia Concert Jazz Ensemble, which won first place in Jazz at Lincoln Center’s Essentially Ellington High School Jazz Band Competition & Festival in 1996. In 1998, swiftly after high school, Henriquez joined the Wynton Marsalis Septet and the Jazz at Lincoln Center Orchestra, touring the world and featured on more than 25 albums. Henriquez has performed with artists including Chucho Valdes, Paco De Lucia, Tito Puente, the Marsalis Family, Willie Nelson, Bob Dylan, Stevie Wonder, Lenny Kravitz, Marc Anthony and many others. He has been a member of the music faculty at Northwestern University School of Music since 2008 and was music director of the Jazz at Lincoln Center Orchestra’s cultural exchange with the Cuban Institute of Music with Chucho Valdes in 2010.

Sherman Irby (alto saxophone) was born and raised in Tuscaloosa, Alabama. He found his calling to music at age 12. In high school, he played and recorded with gospel immortal James Cleveland. He grad-uated from Clark Atlanta University with a B.A. in music education. In 1991, he joined Johnny O’Neal’s Atlanta-based quintet. In 1994, he moved to New York City, then recorded his first two albums, Full Circle (1996) and Big Mama’s Biscuits (1998), on Blue Note. Irby toured the U.S. and the Caribbean with the Boys Choir of Harlem in 1995 and was a member of the Jazz at Lincoln Center Orchestra from 1995–97. During that tenure, he also recorded and toured with Marcus Roberts, was part of Betty Carter’s Jazz Ahead Program and Roy Hargrove’s groups. After a four year stint with Roy Hargrove, Irby focused on his own group in addition to being a member of Elvin Jones’s ensemble and Papo Vazquez’s Pirates Troubadours. Since 2003, Irby has been the regional director for JazzMasters Workshop, mentoring young children, and a board member for the CubaNOLA Collective. He formed Black Warrior Records and released Black Warrior, Faith, Organ Starter and Live at the Otto Club under the new label.

Ali Jackson (drums) developed his talent on drums at an early age. In 1993, he graduated from Cass Tech High School and in 1998, was the recipient of Michigan’s prestigious Artserv Emerging Artist award. As a child, he was selected as the soloist for the Beacons of Jazz concert which honored legend Max Roach at New School University. After earning an undergraduate degree in music com-position at the New School University for Contemporary Music, he studied under Elvin Jones and Max Roach. Jackson has been part of Young Audiences, a program that educates New York City youth on jazz. He has performed and recorded with artists including Wynton Marsalis, Dee Dee Bridgewater, Aretha Franklin, George Benson, Harry Connick, Jr., KRS- 1, Marcus Roberts, Joshua Redman, Vinx,

Seito Kinen Orchestra conductor Seiji Ozawa, Diana Krall and the New York City Ballet. His production skills can be heard on George Benson’s GRP release Irreplaceable. Jackson is also featured on the Wynton Marsalis Quartet recordings The Magic Hour (Blue Note, 2004) and From the Plantation to the Penitentiary. Jackson collabo-rated with jazz greats Cyrus Chestnut, Reginald Veal and James Carter on Gold Sounds (Brown Brothers, 2005) that transformed songs by indie alternative rock band Pavement into unique virtuosic interpretations with the attitude of the church and juke joint. He has been a member of the Jazz at Lincoln Center Orchestra since 2005. Jackson currently performs with the Wynton Marsalis Quintet, Horns in the Hood and leads the Ali Jackson Quartet. He also hosted “Jammin’ with Jackson,” a series for young musicians at Jazz at Lincoln Center’s Dizzy Club Coca-Cola. He is also the voice of “Duck Ellington,” a character in the Penguin book series Baby Loves Jazz that was released in 2006.

Ryan Kisor (trumpet) was born on April 12, 1973, in Sioux City, Iowa, and began playing trumpet at age four. In 1990, he won first prize at the Thelonious Monk Institute’s first annual Louis Armstrong Trumpet Competition. Kisor enrolled in Manhattan School of Music in 1991 where he studied with trumpeter Lew Soloff. He has performed and/or recorded with the Mingus Big Band, the Gil Evans Orchestra, Horace Silver, Gerry Mulligan and Charlie Haden’s Liberation Music Orchestra, the Carnegie Hall Jazz Band, the Philip Morris Jazz All-Stars and others. In addition to being an active sideman, Kisor has recorded several albums as a leader including Battle Cry (1997), The Usual Suspects (1998) and Point of Arrival (2000). He has been a member of the Jazz at Lincoln Center Orchestra since 1994.

Elliot Mason (trombone) was born in England in 1977 and began trumpet lessons at age four with his father. At age seven, he switched his focus from trumpet to trombone. At 11 years old, he was per-forming in various venues, concentrating on jazz and improvisation. By 16, Mason left England to join his brother Brad Mason at the Berklee College of Music on a full tuition scholarship. He has won the following awards: Daily Telegraph Young Jazz Soloist (under 25) Award, the prestigious Frank Rosolino Award, the International Trombone Association’s Under 29 Jazz Trombone competition and Berklee’s Slide Hampton Award in recognition of outstanding per-formance abilities. He moved to New York City after graduation, and in 2008, Mason joined Northwestern University’s faculty as the jazz trombone instructor. Mason has performed with the Count Basie Orchestra, Mingus Big Band, Maria Schneider Orchestra and the Maynard Ferguson Big Bop Nouveau. A member of the Jazz at Lincoln Center Orchestra since 2006, Mason also continues to co-lead the Mason Brothers Quintet with his brother. The Mason Brothers released their debut album, Two Sides, One Story in 2011.

Ted Nash (alto saxophone) was born into a musical family in Los Angeles. His father, Dick Nash, and uncle, the late Ted Nash, were both well-known jazz and studio musicians. The younger Nash exploded onto the jazz scene at 18, moved to New York and released his first album, Conception (Concord Jazz). He is co-leader of the Jazz Composers Collective and is constantly pushing the envelope in the world of traditional jazz. His group Odeon has often been cited as a creative focus of jazz. Many of Nash’s recordings have received


critical acclaim and have appeared on the “best-of” lists in The New York Times, New Yorker, Village Voice, Boston Globe and Newsday. His recordings, The Mancini Project and Sidewalk Meeting, have been placed on several “best-of-decade” lists. His album Portrait in Seven Shades was recorded by the Jazz at Lincoln Center Orchestra and was released in 2010. The album is the first composition released by the JLCO featuring original music by a band member other than band-leader Wynton Marsalis.

Paul Nedzela (baritone saxophone) was born in New York City in 1984 and has quickly become one of the top baritone saxophone players around. After graduating with honors and a degree in mathematics from McGill University in 2006, Nedzela received the Samuel L. Jackson scholarship and continued his musical studies at the Juilliard School. He has studied with baritone saxophone legends Joe Temperly, Gary Smulyan and Roger Rosenberg, and has played with renowned artists and ensembles including Wess Anderson, Paquito D’Rivera, Benny Golson, Roy Haynes, Christian McBride and the Temptations. Nedzela also performed in Twyla Tharp’s Broadway show, Come Fly Away, as well as at major festivals, such as The Monterey Jazz Festival and the Banff Music Festival.

Dan Nimmer (piano) was born in 1982 in Milwaukee, Wisconsin. With prodigious technique and an innate sense of swing, his play-ing often recalls that of his heroes, Oscar Peterson, Wynton Kelly, Erroll Garner and Art Tatum. Nimmer studied classical piano and eventually became interested in jazz. He began playing gigs with renowned saxophonist and mentor Berkley Fudge. Nimmer studied music at Northern Illinois University and became one of Chicago’s busiest piano players. A year after moving to New York City, he became a member of the Jazz at Lincoln Center Orchestra and the Wynton Marsalis Quintet. Nimmer has worked with Norah Jones, Willie Nelson, Dianne Reeves, George Benson, Frank Wess, Clark Terry, Tom Jones, Benny Golson, Lewis Nash, Peter Washington, Ed Thigpen, Wess “Warmdaddy” Anderson, Fareed Haque and many more. He has appeared on The Tonight Show with Jay Leno, The Late Show with David Letterman, The View, The Kennedy Center Honors, Live from Abbey Road and PBS’s Live from Lincoln Center, among other broadcasts. He has released four of his own albums on the Venus label (Japan).

Marcus Printup (trumpet) was born and raised in Conyers, Georgia. His first musical experiences were hearing the fiery gospel music his parents sang in church. While attending the University of North Florida on a music scholarship, he won the International Trumpet Guild Jazz Trumpet competition. In 1991, Printup’s life changed when he met his mentor, the great pianist Marcus Roberts. Roberts introduced him to Wynton Marsalis, which led to Printup’s induction into the Jazz at Lincoln Center Orchestra in 1993. Printup has recorded with Betty Carter, Dianne Reeves, Eric Reed, Madeline Peyroux, Ted Nash, Cyrus Chestnut, Wycliffe Gordon and Roberts, among others. He has recorded several records as a leader: Song for the Beautiful Woman, Unveiled, Hub Songs, Nocturnal Traces, The New Boogaloo, Peace in the Abstract, Bird of Paradise, London Lullaby, Ballads All Night and A Time for Love. He made his screen debut in the 1999 movie Playing by Heart and recorded on the film’s sound-track. August 22nd has been declared “Marcus Printup Day” in his hometown of Conyers, Georgia.

Kenny Rampton (trumpet) joined the Jazz at Lincoln Center Orchestra in 2010. He also leads his own sextet in addition to performing with the Mingus Big Band, the Mingus Orchestra, the Mingus Dynasty, George Gruntz’s Concert Jazz Band and the Manhattan Jazz Orchestra (under the direction of Dave Matthews). In 2010, Rampton performed with the Scottish National Jazz Orchestra at the Edinburgh International Festival and was the fea-tured soloist on the Miles Davis/Gil Evans classic version of Porgy and Bess. He toured the world with the Ray Charles Orchestra in 1990 and with the legendary jazz drummer Panama Francis, the Savoy Sultans and the Jimmy McGriff Quartet, with which he played for 10 years. As a sideman, Rampton has performed with Mingus Epitaph (under the direction of Gunther Schuller), Bebo Valdez’s Latin Jazz All-Stars, Maria Schneider, the Afro-Latin Jazz Orchestra, Charles Earland, Dr. John, Lionel Hampton, Jon Hendricks, Illinois Jacquet, Geoff Keezer, Christian McBride and a host of others. Most recently, he was hired as the trumpet voice on Sesame Street. Some of his Broadway credits include Finian’s Rainbow, The Wiz, Chicago: The Musical, In The Heights, Hair, Young Frankenstein and The Producers.

ComplimentaryMondavi Dessert

Special


BuildMatt McBane, Violin and Compositions

Andrea Lee, Cello

Michael Cassedy, Piano

Ben Campbell, Bass

Adam D. Gold, Drums

All program compositions by Matt McBane.

Swelter 2

Imagining Winter

Ride

In the Backyard

56

Cleave

Maintain

Magnet

Intermission

A Studio Classics: New Horizons Series Event

Saturday, March 23, 2013 • 8PM



Question & Answer SessionMembers of Build in conversation

with Lara Downes


LARA DOWNES, PIANOBUILD

MOVING IN PLACE

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Lara Downes, piano

Exiles’ Café

“If one lives in exile, the café becomes at once the family home, the nation, church and parliament, a desert and a place of pilgrimage, cradle of illusions and their cemetery.”

—Hermann Kesten

Mazurka No. 1, Op. 6, No. 1 Chopin

3 Hungarian Folksongs from the Bartok

Csík District, Sz.35a

The Peacock

At the Jánoshida Fairground

White Lily

Pastoral Sonatina, Op. 59 No. 3 Prokofiev

Dumka No. 2, H. 250 “Contemplation” Martinu

Tango Stravinsky

Fragments, Op. Posth Rachmaninoff

Lost in the Stars Weill

(arr. Jed Distler)

Sonata No. 2 in E Major Korngold

Mvmt 1: Moderato

Prelude No. 1 Bowles

Prelude No. 2

Prelude No. 3

Prelude No. 6

“Tango” from the Exiles’ Café Sahl

Romance, Op. 78, No. 2 Milhaud

Piano Miniature No. 11: For Syria Fairouz

Mazurka in F Minor, Op. 68, No. 4 Chopin

Build is a Brooklyn-based indie-classical band consisting of Matt McBane (violin and compositions), Andrea Lee (cello), Michael Cassedy (piano), Ben Campbell (bass) and Adam D. Gold (drums). Both in its make-up and music, Build is fundamen-tally a hybrid group. Since forming in December 2006, it has developed a body of work and a performance style that draw on (to name a few) minimalist chamber music, instrumental rock, modal jazz, American fiddle music, experimentalism and film music, reflecting Matt’s interests as a composer and the back-grounds of the band members. Time Out New York described Build as a “quintet that straddles the increasingly permeable line between chamber music and instrumental rock.”

Build released Place, its second album, in 2011 on New Amsterdam Records with distribution by Naxos. Place consists of nine new tracks that build upon the language of the self-titled first Build album. It is an expansive hour-long album whose tracks work both individually and collectively to create a cohe-sive dramatic arc across the entire album. Place uses a more sophisticated production that heightens the sound of the live band, brings out the core feeling of the individual tracks and creates at times a more tactile, more orchestral or more aggres-sive sound through the layering of tracks, processing of sounds, placement of mics, etc. The increased studio time that allowed that production approach was funded in part by fans through a Kickstarter fundraising campaign.

Build released its self-titled debut album on New Amsterdam Records in the summer of 2008, and in 2009, it was re-released with distribution from Naxos. It has received critical acclaim from both esteemed classical music critics and indie bloggers alike including Bloomberg News’ Alan Rich who praised its “skittery, unpredictable and utterly charming musical inven-tions,” Seattle Sound Magazine which stated “… the surreal wonderland Build leads you through is endlessly fascinating and often gorgeous” and Sequenza21, which praised the performanc-es on the disc: “If you listen, you hear that the rhythmic profile of the piece is treacherous. The performers make it sound easy, effortless and improvisational.” Recorded with a DIY ethic and miniscule budget, tracks from Build nonetheless went on to be played extensively on several of NPR’s major programs includ-ing All Things Considered, Morning Edition and Weekend Edition.

Build has performed at clubs, art spaces and concert halls throughout New York and across the country. Recent and upcoming performances include the Chelsea Art Museum (NYC), Joe’s Pub (NYC), UCSD’s ArtPower! (San Diego), the Carlsbad Music Festival (San Diego), Zipper Hall (LA), Montalvo Arts Center (California), the San Diego Museum of Art and the 2009 Bang on a Can Marathon, from which their performance was selected as a highlight for WNYC’s New Sounds by John Schaeffer.


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Lara Downes (piano), a captivating presence both on and offstage, is a critically acclaimed American pianist who has garnered wide acclaim as one of the most exciting and communicative pianists of today’s generation. Lauded by NPR as “a delightful artist with a unique blend of musicianship and showmanship” and praised by the Washington Post for her stunning performances “rendered with drama and nuance,” Downes presents the piano repertoire—from iconic favorites to newly commissioned works—in new ways that bridge musical tastes, genres and audiences.

As she continues to move the solo piano recital in exciting new directions, Downes’s fresh interpretations bring her widespread acclaim. Since making concert debuts at Queen Elizabeth Hall London, the Vienna Konzerthaus and the Salle Gaveau Paris, she has won over audiences at Carnegie Hall, Kennedy Center, Lincoln Center, the American Academy Rome, San Francisco Performances, the University of Vermont Lane Series, Montreal Chamber Music Festival, El Paso Pro Musica Festival and the University of Washington World Series, among many others. Her solo performance projects have received support from prominent organizations such as the National Endowment for the Arts, the Barlow Endowment for Music Composition and American Public Media.

Downes’s chamber music appearances include collaborations with other noted soloists and ensembles, including violinist Rachel Barton Pine, cellist Zuill Bailey, the Alexander String Quartet and the Brubeck Institute Jazz Quintet. Commissions and premieres of new works for Lara have come from composers Aaron Jay Kernis, David Sanford, Benny Golson, Eve Beglarian and Mohammed Fairouz, among others.

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Downes has been heard nationwide on major radio programs, including NPR’s Performance Today, WNYC’s New Sounds, WFMT’s Impromptu, Texas Public Radio’s Classical Spotlight and WBGO’s Jazz Set. She is featured in a documentary produced by WFMT Radio Network, syndicated nationally in 2011.

In addition to the excitement Downes brings to the concert stage, her solo recordings have met with tremendous critical and popular acclaim. Her debut CD, Invitation to the Dance, was called “a magical recording” by NPR, and her second release, American Ballads, was ranked by Amazon.com among the four best recordings of American concert music ever made. Dream of Me was praised for “exquisite snsitivity” by American Record Guide and 13 Ways of Looking at the Goldberg was called “addicting” by the Huffington Post and “magnifi-cent and different” by Sequenza 21.

Downes is the founder and president of the 88 KEYS Foundation, a non-profit organization that fosters opportunities for music experi-ences and learning in America’s public schools, and she regularly works and performs with the next generation of talented young musicians as Curator of the Young Artists program at the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, where she serves as artist in residence. She is the artistic director of The Artist Sessions in San Francisco, launching in April 2013.

Film design and production by Brawlio EliasExiles’ Café is a Steinway & Sons release, available wherever CDs are sold.

Share your own stories and images of exile at The Exiles Project: http://laradownespiano.tumblr.com/Lara Downes is a Steinway Artist.

Worldwide Representation for Lara Downes: Inverne Price Music Consultancy


FURTHER LISTENING LArA dOWneS by Jeff hudSOn

Tonight’s concert features several selections from Lara Downes’s new album Exiles’ Café, released on the Steinway and Sons label in February.

The album’s concept has been on her mind for years. “I once did a project called ‘Exodus’ that focused on composers who left Europe, fleeing Hitler, and ended up in Los Angeles, giving birth to modern film music”—like Eric Wolfgang Korngold.

“Then in 2010, the bicentennial of Chopin’s birth, I played a recital at the Polish embassy in Washington, D.C., on a piano that had belonged to Paderewski.” Chopin (1810–49) grew up in Warsaw but became an exile in France after the Russian army suppressed a Polish rebellion. Paderewski (1860–1941) was a Polish patriot, diplomat, Prime Minister, composer and musician; he died in New York, separated from his homeland by the Iron Curtain.

“I thought about the impact exile had on them,” Downes said. “I started thinking about how many other composers made radical voyages, the impact that their trips had on them and the different places they ended up.”

So Exiles’ Café includes music by Sergei Rachmaninoff and Igor Stravinsky, Russian composers who left because of the 1917 Soviet Revolution. Also Sergei Prokofiev, who likewise left Russia, lived in the West, and then returned—“but he went back into a Russia that was a new world, totally different than the country he’d grown up in,” Downes observed.

The album also features music by William Grant Still (1895–1978), the African-American composer whose works were performed by major orchestras in Berlin and London. Downes sees him as an exile “because he wrote lots of works that are in homage of Africa, but without a lot of tangible information about what African music sounded like. I thought about the impossibility of him reaching his ancestral homeland.”

And Downes included music by Mohammed Fairouz, a young American-born composer of Egyptian heritage whose music melds Western and Middle Eastern concepts.

Downes found herself attracted to an imaginary Exiles’ Café where composers and musicians who’d experienced “not being in the place where they belong” could meet, mingle and exchange stories. Downes has set up a place (http://laradownespiano.tumblr.com) where people who listen to the album can relay their own stories of exile.

Downes is, of course, delighted to have the album released on Steinway, a commercial label launched in 2010, and she’ll be touring and performing in Steinway showrooms this spring.

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

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Mondavi Center Donors are dedicated arts patrons whose gifts to theMondavi Center are a testament to the value of the performing arts in our lives.

Mondavi Center is deeply grateful for the generous contributions of the dedicated patrons who give annual �nancial support to our organization. These donations are an important source of revenue for our program, as income from ticket sales covers less than half of the actual cost of our performance season.

Gifts to the Mondavi Center strengthen and sustain our e�orts, enabling us not only to bring memorable performances by world-class artists to audiences in the capital region each year, but also to introduce new genera-tions to the experience of live performance through our Arts Education Program, which provides arts education and enrichment activities to more than 35,000 K-12 students annually.

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

The Art of Giving

During this 10th Anniversary season, we are pleased to announce the creation of the Mondavi Center Legacy Circle, an honorary society that recognizes our supporters who have remembered the Center in their estate plans. These gifts make a di�erence for the future of performing arts, and we are most grateful.

Please join us in thanking our founding Legacy Circle members:

Wayne and Jacque Bartholomew

John and Lois Crowe

Anne Gray

Margaret e. hoyt

Barbara K. Jackson

Jerry and Marguerite Lewis

don Mcnary

verne e. Mendel

Kay e. resler

hal and Carol Sconyers

Anonymous

Legacy Circle

If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation.

If you are interested in learning about planned giving opportunities to help the Mondavi Center bring performing arts to future generations, please contact Ali Morr Kolozsi, Director of Major Gifts and Planned Giving (530) 754-5420 or [email protected].


IMPRESARIO CIRCLE $25,000 And ABOveJohn and Lois Crowe †*Barbara K. Jackson †*

VIRTUOSO CIRCLE $15,000 – $24,999Joyce and Ken AdamsonFriends of Mondavi CenterAnn and Gordon Getty FoundationAnne Gray †*Mary B. Horton*William and Nancy Roe *Lawrence and Nancy Shepard Tony and Joan Stone †Joe and Betty Tupin †*

MAESTRO CIRCLE $10,000 – $14,999Wayne and Jacque Bartholomew †*Ralph and Clairelee Leiser Bulkley*Thomas and Phyllis Farver*Dolly and David Fiddyment Robert and Barbara LeidighMary Ann Morris*Carole Pirruccello, John and Eunice Davidson FundLarry and Rosalie Vanderhoef †*Dick and Shipley Walters*

And one donor who prefers to remain anonymous

BENEFACTORS CIRCLE $6,500 – $9,999Camille Chan †Michael and Betty Chapman †Cecilia Delury and Vince Jacobs †Patti Donlon †Wanda Lee GravesSamia and Scott FosterBenjamin and Lynette Hart †*Lorena Herrig Margaret Hoyt Bill Koenig and Jane O’Green KoenigGreiner Heating and A/C, Inc.Hansen KwokGarry MaiselStephen Meyer and Mary Lou Flint † Randall E. Reynoso †

and Martin CamseyGrace and John Rosenquist Raymond SeamansJerome Suran and Helen Singer Suran * † Mondavi Center Advisory Board Member

* Friends of Mondavi Center

DONORSPRODUCERS CIRCLE $3,250 – $6,499Neil and Carla AndrewsJeff and Karen BertlesonCordelia S. BirrellCalifornia Statewide Certified Development CorporationNeil and Joanne BodineMr. Barry and Valerie BooneBrian Tarkington and Katrina BoratynskiRobert and Wendy ChasonChris and Sandy Chong*Michele Clark and Paul SimmonsTony and Ellie Cobarrubia*Claudia ColemanEric and Michael ConnNancy DuBois*Merrilee and Simon EngelCharles and Catherine FarmanAndrew and Judith GaborHenry and Dorothy GietzenKay Gist in Memory of John GistEd and Bonnie Green*Robert and Kathleen GreyDiane Gunsul-HicksCharles and Ann HalstedJudith and William Hardardt*Dee and Joe HartzogThe One and Only WatsonCharles and Eva HessSuzanne Horsley*Dr. Ronald and Lesley HsuJerry and Teresa Kaneko*Dean and Karen Karnopp*Nancy Lawrence, Gordon Klein and Linda LawrenceBrian and Dorothy LandsbergEd and Sally Larkin*Drs. Richard Latchaw and Sheri AlbersGinger and Jeffrey LeacoxClaudia and Allan LeavittYvonne LeMaitreShirley and Joseph LeRoyNelson Lewallyn and Marion Pace-LewallynDr. Clare Hasler-Lewis and Cameron LewisDr. Ashley and Shiela LipshutzPaul and Diane Makley*Kathryn MarrVerne Mendel*Jeff and Mary NicholsonGrant and Grace Noda*Alice OiPhilip and Miep PalmerGerry and Carol ParkerSusan Strachan and Gavin PayneSue and Brad PolingLois and Dr. Barry RamerDavid Rocke and Janine MozéeRoger and Ann Romani*Hal and Carol Sconyers*Ellen ShermanWilson and Kathryn R. SmithTom and Meg Stallard*Tom and Judy Stevenson*Priscilla Stoyanof and David RocheDavid Studer and Donine HedrickNancy and Robert TateRosemary and George Tchobanoglous


Nathan and Johanna TruebloodKen Verosub and Irina DelusinaJeanne Hanna VogelClaudette Von RustenJohn Walker and Marie LopezCantor & Company, A Law CorporationPatrice WhiteRobert and Joyce Wisner*Richard and Judy WydickAnd three donors who prefer to remain anonymous

DIRECTORS CIRCLE $1,250– $3,249Ezra and Beulah AmsterdamRussell and Elizabeth AustinIn Honor of Barbara K. JacksonMurry and Laura Baria*Lydia Baskin In Memory of Ronald Baskin*Drs. Noa and David BellDaniel R. BensonKay and Joyce Blacker*Jo Anne Boorkman*Clyde and Ruth BowmanEdwin BradleyLinda BrandenburgerPatricia Brown*Robert Burgerman and Linda RamatowskiJim and Susie BurtonDavis and Jan CampbellDavid J. Converse, ESQ.Jim and Kathy Coulter*John and Celeste Cron*Jay and Terry DavisonBruce and Marilyn DeweyMartha Dickman*Dotty Dixon*DLMC FoundationRichard and Joy DorfWayne and Shari EckertSandra and Steven FeldersteinNancy McRae FisherCarole Franti*Paul J. and Dolores L. Fry Charitable FundChristian Sandrock and Dafna GatmonKarl Gerdes and Pamela RohrichFredric Gorin and Pamela Dolkart GorinPatty and John Goss*Jack and Florence Grosskettler*In Memory of William F. McCoyTim and Karen HeflerSharna and Mike HoffmanJohn and Magda HookerSarah and Dan HrdyRuth W. JacksonClarence and Barbara KadoBarbara KatzJoshua Kehoe and Jia ZhaoThomas Lange and Spencer LocksonMary Jane Large and Marc LevinsonHyunok Lee and Daniel SumnerLin and Peter LindertDavid and Ruth LindgrenAngelique LouieNatalie and Malcolm MacKenzie*Douglas Mahone and Lisa HeschongDennis H. Mangers and Michael SestakSusan MannMarilyn MansfieldJohn and Polly MarionYvonne L. MarshRobert Ono and Betty MasuokaShirley Maus*Janet Mayhew*Ken McKinstry

Mike McWhirterJoy Mench and Clive WatsonJohn Meyer and Karen MooreEldridge and Judith MooresBarbara MorielAugustus and Mary-Alice MorrPatricia and Surl NielsenJohn and Misako PearsonBonnie A. Plummer*Prewoznik FoundationLinda and Lawrence Raber*Kay Resler*Christopher Reynolds and Alessa JohnsTom RoehrDon Roth and Jolán FriedhoffLiisa RussellBeverly "Babs" Sandeen and Marty SwingleEd and Karen SchelegleThe Schenker FamilyNeil and Carrie SchoreBonnie and Jeff SmithRonald and Rosie Soohoo*Richard L. Sprague and Stephen C. OttMaril Revette Stratton and Patrick StrattonBrandt Schraner and Jennifer ThorntonDenise Verbeck and Rovida MottDonald Walk, M.D.Louise and Larry WalkerGeoffrey and Gretel Wandesford-SmithBarbara D. WebsterWeintraub FamilyDale L. and Jane C. WiermanPaul WymanYin and Elizabeth YehAnd nine donors who prefer to remain anonymous

ENCORE CIRCLE $600 – $1,249Aboytes Family Michelle AdamsMitzi AguirrePaul and Nancy AikinGregg T. Atkins and Ardith AllreadMerry BenardDonald and Kathryn Bers*Marion BrayRosa Marquez and Richard BreedonIrving and Karen Broido*Dolores and Donald ChakerianGale and Jack ChapmanWilliam and Susan ChenJohn and Cathie DuniwayMark E. Ellis and Lynn ShapiroDoris and Earl FlintMurray and Audrey FowlerDr. Deborah and Brook GalePaul and E. F. GoldsteneDavid and Mae GundlachRobin Hansen and Gordon UlreyJohn and Katherine HessBarbara and Robert JonesMary Ann and Victor JungRobert Kingsley and Melissa ThormePaula KuboCharlene KunitzFrances and Arthur Lawyer*Dr. Henry Zhu and Dr. Grace LeeKyoko LunaDebbie and Stephen Wadsworth-MadeirosMaria M. ManoliuGary C. and Jane L. MattesonCatherine McGuireRobert and Helga MedearisSuzanne and Donald MurchisonRobert and Kinzie MurphyLinda Orrante and James Nordin

Frank PajerskiJohn Pascoe and Susan StoverJerry L. Plummer and Gloria G. FreemanLarry and Celia RabinowitzJ. and K. RedenbaughJohn and Judith ReitanJeep and Heather RoemerTom and Joan SalleeThe Shepard FamilyThe Shepard Gusfield FamilyJeannie and Bill SpanglerEdward and Sharon SpeegleElizabeth St. GoarSherman and Hannah SteinLes and Mary Stephens De WallJudith and Richard SternEric and Patricia Stromberg*Lyn Taylor and Mont HubbardRoseanna Torretto*Henry and Lynda Trowbridge*Steven and Andrea Weiss*Denise and Alan WilliamsKandi Williams and Dr. Frank JahnkeArdath WoodBob and Chelle YetmanKarl and Lynn ZenderAnd three donors who prefer to remain anonymous


Frank PajerskiJohn Pascoe and Susan StoverJerry L. Plummer and Gloria G. FreemanLarry and Celia RabinowitzJ. and K. RedenbaughJohn and Judith ReitanJeep and Heather RoemerTom and Joan SalleeThe Shepard FamilyThe Shepard Gusfield FamilyJeannie and Bill SpanglerEdward and Sharon SpeegleElizabeth St. GoarSherman and Hannah SteinLes and Mary Stephens De WallJudith and Richard SternEric and Patricia Stromberg*Lyn Taylor and Mont HubbardRoseanna Torretto*Henry and Lynda Trowbridge*Steven and Andrea Weiss*Denise and Alan WilliamsKandi Williams and Dr. Frank JahnkeArdath WoodBob and Chelle YetmanKarl and Lynn ZenderAnd three donors who prefer to remain anonymous

ORCHESTRA CIRCLE $300 – $599Drs. Ralph and Teresa AldredgeThomas and Patricia AllenFred Arth and Pat SchneiderMichael and Shirley Auman*Frederic and Dian BakerBeverly and Clay BallardDelee and Jerry BeaversCarol Beckham and

Robert HollingsworthMark and Betty BelafskyCarol L. BenedettiBob and Diane BiggsDr. Gerald BishopAl Patrick and Pat BissellDonna Anderson and Stephen BlakeFred and Mary BlissElizabeth BradfordPaul BraunMargaret E. BrockhouseChristine and John BruhnManuel Calderon De La Barca SanchezJackie CaplanMichael and Louise CaplanAnne and Gary CarlsonAmy Chen and Raj AmirtharajahFrank ChisholmBetty M. ClarkWayne ColburnMary Anne and Charles CooperJames and Patricia CothernDavid and Judy CovinRobert Crummey and

Nancy Nesbit CrummeyLarry Dashiell and Peggy SiddonsSue Drake*Thomas and Eina DuttonDr. and Mrs. John EiseleMark E. Ellis and Lynn ShapiroLeslie FaulkinJanet FeilDavid and Kerstin FeldmanLisa Foster and Tom GrahamSevgi and Edwin Friedrich*Marvin and Joyce GoldmanJudy and Gene GuiraudDarrow and Gwen HaagensenSharon and Don HallbergMarylee HardieDavid and Donna HarrisRoy and Miriam HatamiyaCynthia Hearden*Mary HelmichLenonard and Marilyn HerrmannFred Taugher and Paula HigashiDarcie HouckB.J. HoytPat and Jim Hutchinson*Don and Diane JohnstonWeldon and Colleen JordanNancy Gelbard and David KalbRuth Ann Kinsella*Joseph KiskisKent and Judy KjelstromPeter Klavins and Susan KauzlarichAllan and Norma LammersDarnell LawrenceRuth LawrenceCarol LedbetterThe Lenk-Sloane FamilyDr. and Mrs. Stanley LevinErnest and Mary Ann Lewis*Michael and Sheila Lewis*Sally LewisMelvyn LibmanJeffrey and Helen MaBunkie MangumPat Martin*Yvonne Clinton-Mazalewski

and Robert MazalewskiGerrit MichaelNancy MichelHedlin FamilyRobert and Susan Munn*William and Nancy MyersBill and Anna Rita NeumanK. C. N

Dana K. OlsonJohn and Carol OsterSally Ozonoff and Tom RicheyJohn and Sue PalmerJohn and Barbara ParkerJohn and Deborah PoulosJerry and Ann Powell*Harriet PratoJohn and Alice ProvostJ. David RamseyJohn and Rosemary ReynoldsGuy and Eva RichardsSara RingenTracy Rodgers and Richard BudenzSharon and Elliott Rose*Bob and Tamra RuxinDwight E. and Donna L. SandersMark and Ita Sanders*Eileen and Howard SarasohnJohn and Joyce SchaeubleRobert and Ruth ShumwayMichael and Elizabeth SingerJudith SmithRobert SniderAl and Sandy SokolowTim and Julie StephensKarmen StrengPieter Stroeve, Diane Barrett and Jodie StroeveKristia SuutalaTony and Beth TankeCap and Helen ThomsonVirginia ThreshDennis and Judy TsuboiPeter Van HoeckeAnn-Catrin Van, Ph.D.Robert VassarRita WatermanJeanne WheelerCharles White and Carrie SchuckerJames and Genia WillettIris Yang and G. Richard BrownWesley and Janet YatesJane Yeun and Randall LeeRonald M. YoshiyamaHanni and George ZweifelAnd six donors who prefer to remainanonymous

MAINSTAGE CIRCLE $100 – $299Leal AbbottThomas and Betty AdamsMary AftenJohn and Jill AguiarSusan AhlquistThe AkinsJeannie AlongiDavid and Penny AndersonValerie Jeanne AndersonElinor Anklin and George HarschAlex and Janice ArdansDebbie ArringtonJerry and Barbara AugustAlicia Balatbat*George and Irma BaldwinCharlotte Ballard and Robert ZeffCharles and Diane Bamforth*Elizabeth BanksMichele Barefoot and Luis Perez-GrauCarole BarnesConnie BattersonPaul and Linda BaumannLynn Baysinger*Janet and Steve CollinsRobert and Susan BenedettiWilliam and Marie BenisekAlan and Kristen BennettRobert C. and Jane D. BennettMrs. Vilmos BeresBevowitz FamilyBoyd and Lucille BevingtonRobert and Sheila BeyerJohn and Katy BillAndrea Bjorklund and Sean DugganSam and Caroline BledsoeBobbie BoldenWilliam BossartBrooke Bourland*

Mary A. and Jill BowersAlf and Kristin BrandtRobert and Maxine BraudeDan and Millie Braunstein*Edelgard Brunelle*Linda Clevenger and Seth BrunnerDon and Mary Ann BrushMartha BryantMike and Marian BurnhamDr. Margaret Burns and Dr. Roy W. BellhornVictor W. BurnsWilliam and Karolee BushJohn and Marguerite CallahanLita Campbell*John and Nancy CapitanioJames and Patty CareyMichael and Susan CarlHoy CarmanJan Carmikle, ‘87 ‘90Bruce and Mary Alice Carswell*John and Joan ChambersCaroline Chantry and James MalotDorothy Chikasawa*Rocco CiescoGail ClarkL. Edward and Jacqueline ClemensJames ClineStephan CohenStuart CohenSheri and Ron ColeHarold E. CollinsJanet and Steve CollinsDavid CombiesAnn BriceRose ConroyTerry CookNicholas and Khin CornesFred and Ann CostelloCatherine Coupal*Victor Cozzalio and Lisa Heilman-CozzalioCrandallicious ClanMrs. Shauna DahlRobert Bushnell, DVM and Elizabeth Dahlstrom-Bushnell*John and Joanne DanielsNita DavidsonMary H. DawsonJudy and David DayCarl and Voncile DeanJoel and Linda DobrisGwendolyn Doebbert and Richard EpsteinVal and Marge Dolcini*John and Margaret DrakeAnne DuffeyMarjean DuPreeJohn Paul Dusel Jr.Harold and Anne EisenbergEliane EisnerRobert HoffmanAllen EndersRandy Beaton and Sidney EnglandCarol Erickson and David PhillipsEvelyn FalkensteinAndrew D. and Eleanor E. Farrand*Ophelia and Michael FarrellRichard D. FarshlerEric FateLiz and Tim FentonSteven and Susan FerronatoBill and Margy FindlayDave FirenzeKieran and Marty FitzpatrickBill and Judy Fleenor*David and Donna FletcherAlfred FongGlenn FortiniMarion Franck and Bob LewFrank BrownAndrew and Wendy FrankMarion Rita Franklin*William E. Behnk and Jennifer D. FranzAnthony and Jorgina FreeseLarry FriedmanKerim and Josina FriedrichJoan M. FutscherMyra A. GableLillian GabrielCharles and Joanne GambleTony CantelmiPeggy GerickPatrice and Chris Gibson*Mary GillisEleanor GlassburnerLouis J. Fox and Marnelle Gleason*Pat and Bob Gonzalez*


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

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

Kathleen Magrino*Debbie Mah and Brent Felker*Alice Mak and Wesley KennedyRenee Maldonado*Vartan MalianJulin Maloof and Stacey HarmerJoan MangoldMarjorie MarchJoseph and Mary Alice MarinoPamela Marrone and Mick RogersDr. Carol MarshallDonald and Mary MartinJ. A. MartinBob and Vel MatthewsLeslie MaulhardtKatherine Mawdsley*Karen McCluskey*Doug and Del McColmNora McGuinness*Donna and Dick McIlvaineTim and Linda McKennaR. Burt and Blanche McNaughton*Richard and Virginia McRostieMartin A. Medina and Laurie PerryCliva Mee and Paul HarderJulie MellquistBarry Melton and Barbara LangerSharon MenkeThe Merchant FamilyRoland and Marilyn MeyerFred and Linda J. Meyers*Beryl Michaels and John BackLeslie Michaels and Susan KattEric and Jean MillerLisa MillerPhyllis MillerSue and Rex MillerDouglas MinnisKathy and Steve Miura*Kei and Barbara MiyanoVicki and Paul MoeringJoanne MoldenhauerLloyd and Ruth MoneyMr. and Mrs. Ken MoodyAmy MooreHallie MorrowMarcie MortenssonBarbara MortkowitzRobert and Janet MukaiThe Muller FamilyTerence and Judith MurphySteve Abramowitz and Alberta NassiJudy and Merle NeelSandra NegleyNancy and Chris NelleRomain NelsenMargaret Neu*Jack Holmes and Cathy NeuhauserRobert Nevraumont and

Donna Curley Nevraumont*Keri Mistler and Dana NewellJenifer NewellJanet NooteboomForrest OdleJim and Sharon OltjenMarvin O’RearMary Jo Ormiston*Bob and Elizabeth OwensJessie Ann OwensMike and Carlene Ozonoff*Thomas Pavlakovich and

Kathryn DemakopoulosBob and Marlene PerkinsAnn Peterson and Marc HoescheleHarry PhillipsPat PiperDrs. David and Jeanette PleasureJane PlocherBob and Vicki PlutchokBea and Jerry PresslerAshley PrinceDiana ProctorDr. and Ms. Rudolf PueschelEvelyn and Otto RaabeEdward and Jane RabinDr. Anne-Louise and Dr. Jan RadimskyLawrence and Norma RappaportOlga RavelingSandi Redenbach*Mrs. John Reese, Jr.Martha Rehrman*Michael A. Reinhart and Dorothy YerxaEugene and Elizabeth RenkinFrancis RestaDavid and Judy Reuben*

Al and Peggy RiceJoyce RietzRalph and Judy Riggs*Peter RodmanRichard and Evelyne RomingerBarbara and Alan RothCathy and David RowenChris and Melodie RuferPaul and Ida RuffinFrancisca RugerKathy RuizMichael and Imelda RussellHugh and Kelly SaffordDr. Terry Sandbek and Sharon Billings*Fred and Polly SchackPatsy SchiffTyler SchillingJulie Schmidt*Janis J. Schroeder and Carrie L. MarkelBrian A. Sehnert and Janet L. McDonaldAndreea SeritanDan Shadoan and Ann LincolnJill and Jay ShepherdEd Shields and Valerie BrownThe ShurtzDr. and Mrs. R.L. SieglerSandra and Clay SiggMarion E. SmallBrad and Yibi SmithJames SmithJean SnyderRoger and Freda SornsenCurtis and Judy SpencerMarguerite SpencerMiriam SteinbergHarriet Steiner and Miles SternJohanna StekRaymond StewartEd and Karen Street*Deb and Jeff StrombergYayoi TakamuraConstance Taxiera*Stewart and Ann Teal*Francie F. TeitelbaumJulie A. Theriault, PA-CJanet and Karen ThomeBrian TooleLola Torney and Jason KingRobert and Victoria TousignantBenjamen Tracey and Beth MalinowskiMichael and Heidi TraunerRich and Fay TraynhamElizabeth TreanorMr. Michael TupperJames E. TurnerBarbara and Jim TuttLiza TweltridgeRobert TwissMr. Ananda TysonNancy Ulrich*Gabriel UndaRamon and Karen UrbanoChris and Betsy Van KesselDiana VarcadosBart and Barbara Vaughn*Richard and Maria VielbigDon and Merna VillarejoCharles and Terry VinesCatherine VollmerRosemarie Vonusa*Evelyn Matteucci and Richard VorpeCarolyn Waggoner*Carol WaldenAndrew and Vivian WalkerAnthony and Judith WarburgMarny and Rick WassermanCaroline and Royce WatersDan and Ellie Wendin*Douglas WestMartha S. WestRobert and Leslie Westergaard*Susan WheelerCarol Marie WhiteLinda K. WhitneyMrs. Jane L. WilliamsMarsha L. WilsonJanet WintererHenry and Judy WolfDr. Harvey WolkovJennifer and Michael WooTimothy and Vicki YearnshawJeffrey and Elaine Yee*Norman and Manda YeungSharon and Doyle YoderPhillip and Iva YoshimuraHeather Young

Michele Tracy and Dr. Michael GoodmanVictor and Louise GrafJeffrey and Sandra GranettSteve and Jacqueline Gray*Tom GreenDavid and Kathy GreenhalghPaul and Carol GrenchAlex and Marilyn GrothJanine Guillot and Shannon WilsonJune and Paul GulyassyWesley and Ida Hackett*Jane and Jim HagedornFrank and Rosalind HamiltonWilliam and Sherry HamrePat and Mike HandleyJim and Laurie HanschuN. Tosteson-HargreavesMichael and Carol HarrisRichard and Vera HarrisCathy Brorby and Jim HarrittSally Harvey*Sharon Heath-PagliusoPaul and Nancy HelmanMartin Helmke and Joan Frye WilliamsRoy and Dione HenricksonRand and Mary HerbertEric Herrgesell, DVMJeannette HiggsLarry and Elizabeth HillBette Hinton and Robert CaulkCalvin Hirsch and Deborah FrancisFrederick and Tieu-Bich HodgesMichael and Margaret HoffmanGarnet HoldenMr. and Mrs. HootsHerb and Jan HooverSteve and Nancy HopkinsDavid and Gail HulseEva Peters HuntingLorraine HwangMarta InduniJane and John Johnson*Tom and Betsy JenningsDr. and Mrs. Ronald C. JensenCarole and Phil JohnsonSteve and Naomi JohnsonMichelle Johnston and Scott ArrantoWarren and Donna JohnstonIn Memory of Betty and Joseph BariaAndrew and Merry JoslinMartin and JoAnn Joye*Fred and Selma KapatkinShari and Tim KarpinAnthony and Elizabeth KatsarisYasuo KawamuraPhyllis and Scott Keilholtz*Patricia Kelleher*Charles Kelso and Mary ReedDave KentDr. Michael Sean KentRobert and Cathryn KerrFrank KiefferGary and Susan KieserLarry Kimble and Louise BettnerBob and Bobbie KittredgeDorothy KlishevichMary KlisiewiczPaulette Keller KnoxPaul KramerNina and David KrebsMarcia and Kurt KreithSandra KristensenLeslie KurtzCecilia KwanDon and Yoshie KyhosRay and Marianne KyonoCorrine LaingBonnie and Kit Lam*Marsha M. LangSusan and Bruce LarockLeon E. LaymonPeggy LeanderMarceline LeeThe Hartwig-Lee FamilyNancy and Steve LegeJoel and Jeannette LermanEvelyn A. LewisDavid and Susan LinkMotoko LobueHenry LuckieRobert and Patricia LufburrowLinda LugerAriane LyonsEdward and Susan MacDonaldLeslie Macdonald and Gary Francis

In memory of Larry YoungLarry Young and Nancy EdwardsPhyllis YoungVerena Leu YoungMedardo and Melanie ZavalaDrs. Matthew and Meghan ZavodPhyllis and Darrel Zerger*Sonya and Tim ZindelMark and Wendy ZlotlowAnd 44 donors who prefer to remain anonymous


MONDAVI CENTER ADVISORY BOARD The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance and the presentingprogram of the Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.

12–13 ADVISORY BOARD MEMBERSJoe Tupin, Chair • John Crowe, Immediate Past Chair

Wayne Bartholomew • Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray Benjamin Hart • Lynette Hart • Vince Jacobs • Stephen Meyer • Randall Reynoso • Joan Stone • Tony Stone • Larry Vanderhoef

HONORARY MEMBERSBarbara K. Jackson • Margrit Mondavi

EX OFFICIOLinda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Jo Anne Boorkman, President, Friends of Mondavi Center Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis Lee Miller, Chair, Arts & Lectures Administrative Advisory Committee

ArTS & LeCTureS AdMInISTrATIve AdvISOrY COMMITTeeThe Arts & Lectures Administrative Advisory Committee is made upof interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

12–13 COMMITTEE MEMBERSLee Miller • Jim Forkin • Erin Jackson • Sharon Knox Maria Pingul • Prabhakara Choudary • Charles Hunt • Gabrielle Nevitt Schipper Burkhard • Carson Cooper • Daniel Friedman • Kelley Gove Aaron Hsu • Susan Perez • Don Roth • Jeremy Ganter • Erin Palmer

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 [email protected] or call 530.754.5431.

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

FEATURED SCHOOL MATINEECashore Marionettes: Simple Gifts Monday–Friday, March 18–2211AM & 1PMRecommended for grades 4–12

Cashore Marionettes return to the Mondavi Center with their treasured Simple Gifts, a wonderful collection of marionette masterworks that are stunning in their beauty, creativity and humanity. Set to classical music by such composers as Beethoven, Vivaldi and Copland, Simple Gifts presents comic and poignant stories taking the audience on an imaginative journey exploring a range of themes and emotions. While the marionettes teach character-building with precise gestures and realistic props, their movements are so convincing, the illusion so powerful, that the result is an unforgettable theatrical experience.

Mondavi Center

School Matinees

Friday, March 15 – St. Louis SymphonyMonday–Friday, March 18–22 – Cashore MarionettesTuesday, April 30 – Alvin Ailey American Dance TheaterWednesday, May 8 – Compañía Mazatlán Bellas ArtesMonday, May 13 – Les 7 Doigts de la MainFriday, May 17 – Curtis 20/21 EnsembleMonday, May 20 – Lara Downes and the Davis High School Orchestra Gertrude McFuzz

March – May 2013

Mondavi Center’s Target School Matinee Series o�ers an ex-traordinary opportunity for students to experience the magic of live performance �rst hand. We have designed these matinee performances to complement and enhance K–12 curriculum, giving students entertaining, as well as informative, access to world-class multi-cultural, multi-disciplinary artists.

Ticket information and order form link available at www.mondaviarts.org/education/matinees


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 di�erence between a higher and a lower-pricedticket on exchange is non-refundable.

• Subscribers and donors may exchange tickets at face value towarda balance on their account. All balances must be applied towardthe 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.

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

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

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

CHILDREN (50% off the full single ticket price*)Children’s tickets are for all patrons age 17 and younger. No additionaldiscounts may be applied. As a courtesy to other audience members, please use discretion in bringing a young child to an evening perfor-mance. All children, regardless of age, are required to have tickets, and any child attending an evening performance should be ableto sit quietly through the performance.

PRIVACY POLICYThe Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons e�ciently. We sometimes share names and addresses with other not-for-pro�t arts organizations. If you do not wish to be included in our e-mail communications or postal mailings, or if you do not want us to share your name, please notify us via e-mail, U.S. mailor 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 [email protected].

POLICIES AND INFORMATION

ACCOMMOdATIOnS fOr pATrOnS WITh DISABILITIESThe Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADArequirements.

Patrons with special seating needs should notify the Mondavi Center Ticket O�ce at the time of ticket purchase to receive reasonableaccommodation. The Mondavi Center may not be able to accommo-date 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 ableto accommodate last-minute requests. Requests for these accommoda-tions may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

SPECIAL SEATINGMondavi Center o�ers special seating arrangements for our patrons with disabilities. Please call the Ticket O�ce at 530.754.2787 or TDD 530.754.5402.

ASSISTIVE LISTENING DEVICESAssistive 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.

ELEVATORSThe 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.

RESTROOMSAll public restrooms are equipped with accessible sinks, stalls, baby-changing 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 ANIMALSMondavi 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 O�ce if you intend to bring a service animal to an event sothat appropriate seating can be reserved for you.

LOST AND FOUND HOTLINE 530.752.8580

*Only one discount per ticket.

We’ve lifted health care to an art form.

Who better to create the perfect health plan but

health care professionals with families of their

own. So that’s just what we did. Fifteen years ago,

UC Davis Health System, Dignity Health and

NorthBay Healthcare System came together to

create a quality alternative to national HMOs.

The result is a health plan committed to improving

the health and well-being of our community. So, if

you are interested in getting just what the doctor

ordered, give us a call.

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

MondaviArts.org 530.754.2787 866.754.2787 (toll-free)Rachel Barton Pine

The art of performance draws our eyes to the stage

wellsfargo.com © 2012 Wells Fargo Bank, N.A. All rights reserved.Member FDIC. (731175_06032)

Our community’s commitment to arts and culture says a lot about where we live. It brings us together from the moment the lights go down and the curtains come up.

Mondavi Center, we applaud this production.

Davis MainSouth Davis (Safeway)Covell Market Place

ANNIVERSARY

2012—13Season Sponsors

PROGRAM

ISSUE 7: MAR 2013• Young Artists Competition Winners Concert p. 5• Julian Lage Group p. 8• Sarah Chang, violin; Ashley Wass, piano p. 11• The Improvised Shakespeare Company p. 16• Cashore Marionettes Simple Gifts p. 19• St. Louis Symphony p. 23• Jazz at Lincoln Center Orchestra with Wynton Marsalis p. 29• Lara Downes, Piano; Build p. 34

Documents

Mondavi Center Playbill Issue 7: Mar 2013