Henry Spiller — a member of the music department faculty at UC Davis for 10 years — has a new book out, detailing “American love affairs with Javanese music and dance” through the stories of four North American artists.
Spiller and the UC Davis Gamelan Ensemble will be performing music that goes with the book’s theme on Friday as part of the “Musics of the World” concert in the Mondavi Center’s Vanderhoef Studio Theatre.
The study of ethnomusicology shows that music is more than just organized sound. By digging into the roots of various music styles, ethnomusicology uncovers social and historical meanings unique to its cultural context.
To support our campus’ own ethnomusicology program, the music department is putting on Musics of the World Ensembles of UC Davis, a showcase featuring four of the university’s world music groups. The performance will take place on Fri., April 24, at the Mondavi Center.
“We’re excited to get back to work,” said Larry Gardner, president of American Federation of Musicians Local 12, which represents the orchestra members. “Here, you’ve gone from no momentum to something. That’s good for us, and it’s good for the community.”
Friday, April 10, 2015, at 10:15 and 11:35 am, at the Community Center Theater, Sacramento. Sacramento Philharmonic musicians perform with soprano Carrie Hennessey and Sacramento-area elementary school students—part of the Link Up program sponsored by Carnegie Hall.
Two UC Davis ethnomusicology grad students—Gillian Irwin (first year) and Sarah Messbauer (ABD)—share this year’s Marnie Dilling Prize, presented by the Northern California Chapter of the Society for Ethnomusicology for the best graduate student presentations at its annual chapter meeting, which was held on February 28, 2015, at UC Berkeley.
In Saramago’s 2005 novel, death appears as a woman who falls in love with a cellist and is transformed by that love. It’s a perfect vehicle, Rohde says, for using music to convey the drama. “In this opera, music is the transformative force that turns death from this thing that doesn’t exist into a human being. It’s a very confusing process for her, and she has to do things that are increasingly human. For example, she’s never spoken—she never had to—and when she starts to speak, I make her stutter and gradually start to form words. The cellist character vocalizes as if he’s tuning up the instrument, then playing the Bach Suites.”
Rita Sahai was among ten Indian-American achievers to be honored by the National Federation of Indian American Associations (NFIA), at its 18th biennial convention, which was held March 6–8, 2015, in Cerritos, California. The award given to Sahai was in the category of Liberal and Fine Arts.
I find it tremendously gratifying that a young performer found her way to my collection. The story of women songwriters needs to be told in many ways, none of which is more important than bringing the songs to life through performance. A century ago, thousands of women wrote songs. It was “normal” for women to express themselves through music. For someone who is an undergraduate to have begun this journey of recovering these lost voices is very exciting.
“… on Tuesday, Tilson Thomas asked Baldini if he would like to conduct a rehearsal of Adams’ “The Light that Filled the World.” The piece was written in 1998 for the Paul Dresher Ensemble, and to a certain degree it reflects the composer’s response to the experience living in the spacious northern landscape of Alaska.
Kurt Rohde, music professor, is one of 16 artists to receive an American Academy of Arts and Letters music award for 2015. He is one of four composers who will each receive a $10,000 award for outstanding accomplishments and $10,000 toward recording one of their works. Rohde, who came to UC Davis in 2006, has also won the Rome Prize, the Berlin Prize, a Guggenheim Fellowship, and recently received commissions from the Lydian String Quartet, eighth blackbird, the St.
The program began with San Martin’s we turn in the night in a circle of fire. It is a four-movement double concerto for chamber ensemble and two exceptional violinists: Gabriela Diaz and Hrabba Atladottir. Steven Schick, the conductor and artistic director of SFCMP, describes the piece in terms of “textural and virtuosic rapport” between the violinists. Meanwhile, the composer herself explained that the title is a translation of a Latin palindrome.
Fitting a squeeze-box Argentinian bandoneón – an essential element of tango dance-hall bands – into a classical-music milieu is a bit of a stretch. The two sound-worlds are so fundamentally different that it’s hard to imagine how they could intersect. Nonetheless, star Argentinian bandoneónist J.P. Jofre and the Santa Rosa Symphony gave it a whirl on Sunday at Weill Hall in Rohnert Park, premiering a concerto for bandoneón and orchestra by Pablo Ortiz, an Argentinian professor of composition at UC Davis.
During a performance of Thierry de Mey’s “Musique de tables” for percussion trio (1987), Ian David Rosenbaum, Christopher Froh and Ayano Kataoka sat at a table on the stage of Alice Tully Hall like three somber-faced magicians, their athletically choreographed tap-dancing hands eliciting a remarkable array of tones and timbres from the pieces of wood laid flat in front of them.
The second gem of the evening was composer Dan VanHassel’s fzzl, written for snare drum with transducer. Percussionist Megan Shieh was a dynamic presence in a work informed by African drumming. Van Hassel’s score makes ample use of all sides of the snare drum.
Composer Pablo Ortiz will have his Bandoneon Concerto premiered by the Santa Rosa Symphony, with J.P. Jofre, for whom the work was written, on February 7th at the Weill Concert Hall at the Green Music Center.
Baritone Mischa Bouvier was vocally and dramatically larger than life as the bumbling giant and murderous monstrosity that Polyphemus is. His gruesome act of crushing Acis under a stone leads to one of the baroque’s saddest musical moments, in which the chorus sings, unaccompanied, “Ah, the gentle Acis is no more,” and the members of the excellent ABS chorus, for just a moment, managed to bring time to a standstill.
Composer Sam Nichols had a first performance of his things that had no opposites—fragments from Tim Horvath for soprano, flute, guitar, and harp—with the Left Coast Chamber Ensemble, on their December 7 and 8 “Sung and Strummed” concerts (2014). Nichols received a Fromm Foundation award and commission for the piece. As reviewed by Benjamin Frandzel of San Francisco Classical Voice:
The three bits of text for that piece come from contemporary fiction writer Tim Horvath, a friend of the composer, and they enigmatically skirt in and around the consciousness of characters speaking in a mode somewhere between prose and poetry. Nichols responded empathetically, with a composition in which instrumental lines and the voice overlap and coincide with each other like different aspects of a single mind.