Bruckner: Te Deum Rossini: Stabat Mater

8 pm, SunDAY, 14 mArCH 2010 J a c k s o n H a l l , M o n d a v i c e n t e r

with the Alumni Chorus and the uC DAvis symphony orChestrAarianna Zukerman, soprano | Judith Malafronte, mezzo-soprano

Wesley rogers, tenor | James Maddalena, baritone

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This concert is being recorded professionally for the university archive. Please remain seated during the music, remembering that distractions will be audible on the recording. Please deactivate cell phones, pagers, and wristwatches. Flash photography and audio and video recording are prohibited during the performance.

8 p m , S u n d ay, 1 4 m a r c h 2 0 1 0J a c k S o n h a l l , m o n d av i c e n t e r

u n i v e r S i t y c h o r u S & a l u m n i c h o r u Su c d av i S S y m p h o n y o r c h e S t r a

w i t h

a r i a n n a Z u k e r m a n , S o p r a n oJ u d i t h m a l a f r o n t e , m e Z Z o - S o p r a n o

w e S l e y r o g e r S , t e n o rJ a m e S m a d d a l e n a , b a r i t o n e

J e f f r e y t h o m a S , c o n d u c t o r

p r o g r a m

Te Deum Anton BrucknerAllegro moderato (1824–96)ModeratoAllergro moderato. Feirlich, mit KraftModeratoMäßig bewegt

i n t e r m i s s i o n

Stabat Mater Gioacchino RossiniIntroduction: Stabat mater dolorosa (1792–1868)Aria: Cujus animam gementemDuet: Quis est homoAria: Pro peccatis suae gentisChorus and Recitative: Eja, mater, fons amorisQuartet: Sancta mater, istud agasCavatina: Fac, ut portem Christi mortemAria and Chorus: Inflammatus et accensusQuartet: Quando corpus morieturFinale: Amen, in sempiterna saecula

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A b o u t t h e A r t i s t s

Possessing a luminous voice with “the breadth of dramatic inflection to make for a powerfully effective performance” (Opera), soprano arianna Zukerman is equally in demand for opera and concert performances. The Washington Post observes, “Arianna Zukerman possesses a remarkable voice that combines the range, warmth and facility of a Rossini mezzo with shimmering, round high notes and exquisite pianissimos….” Zukerman’s 2009-10 season includes several reengagements, including with the Gulbenkian Foundation Orchestra in Lisbon to sing Salieri’s Requiem, with Music of the Baroque for Mozart’s Requiem, and with the National Arts Centre for Mozart’s “ch’io mi scordi di te.” She also sings First Lady in Die Zauberflöte with Opera Lyra Ottawa, Mahler’s Symphony No. 4 with the National Philharmonic, and in recital with pianist Navah Perlman for El Paso Pro Musica. Previous opera highlights include her first collaboration with Lorin Maazel as Female Chorus in The Rape of Lucretia; her

debut with the New York City Opera in Mark Adamo’s Lysistrata; and performing the Governess in The Turn of the Screw with Chicago Opera Theater, Micaëla in Carmen with the Dallas Symphony Orchestra at the Vail Valley Music Festival; Marzelline in Fidelio with the Minnesota Orchestra, and Nizza in the world premiere of Donizetti’s long-lost Elisabeth, conducted by Will Crutchfield at the Caramoor Music Festival. Other performance highlights include performing as soloist in Haydn’s The Seasons with Music of the Baroque, Neikrug’s Nachtlieder and Debussy’s Fall of the House of Usher with the Gulbenkian Foundation Orchestra, Britten’s War Requiem in a return to the National Philharmonic, Musetta in La bohème with the Philadelphia Orchestra and at the Vail Valley Music Festival, and Handel’s Messiah with the American Bach Soloists, recorded for the Naxos label.

Judith malaf ronte, mezzo-soprano, has appeared with numerous orchestras and oratorio societies, including the Los Angeles Philharmonic at the Hollywood Bowl, the San Francisco Symphony, the St. Louis and Baltimore Symphonies, the St. Paul Chamber Orchestra, the Seattle Baroque Orchestra, and the Handel and Haydn Society. She has sung at the Tanglewood Festival, the Boston Early Music Festival, and the Utrecht Early Music Festival, and she is a frequent guest artist with the American Bach Soloists, the Philharmonia Baroque Orchestra, the Dave Brubeck Quartet, and the Harp Consort. Her operatic performances include the title role in Handel’s Serse at the Göttingen Festival, Scarlatti’s L’Aldimiro at the Berkeley Festival, Dido and Aeneas with the Mark Morris Dance Group (singing both Dido and the Sorceress), and Nero in Monteverdi’s L’Incoronazione di Poppea for the Aston Magna Festival. She has also sung leading roles at the opera houses of Lyon, Liège, and Montpellier, and she has

won several top awards in Italy, Spain, Belgium, and the United States. She has recorded a wide range of repertoire, from the 12th-century chant of Hildegard von Bingen to the Deutsche Motette of Richard Strauss, including Handel’s Serse with Nicholas McGegan on BMG, Bach cantatas and the St. Matthew Passion with American Bach Soloists for Koch Classics, medieval music with the Newberry Consort for Harmonia Mundi, and Spanish 17th-century music. Malafronte’s writings on music have appeared in Opera News, Early Music America, Stagebill, Schwann Inside, and Opus.

Hailed by San Francisco Classical Voice as possessing the “kind of tenor that pours forth powerfully, effortlessly, seemingly for any length of time,” tenor wesley rogers is making his mark on both operatic and concert stages throughout the United States. While a member of the Seattle Opera, Rogers performed the roles of Peter Quint in Britten’s Turn of the Screw, Maintop in Billy Budd, and Trin in Fanciulla del West. He has also performed the role of Alfredo in Skagit Opera’s La Traviata and the title role in Tacoma Opera’s Faust. Recent concert engagements include Handel’s Messiah and Bach’s St. Matthew Passion with the American Bach Soloists, Britten’s War Requiem with Orchestra Seattle, Mozart’s Coronation Mass with the Eos Orchestra, and Louis Gruenberg’s The Daniel Jazz at the Bard Festival. Rogers has also performed with the Mark Morris Dance Group, Santa Fe Pro Musica, the Seattle Baroque Orchestra, the Cabrillo Festival, Capella Romano, the Tudor Choir, Opera Memphis, and the Sun Valley

Center for the Arts. Upcoming engagements include Tony in Pacific Northwest Ballet’s West Side Story Suite.

James maddalena, baritone, is known for his outstanding work in contemporary music. He created the notable characters of Richard Nixon and The Captain in two operas by John Adams, the award winning Nixon in China and The Death of Klinghoffer, respectively. He is closely associated with other composers, including John Harbison, Gunther Schuller, Elliot Goldenthal, Robert Moran, Domenick Argento, Marc Blitzstein, and Michael Tippett, via performances with such companies as the New York City Opera, the Houston Grand Opera, the Washington Opera, the San Francisco Opera, the Atlanta Opera, Opera Theatre of St. Louis, the Frankfurt Opera, Opéra de la Monnaie in Brussels, Australia’s Adelaide Festival, The Netherlands Opera, the Glyndebourne Festival Opera, and the Opéra de Lyon, as well as with the Chicago Symphony, the Los Angeles Philharmonic, the Boston Symphony, the San Francisco Symphony, the Brooklyn Philharmonic, the Royal Scottish Orchestra, Orchestra

of the Accademia Nazionale di Santa Cecilia in Rome, and the London Symphony. Other highlights of Maddalena’s career include Schubert’s demanding song cycle Die Winterreise, sung at the Brooklyn Academy of Music with Robert Spano as accompanist, and the complete cycle of Bach cantatas with Boston’s Emmanuel Music. He has recorded prolifically for Decca/London, BMG Classical Catalyst, Nonesuch, Teldec, Sony Classical, Harmonia Mundi, and EMI. He can also be heard on the Grammy Award-winning recording of Nixon in China (Nonesuch) and the Emmy Award-winning PBS telecast, now on DVD.

u n i v e r S i t y c h o r u SJ e f f r e y t h o m a S , c o n d u c t o r

p e t e r h i l l , a S S i S ta n t c o n d u c t o r a n d a c c o m pa n i S t

Soprano i

Jessica BrunsKaitlyn ClarkLeanna FriedrichWendy HoChristina LawrenceLaura PutnamMiriam RockeAdele SonoraDiane SotoCecilia WhitworthSara Wilson

Soprano i i

Jennifer AdlerAlyssa BlackPhoebe CoppSarah FloresCaitlin GaustadTianna GrantKirstin HaagAmy HarrisRuthie LevineLouise LindbergErica NurseAnne RichardsonSimone VerbakenRachel Whitcombe

alto i

April FerreAlisha GorderYoon Jeong (Jennifer) JangJulia KulmannCaroline McGrathAlex MenzeElizabeth NicholsOaggin ParkPatricia PeacockElizabeth ReevesHaeri Kate SuhWinona Wagner

alto i i

Meghan EberhardtSara FranssenSusan GarbiniEmma GavendaMoran GorenSally GrayMary HerbertPaula LernerGina MarinoKrysten MelgarBarbara MolloyTatz IshimaruNina Vuoso

tenor i

Pejman AhmadiJoseph EspenaJohn ForellMilton JacksonRichard KulmannDaniel OlivasGabriel PeralezJerry SchimkePeter Shack

tenor i i

Adam CobbJordan CohenJohn GibsonDavid GriffinHarry JinSpencer LittleKenny MacJeffrey PatersonEddie ShihDaniel TanJanghee (John) Woo

ba ss i

Paul-Anthony BernucciBrent CurridenKevin FosterNathan HannonJames HutchinsonGregory LantonNeil RuudDakota SalazarEric SpearsDoug UnderwoodCaleb Yee

ba ss i i

Leonidas Constable, Jr.Robert CrummeyJim DraperKenneth FiresteinDavid GreenBryan KlingmanCraig LandonTimothy MascarinasDan NaJoshua Scott

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u c d av i S a l u m n i c h o r u SJ e f f r e y t h o m a S , c o n d u c t o r

p e t e r h i l l , a S S i S ta n t c o n d u c t o r a n d a c c o m pa n i S t

Soprano i

Amanda Boardman 2004Susan Burris Conwell 1995Marjorie Halloran 2007Lauren Kaplan 1977Barbara Lachendro 1985Harmony Luo 2007Jeri Ohmart 1968Elizabeth Parks 2006Sue Shellooe Lisa Sueyres 2008Paula Fisher Thompson 1976Stacey Twisdale 2008Cheryl Christenson

Villavicencio 2002Cynthia Weller 2007

Soprano i i

Barbara Cowie 1977Beth Baker Grose 1981Melissa Johnson Hallas 2002Jeanne Howe 1974Joan Lunderville 1965Jeanine McElwain 1998Aileen Nichols 2006Elenka Proulx 2004Rebecca Wendlandt 2006

alto i

Mary Kramer Brower 1989Barbara Celli Christina Connell 2007Leslie Larson Cooper 1976Laura Crowder 2007Aimee Dour-Smith 1992Evelynne Drinker Amy Eleazarian 2007Kate Ivanjack 1998Charlene Kunitz Leslie Nevins Leong 1981Linda McCann Christine Grego Meairs 1979Linnea Nasman 2008Rhonda Papas 1979Lyn Parker 1971Regina Sikora 2005Wynne Engler Skow 1972Cynthia Sperry 2006Flora Wong Sulit 2005Lynne Swant 2002Joyce Takahashi Michelle Wood Turner 1984Karen Banks Walton 1977

alto i i

Ann Halsted Sara McCray Martin 1976Barbara Meixner 1964Kathleen Bo-Mie Pae 2007Mardi Gamble Paulson 1977Cynthia Shellum Wight 1976

tenor i

Seth Arnopole 1998Stephen Fasel 2008Laureen Jenson 2009Jim Lewis 1980Darren Pollock 2001Asa Stern 1997Linda Winter 2002

tenor i i

John Grose 1981Gary Matteson 1960Jeff Ouye 1993Jim Shellooe 1977Jeremy Smith 2006

ba ss i

Jeff Aran 1980David Benjamin 1999Craig Machado 1974Charles Monson Noca 1994Keith Rode 2002Matthew Stevenson 2008Paul Terry 2001Eric van Boer 1976Cirian Villavicencio 2002

ba ss i i

Christopher Bennett 2006Joshua Eichorn 1998Thomas Estes 1980Ian MacGregorEd MartinChester (Chet) Moore 1960Jeff Pettit 1976

f o r t h e u c d av i S d e pa r t m e n t o f m u S i c

Phil Daley, publicity managerJosh Paterson, production manager

Jessica Kelly, writerRudy Garibay, designer

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u c d av i S S y m p h o n y o r c h e S t r a c h r i S t i a n b a l d i n i , m u S i c d i r e c t o r a n d c o n d u c t o r

Names appear in seating order.

viol in i

Cynthia Bates,concertmaster *

Yosef Farnsworth,concertmaster *

Shawyon Malek-Salehi,assistant concertmaster *

Sharon Tsao *Maya Abramson *Vanessa RashbrookRaphael Moore *Sophie TsoAlex MilgramAndy KifuthuClairelee Leiser Bulkley *Joan CrowMeghan TeagueLucile CainRomtean FakharzadehStanley Hsu

viol in i i

Margaux Kreitman,principal *

Angelo Arias,principal *

Lisa EleazarianAaron GongShari GueffroySharon InkelasYe ChenKeun-yung ParkTamra BarkerFrancisco OrtegaChristina MaoMorgan McMahonKathryn Azarvand

viola

Andy Tan,principal *

Meredith Powell,principal *

Caitlin MurrayMelissa LyansTao HePablo FriasAndrew BensonMatthew SlaughterAlice ChouVictoria ParkerMargaret Hermle

cel lo

Isabel Ortiz,principal *

Kim Zietlow,principal *

Milena Schaller *Hannah Choi *Grace HarveyStephen HudsonChris AllenEldridge Moores *Tobias MünchCarrie Miller Alex Church

ba ss

Amanda Wu,principal *

Thomas MykytynMelissa ZerofskyThomas Adams-FalconerGreg BruckerThomas DerthickMichael Schwagerus

flute

Susan Monticello,principal *

Alexandra Engen,assistant principal *

Abby GreenMichelle Hwang

oboe

Jaclyn Howerton,principal *

Laura DenonRussell EisenmanStacy Habroun

clar ine t

Al Bona,principal *

Robert Brosnan,principal

Aaron Hill

alto Saxophone

Eric Webb

ba ssoon

Kate MacKenzie,principal *

Matt Wong,principal *

Allison PeeryDiane Royalty

hor n

Rachel Howerton,principal *

Stephen HudsonAdam MoralesBobby Olsen,

co-principal

trumpet

Andrew Neish,principal *

Leonard Ott,principal *

Angelica Cortez,assistant principal

Dillon Tostado

trombone

Paul Watkins,principal *

John Unrath,assistant principal *

Rebecca Brover

ba ss trombone

Jeffrey Buscheck *

euphonium

Adam Brover

tu ba

John Matter *Adam Brover

percu ss ion

Wyatt Harmon,section leader *

Kevin KooVictor NavaDan EisenbergJamie LewScott McAuliffe

har p

Emily Ricks,principal *

Kensal Murph

piano & celes taPeter Kim *

organ

Stephen Janzen

* Holder of endowed seat

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e n d o w e d S e at SMade possible by gifts of $10,000 or more.

cynthia bates & yosef farnsworth – Cynthia Bates concertmasterPresented by Debra Horney, M.D.

Shawyon malek-Salehi – Damian Ting assistant concertmasterPresented by Damian Siu Ming Ting

clairelee leiser bulkley – Clairelee Leiser Bulkley violin IPresented by Clairelee Leiser Bulkely & Ralph E. Bulkley

Sharon tsao – Francis Dubois violin IPresented by Nancy Dubois

raphael moore – Raphael S. Moore violin IPresented by Jolanta Moore in memory of Dr. Irena Anna Henner

maya abramson – Ralph and Judy Riggs violin I

margaux kreitman – Fawzi S. Haimor principal violin IIPresented by Barbara K. Jackson

angelo arias – Shari Benard-Gueffroy assistant principal violin II

andy tan – Jocelyn Morris principal violaPresented by James & Jocelyn Morris

meredith powell – Bakos Family assistant principal violaPresented by John T. Bakos, M.D., Ph.D., in memory of Dr. John and Grace Bakos

isabel ortiz & kim Zietlow – Herman Phaff principal celloPresented by Herman & Diane Phaff

milena Schaller – Tracy McCarthy celloPresented by Brian & Louanne Horsfield

eldridge moores – Eldridge Moores celloPresented by Eldridge & Judith Moores

hannah choi – Louise McNary celloPresented by Don McNary

amanda wu – Barbara K. Jackson principal bass

Susan monticello – principal flutePresented by “Babs” Sandeen & Marty Swingle

alexandra engen – Phyllis & Thomas Farver flute / piccolo

Jaclyn howerton – Wilson and Kathryn Smith principal oboe

al bona – W. Jeffery Alfriend, DVM, principal clarinetPresented by Vicki Gumm & the Kling Family Foundation

kate mackenzie & matt wong – Kling Family Foundation principal bassoonPresented by Vicki Gumm & the Kling Family Foundation

rachel howerton – Kristin N. Simpson and David R. Simpson principal hornPresented by Richard & Gayle Simpson

andrew neish & leonard ott – Andrew Mollner principal trumpetPresented by Joseph Dean Mollner & Andrew Mollner

paul watkins – Rebecca A. Brover principal trombone

John unrath – Michael J. Malone trombonePresented by Brian McCurdy & Carol Anne Muncaster

Jeffrey buscheck – Brian McCurdy bass trombonePresented by Barbara K. Jackson

John matter – Robert B. Rucker TubaPresented by Robert & Margaret Rucker

emily ricks – Calvin B. Arnason principal harpPresented by Benjamin & Lynette Hart

wyatt harmon – Friedman Family principal percussionPresented by Marvin & Susan Friedman

peter kim – Gary C. Matteson orchestral pianoPresented by Jane, Dwayne, & Donald Matteson

The Wilson & Kathryn Smith conductor’s podium was presented in honor of D. Kern Holoman.

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A Te Deum is a hymn of praise to God, to be sung at the dedication of a church, after a great military victory, for the coronation of monarchs, and at similar festivities. The test originated in the fifth century and is traditionally attributed to St. Ambrose.

Since they are often wedged into windy affairs of state, Te Deums are usually brief, and Bruckner’s is, by Brucknerian standards, positively compact. Nevertheless, it was summarily dismissed by the stodgy court conductor Joseph Hellmesberger, who had suggested the idea to begin with, as too long for the use of the Imperial Chapel.

Bruckner’s Te Deum is in the regal key of C major and consists of five short movements played without pause. Much of the chorus material is in unison or counterpoint of childlike simplicity. There is a good deal of cross-referencing, especially in the many bright arpeggios and great tonic pedal points; moreover, the Te ergo and Salvum fac are, but for the test and distribution among the soloists, exactly the same. With that, indeed, the organization of this quite minimal work is summarized: huge Gothic washes of chorus, brass, organ, and pealing eighth notes merely alternate with the gentler Te ergo and its mirror.

Only in the last movement is there serious polyphony, and then it happens in a big way. In the simple introduction the test is declaimed for all to understand: “In Thee, O Lord, have I trusted that I shall not forever be confounded.” Afterward, a big double fugue breaks forth—two subjects at once; that is, here things are a little more complicated, but the point is that pairs of voices are answered by other pairs of voices. Church organists of the time were supposed to be able to write such things on demand, but Bruckner’s is an especially learned display. Everything seems to move at once, all the time. After the fugue dissipates, a homophonic version of the material prepares the way for return of the tremendous C-major effects from the very beginning.

The Te Deum is a work of Bruckner’s steadfast faith, carrying his typical dedication “to the dear Lord.” Mahler scribbled in his own score his assessment of the performing force: “angelic tongues, Godseekers, tormented hearts and souls purified by flame.” Bruckner was more sanguine, suggesting that on the day he was to meet his maker, “I will show him the score of my Te Deum, and he may judge me accordingly.”

—D. Kern Holoman

By the time Gioachino Rossini was 21 years old, he had become the hero of Italian opera fans. And by the time he was 37 years old, he had composed 40 operas and had already retired from that part of his career. His tremendous and nearly

unprecedented success as a child prodigy and young composer had already provided exceedingly rich experiences, so much so that he began an intentional hiatus from his public life as a celebrated composer – really a retirement, of sorts – that would ultimately last until his death more than 30 years later. While Rossini did not completely arrest his compositional interests, he composed no more opera after William Tell (1829) and chose religious themes for most of his subsequent works, leading to a few sacred cantatas, the Petite Messe Solennelle, and the Stabat Mater that was begun in 1831 but completed a decade later.

Stabat Mater is a thirteenth-century text that recounts the suffering of Mary at the foot of the cross during the crucifixion of Jesus. While settings of the Roman Catholic sequence, or liturgical poem, have come from the pens of composers worldwide, it is safe to say that more settings have been produced by Italian composers than those of any other nationality. Indeed, it has been a favorite text of Italian composers for centuries, and the setting by Giovanni Battista Pergolesi (1736) has enjoyed enormous popularity. Pergolesi wrote his setting during the last month of his life, and it was so immediately famous and successful that his reputation flourished in the years following his death, so much so that a number of compositions, all incorrectly (either intentionally or not) attributed to him, took hold for about 200 years as the product of the creator of the legendarily beautiful Stabat Mater.

bruckner: te deumFor soloists (SATB), chorus; flutes I-II, oboes I-II, clarinets I-II, bassoons I-II; horns I-IV, trumpets I-III, trombones I-III, tuba; timpani; organ; strings

Composed 1881–84 in Vienna

First performed 10 January, 1886, by the Vienna Gesellschaft der Musikfreunde, Hans Richter conducting. A performance with piano had been given in the Musikvereinsaal on May 2, 1885, Bruckner conducting.

Published by Theodor Rattig (Vienna, 1885)

Duration: about 25 minutes

roSSini: Stabat materFor soloists (SATB), chorus; flutes I-II, oboes I-II, clarinets I-II, bassoons I-II; horns I-IV, trumpets I-II, trombones I-III; timpani; strings

Composed 1831–41 in Paris

First performed 7 January 1842, Théâtre Italien, Paris, Gaetano Donizetti conducting.

Published by Troupenas (France, 1841) and B. Schott’s Sons (Germany, 1841)

Duration: about 60 minutes

n o t e S

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t e X t S a n d t r a n S l at i o n S

bruckner: te deum

1. allegro moderatoTe Deum laudamus,te Dominum confitemur.Te aeternum Patremomnis terra veneratur. Tibi omnes Angeli, tibi coeli et universae potestates, tibi Cherubim et Seraphimincessabili voce proclamant: Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.Pleni sunt coeli et terramajestatis gloriae tuae. Te gloriosus Apostolorum chorus,te Prophetarum laudabilis numerus,te Martyrum candidatus laudat exercitus.

Te per orbem terrarum sancta confitetur Ecclesia,Patrem immensae makestatis;venerandum tuum verum et unicum Filium; Sanctum quoque Paraclitum Spiritum.

Tu, rex gloriae, Christe. Tu Patris sempiternus es Filius. Tu ad liberandum suscepturus hominem,non horruisti Virginis uterum.

Tu, devicto mortis aculeo,aperuisti credentibus regna coelorum.

Tu ad dexteram Dei sedes,in gloria Patris. Judex crederis esse venturus.

We praise thee, O God,we acknowledge thee to be the Lord.All the earth doth worship thee,the Father everlasting.

To thee all Angels cry aloud,the Heavens, and all the Powers therein.To thee Cherubin and Seraphincontinually do cry:

Holy, Holy, HolyLord God of Sabaoth;Heaven and earth are full of the Majesty: of thy Glory.

The glorious company of the Apostles praise thee.The goodly fellowship of the Prophets praise thee.The noble army of Martyrs praise thee.

The holy Church throughout all the worlddoth acknowledge thee,The Father of an infinite Majesty,Thine honourable, true and only Son,Also the Holy Ghost: the Comforter.

Thou art the King of Glory O Christ.Thou art the everlasting Son of the Father.When thou tookest upon thee to deliver man thou didst not abhor the Virgin’s womb.

When thou hadst overcome the sharpness of death, thou didst open the Kingdom of Heaven to all believers.

Thou sittest at the right hand of Godin the glory of the Father.We believe that thou shalt come: to be our Judge.

2. moderatoTe ergo quaesumus, tuis famulis subveni,quos pretioso sanguine redemisti.

We therefore pray thee, help thy servants,whom thou hast redeemed with thy precious blood.

3. allergro moderato. feirlich, mit kraftAeterna fac cum Sanctis tuis in gloria numerari.

Make them to be numbered with thy Saintsin glory everlasting.

4. moderatoSalvum fac populum tuum, Domine, et benedic hereditati tuae.Et rege eos et extolle illos usque in aeternum.

Per singulos dies benedicimus te.Et laudamus nomen tuum in saeculum et in saeculum saeculi.

Dignare, Domine, die istosine peccato nos custodire.

Miserere nostri, Domine, miserere nostri.

Fiat misericordia tua, Domine, super nos,quemadmodum speravimus in te.

O Lord, save thy people,and bless thine heritage.Govern them, and lift them up forever.

Day by day we magnify thee;and we worship thy Name,ever world without end.

Vouchsafe, O Lord,to keep us this day without sin.

O Lord, have mercy upon us,have mercy upon us.

O Lord, let thy mercy lighten uponas our trust is in thee.

5. mäßig bewegt In te, Domine, speravi: non confundar in aeternum.

O Lord, in thee have I trusted:let me never be confounded.

n o t e S

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Now, however, it has been shown that only about 10% of the more than 300 works in libraries that bear Pergolesi’s name are actually authentic.

Rossini’s setting is as compelling a summary of his earlier operatic masterworks as Verdi’s Requiem is suitably called that composer’s finest “opera.” Each aria, duet, quartet, and chorus in Rossini’s Stabat Mater seems to represent the pinnacle of those operatic formats as revealed in the 40 operas that preceded it. Despite the power and ultimate piety of Rossini’s setting, it is likely that he was not fully invested in the project when he began to compose the Stabat Mater in 1831. He wrote only six of the ten movements at that time, and had a colleague, Giovanni Tadolini from Bologna, supply the rest. The score made its way to Madrid where it was heard in that hybrid version, but it was not until an option for publication arose that Rossini decided to finish the piece himself, leading to its Parisian premiere in 1842.

A terribly amusing article about Rossini’s Stabat Mater was penned by Richard Wagner in 1841, in which he describes the air of anticipation before the premiere of the work (now fully composed by Rossini) in Paris, as well as Rossini’s motivation to initially begin his work on the Stabat Mater:

“Rossini is pious,—all the world is pious, and the Parisian salons have been turned into praying-cells.—It is extraordinary! So long as this man lives, he’ll always be the mode… Rossini had let nothing be heard of him for ten long years: he sat in Bologna, ate pastry, and made wills…during those ten years the musical world had “moaned” beneath the silence of the giant master…he refused to hear his operas any more. But the truth of it seems to have been that he felt penitent and meant to write church-music…The earliest stimulus to carry out his expiation seems to have come to him in Spain: in Spain, where Don Juan found the amplest, choicest opportunities of sin, Rossini is said to have found the spur to penance.”

Despite Wagner’s tongue-in-cheek tone, Rossini’s Stabat Mater has remained as popular as its composer was humble and contrite about his adeptness as a composer of sacred music: In his last years, he wrote, “I was born for opera buffa, as you well know. Not much skill, but quite a bit of feeling - that’s how I’d sum it up. Blessed be thy name, and grant me a place in Paradise.”

He was very humble about its success, expressing his desire that the work would be perceived as suitably devout. In fact, several movements stand out as being exceptionally effective in the delivery of their texts. The opening movement, somber and dramatic, and the eighth movement – a somewhat harrowing setting of “Inflammatus et accensus per te, Virgo, sim defensus in die iudicii” (Lest I be set afire by flames of death, Virgin, may I be defended by you, on the day of judgment) – certainly rival moments of equal dramatic intensity in the large sacred works of Verdi and Berlioz. And the final fugue on “In sempiterna saecula” (Throughout time everlasting) is appropriately grandiose, although perhaps a bit more triumphant than consoling. The other movements, as noted before, would be just as well suited for moments within opera buffa as they are within the context of this ecclesiastical work. They are highly entertaining – certainly not intended to be so – but probably not the most direct expressions of their texts. For example, in the second movement, “Cuius animam gementem” (Through her weeping soul), the tenor’s cadenza takes him to an astonishingly high D-flat above high C, and that on the work “poenas” (torment, pain, or punishment). It is hard not to wonder what sort of word-painting Rossini had in mind at this moment, despite the fact that in the capable throats of at least a few tenors (including ours tonight) that note can be quite beautiful. Nevertheless, in the Stabat Mater, Rossini by far exceeded the propriety of his earlier sacred work, the Messa di Gloria, composed when he was just 28 years old.

—Jeffrey Thomas

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t e X t S a n d t r a n S l at i o n S

8. aria (soprano i) e coro. andante maestosoInflammatus et accensusPer Te, Virgo, sim defensusIn die iudicii.

Fac me cruce custodiriMorte Christi praemuniriConfoveri gratia.

Lest I be set afire by flames of death, Virgin, may I be defended by you, on the Day of Judgment.

Christ, when it is time to pass away, grant that through your Mother I may come to the palm of victory.

9. Quartetto (soloists). andanteQuando corpus morietur,Fac, ut animae doneturParadisi gloria.

When my body dies, grant that to my soul is given the glory of paradise. Amen.

10. finale. allegro – andante moderatoAmen. In sempiterna saecula. Amen. Throughout time everlasting.

t e X t S a n d t r a n S l at i o n S

roSSini: Stabat mater

1. introduzione. andantino moderatoStabat Mater dolorosaIuxta crucem lacrimosaDum pendebat Filius.

The grieving Motherstood weeping beside the cross where her Son was hanging.

2. aria (tenor). allegretto maestosoCuius animam gementemContristatam et dolentemPertransivit gladius

O quam tristis et afflictaFuit illa benedictaMater unigeniti!

Quae moerebat et dolebat,Et tremebat cum videbatNati poenas incliti.

Through her weeping soul, compassionate and grieving, a sword passed.

O how sad and afflicted was that blessed Mother of the Only-begotten!

Who mourned and grieved, the pious Mother, looking at the torment of her glorious Child.

3. duetto (soprano i/ii). largoQuis est homo qui non fleret,Christi Matrem si videretIn tanto supplicio?

Quis non posset contristari,Piam Matrem contemplariDolentem cum Filio?

For the sins of his people she sawJesus in torment and subjected to the scourge.

She saw her sweet offspring dying, forsaken, while he gave up his spirit.

5. coro (a cappella) e recitativo (basso). andante mossoEia Mater, fons amoris Me sentire vim dolorisFac, ut tecum lugeam.

Fac, ut ardeat cor meum In amando Christum DeumUt sibi complaceam.

O Mother, fountain of love, make me feel the power of sorrow, that I may grieve with you.

Grant that my heart may burn in the love of Christ my Lord, that I may greatly please him.

6. Quartetto (soloists). allegretto moderatoSancta Mater, istud agas,Crucifixi fige plagasCordi meo valide.

Tui nati vulnerati,Tam dignati pro me pati,Poenas mecum divide.

Fac me vere tecum flere,Crucifixo condolere,Donec ego vixero.

Iuxta crucem tecum stare,Te libenter sociareIn planctu desidero.

Virgo virginum praeclara,Mihi iam non sis amaraFac me tecum plangere.

Holy Mother, grant that the wounds of the Crucified drive deepinto my heart.

That of your wounded Son, who so deigned to suffer for me, I may share the pain.

Let me sincerely weep with you, bemoan the Crucified, for as long as I live.

To stand beside the cross with you, and to join you in your weeping, this I desire.

Chosen Virgin of virgins, be not bitter with me, let me weep with thee.

7. cavatina (soprano ii). andante graziosoFac, ut portem Christi mortemPassionis eius sortem,Et plagas recolere.

Fac me plagis vulnerari,Cruce hac inebriari,Ob amorem Filii.

Grant that I may bear the death of Christ, share his Passion, and commemorate His wounds.

Let me be wounded with his wounds, let me be inebriated by the cross and your Son’s blood.

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Sacramento choral Society and orcheStrado n ald K e n d r i cK mu S i c di r ec to r

Mondavi �atinee Series

Sunday March 28 at 2 pm

Mondavi Center UC Davis

Mondavi Box Office 1-866-754-2787

Brahms –Ein Deutsches Requiem Jessica Siena, Soprano Stephen Janzen, BaritoneDiscover why Brahms’ Requiem may be the most comforting, humane requiem ever written.

Brahms –Alto Rhapsody Maya Layhani, MezzoSpecial Guest Men’s Chorus: Sacramento State University Chorus and Sacred Heart’s Schola Cantorum

Brahms–Academic Overture

SacramentoChoral.com | Pre-concert video podcast

15

Mitzi S. AguirrePriscilla AlexanderW. Jeffery Alfriend, DVM**Thomas and Patricia AllenDavid M. Ashkenaze, M.D.*Robert and Joan Ball*Cynthia Bates*Matthew and Shari Benard-

Gueffroy**Robert Biggs and Diane CarlsonOscar and Shula BlumenthalRebecca A. Brover**Robert and Hilary Brover**Gregory A. BruckerRalph E. Bulkley and

Clairelee Leiser Bulkley**Walter and Marija Bunter*Ray and Mary Cabral*Lynn and Robert CampbellDon and Dolores Chakerian*Terry and Marybeth CookElizabeth CorbettAllan and Joan Crow*Martha Dickman*Nancy DuBois*Jonathan and Mickey ElkusThomas and Phyllis Farver**Ron FisherTyler T. Fong*Marvin and Susan Friedman**Edwin and Sevgi FriedrichAnne Gray*Vicki Gumm and Kling

Family Foundation**Prof. and Mrs. Said Haimor*Benjamin and Lynette Hart**Lorena Herrig*Barbara D. HoermannProf. and Mrs. D. Kern

Holoman**Debra A. Horney, M.D.**Brian and Louanne Horsfield**Ilia Howard*Margaret E. Hoyt*

Dr. and Mrs. Daniel R. Hrdy*Sharon InkelasBarbara K. Jackson**Prof. Joseph E. Kiskis Jr.*Winston and Katy KoFamily of Norman Lamb*Dr. Richard Levine*Paul and Lois LimSusan LinzMelissa Lyans and Andreas J.

Albrecht, Ph.D.*Natalie and Malcolm

MacKenzie*Douglas W. Macpherson and

Glayol Sabha, M.D.*Marjorie March*J. A. MartinGary and Jane Matteson**Katherine Mawdsley and

William F. McCoy*Scott and Caroline MayfieldGreg and Judy McCall*Tracy H. and Brendan J.

McCarthyUlla and Gerald McDanielDon and Lou McNary*Albert J. and Helen McNeil*Sharon Menke, esq.Maureen MillerAndrew Mollner**Joseph Dean Mollner**Eileen and Ole Mols*George MooreJolanta Moore**Raphael S. and Netania Moore*Eldridge and Judith Moores**James and Jocelyn Morris**Mary Ann Morris*Ken T. Murai*Russell and Alice OlsonJessie Ann OwensPaul and Linda Parsons*Herman and Dianne Phaff**Marjorie Phillips and

Robert Rice

James and Felicity PineJim and Nancy PollockAnn PrestonEugene and Elizabeth Renkin*Ralph and Judy Riggs**Susanne Rockwell and

Brian SwayJerome and Sylvia Rosen*Don RothRobert and Margaret Rucker**Tracey RudnickBeverly “Babs” Sandeen and

Marty Swingle**E. N. Sassenrath*Neil and Caroline Schore*Prof. and Mrs. Calvin Schwabe*Barbara L. SheldonEllen Sherman*Richard and Gayle Simpson**Wilson and Kathryn Smith**Lois Spafford*Sherman and Hannah SteinDr. and Mrs. Roydon SteinkeThomas Sturges*Joel and Susan Swift*Richard Swift*Alice Tackett*Steven D. Tallman*Damian Siu Ming Ting**Roseanna F. TorrettoRosalie and Larry Vanderhoef*Shipley and Dick Walters*Barbara D. and

Grady L. WebsterMarya Welch*

Arthur Andersen LLP Foundation*

Bank of America FoundationOffice of the Provost**The Swift Fund for the Arts*UC Davis Symphony Orchestra

1992–93, 1993–94**Weyerhaeuser

In honor ofBenjamin HartRandolph Hunt by Benjamin

and Lynette Hart*Ulla McDanielJerome and Sylvia Rosen*

In memory ofSusan Pylman AkinWilliam R. AlbrechtRonald J. AlexanderHilary BroverRobert M. CelloKaren Aileen DettlingClare M. DriverJohn “Al” Driver Elizabeth ElkusCarl FlowersDr. Irena Anna HennerKatherine H. HolomanNorman E. LambLoren LeMaitreVerna Fournes LeMaitreMichelle MantayDorothy Dodge MillerJohn MouberMel OlsonHerman PhaffKeith RiddickWalter H. Rock Jr.Walter H. Rock Sr.Dorothy J. ShielyRichard and Dorothy SwiftWilliam E. ValenteWim van Muyden, MDBodil Wennberg

* = $1,000 or more ** = $10,000 or more

u c d av i S S y m p h o n y e n d o w m e n t

John R. Berg, Ph.D., and Anne M. BergKathleen CadyBarbara P. and Kenneth D. CelliDonna M. Di GraziaLeland and Susan FaustAnn & Gordon Getty FoundationJohn Tracy Grose and Beth Baker-GroseProf. and Mrs. D. Kern HolomanJames and Patricia HutchinsonIBM International Foundation, LLP

Barbara K. JacksonJoan and Russell JonesMr. and Mrs. Norman JonesProf. Joseph E. Kiskis Jr.Julia and Richard KulmannElizabeth Langland and Jerry JahnLeslie and Dana LeongGary and Jane MattesonHugh and Deborah McDevittAlbert and Helen McNeilCindy and Dennis McNeil

Patricia K. Moore and Chester G. Moore Jr., Ph.D.

Mary Ann Morris, Ph.D.Jeffrey and Janice PettitSteven RosenauMr. and Mrs. Roy ShakedPatricia L. ShepherdSteven TallmanJeffrey ThomasLarry and Rosalie VanderhoefEd and Eleanor Witter

f o u n d e r ’ S c l u b m e m b e r S

Mitzi S. AguirrePriscilla AlexanderMartha AmorochoRenee ArmstrongRenee BodieClyde and Ruth BowmanLynn and Robert CampbellHugh C. and Susan B. ConwellMartha DickmanDotty DixonJeremy FaustDarlene Franz and James Van HornSally S. GrayBenjamin and Lynette HartDavid and Annmarie HellerJames H. HillmanBetty and Robin HoustonDonald Johnson and Elizabeth MillerWinston and Katy Ko

Kirk KolodjiAiry Krich-BrintonDr. Katherine T. LandschulzLeslie and Dana LeongNatalie and Malcolm MacKenzieMaria MangeSusan MannMarjorie MarchMatthew McGibneyClarence H. McProudAmelie Mel de FontenayJeffrey MihalyMartha MorganJonathan and Jessie NewhallRebecca NewlandNaomi NewmanGrant and Grace NodaJohn and Elizabeth OwensMike and Carlene Ozonoff

Patricia PeacockAnn PrestonGerry ProdyWarren G. RobertsCarrie RockeJerry and Sylvia RosenWilliam and Linda SchmidtCarl SeymourKevin ShellooeEllen ShermanG. William Skinner and Susan MannBarry SmithSteven and Patricia WaldoShipley and Dick WaltersDouglas and Carey WendellRebecca and Jansen WendlandtBank of America Matching Gift ProgramIBM Matching Gift ProgramJewish Community Endowment Fund

a n n u a l d o n o r S

u c d av i S c h o r u S e n d o w m e n t

14

The most important endeavor of the Department of Music today is to build the new Music Performance Building and Recital Hall—a much needed midsize (300–500 seats) concert venue that will serve the campus and the region. An effort to raise $5.5 million in private funding to augment state and campus funds for the project is underway. For information about the Recital

Hall and how to support it, please visit the Department of Music Web site (music.ucdavis.edu) or call Debbie Wilson, Director of Development for the Division of Humanities, Arts & Cultural Studies in the College of Letters & Science, at 530.754.2221.

S e at S a n d S t o n e SRecognized by gifts of $1,000 or more

founders ($350K and higher)Barbara K. JacksonGrace and Grant Noda

directors ($50K and higher)John and Lois Crowe

patrons ($25K and higher) Wayne and Jacque BartholomewRalph and Clairelee Leiser BulkleyLorena J. HerrigD. Kern and Elizabeth HolomanAlbert McNeilMary Ann Morris

Jessie Ann Owens and Anne L. Hoffmann

Wilson and Kathryn SmithRichard and Shipley WaltersEd and Elen WitterIn Memory of Kenneth N. MacKenzie

Natalie and Malcolm MacKenzie

r e c i ta l h a l l S o c i e t yRecognized by gifts of $25,000 or more

Aguirre FamilyAngelo D. Arias and FamilyRobert and Joan BallCynthia BatesRoss Bauer, Ph.D.Kathryn CaulfieldMartha DickmanDonna M. Di GraziaNancy DuBoisRichard and Vera HarrisPaul W. Hiss, M.D.Julia and Richard KulmannCharlene R. KunitzKatherine and

William LandschulzBeth E. LevyCraig M. MachadoDeborah and

Hugh McDevittMaureen MillerGail M. OttesonChristopher Reynolds and

Alessa JohnsKurt Rohde and

Timothy AllenJerome and Sylvia RosenSchore FamilyThomas and

Karen SlabaughHenry Spiller and

Michael OrlandHannah and Sherman SteinHenry & Ann StruderLynne Swant and FamilyUwate FamilyLarry and

Rosalie VanderhoefMarya WelchCarla Wilson

UC Davis Music FacultyChristian Baldini and

Matilda HofmanDavid and Helen NutterPablo OrtizMika Pelo and

Hrabba AtladottirLaurie San Martin and Sam

NicholsJeffrey ThomasPhebe Craig and

Michael SandAmelia Triest and

Rhio Barnhart

Seth Singers, Alumni 1994–2008

Seth ArnopoleJohn BakerDavid BenjaminPenn BrimberryJoshua EichornStephen FaselKatherine IvanjackEric and Jacque LeaverJoshua and Sara MargulisElizabeth ParksEllen ProulxKeith and Jennifer RodeSteven RosenauAsa SternStephanie SuganoThomas Wilberg

In Memory of

Kenneth N. MacKenzieClyde and Ruth BowmanElizabeth BradfordKaren and Irving BroidoPaul and Nancy CaffoLaura Cameron Bruce and Mary CarswellLinton and

Carol CorrucciniMary and George DahlgrenAllen and

Mary Lou DobbinsJohn and

Catherine DuniwayRobert and

Ann EdmondsonAndrew and Judith GaborGovernment

Affairs ConsultingPaul and June GulyassyCharlene R. KunitzRussell and

Suzanne HansenJohn and Marylee HardieBenjamin and

Lynette HartJohn and Patricia

HershbergerBette Gabbard HintonDirk and Sharon HudsonJames and

Patricia HutchinsonBarbara K. JacksonJerry and Teresa KanekoKit and Bonita LamRuth LawrenceJerry and

Marguerite Lewis

Frederick and Lucinda March

Theresa MauerRobert and

Margaret McDonald John and Norma MeyerMaureen MillerTeresa PaglieroniSarah and

Thomas PattisonPhilip and

Shirley PenlandDavid and Dair RauschElizabeth and

Eugene RenkinG. Thomas and

Joan SalleeKatherine SchimkeMaxine SchmalenbergerJ. Tracy and

Sally SchreiberRoy and Polly SheffieldSuzette SmithRonald and Rosie SoohooJoe and Betty TupinLaura and

Richard Van NostrandElisabetta Vivoda Richard and

Shipley WaltersNoel and Pamela WarnerRobert and

Christine WendinDebbie B. WilsonRobert and Joyce WisnerDonald and Diane Woods

St. Helena Hospital Foundation

– r e c i ta l h a l l –