8 pm, Sunday, 18 November 2007

Jackson Hall, Mondavi Center

D. Ke rN H o loM aN, Co NDu C to r

u C D a v i S D e p a r t M e N t o f M u S i C p r e S e N t S t H e

K iM b e rle e u wate , v io l a

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8 p M , S u N D ay, 1 8 N o v e M b e r 2 0 0 7J a C K S o N H a l l , M o N D av i C e N t e r

u C D av i S S y M p H o N y o r C H e S t r aD . K e r N H o l o M a N , C o N D u C t o r

p r o G r a M

Egmont overture, op. 84 Ludwig van Beethoven(1770–1827)

Viola Concerto in G Major Georg Philipp TelemannLargo (1681–1767)AllegroAndantePresto

Kimberlee Uwate, violaPhebe Craig, harpischord

i N t e r M i S S i o N

Symphony No. 1 in D Major Gustav MahlerLangsam, Schleppend (1860–1911)Kräftig bewegtFeierlich und gemessen, ohne zu schleppenStürmisch bewegt[No pause between movements III and IV]

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.

ta b l e o f C o N t e N t S

program . . . . . . . . . . . . . . . . . . . . . . . . 2

about the art ists . . . . . . . . . . . . . 3

Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

uCDSo roster . . . . . . . . . . . . . . . . . . 6

uCDSo endowed Seats . . . . . . . 7

uCDSo endowment . . . . . . . . . . . 8

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Kimberlee uwate began her instrumental studies at age 5 with piano in her hometown of Monterey, California. At 10, she took up the violin but soon after discovered the awesome power of the viola. Currently, she is completing her fourth and final year at UC Davis, pursuing a bachelor’s degree in music, with an emphasis in viola performance. She studies primarily with UC Davis faculty member Ellen Ruth Rose; she has studied previously with Janet Sims and David Dally. Uwate is Jocelyn Morris Principal Violist for the UCDSO, a position she has held since her sophomore year.

Uwate has performed as soloist with the UCDSO both in Berlioz’s Harold en Italie and (with Zoe Kemmerling, her longtime stand partner) in Bach’s Brandenburg Concerto No. 6. In 2006, she was awarded a citation in music performance by the Department of Music. She has also performed at many chamber music festivals and master classes, notably with Karen Dreyfus of the Manhattan School of Music and Bob Vernon of the Cleveland Institute of Music. Uwate has been a coach at the Chamber Music Monterey Bay Summer Camp, the Sacramento Youth Symphony Summer Chamber Music Workshop, and the Orchestra in the Schools program in Monterey.

Uwate named her new viola Schroeder Etawu and her bow Linus. Etawu is a 2002 eastern German instrument made by master violin maker Sebastian Berndt. (Her other viola, Zoey, is played elsewhere in the section.) In her spare time, Uwate studies jazz trumpet and biology, with a special interest in marine invertebrates.

The UCDSO is deeply grateful to Kim Uwate for stepping in as soloist this evening with just a few days’ notice. We’ll long remember the first rehearsal for her work, just a week ago, as an evening of special excitement all around, as our best and brightest simply put together this splendid performance in a kind of family affair. Kim then drove to the airport for her midnight flight to New York and Chicago for graduate-school auditions.

a b o u t t H e a r t i S t S

N o t e S

beetHoveN: Egmont

overtu re , op. 84(from the incidental music for Goethe’s tragedy)

for piccolo, flutes I-II, oboes I-II, clarinets I-II, bassoons I-II; horns I-IV, trumpets I-II; timpani; strings

Composed 1809–10 in Vienna

fir s t per formed June 15, 1810, in the Court Theatre in the Hofburg, Vienna, for the fourth performance of the play—Beethoven’s score was not ready for the premiere

published by Breitkopf & Härtel (Leipzig, 1810; parts only)

inexpensive score: Ludwig van Beethoven: Six Great Overtures in Full Score (New York: Dover, 1985)

Durat ion: about 10 minutes

Lamoral, Count Egmont (1522–68), was a historical figure immortalized in Goethe’s tragedy of 1788, the play for which Beethoven later provided incidental music.

Egmont, a Dutch nobleman, was on the one hand a loyal subject of Philip II of Spain—he pled Philip’s troth before Mary I of England—and on the other a fervent opponent of the repressive measures visited on the Netherlands by the Spanish regime. He could neither support the governor-general nor bring himself to join a military insurrection against the Duke of Alba, and was at length captured and beheaded as a traitor for having entertained such high moral scruples.

Beethoven’s overture is altogether appropriate to the swashbuckling tale. It begins with a terrifying unison F and then a fateful, sinister progression in F minor. The melodic undulations in woodwinds and first violins are picked up by the cellos, which work the material into the restless theme of the Allegro, still in minor. The second theme is a major-mode version of the mysterious chords heard in the opening bars. A taut sonata makes its way routinely on through to recapitulation, at which point the insistent chords of the second theme are interrupted by a delicate modulation in the woodwinds. From these there breaks forth a coda in F major of rousing military triumph, with piccolos and heroic brass—quite the equal of the memorable coda that concludes the Fifth Symphony.

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M aHler: SyM pHoNy No. 1

iN D M aJor

for piccolos I-II, flutes I-IV, oboes I-IV, English horn, E-flat clarinet, clarinets I-III, bass clarinet, bassoons I-III, contrabassoon; horns I-VII, trumpets I-IV, trombones I-III, tuba; timpani (two players), bass drum, cymbals, bass drum with top-mounted cymbals, triangle, tam-tam; harp; strings

Composed c. 1885–88 in Kassel and Leipzig; revised through 1906; originally comprising five movements, with the second, an Andante called Blumine, removed c. 1896

fir s t per formed November 20, 1889, by the Budapest Philharmonic, Mahler conducting

published by Josef Weinberger (Vienna, 1899)

inexpensive score: Gustav Mahler: Symphonies Nos. 1 and 2 in Full Score (New York: Dover, 1987)

Durat ion: about 50 minutes

Georg Philipp Telemann, with his 900 or so works, is said to be the most prolific composer of all time and was considerably more famous in the early 1700s than

J.S. Bach. He also had a better job, as cantor of the major churches in Hamburg. His career and Bach’s intersected a number of times, and Telemann stood as godfather to C.P.E. Bach.

The famous Viola Concerto, the first for that instrument, is one of nearly 200 Telemann composed while serving in Frankfurt as city music director (1712–21). There he was an officer for the upper-middleclass Frauenstein Association, which sponsored “weekly great concertos” of its collegium musicum: in short, an early philharmonic society, giving a subscription series of orchestra concerts.

The concerto is in four movements, not the three that came to be standard, thus after the model of the church sonata by Torelli and others. The Largo and Allegro form an opening-movement pair, followed by a discursive slow movement with unusual harmonic twists, and concluding with a binary dance-like movement. Professor Wolff notes “the stamp of Telemann’s personal artistry, his gay and pleasant amiability, his understanding of the instrument in question and its tonal character.” Note, too, the interesting deployment of the bass line, sometimes participating in the imitative polyphony, sometimes taken by violins and violas unison, and occasionally falling out altogether. Here the basso continuo is anything but continuous.

Symphony No. 1 in D Major and the Lieder eines fahrenden Gesellen (Songs of a Wayfarer) are works of simultaneous inception, stemming in part from an unhappy

liaison between Mahler and the singer Johanna Richter during his brief tenure as music director in Kassel (1883–85). The songs were composed with piano accompaniments to be orchestrated later; in the delay, the symphony emerged, borrowing—and orchestrating for the first time—some of the material from the songs.

Originally, the First was not called a symphony at all, but rather a Symphonic Poem in two parts and five movements. The first part, “From the Days of Youth,” embraced three movements: “Spring without End,” the Andante Blumine (“A Chapter of Flowers”), and “In Full Sail,” the scherzo. In the second half, “The Human Comedy,” were the funeral march, called “Aground,” and the finale, “Dall’ Inferno al Paradiso.” The published score of 1899 omits the program elements and the Blumine movement.

The first movement alludes strongly, in its long, slow introduction, to the opening of Beethoven’s Ninth. But where Beethoven’s initial passage turns out to harbor all the violence of nature, Mahler flavors his primordial As with pastoral horns and a distant military fanfare. He then turns the falling interval into a cuckoo call. The high-pitched whine of the string harmonics, moreover, is decidedly post-Beethovenian. All the preparation is for an Allegro of meadows and fields, its principal material drawn from the second of the Wayfarer songs. In view of the length of the introduction, the exposition seems quite short and must be repeated for good balance. The development, which begins by returning to the slow motion and high whine of the opening, soon introduces important new material, a confident march heard in the quartet of French horns, pianissimo—not new, exactly, for there are antecedents in the ruminating horns of the introduction. For a Mahlerian development, what follows seems restrained and prevailingly carefree, even given the complexity of the motivic interaction. As the climax approaches, however, the trumpet calls are deflected into throbs and groans, emphasized in the bass, that begin the big crescendo to recapitulation. Rapturous flourishes of the trumpet calls from the introduction boil over into the French horn march, now quite martial. As is typical of Mahler’s sonata forms, the materials from the exposition return in midstream, compacted, anxious to conclude. In this case, the movement ends in an accelerando of the cuckoo figure and the rapid fire of general orchestral merriment.

viol a CoNCerto iN G M aJor

for viola solo; strings with basso continuo

Composed and first performed c. 1715 in Frankfurt for the weekly Frauenstein concerts

published after a manuscript copy in Darmstadt by Bärenreiter-Verlag (Kassel, 1968), ed. Hellmuth Christian Wolff

Durat ion: about 15 minutes

N o t e S

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The second movement is a plodding country-dance, typically thought to be Breughelesque in connotation, with a genteel trio. In the first departure, things take wing and end up riotously with uplifted bells in the winds, stopped horns, the kind of chaotic forward motion Mahler is given to marking “wild,” and other tonalities clashing up against the interval so firmly established in the bass. The country-dance can return only tentatively at first, then with growing confidence. The trio is suave, with erotic glissandos and rubatos in the interwoven melody lines and lovely work for solo cello. When the dance recurs for the last time, its vulgarities have been polished and civilized.

For his funeral march, Mahler had in mind a vaguely comic fairytale illustration, “The Hunter’s Funeral Procession,” in which a coffin—presumably that of the hunter—is borne forward by a parade of forest animals. The tune is the familiar round Frère Jacques, set in the minor mode over the continuous knell of a timpani ostinato. What comedy there is lies in the droll choice of soloists: double bass, bassoon, cello, tuba, and so on. A funereal tattoo is heard from the oboes, then the tolling of a tam-tam. The first of the trios begins as a lazy, possibly ethnic strain for oboes and trumpets, soon made mocking and lively (and Turkish) by the band and primitive bass drum and cymbals. A partial and very brief return to the round separates the two trios: the next turns to the major mode and cites the fourth of the Wayfarer songs, Die zwei blauen Augen, likewise a cortege. Bits of the village-band episode have by now reasserted themselves and continue through the return of the D minor, and the procession recedes into the distance, with echoes in the timpani.

A terrifying orchestral thunderclap shatters the moment and sets the fourth movement into motion. The massive introduction carries on and on, as the triplet figures in the winds plunge ever deeper into the bass register. Finally, a savage march surges forth, eventually reaching a climax marked “with great ferocity.” From its rubble emerges, as second subject, a songful passage for strings in a passive key. The long timpani roll and groaning cellos begin the development by reintroducing the atmosphere of the first movement. When it reaches the familiar fanfare, a firm D major with the tonic pitch sustained across the orchestra, and a happy peal of French horns, you sense a peroration in the making. Instead there is a dramatic return of the first-movement motives and minor key, bird songs, and a lingering over the second subject before a proper recapitulation of the first. Once more the major-mode fanfares erupt over a sustained bass, this time culminating in a very long coda marked “triumphant.” The way he goes on is probably excessive, but you can’t deny the thrill when he gets to the end. —DKH

N o t e S

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viol in iCynthia Bates, concertmaster*John Abdallah,

associate concertmaster*Zoe BernaClairelee Leiser Bulkley*Joan CrowPeter CurrivanYosef Farnsworth*Jolán FriedhoffAngela HernandezJordan KirknerRaphael Moore*Amanda PerryVanessa RashbrookJudy Riggs*Wesley Wang

viol in i iAngelo Arias, principal*Shari Gueffroy,

assistant principal*Reanna AlbertChristina ChengKristine DawkinLisa EleazarianElicia FoxAaron GongGrace HermleSharon InkelasAmelia LancasterBliss LeeCandace LoHeide MeiwesLeslie PeacockAlice Tackett

violaKimberlee Uwate, co-principal*Zoe Kemmerling,

associate principal*William Chang Jr.James ChitwoodJason HabermanKristen JonesMelissa LyansMichael ReidDavid SpencerClare SteinbergChristine Tsai

Cel loAnne Marie Noble, principal*Christopher Allen*Lara BrownCourtney CastenadaLucas ChenHannah ChoiLeo GravinEldridge Moores*Tobias MünchIsabel OrtizAdam Sapin*Eimi Stokes

ba ssEric Price, principal*Greg BruckerPaul CherngRobin CroenTom DerthickThomas MykytynAmanda WuMelissa Zerofsky

fluteSusan Monticello, principal*Alexandra EngenAmy KuoSusan MagnoliCaitlin Roddy

oboeMary King, principal*Luis de la Torre Laura DoserJaclyn Howerton

Clar ine tAl Bona, co-principal*Robert Brosnan, co-principal*Alicia BruceNitasha Sharma

ba ssoonMatthew Wong, principal*Kate MackenzieAllison PeeryAdam Taylor

Har pChristina Kopriva*

Har psichordPhebe Craig

Hor nJonathan Anderson, principal*Rachel HowertonRyan IsmailVictoria LauPeter NowlenSteven SchaughencyYuka ShimizuDavid Simpson

trumpetNick Antipa, principal*Jessica BejaranoIan McPhersonRandy Veirs

tromboneJohn Unrath, principal*Eduardo Gonzaga*Johannes Plambeck*Robert Thomas*

tu baDavid Moschler*

percu ss ionDerek Kwan, principal*Philip DaleySteve DooDavid KashevaroffMegan Shieh*

*Holder of endowed seat

u C D av i S S y M p H o N y o r C H e S t r aD . K e r n H o l o m a n , c o n d u c t o r

D a v i d M o s c h l e r , a s s i s t a n t c o n d u c t o r a n d t e a c h i n g a s s i s t a n tJ e s s i c a b e j a r a n o , a s s i s t a n t c o n d u c t o r

yo s e f f a r n s w o r t h , m a n a g e r a n d l i b r a r i a n

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, events and publicity managerJosh Paterson, events and production manager

Rudy Garibay, senior graphic designerJessica Kelly, senior writer

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Cy nthia bates Cynthia Bates concertmaster

presented by Debra Horney, M.D.

John a bdal lah Damian Ting associate concertmaster

presented by Damian Siu Ming Ting

Claire lee leiser bulk ley Clairelee Leiser Bulkley violin I

presented by Clairelee Leiser Bulkley and Ralph E. Bulkley

yose f far nswor th Francis Dubois violin I

presented by Nancy Dubois

raphael S. Moore Raphael S. Moore violin I

presented by Jolanta Moore in memory of Raphael’s grandmother, Dr. Irena Anna Henner

Judy r iggs Ralph and Judy Riggs violin I

presented by Ralph and Judy Riggs

angelo ar ia s Fawzi S. Haimor principal violin II

presented by Barbara K. Jackson

Shar i benard-Guef f roy Shari Benard-Gueffroy assistant principal violin II

presented by Shari Benard-Gueffroy

Kim uwate Jocelyn Morris principal viola

presented by James and Jocelyn Morris

Zoe Kemmerl ing Bakos family associate principal viola

presented by John T. Bakos, M.D./Ph.D., in memory of Dr. John and Grace Bakos

anne Mar ie Noble Herman Phaff principal cello

presented by Herman and Diane Phaff

Chr is topher al len Tracy McCarthy cello

presented by Brian and Louanne Horsfield

e ldr idge Moores Eldridge Moores cello

presented by Eldridge and Judith Moores

adam Sapin Louise McNary cello

presented by Don McNary

er ic p r ice Barbara K. Jackson principal bass

presented by Barbara K. Jackson

Su san Mont icel lo Principal flute

presented by Beverly “Babs” Sandeen and Marty Swingle

Mary King Wilson and Kathryn Smith principal oboe

presented by Wilson and Kathryn Smith

al bona/rober t brosnan W. Jeffery Alfriend DVM principal clarinet

presented by Vicki Gumm and Kling Family Foundation

Mat thew wong Kling Family Foundation principal bassoon

presented by Vicki Gumm and Kling Family Foundation

Jonathan ander son Kristin N. Simpson and David R. Simpson principal French horn

presented by Richard and Gayle Simpson

Nick ant ipa Andrew Mollner principal trumpet

presented by Joseph Dean Mollner and Andrew Mollner

John unrath Rebecca A. Brover principal trombone

presented by Rebecca A. Brover

Johannes plambeck/eduardo Gonzaga Michael J. Malone trombone

presented by Brian McCurdy and Carol Anne Muncaster

rober t thoma s Brian McCurdy bass trombone

presented by Barbara K. Jackson

David Moschler Robert B. Rucker tuba

presented by Robert and Margaret Rucker

Chr is t ina Kopriva Calvin B. Arnason principal harp

presented by Benjamin and Lynette Hart

Derek Kwan Friedman family principal percussion

presented by Marvin and Susan Friedman

Megan Shieh Gary C. Matteson orchestral piano

presented by Jane, Dwayne, and Donald Matteson

David Moschler Barbara K. Jackson assistant conductor

presented by Barbara K. Jackson

u C D av i S S y M p H o N y o r C H e S t r a e N D o w e D S e at S

Endowed seats are made possible by gifts of $10,000 or more.

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

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Mitzi S. AguirrePriscilla AlexanderW. Jeffrey 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**Walter and Marija Bunter*Ray and Mary Cabral*Lynn L. and Robert N. CampbellDon and Dolores Chakerian*Terry and Marybeth CookElizabeth CorbettRichard Cramer and Martha

Dickman*Allan 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*Virginia and Bill HinshawBarbara D. Hoermann

Prof. 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. McCarthyBrian McCurdy and Carol Anne

Muncaster**Ulla and Gerald McDanielDon and Lou McNary*Albert J. and Helen McNeil*Sharon Menke, Esq.Andrew 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 RiceJames 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*Neil SchoreProf. 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. Webster 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 memoriam ofSusan Pylman AkinRonald J. AlexanderRobert M. CelloElizabeth ElkusCarl FlowersVerna Fournes Le MaitreDr. Irena Anna HennerKatherine H. HolomanNorman E. LambLoren LeMaitreMichelle MantayJohn MouberMel OlsonHerman PhaffKeith RiddickWalter H. Rock Jr.Dorothy J. ShielyRichard and Dorothy SwiftWilliam E. ValenteBodil Wennberg

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

J o i N t H e u C D av i S S y M p H o N y e N D o w M e N t

The UC Davis Symphony Endowment was established by members and friends in 1992 with the goal of assuring the orchestra’s access to first-rate teachers and soloists, a handsome orchestral library, and enhanced opportunities for travel.

The Endowed Seats program, established by UCDSO member Rebecca Brover in 2000 on the occasion of the new millennium, recognizes gifts of $10,000 and more by naming individual seats in the orchestra in perpetuity. As of the 2007–08 season, some 29 seats were so named.

Support the future of the UCDSO by becoming a member of the UC Davis Symphony Endowment. Gifts are recognized in the donor list published with each concert program. Members of the Endowment also receive a newsletter and various other forms of recognition. For more information on donor opportunities, visit our Web site at ucdso.ucdavis.edu, or call Debbie Wilson, development director, at 530.757.5784.

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