Alexander String Quartet with Joyce Yang

PROGR A M

Alexander String Quartet Zakarias Grafilo, violin | Frederick Lifsitz, violin Paul Yarbrough, viola | Sandy Wilson, cello

Joyce Yang, piano SUNDAY, JUNE 2, 2019 • 2PM Jackson Hall, UC Davis

Sponsored by

Individual support provided by Anne Gray

Post-Performance Q&A Session | Jackson Hall Moderated by Ruth Rosenberg, Director of Arts Education and Artist Engagement, Mondavi Center Members of the quartet and composer Samuel Adams will answer audience questions immediately following the performance.

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R O B E R T A N D M A R G R I T M O N DAV I C E N T E R F O R T H E P E R F O R M I N G A R T S | U C DAV I S

Alexander String Quartet Zakarias Grafilo, violin | Frederick Lifsitz, violin Paul Yarbrough, viola | Sandy Wilson, cello

Joyce Yang, piano PROGRAM Quartet for Piano & Strings No. 2 in E-flat Major, K. 493 (1786) Wolfgang Amadeus Mozart

Allegro (1756–1791)

Larghetto Allegretto Quintet with Pillars (2018) Pillar I

Part I

Pillar II

Part II

Pillar III

Samuel Adams (b. 1985)

Commissioned by the Arizona Friends of Chamber Music, the Mondavi Center, San Francisco Performances and Soka University of America for the Alexander String Quartet and Joyce Yang.

— INTERMISSION —

Quintet for Piano & Strings in F Minor, Op. 34 (1864) Johannes Brahms

Allegro non troppo (1833–1897)

Andante, un poco Adagio

Scherzo: Allegro

Finale: Poco sostenuto—Allegro non troppo

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 Quartet for Piano & Strings in E-flat Major, K. 493 WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Mozart wrote only two piano quartets (violin, viola, cello and piano), but he is generally credited with inventing the form (it is true, however, that other composers, including a young teenager named Beethoven, had already experimented with the form).

In his piano trios, Mozart sometimes wrote what are essentially piano sonatas with string accompaniment— the piano has the musical interest, while the strings play distinctly subordinate roles—but in the piano quartets he faced squarely the problems (and the possibilities) of the new form and solved them by liberating the string voices and making them genuine partners in the musical enterprise.

Mozart completed his first piano quartet, in G minor, in October 1785 just as he was beginning work on The Marriage of Figaro. The opera occupied him throughout the winter, and after Figaro began a successful run in Vienna on May 1, 1786, Mozart returned to chamber music: that year saw three piano trios, a string quintet, and the Piano Quartet in E-flat Major, completed on June 3, only a month after the premiere of Figaro.

Coming from a particularly happy period in Mozart’s brief life, this quartet is marked by a genial and utterly open spirit. The firm beginning of the Allegro—the opening statement concludes with little fanfares— establishes the bright mood that pervades this quartet.

While Mozart reserved the key of G minor for some of his most serious statements, he preferred E-flat major as the key for nobility, warmth and breadth. That contrast is beautifully illustrated by the two piano quartets: the stormy first, in G minor, is followed by the more relaxed E-flat major quartet. Of particular interest in the first movement is the way Mozart sets the three string instruments in opposition to the piano: the strings often play together, presenting ideas as a group or responding to the piano. This extended movement includes a third theme, and Mozart even calls for a repeat of the entire development before the brief coda.

graceful main theme, and the strings respond as a group—the music moves easily between piano and strings. The concluding Allegretto, however, makes the piano the star. The piano’s music here is full of brilliant runs and virtuoso writing, while the strings retreat to the shade, merely answering or accompanying it. But it is easy to forgive the concerto-like qualities of this movement when the piano’s part is so exciting, easy to be swept along on the triplet runs that eventually dash this movement to its close.

—Eric Bromberger

Quintet with Pillars (2018) SAMUEL ADAMS Born December 30, 1985, San Francisco Scored for string quartet and piano prepared with digital resonance Commissioned by Arizona Friends of Chamber Music, sponsored by Shirley Chann; The Robert and Margrit Mondavi Center for the Performing Arts, UC Davis; San Francisco Performances; and Soka University of America for the Alexander String Quartet and Joyce Yang.

Quintet with Pillars explores the question: what would it sound like if a piece were to build itself? To answer this question, I had to first construct the “piece” (Part II) before pulling it apart to reveal the process of its becoming (Part I), making much of the compositional process similar to solving a temporal puzzle. Three short episodes—or pillars—buttress the larger musical arc and serve as markers for the beginning, middle and end of the form.

Much to my surprise, writing this work was an emotionally charged experience propelled not so much by the joy of creation (though I enjoyed composing it immensely) but by an urgency to make things whole again.

I began sketching Quintet with Pillars in the spring of 2018 and completed the score the following October. My deepest gratitude to the Alexander String Quartet and Joyce Yang for their intrepid spirits bringing this music to life.

—Samuel Adams, October 2018

The opposition of piano and strings is most evident in the quiet Larghetto, a nocturne-like movement of unusual harmonic interest. The piano announces the MONDAVI CENTER 2018 –19 |

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Quintet for Piano and Strings in F Minor, Op. 34 JOHANNES BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna As he grew older, Brahms became a more confident composer. He remained supremely self-critical throughout his life, but in his maturity he escaped the uncertainty that had led him to spend 20 years composing—and recomposing—his First Symphony. “It is wonderfully difficult to know which notes to allow to slip under the table,” Brahms is reported to have said, and there is evidence that he allowed 20 string quartets and a similar number of violin sonatas to “slip under the table” before he was satisfied enough to publish works in either form.

This self-criticism figured importantly in the composition of the Piano Quintet. Brahms began work on it in the summer of 1862, when he was 29 and still living in Hamburg, but when it was completed that fall, it was for string quintet: string quartet plus an extra cello. (Brahms may have had in mind the model of the great String Quintet in C Major of Schubert, a composer he very much admired.) This music, though, proved unsuccessful with the friends to whom the composer turned for advice, and in 1864 he recast it as a sonata for two pianos. Once again the work was unsuccessful.

Clara Schumann’s letter to Brahms about the two-piano version offers unusual insight: “Its skillful combinations are interesting throughout, it is masterly from every point of view—it is not a sonata, but a work whose ideas you might—and must—scatter, as from a horn of plenty, over an entire orchestra. ... Please, dear Johannes, for this once take my advice and recast it.”

Recast it Brahms did, but not for orchestra. Instead he arranged it for piano and string quartet, preserving the dramatic impact of the piano from the two-piano version and combining that with the string sonority of the original quintet. In this form it has come down to us today, one of the masterpieces of Brahms’ early years, and it remains a source of wonder that music that sounds so right in the present version could have been conceived for other combinations of instruments.

(Brahms published the two-piano version, and it is occasionally heard today, but he destroyed all the parts of the string quintet version.)

figures that are then developed ingeniously. The very beginning of the first movement makes clear the scope and strength of this music. In unison, first violin, cello and piano present the opening theme, which ranges dramatically across four measures and comes to a brief pause. Then the music seems to explode with vitality above an agitated piano figure. But the piano’s rushing sixteenth notes are simply a restatement of the opening theme at a much faster tempo, and this compression of material marks the entire movement—the opening theme, for example, is presented in many different guises. A dramatic development leads to a quiet coda, marked poco sostenuto; the tempo quickens, and the movement powers its way to the turbulent close.

By contrast, the Andante, un poco Adagio—in A-B-A form—sings quietly. The piano’s gently rocking opening theme, lightly echoed by the strings, gives way to a more animated middle section before the opening material reappears, now subtly varied. The C-minor Scherzo returns to the mood of the first movement. The cello’s ominous pizzicato C hammers with quiet insistence throughout, and once again Brahms wrings maximum use from his material: a nervous, stuttering sixteenth note figure is transformed within seconds into a heroic chorale for massed strings, and later Brahms generates a brief fugal section from this same theme. With the concise trio comes a moment of relief before Brahms makes a da capo repeat of the scherzo.

The finale opens with strings alone, reaching upward in chromatic uncertainty before the Allegro non troppo main theme bursts out in the cello. The movement is a rondo, but this is a rondo with some unusual features: it offers a second theme and sets the rondo theme in unexpected keys. At the close, a haunting passage for quiet strings marked tranquillo leads to the vigorous coda.

—Eric Bromberger

The Quintet is remarkable for the young composer’s skillful treatment of his themes—several of the movements derive much of their material from simple MONDAVI CENTER 2018 –19 |

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Alexander String Quartet

Joyce Yang, piano

Having celebrated its 35th anniversary in 2016, the Alexander String Quartet has performed in the major music capitals of five continents, securing its standing among the world’s premier ensembles. Widely admired for its interpretations of Beethoven, Mozart, Shostakovich and Brahms, the quartet’s recordings of the Beethoven cycle (twice), Bartók, and Shostakovich cycles have won international critical acclaim. The quartet has also established itself as an important advocate of new music through over 30 commissions from such composers as Jake Heggie, Cindy Cox, Tarik O’Regan, Samuel Carl Adams, Augusta Read Thomas, Robert Greenberg, Martin Bresnick, Richard Festinger, Cesar Cano and Pulitzer Prize–winner Wayne Peterson.

Blessed with “poetic and sensitive pianism” (The Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), Grammynominated pianist Joyce Yang captivates audiences with her virtuosity, lyricism and interpretive sensitivity.

The Alexander String Quartet is a major artistic presence in its home base of San Francisco, serving since 1989 as ensemble-in-residence of San Francisco Performances and Directors of The Morrison Chamber Music Center at San Francisco State University.

Among the fine musicians with whom the Alexander String Quartet has collaborated are pianists Joyce Yang, Roger Woodward, Anne-Marie McDermott, Menachem Pressler, Marc-André Hamelin and Jeremy Menuhin; clarinetists Joan Enric Lluna, David Shifrin, Richard Stoltzman and Eli Eban; soprano Elly Ameling; mezzosoprano Joyce DiDonato; violinist Midori; cellists Lynn Harrell, Sadao Harada and David Requiro; and jazz greats Branford Marsalis, David Sanchez and Andrew Speight. The quartet has worked with many composers including Aaron Copland, George Crumb and Elliott Carter, and has long enjoyed a close relationship with composer-lecturer Robert Greenberg, performing numerous lecture-concerts with him annually.

The Alexander String Quartet was formed in New York City in 1981 and captured international attention as the first American quartet to win the London International String Quartet Competition in 1985. The quartet has received honorary degrees from Allegheny College and Saint Lawrence University, and Presidential medals from Baruch College (CUNY). The Alexander String Quartet is the subject of the recent award-winning documentary film, Con Moto—The Alexander String Quartet.

She first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19-years-old, she took home two additional awards: Best Performance of Chamber Music (with the Takàcs Quartet), and Best Performance of a New Work. In 2006, Yang made her celebrated New York Philharmonic debut alongside Lorin Maazel at Avery Fisher Hall along with the orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul, South Korea. Yang’s subsequent appearances with the New York Philharmonic have included opening night of the 2008 Leonard Bernstein Festival—an appearance made at the request of Maazel in his final season as music director.

Yang has blossomed into an “astonishing artist” (Neue Zürcher Zeitung), showcasing her colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber. She received the 2010 Avery Fisher Career Grant and earned her first Grammy nomination for her recording of Franck, Kurtág, Previn and Schumann with violinist Augustin Hadelich. She has become a staple of the summer festival circuit with frequent appearances on the programs of the Aspen Summer Music Festival, La Jolla SummerFest and the Seattle Chamber Music Society.

Other notable orchestral engagements have included the Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Deutsches Symphonie-Orchester Berlin, the BBC Philharmonic, as well as the Toronto, Vancouver, Sydney, Melbourne, and New Zealand symphony orchestras. She was also featured in a five-year Rachmaninoff concerto cycle with Edo de Waart and the Milwaukee Symphony, to which she brought “an enormous palette of colors, and tremendous emotional depth” (Milwaukee Sentinel Journal).

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In solo recital, Yang has performed at New York City’s Lincoln Center and Metropolitan Museum, the Kennedy Center in Washington, D.C., Chicago’s Symphony Hall, and Zurich’s Tonhalle. As an avid chamber musician, Yang has collaborated with the Takács Quartet for Dvořák—part of Lincoln Center’s Great Performers series—and Schubert’s “Trout” Quintet with members of the Emerson String Quartet at the Mostly Mozart Festival at Lincoln Center. Yang has fostered an enduring partnership with the Alexander String Quartet.

Following their debut disc of Brahms and Schumann Quintets, their recording of Mozart’s Piano Quartets was released in July 2018 (FoghornClassics).

Yang’s wide-ranging discography includes the world premiere recording of Michael Torke’s Piano Concerto, created expressly for Yang and commissioned by the Albany Symphony. Yang has also “demonstrated impressive gifts” (The New York Times) with the release of Wild Dreams (Avie Records), on which she plays Schumann, Bartók, Hindemith, Rachmaninoff and arrangements by Earl Wild. She recorded Tchaikovsky’s Piano Concerto No. 1 with Denmark’s Odense Symphony Orchestra that International Record Review called “hugely enjoyable, beautifully shaped ... a performance that marks her out as an enormous talent.” Of her 2011 debut album for Avie Records, Collage, featuring works by Scarlatti, Liebermann, Debussy, Currier and Schumann, Gramophone praised her “imaginative programming” and “beautifully atmospheric playing.”

Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. She is a Steinway artist.

Samuel Adams (b. 1985, San Francisco, California) is a composer of acoustic and electroacoustic music. His work has been hailed as “mesmerizing” and “music of a composer with a personal voice and keen imagination” by The New York Times, “canny and assured” by the Chicago Tribune and “wondrously alluring” by The San Francisco Chronicle.

In May 2018, Adams’ new Chamber Concerto was premiered by violinist Karen Gomyo with the Chicago Symphony Orchestra (CSO) and Esa-Pekka Salonen to mark the 20th anniversary of the CSO’s contemporary

series MusicNOW. The piece was hailed as “hypnotic, endlessly varied and natural” by Classical Voice America and music of “allusive subtlety and ingenuity” by the Chicago Tribune.

Highlights of the 2018–19 season include a new work for the Australian Chamber Orchestra, which will be toured in both Australia and the United States, the completion of a new string quartet for Chicago-based Spektral Quartet, and the premiere of a new work for string quartet and piano for the Alexander String Quartet and Joyce Yang. Last season, Adams’ many words of love was toured by the CSO and had performances at Carnegie Hall, The Kennedy Center, and in Chapel Hill, North Carolina. The piece had an additional performance with the New World Symphony in Miami, Florida, the following March.

A committed educator, Adams frequently engages in projects with young musicians. He also regularly works with the students of The Crowden Music Center (Berkeley, California) and maintains a private teaching studio.

Adams grew up in the San Francisco Bay Area where he attended Berkeley’s Crowden School. He went on to study at Stanford University, where he earned a bachelor’s degree with honors in composition and electroacoustic music while also working as a bassist in the San Francisco improvised music community. He received a master’s degree in composition from The Yale School of Music.

Q&A SESSION MODERATOR RUTH ROSENBERG Director of Arts Education and Artist Engagement, Mondavi Center, UC Davis Ruth Rosenberg directs the Mondavi Center’s Arts Education and Engagement programs, including the School Matinee Series, residency activities by touring artists, Pre-Performance Talks and Q&A sessions with the artists, the Mondavi Center’s partnership with the Esparto Unified School District, and student engagement initiatives for UC Davis students. Rosenberg started her career as a dancer. She was artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990 to 2001, and performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco. She is featured in the 2017 documentary Unstoppable Feat, The Dances of Ed Mock.

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gateway Composer and Performer: Two Perspectives on The Making of an Original Composition Today’s program features something extra special—the debut of a newly-commissioned work by Samuel Adams specifically for the Alexander String Quartet and pianist Joyce Yang. To celebrate this historic occasion, we asked both Samuel Adams and ASQ cellist Sandy Williams to share their thoughts on how this new piece was created. ’ve never thought of myself as a radical artist. But I am Iagainst interested in creating musical experiences that subtly go the grain of our 21st-century experience. With this piece in particular, what felt necessary to me was to create a patient work, a work that methodically and organically builds itself—the audience becoming a witness to the music’s emergence. Perhaps this is a kind of reaction to the new “attention economy,” where our minds are consistently assaulted with small, often meaningless pieces of information (and misinformation). Quintet with Pillars asks for a different kind of listening, one where you might enjoy leaning in a bit to find presence, not in big, grandiose gestures, but in the small repeated phrases that slowly evolve—not in clear declamatory melodies, but in a larger image created by the polyphony of all five voices groping for something larger than the sum of their parts.

I cannot suggest how one should listen to a piece of music (that’s beyond my pay grade as a composer). But what I can tell you is how I created the music, and with this work, I was very experimental in my process. I started the work by creating Part II, which is an energetic, pulsing dance with drones, repeated gestures and unraveling counterpoint. I then “smashed” this movement and took it apart with digital software, collected all the musical fragments and re-positioned them in a much slower, contemplative Part I. I then created three “pillars” that hold up Part I and II, much like the pillars of a suspension bridge: tall, robust fortifications that both provide stability and beauty to the overall structure.

All this said, the work’s aims ultimately fall in line with the other music on this program. Quintet with Pillars might not have a classical exterior, but it strives to communicate meaning through its form just as the chamber music of Mozart and Brahms does. It’s my hope that, after hearing the final “pillar,” you might ask: what has changed?

—Samuel Adams

S

together—so much so that we began offering the unusual combination of all-collaborative programs together several seasons ago. The first was the Schumann and Brahms quintets with Schnittke sandwiched in the middle —then we added Shostakovich as the middle work. More recently we have experimented with the Mozart piano quartets and even the Dvořák Quintet—almost all of which works we have already documented in well received releases or are already recorded for imminent release. Along the way, though, we realized it was high time to commission a special work to commemorate our very unique relationship.

It was at the premiere of Sam Adams’ violin concerto that I became completely convinced that he should be the composer of our new contemporary and celebratory commission.

The soulful and spiritual qualities of his writing combined with the extraordinary magical soundscape persuaded me completely and my colleagues and Joyce came on board without hesitation. We had known and followed Sam’s impressive emergence as a native Bay Area neighbor and came spontaneously to appreciate the uniquely visceral and probing qualities in his scores, sometimes deeply contemplative and static but then also, scintillating, vivacious and joyously playful. These fantastic qualities are difficult to achieve and combine in a cohesive narrative thread and yet, it is something we feel Sam has accomplished in his score for us. It is our constant challenge in his highly original score for otherwise traditional piano quintet to maintain the spell unbroken.

At more than 25 minutes, this is a long composition, but it affords an amazingly colorful and, we hope, inspiring journey for the attentive and suggestible listener. We are still learning how to manage, balance, and fuse the many and sometimes seemingly disparate elements into the complex collage.

Thankfully Sam has proven a patient and adept collaborator even in our preparatory work together, learning with us and adapting the score here and there when necessary as we all figured out how to make it even more beautiful.

We remain profoundly indebted to the Mondavi Center at UC Davis for generously participating without hesitation in the commissioning of what we hope will prove a landmark and enduring new work for piano quintet. We trust that together we may help launch it into the standard repertoire for this instrumentation, an abiding musical touchstone for future generations from California at the beginning of the 21st century.

—Sandy Wilson

oon after we first collaborated with Joyce Yang, now more than 10 years ago, we found that rather than the typical program of two string quartets and a piano quintet, we wanted to explore programs integrating the piano throughout. We have consistently had tremendous fun working and playing

The digital version of this interview can be found on our blog at: mondaviarts.org/blog

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The Art of Giving Thank you to our 2018–19 sponsors SERIES SPONSORS

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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° In Memoriam

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MAINSTAGE CIRCLE

Jose and Elizabeth Abad Susan Ahlquist Drs. Ralph and Teresa Aldredge Takashi Asano Andrew and Ruth Baron Paul and Linda Baumann Mrs. Marie C. Beauchamp Carol L. Benedetti Jane D. Bennett Ernst Biberstein Robert Biggs and Diane Carlson Biggs Patricia Bissell and Al J. Patrick Clyde and Ruth Bowman Brooke and Clay Brandow Meredith Burns Marguerite Callahan Gary and Anne Carlson* Bruce and Mary Alice Carswell* Simon and Cindy Cherry Donna and Russ Clark Dr. Jacqueline Clavo-Hall Stuart and Denise Cohen Mr. and Mrs. David Covin Larry Dashiell and Peggy Siddons Daniel and Moira Dykstra Nancy and Don Erman Kerstin and David Feldman Helen Ford Lisa Foster and Tom Graham Edwin and Sevgi Friedrich* Marvin and Joyce Goldman Dan Gusfield Darrow and Gwen Haagensen Sharon and Don Hallberg* Marylee Hardie Dione and Roy Henrickson Zheyla and Rickert Henriksen Paula Higashi and Fred Taugher Roberta Hill Michael and Peggy Hoffman Rita and Ken Hoots Jan and Herb Hoover Robert and Marcia Jacobs Valerie Jones Weldon and Colleen Jordan Susan Kauzlarich and Peter Klavins Charles Kelso and Mary Reed Peter Kenner Ellen J. Lange Sevim Larsen

M. Aften Michelle Agnew Liz Allen* Jacqueline and James B. Ames Penny Anderson Nancy Andrew-Kyle* Elinor Anklin and Geo Harsch Alex and Janice Ardans Dee Jae Arnett Antonio and Alicia Balatbat* Charlotte Ballard and Robert Zeff Charlie and Diane Bamforth Michele Barefoot and Luis Perez-Grau Dawn Barlly Carole Barnes Jonathan and Mary Bayless Lynn Baysinger* Delee and Jerry Beavers Lorna Belden and Milton Blackman Merry Benard Robert Bense and Sonya Lyons Kellyanne D. Best Dr. Louise Bettner Bevowitz Family Dr. Robert and Sheila Beyer Elizabeth A. Bianco Roy and Joan Bibbens* John and Katy Bill Sharon Billings and Terry Sandbek Caroline and Lewis Bledsoe Fredrick Bliss and Mary Campbell Bliss Brooke Bourland* Barbara E. Bower Jerry and Verne Bowers—Advent Consulting Services Jill and Mary Bowers Melody Boyer and Mark Gidding Dan and Mildred Braunstein* Valerie Brown and Edward Shields Rose Burgis Dr. Margaret Burns and Dr. W Roy Bellhorn William and Karolee Bush Kent and Susan Calfee Edward Callahan The Richard Campbells Nancy and Dennis Campos* James and Patty Carey Ping Chan* Bonnie and LeRoy Chatfield Carol Christensen* Gail Clark Linda Clevenger and Seth Brunner

$350 - $699

CENTER 2018 –19Board | 10 * Friends of MondaviMONDAVI Center †Mondavi Center Advisory Member

°In Memoriam

$125 - $349

James and Linda Cline Sheri and Ron Cole Steve and Janet Collins Terry D. Cook Sheila Cordrey* Larry and Sandy Corman Nicholas and Khin Cornes Fred and Ann Costello James Cothern Cathy Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Herb and Lois Cross Tatiana Cullen Kim Uyen Dao Joy and Doug Daugherty Nita A. Davidson Relly Davidson Judy and Mike Davis Fred Deneke and James Eastman Joan and Alex DePaoli Carol Dependahl-Ripperda Sabine Dickerson; Marietta Bernoco Linda and Joel Dobris Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* Gordon and Katherine Douglas Jerry and Chris Drane Leslie A. Dunsworth Noel Dybdal Karen Eagan Laura Eisen and Paul Glenn Sidney England and Randy Beaton Carol Erickson and David Phillips Wallace Etterbeek Robbie and Tony Fanning Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Janet Feil Cheryl and David Felsch Joshua Fenton and Lisa Baumeister John and Henni Fetzer Robin and Jeffrey Fine Curt and Sue Ann Finley Dave and Donna Fletcher Dr. and Mrs. Fletcher Glenn Fortini Daphna Fram Marion Franck and Robert Lew Elaine A. Franco Anthony and Jorgina Freese Marlene J. Freid* Larry Friedman and Susan Orton Kerim and Josie Friedrich Myra Gable Sean Galloway Anne Garbeff* Nancy Gelbard and David Kalb P.E. Gerick Patrice and Chris Gibson* 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 Sandra and Jeffrey Granett Jim Gray and Robin Affrime Stephen and Deirdre Greenholz Paul and Carol Grench Don and Eileen Gueffroy Abbas Gultekin and Vicky Tibbs Wesley and Ida Hackett* Myrtis Hadden Ann and Charles Haffer Bob and Jen Hagedorn Jane and Jim Hagedorn Kitty Hammer William and Sherry Hamre M. and P. Handley Jim and Laurie Hanschu Bob and Sue Hansen Alexander and Kelly Harcourt Marie Harlan* Sally Harvey* Anne and Dave Hawke Mary A. Helmich Penny Herbert and Jeff Uppington Rand and Mary Herbert Dr. Calvin Hirsch Pamela Holm Jack Holmes and Cathy Neuhauser Elizabeth Honeysett Sarah and Dan Hrdy

* Friends of Mondavi Center

Pam Hullinger David Kenneth Huskey Lorraine J Hwang L. K. Iwasa Stephen Jacobs and Diane Moore Dr. and Mrs. Ron Jensen Mun Johl Gary and Karen Johns* Don and Diane Johnston Michelle Johnston and Scott Arrants D.M. Jonsson Family Andrew and Merry Joslin Shari and Timothy Karpin Patricia Kelleher* Michael S. Kent Sharmon and Peter Kenyon Leonard Keyes Nicki King Roger and Katharine Kingston Ruth Ann Kinsella* Camille Kirk Bob and Bobbie Kittredge Don and Bev Klingborg John and Mary Klisiewicz* Michael Koltnow Kerik and Carol Kouklis Sandra and Alan Kreeger Marcia and Kurt Kreith Sandra Kristensen Roy and Cynthia Kroener C.R. and Elizabeth Kuehner Sherrill Kulp Kupcho-Hawksworth Trust Leslie Kurtz Laura and Bill Lacy Kit and Bonnie Lam* Allan and Norma Lammers Marsha Lang Larkin Lapides Diane and Renzo Lardelli Nancy Lazarus and David Siegel Peggy Leander* Evelyn A. Lewis Barbara Linderholm* Jeff Lloyd Motoko Lobue Dr. Joyce A. Loeffler Mary Lowry Karen Lucas* Melissa Lyans and Andreas Albrecht Ariane Lyons Jeffrey and Helen Ma Judy Mack* David and Alita Mackill Karen Majewski Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer T. Mann Pam Marrone and Mick Rogers J. A. Martin Leslie Maulhardt* Carole Mayer Keith and Jeanie McAfee Karen McCluskey* and Harry Roth* James and Jane McDevitt Nora McGuinness John and Andrea McKenna Tim and Linda McKenna Martin A. Medina and Laurie Perry Linda and Joe Merva Cynthia Meyers Beryl Michaels and John Bach Leslie Michaels and Susan Katt Jean and Eric Miller Lisa Miller Sue and Rex Miller Kathy and Steve Miura Kei and Barbara Miyano Vicki and Paul Moering Amy Moore Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont R. Noda Jay and Catherine Norvell Bob Odland and Charlotte Kelly Jeri and Clifford Ohmart Jim and Sharon Oltjen In Memory of Robert Orlins Mary Jo Ormiston* John and Nancy Owen Jessie Ann Owens Mike and Carlene Ozonoff

†Mondavi Center Advisory Board Member

°In Memoriam

Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Dianne J. Pellissier Erin Peltzman Ann Peterson and Marc Hoeschele Jill and Warren Pickett Jane Plocher Mrs. Merrilee A Posner Harriet Prato Otto and Lynn Raabe Olga Raveling Sandi Redenbach and Ken Gelatt Fred and Martha Rehrman* Francis Resta Russ and Barbara Ristine Jeannette and David Robertson Denise Rocha Robert Rodriguez Mary and Ron Rogers Carol and John Rominger Richard and Evelyne Rominger Janet F. Roser, Ph.D. Shery and John Roth Cathy and David Rowen* Cynthia Jo Ruff* Paul and Ida Ruffin Dagnes/Vernon Ruiz Jacquelyn Sanders Elia and Glenn Sanjume Fred and Pauline Schack John and Joyce Schaeuble Patsy Schiff Leon Schimmel and Annette Cody Dan Shadoan and Ann Lincoln Jay and Jill Shepherd Bruce Sheridan Jeanie Sherwood Jennifer L. Sierras Jo Anne S. Silber Teresa Simi Robert Snider and Jak Jaras Jean Snyder Ronald and Rosie Soohoo Curtis and Judy Spencer Dolores and Joseph Spencer Marguerite Spencer Alan and Charlene Steen Tim and Julie Stephens Judith and Richard Stern Deb and Jeff Stromberg A Supporter George and June Suzuki Yayoi Takamura and Jeff Erhardt Stewart and Ann Teal Julie A. Theriault, PA-C Virginia Thigpen Bud and Sally Tollette Victoria and Robert Tousignant` Justine Turner* Ute Turner* Sandra Uhrhammer* Peter Van Hoecke Ann-Catrin Van Barbara Smith Vaughn* Marian and Paul Ver Wey Elizabeth Villery Richard Vorpe and Evelyn Matteucci Craig Vreeken and Lee Miller Maxine Wakefield and William Reichert Carol L. Walden Andrew and Vivian Walker Naomi J Walker Andy and Judy Warburg Don and Rhonda Weltz* Doug West Martha West Robert and Leslie Westergaard* Nancy and Richard White* Mrs. Jane Williams Sharon and Steve Wilson Janet G. Winterer Suey Wong* Jean Wu Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Phillip and Iva Yoshimura Phyllis and Darrel Zerger* Marlis and Jack Ziegler Timothy and Sonya Zindel Linda and Lou Ziskind Dr. Mark and Wendy Zlotlow And 35 donors who prefer to remain anonymous

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 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 Vanderheof

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° Anne Gray Benjamin and Lynette Hart L. J. Herrig Estate° 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 1 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

Thank you to the following donors for their special program support.

Young Artists Competition and Program

Jeff and Karen Bertleson Karen Broido John and Lois Crowe Merrilee and Simon Engel Mary B. Horton Barbara K. Jackson° Debbie Mah Linda and Lawrence Raber

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 2018 –19 |

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Supporting the power of the arts Creativity not only powers the soul, but empowers your health. And research shows that they’re both linked in positive ways.

So go ahead and let your artistic side flow. Learn to play a musical instrument, adventure to a new theatrical play, or join the dance class you’ve always wanted. And when you need a team of experts behind you, you’ll always have supportive partners in your care at UC Davis Health.

Learn more about our 17 clinics throughout the region — including Davis and Sacramento — and what UC Davis Health can do for you.

MONDAVI CENTER 2018 –19 |

health.ucdavis.edu

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