Addie Camsuzou: Thaw Daniel Godsil: sans terre Sarah Wald: Allegro Scherzando Ryan Suleiman: Thought Bubbles Jonathan Favero: String Quartet No. 2
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
UC Davis Professor of Music Laurie San Martin:Vast Steppe
UC Davis Professor of Music Kurt Rohde:credo petrified
Jocelyne Guilbault is an ethnomusicologist and popular music studies scholar who has been teaching at UC Berkeley since 1999. Stressing a multidisciplinary approach, her research and teaching engages critical theoretical and methodological issues in ethnomusicology and popular music studies. She locates these issues in the scholarly intersections of music, anthropology, cultural studies, and history.
All of my intellectual projects since 1980 have been deeply informed by the distinctive history of the West Indies, where colonial legacies of slavery and of racism have loomed large in all arenas of musical discourse and practice. This has compelled me to focus on diasporic formations, on emergent national identities, and on the politics of representation. And it has compelled me to investigate the postcolonial conditions in which West Indian musicians live and the systemic inequalities they have faced. But my research is not just about oppression, or emancipatory politics, or the status quo. By focusing on creative agency in its multiple forms, I have examined a multitude of ways that musicians, their audiences, and music industry workers confront, enact, deploy, and resist power in its many forms and effects. In this way I have consistently engaged with the politics of aesthetics and with power relations in music production and circulation. These issues inform my earliest fieldwork project on the politics of traditionality and modernity in St. Lucian village music. I developed these issues on a more global scale in a later project on Zouk as a Caribbean “world music.” My last two books draw from a long history of research in Trinidad. In one I explored the ways the calypso music scene became audibly entangled with projects of governing, audience demands, and market incentives. In the most recent publication, an experiment in dialogic co-authorship with a reputed Trinidadian calypso and soca band leader, I engage the audible entanglements of circulation, reputation, and sound.
Elainie Lillios:Fluid | Crystal | Vapor
for Viola and Live, Interactive Electroacoustics
Peter Van Zandt Lane:Décalcomanie No. 2
for Viola and Live Electronics
Sam Nichols:Imaginary Units
for Viola and Electronics
Tina Tallon:excision no. 2—they didn’t know we were seeds
for Viola and Live Electronics
Richard Chowenhill:crush for Amplified Viola
A multiyear commissioning project that is modeled after Cher’s decades-long farewell tours, Kurt Rohde’s Farewell Tour—Parts 1, 2, 3, 4, 5, and 6—commissions new works by the most gifted composers who, Rohde feels, are underrepresented and deserve a wider audience, while also broadening the repertoire for viola. His project’s anticipated year of completion is 2028, at which time he will retire from playing in performance and donate his instrument to some talented whippersnapper who wants to play viola.
Laura Reynolds, oboe
Patricia Sands, clarinet
David Granger, bassoon
Trois Bois has been concertizing since 2009 and champions a wide range of repertoire from the eighteenth century to the present day. The trio particularly enjoys providing verbal commentary and context for their repertoire and inviting listeners into the conversation.
Mestre Cobra Mansa is a recognized Capoeira Angola master based in Bahia (Brazil) who has extensive experience teaching and performing capoeira around the world. He participated in the revival of Capoeira Angola during the 1980s–90s in Bahia and now leads the International Capoeira Angola Foundation, one of the most influential capoeira groups in the world. Recently, he participated in the project Angolan Roots of Capoeira led by historian Matthias Rohrig Assuncao (University of Essex), which took them to Angola four times.