Untitled - UC Davis University Chorus and Chamber Singers

D E P A R T M E N T O F M U S I C P R E S E N T S T H E
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O R C H E S T R A
D . K E R N H O L O M A N , C O N D U C T O R
Universit
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J E F F R E Y T H O M A S C O N D U C T O R
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T H E
4 5 t h S E A S O N
2 0 0 3 - 2 0 0 4
Sunday, 23 November 2003
8:00 p.m. Jackson Hall, Mondavi Center
Friday, 5 December 2003
8:00 p.m. Jackson Hall, Mondavi Center
ucdso.ucdavis.edu
chorus.ucdavis.edu

T A B L E O F C O N T E N T S
S U N D A Y , 2 3 N O V E M B E R 2 0 0 3
8 : 0 0 P . M . J A C K S O N H A L L , M O N D A V I C E N T E R
23 November 2003
Program ...............................................2
About the Soloists ..................................3
Eldridge Moores Honored .......................3
Notes .................................................. 4
Texts and Translations ...........................5
5 December 2003
Program .............................................. 8
About the Soloists ................................. 9
Notes ................................................. 10
Texts and Translations .......................... 11
University Chorus .................................12
UC Davis Chorus Endowment ..................13
UC Davis Symphony ..............................14
UCDSO Endowed Seats ...........................15
UC Davis Symphony Endowment .............15
P R O G R A M
Concerto No. 3 for Piano and Orchestra in C Major, op. 26
Sergei Prokofiev
Andante; Allegro (1891–1953)
Andantino
Allegro ma non troppo
Amy Dissanayake, piano
Intermission
from Harold en Italie, H. 68
Hector Berlioz
Symphonie en 4 parties avec un alto principal (1803–1869)
movt. II: Marche de pèlerins chantant la prière du soir
movt. I: Harold aux montagnes. Scènes de mélancolie, de bonheur, et de joie
Ellen Ruth Rose, alto / viola
Zaïde, H. 107B
Bharati Soman, soprano
Sur les lagunes: Lamento, H. 84B, from Les Nuits d’été
Jonathan La Barge, baritone
Le Cinq Mai, H. 74
Chant sur la mort de l’Empereur Napoléon
David Newman, baritone
Marche funèbre pour la dernière scène d’Hamlet, H. 103
Please deactivate cell phones, pagers, and wrist-watches.
Please remain seated during the music, since distractions will be audible on the archive recording.
Flash photography and audio and video recording are strictly prohibited during the performance.
2

A B O U T T H E S O L O I S T S
E L D R I D G E M O O R E S H O N O R E D
Amy Dissanayake, piano
Prokofiev: Third Piano
Concerto
Praised by the Chicago
Tribune for her “dashing
virtuosity,” and hailed as
a “ferociously talented
pianist” by the Chicago
Sun Times, 2003–2004
artist-in-residence Amy Dissanayake has
served as the principal pianist of the Civic
Orchestra of Chicago for six years, and has
performed with the Chicago Symphony
Orchestra as an extra keyboardist. In addition
to concerts on 23 and 26 October 2003,
Dissanayake’s residency in Davis also includes
concerts on 20 and 21 May 2004, devoted
to a tango composing-and-recording project
undertaken by the faculty and graduate
students in composition.
Ellen Ruth Rose, viola
Berlioz: Harold en Italie
(excerpts)
Instructor of viola
and chamber music at
UC Davis, Ellen Ruth
Rose holds degrees in
performance from the
Juilliard School and
the Northwest German
Music Academy in Detmold, Germany, as
well as a B.A. in history and literature from
Harvard University. Rose is a member of
Empyrean Ensemble, the flagship new music
group at UC Davis, and Earplay, the San
Francisco-based contemporary ensemble. In
2003 she organized ViolaFest!, a Northern
California gathering of professional and
student violists to celebrate the publication
of an anthology of new music, The American
Viola, and traveled to France in June as soloist
with the UCDSO.
Bharati Soman, soprano
Berlioz: Zaïde
Bharati Soman, a
native of Virginia,
recently married a
native Californian and
relocated to Davis. She
made her debut this fall
with the Davis Comic
Opera Company as Mabel in the Pirates
of Penzance. Last May Soman covered the
role of Josephine in the UC Davis/DCOC
production of Gilbert & Sullivan’s H.M.S.
Pinafore. Soman is scheduled to make her
professional debut as Zerlina in Sacramento
Opera’s production of Don Giovanni in
September 2004.
Jonathan La Barge,
baritone
Berlioz: Sur les Lagunes
(Lamento)
Baritone Jonathan La
Barge is in his fourth
year at the University
of California, Davis,
working at a double
major in physics and music. He is currently
studying voice with baritone David Newman.
La Barge has performed as soloist with the
University Chorus and Chamber Singers,
under the direction of Jeffrey Thomas, but
this is his first appearance with the UCD
Symphony Orchestra. He recently was seen
with the University Chorus as the baritone
soloist for their performance of the Fauré
Requiem.
David Newman,
baritone
Berlioz: Le 5 Mai,
Chant sur la mort de
l’Empereur Napoléon
Well known to
audiences of his native
Philadelphia, baritone
David Newman is
earning a national reputation for his artistry
on the concert stage. He has appeared
regularly with the Four Nations Ensemble,
including performances at Lincoln Center
and Merkin Hall in New York City, and with
the American Bach Soloists. He traveled
to France in June 2003 with the UCDSO,
and has also appeared with the ensemble
in Copland’s Old American Songs, Berlioz’s
L’Enfance du Christ, and Haydn’s The
Creation. Newman heads the voice program
in the Department of Music at UC Davis.
On the joint occasions of his retirement from
the faculty of the University of California
and his sixty-fifth birthday, longtime UCDSO
cellist Eldridge Moores was honored during
an October rehearsal with a surprise birthday
party and the announcement by his wife, Judy
Moores, that his seat had been endowed in
perpetuity. (All this after a week of furtive e-
mails and other adroit maneuvers among the
principals: he really was surprised.) Moores has
been a member of the UCD Symphony since
1982; he started playing cello again in 1980 after
a 25-year lapse, working for two years in the
CSUS orchestra until he had rebuilt the skills
from his high school days.
Eldridge Moores acknowledges a stirring orchestral rendition
of “Happy Birthday” and tries, again, to explain tectonics
(Jackson Hall, 7 October 2003).
Moores, who holds the Ph.D. degree in geology
from Princeton University (1963), joined the
faculty as an assistant professor in 1966, retiring
in June 2003. His research focuses on tectonics
and structural geology from Greece to the Sierra
Nevada, and he is the author of several books
and many dozens of articles on the subject. He
was 1996 president of the Geological Society
of America. His other honors include the 1988
Geological Society of America Distinguished
Service Award, the 1994 Geological Association
of Canada Medal, and an honorary D. Sc. in
1997 from the College of Wooster. Additionally
he is a highly regarded populist and pundit—
subject, for example, of the best-selling book
Assembling California, published in 1993 by the
New Yorker writer John McPhee.
Eldridge Moores’s many colleagues and
chums in the orchestra were delighted when
he announced his non-retirement from the
orchestra just as his other news began to
circulate. The concert of 23 November 2003
honors his long career with the UCDSO.
3

P R O K O F I E V : C O N C E R T O N O . 3 F O R P I A N O A N D O R C H E S T R A I N C M A J O R , O P . 2 6
Prokofiev: Concerto No. 3 for Piano and
Orchestra in C Major, op. 26
Andante; Allegro
Andantino
Allegro ma non troppo
For piano solo; piccolo, flutes I–II, oboes
I–II, clarinets I–II, bassoons I–II; horns I–IV,
trumpets I–IV, trombones I–III; timpani, bass
drum, cymbals, tambourine, castanets; strings
Composed 1917–21, mostly 1921 in Etretât, on the
Brittany coast; several of the themes come from
works composed in pre-Revolutionary Russia
First performed 16 December 1921 by the
Chicago Symphony, Prokofiev, soloist; Frederick
Stock conducting. It was, however, a Paris
performance in 1922, with Serge Koussevitzky
conducting and Prokofiev as soloist, that
launched the international popularity of the
work.
Published by A. Gutheil (Moscow, 1923)
Duration: about 30 minutes
Prokofiev’s Third Concerto, which precedes the Ravel concertos by about a decade, remains
one of the most popular of the twentieth century. Like most piano concertos, it was written at
least in part to demonstrate the composer’s own prowess as soloist, and from the beginning, he
meant it to be a big work dominated by the solo part. Its genesis is a long story, with sketches
going back well before the First World War and the Classical Symphony together with an obvious
attempt to reconcile Parisian modernism and Soviet populism. It is his only concerto in the
standard three-movement design.
The high, searching theme of the Andante, for clarinet and then violins and flute, becomes a
principal element of the first movement as a whole. The soloist enters in the Allegro with such
ebullience that you may fail to note the simplicity of its two-line construction. The foil to that
proposition comes soon enough, first with the fortissimo chords and bouncings-back exchanged
between the soloist and strings, then at the visually impressive spot where the pianist pounds
out a passage of thick chords spread over the whole range of the instrument. This has been a
transition to the second group, where the woodwinds, with castanets and string pizzicatos, state
a waddling march. The rest of the movement is similarly clear of design: a bright scherzando, a
delectation on the opening Andante, a sudden turn to the faster tempo and quick passagework
that clearly anticipates climactic recapitulation. In fact development and recapitulation are,
as is often the case in Prokofiev, simultaneous operations. Once the recapitulating has been
accomplished there’s a dramatic glissando and fall in the piano and a moment where the forward
motion relents; the dashing scalar charge from the end of the development leads this time to the
final cadence.
The waddling that had characterized the second theme in the first movement is likewise a
feature of the Andantino, here rendered ever so slightly grotesque by the octave-falling grace
notes. Five variations follow: the first, mostly for piano, with the theme at the end, then a
tempestuous variation with piano and brass. The center variation involves rhapsodic triplet
figures in the solo part and, in the winds, a treatment that transforms the theme by inverting its
direction—a process that continues in the contemplative fourth variation and the almost violent
Russianness of the fifth. For a coda Prokofiev restates the theme, still in the woodwinds, but this
time quietly and twice as slow.
The contours of the bass ritornello that opens the last movement evoke the clarinet theme from
the beginning of the first movement. Its wide intervals and seesawings back and forth seem to
describe a circularity of overall motion; the second thematic motive, introduced in piano and
first violins, is at last angular in its sharp initial turn and rocket fall. Hammering reiterations of
the accompanying chords begin to be felt by the end of the exposition. The elements develop
as they go, with the slower passages in the middle confirming their close relationship with
passages in the first and third movements. Overall the form is rondo-like, with each return of the
main theme longer than before. Recapitulating takes the form of more and more conspicuous
revolutions of the initial theme, with the pounding ostinato coming to the fore at the end.
4

B E R L I O Z : B I C E N T E N A R Y T R I B U T E
Our June 2003 Berlioz bicentenary concert tour took us to Paris and to Berlioz country, with a
repertoire anchored by Harold en Italie, the composer’s second symphony—for the simple reason
that we of the UCDSO very much like this work and its soloist, that it is too-little played, and
that it signifies a certain level of bliss and tranquility that Berlioz otherwise rarely enjoyed. For
the rest the repertoire we chose sought to illuminate particular avenues of Berlioz’s aesthetic
world and compositional process.
Our tour was subtitled Marching with Berlioz (as was our commemorative CD), and so we
conclude tonight with the Marche funèbre pour la dernière scène d’Hamlet, with its spectacular,
Eroica-charged dissolution, one of Berlioz’s strongest single-movement works.
Our repertoire also included such central examples of the Berlioz mélodie as Zaïde and Sur les
lagunes: works on the one hand ephemeral and on the other the very keys to understanding
the mysteries of Berliozian melodic technique and orchestration. Finally we profited from our
collaboration with the Sorbonne and its chorus (and, tonight, with our own wonderful chorus)
to program Berlioz’s Napoleonic cantata, Le Cinq Mai, with its memorable “Pauvre soldat”
refrain. This is the work that lies between Harold
and the
Grande Messe des morts, one of the
vestiges of an aborted Fête musicale funèbre haunting the composer’s imagination at the time.
Berlioz 2003 meant, both for its organizers and for the musicians of the UCDSO, four years of
excited preparation for this period of celebrating the astonishing music of this most central figure
of Romanticism, this giant of French patrimony. The UCDSO found it a particular privilege to
be associated with Berlioz 2003, as did its conductor,
T E X T S A N D T R A N S L A T I O N S
—D. Kern Holoman
Harold en Italie, H. 68
For viola solo; piccolo, flutes I–II, oboes I–II,
English horn, clarinets I–II, bassoons I–IV;
horns I–IV, trumpets I–II, cornets à pistons I–II,
trombones I–III, ophicléide; timpani, cymbals,
triangle, tambourines; harp; strings
Composed January 1–June 1834 in Paris;
dedicated to Humbert Ferrand, a close friend of
the composer.
First performed 23 November 1834 at the Salle
du Conservatoire, Paris, Chrétien Urhan, viola
soloist, Narcisse Girard conducting.
Published by Brandus & Cie. (Paris, 1848)
as op. 26.
Inexpensive score: Hector Berlioz: Symphonie
fantastique and Harold in Italy in Full Score
(New York: Dover 1984).
Duration (movts. I–II): about 20 minutes
Zaïde: Boléro
«Ma ville, ma belle ville,
C’est Grenade au frais jardin;
C’est le palais d’Aladin,
Qui vaut Cordoue et Séville!
Tous ses balcons sont ouverts
Tous ses bassins diaphanes;
Toute la cour des sultanes
S’y tient sous les myrthes verts!»
Ainsi près de Zoraïde,
A sa voix donnant I’essor,
Chantait la jeune Zaïde,
Le pied dans ses mules d’or.
Ma ville, ma belle ville, &c.
La reine lui dit: «Ma fille,
D’ou viens-tu donc? —Je n’en sais rien.
—N’as-tu donc pas de famille ?
—Votre amour est tout mon bien!
Ô ma reine, j’ai pour père
Ce soleil plein de douceur.
La sierra, c’est ma mère,
Et les étoiles, mes soeurs!»
Ma ville, ma belle ville, &c.
Cependant sur la colline,
Zaïde à la nuit pleurait:
«Hélas! je suis orpheline;
De moi qui se chargerait?»
Un cavalier vit la belle,
La prit sur sa selle d’or.
Grenade hélas! est loin d’elle,
Mais Zaïde y rêve encor!
Ma ville, ma belle ville, &c.
Zaïde: Boléro
“My town, my lovely town,
’Tis Granada, with its cool gardens,
’Tis Aladdin’s Palace,
Just as fine as Cordoba and Seville!
All its balconies are open,
All its fountains clear;
All the court of the Sultan’s ladies
Is assembled ’neath the green myrtle.”
In such fashion beside Zoraïde,
Giving her voice free rein,
Did sing the young Zaïde,
With her feet in her golden slippers.
My town, my lovely town, etc.
The queen said to her: “My child,
Where do you come from? —I really do not know.
—Have you no relations?
—Your love is all I have!
O Queen, my father
Is the sun, so full of gentleness,
The sierra is my mother
And the stars are my sisters!”
My town, my lovely town, etc.
Nevertheless, on the hill,
Zaïde wept to the night:
“Alas, I am an orphan;
Who would take me into their care?”
A knight saw the maiden
And placed her on his golden saddle.
Granada, alas, is far away from her,
But Zaïde still dreams of it!
My town, my lovely town, etc.
Zaïde: Boléro, H. 107B
Version II: soprano, orchestra
Text: Roger de Beauvoir (1809–66), Les Meilleurs
Fruits de mon panier (Paris, 1862)
Composed November 1845.
First performed 29 November 1845 (Vienna:
Henriette Treffz, dir. Berlioz).
Published by Malherbe & Weingartner (1903).
Duration: 4 minutes
“Sur les lagunes: Lamento,” Les Nuits d’été,
H. 84B
Version II: baritone, orchestra
Text: Théophile Gautier (1811–72): La Comédie de
la mort (Paris, 1838)
Composed c. September 1841, with piano;
orchestrated March 1856.
First performed unknown.
Published by Winterthur: J. Rieter-Biedermann,
1856.
Duration: 6 minutes
5

Le Cinq Mai, H. 74, Chant sur la mort de
l’Empereur Napoléon
Text: Pierre-Jean de Béranger (1780–1857):
Chansons (Paris, 1821)
Composed 1835.
First performed 22 Nov 1835 (Paris: Salle du
Conservatoire, 20 basses solo, Narcisse Girard,
conducting).
Published by Paris: S. Richault, 1844
Duration: 12 minutes
Marche funèbre pour la dernière scène
d’Hamlet, H. 103
Composed November 1844.
First performance unknown.
Published by Tristia, version II (Paris: S.
Richault, 1852)
Duration: 9 minutes
(H. = Holoman, Catalogue of the Works of
Hector Berlioz)
Sur les Lagunes: Lamento
Ma belle amie est morte:
Je pleurerai toujours;
Sous la tombe elle emporte
Mon âme et mes amours.
Dans le ciel, sans m’attendre
Elle s’en retourna;
L’ange qui 1’emmena
Ne voulut pas me prendre.
Que mon sort est amer!
Ah! sans amour, s’en aller sur la mer!
La blanche créature
Est couchée au cercueil.
Comme dans la nature
Tout me paraît en deuil!
La colombe oubliée
Pleure et songe à 1’absent;
Mon âme pleure et sent
Qu’elle est dépareillée.
Que mon sort est amer!
Ah! sans amour, s’en aller sur la mer!
Sur moi la nuit immense
S’étend comme un linceul;
Je chante ma romance
Que le ciel entend seul.
Ah! comme elle était belle
Et comme je 1’aimais!
Je n’aimerai jamais
Une femme autant qu’elle.
Que mon sort est amer!
Ah! sans amour, s’en aller sur la mer!
On the Lagoons: Lament
My dear love is dead:
I will cry forever;
Into the grave she carries
My soul and my love.
To heaven, without waiting for me
She’s returned;
The angel that carried her
Did not want to take me.
How bitter is my fate!
Ah! loveless, to set out on the sea!
The white creature
Is lying in her coffin.
How all of Nature
Seems to me in mourning:
The forsaken dove
Cries and dreams of the absent one;
My soul cries and feels
Itself torn asunder.
How bitter is my fate!
Ah! loveless, to set out on the sea!
Over me the immense night
Stretches like a shroud.
I sing my romance
That heaven alone hears.
Oh, how she was beautiful,
And how I loved her!
I shall never love
Another woman so much as she.
How bitter is my fate!
Ah! loveless, to set out on the sea.
Le 5 Mai
Des Espagnols m’ont pris sur leur navire,
Aux bords lointains où tristement j’errais.
Humble débris d’un héroïque empire,
J’avais dans l’Inde éxilé mes regrets.
Mais loin du Cap, après cinq ans d’absence,
Sous le soleil je vogue plus joyeux.
Pauvre soldat, je reverrai la France:
La main d’un fils me fermera les yeux,
Dieu! le pilote a crié: Sainte Hélène!
Et voilà donc où languit le héros!
Bons Espagnols, là finit votre haine;
Nous maudissons ses fers et ses bourreaux,
Je ne puis rien pour sa délivrance:
Le temps n’est plus des trépas glorieux.
Pauvre soldat, je reverrai la France:
La main d’un fils me fermera les yeux,
Il fatiguait la Victoire à le suivre:
Elle était lasse; il ne l’attendit pas.
Trahi deux fois, ce grand homme a su vivre.
Mais quels serpents environnent ses pas!
De tout laurier un poison est l’essence;
La mort couronne un front victorieux.
Pauvre soldat, je reverrai la France:
La main d’un fils me fermera les yeux,
Dès qu’on signale une nef vagabonde,
«Serait-ce lui?» disent les potentats:
«Vient-il encor redemander le monde?
Armons soudain deux millions de soldats.»
Et lui, peut-être accablé de souffrance,
A la patrie adresse ses adieux.
Mais que vois-je au rivage? un drapeau noir!
Quoi! lui mourir! ô gloire, quel veuvage!
Autour de moi pleurent ses ennemis.
Loin de ce roc nous fuyons en silence;
L’astre du jour abandonne les cieux.
Pauvre soldat, je reverrai la France:
La main d’un fils me fermera les yeux,
The 5th of May
The Spanish have taken me on their vessel
To distant shores, where, sadly, I have wandered,
The humble remains of a heroic empire.
I left my regrets in the Indies;
Now, far from the Cape, after five years of absence,
I sail beneath a joyous sun.
This poor soldier will see France once more:
My son’s hand will close my eyes for the last time.
God! The pilot has cried out: St. Helena!
There where the hero languishes.
Good Spaniards, here put away your hatred.
We despise his chains, his captors,
But I can do nothing to free him.
For the times no longer allow the glorious end.
This poor soldier will see France once more:
My son’s hand will close my eyes for the last time.
It tired Victory out to pursue him
She was tired, and he did not wait for her.
Twice betrayed, the great man nevetheless survived.
But what serpents choked his path.
Poison is the essence of the laurel
Death crowns the victorious brow.
This poor soldier will see France once more:
My son’s hand will close my eyes for the last time.
The moment a wandering vessel signals
The governor asks “Could it be he? . . .
Here he is again conquering the world”
Arm, quickly, two million soldiers!
While he, overcome with suffering,
Adresses his farewell to his fatherland.
But what do I see on the shore? A black flag?
What? he has died? Oh glory, what loss!
All around me his enemies weep.
We flee that distant rock in silence
The bright morning star has left the heavens
This poor soldier will see France once more:
My son’s hand will close my eyes for the last time.
6

T A B L E O F C O N T E N T S
F R I D A Y , 5 D E C E M B E R 2 0 0 3
8 : 0 0 P . M . J A C K S O N H A L L , M O N D A V I C E N T E R
23 November 2003
Program ...............................................2
About the Soloists ..................................3
Eldridge Moores Honored .......................3
Notes .................................................. 4
Texts and Translations ...........................5
P R O G R A M
Concerto for Horn and Orchestra No. 2
Wolfgang-Amadeus Mozart
in E-flat Major, K. 417 (1756–1791)
Allegro maestoso
Andante
Rondo
David Simpson, French horn
5 December 2003
Program .............................................. 8
About the Soloists ................................. 9
Notes ................................................. 10
Texts and Translations .......................... 11
University Chorus .................................12
UC Davis Chorus Endowment ..................13
UC Davis Symphony ..............................14
UCDSO Endowed Seats ...........................15
UC Davis Symphony Endowment .............15
Missa in angustiis (“Lord Nelson Mass”)
Intermission
Joseph Haydn
Kyrie eleison (1732–1809)
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
Jennifer Brody, soprano
Katherine McKee, alto
Gary Ruschman, tenor
Malcolm MacKenzie, bass
Jeffrey Thomas, organ
8
Please deactivate cell phones, pagers, and wrist-watches.
Please remain seated during the music, since distractions will be audible on the archive recording.
Flash photography and audio and video recording are strictly prohibited during the performance.

A B O U T T H E S O L O I S T S
A current member of
both the San Francisco
Opera Chorus and
the American Bach
Soloists, soprano Jennifer
Brody has been singing
professionally for over
13 years. She’s had the
pleasure of studying opera
in Italy, singing with the
renowned Trinity Church Choir in New York
for four years, performing in Lincoln Center’s
summer festival, and helping children
produce, promote, and perform their own
original operas through Metropolitan Opera’s
“Creating Original Opera” program. She has
previously appeared with the UCDSO and
University Chorus in Haydn’s The Creation.
Her many awards and scholarships include:
McAllister Award regional finalist; Gratz
Festival scholarship recipient; Seattle Civic
Opera first place winner.
Katherine McKee, alto,
has performed as a
soloist with the San
Francisco Symphony
under the batons of
Michael Tilson Thomas,
Vance George, and
Emil DeCou, with the
American Bach Soloists
under the baton of
Jeffrey Thomas in Handel’s Dixit Dominus
and Messiah, and with Philharmonia Baroque
under the baton of Nicholas McGegan, as
well as in performances with the Oakland
Symphony Chorus, St. Luke’s Oratorio
Choir, the Camerata Singers of Monterey,
the San Francisco Choral Society, and the
Sanford Dole Ensemble. Opera roles include
Carmen (Carmen), Azucena, Principessa
(Suor Angelica), Countess (Andrea Chenier),
and Sister Jeanne (Dialogues of the Carmelites),
with companies such as Berkeley Opera, San
Francisco Lyric Opera, and Opera Manhattan.
Gary Ruschman, tenor,
has performed at the
Portland Opera (Mary
Stuart Rogers Fellow),
San Francisco Opera
Center, San Francisco
Opera Guild, California
Chamber Symphony/
San Francisco City
Chorus, Mark Morris
Dance Group, Ballet San Jose, California
Bach Society, Mock’s Crest Theatre, the
Mendocino Music Festival, and the San
Francisco World Music Festival. His solo
concert engagements include American
Bach Soloists’ Glory of San Marco, Messiah,
Carmina Burana, Bach’s Mass in B Minor and
Magnificat, and Haydn’s The Creation, Mass
in the Time of War, and Lord Nelson Mass,
among others. Favorites of his many roles
include Ferrando (Cosi fan tutte), Tamino
(Die Zauberflöte), Nanki-Poo (The Mikado),
Lindoro (Italian Girl in Algiers), and Lurcanio
(Handel’s Ariodante).
Formerly a resident artist
at Los Angeles Opera,
American baritone
Malcolm MacKenzie
began his professional
career in 1994, making
his debut as Harlekin in
Glimmerglass Opera’s
critically praised
production of Ariadne
auf Naxos. He has also had success in voice
competitions, including being a finalist in
Plácido Domingo’s Operalia World Opera
Competition in 1996 and as a winner of
the Metropolitan Opera Auditions Western
Region in the fall of 1997. Highlights of past
seasons include the title role in Don Giovanni
with the Dayton Opera (2000–2001), Donald
in Billy Budd with Paris Bastille Opera,
Sharpless with the Pittsburgh Opera, and
Frederick in Lakmé
with Michigan Opera
(2001–2002). MacKenzie lives with his wife
and two daughters in Davis.
David Simpson, French horn
Mozart: Second Horn Concerto
David Simpson has been a member of the UCD
Symphony since 2000 and is a senior Regent
Scholar pursuing a B.S. in Genetics and a minor
in Music. Principal French hornist in the UCDSO,
Simpson has also played in the New West Youth
Symphony (1996-2000, principal 1997-2000)
and All Southern Honor Orchestra (1998-2000,
principal 2000). Other performances include
the San Francisco Symphony Youth Orchestra,
Sacramento Youth Symphony, California
Youth Symphony, and Central Valley Youth
Symphony. He also enjoys playing with the
UCD Wind Ensemble, University Concert Band,
Sac State Horn Ensemble and other chamber
ensembles, especially horn quartets.
Simpson is the 2003–04 recipient of the
Lawrence J. Andrews Prize given to a student
entering their senior year who not only has
achieved academic excellence but who also
has demonstrated interests outside of pure
scholarship. David is also the 2003 winner of
the coveted Fannie Kopald Stein Award, given
annually by the Department of Music for
outstanding musical performance. Simpson
is first incumbent of the Kristin N. and David
R. Simpson French Horn chair, given by their
parents in honor of David and his sister Kristin,
principal trumpet in the UCDSO.
9

M O Z A R T : H O R N C O N C E R T O N O . 2 I N E - F L A T M A J O R , K . 4 1 7 A N D
H A Y D N : M I S S A I N A N G U S T I I S — “ L O R D N E L S O N M A S S ”
Mozart: Horn Concerto No. 2 in E-Flat Major,
K. 417
Allegro maestoso
Andante
Rondo
For horn solo; oboes I–II, horns I–II, strings
Composed 1783 in and around Vienna;
autograph dated 27 May 1783
Probably first performed and published
shortly afterward
Inexpensive scores: Wolfgang Amadeus
Mozart: Concerti for Wind Instruments in Full
Score, Dover 0-486-25228-0 (New York, 1986)
Duration: about 20 minutes
Haydn: Missa in Angustiis — “Lord Nelson
Mass”
Kyrie eleison
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
For soloists (SATB); chorus; trumpets I-III;
timpani; organ; strings
Text: traditional Latin
Composed 10 July 31–August 1798 in Eisenstadt
First performed 23 September 1798 in the
Stadtpfarrkirche (town parish church),
Eisenstadt
Published by Breitkopf & Härtel (Leipzig, 1803)
Duration: about 45 minutes
Mozart
The passage of two centuries has found little to challenge the supremacy of Mozart’s concertos
in the repertoire for solo wind instruments: flute, oboe, clarinet, bassoon, and horn. He wrote
them, mostly, to amuse the soloists themselves—noble dilettantes on the one hand and his
instrumentalist friends on the other—and their invited guests. As a result their outlook is
typically bright, their world unperturbed, their scale smallish. The sequence of movements is
conventional: a concerto-sonata first movement with orchestral ritornello, an Andante, and a
rondo. The usual orchestration is for strings with pairs of oboes and horns, and lacking clarinets,
trumpets, and drums—the “light”’ orchestra of the time. All are in major keys.
Three horn concertos are preserved complete. The First Concerto consists of two movements, an
Allegro (K. 412) and a Rondo (K. 514), now grouped together as K. 386b; it has recently been
shown that this is not a work of 1782 at all, as has generally been thought, but more likely an
incomplete concerto of 1791. Additionally bits and pieces for French horn and orchestra suggest
that Mozart may have composed as many as seven complete horn concertos.
All these works (possibly excepting the Third Concerto) were composed for a colorful character
named Joseph Leutgeb (sometimes called Ignaz; c. 1745–1811), a horn player from Salzburg
who, after some quite successful solo appearances in Paris, moved to Vienna to become a cheese
merchant. (In this enterprise he had the financial backing of none other than Leopold Mozart—
whose son, in turn, looked to Leutgeb for loans.) Mozart poked unmerciful fun at his friend: the
manuscript of K. 417 is headed “W. A. Mozart took pity on an ass, ox, and fool’”; the rondo to
K. 386b concludes (in catty Italian) “Finished! Thank God! Enough! Enough!” and carries an
unflattering sketch; the autograph of K. 495 is written in four different colors of ink, as though
one were insufficient to a person of limited mental powers. (Concerning Leutgeb’s cheese shop
it is worth noting that Mozart’s multi-talented librettist Lorenzo Da Ponte was also, for a short
time, a purveyor of comestibles.)
The concertos are for natural, valveless horn, on which chromatic alterations to the tonic scale
had to be produced by stopping the air column with the hand in the bell of the instrument. All
make considerable use of signals of posthorn and hunting horn, especially in the lively hunting
rondos that conclude each work. The best is often held to the Third Concerto, K. 447, with its
lovely Romanza in the rich and unusual key of A-flat and with clarinets and bassoons instead of
oboes and horns. But our own favorite single movement is the rondo of the Second Concerto,
which dwells on woodsy fanfares and trills and graces, and near the end introduces one of
Mozart’s most passionate closing themes.
—D. Kern Holoman
Haydn
Following the extraordinary success of his two sojourns in London, Haydn returned in 1795 to
his work as Kapellmeister for Prince Nikolas Esterházy the younger. The Prince wanted Haydn
to re-establish the Esterházy orchestra, disbanded by his unmusical father, Prince Anton. Haydn’s
return to active duty for the Esterházy family did not, however, signify a return to the isolated
and static atmosphere of the relatively remote Esterházy palace, which had been given up after
the elder Prince Nikolas’s death in 1790. Haydn was now able to work at the Prince’s residence
in Vienna for most of the year, retiring to the courtly lodgings at Eisenstadt during the summer.
His duties were light, the most important being the composition of a new mass each year in
honor of Princess Marie Hermenegild’s name day (8 September) for performance at Eisenstadt.
Of the resultant Masses, the Nelson Mass (1798) is perhaps the most popular. Written during an
especially intense moment of the Napoleonic Wars—namely the battle of the Nile—the piece
is listed in Haydn’s own catalogue as Missa in angustiis (“Mass in Time of Distress”); news of
Lord Nelson’s victory over Napoleon, however, was electrifying Allied Europe, and from its first
performance, the piece came to be known by its present title. In his biography of the composer,
Karl Geiringer notes that a chart of the battle of the Nile was found among Haydn’s papers.
Legend has further strengthened the connection: upon meeting Haydn in 1800, Admiral Nelson
is said to have asked for the pen with which the composer wrote the Mass in exchange for a gold
watch.
Written in dark D minor (it is Haydn’s only extant Mass in a minor key), the work displays an
intensity reminiscent of Haydn’s Sturm und Drang works partnered with the technical brilliance
10

N O T E S C O N T I N U E D
T E X T S A N D T R A N S L A T I O N S
H A Y D N : M I S S A I N A N G U S T I I S — “ L O R D N E L S O N M A S S ”
of the London symphonies. The opening
forgoes the Adagio introduction so common
in the symphonies and several other Masses
and launches directly into the Allegro
tempo with a fierceness well meriting the
choral invocation, Kyrie eleison (“Lord have
mercy”). Indeed this movement is infused
with a sense of desperation: the growing
intensity of the descending chromatics
“sighs” in the second Kyrie culminates with
the return of the original Kyrie music, now
made more heartrending by the soprano
soloist’s florid cries. Following the true spirit
of the text, painfully relevant in a time of
war, Haydn infuses the music here with a
prayerful urgency. The sounds of entreaty,
both individual and congregational, pervade
the Mass; they are united with stunning
perfection in the Qui tollis section of the
Gloria, where the soprano soloist’s petition
“Suscipe” (“Receive”) is followed by the
unison choral response “deprecationem
nostram” (“our prayer”).
Even in the traditionally upbeat sections
of the liturgy, the frequent turns to minor
harmonies invoke the upheaval wrought by
war and disallow a sense of emotional—and
auditory—complacency. After the optimistic
D-major opening of the Gloria, for example,
the music slips into E minor at the words
“et in terra pax hominibus” (“and peace
to His people on earth”); throughout the
section, D-minor inflections cloud the
laudatory mood of the first theme and
the text in general. The Benedictus is
even more startling. Rejecting the serene
musical language commonly associated
with this text, Haydn returns to D minor
and the martial character of the Kyrie in a
lengthy instrumental introduction complete
with trumpets and timpani. Yet however
overwhelming the brutalities and despair
of war, the final section of the Mass focuses
on peace. As entreaty is intrinsically an act
of hope, the “Dona nobis pacem” (“Grant
us peace”) shines bright with possibility.
Reaffirming again and again the final key of
D major, the music sweeps past any lingering
chromatic passages, invigorated to the end by
the shifting dynamics, broad choral lines, and
energetic, even merry, violin accompaniment.
—Kristi Brown-Montesano, BA ’85, UC
Davis; MA ’88, Ph.D. ’97, UC Berkeley
Kyrie
Kyrie eleison. Christe eleison. Kyrie eleison.
Lord, have mercy. Christ, have mercy. Lord, have
mercy.
Gloria
Gloria in excelsis Deo. Et in terra pax hominibus bonae
voluntatis. Laudamus te; benedicimus te; adoramus te;
glorificamus te. Gratias agimus tibi propter magnam
gloriam tuam. Domine Deus, Rex coelestis, Deus Pater
omnipotens. Domine Fili unigenite Jesu Christe altissime:
Domine Deus, Agnus Dei, Filius Patris:
Glory be to God in the highest. And on earth peace
to men of good will. We praise thee; we bless thee, we
worship thee; we glorify thee. We give thanks to thee
for thy great glory. Lord God, heavenly King, God the
Father almighty. O Lord, the only-begotten Son Jesus
Christ most high: Lord God, Lamb of God, Son of the
Father:
Qui tollis
Qui tollis peccata mundi, miserere nobis: Qui tollis
peccata mundi, suscipe deprecationem nostram: Qui sedes
ad dextram Patris, miserere nobis:
Thou that takest away the sins of the world, have
mercy upon us: Thou that takest away the sins of the
world, receive our prayer: Thou that sittest at the
right hand of the Father, have mercy upon us:
Quoniam tu solus
Quoniam tu solus sanctus, Tu solus Dominus, Tu solus
altissimus, Jesu Christe: Cum Sancto Spiritu in gloria Dei
Patris. Amen.
For thou only art holy, thou only art the Lord, thou
only art the most high, Jesus Christ: With the Holy
Ghost in the glory of God the Father. Amen.
Credo
Credo in unum Deum. Patrem omnipotentem, Creator
coeli et terrae, visibilium omnium et invisibilium: Et in
unum Dominum Jesum Christum, Filium Dei unigenitum,
et ex Patre natum ante omnia saecula: Deum de Deo,
Lumen de Lumine, Deum verum de Deo vero, Genitum
non factum, consubstantialem Patri, per quem omnia
facta sunt: Qui Propter nos homines et propter nostram
salutem descendit de coelis:
I believe in one God, the Father almighty, Creator
of heaven and earth, and of all things visible and
invisible: And in one Lord Jesus Christ, the onlybegotten
Son of God, begotten of the Father before all
worlds: God of God, Light of Light, very God of very
God; begotten not made; being of one substance with
the Father, by whom all things were made: who for us
men and for our salvation came down from heaven:
Et incarnatus
Et incarnatus est de Spiritu Sancto ex Maria virgine,
et homo factus est. Crucifixus etiam pro nobis sub
Pontio Pilato, passus et sepultus est.
and was incarnate by the Holy Ghost of the virgin
Mary, and was made man. He was crucified also for us
under Pontius Pilate, he suffered and was buried.
Et resurrexit
Et resurrexit tertia die, secundum scripturas: Et ascendit
in coelum. Sedet ad dextram Dei Patris. Et iterum
venturus est cum gloria judicare vivos et mortuos, cuius
regni non erit finis. Et in Spiritum Sanctum Dominum
et vivificantem, qui ex Patre Filioque procedit: Qui
cum Patre et Filio simul adoratur et conglorificatur: qui
locutus est per prophetas. Et unam sanctam catholicam
et apostolicam ecclesiam. Confiteor unum baptisma in
remissionem peccatorum. Et expecto resurrectionem
mortuorum et vitam venturi saeculi. Amen.
And the third day he rose again according to the
scriptures; and ascended into heaven. He sitteth at
the right hand of God the Father. And he shall come
again with glory to judge both the quick and the dead;
whose kingdom shall have no end. And in the Holy
Ghost the Lord and giver of life, who proceedeth
from the Father and the Son; who with the Father
and the Son together is worshipped and glorified; who
spake by the prophets. And in one holy, catholic and
apostolic church. I acknowledge one baptism for the
remission of sins, and I look for the resurrection of the
dead and the life of the world to come. Amen.
Sanctus
Sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli
et terra gloria ejus. Osanna in excelsis.
Holy, holy is the Lord God of Hosts. Heaven and
earth are full of his glory. Hosanna in the highest.
Benedictus
Benedictus qui venit in nomine Domini.
Blessed is he that cometh in the name of the Lord.
Osanna
Osanna in excelsis.
Hosanna in the highest.
Agnus Dei
Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus
Dei qui tollis peccata mundi, miserere nobis.
Lamb of God, that takest away the sins of the world,
have mercy upon us. Lamb of God, that takest away
the sins of the world, have mercy upon us.
Dona nobis
Dona nobis pacem.
Grant us peace.
11

U N I V E R S I T Y C H O R U S
2 0 0 3 – 2 0 0 4
Jeffrey Thomas, conductor
David Amrein, assistant conductor
Sopranos
Elena Alfieri
Pamela Bertleson
Jennifer Booth
Mallory Brown
Liz Cavagnaro
Barbara Celli
Courtney Coffin
Siobhan Flaherty
Alicia Flor
Sarah Flores
Nicole Fogarty
Gini Frauenthal
Marjorie Halloran
Kseniya Ishina
Yoojin Jung
Teresa Kick
Leslee Kurihara
Renée LaRose
Rebecca Larsen
Sharon Laz
Danielle Lemke
Karen Maquilan
Leila Motaei
Ka Wing Fiona Ng
Elizabeth Parks
Annie Pestolesi
Elenka Proulx
Regina Sikora
Sarah Stevenson
Teresa Tam
Christine Vahramian
Christa Walcott
Grace Yeh
Altos
Joanne Bournazos
Missy Cartelli
Monica Chau
Christine Chong
Katie Fast
April Ferre
Meghan Gibbens
Eugenia Gin
Alexa Golden
Jacqueline Gulegin
Danièle Gusland
Jenna Halverson
Jia He
Patricia Howe
Olivia Jaks
Katherine Johnson
Patrice Johnstone
Amber Kemp
Amarissa Kuhl
Julie Kulman
Kaliah Laney
Jean Lau
Candace Leung
Erika Leydig
Erin Lloyd
Elizabeth Loomer
Julie Lujano
Erin Morgado
Kimyen Nguyen
Eleni Nikitas
Amanda Ou
Kathleen Bo-Mie Pae
Patricia Peacock
Melanie Quitoriano
Sarah Roby
Martha Rodriguez
Stephanie Ross
Christina Roth
Cynthia Sperry
Jessica Tonnies
Kristina Trombly
Kelley Way
Michelle Wilson
Judy Wang
Flora Wong
Yieng Wong
Katie Zieg
Tenors
David Amrein
Seth Arnopole
Mark Feng
J. Scott Hildebrand
Richard Kulmann
Kevin Man
Gary Matteson
Liani C. Moore
Chris Neff
David Park
Joseph Ramirez
Mark Sabugal
Timothy Sato
Jeremy Smith
J.P. Torres
Basses
Chris Bennett
Hyung Cha
Lance Cheney
Eric Chow
Lawrence Chukwueke
Christopher Chun
Aaron Driver
David Do
Tom Dotan
Nathan Ferguson
Jerrett Gentile
Jeff Hockenson
Nikolas Hoepker
Greg Jung
Alex Kloehn
Kirk Kolodji
Jonathan LaBarge
Jonathan Lai
Michael Molano
Matthew Moy
Andrew Noto
Mark Pearce
Adam Quest
Vinay Reddy
Eric Sneathen
Yoshua Tanu
John Tiner
Dick Walters
12

T H E U C D A V I S C H O R U S E N D O W M E N T
A N N U A L D O N O R S
U C D A V I S C H O R U S E N D O W M E N T
F O U N D E R ’ S C L U B M E M B E R S
Mitzi S. Aguirre
Michelle A. Alderson
Timothy Ankcorn and
Tammy Williams-Ankcorn
John and Beth Baker
Marilane & Benjamin Bergfelt
A. T. Brown
Noel K. & Benjamin G. Bruening
Lynn L. Campbell and
Robert N. Campbell, Ph.D.
Gary D. Cannon
Hua-Ching Chang and
Ging-Song Chang, Ph.D.
Jonni and Terry Conway
Hugh C. and Susan B. Conwell
Terry and Marybeth Cook
Philip Cooper and Leslie L. Cooper, D.V.M.
Linda Sue Davison
Lara C. Deleon
Mr. and Mrs. Carlo Delumpa
Martha Dickman
Frank Djeng
Susan E. Donahue
Cheryl Dring
Julie Van Du
Mr. and Mrs. Jonathan Elkus
Jennifer L. Fearing
Roxanne Femling
Kathryn and David Fitzgerald
Lynn M. Fowler
Anna Frampton and
James A. Frampton, Ph.D.
Darlene B. Franz
Dennis and Sharon Freitas
Linda C. Garcia
Carrie Gifford
Michael J. Gillogley, M.D. and
Katherine M. Gillogley, M.D.
Paul William Grant
John Tracy Grose
Arienne Harkavy
David and Annmarie Heller
Mary and Rand Herbert
Joanne and Ratchford Higgins
Molly Hillard
Judith and Justin Holmes
Henry Hom
Kenneth Hom
Chuck Huneke
Pamela Jerrit
Anne Lindau Johnson and
Willard Johnson, Jr.
Adam and Shelley Kavlick
Renee and David Kemena
Marcia Kreith and Kurt Kreith, Ph.D.
Paula Kudo and Hideo Kubo, Ph.D.
Alan Lems
Annie and Richard C. Li
Carl Lyngholm
Marilyn Mantay
Matthew McGibney
Kristen and Brian McInnis
Cindy and Dennis McNeil
Amelie C. Mel De Fontenay
Jeffrey P. Mihaly
Evan P. Monheit
Grace and Grant Noda
Almerindo and Denise Ojeda
Charles Palm
Rhonda M. Papas
Elizabeth A. Parks
C. Suzie and Gregory Prough
Wilhelmina G. Riemann, Ph.D.
Carrie Roback
Warren G. Roberts
Karen J. Roseland
Vasiliki Sakkis
Michael Sand
William D. Senecal
Ellen Sherman
Allegra Silberstein
G. William Skinner and Susan Mann
Mary S. Sprifke
David and Linda Steinberg
Warren and Eiko Taylor
Wanda Underhill
Margaret M. Valva
Lori Wang
Heather L. Wark-Parr
Mr. and Mrs. Douglas L. Wendell, Ph.D.
Rose M. Williams
Ed and Eleanor Witter
Friends of the California State Fair
Ann & Gordon Getty Foundation*
Jackson Family Trust*
Overland Music Distributors
Sacramento Philharmonic
Sacramento River Cats Baseball Club, LCC
San Diego Opera
Westminster Presbyterian Women
Edwin D. Witter, Jr., Rev. Trust*
Founder’s Club Members
Kathleen Cady
Donna M. Di Grazia
Leland and Susan Faust
Prof. and Mrs. D. Kern Holoman
Barbara K. Jackson
Joan and Russell Jones
Elizabeth Langland and Jerry Jahn
Leslie and Dana Leong
Gary and Jane Matteson
Hugh and Deborah McDevitt
Patricia K. Moore and
Chester G. Moore, Jr., Ph.D.
Jeffrey and Janice Pettit
Mr. and Mrs. Roy Shaked
Patricia L. Shepherd
Jeffrey Thomas
Larry and Rosalie Vanderhoef
Founders Club…An Invitation to Join
The UC Davis Chorus Endowment is off to a great
start. We’ve already received more than $40,000
in gifts and pledges. This is a stunning achievement,
especially considering the fact that the
fund was established less than a year ago.
Earlier this year, we announced that we had
a goal of $50,000. We’re so close to that now,
we’ve decided to extend the initial offering
for membership in the Founders Club through
the end of the 2003–2004 concert season. (The
Founders Club recognizes the Chorus’ most
generous benefactors, and its members will
receive permanent recognition in all future
Chorus programs. Donors of any amount up
to $1,000 are acknowledged annually.)
And along with this extension comes the
establishment of a new goal for the Endowment:
$100,000 by June 2004! Now is the time to
build a legacy for the future of vocal music
at UC Davis. Join us... and thank you!
* = $1,000 or more
13

T H E U C D A V I S S Y M P H O N Y O R C H E S T R A
2 0 0 3 – 2 0 0 4
D. Kern Holoman, conductor
David Amrein, assistant conductor
Philip Daley, manager
Violin I
**Cynthia Bates, concertmaster
**Nicole Makram,
associate concertmaster
Augusta Abrahamse
**Clairelee Leiser Bulkley
Eva Chang
Mike Choi
**Jane Clayson
Jamie Cline
Joan Crow
Kristen Jones
Raphael Moore
**Judy Riggs
Nicholas Weis
Graham Terry
Warren Wang
Cindi Yorita
Violin II
**Fawzi S. Haimor,
principal violin II
**Shari Gueffroy,
assistant principal
Michelle Church-Reeves
Helen Cuningham
Philip Daley
Brie Hassall
Barry Kersting
Jenny Kim
Jinoo Lee
Alain Manguy
Eileen Mols
Miriam A. Munguia
Lorena Rincon
Alice Tackett
Viola
**William Chang Jr., principal
Marianne Batchelder
James Chitwood
Stephanie Cheung
Sarah Freier-Miller
Holly Harrison
Chelsea Johnson
Zoe Kemmerling
Jessica Lee
Emi Ludemann
Melissa Lyans
Elena Peris Moll
Jocelyn Morris
Dennis Muldoon
Melody Mundy
Esther Park
Michael Reid
Justina Wang
Cello
**Aaron Benavidez, principal
Christopher Allen
Shawn Alpay
Courtney Castaneda
Kyle Greenman
*Julie Hochman
*Susan Lamb Cook
Tracy McCarthy
**Eldridge Moores
Caroline Rougée
*Judy McCall
Christopher Tzeng
Amanda Wilder
Christine Zdunkiewicz
Bass
Greg Brucker, principal
Cheryl Beller
*Thomas Derthick
Brian Loeb
Azusa Murata
Jack O’Reilly
Eric Price
Ashley Thorne
Flute
Susan Monticello, principal
Steve Doo
Yuko Hoshino
Si-Young Lee
Oboe
**Luis de la Torre, principal
Lacy Collum
Jane Hsieh
Vanessa Ringgold
Clarinet
**Erin Dann, principal
Jennifer Hill
Molly Laughlin
Kiel Small
Bassoon
**David Rehman, principal
Betsy Alford
Carissa Brehm
Sarah Thrasher
Harp
Jeanna Kim
Constance Koo
Horn
**David Simpson, principal
Jonathan Anderson
Tyler T. Fong
Kristin Hodge
Adam Norvelle
Lynne Swant
Trumpet
**Kristin Kellett, principal
Nick Antipa
Tobias Glik
Maroniae Oleson
Robert D. Pearson
Trombone
**Rebecca Brover, principal
**Roy Cockrell
Bass Trombone
**Brian McCurdy
Tuba
**Robert B. Rucker
**Adam Sartain
Percussion
**David Cebell, principal
Jesse Davis
Paul Glanville
Erik Oleson
For UC Davis Department of Music Productions:
Ulla McDaniel, production manager; Joan Crow, graphic designer; Heather Ford,
assistant public events manager; Joshua Paterson, assistant production manager;
William Beck, recording engineer; David Simpson, assistant to Prof. Holoman
* = guest professional musicians, faculty, or alumni of UCDSO
** = holder of endowed seat
14

T H E U C D A V I S S Y M P H O N Y E N D O W M E N T
2 0 0 1 – 2 0 0 3
T H E U C D S Y M P H O N Y E N D O W M E N T
E N D O W E D S E A T S
in orchestral seating order
Endowed seats are made possible by gifts of $10,000 or more.
*New in 2003–04
Mitzi S. Aguirre
Priscilla Alexander
W. Jeffery Alfriend, D.V.M.**
Christopher Allen
Mr. and Mrs. James T. Allen, Ph.D.
John and Elaine Arnold
Dennis T. Aronson
David M. Ashkenaze, M.D.*
Jerry Aten
John T. Bakos, M.D.
Robert and Joan Ball*
Lisa Bertaccini
Cynthia Bates*
William Beck and Yu-Hui Chang
Matthew and Shari Benard-Gueffroy**
Oscar and Shula Blumenthal
Robert and Phyllis Bolt
Ann C. Bonham, Ph.D.
William and Sandy Brehm
Rebecca Anne Brover**
Robert and Hilary Brover**
Clairelee Leiser and Ralph Bulkley**
Walter and Marija Bunter*
Mary Kay Burke
Cheryl Cabasso and Phillip Cabasso, M.D.
Ray and Mary Cabral*
Robert and Lynn Campbell
Don and Dolores Chakerian*
Joan L. Chambers
Sydney R. Charles
Marianne Chatterton
Kathleen Church
Jane Clayson**
Jamie and Jason Cline
Terry and Marybeth Cook
Dennis B. and Susan Lamb Cook
Jason Cooney
Craig and Joyce Copelan
Richard and Elizabeth Corbett
James and Kathy Coulter
T.B. Crair, M.D. and Nathan Crair
Richard Cramer and Martha Dickman*
Allan and Joan Crow*
Erin Dann
Charles and Faith Dann
E. L. and Gladys Davis
Martha Dickman
Mary Christine Evans
April Ferre
James D. Fessenden
Prof. Gail Finney
Tyler T Fong*
Darlene Franz
Marvin and Susan Friedman**
Ryan Friedman
Edwin and Sevgi Friedrich
Jeremy and Allison Ganter
Anne Gray
Vicki Gumm and Kling Family
Foundation**
Otilia Guzman
Prof. and Mrs. Said Haimor*
Steven Hanks
Jeanette Hantke
Benjamin and Lynette Hart**
Lorena J. Herrig*
Roland and Barbara Hoermann
Michael Hogarth
Prof. and Mrs. D. Kern Holoman**
Mr. and Mrs. W. Kern Holoman
Debra Horney, M.D.**
Brian and Louanne Horsfield*
Claudia Horvath
Robin S. Houston
Margaret Hoyt*
Dr. and Mrs. Daniel R. Hrdy*
Barbara Jackson**
Jesse Joad, M.D.
Baerbel Juenger
Dan and Jane Keller
Bob and Kathy Kerr
Prof. Joseph E. Kiskis, Jr.*
Family of Norman Lamb*
Elizabeth Langland and Jerry Jahn
Elmer and Arlene Learn
Obie and Jill Leff
Dr. Richard Levine*
Lynn and John Loeb
Natalie and Malcolm MacKenzie*
Douglas W. Macpherson and Glayol Sabha,
M.D.*
Winifred L. Madison
Maurice and Nicole Makram
Marilyn M. Mantay
Marjorie March*
Jeanne Martin
Gary and Jane Matteson
Katherine Mawdsley and William F. McCoy*
Scott A. Mayfield and Caroline Y. Mayfield,
D.V.M.
Janet Mayhew
Greg and Judy McCall*
William McCoy
Brian McCurdy and Carol Anne
Muncaster**
Don and Lou McNary*
Albert J. and Helen McNeil*
Sharon Menke
Donald and Elizabeth Meyer
John and Norma Meyer
Marcia Meyers
Yuri Michielsen
Maureen Miller
Andrew Mollner**
Joseph Dean Mollner**
Eileen and Ole Mols*
Jolanta Moore**
Raphael S. and Netania Moore*
Eldridge and Judith Moores**
James G. and Jocelyn Morris**
Mary Ann Morris*
Martha and John Muldoon
Miriam Munguia
Ken T. Murai*
Margaret Neu
Mark O’Reilly
Pablo Ortiz and Ana Peluffa
Paul and Linda Parsons*
Robert Pearson
Herman and Diane Phaff**
Mrs. Marjorie Phillips
Delphean Quan
Alanna and Joseph Rantala
K.V. and Claire S. Ravi
Anette Rehr
Fred and Martha Rehrman
Eugene and Elizabeth Renkin*
Dr. Robert H. Rice
Mr. and Mrs. Ralph L. Riggs**
Peter and M. Elaine Rock
Susanne Rockwell and Brian Sway
Dr. and Mrs. Lawrence T. Rollins
Roger and Anne Romani
Jerome and Sylvia Rosen*
Profs. Robert B. and Margaret Rucker**
Brian Salter
Laurie San Martin and Sam Nichols
E. N. Sassenrath*
The conductor’s podium was presented by Wilson and Kathryn Smith in honor of D. Kern Holoman.
* = $1,000 or more; ** = $10,000 or more
Robert Scheetz
Bruce Schlobohm
Prof. and Mrs. Calvin Schwabe*
Barbara Sellers-Young
Sandra Shannonhouse
Marilyn Sharrow
Barbara L. Sheldon
Ellen Sherman*
Jeffrey and Mary Ellen Sherman
Richard and Gayle Simpson**
JoAn Skinner
Wilson and Kathryn Smith**
Leslie Snow
Lois Spafford*
Sherman and Hannah Stein
Dr. and Mrs. Roydon G. F. Steinke
William Strauss
Thomas Sturges*
David and Meg Swant
Lynne Swant
Richard Swift*
James and Sigrid Swinehardt
Alice Tackett*
Steven D. Tallman*
Dr. and Mrs. Lee Thorne
Norman D. Tilton
Damian Siu Ming Ting**
Tousson and Geilan Toppozada
Roseanna Torretto
Dorothy Tregea
Wanda Underhill
Rosalie and Larry Vanderhoef*
Robert Vann
Elizabeth Varnhagen
Kenneth M. Veit
Ellis Verosub
Shipley and Dick Walters*
Marya Welch*
John and Eva Wellington
Edward D. Wessler
Brad and Deborah Wetmore
Darin Wilson
Allison Woodruff
John Wrzesien
F. P. and A. Lynne Zakaria
David Ziring, M.D.
Dr. and Mrs. Philip Ziring
Office of the Provost**
UCD Symphony Orchestra 1992–93,
1993–94**
In honor of
Randolph Hunt by Benjamin and
Lynette Hart
Jerome and Sylvia Rosen*
In memoriam
Ronald J. Alexander
Robert M. Cello
Elizabeth Elkus
Carl Flowers
Verna Fournes Le Maitre
Katherine H. Holoman
Norman E. Lamb
Michelle Mantay
John Mouber
Mel Olson
Herman Phaff
Keith Riddick
Dorothy J. Shiely
William E. Valente
Bodil Wennberg
Cynthia Bates
Cynthia Bates concertmaster
presented by Debra Horney, M.D.
Nicole Makram
Damian Ting associate concertmaster
presented by Damian Siu Ming Ting
Clairelee Leiser Bulkley
Clairelee Leiser Bulkley violin I
presented by Clairelee Leiser Bulkley and Ralph E. Bulkley
*Jane Clayson
Jane Clayson violin I
presented by Jane Clayson
*Raphael S. Moore
Raphael S. Moore violin I
presented by Jolanta Moore in memory of Raphael’s
grandmother, Dr. Irena Anna Henner
Judy Riggs
Ralph and Judy Riggs violin I
presented by Ralph and Judy Riggs
Fawzi S. Haimor
Fawzi S. Haimor principal violin II
presented by Barbara K. Jackson
Shari Benard-Gueffroy
Shari Benard-Gueffroy assistant principal violin II
presented by Shari Benard-Gueffroy
William Chang, Jr.
Jocelyn Morris principal viola
presented by James and Jocelyn Morris
Aaron Benavidez
Herman Phaff principal cello
presented by Herman and Diane Phaff
*Eldridge Moores
Eldridge Moores cello
presented by Eldridge and Judith Moores
Luis de la Torre
Wilson and Kathryn Smith principal oboe
presented by Wilson and Kathryn Smith
Erin Dann
W. Jeffery Alfriend D.V.M. principal clarinet
presented by Vicki Gumm and Kling Family Foundation
*David Rehman
Kling Family Foundation principal bassoon
presented by Vicki Gumm and Kling Family Foundation
David Simpson
Kristin N. Kellett and David R. Simpson principal French horn
presented by Richard and Gayle Simpson
Kristin N. Kellett
Andrew Mollner principal trumpet
presented by Joseph Dean Mollner and Andrew Mollner
Rebecca A. Brover
Rebecca A. Brover principal trombone
presented by Rebecca A. Brover
Roy Cockrell
Michael J. Malone trombone
presented by Brian McCurdy and Carol Anne Muncaster
Brian McCurdy
Brian McCurdy bass trombone
presented by Barbara K. Jackson
Adam Sartain
Robert B. Rucker tuba
presented by Robert and Margaret Rucker
TBA
Calvin B. Arnason principal harp
presented by Benjamin and Lynette Hart
David Cebell
Friedman family principal percussion
presented by Marvin and Susan Friedman
15

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
Sy
mp
ph
ho
ny
T H E
4 5 t h
pO O R C H E S T R A
5 S E A S O N
2 0 0 3 - 2 0 0 4
23 NOV / 5 DEC / 8 FEB / 14 MARCH / 16 MAY
ucdso.ucdavis.edu
UNIVERSITY CHORUS 6 JUNE 2004
chorus.ucdavis.edu