Royal Scottish National Orchestra Program

PROGR A M

Royal Scottish National Orchestra Thomas Søndergård, music director Olga Kern, piano SATURDAY, APRIL 6, 2019 • 8PM Jackson Hall, UC Davis Sponsored by

Individual support provided by Tony and Joan Stone

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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

Royal Scottish National Orchestra Thomas Søndergård, music director Olga Kern, piano

PROGRAM

Symphony No. 7 in C Major, Op. 105 Jean Sibelius (1865–1957) Rhapsody on a Theme of Paganini Sergei Rachmaninoff for Piano and Orchestra, Op. 43 (1873­–1943)

Olga Kern, piano

— INTERMISSION — Symphony No. 5 in B-flat Major, Op. 100 Sergei Prokofiev

Andante (1891­ –1953)

Allegro marcato Adagio

Allegro giocoso

Tour Produced by and Orchestra Represented by COLUMBIA ARTISTS MANAGEMENT LLC Tim Fox, President & Alison Ahart Williams, Senior Vice President Douglas Sheldon, Senior Vice President & Stefana Atlas, Senior Vice President Olga Kern is a Steinway Artist Olga Kern records exclusively for Harmonia Mundi Olga Kern’s dresses are designed by Alex Teih

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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PROGRAM NOTES Symphony No. 7 in C Major, Op. 105 (1923–1924) JEAN SIBELIUS (Born December 8, 1865, in Hameenlinna (Tavastehus) Died September 20, 1957, in Jarvenpaa, near Helsinski) Sounds of nature pervade Sibelius’ orchestral works: the calls of swans and cranes, or wind rustling through leaves and screaming through pine tops. But Sibelius looked deeper, to the very processes of the natural world, for inspiration. Rivers fascinated him: “I should like to compare the symphony to a river,” he wrote in his diary in 1912. “It is born from various rivulets that seek each other and in this way the river proceeds wide and powerful toward the sea.” “But where do we get the water?” he asks. Another entry provides an answer: “The musical thoughts—the motives, that is—are the things that must create the form and stabilise my path.”

In jottings like this, Sibelius was clearly trying to define something that he had already begun to notice in his own music. In the slow movement of his Fourth Symphony (1911) his “musical thoughts” had led him to create a new kind of form—one could call it “variations in search of a theme.”

Then in the Fifth (1914–19) Sibelius arrived at a still more original idea: a moderately paced first movement which builds up momentum like a river approaching rapids, eventually boiling over into a thrilling accelerating scherzo.

But it was with the Seventh Symphony (1924) that this process of fusing separate “movements” into a single, organic unity was to reach its ultimate expression.

The most immediately striking feature of the Seventh Symphony­­—apart from its famous, noble trombone theme— is that it is in one continuous movement. Granted Sibelius wasn’t the first composer to attempt a symphonic structure in one movement. There was already a magnificent example in Schoenberg’s First Chamber Symphony (1906). In the Schoenberg, however, it is easy to pick out sections which resemble the traditional symphonic first movement, scherzo, slow movement and so on. Sibelius’ Seventh follows a different, much more river-like course. The speed and character of the music change frequently, but the different sections (if “sections” is the right word) are so skillfully dovetailed that it is virtually impossible to say where one begins and another ends.

Arriving at this radical new kind of symphonic structure was a struggle. And when Sibelius had finished it, he was suddenly overcome with doubt: Had he gone too far this time—was this really a “symphony” at all? When the work first appeared in 1924, Sibelius cautiously gave it another title, Fantasia Sinfonica. But the work’s success gave him courage, and Sibelius was soon referring to it as “the Seventh Symphony.”

The Symphony’s originality becomes obvious as soon as one tries to describe its form: One could say that three Adagio sections—each centered on the magnificent trombone theme mentioned above—merge into and emerge from two faster

episodes. But even that is too simple. At the very beginning, after the expectant rising string scale that starts the process, the woodwind, horn and string phrases seem initially to be moving at slightly different speeds—like objects borne along on the different currents and eddies of a great river. After the trombone theme makes its climactic appearance, the initial Adagio gradually mutates into a rapid, scherzo-like Vivacissimo. But then the dancing string figures begin to move more smoothly, and the trombone theme is heard again, now in the minor. The strings still seem to be moving quite fast, but the trombone theme retains its original monumental grandeur—to borrow an image from Sibelius’ sketchbook, it is like seeing the moon through swirling storm clouds.

After this moment of vision, the music surges on into an Allegro molto moderato. This seems steady enough for a while, but then comes a pause, and a sudden gear change (the only one in the entire Symphony): leading to a long Presto crescendo powered by driving string figures and the rising scale that began the symphony (now on horns). Through these, the trombone theme returns in full, this time in the original sunlit C major. There is an elemental climax, then the clouds vanish and high strings initiate a slow, chorale-like winding down. A brief reminiscence of the trombone theme leads to a moment of hush (woodwind and strings), before the music settles firmly in C major for the rock-like final cadence. © Stephen Johnson Rhapsody on a Theme of Paganini for Piano and Orchestra, Op. 43 (1934) SERGEI RACHMANINOFF (Born April 1, 1873 in Oneg [near Novgorod], Russia Died March 28, 1943 in Beverly Hills, California) THE INSPIRATION Rachmaninoff’s 1934 Rhapsody consists of 24 variations on a pithy but memorable tune by 18th-century Italian violinist Nicolò Paganini (1782–1840): his 24th Caprice for solo violin—itself a theme with variations. Rachmaninoff was not the first to see the melody’s potential for further invention, with Brahms and Liszt both basing virtuoso piano works on it, and when the choreographer Michael Fokine suggested to him that they collaborate on a ballet, Rachmaninoff pushed hard for the Rhapsody, elaborating on his own imagined visual scenario: “Consider the Paganini legend—about the sale of his soul to the evil spirit in exchange for perfection in art, and for a woman. All variations on the Dies Irai would be for the evil spirit.”

THE MUSIC There is certainly a devilish quality about the opening, presenting in skeletal, mysterious form the bare “bones” of Paganini’s tune. After this first variation, the theme itself is heard plainly on the violins, sharpened by some initial brittle notes from the soloist. The piano then resumes the variations, rudely pinging out the first phrases of the theme before dashing away in exuberant scales. Rachmaninoff now begins to totally break down Paganini’s tune, often exploiting stark

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contrasts of texture and technique between piano and orchestra. One moment, the soloist plays a nonchalant, almost lazy foil to a feverishly chattering woodwind section—while in the next, it is full of elfin humor and impatient rushings over sober strings. Much of the dramatic impetus comes from the juxtaposition of the Paganini music with a tune based on the medieval Dies Irai plainchant; this first appears in the seventh variation in the piano’s sober, somehow monastic chords, with doleful commentary from a bassoon.

The piece is notable not only for Rachmaninoff’s tireless, febrile creativity with his material, but also for the orchestral variety and color. In the demonic ninth variation, for example, the strings conjure unearthly sounds from the wooden edge of their bows joined by nasty, cheeping woodwinds, and then an anxiously tapping cymbal. Effects of the greatest delicacy abound, too; when, out of a silence, single plucked violin tones begin to tread forward, a gently poised minuet begins, featuring yearning solos from clarinet, horn and cellos. The actual methods by which Rachmaninoff varies the theme are often disarmingly simple; the tune of the much-loved 18th variation is formed by merely turning the first five notes of the Paganini theme upside down!

© Robin Versteeg Symphony No. 5 in B-flat Major, Op. 100 (1944) SERGEI PROKOFIEV (Born April 23, 1891 in Sontzovka, Ukraine Died March 5, 1953 in Moscow) In 1936 Prokofiev, with his family, made a final return to the Soviet Union to settle for good. While he had the undoubted satisfaction of being at home in his native land, with the added stimulus of the fellowship of his countrymen after years of wandering, the remaining 17 years of his life were far from easy. Prokofiev’s return coincided with some difficult times in the musical and artistic life of the Soviet Union, from which his emeritus status was by no means a guarantee of protection. But despite these difficulties in working circumstances and the reception of compositions, these were also stimulating times for the composer. In the late 1930s Prokofiev began his historic collaboration with the film director Sergey Eisenstein and a remarkably successful encounter with socialist realism in the Cantata for the Twentieth Anniversary of the October Revolution (1937), even if the work was not deemed sufficiently socialist or realist by the authorities.

The early 1940s were marked by personal misfortune for Prokofiev. In Spring 1941 he had a number of heart attacks.

Along with his physical disability came the dissolution of his marriage and evacuation to the remoter parts of the Soviet Union as part of a policy to remove the artistic community from the immediate effects of the War. But these were also productive years in which he composed the monumental opera based on Tolstoy’s War and Peace and the ballet Cinderella.

The same period of difficulty and constraint saw the composition of the Fifth Symphony in B flat. It was composed in 1944 and premiered on January 13, 1945 with Prokofiev conducting—his last public performance. The success which greeted the unveiling of this work was very much the high summer of the composer’s career in the Soviet Union. The enthusiastic reception was genuine and heartfelt, and the Symphony has maintained a hold on the repertoire both in Russia and abroad. The contemporary fate of the Symphony stood in marked contrast to Prokofiev’s next attempt at the genre. The Sixth Symphony, along with Shostakovich’s Eighth, was branded as “formalist.” And 1948 saw the widespread condemnation of much of the composer’s work and his gradual retreat from public life.

Prokofiev was well aware of the significance of his Fifth Symphony. In an introduction to a broadcast of the work in 1945 he mentioned that it was his first work in the genre for 16 years. He went on to say that he conceived it as an expression of “the greatness of the human spirit.” That his view of the “human spirit” was clearly optimistic is evident from the prevalent tone of the score, most especially in the final movement. But occasional moments of darkness and introspection indicate a rounded view of humanity in what must be considered one of Prokofiev’s most successful works.

The gentle lyrical opening generates much of the material of the first movement, including some vigorous development.

The broad return of the main theme leads to a grand, marchlike peroration. While the first movement breathes the air of joyful aspiration, the scherzo-like second communicates through its charm and wit; its graceful central section has clear affinities with the music for Cinderella, composed shortly before the Symphony. The Adagio continues in the same vein of sustained lyricism, with the brief tension of the middle section giving way to a grand and dignified climax.

The Finale begins modestly enough, with some delicately orchestrated introductory gestures before the violas introduce the body of the movement. The breezy main theme appears first in the clarinet before it is taken up by the other sections of the orchestra. The prevalent tone is light and understated, with Prokofiev keeping the full force of the orchestra in check apart from occasional moments of development. The end comes abruptly after some strangely comic cadence gestures from an orchestra reduced to soloists.

April 7–13, 2019

In honor of National Volunteer Week, Mondavi Center gives thanks to our ushers!

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ROYAL SCOTTISH NATIONAL ORCHESTRA The Royal Scottish National Orchestra (RSNO) is Scotland’s national symphonic ensemble and is one of the country’s five National Performing Companies. Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1991. Throughout its history, the Orchestra has played an integral part in Scotland’s musical life, including performing at the opening ceremony of the Scottish Parliament building in 2004. Many renowned conductors have contributed to its success, including George Szell, Sir John Barbirolli, Walter Susskind, Sir Alexander Gibson, Neeme Järvi, Walter Weller, Alexander Lazarev and Stéphane Denève. In 2012 the RSNO welcomed British-Canadian musician and conductor Peter Oundjian as its latest music director and Danish conductor Thomas Søndergård as principal guest conductor. 2012 also saw the appointments of two new leaders, James Clark and Maya Iwabuchi.

The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness.

The Orchestra appears regularly at the Edinburgh International Festival and at the BBC Proms at London’s Royal Albert Hall. Recent appearances in England have included performances at Manchester’s Bridgewater Hall, Leeds Town Hall, The Sage, Gateshead and at The Sands Centre, Carlisle. In 2012 it undertook a week-long residency in Shetland as part of the Cultural Olympiad, providing the most northerly UK cultural activity leading up to the 2012 Olympic Games. The RSNO regularly appears at the St Magnus Festival, Orkney, and has made recent tours to France, Germany, Spain, Austria, the Netherlands, Luxembourg and Serbia. In December 2012 the Orchestra undertook its first mainland Asia visit with a hugely successful tour of China with Peter Oundjian.

The Orchestra is joined for choral performances by the RSNO Chorus, directed by Timothy Dean. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain, with a membership of around 160. The Chorus has performed nearly every work in the standard choral repertoire along with contemporary works by renowned composers, including John Adams, Magnus Lindberg, Howard Shore and James MacMillan.

The acclaimed RSNO Junior Chorus, formed in 1978 by Jean Kidd, also performs regularly alongside the Orchestra. Since 1994 it has been directed by Chorus Director Christopher Bell, and has expanded its membership to almost 300, with members aged from 8 to 18. It has built up a considerable reputation singing under some of the world’s most distinguished conductors and appearing on radio and television.

The RSNO has a worldwide reputation for the quality of its recordings, receiving two Diapason d’Or de l’année Awards

for Symphonic Music (Denève/Roussel 2007; Denève/Debussy 2012) and eight Grammy Award nominations over the last decade. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson), Roussel (Denève) and the major orchestral works of Debussy (Denève).

The RSNO’s Learning and Engagement team deliver progressive participatory music-making activities across Scotland, from Selkirk to Shetland, working with all ages and abilities. With a program of activity available for newborns and onwards, the team are committed to delivering the highest quality workshops as well as nurturing and developing new talent. From schools and nursery concerts, to community workshops and annual residencies during which the Orchestra embeds itself at the center of Scottish communities, the team connects the Orchestra, its music and musicians with the people of Scotland.

THOMAS SØNDERGÅRD CONDUCTOR, MUSIC DIRECTOR Danish conductor Thomas Søndergård is music director of Royal Scottish National Orchestra, after six seasons as principal guest conductor. He served as principal conductor of BBC National Orchestra of Wales (BBCNOW) from September 2012 to August 2018, and prior to this, as principal conductor and musical advisor of the Norwegian Radio Orchestra for three seasons.

Søndergård has conducted many leading orchestras, including London Philharmonic Orchestra, BBC Symphony, Royal Concertgebouw Orchestra, London Symphony Orchestra, Philharmonia Orchestra, Oslo Philharmonic Orchestra, Göteborgs Symfoniker, Danish National Symphony Orchestra, Royal Stockholm Philharmonic and Gewandhausorchester Leipzig, WDR Sinfonieorchester Köln, Deutsches Symphonie-Orchester Berlin, Mahler Chamber Orchestra, Bamberger Symphoniker; he has lead tours with Junge Deutsche Philharmonie and European Union Youth Orchestra, Rotterdam Philharmonic Orchestra, Nederlands Philharmonisch Orkest, Orchestre Philharmonique du Luxembourg, Brussels Philharmonic, Swedish Radio Symphony Orchestra, Orchestre National d’Ile de France, Toronto Symphony Orchestra, Atlanta Symphony Orchestra, Vancouver Symphony Orchestra, Houston Symphony and Seattle Symphony Orchestra.

The 2018–19 season includes his debuts with Chicago Symphony Orchestra joined by Alexander Gavrylyuk, New Zealand Symphony Orchestra, Helsinki Philharmonic Orchestra, Orchestre National de France and Tapiola Sinfonietta. He makes return visits to Atlanta Symphony Orchestra, Toronto Symphony Orchestra, BBC National Orchestra of Wales, Danish National Symphony Orchestra, the orchestra of the Royal Danish Academy Copenhagen,

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Swedish Radio Symphony Orchestra, Bayerische Staatsoper (Turandot) and Deutsche Oper Berlin (Berlioz’s Romeo and Juliet). Søndergård’s plans with RSNO include tours to China and the U.S., premieres of new commissions and Wynton Marsalis’ Violin Concerto with Nicola Benedetti.

Recent highlights include debuts with Rundfunk Sinfonieorchester Berlin, Bern Symphony Orchestra, Gurzenich-Orchester Köln, SWR Baden-Baden, Orchestre Philharmonique de Strasbourg and return visits to Sydney Symphony Orchestra, Orchestre National du Capitole de Toulouse and the revival of The Magic Flute with Norwegian Opera.

A passionate supporter of the music of Carl Nielsen, his most recent program with Swedish Radio Symphony Orchestra (Symphony No. 5) received wide praise as “equal of the great pioneers of Nielsen interpretation ... It’s harder to imagine a finer performance of this remarkable symphony” (Dagens Nyheter). As part of the 2015 anniversary celebrations of both Sibelius and Nielsen he conducted a wide variety of works by these two composers with many leading orchestras. In 2019 he will participate in a special concert to celebrate Nielsen’s work with the Royal Danish Academy of Music Copenhagen.

Søndergård is also an experienced opera conductor at home in mainstream and contemporary repertoire. Previous opera includes Bayerische Staatsoper (Turandot), Norwegian Opera (Die Zauberflöte), Deutsche Oper Berlin (world premiere of Scartazzini’s Edward II) and Tosca, Turandot (Nina Stemme) and Les dialogues des Carmelites for Kungliga Operan (Royal Swedish Opera). He was described as “a sensation” at his debut with the Royal Danish Opera conducting Ruders’ opera Kafka’s Trial: “He is one of the best things that has happened to the art of opera for many years” and subsequent productions there have included Il barbiere di Siviglia, Le Nozze di Figaro, La bohème, Cunning Little Vixen and Il viaggio a Reims.

Releases with BBCNOW include Sibelius Symphonies 1, 2, 6 and 7, and most recently a disc which shines light on Sibelius’ tone poems and theatre music, featuring Finlandia and Valse Triste (Linn Records). Other noteworthy recordings include Vilde Frang’s celebrated first recording for EMI, and Ruders’ Piano Concerto No. 2 on Bridge Records which was nominated for a Gramophone Award in 2011. In 2011 he was awarded the prestigious Queen Ingrid Foundation Prize for services to music in Denmark. Due for release shortly are the Lutoslawski and Dutilleux cello concertos with Johannes Moser and Rundfunk Sinfonieorchester Berlin for Pentatone.

OLGA KERN PIANO Russian-American Olga Kern is now recognized as one of her generation’s great pianists. She jump-started her U.S. career with her historic 2001 Gold Medal win at the Van Cliburn International Piano Competition in Fort Worth, Texas, as the first woman to do so in more than 30 years.

First prize winner of the Rachmaninoff International Piano Competition at 17, Kern is a laureate of many international competitions. In 2016 she served as Jury Chairman of both the seventh Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director. Kern frequently gives master classes and since, September 2017, has served on the piano faculty of the prestigious Manhattan School of Music.

For the 2018–19 season, Kern will perform with the Moscow Philharmonic, Santa Fe Symphony, and the St. Louis Symphony, as well as opening Pacific Symphony’s season.

Kern will also be featured soloist with the Royal Scottish National Orchestra, both in Glasgow, and on their Spring 2019 U.S. tour. She will appear in recitals in Chicago, Dallas, Detroit, Southern California, Zurich and Milan.

In recent seasons, Kern served as artist-in-residence for the San Antonio Symphony’s 2017–18 season, had her Chinese debut with the National Youth Orchestra of China tour, performed concerts with Detroit Symphony, Pacific Symphony, Colorado Symphony, the State of Mexico Symphony Orchestra, Stuttgart Philharmonic, Tivoli Symphony Orchestra and La Jolla Music Festival, and recitals in Santa Fe, New Haven, Scottsdale and San Francisco.

Kern opened the Baltimore Symphony’s 2015–16 centennial season with Marin Alsop. Other season highlights included returns to the Royal Philharmonic with Pinchas Zukerman, Orchestre Philharmonique de Nice with Giancarlo Guerrero, a month-long tour of South Africa for concerts with the Cape and KwaZulu Natal philharmonics, an Israeli tour with the Israel Symphony, solo recitals at Sarasota’s Van Wezel Hall, New York’s 92nd Street Y and the University of Kansas’ Lied Center, and recitals with Renée Fleming in Carnegie Hall and Berkeley.

Kern’s discography includes her Grammy-nominated recording of Rachmaninoff’s Corelli Variations and other transcriptions (2004), Brahms Variations (2007) and Chopin Piano Sonatas No. 2 and 3 (2010). She was featured in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge.

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gateway What Does It Mean to be Royal? By Jonathan Minnick

I

f you are like me when it comes to certain orchestras, such as the one we have the pleasure of hearing tonight, you may ask yourself: How does something earn the title of “royal”? Of course, this question is never really that simple to answer, but we all know that being royal carries a great deal of importance. Not very many institutions are granted royal patronage, but you might be surprised by the variety. If you have ever flown into or around Amsterdam, you may be familiar with the KLM Royal Dutch Airlines. The Netherlands are also home to the Royal Concertgebouw Orchestra, which is one of the world’s leading orchestras today. As explained to me by a very kind Dutch woman, the “royal” designation is reserved for only the best that the Netherlands has to offer. This is, of course, quite a standard to live up to. Many orchestras throughout Great Britain receive the patronage of the Queen, but few bear the royal title. For Glasgow’s Royal Scottish National Orchestra (RSNO), being “royal” means they are the premier national orchestra in Scotland, as declared by Her Majesty The Queen. The Queen became the Patron of the RSNO in 1977 and the orchestra officially changed its name shortly thereafter, but one must wonder how this orchestra earned this national importance.

Arts patronage has a long history that reaches as far back as the medieval and Renaissance periods, when nobles or monarchs would sponsor artistic endeavors that they found particularly prestigious, or that reflected their political or social interests. A few recognizable beneficiaries of the patronage system include Michelangelo, William Shakespeare, Franz Joseph Haydn and Leonardo da Vinci.

Of course, there are many others, even outside the arts, and much like these luminaries, the Royal Scottish National Orchestra did not receive the Queen’s patronage by accident.

Even though the RSNO has only held the royal title for a few decades, the orchestra has a tremendous history that earned it the patronage it has today. Until 1904, The RSNO was the home of composer Gustav Holst, who played the allimportant second trombone for several years. George Szell, the conductor who arguably brought the Cleveland Orchestra to international acclaim, was appointed to principal conductor in 1936 and held the role for three seasons. Today, the rich traditions of the RSNO are carried forward by the recently appointed Danish conductor Thomas Søndergård, who has a long-standing connection with all things royal.

Søndergård began his education as a percussionist and timpanist at the Royal Danish Academy of Music before winning the timpani job with the Royal Danish Orchestra in 1992. Royalty does not end there, however. Being royal also means that the people who spotlight in your performances must also live up to the standards of HM The Queen; Olga Kern certainly fits the bill. Kern’s career as a pianist blossomed from a family of musicians who have direct ties to Tchaikovsky and Rachmaninoff, which is rather useful

to know, given that tonight we get to hear Kern perform Rachmaninoff’s gorgeous Variations on a Theme by Paganini.

Rachmaninoff seems to figure prominently her life, as Kern has even been Grammy-nominated for her 2007 recording of Rachmaninoff’s Corelli Variations. However, Olga Kern’s royalty looks a bit different from the others on this concert, as her distinction is exceptionally American. Kern was awarded the Ellis Island Medal of Honor, which recognizes Americans who “embody the spirit of America in their salute to tolerance, brotherhood, diversity and patriotism.” She is joined by a chorus of American royalty, such as Rosa Parks, Buzz Aldrin, Coretta Scott King and Sandra Day O’Connor.

So, what does it mean to be royal? Being royal is a big deal, and it does not come easily. However, this eight-time Emmy–nominated orchestra and two-time winner of the Diapason d’Or de l’année for symphonic music has shown throughout its existence that it deserves this distinction. It faced numerous challenges along the way, some that may seem insurmountable to even the most stable institutions: being interrupted by two World Wars, the burning of its performance hall in 1962 and financial troubles during the worldwide Depression. But through all of that, the RSNO persevered and continues to produce the best orchestral performances that Scotland has to offer. Tonight, we will hear for ourselves how that rich history has shaped the RSNO of today and experience something the Queen herself deemed worthy of her patronage.

JONATHAN MINNICK is a third-year musicology Ph.D. student at UC Davis. Minnick graduated with a Bachelor of Music in trombone performance from the University of North Carolina at Chapel Hill in 2016. At UNC, he performed in many ensembles across the campus while also focusing on musicological studies, leading to an honors thesis exploring Richard Strauss’ Alpine Symphony. This thesis explores the Alpine Symphony in terms of its historical origins, cultural influences, symphonic characteristics, and extensive tone painting. His current research encompasses film soundtracks of the mid-20th century, examining the relationship between sound and setting, particularly in science fiction movies.

His article, “Cyborgs and Cybernetics: Electroacoustic Characterization and Ecology in Forbidden Planet (1956),” will be published in the Jahrbuch des Zentrums für Populäre Kultur und Musik in 2019.

Presentation formats of this paper were presented at both the regional AMS NorCal meeting in April 2018 and at AMS/SMT San Antonio in November 2018. Minnick is also the co-editor, along with D. Kern Holoman, of the digital second edition of the Catalogue of the Works of Hector Berlioz, which can be found at California Digital Library.

Minnick continues to be an avid trombonist and performs regularly in the greater Sacramento region with jazz ensembles, symphonies, and pit orchestras, as well as performing full-time with the UC Davis Symphony Orchestra. Minnick is the president of the Graduate Student Association.

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Royal Scottish National Orchestra U.S. Tour

1ST VIOLIN Maya Iwabuchi leader Emily Davis Tamás Fejes assistant leader Lena Zeliszewska Patrick Curlett Barbara Paterson Jane Reid Caroline Parry Ursula Heidecker Allen Tania Passendji Elizabeth Lloyd Lorna Rough Susannah Lowdon

2ND VIOLIN Xander van Vliet principal Jacqueline Speirs Jessica Ling Marion Wilson Christopher Ffoulkes Nigel Mason Michael Rigg Paul Medd Anne Bünemann Sophie Lang Liam Lynch Alice Rickards

VIOLA Tom Dunn principal Luba Tunnicliffe Benjamin Kaminski Susan Buchan Rik Evans Lisa Rourke Claire Dunn Nicola McWhirter Maria Trittinger CELLO Aleksei Kiseliov principal Betsy Taylor Arthur Boutillier William Paterson Ruth Rowlands Rachael Lee Miranda Phythian-Adams Laura Sergeant

TIMPANI Paul Philbert principal

DOUBLE BASS Ana Cordova principal Margarida Castro Michael Rae Paul Sutherland Sally Davis Paul Speirs FLUTE Katherine Bryan principal Helen Brew Janet Richardson principal piccolo OBOE Adrian Wilson principal Peter Dykes Mike Austin Cor Anglais CLARINET Matt Glendening guest principal Robert Fairley Robert Digney E-flat clarinet Duncan Swindells principal bass clarinet BASSOON David Hubbard principal Luis Eisen

HARP Pippa Tunnell

PIANO & CELESTE Lynda Cochrane

STAFF Angela Moreland Interim Chief Executive Bill Chandler Interim Deputy Chief Executive Michael Cameron Driver and Assistant Stage Manager Bekah Cork Artistic Planning & Tours Manager Ewen McKay Head of Orchestra Management Fiona McLeod Head of Major Gifts Daniel Pollitt Communications Manager Craig Swindells Stage & Production Manager

HORN Christopher Gough principal Alison Murray Andrew McLean David McClenaghan Martin Murphy TRUMPET Christopher Hart principal Marcus Pope Jason Lewis Andrew Connell-Smith

Junping Qian Assistant Conductor

TROMBONE Dávur Juul Magnussen principal Lance Green Alastair Sinclair principal bass trombone TUBA John Whitener principal

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PERCUSSION John Poulter associate principal Tom Hunter Stuart Semple Philip Hague Julian Wolstencroft

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

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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

Charles Kelso and Mary Reed Peter Kenner Ellen J. Lange Sevim Larsen 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 Sally Ozonoff and Tom Richey Frank Pajerski J. and K. Redenbaugh Eugene and Elizabeth Renkin David and Judy Reuben* Ron and Morgan Rogers Sharon and Elliott Rose* 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 Marie 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 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

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 Jill and Mary Bowers Verne and Jerry 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*

$350 - $699

* Friends of Mondavi Center

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$125 - $349

†Mondavi Center Advisory Board Member

°In Memoriam

Bonnie and LeRoy Chatfield Gail Clark Linda Clevenger and Seth Brunner 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 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 Richard 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 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 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 Cynthia and Roy Kroener C.R. and Elizabeth Kuehner 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 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 Kei and Barbara Miyano Vicki and Paul Moering 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 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 Mary and Ron Rogers Carol and John Rominger Richard and Evelyne Rominger Janet Roser 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 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 28 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. * Friends of Mondavi Center

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†Mondavi Center Advisory Board Member

°In Memoriam

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