S T E P H A N I E - UC Davis University Chorus and Chamber Singers

T H E D E P A R T M E N T O F M U S I C P R E S E N T S
S T E P H A N I E
FRIEDMAN
WITH THE UCD SYMPHONY ORCHESTRA AND UNIVERSITY CHORUS
D. KERN HOLOMAN & JEFFREY THOMAS, CONDUCTORS
SUNDAY, 7 MAY 2000
8:00 P.M. FREEBORN HALL

P R O G R A M
Chorfantasie (Choral Fantasy), op. 80
Ludwig van Beethoven
I. Adagio (1770–1827)
II. Finale: Allegro
Meno allegro (Allegretto)
Allegro molto
Adagio ma non troppo
Marcia assai vivace
Allegro
Allegretto ma non troppo quasi andante con moto
Presto
Antonia Carrillo McCabe, soprano
Cheryl A. Christenson, soprano
Barbara Matwiejczyk, alto
Joseph Palarca, tenor
Brian Randall, tenor
Keith A. Rode, bass
Marilyn Swan, piano
Jeffrey Thomas, conductor
Intermission
Das Lied von der Erde (The Song of the Earth)
Gustav Mahler
Das Trinklied vom Jammer der Erde (The Drinking Song of Earthly Woe) (1860–1911)
Der Einsame im Herbst (The Lonely One in Autumn)
Von der Jugend (Of Youth)
Von der Schönheit (Of Beauty)
Der Trunkene im Frühling (The Drunkard in Spring)
Der Abschied (The Farewell)
Stephanie Friedman, mezzo-soprano
Brad Cresswell, tenor
D. Kern Holoman, conductor
8:00 p.m. Sunday, 7 May 2000
Freeborn Hall
2

B I O G R A P H I E S
This will be acclaimed singer Stephanie Friedman’s last public performance. A singer of widely diversified talents, Friedman
regularly performed music ranging from Baroque to contemporary; she was equally at home in recital, concert, and opera. In
1987–88 she created the role of Mao’s 2nd Secretary in John Adams’ Nixon in China which she subsequently sung at Houston
Grand Opera, the Brooklyn Academy of Music, the John F. Kennedy Center for the Performing Arts in Washington, D.C., the Los
Angeles Music Center Opera, Netherlands Opera, the Edinburgh Festival, MC93 Bobigny, and Frankfurt Opera. Nixon in China
was telecast on PBS’s “Great Performances” for which it won an Emmy, and recorded for Nonesuch Records, winning a Grammy.
In 1988 Friedman sang the Récitante in Stravinsky’s Persephone for UC Berkeley’s Zellerbach Hall twentieth anniversary. She made
her debut with the Opera Company of Philadelphia as the Turnspit in Dvořák’s Rusalka. In 1989 she made her debut with Nevada
Opera Theatre as Suzuki in Madama Butterfly and her debut at the American Music Theater Festival in Philadelphia as Ruth
Lehmann in Paul Dresher’s Power Failure. During the 1989–90 season she appeared with San Francisco Opera in Die Frau Ohne
Schatten, Midsummer Mozart at Davies Symphony Hall, the San Jose Symphony, and Chamber Music West. She toured with Power
Failure to Minneapolis, Iowa City, San Diego, and Los Angeles. 1990–91 brought Nixon in China with the Los Angeles Music
Center Opera, followed by several duo-recitals with baritone Sanford Sylvan.
In 1991, Stephanie Friedman created the roles of Omar and Alma Rumor to great acclaim in John Adams’s The Death of Klinghoffer
with the Belgian National Opera in Brussels. The opera was then produced by the Opéra de Lyon, the Vienna Festival, and the
Brooklyn Academy of Music. It was staged by San Francisco Opera in fall 1992 and the Los Angeles Music Center Opera in fall
1993. Klinghoffer
was recorded in Lyon in 1991, Kent Nagano conducting, on the Nonesuch label. Filling out the 1991–92 season
she appeared in Nixon in China in Paris and Frankfurt and sang in Charpentier’s Te Deum with the San Francisco Symphony under
Herbert Blomstedt. In July 1992 she sang Mahler’s Das Lied von der Erde at the Mendocino Music Festival. The 1992–93 season
included additional performances of Klinghoffer, Nixon in China, and duo recitals with Sanford Sylvan in Boston, Schenectady, and
Moscow, ID.
Stephanie Friedman has appeared with many of the leading California orchestras including the San Francisco Symphony,
Sacramento Symphony, San Jose Symphony, Oakland Symphony, Fresno Philharmonic, and the Stockton Symphony. The San
Francisco Symphony featured her in its January 1983 Vivian Fine Festival, on its New and Unusual Music series, twice in its annual
Beethoven Festival, including the 1989 Beethoven Marathon under Michael Tilson Thomas, and in its regular subscription season.
In July 1989 she toured Australia and French Polynesia with the UC Davis Symphony Orchestra singing Berlioz’s Cléopâtre and
Romeó et Juliette in performances honoring the bicentennial of the French Revolution. Over the years, Friedman has appeared with
the UCD Symphony Orchestra, D. Kern Holoman, conductor, in an opera here, and in recitals.
Friedman’s affinity and flair for contemporary music has been recognized by a number of distinguished composers. She was the
soloist for the premiere of Roger Sessions’s When Lilacs Last in the Dooryard Bloom’d; for Andrew Imbrie’s Roethke Songs, and
for the West Coast premiere of Cambodian composer Chinary Ung’s Mohori. She appeared in the Cabrillo Festival premiere of
Martin’s opera Le Vin Herbé and has sung at Chamber Music West a number of times. She has performed works of Boulez, George
Crumb, David del Tredici, Edward Lawton, Bartók, Hindemith, Britten, and Stravinsky, including Oedipus Rex with the Berkeley
Symphony Orchestra under the direction of Kent Nagano.
In fall 1992 she appeared in two improvisational concerts at the UC Berkeley Museum with Matt Heckert, mechanical sound
sculptor. UC Berkeley faculty member John Thow wrote Songs for the Earth for Friedman in 1994; they were recorded in 1996 with
San Francisco Contemporary Music Players on the Music and Arts label. In 1996 Friedman also recorded San Francisco composer
Peter Scott Lewis’s Where the Heart is Pure with the Berkeley Symphony Orchestra for the New Albion label.
Stephanie Friedman graduated from UC Berkeley with a B.A. in French and received her M.A. in teaching from Harvard School
of Education. Friedman has been faculty affiliate in voice in the Department of Music, UC Davis, since 1979; adjunct faculty in
voice at Holy Names College, since 1994; and has been teaching privately for many years. After tonight’s performance, she will
continue her voice teaching career, both at UC Davis and privately.
The Illinois-born tenor, Brad Cresswell, recently made his international debut as Canio in I Pagliacci at the Teatro Colón in Buenos
Aires. Recent performances also include Dr. Caius in Falstaff
(with Bryn Terfel in the title role), Zorn in
Die Meistersinger and
Jacob Schmidt in The Rise and Fall of Mahagonny, all with the Lyric Opera of Chicago. Upcoming engagements include covering
the title roles in both Parsifal
and Samson et Dalilah for the San Francisco Opera, and performing the tenor solos in Beethoven’s
Ninth Symphony with the West Virginia Symphony. Other past roles include Macduff in Macbeth
with the Shreveport Opera,
Cavaradossi in Tosca
with the Eugene Opera and the Harrisburgh Opera Association, Dmitri in
Boris Godunov with Long
Beach Opera, Ismaele in Nabucco with the Sarasota Opera, Jeník in The Bartered Bride with Pittsburgh Opera Theatre and the
Lake George Opera, Sam in Carlisle Floyd’s Susannah
with Baltimore Opera and the Augusta Opera Association, Don José in
Carmen with the New York City Opera National Company, and the title role in Verdi’s Otello with the Lake George Opera, in a
performance hailed by Opera News as “remarkably successful, the timbre of the voice clear and full.”
3

Cresswell’s concert repertoire includes Verdi’s Requiem, which he has performed with the Santa Fe Symphony, the Boston Civic
Symphony, and the New England Conservatory Orchestra and Chorus for their 150th Anniversary (Cresswell is an alumnus
of the New England Conservatory), and also Verdi’s Hymn of the Nations (with the Sarasota Opera Orchestra and Chorus). In
addition, he has performed Mahler’s Das Lied von der Erde with the Bridgton Symphony, Puccini’s Messa di Gloria with the Santa
Fe Symphony, and Beethoven’s Ninth Symphony with the Richmond Symphony Orchestra and the Boston Philharmonic (a
performance recently re-issued by Carlton Classics on CD).
A proponent of contemporary music, Cresswell has performed leading roles in many important operatic premieres. With the Opera
Theatre of Saint Louis (which awarded him their Richard Gaddes career grant in 1992), Cresswell sang the world premiere of
David Carlson’s The Midnight Angel (also performed with the Glimmerglass Opera and the Sacramento Opera); also the American
premieres of Judith Weir’s The Vanishing Bridegroom; the revised version of Conrad Susa’s Black River, and the final version of
Leonard Bernstein’s Candide, for which Cresswell was cited by Variety for his “charmingly villainous style, sort of a Captain Hook
without the hook.” Other contemporary performances include the world premiere of Anthony Davis’s Amistad
with the Lyric
Opera of Chicago, the New York premiere of Sir Michael Tippett’s The Midsummer Marriage with the New York City Opera,
and the American premieres of Manfred Gurlitt’s Wozzeck
(Long Beach Opera); Luciano Berio’s
Un Re in ascolto (Lyric Opera of
Chicago) and Judith Weir’s Blonde Eckbert (Santa Fe Opera), in a performance that showed “dramatic and vocal versatility in his
gifted portrayal” according to the Washington Post.
Cresswell appears on the Phillips recording of Richard Strauss’ Elektra
with the Boston Symphony under Seiji Ozawa, for which
he was hailed as “a major voice in the making” by the Boston Globe. He was a fellowship artist at Tanglewood, where he appeared
in the PBS special Bernstein at 70! and was subsequently the youngest of several distinguished alumni invited to perform for that
institution’s 50th anniversary season opening night gala. Cresswell was also a member of the Lyric Opera of Chicago’s Center for
American Artists, where he appeared in many productions including Barber’s Antony and Cleopatra (broadcast on PBS) as well as
Hugo Weisgall’s Six Characters in Search of an Author (which was subsequently released by New World Records).
An occasional composer as well, Cresswell’s works have been presented by the Sarasota Opera Association, the Lake George Opera
Chamber Music series and American Opera Projects in New York. His songs have also been performed in recitals in Chicago, in
Indianapolis, and at Carnegie Hall to critical acclaim (by the New York Times).
Marilyn Swan, piano, began her musical studies in Los Angeles with Robert Turner, and participated at an early age in master
classes with Rosina Lhevinne at UC Berkeley, UCLA, and the Aspen Music Festival. She is a graduate of the Curtis Institute of
Music in Philadelphia, where she studied with Seymour Lipkin, and as an ensemble player, with members of the Guarneri Quartet,
Felix Galimir, Mischa Schneider, and Max Rudolf.
The recipient of many scholarships and awards, Swan has performed extensively both as a solo recitalist and chamber musician,
and has appeared with such orcestras as the Los Angeles Philharmonic (with Zubin Mehta and Michael Tilson Thomas), the
American Yourth Symphony, California Chamber Symphony, Curtis Institute Orchestra, Fresno Philharmonic, Santa Barbara
Symphony, Long Beach Symphony, and Caracas (Venezuela) Philharmonic. She was also piano soloist for four years for the Los
Angeles Ballet Company. After performing and teaching for many years in Los Angeles, she now lives in Davis and pursues a
busy performing and teaching schedule, both at UCD and privately. With the UCD Symphony Orchestra, she has appeared in
Beethoven’s Fourth Piano Concerto and has performed several works with the University Chorus and Chamber Singers as well as
in chamber music concerts.
Jeffrey Thomas, conductor, is associate professor and director of choral ensembles at UC Davis. Educated at Oberlin Conservatory
and The Juilliard School, Thomas has achieved international recognition as music director of the American Bach Soloists, with
whom he has directed and conducted recordings of more than 25 cantatas, the Mass in B Minor, The Musical Offering, motets,
chamber music, and works by Schütz, Pergolesi, Vivaldi, Haydn, and Beethoven. He has performed world-wide and with most
major U.S. symphonies and Baroque orchestras. His extensive discography of vocal music includes dozens of recordings of major
works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics, and
Arabesque. He has presented master classes at the New England Conservatory of Music, San Francisco Conservatory, SUNY at
Buffalo, Swarthmore College, and Washington University, and is also an avid exponent of contemporary music.
D. Kern Holoman, conductor, has been professor of music at UC Davis since 1974 and conductor of the UCD Symphony Orchestra
since 1978. As a musicologist his research has focused on the life and works of Hector Berlioz, and he is presently completing a
lengthy study of the Société des Concerts du Conservatoire, 1828–1967. His work in French music was recognized in 1989 with his
appointment as Chevalier of the Order of Arts and Letters, Republic of France, and this year with his appointment to Officier of
the Order; presently he serves as a member of the international commission planning the three-year Berlioz bicentenary celebration
that began in February of 2000 and culminates in December 2003. At UC Davis Holoman has served as chair of the Departments
of Music and Dramatic Art and as founding dean of the Division of Humanities, Arts, & Cultural Studies. Born in North Carolina,
Holoman completed his undergraduate studies at Duke and earned his Ph.D. from Princeton University.
4

Beethoven: Chorfantasie (Choral Fantasy), op. 80
P R O G R A M N O T E S
Improvisation is dependent on two disciplines: composition and performance skill. Johann Sebastian Bach and Wolfgang
Amadeus Mozart were triply acclaimed as composers, keyboardists, and improvisers. It would have been almost impossible
to rival their legacy, as perceived by Beethoven. But he was the perfect well deserving heir. And like Bach and Mozart, he
devoted a significant part of his work to the composition of keyboard concertos. In December of 1808, Beethoven hurriedly
composed the Choral Fantasy to conclude a very long concert given at the Theater an der Wien, which included the
premiere of three movements from the Mass in C, the scene and aria Ah! Perfido, the Fourth Piano Concerto, the Fifth and
Sixth Symphonies, and a freely improvised fantasy for piano, performed by the composer. In his preparations for the marathon
event, Beethoven sought to write a closing piece, employing all the performers involved. His song Gegenliebe, composed in
1794 or 1795, would serve as the basic material, upon which he would compose variations. But this would be preceded by
another keyboard fantasy, which Beethoven would improvise at the concert. Only much later did he write it down.
It is difficult, even impossible for the human mind to selectively forget sentient experiences. We have heard the Ninth
Symphony, that magnificently eloquent song of mankind, and we are compelled to compare it to the Choral Fantasy. The
earlier work is doomed to pale by this comparison; indeed, it seems like a little sibling considering to the scope and texture
of the symphony. But if we remember that the Choral Fantasy came first—by about sixteen years—we realize not only
what a completely satisfying work it is, but also that it is truly the model upon which the Ninth is based. The similarities
are obvious to the listener, but scratching beneath the surface reveals a plethora of identical idiomatic idiosyncrasies and
compositional rhetoric. In particular, his use of relative keys in the two works is the same: the Ninth’s third movement and
the Adagio ma non troppo section of the Choral Fantasy are both a third below the overall tonality, and episodes in both
choral finales make dramatic use of a sudden modulation up a minor third in an otherwise relentlessly major tonality. In the
Choral Fantasy, though, it is the pianist that emerges as hero. The piano plays almost continuously throughout the whole
work, and, like the cellos in the Ninth Symphony, presents the Finale’s melodic material first as a healing reward following
the tortured passages of the opening Adagio fantasy (which is just five minutes in length compared to the forty or so minutes
of the Ninth’s first three movements).
—J.T.
Mahler: Das Lied von der Erde (The Song of the Earth)
For soloists (mezzo-soprano, tenor); piccolo, flutes I–III, oboes I–III, English horn, E-flat clarinet, clarinets I–II,
bass clarinet, bassoons I–III, contrabassoon; horns I–IV, trumpets I–III, trombones I–III, tuba; timpani, bass drum,
cymbals, triangle, tambourine, bells; harp, celesta, mandolin; strings
Text after Chinese poems of the eighth century, in the German of Hans Bethge: Die chinesische Flöte
(The Chinese Flute), 1907
Composed in 1907–9, mostly summer 1908 in Toblach
First performed (posthumously) 20 November 1911 by the Munich Tonkiinstler Orchestra, Bruno Walter conducting
Published by Universal Edition (Vienna, 1912; piano score in 1911). Inexpensive score: Gustav Mahler: Das Lied von
der Erde in Full Score (New York: Dover, 1988)
Duration: just over one hour
Mahler often described Das Lied von der Erde as a symphony or song-symphony, but purposefully avoided assigning it a
number, so conscious was he of the cases of the three Viennese masters—Beethoven, Schubert, and Bruckner—whose
ninth symphonies had been their last. Superstition apart, it made good sense to sidestep the issue of genre, for the usual
terms do not suffice to describe this hybrid of song cycle and symphony. The irony is that Mahler’s Ninth was indeed his
last complete work; the tragedy, that he died before hearing either the Ninth or Das Lied von der Erde performed.
In the decline of his physical and emotional strength Mahler grew particularly receptive to the sentiments expressed in
these verses from the ancient Chinese. The images are of earthly pleasures—youth, beauty, strong drink, friendship,
sunshine, flowers, and breezes. Our opportunity to experience these delights is but fleeting, and at the end there is death.
Yet in the certainty that the earth will blossom anew each spring, forever, there is to be found both a higher wisdom and a
higher pleasure.
5

The Drinking Song of Earthly Woe is in three stanzas for tenor, each concluding with the refrain “Dunkel ist das Leben, ist
der Tod” (Dark is life; dark is death), a little higher each time. The proposition is familiar: drink, sing, and make merry, for
though the sky will always be blue and the spring is certain to blossom, we mortals have less than a hundred years to enjoy
it. The orchestral introduction is emphatic and worldly and the overall scoring brilliant, emphasizing high registers in both
the orchestral and vocal lines. Between the second and third stanzas comes an orchestral interlude of gripping symbolism—
the blossoming continues without the singer. Over the course of the movement we encounter elements that characterize
the work as a whole: freely varied strophes, mutation of tonality as the song progresses, and a prominent recurring melodic
descent (a descending sixth).
While the tenor’s three songs are lusty, those for the alto are wistful and pensive. In The Lonely One in Autumn nature
succumbs to its annual fading, to mists, frost, and icy wind, and the singer weeps in loneliness, seeking only rest and perhaps
the sun to dry her tears. The scoring is bare: long, sad turns in the solo lines are set over almost continuously flowing eighth
notes, and the solo part progresses in stepwise, rather resigned, quarter and half notes. At the invocation to the “sun of love”
there is an outpouring from harp and winds; elsewhere all is cold.
Of Youth, for the tenor, is a true chinoiserie: at the end of a jade bridge to the island in a little pond stands a pavilion
of green and white porcelain. Friends drink, chat, and write poetry in the gazebo, and all is mirrored on the pond’s calm
surface. The music has oriental melodic twists and an orchestration dominated by flutes and piccolos. You will inevitably
compare the effect with that of the pagoda movement in Ravel’s Mother Goose Suite, composed a few months later.
The most fetching attribute of youth is surely beauty. In the alto’s second song, Of Beauty, maidens gather blossoms at the
river bank and bask in golden sun. Young men pass by on horseback. One of the steeds shies and gallops, and the loveliest of
the girls longs for its gallant rider. The music, still of oriental nuance, is playful, with the thunder of horse and rider one of
the few big tuttis to be found in the center movements.
Intoxication is at issue in the tenor’s last song, The Drunkard in Spring, The antidote to life’s miseries, he argues, is strong
drink and the drugged sleep that inevitably follows. A bird warbles of the springtime, but the singer would rather be drunk:
“What has spring to do with me?”
Now comes The Farewell, a profound thirty-minute treatment of two related poems (“Waiting for a Friend” and “The
Farewell of a Friend”) that concludes Das Lied von der Erde by returning it to the cosmic gravities of the first movement. For
mezzo-sopranos this tour de force is the equal of Wagner’s Liebestod, with which it has a good deal in common—poignant,
bittersweet, brimming with the kind of nostalgia you also hear in Richard Strauss’s Four Last Songs. From the first measures,
where the oboe wends its plaint over the toll of tam-tam and low orchestral Cs (essentially the lowest sounds an orchestra
can make), you know you are in for stark misery. These motives are soon joined by two others: falling chromatic sighs
in pairs of winds and a faster, more curvaceous chromatic descent by sixteenth notes. Tragedy is not so much at issue as
resignation to fate: it is nightfall, the close of things; and as the world goes off to its well-earned slumber, the singer waits
in utter darkness for the last meeting with a friend. The friend finally arrives and dismounts, and they share the draught
of farewell. The friend sets forth toward the mountains, there to find peace for a lonely heart. All the cycle’s subject
matter—beauty, drink, youth—commingles, then concludes with the reminder that the earth will blossom again—forever…
forever…
Here lies Mahler’s sustained and wrenching treatment of sentiments that lie deep in every listener’s soul, especially during
the orchestral episode that represents the long wait in the dark (after the line “O beauty! O, eternal love- and life-drunk
world!”). Note, too, the sonority of the mandolin (“I walk with my lute, hither and yon,” says the text), which went on to
become something of a vogue with the Viennese composers.
—DKH
6

T E X T S A N D T R A N S L A T I O N S
B E E T H O V E N : C H O R A L F A N T A S Y , o p . 8 0
translated by Christoph Kuffner
Chorfantasie
Schmeichelnd hold und lieblich klingen
Unsers Lebens Harmonien,
Und dem Schönheitssinn entschwingen
Blumen sich, die ewig blühn.
Fried und Freude gleiten freundlich
Wie der Wellen Wechselspiel;
Was sich drängte rauh und feindlich,
Ordnet sich zu Hochgefühl.
Wenn der Töne Zauber walten
Und des Wortes Weihe spricht,
Muß sich Herrliches gestalten,
Nacht und Stürme werden Licht.
Äußre Ruhe, innre Wonne
Herrschaft für den Glücklichen.
Doch der Künste Frühlingssonne
Läßt aus beiden Licht entstehn.
Großes, das ins Herz gedrungen,
Blüht dann neu und schön empor,
Hat ein Geist sich aufgeschwungen,
Hallt ihm stets ein Geisterchor.
Nehmt denn hin, ihr schönen Seelen,
Froh die Gaben schöner Kunst,
Wenn sich Lieb und Kraft vermählen,
Lohnt dem Menschen Göttergunst.
Choral Fantasy
Caressing, fair and lovely are the sounds
of harmony in our life,
and from the sense of beauty
spring flowers that bloom for ever.
Peace and joy flow delightfully,
like the alternating play of waves;
what were harsh and hostile pressures
are transmuted to elation.
When the magic of sound holds sway
and words bring inspiration,
glorious things must appear,
darkness and turmoil become light.
The happy man is ruled
by calm without, bliss within.
But the Springtime sun of the arts
causes light to emanate from both.
Greatness compact in the heart
then blooms forth, new and lovely;
when a spirit soars aloft
a chorus of spirits resounds forever to it.
Then, ye lovely souls, accept
with gladness the gifts of beauteous art.
When love and strength are united,
divine grace rewards mankind.
7

D A S L I E D V O N D E R E R D E ( T H E S O N G O F T H E E A R T H )
After old Chinese poems, translated by Hans Bethge
Das Trinkleid vom Jammer der Erde
Schon winkt der Wein im goldnen Pokale,
Doch trinkt noch nicht, erst sing ich euch ein Lied!
Das Lied vom Kummer soll auflachend in die Seele
euch klingen.
Wenn der Kummer naht, liegen wüst die
Gärten der Seele,
Welkt hin und stirbt die Freude, der Gesang.
Dunkel ist das Leben, ist der Tod.
Herr dieses Hauses!
Dein Keller birgt die Fülle des goldenen Weins!
Hier diese Laute nenn ich mein!
Die Laute schlagen und die Gläser leeren,
Das sind die Dinge, die zusammen passen.
Ein voller Becher Weins zur rechten Zeit
Ist mehr wert als alle Reiche dieser Erde!
Dunkel ist das Leben, ist der Tod.
Das Firmament blaut ewig und die Erde
Wird lange fest stehn und aufblühn im Lenz.
Du aber, Mensch, wie lang lebst denn du?
Nicht hundert Jahre darfst du dich ergötzen
An all dem morschen Tande dieser Erde!
Seht dort hinab! Im Mondschein auf den Gräbern
Hockt eine wild-gespenstische Gestalt —
Ein Aff ist’s! Hört ihr, wie sein Heulen
Hinausgeht in den süßen Duft des Lebens!
Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen
Leert eure goldnen Becher zu Grund!
Dunkel ist das Leben, ist der Tod!
Der Einsame im Herbst
Herbstnebel wallen bläulich überm See;
Vom Reif bezogen stehen alle Gräser;
Man meint’, ein Künstler habe Staub von Jade
Über die feinen Blüten ausgestreut.
Der süße Duft der Blumen ist verflogen;
Ein kalter Wind beugt ihre Stengel nieder.
Bald werden die verwelkten, goldnen Blätter
Der Lotosblüten auf dem Wasser ziehn.
Mein Herz ist müde. Meine kleine Lampe
Erlosch mit Knistern; es gemahnt mich an den Schlaf.
Ich komm zu dir, traute Ruhestätte!
Ja, gib mir Ruh, ich hab Erquickung not!
Ich weine viel in meinen Einsamkeiten.
Der Herbst in meinem Herzen währt zu lange
Sonne der Liebe, willst du nie mehr scheinen,
Um meine bittern Tränen mild aufzutrocknen?
The Drinking Song of Earthly Woe
Already the wine beckons in the golden goblet,
But do not drink yet: first I will sing you a song!
The song of sorrow shall sound laughingly
in your soul.
When sorrow draws near, it lays waste to the
gardens of the soul,
Joy and song wither and die.
Dark is life, is death.
Master of this house!
Your cellar is filled with golden wine!
Here this lute I call my own!
To strike the lute and to drain the glass
Are things that go well together.
A full cup of wine at the right time
Is worth more than all the empires of this world!
Dark is life, is death.
The firmament is ever blue, and the earth
Will long stand firm and blossom in spring.
But you, Man: how long do you live?
Not even a hundred years may you divert yourself
With all the brittle baubles of this earth.
Look down there! In the moonlight on the graves
Cowers a wild, ghostly form.
It is a monkey! Do you hear how his howling
Pierces into the sweet scent of life?
Now take up the wine: now it is time, friends.
Empty your golden goblets to the bottom!
Dark is life, is death.
The Lonely One in Autumn
Autumn mists drift in blue over the lake;
All the grass is covered with hoarfrost;
One would think an artist had scattered jade-dust
Over the delicate blossoms.
The flowers’ sweet scent is gone;
A cold wind bends their stems.
Soon the withered golden leaves
Of the lotus blossoms will float by on the water.
My heart is weary. My little lamp
Has sputtered out, it summons me to sleep.
I come to you, dear resting place!
Yes, give me rest, I need to be refreshed.
I weep much in my loneliness.
The autumn in my heart endures too long.
Sun of love, will you never shine again
Gently to dry my bitter tears?
8

Von der Jugend
Mitten in dem kleinen Teiche
Steht ein Pavillon aus grünem
Und aus weißem Porzellan.
Wie der Rücken eines Tigers
Wölbt die Brücke sich aus Jade
Zu dem Pavillon hinüber.
In dem Häuschen sitzen Freunde,
Schön gekleidet, trinken, plaudern,
Manche schreiben Verse nieder.
Ihre seidnen Ärmel gleiten
Rückwärts, ihre seidnen Mützen
Hocken lustig tief im Nacken.
Auf des kleinen Teiches stiller
Wasserfläche zeigt sich alles
Wunderlich im Spiegelbilde.
Alles auf dem Kopfe stehend
In dem Pavillon aus grünem
Und aus weißem Porzellan;
Wie ein Halbmond steht die Brücke,
Umgekehrt der Bogen. Freunde,
Schön gekleidet, trinken, plaudern.
Von der Schönheit
Junge Mädchen pflücken Blumen,
Pflücken Lotosblumen an dem Uferrande
Zwischen Büschen und Blättern sitzen sie,
Sammeln Blüten in den Schoß und rufen
Sich einander Neckereien zu.
Goldne Sonne webt um die Gestalten
Spiegelt sie im blanken Wasser wider,
Sonne spiegelt ihre schlanken Glieder,
Ihre süßen Augen wider.
Und der Zephir hebt mit Schmeichelkosen das Gewebe
Ihrer Ärmel auf; führt den Zauber
Ihrer Wohlgerüche durch die Luft.
O sieh, was tummeln sich für schöne Knaben
Dort an dem Uferrand auf mut’gen Rossen?
Weithin glänzend wie die Sonnenstrahlen,
Schon zwischen dem Geäst der grünen Weiden
Trabt das jungfrische Volk einher!
Das Roß des einen wiehert fröhlich auf
Und scheut und saust dahin,
Über Blumen, Gräser, wanken hin die Hufe,
Sie zerstampfen jäh im Sturm die hingesunknen Blüten,
Heil! Wie flattern im Taumel seine Mahnen,
Dampfen heiß die Nüstern!
Goldne Sonne webt um die Gestalten,
Spiegelt sie im blanken Wasser wider.
Of Youth
In the middle of the little pool
Stands a pavillion of green
And white porcelain.
Like the back of a tiger,
The jade bridge arches
Over to the pavillion.
In the little house sit friends;
Beautifully dressed, they drink and talk;
Some are writing verses.
Their silk sleeves slide
Backwards, their silk caps
Perched lustily back on their heads.
On the little pool’s still
Water-surface, everything is
Wonderously mirrored.
Everything stands on its head
In the pavillion of green
And white porcelain;
Like a half-moon stands the bridge,
Its arch inverted. Friends,
Beautifully dressed, are drinking, talking.
Of Beauty
Young girls are picking flowers,
Picking lotus flowers by the riverbank.
Among bushes and leaves they sit,
Gather blossoms in their laps, and call
To one another in their banter.
The golden sun plays around them,
Mirrors them in the shining water.
The sun mirrors their slender limbs
And their sweet eyes.
And the soft breeze caressingly lifts the fabric
Of their sleeves, and bears the magic
Of their perfumes through the air.
O see: what handsome boys are these, frolicking
By the riverbank on mettlesome horses?
Gleaming in the distance, like the sunbeams,
Between the green willow-branches.
These supple young men are already cantering!
One of their horses neighs merrily,
Rears, and plunges on;
Over flowers and grass the hooves fly,
Trampling, in their stormy passage, the fallen blossoms.
Heigh! How its mane flutters in its frenzy,
How its nostrils steam!
The golden sun plays around these figures,
Mirrors them in the shining water.
9

Und die schönste von den Jungfraun sendet
Lange Blicke ihm der Sehnsucht nach.
Ihre stolze Haltung ist nur Verstellung.
In dem Funkeln ihrer großen Augen,
In dem Dunkel ihres beißen Blicks
Schwingt klagend noch die Erregung ihres Herzens nach.
Der Trunkene im Frühling
Wenn nur ein Traum das Leben ist,
Warum dann Müh und Plag?
Ich trinke, bis ich nicht mehr kann,
Den ganzen, lieben Tag!
Und wenn ich nicht mehr trinken kann,
Weil Kehl und Seele voll,
So tauml’ich bis zu meiner Tür
Und schlafe wundervoll!
Was hör ich beim Erwachen? Horch!
Ein Vogel singt im Baum.
Ich frag ihn, ob schon Frühling sei.
Mir ist als wie im Traum.
Der Vogel zwitschert: Ja! Der Lenz
Ist da, sei kommen über Nacht!
Aus tiefstem Schauen lausch ich auf,
Der Vogel singt und lacht!
Ich fülle mir den Becher neu
Und leer ihn bis zum Grund,
Und singe, bis der Mond erglänzt
Am schwarzen Firmament!
Und wenn ich nicht mehr singen kann,
So schlaf ich wieder ein.
Was geht mich denn der Frühling an?
Laßt mich betrunken sein!
And the loveliest of the girls
Looks after him with longing.
Her proud bearing is only pretense.
The fire of her large eyes,
The darkness of their passionate gaze,
Still throb, lamenting, with the agitation of her heart.
The Drunkard in Spring
If life is only a dream
Why should there be trouble and care?
I drink till I can drink no more,
All the livelong day!
And when I can drink no more,
Since throat and soul are full,
Then I stagger to my door
And sleep marvelously well.
What do I hear when I wake? Hark!
A bird sings in the tree.
I ask it if spring has come.
It all seems like a dream.
The bird twitters: Yes! The spring
Is here: it came over night!
Lost in gazing, I listen:
The bird sings and laughs!
I fill my my cup again
And empty it to the bottom,
And sing, until the moon begins to glance
Out of the black skies.
And when I can sing no more
I go to sleep again.
What do I care for the spring?
Let me be drunk!
10

Der Abschied
Die Sonne scheidet hinter dem Gebirge.
In alle Täler steigt der Abend nieder
Mit seinen Schatten, die voll Kühlung sind.
O sieh! Wie eine Silberbarke schwebt
Der Mond am blauen Himmelssee herauf,
Ich spüre eines feinen Windes Wehn
Hinter den dunklen Fichten!
Der Bach singt voller Wohllaut durch das Dunkel.
Die Blumen blassen im Dämmerschein.
Die Erde atmet voll von Rüh und Schlaf.
Alle Sehnsucht will nun träumen,
Die müden Menschen gehn heimwärts,
Um im Schlaf vergeßnes Glück
Und Jugend neu zu lernen!
Die Vögel hocken still in ihren Zweigen.
Die Welt schläft ein!
Es wehet kühl im Schatten meiner Fichten.
Ich stehe hier und harre meines Freundes;
Ich harre sein zum letzten Lebewohl.
Ich sehne mich, o Freund, an deiner Seite
Die Schönheit dieses Abends zu genießen.
Wo bleihst du? Du laßt mich lang allein!
Ich wandle auf und nieder mit meiner Laute
Auf Wegen, die von weichem Grase schwellen.
O Schönheit! O ewigen Liebens- Lebenstrunkne Welt!
Er stieg vom Pferd und reichte ihm den Trunk
Des Abschieds dar. Er fragte ihn, wohin
Er führe und auch warum es müßte sein.
Er sprach, und seine Stimme war umflort:
“Du mein Freund,
Mir war auf dieser Welt das Glück nicht hold!
Wohin ich geh? Ich geh, ich wandre in die Berge.
Ich suche Rühe für mein einsam Herz.
Ich wandle nach der Heimat, meiner Stätte.
Ich wrede niemals in die Ferne schweifen.
Still ist mein Herz und harret seiner Stunde!
Die liebe Erde allüberall
Blüht auf im Lenz und grünt
Auf’s neu! Allüberall und ewig
Blauen licht die Fernen!
Ewig… ewig…”
The Farewell
The sun goes down behind the mountain,
Into all the valleys the evening descends
And brings cooling shades.
O see! Like a silver bark
The moon floats up the blue lake of heaven.
I feel a gentle breeze stirring
Behind the dark spruce.
The brook sings melodiously through the darkness.
The flowers grow pale in the gloaming.
The earth is breathing, full of peace and sleep.
All longing now turns in dreams,
Tired men make for home,
In sleep to recapture forgotten happiness
And youth!
The birds cower silently in the branches.
The world is falling asleep.
A cool wind blows in the shadow of my spruce.
I stand here waiting for my friend;
I wait to bid him a last farewell.
I long, my friend, at your side
To enjoy the beauty of this evening.
Where do you linger? You have left me alone so long!
I wander up and down with my lute
On paths soft with swelling grass.
O beauty! O eternal love- and life-drunk world!
He dismounted and proffered him the drink
Of farewell. He asked where
He was going and why it had to be.
He said, and his voice trembled:
“O my friend,
In this world fortune did not smile on me.
Where I am going? I go, I wander into the mountains.
I seek peace for my lonely heart.
I am making for home, for my resting place.
I will never roam into strange lands.
My heart is still and bides its time.
The dear earth everywhere
Blossoms in spring and grows green
Anew! Everywhere, for ever,
Blue lights the horizon!
Ever… ever…”
11

T H E U C D S Y M P H O N Y O R C H E S T R A
1 9 9 9 – 2 0 0 0
D. Kern Holoman, conductor
Angelo Moreno and Kenneth Veit, assistant conductors
Rebecca Brover, manager
Violin
Cynthia Bates, concertmaster
Ginger Cervantes,
associate concertmaster
Angelo Moreno,
principal violin II
Shari Gueffroy, assistant
principal
Kate Branscomb
Clairelee L. Bulkley
Joan Crow
Lindsay Daine
Elena Delacy
Anna Filippova
Fawzi Haimor
Frances Hammock
Catherine Heusner
Emily Jones
Cheryl Kang
Barry Kersting
Hung Lam
John Lin
Victor Lin
Alisa Meany
Eileen Mols
Raphael Moore
Jennifer Osborn
Nandini Parthasarathy
Ingrid Peters
Judy Riggs
Jonathan Siekmann
Alice Tackett
Dan Woo
Dean Woo
Viola
David Calderon, principal
Stephen Abraham
Marianne Batchelder
Dan Chitwood
James Een
Ilia Howard
Jennifer Kane
Emi Ludemann
Melissa Lyans
Jocelyn Morris
Michael Reid
Kathryn Snyder
Cello
Esther Wright, principal
Aaron Benavidez
Susan Lamb Cook
Justine Eckersley
Alex Klassen
Bonnie Li
Emily Morris
Judy Rummelsburg
Heather Scott
Double Bass
Katherine Nepo, principal
Cheryl Adams
Greg Brucker
Thomas Derthick
Erica White
Greg McCall
Mandolin
Greg Brucker
Flute
Susan Monticello, principal
Ellen Avery
Yuko Hoshino
Marjorie Phillips
Oboe
Robert Volmer, principal
Timothy Broesamle
Jill Imsand
Dianne Lehmann
Clarinet
Richard Levine,
co-principal
Trevor Murphy,
co-principal
Elaine Icban
Jack Kane
Bassoon
Joshua Mast, principal
Diana Keen
Contrabassoon
Maryll Goldsmith
French Horn
Christina Vredevoe, principal
Rebecca Dudovitz
Philip Gahagan
Linette Lina
Lynne Swant
Trumpet
Andrew Mollner, principal
Toby Glik
Kristin Simpson
Kenneth Veit
Trombone
Michael Malone, principal
Forest Bohrer
Rebecca A. Brover
Jim Fessenden
Tuba
Robert Rucker
Percussion
Ryan Friedman, principal
Marianne Chatterton
Jihan Ejan
Paul D. Terry
Celesta
Delphean Quan
Harp
Agnes Lee
Christian Schunck
12

U N I V E R S I T Y C H O R U S
1 9 9 9 – 2 0 0 0
Jeffrey Thomas, conductor
Anthony M. Lien, assistant conductor
Delphean Quan, accompanist
Sopranos
Antonia Carrillo McCabe
Serena Chan
Takyan Chan
Brea Mina Cherné
Sophia Chin
Cheryl Christenson
Diane Cooper
Jacqueline Curran
JoAnne Delfino
Sarah Gruneisen
Dani Haack
Vanessa Kirkup
Airy Krich-Brinton
Yan Yan Lam
Opal Lawler
Lennifer Lim
Cheryl Loehr
Margaret E. McClelland
Heather Myers
Elizabeth Parks
Elizabeth Pickett
Rhiannon Powell
Elenka Proulx
Amy Rominger
Monica Stoner
Paula Stoner
Katy Williams
Cindy Wilson
Altos
Anna M-R Axiaq
Vanessa Ayala-Pech
Erin Barker
Pirawan Boonmanunt
Sarah Brickey
Raquel Caron
Veronica Cervantes
Christine Chavez
Shirley Cheng
Nicky Costanzo
Meghan Eberhardt
Sara Feldman
Jeanne Fishback
Elisa Fon
Monica Garcia
Maryann Hulsman
Kim Irish
Lisa Jacobson
Elaine Kim
JoAnn Kohlbrand
Gina Marino
Gigi Owen
Mina Rohani
Vanessa Saliendra
Karis Smith
Jasmine Summerset
Mary-Ann Tan
Megan Taylor
Nami Tsumura
Kelly Vial
Mishell Villott
Brooke Wagstaff
Tenors
J. A. Borum
S. D. Geller
Anders Hansson
J. S. Palarca
D. M. Pollock
B. P. Randall
Basses
Lucas Ainsworth
John Baker
Nick Barbulesco
Jonathon Chow
Brian Coburn
Conor Egan
Bryce Hathaway
Raymond Lee
Carl Lischeske
Bryan Martin
Noca
Keith Rode
Steven A. Rosenau
Aaron Sathrum
David Yaranon
13

U C D D E P A R T M E N T O F M U S I C
U P C O M I N G E V E N T S -
WEDNESDAY, 10 MAY
Noon Concert: University Concert Band,
Jonathan Elkus, conductor.
12:05 p.m. West Quad. Free.
WEDNESDAY, 10 MAY
University Concert Band, Jonathan Elkus,
conductor, and Yolo County Concert Band,
John Moore, Jr., conductor, perform at the
Davis Farmers Market.
5:30 p.m. Central Park. Davis. Free.
THURSDAY, 11 MAY
Noon Concert: Ellen Gronningen, violin, and
Benjamin Morss, piano. Works by Brahms,
Debussy, and Morss.
12:05 p.m. 115 Music Building. Free.
FRIDAY, 12 MAY
Baroque Gems: UCD Baroque Ensemble,
Phebe Craig, director and harpsichord.
8:00 p.m. St. Martin’s Episcopal Church,
640 Hawthorn Lane, Davis. Suggested
donation $6/students and children $3.
SUNDAY, 14 MAY
Vocal and Instrumental Music by Women
Composers, including Clara Schumann,
Elisabeth-Claude Jacquet de la Guerre, Amy
Beach, Barbara Strozzi, and others.
4:00 p.m., 115 Music Building.
Special free concert.
Supported with a grant from the President’s
Undergraduate Fellowship.
THURSDAY, 18 MAY
Noon Concert: Baroque chamber
concert with Angelo Moreno, violin,
Justine Eckersley, cello, and Phebe Craig,
harpsichord.
12:05 p.m. 115 Music Building. Free.
SATURDAY, 20 MAY
Empyrean Ensemble, Ross Bauer, director.
New Music from Davis. New Works by Davis
Composers Anne Guzzo, Helena Michelson,
Joël Lindheimer, Susan Templeton, Drew
Wheeler, and Ross Bauer, featuring new
faculty composer, Yu-Hui Chang, guest
conductor.
8:00 p.m. Davis Art Center, 1919 F Street at
Covell. General admission $10/students and
children $5.
7:20 p.m. Free pre-performance lecture with
the composers.
Co-sponsored with University Cultural Programs.
SUNDAY, 21 MAY
UCD Early Music Ensemble, David Nutter,
director.
8:00 p.m. St. Martin’s Church, 640 Hawthorn
Lane, Davis.
Suggested donation $6/students and
children $3.
Supported in part by the Ed and Elen Witter Endowment.
MAY 18-21, 24-25, JUNE 1-4, 2000
Cabaret, music and lyrics by John Kander
and Fred Ebb, book by Joe Masteroff. The
Departments of Theatre & Dance and Music
present this newly revised version of the
Tony Award-winning musical, complete with
two new songs, that is currently enjoying
a successful Broadway run. Sheldon
Deckelbaum, director; D. Kern Holoman and
Kenneth Veit, music directors; members of
the UCD Symphony Orchestra.
Main Theatre. 8:00 p.m. (except 2:00 p.m.
on Sundays, 21 May and 4 June). Preview
performance on Thursday, 18 May at 8 p.m.
For ticket information, please contact the
Campus Box Office at 530.752.1915. (Tickets
are $7 students, $12 general.) $6 tickets for
preview.
Co-sponsored by the Department of Theatre and Dance.
WEDNESDAY, 24 MAY
Paul Nagel Piano Trio (NLS Trio) with Paul
Nagel, piano, John Shifflett, bass, and Jason
Lewis, drums; and the UCD Jazz Band,
Mike McMullen, director.
8:00 p.m. Varsity Theatre. 616 Second
Street, Davis.
General admission $10/students
and children $5.
THURSDAY, 25 MAY
Noon Concert: Voice Student Recital.
12:05 p.m. 115 Music Building. Free.
FRIDAY, 26 MAY
University Chorus and Chamber Singers,
Jeffrey Thomas, conductor. Works by Mozart
and Handel.
8:00 p.m. Freeborn Hall.
General admission $6/students and
children $3.
WEDNESDAY, 31 MAY
University Concert Band, Jonathan
Elkus, conductor. The Great American
Bandstand VIII.
8:00 p.m. Freeborn Hall.
General admission $6/students and
hildren $3.
THURSDAY, 1 JUNE
Noon Concert: Piano students of Lois
Brandwynne.
12:05 p.m. 115 Music Building. Free.
SUNDAY, 4 JUNE
UCD Sound & Poetry Source, John Tchicai,
director.
7:30 p.m. Wyatt Pavilion.
General admission $6/students
and children $3.
14
WEDNESDAY, 7 JUNE
Undergraduate Composers Concert.
8:00 p.m. 115 Music Building.
Special free concert.
THURSDAY, 8 JUNE
Noon Concert: Best of Student Chamber
Music Ensembles.
12:05 p.m. 115 Music Building. Free.
Noon Concerts are offered most Thursdays
during the quarter. Admission is free; quiet
brown baggers are welcome. This is an
opportunity to hear internationally known
and aspiring young concert
artists in an informal setting.
General admission tickets are available
through the Campus Box Office, 530.752.1915,
at all BASS/TM outlets, 916.766.BASS or
530.766.BASS, and at the door. Tickets for
concerts held at the Varsity Theatre can be
purchased at Armadillo Music, 205 F Street,
Davis, 530.758.8058. Children’s tickets are
for all patrons aged 18 and under. Student
tickets are for full-time students 18 and over;
student ticket holders must show a valid ID
card at the door.
All programs, times, and dates are subject
to change. Please verify them in your local
newspaper or by calling 530.752.5537.
Parking. A $3 visitor permit or a regular
campus parking permit is required to park
in University lots during the week. (All visitor
parking permits, including night parking,
are $3.) Visitor permits are valid only
on the day issued. Parking is generally free
on Saturdays and Sundays unless there is
a major special event on campus, in which
case a $3 parking fee may be charged. A
visitor permit can be purchased with tickets
from the Campus Box Office.
Accommodations for people with disabilities
are available upon advance request by calling
the Memorial Union Information Center
at 530.752.2222 or TDD 530.752.2228, or the
Campus Box Office.
On the web: music.ucdavis.edu

T H E U C D S Y M P H O N Y E N D O W M E N T
Claude and Marcia Abraham
Stephen Abraham
W. Jeffrey Alfriend, D.V.M.**
Christopher Allen
John M. Anderson*
Prof. and Mrs. Lawrence J.
Andrews
Anonymous*
Anonymous*
Prof. Samuel G. Armistead
John and Elaine Arnold
Dennis T. Aronson
David M. Ashkenaze, M.D.*
Jerry Aten
Joan Ball
John T. Bakos, M.D., Ph.D.
Cynthia Bates*
Ross Bauer
Berkjis and Balestrini families
Kay and Joyce Blacker
J. Richard and Christine
Blanchard*
Shula Blumenthal
Lu Branch*
Dona and George Brandon
Harry and Muriel Brandt
Dan Brown and Kathryn Boor
Terry L. Buchmiller, M.D.
Clairelee Leiser and Ralph
Bulkley*
Walter and Marija Bunter
Anna Maria Busse Berger
Nina Byrne, D.C.
Ray and Mary Cabral*
David and Rosemary Cairns*
Robert and Lynn Campbell
R. Lee and Syril Carlson*
Don and Dolores Chakerian*
Don Chakerian*
Joan L. Chambers
Sydney R. Charles
Cully A. Cobb, M.D.*
Dennis B. and Susan Lamb Cook
Terry and Marybeth Cook
Richard Cramer and
Martha Dickman
Mr. and Mrs. James Ray Crenshaw
Keith Cretcher
Myriam D. Croce
Joan and Allan Crow
Robert O. Crummey and
Nancy Nesbit-Crummey*
Matthew Daines
Mark Deaton
Donna M. Di Grazia
Mark Dowlearn
Madeline Duckles
Joel Elias and Lisa Bertaccini
James D. Fessenden
Prof. Gail Finney
Tyler T Fong*
Marvin and Susan Friedman*
Edwin and Sevgi Friedrich
Sandra and Gene Gallagher*
Lynn Gibson*
Maryll R. Goldsmith
Carl Grace
Kevin W. Gurney*
Marjorie F. Hall
Steve Hanks
Ben and Lynette Hart*
Nancy, Nick, and Nicole Henares
Lorena J. Herrig*
Roland and Barbara Hoermann
Eric and Brynn Holm*
Prof. and Mrs. D. Kern
Holoman**
Mr. and Mrs. W. Kern Holoman
Debra Horney, M.D.
Brian and Louanne Horsfield
Simon Horvat
Robin S. Houston
llia Howard*
Dr. and Mrs. Daniel R. Hrdy*
Jim and Pat Hutchinson
W. Turrentine and Barbara
Jackson*
Dee Jacobson, D.V.M.*
Jesse Joad, M.D.
Eldon and Darleen Johnson
Dan Jordan
Ellen and Carl Jordan*
Thomas M. Kaiser*
Jerry and Teresa Kaneko
Kiyoshi and Irene Katsumoto*
Blake Keasey and
Carol Tomlinson-Keasey
Dan and Jane Keller
Caroline Kim
Prof. Joseph E. Kiskis, Jr.*
Barry and Gail Klein
Family of Norman Lamb*
Jeff Leibow*
Linda Leibow
Audrey Leff
Obie and Jill Leff
Natalie and Malcolm MacKenzie*
Douglas W. Macpherson and
Glayol Sabha, M.D.*
Winifred L. Madison
Michael J. Malone
Marilyn M. Mantay
Karen March
Eli D. and Megan Marriott
Leon and Janet Mayhew
Katherine Mawdsley and William
F. McCoy*
Greg McCall*
James and Beverly McCall
Michael McKay
Don and Lou McNary*
Albert J. and Helen McNeil*
Juan Fernando Medrano
Sharon Menke
Stephen W. Messano
Charles Menzel
Donald and Elizabeth Meyer
John D. Meyer family*
John and Norma Meyer
Stephen and Eileen Meyer
John C. Meyers, Pharm.D. and
Kay Johnston Meyers*
Maureen Miller
Andrew Mollner
Eileen and Ole Mols*
Jolanta Moore
Raphael S. Moore*
Eldridge Moores
Jocelyn and James G. Morris*
M. A. Morris*
Loretta Mouber
Ken T. Murai*
Maria Niederberger
Katherine T. Ockels
Catherine L. Olsen
Eliseo Otayco
Paul and Linda Parsons*
Roland C. Petersen
Diane and Herman Phaff*
Arjay Raffety*
K. V. and Claire S. Ravi
Anette Rehr
Michael S. Reid*
Eugene and Elizabeth Renkin*
Christopher Reynolds and
Alessa Johns*
Mr. and Mrs. Ralph L. Riggs*
Dr. and Mrs. Lawrence T. Rollins
Jerome and Sylvia Rosen*
Prof. Robert B. Rucker*
Richard St. John
Brian Salter
E. N. Sassenrath
James A. Scheinman
Prof. and Mrs. Calvin Schwabe*
Marilyn Sharrow
Mary Sherman
Judy Silver
Wayne Slawson and Jannalee
Smithey*
Wilson and Kathryn Smith*
Ed and Lois Spafford*
Vic Spain, D.V.M. and Noël
Rosales, M.D.
Noel Spellman
Sherman and Hannah Stein
Doris L. Stewart
Daniel Stowe
William Strauss
Donald and Elizabeth Strombeck
Thomas Sturges*
Richard Swift*
James and Sigrid Swinehardt
Steven D. Tallman*
Suzanne Teng
Debbie C. Thurmond and
Ruth B. Thurmond*
Brian and Beryl Tilley
Neil Tilley*
Norman D. Tilton
Amr Toppozada
Tousson and Geilan Toppozada
Johann and Sherry Trujillo*
Betty and Joe Tupin*
Anton F. Uhle*
Wanda Underhill
Diane and Joe Vandepeute
Rosalie and Larry Vanderhoef*
Dr. and Mrs. Roger Vinande•
Nancy Van Volkinburg
Liz Varnhagen
Kenneth M. Veit
Edith and Geerat Vermeij
Ken and Evelyn Verosub*
Daniel Thien Vu, M.D.
Arthur G. Wait
Carol Wall*
Shipley and Dick Walters
Janet Weigel
Marya Welch*
Bodil and Richard Wennberg*
Edward D. Wessler
Sheila and Michael Weston*
Brad R. Wetmore
F. Roy Willis
Lee and Jim Wockenfuss*
James and Roberta Woodress
Pauline Yau
Alice Yee
Jim and Doris Young*
Thomas A. Young
David Ziring
Dr. and Mrs. Philip Ziring
Office of the Provost**
UCD Symphony Orchestra
1992-93**
UCD Symphony Orchestra
1993-94*
AT&T Foundation*
Bechtel Foundation*
Canile alle Rive*
Chevron Foundation*
Los Alamitos Animal Hospital*
Moore, Meegan, Hanschu &
Kassenbrock*
National Medical Enterprises, Inc.
Paper Pizzazz*
Pioneer Hi-Bred
International, Inc.*
Proctor and Gamble Foundation
Sun Microsystems Foundation, Inc.
Wells-Fargo
Weyerhauser Company
Foundation
Zeneca, Inc.*
In honor of
Jerome and Sylvia Rosen*
In memoriam
Ed Blasius
Joe De Maria
Elizabeth Elkus
Ida Fellow
Carl Flowers
Robert Hanson
Frances Heller
Katherine H. Holoman
Norman E. Lamb*
Ruth Lemons
John Mouber
Mark Salmonsen
Dorothy Sherborne
Dorothy J. Shiely
Manuel Solis
William E. Valente
Charles Vincent
Jack Wakayama
Bodil Wennberg
Helen Weston
* = $1,000 or more
** = $10,000 or more
15

U C D S Y M P H O N Y E N D O W M E N T P L E D G E F O R M
Name
Address
Phone
Date
Total contribution ($) Amount enclosed ($)
Payment Schedule
Payments to be received by:
31 December 2000
31 December 2001
31 December 2002
Please make checks payable to UC Davis Foundation/UCD Symphony Endowment, and send them with this form to:
UCD Symphony Endowment
Department of Music
One Shields Avenue
University of California, Davis
Davis, CA 95616-8666
Contributions are tax-deductible. Gifts are eligible to be matched by corporations with matching gift programs. individual
donors will be listed alphabetically. Total contributions of $1,000 or more and $2,500 or more will be identified by asterisks.
If you prefer that your contribution not be so identified, please check here: [ ].
Gift to be matched by my employer: $
The UC Davis Foundation is a California non-profit, public benefit corporation organized for the purpose of encouraging
voluntary private support for the benefit of UC Davis and is recognized under federal and state tax laws as a qualified donee
for tax-deductible charitable contributions. Responsibility for governance of the Foundation, including investments, is
vested in its Board of Trustees, which is composed of community leaders and senior campus administrators.
Privacy Notice
The 1977 California Practices Act requires UC Davis to provide the following information to individuals asked to supply information about themselves:
UC Davis is requesting this information to maintain accurate donor files in the Office of University Relations. Furnishing the information is strictly voluntary and it will be maintained
confidentially. The information may be used by other University departments in the regular course of business but will not be disseminated to others except if required by law.
You have the right to review your own data file. inquiries should be forwarded to the Director of Administrative Services, Mrak Hall, University of California, Davis, CA 95616.
Donor’s Consent
The University is grateful for the support it receives from alumni and friends. On of the ways our thanks is expressed is through listing the names of donors in various publications. Should you
wish that your name not appear as a donor, please notify us if you have not already done so.