Works written by “Revision/s” Composer Fellows Oren Boneh and Natalie Draper.
The Empyrean Ensemble presents engaging, thought-provoking, eclectic programs, enabling audiences to experience new musical sensations delivered with high artistry by its seven extraordinary core players—the finest new music performers in California. Ensemble-in-residence at UC Davis, Empyrean has premiered more than 200 works and performed throughout California, including appearances at many prominent music festivals and concert series.
Travis Andrews, electric guitar
Andy Meyerson, percussion
Works written by “Revision/s” Festival Composer Fellows Christine Burke and Laura Schwartz.
The San Francisco-based ensemble uses the traditions of classical and experimental music as tools to allow artists of all disciplines to create their most ambitious works and respond to the world in which they live. Memorizing every work it performs, The Living Earth Show thrives on pushing the boundaries of technical and artistic possibility in its presentation of commissioned electro-acoustic chamber music.
Pelle Gudmundsen-Holmgreen: Quartet No. 9 (“Last Ground”)
Philip Glass: String Quartet No. 5
Water courses through this program, in turn symbolizing life, death, flowing motion, peaceful repose and raging violence. Five unique compositional voices guide us on a visionary journey from the fragmentary, lost idylls of Thomas Adès, to the pulsing waves of Philip Glass.
In celebration of the 100th anniversary of the birth of legendary American conductor and composer Leonard Bernstein, UC Davis will show West Side Story in an ideal setting: the recital hall at the Ann E. Pitzer Center, which features phenomenal acoustics and comfortable seating.
Music was a force of understanding and co-operation between different faiths and ideologies in the courts of two politically astute sixteenth century rulers—Emperor Akbar 1st of India and Elizabeth 1st of England—rulers both known for their use of tolerance as a force to strengthen and build their respective countries into leading forces on an increasingly connected world stage.
Ngudi Raras hails from Central Java, Indonesia, and is led by the renowned drummer Wakidi Dwidjomartono. Wakidi is a native of Surakarta and has garnered a reputation as one of the most masterful and experienced living musicians, having performed extensively for dance, shadow puppet plays, and klenèngan. The group consists of several musicians who currently teach at the performing arts school in Surakarta.
In klenèngan, the setlist is not planned beforehand; the bowed fiddle (rebab) player signals each piece by its introductory phrase; the musicians must recognize this to know which piece is being selected. Javanese klenèngan foster a relaxing environment in contrast with formal western-style concerts. It is acceptable for audience members to chat quietly with their neighbor if they notice something fascinating in the music.
Nathan Hesselink’s research broadly encompasses the topic of rhythmic play and social meaning, firstly in South Korean traditional percussion genres and more recently in British rock music. He received his PhD in ethnomusicology from the University of London, SOAS, and was a postdoctoral research fellow in Korean studies at the University of California, Berkeley. In addition to visiting posts at the University of Chicago and the Academy of Korean Studies, in 2012 he was Trinity Term Visiting Research Associate, St. John’s College, University of Oxford.