Download PDF - Mondavi Center

3 

kenric tam, piano 

27 

Center 

Mondavi 

momiX 

Botanica 

35 

Issue 5: jan–Feb 2011 

9 

mark o'connor 

and julian lage 

simone dinnerstein 

and tift merritt 

39 

Program 

15 

23 

itzhak perlman, violin 

mark morris 

dance group 

48 

vijay iyer 

daniel handler 

50 

2 0 1 0 

2 0 1 1 

joshua Bell, violin

Photo: Lynn Goldsmith 

A MEssAGE fROM 

Don Roth, Ph.D. 

ExECuTIVE DIRECTOR 

MONDAVI CENTER 

As we welcome you, the audience members, back for the second half 

of our ninth Mondavi Center season, we also are very pleased to 

welcome back a great ensemble which has been missing from our hall for 

too long—the Mark Morris Dance Group. Mark Morris, who has become 

a leading choreographer of our time, is as much a musical artist as he is a 

dance artist. I don’t believe there is any creator of dance who is more strongly 

grounded in the music he selects. Morris manages to find in movement 

an absolutely perfect extension of the music. He chooses from a varied 

selection of musical styles (mostly what we call “classical”), an aesthetic 

reflected in his upcoming Jackson Hall program which ranges from 

Beethoven to Ives to the great California composer Lou Harrison. Morris 

is one of the few choreographers who insists on always performing to live 

music, so we will have the double treat of witnessing his wonderful dances 

with an excellent group of chamber musicians. 

Just as Mark Morris believes there is no substitute for live music, I’m convinced 

there is no substitute for the live experience of the arts. I love the 

technology that allows me to carry 30 days of music in my pocket and 

an entire film festival on my laptop. But those experiences are essentially 

“canned,” frozen at a point in time, often a rather perfect point in time, but 

canned nonetheless. We are social animals, we humans, and every time we 

come to the theater, we create a once-in-a-lifetime “social network” with our 

fellow audience members and the artists on stage. There is no replacement 

for the comfort, stimulation, and excitement which comes out of that joining 

together. 

This month you can “network” with three of the great fiddlers of our 

time: Mark O’Connor, who will burn up the stage with guitarist Julian Lage; 

our good friend Itzhak Perlman; and the ever-growing and changing virtuoso 

Joshua Bell. You can befriend one of our three amazing pianists—the 

young Kenric Tam, here for his professional Mondavi Center debut; the 

classicist Simone Dinnerstein crossing over into a genre-busting program 

with singer-songwriter Tift Merritt that ranges from George Harrison to 

Chopin; or the rising jazz star Vijay Iyer and his trio in our Vanderhoef 

Studio Theatre cabaret. 

Thank you for being part of 2011 in the Mondavi Center. 

Don Roth 

Executive Director 

Mondavi Center for the Performing Arts 

BEfORE ThE shOw 

Before the Curtain rises, PLease PLay your Part 

• 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 you, 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. 

INfO 

Accommodations for Patrons with Disabilities 

530.754.2787 • tDD: 530.754.5402 

In the event of an emergency, patrons requiring physical 

assistance on the Orchestra Terrace, Grand Tier, and 

Upper Tier levels please proceed to the elevator alcove refuge 

where this sign appears. Please let us know ahead of time 

for any special seating requests or accommodations. 

See p. 63 for more information. 

Membership 530.754.5436 

Member contributions to the Mondavi Center presenting 

program help to offset the costs of the annual season of 

performances and lectures, and provide a variety of arts 

education and outreach programs to the community. 

Friends of Mondavi Center 530.754.5000 

Contributors to the Mondavi Center are eligible to join the 

Friends of Mondavi Center, a volunteer support group that 

assists with educational programs and audience development. 

Volunteers 530.754.1000 

Mondavi Center volunteers assist with numerous functions, 

including house ushering and the activities of the Friends 

of Mondavi Center and the Arts and Lectures Administrative 

Advisory Committee. 

tours 530.754.5399 

One-hour guided tours of the Mondavi Center’s Jackson Hall, 

Vanderhoef Studio Theatre, and Yoche Dehe Grand Lobby are 

given regularly by the Friends of Mondavi Center. Reservations 

are required. 

Lost and Found hotline 530.752.8580 

Recycle We reuse our playbills! Thank you for 

returning your recycled playbill in the bin located by the 

main exit on your way out. 

Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 5: Jan–Feb 2011 | 1

2 | MONDAVIARTs.ORG 

Davis Hospitality... 

� 

Proud Sponsors of 

The RobeRT and MaRgRiT Mondavi CenTeR 

foR The PeRfoRMing aRTs, UC davis 

� 

Amenities Include: 

� � Breakfast Buffet with Cook To Order Omelets 

� Nightly Cocktail Reception 

� Deluxe Plush Bedding 

� WIFI Throughout 

� Bee Kind Amenities 

� 32” LCD TV’s 

Now Featuring: 

Complimentary Bicycle Program* 

For reservations or more information* 

Please contact us at: (800) 753-0035 

110 F Street Davis, CA 95616 • www.hallmarkinn.com

RobeRt and MaRgRit Mondavi Center foR the PeRfoRMing aRts | UC davis 

PResents 

Debut 

MC 

Kenric tam, piano 

2007 Mondavi Center Young Artists Competition winner 

A Debut Series Event 

Saturday, January 15, 2011 • 8PM 

Sunday, January 16, 2011 • 2PM 

Vanderhoef Studio Theatre, Mondavi Center, UC Davis 

There will be one intermission. 

Pre-Performance Talk 

Speakers: Ryan Brown, composer, in conversation with 

Lara Downes, Artist in Residence, Mondavi Center, UC Davis 

January 15, 2011 • 7PM 

January 16, 2011 • 1PM 


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. 


kENRIC TAM, PIANO 

Nocturne in C minor, Op. 48, No. 1 Chopin 

Barcarolle in F-sharp major, Op. 60 

Sonata No. 31 in A-flat major, Op. 110 Beethoven 

Moderato cantabile molto espressivo 

Allegro molto 

Adagio, ma non troppo — Arioso dolente — Fuga: Allegro, ma non troppo — 


L’istesso tempo di Arioso — L’istesso tempo della Fuga poi a poi di nuovo vivente — 

Meno allegro — Tempo primo 

Kenric tam, piano 

Intermission 

Four Pieces for High Solo Piano (World Premiere) Ryan Brown 

Cellar Door 

Buckle 

Stage Whisper (for Kate) 

Shoestring 

Symphonic Etudes, Op. 13 Schumann 

Thema: Andante — Etude I: Un poco più vivo— Etude II: Andante — 

Etude III: Vivace — Etude IV: Allegro marcato— Etude V: Scherzando — Etude VI: Agitato — 

Variation IV — Variation V — Etude VII: Allegro molto — Variation III — 

Etude VIII: Sempre marcatissimo — Etude IX: Presto possibile — Variation II — 

Etude X: Allegro con energia — Etude XI: Andante espressivo — Etude XII: Allegro brillante

PRogRAM notes 

Program Notes by Dr. Richard E. Rodda 

Nocturne in C minor, Op. 48, No. 1 (1841) 

Frédéric Chopin 

(Born February 22, 1810 in Zelazowa-Wola [near Warsaw], Poland 

Died October 17, 1849 in Paris) 

The two Nocturnes, Op. 48 were products of 1841, the time of 

Chopin’s greatest happiness with George Sand, when he was at the 

height of his creative powers. They were published in Paris later 

that year and in Leipzig soon thereafter with a dedication to Laura 

Duperré, who inspired the following beguiling description in the 

memoirs of the composer’s friend Wilhelm von Lenz: “I always 

made my appearance [at Chopin’s apartment] long before the 

hour of my appointment, and waited. Ladies came out, one after 

another, each more beautiful than the others. On one occasion, 

there was Mlle. Laura Duperré, daughter of Admiral Victor-Guy 

Duperré [commander of the French forces at the siege of Algiers in 

1830], whom Chopin accompanied to the head of the stairs. She 

was the most beautiful of all, and as slender as a palm tree. To her, 

Chopin dedicated two of his most important Nocturnes [Op. 48]; 

she was his favorite pupil at the time.” Chopin’s high regard for 

Laura could have found no more fitting vehicle than the C minor 

Nocturne, Op. 48, No. 1, which musicologist Herbert Weinstock 

called “Chopin’s major effort in that genre. Here is one of his 

compositional triumphs.” The work’s breadth of scale, range and 

intensity of emotion, and peerless control of form and figuration 

make it one of the supreme masterpieces of the Romantic 

keyboard literature. 

Barcarolle in F-sharp major, Op. 60 (1845-1846) 

Frédéric Chopin 

The barcarolle is the traditional song of the Venetian gondoliers 

(barca in Italian means boat), characterized by the languid nature 

of its melodies and the rocking accompaniment which simulates 

the gentle action of the waves. Felix Mendelssohn transmuted 

the form into a small genre for piano in several of his Songs 

Without Words, and his friend Frédéric Chopin may have become 

acquainted with the idiom of the barcarolle through them, or from 

examples included in popular French operettas by Hérold (Zampa) 

and Auber (Fra Diavolo) in the early 1830s. (Chopin never visited 

Italy.) Chopin undertook his only Barcarolle in 1845, a time when 

his health was beginning to fail from tuberculosis and he was 

still deeply grieved by the death of his father the year before. He 

completed the piece the following summer at Nohant, the country 

house of George Sand near Châteauroux, some distance south of 

Paris in the province of Berry. The Barcarolle is related in mood 

and scale to the Nocturnes, though its individual traits, notably 

the gently swaying accompaniment and the melody-duet in close 

harmonies, make it unique in Chopin’s output. 

Sonata No. 31 in A-flat major, Op. 110 (1821) 

Ludwig van Beethoven 

(Born December 16, 1770 in Bonn 

Died March 26, 1827 in Vienna) 

The Op. 110 Sonata of 1821 is one the towering peaks of the piano 

literature, or, perhaps more appropriately, one of its sublimely 

peaceful Alpine valleys, since its essence is halcyon rather than 

heaven-storming. In his fine book on Beethoven’s last decade, Martin 

Cooper noted that in this music the composer moved away “from 

the dramatic principle of contrast with its implicit idea of struggle. 

In its place we find a unified vision where music borrows nothing 

from the theater ... and aspires to its own unique condition ... The 

listener is taken as a friend whose interest and understanding can be 

taken for granted, rather than an audience to be captured, dazzled, 

touched or excited. In this work, the rhetorical element is virtually 

non-existent.” In place of the dramatic gesture, which he had used 

so successfully in his middle-period works, Beethoven here posited a 

language of pure music, one impenetrable by mere words and upon 

which even the most learned technical analysis seems little more 

than an inquisitive flea upon an elephant. Cooper: “However we 

regard it, we can hardly avoid the impression that Beethoven’s [goal] 

is the contemplation of a harmonious world whose laws are absolute 

and objective, neither subject to human passion nor concerned 

with anything beyond themselves.” The forms and balances of the 

movements of Beethoven’s late works were no longer subject to the 

traditional Classical models, but grew inexorably from the unique 

qualities and potentials of each individual composition. 

The opening movement of the Op. 110 Sonata is technically in 

sonata form, but one so seamlessly made and so consistently sunbright 

in mood that unity rather than contrast is its dominant 

characteristic. Next comes an energetic movement in the spirit 

(though not the meter) of a scherzo whose thematic material was 

apparently inspired by two Austrian folksongs for which Beethoven 

had provided simple piano accompaniments in 1820. Closing the 

Sonata is a musical essay whose lyricism and ultimate gentleness 

belie its stupendous formal concept. A mournful scena, an arioso 

dolente, is given as the opening chapter and leads without pause to 

the life-confirming retort of a tightly argued fugue. This fugue is not, 

however, one of those mighty, gnarled constructions that Beethoven 

employed elsewhere in his last years, but a pellucid, songful, joyous 

example of the form. The arioso, with its thrumming, chordal 

accompaniment, intrudes itself upon the undulant flow of the fugue, 

and is again answered by Beethoven’s celebratory counterpoint, 

marked, on this last appearance, to be infused by the pianist “more 

and more with new life.” 

Four Pieces for High Solo Piano (2010 — World Premiere) 

Ryan Brown 

(Born October 21, 1979) 

San Francisco-based composer, guitarist, and electric bassist Ryan 

Brown spent his formative years playing rock and jazz guitar in 

various bands before beginning formal musical studies at age 

seventeen. He did his undergraduate work in composition at 

California State University at Long Beach, graduating in 2002, and 

earned his master’s degree from the San Francisco Conservatory of 

Music in 2005; he is currently completing his doctorate at Princeton 

University. Brown’s music has been performed by the Brooklyn 

Philharmonic, pianist Lisa Moore, California E.A.R. Unit, Left Coast 

Chamber Ensemble, Paul Dresher Ensemble, Carlsbad Festival, 

Gaudeamus Festival (Amsterdam), MATA Festival and other notable 

groups, artists and presenters; he has also been featured on NPR’s 

Forum with Michael Krasney and Richard Friedman’s Music from 

Other Minds. Brown has received an Emerging Composer Award from 

the Gerbode and Hewlett Foundations and a Morton Gould Young 

Composer Award from ASCAP, and was Composer-in-Residence 

Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 5: Jan–Feb 2011 | 5 

kENRIC TAM, PIANO

kENRIC TAM, PIANO 

with the Brooklyn Philharmonic in 2008-2009; he begins a 

residency at the Mondavi Center for the Performing Arts at UC 

Davis in January 2011. In 2006, with composer Jonathan Russell 

and clarinetist Jeff Anderle, Brown co-founded San Francisco’s 

annual Switchboard Music Festival, an eight-hour music marathon 

bringing together composers and performers “who are challenging 

traditional genre lines.” (The 2011 Festival is on April 3. See 

http://www.switchboardmusic.com for details.) 

Ryan Brown wrote of his Four Pieces for High Solo Piano, “I think 

writing for solo piano is one of the hardest things a composer 

can do. The sheer volume of wonderful music that has already 

been written for it (across many, if not all, genres), plus the sonic 

explorations pioneered by many 20th-century masters make it 

hard to imagine ever forming a fresh approach to the instrument. 

This was the problem I faced when asked to write a solo piece in 

2007 for the incredible Lisa Moore [the Australian-born avantgarde 

specialist now based in New York who was a founding 

member of the Bang on a Can All Stars, the contemporary music 

group that was Musical America’s 2005 ‘Ensemble of the Year’]. 

My solution, in a fit of desperation, was to restrict myself solely to 

the top few octaves, and only white notes at that. I’ve always loved 

that range of the piano, largely because of its ‘non-piano-ness,’ but 

also because of the percussive quality and the brittle timbre. That 

piece, titled Ceramics, opened up a new world of piano writing 

that I couldn’t wait to get back to. These four short pieces are a 

further exploration of that world, that new instrument that we’ve 

loved for so long.” 

Symphonic Etudes, Op. 13 (1834-1835; revised in 1837 and 1852) 

Robert Schumann 

(Born June 8, 1810 in Zwickau, Germany 

Died July 29, 1856 in Endenich, near Bonn) 

Early in 1834, Baron von Fricken of Asch in Bohemia heard 

little Clara Wieck play a recital in Plauen. So impressed was 

the Baron with the results of Papa Friedrich Wieck’s method of 

piano tutelage that he determined to send his own daughter, 

Ernestine, to Leipzig to study with the noted pedagogue. Ernestine 

duly presented herself as a student and boarder at the Wieck 

household in April, and she immediately became acquainted with 

Robert Schumann, the gifted 24-year-old pianist, composer, and 

writer who was Wieck’s chief protégé at the time. When Fricken 

inquired about Schumann, he was told by Wieck, “There is no 

limit to the number of things I could write you about this rather 

fantastic person; headstrong he may be, but also noble, splendid, 


enthusiastic, wonderfully gifted, highly cultured, and a writer 

and musician of genius.” Ernestine, then seventeen, also found 

much to admire about the dashing Robert, an affection returned 

by Schumann, who had been advised by his physician that to fully 

recover from his nervous breakdown of the previous year, “You 

need a wife. Medicine is no good here.” The affair proved serious 

enough that he presented Ernestine with a ring in September and 

presumably proposed marriage, though the engagement was never 

announced publicly. The following month, her course of study with 

Wieck apparently completed, Ernestine was summoned back to Asch 

by the Baron. This amatory adventure was pretty well spent by the 

end of the year, when Schumann began to turn his attention to Clara 

Wieck, with whom he was to create one of the great love stories 

of the 19th century, but he remained friends with Ernestine, and 

dedicated to her the Allegro for Piano, Op. 8 (composed in 1831, 

and published in 1835) and the Three Songs, Op. 31 (1840). 

Schumann’s brief fling with Ernestine von Fricken helped to inspire 

two of his most important piano compositions of those years. In one, 

Carnaval, a tiny musical motive built from pitches corresponding 

to the letters of her home town, Asch, is woven throughout; in the 

other, the Symphonic Etudes, he erected a splendid set of variations 

upon a theme composed by Baron von Fricken, a talented musical 

amateur. Though the theme of the Symphonic Etudes is decidedly 

somber in countenance, it displays a richness of harmonic color 

that Schumann exploited with dramatic effect in the variationetudes 

that follow. He eschewed the theme in the finale, however, 

in favor of a brilliant movement based on Du stolzes England, freue 

dich (“Proud England, Delight Yourself”) from Marschner’s oncepopular 

opera Der Templer und die Jüdin (“The Templar and the 

Jewess”), based on Scott’s Ivanhoe. Such an apparent incongruity in 

this testament to young German love is explained by the fact that 

the published score was dedicated not to Ernestine von Fricken but 

to William Sterndale Bennett, the English composer who had come 

to Leipzig to commune with his idol Mendelssohn, then conductor 

of the Gewandhaus concerts, and met Schumann during his stay. 

Schumann admired Bennett, calling him “a complete Englishman, a 

glorious artist and a beautiful and poetic spirit,” and left an enduring 

monument to him in the finale of the Symphonic Etudes. 

©2011 Dr. Richard E.Rodda

Kenric tam, 20, was the Grand Prize winner of the 2007 

Mondavi Center Young Artists Competition. He made his debut 

with the Los Angeles Philharmonic at the Walt Disney Concert 

Hall in 2006. His playing has been recognized as “remarkable for 

its voluptuous sound and perfection” by the Rochester Democrat 

and Chronicle, praised for “his dazzling technique and his maturity 

of interpretation” by the Oakland Tribune, and lauded for his 

“exquisite subtlety and sensitivity … poetic and heartfelt performance” 

by Harvard Art Review. In 2008, Kenric was awarded the 

silver medal at the prestigious Gina Bachauer International Piano 

Competition, was named a Presidential Scholar at the White 

House by President Bush, and performed at the Kennedy Center. 

Kenric is the prize-winner of numerous international competitions, 

including the first prize of the 2009 Stravinsky Awards 

Piano Competition, first prize of the 2007 Schimmel International 

Piano Competition in Arizona, grand prize of the 2007 Mondavi 

Young Artists Competition, second prize of the 2007 MTNA 

National Piano Competition, first prize of the 2006 “Individualis” 

International Music Competition in Ukraine, second prize of the 

2006 Eastman International Piano Competition in New York, 

first prize of the 2006 Bronislaw Kaper Awards, and first prize 

of the 2005 Lennox International Young Artists Competition in 

Texas. As the first prize winner of the 2005 Palatino Solo Piano 

Competition, Kenric was awarded a grand piano. 

Last May, Kenric was the only pianist featured in the HBO documentary 

Master Class, where he worked with Michael Tilson 

Thomas for a week in Miami. Kenric has performed extensively 

with such orchestras as the Symphony of the Southwest 

in Arizona, Richardson Symphony in Texas, Harvard-Radcliffe 

Orchestra, Music Academy Festival Orchestra, Fremont Symphony, 

Peninsula Symphony, and numerous other San Francisco Bay Area 

orchestras. In 2007, he toured Eastern Europe with the San Jose 

Youth Symphony as the featured soloist, playing in world-class 

venues such as the Liszt Academy in Budapest, the Dvorak Hall 

in Prague, and the Chopin Academy of Music in Warsaw. In addition 

to his orchestra performances, Kenric has been invited to 

play solo recitals for the Holland International Music Festival in 

the Netherlands, the Braunschweig Classix Festival in Germany, 

Sundays Live at Los Angeles County Museum of Arts, the 

Steinway Society, the 10th Annual World Pedagogy Conference, 

and the Piano Technician’s Guild of California. 

Kenric Tam, a California native, is a junior at Harvard University 

majoring in human developmental and regenerative biology. 

He studies piano with Wha-Kyung Byun at the New England 

Conservatory of Music through the Harvard/NEC joint degree 

program. In his high school years, Kenric studied piano with Hans 

Boepple and John McCarthy in the San Francisco Bay Area. 


kENRIC TAM, PIANO

8 | MONDAVIARTs.ORG


PResents 

Mark o’Connor’s hot swing 

with Julian Lage 

A Chevron American Heritage Series Event 

Thursday, January 20, 2011 • 8PM 

Jackson Hall, Mondavi Center, UC Davis 

Sponsored by 

Individual support provided by John and Lois Crowe 

and Joe and Betty Tupin 





A gift for advancing health. 

Lili Received the 

GIFT of LIFE 

Born two months early, Lili Jimenez 

had a difficult start in life. 

Weighing barely three pounds, Lili 

suffered a host of ailments, including 

a life-threatening intestinal disease 

unique to preemies. 

With little time to spare, Lili was 

transferred to the neonatal intensive 

care unit at UC Davis Children’s 

Hospital—the region’s only 

comprehensive children’s hospital. 

After two complex surgeries, four 

months of round-the-clock care and 

lots of TLC, Lili was sent home to 

a future now in full bloom. 

At UC Davis Health System, 

our next medical breakthrough just 

may have your name on it. 

Lili’s care team included 

neonatologist Mark Underwood, 

nurse Christa Mu and 

other specialists in the research 

and treatment of preterm 

birth complications.

Mark o’Connor 

(born August 5, 1961, Seattle, Washington) 

A product of America’s rich folk tradition as well as classical 

music, Mark O’Connor’s creative journey began at the feet of a pair 

of musical giants. The first was the folk fiddler and innovator who 

created the modern era of American fiddling, Benny Thomasson; 

the second, a French jazz violinist who is considered one of 

the greatest improvisers in the history of the violin, Stephane 

Grappelli. Along the way, between these marvelous musical 

extremes, Mark O’Connor absorbed knowledge and influence 

from the multitude of musical styles and genres he studied. Now, 

at age 49, he has melded and shaped these influences into a new 

American Classical music, and a vision of an entirely American 

school of string playing. As the Los Angeles Times recently noted, 

he has “crossed over so many boundaries that his style is purely 

personal.” 

O’Connor’s first recording for the Sony Classical label, Appalachia 

Waltz, was a collaboration with Yo-Yo Ma and Edgar Meyer. The 

works O’Connor composed for the disc, including its title track, 

gained him worldwide recognition as a leading proponent of a new 

American musical idiom. The tremendously successful follow-up 

release, Appalachian Journey, received a Grammy Award in 2001. 

With more than 200 performances, his first full-length orchestral 

score, Fiddle Concerto, has become the most-performed modern 

violin concerto composed in the last 40 years. It was recorded for 

Warner Bros in 1995. O’Connor’s second concerto, Fanfare for the 

Volunteer, was recorded with the London Philharmonic Orchestra 

under the baton of Steven Mercurio and released by Sony Classical 

in 1999. The Newark Star Ledger notes: “As a composer, he understands 

the power of a thematic transfiguration and development 

throughout a 40-minute work.” 

In 2000, O’Connor premiered his fourth violin concerto, The 

American Seasons: Seasons of an American Life, at Troy Music 

Hall in Troy, New York. According to The New York Times, “If 

Dvorak had spent his American leisure time in Nashville instead 

of Spillville, Iowa, New World Symphony would have sounded like 

this.” The American Seasons was recorded with the Metamorphosen 

Mark o’Connor’s hot swing 

with Julian Lage 

Mark O’Connor, violin 

Julian Lage, guitar 

Heather Masse, vocals 

Matt Munisteri, guitar 

Kyle Kegerreis, bass 

Selections will be announced from the stage. 

Chamber Orchestra and released in 2001. Richard Dyer of the 

Boston Globe called the work “concise, lyrical, and irresistibly 

rhythmic.” Wayne Gay of the Fort Worth Star-Telegram said, “The 

American Seasons is destined to rank among the greatest masterpieces 

of American music … the first musical masterpiece of the 

21st century.” 

Also in 2000, O’Connor’s third concerto, Double Violin Concerto, 

received its premiere with Nadja Salerno-Sonnenberg as soloist 

and the Chicago Symphony, Christoph Eschenbach conducting. In 

2003, O’Connor and Salerno-Sonnenberg recorded the work with 

Marin Alsop conducting the Colorado Orchestra. Fanfare enthusiastically 

wrote: “All aficionados of the violin and all listeners in 

general will pass up this recording at their peril. The very highest 

commendation.” 

In 2001, O’Connor released Hot Swing!, a tribute to his great 

friend and mentor, the legendary French jazz master Stephane 

Grappelli. Released on his own OMAC label, the CD was recorded 

live with Frank Vignola on guitar and Jon Burr on bass. The 

Chicago Tribune called it “one of the finest discs of his career and 

one of the greatest jazz violin albums ever.” The ensuing Hot 

Swing CD, Live in New York, received similar praise and ushered 

in a new group line-up with original member Frank Vignola on 

guitar, and new to the ensemble, guitarist Julian Lage, bassist Gary 

Mazzaroppi, and vocalist Heather Masse. 

The Americana Symphony: Variations on Appalachia Waltz was 

recorded by Marin Alsop and the Baltimore Symphony in 2009. 

David McGee of Rolling Stone says “Americana Symphony may well 

be regarded one day as one of this country’s great gifts to the classical 

music canon, as well as being a pivotal moment in the rise of 

the new American classical music.” 

In 2003, O’Connor was commissioned by the Academy of St. 

Martin in the Fields to compose a concerto for violin and chamber 

orchestra. Violin Concerto No. 6 “Old Brass” takes its inspiration 

from a Beaufort, South Carolina, plantation designed by 

Frank Lloyd Wright. The recording, conducted by Joel Smirnoff, 

was released in 2009 as the companion work to the Americana 


MARk O’CONNOR’s hOT swING wITh julIAN lAGE

MARk O’CONNOR’s hOT swING wITh julIAN lAGE 

Symphony. O’Connor recorded his String Quartet No. 2 “Bluegrass” 

and String Quartet No. 3 “Old-Time” with Ida Kavafian, Paul 

Neubauer, and Matt Haimovitz and released in 2009. O’Connor’s 

most recent recording, Jam Session, offers dazzling live acoustic 

recordings that combine bluegrass and gypsy jazz. Jam Session features 

Chris Thile (mandolin), Frank Vignola (guitar), Bryan Sutton 

(guitar), Jon Burr (bass), and Byron House (bass). 

As word of his considerable compositional talents has spread, 

Mark O’Connor’s musical works have been embraced by a variety 

of performers. Yo-Yo Ma has recorded the solo cello adaptation of 

Appalachia Waltz, and Renee Fleming has performed and recorded 

vocal arrangements of O’Connor’s music and a new Christmas 

song to come out on an upcoming holiday release by O’Connor. 

Strings and Threads Suite, a duet that O’Connor composed for 

violin and guitar for guitarist Sharon Isbin, won a Grammy Award 

for Best Classical Instrumental Performance. O’Connor performs 

with piano trio his Poets and Prophets, inspired by the music of 

Johnny Cash, often in a collaborative concert with Rosanne Cash, 

daughter of the legendary singer. The Eroica Trio commissioned 

the Poets and Prophets piano trio and released it on EMI in 2008. 

Dance troupes, including Twyla Tharp Dance Co., the New York 

City Ballet, Alvin Ailey, and Hubbard Street Dance Chicago, are 

staging and choreographing O’Connor’s lyrical American music, 

and O’Connor frequently collaborates with director Ken Burns for 

the sound tracks of his documentary films. 

O’Connor regularly conducts three-day residencies, giving lectures, 

demonstrations, and workshops at a variety of music programs 

around the country. Some of his recent hosts include the Juilliard 

School, Harvard University, Berklee College of Music, Cleveland 

Institute of Music, Rice University, University of Maryland, 

University of Texas, Curtis Institute, Eastman School of Music, 

Tanglewood, and Aspen Summer Festival. O’Connor was Artistin-Residence 

at UCLA for the 2008-09 season. He currently serves 

as Artist-in-Residence at the University of Miami. O’Connor is 

the founder and president of the internationally recognized Mark 

O’Connor String Camp, held each summer in Johnson City, 

Tennessee, and at Berklee College of Music in Boston. 

The O’Connor Violin Method has been widely praised since its 

debut in 2009 as “an American-grown rival to the Suzuki method” 

(The New Yorker). It takes an American Classical approach to 

modern violin playing, offering a technical foundation using songs 

from the diverse range of traditional American string playing. The 

groundbreaking method is the first violin method to feature all 

American music and has been hailed by teachers from across the 

country as filling a significant gap in classical music education. It 

was inspired by the thousands of students O’Connor has taught at 

his string camps and at universities and conservatories across the 

country, and by his belief that the modern classical violin student 

who develops a working knowledge of folk fiddling, jazz music, 

and world music styles can enjoy a lifetime of music-making and 

be more successful in the new music environment. 

Mark O’Connor resides in New York City. 


Julian Lage 

When Julian Lage emerged on the music scene 13 years ago, 

the young San Francisco Bay Area-based musician was not only 

deemed a guitar-playing prodigy, but he was also offered record 

deals on numerous occasions. Playing a unique style that melded 

blues, classical, folk and jazz influences, Lage decided to wait for 

the right moment to document his own music. He chose instead 

to become a sideman with established instrumentalists like Gary 

Burton and to collaborate with contemporaries such as pianist 

Taylor Eigsti. Along the way, Lage received recognition from musical 

luminaries, including Herbie Hancock and Béla Fleck, and 

patiently waited until he was ready to go into a studio with a band 

of like-minded players to realize his own musical vision. 

At the age of 21, the Boston-based Lage released his debut album, 

Sounding Point on EmArcy Records, an imprint of Universal 

Records. The CD was remarkably the most striking—and sophisticated—premiere 

of a young instrumental artist and composer 

in years. The music ranged from through-composed works and 

impromptu improvisations in duo and trio settings to solo excursions 

and a finale capped by a masterful rendering of Miles Davis’s 

“All Blues.” Lage also delivered impressively original covers of 

Elliott Smith’s “Alameda” and Neil Hefti’s “Lil’ Darlin.” 

“I’ve been in a position where I could have recorded an album 

when I was younger but was never in a rush because I wanted to 

allow these compositions to grow and evolve in their own time.” 

says Lage. “And within the past four years, I have felt the music 

really take shape in the way I had always imagined. I feel grateful 

that there were no pressures on me to make a record until I felt it 

was time.” 

heather Masse 

New York City singer-songmaker Heather Masse grew up in rural 

Maine and began singing at an early age. Trained at the New 

England Conservatory of Music as a jazz singer, she is steeped in 

the jazz tradition, which informs her distinct approach to singing 

folk, pop, and bluegrass. 

A member of the folk super-group the Wailin’ Jennys, Heather has 

performed at top venues, sharing the stage with the world’s most 

acclaimed pop, classical, and jazz acts, including Elvis Costello, 

Wynton Marsalis, Sheryl Crow, Bruce Cockburn, and the Boston 

Pops Orchestra. She has been a frequent guest on Garrison 

Keillor’s A Prairie Home Companion, both as a solo performer and 

as a member of the Jennys. In addition to Heather’s involvement 

with Mark O’Connor’s Hot Swing, Heather has performed with the 

renowned contemporary bluegrass band the Wayfaring Strangers 

and in 2006, she recorded an album with Joy Kills Sorrow, a 

contemporary stringband from Boston. She also released Tell Me 

Tonight with the Brooklyn-based collaboration Heather & the 

Barbarians. 

In 2008, Heather released Many Moons, an EP of jazz-inspired 

folk duets with pianist Jed Wilson. Releasing her first full-length 

album in 2009, she delivered Bird Song—her solo debut on Red 

House Records. Showcasing her luscious alto voice and superb 

songwriting, the CD is acoustic pop music at its best, thoughtful 

and soulful and sure to be a hit with fans of Norah Jones and 

Alison Krauss.

Matt Munisteri 

Guitarist, singer, and songwriter Matt Munisteri is a Brooklyn 

native who grew up as almost assuredly the only bluegrass banjo 

player on his block. His lifelong interest in early American music 

led him from country and ragtime guitar through blues to Tin Pan 

Alley and jazz. His own compositions and playing reflect this lifelong 

devotion to the history of American popular song, linking 

rural and urban, long-gone and contemporary. 

As one of “New York’s finest vintage guitar stylists” (Downbeat 

Magazine), but also a player who’s at home in a range of musical 

styles and eras, Matt has been called upon to play on a wide range 

of CDs, movie soundtracks, television shows, and commercials. 

Among the Hollywood soundtracks that he has played on are The 

Aviator, Finding Forrester, Ghost World, Blast from the Past, and Two 

to Tango. 

He regularly plays concerts and festivals, domestic and abroad. 

Recent concerts include national tours with violinist Mark 

O’Connor’s Hot Swing; Lincoln Center with the Lincoln Center 

Jazz Orchestra; Carnegie Hall with the New York Pops Orchestra 

and Vince Giordano’s Nighthawks. He’s also toured with Kenny 

Davern, Ed Polcer, Andy Stein, Jenny Scheinman, and Rachelle 

Garniez and is a regular member of Steven Bernstein’s Millennial 

Territory Orchestra. Matt has recorded with many of today’s finest 

and most unique singers, including Holly Cole, Madeline Peyroux, 

Liz Wright, “Little” Jimmy Scott, Geoff Muldaur, Catherine 

Russell, and Loudon Wainwright, contributing arrangements, 

guitar, and banjo to Wainwright’s 2010 Grammy-winning release 

High, Wide and Handsome. 

Matt’s debut CD Love Story (recorded with his band Brock 

Mumford) wound up on many critics’ “Best Of” lists, including 

garnering the number two slot on Amazon’s Top Ten Jazz CDs of 

2003. A formidable lyricist (“Jazz musicians aren’t supposed to 

be able to write lyrics that good” – The Village Voice), his literate 

songs have been compared to Randy Newman, Mose Allison, and 

Bob Dorough. He has recently completed work on two new CDs: 

one was recorded live in Italy with Brock Mumford and the other 

is his eagerly anticipated exploration of the compositions of quintessential 

American songwriter Willard Robison. 

Kyle Kegerreis 

Originally from Indianapolis, bassist Kyle Kegerreis began his 

career in jazz and rock. He moved to Nashville in 2001 and began 

touring and recording with a multitude of artists in the Americana, 

blues, rock, and jazz arenas. For six years, he was the “house bassist” 

for Mark O’Connor’s fiddle camp in Tennessee and was on faculty 

at O’Connor’s San Diego String Conference for two summers. 

He is a regular member of Mark’s American String Celebration 

Ensemble as well as his Hot Swing Trio. 

Active on the tour circuit, Kyle has been traveling in the U.S. and 

Europe as a member of the Carrie Rodriguez Band since 2006 

and also performs on tour with legendary songwriter Chip Taylor 

(“Wild Thing,” “Angel of the Morning”) and the rockabilly band 

Heavy Trash, the brainchild of Jon Spencer (Blues Explosion) and 

Matt Verta-Ray (Speedball Baby). 

Kyle can be heard on Chip Taylor’s recordings New Songs of 

Freedom and Songs from a Dutch Tour, as well as She Ain’t Me and 

Live in Louisville with the Carrie Rodriguez Band. He is featured 

on Carrie’s 2010 album, Love and Circumstance, alongside special 

guests Bill Frisell, Greg Leisz, and Buddy Miller. 

Kyle has performed on A Prairie Home Companion, Mountain Stage, 

World Café, Austin City Limits, and the Grand Ole Opry. Currently 

residing in Brooklyn, he is also a member of the Triborough Trio 

with Mike Block and Hans Holzen and performs locally with singer-songwriter 

Peter Bradley Adams. 


MARk O’CONNOR’s hOT swING wITh julIAN lAGE

14 | MONDAVIARTs.ORG


PResents 

Itzhak Perlman, violin 

Rohan De silva, piano 

A Concert Series Event 



FuRtheR LIstenIng 

see p. 16 





ItzhAK PeRLMAn 

by JeFF huDson 

How do you define “iconic”? In Itzhak Perlman’s case, one 

component of the definition is his starring role in high 

occasions, like his performance at President Obama’s inauguration 

in January 2009, or his four concerts playing the 

Mendelssohn Concerto with the New York Philharmonic 

under conductor Alan Gilbert last September (kicking 

off the orchestra’s new season), or his appearance on 

December 1 in the nation’s capital, celebrating the lighting 

of the National Chanukah Menorah on the Ellipse near the 

White House. 

Perlman has now given recitals at the Mondavi Center 

several times—he has a huge (and very loyal) following. 

Now 65, he’s spent the last 15 years or so diversifying 

his musical portfolio. He continues to play the violin, of 

course. But he also teaches; he and wife Toby launched the 

Perlman Music Program near their Long Island home in 

1993. What began as a two-week summer program grew 

to the point that a 28-acre campus was acquired in 2000. 

Perlman also teaches at the Juilliard School. 

And Perlman spends a portion of his time conducting. 

He was the music advisor of the Saint Louis Symphony 

Orchestra from 2002-04. And in 2007, he was named the 

artistic director and principal conductor of the Westchester 

Philharmonic (in Westchester County, New York). 

Perlman discussed his portfolio of roles with public television’s 

Charlie Rose last year. Whether he’s working as the 

soloist, the conductor, or the teacher, “Everything has to do 

IN OuR lOBBy 

The Mondavi Center display previews pieces from: 

American gothic: Regionalist Portraiture 

from the Collection 

january 15- March 13, 2011 

Opening january 15, 11am-5pm 

One of the inaugural exhibitions at the Nelson Gallery’s new 

home in the university Club. 

American Gothic: Regionalist Portraiture from the Collection 

presents a survey of portraiture over the past 100 years. 

Through this centennial review a genealogy of stylistic development 

emerges with a special focus on artists and activities 

in and around uC Davis and Northern California. The 

strength of the uC Davis collection allows for a vivid trip 

through American art history, a colorful story of independent 

thought and the ongoing fight for liberty and equality. 


with playing,” Perlman said. “Because what happens, when 

you are in a certain atmosphere, you can get inspired, and 

involved. But if you think too much of other stuff … if 

you think you have to practice all the time so that you can 

become ‘successful,’ it’s not always the right way to go.” 

Perlman added “If you’re really talented, my rule is: more 

than five hours a day is not necessary.” 

Perlman said that he enjoys conducting “because it’s a lot 

of fun. It involves getting exposed to a lot of repertory I 

really love, and I haven’t had a chance in the past to be 

involved in,” such as symphonies by Brahms, Tchaikovsky, 

Beethoven, Mozart, and Haydn. 

He says that “some people think conducting is all about 

power. I would like to hereby say that it’s not true. The 

orchestra has the power, not the conductor. If the orchestra 

does not respect what the conductor does and what the 

conductor has to say, they will not give out.” 

You can check out Perlman as both conductor and soloist 

on his 2003 all-Mozart disc for the EMI label, which 

includes the Violin Concerto No. 3 and the Symphony No. 

41 (“Jupiter.”) 

Jeff Hudson contributes coverage of the performing 

arts to Capital Public Radio, the Davis Enterprise, 

and Sacramento News and Review. 

gordon Cook: out there 

january 15- March 13, 2011 

Opening january 15, 11am-5pm 

One of the inaugural exhibitions at the Nelson Gallery’s 

new home in the university Club. 

Guest curator: Bill Berkson 

Out There, selection of twenty paintings, drawings and lithographs 

by the san francisco artist Gordon Cook (1927-1985), 

will be one of two exhibitions to inaugurate the new quarters of 

the Richard Nelson Gallery at university of California, Davis. 

Opening on january 15, 2011, and continuing until March, 

the Cook show focuses on Cook’s fascination with water views 

– including many sites in the sacramento Delta – at the same 

time giving a strong sense of the wide range of his work. 

At the Robert and Margrit Mondavi Center for the Performing Arts, we are deeply interested in the visual arts and the ways in 

which painting, photography, and other forms may enhance the experience of the performing artists we present.


Rohan De silva, piano 

Sonata for Violin and Piano in D Major, Op. 9, No. 3 Leclair 

Adagio molto maestoso 

Allegro 

Sarabanda: Largo 

Tambourin: Allegro vivace 

Sonata No. 7 for Piano and Violin in C Minor, Op. 30, No. 2 Beethoven 

Allegro con brio 

Adagio cantabile 

Scherzo: Allegro 

Finale: Allegro 

Intermission 

Sonata No. 1 for Violin and Piano in D Minor, Op. 75 Saint-Saëns 

Allegro agitato — Adagio 

Allegro moderato — Allegro molto 

Mr. Perlman records for EMI/Angel, Sony Classical/Sony BMG Masterworks, 

Deutsche Grammophon, London/Decca, Erato/Elektra International Classics and Telarc. 

www.itzhakperlman.com 

Mr. Perlman appears by arrangement with IMG Artists. 

Carnegie Hall Tower 

152 W 57 St., 5th Floor 

New York, NY 10019 


ITzhAk PERlMAN, VIOlIN

ITzhAk PERlMAN, VIOlIN 

PRogRAM notes 

by Dr. Richard E. Rodda 

Sonata for Violin and Piano in D Major, Op. 9, No. 3 (1738) 

Jean-Marie Leclair 

(Born May 10, 1697, in Lyons, France; died October 22, 1764, 

in Paris) 

Jean-Marie Leclair, among the earliest of the great French violinists 

and composers for his instrument, was one of eight children 

born to a cellist and master lacemaker in Lyons; all but two of his 

siblings became professional musicians. Little is known of Leclair’s 

early life, though he was apparently trained in his father’s trade 

and spent some time in the family lace business. By the age of 19, 

however, he was dancing with the ballet of the Lyons Opéra, and 

six years later he was engaged for a season as principal dancer and 

choreographer at the Teatro Regio Ducale in Turin. Leclair was 

also active as a violinist at the time, and composed several sonatas 

in 1721; while in Turin, he studied the instrument with Giovanni 

Battista Somis, a pupil of Corelli and conductor at the theater. 

Leclair moved to Paris in 1723, and came under the patronage of 

Joseph Bonnier, one of France’s richest men, while he prepared 12 

of his violin sonatas for publication as his Op. 1. Leclair returned 

to Turin in 1726 for two further years of study with Somis, after 

which he settled again in Paris. 

Leclair created a sensation with his debut in 1728 as a violinist 

in his own music at the celebrated Concerts Spirituels, where he 

appeared regularly for the next eight years. His reputation spread 

to England, Holland, and Germany, where he was acclaimed on his 

concert tours. In 1733, he was appointed to Louis XV’s household 

orchestra, but four years later had a falling out with the violinist 

Pierre Guignon over who was to serve as concertmaster and 

resigned. From 1738 to 1743, Leclair held positions at the court of 

Orange and with a wealthy commoner in The Hague. For a short 

period in 1744, he was in the employ of the Spanish Prince Don 

Philippe at his estate at Chambéry in the French Alps, but soon 

returned to Paris, where he continued to compose and teach a few 

private students. In 1748, he accepted a position with the Duke 

of Gramont in the Parisian suburb of Puteaux. Twice married, he 

separated in 1758 from his second wife, largely retired from public 

life, and moved to a seedy, distant section of Paris. Cut off from 

his family, he became reclusive and immersed himself in the study 

of literature. On the night of October 22, 1764, he was stabbed 

to death as he entered his house. Among the suspects were the 

gardener who found the body, Leclair’s nephew (with whom he 

had recently quarreled), and Mme. Leclair herself; all three were 

cleared after a police investigation. According to Neal Zaslaw in 

the New Groves Dictionary of Music and Musicians, “The evidence 

(in the French Archives Nationales) is so clearly against the 

nephew, who was a violinist and author of L’arbre généalogique de 

l’harmonie (1767), that the only remaining mystery is that he was 

never brought to trial.” 

Leclair published the dozen violin sonatas of his Op. 9 in Paris in 

1738; the third, in D major, is among his best-known creations. 

The opening movement is stately and processional, a Classicized 

reworking of the old French ouverture. The following Allegro 

scampers along in the dashing rhythm and style of a gigue. When 

the Sarabanda emigrated to Spain from its birthplace in Mexico in 

the 16th century, it was so wild in its motions and so lascivious in 

its implications that Cervantes ridiculed it and Philip II suppressed 


it. The dance became considerably more tame when it was taken 

over into French and English music during the following century, 

and it had achieved the dignified manner in which it was known 

to Leclair by 1700. The vivacious Tambourin was a Provençal 

country dance originally accompanied by a fife and drum 

(“tambour” in French). 

Sonata No. 7 for Piano and Violin in C Minor, Op. 30, No. 2 

(1802) 

Ludwig van Beethoven 

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

Vienna) 

In the summer of 1802, Beethoven’s physician ordered him to 

leave Vienna and take rooms in Heiligenstadt, today a friendly 

suburb at the northern terminus of the city’s subway system, but 

two centuries ago a quiet village with a view of the Danube across 

the river’s rich flood plain. It was three years earlier, in 1799, 

that Beethoven first noticed a disturbing ringing and buzzing in 

his ears, and he sought medical attention for the problem soon 

thereafter. He tried numerous cures for his malady, as well as for 

his chronic colic, including oil of almonds, hot and cold baths, 

soaking in the Danube, pills, and herbs. For a short time he even 

considered the modish treatment of electric shock. On the advice 

of his latest doctor, Beethoven left the noisy city for the quiet 

countryside with the assurance that the lack of stimulation would 

be beneficial to his hearing and his general health. 

On October 6, 1802, following several months of wrestling with 

his diminishing hearing (as well as a constant digestive distress 

and the wreck of a recent affair of the heart—the thought of 

Beethoven as a husband threatens the moorings of one’s presence 

of mind!), Beethoven penned the most famous letter ever written 

by a musician—the “Heiligenstadt Testament.” Intended as a will 

written to his brothers (it was never sent, though he kept it in 

his papers to be found after his death), it is a cry of despair over 

his fate, perhaps a necessary and self-induced soul-cleansing in 

those pre-Freudian days. “O Providence—grant me at last but one 

day of pure joy—it is so long since real joy echoed in my heart,” 

he lamented. But—and this is the miracle—he not only poured 

his energy into self-pity, he also channeled it into music. The 

Symphonies Nos. 2-5, a dozen piano sonatas, the Fourth Piano 

Concerto and the Triple Concerto, Fidelio, three violin and piano 

sonatas (Op. 30), many songs, chamber works, and keyboard 

compositions were all composed between 1802 and 1806. 

The three Op. 30 Sonatas for Piano and Violin that Beethoven 

completed by the time he returned from Heiligenstadt to Vienna 

in the middle of October 1802 stand at the threshold of a new 

creative language, the dynamic and dramatic musical speech that 

characterizes the creations of his so-called “second period.” The 

C minor Sonata opens with a pregnant main theme, announced 

by the piano and echoed by the violin, which, according to British 

musicologist Samuel Midgley, “is like a taut spring about to snap.” 

This motive returns throughout the movement both as the pillar 

of its structural support and as the engine of its tempestuous 

expression. The second theme is a tiny military march in dotted 

rhythms. The development section, which commences with bold, 

slashing chords separated by silences (the exposition is 

not repeated), encompasses powerful mutations of the two 

principal themes. A full recapitulation and a large coda round out 

the movement.

The Adagio, one of those inimitable slow movements by Beethoven 

that seem rapt out of quotidian time, is based on a hymnal melody 

presented first by the piano and reiterated by the violin. A passage 

in long notes for the violin above harmonically unsettled arpeggios 

in the keyboard constitutes the movement’s central section before 

the opening theme is recalled in an elaborated setting. The coda 

is dressed with ribbons of scales by the piano. The Scherzo, with 

its rhythmic surprises and nimble figurations, presents a playful 

contrast to the surrounding movements. The Finale, which mixes 

elements of rondo (the frequent returns of the halting motive 

heard at the beginning) and sonata (the extensive development of 

the themes), renews the troubled mood of the opening movement 

to close the expressive and formal cycle of this excellent Sonata. 

Sonata No. 1 for Violin and Piano in D Minor, Op. 75 (1885) 

Camille Saint-Saëns 

(Born October 9, 1835 in Paris; died December 16, 1921, in 

Algiers) 

Saint-Saëns was nearly 50 before he applied his elegant craft to the 

composition of a violin sonata. The Sonata in D minor, dedicated 

to the Belgian violinist and Paris Conservatoire faculty member 

Martin-Pierre-Joseph Marsick, was composed in 1885, when the 

composer had finally regained his health on a trip to Algiers after 

the exhaustion occasioned by the premiere two years earlier of 

Henry VIII, the fifth of his 13 operas. The Sonata is an evidence of 

the French interest in the traditional Classical genres of symphony, 

concerto, and chamber music that flourished following the 

founding of the Société Nationale in 1871 by Saint-Saëns and some 

of his colleagues to foster the musical life of the country (and to 

redress the pervasive influence in France of Germanic Wagnerism 

after the humiliation of the Franco-Prussian War of 1870). 

The Violin Sonata No. 1, like Saint-Saëns’ Third Symphony 

(“Organ”) and Fourth Piano Concerto, is divided into two 

large parts, each of which contains a pair of linked movements. 

The opening section of the Sonata is built from two themes: a 

melody of anxious melancholy in compound triple meter, and 

a broadly heroic strain given by the violin above the rippling 

accompaniment of the piano. These handsome themes are 

juxtaposed until they lead without pause to the Adagio, which is 

built on a contemplative song entrusted to the violin. The music 

becomes more animated as it proceeds, but rediscovers its halcyon 

demeanor by the end of the movement. Part II begins with a 

sparkling scherzo that recalls similar movements of Mendelssohn 

in its aerial sprightliness; a long-note melody in the violin provides 

contrast in the central trio section. The finale, which follows 

without pause, is an uninhibited display of blazing virtuosity for 

both participants (Saint-Saëns was a master pianist throughout 

his life; he practiced for two hours on the morning of the day that 

he died in Algiers in 1921), one of the greatest showpieces in the 

violin sonata repertory. 

©2011 Dr. Richard E. Rodda 


Undeniably the reigning virtuoso of the violin, Itzhak Perlman 

enjoys superstar status rarely afforded a classical musician. Beloved 

for his charm and humanity as well as his talent, he is treasured 

by audiences throughout the world who respond not only to his 

remarkable artistry, but also to the irrepressible joy of making 

music, which he communicates. In 2009, Perlman was honored to 

take part in the inauguration of President Barack Obama, premiering 

a piece written for the occasion by John Williams and performing 

with clarinetist Anthony McGill, pianist Gabriela Montero, 

and cellist Yo-Yo Ma. In 2003, the John F. Kennedy Center for the 

Performing Arts granted Perlman a Kennedy Center Honor celebrating 

his distinguished achievements and contributions to the 

cultural and educational life of our nation. In 2007, he performed 

at the State Dinner for Her Majesty the Queen and His Royal 

Highness the Duke of Edinburgh, hosted by President George W. 

Bush and Mrs. Bush at the White House. 

Born in Israel in 1945, Perlman completed his initial training at 

the Academy of Music in Tel Aviv. He came to New York and soon 

was propelled into the international arena with an appearance 

on The Ed Sullivan Show in 1958. Following his studies at the 

Juilliard School with Ivan Galamian and Dorothy DeLay, Perlman 

won the prestigious Leventritt Competition in 1964, which led to 

a burgeoning worldwide career. Since then, Itzhak Perlman has 

appeared with every major orchestra and in recitals and festivals 

around the world. 

Perlman is a frequent presence on the conductor’s podium, and 

through this medium he is further delighting his audiences. This 

season marks his third as artistic director of the Westchester 

Philharmonic Orchestra. He has performed as conductor with 

the New York Philharmonic, Chicago Symphony, Philadelphia 

Orchestra, Boston Symphony, National Symphony, Los Angeles 

Philharmonic, St. Paul Chamber Orchestra, and the symphony 

orchestras of San Francisco, Dallas, Houston, Pittsburgh, Seattle, 

Montreal, and Toronto, as well as at the Ravinia and OK Mozart 

festivals. He was Music Advisor of the St. Louis Symphony from 

2002-04 where he made regular conducting appearances, and he 

was Principal Guest Conductor of the Detroit Symphony from 

2001-05. This season, he conducts the Indianapolis, Atlanta, 

Toronto, and Pittsburgh Symphony Orchestras. Internationally, 

Perlman has conducted the Berlin Philharmonic, Concertgebouw 

Orchestra, London Philharmonic, English Chamber Orchestra, and 

the Israel Philharmonic. 

Perlman’s 2010-11 season will take his performances as soloist 

to both new and familiar major centers throughout the world. 

In fall 2010, he went to Chile and Brazil, with orchestral performances 

in Santiago and recitals in Rio de Janeiro, Paulinia, and 

Sao Paulo. In October, he once again thrilled audiences in Japan 

and South Korea with nine recitals with pianist and frequent collaborator 

Rohan De Silva. He joins the New York Philharmonic 

at Avery Fisher Hall for its opening subscription week under 

Music Director Alan Gilbert. Other highlights of his 2010-11 season 

include a special performance with the Chicago Symphony 

to benefit the Rotary Foundation’s campaign, End Polio Now; a 

performance with the Toronto Symphony at Carnegie Hall; and 

recitals across North America including in San Francisco, Los 

Angeles, West Palm Beach, and San Antonio. Perlman also appears 

with students and alumni from the Perlman Music Program at the 

Metropolitan Museum of Art in New York, the Terrace Theater 



ITzhAk PERlMAN, VIOlIN 

at the Kennedy Center in Washington, D.C., and the McCarter 

Theatre in Princeton, New Jersey. 

A major presence in the performing arts on television, Itzhak 

Perlman has been honored with four Emmy Awards, most 

recently for the PBS documentary Fiddling for the Future, a film 

about the Perlman Music Program and his work as a teacher and 

conductor there. In 2004, PBS aired Perlman in Shanghai, which 

chronicled a historic and unforgettable visit of the Perlman Music 

Program to China, featuring interaction between American and 

Chinese students and culminating in a concert at the Shanghai 

Grand Theater and a performance with 1,000 young violinists, 

led by Perlman and broadcast throughout China. Perlman’s third 

Emmy Award recognized his dedication to klezmer music, as 

profiled in the 1995 PBS television special In the Fiddler’s House, 

which was filmed in Poland and featured him performing with 

four of the world’s finest klezmer bands. 

Perlman has entertained and enlightened millions of TV viewers 

of all ages on popular shows as diverse as The Late Show 

with David Letterman, Sesame Street, the PBS series The Frugal 

Gourmet, The Tonight Show, the Grammy awards telecasts, numerous 

Live From Lincoln Center broadcasts, including The Juilliard 

School: Celebrating 100 Years in 2006, and PBS specials, including 

A Musical Toast and Mozart by the Masters, in which he served 

both as host and featured performer. In 2008, Perlman joined 

renowned chef Jacques Pépin on Artist’s Table to discuss the 

relationship between the culinary and musical arts. Perlman lent 

his voice as the narrator of Visions of Israel, the 20th program in 

WLIW New York’s acclaimed Visions series, which premiered on 

PBS in 2008. In 1994, Perlman hosted the live U.S. broadcast of 

the Three Tenors, Encore! from Dodger Stadium in Los Angeles. 

In 2006, a worldwide audience in the hundreds of millions saw 

Perlman perform live on the 78th Annual Academy Awards telecast, 

as he performed a medley from the five film scores nominated 

in the category of Best Original Score. One of Perlman’s 

proudest achievements is his collaboration with composer John 

Williams in Steven Spielberg’s Academy Award-winning film 

Schindler’s List, in which he performed the violin solos. He can 

also be heard as the violin soloist on the soundtrack of Zhang 

Yimou’s film Hero (music by Tan Dun) and Rob Marshall’s 

Memoirs of a Geisha (music by John Williams). 

In 2008, Itzhak Perlman was honored with a Grammy Lifetime 

Achievement Award for excellence in the recording arts. His 

recordings regularly appear on the best-seller charts and have 

garnered 15 Grammy Awards. His most recent releases include 

an all-Mozart recording with the Berlin Philharmonic (EMI) with 

Perlman performing as both soloist and conductor and a recording 

for Deutsche Grammophon with Perlman conducting the 

Israel Philharmonic. Other recordings reveal Perlman’s devotion 

to education, including Concertos from my Childhood with the 

Juilliard Orchestra under Lawrence Foster (EMI) and Marita and 

Her Heart’s Desire, composed and conducted by Bruce Adolphe 

(Telarc). Other recordings over the past decade have included a 

Grammy-nominated live recording with pianist Martha Argerich 

performing Beethoven and Franck sonatas (EMI); Cinema 

Serenade, featuring popular hits from movies with John Williams 

conducting (Sony); A la Carte, a recording of short violin pieces 

with orchestra (EMI), and In the Fiddler’s House, a celebration of 

klezmer music (EMI) that formed the basis of the PBS television 

special. In 2004, EMI released The Perlman Edition, a limited-edi- 


tion 15-CD box set featuring many of his finest EMI recordings as 

well as newly compiled material, and RCA Red Seal released a CD 

titled Perlman reDISCOVERED, which includes material recorded 

in 1965 by a young Itzhak Perlman. 

Perlman has a long association with the Israel Philharmonic, 

and he has participated in many groundbreaking tours with this 

orchestra from his homeland. In 1987, he joined the IPO for 

history-making concerts in Warsaw and Budapest, representing 

the first performances by this orchestra and soloist in Eastern bloc 

countries. He again made history as he joined the orchestra for its 

first visit to the Soviet Union in 1990, and was cheered by audiences 

in Moscow and Leningrad who thronged to hear his recital 

and orchestral performances. This visit was captured on a PBS 

documentary Perlman in Russia, which won an Emmy. In 1994, 

Perlman joined the Israel Philharmonic for its first visits to China 

and India. Over the past decade, Perlman has become more actively 

involved in educational activities. He has taught full time at the 

Perlman Music Program each summer since it was founded and 

currently holds the Dorothy Richard Starling Foundation Chair at 

the Juilliard School. 

Numerous publications and institutions have paid tribute to 

Itzhak Perlman for the unique place he occupies in the artistic 

and humanitarian fabric of our times. Harvard, Yale, Brandeis, 

Roosevelt, Yeshiva, and Hebrew universities are among the institutions 

which have awarded him honorary degrees. He was awarded 

an honorary doctorate and a centennial medal on the occasion 

of Juilliard’s 100th commencement ceremony in 2005. President 

Reagan honored Perlman with a Medal of Liberty in 1986, and in 

2000, President Clinton awarded Perlman the National Medal of 

Arts. His presence on stage, on camera, and in personal appearances 

of all kinds speaks eloquently on behalf of the disabled, and 

his devotion to that cause is an integral part of Perlman’s life. 

Rohan De silva, Piano 

Rohan De Silva’s partnerships with violin virtuosos Itzhak 

Perlman, Cho-Liang Lin, Midori, Joshua Bell, Benny Kim, Kyoko 

Takezawa, Vadim Repin, Gil Shaham, Nadja Salerno-Sonnenberg, 

and Julian Rachlin have led to highly acclaimed performances at 

recital venues all over the world. With these and other artists he 

has performed at Carnegie Hall, Lincoln Center’s Avery Fisher Hall 

and Alice Tully Hall, the Kennedy Center, Library of Congress, 

Philadelphia Academy of Music, Ambassador Theater in Los 

Angeles, Concertgebouw in Amsterdam, Wigmore Hall in London, 

Suntory Hall in Tokyo, the Mozarteum in Salzburg, La Scala in 

Milan, and in Tel Aviv, Israel. His festival appearances include the 

Aspen, Interlochen, Manchester, Ravinia, and Schleswig-Holstein 

festivals, the Pacific Music Festival in Sapporo, Japan, and the 

Wellington Arts Festival in New Zealand. 

He performs frequently with Itzhak Perlman and was seen with 

Perlman on PBS’s Live from Lincoln Center broadcast in 2000. De 

Silva regularly tours Japan with Perlman, and in 2002, they toured 

the Far East, including performances in China, Hong Kong, and 

Taiwan. In 2006, he toured with Perlman and Pinchas Zukerman, 

including stops in Chicago, Boston, New York, and Washington, 

D. C. In 2009, De Silva performed with Perlman in Mexico City 

and in recital at the Moscow Conservatory. In 2010, De Silva 

appeared in recital with Perlman throughout tours of Japan, South 

Korea, and South America. De Silva has been a faculty member at 

the Perlman Music Program on Long Island since 2000. De Silva

and Perlman performed at the State Dinner for Queen Elizabeth II 

and Prince Philip at the White House in 2007. 

De Silva, a native of Sri Lanka, began his piano studies with his 

mother, the late Primrose De Silva, and with Mary Billimoria. He 

spent six years at the Royal Academy of Music in London as a student 

of Hamish Milne, Sydney Griller, and Wilfred Parry. While in 

London, he received many awards, including the Grover Bennett 

Scholarship, Christian Carpenter Prize, Martin Music Scholarship, 

Harold Craxton Award for advanced study in England, and, upon 

his graduation, the Chappell Gold Medal for best overall performance 

at the Royal Academy. 

De Silva was the first recipient of a special scholarship in the 

arts from the Presidents Fund of Sri Lanka. This enabled him to 

enter the Juilliard School, where he received both his bachelor’s 

and master’s degrees in music, studying piano with Martin Canin, 

chamber music with Felix Galimir, and working closely with violin 

pedagogue Dorothy DeLay. He was awarded a special prize as 

Best Accompanist at the 1990 Ninth International Tchaikovsky 

Competition in Moscow. He received the Samuel Sanders 

Collaborative Artist Award presented to him by Itzhak Perlman 

at the 2005 Classical Recording Foundation Awards Ceremony at 

Carnegie Hall. 

Rohan De Silva joined the collaborative arts and chamber music 

faculty of the Juilliard School in 1991, and in 1992, he was awarded 

honorary Associate of the Royal Academy of Music. In 2001, he 

joined the faculty at the Ishikawa Music Academy in Japan, where 

he gives master classes in collaborative piano. Radio and television 

credits include The Tonight Show with Midori, CNN’s Showbiz 

Today, NHK Television in Japan, National Public Radio, WQXR 

and WNYC in New York, and Berlin Radio. He has recorded for 

Deutsche Grammophon, CBS/SONY Classical, Collins Classics in 

London, and RCA Victor. 

Give the GIFT OF PERFORMANCE 

Mondavi Center 

g 

Gift Certificates 

Mondavi Center gift certificates are available from our Ticket 

Office (530.754.ARTS) and online at MondaviArts.org 

Complimentary wine pours 

in the Bartholomew Room 

for Inner Circle Donors. 

Pouring Hagafen Wines on: 

Jan 22 Itzhak Perlman 

Jan 26 Daniel Handler 


MONDAVI CENTER 

jANuARy 

Sponsored by 


hyATT PlACE 

Is A PRouD sPonsoR 

Of ThE ROBERT AND MARGRIT 

MONDAVI CENTER fOR ThE PERfORMING ARTs, 

uC DAVIs 

hyATT PlACE uC DAVIs 

173 OlD DAVIs ROAD ExTENsION 

DAVIs, CA 95616, usA 

PhONE: +1 530 756 9500 fAx: +1 530 297 6900 



PResents 

Debut 

MC 

Daniel handler 

Why Does Lemony Snicket Keep Following Me? 

A Distinguished Speakers Series Event 

Wednesday, January 26, 2011 • 8PM 


Post-Performance Q&A 

Moderated by Lucy Corin, Associate Professor, 

UC Davis Department of English 




Offering Private 

INDOOR & 

OUTDOOR 

Dining Rooms 

Perfect for your next: 

� Cocktail Reception 

� Company Mixer 

� Family Reunion 

� Retirement Party 

� or Special Occasion 


voted “Best Place to eat Before a Mondavi 

Center Performance.” 

—Sacramento Magazine (2010) 

102 F STReeT, DavIS | (530) 750-1801 www.SeaSONSDavIS.COM


(a.k.a Lemony snicket) 

Daniel Handler is the author of the literary novels The Basic Eight, Watch Your Mouth, and, most recently, 

Adverbs. Under the name Lemony Snicket, he has also written a sequence of books for children, known 

collectively as A Series of Unfortunate Events, which have sold more than 60 million copies and were the basis 

of a feature film. His intricate and witty writing style has won him numerous fans for his critically acclaimed 

literary work and his wildly successful children’s books. 

Born and raised in San Francisco, Handler attended Wesleyan University and returned to his hometown after 

graduating. He co-founded the magazine American Chickens! with illustrator Lisa Brown (with whom he soon 

became smitten). They moved to New York City, where Handler eventually sold his first novel after working as a 

book and film critic for several newspapers. He continued to write, and he and his wife returned to San Francisco, 

where they now live with their son Otto. 

Handler has worked intermittently in film and music, most recently in collaboration with composer Nathaniel 

Stookey on a piece commissioned and recorded by the San Francisco Symphony, The Composer Is Dead, which 

has been performed all over the world and is now a book with CD. An adjunct accordionist for the music group 

the Magnetic Fields, he is also the author of Lemony Snicket: The Unauthorized Biography, The Beatrice Letters, 

Horseradish: Bitter Truths You Can’t Avoid, and two books for Christmas: The Lump of Coal and The Latke Who 

Couldn’t Stop Screaming: a Christmas story. 

He is the screenwriter of the film Rick, a revamp of the Verdi opera Rigoletto, and the film adaptation of Joel Rose’s 

novel Kill the Poor. Handler has written for The New York Times, Newsday, San Francisco Chronicle, The Believer, 

Chickfactor, and various anthologies, and was the chair of the Judging Panel for the National Book Awards in 

Young People’s Literature in 2008. His current projects include a fourth novel for adults, a children’s picture book 

titled 13 Words in collaboration with Maira Kalman, and the script for the long-awaited second Snicket movie. 

He is also at work on a top-secret new Snicket series. 

Indulge 

Fine iTALiAn CUiSine 

2657 PorTAge BAy eAST, DAviS CA 95616 

(530) 758-1324 • oSTeriAFASULo.Com 

Free PArKing • FASTeST & eASieST WAy To THe monDAvi CenTer 


DANIEl hANDlER


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, Borders and Barnes & Noble.


PResents 

MoMIX 

Botanica 

A Marvels Series Event 







MOMIx 


Botanica 

PResenteD BY 

MoMIX 

Artistic Director 

MOSES PENDLETON 

with 

TSARRA BEQUETTE, AARON CANFIELD, JOSH CHRISTOPHER, 

JONATHAN EDEN, EDDY FERNANDEZ, RIE HYODO, 

ROB LAQUI, JENNY LEVY, EMILY MCARDLE, 

and SARAH NACHBAUER 

Associate Director 

CYNTHIA QUINN 

Lighting Design Costume Design Puppet Design 

JOSHUA STARBUCK PHOEBE KATZIN MICHAEL CURRY 

Production Electrician 

BECCA BALL 

Production Stage Manager 

CORRADO VERINI 

Company Manger 

CARLA DEBEASI RUIZ 

MOMIX • Box 1035 Washington, Connecticut 06793 

Tel: 860.868.7454 Fax: 860.868.2317 Email: momix@snet.net 

Website: www.momix.com 

Representation: Margaret Selby 

CAMI Spectrum LLC 

1790 Broadway, NYC, NY 10019-1412 

Ph: 212.841.9554 Fax: 212.841.9770 e-mail: mselby@cami.com

Botanica 

Conceived & Directed by: MOSES PENDLETON 

First Assistant: CYNTHIA QUINN 

Assisted by: Tsarra Bequette, Eric Borne, Jennifer Chicheportiche, Joshua Christopher, John 

Corsa, Simona Ditucci, Jonathan Eden, Michael Holdsworth, 

Donatello Iacobellis, Rob Laqui, Natalie Lamonte, Nicole Loizides, 

Heather Magee, Steven Marshall, Tim Melady, Sarah Nachbauer, 

Roberto Olvera, Cynthia Quinn, Rebecca Rasmussen, Brian Sanders, 

Pedro Silva, Cassandra Taylor, Jaime Verazin & Jared Wootan 

Performed by: Tsarra Bequette, Aaron Canfield, Josh Christopher, Jonathan Eden, 

Eddy Fernandez, Rie Hyodo, Rob Laqui, Jenny Levy, Emily McArdle, 

and Sarah Nachbauer 

Lighting Design: Joshua Starbuck and Moses Pendleton 

Costume Design: Phoebe Katzin, Moses Pendleton, Cynthia Quinn 

Costume Construction: Phoebe Katzin 

Costume Assistants: Beryl Taylor, Dawn Arico, Danielle McFall 

Puppet Design: Michael Curry 

Prop Construction and 

Art Work: Pedro Silva 

Video Projection: Moses Pendleton 

Video Editing: Woodrow F. Dick III 

Music Collage: Moses Pendleton 

Music Editing: Joshua Christopher, Andrew Hansen, Brian Simerson 

Production Assistant: Pedro Silva 

Lighting Equipment Supplied by GSD Productions, Inc., West Hempstead, NY 

BOTANICA 

Special Thanks: 

Sharon Dante, Nutmeg Ballet; James Patrick, Warner Theatre; 

Diana Vishneva; Phillip Holland; Joan Talbot; Laura Daly; 

Julio Alvarez and Margaret Selby 

“The plant strains its whole being in one single plan: to escape above ground from the 

fatality below; to elude and transgress the dark and weighty law, to free itself, to break the 

narrow sphere, to invent or invoke wings, to escape as far as possible, to conquer the space 

wherein fate encloses it, to approach another kingdom, to enter a moving, animated world.” 

—Maurice Maeterlinck, The Intelligence of Flowers 

Performance time is approximately 110 minutes. 


MOMIx

MOMIx 

BotAnICA sounDtRACK: 

1. Tuu, “Frozen Land” from the album The Frozen Lands (Amplexus Records). 

Composed and performed by Martin Franklin. And BlueTech, “Leaving Babylon” from the album Prima Materia. 

www.waveformrecords.com. 

2. BlueTech, “Cliff Diving” the album Prima Materia. www.waveformrecords.com. 

3. zer0 0ne, “NaNO” and “braiNwavE” from the album oz0ne. www.waveformrecords.com. And Lang Elliot, “Loons” 

from Nature Sound Studio. 

4. Lisa Gerrard, “Space Weaver.” Written by Lisa Gerrard and Michael Edwards. Performed by Lisa Gerrard. 

5. Delerium, “Amongst the Ruins.” Performed by Delerium. Written by B.Leeb. Sample of “Trance Mission” under license 

from City of Tribes Communication and A Train Management. 

6. Transglobal Underground, “This is the Army of Forgotten Souls” from the album, Dream of 100 Nations. 

7. Robert Rich, “Elemental Trigger” from the album Stalker. “Elemental Trigger” ©1995 by Robert Rich and Brian Williams. 

8. Vivaldi’s Four Seasons: Primavera as played by Anne-Sofie Muter. 

9. Lang Elliot, “Winter Wren” from Nature Sound Studio 

10. Suphala, “Destinations” on “The Now.” 

11. Eastern Dub Tactick, “Easter Winds” and “Spark of Sound” from the album Blood is Shining. www.waveformrecords.com. 

12. Legion of Green Men, “Zero Equals Infinity” from the album Spatial Specifics. 

13. Peter Gabriel, “The Heat” Peter Gabriel appears courtesy of Peter Gabriel Lts., Special thanks to Julie Lipsius and Rob Bozas. 

14. Peter Gabriel, “Slow Water” Peter Gabriel appears courtesy of Peter Gabriel Lts., Special thanks to Julie Lipsius and 

Rob Bozas. 

15. Delerium, “Sphere.” Performed by Delerium. Written by B. Leeb and R. Fulber. 

16. Deva Premal, “Gayatri Mantra” is used in this performance with permission of Prabhu Misoc. Music composed by 

Deva Premal and Miten. 

17. Delerium, “Embryo.” Performed by Delerium. Written by B. Leeb and R. Fulber. And Higher Intelligence Agency, 

“Hubble” from the album Freefloater. 

18. A Positive Life, “Aqua Sonic” from the album Two A.D. www.waveformrecords.com. 

19. Lloyd Grotjan, “Apogee” from the album Twelve Moons. 

20. BlueTech, “Mezzamorphic” from the album Prima Materia. www.waveformrecords.com. 

21. Celtic Woman, “The Voice” from the album A New Journey. 

22. Azam Ali, “Aj Ondas” on Portals of Grace. 

23. Brent Lewis, “Mr. Mahalo Head,” written and performed by Brent Lewis www.brentlewis.com. 

*Aqua Flora sponsored in part by Brandon Fradd in honor of Dancers Responding to Aids 


sYnAPses PARt one WInteR 

sPRIng 

Aurora Rose 

The Dead Of Winter 

Cateraction 

Geese Return Overhead 

Beckoning 

Fantasy Tree-Flower to Tempt 

Three Graces 

from the Foam 

to Taste of Pollen Snow 

And Fall Back 

into 

the Flow 

Loons Laugh in Darkness 

for 

Swans 

to 

Dream 

of 

Genesis 

and 

New Green 

Fro ZEN Awakening 

Love from Above 

Delivers Persephone 

to the Subsoil 

Riding Old Bones 

to 

Romance with 

Ancient Stones 

The Worm Turns 

Night 

Crawlers 

into a Sea of Green 

Spring Pools 

Marigolds Bloom 

Hornets Hop 

Owls Hoot 

the Arrival 

of Centaurs 

Amid Summer Night’s Dream 

Fire 

Flies 

PARt tWo suMMeR 

FALL 

God’s Hammer 

August of Wind 

Storms 

Rain 

The Beaded Web 

INSEX 

Meet the Beetles 

and 

Egg On 

Birds of a Feather 

to 

Drop Seed 

on 

Sun Flower 

Finches 

Startled by 

the 

Avant Gardner 

as the Green Man 

is 

Leading the Charge 

of 

Indian Summer 

Branches 

Gathering for 

Autumnal Ball 

Last Leaf 

Catches 

the First 

Snow 

Fall 

Cold 

River 

Runs 

Again 

But There’s More 

a Solar Flare 

Tonight’s Encore! 


MOMIx

MOMIx 

About the Company 

MOMIX is a company of dancer-illusionists under the direction of 

Moses Pendleton. In addition to stage performances worldwide, 

MOMIX has worked in film and television, recently appearing 

in a national commercial for Hanes underwear and a Target 

ad that premiered during the airing of the 67th Annual Golden 

Globe Awards. With performances on PBS’s Dance in America 

series, France’s Antenne II, and Italian RAI television, the company’s 

repertory has been broadcast to 55 countries. Joining the 

Montreal Symphony in the Rhombus Media film of Mussorgsky’s 

Pictures at an Exhibition, winner of an International Emmy for Best 

Performing Arts Special, the company’s performance was distributed 

on laser disc by Decca Records. MOMIX was also featured in 

IMAGINE, one of the first 3-D IMAX films to be released in IMAX 

theaters world-wide. MOMIX dancers Cynthia Quinn and Karl 

Baumann, under Moses Pendleton’s direction, played the role of 

Bluey in the feature film FX2, and White Widow, co-choreographed 

by Moses Pendleton and Cynthia Quinn, was featured in Robert 

Altman’s movie The Company. Participating in the Homage a 

Picasso in Paris, the company was also selected to represent the 

U.S. at the European Cultural Center at Delphi. With the support 

of the Scottsdale Cultural Council/Scottsdale Center for the Arts 

in Scottsdale, Arizona, Pendleton created Bat Habits to celebrate 

the opening of the San Francisco Giants’ new spring training park 

in Scottsdale. This work served as the forerunner of Baseball and 

joins such acclaimed original productions as Lunar Sea, Opus 

Cactus, Orbit, Passion, and Botanica. With nothing more than light 

and shadow, props, the human body, and an epic imagination, 

MOMIX has astonished audiences on five continents for more 

than 30 years. 

Who’s Who in the Company 

Moses Pendleton (Artistic Director) has been one of America’s 

most innovative and widely performed choreographers and directors 

for more than 40 years. A founding member of the groundbreaking 

Pilobolus Dance Theater in 1971, he formed his own 

company, MOMIX, in 1980. Pendleton has also worked extensively 

in film, TV, and opera and as a choreographer for ballet companies 

and special events. 

Pendleton was born and raised on a dairy farm in northern 

Vermont. His earliest experiences as a showman came from exhibiting 

his family’s dairy cows at the Caledonian County Fair. He 

received his B.A. in English literature from Dartmouth College in 

1971 and immediately began touring with Pilobolus, which had 

grown out of dance classes with Alison Chase at Dartmouth. The 

group shot to fame in the1970s, performing on Broadway under 

the sponsorship of Pierre Cardin, touring internationally, and 

appearing in PBS’s Dance in America and Great Performances series. 

By the end of the decade, Pendleton had begun to work outside of 

Pilobolus, performing in and serving as principal choreographer 

for the Paris Opera’s Integrale Erik Satie in 1979 and choreographing 

the Closing Ceremonies of the Winter Olympics at Lake Placid 

in 1980. In 1981, he created MOMIX, which rapidly established an 

international reputation for highly inventive and often illusionistic 

choreography. The troupe has been touring steadily and is currently 

performing several programs internationally. The company has 

made numerous special programs for Italian and French television 

and received the Gold Medal of the Verona Festival in 1994. 


Pendleton has also been active as a performer and choreographer 

for other companies. He has staged Picabia’s Dadaist ballet 

Relache for the Joffrey Ballet and Tutuguri, based on the writings 

of Artaud, for the Deutsch Opera. He created the role of the Fool 

for Yuri Lyubimov’s production of Mussorgsky’s Khovanschina 

at La Scala and choreographed Rameau’s Platee for the U.S. 

Spoleto Festival in 1987. He contributed choreography to Lina 

Wertmuller’s production of Carmen at the Munich State Opera 

in 1993. More recently, he has choreographed new works for the 

Arizona Ballet and the Aspen Santa Fe Ballet. He teamed up with 

Danny Ezralow and David Parsons to choreograph AEROS with 

the Romanian gymnastics team. 

His film and television work includes the feature film FX2, Moses 

Pendleton Presents Moses Pendleton for ABC ARTS cable (winner 

of a Cine Golden Eagle award), and Pictures at an Exhibition with 

Charles Dutoit and the Montreal Symphony, which received an 

International Emmy for Best Performing Arts Special in 1991. 

He has also made music videos with Prince, Julian Lennon, and 

Cathy Dennis, among others. 

Pendleton is an avid photographer with works presented in Rome, 

Milan, Florence, and Aspen. Images of his sunflower plantings 

at his home in northwestern Connecticut have been featured in 

numerous books and articles on gardening. He is the subject of 

the book Salto di Gravita by Lisavetta Scarbi, published in Italy 

in 1999. 

Pendleton was a recipient of the Connecticut Commission on 

the Arts Governor’s Award in 1998. He received the Positano 

Choreographic Award in 1999 and was a Guggenheim Fellow in 

1977. He is a recipient of a 2002 American Choreography Award 

for his contributions to choreography for film and television. In 

2010, Pendleton received an honorary doctorate of fine arts and 

delivered the keynote address to the University of the Arts in 

Philadelphia. 

Cynthia Quinn (Associate Director) grew up in southern 

California, graduated Phi Beta Kappa from the University of 

California, Riverside, and continued there as an Associate in 

Dance for five years. In 1988, she received the university’s Alumni 

Association’s “Outstanding Young Graduate Award.” As a member 

of Pilobolus, she performed on Broadway and throughout the 

United States, Europe, Canada, Israel, and Japan. Quinn began 

performing with MOMIX in 1983 and has since toured throughout 

the U.S., Canada, Europe, Australia, South America, and 

Japan. She has assisted Moses Pendleton in the choreography of 

Pulcinella for the Ballet Nancy in France, Tutuguri for the Berlin 

Opera Ballet, Platee for the Spoleto Festival USA, Les Maries de 

la Tour Eiffel in New York, AccorDION for the Zurich-Vorbuhne 

Theatre, and Carmen for the Munich State Opera. She has also 

appeared as a guest artist with the Ballet Theatre Francaise de 

Nancy, the Berlin Opera Ballet, and the Munich State Opera. 

Quinn made her film debut as “Bluey” (a role she shared with 

Karl Baumann) in FX2. She was a featured performer in the Emmy 

Award-winning film Pictures at an Exhibition with the Montreal 

Symphony. Quinn is a board member of the Nutmeg Conservatory 

in Torrington, Connecticut, and is on the advisory board of the 

Susan B. Anthony Project, also in Torrington. Quinn is co-choreographer 

of “White Widow,” which is featured prominently in the 

Robert Altman film The Company. Quinn will also appear in the 

upcoming film First Born with Elisabeth Shue.

Tsarra Bequette (Dancer) was born in Boise, Idaho, and received 

her earliest dance training from Leah Clark, director of Balance 

Dance Company. She studied with Jeff and Cathy Giese at the 

dance academy of Ballet Idaho and served as an apprentice to 

the company. After receiving her B.F.A. in dance from Boston 

Conservatory, Bequette performed with the Adam Miller Dance 

Project in Body Art before joining MOMIX in 2007. 

Aaron Canfield (Dancer) from Baltimore, Maryland, received his 

training from Southwest Virginia Ballet with Pedro Szalay, Post 

School of Ballet with Terri Post, New Castle School of Dance with 

Sandra Smeltzer, and was a trainee with the Richmond Ballet for 

two years. He has been a guest artist with the Lexington Ballet, 

Una Dance Theatre, Community Dance Connection Theatre, 

Rockingham Ballet Theatre, and Southwest Virginia Ballet. In addition 

to his dance training, Aaron has a first degree black belt in 

Taekwondo and was a national medalist for four consecutive years. 

Joshua Christopher (Dancer) is a native of Michigan, where he 

began dancing under the tutelage of Jefferson Baum. He attended 

North Carolina School of the Arts, and graduated with his B.F.A. 

in dance. Joshua also studied for a short time with the Hungarian 

National Ballet Academy in Budapest. He has worked with South 

African Ballet Theatre, the Hungarian National Opera, Kansas 

City Ballet, and Ballet Tucson, as well as on other projects such as 

Quixotic Performance Fusion. Josh joined MOMIX in 2005. 

Jonathan Eden (Dancer/Dance Capt.) was born in Columbia, South 

Carolina. Jonathan began studying dance with Debbie Spivey at the 

Classical Youth Ballet of Columbia. He later attended the Nutmeg 

Conservatory for the Arts and graduated from its two-year residency 

program. Jonathan joined MOMIX in 2004. 

Eddy Fernandez (Dancer) is native of West Palm Beach, Florida. 

He began dancing as part of the performing organization called 

the Young Americans. Eddy continued his studies at Chapman 

University in Orange County, where he received his B.A. in dance 

in 2009. 

Rob Laqui (Dancer) hails from Minnesota, where he received a 

B.F.A. in musical theater performance from Saint Mary’s University. 

He has performed with numerous theater/dance companies, including 

Cardinal Theatricals, LaMama etc., Tamar Rogoff Performance 

Projects, H. T. Chen and Dancers, LOCO 7, Nicholas Andre Dance 

Theatre, and many others. Rob joined MOMIX in 2004. 

Emily McArdle (Dancer) trained at both the McArdle Schools of 

Irish Dance (championship) and the Nutmeg Conservatory for 

the Arts. Emily trained at such prestigious ballet schools as SAB, 

HARID Conservatory, Boston Ballet, Washington School of Ballet, 

and the Joffrey Ballet, as well as work with the world-renowned 

Tony Nolan of the Irish Dance Commission. In 2008, Emily performed 

on the national tour of Magic Tree House: The Musical 

as featured dancer. When she isn’t on the road with MOMIX, 

Emily can be found performing throughout Manhattan with Niall 

O’Leary’s Dance Troupe. This is Emily’s fifth season with MOMIX. 

Sarah Nachbauer(Dancer/Dance Capt.) began dancing in Pittsfield, 

Massachusetts, with the Albany Berkshire Ballet, Terpsichore Dance 

Theatre, and Jacob’s Pillow. She moved to Boston, where she studied 

with the Emerson Dance Ensemble and Prometheus Dance Company 

and then attended Boston Conservatory, where she received her 

B.F.A. Sarah has been honored with a Best of Boston Award and was 

a recipient of the Ruth Sandholm Ambrose Award. Nachbauer has 

taught at the Nutmeg Conservatory for the Arts and at a residency 

with the Moscow Ballet. Sarah joined MOMIX in 2003. 

Becca Ball (Production Electrician/Stage Manager) is a native 

Philadelphian and graduate of Oberlin College. She completed 

the Juilliard Professional Intern Program in Electrics in 2006 

and works as a freelance production manager, master electrician, 

lighting designer, and theater technician in New York City. She 

has served as a production stage manager at the American Dance 

Festival, as technical director for Doug Varone, and as electrician/ 

projection technician for Bill T. Jones/Arnie Zane Dance Company. 

Becca joined MOMIX in 2006. 

Michael Curry (Puppet Design) has worked on numerous 

Broadway shows, including Crazy For You and Kiss of the Spider 

Woman. He was awarded the 1998 Drama Desk Award for 

Outstanding Puppet Design for The Lion King and the 1999 Eddy 

Award for Outstanding Contribution in the Technical and Design 

Field. Michael owns and operates Michael Curry Design, Inc. in 

St. Helens, Oregon, which produces large, live-performance oriented 

production designs, such as those seen at the 1996 Olympic 

Opening Ceremonies, Super Bowl 2000, and New York City’s 

Times Square 2000 Millennium event. 

Phoebe Katzin (Costume Designer) has been designing and constructing 

dresses and costumes for more than 20 years. After 

graduating from Endicott College’s fashion design program, she 

worked for Kitty Daly, building dance costumes, and dressmaking. 

For several years she lived in New York making costumes for Kitty 

Leach, Greg Barnes, and Allison Conner, among others. For the 

past few years, she has been working for MOMIX and Pilobolus. 

Katzin lives in Connecticut with her three children and husband, 

James. 

Carla Debeasi Ruiz (Company Manager) graduated from 

Western Kentucky University with a degree in public relations 

and a concentration in performing arts management. Ruiz was 

the public relations director for her alma mater’s Theatre and 

Dance Department. She studied photojournalism under NPPA 

Lifetime Achievement award winner Michael Morse and interned 

at Vanderbilt Hospital as a surgical photographer. Carla joined 

MOMIX in 2007. 

Joshua Starbuck (Lighting Designer) collaborated with Moses 

Pendleton on his world premiere of Opus Cactus for Ballet 

Arizona. He has designed numerous productions and tours for 

Ballet Arizona. He has toured five continents with many of his 

designs for dance, ice skating, opera, industrials, concerts, and 

theater. He has designed for Arena Stage, Playwrights Horizons, 

the Manhattan Theater Club, the Public Theater, Coconut Grove 

Playhouse, Walnut Street Theater, Williamstown Theater Festival, 

and others. He has also worked with the Kirov Ballet, Royal Ballet, 

Spanish National Ballet, and English National Ballet. 

Corrado Verini (Production Stage Manager) began his career in 

the theater world in 1983 with the Lindsay Kemp Co. In 1994, 

he started touring with MOMIX as Stage Manager and then 

Technical and Lighting Director, participating in extensive tours 

in Asia, Central America, and North America. He also teaches 

Theater Techniques in Rome for European Community and Region 

Lazio projects. 


MOMIx


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

• Locally owned and operated since 1996 • 

• We stock over 20,000 print music titles • 

• We offer “guaranteed lowest price” on our 

huge and diverse inventory of instruments • 

Watermelon Music 

207 E Street • Davis • CA • 95616 • 530.758.4010 

M-F • 10-7 • Sa • 10-6 • Su 12-6 • www.watermelonmusic.com


PResents 

Debut 

MC 

simone Dinnerstein and tift Merritt 

night 

A Studio Classics: Crossings Series Event 




Pre-Performance Talk 

Speakers: Simone Dinnerstein and Tift Merritt in conversation with 

Lara Downes, Artist in Residence, Mondavi Center, UC Davis 







sIMONE DINNERsTEIN AND TIfT MERRITT 

the Dinnerstein – Merritt Collaboration 

Though Simone Dinnerstein—a classical pianist—and Tift 

Merritt—a singer-songwriter whose father taught her to play 

by ear—could not come from more different musical backgrounds, 

when the two met they immediately realized that their passion for 

music and performance were kindred, if not the same. Night is a 

unique collaboration between these two artists in which they unite 

classical, folk, and rock musical worlds, exploring common terrain 

and uncovering new musical landscapes. 

Night features a set of new songs written especially for the duo 

by artists including Brad Mehldau, Patty Griffin, and Philip 

Lasser. Jenny Scheinman, whose previous collaborators include 

Bill Frissell, David Byrne, and Madeleine Peyroux, has contributed 

arrangements of some of Tift’s and Simone’s favorite songs. 

Both artists will perform solo as well—Tift in her own songs, and 

Simone in some of her favorite selections from the solo classical 

piano repertoire. 

Grammy-nominated songstress Tift Merritt is a North Carolina 

native. With her longtime band, she has built a unique and critically 

acclaimed body of work of sonic short stories and poignant 

performances. The Wall Street Journal reports that she has a “sound 

that weaves through country, folk and rock…working in the tradition 

of Joni Mitchell, James Taylor, and Leonard Cohen.” Of her 

latest album, See You on the Moon (Fantasy), Paste Magazine raves, 

“The singer fully inhabits the characters in her songs, whether 

assuming the role of her grandfather in ‘Feel Of The World’ or 

wringing out every weary note in the pleading ‘All the Reasons We 

Don’t Have to Fight.’” 

Simone Dinnerstein has been called “the pianists’ pianist of 

Generation X” by The New Yorker and praised by Time for her 

“arresting freshness and subtlety.” The New York-based pianist 

gained an international following because of the remarkable 

success of her recording of Bach’s Goldberg Variations. Released 

in 2007 on Telarc, it ranked No. 1 on the Billboard Classical 

Chart in its first week of sales and was named to many “Best of 

2007” lists, including those of The New York Times, Los Angeles 

Times, and New Yorker. In 2008, the recording received the prestigious 

Diapason d’Or Award in France. Her follow-up album, The 

Berlin Concert, also gained the No. 1 spot on the chart. 

simone Dinnerstein 

Known for her intelligent and emotionally powerful performances, 

Simone Dinnerstein has been called “a throwback to such high 

priestesses of music as Wanda Landowska and Myra Hess,” 

by Slate. Dinnerstein recently signed an exclusive recording 

agreement with Sony Classical. Her first album, to be released in 

early 2011, will be an all-Bach disc with Kammerorchester der 

Staatskapelle Berlin. 

Dinnerstein’s performance schedule has taken her around the 

world since her triumphant New York recital debut at Carnegie 

Hall’s Weill Recital Hall in 2005, performing Bach’s Goldberg 

Variations. Recent and upcoming performances include recitals 

at the Kennedy Center for the Performing Arts, the Berlin 

Philharmonie, Vienna Konzerthaus, Lincoln Center Mostly 


Mozart Festival, La Roqued’Anthéron International Piano Festival, 

Festival of Radio France and Montpellier, and the Aspen and 

Ravinia festivals; as well as in Cologne, Paris, London, Tokyo, 

Copenhagen, Vilnius, Bremen, Rome, and Lisbon, and at the 

Stuttgart Bach Festival. Highlights also include debut performances 

with the Frankfurt Radio Symphony Orchestra, Staatskapelle 

Berlin, Dresden Philharmonic, Czech Philharmonic, New York 

Philharmonic, Minnesota Orchestra, Atlanta Symphony, Baltimore 

Symphony, New Jersey Symphony Orchestra, Orchestra of St. 

Luke’s, Kristjan Järvi’s Absolute Ensemble, Tokyo Symphony, Verdi 

Orchestra in Milan, and Royal Scottish National Orchestra. In New 

York, she has performed on Lincoln Center’s Great Performers 

series, and in three sold-out recitals at the Metropolitan Museum 

of Art. She is also a frequent performer at (Le) Poisson Rouge, a 

club presenting all genres of music in the West Village. 

Dinnerstein has played concerts throughout the United States for 

the Piatigorsky Foundation, an organization dedicated to bringing 

classical music to non-traditional venues. Among the places she 

has played are nursing homes, schools, and community centers. 

Most notably, she gave the first classical music performance 

in the Louisiana state prison system when she played at the 

Avoyelles Correctional Center. She also performed at the Maryland 

Correctional Institution for Women, in a concert organized by the 

Baltimore Symphony Orchestra to coincide with her BSO debut. 

In addition, Dinnerstein founded P.S. 321 Neighborhood Concerts, 

an evening concert series at the Brooklyn public elementary school 

that her son attends and where her husband teaches fifth grade. 

The concerts, which feature musicians Dinnerstein has admired 

and collaborated with during her career, is open to the public 

and raises funds for the school’s Parent Teacher Association. The 

musicians performing donate their time and talent to the program. 

Over the past few years, Dinnerstein has been featured in 

Gramophone, BBC Music Magazine, Classic FM Magazine, New 

York Times, Wall Street Journal, “O” The Oprah Magazine, Time. 

com, Slate.com, Sunday (London) Times Magazine, Daily Telegraph, 

The Independent, The Guardian, and Frankfurter Allgemeine Zeitung, 

among others, and has appeared on radio programs including BBC 

Radio 3’s In Tune, BBC Radio 4’s Woman’s Hour, NPR’s Morning 

Edition, Public Radio International’s Studio 360 with Kurt Andersen, 

American Public Media’s Performance Today, Minnesota Public 

Radio, XM Radio’s Classical Confidential, and on national television 

in Germany. 

Dinnerstein is a graduate of the Juilliard School where she was 

a student of Peter Serkin. She was a winner of the Astral Artist 

National Auditions and has twice received the Classical Recording 

Foundation Award. She also studied with Solomon Mikowsky at 

the Manhattan School of Music and in London with Maria Curcio, 

the distinguished pupil of Artur Schnabel. Simone Dinnerstein lives 

in Brooklyn, New York, with her husband and son. She is managed 

by Tanja Dorn at IMG Artists and is a Sony Classical artist. 

For more information please visit www.simonedinnerstein.com

tift Merritt 

Songstress Tift Merritt is a North Carolina native. Her father 

taught her guitar chords and Percy Sledge songs. In her early 

twenties, though Tift had gigged by herself, she decided she was 

not very good at music and better suited for writing short stories. 

She and her dog Lucy started school at the University of North 

Carolina to study creative writing. There, she met Zeke Hutchins, 

whose band had just taken a hiatus and who had decided to 

become a school teacher. With his encouragement and a big box of 

LPs from the 1970s that they both liked, they started a band. Zeke 

set drums up in the kitchen of Tift’s farmhouse on the outskirts 

of town, and they practiced songs at her red piano. The Carbines 

played Chapel Hill haunts like the Cave, the Cat’s Cradle, and the 

front porch of the General Store in Bynum. Tift also made a guest 

appearance on the Two Dollar Pistols with Tift Merritt EP. 

In 2000, Tift won Merlefest’s Chris Austin Songwriting Contest, 

and with the help of Ryan Adams, found herself with a manager 

and a recording contract with Lost Highway Records. The band 

headed to Los Angeles to record her first release, Bramble Rose, in 

2002, produced by Ethan Johns. The record landed on Time’s and 

The New Yorker’s top ten lists and was called the best debut of the 

year in any genre by the Associated Press. 

Tambourine followed in 2004. Produced by George Drakoulias 

and featuring Mike Campbell of the Heartbreakers on guitar, 

Tambourine was a soul-rock throwdown, Grammy-nominated 

for Country Album of the Year, even though it was really not a 

country album. It was also nominated for three Americana Music 

Awards. Merritt opened for Elvis Costello, recorded Austin City 

Limits, releasing the performance as a live DVD, and made Home 

Is Loud, a document of the tour’s homecoming concert in Raleigh, 

North Carolina. As the tour was winding down, Tift ran away to 

Paris looking for her mojo and, without intending to, started writing 

songs that would become Another Country. 

Another Country was released on Fantasy Records in 2008, again 

with George Drakoulias and her longtime band at the helm. 

Buckingham Solo, recorded in England, is an intimate concert 

released on Fantasy in 2009. Also in 2009, Tift had her first art 

exhibit, Other Countries, bringing the journals and pictures behind 

Another Country to light. Tift’s latest release, See You On The Moon, 

produced by Tucker Martine, is her most visceral work to date, 

and finds her doing what she does best more directly—and better—than 

she ever has. 

Tift Merritt also produces The Spark for KRTS Marfa, Texas Public 

Radio. The Spark explores the real lives and processes of the 

people behind great works of art. Guests have included writer 

Nick Hornby, artist Kiki Smith, and singer-songwriter and Merge 

co-founder Mac McCaughan. Emmylou Harris, when asked about 

Tift, said, “I first heard Tift Merritt some years ago during a writers’ 

night at a small club in Nashville. She stood out like a diamond 

in a coal patch, and everyone there knew she carried a promise of 

great things to come.” 

In 2009, Tift married longtime collaborator Zeke Hutchins. They 

live in New York City. Tift loves surfing, singing with her longtime 

bass player Jay Brown, farmers’ markets, independent record stores, 

anything French, and thunderstorms. If you can’t find her, she has 

probably rented an apartment with a piano in a town where she 

doesn’t know anyone and will be back before too long. 


sIMONE DINNERsTEIN AND TIfT MERRITT

TARGET 

SCHool mATInEE SERIES 

Mondavi Center Arts Education encourages all k-12 

teachers to bring their students to Mondavi Center, 

uC Davis this season for at least one school matinee 

performance. Especially designed for students, 

the school Matinee program is curriculum based and 

focuses on the cultural authenticity and international 

exchange possible only through live performance. 

“Just wanted to thank you again for helping the Dixon High School Arts & Design 

Academy access the arts this year. We LOVED the mariachi show this week! 

We were able to get 10 parents to drive so that we could afford the transportation. 

Since this show featured Mexican-American musicians, about seven of our drivers 

were parents of Latino students with a particular interest in the subject. Thank you for 

offering a truly relevant show that brought parents and kids together with teachers for 

a festive, pre-holiday treat. For some of our parents, this was the first time they have 

volunteered for something in the classroom. What a great opportunity for all of us to 

work together to make the trip happen.” 

— Lisa Krebs, Teacher, Dixon High School Arts & Design Academy 



ARts eDuCAtIon 

2 0 1 0 

2 0 1 1 

MoMIX, Botanica 

MONDAy, jANuARy 31, 2011 

CuRtIs on touR 

ThuRsDAy, MARCh 17, 2011 

DAn zAnes AnD FRIenDs 

MONDAy, MARCh 21, 2011 

ALVIn AILeY AMeRICAn 

DAnCe theAteR 

TuEsDAy, APRIl 5, 2011 

All shOws AT 11AM


PResents 

Mark Morris Dance group 

A Hallmark Inn Davis Dance Series Event 

Wednesday, February 2, 2011 • 8PM 


There will be one intermission. 

Post-performance Q&A 

Moderated by Ruth Rosenberg, 

Artist Engagement Coordinator, Mondavi Center, UC Davis 

Sponsored by 




MARk MORRIs DANCE GROuP 


Mark Morris Dance group 

MARK MORRIS DANCE GROUP 

SAMUEL BLACK JOE BOWIE ELISA CLARK 

RITA DONAHUE DOMINGO ESTRADA, JR. LAUREN GRANT 

JOHN HEGINBOTHAM AARON LOUX* LAUREL LYNCH 

DALLAS McMURRAY AMBER STAR MERKENS MAILE OKAMURA 

SPENCER RAMIREZ* WILLIAM SMITH III NOAH VINSON 

JENN WEDDEL JULIE WORDEN MICHELLE YARD 

Artistic Director 

MARK MORRIS 


NANCY UMANOFF 

MMDG MUSIC ENSEMBLE 

WOLFRAM KOESSEL COLIN FOWLER JESSE MILLS 

*APPRENTICE 

MetLife Foundation is the Mark Morris Dance Group’s Official 30th Anniversary Sponsor. 

Major support for the Mark Morris Dance Group is provided by 

Brooklyn Community Foundation, 

JP Morgan Chase Foundation, Fund for the City of New York, The Andrew W. Mellon Foundation, 

The Billy Rose Foundation, Inc., The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, 

Jane Stine and R.L. Stine and Trust for Mutual Understanding. 

The Mark Morris Dance Group New Works Fund is supported by 

The Gladys Krieble Delmas Foundation, Meyer Sound/Helen and John Meyer, 

The PARC Foundation and Poss Family Foundation. 

The Mark Morris Dance Group’s performances are made possible with public funds from New York City Department 

of Cultural Affairs; New York State Council on the Arts, a State Agency; 

and National Endowment for the Arts Dance Program.

PRogRAM 

Visitation 

Music: Ludwig van Beethoven - Cello Sonata No. 4 in C Major, Op. 102, No. 1 

Costume Design: Elizabeth Kurtzman 

Lighting Design: Nicole Pearce 

Wolfram Koessel, cello; Colin Fowler, piano 

Maile Okamura 

I. Andante—Allegro vivace 

Samuel Black, Rita Donahue, Noah Vinson, Michelle Yard 

II. Adagio—Tempo d’andante—Allegro vivace 

Samuel Black, Rita Donahue, Domingo Estrada Jr., John Heginbotham, Noah Vinson, Jenn Weddel, 

Julie Worden, Michelle Yard 

Commissioned in part by the Boston Symphony Orchestra and Lincoln Center for the Performing Arts. 

Premiere: August 5, 2009; Seiji Ozawa Hall, Tanglewood Music Center, Lenox, MA 

PAUSE 

Empire Garden 

Music: Charles Ives - Trio for Violin, Violoncello, and Piano, S. 86 

Costume Design: Elizabeth Kurtzman 

Lighting Design: Nicole Pearce 

I. Moderato 

II. TSIAJ – Presto 

III. Moderato con moto 

Jesse Mills, violin; Wolfram Koessel, cello; Colin Fowler, piano 

Samuel Black, Elisa Clark, Rita Donahue, Domingo Estrada Jr., Lauren Grant, 

John Heginbotham, Laurel Lynch, Dallas McMurray, Amber Star Merkens, 

Maile Okamura, Spencer Ramirez, Noah Vinson, Jenn Weddel, 

Julie Worden, Michelle Yard 

Commissioned in part by the Boston Symphony Orchestra and Lincoln Center for the Performing Arts. 

Premiere: August 5, 2009; Seiji Ozawa Hall, Tanglewood Music Center, Lenox, MA 

Music by arrangement with Peer International Corporation, publisher and copyright owner. 

Intermission 

Grand Duo 

Music: Lou Harrison - Grand Duo for Violin & Piano 

Costume Design: Susan Ruddie 

Lighting Design: Michael Chybowski 

Prelude 

Stampede 

A Round 

Polka 

Jesse Mills, violin; Colin Fowler, piano 

Samuel Black, Elisa Clark, Rita Donahue, Domingo Estrada Jr., Lauren Grant, 

John Heginbotham, Laurel Lynch, Dallas McMurray, Amber Star Merkens, 

Maile Okamura, William Smith III, Noah Vinson, Julie Worden, Michelle Yard 

Premiere: February 16, 1993; Fine Arts Center, University of Massachusetts, Amherst, MA 


MARk MORRIs DANCE GROuP

tuesday–Wednesday, April 5–6 

Clifton Brown in “revelations.” Photo by nan Melville. 

Call for tickets! 

530.754.2787 

Media Clips & More info: 

MondaviArts.org 


Mark Morris was born on August 29, 

1956, in Seattle, Washington, where he 

studied with Verla Flowers and Perry 

Brunson. In the early years of his career, 

he performed with the dance companies 

of Lar Lubovitch, Hannah Kahn, Laura 

Dean, Eliot Feld, and the Koleda Balkan 

Dance Ensemble. He formed the Mark 

Morris Dance Group in 1980, and has 

since created more than 120 works for 

the company. From 1988-91, he was 

Director of Dance at the Théâtre Royal 

de la Monnaie in Brussels, the national opera house of Belgium. 

Among the works created during his time there were three evening-length 

dances: L’Allegro, ilPenserosoedil Moderato; Dido and 

Aeneas; and The Hard Nut. In 1990, he founded the White Oak 

Dance Project with Mikhail Baryshnikov. Morris is also a ballet 

choreographer and has created seven works for the San Francisco 

Ballet since 1994 and received commissions from many others. 

His work is also in the repertory of the Pacific Northwest Ballet, 

Boston Ballet, Dutch National Ballet, New Zealand Ballet, Houston 

Ballet, English National Ballet, and the Royal Ballet. 

Morris is noted for his musicality and has been described as 

“undeviating in his devotion to music.” He has worked extensively 

in opera, directing and choreographing productions for the 

Metropolitan Opera, New York City Opera, Gotham Chamber 

Opera, English National Opera, and the Royal Opera, Covent 

Garden. In 1991, he was named a Fellow of the MacArthur 

Foundation. He has received 10 honorary doctorates to date. In 

2006, Morris received the New York City Department of 

Cultural Affairs Mayor’s Award for Arts & Culture and a WQXR 

Gramophone Special Recognition Award for “being an American 

ambassador for classical music at home and abroad.” He is the 

subject of a biography, Mark Morris, by Joan Acocella (Farrar, 

Straus & Giroux) and Marlowe & Company published a volume 

of photographs and critical essays entitled Mark Morris’ L’Allegro, 

ilPenserosoedil Moderato: A Celebration. Morris is a member of 

the American Academy of Arts and Sciences and the American 

Philosophical Society. In 2007, he received the Samuel H. Scripps/ 

American Dance Festival lifetime achievement award. In 2010, he 

received the prestigious Leonard Bernstein Lifetime Achievement 

Award for the Elevation of Music in Society. 

the Mark Morris Dance group was formed in 1980 and 

gave its first concert that year in New York City. The company’s 

touring schedule steadily expanded to include cities both in the 

U.S. and in Europe, and in 1986, it made its first national television 

program for the PBS series Dance in America. In 1988, MMDG 

was invited to become the national dance company of Belgium and 

spent three years in residence at the Théâtre Royal de la Monnaie 

in Brussels. The company returned to the United States in 1991 

as one of the world’s leading dance companies, performing across 

the U.S. and at major international festivals. Based in Brooklyn, 

the company has maintained and strengthened its ties to several 

cities around the world, most notably its West Coast home, Cal 

Performances in Berkeley, and its Midwest home, the Krannert 

Center for the Performing Arts at the University of Illinois in 

Urbana. MMDG also appears regularly in New York, Boston, and 

Seattle. 

MMDG made its debut at the Mostly Mozart Festival in 2002 

and at the Tanglewood Music Festival in 2003 and has since 

been invited to both festivals annually. From the company’s many 

London seasons, it has also garnered two Laurence Olivier Awards. 

MMDG is noted for its commitment to live music, a feature of 

every performance on its international touring schedule since 

1996. MMDG collaborates with leading orchestras, opera companies, 

and musicians including cellist Yo-Yo Ma, on the Emmy 

Award-winning film Falling Down Stairs (1997); percussionist and 

composer Zakir Hussain, Yo-Yo Ma, and jazz pianist Ethan Iverson 

in Kolam (2002); The Bad Plus in Violet Cavern (2004); pianists 

Emanuel Ax, Garrick Ohlsson, and Yoko Nozaki for Mozart Dances 

(2006); and with the English National Opera in Four Saints in 

Three Acts (2000) and King Arthur (2006), among others. MMDG’s 

film and television projects also include Dido and Aeneas, The Hard 

Nut, two documentaries for the U.K.’s South Bank Show, and PBS’s 

Live From Lincoln Center. In 2001, the Mark Morris Dance Center 

opened in Brooklyn to provide a home for the company, rehearsal 

space for the dance community, outreach programs for local children, 

and a school offering dance classes to students of all ages. 

For more information, visit www.mmdg.org. 

the MMDg Music ensemble, formed in 1996, performs with 

the Dance Group at home and on tour and has become integral 

to the company’s creative life. The core group, supplemented by 

musicians from a large roster of regular guests, presents concerts at 

the Mark Morris Dance Center and other venues, and participates 

in the Mark Morris Dance, Music, and Literacy Project in the New 

York City public school system. 

Company Members 

Samuel Black is originally from Berkeley, where 

he began studying tap at the age of nine with 

Katie Maltsberger. He received his B.F.A. in 

dance from SUNY Purchase, and also studied at 

the Rotterdamse Dansacademie in Holland. He 

has performed in New York with David Parker, 

Takehiro Ueyama, and Nelly van Bommel. Sam 

first appeared with MMDG in 2005, and became a company 

member in 2007. 

Joe Bowie was born in Lansing, Michigan, and 

began dancing while attending Brown University, 

where he graduated with honors in English and 

American literature. In New York, he danced 

with the Paul Taylor Dance Company for two 

years before going to Belgium to work with Mark 

Morris in 1989. 

Elisa Clark received her early training from the 

Maryland Youth Ballet, and her B.F.A. from the 

Juilliard School, under the direction of Benjamin 

Harkarvy. She danced with the Lar Lubovitch 

Dance Company, Nederlands Dans Theater, 

and Battleworks Dance Company before joining 

MMDG in 2006. Clark has also worked with 

the Alvin Ailey American Dance Theater. She 

has been on faculty at the American Dance Festival and teaches 

for MMDG. She is a 2008-09 Princess Grace Modern Dance 

Honorarium Award Winner. 



MARk MORRIs DANCE GROuP 

Rita Donahue was born and raised in Fairfax, 

Virginia, and attended George Mason University, 

where she graduated with honors in dance and 

English in 2002. She danced with bopi’s black 

sheep/dances by kraigpatterson and joined 

MMDG in 2003. 

Domingo Estrada, Jr., a native of Victoria, Texas, 

received a B.F.A. in ballet and modern dance 

from Texas Christian University. He made his 

debut with MMDG during The Hard Nut at Cal 

Performances, Berkeley, in 2007, and became a 

company member in 2009. 

Lauren Grant, born and raised in Highland Park, 

Illinois, has danced with MMDG since 1996. 

She performs leading roles in The Hard Nut and 

Mozart Dances. Grant has been featured in Time 

Out New York, Dance Magazine, and the book 

Meet the Dancers. She graduated with a B.F.A. 

from New York University’s Tisch School of the Arts. Grant is on 

faculty at MMDG’s school and also teaches dance internationally. 

John Heginbotham is from Anchorage, Alaska. 

He is a graduate of the Juilliard School (B.F.A., 

1993) and has danced in the companies of Susan 

Marshall, Pilobolus Dance Theater (guest artist), 

John Jasperse, and Ben Munisteri. His choreography 

is featured in the work of recording artists 

Fischerspooner, and in Champ: A Space Opera 

(New York International Fringe Festival). As a teacher, John 

works regularly with members of the Brooklyn Parkinson Group. 

He joined MMDGp in 1998. 

Aaron Loux grew up in Seattle and began dancing 

at the Creative Dance Center as a member of 

Kaleidoscope, a youth modern dance company. 

He began his classical training at the Cornish 

College Preparatory Dance Program and received 

a B.F.A. from the Juilliard School in 2009. He 

danced at the Metropolitan Opera and with Arc 

Dance Company before joining MMDG as an 

apprentice in 2010. 

Laurel Lynch began her dance training in 

Petaluma. She moved to New York to attend the 

Juilliard School. Since graduation in 2003, Laurel 

has danced for Dušan Týnek Dance Theatre, Sue 

Bernhard Danceworks, Pat Catterson, Stephan 

Koplowitz, and T.E.A. (Transpersonal Education 

and Art). She performed at the Festival Oltre 

Passo in Lecce, Italy, and appeared as a guest artist 

with Petaluma City Ballet. Laurel performed with MMDG as 

an apprentice in 2006 and became a company member in 2007. 


Dallas McMurray, from El Cerrito, began dancing 

at age four, studying jazz, tap, and acrobatics 

with Katie Maltsberger and ballet with 

Yukiko Sakakura. He received a B.F.A. in dance 

from the California Institute of the Arts. Dallas 

performed with the Limón Dance Company in 

addition to works by Jiri Kylian, Alonzo King, 

Robert Moses, and Colin Connor. Dallas performed with MMDG 

as an apprentice in 2006 and became a company member in 

2007. 

Amber Star Merkens is originally from 

Newport, Oregon, where she began her dance 

training with Nancy Mittleman. She received 

a B.F.A. from the Juilliard School in 1999 and 

then danced with the Limón Dance Company 

for two years. She is a recipient of the 2001 

Princess Grace Award and has presented her 

own choreography both in New York and abroad. Amber joined 

MMDG in 2001. 

Maile Okamura is originally from San Diego. 

She was a member of Boston Ballet II in 1992- 

93 and Ballet Arizona in 1993-96. She has 

danced with choreographers Neta Pulvermacher, 

Zvi Gotheiner, and Gerald Casel, among others. 

Maile began working with MMDG in 1998 and 

became a company member in 2001. 

Spencer Ramirez began his training in 

Springfield, Virginia, studying under Melissa 

Dobbs, Nancy Gross, Kellie Payne, and Marilyn 

York, and the Maryland Youth Ballet with faculty 

such as Michelle Lees, Christopher Doyle, 

and Harriet Williams. In 2008, he entered the 

Juilliard School under the direction of Lawrence 

Rhodes. Ramirez joined MMDG in July 2010. 

William Smith III grew up in Fredericksburg, 

Virginia, and attended George Mason 

University under a full academic and dance 

talent scholarship. He graduated Magna Cum 

Laude in 2007. His piece 3-Way Stop was 

selected to open the 2006 American College 

Dance Festival Gala at Ohio State University. 

Billy danced with Parsons Dance from 2007-10. He became an 

apprentice with MMDG in April 2010 and was promoted to full 

company member in November. 

Noah Vinson received a B.A. in dance from 

Columbia College, Chicago, where he worked 

with Shirley Mordine, Jan Erkert, and Brian 

Jeffrey. In New York, he has danced with 

Teri and Oliver Steele and the Kevin Wynn 

Collection. He began working with MMDG in 

2002 and became a company member in 2004. 


Jenn Weddel received her early training from 

Boulder Ballet Company near where she 

grew up in Longmont, Colorado. She holds 

a B.F.A. from Southern Methodist University 

and also studied at Boston Conservatory, 

Colorado University, and the Laban Center, 

London. Since moving to New York in 2001, 

Weddel has created and performed with Red 

Wall Dance Theater, Sue Bernhard Danceworks, Vencl Dance 

Trio, Rocha Dance Theater, TEA Dance Company, and with 

such choreographers as Alan Danielson and Ella Ben-Aharon. 

Weddel performed with MMDG as an apprentice in 2006 and 

became a company member in 2007. 

Julie Worden graduated from the North 

Carolina School of the Arts and joined MMDG 

in 1994. 

Michelle Yard was born in Brooklyn and began 

her professional dance training at the New York 

City High School of the Performing Arts. Upon 

graduation she received the Helen Tamiris and 

B’nai Brith awards. For three years she was a 

scholarship student at the Alvin Ailey Dance 

Center and also attended New York University’s 

Tisch School of the Arts, where she graduated with a B.F.A. 

Michelle joined MMDG in 1997. 

Colin Fowler (piano) is a graduate of the 

Interlochen Arts Academy and holds bachelor’s 

and master’s degrees from the Juilliard School. He 

has recorded and performed throughout the world 

with numerous soloists and ensembles, including 

Deborah Voigt, the American Brass Quintet, James 

Galway, and the Los Angeles Philharmonic. In 

addition to performing and conducting numerous 

Broadway shows, Fowler is a professor at NYU and Nyack College. 

He began collaborating with MMDG in 2006. 

Wolfram Koessel (cello), since moving to New 

York in 1991, has established himself as a much 

sought-after chamber musician, soloist, recording 

artist, and contractor in the New York music 

scene. He has performed with MMDG since 1999 

and was music director from 2004-08. In 2006, 

Koessel joined the renowned American String 

Quartet, with which he performs in the foremost 

concert halls throughout the world, collaborating frequently 

with today’s leading artists. Koessel appears with a wide range 

of ensembles and groups, most notably and frequently with the 

Orpheus Chamber Orchestra. He has organized hundreds of classical 

orchestra and chamber music concerts during the last decade 

in New York City. He is on the faculty of the Manhattan School of 

Music and the Aspen Music Festival. Koessel resides with his wife, 

pianist and writer J. Mae Barizo, in Manhattan. 

Jesse Mills (violin) graduated with a Bachelor of 

Music degree from the Juilliard School in 2001. 

He has performed as soloist with the Juilliard Pre- 

College Chamber Orchestra, the Teatro Argentino 

Orchestra in Buenos Aires, New Jersey Symphony, 

Sarah Lawrence College Symphony, Plainfield 

Symphony, Hudson Valley Philharmonic, and 

Aspen Music Festival’s Sinfonia Orchestra as winner of the 

Festival’s E. Nakamichi Violin Concerto Competition. Mills 

received an Aspen Music Festival String Fellowship in 1997. As a 

chamber musician Mills has performed at Lincoln Center’s Alice 

Tully Hall, New York City’s Merkin Concert Hall and Bargemusic, 

the Rising Stars series at Caramoor, the Ravinia Festival’s Bennett- 

Gordon Hall, and at the Marlboro Music Festival. He has performed 

chamber music with such artists as Richard Goode, David 

Soyer, Donald Weilerstein, Anton Kuerti, Peter Wiley, Miriam 

Fried, Claude Frank, and Fred Sherry. He was a member of the 

FLUX Quartet from 2001-03. Mills is a member of Nurse Kaya, an 

ensemble comprised of string quartet plus bass and drums, which 

exclusively plays compositions written by its members. Mills is 

also a member of the Denali Trio, with cellist Sarah Carter and 

pianist Ashley Wass. 

Mark Morris Dance group staff 

Artistic Director: Mark Morris 

Executive Director: Nancy Umanoff 

Production 

Technical Director: Johan Henckens 

Rehearsal Director: Matthew Rose 

Lighting Supervisor: Michael Chybowski 

Wardrobe Supervisor: Jennifer Perry 

Costume Coordinator: Stephanie Sleeper 

Sound Supervisor: Jim Abdou 

Finance Assistant: Katharine Urbati 

General Manager: Huong Hoang 

Administration 

Chief Financial Officer: Elizabeth Fox 

Finance Associate: Marea Chaveco 

Company Manager: Sarah Robinson 

Management Assistant: Shanleigh Philip 

Marketing/Development 

Director of Development and External Relations: 

Lauren Cherubini 

Director of Marketing: Helen Frank 

Special Projects Manager: Alexandro Pacheco 

Development Associate: Kelly Sheldon 

Development Assistant: Moss Allen 

Marketing Assistant: Ashley Matthews 

Office Assistant: Jay Selinger 




Bluebeard’s Castle 

(Fully Staged) 

UC Davis Symphony Orchestra 

Christian Baldini, music director and conductor 

Peter Lichtenfels, director 

Gregory Stapp, bass (Duke Bluebeard) 

Jessica Medoff, soprano (Judith) 

February 25, 2011 8:00 PM 

Sunday, February 27, 2011 7:00 PM 

Jackson Hall, Mondavi Center

dAnCe 

fOR PARkINsON’s 

the Mondavi Center and the Mark Morris 

Dance group proudly announce the launch of Dance 

for Parkinson’s, a partnership with the Pamela Trokanski 

Dance Theatre and the Parkinson Association of Northern 

California. The program offers weekly dance classes to 

people with Parkinson’s Disease and their caregivers. 

following an initial class on february 1 taught by 

members of the Mark Morris Dance Group, classes will 

be taught by local dance teachers who have received 

training in the company’s program. 

The class is being held in Davis with the possibility of 

expanding to sacramento in the future. 

for more information, or to enroll in the class, contact 

Mondavi Center Artist Engagement Coordinator 

Ruth Rosenberg, 530.752.6113 

or rrosenberg@ucdavis.edu. 

RobeRt and MaRgRit 


foR the PeRfoRMing aRts 

education 

Outreach Director: Eva Nichols 

School Director: Sarah Marcus 

Program Manager: David Leventhal 

School Bursar: Marc Castelli 

Dance Center operations 

Studio Manager: Karyn Treadwell 

Production and Facilities Manager: Matthew Eggleton 

Assistant Facilities Manager: Chris Sperry 

Front Desk Manager: Jackie Busch 

Music Coordinator: Bruce Lazarus 

Maintenance: Gregory Collazo, Jose Fuentes, Orlando Rivera 

Booking Representation: 

Michael Mushalla (Double M Arts & Events) 

Media and General Consultation Services: 

William Murray (Better Attitude, Inc) 

Legal Counsel: Mark Selinger (McDermott, Will & Emery) 

Accountant: O’Connor Davies Munns & Dobbins, LLP 

Orthopaedist: David S. Weiss, M.D. (NYU-HJD Department of 

Orthopaedic Surgery) 

Hilot Therapist: Jeffrey Cohen 

Physical Therapist: Marshall Hagins, PT, PhD 

Thanks to Maxine Morris. 

Sincerest thanks to all the dancers for their dedication, 

commitment, and incalculable contribution to the work. 

Additional funding has been received from the Altman 

Foundation; The Amphion Foundation, Inc.; The Buck Family 

Foundation; Capezio Ballet Makers Dance Foundation; Joseph 

and Joan Cullman Foundation for the Arts, Inc.; Mertz Gilmore 

Foundation; The Harkness Foundation for Dance; The Iovino 

Family Foundation; The Charles Ives Society, Inc.; Johnson & 

Johnson/Society for the Arts in Healthcare Partnership to Promote 

the Arts in Healing; Leon Lowenstein Foundation; Materials for 

the Arts; McDermott, Will & Emery; The David & Mildred Morse 

Charitable Trust Foundation; New England Foundation for the 

Arts; USArtists International; and the Friends of the Mark Morris 

Dance Group. 

For more information contact: 

Mark Morris Dance Group 

3 Lafayette Avenue 

Brooklyn, NY 11217-1415 

Tel: 718.624.8400 

Fax: 718.624.8900 

info@mmdg.org 

www.mmdg.org 




Vijay Iyer 

Composer-pianist Vijay Iyer is one of today’s most acclaimed and 

respected young American jazz artists. He received the Musician 

of the Year award in the 2010 Jazz Journalists Association Jazz 

Awards, the 2010 Echo Award (the “German Grammy”) for best 

international ensemble with his trio, and the Downbeat Critics 

Poll for Rising Star jazz group of the year. His latest recordings on 

the ACT label include Solo (2010) and the trio album Historicity 

(2009). Historicity was named jazz album of the year by The New 

York Times, Chicago Tribune, Los Angeles Times, National Public 

Radio, the annual Village Voice jazz critics poll, and the Downbeat 

International Critics Poll. The album has also been nominated for 

a Grammy in the category of Best Instrumental Jazz Album. In the 

past decade, Iyer has won the Downbeat Poll in multiple categories, 

the JJA Jazz Award for Up & Coming Musician of the Year, 

the CalArts Alpert Award in the Arts, the New York Foundation 


PResents 

Debut 

MC 

Vijay Iyer 

Historicity trio 

A Capital Public Radio Studio Jazz Series Event 

Wednesday-Saturday, February 2-5, 2011 • 8PM 


Selections will be announced from the stage. 

for the Arts Fellowship, and numerous composer commissions. 

Iyer has also composed orchestral and chamber works; scored for 

film, theater, radio, and television; collaborated with poets and 

choreographers; and joined forces with artists in hip-hop, rock, 

experimental, electronic, and Indian classical music. He has performed 

and recorded with Steve Coleman, Rudresh Mahanthappa, 

Mike Ladd, Roscoe Mitchell, Wadada Leo Smith, Amiri Baraka, 

Amina Claudine Myers, Butch Morris, Oliver Lake, dead prez, 

Karsh Kale, Talvin Singh, Imani Uzuri, Craig Taborn, DJ Spooky, 

and Das Racist, among others. He teaches at Manhattan School 

of Music, New York University, the New School, and School for 

Improvisational Music. His writings appear in Music Perception, 

Journal of Consciousness Studies, Current Musicology, JazzTimes, 

Wire, The Guardian, and the anthologies Uptown Conversation, Sound 

Unbound, Arcana IV, and The Best Writing on Mathematics: 2010. 

For more info, visit www.vijay-iyer.com 


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

stephan Crump is a Memphis-bred bassist/composer and a rising 

star on the New York music scene. Shunning barriers of genre, 

he has performed and recorded in the U.S. and across the globe 

with a diverse list of artists, from late blues legend Johnny Clyde 

Copeland to Portishead’s Dave McDonald, Patti Austin, the Violent 

Femmes’ Gordon Gano, Big Ass Truck, Dave Liebman, Billy 

Hart, Sonny Fortune, Greg Osby, Kenny Werner, the Mahavishnu 

Project, and Bobby Previte, among others. As a longtime collaborator 

with adventurous jazz composers (since 1999 with Vijay 

Iyer) as well as guitar wizard Jim Campilongo and radiant singersongwriter 

Jen Chapin, he has become known for the elegance and 

purposeful groove of his acoustic and electric bass playing, and for 

transforming his instrument into a speaking entity with magnetic 

pull on audiences. As a composer, Crump is emerging as a singular 

voice, one who “avoids obvious routes but manages never to lose 

his way” (New York Times). His music can be heard in numerous 

films and on his four critically acclaimed albums, the latest of 

which, Reclamation, featuring his all-string Rosetta Trio, has been 

lauded by The New Yorker for its “ingenious originals,” named 

one of the year’s best by NPR, and declared “a low-key marvel” by 

JazzTimes. Crump recently launched his solo performance career 

as an invited artist at the 2009 International Society of Bassists 

conference. He has two new recordings documenting his freeimprovised 

duo collaborations with both alto saxophonist Steve 

Lehman and pianist James Carney. 

Marcus gilmore was inspired by the music of his grandfather, 

legendary jazz drummer Roy Haynes, who gave him his first set 

of drums at age 10. He took naturally to jazz as well as to classical 

theory and percussion. He has performed around the world 

with some of today’s best known jazz artists, including Chick 

Corea, Gonzalo Rubalcaba, Natalie Cole, Clark Terry, Cassandra 

Wilson, Steve Coleman, Ravi Coltrane, Dave Douglas, John 

Clayton, Christian Scott, Najee, and many others. Gilmore joined 

Vijay Iyer’s group in 2003, at the age of 16. He also leads his own 

ensemble and recently premiered a commissioned suite of his 

music, American Perspicacity. 




PResents 

Joshua Bell, violin 

sam haywood, piano 

A Concert Series Event 

Wednesday, February 9, 2011 • 8PM 



see p. 52 


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

Joshua Bell, violin 

sam haywood, piano 

Sonata No. 2 for Violin and Piano in A Major, Op. 100 Brahms 

Allegro amabile 

Andante tranquillo — Vivace — Andante — 

Vivace a più — Andante — Vivace 

Allegretto grazioso (quasi Andante) 

Fantasy for Violin and Piano in C Major, Op. 159 (D. 934) Schubert 

Andante molto — Allegretto — Andantino — 

Tempo I — Allegro vivace — Allegretto — Presto 

Intermission 

Sonata No. 2 for Violin and Piano in G Major, Op. 13 Grieg 

Lento doloroso — Allegrovivace 

Allegretto tranquillo 

Allegro animato 

Additional works to be announced from the stage. 

Program is subject to change. 

Joshua Bell records exclusively for Sony Classical, a Masterworks Label 

www.joshuabell.com 

Mr. Bell appears by arrangement with IMG Artists, LLC 

Carnegie Hall Tower, 152 West 57th Street, 5th Floor, New York, NY 10019 

www.imgartists.com 

For more information on Sam Haywood, please visit www.samhaywood.com 

Mr. Bell will autograph programs and recordings in the lobby following the performance. 


jOshuA BEll, VIOlIN


JoshuA BeLL 

by JeFF huDson 

The last time Joshua Bell played at the Mondavi Center 

(on February 27 of last year, sharing the stage with pianist 

Jeremy Denk), the program included the Sonata No. 

1 for Violin and Piano in D minor, Op. 75, by Camille 

Saint-Saëns. Last fall, Bell and Denk took the Saint-Saëns 

into the studio, along with the Sonata for Violin and 

Piano (1927) by Maurice Ravel, and the Violin Sonata in 

A major by César Franck. The album, still untitled at this 

point, is scheduled for early summer release on the Sony 

Masterworks label. 

Bell was featured recently on the soundtrack to the film 

For Colored Girls, composed by Aaron Zigman. The movie, 

based on Ntozake Shange’s award-winning choreopoem 

“For Colored Girls Who Have Considered Suicide When 

The Rainbow Is Enuf,” played in Sacramento area cineplexes 

last November and December. 

In July, Bell got to play a 1741 Guarneri instrument that 

was once owned by French musician Henri Vieuxtemps 

(1820-81), who was considered the greatest violinist of his 

day. In a video interview with the British newspaper The 

Guardian, Bell performed a flashy piece (including variations 

on the tune known to Americans as “Yankee Doodle”) 

that Vieuxtemps had composed and played on the instrument. 

Bell suggested that the violin sounded good “partially 

because who played on it.” (Others who have played the 

Vieuxtemps Guarneri include Yehudi Menuhin, Itzhak 

Perlman, and Pinchas Zukerman). 

“Vieuxtemps chose this instrument because of its incredible 

inherent qualities. I just find I play better when I have an 

instrument like this.” The Vieuxtemps Guarneri went up for 

sale over the summer, with an asking price of $18 million. 

Ordinarily, Bell plays a Strad, known as the Gibson 

Stradivarius, dating from 1713, which Bell bought in 2001. 

The history of the Gibson Strad is a long and tangled tale of 

considerable intrigue, which you can read on Bell’s website, 

www.joshuabell.com/biography. 

Jeff Hudson contributes coverage of the performing arts to 

Capital Public Radio, the Davis Enterprise, and Sacramento 

News and Review. 



CenteR 

2 0 1 0 

2 0 1 1 

ThuRsdAy, FebRuARy 17, 2011 | 8PM Jh 

superstar soprano angela Gheorghiu made her longawaited 

san francisco opera debut in this lush filmed 

version of Puccini’s elegant and poignant opera. a 

thoroughly italian work inspired by Viennese operetta, 

it tells the story of a worldly woman who falls in 

love with a naïve younger man. the vibrant story will 

spring to life on Jackson hall’s state-of-the-art projection 

and sound system. 

tickets, Media Clips 

& More info: 


or Call: 

530.754.2787 

866.754.2787 (toll-free) 

san Francisco opera 

grand Cinema series 

La RonDinE

PRogRAM notes 

Sonata No. 2 for Violin and Piano in A Major, Op. 100 (1886) 

Johannes Brahms 

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

Brahms’s three violin sonatas are works of his fullest maturity. 

In 1853, he had written a scherzo for a collaborative sonata 

(Schumann and Albert Dietrich chipped in with the other 

movements) for Joseph Joachim, but during the following 27 

years he began and destroyed four further attempts in the genre. 

(Brahms was almost pathologically secretive about his sketches 

and unfinished works, virtually all of which he destroyed.) It 

was not until the G major Sonata (Op. 78) of 1879 that he was 

pleased enough with any of these violinistic progeny to admit 

one into the world; the Op. 100 Sonata followed in 1886 and Op. 

108 came two years later. His reasons for concentrating on this 

form at the time may have been personal as well as musical—as 

each of these works was finished, he sent it as a sort of peace 

offering to Joachim, from whom he had been estranged for some 

time. Brahms, it seems, had sided with Joachim’s wife, the mezzosoprano 

Amalie Weiss, in the couple’s divorce proceedings, and 

bitter feelings were incited between the old friends, though 

Joachim never wavered in his support and performance of 

Brahms’s music. The rift was not fully healed until Brahms offered 

Joachim the Double Concerto in 1887. 

The A major Violin Sonata is one of Brahms’s most limpidly 

beautiful creations. It has been nicknamed “Thun,” for the place of 

its composition, and “Meistersinger,” because of the resemblance 

of its opening motive to Walther’s “Prize Song” in Wagner’s opera, 

but the most appropriate appellation was suggested by Robert 

Schauffler: “Song.” Schauffler’s sobriquet not only notes the 

score’s richly lyrical nature but also recognizes Brahms’s use of 

several of his own songs as thematic material for the work: the 

first movement quotes Komm bald! (“Come Soon!,” Op. 97, No. 

5) and Wie Melodienziehtes (“It Flows Like Melodies,” Op. 105, 

No. 1), while the finale recalls bits of Auf dem Kirchhofe (“In the 

Churchyard,” Op. 105, No. 4), Meine Lieder (“My Songs,” Op. 

106, No. 4), and Meine Liebeistgrün (“My Love Is Evergreen,” Op. 

63, No. 5). 

The published edition of the A major Sonata notes that it is “for 

Piano and Violin,” an indication of the complete integration of the 

participants that marks Brahms’s greatest instrumental works. The 

opening movement is a full sonata structure (the piano initiates 

both the principal and subsidiary themes), though it contains 

little of the dramatic catharsis often found in that form. This is 

rather music of comforting tranquility and warm sentiment that 

is as immediately accessible as any from Brahms’s later years. The 

Andante, with its episodes in alternating tempos, combines the 

functions of slow movement and scherzo, a structural modification 

Brahms had also tried in the F major String Quintet, Op. 88. 

The finale confirms the pervasive lyricism of the entire work to 

such a degree that the composer’s correspondent Elisabeth von 

Herzogenberg was moved to say, “The whole Sonata is one caress.” 

Fantasy for Violin and Piano in C Major, Op. 159 (D. 934) 

(1827) 

Franz Schubert 

(Born January 31, 1797, in Vienna; died November 19, 1828, in 

Vienna) 

The Fantasy in C major (D. 934), the most important of the 

small handful of compositions that Schubert wrote for violin, 

was composed quickly in December 1827 for a concert given on 

January 20 by the 21-year-old Czech virtuoso Josef Slavik (whom 

Chopin described as “the second Paganini”), at which the young 

violinist also planned to introduce a concerto of his own making. 

For the program, Slavik enlisted the assistance of a friend of the 

composer, the pianist Carl Maria von Bocklet (to whom Schubert 

dedicated both the D major Piano Sonata, D. 850 of 1825 and 

this Fantasy), and Schubert conceived the new piece as a display 

vehicle for these two excellent performers. The program won little 

praise. The reviewer for the journal Der Sammler wrote, “The 

Fantasy for Violin and Piano by Mr. Franz Schubert somewhat 

exceeded the duration the Viennese intend to devote to spiritual 

enjoyment. The hall emptied itself little by little, and the present 

writer admits that he is unable to say anything about the end 

of the piece.” Only the Vienna correspondent for the London 

Harmonicon found that the composition “possesses merit far above 

the common order.” Though there is a certain quotient of merely 

virtuosic note-spinning in the variations section of the Fantasy 

(Schubert himself was skilled both as a violinist and pianist), 

the difficulties encountered by the work’s first hearers probably 

stemmed more from the music’s formal originality and harmonic 

daring than from any deficiencies in its craft. 

The Fantasy is arranged in seven continuous sections which 

bear only a tenuous relation to the traditional layout of the 

sonata form. The work opens with rustling piano figurations 

that underpin the lyrical flight of violin melody which prefaces a 

strongly rhythmic episode in quicker tempo, faintly tinged with 

Hungarian exoticism. There follows a set of elaborately decorative 

variations on Schubert’s song Seimirgegrüsst (“I Greet You”), 

composed to a poem of Friedrich Rückert in 1821. The rustling 

figurations of the introduction return briefly to serve as the bridge 

to the “finale,” a brilliant showpiece for the participants. A shadow 

of Seimirgegrüsst passes across the Fantasy before a brief, jubilant 

coda closes the work. 

Sonata No. 2 for Violin and Piano in G Major, Op. 13 (1867) 

Edvard Grieg 

(Born June 15, 1843, in Bergen, Norway; died September 4, 1907, 

in Bergen, Norway) 

Grieg completed his studies at the Leipzig Conservatory in 

1863. Rather than heading directly home to Norway, however, 

he settled in Copenhagen to study privately with Niels Gade, 

at that time Denmark’s most prominent musician and generally 

regarded as the founder of the modern Scandinavian school of 

composition. During his three years in that lovely city, Grieg met 

Rikard Nordraak, another young composer from Norway who 

was filled with the glowing ambition of establishing a distinctive 

musical identity for his homeland. His enthusiasm kindled Grieg’s 

nationalistic interests, and together they established the Euterpe 


jOshuA BEll, VIOlIN

jOshuA BEll, VIOlIN 

Society to help promote Scandinavian music. Grieg’s concern with 

folk music grew stronger during the following years, especially 

when he was left to carry on the Euterpe project alone after 

Nordraak’s premature death in 1866 at the age of 23. Also during 

this Danish sojourn, Grieg met Nina Hagerup, a fine singer and 

his cousin. More than familial affection passed between the two, 

however, and they soon found themselves in love. Nina’s mother 

disapproved of the match (“He is nothing. He has nothing. And he 

makes music no one wants to hear,” was the maternal judgment), 

and plans for a wedding were postponed. 

Back in Norway, Grieg’s creative work was concentrated on the 

large forms advocated by his Leipzig teachers and by Gade. By the 

beginning of 1867, he had produced the Piano Sonata, Op. 7, a 

violin sonata, a symphony (long unpublished and made available 

only as recently as 1981), and the concert overture In Autumn. He 

also carried on his work to promote native music, and gave an 

unprecedented concert exclusively of Norwegian compositions in 

1866. Its excellent success brought him a notoriety that lifted him 

to the front rank of Scandinavian musicians; he was appointed 

conductor of the Philharmonic Society in Christiania (Oslo), had a 

full schedule of pupils, and was popular as a piano recital artist. 

As a result of his success, he was able to retrieve his fiancée, Nina, 

from Copenhagen, and the couple was married in June 1867. 

The daughter born the following spring was yet another mark of 

Grieg’s increasingly happy life. It was at the confluence of these 

happy personal, professional, and nationalistic streams in his 

life, “in the euphoria of my honeymoon,” he wrote, that Grieg 

composed the Sonata No. 2 for Violin and Piano in G major in 

the summer of 1867. The score was dedicated to John Svendsen, 

Grieg’s compatriot composer and a champion of his music, and 

first played by Grieg and violinist Gudbrand Böhn, concertmaster 

of the Oslo Philharmonic Orchestra, in Oslo on November 16, 

1867. 

The G major Violin Sonata, so pervaded by the influence of 

Norwegian folk music that Grieg called it his “national” sonata, 

opens with a slow, poignant introduction whose initial violin 

cadenza contains the thematic seeds from which much of the 

movement grows. The mood brightens for the sonata form’s main 

theme, a buoyant dance-like melody. The second theme is in the 

nature of a delicate, wistful waltz. The exposition becomes more 

animated, and culminates in a heroic transformation of the second 

theme. The development section treats both the main and second 

subjects in a manner that would have pleased Grieg’s professors in 

Leipzig, and leads to the recapitulation of the earlier materials and 

a brilliant ending. The second movement is in a three-part form 

(A–B–A) which takes a sweetly nostalgic song as the subject for its 

outer sections and a lovely melody in a sunnier key, reminiscent of 

a springar dance played on the traditional Hardanger fiddle, for its 

central episode. The finale achieves a pleasing balance of themes, 

moods, and folk influences in a movement that provides a tasteful 

showcase for both musicians. 

©2010 Dr. Richard E. Rodda 


Joshua Bell 

For more than two decades, Joshua Bell has enchanted audiences 

worldwide with his breathtaking virtuosity and tone of 

rare beauty. He came to national attention at the age of 14 in a 

highly acclaimed orchestral debut with Riccardo Muti and the 

Philadelphia Orchestra. A Carnegie Hall debut, the prestigious 

Avery Fisher Career Grant, and a recording contract further confirmed 

his presence in the music world. 

Today he is equally at home as a soloist, chamber musician, and 

orchestra leader. His restless curiosity and multifaceted musical 

interests have taken him in exciting new directions that have 

earned him the rare title of “classical music superstar.” “Bell,” 

Gramophone stated simply, “is dazzling.” 

Named by Musical America as the 2010 Instrumentalist of the 

Year, highlights of Bell’s 2010-11 season include fall performances 

with the New York Philharmonic and the symphony orchestras 

of Philadelphia, San Francisco, Houston, and St. Louis. The year 

concludes with chamber music performances with Steven Isserlis 

in Frankfurt, Amsterdam, and at Wigmore Hall in London, followed 

by a tour to Italy, France, and Germany with the Chamber 

Orchestra of Europe. 

The new year commences with performances with the 

Concertgebouw Orchestra in the Netherlands and Spain, and 

a recital tour to Canada, the U.S., and Europe that includes 

Wigmore Hall, Lincoln Center, and Symphony Hall in Boston. Bell 

will again collaborate with Steven Isserlis on tour in Europe and 

Istanbul with the Academy of St. Martin in the Fields. 

Bell records exclusively for Sony Classical, a Masterworks label 

bringing new audiences to classical music and new music to classical 

audiences. Bell’s first sonata recording of French repertoire, 

which is also his first duo recording effort with Jeremy Denk, will 

be released in 2011. 

Recent releases include the soundtrack to Colored Girls, At Home 

With Friends, featuring Chris Botti, Sting, Josh Groban, Regina 

Spektor, Tiempo Libre, and others, the Defiance soundtrack, 

Vivaldi’s The Four Seasons, the Tchaikovsky Violin Concerto with 

the Berlin Philharmonic, The Red Violin Concerto, The Essential 

Joshua Bell, Voice of the Violin, and Romance of the Violin, which 

Billboard named the 2004 Classical CD of the Year, while also 

naming Bell the Classical Artist of the Year. 

Since his first LP recording at age 18, Bell has made critically 

acclaimed recordings of the concertos of Beethoven and 

Mendelssohn both featuring his own cadenzas, Sibelius, and 

Goldmark, as well as the Grammy Award-winning Nicholas Maw 

concerto. His Grammy-nominated Gershwin Fantasy premiered 

a new work for violin and orchestra based on themes from 

Gershwin’s Porgy and Bess. Its success led to a Grammy-nominated 

all-Bernstein recording that included the premiere of the West Side 

Story Suite as well as a new recording of the composer’s Serenade. 

With the composer and double bass virtuoso Edgar Meyer, Bell 

appeared on the Grammy-nominated crossover recording Short 

Trip Home and a disc of concert works by Meyer and the 19thcentury 

composer Giovanni Bottesini. Bell also collaborated with

Wynton Marsalis on the Grammy-winning spoken-word children’s 

album, Listen to the Storyteller, and Bela Fleck’s Grammy-winning 

Perpetual Motion. He has twice performed on the Grammy Awards 

telecast, performing music from Short Trip Home and West Side 

Story Suite. Bell has premiered new works by composers Nicholas 

Maw, John Corigliano, Aaron Jay Kernis, Edgar Meyer, Behzad 

Ranjbaran, and Jay Greenberg. 

Bell is the recipient of the 2008 Academy of Achievement Award 

for exceptional accomplishment in the arts, and in 2009, he was 

honored by Education Through Music for his dedication to sharing 

his love of classical music with disadvantaged youth. In 2010, 

he received the Humanitarian Award from Seton Hall University. 

With more than 35 CDs recorded, Sony Classical film soundtracks 

also include The Red Violin, which won the Oscar for Best 

Original Score; the Classical Brit-nominated Ladies in Lavender; 

and Academy Award-winning film Iris featuring an original score 

by James Horner. Bell appeared as himself in the film Music of the 

Heart starring Meryl Streep. Millions of people are just as likely 

to have seen him on The Tonight Show as on Tavis Smiley, Charlie 

Rose, or CBS Sunday Morning. 

In 2010, Bell starred in his fifth Live from Lincoln Center Presents 

broadcast: Joshua Bell with Friends@ The Penthouse. Other PBS 

shows include Great Performances – Joshua Bell: West Side Story 

Suite from Central Park, a Memorial Day Concert performed on 

the lawn of the United States Capitol, Sesame Street, and A&E’s 

Biography. He was one of the first classical artists to have a music 

video air on VH1, and he has been the subject of a BBC Omnibus 

documentary. Bell has been profiled in publications ranging from 

The New York Times and Newsweek to People Magazine’s 50 Most 

Beautiful People issue, Gramophone, and USA Today. 

Bell and his two sisters grew up on a farm in Bloomington, 

Indiana. As a child, he indulged in many passions outside of 

music, becoming an avid computer game player and a competitive 

athlete. He placed fourth in a national tennis tournament at age 10 

without having taken a single lesson, and still keeps his racquet 

close by. Bell received his first violin at age four after his parents, 

both psychologists by profession, noticed him plucking tunes with 

rubber bands he had stretched around the handles of his dresser 

drawers. By 12, he was serious about the instrument, thanks in 

large part to the inspiration of renowned violinist and pedagogue 

Josef Gingold, who had become his beloved teacher and mentor. 

In 1989, Bell received an Artist Diploma in Violin Performance 

from Indiana University. His alma mater also honored him with a 

Distinguished Alumni Service Award only two years after his graduation. 

The recipient of the coveted Avery Fisher Prize, he 

has been named an “Indiana Living Legend” and received the 

Indiana Governor’s Arts Award. In 2005, he was inducted into 

the Hollywood Bowl Hall of Fame and in 2009, he performed at 

Ford’s Theatre before President Obama, which was followed by an 

invitation from the President and Mrs. Obama to perform at the 

White House. 

Bell performs on the 1713 Gibson ex Huberman Stradivarius violin 

and uses a late 18th century French bow by Francois Tourte. 

For more information, visit www.joshuabell.com. 

sam haywood 

Sam Haywood is a critically acclaimed British pianist whose 

performances have thrilled audiences worldwide. A frequent collaborator 

with Joshua Bell and Steven Isserlis, his upcoming dates 

include recitals in the U.K., Germany, France, Indonesia, Japan, 

Poland, Austria, Russia, Romania, Switzerland, Greece, the U.S., 

and the Czech Republic. 

Haywood’s latest release, Chopin’s Own Piano, is the first to have 

been made on Chopin’s own 1846 Pleyel piano. To celebrate the 

Chopin anniversary, he performed at Lancaster House with Steven 

Isserlis in the presence of HRH Princess Alexandra on the same 

day and at the same venue as Chopin’s own performance for 

Queen Victoria and Prince Albert in 1848. 

Haywood has composed several small-scale works for solo piano 

and various duos, including Song of the Penguins, published by 

Emerson Editions and inspired by the film March of the Penguins. 

He is also involved in educational projects and has co-written a 

children’s opera. 

Haywood began playing the piano at age four, inspired by evenings 

listening to crackly LPs of Beethoven sonatas with his grandmother. 

Following his success at age 13 in the BBC Young Musician of 

the Year competition, he received the Isserlis Prize from the Royal 

Philharmonic Society and later studied with Paul Badura-Skoda 

and at the Royal Academy of Music with Maria Curcio, a pupil of 

Artur Schnabel. Haywood is keen to include lesser-known works 

in his solo recital programs. Rosetti, Gade, Franz Xaver Mozart, 

Alkan, Field, Isserlis, McLeod (commission), and Hummel have 

recently been featured. He has also edited a new edition of piano 

works by Julius Isserlis, Carl Frühling’s Clarinet Trio, and a new 

solo piano transcription of the Romance from Chopin’s First 

Piano Concerto. 

Outside his musical world, Haywood enjoys walks in his native 

England’s Lake District and is a keen amateur magician and 

photographer. www.samhaywood.com. 


jOshuA BEll, VIOlIN

MONDAVI CENTER suPPORT 

MonDAVI CenteR 

CORPORATE suPPORT DONORs 

Platinum 

gold 

silver 

bronze 

MONDAVI CENTER GRANTORs AND ARTs EDuCATION sPONsORs 

Boeger Winery 

Ciocolat 

office of Campus 

Community Relations 

EVENT & ADDITIONAl suPPORT PARTNERs 


Friends of Mondavi Center 

Seasons Restaurant 

Watermelon Music 

Our generous donors allow us to bring 

world-class artists and speakers to the 

region’s doorstep, and energize and inspire 

tens of thousands of school children and 

teachers through our nationally 

recognized Arts Education programs. 

In thanks for their generous gifts, donors 

receive a host of benefits including: 

· Priority Seating 

· Access to Donor-Only Events 

· Advance ticket sales for Just Added shows 

· Meet the artists 

· Much, much more… 

Remember: ticket sales cover only 

40% of our costs. 

help support the art you love: 

Donate today! 

For more information, visit us at 

MondaviArts.org/supportus 

or contact our Development Staff 

at 530.754.5436


INDIVIDuAl 

suPPORTERs 

MondaviCenter 

InnerCircle 

InneR CIRCLe DonoRs 

are dedicated arts patrons whose 

leadership 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. 

Their 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. 

For more information on 

supporting the Mondavi Center, 

visit MondaviArts.org or call 

530.754.5437. 

† Mondavi Center Advisory Board Member 

* Friends of Mondavi Center 

iMPresario CirCLe $25,000 anD uP 

John and Lois Crowe †* 

Barbara K. Jackson †* 

Grant and Grace Noda* 

Virtuoso CirCLe $15,000 - $24,999 

Joyce and Ken Adamson 

Friends of Mondavi Center* 

Ann and Gordon Getty Foundation 

Anne Gray † 

Benjamin and Lynette Hart †* 

In memory of Alison S. and Richard D. Cramer 

William and Nancy Roe †* 

Lawrence and Nancy Shepard † 

Joe and Betty Tupin † 

Shipley and Dick Walters* 

Maestro CirCLe $10,000 - $14,999 

Oren and Eunice Adair-Christensen* 

Wayne and Jacque Bartholomew †* 

Dolly and David Fiddyment † 

Samia and Scott Foster † 

Mary B. Horton* 

M. A. Morris* 

Tony and Joan Stone † 

BenefaCtors CirCLe $6,000 - $9,999 

Michael Alexander 

California Statewide Certified Development Corporation 

Camille Chan † 

Patti Donlon † 

First Northern Bank † 

Bonnie and Ed Green †* 

Dee and Joe Hartzog † 

The One and Only Watson 

Margaret Hoyt* 

Sarah and Dan Hrdy 

William and Jane Koenig 

Greiner Heat, Air, and Solar 

Garry Maisel † 

Stephen Meyer and Mary Lou Flint † 

Grace and John Rosenquist* 

Raymond and Jeanette Seamans* 

Ellen Sherman 

Della Aichwalder Thompson 

Larry and Rosalie Vanderhoef †* 

And one donor who prefers to remain anonymous 


MONDAVI CENTER suPPORT


ProDuCers CirCLe $3,000 - $5,999 

Neil and Carla Andrews 

Hans Apel and Pamela Burton 

Cordelia S. Birrell 

Neil and Joanne Bodine 

Barry and Valerie Boone 

Brian Tarkington and Katrina Boratynski 

Ralph and Clairelee Leiser Bulkley* 

Cantor & Company, A Law Corporation 

Michael and Betty Chapman 

Robert and Wendy Chason 

Chris and Sandy Chong* 

Michele Clark and Paul Simmons 

Tony and Ellie Cobarrubia* 

Claudia Coleman 

Eric and Michael Conn 

DLMC Foundation 

Nancy DuBois 

Catherine and Charles Farman 

Mr. and Mrs. Domenic Favero 

Donald and Sylvia Fillman 

Judith and Andrew Gabor 

Kay Gist 

Kathleen and Robert Grey 

Judith and William Hardardt* 

Lorena Herrig* 

Dr. Ronald and Lesley Hsu 

Debra Johnson, M.D. and Mario Gutierrez 

Gerald and Virginia Jostes 

Teresa and Jerry Kaneko* 

Dean and Karen Karnopp* 

Nancy Lawrence, Gordon Klein, 

and Linda Lawrence 

Drs. Richard Latchaw and Sheri Alders 

Ginger and Jeffrey Leacox 

Robert and Barbara Leidigh 

John T. Lescroart and Lisa Sawyer 

Nelson Lewallyn and 

Marion Pace-Lewallyn 

Betty J. Lewis 

Dr. and Mrs. Ashley T. Lipshutz 

Paul and Diane Makley* 

In memory of Jerry Marr 

Janet Mayhew* 

Robert and Helga Medearis 

Verne Mendel* 

Derry Ann Moritz 

Richard and Mary Ann Murray 

Charles and Joan Partain 

Suzanne and Brad Poling 

Lois and Dr. Barry Ramer 

Roger and Ann Romani 

Melodie Rufer 

Hal and Carol Sconyers* 

Tom and Meg Stallard* 

Tom and Judy Stevenson* 

Donine Hedrick and David Studer 

Jerome Suran and Helen Singer Suran* 

Nathan and Johanna Trueblood 

Ken Verosub and Irina Delusina 

In loving memory of 


John Max Vogel, M.D. 

Claudette Von Rusten 

John Walker and Marie Lopez 

Elizabeth F. and Charles E. Wilts 

Bob and Joyce Wisner* 

Richard and Judy Wydick 

And five donors who prefer to remain 

anonymous 

DireCtors CirCLe $1,100 - $2,999 

Beulah and Ezra Amsterdam 

Russell and Elizabeth Austin 

Murry and Laura Baria* 

Lydia Baskin* 

Paul and Connie Batterson 

Virginia and Michael Biggs 

Kay and Joyce Blacker* 

Jo Anne Boorkman* 

Clyde and Ruth Bowman 

Edwin Bradley 

Linda Brandenburger 

Robert Burgerman and Linda Ramatowski 

Davis and Jan Campbell 

David J. Converse, ESQ. 

Gail and John Cooluris 

Jim and Kathy Coulter* 

John and Celeste Cron* 

Terry and Jay Davison 

Jim and Carolyn DeHayes 

Cecilia Delury and Vince Jacobs 

Mike and Cheryl Demas 

Bruce and Marilyn Dewey 

Martha Dickman* 

Dotty Dixon* 

Richard and Joy Dorf* 

Merrilee and Simon Engel 

Thomas and Phyllis Farver* 

Tom Forrester and Shelly Faura 

Nancy McRae Fisher 

Pam Gill-Fisher and Ron Fisher* 

Dr. Andy and Wendy Huang Frank 

Joseph George and Elaine LaMotta 

Karl Gerdes and Pamela Rohrich 

Henry and Dorothy Gietzen 

Fredic and Pamela Gorin 

John and Patty Goss* 

Florence and Jack Grosskettler* 

Diane Gunsul-Hicks 

Charles and Ann Halsted 

Paul and Kathleen Hart 

In memory of William F. McCoy 

Timothy and Karen Hefler 

Charles and Eva Hess 

Sharna and Mike Hoffman 

Suzanne and Chris Horsley* 

Claudia Hulbe 

Ruth W. Jackson 

Clarence and Barbara Kado 

Barbara Katz* 

Robert Kingsley and Melissa Thorme 

Cheryl and Matthew Kurowski 

Hansen Kwok 

Brian and Dorothy Landsberg 

Mary Jane Large and Marc Levinson 

Edward and Sally Larkin* 

Claudia and Allan Leavitt 

Hyunok Lee and Daniel Sumner 

Yvonne LeMaitre* 

Linda and Peter Lindert 

Spencer Lockson and Thomas Lange 

Angelique Louie 

Natalie and Malcolm MacKenzie* 

Dennis H. Mangers and Michael Sestak 

Susan Mann 

Judith and Mark Mannis 

Marilyn Mansfield 

Michael and Maxine Mantell 

Yvonne L. Marsh 

Robert Ono and Betty Masuoka 

Shirley Maus* 

Kenneth McKinstry 

Steve and Sonja Memering 

Joy Mench and Clive Watson 

Fred and Linda Meyers* 

John Meyer and Karen Moore 

Eldridge and Judith Moores 

Patricia and Surl Nielsen 

Dr. James Nordin and Linda Orrante 

Philip and Miep Palmer 

Prewoznik Foundation 

Linda and Lawrence Raber* 

Larry and Celia Rabinowitz 

Kay Resler* 

Alessa Johns and Christopher Reynolds 

Thomas Roehr 

Don Roth and Jolán Friedhoff 

Liisa A. Russell 

Beverly “Babs” Sandeen and Marty Swingle 

Ed and Karen Schelegle 

The Schenker Family 

Neil and Carrie Schore 

Jeff and Bonnie Smith 

Wilson and Kathryn Smith 

Ronald and Rosie Soohoo* 

Richard L. Sprague and Stephen C. Ott 

Maril Revette Stratton and Patrick Stratton 

Karmen Streng 

Tony and Beth Tanke 

George and Rosemary Tchobanoglous 

Dr. Haluk and Ayse Tezcan 

Brandt Schraner and Jennifer Thornton 

Claude and Barbara Van Marter 

Louise and Larry Walker 

Janda J. Waraas 

Bruce and Patrice White 

Dale and Jane Wierman 

Paul Wyman 

Elizabeth and Yin Yeh 

And five donors who prefer to remain 

anonymous


DONORs 

enCore CirCLe 

$600 - $1,099 

Gregg T. Atkins and Ardith Allread 

Michael and Tootie Beeman 

Drs. Noa and David Bell 

Susan and Kent Calfee 

Donald and Dolores Chakerian 

Gale and Jack Chapman 

William and Susan Chen 

John and Cathie Duniway 

Nell Farr and Anna Melvin 

Doris and Earl Flint 

Murray and Audrey Fowler 

Carole Franti* 

Paul J. and Dolores L. Fry Charitable Fund 

Gatmon-Sandrock Family 

Craig Gladen 

Paul N. and E. F. “Pat” Goldstene 

David and Mae Gundlach 

Robin Hansen 

Roy and Miriam Hatamiya 

Katherine Hess 

Barbara and Robert Jones 

Kent and Judy Kjelstrom 

Paula Kubo 

Anesiades Leonard 

Stanley and Donna Levin 

Maria Manoliu 

Frances Mara 

Gary C. and Jane L. Matteson 

Barbara Moriel 

James Morris 

Hedlin Family 

Don and Sue Murchison 

Robert Murphy 

Richard and Kathleen Nelson 

Alice Oi 

John Pascoe 

Jerry L. Plummer 

Ann and Jerry Powell* 

J and K Redenbaugh 

John Reitan 

Heather and Jeep Roemer 

Jeannie and Bill Spangler 

Lenore and Henry Spoto 

Sherman and Hannah Stein 

Les and Mary Stephens Dewall 

Lynn Taylor and Mont Hubbard 

Roseanna Torretto* 

Henry and Lynda Trowbridge* 

Robert and Helen Twiss 

Steven and Andrea Weiss 

Denise and Alan Williams 

Kandi Williams and Dr. Frank Jahnke 

Karl and Lynn Zender 

And four donors who prefer to 

remain anonymous 

orChestra CirCLe 

$300 - $599 

Michelle Adams 

Mitzi S. Aguirre 

Susan Ahlquist 

Paul and Nancy Aikin 

Steven Albrecht and Jessica Friedman 

Drs. Ralph and Teresa Aldredge 

Thomas and Patricia Allen 

Al and Pat Arthur 

Michael and Shirley Auman* 

Robert and Joan P. Ball 

Robert Hollingsworth and Carol Beckham 

Don and Kathy Bers* 

Elizabeth Bradford 

Paul Braun 

Rosa Marquez and Richard Breedon 

Joan Brenchley and Kevin Jackson 

Irving and Karen Broido* 

In Memory of Rose Marie Wheeler 

John and Christine Bruhn 

Manuel Calderon De La Barca Sanchez 

Jackie Caplan 

Michael and Louise Caplan 

Michael and Susan Carl 

Richard Carlsen 

Doreen T. Chan 

Amy Chen and Raj Amirtharajah 

Dorothy Chikasawa* 

Charles and Mary Anne Cooper 

James and Patricia Cothern 

Catherine Coupal* 

Larry Dashiell and Peggy Siddons 

Thomas B. and Eina C. Dutton 

Micki Eagle 

Mark E. Ellis and Lynn Shapiro 

Sheila and Steve Epler 

Janet Feil 

David and Kerstin Feldman 

Susan Flynn 

Tom and Barbara Frankel 

Sevgi and Edwin Friedrich* 

Dr. Deborah and Brook Gale 

Marnelle Gleason and Louis J. Fox* 

Marvin and Joyce Goldman 

S.D. Gray 

Donald Green 

William Green and Martin Palomar 

Stephen and Deirdre Greenholz 

Marilyn and Alexander Groth 

Judy Guiraud 

Gwen and Darrow Haagensen 

Sharon and Don Hallberg 

David and Donna Harris 

Stephen and Joanne Hatchett 

Cynthia Hearden 

Len and Marilyn Herrmann 

Fred Taugher and Paula Higashi 

Frederick and Tieu-Bich Hodges 

Frederick and B.J. Hoyt 

Pat and Jim Hutchinson* 

Don and Diane Johnston 

Weldon and Colleen Jordan 

Mary Ann and Victor Jung 

David Kalb and Nancy Gelbard 

Edith Kanoff 

Charles Kelso and Mary Reed 

Ruth Ann Kinsella* 

Richard and Rosie Kirkland 

Joseph Kiskis 

Peter Klavins and Susan Kauzlarich 

Norma Klein 

Charlene R. Kunitz 

Allan and Norma Lammers 

Darnell Lawrence 

Katie Thomas and Richard Lawrence 

Ruth Lawrence 

Frances and Arthur Lawyer* 

Carol and Robert Ledbetter 

Michael and Sheila Lewis* 

David and Ruth Lindgren 

Bill and Harriet Lovitt 

Helen Ma 

Bunkie Mangum 

Pat Martin* 

Robert Mazalewski and Yvonne Clinton 

Sean and Sabine McCarthy 

Del and Doug McColm 

Julie and Craig McNamara 

Don and Lou McNary 

Glen And Nancy Michel 

Robert and Susan Munn* 

William and Nancy Myers 

Anna Rita and Bill Neuman 

Forrest Odle 

John and Carol Oster 

Sally Ozonoff and Tom Richey 

Frank Pajerski 

Jack and Sue Palmer 

Dr. John and Barbara Parker 

Bonnie A. Plummer* 

Deborah Nichols Poulos and 

Prof. John W. Poulos 

Harriet Prato 

Edward and Jane Rabin 

J. David Ramsey 

Rosemary Reynolds 

Guy and Eva Richards 

Ronald and Sara Ringen 

John and Marie Rundle 

Bob and Tamra Ruxin 

Tom and Joan Sallee 

Dwight E. and Donna L. Sanders 

Mark and Ita Sanders* 

Howard and Eileen Sarasohn 

Jerry and Kay Schimke 

Mervyn Schnaidt 

Maralyn Scott 

Nancy Sheehan and Rich Simpson 

In memory of Charles R.S. Shepard 

Kathie Shigaki 

Elizabeth Smithwick 

Al and Sandy Sokolow 

Edward and Sharon Speegle 

Curtis and Judy Spencer 

Elizabeth St Goar 

Tim and Julie Stephens 

Pieter and Jodie Stroeve, and Diane Barrett 

Kristia Suutala 

Nancy Teichert 

Cap and Helen Thomson 

Butch and Virginia Thresh 

Dennis and Judy Tsuboi 

Ann-Catrin Van Ph.D. 

Robert Vassar and Nanci Manceau 

George and Denise Gridley 

Donald Walk, M.D. 

Geoffrey and Gretel Wandesford-Smith 

Norma and Richard Watson 

Dr. Fred and Betsy Weiland 

Daniel Weiss and Elena Friedman-Weiss 

Chuck White 

Lisa Yamauchi and Michael O’Brien 

Iris Yang and G. Richard Brown 

Wesley Yates 

Ronald M. Yoshiyama 

Hanni and George Zweifel 

And 10 donors who prefer to remain 

anonymous 

MainstaGe CirCLe 

$100 - $299 

Leal Abbott 

Thomas and Betty Adams 

Mary Aften 

Jill Aguiar 

Suzanne and David Allen 

David and Penny Anderson 

Valeriejeanne Anderson 

Elinor Anklin and George Harsch 

Janice and Alex Ardans 

Clemens Ford Arrasmith 

Debbie Arrington 

Fred Arth and Pat Schneider 

Jerry and Barbara August 

George and Irma Baldwin 

Charlotte Ballard 

Beverly and Clay Ballard 

Charlie and Diane Bamforth* 

Elizabeth Banks 

Michele Barefoot and Luis Perez-Grau 

Lupie and Richard Barton 

Cynthia Bates 

Paul and Linda Baumann 

Lynn Baysinger* 

Delee and Jerry Beavers 

Claire and Marion Becker* 

Mark and Betty Belafsky 

Lorna Belden 

Merry Benard 

Carol L. Benedetti 

William and Marie Benisek 

Robert C. and Jane D. Bennett 

Márta Battha Béres 

Bevowitz Family 

Boyd and Lucille Bevington 

Ernst and Hannah Biberstein 

John and Katy Bill 

Andrea Bjorklund and Sean Duggan 

Lewis J. and Caroline S. Bledsoe 

Fred and Mary Bliss 

Marchia Bond 

Brooke Bourland* 

Mary and Jill Bowers 

Adney and Steve Bowker 

Alf and Kristin Brandt 

Robert Braude and Maxine Moser 

Dan and Millie Braunstein* 

Pat and Bob Breckenfeld 

Margaret Brockhouse 

Don and Liz Brodeur 

David and Valerie Brown 

Linda Clevenger and Seth Brunner 

Martha Bryant* 

Mike and Marian Burnham 

Margaret Burns and Roy W. Bellhorn 

Victor and Meredith Burns 

William and Karolee Bush 

Robert and Lynn Campbell 

Robert Canary 

John and Nancy Capitanio 

James and Patty Carey 

Anne and Gary Carlson 

Jan Carmikle, ‘90 

John Carroll 

Bruce and Mary Alice Carswell* 

Jan B. and Barbara J. Carter* 

Caroline Chantry and James Malot 

Frank Chisholm 

Michael and Paula Chulada 

Arthur Chung and Karen Roberts 

Betty M. Clark 

Gail Clark 

L. Edward and Jacqueline Clemens 

Bill and Linda Cline 

Barbara Cody 

Stephan Cohen 

Sheri and Ron Cole 

Harold and Marj Collins 

Steve and Janet Collins 

Patricia Conrad and Ann Brice 

Jan and Gayle Conroy 

Judith Cook 

Pauline Cook 

Mr. and Mrs. Terry Cook 

Victor Cozzalio and Lisa Heilman-Cozzalio 

Bill and Myra Cusick 

Elizabeth Dahlstrom-Bushnell* 

John W. and Joanne M. Daniels 

Dena Davidson 

Johanna Davies 

Mary Hanf Dawson 

Jody Deaderick 

Ed and Debby Dillon 

Joel and Linda Dobris 

Richard Epstein and Gwendolyn Doebbert 

Val Dolcini and Solveig Monson 

Val and Marge Dolcini* 

Gordon Douglas 

Sue Drake* 

Ray Dudonis 

Anne Duffey 

Leslie Dunsworth 

Marjean Dupree 

Victoria Dye and Douglas Kelt 

J. Terry and Susan Eager 

Harold and Anne Eisenberg 

Eliane Eisner 

Brian Ely and Robert Hoffman 

Allen Enders 

Adrian and Tamara Engel 

Sid England 

Carol Erickson and David Phillips 

M. Richard and Gloria M. Eriksson 


MONDAVI CENTER suPPORT


Jeff Ersig 

Christine Facciotti 

Adrian Farley and Greg Smith 

Andrew D. and Eleanor E. Farrand* 

Elizabeth Fassler 

Elizabeth and Timothy Fenton 

Steven and Susan Ferronato 

Martin Filet and Mary McDonald 

Margery Findlay 

Kieran and Martha Fitzpatrick 

Judy Fleenor* 

Manfred Fleischer 

David and Donna Fletcher 

Glenn Fortini 

Marion Franck and Bob Lew 

Frank Brown 

Barbara and Edwin Frankel 

Anthony and Jorgina Freese 

Joel Friedman 

Kerim and Josina Friedrich 

Joan M. Futscher 

Myra A. Gable 

Lillian Gabriel 

Charles and Joanne Gamble 

Claude and Nadja Garrod 

Xiaojia Ge and Ronghua Li* 

Ivan Gennis 

Peggy Gerick 

Gerald Gibbons and Sibilla Hershey 

Mary Lou and Robert Gillis 

Eleanor Glassburner 

Roberta R. Gleeson 

Burton Goldfine 

Robert and Pat Gonzalez* 

Robert and Velma Goodlin 

Michael Goodman 

Susan Goodrich 

Alouise Hillier 

Victor Graf 

Tom Graham 

Jacqueline Gray* 

Kathleen and Thomas Green 

Paul and Carol Grench 

Cindy and Henry Guerrero 

June and Paul Gulyassy 

Wesley and Ida Hackett* 

Jim and Jane Hagedorn 

Frank and Rosalind Hamilton 

William and Sherry Hamre 

Jim and Laurie Hanschu 

Marylee and John Hardie 

Richard and Vera Harris 

Cathy Brorby and Jim Harritt 

Sally H. Harvey 

Marjorie Heineke 

Donald and Lesley Heller 

Paul and Nancy Helman 

Martin Helmke and Joan Frye Williams 

Rand and Mary Herbert 

Eric Herrgesell, DVM 

Roger and Rosanne Heym 

Elizabeth and Larry Hill 

Calvin Hirsch and Deborah Francis 

Michael and Peggy Hoffman 

Jan and Herb Hoover 

Steve and Nancy Hopkins 

Allie Huberty 

David and Gail Hulse 

Deborah Hunter 

Eva Peters Hunting 

Lorraine J. Hwang 

Gabriel Isakson 

William Jackson 

Kathryn Jaramillo 

Dr. and Mrs. Ronald C. Jensen 

Pamela R. Jessup 

Carole and Phil Johnson 

John and Jane Johnson 

Steve and Naomi Johnson 

Michelle Johnston 

Warren and Donna Johnston 

In memory of Betty and Joseph Baria 

Andrew and Merry Joslin 

Martin and JoAnn Joye* 

John and Nancy Jungerman 

Fred and Selma Kapatkin 

Shari and Timothy Karpin 

Jean and Stephen Karr 

Anthony and Beth Katsaris 

Yasuo Kawamura 

Phyllis and Scott Keilholtz* 

Gary Kieser 

Dave and Gay Kent 

Michael Kent and Karl Jandrey 

Cathryn Kerr 


Pat and John Kessler 

Larry Kimble and Louise Bettner 

Ken and Susan Kirby 

Dorothy Klishevich 

Paulette Keller Knox 

Muriel Knudsen 

Winston and Katy Ko 

Paul and Pamela Kramer 

Dave and Nina Krebs 

Marcia and Kurt Kreith 

Sandra Kristensen 

Elizabeth and C.R. Kuehner 

Nate Kupperman 

Leslie Kurtz 

Cecilia Kwan 

Donald and Yoshie Kyhos 

Ray and Marianne Kyono 

Terri Labriola 

Bonnie and Kit Lam* 

Marsha M. Lang 

Lawrence and Ingrid Lapin 

Bruce and Susan Larock 

Kathleen Larson 

Leon E. Laymon 

C and J Learned 

Marceline Lee and Philip Smith 

Nancy P. Lee 

The Hartwig-Lee Family 

Nancy and Steve Lege 

The Lenk-Sloane Family 

Edward N. Lester 

Evelyn A. Lewis 

Melvyn and Rita Libman 

Guille Levin Libresco 

Jim and Jami Long 

Kim Longworth 

Mary Lowry 

Henry Luckie 

Paul and Linnae Luehrs 

Diana Lynch 

Maryanne Lynch 

Ed and Sue MacDonald 

Leslie Macdonald and Gary Francis 

Julin Maloof and Stacey Harmer 

Sandra Mansfield 

Joseph and Mary Alice Marino 

Pam Marrone and Mick Rogers 

Donald and Mary Martin 

Garth and Linda Martin 

J. A. Martin 

Mr. and Mrs. William R. Mason 

Bob and Vel Matthews 

Leslie Maulhardt 

Katherine F. Mawdsley* 

Karen McCluskey* 

John McCoy 

Nora McGuinness* 

Donna and Dick McIlvaine 

Tim and Linda McKenna 

Blanche McNaughton* 

Richard and Virginia McRostie 

Martin A. Medina and Laurie Perry 

Wener Paul Harder III 

DeAna Melilli 

Barry Melton and Barbara Langer 

Sharon Menke 

The Merchant Family 

Roland Meyer 

Leslie Michaels and Susan Katt 

Lisa Miller 

Phyllis Miller 

Sue and Rex Miller 

Douglas Minnis 

Steve and Kathy Miura* 

Kei and Barbara Miyano 

Sydney Moberg 

Vicki and Paul Moering 

Joanne K. Moldenhauer 

Amy Moore 

Debra Moore 

Hallie Morrow 

Marcie Mortensson 

Tony and Linda Mras 

Robert and Janet Mukai 

The Muller Family 

Terry and Judith Murphy 

Steve Abramowitz and Dr. Alberta Nassi 

Joni Neibert 

M.A. Nelson 

Margaret Neu* 

Cathy Neuhauser and Jack Holmes 

Robert and Donna Curley Nevraumont* 

Keri Mistler and Dana Newell 

Kan Ching Ng 

Malvina Nisman 

Nancy Nolte and James Little 

John Chendo and Esther Novak 

Patricia O’Brien* 

Kay Ogasawara 

Dana Olson 

James Oltjen 

Marvin O’Rear 

David and Debra Oshige 

Bob and Beth Owens 

Carlene and Mike Ozonoff* 

Michael Pach 

Joan S. Packard 

Thomas Pavlakovich and 

Kathryn Demakopoulos 

Bob and Marlene Perkins 

Lee/Michael Perrone 

Ann Peterson and Marc Hoeschele 

Pat Piper 

Vicki and Bob Plutchok 

Ralph and Jane Pomeroy* 

Bea and Jerry Pressler 

Ann Preston 

John Provost 

Evelyn and Otto Raabe 

Jan and Anne-Louise Radimsky 

Kathryn Radtkey-Gaither 

Lawrence and Norma Rappaport 

Evelyn and Dewey Raski 

Olga Raveling 

Sandi Redenbach* 

Mrs. John Reese, Jr. 

Martha Rehrman* 

Michael A. Reinhart and Dorothy Yerxa 

Eugene and Elizabeth Renkin 

Judy, David, and Hannah Reuben 

Mr. and Mrs. Alexander Rice 

Bill Rich 

John Richards 

Fred and Bernadeen Richardson 

Joyce Rietz 

Ralph and Judy Riggs* 

Caroline and Stephen Roberts 

Warren G. Roberts 

David and Kathy Robertson 

Tracy Rodgers 

Richard and Evelyne Rominger 

Mary F. Rosa 

Sharon and Elliott Rose 

Jean and George Rosenfeld 

Barbara and Alan Roth 

David and Catherine Rowen 

Paul and Ida Ruffin 

Hugh Safford 

Terry Sandbek and Sharon Billings* 

Kathleen and David Sanders 

Fred and Polly Schack 

John and Joyce Schaeuble 

Tyler Schilling 

Leon Schimmel and Annette Cody 

Fred and Colene Schlaepfer 

Janis J. Schroeder and Carrie L. Markel 

Jean Schwarzkopf 

Robert and Jenifer Segar 

Brian Sehnert and Janet McDonald 

Dan Shadoan and Ann Lincoln 

Jay and Jill Shepherd 

Ruth and Robert Shumway 

Sandra and Clay Sigg 

Dr. and Mrs. R.L. Siegler 

Andrew Sih and Caitlin McGaw 

Mark Berman and Lynn Simon 

Michael and Elizabeth Singer 

Joy Skalbeck 

Barbara Slemmons 

Judith Smith 

Jean Snyder 

Roger and Freda Sornsen 

Greg and Pam Sparks 

Joseph and Dolores Spencer 

Marguerite Spencer 

Miriam Steinberg 

Harriet Steiner and Miles Stern 

John and Johanna Stek 

Judith Stern 

Raymond Stewart 

Deb and Jeff Stromberg 

Patricia Sturdevant 

Becky and James Sullivan 

Thomas Swift 

Joyce Takahashi 

Stewart and Ann Teal 

Pouneh Tehrani 

Francie Teitelbaum 

Jeanne Shealor and George Thelen 

Julie Theriault, PA-C 

Virginia Thigpen 

Janet Thome 

Robert Thorpe 

Brian Toole 

Robert and Victoria Tousignant 

Katharine Traci 

Michael and Heidi Trauner 

Gary and Jan Truesdail 

Barbara and Jim Tutt 

Chris Van Kessel 

Bart and Barbara Vaughn* 

Marian and Paul Ver Wey 

Richard and Maria Vielbig 

Merna and Don Villarejo 

Charles and Terry Vines 

Evelyn Matteucci and Richard Vorpe 

Carolyn Waggoner* 

M. Therese Wagnon 

Maxine Wakefield and William Reichert 

Marny and Rick Wasserman 

Caroline and Royce Waters 

Marya Welch* 

Dan and Ellie Wendin 

Martha West 

Robert and Leslie Westergaard* 

Susan Wheeler 

Regina White 

Linda K. Whitney 

Kristin Wiese 

Phillip and JoAnne Wile 

Ward Willats 

Mrs. Jane L. Williams 

Suzanne and Keith Williams 

Janet Winterer 

The Wolf Family 

Jennifer Woo 

Linda Yassinger 

Timothy and Vicki Yearnshaw 

Norman and Manda Yeung 

Phillip and Iva Yoshimura 

Heather M. Young and Peter B. Quinby 

Larry Young and Nancy Lee 

Phyllis Young 

Melanie and Medardo Zavala 

Drs. Matthew and Meghan Zavod 

Phyllis and Darrel Zerger* 

Timothy Zindel 

Karen Ziskind 

Mark and Wendy Zlotlow 

And 55 donors who prefer to remain 

anonymous 

CoRPoRAte 

MAtChIng gIFts 

American Express Foundation Gift 

Matching Program 

Bank of America Matching Gifts Program 

Chevron/Texaco Matching Gift Fund 

ExxonMobil Foundation 

McGraw-Hill Company 

Merrill Lynch & Co. Foundation 

Monsanto Company 

The Sacramento Bee 

Wachovia Foundation Matching Gifts 

Program 

Wells Fargo Foundation 

We appreciate the many Members 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 

Members 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 530.754.5436 

to inform us of corrections.

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. When you 

join the Friends of Mondavi Center, you are able to 

choose from a variety of activities and work with other 

Friends who share your interests. 

Friends oF MonDavi CenTer 

CElEBRATE 20 yEARS! 

The 2010-11 season marks the 20th anniversary of the Friends of Mondavi 

Center. Twenty years ago, a small, energetic, creative group of volunteers saw 

a need and began what was then friends of uC Davis Presents. As the Mondavi 

Center opened in 2002, the group became the friends of Mondavi Center. with 

an ever growing roster of 180 members, during the 2009-10 season enthusiastic 

Friends of Mondavi Center logged over 9000 volunteer hours supporting Arts 

Education programs! 

The Friends of Mondavi Center volunteer opportunities include managing and 

staffing the gift shop whose profits benefit Arts Education and planning social 

events and fundraisers which support the school Matinee ticket Program. 

During the 2009 -2010 season, the school Matinee Ticket Program identified 

and provided school matinee tickets free of charge to schools and programs in 

the region which otherwise would not have been able to attend. 

friends also are docents who present short talks to students in preparation 

for them attending school matinees. Docents use materials that are researched 

and written by other friends. friends also act as ushers for the school matinee 

performances. 

Other activities of the Friends of Mondavi Center include the Adult education 

Committee which staffs pre- and post-performance lectures and the spotlight 

series, Mondavi Center tours and the Ad hoc Committee, providing 

support as needed to the Arts education Program. 

For information on becoming a Friend of Mondavi Center, 

email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5430. 


MONDAVI CENTER sTAff 

MonDAVI CenteR stAFF 

DON ROTH, Ph.D. 


Jeremy Ganter 

Associate Executive Director 

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 Educaton and 

Strategic Projects 

Jennifer Mast 

Arts Education Coordinator 


audienCe serviCes 

Emily Taggart 

Audience Services Manager/ 

Artist Liaison Coordinator 

Yuri Rodriguez 

Events Manager 

Natalia Deardorff 

Assistant Events Manager 

Nancy Temple 

Assistant Public Events 

Manager 

business serviCes 

Debbie Armstrong 

Senior Director of Support 

Services 

Carolyn Warfield 

Human Resources Analyst 

Mandy Jarvis 

Financial Analyst 

Russ Postlethwaite 

Billing System Administrator 

Dena Gilday 

Payroll and Travel Assistant 

MonDAVI CenteR ADVIsoRY BoARD 

develoPment 

Debbie Armstrong 

Senior Director of Development 

Elisha Findley 

Development Coordinator 

FaCilities 

Steve McFerron 

Director of Facilities 

Greg Bailey 

Lead Building Maintenance 

Worker 

inFormation 

teCHnologY 

Darren Marks 

Programmer/Designer 

Mark J. Johnston 

Lead Application Developer 

Tim Kendall 

Programmer 

marKeting 

Rob Tocalino 

Director of Marketing 

Will Crockett 

Marketing Manager 

Erin Kelley 

Senior Graphic Artist 

Morissa Rubin 

Senior Graphic Artist 

tiCKet oFFiCe 

Sarah Herrera 

Ticket Office Manager 

Steve David 

Ticket Office Supervisor 

Russell St. Clair 

Ticket Agent 

Head usHers 

Huguette Albrecht 

George Edwards 

Linda Gregory 

Donna Horgan 

Mike Tracy 

Susie Valentin 

Janellyn Whittier 

Terry Whittier 

ProduCtion 

Christopher Oca 

Stage Manager 

Christi-Anne Sokolewicz 

Stage Manager 

Jenna Bell 

Production Coordinator 

Zak Stelly-Riggs 

Master Carpenter 

Daniel Goldin 

Master Electrician 

Michael Hayes 

Head Sound Technician 

Adrian Galindo 

Scene Technician 

Kathy Glaubach 


Daniel Thompson 


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. 

10-11 season BoarD offiCers 

John Crowe, Chair 

Lynette Hart, Vice-Chair 

Joe Tupin, Vice-Chair 

Dee Hartzog, Patrons Relations Co-Chair 

Lor Shepard, Patrons Relations Co-Chair 

Garry P. Maisel, Corporate Relations Co-Chair 

Camille Chan, Corporate Relations Co-Chair 

MeMBers 

Wayne Bartholomew 

Camille Chan 

John Crowe 

Lois Crowe 

Patti Donlon 

David Fiddyment 

Dolly Fiddyment 

Mary Lou Flint 

Samia Foster 

Scott Foster 

Anne Gray 

Bonnie Green 

Ed Green 

Benjamin Hart 

Lynette Hart 

Dee Hartzog 

Joe Hartzog 

Barbara K. Jackson 

Garry P. Maisel 

ex offiCio 

Linda Katehi, Chancellor, UC Davis 

Enrique Lavernia, Provost and Executive Vice Chancellor, UC Davis 

Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis 

Margaret Neu, President, Friends of Mondavi Center 

Sally Ryen, Chair, Arts & Lectures Administrative Advisory Committee 

Don Roth, Executive Director, Mondavi Center 

ARts & LeCtuRes ADMInIstRAtIVe ADVIsoRY CoMMIttee 

The Arts & Lectures Administrative Advisory Committee is made up of interested students, 

faculty, and staff who attend performances, review programming opportunities, and meet 

monthly with the director of the Mondavi Center. They provide advice and feedback for 

the Mondavi Center staff throughout the performance season. 

10-11 CoMMittee MeMBers 

Sally Ryen, Chair 

Prabhakara Choudary 

Adrian Crabtree 

Susan Franck 

Kelley Gove 

Holly Keefer 

Sandra Lopez 

Danielle McManus 

Bella Merlin 

Lee Miller 

Bettina Ng’weno 

Rei Okamoto 

Hearne Pardee 

Isabel Raab 

Kayla Rouse 

Erin Schlemmer 

Hulleah Tsinhnahjinnie 

Stephen Meyer 

Nancy Roe 

William Roe 

Lawrence Shepard 

Nancy Shepard 

Joan Stone 

Tony Stone 

Joe Tupin 

Larry Vanderhoef 

Rosalie Vanderhoef 

FRIenDs oF MonDAVI CenteR 

10-11 exeCutiVe BoarD 

Margaret Neu, President 

Laura Baria, Vice President/Membership 

Francie Lawyer, Secretary 

Jo Anne Boorkman, Adult Education 

Sandra Chong, K-12 Education 

John Cron, Mondavi Center Tours 

Phyllis Zerger, Outreach 

Martha Rehrman, School Matinee Ticket Program Fundraising 

Eunice Adair Christensen, Gift Shop Manager, Ex Officio 

Joyce Donaldson, Director of Arts Education, Ex Officio

POlICIEs AND 

INfORMATION 

ticket exchange Policy 

• Once a season ticket request is processed, there are no 

refunds. 

• If you exchange for a higher priced ticket, you will be charged 

the difference. The difference between a higher and lower 

priced exchanged ticket is not refundable. 

• Tickets must be exchanged at least one business day prior 

to the performance. 

• Tickets may not be exchanged after your performance date. 

• Gift certificates will not be issued for returned tickets. 

Parking 

You may purchase parking passes for individual Mondavi Center 

events for $6 for each 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 money. Groups of 20 or more qualify for a 10% discount. 

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*) 

Eligibility: Full-time students age 12 & over enrolled for the 

current academic year at an accredited institution and 

matriculating towards a diploma or a degree. 

(Continuing education enrollees are not eligible). 

Proof Requirements: School ID for the current academic year 

OR photocopy of your transcript/report card/tuition bill receipt 

for the current academic year. 

Children 

For events other than the family series it is recommended that 

children under the age of 5 not be brought to the performance for 

the enjoyment of all patrons. A ticket is required of all children 

regardless of age; any child attending a performance should be 

able to sit quietly throughout the performance. 

Privacy Policy 

Mondavi Center collects information from patrons solely for the 

purpose of gaining necessary information to conduct business 

and serve our patrons more efficiently. We also 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 www.MondaviArts.org. 

Restrooms 

All public restrooms are equipped with accessible sinks, stalls, 

baby-changing 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. 

*Only one discount per ticket. 

ACCoMMoDAtIons FoR PAtRons 

WIth DIsABILItIes 

Mondavi Center is proud to be a state-of-the-art public facility 

that meets or exceeds all state and federal ADA requirements and 

is fully accessible to patrons with disabilities. 

Parking for patrons with DMV placards is available on the street 

level (mid-level) of the nearby parking structure, and on the 

surface lots near the covered walkway. There is also a short-term 

drop-off area directly in front of the entrance. 

Patrons with disabilities or special seating needs should notify 

the Mondavi Center Ticket Office of those needs at the time of 

ticket purchase. Requests for sign language interpreting, real-time 

captioning, Braille programs, and other reasonable accommodations 

should be made with at least two weeks notice. 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. Ushers are 

available at the doors to Jackson Hall and the Vanderhoef Studio 

Theatre. Please explain to the usher how best to assist you, if 

needed. 

special seating 

Mondavi Center offers special seating arrangements for our 

patrons with disabilities. Please call the Ticket Office at 

530.754.2787 [TDD 530.754.5402]. 

Listening enhancement Devices 

Listening Infrared Systems are installed in both Jackson Hall and 

the Vanderhoef Studio Theatre. Receivers that can be used with or 

without hearing aids are available for patrons who have difficulty 

understanding dialogue or song lyrics. They may be checked out 

at no charge from the Patron Services Desk near the lobby elevators. 

elevators 

Mondavi Center has two passenger elevators serving all levels. 

They are located at the north end of the Yoche Dehe Grand Lobby, 

near the restrooms and Patron Services Desk. 

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. 


POlICIEs

CenteR 


2 0 1 0 

2 0 1 1 

sePTeMbeR 2010 

Madeleine Albright 

WeD, seP 29 

san francisco symphony 

thuR, seP 30 

oCTobeR 2010 

Bayanihan, National folk 

Dance Company of the Philippines 

FRI, oCt 1 

Dianne Reeves 

sAt, oCt 2 

steve Martin 

and the steep Canyon Rangers 

sun, oCt 3 

Rising stars of Opera 

sAt, oCt 9 

los lobos 

WeD, oCt 13 

Dresden staatskapelle 

sAt, oCt 23 

Gamelan Çudamani 

sun, oCt 24 

stew and The Negro Problem 

tue-WeD, oCt 26-27 

jonah lehrer 

WeD, oCt 27 

Music and Madness festival 

thu-sun, oCt 28-31 

noveMbeR 2010 

Venice Baroque Orchestra 

with Robert McDuffie, violin 

WeD, noV 3 

Delfeayo Marsalis Octet 

WeD-sAt, noV 3-6 

Buika 

sAt, noV 6 

Alexander string Quartet 

sun, noV 7 


Imago, ZooZoo 

sun, noV 7 

Delfeayo Marsalis Group 

WeD-FRI, noV 10-12 

Christopher O’Riley, piano 

sAt-sun, noV 13-14 

Paul Taylor Dance Company 

sAt, noV 13 

Tous les Matins du Monde 

thu, noV 18 

Ornette Coleman 

sAt, noV 20 

jeanine De Bique, soprano 

sAt-sun, noV 20-21 

deCeMbeR 2010 

Tord Gustavsen and 

solveig slettahjell 

WeD-sAt, DeC 1-4 


sun, DeC 5 

Mariachi los Camperos de Nati Cano 

sun, DeC 5 

kronos Quartet 

thu, DeC 9 

Dr. Beverly Daniel Tatum 

FRI, DeC 10 

lara Downes family Concert 

sun, DeC 12 

American Bach soloists, Messiah 

sAt, DeC 18 

janUaRy 2011 

kenric Tam 

sAt-sun, JAn 15-16 

Mark O’Connor and julian lage 

thu, JAn 20 


sAt, JAn 22 


WeD, JAn 26 

25th Hour 

thu, JAn 27 

MOMIx, Botanica 


simone Dinnerstein and Tift Merritt 


febRUaRy 2011 

Mark Morris Dance Group 

WeD, FeB 2 

Vijay Iyer 

WeD-sAt, FeB 2-5 

joshua Bell, violin 

WeD, FeB 9 

Bill frisell Trio and john scofield Trio 

FRI, FeB 11 

New Century Chamber Orchestra 

with Nadja salerno-sonnenberg 

sAt, FeB 12 

La Rondine 

thu, FeB 17 

MaRCh 2011 

Professor henry louis Gates, jr. 

Mon, MAR 7 

Tango fire: Tango Inferno 

thu, MAR 10 

yefim Bronfman, piano 

sAt, MAR 12 


sun, MAR 13 

san francisco symphony and Chorus 

thu, MAR 17 

Curtis On Tour 

sAt-sun, MAR 19-20 

Dan zanes and friends 

sun, MAR 20 

st. Petersburg Philharmonic Orchestra 

sAt, MAR 26 

young Artists Competition winners 

sun, MAR 27 

aPRil 2011 

Branford Marsalis & Terence Blanchard 

FRI, APR 1 

Takács Quartet, with Nobuyuki Tsujii, piano 

sAt, APR 2 

Alvin Ailey American Dance Theater 

tue-WeD, APR 5-6 

The silk Road Ensemble with yo-yo Ma 

FRI, APR 8 

lara Downes with David sanford 

sAt-sun, APR 9-10 

China Philharmonic Orchestra 

tue, APR 12 

Max Raabe and Palast Orchester 

WeD, APR 13 

Béla fleck, zakir hussain, & Edgar Meyer 

thu, APR 14 

Der Untergang (Downfall) 

thu, APR 21 

Buddy Guy 

FRI, APR 22 

David sedaris 

thu, APR 28 

Pablo ziegler, Beyond Tango 

FRI, APR 29 

May 2011 

lucinda Childs, DANCE 

tue, MAY 3 

Roby lakatos Ensemble 

thu, MAY 5 

jUne 2011 


sun, June 5 


530.754.2787 866.754.2787 (toll-free)

Download PDF - Mondavi Center

Create successful ePaper yourself

Delete template?

Save as template?