Taproot is a biennial festival which began in 2010 under a
different name; it was originally called the UC Davis Composition
Workshop. Taproot matches participating composers with
ensembles that specialize in performing new music. We hold a call
for works, and then invite a small number of composers (usually
about eight) to come visit our campus in northern California and
work with a variety of different ensembles, both local and
visiting. Participating composers work directly with the
performers, and these rehearsals culminate in a public
performance at the Ann E. Pitzer Center. Composers also meet
in seminars to present and discuss their work. The first three
iterations of the festival featured composers-in-residence who
mentored the participating composers: Lee Hyla, Lei Liang, and
Melinda Wagner each in turn filled this role. More recently,
we’ve adopted a different model, where UC Davis music composition
faculty help facilitate the seminars.
The Taproot New Music Festival strives to be as open, inclusive,
and transparent as possible. We’ve worked to identify and remove
barriers that might prevent composers from participating in the
festival. Our goal is to bring together a diverse group of
composers from a wide range of different backgrounds and
trainings. We believe it’s important to nurture relationships
between artists from radically different orientations.
Our line-up of artists and ensembles has featured both local and
visiting ensembles and artists. Resident groups include the
Empyrean Ensemble, our own professional new music ensemble, which
was founded in 1985 by Ross Bauer. The UC Davis
Symphony Orchestra (directed by Professor Christian Baldini) is also a frequent
collaborator; in more than 60 years of public concerts it’s
established itself as a compelling advocate for contemporary
music. Visiting artists have included Alarm Will Sound, the
Calder Quartet, Sō Percussion, and the St. Louis Symphony (David
Robertson, conductor). A number of exciting local artists have
also appeared at the festival, including violinist Hrabba
Atladottir, electronic musician (and UC Davis professor) Bob Ostertag, pianist Eric
Zivian, and Rootstock Percussion.
One of our goals when we started the festival was to draw
attention to the UC Davis graduate program in music composition.
However, a vitally important part of the festival also involves
the active participation of our student body in general,
especially undergraduates. Students have participated in a number
of projects at the festival, including a staging of David Tudor’s
Rainforest IV, a side-by-side rehearsal combining
members of the St. Louis Symphony with the UC Davis Symphony
Orchestra, and a collaboration between students from Chris Froh’s
percussion studio with Sō Percussion that culminated in a
performance of Steve Reich’s Drumming. We’re eager to
continue to provide opportunities for our students to perform
alongside exceptional artists.
