8 –thirty1 , 20ten} · 2019-07-03 · string quartet no. 4, the dream of innocent iii, and...

{October twenty8th–thirty1st

, 20ten}

M adn e ss an d Music Fe stivalR o b e r t a n d M ar g r it M o n d av i c e n t e r f o r t h e P e r f o r m i n g ar t s

Oc tOb e R 28–31, 2010P r e s e n t e d by t h e

MO n davi ce nte R a n d t h e u c davis de Pa RtM e nt O F Music

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Welcome to the UC Davis Madness and Music Festival, presented in conjunction with the Mondavi Center for the Performing Arts and the UC Davis Department of Music. We are delighted that you are joining us as we explore the ways music can serve as a refuge, a statement of joy, and a means of survival for the composer, the performer, and the audience member. In particular, our festival celebrates the 200th anniversary of Robert Schumann and juxtaposes his music with that of several modern composers, including our composer-in-residence Lee Hyla, UC Davis faculty members Christian Baldini and Pablo Ortiz, and our eight exceptionally gifted composer fellows.

A variety of different musicians will perform six exciting concerts, which will include the ensembles Alarm Will Sound, the UC Davis Symphony Orchestra, the Empyrean Ensemble, and soloists Hrabba Atladottir, Chris Froh, Susan Lamb Cook, Sara Gartland, Ellen Ruth Rose, and Eric Zivian. The festival is not limited to composers and performers, but includes musicologists and other scholars: Anna Maria Busse Berger and D. Kern Holoman have written new essays specifically for this program booklet, and they will be joined by Christopher Reynolds, Jessie Ann Owens, Dean Simonton of the UC Davis Department of Psychology, and Mitchell Morris (UCLA) in a panel discussion. This in-depth discussion will focus on the nineteenth-century concept of madness, and how the Romantic conception of the creative mind has been transformed in contemporary culture.

So sit back, enjoy the offerings of the next several days, and welcome to Madness and Music. We hope you enjoy the festival!

Christian Baldini • Sam Nichols • Mika Pelo • Kurt Rohde • Laurie San Martin —Madness and Music Festival co-organizers

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Schedule of EventsNote: Program notes follow each concert’s program and appear in performance order.

Thursday, October 28 12:05PM NoonConcert•YochaDeheGrandLobby . . . . . . . . . . . . . . . . 7–8

1:00PM Reception•YochaDeheGrandLobby

1:30PM MusicologyPanelDiscussion•VanderhoefStudioTheatre . . . . . . . . 4

7:00PM ElectronicMusicConcert•VanderhoefStudioTheatre . . . . . . . . . . 9–10

Friday, October 296:00PM Pre-ConcertLecture•YochaDeheGrandLobby

7:00PM EmpyreanEnsemblePerformance•VanderhoefStudioTheatre . . . . . . 11–13

Saturday, October 30 7:00PM Pre-ConcertLecture•JacksonHall

8:00PM AlarmWillSoundPerformance•JacksonHall . . . . . . . . . . . . . . 14–16

10:30PM EricZivianPerformance•VanderhoefStudioTheatre . . . . . . . . . . . 16

Sunday October 31 10:00AM AlarmWillSoundReadingSession,PartI•VanderhoefStudioTheatre

2:45PM AlarmWillSoundReadingSession,PartII•VanderhoefStudioTheatre

7:00PM UCDavisSymphonyOrchestraPerformance•JacksonHall . . . . . . . 17–19

Essays, EtceteraAboutComposer-in-ResidenceLeeHyla . . . . . . . . . . . . . . . . . . . . . . . . 4

Schumann TodaybyD.KernHoloman . . . . . . . . . . . . . . . . . . . . . . . . . 5

In Memoriam: John DaveriobyAnnaMariaBusseBerger . . . . . . . . . . . . . . . . 6

UCDavisSymphonyOrchestraEndowment . . . . . . . . . . . . . . . . . . . . . 22

AbouttheFestival’sArtistsandComposers . . . . . . . . . . . . . . . . . . . . . . 23–30

EmpyreanEnsembleFundandEndowment . . . . . . . . . . . . . . . . . . . . . . 31

SpecialThanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

TheRecitalHallFund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32


L ee Hyla, composer-in-residence,wasborninNiagaraFalls,NewYork,andgrewupinGreencastle,Indiana.HehaswrittenfornumerousperformersincludingtheOrpheusChamberOrchestra,theKronosQuartet(withAllenGinsberg),the

ChamberMusicSocietyofLincolnCenter,SpeculumMusicae,theBostonModernOrchestraProject,theLydianStringQuartet,TripleHelix,TimSmith,TimBerne,LauraFrautschi,RhondaRider,StephenDrury,MiaChung,JudithGordon,MaryNessinger,andBostonMusicaViva.

HehasreceivedcommissionsfromtheKoussevitzky,Fromm,Barlow,andNaumburgFoundations,theMaryFlaglerCareyCharitableTrust,ConcertArtist’sGuild,threecommissionsfromChamberMusicAmericaandtwoMeettheComposer/Reader’s

DigestConsortiumcommissions.HehasalsobeentherecipientoftheStoegerPrizefromtheChamberMusicSocietyofLincolnCenter,aGuggenheimfellowship,twoNationalEndowmentfortheArtsfellowships,theGoddardLiebersonAwardfromtheAmericanAcademyofArtsandLetters,theSt.BotolphClubAward,andtheRomePrize.

CurrentcommissionsincludeasoloviolinpieceforMidoriandVadimRepin,fromtheMidori/Repincommissioningproject;aConcertoforOrchestrafortheSt.PaulChamberOrchestra,fromMeettheComposer;andapiecebasedonPolishfolksongs,forBostonMusicaViva.

HismusichasbeenrecordedonNonesuch,NewWorld,Avant,Tzadik,andC.R.I.,anditispublishedexclusivelybyCarlFischer.AnewCDofchambermusic,includingWilson’sIvory-bill, StringQuartetNo.4,The Dream of Innocent III,andAmnesia ReduxforpianotrioisforthcomingonTzadik.Infallof2004hewasresidentcomposerattheAmericanAcademyinRome,andinthewinterandspringof2005hewasacompositionfellowattheCamargoFoundationinCassis,France.LeeHylalivesinChicagowhereheistheWyattChairofMusicCompositionatNorthwesternUniversity.

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1:30 pmVanderhoef Studio Theatre

Panel Discussion

Anin-depthdiscussionregardingtheconceptofmadnessinthe1800sandtoday,howtheRomanticidealofthecreativemindwascompatibleinmanywayswithmentalillness,andhowthishaschangedincontemporaryculture.

ProfessorAnnaMariaBusseBerger,moderator

Panel Members

MitchellMorris•DepartmentofMusic,UCLAJessieAnnOwens•Dean,HARCSDivision,CollegeofLettersandScience,UCDavis

ChristopherReynolds•Chair,DepartmentofMusic,UCDavisDeanSimonton•DepartmentofPsychology,UCDavis

This Panel Discussion is made possible in part by a grant from the Davis Humanities Institute.


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Schumann TodayD.KernHoloman

A ssigningattributestothesaintsgoesbacknearlytwothousandyears.St.Peterhashiskeys;St.CatherineofSiena,herlily;St.Sebastian,hisarrows.GreatleaderslikeJoanofArcandRichardtheLion-Heartedhaveuniversallyrecognizedheraldic

emblems.TheRomanticcomposersandespeciallytheirchroniclersreveledinpsychiatricattributes:Beethoven,justthengoingdeaf,rippedawaythetitlepageofhisNapoleonicsymphonyandinsteadcalledit“Eroica.”Schubertcouldn’tfinishhissymphony.Berlioz,atleastaccordingtoLeonardBernstein,famouslyself-medicatedandthen“tookatrip”

offantastichallucinations.Lisztslepthiswaytothetop;Tchaikovskycouldn’tdecidewheretosleep.AndSchumannleaptoffabridge,wentmad,anddiedinaninsaneasylumwhilehisstudentBrahmscourtedhiswifeClara.

Titleslike“MadnessandMusic”haveanintriguingringtothem.Theyurgeourfocusonthemostdifficulttruthsofmusicalart:theagonyofdiscoveringnewbeauty,theartist’softendesperateloneliness,andtheuncertaintyofthepointwhereartistictemperamentamountstocomingunglued.ThedistinguishedUniversityofCaliforniapsychiatristandprofessorPeterOstwald(1928–96)establishedabranchofmoderninquiryinhisSchumann: The Inner Voices of a Musical Genius(NortheasternUniversityPress,1985).Thenhewentontotreattwootherremarkablecasesin Vaslav Nijinsky: A Leap into Madness(CarolPublishingGroup,1991)andGlenn Gould: The Ecstasy and Tragedy of Genius(W.W.Norton,1997).Inrecentyears,thiskindofworkhascontinuedwith,forinstance,theworkofWilliamA.FroschoftheCornellMedicalCenter:“Moods,Madness,andMusic,”thesecondinstallmentofwhichasksustoconsiderthequestion“WasHandelinsane?”OliverSacks’sMusicophilia(AlfredA.Knopf,2007)includesinits2008paperbackeditionsubstantialrewritingandretitlingofthechapter“Lamentations:Music,Madness,andMelancholia.”Schumann’sinnerworldis,moreover,welldocumentedinhisowndiaries.Alreadyattheageoftwenty-threeheissubjectto“theworstfearamancanhave,theworstpunishmentHeavencaninflict—thefearoflosingone’sreason.”Shortlyafterwardherecords,simply,“Iwasobsessedwiththethoughtofgoingmad.”

Butontheoccasionofthe200thanniversaryofhisbirth,itmakessensetocelebrateothercriticaladvancestoo.Agenerationago,Schumann’sworkwasnearlyasmyth-boundasBerlioz’s.LikeBerliozwithhis“flawed”basslines,itwasoftenthought(andtaught)thatSchumann’sorchestrationwasdefective.Now,thankstosimpleattentiontoearlyRomanticorchestralsizeanddeployment,andtosuchbreathtakingaccountsasthatofthe“Rhenish”SymphonywithMichaelTilsonThomasandtheSanFranciscoSymphonyhereintheMondaviCentertwoseasonsago,thequestionofSchumann’sorchestralprowesshardlybearsaskingatall.Asolidbodyofmusicologicalscholarship,ledbyscholarsJohnDaverio,LindaCorrellRoesner,JohnWorthen,andUCprofessorsAnthonyNewcombandChristopherReynolds,hashelpedtoidentifyandcontextualizethemanydetailsofcompositionalpracticeandbiographicalcircumstancethatdemonstratethecriticalbridgeSchumannprovidesfromtheClassicaltothelateRomanticidioms—andhowSchumannhimselflinksLeipzigandthentheRhinelandtoParis,London,Vienna,andbeyond.

MeanwhileProfessorOstwald’swidow,LiseDeschampsOstwald,hasgainedfirstaccesstotherecordsattheasyluminEndenich,addinganewchaptertotheexpandededitionofInner Voices for2010.AllthisandmoreprovidethelandscapeforRethinking Schumann, ed.Roe-MinKokandLauraTunbridge(OxfordUniversityPress,2010),toappearjustasourfestivalgetsunderway.Schumann’svoice,alwaysamongthemostlyricandinventiveofhiscentury,seems—twocenturieslater—morecompellingthanever.


In Memoriam: John DaverioAnnaMariaBusseBerger

J ohnDaverio(1954–2003)wasaleadingexpertonGermanRomanticismandabelovedprofessorofmusicologyatBostonUniversity,whereweweregraduatestudentstogetherinthelate1970sandearly80s.WithoutadoubtoneofthebestyoungviolinistsintheBoston

area,hecouldhaveeasilymadeacareerasaprofessionalmusician.Buthelovedresearch,anditwasquicklyclearthatviolinperformancewasnotenoughforhim,soheswitchedfromtheviolinprogramtomusicology.AfteradissertationonBaroquetriosonatas,accomplishedinrecordtime,nineteenth-centuryRomanticismbecamethefocusofhisinterests.HebeganwithabrilliantarticleonSchumann’sFantasie, op.17(winningtheAmericanMusicologicalSociety’sAlfredEinsteinAwardin1988),whichwasfollowedinsuccessionbythreeimportantbooks:Nineteenth-Century Music and the German Romantic Ideology(1993),Robert Schumann: Herald of a “New Poetic Age” (1997),andCrossing Paths: Schubert, Schumann, and Brahms (2002).ProbablythemostimportantoftheseistheSchumannbiography;itrehabilitatesthecomposer’slate-periodworks,previouslymisunderstoodandunderestimated.DaverioshowshowSchumann’sbipolardisorderinfluencedhiscompositionaloutputthroughouthislife.Thereareilluminatingdiscussionsofthelateworks,includingScenes of Goethe’s Faust andtheoperaGenoveva—popularinthenineteenthcenturybutnearlyforgottenuntilLeonBotstein,likelyinspiredbyDaverio’sbook,conductedthematBardCollege’ssummerfestivalsin2006and2010.

Daverio’sbooksonSchumannandhiscontemporariesareimpressivebecauseheimmersedhimselfinthesubjectsofnineteenth-centuryliteratureandphilosophy.DuringourtimeatBostonUniversity,wewoulddiscussnovelsbySchumann’sfavoritewriter,JeanPaul,unavailableinEnglishtranslation.HeprovedasimilarknowledgeofthevisualartsbyshowingmereproductionsofpaintingsbyPhilippOttoRungeandCasparDavidFriedrich,thenlittleknowninthiscountry.

Johnmusthavehadaphotographicmemory.Whenwepreparedforthedoctoralqualifyingexaminations,hesomehowalreadykneweverythingtherewastobelearned,andhebecameanexcellentsourceofinformationforme.Hewasasuperbteacherandpubliclecturer,regularlyspeakingatBostonSymphonyHall.WemanagedtoinvitehimtogiveseverallecturesatUCDavis.HetalkedaboutClaraandRobertSchumanninmyundergraduatemusichistorysurveyclass,andthestudentsweremesmerized.

Johndiedattheageofforty-eight.HewasfoundintheCharlesRiveramonthafterhedisappeared.Thepoliceestablishedthattherewasnofoulplay.AsInowthinkbackonmylastconversationswithhim,Irealizethathewasutterlyexhaustedanddepressed.HehadbeentheDirectoroftheSchoolofMusicatBU,chairofthedepartment,anddidnotknowhowtocareforhisfrailparents,whomheloveddearly.Itseemshewasnotabletoreachoutforhelp.Eventhoughhediedsevenyearsago,IcanhonestlysaythatadaydoesnotpasswhenIdon’tthinkofhim.HewasmyfirstfriendinAmerica,andheintroducedmetocountlesscompositionsandbooks.WheneverIhadnewideasforresearchIwouldcallhimanddiscussthemwithhim;whateverIwroteIsenttohim.Mychildrenadoredhim.Onecouldnotwishforamoreloyalfriend.


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O c TO b E r 28 , 20 10

12:05 pmYocha Dehe Grand Lobby, Mondavi center

Shinkoskey Noon concertEric Zivian, piano

andHrabba Atladottir, violin

Program

Six Melodies forViolinandKeyboard(1950) JohnCageMovementI (1912–92)

Third Party forSoloPiano(1998) LeeHyla (b.1952)

Six Melodies CageMovementII

Thema mit Variationen inE-flatMajor,WoO24 RobertSchumann(“Geistervariationen”)forSoloPiano(1854) (1810–56)

Six Melodies CageMovementIII

Glitch forSoloPiano(2010) RamteenSazegari (b.1983)

Six Melodies CageMovementIV

Tre pezzi forViolinandPiano(1993) GyörgyKurtágÖd und traurig (b.1926)VivoAus der Ferne

Six Melodies CageMovementVMovementVI

reception to FollowPlease join us for a brief reception in the lobby following the performance.

We ask that you be courteous to your fellow audience members and the performers. Please turn off your cell phones and refrain from texting. Audience members who are distracting to their neighbors or the performers in any way may be asked to leave at any time.

Also, this performance is being professionally recorded for the university archive. Photography, audio, or audiovisual recording is prohibited during the performance.


Six MelodiesforViolinandKeyboard(1950)wascomposedwhileJohnCage(1912–92)sufferedaperiodofemotionallyintenseself-examinationandself-

negation.In1942Cageandhiswife,XeniaKashevaroffCage,haddecidedtomovetoNewYorkCityinpursuitoffuturefortune.HisreacquaintancetherewithMerceCunninghamunexpectedlykindledhisaffection,andsoonafterCageterminatedhisten-yearmarriage.HissexualreorientationandthebreakupwithXeniadrovehimintoastateofself-denialandemotionalinstability.OntheadviceofseveralfriendsheconsultedaJungiananalyst.Whenthisfailedtohelphim,heturnedtoIndianandChinesephilosophy,concentratingonZenandBuddhism.Consequently,“orientalphilosophy,”inCage’swords,“tooktheplaceformeofpsychoanalysis.”Thepsychologicalconflictbetween,ontheonehand,thewishtotranscendintoNirvanaand,ontheother,savoringthedesireforcontrolinahumanworld,isthemainideaofthispiece.Theenthusiasmforthestateofvoid—thatis,thenegationoftheearthyworldandthemergingwiththedivine—isrepresentedinthecomposition’satmosphereofstillnessandquietness.Cageaskstheviolinisttoplaywithoutvibratoandwithminimumweightonthebow,tocreateadetached,yetverybeautifulsound.Ontheotherhand,ahumancravingforcontrolisreflectedinhischoiceofthestructureofthepiece,organizedbyarhythmicdurationalstructureof31/2,31/2,4,4,3,4.Thereisaconceptualrelationshipbetweenthisworkand4’33”,hismostwell-knownwork,whichpremieredtwoyearslater.In 4’33”hefullygivesupcontrolofmusicalcontentandstructure,creatingarhythmicalandstructuralemptinessperhapsclosertohisidealstate.

—ChiaWeiLin

Third PartywascommissionedbyJudithGordonspecificallyasaset-uppieceforLiszt’sB-MinorSonata,whichsheperformedinarecitalinMay1998.Although

therearenodirectquotationsfromLiszt’sSonata,IattemptedinahighlycompressedwaytoalludetothestrongcontrastsheardintheSonata.Third Partyisabriefbutactivepiecethattakesitsintroductorymaterialthroughthreecontrastingepisodes;eachoftheseismarkedbyadifferentapproachtotheinstrument.Thefirstisalargelydiatonicsectioncharacterizedbytheuseof“stopped”notesinsidethepiano(providingsometimbralvarietyandanadditionallevelofrhythm);thesecondasomewhatathleticvariantcoveringawideregistralrange;andthethirdanintrospectivepassagewithreferencesbacktothefirst.Thepieceendswithmusicthathaspreviouslybeenheardastransitionalmaterialbetweenthesections,nowresolvingintoaC-majortriad.

—LeeHyla

N eartheendofhislife,composerRobertSchumann(1810–56)spenttwoandahalfyearsinanasyluminEndenich,asuburbofBonn,Germany,athis

ownbehest.Schumannstruggledwithseveredepressionthroughouthislife,andin1854developedseverepsychosis,leadingtoasteadydeclineinhismentalhealth.Thesesymptomswerelikelytheresultsofaninflictionofsyphiliscontractedin1832.Theseailmentsmayalsobeexplainedthroughmercurypoisoning,acommontreatmentforsyphilisatthetime.Schumann’swife,Clara,hadlargelybeenpreventedfromseeingSchumannthroughouthisstayinEndenich,asthiswastheconventionoftheasylumdirector.Sadly,asaresult,SchumanndiedaloneonJuly29,1856.

H ebegancomposinghisThema mit Variationen, or “Geistervariationen”(GhostVariations)in1854afterhearingathemethatheconsideredtobebroughtby

anangelicvision.HewouldtellClarathatthisangelwasthespiritofeitherFelixMendelssohnorFranzSchubert.Alas,thethemethatSchumannthoughtwasanotherworldlygiftwasareiterationofoneofhisownpriormelodies,usedpreviouslyinhisStringQuartet,op.41,no.2(1842)andtheslowmovementofhisViolinConcerto,WoO23(1853).HecomposedthefirstfourvariationsjustpriortoanabortedsuicideattemptinFebruary,whenhejumpedfromabridgeintotheRiverRhine.Hewasrescuedandthencomposedthefinalandfifthvariationoftheset.TheentireworklastsbetweennineandtenminutesandismusicallyamoremodestworkwhencomparedwithSchumann’spreviouscompositionsforsolopiano.ThevariationsareconsideredSchumann’sswansong,inthattheyrepresenthisfinalcompletedoriginalwork,thoughhewouldcontinuetoeditearlierworksandtranscriptionsuntilhisdeath.JohannesBrahmspublishedthe“Geistervariationen”andwoulduseSchumann’sthemeforhisownVariationsforPiano,FourHands,op.23.

—PeterHill

I ncomposingthispiece,Glitch, Iwishedtocommunicatetherhythmicprofilesofbothmodernelectronicandclassicalmusicwhileincorporatingaharmoniclanguage

thatismercurialinnatureyetcontextuallyrelevant.Manyofmyelectroniccompositionscontainanelementthatstutters,hesitates,andconstantlychanges.Itisforthesesuddeninterruptionsthatthepieceearnsitstitle,Glitch. Whenconsideringtheharmonictexture,IchosetohaveonlyonenoteattackatatimetoexemplifythethinandpointillisticnatureofthepopularelectronicmusicIhavebeensocloseto.Althoughtheharmonicmotionproceedsveryquickly,itdoessowithoutthesupportofdenseverticalsonorities.Inplaceofsimultaneousharmonicstructures,Iimposedanumberofcontrastinggesturalideas,i.e.,canonicimitation,rapidlyrepeatednotes,andareasofstarkrhythmicactivity.

—RamteenSazegari

B orninRomania,composerGyörgy Kurtág(b.1926)movedtoHungaryin1946.AlthoughapupilofVeress,Farkas,Milhaud,andMessiaen,hewas

profoundlyinfluencedbythemusicofBartók.MostofKurtág’scompositionsareminiatures,andTre pezzi per violino e pianoforteisnoexception;itconsistsofthreeconcise,ingenious movements: Öd und traurig; Vivo; Aus der Ferne.ThepieceishighlycondensedandreminiscentofWebern’smusic.Kurtágchoosesafewnotes,butmakesgooduseofeachone.Thus,eachnotehasgreatermeaningbyallowingasinglenotetobemoreexpressivethaniftherewerenumerousnotes.ThemusicalideasofthethreemovementsarecharacteristicofKurtág’smusic:thesinglegestureforthefirstpieceisfollowedbythedramaticsecondmovementandendswithacalmandlyricalthirdmovement.Offeringaspecialworldoftimeandspace,Tre pezzicreatesamysterioussenseoftimbre.Forexample,theviolinpartplayswiththemutethroughout.Inthefinalmovement,Aus der Ferne,theviolinplayssul tasto (overthefingerboard),whilethepianousestheuna corda pedal,playingextremelysoftandatmospheric.AstheviolinplaysmanyslowornamentationsaroundthepitchB,amoodyhesitationbuildswhilethemusicbidsthelistenersfarewell.

—Ching-YiWang

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7:00 pmVanderhoef Studio Theatre, Mondavi center

andYocha Dehe Grand Lobby, Mondavi center

Electronic Music / Mixed Media concert

Program

Silver Streetcar for the Orchestra (1988) AlvinLucier (b.1931)

ChrisFroh,amplifiedtriangleVanderhoefStudioTheatre

Rainforest IV (1973) DavidTudor (1926–96)

YochaDeheGrandLobby

Rainforest IV Performers

ThisgroupofundergraduatespreparedthisrealizationofRainforest IV inSamNichols’sMusic198classduringthespringof2010.SpecialthankstoJesseDrewoftheTechnoculturalStudiesProgram,whose

“ElectronicsforArtists”classwasaninvaluableresource.

SharmiBasuJohnBrumleyAaronCooperMichaelDorrityCodyDuncanGarethEwing

AlejandroGonzalezPatrickLanghamAdamMoralesDakotaSalazarDanielScrivano



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A lvinLucier’s1988compositionSilver Streetcar for the Orchestrafollowsinaseriesofpiecesthatexplorethesoniccapabilitiesofasingleacousticinstrument.The

instrumentoffocusinSilver Streetcar for the Orchestra isthetriangle.Confrontingtheaudiencewiththesteadytoneoftheinstrument,Lucierforcesthelistenertofindsubtletieswithinthesound.Astheperformeraffectsthesoundthroughdampeningsectionsofthetriangleandvaryingthespeedwithwhichhestrikestheinstrument,subtlechangesbecomedramaticeventsthatwouldotherwisehavebeenoverlooked.Thetriangleiswellsuitedforsuchexplorationasitswiderangeofovertonescanbeisolatedanddampenedbymanipulatingpointsofvibrationalongthesurfaceoftheinstrument.Andmuchinthewaythatarepetitivemelodyorrhythmcauseslistenerstoadjusttheirearstosmallchangesbetweeniterations,asteadytoneortimbrewillbecomefamiliartothepointthattheslightestdeviationreceivesattention.Itisfurtherimportanttostressspatialimportanceoftheperformancespacetothelisteningexperience,asLucierhasexploredextensivelyintheworksVespers(1968)orI am Sitting in a room(1970).Becausethesizeandshapeofaroom,alongwiththematerialsusedinthewallsandeventhenumberofpeopleoccupyingtheroom,canhaveaneffectonthetransmittedandreflectedsoundsandtheirintermingling,theperformancecandrasticallychangefromseattoseatandateveryconcertperformance.Thisisnotsomuchaworkfortriangleasitisanexplorationofthesoniccapabilitiesofthetrianglebytheperformerandaudiencemember.Thepiecerequiresconcentrationandthoughtfulnesstotrulyarriveatabetterunderstandingoftheintricaciesandcapacitiesofthisseeminglysimpleinstrument.

—JohnBrumley

D avidTudor(1926–96)beganhismusicalcareerasaconcertpianist.Throughoutthe1950sheperformedpiecesbymanyoftheleadingavant-gardecomposers

ofthetime(Boulez,Stockhausen,Cage),thoughhebecamemuchmoreinvolvedwithcompositionandcollaborationswithJohnCageandtheMerceCunninghamDanceCompanyfromthe1960son.Hisfascinationwithexperimentationandelectronicsledhimtodevisemodularelectronicsystemsthatcouldbereworkedfromperformancetoperformance.Byusingsuchadaptablesetups,hispieceRainforestevolvedfornearlytenyearsduringthelate60sandearlytomid-70s,movingthroughthreedifferentversionsbeforesettlingon Rainforest IV.OtherthanofferingguidelinesastohowtheRainforest apparatusisconstructed,Tudordidnotcomposeanofficialscoreforthepiece.Itsopenformallowsforwidevariationfromproductiontoproductiondependingonthegroup,theperformancespace,andtheavailableobjects.Theperformancespaceisfilledwithresonatingobjectsthathavesoundpumpedintotheminmuchofthesamewaythatspeakersaredriven,howeverallobjectsandsoundsdrivingtheobjectsarelefttotheperformers(thoughTudorasksthattheperformernotusepre-composedmaterialasasoundsource).Possibleobjectscanvarywidely,andmuchoftheexperimentationinthepiececomesfromselectingobjectsthatresonateanddeterminingwhichsoundsworkwellinresonatingeachobject.Allowingpeopletoexploretheresonatingobjects,walkingthrough

objects,listeningtothemfromdifferentangles,touchingthemtofeelvibrations,andpressingone’seartoanobjectareallencouraged.Theperformersalsoactascuratorsoftheperformanceandshouldbeaskedquestionsaboutwhatisgoingon,andhowtheobjectsareaffectingthesounds.Discoveringtheindividualsoundsandcharacteristicsoftheobjects,justastheperformershaddonepriortotheconcert,isuptotheaudienceduringtheperformance.Theamountthatyoutakefromthepieceisdirectlyrelatedtohowmuchyouphysicallyinteractwithit.

—JohnBrumley

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Empyrean EnsembleMika Pelo and Kurt rohde, co-directors

Program

The Island (2009) MoonYoungHa (b.1980)

PeterJosheff,clarinetHrabbaAtladottir,violin•ThaliaMoore,cello

Scritch (2010) MelindaWagner (b.1957)

TomNugent,oboeAnnaPreslerandHrabbaAtladottir,violinsPhyllisKamrin,viola•LeightonFong,cello

— A Meet the Composer Commissioning Music/USA Commission —

Märchenerzählungen, op.132(1853) RobertSchumannLebhaft, nicht zu schnell (1810–56)Lebhaft und sehr markirtRuhiges Tempo, mit zartem AusdruckLebhaft, sehr markirt

PeterJosheff,clarinetEllenRuthRose,viola•MichaelSethOrland,piano

Hommage à Robert Schumann, op.15d(1990) GyörgyKurtágMerkwürdige pirouetten des Kapellmeisters Johannes (b.1926)Der begrenzte Kreis . . .Und wieder zuckt es schmerzlich F. um die LippenFelho Valék, Már Süt A Nap . . . Töredék-TöredékIn der Nacht (Presto)Abschied Meister Raro entdeckt Guillaume de Machaut

PeterJosheff,clarinetEllenRuthRose,viola•MichaelSethOrland,piano

Intermission

Ciao, Manhattan (1990) LeeHyla (b.1952)

TodBrody,flute•EllenRuthRose,violaThaliaMoore,cello•MichaelSethOrland,piano

Nok-du-kkot (2010) EunYoungLee (b.1967)

EllenRuthRose,soloviolaTodBrody,flute•PeterJosheff,clarinet

HrabbaAtladottir,violin•ThaliaMoore,celloMichaelSethOrland,piano•LorenMach,percussion

MatildaHofman,conductor




ScritchwasjointlycommissionedbytheLeftCoastChamberEnsembleandtheEmpyreanEnsembleas

partofanationalseriesofworksfromMeettheComposer’sCommissioningMusic/USAprogram,whichismadepossiblebygeneroussupportfromtheFordFoundation,theRockefellerBrothersFund,theNationalEndowmentfortheArts,theFrancisGoelettrust,theHelenF.WhitakerFund,Target,theWilliamandFloraHewlettFoundation,NewYorkStateCouncilontheArts,andPennsylvaniaCouncilontheArts.

R ecentlymyworkshavebeeninspiredbypersonalexperiences.WhenIstartedcomposingthispieceThe Island,IranintosomeoneIhadmettwoyearsago.

Sincethen,IneverthoughtthatIwouldmeetthepersonagain,butithappened.Probably,tomostpeople,thisdoesnotsoundveryspecial.However,thishappeninggavemeachancetorememberthelasttwoyearsofmylife,andthispieceisbasedonthatremembrance.

—MoonYoungHa

ItwasmyinitialplantocomposeacompanionpieceforSchubert’s“Trout”Quintet,performedlastJune.Ultimately,severalschedule-relatedtrainwrecks(allmine),alongwithpressingfamilyissues,causedasignificantmetamorphosis.Alongtheway,itwassuggestedthatImightcomposeacompanionpieceforBritten’sPhantasy.WiththispieceandMarioDavidovsky’smarvelousQuartetto No. 2inmind,Isetabouttowriteaworkforoboeandstrings,whichbecameScritch. Inthehandsofafineplayer,theoboeissoagile—yet,itisalsocapableofproducingsustainedlinesofmelancholicbeauty.Iwantedtoshowcasetheseattributes.Theresultingpieceiscertainlyavehicleforvirtuosicoboeplaying,whilebeingnolesstrickyforthestrings!Itconsistsofaseriesofepisodes—skittering,playful,sometimesagitatedrhythmicpassagessharplycontrastedwithscarilyslowchoraletextures.Whilethepieceissectionalinthisway,Itriedtomaintainakindofnarrativethroughout;thatis,Iwantedtoplacethebuildingblocksofcontrastingtexturessecurelywithinthecontextofmyowndevelopmentalstyle.AndIwantedeachofthefivepartsto“fit”andworktogether,asifslippingintothefingersofaglove.

—MelindaWagner

C omposedOctober9–11,1853,andpublishedthefollowingyear,Märchenerzählungen, op.132,wasSchumann’sfinalpieceofchambermusic.Atthetime,

SchumannwasenjoyingasuccessfulstintasthemusicdirectorinDüsseldorfandhadrecentlywelcomedtheyoungcomposerJohannesBrahmsasaprivilegedvisitor.PerhapsdueinparttotheinspirationhefoundinthetalentedandpromisingBrahms,Schumannsettoworkonthisfour-movementtrioforclarinet(orviolin),viola,andpiano.

Märchenerzählungen canbetranslatedas“fairytales,”andalthoughthetitleimpliessomesortofnonmusicalprogram,

Schumannneverrevealedwhatitmayhavebeen,iftherewasoneatall.Asidefromthetitle,theprimaryreasonlistenerstendtoidentifyaprogrammaticnatureinthepieceisSchumann’streatmentofthemainmotif.Muchlike Carnaval,op.9,Schumannunitesamultimovementworkbydevelopingamotifthroughout.ThemotiffirstappearsintheviolainthelivelyopeningmovementinB-flatmajor—itisthebrief,staccatodescentattheendoftheviola’srising,legatoentrance.

Therestofthemovementdevelopsthemotifbetweentheclarinetandviola.ThepassionatesecondmovementturnstotherelativekeyofGminorwhoseturbulenceistemporarilyoffsetbyanexpressiveshiftinthemiddlesectiontoE-flatmajor.ThisdramabeautifullypreparesthetenderthirdmovementinGmajor.HereSchumannabandonstheantiphonalrelationshipbetweentheinstrumentsinfavorofconjoiningtheclarinetandviolainalyricalfashionabovethepersistentpiano.ThefinalmovementreturnstoB-flatmajorandoffersanemphaticconclusiontothismusicaltale.

—GarrettShatzer

K urtág’sHommage à Robert Schumann,forclarinet,viola,andpiano,op.15d,wascomposedbetweentheyears1975and1990.Inhiscustomary“fragmentary”

manner,KurtágnamesRobertSchumannastheobjectofhishomage.Schumannisanotablecaseofthecreativepowersvs.psychologicalproblems,asmanifestinhisbipolardisorder.Heoftenimaginedtwomusicalpersonalities:FlorestanandEusebius.Thesecontrastingcharactersareakintothetwopolesofmoodswingsheencounteredduringhisbipolarepisodes.Florestanwasimpulsive,Eusebiuswasdreamy.Thecomposerusedadditionalliterarypersonaetoilluminatehiscriticalandaestheticperspectivesinthe Neue Zeitschrift für Musik.

AttheoutsetofKurtág’spieceisthemovementtitle:the Marvelous Pirouettes of the Conductor Johannes Kreisler. KreislerisadoublereferencetotheworkKreisleriana bySchumannandthecharacterinE.T.A.Hoffmann’sfictionalstory The Tales of Hoffmann. Kurtágpresentsshort,sporadicmusicalmaterialhere.Theclarinetplaysasubtlyhowling-up-and-downmotivefollowedbysomepercussiveproddinginthepiano,creatingasonicemblemofboththeimaginedconductor’smovementsandthepsychologicalstateofSchumann.Theimageofadancingnightadventurer(Florestan)settingoffwithacouplefriendsisinterspersedthroughout.

Thenextmovement,Eusebius: The Closed Circle, hasamoreabstractsonicimage.Quasi-canonicstructuresofthe Closed Circle,whichdoesnotactuallyclose, alludetotheworkofKafka.Hence,wehaveanimaginingofthemusicalmaterialbywayofastrict,nearlybureaucraticprocedureinspiredthroughthelensofadreamymusicalcharacter.Thethirdmovement,and Again Florestan’s Lips Quiver Painfully,drawsusbacktothemoreimpulsiveworld.Severalquickoutburstsoffragmentarymaterialderivedfromthefirstmovementdissolveintoacanonicpassageofharmonicsintheviolafollowedbythepiano.Whatseemstobedevelopingisa

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dialecticofmoodsandmusicalshapes.InthenextmovementwehearareturntotheEusebianmood.Thetitletranslates:I was a cloud, now the sun shines.Themusicalmaterial,asinthesecondmovement,isagainaconvolutionoftheinitialthemeofthefirstmovement.Thefifthmovement(In the night)drawsupfromawindyclimbinginthepianotoamadstorm.Herewefindsometrulydarkhumor.ItisdifficultnottohearthedroppingmotionofthefinalcadenceincollusionwithSchumann’ssuicideattempt.ThefinalmovementisahorrendoussynthesisofthedualqualitiesofSchumann’spersonae.Itstitle,Abschied,meansfarewellandthesubtitleis Master Raro Discovers Guillaume de Machaut. Herequasi-isorhythmicandmedievalproceduresabound,andweareleftwithasenseofeternalregression.KurtághascompletelydrawnusintothescenarioofSchumann’slastdaysoflife.

—ScottPerry

Ciao, Manhattanisabrief,quiet,andintrospectivepiecethatwaswritteninNewYorkCityandRomeinthesummerof1990.Thepiecebeginsinaconfined

registralspaceandexpandsslowly;theseexpansionsaremarkedbyvariationsonatunefirstpassedbetweenaltofluteandviolaverynearthebeginning.Afteraseriesofthesevariations,thelastofwhichisaduoforviolaandcellowithanactivepianoaccompaniment,elementsoftheearlieraccompanimentareprofiled.Afterthetexturenearlydissolves,thepianoleadsthepieceintoabriefclimacticsectionthat,inturn,isfollowedbyafinalvariationontheopeningtune.Ciao, ManhattanwascommissionedbytheMeettheComposer/Reader’sDigestConsortiumCommissioningProgramandwaswrittenfortheDinosaurAnnexEnsembleofBoston.

—LeeHyla

T hisMin-yo(folksong)isgenerallyconsideredtorefertoBong-JunJeon(1854–95),whowascalledGeneralMung-Bean.

Nok-du-kkot (Mung-beanflower)Bird, bird, blue bird,do not sit on the Mung-bean tree.If the Mung-bean flower sheds too soon,the green jelly peddler leaves weeping.

HeconvertedtoChristianityaftertheDonghakpeasantrevolution.TheGeneraldefendedthecommonKoreanpeopleagainstcorruptpoliticiansinthe1890sandfoughtagainstJapanaftertheFirstSino-JapaneseWar.Idedicatethispiecetoallvictimsofwarandoppression.Ihopethat,althoughone’sindividualcircumstancesmaybeagonizing,ourdesireforgenuinejusticewillstandfirmandstrong,andthattogetherwewillbeabletoworktowardrealpeace.

—EunYoungLee


O c TO b E r 30, 20 10

8:00 pmJackson Hall, Mondavi center

Alarm Will SoundAlan Pierson, Artistic Director

Program

Cock/ver 10 AphexTwin(b.1971)

arr.StefanFreund

Introduzione all’oscuro Salvatore Sciarrino (b.1947)

Pre-Pulse Suspended LeeHyla (b.1952)

Intermission

Le voci sottovetro SciarrinoGagliarda del Pincipe di VenosaTu m’uccidi, o crudeleCanzon francese del PrincipeMoro, lasso

Carmen Arcadiae Mechanicae Perpetuum SirHarrisonBirtwistle (b.1934)

Omgyjya Switch 7 AphexTwin

Dowland Remix JohnOrfe (b.1976)

We ask that you be courteous to your fellow audience members and the performers. Please turn off your cell phones and refrain from texting. Photography, audio, or audiovisual recording is prohibited during the performance.

Cock/ver 10 wasoneofthefirstpiecesofAphexTwin’selectronicaarrangedforAlarmWillSound’sAcoustica project.Ichosetoarrangethisparticularpiecefor

chamberorchestrabecauseofitsradicaltexturalcontrastsandintenserhythmicvitality.WhileworkingonthepieceIwasintriguedbyitsseductivetunes,disruptiveeffects,andfunkybasslines. Inordertoreplicatethebreakneckdrumtracks,twodrumsetplayersareused;onewithatraditionalset,andanotherwithamountedbassdrumandkickdrum.Thisallowsthesedrumstobeplayedwithmallets,allowingforgreaterprecisionandquickness.Useofextremeregisters,extendedtechniques,andsecundalharmoniescreateathornyatmospherethatisanythingbutreminiscentofatraditionalchamberorchestra. ThoughIwantedtoremainfaithfultoportrayingthesoundoftheoriginal,thearrangementcontainsseveralofmyownorchestrationalsignaturesincludinghockets,reinforcement,mixedarticulations,andlotsofdoublings.

—StefanFreund

C omposedfortwelveinstruments,Introduzione all’oscuro (1981),isdescribedbyitsItaliancomposer,SalvatoreSciarrino:“Musicreversestherelationship

betweenabsenceandpresence,acceleratesorslowsthepulseandappearsregularlyasamysteriousatmosphere.”

W rittenfortwelveinstrumentsandfirstperformedonSeptember29,1984,atTanglewood,Pre-Pulse SuspendedwascommissionedbytheFromm

FoundationinassociationwiththeBerkshireMusicCenter.

T ranscribedfromGesualdo’svocalandinstrumentalworks,thiscollection,Le voci sottovetro(itstitlemeans“voicesbehindglass”)rescoresthesixteenth-

centurymadrigalswiththevoicetreatedasthoughitisoneoftheinstruments.Thepurposeofthesetranscriptionsistoillustratethebeliefthat“oldmusicischangingandcanbefilledwithnewlifewhentouchedbythespiritofmodernity.”


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Carmen Arcadiae Mechanicae Perpetuum isbywayofhomagetoPaulKlee,andthetitleisonehecouldhaveinvented.Itconsistsofsixmechanismsthatare

juxtaposedmanytimeswithoutanyformoftransition.Thedynamicsofthepiecehaveatime-scaleindependentofthatofthemechanisms,creatinganindependentdynamiclifeoftheirown.Thisprocessisalsoappliedtotheregistersofthepiece.

—HarrisonBirtwistle

Omgyjya Switch 7 isincrediblydense,fast,andpercussive.ItwasoneofthelasttracksonAlarmWillSound’sAcousticaprojecttobearranged,andI

welcomedthechallenge.Atfirst,Ithoughtitwouldhavebeenbettersuitedforalargepercussionensemblethanachamberorchestra.Indeed,myfinalversionusesthreeverybusypercussionists,withothermembersoftheensembleplayingpercussioninadditiontotheirowninstruments.Thewindandstringinstrumentsareoftenusedinapercussivewayaswell.

Myfirstapproachtothetrackwastotransformitintoanoriginal,twenty-first-centurycontemporarychamberorchestrapiece.AlanPiersonopenedthefloodgatesforme,encouragingmetowritewhatIreallyheardasspecificallyaspossible,andnottobeconcernedwithhowthesoundwouldbemadeorwiththetechnicalchallengesofmaking

it.Therehearsalphasewasluxurious.Ijoinedtheensembleandworkedwiththemforaweek,refiningideasdayandnight.Thefruitsofoneday’sexperimentationwereturnedintonotatedmusicthenextmorning.Weexhaustedeveryresource.Ievenwheeledashoppingcartdownfromanartclassroomtodemonstrateapercussiveeffectthateventuallyendedupunused.OtherideasIwouldneverhavethoughtofturnedouttobeideal:wefoundaduckcallandanengravingtoollyingaroundwhichendedupbeingthebestchoicesforthefinalraucouspassage.

—EvanHause

Dowland RemixisaraverecompositionofJohnDowland’sLacrimae (“FlowMyTeares”).Itwasliterallythecomposer’ssignaturesong(hesigned

as“Jo.DolandideLachrimae”).Publishedin1596inhisSecond Book of Songs,theLacrimaebecameoneofthefavoriteimprovisationalthemesofthesixteenthandseventeenthcenturies;over100manuscriptandprintedarrangementsexist.Atechno/industrialsettingoftheLacrimaeforemo,rave,andgothaudiencesseemedappropriate,ifnotoverdue.WrittenforAlarmWillSound,Dowland RemixwaspremieredinJuly2009at(le)PoissonRougeinNewYorkCity.

—JohnOrfe

O c TO b E r 30, 20 10

A L A r M W I L L S O u N D

AlanPierson,ArtisticDirector,conductorGavinChuck,ManagingDirectorJasonVarvaro,ProductionManager

ErinLesser–flute,altoflute,piccoloChristaRobinson–oboe,Englishhorn,

BillKalinkos,clarinetElisabethStimpert–clarinet,bassclarinetLynnHileman–bassoon,contrabassoon

MattMarks–hornJasonPrice–trumpet

MichaelClayville–tromboneChrisThompson–percussionChrisFroh–percussionLorenMach–percussion

JohnOrfe–pianoCalebBurhans–violin,electricguitar

CarolineShaw–violin,voiceJohnPickfordRichards–viola,accordion

StefanFreund–celloMilesBrown–bass,electricbass

Alarm Will Sound’s season is made possible by foundation support from the Amphion Foundation, the BMI Foundation and Meet the Composer, Inc.


O c TO b E r 30, 20 10


Eric Zivian, piano

Program

FantasyforPiano(2010) EricZivian (b.1968)

Colori notturni (2006) ChristianBaldini (b.1978)

Mercurial (2010) ChristianBaldini

Fantasie inCMajor,op.17(1836) RobertSchumann (1810–56)



M yFantasyforPianoislooselybasedontheopeningmovementofSchumann’sFantasie inCMajor,inbothsomeofitstextures(the

initialtextureamongothers)anditsstructure(thoughmypieceisquiteabitshorter).Therearenodirectquotations:rather,IusedSchumann’sFantasieasakindofinspirationorspringing-Zoffpoint.

—EricZivian

Colori notturniwaswrittenfouryearsagoasaresponsetomyloveforthemusicofRobertSchumannandLucianoBerio,andforpianistJacobGreenbergof

theInternationalContemporaryEnsembleasasingle,prelude-likepiece.Itisverydelicateinnatureandexploresdifferentgradationsofsonoritieswithinarathermotionless,yetlyricalcontext.TheseedsofColori notturni areextractedfromBerio’sEncoresandfromSchumann’s“Geistervariationen,”thelastcompositionhewrote—supposedlydictatedtohimbytheangels.

E clecticenergy,power,stamina,andvirtuosity—bothphysicalandintellectual—arethecentralelementsofthisworkMercurial.Indeepcontrast,amiddlesection

presentsachildren’stunethatmysonDanteadores,partlybecausehisgrandmasingsittohim.Itcomesintomypieceasanaturalconsequenceofasummerspentwithmychildren,atimewhenIlearnfromthemhowtobecomeabetterfatherandabettermusician.MercurialisdedicatedtoEricZivian,asasymboloffriendshipandadmiration.

—ChristianBaldini

S chumann’stemporaryrecoveryfrommanicdepressionin1834marksthebeginningofthesecondstageofhiscareerduringwhichsomeofhisgreatestpianocompositionswere

written,includingCarnaval,op.9,Faschingsschwank aus Wien, op . 26,andtheFantasie,op.17.Duringtheconceptualstageofthepiece,theoriginaltitleofSchumann’sFantasie was“SonataforBeethoven.”Schumanncomposedhisworkin1836asatributetoBeethovenforthededicationofhisstatueinBonn,thecityofBeethoven’sbirth.EventhoughadmirationforBeethovenisexplicitinmanyofSchumann’scompositions,theFantasie is notasovertlydescriptiveasin,forexample,certainmovementsofCarnaval,whichaestheticallyreflectsthemusicalcharactersofselectedcomposersforanimaginarymaskedball,inwhichBeethovenisoneoftheparticipants.

ApparentintheFantasieisSchumann’smasterfultreatmentofrhythmatalevelcomparabletothemusicofBeethoven,Berlioz,andBrahms.Inadditiontorhythmicdisplacementandpolyrhythms,oneperceivesanintrinsicandvitalcomponentinthemultiplelayersofpulsemovingsimultaneouslythroughoutthework.Differentlayersofregularlyrecurringaccents,bothdynamicandrhythmic,arejuxtaposedagainstoneanother,generatingamusicalsurfaceinaconstantstateofinteraction.ThisinteractionismadeallthemoresubstantialbySchumann’sbrilliantsenseofpacingintheharmony,producinganadditionalmusicallayer.Schumann’sFantasie is consideredoneofthegreatestofallhisworksforpianosolo,representingacompositionalpeakofwhichhewaskeenlyaware.InMay1839SchumannagreedwiththemusiccriticHermannHirschbachthathehadattainedthezenithofhiscreativepowersinthefirstmovementoftheFantasie .

—HendelAlmétus


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O c TO b E r 31 , 20 10

10:00 am and 2:45 pmVanderhoef Studio Theatre, Mondavi center

Alarm Will Sound reading Sessions

Part I10:00 am

AlarmWillSoundwillreadpiecesbythefollowingMadnessandMusicFestivalComposerFellows:MatthewBarnson

AndreiaPintoCorrieaKarenPowerGreggWramage

Part II2:45 pm

AlarmWillSoundwillreadpiecesbythefollowingUCDavisDepartmentofMusicgraduatestudents:HendelAlmétusScottPerry

Ching-YiWang

7:00 pmJackson Hall, Mondavi center

uc Davis Symphony Orchestrachristian baldini, music director and conductor

Program

Sensemayá (1938) SilvestreRevueltas (1899–1940)

Lu-lu, Lu-lu (2008) JeanAhn (b.1976)

Four Hardy Songs (2010) PabloOrtizHenley Regatta (b.1956)A Beauty’s SoliloquyWithout CeremonyHer Secret

SaraGartland,soprano

Intermission

CelloConcertoinAMinor,op.129(1850) RobertSchumannNicht zu schnell (1810–56)LangsamSehr lebhaft

SusanLambCook,cello




O c TO b E r 31 , 20 10

S ilvestreRevueltaswasbornonNewYear’sEve,1899,anddiedofpneumoniaandexhaustioncomplicatedbyalcoholinOctober1940.Duringhisshortlife,Revueltas,

alongwithhisclosefriendandcomposerCarlosChavez,becamecentraltothepromotionofMexicancontemporarymusicearlyinthetwentiethcentury.Stylistically,heisoftencomparedtoStravinskyanddevelopedhisownindividualuseofostinati,octatonicharmonies,andthematicprimitivism.HiscreativevoicecombinesMexicanfolkcultureandtwentieth-centuryEuropeancontemporarymusic.

Sensemayá: a Chant for Killing a Snakewascomposedin1938andisbasedonapoembytheCubanpoetNicolásGuillén.ThedramaticunfoldingofRevueltas’sseven-minuteorchestralcompositionisalmostentirelygeneratedbypronouncedrhythmicfiguresandareflectionofthestructureandthematicinterplayfoundinthepoem.Thepoemisconstructedoftwoalternatingsections:onewitharepeatedchantofincantation,followedbynarrativesectionsdescribingthesnakeandthesacrificialritual.Inthefinalstanzaofthepoem,thechantandthenarrationarecombinedtocreateafeelingofincreasingintensityasthethemesfallintodirectjuxtaposition.

Revueltas’spiecefollowsthesameprocessofdevelopment.Theseeminglycomplexrhythmsheardintheostinatiandmelodiesareactuallyderivedfromthepoem’swords.Intheopeninggesture,a7/8ostinatointhelowstrings,bassoons,andpercussion,onecanlistenfortherepeatedword“Sensemayá”withthe“á”accentedbytheclavesonthefinaleighthnoteofeachmeasure.Anotherauralroadsignisthedramaticentranceofthehighstringswiththeirunmistakablerepeatedutterancesofthechantedrefrain:“Mayombe-bombe-mayombe!”Thenarrativesectionsofthepoemaredepictedbyserpentineoctatonicandpentatonicmelodiesinthewindsandbrassthatgrowoutwardfromtheopeningtubasolo.Thesemelodieseventuallycollidewiththechantthemeinthethrillingclimaxofthisorchestralroller-coaster.

—LiamWade

Lu-lu, Lu-luwasoriginallycomposedfortheUnderConstructionopenreadingwiththeBerkeleySymphony.WhentheBerkeleySymphonygavemethe

themeof“thelongestnight,”myfirstthoughtwas:“Whatelsewouldbethelongestnighttoamom,thanonewhenherbabywon’tfallasleep?”Thatisthelongestnightforsure.FirstIstartedwithaKoreanlullaby,averysimpletunewithfourrepetitivenotes.EventuallyIrealizedthatIwasactuallycreatinganarrativedepictionofbedtime.Itstartswithacalm,warmatmosphere,whereitisdarkwiththeintermittenttwitteringofbirdsandcrickets.Mommyrocksthelittleonetosootheher.Isthebabysleepingyet?No.Suddenlythebabyopenshereyeswideandisstartledbysomething...atinynoiseorastraystrandoflightfromtheneighbors.Ohno!Butmommywilltryagainwiththosefournotes.Adrowsywarmingfournotes.Overandover.Afterthelong,longsinging,thebabyfallsasleepwiththemostpeacefulsmileonherface.Mommywhispersthetuneandendswithalovelygoodnightkiss.

Idedicatethispiecetomysonandmydaughterwhoaremissingtheirmommy’ssoothingvoicetodaywhileIsharetheirspeciallullabywithallofyou.

—JeanAhn

I havebeenwritingsongs(andchoralpieces)settotextsbyThomasHardyforquiteawhile.Iamfascinatedbyhispoetry.Thetextsdepictdifferentformsofmadness,

causedbytheabsenceoflove,byoldage,orbythedeathordisappearanceoflovedones.AttherequestofPaulHillier,IwroteachamberversionoftheseFour Hardy Songsforviolin,cello,andsoprano,includedinalargerwork.Thisversion,forstringorchestraandsoprano,waswrittenfortheUCDSO,specificallyforthisfestival.ThetitlealludestoRichardStrauss’sFour Last Songs,andthesongstyleisemotionalanddirect,andsomewhatRomanticinsensibility.

—PabloOrtiz

Four Hardy SongsThomasHardy(1840–1928)Henley regatta Shelooksfromthewindow:still,itpoursdowndirely, Andtheavenuedrips.Shecannotgo,shefears; AndtheRegattawillbespoiltentirely; Andsheshedshalf-crazedtears. RegattaDayandraincomeontogether Againyearsafter.Gutterstrickleloud; ButNancycaresnot.Sheknowsnotofweather, OroftheHenleycrowd:

She’saRegattaquiteherown.InanelyShelaughsintheasylumasshefloats Withinawater-tub,whichshecalls“Henley,” Herlittlepaperboats.

A beauty’s SoliloquyToolate,toolate!Ididnotknowmyfairness Wouldcatchtheworld’skeeneyesso!Howthemenlookatme!Myradiantrareness Ideemednottheywouldprizeso! ThatIwasapeachforanyman’spossessionWhydidnotsomeonesayBeforeIleasedmyselfinanhour’sobsession Tothisdullmateforaye! Hisdaysaremine.Iamonewhocannotstealher Aheadofhisploddingpace:Asheis,soamI.Onedoomedtofeelher Awastedformandface!


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Iwassoblind!Itdidsometimesjuststrikeme AllgirlswerenotasI.But,dwellingmuchalone,howfewwerelikeme Icouldnotwelldescry; Till,atthisGrandHotel,alllooksbendonme InhomageasIpassTotakemyseatatbreakfast,dinner,—onme aspoorlyspoused,alas! Iwastooyoung.Idwelttoomuchonduty: IfIhadguessedmypowersWheremighthavesailedthiscargoofchoicebeauty Initsunanchoredhours! Well,husband,poorplainman;I’velostlife’sbattle!— Come—letthemlookatme.Odamn,don’tshowinyourlooksthatI’myourchattelQuitesoemphatically!

Without ceremonyItwasyourway,mydear, Tobegonewithoutaword Whencallers,friends,orkin Hadleft,andIhastenedin Torejoinyou,asIinferred. Andwhenyou’damindtocareer Offanywhere—saytotown—Youwereallonasuddengone BeforeIhadthoughtthereon, Ornoticedyourtrunksweredown. So,nowthatyoudisappear foreverinthatswiftstyle, Yourmeaningseemstome Justasitusedtobe: “Good-byeisnotworthwhile!”

Her SecretThatlove’sdullsmartdistressedmyheart Heshrewdlylearnttosee, ButthatIwasinlovewithadeadman Neversuspectedhe. Hesearchedforthetraceofapicturedface, Hewatchedeachmissivecome, Andanotethatseemedlikealove-line Madehimlookfrozenandglum. Hedoggedmyfeettothecitystreet, Hefollowedmetothesea, Butnottotheneighbouringchurchyard Didhedreamoffollowingme.

I nSeptember1850,RobertSchumannmovedwithhiswifeandsixchildrenfromDresdentoDüsseldorfwherehehadacceptedapostasmunicipalmusicdirector.

Duringthisyearofremarkableproductivity,hecomposedinagenrethathadreceivedlittleattentionforseveraldecades:thecelloconcerto.Schumanndraftedhisnewworkinfivedays,completedtheorchestrationinanothereight,andtitleditConcertPieceforVioloncellowithOrchestralAccompaniment,nowsimplyknownasthecello concerto in A Minor.Thecomposertriedwithnosuccesstointerestacellistinperformingtheconcerto.Turneddownbytwopublishers,theworkwasfinallyacceptedbyBreitkopfandHärtel,butSchumannneverhearditperformed.HemadethefinalcorrectionstothepublicationjustdaysbeforehissuicideattemptintheRhineRiverin1854.

Seamlessinmanyrespects,themusicmakesnopausebetweenmovements.TheslowmiddlemovementinFmajorisshortenoughtofeellikeacontemplativeinterludebetweenthefirstandfinalmovements.DissatisfiedwithSchumann’sorchestration,thecellistMstislavRostropovichcommissionedShostakovichtoreorchestratethepiecein1963.MaestroBaldiniandtheUCDSOpresentSchumann’soriginalorchestrationwithcellistSusanLambCookplayingthe“accompaniedcadenza”thatSchumannwroteforthefinalmovement.

SchumannabandonedhisprofessionaldutiesinDüsseldorfin1853duetoincreasingattacksofrheumatism,nervousagitation,andtinnitus:symptomsofthesyphilisthathecontractedintheearly1830s.HeenteredthetertiarystageoftheillnessastheCelloConcertowasbeingcompleted.DeborahHayden,authorofPox: Genius, Madness and the Mysteries of Syphilis,describesaflareof“syphiliticgenius,”whichoftenprecedesthefinalstageofmadnessinthedisease.Episodesofcreativeeuphoria,joyousenergy,anddazzlinginsightofferafinal“Faustianbargain”forthepainanddespairthediseasehaswrought.ThemelodicrichnessandformalinventivenessoftheCelloConcertomaybethefruitsofjustsuchabargaininSchumann’slastperiodoflucidity.

—ChantalFrankenbach

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u c DAV I S S YM P H O N Y O rc H E S T r A

ChristianBaldini,musicdirectorandconductor

MargauxKreitman,manager

AbbyGreen,librarian

Names appear in seating order.

Violin IShawyonMalek-Salehi, concertmaster *DrewCylinder *HewettLan *WilliamLiu *AlexMilgramSophieTsoRaphaelMoore *JonathanChanYeChenKarisYiVanessaRashbrookClaireleeBulkley *MeghanTeagueVictoriaWu

Violin IICynthiaBates, principal *MargauxKreitman, co-principal *SharonInkelasEmilyCrottyMorganMcMahonRachelFerrisTulinGurerJasonLeeFranciscoOrtegaChristinaMaoKathrynAzarvandStephanieHartfield

ViolaAndyTan, principal *CaitlinMurray, assistant principal *MeredithPowell, assistant principal *GiulianaContiAndrewBensonMatthewSlaughterMichaelaDuyarNikkiTang

celloIsaacPastor-Chermak, principal *StephenHudson *CarolynAnderson*Han-ahSumner*RachelBaekJimmyYoChrisAllenPaulPhillipsTobiasMünch

bassMelissaZerofsky, principal *ThomasMykytynDavidSachsFayeLuThomasAdams-FalconerAlexKeeve

FluteSusanMonticello, principal *AbbyGreen, principal *AnnaThomaChrisBrownEdithYuh

OboeSunainaKale, principal *StaceyHabroun,co-principalBritneySatowRussellEisenman

clarinetAlBona, principal *RobertBrosnan, co-principalAaronHillThomasIvyJohnPark

bassoonAdamTaylor, principal *DianeRoyaltyAllisonPeeryMattWong, co-principal and contrabassoon

HornBobbyOlsen, principal *SarahMeyerpeterAdamMorales, co-principalKatherineMcLain

TrumpetAndrewNeish, principal *AngelicaCortez, co-principalDillonTostadoBenHiebert

TromboneEthanRosenberg, principal *SeanRaley *NicoleTanner

bass TromboneJeffreyBuscheck *

TubaAdamBrover *

PercussionWyattHarmon, section leader *DanEisenbergVictorNavaKevinBarrLienDo

HarpEmilyRicks *

PianoPeterKim *

celestaChiaWeiLin

* Indicates holder of an endowed seat


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E N D OW E D S E AT SMade possible by gifts of $10,000 or more.

Shawyon Malek-Salehi – Cynthia Bates concertmaster PresentedbyDebraHorney,M.D.

Drew cylinder – Damian Ting assistant concertmaster PresentedbyDamianSiuMingTing

clairelee Leiser bulkley – Clairelee Leiser Bulkley violin I PresentedbyClaireleeLeiserBulkely&RalphE.Bulkley

Hewett Lan – Francis Dubois violin I PresentedbyNancyDubois

raphael Moore – Raphael S. Moore violin IPresentedbyJolantaMooreinmemoryofDr.IrenaAnnaHenner

William Liu – Ralph and Judy Riggs violin I

cynthia bates – Fawzi S. Haimor principal violin II PresentedbyBarbaraK.Jackson

Margaux Kreitman – Shari Benard-Gueffroyassistant principal violin II

Andy Tan – Jocelyn Morris principal viola PresentedbyJames&JocelynMorris

caitlin Murray and Meredith Powell – Bakos Family assistant principal viola

PresentedbyJohnT.Bakos,M.D.,Ph.D.,inmemoryofDr.JohnandGraceBakos

Isaac Pastor-chermak – Herman Phaff principal cello PresentedbyHerman&DianePhaff

Stephen Hudson – Tracy McCarthy cello PresentedbyBrian&LouanneHorsfield

carolyn Anderson – Eldridge Moores cello PresentedbyEldridge&JudithMoores

Han-ah Sumner – Louise McNary cello PresentedbyDonMcNary

Melissa Zerofsky – Barbara K. Jackson principal bass

Susan Monticello – principal flute Presentedby“Babs”Sandeen&MartySwingle

Abby Green – Phyllis & Thomas Farver flute / piccolo

Sunaina Kale – Wilson and Kathryn Smith principal oboe

Al bona – W. Jeffery Alfriend, DVM, principal clarinet PresentedbyVickiGumm&theKlingFamilyFoundation

Adam Taylor – Kling Family Foundation principal bassoon PresentedbyVickiGumm&theKlingFamilyFoundation

bobby Olsen – Kristin N. Simpson and David R. Simpsonprincipal horn

PresentedbyRichard&GayleSimpson

Andrew Neish – Andrew Mollner principal trumpet PresentedbyJosephDeanMollner&AndrewMollner

Ethan rosenberg – Rebecca A. Brover principal trombone

Sean raley – Michael J. Malone trombone PresentedbyBrianMcCurdy&CarolAnneMuncaster

Jeffrey buscheck – Brian McCurdy bass trombone PresentedbyBarbaraK.Jackson

Adam brover – Robert B. Rucker Tuba PresentedbyRobert&MargaretRucker

Wyatt Harmon – Friedman Family principal percussion PresentedbyMarvin&SusanFriedman

Emily ricks – Calvin B. Arnason principal harp PresentedbyBenjamin&LynetteHart

Peter Kim – Gary C. Matteson orchestral piano PresentedbyJane,Dwayne,&DonaldMatteson

TheWilson & Kathryn Smith conductor’s podium waspresentedinhonorofD.KernHoloman.


MitziS.AguirrePriscillaAlexanderW.JefferyAlfriend,DVM**ThomasandPatriciaAllenDavidM.Ashkenaze,M.D.*RobertandJoanBall*CynthiaBates*MatthewandShariBenard-Gueffroy**

RobertBiggsandDianeCarlsonOscarandShulaBlumenthalRebeccaA.Brover**RobertandHilaryBrover**GregoryA.BruckerRalphE.BulkleyandClaireleeLeiserBulkley**

WalterandMarijaBunter*RayandMaryCabral*LynnandRobertCampbellDonandDoloresChakerian*TerryandMarybethCookElizabethCorbettAllanandJoanCrow*MarthaDickman*NancyDuBois*JonathanandMickeyElkusThomasandPhyllisFarver**RonFisherTylerT.Fong*MarvinandSusanFriedman**EdwinandSevgiFriedrichAnneGray*VickiGummandKlingFamilyFoundation**

Prof.andMrs.SaidHaimor*BenjaminandLynetteHart**LorenaHerrig*BarbaraD.HoermannProf.andMrs.D.KernHoloman**

DebraA.Horney,M.D.**BrianandLouanneHorsfield**IliaHoward*MargaretE.Hoyt*

Dr.andMrs.DanielR.Hrdy*SharonInkelasBarbaraK.Jackson**Prof.JosephE.KiskisJr.*WinstonandKatyKoFamilyofNormanLamb*Dr.RichardLevine*PaulandLoisLimSusanLinzMelissaLyansandAndreasJ.Albrecht,Ph.D.*

NatalieandMalcolmMacKenzie*DouglasW.MacphersonandGlayolSabha,M.D.*

MarjorieMarch*J.A.MartinGaryandJaneMatteson**KatherineMawdsleyandWilliamF.McCoy*

ScottandCarolineMayfieldGregandJudyMcCall*TracyH.andBrendanJ.McCarthy

UllaandGeraldMcDanielDonandLouMcNary*AlbertJ.andHelenMcNeil*SharonMenke,esq.MaureenMillerAndrewMollner**JosephDeanMollner**EileenandOleMols*GeorgeMooreJolantaMoore**RaphaelS.andNetaniaMoore*EldridgeandJudithMoores**JamesandJocelynMorris**MaryAnnMorris*KenT.Murai*RussellandAliceOlsonJessieAnnOwensPaulandLindaParsons*HermanandDiannePhaff**MarjoriePhillipsandRobertRice

JamesandFelicityPineJimandNancyPollockAnn PrestonEugeneandElizabethRenkin*RalphandJudyRiggs**SusanneRockwellandBrianSway

JeromeandSylviaRosen*DonRothRobertandMargaretRucker**TraceyRudnickBeverly“Babs”SandeenandMartySwingle**

E.N.Sassenrath*NeilandCarolineSchore*Prof.andMrs.CalvinSchwabe*BarbaraL.SheldonEllenSherman*RichardandGayleSimpson**WilsonandKathrynSmith**LoisSpafford*ShermanandHannahSteinDr.andMrs.RoydonSteinkeThomasSturges*JoelandSusanSwift*RichardSwift*AliceTackett*StevenD.Tallman*DamianSiuMingTing**RoseannaF.TorrettoRosalieandLarryVanderhoef*ShipleyandDickWalters*BarbaraD.and GradyL.Webster

MaryaWelch*

ArthurAndersenLLPFoundation*

BankofAmericaFoundationOfficeoftheProvost**TheSwiftFundfortheArts*UCDavisSymphonyOrchestra1992–93,1993–94**

Weyerhaeuser

In honor ofBenjaminHartRandolphHuntbyBenjaminandLynetteHart*

UllaMcDanielJeromeandSylviaRosen*

In memory ofSusanPylmanAkinWilliamR.AlbrechtRonaldJ.AlexanderHilaryBroverRobertM.CelloKarenAileenDettlingClareM.DriverJohn“Al”DriverElizabethElkusCarlFlowersDr.IrenaAnnaHennerKatherineH.HolomanNormanE.LambLorenLeMaitreVernaFournesLeMaitreMichelleMantayDorothyDodgeMillerJohnMouberMelOlsonHermanPhaffKeithRiddickWalterH.RockJr.WalterH.RockSr.DorothyJ.ShielyRichardandDorothySwiftWilliamE.ValenteWimvanMuyden,MDBodilWennberg

* = $1,000 or more ** = $10,000 or more

u c D A V I S S Y M P H O N Y E N D O W M E N T


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A l a r m W i l l S o u n d isatwenty-memberbandcommittedtoinnovativeperformancesandrecordingsoftoday’smusic.Theyhaveestablishedareputationforperformingdemandingmusicwithenergeticskill.Theirperformanceshavebeendescribedas“equalpartsexuberance,nonchalance,andvirtuosity”bytheLondon Financial Times andas“atriumphofensembleplaying”bytheSan Francisco Chronicle . TheNew York TimessaysthatAlarmWillSoundis“oneofthemostvitalandoriginalensemblesontheAmericanmusicscene.”

TheversatilityofAlarmWillSoundallowsittotakeonmusicfromawidevarietyofstyles.ItsrepertoirerangesfromEuropeantoAmericanworks,fromthearch-modernisttothepop-influenced.AlarmWillSoundhasbeenassociatedsinceitsinceptionwithcomposersattheforefrontofcontemporarymusic,premieringpiecesbyJohnAdams,SteveReich,DavidLang,MichaelGordon,SirHarrisonBirtwistle,AaronJayKernis,AugustaReadThomas,DerekBermel,BenedictMason,WolfgangRihm,StefanFreund,PaytonMacDonald,GavinChuck,CalebBurhans,andDennisDeSantis,amongothers.Thegroupitselfincludesmanycomposer-performers,whichallowsforanunusualdegreeofinsightintothecreationandperformanceofnewwork.

In2010thegroupdevelopedandperformedtheDirtyProjectors’The Getty AddressinitsnewidentityasaliveperformancepieceattheLincolnCenter,DisneyHall,andtheBarbican.MusicthatDirtyProjectorsfront-manDavidLongstrethcreatedonacomputerbymeticulousandcomplicatedsampling,looping,andlayeringistranslatedandarrangedbyMattMarks,AlanPierson,andChrisThompsonfortwenty-threemusiciansofbothbands.Formoreinformation,visitAlarmWillSound’sWebsiteatwww.alarmwillsound.com.

Je a n A h n (FestivalCompositionFellow)recentlyfinishedherPh.D.atUCBerkeley.ShewasborninKoreaandreceivedherB.A.andM.M.fromSeoulNationalUniversityinKorea.Hermusichasbeenplayedbyvariousensembles,includingtheVoltichamberchoir,EastCoastContemporaryEnsemble,pianistLisaMoore,EnsembleSurplus,AspenNewMusicEnsemble,ArizonaContemporaryMusicEnsemble,

KoreanNationalChamberMusicPlayers,theBerkeleyUniversitySymphony,BerkeleyContemporaryChamberPlayers,BeijingConservatoryNewMusicPlayers(IAWMBeijingCongress),andVeritasEnsemble,amongothers.

RecentawardsandcommissionsforhercompositionsincludefirstprizefromtheReneeB.FisherCompetition,acommissionfromSanFranciscoArtsCommission,agrantfromtheZellerbachFamilyFoundation,afellowshiptoAspen,KoreanNationalMusicComposersAward,firstprizefromSejongKoreanMusicCompetition,DeLorenzoPrize(Berkeley),andthePanMusicFestivalAward.Jeanhasalsostudiedelectronic/computermusicatCNMAT(CenterforNewMusicandAudioTechnologies),andhermusicwasplayedattheSparkFestival,MusicofJapan2007,NewYorkElectronicMusicFestival,amongothers.SheiscurrentlyworkingonamultimediapieceforOngDanceCompanyandisteachingattheUniversityofPacificinStockton.

H e n d e l A l m é t u s isathirdyearPh.D.studentincompositionatUCDavis.BorninHaiti,hebeganhismusicaltrainingattheageoftwelve.HeearnedaB.M.incompositionfromHoustonBaptistUniversityandanM.A.incompositionfromtheEastmanSchoolofMusic.AtEastmanhedevelopedaninterestincomputermusicandhassincethenusedvarioussoundsynthesissoftwareforsome

ofhiscompositions.Atthe2008ImageMovementandSoundfestivalinNewYork,hecollaboratedwithafilmmakerandachoreographerinamultimediawork“Polarity,”performedattheRochesterInstituteofTechnology.Hehaswrittenforensemblesthatoccasionallyincludeelectronics.HismusichasbeenperformedbytheEmpyreanEnsemble,ScholaCantorum,andvariousensemblesfromtheEastmanSchoolofMusic.

IcelandicviolinistH ra b b a At l ad o t t i r studiedinBerlin,Germany,withAxelGerhardtandinKlagenfurt,Austria,withHelfriedFister.Afterfinishingherstudies,sheworkedasafreelancingviolinistinBerlinforfiveyears,regularlyplayingwiththeBerlinPhilharmonicOrchestra,DeutscheOper,andDeutscheSymphonieOrchester.AtladottiralsoparticipatedinaworldtourwithpopartistBjörkanda

GermantourwithviolinistNigelKennedy.In2004shemovedtoNewYorkandcontinuedtofreelance,performingonaregularbasiswiththeMetropolitanOpera,theNewYorkCityOpera,theOrchestraofSt.Luke’s,andtheNewJerseySymphonyOrchestra,amongothergroups.Sheperformsagreatdealofnewmusic,mostrecentlywiththeEither/OrensembleinNewYorkinconnectionwiththeirHelmutLachenmannfestival.

ThedynamicworkofC h r i s t i a n B a ld i n i (FestivalCo-Organizer),conductorandcomposer,hastakenhimaroundtheworld,asguestconductoroftheBuenosAiresPhilharmonic,theSanFranciscoContemporaryMusicPlayers,operafortheAldeburghFestival,andasafeaturedcomposerattheAcanthesFestivalinFrance.AfterconductingtheSaoPauloSymphonyOrchestra,criticArthur

NestrovskifromtheFolhadeSaoPaulopraisedthis“charismaticyoungconductor”who“conductedbyheartBrahms’sFirstSymphony,lavishinghismusicalityandleavingsighsalloverthehallandtherowsoftheorchestra.”

Baldini’smusichasbeenperformedbyorchestrasandensemblesincludingtheOrchestreNationaldeLorraine(France),SouthbankSinfonia(London),NewYorkNewMusicEnsemble,MemphisSymphonyOrchestra,DaeguChamberOrchestra(SouthKorea),ChronophonieEnsemble(Freiburg),andtheInternationalEnsembleModern(Frankfurt).HismusicappearsonthePretalLabelandhasbeenbroadcastonSWR(GermanRadio)aswellasintheNationalClassicalMusicRadioofArgentina.HehasalsoconductedandrecordedcontemporaryItalianmusicfortheRAITradelabel.

Baldini’sworkhasreceivedawardsinseveralcompetitionsincludingthetopprizeattheSeoulInternationalCompetitionforComposers(SouthKorea,2005),theTribuneofMusic(UNESCO,2005),theOssia

A b O u T T H E F E S TI VA L’S A rTI S T S A N D cOM P OS E r S


InternationalCompetition(Rochester,NY,2008),theDaeguChamberOrchestraInternationalCompetition(SouthKorea,2008),andtheSaoPauloOrchestraInternationalConductingCompetition(Brazil,2006).HehasbeenanassistantconductorwiththeBritten-PearsOrchestra(England)andacoverconductorwiththeNationalSymphonyOrchestra(Washington,DC).AfterteachingandconductingattheSUNYinBuffalo,BaldiniisanassistantprofessoratUCDavisandservesasthemusicdirectoroftheUCDavisSymphonyOrchestra.HeregularlyappearsasaguestconductorwithensemblesandorchestrasthroughoutSouthAmericaandEurope.FutureengagementsincludeperformanceswiththeIsraelContemporaryPlayersandEnsemblePlural(Spain),andconductingrehearsalswiththeBBCSymphonyOrchestrainLondononaprogramdedicatedentirelytothemusicofBrianFerneyhough.

ThemusicofM at t h e w B a r n s o n (FestivalCompositionFellow)hasbeencelebratedinternationallyandhasbeenfeaturedattheISCMWorldNewMusicDaysinStuttgartandNewYork’sMATAFestival.HeattendedtheAspenMusicFestival,theCentreAcanthes,OstravaDays,andJuneinBuffalo.HeistheyoungestrecipientofaBarlowCommission.Otherhonorsincludethe

HowardHansonScholarship,theCharlesIvesScholarship,theVirgilThomsonScholarship,theBenjaminFranklinFellowship,andtheAaronCoplandPrize.HestudiedattheEastmanSchoolofMusic(withChristopherRouse,JosephSchwantner,StevenStucky,andAugustaReadThomas),theUniversityofPennsylvania(AnnaWeezner,JamesPrimrosch),andYaleUniversity(MartinBresnick,IngramMarshall,andDavidLang).HisvocalworkshavebeenperformedbyErinMorley,IanHowell,andNicoleCabell,SeraphicFire,andtheNewYorkVirtuosoSingers.PeterEötvös,SarahHicks,andJacqueMercierhaveconductedhisinstrumentalmusic;theArdittiQuartetplayedhisfirsttwostringquartets;andThirdCoastPercussioncommissionedhisfirstquartetforpercussionensemble.Newcompositionsincludeaneworchestralwork,anewworkfortheJACKstringquartet,andapianopieceforDustinGledhill,tobepremieredatWigmoreHall.

To d B r o dy, flute,hasenjoyedacareerofgreatvariety.HewasamemberoftheSacramentoSymphonyformanyyears,wherehewasafrequentsoloistonbothfluteandpiccolo.HeteachesfluteandchambermusicatUCDavis,whereheperformswiththeEmpyreanEnsemble.AsamemberofEmpyrean,Earplay,andtheSanFranciscoContemporaryMusicPlayers,Brodyhasparticipatedinmany

worldpremieresandhasbeenrecordedontheArabesque,Capstone,Centaur,CRI,Magnon,andNewWorldlabels.Whennotperformingcontemporarymusic,heoftencanbefoundintheorchestrasoftheSanFranciscoOperaandtheSanFranciscoBallet,andinotherchamberandorchestralsettingsthroughoutNorthernCalifornia.Inadditiontohisactivitiesasaperformerandteacher,BrodyisthedirectoroftheSanFranciscoBayAreachapteroftheAmericanComposersForum,anorganizationdedicatedtolinkingcommunities,composers,andperformers,encouragingthemaking,playing,andenjoymentofnewmusic.

A n n a M a r i a B u s s e B e r g e r (PanelDiscussionModerator)isprofessorofmedievalandrenaissancehistoryandtheoryintheDepartmentofMusic.In2005–06shewastheLehmanVisitingProfessoratVillaITatti.BusseBergerhaspublishedarticlesandbooksonnotation,mensurationandproportionsigns,musicandmemory,mathematicsandmusic,andhistoriography.WinneroftheAmerican

MusicologicalSociety’sAlfredEinsteinAwardforbestarticlebyayoungscholar,shehasheldfellowshipsattheHarvardUniversityCenterforItalianRenaissanceStudies,VillaITatti,Florence,theGuggenheimFoundation,theNationalEndowmentforHumanities,theStanfordHumanitiesCenter.HerbookMedieval Music and the Art of MemorywontheASCAP-DeemsTaylorAwardandtheWallaceBerryAwardfromtheSocietyofMusicTheoryin2006.

ArtistaffiliateincelloandchambermusicatUCDavis,S u s a n L a m b Co o k isanactiveperformerandeducatorinthecapitolregion.HersoloandchambermusicrecitalshavebeenbroadcastonCapitolPublicRadio,andsheperformsregularlywiththeSacramentoPhilharmonicOrchestra,theSacramentoOpera,andtheSacramentoChoralSocietyandOrchestra.SheservesasprincipalcellistfortheClassicalMusic

FestivalinEisenstadt,Austria,andisonfacultyfortheViandenInternationalMusicFestivalandSchoolinLuxembourg.HerrecordingsincludeWorks for Cello and Piano by Rachmaninoff,The Gold Coast Trio – Works by Beethoven, Beach, Bernstein and Piazolla, andLa Commedia,chambermusicbyAmericancomposerDanielKingmanforInnovaRecordings.WithGoldCoastTrio,shehasperformedasartist-in-residenceatXiamenUniversityinChinaandtheClassicalMusicFestivalinEisenstadt,Austria,andgivenmasterclassesatSanFranciscoStateUniversity,ScrippsCollege,andHarveyMuddCollege.Thetrio’s2006performanceattheLisztConcertHallinRaiding,Austria,wasfeaturedonAustrianNationalTelevision,andtheirperformanceoftheBeethovenTripleConcertowiththeLakeTahoeMusicFestivalreceivedcriticalacclaim.TheGoldCoastTrioreturnedtoXiamen,China,inJune2010toperformtheBeethovenTripleConcertowiththeXiamenPhilharmonicOrchestra.

Asapedagogue,Cookishighlyregardedasacellistandchambermusician,andherstudentsperformregularlyforcompetitionsandpublicconcerts.SheisanactivememberoftheCaliforniaAssociationofProfessionalMusicTeachersandtheAmericanStringTeachersAssociation,andiscoauthoroftheGuide to Teaching Strings.Herfocusonmusiceducationhastakenhertopublicschoolclassroomsaroundtheregion.Sheappearedasartist-in-residencefortheEspartoSchoolDistrict.HerworkdevelopingtheSacramentoYouthSymphony’sChamberMusicWorkshophasreceivedrecognitionfromtheNewYork-basedorganizationChamberMusicAmericaandtheAmateurChamberMusicPlayers.

BorninLisbon,Portugal,A n d r e i a P i nt o Co r r e i a (FestivalCompositionFellow)startedhermusicalstudiesinhernativecountryattheAcademiadeAmadoresdeMúsicaandiscurrentlyadoctoralcandidateincompositionattheNewEnglandConservatory,Boston,studyingwithMichaelGandolfi.ShereceivedherMasterofMusicdegreewithacademic



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honorsinjazzcompositionasastudentofBobBrookmeyer.SheholdscommissionsfromtheTanglewoodMusicCenter,EuropeanUnionPresidency,DinosaurAnnexEnsemble,OrchestrUtópica,DrummingGP,AvianMusicEnsemble,Antena2/RTP(Portugal’sNationalBroadcast),tubavirtuososSérgioCarolino(SoloistOportoNationalOrchestra)andAnneJelleVisser(SoloistOperaofZurich),MachinaMundi,MiquelBernat,DuoMusagete,theAREnsemble,theFestivaldoTeatroS.Luíz,CâmaraMunicipaldaTrofa,andtheOrquestradeJazzdeMatosinhos.HerConcertoforTwoTubashasbeenrecentlyannouncedasafinalistforthe2010HarveyG.PhillipsAwardforExcellenceinComposition;otherawardsinclude:2010ValparaisoFoundationResidency(Spain),2010and2009HonorableMentionbytheMinnesotaSymphonyOrchestra,2009TanglewoodMusicCenterFellowship,2009EarShot/MemphisSymphonyOrchestraFellowship,2009HonorableMentioninACOReadings,the2009and2008NECContemporaryEnsembleCompositionAward,the2008ToruTakemitsuAwardbytheJapanSociety,2008ComposersConferenceFellowship,2008OrquestradolgarveFellowship,2007/2009Luso-AmericanFoundationScholarship,severalNECMeritAwards,andASCAPLUSAwards.Pinto-Correia’sbrassmusicispublishedbyEditionsBIM/TheBrassPress(Switzerland).

L e ig ht o n F o n g, cello,isalongtimememberoftheLeftCoastChamberEnsembleandalsoservesasprincipalcellowiththeCaliforniaSymphony.HeplaysregularlywiththeBerkeleyContemporaryChamberPlayersandtheEmpyreanEnsembleandisanactivefreelancerintheBayArea.HehastaughtatUCBerkeleysince1997.FongstudiedattheSanFranciscoConservatory,theNewEngland

Conservatory,theBernConservatoryinSwitzerland,andtheRoyalDanishConservatoryinCopenhagen.HejoinedtheSanFranciscoContemporaryMusicPlayersin2006.

Principallycommittedtoinfluencingandexpandingtherepertoireforsolopercussionthroughcommissionsandpremieres,C h r i s Fr o h , percussion,isamemberoftheSanFranciscoContemporaryMusicPlayers,theSanFranciscoChamberOrchestra,andtheEmpyreanEnsembleatUCDavis.KnownforenergizedperformanceshailedbytheSan Francisco Chronicle as“tremendous”

andSan Francisco Classical Voiceas“mesmerizing,”hissoloappearancesstretchfromRometoTokyotoSanFrancisco.HiscriticallyacclaimedsolorecordingscanbeheardontheAlbany,Bridge,Equilibrium,andInnovalabels.Afrequentcollaboratorwithleadingcomposersfromacrosstheglobe,Frohhaspremieredworksbydozensofcomposers,includingJohnAdams,ChayaCzernowin,LizaLim,DavidLang,KeikoAbe,andFrancoisParis.HetoursJapanwithmarimbistMayumiHamaandwithhisformerteacher,marimbapioneerKeikoAbe.SolofestivalappearancesincludetheFestivalNuoviSpaziMusicali(Rome),theFestivalofNewAmericanMusic,PacificRim,andOtherMinds.Activeinmusicfortheateranddance,FrohhasrecordedscoresforAmericanConservatoryTheater,performedasasoloistwiththeBerkeleyRepertoryTheater,andcomposedoriginalmusicforOakland-basedDanceElixir.

AnativeofMinnesota,S a ra G a r t l a n d is anAdlerFellowwiththeSanFranciscoOpera.SheearnedfavorablenoticeslastsummerasAlexandraBlitzstein’sRegina,forwhichOpera Newscomplimentedthe“lovelyquality”ofhervoice,andOpera-L.orgreportedthat“SaraGartland,anapprenticeartist,wasexcellentintheroleofRegina’sdaughterAlexandra.Itisafullmelodiousvoicewithpowerandstamina.”Shesang

thesamerolefortheUtahOperathispastJanuary.Lastsummer,sheappearedwiththeSanFranciscoOperaCenterasSuzelinL’amico FritzasaMerolaOperamember.OtherrecentengagementsincludeperformanceswithOperaIowaasNorinainDon Pasquale,AtlantaLyricTheaterasEmmaCarewinJekyll and Hyde,theOhioLightOperaasElizabethBennetintheworldpremiereofPride and Prejudice, ValencienneinThe Merry Widow,andasMarianneinThe New Moon,andattheUniversityofColorado(Boulder)asSusannainLe nozze di Figaro, GretelinHansel and Gretel,LaurettainGianni Schicchi,andthetitleroleofSemele.ShehasappearedontheconcertstagewiththeElmhurstSymphonyinBeethoven’sSymphonyNo.9,CheyenneSymphonyinCarmina Burana,CentralCityOpera,andColoradoUniversity’sBoulderWindSymphonyin“FourMarylandSongs.”GartlandearnedamasterofmusicfromtheUniversityofColoradoBoulderandabachelorofmusicfromtheUniversityofWisconsin,Madison.ShewasafinalistintheeasternregionattheMetropolitanOperaNationalCouncilandfourthplaceintheDenverLyricOperaGuild.

M o o n Yo u n g H a (FestivalCompositionFellow)combinesclassicalinstruments,video,andelectronicstocreatecontemporaryconcertmusic.HismusichasbeeninfluencedbymulticulturalmusicalbackgroundincludingWesternandnon-Westernclassics,jazz,andpopmusic.HisworkhasbeenpresentedatfestivalsandconcertsinFrance,theNetherlands,theUnitedKingdom,Serbia,

Lithuania,Spain,Canada,Sweden,andtheUnitedStates.Hehascollaboratedwithvisualartist/composerDennisMiller,andhismusichasbeenperformedbyAlarmWillSound,ensembles21,LOOSensemble,orkestdeereprijs,EastCoastContemporaryEnsemble,DuquesneContemporaryEnsemble,MercuryQuartet,R&RElectronics,EricMandat,FloridaInternationalUniversitySymphonyOrchestra,andtheUniversityofIllinoisNewMusicEnsemble.Heisfounder,artisticdirector,andfrequentconductorofMEANS,acontemporarymusicensemblethatwasformedforthepurposeofperformingnewmusicbyyoungcomposers.Heearnedhisbachelor’sandmaster’sdegreesinmusiccompositionattheUniversityofIllinoisatUrbana-Champaign,andiscurrentlyaPh.D.studentatNewYorkUniversity,GraduateSchoolofArtsandScience.

M at i ld a H o f m a n’s workasaconductorrangeswidelyfromoperaandthesymphonicrepertoiretoherkeeninterestincontemporarymusic.SheconductsregularlyintheUnitedStates,Canada,andtheUnitedKingdom.NextsummershewillbesecondconductorforLuigiNono’sPrometeo attheSalzburgFestivalandtheBerlinFestspiele.HofmanhasconductedtheWinnipegSymphonyOrchestra(NewMusic

Festival,broadcastonCBCradio),theRochesterPhilharmonic,andBBC



Philharmonic,amongothers.Sheispassionateaboutbringingmusictounderprivilegedcommunitiesandhasdevelopedamentoringprogramwitheducationconcertsandside-by-sidesattheinner-citySchooloftheArtsinRochesterwhilestudyingattheEastmanSchoolofMusic.HofmanalsostudiedatCambridgeUniversityandtheRoyalAcademyofMusic.ConductingmentorshaveincludedSirColinDavis,DavidZinman,JoAnnFalletta,NeilVaron,IngoMetzmacher,andKurtMasur.

EducatedatDukeandPrincetonUniversities,D. K e r n H olo m a n joinedthefacultyofUCDavisin1973,andhastaughtmusichistoryandorchestralperformancethereeversince.HewasfoundingDeanofHumanities,ArtsandCulturalStudiesatUCDavis;thefirstBarbaraK.JacksonProfessorofOrchestralConducting;andthefourthconductoroftheUCDavisSymphonyOrchestra,1977–2009.

AmongHoloman’sscholarlybooksandarticlesaretheCatalogue of the Works of Hector Berlioz(Bärenreiter,1987),Berlioz(HarvardUP,1989;Faber&Faber,1990),theSociété des Concerts du Conservatoire, 1828–1967 (UCPress,2007),andtheforthcomingCharles Munch (OxfordUP,2011).HisbooksforstudentsandthegeneralpublicincludeEvenings with the Orchestra: A Norton Guide for Concertgoers (Norton,1992), Masterworks,amultimediatextbookpackage(PrenticeHall/Simon&Schuster,1998;e-book,2010),Writing about Music(UCPress,1988;rev.2nded.2008),andThe Orchestra: A Very Short Introduction(OxfordUP,2011).FortheAmericanMusicologicalSociety,heservedaschairofboththeAMS50andOPUScapitalcampaigns,separatedbytwenty-fiveyears.HeservedontheinternationalcommissionBerlioz2003andwasacoauthorofitsseveralpublications.HewasnamedachevalieroftheFrenchOrdredesArtsetdesLettresin1989andanofficier in 1999 . In1995hewonthecovetedUCDavisPrizeforTeachingandResearch.

L e e Hyl a , composer-in-residence,seepage4.

P e t e r Jo s h e f f , clarinet,haspremieredhundredsofsoloandchamberworksbyawiderangeofcomposers,andhashadnumerouspiecescomposedforhim.Hehasappearedonmanyrecordings,concertseries,andfestivals,bothnationallyandinternationally.HeperformswithEarplay,thePaulDresherEnsemble,theEmpyreanEnsemble,theBerkeleyContemporaryChamberPlayers,andtheSanFrancisco

ContemporaryMusicPlayers.Alsoactiveasacomposer,JosheffhasbeeninresidenceattheMacDowellColonyandhasbeentherecipientofgrantsfromtheAmericanComposersForum,MeettheComposer,andtheZellerbachFamilyFund.HismostrecentcompositionshavegrownoutofadecadeofcollaborationwithBayAreapoetJaimeRobles,includingMemento (2001),Diary (2002),3 Hands (2003),andHouse and Garden Tales (2005).ThelatterwaspremieredbyEarplayattheHerbstTheaterinSanFranciscoandfeaturedbass-baritoneJeremyGalyon.Viola and Mallets (2007)wascommissionedbytheEmpyreanEnsembleandpremieredbytheminApril2007.Josheff’smostrecentwork,Inferno (2008),achamberopera,wasproducedbytheSanFranciscoCabaretOperainJune2009.

Phyl l i s K a m r i n , violin,receivedherB.M.fromtheCurtisInstituteandherM.M.fromtheNewEnglandConservatory.SheisamemberofthestringquartetwithintheLeftCoastChamberEnsemble,andoftheAlmaDuo,anensemblewithguitar.ShehasplayedwiththeSierraStringQuartet,winnersoftheDuisbergPrize,theNewCenturyChamberOrchestra,andPhilharmonia

Baroque.KamrincanbeheardontheKameleon,VQS,andHarmoniaMundilabels.

Eu n Yo u n g L e e (FestivalCompositionFellow) receivedthefirstprizeatTsang-HoueiHsuInternationalMusicCompositionAward;the2008MaxDiJulioPrizeattheNevadaEncountersofNewMusic(N.E.O.N.)Festival;wontheSCI/ASCAPstudentcompositioncommission(2006,2009,2010);arecipientoftheMacDowellColonyFellowship2010,GeraldOshitaMemorialFellowshipforthe

2010DjerassiResidentArtistProgram,andVirginiaCenterfortheCreativeArtsFellowship.HermusicischosenforbroadcaststhroughArtoftheStates,EBUandKBSandisfeaturedintheSCIJournalofMusicScores(vol.41)andCDseries(No.23).Prominentensembles—includingNewYorkNewMusicEnsemble,eighthblackbird,PacificaStringQuartet,ALEAIII,TimetablePercussion—haveperformedhermusic.Hermusicisfeaturedinfestivals/concertsinmanycountries.SheisaPh.D.candidateattheUniversityofChicagowhereherteachersincludeShulamitRan,MartaPtaszynska,JanRadzynski,BernardRands,andcomputermusicwithHowardSandroffandKotokaSuzuki.

L o r e n M ac h , percussion,ispassionateabouttheartsastheyrelatetoourtwenty-first-centuryworldandallwhoinhabitit.AgraduateoftheOberlinandCincinnatiConservatoriesofMusic,hehaspremieredcountlessmarimbaandpercussionsolosaswellaschamberandorchestralworks.MachisamemberofADORNOensemble,theSanFranciscoChamberOrchestra,andtheWornChamberEnsemble.Hehas

appearedwiththeSanFranciscoSymphony,theSanFranciscoContemporaryMusicPlayers,theEmpyreanEnsemble,sfSound,theBerkeleyContemporaryChamberPlayers,andmostofthearea’smanyregionalsymphonyandoperaorchestras.HehasperformedattheCabrilloFestivalofContemporaryMusicandwasguestartistwithDawnUpshawandeighthblackbirdatthe2006OjaiMusicFestival.MachhasenjoyedrecentcollaborationswithLucyShelton,GinoRobair,andDavidTanenbaum.

T h a l i a M o o r e , cello,isanativeofWashington,D.C.ShebeganhercellostudieswithRobertHofmeklerandafteronlyfiveyearsofstudyappearedassoloistwiththeNationalSymphonyOrchestraofWashingtonattheKennedyCenterConcertHall.SheattendedtheJuilliardSchoolofMusicasascholarshipstudentofLynnHarrellandreceivedherbachelor’sandmaster’sdegreesin1979and1980.Whileat



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Juilliard,shewastherecipientoftheWalterandElsieNaumbergScholarshipandwonfirstprizeintheNationalArtsandLettersStringCompetition.Since1982,MoorehasbeenassociateprincipalcellistoftheSanFranciscoOperaOrchestra.In1989shejoinedthecellosectionoftheSanFranciscoBalletOrchestra.Shehascontinuedtoconcertizeextensively,appearingassoloistatAveryFisherHall,CarnegieRecitalHall,KennedyCenterTerraceTheater,HerbstTheater,andSanFranciscoLegionofHonor.ShehasalsoperformedasguestartistattheOlympicMusicFestivalinSeattleandtheLakeTahoeSummerMusicFestival.

M it c h e l l M o r r i s teachesintheDepartmentsofMusic,Musicology,andWomen’sStudiesatUCLA.Amonghismanyresearchinterestsaremusicat(theprevious)fin-de-siècle;RussianandSovietcomposers;issuesofmusic,gender,andsexuality;problemsofmusicalethics;andmusicalecocriticism.Hehasalsospokenextensivelyonmusic’srelationshiptopsychoanalysisinbothmusicaland

psychoanalyticvenues.Anoutspokenadvocateofpublicmusicology,hehasalsocollaboratedextensivelyonprojectswiththeLosAngelesOperaforthelastdecade.Hisessayshaveappearedinnumerouspopularandscholarlypublications.

S a m N ic hol s (FestivalCo-Organizer)isacomposerwholivesandworksinNorthernCalifornia.HismusichasbeenperformedbyEarplay,eighthblackbird,theEmpyreanEnsemble,andtheLeftCoastChamberEnsemble,amongothergroups.RecentprojectsincludetwocommissionsfromBayAreagroups:Refuge,astringquartetwrittenfortheLeftCoastChamberEnsemble,andUnnamed, Jr. atrioforEarplay.Upcomingprojects

includenewsoloworksforpercussionistChrisFrohandcellistDavidRussell.HeisalsocurrentlyworkingonThe Metamorphosis,achamberoperaforGuerillaOpera.AnongoingcollaborationwithsculptorRobinHillhasproducedtwomultimediainstallations.Oneofthese,Kardex,wasfeaturedattheMondaviCenterforthePerformingArts.HeattendedVassarCollegeandBrandeisUniversity.HeworksasalecturerintheUCDavisDepartmentofMusic;healsoteachesincollaborationwiththeTechnoculturalStudiesProgram.

T ho m a s N u g e nt , oboe,graduatedfromtheSanFranciscoConservatoryofMusicwherehestudiedwithMarcLifschey.NugentisprincipaloboewiththeSacramentoPhilharmonicOrchestra,afoundingmemberoftheLeftCoastChamberEnsemble,andisamemberofthePacificArtsWoodwindQuintet.HehasperformedwiththeSanFranciscoSymphony,SanFranciscoOpera,San

FranciscoBallet,SanJoseSymphony,OaklandSymphony,MarinSymphony,SantaRosaSymphony,CaliforniaSymphony,SanFranciscoContemporaryMusicPlayers,SacramentoChamberMusicSociety,SierraChamberSociety,SanFranciscoCamerata,MendocinoMusicFestival,BearValleyMusicFestival,TanglewoodMusicCenter,SpoletoFestival,andtheColoradoPhilharmonic.HehasperformedasasoloistwiththeSacramentoPhilharmonic,BearValleyFestivalOrchestra,MendocinoFestivalOrchestra,DiabloBallet,San

FranciscoChoralArtists,andfortheAmericanGuildofOrganists.Nugenthasperformedontelevisioncommercials,video,andPBSsoundtracks.RecentrecordingprojectsincludetheSanFranciscoContemporaryMusicPlayers,Centering,theMusicofEarleBrown,andCarlosFranzetti’snewopera,Corpus Evita, withtheSanFranciscoCamerata.HeisonthefacultyoftheUniversityofthePacificConservatoryofMusicandatMillsCollege.

M ic h ae l S e t h O rl a n d , piano, hasappearedextensivelyintheBayAreaasachambermusician,playingwiththeSanFranciscoContemporaryMusicPlayers,Earplay,theBerkeleyContemporaryChamberPlayers,NewMusicTheater,theEmpyreanEnsemble,andOtherMindsandintheSanFranciscoSymphony’sNewandUnusualMusicseries.HehasperformedmodernworksthroughoutCalifornia,

includingUCcampusesatSanDiego,Davis,andSantaCruz;atSacramentoStateUniversity;andatCalArts.OrlandmaybeheardonrecordingsofcontemporarymusicreleasedbyCRI,Centaur,andCapstone.Inadditiontofrequentappearancesasafreelancesymphonymusician,OrlandhasaccompaniedmanyvocalrecitalsandvocalmasterclassesgivenontheUCBerkeleycampusbyFredericavonStadeandSanfordSylvan.OrlandisonthemusicfacultyatUCBerkeleyandteachesthereintheYoungMusiciansProgram.OrlandstudiedpianowithMargaretKohnandisagraduateoftheUCBerkeleymusicdepartment,wherehestudiedcompositionwithGérardGrisey.HelatercontinuedhisstudyofcompositionwithDavidSheinfeld.

Pa blo O r t i z isaprofessorofcompositionatUCDavis.Hetaughtcompositionandwasco-directoroftheElectronicMusicStudioattheUniversityofPittsburghfrom1990to1994.AmongthosewhohaveperformedhiscompositionsaretheBuenosAiresPhilarmonic,theArdittiStringQuartet,theEnsembleContrechampsofGeneva,MusicMobile,Continuum,Les

PercussionsdeStrasbourg,andtheTheatreofVoices.HismusichasbeenheardatinternationalfestivalsinSalzburg(Aspekte),Geneva(Extasis),Strasbourg(Musica),Havana,Frankfurt,Zurich,SaoPaulo,andMexicoCity.HewascommissionedbytheFrommFoundationin1992,andin1993receivedaGuggenheimFellowship,andin1996aCharlesIvesFellowshipfromtheAmericanAcademyofArtsandLetters.Ortizwascommissionedtowritetwochamberoperas,Parodia andUna voz en el viento,bytheCentroExperimentalTeatroColoninBuenosAires,andtowriteRaya en el mar,bytheKoussevitzkyFoundationfortheSanFranciscoContemporaryMusicPlayers.Hewasawardedagrantin2000fromFideicomisoparalaculturaMexico-U.S.towritechildren’ssongs.TheGerbodeFoundationcommissionedOscuro forChanticleerandtheSanFranciscoContemporaryMusicPlayers(2004),andhereceivedanAcademyAwardfromtheAmericanAcademyofArtsandLettersin2008.RecentpremieresincludeHeat Wave,writtenforJoelSachsandtheNewJuilliardEnsemble,Suomalainen tangofororchestrabytheOrquestraNacionaldeCatalunya,andTrois tangos en margebytheKovacik,Dann,KarttunenTrioattheMuseoNacionalReinaSofiainMadrid.HecurrentlyisworkingonaballetwithchoreographerDianaTheocharidisfortheTeatroMunicipalGeneralSanMartininBuenosAires.



Je s s ie A n n O we n s isdeanoftheDivisionofHumanities,ArtsandCulturalStudiesintheCollegeofLettersandScience,andprofessorofmusic.ShecametoUCDavisinJuly2006.Trainedasaclassicist,shedescribesherjunior-yearexperienceattheIntercollegiateCenterforClassicalStudiesinRomeastransformational.AFulbrightyearinParmadeepenedherpassionforItalyand

Italianculture.Anorganistandchoralsinger,Owenscombinedherloveofmusicwithherinterestinhistory,receivingherM.F.A.andPh.D.fromPrincetonUniversity.Sheistheeditorofthethirty-volumeseriesTheSixteenth-CenturyMadrigal.HerbookComposers at Work: The Craft of Musical Composition 1450–1600(1998ASCAP-DeemsTaylorAward)wasthefirstsystematicinvestigationofcomposers’autographmanuscriptsfrombefore1600.

OwenshastaughtattheEastmanSchoolofMusicandColumbiaUniversityasaMellonFellowintheSocietyofFellowsintheHumanities,wasalong-termfellowattheFolgerShakespeareLibraryin1998–99,andavisitingfellowatAllSoulsCollege,Oxford,in2006.SheservedaspresidentoftheAmericanMusicologicalSociety,2000–02,andaspresidentoftheRenaissanceSocietyofAmerica,2002–04.In2003shewaselectedFellowoftheAmericanAcademyofArtsandSciences,andin2008,HonoraryMemberoftheAmericanMusicologicalSociety.

SwedishcomposerM i k a P e lo (FestivalCo-Organizer)writesmusicforsoloists,chamberensembles,andorchestras.AfterfinishingstudiesinStockholm,PelomovedtoNewYorktopursueadoctoraldegreeincompositionatColumbiaUniversityunderthesupervisionofFrenchcomposerTristanMurail.Lastfall,PelojoinedthemusicfacultyatUCDavisandisco-directingtheEmpyreanEnsemblewithfellowfaculty

membersandcomposersLaurieSanMartinandKurtRohde.PelogainedinternationalattentionwiththestringorchestrapieceApparition, whichwasnominatedfortheGaudeamusPrizeinHollandin2000andperformedbytheDutchRadioChamberOrchestraunderthesupervisionofPeterEötvös.Pelo’smusicisperformedonbothsidesoftheAtlantic,includingrecentperformancesbytheSerbianRadioOrchestraandtheManhattanSinfoniettainMay2009.HisnewstringquartetwillbeperformedinPragueandthenreleasedonCDwiththeSwedishstringquartetNyaStenhammarkvartetten.Pelo’smusicispublishedbyEditionPeters(Germany).

S c o t t P e r r y likestositaroundand“thinknon-thinking.”HeiscurrentlyattendinggraduateschoolatUCDavis.HeholdsaB.A.fromUCSB(CCS)andanM.F.A.fromtheCaliforniaInstituteoftheArts.HisteachersincludeBeverlyGrigsby,JeremyHaladyna,KurtRohde,WolfgangvonSchweinitz,UlrichKrieger,andDavidRosenboom.HewasaprincipalparticipantinamasterclasswithRogerReynolds.IntensiveshortencounterswithcomposersincludeMarioDavidovsky,JulioEstrada,andPaulineOliveros.

A l a n P ie r s o n (ArtisticDirector,AlarmWillSound)hasbeenpraisedas“ayoungconductorofmonstrousskill”byNewsday, “commanding”bytheNew York Times,and“giftedandelectrifying”bytheBoston Globe . InadditiontohisworkasartisticdirectorofAlarmWillSound,heisprincipalconductoroftheDublin-basedCrashEnsembleandhasappearedasaguestconductorwiththeLondonSinfonietta,the

SteveReichEnsemble,theOrchestraofSt.Luke’s,CarnegieHall’sEnsembleACJW,theTanglewoodMusicCenterOrchestra,theNewWorldSymphony,andtheSilkRoadProject.HealsoservedasavisitingfacultyconductorattheIndianaUniversityJacobsSchoolofMusic.Piersonhascollaboratedwithmajorcomposersandperformers,includingYo-YoMa,SteveReich,DawnUpshaw,OsvaldoGolijov,JohnAdams,AugustaReadThomas,DavidLang,MichaelGordon,LaMonteYoung,andchoreographersChristopherWheeldon,AkramKhan,andElliotFeld.PiersonhasrecordedforNonesuchRecords,CantaloupeMusic,SonyClassical,andSweetspotDVD.

K a r e n P owe r (FestivalCompositionFellow)completedherPh.D.inacousticandelectro-acousticcompositionin2009,attheSonicArtsResearchCentre,Belfast,withMichaelAlcorn.HerinitialinterestincompositionbeganduringherundergraduatedegreeinUniversityCollegeCork(UCC).ShecompletedanM.A.inCompositioninUCCin2000andiscurrentlyworkingasamusictechnicianin

MaryImmaculateCollege,UniversityofLimerick.Until2004,hercompositionaloutputwaspredominantlyinstrumental,butPowerisexploringelectro-acousticcomposition,sound-art,andliveelectronics.HermusicisperformedthroughoutEurope.Herrecentwork,“YouMe,”receiveditspremiereinSerbiaandanelectro-acoustictapepiece“friedrice,curriedchipandadietcoke”wasafinalistatthe2009ASCAP/SEAMUS(SocietyofElectroAcousticMusicintheU.S.)StudentCommissionAwardintheUnitedStates,herorchestralpiece“onepieceofchocolateperbar”hadanhonorablementionattheInternationalAllianceforWomeninMusic28thIAWM(2009)SearchforNewMusicbyWomenComposers,andherensembleandtapepiece“squeezebirdstoimproveyourgarden’splantvariety”wasselectedforperformanceontheannualconcertoftheInternationalAllianceforWomeninMusic(IAWM)bytheNOVAEnsemble,directedbyElizabethMcNutt.SheisalsoanactivememberoftheAIC(AssociationofIrishComposers)theSPNM(SocietyforthePromotionofNewMusic),theIWMA(InternationalWomeninMusicAssociation),SEAMUS(SocietyforElectroAcousticMusicintheU.S.),andaformermemberoftheICC(IrishComposer’sCollective).

A n n a P r e s le r, violin,isartisticdirectoroftheLeftCoastChamberEnsembleandhasplayedwiththemforoveradecade.AfacultymemberatSacramentoStateUniversity,sheperformswiththeensemble-in-residence,theSunQuartet.SheisalsoamemberoftheNewCenturyChamberOrchestra.PreslerhasparticipatedinprogramsattheBanffArtCenter,theInternationalMusicSeminar

atCornwall,andtheTanglewoodMusicCenter.SheholdsadegreeinhistoryfromYaleUniversityandstudiedmusicattheSanFranciscoConservatoryofMusicandtheNorthCarolinaSchooloftheArts.



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ChairoftheDepartmentandProfessorofMusicology,C h r i s t o p h e r R ey nold s (Ph.D.,PrincetonUniversity)hasheldvisitingprofessorshipsatYale,Stanford,andUCBerkeley,andinGermanyattheUniversityofHeidelbergandtheUniversityofGoettingen.HewasarecipientoftheUCDavisAcademicSenateDistinguishedTeachingAward(2000–01).Reynoldsistheauthoroftwo

books:Papal Patronage and the Music of St. Peter’s, 1380–1513(UCPress,1995),andMotives for Allusion: Context and Content in Nineteenth-Century Music(finalistfortheOttoKinkeldeyAwardbytheAmericanMusicologicalSociety,2004).HeiswritingabookonWagnerandBeethoven’sNinthSymphony.HisresearchhasbeensupportedbyfellowshipsfromtheACLS,theNEH(twice),AlexandervonHumboldtFoundation,andtworesidenciesattheVillaITattiinFlorence.HeisafoundingeditorofthejournalBeethoven Forum .

Hisarticle“PorgyandBess:AnAmericanWozzeck”wasfirsthonoredbytheAmericanMusicologicalSociety(AMS)withtheH.ColinSlimAward(2008)formostdistinguishedarticleoftheyearbyanestablishedscholar.ItalsoreceivedtheKurtWeillPrizefromtheKurtWeillFoundationasthebestarticleonmusicaltheaterpublishedduringtheyears2007and2008.Reynoldsisintheprocessofdonatinghiscollectionof3,000songscomposedbywomentotheuniversitylibrary,whereitishousedinspecialcollectionsastheChristopherA.ReynoldsCollectionofWomen’sSong,1850–1950.HealsoservesaseditoroftheAMSStudiesinMusicbookseriespublishedwithOxfordUniversityPress.

Composerandviolist K u r t R o h d e (FestivalCo-Organizer)livesinSanFranciscowithhispartnerTimAllenandlabradoodleRipley.OriginallyfromNewYork,KurtattendedthePeabodyConservatory,theCurtisInstitute,andSUNYStonyBrook.HeistherecipientoftheAmericanAcademyinRome’sElliotCarterFellowshipinMusicComposition,theBerlinPrize,aGuggenheim

Fellowship,awardsfromtheAmericanAcademyofArtsandLetters,andcommissionsfromtheFromm,Koussevitzky,Hanson,andBarlowFoundationsandtheNationalEndowmentfortheArts.AmemberoftheNewCenturyChamberOrchestraandtheLeftCoastChamberEnsemble,heisalsoanassociateprofessorofcompositionatUCDavis.Hisrecentprojectsincludeaworkforpuppettheatre,aviolinconcertoforAxelStrauss,alargeensembleworkforSouthwestChamberMusic,apianoconcertoforSaraLaimonandensembleSequitur,andaworkforspeakingpianistforGenevieveLee(performedherebyMs.LeeinOctober2009).

Violist E l le n R ut h R o s e isamemberoftheEmpyreanEnsembleandEarplayandperformsregularlywiththeSanFranciscoContemporaryMusicPlayers,theLeftCoastEnsemble,SantaCruzNewMusicWorks,andtheBerkeleyContemporaryChamberPlayers.ShehasworkedthroughoutEuropewithFrankfurt’sEnsembleModernandtheCologneexperimentalensemblesMusikFabrikand

ThürmchenEnsembleandhasperformedassoloistwiththeWestGermanRadioChorus,theSanFranciscoContemporaryMusicPlayers,andSantaCruzNewMusicWorks,attheSanFranciscoOtherMinds

andOjaiMusicfestivals,andatMondayEveningConcertsinLosAngeles.ShehaspremierednumerousworksbynorthernCaliforniacomposers,includingKurtRohde(Double Trouble, adouble-violachamberconcerto),UCDavisfacultycomposerPabloOrtiz(Le vrai tango argentin),SteedCowart(Zephyr),EdmundCampion(Melt me with thy delicious numbers),AaronEinbond(Beside Oneself),CindyCox(Turner),WilliamBeck(Aquarium),RobertCoburn(Fragile Horizons 2007),andLindaBouchard(4LN).RoseholdsdegreesinperformancefromtheJuilliardSchoolandtheNorthwestGermanMusicAcademyinDetmold,abachelor’sdegreewithhonorsinEnglishandAmericanhistoryfromHarvardUniversity.HerteachershaveincludedHeidiCastleman,NobukoImai,MarcusThompson,andKarenTuttle.SheisontheinstrumentalfacultiesatUCDavisandUCBerkeley.

L au r ie S a n M a r t i n (FestivalCo-Organizer)isacomposer,teacher,andanoccasionalclarinetistandconductor.SheteachesmusictheoryandcompositionatUCDavisandwasco-directoroftheEmpyreanEnsemblefrom2001to2009.LauriegrewupinBerkeleyinamusicalhousehold,andstudiedviolin,clarinetandpiano.SheattendedUCDavis,UCBerkeley,andBrandeisUniversitywhereshestudied

composition,clarinet,andconductingunderLuisBaez,RossBauer,MartinBoykan,EricChasalow,Jung-HoPak,DeborahPittman,DavidRakowski,DavidSchneider,OllyWilsonandYehudiWyner.SheholdsaPh.D.fromBrandeisintheoryandcomposition.

Shewritesconcertmusicforchamberensembleandorchestraandincidentalmusicfortheater,dance,andvideo.Thisspring,gayageumvirtuosoYiJi-YoungandtheLydianStringQuartetwillpremiereanewworkatthePacificRimFestivalinBoston,SantaCruz,andKorea,andshewillhavefirstperformancesinNewYorkbySequiturandtheWashingtonSquareContemporaryMusicSociety.HermusichasbeenperformedbySpeculumMusicae,eighthblackbird,EARPLAY,theWarebrookContemporaryMusicFestival,theLeftCoastChamberEnsemble,andtheSanFranciscoContemporaryMusicPlayers.ShehasreceivedawardsfromtheLeagueofComposers-ISCM,theInternationalAllianceforWomeninMusic,theMargaretBlackwellMemorialPrizeinComposition,theAmericanAcademyofArtsandLetters,andtheASCAPMortonGouldYoungComposer’sAwards.Asacompositionfellow,shehasattendedtheMacDowellColony,Yaddo,AtlanticCenterfortheArts,NorfolkContemporaryChamberMusicFestival,andtheComposersConferenceatWellesleyCollege.HermusiccanbefoundontheLeftCoastChamberEnsemble’s“SanFranciscoPremieres”CD(2005).HerpianotangoisincludedonaforthcomingCDperformedbyAmyBriggs.

R a mt e e n S a z e g a r i (FestivalCompositionFellow)isacomposercurrentlyresidinginChicago,Illinois.HeearnedhisundergraduatedegreeinmusiccompositionandEnglishliteratureatUCDavis,wherehisprimarycompositionteacherwasKurtRohde.HealsostudiedcompositionwithYu-HuiChang,AndrewFrank,andSamNichols.Hismusichasbeenperformedatstudentcomposer

concertswhilehewasanundergraduate,andhehadapiecepremieredbytheUCDavisSymphonyOrchestraayearafterhisgraduation.Hewasawardedthe2006–07OlgaBroseValenteMemorialPrizeforExcellenceinMusicCompositionandwasafinalistinthe2010DuoSoloEmergingComposerCompetition.Heearnedhismaster’sdegreeinmusiccompositionfromIllinoisStateUniversity,wherehisprimary



compositionteacherswereMarthaHorstandCarlSchimmel.Asagraduatestudent,hismusicwasperformedatanumberofconcertswhilehetaughtcoursesinmusictoundergraduatestudents.

UCDavisDistinguishedProfessorofPsychologyD e a n K e it h S i m o nt o n (Ph.D.,HarvardUniversity,1975)haspublishedmorethan400publicationsconcerninggenius,creativity,leadership,andtalent.HisbooksincludeGenius, Creativity, and Leadership(HarvardUP,1984),Psychology, Science, and History(YaleUP,1990),Greatness(Guilford,1994),Origins of Genius(OxfordUP,1999),Great

Psychologists(AmericanPsychologicalAssociation,2002),Creativity in Science(CambridgeUP,2004),Genius 101(Springer,2009),andGreat Flicks(Oxford,2011).AmonghishonorsaretheWilliamJamesBookAward,theSirFrancisGaltonAwardforOutstandingContributionstotheStudyofCreativity,theRudolfArnheimAwardforOutstandingContributionstoPsychologyandtheArts,theGeorgeA.MillerOutstandingArticleAward,theTheoreticalInnovationPrizeinPersonalityandSocialPsychology,thePresident’sAwardfromtheNationalAssociationforGiftedChildren,twoMensaAwardsforExcellenceinResearch,andtheRobertS.DanielAwardforFour-YearCollege/UniversityTeaching.In1985hebecamePresidentoftheSocietyforAesthetics,Creativity,andtheArts,in2000PresidentoftheInternationalAssociationforEmpiricalAesthetics,andiscurrentlyPresident-ElectoftheSocietyforGeneralPsychology(Division1,AmericanPsychologicalAssociation).Simontonreceivedthe1994UCDavisPrizeforTeachingandScholarlyAchievement.

C h i n g -Y i Wa n g isadoctoralcandidateintheoryandcompositionatUCDavis.Shebeganhermusictraininginpianoattheageoffiveandstartedtakingcompositionlessonsattwelve.SheearnedabachelorandmasteroffineartsdegreesintheoryandcompositionfromTaipeiNationalUniversityoftheArtsinTaiwan(TNUA)andiscurrentlystudyingcompositionwithMikaPeloandhasstudiedwithPabloOrtiz,Ross

Bauer,andKurtRohde.Hermusiccomposition“YuLinLing”wasawardedtheTuneinTaiwanin2002.Ms.WanghastaughtatTainanNationalUniversityoftheArtsandisateachingassistantatUCDavis.ThisspringanewworkwillbepremieredatthePacificRimFestivalinBoston,SantaCruz,andKorea.HermusiccanbefoundontheTaiwanComposerLeague’s“TaiwanContemporaryComposersI:ChamberMusic”CD,releasedin2007.

G r e g g W ra m ag e (FestivalCompositionFellow)wasrecentlyawardedacommissionfromtheBarlowEndowmenttocomposeanewchamberconcertofortheviolistBrettDeubner.Hisorchestralwork,La Tristesse Durera,receivedboththe2007CoplandHouseSylviaGoldsteinAwardandthe2008internationalEAMAPrize—a$10,000award.MillenniumSymphony’srecordingofLa Tristesse

Durerawasreleasedin2008,onthefirstvolumeofERMMedia’sMadeintheAmericasCDSeries.

North/SouthConsonanceChamberOrchestrapremieredWramage’sfirstsymphonyinNewYorkin2008,andhismusichasalsobeenperformedbyperformedbyAspenSinfonia,eighthblackbird,CollageNewMusic,NewJerseySymphony,CabrilloFestivalOrchestra,FriendsandEnemiesofNewMusic,AmericanComposersOrchestra,MinnesotaOrchestra,AmericanOperaProjects,ThirdMillenniumEnsemble,andpianistsBruceLevingston(LincolnCenter)andCarineGutlerner(WeillRecitalHallandinParis).HehasbeenafellowatYaddo,CoplandHouse,theWurlitzerFoundation,theMacDowellColony,VirginiaCenterfortheCreativeArts,andAtlanticCenterfortheArts;hehasreceivedtheNMYEJosefAlexanderAward,theDeliusFestivalAward,theStarerPrize,theKatzCompositionPrize,theDruckmanPrize,andaNewJerseyStateArtsCouncilIndividualArtistGrant.HismusichasbeenrecordedonCapstoneRecordsandpublishedbySouthernMusic.

E r ic Z iv i a n , pianistandcomposer,isagraduateoftheCurtisInstitute,theJuilliardSchool,andYaleSchoolofMusic.HestudiedcompositionwithNedRorem,JacobDruckman,andMartinBresnick,andpianowithGaryGraffmanandPeterSerkin.ZivianhasperformednewmusicwithAlternateCurrents,Earplay,andtheEmpyreanEnsemble,andBeethovenandMozartwiththeSantaRosaSymphonyand

theTorontoSymphony.HeisamemberoftheZivian-TomkinsDuo.HeattendedtheTanglewoodCenterasbothaperformerandcomposer.ZivianisalsoafrequentguestartistontheSanFranciscoConservatory’sfacultychambermusicseries.



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S P EcI A L T H A N K S

RussIrwin DonRoth,JeremyGanter,ErinPalmer,andtherestofthestaffoftheMondaviCenter

ChristopherReynolds,Chair,DepartmentofMusicFacultyandstaffoftheDepartmentofMusic

DepartmentofMusicProductionStaffChristinaAcosta,editor

PhilDaley,publicitymanagerRudyGaribay,graphicdesigner

NoahMcGee,audioandcomputertechnicianJoshPaterson,productionmanager

LiamWade,EmpyreanEnsembleteachingassistantDanielWebster,EmpyreanEnsembleintern

EMPYREAN ENSEMBLE FUND

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PleaseconsidersupportingtheEmpyreanEnsemble.Ourfutureperformances,recording,commissions,andeducationalprogramscanberealizedandexpandedonlythroughyourgenerouscontributions.Yourfullytax-deductibledonationisgreatlyappreciated.Wealsoencouragematchinggrants.Pleasesendyourchecks,payableto“UCRegents,”specifying“EmpyreanEnsembleFund”inthememofield,toEmpyreanEnsembleFund,DepartmentofMusic,OneShieldsAvenue,UCDavis,Davis,CA95616.Thankyouagainforyoursupport.

music.ucdavis.edu/empyrean

AnonymousTimothyAllenRossBauer*SimonBauerBillBeck&Yu-HuiChangAnnaMariaBusseBergerHayesBiggsMartinBoykanRichardMix&AnnCallawayEricandBarbaraChasalowMaryChunJonathan&MickeyElkusAdamFreyPattieGlennon&EdJacobsKarenGottliebPaulGrantUdoGreinacherAnneM.GuzzoMarkHaiman&EllenRuthRoseEllenHarrisonD.KernandElizabethHoloman*MarthaCallisonHorst

BrendaHutchinsonAndrew&BarbaraImbrieNormanJonesCaraleeKahnLouisandJulieKarchinMarcia&KurtKeithMayaKunkelGarrettaLamoreGeraldandUllaMcDanielHilaryandHaroldMeltzerDr.MariaA.NeiderbergerJohnandPhoebeNicholsPabloOrtizandAnaPeluffoJessieAnnOwens&AnneHoffmanCanOzbalandTeresaWrightStaceyPelinkaandJanLustigWaynePetersonDavidRakowski&BethWiemannSheilaRanganath&JimFessendenKurtRohdeJoanandArtRoseJeromeW.&SylviaRosen*

KarenRosenak*MarianneRyanMarilynSanMartinMichaelSanMartinDanScharlinDavidE.SchneiderAllenShearerEllenSherman*MagenSolomonHenrySpiller&MichaelOrlandSherman&HannahSteinLarryandRosalieVanderhoef*Prof.andMrs.OllyWilsonYehudiWyner

BankofAmerica*AaronCoplandFundforMusic*AliceM.DitsonFund,ColumbiaUniversity**ForrestsMusicAnnandGordonGettyFoundation**

*=$1,000ormore**=$5,000ormore

ThemostimportantendeavoroftheDepartmentofMusictodayistobuildthenewMusicPerformanceBuildingandRecitalHall—amuchneededmidsize(300–500seats)concertvenuethatwillservethecampusandtheregion.Anefforttoraise$5.5millioninprivatefundingtoaugmentstateandcampusfundsfortheprojectisunderway.ForinformationabouttheRecital

Hallandhowtosupportit,pleasevisittheDepartmentofMusicWebsite(music.ucdavis.edu)orcallDebbieWilson,DirectorofDevelopmentfortheDivisionofHumanities,Arts&CulturalStudiesintheCollegeofLetters&Science,at530.754.2221.

S E A T S A N D S T O N E SRecognized by gifts of $1,000 or more

Founders ($350K and higher)BarbaraK.JacksonGraceandGrantNoda

Directors ($50K and higher)JohnandLoisCrowe

Patrons ($25K and higher) WayneandJacqueBartholomewRalphandClaireleeLeiserBulkleyLorenaJ.HerrigD.KernandElizabethHolomanAlbertMcNeilMaryAnnMorris

JessieAnnOwensand AnneL.Hoffmann

WilsonandKathrynSmithRichardandShipleyWaltersEdandElenWitterIn Memory ofKennethN.MacKenzieNatalieandMalcolmMacKenzie

r E c I T A L H A L L S O c I E T YRecognized by gifts of $25,000 or more

AguirreFamilyAngeloD.AriasandFamilyRobertandJoanBallCynthiaBatesRossBauer,Ph.D.KathrynCaulfieldMarthaDickmanDonnaM.DiGraziaNancyDuBoisRichardandVeraHarrisPaulW.Hiss,M.D.JuliaandRichardKulmannCharleneR.KunitzKatherineand WilliamLandschulz

BethE.LevyCraigM.MachadoDeborahand HughMcDevitt

MaureenMillerGailM.OttesonChristopherReynoldsandAlessaJohns

KurtRohdeand TimothyAllen

JeromeandSylviaRosenSchoreFamilyThomasand KarenSlabaugh

HenrySpillerand MichaelOrland

HannahandShermanSteinHenryandAnnStuderLynneSwantandFamilyUwateFamilyLarryand RosalieVanderhoef

MaryaWelchCarlaWilson

UC Davis Music FacultyChristianBaldiniand MatildaHofman

DavidandHelenNutterPabloOrtizMikaPeloand HrabbaAtladottir

LaurieSanMartinand SamNichols

JeffreyThomas

Seth Singers, Alumni 1994–2008SethArnopoleJohnBakerDavidBenjaminPennBrimberryJoshuaEichornStephenFaselKatherineIvanjackEricandJacqueLeaverJoshuaandSaraMargulisElizabethParksEllenProulxKeithandJenniferRodeStevenRosenauAsaSternStephanieSuganoThomasWilberg

In Memory of Kenneth N. MacKenzieClydeandRuthBowmanElizabethBradfordKarenandIrvingBroidoPaulandNancyCaffo

LauraCameronBruceandMaryCarswellLintonand CarolCorruccini

MaryandGeorgeDahlgrenAllenand MaryLouDobbins

Johnand CatherineDuniway

Robertand AnnEdmondson

AndrewandJudithGaborGovernment AffairsConsulting

PaulandJuneGulyassyCharleneR.KunitzRusselland SuzanneHansen

JohnandMaryleeHardieBenjaminand LynetteHart

JohnandPatriciaHershberger

BetteGabbardHintonDirkandSharonHudsonJamesand PatriciaHutchinson

BarbaraK.JacksonJerryandTeresaKanekoKitandBonitaLamRuthLawrenceJerryand MargueriteLewis

Frederickand LucindaMarch

TheresaMauerRobertand MargaretMcDonald

JohnandNormaMeyerMaureenMiller

TeresaPaglieroniSarahand ThomasPattison

Philipand ShirleyPenland

DavidandDairRauschElizabethand EugeneRenkin

G.Thomasand JoanSallee

KatherineSchimkeMaxineSchmalenbergerJ.Tracyand SallySchreiber

RoyandPollySheffieldSuzetteSmithRonaldandRosieSoohooJoeandBettyTupinLauraand RichardVanNostrand

ElisabettaVivodaRichardand ShipleyWalters

NoelandPamelaWarnerRobertand ChristineWendin

DebbieB.WilsonRobertandJoyceWisnerDonaldandDianeWoods

St.Helena HospitalFoundation

– r E c I TA L H A L L –

Orlando by G.F. Handel November 19 & 21, 2010Sacramento Community Center Theater

When does Love become an Obsession and

Obsession become Madness?

Photo: Chicago Opera Theatre/Liz Lauren

For Tickets call 916.808.5181, or online at Tickets.Com

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8 –thirty1 , 20ten} · 2019-07-03 · string quartet no. 4, the dream of innocent iii, and...

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