The UC Davis Symphony Orchestra was founded in 1959, and has since established itself as a major campus and community arts offering. The UC Davis Symphony has toured California, Canada, and Australia and French Polynesia.In June 2003 the orchestra traveled to France to participate in the Berlioz bicentenary over the course of a series of five concerts.It regularly serves as the pit orchestra for UCD Mainstage productions and appears at major campus events and ceremonies, including Fall Convocation and Commencements.The UC Davis Symphony is a principal resident ensemble at the
Tanya Végváry Plescia, piano, began piano studies with her father, and formal lessons at age six. As a young pianist, while studying with Tom Hulse, Tanya won several awards and honors including the Festival of New American Music honor, Grayce Kent Clark Scholarship award, Music Teachers Association of California Scholarship award, and the Edna S. Sibole Scholarship award. Végváry continued her studies at the California State University, Sacramento, where she studied with Frank Wasko and Richard Cionco. In 2012, Végváry performed a solo piano recital at the National Gallery of Art in Washington, D.C. Her recording contains two of her original piano compositions—L’éclair and Geary Street—in addition to a program of works by Beethoven, Chopin, Faure, and Liszt. She graduated Summa cum Laude with a bachelor of arts degree in humanities, with an emphasis on religious studies, and a second bachelor’s of music degree in piano performance.
Free, no tickets necessary (a Shinkoskey Noon Concert)
Alberto Ginastera (1916–83) based Panambí on an indigenous story of sorcery and love, and is filled with images of dances. He wrote the work between 1934 and 1937, and designated it with his first opus number, despite the fact he had written dozens of other works already. Ginastera wrote two ballets (the other is Estancia, written in 1941), and Panambí comes from his early years of composing with Argentinean themes. Ginastera went on to teach one of Argentina’s most recognized composers: Ástor Piazzolla.
“To compose, in my opinion, is to create an architecture, to formulate an order and set in values certain structures, considering the totality of its components. In music, this architecture unfolds in time… When time has passed, when the work has unfolded, a sense of inner perfection survives in the spirit.”
Carl Nielsen: Clarinet Concerto, op. 57
with Maximiliano Martín, clarinet (artist-in-residence)
Spanish clarinetist Maximiliano Martín is rapidly establishing himself as one of the most exciting and charismatic musicians of his generation. He is in constant demand internationally as solo clarinetist, chamber musician, orchestra player, and teacher. Highlights include solo concertos with the Scottish Chamber Orchestra, Real Filarmonía de Galicia and Orquesta Sinfonica de Tenerife, numerous chamber music festivals including Wigmore Hall, Laeiszhalle Hamburg, Chichester, Petworth, East Neuk, Cottiers, Paxton and masterclasses in UK, Europe, and the Far East. After being appointed principal clarinet of the Scottish Chamber Orchestra in 2002 and winning the Young Artists Platform Competition in the same year, he has made debuts at the Wigmore Hall, Queen’s Hall Edinburgh, Glasgow Royal Concert Hall, Bridgewater Hall Manchester, St. Davids Hall Cardiff, Perth Concert Hall, St. George’s Bristol, Brighton, and East Neuk Festivals and overseas at the Tallin Festival, Palau de la Musica Catalana, and Teatro Monumental in Madrid.
Schumann: Symphony No. 3 in E-Flat Major (“Rhenish”)
Robert Schumann (1810–56) and his wife, Clara, moved in 1850 to the Rhineland, where Robert was to become music director of the Düsseldorf orchestra. It was a radical change in their lives. Late in September they visited the ancient honorable city of Cologne, and were overwhelmed by their first sight of the august cathedral there, bathed in sunlight. Anxious to make a good first impression of the proud folks of the Rhineland, Schumann began a “symphony of the Rhine.” Atop the autograph copy of the score, Schumann wrote: “like the musical accompaniment for a solemn ceremony.”
Benjamin Sabey is a composer of orchestral, chamber and live-computer interactive music that has been described by Gramophone as a revealing, “a brilliant technique and a keen ear for sound, timbre, and arc.” His music has been performed by many of the leading ensembles in new music, including the Arditti String Quartet, Neue Vocalsolisten Stuttgart, the La Jolla Symphony directed by Steven Schick, Le Novel Ensemble Moderne, and the New York New Music Ensemble.
This trio examines the nature of emotional anguish, particularly in a sense of loss and abandonment.
Paul Watkins: Speed Run
The initial concept for Speed Run comes from a niche community dedicated to completing video games as fast as possible, a recording or play- through of which is known as a “speed run ” Speed runs are mainly attempted for the purposes of entertainment and competition Running a game requires technical mastery, lots of practice to reach that level of mastery, planning and execution, stretching boundaries of what is possible/practical, and extending interest through new objectives A great run meets these goals while displaying creativity, variability, surprising outcomes, and a very high level of handling awkward situations ef ciently. These qualities are desirable in many other areas, including the creation of art In some ways, speed runs do approximate a sort of art form—they can be balletic in some cases, showing beautiful movement and coordination Some require a degree of improvisation when strategies do not go as planned And some particularly broken games—that is, games whose speed runs utilize so many glitches and sequence breaks that very little of the original, developer-intended gameplay remains—are weirdly wonderful to watch There is a further subcategory of speed runs known as “playarounds,” which make some speed sacri ces in order to increase the entertainment value. In writing this piece, I’ve sought to embody the aesthetic of such runs, subverting local goals and curbing climaxes while messing about and eventually reaching the intended ending, but not without some weird detours.
—P. Watkins (a composition-focused music major alumnus of UC Davis, 2010)
Yu-Hsin Chang: Ambivalent Spirals
In Ambivalent Spirals, I experiment with several developing approaches on a rigid, accelerating rhythmic pattern. This discernible pattern is developed through different timbres, registers and texture, spinning and digressing throughout the piece It symbolizes our intention and choice, especially referring to each decision we made at a turning point. Sometimes we tend to regret what we did in the past and wish to get a second chance to make a difference. However, it is not possible due to the limitation of recent technology. Furthermore, nobody can ensure the second chance work, since it would lead to another unknown future—a future in the “parallel universes,” possibly contradicting to the instant we live and the consecutive moment. The sections of this piece can be perceived as these parallel universes. They do share some traits in common (e.g., the discernible rhythmic pattern) at the beginning; however, the slight, implied differences will grow into huge contradictions in the long run.
Ryan Suleiman: Mists and Sparks
The ideas of resonance, disintegration, echo, and sounds interacting with each other are the main inspiration for Mists and Sparks. Sounds emerge in and out like puffs of smoke, increasing and decreasing in activity and density In their wake they leave resonant mists of harmony and noise.
Jesse Rodin is Associate Professor of Music at Stanford University and co-editor of the Journal of Musicology. He is the author of Josquin’s Rome: Hearing and Composing in the Sistine Chapel(Oxford University Press, 2012), editor of a volume of L’homme armé masses for the New Josquin Edition (2014), and co-editor of The Cambridge History of Fifteenth-Century Music (2015). He directs the Josquin Research Project, a digital tool for exploring a large corpus of Renaissance music, and is Artistic Director of the vocal ensemble Cut Circle. For his work with Cut Circle, Rodin received the Noah Greenberg Award from the American Musicological Society in 2010. He is also the recipient of awards and fellowships from the Université Libre de Bruxelles, the American Musicological Society, the American Council of Learned Societies, and the American Society of Composers, Authors, and Publishers. Current projects include a monograph on “form” in fifteenth-century music with Cambridge University Press, and an album entitled Guillaume Du Fay: Les Messes à Teneur(The Tenor Masses; Cut Circle and Musique en Wallonie, in press).