University Chorus. Symphony. Alumni Chorus Chamber Singers. Sunday, 21 May Sunday, 4 June Mondavi Center

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1 D e p a r t m e n t o f M u s i c p r e s e n t s t h e Symphony O R C H E S T R A D. K e r n H o l o m a n, c o n d u c t o r University Chorus Alumni Chorus Chamber Singers J e f f r e y T h o m a s, c o n d u c t o r Sunday, 21 May Sunday, 4 June 2006 Mondavi Center

2 t a b l e o f c o n t e n t s May 21 Program...2 UCDSO Roster...5 UCDSO Endowed Seats...6 UCDSO Endowment...7 June 4 Program...8 Chorus Roster...18 Chamber Singers Roster...19 Alumni Chorus Roster...19 Chorus Endowment S U N D A Y, m a y 2 1, P M, J A C K S O N H A L L, M O N D A V I C E N T E R U C D A V I S S Y M P H O N Y O R C H E S T R A Michael Morgan, guest conductor P R O G R A M Fête polonaise from Le Roi malgré lui Emmanuel Chabrier ( ) Concertino da camera Jacques Ibert I. Allegro con moto ( ) II. Larghetto, poi animato molto Joseph Abad, alto saxophone Intermission Symphony No. 1 in C Minor, op. 68 Johannes Brahms Un poco sostenuto; Allegro ( ) Andante sostenuto Un poco Allegretto e grazioso Adagio; Più Andante; Allegro non troppo, ma con brio Please deactivate cell phones, pagers, and wrist-watches. Please remain seated during the music, since distractions will be audible on the archive recording. Photography and audio and video recording are strictly prohibited during the performance. 2

3 A B O U T t h e a r t i s t Joseph Abad is a native Californian who is currently pursuing a BA degree in saxophone performance at UC Davis under the tutelage of Dr. Keith Bohm. As an active performer in the UC Davis Department of Music, Abad has performed with the UC Davis Symphony Orchestra, as well as in the chamber ensemble performances of William Walton s Façade and Darius Milhaud s La Création du monde. Abad is currently principal saxophonist of the UC Davis Wind Ensemble, UC Davis Concert Band, and a member of the UC Davis Saxophone Quartet. In June 2006 Abad will be featured in Paule Maurice s Tableaux de Provence with the UC Davis Wind Ensemble, under the baton of Peter Nowlen. Abad is the recipient of the Olga Brose Valente Memorial Prize for Excellence in Wind Performance for the season. He is currently an Academic Peer Advisor for the music department. A B O U T t h e c o n d u c t o r Currently in his sixteenth year as Music Director of Oakland East Bay Symphony, Michael Morgan was born in Washington, DC, where he attended public schools and began conducting at the age of twelve. In 1980 he won first prize in the Hans Swarovsky International Conductors Competition in Vienna, Austria, and became Assistant Conductor of the Saint Louis Symphony Orchestra, under Leonard Slatkin. In 1986 Sir Georg Solti chose him to become the Assistant Conductor of the Chicago Symphony Orchestra, a position he held for seven years. His debut conducting a regular subscription concert of the Chicago Symphony came in 1987, when he stepped in to replace the ailing Maestro Solti with no rehearsal and to critical acclaim. In 1986 he was also invited by Leonard Bernstein to make his debut with the New York Philharmonic; he has returned to conduct that orchestra several times since. In addition to his duties with Oakland East Bay Symphony, Morgan serves as Artistic Director of the Oakland Youth Orchestra, Music Director of the Sacramento Philharmonic, and Artistic Director of Festival Opera in Walnut Creek. He annually makes about 100 appearances in the nation s schools, particularly in the East Bay, and is widely regarded as an expert on the importance of arts education and minority access to the arts. N o t e s Ibert: Concertino da camera for Alto Saxophone and Small Orchestra For saxophone alto solo, flute, oboe, clarinet, bassoon; horn, trumpet; strings Composed First performed 11 December 1935 by Sigurd Rascher Duration about 12 minutes The saxophone family of woodwinds is the most recently developed type of wind instrument, owing their creation to the efforts of Adolph Sax in the 1840s. Drawing on the acoustical research that was revolutionizing wind instrument design, he created a unique family of instruments of unprecedented technical ease and tonal uniformity. Sax was convinced his creations belonged equally in orchestras as well as bands, but this dream has not really been realized. The French have been the most dedicated proponents of the saxophone and this composition by Jacques Ibert is a wonderful example of that affinity. Ibert was a winner of the Prix de Rome in 1919 as well as a composer, and directed the French Academy in Rome and for two years the Opéra-Comique. His music is light in character and witty, with colorful orchestration and attractive melodies. Its atmosphere is one of Gallic charm and joie de vivre. His works include the wonderful Escales (Ports of Call), film music, cantatas and symphonic poems, plus several delightful chamber works for winds. The Concertino was dedicated to the great French saxophonist, Sigurd Rascher, who gave its debut, and is written in two movements. The first is an ABA construction that features a wide-ranging melodic construction spiced with jaunty syncopations and a jazz-influenced feel. A slow section opens the second movement and highlights the very expressive capacity of the instrument with a soulful melodic line. This immediately moves into a quick and almost frenetic fast section that displays the technical agility of the instrument to the fullest. Long cascades of sixteenth notes span the entire range of the instrument in a wonderful display of virtuosity one that is a true challenge to any player. Idaho Falls Symphony 3

4 N o t e s Brahms: Symphony No.1 in C Minor, op. 68 For flutes I-II, oboes I-II, clarinets I-II, bassoons I-II, contrabassoon; horns I-IV, trumpets I-II, trombones I-III; timpani; strings Composed 1862 September 1876; finished summer 1876 in Lichtenthal near Baden-Baden First performed 4 November 1876 by the orchestra of the Grand Ducal Theatre, Karlsruhe, Otto Dessoff conducting Published by N. Simrock (Berlin, 1877). Inexpensive score: Johannes Brahms: Complete Symphonies in Full Orchestral Score (New York: Dover, 1974) Duration about 45 minutes The First Symphony was born in the aftermath of Schumann s decline and tempered by the certainty of comparison with Beethoven. The worst thing Brahms could possibly have done, under the circumstances, would have been to propose something overtly derivative, for the mere testimonial of a disciple would scarcely have passed muster. What he announced, in fact, was a bold personal statement of new ideals, a symphony of epic lyricism, and what amounts to an altogether new orchestral sonority. Comparisons with the Viennese Classical symphony, then, hardly seem worth making at all. Yet in choice of key and the grim heroism of the first movement, there is undeniable precedent in Beethoven s Fifth, and the themes of the finales of Beethoven s Ninth and Brahms First have affinities that, as Brahms put it, any donkey can see. Subtler nuances bring Beethoven to mind as well: Brahms, for example, withholds the trombones until the last movement, as Beethoven had done in the Fifth. Both outer movements of Brahms First have slow introductions. The prominent rising pitches you hear in the violins in the very first bar, C C# D, will go on to color quite a number of other events as the symphony unfolds. The unsettled and urgent Allegro, though it has the proper constituent parts, seems almost monothematic in the insistent rising and falling arches prompted by the main theme. Whenever the tensions begin to subside, a petulant little motive of three falling eighths reasserts its sinister nuance. The old Beethovenian struggle with Fate is clearly in the air. As is the promise of resolution: at the end of the movement, Meno allegro, multiple reharmonizations of the C C# D motto soon achieve major mode and placid resolution. The breathtaking lift from the C-major closing bars of the first movement into the E major of the Andante unveils a reticent orchestral aria that returns again and again to the nodding gesture of the violins in the third and fourth bars. The second subject consists of liquid solo work for oboe and clarinet, with recapitulation for the full orchestra, theme in the woodwind. Brahms leaves a most unusual coda for solo horn and violin obbligato, leading to a tender restatement of the big chromatic wedge that opened the symphony. But where in the first movement the effect was to unsettle, here the outcome is serene. Again we go to a higher key, A b major, for the Allegretto. The clarinet melody is quite similar in shape and character to the second subject of the second movement, where the clarinet was likewise prominent. Brahms solves the ongoing issue of what to do for a third movement minuets were dead, and scherzos weren t funny anymore quite nicely: the simple graciousness of gesture, which it shares with the third movements of the next two symphonies, properly accommodates the needs for repose from first-movement rigors and to establish a prelude for the finale. The form is that of the traditional dance and trio, but with the first section in duple meter. The trio is in 6/8; at the da capo, the metric shift back to duple and the harmonic shove back to the original key is a moment of special delight. Serious brooding opens the fourth movement, as though Brahms is returning to some interrupted thought. The tune is a foreshadowing in the minor mode of the famous marching song that follows as the principal theme. (There s a very similar lost-in-thought passage in Pictures at an Exhibition, where the viewer seems to be musing on death.) Everything we hear in this long introduction, indeed, comes back in the later material: the wedge, the chase of violins, the French horn solo, and the majestic entry of the trombone trio. The major mode is at length established, and the affirmative Allegro, part march and part hymn, gets underway. The second stanza turns quickly into a process of developing, then synthesizing, all that has come before. The movement ends with a fine acceleration (or stretto) and heroic tutti treatment of the trombone chorale from the introduction. A more fitting tribute to the Beethovenian ideal of the symphony as struggle and resolution is difficult to imagine. D. Kern Holoman 4

5 U C D a v i s S y m p h o n y O r c h e s t r a D. Kern Holoman, conductor *Fawzi Haimor, assistant conductor Zoe Kemmerling, manager Violin *Cynthia Bates, concertmaster *Fawzi Haimor, associate concertmaster *John Abdallah Zoe Berna *Clairelee Leiser Bulkley Jamie Cline Joan Crow Raymond Gao Angela Hernandez *Raphael Moore Clare Pellerin Georg Phlug Vanessa Rashbrook *Judy Riggs Katrina Soo Hoo Violin II *Kristen Jones, principal *Shari Benard-Gueffroy, associate principal Angelo Arias Christina Cheng Chadwick Huang Sharon Inkelas Barry Kersting Jenny Kim Amelia Lancaster Paul Levy Hyun Jung Lim Eileen Mols Leslie Peacock Lorena Rincon Alice Tackett Viola *Holly Harrison, co-principal *Kim Uwate, co-principal *Zoe Kemmerling, associate principal William Chang Jr. James Chitwood Sarah Freier-Miller Jason Haberman Tao He Chelsea Johnson Robert Koble Melissa Lyans Melody Mundy Aileen Nichols Christine Tsai Cello *Courtney Castaneda, principal Christopher Allen Jesse Fineman Leo Gravin Kyle Greenman Priscilla Hawkins Julie Hochman Judy McCall *Eldridge Moores Tomo Mori Tobias Münch Adam Sapin Eimi Stokes Bass *Jack O Reilly, principal Greg Brucker Thomas Derthick Parsa Kamali Azusa Murata Eric Price Michael Schwagerus Flute *Susan Monticello, principal Steve Doo Amy Kuo Caitlin Roddy Marguerite Wilson Oboe *Mary King, principal Luis de la Torre Alicia Fiebig Juliet Shih Clarinet *Alicia Bruce, co-principal *Eric Chow, co-principal Andrea Cheuk Kelly Dewees Molly Laughlin Bassoon *David Rehman, principal Sarah Thrasher Matt Wong Maryll Goldsmith, contrabasson Harp *Brittany Iverson, principal Horn *Jonathan Anderson, co-principal *Beverly Wilcox, co-principal Flaviu Dunca Ryan Ismail Sarah Meyerpeter Trumpet *Nick Antipa, principal Paul Marenco Trombone *Edward Liu, principal *Jenny Mun *Robert Thomas Tuba *Portia Njoku Robert B. Rucker Percussion *Jesse Davis, principal Michael Dean George Kennedy Kevin Koo *Derek Kwan Megan Shieh Piano Laura Snell Katrina Soo Hoo * = Holder of endowed seat For UC Davis Department of Music Productions: Ulla McDaniel, production manager; Heather Mullen, assistant public events manager; Joshua Paterson, assistant production manager; Sara Raffo, graphic designer; Information: Eimi Stokes, assistant to Prof. Holomanor ucdso.ucdavis.edu Tickets: or MondaviArts.org 5

6 U C D A V I S S Y M P H O N Y O R C H E S T R A E n d o w e d s e a t s Endowed seats are made possible by gifts of $10,000 or more. Cynthia Bates Cynthia Bates concertmaster presented by Debra Horney, M.D. Fawzi Haimor Damian Ting associate concertmaster presented by Damian Siu Ming Ting Clairelee Leiser Bulkley Clairelee Leiser Bulkley violin I presented by Clairelee Leiser Bulkley and Ralph E. Bulkley John Abdallah Francis Dubois violin I presented by Nancy Dubois Raphael S. Moore Raphael S. Moore violin I presented by Jolanta Moore in memory of Raphael s grandmother, Dr. Irena Anna Henner Judy Riggs Ralph and Judy Riggs violin I presented by Ralph and Judy Riggs Kristen Jones Fawzi S. Haimor principal violin II presented by Barbara K. Jackson Shari Benard-Gueffroy Shari Benard-Gueffroy assistant principal violin II presented by Shari Benard-Gueffroy Holly Harrison / Kim Uwate Jocelyn Morris principal viola presented by James and Jocelyn Morris Zoe Kemmerling Associate principal viola presented by John T. Bakos, M.D./Ph.D. in memory of Dr. John and Grace Bakos Courtney Castaneda Herman Phaff principal cello presented by Herman and Diane Phaff Eldridge Moores Eldridge Moores cello presented by Eldridge and Judith Moores Jack O'Reilly Barbara K. Jackson principal bass presented by Barbara K. Jackson Susan Monticello principal flute presented by Beverly Babs Sandeen and Marty Swingle Mary King Wilson and Kathryn Smith principal oboe presented by Wilson and Kathryn Smith Alicia Bruce / Eric Chow W. Jeffery Alfriend D.V.M. principal clarinet presented by Vicki Gumm and Kling Family Foundation David Rehman Kling Family Foundation principal bassoon presented by Vicki Gumm and Kling Family Foundation Jonathan Anderson / Beverly Wilcox Kristin N. Simpson and David R. Simpson principal French horn presented by Richard and Gayle Simpson Nick Antipa Andrew Mollner principal trumpet presented by Joseph Dean Mollner and Andrew Mollner Edward Liu Rebecca A. Brover principal trombone presented by Rebecca A. Brover Jenny Mun Michael J. Malone trombone presented by Brian McCurdy and Carol Anne Muncaster Robert Thomas Brian McCurdy bass trombone presented by Barbara K. Jackson Portia Njoku Robert B. Rucker tuba presented by Robert and Margaret Rucker Brittany Iverson Calvin B. Arnason principal harp presented by Benjamin and Lynette Hart Jesse Davis Friedman family principal percussion presented by Marvin and Susan Friedman Derek Kwan Gary C. Matteson orchestral piano presented by Jane, Dwayne, and Donald Matteson Fawzi Haimor Barbara K. Jackson assistant conductor presented by Barbara K. Jackson The conductor's podium was presented by Wilson and Kathryn Smith in honor of D. Kern Holoman. 6

7 U C D a v i s S y m p h o n y E n d o w m e n t Mitzi S. Aguirre Priscilla Alexander W. Jeffrey Alfriend, D.V.M. ** David M. Ashkenaze, M.D. * John Bakos, M.D. ** Robert and Joan Ball * Cynthia Bates * Matthew and Shari Benard-Gueffroy ** Robert Biggs Oscar and Shula Blumenthal Robert and Hilary Brover ** Rebecca A. Brover ** Gregory A. Brucker Clairelee Leiser and Ralph E. Bulkley ** Walter and Marija Bunter * Ray and Mary Cabral * Robert and Lynn Campbell Don and Dolores Chakerian * Terry and Marybeth Cook Elizabeth Corbett Richard Cramer and Martha Dickman * Allan and Joan Crow * Martha Dickman * Nancy Dubois ** Jonathan and Mickey Elkus Ron Fisher Tyler T Fong * Marvin and Susan Friedman ** Edwin and Sevgi Friedrich Anne Gray * Vicki Gumm and Kling Family Foundation ** Prof. and Mrs. Said Haimor * Benjamin and Lynette Hart ** Lorena Herrig * Virginia and Bill Hinshaw Barbara D. Hoermann Prof. and Mrs. D. Kern Holoman ** Debra A. Horney, M.D. ** Brian and Louanne Horsfield * Ilia Howard * Margaret E. Hoyt * Dr. and Mrs. Daniel R. Hrdy * Sharon Inkelas Barbara K. Jackson ** Bob and Cathy Kerr Prof. Joseph E. Kiskis, Jr. * Family of Norman Lamb * Dr. Richard Levine * Melissa Lyans and Andreas J. Albrecht, Ph.D.* Natalie and Malcolm MacKenzie* Douglas W. Macpherson and Glayol Sabha, M.D. * Marjorie March * J. A. Martin Gary and Jane Matteson ** Katherine Mawdsley and William F. McCoy * Scott and Caroline Mayfield Greg and Judy McCall * Brian McCurdy and Carol Anne Muncaster ** Don and Lou McNary * Albert J. and Helen McNeil * Sharon Menke, Esq. John and Norma Meyer Joseph Dean Mollner ** Andrew Mollner ** Eileen and Ole Mols * George Moore Jolanta Moore ** Raphael S. and Netania Moore * Eldridge and Judith Moores ** Craig Morphis and Roy Spicer James and Jocelyn Morris ** Mary Ann Morris * Ken T. Murai * Russell and Alice Olson Paul and Linda Parsons * Herman and Dianne Phaff ** James and Felicity Pine Marjorie Phillips and Robert Rice Jim and Nancy Pollock Ann Preston Eugene and Elizabeth Renkin * Ralph and Judy Riggs ** Susanne Rockwell and Brian Sway Dr. and Mrs. Lawrence T. Rollins Jerome and Sylvia Rosen * Robert and Margaret Rucker ** Tracey Rudnick Beverly Babs Sandeen and Marty Swingle ** E. N. Sassenrath * Neil and Caroline Schore * Prof. and Mrs. Calvin Schwabe * Barbara L. Sheldon Ellen Sherman * Richard and Gayle Simpson ** Wilson and Kathryn Smith ** Lois Spafford * Sherman and Hannah Stein Dr. and Mrs. Roydon Steinke Thomas Sturges * Joel and Susan Swift* Richard Swift * Alice Tackett * Steven D. Tallman * Damian Siu Ming Ting ** Roseanna F. Torretto Rosalie and Larry Vanderhoef * Elizabeth Varnhagen Barbara D. Webster and Grady L. Webster Shipley and Dick Walters * Marya Welch * John W. Wrzesien Arthur Andersen LLP Foundation* Bank of America Foundation * Office of the Provost ** Prudential Foundation The Swift Fund for the Arts * UCD Symphony Orchestra , ** Weyerhaeuser Co. Foundation In honor of Randolph Hunt by Benjamin and Lynette Hart* Jerome and Sylvia Rosen* In memoriam Ronald J. Alexander Robert M. Cello Elizabeth Elkus Carl Flowers Verna Fournes Le Maitre Dr. Irena Anna Henner Katherine H. Holoman Norman E. Lamb Michelle Mantay John Mouber Mel Olson Herman Phaff Keith Riddick Dorothy J. Shiely Richard Swift Richard and Dorothy Swift William E. Valente Bodil Wennberg * = $1,000 or more ** = $10,000 or more J O I N T H E U C D S Y M P H O N Y E N D O W M E N T The UCD Symphony Endowment was established by members and friends in 1992 with the goal of assuring the orchestra s access to first-rate teachers and soloists, a handsome orchestral library, and enhanced opportunities for travel. The Endowed Seats program, established by UCDSO member Rebecca Brover in 2000 on the occasion of the new millennium, recognizes gifts of $10,000 and more by naming individual seats in the orchestra in perpetuity. As of the season, some 25 seats were so named. Support the future of the UCDSO by becoming a member of the UCD Symphony Endowment. Gifts are recognized in the donor list published with each concert program; members of the Endowment receive a newsletter and various other forms of recognition. For further information on donor opportunities, visit our web site at ucdso.ucdavis.edu or call Debbie Wilson,

8 s u n d a y, j u n e 4, P M, J A C K S O N H A L L, M O N D A V I C E N T E R U N I V E R S I T Y C H O R U S A L U M N I C H O R U S C H A M B E R S I N G E R S Jeffrey Thomas, conductor J. Karla Lemon, guest conductor U C D A V I S S Y M P H O N Y O R C H E S T R A D. Kern Holoman, conductor P A C I F I C B O Y C H O I R Kevin Fox, director P R O G R A M A.M.D.G. (Ad majorem Dei gloriam) Prayer I Rosa Mystica God s Grandeur Prayer II O Deus, ego amo te The Soldier Heaven-Haven Benjamin Britten ( ) Five Flower Songs, op. 47 To Daffodils (Robert Herrick) The Succession of the Four Sweet Months (Robert Herrick) Marsh Flowers (George Crabbe) The Evening Primrose (John Clare) Ballad of Green Broom (Anon.) University Chorus Chamber Singers J. Karla Lemon, conductor and Chamber Singers Carmina Burana (1937) INTERMISSION Information: or chorus.ucdavis.edu Carl Orff J e f f r e y Fortuna T h o m Imperatrix a s, c o n Mundi d u c t o r Tickets: or MondaviArts.org ( ) I. Primo vere Uf dem anger II. In Taberna III. Cour d amours Blanziflor et Helena Fortuna Imperatrix Mundi Shawnette Sulker, soprano Gerald Thomas Gray, tenor Malcolm MacKenzie, baritone Fri, May 19, pm Davis Community University Church, Chorus & 412 Alumni C St: University Chorus Chamber Singers. Works by Haydn and Mozart. [Suggested donation at door only, UC $10 Davis A; $5 Symphony S & C] Orchestra Jeffrey Thomas, conductor Sun, June 4, pm jackson hall, mondavi center: University Chorus, Alumni Chorus, and UC Davis Please deactivate cell phones, pagers, and wrist-watches. Symphony Orchestra, Jeffrey Thomas, conducting. Carl Orff: Carmina Burana with Shawnette Sulker, soprano, Gerald Thomas Gray, tenor, Please and Malcolm remain seated MacKenzie, during the music, baritone. since distractions will be audible on the archive recording. Photography and audio and video recording are strictly prohibited during the performance. 8

9 a b o u t t h e a r t i s t s Soprano Shawnette Sulker has been described by the San Francisco Chronicle as a singer displaying a bright, superbly controlled soprano with perfectly placed coloratura. This native of Guyana has appeared with the American Bach Soloists singing Bach s cantata Non sa che sia dolore, and with the Santa Clara Chorale and Orchestra in Mozart s Exsultate, jubilate and Haydn s Lord Nelson Mass. Sulker s operatic resume includes roles in San Francisco Opera productions of The Mother of Us All and Louise, and the San Francisco Opera Guild s outreach production of The Elixir of Love in the role of Adina. Other roles include Oscar (Un ballo in maschera) with West Bay Opera and Adele (Die Fledermaus) with North Bay Opera. She has appeared with Berkeley Opera in the roles of Adle ( Bat out of Hell Die Fledermaus), Susanna (The Marriage of Figaro), and Despina (Così fan tutte). She created the role of Corina in the world-premiere of David Conte s opera Firebird Motel. Other roles performed include Musetta (La Bohème), Servilia (La clemenza di Tito), and Belinda (Dido and Aeneas). Gerald Thomas Gray performs throughout the United States primarily in the music of the 17th and 18th centuries. Recent highlights include the role of Tempo in Handel s Il Trionfo del Tempo e del Disinganno with Musica Angelica Baroque Orchestra of Los Angeles, one-voice-per-part performances of Bach s sacred cantatas with the American Bach Soloists, which received critical acclaim, and the role of Narrator in Monteverdi s Combattimento di Tancredi e Clorinda with the Bach and Beyond Festival in Fredonia, New York. Past highlights include appearances with the Handel and Haydn Society in a staged production of Monteverdi s 1610 Vespers for which the Wall Street Journal hailed the sensuousness of his vocal line. At Harvard University he has performed Mahler s Das Lied von der Erde and appeared in Bach s Magnificat under the direction of Seiji Ozawa. Winner of the National Federation of Music Club s Student Competition, he toured France under the auspices of the Robert Shaw Festival Singers and has participated in numerous Telarc recordings under the late Maestro Shaw and with Boston Baroque under the direction of Martin Pearlman. Gray is currently an assistant professor at the State University of New York at Fredonia. American baritone Malcolm MacKenzie is a Northern California native and a graduate of UCLA. MacKenzie began his professional career in 1994, making his debut as Harlequin in Glimmerglass Opera s critically praised production of Ariadne auf Naxos. Highlights of the season included the title role in Don Giovanni with Sacramento Opera, his debut with New York City Opera as Escamillo in Carmen, and Mahler s Eighth Symphony with the Madison Symphony Orchestra. Recent engagements include Sharpless in Madama Butterfly with Los Angeles Opera, Count in Le Nozze di Figaro with Sacramento Opera, Escamillo in Carmen, and Zurga in The Pearl Fishers with San Diego Opera. MacKenzie has also appeared with the Madison Symphony, Los Angeles Master Chorale, Pacific Chorale, Savannah Symphony, and the Los Angeles Mozart Orchestra. He is former finalist of the Placido Domingo Operalia World Opera Competition in 1996 and a winner of the Metropolitan Opera Western Regionals in He lives with his wife and two daughters in Davis, California. The Pacific Boychoir has toured throughout the United States and to Australia, New Zealand, Germany, Austria, Italy, the Czech Republic, and France. The Pacific Boychoir made its San Francisco Symphony debut in September 2002 in Mahler s Symphony No. 3 (and is heard with the SFS on the Grammy-winning recording of that work conducted by Michael Tilson Thomas). The PBA comes to Davies Symphony Hall this season for Orff s Carmina Burana, Mahler s Symphony No. 8, and Lizst s Dante Symphony. They sing often at Grace Cathedral and with the Pacific Collegium, and make regular appearances to sing the national anthem for such sports teams as the Giants, A s, Raiders, Warriors, and Stanford basketball. The PBA s self-produced concerts this year included the popular holiday concerts, performing and recording American spirituals, and the first-ever concerts and recording of Bach masses by any American boys choir. Additionally, they appeared with the American Bach Soloists in May 2006 in four performances of Bach s St Matthew Passion. Based in Oakland, the Pacific Boychoir Academy was founded in 1998 and today comprises more than 120 boys in five choirs, aged In the fall of 2004, the PBA opened a day school, becoming the only choir school in the western United States. The choir school, a member of the East Bay Independent Schools Association, combines academics with 2 3 hours of music instruction daily. Kevin Fox, founding director of the Pacific Boychoir Academy, holds a degree in music from Wesleyan University, where he received the Lipsky Prize for outstanding scholarship in choral studies. He studied music at Oxford University and choral conducting at Westminster Choir College in Princeton. Fox has served as Proctor for the American Boychoir, and has sung with the choirs of Trinity Church New Haven and Trinity Church Princeton. Fox sings with the American Bach Soloists, Pacific Collegium, and the Grace Cathedral Choir in San Francisco, where he also served as Interim Assistant Choirmaster. He has been on over 30 tours with boys choirs to almost all 50 states and to numerous foreign countries. 9

10 n o t e s Benjamin Britten enjoyed meteoric development of his career. Despite such popularity, his compositions are written in a musical language that is demanding not just for audiences, but even more so for performers. Indeed, Britten s particular and sometimes peculiar sonorities and harmonies while quite straightforward on the page are at first elusive to musicians until they develop an understanding and facility for them. Getting to that point always marks a moment of triumph for the performer, a coming of age in a sense, as it is truly a meritorious accomplishment. Britten was not uncritical of his own compositions. In fact, he removed at least a few of his works from general circulation at one time or another. A.M.D.G. (which stands for Ad majorem Dei gloriam, to the greater glory of God ) is one of those. It is not completely understood why Britten pulled his setting of seven poems by Gerard Manley Hopkins, but speculation indicates that the reason might have been the sheer difficulty of the composition. They received their first performance in 1984, about eight years after Britten s death, and the first publication occurred in The seven settings have quickly gained their reputation as being extremely challenging to singers. Britten was just twenty-six years old when he composed them, and perhaps his own youthful exuberance contributed to the unbridled demands that are placed on the choral ensemble. In any event, they are especially engaging, as they seem to express Britten s fresh and passionate enthusiasm for the mature, serene, and experienced words of Hopkins. Coincidentally, none of Hopkins poetry was published before his own death in On first glance, the Five Flower Songs seem to be a compilation of immediately accessible texts, cleverly and economically set by a much more mature composer than the young Britten who composed A.M.D.G. And while they are just that, the story of their composition is as engaging as the settings themselves. They were composed to celebrate the 25th wedding anniversary of a couple that had generously supported the founding of Britten s English Opera Group. The festivities took place outdoors, and the set of five poems by Herrick, Crabbe, and Clare were performed by a student ensemble, conducted by Imogen Holst. Britten selected these particular poems because they were well matched to the distinguished couple s love of botany. And while all five settings are enchanting, I find The Evening Primrose to be the most fetching; its depiction of the (mostly English) phenomenon of the gently beautiful, nocturnal appearance of that flower which most often goes unnoticed by all except those whose evening garden strolls are carefully planned to witness it is exquisite. 10

11 T E X T S A.M.D.G. Poetry by Gerard Manley Hopkins ( ) Prayer I Jesu that dost in Mary dwell, Be in thy servants hearts as well, In the spirit of thy holiness, In the fullness of thy force and stress, In the very ways that thy life goes, And virtues that thy pattern shows, In the sharing of thy mysteries; And every power in us that is Against thy power put under feet In the Holy Ghost the Paraclete To the glory of the Father. Amen. Rosa Mystica The Rose is a mystery where is it found? Is it anything true? Does it grow upon ground? It was made of earth s mould, but it went from men s eyes, And its place is a secret, and shut in the skies, In the Gardens of God, in the daylight divine Find me a place by thee, Mother of mine. But where was it formerly? Which is the spot That was blest in it once, though now it is not? It is Galilee s growth; it grew at God s will And broke into bloom upon Nazareth Hill. In the Gardens of God, in the daylight divine I shall look on thy loveliness, Mother of mine. Tell me the name now, tell me its name: The heart guesses easily, is it the same? Mary, the Virgin, well the heart knows, She is the Mystery, she is that Rose. In the Gardens of God, in the daylight divine I shall come home to thee, Mother of mine. Is Mary that Rose, then? Mary, the Tree? But the Blossom, the Blossom there, who can it be? Who can her Rose be? It could be but One: Christ Jesus, our Lord her God and her Son. In the Gardens of God, in the daylight divine Show me thy Son, Mother, Mother of mine. God s Grandeur The world is charged with the grandeur of God. It will flame out, like shining from shook foil; It gathers to a greatness, like the ooze of oil Crushed. Why do men then now not reck his rod? Generations have trod, have trod, have trod, have trod; And all is seared with trade; bleared, smeared with toil; And wears man s smudge and shares man s smell: the soil Is bare now, nor can foot feel, being shod. And for all this, nature is never spent; There lives the dearest freshness deep down things; And though the last lights off the black West went Oh, morning, at the brown brink eastward, springs Because the Holy Ghost over the bent World broods with warm breast and with ah! bright wings. Prayer II Thee, God, I come from, to thee go, All day long I like fountain flow From the hand out, swayed about Mote-like in thy mighty glow. What I know of thee I bless, As acknowledging thy stress On my being and as seeing Something of thy holiness. Once I turned from thee and hid, Bound on what thou hadst forbid; Sow the wind I would; I sinned: I repent of what I did. Bad I am, but yet thy child. Father, be thou reconciled. Spare thou me, since I see With thy might that thou art mild. I have life before me still And thy purpose to fulfil; Yea a debt to pay thee yet; Help me sir, and so I will. O Deus, ego amo te O God, I love thee, I love thee Not out of hope of heaven for me Nor fearing not to love and be In the everlasting burning. Thou, thou, my Jesus, after me Didst reach thine arms out dying, For my sake sufferedst nails and lance, Mocked and marred countenance, Sorrows passing number, Sweat and care and cumber, Yea and death, and this for me, And thou couldst see me shining: Then I, why should not I love thee, Jesu, so much in love with me? Not for heaven s sake; not to be Out of hell by loving thee; Not for any gains I see; But just the way that thou didst me I do love and I will love thee: What must I love thee, Lord, for then? For being my king and God. Amen The Soldier Yes, Why do we all, seeing of a soldier, bless him? bless Our redcoats, our tars? Both [of] these being, the greater part, But frail clay, nay but foul clay. Here it is: the heart, Since, proud, it calls the calling manly, gives a guess That, hopes that, makes believe, the men must be no less; It fancies, feigns, deems, the artist after his art; And fain will find as sterling all as all is smart, And scarlet wear the spirit of war there express. Mark Christ our King. He knows war, served this soldiering through; He of all can handle a rope best. There he bides in bliss Now, and seeing somewhere some man do all that man can do, 11

12 T E X T S For love he leans forth, needs his neck must fall on, kiss, And cry O Christ-done deed! So God-made-flesh does too: Were I come o er again cries Christ it should be this. Heaven-Haven A nun takes the veil I have desired to go Where springs not fail, To fields where flies no sharp and sided hail And a few lilies blow. And I asked to be Where no storms come, Where the green swell is in the havens dumb, And out of the swing of the sea. FIVE FLOWER SONGS TO DAFFODILS Robert Herrick ( ) Faire daffodils, we weep to see You haste away so soone: As yet the early rising Sun Has not attain d his Noone. Stay, stay, Until the hasting day Has run But to Even-song; And, having pray d together, we Will goe with you along. We have short time to stay, as you, We have as short a Spring; As quick a growth to meet Decay, As you, or any thing We die, As your hours doe, and drie Away, Like to the Summers raine; Or as the pearles of Morning s dew Ne r to be found againe. THE SUCCESSION OF THE FOUR SWEET MONTHS Robert Herrick First, April, she with mellow showers Opens the way for early flowers. Then after her comes smiling May In a more rich and sweet array. Next enters June and brings us more Gems than those two that went before. Then (lastly,) July comes and she More wealth brings in than all those three. MARSH FLOWERS George Crabbe ( ) Here the strong mallow strikes her slimy root; Here the dull night-shade hangs her deadly fruit: On hills of dust the henbane s faded green, And pencil d flower of sickly scent is seen. Here on its wiry stem, in rigid bloom, 12 Grows the lavender that lacks perfume. At the wall s base the fiery nettle springs With fruit globose and fierce with poison d stings; In ev ry chink delights the fern to grow, With glossy leaf and tawny bloom below; The few dull flowers that o er the place are spread Partake the nature of their fenny bed. These, with our seaweeds rolling up and down, Form the contracted Flora of our town. THE EVENING PRIMROSE John Clare ( ) When once the sun sinks in the west, And dewdrops pearl the evening s breast; Almost as pale as moonbeams are, Or its companionable star, The evening primrose opes anew Its delicate blossoms to the dew And, hermit-like, shunning the light, Wastes its fair bloom upon the night; Who, blindfold to its fond caresses Knows not the beauty he possesses. Thus it blooms on while night is by; When day looks out with open eye, Bashed at the gaze it cannot shun, It faints and withers and is gone. BALLAD OF GREEN BROOM Anon. There was an old man liv d out in the wood, And his trade was a-cutting of Broom. He had but one son without thought without good Who lay in his bed till twas noon, bright noon; The old man awoke one morning and spoke He swore he would fire the room, that room If his John would not rise and open his eyes, And away to the wood to cut Broom, green Broom. So Johnny arose and slipp d on his clothes And away to the wood to cut Broom, green Broom, He sharpen d his knives, and for once contrives To cut a great bundle of Broom, green Broom. When Johnny pass d under a lady s fine house, Pass d under a Lady s fine room, fine room, She call d to her maid: Go fetch me, she said, Go fetch me the boy that sells Broom, green Broom! When Johnny came in to the Lady s fine house, And stood in the Lady s fine room, fine room, Young Johnny she said, Will you give up your Trade And marry a lady in bloom, full bloom? Johnny gave his consent, and to church they both went, And he wedded the Lady in bloom, full bloom; At market and fair, all folks do declare, There s none like the Boy that sold Broom, green Broom.

13 T E X T S CARL ORFF: CARMINA BURANA FORTUNA IMPERATRIX MUNDI 1. O FORTUNA O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem. Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! 2. FORTUNE PLANGO VULNERA Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur fronte capillata, sed plerumque sequitur Occasio calvata. In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus. FORTUNE EMPRESS OF THE WORLD 1. O FORTUNE O Fortune, Like the moon You are changeable, ever waxing and waning. Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice. Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back To your villainy. Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everyone weep with me! 2. I BEMOAN THE WOUNDS OF FORTUNE I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away. It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity, she is bald. On Fortune s throne I used to sit raised up, crowned with the many-colored flowers of prosperity; though I may have flourished happy and blessed, now I fall from the peak deprived of glory. 13

14 T E X T S Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam. I. PRIMO VERE 3. VERIS LETA FACIES Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur. Flore fusus gremio Phoebus novo more risum dat, hoc vario iam stipate flore Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore. Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena. 4. OMNIA SOL TEMPERAT Omnia Sol temperat purus et subtilis, novo mundo reserat facies Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis. Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere. The wheel of Fortune turns: I go down, demeaned; another is raised up; far too high up sits the king at the summit let him fear ruin! for under the axis is written Queen Hecuba. I. SPRING 3. THE MERRY FACE OF SPRING The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colors Flora reigns, the harmony of the woods praises her in song. Ah! Lying in Flora s lap Phoebus once more smiles, now covered in many-colored flowers, Zephyr breathes nectarscented breezes. Let us rush to compete for love s prize. Ah! In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah. 4. THE SUN WARMS EVERYTHING The sun warms everything, pure and gentle, once again it reveals to the world April s face, the soul of man is urged towards love and joys are governed by the boy-god. All this rebirth in spring s festivity and spring s power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours. 14

15 T E X T S Ama me fideliter! fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota. quisquis amat taliter, volvitur in rota. 5. ECCE GRATUM Ecce gratum et optatum Ver reducit gaudia, purpuratum floret pratum, Sol serenat omnia, iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia. Iam liquescit et decrescit grando, nix et cetera, bruma fugit, et iam sugit, Ver Estatis ubera; illi mens est misera, qui nec vivit, nec lascivit sub Estatis dextera. Gloriantur et letantur in melle dulcedinis qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis. UF DEM ANGER 6. TANZ 7. FLORET SILVA Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Ah! hinc equitavit, eia, quis me amabit? Floret silva undique, nah mime gesellen ist mir wê. Gruonet der walt allenthalben, wâ ist min geselle alse lange? der ist geriten hinnen, o wî, wer soll mich minnen? Love me faithfully! See how I am faithful: With all my heart and with all my soul, I am with you Even when I am far away. Whoever loves this much turns on the wheel. 5. BEHOLD, THE PLEASANT SPRING Behold the pleasant and longed-for spring brings back joyfulness, violet flowers fill the meadows, the sun brightens everything, sadness is now at an end! Summer returns, now withdraw the rigors of winter. Ah! Now melts and disappears ice, snow, and the rest, winter flees, and now spring sucks at summer s breast: A wretched soul is he who does not live or lust under summer s rule. Ah! They glory and rejoice in honeyed sweetness who strive to make use of Cupid s prize; At Venus command let us glory and rejoice in being Paris equals. Ah! ON THE GREEN 6. DANCE 7. THE NOBLE WOODS ARE BURGEONING The noble woods are burgeoning with flowers and leaves, Where is the lover I knew? Ah! He has ridden off! Oh! Who will love me? Ah! The woods are burgeoning all over, I am pining for my lover, The woods are turning green all over, why is my lover away so long? Ah! He has ridden off, Oh woe, who will love me? Ah! 15

16 t e x t s 8. CHRAMER, GIP DIE VARWE MIR Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! lat mich iu gevallen! Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen. Seht mich an Wol dir werlt, das du bist also freudenriche! ich will dir sin undertan durch din liebe immer sicherliche. Seht mich an 9. REIE Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan. Chume, chum, geselle min, ih enbite harte din. Suzer rosenvarwer munt, chum un mache mich gesunt. Swaz hie gat umbe, 10. WERE DIU WERLT ALLE MIN Were diu werlt alle min von dem mere unze an den Rin, des wolt ih mih darben, daz diu chünegin von Engellant lege an minen armen. Hei! II. IN TABERNA 11. ESTUANS INTERIUS Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti. 8. SHOPKEEPER, GIVE ME COLOR Shopkeeper, give me color to make my cheeks red, so that I can make the young men love me, against their will Look at me, young men! Let me please you! Good men, love women worthy of love! Love ennobles your spirit and gives you honor. Look at me, etc. Hail, world, so rich in joys! I will be obedient to you because of the pleasures you afford. Look at me, etc. 9. ROUND DANCE Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla! Come, come, my love, I long for you. Sweet rose-red lips, come and make me better. Those who go round, etc. 10. IF ALL THE WORLD WERE MINE If all the world were mine from the sea to the Rhine, I would do without it if the Queen of England would lie in my arms. Hey! II. IN THE TAVERN 11. BURNING INSIDE Burning inside with violent anger, bitterly I speak my heart: Created from matter, of the ashes of the elements, I am like a leaf played with by the winds. 16

17 t e x t s Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti. Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis. Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis. Via lata gradior more iuventutis, inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis. 12. OLIM LACUS COLUERAM Cignus ustus cantat: Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram. Miser, miser! modo niger et ustus fortiter! Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer, Miser, miser! etc. Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video: Miser, miser! etc. If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes. I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches. The heaviness of my heart seems a burden to me; it is pleasant to joke and sweeter than honeycomb; whatever Venus commands is a sweet duty, she never dwells in a lazy heart. I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh. 12. ONCE I LIVED ON LAKES The roasted swan sings: Once I lived on lakes, once I looked beautiful when I was a swan. Misery me! Now black and roasting fiercely! The servant is turning me on the spit; I am burning fiercely on the pyre; the steward now serves me up. Misery me! etc. Now I lie on a plate, and cannot fly anymore, I see bared teeth: Misery me! etc. 17

18 t e x t s 13. EGO SUM ABBAS Ego sum abbas Cucaniensis et consilium meum est cum bibulis, et in secta Decii voluntas mea est, et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna, wafna! quid fecisti sors turpissima? Nostre vite gaudia abstulisti omnia! Haha! 14. IN TABERNA QUANDO SUMUS In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, sic quid loquar, audiatur. Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem, sed pro Baccho mittunt sortem: Primo pro nummata vini ex hac bibunt libertini: semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis sexies pro sororibus vanis, septies pro militibus silvanis. Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus, tredecies pro iter angentibus. Tam pro papa quam pro rege bibunt omnes sine lege. Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus. 13. I AM THE ABBOT I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius, 1 and whoever searches me out at the tavern in the morning, after Vespers he will leave naked, and thus stripped of his clothes he will call out: Woe! Woe! what have you done, vilest Fate? The joys of my life you have taken all away! Haha! 14. WHEN WE ARE IN THE TAVERN When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat, What happens in the tavern, where money is host, you may well ask, and hear what I say. Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks. Here no-one fears death, but they throw the dice in the name of Bacchus. First of all it is to the wine-merchant that the libertines drink, one for the prisoners, three for the living, four for all Christians, five for the faithful dead. six for the loose sisters, seven for the footpads in the wood. Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers. To the Pope as to the king they all drink without restraint. The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks. 18