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Composer and Performer: Two Perspectives on The Making of an Original Composition

The Alexander Strong Quartet with Joyce Yang program on June 2 features something extra special—the debut of a newly-commissioned work by Samuel Adams specifically for the Alexander String Quartet and pianist Joyce Yang. To celebrate this historic occasion, we asked both Samuel Adams and ASQ cellist Sandy Williams to share their thoughts on how this new piece was created.

Don Roth Interviews Vladimir Feltsman

This season, the Mondavi Center is thrilled to present year two of our three-year series of performances with pianist Vladimir Feltsman.

What Does It Mean to be Royal?

"If you are like me when it comes to certain orchestras, such as the one we have the pleasure of hearing on April 6, you may ask yourself: How does something earn the title of 'royal'?" UC Davis musicology Ph.D. student Jonathan Minnick shares a history lesson about how ensembles earn this special designation.

Give Beethoven a Break

Lawrence Brownlee and Eric Owens present an adventurous program that travels well outside the classical canon. In the inaugural issue of the Mondavi Center magazine, Gateway, Capital Public Radio's morning classical host Kevin Doherty (an operatic tenor himself) shares some provocative thoughts about the state of classical music, the canon and how diversity and a focus on living composers pays the ultimate respect to Beethoven’s legacy of innovation.

Looking Back and Looking Forward

The Mondavi Center's Executive Director Don Roth discusses the state of classical music in a recent Gateway article, as we draw connections between Don's article and the upcoming Academy of St. Martin in the Fields performance featuring Jeremy Denk on March 8, 2019.

George Li Talks Rach 2 With The Mondavi Center

We were able to pose a few questions to the 23-year-old about his brief but jam-packed journey thus far. Hear Li perform  Rachmaninoff’s famed Concerto No. 2  with the  Russian National Orchestra  and music director  Mikhail Pletnev at the Mondavi Center on  March 2, 2019.

Student Voices: A Language for All: Musical Notation and the Art of Crossing Borders

It may sound like a truism, but music really is a universal language. For instrumental compositions in particular, the notes that a musician reads on the page are the exact same as the notes that the composer put on that page (barring, of course, the occasional emendation or error that may be introduced over the years). Nothing gets “lost in translation,” so to speak, because there literally is no translation.

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