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 , F r i D ay, 2 8 m ay 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

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

Requiem John RutterRequiem Aeternam (b. 1945)Out of the DeepPie JesuSanctusAgnus DeiThe Lord is my ShepherdLux Aeterna

University ChorusShawnette Sulker, soprano soloist

Tod Brody, fluteLaura Reynolds, oboe

Susan Lamb Cook, celloLoren Mach and Wyatt Harmon, percussion

Beverly Wesner-Hoehn, harpDavid Deffner, organ

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

4 Gesänge, op. 17 Johannes BrahmsEs tönt ein voller Harfenklang (1833–97)Lied von ShakespeareDer GärtnerGesang aus Ossians “Fingal”

Women’s ChorusPete Nowlen and Rachel Howerton, horns

Beverly Wesner-Hoehn, harpPeter Hill, conductor

Messe “Cum Jubilo,” op. 11 Maurice DurufléKyrie (1902–86)GloriaSanctusBenedictusAgnus Dei

Men’s ChorusDavid Deffner, organ

Timothy Mascarinas and Spencer Little, soloists

Geistliches Lied, op. 30 Johannes Brahms

Sleep Eric Whitacre(b. 1970)

University ChorusDavid Deffner, organ

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

shawnet te sulker, soprano, has been described by the San Francisco Chronicle as a singer “displaying a bright, superbly controlled soprano with perfectly placed coloratura.” A frequent collaborator with Jeffrey Thomas, Sulker has performed the soprano solos in Handel’s Messiah and Bach’s Non sa che sia dolore with American Bach Soloists in San Francisco’s Grace Cathedral. She also sang the role of St. Teresa I (Four Saints in Three Acts) under his baton for the Mark Morris Dance Group in Berkeley’s Zellerbach Hall. She was also featured as soprano soloist in the immensely popular UCTV (and YouTube) video of Orff ’s Carmina Burana with the UC Davis University & Alumni Choruses and Symphony Orchestra in 2006.

On the operatic stage, Sulker has been a featured artist in performances with the San Francisco Opera, The Crucible, Hawaii Opera Theatre, Union Avenue Opera, Natchez Opera Festival, Mendocino Music Festival, West Bay Opera, Berkeley Opera, North Bay Opera, San Francisco Lyric Opera, Livermore Valley Opera, Cinnabar Opera Theater, and Oakland Opera Theater. She created the role of Corina in the world-premiere of David Conte’s opera Firebird Motel for Thick Description.

The young soprano has also performed as a soloist in Mozart’s Exsultate, jubilate and Haydn’s Lord Nelson Mass with Santa Clara Chorale and Orchestra, in and Mozart’s Grand Mass in C Minor, Monteverdi’s Vespro della Beata Vergine, and Bach’s Weihnachts-Oratorium and Magnificat with San Francisco Choral Society. With Masterworks Chorale, Sulker has performed Fauré’s Requiem and Bernstein’s The Lark. Other recent performances include Schubert’s Mass in G, Mozart’s Requiem, Haydn’s Mass in B-flat, and Pergolesi’s Magnificat. She has appeared with the Redwood Symphony in Mahler’s Symphony No. 4 and at the Basilica of the National Shrine of the Immaculate Conception in Washington in Mozart’s Missa Brevis in G. Her film resume includes a soundtrack performance for the movie Mimic and an on-camera operatic appearance in the feature film Jackson directed by J. F. Lawton.

Sulker graduated from Bennington College as a vocal performance major and was awarded scholarships to attend both the Contemporary Opera and Song Program at the Banff Centre for the Arts in Canada and the OperaWorks Summer Intensive Program in Los Angeles.

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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 Kaitlyn Clark Taylor Clarke Allison Eckerman Leanna Friedrich Kimi Kurotori Miriam Rocke Adele Sonora Diane Soto Adrianna Sung Sara Wilson

soprano i i Jennifer Adler Lara Blanke Phoebe Copp Sarah Flores Caitlin Gaustad Tianna Grant Kirstin Haag Ruthie Levine Louise Lindberg Anne Richardson Katherine Sylwester Simone Verbaken Rachel Whitcombe Cecilia Whitworth Ashley Woodbury Jessica Yang

alto i Carla Devore Kelsey Einhorn April Ferre Yoon Jeong (Jennifer) Jang Julia Kulmann Juz Lam Jessica Louie Alex Menze Oaggin Park Patricia Peacock Kimberly Prado Nina Vuoso Winona Wagner Linda Wolf

alto i i Leah Drake Meghan Eberhardt Ana Gabasan Daniela Galasso Emma Gavenda Moran Goren Sally Gray Caitlin Green Mary Herbert Paula Lerner Nicole Lesnett Maxine Low Gina Marino Barbara Molloy Vanessa Perkins Ashley Tang

tenor i Pejman Ahmadi Dominick DiCarlo Joseph Espena John Forell Milton Jackson Richard Kulmann Jerry Schimke Peter Shack Janghee (John) Woo

tenor i i Jordan Cohen David Griffin Tatz Ishimaru Spencer Little

Ba ss i Brent Curriden Kevin Foster Corey Griffith Nathan Hannon James Hutchinson Ted Kizor Gregory Lanton Hayden Peacock Noel Raine Dakota Salazar Casey Trias Doug Underwood Caleb Yee

Ba ss i i Leonidas Constable, Jr. Robert Crummey Kenneth Firestein Bryan Klingman Craig Landon Timothy Mascarinas Joshua Scott

John rutter: Requiem

“Requiem was written in 1985. Unlike most of my work up to that point, it was not commissioned: a personal bereavement was the immediate reason for writing it. Its precedents were the small-scale, intimate Requiems of Fauré and Duruflé rather than the great dramatic frescoes of Berlioz and Verdi; and, as with many Requiems since about 1850, the music is not a complete setting of the Missa pro defunctus as laid down in the Catholic liturgy but instead a meditation on themes of life and death using a personal compilation of texts. Like Fauré, I selected portions of the Requiem Mass, and like Britten I wove other, English texts into them to form a counterpoint to the Latin. The English texts consist of two psalms used at funerals (Psalms 130 and 23) together with some of the Burial Sentences form the 1662 Book of Common Prayer. The result is a concert work rather than a liturgical Requiem, though it has sometimes been used liturgically; in a more general sense, it feels at home, I hope, in church. The seven-movement structure is arch-like. The first and last movements are prayers to God the Father (with texts according to the Missa pro defunctis); movements 2 and 6 are psalm settings, both with instrumental obbligatos; movements 3 and 5 are personal prayers to Christ; and the central Sanctus, the keystone of the arch, is celebratory and affirmative, using bells as is traditional at this point in a mass. Gregorian chant (a thread running through much of my work) is found at a number of points in Requiem, most overtly in the Agnus Dei, where fragments of the Easter Sequence, Victimae paschali laudes, are played on the flute before and during the words ‘I am the resurrection and the life’. In the final Lux aeterna, the opening few notes of the theme first sung by the sopranos are taken from the chant associated with that text. The accompaniment to Requiem exists in two versions, the one for small orchestra…and a parallel version for organ with six instruments.”

— © John Rutter, 1998

Note: Although the first performance of the complete Requiem took place in October 1985 in Dallas, movements 1, 2, 4, and 7 were premiered earlier that year in Sacramento at the Fremont Presbyterian Church where Mel Olson served as Minister of Music. The composer conducted the performance, and several members of the 2010 UC Davis University Chorus participated.

Requiem aeternam (Missa pro defunctis)

Requiem aeternam dona eis, Domine : et lux perpetua luceat eis.

Te decet hymnus Deus in Sion : et tibi reddetur votum in Jerusalem.

Exaudi orationem meam, ad te omnis caro veniet.Kyrie eleison.

Christe eleison. Kyrie eleison.

Rest eternal grant unto them, O Lord : and may light perpetual shine upon them.

Thou, O God, art praised in Sion : and unto thee shall the vow be performed in Jerusalem.

Thou that hearest the prayer, unto thee shall all flesh come.Lord have mercy.

Christ have mercy. Lord have mercy.

Out of the deep (Psalm 130)Out of the deep have I called unto thee, O Lord : Lord, hear my voice. O let thine ears consider well : the voice of my complaint.If thou, Lord, wilt be extreme to mark what is done amiss : O Lord, who may abide it?For there is mercy with thee : therefore shalt thou be feared.I look for the Lord; my soul doth wait for him : and in his word is my trust.My soul fleeth unto the Lord : before the morning watch, I say, before the morning watch.O Israel, trust in the Lord, for with the Lord there is mercy : and with him is plenteous redemption.And he shall redeem Israel : from all his sins.

Pie Jesu (Missa pro defunctis: Dies Irae)

Pie Jesu Domine, dona eis requiem. Pie Jesu Domine, dona eis sempiternam requiem.

Blessed Lord Jesus, grant them rest.Blessed Lord Jesus, grant them eternal rest.

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Sanctus (Missa pro defunctis)

Sanctus, Sanctus, Sanctus,Dominus Deus Sabaoth.Pleni sunt caeli gloria tua.Hosanna in excelsis.Benedictus qui venit in nomine Domini.Hosanna in excelsis.

Holy, holy, holy, Lord God of hosts, the heavens are full of thy glory.Hosanna in the highest.Blessed is he that cometh in the name of the Lord.Hosanna in the highest.

Agnus Dei (Missa pro defunctis and Burial Sentences)

Agnus Dei, qui tollis peccata mundi, dona eis requiem. Lamb of God, that takest away the sins of the world, grant them rest.

Man that is born of a woman hath but a short time to live, and is full of misery.He cometh up, and is cut down like a flower; he fleeth as it were a shadow.In the midst of life, we are in death : of whom may we seek for succour?I am the resurrection and the life, saith the Lord : he that believeth in me, though he were dead, yet shall he live : and whosoever liveth and believeth in me shall never die.

The Lord is my shepherd (Psalm 23)The Lord is my shepherd : therefore can I lack nothing.He shall feed me in a green pasture : and lead me forth beside the waters of comfort.He shall convert my soul : and bring me forth in the paths of righteousness, for his Name’s sake.Yea, though I walk through the valley of the shadow of death, I will fear no evil : for thou art with me; thy rod and thy staff comfort me.Thou shalt prepare a table before me against them that trouble me : thou hast anointed my head with oil, and my cup shall be full.But thy loving-kindness and mercy shall follow me all the days of my life : and I will dwell in the house of the Lord for ever.

Lux aeterna (Burial Sentences and Missa pro defunctis) I heard a voice from heaven saying unto me, Blessed are the dead who die in the Lord, for they rest from their labours : even so saith the Spirit.

Lux aeterna luceat eis, Domine : cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine : et lux perpetua luceat eis.

May light eternal shine upon them, O Lord : with all they saints for evermore, for thy mercy’s sake.

Rest eternal grant unto them, O Lord : and may light perpetual shine upon them.

Johannes Brahms: Four Songs for Women’s Chorus, op. 17

Brahms’ Four Songs for Women’s Chorus, op. 17, while composed in the style of Romantic Lieder, is singular amongst his choral works. He scored these four pieces for two horns and harp. Brahms rarely featured the harp, save in his Requiem and Nänie, op. 82, but here he uses it along with sylvan horn writing to render the pieces as quasi-symphonic tone poems rather than simple songs.

Op. 17, along with the Ave Maria, op. 12, and the Three Sacred Choruses, op. 37, was written during the time Brahms was director of the Hamburg Women’s Choir. It was first performed on January 15th, 1861 in Hamburg and published later that same year. The librettists are, in order, Friedrich Ruperti (1805–67), August Wilhelm von Schlegel (1767–1845) translating William Shakespeare (1564–1616), Joseph von Eichendorff (1788–1857), and James Macpherson (1736–96) as “Ossian.” Ossian is a sobriquet used by Macpherson, the Scottish poet and politician, to spread his reworking of Scottish Gaelic ballads. Macpherson claimed, during his lifetime, to have “discovered” the original manuscripts from whence Ossian’s works came but never disclosed them. The popular story of Fingal and the characters of Op. 17, No. 4 are part of Macpherson’s epic mythology.

The first three pieces of Op. 17 are written in major keys (No. 1 in C and Nos. 2 and 3 in E-flat) and are generally conveyed as love songs. No. 1 is in simple binary form and uses only one horn, but takes advantage of the harp’s ability to arpeggiate. No. 2 sets Shakespeare’s popular “Come away, death” from Twelfth Night, Act II, Scene 4. These lyrics have been set numerous times by other composers like Gerald Finzi and Roger Quilter. In Shakespeare’s play, Feste, the jester sings this song to the character Viola disguised as Cesario. No. 3 lightens the mood somewhat in 6/8 time as the harp again resumes its arpeggiating chords. The choral writing ebbs and flows at its happiest amongst these songs; the highest point and a slight fermata appears as the women sing, “a thousand, thousand refrains.” However, the joy is tinged with sadness as the listener learns that the “Gardner” of the title is also a gravedigger.

The fourth piece ends the set in C minor with dramatic imagery as the Maiden of Inistore weeps for her fallen love, Trenar, slain by his enemy Cuthulin. The ghostly story is set in Ossian’s mythical kingdom of Morven. Brahms choral writing varies the most in No. 4, from unison to two, three, and four part as he draws the most onomatopoetic drama he can from Macpherson’s text.

— Peter Hill

1. Es tönt ein voller Harfenklang (Friedrich Ruperti)

Es tönt ein voller Harfenklangden Lieb’ und Sehnsucht schwellen,er dringt zum Herzen tief und bangund läßt das Auge quellen.

O rinnet, Tränen, nur herab,o schlage Herz, mit Beben!Es sanken Lieb’ und Glück ins Grab,verloren ist das Leben!

Harp notes ring forth,increasing love and longing;they pierce, deep and quivering, to my heartand leave my eyes o’erflowing.

Fall then, my tears;heart, throb and tremble!Love and happiness lie in the grave,my life is lost!

2. Lied von Shakespeare (“Song by Shakespeare” from Twelfth Night, German by August Wilhelm von Schlegel)

Komm herbei, komm herbei, Tod!Und versenk in Cypressen den Leib.Laß mich frei, laß mich frei, Not!Mich erschlägt ein holdseliges Weib.Mit Rosmarin mein Leichenhemd,O bestellt es!Ob Lieb’ ans Herz mir tötlich kommt,Treu’ hält es.

Keine Blum’, keine Blum’ süßsei gestreut auf den schwärzlichen Sarg.Keine Seel’, keine Seel’ grüß’mien Gebein, wo die Erd’ es verbarg.Um Ach und Weh zu wenden ab’,bergt alleinemich, wo kein Treuer wall’ ans Grabund weine.

Come away, come away, death,And in sad cypress let me be laid.Fly away, fly away, breath;I am slain by a fair cruel maid.My shroud of white, stuck all with yew,O prepare it!My part of death, no one so trueDid share it.

Not a flow’r, not a flow’r sweet.On my black coffin let there be strewn;Not a friend, not a friend greetMy poor corpse, where my bones shall be thrown.A thousand thousand sighs to save,Lay me, O, whereSad true lover never find my graveTo weep there.

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3. Der Gärtner (“The Gardener” by Josef von Eichendorff)

Wohin ich geh’ und schaue,in Feld und Wald und Tal,vom Berg hinab in die Aue:viel schöne, hohe Fraue,grüß ich dich tausendmal.

In meinem Garten find’ ichviel Blumen schön und fein,viel Kränze wohl draus wind’ ichund tausend Gedanken bind’ ichund Grüße mit darein.

Ihr darf ich keinen reichen,sie ist zu hoch und schön,die müssen alle verbleichen,die Liebe nur ohnegleichenbleibt ewig im Herzen stehn.

Ich schein’ wohl froher Dinge,und schaffe auf und ab,und ob das Herz zerspringe,ich grabe fort und singeund grab’ mir bald mein Grab.

Wherever I may wanderIn field and wood and plains,From hill or valley yonder,I send you, ever fonder,A thousand sweet refrains.

My garden now disclosesThe fairest flow’rs I know;Many garlands from them I weave,With a thousand thoughts and greetingsIn them intertwined.

None of these I dare offer her,She is too high and fair;My wreaths must wither and perish,But boundless love will flourishForever in my heart.

I try to bear it gladlyAnd labor bravely forth;And though my heart should break,I dig away and sing,But soon will dig my grave.

4. Gesang aus Ossians “Fingal” (“Song from Ossian’s Fingal”)

Wein’ an den Felsen, der brausenden Windeweine, o Mädchen von Inistore!Beug’ über die Wogen dein schönes Haupt,lieblicher du als der Geist der Berge,wenn er um Mittag in einem Sonnenstrahlüber das Schweigen von Morven fährt.

Er ist gefallen, dein Jüngling liegt darnieder,bleich sank er unter Cuthullins Schwert.Nimmer wird Mut deinen Liebling mehr reizen,das Blut von Königen zu vergießen.

Trenar, der liebliche Trenar starbO Mädchen von Inistore!Seine grauen Hunde heulen daheim,sie sehn seinen Geist vorüberziehn.

Sein Bogen hängt ungespannt in der Halle,nichts regt sich auf der Haide der Rehe.

Weep on the rocks where the storm winds are raging,Weep, O thou maiden of Inistore!Bend over the waters thy lovely head;Fairer art thou than the mountain spiritWhen he at noon in the brightness of the sunTouches the silence of Morven’s height.

For he is fallen, thy true love lies defeated,Slain by the might of Cuthullin’s sword.Never again will his valor inspire himTo sheathe his sword in the blood of princes.

Trenar, ah, Trenar the fair is dead!Dead, O maiden of Inistore!See his growling hounds, they howl in his hall;They see his ghost walk past the door.

His bow is in the hall unstrung.Silence reigns where his deer once wandered.

maurice Duruflé: Messe “Cum Jubilo,” op. 11

That Maurice Duruflé published too little music is a unanimously upheld opinion. As a composer, his perfectionism led to frequent revisions of previously published works, and a great majority of them are based quite specifically on Gregorian chant melodies, especially his choral compositions. Duruflé was greatly influenced by his earliest experiences as a musician between the ages of ten and twenty. As a young boy, he became a chorister at the Cathedral at Rouen, a magnificent 12th-century edifice with a tremendously rich musical tradition. During the six years that Duruflé participated in the musical liturgies at the cathedral, ecclesiastical pageantry and splendor provided as much to the ceremonial grandeur as did the music and building’s imposing magnificence. Duruflé described the ceremonial splendor of the weekly liturgy of the Benediction of the Most Holy sacrament, held at the end of each Sunday: “Led by two Swiss men in specially designed uniforms, the boychoir entered, then fifty seminarians, dozens of canons and clergy of the cathedral, all dressed in white and gray ermine, and finally a large velvet canopy under which processed the Archbishop carrying the Holy Sacrament. Directly in front of the canopy were eight thurifers—men carrying pots of incense which they waved regularly, creating great clouds of smoke.” But the single most influential aspect of young Duruflé’s experience there was the daily singing of Gregorian chant. At sixteen, in preparation for his entrance exams at the Paris Conservatory, he studied organ with the great French organists Charles Tournemire and Louis Vierne, who had both studied with César Franck. Tournemire was a celebrated improvisateur who often based his impulsive, dramatic improvisations on Gregorian chant. Vierne put forward a more formal and grand concept of compositional architecture. At the conservatory, Duruflé studied organ with Eugène Gigout and composition with Paul Dukas (in whose class was also Olivier Messiaen). Duruflé won five first-prizes while at the conservatory in organ, counterpoint, fugue, accompaniment, and harmony, and went on to become one of the most celebrated organists of the 20th century. Among his credits as a performer is the world premiere of Francis Poulenc’s Organ Concerto. Over the course of the next thirty five years, Duruflé taught at the Conservatory, served as titular organist at St. Étienne-du-Mont in Paris, and married Marie-Madeleine Chevalier, a brilliant (and twenty years younger) organist with whom he would tour the world giving joint recitals. An auto collision in Southern France in 1975 left Duruflé mostly confined to his bed for the next and final decade of his life.

The Messe “Cum Jubilo” was dedicated to Duruflé’s wife and received its premiere in Paris in 1967. It is based on the Gregorian chant Mass IX from the Liber Usualis for the Feast of the Blessed Virgin Mary. Composed for men’s voices, three orchestrations are available for performance (as is the case with Duruflé’s famed Requiem): full orchestra, reduced orchestra, and organ solo. We perform the version for organ solo on tonight’s program. The two longest and most fully sonorous sections (Gloria and Sanctus-Benedictus) are framed by the two tripartite movements (Kyrie and Agnus Dei), both offering a tranquility of peace and harmony that is synonymous with Duruflé’s gentle reverence for the music’s inspiration: Gregorian chant.

— J.T.

KyrieKyrie, eleison, Christe, eleison, Kyrie, eleison.

Lord, have mercy! Christ, have mercy! Lord, have mercy!

GloriaGloria in excelsis Deo. Et in terra paxhominibus bonae voluntatis. Laudamus te. Benedicimus te.Adoramus te. Glorificamus te. Gratias agimus tibipropter magnam gloriam tuam. Domine Deus, Rex coelestis,Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe.Domine Deus, Agnus Dei, Filius Patris.Qui tollis peccata mundi, miserere nobis.Qui tollis peccata mundi, suscipe deprecationem nostram.Qui sedes ad dexteram Patris, miserere nobis.Quoniam tu solus sanctus. Tu solus Dominus.Tu solus altisimus, Jesu Christe.Cum Sancto Spiritu in gloria Dei Patris. Amen.

Glory in the highest to God. And on earth peaceto men of good will. We praise thee. We bless thee.We worship thee. We glorify thee. Thanks we give to theebecause of great glory thy. Lord God, King of heaven,God Father almighty. Lord Son only begotten, Jesus Christ.Lord God, Lamb of God, Son of Father.Who take away sins of world, have mercy on us.Who take away sins of world, receive supplication our.Who sit at right hand of Father, have mercy on us.For thou alone holy. Thou alone Lord.Thou alone most high, Jesus Christ.With Holy Spirit in glory of God Father. Amen.

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SanctusSanctus, Sanctus, Sanctus Dominus Deus Sabaoth.Pleni sunt caeli et terra gloria tua.Hosanna in excelsis.

Holy, holy, holy, Lord God of hosts, the heavens and earth are full of thy glory.Hosanna in the highest.

BenedictusBenedictus qui venit in nomine Domini.Hosanna in excelsis.

Blessed is he that cometh in the name of the Lord.Hosanna in the highest.

Agnus DeiAgnus Dei, qui tollis peccata mundi, miserere nobis.Agnus Dei, qui tollis peccata mundi, miserere nobis.Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, that takest away the sins of the world, have mercy upon us.Lamb of God, that takest away the sins of the world, have mercy upon us.Lamb of God, that takest away the sins of the world, grant us peace.

Johannes Brahms: Geistliches Lied

Especially during the century or so following the death of Johann Sebastian Bach, the very best German composers have lionized the master harmonist and contrapuntalist, seeking to emulate his supreme compositional techniques. Beethoven, Mendelssohn, Schumann, and Brahms, among others, incorporated the centuries-old traditions of counterpoint and canon in their works, as epitomized in the music of Bach. Brahms, in particular, was so focused on the perfect implementation of these devices that he once questioned his motives, asking his friend, the violinist and composer Joseph Joachim, “Quite apart from the ingenuity, is it good music?”

It is indeed Brahms’s ingenuity that sets his music high above that of his colleagues in terms of the transparency of those highly technical compositional devices. Geistliches Lied is a setting of a text by the early 17th-century poet Paul Flemming. Brahms set the three stanzas in an A-B-A format, utilizing the same music for the first and third. The voices overlap in canon, each part utilizing the same melodic material whether at different speeds, inverted, or with a second (or double) canon. The text’s simple message of comfort and confidence is deliberately reflected in the composer’s use of “canon,” most cleverly employed in this case to represent the term’s homographic meaning as “law,” or “doctrine,” as extolled in the verses. This, too, was a frequently utilized implementation by Bach, who would characteristically compose his most austere counterpoint for just such references to Christian law. But the crowning glory of this all-too-brief work is the final “Amen,” achingly glorious and overtly emotional, even through Brahms’s continued use of formal double canon.

—J.T.

Laß dich nur nichts nicht dauren mit Trauren, sei stille, wie Gott es fügt,so sei vergnügt mein Wille!

Was willst du heute sorgen auf morgen? Der Eine steht allem für, der gibt auch dir das Deine.

Sei nur in allem Handel ohn Wandel, steh feste, was Gott beschleußt, das ist und heißt das Beste. Amen. (Paul Flemming)

Do not be sorrowful or regretful; Be calm, as God has ordained, and thus my will shall be content.

What do you want to worry about from day to day? There is One who stands above all who gives you, too, what is yours.

Only be steadfast in all you do, stand firm; what God has decided, that is and must be the best. Amen

eric Whitacre: Sleep

An accomplished conductor and lecturer, Eric Whitacre quickly has become one of the most popular and frequently performed composers of his generation. The Los Angeles Times has praised his compositions as “works of unearthly beauty and imagination, [with] electric, chilling harmonies,” while the Philadelphia Inquirer has called him “the hottest thing in choral music.” Though he had received no formal training before the age of eighteen, his first experiences singing in college choir changed his life, and he completed his first concert work at the age of twenty one. Eric went on to the Juilliard School, earning his Master of Music degree and studying with Pulitzer prize- and Oscar-winning composer John Corigliano.

Whitacre’s Sleep began as a commission to set Robert Frost’s unfadingly timeless “Stopping By Woods on a Snowy Evening.” Following its premiere in October 2000, a dispute with the estate of Robert Frost and the poem’s publisher, Henry Holt Inc., resulted in a stern denial of Whitacre’s petitions to use the verses until the poem would become public domain in 2038. Faced with the unhappy prospect of shelving the work for decades, Whitacre engaged the young poet/lyricist Charles Anthony Silvestri to compose a poem that would both follow the structure of Frost’s and include a number of essential words from it. The result is an extraordinarily beautiful poem that is probably more potent in its depictions than Frost’s. The first two lines alone (“The evening hangs beneath the moon, A silver thread on darkened dune”) reveal a richly imaginative and communicative voice of the poet, whose words and images become more and more ecstatic as the work progresses. Silvestri and Whitacre take us on the journey of a sleepless night. The words “Then I surrender unto sleep, Where clouds of dream give second sight” serve as the turning point after which the blissful and rapturous euphoria of sleep finds its musical revelation in hauntingly beautiful and unforgettable moments of eight-part harmony.

— J.T.

The evening hangs beneath the moon,A silver thread on darkened doon.With closing eyes and resting headI know that sleep is coming soon.Upon my pillow, safe in bed,A thousand pictures fill my head,I cannot sleep, my mind’s aflightAnd yet my limbs seem made of lead.If there are noises in the night,A frighting shadow, flickering light,Then I surrender unto sleep,Where clouds of dreams give second sight,What dreams may come, both dark and deep,Of flying wings and soaring leapAs I surrender unto sleep,As I surrender unto sleep,

(Charles Anthony Silvestri)

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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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

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 and Ann StuderLynne 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 Thomas

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. MacKenzie

Clyde and Ruth BowmanElizabeth BradfordKaren and Irving BroidoPaul and Nancy Caffo

Laura 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 LewisFrederick and

Lucinda MarchTheresa MauerRobert and

Margaret McDonald John and Norma MeyerMaureen Miller

Teresa 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

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