Mika Pelo and Kurt Rohde, co-directors

Vanderhoef Studio Theatre, Mondavi Center

Vanderhoef Studio Theatre, Mondavi Center

The Department of Music presents

The Empyrean Ensemble Mika Pelo and Kurt Rohde, Co-directors

Americans in Rome

Pre-concert talk: 6pm, moderated by Kurt Rohde

Program

Mu for Solo Violin (2007) Keeril Makan (b. 1972)

Piano Etude No. 5 from 7 Piano Etudes (2008–09) Don Byron (b. 1957)

Bird as Prophet for Violin and Piano (1999) Martin Bresnick (b. 1946)

Piano Etude No. 2 from 7 Piano Etudes (2008–09) Don Byron

Song for Andrew for Piano Quartet (2008) Laura Schwendinger (b. 1962)

Intermission

Three Phantasy Pieces for Viola and Percussion (2005) Claude Baker I. J.B. (b. 1948) II. R.S. III. H.B.

Piano Etude No. 3 (a la ) from 7 Piano Etudes (2008–09) Don Byron

Dusk from The Book of Hours for Piano Trio (2000) Martin Brody (b. 1949)

Piano Etude No. 6 from 7 Piano Etudes (2008–09) Don Byron

Mu for Solo Violin (2007) Keeril Makan

Hrabba Atladottir, violin; Ellen Ruth Rose, viola; Michael Graham, cello; Chris Froh, percussion; Michael Seth Orland, piano

Sunday, January 23, 2011 • 7:00 pm Vanderhoef Studio Theatre, Mondavi Center

3 NOTES

Mu (2007) for prepared violin: some meanings of Mu (according to Wikipedia): · Micro- the prefix signifying one millionth. · In Zen Buddhism, a word that can mean neither yes nor no. · The twelfth letter of the Greek alphabet, which was derived from the Egyptian hieroglyphic symbol for water. · The name of a hypothetical continent that allegedly existed in one of Earth’s oceans but disappeared at the dawn of human history.

7 Piano Etudes (2008–09). Originally, I conceived a work inspired by Kurt Schwitters, but I changed my mind after a pianist showed me some etudes by Brahms. I immediately knew there would be 7 (it just sounds great) and planned specific stylistic choices for each etude according to its numeric position. I love the idea of developing a pedagogy for the technical elements of one’s own music. is great at that. Conlon Nancarrow gave up on it. I am a big fan of Bartók’s Mikrokosmos. The idea of creating pedagogical music with high artistic content really appeals to me. Bartók did a great job of introducing the idea of modern controlled dissonance as a form of entertainment, in hopes of creating a new audience for the sort of music he chose to make. At this point in musical history, post-Stravinsky/Schoenberg, playing complicated rhythms correctly enough to create a groove may be the new frontier for the modern classical player. It’s much simpler to play individual measures correctly than it is to make a long passage groove, especially when the measures are not exact repeats. Each etude has a different technical focus. Many of them are exercises in ambidexterity, independence, basic ear training, and singing. One movement was inspired by a famous Picasso painting; another movement was inspired by a long-forgotten ad campaign for a soft drink; another explores the rhythmic structure of the Wiener Waltz. Overall, the pianist/vocalist is asked to reveal her inner “entertainer” as well as her mathematical musicianship.

Bird as Prophet for Violin and Piano is the last in a series of twelve pieces entitled Opere della Musica Povera (Works of a Poor Music). The title Bird as Prophet refers to a piano miniature of the same name from Robert Schumann’s Waldszenen, op. 82. Bird as Prophet’s combination of simple programmatic suggestiveness and abstract patterning seeks to recapture the vivid, oracular, but finally enigmatic spirit of Schumann’s (and Charlie Parker’s) remarkable musical prophecies. Song for Andrew was written in memory of my teacher . It was composed for Young-Nam Kim and Sally Chisholm, two of Andrew’s close friends and was premiered in Minnesota in spring 2009 and performed by the New Juilliard Ensemble on the Summergarden series at MOMA last summer. The opening violin line is from the second movement of Andrew’s wonderful work Pilgrimage (1983), for flute, , piano, percussion, violin, and cello, which was written for and premiered by Collage New Music in Boston. This movement is a deeply moving and personal work on every level. Punctuated at the opening with chimes and high piano, it has a haunting, bell-like clarity. This movement continues on to explore instrumental interaction through long arching linear lines and exacting jazz rhythms. I have isolated the theme here in its simplest form, to highlight the depth of its melodic beauty, and added my own accompaniment to the opening. My voice and a strain of Andrew’s voice join in one last, affectionate conversation, but soon this material takes on a character all its own as it develops and unfolds. Three Phantasy Pieces for Viola and Percussion were commissioned by the Center for New Music at the University of Iowa for Christine Rutledge and Daniel Moore. Each movement draws its inspiration in turn from three well-known compositions for viola. The first piece in the set makes oblique reference to the second movement of the Sonata for Viola and Piano, op. 120, no. 1, by Johannes Brahms. The next uses as its structural (and motivic) basis the second “Märchenbild” of Robert Schumann and provides a light-hearted foil for the more somber outer movements. The final piece is a parody of the “Procession of the Pilgrims” from Hector Berlioz’s Harold in Italy and is, in essence, a chaconne (a musical form based on the continuous variation of a series of chords). The gradual unfolding and intensification of the chaconne pattern in both the viola and vibraphone are interrupted at the movement’s climax with a modified quotation of the “Canto Religioso” from Berlioz’s work.

Dusk is the concluding piece of a group of three that comprises a cycle, Book of Hours. Like its companions (Dawn and Meridian), it conveys the sensations and aura of a particular time of day. Dawn evokes a slow awakening and a sense of inchoate potential; Meridian the nervous energy, mercurial thought processes, and inflated sense of high purpose that I associate with midday. In the concluding piece, Dusk is a time of muted colors and a calm that can’t quite be sustained. The movement offers a fleeting sense of struggle between accepting and resisting the fact of day’s end and the conclusion of its restless activity. Each passage embellishes a cadential gesture that appears at the outset. Melodic ideas and harmonic progressions emerge, more or less strongly resisting the initial impulse for closure. The movement as a whole is comprised of continuous variations on and elaborations of the initial material, finally coming to accept its insistent premise. Dusk was written for and premiered by Triple Helix under the auspices of a commission from First Nights, a core course of the Music Department, with funding from the Fromm Music Foundation at Harvard.

4 ABOUT THE ARTISTS

Icelandic violinist Hrabba Atladottir studied in Berlin with Primarily a composer of concert and theatrical chamber Axel Gerhardt. After finishing her studies, Hrabba worked as music, Martin Brody has also written extensively for film and a freelance violinist in Berlin for five years, regularly playing television. He has received various awards and commissions, with the Berlin Philharmonic Orchestra, Deutsche Oper, and among them the Academy-Institute Award from the American Deutsche Symphonieorchester. Hrabba also participated in a Academy of Arts and Letters, three fellowships from the world tour with the Icelandic pop artist Björk, and a Germany National Endowment for the Arts, a Guggenheim Fellowship, tour with violinist Nigel Kennedy. the Pinanski Prize for excellence in teaching at Wellesley College, and commissions from the Fromm Foundation at In 2004 she moved to New York and continued to freelance, Harvard, the MacArthur Foundation’s Regional Touring playing on a regular basis with the Metropolitan Opera, Program, the Artists Foundation, and the Massachusetts Arts New York City Opera, Orchestra of St. Luke’s, and New and Humanities Council. In the fall of 2001, he was Fromm Jersey Symphony Orchestra. She also plays a lot of new Composer-in-Residence at the American Academy in Rome. music, most recently with the Either/Or ensemble in New He also served as Heiskell Arts Director there from 2007 to York in connection with their Helmut Lachenmann festival. 2010. Brody is president of the Stefan Wolpe Society and has Since August 2008, Hrabba has been based in Berkeley, also served as a Director of the League of Composers-ISCM, California, where she performs with various ensembles, the Composers Conference, Boston Musica Viva, and WGBH such as the Berkeley Symphony Orchestra, the Left Coast Radio’s Art of the States. In 1987 he collaborated with the Chamber Ensemble, Empyrean Ensemble, and the Berkeley ethnomusicologist Ted Levin to initiate a US-USSR composers Contemporary Chamber Players to name a few. Hrabba is also exchange sponsored by the International Research and a violin lecturer at UC Berkeley. Exchanges Board, the first such exchange to occur in twenty- five years. His has written extensively on contemporary music and serves on the editorial board of Perspectives of New Music. Claude Baker attained his doctoral degree from the Eastman He is Catherine Mills Davis Professor of Music at Wellesley School of Music, where his principal composition teachers College, where he has been on the faculty since 1979. were Samuel Adler and Warren Benson. As a composer, Mr. Baker has received a number of professional honors, including an Academy Award in Music from the American For almost two decades, Don Byron has been a singular voice Academy of Arts and Letters; two Kennedy Center Friedheim in an astounding range of musical contexts, exploring widely Awards; a “Manuel de Falla” Prize (Madrid); the Eastman- divergent traditions while continually striving for what he calls Leonard and George Eastman Prizes; BMI-SCA and “a sound above genre.” As clarinetist, saxophonist, composer, ASCAP awards; commissions from the Barlow, Fromm and arranger, and social critic, he redefines every genre of music he Koussevitzky Music Foundations; a Paul Fromm Residency plays, be it classical, salsa, hip-hop, funk, rhythm and blues, at the American Academy in Rome; and fellowships from the klezmer, or any jazz style from swing and bop to cutting-edge John Simon Guggenheim Memorial Foundation, the National downtown improvisation. He has been consistently voted best Endowment for the Arts, the Rockefeller Foundation, the clarinetist by critics and readers alike in leading international Bogliasco Foundation and the state arts councils of Indiana, music journals since being named “Jazz Artist of the Year” Kentucky, and New York. At the beginning of the 1991–92 by Down Beat in 1992. Acclaimed as much for his restless concert season, he was appointed composer-in-residence creativity as for his unsurpassed virtuosity as a player, Byron of the Saint Louis Symphony Orchestra, a position he held has presented a multitude of projects at major music festivals for eight years. He is currently Class of 1956 Chancellor’s around the world, including recent performances in Vienna, Professor of Composition in the Jacobs School of Music at San Francisco, Hong Kong, London, Monterey, New Zealand, Indiana University, Bloomington. Australia, and on New York’s Broadway. Principally committed to influencing and expanding the Martin Bresnick’s compositions, from chamber and repertoire for solo percussion through commissions and symphonic music to film scores and computer music, premieres, Chris Froh is a member of the San Francisco are performed throughout the world. Bresnick delights in Contemporary Music Players, the San Francisco Chamber reconciling the seemingly irreconcilable, bringing together Orchestra, and the Empyrean Ensemble at UC Davis. Known repetitive gestures derived from minimalism with a harmonic for energized performances hailed by the San Francisco palette that encompasses both highly chromatic sounds Chronicle as “tremendous” and San Francisco Classical Voice and more open, consonant harmonies and a raw power as “mesmerizing,” his solo appearances stretch from Rome reminiscent of rock. At times his musical ideas spring from to Tokyo to San Francisco. His critically acclaimed solo hardscrabble sources, often with a very real political import. recordings can be heard on the Albany, Bridge, Equilibrium, But his compositions never descend into agitprop; one gains and Innova labels. their meaning by the way the music itself unfolds, and always on its own terms. Besides having received many prizes and A frequent collaborator with leading composers from across commissions, the first Charles Ives Living Award from the the globe, Froh has premiered works by dozens of composers, American Academy of Arts and Letters, the Rome Prize, the including John Adams, Chaya Czernowin, Liza Lim, David Berlin Prize, a Guggenheim Fellowship, and a Koussevitzky Lang, Keiko Abe, and Francois Paris. He tours Japan with Commission, among many others, Martin Bresnick is also marimbist Mayumi Hama and with his former teacher, recognized as an influential teacher of composition. Students marimba pioneer Keiko Abe. Solo festival appearances include from every part of the globe and of virtually every musical the Festival Nuovi Spazi Musicali (Rome), the Festival of inclination have been inspired by his critical encouragement. New American Music, Pacific Rim, and Other Minds. Active in music for theater and dance, Froh has recorded scores for

5 ABOUT THE ARTISTS

American Conservatory Theater, performed as a soloist with Before coming to the United States, Mika Pelo studied at the the Berkeley Repertory Theater, and composed original music Royal College of Music in Stockholm, Sweden under teachers for Oakland-based Dance Elixir. His score for the Harvard Pär Lindgren, Sven-David Sandström, and Bent Sørensen and Museum of Natural History’s exhibition of Thoreau’s Walden: A earned his PhD in composition at Columbia University under Journey in Photography currently is touring the United States. the supervision of Tristan Murail. Pelo has also attended Equally committed to pedagogy, Froh mentors percussionists master classes with Magnus Lindberg and Peter Eötvös through UC Berkeley’s Young Musicians Program. He is also and studied computer music and composition at IRCAM in a faculty member at UC Davis, where he directs the Samba Paris. His breakthrough came in 2000 with the nomination School and Percussion Group Davis. of his string orchestra piece Apparition to the Gaudeamus prize in Holland. In 2003 Pelo graduated in Stockholm with his Violin Concerto, performed by young soloist Cecilia Michael Graham, cellist, has been hailed by the San Francisco Zilliacus and the Swedish Radio Symphony Orchestra. Classical Voice for his “almost painfully pretty . . . expressive He has received awards from the Royal Academy of Music richness,” and by the San Jose Mercury News as “super-good.” in Sweden and Thord Gray Memorial Award from the He studied at the Eastman School of Music and Yale University, American-Scandinavian Foundation. Pelo has mostly written where he was a founding member of that institution’s secret instrumental chamber music and music for orchestra but is chamber music society, Skull and Bows. Mr. Graham is a also fluent in the electronic music language and occasionally former member of the Chagall String Quartet, winner of uses live electronics and writes electro-acoustic music. a rural residency grant from the National Endowment for the Arts, and the San Francisco-based new music group Ensembles that have commissioned or performed music by Adorno Ensemble. He is currently a member of the Oakland Pelo include: Swedish Radio Symphony Orchestra and Manfred Symphony and appears regularly with such ensembles as the Honeck, Netherlands Radio Chamber Orchestra, Janácˇek Grammy-award-winning New Century Chamber Orchestra Philharmonic Orchestra, North Bohemian Philharmonic and the San Francisco Chamber Orchestra. Mr. Graham is Orchestra, Flux Quartet (New York), the Swedish Concert committed to exploring music beyond the classical genre and Institute, Cecilia Zilliacus, Bengt Forsberg, Earplay, Red has performed and recorded with artists ranging from Nadja Light New Music (New York), the Barbad Chamber Orchestra Salerno-Sonnenberg to John Densmore of the Doors. He can (New York), Mika Takehara, Nya Stenhammarkvartetten, be heard on New Century’s recently released albums “Live” Musica Vitae, KammarensembleN, The Pearls Before Swine and “Together,” and on Van Morrison’s latest recording, “Astral Experience, and the HUGO string quartet (Iceland). Weeks Live from Hollywood Bowl.” Composer and violist Kurt Rohde lives in San Francisco. Recipient of the Rome Prize from the American Academy His music has been described as “filled with exhilaration in Rome, Keeril Makan has also received awards from and dread. It’s a mirror of our times” (San Jose Mercury News). the American Academy of Arts and Letters, the Fromm Recipient of the Charles Ives Fellowship and the Hinrichsen Foundation, the Gerbode Foundation, Meet the Composer, Award from the American Academy of Arts and Letters, he has the Aaron Copland House, the Utah Arts Festival, and ASCAP. received a Guggenheim Fellowship, and commission awards His commissions include those from All-Stars, from the Koussevitzky Foundation of the Library of Congress, American Composers Orchestra, Harvard Musical Association, the Fromm Foundation of Harvard University, the Barlow and Carnegie Hall. Makan’s work has been featured at the Endowment for Music Composition, the National Endowment Other Minds Festival in San Francisco and internationally at for the Arts, and the Hanson Institute for American Music. the Gaudeamus Festival in the Netherlands, and Musica Nova He was a recipient of the Rome Prize Fellowship in Finland. The Chamber Music Society of Lincoln Center and from the American Academy in Rome, and the Berlin Prize the International Contemporary Ensemble have performed Fellowship from the American Academy in Berlin. His recent his music. The first CD of his music, In Sound, was released projects include a work for puppet theater, a violin concerto on the Tzadik label with performances by the Kronos Quartet for Axel Strauss, and a work for speaking pianist for Genevieve and Paul Dresher Ensemble. His second CD will be released Lee. He was a featured composer with Southwest Chamber by Starkland Records, with performances by Either/Or, the Music for their “Ascending Dragon” project in 2009–10, and for California E.A.R. Unit, and soprano Laurie Rubin. Outside the 2010–11 season his new works are being performed by the the United States, he spent a year in Helsinki, Finland, at the UC Davis Symphony Orchestra, the Scharoun Ensemble, and Sibelius Academy on a Fulbright grant. After receiving the the Left Coast Chamber Ensemble. George Ladd Prix de Paris from the University of California, he lived for two years in Paris. Makan is associate professor of Rohde is a graduate of the Peabody Conservatory at Johns music at MIT. Hopkins University, the Curtis Institute of Music, and SUNY Stony Brook. He studied composition with Donald Erb, Ned Rorem, and Andrew Imbrie, and viola with Karen Tuttle, John Michael Seth Orland studied piano with Margaret Kohn Graham, and Caroline Levine. He is former artistic director and is a graduate of the UC Berkeley Music Department, of the Left Coast Chamber Ensemble, co-director of the where he studied harpsichord with Davitt Moroney and Empyrean Ensemble, and teaches composition and theory at composition with Gérard Grisey. He later continued his UC Davis. He has taught composition at UC Santa Barbara, study of composition with David Sheinfeld. He has appeared was composer-in-residence at the Yellow Barn Music Festival, extensively in the Bay Area as a chamber musician and is on and guest composer at the Wellesley Composers Conference. the music faculty at UC Berkeley and also teaches there in the Rohde plays with the Left Coast Chamber Ensemble and the Young Musicians Program. New Century Chamber Orchestra.

6 ABOUT THE ARTISTS

A champion of contemporary music, violist Ellen Ruth Rose Laura Schwendinger, professor of composition and artistic is a member of Empyrean Ensemble and Earplay, the San director of the Contemporary Chamber Ensemble at the Francisco-based contemporary ensemble. She performs University of Wisconsin, Madison, was the first composer to regularly with Santa Cruz New Music Works, the Berkeley win the American Academy in Berlin Prize Fellowship. Her Contemporary Chamber Players, and the San Francisco music has been performed and commissioned by leading Contemporary Music Players. She has worked extensively artists of our day, including Dawn Upshaw, the Arditti with Frankfurt’s Ensemble Modern and the Cologne Quartet, the Theater Chamber Players, Matt Haimovitz, experimental ensembles Musik Fabrik and Thürmchen The JACK Quartet, Jennifer Koh, Janine Jansen, ICE, the Ensemble, appearing at the Cologne Triennial, Berlin Aspen Ensemble, and in venues including Carnegie Hall, the Biennial, Salzburg Zeitfluß, Brussels Ars Nova, Venice Kennedy Center for the Performing Arts, Miller Theater, and Biennial, Budapest Autumn, and Kuhmo (Finland) festivals. Symphony Space. She has performed as soloist with the West German Radio Chorus, Empyrean Ensemble, Thürmchen Ensemble, the Laura’s other honors include those from the Guggenheim, San Francisco Contemporary Music Players, Santa Cruz Rockefeller, Fromm and Koussevitzky Foundations, the New Music Works, and the symphony orchestras of UC Radcliffe Institute at Harvard University, the American Berkeley and UC Davis, and at the San Francisco Other Academy of Arts and Letters, including a Goddard Lieberson Minds and Ojai Music festivals. She has premiered several Fellowship, the Copland House, the Harvard Musical works showcasing the viola, including Kurt Rohde (Double Association, and first prize of the ALEA III Competition. She Trouble, a double viola chamber concerto, 2002), Pablo Ortiz has had residencies at the MacDowell and Yaddo Colonies. (Le Vrai Tango Argentin for solo viola, 2001), Miguel Galperin Recent performances and premieres include commissions (Projections for solo viola, 2004), Steed Cowart (Zephyr for from Miller Theater, the Aspen Ensemble, Cygnus Ensemble, solo viola 1989/2001), Edmund Campion (Melt me with thy Voices of Change, San Francisco Conservatory of Music delicious numbers for viola and live electronics, 2003), and Blueprint Series, and upcoming commissions from Boston William Beck (Aquarium for viola, theremin, and tape, 2002). Musica Viva and Matt Haimovitz’s Ucello Ensemble. An entire evening of her works was featured on the Four Score Her recordings include a Wergo CD of the chamber music Festival at the Music Institute of last year (along of German composer Caspar Johannes Walter—featuring with those of and Stacy Garrop) and several pieces written for her—which won the German three CDs of her works will soon be released on Centaur Recording Critics’ new music prize in 1998. In 2003 she and Albany records. Her entire works for solo piano have created, organized, and directed Violafest!, a four-concert just been recorded by the incomparable Christopher Taylor, festival at UC Davis celebrating the viola in solos and and her work Shadings, a collaboration with her lighting chamber music new and old, including solos from the artist-cousin Leni Schwendinger, will be premiered by the anthology The American Viola (JB Elkus & Son, 2003) American Composers Orchestra at Carnegie’s Zankel Hall and premieres of pieces for four violas by Yu-Hui Chang in March 2011. She earned her PhD from the University of and Laurie San Martin. Rose holds a Master’s degree in California, Berkeley, where she studied with Andrew Imbrie performance from the Juilliard School, an artist diploma and . from the Northwest German Music Academy in Detmold, Germany, and a Bachelor’s degree with honors in English and American history and literature from Harvard University. She teaches viola and chamber music at UC Davis and UC Berkeley. Her own teachers have included Heidi Castleman, Nobuko Imai, Marcus Thompson, and Karen Tuttle.

UPCOMING EMPYREAN ENSEMBLE CONCERTS

Meanwhile In Europe Sunday, April 17, 2011 • 7:00 pm Vanderhoef Studio Theatre, Mondavi Center New Works by European composers rarely heard in the US: Tiziano Manca, Steingrimur Rohloff, Petr Bakla, Eric Tanguy, and Bent Sørensen

New Music from Davis Monday, May 23, 2011 • 7:00 pm Vanderhoef Studio Theatre, Mondavi Center New Works by UC Davis graduate composers Handel Almetus, Gabriel Bollanos, Ben Irwin, Scott Perry, Garrett Shatzer, Liam Wade, and Ching-Yi Wang.

For further details about upcoming Empyrean Ensemble concerts, please go to our website: http://music.ucdavis.edu/empyrean/

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