7 pm, Thursday, 2 December 2010 Jackson Hall, Mondavi Center

UC DAVIS SYMPHONY ORCHESTRA Christian Baldini, music director and conductor

PROGRAM

Overture to (1791) (1756–91)

Sospiri (1914) Edward Elgar (1857–1934)

Adagietto from Symphony No. 5 (1902) (1860–1911)

Intermission

Symphony No. 3 in D Major (1815) Franz Schubert Adagio maestoso — Allegro con brio (1797–1828) Allegretto Menuetto: Vivace Presto vivace

This concert is being recorded professionally for the university archive. Please remain seated during the music, remembering that distractions will be audible on the recording. Please deactivate cell phones, pagers, and wristwatches. Flash photography and audio and video recording are prohibited during the performance. ABOUT THE ARTIST

The dynamic work of Christian Baldini, conductor and composer, has taken him around the world guest conducting concerts with the Buenos Aires Philharmonic (Argen- tina), the San Francisco Contemporary Music Players, 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), New York New Music Ensemble, Memphis Sym- phony Orchestra, Daegu Chamber Orchestra (South Korea), Chronophonie Ensemble (Freiburg), and the International Ensemble Modern (Frankfurt). His music appears on the Pretal Label and has been broadcast on SWR (German Radio) as well as in the National Classical Music Radio of Argentina. He has also conducted and recorded contemporary Italian music for the RAI Trade label.

Baldini’s work has received awards in several competitions including the top prize at the Seoul International Competition for Composers (South Korea, 2005), the Tribune of Music (UNESCO, 2005), the Ossia International Competition (Rochester, NY, 2008), the Daegu Chamber Orchestra International Competition (South Korea, 2008), and the Sao Paulo Orchestra International Conducting Competition (Brazil, 2006). He has been an assistant conductor with the Britten-Pears Orchestra (England) and a cover conductor with the Na- tional Symphony Orchestra (Washington, DC). After teaching and conducting at the State University of New York in Buffalo, Baldini is now an assistant professor at the University of California, Davis, where he serves as the Music Director of the UC Davis Symphony Or- chestra. He regularly appears as a guest conductor with ensembles and orchestras through- out South America and Europe. Forthcoming projects include performances with the Israel Contemporary Players and Ensemble Plural (Spain), and conducting engagements with the BBC Symphony Orchestra in London.

NOTES

Overture to La clemenza di Tito Mozart died on December 5, 1791, at the age of thirty-five. The cause of his death cannot be known with certainty but much has been written, said, and even filmed about it. Theories apart, the truth is that Mozart had an intensively busy schedule during the last year of his life. He usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. During the course of 1791 he had a year of great creative productivity. He composed many of his most famous works, including the Singspiel Die Zauberflöte (The Magic Flute), the final Piano Concerto, KV. 595, the Clarinet Concerto, KV. 622, the Requiem, KV. 626 (unfinished), and some of his most beautiful chamber music (e.g., his last String Quintet, KV. 614), and the opera seria La clemenza di Tito (The Clemency of Titus or The Merciful Titus). In fact this is his very last opera, which he had begun after much of the Magic Flute had been written. La clemenza was first performed on September 6, 1791, at the Estates Theatre in . La clemenza was based on the libretto by Pietro Metastasio, written half a century earlier; it had already been set by over thirty composers, among them Caldara and Gluck. In 1791 Mozart accepted the commission to write this opera from the impresario Domenico Guardasoni, who lived in Prague and who was in search of a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. Antonio Salieri had been Guardasoni’s first choice, but Salieri was too busy and thus Mo- zart accepted the commission (which paid him twice as much as he was usually paid in Vienna for an opera).

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The overture is in contrast yet related to the overture of the Magic Flute. The use of fermatas becomes a crucial element at the beginning of the overture, as well as in the recapitulation, just like in the Magic Flute. In La clemenza, the fermatas also separate the culmination of the first theme with the beginning of the second theme. It does not have a slow introduction as do many of his opera overtures. Instead, it begins with a very majestic C-major chord, followed by grace notes leading to a unison C in the entire orchestra. The first chord might remind listeners of the beginning of the overture to Così fan tutte, which is in the same key. Another similarity with the Magic Flute: the grace notes leading to the unison C appear three times in total at the opening of the overture, just like the famous three chords in the Magic Flute, written almost simultaneously with Clemenza. Enough has been said about symbol- ism derived from Freemasonry, but it is worth remembering the three distinguishing pillars: virtue, honor, and mercy. Clemenza is a moral story in itself—a story about power, speculation, love, and manipulation. But it is also a story of clemency, and by the end of the opera, the great emperor Tito is admired by everyone thanks to his generosity and mercy. It is a true paradigm of forgiveness.

Sospiri English composer Sir Edward Elgar (1857–1934) was the son of a piano tuner and his mother was the daughter of a farm worker. He was the fourth of seven children. His father was also a violinist, and thus all of his children received a musical upbringing. Elgar was a fine violinist and pianist and performed also on the bassoon, as well as on other instruments. At the age of forty-two, he composed his best-known work, the “Enigma” Variations (op. 36), which would launch his international career and establish him as the most important composer in Great Britain after the death of Sir Arthur Sullivan in 1900.

Elgar completed his intensely melodic Sospiri, op. 70, for Strings and Harp in 1914. The work was dedicated to a close friend who was concertmaster of the London Symphony Orchestra. It was premiered on August 15 of that year, just two weeks after the start of the First World War. Lady Elgar said the work was “like a breath of peace on a perturbed world.” Originally titled “Soup- ir d’amour” (sigh of love), Elgar himself Italianized the title when he offered it for publication to Breitkopf & Härtel. Sospiri is a delicate, yet intense sigh of beauty and melancholy written during a time of increasing violence and tumultuousness.

Adagietto from Symphony No. 5 In November 1908, when Mahler arrived back in New York for his second season with the Metropolitan Opera, he shared the conducting load with a rising Italian star, Arturo Toscanini. Mahler’s relationship with the Metropolitan Opera was not a long one. By early 1909, he was named the Music Director of the New York Philharmonic. His new position with the New York Philharmonic offered several advantages compared with his position at the Vienna Philharmonic. Since a cooperative plan no longer governed the New York musicians, the music director could select the best musicians. On the other hand, in Vienna the musicians still owned the orchestra under the cooperative, and they determined the music director. Unfortunately this new position did not last very long either: Mahler died in 1911. Mahler held conducting posts of great importance throughout his career, and given his busy schedule, he would compose almost exclusively during the summer months. He was highly regarded as a conductor, and his own compositions also attracted wide inter- est during his lifetime, but only occasionally did they receive popular approval. His first symphony premiered in 1889, and even ten years later, a critic in Dresden reviewed the work as “the dullest work the new epoch has produced.” The Fourth and Fifth Sympho- nies failed to receive general public approval, but Mahler was convinced that his Sixth would finally succeed. However, it received harsh criticisms for its unconventional use of percussion instruments and use of “Brass, lots of brass, incredibly much brass,” as critic Heinrich Reinhardt put it. The Symphony No. 5 was composed during the summer months of 1901 and 1902 in Mahler’s own, newly purchased villa along the lakeside of the Austrian province of Carinthia. He was one of the most influential men in the music world and held the post of Music Director of both the Vienna Court Opera and the Vienna Philharmonic, which was regarded as one of the finest orchestras in the world. Also in 1901 he met Alma Schindler. By the summer of 1902, Alma had become his wife and was expecting their first child. The symphony received its premiere in October 1904 in Cologne. After the premiere, Mahler is reported to have said: “Nobody un- derstood it. I wish I could conduct the first performance fifty years after my death.” Such was his confidence and awareness that his music was ahead of his own time.

The Adagietto is the fourth movement of the symphony (which has five movements) and is scored for only strings and harp. The famous conductor Willem Mengelberg (1871–1951) claimed that both Mahler and his wife, Alma, had told him privately that it had been composed as a love token for her. Whether or not this claim is true, it is not difficult to feel the emotional content of the Adagi- etto as related to love, tenderness, intensity, passion, suffering, and longing, as well as pleasure. Mahler was famous for marking his scores meticulously, and this is very clear in the Adagietto. Whether the indications are related to dynamics, articulation, technique,

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character, or tempo, Mahler made unusually clear markings for each. Thus, the fluctuations in tempo throughout theAdagietto are always indicated in the score with specific terms such as “Nicht schleppen” (not dragging), “Etwas drängend” (somewhat pushing), “fließend” (fluid)—or with such imaginative extramusical images as “seelenvoll” (soulful), “mit Wärme” (with warmth) or “zögernd” (hesitant). The Adagietto is perhaps Mahler’s most famous piece of music, thanks in part to its use in Luchino Visconti’s film Death in Venice (1971), and is arguably one of the most beautiful and powerful works ever written.

Symphony No. 3 In a letter dated April 7, 1826, Schubert wrote to the Emperor Francis II, the last Holy Roman Emperor (and the successor to Leo- pold II, for whose coronation Mozart had written La clemenza di Tito): “Your Majesty! Most Gracious Emperor! With the deepest submission the undersigned humbly begs Your Majesty graciously to bestow upon him the vacant position of Vice-Kapellmeister to the Court.” Schubert was twenty-nine years old when he wrote this letter, and he died just two years later. This letter summarizes well Schubert’s lifelong desire to hold a permanent position at the court, which would have granted him the security “to realize at last those high musical aspirations which he has ever kept before him” (as Schubert wrote in the same letter to the Emperor). Despite his very brief life, Schubert composed nearly 1,000 works. During his lifetime, he was almost exclusively known as a Lied composer, having written about 600 Lieder. In fact, in March 1828, Schubert participated in the only full-scale public concert during his life- time devoted exclusively to his own works. Schubert was only eighteen years old in 1815 when he wrote his Symphony No. 3. He composed his Symphonies 2–5 while a schoolmaster teaching at his father’s school. Written in D major, the same key as Beethoven’s Second Symphony, Schubert’s Third is one of his liveliest and most energetic works. The first movement begins with a slow introduction in unison, followed by pulsat- ing chords in the woodwinds, delicately colored by the violins in an ever-growing ascending scale. The arrival of this motive in the introduction will also culminate in the big crescendo in the Allegro’s first theme. The music seems full of sighs, followed by uplifting gestures that soothe and inspire the listener. The rhythm created by the sequence of an eighth note followed by three quarter notes is no doubt related to the end of the first theme of Mozart’s Symphony No. 40, first movement. According to Schubert’s friend Josef von Spaun, this Mozart symphony was Schubert’s favorite, which would become evident in his Symphony No. 5. Another important element of the Third Symphony’s first movement is the use of syncopation in the strings, which always dances against the clarinet’s joyful dotted rhythm in the first theme. The second movement, Allegretto, in ternary form, is very light in tone and heart: it is rather comical and its middle section pres- ents a somewhat dance-like flavor, reminiscent of the middle section of the B-flat intermezzo from Rosamunde. The third movement (Menuetto: Vivace) has the character of a scherzo. Its richness derives from the abundance of accents (also from the first movement), which sometimes give the effect of moving the bar line across measures. It is full of sparkles and presents contrasts of dynamics from pp to ff fz. A wonderful interlude, the Trio arrives with the feeling of a Ländler, beautifully scored only for strings, oboe, and bassoon. The last movement, Presto vivace, is in fact a really fast tarantella. It is orchestrated in a brilliant way: accents placed on weak parts of the measure and exquisitely articulated groups of instruments. Its second theme is a group of four ascending notes, related to the ever-growing scale at the introduction of the first movement. The contrast between the piano and forte interventions creates an atmosphere of suspense that is eventually resolved into explosive joy.

FOR UC DAVIS DEPARTMENT OF MUSIC EVENTS

Phil Daley, publicity manager Josh Paterson, production manager Christina Acosta, editor Rudy Garibay, designer

4 UC Davis Symphony Orchestra

Christian Baldini, music director and conductor Abby Green, general manager Margaux Kreitman, librarian

Names appear in seating order.

Violin I Viola Flute Trumpet Shawyon Malek-Salehi, Andy Tan, Susan Monticello, Andrew Neish, concertmaster * principal * principal * principal * Drew Cylinder * Caitlin Murray, Abby Green, Angelica Cortez, Jonathan Chan * assistant principal * principal * principal * Sophie Tso * Meredith Powell, Anna Thoma Dillon Tostado Hewett Lan assistant principal * Chris Brown Ben Hiebert Victoria Wu Andrew Benson Edith Yuh William Liu Matthew Slaughter Trombone Meghan Teague Giuliana Conti Oboe Ethan Rosenberg, Alex Milgram Michaela Duyar Sunaina Kale, principal * Clairelee Bulkley * principal * Sean Raley, Ye Chen Cello Stacey Habroun, co-principal * Karis Yi Isaac Pastor-Chermak, co-principal Nicole Tanner Raphael Moore * principal * Britney Satow Vanessa Rashbrook Stephen Hudson * Russell Eisenman Bass Trombone Carolyn Anderson * Jeffrey Buscheck * Violin II Han-ah Sumner * Clarinet Cynthia Bates, Chris Allen Al Bona, Tuba principal * Rachel Baek principal * Adam Brover * Margaux Kreitman, Jimmy Yo Robert Brosnan, co-principal * Paul Phillips co-principal Percussion Sharon Inkelas Tobias Münch Aaron Hill Wyatt Harmon, Emily Crotty Thomas Ivy section leader * Rachel Ferris Bass John Park Dan Eisenberg Francisco Ortega Melissa Zerofsky, Victor Nava Jason Lee principal * Bassoon Kevin Barr Stephanie Hartfield Thomas Mykytyn Adam Taylor, Lien Do Tulin Gurer David Sachs principal * Morgan McMahon Faye Lu Diane Royalty Harp Christina Mao Thomas Adams-Falconer Allison Peery Emily Ricks * Kathryn Azarvand Alex Keeve Matt Wong, co-principal and Piano contrabassoon Peter Kim *

Horn Celesta Bobby Olsen, ChiaWei Lin principal * Sarah Meyerpeter Adam Morales, * Indicates holder of an co-principal endowed seat Katherine McLain

5 Endowed Seats Made possible by gifts of $10,000 or more.

Shawyon Malek-Salehi – Cynthia Bates concertmaster Abby Green – Phyllis & Thomas Farver flute / piccolo Presented by Debra Horney, M.D. Sunaina Kale – Wilson and Kathryn Smith principal oboe Drew Cylinder – Damian Ting assistant concertmaster Presented by Damian Siu Ming Ting Al Bona – W. Jeffery Alfriend, DVM, principal clarinet Presented by Vicki Gumm & the Kling Family Foundation Clairelee Leiser Bulkley – Clairelee Leiser Bulkley violin I Presented by Clairelee Leiser Bulkely & Ralph E. Bulkley Adam Taylor – Kling Family Foundation principal bassoon Presented by Vicki Gumm & the Kling Family Hewett Lan – Francis Dubois violin I Foundation Presented by Nancy Dubois Bobby Olsen – Kristin N. Simpson and David R. Simpson Raphael Moore – Raphael S. Moore violin I principal horn Presented by Jolanta Moore in memory of Presented by Richard & Gayle Simpson Dr. Irena Anna Henner Andrew Neish – Andrew Mollner principal trumpet William Liu – Ralph and Judy Riggs violin I Presented by Joseph Dean Mollner & Andrew Mollner

Cynthia Bates – Fawzi S. Haimor principal violin II Ethan Rosenberg – Rebecca A. Brover principal trombone Presented by Barbara K. Jackson Sean Raley – Michael J. Malone trombone Margaux Kreitman – Shari Benard-Gueffroy Presented by Brian McCurdy & Carol Anne Muncaster assistant principal violin II Jeffrey Buscheck – Brian McCurdy bass trombone Andy Tan – Jocelyn Morris principal viola Presented by Barbara K. Jackson Presented by James & Jocelyn Morris Adam Brover – Robert B. Rucker Tuba Caitlin Murray and Meredith Powell – Presented by Robert & Margaret Rucker Bakos Family assistant principal viola Presented by John T. Bakos, M.D., Ph.D., in memory of Wyatt Harmon – Friedman Family principal percussion Dr. John and Grace Bakos Presented by Marvin & Susan Friedman

Isaac Pastor-Chermak – Herman Phaff principal cello Emily Ricks – Calvin B. Arnason principal harp Presented by Herman & Diane Phaff Presented by Benjamin & Lynette Hart

Stephen Hudson – Tracy McCarthy cello Peter Kim – Gary C. Matteson orchestral piano Presented by Brian & Louanne Horsfield Presented by Jane, Dwayne, & Donald Matteson

Carolyn Anderson – Eldridge Moores cello Presented by Eldridge & Judith Moores The Wilson & Kathryn Smith conductor’s podium was presented in honor of D. Kern Holoman. Han-ah Sumner – Louise McNary cello Presented by Don McNary

Melissa Zerofsky – Barbara K. Jackson principal bass

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

6 UC DAVIS SYMPHONY ENDOWMENT

Mitzi S. Aguirre Barbara K. Jackson** Susanne Rockwell and Brian Sway In memory of Priscilla Alexander Prof. Joseph E. Kiskis Jr.* Jerome and Sylvia Rosen* Susan Pylman Akin W. Jeffery Alfriend, DVM** Winston and Katy Ko Don Roth William R. Albrecht Thomas and Patricia Allen Family of Norman Lamb* Robert and Margaret Rucker** Ronald J. Alexander David M. Ashkenaze, M.D.* Dr. Richard Levine* Tracey Rudnick Hilary Brover Robert and Joan Ball* Paul and Lois Lim Beverly “Babs” Sandeen and Marty Robert M. Cello Cynthia Bates* Susan Linz Swingle** Karen Aileen Dettling Matthew and Shari Benard- Melissa Lyans and Andreas J. E. N. Sassenrath* Clare M. Driver Gueffroy** Albrecht, Ph.D.* Neil and Caroline Schore* John “Al” Driver Robert Biggs and Diane Carlson Natalie and Malcolm MacKenzie* Prof. and Mrs. Calvin Schwabe* Elizabeth Elkus Oscar and Shula Blumenthal Douglas W. Macpherson and Barbara L. Sheldon Carl Flowers Rebecca A. Brover** Glayol Sabha, M.D.* Ellen Sherman* Dr. Irena Anna Henner Robert and Hilary Brover** Marjorie March* Richard and Gayle Simpson** Katherine H. Holoman Gregory A. Brucker J. A. Martin Wilson and Kathryn Smith** Norman E. Lamb Ralph E. Bulkley and Gary and Jane Matteson** Lois Spafford* Loren LeMaitre Clairelee Leiser Bulkley** Katherine Mawdsley and William Sherman and Hannah Stein Verna Fournes LeMaitre Walter and Marija Bunter* F. McCoy* Dr. and Mrs. Roydon Steinke Michelle Mantay Ray and Mary Cabral* Scott and Caroline Mayfield Thomas Sturges* Dorothy Dodge Miller Lynn and Robert Campbell Greg and Judy McCall* Joel and Susan Swift* John Mouber Don and Dolores Chakerian* Tracy H. and Brendan J. McCarthy Richard Swift* Mel Olson Terry and Marybeth Cook Ulla and Gerald McDaniel Alice Tackett* Herman Phaff Elizabeth Corbett Don and Lou McNary* Steven D. Tallman* Keith Riddick Allan and Joan Crow* Albert J. and Helen McNeil* Damian Siu Ming Ting** Walter H. Rock Jr. Martha Dickman* Sharon Menke, esq. Roseanna F. Torretto Walter H. Rock Sr. Nancy DuBois* Maureen Miller Rosalie and Larry Vanderhoef* Dorothy J. Shiely Jonathan and Mickey Elkus Andrew Mollner** Shipley and Dick Walters* Richard and Dorothy Swift Thomas and Phyllis Farver** Joseph Dean Mollner** Barbara D. and William E. Valente Ron Fisher Eileen and Ole Mols* Grady L. Webster Wim van Muyden, MD Tyler T. Fong* George Moore Marya Welch* Bodil Wennberg Marvin and Susan Friedman** Jolanta Moore** Edwin and Sevgi Friedrich Raphael S. and Netania Moore* Arthur Andersen LLP * = $1,000 or more Anne Gray* Eldridge and Judith Moores** Foundation* ** = $10,000 or more Vicki Gumm and Kling James and Jocelyn Morris** Bank of America Foundation Family Foundation** Mary Ann Morris* Office of the Provost** Prof. and Mrs. Said Haimor* Ken T. Murai* The Swift Fund for the Arts* Benjamin and Lynette Hart** Russell and Alice Olson UC Davis Symphony Orchestra Lorena Herrig* Jessie Ann Owens 1992–93, 1993–94** Barbara D. Hoermann Paul and Linda Parsons* Weyerhaeuser Prof. and Mrs. D. Kern Herman and Dianne Phaff** Holoman** Marjorie Phillips and In honor of Debra A. Horney, M.D.** Robert Rice Benjamin Hart Brian and Louanne Horsfield** Randolph Hunt by Benjamin and Ilia Howard* James and Felicity Pine Lynette Hart* Margaret E. Hoyt* Jim and Nancy Pollock Ulla McDaniel Ann Preston Jerome and Sylvia Rosen* Dr. and Mrs. Daniel R. Hrdy* Eugene and Elizabeth Renkin* Sharon Inkelas Ralph and Judy Riggs**

7 – Recital HalL – he 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 Tmillion 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. recital hall society Recognized by gifts of $25,000 or more Founders ($350K and higher) Patrons ($25K and higher) Jessie Ann Owens and Barbara K. Jackson Wayne and Jacque Bartholomew Anne L. Hoffmann Grace and Grant Noda Ralph and Clairelee Leiser Bulkley Wilson and Kathryn Smith Lorena J. Herrig Richard and Shipley Walters Directors ($50K and higher) D. Kern and Elizabeth Holoman Ed and Elen Witter John and Lois Crowe Albert McNeil In Memory of Kenneth N. MacKenzie Mary Ann Morris Natalie and Malcolm MacKenzie

Seats and stones Recognized by gifts of $1,000 or more Aguirre Family UC Davis Music Faculty Laura Cameron Teresa Paglieroni Angelo D. Arias and Family Christian Baldini and Bruce and Mary Carswell Sarah and Robert and Joan Ball Matilda Hofman Linton and Thomas Pattison Cynthia Bates David and Helen Nutter Carol Corruccini Philip and Ross Bauer, Ph.D. Pablo Ortiz Mary and George Dahlgren Shirley Penland Kathryn Caulfield Mika Pelo and Allen and David and Dair Rausch Martha Dickman Hrabba Atladottir Mary Lou Dobbins Elizabeth and Donna M. Di Grazia Laurie San Martin and John and Eugene Renkin Nancy DuBois Sam Nichols Catherine Duniway G. Thomas and Richard and Vera Harris Jeffrey Thomas Robert and Joan Sallee Paul W. Hiss, M.D. Ann Edmondson Katherine Schimke Julia and Richard Kulmann Seth Singers, Andrew and Judith Gabor Maxine Schmalenberger Charlene R. Kunitz Alumni 1994–2008 Government J. Tracy and Katherine and Seth Arnopole Affairs Consulting Sally Schreiber William Landschulz John Baker Paul and June Gulyassy Roy and Polly Sheffield Beth E. Levy David Benjamin Charlene R. Kunitz Suzette Smith Craig M. Machado Penn Brimberry Russell and Ronald and Rosie Soohoo Deborah and Joshua Eichorn Suzanne Hansen Joe and Betty Tupin Hugh McDevitt Stephen Fasel John and Marylee Hardie Laura and Maureen Miller Katherine Ivanjack Benjamin and Richard Van Nostrand Gail M. Otteson Eric and Jacque Leaver Lynette Hart Elisabetta Vivoda Christopher Reynolds and Joshua and Sara Margulis John and Patricia Richard and Alessa Johns Elizabeth Parks Hershberger Shipley Walters Kurt Rohde and Ellen Proulx Bette Gabbard Hinton Noel and Pamela Warner Timothy Allen Keith and Jennifer Rode Dirk and Sharon Hudson Robert and Jerome and Sylvia Rosen Steven Rosenau James and Christine Wendin Schore Family Asa Stern Patricia Hutchinson Debbie B. Wilson Thomas and Stephanie Sugano Barbara K. Jackson Robert and Joyce Wisner Karen Slabaugh Thomas Wilberg Jerry and Teresa Kaneko Donald and Diane Woods Henry Spiller and Kit and Bonita Lam Michael Orland In Memory of Ruth Lawrence St. Helena Hannah and Sherman Stein Kenneth N. MacKenzie Jerry and Hospital Foundation Henry and Ann Studer Clyde and Ruth Bowman Marguerite Lewis Lynne Swant and Family Elizabeth Bradford Frederick and Uwate Family Karen and Irving Broido Lucinda March Larry and Paul and Nancy Caffo Theresa Mauer Rosalie Vanderhoef Robert and Marya Welch Margaret McDonald Carla Wilson John and Norma Meyer Maureen Miller

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