January 20–22, 2010

ann Lavin, directorVanderhoef Studio Theatre, Mondavi Center

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P ro g r a mW e lCom e

This three-day Clarinet Festival (affectionately known to us as “Clar-Fest”) brings together stunning visiting clarinetists and university-level students to explore this rich, mellow, and at times piercing sounding family of instruments and the music written for them. From the elegant and haunting threads of Alban Berg’s

Four Pieces to the pulsating, rhythmic interweaving of the popular New York Counterpoint by Steve Reich for eleven clarinets, we will explore the wide and varied compositions for clarinet in its solo, duo, quartet, and ensemble forms. Artist-in-residence Charles Neidich is sure to bring down the house with his rousing and virtuosic program.

—Ann Lavin, director

Schedule of eventsHandmade mouthpieces, barrels, E -clarinet extensions, and reeds made by

Bay Area clarinetist and craftsman Clark Fobes will be available to try out in the Studio Theatre lobby on both Friday and Saturday.

Day 1: Thursday, January 20, 201112:05 –1:00 pm

Shinkoskey Noon Concert: José González Granero, principal clarinetist of the San Francisco Opera

2:00–4:00 pm

Master Class with José González Granero

Day 2: Friday, January 21, 201112:00–1:30 pm

Workshop: The Feldenkrais Method for wind players with Erin Finkelstein

2:00–5:00 pm

Master Class with Charles Neidich

8:00–10:00 pm

Festival Concert

Day 3: Saturday, January 22, 2011

12:00–2:00 pm

Workshop: Taking Auditions, a How-to Guide with Ginger Kroft, a Vandoren artist

3:00–5:00 pm

Workshop: Contemporary music performance for clarinetists with Peter Josheff, featuring Ross Bauer’s Highly Rubbery for Solo Bass Clarinet

8:00–10:00 pm

Charles Neidich Recital

Thursday, January 20, 201112:05 pm

Vanderhoef Studio Theatre, mondavi Center

Shinkoskey Noon Concert

José gonzález granero, clarinetJohn Cozza, piano

Program

Movement from Hommage a Manuel de Falla for Solo Clarinet Béla Kovács (b. 1937)

Sonata for Clarinet and Piano Francis PoulencAllegro tristamente (Allegretto — Très calme — Tempo allegretto) (1899–1963)Romanza (Très calme)Allegro con fuoco (Très animé)

Fantasia La Traviata Donato Lovreglio(1841–1907)

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Friday, January 21, 20118:00 pm

Vanderhoef Studio Theatre, mondavi Center

Festival Concert: ann lavin and guests

Program

Four Pieces for Clarinet and Piano, op. 5 Alban Berg(1885–1935)

Ann Lavin, clarinetJohn Cozza, piano

Gra for Solo Clarinet Elliott Carter(b. 1908)

Kenneth Long, clarinet

Birthday Duets Jerome Rosen(b. 1921)

Al Bona and Ann Lavin, clarinetDedicated to Deborah Pittman

Five Dance Preludes Witold LutoslawskiAllegro molto (1913–94)AndantinoAllegro giocosoAndanteAllegro molto

Ann Lavin, clarinetJohn Cozza, piano

Intermission

Petite Suite RosenPreludeMarcheValseFinale

Miniatures for Four Clarinets, for Ann Lavin Laurie San MartinFanfare for Jerry Rosen (b. 1968)In the OrchardTheater Music

Ann Lavin, Diane Maltester, Marilyn Martella, and Leslie Tagorda, clarinet

New York Counterpoint Steve Reich (b. 1936)

Charles Neidich, conductorAnn Lavin, Diane Maltester, Marilyn Martella, Karla Avila, Deborah Pittman, Roy Zajac,

Al Bona, Laurie San Martin, Leslie Tagorda, Peter Josheff, and Kenneth Long, clarinet

I N H o N o r o F J e r ry roS e N

The Music Department’s founding faculty member, composer, and clarinetist

My discerning and exacting high school clarinet teacher was thrilled when he learned that I was going to attend UC Davis. “Jerry Rosen teaches there. You can do no better.” Jerry is a hero to many in the clarinet community for his contributions as both performer and composer. What I learned soon after coming to UC Davis was that Jerry Rosen is also a warm and supportive person. He not only attended my first noon concert performance but also came back stage to speak with me following the performance. His involvement and commitment to UC Davis had a considerable impact on my musical education. It is wonderful to return to Davis teaching as a faculty member in Jerry’s department. While our department has grown a tremendous amount since my undergraduate days, Jerry’s example of warmth and support remains one of the foundations of our department.

—Laurie San Martin

Jerry Rosen was appointed to the faculty on 1 July 1952 and oversaw the establishment of the Department of Music on 1 July 1958. To say that he was the beloved mentor and friend of those who followed is to understate the case. Rather it is that his approach to the profession became the very fabric of UC Davis Music: the synthesis of music composition, performance, and scholarship; a collegiality to be nourished daily; an innate commitment to our students, public, and the people of California. Rosen and his clarinet—as though symbolic of his Music Department—were inseparable, and it seemed altogether fitting to offer this first Clarinet Festival in his honor.

For his 60th birthday, in 1981, the faculty published a booklet: Salve Hieronymous!: A Birthday Offering for Jerome Rosen. He retired as professor emeritus in 1988. His essay on the early years forms the first part of Pastyme with Good Companye: Recollections from the First 40 Years of the UC Davis Department of Music (2001).

—D. Kern Holoman

I went to the Crocker Art Museum specifically to hear Jerome Rosen give a recital on Sunday, 24 October 1954. He told me there was a music department in the making and encouraged me to come to Davis. I was among seventeen graduating Woodland High School seniors headed for UC Berkeley. The meeting with Jerome Rosen was the tipping point, a turn of the corner that changed my life. I was on the verge of becoming a teenage clarinet virtuoso and Jerry saw that in me. Hence he offered me private clarinet lessons (at no cost) for two years while I continued in classical music performance. A few years later I investigated playing clarinet in the San Francisco Symphony. The down sides were that the symphony worked only six months out of the year, there were only two clarinet positions, and scale was $116.00 per week. I was already making $70–80 per weekend with my own dance band including playing gut bustin’ rock ’n roll on my raucous B tenor sax. It was then that “I sold my soul to Rock ’n Roll.” I married my high school sweetheart in 2004 and moved back to Davis. In a Davis Enterprise interview about my handling celebrity artists as a profession, I mentioned Jerome Rosen as a mentor. Jerry called the next day. I joined the Woodland Community Band and invited him to the concert. He said, “It looks as if you were actually playing, so you should contact Pete Nowlen, tell him I sent you, let you in the band and put you in the back row and regain the muscle memory in your fingers.” I am now celebrating my fifth year in the UC Davis Concert Band and am president of the Woodland Community Band. I have completed the circle. Professor Jerome Rosen was my inspiring mentor, teacher, and now a dear friend.

—Bill Hollingshead

P ro g r a m

Left to right: Jerome Rosen, University Librarian Richard Blanchard, Chancellor Emil Mrak, and Herman Phaff study Darius Milhaud’s Twelfth Symphony score for the inauguration of Freeborn Hall, 1962.

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A l G a m b o a B o n a recently finished his undergraduate degrees at UC Davis with a B.A. in Music Performance and a B.S. in Exercise Biology. He has been playing clarinet for twelve years and has studied with Steve Sánchez, Jerry Simas, and Ann Lavin. At James Logan High School he performed at the Rose Parade in Pasadena, the Midwest Clinic, the Edinburgh Easter Festival, and Carnegie Hall. During his time in high school he also participated in the California Band

Director’s Association All-State Honor Band. At UC Davis, he performed in various chamber ensembles as well as in the UC Davis Symphony Orchestra for four years. In 2009 he played in the premiere of the play Elephant’s Graveyard with music written by Laurie San Martin. In the same year, he also premiered San Martin’s piece Elephant’s Dance with the San Francisco Chamber Orchestra.

Jo h n Co z z a is a lecturer in applied piano and accompanying and joined the faculty of the Conservatory of Music at the University of the Pacific in spring 2004. He holds B.M. and M.M. degrees in piano performance from the University of Southern California, the diploma in piano performance and in chamber music from the Hochschule für Musik in Vienna, Austria, and the D.M. in solo performance, chamber music, and accompanying from

Northwestern University. He has studied with Daniel Pollack in Los Angeles, David Kaiserman in Chicago, and Hans Graf and George Ebert in Vienna. Cozza has collaborated with singers and instrumentalists throughout the United States, and his international engagements have included performances as soloist, accompanist, and chamber musician in European cities including Vienna, Bologna, Milan, Cologne, and Budapest. Most recently, he taught applied piano and was the director of accompanying at Baylor University in Texas. He is a member of Pi Kappa Lambda, Phi Mu Alpha, American Liszt Society, and the Franz Schmidt Society in Austria.

E r i n F i n k e l s t e i n resides in Sacramento and maintains a busy performing career as a clarinetist in symphony orchestras and chamber music concerts across the Northern California region. During the summers she plays for the Carmel Bach Festival and has attended the National Orchestral Institute, Domaine Forget Music Festival, and the Bear Valley Music Festival. Ms. Finkelstein has been lecturer of clarinet at California State

University Stanislaus and the University of the Pacific Conservatory. A member of the Sacramento Choral Society, she has appeared with the Pacific Arts Woodwind Quintet, is on the faculty at the Sacramento School of Music, and maintains a private studio in her home and in Davis.

Ms. Finkelstein earned her B.M. in clarinet with Dr. Patricia Shands at the University of the Pacific with awards in performance, M.M. in clarinet with Robert Spring at Arizona State University, and continued studies with David Krakauer at the Mannes College of Music. From 2004 to 2007 Erin trained as a Feldenkrais guild-certified practitioner. She works with all people, including musicians and artists, in teaching intelligent movement patterns, body awareness, and enhanced functioning for all daily activities, has given workshops, from hospitals to universities, and takes private clients.

C l a rk W. F o b e s received his B.A. from CSU Fresno in 1976 and M.M. from the San Francisco Conservatory of Music in 1983. Mr. Fobes’s principal teachers were Rosario Mazzeo, Russell S. Howland, George E. Waln, Gary Gray, and Howard Klug. He has had an active career as a clarinetist performing with the San Francisco Opera Orchestra, San Francisco Symphony, San Francisco Ballet Orchestra, and the California Symphony, and as a clarinet

doubler, he has often been called upon to play bass clarinet, contrabass clarinet, basset horn and E soprano clarinet. He plays with the Skywalker Ranch Orchestra and can be heard on numerous movie soundtracks. Composer Steven Mackey wrote a soloistic BB contrabass clarinet part for Mr. Fobes in his commissioned symphonic work Pedal Tones for the San Francisco Symphony.

In 1977 Mr. Fobes was appointed principal clarinetist with the Fresno Philharmonic Orchestra and began a parallel career as a woodwind repair technician. After moving to San Francisco in 1981 to further his performing career, he soon became the preeminent clarinet repair specialist in the San Francisco Bay Area. He started his own business in 1985, and his reputation for fine craftsmanship and expertise in clarinet acoustics drew clients from across the United States. Beginning in 1986 he began serious work and research in the art of mouthpiece design and hand finishing, launched his own brand of professional clarinet mouthpieces in 1990, and in 1993 introduced his line of “Debut” mouthpieces for students. In 2000 he closed his repair business to devote his energies to hand crafting clarinet and saxophone mouthpieces and to the manufacture of his unique solid wood barrels and extensions for the clarinet.

Jo s é G o n z á le z G ra n e r o was born in Iznatoraf, a small village in the south of Spain. He began studying the clarinet at the age of eight; both his father and grandfather are band directors. Mr. Gonzalez received his Bachelor’s degree from Granada Superior Conservatory (Spain) and G. Verdi Conservatory (Italy). In 2007 he moved to Los Angeles to attend the University of Southern California and the Colburn School of Music and to study with

renowned clarinet teacher Yehuda Gilad. He joined the San Francisco Opera Orchestra in 2010.

Mr. Gonzalez has won numerous competitions and awards, including grand prize for exceptional talent and musicianship in the Pasadena Instrumental Competition (2009), first prize in the Burbank Philharmonic Concerto Competition (2009), second place in the Downey Symphony Orchestra Concerto Competition (2009), and second prize in the Pasadena Instrumental Competition (2008). He was principal clarinetist of the Andalucia Philharmonic Orchestra (Spain) from 2005 to 2007. He has also performed as principal clarinetist with the Norwegian Radio Orchestra (Norway), Odense Symfoniorkester (Denmark), Young Musician Foundation Debut Orchestra, Galicia Symphony Orchestra (Spain), City of Granada Orchestra (Spain), Orchestre des Jeunes de la Mediterranee (France), and the European Union Youth Wind Orchestra (Luxemburg). Mr. González enjoys composing music for concert band and wind ensemble and won second prize in the Ville de Comines-Warneton composition competition in Belgium, and some of his works have been published in Spain and Italy.

Saturday, January 22, 20118:00 pm

Vanderhoef Studio Theatre, mondavi Center

Charles Neidich, clarinet John Cozza, piano

Program

Sonata for Clarinet and Piano, op. 28 Mieczyslaw WeinbergAllegro (1919–96)AllegrettoAdagio

In Memoriam for Solo Clarinet Charles Neidich(b. 1954)

F-Minor Sonata for Clarinet and Piano, op. 120, no. 1 Johannes BrahmsAllegro appassionato (1833–97)Andante un poco adagioAllegretto graziosoVivace

Intermission

Sonata in D Major for Clarinet and Piano (orig. for flute/violin) Sergei ProkofievModerato (1891–1953)Scherzo: PrestoAndanteAllegro con brio

Threnos for Solo Clarinet Neidich

Introduction et Rondo Capriccioso, op. 28 Camille Saint-Saëns(1835–1921)

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Over the past twenty-five years P e t e r Jo s h e f f has established a solid reputation as a composer, clarinetist, and advocate of contemporary music. He has premiered and performed hundreds of works by a wide range of composers and has had numerous pieces composed for him. He has appeared on many recordings, concert series, and festivals, both nationally and internationally. He performs with Earplay, a San Francisco-based new music ensemble he cofounded in 1985. He is

also a member of the Paul Dresher Ensemble, the Empyrean Ensemble, and the Eco Ensemble. He appears frequently with the San Francisco Contemporary Music Players, Ensemble Parallele, and Composers Inc., and has performed and toured with Melody of China. He is cofounder of Sonic Harvest, a concert series dedicated to new vocal and instrumental music, now in its tenth season.

Peter has worked extensively with young composers, performing their music and giving presentations about writing for the clarinet at UC Berkeley and UC Davis, Stanford University, San Francisco State University, and Sacramento State University, and for the American Composers Forum Composer in the Schools Program. In 2006 he presented a workshop called “Clarinet for Composers” for the American Composers Forum in San Francisco. He has been on the faculty at San Francisco State University.

G i n g e r K r o f t is a member of numerous orchestras in the Bay Area and a Vandoren International Artist and performs on M13-lyre mouthpieces and Traditional reeds. She is principal clarinetist of the Sacramento Philharmonic, Monterey Symphony, and Carmel Bach Festival. In addition, she is a member of the Oakland East Bay Symphony and Fresno Philharmonic and performs regularly with the San Francisco Ballet and Opera orchestras. Ms.

Kroft has performed as a soloist with the Carmel Bach Festival and the Monterey Symphony. She holds degrees from Northwestern University and the San Francisco Conservatory of Music, where she received a Distinction in Performance award. Currently, Ms. Kroft is a faculty member at Santa Clara University and maintains a pre-college studio: ClarinetStudio.org.

A n n L av i n plays the clarinet with a variety of chamber ensembles and orchestras. She has performed with the San Francisco Symphony, the San Francisco Opera, Carmel Bach Festival, Monterey Symphony, San Francisco Lyric Opera, Oakland East Bay Symphony, the Vallejo Symphony, Santa Cruz Symphony, Marin Symphony, New Music Works, California Symphony, Fresno Philharmonic, and Symphony Silicon Valley. For five seasons

she played principal clarinet with the Sarasota Opera. In the summers, she is principal clarinetist with the Utah Festival Opera. Festival appearances have included the Wien Modern in Austria; Shira in Jerusalem; Spoleto Festival dei due Mondi in Italy; Sebago-Long Lake in Maine; Tanglewood; additional chamber and orchestra concerts in

Japan, Taiwan, and Russia. In November 2009 she traveled to Hong Kong with the Laurel Ensemble to premiere several solo and chamber works for clarinet.

An advocate of music education in the public schools, Lavin is a performing and teaching artist in the AIM (Adventures in Music) educational outreach program through the San Francisco Symphony. Her principal teachers were Charles Neidich, Larry Combs, Daniel Gilbert, and Robert Marcellus, with additional studies with Yehuda Gilad, Clark Brody, and John Yeh. She earned a Doctor of Musical Arts from Stony Brook University and also received degrees from Northwestern University and DePaul University.

Clarinetist K e n n e t h L o n g is assistant professor of clarinet and woodwind coordinator at Georgia State University. He received his Doctor of Musical Arts from the State University of New York at Stony Brook, Master of Music from Yale University, and Bachelor of Music Education from Ohio State University. He serves as clarinetist/bass-clarinetist with the Utah Festival Opera and is a member of the Atlanta Chamber Winds (heard on Albany Records) and

the acclaimed contemporary music ensemble Bent Frequency. Recent conference highlights include solo performances at the San Francisco Contemporary Music Festival, the National Association of Composers, USA, East Coast Chapter Conference in New York City, the Indiana State University Contemporary Music Festival, and a solo recital at the Society of Composers, Inc. National Conference in Atlanta. A recognized scholar on the music of Elliott Carter, he presented lecture-recitals on Carter’s solo clarinet work Gra at the 2009 International Clarinet Association ClarinetFest in Porto, Portugal, and at the 2009 College Music Society Southern Chapter Conference at the University of Central Florida. He has performed several of Carter’s works in the presence of the composer—most notably his Clarinet Concerto in New York City under the baton of Charles Neidich.

D i a n e M a lt e s t e r, clarinetist, received her master’s degree in music performance from California State University, Hayward, and has been on the music faculty at Los Medanos College since 1980. She is a member of the Oakland-East Bay Symphony and principal clarinetist in the Napa Valley Symphony, Vallejo Symphony, and the Fremont Philharmonic Orchestra. She is also principal chair with the Festival Opera. She performs

numerous solo and chamber recitals in the San Francisco Bay Area and is a member of the Emerald Ensemble and the Muir Trio. She enjoys teaching privately and is a former Northern Woodwind chairperson for the Music Teachers’ Association of California. She is presently the co-conductor of the Diablo Wind Symphony and clarinet instructor at California State University East Bay.

M a r i ly n M a r t e l l a is a seventh generation Californian who has been playing the clarinet since the age of twelve. Her first teacher was her dad, Leroy “Flash” Martella, a professional jazz saxophonist and clarinetist. Marilyn’s formal study culminated with a master’s degree from the University of Southern California, where she studied with Mitchell Lurie and Michelle Zukovsky. Marilyn is a member of the San Francisco Chamber Orchestra and the

Bellavente Wind Quintet, and she also performs with many other Bay Area ensembles.

C h a rl e s N e id ic h (Artist-in-Residence), clarinetist and conductor, is a major proponent of period instrument performance practice and was one of the first clarinetists to improvise on cadenzas in classical concertos. Also an active educator, he is on the faculties of Juilliard, Queens College, Manhattan CUNY, and the Mannes College of Music. Hailed by the New Yorker as “a master of his instrument and beyond a clarinetist,” Charles Neidich has been

described as one of the most mesmerizing musicians performing before the public today. He regularly appears as soloist and as collaborator in chamber music programs with leading ensembles including the Saint Louis Symphony, Minneapolis Symphony, Orpheus Chamber Orchestra, I Musici di Montreal, Tafelmusik, Handel/Haydn Society, Royal Philharmonic, Deutsches Philharmonic, MDR Symphony, Yomiuri Symphony, National Symphony of Taiwan, and the Juilliard, Guarneri, Brentano, American, Mendelssohn, Carmina, Colorado, and Cavani String Quartets. Mr. Neidich has performed throughout Europe, Asia, and the United States and is sought after as a participant at many summer festivals such as the Marlboro and Sarasota festivals in the USA, the Orford and Domaines Forget festivals in Canada, BBC Proms in England, Festival Consonances and Pontivy in France, Corsi Internazionali di Perfezionamento in Italy, Kuhmo, Crusell Week, Turku, and Korsholm festivals in Finland, the Apeldoorn Festival in Holland, Music from Moritzburg in Germany, the Kirishima and Lilia summer festivals in Japan, and the Beijing Festival in China.

D e b o ra h P it t m a n holds B.A. and M.A. degrees in music performance from Brooklyn College Conservatory and has studied in the doctoral program at the Manhattan School of Music. She is professor of clarinet and specializes in studies in American Musical Theatre at California State University Sacramento. A native New Yorker, Ms. Pittman moved to Sacramento in 1981 to play second clarinet and bass clarinet with the Sacramento Symphony, a position she held

from 1981 to 1990. Other orchestral positions include: the Brooklyn Philharmonic, the State Symphony of Mexico, the Orchestra of New York, the Dance Theatre of Harlem, and Broadway shows. For several years she was an artist-in-residence for the Sacramento Light Opera Association’s Theater Education Project (Now California Musical Theater), presenting the Metropolitan Opera’s Creating Original Opera program at various schools in the Greater Sacramento area. She has also been playing cedar flute for over ten years and offers much thanks to her mentor, Mary Youngblood, and her flute-maker, Geoffrey Ellis.

L au r i e S a n M a r t i n is a composer, teacher, and an occasional clarinetist and conductor. Her music has been performed throughout the United States, Europe, and Asia. She mainly writes concert music for chamber ensemble and orchestra but has also written incidental music for theater, dance and video. Recently she collaborated with Korean gayageum virtuoso Yi Ji-Young. This experience has opened new creative avenues including an upcoming

pansori-based theatrical work for the CrossSound Festival in Alaska and a new work for Korean Daegeum virtuoso Jeong-Seung Kim.

Laurie has worked with many accomplished ensembles such as Speculum Musicae, eighth blackbird, SF Chamber Orchestra, the Lydian Quartet, the San Francisco Contemporary Music Players, Washington Square Contemporary Chamber Players, Earplay, and the Left Coast Chamber Ensemble. She has received awards from the League of Composers-ISCM, the International Alliance for Women in Music, the Margaret Blackwell Memorial Prize in Composition, the American Academy of Arts and Letters, and the ASCAP Morton Gould Young Composer’s Awards. As a composition fellow, she has attended the MacDowell Colony, Yaddo, Atlantic Center for the Arts, Norfolk Contemporary Chamber Music Festival, and the Composers Conference at Wellesley College.

Laurie holds a Ph.D. from Brandeis University in music theory and composition. She has taught at Clark University and is currently associate professor of music at the University of California, Davis. Her music can be found on the Left Coast Chamber Ensemble’s “San Francisco Premieres” CD, released in 2005, and a recent Ravello CD, “Tangos for Piano,” performed by Amy Briggs.

Born and raised in Hawaii, clarinetist L e s l ie Tag o r d a attended Eastman School of Music (B.M. in Clarinet Performance) and continued her education (M.M.) at the University of Hawaii. In Hawaii Leslie worked with the Royal Hawaiian Band as associate principal and E clarinetist, with the Hawaii Opera Theater, and the Honolulu Symphony as a freelance musician. She has taught clarinet since 1992 and was the clarinet professor for the

Continuing Education program at the University of Hawaii. Leslie performed as the featured guest artist for Nova Music at the University of North Texas in 2001.

In the Bay Area, Leslie freelances with various regional orchestras including the Oakland-East Bay Symphony, Sacramento Philharmonic, Sacramento Opera, Modesto Symphony, Marin Symphony, Monterey Symphony, California Symphony, New Century Chamber Orchestra, and the San Francisco Ballet. Leslie is the clarinetist with the wind quintet Quinteto Latino, which specializes in the performance of Latin American classical music and strives to expand the cultural boundaries of classical music, and to make that music available, relevant, and inspiring to entirely new audiences. She also runs her own branding and design company, FLAIR-Designs, exploring the many parallels between design and music, including theory (color/harmonic), rhythm, texture, timbre, and emotional drivers.

a b o u T T H e a rTI S T S a b o u T T H e a rTI S T S

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. MachadoGary and Jane MattesonDeborah 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 MauerGary and Jane MattesonRobert and

Margaret McDonald

John and Norma MeyerMaureen MillerTeresa PaglieroniSarah and

Thomas PattisonPhilip and

Shirley PenlandDavid and Dair RauschElizabeth and

Eugene RenkinG. Thomas and

Joan SalleeKatherine SchimkeMaxine SchmalenbergerJ. Tracy and

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

Richard Van NostrandElisabetta Vivoda Richard and

Shipley WaltersNoel and Pamela WarnerRobert and

Christine WendinDebbie B. WilsonRobert and Joyce WisnerDonald and Diane Woods

St. Helena Hospital Foundation

– r E C I Ta L H a L L –