Department of Music Concert and Event Listing

On her 1st oboe DMA recital: vortexes, Juliana will be collaborating with great colleagues and friends: Rebecca Lloyd Jones- percussion and Kathryn Schulmeister- bass.

PROGRAM:
Sequenza VII (1969) - Luciano Berio
Karura for oboe solo (2007) - Akira Nishimura
Ming Qi (bright vessel) (2000) - Liza Lim
Vortex (2020) - Juliana Gaona-Villamizar and Kathryn Schulmeister

Alternate spaces:

This computer music concert will feature: improvised electronic music with real-time analysis to drive lights, piano with electronics, 16-channel fixed-media pieces, modular paired with analog video feedback and more. All the pieces created for this concert were created by UC San Diego alumni or current students. UC San Diego SElectOr is an open creative arts group focused on the use of technology for musical expression. 

Over the past ten years musicians from Korea and the United States have been collaborating on virtual concerts centered around common themes of peace, climate change, and shared artistic values. Following "Changing Tides 2, a Virtual Concert on February 13th/14th between Seoul Institute of the Arts and UC San Diego, the distinguished ensemble from Korea, Black String and their UC collaborators, Professor David Borgo-moderator,  Professors Mark Dresser, Michael Dessen, Stephanie Richards and Wilfrido Terrazas will have conversation on February 25th about common themes of cross cultural collaboration and those artistic values that are permeable those that are not. 

Aleck Karis leads the Palimpsest Ensemble in a program honoring Pulitzer-Prize winning composer Mario Davidovsky.  In 1959, the Argentine born composer emigrated to America at the behest of Aaron Copeland, with whom studied at the Berkshire Music Center (now Tanglewood). There he met Milton Babbitt, who encouraged Davidovsky’s move to New York City where he eventually became director of the Columbia-Princeton Electronic Music Center.  In honor of Davidovsky, who passed away last August, Aleck Karis has chosen a program including: Flashbacks, Sefarad, Pennplay, and Biblical Songs, featuring Susan Narucki, soprano.  The program will also highlight Milton Babbitt’s Composition for 12 Instruments, from which a new “palimpsest” composition with the same ensemble will be created by UC San Diego graduate composer Yi-hsien Chen.

"The voice has the power to communicate through words, and yet also the ability to create a multitude of percussive sounds. Together with percussion, they act as a conduit for a musician's virtuosity and emotions, whether or not the language of the voice is understandable, or the rhythm of the percussion instruments is comprehensible." - Garrett Mendelow

This recital features works on Garrett's upcoming album "singing to his craft...," which is a collection of pieces for a solo vocalizing percussionist. The album not only explores the ability of the voice to interact with various percussion instruments. But the multi-lingual component also renders a wide array of articulations and sounds from the voice, while at the same time communicating the spoken text.

Featuring new music composed by the MUS131 contingent, led by Prof. Stephanie Richards

Extended Reality (XR) encompases Virtual Reality (VR), Mixed Reality (MR) and Augmented Reality (AR). The three pieces in this concert feature musical instruments for each one of these XR modalities. The compositions and instrument designs debuts by University of California San Diego Computer Music PhD Candidate Isaac Munoz.

PROGRAM:

VR Singing Kite - A VR Concerto

Between a Log and a Pluck Place - An MR Minuet

Push Pull - An AR Rock Single

Two x Two: a chamber concert

University of California San Diego graduate pianists Dimitris Paganos Koukakis and Shaoai Ashley Zhang present a program of works for piano duo. They will be joined by percussionists Michael Jones and Rebecca Lloyd-Jones for Bartok's Sonata for Two Pianos and Percussion.

PROGRAM:
Figures de Résonances (1976)- Henri Dutilleux
Two Pianos (1957)- Morton Feldman
La Valse (1920)- Maurice Ravel
Sonata for Two Pianos and Percussion (1937)- Béla Bartók

THIS CONCERT IS CANCELLED.

Bassist Kathryn Schulmeister brings radiant energy and rigorous expression to her musical performance ranging from classical to experimental. With a fearless curiosity for collaborative environments, Kathryn’s enthusiasm for seeking opportunities to integrate improvisation, movement and theatre into her creative practice have led her to thrive as an active performer in festivals and venues around the world.  

Kathryn is one of the newest members of the renowned ELISION Ensemble. She also currently performs as a guest with Klangforum Wien, Ensemble Dal Niente, Fonema Consort, and various others. 

Equally passionate and experienced as an orchestral musician, Kathryn served as a core member of the Hawaii Symphony Orchestra for three consecutive seasons from 2014-2017, and has performed with the Phoenix Symphony, the California Chamber Orchestra, Pacific Lyric Opera, the Maui Chamber Orchestra, and Hawaii Opera Theater.

Kathryn is currently pursuing a Doctor of Musical Arts degree in Contemporary Music Performance at the University of California San Diego, studying with internationally acclaimed bassist/improviser/composer Mark Dresser. She received her Bachelor of Music degree from the New England Conservatory of Music in Boston and completed her Master of Music degree at McGill University in Montréal.

suddenly drenched with dawn 

Soprano Susan Narucki will present an evening of music that celebrates the human voice in its most intimate, lyrical and exuberant. The recital takes place at UC San Diego Department of Music’s Conrad Prebys Concert Hall on March 4, 2020 at 7 p.m. Narucki, will be joined by guest artists Aleck Karis (piano), Pablo Gomez (guitar), Kirsten Ashley Wiest (soprano) Teresa Diaz-de-Cossio (flute) and Sean Dowgray (percussion). 

The concert includes two distinctive works of modern vocal chamber music: Kaija Saariaho’s Adjö for voice, flute and guitar and Karin Rehnqvist’s Puksånger/Lockrop for two voices and percussion. Saariaho’s work is an exquisite setting of Solveig von Schoultz’s poem celebrating the return of the sun after months of darkness; Rehnqvist’s extended work incorporates Finnish proverbs about women, and traditional folk texts, and utilizes a traditional (and spectacular) vocal “herding-call” technique. 

Two elegiac works for voice and guitar are included on the program: Hosokawa’s Renka I and songs by the English composer John Dowland. Both works speak to parting and loss through unique and elegant compositional styles separated by centuries. 

Francis Poulenc’s lyrical masterwork for voice and piano, Tel Jour, Telle Nuit, is the other connecting thread of the program. Composed in 1937 with texts by surrealist poet Paul Éluard, the cycle of nine songs traverses a landscape of the unusual and beautiful, describing a journey less to a specific destination than to a place within, suddenly drenched with dawn. 

Susan Narucki is a Professor of Music at UC San Diego and leads the Arts and Community Engagement Initiative for the Division of Arts and Humanities. Her most recent recording “The Edge of Silence: Vocal Chamber Music of György Kurtág” has been nominated for a 2020 Grammy Award as Best Classical Vocal Album. 

suddenly drenched with dawn 

Soprano Susan Narucki will present an evening of music that celebrates the human voice in its most intimate, lyrical and exuberant. The recital takes place at UC San Diego Department of Music’s Conrad Prebys Concert Hall on March 4, 2020 at 7 p.m. Narucki, will be joined by guest artists Aleck Karis (piano), Pablo Gomez (guitar), Kirsten Ashley Wiest (soprano) Teresa Diaz-de-Cossio (flute) and Sean Dowgray (percussion). 

The concert includes two distinctive works of modern vocal chamber music: Kaija Saariaho’s Adjö for voice, flute and guitar and Karin Rehnqvist’s Puksånger/Lockrop for two voices and percussion. Saariaho’s work is an exquisite setting of Solveig von Schoultz’s poem celebrating the return of the sun after months of darkness; Rehnqvist’s extended work incorporates Finnish proverbs about women, and traditional folk texts, and utilizes a traditional (and spectacular) vocal “herding-call” technique. 

Two elegiac works for voice and guitar are included on the program: Hosokawa’s Renka I and songs by the English composer John Dowland. Both works speak to parting and loss through unique and elegant compositional styles separated by centuries. 

Francis Poulenc’s lyrical masterwork for voice and piano, Tel Jour, Telle Nuit, is the other connecting thread of the program. Composed in 1937 with texts by surrealist poet Paul Éluard, the cycle of nine songs traverses a landscape of the unusual and beautiful, describing a journey less to a specific destination than to a place within, suddenly drenched with dawn. 

Susan Narucki is a Professor of Music at UC San Diego and leads the Arts and Community Engagement Initiative for the Division of Arts and Humanities. Her most recent recording “The Edge of Silence: Vocal Chamber Music of György Kurtág” has been nominated for a 2020 Grammy Award as Best Classical Vocal Album. 

Directed by Ken Anderson, the choir combines hundreds of voices to fill the auditorium with the uplifting sound of African American spirituals, blues, traditional songs, and gospel.

The Duo of Dresser Davis performs a wide range of music from the lyrical to the political. It features the music of both celebrated composers, pianist Anthony Davis and contrabassist Mark Dresser.

The music is a commentary on today from the political and dramatic, with works like “The Central Park Five” to the whimsical, “I Can Smell You Listening” and “Heil Twitler.” Informed by four decades of collaboration, these two master improvisers engage the full spectrum of Jazz and Improvised music.
 

Under the direction of James Beauton, the UC San Diego Wind Ensemble performs selected works by American composers. The program features classic and new works for symphonic winds, and highlights a warped patriotism embedded within American legislation (or the lack thereof) and rhetoric today.

Program:

William Schuman - New England Triptych
I. Be Glad Then, America
II. When Jesus Wept
III. Chester

Charles Ives - Variations on “America”

G.N. Gianopoulos - The Volstead Act
*world premiere*

Brief Intermission

Jennifer Jolley - the eyes of the world are upon us

Aaron Copland - Lincoln Portrait
Jonathan Nussman, speaker
Christopher Clarino, ASL Interpreter

The MUS 95JC Jazz Ensembles concert, under the direction of Kamau Kenyatta, will feature small ensembles performing a variety of exciting compositions, including some written and arranged by student musicians. The instrumentation will include alto, tenor, and baritone saxophones, flute/bass flute, trumpet, trombone, piano, guitar, bass, drums, and vocals.  Full-band and small-group tunes will be included in the program.

Steven Schick, conductor

Benjamin Britten War Requiem

Guest artists: Ariana Strahl, soprano; John Buffet, baritone; John Russell, tenor; boys choir, San Diego Master Chorale

The cathedral in Coventry, bombed into rubble during the Battle of Britain, lay in ruins for years afterward.  For its rebuilding in 1961, Benjamin Britten composed his War Requiem, which splices the poetry of Wilfred Owen–who was killed in World War I–into the Requiem Mass for the Dead.  The War Requiem was an instant classic (200,000 copies of the recording sold in the year after its premiere), and it remains an overwhelming experience.  And a gigantic undertaking: the San Diego Master Chorale joins us for this work, which calls for three soloists, boys choir, massive chorus, two orchestras, and two conductors.

Steven Schick, conductor

Benjamin Britten War Requiem

Guest artists: Ariana Strahl, soprano; John Buffet, baritone; John Russell, tenor; boys choir, San Diego Master Chorale

The cathedral in Coventry, bombed into rubble during the Battle of Britain, lay in ruins for years afterward.  For its rebuilding in 1961, Benjamin Britten composed his War Requiem, which splices the poetry of Wilfred Owen–who was killed in World War I–into the Requiem Mass for the Dead.  The War Requiem was an instant classic (200,000 copies of the recording sold in the year after its premiere), and it remains an overwhelming experience.  And a gigantic undertaking: the San Diego Master Chorale joins us for this work, which calls for three soloists, boys choir, massive chorus, two orchestras, and two conductors.

Declared “one of Chicago’s most adventurous chamber ensembles” (Chicago Tribune), the twice-Grammy-nominated Spektral Quartet actively pursues a vivid conversation between exhilarating works of the traditional canon and those written this decade, this year, or this week. Praised by the New York Times for its “supreme technical command that seems to come easily,” Spektral is known for creating seamless connections across centuries, drawing in the listener with charismatic deliveries, interactive concert formats, an up-close atmosphere, and bold, inquisitive programming.

In commemoration of the 100th anniversary of the passage of the Nineteenth Amendment granting women’s constitutional right to vote, the Quartet’s SHE WILL NOT BE SILENT program is a celebration of legendary women composers throughout the course of history who followed their own path. It is dedicated to all women who have fought for their voices to be heard.

Program

Fanny Mendelssohn: String Quartet in E-flat Major; Ruth Crawford Seeger: String Quartet; Eliza Brown: Quartet no. 1; Anna Thorvaldsdottir and Sigurdur Gudjonsson: Enigma

Wednesdays @ 7 and the Improvisors Initiative presents: 

Wild Lines: Jane Ira Bloom Plays Emily Dickinson 
A new work for jazz trio and spoken word, 21st-century soprano saxophonist Jane Ira Bloom reimagines the poetry of 19th-century visionary Emily Dickinson.

Jane Ira Bloom, soprano sax
Dawn Clement, piano
Mark Dresser, bass

Award-winning soprano saxophonist/composer Jane Ira Bloom presents “Wild Lines,” her new work for jazz trio and spoken word inspired by the poetry of Emily Dickinson. Bloom’s reimagining of Dickinson was ignited when she learned that the poet was a pianist and improviser, reaffirming Bloom’s intuitive connection to the jazz-like quality of Dickinson’s writing. The project is a collaboration across time between two pioneering women artists - one a 21st-century jazz musician, the other a 19th-century visionary poet. Poetry recitation will echo and intermingle with music performed by Bloom’s trio featuring world-renown pianist Dawn Clement and bassist Mark Dresser.  “Wild Lines” first premiered at the Magic Triangle Concert Series in the poet’s home in Amherst, MA then came to the Kennedy Center and premiered in New York City at the NYPL @ Lincoln Center. It was made possible by Chamber Music America’s New Jazz Works Program funded through the generosity of the Doris Duke Foundation.

Wild Lines was made possible by Chamber Music America’s New Jazz Works Program funded through the generosity of the Doris Duke Foundation.

Infused by the notion that momentum is firmly associated with, and driven by intuition, Theocharis' music deals with soft, disembodied, and fragile sonic elements laid out throughout rhythmically intricate environments, all under the scope of a dramaturgical sensibility. The effort towards fragility is realized through the simultaneous application of diverse unconventional instrumental techniques, coalescing into a singular musical event. Essential to his compositional process is the intuitive musical progression through a phrase-by-phrase approach, expanding and contracting phrasal durations while thickening and scattering the density of both its rhythmical and textural profiles. The elements of surprise and freshness within the musical narrative are prioritized, avoiding any sense of long formal linearities, resulting in structurally complex trajectories with sudden tempo modulations and abrupt intra-sectional changes, amplifying the parameter of dramaturgy.

?For the past four years, Theocharis has developed a serious commitment towards electronic music, integrating an electronic component upon this delicate, friable context to more fully blend and expand the acoustic sound. The interest in electronics is related primarily to live signal processing with a particular focus on granular synthesis, which is to be related to and compatible with the philosophy and character of the instrumental writing. Incorporating prerecorded synthesized sounds is also a practice his music has been extensively focusing on. The electronics merge with the instrumental sonic landscapes, extract their most important elements (pitch/gestural behaviors), highlight them, or, in other cases, contradict them through extreme live manipulation or by playing back sound files with opposing textures. There is a strive for a wide, thick, and intricate sonic spectrum in which processed, fixed, and acoustic sounds mix and contrast, equally contributing to the outcome. His current composition projects include a work for piano and fixed media and a work for double-bass, fixed media and live electronics, and a chamber ensemble work with 3D electronics. All three will be presented as part of his dissertation defense scheduled for the end of Spring 2020.

?Theocharis Papatrechas is a Greek composer, born in 1988, currently a PhD candidate in composition at the University of California, San Diego (UCSD) under the supervision of Rand Steiger.

He holds degrees in composition from the Ionian University (Bachelor’s) and the Eastman School of Music of the University of Rochester (Master’s). In 2010-11, he attended the composition program at the Sibelius Academy as part of the Erasmus program. For his studies, Theocharis has received scholarships from the American Hellenic Educational Progressive Association, and the Onassis, Lilian Voudouri, Samuel Adler and Gerondelis Foundations.

Theocharis has participated in several renowned international composition venues and master-classes such as ManiFeste l’Academie 2018 & 2019 at IRCAM with ensemble Intercontemporain, FORUM with Nouvel Ensemble Moderne, SEAMUS, ICMC-NYCEMF, Shanghai New Music Week with Mivos Quartet, Workshop for Young Composers in Tchaikovsky City with Moscow Contemporary Music Players, Etchings Festival with East Coast Contemporary Ensemble, IDEA Young Composers Workshop with Divertimento ensemble, receiving instruction from Chaya Czernowin, Georg Friedrich Haas, Brian Ferneyhough, Rebecca Saunders, Philippe Leroux, Franck Bedrossian, Stefano Gervasoni, Beat Furrer, and Fred Ledahl.

?

Theocharis's music is published by Babel Scores.

The California Electronic Music Exchange Concerts (CEMEC) form a series of events designed to strengthen the connections between the various California educational institutions that maintain computer and electronic music programs. These events are run and curated by the graduate students and faculty of each participating institution. The 2020 CEMEC series will be held at the campuses of CalArts, Mills, UCSD, UCSB, UCI, and Stanford throughout April.

Camera Lucida is a chamber music collaboration between four musicians with diverse backgrounds. Camera Lucida is a unique project matching masterpieces of the chamber music repertoire with a group of world-class instrumentalists who happen to call San Diego home.

PROGRAM:

Francis Poulenc, Clarinet Sonata
Samuel Barber, Cello Sonata, Opus 6
Franz Schmidt, Quintet in G major

No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). 

Additional Description:

Under the artistic directorship of UC San Diego distinguished professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and UCLA professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

Hailed as musician with “flair and fury,” Shaoai Ashley Zhang is a concert pianist performing throughout the US and Europe. An advocate of contemporary music, Ashley’s recent performances include the Boston premiere of Sofia Gubaidulina’s Die Pilger and Franco Donatoni’s Rasch II, as well as collaborations with Georg Friedrich Haas, Unsuk Chin, Vinko Globokar, and John Zorn. A graduate of New England Conservatory, Ashley is currently a doctoral student at the University of California, San Diego where she studies with Aleck Karis.

Anthony Burr has enjoyed a distinguished career as an exponent of contemporary music. He has performed in this repertoire with many leading groups, including Elision, Either/Or, Klangforum Wien, Ensemble Sospeso, and the Chamber Music Society of Lincoln Center. As a soloist, Anthony has worked with many leading composers in presenting their music, including Alvin Lucier, Helmut Lachenmann, Chaya Czernowin, Liza Lim and Brian Ferneyhough. He has played extensively outside of classical music with major figures including Jim O'Rourke, John Zorn and Laurie Anderson. His ongoing projects include a duo with Icelandic bassist and composer Skúli Sverrisson, the Clarinets (a trio with Chris Speed and Oscar Noriega), a series of recordings with cellist Charles Curtis and a series of live film and music performances with experimental filmmaker Jennifer Reeves. Anthony also maintains an active career as a recording engineer and producer. At UC San Diego, he has taught graduate seminars on musical aesthetics, undergraduate classes in music theory and popular music, and regularly performs classical repertoire with the Camera Lucida series.

Sameer Patel, guest conductor

Claude Debussy Prélude à l’après-midi d’un faune
Lili Boulanger D’un matin de printemps
Anton Webern Six Pieces for Orchestra, Op. 6
Toru Takemitsu Requiem
Arthur Honegger Symphony No. 3

Guest conductor Sameer Patel returns with works from France, Austria, Japan, and Switzerland in a program that shows the many currents that shaped music in the early twentieth century. Both Debussy and Lili Boulanger died in March 1918: his Prelude to the Afternoon of a Faun may be the most revolutionary music ever written, and her gentle evocation of a spring morning shows the promise of what might have been, had she not died at 24. Webern’s Six Pieces for Orchestra are supremely disciplined and expressive music, as is Toru Takemitsu’s Requiem for Strings, proclaimed “a masterpiece” by Stravinsky. The concert concludes with Honegger’s moving Symphonie Liturgique, a search for faith in the aftermath of World War II.

An Evening with J.S. Bach
Takae Ohnishi and Friends Department of Music's Conrad Prebys Concert Hall

• Sec A: $35
• Sec B: $25
• UCSD Student: $9

UC San Diego lecturer Takae Ohnishi teams up with friends from the San Diego Symphony—principal flautist Rose Lombardo and associate principal cellist Chia-Ling Chien—in an evening of some of Bach’s most beloved pieces. It will include Sonatas for the Viola Da Gamba, Flute and Basso Continuo, as well as selections from Bach’s solo cello suite and the Chromatic Fantasy and Fugue for Harpsichord.

Sameer Patel, guest conductor

Claude Debussy Prélude à l’après-midi d’un faune
Lili Boulanger D’un matin de printemps
Anton Webern Six Pieces for Orchestra, Op. 6
Toru Takemitsu Requiem
Arthur Honegger Symphony No. 3

Guest conductor Sameer Patel returns with works from France, Austria, Japan, and Switzerland in a program that shows the many currents that shaped music in the early twentieth century. Both Debussy and Lili Boulanger died in March 1918: his Prelude to the Afternoon of a Faun may be the most revolutionary music ever written, and her gentle evocation of a spring morning shows the promise of what might have been, had she not died at 24. Webern’s Six Pieces for Orchestra are supremely disciplined and expressive music, as is Toru Takemitsu’s Requiem for Strings, proclaimed “a masterpiece” by Stravinsky. The concert concludes with Honegger’s moving Symphonie Liturgique, a search for faith in the aftermath of World War II.

kallisti

Established by Grammy award-winning soprano Susan Narucki at the University of California, San Diego in 2009,  kallisti offers San Diego audiences exceptional performances of rarely heard works for voice in an intimate setting.  Singers from UC San Diego's Graduate Program in Contemporary Music Performance and distinguished guest artists collaborate in a wide range of repertoire that celebrates the extraordinary beauty and power of the singing voice.  

kallisti has also been featured with the La Jolla Symphony (Berio:Symphony)  and on the Green Umbrella Series at the Los Angeles Philhamonic (Reich: Music for 18), both with conductor Steven Schick and in the San Diego Symphony's 2018 It's About Time Festival at Copley Symphony Hall.  In addition, kallisti has toured to Stanford University in a unique collaboration of three world premiere operas:  The Voice Machine (2016)

kallisti chamber operas bring rarely heard masterworks and world premieres to the San Diego community.  kallisti  presented the San Diego premiere of Viktor Ullman's 1943 chamber opera Der Kaiser von Atlantis (2012) in a critically acclaimed production that has been viewed over 4000 times worldwide on Vimeo.

In addition, kallisti presented world premieres of  leading American composer Anthony Davis' Lear on the Second Floor (2013) , Steven Lewis' Noon at Dusk (2016) and the West Coast premiere of Pascal Dusapin's To Be Sung (2009) led by Jullian Pellicano .  In addition, innovative stagings of concert works directed by Susan Narucki have presented  pairings of masterworks by  Erik Satie and Morton Feldman, and Barbara Strozzi and Salvatore Sciarrino .  Our most recent opera project paired two one act operas by Francis Poulenc and American minimalist Tom Johnson.

Matt Kline is equally at home as a double bassist, composer and improviser. His music often combines all three of these areas and has provided him a very diverse musical career. As a double bassist, he writes extensively for the instrument using new and original techniques. In 2010, his piece Fragments for solo bass was awarded the grand prize in the International Society of Bassist’s composition competition. Recently, he performed as principal double bassist under the conductor and composer Krzysztof Penderecki. Upon the composer’s request, Matt performed his own adaptation of Penderecki’s Capriccio for Sigfried Palm. He previously was a member of the Renew ensemble, a group that specialized in contemporary improvisation.

He has received commissions and/or performances from Sandor Ostlund, Todd Meehan, Dennis Whittaker, Maggie Hasspacher, Rodolfo Morales, Thomas Bacon, Alicia Lawyer, members of the Czech Philharmonic and others. In 2008 he was a winner in the Robert Avalon composition competition. He has participated in the Academy Westfalen in Germany, CASMI program in Prague, Domaine Forget, Fresh Inc and Texas music festivals. Matt received his undergraduate in composition from Baylor University where he studied with Scott McAllister and Sandor Ostlund. In 2011, he lived in Paris, France where he studied with international bass soloist and pedagogue Francois Rabbath. He holds both performing and teaching diplomas from his institute. At UC San Diego, Mr. Kline studies double bass performance with Mark Dresser, and is the conductor of the UC San Diego Chamber Orchestra.

kallisti

Established by Grammy award-winning soprano Susan Narucki at the University of California, San Diego in 2009,  kallisti offers San Diego audiences exceptional performances of rarely heard works for voice in an intimate setting.  Singers from UC San Diego's Graduate Program in Contemporary Music Performance and distinguished guest artists collaborate in a wide range of repertoire that celebrates the extraordinary beauty and power of the singing voice.  

kallisti has also been featured with the La Jolla Symphony (Berio:Symphony)  and on the Green Umbrella Series at the Los Angeles Philhamonic (Reich: Music for 18), both with conductor Steven Schick and in the San Diego Symphony's 2018 It's About Time Festival at Copley Symphony Hall.  In addition, kallisti has toured to Stanford University in a unique collaboration of three world premiere operas:  The Voice Machine (2016)

kallisti chamber operas bring rarely heard masterworks and world premieres to the San Diego community.  kallisti  presented the San Diego premiere of Viktor Ullman's 1943 chamber opera Der Kaiser von Atlantis (2012) in a critically acclaimed production that has been viewed over 4000 times worldwide on Vimeo.

In addition, kallisti presented world premieres of  leading American composer Anthony Davis' Lear on the Second Floor (2013) , Steven Lewis' Noon at Dusk (2016) and the West Coast premiere of Pascal Dusapin's To Be Sung (2009) led by Jullian Pellicano .  In addition, innovative stagings of concert works directed by Susan Narucki have presented  pairings of masterworks by  Erik Satie and Morton Feldman, and Barbara Strozzi and Salvatore Sciarrino .  Our most recent opera project paired two one act operas by Francis Poulenc and American minimalist Tom Johnson.

kallisti

Established by Grammy award-winning soprano Susan Narucki at the University of California, San Diego in 2009,  kallisti offers San Diego audiences exceptional performances of rarely heard works for voice in an intimate setting.  Singers from UC San Diego's Graduate Program in Contemporary Music Performance and distinguished guest artists collaborate in a wide range of repertoire that celebrates the extraordinary beauty and power of the singing voice.  

kallisti has also been featured with the La Jolla Symphony (Berio:Symphony)  and on the Green Umbrella Series at the Los Angeles Philhamonic (Reich: Music for 18), both with conductor Steven Schick and in the San Diego Symphony's 2018 It's About Time Festival at Copley Symphony Hall.  In addition, kallisti has toured to Stanford University in a unique collaboration of three world premiere operas:  The Voice Machine (2016)

kallisti chamber operas bring rarely heard masterworks and world premieres to the San Diego community.  kallisti  presented the San Diego premiere of Viktor Ullman's 1943 chamber opera Der Kaiser von Atlantis (2012) in a critically acclaimed production that has been viewed over 4000 times worldwide on Vimeo.

In addition, kallisti presented world premieres of  leading American composer Anthony Davis' Lear on the Second Floor (2013) , Steven Lewis' Noon at Dusk (2016) and the West Coast premiere of Pascal Dusapin's To Be Sung (2009) led by Jullian Pellicano .  In addition, innovative stagings of concert works directed by Susan Narucki have presented  pairings of masterworks by  Erik Satie and Morton Feldman, and Barbara Strozzi and Salvatore Sciarrino .  Our most recent opera project paired two one act operas by Francis Poulenc and American minimalist Tom Johnson.

Aleck Karis has performed recitals, chamber music, and concertos across the Americas, Europe and in China. As the pianist of the new music ensemble Speculum Musicae he has participated in over a hundred premieres and performed at major American and European festivals. His appearances with orchestra have ranged from concertos by Mozart, Beethoven and Chopin to those of Stravinsky, Messiaen and Carter. His five solo discs on Bridge Records include Aleck Karis performs Schumann, Carter, Chopin; Aleck Karis: Mozart Recital; Stravinsky: Music for Piano 1911-1942; John Cage: Sonatas and Interludes; and Karis Plays Webern, Wolpe & Feldman. His two discs on Romeo Records are Piano Music of Philip Glass and Late Piano Music of Frederic Chopin. Last month, Bridge released his most recent disc, Feldman's haunting last work Piano, Violin, Viola, Cello. Karis has studied with William Daghlian, Artur Balsam and Beveridge Webster. He is a Distinguished Professor of Music at the University of California, San Diego, and former Associate Dean of the Division of Arts and Humanities.

Camera Lucida is a chamber music collaboration between four musicians with diverse backgrounds. Camera Lucida is a unique project matching masterpieces of the chamber music repertoire with a group of world-class instrumentalists who happen to call San Diego home.

PROGRAM:

Claude Debussy, Première rhapsodie for clarinet and piano
Arthur Foote, Piano Quartet
Beethoven, String Quartet in F major, Op. 18 Nr. 1

No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). 

Additional Description:

Under the artistic directorship of UC San Diego distinguished professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and UCLA professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

Directed by Ken Anderson, the choir combines hundreds of voices to fill the auditorium with the uplifting sound of African American spirituals, blues, traditional songs, and gospel.

The MUS 95JC Jazz Ensembles concert, under the direction of Kamau Kenyatta, will feature small ensembles performing a variety of exciting compositions, including some written and arranged by student musicians. The instrumentation will include vocals, violin, saxophones, a rhythm section and Afro-Latin percussion.

Ruben Valenzuela, conductor

John Adams The Chairman Dances
Felix Mendelssohn Violin Concerto
Gioachino Rossini Stabat Mater

Guest artists: Alisa Jordheim, soprano; Sarah-Nicole Carter, mezzo-soprano; James Onstad, tenor; Jonathan Woody, bass; Ayrton Coehlo Pisco, violin (2018 Young Artists Winner)

Our season began with Rossini, and it concludes with Rossini, as new Choral Director Ruben Valenzuela makes his LJS&C conducting debut in Rossini’s rarely heard (and somewhat operatic) Stabat Mater for four soloists, chorus, and orchestra.  The concert opens with a foxtrot for orchestra that John Adams originally intended to include in his opera Nixon in China, and our Young Artist Competition winner, Ayrton Coehlo Pisco, performs what is probably the most famous piece ever written for violin, Mendelssohn’s evergreen Violin Concerto.

Concert sponsors: Julie & Don MacNeil

Ruben Valenzuela, conductor

John Adams The Chairman Dances
Felix Mendelssohn Violin Concerto
Gioachino Rossini Stabat Mater

Guest artists: Alisa Jordheim, soprano; Sarah-Nicole Carter, mezzo-soprano; James Onstad, tenor; Jonathan Woody, bass; Ayrton Coehlo Pisco, violin (2018 Young Artists Winner)

Our season began with Rossini, and it concludes with Rossini, as new Choral Director Ruben Valenzuela makes his LJS&C conducting debut in Rossini’s rarely heard (and somewhat operatic) Stabat Mater for four soloists, chorus, and orchestra.  The concert opens with a foxtrot for orchestra that John Adams originally intended to include in his opera Nixon in China, and our Young Artist Competition winner, Ayrton Coehlo Pisco, performs what is probably the most famous piece ever written for violin, Mendelssohn’s evergreen Violin Concerto.

Concert sponsors: Julie & Don MacNeil