San Francisco Symphony | Saturday, March 7, 2020

Photo by Brandon Patoc

San Francisco Symphony Michael Tilson Thomas, music director and conductor SATURDAY, MARCH 7, 2020 • 8PM Jackson Hall, UC Davis Sponsored by

Individual support provided by Anne Gray Pre-Performance Talk: 7PM • Jackson Hall Speaker: Peter Grunberg, Musical Assistant to Michael Tilson Thomas, San Francisco Symphony MONDAVI CENTER 2019 –20 |

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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

San Francisco Symphony Michael Tilson Thomas, music director and conductor

Gustav Mahler (1860–1911)

Symphony No. 9 in D Major Andante comodo In the tempo of a comfortable ländler Rondo burleske Adagio

This program will be performed without intermission

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.

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PROGRAM NOTES

Symphony No. 9 in D Major GUSTAV MAHLER Born: July 7, 1860. Kalischt (Kalištê), near Humpolec, Bohemia (Now Czech Republic) Died: May 18, 1911. Vienna, Austria Composed: Begun in late spring of 1909, with the orchestral draft being finished that fall. The score was complete by April 1, 1910 World Premiere: June 26, 1912. Bruno Walter conducted the Vienna Philharmonic U.S. Premiere: October 16, 1931. Serge Koussevitzky conducted the Boston Symphony Orchestra Instrumentation: 4 flutes and piccolo, 3 oboes and English horn, 4 clarinets (4th doubling E-flat clarinet) and bass clarinet, 4 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani, cymbals, bass drum, tam-tam, triangle, glockenspiel, low-pitched chimes, 2 harps, and strings.

(Mahler’s autograph has only a single harp; the decision to divide the part between two players was Bruno Walter’s.)

Duration: About 90 mins THE BACKSTORY The Ninth Symphony is the last score Mahler completed.

Some part of him would have wanted it so. With Beethoven’s Ninth and Bruckner’s unfinished Ninth in mind, he entertained a deep-rooted superstition about symphonies and the number nine. But there was also the side to Mahler that caused him, for all his fascination with death, always to choose life. That was the Mahler who was more interested in writing music than in flirting with his superstitions or his penchant for morbid fancy; that was also the Mahler who, within days of completing the Ninth Symphony, plunged with tempestuous energy into the task of composing a Tenth, a task on which he had made significant progress when he died of a blood infection seven weeks before his fiftyfirst birthday.

The Ninth was the last of Mahler’s completed scores to be presented to the public. This has surely contributed to the tradition of reading the work as the composer’s farewell. The gestures of dissolution and parting with which this symphony ends are of an annihilating poignancy matched not even by Mahler himself; nonetheless, it is well to understand that Mahler cannot have meant this as an actual farewell. To insist on reading it thus is to indulge in a sentimentality that weakens the stab of this music. Mahler’s symphonies fall into groups whose members share points of view and

even material details, each piece being more richly understood in the context of its group. The Second, Third, and Fourth symphonies, for example, are all tied to Mahler’s love for and work on the Romantic anthology of folk poetry called Des Knaben Wunderhorn (The Boy’s Magic Horn). The Ninth is part of a trilogy that begins with Das Lied von der Erde and leads to the unfinished Symphony No. 10. It is in some respects commentary upon and extension of the song-symphony, while the Tenth both quotes Das Lied von der Erde and further explores certain ideas and features of the Ninth.

Mahler wrote the Ninth Symphony in the whirlwind that was the last chapter of his life. That chapter began in 1907, a year in which four momentous things happened.

First, on March 17, Mahler resigned the artistic directorship of the Vienna Court Opera, ending a tenyear term whose achievement has become legend. Mahler was drained by the struggles that were the price of that achievement, worn down by anti-Semitic attacks, and feeling the need to give more time to composition. He was not, however, able to resist the podium’s lure, and on June 5 he signed a contract with the Metropolitan Opera in New York. Then, on July 5, his daughter Maria, four and a half, died following a two-week battle with scarlet fever and diphtheria. A few days after the funeral, a physician delivered the verdict that things were not as they should be with Mahler’s heart. Mahler—dedicated hiker, cyclist and swimmer—was put on a regimen of depressingly restricted activity. Still, what happened from 1907 until 1911 is not the story of an invalid.

During this period Mahler gave concerts throughout Europe, assumed directorship of the New York Philharmonic, composed Das Lied von der Erde. And these are simply highlights of those years.

THE MUSIC In the Ninth, Mahler returns to a four-movement design for the first time since the Sixth Symphony of 1903–05.

But if the four movements of the revised Sixth still correspond to those of the normal Classical and Romantic symphony, Mahler is clearly after another aim altogether in the Ninth. He begins with a very large movement whose basic tempo is semi-slow but which tends to spill over into allegro. Next comes a double intermezzo in the form of a vividly contrasted pair of scherzos, a set of ländlers and a burleske. The finale is an adagio whose weight and span approach those of the first movement.

As for the first movement, it is surely Mahler’s greatest achievement in symphonic composition, the high point

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in his practice of the subtle art of transition, organic expansion, and continuous variation. In deep quiet, cellos and horn set a rhythmic frame. The notes are disconcertingly placed in the time flow. Leonard Bernstein suggested that their halting rhythm reflects the irregular pulse of Mahler’s heart. Cellos and horn play the same pitch, A, and it will be more than fifty measures before we meet a bar in which A is not a crucial component. The harp begins a tolling about that low A, while a stopped horn projects another thought in a variant of the faltering-pulse rhythm. The accompaniment becomes denser, though it always remains transparent. All this prepares a melody that the second violins build step by step, full of literal or subtly varied repetitions.

We soon hear that the melody is in fact a duet, for the horn re-emerges with thoughts of its own on the material. The accompanying figures in the harp, clarinet, and divided lower strings use the same vocabulary—the same intervals and rhythmic patterns. Do the accompaniments reflect the melody, or is the melody the expansion of the elements that make up the ever-present, ever-changing background? Before this melody is done growing, the first violins have replaced the horn as the seconds’ duet partner, while clarinet and cellos cross the border, turning from accompanists into singers. Here you have a miraculous example of Mahler’s inspired art of transition, so convincing in its appearance of utter spontaneity and natural growth. The transitions, moreover, exist in two dimensions—horizontal, as the melody proceeds from one event to the next, and vertical, in the integration of the melodic strands and their accompaniments.

This long opening melody keeps returning, always with new details of shape and texture. The most persistent element of contrast comes in an impassioned, thrusting theme in minor, whose stormy character is new but whose intervals, rhythms, and accompaniments continue the patterns established earlier. The “faltering pulse” and the harp tollings persist; dramatic abruptions shatter the seamless continuities; urgent trumpet signals mark towering climaxes. From one of these high points the music plunges into sudden quiet and the slowest tempo so far. The coda is virtually chamber music with simultaneous monologues of all but dissociated instruments. The space between events grows wider until at last silence wins out over sound.

The second movement returns us forcefully to earth.

Mahler always loved the vernacular, and here is one of his fantastical explorations of dance music. He shows us three kinds: a ländler—leisurely, clumsy, heavy-footed, coarse (the adjectives are Mahler’s); something quicker

and more waltz-like; and another ländler, lilting and sentimental. These tunes, tempos and characters lend themselves to delightful combinations. This movement, too, finishes in a disintegrating coda.

Where the second movement was expansive and leisurely, the Burleske is music of violent urgency. It opens by hurling three distinct motifs at us. That concentration is fair warning of what is to follow, presented with a virtuosic display of contrapuntal craft.

A contrasting trio brings a march and even some amiability. Deeply touching is the trumpet’s shining transformation of one of the Burleske’s most jagged themes into a melody of tenderly consoling warmth. But it is the fierce music that brings this movement to its crashing final cadence.

Now Mahler builds an adagio to balance and, as it were, complete the first movement. He begins with a great cry of violins. All the strings, who are adjured to play with big tone, sound a richly textured hymn. Their song is interrupted by a quiet, virtually unaccompanied phrase of a single bassoon, but impassioned declamation resumes immediately. That other world, however, insists on its rights, and Mahler gives us passages of a ghostly and hollow music, very high and very low. Between the two extremes lies a great chasm. The two musics alternate, the hymnic song being more intense and urgent at each return. We hear echoes of Das Lied von der Erde and phrases from the Burleske.

Here, too, disintegration begins. All instruments but the strings fall silent. Cellos sing a phrase that they can scarcely bear to let go. Then, after a great stillness, the music seems to draw breath to begin again, even slower than before, and whispered pianississimo to the end. As though with infinite regret, with almost every trace of physicality removed, muted strings recall moments of their journey, and ours. The first violins, alone unmuted among their colleagues, remember something from still longer ago, the Kindertotenlieder, those laments on the deaths of children that Mahler had written two years before death took his daughter Maria. “Der Tag ist schön auf jenen Höh’n!”—the day is so lovely on those heights.

“Might this not,” asks Mahler’s biographer Michael Kennedy, “be his requiem for his daughter, dead only two years when he began to compose it, and for his longdead brothers and sisters?” The music recedes. Grief gives way to peace, music and silence become one.

—Michael Steinberg This note first appeared in different form in the program book of the Boston Symphony Orchestra.

San Francisco Symphony © 2020

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The San Francisco Symphony The San Francisco Symphony gave its first concerts in 1911 and has grown in acclaim under a succession of distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and Michael Tilson Thomas, who assumed his post in 1995. Esa-Pekka Salonen was recently named the Symphony’s next Music Director, beginning in September 2020. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award and the United States’ Grammy. The SFS education programAdventures in Music brings music to every child in grades 1 through 5 in San Francisco’s public schools. In 2004, the SFS launched the multimedia Keeping Score on PBS-TV and online. In 2014, the SFS inaugurated SoundBox, a new experimental performance venue and music series located backstage at Davies Symphony Hall. SFS radio broadcasts, the first in the nation to feature symphonic music when they began in 1926, today carry the Orchestra’s concerts across the country.

Photo by Spencer Lowell

For more information, go to sfsymphony.org.

Michael Tilson Thomas Michael Tilson Thomas first conducted the San Francisco Symphony in 1974 and has been Music Director since 1995. A Los Angeles native, he studied with John Crown and Ingolf Dahl at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at nineteen.

He worked with Stravinsky, Boulez, Stockhausen, and Copland at the famed Monday Evening Concerts and was pianist and conductor for Piatigorsky and Heifetz master classes. In 1969, Tilson Thomas won the Koussevitzky

Prize and was appointed Assistant Conductor of the Boston Symphony Orchestra (BSO). Ten days later he came to international recognition, replacing Music Director William Steinberg in mid-concert at Lincoln Center. He went on to become the BSO’s Principal Guest Conductor, and he has also served as Music Director of the Buffalo Philharmonic and as a Principal Guest Conductor of the Los Angeles Philharmonic. With the London Symphony Orchestra he has served as Principal Conductor and Principal Guest Conductor; he is currently Conductor Laureate. He is Artistic Director of the New World Symphony, America’s Orchestral Academy, which he co-founded in 1987. Tilson Thomas’ recordings have won numerous international awards, including 11 Grammys for SFS recordings. In 2014, he inaugurated SoundBox, the San Francisco Symphony’s new alternative performance space and live music series. His television credits include the New York Philharmonic Young People’s Concerts, and in 2004, he and the SFS launched Keeping Score on PBS-TV. His compositions include: From the Diary of Anne Frank; Shówa/Shoáh; settings of poems by Emily Dickinson, Walt Whitman, and Rainer Maria Rilke; Island Music; Notturno; and, Four Preludes on Playthings of the Wind.

Tilson Thomas is a Chevalier des Arts et des Lettres of France, was Musical America’s Musician and Conductor of the Year and was inducted into the Gramophone Hall of Fame in 2015. He has been elected to the American Academy of Arts and Sciences, the Academy of Arts and Letters, was inducted in the California Hall of Fame and was awarded the National Medal of Arts by President Obama. Most recently, he was a 2019 recipient of the Kennedy Center Honors.

Pre-Performance Speaker: Peter Grunberg Peter Grunberg served as Head of Music Staff at the San Francisco Opera and is currently Musical Assistant to Michael Tilson Thomas. He has appeared as piano soloist with the San Francisco Symphony, performed at the Aixen-Provence and Salzburg festivals, and collaborated in recital with such artists as Frederica von Stade, Thomas Hampson, and Joshua Bell. He has also conducted at the Moscow Conservatory, Grand Théâtre de Genève, and the Pacific Music Festival. Grunberg was a principal collaborator on the Symphony’s Keeping Score project.

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San Francisco Symphony Michael Tilson Thomas, music director and conductor Michael Tilson Thomas Music Director & Conductor Esa-Pekka Salonen Music Director Designate Herbert Blomstedt Conductor Laureate Daniel Stewart San Francisco Symphony Youth Orchestra Wattis Foundation Music Director Ragnar Bohlin Chorus Director Vance George Chorus Director Emeritus FIRST VIOLINS Alexander Barantschik Concertmaster Naoum Blinder Chair Nadya Tichman Associate Concertmaster San Francisco Symphony Foundation Chair Wyatt Underhill Assistant Concertmaster 75th Anniversary Chair Jeremy Constant Assistant Concertmaster Mariko Smiley Paula & John Gambs Second Century Chair Melissa Kleinbart Katharine Hanrahan Chair Yun Chu Sharon Grebanier* Naomi Kazama Hull In Sun Jang* Yukiko Kurakata Catherine A. Mueller Chair Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich* Catherine Van Hoesen* Maya Cohon† Sarah Knutson† Yuna Lee† Jennifer Hsieh† SECOND VIOLINS Dan Carlson, Principal Dinner & Swig Families Chair Helen Kim Associate Principal Audrey Avis Aasen-Hull Chair Jessie Fellows, Assistant Principal Paul Brancato The Eucalyptus Foundation Second Century Chair Raushan Akhmedyarova David Chernyavsky John Chisholm Cathryn Down* Darlene Gray Stan & Lenora Davis Chair Amy Hiraga Kum Mo Kim Kelly Leon-Pearce Eliot Lev* Isaac Stern Chair

Chunming Mo Polina Sedukh Chen Zhao Sarah Wood† Yulee Seo† VIOLAS Jonathan Vinocour Principal Yun Jie Liu Associate Principal Katie Kadarauch Assistant Principal John Schoening Joanne E. Harrington & Lorry I. Lokey Second Century Chair Gina Cooper* Nancy Ellis David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young Joy Fellows† CELLOS Vacant Principal Philip S. Boone Chair Joseph Johnson† Guest Principal Peter Wyrick Associate Principal Peter & Jacqueline Hoefer Chair Amos Yang Assistant Principal Margaret Tait Lyman & Carol Casey Second Century Chair Barbara Andres* The Stanley S. Langendorf Foundation Second Century Chair Barbara Bogatin Phyllis Blair Cello Chair Jill Rachuy Brindel Gary & Kathleen Heidenreich Second Century Chair Sébastien Gingras Penelope Clark Second Century Chair David Goldblatt Christine & Pierre Lamond Second Century Chair Carolyn McIntosh* Anne Pinsker Shu-Yi Pai† Richard Andaya† BASSES Scott Pingel Principal Daniel G. Smith Associate Principal Stephen Tramontozzi Assistant Principal Richard & Rhoda Goldman Chair S. Mark Wright Lawrence Metcalf Second Century Chair Charles Chandler Lee Ann Crocker* Chris Gilbert Brian Marcus William Ritchen Andy Butler†

FLUTES Tim Day Principal Caroline H. Hume Chair Robin McKee Associate Principal Catherine & Russell Clark Chair Linda Lukas Alfred S. & Dede Wilsey Chair Catherine Payne Piccolo Barbara Chaffe† OBOES Eugene Izotov Principal Edo de Waart Chair James Button Associate Principal Pamela Smith Dr. William D. Clinite Chair Russ deLuna English Horn Joseph & Pauline Scafidi Chair CLARINETS Carey Bell Principal William R. & Gretchen B. Kimball Chair Luis Baez Associate Principal & E-flat Clarinet David Neuman Jerome Simas Bass Clarinet Steve Sánchez† BASSOONS Stephen Paulson Principal Steven Dibner Associate Principal Rob Weir Steven Braunstein Contrabassoon HORNS Robert Ward Principal Daniel Hawkins Acting Associate Principal Bruce Roberts Assistant Principal Jonathan Ring Jessica Valeri Christopher Cooper† TRUMPETS Mark Inouye Principal William G. Irwin Charity Foundation Chair Aaron Schuman Associate Principal Peter Pastreich Chair Guy Piddington Ann L. & Charles B. Johnson Chair Jeff Biancalana TROMBONES Timothy Higgins* Principal Robert L. Samter Chair Nicholas Platoff Associate Principal Paul Welcomer John Engelkes Bass Trombone TUBA Jeffrey Anderson Principal James Irvine Chair HARP Douglas Rioth Principal Annabelle Taubl†

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TIMPANI Edward Stephan Principal Marcia & John Goldman Chair James Lee Wyatt III Acting Assistant Principal PERCUSSION Jacob Nissly Principal James Lee Wyatt III Tom Hemphill Robert Klieger† KEYBOARDS Vacant Jean & Bill Lane Chair * On leave † Acting member of the SFS LIBRARIANS Margo Kieser Principal Nancy & Charles Geschke Chair John Campbell Assistant Matt Gray Assistant Sakurako Fisher President Mark C. Hanson Chief Executive Officer David Chambers Chief Revenue and Advancement Officer Matthew Spivey Chief Programming Officer Rebecca Blum Senior Director of Orchestra and Education Planning Andrew Dubowski Senior Director of Operations Oliver Theil Senior Director of Communications Phillippa Cole Director of Artistic Planning Shoko Kashiyama Executive Assistant to the Music Director Andrew Tremblay Orchestra Personnel Manager Joyce Cron Wessling Manager of Tours and Media Production Tim Carless Production Manager Christopher J. Wood Stage Manager Robert Doherty Stage Technician Michael “Barney” Barnard Stage Technician Mike Olague Stage Technician The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

Photo by Brandon Patoc MONDAVI CENTER 2019 –20 |

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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.

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Garry Maisel† Gerry and Carol Parker William Roth Celestine and Scott Syphax Joe Tupin* Claudette Von Rusten Yin and Elizabeth Yeh

†Mondavi Center Advisory Board Member

° In Memoriam

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MONDAVI CENTER 2019 –20 | 10 * Friends of Mondavi Center †Mondavi Center Advisory Board Member

°In Memoriam

Karen Cook* Terry Cook Nicholas and Khin Cornes Fred and Ann Costello Catherine Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Tatiana and Virgil Cullen Fitz-Roy and Susan Curry Laurence Dashiell Doug and Joy Daugherty* Nita A. Davidson Relly Davidson Eric Davis* Judy and Mike Davis Judy and David Day Ann Denvir* Carol Dependahl-Ripperda Robert Diamond Linda and Joel Dobris Marjorie Dolcini* Jerry and Chris Drane Karen Eagan James Eastman and Fred Deneke Laura Eisen and Paul Glenn Carol Erickson and David Phillips Robbie and Tony Fanning Eleanor E. Farrand* Michael and Ophelia Farrell Les and Micki Faulkin Janet Feil Cheryl and David Felsch Robin and Jeffrey Fine Maureen Fitzgerald and Frank DeBernardi Dave and Donna Fletcher Dr. and Mrs. Fletcher Glenn Fortini Daphna Fram Marion Franck and Bob Lew Marlene J. Freid* Larry Friedman and Susan Orton David Fudala In Memory of David Gatmon Barbara Gladfelter Ellie Glassburner Marnelle Gleason and Louis J. Fox* Mark Goldman and Jessica Tucker-Mohl Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart Joyce and Ron Gordon Karen Governor Halley Grain Jeffrey and Sandra Granett Jim Gray and Robin Affrime Paul and Carol Grench Don and Eileen Gueffroy Abbas Gultekin and Vicky Tibbs Cary and Susan Gutowsky Wesley and Ida Hackett* Myrtis Hadden Bob and Jen Hagedorn Jane and Jim Hagedorn Kitty Hammer

William and Sherry Hamre 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.

Friends of Mondavi Center| MONDAVI *CENTER 2019 –20

†Mondavi Center Advisory Board Member 11

°In Memoriam

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MONDAVI CENTER 2019 –20 |

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