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Bruckner - UC Davis: Department of Music

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with the Alumni Chorus<br />

and the uC DAvis symphony orChestrA<br />

arianna Zukerman, soprano | Judith Malafronte, mezzo-soprano<br />

Wesley rogers, tenor | James Maddalena, baritone<br />

<strong>Bruckner</strong>: Te Deum<br />

Rossini: Stabat Mater<br />

8 pm, SunDAY, 14 mArCH 2010<br />

Jackson Hall, Mondavi center


8 pm, Sunday, 14 march 2010<br />

JackSon hall, mondavi center<br />

univerSity choruS & alumni choruS<br />

uc daviS Symphony orcheStra<br />

with<br />

arianna Zukerman, Soprano<br />

Judith malafronte, meZZo-Soprano<br />

weSley rogerS, tenor<br />

JameS maddalena, baritone<br />

Jeffrey thomaS, conductor<br />

program<br />

Te Deum Anton <strong>Bruckner</strong><br />

Allegro moderato (1824–96)<br />

Moderato<br />

Allergro moderato. Feirlich, mit Kraft<br />

Moderato<br />

Mäßig bewegt<br />

intermission<br />

Stabat Mater Gioacchino Rossini<br />

Introduction: Stabat mater dolorosa (1792–1868)<br />

Aria: Cujus animam gementem<br />

Duet: Quis est homo<br />

Aria: Pro peccatis suae gentis<br />

Chorus and Recitative: Eja, mater, fons amoris<br />

Quartet: Sancta mater, istud agas<br />

Cavatina: Fac, ut portem Christi mortem<br />

Aria and Chorus: Inflammatus et accensus<br />

Quartet: Quando corpus morietur<br />

Finale: Amen, in sempiterna saecula<br />

This concert is being recorded pr<strong>of</strong>essionally for the university archive. Please remain seated during the music, remembering that distractions will be audible on<br />

the recording. Please deactivate cell phones, pagers, and wristwatches. Flash photography and audio and video recording are prohibited during the performance.<br />

3


About the Artists<br />

Possessing a luminous voice with “the breadth <strong>of</strong> dramatic inflection to make for a powerfully effective<br />

performance” (Opera), soprano arianna Zukerman is equally in demand for opera and concert performances.<br />

The Washington Post observes, “Arianna Zukerman possesses a remarkable voice that combines the range, warmth<br />

and facility <strong>of</strong> a Rossini mezzo with shimmering, round high notes and exquisite pianissimos….” Zukerman’s 2009-<br />

10 season includes several reengagements, including with the Gulbenkian Foundation Orchestra in Lisbon to sing<br />

Salieri’s Requiem, with <strong>Music</strong> <strong>of</strong> the Baroque for Mozart’s Requiem, and with the National Arts Centre for Mozart’s<br />

“ch’io mi scordi di te.” She also sings First Lady in Die Zauberflöte with Opera Lyra Ottawa, Mahler’s Symphony<br />

No. 4 with the National Philharmonic, and in recital with pianist Navah Perlman for El Paso Pro <strong>Music</strong>a. Previous<br />

opera highlights include her first collaboration with Lorin Maazel as Female Chorus in The Rape <strong>of</strong> Lucretia; her<br />

debut with the New York City Opera in Mark Adamo’s Lysistrata; and performing the Governess in The Turn <strong>of</strong> the Screw with Chicago<br />

Opera Theater, Micaëla in Carmen with the Dallas Symphony Orchestra at the Vail Valley <strong>Music</strong> Festival; Marzelline in Fidelio with the<br />

Minnesota Orchestra, and Nizza in the world premiere <strong>of</strong> Donizetti’s long-lost Elisabeth, conducted by Will Crutchfield at the Caramoor<br />

<strong>Music</strong> Festival. Other performance highlights include performing as soloist in Haydn’s The Seasons with <strong>Music</strong> <strong>of</strong> the Baroque, Neikrug’s<br />

Nachtlieder and Debussy’s Fall <strong>of</strong> the House <strong>of</strong> Usher with the Gulbenkian Foundation Orchestra, Britten’s War Requiem in a return to the<br />

National Philharmonic, Musetta in La bohème with the Philadelphia Orchestra and at the Vail Valley <strong>Music</strong> Festival, and Handel’s Messiah<br />

with the American Bach Soloists, recorded for the Naxos label.<br />

Judith malafronte, mezzo-soprano, has appeared with numerous orchestras and oratorio societies, including<br />

the Los Angeles Philharmonic at the Hollywood Bowl, the San Francisco Symphony, the St. Louis and Baltimore<br />

Symphonies, the St. Paul Chamber Orchestra, the Seattle Baroque Orchestra, and the Handel and Haydn Society.<br />

She has sung at the Tanglewood Festival, the Boston Early <strong>Music</strong> Festival, and the Utrecht Early <strong>Music</strong> Festival,<br />

and she is a frequent guest artist with the American Bach Soloists, the Philharmonia Baroque Orchestra, the Dave<br />

Brubeck Quartet, and the Harp Consort. Her operatic performances include the title role in Handel’s Serse at the<br />

Göttingen Festival, Scarlatti’s L’Aldimiro at the Berkeley Festival, Dido and Aeneas with the Mark Morris Dance<br />

Group (singing both Dido and the Sorceress), and Nero in Monteverdi’s L’Incoronazione di Poppea for the Aston<br />

Magna Festival. She has also sung leading roles at the opera houses <strong>of</strong> Lyon, Liège, and Montpellier, and she has<br />

won several top awards in Italy, Spain, Belgium, and the United States. She has recorded a wide range <strong>of</strong> repertoire, from the 12 th -century<br />

chant <strong>of</strong> Hildegard von Bingen to the Deutsche Motette <strong>of</strong> Richard Strauss, including Handel’s Serse with Nicholas McGegan on BMG,<br />

Bach cantatas and the St. Matthew Passion with American Bach Soloists for Koch Classics, medieval music with the Newberry Consort for<br />

Harmonia Mundi, and Spanish 17 th -century music. Malafronte’s writings on music have appeared in Opera News, Early <strong>Music</strong> America,<br />

Stagebill, Schwann Inside, and Opus.<br />

Hailed by San Francisco Classical Voice as possessing the “kind <strong>of</strong> tenor that pours forth powerfully, effortlessly,<br />

seemingly for any length <strong>of</strong> time,” tenor wesley rogers is making his mark on both operatic and concert<br />

stages throughout the United States. While a member <strong>of</strong> the Seattle Opera, Rogers performed the roles <strong>of</strong> Peter<br />

Quint in Britten’s Turn <strong>of</strong> the Screw, Maintop in Billy Budd, and Trin in Fanciulla del West. He has also performed the<br />

role <strong>of</strong> Alfredo in Skagit Opera’s La Traviata and the title role in Tacoma Opera’s Faust. Recent concert engagements<br />

include Handel’s Messiah and Bach’s St. Matthew Passion with the American Bach Soloists, Britten’s War Requiem<br />

with Orchestra Seattle, Mozart’s Coronation Mass with the Eos Orchestra, and Louis Gruenberg’s The Daniel Jazz at<br />

the Bard Festival. Rogers has also performed with the Mark Morris Dance Group, Santa Fe Pro <strong>Music</strong>a, the Seattle<br />

Baroque Orchestra, the Cabrillo Festival, Capella Romano, the Tudor Choir, Opera Memphis, and the Sun Valley<br />

Center for the Arts. Upcoming engagements include Tony in Pacific Northwest Ballet’s West Side Story Suite.<br />

James maddalena, baritone, is known for his outstanding work in contemporary music. He created the<br />

notable characters <strong>of</strong> Richard Nixon and The Captain in two operas by John Adams, the award winning Nixon<br />

in China and The Death <strong>of</strong> Klingh<strong>of</strong>fer, respectively. He is closely associated with other composers, including John<br />

Harbison, Gunther Schuller, Elliot Goldenthal, Robert Moran, Domenick Argento, Marc Blitzstein, and Michael<br />

Tippett, via performances with such companies as the New York City Opera, the Houston Grand Opera, the<br />

Washington Opera, the San Francisco Opera, the Atlanta Opera, Opera Theatre <strong>of</strong> St. Louis, the Frankfurt Opera,<br />

Opéra de la Monnaie in Brussels, Australia’s Adelaide Festival, The Netherlands Opera, the Glyndebourne Festival<br />

Opera, and the Opéra de Lyon, as well as with the Chicago Symphony, the Los Angeles Philharmonic, the Boston<br />

Symphony, the San Francisco Symphony, the Brooklyn Philharmonic, the Royal Scottish Orchestra, Orchestra<br />

<strong>of</strong> the Accademia Nazionale di Santa Cecilia in Rome, and the London Symphony. Other highlights <strong>of</strong> Maddalena’s career include<br />

Schubert’s demanding song cycle Die Winterreise, sung at the Brooklyn Academy <strong>of</strong> <strong>Music</strong> with Robert Spano as accompanist, and the<br />

complete cycle <strong>of</strong> Bach cantatas with Boston’s Emmanuel <strong>Music</strong>. He has recorded prolifically for Decca/London, BMG Classical Catalyst,<br />

Nonesuch, Teldec, Sony Classical, Harmonia Mundi, and EMI. He can also be heard on the Grammy Award-winning recording <strong>of</strong> Nixon in<br />

China (Nonesuch) and the Emmy Award-winning PBS telecast, now on DVD.<br />

4<br />

Soprano i<br />

Jessica Bruns<br />

Kaitlyn Clark<br />

Leanna Friedrich<br />

Wendy Ho<br />

Christina Lawrence<br />

Laura Putnam<br />

Miriam Rocke<br />

Adele Sonora<br />

Diane Soto<br />

Cecilia Whitworth<br />

Sara Wilson<br />

Soprano ii<br />

Jennifer Adler<br />

Alyssa Black<br />

Phoebe Copp<br />

Sarah Flores<br />

Caitlin Gaustad<br />

Tianna Grant<br />

Kirstin Haag<br />

Amy Harris<br />

Ruthie Levine<br />

Louise Lindberg<br />

Erica Nurse<br />

Anne Richardson<br />

Simone Verbaken<br />

Rachel Whitcombe<br />

univerSity choruS<br />

Jeffrey thomaS, conductor<br />

peter hill, aSSiStant conductor and accompaniSt<br />

alto i<br />

April Ferre<br />

Alisha Gorder<br />

Yoon Jeong (Jennifer) Jang<br />

Julia Kulmann<br />

Caroline McGrath<br />

Alex Menze<br />

Elizabeth Nichols<br />

Oaggin Park<br />

Patricia Peacock<br />

Elizabeth Reeves<br />

Haeri Kate Suh<br />

Winona Wagner<br />

alto ii<br />

Meghan Eberhardt<br />

Sara Franssen<br />

Susan Garbini<br />

Emma Gavenda<br />

Moran Goren<br />

Sally Gray<br />

Mary Herbert<br />

Paula Lerner<br />

Gina Marino<br />

Krysten Melgar<br />

Barbara Molloy<br />

Tatz Ishimaru<br />

Nina Vuoso<br />

tenor i<br />

Pejman Ahmadi<br />

Joseph Espena<br />

John Forell<br />

Milton Jackson<br />

Richard Kulmann<br />

Daniel Olivas<br />

Gabriel Peralez<br />

Jerry Schimke<br />

Peter Shack<br />

tenor ii<br />

Adam Cobb<br />

Jordan Cohen<br />

John Gibson<br />

David Griffin<br />

Harry Jin<br />

Spencer Little<br />

Kenny Mac<br />

Jeffrey Paterson<br />

Eddie Shih<br />

Daniel Tan<br />

Janghee (John) Woo<br />

bass i<br />

Paul-Anthony Bernucci<br />

Brent Curriden<br />

Kevin Foster<br />

Nathan Hannon<br />

James Hutchinson<br />

Gregory Lanton<br />

Neil Ruud<br />

Dakota Salazar<br />

Eric Spears<br />

Doug Underwood<br />

Caleb Yee<br />

bass ii<br />

Leonidas Constable, Jr.<br />

Robert Crummey<br />

Jim Draper<br />

Kenneth Firestein<br />

David Green<br />

Bryan Klingman<br />

Craig Landon<br />

Timothy Mascarinas<br />

Dan Na<br />

Joshua Scott<br />

5


Soprano i<br />

Amanda Boardman 2004<br />

Susan Burris Conwell 1995<br />

Marjorie Halloran 2007<br />

Lauren Kaplan 1977<br />

Barbara Lachendro 1985<br />

Harmony Luo 2007<br />

Jeri Ohmart 1968<br />

Elizabeth Parks 2006<br />

Sue Shellooe<br />

Lisa Sueyres 2008<br />

Paula Fisher Thompson 1976<br />

Stacey Twisdale 2008<br />

Cheryl Christenson<br />

Villavicencio 2002<br />

Cynthia Weller 2007<br />

Soprano ii<br />

Barbara Cowie 1977<br />

Beth Baker Grose 1981<br />

Melissa Johnson Hallas 2002<br />

Jeanne Howe 1974<br />

Joan Lunderville 1965<br />

Jeanine McElwain 1998<br />

Aileen Nichols 2006<br />

Elenka Proulx 2004<br />

Rebecca Wendlandt 2006<br />

6<br />

uc daviS alumni choruS<br />

Jeffrey thomaS, conductor<br />

peter hill, aSSiStant conductor and accompaniSt<br />

alto i<br />

Mary Kramer Brower 1989<br />

Barbara Celli<br />

Christina Connell 2007<br />

Leslie Larson Cooper 1976<br />

Laura Crowder 2007<br />

Aimee Dour-Smith 1992<br />

Evelynne Drinker<br />

Amy Eleazarian 2007<br />

Kate Ivanjack 1998<br />

Charlene Kunitz<br />

Leslie Nevins Leong 1981<br />

Linda McCann<br />

Christine Grego Meairs 1979<br />

Linnea Nasman 2008<br />

Rhonda Papas 1979<br />

Lyn Parker 1971<br />

Regina Sikora 2005<br />

Wynne Engler Skow 1972<br />

Cynthia Sperry 2006<br />

Flora Wong Sulit 2005<br />

Lynne Swant 2002<br />

Joyce Takahashi<br />

Michelle Wood Turner 1984<br />

Karen Banks Walton 1977<br />

alto ii<br />

Ann Halsted<br />

Sara McCray Martin 1976<br />

Barbara Meixner 1964<br />

Kathleen Bo-Mie Pae 2007<br />

Mardi Gamble Paulson 1977<br />

Cynthia Shellum Wight 1976<br />

tenor i<br />

Seth Arnopole 1998<br />

Stephen Fasel 2008<br />

Laureen Jenson 2009<br />

Jim Lewis 1980<br />

Darren Pollock 2001<br />

Asa Stern 1997<br />

Linda Winter 2002<br />

tenor ii<br />

John Grose 1981<br />

Gary Matteson 1960<br />

Jeff Ouye 1993<br />

Jim Shellooe 1977<br />

Jeremy Smith 2006<br />

for the uc daviS department <strong>of</strong> muSic<br />

Phil Daley, publicity manager<br />

Josh Paterson, production manager<br />

Jessica Kelly, writer<br />

Rudy Garibay, designer<br />

bass i<br />

Jeff Aran 1980<br />

David Benjamin 1999<br />

Craig Machado 1974<br />

Charles Monson<br />

Noca 1994<br />

Keith Rode 2002<br />

Matthew Stevenson 2008<br />

Paul Terry 2001<br />

Eric van Boer 1976<br />

Cirian Villavicencio 2002<br />

bass ii<br />

Christopher Bennett 2006<br />

Joshua Eichorn 1998<br />

Thomas Estes 1980<br />

Ian MacGregor<br />

Ed Martin<br />

Chester (Chet) Moore 1960<br />

Jeff Pettit 1976<br />

violin i<br />

Cynthia Bates,<br />

concertmaster *<br />

Yosef Farnsworth,<br />

concertmaster *<br />

Shawyon Malek-Salehi,<br />

assistant concertmaster *<br />

Sharon Tsao *<br />

Maya Abramson *<br />

Vanessa Rashbrook<br />

Raphael Moore *<br />

Sophie Tso<br />

Alex Milgram<br />

Andy Kifuthu<br />

Clairelee Leiser Bulkley *<br />

Joan Crow<br />

Meghan Teague<br />

Lucile Cain<br />

Romtean Fakharzadeh<br />

Stanley Hsu<br />

violin ii<br />

Margaux Kreitman,<br />

principal *<br />

Angelo Arias,<br />

principal *<br />

Lisa Eleazarian<br />

Aaron Gong<br />

Shari Gueffroy<br />

Sharon Inkelas<br />

Ye Chen<br />

Keun-yung Park<br />

Tamra Barker<br />

Francisco Ortega<br />

Christina Mao<br />

Morgan McMahon<br />

Kathryn Azarvand<br />

uc daviS Symphony orcheStra<br />

chriStian baldini, muSic director and conductor<br />

viola<br />

Andy Tan,<br />

principal *<br />

Meredith Powell,<br />

principal *<br />

Caitlin Murray<br />

Melissa Lyans<br />

Tao He<br />

Pablo Frias<br />

Andrew Benson<br />

Matthew Slaughter<br />

Alice Chou<br />

Victoria Parker<br />

Margaret Hermle<br />

cello<br />

Isabel Ortiz,<br />

principal *<br />

Kim Zietlow,<br />

principal *<br />

Milena Schaller *<br />

Hannah Choi *<br />

Grace Harvey<br />

Stephen Hudson<br />

Chris Allen<br />

Eldridge Moores *<br />

Tobias Münch<br />

Carrie Miller<br />

Alex Church<br />

bass<br />

Amanda Wu,<br />

principal *<br />

Thomas Mykytyn<br />

Melissa Zer<strong>of</strong>sky<br />

Thomas Adams-Falconer<br />

Greg Brucker<br />

Thomas Derthick<br />

Michael Schwagerus<br />

Names appear in seating order.<br />

flute<br />

Susan Monticello,<br />

principal *<br />

Alexandra Engen,<br />

assistant principal *<br />

Abby Green<br />

Michelle Hwang<br />

oboe<br />

Jaclyn Howerton,<br />

principal *<br />

Laura Denon<br />

Russell Eisenman<br />

Stacy Habroun<br />

clarinet<br />

Al Bona,<br />

principal *<br />

Robert Brosnan,<br />

principal<br />

Aaron Hill<br />

alto Saxophone<br />

Eric Webb<br />

bassoon<br />

Kate MacKenzie,<br />

principal *<br />

Matt Wong,<br />

principal *<br />

Allison Peery<br />

Diane Royalty<br />

horn<br />

Rachel Howerton,<br />

principal *<br />

Stephen Hudson<br />

Adam Morales<br />

Bobby Olsen,<br />

co-principal<br />

trumpet<br />

Andrew Neish,<br />

principal *<br />

Leonard Ott,<br />

principal *<br />

Angelica Cortez,<br />

assistant principal<br />

Dillon Tostado<br />

trombone<br />

Paul Watkins,<br />

principal *<br />

John Unrath,<br />

assistant principal *<br />

Rebecca Brover<br />

bass trombone<br />

Jeffrey Buscheck *<br />

euphonium<br />

Adam Brover<br />

tuba<br />

John Matter *<br />

Adam Brover<br />

percussion<br />

Wyatt Harmon,<br />

section leader *<br />

Kevin Koo<br />

Victor Nava<br />

Dan Eisenberg<br />

Jamie Lew<br />

Scott McAuliffe<br />

harp<br />

Emily Ricks,<br />

principal *<br />

Kensal Murph<br />

piano & celesta<br />

Peter Kim *<br />

organ<br />

Stephen Janzen<br />

* Holder <strong>of</strong> endowed seat<br />

7


cynthia bates & yosef farnsworth – Cynthia Bates concertmaster<br />

Presented by Debra Horney, M.D.<br />

Shawyon malek-Salehi – Damian Ting assistant concertmaster<br />

Presented by Damian Siu Ming Ting<br />

clairelee leiser bulkley – Clairelee Leiser Bulkley violin I<br />

Presented by Clairelee Leiser Bulkely & Ralph E. Bulkley<br />

Sharon tsao – Francis Dubois violin I<br />

Presented by Nancy Dubois<br />

raphael moore – Raphael S. Moore violin I<br />

Presented by Jolanta Moore in memory <strong>of</strong> Dr. Irena Anna Henner<br />

maya abramson – Ralph and Judy Riggs violin I<br />

margaux kreitman – Fawzi S. Haimor principal violin II<br />

Presented by Barbara K. Jackson<br />

angelo arias – Shari Benard-Gueffroy assistant principal violin II<br />

andy tan – Jocelyn Morris principal viola<br />

Presented by James & Jocelyn Morris<br />

meredith powell – Bakos Family assistant principal viola<br />

Presented by John T. Bakos, M.D., Ph.D., in memory <strong>of</strong><br />

Dr. John and Grace Bakos<br />

isabel ortiz & kim Zietlow – Herman Phaff principal cello<br />

Presented by Herman & Diane Phaff<br />

milena Schaller – Tracy McCarthy cello<br />

Presented by Brian & Louanne Horsfield<br />

eldridge moores – Eldridge Moores cello<br />

Presented by Eldridge & Judith Moores<br />

hannah choi – Louise McNary cello<br />

Presented by Don McNary<br />

amanda wu – Barbara K. Jackson principal bass<br />

Susan monticello – principal flute<br />

Presented by “Babs” Sandeen & Marty Swingle<br />

8<br />

endowed SeatS<br />

Made possible by gifts <strong>of</strong> $10,000 or more.<br />

alexandra engen – Phyllis & Thomas Farver flute / piccolo<br />

Jaclyn howerton – Wilson and Kathryn Smith principal oboe<br />

al bona – W. Jeffery Alfriend, DVM, principal clarinet<br />

Presented by Vicki Gumm & the Kling Family Foundation<br />

kate mackenzie & matt wong –<br />

Kling Family Foundation principal bassoon<br />

Presented by Vicki Gumm & the Kling Family Foundation<br />

rachel howerton – Kristin N. Simpson and David R. Simpson<br />

principal horn<br />

Presented by Richard & Gayle Simpson<br />

andrew neish & leonard ott – Andrew Mollner principal trumpet<br />

Presented by Joseph Dean Mollner & Andrew Mollner<br />

paul watkins – Rebecca A. Brover principal trombone<br />

John unrath – Michael J. Malone trombone<br />

Presented by Brian McCurdy & Carol Anne Muncaster<br />

Jeffrey buscheck – Brian McCurdy bass trombone<br />

Presented by Barbara K. Jackson<br />

John matter – Robert B. Rucker Tuba<br />

Presented by Robert & Margaret Rucker<br />

emily ricks – Calvin B. Arnason principal harp<br />

Presented by Benjamin & Lynette Hart<br />

wyatt harmon – Friedman Family principal percussion<br />

Presented by Marvin & Susan Friedman<br />

peter kim – Gary C. Matteson orchestral piano<br />

Presented by Jane, Dwayne, & Donald Matteson<br />

The Wilson & Kathryn Smith conductor’s podium was presented in<br />

honor <strong>of</strong> D. Kern Holoman.<br />

noteS<br />

A<br />

Te Deum is a hymn <strong>of</strong> praise to God, to be sung at the dedication <strong>of</strong> a church, after a<br />

great military victory, for the coronation <strong>of</strong> monarchs, and at similar festivities. The<br />

test originated in the fifth century and is traditionally attributed to St. Ambrose.<br />

Since they are <strong>of</strong>ten wedged into windy affairs <strong>of</strong> state, Te Deums are usually brief, and<br />

<strong>Bruckner</strong>’s is, by <strong>Bruckner</strong>ian standards, positively compact. Nevertheless, it was summarily<br />

dismissed by the stodgy court conductor Joseph Hellmesberger, who had suggested the idea<br />

to begin with, as too long for the use <strong>of</strong> the Imperial Chapel.<br />

<strong>Bruckner</strong>’s Te Deum is in the regal key <strong>of</strong> C major and consists <strong>of</strong> five short movements<br />

played without pause. Much <strong>of</strong> the chorus material is in unison or counterpoint <strong>of</strong> childlike<br />

simplicity. There is a good deal <strong>of</strong> cross-referencing, especially in the many bright arpeggios<br />

and great tonic pedal points; moreover, the Te ergo and Salvum fac are, but for the test and<br />

distribution among the soloists, exactly the same. With that, indeed, the organization <strong>of</strong><br />

this quite minimal work is summarized: huge Gothic washes <strong>of</strong> chorus, brass, organ, and<br />

pealing eighth notes merely alternate with the gentler Te ergo and its mirror.<br />

Only in the last movement is there serious polyphony, and then it happens in a big way.<br />

In the simple introduction the test is declaimed for all to understand: “In Thee, O Lord,<br />

have I trusted that I shall not forever be confounded.” Afterward, a big double fugue breaks<br />

forth—two subjects at once; that is, here things are a little more complicated, but the point<br />

is that pairs <strong>of</strong> voices are answered by other pairs <strong>of</strong> voices. Church organists <strong>of</strong> the time<br />

were supposed to be able to write such things on demand, but <strong>Bruckner</strong>’s is an especially<br />

learned display. Everything seems to move at once, all the time. After the fugue dissipates, a<br />

homophonic version <strong>of</strong> the material prepares the way for return <strong>of</strong> the tremendous C-major<br />

effects from the very beginning.<br />

The Te Deum is a work <strong>of</strong> <strong>Bruckner</strong>’s steadfast faith, carrying his typical dedication “to<br />

the dear Lord.” Mahler scribbled in his own score his assessment <strong>of</strong> the performing force:<br />

“angelic tongues, Godseekers, tormented hearts and souls purified by flame.” <strong>Bruckner</strong> was<br />

more sanguine, suggesting that on the day he was to meet his maker, “I will show him the<br />

score <strong>of</strong> my Te Deum, and he may judge me accordingly.”<br />

—D. Kern Holoman<br />

By the time Gioachino Rossini was 21 years old, he had become the hero <strong>of</strong> Italian<br />

opera fans. And by the time he was 37 years old, he had composed 40 operas and<br />

had already retired from that part <strong>of</strong> his career. His tremendous and nearly<br />

unprecedented success as a child prodigy and young composer had already provided<br />

exceedingly rich experiences, so much so that he began an intentional hiatus from<br />

his public life as a celebrated composer – really a retirement, <strong>of</strong> sorts – that would<br />

ultimately last until his death more than 30 years later. While Rossini did not<br />

completely arrest his compositional interests, he composed no more opera after<br />

William Tell (1829) and chose religious themes for most <strong>of</strong> his subsequent works,<br />

leading to a few sacred cantatas, the Petite Messe Solennelle, and the Stabat Mater that<br />

was begun in 1831 but completed a decade later.<br />

Stabat Mater is a thirteenth-century text that recounts the suffering <strong>of</strong> Mary at the foot <strong>of</strong><br />

the cross during the crucifixion <strong>of</strong> Jesus. While settings <strong>of</strong> the Roman Catholic sequence,<br />

or liturgical poem, have come from the pens <strong>of</strong> composers worldwide, it is safe to say that<br />

more settings have been produced by Italian composers than those <strong>of</strong> any other nationality.<br />

Indeed, it has been a favorite text <strong>of</strong> Italian composers for centuries, and the setting by<br />

Giovanni Battista Pergolesi (1736) has enjoyed enormous popularity. Pergolesi wrote his<br />

setting during the last month <strong>of</strong> his life, and it was so immediately famous and successful<br />

that his reputation flourished in the years following his death, so much so that a number<br />

<strong>of</strong> compositions, all incorrectly (either intentionally or not) attributed to him, took hold for<br />

about 200 years as the product <strong>of</strong> the creator <strong>of</strong> the legendarily beautiful Stabat Mater.<br />

bruckner: te deum<br />

For soloists (SATB), chorus; flutes I-II,<br />

oboes I-II, clarinets I-II, bassoons I-II;<br />

horns I-IV, trumpets I-III,<br />

trombones I-III, tuba; timpani;<br />

organ; strings<br />

Composed 1881–84 in Vienna<br />

First performed 10 January, 1886,<br />

by the Vienna Gesellschaft der<br />

Musikfreunde, Hans Richter<br />

conducting. A performance with<br />

piano had been given in the<br />

Musikvereinsaal on May 2, 1885,<br />

<strong>Bruckner</strong> conducting.<br />

Published by Theodor Rattig<br />

(Vienna, 1885)<br />

Duration: about 25 minutes<br />

roSSini: Stabat mater<br />

For soloists (SATB), chorus; flutes I-II,<br />

oboes I-II, clarinets I-II, bassoons I-II;<br />

horns I-IV, trumpets I-II,<br />

trombones I-III; timpani; strings<br />

Composed 1831–41 in Paris<br />

First performed 7 January 1842,<br />

Théâtre Italien, Paris, Gaetano Donizetti<br />

conducting.<br />

Published by Troupenas (France, 1841)<br />

and B. Schott’s Sons (Germany, 1841)<br />

Duration: about 60 minutes<br />

9


10<br />

noteS<br />

Now, however, it has been shown that only about 10% <strong>of</strong> the more than 300 works in<br />

libraries that bear Pergolesi’s name are actually authentic.<br />

Rossini’s setting is as compelling a summary <strong>of</strong> his earlier operatic masterworks as Verdi’s<br />

Requiem is suitably called that composer’s finest “opera.” Each aria, duet, quartet, and<br />

chorus in Rossini’s Stabat Mater seems to represent the pinnacle <strong>of</strong> those operatic formats<br />

as revealed in the 40 operas that preceded it. Despite the power and ultimate piety <strong>of</strong><br />

Rossini’s setting, it is likely that he was not fully invested in the project when he began to<br />

compose the Stabat Mater in 1831. He wrote only six <strong>of</strong> the ten movements at that time,<br />

and had a colleague, Giovanni Tadolini from Bologna, supply the rest. The score made its<br />

way to Madrid where it was heard in that hybrid version, but it was not until an option for<br />

publication arose that Rossini decided to finish the piece himself, leading to its Parisian<br />

premiere in 1842.<br />

A terribly amusing article about Rossini’s Stabat Mater was penned by Richard Wagner in<br />

1841, in which he describes the air <strong>of</strong> anticipation before the premiere <strong>of</strong> the work (now<br />

fully composed by Rossini) in Paris, as well as Rossini’s motivation to initially begin his<br />

work on the Stabat Mater:<br />

“Rossini is pious,—all the world is pious, and the Parisian salons have been<br />

turned into praying-cells.—It is extraordinary! So long as this man lives,<br />

he’ll always be the mode… Rossini had let nothing be heard <strong>of</strong> him for ten<br />

long years: he sat in Bologna, ate pastry, and made wills…during those<br />

ten years the musical world had “moaned” beneath the silence <strong>of</strong> the giant<br />

master…he refused to hear his operas any more. But the truth <strong>of</strong> it seems<br />

to have been that he felt penitent and meant to write church-music…The<br />

earliest stimulus to carry out his expiation seems to have come to him in<br />

Spain: in Spain, where Don Juan found the amplest, choicest opportunities <strong>of</strong><br />

sin, Rossini is said to have found the spur to penance.”<br />

Despite Wagner’s tongue-in-cheek tone, Rossini’s Stabat Mater has remained as popular as its<br />

composer was humble and contrite about his adeptness as a composer <strong>of</strong> sacred music: In his<br />

last years, he wrote, “I was born for opera buffa, as you well know. Not much skill, but quite a bit <strong>of</strong><br />

feeling - that’s how I’d sum it up. Blessed be thy name, and grant me a place in Paradise.”<br />

He was very humble about its success, expressing his desire that the work would be<br />

perceived as suitably devout. In fact, several movements stand out as being exceptionally<br />

effective in the delivery <strong>of</strong> their texts. The opening movement, somber and dramatic, and<br />

the eighth movement – a somewhat harrowing setting <strong>of</strong> “Inflammatus et accensus per te,<br />

Virgo, sim defensus in die iudicii” (Lest I be set afire by flames <strong>of</strong> death, Virgin, may I be<br />

defended by you, on the day <strong>of</strong> judgment) – certainly rival moments <strong>of</strong> equal dramatic<br />

intensity in the large sacred works <strong>of</strong> Verdi and Berlioz. And the final fugue on “In<br />

sempiterna saecula” (Throughout time everlasting) is appropriately grandiose, although<br />

perhaps a bit more triumphant than consoling. The other movements, as noted before,<br />

would be just as well suited for moments within opera buffa as they are within the context<br />

<strong>of</strong> this ecclesiastical work. They are highly entertaining – certainly not intended to be so<br />

– but probably not the most direct expressions <strong>of</strong> their texts. For example, in the second<br />

movement, “Cuius animam gementem” (Through her weeping soul), the tenor’s cadenza<br />

takes him to an astonishingly high D-flat above high C, and that on the work “poenas”<br />

(torment, pain, or punishment). It is hard not to wonder what sort <strong>of</strong> word-painting Rossini<br />

had in mind at this moment, despite the fact that in the capable throats <strong>of</strong> at least a few<br />

tenors (including ours tonight) that note can be quite beautiful. Nevertheless, in the Stabat<br />

Mater, Rossini by far exceeded the propriety <strong>of</strong> his earlier sacred work, the Messa di Gloria,<br />

composed when he was just 28 years old.<br />

—Jeffrey Thomas<br />

bruckner: te deum<br />

1. allegro moderato<br />

Te Deum laudamus,<br />

te Dominum confitemur.<br />

Te aeternum Patrem<br />

omnis terra veneratur.<br />

Tibi omnes Angeli, tibi coeli<br />

et universae potestates,<br />

tibi Cherubim et Seraphim<br />

incessabili voce proclamant:<br />

Sanctus, Sanctus, Sanctus<br />

Dominus Deus Sabaoth.<br />

Pleni sunt coeli et terra<br />

majestatis gloriae tuae.<br />

Te gloriosus Apostolorum chorus,<br />

te Prophetarum laudabilis numerus,<br />

te Martyrum candidatus<br />

laudat exercitus.<br />

Te per orbem terrarum<br />

sancta confitetur Ecclesia,<br />

Patrem immensae makestatis;<br />

venerandum tuum verum et unicum Filium;<br />

Sanctum quoque Paraclitum Spiritum.<br />

Tu, rex gloriae, Christe.<br />

Tu Patris sempiternus es Filius.<br />

Tu ad liberandum suscepturus hominem,<br />

non horruisti Virginis uterum.<br />

Tu, devicto mortis aculeo,<br />

aperuisti credentibus<br />

regna coelorum.<br />

Tu ad dexteram Dei sedes,<br />

in gloria Patris.<br />

Judex crederis esse venturus.<br />

2. moderato<br />

Te ergo quaesumus,<br />

tuis famulis subveni,<br />

quos pretioso sanguine redemisti.<br />

3. allergro moderato. feirlich, mit kraft<br />

Aeterna fac cum Sanctis tuis<br />

in gloria numerari.<br />

4. moderato<br />

Salvum fac populum tuum, Domine,<br />

et benedic hereditati tuae.<br />

Et rege eos et extolle illos<br />

usque in aeternum.<br />

Per singulos dies benedicimus te.<br />

Et laudamus nomen tuum<br />

in saeculum et in saeculum saeculi.<br />

Dignare, Domine, die isto<br />

sine peccato nos custodire.<br />

Miserere nostri, Domine,<br />

miserere nostri.<br />

Fiat misericordia tua, Domine, super nos,<br />

quemadmodum speravimus in te.<br />

5. mäßig bewegt<br />

In te, Domine, speravi:<br />

non confundar in aeternum.<br />

teXtS and tranSlationS<br />

We praise thee, O God,<br />

we acknowledge thee to be the Lord.<br />

All the earth doth worship thee,<br />

the Father everlasting.<br />

To thee all Angels cry aloud,<br />

the Heavens, and all the Powers therein.<br />

To thee Cherubin and Seraphin<br />

continually do cry:<br />

Holy, Holy, Holy<br />

Lord God <strong>of</strong> Sabaoth;<br />

Heaven and earth are full<br />

<strong>of</strong> the Majesty: <strong>of</strong> thy Glory.<br />

The glorious company <strong>of</strong> the Apostles praise thee.<br />

The goodly fellowship <strong>of</strong> the Prophets praise thee.<br />

The noble army <strong>of</strong> Martyrs<br />

praise thee.<br />

The holy Church throughout all the world<br />

doth acknowledge thee,<br />

The Father <strong>of</strong> an infinite Majesty,<br />

Thine honourable, true and only Son,<br />

Also the Holy Ghost: the Comforter.<br />

Thou art the King <strong>of</strong> Glory O Christ.<br />

Thou art the everlasting Son <strong>of</strong> the Father.<br />

When thou tookest upon thee to deliver man<br />

thou didst not abhor the Virgin’s womb.<br />

When thou hadst overcome the sharpness <strong>of</strong> death,<br />

thou didst open the Kingdom <strong>of</strong> Heaven<br />

to all believers.<br />

Thou sittest at the right hand <strong>of</strong> God<br />

in the glory <strong>of</strong> the Father.<br />

We believe that thou shalt come: to be our Judge.<br />

We therefore pray thee,<br />

help thy servants,<br />

whom thou hast redeemed with thy precious blood.<br />

Make them to be numbered with thy Saints<br />

in glory everlasting.<br />

O Lord, save thy people,<br />

and bless thine heritage.<br />

Govern them, and lift them up<br />

forever.<br />

Day by day we magnify thee;<br />

and we worship thy Name,<br />

ever world without end.<br />

Vouchsafe, O Lord,<br />

to keep us this day without sin.<br />

O Lord, have mercy upon us,<br />

have mercy upon us.<br />

O Lord, let thy mercy lighten upon<br />

as our trust is in thee.<br />

O Lord, in thee have I trusted:<br />

let me never be confounded.<br />

11


oSSini: Stabat mater<br />

1. introduzione. andantino moderato<br />

Stabat Mater dolorosa<br />

Iuxta crucem lacrimosa<br />

Dum pendebat Filius.<br />

2. aria (tenor). allegretto maestoso<br />

Cuius animam gementem<br />

Contristatam et dolentem<br />

Pertransivit gladius<br />

O quam tristis et afflicta<br />

Fuit illa benedicta<br />

Mater unigeniti!<br />

Quae moerebat et dolebat,<br />

Et tremebat cum videbat<br />

Nati poenas incliti.<br />

3. duetto (soprano i/ii). largo<br />

Quis est homo qui non fleret,<br />

Christi Matrem si videret<br />

In tanto supplicio?<br />

Quis non posset contristari,<br />

Piam Matrem contemplari<br />

Dolentem cum Filio?<br />

5. coro (a cappella) e recitativo (basso). andante mosso<br />

Eia Mater, fons amoris<br />

Me sentire vim doloris<br />

Fac, ut tecum lugeam.<br />

Fac, ut ardeat cor meum<br />

In amando Christum Deum<br />

Ut sibi complaceam.<br />

6. Quartetto (soloists). allegretto moderato<br />

Sancta Mater, istud agas,<br />

Crucifixi fige plagas<br />

Cordi meo valide.<br />

Tui nati vulnerati,<br />

Tam dignati pro me pati,<br />

Poenas mecum divide.<br />

Fac me vere tecum flere,<br />

Crucifixo condolere,<br />

Donec ego vixero.<br />

Iuxta crucem tecum stare,<br />

Te libenter sociare<br />

In planctu desidero.<br />

Virgo virginum praeclara,<br />

Mihi iam non sis amara<br />

Fac me tecum plangere.<br />

7. cavatina (soprano ii). andante grazioso<br />

Fac, ut portem Christi mortem<br />

Passionis eius sortem,<br />

Et plagas recolere.<br />

Fac me plagis vulnerari,<br />

Cruce hac inebriari,<br />

Ob amorem Filii.<br />

12<br />

teXtS and tranSlationS<br />

The grieving Mother<br />

stood weeping beside<br />

the cross where her Son was hanging.<br />

Through her weeping soul,<br />

compassionate and grieving,<br />

a sword passed.<br />

O how sad and afflicted<br />

was that blessed<br />

Mother <strong>of</strong> the Only-begotten!<br />

Who mourned and grieved,<br />

the pious Mother,<br />

looking at the torment <strong>of</strong> her glorious Child.<br />

For the sins <strong>of</strong> his people she saw<br />

Jesus in torment<br />

and subjected to the scourge.<br />

She saw her sweet <strong>of</strong>fspring dying,<br />

forsaken, while he<br />

gave up his spirit.<br />

O Mother, fountain <strong>of</strong> love,<br />

make me feel the power <strong>of</strong> sorrow,<br />

that I may grieve with you.<br />

Grant that my heart may burn<br />

in the love <strong>of</strong> Christ my Lord,<br />

that I may greatly please him.<br />

Holy Mother, grant that the wounds<br />

<strong>of</strong> the Crucified drive deep<br />

into my heart.<br />

That <strong>of</strong> your wounded Son,<br />

who so deigned to suffer for me,<br />

I may share the pain.<br />

Let me sincerely weep with you,<br />

bemoan the Crucified,<br />

for as long as I live.<br />

To stand beside the cross with you,<br />

and to join you<br />

in your weeping, this I desire.<br />

Chosen Virgin <strong>of</strong> virgins,<br />

be not bitter with me,<br />

let me weep with thee.<br />

Grant that I may bear the death <strong>of</strong> Christ,<br />

share his Passion,<br />

and commemorate His wounds.<br />

Let me be wounded with his wounds,<br />

let me be inebriated by the cross<br />

and your Son’s blood.<br />

8. aria (soprano i) e coro. andante maestoso<br />

Inflammatus et accensus<br />

Per Te, Virgo, sim defensus<br />

In die iudicii.<br />

Fac me cruce custodiri<br />

Morte Christi praemuniri<br />

Confoveri gratia.<br />

9. Quartetto (soloists). andante<br />

Quando corpus morietur,<br />

Fac, ut animae donetur<br />

Paradisi gloria.<br />

teXtS and tranSlationS<br />

Lest I be set afire by flames <strong>of</strong> death,<br />

Virgin, may I be defended by you,<br />

on the Day <strong>of</strong> Judgment.<br />

Christ, when it is time to pass away,<br />

grant that through your Mother I may<br />

come to the palm <strong>of</strong> victory.<br />

When my body dies,<br />

grant that to my soul is given the<br />

glory <strong>of</strong> paradise. Amen.<br />

10. finale. allegro – andante moderato<br />

Amen. In sempiterna saecula. Amen. Throughout time everlasting.<br />

Sacramento choral Society and orcheStra<br />

d onald KendricK m u S ic d irector<br />

Mondavi atinee Series<br />

Sunday<br />

March 28 at 2 pm<br />

Mondavi Center<br />

<strong>UC</strong> <strong>Davis</strong><br />

Mondavi Box Office<br />

1-866-754-2787<br />

Brahms –Ein Deutsches Requiem<br />

Jessica Siena, Soprano<br />

Stephen Janzen, Baritone<br />

Discover why Brahms’ Requiem may be the most<br />

comforting, humane requiem ever written.<br />

Brahms –Alto Rhapsody<br />

Maya Layhani, Mezzo<br />

Special Guest Men’s Chorus:<br />

Sacramento State University Chorus<br />

and Sacred Heart’s Schola Cantorum<br />

Brahms–Academic Overture<br />

SacramentoChoral.com | Pre-concert video podcast<br />

13


Mitzi S. Aguirre<br />

Priscilla Alexander<br />

W. Jeffery Alfriend, DVM**<br />

Thomas and Patricia Allen<br />

David M. Ashkenaze, M.D.*<br />

Robert and Joan Ball*<br />

Cynthia Bates*<br />

Matthew and Shari Benard-<br />

Gueffroy**<br />

Robert Biggs and Diane Carlson<br />

Oscar and Shula Blumenthal<br />

Rebecca A. Brover**<br />

Robert and Hilary Brover**<br />

Gregory A. Brucker<br />

Ralph E. Bulkley and<br />

Clairelee Leiser Bulkley**<br />

Walter and Marija Bunter*<br />

Ray and Mary Cabral*<br />

Lynn and Robert Campbell<br />

Don and Dolores Chakerian*<br />

Terry and Marybeth Cook<br />

Elizabeth Corbett<br />

Allan and Joan Crow*<br />

Martha Dickman*<br />

Nancy DuBois*<br />

Jonathan and Mickey Elkus<br />

Thomas and Phyllis Farver**<br />

Ron Fisher<br />

Tyler T. Fong*<br />

Marvin and Susan Friedman**<br />

Edwin and Sevgi Friedrich<br />

Anne Gray*<br />

Vicki Gumm and Kling<br />

Family Foundation**<br />

Pr<strong>of</strong>. and Mrs. Said Haimor*<br />

Benjamin and Lynette Hart**<br />

Lorena Herrig*<br />

Barbara D. Hoermann<br />

Pr<strong>of</strong>. and Mrs. D. Kern<br />

Holoman**<br />

Debra A. Horney, M.D.**<br />

Brian and Louanne Horsfield**<br />

Ilia Howard*<br />

Margaret E. Hoyt*<br />

14<br />

uc daviS Symphony endowment<br />

Dr. and Mrs. Daniel R. Hrdy*<br />

Sharon Inkelas<br />

Barbara K. Jackson**<br />

Pr<strong>of</strong>. Joseph E. Kiskis Jr.*<br />

Winston and Katy Ko<br />

Family <strong>of</strong> Norman Lamb*<br />

Dr. Richard Levine*<br />

Paul and Lois Lim<br />

Susan Linz<br />

Melissa Lyans and Andreas J.<br />

Albrecht, Ph.D.*<br />

Natalie and Malcolm<br />

MacKenzie*<br />

Douglas W. Macpherson and<br />

Glayol Sabha, M.D.*<br />

Marjorie March*<br />

J. A. Martin<br />

Gary and Jane Matteson**<br />

Katherine Mawdsley and<br />

William F. McCoy*<br />

Scott and Caroline Mayfield<br />

Greg and Judy McCall*<br />

Tracy H. and Brendan J.<br />

McCarthy<br />

Ulla and Gerald McDaniel<br />

Don and Lou McNary*<br />

Albert J. and Helen McNeil*<br />

Sharon Menke, esq.<br />

Maureen Miller<br />

Andrew Mollner**<br />

Joseph Dean Mollner**<br />

Eileen and Ole Mols*<br />

George Moore<br />

Jolanta Moore**<br />

Raphael S. and Netania Moore*<br />

Eldridge and Judith Moores**<br />

James and Jocelyn Morris**<br />

Mary Ann Morris*<br />

Ken T. Murai*<br />

Russell and Alice Olson<br />

Jessie Ann Owens<br />

Paul and Linda Parsons*<br />

Herman and Dianne Phaff**<br />

Marjorie Phillips and<br />

Robert Rice<br />

James and Felicity Pine<br />

Jim and Nancy Pollock<br />

Ann Preston<br />

Eugene and Elizabeth Renkin*<br />

Ralph and Judy Riggs**<br />

Susanne Rockwell and<br />

Brian Sway<br />

Jerome and Sylvia Rosen*<br />

Don Roth<br />

Robert and Margaret Rucker**<br />

Tracey Rudnick<br />

Beverly “Babs” Sandeen and<br />

Marty Swingle**<br />

E. N. Sassenrath*<br />

Neil and Caroline Schore*<br />

Pr<strong>of</strong>. and Mrs. Calvin Schwabe*<br />

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Ellen Sherman*<br />

Richard and Gayle Simpson**<br />

Wilson and Kathryn Smith**<br />

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Sherman and Hannah Stein<br />

Dr. and Mrs. Roydon Steinke<br />

Thomas Sturges*<br />

Joel and Susan Swift*<br />

Richard Swift*<br />

Alice Tackett*<br />

Steven D. Tallman*<br />

Damian Siu Ming Ting**<br />

Roseanna F. Torretto<br />

Rosalie and Larry Vanderhoef*<br />

Shipley and Dick Walters*<br />

Barbara D. and<br />

Grady L. Webster<br />

Marya Welch*<br />

Arthur Andersen LLP<br />

Foundation*<br />

Bank <strong>of</strong> America Foundation<br />

Office <strong>of</strong> the Provost**<br />

The Swift Fund for the Arts*<br />

<strong>UC</strong> <strong>Davis</strong> Symphony Orchestra<br />

1992–93, 1993–94**<br />

Weyerhaeuser<br />

In honor <strong>of</strong><br />

Benjamin Hart<br />

Randolph Hunt by Benjamin<br />

and Lynette Hart*<br />

Ulla McDaniel<br />

Jerome and Sylvia Rosen*<br />

In memory <strong>of</strong><br />

Susan Pylman Akin<br />

William R. Albrecht<br />

Ronald J. Alexander<br />

Hilary Brover<br />

Robert M. Cello<br />

Karen Aileen Dettling<br />

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John “Al” Driver<br />

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Mel Olson<br />

Herman Phaff<br />

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Walter H. Rock Jr.<br />

Walter H. Rock Sr.<br />

Dorothy J. Shiely<br />

Richard and Dorothy Swift<br />

William E. Valente<br />

Wim van Muyden, MD<br />

Bodil Wennberg<br />

* = $1,000 or more<br />

** = $10,000 or more<br />

John R. Berg, Ph.D., and Anne M. Berg<br />

Kathleen Cady<br />

Barbara P. and Kenneth D. Celli<br />

Donna M. Di Grazia<br />

Leland and Susan Faust<br />

Ann & Gordon Getty Foundation<br />

John Tracy Grose and Beth Baker-Grose<br />

Pr<strong>of</strong>. and Mrs. D. Kern Holoman<br />

James and Patricia Hutchinson<br />

IBM International Foundation, LLP<br />

Mitzi S. Aguirre<br />

Priscilla Alexander<br />

Martha Amorocho<br />

Renee Armstrong<br />

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Clyde and Ruth Bowman<br />

Lynn and Robert Campbell<br />

Hugh C. and Susan B. Conwell<br />

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Betty and Robin Houston<br />

Donald Johnson and Elizabeth Miller<br />

Winston and Katy Ko<br />

uc daviS choruS endowment<br />

founder’S club memberS<br />

Barbara K. Jackson<br />

Joan and Russell Jones<br />

Mr. and Mrs. Norman Jones<br />

Pr<strong>of</strong>. Joseph E. Kiskis Jr.<br />

Julia and Richard Kulmann<br />

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Leslie and Dana Leong<br />

Gary and Jane Matteson<br />

Hugh and Deborah McDevitt<br />

Albert and Helen McNeil<br />

Cindy and Dennis McNeil<br />

annual donorS<br />

Kirk Kolodji<br />

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Natalie and Malcolm MacKenzie<br />

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Grant and Grace Noda<br />

John and Elizabeth Owens<br />

Mike and Carlene Ozon<strong>of</strong>f<br />

Patricia K. Moore and<br />

Chester G. Moore Jr., Ph.D.<br />

Mary Ann Morris, Ph.D.<br />

Jeffrey and Janice Pettit<br />

Steven Rosenau<br />

Mr. and Mrs. Roy Shaked<br />

Patricia L. Shepherd<br />

Steven Tallman<br />

Jeffrey Thomas<br />

Larry and Rosalie Vanderhoef<br />

Ed and Eleanor Witter<br />

Patricia Peacock<br />

Ann Preston<br />

Gerry Prody<br />

Warren G. Roberts<br />

Carrie Rocke<br />

Jerry and Sylvia Rosen<br />

William and Linda Schmidt<br />

Carl Seymour<br />

Kevin Shellooe<br />

Ellen Sherman<br />

G. William Skinner and Susan Mann<br />

Barry Smith<br />

Steven and Patricia Waldo<br />

Shipley and Dick Walters<br />

Douglas and Carey Wendell<br />

Rebecca and Jansen Wendlandt<br />

Bank <strong>of</strong> America Matching Gift Program<br />

IBM Matching Gift Program<br />

Jewish Community Endowment Fund<br />

15


The most important endeavor <strong>of</strong> the <strong>Department</strong> <strong>of</strong> <strong>Music</strong> today is to build the new <strong>Music</strong> Performance Building and Recital<br />

Hall—a much needed midsize (300–500 seats) concert venue that will serve the campus and the region. An effort to raise $5.5<br />

million in private funding to augment state and campus funds for the project is underway. For information about the Recital<br />

Hall and how to support it, please visit the <strong>Department</strong> <strong>of</strong> <strong>Music</strong> Web site (music.ucdavis.edu) or call Debbie Wilson, Director <strong>of</strong><br />

Development for the Division <strong>of</strong> Humanities, Arts & Cultural Studies in the College <strong>of</strong> Letters & Science, at 530.754.2221.<br />

founders ($350K and higher)<br />

Barbara K. Jackson<br />

Grace and Grant Noda<br />

directors ($50K and higher)<br />

John and Lois Crowe<br />

Aguirre Family<br />

Angelo D. Arias and Family<br />

Robert and Joan Ball<br />

Cynthia Bates<br />

Ross Bauer, Ph.D.<br />

Kathryn Caulfield<br />

Martha Dickman<br />

Donna M. Di Grazia<br />

Nancy DuBois<br />

Richard and Vera Harris<br />

Paul W. Hiss, M.D.<br />

Julia and Richard Kulmann<br />

Charlene R. Kunitz<br />

Katherine and<br />

William Landschulz<br />

Beth E. Levy<br />

Craig M. Machado<br />

Deborah and<br />

Hugh McDevitt<br />

Maureen Miller<br />

Gail M. Otteson<br />

Christopher Reynolds and<br />

Alessa Johns<br />

Kurt Rohde and<br />

Timothy Allen<br />

Jerome and Sylvia Rosen<br />

Schore Family<br />

Thomas and<br />

Karen Slabaugh<br />

Henry Spiller and<br />

Michael Orland<br />

Hannah and Sherman Stein<br />

Henry & Ann Struder<br />

Lynne Swant and Family<br />

Uwate Family<br />

Larry and<br />

Rosalie Vanderhoef<br />

Marya Welch<br />

Carla Wilson<br />

recital hall Society<br />

Recognized by gifts <strong>of</strong> $25,000 or more<br />

patrons ($25K and higher)<br />

Wayne and Jacque Bartholomew<br />

Ralph and Clairelee Leiser Bulkley<br />

Lorena J. Herrig<br />

D. Kern and Elizabeth Holoman<br />

Albert McNeil<br />

Mary Ann Morris<br />

SeatS and StoneS<br />

Recognized by gifts <strong>of</strong> $1,000 or more<br />

<strong>UC</strong> <strong>Davis</strong> <strong>Music</strong> Faculty<br />

Christian Baldini and<br />

Matilda H<strong>of</strong>man<br />

David and Helen Nutter<br />

Pablo Ortiz<br />

Mika Pelo and<br />

Hrabba Atladottir<br />

Laurie San Martin and Sam<br />

Nichols<br />

Jeffrey Thomas<br />

Phebe Craig and<br />

Michael Sand<br />

Amelia Triest and<br />

Rhio Barnhart<br />

Seth Singers,<br />

Alumni 1994–2008<br />

Seth Arnopole<br />

John Baker<br />

David Benjamin<br />

Penn Brimberry<br />

Joshua Eichorn<br />

Stephen Fasel<br />

Katherine Ivanjack<br />

Eric and Jacque Leaver<br />

Joshua and Sara Margulis<br />

Elizabeth Parks<br />

Ellen Proulx<br />

Keith and Jennifer Rode<br />

Steven Rosenau<br />

Asa Stern<br />

Stephanie Sugano<br />

Thomas Wilberg<br />

In Memory <strong>of</strong><br />

– recital hall –<br />

Kenneth N. MacKenzie<br />

Clyde and Ruth Bowman<br />

Elizabeth Bradford<br />

Karen and Irving Broido<br />

Paul and Nancy Caffo<br />

Laura Cameron<br />

Bruce and Mary Carswell<br />

Linton and<br />

Carol Corruccini<br />

Mary and George Dahlgren<br />

Allen and<br />

Mary Lou Dobbins<br />

John and<br />

Catherine Duniway<br />

Robert and<br />

Ann Edmondson<br />

Andrew and Judith Gabor<br />

Government<br />

Affairs Consulting<br />

Paul and June Gulyassy<br />

Charlene R. Kunitz<br />

Russell and<br />

Suzanne Hansen<br />

John and Marylee Hardie<br />

Benjamin and<br />

Lynette Hart<br />

John and Patricia<br />

Hershberger<br />

Bette Gabbard Hinton<br />

Dirk and Sharon Hudson<br />

James and<br />

Patricia Hutchinson<br />

Barbara K. Jackson<br />

Jerry and Teresa Kaneko<br />

Kit and Bonita Lam<br />

Ruth Lawrence<br />

Jerry and<br />

Marguerite Lewis<br />

Jessie Ann Owens and<br />

Anne L. H<strong>of</strong>fmann<br />

Wilson and Kathryn Smith<br />

Richard and Shipley Walters<br />

Ed and Elen Witter<br />

In Memory <strong>of</strong> Kenneth N. MacKenzie<br />

Natalie and Malcolm MacKenzie<br />

Frederick and<br />

Lucinda March<br />

Theresa Mauer<br />

Robert and<br />

Margaret McDonald<br />

John and Norma Meyer<br />

Maureen Miller<br />

Teresa Paglieroni<br />

Sarah and<br />

Thomas Pattison<br />

Philip and<br />

Shirley Penland<br />

David and Dair Rausch<br />

Elizabeth and<br />

Eugene Renkin<br />

G. Thomas and<br />

Joan Sallee<br />

Katherine Schimke<br />

Maxine Schmalenberger<br />

J. Tracy and<br />

Sally Schreiber<br />

Roy and Polly Sheffield<br />

Suzette Smith<br />

Ronald and Rosie Soohoo<br />

Joe and Betty Tupin<br />

Laura and<br />

Richard Van Nostrand<br />

Elisabetta Vivoda<br />

Richard and<br />

Shipley Walters<br />

Noel and Pamela Warner<br />

Robert and<br />

Christine Wendin<br />

Debbie B. Wilson<br />

Robert and Joyce Wisner<br />

Donald and Diane Woods<br />

St. Helena<br />

Hospital Foundation

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