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A work by UC Davis music department chair and professor Laurie San Martin with words by Lucy Corin, professor of English, will have its world premiere Nov. 18. “Witches” will be performed by the Left Coast Chamber Ensemble and the vocal ensemble Volti Nov. 18 in Berkeley and Nov. 19 in San Francisco.
Keys to Transposition teaches a step-by-step, strategic approach built on key and starting from scales, arpeggios and common patterns. It has several “failsafes” to prevent students from going wrong, and each unit includes excerpts from the orchestral, solo and chamber repertoire, starting with passages with no accidentals and few leaps and gradually adding difficulty. Each standard key also includes at least one duet excerpt.
Experiencing Latin American Music draws on human experience as a point of departure for musical understanding. Students explore broad topics—identity, the body, religion, and more—and relate these to Latin American musics while refining their understanding of musical concepts and cultural-historical contexts.
The UC Davis Symphony Orchestra opens its 60th season on Nov. 18 with “Love, Jazz and Sailors,” featuring works by Bernstein, Copland, and Mahler.
This concert is dedicated to the memory of Eldridge Moores, world-renowned geologist, former President of the Geological Society of America, Distinguished Professor Emeritus of Geology at UC Davis, who dedicated 28 years of his life to playing cello with the UC Davis Symphony Orchestra.
The concert is conducted by Christian Baldini, Barbara K. Jackson Professor of Music, Orchestral Conducting, and includes Leonard Bernstein’sTimes Square Ballet from the Broadway musical On the Town, Gustav Mahler’s Symphony No. 5, and Aaron Copland’sPiano Concerto with Andrei Baumann as guest soloist.
“The program’s title takes its cue from the works themselves,” said Baldini. “’Love’ refers to Mahler’s Fifth Symphony that includes the Adagietto, which is the most gripping love letter ever written in music. Mahler wrote it for his wife, Alma, who, he suspected, was having an affair. Copland’s Piano Concerto is ‘Jazz.’ Written only two years after Gershwin’s Rhapsody in Blue, the piece is rarely performed, but is just as brilliant. ‘Sailors’ comes from the Times Square Ballet, which includes the famous theme ‘New York, New York, It’s a wonderful town,’ originally sung by three enthusiastic sailors having fun in the city.”
Soloist Andrei Baumann has performed extensively in the United States, Europe, Canada, and Venezuela. He made his Carnegie Hall debut at Weill Recital Hall in May 2008. Other notable performances include Sundays Live Concert Series at Los Angeles County Arts Museum, the Crocker Art Museum Classical Music Series, Caramoor Festival, and the Perlman Music Program with Itzhak Perlman.
“In celebration of the orchestra’s sixtieth anniversary, the season reflects our goals of inclusion, diversity and equality,” Baldini said.
The season features works by two important female composers Ruth Crawford-Seeger and Ann Cleare and music from Latin America including compositions by composer and UC Davis music professor Pablo Ortiz, Ginastera, Piazzolla, and Esteban Benzecry.
The orchestra will also perform major classics such as Shostakovich’s Symphony No. 9 and Bartok’s Concerto for Orchestra. Guest artists include international soloist Anssi Karttunen, who performs the world premiere of the revised version of Peter Lieberson’s Cello Concerto, and Rising Stars Eunghee Cho, a Davis native, and Tatjana Ross performing Brahms’s Double Concerto.
The UC Davis Symphony Orchestra is one of the most forward-looking university orchestras in the country, and is committed to presenting repertoire from different periods and styles at the highest artistic level. Members (currently about 90) are chosen by live audition, and include undergraduate and graduate students, faculty, staff, and community members. Established in 1959, the orchestra has performed in many cities in Northern California, as well as internationally (France, Australia, Spain).
The concert takes place at Jackson Hall in the Robert and Margrit Mondavi Center for the Performing Arts at 7 p.m.
Tickets are $24 for adults and $12 for students and youth and are available at the Mondavi Center Ticket Office in person or by calling 530-754-2787 during 12-6 p.m., Monday through Saturday. Tickets are also available online at mondaviarts.org.
For more information about the College of Letters and Science’s Department of Music and future performances, visit http://arts.ucdavis.edu/music.
The UC Davis Jazz Combos Concert features six combos and showcases over 40 student musicians. The Combos will perform in ensembles such as the Aretha Franklin Ensemble, the Herbie Hancock Ensemble, the Latin Jazz Ensemble, and the Snarky Puppy Ensemble.
After a ten-year hiatus, the Chamber Singers of UC Davis return to the stage on November 28. Re-established by the direction of Caleb Lewis, lecturer and director of choirs, the singers perform at a special time, 5 p.m., at the Ann E. Pitzer Center.
The diverse program includes “Gaudete!” and “Hallelujah, Fly Away” byBrian Kogler, “Drei geistliche Chöre,” op. 37 by Johannes Brahms, ”Liturgy for Three Voices,” No. 2 by Dmitry Stepanovych Bortniansky, ”Messe Basse” byGabriel Fauré, “O Pure Virgin” by St. Nektarios of Aegina arranged by graduate student Aida Shirazi, ”Ain’t a That Good News!” by William L. Dawson, ”Saints Bound for Heaven” an anonymous traditional hymn, ”Cantate Domino” by Rupert Lang, “Gloria in excelsis” by Will Todd and ”Make a Joyful Noise” by Rollo Dilworth.
This free performance was previously scheduled as a Shinkoskey Noon Concert on November 29.
David Yearsley was educated at Harvard College and Stanford University, where he received his PhD in musicology in 1994. David’s first book, Bach and the Meanings of Counterpoint (Cambridge, 2002) explodes long-held notions about the status of counterpoint in the mid-eighteenth century, and illuminates unexpected areas of the musical culture into which Bach’s most obsessive and complicated musical creations were released. Bach’s Feet: The Organ Pedals in European Culture (Cambridge, 2012) presents a new interpretation of the significance of the oldest and richest of European instruments—the organ—by investigating the German origins of the uniquely independent use of the feet in music-making. Delving into a range of musical, literary, and visual sources, Bach’s Feet pursues the wide-ranging cultural importance of this physically demanding art, from the blind German organists of the fifteenth century, through the central contribution of Bach’s music and legacy, to the newly pedaling organists of the British Empire, and the sinister visions of Nazi propagandists. His monograph Sex, Death and Minuets: Anna Magdalena Bach and Her Musical Notebooks is forthcoming from University of Chicago Press. In providing a range of literary, social, historical, and musical perspectives on the cherished musical manuscripts of J. S. Bach’s second wife, herself a gifted professional musician, this study radically revises our understanding of women in music in eighteenth-century Lutheran Germany and within the Bach family. David’s current scholarly project has the working title Bach Laughs, and is a study of the composer as musical humorist.
The UC Davis Big Bands will perform music by Aretha Franklin, Latin Jazz, Jazz Funk Fusion and premiere a new suite by director Jacam Manricks called “Inauguration Day,” based on a composition of his titled “Cry.”