Bruckner - UC Davis: Department of Music

with the Alumni Chorus 

and the uC DAvis symphony orChestrA 

arianna Zukerman, soprano | Judith Malafronte, mezzo-soprano 

Wesley rogers, tenor | James Maddalena, baritone 

Bruckner: Te Deum 

Rossini: Stabat Mater 

8 pm, SunDAY, 14 mArCH 2010 

Jackson Hall, Mondavi center

8 pm, Sunday, 14 march 2010 

JackSon hall, mondavi center 

univerSity choruS & alumni choruS 

uc daviS Symphony orcheStra 

with 

arianna Zukerman, Soprano 

Judith malafronte, meZZo-Soprano 

weSley rogerS, tenor 

JameS maddalena, baritone 

Jeffrey thomaS, conductor 

program 

Te Deum Anton Bruckner 

Allegro moderato (1824–96) 

Moderato 

Allergro moderato. Feirlich, mit Kraft 

Moderato 

Mäßig bewegt 

intermission 

Stabat Mater Gioacchino Rossini 

Introduction: Stabat mater dolorosa (1792–1868) 

Aria: Cujus animam gementem 

Duet: Quis est homo 

Aria: Pro peccatis suae gentis 

Chorus and Recitative: Eja, mater, fons amoris 

Quartet: Sancta mater, istud agas 

Cavatina: Fac, ut portem Christi mortem 

Aria and Chorus: Inflammatus et accensus 

Quartet: Quando corpus morietur 

Finale: Amen, in sempiterna saecula 

This concert is being recorded professionally for the university archive. Please remain seated during the music, remembering that distractions will be audible on 

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

3

About the Artists 

Possessing a luminous voice with “the breadth of dramatic inflection to make for a powerfully effective 

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

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

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

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

Salieri’s Requiem, with Music of the Baroque for Mozart’s Requiem, and with the National Arts Centre for Mozart’s 

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

No. 4 with the National Philharmonic, and in recital with pianist Navah Perlman for El Paso Pro Musica. Previous 

opera highlights include her first collaboration with Lorin Maazel as Female Chorus in The Rape of Lucretia; her 

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

Opera Theater, Micaëla in Carmen with the Dallas Symphony Orchestra at the Vail Valley Music Festival; Marzelline in Fidelio with the 

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

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

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

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

with the American Bach Soloists, recorded for the Naxos label. 

Judith malafronte, mezzo-soprano, has appeared with numerous orchestras and oratorio societies, including 

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

Symphonies, the St. Paul Chamber Orchestra, the Seattle Baroque Orchestra, and the Handel and Haydn Society. 

She has sung at the Tanglewood Festival, the Boston Early Music Festival, and the Utrecht Early Music Festival, 

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

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

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

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

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

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

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

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

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

Stagebill, Schwann Inside, and Opus. 

Hailed by San Francisco Classical Voice as possessing the “kind of tenor that pours forth powerfully, effortlessly, 

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

stages throughout the United States. While a member of the Seattle Opera, Rogers performed the roles of Peter 

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

role of Alfredo in Skagit Opera’s La Traviata and the title role in Tacoma Opera’s Faust. Recent concert engagements 

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

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

the Bard Festival. Rogers has also performed with the Mark Morris Dance Group, Santa Fe Pro Musica, the Seattle 

Baroque Orchestra, the Cabrillo Festival, Capella Romano, the Tudor Choir, Opera Memphis, and the Sun Valley 

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

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

notable characters of Richard Nixon and The Captain in two operas by John Adams, the award winning Nixon 

in China and The Death of Klinghoffer, respectively. He is closely associated with other composers, including John 

Harbison, Gunther Schuller, Elliot Goldenthal, Robert Moran, Domenick Argento, Marc Blitzstein, and Michael 

Tippett, via performances with such companies as the New York City Opera, the Houston Grand Opera, the 

Washington Opera, the San Francisco Opera, the Atlanta Opera, Opera Theatre of St. Louis, the Frankfurt Opera, 

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

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

Symphony, the San Francisco Symphony, the Brooklyn Philharmonic, the Royal Scottish Orchestra, Orchestra 

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

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

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

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

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

4 

Soprano i 

Jessica Bruns 

Kaitlyn Clark 

Leanna Friedrich 

Wendy Ho 

Christina Lawrence 

Laura Putnam 

Miriam Rocke 

Adele Sonora 

Diane Soto 

Cecilia Whitworth 

Sara Wilson 

Soprano ii 

Jennifer Adler 

Alyssa Black 

Phoebe Copp 

Sarah Flores 

Caitlin Gaustad 

Tianna Grant 

Kirstin Haag 

Amy Harris 

Ruthie Levine 

Louise Lindberg 

Erica Nurse 

Anne Richardson 

Simone Verbaken 

Rachel Whitcombe 

univerSity choruS 


peter hill, aSSiStant conductor and accompaniSt 

alto i 

April Ferre 

Alisha Gorder 

Yoon Jeong (Jennifer) Jang 

Julia Kulmann 

Caroline McGrath 

Alex Menze 

Elizabeth Nichols 

Oaggin Park 

Patricia Peacock 

Elizabeth Reeves 

Haeri Kate Suh 

Winona Wagner 

alto ii 

Meghan Eberhardt 

Sara Franssen 

Susan Garbini 

Emma Gavenda 

Moran Goren 

Sally Gray 

Mary Herbert 

Paula Lerner 

Gina Marino 

Krysten Melgar 

Barbara Molloy 

Tatz Ishimaru 

Nina Vuoso 

tenor i 

Pejman Ahmadi 

Joseph Espena 

John Forell 

Milton Jackson 

Richard Kulmann 

Daniel Olivas 

Gabriel Peralez 

Jerry Schimke 

Peter Shack 

tenor ii 

Adam Cobb 

Jordan Cohen 

John Gibson 

David Griffin 

Harry Jin 

Spencer Little 

Kenny Mac 

Jeffrey Paterson 

Eddie Shih 

Daniel Tan 

Janghee (John) Woo 

bass i 

Paul-Anthony Bernucci 

Brent Curriden 

Kevin Foster 

Nathan Hannon 

James Hutchinson 

Gregory Lanton 

Neil Ruud 

Dakota Salazar 

Eric Spears 

Doug Underwood 

Caleb Yee 

bass ii 

Leonidas Constable, Jr. 

Robert Crummey 

Jim Draper 

Kenneth Firestein 

David Green 

Bryan Klingman 

Craig Landon 

Timothy Mascarinas 

Dan Na 

Joshua Scott 

5

Soprano i 

Amanda Boardman 2004 

Susan Burris Conwell 1995 

Marjorie Halloran 2007 

Lauren Kaplan 1977 

Barbara Lachendro 1985 

Harmony Luo 2007 

Jeri Ohmart 1968 

Elizabeth Parks 2006 

Sue Shellooe 

Lisa Sueyres 2008 

Paula Fisher Thompson 1976 

Stacey Twisdale 2008 

Cheryl Christenson 

Villavicencio 2002 

Cynthia Weller 2007 

Soprano ii 

Barbara Cowie 1977 

Beth Baker Grose 1981 

Melissa Johnson Hallas 2002 

Jeanne Howe 1974 

Joan Lunderville 1965 

Jeanine McElwain 1998 

Aileen Nichols 2006 

Elenka Proulx 2004 

Rebecca Wendlandt 2006 

6 

uc daviS alumni choruS 


peter hill, aSSiStant conductor and accompaniSt 

alto i 

Mary Kramer Brower 1989 

Barbara Celli 

Christina Connell 2007 

Leslie Larson Cooper 1976 

Laura Crowder 2007 

Aimee Dour-Smith 1992 

Evelynne Drinker 

Amy Eleazarian 2007 

Kate Ivanjack 1998 

Charlene Kunitz 

Leslie Nevins Leong 1981 

Linda McCann 

Christine Grego Meairs 1979 

Linnea Nasman 2008 

Rhonda Papas 1979 

Lyn Parker 1971 

Regina Sikora 2005 

Wynne Engler Skow 1972 

Cynthia Sperry 2006 

Flora Wong Sulit 2005 

Lynne Swant 2002 

Joyce Takahashi 

Michelle Wood Turner 1984 

Karen Banks Walton 1977 

alto ii 

Ann Halsted 

Sara McCray Martin 1976 

Barbara Meixner 1964 

Kathleen Bo-Mie Pae 2007 

Mardi Gamble Paulson 1977 

Cynthia Shellum Wight 1976 

tenor i 

Seth Arnopole 1998 

Stephen Fasel 2008 

Laureen Jenson 2009 

Jim Lewis 1980 

Darren Pollock 2001 

Asa Stern 1997 

Linda Winter 2002 

tenor ii 

John Grose 1981 

Gary Matteson 1960 

Jeff Ouye 1993 

Jim Shellooe 1977 

Jeremy Smith 2006 

for the uc daviS department of muSic 

Phil Daley, publicity manager 

Josh Paterson, production manager 

Jessica Kelly, writer 

Rudy Garibay, designer 

bass i 

Jeff Aran 1980 

David Benjamin 1999 

Craig Machado 1974 

Charles Monson 

Noca 1994 

Keith Rode 2002 

Matthew Stevenson 2008 

Paul Terry 2001 

Eric van Boer 1976 

Cirian Villavicencio 2002 

bass ii 

Christopher Bennett 2006 

Joshua Eichorn 1998 

Thomas Estes 1980 

Ian MacGregor 

Ed Martin 

Chester (Chet) Moore 1960 

Jeff Pettit 1976 

violin i 

Cynthia Bates, 

concertmaster * 

Yosef Farnsworth, 

concertmaster * 

Shawyon Malek-Salehi, 

assistant concertmaster * 

Sharon Tsao * 

Maya Abramson * 

Vanessa Rashbrook 

Raphael Moore * 

Sophie Tso 

Alex Milgram 

Andy Kifuthu 

Clairelee Leiser Bulkley * 

Joan Crow 

Meghan Teague 

Lucile Cain 

Romtean Fakharzadeh 

Stanley Hsu 

violin ii 

Margaux Kreitman, 

principal * 

Angelo Arias, 

principal * 

Lisa Eleazarian 

Aaron Gong 

Shari Gueffroy 

Sharon Inkelas 

Ye Chen 

Keun-yung Park 

Tamra Barker 

Francisco Ortega 

Christina Mao 

Morgan McMahon 

Kathryn Azarvand 

uc daviS Symphony orcheStra 

chriStian baldini, muSic director and conductor 

viola 

Andy Tan, 

principal * 

Meredith Powell, 

principal * 

Caitlin Murray 

Melissa Lyans 

Tao He 

Pablo Frias 

Andrew Benson 

Matthew Slaughter 

Alice Chou 

Victoria Parker 

Margaret Hermle 

cello 

Isabel Ortiz, 

principal * 

Kim Zietlow, 

principal * 

Milena Schaller * 

Hannah Choi * 

Grace Harvey 

Stephen Hudson 

Chris Allen 

Eldridge Moores * 

Tobias Münch 

Carrie Miller 

Alex Church 

bass 

Amanda Wu, 

principal * 

Thomas Mykytyn 

Melissa Zerofsky 

Thomas Adams-Falconer 

Greg Brucker 

Thomas Derthick 

Michael Schwagerus 

Names appear in seating order. 

flute 

Susan Monticello, 

principal * 

Alexandra Engen, 

assistant principal * 

Abby Green 

Michelle Hwang 

oboe 

Jaclyn Howerton, 

principal * 

Laura Denon 

Russell Eisenman 

Stacy Habroun 

clarinet 

Al Bona, 

principal * 

Robert Brosnan, 

principal 

Aaron Hill 

alto Saxophone 

Eric Webb 

bassoon 

Kate MacKenzie, 

principal * 

Matt Wong, 

principal * 

Allison Peery 

Diane Royalty 

horn 

Rachel Howerton, 

principal * 

Stephen Hudson 

Adam Morales 

Bobby Olsen, 

co-principal 

trumpet 

Andrew Neish, 

principal * 

Leonard Ott, 

principal * 

Angelica Cortez, 

assistant principal 

Dillon Tostado 

trombone 

Paul Watkins, 

principal * 

John Unrath, 

assistant principal * 

Rebecca Brover 

bass trombone 

Jeffrey Buscheck * 

euphonium 

Adam Brover 

tuba 

John Matter * 

Adam Brover 

percussion 

Wyatt Harmon, 

section leader * 

Kevin Koo 

Victor Nava 

Dan Eisenberg 

Jamie Lew 

Scott McAuliffe 

harp 

Emily Ricks, 

principal * 

Kensal Murph 

piano & celesta 

Peter Kim * 

organ 

Stephen Janzen 

* Holder of endowed seat 

7

cynthia bates & yosef farnsworth – Cynthia Bates concertmaster 

Presented by Debra Horney, M.D. 

Shawyon malek-Salehi – Damian Ting assistant concertmaster 

Presented by Damian Siu Ming Ting 

clairelee leiser bulkley – Clairelee Leiser Bulkley violin I 

Presented by Clairelee Leiser Bulkely & Ralph E. Bulkley 

Sharon tsao – Francis Dubois violin I 

Presented by Nancy Dubois 

raphael moore – Raphael S. Moore violin I 

Presented by Jolanta Moore in memory of Dr. Irena Anna Henner 

maya abramson – Ralph and Judy Riggs violin I 

margaux kreitman – Fawzi S. Haimor principal violin II 

Presented by Barbara K. Jackson 

angelo arias – Shari Benard-Gueffroy assistant principal violin II 

andy tan – Jocelyn Morris principal viola 

Presented by James & Jocelyn Morris 

meredith powell – Bakos Family assistant principal viola 

Presented by John T. Bakos, M.D., Ph.D., in memory of 

Dr. John and Grace Bakos 

isabel ortiz & kim Zietlow – Herman Phaff principal cello 

Presented by Herman & Diane Phaff 

milena Schaller – Tracy McCarthy cello 

Presented by Brian & Louanne Horsfield 

eldridge moores – Eldridge Moores cello 

Presented by Eldridge & Judith Moores 

hannah choi – Louise McNary cello 

Presented by Don McNary 

amanda wu – Barbara K. Jackson principal bass 

Susan monticello – principal flute 

Presented by “Babs” Sandeen & Marty Swingle 

8 

endowed SeatS 

Made possible by gifts of $10,000 or more. 

alexandra engen – Phyllis & Thomas Farver flute / piccolo 

Jaclyn howerton – Wilson and Kathryn Smith principal oboe 

al bona – W. Jeffery Alfriend, DVM, principal clarinet 

Presented by Vicki Gumm & the Kling Family Foundation 

kate mackenzie & matt wong – 

Kling Family Foundation principal bassoon 

Presented by Vicki Gumm & the Kling Family Foundation 

rachel howerton – Kristin N. Simpson and David R. Simpson 

principal horn 

Presented by Richard & Gayle Simpson 

andrew neish & leonard ott – Andrew Mollner principal trumpet 

Presented by Joseph Dean Mollner & Andrew Mollner 

paul watkins – Rebecca A. Brover principal trombone 

John unrath – Michael J. Malone trombone 

Presented by Brian McCurdy & Carol Anne Muncaster 

Jeffrey buscheck – Brian McCurdy bass trombone 

Presented by Barbara K. Jackson 

John matter – Robert B. Rucker Tuba 

Presented by Robert & Margaret Rucker 

emily ricks – Calvin B. Arnason principal harp 

Presented by Benjamin & Lynette Hart 

wyatt harmon – Friedman Family principal percussion 

Presented by Marvin & Susan Friedman 

peter kim – Gary C. Matteson orchestral piano 

Presented by Jane, Dwayne, & Donald Matteson 

The Wilson & Kathryn Smith conductor’s podium was presented in 

honor of D. Kern Holoman. 

noteS 

A 

Te Deum is a hymn of praise to God, to be sung at the dedication of a church, after a 

great military victory, for the coronation of monarchs, and at similar festivities. The 

test originated in the fifth century and is traditionally attributed to St. Ambrose. 

Since they are often wedged into windy affairs of state, Te Deums are usually brief, and 

Bruckner’s is, by Brucknerian standards, positively compact. Nevertheless, it was summarily 

dismissed by the stodgy court conductor Joseph Hellmesberger, who had suggested the idea 

to begin with, as too long for the use of the Imperial Chapel. 

Bruckner’s Te Deum is in the regal key of C major and consists of five short movements 

played without pause. Much of the chorus material is in unison or counterpoint of childlike 

simplicity. There is a good deal of cross-referencing, especially in the many bright arpeggios 

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

distribution among the soloists, exactly the same. With that, indeed, the organization of 

this quite minimal work is summarized: huge Gothic washes of chorus, brass, organ, and 

pealing eighth notes merely alternate with the gentler Te ergo and its mirror. 

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

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

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

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

is that pairs of voices are answered by other pairs of voices. Church organists of the time 

were supposed to be able to write such things on demand, but Bruckner’s is an especially 

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

homophonic version of the material prepares the way for return of the tremendous C-major 

effects from the very beginning. 

The Te Deum is a work of Bruckner’s steadfast faith, carrying his typical dedication “to 

the dear Lord.” Mahler scribbled in his own score his assessment of the performing force: 

“angelic tongues, Godseekers, tormented hearts and souls purified by flame.” Bruckner was 

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

score of my Te Deum, and he may judge me accordingly.” 

—D. Kern Holoman 

By the time Gioachino Rossini was 21 years old, he had become the hero of Italian 

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

had already retired from that part of his career. His tremendous and nearly 

unprecedented success as a child prodigy and young composer had already provided 

exceedingly rich experiences, so much so that he began an intentional hiatus from 

his public life as a celebrated composer – really a retirement, of sorts – that would 

ultimately last until his death more than 30 years later. While Rossini did not 

completely arrest his compositional interests, he composed no more opera after 

William Tell (1829) and chose religious themes for most of his subsequent works, 

leading to a few sacred cantatas, the Petite Messe Solennelle, and the Stabat Mater that 

was begun in 1831 but completed a decade later. 

Stabat Mater is a thirteenth-century text that recounts the suffering of Mary at the foot of 

the cross during the crucifixion of Jesus. While settings of the Roman Catholic sequence, 

or liturgical poem, have come from the pens of composers worldwide, it is safe to say that 

more settings have been produced by Italian composers than those of any other nationality. 

Indeed, it has been a favorite text of Italian composers for centuries, and the setting by 

Giovanni Battista Pergolesi (1736) has enjoyed enormous popularity. Pergolesi wrote his 

setting during the last month of his life, and it was so immediately famous and successful 

that his reputation flourished in the years following his death, so much so that a number 

of compositions, all incorrectly (either intentionally or not) attributed to him, took hold for 

about 200 years as the product of the creator of the legendarily beautiful Stabat Mater. 

bruckner: te deum 

For soloists (SATB), chorus; flutes I-II, 

oboes I-II, clarinets I-II, bassoons I-II; 

horns I-IV, trumpets I-III, 

trombones I-III, tuba; timpani; 

organ; strings 

Composed 1881–84 in Vienna 

First performed 10 January, 1886, 

by the Vienna Gesellschaft der 

Musikfreunde, Hans Richter 

conducting. A performance with 

piano had been given in the 

Musikvereinsaal on May 2, 1885, 

Bruckner conducting. 

Published by Theodor Rattig 

(Vienna, 1885) 

Duration: about 25 minutes 

roSSini: Stabat mater 

For soloists (SATB), chorus; flutes I-II, 

oboes I-II, clarinets I-II, bassoons I-II; 

horns I-IV, trumpets I-II, 

trombones I-III; timpani; strings 

Composed 1831–41 in Paris 

First performed 7 January 1842, 

Théâtre Italien, Paris, Gaetano Donizetti 

conducting. 

Published by Troupenas (France, 1841) 

and B. Schott’s Sons (Germany, 1841) 

Duration: about 60 minutes 

9

10 

noteS 

Now, however, it has been shown that only about 10% of the more than 300 works in 

libraries that bear Pergolesi’s name are actually authentic. 

Rossini’s setting is as compelling a summary of his earlier operatic masterworks as Verdi’s 

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

chorus in Rossini’s Stabat Mater seems to represent the pinnacle of those operatic formats 

as revealed in the 40 operas that preceded it. Despite the power and ultimate piety of 

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

compose the Stabat Mater in 1831. He wrote only six of the ten movements at that time, 

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

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

publication arose that Rossini decided to finish the piece himself, leading to its Parisian 

premiere in 1842. 

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

1841, in which he describes the air of anticipation before the premiere of the work (now 

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

work on the Stabat Mater: 

“Rossini is pious,—all the world is pious, and the Parisian salons have been 

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

he’ll always be the mode… Rossini had let nothing be heard of him for ten 

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

ten years the musical world had “moaned” beneath the silence of the giant 

master…he refused to hear his operas any more. But the truth of it seems 

to have been that he felt penitent and meant to write church-music…The 

earliest stimulus to carry out his expiation seems to have come to him in 

Spain: in Spain, where Don Juan found the amplest, choicest opportunities of 

sin, Rossini is said to have found the spur to penance.” 

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

composer was humble and contrite about his adeptness as a composer of sacred music: In his 

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

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

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

perceived as suitably devout. In fact, several movements stand out as being exceptionally 

effective in the delivery of their texts. The opening movement, somber and dramatic, and 

the eighth movement – a somewhat harrowing setting of “Inflammatus et accensus per te, 

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

defended by you, on the day of judgment) – certainly rival moments of equal dramatic 

intensity in the large sacred works of Verdi and Berlioz. And the final fugue on “In 

sempiterna saecula” (Throughout time everlasting) is appropriately grandiose, although 

perhaps a bit more triumphant than consoling. The other movements, as noted before, 

would be just as well suited for moments within opera buffa as they are within the context 

of this ecclesiastical work. They are highly entertaining – certainly not intended to be so 

– but probably not the most direct expressions of their texts. For example, in the second 

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

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

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

had in mind at this moment, despite the fact that in the capable throats of at least a few 

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

Mater, Rossini by far exceeded the propriety of his earlier sacred work, the Messa di Gloria, 

composed when he was just 28 years old. 

—Jeffrey Thomas 

bruckner: te deum 

1. allegro moderato 

Te Deum laudamus, 

te Dominum confitemur. 

Te aeternum Patrem 

omnis terra veneratur. 

Tibi omnes Angeli, tibi coeli 

et universae potestates, 

tibi Cherubim et Seraphim 

incessabili voce proclamant: 

Sanctus, Sanctus, Sanctus 

Dominus Deus Sabaoth. 

Pleni sunt coeli et terra 

majestatis gloriae tuae. 

Te gloriosus Apostolorum chorus, 

te Prophetarum laudabilis numerus, 

te Martyrum candidatus 

laudat exercitus. 

Te per orbem terrarum 

sancta confitetur Ecclesia, 

Patrem immensae makestatis; 

venerandum tuum verum et unicum Filium; 

Sanctum quoque Paraclitum Spiritum. 

Tu, rex gloriae, Christe. 

Tu Patris sempiternus es Filius. 

Tu ad liberandum suscepturus hominem, 

non horruisti Virginis uterum. 

Tu, devicto mortis aculeo, 

aperuisti credentibus 

regna coelorum. 

Tu ad dexteram Dei sedes, 

in gloria Patris. 

Judex crederis esse venturus. 

2. moderato 

Te ergo quaesumus, 

tuis famulis subveni, 

quos pretioso sanguine redemisti. 

3. allergro moderato. feirlich, mit kraft 

Aeterna fac cum Sanctis tuis 

in gloria numerari. 

4. moderato 

Salvum fac populum tuum, Domine, 

et benedic hereditati tuae. 

Et rege eos et extolle illos 

usque in aeternum. 

Per singulos dies benedicimus te. 

Et laudamus nomen tuum 

in saeculum et in saeculum saeculi. 

Dignare, Domine, die isto 

sine peccato nos custodire. 

Miserere nostri, Domine, 

miserere nostri. 

Fiat misericordia tua, Domine, super nos, 

quemadmodum speravimus in te. 

5. mäßig bewegt 

In te, Domine, speravi: 

non confundar in aeternum. 

teXtS and tranSlationS 

We praise thee, O God, 

we acknowledge thee to be the Lord. 

All the earth doth worship thee, 

the Father everlasting. 

To thee all Angels cry aloud, 

the Heavens, and all the Powers therein. 

To thee Cherubin and Seraphin 

continually do cry: 

Holy, Holy, Holy 

Lord God of Sabaoth; 

Heaven and earth are full 

of the Majesty: of thy Glory. 

The glorious company of the Apostles praise thee. 

The goodly fellowship of the Prophets praise thee. 

The noble army of Martyrs 

praise thee. 

The holy Church throughout all the world 

doth acknowledge thee, 

The Father of an infinite Majesty, 

Thine honourable, true and only Son, 

Also the Holy Ghost: the Comforter. 

Thou art the King of Glory O Christ. 

Thou art the everlasting Son of the Father. 

When thou tookest upon thee to deliver man 

thou didst not abhor the Virgin’s womb. 

When thou hadst overcome the sharpness of death, 

thou didst open the Kingdom of Heaven 

to all believers. 

Thou sittest at the right hand of God 

in the glory of the Father. 

We believe that thou shalt come: to be our Judge. 

We therefore pray thee, 

help thy servants, 

whom thou hast redeemed with thy precious blood. 

Make them to be numbered with thy Saints 

in glory everlasting. 

O Lord, save thy people, 

and bless thine heritage. 

Govern them, and lift them up 

forever. 

Day by day we magnify thee; 

and we worship thy Name, 

ever world without end. 

Vouchsafe, O Lord, 

to keep us this day without sin. 

O Lord, have mercy upon us, 

have mercy upon us. 

O Lord, let thy mercy lighten upon 

as our trust is in thee. 

O Lord, in thee have I trusted: 

let me never be confounded. 

11

oSSini: Stabat mater 

1. introduzione. andantino moderato 

Stabat Mater dolorosa 

Iuxta crucem lacrimosa 

Dum pendebat Filius. 

2. aria (tenor). allegretto maestoso 

Cuius animam gementem 

Contristatam et dolentem 

Pertransivit gladius 

O quam tristis et afflicta 

Fuit illa benedicta 

Mater unigeniti! 

Quae moerebat et dolebat, 

Et tremebat cum videbat 

Nati poenas incliti. 

3. duetto (soprano i/ii). largo 

Quis est homo qui non fleret, 

Christi Matrem si videret 

In tanto supplicio? 

Quis non posset contristari, 

Piam Matrem contemplari 

Dolentem cum Filio? 

5. coro (a cappella) e recitativo (basso). andante mosso 

Eia Mater, fons amoris 

Me sentire vim doloris 

Fac, ut tecum lugeam. 

Fac, ut ardeat cor meum 

In amando Christum Deum 

Ut sibi complaceam. 

6. Quartetto (soloists). allegretto moderato 

Sancta Mater, istud agas, 

Crucifixi fige plagas 

Cordi meo valide. 

Tui nati vulnerati, 

Tam dignati pro me pati, 

Poenas mecum divide. 

Fac me vere tecum flere, 

Crucifixo condolere, 

Donec ego vixero. 

Iuxta crucem tecum stare, 

Te libenter sociare 

In planctu desidero. 

Virgo virginum praeclara, 

Mihi iam non sis amara 

Fac me tecum plangere. 

7. cavatina (soprano ii). andante grazioso 

Fac, ut portem Christi mortem 

Passionis eius sortem, 

Et plagas recolere. 

Fac me plagis vulnerari, 

Cruce hac inebriari, 

Ob amorem Filii. 

12 


The grieving Mother 

stood weeping beside 

the cross where her Son was hanging. 

Through her weeping soul, 

compassionate and grieving, 

a sword passed. 

O how sad and afflicted 

was that blessed 

Mother of the Only-begotten! 

Who mourned and grieved, 

the pious Mother, 

looking at the torment of her glorious Child. 

For the sins of his people she saw 

Jesus in torment 

and subjected to the scourge. 

She saw her sweet offspring dying, 

forsaken, while he 

gave up his spirit. 

O Mother, fountain of love, 

make me feel the power of sorrow, 

that I may grieve with you. 

Grant that my heart may burn 

in the love of Christ my Lord, 

that I may greatly please him. 

Holy Mother, grant that the wounds 

of the Crucified drive deep 

into my heart. 

That of your wounded Son, 

who so deigned to suffer for me, 

I may share the pain. 

Let me sincerely weep with you, 

bemoan the Crucified, 

for as long as I live. 

To stand beside the cross with you, 

and to join you 

in your weeping, this I desire. 

Chosen Virgin of virgins, 

be not bitter with me, 

let me weep with thee. 

Grant that I may bear the death of Christ, 

share his Passion, 

and commemorate His wounds. 

Let me be wounded with his wounds, 

let me be inebriated by the cross 

and your Son’s blood. 

8. aria (soprano i) e coro. andante maestoso 

Inflammatus et accensus 

Per Te, Virgo, sim defensus 

In die iudicii. 

Fac me cruce custodiri 

Morte Christi praemuniri 

Confoveri gratia. 

9. Quartetto (soloists). andante 

Quando corpus morietur, 

Fac, ut animae donetur 

Paradisi gloria. 


Lest I be set afire by flames of death, 

Virgin, may I be defended by you, 

on the Day of Judgment. 

Christ, when it is time to pass away, 

grant that through your Mother I may 

come to the palm of victory. 

When my body dies, 

grant that to my soul is given the 

glory of paradise. Amen. 

10. finale. allegro – andante moderato 

Amen. In sempiterna saecula. Amen. Throughout time everlasting. 

Sacramento choral Society and orcheStra 

d onald KendricK m u S ic d irector 

Mondavi atinee Series 

Sunday 

March 28 at 2 pm 

Mondavi Center 

UC Davis 

Mondavi Box Office 

1-866-754-2787 

Brahms –Ein Deutsches Requiem 

Jessica Siena, Soprano 

Stephen Janzen, Baritone 

Discover why Brahms’ Requiem may be the most 

comforting, humane requiem ever written. 

Brahms –Alto Rhapsody 

Maya Layhani, Mezzo 

Special Guest Men’s Chorus: 

Sacramento State University Chorus 

and Sacred Heart’s Schola Cantorum 

Brahms–Academic Overture 

SacramentoChoral.com | Pre-concert video podcast 

13

Mitzi S. Aguirre 

Priscilla Alexander 

W. Jeffery Alfriend, DVM** 

Thomas and Patricia Allen 

David M. Ashkenaze, M.D.* 

Robert and Joan Ball* 

Cynthia Bates* 

Matthew and Shari Benard- 

Gueffroy** 

Robert Biggs and Diane Carlson 

Oscar and Shula Blumenthal 

Rebecca A. Brover** 

Robert and Hilary Brover** 

Gregory A. Brucker 

Ralph E. Bulkley and 

Clairelee Leiser Bulkley** 

Walter and Marija Bunter* 

Ray and Mary Cabral* 

Lynn and Robert Campbell 

Don and Dolores Chakerian* 

Terry and Marybeth Cook 

Elizabeth Corbett 

Allan and Joan Crow* 

Martha Dickman* 

Nancy DuBois* 

Jonathan and Mickey Elkus 

Thomas and Phyllis Farver** 

Ron Fisher 

Tyler T. Fong* 

Marvin and Susan Friedman** 

Edwin and Sevgi Friedrich 

Anne Gray* 

Vicki Gumm and Kling 

Family Foundation** 

Prof. and Mrs. Said Haimor* 

Benjamin and Lynette Hart** 

Lorena Herrig* 

Barbara D. Hoermann 

Prof. and Mrs. D. Kern 

Holoman** 

Debra A. Horney, M.D.** 

Brian and Louanne Horsfield** 

Ilia Howard* 

Margaret E. Hoyt* 

14 

uc daviS Symphony endowment 

Dr. and Mrs. Daniel R. Hrdy* 

Sharon Inkelas 

Barbara K. Jackson** 

Prof. Joseph E. Kiskis Jr.* 

Winston and Katy Ko 

Family of Norman Lamb* 

Dr. Richard Levine* 

Paul and Lois Lim 

Susan Linz 

Melissa Lyans and Andreas J. 

Albrecht, Ph.D.* 

Natalie and Malcolm 

MacKenzie* 

Douglas W. Macpherson and 

Glayol Sabha, M.D.* 

Marjorie March* 

J. A. Martin 

Gary and Jane Matteson** 

Katherine Mawdsley and 

William F. McCoy* 

Scott and Caroline Mayfield 

Greg and Judy McCall* 

Tracy H. and Brendan J. 

McCarthy 

Ulla and Gerald McDaniel 

Don and Lou McNary* 

Albert J. and Helen McNeil* 

Sharon Menke, esq. 

Maureen Miller 

Andrew Mollner** 

Joseph Dean Mollner** 

Eileen and Ole Mols* 

George Moore 

Jolanta Moore** 

Raphael S. and Netania Moore* 

Eldridge and Judith Moores** 

James and Jocelyn Morris** 

Mary Ann Morris* 

Ken T. Murai* 

Russell and Alice Olson 

Jessie Ann Owens 

Paul and Linda Parsons* 

Herman and Dianne Phaff** 

Marjorie Phillips and 

Robert Rice 

James and Felicity Pine 

Jim and Nancy Pollock 

Ann Preston 

Eugene and Elizabeth Renkin* 

Ralph and Judy Riggs** 

Susanne Rockwell and 

Brian Sway 

Jerome and Sylvia Rosen* 

Don Roth 

Robert and Margaret Rucker** 

Tracey Rudnick 

Beverly “Babs” Sandeen and 

Marty Swingle** 

E. N. Sassenrath* 

Neil and Caroline Schore* 

Prof. and Mrs. Calvin Schwabe* 

Barbara L. Sheldon 

Ellen Sherman* 

Richard and Gayle Simpson** 

Wilson and Kathryn Smith** 

Lois Spafford* 

Sherman and Hannah Stein 

Dr. and Mrs. Roydon Steinke 

Thomas Sturges* 

Joel and Susan Swift* 

Richard Swift* 

Alice Tackett* 

Steven D. Tallman* 

Damian Siu Ming Ting** 

Roseanna F. Torretto 

Rosalie and Larry Vanderhoef* 

Shipley and Dick Walters* 

Barbara D. and 

Grady L. Webster 

Marya Welch* 

Arthur Andersen LLP 

Foundation* 

Bank of America Foundation 

Office of the Provost** 

The Swift Fund for the Arts* 

UC Davis Symphony Orchestra 

1992–93, 1993–94** 

Weyerhaeuser 

In honor of 

Benjamin Hart 

Randolph Hunt by Benjamin 

and Lynette Hart* 

Ulla McDaniel 

Jerome and Sylvia Rosen* 

In memory of 

Susan Pylman Akin 

William R. Albrecht 

Ronald J. Alexander 

Hilary Brover 

Robert M. Cello 

Karen Aileen Dettling 

Clare M. Driver 

John “Al” Driver 

Elizabeth Elkus 

Carl Flowers 

Dr. Irena Anna Henner 

Katherine H. Holoman 

Norman E. Lamb 

Loren LeMaitre 

Verna Fournes LeMaitre 

Michelle Mantay 

Dorothy Dodge Miller 

John Mouber 

Mel Olson 

Herman Phaff 

Keith Riddick 

Walter H. Rock Jr. 

Walter H. Rock Sr. 

Dorothy J. Shiely 

Richard and Dorothy Swift 

William E. Valente 

Wim van Muyden, MD 

Bodil Wennberg 

* = $1,000 or more 

** = $10,000 or more 

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

Kathleen Cady 

Barbara P. and Kenneth D. Celli 

Donna M. Di Grazia 

Leland and Susan Faust 

Ann & Gordon Getty Foundation 

John Tracy Grose and Beth Baker-Grose 

Prof. and Mrs. D. Kern Holoman 

James and Patricia Hutchinson 

IBM International Foundation, LLP 

Mitzi S. Aguirre 

Priscilla Alexander 

Martha Amorocho 

Renee Armstrong 

Renee Bodie 

Clyde and Ruth Bowman 

Lynn and Robert Campbell 

Hugh C. and Susan B. Conwell 

Martha Dickman 

Dotty Dixon 

Jeremy Faust 

Darlene Franz and James Van Horn 

Sally S. Gray 

Benjamin and Lynette Hart 

David and Annmarie Heller 

James H. Hillman 

Betty and Robin Houston 

Donald Johnson and Elizabeth Miller 

Winston and Katy Ko 

uc daviS choruS endowment 

founder’S club memberS 

Barbara K. Jackson 

Joan and Russell Jones 

Mr. and Mrs. Norman Jones 

Prof. Joseph E. Kiskis Jr. 

Julia and Richard Kulmann 

Elizabeth Langland and Jerry Jahn 

Leslie and Dana Leong 

Gary and Jane Matteson 

Hugh and Deborah McDevitt 

Albert and Helen McNeil 

Cindy and Dennis McNeil 

annual donorS 

Kirk Kolodji 

Airy Krich-Brinton 

Dr. Katherine T. Landschulz 

Leslie and Dana Leong 

Natalie and Malcolm MacKenzie 

Maria Mange 

Susan Mann 

Marjorie March 

Matthew McGibney 

Clarence H. McProud 

Amelie Mel de Fontenay 

Jeffrey Mihaly 

Martha Morgan 

Jonathan and Jessie Newhall 

Rebecca Newland 

Naomi Newman 

Grant and Grace Noda 

John and Elizabeth Owens 

Mike and Carlene Ozonoff 

Patricia K. Moore and 

Chester G. Moore Jr., Ph.D. 

Mary Ann Morris, Ph.D. 

Jeffrey and Janice Pettit 

Steven Rosenau 

Mr. and Mrs. Roy Shaked 

Patricia L. Shepherd 

Steven Tallman 

Jeffrey Thomas 

Larry and Rosalie Vanderhoef 

Ed and Eleanor Witter 

Patricia Peacock 

Ann Preston 

Gerry Prody 

Warren G. Roberts 

Carrie Rocke 

Jerry and Sylvia Rosen 

William and Linda Schmidt 

Carl Seymour 

Kevin Shellooe 

Ellen Sherman 

G. William Skinner and Susan Mann 

Barry Smith 

Steven and Patricia Waldo 

Shipley and Dick Walters 

Douglas and Carey Wendell 

Rebecca and Jansen Wendlandt 

Bank of America Matching Gift Program 

IBM Matching Gift Program 

Jewish Community Endowment Fund 

15

The most important endeavor of the Department of Music today is to build the new Music Performance Building and Recital 

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

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

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

Development for the Division of Humanities, Arts & Cultural Studies in the College of Letters & Science, at 530.754.2221. 

founders ($350K and higher) 


Grace and Grant Noda 

directors ($50K and higher) 

John and Lois Crowe 

Aguirre Family 

Angelo D. Arias and Family 

Robert and Joan Ball 

Cynthia Bates 

Ross Bauer, Ph.D. 

Kathryn Caulfield 

Martha Dickman 

Donna M. Di Grazia 

Nancy DuBois 

Richard and Vera Harris 

Paul W. Hiss, M.D. 

Julia and Richard Kulmann 

Charlene R. Kunitz 

Katherine and 

William Landschulz 

Beth E. Levy 

Craig M. Machado 

Deborah and 

Hugh McDevitt 


Gail M. Otteson 

Christopher Reynolds and 

Alessa Johns 

Kurt Rohde and 

Timothy Allen 

Jerome and Sylvia Rosen 

Schore Family 

Thomas and 

Karen Slabaugh 

Henry Spiller and 

Michael Orland 

Hannah and Sherman Stein 

Henry & Ann Struder 

Lynne Swant and Family 

Uwate Family 

Larry and 

Rosalie Vanderhoef 

Marya Welch 

Carla Wilson 

recital hall Society 

Recognized by gifts of $25,000 or more 

patrons ($25K and higher) 

Wayne and Jacque Bartholomew 

Ralph and Clairelee Leiser Bulkley 

Lorena J. Herrig 

D. Kern and Elizabeth Holoman 

Albert McNeil 

Mary Ann Morris 

SeatS and StoneS 

Recognized by gifts of $1,000 or more 

UC Davis Music Faculty 

Christian Baldini and 

Matilda Hofman 

David and Helen Nutter 

Pablo Ortiz 

Mika Pelo and 

Hrabba Atladottir 

Laurie San Martin and Sam 

Nichols 

Jeffrey Thomas 

Phebe Craig and 

Michael Sand 

Amelia Triest and 

Rhio Barnhart 

Seth Singers, 

Alumni 1994–2008 

Seth Arnopole 

John Baker 

David Benjamin 

Penn Brimberry 

Joshua Eichorn 

Stephen Fasel 

Katherine Ivanjack 

Eric and Jacque Leaver 

Joshua and Sara Margulis 

Elizabeth Parks 

Ellen Proulx 

Keith and Jennifer Rode 

Steven Rosenau 

Asa Stern 

Stephanie Sugano 

Thomas Wilberg 

In Memory of 

– recital hall – 

Kenneth N. MacKenzie 

Clyde and Ruth Bowman 

Elizabeth Bradford 

Karen and Irving Broido 

Paul and Nancy Caffo 

Laura Cameron 

Bruce and Mary Carswell 

Linton and 

Carol Corruccini 

Mary and George Dahlgren 

Allen and 

Mary Lou Dobbins 

John and 

Catherine Duniway 

Robert and 

Ann Edmondson 

Andrew and Judith Gabor 

Government 

Affairs Consulting 

Paul and June Gulyassy 

Charlene R. Kunitz 

Russell and 

Suzanne Hansen 

John and Marylee Hardie 

Benjamin and 

Lynette Hart 

John and Patricia 

Hershberger 

Bette Gabbard Hinton 

Dirk and Sharon Hudson 

James and 

Patricia Hutchinson 


Jerry and Teresa Kaneko 

Kit and Bonita Lam 

Ruth Lawrence 

Jerry and 

Marguerite Lewis 

Jessie Ann Owens and 

Anne L. Hoffmann 

Wilson and Kathryn Smith 

Richard and Shipley Walters 

Ed and Elen Witter 

In Memory of Kenneth N. MacKenzie 

Natalie and Malcolm MacKenzie 

Frederick and 

Lucinda March 

Theresa Mauer 

Robert and 

Margaret McDonald 

John and Norma Meyer 


Teresa Paglieroni 

Sarah and 

Thomas Pattison 

Philip and 

Shirley Penland 

David and Dair Rausch 

Elizabeth and 

Eugene Renkin 

G. Thomas and 

Joan Sallee 

Katherine Schimke 

Maxine Schmalenberger 

J. Tracy and 

Sally Schreiber 

Roy and Polly Sheffield 

Suzette Smith 

Ronald and Rosie Soohoo 

Joe and Betty Tupin 

Laura and 

Richard Van Nostrand 

Elisabetta Vivoda 

Richard and 

Shipley Walters 

Noel and Pamela Warner 

Robert and 

Christine Wendin 

Debbie B. Wilson 

Robert and Joyce Wisner 

Donald and Diane Woods 

St. Helena 

Hospital Foundation

Bruckner - UC Davis: Department of Music

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