Photo by Benjamin Ealovega
Academy of St Martin in the Fields Joshua Bell, music director and violin SATURDAY, FEBRUARY 29, 2020 • 8PM Jackson Hall, UC Davis Sponsored by
Individual support provided by Ralph and Clairelee Leiser Bulkley Dr. Jim P. Back
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We should take a moment to acknowledge the land on which we are gathered. For thousands of years, this land has been the home of Patwin people. Today, there are three federally recognized Patwin tribes: Cachil DeHe Band of Wintun Indians of the Colusa Indian Community, Kletsel Dehe Wintun Nation, and Yocha Dehe Wintun Nation. The Patwin people have remained committed to the stewardship of this land over many centuries. It has been cherished and protected, as elders have instructed the young through generations. We are honored and grateful to be here today on their traditional lands. https://diversity.ucdavis.edu
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PROGRAM
Academy of St Martin in the Fields Joshua Bell, music director and violin
Wolfgang Amadeus Mozart (1756–1791)
Overture to The Marriage of Figaro, K. 492 Violin Concerto No. 1 in D Major, Op. 6 Allegro maestoso Adagio Rondo: Allegro spirituoso
Nicolò Paganini (1782–1840)
Original cadenza by Joshua Bell
INTERMISSION
Ludwig van Beethoven (1770–1827)
Symphony No. 5 in C Minor, Op. 67 Allegro con brio Andante con moto Allegro vivace— Allegro
The Academy’s work in the U.S. is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields. Exclusive Management for the Academy of St Martin in the Fields: OPUS 3 ARTISTS 470 Park Avenue South, 9th Floor North New York, NY 10016 | www.opus3artists.com
The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal. MONDAVI CENTER 2019 –20 |
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PROGRAM NOTES
Overture to The Marriage of Figaro, K. 492 (1786) WOLFGANG AMADEUS MOZART (Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna)
Violin Concerto No. 1 in D Major, Op. 6 (ca. 1818) NICOLÒ PAGANINI (Born October 27, 1782 in Genoa Died May 27, 1840 in Nice)
On April 12, 1782, Pietro Metastasio, dean of 18thcentury Italian opera librettists, died in Vienna. The following year, the poet Lorenzo da Ponte, a Venetianborn Jew who converted to Catholicism as a young man and took priestly orders but lived a life profligate enough to be dubbed “a kind of minor Casanova” by Mozart’s biographer Eric Blom, arrived in the Imperial City to fill the void. He was so successful that he was named poet to the Imperial Theaters the following year by Emperor Joseph II, whose taste in opera ran more to the traditional Italian variety than to its more prosaic German counterpart. Mozart, who claimed to his father to have searched through “hundreds of plays” to find a subject for a new opera, met da Ponte in 1783 and the writer agreed to furnish him with a new libretto. That promise bore no immediate fruit, but in 1785 Mozart approached da Ponte again with the idea that a recent satiric comedy of manners called La Mariage de Figaro by the French writer Beaumarchais might well make a fine opera buffa. Mozart threw himself completely into the work’s preparations, and the premiere, on May 1, 1786 in Vienna’s Burgtheater, proved to be a fine success—the audience demanded the immediate encores of so many of its numbers that the performance lasted nearly twice as long as anticipated. Intrigues against both Mozart and da Ponte, however, managed to divert the public’s attention to other operas, and The Marriage of Figaro was seen only eight more times during the year. It was not given in Vienna at all in 1787, though its stunning success in Prague led to the commissioning of Don Giovanni for that city. The noted American critic Henry Edward Krehbiel (1854-1923) called the Overture to The Marriage of Figaro “the merriest of opera overtures ... putting the listener at once into a frolicsome mood.” It was the last part of the score Mozart wrote and captures perfectly its aura of sparkling good spirits and swift action.
“He’s a comet! For never did a flaming star burst more abruptly on the firmament of art or excite in the course of its universal ellipse more astonishment mixed with a sort of terror before vanishing forever.” Thus wrote Hector Berlioz about one of the most extraordinary phenomena in modern history—Nicolò Paganini. There has never been anything quite like Paganini. He was rumored to be a murderer, a seducer, an escaped convict. One report held that 300 of his auditors were “in the hospital suffering from over-enchantment.” A satirist thought his incomparable virtuosity “enough to make the greater part of the fiddling tribe commit suicide.” The celebrated opera composer Meyerbeer once followed Paganini on his travels through northern Europe in an attempt to penetrate the mystery of his powers. Otherwise perfectly reasonable and sober Englishmen poked him with their canes as he walked the streets of London, just to see if he was really made of flesh and blood. Paganini won his Stradivarius in a wager that he could play at first sight a piece that no other violinist could play with preparation. Said Edward Downes about Paganini’s persona, “He did everything but come on stage wrapped in blue flame.” Paganini was hailed as a master violinist by the finest musicians of his day. Berlioz not only wrote the glowing words quoted above, but also composed Harold in Italy for the great virtuoso. Schubert maintained that “in Paganini’s [playing of his] Adagio I heard an angel sing.” Schumann correctly called him “the turning point in the history of virtuosity.” And even Rossini was infected with the fever. “I have wept only three times in my life,” he confessed. “The first time when my earliest opera failed, the second time when, with a boating party, a truffled turkey fell into the water, and the third time when I heard Paganini play.” There was, however, more to Paganini than just his wizardry on the violin. Beyond the dazzling array of unprecedented technical feats—harmonics, doublestops, pizzicati, blinding speed—there was the mesmerizing pageant of theatrics, both on stage and off, that was the fascination of Europe. The great German poet Heinrich Heine left an account of his appearance
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and mannerisms that described him as “looking as if he had risen from the underworld.” His satanic image and the superhuman qualities of his playing gave rise to tales that he was in league with the devil. “What mere mortal could do the things that this man does?” wondered his hearers. Some who accidentally touched him quickly crossed themselves as a safeguard. He denied any diabolical influence, and he even had his mother submit a letter attesting to the normality of his parentage and birth. In those simpler times, such a move was a public relations inspiration, and it served only to further fan the flames of his fame. (Clever devil, this Paganini.) The shadow of Beelzebub hung over him even after death. Because he rejected the last rites of the Church, his body was refused burial in consecrated ground. His heirs fought for over three years to have him properly laid to rest, until finally the Vatican itself issued an order for his Christian burial. Perhaps the decision took so long because of reports that spread from Nice and, later, Villefranche, where Paganini’s unburied coffin was kept. On still nights, when the moon was full, the natives claimed, the sound of a ghostly violin could be heard playing softly inside the mysterious box. Almost two centuries after his death, Paganini continues to fascinate for both the supernatural qualities of his life and the sparkling treasury of music he left to posterity. The standards of performance he established still lie at the limits of violin technique, and playing his compositions remains one of the most daunting challenges for today’s virtuosos. It was Paganini’s practice to keep his secrets as well hidden as possible. One way in which he did that was by not allowing any of his violin music (except for his nearly unplayable Caprices) to be published during his lifetime. For his concert appearances, he memorized the solo sections and carried with him only the parts for the orchestra. He did not play at rehearsals, but only gave cues, so tha at the performance the orchestra members were as astounded by what they heard as was the audience. Musicians were especially baffled by this First Concerto. It was originally written in the key of E-flat, a seemingly impossible tonality for the soloist in which to negotiate the hazards of the music since it nearly denies the use of any open strings. It was discovered only after Paganini’s death that, though he had written the orchestra parts in E-flat, he himself played in the easier key of D major—he simply tuned each of his strings a half-step higher, and made the impossible seem easy. Even in the D major tonality in which this Concerto is now always heard, it remains a breathtaking showpiece for the master violinist.
The music itself really needs little comment. Much of the pleasure for today’s listener, as for Paganini’s contemporaries, is just to observe a master violinist at work. The first movement follows traditional sonata form, with a lyrical second theme of decidedly operatic cast. The Adagio, said to have been inspired by a moving performance of the Italian tragedian Giuseppe de Marini, is a reminder that Paganini was as famous for the deeply expressive quality of his playing of slow, simple pieces as for his flashy fireworks. (“What suffering, what misery, what torture dwell in those four strings,” Franz Liszt observed.) The finale is a Rondo filled with technical fireworks amid bounding melodies.
Symphony No. 5 in C Minor, Op. 67 (1804–1808) LUDWIG VAN BEETHOVEN (Born December 16, 1770 in Bonn Died March 26, 1827 in Vienna) Beethoven’s Fifth Symphony, more than any work in the musical repertory, is the archetypal example of the technique and content of the form. Its overall structure is not one of four independent essays linked simply by tonality and style, as in the typical 18th-century example, but is rather a carefully devised whole in which each of the movements serves to carry the work inexorably toward its end. The progression from minor to major, from dark to light, from conflict to resolution is at the very heart of the “meaning” of this work. The triumphant nature of the final movement as the logical outcome of all that preceded it established a model for the symphonies of the Romantic era. The psychological progression toward the finale—the relentless movement toward a life-affirming close—is one of Beethoven’s most important technical and emotional legacies, and it established for following generations the concept of how such a creation could be structured, and in what manner it should engage the listener. The opening gesture is the most famous beginning in all of classical music. It establishes the stormy temper of the Allegro by presenting the germinal cell from which the entire movement grows. Though it is possible to trace this memorable four-note motive through most of the measures of the movement, the eminent English musicologist Sir Donald Tovey pointed out that the power of the music is not contained in this fragment, but rather in the “long sentences” Beethoven built from it. The key to appreciating Beethoven’s formal structures lies in being aware of the way in which the music moves
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constantly from one point of arrival to the next. The gentler second theme derives from the opening motive, and gives only a brief respite in the headlong rush through the movement. It provides the necessary contrast while doing nothing to impede the music’s flow. The development section is a paragon of cohesion, logic and concision. The recapitulation roars forth after a series of breathless chords that pass from woodwinds to strings and back. The stark hammer-blows of the closing chords bring the movement to its powerful close. The second movement is a set of variations on two contrasting themes. The first theme, presented by violas and cellos, is sweet and lyrical in nature; the second, heard in horns and trumpets, is heroic. The ensuing variations on the themes alternate to produce a movement by turns gentle and majestic. The Scherzo returns the tempestuous character of the opening movement, as the four-note motto from the first movement is heard again in a brazen setting led by the horns. The fughetta, the “little fugue,” of the central trio is initiated by the cellos and basses. The Scherzo returns with the mysterious tread of the plucked strings, after which the music wanes until little more than a heartbeat from the timpani remains. Then begins another accumulation of intensity, first gradually, then more quickly, as a link to the finale, which arrives with a glorious proclamation, like brilliant sun bursting through ominous clouds. The finale, set in the triumphant key of C major, is jubilant and martial. The sonata form proceeds apace. At the apex of the development, however, the mysterious end of the Scherzo is invoked to serve as the link to the return of the main theme in the recapitulation. It also recalls and compresses the emotional journey of the entire Symphony. The closing pages repeat the cadence chords extensively as a way of discharging the work’s enormous accumulated energy. Concerning the effect of the “struggle to victory” that is symbolized by the structure of the Fifth Symphony, a quote Beethoven scribbled in a notebook of the Archduke Rudolf, one of his aristocratic piano students, is pertinent: “Many assert that every minor [tonality] piece must end in the minor. Nego! On the contrary, I find that ... the major [tonality] has a glorious effect. Joy follows sorrow, sunshine—rain. It affects me as if I were looking up to the silvery glistening of the evening star.” ©2020 Dr. Richard E. Rodda
ACADEMY OF ST MARTIN IN THE FIELDS The Academy of St Martin in the Fields is one of the world’s finest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest orchestral music. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through unrivalled live performances and a vast recording output—highlights of which include the 1969 best-seller Vivaldi’s Four Seasons and the soundtrack to the Oscar-winning film Amadeus—the Academy quickly gained an enviable international reputation for its distinctive, polished and refined sound. With over 500 releases in a much-vaunted discography and a comprehensive international touring programme, the name and sound of the Academy is known and loved by classical audiences throughout the world. Today the Academy is led by Music Director and virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductor-less ensemble which has become an Academy hallmark. Under Bell’s direction, and with the support of Leader/Director Tomo Keller and Principal Guest Conductor Murray Perahia, the Academy continues to push the boundaries of play-directed performance to new heights, presenting symphonic repertoire and chamber music on a grand scale at prestigious venues around the globe. The orchestra celebrates its 60th anniversary in the 2019/20 Season with exciting projects in the U.K. and beyond, including a Gala concert at the Queen Elizabeth Hall in London, tours of the U.K. and U.S. with Joshua Bell, a European tour with Murray Perahia and collaborations with artists including clarinettist Jörg Widmann and pianist Fazil Say. Complementing a busy international schedule, the Academy continues to reach out to people of all ages and backgrounds through its Learning and Participation programmes. The orchestra’s composition and performance workshops are now intergenerational with local older people joining with schools; partnerships with Southbank Sinfonia and masterclasses on tour further the development of the professional musicians of tomorrow; the Academy provides a creative outlet for some of London’s most vulnerable adults at a centre for homeless people, a highlight of 2019 being a 12-hour performance of Gavin Bryars’ Jesus’ Blood Never Failed Me Yet at London’s Tate Modern; and a regular programme
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of pre-concert talks and podcasts create opportunities for Academy audiences the world over to connect and learn with the orchestra. To find out more about the Academy of St Martin in the Fields visit www.asmf.org, or connect with the orchestra on Instagram, Facebook and Twitter.
Photo by Lisa-Marie Mazzucco
JOSHUA BELL Music Director and Violin With a career spanning over thirty years as a soloist, chamber musician, recording artist, conductor and director, Joshua Bell is one of the most celebrated violinists of his era. Named the Music Director of the Academy of St Martin in the Fields in 2011, he is the only person to hold this post since Sir Neville Marriner formed the orchestra in 1958, and recently renewed his contract through 2023. Bell’s interests range from the repertoire’s hallmarks to commissioned works, including Nicholas Maw’s Violin Concerto, for which Bell received a Grammy® award. He has also premiered works of John Corigliano, Edgar Meyer, Jay Greenberg, and Behzad Ranjbaran. Committed to expanding classical music’s social and cultural impact, Bell has collaborated with peers including Chick Corea, Wynton Marsalis, Chris Botti, Anoushka Shankar, Frankie Moreno, Josh Groban, and Sting. In Spring 2019, Bell joined his longtime friends, cellist Steven Isserlis and pianist Jeremy Denk, for a ten-city American trio tour. Bell maintains an avid interest in film music, commemorating the 20th anniversary of The Red Violin (1998) in 2018–19. The film’s Academy-Award winning soundtrack features Bell as soloist; in 2018, Bell brought the film with live orchestra to various summer festivals and the New York Philharmonic. In addition to six Live From Lincoln Center specials, Bell is also featured on a PBS Great Performances episode, “Joshua Bell: West Side Story in Central Park.”
Through music and technology, Bell further seeks to expand the boundaries of his instrument. He has partnered with Embertone on the Joshua Bell Virtual Violin, a sampler created for producers, engineers, and composers. Bell also collaborated with Sony on the Joshua Bell VR experience. As an exclusive Sony Classical artist, Bell has recorded more than 40 albums garnering Grammy®, Mercury®, Gramophone and ECHO Klassik awards. Sony Classical’s most recent release in June 2018, with Bell and the Academy of St Martin in the Fields, features Bruch’s Scottish Fantasy and G Minor Violin Concerto. Bell’s previous release, For the Love of Brahms in 2016, includes 19th-century repertoire with the Academy, Steven Isserlis, and Jeremy Denk. Bell’s 2014 Bach album, featuring Bell conducting the Academy in Beethoven’s Fourth and Seventh Symphonies, debuted at No. 1 on the Billboard classical charts. In 2007, a Pulitzer Prize-winning Washington Post story, on Bell performing incognito in a Washington, D.C. metro station, sparked a conversation regarding artistic reception and context. It inspired Kathy Stinson’s 2013 children’s book, The Man With The Violin, and a newlycommissioned animated film. Bell debuted the 2017 Man With The Violin festival at the Kennedy Center, and, in March 2019, presents a Man With The Violin festival and family concert with the Seattle Symphony. Bell advocates for music as an essential educational tool. He maintains active involvement with Education Through Music and Turnaround Arts, which provide instruments and arts education to children who may not otherwise experience classical music firsthand. Born in Bloomington, Indiana, Bell began the violin at age four, and at age twelve, began studies with Josef Gingold. At age 14, Bell debuted with Riccardo Muti and the Philadelphia Orchestra, and debuted at Carnegie Hall at age 17 with the St. Louis Symphony. Bell received the 2007 Avery Fisher Prize and has recently been named Musical America’s 2010 “Instrumentalist of the Year” and an “Indiana Living Legend.” He received the 2003 Indiana Governor’s Arts Award and a 1991 Distinguished Alumni Service Award from his alma mater, the Jacobs School of Music. Bell performs on the 1713 Huberman Stradivarius violin, with a François Tourte 18th-century bow. Find out more about Joshua Bell at www.joshuabell.com.
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Academy of St Martin in the Fields Joshua Bell, music director and violin
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Thank you to our 2019–20 sponsors CORPORATE SPONSORS
The Art of Giving The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons, whose gifts are a testament to the value of the performing arts in our lives. Annual donations to the Mondavi Center directly support our operating budget and are an essential source of revenue. Please join us in thanking our loyal donors, whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers. For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.
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M. and P. Handley Jim and Laurie Hanschu Susan B. Hansen Alexander and Kelly Harcourt Kay Harse Anne and Dave Hawke Mary A. Helmich Rand and Mary Herbert Calvin Hirsch, MD Clyde Hladky and Donna Odom Pamela Holm Steve and Nancy Hopkins Daniel and Sarah Hrdy David Kenneth Huskey Lorraine J Hwang L. K. Iwasa Diane Moore and Stephen Jacobs Vince Jacobs and Cecilia Delury Ron and Cheryl Jensen Karen Jetter Mun Johl Gary and Karen Johns* Michelle Johnston Andrew and Merry Joslin David Kalb and Nancy Gelbard Shari and Tim Karpin Stephen and Beth Kaffka Steve and Jean Karr Patricia Kelleher* Sharmon and Peter Kenyon Leonard Keyes Nicki King Ruth Ann Kinsella* Camille Kirk Don and Bev Klingborg John and Mary Klisiewicz* Kerik and Carol Kouklis Sandra Kristensen Roy and Cynthia Kroener C.R. and Elizabeth Kuehner Kupcho-Hawksworth Trust Leslie Kurtz Kit and Bonnie Lam* Nancy Lazarus and David Siegel Peggy Leander* Evelyn A Lewis Barbara Linderholm* Motoko Lobue Joyce Loeffler and Ken McNeil Mary Lowry and Norm Theiss Karen Lucas* Melissa Lyans and Andreas Albrecht Ariane Lyons David and Alita Mackill Dr. Vartan Malian and Nora Gehrmann Drs. Julin Maloof and Stacey Harmer Theresa Mann Pam Marrone and Mick Rogers J. A. Martin Leslie Maulhardt* Keith and Jeanie McAfee Karen McCluskey and Harry Roth*
Artistic Ventures Fund
We applaud our Artistic Ventures Fund members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies and programs made available free to the public. James H. Bigelow Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf
Nancy McRae Fisher Wanda Lee Graves and Steve Duscha Anne Gray Barbara K. Jackson° Rosalie Vanderhoef
Endowment Giving
Thank you to the following donors whose support will leave a lasting impact on Mondavi Center programs. James H. Bigelow Karen Broido Chan Family Fund Sandra Togashi Chong and Chris Chong John and Lois Crowe Richard and Joy Dorf
Mary B. Horton Barbara K. Jackson° Dean and Karen Karnopp Debbie Mah and Brent Felker Diane Marie Makley Rosalie Vanderhoef Verena Leu Young
Jim and Jane McDevitt Tim and Linda McKenna Thomas R. McMorrow Karen Merick and Clark Smith Joe and Linda Merva Cynthia Meyers Beryl Michaels and John Bach Leslie Michaels and Susan Katt Maureen Miller and Mary Johnson Sue and Rex Miller Vicki and Paul Moering James Moorfield Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Diane Muller Robert Nevraumont and Donna Curley Nevraumont Kim T. Nguyen R. Noda Jay and Catherine Norvell Jeri and Clifford Ohmart Allyson Oide* Jim and Sharon Oltjen Andrew and Sharon* Opfell Mary Jo Ormiston* John and Nancy Owen Mike and Carlene Ozonoff Thomas Pavlakovich and Kathryn Demakopoulos Pete Peterson The Plante Family Jane Plocher Bonnie A. Plummer Harriet Prato Otto and Lynn Raabe Lawrence and Norma Rappaport Olga Raveling Catherine Ann Reed Fred and Martha Rehrman* Maxine and Bill Reichert David and Judy Reuben Ralph Riggs* Russ and Barbara Ristine Kenneth Ritt and Pamela Rapp Jeannette and David Robertson Denise Rocha Jeep and Heather Roemer Ron and Mary Rogers Maurine Rollins Carol and John Rominger Richard and Evelyne Rominger Warren Roos Janet F. Roser, Ph.D. Cathy and David Rowen* Cynthia Jo Ruff* Paul and Ida Ruffin Joy and Richard Sakai* Jacquelyn Sanders Elia and Glenn Sanjume Fred and Pauline Schack
Patsy Schiff Leon Schimmel and Annette Cody Dan Shadoan and Ann Lincoln Jeanie Sherwood Jennifer Sierras Jo Anne S. Silber Teresa Simi Paula Smith-Hamilton and John Hamilton Robert Snider and Jak Jarasjakkrawhal Jean Snyder Nancy Snyder William and Jeannie Spangler* Curtis and Judy Spencer Tim and Julie Stephens Judith and Richard Stern Daria and Mark Stoner Deb and Jeff Stromberg George and June Suzuki Bob Sykes Yayoi Takamura and Jeff Erhardt Stewart and Ann Teal Julie Theriault, PA-C Virginia Thigpen Henry and Sally Tollette Victoria and Robert Tousignant Justine Turner* Ute Turner* Sandra Uhrhammer* Ramon and Karen Urbano Ann-Catrin Van In Memory of Lewis Vance and Philip Acton Barker Diane Vandepeute (in memoriam) Marian and Paul Ver Wey Richard Vorpe and Evelyn Matteucci Craig Vreeken and Lee Miller Kim and James Waits In Memory of Carl Eugene Walden Andrew and Vivian Walker Don and Rhonda Weltz* Doug West Martha S. West Robert and Leslie Westergaard* Nancy and Richard White* Sharon and Steve Wilson Janet G. Winterer Suey Wong* Jessica Woods Jean Wu Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Chelle Yetman Phillip and Iva Yoshimura Phyllis and Darrel Zerger* Marlis and Jack Ziegler Linda and Lou Ziskind Dr. Mark and Wendy Zlotlow And 24 donors who prefer to remain anonymous
Legacy Circle
Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful. Wayne and Jacque Bartholomew Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Nancy DuBois° Jolán Friedhoff and Don Roth Anne Gray
Benjamin and Lynette Hart L. J. Herrig° Mary B. Horton Margaret Hoyt Barbara K . Jackson° Roy and Edith Kanoff° Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary°
Ruth R. Mehlhaff ° Joy Mench and Clive Watson Trust Verne Mendel Kay Resler Hal° and Carol Sconyers Joe and Betty° Tupin Lynn Upchurch And one donor who prefers to remain anonymous
If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation. If you are interested in learning about planned giving opportunities, please contact Nancy Petrisko, director of development, 530.754.5420 or npetrisko@ucdavis.edu. Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.
MONDAVI CENTER 2019 –20 | 11 * Friends of Mondavi Center †Mondavi Center Advisory Board Member
°In Memoriam
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MONDAVI CENTER 2019 –20 |
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