"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.
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.
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.
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.
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.