San Francisco born cellist Gérard LeClerc has had a successful career in Europe, after studying with French cellist Pierre Fournier. His recordings range from Brahms sonatas to Alan Ridout cello concertos, and more.
Jason McGuire (“El Rubio”), guitar and director
Marlon Aldona, drums and cajon
Pal Martin Sounder, bass
Terceto Kali—a trio of world-renowned musicians—seamlessly blend flamenco, Latin, and jazz music. Led by the virtuosic and award-winning flamenco guitarist Jason McGuire (“El Rubio”), these three musicians have been igniting audiences since their 2014 debut, and were recently nominated for a prestigious Bay Area Izzie Award for Best Ensemble and Best Company. Terceto Kali’s music is fueled by El Rubio’s inspirational and dazzling compositions and are heard in both jazz clubs and concert halls—maintaining the essence and improvisational quality of both a flamenco or a jazz group.
Free, no tickets necessary (a Shinkoskey Noon Concert)
This workshop will provide strategies for researching and discovering careers related to your career aspirations, including key areas and job titles for each major in the Arts Group. Learn about major related internships and where alumni are now. Majors include: Art Studio, Art History, Cinema & Digital Media, Design, Film Studies, Music, Technocultural Studies, and Theatre & Dance.
***This workshop will count toward the mandatory requirement for seniors.***
Samba School UC Davis will perform excerpts celebrating Parent and Family Weekend, which is a chance for alumni to rediscover UC Davis and for parents to get a glimpse at their child’s college experience. Families can spend time together at a host of scheduled events and enjoy the hospitality of the Aggie community.
Modeled after the famous baterias of Rio de Janeiro’s renowned samba schools, the UC Davis Samba School performs high-energy music of Brazil’s Carnaval for audiences throughout Northern California. The group was formed in 2004 and has since become a vibrant force in campus life, performing at festivals, fundraisers and community events across the region. A contingent of 25 drummers muscle through traditional material taken from Rio’s major samba schools as well as original music created by the group.
David Sanford credits a variety of influences with igniting his musicianship. “I started on trombone when I was about ten and liked big band music early. I wanted to be a jazz musician. Charles Mingus inspired me to be a composer later on.” Sanford was also influenced by rhythm and blues/funk groups like Parliament, the Isley Brothers, and Sly and the Family Stone and, later, by orchestral and more mainstream popular music. After completing undergraduate music studies at the University of Northern Colorado, he earned a master’s degree in theory and composition from the New England Conservatory of Music and an M.F.A. and Ph.D. at Princeton University.
Sanford has won many awards and honors, including a BMI Student Composer Award, a Koussevitzky Commission and a Guggenheim Fellowship. Recently, Sanford won the Samuel Barber Rome Prize Fellowship, allowing him to stay at the American Academy in Rome for 11 months with a group of 25 to 30 scholars in other areas of the humanities. One of the referees for his work wrote: “David Sanford is the real thing, a composer in the American tradition of brash, open-eared exploration: no material is too exalted or too debased for him to transform into his living art.”
Sanford’s works have been performed by the Chamber Society of Lincoln Center, the San Francisco Contemporary Music Players, the Chicago Symphony Chamber Players, the Detroit Symphony Orchestra, the Harlem Festival Orchestra, cellist Matt Haimovitz, the Corvini e Iodice Roma Jazz Ensemble, the Meridian Arts Ensemble, Speculum Musicae, the Empyrean Ensemble at UC Davis, Mount Holyoke faculty members Linda Laderach, Adrianne Greenbaum and Larry Schipull, and dozens of other groups and performers. In addition, he has conducted performances of his own works at Monadnock Music, New England Conservatory, the Knitting Factory, and the Five Colleges New Music Festival, and leads his own big band, the Pittsburgh Collective.
Michael Hernandez, soprano | Michael Mortarotti, alto
Diane Hunger, tenor | Thomas Giles, baritone
Stillabower: Vide Supra
Pelo: Seagrams Murals
Minchew: Constructions for Julie Mehretu
Derderian: I Want to Unfold
Since its inception in 2007, the ensemble has premiered dozens of dedicated twenty-first-century works and widely performed underrepresented masterpieces of the twentieth century. Using vintage instruments built to the specifications of the saxophone’s inventor, Adolphe Sax, Mana’s impassioned performances offer a vivid reimagining of the saxophone’s nineteenth-century heritage—a refined aesthetic characterized by intrinsic warmth, dynamic range of character, and absolute versatility.
In 2009, the group became the first saxophone quartet in history to receive the coveted Grand Prize of the Coleman International Chamber Competition, garnering national attention and activity on the national chamber music circuit.
Named after Chanticleer’s founder, Louis A. Botto, the LAB Choir is a mixed honor choir for singers ages 14–20. The purpose of the group is to promote a high level of small ensemble training for the area’s top young singers and to provide community service through free performances.
Free, no tickets necessary (a Shinkoskey Noon Concert)
This presentation links the island of Java with metropolitan London and rural South Africa. It invokes visions of a so-called “global nineteenth century” in order to present a critical archeology of modern concepts of “sound” and of the “wired worlds” that so characterize global built environments today. Colored by its grounding in music studies, the paper theorizes the ways in which land might be actively emplaced through the active use of musical instruments.
The focus, in other words, is on geographies of empire, and nineteenth-century musical instruments conceived to achieve that space, or to “annihilate distance,” particularly in the work of Charles Wheatstone, music-instrument inventor and Chair of “Experimental Philosophy” at King’s College London. In Wheatstone’s work, sound itself was reconfigured as an enigmatic force for propagation: a way of collapsing space – extolled as an annihilator, or (more benignly) as a political force for cross-cultural communication and understanding. In the sixth of his popular 1835 “Lectures on Sound,” for example, Wheatstone laid before his audience a free-reed talking machine or vowel synthesizer, a Chinese sheng, Chladni figures, and an oversized Javanese gendèr, which Sir Thomas Raffles, “Father of Singapore” and former Lieutenant-General of Java, had recently brought back from the East. Another reed instrument on the table was the prototype “multi-tongued” “Wheatstone concertina,” later versions of which would be advertised as the sound of “British Dominions and Colonies.” They were taken to the Antarctic by Shackleton, Central Africa by Livingstone, and were instruments of choice for colonial missionaries. The paper draws connections between Wheatstone’s experiments on sound conductance, his telegraphic/telephonic fantasies, popular science, the birth of comparative philology, and the liberal-humanitarian search for a truly global instrument – one tuned to the so-called “scale of nature” and capable of “speaking” a universal musical language.
James Davies’s book, Romantic Anatomies of Performance, was published by the University of California Press in 2014. This monograph addresses immersive modes of music making in the European nineteenth century, exploring music’s role in the political cultivation of bodies. It describes a historical phase wherein, in the words of one reviewer, “new norms about music’s relation to the body emerged and began to organize new relations of social power.” His current research extends from the book’s focus on “personal voice” (which works to denaturalize liberal certainties about “creativity” and “expression”) to larger questions of materiality writ large. Sound Knowledge: Music and Science in London is a book co-edited with Ellen Lockhart for the University of Chicago Press. Davies’s chapter in this volume moves in the direction of a second book project, which addresses musical knowing and being in the “global nineteenth century.” The aim is to interpret the emergence of transcendental, globalist, or idealist aesthetics in Europe as a byproduct of the material contingencies of imperial expansion. This means documenting the social placement, not just of political anatomies, but of political geographies. The study explores how people engage in the active placement of land through the active use of musical instruments.
Cyberspace is a great environment for highlighting your artistic knowledge and skills. In this workshop we will discuss the value, cautions to take, and how to utilize social media to gain the attention of prospective employers.
***This workshop will count toward the mandatory requirement for seniors.***
The CODA Honor Orchestra Festival consists of two high school level honor orchestras, an Honors Symphony Orchestra and an Honors String Orchestra, selected by an audition. Two guest conductors work with the students all day on Friday and perform a concert Saturday afternoon.
CODA High School Honor String Orchestra Selections to be announced.
CODA High School Honor Symphony Orchestra
Christian Baldini, conductor
Verdi: Overture to Nabucco
Sibelius: Finale from Symphony No. 5 in E-flat Major
Brahms: Academic Festival Overture
with the UC Davis Symphony Orchestra
Johannes Brahms (1833–97), a central voice of the Romantic era, wrote harmonically dense, dramatic works for orchestra. Academic Festival Overture, however, might be perceived as an outlier to his more serious works. The lively overture, coined by the composer himself as a “a very boisterous potpourri of student songs,” strings various melodies together in a series of playful episodes.
Dutilleux: Tout un monde lointain (A Whole Distant World)
with Leighton Fong, cello
Henri Dutilleux (1916–2013) was a French twentieth-century composer who followed in the footsteps of impressionists before him. His compositions took a unique approach to timbre and harmony. Curiously, Dutilleux never assigned “cello concerto” as a genre label for this piece. Nevertheless, Tout un monde lointain features a cello soloist at the foreground, which develops its voice from mysterious, to languid, to ecstatic. This snapshot of the twentieth century provides the audience with both an impressionist sensibility and a developing compositional technique.
Lutosławski: Concerto for Orchestra
Witold Lutosławski’s (1913–94) Concerto for Orchestra—written in the early 1950s—marked the end of a compositional period strongly influenced by the likes of Bach and Brahms, as well as his own musical heritage. The Concerto for Orchestra has been labeled ”folklike,” a word that aptly describes the foreboding opening movement. Despite its great acclaim, Lutosławski retained a reserved opinion toward this work, distancing himself from it and moving onto freer, aleatoric (music involving chance and allowing randomness) works. It remains a grand testament to his inventive harmonies and treatments of folk melodies.
The metal keys of the mbira, plucked with two thumbs and one forefinger, create relaxing yet invigorating polyphony and polyrhythm. For over a thousand years, the mbira instrument and its repertoire of classic songs have been used in Zimbabwe to call family ancestors and powerful tribal guardian spirits to earth to help the living, in night-long to week-long ceremonies. Every time the mbira is played, it is considered a prayer to the ancestors, which results in their protection of the living.
Erica Azim is the foremost mbira performer and recording artist in
the United States. She fell in love with Shona mbira music when she
first heard it at the age of sixteen. In 1974 she became one of the first Americans to study mbira in Zimbabwe, and since then she has studied
and performed with many of Zimbabwe’s top mbira masters, soloing at venues ranging from Zimbabwean village ceremonies to the Kennedy Center, in addition to many universities. She also performs internationally and has recorded three solo recordings and played on nine others. A lifelong teacher and learner, she runs workshops throughout the United States and the world. She directs the nonprofit organization MBIRA, which makes field recordings and instruments available to mbira enthusiasts around the world and provides financial support to over 230 Zimbabwean mbira players and instrument makers.
Fradreck Mujuru, grandson of the legendary Muchatera Mujuru, grew up in the largest extended family of mbira players in Zimbabwe. Strongly drawn to the instrument as a boy, he began to play at the age of eight, later learning to build mbiras as well. Today he is considered to be the greatest living mbira maker—his instruments are now played on every continent—as well as being a highly respected musician. Fradreck toured Europe and South Africa during the 1990s, and has both taught and performed in the United States, having had residencies at Grinnell College, Williams College, and the University of Michigan.
Making the transition to life after college can be a time of uncertainty for many students. Whether you know here you are headed, or you are not sure of your next steps this workshop will provide tools for creating your future. You will learn about campus resources for career and grad school planning as well as developing professionalism and preparing for work life.
Joy S. Shinkoskey was the mother of Deborah Pinkerton and mother-in-law to Bret Hewitt. They established an endowment to support noon concerts and musical performances in the UC Davis Department of Music.
Joy S. Shinkoskey (Pinkerton)
Mother of four children, including Deborah Pinkerton, Joy Shinkoskey was in her younger years a model and played the piano which is where she developed her love of music, playing Beethoven piano works in the Spokane Music Festival, 1940, and throughout her life.