Upcoming Events


UC Davis Symphony Orchestra:
Music and Words

Jackson Hall, Mondavi Center

Pre-concert talk by Carol A. Hess, at 6:15 pm in Jackson Hall.

Luciano Berio: Sinfonia for Eight Amplified Voices and Orchestra
with members of Volti, Robert Geary, artistic director

Yuhi Aizawa Combatti and Cecilia Lam, soprano
Sharmila Guha Lash and Celeste Winant, alto
Jeffrey Wang and Julian Kusnadi, tenor
Jeffrey Bennett and Sidney Chen, bass

With more than 20 musical quotations from well-known classical music works—from Debussy’s La mer to Stravinsky’s Rite of Spring—Berio’s Sinfonia is a magnificent work for eight amplified vocal soloists and orchestra. It was premiered by the New York Philharmonic for their 125th anniversary concert in 1970, Leonard Bernstein conducting. Bernstein noted that the work was representative of the new direction classical music was going at that time.

Melinda Wagner: Concerto for Flute, Strings, and Percussion
with Tod Brody, flute 

Composer-in-residence Melinda Wagner won the 1999 Pulitzer Prize in Music for her Concerto for Flute, Strings, and Percussion. The work is similar in structure to Bartók’s concerto for celesta harp and strings, and features virtuosic flute work and equally virtuosic orchestral accompaniment.

Also featured on the program is Deception, by Music and Words Festival composer fellow Ben Goldberg.

Mondavi Center for the Performing Arts, Davis, CA 95616

Sō Percussion: Steve Reich’s “Drumming”
Vanderhoef Studio Theatre, Mondavi Center

Sō Percussion—along with guest percussionists of UC Davis and Megan Shieh—will perform Steve Reich’s Drumming. Tod Brody, piccolo, and Alice Del Simone, soprano, will also be featured.

$11 Children (under 18) & UC Davis Students (Under 18), $32 Adults | Classical Cabaret Seating (a Mondavi Center Visions Series performance)

Mondavi Center for the Performing Arts, Davis, CA, 95616

Telegraph Quartet
Jackson Hall, Mondavi Center

Selections from Dvorak’s String Quartet in A-Flat Major, op. 105, and from Beethoven’s String Quartet No. 8 in E Minor, op. 59, no. 2. Eric Chin and Joseph Maile, violin, Pei-Ling Lin, viola, and Jeremiah Shaw, cello.

Free, non-ticketed

Mondavi Center for the Performing Arts, Davis, CA

Emperor Maximilian I: Music for Politics—Music for Pleasure
Room 266, Everson Hall

Maximilian is firmly rooted in the medieval idea of the Holy German Empire on the one hand, on the other hand he cleverly pursued aims to pave the way for the Habsburg dynasty to rule as a modern world power. He has been called “the last knight” on the one hand, on the other hand he is known for his smart utilization of modern cultural technologies such as printing media. With regard to music, Maximilian equally used to act in a two-fold manner. He heavily drew on the power of music as a means for representation. His efforts to enlarge the chapel, to engage capable musicians and to enhance the splendor of his official court music particularly in liturgical contexts have been well studied. However, beyond that music played an important role for him individually, which has been neglected so far. Like his revered first father-in-law, Charles the Bold, and like his second father-in-law, Galeazzo Maria Sforza, and a few other modern rulers, he turned to music privately as a means to meet his deeper aesthetic desires. In the time around 1500 this convergence of military heroism and artistic sensibility was a new profile for a ruler, which was not universally accepted and still had to be legitimized by citing Aristoteles.

Nicole Schwindt (b. 1957) is Professor of Musicology (Early Music) at the Staatliche Hochschule für Musik Trossingen and Gerda Henkel Visiting Professor at Stanford University in winter of 2015. She studied musicology and German language and literature at the Universities of Saarbrücken and Tübingen, where she took her M.A. (1982, Georg von Dadelsen). She holds a Ph.D. from the University of Heidelberg (1986, Ludwig Finscher). From 1985 to 1989 she worked for the Bayerische Staatsbibliothek in Munich on the music manuscript cataloging project. In 1990, she taught at the Institute of Musicology at Saarbrücken University before coming to Trossingen in 1993. She has been invited to teach at Bern Universität in Switzerland as a guest from 2006 to 2008.

Everson Hall, Davis, CA

Susan Lamb Cook, cello, and Gayle Blankenburg, piano
Vanderhoef Studio Theatre, Mondavi Center for the Performing Arts

Beethoven: Twelve Variations on a Theme from Handel’s Judas Maccabaeus

Beethoven: Bagatelle in E Flat Major for Solo Piano

Beethoven: Sonata for Cello and Piano in A Major, op. 69

Mondavi Center for the Performing Arts, Davis, CA

Tala Workshop with Sikkil Gurucharan
Room 115, Music Building

Sikkil Gurucharan is visiting UC Davis on a Fulbright Scholarship, teaching special classes in the departments of Religious Studies and Music. Gurucharan is a carnatic vocalist who has become one of the most respected and well-known artists of this tradition since his first performance in 1994. Furthermore, he is known for fusing this with other styles and non-traditional instruments. For example, Gurucharan collaborates often with pianist Anil Srinivasan. The two have presented many concerts together, centered around the free-flowing classical South Indian voice, and recorded an album in 2007 titled Maayaa—The Colour of Rain.

Music Bldg., Davis, CA 95616

Jesse Barrett, oboe
Meredith Clark, harp

Mondavi Center for the Performing Arts

Mondavi Center for the Performing Arts, Davis, CA

Music and Middle East Pain: “The Death of Klinghoffer”
Tamar Muskal, composer

Room 115, Music Building

Composed in 1991 by John Adams, The Death of Klinghoffer is an American opera to a libretto by Alice Goodman, premiered in Brussels, and seldom produced in the United States without contest.

Music Bldg., Davis, CA

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