Best of the Fest
Favorite selec­tions from the Fes­ti­val are per­formed in this clos­ing night con­cert that cel­e­brates music, Carmel, the musi­cians of the Bach Fes­ti­val, and the Festival’s loy­al patrons. The pro­gram is a sam­pler of musi­cian and audi­ence favorites from through­out the two-week Festival.

Wind Divas: Stolen from the Opera Stage
Con­tin­u­ing the Har­moniemusik tra­di­tion, enjoy a night at the opera! Selec­tions from arrange­ments of Wolf­gang Amadeus Mozart’s Die Zauber­flöte, Lud­wig van Beethoven’s Fide­lio, Felix Mendelssohn’s A Mid­sum­mer Night’s Dream, and Gioachi­no Rossini’s Il Bar­bi­ere di Siviglia

Arvo Pärt’s Pas­sio: A Mod­ern Pas­sion
Pas­sio is one of the great mas­ter­pieces of sacred music of our time. Set­ting the same text that Bach used for his St John Pas­sion, Arvo Pärt’s music weaves a cap­ti­vat­ing spell, intro­spec­tive and serene. Inspired by medieval music, Pas­sio feels time­less and yet entire­ly new, invit­ing the lis­ten­er into a spir­i­tu­al space of still­ness and contemplation.

The St. John: A Glob­al Pas­sion
The St. John Pas­sion was per­formed for the first time on Good Fri­day in 1724 in the Nico­laikirche in Leipzig. To mark its 300^th anniver­sary, the piece opens the 2024 fes­ti­val sea­son. J.S. Bach set the work in Ger­man, the local lan­guage, but we are pre­sent­ing the St. John in sev­er­al lan­guages, includ­ing Eng­lish, Span­ish, Nor­we­gian, Hebrew, Ara­bic, and German.

Arvo Pärt’s Pas­sio: A Mod­ern Pas­sion
Pas­sio is one of the great mas­ter­pieces of sacred music of our time. Set­ting the same text that Bach used for his St John Pas­sion, Arvo Pärt’s music weaves a cap­ti­vat­ing spell, intro­spec­tive and serene. Inspired by medieval music, Pas­sio feels time­less and yet entire­ly new, invit­ing the lis­ten­er into a spir­i­tu­al space of still­ness and contemplation.

The St. John: A Glob­al Pas­sion
The St. John Pas­sion was per­formed for the first time on Good Fri­day in 1724 in the Nico­laikirche in Leipzig. To mark its 300^th anniver­sary, the piece opens the 2024 fes­ti­val sea­son. J.S. Bach set the work in Ger­man, the local lan­guage, but we are pre­sent­ing the St. John in sev­er­al lan­guages, includ­ing Eng­lish, Span­ish, Nor­we­gian, Hebrew, Ara­bic, and German.

The 300^th Anniver­sary of J.S. Bach’s St. John Pas­sion, in col­lab­o­ra­tion with SC Bach

March Musi­cal Med­ley
Per­for­mances and pre­sen­ta­tions by stu­dents and fac­ul­ty, con­nect­ing music with sci­ence, the sea­sons, his­to­ry, and more! Among the pieces fea­tured on the con­cert is the world pre­miere of the prize-win­ning bas­soon com­po­si­tion Seas of the Moon by com­po­si­tion pro­fes­sor Dr. Roger Zare

Awash in col­or­ful orches­tra­tion made pos­si­ble by a larg­er orches­tra of strings, winds and plucked instru­ments, this unique pro­gram reflects a long-await­ed Sin­fo­nia buck­et list of con­tral­to and sopra­no arias that range from heartrend­ing to hilar­i­ous. Enjoy music of Bach, Han­del and Rameau, fea­tur­ing the artistry of ris­ing star sopra­no Chea Kang and the extra­or­di­nary con­tral­to Sara Couden.

Johannes Brahm­s’s Sym­pho­ny No. 4 and Vari­a­tions on a Theme by Joseph Haydn; Felix Mendelssohn’s Hebrides Over­ture

A Baroque New Year’s Eve at the Opera
Back by pop­u­lar demand, “A Baroque New Year’s Eve at the Opera” will ush­er in the new year with­in San Francisco’s beau­ti­ful Herb­st The­atre. Start an ear­ly night on the town with a delight­ful pro­gram of arias, duets, and instru­men­tal music from Baroque opera and con­cert, with plen­ty of time left for more cel­e­bra­tions in the evening or an ear­ly return home for a peace­ful night. Bring your fam­i­ly and friends to cel­e­brate a New Year full of won­der­ful music.

Han­del’s Mes­si­ah in Grace Cathe­dral
Fea­tur­ing a stel­lar cast of vocal soloists, Amer­i­can Bach’s annu­al tra­di­tion of per­form­ing Handel’s Mes­si­ah in San Francisco’s his­toric Grace Cathe­dral peren­ni­al­ly pro­vides a trea­sured Decem­ber hol­i­day event to capac­i­ty audiences.

Appalachi­an State’s bas­soon ensem­ble, The Blaz­ing Bas­soons, presents a night of music for 2 to 12 bas­soons! The pro­gram ranges from sub­lime Baroque grandeur to ridicu­lous mod­ern the­atrics, with oper­at­ic vir­tu­os­i­ty, Span­ish brava­do, and plen­ty of oth­er good bas­soony fun in between. Com­posers include: Clau­dio Mon­tever­di, John Stein­metz, Sergei Prokofiev, Gioacchi­no Rossi­ni, Manuel Penel­la, Paul Dukas, and more.

Music for Our Moment
Car­o­line Shaw’s Entr’acte, Evan Meier & Christylez Bacon’s Migra­tions in Rhythm: A Con­cer­to for Beat­box and Rhyme, and Dmit­ry Shostakovich’s Sym­pho­ny No. 5

Noelia Escal­zo’s Argen­ta for bas­soon and piano

Hayes School of Music fac­ul­ty present the first of two con­certs cel­e­brat­ing Nation­al His­pan­ic Her­itage Month with music by com­posers of Span­ish and Latin Amer­i­can her­itage. Fac­ul­ty from the Eng­lish Depart­ment will also recite poet­ry from artists rep­re­sent­ing Chi­cano, Apache, Puer­to Rican, and Mex­i­can Amer­i­can peoples.

Best of the Fest!
Favorite selec­tions from the Fes­ti­val are per­formed in this clos­ing night con­cert that cel­e­brates music, Carmel, the musi­cians of the Bach Fes­ti­val, and the Festival’s loy­al patrons. The pro­gram is a sam­pler of musi­cian and audi­ence favorites from through­out the two-week Festival.

Mozart, Rehn­qvist, Mahler: Break­ing the Ice
W.A. Mozart’s Over­ture from The Mar­riage of Figaro, Karin Rehn­qvist’s “Break­ing the Ice” from ARKTIS ARKTIS!, and both Gus­tav Mahler’s “Blu­mine” and his Sym­pho­ny No. 4 in G Major

Father and Son
A pro­gram inspired by C.P.E. Bach’s 1786 con­cert in Ham­burg hon­or­ing J.S. Bach: C.P.E. Bach’s Mag­ni­fi­cat, G.F. Han­del’s “I know that my Redeemer liveth” from Mes­si­ah, the intro­duc­tion to C.P.E. Bach’s Cre­do, and the “Cre­do” from J.S. Bach’s Mass in B Minor, BWV 232

Har­moniemusik: Gran Partita
W.A. Mozart’s Ser­e­nade for Winds and Con­tra­bass in B‑flat major, K. 361, “Gran Par­ti­ta”

Bach Can­tatas
Two can­tatas by J.S. Bach: “Meine Seel erhebt den Her­ren,” BWV 10 and “Schwingt freudig euch empor,” BWV 36b

The Cre­ation
A reimag­ined, immer­sive inter­pre­ta­tion of Joseph Haydn’s self-pro­claimed mas­ter­work, The Cre­ation

Trey Mak­ler’s “you echo in me” (World Pre­miere), Felix Mendelssohn’s Vio­lin Con­cer­to, and Duke Elling­ton’s Suite from The Riv­er

J.S. Bach’s St. Matthew Pas­sion, con­duct­ed by Derek Tam

The Sacra­men­to State Fac­ul­ty Wind Quin­tet presents a pro­gram of works by women com­posers from the 20^th and 21^st cen­turies. Amy Beach’s Fire­flies opens the con­cert with a musi­cal depic­tion of the entranc­ing insects. Elsa Barraine’s Ouvrage de Dame presents short sketch­es of var­i­ous women—some real, oth­ers imag­ined. In Seen, Nathalie Joachim show­cas­es a dif­fer­ent mem­ber of the quin­tet in each rich­ly-tex­tured move­ment. The con­cert clos­es with a piece by Sacra­men­to State’s own Dr. Shuy­ing Li, Assis­tant Pro­fes­sor of Music The­o­ry and Com­po­si­tion. Li’s Back of the Bus hon­ors Rosa Parks and her part in the civ­il rights struggle.

Works by Else Bar­raine, Amy Beach, Nathalie Joachim, and Shuy­ing Li.

U.S. Pre­miere of the cham­ber orches­tra ver­sion of Gus­tav Hol­st’s The Cloud Mes­sen­ger, an ode on text by the fifth-cen­tu­ry San­skrit poet Kālidāsa.

Join Sin­fo­nia Spir­i­tu­osa for “An After­noon in Italy” as we live up to our name in a sparkling, high-ener­gy pro­gram cel­e­brat­ing Ital­ian baroque music, includ­ing works by Gem­ini­ani, Corel­li, Avi­son, Vival­di, Caldera, and Brescianello.

The Con­cer­to Resplen­dent: baroque con­cer­ti for vio­lin, cel­lo, flute, and bassoon

The Con­cer­to Resplen­dent: baroque con­cer­ti for vio­lin, cel­lo, flute, and bassoon

Per­form­ing a French Baroque suite of duos by Cor­rette, Bois­morti­er, and Rameau with Anna Marsh

A Baroque Christ­mas: In this spe­cial per­for­mance, you’ll hear the Christ­mas por­tion (Part I) of Handel’s Mes­si­ah along with music of the sea­son by Gio­van­ni Valen­ti­ni, Johann Christoph Pez, and Marc-Antoine Charpentier.

Han­del’s Mes­si­ah in Grace Cathe­dral: The fine­ly tuned voic­es of the Amer­i­can Bach Choir and the pol­ished sheen of sonori­ties brought by ABS’s peri­od-instru­ment orches­tra soar with­in the majes­tic inte­ri­or of San Francisco’s Nob Hill landmark.

A Baroque Christ­mas in Grace Cathe­dral: In this spe­cial abridged evening per­for­mance, you’ll hear the Christ­mas por­tion (Part I) of Handel’s Mes­si­ah along with music of the sea­son by Gio­van­ni Valen­ti­ni, Johann Christoph Pez, and Marc-Antoine Charpentier.

Voice of the Cel­lo: Baroque solo and trio sonatas for cel­lo, bas­soon, and violone

Lud­wig van Beethoven’s Piano Con­cer­to No. 4 in G Major, Op. 58 and Sym­pho­ny No. 5 in C Minor, Op. 67, on peri­od instru­ments, with fortepi­anist Anton Nel

This pro­gram fea­tures works that range from 1629 to 1747, and will spot­light each per­former in their dis­tinc­tive role. Mez­zo-sopra­no Julie Miller joins us in stormy, pas­sion­ate and inti­mate arias by Han­del and Rameau that speak of love lost and won. Sonata dec­i­ma, by ear­ly Ital­ian com­pos­er Dario Castel­lo, engages 2 vio­lins and bas­soon in dra­mat­ic, fiery dia­log, sup­port­ed by a con­tin­uo team of the­o­r­bo and gui­tar. Toma­so Albinoni’s Sonata à cinque, com­posed in a lat­er Ital­ian style, is full of rich string writ­ing and melod­ic charm. Artis­tic Direc­tor Lor­na Peters will per­form Jean-Bap­tiste-Antoine Forqueray’s “La Rameau” for solo harp­si­chord, fol­lowed by Rameau’s return trib­ute, “La For­querey,” for strings, flute and bas­soon. And since no Sin­fo­nia Spir­i­tu­osa con­cert is com­plete with­out French opera-bal­let music, the pro­gram will con­clude with exot­ic and col­or­ful instru­men­tal pieces from Rameau’s Les Indes Galantes.

The Fac­ul­ty Wood­wind Quin­tet per­forms, with Dr. Cathie Apple, flute; Dr. Cindy Behmer, oboe; San­dra McPher­son, clar­inet; Jen­nie Blom­ster, horn; and Dr. David A. Wells, bas­soon. The Quin­tet will present a pro­gram that high­lights the change of sea­sons with two Amer­i­can works: Samuel Barber’s clas­sic 1956 Sum­mer Music, and Jen­nifer Higdon’s 1995 response, Autumn Music. Two French works book­end the con­cert, with Eugène Bozza’s snap­py Scher­zo (1944) serv­ing as the open­er. Louise Ferrenc’s mon­u­men­tal Sex­tett (1852) fea­tures guest pianist Dr. John Coz­za on a vir­tu­osic part that the com­pos­er like­ly per­formed herself.

Joseph Hayd­n’s Sym­pho­ny No.6 “Le Matin”, W.A. Mozart’s Con­cer­to for Flute in G Major, and W.A. Mozart’s Sin­fo­nia Con­cer­tante for Vio­la & Violin

From Street Cor­ner to Con­cert Hall: A con­cert of wind octets, fol­lowed by a pan­el dis­cus­sion. The per­for­mance includes excerpts of Charles Goun­od’s Petite Sym­phonie and Sergei Prokofiev’s Romeo & Juli­et Suite, as well as the entire­ty of W.A. Mozart’s Ser­e­nade for Winds in C minor, K. 388.

From Street Cor­ner to Con­cert Hall: A con­cert of wind octets, fol­lowed by a pan­el dis­cus­sion. The per­for­mance includes excerpts of Charles Goun­od’s Petite Sym­phonie and Sergei Prokofiev’s Romeo & Juli­et Suite, as well as the entire­ty of W.A. Mozart’s Ser­e­nade for Winds in C minor, K. 388.

A Human Requiem: Johannes Brahm­s’s Ein Deutsches Requiem with Clara Rottsolk, sopra­no; Dashon Bur­ton, bass-bari­tone; con­duct­ed by Dinis Sousa

The Devil’s in the Tales: Human­ità e Lucif­ero (Alessan­dro Scar­lat­ti) and A Soldier’s Tale (Igor Stravinsky)—on Baroque and ear­ly-20^th-Cen­tu­ry peri­od instru­ments, respectively

The Devil’s in the Tales: Human­ità e Lucif­ero (Alessan­dro Scar­lat­ti) and A Soldier’s Tale (Igor Stravinsky)—on Baroque and ear­ly-20^th-Cen­tu­ry peri­od instru­ments, respectively

Mozart’s two great unfin­ished works of sacred music: The C Minor Mass (called the ‘Great Mass’) and the ‘Requiem in D Minor.’ Per­formed on peri­od instru­ments, with Danielle Reut­ter-Har­rah, sopra­no; Hei­di Water­man, alto; Daniel Hutch­ings, tenor; Paul Mur­ray, bass; and the Sono­ma Bach Choir.

François Couper­in’s La Sul­tane, Georg Philipp Tele­man­n’s Sin­fo­nia Spir­i­tu­osa and Over­ture-Suite in D Major, and a suite of Jean-Philippe Rameau’s instru­men­tal music from Les Boréades, Cas­tor et Pol­lux, and Hip­poly­te et Aricie.

François Couper­in’s La Sul­tane, Georg Philipp Tele­man­n’s Sin­fo­nia Spir­i­tu­osa and Over­ture-Suite in D Major, and a suite of Jean-Philippe Rameau’s instru­men­tal music from Les Boréades, Cas­tor et Pol­lux, and Hip­poly­te et Aricie.

George Philipp Tele­man­n’s Suite Don Quixote, TWV55 and Georg Frid­er­ic Han­del’s ora­to­rio Apol­lo & Daphne, HWV 122

Han­del’s Mes­si­ah in Grace Cathe­dral: The fine­ly tuned voic­es of the Amer­i­can Bach Choir and the pol­ished sheen of sonori­ties brought by ABS’s peri­od-instru­ment orches­tra soar with­in the majes­tic inte­ri­or of San Francisco’s Nob Hill landmark.

A Baroque Christ­mas in Grace Cathe­dral: In this spe­cial abridged evening per­for­mance, you’ll hear the Christ­mas por­tion (Part I) of Handel’s Mes­si­ah along with music of the sea­son by Arcan­ge­lo Corel­li and Marc-Antoine Char­p­en­tier, and a rous­ing finale includ­ing Handel’s Hal­lelu­jah Chorus.

Aaron Cop­land’s Fan­fare for the Com­mon Man, Camille Saint-Saën­s’s Piano Con­cer­to No. 2, and Flo­rence Price’s Sym­pho­ny No. 1

A memo­r­i­al con­cert in hon­or of Sacra­men­to State’s late oboe pro­fes­sor, Deb Shidler.

J.S. Bach’s Mass in B‑Minor on peri­od instruments

J.S. Bach’s Mass in B‑Minor on peri­od instruments

Antonín Reichenauer’s Bas­soon Con­cer­to in G Minor

The pro­gram also includes works by Leono­ra Duarte, Georg Philipp Tele­mann, Arcan­ge­lo Corel­li, and Anto­nio Vivaldi

World Pre­miere of John Stein­metz’s Lament (Cha­conne). Watch per­for­mance here

Works by Eugène Boz­za, Louis Spohr, François Devi­enne, and Peter Hope. With guest pianist John Coz­za and oboist Deb­o­rah Shidler.

First Bap­tist Lodi’s Cham­ber Music series con­tin­ues with a recital by bas­soon­ist David A. Wells and pianist Dane Burg. In the space of about an hour, the two will per­form works rang­ing from refined Parisian salon music to Brazil­ian waltzes to vari­a­tions on an old cow­boy tune. Admis­sion to the con­cert is free, with an offer­ing taken.

Cop­land’s Rodeo, Gersh­win’s Sec­ond Rhap­sody, Zhou Tian’s Tran­scend (Com­mis­sioned for the 150^th Anniver­sary of the Transcon­ti­nen­tal Rail­road), and Tchaikovsky’s 1812 Over­ture, with con­duc­tor Christo­pher Roun­tree and pianist Ori­on Weiss.

In this peren­ni­al favorite con­cert, Sacra­men­to Baroque Soloists’ cel­lists per­form a selec­tion of rich, dark, and sonorous Baroque Cel­lo Sonatas. Dark, rich, and sonorous, and also bright, sweet, and expres­sive, the cel­lo is the most ver­sa­tile of instru­ments. In this peren­ni­al favorite con­cert, Sacra­men­to Baroque Soloists’ cel­lists Michael Law­son and John Lut­ter­man are joined by our bas­soon­ist David Wells to per­form a selec­tion of Baroque Cel­lo Sonatas, accom­pa­nied by a con­tin­uo sec­tion of harp­si­chord, organ, and guitar.

In this peren­ni­al favorite con­cert, Sacra­men­to Baroque Soloists’ cel­lists per­form a selec­tion of rich, dark, and sonorous Baroque Cel­lo Sonatas. Dark, rich, and sonorous, and also bright, sweet, and expres­sive, the cel­lo is the most ver­sa­tile of instru­ments. In this peren­ni­al favorite con­cert, Sacra­men­to Baroque Soloists’ cel­lists Michael Law­son and John Lut­ter­man are joined by our bas­soon­ist David Wells to per­form a selec­tion of Baroque Cel­lo Sonatas, accom­pa­nied by a con­tin­uo sec­tion of harp­si­chord, organ, and guitar.

Come expe­ri­ence one of the season’s most loved works, Georg Fred­er­ick Handel’s “Mes­si­ah.” Focus­ing on the Christ­mas por­tion of the “Mes­si­ah”, this con­cert will also include J.S. Bach’s Can­ta­ta 147 fea­tur­ing the well-loved choral, “Jesu, Joy of Man’s Desir­ing.” Join the Capel­la Anti­qua Choir, Baroque Orches­tra and the Cathe­dral Choir in the beau­ti­ful set­ting of the Cathe­dral of the Blessed Sacra­ment for a con­cert that will soon become your favorite hol­i­day tradition.

Han­del’s Mes­si­ah

Felix Mendelssohn’s ora­to­rio Eli­jah on 19^th-cen­tu­ry peri­od instruments.

Felix Mendelssohn’s ora­to­rio Eli­jah on 19^th-cen­tu­ry peri­od instruments.

A Han­del Cel­e­bra­tion: Det­tin­gen Te Deum and Det­tin­gen Anthem

Jacques Ibert’s Trois Pièces Brève

Marc Mel­lit­s’s Splin­ter for reed quintet

Christ­mas at the Mis­sion
J.S. Bach, Christ­mas Ora­to­rio, Part III and VI, BWV 248
Arvo Pärt, Sev­en Mag­ni­fi­cat Antiphons

Christ­mas at All Saints
J.S. Bach, The Christ­mas Ora­to­rio, Part IV and V, BWV 248

In the Begin­ning
Haydn’s mas­ter­piece, The Cre­ation, majes­ti­cal­ly opens the 82^nd Carmel Bach Fes­ti­val. The per­for­mances fea­ture the Festival’s entire com­pa­ny of musi­cians and will be sung in a Haydn-approved Eng­lish translation.

Saints and Sin­ners
High­lights from Han­del’s Acis et Galatea, Stravin­sky’s The Rake’s Progress, Mozart’s The Mar­riage of Figaro, and Bizet’s Car­men.

Bach and Shake­speare
J.S. Bach, The Christ­mas Ora­to­rio, Part I and II, BWV 248
Felix Mendelssohn, A Mid­sum­mer Night’s Dream, Inci­den­tal Music, Op. 61

Join HCFG for a night of hot swing in the gal­leries of the Hag­gin Muse­um, with com­pli­men­ta­ry wine from Weibel Fam­i­ly Vine­yards & Win­ery and snacks. Refresh­ments are served begin­ning at 6:30 and the music starts at 7.

Cel­e­brate Stockton’s Sis­ter Cities from around the world! The pro­gram tra­vers­es the globe with col­or­ful works from Chi­na, Mex­i­co, Italy, Cam­bo­dia, Nige­ria, Japan, and the Philippines—interspersed with some local Stock­ton gems. Huge com­bined choral forces will join the Stock­ton Sym­pho­ny for the grand finale with per­for­mances by Stock­ton Chorale, San Joaquin Delta Col­lege and the Uni­ver­si­ty of the Pacif­ic Choirs.

Sin­fo­nia Spir­i­tu­osa per­forms as part of the 2019 Sacra­men­to State Fes­ti­val of the Arts, with a pro­gram that includes selec­tions from Charles Avi­son’s Con­cer­ti Grossi after Scar­lat­ti; Tele­man­n’s Sin­fo­nia Spir­i­tu­osa and Flute Con­cer­to in D major, TWV 51:D2 (Cathie Apple, tra­ver­so); Pur­cel­l’s “What Pow­er Art Thou” from King Arthur (Daniel Yoder, bass) and instru­men­tal selec­tions from Tim­on of Athens and The Gor­dian Knot; Mar­co Uccellini’s Sonata Op. 7, No. 3 (Lind­sey Strand-Polyak, vio­lin); and Rameau’s “Mon­stre affreux” from Dar­d­anus (Daniel Yoder, bass) and dances from Les Indes Galante and Pla­tee.

Songs of Joy: J.S. Bach’s can­tatas 10 (Meine Seel erhebt den Her­ren) and 147 (Herz und Mund und Tat und Leben), along with Corel­li’s Con­cer­ti Grosso, Op 6. no. 1.

Vivaldi’s Bas­soon Con­cer­to in a minor, RV 499, along with oth­er Vival­di con­cer­ti for flute, vio­lin, harp­si­chord, and cello.

Vivaldi’s Bas­soon Con­cer­to in a minor, RV 499, along with oth­er Vival­di con­cer­ti for flute, vio­lin, harp­si­chord, and cello.

Fac­ul­ty bas­soon­ist David A. Wells per­forms a recital of baroque music on peri­od instru­ments. The pro­gram will include works by J.B. Bois­morti­er, J.G. Graun, J. F. Fasch, G.P. Tele­mann, and fea­tures guests Lor­na Peters (harp­si­chord), Tim­o­thy Stan­ley (baroque cel­lo), Cathie Apple (tra­ver­so), Nao­mi Rogers-Hefley (baroque vio­lin), and Daniel Yoder (bass-bari­tone).

Hot Club Faux Gitane returns to The Back Room in Berke­ley! This lis­ten­ing room has incred­i­ble acoustics, and aims to recre­ate the cozy ambi­ence of the orig­i­nal Freight & Sal­vage. You’re wel­come to BYOB to enjoy dur­ing the show

Beethoven Fes­ti­val Part II: Beethoven’s Sym­pho­ny No. 5 in c minor, Choral Fan­ta­sy, and selec­tions from Mass in C Major, with con­duc­tor Jef­frey Kahane.

Stephanie Cor­win plays Dard­’s Sonata No. 6 and Cor­ret­te’s Le Phenix with harp­si­chordist Ian Pritchard and baroque bas­soon­ists Charles Koster, Steve Vac­chi, and David A. Wells.

Handel’s Mes­si­ah, a time­less mas­ter­piece, will be pre­sent­ed for the 21^st con­sec­u­tive year in the awe-inspir­ing majesty of Grace Cathe­dral. Peren­ni­al­ly a sold-out event, audi­ence mem­bers from far and wide attend this Bay Area favorite that fea­tures the superb Amer­i­can Bach Choir and the peri­od-instru­ment spe­cial­ists of ABS in one of their largest con­fig­u­ra­tions, under the direc­tion of Jef­frey Thomas.

Handel’s Mes­si­ah, a time­less mas­ter­piece, will be pre­sent­ed for the 21^st con­sec­u­tive year in the awe-inspir­ing majesty of Grace Cathe­dral. Peren­ni­al­ly a sold-out event, audi­ence mem­bers from far and wide attend this Bay Area favorite that fea­tures the superb Amer­i­can Bach Choir and the peri­od-instru­ment spe­cial­ists of ABS in one of their largest con­fig­u­ra­tions, under the direc­tion of Jef­frey Thomas.

Home for the Hol­i­days 2018: Radi­ant music for Christ­mas, can­dlelit pro­ces­sion, audi­ence sin­ga­long, new and famil­iar choral orches­tral hol­i­day songs, mer­ri­ment guaranteed!

Christ­mas Con­cer­tos by Can­dle­light: Sacra­men­to Baroque Soloists explore the splen­dor and beau­ty of Baroque Christ­mas Con­cer­tos in this musi­cal feast of works by Corel­li, Char­p­en­tier, Cor­rette, Torel­li, and Locatel­li. Fea­tur­ing Robin Fish­er, Soprano.

Christ­mas Con­cer­tos by Can­dle­light: Sacra­men­to Baroque Soloists explore the splen­dor and beau­ty of Baroque Christ­mas Con­cer­tos in this musi­cal feast of works by Corel­li, Char­p­en­tier, Cor­rette, Torel­li, and Locatel­li. Fea­tur­ing Robin Fish­er, Soprano.

An evening of hot jazz and Gyp­sy swing.

Sin­fo­nia spir­i­tu­osa presents “A Fam­i­ly Con­nec­tion,” fea­tur­ing works by father Johann Sebas­t­ian and son Carl Philipp Emanuel Bach, as well as CPE’s god­fa­ther Georg Philipp Telemann.

The West Modesto Com­mu­ni­ty Col­lab­o­ra­tive’s Great Gats­by Gala is a fundrais­er to sup­port WMC­C’s pro­grams. In addi­tion to live music by HCFG, the event will fea­ture din­ner, danc­ing, live auc­tion, and a cos­tume contest!

Hot Club Faux Gitane plays the week­ly Music at Noon series. These con­certs are just an hour long, and atten­dees are wel­come to bring and eat their lunch dur­ing the show. Admis­sion is free, but dona­tions are wel­come. More details here: http://www.westminsac.org/music-noon

Ceres is cel­e­brat­ing its Cen­ten­ni­al, and this sum­mer’s con­cert series hon­ors the city’s dif­fer­ent eras with a vari­ety of music. HCFG, along with open­ers Gold­en Val­ley Bar­ber­shop, bring music of the 1930s to the series. Admis­sion is free!

An evening of hot jazz and gyp­sy swing. Our last few shows here have com­plete­ly filled up, so call and make your reser­va­tions early!

Sier­ra Mas­ter Chorale with the InCon­cert Sier­ra Orchestra

Praise and Jubi­la­tion: Dan For­rest’s Jubi­late Deo (West Coast Pre­mière), Ottori­no Respighi’s Ancient Airs and Dances, and Antonin Dvořàk’s Te Deum. Fea­tur­ing bari­tone Shawn Spiess.

Light and Fire: Felix Mendelssohn’s Die Erste Walpur­gis­nacht and the West Coast Pre­miere of Dan For­rest’s Lux: The Dawn from on High

Sin­fo­nia spir­i­tu­osa is a brand-new cham­ber orches­tra ded­i­cat­ed to pre­sent­ing bold, his­tor­i­cal­ly-informed per­for­mances on peri­od instru­ments. Led by Sac State fac­ul­ty mem­ber Dr. Lor­na Peters, the ensem­ble con­sists of strings, flute, bas­soon, voice, harp­si­chord, organ, arch­lute, the­o­r­bo, and baroque gui­tar. Its mem­bers, which include some Sac State fac­ul­ty and alum­ni, come from North­ern and South­ern Cal­i­for­nia, Wash­ing­ton, and Col­orado. This con­cert will include works by Avi­son, Bertali, Muf­fat, Rameau, Tele­mann, and Vivaldi.

Euro­pean Mas­ter­works: Mozart’s Requiem and Exul­tate Jubi­late, Morten Lau­rid­sen’s Lux Aeter­na, and James Whit­bourn’s Lux in Tene­bris. With sopra­no Nik­ki Ein­feld, mez­zo-sopra­no Karin Mushe­gain, tenor Michael Desnoy­ers, and bass Matt Boehler.

An evening of hot jazz and gyp­sy swing. Our last few shows here have com­plete­ly filled up, so call and make your reser­va­tions early!

Capel­la Anti­qua and the Cathe­dral Choir join forces with soloists Robin Fish­er, Valerie Loera, Matt Hidal­go, and Daniel Yoder to per­form Haydn’s Sta­bat Mater.

Viva Vival­di! In the midst of the rev­el­ry of 18^th-Cen­tu­ry Venice, Anto­nio Vival­di drew trav­el­ers from all over Europe to hear the per­for­mances of his con­cer­tos. His con­cer­tos have an ener­gy and sweet expres­sive­ness that have sur­vived cen­turies. Sacra­men­to Baroque Soloists present a pro­gram of Vival­di Con­cer­tos includ­ing “Spring” from The Four Sea­sons, Il Pro­teo (con­cer­to for vio­lin and cel­lo), and a haunt­ing­ly beau­ti­ful bas­soon con­cer­to fea­tur­ing baroque bas­soon­ist David Wells.

The music of ABBA

Igor Stravin­sky’s L’His­toire du Soldat

Voice of the Cel­lo (and Bas­soon) – Dark, rich, and sonorous, and also bright, sweet, and expres­sive, the cel­lo is the most ver­sa­tile of instru­ments. In this peren­ni­al favorite con­cert, Sacra­men­to Baroque Soloists’ cel­lists per­form reper­toire of the Baroque era writ­ten for one, two, and three cel­los, joined by baroque bas­soon­ist David Wells and accom­pa­nied by harp­si­chord and organ. Reper­toire includes Fasch’s Bas­soon Sonata in C major, Cor­ret­te’s Con­cer­to “Le Phenix”, and Schwartzkopf­f’s Trio Sonata for cel­lo, bas­soon, and continuo.

Voice of the Cel­lo (and Bas­soon) – Dark, rich, and sonorous, and also bright, sweet, and expres­sive, the cel­lo is the most ver­sa­tile of instru­ments. In this peren­ni­al favorite con­cert, Sacra­men­to Baroque Soloists’ cel­lists per­form reper­toire of the Baroque era writ­ten for one, two, and three cel­los, joined by baroque bas­soon­ist David Wells and accom­pa­nied by harp­si­chord and organ. Reper­toire includes Fasch’s Bas­soon Sonata in C major, Cor­ret­te’s Con­cer­to “Le Phenix”, and Schwartzkopf­f’s Trio Sonata for cel­lo, bas­soon, and continuo.

Sacra­men­to’s newest peri­od instru­ment ensem­ble makes its debut, shar­ing a pro­gram with Cam­er­a­ta Capis­tra­no, Sacra­men­to State’s stu­dent Baroque ensemble.

Home for the Hol­i­days 2017—A down­town Sacra­men­to tra­di­tion ush­er­ing in the hol­i­day spir­it. Fea­tur­ing guests bari­tone Matt Hanscom, the Sacra­men­to Children’s Cho­rus, and pup­pets of the Green Val­ley The­atre Company.

Can­dlelit pro­ces­sion • Audi­ence sin­ga­long • Mer­ri­ment guaranteed!

Hol­i­day Pops with Ash­ley Brown

Sac State’s wood­wind fac­ul­ty per­form a con­cert of cham­ber music as part of the 2017 Fes­ti­val of New Amer­i­can Music.

Con­duc­tor Ken Hardin has assem­bled a won­der­ful pro­gram of orches­tral favorites – music you know and love! This marks the fifth sea­son of show­cas­ing the ICS Orches­tra in its annu­al con­cert of audi­ence-select­ed favorites

Come join Hot Club Faux Gitane for a night of music and fun in the 10^th Street Plaza!

Hot Club Faux Gitane plays the week­ly Music at Noon series. These con­certs are just an hour long, and atten­dees are wel­come to bring and eat their lunch dur­ing the show. Admis­sion is free, but dona­tions are wel­come. More details here: http://www.westminsac.org/music-noon

Dr. Wells per­forms Eric Ewazen’s Con­cer­to for Bas­soon and Wind Ensem­ble with Sac State’s Con­cert Band under the direc­tion of Ger­ald Willis

Giuseppe Verdi’s La Travi­a­ta, con­duct­ed by Jose Luis Gomez

An evening of hot jazz and gyp­sy swing. All ages – no cover!

Bar­ber, Sum­mer Music for Wind Quin­tet; Corigliano, Sonata for Vio­lin and Piano; Vern Reynolds, Sonata for Flute and Piano; Korn­gold, Suite for Left Hand Piano, Two Vio­lins, and Cello

Based on the Pulitzer Prize-win­ning play by Amer­i­can play­wright Thorn­ton Wilder, the opera is an inti­mate and touch­ing look into every­day life in a small town. Writ­ten in 2006 by Pulitzer Prize-win­ning com­pos­er Ned Rorem, the opera uti­lizes pleas­ant melodies and tonal har­monies to hon­or a time when our lives were sim­pler, and reminds us of the uni­ver­sal­i­ty of being human and the neces­si­ty of com­pan­ion­ship. This opera will be per­formed in the Gal­lo Cen­ter for the Arts as part of a day­long exhi­bi­tion cel­e­brat­ing the his­to­ry of Modesto.

The Carnegie Arts Cen­ter presents an inti­mate con­cert with Hot Club Faux Gitane! Bev­er­ages and light snacks will be avail­able to enjoy as you listen.

Wells Far­go Home for the Hol­i­days: A Sacra­men­to tra­di­tion ush­er­ing in the hol­i­day spirit

A Baroque Christ­mas: Sacra­men­to Baroque Soloists ush­er in the hol­i­day sea­son with a con­cert of favorite Baroque Con­cer­tos and their own live­ly arrange­ments of ear­ly Christ­mas car­ols. Music of Corel­li, Vival­di, Biber, and Schütz.

Join Hot Club Faux Gitane for a night of hot swing in the gal­leries of the Hag­gin Muse­um, with com­pli­men­ta­ry wine from Weibel Fam­i­ly Vine­yards & Win­ery and snacks. Our show is a time­ly tie-in with two spe­cial musi­cal exhibits cur­rent­ly mount­ed at the Hag­gin: Medieval to Met­al: The Art & Evo­lu­tion of the Gui­tar, and Dave Brubeck: Jazz Ambas­sador. Refresh­ments are served begin­ning at 6:30 and the music starts at 7.

Fac­ul­ty bas­soon­ist Dr. David A. Wells brings his uncon­ven­tion­al swing band to Sac State’s School of Music. Hot Club Faux Gitane com­bines the sophis­ti­ca­tion of 1930s Parisian Gyp­sy jazz (à la Djan­go Rein­hardt) with stan­dards and orig­i­nal tunes. The core of Hot Club Faux Gitane’s sound is the tra­di­tion­al rhythm/lead gui­tars and acoustic bass, but they add bas­soon, man­dolin, and occa­sion­al oth­er instru­ments for a unique twist. In addi­tion to Wells, the group includes man­dolin­ist Gary Williams, gui­tarists Bil­ly Gay and Eric John­son, bassist John Ady, and fea­tures vocal­ist Francesca Bavaro.

An evening of hot jazz and gyp­sy swing. All ages – no cover!

Hot Club Faux Gitane plays the week­ly Music at Noon series. These con­certs are just an hour long, and atten­dees are wel­come to bring and eat their lunch dur­ing the show. Admis­sion is free, but dona­tions are wel­come. More details here: http://www.westminsac.org/music-noon

An evening of hot jazz and gyp­sy swing. All ages – no cover!

Jake Heg­gie’s Dead Man Walk­ing. Based on the best­selling 1993 mem­oir by Sis­ter Helen Pre­jean, the opera tells the pow­er­ful sto­ry of her dif­fi­cult jour­ney pro­vid­ing spir­i­tu­al guid­ance to a death row inmate at Louisiana State Pen­i­ten­tiary fac­ing immi­nent exe­cu­tion, the trou­bling impact on the fam­i­lies of the vic­tims, and the issue of the death penal­ty in our soci­ety. With a bril­liant libret­to by Ter­rance McNal­ly and a dra­mat­ic and incred­i­bly lyric musi­cal set­ting by Jake Heg­gie, this opera is sure to keep you on the edge of your seat.

Tchaikovsky’s Marche Slave, Edvard Grieg’s Piano Con­cer­to in A minor, and Ottori­no Respighi’s Pines of Rome. With Jon Naka­mat­su, piano

An evening of hot jazz and gyp­sy swing. All ages – no cover!

Carl Orf­f’s Carmi­na Burana, Jonathan Dove’s Psalms for Leo (West Coast Pre­miere), Karl Jenk­in­s’s Songs of Sanc­tu­ary, and Josef Suk’s Towards a New Life (Writ­ten for the 1932 Olympics in Los Angeles)

Rach­mani­nof­f’s Piano Con­cer­to No. 2, Ben­jamin Britten’s Four Sea Inter­ludes and Stravin­sky’s Sym­pho­ny in C. Behzod Abdu­raimov, piano; Case Scaglione, conductor.

Stephen Sond­heim’s Sweeney Todd. Based on count­less ser­i­al nov­els that gripped Lon­don­ers dur­ing the Vic­to­ri­an era – the more grue­some the bet­ter – a bar­ber wrong­ful­ly jailed by a cor­rupt judge returns to nine­teenth cen­tu­ry Lon­don to seek vengeance in Stephen Sondheim’s macabre musi­cal com­e­dy. A mix of intense bal­lads and music-hall com­e­dy that turns this sor­did and bloody tale into riv­et­ing enter­tain­ment, Sweeney Todd is wide­ly rec­og­nized as one of the great­est scores writ­ten for the mod­ern Amer­i­can lyric stage. Expe­ri­ence this leg­endary musi­cal com­e­dy like nev­er before: in the full oper­at­ic set­ting many believe this piece deserves – high qual­i­ty singing and no ampli­fied sound!

The Meg Quigley Vival­di Com­pe­ti­tion and Bas­soon Sym­po­sium is an inspir­ing three-day event ded­i­cat­ed to bas­soon mas­ter class­es, pre­sen­ta­tions, con­certs, and the live semi­fi­nal and final rounds of a com­pe­ti­tion for young women bas­soon­ists from the Amer­i­c­as. The fourth MQVC Bas­soon Sym­po­sium, at the Col­burn School in Los Ange­les, is open to bas­soon­ists of all ages, gen­ders, and abil­i­ty lev­els. See mqvc.org for more details.

Wells Far­go Home for the Holidays

Copland’s Four Dance Episodes from Rodeo, Dukas’s The Sorcerer’s Appren­tice, and Berlioz’s Sym­phonie fantastique

The inau­gur­al con­cert of the Sacra­men­to State School of Music Alum­ni Series fea­tures bas­soon­ist Dori­an Antipa, oboist Cindy Behmer, and pianist Eri­na Saito. Also appear­ing will be John Coz­za, Tim­o­thy Stan­ley, Gina Vitan­za, Faythe Voll­rath, and David A. Wells.

Dori­an Antipa presents a recital of works by Mirosh­nikov, Hin­demith, Saint-Saëns, and Poulenc, along with Michel Cor­ret­te’s Le Phenix for four bassoons.

Sacra­men­to State’s wood­wind fac­ul­ty per­forms the works for the 2016 Cal­i­for­nia High School All-State Band/Orchestra Audi­tions: Poem by Charles Griffes (Lau­rel Zuck­er, flute); Sonate by Paul Hin­demith (Deb­o­rah Shi­dler, oboe); Sonata by Fran­cis Poulenc (San­dra McPher­son, clar­inet); Sonata by Bern­hard Hei­den (Kei­th Bohm, sax­o­phone); and Sonata in F Minor by Georg Philipp Tele­mann (David A. Wells, bas­soon). With John Coz­za (piano), Lor­na Peters (harp­si­chord), and Tim­o­thy Stan­ley (cel­lo).

The fac­ul­ty will also present mas­ter class­es on these works and those for aux­il­iary instru­ments, start­ing at 6pm. Reg­is­ter for the mas­ter class­es here.

Wolf­GANG plays at the 15^th annu­al Schol­ar­Share Children’s Book Festival

HCFG opens for Jay Leno!

Solo de Con­cert by Gabriel Pierné; Sonata No. 2 para dois fagotes by Fran­cis­co Mignone; Sonate, op. 168 by Camille Saint-Saëns; Hopi by Philippe Her­sant; and Guil­laume Tell Fan­taisie by Jean François Barthele­my Cokken (after Rossi­ni).

With John Coz­za (piano) and Dori­an Antipa (bas­soon).

The Mill Ave Cham­ber Play­ers per­form tran­scrip­tions for wood­wind quin­tet of works by Claude Debussy, Dmitri Shostakovich, and Andrew Thom­son at the 2015 Inter­na­tion­al Horn Soci­ety Con­fer­ence.

This con­cert will include MACP mem­bers: Mon­i­ca Antho­ny (flute), Niko­laus Flickinger (oboe), Erin Finkel­stein (clar­inet), Rose French (horn), and guest artist David A. Wells (bas­soon).

The Sacra­men­to Phil­har­mon­ic returns after a one-year hia­tus, with Gus­tav Mahler’s Sym­pho­ny No. 2 (“Res­ur­rec­tion”)

Johann Strauss’s Die Fle­d­er­maus

Dan For­rest, Requiem for the Liv­ing (West Coast Premiere)
James Hop­kins, Songs of Eternity
Howard Han­son, Sea Sym­pho­ny

Gia­co­mo Puc­ci­ni, Tosca

Hot Club Faux Gitane plays for the Modesto Tra­di­tion­al Jazz Soci­ety’s annu­al rent par­ty, along with Ernie Bucios Lit­tle Big Band and the Cre­ole Jazz Kings. HCFG’s set starts at 2, but the whole event runs 12:30–4:30.

U‑Create! is an event fea­tur­ing faculty/student research and per­for­mance projects from Sacra­men­to State’s Col­lege of Arts and Let­ters. Sac State sopho­more Jack Fan­ning and Dr. Wells will per­form a new work for elec­tric bas­soon duo.

W. A. Mozart, Great Mass in C Minor
Cecil­ia McDowall, Mag­ni­fi­cat

Hot Club Faux Gitane plays under the aus­pices of the Sacra­men­to Com­mu­ni­ty Con­cert Asso­ci­a­tion.

André Previn, A Street­car Named Desire

An evening of hot jazz and gyp­sy swing. All ages — no cover!

Ben­jamin Simon, con­duc­tor; Stephen Waarts, violin

W. A. Mozart, Over­ture to Cosí fan Tutte, K. 588
Sergei Prokofiev, Sym­pho­ny No. 1 in D major, “Clas­si­cal,” Op. 25
Felix Mendelssohn, Vio­lin Con­cer­to in E minor, Op. 64

Ben­jamin Simon, con­duc­tor; Stephen Waarts, violin

W. A. Mozart, Over­ture to Cosí fan Tutte, K. 588
Sergei Prokofiev, Sym­pho­ny No. 1 in D major, “Clas­si­cal,” Op. 25
Felix Mendelssohn, Vio­lin Con­cer­to in E minor, Op. 64

As soloist in W.A. Mozart’s Con­cer­to in B‑flat, K. 191 for bas­soon and orchestra

All ages — no cover!

This con­cert cel­e­brates the release of the Mill Ave Cham­ber Play­ers’ first CD, record­ed in June 2014. The disc fea­tures tran­scrip­tions for wood­wind quin­tet of works by Claude Debussy, Dmitri Shostakovich, and Andrew Thomson.

This con­cert will include MACP mem­bers: Mon­i­ca Antho­ny (flute), Niko­laus Flickinger (oboe), Erin Finkel­stein (clar­inet), Rose French (horn), and guest artist David A. Wells (bas­soon).

This con­cert cel­e­brates the release of the Mill Ave Cham­ber Play­ers’ first CD, record­ed in June 2014. The disc fea­tures tran­scrip­tions for wood­wind quin­tet of works by Claude Debussy, Dmitri Shostakovich, and Andrew Thomson.

This con­cert will include MACP mem­bers: Mon­i­ca Antho­ny (flute), Niko­laus Flickinger (oboe), Erin Finkel­stein (clar­inet), Rose French (horn), and guest artist David A. Wells (bas­soon).

Brahms Ein Deutsches Requiem with soloists sopra­no Marnie Breck­en­ridge and bass Eugene Brancoveanu.

When Igor Stravin­sky’s Rite of Spring received its much-talked-about pre­miere at the Théâtre des Champs-Élysées on May 29, 1913, bas­soon­ist Abdon Laus had the task of play­ing the now-famous open­ing solo. But Laus is lit­tle known today, despite the fact that he went on to play twen­ty-six sea­sons with the Boston Sym­pho­ny Orches­tra (sev­en­teen as prin­ci­pal). Much mythol­o­gy has grown up around the piece’s pre­miere in gen­er­al and the open­ing solo in par­tic­u­lar — such as the oft-repeat­ed and like­ly apoc­ryphal com­ment attrib­uted to Camille Saint-Saëns (“If that’s a bas­soon, then I’m a baboon!”). This lec­ture will explore Laus’s life, career, and train­ing, with par­tic­u­lar focus on his role as the first to play the Rite and a look at his bas­soon. It will also exam­ine the solo in the con­text of ear­li­er orches­tral and solo reper­toire for bas­soon, address var­i­ous sto­ries about the reac­tions it pro­voked in musi­cians and audi­ence mem­bers, and attempt to sort through con­flict­ing reports of Stravin­sky’s intent for how it should be played.

All ages — no cover!

John Rutter’s Mass of the Children

Johannes Brahm­s’s Schick­sal­slied, John Burge’s Angels’ Voic­es, Ralph Vaugh­an Williams’s Toward the Unknown Region, and Carl Orf­f’s Carmi­na Burana

A con­cert of Baroque arias by J.S. Bach, Bononci­ni, Fux, Graun, Han­del, and Vival­di for bass and low instru­ments, with addi­tion­al works by C.P.E. Bach, Couperin, and Gem­ini­ani. A num­ber of the arias for bass with bas­soon obbli­ga­to are unpub­lished, and have been tak­en straight from man­u­scripts in Euro­pean archives.

Beer brewed by Ben Pri­ma will be avail­able to accom­pa­ny the music (to those of age). Choose from either a dark bass clef stout or a peri­od-appro­pri­ate gruit.

The per­form­ers are: Tim­o­thy Stan­ley (cel­lo), Faythe Voll­rath (harp­si­chord), David A. Wells (bas­soon), and Daniel Yoder (bass). $5 sug­gest­ed donation.

Pre­view of Bass Instincts, a con­cert of Baroque arias for bass and low instru­ments, with Daniel Yoder (bass), Tim­o­thy Stan­ley (cel­lo), and Faythe Voll­rath (harp­si­chord). City­wa­ter will also perform.

Hot Club Faux Gitane per­forms as part of the third annu­al U‑Nite at the Crock­er Art Muse­um. The mul­ti-dis­ci­pli­nary cel­e­bra­tion of the arts, which runs from 5 to 9pm, will fill the muse­um’s gal­leries with music, dance, the­ater, pho­tog­ra­phy, design, film, poet­ry, and prose.

All ages — no cover!

Per­form­ing as guest bas­soon­ist with the Mill Ave Cham­ber Play­ers for a wood­wind quin­tet tran­scrip­tion of Dim­itri Shostakovich’s String Quar­tet No. 8, op. 110. The con­cert also includes the world pre­miere of John Stein­metz’s Three Pieces for wind dectet, per­formed by the Pacif­ic Arts Wood­wind Quin­tet and the Mill Ave Cham­ber Play­ers with Stein­metz on bassoon.

Giuseppe Verdi’s Il Trova­tore, con­duct­ed by Michael Morgan

A con­cert of French music from the 1930s & 1940s, fea­tur­ing Deb­o­rah Shi­dler (oboe), San­dra McPher­son (clar­inet), Dr. John Coz­za (piano), and Hot Club Faux Gitane. Works by Hen­ri Dutilleux, Eugène Boz­za, Gabriel Pierné, Jacques Ibert, Djan­go Rein­hardt, and others.

All ages — no cover!

Vil­lains & Heroes: A rous­ing mix of dra­mat­ic favorites, both clas­sic (such as Ravel’s Bolero) and mod­ern (such as the Super­man theme)

J.S. Bach’s can­ta­ta Durch­laucht­ster Leopold, BWV 173a, with Sacra­men­to State’s Baroque ensemble.

Crazy About Bach: The Com­plete Bran­den­burg Concerti

Crazy About Bach: The Com­plete Bran­den­burg Concerti

Per­for­mance with the Fes­ti­val Ensem­ble. Reper­toire TBA.

Aaron Jay Kernis’s Cel­lo Con­cer­to (West Coast pre­miere) with soloist Joshua Roman, and Hayd­n’s Sym­pho­ny No. 100 (“Mil­i­tary”).

Aaron Jay Kernis’s Cel­lo Con­cer­to (West Coast pre­miere) with soloist Joshua Roman, and Hayd­n’s Sym­pho­ny No. 100 (“Mil­i­tary”).

Cop­land’s Danzón Cubano; Egea’s Fan­ta­sia Fla­men­ca; Velas­co’s Asturi­an Suite; Chavez’s Sym­pho­ny No. 2, “Sin­fo­nia India”; and the World Pre­miere of a new piece by Raimun­do Penaforte, fea­tur­ing the Axiom Brass Quintet

All ages — no cover!

Pops Con­cert: Gersh­win & Elling­ton on Broad­way, with vocals by sopra­no Jen­ni Samuelson.

Come hang out with us in 10^th Street Plaza! We’ll be play­ing in front of Fuzio and the Bren­den The­ater.

A pro­gram of works for bas­soon ensem­ble, includ­ing J.S. Bach’s Toc­ca­ta and Fugue in D minor, BWV 565 and Pas­sacaglia in C minor, BWV 582; Josef Strauss’s Ohne Sor­gen; and Hugo Alvén’s Bour­rée. With bas­soon­ists Sax­ton Rose, Mag­nus Nils­son, Kim Walk­er, and Song Shibin.

Anto­nio Vivaldi’s Con­cer­to in g minor, RV 495, with CSU Sacra­men­to’s Baroque ensem­ble under the direc­tion of Lor­na Peters.

Anto­nio Vivaldi’s Con­cer­to in g minor, RV 495, with CSU Sacra­men­to’s Baroque ensem­ble under the direc­tion of Lor­na Peters.

Anto­nio Vivaldi’s Con­cer­to in g minor, RV 495, with CSU Sacra­men­to’s Baroque ensem­ble under the direc­tion of Lor­na Peters.

All ages — no cover!

Samuel Bar­ber’s Hand of Bridge and Mozart’s Bastien & Bastienne

World pre­miere of “Four poems by Charles Bukows­ki” by the first annu­al George Hitch­cock Award win­ner, Ittai Rosen­baum; music of Johan­na Bey­er and Pauline Oliv­eros; San­ta Cruz com­posers David Her­nan­dez, David Evan Jones, and Evan Merz.

A pro­gram of new music for two bas­soons per­formed by Ohne Name (Dana Jessen and David A. Wells).

The 4^th Annu­al Robert Danziger Memo­r­i­al Cham­ber Music Con­cert will fea­ture a vari­ety of works for 2 to 6 play­ers, includ­ing works by Rim­sky-Kor­sakov, Gluck, Rochberg, Fau­ré, Nielsen, Wolf­gang, and Mozart. The evening will con­clude with a three-tune set by Hot Club Faux Gitane

Mozart’s Piano Con­cer­to in A major, Lei Liang’s Gobi Can­ti­cle, and Dvorak’s Wind Ser­e­nade give the audi­ence a wide spec­trum of great music.

All ages — no cover!

Play­ing Bruce Rieprich’s When the Pines Sleep It Is Autumn.

Verdi’s La Travi­a­ta

Pops con­cert