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Schubert: Sonata in A Minor (“Arpeggione”), D. 821 Randjabaran: Ballade for Unaccompanied Contrabass (1999) Messiaen: Louange a l’Eternite de Jesus from Quartet for the End of Time A Shinkoskey Noon Concert |
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Katherine McLin, violin | Ann Lavin, clarinet
Susan Lamb Cook, cello | Andrew Campbell, piano Barber: Cello Sonata Bernstein: Piano Trio Williams: Air and Simple Gifts (2009)
A Shinkoskey Noon Concert |
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Albéniz: Selections from Iberia A native of Barcelona, Spain, Isaac grew up in a family of musicians starting his music studies at an early age. As a young pianist and cellist he won several regional competitions and appeared as a soloist with chamber orchestras. He then decided to focus his studies on piano and went on to broader competitons, being awarded 1st prize in the International Competition “Ciutat de Carlet” (València, Spain). After high school he moved to the United States to study at Indiana University with pianists Edward Auer and Émile Naoumoff, and he is currently at the University of Southern California with Antoinette Perry, pursuing a Doctoral degree in piano performance. Isaac has performed in venues such as the Mondavi Center for the Arts (Davis, CA) and Palau de la Música de Barcelona, and has played with the Vancouver Symphony Orchestra (WA) and the UC Davis Symphony. He has given solo and chamber recitals in the West Coast, from Portland to Los Angeles, and he is often invited to perform in Spain. He has also played two benefit concerts for Oxfam-Intermon and has recorded live for the Catalan radio station “Catalunya Música”. As a teacher, his goal is to motivate his students to be passionate about music and become creative musicians. A Shinkoskey Noon Concert |
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Giovanni Battista Vitali: Partite sopra diverse Sonate (c. 1670) Ernst Bloch: Suite No. 2 (1956) Betsy Jolas: Épisode cinquième (1983) Philippe Schoeller: Omaggio Henri Dutilleux (2016) Luigi Dallapiccola: Ciaccona, Intermezzo e Adagio (1945) A Shinkoskey Noon Concert |
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Mayumi Hama previews her upcoming concert. A Shinkoskey Noon Concert |
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 | with Christopher Froh, marimba The year 2017 marks the eightieth birthday of marimba virtuoso, pioneer, and pedagogue Keiko Abe. As the most influential Japanese performer and most prolific composer and commissioner of works for solo marimba in history, Professor Abe’s work over the past sixty years has been largely responsible for the recognition of marimba as a concert instrument. In celebration Professor Abe’s chief proponent in Japan, Mayumi Hama will present a program of the most significant works of the Japanese marimba repertoire. From bedrock compositions commissioned by Professor Abe like Akira Miyoshi’s Torse III to Abe’s own critically renowned works Dream of the Cherry Blossoms and The Wave, Hama will introduce audiences to the sound of the marimba played at the highest possible level. Virtuoso marimbist Mayumi Hama began studying with Professor Keiko Abe at age six. Since 1996, Mayumi has been Professor Abe’s principal duo partner, traveling with her around the world to present definitive interpretations of existing repertoire as well as to premiere new works for two marimbas. Without question, Mayumi is the world’s leading proponent of Professor Abe’s powerful sound with commanding knowledge of her repertoire. |
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Jacám Manricks, instructor of jazz studies at UC Davis, featuring Joe Gilman. A Shinkoskey Noon Concert |
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Jacám Manricks, instructor of jazz studies at UC Davis, featuring Joe Gilman. A Shinkoskey Noon Concert. |
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 | Based on José Saramago’s Novel Death with Interruptions,
translated by Margaret Jull Costa Libretto by Thomas Laqueur
Composed by Kurt Rohde
Conducted by Matilda Hofman
Directed by Barbara Heroux Nikki Einfeld, soprano
Daniel Cilli, baritone
Joe Dan Harper, tenor
Leighton Fong, cello Left Coast Chamber Ensemble
Anna Presler, Artistic Director Volti Chorus
Bob Geary, Artistic Director The translator Margaret Jull Costa writes— José Saramago’s (1922–2010) later novels take a scathingly critical look at modern-day society and often ask the question ‘What would happen if…? In Death with Interruptions (published in 2005), Saramago asks—in a society obsessed with eternal youth and terrified of death—what if death (who is lower-case and a “she”) were to decide that no one should die? When this, inevitably, has dire consequences for society, death decides to reinstate death. Instead, death chooses to give people warning of their imminent demise by sending them a little purple note. However, when one of death’s purple notes is sent to a humble cellist, mysteriously, he never receives it and so doesn’t die. Rather puzzled, death (invisible) goes to visit the cellist in the apartment he shares with his dog. She sits on the sofa watching the cellist sleeping, observes him when he wakes up to get a drink of water, to let the dog out for a pee, and to go back to bed. Later, the dog leaves his master’s bed and curls up on death’s lap. Intrigued, death disguises herself as a beautiful young woman, flirts with the cellist and, to her own astonishment, falls in love and, one night, goes to bed with him (he, of course, has no inkling of her true identity). However, the novel ends on an ambiguous note: “the following day, no one died.” As composer Kurt Rohde writes, “What does this tell us? I believe it shows us that death is destined to forever occupy that moment just before reaching the ideal of what humans think they want most: to live and love forever.” |
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Liisa Davíla, soprano Kevin Doherty, baritone Jeremiah Trujillo, piano A Shinkoskey Noon Concert. |
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 | Sam Griffith, director The Jazz Bands of UC Davis will perform works that include Afro-Cuban classics and modern standards in an exciting evening of jazz music. For a free opportunity to listen to one of UC Davis’s jazz combos, come to the Ann E. Pitzer Center at 12:00 pm on this same day, Thursday, November 30. This Shinkoskey Noon Concert lasts about an hour. |
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David Nutter, professor and director emeritus Bach: Aus der Tieffen ruffe ich zu Dir, BWV 131 One of Bach’s earliest surviving sacred cantatas, Aus der Tieffen (Out of the deep I call, Lord, to you) is set to Luther’s translation of Psalm 130. The same text has been used in many other musical settings, including the De profundis section of many requiem masses, perhaps suggesting it was composed for a somber occasion. The cantata also features the hopeful chorale “Herr Jesu Christ.” |
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 | Mika Pelo, director [Pre-concert talk with the composers at 2:15 pm.] American music; three composers across three generations, all still alive! Genres range from opera to songs to intimate chamber music— Derek Keller: California Tableaux, Act I
A thought-provoking opera that deals with the complexity of California’s multicultural history. The piece questions what it means to be a citizen of the US; who’s in and who’s out, and perhaps even what it means to be “American.” Also on the program is a piece by San Francisco composer Mark Winges, and a duo by Karl Kohn, born in Vienna but emigrated to the US in 1939, an eminence of Californian music life who turned 90 last year. $10 Students and Children, $20 Adults (Open Seating) The Empyrean Ensemble presents engaging, thought-provoking, eclectic programs, enabling audiences to experience new musical sensations delivered with high artistry by its seven extraordinary core players—the finest new music performers in California. Ensemble-in-residence at UC Davis, Empyrean has premiered more than 200 works and performed throughout California, including appearances at many prominent music festivals and concert series. |
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A Shinkoskey Noon Concert. |
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Featuring students of Chris Froh. |
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 | Mika Pelo, director [Pre-concert talk with the composers at 6:15 pm.] Works written by “Revision/s” Composer Fellows Oren Boneh and Natalie Draper. The Empyrean Ensemble presents engaging, thought-provoking, eclectic programs, enabling audiences to experience new musical sensations delivered with high artistry by its seven extraordinary core players—the finest new music performers in California. Ensemble-in-residence at UC Davis, Empyrean has premiered more than 200 works and performed throughout California, including appearances at many prominent music festivals and concert series. A consummate musician, masterful programmer and dynamic presence, David Robertson has established himself as one of today’s most sought-after American conductors. A passionate and compelling communicator with an extensive orchestral and operatic repertoire, he has forged close relationships with major orchestras around the world through his exhilarating music-making and stimulating ideas. |
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 | Travis Andrews, electric guitar
Andy Meyerson, percussion Works written by “Revision/s” Festival Composer Fellows Christine Burke and Laura Schwartz. The San Francisco-based ensemble uses the traditions of classical and experimental music as tools to allow artists of all disciplines to create their most ambitious works and respond to the world in which they live. Memorizing every work it performs, The Living Earth Show thrives on pushing the boundaries of technical and artistic possibility in its presentation of commissioned electro-acoustic chamber music. Called “outstanding” by The San Francisco Chronicle, “transcendent” by The Charleston City Paper, “a vanguard effort of new chamber music” by The San Francisco Examiner, and “a fully distorted perpetual motion of awesome” by I Care If You Listen, The Living Earth Show is a megaphone and canvas for some of the world’s most progressive artists. Upcoming productions include Aeolus, opera with Ken Ueno and Majel Connery, a new song cycle presented with and composed by Ted Hearne, a collaboration with Kronos Quartet and Youth Speaks, M. Lamar’s song cycle Lordship and Bondage: The Birth of the Negro Superman, Dennis Aman’s evening-length work 24 Preludes and Fugues, Nicholas Vasallo’s Surrounding The Earth, a new work written for the ensemble by Raven Chacon, the collaborative 2019 performance project AFFIRMATIVE ACTION, and a new evening-length collaboration with Post:Ballet and composers Samuel Adams, Andrew Norman, and Daniel Wohl. |
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 | Stravinsky: Suite Italienne Respighi: Sonata in B Minor Schubert: Sonatina Jolán Friedhoff, violin, and Antoinette Perry, piano, will perform the popular Suite Italienne, an arrangement of several movements from Stravinsky’s ballet Pulcinella, written in 1919 and inspired by music attributed to Baroque composer Giovanni Battista Pergolesi. Less well known, and seldom played, is another work on the program from the 20th century: the Sonata in B Minor by Ottorino Respighi was written in 1917. Despite being a ‘modern’ work, the sonata is written in a fluid, romantic style. A sonatina by Franz Schubert rounds out the program. Jolán and Antoinette met when they were graduate students at the University of Texas, Austin, and have performed together several times, both in Europe and in the USA. Jolán Friedhoff relocated to Davis after serving as assistant concertmaster of the Saar State Opera Orchestra, Germany, for 20 years. She also served as concertmaster of the Sinfonietta Saarbrucken for five seasons. Prior to joining the Saar State Opera Orchestra, she was a member of the first violin sections of the Rhine Philharmonic and the Philharmonia Hungarica. Since her return to California, she has performed as Assistant Concertmaster and Concertmaster for a number of orchestras in the region, including the Sacramento Philharmonic, the Modesto Symphony, the Berkeley Symphony and the Bear Valley Music Festival. Friedhoff teaches violin at UC Davis, where she also regularly coaches chamber ensembles. She holds a bachelor’s degree in music from the University of Indiana, and a master’s degree from the University of Texas. Antoinette Perry, born to professional musicians, gave her first public performance at the age of four. Since then, she has appeared throughout the US, Europe, and China as a soloist and chamber musician, collaborating with many of the world’s greatest artists, including John Perry, Leon Fleisher, Ralph Kirshbaum, Ronald Leonard, Brooks Smith, David Shifrin, Gabor Rejto, Henri Temianka, Joaquin Valdepenas, Carol Wincenc, Froydis ReeWekre and actors Michael York and Walter Matthau. She has performed with members of the American, Chicago, Cleveland, Emerson, Juilliard, Los Angeles, Paganini, Sequoia, and Takacs String Quartets, and also with principals of the L.A., New York, Rotterdam and the Hague Philharmonics, the Concertgebau, Cleveland, Cincinnati, Gulbenkian and Zurich Tonhalle Orchestras, the Chicago, St. Louis, Toronto, and San Francisco Symphonies, and the L.A. and Orpheus Chamber Orchestras. Perry teaches at the University of Southern California’s Thornton School of Music. |
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 | Thomas Adès: Arcadiana
Yu-Hui Chang: Mind Like Water
Franghiz Ali-Zadeh: Oasis
Pelle Gudmundsen-Holmgreen: Quartet No. 9 (“Last Ground”)
Philip Glass: String Quartet No. 5 Water courses through this program, in turn symbolizing life, death, flowing motion, peaceful repose and raging violence. Five unique compositional voices guide us on a visionary journey from the fragmentary, lost idylls of Thomas Adès, to the pulsing waves of Philip Glass. |
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 | A program celebrating the birthday and musical contributions of one of the most celebrated composers of South India, Muthuswamy Dikshitar. Muthuswamy Dikshitar used the signature “Guruguha” in his compositions and he is one of the most important composers of Carnatic (South Indian) classical music. Guruguha is a Sanskrit compound which translates as the “Teacher who is Guha.” Guha is the name of the deity of secret wisdom, of love and war, known more commonly as Murukan. Dikshitar became “Guruguha” when, after Guha himself is said to have placed a hard candy on Dikshitar’s tongue, he spontaneously burst into song in praise of Guha. The resulting song is set to raga Mayamalvagowla, the first raga that students of Carnatic music learn. |
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