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
Want to find the weak spots in your jury piece? Trying out a new interpretation? There is a new opportunity for music majors to perform and to receive feedback in an informal setting. Twice a quarter, on the third Friday of the month, the music department will host a performance workshop, or salon. Sign-up three weeks prior to the salon.
The relationship between UC Davis’s Barqoue Orchestra and Davis Senior High School provides a yearlong relationship of learning, exploration, and performance of Baroque and early classical orchestral music on instruments of those eras. Phebe Craig, Angelo Moreno (a UC Davis Music Alum), and Michael Sand are their directors.
Works by undergraduate composers David Avis, Kristin Kirk, Albert Kolesinski, Sam Grusky, Ray Woffinden, and Steven Zhang, featuring Ellen Ruth Rose, viola, Leighton Fong, cello, and I-Hui Chen, piano.
Robert A. Baker: all the lights are gathered in your eyes (2016)
Anna Meadows: Flight (2017)
Frederic Rzewski: Moonrise with Memories (1977)
Amanda Feery: Those So Moral (2016)
Moon Young Ha: (in)stillness (2015)
Ensemble Mise-En is a New York-based contemporary music collective led by composer Moon Young Ha. Comprised of talented young musicians, Mise-en strives to bring a repertoire of challenging new sounds to diverse audiences, wishing to impart an experience that is simultaneously multi-cultural, intellectually stimulating, and aesthetically pleasing. As a collective, the diverse musicians have coalesced around an aesthetic agenda, crystallized in the name mise-en: “mee”, in Korean, means “beauty”, and “zahn”, “to decorate”, and the group unabashedly promotes “beautiful” artwork to increasingly diverse audiences of contemporary sounds.
Ensemble mise-en has premiered dozens of works by lesser known or underperformed composers alongside reigning powers of the contemporary scene. This has included portrait concerts of composers Bent Sørensen, Wolfgang Mitterer, Hans Abrahamsen, Sofia Gubaidulina, Lukas Ligeti and others.
Antonín Dvořák (1841–1904), a successor to the Czech nationalist Bedřich Smetana, popularized the Czech idiom that Smetana had begun to cultivate. Dvořák’s affinity for grand, colorful treatments of folk tunes as well as a profoundly religious outlook on life provided grounding for his own idiosyncratic style. Syncopated, dancelike rhythms, as well as healthy percussive accents and a fiery finale proudly evoke an unforgettable opening for any concert.
Schumann: Cello Concerto
with Richard Andaya, cello
Robert Schumann stretches the expressive capability of the soloist performer in this piece by demanding the portrayal multitude of contrasting characters. The three attacca (played continuously without pauses in between) movements develop an increasingly complex dialogue between soloist and accompaniment. After the first movement showcases the soloist’s expressive capabilities, the spare and songlike second movement begins, accented by an undercurrent of pizzicato strings, transitioning seamlessly into the gregarious third movement, which most audibly sounds like a dialogue as the orchestral accompaniment makes musical commentary on the soloist’s jovial melodic statements.
Mahler: Symphony No. 4 in G Major
with Lucy Fitz Gibbon, soprano
The first listening of any of Gustav Mahler’s (1860–1911) symphonies immerses the listener in a complex aural narrative, diligently masterminded by a virtuoso of orchestration and boundary-pushing harmony. Mahler’s Fourth Symphony is his shortest and perhaps most joyful, but is not without his epic aesthetic and scale. The finale features a soprano soloist, who sings of an ideal picture of heaven, exuberantly ornamented by the orchestra.