UC Davis jazz combos will explore the music of standards by Dizzy Gillespie as well as new jazz compositions. UC Davis jazz bands are directed by Sam Griffith, and jazz composition is taught by Jacám Manricks.
Mozart-Busoni: Duettino Concertante
—based on the finale of Mozart’s Piano Concerto in F Major, K. 459
Rachmaninov: Suite No. 1 for Two Pianos (“Fantaisie-tableaux”)
Piazzolla / Anderson-Roe: Primatevera Porteña, Oblivion, and Libertango
Daft Punk-Williams-Rodgers / Anderson-Roe: “Lose Yourself to Dance” from Random Access Memories (Chaconne for Two Pianos)
Ligeti / Anderson-Roe: Hungarian Rock (Chaconne)
Radiohead / Anderson-Roe: “Paranoid Android” from OK Computer
Gluck / Anderson-Roe: Ballet from Orphée et Eurydice
Lennon-McCartney / Anderson-Roe: “Let it Be” from Let it Be
Greg Anderson and Elizabeth Joy Roe, pianists and graduates of the Juilliard School of Music, have sought to redefine piano four-hand music with their stylish arrangements of popular music and classical repertoire. Their accomplishments are recognized in their EMMY-nominated music video shorts and popular albums. They believe strongly in the communicative potential of music, and their performances, compositions, websites, videos, recordings, and writings serve this mission, bringing joy to people around the world. The Northwest Reverb described this duo as having “swept the audience into a cheering mass of humanity, making a strong case that playing piano is the most fun thing that two people could ever do together.”
The music department will continue to present artists-in-residence in their own concerts during short residencies in which the artists work with student composers and performers.
Koyaanisqatsi (in 1982) was the first of a trilogy of films directed by Godrey Reggio that would visually and sonically explore the relationship of life “out of balance,” “transformation,” and “war.” Philip Glass has written music for experimental theatre and for Academy Award-winning motion pictures such as The Hours and Martin Scorsese’s Kundun. Following the film, Glass will give a talkback, hosted by faculty composer Pablo Ortiz, professor of composition at UC Davis. Professor Ortiz also teaches the course “Buenos Aires: Music, Film, and Culture in the Global City” in the Summer Abroad program.
Philip Glass’s presence is made possible by the Mondavi Center. The Music Department and the Mondavi Center for the Performing Arts have sustained a complementary relationship, even prior to the construction of the Mondavi Center. Students and faculty have benefited from many opportunities, including the St. Louis Symphony Orchestra’s residency, the Martha Graham Dance Company, and the Berlin Philharmonic’s Scharoun Ensemble.
Free, however tickets are necessary. Limit four per household. Available here.
The highly distinct piano parts of the Visions likely represent two personifications of Messiaen. After a warning, in the score, that the piece “was conceived and written for two pianos, demanding from these instruments their maximum force and diverse sonorities,” he distinguishes the first piano part as that containing “the rhythmic difficulties, the bunches of chords, everything concerned with velocity, charm, and quality of sound” and the second piano (composed with himself in mind) as entrusted with “the principal melody, the thematic elements, everything demanding emotion and power.” Their strongly characterized roles signify the reconciliation of the modernist intellectual—Yvonne Loriod [for whom the first piano part was written] was essentially the same age as Messiaen’s anti-Romantic students, and played brilliantly, but perhaps less fancifully than he—and the starry-eyed believer. Their layering at times suggests people from two different worlds who cooperate toward a shared aim.
—Michael Seth Orland
Free, no tickets necessary (a Shinkoskey Noon Concert)
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.
Michael Hernandez, soprano | Michael Mortarotti, alto
Diane Hunger, tenor | Thomas Giles, baritone
Program includes UC Davis faculty composer Mika Pelo’s Seagrams Murals, as well as a new composition by David Sanford.
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)
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.
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.