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.”
Capoeira is a Brazilian art combining instrumental music, song, dance, martial arts, ritual, theatre, and more. The Capoeira Ensemble will offer a short performance including songs, grooves, and dance.
On Dec. 7, the University Chorus under the direction of Caleb Lewis, presents “Una Navidad Latina/A Latin Christmas,” featuring Spanish and Latin American Christmas music from the church and the village.
“’Una Navidad Latina’ will be in two parts,” said Lewis. “‘En la Iglesia’ (in the church) will feature 16th-century sacred polyphony from the Iberian peninsula. ‘En el pueblo’ (in the village) will then celebrate some of the Christmas carols sung throughout Spain and Latin America, including favorites, such as ‘Campana sobre Campana’ and ‘Niño Lindo.’”
Praised by The New Yorker as “a fresh and vital young participant in what is a golden age of American string quartets,” the Daedalus Quartet has established itself as a leader among the new generation of string ensembles. Since winning the top prize in the Banff International String Quartet Competition in 2001, the Daedalus Quartet has impressed critics and listeners alike with the security, technical finish, interpretive unity, and sheer gusto of its performances.
A founding member of the Naumburg Award winning Lydian Quartet, with whom she played for over 20 years, Rhonda Rider is now a member of the celebrated piano trio Triple Helix. Ms. Rider’s chamber music and solo recordings have been nominated for Grammy Awards and cited as Critic’s Choice in both the New York Times and Boston Globe.
My [Petrified Forest] project was to ask ten exceptional composers to write short pieces for solo cello inspired by some aspect of the area. The highly versatile sound of the cello is a wonderful medium for this project, singing at times like a human voice and at others like an ancient instrument from another world. —Rhonda Rider
How does one capture the grandeur of the Grand Canyon with one cello?” —Yu-Hui Chang
Founded in 1985 by a consortium of composers and musicians, EARplay is dedicated to the performance of new chamber music. EARplay offers audiences a unique opportunity to hear eloquent, vivid performances of some of today’s finest chamber music. EARplay has performed over 550 works by more than 300 composers in its 33-year history, including 140 world premieres and 80 new works commissioned by the ensemble. Visit the EARplay archives to learn more about EArplay’s rich history.
Inés Thiebaut was born and raised in Madrid, Spain. She is currently an Assistant Professor of Music at Cal State, East Bay. She holds a PhD from the CUNY Graduate Center (New York). Her research interests primarily engage with the music of the twentieth century. Her music is rooted in postmodern tradition and influenced by perceptual art and complexity. Before her move to the East Bay, Inés held a three-year visiting assistant professor position at the University of Utah.