Bruckner - UC Davis: Department of Music
Bruckner - UC Davis: Department of Music
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 />
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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 />
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Marjorie March*<br />
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Katherine Mawdsley and<br />
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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 />
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George Moore<br />
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Marjorie Phillips and<br />
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Ann Preston<br />
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Tracey Rudnick<br />
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Shipley and Dick Walters*<br />
Barbara D. and<br />
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Arthur Andersen LLP<br />
Foundation*<br />
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Office <strong>of</strong> the Provost**<br />
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<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 />
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In memory <strong>of</strong><br />
Susan Pylman Akin<br />
William R. Albrecht<br />
Ronald J. Alexander<br />
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Walter H. Rock Sr.<br />
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Richard and Dorothy Swift<br />
William E. Valente<br />
Wim van Muyden, MD<br />
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* = $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 />
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IBM International Foundation, LLP<br />
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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 />
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annual donorS<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