playbill issue 2: oct-nov 2010

3dresden staatskapelle

11Gamelan çudamani

17stew and theneGro problem

19jonah lehrer

21madness and music festival

25the seasons project

31delfeayo marsalis octet

Issue 2: Oct-NOV 2010

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Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2010 | 1

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These two weeks of programs at the Mondavi Center focus a lens on some centuries old traditions, while putting in front of us some great

innovators at the leading edge of their art forms. Robert McDuffie’s program with the Venice Baroque Orchestra gives us abit of both. He begins with a set of four baroque concertos as well known as anything in the repertoire—Vivaldi’s Four Seasons. Familiarity reallydoes not breed contempt—there is so much inside these pieces to listento, which is why they have remained popular for [nearly three] centu-ries. But how cool is this that our just turning seventy contemporary giant Philip Glass has produced his “American Seasons” who performed as a companion piece to Vivaldi’s. McDuffie, who performed the Leonard Bernstein Serenade with the Jerusalem symphony two seasons ago, is a gentle giant of a player, as comfortable with Glass and Arvo Pärt as he is with Mozart and Vivaldi. I am so glad we have him back on the stage of Jackson Hall. With the Dresden Staatskapelle you will have in front of you one of the two oldest western-style orchestras in Europe, bringing almost five centu-ries of tradition to us. From a very different, but stunningly beautiful and complex tradition comes Bali’s gamelan orchestras, and we bring back one of the very best: Gamelan Çudamani. Jazz, of course, is a newer art form but one which has created a century old tradition of styles and approaches. Delfeayo Marsalis is both steeped in that tradition and, like most great jazz artists, continually evolving. During his two weeks with us, Delfeayo will be visiting 10 schools around the region to work with young musicians to share his knowledge and devotion. A number of the students he workswith will be on stage with him during his second week in the Vanderhoef Studio Theatre, November 10-12. I encourage you to join us when theVST is transformed into a jazz club and hear some of the best youngtalents from this region. I also encourage you to take in the performances by Stew (and his group “The Negro Problem”) who has transformed rock into provocative social commentary; and by Buika, who takes the tradition of Flamenco singing many steps forward. These are two amazing artists, making their Mondavi Center debuts. Innovation, tradition? It’s all great music, performances that could happen nowhere else in our region except the Mondavi Center.

Enjoy these performances!

Don RothExecutive DirectorMondavi Center for the Performing Arts

A MEssAGE fROMDON ROTh, Ph.D.ExECuTIVE DIRECTORMONDAVI CENTER

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 unwrapit before the lights dim.

• Please remember that the taking of photographsor the use of any type of audio or video recordingequipment is strictly prohibited.

• Please look around and locate the exit nearest you.That exit may be behind you, to the side, or in frontof you. In the unlikely event of a fire alarm or otheremergency 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 performancemay not be re-admitted to his/her ticketed seat whilethe performance is in progress.

INfOAccommodations for Patronswith Disabilities530.754.2787 • TDD: 530.754.5402In the event of an emergency, patrons requiringphysical assistance on the Orchestra Terrace,Grand Tier, and Upper Tier levels please proceedto the elevator alcove refuge where this sign appears.Please let us know ahead of time for any specialseating requests or accommodations. See p. 40 formore information.

Membership 530.754.5436Member contributions to the Mondavi Centerpresenting program help to offset the costs of the annual season of performances and lectures, andprovide a variety of arts education and outreachprograms to the community.

Friends of Mondavi Center 530.754.5000Contributors to the Mondavi Center are eligible tojoin the Friends of Mondavi Center, a volunteersupport group that assists with educational programsand audience development.

Volunteers 530.754.1000Mondavi Center volunteers assist with numerousfunctions, including house ushering and the activitiesof the Friends of Mondavi Center and the Arts andLectures Administrative Advisory Committee.

Tours 530.754.5399One-hour guided tours of the Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre, and Rumsey Rancheria 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.

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2 | MONDAVIARTs.ORG Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2010 | 3

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

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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.

Dresden StaatskapelleDaniel harding, conductor

Rudolf Buchbinder, piano

A Western Health Advantage Orchestra Series Event

Saturday, October 23, 2010 • 8PM

Jackson Hall, Mondavi Center, UC Davis

There will be one intermission.

Sponsored by

DebutMC

FuRTheR LISTeNINgsee p. 6

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Overture to Lord Byron’s Dramatic Poem, Manfred, Op. 115 Schumann

Piano Concerto No. 4 in G Major, Op. 58 Beethoven

Allegro moderato

Andante con moto — Rondo: Vivace

Intermission

Symphony No. 7 in A Major, Op. 92 Beethoven

Pocosostenuto — Vivace

Allegretto

Presto

Allegro con brio



PROgRAM NOTeS

Overture to Lord Byron’s Dramatic Poem, Manfred, Op. 115 (1848)Robert Schumann(Born June 8, 1810, in Zwickau, Germany; died July 29, 1856, in Endenich, Germany)

It is not surprising that a man of Schumann’s deep sensibilities and refined literary tastes (his father was a bookseller) would be irresistibly drawn to the writings of that quintessential figure of English Romanticism, George Gordon — Lord Byron. The work of Byron that most affected Schumann was the verse drama of 1817, Manfred. In his study of Schumann, André Boucourechliev described the plot, such as it is, of Byron’s phantasmagoric epic: “Manfred [a Swiss nobleman] had loved his sister, Astarte, and after her death sought by magic means to forget her, while at the same time wishing to evoke her spirit. Being unable to appease his torment, he attempted to die and Astarte appeared before him to prophesy his end. He died surrounded by the genies he had conjured up, defying them and refusing the help of a holy man.” Byron himself described Manfred to his publisher as being “of a very wild, metaphysical and inexplicable kind. Almost all of the persons—but two or three—are spirits of the earth and air, or the waters; the scene is in the Alps; the hero is a kind of magician, who is dominated by a species of remorse, the cause of which is left half-explained. He wanders about, invoking these spirits, which appear to him and are of no use; at last he goes to the very abode of the Evil Principle to evoke a ghost, which appears and gives him an ambiguous and disagreeable answer; and in the third act he is found by an attendant, dying in a tower, where he has studied his art.”Though Schumann left no specific “program” for his Manfred

Overture, it seems likely that he intended the music to mirror the progression of the poem. The dramatic opening gesture, three stabbing chords, may represent the mysterious “crime” that haunts Manfred. The brooding slow introduction that follows seems to convey the hero’s troubled nature. The main body of the Overture is occupied with a large sonata form whose tempestuous, syncopated main theme evokes Manfred’s struggle within himself, while the more lyrical subsidiary melody conjures a vision of his sister. The development reflects the mounting intensity of Manfred’s unrest. After an altered recapitulation of the earlier themes, the coda, which recalls the unsettled mood and music of the introduction, suggests the death of Manfred at the close of Byron’s poem.

Piano Concerto No. 4 in G Major, Op. 58 (1806)Ludwig van Beethoven(Born December 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna, Austria)

The Napoleonic juggernaut twice overran the city of Vienna. The first occupation began on November 13, 1805, less than a month after the Austrian armies had been soundly trounced by the French legions at the Battle of Ulm on October 20. Though the entry into Vienna was peaceful, the Viennese had to pay dearly for the earlier defeat in punishing taxes, restricted freedoms, and inadequate food supplies. On December 28, following Napoleon’s fearsome victory at Austerlitz that forced the Austrian government into capitulation, the Little General left Vienna. He returned in May 1809, this time with cannon and cavalry sufficient to subdue the city by force, creating conditions that were worse than those during the previous occupation. As part of his booty

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DReSDeN STAATSkAPeLLe

by jeFF huDSON

Jeff Hudson contributes coverage of the performing

arts to Capital Public Radio, the Davis Enterprise,

and Sacramento News and Review.

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It’s been around since the 1500s, and it’s had some conductors with associations in this region. From 1975 to 1985, the Dresden Staatskapelle was led by Herbert Blomstedt (and in 1985, Blomstedt began a seven-year stint as conductor of the San Francisco Symphony—he is still the San Francisco orchestra’s conductor laureate).

And from 1985 to 1990, the Dresden Staatskapelle was led by Hans Vonk. In 1995, Vonk became the conduc-tor of the St. Louis Symphony, and you may recall Vonk and the orchestra performing at the Sacramento Community Center Theater in the late 1990s under the old UC Davis Presents program. Vonk died of Lou Gehrig’s Disease in 2004. The St. Louis Symphony (now led by conductor David Robertson) was at the Mondavi Center last season.

The Dresden Staatskapelle has also made quite a few recordings during the past 100 years. Among the inter-esting discs currently available:

A two-disc, one-DVD set featuring music recorded •between 1923-32 under conductor Fritz Busch, includes a 190-page booklet. (This package picked up several awards in Europe.)

A two-disc recording of Bruckner’s Symphony No. •8, performed under conductor Bernard Haitink, who was with the orchestra from 2002-04. (The recording won several awards).

A two-disc recording of the Berlioz Requiem, •performed under conductor Sir Colin Davis in the 1990s; Davis is now the orchestra’s conductor laureate. (The recording is a memorial marking the 50th anniversary of the fire-bombing of Dresden in February 1945.)

A recording of Mahler’s Symphony No. 4, with a •bonus track featuring conductor Giuseppe Sinopoli talking about Mahler’s music. (Sinopoli, who earned a degree in medicine before embarking on a somewhat controversial musical career, was the orchestra’s conductor from 1992 until his untimely death in 2001 of a heart attack, while on stage con-ducting the Deutsche Oper in Berlin).

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and in an attempt to ally the royal houses of France and Austria, Napoleon married Marie Louise, the 18-year-old daughter of Austrian Emperor Franz. She became the successor to his first wife, Josephine, whom he divorced because she was unable to bear a child. It was to be five years—1814—before the Corsican was finally defeated and Emperor Franz returned to Vienna, riding triumphantly through the streets of the city on a huge, white Lipizzaner.

Such soul-troubling times would seem to be antithetical to the production of great art, but for Beethoven, that ferocious libertarian, those years were the most productive of his life. Hardly had he begun one work before another appeared on his desk, and his friends recalled that he labored on several scores simultaneously during this period. Sketches for many of the works appear intertwined in his notebooks, and an exact chronology for most of the works from 1805 to 1810 is impossible. So close were the dates of completion of the Fifth and Sixth Symphonies, for example, that their numbers were reversed when they were given their premieres on the same giant concert as the Fourth Concerto. Between Fidelio, which was in its last week of rehearsal when Napoleon entered Vienna in 1805, and the music for Egmont, finished shortly after the second invasion, Beethoven composed the “Appassionata” Sonata, Violin Concerto, Fourth and Fifth Piano Concertos, the three Quartets of Op. 59, Leonore Overture No. 3, Coriolan Overture, Fourth, Fifth and Sixth Symphonies, the two Op. 70 Piano Trios, “Les Adieux” Sonata, and many smaller songs, chamber works, and piano compositions. It is a stunning record of accomplishment virtually unmatched in the history of music.

Of the nature of the Fourth Concerto, Milton Cross wrote, “[Here] the piano concerto once and for all shakes itself loose from the 18th century. Virtuosity no longer concerns Beethoven at all; his artistic aim here, as in his symphonies and quartets, is the expression of deeply poetic and introspective thoughts.” The mood is established immediately at the outset of the work by a hushed, prefatory phrase for the soloist. The form of the movement, vast yet intimate, begins to unfold with the ensuing orchestral introduction, which presents the rich thematic material: the pregnant main theme, with its small intervals and repeated notes; the secondary themes—a melancholy strain with an arch shape and a grand melody with wide leaps; and a closing theme of descending scales. The soloist re-enters to enrich the themes with elaborate figurations. The central development section is haunted by the rhythmic figuration of the main theme (three short notes and an accented note). The recapitulation returns the themes, and allows an opportunity for a cadenza (Beethoven composed two for this movement) before a glistening coda closes the movement.

The second movement starkly opposes two musical forces—the stern, unison summons of the strings and the gentle, touching replies of the piano. Franz Liszt compared this music to Orpheus taming the Furies, and the simile is warranted, since both Liszt and Beethoven traced their visions to the magnificent scene in Gluck’s Orfeo where Orpheus’ music charms the very fiends of Hell. In the Concerto, the strings are eventually subdued by the entreaties of the piano, which then gives forth a wistful little song filled with quivering trills. After only the briefest pause, a high-spirited and long-limbed rondo-finale is launched by the strings to bring the Concerto to a stirring close.

Symphony No. 7 in A Major, Op. 92 (1812)Ludwig van Beethoven(Born December 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna, Austria)

In the autumn of 1813, Johann Nepomuk Mälzel, the inventor of the metronome, approached Beethoven with the proposal that the two organize a concert to benefit the soldiers wounded at the recent Battle of Hanau—with, perhaps, two or three repetitions of the concert to benefit themselves. Beethoven was eager to have the as-yet-unheard A Major Symphony of the preceding year performed, and he thought the financial reward worth the trouble, so he agreed. The concert consisted of this “Entirely New Symphony” by Beethoven, marches by Dussek and Pleyel performed on a “Mechanical Trumpeter” fabricated by Mälzel, and an orchestral arrangement of Wellington’s Victory, a piece Beethoven had concocted the previous summer for yet another of Mälzel’s musical machines, the “Panharmonicon.” The evening was such a success that Beethoven’s first biographer, Anton Schindler, reported, “All persons, however they had previously dissented from his music, now agreed to award him his laurels.”

The Seventh Symphony is a magnificent creation in which Beethoven displayed several technical innovations that were to have a profound influence on the music of the 19th century: he expanded the scope of symphonic structure through the use of more distant tonal areas; he brought an unprecedented richness and range to the orchestral palette; and he gave a new awareness of rhythm as the vitalizing force in music. It is particularly the last of these characteristics that most immediately affects the listener, and to which commentators have consistently turned to explain the vibrant power of the work. Perhaps the most famous such observation about the Seventh Symphony is that of Richard Wagner, who called the work “the apotheosis of the Dance in its highest aspect…the loftiest deed of bodily motion incorporated in an ideal world of tone.”

A slow introduction, almost a movement in itself, opens the Symphony. This initial section employs two themes: the first, majestic and unadorned, is passed down through the winds while being punctuated by long, rising scales in the strings; the second is a graceful melody for oboe. The transition to the main part of the first movement is accomplished by the superbly controlled reiteration of a single pitch. This device not only connects the introduction with the exposition but also establishes the dactylic rhythm that dominates the movement. The Allegretto is a series of variations on the heartbeat rhythm of its opening measures. In spirit, however, it is more closely allied to the austere chaconne of the Baroque era than to the light, figural variations of Classicism. The third movement, a study in contrasts of sonority and dynamics, is built on the formal model of the scherzo, but expanded to include a repetition of the horn-dominated Trio (Scherzo–Trio–Scherzo –Trio–Scherzo). In the sonata-form finale, Beethoven not only produced music of virtually unmatched rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey), but did it in such a manner as to exceed the climaxes of the earlier movements and make it the goal toward which they had all been aimed.

©2010 Dr. Richard E. Rodda

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Daniel hardingBorn in Oxford, Daniel Harding began his career assisting Sir Simon Rattle at the City of Birmingham Symphony Orchestra, with which he made his professional debut in 1994. He then assisted Claudio Abbado at the Berlin Philharmonic and made his debut with the orchestra at the 1996 Berlin Festival. He is the Principal Guest Conductor of the London Symphony Orchestra, Music Director of the Swedish Radio Symphony Orchestra, Principal Conductor of the Mahler Chamber Orchestra, and Artistic Partner of the New Japan Philharmonic. His previous positions include Principal Conductor of the Trondheim Symphony in Norway (1997-2000), Principal Guest Conductor of Sweden’s Norrköping Symphony (1997-2003), and Music Director of the Deutsche Kammerphilharmonie Bremen (1997-2003).

Harding is a regular visitor to the Dresden Staatskapelle, Vienna Philharmonic (both of which he has conducted at the Salzburg Festival), Royal Concertgebouworkest, Bavarian Radio Orchestra, Leipzig Gewandhausorchester, and the Orchestra FilarmonicadellaScala. Other guest conducting engagements have included the Berlin Philharmonic, Munich Philharmonic, Orchestre National de Lyon, Oslo Philharmonic, London Philharmonic, Royal Stockholm Philharmonic, Santa Cecilia Orchestra of Rome, Orchestra of the Age of Enlightenment, Rotterdam Philharmonic, Frankfurt Radio Orchestras, and the Orchestre des Champs-Elysées. Among the American orches-tras with which he has performed are the Philadelphia Orchestra, Los Angeles Philharmonic, and Chicago Symphony Orchestra.

In 2005, he opened the season at La Scala, conducting a new produc-tion of Idomeneo. He returned in 2007 for Salome and in 2008 for a double bill of Bluebeard’s Castle and Il Prigioniero. His operatic experi-ence also includes The Turn of the Screw and Wozzeck at the Royal Opera House, Covent Garden, Wozzeck at the Theater an der Wien, and Don Giovanni and Le nozze di Figaro at the Salzburg Festival with the Vienna Philharmonic. Closely associated with the Aix-en-Provence Festival, he has conducted new productions there of Così fan tutte, Don Giovanni, The Turn of the Screw, La Traviata, Eugene Onegin, and, most recently, Le nozze di Figaro. Other engagements have included Die Zauberflöte in Vienna and Die Entführungausdem Serail at the BayerischeStaatsoper, Munich. His future engagements include Otello in Baden Baden, and Cavalleria Rusticana and I Pagliacci at La Scala, Milan.

Daniel Harding records exclusively for Deutsche Grammophon, and his first disc for the label, a recording of Mahler’s Symphony No. 10 with the Vienna Philharmonic Orchestra, has won widespread criti-cal acclaim. Previously a Virgin/EMI artist, his recordings for that label include Mahler’s Symphony No. 4 with the Mahler Chamber Orchestra; Brahms’ Symphonies Nos. 3 and 4 with the Deutsche Kammerphilharmonie Bremen; Billy Budd with the London Symphony Orchestra (winner of a Grammy Award for best opera recording); Don Giovanni and The Turn of the Screw (awarded the “Choc de l’Année 2002”, the “Grand Prix de l’Académie Charles Cros,” and a Gramophone award) both with the Mahler Chamber Orchestra; works by Lutosławski with Solveig Kringelborn and the Norwegian Chamber Orchestra, and works by Britten with Ian Bostridge and the Britten Sinfonia (awarded the “Choc de L’Annee 1998”).

In 2002, he was awarded the title Chevalier de l’Ordre des Arts et des Lettres by the French Government.

Rudolf Buchbinder, PianoRudolf Buchbinder began his musical career as chamber musician. He performed as soloist with great orchestras and conductors all over the world and is a regular guest at major festivals. Buchbinder’s repertoire is extensive and includes numerous 20th century compositions. He attaches considerable importance to the meticulous work of the study of sources. He has 18 complete editions of Beethoven’s Sonatas and has

an extensive collection of first editions and original documents. He also possesses the autographs of the piano parts and of the scores of the two piano concertos by Brahms.

Buchbinder not only devotes himself to the classic-romantic music, he also recorded such rarely performed pieces as the collection of “Diabelli-Variations” composed by 50 Austrian musicians. More than 100 records provide proof of the extent of Buchbinder’s repertoire. For the outstanding recording of the complete piano works by Joseph Haydn, he received the “Grand Prix du disque.” His cycle of the Mozart piano concertos with the Vienna Symphony Orchestra, recorded live at the Vienna Konzerthaus, was acclaimed by the famous critic Joachim Kaiser as CD of the year in 1998. In 1999, Buchbinder released an exceptional CD of piano transcriptions, Waltzing Strauss. Buchbinder’s latest live recordings present both Brahms piano concertos with the Royal Concertgebouw Orchestra under the direction of Nikolaus Harnoncourt and all five Beethoven piano concertos with the Vienna Symphony Orchestra as soloist and conductor. Buchbinder has been the Artistic Director of the Grafenegg Festival since 2007.

One of his major concerns is the interpretation of the New Testament in piano repertoire, with the cyclic performance of all 32 piano sona-tas by Beethoven, which he played in more than 40 cities includ-ing Munich, Vienna, Hamburg, Zurich, and Buenos Aires, Rudolf Buchbinder has set and continues to set standards. The concerts with the Vienna Philharmonic Orchestra on the occasion of the “Wiener Festwochen,” featuring 12 piano concertos by Mozart, have been recorded on DVD.

The Dresden StaatskapelleSir Colin Davis, Conductor LaureateThe Dresden Staatskapelle celebrated its 460th anniversary in September 2008. Founded by Prince Elector Moritz von Sachsen in 1548, it is one of the oldest orchestras in the world and thus steeped in tradition. Distinguished conductors and internationally acclaimed instrumentalists have helped shape the development of this onetime court orchestra. Former music directors include Heinrich Schütz, Johann Adolf Hasse, Carl Maria von Weber, and Richard Wagner, for whom the ensemble was his “miraculous harp.”

The list of prominent chief conductors of the last 100 years includes Ernst von Schuch, Fritz Reiner, Fritz Busch, Karl Böhm, Joseph Keilberth, Rudolf Kempe, Otmar Suitner, Kurt Sanderling, Herbert Blomstedt, Giuseppe Sinopoli, and Bernard Haitink. Fabio Luisi was music director of both the Saxon State Opera and the Staatskapelle Dresden from 2007-10. In 2012, Christian Thielemann will assume the position of principal conductor to the Staatskapelle Dresden. Sir Colin Davis has been the orchestra’s conductor laureate since 1990.

Richard Strauss and the Staatskapelle were closely linked for more than 60 years. Nine of the composer’s operas were premiered in Dresden (including Salome, Elektra, and Der Rosenkavalier) while Strauss’s “Alpine Symphony” was dedicated to the Staatskapelle. Many other famous composers have written works for the Staatskapelle. In 2007, the orchestra reaffirmed this tradition by introducing the annual posi-tion of “Capell-Compositeur”. The first three composers to hold this title have been Isabel Mundry, Bernhard Lang, and Rebecca Saunders.

Today the Staatskapelle performs around 260 operas and ballets each season in the Semper Opera House, in addition to 50 symphonic and chamber concerts. The orchestra also gives concerts in Dresden’s land-mark church, the Frauenkirche, while a busy touring schedule regularly brings the ensemble to the world’s leading venues for classical music.

At a ceremony in Brussels in 2007, the Staatskapelle became the first—and so far only—orchestra to be awarded the “European Prize for the Preservation of the World’s Musical Heritage.” In 2008, the British classical music magazine Gramophone once again voted the Dresden ensemble one of the world’s top ten orchestras.

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First ViolinsRoland Straumer ConcertmasterMichael EckoldtThomas MeiningMichael FrenzelJohanna MittagJörg KettmannSusanne BrannyBirgit JahnHenrik WollAnja KraußRoland KnauthAnselm TelleSae ShimabaraRenate HeckerCaterina FrenzelMarián Gašpar

Second ViolinsHeinz-Dieter Richter ConcertmasterJörg Faßmann ConcertmasterMatthias MeißnerAnnette ThiemStephan Drechsel Jens MetznerUlrike ScobelOlaf-Torsten SpiesMechthild von RysselAlexander ErnstEmanual HeldStanko MadićPaige KearlBoris Bachmann

ViolasSebastian Herberg Solo violaAndreas SchreiberAnya MuminovichMichael HorwathRalf DietzeClaudia BriesenickSusanne NeuhausJuliane BöckingMilan LikarReinald RossChristoph StarkeTorsten Frank

CellosChristopher Franzius Concertmaster CelloSimon Kalbhenn Solo CelloTom HöhnerbachMartin JungnickelAndreas PriebstBernward GrunerJohann-Christoph SchulzeJörg HassenrückAnke HeynMatthias Schreiber

Double BassesAndreas Wylezol Solo Double BassUlrich Berggold Solo Double BassMartin KnauerHelmut BrannyChristoph BechsteinFred WeicheReimond PüschelJohannes Nalepa

FlutesEckart Haupt Solo FluteSabine Kittel Solo FluteBernhard KuryJens-Jörg Becker

OboesBernd Schober Solo OboeCéline Moinet Solo OboeAndreas LorenzSibylle Schreiber

ClarinetsWolfram Große Solo ClarinetJochen Tschabrun Solo ClarinetDietmar HedrichJan Seifert

BassoonsErik Reike Solo BassoonThomas Eberhardt Solo BassoonJoachim HuschkeThomas Berndt

HornsErich Markwart Solo HornJochen Ubbelohde Solo HornDavid HarloffManfred RiedlJulius RönnebeckEberhard Kaiser

TrumpetsMathias Schmutzler Solo TrumpetGerd Graner

TrombonesUwe Voigt Solo TromboneGuido UlfigFrank van Nooy

TubaJens-Peter Erbe

TimpanisBernhard SchmidtThomas Käppler

HarpAstrid von Brück



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Jan Nast Orchestra ManagerClara Marrero Concert and Tour PlanningJuliane Reményi Orchestra InspectorMatthias Claudi Marketing ManagerMatthias Creutziger PhotographerGolo Hunger Stage ManagerSusanna Imogen Blechschmitt Stage ManagerKerstin Lichtenberger Tour ConceptMike Wegner Tour Concept

10 | MONDAVIARTs.ORG

IN OuR lOBByThe Mondavi Center display will preview pieces from:

Vanishing Traditions: Textiles and Treasures from Southwest ChinaShowcasing wearable textiles and ornaments, a new exhibition at the UCD Design Museum, Vanishing Traditions: Textiles and Treasures from Southwest China, opening in fall 2010, displays the life, culture, and continuing loss of adornment skills of the minority people who live in Southwest China. The exhibition curator, Bea Roberts, shares her visually superbcollection, acquired during her early visits to the region, when the villages were primarily intact in their cultural identity, before the traditions started to vanish in today’s globalization race.

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.

Located at the north end of the Yocha Dehe Grand Lobby, the art display case is a collaboration among the Mondavi Center, the Design Museum, the C. N. Gorman Museum, and the Richard L. Nelson Gallery & Fine Arts Collection.



PResents


gamelan ÇudamaniBamboo to Bronze

Co-commissioned by Cal Performances, UC Berkeley, and UCLA Live

Support provided by the Metabolic Studio/Chora

A World Stage: Dance Series Event

Sunday, October 24, 2010 • 7PM



Pre-Performance Talk

Speakers: Henry Spiller, Associate Professor, UC Davis Department of Music and

Emiko Saraswati Susilo, Associate Director, Gamelan Çudamani

Jackson Hall, Mondavi Center • 6PM


TARGET sChool MATinEE sERiEsMondavi 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 de-signed for students, the school Matinee program is curriculum based and focuses on the cultural authenticity and international exchange possible only through live performance.

Mondavi Center ARTS eDuCATION

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gAMeLAN ÇuDAMANI MONDAy, OCTOBeR 25, 2010

IMAgO, ZooZooMONDAy, NOVeMBeR 8, 2010

MARIAChI LOS CAMPeROS De NATI CANOMONDAy, DeCeMBeR 6, 2010

MOMIX, BotanicaMONDAy, jANuARy 31, 2011

CuRTIS ON TOuRThuRSDAy, MARCh 17, 2011

DAN ZANeS AND FRIeNDSMONDAy, MARCh 21, 2011

ALVIN AILey AMeRICAN DANCe TheATeRTueSDAy, APRIL 5, 2011

All shows at 11AM

Complimentary wine pours

in the Bartholomew Room

for inner Circle Donors.

sponsored by


Director: I Dewa Putu Berata

Assistant Director: Emiko Saraswati Susilo

Artistic Advisors: I Made Arnawa, I Nyoman Cerita

Composers: I Made Arnawa, I Dewa Putu Berata, I Dewa Putu Rai

Choreographers: I Nyoman Cerita, Pak Kranca

Concept: Judy Mitoma

B alinese music and dance are evolving traditions that are root-ed in the genius of our ancestors and sustained with the hard

work and deep love of our children. From times long before the great kingdoms of Bali, the sounds of nature, work, and life were enhanced by song and music making. While today, our ears are filled with the sounds of motorbikes, cell phones, televisions, and computer games, thankfully the sounds of nature and the beauty of music and dance are still a part of our lives.

Bamboo and BronzeFlourishing in mountain forests of Bali are many kinds of bamboo. For centuries we have looked to our bamboo to sustain life. When a baby is born, a small, sharpened piece of bamboo cuts the child’s umbilical cord. In our last rites of cremation, large lengths of bam-boo are strapped together and held on the shoulders of our men who carry our bodies to the fire. It is used to cook, protect, pound, and measure rice, to meter irrigation, and as a vessel for drink-ing. When the rice is “pregnant,” the Rice Goddess is entertained with the sounds of bamboo sunari (bamboo wind flute), taluktak (bamboo irrigation meters), and pindekan (spinning bamboo wind chimes). It is a powerful and flexible material to build homes—strong enough to hold up a roof, yet flexible enough to sway gracefully in powerful temblors. It is this strength and flexibility that embodies a value deeply treasured in Bali, not only in a build-ing material, but also in a human being.

Bronze. The arrival of bronze instruments in Bali signified a con-nection to the outside world as bronze came from mainland Southeast Asia. Once bronze came into the “Golden Period” of the Balinese King Waturenggong, arts grew beyond traditional ceremo-nial function and developed more virtuosic forms of “entertain-ment.” These new sounds and dance forms glorified the courts and thus began a flourishing of performing arts. To this day the master-ful and spiritually charged forging of bronze instruments is a secret kept in the homes of the Pande (the smiths) of Bali. Villages often ask Pandes to forge and re-forge their bronze gamelans, thus creat-ing new artistic identities. Dance is also inspired by new aesthetic identities. However, the ceremonial function remains central to the development of performing arts. Rituals ranging from the simplest giving of offerings to the most complex and elaborate island-wide ceremonies all share a simple, yet elusive mission—to create and maintain harmony between the three worlds of nature, humanity, and the divine. Though different, these worlds are never completely separate for us, for there is an element of nature and the divine in each human, and our reverence for the divine cannot be easily sepa-rated from our love of nature. This evening we present three suites with different focuses, and yet the element of one always weaves into the other, as separating and categorizing is not our goal.

PROgRAMThe Three Worlds:Tri Hita KaranaIntroduction—Asking ForgivenessVocal arrangements: I Made Arnawa and Emiko Saraswati SusiloWe begin the evening by asking for forgiveness—“Pengaksama.” Rarely performed for entertainment, this sung invocation was given to Çudamani by Bapa Made Sija of Bona Village. The text is loosely translated as follows:

Respected audience, Honored OnesI, ignorant and inexperienced, come before youIt is presumptuous of me to attemptTo perform for you, who are so much more knowledgeable than I.And yet, I hope that what we doMay bring happiness to your heart.

Nature Composers: I Made Arnawa, I Dewa Putu BerataThe sounds of nature can be evoked by the sounds of bamboo, from flutes (suling) to percussion. We offer the distinct long sul-inggambuh; the medium suling used in gong kebyar ensembles; and the small suling, which is allowed improvisational freedom. We explore the range of bamboo percussion with taluktak (rice irriga-tion meters); kapuakan (loud clackers used to chase birds away from the ripening rice); kecrek (slit bamboo); and the kulkul (slit bamboo drum). The pounding of rice and a bamboo percussion trio recall the rhythmic sounds heard every harvest season.

Bhoma—Son of EarthChoreographer and dancer: I Nyoman Cerita. Composer: I Dewa Putu RaiSon of Ibu Pertiwi (Goddess of the Earth) and Wisnu (the Preserver, whose element is water).Çudamani has assembled a unique set of bamboo instruments to accompany Bhoma, a pow-erful king of the natural world whose image is found on temple doors and gamelan instruments throughout Bali. In this work musicians change their dynamics and rhythm in response to the dancer’s movements and moods.

The DivinePawisik—Whispering signChoreographer: I Nyoman Cerita. Composer: I Dewa Putu BerataWhen Çudamani was newly established, Gusti Niang Raka, the vil-lage elder of Pengosekan, had a dream that two beautiful heavenly beings came to her and said they wanted to dance. They asked her, “Where can we go to dance in this village?” She told them in a whisper to come to Çudamani to dance. This dance is inspired by the blessings that Çudamani has received and a reminder that divine spirits watch over us.

Mondavi Center ARTS eDuCATION

gAMeLAN ÇuDAMANI MONDAy, OCTOBeR 25, 2010

IMAgO, ZooZooMONDAy, NOVeMBeR 8, 2010

MARIAChI LOS CAMPeROS De NATI CANOMONDAy, DeCeMBeR 6, 2010

MOMIX, BotanicaMONDAy, jANuARy 31, 2011

CuRTIS ON TOuRThuRSDAy, MARCh 17, 2011

DAN ZANeS AND FRIeNDSMONDAy, MARCh 21, 2011

ALVIN AILey AMeRICAN DANCe TheATeRTueSDAy, APRIL 5, 2011

gamelan ÇudamaniBamboo to Bronze

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Yatna—Careful Choreographer: I Nyoman Cerita. Composer: I Dewa Putu BerataThe male spirit has a power very different from the female. Protective, decisive, and energetic, men provide a necessary complement to the female principle just seen in Pawisik. This bal-ance of opposites known as Rwa Bhinneda is a core concept of all Balinese. In Yatna, the loud taluktak and kapuakan and the force-ful rhythms and powerful movement of the dancers command the attention and fear of anything that might threaten the Goddess Dewi Sri and the pregnant rice stalks. Startling away birds and mice is but a metaphor for the role men have in protecting all that is vulnerable around them.

Intermission

TebogComposer: I Made ArnawaThis new composition follows classical lelambatan structure: a “head” or kawitan (opening), “body” or pengawak (slow expansive middle section), and “legs” or pengecet (more energetic end sec-tion). Inspired by an offering for a processional ceremony, Tebog maintains this classical structure as the symbolic creation of har-mony between the divine, the human, and the natural worlds.

HumanityMewali—Return Choreographer: I Nyoman Cerita. Composer: I Made ArnawaEach age of our life brings with it a different understanding of our world. Honoring the unique qualities of each age, we explore playful and unpredictable moods of childhood, the complex and dynamic energy of youth, and finally the experience and wisdom that comes with age. Valuing the different strengths of the different times of human life guides Bali’s philosophies of cooperative divi-sion of labor, compromise, flexibility ,and interdependence.

Kebyar Perak—Silver ExplosionArranged and taught by: I WayanGandraKebyar Perak is a Tabuh Kreasi Kebyar Pepanggulan, which fea-tures the use of mallets on the drum in the kebyar style. It fea-tures (sectional) solos on the trpong, reong, kendang, and gangsa instruments. It was taught to our fathers’ generation by Bapak I Wayan Gandra and then passed on to us by our teachers Dewa Aji Nyoman Sura and the late Gusti Aji Ketut Karta. For Cudamani, it is a beloved piece that reminds us of our teachers who have passed away, their lively artistic genius, and their love for us, their chil-dren.

PengelebanChoreographers: Pak Cening and Pan Wandres. Special Guest Teachers for Pengeleban: Bapak I Made Kranca, Bapak Carik,and I Made Pasca WirasuthaEarlier this year Çudamani requested guest teachers from North Bali to reconstruct Pengeleban. Knowing that all the dancers who performed this dance have passed on, the company felt compelled to ask the elders to reconstruct the work. Çudamani musicians feel that the work is “so old, it’s new.” Dynamic rhythms, precise and ornamented connections between music and dance, and constant melodic shifts are evidence of North Bali’s leadership in Kebyar, a musical explosion that began almost a century ago. To our knowl-edge, this is the first time this piece has been performed outside of Bali.

Closing—Or “What Really Happens at Rehearsal” We close our program without bamboo or bronze. Inspired by the vocal traditions of East Bali’s Genjek and the healing interlocking of Kecak, Çudamani offers a glimpse of who we are off-stage and how much we enjoy each other’s company. Members collabora-tively created the movements, vocal treatments, and rhythmic elements. In this work each person is free to interact with his or her friends through an improvised framework. For us, the arts are not simply the final product on stage, but about creating a life and world that is full of joy, friendship, and harmony.

BIOgRAPhIeSI Dewa Putu Berata, Director Born and raised in the village of Pengosekan, son of a great drummer, Berata was immersed in Balinese performing arts from birth. His creative talents, teaching capabilities, and leadership qualities make him a noted figure in the Balinese music world. He is renowned for his compositional skills in both traditional and innovative styles and a rare ability to communicate a diverse knowledge of Balinese arts to both Balinese and international art-ists. He is the founder and director of Çudamani and has lead Çudamani on tours to venues including Jazz at Lincoln Center (New York), the World Festival of Sacred Music (Los Angeles), the Cultural Olympiad (Greece), EXPO (Japan), and the Tong Tong Festival (Holland), among others. As a result of Berata’s vision and commitment, Çudamani has become an important artistic center in Bali, endeavoring to study and preserve rare classic forms of Balinese arts and also provide a space that nurtures the creative energies of young artists in Bali. He is a graduate of STSI, Denpasar (Bali’s National Academy of the Arts).

Emiko Saraswati Susilo, Assistant DirectorSusilo was raised in a family rich with the arts. She began her study of Balinese dance with Ibu Ni Made Wiratini and her study of Javanese dance with late Master Rama Sasminta Mardawa, teacher of the Court of Yogyakarta. She is a gamelan/vocal student of Bp. Tri Haryanto and Ki Midiyanto. Susilo is a founding mem-ber of Çudamani and a core leader since the group’s inception. She works closely with Çudamani’s senior dance students, master dance teachers, performers preparing for tour, and the ground-breaking girls’ gamelan program. Susilo has a deep love of bring-ing together traditional and contemporary forms and ideas across the disciplines of dance, music, voice, and visual arts. She received her B.A. from UC Berkeley’s Department of Anthropology and her master’s degree at the University of Hawaii’s Department of Asian Studies.

I Nyoman Cerita, Choreographer One of Bali’s most influential choreographers and teachers, Cerita hails from the village of Singapadu, renowned for its vibrant dance traditions. He has been Çudamani’s Senior Dance Advisor since the group’s inception, yet he is in demand all over Bali as a cho-reographer and teacher. His works range from large-scale dance dramas to new works for children. Cerita is one of the few chore-ographers who also composes his own music. At the same time he enjoys collaborating with composers as with the Odalan Bali and Bamboo to Bronze productions of Çudamani. He has trained some of Bali’s finest award-winning dancers and yet remains completely dedicated to the teaching of Balinese children. He received his B.A. from ASTI and M.F.A. from UCLA. He is head of the Dance Department at ISI Denpasar (Institut Seni Indonesia).

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I Made Arnawa, Composer A prolific composer, performer, and teacher, Arnawa comes from the village of Tunjuk-Tabanan in west Bali, widely known for its traditions in music, dance, and shadow puppet theater. He received his M.A. in creative arts from ISI Surakarta. He studied contemporary music with Dieter Mack, Slamet Abdul Syukur, Suka Hardjana, and R. Supanggah. A senior faculty member at ISI Denpasar, Bali’s National Institute of the Arts, he has performed and taught internationally, including tours to Australia, India, Europe, and the U.S. He has composed extensively for Balinese gamelan, especially in the forms kreasibaru and lelambatan, and has won awards in the annual Balinese Arts Festival. His recent works are innovative in nature, exploring textures and forms. Arnawa leads two gamelan groups, Gamelan Pendro and Sekaa Gong Teruna Mekar.

Performers (alphabetical order): I Komang Harianto Ardiantha, I Gusti Kompiang Armawan, I Made Arnawa, I Dewa Putu Berata, I Nyoman Cerita, Dewa Ayu Tiara Dewi, I Made Karjana, I Wayan Karta, Ni Wayan Eka Kusumadewi, Dewa Ayu Dewi Larassanti, I Wayan Dwija Paramita, I Dewa Made Mega Putra, I Dewa Putu Rai, Dewa Gde Sanjaya, Sang Ery Widya Sasmika, Sang Kompiang Widya Sastrawan, Ni Made Ayu Septiari, I Made Suandiyasa, I Dewa Made Suardika, I Made Suniyantara, I Made Supasta, Emiko Saraswati Susilo, Dewa Ayu Swandewi, Anak Agung Anom Sweta, I Dewa Putu Wardika, I Made Joker Winangun

Set/Property Design: Dewa Putu Berata and Emiko Saraswati Susilo. Costume Design: Dewa Putu Berata, I Nyoman Cerita, and Emiko Saraswati Susilo

Acknowledgements: Çudamani expresses our deepest gratitude to Judy Mitoma, Marcia Argolo, Anuradha Kishore Ganpati, Philip Graulty, UCLA’s Center for Intercultural Performance, Jero Mangku Dalem Pengosekan, Jero Soni, Ni Gusti Made Raka (offering mas-ter who had “the dream”), I Wayan Dibia, I Ketut Kodi, Wayan Gogo. Thanks to our honored teachers for their work re-construct-ing Pengeleban: Bapak Kranca, Bapak Carik, and I Made Pasca Wirasutha (Kocok). We also offer our deepest gratitude to our Master Teachers: I Gusti Ng, Agung Serama Semadi, Ni Gusti Ayu Raka Rasmin, Ni Wayan Sekar, Ni Luh Mas, and I Dewa Nyoman Sura. And we remember our late Master Teachers, who taught Çudamani in our earliest years: I Wayan Gandra, I Gusti Ngurah Agung Raka (Saba), I Ketut Kantor, and I Gusti Ketut Karta.

Current gamelan teachers (alphabetical order):Senior Specialists: I Made Arnawa and I Dewa Putu Berata. Core Teaching Staff: I Made Karjana, I Dewa Made Mega Putra, I Dewa Putu Rai, I Made Suandiyasa, I Dewa Nyoman Sugi, I Made Suniantara, I Made Supasta, I Gusti Ngurah Suryana, Sang Kompiang Widya Sastrawan, I Dewa Nyoman Guna Arta, and I Wayan Karta

Current Dance Teachers, Senior Specialists: I Nyoman Cerita (Senior Dance Advisor), Ni Ketut Alit Arini, I Ketut Wirtawan. Tour Preparation: Emiko Saraswati Susilo. Core Teaching Staff: Desak Made Bratiani, Jero Sueni, Dewa Ayu Eka Putri, I Nyoman Suatama

gamelan ÇudamaniThe island of Bali is home to the vast majority of Indonesia’s small Hindu minority. It is also the largest tourist destination in the country, particularly Ubud just north of Pengosekan. By the 1990s, most of the musicians of Ubud were playing for tourists and mov-ing away from any connection with the religious and communal life of the village. As a response, brothers Dewa Putu Berata and Dewa Ketut Alit called together a number of talented and promis-ing young people from Bali to form Sanggar Çudamani in 1997, as an alternative to the groups formed to solely entertain tourists. The sanggar today is a powerhouse of cultural and educational activity. Çudamani is dedicated to ayah, or devotional service, performing at the highest artistic level for temple ceremonies and other religious festivals. These bring little or no money, but reconnect artists to the community and temples in which music and dance have played an integral role for centuries. Çudamani teaches youth for free and is one of the few groups that teaches girls to play Gamelan music. The music reflects their approach to life as they co-mingle the ancient and modern, spirituality and globalization. The musicians play on a hybrid gamelan orchestra Semarandana, which was created in the 1980s. With seven tones rather than the usual five, this special gamelan allows the freedom to play in rare modes, particularly those derived from older court and ritual gamelan. In 2001 and 2005, Çudamani received grants from the Ford Foundation for their work in preservation, inno-vation, and education. Çudamani and its members have toured Italy, Greece, Japan, and made three tours to the U.S. They have collaborated with master musicians, scholars, and ethnomusicolo-gists from around the world. Each summer the company hosts the Çudamani Summer Music and Dance Institute in Bali for individu-als from around the world to study Balinese music and dance in a three-week long intensive program. www.cudamani.org Çudamani’s 2010 U.S. Tour is made possible by Foundation for World Arts and the UCLA Center for Intercultural Performance and a grant from The Metabolic Studio/Chorawww.wac.ucla.edu/cip

Program Notes by Emiko Saraswati Susilo

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The Campus Community Book Project is sponsored by the Office of Campus Community Relations, Offices of the Chancellor and Provost.

BEVERLY DANIEL TATUM, PH.D.

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December 10, 2010- - Author’s Talk:

Why Are All the BlackKids Sitting Together inthe Cafeteria?8 PM – 9:30 PM, Jackson Hall, Robertand Margrit Mondavi Center for the Performing Arts

As the ninth president of Spelman College, Dr. Beverly Daniel Tatum set an expectation that Spelman College would be recognized as one of the finest liberal arts colleges in the country – a place where young women of African descent could say, “This place was built for me and it is nothing less than the best!” With her creative energy focused on five strategic goals – Academic Excellence, Leadership Development, Improving our Environment, Visibility of our Achievements, and Exemplary Customer Service (collectively known as Spelman ALIVE), Spelman College has experienced great growth.

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Actively involved in the Atlanta community, Dr. Tatum is a member of several boards and of several national non-profit boards Appoin-ted by President Obama, she is a member of the Advisory Board for the White House Initiative on Historically Black Colleges and Universities. She also serves on the Georgia Power corporate board of directors.

Dr. Tatum earned a B.A. degree in psychology from WesleyanUniversity, M.A. and Ph.D. in clinical psychology from University of Michigan and a M.A. in Religious Studies from Hartford Seminary.She has served as a faculty member at UC Santa Barbara, Westfield State College, and Mount Holyoke College, where she also served as dean and acting president.


Stew and the Negro ProblemA Director’s Choice Series Event

Tuesday-Wednesday, October 26-27, 2010 • 8PM

Vanderhoef Studio Theatre, Mondavi Center, UC Davis


PResents


DebutMC

StewStew’s works include Passing Strange, for which he received the 2008 Tony award for “Best Book of a Musical.” He also wrote lyrics and co-composed music for Passing Strange. He is a two-time Obie winner: “Best New Theater Piece” and, as a member of the PS acting family, “Best Ensemble.” A four-time Tony nominee, Stew leads, along with his collaborator Heidi Rodewald, two critically acclaimed bands: the Negro Problem and Stew. Works include: Post Minstrel Syndrome (TNP 1997), Joys and Concerns (TNP 1999), Guest Host (S 2000), The Naked Dutch Painter (S 2002), Welcome Black (TNP 2002), Something Deeper Than These Changes (S 2003), and the cast album of Passing Strange (2008). He was artist-in-residence at the California Institute of the Arts, 2004/5. But what Stew will ultimately be remembered for is having composed “Gary Come Home” for SpongeBob SquarePants.


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In this engaging talk, Jonah Lehrer shows you how leaders in various fields are taking advantage of new discoveries in

neuroscience to make better television shows, win more football games, improve military intelligence—the list is endless. (On the flip side: how did defects in our decision-making apparatus lead to, among other things, the current financial crisis, costly wars, and how can we overcome these inherent flaws in our brain?) With verve and warmth, and the ability to clearly explain important and complex concepts, Lehrer brilliantly answers two questions that are of interest to just about anyone: How does the human mind make decisions? And how can you make those decisions better?

jonah Lehrer Jonah Lehrer—hailed as “an important new thinker” by The Los Angeles Times—is the author of Proust Was a Neuroscientist and the instant bestseller How We Decide. Captivating, accessible, and never dull, he talks about how we make decisions—and how we can make better decisions. “Lehrer ingeniously weaves neurosci-ence, sports, war, psychology, and politics into a fascinating tale of human decision making,” says Dan Ariely (Predictably Irrational). “He makes us much wiser.”

Lehrer, 27, has been called “something of a popular science prodigy” by The New York Times, and a man of “considerable talents.” A graduate of Columbia University with a degree in neu-roscience, Jonah Lehrer studied as a Rhodes Scholar at Oxford University, where he received his master’s degree in 20th cen-tury literature and philosophy. He is the author of Proust was a


PResents


jonah Lehrer How We Decide: The New Science of Decision Making

A Distinguished Speakers Series Event

Wednesday, October 27, 2010 • 8PM


Post-Performance Q&A

Moderated by Dr. Ron Mangun, Dean of the Division of Social Services, UC Davis;

Director of the UC Davis Center for Mind and Brain

DebutMC

Neuroscientist and How We Decide. Lehrer is a contributing editor at Wired magazine and National Public Radio’s Radio Lab. He has also written for The New Yorker, Nature, The New York Times, and The Wall Street Journal. Penguin plans to publish Lehrer’s new book, Imagine: The Science of Creativity, in the fall of 2011. The book teaches readers to take advantage of the endlessly inno-vative brain through real-life examples and important studies.

Dr. Ron MangunDr. Ron Mangun’s research investigates the cognitive neuroscience of attention. Evolution has crafted powerful brain mechanisms that aid in our survival in a complex and often dangerous world. Research in the Mangun Lab focuses on several of these key mechanisms, those that are involved in attention and awareness. This work takes a cognitive neuroscience approach to investigat-ing how we perceive, attend, ignore, and become aware of our environment. Dr. Mangun consults on numerous university, U.S. government, and international scientific panels and advisory boards, including for the National Institutes of Health, National Academy of Sciences, and the Academy of Finland. He is also an associate editor of the Journal of Cognitive Neuroscience, a senior editor for Brain Research, and the Director of the UC Davis Center for Mind and Brain. His celebrated coauthored textbook (Cognitive Neuroscience: The Biology of the Mind) is now in its third edition and has been translated into French, Italian, Portuguese, and Chinese. In 2007, he was elected a Fellow of the Association for Psychological Science (APS).


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PResents


Madness and Music Festival A Co-Presentation with the UC Davis Department of Music

Thursday-Sunday, October 28-31, 2010

Sponsored by

DebutMC

Full program notes are available in the Madness and Music Festival program book, available

at all the concerts listed on the following page or at the Mondavi Center’s Information Desk,

located in the Yocha Dehe Grand Lobby.


Lili Received the GIFT of LIFE

Lili’s care team included neonatologist Mark Underwood,

nurse Christa Mu and other specialists in the research

and treatment of preterm birth complications.

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.

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transferred to the neonatal intensive

care unit at UC Davis Children’s

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a future now in full bloom.

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A gift for advancing health.


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Madness and Music Festival OverviewThe UC Davis Madness and Music Festival is presented in con-junction with the Mondavi Center for the Performing Arts and the UC Davis Department of Music. This festival will explore the ways music can serve as a refuge, a statement of joy, and a means of survival for the composer, the performer, and the audience mem-ber. In particular, our Festival celebrates the 200th anniversary of Robert Schumann, and juxtaposes his music with that of a variety of modern composers, including Composer-in-Residence Lee Hyla, UC Davis faculty members Christian Baldini and Pablo Ortiz, and our eight exceptionally gifted Composer Fellows.

SCheDuLe OF eVeNTS:

Madness and Music: Festival Preview (Shinkoskey Noon Concert) eric Zivian, piano, and hrabba Atladottir, violin Thursday, October 28, 2010 • 12:05PMYochaDehe Grand Lobby, Mondavi Center

• György Kurtág: Tre Pezzi for Violin and Piano • John Cage: Six Melodies for Violin and Keyboard • Robert Schumann: Geistervariationen for Solo Piano • Ramteen Sazegari (Festival Composition Fellow): Glitch for Solo Piano • Lee Hyla: Third Party for Solo Piano

Madness and Music: Panel DiscussionThursday, October 28, 2010 • 1:30PMVanderhoef Studio Theatre, Mondavi CenterPanel members include professors Mitchell Morris (UCLA), Dean Jessie Ann Owens, Chris Reynolds, and Dean Simonton (Department of Psychology), moderated by professor Anna Maria Busse Berger. An in-depth discussion regarding the concept of madness in the 1800s and today, how the Romantic ideal of the creative mind was compatible in many ways with mental illness, and how this has changed in contemporary culture.

Madness and Music electronic Music/Mixed Media ConcertThursday, October 28, 2010 • 7PMVanderhoef Studio Theatre, Mondavi Center

• Alvin Lucier: Silver Streetcar of the Orchestra for Amplified Triangle • David Tudor: Rainforest IV

Madness and Music: Pre-Concert Talkand Discussion Friday, October 29, 2010 • 6PMYocha Dehe Grand Lobby, Mondavi CenterFestival composition fellows, moderated by Mika Pelo.

Madness and Music: empyrean ensemble Friday, October 29, 2010 • 7PMVanderhoef Studio Theatre, Mondavi Center

• György Kurtág: Hommage à Robert Schumann for Clarinet, Violin, and Piano • Robert Schumann: Märchenerzählungen for Clarinet, Viola, and Piano • Melinda Wagner: Scritch for Oboe and String Quartet • Lee Hyla: Ciao, Manhattan for Flute, Viola, Cello, and Piano • Moon Young Ha: The Island for Clarinet, Violin, and Cello (Festival Composition Fellow) • Eun Yun Lee: Nok-du-kkot for Solo Viola, Flute, Clarinet, Violin, Cello, Piano, and Percussion

Madness and Music: Pre-Concert Talkand Discussion Sat, October 30, 2010 • 7PM Jackson Hall, Mondavi CenterLee Hyla, composer-in-residence, and his music.

Madness and Music: Alarm Will SoundSaturday, October 30, 2010 • 8PMJackson Hall, Mondavi Center

• Aphex Twin / arr. Stefan Freund: Cock ver 10 • Salvatore Sciarrino: Introduzione all’oscuro • Lee Hyla: Pre-Pulse Suspended • György Kurtág: ...quasi una fantasia..., Op. 27 No. 1 • Sir Harrison Birtwistle: Carmen Arcadiae Mechanicae Perpetuum • John Orfe: Dowland Remix (Flow my Tears)

Madness and Music: eric Zivian, pianoSaturday, October 30, 2010 • 10:30PMVanderhoef Studio Theatre, Mondavi Center

• Eric Zivian: Fantasy • Christian Baldini: Colori Notturni • Baldini: Mercurial • Schumann: Fantasy, Op. 17

Madness and Music: uC Davis Symphony Orchestra Christian Baldini, music director and conductor Sunday, October 31, 2010 • 7PMJackson Hall, Mondavi Center

• Silvestre Revueltas: Sensemayá • Pablo Ortiz: Four Hardy Songs for Soprano and Orchestra with Sara Gartland, soprano • Jean Ahn: Lu-lu, Lu-lu (premiere by Festival Composition Fellow) • Robert Schumann: Cello Concerto in A Minor, with Susan Lamb Cook, cello


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PResents


The Seasons ProjectRobert McDuffie, Violin Soloist & Leader

withThe Venice Baroque Orchestra

World Premiere Tour

A Classical Favorites: Seasons Series Event

Wednesday, November 3, 2010 • 8PM


Pre-Performance Talk

Robert McDuffie in conversation with Don Roth,

Executive Director, Mondavi Center, UC Davis

Jackson Hall, Mondavi Center • 7PM

DebutMC

FuRTheR LISTeNINgsee p. 28


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PROgRAM NOTeSLe Quattro Stagioni (The Four Seasons)Antonio VivaldiBorn March 4, 1678, in Venice, Italy; died July 28, 1741, in Vienna, Austria

Antonio Vivaldi was without a doubt the most original and influ-ential Italian composer of his generation. His contributions to musical style, violin technique, and the practice of orchestration were substantial. Vivaldi could also be credited as being one of the pioneers in the creation of programmatic orchestral music, his Opus 8 “Four Seasons” concerti being the most salient example. His most important achievement, however, was laying the foun-dations for the mature Baroque concerto. Vivaldi’s influence on the form was so strong that even many of the older, established composers of the time felt obliged to modify their style in mid-career to conform to Vivaldi’s developments. Practically all of the composer’s concerti are in three movements—quick, slow, quick; this “Vivaldian mode” was adopted in most of Italy and in France by 1725 and remains to this date as the standard form throughout Western culture. Vivaldi’s Il cimentodell’armonia e del invenzione, Op. 8 (“The Contest between Harmony and Invention”) was first published in Amsterdam in 1725; this Opus is a collection of 12 concerti, the first four of which are known as “The Four Seasons.” These “seasonal” concerti are “programmatic,” as each one describes the events in an anonymous sonnet; these poems are suspected of hav-ing been written by the composer himself. Vivaldi, while not the first to employ such a device, was unique in his care to make the music agree with the subject matter of the poetry, within the stylis-tic parameters of the day. The murmuring stream, the approaching storm indicated by lightning and thunder, the oppressive atmo-sphere of the summer heat, the melody depicting the hunter’s call, or the snow propelled by freezing winds—all this is made a living experience by Vivaldi’s music. “The Four Seasons” represents the peak of Vivaldi’s work. Most likely introduced by the composer (who was a virtuoso violinist himself), these concerti became immediately successful throughout Europe. With the combination of descriptive detail, the outpour-

ing of melody, and the brilliant, virtuosic writing for the violin, all within an elegant formal framework, it is no wonder that the con-certos that make up “The Four Seasons” are among the best-loved works of all time.

Violin Concerto No. 2 “The American Four Seasons”Philip Glass(Born January 31, 1937, in Baltimore, Maryland)

The Violin Concerto No. 2 was composed for Robert McDuffie in the summer and autumn of 2009. The work was preceded by sev-eral years of occasional exchanges between Bobby and myself. He was interested in music that would serve as a companion piece to the Vivaldi “Four Seasons” concertos. I agreed to the idea of a four-movement work, but at the outset was not sure how that correspondence would work in practice—between the Vivaldi con-certos and my own music. However, Bobby encouraged me to start with my composition and we would see in due time how it would relate to the very well known original. When the music was completed I sent it onto Bobby, who seemed to have quickly seen how the movements of my Concerto No. 2 related to the “Seasons.” Of course, Bobby’s interpretation, though similar to my own, proved to be also somewhat different. This struck me as an opportunity, then, for the listener to make his/her own interpretation. Therefore, there will be no instructions for the audience, no clues as to where Spring, Summer, Winter, and Fall might appear in the new concerto—an interesting, though not worrisome, problem for the listener. After all, if Bobby and I are not in complete agreement, an independent interpretation can be tolerated and even welcomed. (The mathematical possibilities, or permutations, of the puzzle are in the order of 24.)

Apart from that, I would only add that, instead of the usual cadenza, I provided a number of solo pieces for Bobby—thinking that they could be played together as separate concert music when abstracted from the whole work. They appear in the concerto as a “prelude” to the first movement and three “songs” that precede each of the following three movements.—Philip Glass

Le Quattro Staggioni (The Four Seasons) Vivaldi

1. La primavera, RV 269, E Major (Spring)

2. L’estate, RV 315, G Minor (Summer)

3. L’autunno, RV 293, F Major (Autumn)

4. L’inverno, RV 297, F Minor (Winter)

Violin Concerto No. 2 for Violin & Orchestra Glass

The American Four Seasons

Intermission

The Seasons ProjectRobert McDuffie, Violin Soloist & Leader

withThe Venice Baroque Orchestra

World Premiere Tour


Robert McDuffieGrammy-nominated violinist Robert McDuffie has appeared as soloist with most of the major orchestras of the world, includ-ing the New York and Los Angeles Philharmonics; Chicago, San Francisco, National, Atlanta, Houston, Dallas, St. Louis, Montreal, and Toronto Symphonies; Philadelphia, Cleveland, and Minnesota Orchestras; Leipzig Gewandhaus Orchestra; North German Radio Orchestra; Frankfurt Radio Orchestra; Deutsche Kammerphilharmonie Bremen; Hamburg Symphony Orchestra; Orchestra del Teatroalla Scala; Santa Cecilia Orchestra of Rome; Jerusalem Symphony Orchestra; Orquesta Sinfonica Nacional de Mexico; Orquesta Sinfónica de Mineria; and all of the major orchestras of Australia.

His recent appearances abroad have been at the Royal Festival Hall in London with the London Philharmonic Orchestra, the Concertgebouw in Amsterdam, Philharmonie in Cologne, Seoul Arts Center in South Korea, National Concert Hall in Taipei, and the Musikhalle in Hamburg.

In December 2009, he gave the world premiere performance of Philip Glass’s Violin Concerto No. 2, The American Four Seasons— a work specially written for McDuffie—with the Toronto Symphony Orchestra. During the 2010-11 season, McDuffie embarks on a 30-city U.S. tour with the Venice Baroque Orchestra, pairing Glass’s The American Four Seasons with the Vivaldi Four Seasons. He will also perform The American Four Seasons as soloist with the Düsseldorf Symphony Orchestra, Prague Philharmonia at the Prague Spring Festival, National Symphony of Mexico, Poznan Philharmonic of Poland, and the Nashville, Louisiana, and San Antonio Symphonies. He will play the Barber Violin Concerto with the Utah and Madison Symphonies. Additional engagements this season include performances with the Zürich Chamber Orchestra at the Zürich Tonhale and a U.S. tour with the McDuffie-Dutton-Kirshbaum Trio.

Robert McDuffie recorded The American Four Seasons with the London Philharmonic and Marin Alsop on the Orange Mountain Music label. His acclaimed Telarc and EMI recordings include the violin concertos of Mendelssohn, Bruch, Adams, Glass, Barber, Rozsa, Bernstein, William Schuman, and Viennese violin favorites. He has been profiled on NBC’s Today, CBS Sunday Morning, PBS’s Charlie Rose, A&E’s Breakfast with the Arts, and in The New York Times and Wall Street Journal.

The future includes a U.S. tour in 2012 with the Düsseldorf Symphony and Andrey Boreyko, performing the Mendelssohn and Bruch Violin Concertos. Future tours of The American Four Seasons, paired with the Vivaldi Four Seasons, have been planned in Europe for the fall of 2011 and Asia for the fall of 2012.

Robert McDuffie is the founder of the Rome Chamber Music Festival. He was recently awarded the prestigious Premio Simpatia by the Mayor of Rome in recognition of his contribution to the city’s cultural life. McDuffie holds the Genelle and Mansfield Jennings Distinguished University Professor Chair at Mercer University in his hometown of Macon, Georgia; the Robert McDuffie Center for Strings at Mercer University will celebrate its fourth academic year this season with concerts conducted by Robert Spano. Robert McDuffie lives in New York with his wife and two children.

He plays a 1735 Guarneri del Gesu violin, known as the “Ladenburg.”

Venice Baroque OrchestraFounded in 1997 by Baroque scholar and harpsichordist Andrea Marcon, the Venice Baroque Orchestra is recognized as one of the premier ensembles devoted to period instrument performance. The orchestra has received wide critical acclaim for its concert and opera performances throughout North America, Europe, South America, and Japan. Since its U. S. debut in 2001 at Lincoln Center’s Alice Tully Hall, the orchestra has performed in more cit-ies in the U.S. than any other period-instrument orchestra.

Committed to the rediscovery of first-rate 17th- and 18th-century masterpieces, the VBO has given the modern-day premieres of Francesco Cavalli’s L’Orione, Vivaldi’s Atenaide and Andromeda lib-erata, Benedetto Marcello’s La Morte D’Adone and Il trionfodellapo-esia e dellamusica. With Teatro La Fenice in Venice, the orchestra staged Handel’s Siroe in 2000, followed by equally successful stag-ings of Cimarosa’s L’Olimpiade in 2001 and Galuppi’s L’Olimpiade in 2006. The orchestra reprised Siroe at the Brooklyn Academy of Music in New York in its first full staging in the United States. In Spain in 2009, the VBO gave the modern-day premiere of Boccherini’s La Clementina.

In addition to this 27-city tour with violinist Robert McDuffie, highlights of the current season include a tour to Japan and Korea with violinist Giuliano Carmignola; concerts with soprano Patricia Petibon in Austria, France, Germany, and Turkey; a tour in Germany with cellist Gautier Capuçon; and concerts with mezzo-soprano Romina Basso in Italy and Poland. The VBO will perform Pergolesi’s Stabat Mater in Paris and the Monteverdi Vespers in Leipzig. In recent seasons, the orchestra has also performed with Cecilia Bartoli, Anna Netrebko, Sara Mingardo, and Andreas Scholl. A highlight of summer 2011 will be a festival tour in Austria, Germany, and Switzerland with mezzo-soprano Magdalena Kožená singing arias of Vivaldi and Handel.

The VBO has an extensive discography with Sony and Deutsche Grammophon. Its world-premiere recording of Andromeda liber-ate for DGG was followed by two recordings of violin concertos with Giuliano Carmignola; an album of Vivaldi sinfonias and con-certos for strings; Vivaldi motets and arias with soprano Simone Kermes; two discs with Kožená—Handel arias and Vivaldi arias; and Vivaldi concertos for two violins with Viktoria Mullova and Giuliano Carmignola. The newest album, of Italian arias with Petibon, has just been released. The orchestra’s earlier discogra-phy on Sony includes The Four Seasons, two albums of previously unrecorded Vivaldi concertos, Locatelli violin concertos, and a collection of Bach arias featuring Angelika Kirchschlager. For its recordings, the orchestra has been honored with the Diaspason D’Or, Choc du Monde de la Musique, Echo Award, and the Edison Award.

Venice Baroque Orchestra concerts have been filmed by the BBC and NHK and broadcast by Radio France, France Musiques, ORF, Rai Due, BBC3, National Public Radio, Radio Tre, and Arte. The Venice Baroque Orchestra is supported by Fondazione Cassamarca in Treviso.

The Venice Baroque Orchestra appears on this U.S. tour courtesy of Alliance Artist Management.

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If you come away from tonight’s performance seeking another opportunity to hear violinist Robert McDuffie performing the new “American Four Seasons” concerto by Philip Glass, you’re in luck. McDuffie’s recording (with the London Philharmonic Orchestra, conducted by Marin Alsop) was released October 12. You might also want to look up McDuffie’s 1999 recording of the Violin Concerto No. 1 by Glass (issued together with John Adams’ Violin Concerto) on Telarc. On that one, McDuffie is with the Houston Symphony Orchestra, with Christoph Eschenbach conducting. Glass, incidentally, seems to enjoy using Baroque music as a model when writing for the violin—the middle movement of his first violin concerto bears a strong resemblance to a Baroque lament, with the achingly sad melody spread over a repeating, descending musical figure. (Dido’s lament in Purcell’s mini-opera Dido and Aeneas, sung by mezzo Susan Graham at Mondavi last season, is the classic example in this regard.) As for the ever-popular Vivaldi Four Seasons…Let’s just say you have plenty to choose from. There are more recordings of this out there than you can shake a stick at. I mean, there are literally hundreds of them. There are orthodox, mainstream, recent recordings (like Joshua Bell’s 2008 CD). There are period-instrument recordings (Simon Standage and the English Concert’s recording from the late 1970s, originally on LP). A few violinists have recorded the piece more than once. Nigel Kennedy’s 1989 Four Seasons (with the English Chamber

Orchestra) sold upwards of two million copies. Then he revisited the piece in 2004 (with members of the Berlin Philharmonic). Both are on EMI. On the principle “Why should the violinists have all the fun? (And get all the record sales?),” there are also Four Seasons tran-scriptions for the piano (inevitably), for cello, flute, trumpet quartet, xylophone, and even for the accordion (which works out better than you might think, because the instrument is basically a portable organ). There are also jazzy reinterpretations of Four Seasons and metallic-sounding electric guitar versions of Four Seasons, you get the idea. There are even Four Seasons arrange-ments for traditional non-Western instruments like the Japanese koto. The crossover album Koto Vivaldi was a plucky novelty item that was popular for a time in the 1970s. It’s now apparently out of print, but you can still hear snippets of it on YouTube. (But I’ll warn you, a little bit goes a long way.) On a more serious note, I would encourage you to check out the recordings by the Venice Baroque Orchestra. The group has issued several well-regarded discs on the Arkiv and Sony labels, including (you guessed it) their own take on the Vivaldi Four Seasons (Sony 2003), as well as six other albums devoted to the composer (who wrote more than 200 violin concertos, the ubiq-uitous Four Seasons representing only a taste).

Jeff Hudson contributes coverage of the performing

arts to Capital Public Radio, the Davis Enterprise,

and Sacramento News and Review.

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Philip glassPhilip Glass (composer), born in Baltimore, Maryland, is a gradu-ate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and, while there, earned money by transcrib-ing Ravi Shankar’s Indian music into Western notation. Upon his return to New York, he applied these Eastern techniques to his own music. By 1974, Glass had a number of significant and inno-vative projects, creating a large collection of new music for his performing group, the Philip Glass Ensemble, and for the Mabou Mines Theater Company, which he co-founded. This period cul-minated in Music in Twelve Parts, followed by the landmark opera, Einstein on the Beach, created with Robert Wilson in 1976.

Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra, and film. His score for Martin Scorsese’s Kundun received an Academy Award nomination, while his score for Peter Weir’s The Truman Show won him a Golden Globe. His film score for Stephen Daldry’s The Hours received Golden Globe, Grammy, and Academy Award nomina-tions, along with winning a BAFTA in Film Music from the British Academy of Film and Television Arts. The critically acclaimed films The Illusionist and Notes on a Scandal were released last year, with Notes earning Glass an Oscar nomination for Best Original Score. In 2004, Glass premiered the new work Orion—a collabora-tion between Glass and six other international artists opening in Athens as part of the cultural celebration of the 2004 Olympics

in Greece, and his Piano Concerto No. 2 (After Lewis and Clark) with the Omaha Symphony Orchestra. Glass’s latest symphonies, Symphony No. 7 and Symphony No. 8, premiered in 2005 with the National Symphony Orchestra at the Kennedy Center for the Performing Arts in Washington, D. C., and Bruckner Orchester Linz at the Brooklyn Academy of Music, respectively. Waiting for the Barbarians, an opera based on the book by J.M. Coetzee, also premiered in 2005. Glass’s orchestral tribute to Indian spiritual leader Sri Ramakrishna, The Passion of Ramakrishna, premiered in 2006 at Orange County Performing Arts Center.

Glass maintained a dense creative schedule throughout 2007-08, unveiling several highly anticipated works, including a music theater piece, Book of Longing, based on Leonard Cohen’s book of poetry and an opera about the end of the Civil War, Appomattox, which premiered at the San Francisco Opera. The English National Opera, in conjunction with the Metropolitan Opera, remounted Glass’s Satyagraha, which appeared in New York in 2008. Recent film projects include a score to Woody Allen’s film, Cassandra’s Dream.

Glass’s most recent opera, based on the life and work of Johannes Kepler and commissioned by Linz 2009, Cultural Capital of Europe, and Landestheater Linz, premiered in September 2009 in Linz, Austria.


Delfeayo Marsalis Octet

A Capital Public Radio Studio Jazz Series Event

Wednesday-Saturday, November 3-6, 2010 • 8PM

Vanderhoef Studio Theatre, Mondavi Center, UC Davis


Sponsored by

Delfeayo Marsalis

D elfeayo Marsalis was born in New Orleans, Louisiana, on July 28, 1965. He began studying trombone at age 13, and

attended the New Orleans Center for Creative Arts high school. He was classically trained at the Eastern Music Festival and Tanglewood Institute. In 1983, Delfeayo performed Gordon Jacob’s Trombone Concerto with the New Orleans Philharmonic and received the Outstanding Performance Award from the Jefferson Performing Arts Society for his presentation of Marcello’s Sonata No. 6. After producing his first recording at 17, Delfeayo attended the prestigious Berklee College of Music, majoring in both perfor-mance and audio production. He has since produced more than 75 major-label recordings—several of which have received Grammy awards and nominations—including works by Harry Connick Jr., Marcus Roberts, Spike Lee, and Ellis, Branford, and Wynton Marsalis. His production skills earned a 3M Visionary Award in 1996 and a cover article for Mix magazine in 1997. As a trombonist, Delfeayo has toured internationally with legend-ary jazz artists Art Blakey, Abdullah Ibrahim, Elvin Jones, Slide Hampton, and Max Roach, as well as with his own modern jazz


PResents


ensemble. During a tour with the Lincoln Center Jazz Orchestra, he was filmed as part of the Ken Burns documentary Jazz. A main-stay on the New Orleans modern jazz scene, he has released three solo albums to critical acclaim, Pontius Pilate’s Decision (1992), Musashi (1997), and Minions Dominion (2006). The late trom-bone master J.J. Johnson and several music reviewers have called Marsalis one of the freshest modern voices on the instrument to arrive in the 1990s. Delfeayo has been involved with educating youth in various devel-opmental programs for several years. In 1993, his original D-Blues was commissioned by “Meet the Composer” for the Fillmore Arts Center in Washington, D. C., and in 1995, he lectured in public and parochial schools on behalf of both the Dallas Opera and the Bravo cable network. To further introduce young people to jazz music, he has served as director of the Foundation for Artistic and Musical Excellence summer program in Lawrenceville, New Jersey from 1998 to 2002. Delfeayo earned an M.A. in jazz performance from the University of Louisville in 2004. In 2011, he will release a new CD, Sweet Thunder (Duke and Shak), an Ellington suite based upon the literary brilliance of William Shakespeare.

Delfeayo Marsalis - Trombone

Mark Gross - Alto Saxophone

Mark Shim - Tenor Saxophone

Shanae Ryan - Baritone Saxophone

Lynn Grissett - Trumpet

Fred Sanders - Piano

Dezron Douglas - Bass

Charles Burchell - Drums


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And four donors who prefer to remain anonymous

orChestra CirCLe$300 - $599Michelle AdamsMitzi S. AguirreSusan AhlquistPaul and Nancy AikinSteven Albrecht and Jessica FriedmanDrs. Ralph and Teresa AldredgeThomas and Patricia AllenAl and Pat ArthurMichael and Shirley Auman*Robert and Joan P. BallRobert Hollingsworth and Carol BeckhamDon and Kathy Bers*Elizabeth BradfordPaul BraunRosa Maquez and Richard BreedonJoan Brenchley and Kevin JacksonIrving and Karen Broido*In Memory of Rose Marie WheelerJohn and Christine BruhnManuel Calderon De La Barca SanchezJackie CaplanMichael and Louise CaplanMichael and Susan CarlRichard CarlsenDoreen T. ChanAmy Chen and Raj AmirtharajahDorothy Chikasawa*Charles and Mary Anne CooperJames and Patricia CothernCatherine Coupal*Larry Dashiell and Peggy Siddons Thomas B. and Eina C. DuttonMicki EagleSheila and Steve EplerJanet FeilDavid and Kerstin FeldmanSusan FlynnTom and Barbara FrankelSevgi and Edwin Friedrich*Dr. Deborah and Brook GaleMarnelle Gleason and Louis J. Fox*Marvin and Joyce GoldmanDonald GreenWilliam Green and Martin PalomarStephen and Deirdre GreenholzMarilyn and Alexander GrothJudy GuiraudGwen and Darrow HaagensenSharon and Don HallbergDavid and Donna HarrisStephen and Joanne HatchettCynthia HeardenLen and Marilyn HerrmannFred Taugher and Paula HigashiFrederick and Tieu-Bich HodgesFrederick and B.J. HoytPat and Jim Hutchinson*Don and Diane JohnstonWeldon and Colleen JordanMary Ann and Victor JungDavid Kalb and Nancy GelbardEdith KanoffCharles Kelso and Mary ReedRuth Ann Kinsella*Richard and Rosie KirklandJoseph Kiskis Peter Klavins and Susan KauzlarichNorma KleinCharlene R. KunitzAllan and Norma LammersDarnell LawrenceKatie Thomas and Richard LawrenceRuth LawrenceFrances and Arthur Lawyer*Carol and Robert LedbetterMichael and Sheila Lewis*David and Ruth LindgrenBill and Harriet LovittHelen MaBunkie MangumPat Martin*Robert Mazalewski and Yvonne ClintonSean and Sabine McCarthyDel and Doug McColmJulie and Craig McNamaraDon and Lou McNary

Glen And Nancy MichelRobert and Susan Munn*William and Nancy MyersAnna Rita and Bill NeumanForrest OdleJohn and Carol OsterSally Ozonoff and Tom RicheyFrank PajerskiJack and Sue PalmerDr. John and Barbara ParkerBonnie A. Plummer*Deborah Nichols Poulos and Prof. John W. PoulosHarriet PratoEdward and Jane RabinJ. David RamseyRosemary ReynoldsGuy and Eva RichardsRonald and Sara RingenJohn and Marie RundleBob and Tamra RuxinTom and Joan SalleeDwight E. and Donna L. SandersMark and Ita Sanders*Howard and Eileen SarasohnJerry and Kay SchimkeMervyn SchnaidtMark E. Ellis and Lynn ShapiroNancy Sheehan and Rich SimpsonKathie ShigakiElizabeth SmithwickAl and Sandy SokolowEdward and Sharon SpeegleCurtis and Judy SpencerElizabeth St GoarTim and Julie StephensPieter and Jodie Stroeve, and Diane BarrettKristia SuutalaNancy TeichertCap and Helen ThomsonButch and Virginia ThreshDennis and Judy TsuboiAnn-Catrin Van Ph.D.Robert Vassar and Nanci ManceauGeorge and Denise GridleyDonald Walk, M.D.Geoffrey and Gretel Wandesford-SmithNorma and Richard WatsonDr. Fred and Betsy WeilandDaniel Weiss and Elena Friedman-WeissChuck WhiteLisa Yamauchi and Michael O’BrienIris Yang and G. Richard BrownWesley YatesRonald M. YoshiyamaHanni and George Zweifel

And ten donors who prefer to remainanonymous

MainstaGe CirCLe$100 - $299Leal AbbottThomas and Betty AdamsMary AftenJill AguiarSuzanne and David AllenDavid and Penny AndersonValeriejeanne AndersonElinor Anklin and George HarschJanice and Alex ArdansClemens Ford ArrasmithDebbie ArringtonFred Arth and Pat SchneiderJerry and Barbara AugustGeorge and Irma BaldwinCharlotte BallardBeverly and Clay BallardCharlie and Diane Bamforth*Elizabeth BanksMichele Barefoot and Luis Perez-GrauLupie and Richard BartonPaul and Linda BaumannLynn Baysinger*Delee and Jerry BeaversClaire and Marion Becker*Mark and Betty BelafskyLorna BeldenMerry BenardCarol L. Benedetti

William and Marie BenisekRobert C. and Jane D. BennettMárta Battha BéresBevowitz FamilyBoyd and Lucille BevingtonErnst and Hannah BibersteinJohn and Katy BillAndrea Bjorklund and Sean DugganLewis J. and Caroline S. BledsoeFred and Mary BlissMarchia BondBrooke Bourland*Mary and Jill BowersAdney and Steve BowkerAlf and Kristin BrandtRobert Braude and Maxine MoserDan and Millie Braunstein*Don and Liz BrodeurDavid and Valerie BrownLinda Clevenger and Seth BrunnerMartha Bryant*Mike and Marian BurnhamMargaret Burns and Roy W. BellhornVictor and Meredith BurnsWilliam and Karolee BushRobert and Lynn CampbellRobert CanaryJohn and Nancy CapitanioJames and Patty CareyAnne and Gary CarlsonJan Carmikle, ‘90John CarrollBruce and Mary Alice Carswell*Jan B. and Barbara J. Carter*Caroline Chantry and James MalotFrank ChisholmMichael and Paula ChuladaArthur Chung and Karen RobertsBetty M. ClarkGail ClarkL. Edward and Jacqueline ClemensBill and Linda ClineBarbara CodyStephan CohenSheri and Ron ColeHarold and Marj CollinsSteve and Janet CollinsPatricia Conrad and Ann BriceJan and Gayle ConroyJudith CookPauline CookMr. and Mrs. Terry CookVictor Cozzalio and Lisa Heilman-CozzalioBill and Myra CusickElizabeth Dahlstrom-Bushnell*John W. and Joanne M. DanielsDena DavidsonJohanna DaviesMary Hanf DawsonJody DeaderickEd and Debby DillonJoel and Linda DobrisRichard Epstein and Gwendolyn DoebbertVal Dolcini and Solveig MonsonVal and Marge Dolcini*Gordon DouglasSue Drake*Ray DudonisAnne DuffeyLeslie DunsworthMarjean DupreeVictoria Dye and Douglas KeltJ. Terry and Susan EagerHarold and Anne EisenbergEliane EisnerBrian Ely and Robert HoffmanAllen EndersAdrian and Tamara EngelSid EnglandCarol Erickson and David PhillipsM. Richard and Gloria M. ErikssonJeff ErsigChristine FacciottiAdrian Farley and Greg SmithAndrew D. and Eleanor E. Farrand*Elizabeth FasslerElizabeth and Timothy FentonSteven and Susan FerronatoMargery FindlayKieran and Martha FitzpatrickJudy Fleenor*Manfred FleischerDavid and Donna FletcherGlenn FortiniMarion Franck and Bob Lew


Frank BrownBarbara and Edwin FrankelAnthony and Jorgina FreeseJoel FriedmanKerim and Josina FriedrichJoan M. FutscherMyra A. GableLillian GabrielCharles and Joanne GambleClaude and Nadja GarrodXiaojia Ge and Ronghua Li*Ivan GennisPeggy GerickGerald Gibbons and Sibilla HersheyMary Lou and Robert GillisEleanor GlassburnerRoberta R. GleesonBurton GoldfineRobert and Pat Gonzalez*Robert and Velma GoodlinMichael Goodman Susan GoodrichAlouise HillierVictor GrafTom GrahamJacqueline Gray*Kathleen and Thomas GreenPaul and Carol GrenchCindy and Henry GuerreroJune and Paul GulyassyWesley and Ida Hackett*Jim and Jane HagedornFrank and Rosalind HamiltonWilliam and Sherry HamreJim and Laurie HanschuMargaret BrockhouseMarylee and John HardieRichard and Vera HarrisCathy Brorby and Jim HarrittMarjorie HeinekeDonald and Lesley HellerPaul and Nancy HelmanMartin Helmke and Joan Frye WilliamsRand and Mary HerbertEric Herrgesell, DVMRoger and Rosanne HeymElizabeth and Larry HillCalvin Hirsch and Deborah FrancisMichael and Peggy HoffmanJan and Herb HooverSteve and Nancy HopkinsAllie HubertyDavid and Gail HulseDeborah HunterEva Peters HuntingLorraine J. HwangWilliam JacksonKathryn JaramilloDr. and Mrs. Ronald C. JensenPamela R. JessupCarole and Phil JohnsonJohn and Jane JohnsonSteve and Naomi JohnsonMichelle JohnstonWarren and Donna JohnstonMartin and JoAnn Joye*John and Nancy JungermanFred and Selma KapatkinShari and Timothy KarpinJean and Stephen KarrAnthony and Beth KatsarisYasuo KawamuraPhyllis and Scott Keilholtz*Gary KieserDave and Gay KentMichael Kent and Karl JandreyCathryn KerrPat and John KesslerAnonymous Larry Kimble and Louise BettnerKen and Susan KirbyDorothy KlishevichMuriel KnudsenWinston and Katy KoPaul and Pamela KramerDave and Nina KrebsMarcia and Kurt KreithSandra KristensenElizabeth and C.R. KuehnerNate KuppermanLeslie KurtzCecilia KwanDonald and Yoshie KyhosRay and Marianne KyonoTerri Labriola

Bonnie and Kit Lam*Marsha M. LangLawrence and Ingrid LapinBruce and Susan LarockKathleen LarsonLeon E. LaymonC and J LearnedMarceline Lee and Philip SmithNancy P. LeeThe Hartwig-Lee FamilyNancy and Steve LegeThe Lenk-Sloane FamilyEdward N. LesterEvelyn A. LewisMelvyn and Rita LibmanGuille Levin LibrescoJim and Jami LongKim LongworthMary LowryHenry LuckiePaul and Linnae LuehrsDiana LynchMaryanne LynchEd and Sue MacDonaldLeslie Macdonald and Gary FrancisJulin Maloof and Stacey HarmerSandra MansfieldJoseph and Mary Alice MarinoPam Marrone and Mick RogersDonald and Mary MartinGarth and Linda MartinJ. A. MartinMr. and Mrs. William R. MasonBob and Vel MatthewsLeslie MaulhardtKatherine F. Mawdsley*Karen McCluskey*John MccoyNora McGuinness*Donna and Dick McIlvaineTim and Linda McKennaBlanche McNaughton*Richard and Virginia McRostieMartin A. Medina and Laurie PerryWener Paul Harder IIIDeAna MelilliBarry Melton and Barbara LangerSharon MenkeThe Merchant FamilyRoland MeyerLeslie Michaels and Susan KattLisa MillerPhyllis MillerSue and Rex MillerDouglas MinnisSteve and Kathy Miura*Kei and Barbara MiyanoSydney MobergVicki and Paul MoeringJoanne K. MoldenhauerAmy MooreDebra MooreHallie MorrowMarcie MortenssonTony and Linda MrasRobert and Janet MukaiThe Muller FamilyTerry and Judith MurphySteve Abramowitz and Dr. Alberta NassiJoni NeibertM.A. NelsonMargaret Neu*Cathy Neuhauser and Jack HolmesRobert Nevraumont and Donna Curley Nevraumont*Keri Mistler and Dana NewellKan Ching NgNancy Nolte and James LittleJohn Chendo and Esther NovakPatricia O’Brien*Kay OgasawaraDana OlsonJames OltjenMarvin O’RearDavid and Debra OshigeBob and Beth OwensCarlene and Mike Ozonoff*Michael PachJoan S. PackardThomas Pavlakovich and Kathryn DemakopoulosBob and Marlene PerkinsLee/Michael PerroneAnn Peterson and Marc HoeschelePat Piper

Vicki and Bob PlutchokRalph and Jane Pomeroy*Bea and Jerry PresslerAnn PrestonJohn ProvostEvelyn and Otto RaabeJan and Anne-Louise RadimskyKathryn Radtkey-GaitherLawrence and Norma RappaportEvelyn and Dewey RaskiOlga RavelingSandi Redenbach*Mrs. John Reese, Jr.Martha Rehrman*Michael A. Reinhart and Dorothy YerxaEugene and Elizabeth RenkinJudy, David, and Hannah ReubenMr. and Mrs. Alexander RiceBill RichJohn RichardsFred and Bernadeen RichardsonJoyce RietzCaroline and Stephen RobertsWarren G. RobertsDavid and Kathy RobertsonTracy RodgersRichard and Evelyne RomingerMary F. RosaSharon and Elliott RoseJean and George RosenfeldBarbara and Alan RothDavid and Catherine RowenPaul and Ida RuffinHugh SaffordTerry Sandbek and Sharon Billings*Kathleen and David SandersFred and Polly SchackJohn and Joyce SchaeubleTyler SchillingLeon Schimmel and Annette CodyFred and Colene SchlaepferJanis J. Schroeder and Carrie L. MarkelJean SchwarzkopfRobert and Jenifer SegarBrian Sehnert and Janet McDonaldDan Shadoan and Ann LincolnJay and Jill ShepherdRuth and Robert ShumwaySandra and Clay SiggAndrew Sih and Caitlin McGawMark Berman and Lynn SimonMichael and Elizabeth SingerJoy SkalbeckBarbara SlemmonsJudith SmithJean SnyderRoger and Freda SornsenGreg and Pam SparksJoseph and Dolores SpencerMarguerite SpencerMiriam SteinbergHarriet Steiner and Miles SternJohn and Johanna StekJudith SternRaymond StewartDeb and Jeff StrombergPatricia SturdevantBecky and James SullivanThomas SwiftJoyce TakahashiStewart and Ann TealPouneh TehraniFrancie TeitelbaumJeanne Shealor and George ThelenJulie Theriault, PA-CVirginia ThigpenJanet ThomeRobert ThorpeBrian TooleRobert and Victoria TousignantKatharine TraciMichael and Heidi TraunerGary and Jan TruesdailBarbara and Jim TuttChris Van KesselBart and Barbara Vaughn*Marian and Paul Ver WeyRichard and Maria VielbigMerna and Don VillarejoCharles and Terry VinesEvelyn Matteucci and Richard VorpeCarolyn Waggoner*M. Therese WagnonMaxine Wakefield and William ReichertMarny and Rick Wasserman

Caroline and Royce WatersMarya Welch*Dan and Ellie WendinMartha WestRobert and Leslie Westergaard*Susan WheelerRegina WhiteLinda K. WhitneyKristin WiesePhillip and JoAnne WileWard WillatsMrs. Jane L. WilliamsSuzanne and Keith WilliamsJanet WintererThe Wolf FamilyJennifer WooLinda YassingerTimothy and Vicki YearnshawNorman and Manda YeungPhillip and Iva YoshimuraHeather M. Young and Peter B. QuinbyLarry Young and Nancy LeePhyllis YoungMelanie and Medardo ZavalaPhyllis and Darrel Zerger*Timothy ZindelKaren ZiskindMark and Wendy Zlotlow

And 53 donors who prefer to remain anonymous

CORPORATe MATChINg gIFTS

American Express Foundation Gift Matching ProgramBank of America Matching Gifts ProgramChevron/Texaco Matching Gift FundExxonMobil FoundationMcGraw-Hill CompanyMerrill Lynch & Co. FoundationMonsanto CompanyThe Sacramento BeeWachovia Foundation Matching Gifts ProgramWells Fargo Foundation

We appreciate the many Members who par-ticipate in their employers’ matching gift pro-gram. 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 gener-ous 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.

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530.754.ARTStheatredance.ucdavis.edu

NO-BODY

October 14-24, 2010

Vanderhoef Studio Theatre,Mondavi Center

Devised by Bella Merlin

Director: Miles Anderson

Composer: David Roesner

A Sideshow Physical

Theatre Company

production


DON ROTH, Ph.D.Executive Director

Jeremy GanterAssociate Executive Director

PROGRAMMINGJeremy GanterDirector of Programming

Erin PalmerProgramming Manager

Ruth RosenbergArtist Engagement Coordinator

Lara DownesCurator: Young Artists Program

ARTS EDUCATIONJoyce DonaldsonAssociate to the Executive Director for Arts Educaton and Strategic Projects

Jennifer MastArts Education Coordinator

AUDIENCE SERVICESEmily TaggartAudience Services Manager/Artist Liaison Coordinator

Yuri RodriguezEvents Manager

Nancy TempleAssistant Public Events Manager

BUSINESS SERVICESDebbie ArmstrongSenior Director of Support Services

Carolyn WarfieldHuman Resources Analyst

Mandy JarvisFinancial Analyst

Russ PostlethwaiteBilling System Administrator

Dena GildayPayroll and Travel Assistant

DEVELOPMENTDebbie ArmstrongSenior Director of Development

Robert AvalosDirector of Major and Campaign Gifts

Christine VargasDonor Relations Manager

Elisha FindleyDevelopment Coordinator

FACILITIESSteve McFerronDirector of Facilities

Greg BaileyLead Building Maintenance Worker

INFORMATION TECHNOLOGYDarren MarksProgrammer/Designer

Mark J. JohnstonLead Application Developer

Tim Kendall Programmer

MARKETINGRob TocalinoDirector of Marketing

Will CrockettMarketing Manager

Erin KelleySenior Graphic Artist Morissa Rubin Senior Graphic Artist

TICKET OFFICESarah HerreraTicket Office Manager

Steve DavidTicket Agent

Russell St. ClairTicket Agent

PRODUCTIONChristopher OcaStage Manager

Christi-Anne SokolewiczStage Manager

Jenna BellProduction Coordinator

Zak Stelly-RiggsMaster Carpenter

Daniel GoldinMaster Electrician

Michael HayesHead Sound Technician

Adrian GalindoScene Technician

Kathy GlaubachScene Technician

HEAD USHERSHuguette Albrecht George Edwards Linda Gregory Donna Horgan Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

MONDAVI CeNTeR STAFF

MONDAVI CeNTeR ADVISORy BOARDThe 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 offICersJohn Crowe, ChairLynette Hart, Vice-ChairJoe Tupin, Vice-ChairDee Hartzog, Patrons Relations Co-ChairLor Shepard, Patrons Relations Co-ChairGarry P. Maisel, Corporate Relations Co-ChairCamille Chan, Corporate Relations Co-Chair

ex offiCioLinda Katehi, Chancellor, UC DavisEnrique Lavernia, Provost and Executive Vice Chancellor, UC DavisJessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC DavisMargaret Neu, President, Friends of Mondavi CenterSally Ryen, Chair, Arts & Lectures Administrative Advisory Committee Don Roth, Executive Director, Mondavi Center

MeMBers Wayne BartholomewCamille ChanJohn CroweLois Crowe Patti DonlonDavid FiddymentDolly FiddymentMary Lou FlintSamia Foster

Scott FosterAnne GrayBonnie GreenEd GreenBenjamin HartLynette HartDee HartzogJoe HartzogBarbara K. JacksonGarry P. Maisel

Stephen MeyerNancy RoeWilliam RoeLawrence ShepardNancy ShepardJoan Stone Tony StoneJoe TupinLarry VanderhoefRosalie Vanderhoef

ARTS & LeCTuReS ADMINISTRATIVe ADVISORy COMMITTee

10-11 CoMMittee MeMBersSally Ryen, ChairPrabhakara ChoudaryAdrian CrabtreeSusan FranckKelley GoveHolly Keefer

Sandra LopezDanielle McManusBella MerlinLee MillerBettina Ng’wenoRei Okamoto

Hearne PardeeIsabel RaabKayla RouseErin SchlemmerHulleah Tsinhnahjinnie

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 forthe Mondavi Center staff throughout the performance season.

FRIeNDS OF MONDAVI CeNTeR

10-11 exeCuTIve BoarDMargaret Neu, President Laura Baria, Vice President/MembershipFrancie Lawyer, SecretaryJo Anne Boorkman, Adult EducationSandra Chong, K-12 EducationJohn Cron, Mondavi Center Tours Phyllis Zerger, Outreach Martha Rehrman, School Matinee Ticket Program FundraisingEunice Adair Christensen, Gift Shop Manager, Ex OfficioJoyce Donaldson, Director of Arts Education, Ex Officio

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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.

ParkingYou 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 DiscountsEntertain friends, family, classmates, or business associatesand 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 thecurrent academic year at an accredited institution andmatriculating towards a diploma or a degree.(Continuing education enrollees are not eligible).Proof Requirements: School ID for the current academic yearOR photocopy of your transcript/report card/tuition bill receipt for the current academic year.

ChildrenFor 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 PolicyMondavi 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.

RestroomsAll public restrooms are equipped with accessible sinks, stalls,baby-changing stations, and amenities. There are six publicrestrooms in the building: two on the Orchestra level; two onthe Orchestra Terrace level; and two on the Grand Tier level.

POlICIEs AND INfORMATION

ACCOMMODATIONS FOR PATRONSWITh 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 notifythe 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 accommoda-tions 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 SeatingMondavi 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 DevicesListening 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 eleva-tors.

elevatorsMondavi Center has two passenger elevators serving all levels.They are located at the north end of the Rumsey RancheriaGrand Lobby, near the restrooms and Patron Services Desk.

Service AnimalsMondavi 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 Mon-davi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.

*Only one discount per ticket.

POlIC

IEs

ex offiCioLinda Katehi, Chancellor, UC DavisEnrique Lavernia, Provost and Executive Vice Chancellor, UC DavisJessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC DavisMargaret Neu, President, Friends of Mondavi CenterSally Ryen, Chair, Arts & Lectures Administrative Advisory Committee Don Roth, Executive Director, Mondavi Center

FRIeNDS OF MONDAVI CeNTeR


sePTeMbeR 2010Madeleine AlbrightWeD, SeP 29

san francisco symphonyThuR, SeP 30

oCTobeR 2010Bayanihan, National folkDance Company of the PhilippinesFRI, OCT 1

Dianne ReevesSAT, OCT 2

steve Martinand the steep Canyon RangersSuN, OCT 3

Rising stars of OperaSAT, OCT 9

los lobosWeD, OCT 13

Dresden staatskapelleSAT, OCT 23

Gamelan çudamaniSuN, OCT 24

stew and The Negro ProblemTue-WeD, OCT 26-27

jonah lehrerWeD, OCT 27

Music and Madness festivalThu-SuN, OCT 28-31

noveMbeR 2010Venice Baroque Orchestrawith Robert McDuffie, violinWeD, NOV 3

Delfeayo Marsalis OctetWeD-SAT, NOV 3-6

BuikaSAT, NOV 6

Alexander string QuartetSuN, NOV 7

MaRCh 2011Professor henry louis Gates, jr.MON, MAR 7

Tango fire: Tango InfernoThu, MAR 10

yefim Bronfman, pianoSAT, MAR 12

Alexander string QuartetSuN, MAR 13

san francisco symphony and Chorus Thu, MAR 17

Curtis On TourSAT-SuN, MAR 19-20

Dan Zanes and friendsSuN, MAR 20

st. Petersburg Philharmonic OrchestraSAT, MAR 26

young Artists Competition winnersSuN, MAR 27

aPRil 2011Branford Marsalis & Terence BlanchardFRI, APR 1

Takács Quartet, with Nobuyuki Tsujii, pianoSAT, APR 2

Alvin Ailey American Dance TheaterTue-WeD, APR 5-6

The silk Road Ensemble with yo-yo MaFRI, APR 8

lara Downes with David sanfordSAT-SuN, APR 9-10

China Philharmonic OrchestraTue, APR 12

Max Raabe and Palast OrchesterWeD, APR 13

Béla fleck, Zakir hussain, & Edgar MeyerThu, APR 14

Der Untergang (Downfall)Thu, APR 21

Buddy GuyFRI, APR 22

David sedarisThu, APR 28

Pablo Ziegler, Beyond TangoFRI, APR 29

May 2011lucinda Childs, DANCETue, MAy 3

Roby lakatos EnsembleThu, MAy 5

jUne 2011Alexander string Quartet SuN, juNe 5

Imago, ZooZooSuN, NOV 7

Delfeayo Marsalis GroupWeD-FRI, NOV 10-12

Christopher O’Riley, pianoSAT-SuN, NOV 13-14

Paul Taylor Dance CompanySAT, NOV 13

Tous les Matins du MondeThu, NOV 18

Ornette ColemanSAT, NOV 20

jeanine De Bique, sopranoSAT-SuN, NOV 20-21

deCeMbeR 2010Tord Gustavsen andsolveig slettahjellWeD-SAT, DeC 1-4

Alexander string QuartetSuN, DeC 5

Mariachi los Camperos de Nati CanoSuN, DeC 5

kronos QuartetThu, DeC 9

Dr. Beverly Daniel TatumFRI, DeC 10

lara Downes family ConcertSuN, DeC 12

American Bach soloists, MessiahSAT, DeC 18

janUaRy 2011kenric TamSAT-SuN, jAN 15-16

Mark O’Connor and julian lageThu, jAN 20

Itzhak Perlman, violinSAT, jAN 22

Daniel handlerWeD, jAN 26

25th HourThu, jAN 27

MOMIx, BotanicaSAT-SuN, jAN 29-30

simone Dinnerstein and Tift MerrittSAT-SuN, jAN 29-30

febRUaRy 2011Mark Morris Dance GroupWeD, FeB 2

Vijay IyerWeD-SAT, FeB 2-5

joshua Bell, violinWeD, FeB 9

Bill frisell Trio and john scofield TrioFRI, FeB 11

New Century Chamber Orchestrawith Nadja salerno-sonnenbergSAT, FeB 12

La RondineThu, FeB 17

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MondaviArts.org530.754.2787 866.754.2787 (toll-free)

playbill issue 2: oct-nov 2010

Documents

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tradition of flamenco

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mondavi center program

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