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8 pm, Sunday, 16 may 2010Jac k s o n H a ll , M o nd av i Ce nter

withSusannah Biller, sopranoBella Merlin, narrator

T H E U C D A V I S D E P A R T M E N T O F M U S I C P R E S E N T S T H E

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This concert is being professionally recorded for the university archive. Please keep distractions to a minimum.Cell phones, and other similar electronic devices should be turned off completely.

U C D A V I S S Y M P H O N Y O R C H E S T R AC H R I S T I A N B A l D I N I , M U S I C D I R E C T O R A N D C O N D U C T O R

w I T H

S U S A N N A H B I l l E R , S O P R A N OB E l l A M E R l I N , N A R R A T O R

8 P M , S U N D A Y, 1 6 M A Y 2 0 1 0J A C k S O N H A l l , M O N D A V I C E N T E R

P R O G R A M

Incidental music to Egmont, op. 84 Ludwig van BeethovenOverture: Sostenuto, ma non troppo. Allegro (1770–1827)Lied: “Die Trommel gerühret!” (Roll the Drum)Entr’acte 1: AndanteEntr’acte 2: LarghettoLied: “Freudvoll und Leidvoll” ( Joyful and Sorrowful)Entr’acte 3: Allegro. Marcia: VivaceEntr’acte 4: Poco sostenuto e risolutoKlärchens Tod (Clara’s Death): LarghettoMelodrama: Poco sostenuto – Allegro ma non troppoSiegessymphonie (Victory Symphony): Allegro con brio

Susannah Biller, sopranoBella Merlin, narrator

I n t e r m i s s i o n

Symphony No. 10 in E Minor, op. 93 Dmitri ShostakovichModerato (1906–75)AllegroAllegrettoAndante – Allegro

A B O U T T H E A R T I S T S

Soprano and first-year San Francisco Opera Adler Fellow Su s ann a h B i l l e r is an alumna of the 2009 Merola Program, where she sang Caterina (L’Amico Fritz) and performed in the Schwabacher Summer Concert as Euridice (Orfeo ed Euridice), Musetta (La Bohème), Elvira (L’Italiana in Algeri), and Monica (The Medium). While at the University of Tennessee, Biller studied voice under George Bitzas and performed roles such as Gretel (Hansel and Gretel), First Lady (The Magic Flute), Susanna (The Marriage of Figaro), and Mary Warren (The Crucible). She received her master’s degree in music from Northwestern University, winning numerous awards. While there, she performed Mélisande (Pelléas et Mélisande), Nannetta (Falstaff), and Amy (Little Women). Biller made her professional debut singing Titania (A Midsummer Night’s Dream) with Opera North and Opera Italia. She was a winner in the Metropolitan Opera Mid-South District 2008–09 auditions.

Narrator B el la M e rl i n trained as an actor at the University of Birmingham, with postgraduate diplomas in acting from the Guildford School of Acting (U.K.) and the State Institute of Cinematography in Moscow. She has been acting in theatre, television, radio, and film for 20 years. Most recent theatre roles have included Susannah Cibber in A Laughing Matter, Second Bereaved Mother in David Hare’s verbatim play The Permanent Way, and Pimple in She Stoops to Conquer—all with Out of Joint/Royal National Theatre. She has also made numerous television and radio appearances for the BBC, most recently as the French teacher, Mademoiselle Boyce, in Life in the Underpass. Her books include The Complete Stanislavsky Toolkit (2007), With The Rogue’s Company: Henry IV at the National Theatre (2005), Konstantin Stanislavsky: Routledge Performance Practitioners (2003), and Beyond Stanislavsky: The Psycho-Physical Approach to Actor-Training (2001). She has taught psycho-physical approaches to acting in Australia, Colombia, Japan, Poland, Russia, the U.K., and the U.S. Merlin is currently a faculty member in the Department of Theatre & Dance at UC Davis.

The dynamic work of C h ri s t ian B a l d i ni , conductor and composer, has taken him around the world, to guest conduct the Buenos Aires Philharmonic (Argentina), the San Francisco Contemporary Music Players, and opera for the Aldeburgh Festival (United Kingdom), and as a featured composer at the Acanthes Festival in France. After conducting the Sao Paulo Symphony Orchestra (OSESP, Brazil), critic Arthur Nestrovski from the Folha de Sao Paulo praised this “charismatic young conductor” who “conducted by heart Brahms’s First Symphony, lavishing his musicality and leaving sighs all over the hall and the rows of the orchestra ....”

Baldini’s music has been performed throughout Europe, South America, North America, and Asia by orchestras and ensembles, including the Orchestre National de Lorraine (France), Southbank Sinfonia (London), the New York New Music Ensemble, the Memphis Symphony Orchestra, the Daegu Chamber Orchestra (South Korea), Chronophonie Ensemble (Freiburg), and the International Ensemble Modern Academy (Frankfurt). His music appears on CD on the Pretal Label and has been broadcast on SWR (German Radio), as well as on the National Classical Music Radio of Argentina. He has also conducted contemporary Italian music for the RAI Trade label.

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V i o l i n ICynthia Bates,

concertmaster *Yosef Farnsworth,

concertmaster *Shawyon Malek-Salehi,

assistant concertmaster *Lucile CainSharon Tsao *Maya Abramson* Raphael Moore *Sophie TsoAlex MilgramStanley HsuVanessa RashbrookClairelee Leiser Bulkley *Meghan Teague

V i o l i n I IMargaux Kreitman,

principal *Lisa EleazarianAaron GongShari Benard-Gueffroy*Sharon InkelasYe ChenJonathan ChanEmily CrottyMorgan McMahonTamra BarkerChristina MaoYu Kyung ChoiKathryn AzarvandFrancisco OrtegaStephanie Hartfield

V i o l aAndy Tan,

principal *Meredith Powell,

principal *Caitlin MurrayMelissa LyansAli SpurgeonPablo FriasAndrew BensonMatthew SlaughterAlice ChouMargaret Hermle

C e l l oIsabel Ortiz,

principal *Kim Zietlow,

principal *Hannah Choi *Milena Schaller *Greg BruckerLara BrownChris AllenCarrie Miller Alex Church

B a s sAmanda Wu,

principal *Thomas MykytynMelissa ZerofskyThomas Adams-FalconerTom DerthickGreg Brucker

Fl ut eSusan Monticello,

principal *Abby Green,

assistant principal *Michelle HwangChris Brown

O b o eJaclyn Howerton,

principal *Benjamin Harris,

principalLaura DenonRussell EisenmanStacy Habroun

E n g l i s h H o r nStacy Habroun

C l ar i n e tAl Bona,

principal *Robert Brosnan,

principalAaron HillDavid Kashevaroff

B a s s o o nKate MacKenzie,

principal *Matt Wong,

principal *Allison PeeryDiane Royalty

C o n t ra b a s s o o nMatt Wong

H o r nRachel Howerton,

principal *Stephen HudsonAdam MoralesBobby Olsen,

co-principal

Tr u m p e tAndrew Neish,

principal *Angelica Cortez,

assistant principalDillon Tostado

Tr o m b o n ePaul Watkins,

principal *Johannes Plambeck, covering for

Rebecca Brover

B a s s Tr o m b o n eJeffrey Buscheck *

Tu b aJohn Matter *

P e r c u s s i o nWyatt Harmon,

section leader *Kevin KooVictor NavaDan EisenbergScott McAuliffe

H ar pEmily Ricks,

principal *Kensal Murph

Pi an o & C e l e s t aPeter Kim *

* Holder of endowed seat

U C D A V I S S Y M P H O N Y O R C H E S T R A C H R I S T I A N B A l D I N I , M U S I C D I R E C T O R A N D C O N D U C T O R

A M A N D A w U , M A N A G E Rl I S A E l E A z A R I A N , l I B R A R I A N

Names appear in seating order.

N O T E S

Incidental music to Egmont, op. 84 (from the incidental music for Goethe’s tragedy)

For piccolo, flutes I-II, oboes I-II, clarinets I-II, bassoons I-II; horns I-IV, trumpets I-II; timpani; strings

Composed 1809–10 in Vienna

First performed June 15, 1810 in the Court Theatre in the Hofburg, Vienna; this was the fourth performance of the play; Beethoven’s score was not ready for the premiere.

Published by Breitkopf & Härtel (Leipzig, 1810; parts only).

Duration: about 40 minutes

Love. Heroism. Allegiance. Tyranny. Honor. Battle. Victory. Sacrifice. Freedom. Death.

These big concepts resonate throughout the compelling epic drama that is Johann Wolfgang von Goethe’s Egmont. The narrative takes as its source material the historical conflicts leading up to the rebellion of the Netherlanders against the

Spanish during the Inquisition. That said, Goethe played fast and loose with history. The Egmont whom you’ll encounter tonight is a lively, passionate bachelor, who shares an idyllic love with a simple maiden Clara. (Indeed, she dies of a broken heart once she realizes that Egmont’s fate is sealed and that he will perish at the hands of the villain—“cruel Alba.”) The real Count of Egmont was 45 years old, with a loyal wife and almost a dozen children, when he was executed in 1567. Yet historical biopic was not Goethe’s intent. Completed in 1787, Egmont was one of three plays written during Goethe’s Sturm und Drang—“storm and stress”—period. Indeed, sea imagery, lightning, and other references to nature pepper the text that you’ll hear tonight.

The narrative interspersed throughout Beethoven’s incidental music to Egmont has a number of manifestations. In 1821, the author Friedrich Mosengeil wrote a series of monologues to be inserted between the entr’actes and songs, so that those less familiar with Goethe’s drama would benefit from the dramatic impact of Beethoven’s music. As musicologist Elizabeth Paley writes, “They carry the music beyond abstract semantic concepts and emotions and provide it with an explicit plot. Beethoven’s music alone fails to communicate the story of Egmont just as Mosengeil’s binding texts alone fail in their lacking endeavour.” That said, these monologues were highly melodramatic and stirring, and Mosengeil prompted other imaginations, including fellow German Grillparzer and British writer W. Bartholomew. Tonight’s narrative is an abridged version of Bartholomew’s verses—written in the manner of Goethe—for an “undress concert” in Manchester, England, in 1855.

The joy of narrating this material is that (as the theatre historian, Allardyce Nicoll put it), “With Goethe’s works we move into the full flush of romanticism.” And rare it is these days to have the opportunity as an actor to inhabit this emotional largesse, as well as the vast panoramas of love, honor, and justice, in such a non-naturalistic, non-psychological way. This is storytelling at its most heightened and liberating—not to mention exciting “with the wave of a full orchestra and its maestro upon which to ride. In all honesty, Goethe’s Egmont probably doesn’t warrant too much searching for tragic depths—he is idealistic, stubborn and the stuff of storybooks. He irrepressibly sets himself up against the Inquisition, while ultimately being just too benevolent to battle reality. Yet it’s arguably Egmont’s naiveté that renders him so endearing a hero. In the manner of Bartholomew, perhaps I might say:

“I play Egmont and find that I am woveninto the spells of Goethe and Beethoven.”

—B. Merlin

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N O T E S

Symphony No. 10 in E Minor, op. 93Moderato

Allegro

Allegretto

Andante – Allegro

For piccolo, flutes I-II, oboes I-III, English horn, Eb clarinet, clarinets I-II, bassoons I-II, contrabassoon; horns I-IV, trumpets I-III, trombones I-III, tuba; timpani, snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, xylophone; strings

Composed summer, October 25, 1953, in Komarovo village, Gulf of Finland

First performed December 17, 1953 by the Leningrad Philharmonic, Yevgeni Mravinsky conducting

Published by State Music Publishers (Moscow, 1960)

Duration: about 50 minutes

Stalin died on March 5, 1953. Finally free from the artistic oppression and censorship of the “iron fist,” Shostakovich composed his Tenth Symphony between July and October, and the symphony had its premiere under Mravinsky conducting the

Leningrad Philharmonic on December 17 of the same year.

Shostakovich’s Symphony No. 1 was premiered under Nikolai Malko in 1926 at the Great Hall of the Leningrad Philharmonic. The composer was only 20 years old. The premiere was a big success and they encored the scherzo. The symphony was taken up by such luminaries as Bruno Walter, Leopold Stokowski, and Arturo Toscanini, inaugurating an international reputation for the young Shostakovich. Congratulatory messages came from figures as geographically and artistically distant as Alban Berg in Vienna and Darius Milhaud in Paris.

As the foremost composer of the Soviet Union, Shostakovich’s reputation in the West has always been problematic. He was regarded by certain circles as a collaborator; by others, as a symbol of moral resistance. Both his persona and music met with approval and condemnation.

Shostakovich’s first serious crisis came in 1936, over Stalin’s personal and strongly expressed displeasure with the opera Lady Macbeth of the Mtsensk District, which had until then enjoyed successful runs in both Leningrad and Moscow. Following condemnations in the press (the famous Pravda official newspaper) understood to have come from “high up,” that same year the Fourth Symphony was withdrawn during rehearsals. The political climate would not allow for its performance. The Fourth Symphony would not be heard until 1961, and Shostakovich accomplished his “rehabilitation” with the Fifth Symphony, introduced with enormous success in 1937 during the celebration of the 20th anniversary of the 1917 Revolution. It is musically more conservative than his earlier works, and it remains still nowadays as perhaps the most popular of all his works.

In 1948, Shostakovich was denounced again for being a formalist. The Zhdanov cultural doctrine was developed by the Central Committee of the Soviet Union in 1946. The main principle of the Zhdanov doctrine is often referred to by the phrase, “The only conflict that is possible in Soviet culture is the conflict between good and best.” Most of his works were banned, he was forced to publicly repent, and his family had privileges withdrawn. The following years he wrote film music to collect some money, official music to secure an official “rehabilitation,” and serious music “to be kept in the desk drawer,” which include his Violin Concerto No. 1. One important step in 1949 was to write his cantata Song of the Forests, which praised Stalin as the “great gardener.” That same year, the restrictions on Shostakovich’s music and living arrangements were eased.

Four years later, that same “great gardener” would be portrayed in the second movement, scherzo, of the Tenth Symphony.

The Tenth was heard in Moscow just 10 days after the Leningrad premiere, and of course it provoked a good deal of discussion. All Shostakovich himself would say about it was, “In this composition I wanted to express human emotions and passions.” In 1954, Shostakovich was given the highest honor the Soviet Union bestowed upon its artists: the title “People’s Artist of the U.S.S.R.”

The Music of Mahler and Mussorgsky were deeply influential for Shostakovich throughout his creative career, and this is clearly evident in the Tenth Symphony. One of the main expressive vehicles that Shostakovich uses is the principle of “metamorphosis.” Instead of the traditional use of “variations” of material, Shostakovich uses a quasi-folk-like type of repetition and modification, through which it transforms a theme and yet it

N O T E S

is always clearly recognizable. This is a standard procedure in folk music, and it is particularly evident in the very long first movement of the symphony. In this movement, slow lines and lyric moments are iterated and organized in a way that episodes succeeding one another have a sense of inevitability.

The scherzo was described by Shostakovich as “a portrait of Stalin, roughly speaking.” It is extremely fierce and driving, and it is arguably the most concise of all the movements in his symphonies. It presents the listener with an extraordinary contrast between the expansiveness of the first movement, and the introspection and fragility of the following one.

The third movement (Allegretto) is not conventional at all. It functions as the slow movement yet is seasoned by a somewhat timid dance-like quality. We encounter for the first time in the piece Shostakovich’s musical signature in its entirety (it had been implied by the first entrance of the violins in the first movement): D-S-C-H translated musically into D-E -C-B natural. These four

notes represent Shostakovich, and throughout the movement this theme interacts with another theme that represents another person: Elmira Nazirova (E-La-Mi-Re-A). She was a student of Shostakovich, and numerous letters document his devotion to her. The opening theme comes back always, giving the sense of a somewhat uncomfortable world, in which both DSCH and Elmira interact with not much success.

The last movement begins with what is one of the longest slow introductions in the symphonic world. Beautiful and melancholic solos are presented by the oboe, flute, piccolo, and bassoon. The clarinet eventually becomes the main star of a much more lighthearted theme at the beginning of the Allegro, almost dancing with the violins. The motive DSCH returns in the last movement, as an omnipresent figure that makes itself recognizable throughout the movement, and concluding with a very demanding timpani part, portraying, of course, Shostakovich himself.

—C. Baldini

Freudvoll und leidvoll

Freudvoll

Und leidvoll,Gedankenvoll sein;[Langen]Und bangenIn schwebender Pein;Himmelhoch jauchzend

Zum Tode betrübt;Glücklich alleinIst die Seele, die liebt.

die Trommel gerühret

Die Trommel gerühret,Das Pfeifchen gespielt!

Mein Liebster gewaffnet Dem Haufen befiehlt,

Die Lanze hoch führet, Die Leute regieret.

Wie klopft mir das Herz!Wie wallt mir das Blut!

O hätt’ ich ein Wämslein Und Hosen und Hut!

Ich folgt’ ihm zum Tor ‘nausmit mutigem Schritt,

Ging’ durch die Provinzen,ging’ überall mit.

Die Feinde schon weichen,Wir schiessen da drein;

Welch’ Glück sondergleichen,Ein Mannsbild zu sein!

Joyful

and sorrowful,Thoughtful;LongingAnd anxiousIn constant anguish;Sky-high rejoicing

Despairing to death;Happy aloneIs the soul that loves.

The roll of the drum,the sound of the whistle!

My favorite weapon,is the brave mob commanded,

The lance is held high, governing the people.

How my heart beats! How my blood boils!

Oh, I ought to have a jacketand pants and hat!

I’d follow him through the gate, boldly marching with him,

Going through all the provinces, going everywhere with him.

The enemies yield, we shoot them;

What special fortune it is to be an equal,to be a fellow man!

T E X T S A N D T R A N S l A T I O N S

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Mitzi S. AguirrePriscilla AlexanderW. Jeffery Alfriend, DVM**Thomas and Patricia AllenDavid M. Ashkenaze, M.D.*Robert and Joan Ball*Cynthia Bates*Matthew and Shari Benard-

Gueffroy**Robert Biggs and Diane CarlsonOscar and Shula BlumenthalRebecca A. Brover**Robert and Hilary Brover**Gregory A. BruckerRalph E. Bulkley and

Clairelee Leiser Bulkley**Walter and Marija Bunter*Ray and Mary Cabral*Lynn and Robert CampbellDon and Dolores Chakerian*Terry and Marybeth CookElizabeth CorbettAllan and Joan Crow*Martha Dickman*Nancy DuBois*Jonathan and Mickey ElkusThomas and Phyllis Farver**Ron FisherTyler T. Fong*Marvin and Susan Friedman**Edwin and Sevgi FriedrichAnne Gray*Vicki Gumm and Kling

Family Foundation**Prof. and Mrs. Said Haimor*Benjamin and Lynette Hart**Lorena Herrig*Barbara D. HoermannProf. and Mrs. D. Kern

Holoman**Debra A. Horney, M.D.**Brian and Louanne Horsfield**Ilia Howard*Margaret E. Hoyt*

Dr. and Mrs. Daniel R. Hrdy*Sharon InkelasBarbara K. Jackson**Prof. Joseph E. Kiskis Jr.*Winston and Katy KoFamily of Norman Lamb*Dr. Richard Levine*Paul and Lois LimSusan LinzMelissa Lyans and Andreas J.

Albrecht, Ph.D.*Natalie and Malcolm

MacKenzie*Douglas W. Macpherson and

Glayol Sabha, M.D.*Marjorie March*J. A. MartinGary and Jane Matteson**Katherine Mawdsley and

William F. McCoy*Scott and Caroline MayfieldGreg and Judy McCall*Tracy H. and Brendan J.

McCarthyUlla and Gerald McDanielDon and Lou McNary*Albert J. and Helen McNeil*Sharon Menke, esq.Maureen MillerAndrew Mollner**Joseph Dean Mollner**Eileen and Ole Mols*George MooreJolanta Moore**Raphael S. and Netania Moore*Eldridge and Judith Moores**James and Jocelyn Morris**Mary Ann Morris*Ken T. Murai*Russell and Alice OlsonJessie Ann OwensPaul and Linda Parsons*Herman and Dianne Phaff**Marjorie Phillips and

Robert Rice

James and Felicity PineJim and Nancy PollockAnn PrestonEugene and Elizabeth Renkin*Ralph and Judy Riggs**Susanne Rockwell and

Brian SwayJerome and Sylvia Rosen*Don RothRobert and Margaret Rucker**Tracey RudnickBeverly “Babs” Sandeen and

Marty Swingle**E. N. Sassenrath*Neil and Caroline Schore*Prof. and Mrs. Calvin Schwabe*Barbara L. SheldonEllen Sherman*Richard and Gayle Simpson**Wilson and Kathryn Smith**Lois Spafford*Sherman and Hannah SteinDr. and Mrs. Roydon SteinkeThomas Sturges*Joel and Susan Swift*Richard Swift*Alice Tackett*Steven D. Tallman*Damian Siu Ming Ting**Roseanna F. TorrettoRosalie and Larry Vanderhoef*Shipley and Dick Walters*Barbara D. and

Grady L. WebsterMarya Welch*

Arthur Andersen LLP Foundation*

Bank of America FoundationOffice of the Provost**The Swift Fund for the Arts*UC Davis Symphony Orchestra

1992–93, 1993–94**Weyerhaeuser

In honor ofBenjamin HartRandolph Hunt by Benjamin

and Lynette Hart*Ulla McDanielJerome and Sylvia Rosen*

In memory ofSusan Pylman AkinWilliam R. AlbrechtRonald J. AlexanderHilary BroverRobert M. CelloKaren Aileen DettlingClare M. DriverJohn “Al” Driver Elizabeth ElkusCarl FlowersDr. Irena Anna HennerKatherine H. HolomanNorman E. LambLoren LeMaitreVerna Fournes LeMaitreMichelle MantayDorothy Dodge MillerJohn MouberMel OlsonHerman PhaffKeith RiddickWalter H. Rock Jr.Walter H. Rock Sr.Dorothy J. ShielyRichard and Dorothy SwiftWilliam E. ValenteWim van Muyden, MDBodil Wennberg

* = $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

F O R T H E U C D A V I S D E P A R T M E N T O F M U S I C

Phil Daley, publicity managerJosh Paterson, production manager

Jessica Kelly, writerRudy Garibay, designer

E N D O w E D S E A T SMade possible by gifts of $10,000 or more.

Cynthia Bates & Yosef Farnsworth – Cynthia Bates concertmaster Presented by Debra Horney, M.D.

Shawyon Malek-Salehi – Damian Ting assistant concertmaster Presented by Damian Siu Ming Ting

Clairelee leiser Bulkley – Clairelee Leiser Bulkley violin I Presented by Clairelee Leiser Bulkely & Ralph E. Bulkley

Sharon Tsao – Francis Dubois violin I Presented by Nancy Dubois

Raphael Moore – Raphael S. Moore violin I Presented by Jolanta Moore in memory of Dr. Irena Anna Henner

lucile Cain – Ralph and Judy Riggs violin I

Margaux kreitman – Fawzi S. Haimor principal violin II Presented by Barbara K. Jackson

lisa Eleazarian – Shari Benard-Gueffroy assistant principal violin II

Andy Tan – Jocelyn Morris principal viola Presented by James & Jocelyn Morris

Meredith Powell – Bakos Family assistant principal viola Presented by John T. Bakos, M.D., Ph.D., in memory of Dr. John and Grace Bakos

Isabel Ortiz & kim zietlow – Herman Phaff principal cello Presented by Herman & Diane Phaff

Milena Schaller – Tracy McCarthy cello Presented by Brian & Louanne Horsfield

Eldridge Moores – Eldridge Moores cello Presented by Eldridge & Judith Moores

Hannah Choi – Louise McNary cello Presented by Don McNary

Amanda wu – Barbara K. Jackson principal bass

Susan Monticello – principal flute Presented by “Babs” Sandeen & Marty Swingle

Abby Green – Phyllis & Thomas Farver flute / piccolo

Jaclyn Howerton – Wilson and Kathryn Smith principal oboe

Al Bona – W. Jeffery Alfriend, DVM, principal clarinet Presented by Vicki Gumm & the Kling Family Foundation

kate Mackenzie & Matt wong – Kling Family Foundation principal bassoon Presented by Vicki Gumm & the Kling Family Foundation

Rachel Howerton – Kristin N. Simpson and David R. Simpson principal horn Presented by Richard & Gayle Simpson

Andrew Neish – Andrew Mollner principal trumpet Presented by Joseph Dean Mollner & Andrew Mollner

Paul watkins – Rebecca A. Brover principal trombone

John Unrath – Michael J. Malone trombone Presented by Brian McCurdy & Carol Anne Muncaster

Jeffrey Buscheck – Brian McCurdy bass trombone Presented by Barbara K. Jackson

John Matter – Robert B. Rucker Tuba Presented by Robert & Margaret Rucker

Emily Ricks – Calvin B. Arnason principal harp Presented by Benjamin & Lynette Hart

wyatt Harmon – Friedman Family principal percussion Presented by Marvin & Susan Friedman

Peter kim – Gary C. Matteson orchestral piano Presented by Jane, Dwayne, & Donald Matteson

The Wilson & Kathryn Smith conductor’s podium was presented in honor of D. Kern Holoman.

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The most important endeavor of the Department of Music today is to build the new Music Performance Building and Recital Hall—a much needed midsize (300–500 seats) concert venue that will serve the campus and the region. An effort to raise $5.5 million in private funding to augment state and campus funds for the project is underway. For information about the Recital

Hall and how to support it, please visit the Department of Music Web site (music.ucdavis.edu) or call Debbie Wilson, Director of Development for the Division of Humanities, Arts & Cultural Studies in the College of Letters & Science, at 530.754.2221.

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)Barbara K. JacksonGrace and Grant Noda

Directors ($50K and higher)John and Lois Crowe

Patrons ($25K and higher) Wayne and Jacque BartholomewRalph and Clairelee Leiser BulkleyLorena J. HerrigD. Kern and Elizabeth HolomanAlbert McNeilMary Ann Morris

Jessie Ann Owens and Anne L. Hoffmann

Wilson and Kathryn SmithRichard and Shipley WaltersEd and Elen WitterIn Memory of Kenneth N. MacKenzie

Natalie and Malcolm MacKenzie

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

Aguirre FamilyAngelo D. Arias and FamilyRobert and Joan BallCynthia BatesRoss Bauer, Ph.D.Kathryn CaulfieldMartha DickmanDonna M. Di GraziaNancy DuBoisRichard and Vera HarrisPaul W. Hiss, M.D.Julia and Richard KulmannCharlene R. KunitzKatherine and

William LandschulzBeth E. LevyCraig M. MachadoDeborah and

Hugh McDevittMaureen MillerGail M. OttesonChristopher Reynolds and

Alessa JohnsKurt Rohde and

Timothy AllenJerome and Sylvia RosenSchore FamilyThomas and

Karen SlabaughHenry Spiller and

Michael OrlandHannah and Sherman SteinHenry & Ann StruderLynne Swant and FamilyUwate FamilyLarry and

Rosalie VanderhoefMarya WelchCarla Wilson

UC Davis Music FacultyChristian Baldini and

Matilda HofmanDavid and Helen NutterPablo OrtizMika Pelo and

Hrabba AtladottirLaurie San Martin and Sam

NicholsJeffrey ThomasPhebe Craig and

Michael SandAmelia Triest and

Rhio Barnhart

Seth Singers, Alumni 1994–2008

Seth ArnopoleJohn BakerDavid BenjaminPenn BrimberryJoshua EichornStephen FaselKatherine IvanjackEric and Jacque LeaverJoshua and Sara MargulisElizabeth ParksEllen ProulxKeith and Jennifer RodeSteven RosenauAsa SternStephanie SuganoThomas Wilberg

In Memory of Kenneth N. MacKenzie

Clyde and Ruth BowmanElizabeth BradfordKaren and Irving BroidoPaul and Nancy CaffoLaura Cameron Bruce and Mary CarswellLinton and

Carol CorrucciniMary and George DahlgrenAllen and

Mary Lou DobbinsJohn and

Catherine DuniwayRobert and

Ann EdmondsonAndrew and Judith GaborGovernment

Affairs ConsultingPaul and June GulyassyCharlene R. KunitzRussell and

Suzanne HansenJohn and Marylee HardieBenjamin and

Lynette HartJohn and Patricia

HershbergerBette Gabbard HintonDirk and Sharon HudsonJames and

Patricia HutchinsonBarbara K. JacksonJerry and Teresa KanekoKit and Bonita LamRuth LawrenceJerry and

Marguerite Lewis

Frederick and Lucinda March

Theresa MauerRobert and

Margaret McDonald John and Norma MeyerMaureen MillerTeresa PaglieroniSarah and

Thomas PattisonPhilip and

Shirley PenlandDavid and Dair RauschElizabeth and

Eugene RenkinG. Thomas and

Joan SalleeKatherine SchimkeMaxine SchmalenbergerJ. Tracy and

Sally SchreiberRoy and Polly SheffieldSuzette SmithRonald and Rosie SoohooJoe and Betty TupinLaura and

Richard Van NostrandElisabetta Vivoda Richard and

Shipley WaltersNoel and Pamela WarnerRobert and

Christine WendinDebbie B. WilsonRobert and Joyce WisnerDonald and Diane Woods

St. Helena Hospital Foundation

– R E C I TA l H A l l –