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new Works by uc Davis graduate composers Handel Almetus, Gabriel Bollanos, Ben Irwin, Scott Perry,. Garrett Shatzer, Liam Wade, and Ching-Yi Wang.

Mika Pelo and Kurt Rohde, co-directors

Vanderhoef Studio Theatre, Mondavi Center

Vanderhoef Studio Theatre, Mondavi Center

T h e D e pa rtm e n t o f M u s i c p r e s e n t s 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) Piano Etude No. 5 from 7 Piano Etudes (2008–09) Bird as Prophet for Violin and Piano (1999) Piano Etude No. 2 from 7 Piano Etudes (2008–09) Song for Andrew for Piano Quartet (2008)

Keeril Makan (b. 1972) Don Byron (b. 1957) Martin Bresnick (b. 1946) Don Byron Laura Schwendinger (b. 1962)

Intermission Three Phantasy Pieces for Viola and Percussion (2005) I. J.B. II. R.S. III. H.B.

Claude Baker (b. 1948)

Piano Etude No. 3 (a la Suzanne Vega) from 7 Piano Etudes (2008–09) Dusk from The Book of Hours for Piano Trio (2000)

Don Byron

Piano Etude No. 6 from 7 Piano Etudes (2008–09) Mu for Solo Violin (2007) Hrabba Atladottir, violin; Ellen Ruth Rose, viola; Michael Graham, cello; Chris Froh, percussion; Michael Seth Orland, piano

Martin Brody (b. 1949) Don Byron Keeril Makan

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

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NOT ES 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. Steve Coleman 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 Andrew Imbrie. 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, clarinet, 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 Harvard University Music Department, with funding from the Fromm Music Foundation at Harvard.

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A B OU T T HE ART IS T S Icelandic violinist Hrabba Atladottir studied in Berlin with Axel Gerhardt. After finishing her studies, Hrabba worked as a freelance violinist in Berlin for five years, regularly playing with the Berlin Philharmonic Orchestra, Deutsche Oper, and Deutsche Symphonieorchester. Hrabba also participated in a world tour with the Icelandic pop artist Björk, and a Germany tour with violinist Nigel Kennedy. In 2004 she moved to New York and continued to freelance, playing on a regular basis with the Metropolitan Opera, New York City Opera, Orchestra of St. Luke’s, and New Jersey Symphony Orchestra. She also plays a lot of new music, most recently with the Either/Or ensemble in New York in connection with their Helmut Lachenmann festival. Since August 2008, Hrabba has been based in Berkeley, California, where she performs with various ensembles, such as the Berkeley Symphony Orchestra, the Left Coast Chamber Ensemble, Empyrean Ensemble, and the Berkeley Contemporary Chamber Players to name a few. Hrabba is also a violin lecturer at UC Berkeley. Claude Baker attained his doctoral degree from the Eastman School of Music, where his principal composition teachers 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 Academy of Arts and Letters; two Kennedy Center Friedheim Awards; a “Manuel de Falla” Prize (Madrid); the EastmanLeonard and George Eastman Prizes; BMI-SCA and ASCAP awards; commissions from the Barlow, Fromm and Koussevitzky Music Foundations; a Paul Fromm Residency at the American Academy in Rome; and fellowships from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, the Rockefeller Foundation, the Bogliasco Foundation and the state arts councils of Indiana, Kentucky, and New York. At the beginning of the 1991–92 concert season, he was appointed composer-in-residence of the Saint Louis Symphony Orchestra, a position he held for eight years. He is currently Class of 1956 Chancellor’s Professor of Composition in the Jacobs School of Music at Indiana University, Bloomington. Martin Bresnick’s compositions, from chamber and symphonic music to film scores and computer music, are performed throughout the world. Bresnick delights in reconciling the seemingly irreconcilable, bringing together repetitive gestures derived from minimalism with a harmonic palette that encompasses both highly chromatic sounds and more open, consonant harmonies and a raw power reminiscent of rock. At times his musical ideas spring from hardscrabble sources, often with a very real political import. But his compositions never descend into agitprop; one gains their meaning by the way the music itself unfolds, and always on its own terms. Besides having received many prizes and commissions, the first Charles Ives Living Award from the American Academy of Arts and Letters, the Rome Prize, the Berlin Prize, a Guggenheim Fellowship, and a Koussevitzky Commission, among many others, Martin Bresnick is also recognized as an influential teacher of composition. Students from every part of the globe and of virtually every musical inclination have been inspired by his critical encouragement.

Primarily a composer of concert and theatrical chamber music, Martin Brody has also written extensively for film and television. He has received various awards and commissions, among them the Academy-Institute Award from the American Academy of Arts and Letters, three fellowships from the National Endowment for the Arts, a Guggenheim Fellowship, the Pinanski Prize for excellence in teaching at Wellesley College, and commissions from the Fromm Foundation at Harvard, the MacArthur Foundation’s Regional Touring Program, the Artists Foundation, and the Massachusetts Arts and Humanities Council. In the fall of 2001, he was Fromm Composer-in-Residence at the American Academy in Rome. He also served as Heiskell Arts Director there from 2007 to 2010. Brody is president of the Stefan Wolpe Society and has also served as a Director of the League of Composers-ISCM, the Composers Conference, Boston Musica Viva, and WGBH Radio’s Art of the States. In 1987 he collaborated with the ethnomusicologist Ted Levin to initiate a US-USSR composers exchange sponsored by the International Research and Exchanges Board, the first such exchange to occur in twentyfive years. His has written extensively on contemporary music and serves on the editorial board of Perspectives of New Music. He is Catherine Mills Davis Professor of Music at Wellesley College, where he has been on the faculty since 1979. For almost two decades, Don Byron has been a singular voice in an astounding range of musical contexts, exploring widely divergent traditions while continually striving for what he calls “a sound above genre.” As clarinetist, saxophonist, composer, arranger, and social critic, he redefines every genre of music he plays, be it classical, salsa, hip-hop, funk, rhythm and blues, klezmer, or any jazz style from swing and bop to cutting-edge downtown improvisation. He has been consistently voted best clarinetist by critics and readers alike in leading international music journals since being named “Jazz Artist of the Year” by Down Beat in 1992. Acclaimed as much for his restless creativity as for his unsurpassed virtuosity as a player, Byron has presented a multitude of projects at major music festivals around the world, including recent performances in Vienna, San Francisco, Hong Kong, London, Monterey, New Zealand, Australia, and on New York’s Broadway. Principally committed to influencing and expanding the repertoire for solo percussion through commissions and premieres, Chris Froh is a member of the San Francisco Contemporary Music Players, the San Francisco Chamber Orchestra, and the Empyrean Ensemble at UC Davis. Known for energized performances hailed by the San Francisco Chronicle as “tremendous” and San Francisco Classical Voice as “mesmerizing,” his solo appearances stretch from Rome to Tokyo to San Francisco. His critically acclaimed solo recordings can be heard on the Albany, Bridge, Equilibrium, and Innova labels. A frequent collaborator with leading composers from across the globe, Froh has premiered works by dozens of composers, including John Adams, Chaya Czernowin, Liza Lim, David Lang, Keiko Abe, and Francois Paris. He tours Japan with marimbist Mayumi Hama and with his former teacher, marimba pioneer Keiko Abe. Solo festival appearances include the Festival Nuovi Spazi Musicali (Rome), the Festival of New American Music, Pacific Rim, and Other Minds. Active in music for theater and dance, Froh has recorded scores for

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A B OU T T HE ART IS T S American Conservatory Theater, performed as a soloist with the Berkeley Repertory Theater, and composed original music for Oakland-based Dance Elixir. His score for the Harvard Museum of Natural History’s exhibition of Thoreau’s Walden: A Journey in Photography currently is touring the United States. Equally committed to pedagogy, Froh mentors percussionists through UC Berkeley’s Young Musicians Program. He is also a faculty member at UC Davis, where he directs the Samba School and Percussion Group Davis. Michael Graham, cellist, has been hailed by the San Francisco Classical Voice for his “almost painfully pretty . . . expressive richness,” and by the San Jose Mercury News as “super-good.” He studied at the Eastman School of Music and Yale University, where he was a founding member of that institution’s secret chamber music society, Skull and Bows. Mr. Graham is a former member of the Chagall String Quartet, winner of a rural residency grant from the National Endowment for the Arts, and the San Francisco-based new music group Adorno Ensemble. He is currently a member of the Oakland Symphony and appears regularly with such ensembles as the Grammy-award-winning New Century Chamber Orchestra and the San Francisco Chamber Orchestra. Mr. Graham is committed to exploring music beyond the classical genre and has performed and recorded with artists ranging from Nadja Salerno-Sonnenberg to John Densmore of the Doors. He can be heard on New Century’s recently released albums “Live” and “Together,” and on Van Morrison’s latest recording, “Astral Weeks Live from Hollywood Bowl.” Recipient of the Rome Prize from the American Academy in Rome, Keeril Makan has also received awards from the American Academy of Arts and Letters, the Fromm Foundation, the Gerbode Foundation, Meet the Composer, the Aaron Copland House, the Utah Arts Festival, and ASCAP. His commissions include those from Bang on a Can All-Stars, American Composers Orchestra, Harvard Musical Association, and Carnegie Hall. Makan’s work has been featured at the Other Minds Festival in San Francisco and internationally at the Gaudeamus Festival in the Netherlands, and Musica Nova in Finland. The Chamber Music Society of Lincoln Center and the International Contemporary Ensemble have performed his music. The first CD of his music, In Sound, was released on the Tzadik label with performances by the Kronos Quartet and Paul Dresher Ensemble. His second CD will be released by Starkland Records, with performances by Either/Or, the California E.A.R. Unit, and soprano Laurie Rubin. Outside the United States, he spent a year in Helsinki, Finland, at the Sibelius Academy on a Fulbright grant. After receiving the George Ladd Prix de Paris from the University of California, he lived for two years in Paris. Makan is associate professor of music at MIT. Michael Seth Orland studied piano with Margaret Kohn and is a graduate of the UC Berkeley Music Department, where he studied harpsichord with Davitt Moroney and composition with Gérard Grisey. He later continued his study of composition with David Sheinfeld. He has appeared extensively in the Bay Area as a chamber musician and is on the music faculty at UC Berkeley and also teaches there in the Young Musicians Program.

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Before coming to the United States, Mika Pelo studied at the Royal College of Music in Stockholm, Sweden under teachers Pär Lindgren, Sven-David Sandström, and Bent Sørensen and earned his PhD in composition at Columbia University under the supervision of Tristan Murail. Pelo has also attended master classes with Magnus Lindberg and Peter Eötvös and studied computer music and composition at IRCAM in Paris. His breakthrough came in 2000 with the nomination 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 Zilliacus and the Swedish Radio Symphony Orchestra. He has received awards from the Royal Academy of Music in Sweden and Thord Gray Memorial Award from the American-Scandinavian Foundation. Pelo has mostly written instrumental chamber music and music for orchestra but is also fluent in the electronic music language and occasionally uses live electronics and writes electro-acoustic music. Ensembles that have commissioned or performed music by Pelo include: Swedish Radio Symphony Orchestra and Manfred Honeck, Netherlands Radio Chamber Orchestra, Janácˇek Philharmonic Orchestra, North Bohemian Philharmonic Orchestra, Flux Quartet (New York), the Swedish Concert Institute, Cecilia Zilliacus, Bengt Forsberg, Earplay, Red Light New Music (New York), the Barbad Chamber Orchestra (New York), Mika Takehara, Nya Stenhammarkvartetten, Musica Vitae, KammarensembleN, The Pearls Before Swine Experience, and the HUGO string quartet (Iceland). Composer and violist Kurt Rohde lives in San Francisco. His music has been described as “filled with exhilaration and dread. It’s a mirror of our times” (San Jose Mercury News). Recipient of the Charles Ives Fellowship and the Hinrichsen Award from the American Academy of Arts and Letters, he has received a Guggenheim Fellowship, and commission awards from the Koussevitzky Foundation of the Library of Congress, the Fromm Foundation of Harvard University, the Barlow Endowment for Music Composition, the National Endowment for the Arts, and the Hanson Institute for American Music. He was a recipient of the Rome Prize Elliott Carter Fellowship from the American Academy in Rome, and the Berlin Prize Fellowship from the American Academy in Berlin. His recent projects include a work for puppet theater, a violin concerto for Axel Strauss, and a work for speaking pianist for Genevieve Lee. He was a featured composer with Southwest Chamber Music for their “Ascending Dragon” project in 2009–10, and for the 2010–11 season his new works are being performed by the UC Davis Symphony Orchestra, the Scharoun Ensemble, and the Left Coast Chamber Ensemble. Rohde is a graduate of the Peabody Conservatory at Johns 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 Graham, and Caroline Levine. He is former artistic director of the Left Coast Chamber Ensemble, co-director of the Empyrean Ensemble, and teaches composition and theory at UC Davis. He has taught composition at UC Santa Barbara, was composer-in-residence at the Yellow Barn Music Festival, and guest composer at the Wellesley Composers Conference. Rohde plays with the Left Coast Chamber Ensemble and the New Century Chamber Orchestra.

A B OU T T HE ART IS T S A champion of contemporary music, violist Ellen Ruth Rose is a member of Empyrean Ensemble and Earplay, the San Francisco-based contemporary ensemble. She performs regularly with Santa Cruz New Music Works, the Berkeley Contemporary Chamber Players, and the San Francisco Contemporary Music Players. She has worked extensively with Frankfurt’s Ensemble Modern and the Cologne experimental ensembles Musik Fabrik and Thürmchen Ensemble, appearing at the Cologne Triennial, Berlin Biennial, Salzburg Zeitfluß, Brussels Ars Nova, Venice Biennial, Budapest Autumn, and Kuhmo (Finland) festivals. She has performed as soloist with the West German Radio Chorus, Empyrean Ensemble, Thürmchen Ensemble, the San Francisco Contemporary Music Players, Santa Cruz New Music Works, and the symphony orchestras of UC Berkeley and UC Davis, and at the San Francisco Other Minds and Ojai Music festivals. She has premiered several works showcasing the viola, including Kurt Rohde (Double Trouble, a double viola chamber concerto, 2002), Pablo Ortiz (Le Vrai Tango Argentin for solo viola, 2001), Miguel Galperin (Projections for solo viola, 2004), Steed Cowart (Zephyr for solo viola 1989/2001), Edmund Campion (Melt me with thy delicious numbers for viola and live electronics, 2003), and William Beck (Aquarium for viola, theremin, and tape, 2002). Her recordings include a Wergo CD of the chamber music of German composer Caspar Johannes Walter—featuring several pieces written for her—which won the German Recording Critics’ new music prize in 1998. In 2003 she created, organized, and directed Violafest!, a four-concert festival at UC Davis celebrating the viola in solos and chamber music new and old, including solos from the anthology The American Viola (JB Elkus & Son, 2003) and premieres of pieces for four violas by Yu-Hui Chang and Laurie San Martin. Rose holds a Master’s degree in performance from the Juilliard School, an artist diploma 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.

Laura Schwendinger, professor of composition and artistic director of the Contemporary Chamber Ensemble at the University of Wisconsin, Madison, was the first composer to win the American Academy in Berlin Prize Fellowship. Her music has been performed and commissioned by leading artists of our day, including Dawn Upshaw, the Arditti Quartet, the Theater Chamber Players, Matt Haimovitz, The JACK Quartet, Jennifer Koh, Janine Jansen, ICE, the Aspen Ensemble, and in venues including Carnegie Hall, the Kennedy Center for the Performing Arts, Miller Theater, and Symphony Space. Laura’s other honors include those from the Guggenheim, Rockefeller, Fromm and Koussevitzky Foundations, the Radcliffe Institute at Harvard University, the American Academy of Arts and Letters, including a Goddard Lieberson Fellowship, the Copland House, the Harvard Musical Association, and first prize of the ALEA III Competition. She has had residencies at the MacDowell and Yaddo Colonies. Recent performances and premieres include commissions from Miller Theater, the Aspen Ensemble, Cygnus Ensemble, Voices of Change, San Francisco Conservatory of Music Blueprint Series, and upcoming commissions from Boston Musica Viva and Matt Haimovitz’s Ucello Ensemble. An entire evening of her works was featured on the Four Score Festival at the Music Institute of Chicago last year (along with those of Augusta Read Thomas and Stacy Garrop) and three CDs of her works will soon be released on Centaur and Albany records. Her entire works for solo piano have just been recorded by the incomparable Christopher Taylor, and her work Shadings, a collaboration with her lighting artist-cousin Leni Schwendinger, will be premiered by the American Composers Orchestra at Carnegie’s Zankel Hall in March 2011. She earned her PhD from the University of California, Berkeley, where she studied with Andrew Imbrie and Olly Wilson.

UPCOMIN G EMPY REAN ENSEM B L E CONCERT S 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/

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– R E C I TA L H A L L –

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 million in private funding to augment state and campus funds for the project is underway. For information about the Recital Hall and how to support it, please visit the Department of Music Web site (music.ucdavis.edu) or call Debbie Wilson, Director of Development for the Division of Humanities, Arts & Cultural Studies in the College of Letters & Science, at (530) 754-2221.

R E C I TA L H A L L S O C I E T Y Recognized by gifts of $25,000 or more Founders ($350K and higher)

Barbara K. Jackson Grace and Grant Noda

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

Patrons ($25K and higher)

Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley Lorena J. Herrig D. Kern and Elizabeth Holoman Albert McNeil Mary Ann Morris

Jessie Ann Owens and Anne L. Hoffmann Wilson and Kathryn Smith Richard and Shipley Walters Ed and Elen Witter In Memory of Kenneth N. MacKenzie Natalie and Malcolm MacKenzie

S E AT S A N D S T O N E S Recognized by gifts of $1,000 or more Aguirre Family Angelo D. Arias and Family Robert and Joan Ball Cynthia Bates Ross Bauer, Ph.D. Kathryn Caulfield Martha Dickman Donna M. Di Grazia Nancy DuBois Richard and Vera Harris Paul W. Hiss, M.D. Julia and Richard Kulmann Charlene R. Kunitz Katherine and William Landschulz Beth E. Levy Craig M. Machado Gary and Jane Matteson Deborah and Hugh McDevitt Maureen Miller Gail M. Otteson Christopher Reynolds and Alessa Johns Kurt Rohde and Timothy Allen Jerome and Sylvia Rosen Schore Family Thomas and Karen Slabaugh Henry Spiller and Michael Orland Hannah and Sherman Stein Henry and Ann Studer Lynne Swant and Family Uwate Family Larry and Rosalie Vanderhoef Marya Welch Carla Wilson

UC Davis Music Faculty Christian Baldini and Matilda Hofman David and Helen Nutter Pablo Ortiz Mika Pelo and Hrabba Atladottir Laurie San Martin and Sam Nichols Jeffrey Thomas

Seth Singers, Alumni 1994–2008 Seth Arnopole John Baker David Benjamin Penn Brimberry Joshua Eichorn Stephen Fasel Katherine Ivanjack Eric and Jacque Leaver Joshua and Sara Margulis Elizabeth Parks Ellen Proulx Keith and Jennifer Rode Steven Rosenau Asa Stern Stephanie Sugano Thomas Wilberg

In Memory of Kenneth N. MacKenzie Clyde and Ruth Bowman Elizabeth Bradford Karen and Irving Broido Paul and Nancy Caffo

Laura Cameron Bruce and Mary Carswell Linton and Carol Corruccini Mary and George Dahlgren Allen and Mary Lou Dobbins John and Catherine Duniway Robert and Ann Edmondson Andrew and Judith Gabor Government Affairs Consulting Paul and June Gulyassy Charlene R. Kunitz Russell and Suzanne Hansen John and Marylee Hardie Benjamin and Lynette Hart John and Patricia Hershberger Bette Gabbard Hinton Dirk and Sharon Hudson James and Patricia Hutchinson Barbara K. Jackson Jerry and Teresa Kaneko Kit and Bonita Lam Ruth Lawrence Jerry and Marguerite Lewis Frederick and Lucinda March Theresa Mauer Gary and Jane Matteson Robert and Margaret McDonald

John and Norma Meyer Maureen Miller Teresa Paglieroni Sarah and Thomas Pattison Philip and Shirley Penland David and Dair Rausch Elizabeth and Eugene Renkin G. Thomas and Joan Sallee Katherine Schimke Maxine Schmalenberger J. Tracy and Sally Schreiber Roy and Polly Sheffield Suzette Smith Ronald and Rosie Soohoo Joe and Betty Tupin Laura and Richard Van Nostrand Elisabetta Vivoda Richard and Shipley Walters Noel and Pamela Warner Robert and Christine Wendin Debbie B. Wilson Robert and Joyce Wisner Donald and Diane Woods St. Helena Hospital Foundation