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D e p a r t m e n t o f m u s i c p r e s e n t s t h e 

Symphony 

D . K e r n h o l o m a n , c o n D u c t o r 

sunday, 11 february 2007 

sunday, 11 march 2007 

mondavi center 

8 pm 

University Chorus 

and Alumni Chorus 

J o h n K e n D a l l B a i l e y, G u e s t c o n D u c t o r

taBle of contents 

february 11 program ......... 2 

ucDso roster .................. 6 

ucDso endowed seats ....... 7 

ucDso endowment ........... 8 

march 11 program ............. 9 

chorus roster ................. 13 

alumni chorus roster ....... 14 

chorus endowment .......... 15 

s u n D ay, 1 1 f e B r u a r y 2 0 0 7 

8 p m J a c K s o n h a l l , m o n D av i c e n t e r 

u c D av i s s y m p h o n y o r c h e s t r a 

D . K e r n h o l o m a n , c o n d u c t o r 

D a v i d r u s s e l l , c e l l o 

2 0 0 7 a r t i s t - i n - r e s i d e n c e 

p r o G r a m 

From Carmen: Georges Bizet 

Prelude–Intermezzo ( 838–75) 

Cello Concerto Laurie San Martin 

Pensive and Steady, = 7 (b. 968) 

Vibrant, = 0 

David Russell, cello 

INTERMISSION 

Symphony No. 8 in G Major, op. 88 Antonín Dvořák 

( 84 – 904) 

Allegro con brio 

Adagio 

Allegretto grazioso 

Allegro ma non troppo 

Fawzi Haimor, conductor 

Please deactivate cell phones, pagers, and wrist-watches. 

Please remain seated during the music, since distractions will be audible on the archive recording. 

Photography and audio and video recording are prohibited during the performance.

a B o u t t h e a r t i s t s 

Praised in the Boston Globe, Boston Phoenix and Gramophone magazine for his “lovely”, “lyrical” and “driving” 

performances, cellist David russell maintains a vigorous performance schedule in the United States and 

Europe. He has been on the faculty of Wellesley College, Ma ssachusetts, since 005 and is a busy performer in 

the Boston area, serving as principal cello of Opera Boston and associate principal of the Springfield Symphony. 

He appears regularly with such ensembles as Pro Arte Chamber Orchestra of Boston, the New England String 

Ensemble, Cantata Singers and Ensemble, and Emmanuel Music. 

A strong advocate and performer of new music, he has premiered numerous works by living composers. Recent 

and upcoming projects include the premiere of Ricardo Zohn-Muldoon’s chamber opera, Comala, at the Bellas 

Artes in Mexico City; US premieres of works for solo cello by Harold Meltzer and Judith Weir, and Weir’s 

Piano Trio Two; and recordings of new works by Lee Hyla, Eric Moe, Eric Chasalow, Laurie San Martin, Allen 

Anderson and Edward Knight. 

He earned his DMA in cello performance at the State University of New York, Stony Brook, studying with 

Timothy Eddy, and holds degrees from the Eastman School of Music, the University of Akron and Brandeis 

University. His previous teachers have included Steven Doane, Michael Haber and Rhonda Rider. He can be 

heard on the Albany Records, New World Records and Composers Recordings labels. 

laurie san martin is a recently tenured faculty member in the Department of Music where she teaches 

music theory and composition and co-directs the Empyrean Ensemble. A native of Berkeley, she holds degrees 

from UC Davis, UC Berkeley and Brandeis University, where she studied composition, clarinet and conducting. 

Her principal teachers include Ross Bauer, Martin Boykan, Eric Chasalow, David Rakowski, Olly Wilson and 

Yehudi Wyner. Her music has been performed in the United States and in Italy by such ensembles as Speculum 

Musicae, eighth blackbird, Earplay, the Warebrook Contemporary Music Festival, the Left Coast Chamber 

Ensemble and the San Francisco Contemporary Players. 

San Martin has received the International Alliance for Women in Music award, the ASCAP Morton Gould 

Young Composer’s Award, the Margaret Blackwell Memorial Prize in Composition and a Charles Ives 

Scholarship from the American Academy of Arts and Letters. 

Her music includes solo, chamber and orchestral music, and she has collaborated with other artists in multimedia 

and video. Most recently she has enjoyed writing for virtuoso soloists including percussionist Chris Froh and pianists 

Lara Downes and Amy Dissanayake. Marilyn Nonken will premiere her new piano piece on the Chamber 

Music Now series in Philadelphia. 

fawzi s. haimor began conducting during his senior year in high school with his first composition for string 

orchestra, The Vernal Heart. Entering UC Davis in the fall of 999, Haimor became principal second violinist 

and eventually assistant conductor of the UCDSO and Chorus. He earned the BA degree in June 005 with 

double majors in Music and in Neurobiology, Physiology and Behavior. That same summer he founded the popular 

UC Davis Summer Symphony. 

In the early part of this past summer, Haimor traveled to Hancock, Maine, for six weeks as a conducting participant 

at the Pierre Monteux School for Conductors and Instrumentalists, where he studied with Michael 

Jinbo. Haimor has received advice from various conductors including Michael Morgan, Martin Neary and Aaron 

Sherber. He also studies privately with Karla Lemon and will continue his final year in the master’s degree curriculum 

working closely under his two professors of conducting, D. Kern Holoman and Jeffrey Thomas. 

3

s a n m a r t i n : 

c e l l o c o n c e r t o 

for flute doubling piccolo, 

oboe, clarinet, bassoon; 

horns, trumpets, trombone; 

percussionists (timpani, crotales, 

suspended cymbal, claves, 

vibra-slap, temple block, glockenspiel, 

vibraphone, marimba, tomtoms, 

bass drum); strings 

composed May-November 

006 in Damariscotta, Maine, 

and Waldoboro, Maine; New 

Smyrna Beach, Florida; and 

Woodland, California; “for 

David Russell and the UC Davis 

Symphony Orchestra, D. Kern 

Holoman, conductor” 

first per formed 

February 007 in Jackson Hall, 

Mondavi Center, University 

of California, Davis, David 

Russell, cello, UC Davis 

Symphony Orchestra, D. Kern 

Holoman, conducting 

Duration: about 5 minutes 

4 

n o t e s 

It seems criminal that it has taken me ten years to write a piece for David Russell, as he is one of 

the best musicians I have ever known. David plays with such commitment and conviction it seems 

that he is baring his soul. This commitment, combined with how much his cello playing reflects his 

personality, is what makes his performances so special. I truly enjoyed writing this piece. The cello 

writing came as if I were transcribing various “David moments” from my memory bank. 

The opportunity for David to perform as soloist with the UC Davis Symphony Orchestra was a great 

inspiration to finally write him a piece. In May 006 I began writing a tuneful and euphoric melody 

over a regularly pulsating drone, which I thought would become an important theme in the cello 

concerto. However, this music ended up going into a wedding piece that I transcribed for viola and 

cello for David Russell’s marriage to violist Tanya Maggi on July . 

While the seed melody did not make it into the concerto, the regularly pulsating drone did. For 

the first few minutes of the piece, the audience waits patiently for the soloist to enter while the 

orchestra very gradually introduces itself, slowly branching out from a regularly pulsating A—the 

same note that the orchestra uses for tuning. The opening music becomes increasingly lyrical and 

dramatic. The soloist sneaks in quietly with the lyrical strings, and then takes over, intensifying into 

a vigorous cadenza-like section that is a duet with the principal cellist. The two players battle for 

a few minutes before their climactic end and the return of more lyrical, steady and slow orchestra 

music. The first movement ends with the soloist playing a harmonic glissando that evaporates into 

the cello’s highest register. 

The orchestra begins the second movement with a bang that is rhythmically challenging and 

punchy. The cello enters with a serene passage of harmonics after the gruff and dramatic orchestral 

introduction. This contrast between the orchestra and soloist gradually evens out, leading to a longer 

cadenza that references many past moments in the piece. The piece ends gently with the soloist easing 

down to his lowest register. The orchestra patiently supports the cello with a sustained C-major chord. 

This concerto was written with the UC Davis Symphony Orchestra players in mind, many of whom have 

been my students and whom I have heard perform with the orchestra, in chamber music classes and in 

solo recitals. I found writing for them and for David Russell to be inspiring and an all-around wonderful 

experience. I’m grateful to D. Kern Holoman and David Russell for granting me this opportunity. 

—LSM

n o t e s 

Nine years after the success of his D-minor symphony, Dvorˇák set out to compose his Eighth at his 

home in Prague. Called the “English” symphony, owing to its publication in London by Novello 

(initially as “Symphony No. 4”), the Eighth has become a favorite of concertgoers everywhere. 

The first thematic group of the Allegro con brio opens—not yet con brio—with the rich colors of the 

lower woodwinds, brass and cellos in G minor, not major. A hint of the cheerier major mode begins 

with the birdcall of the flute; sighs come from the strings until the timpani and lower brass begin a 

big orchestral crescendo. After the short climactic moment, strings effect the true establishment of 

G major across the entire orchestra, its melodic shape reminiscent of the earlier birdcall. The flutes 

and oboes present the second, more conversational, group of themes, including one of dark, almost 

sinister hue, and a reprise of the opening. Duets—the flute and violas, then violins and oboes—mark 

the beginning of the development and are soon interrupted by the darker thematic transformations. 

This all leads to the recapitulation, now heroic, as the opening theme is dominated by trumpets. The 

forward lurch in tempo, called a stretto, marks the coda. 

Dvorˇák builds his second movement on two contrasting ideas, one uncertain, one stable. The opening 

seems detached at first, as fragmentary brooding ideas coalesce across strings and winds. The second 

subject occupies the realm of the purest and most stable key of all, C major. Note the elegant scalar 

cascades that permeate the accompaniment, one of several indications of “outdoor” music. The 

third movement is a melancholy G-minor waltz, with a G-major trio for winds in gorgeous eight-bar 

phrases. The coda has the character of a polka. 

The finale, a sonata-rondo introduced by the bold trumpet fanfare, presents an exposition in four 

variations of the melody, the first alluding directly in orchestration and manner to the opening of 

the first movement, and gathering at length into a lavish, frenzied dance for full orchestra. The flute 

departs in a virtuoso turn, unveiling a rustic march for gypsy-band instruments. With the return of 

the now-familiar cello textures, the movement begins to dissipate and reminisce, closing then with a 

final tutti statement, bursting with its sheer joy and happiness. In the long run Dvorˇák had nothing 

much to add to sonata practice, but his rhapsodic treatments, like this one, are hard to beat. 

—Fawzi Haimor 

D v o rˇ á k : s y m p h o n y 

n o . 8 i n G m a j o r 

for piccolo, flutes I-II, oboes I- 

II, clarinets I- , bassoons I-II; 

horns I-IV, trumpets I-II, I-II, 

trombones I-III, tuba; timpani; 

strings 

composed 6 August-8 

November 889 in Prague; 

offered in 890 “for my installation 

as a member of the Czech 

Academy of the Emperor Franz 

Joseph for Sciences, Literature, 

and Arts” 

first performed February 

890 by the National Theater 

Orchestra, Prague, Dvorˇák conducting 

published by Novello, Ewer & 

Co. (London, 89 ). Inexpensive 

score: Antonín Dvorˇák: 

Symphonies Nos. 8 and 9 in Full 

Score (New York: Dover, 984) 


5

violin 

* Cynthia Bates, concertmaster 

* Fawzi Haimor, 

associate concertmaster 

* John Abdallah 

Angelo Arias 

Zoé Berna 

* Clairelee Leiser Bulkley 

Joan Crow 

Angela Hernandez 

* Raphael Moore 

Vanessa Rashbrook 

* Judy Riggs 

Alice Tackett 

Graham Terry 

John Wu 

Cindi K. Yorita 

violin ii 

* Kristen Jones, principal 

* Shari Gueffroy, associate principal 

Christina Cheng 

Jieun Choi 

Kristine Dawkin 

Elicia Fox 

Aaron Gong 

Carléna Henderson 

Chadwick Huang 

Sharon Inkelas 

Barry Kersting 

Amelia Lancaster 

Bliss Lee 

Paul Levy 

Leslie Peacock 

Amanda Perry 

Wesley Wang 

* = holder of endowed seat 

6 



* J e s s i c a B e j a r a n o , a s s i s t a n t c o n d u c t o r 

p o r t i a n j o k u , m a n a g e r 

viola 

* Kim Uwate, principal 

* Zoe Kemmerling, 

associate principal 

William Chang, Jr. 

James Chitwood 

Sarah Freier-Miller 

Jason Haberman 

Robert Koble 

Melissa Lyans 

David Spencer 

Clare Steinberg 

cello 

* Courtney Castaneda, principal 

Christopher Allen 

Lucas Chen 

Hannah Choi 

Julie Hochman 

Judy McCall 

* Eldridge Moores 

Tobias Münch 

Isabel Ortiz 

* Adam Sapin 

Eimi Stokes 

Bass 

* Eric Price, principal 

Greg Brucker 

Paul Cherng 

Thomas Derthick 

Azusa Murata 

Michael Schwagerus 

flute 

*Steve Doo, principal 

Amy Kuo 

Caitlin Roddy 

Marguerite Wilson 

oboe 

* Mary King, principal 

Vincent Chang 

Jaclyn Howerton 

Luis de la Torre 

clarinet 

* Alicia Bruce, co-principal 

* Eric Chow, co-principal 

Al Bona 

Robert Brosnan 

Kelly Dewees 

Bassoon 

* David Rehman, principal 

Kate Mackenzie 

Allison Peery 

Sarah Thrasher 

Matt Wong 

for uc Davis Department of music productions: 

Heather McClure, public events manager 

Joshua Paterson, production manager 

Philip Daley, assistant publicity/production manager 

Rudy Garibay, graphic designer 

horn 

* Jonathan Anderson, co-principal 

* Beverly Wilcox, co-principal 

Flaviu Dunca 

Rachel Howerton 

Ryan Ismail 

Victoria Lau 

Sarah Meyerpeter 

Thomas Reed 

trumpet 

* Nick Antipa, principal 

Jessica Bejarano 

Paul Marenco 

Randy Veirs 

trombone 

* Rebecca Brover, principal 

Eduardo Gonzaga 

* Jenny Mun 

* Robert Thomas 

tuba 

* Portia Njoku, principal 

* Robert B. Rucker 

percussion 

* Derek Kwan, principal 

Michael Dean 

Kevin Koo 

Megan Shieh 

harp 

* Brittany Iverson

cynthia Bates 

Cynthia Bates concertmaster 

presented by Debra Horney, M.D. 

fawzi haimor 

Damian Ting associate concertmaster 

presented by Damian Siu Ming Ting 

clairelee leiser Bulkley 

Clairelee Leiser Bulkley violin I 

presented by Clairelee Leiser Bulkley and 

Ralph E. Bulkley 

John abdallah 

Francis Dubois violin I 

presented by Nancy Dubois 

raphael s. moore 

Raphael S. Moore violin I 

presented by Jolanta Moore in memory of 

Raphael’s grandmother, Dr. Irena Anna Henner 

Judy riggs 

Ralph and Judy Riggs violin I 

presented by Ralph and Judy Riggs 

Kristen Jones 

Fawzi S. Haimor principal violin II 

presented by Barbara K. Jackson 

shari Benard-Gueffroy 

Shari Benard-Gueffroy assistant principal 

violin II 

presented by Shari Benard-Gueffroy 

Kim uwate 

Jocelyn Morris principal viola 

presented by James and Jocelyn Morris 

Zoe Kemmerling 

Bakos family associate principal viola 

presented by John T. Bakos, M.D./Ph.D. 

in memory of Dr. John and Grace Bakos 

u c D av i s s y m p h o n y o r c h e s t r a e n D o w e D s e at s 

Endowed seats are made possible by gifts of $10,000 or more. 

courtney castaneda 

Herman Phaff principal cello 

presented by Herman and Diane Phaff 

eldridge moores 

Eldridge Moores cello 

presented by Eldridge and Judith Moores 

adam sapin 

Louise McNary cello 

presented by Don McNary 

eric price 

Barbara K. Jackson principal bass 


susan monticello 

principal flute 

presented by Beverly “Babs” Sandeen and 

Marty Swingle 

mary King 

Wilson and Kathryn Smith principal oboe 

presented by Wilson and Kathryn Smith 

alicia Bruce / eric chow 

W. Jeffery Alfriend D.V.M. principal clarinet 

presented by Vicki Gumm and Kling Family 

Foundation 

David rehman 

Kling Family Foundation principal bassoon 

presented by Vicki Gumm and Kling Family 

Foundation 

Jonathan anderson/Beverly wilcox 

Kristin N. Simpson and David R. Simpson 

principal French horn 

presented by Richard and Gayle Simpson 

nick antipa 

Andrew Mollner principal trumpet 

presented by Joseph Dean Mollner and 

Andrew Mollner 

rebecca a. Brover 

Rebecca A. Brover principal trombone 

presented by Rebecca A. Brover 

Jenny mun 

Michael J. Malone trombone 

presented by Brian McCurdy and Carol Anne 

Muncaster 

robert thomas 

Brian McCurdy bass trombone 


portia njoku 

Robert B. Rucker tuba 

presented by Robert and Margaret Rucker 

Brittany iverson 

Calvin B. Arnason principal harp 

presented by Benjamin and Lynette Hart 

Derek Kwan 

Friedman family principal percussion 

presented by Marvin and Susan Friedman 

Katrina soo hoo 

Gary C. Matteson orchestral piano 

presented by Jane, Dwayne, and 

Donald Matteson 

Jessica Bejarano 

Barbara K. Jackson assistant conductor 


The conductor's podium was presented by Wilson and Kathryn Smith in honor of D. Kern Holoman. 

7

Mitzi S. Aguirre 

Priscilla Alexander 

W. Jeffrey Alfriend, D.V.M. ** 

Thomas and Patricia Allen 

David M. Ashkenaze, M.D. * 

Robert and Joan Ball * 

Cynthia Bates * 

Matthew and Shari 

Benard-Gueffroy ** 

Robert Biggs and Diane Carlson 

Oscar and Shula Blumenthal 

Robert and Hilary Brover ** 

Rebecca A. Brover ** 

Gregory A. Brucker 

Clairelee Leiser and 

Ralph E. Bulkley ** 

Walter and Marija Bunter * 

Ray and Mary Cabral * 

Lynn L. and Robert N. Campbell 

Don and Dolores Chakerian * 

Terry and Marybeth Cook 

Elizabeth Corbett 

Richard Cramer and 

Martha Dickman * 

Allan and Joan Crow * 

Martha Dickman * 

Nancy Dubois* 

Jonathan and Mickey Elkus 

Thomas and Phyllis Farver 

Ron Fisher 

Tyler T Fong * 

Marvin and Susan Friedman ** 

Edwin and Sevgi Friedrich 

Anne Gray * 

Vicki Gumm and Kling Family 

Foundation ** 

Prof. and Mrs. Said Haimor * 

Benjamin and Lynette Hart ** 

Lorena Herrig * 

Virginia and Bill Hinshaw 

Barbara D. Hoermann 

Prof. and Mrs. D. Kern 

Holoman ** 

8 

u c D av i s s y m p h o n y e n D o w m e n t 

2 0 0 5 – 2 0 0 7 

Debra A. Horney, M.D. ** 

Brian and Louanne Horsfield * 

Ilia Howard * 

Margaret E. Hoyt * 

Dr. and Mrs. Daniel R. Hrdy * 

Sharon Inkelas 

Barbara K. Jackson ** 

Prof. Joseph E. Kiskis, Jr. * 

Winston and Katy Ko 

Family of Norman Lamb * 

Dr. Richard Levine * 

Paul and Lois Lim 

Susan Linz 

Melissa Lyans and 

Andreas J. Albrecht, Ph.D.* 

Natalie and Malcolm MacKenzie* 

Douglas W. Macpherson and 

Glayol Sabha, M.D. * 

Marjorie March * 

J. A. Martin 

Gary and Jane Matteson ** 

Katherine Mawdsley and 

William F. McCoy * 

Scott and Caroline Mayfield 

Greg and Judy McCall * 

Brian McCurdy and Carol Anne 

Muncaster ** 

Ulla and Gerald McDaniel 

Don and Lou McNary * 

Albert J. and Helen McNeil * 

Sharon Menke, Esq. 

Joseph Dean Mollner ** 

Andrew Mollner ** 

Eileen and Ole Mols * 

George Moore 

Jolanta Moore ** 

Raphael S. and Netania Moore * 

Eldridge and Judith Moores ** 

James and Jocelyn Morris ** 

Mary Ann Morris * 

Ken T. Murai * 

Russell and Alice Olson 

Jessie Ann Owens 

Paul and Linda Parsons * 

Herman and Dianne Phaff ** 

Marjorie Phillips and Robert Rice 

James and Felicity Pine 

Jim and Nancy Pollock 

Ann Preston 

Eugene and Elizabeth Renkin * 

Ralph and Judy Riggs ** 

Susanne Rockwell and Brian Sway 

Jerome and Sylvia Rosen * 

Don Roth 

Robert and Margaret Rucker ** 

Tracey Rudnick 

Beverly “Babs” Sandeen and 

Marty Swingle ** 

E. N. Sassenrath * 

Neil and Caroline Schore * 

Prof. and Mrs. Calvin Schwabe * 

Barbara L. Sheldon 

Ellen Sherman * 

Richard and Gayle Simpson ** 

Neil Schore 

Wilson and Kathryn Smith ** 

Lois Spafford * 

Sherman and Hannah Stein 

Dr. and Mrs. Roydon Steinke 

Thomas Sturges * 

Joel and Susan Swift* 

Richard Swift * 

Alice Tackett * 

Steven D. Tallman * 

Damian Siu Ming Ting ** 

Roseanna F. Torretto 

Rosalie and Larry Vanderhoef * 

Shipley and Dick Walters * 

Barbara D. Webster and 

Grady L. Webster 

Marya Welch * 

J o i n t h e u c D s y m p h o n y e n D o w m e n t 

Arthur Andersen LLP Foundation* 

Bank of America Foundation 

Office of the Provost ** 

The Swift Fund for the Arts* 

UCD Symphony Orchestra 

99 –93, 993–94 ** 

Weyerhaeuser 

In honor of 

Benjamin Hart 

Randolph Hunt by Benjamin 

and Lynette Hart* 

Ulla McDaniel 

Jerome and Sylvia Rosen* 

In memoriam 

Susan Pylman Akin 

Ronald J. Alexander 

Robert M. Cello 

Elizabeth Elkus 

Carl Flowers 

Verna Fournes Le Maitre 

Dr. Irena Anna Henner 

Katherine H. Holoman 

Norman E. Lamb 

Loren LeMaitre 

Michelle Mantay 

John Mouber 

Mel Olson 

Herman Phaff 

Keith Riddick 

Walter H. Rock, Jr. 

Dorothy J. Shiely 

Richard and Dorothy Swift 

William E. Valente 

Bodil Wennberg 

* = $ ,000 or more 

** = $ 0,000 or more 

The UCD Symphony Endowment was established by members and friends in 99 with the goal of assuring the orchestra’s access to 

first-rate teachers and soloists, a handsome orchestral library, and enhanced opportunities for travel. 

The Endowed Seats program, established by UCDSO member Rebecca Brover in 000 on the occasion of the new millennium, recognizes 

gifts of $ 0,000 and more by naming individual seats in the orchestra in perpetuity. As of the 006–07 season, some 8 seats were so 

named. 

Support the future of the UCDSO by becoming a member of the UCD Symphony Endowment. Gifts are recognized in the donor list 

published with each concert program; members of the Endowment receive a newsletter and various other forms of recognition. For further 

information on donor opportunities, visit our web site at ucdso.ucdavis.edu or call Debbie Wilson, 530-757-5784.

taBle of contents 

february 11 program ......... 2 

ucDso roster .................. 6 

ucDso endowed seats ....... 7 

ucDso endowment ........... 8 

march 11 program ............. 9 

chorus roster ................. 13 

alumni chorus roster ....... 14 

chorus endowment .......... 15 

s u n D ay, 1 1 m a r c h 2 0 0 7 

8 p m J a c K s o n h a l l , m o n D av i c e n t e r 


u n i v e r s i t y c h o r u s 

a l u m n i c h o r u s 


m a r t i n n e a r y, o r g a n 

2 0 0 7 a r t i s t - i n - r e s i d e n c e 

p r o G r a m 

Organ Concerto in B-flat Major, op. 4, no. G. F. Handel 

( 685– 759) 

Tempo ordinario 

Allegro 

Adagio 

Allegro 

Martin Neary, organ 

INTERMISSION 

Symphony No. 9 in D Minor, op. 5 Ludwig van Beethoven 

( 770– 8 7) 

Allegro ma non troppo, un poco maestoso 

Molto vivace 

Adagio molto e cantabile 

Presto; Recitatives; Allegro ma non tanto 

Bharati Soman, soprano 

Kendall Gladen, alto 

Sean Panikkar, tenor 

Jeremy Galyon, baritone 

Please deactivate cell phones, pagers, and wrist-watches. 

Please remain seated during the music, since distractions will be audible on the archive recording. 

Photography and audio and video recording are prohibited during the performance. 

9

0 

a B o u t t h e a r t i s t s 

British organist and conductor mar tin neary, who was former Organist and Master of the Choristers at 

Winchester Cathedral and Westminster Abbey, is specially noted for championing contemporary church 

music, and for his groundbreaking performances of music by Bach and Purcell. 

Neary is a frequent visitor to the United States; with the Winchester Cathedral Choir he appeared at Carnegie 

Hall and the Kennedy Center, and at Alice Tully Hall with the Westminster Abbey Choir. In 984 he spent a 

semester at UC Davis as artist-in-residence, during which time he trained the chamber choir for a performance of 

Handel’s Dixit Dominus. He is currently in California again serving as artist-in-residence at UC Davis, and leading 

performances in Los Angeles and San Diego marking the 50 th anniversary of the birth of Mozart. 

Neary read theology and music at Cambridge University and later studied conducting at Tanglewood under 

Erich Leinsdorf and with André Marchal in Paris. He has received numerous awards; among them are an 

honorary doctorate of music from the University of Southampton and his appointment as Lieutenant of the 

Royal Victorian Order by the Queen, in recognition of his services for choosing and directing the music at the 

funeral of Princess Diana. 

Described as having a “lovely, ornamented soprano” and praised for her “silken renderings of Mozart’s 

legato arias,” soprano Bharati soman has performed leading roles with companies throughout Northern 

California. She previously appeared with the UCDSO in a February 005 performance of Richard Swift’s 

For Roses Only. As a concert soloist, Soman has also performed with the Kensington Symphony Orchestra, 

Camellia Symphony Orchestra and Golden Gate Philharmonic, and given recitals for Oakland Lyric Opera. In 

005 she was a Finalist in Orlando Opera’s Rehfuss Singing Actor Competition and placed in Eugene Opera’s 

Belle Voci National Competition. Upcoming engagements include the role of Curly’s Wife (Of Mice and Men) 

with Cinnabar Theater. 

Kendall Gladen, 007 Adler Fellow, participated in the 005 Merola Opera Program where she performed the 

role of Baba the Turk in The Rake’s Progress. The mezzo-soprano will be seen in the title roll of Bizet’s Carmen 

with the UCDSO on May 6, 007. As a young artist with the Opera Theatre of St. Louis, she performed the 

roles of the Abbess in Suor Angelica and Mother Albine in Thais. Previous roles include the Old Prioress in 

The Dialogues of the Carmelites, Madame Flora in The Medium, Nancy in Albert Herring and Dorabella in Così 

fan tutte. She was a regional finalist in the Metropolitan Opera National Council Auditions and received an 

Encouragement Award from the Sullivan Foundation and a Career Achievement Award from the Monsanto 

Fund. She is a graduate of Washington University and a student of American soprano Carmen Balthrop. 

Sean panikkar is quickly becoming known for his “surpassing musicality and passion, commanding selfconfidence 

and gorgeous expression.” The American tenor of Sri Lankan descent made his San Francisco 

Opera debut as Chaplitsky in The Queen of Spades, but was first introduced to San Francisco audiences 

at the Merola Opera Program’s Yerba Buena Gardens Concert, where he sang Nadir in excerpts from Les 

Pêcheurs de perles. He went on to sing the title role in the Opera Center’s production of Le Pauvre Matelot 

and has since performed in Company productions of Fidelio and Norma. Last fall he appeared with the 

Company as Edmondo in Manon Lescaut and as the Shepherd and the Young Sailor in Tristan und Isolde. He 

was a Metropolitan Opera National Council Pittsburgh District winner and Great Lakes Regional Finalist 

(Encouragement Award winner). Panikkar completed his Bachelor and Master of Music Degrees at the 

University of Michigan, where he studied under the direction of Luretta Bybee and Martin Katz. 

Jeremy Galyon, baritone and a 007 Adler Fellow, was seen as Nick Shadow in the Merola Opera Program 

production of The Rake’s Progress. After spending four years as a resident artist with Binghamton’s Tri-Cities 

Opera he recently returned there to perform the role of Raimondo in Lucia di Lammermoor. Other roles with 

Tri-Cities Opera include Figaro in The Marriage of Figaro, Sparafucile in Rigoletto, Colline in La Bohème, and 

Dulcamara in The Elixir of Love. He has been a Young Artist with the Glimmerglass Opera, where he performed 

the roles of Larkens in The Girl of the Golden West and Masetto in Don Giovanni. Other engagements 

include Theseus in A Midsummer Night’s Dream with the Chicago Opera Theatre and Second Armored Man 

in The Magic Flute with the Florida Grand Opera. His awards include Regional Finalist for the Metropolitan 

Opera National Council Auditions and an Opera Index Encouragement Award.

n o t e s 

Although the combination of organ and orchestra had long been in use in Handel’s time, the 

organ usually played a subordinate role, serving as part of the basso continuo (along with a viola 

da gamba and/or bassoon) that accompanies nearly all Baroque music. The promotion of the organist 

to the rank of concert soloist was an invention of one of the great organists of the day: George Fridric 

Handel ( 685– 759). Tonight’s concerto was one of his first, and it was performed by the composer 

himself, in between acts of one of the earliest of his famous oratorios. 

The first movement is in the style of a French overture: its stately dotted rhythms and regular phrasing 

are reminiscent of the overtures that Jean-Baptiste Lully wrote for the royal opera at Versailles. The 

soloist plays along with the orchestra (as he would if he were merely a member of the continuo), but 

steps into the spotlight during the final cadence. The second movement, however, is an Italian form in 

which an ensemble ritornello (or “thing that returns”) alternates with solo passages. In each solo passage, 

the level of harmonic complexity and virtuosic display increases. 

The solo part in the third movement is written for the right hand alone, offering possibilities for the 

organist to embellish a simple melody, with each phrase punctuated by orchestral chords. Although 

Handel probably played something new in each performance, he wrote out one of his solos when 

the concerto was published, giving us a fortunate opportunity to see the inner workings of Baroque 

improvisatory performance practice. 

The last movement was popular enough to earn a nickname, “the Minuet in the Oratorio Esther,” thus 

allowing us to guess at the date of its first performance. It starts off with a rollicking tune, but, in 

contrast to the solo concerti of the classical era, it ends quietly—an appropriate way to “dissolve and 

fade” back to the action of the oratorio. 

The familiar bust of Beethoven depicts a heavyset man with a luxuriant head of hair and a ferocious 

scowl: a commanding presence that radiates power and purpose. Yet the man who wrote 

the Ninth Symphony was in reality old (a decade beyond the average Viennese lifespan), sick much of 

the time and concerned about his finances. His music, too, presents itself to us in a false light: long 

familiarity causes us to hear the Ninth Symphony as a succession of events that are both logical and 

inevitable. In 8 4, they were neither. 

Take, for example, the first movement. Initially, both key and meter are unclear. The open fifth A–E 

is ambiguous, and there is no discernable melody. It is not until we hear the lyrical, major-key second 

theme that we realize that the jerky dotted rhythms on open fifths were in fact the primary theme. 

The listener is on no firmer ground in the second movement: instead of the expected slow movement, 

we hear a scherzo. It features an unexpected timpani solo and a tempo so fast that the conductor must 

treat measures as beats: Beethoven marks some passages ritmo di tre (or quattro) battute, that is, beating 

one 3/4 pattern for every three measures or one 4/4 pattern for every four measures. The timpani 

solo signals the change from four-measure patterns to three-measure patterns. These shifts do not 

disturb us today but they would have seemed peculiar to listeners who still thought of a scherzo as a 

sort of modernized minuet-and-trio dance form. 

The third movement gives the listener some respite: it is calm variation set in a major key. But 

Beethoven has once again done the unexpected: it is a double variation form. There are two alternating 

themes in contrasting, almost-unrelated keys (B-flat and D major, which have only three notes in 

common). The contrast solves the problem of how to write a symphonic-scale variation set that holds 

the listener’s interest; Mahler and Bruckner used this technique in several of their symphonies. 

These movements were unsettling to their first audience, but the last movement was nothing short of 

revolutionary. The startling clash of a fortissimo A against B-flat in the opening chord, the imitation 

of an operatic recitative by the double basses, the verbatim quotation of the themes of the earlier movements, 

the continuation of the third-movement variation form, and, of course, the vocal soloists and 

chorus: none of these things had ever been heard in a symphony before. Equally revolutionary, perhaps, 

was what the voices sang: in joy, all men become brothers. The words were Beethoven’s own, added to lines 

taken from a poem by Friedrich Schiller. As a new musical world emerged from the chaos of this last 

movement of Beethoven’s last symphony, so the common people emerged from the end of feudal society 

and the devastation of the Napoleonic wars, to create the modern, and postmodern, world. 

—Beverly Wilcox 

handel: concer to for 

organ and orchestra, 

op. 4 no. 2 

for organ solo; oboes I-II, strings 

composed early in 735 in 

London 

first per formed March 

735 as an entr’acte for the oratorio 

Esther 

published by John Walsh, 

London, 738 


Beethoven: symphony 

no. 9 in D minor, op. 125 

for soprano, alto, tenor, and 

baritone solo, chorus; flutes, 

piccolo, oboes, clarinets, 

bassoons, contrabassoon; 4 

horns, trumpets, 3 trombones; 

timpani, triangle, cymbals, bass 

drum; strings 

composed 8 3– 4. 

Text of finale excerpted from An 

die Freude, written by Friedrich 

Schiller in 785, with added 

words by Beethoven. 

first per formed May 7, 

8 4 at the Kärntnertor Theater 

in Vienna 

published by B. Schott’s 

Sons, Mainz, 8 6 

Duration about 70 minutes

O Freunde, nicht diese Töne! 

Sondern lasst uns angenehmere 

anstimmen und freudenvollere. 

Freude, schöner Götterfunken 

Tochter aus Elysium, 

Wir betreten feuertrunken, 

Himmlische, dein Heiligtum! 

Deine Zauber binden wieder 

Was die Mode streng geteilt; 

Alle Menschen werden Brüder, 

Wo dein sanfter Flügel weilt. 

Wem der große Wurf gelungen, 

Eines Freundes Freund zu sein; 

Wer ein holdes Weib errungen, 

Mische seinen Jubel ein! 

Ja, wer auch nur eine Seele 

Sein nennt auf dem Erdenrund! 

Und wer’s nie gekonnt, der stehle 

Weinend sich aus diesem Bund! 

Freude trinken alle Wesen 

An den Brüsten der Natur; 

Alle Guten, alle Bösen 

Folgen ihrer Rosenspur. 

Küsse gab sie uns und Reben, 

Einen Freund, geprüft im Tod; 

Wollust ward dem Wurm gegeben, 

Und der Cherub steht vor Gott. 

Froh, wie seine Sonnen fliegen 

Durch des Himmels prächt’gen Plan, 

Laufet, Brüder, eure Bahn, 

Freudig, wie ein Held zum Siegen. 

Seid umschlungen, Millionen! 

Diesen Kuss der ganzen Welt! 

Brüder, über’m Sternenzelt 

Muss ein lieber Vater wohnen. 

Ihr stürzt nieder, Millionen? 

Ahnest du den Schöpfer, Welt? 

Such’ ihn über’m Sternenzelt! 

Über Sternen muss er wohnen. 

t e x t a n D t r a n s l at i o n 

Oh friends, not these notes! 

Rather let us sing more 

cheerful and more joyful ones. 

Joy, thou glorious spark of heaven, 

Daughter of Elysium, 

We approach fire-drunk, 

Heavenly One, your shrine. 

Your magic reunites 

What custom sternly divides; 

All people become brothers 

Where your gentle wing alights. 

Whoever succeeds in the great attempt 

To be a friend of a friend, 

Whoever has won a lovely woman, 

Let him add his jubilation! 

Yes, whoever calls even one soul 

His own on the earth’s globe! 

And who never has, let him steal, 

Weeping, away from this group. 

All creatures drink joy 

At the breasts of nature; 

All the good, all the evil 

Follow her roses’ trail. 

Kisses gave she us, and wine, 

A friend, proven unto death; 

Pleasure was to the worm granted, 

And the cherub stands before God. 

Glad, as his suns fly 

Through the Heavens’ glorious plan, 

Run, brothers, your race, 

Joyful, as a hero to victory. 

Be embraced, you millions! 

This kiss for the whole world! 

Brothers, beyond the star-canopy 

Must a loving Father dwell. 

Do you bow down, you millions? 

Do you sense the Creator, world? 

Seek Him beyond the star-canopy! 

Beyond the stars must He dwell.

sopranos 

Alissa Antman 

Kimberly Blahnik 

Amanda Boardman 

Ji Eun (Lydia) Callahan 

Courtney Coffin 

Meghan Davis 

Megan Everett 

Katy Fast 

Heidi Gerard 

Carrie Harrell 

Catrina Hayes 

Rachelle Hayes 

Carlena Henderson 

Alyssa Kenville 

Sung Ae Kim 

Shannon Ko 

Airy Krich-Brinton 

Yun Lian Luo 

Sara Marostica 

Brittney McClain 

Amanda McDermott 

Carter Mills 

Kate Mintun 

Julia Overman 

Elizabeth Parks 

Maria (Christina) Pingol 

Molly Reagh 

Elissa Refsdal 

Miriam Rocke 

Maggie Roesser 

u n i v e r s i t y c h o r u s 

J o h n K e n d a l l B a i l e y, g u e s t c o n d u c t o r 

Lauren Salmo 

Paige Seegan 

Adele Sonora 

Diane Soto 

Lisa Sueyres 

Elizabeth Tietjen 

Stacey Twisdale 

Kelley Way 

Jane Wong 

altos 

Kathleen Baker 

Suzanna Chan 

Jenna Chen 

Hsing Ling Chung 

Ashley Cooper 

Laura Crowder 

Lisa Eleazarian 

April Ferre 

Sara Franssen 

Elizabeth Frey 

Susan Garbini 

Emma Gavenda 

Lizzie Gergian 

Amanda Glinzak 

Kathleen Green 

Mary Herbert 

Rebecca Jia 

Mai Kozai 

Julia Kulmann 

Julia Lazzara 

f a w z i h a i m o r, a s s i s t a n t c o n d u c t o r 

Sandra Lee 

Yick Yee Lee 

Erika Leydig 

Amanda Martin 

Theresa Martinez 

Lauren Matthes 

Deepti Menon 

Kathleen (Bo-Mie) Pae 

Kari Payne 

Patricia Peacock 

Susanna Peeples 

Nancy Price 

Sara Price 

Carrie Rocke 

Charito Soriano 

Cynthia Sperry 

Shannon Steele 

Kristina Trombly 

Shirlney Tung 

Rosalie Wang 

tenors 

Vincent Bacay 

Yu-pang Chen 

Chris Hong 

Tatz Ishimaru 

Richard Kulmann 

Newman Leung 

Spencer Little 

Jeffrey Paterson 

David Rekow 

Stephanie Ross 

Peter Shack 

Lloyd Waldo 

Christopher Wong 

Basses 

John Berg 

Clyde Bowman 

Young Rak Choi 

Lawrence Chukwueke 

Tom Dotan 

Sam Doty 

Kenneth Eng 

Christopher Gee 

James Hutchinson 

Boris Kazinik 

Kyung Hoon Lee 

James Lischeske 

Adam Loberstein 

Ian MacGregor 

Kenny O’Dea 

Mohammad Yahya Rouhani 

John Sparks 

Doug Underwood 

Jeffrey Wagner 

Pei Xia 

Matthew Yu 

3

sopranos 

Barbara Celli 

Kathleen Coates, 978 

Susan Burris Conwell, 995 

Evelynne Drinker, 978 

Allegra Edwards 

Jeannie Jasper Edwards, 976 

Vera Fontaine 

Jeanne Howe, 974 

Kate Ivanjack, 998 

Joan de Ryk Jones, 983 

Lauren Kaplan, 977 

Cheryl Loehr, 000 

Stephanie Davis Manansala, 995 

Jeanine McElwain, 998 

Elizabeth Ward Pham, 998 

Amy Poon, 998 

Elenka Proulx, 004 

Sarah Roby, 003 

Barbara Ruhmann, 984 

Joan Lunderville Sellers, 965 

Sue Shellooe 

Regina Sikora, 005 

Adele Sonora, 984 

Paula Fisher Thompson, 976 

Melissa Valdellon, 004 

Cheryl Christenson Villavicencio, 

00 

Erie Vitiello, 996 

Karen Banks Walton, 977 

Rebecca Wendlandt, 006 

4 

a l u m n i c h o r u s 

J o h n K e n d a l l B a i l e y, g u e s t c o n d u c t o r 

altos 

Karis Adams, 000 

Lindsay Allen, 973 

Aimee Dour-Smith, 99 

Robin Drechsler, 98 

Mari Eleneke, 98 

Susan Garbini, 975 

Ema Gluckmann, 98 

Ann Wyant Halsted 

Karin Hoover, 978 

Kristen Kohl, 978 

Charlene Kunitz 

Leslie Nevins Leong, 98 

Sara McCray Martin, 976 

Deborah King Maus, 988 

Barbara Meixner 

Martha Morgan, 985 

Jessie Schwarz Newhall, 998 

Eleni Nikitas, 006 

Wynne Engler Skow, 97 

Mary Sprifke, 965 

Lynne Swant, 00 

Joyce Takahashi 

Katherine Smith Unger, 990 

Jan West, 983 

Cindy Shellum Wight, 976 

Audra Wilson, 993 

tenors 

Jeff Aran, 980 

Seth Arnopole, 998 

Jean-Michel Lapeyrade, 984 

Gary Matteson, 960 

Matthew McGibney, 993 

Darren Pollock, 00 

Jim Shellooe, 977 

Linda Winter, 00 

Basses 

John Baker, 000 

David Benjamin, 999 

Christopher Bennett 

Quentin Cooper, 989 

Paul Edwards 

Skye Edwards 

Joshua Eichorn, 998 

Roger Kohn, 990 

Kirk Kolodji, 004 

Eric Leaver (Noca), 994 

Louis Lee, 993 

Erick Lorenz, 96 

Ian MacGregor 

Craig Machado, 974 

Clarence McProud, 976 

Chester G. (Chet) Moore, 960 

Jeff Pettit, 976 

Adam Quest, 005 

Keith Rode, 00 

Brian Sennello, 004 

Carl Seymour, 977 

Paul Terry, 00 

Larry Tom, 97 

David Trombly, 006 

Eric van Boer, 976 

Cirian Villavicencio, 00 

Erick Wennstrom, 984 

Stephen Williams, 98

John R. Berg, Ph. D. and Anne M. Berg 

Kathleen Cady 

Barbara P. and Kenneth D. Celli 

Donna M. Di Grazia 

Leland and Susan Faust 

Ann & Gordon Getty Foundation 

John Tracy Grose and Beth Baker-Grose 

Prof. and Mrs. D. Kern Holoman 

James and Patricia Hutchinson 

IBM International Foundation, LLP 

Barbara K. Jackson 

Joan and Russell Jones 

Anonymous 

Anonymous 

Lindsay Allen 

Mitzi S. Aguirre 

Clyde and Ruth Bowman 

Martha Dickman 

Dotty Dixon 

Joshua Eichhorn 

Jeremy Faust 

Darlene Franz and James Van Horn 

Sally Gray 

Dr. Charles and Ann Halsted 

Benjamin and Lynette Hart 

James H. Hillman 

Robin Houston 

Jeanne Howe and Carlos Miro 

Donald Johnson and Elizabeth Miller 

Lauren Kaplan 

u c D av i s c h o r u s e n D o w m e n t 

a n i n v i tat i o n t o J o i n 

There will always be financial challenges to any arts program that strives to meet the needs and demands of its students. At UC Davis, our 

challenges are even greater now that new standards of excellence have been achieved and continue to rise. The UC Davis Chorus Endowment 

was established to raise much needed funds in order to provide exciting and memorable tours for our students, enhancements to our annual 

concert seasons, voice lessons for talented individuals, or even bare-bones necessities like choral music, accompanists, or concert equipment. 

Your support will ensure that our programs can continue to inspire, teach, and mold the artistic and aesthetic temperaments of young choral 

singers. Please join us through your commitment to our future. 

The Founder’s Club recognizes those generous founding benefactors who contributed $ ,000 or more during the Endowment’s first year, and 

its members receive permanent recognition in all Chorus programs. All subsequent donors are acknowledged annually. For further 

information, visit our web site at chorus.ucdavis.edu/endowment or call Debbie Wilson at 530.757.5704. 

f o u n D e r ’ s c l u B m e m B e r s 

Mr. and Mrs. Norman Jones 

Prof. Joseph E. Kiskis, Jr. 

Julia and Richard Kulmann 

Elizabeth Langland and Jerry Jahn 

Leslie and Dana Leong 

Gary and Jane Matteson 

Hugh and Deborah McDevitt 

Albert and Helen McNeil 

Cindy and Dennis McNeil 

Patricia K. Moore and 

Chester G. Moore, Jr., Ph.D. 

Mary Ann Morris, Ph.D. 

a n n u a l D o n o r s 

Winston and Katy Ko 

Airy Krich-Brinton 

Natalie and Malcolm MacKenzie 

Susan Mann 

Clarence H. McProud 

Amelie Mel de Fontenay 

Jeffrey Mihaly 

Martha Morgan 

Rebecca Newland 

Naomi Newman 

Grant and Grace Noda 

Mike and Carlene Ozonoff 

Patricia Peacock 

Amy Poon 

Gerry Prody 

David and Carrie Rocke 

Jerry and Sylvia Rosen 

William and Linda Schmidt 

Jeffrey and Janice Pettit 

Steven Rosenau 

Mr. and Mrs. Roy Shaked 

Patricia L. Shepherd 

Steven Tallman 

Jeffrey Thomas 

Larry and Rosalie Vanderhoef 

Ed and Eleanor Witter 

Joan and Warren Sellers 

Kevin Shellooe 

Ellen Sherman 

James and Wynne Skow 

Erie Vitiello 

Steven and Patricia Waldo 

Douglas and Carey Wendell 

Rebecca and Jansen Wendlandt 

Jewish Community Endowment Fund 

IBM Matching Gift Program 

Bank of America Matching Gift Program 

5

cosponsors 

armen 

Bi z e t ’s 

University Chamber Singers 

S e m i - S t a g e d , S u n g i n F r e n c h w i t h S u p e r t i t l e S 

U C D a v i s S y m p h o n y O r c h e s t r a a n d C h o r u s e s 

S a n F r a n c i s c o O p e r a A d l e r Fel l ow s 

O n e p e r f O r m a n c e O n l y 

S U n DAy, M Ay 6 , 2 0 0 7 

8 p m J a c k S o n h a l l , m o n d a v i c e n t e r 

ticketS: 530-754-2787 or www.Mondaviarts.org 

$16/13/10 adults, $8/6.50/5 students and children 

martin neary, guest conductor, artist-in-residence 

Domenico Scarlatti: Stabat mater; Ralph 

Vaughan Williams: Valiant-for-Truth; plus 

works by Thomas Tallis, Henry Purcell, 

Jonathan Harvey and John Tavener 

sunday, February 25, 2007 

8 pm Jackson Hall, Mondavi Center 

16/13/10 adults, $8/6.50/5 students and children 

new Date! 

Thursday, april 12, 2007 

4 pm, JackSon hall, mondavi center 

Chamber Works: Jessica Bejarano, Jonathan Elkus, Fawzi Haimor, conductors. 

Wagner: Siegfried Idyll; Gounod: Petite Symphonie; Mozart: Gran Partita. Free. 

new Event! 

saTurday, april 14, 2007 

12 pm, mondavi center lobby 

Chamber Works: Jessica Bejarano, Jonathan Elkus, Fawzi Haimor, conductors. 

Wagner: Siegfried Idyll; Gounod: Petite Symphonie; Mozart: Gran Partita. Free. 

new Date! 

Tuesday, June 5, 2007 

7 pm, JackSon hall, mondavi center 

ConCerTos Then and noW: nick Antipa, trumpet; Kimberlee Uwate and 

Zoe Kemmerling, violas; susan Monticello, flute; Michael orland, piano. Haydn: 

Trumpet concerto and Bach: Brandenburg concertos no. 5 and 6. Free.

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