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ANNIVERSARY 2012—13 ISSUE 7: MAR 2013 • Young Artists Competition Winners Concert p. 5 • Julian Lage Group p. 8 • Sarah Chang, violin; Ashley Wass, piano p. 11 • The Improvised Shakespeare Company p. 16 • Cashore Marionettes Simple Gifts p. 19 • St. Louis Symphony p. 23 • Jazz at Lincoln Center Orchestra with Wynton Marsalis p. 29 PROGRAM • Lara Downes, Piano; Build p. 34 Season Sponsors

ANNIVERSARY

2012—13

ISSUE 7: MAR 2013

• Young Artists Competition Winners Concert p. 5

• Julian Lage Group p. 8

• Sarah Chang, violin; Ashley Wass, piano p. 11

• The Improvised Shakespeare Company p. 16

• Cashore Marionettes Simple Gifts p. 19

• St. Louis Symphony p. 23

• Jazz at Lincoln Center Orchestra

with Wynton Marsalis p. 29

PROGRAM

• Lara Downes, Piano; Build p. 34

Season Sponsors

We’ve lifted health care to an art form.

Who better to create the perfect health plan but

health care professionals with families of their

own. So that’s just what we did. Fifteen years ago,

UC Davis Health System, Dignity Health and

NorthBay Healthcare System came together to

create a quality alternative to national HMOs.

The result is a health plan committed to improving

the health and well-being of our community. So, if

you are interested in getting just what the doctor

ordered, give us a call.

As a founding partner, Western Health Advantage is proud to celebrate Mondavi Center’s 10th anniversary.

ANNIVERSARY

2012—13

A MESSAGE FROM THE CHANCELLOR

It is my pleasure to welcome you to the Robert and Margrit

Mondavi Center for the Performing Arts, a genuine jewel of

our UC Davis campus. In its 10 years of existence, the Center has

truly transformed our university and the Sacramento region.

Linda P.B. Katehi

UC Davis Chancellor

Arts and culture are at the heart of any university campus, both as

a source of learning and pleasure and of creative and intellectual

stimulation. I have been fortunate to be a part of several campuses

with major performing arts centers, but no program I have experienced

exceeds the quality of the Mondavi Center. The variety, quality

and impact of Mondavi Center presentations enhance the worldwide

reputation of our great research university.

Of course, this great Center serves many purposes. It is a place

for our students to develop their cultural literacy, as well as a

venue where so many of our wonderful faculty can share ideas

and expertise. It is a world-class facility that our music, theater

and dance students use as a learning laboratory.

As a land grant university, UC Davis values community service

and engagement, an area in which the Mondavi Center also excels.

Through school matinees, nearly 100,000 K–12 students have

had what is often their first exposure to the arts. And through the

Center’s many artist residency activities, we provide up close and

personal, life-transforming experiences with great artists and thinkers

for our region.

Thank you for being a part of the Mondavi Center’s 10th anniversary

season.

Season Sponsors

MondaviArts.org | 1

10TH ANNIVERSARY SEASON SPONSORS

CORPORATE PARTNERS

Platinum

Gold

Silver

Bronze

SPECIAL THANKS

Anderson Family

Catering & BBQ

Atria Senior Living

Boeger Winery

Buckhorn Catering

Caffé Italia

Ciocolat

OFFICE OF CAMPUS

COMMUNITY RELATIONS

MONDAVI CENTER GRANTORS

AND ARTS EDUCATION SPONSORS

The Andrew W. Mellon Foundation

El Macero Country Club

Fiore Event Design

Hot Italian

Hyatt Place

Osteria Fasulo

Seasons

Watermelon Music

For more information about how you can support

the Mondavi Center, please contact:

Mondavi Center Development Department 530.754.5438

MONDAVI CENTER STAFF

DON ROTH, Ph.D.

Executive Director

Jeremy Ganter

Associate Executive

Director

Becky Cale

Executive Assistant

PROGRAMMING

Jeremy Ganter

Director of

Programming

Erin Palmer

Programming

Manager

Ruth Rosenberg

Artist Engagement

Coordinator

Lara Downes

Curator: Young

Artists Program

ARTS EDUCATION

Joyce Donaldson

Associate to the

Executive Director

for Arts Education

and Strategic Projects

Jennifer Mast

Arts Education

Coordinator

AUDIENCE SERVICES

David Szymanski

Audience Services

Manager

Yuri Rodriguez

House/Events Manager

Nancy Temple

Assistant House/Events

Manager

Natalia Deardorff

Assistant House/Events

Manager

BUSINESS SERVICES

Debbie Armstrong

Senior Director of

Support Services

Mandy Jarvis

Financial Analyst

Russ Postlethwaite

Billing System &

Rental Coordinator

DEVELOPMENT

Debbie Armstrong

Senior Director

of Development

Alison Morr Kolozsi

Director of Major Gifts

& Planned Giving

Elisha Findley

Corporate & Annual

Fund Officer

Amanda Turpin

Donor Relations

Manager

Casey Schell

Development/Support

Services Assistant

OPERATIONS

Herb Garman

Director of

Operations

Greg Bailey

Building Engineer

INFORMATION

TECHNOLOGY

Darren Marks

Web Specialist/

Graphic Artist

Mark J. Johnston

Lead Application

Developer

MARKETING

Rob Tocalino

Director of

Marketing

Will Crockett

Marketing Manager

Erin Kelley

Senior Graphic Artist

Amanda Caraway

Public Relations

Coordinator

TICKET OFFICE

Sarah Herrera

Ticket Office Manager

Steve David

Ticket Office Supervisor

Susie Evon

Ticket Agent

Russell St. Clair

Ticket Agent

PRODUCTION

Donna J. Flor

Production Manager

Daniel J. Goldin

Assistant Production

Manager/Master

Electrician

Zak Stelly-Riggs

Assistant Production

Manager/Master

Carpenter

Christi-Anne

Sokolewicz

Senior Stage Manager,

Jackson Hall

Christopher Oca

Senior Stage Manager,

Vanderhoef Studio

Theatre

Jenna Bell

Artist Services

Coordinator

Daniel B. Thompson

Campus Events

Coordinator, Theatre

and Dance Department

Liaison/Scene

Technician

Kathy Glaubach

Music Department

Liaison/Scene

Technician

Adrian Galindo

Audio Engineer—

Vanderhoef Studio

Theatre/Scene

Technician

Gene Nelson

Registered Piano

Technician

HEAD USHERS

Huguette Albrecht

Eric Davis

George Edwards

Linda Gregory

Donna Horgan

Paul Kastner

Mike Tracy

Susie Valentin

Janellyn Whittier

Terry Whittier

2 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

ROBERT AND MARGRIT MONDAVI CENTER for the Performing Arts • UC DAvis

PROGRAM

ISSUE 7: MARCH 2013

IN THIS ISSUE:

Photo: Lynn Goldsmith

A MESSAGE FROM

DON ROTH

Mondavi Center Executive Director

My late friend the wonderful American conductor James

DePreist often spoke about the importance of an

orchestra being “ubiquitous” in its community. From March 15

through 17, the great Saint Louis Symphony, in a residency

sponsored by the Andrew W. Mellon Foundation, will live up to

that standard in our region. Over those three days, members

of the St. Louis Symphony will travel to schools, hospitals,

museums, community centers and dorms, conducting master

classes, an intimate contemporary music concert at the Crocker

Art Museum (March 14), and a side-by-side rehearsal with

our own UC Davis Symphony Orchestra. In addition to their

full Sunday evening performance, we have commissioned

site-specific works from six UC Davis Department of Music

composers, inspired by Robert Arneson’s Eggheads, which

members of the St. Louis Symphony will perform next to the

beloved sculptures here on the UC Davis campus on March 15.

• Young Artists Competition Winners Concert p. 5

• Julian Lage Group p. 8

• Sarah Chang, violin p. 11

Ashley Wass, piano

• The Improvised Shakespeare Company p. 16

• Cashore Marionettes p. 19

Simple Gifts

• St. Louis Symphony p. 23

• Jazz at Lincoln Center Orchestra

with Wynton Marsalis p. 29

• Lara Downes, Piano p. 34

Build

• Mondavi Center Policies and Information p. 44

The economics of touring orchestras have long prevented

us from engaging these remarkable symphonic ensembles

and musicians in anything other than the occasional preperformance

talk or post-show meet and greet. But, due to

the generosity of The Andrew W. Mellon Foundation, which

is pursuing an interest in expanding audiences for classical

music, we will have the St. Louisians with us in this multitude

of guises and activities. I hope you can walk with us amongst

the Eggheads, join us at a community event, listen to small

scale contemporary works at the Crocker and the full orchestra

playing Brahms, Berg and Beethoven in Jackson Hall. You can

find more information about the residency on our website,

MondaviArts.org. I encourage you to engage!

Don Roth, Ph.D.

Executive Director

Mondavi Center for the Performing Arts, UC Davis

BEFORE THE SHOW

O A H

• As a courtesy to others, please turn off all

electronic devices.

• If you have any hard candy, please unwrap it

before the lights dim.

• Please remember that the taking of photographs

or the use of any type of audio or video recording

equipment is strictly prohibited.

• Please look around and locate the exit nearest

you. That exit may be behind, to the side or

in front of you. In the unlikely event of a fire alarm

or other emergency please leave the building

through that exit.

• As a courtesy to all our patrons and for your

safety, anyone leaving his or her seat during the

performance may not be re-admitted to his/her

ticketed seat while the performance is in progress.

MondaviArts.org | 3

4 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

YOUNG ARTISTS COMPETITION

WInnerS COnCerT

Calder Quartet Photo by Tyler Boye

A Mondavi Center Special Event

Sunday, March 3, 2013 • 2PM

Jackson Hall

There will be one intermission.

Individual support provided by John and Lois Crowe,

Mary B. Horton and Barbara K. Jackson.

Special thanks to the jurors of the Eighth Annual

Mondavi Center Young Artists Competition:

Lara Downes, Mondavi Center Artist-in-Residence

Charles Letourneau, IMG Artists and Festival del Sole

Cindy Hwang, Concert Artists Guild

Kristin Schuster, IMG Artists

Sheri Greenawald, San Francisco Opera

Mina Perry, The Colburn School

Mona Lands, UCLA

Clare Burovac, Portland Opera

Richard Aldag

Malcolm Mackenzie

The Mondavi Center Young Artists Competition is directed by Mondavi

Center artist-in-residence Lara Downes, who founded the competition

in 2004 with the generous support of founding sponsors John and

Lois Crowe, Mary B. Horton and Barbara K. Jackson. The Young Artists

Competition attracts pre-professional young musicians at the highest

level from throughout the United States, offering scholarships and

performance opportunities for pianists, instrumentalists, chamber

ensembles and vocalists ages 10–22.

Auditions for the 2014 competition will be held nationwide beginning November

2013.

www.mondavidarts.org/youngartists

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic

devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

MondaviArts.org | 5

6 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

FINALISTS FOR THE 2013 MONDAVI CENTER YOUNG ARTISTS COMPETITION

Founders Division Voice

Erika Baikoff: Brooklyn, NY

Jacob Brown: Santa Rosa, CA

Yelena Dyachek: Elverta, CA

Darren Jackson: Castle Hyne, NC

Robert May: New York, NY

Johnathan McCullough: Philadelphia, PA

Nicole Shorts: Los Altos, CA

Young Artists Division Instrumentalists

Michael Chung: Cupertino, CA

Alexander Goldberg: Redwood City, CA

Geneva Lewis: Irvine, CA

Derek Louie: New York, NY

Benjamin Penzner: Pasadena, CA

Alexander Stroud: Mountain View, CA

Albert Yamamoto: Berkeley, CA

David Yoon: Irvine, CA

Young Artists Division Pianists

Ho-Joon Kim: Los Angeles, CA

Nathan Kim: Portland, OR

Emily Kvitko: Palo Alto, CA

Ray Ushikubo: Riverside, CA

Roger Xia: Elk Grove, CA

Catharine Xu: San Jose, CA

Eun Young (Isabel) Park: Santa Clara, CA

The Licensed Seat program

lets you stake your claim to some

of our best seats for every single

Mondavi Center presenting

program show.

You. * Every time.

*Patron. Donor. Arts enthusiast.

Waited for years

to get this close.

Birthday splurge.

That’s right.

Every show.

Every series.

This and other great donor benefits

start at the Producer Circle level.

Call 530.754.5436 to learn more.

Using neighbor’s tickets.

MondaviArts.org | 7

MC

Debut

JuLIAn LAGe GrOup

Photo by Ingrid Hertfelder

A Capital Public Radio Studio Jazz Series Event

Wednesday–Saturday, March 6–9, 2013 • 8PM

Vanderhoef Studio Theatre

Sponsored by

West Side Story Suite for Violin and Piano

Bernstein

Arr. Newman

Intermission

Individual support provided by

John and Lois Crowe.

Sonata No. 2 for Violin and Piano in D Major, Op. 94a

Andantino

Scherzo: Allegretto

Andante

Allegro con brio

Prokofiev

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic

devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

MondaviArts.org | 11

PROGRAM NOTES

Cantabile in D Major, MS 109 (ca. 1824)

Niccolò Paganini

(Born October 27, 1782, in Genoa, Italy; died May 27, 1840, in Nice,

France)

Of equal importance in Paganini’s technical arsenal to the multiple

stops, trills, extended registers, harmonics, flashing scales and

lightning arpeggios was his ability to conjure from the violin an

unprecedented lyricism and sweetness of tone. Franz Schubert

maintained that in Paganini’s slow playing he “heard an angel sing.”

Gioacchino Rossini confessed that he had “wept only three times

in my life. The first time when my earliest opera failed, the second

time when, with a boating party, a truffled turkey fell into the water,

and the third time when I heard Paganini play.” Of one Paganini

performance, the respected Berlin novelist and music critic Ludwig

Rellstab wrote, “The Adagio of his concerto was so straightforward

that any student could have played it without difficulty—it was

nothing more than a simple, plaintive air ... But never in my life

have I heard such weeping. It was as if the lacerated heart of this

suffering mortal were bursting with its sorrow ... I never knew that

music contained such sounds. He spoke, he wept, he sang, and yet—

compared with this Adagio—all virtuosity is as nothing. When the

conclusion came, a burst of jubilation broke loose. The ladies leaned

over the balustrade of the gallery to show they were applauding;

the men stood on chairs to see him and call to him; I have never

seen a Berlin audience so.” The lovely Cantabile, a touching

manifestation of the songful strain in Paganini’s musical personality,

was originally composed for violin and guitar. His reputation was,

of course, founded upon his peerless violin playing, but it is little

known that he was also a master of the guitar, which he enjoyed

playing in private, and the most important 19th-century composer

for the instrument outside Spain—some 200 works for guitar,

including solo pieces, duos and chamber compositions with strings,

were discovered among his effects after his death. The Cantabile,

reminiscent of the melodious style of the Italian cantilena, is one of

his most endearing lyrical inspirations.

Chaconne in G Minor

Attributed to Tomaso Antonio Vitali

(born March 7, 1663, in Bologna, Italy; died May 9, 1745, in

Modena, Italy)

Tomaso Vitali’s father, Giovanni Battista, was an important figure

in the development of Italian instrumental music and a leading

musician in Bologna, where Tomaso was born on March 7, 1663.

Tomaso learned composition and violin from his father and went

with him to Modena when Giovanni joined the court musical

establishment of the Estes in that city in 1674. Tomaso’s talent

flourished quickly in Modena: he was playing in the court orchestra

by 1675 and was later appointed the ensemble’s leader, and he

remained in the employment of the Estes until 1742, just three

years before his death in Modena. In 1706, Vitali was honored

with membership in the distinguished Accademia Filarmonica of

his native Bologna. His creative output consists principally of four

volumes of trio sonatas in the style of Corelli issued in Modena

between 1693 and 1701, but his fame rests largely on the wellknown

Chaconne in G Minor (though recent scholarship has thrown

his authorship of the piece into doubt). The chaconne is an ancient

variations form in which a short, repeated chord pattern is decorated

with changing figurations and elaborations. This work (originally

for violin and organ) is often cited as the most imposing predecessor

of the majestic Chaconne that closes Johann Sebastian Bach’s Partita

No. 2 for Unaccompanied Violin.

West Side Story Suite for Violin and Piano (1957; arranged in 2011)

Leonard Bernstein

(Born August 25, 1918, in Lawrence, Massachusetts; died October

14, 1990, in New York City)

Arranged by David Newman

(Born March 11, 1954, in Los Angeles)

West Side Story was one of the first musicals to explore a serious

subject with wide social implications. More than just the story

of the tragic lives of ordinary people in a grubby section of New

York, it was concerned with urban violence, juvenile delinquency,

clan hatred and young love. The show was criticized as harshly

realistic by some who advocated an entirely escapist function for

the musical, depicting things that were not appropriately shown on

the Broadway stage. Most, however, recognized that it expanded the

scope of the musical through references both to classical literature

(Romeo and Juliet) and to the pressing problems of modern society.

Brooks Atkinson, former critic of The New York Times, noted in

his book Broadway that West Side Story was “a harsh ballad of the

city, taut, nervous and flaring, the melodies choked apprehensively,

the rhythms wild, swift and deadly.” West Side Story, like a very

few other musicals—Show Boat, Oklahoma, Pal Joey, A Chorus Line,

Sunday in the Park with George, Rent—provides more than just an

evening’s pleasant diversion. It is a work that gave an entirely new

vision and direction to the American musical theater.

The West Side Story Suite for Violin and Piano was arranged in

2011 for Sarah Chang by David Newman, who belongs to one of

Hollywood’s most distinguished musical families: his father was

Alfred Newman, composer of 230 film scores, nine of which won

Oscars; one uncle, conductor-composer Lionel, headed the music

department at 20th Century Fox; another uncle, Emil, scored more

than 50 films; his cousin is singer and songwriter Randy Newman

and his brother is Thomas Newman, one of Hollywood’s busiest

composers. David Newman was born in Los Angeles in 1954 and

started working as a studio musician even before receiving degrees

in violin and conducting from the University of Southern California.

He began composing for films with a song (the appetizing The

Worm Eaters) for the 1977 You’ll End Up Eating Worms and scored

his first complete features with Vendetta and Critters of 1986. He

has since provided the music for nearly 100 films, including Throw

Momma from the Train, The War of the Roses, The Mighty Ducks, Hoffa,

Honeymoon in Vegas, Operation Dumbo Drop, The Phantom and Out

to Sea. He has shown a remarkable skill in writing for comedies and

animated features in recent years, scoring such movies as The Nutty

Professor, Scooby Doo, The Cat in the Hat, Daddy Day Care, How to

Lose a Guy in 10 Days, 102 Dalmatians, Ice Age and Alvin and the

Chipmunks: The Squeakuel. David Newman has also served as music

director of the Sundance Institute, music director and conductor

of the Los Angeles Pops Orchestra and a guest conductor with the

Utah Symphony, Los Angeles Philharmonic, American Symphony

Orchestra (New York), National Orchestra of Belgium, New Japan

Philharmonic and London’s Royal Philharmonic. He received his

first Academy Award nomination in 1998 for Anastasia; in 2007, he

was elected president of the Film Music Society and two years later

was honored with BMI’s Richard Kirk Award, given annually for

significant contributions to film and television music.

Sonata No. 2 for Violin and Piano in D Major, Op. 94a

(composed for flute in 1942–43; arranged for violin in 1944)

Sergei Prokofiev

(Born April 23, 1891, in Sontzovka, Russia; died March 5, 1953, in

Moscow)

12 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

Prokofiev conceived a special fondness for the flute during his stay

in the 1920s in the United States, where he encountered what he

called the “heavenly sound” of the French virtuoso Georges Barrère,

solo flutist of the New York Symphony Orchestra and teacher at the

Juilliard School. Two decades later, during some of the darkest days

of World War II in the Soviet Union, Prokofiev turned to the flute as

the inspiration for one of his most halcyon compositions. “I had long

wished to write music for the flute,” he said, “an instrument which

I felt had been undeservedly neglected. I wanted to write a sonata

in delicate, fluid Classical style.” The Sonata for Flute and Piano

in D Major, his only such work for a wind instrument, was begun

in September 1942 in Alma-Ata, where he and many other Russian

artists had been evacuated as a precaution against the invading

German armies. Indeed, the city served as an important movie

production site for the country at that time, and Prokofiev worked

there with director Sergei Eisenstein on their adaptation of the tale

of Ivan the Terrible as a successor to their brilliant Alexander Nevsky

of 1938. It was as something of a diversion from the rigors and

subject matter of Ivan that Prokofiev undertook the Flute Sonata,

telling his fellow composer Nikolai Miaskovsky that creating such a

cheerful, abstract work during the uncertainties of war was “perhaps

inappropriate at the moment, but pleasurable.” Early in 1943,

Prokofiev moved to Perm in the Urals, and it was in the relative calm

of that city that the Sonata was completed during the summer. When

the work was premiered in Moscow on December 7, 1943, by flutist

Nikolai Kharkovsky and pianist Sviatoslav Richter, it drew as much

attention from violinists as flutists, and David Oistrakh persuaded

the composer to make an adaptation for violin, which that master

string player and Lev Oborin introduced on June 17, 1944, as the

Violin Sonata No. 2, Op. 94a. (Though Prokofiev’s only other sonata

for violin, begun in 1938, was not completed until 1946, he dubbed

it No. 1.) The D Major Sonata has since come to be regarded equally

as the province of wind and string recitalists.

Israel Nestyev called this Sonata “the sunniest and most serene

of [Prokofiev’s] wartime compositions,” and Dmitri Shostakovich

allowed that it was “a perfectly magnificent work.” The piece has

frequently been compared in its formal lucidity and immediate

appeal to the “classical” symphony, though the sly, youthful

insouciance of the earlier work is here replaced by a mature,

comfortably settled mode of expression. “The character of the

Sonata’s principal images,” Nestyev continued, “the quiet, gentle

lyricism of the first and third movements, the capricious merriment

of the second movement and the playful dance quality of the

finale—suit the color of the instruments splendidly.” Each of the

four movements is erected upon a Classical formal model. The main

theme of the opening sonata-form Andantino is almost wistful in the

simplicity with which it outlines the principal tonality of the work.

A transition of greater animation leads to the subsidiary subject,

whose wide range and dotted rhythms do not inhibit its lyricism. In

typical Classical fashion, the exposition is marked to be repeated.

The development elaborates both of the themes and adds to them

a quick triplet figure played by the violin to begin the section. A

full recapitulation, with appropriately adjusted keys, rounds out the

movement. The second movement is a brilliantly virtuosic scherzo

whose strongly contrasting trio is a lyrical strain in duple meter.

The Andante follows a three-part form (A–B–A), with a skittering

central section providing formal balance for the lovely song of the

outer paragraphs. The finale is a joyous rondo based on the dancing

melody given by the violin in the opening measures.

An exCLuSIve WIne TASTInG

experIenCe Of feATured WInerIeS

FOR INNER CIRCLE DONORS

Complimentary wine pours in the Bartholomew Room for Inner

Circle Donors: 7–8 p.m. and during intermission if scheduled.

SEPTEMBER

18 Bonnie Raitt Justin vineyards & Winery

27 San Francisco Symphony Chimney rock Winery

OCTOBER

6 Rising Stars of Opera Le Casque Wines

25 From The Top with Christopher O'Riley Oakville Station

NOVEMBER

7 Philharmonia Baroque Carol Shelton Wines

16 David Sedaris Senders Wines

DECEMBER

5 Danú Boeger Winery

JAnuArY

18 Monterey Jazz Festival pine ridge vineyards

29 Yo-Yo Ma robert Mondavi Winery

FEBRUARY

7 Kodo Zd Wines

16 Itzhak Perlman valley of the Moon Winery

MARCH

7 Sarah Chang Michael david Winery

19 Jazz at Lincoln Center ramey Wine Cellars

APRIL

5 Bobby McFerrin Groth vineyards & Winery

19 Arlo Guthrie Trefethen family vineyards

MAY

3 Christopher Taylor flowers Winery

23 David Lomelí francis ford Coppola Winery

Featured wineries

2012—13

For information about becoming a donor, please call

530.754.5438 or visit us online: www.mondaviarts.org.

—Dr. Richard E. Rodda

MondaviArts.org | 13

Sarah Chang (violin) is recognized as one of the world’s great

violinists. Since her debut with the New York Philharmonic at

the age of eight she has performed with the greatest orchestras,

conductors and accompanists internationally in a career spanning

more than two decades. In 2012, she will have recorded exclusively

for EMI Classics for 20 years.

Chang tours extensively throughout the year. Recent highlights in

the U.K. and U.S. include appearances with the London Symphony

Orchestra, Los Angeles Philharmonic, National Symphony Orchestra

(Washington), Royal Philharmonic Orchestra, Pittsburgh and Detroit

symphony orchestras. She also performed in Norway, Romania,

Austria, Canada, Poland and Denmark. Chang appears regularly in

the Far East and returned to Seoul for concerts with the London

Philharmonic Orchestra and to Guangzhou to perform with the

Symphony Orchestra as part of the Asian Games Opening Festival.

In recital, Chang regularly travels internationally and her last

season tour included visits to cities such as London, Zurich,

Dublin, San Francisco, Los Angeles, Moscow and St. Petersburg.

As a chamber musician, she has collaborated with such artists as

Pinchas Zukerman, Wolfgang Sawallish, Yefim Bronfman, Leoif Ove

Andsnes, Yo-Yo Ma, the late Isaac Stern and members of the Berlin

Philharmonic Orchestra.

Chang’s most recent recording for EMI Classics, performances

of Brahms and Bruch violin concertos with Kurt Masur and

the Dresdner Philharmonie, was received to excellent critical

and popular acclaim and was her 20th album for the label. Her

2007 recording of Vivaldi’s Four Seasons attracted international

commendation, with BBC Music Magazine stating: “She has never

made a finer recording.” She has also recorded Prokofiev Violin

Concerto No.1 and Shostakovich Violin Concerto No.1 live with the

Berliner Philharmoniker under the baton of Sir Simon Rattle, Fire

and Ice, an album of popular shorter works for violin and orchestra

with Placido Domingo conducting the Berliner Philharmoniker and

Dvorák ˇ concerto with the London Symphony Orchestra and Sir

Colin Davis, as well as several chamber music and sonata discs with

artists including pianists Leif Ove Andsnes and Lars Vogt.

In 2006, Chang was honored as one of 20 Top Women in Newsweek’s

“Women and Leadership, 20 Powerful Women Take Charge” issue.

In March 2008, Chang was honored as a Young Global Leader for

2008 by the World Economic Forum (WEF) for her professional

achievements, commitment to society and potential for shaping the

future of the world.

In 2005, Yale University dedicated a chair in Sprague Hall in Chang’s

name. For the June 2004 Olympic games, she was given the honor of

running with the Olympic Torch in New York, and that same month,

became the youngest person ever to receive the Hollywood Bowl’s

Hall of Fame award. In 2004, Chang was awarded the Internazionale

Accademia Musicale Chigiana Prize in Siena, Italy. She is a past

recipient of the Avery Fisher Prize, Gramophone’s “Young Artist of

the Year” award, Germany’s “Echo” Schallplattenpreis, “Newcomer

of the Year” honors at the International Classical Music Awards in

London and Korea’s “Nan Pa” award. Chang has been named the

U.S. Embassy’s Artistic Ambassador since 2011.

Ashley Wass (piano), described as an endlessly fascinating artist,

is firmly established as one of the leading performers of his generation.

He is the only British winner of the London International Piano

Competition, prizewinner at the Leeds Piano Competition and a former

BBC Radio 3 New Generation Artist.

Increasingly in demand on the international stage, Wass has performed

at many of the world’s finest concert halls including Wigmore

Hall, Carnegie Hall and the Vienna Konzerthaus. He has performed

as soloist with numerous leading ensembles, including all of the BBC

orchestras, the Philharmonia, Orchestre National de Lille, Vienna

Chamber Orchestra, Hong Kong Philharmonic, RLPO and under the

baton of conductors such as Simon Rattle, Osmo Vanska, Donald

Runnicles, Ilan Volkov and Vassily Sinaisky.

In June 2002, he appeared alongside Sir Thomas Allen, Mstislav

Rostropovich and Angela Gheorghiu in a gala concert at Buckingham

Palace to mark the Golden Jubilee of Queen Elizabeth II, a performance

broadcast live to millions of viewers around the world.

In recent years he has become a regular guest at the BBC Proms,

making his debut in 2008 with Vaughan Williams’s Piano Concerto

and returning in following seasons to perform works by Foulds,

Stravinsky, Antheil and McCabe.

Renowned for a broad and eclectic repertoire, Wass has received

great critical acclaim for his recordings of music from a wide range of

styles and eras, with glowing reviews of his interpretations of composers

such as Liszt, Franck, Beethoven and Bridge. His survey of

Bax’s piano music was nominated for a Gramophone Award, and his

discography boasts a number of Gramophone Editor’s Choice recordings

and BBC Music Magazine Choices.

Much in demand as a chamber musician, Wass regularly partners

many of the leading artists of his generation. He is a frequent guest

of international festivals such as Pharos (Cyprus), Bath, Ako (Japan),

Cheltenham, Kuhmo, Mecklenburg, Gstaad, City of London and

Ravinia and Marlboro in the U.S., playing solo recitals and chamber

works with musicians such as Mitsuko Uchida, Steven Isserlis,

Emmanuel Pahud, Richard Goode and members of the Guarneri

Quartet and Beaux Arts Trio.

Wass is the artistic director of the Lincolnshire International

Chamber Music Festival. The Festival has grown from strength to

strength during his tenure, with sold-out performances of challenging

repertoire and broadcasts on BBC Radio 3.

Wass is currently a professor of piano at the Royal College of Music,

London, and is an associate of the Royal Academy of Music.

14 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

SARAH CHANG by Jeff hudSOn

The first time I saw Sarah Chang was in November 1995—she

performed in Freeborn Hall under the old UC Davis Presents

series. At the time, she was just shy of her 15th birthday and

already had several albums to her credit on EMI.

Well, nearly 18 years have passed. And as Sarah Chang performs

again in Davis tonight—in the 10-year-old Mondavi Center—she

is a mature artist (albeit still in her early 30s) with 20 albums to

her credit and a long list of appearances with major orchestras.

The “child prodigy” tag can be a challenging label to wear

as an artist who became famous at an early age moves into

adulthood. She took a complete break from performing for

about a month and a half at age 18. Last year, Chang described

that prodigy-to-pro adjustment in an interview with the

Montreal Gazette. “It changes pretty quickly because people get

tired of the child prodigy thing. You see this tiny eight-year-old

in a pink puffy dress and she’s cute as a button and they go

‘Ahhh,’ because she’s so young. But then the whole game of this

business that we’re in is that you strive for actual relationships

within the musical community. It’s not about going to London

once and having a great debut, it’s about longevity and it’s

about having relationships with those conductors and those

orchestras. So they invite you the first time and you do your

FURTHER LISTENING

debut, but then when they invite you back the next visit has to

be better than the previous visit, and the 10th visit has to be

better than the ninth.”

Will she ever pick up a baton, as Joshua Bell did recently with

the Academy of St. Martin in the Fields? “No, I wouldn’t because

that is not what I do,” she told an interviewer in Manchester,

England, last November. “I have so much respect for conductors

and especially the ones that I have worked with. I managed to

start out my career at a time when all these great maestros were

around, such as Kurt Masur and Wolfgang Sawallisch, all living

legends conducting. Out of my respect for them I could never

dare to think that I could conduct. If it’s a small Mozart or Vivaldi

piece where you can play and direct from the violin then I would

do that.”

Jeff Hudson contributes coverage of the

performing arts to Capital Public Radio, the

Davis Enterprise and Sacramento News and Review.

CAMPUS COMMUNITY RELATIONS

IS A PROUD SPONSOR OF

THE ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

MondaviArts.org | 15

THE IMPROVISED SHAKESPEARE COMPANY

Photo by Alex Erde

A With A Twist Series Event

Tuesday, March 12, 2013 • 8PM

Jackson Hall

Sponsored by

THE IMPROVISED SHAKESPEARE COMPANY

Fully improvised plays using the language and themes of

William Shakespeare.

Based on one audience suggestion (a title for a play that has yet to be written)

The Improvised Shakespeare Company creates a fully improvised

Shakespearean masterpiece right before your eyes. Nothing is planned out,

rehearsed or written. All of the dialogue is said for the first time, the characters

are created as you watch and if ever you’re wondering where the story

is going … so are they! You’ve never seen the Bard like this before!

There will be one intermission.

Show History

The Improvised Shakespeare Company, founded in 2005, has been performing

its critically acclaimed show every Friday night at the world famous iO

Theater more than over seven years and continues to entertain audiences

around the globe with its touring company. The ISC has been featured at

the Piccolo Spoleto Fringe Festival, Bumbershoot Music and Arts Festival

and the prestigious Just For Laughs festival in Montreal and Chicago. It has

been named Chicago’s best improv group by both the Chicago Reader and

the Chicago Examiner and has received a New York Nightlife Award for “Best

Comedic Performance by a Group.” The ISC was recently honored by the

Chicago Improv Foundation as its Ensemble of the Year.

Facebook.com/improvisedshakespeare

Twitter.com/ImprovShakesCo

www.improvisedshakespeare.com

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic

devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

16 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

Blaine Swen is the creator and director of The Improvised

Shakesepare Company. He comes from California where he performed

with ComedySportz, Ultimate Improv and iO West. Currently, he can

be seen performing at iO Chicago with the DelTones and the Armando

Diaz Experience. His other iO credits include the house team Bullet

Lounge and the one-man improvised musical, BASH!. He enjoys

touring with the iO Road Show and the Second City’s BizCo. He has

performed in Chicago with the Chicago Shakespeare Theatre, Pegasus

Players Theatre and the Second City Education Company. The Chicago

Reader recently named him 2010’s “Best Improviser in Chicago.”

Joey Bland moved to Chicago from Virginia, where he attended

the College of William & Mary. Outside The Improvised Shakespeare

Company, he has performed with ComedySportz, the iO Theater and

the Second City. For two years, Bland traveled the world with the

Second City Touring Company, and in 2009, he played the title role in

the Second City’s hit, original musical, Rod Blagojevich, Superstar. Bland

is a two-time Jeopardy champion.

Greg Hess originally hails from Virginia and is a graduate of the

College of William & Mary. He moved to Chicago to study acting and

improvisation at iO Chicago and the Second City, where he was a

member of the Second City’s national touring company. Currently, he is

an ensemble member of Baby Wants Candy, and performs weekly with

his critically acclaimed four-man show Cook County Social Club. He is a

graduate of the School at Steppenwolf.

Hans Holsen toured the U.S. with the Second City National Touring

Company for two years, and toured the Netherlands with Boom

Chicago for two years as well, but was mainly tethered to Boom’s main

stage in Amsterdam. He currently performs with Second City’s Improv

All-Stars at the Second City’s Up Comedy Club. At iO, he also performs

with Ringo Starr. At The Annoyance, he performs with FishNutz and in

the Holy F*** Comedy Hour. At the Apollo Theater, Holson plays as a

member of the worldwide musical improv concern Baby Wants Candy.

Film credits include and are limited to Let’s Go to Prison. Find some

commercials and stuff at hansholsen.com.

Brendan Dowling is a Massachusetts native and a graduate of

the College of William & Mary. In Chicago, he has toured with the

Second City’s National Touring Company and has been a member

of ComedySportz. He also performed in the Second City Denver’s

inaugural production of Red Scare, as well as writing and performing

the Second City Denver’s How I Lost My Denverginity. Dowling can

also be seen creating improvised musicals with Baby Wants Candy. He

would like to thank his family for being so great.

Founded in 1962, the College of Engineering at UC Davis has

awarded more than 21,000 graduate and undergraduate degrees.

The college has more than 200 faculty, including 12 members of the

prestigious National Academy of Engineering (NAE), 45 recipients

of PECASE/CAREER awards, and numerous fellows.

Our researchers collaborate with numerous partners at UC Davis,

including those from the School of Medicine, the School of

Veterinary Medicine and the Graduate School of Management. Our

global industry and government partners include many from Silicon

Valley, the Bay Area and the Sacramento Region. Annual research

expenditures at the College of Engineering total more than $90

million (2010-11).

UC Davis Engineering is consistently ranked among the Top 20 U.S.

public university engineering programs (U.S. News & World Report

2011). UC Davis Engineering’s key research strengths are in

energy, environment and sustainability; engineering in medicine;

and information technology and applications.

MondaviArts.org | 17

BALLET DIRECTOR

RON

CUNNINGHAM

ISSUE #6

PLAYWRIGHT

GREGG COFFIN

ISSUE #7

TONY WINNER

FAITH PRINCE

ISSUE #8

ACTOR

COLIN HANKS

ISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDI

ISSUE #16

BROADWAY STAR

MARA DAVI

ISSUE #19

Available at Raley's, Nugget Markets and Barnes & Noble.

18 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

THE CASHORE MARIONETTES

SIMPLE GIFTS

Photo by Matt Cashore

A Hallmark Inn, Davis

Children’s Stage Series Event

Friday, March 15, 2013 • 7PM

Saturday–Sunday, March 16–17, 2013

• 2PM and 7PM

Vanderhoef Studio Theatre

Sponsored by

SIMPLE GIFTS

Maestro Janos Zelinka in The Lark Ascending

Music by R. Vaughan Williams

Courtesy of Capitol Records.

Elmo in The Stand-In

“The Blue Danube Waltz” by Johann Strauss

Courtesy of CBS Records.

A Lullaby

Concerto in D Major, Largo by Antonio Vivaldi

Courtesy CBS Records.

Ramul in The Encounter

Old Mike in No Address

“Corral Nocturne” by Aaron Copland

By arrangement with The Aaron Copland Fund for Music, copyright owner; and

Boosey & Hawkes, Inc., sole publisher and licensor.

Courtesy CBS Records.

Program continued on p. 21

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic

devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

MondaviArts.org | 19

Be in Good Company!

Build a partnership with the Mondavi Center to grow

your brand and support the arts in your community.

Our corporate partnerships are designed to fit a business of any size.

enjoy benefits such as:

• Tickets to Mondavi Center performances

• Playbill advertising space reaching 70,000 Mondavi Center patrons each year

• Recognition at sponsored events

• Invitations to exclusive Mondavi Center receptions and events

Please contact Elisha Findley at (530) 754–5436 for more information.

instruments • accessories • sheet music • lessons • rentals • repairs

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20 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

Cyclone in A Pastoral

Symphony No. 6 in F Major by Beethoven and The Moldau by Smetana

Courtesy DeWolfe Music.

In The Dream Time

Music composed and performed by Rodney Whittenberg

Closing music composed and performed by Angelo Marano

Sara in The Scholar

Bo in Simple Gifts

“Calm and Flowing” by Aaron Copland (“Simple Gifts”—Shaker melody)

By arrangement with the Aaron Copland Fund for Music, copyright owner; and

Boosey & Hawkes, Inc., sole publisher and licensor.

Courtesy CBS Records

Metal

Music performed by Matt Mazurek.

The Quest

“The Flying Dutchman” by R. Wagner and “Triumphal March” from Aida by G.Verdi.

Courtesy DeWolfe Music.

The Cashore Marionettes are represented by Baylin Artists Management.

PROGRAM NOTES

A marionette is a puppet controlled from above by strings. The word

“marionette” is derived from “Mary” and originated in Europe in the

Middle Ages when nativity plays were performed using the stringed

puppets. However, marionettes themselves are much older, and no

specific date can be given.

In the U.S., puppet shows are often considered to be exclusively

for children; however throughout the rest of the world, puppet and

marionette plays are classically adult entertainment.

www.cashoremarionettes.com

An Important Note to Parents

Thank you for bringing your family to this production of the

Cashore Marionettes. This show is perhaps different from other

puppet shows you may have attended. Without the use of words,

the marionettes create images and evoke emotions which are often

humorous or whimsical but which, at times, may be quiet or serious.

The mood can be easily disrupted by audience behavior that might

be acceptable in a different theatrical context.

Children may not realize that the performer can hear them if they

talk during the performance. Children who are absorbed with

the show may not even realize that they are speaking out loud.

However, calling out comments, talking and eating snacks can be

very distracting to the performers as well as to the rest of the audience,

particularly at quiet, serious moments in the show.

Please take this time before the show begins to tell your children of

the important role they play as audience members in ensuring the

success of a live presentation. Assure your children that they can discuss

everything they see with you after the performance is over. But,

during the show is the time for them to quietly focus on the perfor-

mance. Also, let them know that applause and laughter are the audience’s

way of letting the performers know if they’re doing a good job.

Thank you again for your assistance as we introduce young people to

live theater and educate audiences for the future.

Joseph Cashore, at the age of 11, created his first marionette from

clothespins, wood string and a tin can. It was while playing with this

puppet that he was startled by the sudden but momentary sensation

that the puppet was alive.This illusion had nothing to do with the

appearance of the marionette and everything to do with the quality

of the movement.

After graduation from college, Cashore made his second marionette.

He remembered that first marionette from childhood and thought

he would try to make a puppet that could sustain and extend that

sensation of being alive. He quickly discovered that in order to have

the fluid motion he sought, he would have to create his own control

designs. For the next 19 years, while pursuing a career in oil painting,

Cashore experimented with the construction of the marionettes

and devised totally new control mechanisms.

Cashore has been performing full-time since 1990 across North

America, Europe and Asia. He has received numerous awards including

a Pew Charitable Trusts Fellowship for Performance Art, based

upon his artistic accomplishment. He has also received a Henson

Foundation Grant, an award intended to help promote puppetry to

adult audiences. Cashore has been awarded the highest honor an

American puppeteer can receive, a UNIMA Citation of Excellence.

UNIMA states that Citations are “awarded to shows that touch their

audiences deeply; that totally engage, enchant and enthrall.”

Cashore lives in Colmar, Pennsylvania, with his wife, Wilma, the

assistant for this performance.

MondaviArts.org | 21

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pre-performance Talk Speaker: don roth

Don Roth is the executive director of the Robert and Margrit

Mondavi Center for the Performing Arts, UC Davis. A native of

New York City, Roth joined the Mondavi Center in June 2006,

arriving from the Aspen Music Festival and School, where he

served as president from 2001–06. His tenure at the Mondavi

Center has seen the initiation of new artistic and educational

partnerships with the San Francisco Symphony and the Curtis

Institute; the development of residencies by world-renowned companies

such as Shakespeare’s Globe and the St. Louis Symphony;

the launching of initiatives to increase interest in classical music

funded by a major Andrew W. Mellon Foundation grant; and the

beginnings of the popular Just Added events. Previously Roth

served as president of the St. Louis and Oregon symphonies and

as general manager of the San Francisco Symphony.

10529-78289 License #577000881

Currently, Roth serves as the co-chair of Sacramento Mayor Kevin

Johnson’s regional arts initiative, “For Arts’ Sake” and on the Board

of Directors of San Francisco Classical Voice. Roth is also an overseer

of the Curtis Institute of Music and a member of the Directors

Council (emeritus Board) of the League of American Orchestras.

He has chaired numerous panels for the National Endowment

for the Arts and chaired the Orchestra League’s Management

Fellowship Program. Roth has served as a member of the

Executive Committee of the Board of Directors of the Sacramento

Philharmonic. Roth holds a doctorate from the University of Texas

with a specialty in African-American History. He has written about

popular music for Rolling Stone and Texas Monthly.

22 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

ST. LOuIS SYMphOnY

david robertson, music director and conductor

James ehnes, violin

A Western Health Advantage Orchestra Series Event

Sunday, March 17, 2013 • 7PM

Jackson Hall

Sponsored by

Support for the St. Louis Symphony residency activities

provided by The Andrew W. Mellon Foundation

Individual support provided by Ralph and Clairelee

Leiser Bulkley.

pre-performance Talk

Sunday, March 17, 2013 • 6PM

Jackson Hall

Speakers: David Robertson, Music Director and

Conductor, in conversation with Don Roth, Executive

Director of the Mondavi Center, UC Davis

Variations on a Theme of Joseph Haydn, Op. 56a

Chorale St. Antoni: Andante

Variation I: Poco più animato

Variaton II: Più vivace

Variation III: Con moto

Variation IV: Andante con moto

Variation V: Vivace

Variation VI: Vivace

Variation VII: Grazioso

Variation VIII: Presto non troppo

Finale: Andante

Violin Concerto

Andante; Allegretto

Allegro; Adagio

James Ehnes, violin

PROGRAM

Intermission

Symphony No. 2 in D Major, Op. 36

Adagio molto; Allegro con brio

Larghetto

Scherzo: Allegro

Allegro molto

Brahms

Berg

Beethoven

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic

devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

MondaviArts.org | 23

PROGRAM NOTES

Variations on a Theme of Joseph Haydn, Op. 56a (1873)

Johannes Brahms

(Born May 7, 1833, in Hamburg, Germany; died April 3, 1897, in

Vienna)

Were he not a composer, Johannes Brahms might have become an

outstanding music historian. He collected a large library of manuscripts

and printed scores from all periods and was a serious student

of compositional practice from the Renaissance until his own time.

Among his friends were a number of musicologists, and he was

keenly attentive to their work. But Brahms was a composer first and

foremost, and his interest in the music of earlier eras had its most

significant results in his own work. It particularly affected his choice

of forms. He was one of the few musicians of his day with a practical

knowledge of such venerable procedures as passacaglia and variation

set, and he never questioned that these could still be vehicles for

original and contemporary musical invention.

Nowhere did Brahms demonstrate that conviction more convincingly

than in the Variations on a Theme of Joseph Haydn, written in 1873.

Brahms initially composed this work for two pianos, but he must

have sensed immediately its potential for larger instrumental forces,

for the two-piano score was scarcely finished when he commenced

an orchestration of it.

Variations and Passacaglia: The subject of these remarkable Variations

is a modest theme known as “St. Anthony’s Chorale,” which Brahms

found in a wind-band partita attributed to Haydn. (Recent scholarship

has questioned Haydn’s authorship of the work, but no matter.)

Brahms presents this melody in timbres that suggest its source,

assigning it to the orchestral woodwinds in the opening section

of the piece. Each of the eight variations that follow preserves the

harmonic outline of the theme but offers entirely new elements of

rhythm, melodic contour, texture and instrumental color. The finale

is not properly a variation of the theme, since it does not follow

the phrases of the original melody. It is, rather, a passacaglia, a selfcontained

set of variations over a recurring five-measure figure heard

at the outset in the basses and cellos. Over and around this figure

Brahms spins a succession of countermelodies. When, at the movement’s

climax, the humble chorale melody emerges from the general

texture, it has been transformed to something unexpectedly glorious.

Violin Concerto (1936)

Alban Berg

(Born February 9, 1885, in Vienna; died December 24, 1935, in

Vienna)

Concerto as Requiem: Alban Berg was, along with Arnold Schoenberg

and Anton Webern, part of a triumvirate of Viennese composers who

pioneered a radically new musical language in the early decades of

the 20th century. Even so, Berg was not a musician of revolutionary

temperament. On the contrary, he had great reverence for musical

tradition. His Violin Concerto is not an iconoclastic piece but, rather,

one that draws substance from, and pays homage to, the musical

past.

We owe this composition to the American violinist Louis Krasner,

who early in 1935 asked Berg to write a new work for him. In

response, the composer began sketching a violin concerto, but

the character of the composition soon took on a new dimension.

In April, the composer learned that Manon Gropius, the 18-yearold

daughter of Alma Mahler by her second husband, the architect

Walter Gropius, had died. Berg had remained close to Gustav

Mahler’s widow since that composer’s death, in 1911. He was particularly

fond of Manon, and he now developed a conception of the

Violin Concerto as a requiem for her. Working at a pace unprecedented

in his career, he completed it in a matter of months. Sadly,

he never heard this, his final composition. By the end of the year,

Berg himself was dead from blood poisoning resulting from an insect

sting.

The Memory of an Angel: The concerto is built from a 12-note series

that is pregnant with beautiful musical ideas. As its most basic feature,

the series outlines a number of major, minor and altered chords

that permeate the work with dark harmonies and fleeting tonal

relationships. Most of the thematic material also derives from the

series, but Berg relaxes his serial procedures to allow two extraneous

quotations. The first is an Austrian folk song that appears near

the end of the first movement. The second, and more significant, is

the Lutheran chorale Es ist genug (“It is enough”) in its familiar harmonization

by Bach. Although both melodies are tenuously related

to the series, their appearance in the concerto can be attributed to

poetic rather than formal considerations.

The concerto is in two movements, each in turn divided into two

sub-sections. The first movement, widely regarded as a portrait of

Manon Gropius, begins with an elegiac Andante in which the solo

violin is heard “tuning up” on its open strings. This tuning motif, the

concerto’s most important theme, will recur in varied forms throughout

the work. There follows a scherzo-like section in which Berg

mimics popular Viennese tunes. Here we encounter the Austrian folk

song, sung nostalgically by the French horn.

The second movement opens with an accompanied soliloquy for

the solo instrument. Beginning with a succession of violent chords,

this section builds to a climax, with the rhythms of the folk song

transformed into piercing orchestral cries. This gives way almost at

once to the comforting strains of the chorale, around which Berg

constructs the final Adagio. Again and again, phrases of the hymn

emerge from the musical texture: “Es ist genug—It is enough.” A last,

wistful recollection of the folk song dissolves back into the chorale,

and the tuning motif brings the concerto to rest peacefully. The reverent

quality of this final movement explains and is explained by,

Berg’s dedication of the score: “To the Memory of an Angel.”

Symphony No. 2 in D Major, Op. 36 (1803)

Ludwig van Beethoven

(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)

De Profundis: The first years of the 19th century brought a period of

growing crisis to Beethoven’s life. For some time the composer had

been noticing a progressive deterioration in his hearing, a development

he found, understandably, more than a little disturbing. Early

in 1802, Beethoven had placed his medical care in the hands of one

Dr. Johann Schmidt, a prominent Viennese physician. Schmidt could

not have cured the ailment that most concerned Beethoven. Medical

24 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

investigators now generally agree that the cause of the composer’s

deafness was an irreversible deterioration of the auditory nerve.

But the physician treated his illustrious patient as best he could.

In the summer of 1802, he urged Beethoven to take lodgings in

Heiligenstadt, a village outside Vienna, where the composer could

spare his hearing as much as possible and bathe at a spa in whose

curative powers Schmidt placed great stock.

In Heiligenstadt, where he remained all summer and into autumn,

Beethoven’s hearing continued to fade, and the long hours of isolation

allowed him to brood with increasing despondency on his condition.

Finally, no longer able to contain his despair, the composer

made out a will, an extraordinary document now known as the

“Heiligenstadt Testament,” in which he gave voice to his anguish in

dramatic and desperate language and even broached the possibility

of suicide.

Bright Music: The emotional abyss reflected in the “Heiligenstadt

Testament” might have paralyzed another artist, or perhaps yielded

bleak music full of grief or fury. Yet the chief product of Beethoven’s

season at Heiligenstadt was his Symphony No. 2, one of the composer’s

sunniest works. Beethoven had made sketches for this

piece during the previous winter and spring and brought them to

Heiligenstadt. By the time he returned to Vienna, in the early autumn

of 1802, the score was all but complete.

The first movement begins with a slow introduction. Its purpose

seems to be not merely to precede the main body of the movement but

to gather energy and momentum that can only be released in a quicker

tempo, making the Allegro not merely a conventional consequence but

a necessary one. The music of this latter section derives a good deal of

its vitality from the relentless forward drive of Beethoven’s themes and

the purposeful manner in which the composer employs them.

The Larghetto second movement has about it the air of a nocturnal

serenade. By contrast, the ensuing scherzo is a merry romp, its sudden

forte crashes and off-beat accents reflecting the rough humor

that all Beethoven’s acquaintances attributed to him. This jocular

spirit carries over into the finale. Here sudden outbursts and rhythmic

surprises again enliven the music, whose energy rivals that of

the first movement.

—Paul Schiavo

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MondaviArts.org | 25

ST. LOuIS SYMphOnY 133rd SeASOn, 2012–13

ned O. Lemkemeier, Chairman of the Board of Trustees

fred Bronstein, President and Chief Executive Officer

david robertson, Music Director

Amy Kaiser, Director of the St. Louis Symphony Chorus, AT&T Foundation Chair

Kevin McBeth, Director of the St. Louis Symphony, IN UNISON Chorus

First Violins

David Halen

Concertmaster

Eloise and Oscar Johnson, Jr.

Chair

Heidi Harris

Associate Concertmaster

Louis D. Beaumont Chair

Mabel Dorn Reeder Honorary

Chair

Celeste Golden Boyer

Second Associate

Concertmaster

Erin Schreiber

Assistant Concertmaster

Dana Edson Myers

Justice Joseph H. and Maxine

Goldenhersh Chair

Jessica Cheng

Margaret B. Grigg Chair

Charlene Clark

Emily Ho

Silvian Iticovici

Second Associate

Concertmaster Emeritus

Helen Kim

Jane and Whitney Harris

Chair

Joo Kim

Manuel Ramos

Xiaoxiao Qiang

Angie Smart

Mary and Oliver Langenberg

Chair

Hiroko Yoshida

Ellen dePasquale**

Second Violins

Alison Harney

Principal

Dr. Frederick Eno Woodruff

Chair

Kristin Ahlstrom

Associate Principal

Virginia V. Weldon, M.D.

Chair

Eva Kozma

Assistant Principal

Rebecca Boyer Hall

Nicolae Bica

Deborah Bloom

Lisa Chong

Elizabeth Dziekonski

Lorraine Glass-Harris

Ling Ling Guan

Jooyeon Kong

Asako Kuboki

Wendy Plank Rosen

Shawn Weil

Violas

Beth Guterman Chu

Principal

Ben H. and Katherine G. Wells

Chair

Kathleen Mattis

Associate Principal

Christian Woehr

Assistant Principal

Weijing Wang***

Mike Chen***

Gerald Fleminger

Susan Gordon

Leonid Gotman

Morris Jacob

Di Shi

Shannon Farrell Williams

Eva Stern**

Chris Tantillo**

Cellos

Daniel Lee

Principal

Frank Y. and Katherine G.

Gladney Chair

Melissa Brooks

Associate Principal

Ruth and Bernard Fischlowitz

Chair

Catherine Lehr

Assistant Principal

Anne Fagerburg

James Czyzewski

David Kim

Alvin McCall

Bjorn Ranheim

Elizabeth Chung**

Davin Rubicz**

Double Basses

Underwritten in part by a

generous gift from Jeanne and

Rex Sinquefield

Erik Harris

Principal

Henry Loew Chair

Carolyn White

Associate Principal

Christopher Carson

Assistant Principal

David DeRiso

Warren Goldberg

Sarah Hogan

Donald Martin

Ronald Moberly

Harp

Principal*

Elizabeth Eliot Mallinckrodt

Chair

Megan Stout**

Acting Principal

Flutes

Mark Sparks

Principal

Herbert C. and Estelle Claus

Chair

Andrea Kaplan

Associate Principal

Jennifer Nitchman

Piccolo*

Oboes

Peter Bowman

Principal

Morton D. May Chair

Barbara Orland

Acting Co-Principal

Philip Ross

Acting Co-Principal

Michelle Duskey**

Cally Banham

English Horn

Cally Banham

Clarinets

Scott Andrews

Principal

Walter Susskind Chair

Diana Haskell

Associate Principal

Wilfred and Ann Lee Konneker

Chair

Tina Ward

James Meyer

E-flat Clarinet

Diana Haskell

Bass Clarinet

James Meyer

Bassoons

Andrew Cuneo

Principal

Molly Sverdrup Chair

Andrew Gott

Associate Principal

Felicia Foland

Andrew Thompson

Contrabassoon

Andrew Thompson

Horns

Roger Kaza

Principal

W.L. Hadley and Phoebe P.

Griffin Chair

Thomas Jöstlein

Associate Principal

James Wehrman

Tod Bowermaster

Gregory Roosa***

Lawrence Strieby

Julia Erdmann**

Trumpets

Principal*

Symphony Women’s

Association Chair

Thomas Drake

Acting Principal

Michael Walk

Acting Associate Principal

David J. Hyslop Chair

Joshua MacCluer***

Caroline Schafer**

Kevin Cobb**

Trombones

Timothy Myers

Principal

Mr. and Mrs. William R.

Orthwein, Jr. Chair

Associate Principal*

Vanessa Fralick**

Acting Associate Principal

Jonathan Reycraft

Gerard Pagano

Bass Trombone

Gerard Pagano

Tuba

Michael Sanders

Principal

Lesley A. Waldheim Chair

Timpani

Principal*

Symphony Women’s

Association Chair

Thomas Stubbs

Associate Principal

Paul A. and Ann S. Lux Chair

Percussion

William James

Principal

St. Louis Post-Dispatch

Foundation Chair

John Kasica

Distinguished Percussion

Chair

Thomas Stubbs

Keyboard

Instruments

Principal*

Florence G. and Morton J.

May Chair

Music Library

Elsbeth Brugger

Librarian

Henry Skolnick

Assistant Librarian

Roberta Gardner

Library Assistant

Stage Staff

Bruce Mourning

Stage Manager

Joseph Clapper

Assistant Stage Manager

Joshua Riggs

Stage Technician

Jeffrey Stone

*Chair vacant

**Replacement

***Leave of Absence

26 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

David Robertson (music director and conductor) is a consummate

musician, masterful programmer and dynamic presence. He has established

himself as one of today’s most sought-after American conductors.

A passionate and compelling communicator with an extensive

orchestral and operatic repertoire, he has forged close relationships

with major orchestras around the world through his exhilarating

music-making and stimulating ideas. In fall 2012, Robertson launched

his eighth season as music director of the 133-year-old St. Louis

Symphony. In January 2014, while continuing as St. Louis Symphony

music director, Robertson also will assume the post of chief conductor

and artistic director of the Sydney Symphony in Australia.

In September 2012, the St. Louis Symphony and Robertson embarked

on a European tour, which included appearances at London’s BBC

Proms, at the Berlin and Lucerne festivals and at Paris’s Salle Pleyel.

Violinist Christian Tetzlaff was the featured soloist for this tour, which

marked the Symphony’s first European engagements since 1998 and

first ever with Music Director Robertson. In March 2013, Robertson

and his orchestra return to California for their second tour of the

season, which includes tonight’s concert at the Mondavi Center for

the Performing Arts. The orchestra will also perform at venues in

Costa Mesa, Palm Desert and Santa Barbara, with St. Louis Symphony

principal flute, Mark Sparks, as soloist.

In addition to his current position with the St. Louis Symphony,

Robertson is a frequent guest conductor with major orchestras

and opera houses around the world. During the 2012–13 season

he appears with prestigious U.S. orchestras such as the New

York Philharmonic, Los Angeles Philharmonic and San Francisco

Symphony, as well as internationally with the Royal Concertgebouw

Orchestra, Symphonieorchester des Bayerischen Rundfunks, Vienna

Radio Symphony Orchestra, Israel Philharmonic and Ensemble

Intercontemporain. In past seasons he has appeared nationally with

the Boston and Chicago symphonies, Philadelphia and Cleveland

orchestras and internationally with the Berlin Philharmonic,

Staatskapelle Dresden, Royal Scottish National Orchestra and Sydney

and Melbourne symphonies, among others.

With more than 45 operas in his repertoire, Robertson, who returned

to the Metropolitan Opera in October 2012 for Mozart’s Le nozze di

Figaro, has appeared at many of the world’s most prestigious opera

houses including La Scala, Opéra de Lyon, Bayerische Staatsoper,

Théâtre du Châtelet, Hamburg State Opera, Santa Fe Opera and San

Francisco Opera.

Born in Santa Monica, California, Robertson was educated at London’s

Royal Academy of Music, where he studied horn and composition

before turning to orchestral conducting. Robertson is the recipient of

numerous awards and honors.

James Ehnes (violinist) is known for his virtuosity and probing musicianship.

Ehnes has performed in more than 30 countries on five continents,

appearing regularly in the world’s great concert halls and with

many of the most celebrated orchestras and conductors.

In the 2012–13 season Ehnes performs in the United States, Canada,

United Kingdom, Sweden, Germany, Netherlands, France, Australia

and New Zealand. Season highlights include the Brahms Concerto

with Valery Gergiev and the London Symphony Orchestra at New

York’s Avery Fisher Hall, a tour to the far north of Canada with

the National Arts Centre Orchestra, a solo violin recital at the

Aix-en-Provence Easter Festival and return engagements with

the Philharmonia, Rotterdam Philharmonic and San Francisco,

Toronto, Gothenburg and City of Birmingham symphony orchestras.

An avid chamber musician, Ehnes will tour with his string

quartet, the Ehnes Quartet, and lead the winter and summer festivals

of the Seattle Chamber Music Society, where he is the artistic

director.

Ehnes has an extensive discography of more than 25 recordings

featuring music ranging from J.S. Bach to John Adams. Recent

projects include two CDs of the music of Béla Bartók as well as a

recording of Tchaikovsky’s complete works for violin. Upcoming

releases include another Bartók disc as well as concertos by

Britten, Shostakovich and Prokofiev. His recordings have been

honored with many international awards and prizes, including a

Grammy, a Gramophone and six Juno Awards.

Ehnes was born in 1976 in Brandon, Manitoba, Canada. He began

violin studies at the age of four and at age nine became a protégé

of the noted Canadian violinist Francis Chaplin. He studied with

Sally Thomas at the Meadowmount School of Music and from

1993–97 at the Juilliard School, winning the Peter Mennin Prize

for Outstanding Achievement and Leadership in Music upon

his graduation. Ehnes first gained national recognition in 1987

as winner of the Grand Prize in Strings at the Canadian Music

Competition. The following year he won the First Prize in Strings

at the Canadian Music Festival, the youngest musician ever to do

so. At age 13, he made his major orchestral solo debut with the

Orchestre symphonique de Montréal.

He has won numerous awards and prizes, including the first-ever

Ivan Galamian Memorial Award, the Canada Council for the Arts’

Virginia Parker Prize and a 2005 Avery Fisher Career Grant. In

2005, Ehnes was honored by Brandon University with a Doctor of

Music degree (honoris causa), and in 2007, he became the youngest

person ever elected as a Fellow to the Royal Society of Canada.

On July 1, 2010, the Governor General of Canada appointed

Ehnes a Member of the Order of Canada.

James Ehnes plays the “Marsick” Stradivarius of 1715. He lives in

Bradenton, Florida, with his wife and daughter.

ST. LOUIS SYMPHONY

Founded in 1880, the St. Louis Symphony is the second-oldest

orchestra in the country and is widely considered one of the

world’s finest. In September 2005, internationally acclaimed

conductor David Robertson became the 12th music director and

second American-born conductor in the Orchestra’s history. In its

133rd season, the St. Louis Symphony continues to strive for artistic

excellence, fiscal responsibility and community connection.

The St. Louis Symphony is one of only a handful of major

American orchestras invited to perform regularly at the prestigious

Carnegie Hall, with a return in November 2013 for a concert

performance of Britten’s Peter Grimes in celebration of the composer’s

centenary. Recordings by the Symphony have been honored

with six Grammy Awards and 56 Grammy nominations over the

MondaviArts.org | 27

years. The Symphony has embraced technological advances in music

distribution by offering recordings over the Internet including live

performances of John Adams’s Harmonielehre, Szymanowski’s Violin

Concerto No. 1, with Christian Tetzlaff, and Scriabin’s The Poem of

Ecstasy, available exclusively on iTunes and Amazon.com. In 2009,

the Symphony’s Nonesuch recording of John Adams’s Doctor Atomic

Symphony and Guide to Strange Places reached No. 2 on the Billboard

rankings for classical music and was named “Best CD of the Decade”

by the Times of London. A Nonesuch recording of Adams’s City Noir

and his upcoming concerto for saxophone, with Robertson and the

Symphony, is planned for the near future.

In September 2012, the St. Louis Symphony received acclaim for

its first European tour with Music Director David Robertson. The

Symphony visited international festivals in London, Berlin and

Lucerne, as well as Paris’s Salle Pleyel.

In 2008, the St. Louis Symphony launched Building Our Business,

which takes a proactive, two-pronged approach: build audiences and

re-invigorate the St. Louis brand, making the Symphony and Powell

Hall the place to be; and build the donor base for enhanced institutional

commitment and donations. This is all part of a larger strategic

plan adopted in 2009 that includes new core ideology and a 10-year

strategic vision focusing on artistic and institutional excellence, doubling

the existing audience and revenue growth across all key operating

areas.

Innovative Make Over Coming Fall 2012

www.hallmarkinn.com

(800)753-0035

28 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

JAZZ AT LINCOLN CENTER ORCHESTRA

WITH WYNTON MARSALIS

Photo by Frank Stewart

A Capital Public Radio Jackson Hall Jazz Series Event

Tuesday, March 19, 2013 • 8PM

Jackson Hall

Sponsored by

OFFICE OF CAMPUS

COMMUNITY RELATIONS

Individual support provided by Tony and Joan Stone.

The Jazz at Lincoln Center Orchestra with

Wynton Marsalis’s

25th Anniversary Tour

Wynton Marsalis, Music Director, Trumpet

Ryan Kisor, Trumpet

Marcus Printup, Trumpet

Kenny Rampton, Trumpet

Vincent R. Gardner, Trombone

Elliot Mason, Trombone

Chris Crenshaw, Trombone

Sherman Irby, Saxophones

Ted Nash, Alto and Soprano Saxophones, Clarinet

Walter Blanding, Tenor and Soprano Saxophones, Clarinet

Victor Goines, Tenor and Soprano Saxophones, B-flat and

Bass Clarinets

Paul Nedzela, Baritone and Soprano Saxophones, Bass

Clarinet

Dan Nimmer, Piano

Carlos Henriquez, Bass

Ali Jackson, Drums

Artists are subject to change.

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic

devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

MondaviArts.org | 29

Jazz at Lincoln Center is dedicated to inspiring and growing audiences

for jazz. With the world-renowned Jazz at Lincoln Center

Orchestra and a comprehensive array of guest artists, Jazz at Lincoln

Center advances a unique vision for the continued development of

the art of jazz by producing a year-round schedule of performance,

education and broadcast events for audiences of all ages. These

productions include concerts, national and international tours, residencies,

weekly national radio programs, recordings, publications,

an annual high school jazz band competition and festival, a band

director academy, jazz appreciation curriculum for students, music

publishing, children’s concerts, lectures, adult education courses,

student and educator workshops and interactive websites. Under the

leadership of managing and artistic director Wynton Marsalis, executive

director Greg Scholl and chairman Robert Appel, Jazz at Lincoln

Center produces thousands of events each season in its home in New

York City, Frederick P. Rose Hall, and around the world.

The Jazz at Lincoln Center Orchestra (JLCO), comprising 15

of the finest jazz soloists and ensemble players today, has been the

Jazz at Lincoln Center resident orchestra since 1988. Featured in all

aspects of Jazz at Lincoln Center’s programming, this remarkably

versatile orchestra performs and leads educational events in New

York, across the U.S. and around the globe; in concert halls; dance

venues; jazz clubs; public parks and with symphony orchestras;

ballet troupes; local students and an ever-expanding roster of guest

artists. Education is a major part of Jazz at Lincoln Center’s mission;

its educational activities are coordinated with concert and Jazz at

Lincoln Center Orchestra tour programming. These programs, many

of which feature Jazz at Lincoln Center Orchestra members, include

the celebrated Jazz for Young People family concert series; the

Essentially Ellington High School Jazz Band Competition & Festival;

the Jazz for Young People Curriculum; educational residencies;

workshops; and concerts for students and adults worldwide. Jazz at

Lincoln Center educational programs reach more than 110,000 students,

teachers and general audience members annually.

The Jazz at Lincoln Center weekly radio series, Jazz at Lincoln Center

Radio, is distributed by the WFMT Radio Networks. Winner of a

1997 Peabody Award, Jazz at Lincoln Center Radio is produced in

conjunction with Murray Street Enterprise, New York. Under Music

Director Wynton Marsalis, the Jazz at Lincoln Center Orchestra

spends over a third of the year on tour. The big band performs a vast

repertoire, from rare historic compositions to Jazz at Lincoln Centercommissioned

works, including compositions and arrangements

by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious

Monk, Mary Lou Williams, Billy Strayhorn, Dizzy Gillespie, Benny

Goodman, Charles Mingus, Chick Corea, Oliver Nelson and many

others. Guest conductors have included Benny Carter, John Lewis,

Jimmy Heath, Chico O’Farrill, Ray Santos, Paquito D’Rivera, Jon

Faddis, Robert Sadin, David Berger, Gerald Wilson and Loren

Schoenberg. Jazz at Lincoln Center also regularly premieres works

commissioned from a variety of composers including Benny Carter,

Joe Henderson, Benny Golson, Jimmy Heath, Wayne Shorter, Sam

Rivers, Joe Lovano, Chico O’Farrill, Freddie Hubbard, Charles

McPherson, Marcus Roberts, Geri Allen, Eric Reed, Wallace Roney

and Christian McBride, as well as from current and former Jazz

at Lincoln Center Orchestra members Wynton Marsalis, Wycliffe

Gordon and Ted Nash.

Over the last few years, the Jazz at Lincoln Center Orchestra has performed

collaborations with many of the world’s leading symphony

orchestras, including the New York Philharmonic, Russian National

Orchestra, Berlin Philharmonic Orchestra, Boston, Chicago and

London symphony orchestras, Orchestra Esperimentale in São Paolo,

Brazil and others. In 2006, the Jazz at Lincoln Center Orchestra

collaborated with Ghanaian drum collective Odadaa!, led by Yacub

Addy, to perform “Congo Square,” a composition Marsalis and Addy

co-wrote and dedicated to Marsalis’s native New Orleans. The Jazz

at Lincoln Center Orchestra performed Marsalis’s symphony, Swing

Symphony, with the Berliner Philharmoniker in Berlin and with the

New York Philharmonic in New York City in 2010 and with the Los

Angeles Philharmonic in Los Angeles in 2011. Swing Symphony is a

co-commission by the New York Philharmonic, Berlin Philharmonic,

Los Angeles Philharmonic and the Barbican Centre.

The Jazz at Lincoln Center Orchestra has also been featured in several

education and performance residencies in the last few years,

including in Vienne, France; Perugia, Italy; Prague, Czech Republic;

London; Lucerne, Switzerland; Berlin; São Paulo, Brazil; Yokohama,

Japan and elsewhere.

Television broadcasts of Jazz at Lincoln Center programs have

helped broaden the awareness of its unique efforts in the music.

Concerts by the Jazz at Lincoln Center Orchestra have aired in

the U.S., England, France, Spain, Germany, the Czech Republic,

Portugal, Norway, Brazil, Argentina, Australia, China, Japan, Korea

and the Philippines. Jazz at Lincoln Center has appeared on several

XM Satellite Radio live broadcasts and eight Live From Lincoln

Center broadcasts carried by PBS stations nationwide; including a

program which aired on October 18, 2004, during the grand opening

of Jazz at Lincoln Center’s new home, Frederick P. Rose Hall,

and on September 17, 2005, during Jazz at Lincoln Center’s Higher

Ground Benefit Concert. Jazz at Lincoln Center’s Higher Ground

Benefit Concert raised funds for the Higher Ground Relief Fund that

was established by Jazz at Lincoln Center and administered through

the Baton Rouge Area Foundation to benefit the musicians, music

industry-related enterprises and other individuals and entities from

the areas in Greater New Orleans who were impacted by Hurricane

Katrina, and to provide other general hurricane relief. The band is

also featured on the Higher Ground Benefit Concert CD that was

released on Blue Note Records following the concert. The Jazz at

Lincoln Center Orchestra was featured in a Thirteen/WNET production

of Great Performances entitled Swingin’ with Duke: Lincoln Center

Jazz Orchestra with Wynton Marsalis, which aired on PBS in 1999. In

2002, BET Jazz premiered a weekly series called Journey with Jazz at

Lincoln Center, featuring performances by the Jazz at Lincoln Center

Orchestra from around the world.

To date, 14 recordings featuring the Jazz at Lincoln Center Orchestra

with Wynton Marsalis have been released and internationally distributed:

Vitoria Suite (2010); Portrait in Seven Shades (2010); Congo

Square (2007); Don’t Be Afraid …The Music of Charles Mingus (2005);

A Love Supreme (2005); All Rise (2002); Big Train (1999); Sweet

Release & Ghost Story (1999); Live in Swing City (1999); Jump Start

and Jazz (1997); Blood on the Fields (1997); They Came to Swing

(1994); The Fire of the Fundamentals (1993) and Portraits by Ellington

(1992).

Brooks Brothers is the official clothier of the

Jazz at Lincoln Center Orchestra with Wynton Marsalis.

www.jalc.org

facebook.com/jazzatlincolncenter

twitter.com/jalcnyc

youtube.com/jazzatlincolncenter

30 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

Wynton Marsalis (music director, trumpet) is the managing and

artistic director of Jazz at Lincoln Center. Born in New Orleans,

Louisiana, in 1961, Marsalis began his classical training on trumpet

at age 12 and soon began playing in local bands of diverse genres.

He entered the Juilliard School at age 17 and joined Art Blakey and

the Jazz Messengers. Marsalis made his recording debut as a leader in

1982, and has since recorded more than 70 jazz and classical albums

which have garnered him nine Grammy Awards. In 1983, he became

the first and only artist to win both classical and jazz Grammys in

the same year; he repeated this feat in 1984. Marsalis’s rich body

of compositions includes “Sweet Release,” “Jazz: Six Syncopated

Movements,” “Jump Start and Jazz,” “Citi Movement/Griot New

York,” “At the Octoroon Balls,” “In This House, On This Morning”

and “Big Train.” In 1997, Marsalis became the first jazz artist to be

awarded the prestigious Pulitzer Prize in music for his oratorio Blood

on the Fields, which was commissioned by Jazz at Lincoln Center.

In 1999, he released eight new recordings in his unprecedented

Swinging into the 21 series, and premiered several new compositions,

including the ballet Them Twos, for a 1999 collaboration with

the New York City Ballet. That same year, he premiered the monumental

work “All Rise,” commissioned and performed by the New

York Philharmonic along with the Jazz at Lincoln Center Orchestra

and the Morgan State University Choir. Sony Classical released “All

Rise” on CD in 2002. Recorded on September 14 and 15, 2001, in

Los Angeles in the tense days following 9/11, “All Rise” features

the Jazz at Lincoln Center Orchestra along with the Los Angeles

Philharmonic, the Morgan State University Choir, the Paul Smith

Singers and the Northridge Singers. In 2004, he released The Magic

Hour, the first of six albums on Blue Note Records. He followed up

his Blue Note debut with Unforgivable Blackness: The Rise and Fall

of Jack Johnson, the companion soundtrack recording to Ken Burns’s

PBS documentary about the great African-American boxer; Wynton

Marsalis: Live at The House Of Tribes (2005); From the Plantation

to the Penitentiary (2007); Two Men with the Blues, featuring Willie

Nelson (2008); He and She (2009) and Here We Go Again (2011),

featuring Willie Nelson, Wynton Marsalis and Norah Jones. To mark

the 200th anniversary of Harlem’s historical Abyssinian Baptist

Church in 2008, Marsalis composed a full mass for choir and jazz

orchestra. The piece premiered at Jazz at Lincoln Center and followed

with performances at the celebrated church. Marsalis’s second

symphony, Blues Symphony, was premiered in 2009 by the Atlanta

Symphony Orchestra and by the Boston Symphony Orchestra in

2010. That same year, Marsalis premiered his third symphony, Swing

Symphony, a co-commission by the New York Philharmonic, Berlin

Philharmonic, Los Angeles Philharmonic and the Barbican Centre.

Walter Blanding (tenor saxophone) was born into a musical family

on August 14, 1971, in Cleveland, Ohio, and began playing the

saxophone at age six. In 1981, he moved with his family to New

York City; by age16, he was performing regularly with his parents

at the Village Gate. Blanding attended LaGuardia High School of

Music & Art and Performing Arts and continued his studies at the

New School for Social Research, where he earned a B.F.A. in 2005.

His 1991 debut release, Tough Young Tenors, was acclaimed as one

of the best jazz albums of the year, and his artistry began to impress

listeners and critics alike. He has been a member of the Jazz at

Lincoln Center Orchestra since 1998 and has performed, toured and/

or recorded with his own groups and with such renowned artists

as the Cab Calloway Orchestra, Roy Hargrove, Hilton Ruiz, Count

Basie Orchestra, Illinois Jacquet Big Band, Wycliffe Gordon, Marcus

Roberts, Wynton Marsalis Quintet, Isaac Hayes and many others.

Blanding lived in Israel for four years and had a major impact on

the music scene while touring the country with his own ensemble

and with U.S. artists such as Louis Hayes, Eric Reed, Vanessa Rubin

and others invited to perform there. He taught music in several

Israeli schools and eventually opened his own private school in Tel

Aviv. During this period, Newsweek International called him a “Jazz

Ambassador to Israel.”

Chris Crenshaw (trombone) was born in Thomson, Georgia, on

December 20, 1982. Since birth, he has been driven by and surrounded

by music. When he started playing piano at age three, his

teachers and fellow students noticed his aptitude for the instrument.

This love for piano led to his first gig with Echoes of Joy, his

father Casper’s group. He picked up the trombone at 11 and hasn’t

put it down since. He graduated from Thomson High School in

2001 and received his bachelor’s degree with honors in jazz performance

from Valdosta State University in 2005. He was awarded Most

Outstanding Student in the VSU Music Department and College of

Arts. In 2007, Crenshaw received his master’s degree in jazz studies

from the Juilliard School where his teachers included Douglas

Farwell and Wycliffe Gordon. He has worked with Gerard Wilson,

Jiggs Whigham, Carl Allen, Marc Cary, Wessell Anderson, Cassandra

Wilson, Eric Reed and many more. In 2006, Crenshaw joined the

Jazz at Lincoln Center Orchestra and in 2012, he composed “God’s

Trombones,” a spiritually focused work which was premiered by the

orchestra at Jazz at Lincoln Center.

Vincent Gardner (trombone) was born in Chicago in 1972 and

was raised in Hampton, Virginia. After singing and playing piano,

violin, saxophone and French horn at an early age, he decided on

the trombone at age 12. He attended Florida A&M University and

the University of North Florida. He soon caught the ear of Mercer

Ellington, who hired Gardner for his first professional job. He

moved to Brooklyn, New York, after graduating from college, completed

a world tour with Lauryn Hill in 2000, then joined the Jazz

at Lincoln Center Orchestra. Gardner has served as instructor at

the Juilliard School, as visiting instructor at Florida State University

and Michigan State University and as adjunct instructor at the New

School. He has contributed many arrangements to the Jazz at Lincoln

Center Orchestra and other ensembles. In 2009, he was commissioned

by Jazz at Lincoln Center to write “The Jesse B. Semple

Suite,” a 60-minute suite inspired by the short stories of Langston

Hughes. Gardner is featured on a number of notable recordings and

has recorded five CDs as a leader for Steeplechase Records. He has

performed with the Duke Ellington Orchestra, Bobby McFerrin,

Harry Connick, Jr., the Saturday Night Live Band, Chaka Khan, A

Tribe Called Quest and many others.

Victor Goines (tenor saxophone) is a native of New Orleans,

Louisiana. He has been a member of the Jazz at Lincoln Center

Orchestra and the Wynton Marsalis Septet since 1993, touring

throughout the world and recording more than 20 albums. As a leader,

Goines has recorded seven albums including his latest releases,

Pastels of Ballads and Blues (2007) and Love Dance (2007), on Criss

Cross Records. A gifted composer, Goines has more than 50 original

works to his credit. He has recorded and/or performed with many

noted jazz and popular artists including Ahmad Jamal, Ruth Brown,

Dee Dee Bridgewater, Ray Charles, Bob Dylan, Dizzy Gillespie, Lenny

MondaviArts.org | 31

Kravitz, Branford Marsalis, Ellis Marsalis, Dianne Reeves, Willie

Nelson, Marcus Roberts, Diana Ross, Stevie Wonder and a host of

others. Currently, he is the director of jazz studies/professor of music

at Northwestern University. He received a bachelor of music degree

from Loyola University in New Orleans in 1984 and a master of

music degree from Virginia Commonwealth University in Richmond

in 1990.

Carlos Henriquez (bass) was born in 1979 in the Bronx, New

York. He studied music at a young age, played guitar through junior

high school and took up the bass while enrolled in the Juilliard

School’s Music Advancement Program. He entered LaGuardia High

School of Music & Arts and Performing Arts and was involved with

the LaGuardia Concert Jazz Ensemble, which won first place in

Jazz at Lincoln Center’s Essentially Ellington High School Jazz Band

Competition & Festival in 1996. In 1998, swiftly after high school,

Henriquez joined the Wynton Marsalis Septet and the Jazz at Lincoln

Center Orchestra, touring the world and featured on more than 25

albums. Henriquez has performed with artists including Chucho

Valdes, Paco De Lucia, Tito Puente, the Marsalis Family, Willie

Nelson, Bob Dylan, Stevie Wonder, Lenny Kravitz, Marc Anthony

and many others. He has been a member of the music faculty at

Northwestern University School of Music since 2008 and was music

director of the Jazz at Lincoln Center Orchestra’s cultural exchange

with the Cuban Institute of Music with Chucho Valdes in 2010.

Sherman Irby (alto saxophone) was born and raised in Tuscaloosa,

Alabama. He found his calling to music at age 12. In high school, he

played and recorded with gospel immortal James Cleveland. He graduated

from Clark Atlanta University with a B.A. in music education.

In 1991, he joined Johnny O’Neal’s Atlanta-based quintet. In 1994,

he moved to New York City, then recorded his first two albums, Full

Circle (1996) and Big Mama’s Biscuits (1998), on Blue Note. Irby

toured the U.S. and the Caribbean with the Boys Choir of Harlem

in 1995 and was a member of the Jazz at Lincoln Center Orchestra

from 1995–97. During that tenure, he also recorded and toured with

Marcus Roberts, was part of Betty Carter’s Jazz Ahead Program and

Roy Hargrove’s groups. After a four year stint with Roy Hargrove,

Irby focused on his own group in addition to being a member of

Elvin Jones’s ensemble and Papo Vazquez’s Pirates Troubadours.

Since 2003, Irby has been the regional director for JazzMasters

Workshop, mentoring young children, and a board member for

the CubaNOLA Collective. He formed Black Warrior Records and

released Black Warrior, Faith, Organ Starter and Live at the Otto Club

under the new label.

Ali Jackson (drums) developed his talent on drums at an early age.

In 1993, he graduated from Cass Tech High School and in 1998,

was the recipient of Michigan’s prestigious Artserv Emerging Artist

award. As a child, he was selected as the soloist for the Beacons

of Jazz concert which honored legend Max Roach at New School

University. After earning an undergraduate degree in music composition

at the New School University for Contemporary Music, he

studied under Elvin Jones and Max Roach. Jackson has been part of

Young Audiences, a program that educates New York City youth on

jazz. He has performed and recorded with artists including Wynton

Marsalis, Dee Dee Bridgewater, Aretha Franklin, George Benson,

Harry Connick, Jr., KRS- 1, Marcus Roberts, Joshua Redman, Vinx,

Seito Kinen Orchestra conductor Seiji Ozawa, Diana Krall and the

New York City Ballet. His production skills can be heard on George

Benson’s GRP release Irreplaceable. Jackson is also featured on the

Wynton Marsalis Quartet recordings The Magic Hour (Blue Note,

2004) and From the Plantation to the Penitentiary. Jackson collaborated

with jazz greats Cyrus Chestnut, Reginald Veal and James

Carter on Gold Sounds (Brown Brothers, 2005) that transformed

songs by indie alternative rock band Pavement into unique virtuosic

interpretations with the attitude of the church and juke joint. He

has been a member of the Jazz at Lincoln Center Orchestra since

2005. Jackson currently performs with the Wynton Marsalis Quintet,

Horns in the Hood and leads the Ali Jackson Quartet. He also

hosted “Jammin’ with Jackson,” a series for young musicians at Jazz

at Lincoln Center’s Dizzy Club Coca-Cola. He is also the voice of

“Duck Ellington,” a character in the Penguin book series Baby Loves

Jazz that was released in 2006.

Ryan Kisor (trumpet) was born on April 12, 1973, in Sioux City,

Iowa, and began playing trumpet at age four. In 1990, he won

first prize at the Thelonious Monk Institute’s first annual Louis

Armstrong Trumpet Competition. Kisor enrolled in Manhattan

School of Music in 1991 where he studied with trumpeter Lew

Soloff. He has performed and/or recorded with the Mingus Big Band,

the Gil Evans Orchestra, Horace Silver, Gerry Mulligan and Charlie

Haden’s Liberation Music Orchestra, the Carnegie Hall Jazz Band,

the Philip Morris Jazz All-Stars and others. In addition to being

an active sideman, Kisor has recorded several albums as a leader

including Battle Cry (1997), The Usual Suspects (1998) and Point of

Arrival (2000). He has been a member of the Jazz at Lincoln Center

Orchestra since 1994.

Elliot Mason (trombone) was born in England in 1977 and began

trumpet lessons at age four with his father. At age seven, he switched

his focus from trumpet to trombone. At 11 years old, he was performing

in various venues, concentrating on jazz and improvisation.

By 16, Mason left England to join his brother Brad Mason at the

Berklee College of Music on a full tuition scholarship. He has won

the following awards: Daily Telegraph Young Jazz Soloist (under

25) Award, the prestigious Frank Rosolino Award, the International

Trombone Association’s Under 29 Jazz Trombone competition and

Berklee’s Slide Hampton Award in recognition of outstanding performance

abilities. He moved to New York City after graduation,

and in 2008, Mason joined Northwestern University’s faculty as the

jazz trombone instructor. Mason has performed with the Count

Basie Orchestra, Mingus Big Band, Maria Schneider Orchestra and

the Maynard Ferguson Big Bop Nouveau. A member of the Jazz

at Lincoln Center Orchestra since 2006, Mason also continues to

co-lead the Mason Brothers Quintet with his brother. The Mason

Brothers released their debut album, Two Sides, One Story in 2011.

Ted Nash (alto saxophone) was born into a musical family in Los

Angeles. His father, Dick Nash, and uncle, the late Ted Nash, were

both well-known jazz and studio musicians. The younger Nash

exploded onto the jazz scene at 18, moved to New York and released

his first album, Conception (Concord Jazz). He is co-leader of the

Jazz Composers Collective and is constantly pushing the envelope in

the world of traditional jazz. His group Odeon has often been cited

as a creative focus of jazz. Many of Nash’s recordings have received

32 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

critical acclaim and have appeared on the “best-of” lists in The New

York Times, New Yorker, Village Voice, Boston Globe and Newsday.

His recordings, The Mancini Project and Sidewalk Meeting, have been

placed on several “best-of-decade” lists. His album Portrait in Seven

Shades was recorded by the Jazz at Lincoln Center Orchestra and was

released in 2010. The album is the first composition released by the

JLCO featuring original music by a band member other than bandleader

Wynton Marsalis.

Paul Nedzela (baritone saxophone) was born in New York City

in 1984 and has quickly become one of the top baritone saxophone

players around. After graduating with honors and a degree in

mathematics from McGill University in 2006, Nedzela received the

Samuel L. Jackson scholarship and continued his musical studies at

the Juilliard School. He has studied with baritone saxophone legends

Joe Temperly, Gary Smulyan and Roger Rosenberg, and has played

with renowned artists and ensembles including Wess Anderson,

Paquito D’Rivera, Benny Golson, Roy Haynes, Christian McBride and

the Temptations. Nedzela also performed in Twyla Tharp’s Broadway

show, Come Fly Away, as well as at major festivals, such as The

Monterey Jazz Festival and the Banff Music Festival.

Kenny Rampton (trumpet) joined the Jazz at Lincoln Center

Orchestra in 2010. He also leads his own sextet in addition to

performing with the Mingus Big Band, the Mingus Orchestra,

the Mingus Dynasty, George Gruntz’s Concert Jazz Band and the

Manhattan Jazz Orchestra (under the direction of Dave Matthews).

In 2010, Rampton performed with the Scottish National Jazz

Orchestra at the Edinburgh International Festival and was the featured

soloist on the Miles Davis/Gil Evans classic version of Porgy

and Bess. He toured the world with the Ray Charles Orchestra in

1990 and with the legendary jazz drummer Panama Francis, the

Savoy Sultans and the Jimmy McGriff Quartet, with which he played

for 10 years. As a sideman, Rampton has performed with Mingus

Epitaph (under the direction of Gunther Schuller), Bebo Valdez’s

Latin Jazz All-Stars, Maria Schneider, the Afro-Latin Jazz Orchestra,

Charles Earland, Dr. John, Lionel Hampton, Jon Hendricks, Illinois

Jacquet, Geoff Keezer, Christian McBride and a host of others. Most

recently, he was hired as the trumpet voice on Sesame Street. Some of

his Broadway credits include Finian’s Rainbow, The Wiz, Chicago: The

Musical, In The Heights, Hair, Young Frankenstein and The Producers.

Dan Nimmer (piano) was born in 1982 in Milwaukee, Wisconsin.

With prodigious technique and an innate sense of swing, his playing

often recalls that of his heroes, Oscar Peterson, Wynton Kelly,

Erroll Garner and Art Tatum. Nimmer studied classical piano and

eventually became interested in jazz. He began playing gigs with

renowned saxophonist and mentor Berkley Fudge. Nimmer studied

music at Northern Illinois University and became one of Chicago’s

busiest piano players. A year after moving to New York City, he

became a member of the Jazz at Lincoln Center Orchestra and the

Wynton Marsalis Quintet. Nimmer has worked with Norah Jones,

Willie Nelson, Dianne Reeves, George Benson, Frank Wess, Clark

Terry, Tom Jones, Benny Golson, Lewis Nash, Peter Washington, Ed

Thigpen, Wess “Warmdaddy” Anderson, Fareed Haque and many

more. He has appeared on The Tonight Show with Jay Leno, The Late

Show with David Letterman, The View, The Kennedy Center Honors,

Live from Abbey Road and PBS’s Live from Lincoln Center, among other

broadcasts. He has released four of his own albums on the Venus

label (Japan).

Marcus Printup (trumpet) was born and raised in Conyers,

Georgia. His first musical experiences were hearing the fiery gospel

music his parents sang in church. While attending the University

of North Florida on a music scholarship, he won the International

Trumpet Guild Jazz Trumpet competition. In 1991, Printup’s life

changed when he met his mentor, the great pianist Marcus Roberts.

Roberts introduced him to Wynton Marsalis, which led to Printup’s

induction into the Jazz at Lincoln Center Orchestra in 1993. Printup

has recorded with Betty Carter, Dianne Reeves, Eric Reed, Madeline

Peyroux, Ted Nash, Cyrus Chestnut, Wycliffe Gordon and Roberts,

among others. He has recorded several records as a leader: Song

for the Beautiful Woman, Unveiled, Hub Songs, Nocturnal Traces, The

New Boogaloo, Peace in the Abstract, Bird of Paradise, London Lullaby,

Ballads All Night and A Time for Love. He made his screen debut in

the 1999 movie Playing by Heart and recorded on the film’s soundtrack.

August 22nd has been declared “Marcus Printup Day” in his

hometown of Conyers, Georgia.

Complimentary

Mondavi Dessert

Special

MondaviArts.org | 33

LARA DOWNES, PIANO

BUILD

MOVING IN PLACE

Photo by Brawlio Elias

Photo by Jen McManus

A Studio Classics: New Horizons Series Event

Saturday, March 23, 2013 • 8PM

Sunday, March 24, 2013 • 2PM

Vanderhoef Studio Theatre

Question & Answer Session

Members of Build in conversation

with Lara Downes

Build

Matt McBane, Violin and Compositions

Andrea Lee, Cello

Michael Cassedy, Piano

Ben Campbell, Bass

Adam D. Gold, Drums

All program compositions by Matt McBane.

Swelter 2

Imagining Winter

Ride

In the Backyard

56

Cleave

Maintain

Magnet

Intermission

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic

devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

34 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

Lara Downes, piano

Exiles’ Café

“If one lives in exile, the café becomes at once the family home, the

nation, church and parliament, a desert and a place of pilgrimage, cradle

of illusions and their cemetery.”

—Hermann Kesten

Mazurka No. 1, Op. 6, No. 1

Chopin

3 Hungarian Folksongs from the Bartok

Csík District, Sz.35a

The Peacock

At the Jánoshida Fairground

White Lily

Pastoral Sonatina, Op. 59 No. 3

Dumka No. 2, H. 250 “Contemplation”

Tango

Prokofiev

Martinu

Stravinsky

Build is a Brooklyn-based indie-classical band consisting of Matt

McBane (violin and compositions), Andrea Lee (cello), Michael

Cassedy (piano), Ben Campbell (bass) and Adam D. Gold

(drums). Both in its make-up and music, Build is fundamentally

a hybrid group. Since forming in December 2006, it has

developed a body of work and a performance style that draw on

(to name a few) minimalist chamber music, instrumental rock,

modal jazz, American fiddle music, experimentalism and film

music, reflecting Matt’s interests as a composer and the backgrounds

of the band members. Time Out New York described

Build as a “quintet that straddles the increasingly permeable line

between chamber music and instrumental rock.”

Build released Place, its second album, in 2011 on New

Amsterdam Records with distribution by Naxos. Place consists

of nine new tracks that build upon the language of the self-titled

first Build album. It is an expansive hour-long album whose

tracks work both individually and collectively to create a cohesive

dramatic arc across the entire album. Place uses a more

sophisticated production that heightens the sound of the live

band, brings out the core feeling of the individual tracks and

creates at times a more tactile, more orchestral or more aggressive

sound through the layering of tracks, processing of sounds,

placement of mics, etc. The increased studio time that allowed

that production approach was funded in part by fans through a

Kickstarter fundraising campaign.

Fragments, Op. Posth

Lost in the Stars

Sonata No. 2 in E Major

Mvmt 1: Moderato

Prelude No. 1

Prelude No. 2

Prelude No. 3

Prelude No. 6

“Tango” from the Exiles’ Café

Romance, Op. 78, No. 2

Piano Miniature No. 11: For Syria

Mazurka in F Minor, Op. 68, No. 4

Rachmaninoff

Weill

(arr. Jed Distler)

Korngold

Bowles

Sahl

Milhaud

Fairouz

Chopin

Build released its self-titled debut album on New Amsterdam

Records in the summer of 2008, and in 2009, it was re-released

with distribution from Naxos. It has received critical acclaim

from both esteemed classical music critics and indie bloggers

alike including Bloomberg News’ Alan Rich who praised its

“skittery, unpredictable and utterly charming musical inventions,”

Seattle Sound Magazine which stated “… the surreal

wonderland Build leads you through is endlessly fascinating and

often gorgeous” and Sequenza21, which praised the performances

on the disc: “If you listen, you hear that the rhythmic profile

of the piece is treacherous. The performers make it sound easy,

effortless and improvisational.” Recorded with a DIY ethic and

miniscule budget, tracks from Build nonetheless went on to be

played extensively on several of NPR’s major programs including

All Things Considered, Morning Edition and Weekend Edition.

Build has performed at clubs, art spaces and concert halls

throughout New York and across the country. Recent and

upcoming performances include the Chelsea Art Museum

(NYC), Joe’s Pub (NYC), UCSD’s ArtPower! (San Diego),

the Carlsbad Music Festival (San Diego), Zipper Hall (LA),

Montalvo Arts Center (California), the San Diego Museum of

Art and the 2009 Bang on a Can Marathon, from which their

performance was selected as a highlight for WNYC’s New Sounds

by John Schaeffer.

MondaviArts.org | 35

Lara Downes (piano), a captivating presence both on and offstage,

is a critically acclaimed American pianist who has garnered wide

acclaim as one of the most exciting and communicative pianists

of today’s generation. Lauded by NPR as “a delightful artist with a

unique blend of musicianship and showmanship” and praised by the

Washington Post for her stunning performances “rendered with drama

and nuance,” Downes presents the piano repertoire—from iconic

favorites to newly commissioned works—in new ways that bridge

musical tastes, genres and audiences.

As she continues to move the solo piano recital in exciting new

directions, Downes’s fresh interpretations bring her widespread

acclaim. Since making concert debuts at Queen Elizabeth Hall

London, the Vienna Konzerthaus and the Salle Gaveau Paris, she

has won over audiences at Carnegie Hall, Kennedy Center, Lincoln

Center, the American Academy Rome, San Francisco Performances,

the University of Vermont Lane Series, Montreal Chamber Music

Festival, El Paso Pro Musica Festival and the University of

Washington World Series, among many others. Her solo performance

projects have received support from prominent organizations such

as the National Endowment for the Arts, the Barlow Endowment for

Music Composition and American Public Media.

Downes’s chamber music appearances include collaborations with

other noted soloists and ensembles, including violinist Rachel

Barton Pine, cellist Zuill Bailey, the Alexander String Quartet and the

Brubeck Institute Jazz Quintet. Commissions and premieres of new

works for Lara have come from composers Aaron Jay Kernis, David

Sanford, Benny Golson, Eve Beglarian and Mohammed Fairouz,

among others.

Downes has been heard nationwide on major radio programs,

including NPR’s Performance Today, WNYC’s New Sounds, WFMT’s

Impromptu, Texas Public Radio’s Classical Spotlight and WBGO’s Jazz

Set. She is featured in a documentary produced by WFMT Radio

Network, syndicated nationally in 2011.

In addition to the excitement Downes brings to the concert stage,

her solo recordings have met with tremendous critical and popular

acclaim. Her debut CD, Invitation to the Dance, was called “a magical

recording” by NPR, and her second release, American Ballads, was

ranked by Amazon.com among the four best recordings of American

concert music ever made. Dream of Me was praised for “exquisite

snsitivity” by American Record Guide and 13 Ways of Looking at the

Goldberg was called “addicting” by the Huffington Post and “magnificent

and different” by Sequenza 21.

Downes is the founder and president of the 88 KEYS Foundation, a

non-profit organization that fosters opportunities for music experiences

and learning in America’s public schools, and she regularly

works and performs with the next generation of talented young

musicians as Curator of the Young Artists program at the Robert and

Margrit Mondavi Center for the Performing Arts, UC Davis, where

she serves as artist in residence. She is the artistic director of The

Artist Sessions in San Francisco, launching in April 2013.

Film design and production by Brawlio Elias

Exiles’ Café is a Steinway & Sons release, available wherever CDs are sold.

Share your own stories and images of exile at The Exiles Project:

http://laradownespiano.tumblr.com/

Lara Downes is a Steinway Artist.

Worldwide Representation for Lara Downes: Inverne Price Music Consultancy

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36 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

LArA dOWneS by Jeff hudSOn

Tonight’s concert features several selections from Lara Downes’s

new album Exiles’ Café, released on the Steinway and Sons label in

February.

The album’s concept has been on her mind for years. “I once did

a project called ‘Exodus’ that focused on composers who left

Europe, fleeing Hitler, and ended up in Los Angeles, giving birth to

modern film music”—like Eric Wolfgang Korngold.

“Then in 2010, the bicentennial of Chopin’s birth, I played a recital

at the Polish embassy in Washington, D.C., on a piano that had

belonged to Paderewski.” Chopin (1810–49) grew up in Warsaw

but became an exile in France after the Russian army suppressed

a Polish rebellion. Paderewski (1860–1941) was a Polish patriot,

diplomat, Prime Minister, composer and musician; he died in New

York, separated from his homeland by the Iron Curtain.

“I thought about the impact exile had on them,” Downes said. “I

started thinking about how many other composers made radical

voyages, the impact that their trips had on them and the different

places they ended up.”

So Exiles’ Café includes music by Sergei Rachmaninoff and Igor

Stravinsky, Russian composers who left because of the 1917 Soviet

Revolution. Also Sergei Prokofiev, who likewise left Russia, lived in

the West, and then returned—“but he went back into a Russia that

was a new world, totally different than the country he’d grown up

in,” Downes observed.

FURTHER LISTENING

The album also features music by William Grant Still (1895–1978),

the African-American composer whose works were performed by

major orchestras in Berlin and London. Downes sees him as an

exile “because he wrote lots of works that are in homage of Africa,

but without a lot of tangible information about what African

music sounded like. I thought about the impossibility of him

reaching his ancestral homeland.”

And Downes included music by Mohammed Fairouz, a young

American-born composer of Egyptian heritage whose music

melds Western and Middle Eastern concepts.

Downes found herself attracted to an imaginary Exiles’ Café where

composers and musicians who’d experienced “not being in the

place where they belong” could meet, mingle and exchange

stories. Downes has set up a place (http://laradownespiano.

tumblr.com) where people who listen to the album can relay their

own stories of exile.

Downes is, of course, delighted to have the album released on

Steinway, a commercial label launched in 2010, and she’ll be

touring and performing in Steinway showrooms this spring.

Jeff Hudson contributes coverage of the

performing arts to Capital Public Radio, the

Davis Enterprise and Sacramento News and Review.

HOT ITALIAN

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MondaviArts.org | 37

The Art of

Giving

Mondavi Center Donors

are dedicated arts patrons whose gifts to the

Mondavi Center are a testament to the value

of the performing arts in our lives.

Mondavi Center is deeply grateful for the

generous contributions of the dedicated

patrons who give annual financial support

to our organization. These donations are an

important source of revenue for our program,

as income from ticket sales covers less than

half of the actual cost of our performance

season.

Gifts to the Mondavi Center strengthen and

sustain our efforts, enabling us not only to

bring memorable performances by worldclass

artists to audiences in the capital region

each year, but also to introduce new generations

to the experience of live performance

through our Arts Education Program, which

provides arts education and enrichment

activities to more than 35,000 K-12 students

annually.

Legacy Circle

During this 10th Anniversary season, we are pleased to

announce the creation of the Mondavi Center Legacy Circle,

an honorary society that recognizes our supporters who have

remembered the Center in their estate plans. These gifts make

a difference for the future of performing arts, and we are most

grateful.

Please join us in thanking our founding Legacy Circle members:

Wayne and Jacque Bartholomew

John and Lois Crowe

Anne Gray

Margaret e. hoyt

Barbara K. Jackson

Jerry and Marguerite Lewis

don Mcnary

verne e. Mendel

Kay e. resler

hal and Carol Sconyers

Anonymous

For more information on

supporting the Mondavi Center,

visit MondaviArts.org or call 530.754.5438.

If you have already named the Mondavi Center in your own estate

plans, we thank you. We would love to hear of your giving plans

so that we may express our appreciation.

If you are interested in learning about planned giving opportunities

to help the Mondavi Center bring performing arts to future

generations, please contact Ali Morr Kolozsi, Director of Major

Gifts and Planned Giving (530) 754-5420 or amkolozsi@ucdavis.edu.

38 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

DONORS

IMPRESARIO CIRCLE

$25,000 And ABOve

John and Lois Crowe †*

Barbara K. Jackson †*

VIRTUOSO CIRCLE

$15,000 – $24,999

Joyce and Ken Adamson

Friends of Mondavi Center

Ann and Gordon Getty Foundation

Anne Gray †*

Mary B. Horton*

William and Nancy Roe *

Lawrence and Nancy Shepard

Tony and Joan Stone †

Joe and Betty Tupin †*

MAESTRO CIRCLE

$10,000 – $14,999

Wayne and Jacque Bartholomew †*

Ralph and Clairelee Leiser Bulkley*

Thomas and Phyllis Farver*

Dolly and David Fiddyment

Robert and Barbara Leidigh

Mary Ann Morris*

Carole Pirruccello, John and

Eunice Davidson Fund

Larry and Rosalie Vanderhoef †*

Dick and Shipley Walters*

And one donor who prefers

to remain anonymous

BENEFACTORS CIRCLE

$6,500 – $9,999

Camille Chan †

Michael and Betty Chapman †

Cecilia Delury and Vince Jacobs †

Patti Donlon †

Wanda Lee Graves

Samia and Scott Foster

Benjamin and Lynette Hart †*

Lorena Herrig

Margaret Hoyt

Bill Koenig and Jane O’Green Koenig

Greiner Heating and A/C, Inc.

Hansen Kwok

Garry Maisel

Stephen Meyer and Mary Lou Flint †

Randall E. Reynoso †

and Martin Camsey

Grace and John Rosenquist

Raymond Seamans

Jerome Suran and Helen Singer Suran *

PRODUCERS CIRCLE $3,250 – $6,499

Neil and Carla Andrews

Jeff and Karen Bertleson

Cordelia S. Birrell

California Statewide Certified Development Corporation

Neil and Joanne Bodine

Mr. Barry and Valerie Boone

Brian Tarkington and Katrina Boratynski

Robert and Wendy Chason

Chris and Sandy Chong*

Michele Clark and Paul Simmons

Tony and Ellie Cobarrubia*

Claudia Coleman

Eric and Michael Conn

Nancy DuBois*

Merrilee and Simon Engel

Charles and Catherine Farman

Andrew and Judith Gabor

Henry and Dorothy Gietzen

Kay Gist in Memory of John Gist

Ed and Bonnie Green*

Robert and Kathleen Grey

Diane Gunsul-Hicks

Charles and Ann Halsted

Judith and William Hardardt*

Dee and Joe Hartzog

The One and Only Watson

Charles and Eva Hess

Suzanne Horsley*

Dr. Ronald and Lesley Hsu

Jerry and Teresa Kaneko*

Dean and Karen Karnopp*

Nancy Lawrence, Gordon Klein and Linda Lawrence

Brian and Dorothy Landsberg

Ed and Sally Larkin*

Drs. Richard Latchaw and Sheri Albers

Ginger and Jeffrey Leacox

Claudia and Allan Leavitt

Yvonne LeMaitre

Shirley and Joseph LeRoy

Nelson Lewallyn and Marion Pace-Lewallyn

Dr. Clare Hasler-Lewis and Cameron Lewis

Dr. Ashley and Shiela Lipshutz

Paul and Diane Makley*

Kathryn Marr

Verne Mendel*

Jeff and Mary Nicholson

Grant and Grace Noda*

Alice Oi

Philip and Miep Palmer

Gerry and Carol Parker

Susan Strachan and Gavin Payne

Sue and Brad Poling

Lois and Dr. Barry Ramer

David Rocke and Janine Mozée

Roger and Ann Romani*

Hal and Carol Sconyers*

Ellen Sherman

Wilson and Kathryn R. Smith

Tom and Meg Stallard*

Tom and Judy Stevenson*

Priscilla Stoyanof and David Roche

David Studer and Donine Hedrick

Nancy and Robert Tate

Rosemary and George Tchobanoglous

† Mondavi Center Advisory Board Member

* Friends of Mondavi Center

MondaviArts.org | 39

Nathan and Johanna Trueblood

Ken Verosub and Irina Delusina

Jeanne Hanna Vogel

Claudette Von Rusten

John Walker and Marie Lopez

Cantor & Company, A Law Corporation

Patrice White

Robert and Joyce Wisner*

Richard and Judy Wydick

And three donors who prefer to remain anonymous

DIRECTORS CIRCLE $1,250– $3,249

Ezra and Beulah Amsterdam

Russell and Elizabeth Austin

In Honor of Barbara K. Jackson

Murry and Laura Baria*

Lydia Baskin In Memory of Ronald Baskin*

Drs. Noa and David Bell

Daniel R. Benson

Kay and Joyce Blacker*

Jo Anne Boorkman*

Clyde and Ruth Bowman

Edwin Bradley

Linda Brandenburger

Patricia Brown*

Robert Burgerman and Linda Ramatowski

Jim and Susie Burton

Davis and Jan Campbell

David J. Converse, ESQ.

Jim and Kathy Coulter*

John and Celeste Cron*

Jay and Terry Davison

Bruce and Marilyn Dewey

Martha Dickman*

Dotty Dixon*

DLMC Foundation

Richard and Joy Dorf

Wayne and Shari Eckert

Sandra and Steven Felderstein

Nancy McRae Fisher

Carole Franti*

Paul J. and Dolores L. Fry Charitable Fund

Christian Sandrock and Dafna Gatmon

Karl Gerdes and Pamela Rohrich

Fredric Gorin and Pamela Dolkart Gorin

Patty and John Goss*

Jack and Florence Grosskettler*

In Memory of William F. McCoy

Tim and Karen Hefler

Sharna and Mike Hoffman

John and Magda Hooker

Sarah and Dan Hrdy

Ruth W. Jackson

Clarence and Barbara Kado

Barbara Katz

Joshua Kehoe and Jia Zhao

Thomas Lange and Spencer Lockson

Mary Jane Large and Marc Levinson

Hyunok Lee and Daniel Sumner

Lin and Peter Lindert

David and Ruth Lindgren

Angelique Louie

Natalie and Malcolm MacKenzie*

Douglas Mahone and Lisa Heschong

Dennis H. Mangers and Michael Sestak

Susan Mann

Marilyn Mansfield

John and Polly Marion

Yvonne L. Marsh

Robert Ono and Betty Masuoka

Shirley Maus*

Janet Mayhew*

Ken McKinstry

Mike McWhirter

Joy Mench and Clive Watson

John Meyer and Karen Moore

Eldridge and Judith Moores

Barbara Moriel

Augustus and Mary-Alice Morr

Patricia and Surl Nielsen

John and Misako Pearson

Bonnie A. Plummer*

Prewoznik Foundation

Linda and Lawrence Raber*

Kay Resler*

Christopher Reynolds and Alessa Johns

Tom Roehr

Don Roth and Jolán Friedhoff

Liisa Russell

Beverly "Babs" Sandeen and Marty Swingle

Ed and Karen Schelegle

The Schenker Family

Neil and Carrie Schore

Bonnie and Jeff Smith

Ronald and Rosie Soohoo*

Richard L. Sprague and Stephen C. Ott

Maril Revette Stratton and Patrick Stratton

Brandt Schraner and Jennifer Thornton

Denise Verbeck and Rovida Mott

Donald Walk, M.D.

Louise and Larry Walker

Geoffrey and Gretel Wandesford-Smith

Barbara D. Webster

Weintraub Family

Dale L. and Jane C. Wierman

Paul Wyman

Yin and Elizabeth Yeh

And nine donors who prefer to remain

anonymous

ENCORE CIRCLE $600 – $1,249

Aboytes Family

Michelle Adams

Mitzi Aguirre

Paul and Nancy Aikin

Gregg T. Atkins and Ardith Allread

Merry Benard

Donald and Kathryn Bers*

Marion Bray

Rosa Marquez and Richard Breedon

Irving and Karen Broido*

Dolores and Donald Chakerian

Gale and Jack Chapman

William and Susan Chen

John and Cathie Duniway

Mark E. Ellis and Lynn Shapiro

Doris and Earl Flint

Murray and Audrey Fowler

Dr. Deborah and Brook Gale

Paul and E. F. Goldstene

David and Mae Gundlach

Robin Hansen and Gordon Ulrey

John and Katherine Hess

Barbara and Robert Jones

Mary Ann and Victor Jung

Robert Kingsley and Melissa Thorme

Paula Kubo

Charlene Kunitz

Frances and Arthur Lawyer*

Dr. Henry Zhu and Dr. Grace Lee

Kyoko Luna

Debbie and Stephen Wadsworth-Madeiros

Maria M. Manoliu

Gary C. and Jane L. Matteson

Catherine McGuire

Robert and Helga Medearis

Suzanne and Donald Murchison

Robert and Kinzie Murphy

Linda Orrante and James Nordin

Frank Pajerski

John Pascoe and Susan Stover

Jerry L. Plummer and Gloria G. Freeman

Larry and Celia Rabinowitz

J. and K. Redenbaugh

John and Judith Reitan

Jeep and Heather Roemer

Tom and Joan Sallee

The Shepard Family

The Shepard Gusfield Family

Jeannie and Bill Spangler

Edward and Sharon Speegle

Elizabeth St. Goar

Sherman and Hannah Stein

Les and Mary Stephens De Wall

Judith and Richard Stern

Eric and Patricia Stromberg*

Lyn Taylor and Mont Hubbard

Roseanna Torretto*

Henry and Lynda Trowbridge*

Steven and Andrea Weiss*

Denise and Alan Williams

Kandi Williams and Dr. Frank Jahnke

Ardath Wood

Bob and Chelle Yetman

Karl and Lynn Zender

And three donors who prefer to

remain anonymous

40 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

ORCHESTRA CIRCLE $300 – $599

Drs. Ralph and Teresa Aldredge

Thomas and Patricia Allen

Fred Arth and Pat Schneider

Michael and Shirley Auman*

Frederic and Dian Baker

Beverly and Clay Ballard

Delee and Jerry Beavers

Carol Beckham and

Robert Hollingsworth

Mark and Betty Belafsky

Carol L. Benedetti

Bob and Diane Biggs

Dr. Gerald Bishop

Al Patrick and Pat Bissell

Donna Anderson and Stephen Blake

Fred and Mary Bliss

Elizabeth Bradford

Paul Braun

Margaret E. Brockhouse

Christine and John Bruhn

Manuel Calderon De La Barca Sanchez

Jackie Caplan

Michael and Louise Caplan

Anne and Gary Carlson

Amy Chen and Raj Amirtharajah

Frank Chisholm

Betty M. Clark

Wayne Colburn

Mary Anne and Charles Cooper

James and Patricia Cothern

David and Judy Covin

Robert Crummey and

Nancy Nesbit Crummey

Larry Dashiell and Peggy Siddons

Sue Drake*

Thomas and Eina Dutton

Dr. and Mrs. John Eisele

Mark E. Ellis and Lynn Shapiro

Leslie Faulkin

Janet Feil

David and Kerstin Feldman

Lisa Foster and Tom Graham

Sevgi and Edwin Friedrich*

Marvin and Joyce Goldman

Judy and Gene Guiraud

Darrow and Gwen Haagensen

Sharon and Don Hallberg

Marylee Hardie

David and Donna Harris

Roy and Miriam Hatamiya

Cynthia Hearden*

Mary Helmich

Lenonard and Marilyn Herrmann

Fred Taugher and Paula Higashi

Darcie Houck

B.J. Hoyt

Pat and Jim Hutchinson*

Don and Diane Johnston

Weldon and Colleen Jordan

Nancy Gelbard and David Kalb

Ruth Ann Kinsella*

Joseph Kiskis

Kent and Judy Kjelstrom

Peter Klavins and Susan Kauzlarich

Allan and Norma Lammers

Darnell Lawrence

Ruth Lawrence

Carol Ledbetter

The Lenk-Sloane Family

Dr. and Mrs. Stanley Levin

Ernest and Mary Ann Lewis*

Michael and Sheila Lewis*

Sally Lewis

Melvyn Libman

Jeffrey and Helen Ma

Bunkie Mangum

Pat Martin*

Yvonne Clinton-Mazalewski

and Robert Mazalewski

Gerrit Michael

Nancy Michel

Hedlin Family

Robert and Susan Munn*

William and Nancy Myers

Bill and Anna Rita Neuman

K. C. N

Dana K. Olson

John and Carol Oster

Sally Ozonoff and Tom Richey

John and Sue Palmer

John and Barbara Parker

John and Deborah Poulos

Jerry and Ann Powell*

Harriet Prato

John and Alice Provost

J. David Ramsey

John and Rosemary Reynolds

Guy and Eva Richards

Sara Ringen

Tracy Rodgers and Richard Budenz

Sharon and Elliott Rose*

Bob and Tamra Ruxin

Dwight E. and Donna L. Sanders

Mark and Ita Sanders*

Eileen and Howard Sarasohn

John and Joyce Schaeuble

Robert and Ruth Shumway

Michael and Elizabeth Singer

Judith Smith

Robert Snider

Al and Sandy Sokolow

Tim and Julie Stephens

Karmen Streng

Pieter Stroeve, Diane Barrett

and Jodie Stroeve

Kristia Suutala

Tony and Beth Tanke

Cap and Helen Thomson

Virginia Thresh

Dennis and Judy Tsuboi

Peter Van Hoecke

Ann-Catrin Van, Ph.D.

Robert Vassar

Rita Waterman

Jeanne Wheeler

Charles White and Carrie Schucker

James and Genia Willett

Iris Yang and G. Richard Brown

Wesley and Janet Yates

Jane Yeun and Randall Lee

Ronald M. Yoshiyama

Hanni and George Zweifel

And six donors who prefer to remain

anonymous

MAINSTAGE CIRCLE $100 – $299

Leal Abbott

Thomas and Betty Adams

Mary Aften

John and Jill Aguiar

Susan Ahlquist

The Akins

Jeannie Alongi

David and Penny Anderson

Valerie Jeanne Anderson

Elinor Anklin and George Harsch

Alex and Janice Ardans

Debbie Arrington

Jerry and Barbara August

Alicia Balatbat*

George and Irma Baldwin

Charlotte Ballard and Robert Zeff

Charles and Diane Bamforth*

Elizabeth Banks

Michele Barefoot and Luis Perez-Grau

Carole Barnes

Connie Batterson

Paul and Linda Baumann

Lynn Baysinger*

Janet and Steve Collins

Robert and Susan Benedetti

William and Marie Benisek

Alan and Kristen Bennett

Robert C. and Jane D. Bennett

Mrs. Vilmos Beres

Bevowitz Family

Boyd and Lucille Bevington

Robert and Sheila Beyer

John and Katy Bill

Andrea Bjorklund and Sean Duggan

Sam and Caroline Bledsoe

Bobbie Bolden

William Bossart

Brooke Bourland*

Mary A. and Jill Bowers

Alf and Kristin Brandt

Robert and Maxine Braude

Dan and Millie Braunstein*

Edelgard Brunelle*

Linda Clevenger and Seth Brunner

Don and Mary Ann Brush

Martha Bryant

Mike and Marian Burnham

Dr. Margaret Burns and Dr. Roy W. Bellhorn

Victor W. Burns

William and Karolee Bush

John and Marguerite Callahan

Lita Campbell*

John and Nancy Capitanio

James and Patty Carey

Michael and Susan Carl

Hoy Carman

Jan Carmikle, ‘87 ‘90

Bruce and Mary Alice Carswell*

John and Joan Chambers

Caroline Chantry and James Malot

Dorothy Chikasawa*

Rocco Ciesco

Gail Clark

L. Edward and Jacqueline Clemens

James Cline

Stephan Cohen

Stuart Cohen

Sheri and Ron Cole

Harold E. Collins

Janet and Steve Collins

David Combies

Ann Brice

Rose Conroy

Terry Cook

Nicholas and Khin Cornes

Fred and Ann Costello

Catherine Coupal*

Victor Cozzalio and Lisa Heilman-Cozzalio

Crandallicious Clan

Mrs. Shauna Dahl

Robert Bushnell, DVM and

Elizabeth Dahlstrom-Bushnell*

John and Joanne Daniels

Nita Davidson

Mary H. Dawson

Judy and David Day

Carl and Voncile Dean

Joel and Linda Dobris

Gwendolyn Doebbert and Richard Epstein

Val and Marge Dolcini*

John and Margaret Drake

Anne Duffey

Marjean DuPree

John Paul Dusel Jr.

Harold and Anne Eisenberg

Eliane Eisner

Robert Hoffman

Allen Enders

Randy Beaton and Sidney England

Carol Erickson and David Phillips

Evelyn Falkenstein

Andrew D. and Eleanor E. Farrand*

Ophelia and Michael Farrell

Richard D. Farshler

Eric Fate

Liz and Tim Fenton

Steven and Susan Ferronato

Bill and Margy Findlay

Dave Firenze

Kieran and Marty Fitzpatrick

Bill and Judy Fleenor*

David and Donna Fletcher

Alfred Fong

Glenn Fortini

Marion Franck and Bob Lew

Frank Brown

Andrew and Wendy Frank

Marion Rita Franklin*

William E. Behnk and Jennifer D. Franz

Anthony and Jorgina Freese

Larry Friedman

Kerim and Josina Friedrich

Joan M. Futscher

Myra A. Gable

Lillian Gabriel

Charles and Joanne Gamble

Tony Cantelmi

Peggy Gerick

Patrice and Chris Gibson*

Mary Gillis

Eleanor Glassburner

Louis J. Fox and Marnelle Gleason*

Pat and Bob Gonzalez*

MondaviArts.org | 41

Michele Tracy and Dr. Michael Goodman

Victor and Louise Graf

Jeffrey and Sandra Granett

Steve and Jacqueline Gray*

Tom Green

David and Kathy Greenhalgh

Paul and Carol Grench

Alex and Marilyn Groth

Janine Guillot and Shannon Wilson

June and Paul Gulyassy

Wesley and Ida Hackett*

Jane and Jim Hagedorn

Frank and Rosalind Hamilton

William and Sherry Hamre

Pat and Mike Handley

Jim and Laurie Hanschu

N. Tosteson-Hargreaves

Michael and Carol Harris

Richard and Vera Harris

Cathy Brorby and Jim Harritt

Sally Harvey*

Sharon Heath-Pagliuso

Paul and Nancy Helman

Martin Helmke and Joan Frye Williams

Roy and Dione Henrickson

Rand and Mary Herbert

Eric Herrgesell, DVM

Jeannette Higgs

Larry and Elizabeth Hill

Bette Hinton and Robert Caulk

Calvin Hirsch and Deborah Francis

Frederick and Tieu-Bich Hodges

Michael and Margaret Hoffman

Garnet Holden

Mr. and Mrs. Hoots

Herb and Jan Hoover

Steve and Nancy Hopkins

David and Gail Hulse

Eva Peters Hunting

Lorraine Hwang

Marta Induni

Jane and John Johnson*

Tom and Betsy Jennings

Dr. and Mrs. Ronald C. Jensen

Carole and Phil Johnson

Steve and Naomi Johnson

Michelle Johnston and Scott Arranto

Warren and Donna Johnston

In Memory of Betty and Joseph Baria

Andrew and Merry Joslin

Martin and JoAnn Joye*

Fred and Selma Kapatkin

Shari and Tim Karpin

Anthony and Elizabeth Katsaris

Yasuo Kawamura

Phyllis and Scott Keilholtz*

Patricia Kelleher*

Charles Kelso and Mary Reed

Dave Kent

Dr. Michael Sean Kent

Robert and Cathryn Kerr

Frank Kieffer

Gary and Susan Kieser

Larry Kimble and Louise Bettner

Bob and Bobbie Kittredge

Dorothy Klishevich

Mary Klisiewicz

Paulette Keller Knox

Paul Kramer

Nina and David Krebs

Marcia and Kurt Kreith

Sandra Kristensen

Leslie Kurtz

Cecilia Kwan

Don and Yoshie Kyhos

Ray and Marianne Kyono

Corrine Laing

Bonnie and Kit Lam*

Marsha M. Lang

Susan and Bruce Larock

Leon E. Laymon

Peggy Leander

Marceline Lee

The Hartwig-Lee Family

Nancy and Steve Lege

Joel and Jeannette Lerman

Evelyn A. Lewis

David and Susan Link

Motoko Lobue

Henry Luckie

Robert and Patricia Lufburrow

Linda Luger

Ariane Lyons

Edward and Susan MacDonald

Leslie Macdonald and Gary Francis

Kathleen Magrino*

Debbie Mah and Brent Felker*

Alice Mak and Wesley Kennedy

Renee Maldonado*

Vartan Malian

Julin Maloof and Stacey Harmer

Joan Mangold

Marjorie March

Joseph and Mary Alice Marino

Pamela Marrone and Mick Rogers

Dr. Carol Marshall

Donald and Mary Martin

J. A. Martin

Bob and Vel Matthews

Leslie Maulhardt

Katherine Mawdsley*

Karen McCluskey*

Doug and Del McColm

Nora McGuinness*

Donna and Dick McIlvaine

Tim and Linda McKenna

R. Burt and Blanche McNaughton*

Richard and Virginia McRostie

Martin A. Medina and Laurie Perry

Cliva Mee and Paul Harder

Julie Mellquist

Barry Melton and Barbara Langer

Sharon Menke

The Merchant Family

Roland and Marilyn Meyer

Fred and Linda J. Meyers*

Beryl Michaels and John Back

Leslie Michaels and Susan Katt

Eric and Jean Miller

Lisa Miller

Phyllis Miller

Sue and Rex Miller

Douglas Minnis

Kathy and Steve Miura*

Kei and Barbara Miyano

Vicki and Paul Moering

Joanne Moldenhauer

Lloyd and Ruth Money

Mr. and Mrs. Ken Moody

Amy Moore

Hallie Morrow

Marcie Mortensson

Barbara Mortkowitz

Robert and Janet Mukai

The Muller Family

Terence and Judith Murphy

Steve Abramowitz and Alberta Nassi

Judy and Merle Neel

Sandra Negley

Nancy and Chris Nelle

Romain Nelsen

Margaret Neu*

Jack Holmes and Cathy Neuhauser

Robert Nevraumont and

Donna Curley Nevraumont*

Keri Mistler and Dana Newell

Jenifer Newell

Janet Nooteboom

Forrest Odle

Jim and Sharon Oltjen

Marvin O’Rear

Mary Jo Ormiston*

Bob and Elizabeth Owens

Jessie Ann Owens

Mike and Carlene Ozonoff*

Thomas Pavlakovich and

Kathryn Demakopoulos

Bob and Marlene Perkins

Ann Peterson and Marc Hoeschele

Harry Phillips

Pat Piper

Drs. David and Jeanette Pleasure

Jane Plocher

Bob and Vicki Plutchok

Bea and Jerry Pressler

Ashley Prince

Diana Proctor

Dr. and Ms. Rudolf Pueschel

Evelyn and Otto Raabe

Edward and Jane Rabin

Dr. Anne-Louise and Dr. Jan Radimsky

Lawrence and Norma Rappaport

Olga Raveling

Sandi Redenbach*

Mrs. John Reese, Jr.

Martha Rehrman*

Michael A. Reinhart and Dorothy Yerxa

Eugene and Elizabeth Renkin

Francis Resta

David and Judy Reuben*

Al and Peggy Rice

Joyce Rietz

Ralph and Judy Riggs*

Peter Rodman

Richard and Evelyne Rominger

Barbara and Alan Roth

Cathy and David Rowen

Chris and Melodie Rufer

Paul and Ida Ruffin

Francisca Ruger

Kathy Ruiz

Michael and Imelda Russell

Hugh and Kelly Safford

Dr. Terry Sandbek and Sharon Billings*

Fred and Polly Schack

Patsy Schiff

Tyler Schilling

Julie Schmidt*

Janis J. Schroeder and Carrie L. Markel

Brian A. Sehnert and Janet L. McDonald

Andreea Seritan

Dan Shadoan and Ann Lincoln

Jill and Jay Shepherd

Ed Shields and Valerie Brown

The Shurtz

Dr. and Mrs. R.L. Siegler

Sandra and Clay Sigg

Marion E. Small

Brad and Yibi Smith

James Smith

Jean Snyder

Roger and Freda Sornsen

Curtis and Judy Spencer

Marguerite Spencer

Miriam Steinberg

Harriet Steiner and Miles Stern

Johanna Stek

Raymond Stewart

Ed and Karen Street*

Deb and Jeff Stromberg

Yayoi Takamura

Constance Taxiera*

Stewart and Ann Teal*

Francie F. Teitelbaum

Julie A. Theriault, PA-C

Janet and Karen Thome

Brian Toole

Lola Torney and Jason King

Robert and Victoria Tousignant

Benjamen Tracey and Beth Malinowski

Michael and Heidi Trauner

Rich and Fay Traynham

Elizabeth Treanor

Mr. Michael Tupper

James E. Turner

Barbara and Jim Tutt

Liza Tweltridge

Robert Twiss

Mr. Ananda Tyson

Nancy Ulrich*

Gabriel Unda

Ramon and Karen Urbano

Chris and Betsy Van Kessel

Diana Varcados

Bart and Barbara Vaughn*

Richard and Maria Vielbig

Don and Merna Villarejo

Charles and Terry Vines

Catherine Vollmer

Rosemarie Vonusa*

Evelyn Matteucci and Richard Vorpe

Carolyn Waggoner*

Carol Walden

Andrew and Vivian Walker

Anthony and Judith Warburg

Marny and Rick Wasserman

Caroline and Royce Waters

Dan and Ellie Wendin*

Douglas West

Martha S. West

Robert and Leslie Westergaard*

Susan Wheeler

Carol Marie White

Linda K. Whitney

Mrs. Jane L. Williams

Marsha L. Wilson

Janet Winterer

Henry and Judy Wolf

Dr. Harvey Wolkov

Jennifer and Michael Woo

Timothy and Vicki Yearnshaw

Jeffrey and Elaine Yee*

Norman and Manda Yeung

Sharon and Doyle Yoder

Phillip and Iva Yoshimura

Heather Young

In memory of Larry Young

Larry Young and Nancy Edwards

Phyllis Young

Verena Leu Young

Medardo and Melanie Zavala

Drs. Matthew and Meghan Zavod

Phyllis and Darrel Zerger*

Sonya and Tim Zindel

Mark and Wendy Zlotlow

And 44 donors who prefer to remain

anonymous

CORPORATE

MATCHING GIFTS

Bank of America Matching Gifts

Program

Chevron/Texaco Matching Gift Fund

DST Systems

U.S. Bank

We appreciate the many Donors who

participate in their employers’ matching

gift program. Please contact your Human

Resources department to find out about

your company’s matching gift program.

Note: We are pleased to recognize the

Donors of Mondavi Center for their

generous support of our program. We

apologize if we inadvertently listed your

name incorrectly; please contact the

Development Office at 530.754.5438

to inform us of corrections.

42 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

Mondavi Center

School Matinees

Mondavi Center’s Target School Matinee Series offers an extraordinary

opportunity for students to experience the magic

of live performance first hand. We have designed these matinee

performances to complement and enhance K–12 curriculum,

giving students entertaining, as well as informative, access to

world-class multi-cultural, multi-disciplinary artists.

March – May 2013

Friday, March 15 – St. Louis Symphony

Monday–Friday, March 18–22 – Cashore Marionettes

Tuesday, April 30 – Alvin Ailey American Dance Theater

Wednesday, May 8 – Compañía Mazatlán Bellas Artes

Monday, May 13 – Les 7 Doigts de la Main

Friday, May 17 – Curtis 20/21 Ensemble

Monday, May 20 – Lara Downes and the Davis High School

Orchestra Gertrude McFuzz

Ticket information and order form link available at

www.mondaviarts.org/education/matinees

FEATURED SCHOOL MATINEE

Cashore Marionettes: Simple Gifts

Monday–Friday, March 18–22

11AM & 1PM

Recommended for grades 4–12

Cashore Marionettes return to the Mondavi Center

with their treasured Simple Gifts, a wonderful collection

of marionette masterworks that are stunning in

their beauty, creativity and humanity. Set

to classical music by such composers as

Beethoven, Vivaldi and Copland, Simple Gifts

presents comic and poignant stories taking

the audience on an imaginative journey

exploring a range of themes and emotions.

While the marionettes teach characterbuilding

with precise gestures and realistic

props, their movements are so convincing,

the illusion so powerful, that the result is an

unforgettable theatrical experience.

MONDAVI CENTER ADVISORY BOARD

The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi

Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance and the presenting

program of the Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.

12–13 ADVISORY BOARD MEMBERS

Joe Tupin, Chair • John Crowe, Immediate Past Chair

Wayne Bartholomew • Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray

Benjamin Hart • Lynette Hart • Vince Jacobs • Stephen Meyer • Randall Reynoso • Joan Stone • Tony Stone • Larry Vanderhoef

HONORARY MEMBERS

Barbara K. Jackson • Margrit Mondavi

EX OFFICIO

Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Jo Anne Boorkman, President, Friends of Mondavi Center

Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis

Lee Miller, Chair, Arts & Lectures Administrative Advisory Committee

THE FRIENDS OF MONDAVI CENTER is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting

program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center

performances. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431.

12–13 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Jo Anne Boorkman, President • Sandi Redenbach, Vice President • Francie Lawyer, Secretary

Jim Coulter, Audience Enrichment • Lydia Baskin, School Matinee Support • Leslie Westergaard, Mondavi Center Tours • Karen Street, School Outreach

Martha Rehrman, Friends Events • Jacqueline Gray, Membership • Mary Horton, Gift Shop Ad Hoc • Joyce Donaldson, Chancellor’s Designee, Ex-Officio

ArTS & LeCTureS AdMInISTrATIve AdvISOrY COMMITTee

The Arts & Lectures Administrative Advisory Committee is made up

12–13 COMMITTEE MEMBERS

of interested students, faculty and staff who attend performances,

Lee Miller • Jim Forkin • Erin Jackson • Sharon Knox

review programming opportunities and meet monthly with the director Maria Pingul • Prabhakara Choudary • Charles Hunt • Gabrielle Nevitt

of the Mondavi Center. They provide advice and feedback for the Mondavi Schipper Burkhard • Carson Cooper • Daniel Friedman • Kelley Gove

Center staff throughout the performance season.

Aaron Hsu • Susan Perez • Don Roth • Jeremy Ganter • Erin Palmer

MondaviArts.org | 43

POLICIES AND INFORMATION

TICKET EXCHANGE

• Tickets must be exchanged at least one business day prior

to the performance.

• Tickets may not be exchanged after the performance date.

• There is a $5 exchange fee per ticket for non-subscribers

and Pick 3 purchasers.

• If you exchange for a higher-priced ticket, the difference will be

charged. The difference between a higher and a lower-priced

ticket on exchange is non-refundable.

• Subscribers and donors may exchange tickets at face value toward

a balance on their account. All balances must be applied toward

the same presenter and expire June 30 of the current season.

Balances may not be transferred between accounts.

• All exchanges subject to availability.

• All ticket sales are final for events presented by non-UC Davis

promoters.

• No refunds.

PARKING

You may purchase parking passes for individual Mondavi Center

events for $7 per event at the parking lot or with your ticket order.

Rates are subject to change. Parking passes that have been lost

or stolen will not be replaced.

GROUP DISCOUNTS

Entertain friends, family, classmates or business associates and save!

Groups of 20 or more qualify for a 10% discount off regular prices.

Payment must be made in a single check or credit card transaction.

Please call 530.754.2787 or 866.754.2787.

STUDENT TICKETS (50% off the full single ticket

price*)

Student tickets are to be used by registered students matriculating

toward a degree, age 18 and older, with a valid student ID card. Each

student ticket holder must present a valid student ID card at the door

when entering the venue where the event occurs, or the ticket must

be upgraded to regular price.

CHILDREN (50% off the full single ticket price*)

Children’s tickets are for all patrons age 17 and younger. No additional

discounts may be applied. As a courtesy to other audience members,

please use discretion in bringing a young child to an evening performance.

All children, regardless of age, are required to have tickets,

and any child attending an evening performance should be able

to sit quietly through the performance.

The Mondavi Center collects information from patrons solely for the

purpose of gaining necessary information to conduct business and

serve our patrons efficiently. We sometimes share names and addresses

with other not-for-profit arts organizations. If you do not wish to be

included in our e-mail communications or postal mailings, or if you do

not want us to share your name, please notify us via e-mail, U.S. mail

or telephone. Full Privacy Policy at MondaviArts.org.

ACCOMMOdATIOnS fOr pATrOnS WITh

DISABILITIES

The Mondavi Center is proud to be a fully accessible state-of-the-art

public facility that meets or exceeds all state and federal ADA

requirements.

Patrons with special seating needs should notify the Mondavi Center

Ticket Office at the time of ticket purchase to receive reasonable

accommodation. The Mondavi Center may not be able to accommodate

special needs brought to our attention at the performance.

Seating spaces for wheelchair users and their companions are located

at all levels and prices for all performances.

Requests for sign language interpreting, real-time captioning, Braille

programs and other reasonable accommodations should be made

with at least two weeks’ notice. The Mondavi Center may not be able

to accommodate last-minute requests. Requests for these accommodations

may be made when purchasing tickets at 530.754.2787 or TDD

530.754.5402.

SPECIAL SEATING

Mondavi Center offers special seating arrangements for our patrons

with disabilities. Please call the Ticket Office at 530.754.2787 or TDD

530.754.5402.

ASSISTIVE LISTENING DEVICES

Assistive Listening Devices are available for Jackson Hall and the

Vanderhoef Studio Theatre. Receivers that can be used with or without

hearing aids may be checked out at no charge from the Patron Services

Desk near the lobby elevators. The Mondavi Center requires an ID to be

held at the Patron Services Desk until the device is returned.

ELEVATORS

The Mondavi Center has two passenger elevators serving all levels.

They are located at the north end of the Yocha Dehe Grand Lobby,

near the restrooms and Patron Services Desk.

RESTROOMS

All public restrooms are equipped with accessible sinks, stalls, babychanging

stations and amenities. There are six public restrooms in the

building: two on the Orchestra level, two on the Orchestra Terrace level

and two on the Grand Tier level.

SERVICE ANIMALS

Mondavi Center welcomes working service animals that are necessary

to assist patrons with disabilities. Service animals must remain on a

leash or harness at all times. Please contact the Mondavi Center

Ticket Office if you intend to bring a service animal to an event so

that appropriate seating can be reserved for you.

LOST AND FOUND HOTLINE 530.752.8580

TOURS

Group tours of the Mondavi Center are free but reservations are required.

To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.

*Only one discount per ticket.

44 | MONDAVI CENTER PRESENTS Program Issue 7: MAR 2013

The art of performance

draws our eyes to the stage

Our community’s commitment to arts and culture says a lot about where we live. It brings

us together from the moment the lights go down and the curtains come up.

Mondavi Center, we applaud this production.

Davis Main

South Davis (Safeway)

Covell Market Place

wellsfargo.com

Member FDIC. (731175_06032)

MondaviArts.org 530.754.2787

Rachel Barton Pine

866.754.2787 (toll-free)

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