Symphony - UCDSO Archive

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 

Symphony 

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 

University Chorus 

sunday, 12 february 

sunday, 5 march 

monday, 6 march 

sunday, 12 march 

2006 

mondavi center 

and Chamber Singers 

J e f f r e y t h o m a s , c o n D u c t o r 

B e n J a m i n K r e i t h , v i o l i n 

2006 artist-in-residence

2 

t a B l e o f c o n t e n t s 

february 12 program ....................2 

march 5 program ........................6 

chorus & chamber singers roster ..14 

chorus endowment ....................15 

march 6 program .......................16 

march 12 program ......................18 

ucDso roster ............................21 

ucDso endowed seats ............... 22 

ucDso endowment .................... 23 

s u n D a y , f e B r u a r y 1 2 , 2 0 0 6 

8 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 

u c D a v i s s y m p h o n y o r c h e s t r a 

D. Kern holoman, conductor 

susan lamb cook, cello 

p r o G r a m 

Fantasia on a Theme by Thomas Tallis Ralph Vaughan Williams 

(1872–1958) 

Symphony, op. 21 Anton Webern 

Ruhig schreitend (1883–1945) 

Variationen (Theme and 7 Variations) 

InTeRmISSIon 

Cello Concerto in e minor, op. 85 edward elgar 

Adagio; Moderato (1857–1934) 

Lento; Allegro molto 

Adagio 

Allegro; Moderato; Allegro, ma non troppo 

Susan Lamb Cook, cello 

This concert celebrates Lou and Don McNary's love of our campus and its orchestra. 

The current roster, listing of donors and endowed seats, and news of interest appear on pp. 21–24. 

Please deactivate cell phones, pagers, and wrist-watches. 

Please remain seated during the music, since distractions will be audible on the archive recording. 

Photography and audio and video recording are strictly prohibited during the performance.

l o u ' s c e l l o 

a B o u t t h e a r t i s t 

Currently artist affiliate in cello and chamber music at UC Davis, susan lamb cook performs frequently in northern 

California and can be heard regularly on Capital Public Radio. She holds a Bachelor of music and a master of 

Fine Arts degree from the University of Iowa, where she studied with Charles Wendt, and a degree with honors 

in performance from the Academy of music in Vienna. While in europe, Lamb Cook studied with Angelica may 

and participated in master classes with André navarra, Paul Tortelier, and Ralph Kirshbaum. As soloist, Lamb 

Cook has appeared with orchestras in europe, the United States, and the middle east. She has performed with the 

Cairo Symphony in the Cairo opera House in egypt, the Vienna Bach Soloists in the musikverein in Vienna, the 

International Bartók Chamber orchestra in Kassel, Germany, and the Vancouver Symphony. Her 1999 U.S. premiere 

of Kenneth Leighton’s Cello Concerto was met with critical acclaim. 

Susan Lamb Cook is an active member of the California Association of Professional music Teachers and the 

American String Teachers Association, and is co-author of Guide to Teaching Strings by norman Lamb. In recent 

years, her focus on music education has taken her to public schools around the region offering performances and 

presentations, and visiting individual classrooms. Supported by grants from the Rumsey Community Fund and the 

Richard and Dorothy Swift Fund for the Arts to the Sacramento Youth Symphony, Lamb Cook will soon work with 

children in the esparto area. Her work developing the Sacramento Youth Symphony’s Chamber music Workshop, 

which is now in its 17th year, has earned recognition from Chamber music America, based in new York. Lamb 

Cook is a member of the Sacramento Philharmonic orchestra and the Gold Coast Trio (with violinist Rachel Vetter 

Huang and pianist Hao Huang). 

The Gold Coast Trio’s popularity has grown since its formation in 2002 as ensemble-in-residence for the Classical 

music Festival in eisenstadt, Austria. Its concerts are always met with enthusiasm, and a recent performance of the 

Beethoven Triple Concerto with the Reno Philharmonic as part of the 2005 Lake Tahoe music Festival was met with 

a standing ovation. The Gold Coast Trio will return to eisenstadt as ensemble-in-residence for the 2006 Classical 

music Festival where it will perform as part of the prestigious Haydn Festspiele concert series. 

Lamb Cook has recorded works by Daniel Kingman for Innova Records and has released a CD of works by 

Rachmaninoff for cello and piano, and a CD by the Gold Coast Trio, both on the Agnelli label. 

When Lou mcnary, longtime cellist with the UC Davis Symphony orchestra, was a young 

student, her music teacher scolded her for her hesitant playing. “You play timidly! Timidly!” 

she exhorted the 8-year-old. 

But mcnary misheard her and went home in confusion. “I asked my mother, ‘Why is my 

teacher calling my cello Timothy?’” The name became an affectionate sobriquet for her 

future instruments, including a beautiful cello her parents gave her that was made in 1752. 

“many people have names for their cellos because the cello is such a large presence in your 

life,” she says. 

In April 2005, mcnary presented Timothy, along with several bows, to the Department of 

music. 

“Stringed instruments need to be played like pearls need to be worn,” she says. “otherwise, 

they lose their luster.” 

mcnary played Timothy as an undergraduate at Berkeley, where she majored in music. She 

continued playing when she and her husband Don moved to Davis in 1967, when he took a 

job raising funds for the campus. And she played Timothy in Australia and Tahiti when the 

UCD Symphony orchestra made its Bastille Day tour in 1989. 

“We owe a lot of happiness in the latter part of our lives to UC Davis,” she says. 

courtney castaneda, susan 

lamb cook, and lou mcnary 

The donation to the Department of music insures that Timothy will continue to be played. Susan Lamb Cook, UC Davis’ artist 

affiliate in cello who was on hand for the presentation of Timothy, brought tears to the eyes of the mcnarys when she played a Bach 

prelude on the cello—coincidentally one of Lou’s favorite works. 

“Gifts like Lou’s cello are always precious to a teaching program, particularly at a public institution, where they can offer deserving 

students an eye- and ear-opening boost that is never forgotten,” says D. Kern Holoman. “That Lou and Don are long-running, 

cornerstone affiliates of our organization makes it richer still. We treasure their distinguished history of support and we’re delighted 

that Lou chose us to house and protect this fine instrument.” 

3

vaughan Williams: fantasia on a 

theme by thomas tallis 

for two string orchestras: the second 

orchestra consists of nine players 

(double string quartet and bass), 

placed at a distance from the first; 

the solo quartet parts are played by 

the principals 

composed June 1910 for the 

Gloucester Festival that year; 

revised 1913 and 1919 

first performed 6 September 1910 at 

the Gloucester Festival, the composer 

conducting 

published by Goodwin & Tabb 

(London, 1921); later Boosey & Hawkes 

Duration about 15 minutes 

Webern: symphony, op. 21 

for clarinet, bass clarinet; horns I-II; 

harp; strings 

composed November 1927–August 

1928; dedicated to the composer’s 

daughter, Christine; used to fulfill 

a commission from the American 

League of Composers, June 1929 

first performed 18 December 1929 by 

the Philadelphia Orchestra, Alexander 

Smallens conducting 

published by Universal Edition 

(Vienna, 1929) 


4 

n o t e s 

Tallis’s theme, “Why fum’th in fight?”, is the third of nine hymn tunes he composed for Archbishop 

matthew Parker’s The Whole Psalter translated into English Metre (London, 1567). Thomas Tallis 

(c.1505–85) was an organist and composer at the Dover Priory, in London, and at Waltham Abbey, 

later a Gentleman of the Chapel Royal under Henry VIII, mary, and elizabeth I. Vaughan Williams was 

attracted to the tune while working as editor on The English Hymnal, where it serves for hymn 92, “When 

rising from the bed of death.” 

The melody is interesting: modal, metrically complex, elegantly shaped, perhaps a little stern. Vaughan 

Williams achieves marvelous registral and textural effects in treating it, and the subtle antiphony often 

leaves you wondering where a particular echo came from. The very idea of the work, thoroughly of its 

time and place yet dwelling in a golden age four centuries earlier, is imaginative in the extreme. other 

composers—Respighi and Rimsky come to mind—had tried rather similar effects, but none with such 

sophisticated result. 

After the two-bar chordal introduction, molto sostenuto, the theme emerges from the low strings beneath 

the static high note in the violins. The many repeated pitches, suggestive of chant, impart the ecclesiastical 

quality. The restatement is prevailingly homophonic, tinted with the tremolandos in the uppermost 

voices, though toward the end the second violins begin a very gentle ornamentation in rippling sixteenths. 

echoes begin to cycle between the orchestras. 

The episode for viola and violin solo presents the second phrase of Tallis’s theme, with responses from 

the orchestras. A short polyphonic digression is undertaken by the solo quartet, and the antiphonal forces 

proceed to develop this material and lead it into an expansive homophonic climax. In the third section, 

the violin and viola solos continue, this time not in alternation but contrapuntally. The coda recollects 

an earlier closure, then cadences beneath the arpeggiated ascent of the solo violin. 

The many intricate relationships afoot in this short work, Webern’s first serial essay for orchestra, 

result from his overriding concern with symmetry. Symmetries exist on horizontal and vertical planes, 

orchestrationally, and so forth—so many of them, in fact, that you may return to the work again and 

again before you begin to understand all that’s going on. 

one of the ultimate symmetries of structure is the palindrome, where at its midpoint a statement turns 

back and mirrors itself horizontally. Both movements of the Symphony involve formal palindromes, and 

the twelve-tone row Webern uses is itself palindromic for the interval pattern of the second six notes is 

an exact mirror of the first six. (These become audible, to the willing ear, as a sort of melodic motive.) 

Another kind of symmetry, at work in the first movement, is that of canonic practice, where the leading 

voice dictates exactly what the follower must do. The scoring, for four winds and the four string sections, 

with a harp in between, suggests a sort of double quartetness of still another kind of bilateral design. 

But for all these devices what will probably seem most novel on a first hearing is the overall linear organization 

of the symphony, where the melodic progress is fashioned of individual pitches linked across wide 

vertical intervals and over horizontal expanses peppered with rests. Webern’s treatment of musical space, 

in short, is radical indeed, and it requires that you suspend your typical mode of equating line with a 

particular segment of the performing force. The polyphonic interplay is perceived in the mix of registers, 

timbres, and dynamics that defines this unique kind of sonority. As an impressionistic tactic, it quite outdoes 

the French. 

The first movement embraces a kind of sonata form, but this is less clear to the ear than the canons operating 

in the winds and strings: the viola, for example, answers the cello note-for-note, but by contrary 

motion. A similar relationship exists between the second and first horn and then the clarinet and bass 

clarinet. In the second half there occurs a prominent palindrome: the cello leaps up nearly an octave, the 

harp in the low bass turns around on itself, and the cello goes back where it came from, all this enclosed 

with fermatas. once that has happened, everything else turns back, note for note, and what had come 

before, comes again. (“my end is my beginning,” as Guillaume de machaut put it in a similar composition 

centuries before.) The final section begins where the string soloists remove their mutes. 

The second movement consists of a theme based on a mutation of the original row and seven variations 

of the usual sort: by tempo, scoring, and texture. In the eleven-bar theme, you may sense the mirror at 

work when the four eighth notes in the middle return immediately to the dialogue of quarters. By the 

time one has heard the tiny fourth variation, which pivots between the fermatas, it may have become 

clear that each of the variations is a palindrome as well. And what follows the midpoint clearly mirrors 

and balances the first half. A third movement was projected for the Symphony, but Webern abandoned 

work on it in August 1928.

n o t e s 

Twice during my tenure (most recently in november 2000, with Anssi Karttunen), the UCDSo 

has enjoyed studying and performing the Dvoˇrák Cello Concerto, one of a celebrated pair of late- 

Romantic concerti for that instrument. The other is elgar’s wonderful concerto of reflection, despair, and 

resignation at the finalities of its epoch: the loss of a generation of england’s youth, the loss, indeed, of a 

civilization. Lady elgar went out for the last time to its premiere, and died the following April. 

Since then the work has been inextricably associated, too, with the cellist Jacqueline du Pré (1945–87), 

both for the epochal recording she made in December 1965 with Sir John Barbirolli and the London So 

(emI—still one of that firm’s best-selling recordings) and because her multiple sclerosis was diagnosed 

just afterward. The elgar recording session was her first with a major orchestra. The concertmaster later 

recalled: “When I saw her play, and from only a few feet away, I was totally, totally knocked out! It was so 

beautiful and so inspired and so magical, that I didn’t speak to her. There was nothing one could say.” 

There’s one more pairing I should like you to think about with this performance: that of the elgar 

Concerto with the Berg Violin Concerto we will be playing at our next concert. Berg’s work dates from 

1935, thus from the end of the period between the wars while the elgar is from the beginning. Both are 

lushly post-Romantic in ambiance and sound world, both commemorative of loss, both provocative in 

their rethinking of the concerto form. more on that below (p. 19). 

elgar composes four brief movements instead of the traditional three more extended ones. The work opens 

memorably indeed, for we are thrust directly into the lament, a simple A-B-A form, with the four chords 

from the solo cello in the first bar. Listen carefully for the suave merger of the cello line with the true 

first theme, presented by the violas alone—then gathering at last into the bold tutti statement with trombones 

and tuba. The second subject is more animated, with woodwinds, but quickly recedes again into the 

lament. 

This is followed, almost without pause, by the furtive, scherzo-like Allegro molto: nature music with 

hints of birdcalls in the cello line. The Adagio, in B-flat major, returns to a soulful mode, where cello 

lyric gathers over lyric into a second discursive lament. Finally, as though the introspection were done, a 

true sonata-movement finale emerges with serious orchestral participation and the more typical conflict 

and contrast between the roles of soloist and orchestra. But the soloist veers again, at the end, into an 

extended cadenza-like soliloquy, citing among its several themes that of the previous movement. At length 

it returns to the opening chords of the concerto, as a wrenching cry of despair. The orchestra, as though 

not knowing what to do next, simply chops the movement closed—“as if,” wrote michael Kennedy, 

memorably, “too much had been revealed.” 

—DKH 

(Quotations after Frank Beck, an analysis posted on the website of the elgar Society and elgar Foundation.) 

elgar: cello concerto in e minor, 

op. 85 

for cello solo; flutes I–II, oboes 

I–II, clarinets I–II, bassoons I-II; 

horns I–IV, trumpets I–II, trombones 

I–III, tuba; timpani; strings 

composed 1918–19 at Brinkwells, a 

cottage in Sussex 

first performed 26 October 

1919, London: Queen’s Hall, Felix 

Salmond, cello, London SO, the 

composer conducting 

published by Novello (London, 

1921). Inexpensive score: Edward 

Elgar: Cello Concerto in E Minor in 

Full Score (Dover Scores, 2001; ISBN 

0486418960) 

Duration: about 30 minutes 

Discover our podcast service ucdso.ucdavis.edu 

Symphony 

O R C H E S T R A 

Michael Morgan, guest conductor. Chabrier: Fête polonaise from Le 

roi malgré lui; Ibert: Concertino da camera, with Joseph Abad, alto 

saxophone; Brahms: Symphony No. 1 in C Minor, op. 68. [$14/11/8 A; 

$7/5.50/4 S & C] 

Sun, May 21, 2006 8 pm Jackson Hall, Mondavi Center 

Information: 530.752.0948 or ucdso.ucdavis.edu 

Tickets: 530.754.2787 or MondaviArts.org 

5

6 

s u n D a y , m a r c h 5 , 2 0 0 6 

8 p m , J a c K s o n , m o n D a v i c e n t e r 

u n i v e r s i t y c h o r u s & c h a m B e r s i n G e r s 

Jeffrey thomas, conductor 

David Deffner, organ 

Zoila muñoz, mezzo-soprano 

David newman, baritone 

p r o G r a m 

O sacrum convivium olivier messiaen 

(1908–92) 

Quatre Motets sur des thèmes Grégoriens, op. 10 maurice Duruflé 

Ubi caritas (1902–86) 

Tota pulchra es 

Tu es Petrus 

Tantum ergo 

Exultate Deo Francis Poulenc 

(1899–1963) 

Quatre Motets pour un temps de Pénitence Poulenc 

Timor et tremor 

Vinea mea electa 

Tenebræ factae sunt 

Tristis est anima mea 

Salve Regina Poulenc 

Chamber Singers 

InTeRmISSIon 

Cantique de Jean Racine, op. 11 Gabriel Fauré 

(1845–1924) 

Requiem, op. 9 Duruflé 

Introit 

Kyrie 

Domine Jesu Christe 

Sactus 

Pie Jesu 

Agnus Dei 

Lux æterna 

Libera me 

In Paradisum 





a B o u t t h e a r t i s t s 

David Deffner has been a church musician for 35 years and has been making music in the Sacramento area for 13 years. 

In addition to solo organ recitals and piano duet recitals with his wife ellen Schinnerer Deffner, he has performed with 

the Sacramento Area Bach Festival, the Sacramento Symphony orchestra, and the Sacramento Chamber orchestra. 

Currently, Deffner teaches at American River College and UC Davis, and is director of music at Davis Community 

Church. Deffner received his doctorate in church music from northwestern University and holds degrees from 

Valparaiso University and the University of minnesota. He studied conducting with Helmuth Rilling at the Staatliche 

Hochschule für musik in Frankfurt and has studied organ with Karel Paukert, Philip Gehring, and Wolfgang Rübsam. 

Peruvian-born mezzo-soprano Zoila muñoz teaches voice on the faculties of UC Davis and CSU Sacramento and 

is artistic director of Apollo opera in the Sierra foothills. She has given extensive recitals in Italian, German lied, 

French songs, and Spanish songs in France, Germany, and Spain. In California, she has performed with monroe 

Kanouse and Brian Ganz, and appeared frequently with Jeffrey Thomas and the American Bach Soloists, with whom 

she can be heard on recordings of Bach’s B-minor mass and Haydn’s “Lord nelson” mass. 

muñoz has long been identified with the title role of Carmen, having sung the part in seven productions, from 

Regensburg and metz to Boston and Walla Walla. Additionally she has appeared in the major monteverdi and 

Handel roles with nikolaus Harnoncourt and Jean-Claude malgoire. She has also sung some of the most delicious 

roles from the nineteenth and twentieth centuries, including the Rossini heroines Isabella and Rosina, Baba the Turk 

in Stravinsky’s The Rake’s Progress, and in Berlioz’ Béatrice et Bénédict, Gounod’s Mireille, and Delibes’s Lakmé. 

muñoz holds degrees in vocal performance from the new england Conservatory and the Salzburg mozarteum, and 

is currently artist-in-residence at Apollo Arts, where she sings a different song repertoire each week. Her mentors 

include John moriarty, John Wustman, eric Werba, and Paul Schilhawsky. 

American baritone David allen newman enjoys an active and varied concert career throughout north America. 

Hailed as “superb” by the Washington Post and noted by the Sacramento Bee for his “rather perfect oratorio voice,” he 

is in particular demand as a Bach specialist. He has performed messiah with Tafelmusik, Portland Baroque orchestra, 

Jacksonville Symphony, and with masterwork Chorus in Carnegie Hall; St. John Passion with the American Bach 

Soloists, Carmel Bach Festival, Chorale Delaware, and the Bach Chamber orchestra of Honolulu; and St. matthew 

Passion with the Bach Society of St. Louis, Baroque Choral Guild, San Francisco Bach Choir, and a national tour 

with the combined forces of Santa Fe Pro musica and the Smithsonian Chamber Players. He was a featured soloist in 

the Sorbonne’s 2003 Festival Berlioz in Paris with the UC Davis Symphony orchestra. 

newman appears regularly as a guest artist with the Four nations ensemble, including performances in Lincoln 

Center and merkin Hall, and has also performed with the Spoleto Festival, opera Company of Philadelphia, 

metropolitan opera Guild, opera Birmingham, Philadelphia orchestra, and the Russian national orchestra. 

newman has taught voice at UC Davis and San Jose State University, and currently teaches at the University 

of Virginia. 

7

8 

n o t e s 

Both Fauré’s cantique de Jean racine (which begins the second half of tonight’s program) and messaien’s o sacrum convivium are the work of 

young composers. Gabriel Fauré was only twenty years old, and still a student at the École niedermeyer, when he composed his first masterpiece. 

Based on a text by the seventeenth-century French dramatist Jean Baptiste Racine, it is full of the same purity and openness found in many of 

Franz Schubert’s early works, which must have been an inspiration to Fauré, as evidenced especially in the accompaniment and lyrical writing for 

men’s voices. olivier messaien was also quite young, just approaching thirty, when he composed his only motet O sacrum convivium. Here rich 

harmonies are employed in an extremely gentle setting. messaien was to serve for more than 60 years as organist of La Trinité. He was appointed to 

that post in 1930, seven years before he composed the motet, and in the same year that maurice Duruflé was appointed organist at St. Etienne du 

Mont. Duruflé held this position until 1968, and while at St. Etienne du Mont, he composed his Quatre motets sur des thèmes grégoriens, opus 10. 

Duruflé incorporated Gregorian chant into most of his compositions; the references to plainsong in these motets are striking and, in most cases, 

constitute direct quotes. Duruflé’s four motets based on Gregorian themes are so immediately ravishing to the ear that one might never wish to hear 

unaccompanied plainsong ever again. Duruflé’s utilization of authentic chant tunes draws us into a slightly false sense of consonance and tonality, 

as chant always does. each motet begins with clear, unadulterated statements of the plainsong melodies. Throughout the course of each piece, 

repetitions of those melodies (or fragments of them) contribute to our perception of tonality. In the first motet, Ubi caritas, only the lower voices of 

the ensemble begin, the sopranos being reserved for the central section, where they enter singing the tune a fifth higher than the altos had done. 

In Tota pulchra es and Tu es Petrus, frequent repetitions of the opening figure of the chant tune develop solid concepts of tonal centers. The final 

motet, Tantum ergo, introduces the chant tune in the sopranos, who are followed by the tenors in a not-exact canon. Their reiteration of the theme 

is slightly ornamented, as if inspired by the unspoiled version sung by the sopranos. Duruflé asks the tenors to stand out in the balance just a bit (un 

peu en dehors), while the altos and basses sing an accompaniment based on the intervals of the chant. Duruflé was a very fine organist, as well as a 

composer of (mostly very difficult) music for the organ. There is a certain discernible similarity between these settings and the sort of improvisations 

that were an obligatory part of French organists’ careers. 

Francis Poulenc—despite a lack of formal training in composition, and a refusal for admission to the Paris Conservatoire—became one of the most 

prominent composers of his age. His first composition (Rhapsodie negre) attracted considerable attention and earned for him a place among Les 

Six. The group (Georges Auric, Louis Durey, Arthur Honegger, Darius milhaud, Poulenc, and Germaine Tailleferre) was considered to be musical 

revolutionaries who rebelled against Wagner and Impressionism, all greatly influenced by erik Satie and Jean Cocteau. While not really comprising 

a school of composition, and assembled more or less arbitrarily, they proved to be a noticeably individualistic assemblage, eventually diverging in 

their compositional styles, of which Poulenc’s is utterly unique. Frequent use of dual modalities and harmonic twists and turns (major and minor 

harmonies at the same time); dark, sultry, and rich seventh chords; and clashing minor second intervals are the keystones of this, and indeed all 

of his works. equally prominent are elements of Renaissance polyphony, popular jazz harmonies of the 1920s and ’30s, and occasional moments of 

ecstatic spirituality, all inimitably conflated. Poulenc produced a good number of film, theatrical, and operatic scores, but following a reawakening 

of his previously dormant Catholic faith, following the death of his close friend, the composer Pierre-octave Ferroud, he focused for several years 

on religious works. Litanies à la Vierge Noire (1936), mass in G (1937), Quatre motets pour un temps de pénitance (1939), Exultate Deo (1941), 

Salve Regina (1941), Stabat Mater (1950), Quatre Motets pour le temps de Noël (1952), and the Gloria (1959) were the products of this highly 

inspired period of creativity. While exultate Deo, at least until halfway through, obviously draws from compositional styles of centuries before 

(despite its lascivious final chord), and salve regina similarly quotes phrase structures of the Renaissance, the four Lenten motets (“for a time of 

penitence”) are as overtly colorful and gripping as they are dripping with passion. —JT 


and Chamber Singers 

J e f f r e y t h o m a s , c o n D u c t o r 

InformatIon: 530.752.0948 or Chorus.uCDavis.eDu 

tIckets: 530.754.2787 or MonDaviarts.org 

Fri, May 19, 2006 8 pM Davis CoMMunity ChurCh, 412 C st: University Chamber Singers. Works by Haydn 

and Mozart. [Suggested donation at door only, $10 a; $5 s & C] 

sun, June 4, 2006 8 pM JaCkson hall, MonDavi Center: University Chorus, Alumni Chorus, and UC Davis 

Symphony Orchestra, Jeffrey Thomas, conducting. Carl Orff: Carmina Burana with Shawnette Sulker, soprano, Gerald 

Thomas Gray, tenor, and Malcolm MacKenzie, baritone.

n o t e s 

Duruflé’s Requiem exists in three scorings: the first for full orchestra and organ; the second for organ 

alone; and, from the 1960s, for organ and chamber ensemble. We will perform the second version. 

Scoring references in the following notes pertain to the first version. 

maurice Duruflé was born in Louviers, near Rouen, and was, according to his own account, rather 

summarily deposited in the choir school of the Rouen cathedral on easter Sunday 1912. There he mastered 

the liturgy and corpus of Gregorian chant, both in its conventional performance with organ accompaniment 

and in the free “oratorical rhythm” promoted by the monks of Solesmes, whose work was then achieving 

currency. (The performance style that combines these two approaches is still favored in and around Rouen, 

notably at the monastery of St. Wandrille; the organ presently in use at the Rouen cathedral was given by 

Duruflé.) All Duruflé’s work, whether notated or improvised, took wing from pre-existing plainchant. 

At the conclusion of the war of 1914–18, Duruflé moved to Paris to study with the preeminent organists 

of the era, Charles Tournemire (1870–1939) and Louis Vierne (1870–1937; both had been students of 

Franck and Widor) and to enroll at the Conservatoire. Having won first prizes in organ (1922, in the class 

of eugène Gigout), harmony (1924), fugue (1924), and accompaniment (1926), he completed his studies 

in 1928 as a student of Paul Dukas. In 1930 he was appointed organist at St. Étienne-du-mont, a position 

he held for the rest of his life, and in 1943 was named professor of harmony at the Conservatoire and chief 

assistant to marcel Dupré, the professor of organ. 

At the Conservatoire he met and in 1953 married the brilliant young organist marie-madeleine, née 

Chevalier. As traveling concert artists appearing throughout the world during the 1960s and early 1970s 

the Duruflés became the leading exponents of the French organ School, a chapter that ended when they 

were both critically injured in a 1975 automobile accident in southern France. The fragile old man lingered 

until 1986; mme Duruflé returned to the organ loft at St. Étienne during the Christmas season of 1976 and 

gradually resumed her teaching and concert activity, including an appearance in new York for a Duruflé 

festival in 1989. 

one’s first impression of this Requiem from so late as 1947 may be of a quaint anachronism, owing in large 

measure to the apparent naiveté with which the compositional materials are deployed, but also to the 

several striking comparisons with Fauré’s Requiem of six decades previous. Like Fauré, Duruflé omits the 

terrifying medieval poem Dies irae to focus on the texts of assurance and consolation, especially the words 

“requiem æternam” that appear in nearly every movement. Both long movements, Domine Jesu Christe and 

Libera me, offset their violent images with tranquil closure—the bottomless pit and the mouth of the lion 

met with the promise to Abraham and his seed, trembling humanity at the Last Judgment countered with 

the assumption of eternal rest and perpetual light. The closing In Paradisum confirms our growing sense 

that the work is very much of its time and place: in lieu of the typically saccharine angels-and-harps (in 

the tradition, I regret to note, of the Fausts of Berlioz and Liszt) comes a haunting study in modernist tonal 

vocabulary, as seventh- and ninth-chords arpeggiate and congregate, resolving at length to a tonic F-sharp 

major with added, almost promissory, e and G-sharp. 

one way or another each movement takes its melody from the traditional plainsong: the phrase sung 

by tenors and basses at the very start, for instance, is the same melody that forms the tenor voice of 

Josquin Desprez’s Déploration sur la mort de Johannes Ockeghem of perhaps 1497. In the Kyrie the chant 

serves both for the head-motive of the fugal opening and for the long-note proclamations from the 

trumpet and trombone, cantus-firmus fashion. Then, too, Duruflé absorbs the liquescence of the chant 

sources in terms of their overall shape; this is particularly sensed in the ebbings away of each movement, 

such that the work seems unified by its fond descrescendos to close. In short it is a good example of what 

the French like to think of as decorative art, where refinement and good taste (le goût français) are valued 

over unseemly display. We are meant less to struggle with the conflicted Catholic view of the hereafter 

than to savor its musical details: the little noël for Lux æternam, perhaps, with its answering orchestral 

fauxbourdon, the overtly sentimental orchestral lingerings in the Agnus Dei and elsewhere, the deft pairing 

of the english horns. 

—DKH 

Duruflé: requiem, op. 9 

for soloists (mezzo-soprano, 

baritone), chorus (SATB); piccolo, 

flutes I–II, oboes I–II, English horns 

I–II, clarinets I–II, bass clarinet, 

bassoons I–II; horns I–IV, trumpets 

I–III, trombones I–III, tuba; timpani, 

bass drum, cymbals, tam-tam; 

celesta, harp, organ; strings 

composed 1947. Dedicated “to the 

memory of my father” 

first performed 1947, Roger 

Desormière conducting. Published 

by Durand & Cie (Paris, 1950) 


9

o s a c r u m c o n v i v i u m 

O sacrum convivium, 

in quo Christus sumitur recolitur 

memoria passionis ejus. 

Mens impletur gratia 

et futuræ gloriæ nobis pignus datur. 

Q u a t r e m o t e t s s u r D e s t h È m e s G r É G o r i e n s 

Ubi caritas 

Ubi caritas et amor, Deus ibi est. 

Congregavit nos in unum Christi amor. 

Exsultemus et in ipso jucundemur. 

Timeamus et amemus Deum vivum. 

Et ex corde diligamus nos sincero. 

Amen. 

Tota pulchra es 

Tota pulchra es, Maria, et macula originalis non est in te. 

Vestimentum tuum candidum quasi nix, et facies tua sicut sol. 

Tu gloria Jerusalem, tu lætitia Israel, tu honorificentia populi nostri. 

10 

t e X t s 

o sacred banquet 

at which Christ is received 

the memory of his passion is renewed, 

our souls are filled with grace, 

and a pledge of future is given to us. 

Where charity and love are, God is there. 

Christ’s love has gathered us into one. 

Let us rejoice and be pleased in Him. 

Let us fear, and let us love the living God. 

And may we love each other with a sincere heart. 

Amen. 

Thou art fair, o mary, and the stain of original sin is not in thee. 

Your vestments are as white as snow, and your face is like the sun. 

Thou art the glory of Jerusalem, the joy of Israel, and the honor of our people. 

Tu es Petrus 

Tu es Petrus et super hanc petram ædificabo Ecclesiam meam. Thou art Peter and upon this rock I shall build my Church. 

Tantum ergo 

Tantum ergo Sacramentum 

Veneremur cernui, 

Et antiquum documentum 

Novo cedat ritui, 

Præstet fides supplementum 

Sensuum defectui. 

Genitori, genitoque 

Laus et jubilatio, 

Salus, honor, virtus quoque 

Sit et benedictio, 

Procedenti ab utroque 

Compar sit laudatio. 

Amen. 

e X u l t a t e D e o 

Exultate Deo, adjutori nostro 

Jubilate Deo Jacob. 

Sumite psalmum, et date tympanum 

Cum cithara Psalterium jucundum. 

Buccinate in neomenia tuba, 

Insigni die solemnitatis vestræ. 

Q u a t r e m o t e t s p o u r u n t e m p s D e p É n i t e n c e 

Timor et tremor 

Timor et tremor venerunt super me, 

et caligo cecidit super me, 

miserere mei Domine, 

miserere quoniam, in te confidit anima mea. 

Exaudi Deus deprecationem meam 

quia refugium meum es 

tu adjutor fortis Domine 

invocavi te non confundar. 

Let us therefore, bowing low, 

Venerate so great a Sacrament; 

And let the old law 

Give way to the new rite; 

Let faith afford assistance 

To the deficiency of the senses. 

To the Begetter and the Begotten 

Let there be praise and jubilation, 

Salvation and honor, 

And power and blessing, 

And to the one proceeding from both 

Let there be equal praise. 

Amen. 

Sing aloud unto God our strength: 

make a joyful noise unto the God of Jacob. 

Take a psalm, and bring hither the timbrel, 

the pleasant harp with the psaltery. 

Blow up the trumpet in the new moon, 

in the time appointed, on our solemn feast day. 

Fear and terror have settled upon me; 

the shadows have invaded me. 

Have mercy on me, Lord; have mercy. 

Unto you I commend my spirit. 

Hear, o Lord, my prayer, 

for you are my refuge 

and my succour, all-powerful Lord 

and I invoke Thee: let me never be confounded.

Vinea mea electa 

Vinea mea electa, ego te plantavi: 

quomodo conversa es in amaritudinem, 

ut me crucifigures et Barrabam dimitteres. 

Sepivi te, et lapides elegi ex te, 

et ædificavi turrim. 

Tenebræ factae sunt 

Tenebræ factae sunt, dum crucifixissent Jesum Judaei, 

et circa horam nonam exclamavit Jesus voce magna: 

Deus meus, ut quid me dereliquisti? 

Et inclinato capite, emisit spiritum. 

Exclamans Jesus voce magna, ait: 

Pater, in manus tuas commendo spiritum meum. 

Tristis est anima mea 

Tristis est anima mea usque ad mortem: 

sustinete hic, et vigilate mecum: 

nunc videbitis turbam, quæ circumdabit me. 

Vos fugam capietis, et ego vadam immolari pro vobis. 

Ecce appropinquat hora, et Filius hominis 

tradetur in manus peccatorum. 

s a l v e r e G i n a 

Salve Regina, Mater Misericordiae, 

Vita, dulcedo, et spes nostra, Salve! 

Ad te clamamus, exsules filii [H]evae, 

Ad te suspiramus, gementes et flentes, 

In hac lacrimarum valle. 

Eja ergo, Advocata nostra, 

Illos tuos misericordes oculos ad nos converte 

Et Jesum, benedictum fructum ventris tui, 

Nobis, post hoc exilium, ostende, 

O clemens, O pia, O dulcis Virgo Maria. 

InTeRmISSIon 

c a n t i Q u e D e J e a n r a c i n e 

Verbe, égal au Très-Haut, notre unique espèrance, 

Jour éternel de la terre et des cieux; 

De la paisible nuit nous rompons le silence, 

Divin Sauveur, jette sur nous les yeux! 

Répands sur nous le feu de ta grâce puissante, 

Que tout l’enfer fuie au son de ta voix; 

Dissipe le sommeil d’une âme languissante, 

Qui la conduit à l’oubli de tes lois! 

O Christ soit favorable à ce peuple fidèle 

Pour te bénir maintenant rassemblé. 

Reçois les chants qu’il offre à ta gloire immortelle, 

Et de tes dons qu’il retourne comblé! 

t e X t s 

o vineyard, my chosen one! I planted you: 

how are you changed from sweet to bitter, 

to have crucified me and released Barrabas? 

I protected you; I have removed stones that could bother you 

and built a tower for your defense. 

Shadows covered the earth, when the Jews crucified Jesus, 

and toward the ninth hour Jesus let forth a great cry, saying: 

“my God, why hast Thou forsaken me?” 

And lowering his head, he gave up the spirit. 

Jesus, crying out in a great voice, said: 

“Father, into thy hands I commend my spirit.” 

Sad is my soul unto death: 

stay here, and keep watch with me: 

soon you will see a crowd of men surround me. 

You shall flee, and I will go to be sacrificed for you. 

Here is the approaching hour when the Son of man 

will be delivered into the hands of sinful man. 

Hail Holy Queen, mother of mercy 

[Hail] our life, our sweetness and our hope! 

To thee do we cry, poor banished children of eve, 

To thee do we send up our sighs, 

mourning and weeping in this valley of tears. 

Turn, then, o most gracious advocate, 

Thine eyes of mercy and after this our exile 

Show unto us the blessed fruit of thy womb, Jesus. 

o clement, o loving, o sweet Virgin mary. 

Word of God the most high, our sole hope, 

eternal day of the earth and heavens; 

as we break the silence of the peaceful night 

divine saviour, look down upon us. 

Imbue us with the fire of thy great mercy, 

so that hell itself will flee at the sound of your voice; 

disperse the sleep which leads our languishing souls 

to stray from the path of righteousness! 

o Christ show your favor to your faithful people 

who have come together to worship you. 

Receive the praises that they offer up to your immortal glory, 

and may they come back laden with the gift of your grace. 

11

e Q u i e m 

Introit 

Requiem æternam dona eis, Domine; 

et lux perpetua luceat eis. 

Te decet hymnus, Deus, in Sion, 

et tibi reddetur votum in Jerusalem. 

Exaudi orationem meam, ad te omnis caro veniet. 

Kyrie 

Kyrie eleison. 

Christe eleison. 

Kyrie eleison. 

Domine Jesu Christe 

Domine Jesu Christe, Rex gloriae, 

libera animas omnium fidelium defunctorum de pœnis inferni et de 

profundo lacu; Libera eas de ore leonis, 

ne absorbeat eas tartarus, ne cadant in obscurum. 

Sed signifer sanctus Michael repraesentet eas in lucem sanctam. 

Quam olim Abrahae promisisti et semini eius. 

Hostias et preces tibi Domine laudis offerimus. Tu suscipe pro animabus 

illis, quarum hodie memoriam facimus. 

Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae 

promisisti et semini eius. 

Sanctus 

Sanctus, sanctus, sanctus 

Dominus Deus Sabaoth. 

Pleni sunt cœli et terra gloria tua. 

Hosanna in excelsis. 

Benedictus qui venit in nomine Domini. 

Hosanna in excelsis. 

Pie Jesu 

Pie Jesu Domine, dona eis requiem. 

Dona eis requiem sempentemam. 

Agnus Dei 

Agnus Dei, qui tollis peccata mundi: 

Dona eis requiem. (x 2) 

Agnus Dei, qui tollis peccata mundi: 

Dona eis requiem sempiternam. 

Lux æterna 

Lux ætema luceat eis, Domine, 

cum sanctis tuis in æternum, Domine, quia pius es. 

Requiem ætemam dona eis, Domine, 

et lux perpetua luceat eis, 

cum sanctis tuis in aeternum, quia pius es. 

Libera me, Domine 

Libera me, Domine, de morte æterna, in die illa tremenda; 

quando cœli movendi sunt et terra; 

dum veneris judicare saeculum per ignem. 

Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura 

ira, quando cœli movendi sunt et terra. 

Dies irae, dies illa, calamitatis et miseriae, dies magna et amara valde, 

dum veneris judicare saeculum per ignem. 

In Paradisum 

In Paradisum deducant te angeli; 

in tuo adventu suscipiant te maryres, 

et perducant te in civitatem sanctam Jerusalem. 

Chorus angelorum te sucipiat, 

et cum Lazaro quondam paupere 

æternam habeas requiem. 

12 

t e X t s 

eternal rest give unto them, o Lord; 

And let perpetual light shine upon them. 

A hymn, o God, becometh Thee in Sion, 

And a vow shall be paid to Thee in Jerusalem. 

Hear my prayer; all flesh shall come to Thee. 

Lord, have mercy on us. 

Christ, have mercy on us. 

Lord, have mercy on us. 

Lord Jesus Christ, King of Glory, 

deliver the souls of all the faithful departed from the pains of hell and from 

the bottomless pit; Deliver them from the jaws of the lion, 

lest they be absorbed by darkness and swallowed by obscurity. 

Rather let thy standard bearer, St. michael, lead them into the holy light, 

as Thou didst promise Abraham and his seed. 

We offer to Thee, o Lord, sacrifices and prayers. Do Thou receive them on 

behalf of those souls whom we this day commemorate. 

make them, o Lord, pass from death to life, as Thou didst promise Abraham 

and his seed. 

Holy, holy, holy 

Lord God of hosts. 

Heaven and earth are full of your glory. 

Hosanna in the highest. 

Blessed is he who comes in the name of the Lord. 

Hosanna in the highest. 

Blessed Jesus, Lord, grant them rest. 

Grant them rest everlasting. 

Lamb of God, who takest away the sins of the world, 

Grant them rest. (x 2) 

Lamb of God, who takest away the sins of the world, 

Grant them perpetual rest. 

eternal light shine upon them, o Lord, 

with Thy saints forever, Lord, who art merciful. 

eternal rest grant unto them, o Lord, 

and let perpetual light shine upon them, 

with thy saints for ever, because thou art merciful. 

Deliver me, o Lord, from eternal death on that awful day; 

when the heavens and the earth shall be shaken; 

when thou shalt come to judge the world by fire. 

I am seized with fear and trembling, until the trial shall be at hand, and the 

wrath to come, when the heavens and the earth shall be shaken. 

That day of wrath, of calamity and of misery, a great day and exceeding bitter, 

when Thou shalt come to judge the world by fire. 

may the angels receive thee in Paradise, 

may the martyrs receive thee at thy coming 

and lead you into the holy city of Jerusalem. 

may the choir of angels receive thee, 

and with Lazarus, who once was a beggar, 

mayest thou have eternal rest.

music 

department of 

Wed, March 8, 2006 7 pM 

Jackson hall, Mondavi center 

University Concert Band and 

the UC Davis Wind Ensemble, 

Peter Nowlen, interim director, with 

the Davis Sixth Grade All-City Band, 

Ken Bower and Sherie Wall, directors. 

[$12/9/6 A; $6/4.50/3 S & C] 

sat, March 11, 2006, 7 pM Freeborn hall 

UC Davis Gospel Choir, Calvin Lymos, director. 

[$12 A; $6 S & C] 

sun, april 2, 2006 8 pM studio theatre, Mondavi center 

Empyrean Ensemble: Fault Lines: Music from 

California. Yu-Hui Chang and Laurie San Martin, codirectors. 

California composers Ross Bauer, Martha Horst, 

Cindy Cox, Yu-Hui Chang, and Hi Kyung Kim. Pre-concert 

talk: Demystifying the Music, 7 pm. [$16 A; $8 S & C] 

inForMation: 530.752.0948 

tickets: 530.754.2787 Web: music.ucdavis.edu 


An Evening of Chamber Music for Saxophone. 

Saxophonist Keith Bohm and friends, including Ellen Ruth 

Rose, viola, Susan Lamb Cook, cello, Natsuki Fukasawa, 

piano, and others. Works by Robert Aldridge, Charles 

Rochester Young, Adolf Busch, John C. Worley, and others. 

[$16 A; $8 S & C] 


An Evening at Vauxhall Pleasure Gardens. 

UC Davis Baroque Ensemble, Phebe Craig and Michael Sand, 

co-directors. [$10 A; $5 S & C]

sopranos 

Hillary Aaronson 

Karena Aslanian 

Athena Bergen 

Kimberly Blahnik 

Amanda Boardman 

Courtney Coffin 

Liz Drake 

Katy Fast 

marjorie Halloran 

Carrie Harrell 

Kseniya Ishina 

Shannon Ko 

Airy Krich-Brinton 

Yun Lian Luo 

Brittney mcClain 

Amanda mcDermott 

Bo R moon 

Julia overman 

elizabeth Parks 

maria (Christina) Pingol 

miriam Rocke 

Kristen Schroeder 

Paige Seegan 

Adele Sonora 

Diane Soto 

Karina Summers 

Carrin Tanaka 

Shipley Walters 

Gillian Watson 

Kelley Way 

Cynthia Weller 

Jane Wong 

sopranos 

Alicia Flor 

Heidi Gerard 

Shanna Gilfix 

marjorie Halloran 

Sarah Hepp 

Kayla Kraich 

Sara marostica 

Lisa Sueyres 

Isabel To 

Gillian Watson 

14 

altos 

Kelly Aguirre 

Lena Alshvang 

Grace Barnick 

Jackie Berliant 

Wing-Ting Choi 

Katherine Conley 

Christina Connell 

Ashley Cooper 

Laura Crowder 

Amy eleazarian 

elexia estrada 

April Ferre 

eugenia Gin 

Sally Gray 

mary Herbert 

Alison Kootstra 

mai Kozai 

Julia Kulmann 

Julia Lazzara 

Clarissa Lock 

Christelle mateo 

Lauren matthes 

Bria nyberg 

Kathleen (Bo-mie) Pae 

Kari Payne 

Patricia Peacock 

Susanna Peeples 

Galya Raz 

Carrie Rocke 

Charito Soriano 

erin Tenner 

Bonnie Tsung 

altos 

meghan eberhardt 

Lizzie Gergian 

Julia Grieser 

mai Kozai 

Julia Lazzara 

Julie Lujano 

eleni nikitas 

Susanna Peeples 

Jamie Romnes 

u n i v e r s i t y c h o r u s 


fawzi haimor, assistant conductor 

c h a m B e r s i n G e r s 


tenors 

Wilfred Louis (Lowell) Abellon 

Vincent Bacay 

nguyen Cao 

mario Cuaresma 

Stephen Fasel 

John Gibson 

Chris Hong 

Richard Kulmann 

newman Leung 

Joy Li 

Spencer Little 

Chris neff 

Stephanie Ross 

Jerry Schimke 

Jeremy Smith 

michael Steele 

tenors 

Adam Cobb 

mario Cuaresma 

Stephen Fasel 

Joy Li 

Peter Ludden 

Amanda ou 

Timothy Pickett 

Jacob Ritter 

Timothy Valenti 

Basses 

nick Baltazar 

John Berg 

Clyde Bowman 

Tom Dotan 

Kenneth eng 

Christopher Gee 

Kamran Hassan 

Albert Hsiao 

James Hutchinson 

Alexander Kloehn 

michael Lazzara 

michael Liwanag 

Philip Loos 

Jason owyang 

Vinay Reddy 

Sean Riddle 

eric Seyfarth 

matthew Stevenson 

Doug Underwood 

Richard Walters 

Basses 

Christopher Bennett 

Paul Corujo 

Tom Dotan 

Aaron Driver 

nicolas moore-Karppinen 

mohammed (Yahya) Rouhani 

eric Seyfarth 

August Walsh

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

Kathleen Cady 

Barbara P. and Kenneth D. Celli 

Donna m. Di Grazia 

Leland and Susan Faust 

Ann & Gordon Getty Foundation 

John Tracy Grose and Beth Baker-Grose 

Prof. and mrs. D. Kern Holoman 

James and Patricia Hutchinson 

IBm International Foundation, LLP 

Barbara K. Jackson 

mitzi S. Aguirre 

Priscilla Alexander 

martha Amorocho 

Renee Armstrong 

Auburn Symphony 

Renee Bodie 

Clyde and Ruth Bowman 

Lynn L. Campbell 

and Robert n. Campbell, Ph.D. 

Hugh C. and Susan B. Conwell 

martha Dickman 

Dotty Dixon 

Darlene Franz and James Van Horn 

Benjamin and Lynette Hart 

David and Annmarie Heller 

James H. Hillman 

Betty and Robin Houston 

Donald Johnson and elizabeth miller 

u c D a v i s c h o r u s e n D o W m e n t 

a n i n v i t a t i o n t o J o i n 

There will always be financial challenges to any arts program that strives to meet the needs and demands of its students. At UC Davis, our challenges 

are even greater now that new standards of excellence have been achieved and continue to rise. The UC Davis Chorus endowment was 

established to raise much needed funds in order to provide exciting and memorable tours for our students, enhancements to our annual concert 

seasons, voice lessons for talented individuals, or even bare-bones necessities like choral music, accompanists, or concert equipment. Your support 

will ensure that our programs can continue to inspire, teach, and mold the artistic and aesthetic temperaments of young choral singers. Please join 

us through your commitment to our future. 

The Founder’s Club recognizes those generous founding benefactors who contributed $1,000 or more during the endowment’s first year, and its 

members receive permanent recognition in all Chorus programs. All subsequent donors are acknowledged annually. 

f o u n D e r ’ s c l u B m e m B e r s 

Joan and Russell Jones 

mr. and mrs. norman Jones 

Prof. Joseph e. Kiskis, Jr. 

Julia and Richard Kulmann 

elizabeth Langland and Jerry Jahn 

Leslie and Dana Leong 

Gary and Jane matteson 

Hugh and Deborah mcDevitt 

Albert and Helen mcneil 

Cindy and Dennis mcneil 

a n n u a l D o n o r s 

Winston and Katy Ko 

Kirk Kolodji 

Airy Krich-Brinton 

Dr. Katherine T. Landschulz 

Leslie and Dana Leong 

natalie and malcolm macKenzie 

maria mange 

Susan mann 

marjorie march 

Amelie mel de Fontenay 

matthew mcGibney 

Jeffrey mihaly 

martha morgan 

Jonathan and Jessie newhall 

Rebecca newland 

naomi newman 

Grant and Grace noda 

John and elizabeth owens 

Patricia K. moore 

and Chester G. moore, Jr., Ph.D. 

mary Ann morris, Ph.D. 

Jeffrey and Janice Pettit 

Steven Rosenau 

mr. and mrs. Roy Shaked 

Patricia L. Shepherd 

Steven Tallman 

Jeffrey Thomas 

Larry and Rosalie Vanderhoef 

ed and eleanor Witter 

mike and Carlene ozonoff 

Patricia Peacock 

Ann Preston 

Gerry Prody 

Warren G. Roberts 

David and Carrie Rocke 

Jerry and Sylvia Rosen 

William and Linda Schmidt 

Carl Seymour 

Kevin Shellooe 

G. William Skinner and Susan mann 

Barry Smith 

Steven and Patricia Waldo 

Shipley and Dick Walters 

Rebecca and Jansen Wendlandt 

Jewish Community endowment Fund 

15

16 

m o n D a y , m a r c h 6 , 2 0 0 6 

8 p m , s t u D i o t h e a t r e , m o n D a v i c e n t e r 

2 0 0 6 a r t i s t - i n - r e s i D e n c e 

Benjamin Kreith, violin 

With natsuki fukasawa, piano 

and haleh abghari, soprano 

p r o G r a m 

Sonata in A minor, op. 23 Ludwig van Beethoven 

Presto (1770–1827) 

Andante scherzoso, più Allegretto 

Allegro molto 

Sonate Claude Debussy 

Allegro vivo (1862–1918) 

Intermède – Fantasque et léger 

Très animé 

InTeRmISSIon 

Two Thomas Hardy Songs for voice and violin Pablo ortiz 

(b. 1956) 

Two molana Songs for voice and violin Haleh Abghari / Benjamin Kreith 

from The Story of the Parrot and the Merchant (b. 1970 / b. 1970) 

and The Cow Text translated by Zahra Partovi 

Impressions d’Enfance, op. 28 George enescu 

Ménétrier (1881–1955) 

Vieux mendiant 

Ruisselet au fond du jardin 

L’Oiseau in cage et le coucou au mur 

Chanson pour bercer 

Grillon 

Lune à travers lees vitres 

Vent dans la cheminée 

Tempête au dehors, dans la nuit 

Lever de soleil 





Benjamin Kreith is concertmaster of the Great Falls Symphony, violinist of the Cascade Quartet, and an active performer 

of chamber music in both the United States and europe. He has played recitals at the Juan march Foundation 

in madrid, the Centro Cultural de Belém in Lisbon, and the American Academy in Rome, and given world premieres 

of solo violin works at the contemporary music festival in marseille and Strasbourg. His live recording of Christian 

Lauba’s Kwintus for violin solo was released on the Accord/Universal CD Morphing. 

Kreith co-founded the ensemble Centro Galego de Arte Contemporánea, a group recognized for its innovative chamber 

series in Santiago de Compostela, numerous commissions, educational activities, and collaborations with composers 

such as Francisco Guerrero, magnus Lindberg, and Tristan murial. He has also played with the Harvard Group for 

new music, Barcelona 216, and as guest artist with the Österreichisches ensemble für neue musik in Salzburg and 

the League of Composers Chamber Players in new York. With Alea III and conductor Gunther Schuller, he appeared 

as soloist in the United States premiere of Schulhoff’s Concerto for String Quartet. 

Kreith studied principally with Jorja Fleezanis, malcolm Lowe, and Lorand Fenyves as well as chamber music with 

Louis Krasner. While studying at the new england Conservatory he performed as soloist with the neC Bach 

ensemble, directed by John Gibbon, and the neC Symphony. Recently, his interest in teaching led him to study 

pedagogy with Kato Havas in england. He has taught at the escola de música de Barcelona and the escuela maese 

Pedro in madrid. 

Pianist natsuki fukasawa gave her first public performance at the age of eight and has since performed throughout 

the United States, Japan, Australia, and europe, including such venues as Alice Tully Hall at Lincoln Center and 

Carnegie Hall in new York, the national Gallery in Washington D.C., and the Chicago Cultural Center. Critics 

have called her playing “powerful and convincing” (Washington Post), and “with an unusually organic breadth” 

(Berlingske Tidende, Copenhagen). 

Fukasawa’s recent performance highlights include a concert with the world-renowned pianist Pascal Rogé, a tour of 

Italy performing Gershwin’s Concerto in F with maestro Leo eylar and the California Youth Symphony, and performances 

of Beethoven’s Triple Concerto, Liszt’s Totentanze, and Saint-Säens’ Carnival of the Animals. 

A recipient of a Fulbright Scholarship, Fukasawa is a graduate of the Juilliard School and the Prague Academy of 

music, and recently earned her doctorate from the University of maryland. She began her early studies with her 

mother, and since then has studied with mark Richman, martin Canin, Ferenc Rados, Anne Koscielny, Jan Panenka, 

Fumiko Ishikawa, and Tim Fredericksen. 

An avid lover of chamber music, Fukasawa is the pianist for the Jalina Trio, whose debut recording (Classcd 466) 

of piano trios by Brahms and mendelssohn was named the Best Chamber music Recording of the Year by the 2004 

Danish music Awards. Strad Magazine called it “excellent and immaculately balanced, enjoying a recording of exceptional 

quality.” 

haleh abghari is a native of Iran and makes her home in new York City, where she remains an active performer of 

new music. The New York Times described her performance of Georges Aperghis’ Recitations for Solo Voice as “a virtuoso 

and winning performance.” She has performed as a singer, actor, and voice-over artist in the United States, 

Canada, and europe, and has appeared in several theatre productions in new York City. 

Abghari pursued her studies in music at UC Davis, Peabody Conservatory, the mannes College of music, and the 

Banff Centre for the Arts in Canada. Her major teachers include Phyllis Bryn-Julson, Adrienne Csengery, and Paul 

Hillier, and her vocal repertoire ranges from early music to art songs, opera, cabaret songs, and contemporary music. 

Her awards include a Fulbright Scholar grant to work on the vocal music of György Kurtág in Budapest, two Career 

Development grants from the Peabody Conservatory, and the Presidential Undergraduate Fellowship from UC Davis. 

Abghari is an original member of mouths Wide open (mWo), an ad hoc group of volunteers dedicated to promoting 

active citizenship, civic dialogue, and finding new forms of political expression through the arts. She has been heard 

on WnYC, WBAI, and Air America among other radio stations, and is a featured soloist on a new CD recorded by 

composer and baritone saxophone player Fred Ho and the Afro-Asian music ensemble. 

17

18 

s u n D a y , m a r c h 1 2 , 2 0 0 6 

8 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 




2006 artist-in-residence 

p r o G r a m 

Slavonic Dance in B major, op. 72, no. 1 Antonín Dvoˇrák 

(1841–1904) 

Concerto for Violin and orchestra Alban Berg 

I. Andante (Prelude); Allegretto (Scherzo) (1885–1935) 

II. Allegro (Cadenza); Adagio (Chorale Variations) 


InTeRmISSIon 

Appalachian Spring Aaron Copland 

(1900–90) 

This concert celebrates the memory of 

Curtis W. Lasell 

(1953–2005) 

and 

Evelyn M. Silvia 

(1948–2006) 

Curt was a major in music and mathematics, a founding member of the UC Davis early music 

ensemble, and a sometime member of this orchestra—notably as one of the ten timpanists in the 

Berlioz Requiem in may 1976. Later he went to study musicology at Princeton, where by common 

consent he was drafted to become University organist, succeeding Carl Weinrich. 

evelyn was a celebrated professor—but, more importantly, teacher—of mathematics, beloved of a 

family far too complex to describe here, students of all ages, educators, progressives, and any woman 

who ever needed a role model. (men, too, as your conductor can attest.) many of us remember her 

most fondly as high priestess of the Faculty Women’s Research Group, an irresistibly Norma-like 

creature. 

They left us in their lasting debt, and they left us far too young. It seemed only fitting to think about 

them as we offer a concerto written “to the memory of an angel” and a work by a great American 

who reminds us about Simple Gifts. 





Benjamin Kreith is concertmaster of the Great Falls Symphony, violinist of the Cascade Quartet, and an active 

performer of chamber music in both the United States and europe. He has played recitals at the Juan march 

Foundation in madrid, the Centro Cultural de Belém in Lisbon, and the American Academy in Rome, and given 

world premieres of solo violin works at the contemporary music festival in marseille and Strasbourg. His live 

recording of Christian Lauba’s Kwintus for violin solo was released on the Accord/Universal CD Morphing. 

Kreith co-founded the ensemble Centro Galego de Arte Contemporánea, a group recognized for its innovative 

chamber series in Santiago de Compostela, numerous commissions, educational activities, and collaborations with 

composers such as Francisco Guerrero, magnus Lindberg, and Tristan murial. He has also played with the Harvard 

Group for new music, Barcelona 216, and as guest artist with the Österreichisches ensemble für neue musik 

in Salzburg and the League of Composers Chamber Players in new York. With Alea III and conductor Gunther 

Schuller, he appeared as soloist in the United States premiere of Schulhoff’s Concerto for String Quartet. 

Kreith studied principally with Jorja Fleezanis, malcolm Lowe, and Lorand Fenyves as well as chamber music with 

Louis Krasner. While studying at the new england Conservatory he performed as soloist with the neC Bach 

ensemble, directed by John Gibbon, and the neC Symphony. Recently, his interest in teaching led him to study 

pedagogy with Kato Havas in england. He has taught at the escola de música de Barcelona and the escuela maese 

Pedro in madrid. 

n o t e s 

The American violinist Louis Krasner tendered Berg his commission for a concerto in January 1935, but 

it was the death that April of the young woman named manon Gropius that prompted him to compose 

the concerto in the late summer of that year. “Berg loved my daughter as if she were his own,” wrote 

her mother, Alma Gropius, who was mahler’s widow and a close friend of mrs. Berg; according to her the 

dedication “to the memory of an angel” had to do with a role the beautiful eighteen-year-old was to have 

played in a Salzburg theatrical production. Instead she fell ill with polio and died the following easter. In 

Alma’s sentimental words, “She did not play the angel, but in fact became one.” 

The concerto has close associations, as well, with two other objects of the composer’s affection. number 

symbolism identifies parts of the work with Hanna Fuchs-Robettin, a woman Berg loved profoundly, 

though at a distance, for most of his life. (Berg—and more ominously his wife, Helene—almost managed 

to deprive posterity of any hint of this romance, the ripest fruit of which was the Lyric Suite for string quartet 

of 1927.) moreover, in the Allegretto of the first movement Berg cites a song identified in the score only 

as “in the Carinthian folk-style,” but which we know to be called Ein Vogel auf’m Zwetschgenbaum (A Bird 

in the Plum-Tree). This is a folk tune from the picturesque rural province of southern Austria where Berg’s 

family had a summerhouse; here Berg makes reference to his teenaged idyll with the servant-girl marie, by 

whom he fathered a child. (The Bergs censored this incident, too.) In short, the Violin Concerto is a valedictory 

of farewell to the forbidden loves of the composer’s life, and, as it turned out, Berg’s own farewell to 

life. 

His style can seem harsh and difficult at first, especially in a forlorn work like this one, and the concerto 

may take some getting used to. But the number of brilliant ideas he brings to his composition makes this 

and his other great works wondrous aural adventures indeed. His is a music of sharp contrasts: diaphanous, 

transparent textures and such poignant details as the low throb of a contrabassoon are apt to be shattered 

in percussive diabolical violence at any turn. 

The form of the Violin Concerto is symmetrical, with a total of four movements combined in a mirrored 

pair of pairs: slow-fast, fast-slow. These are organized traditionally, with a sonata-like first movement, a 

scherzo and trio, a cadenza-dominated movement, and finally a set of variations on a chorale. There are 

memorial associations to be noted, of course: the first two movements are a portrait of the angel, the third 

is a movement of catastrophe, and the last seems to treat death and transfiguration. 

Berg: concerto for violin and 

orchestra 

for piccolos I-II, flutes I-II, oboes 

I-II, English horn, clarinets I-II, bass 

clarinet, alto saxophone, bassoons I- 

II, contrabassoon; horns I-IV, trumpets 

I-II, trombones I-II, tuba; timpani, 

snare drum, bass drum, cymbals, 

triangle, gong (high tam-tam), (low) 

tam-tam; harp; strings 

composed April 11 August 1935, to 

a commission from Louis Krasner; 

dedicated “to the memory of an 

angel” 

first performed (posthumously) 19 

April 1936 by the International Society 

for Contemporary Music (ISCM) 

Festival Orchestra in Barcelona, Louis 

Krasner, soloist, Hermann Scherchen 

conducting 

published by Universal Edition 

(Vienna, 1936) 


19

copland: appalachian spring 

for flutes I-II, oboes I-II, clarinets I- 

II, bassoons I-II; horns I-II, trumpets 

I-II, trombones I-II; timpani, 

snare drum, bass drum, cymbals, 

triangle, tabor, woodblock, claves, 

glockenspiel, xylophone; harp, 

piano; strings 

composed 1943–44 in New York to 

a commission from the Elizabeth 

Sprague Coolidge Foundation for 

the Martha Graham Dance Company; 

dedicated to Elizabeth Sprague 

Coolidge; orchestra suite prepared 

spring 1945 

first performed as a ballet by Miss 

Graham and company 30 October 

1944, at the Library of Congress 

in conjunction with the Coolidge 

Festival; first performed as a suite 

4 October 1945 by the New York 

Philharmonic, Artur Rodzinsky 

conducting 

published by Boosey and Hawkes 

(London, 1945) 


20 

n o t e s 

Serial and tonal organizations coexist and intermingle. At the beginning a bar of arpeggiated intervals in 

the harp and clarinets sets the stage for the entry of the solo violin, up and back down its open strings, as 

though tuning, then with a straightforward statement of the row. note through this first movement the 

striking instrumental combinations: the saxophone and contrabassoon, the distant gong and triangle, the 

thump in the double bass of bow-wood on strings (a technique called col legno). The Allegretto is a scherzo 

in close harmony in pairs of winds and double-stops for the violin. Berg marks the various melodies “rustic” 

and “Viennese.” Two trios and a return of trio I are heard, then the scherzo again, this time marked 

“as though a waltz.” Toward the end Berg introduces the song of the bird and the plum-tree, announced 

most prominently in the horn and trumpet and marked there to be played “like a pastorale.” 

The violinist dominates the Allegro with cadenzas, vicious multiple stops, and fiery passagework; at the 

end comes a glorious passage in two voices, melody and accompaniment, on the single instrument. A 

long glissando in the harp and solo passages in triple stops announce the climax. Immediately after this 

“high point” (so Berg marks the score), the movement recedes as the violinist cites the melody of the 

Protestant chorale tune Es ist genug! The text, an utterance of the prophet elijah, appears in the score: 

“It is enough! Lord, when it pleases Thee, do Thou unshackle me.” Clarinets, succeeded by horns and the 

other winds, then state Bach’s setting of the chorale as found in Cantata 60. Later we hear in the strings 

and solo violin a distant reminiscence of the Carinthian folk-tune against the chorale as scored for full 

wind. In the dissolution, the now-familiar intervals of the row are heard once more, and they rise to the 

celestial register as the brass articulate a calm “amen.” 

Copland’s great “Ballet for martha [Graham],” which won the 1945 Pulitzer Prize for music, may be 

heard in anyone of three versions: the original work, scored, because the auditorium at the Library of 

Congress is so small, for thirteen instruments; a setting for full orchestra, slightly condensed by deleting 

elements the composer describes as “of purely choreographic interest”; and the condensed version reduced 

back to the original force of thirteen players. 

martha Graham (1900–91), the bewitching doyenne of American dance, discovered a title for her 

pioneer ballet in a pair of words buried in The Bridge, an epic poem by Harte Crane (1899–1932). 

Appalachian Spring was her 108th ballet. 

Copland writes: 

The action of the ballet concerns a pioneer celebration in spring around a newly-built 

farmhouse in the Pennsylvania hills in the early part of the last century. The bride-tobe 

and the young farmer-husband enact the emotions, joyful and apprehensive, their 

new domestic partnership invites. An older neighbor suggests now and then the rocky 

confidence of experience. A revivalist and his followers remind the new householders 

of the strange and terrible aspects of human fate. At the end the couple are left quiet 

and strong in their new house. 

The music is tuneful, simple, dignified; its contours strongly—almost relentlessly—governed by the rising 

intervals stated so frequently in the introduction. (If you know the tune of Simple Gifts, you can hear 

these motives as suggestions of what is to come.) This quiet introduction is the first of some eight sections. 

The next is an excited allegro that begins at the burst of piano, xylophone, and strings; the motives 

from the introduction are soon woven in. Bride- and husband-to-be have a quiet pas de deux where the 

music begins as a waltz-like transformation of the motto material and becomes, in the middle, chordally 

complex and a little threatening. Visitors arrive: the faster tempo resumes, a spirited interplay of oboe, 

piccolo, and clarinet begins the long middle scene, fascinating of rhythmic character. At the center 

come some ponderous bars, then a brash presto that may well remind you of passages from Stravinsky’s 

Petrushka. The last slow interlude, with the high violin solo, is the bride’s solo dance. There is a full, 

gentle cadence. 

At this juncture, the clarinet begins the famous variations on the Shaker tune Simple Gifts (“ ’Tis a gift 

to be simple, ’tis a gift to be free”). They gather in speed, size of performing force, and contrapuntal 

sophistication toward the tutti statement in the middle; the familiar trumpet and trombone variation, 

with its strong sense of mirroring, begins the drive to the concluding statement in long note values. The 

coda is “very calm,” and “like a prayer”—a music to leave the couple quiet and strong in their new house. 

And that is, of course, the central theme of all three ballets: the courage of the American pioneers: their 

inexhaustible strength, character, and determination. 

—DKH

violin 

*Cynthia Bates, concertmaster 

*Fawzi Haimor, associate 

concertmaster 

John Abdallah 

Zoe Berna 

*Clairelee Leiser Bulkley 

mike Choi 

Jamie Cline 

Joan Crow 

Raymond Gao 

Angela Hernandez 

nicole makram 

*Raphael moore 

Claire Pelletin 

Vanessa Rashbrook 

*Judy Riggs 

Katrina Soo Hoo 

violin ii 

*Kristen Jones, principal 

*Shari Gueffroy, associate principal 

Davood Aboudarda 

Angelo Arias 

Christina Cheng 

Chadwick Huang 

Sharon Inkelas 

Barry Kersting 

Jenny Kim 

Amelia Lancaster 

Paul Levy 

Hyun Jung Lim 

eileen mols 

Leslie Peacock 

Lorena Rincon 

Alice Tackett 

* = Holder of endowed seat 


2 0 0 5 – 2 0 0 6 


*fawzi haimor, assistant conductor 

Zoe Kemmerling, manager 

viola 

*Holly Harrison, co-principal 

*Kim Uwate, co-principal 

*Zoe Kemmerling, associate 

principal 

James Chitwood 

Sarah Freier-miller 

Jason Haberman 

Tao He 

Chelsea Johnson 

melissa Lyans 

melody mundy 

Aileen nichols 

Christine Tsai 

cello 

*Courtney Castaneda, principal 

Christopher Allen 

Jesse Fineman 

Leo Gravin 

Kyle Greenman 

Priscilla Hawkins 

Judy mcCall 

*eldridge moores 

Tomo mori 

Tobias münch 

Adam Sapin 

eimi Stokes 

Bass 

*Jack o’Reilly, principal 

Greg Brucker 

Thomas Derthick 

Parsa Kamali 

Azusa murata 

eric Price 

flute 

*Susan monticello, principal 

Steve Doo 

Amy Kuo 

Caitlin Roddy 

marguerite Wilson 

oboe 

*mary King, principal 

Luis de la Torre 

Alicia Fiebig 

Juliet Shih 

clarinet 

*Alicia Bruce, co-principal 

*eric Chow, co-principal 

Andrea Cheuk 

Kelly Dewees 

molly Laughlin 

Bassoon 

*David Rehman, principal 

Sarah Thrasher 

maryll Goldsmith, contrabasson 

harp 

*Constance Koo, principal 

Brittany Iverson 

for uc Davis Department of music productions: 

Ulla mcDaniel, production manager; Heather mullen, assistant public events manager; 

Joshua Paterson, assistant production manager; Sara Raffo, graphic designer; 

eimi Stokes, assistant to Prof. Holoman 

horn 

*Jonathan Anderson, co-principal 

*Beverly Wilcox, co-principal 

Flaviu Dunca 

Ryan Ismail 

Sarah meyerpeter 

trumpet 

*nick Antipa, principal 

Paul marenco 

trombone 

*edward Liu, principal 

*Jenny mun 

*Robert Thomas 

tuba 

*Portia njoku 

Robert B. Rucker 

percussion 

*Jesse Davis, principal 

George Kennedy 

*Derek Kwan 

megan Shieh 

21

cynthia Bates 

Cynthia Bates concertmaster 

presented by Debra Horney, m.D. 

fawzi haimor 

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 

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 

Kristen Jones 

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 

holly harrison / Kim uwate 

Jocelyn Morris principal viola 

presented by James and Jocelyn morris 

22 

u c D a v i s s y m p h o n y o r c h e s t r a e n D o W e D s e a t s 

Endowed seats are made possible by gifts of $10,000 or more. 

Zoe Kemmerling 

Associate principal viola 

presented by John T. Bakos, m.D./Ph.D. 

in memory of Dr. John and Grace Bakos 

courtney castaneda 

Herman Phaff principal cello 

presented by Herman and Diane Phaff 

eldridge moores 

Eldridge Moores cello 

presented by eldridge and Judith moores 

Jack o'reilly 

Barbara K. Jackson principal bass 


susan monticello 

principal flute 

presented by Beverly “Babs” Sandeen and 

marty Swingle 

mary King 

Wilson and Kathryn Smith principal oboe 

presented by Wilson and Kathryn Smith 

alicia Bruce / eric chow 

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 

Jonathan anderson / Beverly Wilcox 

Kristin N. Simpson and David R. Simpson 

principal French horn 

presented by Richard and Gayle Simpson 

nick antipa 

Andrew Mollner principal trumpet 

presented by Joseph Dean mollner and 

Andrew mollner 

edward liu 

Rebecca A. Brover principal trombone 

presented by Rebecca A. Brover 

Jenny mun 

Michael J. Malone trombone 

presented by Brian mcCurdy and Carol Anne 

muncaster 

robert thomas 

Brian McCurdy bass trombone 


portia njoku 

Robert B. Rucker tuba 

presented by Robert and margaret Rucker 

constance Koo 

Calvin B. Arnason principal harp 

presented by Benjamin and Lynette Hart 

Jesse Davis 

Friedman family principal percussion 

presented by marvin and Susan Friedman 

Derek Kwan 

Gary C. Matteson orchestral piano 

presented by Jane, Dwayne, and Donald 

matteson 

fawzi haimor 

Barbara K. Jackson assistant conductor 


The conductor's podium was presented by Wilson and Kathryn Smith in honor of D. Kern Holoman.

mitzi S. Aguirre 

Priscilla Alexander 

W. Jeffrey Alfriend, D.V.m. ** 

David m. Ashkenaze, m.D. * 

Robert and Joan Ball * 

Cynthia Bates * 

matthew and Shari 

Benard-Gueffroy ** 

Robert Biggs 

oscar and Shula Blumenthal 

Robert and Hilary Brover ** 

Rebecca A. Brover ** 

Gregory A. Brucker 

Clairelee Leiser and Ralph e. 

Bulkley ** 

Walter and marija Bunter * 

Ray and mary Cabral * 

Robert and Lynn Campbell 

Don and Dolores Chakerian * 

Terry and marybeth Cook 

elizabeth Corbett 

Richard Cramer and martha 

Dickman * 

Allan and Joan Crow * 

martha Dickman * 

nancy Dubois* 

Jonathan and mickey elkus 

Ron Fisher 

Tyler T Fong * 

marvin and Susan Friedman ** 

edwin and Sevgi Friedrich 

Anne Gray * 

Vicki Gumm and Kling Family 

Foundation ** 

Prof. and mrs. Said Haimor * 

Benjamin and Lynette Hart ** 

Lorena Herrig * 

Virginia and Bill Hinshaw 

Barbara D. Hoermann 

Prof. and mrs. D. Kern 

Holoman ** 

J o i n t h e u c D s y m p h o n y e n D o W m e n t 

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 4 – 2 0 0 6 

Debra A. Horney, m.D. ** 

Brian and Louanne Horsfield * 

Ilia Howard * 

margaret e. Hoyt * 

Dr. and mrs. Daniel R. Hrdy * 

Sharon Inkelas 

Barbara K. Jackson ** 

Bob and Cathy Kerr 

Prof. Joseph e. Kiskis, Jr. * 

Family of norman Lamb * 

Dr. Richard Levine * 

melissa Lyans and Andreas J. 

Albrecht, Ph.D.* 

natalie and malcolm macKenzie* 

Douglas W. macpherson and 

Glayol Sabha, m.D. * 

marjorie march * 

J. A. martin 

Gary and Jane matteson ** 

Katherine mawdsley and William 

F. mcCoy * 

Scott and Caroline mayfield 

Greg and Judy mcCall * 

Brian mcCurdy and Carol Anne 

muncaster ** 

Don and Lou mcnary * 

Albert J. and Helen mcneil * 

Sharon menke, esq. 

John and norma meyer 

Joseph Dean mollner ** 

Andrew mollner ** 

eileen and ole mols * 

George moore 

Jolanta moore ** 

Raphael S. and netania moore * 

eldridge and Judith moores ** 

Craig morphis and Roy Spicer 

James and Jocelyn morris ** 

mary Ann morris * 

Ken T. murai * 

Russell and Alice olson 

Paul and Linda Parsons * 

Herman and Dianne Phaff ** 

marjorie Phillips and Robert Rice 

Jim and nancy Pollock 

Ann Preston 

eugene and elizabeth Renkin * 

Ralph and Judy Riggs ** 

Susanne Rockwell and Brian Sway 

Dr. and mrs. Lawrence T. Rollins 

Jerome and Sylvia Rosen * 

Robert and margaret Rucker ** 

Tracey Rudnick 

Beverly “Babs” Sandeen and marty 

Swingle ** 

e. n. Sassenrath * 

neil and Caroline Schore * 

Prof. and mrs. Calvin Schwabe * 

Barbara L. Sheldon 

ellen Sherman * 

Richard and Gayle Simpson ** 

Wilson and Kathryn Smith ** 

Lois Spafford * 

Sherman and Hannah Stein 

Dr. and mrs. Roydon Steinke 

Thomas Sturges * 

Joel and Susan Swift* 

Richard Swift * 

Alice Tackett * 

Steven D. Tallman * 

Damian Siu ming Ting ** 

Roseanna F. Torretto 

Rosalie and Larry Vanderhoef * 

elizabeth Varnhagen 

Barbara D. Webster and 

Grady L. Webster 

Shipley and Dick Walters * 

marya Welch * 

John W. Wrzesien 

Arthur Andersen LLP 

Foundation* 

Bank of America Foundation 

office of the Provost ** 

Prudential Foundation 

The Swift Fund for the Arts 

UCD Symphony orchestra 

1992–93, 1993–94 ** 

Weyerhaeuser Co. Foundation 

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 

Dr. Irena Anna Henner 

Katherine H. Holoman 

norman e. Lamb 

michelle mantay 

John mouber 

mel olson 

Herman Phaff 

Keith Riddick 

Dorothy J. Shiely 

Richard and Dorothy Swift 

William e. Valente 

Bodil Wennberg 

* = $1,000 or more 

** = $10,000 or more 

The UCD Symphony Endowment was established by members and friends in 1992 with the goal of assuring the orchestra’s access to first-rate 

teachers and soloists, a handsome orchestral library, and enhanced opportunities for travel. 

The Endowed Seats program, established by UCDSO member Rebecca Brover in 2000 on the occasion of the new millennium, recognizes gifts of 

$10,000 and more by naming individual seats in the orchestra in perpetuity. As of the 2005-06 season, some 25 seats were so named. 

Support the future of the UCDSO by becoming a member of the UCD Symphony Endowment. Gifts are recognized in the donor list published 

with each concert program; members of the Endowment receive a newsletter and various other forms of recognition. For further information 

on donor opportunities, visit our web site at ucdso.ucdavis.edu or call Debbie Wilson, 530-757-5784. 

23

Dr. John t. Bakos (center) with 

children alexander and Grace 

n e W e n D o W e D s e a t i n m e m o r y o f D r . J o h n a n D G r a c e B a K o s 

The newest endowed seat in the UC Davis Symphony orchestra honors a legacy of 

medicine, music, and agriculture spanning four generations of the Bakos family. Dr. 

John T. Bakos, a member of the UCDSo from 1978–83, recently endowed the associate 

principal viola seat in memory of his grandparents, Dr. John and Grace Bakos. 

John and Grace Bakos made their lives in ohio raising three children, where he 

practiced medicine. Grace was an executive secretary before marrying Dr. Bakos and 

subsequently worked as an assistant /nurse/biller/receptionist in his Akron office. There 

they began a family agricultural tradition on their farm outside of Akron. A visit to 

California when they were near “retirement age” convinced them that they had reached 

the “promised land,” where one could grow fruits and vegetables year-round. Dr. John 

Bakos worked in his son’s medical practice for 4 years while creating his agricultural 

paradise. 

They lived out their last years in Chico, next to their son’s farm (Dr. John e. Bakos) and 

tending a huge vegetable garden, vineyard, and nut orchard on the four acres where their children and grandchildren would come 

to work all year long. It was there that Grace, a violinist, taught all of the grandchildren to play the violin, including our own John 

T. Bakos, who began his studies at the age of eight. His grandfather, who upon re-retirement from general practice, became the 

medical director of the blood bank in Chico, worked as a physician until the age 87; he died at age 89. 

At UC Davis, John made time for playing viola (and one year of violin) in the UCDSo while earning his bachelor’s and master’s 

degrees in biochemistry. (However, taking over 20 units a quarter and playing intercollegiate badminton and intramural sports left 

him no time for the after-concert social scene of his fellow musicians.) He has many “extraordinarily” fond memories of UC Davis 

and the UCDSo, including the inaugural performance by the Symphony and Chorus for the opening of the Recreation Hall; his 

professors and mentors such as Roy Doi, Jerry Hedrick, Sterling Chaykin, mark mcnamee, Don Chakerian, michael Dahmus, and 

especially George Bruening, under whom he got his master’s degree; and stalwart Symphony figures Herman Phaff, Cynthia Bates 

(who he claims hasn’t changed a bit in 26 years), and D. Kern Holoman, then in his first years of leading the UCDSo. 

Bakos went on to earn his m.D. and Ph.D. from the University of Texas, Galveston, worked in private practice in Lincoln, 

California, for six years, and now works as a medical director and physician at skilled nursing homes in the Sacramento area, and as 

a hospitalist at Sutter Roseville Hospital. 

His family still enjoys its agricultural tradition, kept alive on his parents’ ranch in Lincoln. Breaking the line of “Dr. Johns,” his 

son, Alexander, a sophomore at UC Davis, is considering a career in law. Interestingly, Alex has studied with several of the same 

professors as his father had 25 years ago and is a tutor on campus as was his father. Daughter Grace, namesake of his grandmother, 

will graduate from high school this June. 

Berg 

Benjamin 

Kreith 

�� 

orchestra 

Copland 

Sunday, March ��, 

�� Jackson Hall, 

Mondavi Center, � pm

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