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.
Cellist Rhonda Rider created the Petrified Forest Project—a concert program of pieces by ten living composers—during a National Parks artist-in-residence program at the Petrified Forest National Park in 2015. How does one convey the landscape or history of the park through music? Why is the cello a good medium for this project? How can composers approach such a unique call for scores?
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
EARplay Trio
Terrie Baune, violin | Ellen Ruth Rose, viola
Thalia Moore, cello | John Chernoff, piano
A program by UC Davis faculty composer Pablo Ortiz and Johannes Brahms—
Pablo Ortiz:and all the phonies go mad with joy (2009)
Johannes Brahms: Piano Quartet in C Minor, op. 60
Founded in 1985 by a consortium of composers and musicians, EARplay is dedicated to the performance of new chamber music. EARplay offers audiences a unique opportunity to hear eloquent, vivid performances of some of today’s finest chamber music. EARplay has performed over 550 works by more than 300 composers in its 33-year history, including 140 world premieres and 80 new works commissioned by the ensemble. Visit the EARplay archives to learn more about EArplay’s rich history.
Inés Thiebaut was born and raised in Madrid, Spain. She is currently an Assistant Professor of Music at Cal State, East Bay. She holds a PhD from the CUNY Graduate Center (New York). Her research interests primarily engage with the music of the twentieth century. Her music is rooted in postmodern tradition and influenced by perceptual art and complexity. Before her move to the East Bay, Inés held a three-year visiting assistant professor position at the University of Utah.
Many journals on hospitality, leisure, and tourism management have drawn attention to touristic experience and local histories of encounter. Far fewer have addressed the political economy of commercial hospitality through music and sound. This paper focuses on what informs the tourists’ experience, specifically the music and sound policies dictated by hotel managers, and the labor musicians perform under different regimes of value. These regimes are informed as much by economic and political forces at a macro level, as by the management and musicians’ distinct personal style and understandings of hospitality. Through the lens of labor, the moral force of long-held traditions and their economic implications for gender politics are revealed. It is in these conjunctions that this study locates the shaping of experience as affecting and affective dimensions of the political economy of tourism.
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.
The Sing-a-Long-a Sound of Music is a screening of the classic Julie Andrews Academy Award-winning musical film in glorious, full-screen technicolor, complete with subtitles so that the whole audience can sing along to the glorious Rodgers and Hammerstein score!
If you’ve always wanted to be a part of a musical, this is your chance!
The evening begins with a live show in which your host will lead you through a vocal warm-up, judge the fancy dress competition and award the prizes. Costumes are not compulsory but they are highly recommended and you will be amazed at the inventiveness on display. The host will then show you how to use your free interactive prop bag throughout the film and suggest some appropriate heckles and accompanying actions (such as hissing the countess, barking at Rolf and, of course, cheering for Julie).
Then, you sit back and watch the original 1965 movie with the lyrics for all the songs on the screen, so you won’t miss a chance to sing your hearts out.
Annette Richards is Professor of Music and University Organist at Cornell, and the Executive Director of the Westfield Center for Historical Keyboard Studies. She is a performer and scholar with a specialty in 18th-century music and aesthetics, and interdisciplinary research into music, literature and visual culture. She is founding editor of Keyboard Perspectives, a yearbook dedicated to historical performance and keyboard culture, but her scholarly work extends far beyond the organ and its music.
