with the Alumni Chorus and the UC Davis Symphony , soprano | Judith Malafronte, mezzo-soprano Wesley Rogers, | , Bruckner: Te Deum Rossini: 8 pm, SunDAY, 14 MarCH 2010 Jackson Hall, Mondavi Center 8 pm, Sunday, 14 March 2010 Jackson Hall, Mondavi Center

University Chorus & Alumni Chorus UC Davis Symphony Orchestra

with

Arianna Zukerman, soprano Judith Malafronte, mezzo-soprano Wesley Rogers, tenor James Maddalena, baritone

Jeffrey Thomas, conductor

PROGRAM

Te Deum Anton Bruckner Allegro moderato (1824–96) Moderato Allergro moderato. Feirlich, mit Kraft Moderato Mäßig bewegt

Intermission

Stabat Mater Gioacchino Rossini Introduction: Stabat mater dolorosa (1792–1868) Aria: Cujus animam gementem Duet: Quis est homo Aria: Pro peccatis suae gentis Chorus and Recitative: Eja, mater, fons amoris Quartet: Sancta mater, istud agas Cavatina: Fac, ut portem Christi mortem Aria and Chorus: Inflammatus et accensus Quartet: Quando corpus morietur Finale: Amen, in sempiterna saecula

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. 3 About the Artists UNIVERSITY CHORUS Jeffrey Thomas, conductor Peter Hill, assistant conductor and accompanist

Possessing a luminous voice with “the breadth of dramatic inflection to make for a powerfully effective Soprano I Alto I Tenor I Bass I performance” (), soprano Arianna Zukerman is equally in demand for opera and concert performances. observes, “Arianna Zukerman possesses a remarkable voice that combines the range, warmth Jessica Bruns April Ferre Pejman Ahmadi Paul-Anthony Bernucci and facility of a Rossini mezzo with shimmering, round high notes and exquisite pianissimos….” Zukerman’s 2009- Kaitlyn Clark Alisha Gorder Joseph Espena Brent Curriden 10 season includes several reengagements, including with the Gulbenkian Foundation Orchestra in Lisbon to sing Leanna Friedrich Yoon Jeong (Jennifer) Jang John Forell Kevin Foster Salieri’s , with Music of the Baroque for Mozart’s Requiem, and with the National Arts Centre for Mozart’s Wendy Ho Julia Kulmann Milton Jackson Nathan Hannon “ch’io mi scordi di te.” She also sings First Lady in Die Zauberflöte with Opera Lyra Ottawa, Mahler’s Symphony Christina Lawrence Caroline McGrath Richard Kulmann James Hutchinson No. 4 with the National Philharmonic, and in recital with pianist Navah Perlman for El Paso Pro Musica. Previous Laura Putnam Alex Menze Daniel Olivas Gregory Lanton opera highlights include her first collaboration with as Female Chorus in ; her Miriam Rocke Elizabeth Nichols Gabriel Peralez Neil Ruud debut with the in ’s Lysistrata; and performing the Governess in The Turn of the Screw with Chicago Adele Sonora Oaggin Park Jerry Schimke Dakota Salazar Opera Theater, Micaëla in with the Dallas Symphony Orchestra at the Vail Valley Music Festival; Marzelline in with the Diane Soto Patricia Peacock Peter Shack Eric Spears , and Nizza in the world premiere of Donizetti’s long-lost Elisabeth, conducted by Will Crutchfield at the Caramoor Cecilia Whitworth Elizabeth Reeves Doug Underwood Sara Wilson Haeri Kate Suh Caleb Yee Music Festival. Other performance highlights include performing as soloist in Haydn’s The Seasons with Music of the Baroque, Neikrug’s Tenor II Nachtlieder and Debussy’s Fall of the House of Usher with the Gulbenkian Foundation Orchestra, Britten’s War Requiem in a return to the Winona Wagner Adam Cobb National Philharmonic, Musetta in La bohème with the Orchestra and at the Vail Valley Music Festival, and Handel’s Soprano II Bass II Jordan Cohen Alto II with the , recorded for the Naxos label. Jennifer Adler John Gibson Leonidas Constable, Jr. Alyssa Black Meghan Eberhardt David Griffin Robert Crummey Judith Malafronte, mezzo-soprano, has appeared with numerous and oratorio societies, including Phoebe Copp Sara Franssen Harry Jin Jim Draper the Los Angeles Philharmonic at the Hollywood Bowl, the San Francisco Symphony, the St. Louis and Baltimore Sarah Flores Susan Garbini Spencer Little Kenneth Firestein Symphonies, the St. Paul Chamber Orchestra, the Seattle Baroque Orchestra, and the Handel and Haydn Society. Caitlin Gaustad Emma Gavenda Kenny Mac David Green She has sung at the Tanglewood Festival, the Boston Early Music Festival, and the Utrecht Early Music Festival, Tianna Grant Moran Goren Jeffrey Paterson Bryan Klingman and she is a frequent guest artist with the American Bach Soloists, the Philharmonia Baroque Orchestra, the Dave Kirstin Haag Sally Gray Eddie Shih Craig Landon Brubeck Quartet, and the Harp Consort. Her operatic performances include the title role in Handel’s Serse at the Amy Harris Mary Herbert Daniel Tan Timothy Mascarinas Göttingen Festival, Scarlatti’s L’Aldimiro at the Berkeley Festival, Dido and Aeneas with the Mark Morris Dance Ruthie Levine Paula Lerner Janghee (John) Woo Dan Na Group (singing both Dido and the Sorceress), and Nero in Monteverdi’s L’Incoronazione di Poppea for the Aston Louise Lindberg Gina Marino Joshua Scott Magna Festival. She has also sung leading roles at the opera houses of Lyon, Liège, and Montpellier, and she has Erica Nurse Krysten Melgar th won several top awards in , Spain, Belgium, and the United States. She has recorded a wide range of repertoire, from the 12 -century Anne Richardson Barbara Molloy chant of Hildegard von Bingen to the Deutsche Motette of , including Handel’s Serse with Nicholas McGegan on BMG, Simone Verbaken Tatz Ishimaru Bach cantatas and the St. Matthew Passion with American Bach Soloists for Koch Classics, medieval music with the Newberry Consort for Rachel Whitcombe Nina Vuoso Harmonia Mundi, and Spanish 17th-century music. Malafronte’s writings on music have appeared in , Early Music America, Stagebill, Schwann Inside, and Opus.

Hailed by San Francisco Classical Voice as possessing the “kind of tenor that pours forth powerfully, effortlessly, seemingly for any length of time,” tenor Wesley Rogers is making his mark on both operatic and concert stages throughout the United States. While a member of the Seattle Opera, Rogers performed the roles of Peter Quint in Britten’s Turn of the Screw, Maintop in Billy Budd, and Trin in Fanciulla del West. He has also performed the role of Alfredo in Skagit Opera’s La Traviata and the title role in Tacoma Opera’s Faust. Recent concert engagements include Handel’s Messiah and Bach’s St. Matthew Passion with the American Bach Soloists, Britten’s War Requiem with Orchestra Seattle, Mozart’s Coronation Mass with the Eos Orchestra, and Louis Gruenberg’s The Daniel Jazz at the Bard Festival. Rogers has also performed with the Mark Morris Dance Group, Santa Fe Pro Musica, the Seattle Baroque Orchestra, the Cabrillo Festival, Capella Romano, the Tudor , Opera Memphis, and the Sun Valley Center for the Arts. Upcoming engagements include Tony in Pacific Northwest Ballet’s West Side Story Suite.

James Maddalena, baritone, is known for his outstanding work in contemporary music. He created the notable characters of and The Captain in two by , the award winning and , respectively. He is closely associated with other composers, including John Harbison, Gunther Schuller, , Robert Moran, Domenick Argento, Marc Blitzstein, and , via performances with such companies as the New York City Opera, the Grand Opera, the Washington Opera, the , the Atlanta Opera, Opera Theatre of St. Louis, the Frankfurt Opera, Opéra de in Brussels, Australia’s , The Netherlands Opera, the Glyndebourne Festival Opera, and the Opéra de Lyon, as well as with the Chicago Symphony, the Los Angeles Philharmonic, the Boston Symphony, the San Francisco Symphony, the Brooklyn Philharmonic, the Royal Scottish Orchestra, Orchestra of the Accademia Nazionale di Santa Cecilia in , and the London Symphony. Other highlights of Maddalena’s career include Schubert’s demanding song cycle Die Winterreise, sung at the Brooklyn Academy of Music with Robert Spano as accompanist, and the complete cycle of Bach cantatas with Boston’s Emmanuel Music. He has recorded prolifically for Decca/London, BMG Classical Catalyst, Nonesuch, Teldec, Sony Classical, Harmonia Mundi, and EMI. He can also be heard on the Grammy Award-winning recording of Nixon in China (Nonesuch) and the Emmy Award-winning PBS telecast, now on DVD. 4 5 UC DAVIS ALUMNI CHORUS UC DAVIS SYMPHONY ORCHESTRA Jeffrey Thomas, conductor Christian Baldini, music director and conductor Peter Hill, assistant conductor and accompanist Names appear in seating order.

Soprano I Alto I Tenor I Bass I Violin I Viola Amanda Boardman 2004 Mary Kramer Brower 1989 Seth Arnopole 1998 Jeff Aran 1980 Cynthia Bates, Andy Tan, Susan Monticello, Andrew Neish, Susan Burris Conwell 1995 Barbara Celli Stephen Fasel 2008 David Benjamin 1999 concertmaster * principal * principal * principal * Marjorie Halloran 2007 Christina Connell 2007 Laureen Jenson 2009 Craig Machado 1974 Yosef Farnsworth, Meredith Powell, Alexandra Engen, Leonard Ott, Lauren Kaplan 1977 Leslie Larson Cooper 1976 Jim Lewis 1980 Charles Monson concertmaster * principal * assistant principal * principal * Barbara Lachendro 1985 Laura Crowder 2007 Darren Pollock 2001 Noca 1994 Shawyon Malek-Salehi, Caitlin Murray Abby Green Angelica Cortez, Harmony Luo 2007 Aimee Dour-Smith 1992 Asa Stern 1997 Keith Rode 2002 assistant concertmaster * Melissa Lyans Michelle Hwang assistant principal Jeri Ohmart 1968 Evelynne Drinker Linda Winter 2002 Matthew Stevenson 2008 Sharon Tsao * Tao He Dillon Tostado Elizabeth Parks 2006 Amy Eleazarian 2007 Paul Terry 2001 Maya Abramson * Pablo Frias Sue Shellooe Kate Ivanjack 1998 Eric van Boer 1976 Vanessa Rashbrook Andrew Benson Tenor II Lisa Sueyres 2008 Charlene Kunitz Cirian Villavicencio 2002 Raphael Moore * Matthew Slaughter Jaclyn Howerton, Paula Fisher Thompson 1976 Leslie Nevins Leong 1981 John Grose 1981 Sophie Tso Alice Chou principal * Paul Watkins, Stacey Twisdale 2008 Linda McCann Gary Matteson 1960 Alex Milgram Victoria Parker Laura Denon principal * Bass II Cheryl Christenson Christine Grego Meairs 1979 Jeff Ouye 1993 Andy Kifuthu Margaret Hermle Russell Eisenman John Unrath, Villavicencio 2002 Linnea Nasman 2008 Jim Shellooe 1977 Christopher Bennett 2006 Clairelee Leiser Bulkley * Stacy Habroun assistant principal * Cynthia Weller 2007 Rhonda Papas 1979 Jeremy Smith 2006 Joshua Eichorn 1998 Joan Crow Rebecca Brover Cello Thomas Estes 1980 Lyn Parker 1971 Meghan Teague Regina Sikora 2005 Ian MacGregor Lucile Cain Isabel Ortiz, Soprano II Bass Trombone Wynne Engler Skow 1972 Ed Martin Romtean Fakharzadeh principal * Al Bona, Barbara Cowie 1977 Cynthia Sperry 2006 Chester (Chet) Moore 1960 Stanley Hsu Kim Zietlow, principal * Jeffrey Buscheck * Beth Baker Grose 1981 Flora Wong Sulit 2005 Jeff Pettit 1976 principal * Robert Brosnan, Melissa Johnson Hallas 2002 Lynne Swant 2002 Milena Schaller * principal Violin II Euphonium Jeanne Howe 1974 Joyce Takahashi Hannah Choi * Aaron Hill Adam Brover Joan Lunderville 1965 Michelle Wood Turner 1984 Margaux Kreitman, Grace Harvey Jeanine McElwain 1998 Karen Banks Walton 1977 principal * Stephen Hudson Alto Saxophone Aileen Nichols 2006 Angelo Arias, Chris Allen Elenka Proulx 2004 principal * Eldridge Moores * Eric Webb Alto II John Matter * Rebecca Wendlandt 2006 Lisa Eleazarian Tobias Münch Adam Brover Ann Halsted Aaron Gong Carrie Miller Sara McCray Martin 1976 Shari Gueffroy Alex Church Kate MacKenzie, Barbara Meixner 1964 Sharon Inkelas Percussion principal * Kathleen Bo-Mie Pae 2007 Ye Chen Bass Matt Wong, Wyatt Harmon, Mardi Gamble Paulson 1977 Keun-yung Park principal * section leader * Cynthia Shellum Wight 1976 Tamra Barker Amanda Wu, Allison Peery Kevin Koo Francisco Ortega principal * Diane Royalty Victor Nava Christina Mao Thomas Mykytyn Dan Eisenberg Morgan McMahon Melissa Zerofsky Jamie Lew Kathryn Azarvand Thomas Adams-Falconer Horn Scott McAuliffe Greg Brucker Rachel Howerton, Thomas Derthick principal * Michael Schwagerus Harp Stephen Hudson Adam Morales Emily Ricks, Bobby Olsen, principal * co-principal Kensal Murph

Piano & Celesta Peter Kim *

Organ FOR THE UC DAVIS DEPARTMENT OF MUSIC Stephen Janzen

* Holder of endowed seat Phil Daley, publicity manager Josh Paterson, production manager Jessica Kelly, writer Rudy Garibay, designer 6 7 Endowed Seats NOTES Made possible by gifts of $10,000 or more.

Cynthia Bates & Yosef Farnsworth – Cynthia Bates concertmaster Alexandra Engen – Phyllis & Thomas Farver flute / piccolo Te Deum is a hymn of praise to God, to be sung at the dedication of a church, after a BRUCKNER: TE DEUM Presented by Debra Horney, M.D. great military victory, for the coronation of monarchs, and at similar festivities. The For soloists (SATB), chorus; I-II, Jaclyn Howerton – Wilson and Kathryn Smith principal oboe A test originated in the fifth century and is traditionally attributed to St. Ambrose. I-II, I-II, I-II; Shawyon Malek-Salehi – Damian Ting assistant concertmaster Since they are often wedged into windy affairs of state, Te Deums are usually brief, and horns I-IV, I-III, Presented by Damian Siu Ming Ting Al Bona – W. Jeffery Alfriend, DVM, principal clarinet Bruckner’s is, by Brucknerian standards, positively compact. Nevertheless, it was summarily I-III, tuba; ; dismissed by the stodgy court conductor Joseph Hellmesberger, who had suggested the idea Presented by Vicki Gumm & the Kling Family Foundation organ; strings to begin with, as too long for the use of the Imperial Chapel. Clairelee Leiser Bulkley – Clairelee Leiser Bulkley violin I Kate MacKenzie & Matt Wong – Composed 1881–84 in Vienna Presented by Clairelee Leiser Bulkely & Ralph E. Bulkley Kling Family Foundation principal bassoon Bruckner’s Te Deum is in the regal key of C major and consists of five short movements played without pause. Much of the chorus material is in unison or counterpoint of childlike Sharon Tsao – Francis Dubois violin I Presented by Vicki Gumm & the Kling Family Foundation First performed 10 January, 1886, simplicity. There is a good deal of cross-referencing, especially in the many bright arpeggios Presented by Nancy Dubois by the Vienna Gesellschaft der Rachel Howerton – Kristin N. Simpson and David R. Simpson and great tonic pedal points; moreover, the Te ergo and Salvum fac are, but for the test and Raphael Moore – Raphael S. Moore violin I principal horn distribution among the soloists, exactly the same. With that, indeed, the organization of Musikfreunde, Hans Richter Presented by Jolanta Moore in memory of Dr. Irena Anna Henner Presented by Richard & Gayle Simpson this quite minimal work is summarized: huge Gothic washes of chorus, brass, organ, and . A performance with pealing eighth notes merely alternate with the gentler Te ergo and its mirror. piano had been given in the Maya Abramson – Ralph and Judy Riggs violin I Andrew Neish & Leonard Ott – Andrew Mollner principal trumpet Musikvereinsaal on May 2, 1885, Only in the last movement is there serious polyphony, and then it happens in a big way. Presented by Joseph Dean Mollner & Andrew Mollner Bruckner conducting. Margaux Kreitman – Fawzi S. Haimor principal violin II In the simple introduction the test is declaimed for all to understand: “In Thee, O Lord, Paul Watkins – Rebecca A. Brover principal trombone Presented by Barbara K. Jackson have I trusted that I shall not forever be confounded.” Afterward, a big double breaks Published by Theodor Rattig forth—two subjects at once; that is, here things are a little more complicated, but the point (Vienna, 1885) Angelo Arias – Shari Benard-Gueffroy assistant principal violin II John Unrath – Michael J. Malone trombone is that pairs of voices are answered by other pairs of voices. Church organists of the time Presented by Brian McCurdy & Carol Anne Muncaster were supposed to be able to write such things on demand, but Bruckner’s is an especially Duration: about 25 minutes Andy Tan – Jocelyn Morris principal viola learned display. Everything seems to move at once, all the time. After the fugue dissipates, a Jeffrey Buscheck – Brian McCurdy bass trombone Presented by James & Jocelyn Morris homophonic version of the material prepares the way for return of the tremendous C-major Presented by Barbara K. Jackson effects from the very beginning. Meredith Powell – Bakos Family assistant principal viola John Matter – Robert B. Rucker Tuba Presented by John T. Bakos, M.D., Ph.D., in memory of The Te Deum is a work of Bruckner’s steadfast faith, carrying his typical dedication “to Presented by Robert & Margaret Rucker Dr. John and Grace Bakos the dear Lord.” Mahler scribbled in his own score his assessment of the performing force: Emily Ricks – Calvin B. Arnason principal harp “angelic tongues, Godseekers, tormented hearts and souls purified by flame.” Bruckner was Isabel Ortiz & Kim Zietlow – Herman Phaff principal cello more sanguine, suggesting that on the day he was to meet his maker, “I will show him the Presented by Benjamin & Lynette Hart Presented by Herman & Diane Phaff score of my Te Deum, and he may judge me accordingly.” Wyatt Harmon – Friedman Family principal percussion Milena Schaller – Tracy McCarthy cello —D. Kern Holoman Presented by Marvin & Susan Friedman Presented by Brian & Louanne Horsfield Peter Kim – Gary C. Matteson orchestral piano Eldridge Moores – Eldridge Moores cello Presented by Jane, Dwayne, & Donald Matteson y the time was 21 years old, he had become the hero of Italian ROSSINI: STABAT MATER Presented by Eldridge & Judith Moores opera fans. And by the time he was 37 years old, he had composed 40 operas and For soloists (SATB), chorus; flutes I-II, Hannah Choi – Louise McNary cello had already retired from that part of his career. His tremendous and nearly oboes I-II, clarinets I-II, bassoons I-II; The Wilson & Kathryn Smith conductor’s podium was presented in B unprecedented success as a child prodigy and young composer had already provided Presented by Don McNary honor of D. Kern Holoman. horns I-IV, trumpets I-II, exceedingly rich experiences, so much so that he began an intentional hiatus from trombones I-III; timpani; strings Amanda Wu – Barbara K. Jackson principal bass his public life as a celebrated composer – really a retirement, of sorts – that would ultimately last until his death more than 30 years later. While Rossini did not Composed 1831–41 in Susan Monticello – principal flute completely arrest his compositional interests, he composed no more opera after Presented by “Babs” Sandeen & Marty Swingle William Tell (1829) and chose religious themes for most of his subsequent works, First performed 7 January 1842, leading to a few sacred cantatas, the Petite Messe Solennelle, and the Stabat Mater that Théâtre Italien, Paris, was begun in 1831 but completed a decade later. conducting. Stabat Mater is a thirteenth-century text that recounts the suffering of Mary at the foot of Published by Troupenas (France, 1841) the cross during the crucifixion of Jesus. While settings of the Roman Catholic sequence, and B. Schott’s Sons (Germany, 1841) or liturgical poem, have come from the pens of composers worldwide, it is safe to say that more settings have been produced by Italian composers than those of any other nationality. Duration: about 60 minutes Indeed, it has been a favorite text of Italian composers for centuries, and the setting by Giovanni Battista Pergolesi (1736) has enjoyed enormous popularity. Pergolesi wrote his setting during the last month of his life, and it was so immediately famous and successful that his reputation flourished in the years following his death, so much so that a number of compositions, all incorrectly (either intentionally or not) attributed to him, took hold for about 200 years as the product of the creator of the legendarily beautiful Stabat Mater.

8 9 NOTES TEXTS AND TRANSLATIONS

BRUCKNER: TE DEUM Now, however, it has been shown that only about 10% of the more than 300 works in 1. Allegro moderato libraries that bear Pergolesi’s name are actually authentic. Te Deum laudamus, We praise thee, O God, te Dominum confitemur. we acknowledge thee to be the Lord. Rossini’s setting is as compelling a summary of his earlier operatic masterworks as Verdi’s Te aeternum Patrem All the earth doth worship thee, Requiem is suitably called that composer’s finest “opera.” Each aria, duet, quartet, and omnis terra veneratur. the Father everlasting.

chorus in Rossini’s Stabat Mater seems to represent the pinnacle of those operatic formats Tibi omnes Angeli, tibi coeli To thee all Angels cry aloud, as revealed in the 40 operas that preceded it. Despite the power and ultimate piety of et universae potestates, the Heavens, and all the Powers therein. Rossini’s setting, it is likely that he was not fully invested in the project when he began to tibi Cherubim et Seraphim To thee Cherubin and Seraphin compose the Stabat Mater in 1831. He wrote only six of the ten movements at that time, incessabili voce proclamant: continually do cry:

and had a colleague, Giovanni Tadolini from , supply the rest. The score made its Sanctus, Sanctus, Sanctus Holy, Holy, Holy way to Madrid where it was heard in that hybrid version, but it was not until an option for Dominus Deus Sabaoth. Lord God of Sabaoth; publication arose that Rossini decided to finish the piece himself, leading to its Parisian Pleni sunt coeli et terra Heaven and earth are full premiere in 1842. majestatis gloriae tuae. of the Majesty: of thy Glory.

A terribly amusing article about Rossini’s Stabat Mater was penned by Richard Wagner in Te gloriosus Apostolorum chorus, The glorious company of the Apostles praise thee. te Prophetarum laudabilis numerus, The goodly fellowship of the Prophets praise thee. 1841, in which he describes the air of anticipation before the premiere of the work (now te Martyrum candidatus The noble army of Martyrs fully composed by Rossini) in Paris, as well as Rossini’s motivation to initially begin his laudat exercitus. praise thee. work on the Stabat Mater: Te per orbem terrarum The holy Church throughout all the world “Rossini is pious,—all the world is pious, and the Parisian salons have been sancta confitetur Ecclesia, doth acknowledge thee, turned into praying-cells.—It is extraordinary! So long as this man lives, Patrem immensae makestatis; The Father of an infinite Majesty, venerandum tuum verum et unicum Filium; Thine honourable, true and only Son, he’ll always be the mode… Rossini had let nothing be heard of him for ten Sanctum quoque Paraclitum Spiritum. Also the Holy Ghost: the Comforter. long years: he sat in Bologna, ate pastry, and made wills…during those ten years the musical world had “moaned” beneath the silence of the giant Tu, rex gloriae, Christe. Thou art the King of Glory O Christ. master…he refused to hear his operas any more. But the truth of it seems Tu Patris sempiternus es Filius. Thou art the everlasting Son of the Father. Tu ad liberandum suscepturus hominem, When thou tookest upon thee to deliver man to have been that he felt penitent and meant to write church-music…The non horruisti Virginis uterum. thou didst not abhor the Virgin’s womb. earliest stimulus to carry out his expiation seems to have come to him in Spain: in Spain, where Don Juan found the amplest, choicest opportunities of Tu, devicto mortis aculeo, When thou hadst overcome the sharpness of death, sin, Rossini is said to have found the spur to penance.” aperuisti credentibus thou didst open the Kingdom of Heaven regna coelorum. to all believers. Despite Wagner’s tongue-in-cheek tone, Rossini’s Stabat Mater has remained as popular as its Tu ad dexteram Dei sedes, Thou sittest at the right hand of God composer was humble and contrite about his adeptness as a composer of sacred music: In his in Patris. in the glory of the Father. last years, he wrote, “I was born for opera buffa, as you well know. Not much skill, but quite a bit of Judex crederis esse venturus. We believe that thou shalt come: to be our Judge. feeling - that’s how I’d sum it up. Blessed be thy name, and grant me a place in Paradise.” 2. Moderato He was very humble about its success, expressing his desire that the work would be Te ergo quaesumus, We therefore pray thee, tuis famulis subveni, help thy servants, perceived as suitably devout. In fact, several movements stand out as being exceptionally quos pretioso sanguine redemisti. whom thou hast redeemed with thy precious blood. effective in the delivery of their texts. The opening movement, somber and dramatic, and the eighth movement – a somewhat harrowing setting of “Inflammatus et accensus per te, 3. Allergro moderato. Feirlich, mit Kraft Aeterna fac cum Sanctis tuis Make them to be numbered with thy Saints Virgo, sim defensus in die iudicii” (Lest I be set afire by flames of death, Virgin, may I be in gloria numerari. in glory everlasting. defended by you, on the day of judgment) – certainly rival moments of equal dramatic intensity in the large sacred works of Verdi and Berlioz. And the final fugue on “In 4. Moderato Salvum fac populum tuum, Domine, O Lord, save thy people, sempiterna saecula” (Throughout time everlasting) is appropriately grandiose, although et benedic hereditati tuae. and bless thine heritage. perhaps a bit more triumphant than consoling. The other movements, as noted before, Et rege eos et extolle illos Govern them, and lift them up would be just as well suited for moments within opera buffa as they are within the context usque in aeternum. forever. of this ecclesiastical work. They are highly entertaining – certainly not intended to be so Per singulos dies benedicimus te. Day by day we magnify thee; – but probably not the most direct expressions of their texts. For example, in the second Et laudamus nomen tuum and we worship thy Name, movement, “Cuius animam gementem” (Through her weeping soul), the tenor’s cadenza in saeculum et in saeculum saeculi. ever world without end. takes him to an astonishingly high D-flat above high C, and that on the work “poenas” (torment, pain, or punishment). It is hard not to wonder what sort of word-painting Rossini Dignare, Domine, die isto Vouchsafe, O Lord, sine peccato nos custodire. to keep us this day without sin. had in mind at this moment, despite the fact that in the capable throats of at least a few (including ours tonight) that note can be quite beautiful. Nevertheless, in the Stabat Miserere nostri, Domine, O Lord, have mercy upon us, Mater, Rossini by far exceeded the propriety of his earlier sacred work, the Messa di Gloria, miserere nostri. have mercy upon us. composed when he was just 28 years old. Fiat misericordia tua, Domine, super nos, O Lord, let thy mercy lighten upon —Jeffrey Thomas quemadmodum speravimus in te. as our trust is in thee. 5. Mäßig bewegt In te, Domine, speravi: O Lord, in thee have I trusted: non confundar in aeternum. let me never be confounded.

10 11 TEXTS AND TRANSLATIONS TEXTS AND TRANSLATIONS

ROSSINI: STABAT MATER 1. Introduzione. Andantino moderato 8. Aria (soprano I) e Coro. Andante maestoso Stabat Mater dolorosa The grieving Mother Inflammatus et accensus Lest I be set afire by flames of death, Iuxta crucem lacrimosa stood weeping beside Per Te, Virgo, sim defensus Virgin, may I be defended by you, Dum pendebat Filius. the cross where her Son was hanging. In die iudicii. on the Day of Judgment.

2. Aria (tenor). Allegretto maestoso Fac me cruce custodiri Christ, when it is time to pass away, Cuius animam gementem Through her weeping soul, Morte Christi praemuniri grant that through your Mother I may Contristatam et dolentem compassionate and grieving, Confoveri gratia. come to the palm of victory. Pertransivit gladius a sword passed. 9. Quartetto (soloists). Andante O quam tristis et afflicta O how sad and afflicted Quando corpus morietur, When my body dies, Fuit illa benedicta was that blessed Fac, ut animae donetur grant that to my soul is given the Mater unigeniti! Mother of the Only-begotten! Paradisi gloria. glory of paradise. Amen.

Quae moerebat et dolebat, Who mourned and grieved, 10. Finale. Allegro – Andante moderato Et tremebat cum videbat the pious Mother, Amen. In sempiterna saecula. Amen. Throughout time everlasting. Nati poenas incliti. looking at the torment of her glorious Child. 3. Duetto (soprano I/II). Largo Quis est homo qui non fleret, For the sins of his people she saw Christi Matrem si videret Jesus in torment In tanto supplicio? and subjected to the scourge.

Quis non posset contristari, She saw her sweet offspring dying, Piam Matrem contemplari forsaken, while he Dolentem cum Filio? gave up his spirit. 5. Coro (a cappella) e Recitativo (basso). Andante mosso Eia Mater, fons amoris O Mother, fountain of love, Me sentire vim doloris make me feel the power of sorrow, Fac, ut tecum lugeam. that I may grieve with you. Fac, ut ardeat cor meum Grant that my heart may burn Sacramento choral Society and orcheStra In amando Christum Deum in the love of Christ my Lord, Ut sibi complaceam. that I may greatly please him. donald KendricK muSic director 6. Quartetto (soloists). Allegretto moderato Sancta Mater, istud agas, Holy Mother, grant that the wounds Crucifixi fige plagas of the Crucified drive deep Cordi meo valide. into my heart.

Tui nati vulnerati, That of your wounded Son, Mondavi atinee Series Tam dignati pro me pati, who so deigned to suffer for me, Poenas mecum divide. I may share the pain. Sunday Brahms–Ein Deutsches Requiem Fac me vere tecum flere, Let me sincerely weep with you, March 28 at 2 pm Crucifixo condolere, bemoan the Crucified, � Jessica Siena, Soprano Donec ego vixero. for as long as I live. Stephen Janzen, Baritone Mondavi Center Iuxta crucem tecum stare, To stand beside the cross with you, Discover why Brahms’ Requiem may be the most Te libenter sociare and to join you UC Davis In planctu desidero. in your weeping, this I desire. comforting, humane requiem ever written.

Virgo virginum praeclara, Chosen Virgin of virgins, Brahms–Alto Rhapsody Mihi iam non sis amara be not bitter with me, Fac me tecum plangere. let me weep with thee. Maya Layhani, Mezzo 7. Cavatina (soprano II). Andante grazioso Special Guest Men’s Chorus: Fac, ut portem Christi mortem Grant that I may bear the death of Christ, Sacramento State University Chorus Passionis eius sortem, share his Passion, and Sacred Heart’s Schola Cantorum Et plagas recolere. and commemorate His wounds. Mondavi Box Office Fac me plagis vulnerari, Let me be wounded with his wounds, Brahms–Academic Overture Cruce hac inebriari, let me be inebriated by the cross 1-866-754-2787 Ob amorem Filii. and your Son’s blood. SacramentoChoral.com | Pre-concert video podcast

12 13 UC DAVIS SYMPHONY ENDOWMENT UC DAVIS CHORUS ENDOWMENT

FOUNDER’S CLUB MEMBERS Mitzi S. Aguirre Dr. and Mrs. Daniel R. Hrdy* James and Felicity Pine In honor of Priscilla Alexander Sharon Inkelas Jim and Nancy Pollock Benjamin Hart W. Jeffery Alfriend, DVM** Barbara K. Jackson** Ann Preston Randolph Hunt by Benjamin John R. Berg, Ph.D., and Anne M. Berg Barbara K. Jackson Patricia K. Moore and Thomas and Patricia Allen Prof. Joseph E. Kiskis Jr.* Eugene and Elizabeth Renkin* and Lynette Hart* Kathleen Cady Joan and Russell Jones Chester G. Moore Jr., Ph.D. David M. Ashkenaze, M.D.* Winston and Katy Ko Ralph and Judy Riggs** Ulla McDaniel Barbara P. and Kenneth D. Celli Mr. and Mrs. Norman Jones Mary Ann Morris, Ph.D. Robert and Joan Ball* Family of Norman Lamb* Susanne Rockwell and Jerome and Sylvia Rosen* Donna M. Di Grazia Prof. Joseph E. Kiskis Jr. Jeffrey and Janice Pettit Cynthia Bates* Dr. Richard Levine* Brian Sway Leland and Susan Faust Julia and Richard Kulmann Steven Rosenau Matthew and Shari Benard- Paul and Lois Lim Jerome and Sylvia Rosen* In memory of Ann & Gordon Getty Foundation Elizabeth Langland and Jerry Jahn Mr. and Mrs. Roy Shaked Gueffroy** Susan Linz Don Roth Susan Pylman Akin John Tracy Grose and Beth Baker-Grose Leslie and Dana Leong Patricia L. Shepherd Robert Biggs and Diane Carlson Melissa Lyans and Andreas J. Robert and Margaret Rucker** William R. Albrecht Prof. and Mrs. D. Kern Holoman Gary and Jane Matteson Steven Tallman Oscar and Shula Blumenthal Albrecht, Ph.D.* Tracey Rudnick Ronald J. Alexander James and Patricia Hutchinson Hugh and Deborah McDevitt Jeffrey Thomas Rebecca A. Brover** Natalie and Malcolm Beverly “Babs” Sandeen and Hilary Brover IBM International Foundation, LLP Albert and Helen McNeil Larry and Rosalie Vanderhoef Robert and Hilary Brover** MacKenzie* Marty Swingle** Robert M. Cello Cindy and Dennis McNeil Ed and Eleanor Witter Gregory A. Brucker Douglas W. Macpherson and E. N. Sassenrath* Karen Aileen Dettling Ralph E. Bulkley and Glayol Sabha, M.D.* Neil and Caroline Schore* Clare M. Driver Clairelee Leiser Bulkley** Marjorie March* Prof. and Mrs. Calvin Schwabe* John “Al” Driver Walter and Marija Bunter* J. A. Martin Barbara L. Sheldon Elizabeth Elkus Ray and Mary Cabral* Gary and Jane Matteson** Ellen Sherman* Carl Flowers Lynn and Robert Campbell Katherine Mawdsley and Richard and Gayle Simpson** Dr. Irena Anna Henner ANNUAL DONORS Don and Dolores Chakerian* William F. McCoy* Wilson and Kathryn Smith** Katherine H. Holoman Terry and Marybeth Cook Scott and Caroline Mayfield Lois Spafford* Norman E. Lamb Mitzi S. Aguirre Kirk Kolodji Patricia Peacock Elizabeth Corbett Greg and Judy McCall* Sherman and Hannah Stein Loren LeMaitre Priscilla Alexander Airy Krich-Brinton Ann Preston Allan and Joan Crow* Tracy H. and Brendan J. Dr. and Mrs. Roydon Steinke Verna Fournes LeMaitre Martha Amorocho Dr. Katherine T. Landschulz Gerry Prody Martha Dickman* McCarthy Thomas Sturges* Michelle Mantay Renee Armstrong Leslie and Dana Leong Warren G. Roberts Nancy DuBois* Ulla and Gerald McDaniel Joel and Susan Swift* Dorothy Dodge Miller Renee Bodie Natalie and Malcolm MacKenzie Carrie Rocke Jonathan and Mickey Elkus Don and Lou McNary* Richard Swift* John Mouber Clyde and Ruth Bowman Maria Mange Jerry and Sylvia Rosen Thomas and Phyllis Farver** Albert J. and Helen McNeil* Alice Tackett* Mel Olson Lynn and Robert Campbell Susan Mann William and Linda Schmidt Ron Fisher Sharon Menke, esq. Steven D. Tallman* Herman Phaff Hugh C. and Susan B. Conwell Marjorie March Carl Seymour Tyler T. Fong* Maureen Miller Damian Siu Ming Ting** Keith Riddick Martha Dickman Matthew McGibney Kevin Shellooe Marvin and Susan Friedman** Andrew Mollner** Roseanna F. Torretto Walter H. Rock Jr. Dotty Dixon Clarence H. McProud Ellen Sherman Edwin and Sevgi Friedrich Joseph Dean Mollner** Rosalie and Larry Vanderhoef* Walter H. Rock Sr. Jeremy Faust Amelie Mel de Fontenay G. William Skinner and Susan Mann Anne Gray* Eileen and Ole Mols* Shipley and Dick Walters* Dorothy J. Shiely Darlene Franz and James Van Horn Jeffrey Mihaly Barry Smith Vicki Gumm and Kling George Moore Barbara D. and Richard and Dorothy Swift Sally S. Gray Martha Morgan Steven and Patricia Waldo Family Foundation** Jolanta Moore** Grady L. Webster William E. Valente Benjamin and Lynette Hart Jonathan and Jessie Newhall Shipley and Dick Walters Prof. and Mrs. Said Haimor* Raphael S. and Netania Moore* Marya Welch* Wim van Muyden, MD David and Annmarie Heller Rebecca Newland Douglas and Carey Wendell Benjamin and Lynette Hart** Eldridge and Judith Moores** Bodil Wennberg Lorena Herrig* James and Jocelyn Morris** Arthur Andersen LLP James H. Hillman Naomi Newman Rebecca and Jansen Wendlandt Betty and Robin Houston Grant and Grace Noda Bank of America Matching Gift Program Barbara D. Hoermann Mary Ann Morris* Foundation* * = $1,000 or more Donald Johnson and Elizabeth Miller John and Elizabeth Owens IBM Matching Gift Program Prof. and Mrs. D. Kern Ken T. Murai* Bank of America Foundation ** = $10,000 or more Holoman** Russell and Alice Olson Office of the Provost** Winston and Katy Ko Mike and Carlene Ozonoff Jewish Community Endowment Fund Debra A. Horney, M.D.** Jessie Ann Owens The Swift Fund for the Arts* Brian and Louanne Horsfield** Paul and Linda Parsons* UC Davis Symphony Orchestra Ilia Howard* Herman and Dianne Phaff** 1992–93, 1993–94** Margaret E. Hoyt* Marjorie Phillips and Weyerhaeuser Robert Rice

14 15 – 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 Kenneth N. MacKenzie Frederick and Angelo D. Arias and Family Christian Baldini and Clyde and Ruth Bowman Lucinda March Robert and Joan Ball Matilda Hofman Elizabeth Bradford Theresa Mauer Cynthia Bates David and Helen Nutter Karen and Irving Broido Robert and Ross Bauer, Ph.D. Pablo Ortiz Paul and Nancy Caffo Margaret McDonald Kathryn Caulfield Mika Pelo and Laura Cameron John and Norma Meyer Martha Dickman Hrabba Atladottir Bruce and Mary Carswell Maureen Miller Donna M. Di Grazia Laurie San Martin and Sam Linton and Teresa Paglieroni Nancy DuBois Nichols Carol Corruccini Sarah and Richard and Vera Harris Jeffrey Thomas Mary and George Dahlgren Thomas Pattison Paul W. Hiss, M.D. Phebe Craig and Allen and Philip and Julia and Richard Kulmann Michael Sand Mary Lou Dobbins Shirley Penland Charlene R. Kunitz Amelia Triest and John and David and Dair Rausch Katherine and Rhio Barnhart Catherine Duniway Elizabeth and William Landschulz Robert and Eugene Renkin Beth E. Levy Seth Singers, Ann Edmondson G. Thomas and Craig M. Machado Alumni 1994–2008 Andrew and Judith Gabor Joan Sallee Deborah and Seth Arnopole Government Katherine Schimke Hugh McDevitt John Baker Affairs Consulting Maxine Schmalenberger Maureen Miller David Benjamin Paul and June Gulyassy J. Tracy and Gail M. Otteson Penn Brimberry Charlene R. Kunitz Sally Schreiber Christopher Reynolds and Joshua Eichorn Russell and Roy and Polly Sheffield Alessa Johns Stephen Fasel Suzanne Hansen Suzette Smith Kurt Rohde and Katherine Ivanjack John and Marylee Hardie Ronald and Rosie Soohoo Timothy Allen Eric and Jacque Leaver Benjamin and Joe and Betty Tupin Jerome and Sylvia Rosen Joshua and Sara Margulis Lynette Hart Laura and Schore Family Elizabeth Parks John and Patricia Richard Van Nostrand Thomas and Ellen Proulx Hershberger Elisabetta Vivoda Karen Slabaugh Keith and Jennifer Rode Bette Gabbard Hinton Richard and Henry Spiller and Steven Rosenau Dirk and Sharon Hudson Shipley Walters Michael Orland Asa Stern James and Noel and Pamela Warner Hannah and Sherman Stein Stephanie Sugano Patricia Hutchinson Robert and Henry & Ann Struder Thomas Wilberg Barbara K. Jackson Christine Wendin Lynne Swant and Family Jerry and Teresa Kaneko Debbie B. Wilson Uwate Family Kit and Bonita Lam Robert and Joyce Wisner Larry and Ruth Lawrence Donald and Diane Woods Rosalie Vanderhoef In Memory of Jerry and Marya Welch Marguerite Lewis St. Helena Carla Wilson Hospital Foundation