Vladimir Feltsman, piano Program

PROGR A M

Vladimir Feltsman, piano Connections, Influences and Inspirations, Part II: Brahms and Schumann WEDNESDAY, MAY 8, 2019 • 7PM Jackson Hall, UC Davis

Individual support provided by Dean and Karen Karnopp

Pre-Performance Talk 6PM Jackson Hall Vladimir Feltsman in conversation with Don Roth, Executive Director, Mondavi Center, UC Davis

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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 P R E S E N T S

Vladimir Feltsman, piano Connections, Influences and Inspirations, Part II: Brahms and Schumann

PROGRAM Arabeske in C Major, Op. 18 Robert Schumann (1810–1856) Kreisleriana, Op. 16

Äusserst bewegt

Sehr innig und nicht zu rasch — Intermezzo I: Sehr lebhaft —

Erstes Tempo — Intermezzo II: Etwas bewegter — Erstes Tempo

Sehr aufgeregt — Etwas langsamer — Erstes Tempo

Sehr langsam

Sehr lebhaft

Sehr langsam

Sehr rasch

Schnell und spielend — INTERMISSION — Four Ballades, Op. 10 Johannes Brahms Andante in D Minor (1833–1897)

Andante in D Major

Intermezzo. Allegro in B Minor

Andante con moto in B Major Four Pieces, Op. 119

Intermezzo in B Minor

Intermezzo in E Minor

Intermezzo in C Major

Rhapsody in E-flat Major

Vladimir Feltsman is a Steinway artist.

Vladimir Feltsman records for Sony Classical, Musical Heritage, Camerata Tokyo and Melodiya.

Exclusive Management: ARTS MANAGEMENT GROUP, INC., 130 W. 57th St., New York, NY 10019

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 Arabeske in C Major Op. 18 (1839) ROBERT SCHUMANN (Born June 8, 1810 in Zwickau, Germany Died July 29, 1856 in Endenich, near Bonn) By the middle of 1838, Robert Schumann’s parallel passions for music, writing and Clara Wieck had brought the 28-year-old composer to a crucial point in his life. Denied by the adamant intervention of Clara’s father from having her hand in marriage, resigned to never becoming the piano virtuoso that he had dreamed of since childhood, and seeking a more vibrant musical milieu than Leipzig as the base for the journal Neue Zeitschrift für Musik (“New Journal for Music”), which he had edited since its inception in 1833, Schumann decided that a move to Vienna might improve his fortunes. On August 5, 1838, he wrote to his friend Joseph Fischhof, then living in Vienna, “Don’t be frightened, if, in two months, somebody knocks at your door—my ghost, my very self; still more, if he tells you that he shall probably settle in Vienna next year and forever.” Hoping both to reestablish the Zeitschrift and to achieve sufficient financial and artistic success to force Papa Wieck into consenting to his marriage to Clara, Schumann arrived in Vienna at the end of September. “I have been received with great kindness, even by the minister of police, who gave me an audience day before yesterday,” he reported to his brother Eduard in Zwickau, the family’s hometown. “He said that there was no objection to my living here, and that I might set to work as soon as an Austrian publisher could be found.

If I could not find one, however, I might meet with great difficulties, being a foreigner, & etc.” He found rooms with a family named Cavalcabo, whose daughter Julia was taking lessons from Franz Xaver Mozart, Wolfgang’s son, and demonstrating some talent as a composer for piano and voice. Schumann became friendly with Franz Xaver and was warmly greeted by a number of other prominent local musicians and artists, but he remained cautious about Vienna. “I shouldn’t like to live here long and alone,” he confided to Eduard. “Serious men and Saxons are seldom wanted or understood here.” By Christmas, it had become clear that his Viennese venture would fail—he could find no significant way in which to advance his career, there was no promising situation for the Zeitschrift and he missed Clara terribly, all the more since the Viennese adored her playing and continually interrogated him to learn more about her.

He lingered in the imperial city until March 30, 1839, when news that Eduard had become seriously ill took him posthaste to Zwickau; he arrived just after his brother had died. Saddened by his loss and by the disappointment in Vienna, Schumann returned to Leipzig, where, after six more months of waiting to outlast Papa Wieck’s intransigence and legal obstacles, he finally married his beloved Clara on September 12th, the eve of her 21st birthday.

Though Schumann did not realize his most immediate goals during his Viennese incursion, the enterprise was not without value. He brought home with him two important souvenirs—a steel pen that he found on the grave of Beethoven, with which he wrote his First Symphony in 1841; and the manuscript for the late Franz Schubert’s never-performed Ninth Symphony, unearthed from the piles of manuscripts preserved by that composer’s brother, Ferdinand, and heard for the first time, at Schumann’s insistence, at Felix Mendelssohn’s Leipzig Gewandhaus concert of December 12, 1839. In addition, Schumann composed several piano works in Vienna, including the finale of the G minor Sonata (Op. 22), Arabeske (Op. 18), Blumenstück (Op. 19), Humoreske (Op. 20), Nachtstücke (Op. 23), the opening sections of the Faschingsschwank aus Wien (“Carnival Jest from Vienna,” Op. 26) and a number of smaller pieces.

The word “Arabesque” has been used in the West since the Middle Ages to describe any ornamentation consisting of flowing traceries of sinuous, undulating or geometrical designs. The term was inspired by the Arab tradition, which forbid the representation of living creatures and so instead developed intricate artwork around elaborate geometrical and botanical patterns that carefully interlaced scrolls and curves and spirals with dazzling virtuosity. Schumann borrowed the word as the title for one of his most ingratiating short piano pieces, the Arabeske, composed in Vienna early in 1839. The work is arranged in rondo form, in which the elegant, whispering principal theme is twice interrupted by wistful minor episodes. Added as a coda is a thoughtful paragraph in slow tempo that reflects the dreamy and romantic side of Schumann’s personality. A tiny wisp of the principal theme rises from the closing measure.

Kreisleriana, Op. 16 (1838) ROBERT SCHUMANN Robert Schumann was profoundly influenced by the thought and literature of the Romantic era. His first intellectual interest as a child was reading, a love spawned and nurtured by his father, August, a bibliophile and bookseller in Zwickau, south of Leipzig. August encouraged his son’s exploration not only of the classics but also of the new Romantic literary movement initiated by Goethe, and the boy was so infected with his father’s love of books that he formed a society with some friends when he was 15 to discuss the latest works of the German authors, notably those of Jean Paul Richter and E.T.A. Hoffmann. It was in Richter’s writings that Schumann discovered a philosophy concerning the intimate relationship between music and the emotional life of the individual (rendered by that writer as the ability to escape from reality into the “dream world of

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musical images”) and the twin characters Vult and Walt (really the contrasting divisions of a single split personality), a psychological concept that both frightened and fascinated Schumann because it seemed so disturbingly close to his perception of his own emotional constitution, which American musicologist Linda Siegel described as vacillating between “fits of depression with complete loss of reality and periods of seemingly placid adjustment to life.”

The second important literary influence on the young Robert Schumann was E.T.A. Hoffmann, specifically Hoffmann’s most wildly eccentric creation, Kapellmeister Kreisler, a character “of passion and wit” that Schumann believed was modeled on the aspiring but unsuccessful Thuringian musician and chronic alcoholic Ludwig Böhner (1787–1860), whom he had once heard improvise with an almost demented intensity. So completely was Kreisler identified with music that Hoffmann said he owned a coat in C-sharp minor with collar in E major. Kreisler was not interested in counterpoint or technical exercises, but only in the emotional effects produced by certain harmonies and melodic leadings. He represented for Schumann the very soul of the Romantic artist who was engaged in the endless struggle against the unfeeling masses, whom Schumann called by the Biblical name of King David’s foes, the “Philistines.”

All of the streams of Schumann’s life—literary, philosophical, amorous—poured into the piano compositions upon which he concentrated his creative musical energies during the 1830s: Papillons, Davidsbündlertänze, Carnaval and Kinderscenen are among the most intimate self-portraits in all of music. Among the creations of that time inspired by his love for Clara was the set of eight “Fantasies for Piano,” Kreisleriana, named for Hoffmann’s Kapellmeister, in which the dark side, the wild, unpredictable swings of mood of his manic-depressive personality forced itself to the fore with such determination that the music gushed forth in just four days. This was music drawn equally from Schumann’s nearly obsessive infatuation with Clara and his conviction that art— especially music and literature—was the mirror of the soul.

Kreisleriana, as much as any of Schumann’s compositions, embodies the Romantic penchant for distilling powerful but evanescent emotions in aphoristic piano sketches that retain the spirit of inspired improvisation. Joseph Wasielewski, student and early biographer of Schumann, wrote of Kreisleriana, “In no other of his piano compositions does the composer offer us so rich and fanciful a world of sound, so poetically rich, soul-absorbing and refined a vision.

Never was he more a tone-poet in the deepest sense of the word than in this instance.” ©2019 Dr. Richard E. Rodda

Four Ballades, Op. 10 (1854) Four Pieces, Op. 119 (1893) JOHANNES BRAHMS (Born May 7, 1833 in Hamburg Died April 3, 1897 in Vienna) Johannes Brahms (1833–1896) absorbed and integrated the musical legacy of his time, as did J.S. Bach before him. The music of Brahms is intimately connected to and rooted in the German-Austrian tradition that he inherited. For Brahms, this tradition was very much alive and relevant; he constantly measured his own efforts against the achievements of Bach, Haydn, Mozart and Beethoven, trying to live up to and continue their legacy. He was not looking back to the past, but “progressing” (to use the terminology of Schoenberg’s essay “Brahms the Progressive”) towards a past that was yet to be fulfilled.

Brahms was a private, self-contained and reserved man.

This is not to say that he was a misanthrope who could not enjoy himself or share a good meal and wine with friends.

He was, however, averse to public displays, self-promotion and showmanship. And so is his music.

Brahms did not need to invent anything new. What he had to say was not new or old—it was perennial. He communicated his thoughts and feelings through the romantic language of the day and traditional classical forms.

This coexistence of romantic content with a stable formal structure created a special inner tension, an understated expressiveness and integrity in his works that is precious and unique. Brahms had impeccable taste and never allowed himself to express his feelings too explicitly or to “wear his heart on his sleeve,” as some of his fellow composers did.

His heart and mind lived inside his music in perfect unity.

His precise and reserved manner of writing fit his character and gave him a framework, a space in which he was free to create. The works of Brahms are a powerful confirmation that discipline is an expression of freedom.

Brahms was a perfectionist who destroyed many of his compositions that, in his view, were not worth saving and publishing. His craft as a composer was flawless. He learned the art of counterpoint and variation from Baroque masters, especially Bach, and handling of the sonata form and development from Haydn, Mozart and Beethoven. In some of his early works for piano the influence of Chopin and Schumann are tangible, but already by his mid-20s Brahms had found his own manner of writing, which did not undergo any drastic changes but developed and matured naturally and unhurriedly.

Brahms’ interest in and knowledge of musical history were truly encyclopedic and extended to composers of the 16th century. His extensive collection of manuscripts and first editions are filled with notes and markings that show how

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diligently he studied the works of his fellow composers, past and present. His editions of C.P.E. Bach, Schubert, Schumann and Chopin are still relevant.

Unlike Liszt and Wagner, the leaders of the “New German School,” who were vigorously advocating a new approach to composing and musical aesthetics, Brahms was considered a conservative and a purist, more concerned with the preservation and development of the German musical heritage—pure music—than inventing anything new. The ideological confrontation and polemics between supporters of “new music” and “pure music” were quite fierce and many musicians of the time were forced to choose between the two camps. In spite of all the politics and rhetoric, Brahms, who did not like to write letters and lacked the polemical literary gifts of Schumann, Liszt and Wagner, avoided getting involved in these harsh exchanges. His main tool of communication was music, not words.

Success came to Brahms early. He was warmly received by Robert and Clara Schumann in 1853 and hailed as a “young lion” in an essay written by Schumann, who predicted a great future for him. The connection to Schumann’s family lasted for the rest of his life. After Robert Schumann’s untimely death in 1856, Brahms stayed close to Clara and her children. Although Clara Schumann was 14 years older than Brahms and the mother of seven children, their relationship was intense and complex. (Brahms’ own mother was 17 years older than his father.) In spite of their apparent feelings for each other and displays of mutual affection, the relationship did not result in marriage, but they remained close. Brahms valued Clara’s friendship and her opinion as a musician and sought her advice on many of his compositions.

His works encompass almost all musical genres and forms except opera and ballet (indeed, it is hard to imagine a ballet

by Brahms!); both of these art forms were obviously too public for him. His four symphonies are clearly the best written in the second half of the 19th century, and remain the gold standard of symphonic writing. Elgar said that when he looked at Brahms’ third symphony he felt like a pygmy. In all the forms in which he worked, Brahms composed music of the finest quality. He was, indeed, the greatest composer of “pure music” of his time.

The Four Ballades, Op. 10 were written in 1854 by the 21-year-old Brahms and dedicated to his friend Julius Otto Grimm. Chopin’s Ballades were inspired by romantic poetry, but did not follow the storylines literally. Brahms’ Ballades are narrative works in the oral tradition of the Bards of the past (verse narration in stanzas with a refrain), and are more tightly organized and conservative in form than Chopin’s Ballades. The first and second Ballades are in the parallel keys of D major and D minor. The third and fourth are in the parallel keys of B major and B minor.

The early piano works of Brahms—his three sonatas, written in the Sturm und Drang style—are clearly unified by their large scale, their explicit virtuosity, and romantic expressiveness. The four Ballades are private, meditative works stylistically set apart from his early works, giving us a preview of things yet to come. It is hard to imagine that these introverted and amazingly mature works were written by the ambitious and outgoing young Brahms.

The first Ballade in D minor was inspired by the Scottish poem Edward (King Edward) published in 1807 by Johann Gottfried Herder in a collection of folk poetry, Stimmen der Völker in Liedern. This Ballade is a narrative reminiscent of the Ossianic, neo-Gothic style. Just one tune and its modifications, and one rhythmic formula, are explored in this Ballade, which is written in one poetic meter, following a strict sequence of rhymes. The somber, subdued and archaic atmosphere is strengthened by the empty parallel fifth. (This parallel fifth reappears in the second and third Ballades, binding them together.) In the middle part, in D major, a sudden upsurge of energy presents the theme in full force. Most of the small and medium range piano works of Brahms are written in the A-B-A form (with a few extensions of the middle and last episodes). This ternary A-B-A form, the oldest in music along with the binary form, provided Brahms with everything he needed.

The second Ballade in D major makes a perfect pair with the first Ballade. All is well here—the bass repeats the ostinato figure for nine bars and we are firmly established in (lulled into) D major. The middle episode starts in B minor, building up and attaining a dramatic pitch that is subdued after an exclamatory outburst of broken triplets. A B-major section follows, written in quarter-note triplets that now peacefully carry a tune originating from the main theme.

The middle episode is written in A-B-A form and we have two identical formal structures one within the other.

The third Ballade in B minor is an Intermezzo (suggestive of a Capriccio) that starts with syncopated repetitions of an empty fifth off the beat—a witty and bold beginning. This Intermezzo is technically the most challenging of the set.

The middle episode fluctuates between F-sharp major and D-sharp minor. In between repetitions of the theme there are calls from afar of inverted fifths and empty octaves that originated from the first Ballade.

The fourth Ballade in B minor is an homage to Schumann (a thank you note). The artistic and personal influence of Robert and Clara Schumann in the life of young Brahms is hard to overestimate. Brahms was well aware of the importance of his connection with both Schumanns and grateful for their support and friendship. The fourth Ballade is the longest of the set, the most moving and personal. The pianistic texture and harmonic progressions are unmistakably inspired by Schumann. There is one simple

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rhythmic formula all through—a half note followed by a quarter note or its inversion when a half note follows a quarter note. This Ballade leaves a glimmering trace of light after itself, as all great works of art do.

In the early 1890s Brahms composed 20 piano works, which he published under Op. 116–119 in 1892–3. These four collections are the most telling expression and summation of Brahms’ life-long preoccupation with the piano, which started in his late teens and continued (with two long interruptions) until the final period of his life.

The Four Klavierstücke Op. 119 are the last installation of piano works by Brahms. There are three Intermezzos and a Rhapsody that closes the set. The three Intermezzos progress from slow to more agile and brisk in tempo and the Rhapsody is Allegro resoluto, “resoluto” (assertively, with resolution) is the key word here.

The first Intermezzo in B minor (“a gray pearl” in the words of Clara Schumann) opens with a single note on top from which a descending flow of arpeggios emanate, in one of the most auspicious and magical beginnings in Brahms. These flowing arpeggios end by freezing, making up a gradually emerging chord—all the notes of the arpeggios are retained.

The middle part in D major evokes nostalgic memories of Brahms’ waltzes from his earlier days. There are very expressive and wide melodic gestures that bring an unexpected degree of emotional intensity to this very private and mostly hushed Intermezzo. After a sequence of ascending strettos, the main theme returns with speeded up arpeggios and sharpened harmonies that enhance its expressive impact and significance. After several harmonically tense (excruciating) transitions and a series of sobs, this Intermezzo resolves itself in B minor for the first and only time.

The Intermezzo in E minor has just one theme that is elaborated and presented artfully. It starts with an upbeat and moves along with sequences of double notes repeated in both hands in anapestic rhythm: short-short-long. This rhythm is maintained without any deviation until triplets come in and present the opening melodic line in a singing manner. Then the same theme is given in a sequence of alternating 16th notes between both hands. Before the end of the first episode the theme is presented in even double 8th notes on top and arpeggiated 16ths in the left hand. The middle part in the parallel major elaborates the same tune in yet another rhythmic pattern of the waltz that Brahms liked so much. The last part is practically identical in size to the first (again, an A-B-A model), but different in harmonic order. This Intermezzo comes to a peaceful resolution, bringing back the theme as a waltz.

the right hand and this form of presentation is maintained all through this delightful short piece, which dances and bounces around full of humor and joy. It is easy to imagine that Brahms was in cheerful spirits while writing this Intermezzo. And, indeed, why should he not be in a good mood and contented once in a while?

The Rhapsody in E-flat major is the last published piano work by Brahms. It is the largest work among his small and medium size pieces for piano, written in the rather complex five-part form ABCBA with a coda. The key of E-flat minor is quite rare and not really comfortable for piano.

Nevertheless, the very first piano work that Brahms composed was a Scherzo in E-flat minor (published as Op. 4, but actually written before his sonatas), and the last of the six Intermezzos in Op. 118 is in E-flat minor. It is not accidental that Brahms chose the key of E-flat for his last work for piano. It provides a frame, a long arc between his very first work and his last. To make this abundantly clear, Brahms ends his Rhapsody in E-flat minor.

The heroic, assertive main theme has five bars and is written in dactylic meter (long-short-short-long), which changes to short-short-long in the fourth bar. The fifth bar is “added” and has two even chords that forcefully repeat the upper note, nailing it down. This pattern of five-bar phrases is consistent through the whole first episode with one exception: a seven-bar period before the return of the main theme. A C-minor episode follows, introducing a new tune and rhythmic formula. An extensive A-flat major middle episode introduces yet another new tune given on top and supported by broken chords in both hands. The C-minor theme returns, building up tension by mixing up the rhythmic patterns of two groups of triplets and three groups of twos. The main theme comes back in C major in the bass in its five-bar pattern. This time it is given pianissimo and staccato. (This Rhapsody is very symphonic and could easily be successfully orchestrated.) A monumental gradual build-up leads to the last triumphant return of the main theme in original key of E-flat. The virtuosic and urgently passionate Coda commences, in E-flat minor. It pushes forward, gaining a tremendous cumulative momentum that is resolved into three ascending final chords.

There is a precious sense of inevitability in great art, as if every masterpiece was meant to be created exactly as it is.

The works of Brahms are amazingly organic, meticulously calculated and very human at the same time. This fusion of intellect and feeling, sincerity and reserve, heartfelt emotion and impeccable taste is unique to Brahms. It makes his music inevitable and indispensable.

—Vladimir Feltsman

The Intermezzo in C major could well be called a Capriccio because of its flamboyant and somewhat perky character. It starts with the theme given in a lower tone of the chords in MONDAVI CENTER 2018 –19 |

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VLADIMIR FELTSMAN Piano Pianist and conductor Vladimir Feltsman is one of the most versatile and constantly interesting musicians of our time.

His vast repertoire encompasses music from the Baroque to 21st-century composers. He has appeared with all the major American orchestras and on the most prestigious musical stages and festivals worldwide.

Highlights of Feltsman’s recent seasons were concerts in Moscow and St. Petersburg, Montevideo, Mexico City and Naples, Florida, as well as at the Aspen, Ravinia and Verbier Festivals. He also gave a performance with the Mozart Orchestra of New York, Gerard Schwarz, conducting, a performance in Washington, D.C. as part of his “Russian Experiment” project (conceived to explore music written by Russian non-conformist composers of the 20th century), in Mexico with the Boca del Rio Philharmonic, Jorge Mester, conducting, and recitals in New York City and at the University of California, Davis.

Feltsman expressed his lifelong devotion to the music of J.S. Bach in a cycle of concerts, which presented the major clavier works of the composer and spanned four consecutive seasons (1992–1996) at the 92nd Street Y in New York. His more recent project, Masterpieces of the Russian Underground, unfolded a panorama of Russian contemporary music through an unprecedented survey of piano and chamber works by 14 different composers from Shostakovich to the present day and was presented by the Chamber Music Society of Lincoln Center in January 2003 with great success. Feltsman served as artistic director for this project as well as performing in most of the pieces presented during the three-concert cycle. The programs included a number of world and North American premieres and were also presented in Portland, Oregon, and in Tucson, Arizona, at the University of Arizona. In the fall of 2006, Feltsman performed all of the Mozart Piano Sonatas in New York at the Mannes School of Music and NYU’s Tisch Center presented by The New School on a specially built replica of the Walter fortepiano.

In 1979, because of his growing discontent with the restrictions on artistic freedom under the Soviet regime, Feltsman signaled his intention to emigrate by applying for an exit visa. In response, he was immediately banned from performing in public and his recordings were suppressed.

After eight years of virtual artistic exile, he was finally granted permission to leave the Soviet Union. Upon his arrival in the United States in 1987, Feltsman was warmly greeted at the White House, where he performed his first recital in North America. That same year, his debut at Carnegie Hall established him as a major pianist on the American and international scene.

A dedicated educator of young musicians, Feltsman holds the Distinguished Chair of Professor of Piano at the State University of New York, New Paltz, and is a member of the piano faculty at the Mannes College of Music in New York City. He is the founder and artistic director of the International Festival-Institute PianoSummer at New Paltz, a three-week-long, intensive training program for advanced piano students that attracts major young talents from all over the world.

Feltsman’s extensive discography has been released on the Melodiya, Sony Classical, Musical Heritage and Nimbus labels; it includes more than 60 CDs and is expanding. He recently completed a recording of all the Schubert Sonatas and the works by Schumann for Nimbus. Feltsman’s discography includes all major clavier works of J.S. Bach; recordings of Beethoven’s last five piano sonatas, the Moonlight, Pathetique and Appassionata Sonatas, and Diabelli Variations; solo piano works of Haydn, Chopin, Liszt, Brahms, Tchaikovsky, Scriabin, Mussorgsky, Messiaen and Silvestrov; as well as concerti by Bach, Brahms, Chopin, Tchaikovsky, Rachmaninoff and Prokofiev.

Vladimir Feltsman is an American citizen and lives with his wife, Haewon, in upstate New York.

Born in Moscow in 1952, Feltsman debuted with the Moscow Philharmonic at age 11. In 1969, he entered the Moscow Tchaikovsky State Conservatory of Music to study piano under the guidance of Professor Jacob Flier. He also studied conducting at both the Moscow and Leningrad (now St. Petersburg) Conservatories. In 1971, Feltsman won the Grand Prix at the Marguerite Long International Piano Competition in Paris; extensive touring throughout the former Soviet Union, Europe and Japan followed.

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gateway An Interview with Vladimir Feltsman by Don Roth

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n May of 2018, on the day of the first performance of this three-year project, Mondavi Center Executive Director Don Roth sat down with Vladimir Feltsman to talk about his career thus far and his inspirations for this series of concerts. Feltsman shared some insights as to why he’s arranged works by various composers the way he has. Those of you who were in attendance at the concert last May will enjoy reading about Feltsman’s reasoning behind that program, while those who weren’t able to attend can play a bit of catch up; meanwhile, everyone will learn more about why Feltsman has paired Brahms and Schumann for tonight’s concert.

VF: We met in a class of Ilya Musin who was the greatest conducting guru in Leningrad, now St. Petersburg. At that time it was Leningrad. So I was 21 and Valery was 20. He’s still one year younger than me. It didn’t change. (laughs) So since that time we’ve been friends. We’ve known each other more than 40 years. I mean, it’s kind of ridiculous but we are good friends and I’m very glad that he had such a great career and accomplished so, so many things.

DON ROTH: So, you come from a musical family, obviously you come from Russia. And in fact your father had a very interesting musical career.

VF: It was fun and I do remember it fondly. It was a bizarre experience, quite unreal. It was great, but when you start out playing in the White House and you’re on Good Morning America and on 60 Minutes, where do you go? There is nowhere to go. So you have to go down a bit, which happened. But that was 31 years ago. I’m glad that the hype is no more. I’ve found myself, I think, a nice niche and I’m happy with what I do, who I am and where I am.

VLADIMIR FELTSMAN: He was a famous composer of popular songs, movies, operettas, musicals, and so on.

He was like a Russian Irving Berlin. Very, very big.

DR: But you didn’t go into the direction of “popular music.”

VF: No, if I did I would be much more wealthy! (laughs) DR: So tell us a little bit about your training in Russia.

And then of course, what age were you at when you left Russia?

VF: It was 1987. I was 35 years old, I was born in 1952.

My training was absolutely the best there was in Russia.

No matter what problems with Soviet Union ideology and politics I had, the musical training and education was phenomenal. I had great teachers and I’m always grateful for that part of my life.

DR: Earlier this year, we had the Mariinsky Orchestra here with Valery Gergiev and I heard you mention at an earlier meeting today that you have something in common with him.

DR: Well when you came here, one of the first things that happened to you was the opportunity to play at the White House. And that kind of gave you a really unusual kickstart to your career.

DR: You are at the beginning of a three-year project here at the Mondavi Center. You’ll be doing programs where you’re looking at connections between different composers. So, having had the opportunity to hear you play works by all of the composers this evening, I know we’re in for something very special, but tell us just a little bit about this program and what people can expect.

VF: Well the program [from May 2018] is Bach, Beethoven and Chopin. I think both Beethoven and Chopin were greatly influenced by Bach, actually, and understood him very profoundly, very closely and uniquely personally. Because what Beethoven took from Bach was quite different from what Chopin took from him. Beethoven was also a major influence for Chopin, alongside Mozart and some other composers.

So, in music, in art in general, there are influences and connections. To me, as a musician, it’s a fascinating process to see. To connect the dots and to put together

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a program, which makes sense to me, and hopefully to people who come hear it tonight. Talking about the future, I think what we will do next year [in 2019] could be Schubert/Schumann or Schubert/Liszt.

DR: I think we were even talking about doing Brahms and Schumann, too.

VF: Schumann ... actually you remember better because obviously Schumann was like a godfather to young Brahms and Clara [Schumann] was his [Brahms’] dear friend for the rest of his life. Schumann was a major influence on Brahms’ life. So it will be Schumann/ Brahms, and then possibly Schubert/Liszt. Schubert influenced Liszt and all of that. It’s basically mostly German music besides Chopin. It’s hard to even put a label on him—Polish, French, I don’t know. It’s music.

So it’s an interesting project and I’m grateful to you that you took it. (laughs) DR: No, no. We know we’re happy for it! You were saying this morning when you were speaking to some of the students at UC Davis that music begins where words cannot reach. I think that’s an absolutely wonderful saying. I’m going to ask you just a few more words about the music tonight. When you played the Chopin “Ballades,” you play them as one.

VF: Yes, nonstop with no applause in between, as a cycle.

DR: And why did you choose to do that? Normally they’re played separately.

VF: Normally they’re played separately and I understand why—because it’s very, very difficult to pull off all four together. They are very personal, it’s an emotional rollercoaster for me to play all four. I don’t do it too often because it’s really difficult. Exhausting, not technically, but just emotionally to get there. And you cannot just do it based on your mind, on your intellect.

When you’re playing Chopin and Romantic music in general, you really have to kind of get into the thick of it. So to me it is a cycle. It’s a narrative. It’s four stories, which are different but very personal, all Chopin music is very personal. It’s very sophisticated stuff. To me, Chopin was one of the most subtle, aristocratic and ambivalent composers. I mean, it’s not always how it looks. It’s always something different, some ambiguity.

There’s always a possibility of multiple readings and interpretations, which is a big challenge, but also a kind of very precious experience for anyone who touches it.

DR: Well I think tonight is going to be a precious experience for those people who come. We really are looking forward to these three evenings over the course of three years. And I think having heard you, as I said earlier, play Bach and Beethoven and Chopin, I think you’re among the most interesting, exciting, and deep interpreters of those works. We are in for a treat.

VF: You’re very kind; thank you.

Vladimir Feltsman will perform the third and final concert of this series, focusing on Beethoven and Schubert, on April 3, 2020.

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

DON ROTH, PH.D. Executive Director, Mondavi Center, UC Davis A native of New York City, Don Roth joined the Mondavi Center in June 2006, arriving from the Aspen Music Festival and School, where he served as president from 2001 to 2006. His tenure at the Mondavi Center has seen the initiation of new artistic and educational partnerships with the San Francisco Symphony and the Curtis Institute; the development of residencies by world-renowned companies such as Shakespeare’s Globe and the St. Louis Symphony; the launching of initiatives to increase interest in classical music funded by a major Andrew W. Mellon Foundation grant; and the beginnings of the popular Just Added events. Under his leadership, engagement with UC Davis faculty and students has increased through programs such as the one free ticket per student program and bi-annual festivals with UC Davis Music and other departments. Previously Roth served as president of the St. Louis and Oregon Symphonies and as general manager of the San Francisco Symphony.

Roth became chair of the Board of Directors of San Francisco Classical Voice in September 2017. Roth is a member of the Directors Council (emeritus board) of the League of American Orchestras. For more than a decade, Roth was an overseer of the Curtis Institute of Music. Roth served as the co-chair of Sacramento Mayor Kevin Johnson’s regional arts initiative, For Arts’ Sake, and on Johnson’s Task Force exploring a new performing arts center in Sacramento. He has chaired numerous panels for the National Endowment for the Arts and chaired the Orchestra League’s Management Fellowship Program. Roth has served as a member of the executive committee of the Board of Directors of the Sacramento Philharmonic. Roth holds a doctorate from the University of Texas with a specialty in African-American History, and has written about popular music for Rolling Stone and Texas Monthly.

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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.

COLORATURA CIRCLE

$50,000 AND ABOVE

This list reflects donors as of April 15, 2019.

James H. Bigelow Patti Donlon Wanda Lee Graves and Steve Duscha Barbara K. Jackson° M.A. Morris

IMPRESARIO CIRCLE $25,000–$49,999

John and Lois Crowe* Ann and Gordon Getty Foundation Anne Gray William and Nancy Roe* The Lawrence Shepard Family Fund

VIRTUOSO CIRCLE

$16,500–$24,999 Simon L. Engel of HDE Laser Technologies, Inc. Nancy McRae Fisher Mary B. Horton*

MAESTRO CIRCLE

$11,000–$16,499 PERFORMANCE SPONSORS

GRANTORS AND ARTS EDUCATION SPONSORS

Dr. Jim P. Back Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley* Chan Family Fund Thomas and Phyllis Farver* Benjamin and Lynette Hart* Clarence and Barbara Kado Dean and Karen Karnopp*

Nancy Lawrence and Gordon Klein Clifford A. Popejoy and Antonia K.J. Vorster Grace and John Rosenquist Raymond Seamans and Ruth Elkins Tony and Joan Stone Helen and Jerry Suran Rosalie Vanderhoef* Shipley and Dick Walters*

BENEFACTOR CIRCLE $7,500–$10,999

ADDITIONAL SUPPORT Asante Boeger Winery El Macero County Club Seasons Kitchen & Bar The Porch Restaurant

Susie and Jim Burton Michael and Kevin Conn Richard and Joy Dorf Catherine and Charles Farman Janlynn Fleener and Cliff McFarland Samia and Scott Foster Andrew and Judith Gabor * Friends of Mondavi Center

Hansen Kwok Garry Maisel Alice Oi Gerry and Carol Parker William Roth Darell J. Schregardus, Ph.D. Yin and Elizabeth Yeh

†Mondavi Center Advisory Board Member

MONDAVI CENTER 2018 –19 |

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° In Memoriam

PRODUCER CIRCLE $3,750 - $7,499

Carla F. Andrews Lydia Baskin* Daniel Benson Cordelia S. Birrell Jo Anne Boorkman* Karen Broido* California Statewide Certified Development Corp.

Mike and Betty Chapman Wendy R. Chason* Sandy and Chris Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Bruce and Marilyn Dewey* Wayne and Shari Eckert* Allen and Sandy Enders Merrilee and Simon Engel Jolan Friedhoff and Don Roth In Memory of Henry (Hank) Gietzen In Memory of John C. Gist, Jr. Frederic and Pamela Gorin Ed and Bonnie Green* Charles and Ann Halsted John and Regi Hamel Judy Hardardt* Dee Hartzog Karen Heald and K.C. McElheney Donine Hedrick and David Studer Charles and Eva Hess In Memory of Christopher Horsley* In Memory of Flint and Ella In Memory of Nicolai N. Kalugin Teresa Kaneko* Barry and Gail Klein Jane and Bill Koenig Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Linda Lawrence Allan and Claudia Leavitt Robert and Barbara Leidigh Nelson Lewallyn and Marion Pace-Lewallyn David and Ruth Lindgren Diane M. Makley* Yvonne L. Marsh Eldridge° and Judith Moores Barbara Moriel Misako and John Pearson Linda and Lawrence Raber* Joanna Regulska and Michael Curry Warren Roberts and Jeanne Hanna Vogel* Roger and Ann Romani Liisa A. Russell Carol J. Sconyers Kathryn R. Smith Tom and Meg Stallard* Tom and Judy Stevenson* Brian K. Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jeri Paik-Telfeyan In Memory of Trudy and Vera Betty° and Joe Tupin Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Claudette Von Rusten John Walker Patrice White Judy Wydick And 6 donors who prefer to remain anonymous

DIRECTOR CIRCLE $1,750 - $3,749

The Aboytes Family Ezra and Beulah Amsterdam Russell and Elizabeth Austin Drs. Noa and David Bell Robert and Susan Benedetti Don and Kathy Bers*

Edwin Bradley Richard Breedon, Pat Chirapravati, and Rosa Marquez Cantor & Company, A Law Corporation Margaret Chang and Andrew Holz Susan Chen Allison P. Coudert Jim and Kathy Coulter* Terry Davison Joyce Donaldson* Matt Donaldson and Steve Kyriakis Karl Gerdes and Pamela Rohrich David and Erla Goller Patty and John Goss Tim and Karen Hefler Sharna and Mike Hoffman Ronald and Lesley Hsu Martin and JoAnn Joye* Barbara Katz Nancy and John Keltner Robert and Cathryn Kerr Joseph Kiskis and Diana Vodrey Charlene R. Kunitz Thomas Lange and Spencer Lockson Mary Jane Large and Marc Levinson Francie and Artie Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert Richard and Kyoko Luna Family Fund Natalie and Malcolm MacKenzie* Debbie Mah* and Brent Felker Dennis H. Mangers and Michael Sestak Susan Mann Rick and Ann Mansker In Memory of Allen G. Marr Betty Masuoka and Robert Ono Gary S. May In Memory of William F. McCoy Sally McKee Mary McKinnon and Greg Krekelberg Katharine and Dan Morgan Craig Morkert Augustus B. Morr Rebecca Newland John Pascoe and Susan Stover J. Persin, R. Mott and D. Verbck Prewoznik Foundation John and Judith Reitan Kay Resler* Marshall and Maureen Rice Dwight E. and Donna L. Sanders Christian Sandrock Ed and Karen Schelegle Neil and Carrie Schore Arun K. Sen Bonnie and Jeff Smith Janet Shibamoto-Smith and David Smith Edward Speegle Les and Mary Stephens De Wall Maril R. and Patrick M. Stratton Geoffrey and Gretel Wandesford-Smith Dan and Ellie Wendin Dale L. and Jane C. Wierman Susan and Thomas Willoughby Paul Wyman Karen Zito and Manuel Calderon de la Barca Sanchez And 2 donors who prefer to remain anonymous

ENCORE CIRCLE $700 - $1,749

Shirley and Mike Auman* Laura and Murry Baria In Memory of Marie Benisek Muriel Brandt Davis and Jan Campbell Gayle Dax-Conroy In Memory of Jan Conroy Dotty Dixon* Anne Duffey John and Cathie Duniway Robert and Melanie Ferrando Doris Flint Dr. Jennifer D. Franz Paul N. and E.F. (Pat) Goldstene Florence Grosskettler* Mae and David Gundlach Robin Hansen and Gordon Ulrey

Leonard and Marilyn Herrmann B.J. Hoyt James and Nancy Joye Louise Kellogg and Douglas Neuhauser Paul Kramer Paula Kubo Ruth M. Lawrence Michael and Sheila Lewis* Robert and Betty Liu Shirley Maus Janet Mayhew Robert Medearis Roland and Marilyn Meyer Nancy Michel Robert and Susan Munn* Don and Sue Murchison Robert and Kinzie Murphy John and Carol Oster Bonnie A. Plummer Celia Rabinowitz C. Rocke Ms. Tracy Rodgers and Dr. Richard Budenz Tom and Joan Sallee William and Jeannie Spangler* Elizabeth St. Goar Sherman and Hannah Stein Karen and Ed Street* Eric and Pat Stromberg* Dr. Lyn Taylor and Dr. Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Rita and Jack Weiss Steven and Andrea Weiss* Kandi Williams and Frank Jahnke Gayle K. Yamada and David H. Hosley Wesley Yates Karl and Lynn Zender

Darnell Lawrence Carol Ledbetter Donna and Stan Levin Ernest and Mary Ann Lewis Robert and Patricia Lufburrow Sue MacDonald Bunkie Mangum Joan and Roger Mann Maria Manea Manoliu David and Martha Marsh Katherine F. Mawdsley* Susan and David Miller William and Nancy Myers Margaret Neu* Suzette Olson Frank Pajerski Sally Ozonoff and Tom Richey J. and K. Redenbaugh Eugene and Elizabeth Renkin David and Judy Reuben* Ron and Morgan Rogers Sharon and Elliott Rose* Marie Rundle Bob and Tamra Ruxin Mark and Ita Sanders Roger and Freda Sornsen Tony and Beth Tanke Virginia Thresh Robert and Helen Twiss Ardath Wood Iris Yang and G. Richard Brown Chelle Yetman Jane Yeun and Randall Lee Ronald M. Yoshiyama Heather M. Young and Pete B. Quinby Verena Leu Young* Melanie and Medardo Zavala Drs. Matthew and Meghan Zavod

And 3 donors who prefer to remain anonymous

And 6 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

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 | 11 * 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.

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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