University Chorus

DEPARTMENT OF MUSIC PRESENTS

UCD Symphony
Orchestra

D. KERN HOLOMAN, conductor

University
Chorus

JEFFREY THOMAS, conductor

STRAVINSKY: PETRUSHKA

with Lara Downes, piano

BRITTEN: SPRING SYMPHONY

with Lenore Turner-Heinson, soprano
Marla Volovna, mezzo-soprano
Scott Whitaker, tenor

Davis Children’s Chorale, Rachel Kessler, director
Pacific Boychoir, Kevin Fox, director

Sunday, 12 March 2000
8:00 p.m. Freeborn Hall

DEPARTMENT OF MUSIC PRESENTS

UCD SYMPHONY ORCHESTRA
D. Kern Holoman, conductor

and the

UNIVERSITY CHORUS
Jeffrey Thomas, conductor

8:00 p.m.
Sunday, 12 March 2000

Freeborn Hall

PROGRAM

Petrushka, Burlesque in Four Tableaux Igor Stravinsky

First Tableau: The Shrovetide Fair (1882–1971)

The Magic Trick—Russian Dance

Second Tableau: Petrushka’s Room

Third Tableau: The Moor’s Room

Dance of the Ballerina—Waltz

Fourth Tableau: The Shrovetide Fair That Evening

Dance of the Nursemaids—Dance of the Coachmen and

Stable Boys—The Mummers

Intermission

Spring Symphony Benjamin Britten

Part I: Introduction (mixed chorus) (1913–1976)

The Merry Cuckoo (tenor solo)

Spring, the Sweet Spring (soprano, alto, tenor soli, mixed chorus)

The Driving Boy (soprano solo and children’s choir)

The Morning Star (mixed chorus)

Part II: Welcome Maids of Honour (alto solo)

Waters Above (tenor solo)

Out on the Lawn I Lie in Bed (alto solo and mixed chorus)

Part III: When will by May come (tenor solo)

Fair and Fair (soprano and tenor soli)

Sound the Flute (male chorus, female chorus, and children’s choir)

Part IV: Finale. London, to Thee I do Present (soprano, alto, and tenor soli,

mixed chorus and children’s choir)

Lenore Turner-Heinson, soprano
Marla Volovna, mezzo-soprano

Scott Whitaker, tenor
Davis Children’s Chorale, Rachel Kessler, director

Pacific Boychoir, Kevin Fox, director

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NOTES

Stravinsky: Petrushka, Burlesque in Four Tableaux

For piccolos I–II, flutes I–II, oboes I–III, English horn, clarinets I–III, bass clarinet,
bassoons I–III, contrabassoon; horns I–IV, cornets I–II, trumpets I–II, trombones
I–III, tuba; timpani, snare drum, bass drum, cymbals, triangle, tambourine, tam-tam,
xylophone, glockenspiel; harps I–II, piano, celesta; strings.

Composed winter 1910 in Beaulieu-sur-mer–26 May 1911 in Rome; dedicated to
Alexandre Benois; rewritten 1947 to secure the copyright and to adapt the ballet for
smaller orchestra (in this version the piano has a greater role).

First performed 13 June 1911, by the Ballets Russes at the Théâtre du Châtelet, Paris,
Pierre Monteux conducting.

Published by Éditions Russes de Musique [Boosey and Hawkes, Inc. in the west]; revised
edition published by Boosey and Hawkes, Inc. (London, 1947). Inexpensive scores:
Stravinsky: Petrushka, ed. Charles Hamm, A Norton Critical Score (New York: Norton,
1967); Igor Stravinsky: Petrushka in Full Score, Original Version (New York: Dover, 1988)

Duration: about 35 minutes

Stravinsky’s second ballet for Diaghilev took shape in the composer’s imagination
when, as he was composing an unrelated work, the image of an exasperating puppet
kept coming to mind. It was clear that The Rite of Spring would not be ready for the
1911 season, so Stravinsky suggested the puppet story to Diaghilev, who had a scenario
prepared and engaged Michel Fokine for the choreography and Vaclav Nijinsky for
the title role. Petrushka of the Mardi-Gras fair is common to many folk traditions, not
so different from Punch of Punch and Judy shows or Pulcinella of the Italian commedia
dell’arte—“the immortal and unhappy hero,” Stravinsky called him, “of every fair.”

The score is a masterpiece, overflowing with memorable descriptive vignettes; a fresh
harmonic idiom that yields, in the scene in Petrushka’s room a wonderful bitonal
sonority (simultaneous chords of C and F-sharp major) generally called “the Petrushka
chord;” and fine rhythmic and metric effects, particularly in the unmitigated confusion
of crowd scenes. In its entirety the enormous orchestra exudes the effervescence of
the Shrovetide Fair; in smaller groupings—drone and winds for the barrel organ,
glockenspiel for the music box, the pair of clarinets for Petrushka’s curse—the
orchestration can be more vivid still. A good deal of the melodic material comes
from Russian folksong, popular French melody (in the second of the organ tunes, for
example), and, for the waltz, the music of the Viennese composer Joseph Lanner (1801–
43).

The ballet score is very effective as a concert piece, but it is important to imagine the
story as it goes by:

First Tableau. The curtain rises on a fairground, to one side of which is a little
puppet theater of the sort often found in European parks and gardens. It is Mardi
Gras (Shrovetide); the weather is still cold. Tipsy merrymakers lurch by. A magician-
puppeteer enters and beckons the crowd toward the theater. An organ grinder and
dancer appear; she dances to the hurdy-gurdy, beating time on her triangle, as though a
doll herself. The puppeteer again tries to attract the crowd; the revelers return.

Drummers announce the beginning of the puppet show. With a flick of his wrist (The
Magic Trick), the old puppeteer raises the curtain. Three puppets lie on stage: Petrushka,

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the Moor, and the Ballerina. The puppeteer plays his flute to bring the dolls to life. The
puppets dance a Russian Dance (trépak) together.

Second Tableau. Petrushka’s Room. A door opens and Petrushka is kicked into the
room, falling in a heap on the floor. He comes to life and curses his fate. The Ballerina
enters and for a moment they dance together. Then she abandons Petrushka to his
miserable loneliness.

Third Tableau. The Moor’s Room. The Moor, a comic villain, dances a characteristic
solo. The Ballerina enters to dance and play a cornet; she waltzes with the Moor. The
jealous Petrushka quarrels with the Moor, and the Ballerina faints. The Moor, much the
stronger of the two, shoves Petrushka from the room. Darkness falls.

Fourth Tableau. The Fair That Evening. A group of nursemaids dances, then an
animal trainer with his bear. A rich merchant, with gypsy girls on either arm, jovially
tosses money to the merrymakers; stable boys and coachmen enter to dance with the
nursemaids. Carnival-maskers approach, with mummers costumed as pigs and goats.
Confusion erupts in the puppet theater: Petrushka rushes out, chased by the Moor, with
the frightened Ballerina unable to separate them. The Moor strikes Petrushka with a
Turkish sabre and he falls to the ground, his skull broken. Police fetch the puppeteer,
who shakes the lifeless doll and, remorseless, shrugs. The crowd drifts away.

The old magician stands there alone and begins to drag the limp puppet toward the
theater. But Petrushka’s ghost, standing on the roof of the theater, sneers at him and
thumbs his nose. The terrified puppeteer drops the doll and flees. Snow begins to fall.

—D.K.H.

Britten: Spring Symphony

Benjamin Britten composed his Spring Symphony, op. 44 when he was 35, during a
prolific and mature period just a year or two after he completed his operas Peter Grimes,
The Rape of Lucretia, and Albert Herring. Its composition was the result of a commission
from the Boston Symphony’s great conductor Serge Koussevitzky, to whom it is
dedicated. (The Koussevitzky Music Foundation had also commissioned Peter Grimes.)
The conductor kindly allowed the first performance to take place under another baton
at the Holland Festival on 9 July 1949. Here none less than the magnificent singers Jo
Vincent, Kathleen Ferrier, and Peter Pears took part, along with the Concertgebouw
Orchestra under Eduard van Beinum. But just five weeks later, the first American
performance took place at Tanglewood’s Berkshire Festival under Koussevitzky’s
direction.

The work is phenomenally difficult for nearly all of the assembled forces. Scored for
a full orchestra including a vast array of percussion instruments, chorus, children’s
chorus, and three soloists, the complexity is at times staggering. The score is exceedingly
dense, full of ideas and detail, which—although in many cases not at all obvious to the
ear—combine in the most uncanny way into a very natural and homogenized result.
At several moments in the work one encounters layer upon layer of musical textures. It
seems that Britten was experiencing an unbridled burst of creativity and inventiveness.
He imbued each section of the work with the qualities we associate with spring—
freshness, color, and spontaneity among them.

Titled “Symphony,” the work is in four movements, each a combination of several
choruses and arias. The flavors of each of the four movements closely resemble those
of a classical symphony: the first movement is the longest, and it is followed by a “slow

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movement,” “scherzo,” and Finale. With the exception of three verses by Auden, Blake
and Clare, all the texts are by poets who flourished between the mid-sixteenth century
and the end of the seventeenth century. They comprise a “who’s who” of English verse:
Edmund Spenser, Thomas Nashe, George Peele, John Clare, John Milton, Robert
Herrick, Henry Vaughan, W.H. Auden, Richard Barnefield, William Blake, and the
great Jacobean literary partnership of English Restoration drama, (Francis) Beaumont
and (John) Fletcher.

The Introduction depicts our world in the throes of the dead of winter. Following the
opening measures characterized by the hollow sounds of timpani, bass drum, gong, two
harps, vibraphone, and the eerily icy sound of the xylophone, the chorus begin their
pleas to the long absent sun to “shine out.” Now muted strings play upon the “hollow”
sound of tritone intervals, followed by another choral interjection. Still unsuccessful,
they are followed by winds and trilling strings representing the beginnings of a thaw,
the first stirrings of life beneath the ice. But not enough: here two especially colorful
lines of text are sung, “The grey wolf howls he does so bite; Crookt age on three knees creeps
the street.” The next orchestral attempt to break the freeze features muted trumpets,
horns, trombones, and tuba, distantly playing a sort of ascending fanfare. This, too,
fails. Finally, all of the previously heard elements combine in a burst of energy, one last
attempt to raise the sun. This is one of only two moments in the entire work when all
the orchestral forces are united. Frustrated, they slowly give up their efforts. Only the
vibraphone and fading voices are now heard in one last shivering gasp.

Trumpets and tenor herald the arrival of spring. It seems to have come overnight, in
the blinking of an eye. The tenor’s first words, “The merry cuckoo,” are given more of
a portrayal in the following movement, “Spring, the Sweet Spring,” marked con slancio
(“dashingly”). Here all three vocal soloists imitate the sounds of birds, an enchanting
effect. In “The Driving Boy” we are finally treated to one of the most endearing aspects
of the work’s scoring. The children’s voices sing of “strawberries swimming in the cream
and schoolboys playing in stream” and even whistle to their hearts’ content, as the
soprano soloist, observing admiringly, sings a complimentary text by Clare. The long
first movement comes to a close with Milton’s “The Morning Star.” Another stroke of
colorful orchestration is Britten’s use here of horns, trumpets, trombones, and bells. The
brass instruments create the sound of a glorious peal, heralding the “bounteous May, that
doth inspire Mirth and youth, and warm desire.”

Part II brings us even more color, beginning with Herrick’s “Welcome Maids of Honour.”
Here the harps make a great contribution, foiled by the drooping sounds of violas,
violoncellos, and basses, ultimately depicting the poem’s last regretful and sadly ironic
lines. “Waters Above,” scored for tenor and violins only, playing mostly ponticello (on
their instruments’ bridges), portrays an exquisite evening shower. Another evening is
described in lines from Auden’s poignant poem “A Summer Night.” Introduced by a
wordless choir, the scoring (for winds, brass, and percussion) immediately foretells a
darker subtext. While the alto soloist extols a blissfully peaceful night, she reminds us
of those things we “do not care to know,” of the atrocities in war-torn Poland, and of the
terrible price others pay to allow “Our freedom in this English house, Our picnics in the
sun.” In context, this is a chilling sentiment, certainly one not expected.

Part III, the “scherzo” of this symphony, is comprised of three highly animated verses.
At first, in “When Will my May Come,” the tenor’s urgent and somewhat exaggerated
protestations are accompanied by nearly hysterical strings and harps, all very much “over
the top” and a perfect snapshot of the text. A romp of canons follows in Peele’s “Fair and

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Fair.” The soprano and tenor displace each other rhythmically, the only stability being
supplied by violins at first, then lower strings happily strumming along. The children’s
voices return in Blake’s “Sound the Flute!” This movement is sadly barely more than a
minute long, but it quickly sets up Britten’s use of the various “choirs” of the ensemble:
winds, brass, strings, adult voices, and children’s voices will be used in a similar force-
upon-force style in the ensuing Finale.
By all means the most complex part of the work, the Finale culminates in what feels
like the entire world joining together in song. Using the address of the Maylord from
Beaumont and Fletcher’s The Knight of the Burning Pestle, nothing less than a cow horn
introduces the tenor’s entreaties. The city, the town and every shire join together in a
great free-for-all of revelry. (At this point, an old copy of the Oxford English Dictionary
might be handy. The text is delightful, if at times elusive.) One clever felicity follows
another, until we are almost overwhelmed by the composer’s resourceful ingenuity. Just
as we perhaps begin to lose track of all the ideas, our heads swimming in gestures and
colorful texts, the Maylord, with one very loud bang of his “gilded staff,” reorganizes the
assembled forces—some 240 in tonight’s performance—with the direction that we all
go “a-maying.” Now words are no longer sufficient. The entire throng joins together in
a wordless song, a full-throated vocalise, no doubt substantially fortified by ale and May
wine. This is proven out by some unexpected and rather topsy-turvy modulations. The
crowning glory is an enthralling moment when the children’s voices re-enter the scene
and sing the thirteenth-century song “Sumer is icumen in.” The ultimate triumph of this
simple tune, sung in 2/4 time over the unyielding 3/4 waltz of the rest of the ensemble,
is just. Eventually the celebrations slowly begin to subside, and with a decidedly
cinematographic effect, our vantage point becomes gradually more and more distant.
The Maylord offers a final benediction, and with one last self-absorbed proclamation, he
sings “and so, my friends, I cease.” [Fine.]

—J.T.

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PART I

heat, nought.
Show all your thousand-coloured Therefore O love, unless she turn to

light! thee
Black winter freezes to his seat; Ere cuckoo end, let her a rebel be.
The grey wolf howls he does so bite;
Crookt age on three knees creeps the —Edmund Spenser

street; Spring
The boneless fish close quaking lies
And eats for cold his aching feet; Spring, the sweet spring, is the year’s
The stars in icicles arise: pleasant king;
Shine out, and make this winter
Then blooms each thing, then maids
night dance in a ring,
Our beauty’s spring, Our Prince of
Cold doth not sting, the pretty birds
Light! do sing:
—(Anon. 16th Century)
Cuckoo, jug-jug, pu-we, to-witta-
* From Elizabethan Lyrics by the late Norman Ault, woo!

printed by permission of his executrix The palm and may make country
houses gay,
The Merry Cuckoo
Lambs frisk and play, the shepherds
The merry cuckoo, messenger of pipe all day,
spring,
And we hear aye birds tune this
His trumpet shrill hath thrice already merry lay:
sounded;
Cuckoo, jug-jug, pu-we, to-witta-
That warns all lovers wait upon their woo!
king,
The fields breathe sweet, the daisies
Who now is coming forth with kiss our feet,
garlands crowned:
Young lovers meet, old wives a-
With noise whereof the quire of birds sunning sit;
resounded
In every street these tunes our ears
Their anthems sweet devised of love’s do greet:
praise,
Cuckoo, jug-jug, pu-we, to-witta-
That all the woods their echoes back woo!
rebounded.
Spring, the sweet Spring!
As if they knew the meaning of their —Thomas Nashe
lays.

But ’mongst them all, which did
love’s honour raise,

No word was heard of her that most
it ought,

7

The Driving Boy Thus we salute thee with our early
song,
When as the rye reach to the chin,
And chopcherry, chopcherry ripe And welcome thee, and wish thee
long.
within, —John Milton
Strawberries swimming in the cream,
And school-boys playing in the Welcome Maids of Honour

stream; Welcome Maids of Honour,
Then O, then, O then O, my true You doe bring
In the Spring;
love said, And wait upon her.
Till that time come again,
She could not live a maid. She has Virgins many,
Fresh and faire;
—George Peele Yet you are
More sweet than any.
The driving boy, beside his team
Of May-month’s beauty now will Y’are the Maiden Posies,
And so grac’d,
dream, To be plac’d,
And cock his hat, and turn his eye ‘Fore Damask Roses.
On flower, and tree, and deepening
Yet though thus respected,
sky; By and by
And oft burst loud in fits of song, Ye doe lie,
And whistle as he reels along, Poore Girles, neglected.
Cracking his whip in starts of joy—
A happy, dirty, driving boy. —Robert Herrick

—John Clare Waters Above

The Morning Star Waters above! eternal springs!
The dew, that silvers the Dove’s
Now the bright morning star, day’s
harbinger, wings!
O welcome, welcome to the sad:
Comes dancing from the East, and Give dry dust drink; drink that makes
leads with her
glad!
The flowery May, who from her green Many fair ev’nings, many flowers
lap throws Sweeten’d with rich and gentle

The yellow cowslip, and the pale showers
primrose. Have I enjoy’d, and down have run
Many a fine and shining sun;
Hail, bounteous May that doth But never till this happy hour
inspire Was blest with such an evening-

Mirth and youth, and warm desire, shower!
Woods and groves, are of thy —Henry Vaughan

dressing’
Hill and dale, doth boast thy

blessing—

8

Out on the Lawn I Lie in Bed* About the fields, along the hawthorn
bushes;
Out on the lawn I lie in bed,
Vega conspicuous overhead I have a piebald cur to hunt the hare:
In the windless nights of June; So we will live with dainty forest
Forests of green have done complete
The day’s activity; my feet fare.
Point to the rising moon.
And when it pleaseth thee to walk
Now North and South and East abroad,
and West
(Abroad into the fields to take fresh
Those I love lie down to rest; aire:)
The moon looks on them all:
The healers and the brilliant talkers, The meads with Flora’s treasures shall
The eccentrics and the silent walkers, be strowed,
The dumpy and the tall.
(The mantled meadows and the fields
To gravity attentive, she so fair.)
Can notice nothing here; though we
Whom hunger cannot move, And by a silver well (with golden
From gardens where we feel, secure sands)
Look up, and with a sigh endure
The tyrannies of love: I’ll sit me down, and wash thine iv’ry
hands.
And, gentle, do not care to know,
Where Poland draws her Eastern But if thou wilt not pitie my
complaint,
bow,
What violence is done; My tears, nor vowes, nor oathes,
Nor ask what doubtful act allows made to thy Beautie:
Our freedom in this English house,
Our picnics in the sun. What shall I do? But languish, die,
or faint,
—W.H. Auden
Since thou doth scorne my tears, and
*by kind permission of W. H. Auden soule’s duetie:

When Will My May Come And tears contemned, vowes, and
oathes must fail:
When will my May come, that I may
embrace thee? For when tears cannot, nothing can
prevaile.
When will the hour be of my soules —Richard Barnfield
joying?
Fair and Fair
If thou wilt come and dwell with me
at home; Fair and fair, and twice so fair,
As fair as any may be;
My sheepcote shall be strowed with The fairest shepherd on our green,
new green rushes; A love for any lady.
Fair and fair, and twice so fair,
We’ll haunt the trembling prickets as As fair as any may be;
they roam Thy love is fair for thee alone,
And for no other lady.
My love is fair, my love is gay,
As fresh as bin the flowers in May;
And of my love my roundelay,

9

My merry, merry, merry, roundelay, Merrily, merrily, to
Concludes with Cupid’s curse: welcome in the year.
They that do change old love for
Little lamb
new, Here I am.
Pray gods they change for worse. Come and lick
My white neck.
Fair and fair, and twice so fair, Let me pull
As fair as any may be; Your soft wool.
The fairest shepherd on our green, Let me kiss
A love for any lady. Your soft face.
Fair and fair, and twice so fair, Merrily, merrily, we
As fair as any may be;
Thy love is fair for thee alone, welcome in the year.
And for no other lady. —William Blake
My love can pipe, my love can sing,
My love can many a pretty thing, Finale
And of his lovely praises ring
My merry, merry, merry, roundelays, London, to thee I do present the
Amen to Cupid’s curse: merry month of May;
They that do change old love for
Let each true subject be content to
new, hear me what I say:
Pray gods they change for worse.
With gilded staff and crossed scarf,
—George Peele the Maylord here I stand.

Sound the Flute Rejoice, O English hearts, rejoice!
rejoice, O lovers dear!
Sound the flute!
Now it’s mute. Rejoice, O City, town and country!
Birds delight, rejoice, eke every shire!
Day and night.
Nightingale For now the fragrant flowers do
In the dale, spring and sprout in seemly sort,
Lark in sky
Merrily, The little birds do sit and sing, the
Merrily, merrily, to lambs do make fine sport;

welcome in the year. And now the birchen-tree doth bud,
that makes the scboolboy cry;
Little boy
Full of joy. The morris rings, while hobby-horse
Little girl doth foot it feateously;
Sweet and small.
Cock does crow The lords and ladies now abroad, for
So do you. their disport and play,
Merry voice
Infant noise Do kiss sometimes upon the grass,
and sometimes in the hay;

Now butter with a leaf of sage is good
to purge the blood;

Fly Venus and phlebotomy, for they
are neither good;

Now little fish on tender stone begin
to cast their bellies,

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And sluggish snails, that erst were Up, then, I say, both young and old,
mewed, do creep out of their both man and maid a-maying.
shellies;
With drums, and guns that bounce
The rumbling rivers now do warm, aloud, and merry tabor playing!
for little boys to paddle;
Which to prolong, God save our
The sturdy steed now goes to grass, King, and send his country peace,
and up they hang his saddle;
And root out treason from the land!
The heavy hart, the bellowing buck, and so, my friends, I cease.
the rascal, and the pricket, —Beaumont and Fletcher

Are now among the yeoman’s peas, Sumer is icumen in,
and leave the fearful thicket; Lhude sing cuccu
Groweth sed and bloweth med
And be like them, O you, I say, of And springth the wude nu.
this same noble town, Sing cuccu.
Awe bleteth after lomb,
And lift aloft your velvet heads, and Lhouth after calve cu.
slipping off your gown,
Bulluc sterteth, bucke verteth,
With bells on legs, with napkins Murie sing cuccu.
clean unto your shoulders tied, Cuccu,cuccu,
Wel singes thu, cuccu,
With scarfs and garters as you please, Ne swik thu naver nu.
and “Hey for our town!” cried,
—Anonymous
March out, and show your willing
minds, by twenty and by twenty,

To Hogsdon or to Newington, where
ale and cakes are plenty;

And let it ne’er be said for shame,
that we the youths of London

Lay thrumming of our caps at home,
and left our custom undone.

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BIOGRAPHIES

The Davis Children’s Chorale (Rachel Day Kessler, founder and artistic director) is an
auditioned choir open to children, ages 8–14, from Davis and the surrounding areas. The
chorale was organized in 1995 to perform the children’s chorus in the St. Matthew Passion
for the Greater Sacramento Area Bach Festival. They appeared with the Davis and River
City Chorales in a performance of the west coast premier of Andrew Charter’s Te Deum
conducted by the composer. This concert produced their first CD, The British Tradition.
In July 1998, selected members of the group had their first international tour and
participated in the Canterbury Festival in England, with additional appearances in Bath
and London. The chorale’s second CD Two For The Price Of One was released in 1998.
The chorale participates in area festivals and presents four or five concerts each year.

Rachel Kessler, director, Davis Children’s Chorale, is in her twentieth year as artistic
director of the Davis Chorale, an ensemble that has appeared with Roger Wagner and
Jean Berger. Hundreds of Davis teenagers have profited from her tutelage as chorus
director at Ralph Waldo Emerson and Oliver Wendell Holmes Junior High Schools, as
director of the junior high and high school choirs at the Davis Community Church, and
as artistic director of the Davis Children’s Chorale.

The Pacific Boychoir Academy (Kevin Fox, music director) was founded in 1998
by a group of professional musicians and interested community members dedicated to
boychoir training in the tradition of the world-class choirs of America and Europe. The
Boychoir’s music staff is composed of experienced professionals committed to diverse
repertoire and the pursuit of excellence. They employ Kodaly and Orff techniques and
use the boychoir’s custom-design music and vocal instruction system to turn ordinary
boys into extraordinary singers. The Boychoir’s music advisory council, made up of some
of the most prominent choral musicians in the nation, advises the Boychoir’s music staff.
The Pacific Boychoir Academy currently serves 55 boys from Oakland and the greater
Bay Area participating in two choirs: the Training Choir and Concert Choir.

Kevin Fox, Pacific Boychoir music director, has been involved with boys choirs since
the age of eight. He holds a degree in music from Wesleyan University, Connecticut,
where he received the Lipsky Prize for outstanding scholarship in choral studies. He
studied music at Oxford University, England, and choral conducting at Westminster
Choir College in Princeton. He was proctor for the American Boychoir from 1996 to
1997. Fox has sung with the American Bach Soloists, the choirs of Trinity Church in
New Haven, Trinity Church in Princeton, and currently sings with the Grace Cathedral
Choir of Men and Boys in San Francisco. Fox is on the faculty of Cathedral School for
Boys in San Francisco.

Lenore Turner-Heinson, soprano, began private piano instruction at the age of eight,
followed by private vocal instruction at the age of 15. Last year she performed in Jerome
Rosen’s Emporer Norton as Empress Norton. In 1979 she performed the role of Melibea
in another Jerome Rosen’s opera Calisto and Melibea and has performed as guest soloist
and principal artist in leading roles throughout the western United States covering the
musical theater, operetta, operatic, and oratorio repertoire. She is recognized for her
award-winning vocal and stage direction of several local productions and for the success
of her private piano and voice instruction from her home studio in Woodland, through
the UCD Music Department, and as minister of music at the Woodland Presbyterian
Church.

Marla Volovna, mezzo-soprano, received her bachelor of music degree at New England
Conservatory in Boston, and her master of fine arts in opera direction at Indiana

12

University, Bloomington. She made her operatic debut in Besancon, France, as Adalgisa
in Bellini’s Norma, and went on to perform leading roles in both opera and oratorio. She
was soloist in Verdi’s Requiem in both Paris and Bordeaux. In Naples and Milan she gave
radio broadcast performances of Mahler’s Kindertotenlieder and Darius Milhaud’s Return
of the Prodigal Son for RAI (Italian Radio). In opera, Volovna has performed the title
role in Bononcini’s Astarto and Nancy in Flotow’s Martha, both for the Dublin Opera. In
Tours and Nimes (France) she appeared as Olga and Filipievna in Tschaikovsky’s Eugene
Onegin, Fenena in Verdi’s Nabucco, and Taven in Gounod’s Mireille. Since her return
to the United States, Volovna has complemented her activities as a singer with those
of teacher and director. She directed the opera program at Utah State University and
has sung leading roles and directed for the Utah Festival Opera. Currently on the voice
faculty of California State University, Sacramento, Volovna is a frequent soloist and
director with the Apollo Opera.

Scott Whitaker, tenor, is an active concert singer, based in the San Francisco Bay Area.
For the past seventeen years, he has performed and recorded a broad range of repertoire,
from 12th Century organum to film soundtracks by John Williams, from Renaissance
polyphony to the avant garde polyphony of Pierre Boulez. In the Bay Area, he appears
regularly with the American Bach Soloists and the Philharmonia Baroque Orchestra.
Recent recordings include a program of music by Josquin and his contemporaries with
Sex Chordae Consort of Viols. Whitaker holds a bachelor’s degree in music from UC
Santa Barbara and a master’s degree in historic performance practice from Stanford
University. He is currently teaching vocal performance at UC Davis.

D. Kern Holoman, conductor, has been professor of music at UC Davis since 1974 and
conductor of the UCD Symphony Orchestra since 1978. As a musicologist his research
has focused on the life and works of Hector Berlioz, and he is presently completing
a lengthy study of the Société des Concerts du Conservatoire, 1828–1967. His work
in French music was recognized in 1989 with his appointment as Chevalier of the
Order of Arts and Letters, Republic of France, and this year with his appointment to
Officier of the Order; presently he serves as a member of the international commission
planning the three-year Berlioz bicentenary celebration that begins in February of
2000 and culminates in December 2003. At UC Davis Holoman has served as chair of
the Departments of Music and Dramatic Arts and as founding dean of the Division of
Humanities, Arts, & Cultural Studies. Born in North Carolina, Holoman completed his
undergraduate studies at Duke and earned his Ph.D. from Princeton University.

Jeffrey Thomas, conductor, is assistant professor and director of choral ensembles at
UC Davis. Educated at Oberlin Conservatory and The Juilliard School, Thomas has
achieved international recognition as music director of the American Bach Soloists,
with whom he has directed and conducted recordings of more than 25 cantatas, the
Mass in B Minor, The Musical Offering, motets, chamber music, and works by Schütz,
Pergolesi, Vivaldi, Haydn, and Beethoven. He has performed world wide and with
most major U.S. symphonies and Baroque orchestras. His extensive discography of
vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch
International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics, and
Arabesque. He has presented master classes at the New England Conservatory of Music,
San Francisco Conservatory, SUNY at Buffalo, Swarthmore College, and Washington
University, and is also an avid exponent of contemporary music.

13

THE UCD SYMPHONY ORCHESTRA
1999–2000

D. Kern Holoman, conductor

Angelo Moreno and Kenneth Veit, assistant conductors
Rebecca Brover, manager

Violin Viola Flute French Horn
Christina Vredevoe,
Cynthia Bates, David Calderon, Susan Monticello,
concertmaster principal principal principal
Rebecca Dudovitz
Ginger Cervantes, Marianne Batchelder Ellen Avery Philip Gahagan
assoc. concertmaster Dan Chitwood Yuko Hoshino Linette Lina
James Een Marjorie Phillips Lynne Swant
Angelo Moreno, Ilia Howard
principal violin II Jennifer Kane Oboe Trumpet
Emi Ludemann Andrew Mollner,
Shari Gueffroy, Melissa Lyans Robert Volmer,
assistant principal Jocelyn Morris principal principal
Michiko Nakajima Toby Glik
Meredith Belany Michael Reid Timothy Broesamle Kristin Simpson
Kate Branscomb Kathryn Snyder Jill Imsand Kenneth Veit
Clairelee L. Bulkley Dianne Lehmann
Norma Busby Cello Trombone
Joan Crow Clarinet Michael Malone,
Lindsay Daine Esther Wright,
Elena Delacy principal Richard Levine, principal
Anna Filippova co-principal Forest Bohrer
Fawzi Haimor Christopher Allen Rebecca Brover
Frances Hammock Justine Eckersley Trevor Murphy, Jim Fessenden
Emily Jones Kristy Hing co-principal
Cheryl Kang Julie Hochman Tuba
Barry Kersting Susan Lamb Cook Elaine Icban Robert Rucker
Corey Kersting Bonnie Li Jack Kane
Bonnie Landles- Eldridge Moores Percussion
Emily Morris Bassoon Ryan Friedman,
Dowling Judy Rummelsburg
Hung Lam Heather Scott Joshua Mast, principal principal
John Lin Meredith Branstad Marianne Chatterton
Victor Lin Double Bass Diana Keen Jihan Ejan
Alisa Meany Christopher Roxas Paul D. Terry
Eileen Mols Katherine Nepo,
Raphael Moore principal Celesta
Jennifer Osborn Mia Anderson
Nandini Cheryl Adams Delphean Quan
Greg Brucker
Parthasarathy Erica White Piano
Judy Riggs Thomas Derthick Lara Downes
Jonathan Siekmann Greg McCall
Alice Tackett Michael Schwagerus Harp
Damian Ting Agnes Lee
Dan Woo Christian Schunck
Dean Woo

14

UNIVERSITY CHORUS
1999–2000

Jeffrey Thomas, conductor

Anthony M. Lien, assistant conductor
Delphean Quan, accompanist

Sopranos Altos Tenors
Anna M.-R. Axiaq
Shannon Amstrup Erin Barker Jeremy A. Borum
Georgia Boyd Sarah Brickey Steven D. Geller
Courtney Carpenter Allison Bridger Darren M. Pollock
Serena Chan Mary Anne Canites Brian P. Randall
Takyan Chen Crystal Castañeda Matthew J. Sordello
Brea Cherné Veronica Cervantes Kenneth Veit
Cheryl Christenson Sara Feldman
Diane Cooper Jeanne Fishback Basses
Jacqueline Curran Elisa Fon
JoAnne Delfino Monica Garcia Lucas Ainsworth
Erin M. Eberhardt Winnie Hsu John Baker
Megan Gardner Kim Irish Nick Barbulesco
Danielle Haack Lisa Jacobson Brian Coburn
Olivia Hancock JoAnne Kohlbrand Anders Hansson
Vanessa Kirkup Laura Lambert Bryce Hathaway
Louise Ko Erin Legacki Erik Herrmann
Airy Krich-Brinton Angela Loudermilk Raymond Lee
Cherry Lam Gina Marino Justin Lok
Opal Lawler Gigi Owen Bryan Martin
Jennifer Lim Melissa Pak Noca
Cheryl Loehr Lina Reznikov Brandon Oreno
Elizabeth Malone Mina Rohani Keith Rode
Jessica Markley Karis Smith Steven A. Rosenau
Rashmi Narasagoudar Jasmine Summerset Eric Ruud
Elizabeth Parks Kay Tong Cirian Villavicencio
Elizabeth Pickett Kelly Vial David Yaranon
Alicia Poon LouAnn Widmar
Elenka Proulx Jovina Yee
Amy Rominger Wendy Yee
Sara Schnaiter Agnes Yik
Monica Stoner Timea Zentai
Natalie Tun
Katy Williams 15
Cindy Wilson

PACIFIC BOYCHOIR

Kevin Fox, music director

Stella Brown, associate music director
Marcia McCormack, accompanist and vocal coach

Evan Barale Morgan Farrelle Brad Morris
Nicholas Barnes Nicholas Felicich Aaron Price
Alex Bensick Timothy Hunt Barrett Price
Joel Guillemot-Blytt Max Jowett Daniel Scheiman
David Brega Josh Jubelirer Alex Simon
John Brown Mack Kary Cole van Krieken
Isaac Dorntge Alexander Kinlaw Matthew Violet
Gabriel Fanelli Neal McFarland Anthony Washington

DAVIS CHILDREN’S CHORALE
Rachel Day Kessler, founder and artistic director

Jacob Berman Stephen Leander Jennie Reuter
Bethany Bishop Darcey Lewis Erica Siegel
Natalie Bold Katelyn McDonough Nina Smidth-Brewer
Julia Christian Megan McDonough Alera Spears
Andrew Conard Lauren Melcher Caitlin Starr
Sofia Cortopassi Shannon Murphy Carolyn Taylor
Sawsan Drissia Alex Moratto Julia Thompson
Mica Gaard Irina Neshich Felix Vayssieres
Annie Goldbar Holly Newell Colin Wallace
Sarah Graham Allison Nuovo Danielle Young
Laura Helt Tanya Payyappilly Shuo Zhai
Katie Kaffka Christina Platenkamp
Katy Kassing Betsy Raymond

16

UPCOMING EVENTS
SPRING CONCERT CALENDAR 2000

FRIDAY, 7 APRIL THURSDAY, 20 APRIL
Davis Composers’ Collective: New Music A William E. Valente Memorial Lecture:
by Student Composers. Works by Carl Musicologist Steven Huebner, McGill
Bower, Helena Michelson, Joël Lindheimer, University, Montreal. Émile Zola, Alfred
Susan Templeton, Luciano Chessa, and Bruneau, and “Le Mysticism wagnerian.”
Steven Geller performed by a string quartet 4:10 pm 230 Music Building. Free.
and other instrumental ensembles.
8:00 p.m. 115 Music Building. General MONDAY, 24 APRIL
admission $6/students and children $3. Looking forward, looking back. Roots
and flowers in the music of Brahms
SATURDAY, 8 APRIL and Bartók. Lois Shapiro, piano, artist-
A Survey of 20th-Century Brass Music, in-residence, with Empyrean Ensemble
Andrew Mollner, producer. Works for brass String Quartet (Terrie Baune, violin; Robert
ensembles by Reed, Tomasi, Dukas, Ortiz, Waters, violin; Ellen Ruth Rose, viola; Thalia
Plog, and Szokolay. Mooer, cello): Brahms: Selected solo piano
7:00 p.m. St. Martin’s Episcopal Church, pieces and Piano Quintet in F Minor, op.
640 Hawthorn Lane, Davis. Special free 34; Bartók: Selected solo piano pieces and
concert. piano quintet.
8:00 p.m. Wyatt Pavilion. General
Supported in part with a grant from the President’s admission $10/students and children $5.
Undergraduate Fellowship.
Co-sponsored with University Cultural Programs.
SUNDAY, 9 APRIL
Faculty Research Concert: Works by Ross THURSDAY, 27 APRIL
Bauer, Yu-Hui Chang, and David Rakowski, Noon Concert: Lecture-demonstration
performed by Yu-Hui Chang, voice; Terrie about Maurice Ravel with Gwendolyn Mok,
Baune, violin; and Gwendolyn Mok, piano. piano.
8:00 p.m. 115 Music Building. General 12:05 p.m. 115 Music Building. Free.
admission $10/students and children $5.
FRIDAY, 28 APRIL
Co-sponsored with the Committee on Research. A William E. Valente Memorial Lecture:
Composer Augusta Read Thomas,
THURSDAY, 13 APRIL composer-in-residence with the Chicago
Noon Concert: Pianist Lois Brandwynne Symphony, will discuss her music.
performs works by Beethoven, Schubert, 4:10 p.m. 115 Music Building. Free.
and Rachmaninov.
12:05 p.m. 115 Music Building. Free. FRIDAY, 28 APRIL
Lara Downes, new pianist in the
THURSDAY, 20 APRIL Department of Music. The last concert in
Noon Concert: Lois Shapiro, piano, artist- a series of four piano recitals titled This
in-residence. Yehudi Wyner’s Toward the American Century: A Retrospective of
Center and works by Brahms and Bartók. American Piano Music in the 20th Century.
12:05 p.m. 115 Music Building. Free. Moving Ahead—Composers at the Turn of
the Millennium: Music of Aaron Jay Kernis,
Augusta Read Thomas, Stephen Paulus,
Ross Bauer, and Andrew Frank. Augusta
Read Thomas will participate in an open

17

UPCOMING EVENTS CONT.
SPRING CONCERT CALENDAR 2000

discussion on American Music in the 21st SUNDAY, 7 MAY
Century. UCD Symphony Orchestra and University
8:00 p.m. 115 Music Building. General Chorus, D. Kern Holoman and Jeffrey
admission $10/students and children $5. Thomas, conductors. Beethoven: Fantasy
for Piano, Chorus, and Orchestra in C Minor,
Co-sponsored with Dean’s Office: Humanities, Arts, op. 80, with Marilyn Swan, piano; Mahler:
and Cultural Studies, College of Letters and Science; Das Lied von der Erde (The Song of the
University Cultural Programs; Humanities Institute; Earth) for alto, tenor, and orchestra with
Department of Women and Gender Studies; the Stephanie Friedman and Brad Cresswell.
Consortium for Women and Research; and the Women’s 8:00 p.m. Freeborn Hall. General admis-
Resources and Research Center. sion $6/students and children $3.

SATURDAY, 29 APRIL WEDNESDAY, 10 MAY
Senior Recital: Joseph Palarca, tenor, Noon Concert: University Concert Band,
accompanied by Jovina Yee, piano, will Jonathan Elkus, conductor.
sing works by Schumann, Fauré, and 12:05 p.m. West Quad. Free.
Puccini.
8:00 p.m. 115 Music Building. Special free WEDNESDAY, 10 MAY
concert. University Concert Band, Jonathan Elkus,
conductor, and Yolo County Concert Band,
SUNDAY, 30 APRIL John Moore, Jr., conductor, perform at the
Senior recital: Katherine Nepo, double Davis Farmers Market.
bass, and an instrumental ensemble. 5:30 pm Central Park. Davis. Free.
Schubert: Piano Quintet (“The Trout”),
D. 667, and works by Rachmaninov, Elgar, THURSDAY, 11 MAY
and Dittersdorf. Noon Concert: Ellen Gronningen, violin,
4:00 p.m. 115 Music Building. Special free and Benjamin Morss, piano. Works by
concert. Brahms, Debussy, and Morss.
12:05 p.m. 115 Music Building. Free.
THURSDAY, 4 MAY
Noon Concert: Young Concert Artist Anton FRIDAY, 12 MAY
Barachovsky, violin. Baroque Gems: UCD Baroque Ensemble,
12:05 p.m. 115 Music Building. Free. Phebe Craig, director and harpsichord.
8:00 p.m. St. Martin’s Episcopal Church,
Co-sponsored with University Cultural Programs. 640 Hawthorn Lane, Davis. Suggested
donation $6/students and children $3.
SUNDAY, 7 MAY
University Concert Band, Jonathan
Elkus, conductor, with Jerome Rosen, alto
saxophone, in a joint concert with the UC
Berkeley University Wind Ensemble, Robert
Calonico, conductor.
3:00 p.m. Hertz Hall. UC Berkeley. Tickets
available only at the door. General
admission $8/seniors and non-UCB students
with ID: $6/UCB students with ID: $2.

18

THE UCD SYMPHONY ENDOWMENT

Claude and Marcia Abraham Nancy, Nick, and Nicole Loretta Mouber Bodil and Richard Wennberg*
Stephen Abraham Henares Ken T. Murai* Edward D. Wessler
W. Jeffrey Alfriend, D.V.M.** Maria Niederberger Sheila and Michael Weston*
Christopher Allen Lorena J. Herrig* Katherine T. Ockels Brad R. Wetmore
John M. Anderson* Roland and Barbara Catherine L. Olsen F. Roy Willis
Prof. and Mrs. Lawrence J. Eliseo Otayco Lee and Jim Wockenfuss*
Hoermann Paul and Linda Parsons* James and Roberta Woodress
Andrews Eric and Brynn Holm* Roland C. Petersen Pauline Yau
Anonymous* Prof. and Mrs. D. Kern Diane and Herman Phaff* Alice Yee
Anonymous* Arjay Raffety* Jim and Doris Young*
Prof. Samuel G. Armistead Holoman** K. V. and Claire S. Ravi Thomas A. Young
John and Elaine Arnold Mr. and Mrs. W. Kern Anette Rehr David Ziring
Dennis T. Aronson Michael S. Reid* Dr. and Mrs. Philip Ziring
David M. Ashkenaze, M.D.* Holoman Eugene and Elizabeth Renkin*
Jerry Aten Debra Horney, M.D. Christopher Reynolds and Office of the Provost**
Joan Ball Brian and Louanne Horsfield UCD Symphony Orchestra
John T. Bakos, M.D., Ph.D. Simon Horvat Alessa Johns*
Cynthia Bates* Robin S. Houston Mr. and Mrs. Ralph L. Riggs* 1992-93**
Ross Bauer llia Howard* Dr. and Mrs. Lawrence T. UCD Symphony Orchestra
Berkjis and Balestrini families Dr. and Mrs. Daniel R. Hrdy*
Kay and Joyce Blacker Jim and Pat Hutchinson Rollins 1993-94*
J. Richard and Christine W. Turrentine and Barbara Jerome and Sylvia Rosen* AT&T Foundation*
Prof. Robert B. Rucker* Bechtel Foundation*
Blanchard* Jackson* Richard St. John Canile alle Rive*
Shula Blumenthal Dee Jacobson, D.V.M.* Brian Salter Chevron Foundation*
Lu Branch* Jesse Joad, M.D. E. N. Sassenrath Los Alamitos Animal
Dona and George Brandon Eldon and Darleen Johnson James A. Scheinman
Harry and Muriel Brandt Dan Jordan Prof. and Mrs. Calvin Hospital*
Dan Brown and Kathryn Boor Ellen and Carl Jordan* Moore, Meegan, Hanschu &
Terry L. Buchmiller, M.D. Thomas M. Kaiser* Schwabe*
Clairelee Leiser and Ralph Jerry and Teresa Kaneko Marilyn Sharrow Kassenbrock*
Kiyoshi and Irene Katsumoto* Mary Sherman National Medical Enterprises,
Bulkley* Blake Keasey and Judy Silver
Walter and Marija Bunter Wayne Slawson and Jannalee Inc.
Anna Maria Busse Berger Carol Tomlinson-Keasey Paper Pizzazz*
Nina Byrne, D.C. Dan and Jane Keller Smithey* Pioneer Hi-Bred
Ray and Mary Cabral* Caroline Kim Wilson and Kathryn Smith*
David and Rosemary Cairns* Prof. Joseph E. Kiskis, Jr.* Ed and Lois Spafford* International, Inc.*
Robert and Lynn Campbell Barry and Gail Klein Vic Spain, D.V.M. and Noél Proctor and Gamble
R. Lee and Syril Carlson* Family of Norman Lamb*
Don and Dolores Chakerian* Jeff Leibow* Rosales, M.D. Foundation
Don Chakerian* Linda Leibow Noel Spellman Sun Microsystems
Joan L. Chambers Audrey Leff Sherman and Hannah Stein
Sydney R. Charles Obie and Jill Leff Doris L. Stewart Foundation, Inc.
Cully A. Cobb, M.D.* Natalie and Malcolm Daniel Stowe Wells-Fargo
Dennis B. and Susan Lamb William Strauss Weyerhauser Company
MacKenzie* Donald and Elizabeth
Cook Douglas W. Macpherson and Foundation
Terry and Marybeth Cook Strombeck Zeneca, Inc.*
Richard Cramer and Glayol Sabha, M.D.* Thomas Sturges*
Winifred L. Madison Richard Swift* In honor of
Martha Dickman Michael J. Malone James and Sigrid Swinehardt
Mr. and Mrs. James Ray Marilyn M. Mantay Steven D. Tallman* Jerome and Sylvia Rosen*
Karen March Suzanne Teng
Crenshaw Eli D. and Megan Marriott Debbie C. Thurmond and In memoriam
Keith Cretcher Leon and Janet Mayhew Ed Blasius
Myriam D. Croce Katherine Mawdsley and Ruth B. Thurmond* Joe De Maria
Joan and Allan Crow Brian and Beryl Tilley Elizabeth Elkus
Robert O. Crummey and William F. McCoy* Neil Tilley* Ida Fellow
Greg McCall* Norman D. Tilton Carl Flowers
Nancy Nesbit-Crummey* James and Beverly McCall Amr Toppozada Robert Hanson
Matthew Daines Michael McKay Tousson and Geilan Frances Heller
Mark Deaton Don and Lou McNary* Katherine H. Holoman
Donna M. Di Grazia Albert J. and Helen McNeil* Toppozada Norman E. Lamb*
Mark Dowlearn Juan Fernando Medrano Johann and Sherry Trujillo* Ruth Lemons
Madeline Duckles Sharon Menke Betty and Joe Tupin* John Mouber
Joel Elias and Lisa Bertaccini Stephen W. Messano Anton F. Uhle* Mark Salmonsen
James D. Fessenden Charles Menzel Diane and Joe Vandepeute Dorothy Sherborne
Prof. Gail Finney Donald and Elizabeth Meyer Rosalie and Larry Manuel Solis
Tyler T Fong* John D. Meyer family* William E. Valente
Marvin and Susan Friedman* John and Norma Meyer Vanderhoef* Charles Vincent
Edwin and Sevgi Friedrich Stephen and Eileen Meyer Dr. and Mrs. Roger Vinande• Jack Wakayama
Sandra and Gene Gallagher* John C. Meyers, Pharm.D. Nancy Van Volkinburg Bodil Wennberg
Lynn Gibson* Liz Varnhagen Helen Weston
Maryll R. Goldsmith and Kay Johnston Meyers* Edith and Geerat Vermeij
Carl Grace Maureen Miller Ken and Evelyn Verosub* * = $1,000 or more
Kevin W. Gurney* Andrew Mollner Daniel Thien Vu, M.D. ** = $10,000 or more
Marjorie F. Hall Eileen and Ole Mols* Arthur G. Wait
Steve Hanks Jolanta Moore Carol Wall*
Ben and Lynette Hart* Raphael S. Moore* Shipley and Dick Walters
Eldridge Moores Janet Weigel
Jocelyn and James G. Morris* Marya Welch*
M. A. Morris*

19

UCD SYMPHONY ENDOWMENT PLEDGE FORM

Name Date
Amount enclosed ($)
Address

Phone

Total contribution ($)

Payment Schedule
Payments to be received by:

31 December 2000
31 December 2001
31 December 2002

Please make checks payable to UC Davis Foundation/UCD Symphony Endowment,
and send them with this form to:

UCD Symphony Endowment
Department of Music
One Shields Avenue
University of California, Davis
Davis, CA 95616-8666

Contributions are tax-deductible. Gifts are eligible to be matched by corporations
with matching gift programs. individual donors will be listed alphabetically. Total
contributions of $1,000 or more and $2,500 or more will be identified by asterisks. If you
prefer that your contribution not be so identified, please check here: [ ].

Gift to be matched by my employer: $

The UC Davis Foundation is a California non-profit, public benefit corporation
organized for the purpose of encouraging voluntary private support for the benefit of
UC Davis and is recognized under federal and state tax laws as a qualified donee for tax-
deductible charitable contributions. Responsibility for governance of the Foundation,
including investments, is vested in its Board of Trustees, which is composed of
community leaders and senior campus administrators.

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UC Davis is requesting this information to maintain accurate donor files in the Office of University Relations. Furnishing
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You have the right to review your own data file. inquiries should be forwarded to the Director of Administrative Services,
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Donor’s Consent
The University is grateful for the support it receives from alumni and friends. On of the ways our thanks is expressed is
through listing the names of donors in various publications. Should you wish that your name not appear as a donor, please
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