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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

D . K e r n h o l o m a n , c o n D u c t o r

sunday, 12 november 2006

sunday, 3 December 2006

mondavi center

8 pm

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

University Chorusand Chamber Singers

SymphonyO R C H E S T R A

�

Please deactivate cell phones, pagers, and wrist-watches. Please remain seated during the music, since distractions will be audible on the archive recording.

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

p r o G r a m

University Symphony Orchestra, University of the Pacific Nicolas Waldvogel, conductor

Sonia Leong, piano

Petrushka Igor Stravinsky(original version–�9��) (�88�–�97�)

A Burlesque in Four Scenes First Tableau: The Shrove-Tide Fair The Magic Trick—Russian Dance Second Tableau: Petrushka’s Room Third Tableau: The Moor’s Room Dance of the Ballerina—Waltz Fourth Tableau: The Shrove-Tide Fair That Evening Dance of the Nursemaids—Dance of the Coachmen and Stable Boys—The Mummers

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

UC Davis Symphony Orchestra D. Kern Holoman, conductor

Mercedes Gómez, harp

Harpsody for harp and orchestra (premiere) Andy Tan (b. �984)

Mercedes Gómez, harp

Le Sacre du printemps (The Rite of Spring) Igor Stravinsky

I. The Adoration of the Earth Introduction—Augurs of Spring (Dance of the Young Girls)—Ritual of Abduction—Spring Rounds—Ritual Games of the Two Rival Cities—The Procession of the Oldest and Wisest Ones—The Kiss of the Earth (The Wise Man)—The Dancing Out of the Earth

II. The Sacrifice Introduction—Mystical Circles of the Young Girls—The Naming and Honoring of the Chosen One—Evocation of the Ancestors— Ritual of the Ancestors—Sacrificial Dance (the Chosen One)

s u n D ay, n o v e m b e r 1 2 , 2 0 0 6 8 p m , J a c K s o n h a l l , m o n D av i c e n t e r

table of contents

november 12 program . . . . . . . . 2

uopso roster . . . . . . . . . . . . . . . . . . 6

ucDso roster . . . . . . . . . . . . . . . . . . 7

ucDso endowed seats . . . . . . . 8

ucDso endowment . . . . . . . . . . . 9

December 3 program . . . . . . . . 10

chorus & chamber s ingers

roster . . . . . . . . . . . . . . . . . . . . . . . . . . 23

chorus endowment . . . . . . . back

cover

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

mercedes Gómez was born in Mexico City and began her music training in �974 under Judith Flores Alatorre at the National Conservatory in Mexico, where she obtained the degree of concert harpist. She continued her studies at the Escuela de Perfeccionamiento Vida y Movimiento and in master classes with Marjorie Tyre, Marian Shaffer, and Mimi Allen in the United States, and with Nicanor Zabaleta at the Música en Compostela festival in Spain. She performed as principal harpist for the State of Mexico Symphony Orchestra for eight years and from �978 until �999 for the Orquesta Sinfónica del Palacio de Minería.

In �994, with harpists Octavio Vega and Marian Shaffer, she received a grant form the Mexico–USA Fund for Culture and Art for their Mexican folk music compilation, Harp Chilpachole. With a grant from the National Endowment for Culture and Arts in �998 she commissioned, premiered, and recorded solo pieces by Latin American composers.

An artist-in-residence at UC Davis in �999, Gómez has premiered harp concertos by Deborah Henson-Conant, Mexican composers Eugenio Toussaint, Samuel Zyman and Roberto Medina, and in Davis with the UCDSO gave the world premiere of ¿What about Maximiliano? by Pablo Ortiz, �� May �998.

Currently she is harpist for the UNAM (Universidad Nacional Autónoma de México) Philharmonic Orchestra and harp professor at the National Conservatory of Music in Mexico. Since �999 she has played in Sondos, a harp duo with harpist Janet Paulus, with whom she recorded the CD Almíbar. Sondos premiered the play Niñas de la Guerra in �00� with actress Aracelia Guerrero and participated in interdisciplinary music-theater projects with actress Julieta Ortiz. In �005 she received a grant for an artistic residence at Banff Centre for the Arts, Alberta, Canada.

Gómez has published Demente Cuerda: movimientos de una mujer bien música, an autobiographical text, as well as the children’s stories Odonir y los Ratones and Komok, Nokek y los Flamencos, which was selected for publication during the Third National Competition for Children’s Literature.

andy tan was born in the city of Guangzhou (sister city of Los Angeles), People’s Republic of China. He is an accomplished violinist and was a member of the San Francisco Symphony Youth Orchestra. Tan is currently finishing his BA in music composition at UC Davis and has studied composition with Yuhui Chang, Pablo Ortiz, and Ross Bauer. Tan’s music has been performed by the Arianna String Quartet, New York New Music Ensemble, and the Empyrean Ensemble. One of his most recent works, Three Pieces for Cello and Piano, is published by J.B. Elkus & Son. Tan is a member of the American Society of Composers, Authors and Publishers (ASCAP). He was a member of the UC Davis Symphony Orchestra from �00�–�005.

nicolas Waldvogel is in his sixth season as Orchestra Director at the Conservatory of Music of the University of the Pacfic. He is active in opera and in the symphonic repertoire, both in the United States and in Europe. He has guest conducted the Orchestre de la Suisse Romande in his native Switzerland and the State Philharmonic “Dinu Lipatti” in Romania. He was a Conducting Fellow at the Tanglewood Festival and holds a Ph.D. in Music History from Yale University.

The uop univers i ty symphony orchestra performs works from the standard repertory for orchestra, as well as literature from the Baroque to the twenty-first century. It collaborates with the Pacific Opera Theatre in performances of fully-staged works in opera and musical theater, and performs major choral and orchestra works with the choral ensembles. In addition, the orchestra programs concerto performances with faculty and guest artists during the regular season, and with student competition winners in the annual Commencement Concerto Concert.

Concerts are not the sole activity of the orchestra. Numerous readings of many types are organized throughout the year. The advanced conducting class will sometimes be on the podium, giving students the opportunity to conduct an orchestra. The orchestration class will have a chance to get its final projects heard and critiqued by the full orchestra. Excellence, novelty, and the love of music are always on the program.

4

n o t e s

The action takes place in St. Petersburg in Admiralty Square, around �8�0.

First Tableau: It is Mardi Gras. A group of drunken revelers passes. An organ grinder accompanies a dancer, who plays the triangle. In front of a little theater, two drummers attract the attention of the crowd: an old Magician of oriental appearance exhibits the animated puppets Petrushka, the Ballerina, and the Moor. He brings them to life by touching them lightly with his flute.

Second Tableau: The Magician’s magic has endowed them with human feelings and passions; but Petrushka has been given more than the others. Therefore he suffers more than the Ballerina and the Moor. He resents bitterly the cruelty of the Magician, his bondage, his exclusion from ordinary life, his ugliness, and his ridiculous appearance. He seeks comfort in the love of the Ballerina, and believes at one point in his success. But the lovely one shuns him, feeling only terror at his bizarre behaviour.

Th ird Tableau: The Moor’s life is completely different. He is brutish and wicked, but his splendid appearance fascinates the Ballerina. She tries to seduce him using all her charms, and finally succeeds. Just at this moment, Petrushka appears, enraged with jealousy. But the Moor quickly throws him out of the door.

Fourth Tableau: The Mardi Gras fair is at its height. A reveling merchant accompanied by gypsy singers throws handfuls of banknotes to the crowd. Coachmen dance with wet-nurses, a bear tamer appears with his beast, and finally a band of pantomimes sweeps everyone up in a diabolical mêlée. But suddenly, cries are heard from the Magician’s little theater. The rivalry between the Moor and Petrushka finally takes a tragic turn. The Moor knocks Petrushka down with a blow of his saber. The wretched Petrushka dies in the snow, surrounded by the holiday crowd. The Magician, whom a policeman has gone to fetch, hastens to reassure everyone: in his hands Petrushka becomes a puppet again. The crowd disperses. The Magician, now alone, catches sight, to his great terror, of Petrushka’s ghost above the little theater, menacing him and making mocking gestures at all whom the Magician has fooled.

—Nicolas Waldvogel

stravinsky: petrushka

for piccolos I–II, flutes I–II, oboes I–III, English horn, clari-nets I–III, bass clarinet, bas-soons I–III, contrabassoon; horns I–IV, cornets I–II, trum-pets I–II, trombones I–III, tuba; timpani, snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, xylophone, glocken-spiel; harps I–II, piano, celesta; strings.

composed winter �9�0 in Beaulieu-sur-mer—May �9�� in Rome. Dedicated to Alexandre Benois. Rewritten �947 to secure the copyright and to adapt the ballet for smaller orchestra; in this version the piano has a greater role.

publ ished by Edition Russe de Musique [Boosey and Hawkes, Inc. in the west]. Revised edition published by Boosey and Hawkes, Inc. (London, �947).

f irst performed �� June �9��, by the Russian Ballet at the Théâtre du Châtelet, Paris, Pierre Monteux conducting.

Durat ion: about �5 minutes.

theensemble

thethethetheensembleensembleensembleensembleEMPYREAN

faultlines: music from californiaSunday, 19 November 20078:00 pm Studio Theatre, Mondavi Center for the Performing Arts, UC DavisTickets: [$18 general/ $9 student and children]

Aaron Einbond: Leaping Lizards. Erica Muhl: Range of Light. Dan Becker: Tamper Resistant. Jeremy Haladyna: Jove’s Whistle. Laurie San Martin: Concerto for Four. Sam Nichols: Crank. Leslie Hogan: Bagatelles.

*Pre-concert talk—Demystifying the Music: 7 pm, Studio Theater

http://music.ucdav

is.edu

/empy

rean

/press.htm

5

The solo harp is supported by a single horn, which plays an important, if limited role, and reduced strings. The harp is a delicate instrument, but sometimes it can be wild. Harpsody exploits both of these qualities of the instrument. One of the challenges in composing the piece was to create rhapsodic music given the harp’s limited ability to play rapidly changing chromatic harmony.

—A. Tan

One of the things Stravinsky loved most about Russia, he wrote, was “the violent Russian spring that seemed to begin in an hour and was like the whole earth cracking,” and it was with this altogether audible image of vernal rebirth in mind that he began to consider a new ballet. (His original title had been “The Holy Spring.”) The rudiments of The Rite of Spring had come together just after The Firebird, but at the same time Stravinsky’s compositional technique was gathering toward significant stylistic advances: the music was to be different, and formidable, and would need to takes its own time coming. Thus, in the interim, Petrushka.

There is little to the plot of Le Sacre du printemps. Spring begins to blossom, and with it emerge the tribal denizens of an Asian plane. There are ritual dances and tribal games, the arrival of the venerated elders, and the choosing and sacrifice, by dancing herself to death, of a young maiden—this last the only solo number in the ballet. All this takes place in an atmosphere of high mysticism and ceremony: it is to “the soul of nature,” that Stravinsky is most attracted, “the life of the stones and trees.” Le Sacre du printemps, lasting just over a half hour, goes by very quickly indeed.

The music of each section is built, generally speaking, of short melodic motives, all of them quite tonal, joined together horizontally and vertically in a kaleidoscope of sonic events: you have the strong sense of the ritual circles pretty well throughout the work. The rhythmic language is astonishingly fecund: noth-ing, perhaps, in the history of rhythm so well defines its era as the randomly placed accents in the ritual dances near the beginning, and nothing so astounds the amateur score-reader as his or her first sight of the changing meters, in virtually every bar, of the sacrificial dance at the end. Stravinsky’s handling of orchestral timbre is no less absorbing: the primeval textures at the start, the heavy plod of the cortège of elders, the occult shapes of all sorts in the second half. What harshness there is, and what may seem at first an impenetrable modernism, is accomplished mostly through piling together contrasting keys (in the ritual games of the rival cities, for example, the superposition of two different musics), melodies, and meters. It doesn’t take too many hearings for all that to become clear, nor for some of the most signifi-cant principles of the music of this century to take root in your understanding.

The scandal that surrounded the first performance—where Nijinsky, choreographing a major and very difficult work for the first time, was all but out of control, and the public altogether uncomprehending—lends a certain excitement to the story of Le Sacre du printemps. But this was ultimately just one of dozens of such manifestations over the decades of which the Parisians are too proud. How remarkable it is, nevertheless, that a work that once seemed of such extreme difficulty for conductor and performers alike, the pinnacle of orchestral virtuosity (beginning with that high bassoon melody, which commences on the C above middle C), is now in the repertoire of every orchestras, and is typically played with the crystal clarity of a Bach fugue.

A magnificent reconstruction of the original sets, costumes, and choreography was undertaken by the Joffrey Ballet and premiered in �987, just before its founder’s death. The televised version is worth hooking up your VCR well in advance. And the version for two pianos, which served for the rehearsals, is worth going out of your way to hear, as well.

—DKH

n o t e s

tan: harpsody for harp and orchestra

composed during the summer of �005 and revised in �006.

Durat ion: about 8 minutes

stravinsky: le sacre du pr intemps (“the ri te of spr ing”)

for piccolos I–II, flutes I–III, alto flute, oboes I–IV, English horn, Eb clarinet, clarinets I–III, bass clarinets I–II, bassoons I–IV, contrabassoons I–II; horns I–VIII; piccolo trumpet, trumpets I–IV, bass trumpet in Eb, trombones I–III, tubas I–II (tenor and bass); timpani, bass drum, cymbals, triangle, tambourine, tam-tam, guiro, antique cymbals in Ab and Bb; strings. Extra tuba parts played by horn players.

composed �9�0 �7 November �9�� in France.

f irst performed �9 May �9�� by Diaghilev’s Ballets Russes at the Théâtre des Champs-Élysées, Paris, Pierre Monteux conducting. Scenario, sets, and costumes by Nicolas Roerich; choreography by Nijinsky.

1921 vers ion publ ished by Edition Russe de Musique [assigned to Boosey and Hawkes, Inc. in the West]. Revised ed. published by Boosey and Hawkes, Inc. (London, �947). Inexpensive score: Igor Stravinsky: The Rite of Spring in Full Score, Dover 0-486-�5857-� (�989), a reprint of the State Music Publishing House edition (Moscow, �965).

Durat ion: about �5 minutes.

6

u o p u n i v e r s i t y s y m p h o n y o r c h e s t r a n i c o l a s W a l d v o g e l , c o n d u c t o r

viol in i Helen Black, principal Jay Gunasekara Carlos Polina Hilary Orzel Elizabeth Jones Nicole Santos Sebastian Vera Daisy Austin Mark Shaver viol in i i Erin Buschiazzo, principal Geremie Rebustillo Cristina De Leon Adam Rogers Joseph Franke Alexander Tu Jessica Murillo Gabrielle Yang Benton Lo

viola Caroline McCaskey, principal Lisa Aschieris Mark Eric Rodriguez Danielle Conrad Roselyn Wang cel lo Keith Kroesen, principal Hannah Salvatore Erik Urbina Michael Perez David Navarette Hasani Groce Gesine Gerhard Kristina Fox bass Mark Carlin, principal Kyle Wong Bryce Holmes Navaz Jasavala Tim Wulf Dominic Casciato Ben Tudor

f lute Philip Varricchio, principal Jana Mikulcikova Cole Ingraham (piccolo) Christina Parks (piccolo) oboe Jesse Barrett, principal Aaron Meyer-Abbott Kyle Yanes Crystal Ingraham (English horn) clar inet Jessica von Nordeck, principal Angelique Postic Kim Rottschaefer Matt Robey (bass) bassoon Ben Opp, principal Corinne Knudtzon Ryan Ubhoff Elizabeth Pellegrini (contrabassoon)

horn Julie Stephens, principal Anna Uhlemann James Maddox Jaclyn Burroughs trumpet Kiel Senninger, principal Ben Loomer Peter Davis Brian Leff trombone Bonnie Schiada, principal Karl Stanczak Jake Wenger Zachariah Friesen tuba Eric Schrader

timpani Erik Kubota percuss ion Nathan Davidson Gary Liu Aaron Ames Aaron Martin celesta Christopher Kong harp Motoshi Kosako Sonia Leong

7

for uc Davis Department of music product ions: Heather McClure, public events manager

Joshua Paterson, production manager Philip Daley, assistant publicity/production manager

u c D av i s s y m p h o n y o r c h e s t r a D . K e r n h o l o m a n , c o n d u c t o r

* J e s s i c a b e j a r a n o , a s s i s t a n t c o n d u c t o r

Z o e K e m m e r l i n g , m a n a g e r

viol in * Cynthia Bates, concertmaster * Fawzi Haimor, associate concertmaster * John Abdallah Zoé Berna * Clairelee Leiser Bulkley Joan Crow Raymond Gao Angela Hernandez * Raphael Moore Vanessa Rashbrook * Judy Riggs * Katrina Soo Hoo Graham Terry Wesley Wang John Wu Cindi K. Yorita viol in i i * Kristen Jones, principal * Shari Gueffroy, associate principal Angelo Arias Christina Cheng Kristine Dawkin Elicia Fox Aaron Gong Carléna Henderson Chadwick Huang Sharon Inkelas Barry Kersting Jimin Kim Amelia Lancaster Bliss Lee Paul Levy Amanda Perry

viola * Kim Uwate, principal * Zoe Kemmerling, associate principal William Chang, Jr. James Chitwood Sarah Freier-Miller Jason Haberman Tao He Robert Koble Melissa Lyans David Spencer Clare Steinberg cel lo * Courtney Castaneda, principal Christopher Allen Elizabeth Byrne Lucas Chen Eunjin Kwon Susie Lee Ryan Leung * Eldridge Moores Tobias Münch * Adam Sapin Eimi Stokes bass * Azusa Murata, principal Greg Brucker Mark Carlin Paul Cherng Thomas Derthick Michael Schwagerus Ben Tudor

piccolo Steve Doo f lute * Susan Monticello, principal Amy Kuo Marguerite Wilsonz alto f lute Caitlin Roddy oboe * Mary King, principal Vincent Chang Jaclyn Howerton Johanna Rochester engl ish horn Luis de la Torre Johanna Rochester e b c lar inet Al Bona basset horn Robert Bosnan Kelly Dewees c lar inet * Alicia Bruce, co-principal * Eric Chow, co-principal Robert Brosnan bass c lar inet Alicia Bruce Kelly Dewees bassoon * David Rehman, principal Allison Peery Sarah Thrasher Matt Wong contrabassoon Maryll Goldsmith Kate Mackenzie

horn * Jonathan Anderson, co-principal * Beverly Wilcox, co-principal Rachel Howerton Ryan Ismail Victoria Lau Thomas Reed trumpet * Nick Antipa, principal Jessica Bejarano Paul Marenco Carl Stanley Randy Veirs bass trumpet Bruce Chrisp trombone * Rebecca Brover, principal Eduardo Gonzaga * Jenny Mun * Robert Thomas tenor tuba Flaviu Dunca Sarah Meyerpeter tuba * Portia Njoku, principal * Robert B. Rucker percuss ion * Derek Kwan, principal Michael Dean George Kennedy Kevin Koo Megan Shieh Holden Van Slyke harp * Brittany Iverson organ Jeffrey Thomas

* = holder of endowed seat

8

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

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

cynthia bates Cynthia Bates concertmaster presented by Debra Horney, M.D.

fawzi haimor Damian Ting associate concertmaster presented by Damian Siu Ming Ting

claire lee leiser bulk ley Clairelee Leiser Bulkley violin I presented by Clairelee Leiser Bulkley and Ralph E. Bulkley

John abdal lahFrancis Dubois violin Ipresented by Nancy Dubois

raphael s. moore Raphael S. Moore violin I presented by Jolanta Moore in memory of Raphael’s grandmother, Dr. Irena Anna Henner

Judy riggs Ralph and Judy Riggs violin I presented by Ralph and Judy Riggs

Kristen Jones Fawzi S. Haimor principal violin II presented by Barbara K. Jackson

shari benard-Gueffroy Shari Benard-Gueffroy assistant principal violin II presented by Shari Benard-Gueffroy

Kim uwate Jocelyn Morris principal viola presented by James and Jocelyn Morris

Zoe Kemmerl ing Bakos family associate principal viola presented by John T. Bakos, M.D./Ph.D. in memory of Dr. John and Grace Bakos

courtney castaneda Herman Phaff principal cello presented by Herman and Diane Phaff

eldr idge moores Eldridge Moores cello presented by Eldridge and Judith Moores

adam sapinLouise McNary cello presented by Don McNary

azusa murata Barbara K. Jackson principal bass presented by Barbara K. Jackson

susan monticel lo principal flute presented by Beverly “Babs” Sandeen and Marty Swingle

mary King Wilson and Kathryn Smith principal oboe presented by Wilson and Kathryn Smith

al ic ia bruce / er ic chow W. Jeffery Alfriend D.V.M. principal clarinet presented by Vicki Gumm and Kling Family Foundation

David rehman Kling Family Foundation principal bassoon presented by Vicki Gumm and Kling Family Foundation

Jonathan anderson/bever ly Wi lcox Kristin N. Simpson and David R. Simpson principal French horn presented by Richard and Gayle Simpson

nick antipa Andrew Mollner principal trumpet presented by Joseph Dean Mollner and Andrew Mollner

rebecca a. brover Rebecca A. Brover principal trombone presented by Rebecca A. Brover

Jenny mun Michael J. Malone trombone presented by Brian McCurdy and Carol Anne Muncaster

robert thomas Brian McCurdy bass trombone presented by Barbara K. Jackson

port ia njoku Robert B. Rucker tuba presented by Robert and Margaret Rucker

bri t tany iverson Calvin B. Arnason principal harp presented by Benjamin and Lynette Hart

Derek Kwan Friedman family principal percussion presented by Marvin and Susan Friedman

Katr ina soo hoo Gary C. Matteson orchestral piano presented by Jane, Dwayne, and Donald Matteson

Jess ica bejarano Barbara K. Jackson assistant conductor presented by Barbara K. Jackson

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

9

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

The UCD Symphony Endowment was established by members and friends in �99� with the goal of assuring the orchestra’s access to first-rate teachers and soloists, a handsome orchestral library, and enhanced opportunities for travel.

The Endowed Seats program, established by UCDSO member Rebecca Brover in �000 on the occasion of the new millennium, recognizes gifts of $�0,000 and more by naming individual seats in the orchestra in perpetuity. As of the �006–07 season, some �8 seats were so named.

Support the future of the UCDSO by becoming a member of the UCD Symphony Endowment. Gifts are recognized in the donor list published with each concert program; members of the Endowment receive a newsletter and various other forms of recognition. For further information on donor opportunities, visit our web site at ucdso.ucdavis.edu or call Debbie Wilson, 5�0-757-5784.

u c D av i s s y m p h o n y e n D o W m e n t 2 0 0 5 – 2 0 0 7

Mitzi S. AguirrePriscilla AlexanderW. Jeffrey Alfriend, D.V.M. **David M. Ashkenaze, M.D. *Robert and Joan Ball *Cynthia Bates *Matthew and Shari Benard-Gueffroy **Robert BiggsOscar and Shula BlumenthalRobert and Hilary Brover **Rebecca A. Brover **Gregory A. BruckerClairelee Leiser and Ralph E. Bulkley **Walter and Marija Bunter *Ray and Mary Cabral *Lynn L. and Robert N. CampbellDon and Dolores Chakerian *Terry and Marybeth CookElizabeth CorbettRichard Cramer and Martha Dickman *Allan and Joan Crow *Martha Dickman *Nancy Dubois*Jonathan and Mickey ElkusThomas and Phyllis FarverRon 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 *Virginia and Bill HinshawBarbara 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. *Family 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 *Brian McCurdy and Carol Anne Muncaster **Don and Lou McNary *Albert J. and Helen McNeil *Sharon Menke, Esq.Joseph Dean Mollner **Andrew 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 RiceJames 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 **Neil SchoreWilson 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. Webster and Grady L. WebsterMarya Welch *

Arthur Andersen LLP Foundation*Bank of America FoundationOffice of the Provost **The Swift Fund for the ArtsUCD Symphony Orchestra �99�–9�, �99�–94 **

In honor ofBenjamin HartRandolph Hunt by Benjamin and Lynette Hart*Ulla McDanielJerome and Sylvia Rosen*

In memoriamSusan Pylman AkinRonald J. AlexanderRobert M. CelloElizabeth ElkusCarl FlowersVerna Fournes Le MaitreDr. Irena Anna HennerKatherine H. HolomanNorman E. LambMichelle MantayJohn MouberMel OlsonHerman PhaffKeith RiddickDorothy J. ShielyRichard and Dorothy SwiftWilliam E. ValenteBodil Wennberg

* = $�,000 or more ** = $�0,000 or more

�0

s u n D ay, D e c e m b e r 3 , 2 0 0 6 8 p m , J a c K s o n h a l l , m o n D av i c e n t e r

u n i v e r s i t y c h o r u s & c h a m b e r s i n G e r sJ e f f r e y t h o m a s a n d f a w z i h a i m o r , c o n d u c t o r s

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

p r o G r a m

Missa brevis Sancti Joannis de Deo Joseph Haydn (�7��-�809)

Arianna Zukerman, soprano Jeffrey Thomas, organ

Chamber Singers

Fawzi Haimor, conductor

Exsultate, jubilate, K. 165 Wolfgang Amadeus Mozart (�756-9�)

Arianna Zukerman, soprano Jeffrey Thomas, conductor

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

Requiem, K. 626 Wolfgang Amadeus Mozart

Arianna Zukerman, soprano Katherine McKee, alto Wesley Rogers, tenor Robert Stafford, bass

Ave verum corpus, K 618 Wolfgang Amadeus Mozart

University Chorus Jeffrey Thomas, conductor

Please deactivate cell phones, pagers, and wrist-watches. Please remain seated during the music, since distractions will be audible on the archive recording.

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

��

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

Possessing a luminous voice with “the breadth of dramatic inflection to make for a powerfully effective perfor-mance” (Opera), soprano arianna Zukerman is equally in demand for opera and concert performances. The Boston Globe agrees and lauds her “vocal poise, elegant control of style and dynamics, and real spunk” as elements that continually bring her acclaim on national and international stages.

Zukerman’s engagements in the �006-07 season include her debut with the Boston Symphony Orchestra under Maestro James Levine in Moses und Aron, performances with the Rochester Philharmonic and the Virginia Symphony singing Messiah and the National Arts Centre Orchestra in Ottawa for the Verdi Requiem conducted by Pinchas Zukerman. She also sings as soloist in Mozart’s Requiem with the Berkshire Choral Festival under conductor Jane Glover, and in Dvorak’s Stabat Mater with the Chancel Choir in Dallas. The season also includes a new collaboration between Zukerman and the Miami String Quartet which will take the ensemble to many prominent chamber music venues in the United States including Kent State University, the Hartt School of Music, the Chamber Music Series at the University of Oregon and the Pro Arte Musical in San Juan, Puerto Rico.

Zukerman debuted with the New York City Opera in the �005-06 season in Mark Adamo’s Lysistrata, and returned to the Chattanooga Symphony and Opera to sing Euridice in Gluck’s Orfeo ed Euridice. She sang as soloist in Mozart’s Exsultate, jubilate with the Pittsburgh and Jackson Symphony Orchestras, and as soprano soloist in Beethoven’s Symphony No. 9 with the Long Island Philharmonic. Zukerman appeared as soloist in the holiday concerts presented at the Kennedy Center by the Choral Arts Society of Washington, and returned to sing chamber music at the Savannah Music Festival.

Equally comfortable in repertoire from oratorio to “pops,” Zukerman’s appearances on the concert stage include performances across the globe with the Minnesota Orchestra, Israel Philharmonic, Baltimore Symphony Orchestra, National Arts Centre Orchestra, American Bach Soloists, Rochester Philharmonic, Moscow Chamber Orchestra, Eos Orchestra, Seattle Symphony, Pittsburgh Symphony, Colorado Symphony, Pro Musica Chamber Orchestra, University Music Society in Ann Arbor, Cathedral Choral Society in Washington, D.C., English Symphony Orchestra, Pasadena Pops, and the Winterthur Musikkollegium.

Zukerman appears frequently in solo recitals in the United States and Europe and in duo recitals with her mother, flutist Eugenia Zukerman. An accomplished chamber musician, she also performs regularly at the Vail Valley Music Festival and Caramoor Music Festival.

A �00� Sullivan Foundation Award Winner, Zukerman was a member of the Bavarian State Opera Junges Ensemble. She studied theatre at Brown University and received her Bachelor of Music from the Juilliard School.

Kather ine mcKee (mezzo soprano) is active as a soloist both in concert work and on the opera stage throughout the Bay Area. She has performed as a soloist with the American Bach Soloists, Philharmonia Baroque Chorale, the San Francisco Symphony, as well as in performances with the San Francisco Choral Society, Oakland Symphony Chorus, Camerata Singers of Monterey, St. Luke’s Oratorio Choir, San Francisco Lyric Chorale, the UC Davis Chorus and Orchestra, and the Sanford Dole Ensemble. During the summers of �000 and �00� she was a featured soloist with the San Francisco Boy’s Chorus on two week tours of Europe under the direction of Ian Robertson.

Opera credits include performances with Berkeley Opera, San Francisco Lyric Opera, Spellbound Productions and the Bay Area Summer Opera Theater Institute in such roles as Azucena in Il Trovatore, the title role in Carmen, Principessa in Suor Angelica, and Madame Flora in The Medium. A devoted recitalist, she has presented recitals at The Church of St. Mary the Virgin, Music at St. Matthew’s, Pacifica Performances, Capp Street Community Music Center, Holy Innocents’, St. Luke’s, St. David of Wales, and First Presbyterian Church in Alameda. McKee is proud to be a member of the San Francisco Opera Chorus, American Bach Soloists Choir, and the Philharmonia Baroque Chorale. She is on the music faculty of the San Francisco Boys Chorus and is the alto soloist at the Episcopal Church of St. Mary the Virgin in San Francisco.

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Wesley rogers (tenor) divides his busy singing career between opera and oratorio. Recent concert engagements have included performances of Mendelssohn’s Elijah, Handel’s Messiah, Bach’s Magnificat, Haydn’s Creation, Honnegar’s King David, Kurt Weill’s Seven Deadly Sins, and the world premiere of Hawley’s Seattle. Wesley has appeared with the Seattle Choral Company, the Meridian Symphony, the Cascadian Chorale, the Bremerton Symphony, and Belle Arte Concerts.

In March �00�, Rogers performed the role of Damon in Handel’s Acis and Galatea with Santa Fe Pro Musica. On the operatic stage he was most recently seen in the role of Martin in Sun Valley Center for the Arts’ produc-tion of Copland’s The Tender Land. Summer �00� found Wesley returning to the Lake Chelan Bach Festival where he performed the role of Bastien in Mozart’s Bastien und Bastienna. He performed the role of Laurie in Mark Adamo’s Little Women at the Cabrillo Festival of Contemporary Music in Santa Cruz, California. Shortly after moving to the Pacific Northwest, Rogers made his Seattle Opera debut in �00� as Maintop in Britten’s Billy Budd. He returned the next season as the Fourth Jew in Strauss’ Salome.

Rogers has also performed roles with companies including Opera Memphis, Washington East Opera, Obsidian Opera, Seattle Community Outreach Productions, and the University of Washington Opera Theatre. Upcoming performances include Mozart’s Coronation Mass with EOS Orchestra and Trin in Seattle Opera’s production of Puccini’s Fanciulla del West. He recently completed his Master of Music degree from the University of Washington.

Bass-baritone robert stafford completed an Associate Artist-in-Residency at Opera San José, where he performed leading roles for two years. In �00� the Modesto Bee wrote of his title role in Mozart’s Don Giovanni, “Stafford has a rich and powerful voice and has the right arrogant manner for the role…smooth and seductive.”

Stafford has sung with many of the country’s leading period-instrument orchestras. The Los Angeles Times called his performance of Bach’s solo cantata Ich habe genug with the American Bach Soloists “communicative and glowing,” and lauded his “uncommonly suave” Polyphemus in Handel’s Acis and Galatea with Musica Angelica at the Getty Center.

He can be heard as Caronte on a recording of Monteverdi’s L’Orfeo with Apollo’s Fire for the Eclectra label, in Bach’s Matthäus-Passion with Jeffrey Thomas and the American Bach Soloists for Koch, and a recording of Spohr’s Zemire und Azor with the Manhattan School of Music where he currently studies with Joan Caplan.

In Europe, he has performed with such esteemed musicians as Max van Egmond, Joshua Rifkin and Jos van Veldhoven in Germany, Italy and the Netherlands. He made his New York concert debut in Carnegie Hall with the bass solo in Bruckner’s Te Deum with the New York Choral Society. Stafford composed and performed the puppet opera Mandragora with puppeteer Basil Twist and performance artist Glamamore for HereArts’ DreamWorks series in New York City.

Stafford has been invited to participate in summer festivals across the United States, including the Steans Institute at the Ravinia Festival, the Music Academy of the West in Santa Barbara, and the Tanglewood Music Center where he has had the privilege of singing under such conductors as Robert Spano (Berio’s Sinfonia), Federico Cortese, and Stefan Asbury, in the world premiere of Rage d’amours, a new opera by the Dutch composer Robert Zuidam.

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

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haydn: missa brevis sanct i Joannis de Deo (“li t t le organ-mass”)

Haydn composed this Kleine Orgelmesse (Little Organ-Mass) for the Eisenstadt house of the Order of the Brothers of Mercy, with whom he had an abiding friendly relationship. (One of his first jobs as a musician was playing first violin for the Brothers of Mercy at Leopoldstadt near Vienna). Indeed, Haydn dedicated a number of small sacred pieces to Saint John of God, a sixteenth-century Portuguese monk and the founder of the Order. Although the exact date of this Mass is unknown, it is generally thought to have been written in the mid-�770s.

The missa brevis, with its compact form and smaller performing forces, was especially popular in mid-eighteenth century Austria. As in his short Masses, Haydn employs here an orchestra of two violins and continuo and a four-voice chorus. (The addition of the obbligato organ and soprano solo in the Benedictus endow the movement with a welcome luxuriance and mark it as the musical highlight of the work; such broad treatment of this particular movement is not uncommon in the missa brevis settings.) The abbreviated musical forms and polytextual settings in the missa brevis format allow for a relatively expedient presentation of the liturgical text. In the Gloria, for example, each vocal part sings simultaneously a different part of the text, coming together only at the final “cum Sancto Spiritu in gloria Dei Patris, amen” (“with the Holy Spirit in the glory of God the Father, amen”).

While the conventions of the missa brevis undoubtedly placed limits on dramatic possibilities, Haydn nevertheless treats us to moments of the keenest expression. Following the allegro opening of the Credo, with its chaotic jumble of texts, the music slows to an adagio tempo and lingers on the words so central to the belief of the faithful: “Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est” (“By the power of the Holy Spirit, He was born of the Virgin Mary, and became man”). The simple, chordal style of the choral writing allows for the most eloquent declamation of the text, culminating in the sublime unison at “et homo factus est.” The subsequent C-minor Crucifixus also displays this expressive simplicity. The mysteries of birth and death form the dramatic focus of this section. Haydn makes clear their inextricable relationship, recalling–at the words “et sepultus est” (“and was buried”)–the oscillating violin accompaniment which first appeared at “et homo factus est.” The solemn, earnest mood and musical language of the “Et incarnatus” return with the Agnus Dei. In the final “Dona nobis pacem” (“grant us peace”), Haydn eschews the traditional exuberance of this section and indicates instead a gradual dying away, an ethereal conclusion to the final request for peace.

—Kristi Brown-Montesano

mozart: exsultate, jubi late, K. 165

The genre of the motet has had a colorful and varied career: from often clever and sometimes downright naughty combinations of Latin and French texts in the fourteenth century, and the expressive flow of Josquin or Palestrina’s sacred Latin motets in the sixteenth century, the motet had, by the eighteenth century, evolved into yet another form. Johann Joaquim Quantz, writing in the �750s, notes that the motet, for the Italians of his day, had become “a sacred solo cantata with Latin text, consisting of two arias, two recitatives, and a concluding Alleluia, commonly performed by one of the best singers during Mass, after the Credo.” Such a piece is Mozart’s Exsultate, jubilate, though the form is abbreviated to contain just one recitative, placed between the first two arias. Mozart composed this—one of his most famous sacred works—in Milan in January �77�, just before his seventeenth birthday. It was indeed designed for “one of the best singers,” namely Venanzio Rauzzini, the leading castrato in the Milan opera company, who had just sung in Mozart’s opera Lucio Silla. The text, appealing to the “blessed souls who sing sweet songs” to join the chorus of praise, evokes truly heavenly music from Mozart: a brisk opening aria, a languorous second aria, with half-step appoggiaturas expressing the yearning for peace of the text, and the justly famous closing Alleluia.

—Alan Lewis

mozart: requiem, K. 626 (completed by robert D. levin)

Mozart’s Requiem—among the world’s most “favorite” choral masterpieces–has been shrouded (or, perhaps, illuminated) by considerable legend and fabrication. Indeed, the realities–not speculations–of its circumstances do, in fact, provide plenty of interest. For example, the anecdote of the “Gray Messenger” who arrived at Mozart’s door, cloaked and masked, to deliver the commission along with an ominous warning of the composer’s own imminent death is just a rather macabre exaggeration of the fact that Franz Count von Walsegg (who commissioned the Requiem for his wife’s memorial service) had an anonymous messenger (not in disguise) sent from his lawyer’s office to enlist Mozart to compose the work in secrecy, so that the Count could claim authorship. The notion that Antonio Salieri poisoned his rival (since amplified by playwrights and film and stage producers alike) no doubt arose as a means to explain the unthinkably early death of one of the greatest musical geniuses of all time. But perhaps the greatest incongruence is the fact that many elements of this beloved and revered work were not composed by Mozart at all. When Mozart died, not having completed the Requiem, Mozart’s widow Constanze—hard-pressed to deliver a finished copy to the Count—enlisted the help of at least three of his students and one associate: Franz Jakob Freystädler, Joseph Eybler, Abbé Maximilian Stadler, and Franz Xaver Süssmayr (who assisted Mozart in copying and scoring Die Zauberflöte and La clemenza di Tito during the last months of the composer’s life). While all four made significant contributions in order to complete the fragment torso which Mozart left at his death, it was Süssmayr who took on most of the work, including the collation of the efforts of the others into one carefully penned manuscript, including a forged signature.

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The only problem, of course, is that the work would soon become famous, and interest in it would spark serious inquiry. For all of his heroic efforts, Süssmayr was simply not Mozart. His completion is marred by compositional and stylistic errors that Mozart would certainly not have committed. And, as a result, Süssmayr has become the scapegoat for nearly two centuries of frustrations. The whole process of searching for the truth behind the initial completion began shortly after its composition. But, even Constanze did not know the name of the Requiem’s commissioner until �800. Then, efforts to bring about its first publication (�799-�800) produced more investigation, followed by more and more assertions, contradictions, and denials. Twenty-five years later, Jacob Gottfried Weber, a Darmstadt lawyer and avid music scholar, began another round of exploration into the facts. This time Beethoven became involved, hurling insults at Weber for daring to tarnish the integrity of Mozart’s genius. It seemed as if everyone in the musical world had something to contribute to the debates, and not without strong feelings one way or another. Robert Schumann would write that the Requiem was “not merely corrupt but wholly inauthentic except for a few num-bers.”

But it is interesting to note that, although Süssmayr would at one point say he independently composed all of the Sanctus-Benedictus-Agnus Dei, not one of the other three involved in the initial completion would ever take any credit, and would resolutely deny any involvement at all. Even Süssmayr would eventually defer entirely to the memory of Mozart, stating that the entirety of the Requiem was due to the latter’s genius. Only due to recent musicology can we understand this. The discovery of sketches of thematic subjects and the comparison of thematic unity in the movements composed by Mozart compared to those originally conceded to be wholly composed by Süssmayr show that the lat-ter could not have worked “alone.” Whether he gleaned his cues from the sketches or from several months of close association with Mozart (Mozart’s last months) is, and always will be speculation. But it is certain that never before had Süssmayr shown ability or even interest in maintaining the sort of thematic unity which is present in his completion.

Luckily, we have benefited from the Herculean efforts of musicologists over the last �00 years, whose product has brought us the most pre-cious gift of all: through their endless and relentless processes of analysis and research, we have been able to virtually prolong Mozart’s life for the extra few days it would have taken for him to complete his final, and no doubt deeply personalized work. The labor of Süssmayr and those who have followed in his footsteps is redeemed, because they have given us even more of Mozart than we already had. Mozart had only just begun to compose in his newly found transparent and compact style, of which Alfred Einstein wrote “the mastery with which it is fash-ioned, the ‘second’ simplicity, the perfection of modulation and voice-leading, lightly introducing polyphony as a final intensification, are no longer perceived. Here ecclesiastical and personal elements flow together. The problem of style is solved.” While all the problems of the unfin-ished Requiem might not have been solved, we are nevertheless phenomenally indebted to those whose love of Mozart’s genius has brought us closer to his last days on earth.

—Jeffrey Thomas

i . or igin and sources of the Work

Mozart’s Requiem—the composer’s last and unfinished work—was commissioned by Count Franz von Wallsegg, who wished to have it performed in memory of his departed wife as his own composition. In order not to forfeit the handsome commission fee, Mozart’s widow Constanze decided to have the work completed in secrecy, so that the finished version could be presented as her husband’s final effort. The Requiem is known to the general public in the version undertaken immediately after Mozart’s death by his pupil Franz Xaver Süssmayr. In order to clarify the source situation, a synopsis of movements appears below. The work in its traditional form, as finished by Süssmayr, con-sists of �4 sections:

[�] INTROITUS (Requiem aeternam) [�] KYRIE SEQUENCE [�] Dies irae [4] Tuba mirum [5] Rex tremendae [6] Recordare [7] Confutatis [8] Lacrimosa OFFERTORY [9] Domine Jesu [�0] Hostias [��] SANCTUS and Osanna1 [��] Benedictus and reprise of the Osanna [��] AGNUS DEI COMMUNION [�4] Lux aeterna and Cum sanctis tuis

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The musical sources of the Requiem are as follows:

�. Mozart’s manuscript of the following movements: [�] (INTROITUS)—virtually complete: [�] (Kyrie fugue)—the complete draft of the choral parts and the orchestral bass line; [�]-[�0]—the choral/vocal parts and the orchestral bass line as in [�], with occasional motives for the orchestral accom paniment. [8] (the Lacrimosa) breaks off after the eighth bar.

�. An orchestration of the Kyrie fugue, carried out and entered into Mozart’s manuscript by his pupils Franz Jakob Freystädtler (winds and strings) and Süssmayr (trumpets and timpani). This was probably prepared for Mozart’s funeral on �0 December �79�, thus only five days after the composer’s death.

�. A partial completion of the SEQUENCE by Joseph Eybler, likewise entered into Mozart’s manuscript: [�] (Dies irae) and [7] (Confutatis)—complete; [4]-[6]—string parts only; [8]—a two-bar continuation of the soprano part.

4. Süssmayr’s completion of the Requiem: [�] in his and Freystädtler’s orchestration; [�]-[�0] fully instrumented, in a version that takes Eybler’s work into account; [��]-[�4] in settings that survive only in his hand. However, the last movement (Lux aeterna—Cum sanctis tuis) is merely a newly texted version of part of the INTROITUS and of the Kyrie fugue;

5. A version of the OFFERTORY by Abbé Maximilian Stadler, which apparently postdates Süssmayr’s version.

6. A sketch leaf, which contains inter alia contrapuntal studies for the Rex tremendae as well as the beginning of an Amen fugue for the close of the Lacrimosa (i.e., of the SEQUENCE) which Süssmayr did not include in his version. Such an Amen fugue reflects the practice of �8th century Requiem settings (Bonno, Michael Haydn, Jomelli, Gassmann, etc.) and would have cre ated an overall structure in which a fugue ends each major section (INTROITUS—Kyrie fugue; SEQUENCE—Amen fugue; OFFERTORY—Quam olim Abrahae fugue; SANCTUS-Benedictus—Hosanna fugue; AGNUS DEI-COMMUNION—Cum sanctis tuis fugue).

Because Eybler’s completion of the SEQUENCE ([�]-[8]) was entered into Mozart’s manuscript, Süssmayr had to copy out Mozart’s frag-ment from the SEQUENCE onwards as part of his own completion. The completed version of the Requiem consisted of Mozart’s autograph of the INTROITUS and KYRIE (the latter with Freystädt ler’s and Süssmayr’s orches tration) and Süssmayr’s manuscript of the rest. Bearing a forged signature “di me W. A. Mozart mpr �79�” in Süss mayr’s hand on the first page of the score, it was sent to the Count—after Constanze had it copied, in violation of the terms of the contract. (In further violation of the contract, she had the work published by Breitkopf & Härtel, in �799.)

i i . Quest ions of authorship

A description of the sources does not answer the fundamental question as to whether any—and if so, how many—sections of the Requiem that are not in Mozart’s hand were based on his ideas. Both Constanze and Süssmayr claimed that these movements were completely Süssmayr’s work. Nonetheless, this claim has been contested. Over the years some specialists have insisted that some of this music is of a quality that Süssmayr could not have produced unaided. However, there has always been a contrary view.

The attacks against Süssmayr’s completion began in �8�5, when the so-called “Requiem Controversy” erupted. Indeed, Süssmayr commits serious flaws which are foreign to Mozart’s idiom. These errors, which incidentally are also to be found in Süssmayr’s completion of the second movement to Mozart’s Horn Concerto in D major, K.4�� (likewise composed in �79�, the year of his death), encompass grammati-cal and compositional issues, e.g., glaring parallel fifths in the orchestral accompaniment of the SANCTUS (m. 4, Violin I/Soprano), the Hosanna fugue’s clumsy voice leading and insufficient length, and the reprise of the fugue after the Benedictus not in the original key of D major, but in B-flat major, which conflicts with normal �8th century church music practice. Such obvious flaws, which characterize Süssmayr’s entire completion, might easily prompt the conclusion that the SANCTUS/Hosanna, Benedictus and AGNUS DEI are the exclusive product of Süssmayr’s pen. This hypothesis, widely accepted in the scholarly community, is nonetheless challenged by revealing details in the tradi-tional completion.

üssmayr’s own works allow us to compare his compositional procedures with those of the Requiem completion. From this comparison it emerges that Süssmayr normally composed movement by movement, without regard for overall thematic integrity in a multi-movement work. In this regard he resembles the majority of his contemporaries, who seem to have favored apparent thematic variety to rigorous thematic econ-omy even within movements. On the other hand, Mozart’s Requiem fragment is characterized by tight motivic and structural relationships.�\

Given the lack of such thematic relationships in Süssmayr’s own works, we would scarcely expect them to appear in his completion of the Requiem. How ever, the movements attributed to him display the same thematic unity found in Mozart’s fragment. How is it possible that this motivic consistency can be observed only in a single work of Süssmayr? Moreover, within the parts attributed to Süssmayr there are unmistakable discrepancies between idiomatically Mozartean lines and incorrect voice leadings.

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These findings give credence to the theory that the “few scraps of music” (Constanze Mozart) which Süssmayr was given by Constanze together with Mozart’s manuscript contained material not found in Mozart’s draft. That such “scraps” existed can no longer be doubted since Wolfgang Plath’s discovery of the sketch leaf mentioned above. We also know that Constanze and Nissen destroyed many Mozart sketches in �799. Whether these included Requiem sketches can no longer be ascertained. It is also quite possible that Mozart suggested certain ideas to Süssmayr on the piano. While such hypotheses are in the realm of speculation, it is to be stressed that the state of affairs described above cannot be reconciled with Süssmayr’s exclusive authorship.

i i i . the recent complet ions

Over the last decade a number of musicians have attempted to cleanse from the Requiem the deficiencies introduced by Süssmayr. These new versions have been performed, recorded and published, thereby allowing direct insight into the nature of the problems at hand.

The scope of these revisions varies considerably. Franz Beyer has provided a revised instrumentation: with few exceptions his alterations affect only the orchestral music. In his version, the work definitely sounds more transparent and more convincing than in Süssmayr’s. However, the errors and stylistic discrep ancies in the choral/vocal parts and the overall structure are left intact. Moreover, he did not take the sketch of the Amen fugue into consideration. H. C. Robbins Landon’s edition is a conflation of Eybler and Süssmayr, replacing the latter with the former wherever possible; the only new material is that necessitated by stitching the two versions together. In Richard Maunder’s edition, there are new versions of the Lacrimosa and the AGNUS DEI, but the SANCTUS/Hosanna and the Benedictus have been omitted because Maunder is convinced they have nothing whatsoever to do with Mozart. He has completed the Amen fugue, but his version contains modulations. Eighteenth century Amen fugues remain in the same key, thereby providing a stable conclusion not just to the movement (Lacrimosa), but to the entire section (the SEQUENCE). A more radical revision has been attempted by Duncan Druce: in addition to a substantial Amen fugue the Lacrimosa, SANCTUS/Hosanna, Benedictus, AGNUS DEI and even the Lux aeterna have been subjected to ambitious recomposition.

iv. the present complet ion

The completion heard tonight seeks to respect both of the tendencies of the newer versions. On the one hand the compositional problems of the Lacrimosa, the Amen fugue, and the movements surviving only in Süssmayr’s hand have not been overlooked out of blind piety before their �00-year-old origin. On the other hand, the historical and performance tradition of the Requiem demands respect. A clearly drawn line of separation, in which everything except the contents of Mozart’s autograph draft was to be considered spurious per se, was explicitly rejected. Quite the contrary: the goal was to revise not as much, but as little as possible, attempting in the revisions to observe the character, texture, voice leading, continuity and structure of Mozart’s music. I have retained the traditional version insofar as it agrees with idiomatic Mozartean practice.

As critical as the challenge of the movements requiring completion may be, the rescoring of the movements drafted by Mozart presents the greatest task of a new version. Süssmayr’s violations of Mozart’s style are manifest not only in the already cited grammatical errors, but also through the use of an overly thick orchestral texture. This weakens the ability of the choir and solo voices to function as the expressive focus of the work. The first priority, then, was a more transparent instrumentation, derived in the first instance from Mozart’s other church music. The choir is placed in the foreground through the use of a two-part string texture (unison violins vis-à-vis unison viola and bass), or a three-part texture with independent parts for the two violins–which in Salzburg was necessary because violas were not used in the church orchestra.

The Lacrimosa underwent some light retouching and now leads into a non-modulating Amen fugue. Because Mozart’s sketch prescribes an intricate, “difficult” counterpoint (note the voice crossings), a voice leading with considerable friction between the voices was intentionally chosen. This solution, with its prominent dissonances, seemed structurally and dramatically justified for the torment and anguish of the Last Judgment (the SEQUENCE).

The obbligato violin part in the SANCTUS was inspired by the same movement in the C-minor mass. The cross-relation in the bass and the curious tonal discrepancies of mm. 6-�0 have been eliminated through reworking. Now the chorus follows a consistent path to the tonic in Mozartean fashion. The newly composed Hosanna fugue displays the proportions of a Mozartean church fugue (modeled after the C-minor mass).

In the Benedictus the vocal quartet in mm. �-�8 has been retained as the heart of the reworked movement. The all too vague relationship between Süssmayr’s middle and final ritornellos with the “et lux perpetua” passage from the INTROITUS encouraged the author to replace this indirect reference with a direct quotation. The recapitulation itself has been slightly revised, and a new transition, derived from the INTROITUS (mm. 50-54) and the Kyrie in D minor, K.�4� (mm. 54-56), leads to a shortened reprise of the Hosanna fugue in the original key of D major (not in B-flat major, as in Süssmayr’s version). The shortened reprise of the fugue reflects Mozart’s practice in the C-minor mass.

The structure of the AGNUS DEI has been retained, but the infelicities of Süssmayr’s version have been averted in the second and third sec-tions. The connection between the two constituent ideas (“Agnus Dei”—”dona eis Requiem”) was accomplished differently, and the first note of m. �� in the bass was changed from Süssmayr’s A to F, in order to keep the motive (cf. soprano) organic. The course of the third section is derived from passages in the Recordare and the Hostias. Süssmayr’s diminished seventh chord in m. 45—which produces voice leading problems for him and an unconvincing connection to the G-flat major triad that follows—has been replaced by a simple deceptive cadence on G-flat.

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The final measures have been expanded to provide a complete four-part choral imitation, Süssmayr’s crescendo has been deleted, and the penultimate measure proposes an alternative reading for Süssmayr’s 7-4-� structure on the third beat.

In the Cum sanctis tuis fugue a consistent textual alteration has been carried out, because Süssmayr’s version does not let the phrase “quia pius es” appear until the last three measures. This treatment conflicts with the general church music practice of the �8th century, in which, apart from immediate repetitions of individual words, the entire phrase (“Cum sanctis tuis in aeternum quia pius es”) should be set before the beginning of the phrase repeats. Süssmayr himself sets the entire sentence together in the Lux aeterna.

Mozart’s unfinished Requiem presents a breathtaking tableau of Baroque and Classical style. The present completion seeks a stylistically idiomatic restoration that fully respects its �00-year history. All of its changes seek to emphasize the spiritual and dramatic power of Mozart’s fragment by placing it in a more focused light. As inadequate as such attempts must be, it is hoped that it will serve Mozart’s spirit while honoring his craftsmanship.

— © Robert D. Levin

______________________________� Osanna is the spelling used by Süssmayr. Mozart consistently uses the spelling Hosanna, which has been used in the rest of this note and in the completion. � The foreword to the orchestral score of my completion details a number of these thematic relationships.

mozart : ave verum corpus, K. 6 18

On the seventeenth of June �79�, less than six months before his death, Mozart composed what seems, on the outside, to be a simple motet. But its conception was based on a fairly complex set of circumstances. Until just the year before, Emperor Joseph II had essentially banned concerted Latin church music in Austria through a set of severe, imposed restrictions. Following his death in �790, Viennese composers once again turned to the genre, and Mozart approached this opportunity with his concept of, in his own words, “a higher form of church music”. This “new” personal style would not seek to incorporate the models of Palestrina. Rather he would look no further backward than Handel and Bach. He would endeavor to perfect certain technical elements of design—as he did in the Requiem—and, above all else, attempt to achieve deeper and enhanced expression. The motet is ravishing in its uncomplicated and contemplative mood. Similar in structure to Bach’s motet-like compositions, the instruments mostly double the voices, but provide brief opening and closing ritornellos, as well as a short interlude midway through the text.

—Jeffrey Thomas

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univers i ty concert bandWednesday • 6 December • 7pmMain Theatre, Wright HallPeter Nowlen, interim director [$14 A; $7 STU & CH]

uc Davis ear ly music ensembleFriday • 8 December • 8pm St. Martin’s Episcopal Church 640 Hawthorne Lane, DavisDavid Nutter, director [Suggested donation at door only: $12A; $6 STU & CH]

uc Davis Gospel choirSaturday • 9 December • 7pm Freeborn HallCalvin Lymos, director [$14A; $7 STU & CH]

Upcoming events:

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missa brevis sancti Joannis De Deo (“little organ mass”)

Kyrie Adagio Chorus / strings, continuo

Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy.

Gloria Allegro (di molto) Chorus / strings, continuo

Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; ado-ramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe altissime: Domine Deus, Agnus Dei, Filius Patris:

Glory be to God in the highest. And in earth peace to men of good will. We praise thee; we bless thee, we worship thee; we glorify thee. We give thanks to thee for thy great glory. Lord God, heavenly King, God the Father almighty. O Lord, the only-begotten Son Jesus Christ most high: Lord God, Lamb of God, Son of the Father:

Qui tollis peccata mundi, miserere nobis: Qui tollis peccata mundi, suscipe deprecationem nostram: Qui sedes ad dextram Patris, miserere nobis:

Thou that takest away the sins of the world, have mercy upon us: Thou that takest away the sins of the world, receive our prayer: Thou that sittest at the right hand of the Father, have mercy upon us:

Quoniam tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe: Cum Sancto Spiritu in gloria Dei Patris. Amen.

For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ: With the Holy Ghost in the glory of God the Father. Amen.

Credo Allegro Chorus / strings, continuo

Credo in unum Deum. Patrem omnipotentem, Creator coeli et terrae, visibilium omnium et invisi-bilium: Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula: Deum de Deo, Lumen de Lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri, per quem omnia facta sunt: Qui Propter nos homines et propter nostram salutem descendit de coelis:

I believe in one God, the Father almighty, Creator of heaven and earth, and of all things visible and invisible: And in one Lord Jesus Christ, the only-begotten Son of God, begotten of the Father before all worlds: God of God, Light of Light, very God of very God; begotten not made; being of one sub-stance with the Father, by whom all things were made: who for us men and for our salvation came down from heaven:

Adagio Chorus / strings, continuo

Et incarnatus est de Spiritu Sancto ex Maria virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

And was incarnate by the Holy Ghost of the virgin Mary, and was made man. He was crucified also for us under Pontius Pilate, he suffered and was buried.

Allegro Chorus / strings, continuo

Et resurrexit tertia die, secundum scripturas: Et ascendit in coelum. Sedet ad dextram Dei Patris. Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis. Et in Spiritum Sanctum Dominum et vivificantem, qui ex Patre Filioque procedit: Qui cum Patre et Filio simul ado-ratur et conglorificatur: qui locutus est per prophe-tas. Et unam sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum et vitam venturi saeculi. Amen.

And the third day he rose again according to the scriptures; and ascended into heaven. He sitteth at the right hand of God the Father. And he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end. And in the Holy Ghost the Lord and giver of life, who proceedeth from the Father and the Son; who with the Father and the Son together is worshipped and glorified; who spake by the prophets. And in one holy, catholic and apostolic church. I acknowledge one baptism for the remission of sins, and I look for the resurrection of the dead and the life of the world to come. Amen.

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t e x t s a n D t r a n s l at i o n s

Sanctus Allegro Chorus/strings, continuo

Sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra loria ejus. Osanna in excelsis.

Holy, holy is the Lord God of Hosts. Heaven and earth are full of his glory. Hosanna in the highest.

Benedictus Moderato Soprano aria / organ solo, strings, continuo

Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord.

Allegro Chorus / strings, continuo

Osanna in excelsis. Hosanna in the highest.

Agnus Dei Adagio chorus / strings, continuo

Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi, miserere nobis.

Lamb of God, that takest away the sins of the world, have mercy upon us. Lamb of God, that tak-est away the sins of the world, have mercy upon us.

Dona nobis pacem. Grant us peace.

ex sultate , Jubil ate

Aria Allegro oboes, horns, strings, basso continuo

Exsultate, jubilate o vos animae beatae, dulcia cantica canendo; cantui vestro responendo, psallant aetherea cum me. Exsultate, jubilate, etc.

Exult and rejoice, you blessed souls, singing joyful songs; in reply to your singing the heavens sing together with me. Exult and rejoice, etc.

Recitative basso continuo

Fulget amica dies, jam fugere et nubila et procellae: exorta est justis inexpectata quies. Undique obscura regnabat nox, surgite tandem laeti, qui timuistis adhuc, et jucundi aurorae fortunatae dextera plena et lilia date.

Friendly daylight shines, clouds and storms have fled: an unhoped-for calm has dawned for the just. All was shrouded in the darkness of night: rise up in gladness, all you who lived until now in fear, and joyfully present handfuls of lilies to the shining dawn.

Aria Andante strings, basso continuo

Tu virginum corona, tu nobis pacem dona. Tu consolare affectus, unde suspirat cor.

O you crown of virgins, grant us peace, You console the sorrows of the sighing heart.

Aria Molto allegro oboes, horns, strings, basso continuo

Alleluja. Alleluia.

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reQuiem

Introitus Adagio

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Eternal rest give unto them, O Lord And let perpetual light shine upon them. A hymn, O God, becometh Thee in Zion And a vow shall be paid to thee in Jerusalem. Hear my prayer, All flesh shall come before you. Eternal rest give unto them, O Lord And let perpetual light shine upon them.

Kyrie Allegro

Kyrie eleison. Christe eleison. Kyrie eleison.

Lord, have mercy on us. Christ, have mercy on us. Lord, have mercy on us.

Sequentia - Dies irae Allegro assai

Dies irae, dies illa Solvet saeclum in favilla, Teste David cum Sibylla.

Quantus tremor est futurus Quando judex est venturus Cuncta stricte discussurus.

This day, this day of wrath shall consume the world in ashes, as foretold by David and the Sibyl.

What trembling there will be When the judge shall come to weigh everything strictly!

Tuba mirum Andante

Tuba mirum spargens sonum Per sepulcra regionum Coget omnes ante thronum.

Mors stupebit et natura Cum resurget creatura Judicanti responsura.

Liber scriptus proferetur In quo totum continetur, Unde mundus judicetur.

Judex ergo cum sedebit Quidquid latet apparebit, Nil inultum remanebit.

Quid sum miser tunc dicturus, Quem patronum rogaturus, Cum vix justus sit securus?

The trumpet, scattering its awful sound Across the graves of all lands Summons all before the throne.

Death and nature shall be stunned When mankind arises To render account before the judge.

The written book shall be brought In which all is contained Whereby the world shall be judged

When the judge takes his seat all that is hidden shall appear Nothing will remain unavenged.

What shall I, a wretch, say then? To which protector shall I appeal When even the just man is barely safe?

Rex tremendae Rex tremendae majestatis, Qui salvandos salvas gratis, Salve me, fons pietatis.

King of awful majesty You freely save those worthy of salvation Save me, found of pity.

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Recordare Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas illa die. Quaerens me sedisti lassus, Redemisti crucem passus, Tantus labor non sit cassus Juste judex ultionis Donum fac remissionis Ante diem rationis.

Remember, gentle Jesus that I am the reason for your time on earth, do not cast me out on that day

Seeking me, you sank down wearily, you saved me by enduring the cross, such travail must not be in vain.

Righteous judge of vengeance, award the gift of forgiveness before the day of reckoning.

Ingemisco tamquam reus, Culpa rubet vultus meus, Supplicanti parce, Deus.

Qui Mariam absolvisti Et latronem exaudisti, Mihi quoque spem dedisti.

Preces meae non sunt dignae, Sed tu bonus fac benigne, Ne perenni cremer igne.

Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.

I groan as one guilty, my face blushes with guilt; spare the suppliant, O God.

Thou who didst absolve Mary [Magdalen] and hear the prayer of the thief hast given me hope, too.

My prayers are not worthy, but Thou, O good one, show mercy, lest I burn in everlasting fire,

Give me a place among the sheep, and separate me from the goats, placing me on Thy right hand.

Confutatis Andante

Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis.

Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

When the damned are confounded and consigned to keen flames, call me with the blessed.

I pray, suppliant and kneeling, a heart as contrite as ashes; take Thou my ending into Thy care.

Lacrimosa Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus, Pie Jesu Domine, Dona eis requiem. [Amen.]

That day is one of weeping, on which shall rise again from the ashes the guilty man, to be judged. Therefore spare this one, O God, merciful Lord Jesus: Give them rest. [Amen.]

Offertorium – Domine, Jesu Andante con moto

OFFERTORIUM Domine, Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu:

Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum, sed signifer sanctus Michael retraesentet eas in lucem sanctam, quam olim Abrahae promisisti et semini ejus.

Lord Jesus Christ, king of glory, deliver the souls of all the faithful departed from the pains of Hell and the bottomless pit.

Deliver them from the jaws of the lion, lest hell engulf them, lest they be plunged into darkness; but let the holy standard-bearer Michael lead them into the holy light, as once you promised to Abraham and to his seed.

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Hostias Andante

Hostias et preces, tibi, Domine, laudis offerimus; tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.

Lord, in praise we offer you Sacrifices and prayers, accept them on behalf of those who we remember this day: Lord, make them pass from death to life, as once you promised to Abraham and to his seed.

Sanctus Adagio—Allegro

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

Holy, holy, holy Lord God of hosts! Heaven and earth are full of your glory. Hosanna in the highest!

Benedictus Andante—Allegro

Benedictus qui venit in nomine Domini. Osanna in excelsis.

Blessed is he that cometh in the name of the Lord.Hosanna in the highest!

Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi dona eis requiem sempiternam.

O Lamb of God, that takest away the sins of the world, Grant them rest. O Lamb of God, that takest away the sins of the world, Grant them eternal rest.

Communion Adagio—Allegro

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, cum santis tuis in aeternum, quia pius es.

Let everlasting light shine on them, O Lord with your saints for ever: for you art merciful.

Eternal rest grant them, O Lord; and let perpetual light shine upon them. With your saints for ever for Thou art merciful.

ave verum corpus Ave verum corpus, natum de Maria Virgine. Vere passum, immolatum in cruce pro homine. Cujus latus perforatum unda fluxit sanguine; Esto nobis praegustatum in mortis examine.

Hail true body, truly born of the Virgin Mary, mild. Truly suffered, racked and torn on the cross for man defiled. From whose side, pierced by cruel lance, blood poured forth in saving tide. By Your foretaste grant us comfort when death’s trial should arrive. Amen.

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soprano i Athena Bergen ChiaWin Chang Meghan Davis Alicia Flor Catrina Hayes Rachelle Hayes Carlena Henderson Yun Lian Luo Sara Marostica Brittney McClain Kate Mintun Julia Overman Elizabeth Parks Maria (Christina) Pingol Miriam Rocke Adele Sonora Diane Soto Lisa Sueyres Stacey Twisdale Kelley Way

soprano i i Alissa Antman Kimberly Blahnik Amanda Boardman Ji Eun (Lydia) Callahan Heidi Gerard Carrie Harrell Shannon Ko Airy Krich-Brinton Erika Leydig Molly Reagh Elissa Refsdal Maggie Roesser Paige Seegan Karina Summers Carrin Tanaka Jane Wong

alto i Laura Brink Ashley Cooper Laura Crowder Amy Eleazarian April Ferre Lizzie Gergian Julia Kulmann Julia Lazzara Deepti Menon Linnea Nasman Kari Payne Patricia Peacock Susanna Peeples Sara Price Carrie Rocke Rosalie Wang

alto i i Kathleen Baker Sara Franssen Susan Garbini Sally Gray Kathleen Green Mary Herbert Mai Kozai Amanda Martin Theresa Martinez Kathleen (Bo-Mie) Pae Charito Soriano Cynthia Sperry

tenor i John Basler Stephen Fasel Laureen Jenson Richard Kulmann Newman Leung Joy Li Chris Neff Jerry Schimke Peter Shack

tenor i i Yu-pang Chen Tatz Ishimaru Spencer Little Gary Matteson Michael Steele Lloyd Waldo

bass i Lawrence Chukwueke Paul Corujo James Hutchinson Alexander Kloehn Michael Lazzara Kyung Hoon Lee Jonathan Liao Ian MacGregor Bryan Pham John Sparks Doug Underwood Pei Xia Sam Young

bass i i John Berg Clyde Bowman Tom Dotan Kenneth Eng

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

Jeffrey thomas, conductor fawzi haimor, ass istant conductor

soprano Alicia Flor Heidi Gerard Kayla Kraich Sara Marostica Molly Reagh Lisa Sueyres Isabel To

alto Meghan Eberhardt Kathryne Koos Mai Kozai Julia Lazzara Joy Li Amanda Ou Susanna Peeples Jamie Romnes Barbara Zimbalist

tenor Yu-pang Chen Adam Cobb Tatz Ishimaru Timothy Pickett Jacob Ritter Peter Shack Matthew Zavod

bass Paul Corujo Francis Giuliani Nicolas Moore-Karppinen Mohammad Yahya Rouhani Eric Seyfarth

chamber sinGers

Jeffrey thomas, conductor

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John R. Berg, Ph. D. and Anne M. BergKathleen CadyBarbara P. and Kenneth D. CelliDonna M. Di GraziaLeland and Susan FaustAnn & Gordon Getty FoundationJohn Tracy Grose and Beth Baker-GroseProf. and Mrs. D. Kern HolomanJames and Patricia HutchinsonIBM International Foundation, LLPBarbara K. JacksonJoan and Russell Jones

Mr. and Mrs. Norman JonesProf. Joseph E. Kiskis, Jr.Julia and Richard KulmannElizabeth Langland and Jerry JahnLeslie and Dana LeongGary and Jane MattesonHugh and Deborah McDevittAlbert and Helen McNeilCindy and Dennis McNeilPatricia K. Moore and Chester G. Moore, Jr., Ph.D.Mary Ann Morris, Ph.D.

Jeffrey and Janice PettitSteven RosenauMr. and Mrs. Roy ShakedPatricia L. ShepherdSteven TallmanJeffrey ThomasLarry and Rosalie VanderhoefEd and Eleanor Witter

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

AnonymousAnonymous Lindsay Allen Mitzi S. AguirreClyde and Ruth BowmanMartha DickmanDotty DixonJoshua EichhornJeremy FaustDarlene Franz and James Van HornSally GrayDr. Charles and Ann HalstedBenjamin and Lynette HartJames H. HillmanBetty and Robin HoustonJeanne Howe and Carlos MiroDonald Johnson and Elizabeth MillerLauren Kaplan

Winston and Katy KoAiry Krich-BrintonNatalie and Malcolm MacKenzieSusan MannClarence H. McProudAmelie Mel de FontenayJeffrey MihalyMartha MorganRebecca NewlandNaomi NewmanGrant and Grace NodaMike and Carlene OzonoffPatricia PeacockAmy PoonGerry ProdyDavid and Carrie RockeJerry and Sylvia RosenWilliam and Linda Schmidt

Joan and Warren SellersKevin ShellooeEllen ShermanJames and Wynne SkowErie VitielloSteven and Patricia WaldoDouglas and Carey WendellRebecca and Jansen Wendlandt

Jewish Community Endowment Fund IBM Matching Gift Program Bank of America Matching Gift Program

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

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

There will always be financial challenges to any arts program that strives to meet the needs and demands of its students. At UC Davis, our challenges are even greater now that new standards of excellence have been achieved and continue to rise. The UC Davis Chorus Endowment was established to raise much needed funds in order to provide exciting and memorable tours for our students, enhancements to our annual concert seasons, voice lessons for talented individuals, or even bare-bones necessities like choral music, accompanists, or concert equipment. Your support will ensure that our programs can continue to inspire, teach, and mold the artistic and aesthetic temperaments of young choral singers. Please join us through your commitment to our future.

The Founder’s Club recognizes those generous founding benefactors who contributed $�,000 or more during the Endowment’s first year, and its members receive permanent recognition in all Chorus programs. All subsequent donors are acknowledged annually. For further information, visit our web site at chorus.ucdavis.edu/endowment or call Debbie Wilson at 5�0.757.5704.

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