HOLIDAY CLASSICS: NUTCRACKER SWEET 2018-19 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES

Pacifi c Symphony Brahms PIANO CONCERTO NO. 2 Carl St.Clair, conductor Allegro non troppo Markus Groh, piano Allegro appassionato Andante Allegretto grazioso Markus Groh

Vaughan Williams FANTASIA ON A THEME BY THOMAS TALLIS

Intermission

Tchaikovsky SELECTIONS FROM TCHAIKOVSKY’S THE NUTCRACKER AND ARRANGEMENTS OF TCHAIKOVSKY’S MUSIC BY DUKE ELLINGTON AND BILLY STRAYHORN Overture – Original & Ellington/Strayhorn Versions March of the Toy Soldiers – Original Sugar Rum Cherry – Ellington/Strayhorn Trepak (Russian Dance) – Original Volga Vouty ‑ Ellington/Strayhorn Coffee (Arabian Dance) – Original Tea (Chinese Dance) – Original Toot Toot Tootie Toot – Ellington/Strayhorn Dance of the Reed Flutes – Original The Waltz of the Flowers/Dance of the Floreadores – Original & Ellington/Strayhorn Preview talk with Alan Chapman at 7 p.m.

Thursday, December 6, 2018 @ 8 p.m. Friday, December 7, 2018 @ 8 p.m. Saturday, December 8, 2018 @ 8 p.m. Segerstrom Center for the Arts This performance is generously sponsored by the Renée and Henry Segerstrom Concert Hall Michelle F. Rohé Distinguished Pianists Fund.

Offi cial Hotel Offi cial TV Station Offi cial Classical Music Station This concert is being recorded for broadcast on Sunday, Feb. 24, 2019, at 7 p.m. on Classical KUSC.

1 PROGRAM NOTES : with immediate success. PIANO CONCERTO NO. 2 This concerto is a work of virtuosic demands but not of virtuosic display. One RALPH VAUGHAN WILLIAMS: When Brahms began formidable challenge for the soloist lies in FANTASIA ON A THEME BY sketching themes for his its four-movement form: not just a test of THOMAS TALLIS Piano Concerto No. 2 in 1878, endurance (though it is that), but also an he was 44 years old and interpretive hurdle, requiring the soloist to In a sense, Vaughan already a revered composer. integrate the scherzo into the concerto’s Williams, Brahms and Despite his relatively young overall structure. (Other concertos that go Ellington all reached age, he was adopting the posture of a grand beyond the traditional three-movement across musical eras. In old man of music, ursine and curmudgeonly. structure, such as Lalo’s Symphonie composing his second Yet he remained sensitive to public and Espagnole, are not so tightly constructed.) piano concerto, Brahms critical opinion, harboring a nervousness Brahms gives the scherzo its own expressive was acutely aware that it was the most he never really outgrew. Even successes identity, with an energy that must follow grandly scaled concerto since Beethoven’s, did not put him at ease—much less the very seamlessly from the drama of the first and his self-effacing comments on it only unenthusiastic reception that his first piano movement without competing with it. emphasize the burden of music history he concerto had received in 1859, when Brahms, The first movement, marked allegro felt. Ellington, too, reached back about 70 still in his mid-20s, was already a respected non troppo, opens serenely with a dignified years in adapting Tchaikovsky’s Nutcracker. pianist. statement in a single horn. But Brahms’ In composing his Fantasia on a Theme by His nerves are evident in the long time development becomes passionate and Thomas Tallis, the 20th-century English he spent developing his second piano even stormy. In contrast with Beethoven’s composer Ralph (pronounced “Rafe”) concerto and his almost superstitious piano concertos, the piano voice does not Vaughan Williams was inspired by sacred reluctance to discuss it except in ironic struggle with the orchestra or stand out music dating from 1557 by Thomas Tallis— terms. Three years after he began as its antagonist; instead, it plays as the his hymn “Why Fumeth in Fight?,” the third composing it, he described it in a letter to foregrounded voice in a unified ensemble. of nine chants Tallis compiled for the his friend Elisabeth von Herzogenberg as Then, as the scherzo unfolds in the second Archbishop of Canterbury in that year. “a tiny little piano concerto with a wisp of movement, it extends the stormy mood of Tallis was one of the greatest a scherzo.” Hardly! It was, as he well knew, the first movement’s darkest passages. composers England ever produced, and one of the most expansive and ambitious In the third movement, marked andante, fortunately for the monarchs he served— concertos since Beethoven’s “Emperor,” the contemplative mood of the concerto’s from Henry VIII to Elizabeth I—he was and its scherzo—anything but wispy—poses opening bars returns with a tender melody long-lived and prolific. Vaughan Williams interpretive hurdles for any pianist who introduced as a cello solo. A softly voiced encountered the Tallis psalm settings early attempts it. Like Beethoven, whose shadow cadenza develops this theme; Brahms in his career, while editing a new English he couldn’t seem to escape, Brahms was would draw upon this melody again later hymnal. His setting of Tallis’ chant was once again pushing a classical form beyond in his career, in the song “Immer leiser an immediate success when it premiered its traditional boundaries. wird mein Schlummer.” Any lingering in 1910 at England’s annual Three Choirs The concerto made its way into the memories we may have of the concerto’s Festival, and it remains one of Vaughan world gradually, first in a two-piano version early strains of melancholy are overcome Williams’ most popular works. that Brahms performed with a friend in in its spirited fourth movement. Marked As we listen to the Fantasia, a private concert. When the eminent allegretto grazioso, it is, like many concerto reverberations of Elizabethan England conductor Hans von Bülow caught wind of finales, structured as a rondo—in this case, seem to surround us. In its orchestration it, he invited Brahms to rehearse the work a grandly scaled rondo of seven parts we can hear the influence of Vaughan with this orchestra in Meiningen. The public (A-B-A-C-A-B-A). It brings the concerto to a Williams’ studies with Maurice Ravel, one premiere followed in November 1881 in brilliant, spirited close. of the greatest of all orchestral colorists. with Brahms at the keyboard. In With the originality and boldness of youth, contrast with his first piano concerto, it met Vaughan Williams scored the Fantasia for

Johannes Brahms Ralph Vaughan Williams Born: 1833. Hamburg, Germany Born: 1872. Gloucestershire, England Died: 1897. Vienna, Austria Died: 1958. London, England Piano Concerto No. 2 Fantasia on a Theme by Thomas Tallis Composed: 1881 Composed: 1910 World premiere: Nov. 9, 1881, with the Budapest Philharmonic Orchestra World premiere: Sept. 10, 1910, at Gloucester Cathedral, and Brahms as soloist with Vaughan Williams Most recent Pacific Symphony performance: Sept. 23, 2012, with Most recent Pacific Symphony performance: Feb. 27, 1997, with André Watts as soloist Carl St.Clair conducting Instrumentation: 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, Instrumentation: strings 2 bassoons; 4 horns, 2 trumpets; timpani; strings; solo piano Estimated duration: 15 minutes Estimated duration: 46 minutes

2 DECEMBER three string ensembles of differing sizes to neither Tchaikovsky nor his critics were the “Chinese Dance” becomes “Chinoiserie” play simultaneously: a full string section, a easy on it. “Tchaikovsky did not think highly (note Ellington’s elegant French touches); group of nine players, and a quartet. Hearing of the music he wrote for The Nutcracker,” the “Arabian Dance” becomes a witty this unusual tripartite scoring transports the authoritative 1980 edition of The New “Arabesque Cookie;” and most famously, us to the resonant listening spaces of the Grove Dictionary of Music and Musicians the beloved “Dance of the Sugar Plum Fairy” great English cathedrals. It is a listening tells us, “rightly ranking it below that of becomes a suggestive “Sugar Rum Cherry.” experience to be cherished that cannot be The Sleeping Beauty.” Still, Tchaikovsky Care for a canapé with that highball? duplicated at home. appreciated its appeal well enough to Like Mozart’s Magic Flute, Duke compose an orchestral suite based on Ellington’s adaptation of The Nutcracker 20 of its most popular numbers. And so proves that fairy tales are not just for kids. did the great Duke Ellington, America’s Reaching across the decades, Strayhorn incomparably debonair genius of jazz. and Ellington have added a very grown-up / Ellington led his famous orchestra dimension to a child-friendly favorite. EDWARD KENNEDY “DUKE” ELLINGTON from the keyboard for five decades, a SELECTIONS FROM remarkable achievement for any maestro, THE NUTCRACKER introducing jazz compositions that have Michael Clive is a cultural reporter living become classics and presenting them in the Litchfield Hills of Connecticut. He is Tchaikovsky’s entry into with sophistication and verve. Behind the program annotator for Pacific Symphony and the world of ballet came in scenes, his longtime collaborator was Louisiana Philharmonic, and editor‑in‑chief 1875 with the commission the equally remarkable Billy Strayhorn, a for The Santa Fe Opera. for Swan Lake. He was brilliantly talented composer and arranger inspired by the French who was classically trained. It was composer Leo Delibes, Strayhorn who, in 1960, came up with the THANK YOU TO OUR SPONSOR: whose innovative scores for the ballets improbable idea of a swingin’ adaptation of THE MICHELLE F. ROHÉ DISTINGUISHED Coppélia (1870) and Sylvia (1876) showed Tchaikovsky’s Nutcracker. PIANO FUND that the music for danced dramas could In composing for the ballet, Tchaikovsky be more interesting than had earlier been was hemmed in by numbers and colleagues Michelle Rohé is one of the great supposed. But the scenarios for those with competing interests on the production patrons of the arts in Orange County. ballets were less ambitious than those team. But instead of counting frames or She has invested in Pacific Symphony’s for Swan Lake and The Sleeping Beauty. seconds of film elapsed, he was expected artistic excellence and has a particular By the time Tchaikovsky received the to cue a dramatic leap or precisely time a love of great pianists. Her kind spirit commission for The Nutcracker, in 1890, he mimed sequence to fit the dancers’ needs and willingness to support the arts was Russia’s most esteemed composer and and limits. His rhythms and tempos had to make much of what we do possible. had surpassed Delibes by sheer necessity. conform to the demands of choreographic We are grateful to The Michelle F. Compare the scope of Coppélia and The convention, and his seemingly inexhaustible Rohé Distinguished Pianist Fund for Nutcracker: both are based on stories by gift for melodic invention was tailored to sponsoring our piano soloists this E.T.A. Hoffmann and include magical toys. fit dance steps. Strayhorn and Ellington’s concert season. But Coppélia unfolds as a modest, rustic inspired adaptation liberates The romance with a twist, while The Nutcracker Nutcracker from the musical confines of lays far heavier emphasis on fantasy, magic ballet choreography. Listen as Tchaikovsky’s The program covers for the months of and the imagination. Its ambitious scenario tunes explode with the rhythms of jazz, November and December were shot by is like an international travelogue. which shift the beat within the bar, and with our in-house videographer Paul Harkins. Since the 1960s, productions of The imported jazz harmonies. The result? The You can follow him on Instagram Nutcracker have been a holiday staple in “Dance of the Reed Pipes” becomes “Toot @pjhphotos77. ©Paul Harkins cities throughout America, and its music Toot Tootie Toot;” the “Waltz of the Flowers” Photography is equally popular in the concert hall. But becomes the “Dance of the Floreadores” and

Pyotr Ilyich Tchaikovsky Edward Kennedy “Duke” Ellington Born: 1840. Votkinsk, Russia Born: 1899. Washington, D.C. Died: 1893. St. Petersburg, Russia Died: 1974. New York, NY Selections from The Nutcracker The Nutcracker Suite Composed: 1892 Composed: 1960 World premiere: Dec. 18, 1892, at the Mariinsky Theatre in Saint Petersburg World premiere: 1960 Original Tchaikovsky Instrumentation: 3 flutes (1 doubling piccolo), Ellington/Strayhorn Instrumentation: 4 trumpets, 3 trombones; drum 3 oboes (1 doubling English horn), 2 clarinets, 1 bass clarinet, 2 bassoons; set; jazz piano; jazz bass; 2 alto saxophones (1 doubling clarinet), 4 horns, 2 trumpets, 3 trombones, tuba; timpani, percussion, 2 tenor saxophones (1 doubling clarinet), baritone sax. harp; strings Estimated duration: 30 minutes

3 of Lukas Foss; Danielpour’s An American Requiem and Goldenthal’s Fire Water Paper: A Vietnam Oratorio with cellist Yo‑Yo Ma. Other commissioned composers include James Newton Howard, Zhou Long, Tobias Picker, Frank Ticheli, Chen Yi, Curt Cacioppo, Stephen Scott, Jim Self (Pacific Symphony’s principal tubist) and Christopher Theofanidis. In 2006‑07, St.Clair led the orchestra’s historic move into its home in the Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts. The move came on the heels of the landmark 2005‑06 season that included St.Clair leading the Symphony on its first European tour—nine cities in three countries playing before capacity houses and receiving extraordinary responses and reviews. From 2008‑10, St.Clair was general music director for the Komische Oper in , where he led successful new productions such as La Traviata (directed by Hans Neuenfels). He also served as general music director and chief conductor of the German National Theater and Staatskapelle (GNTS) in Weimar, Germany, where he led Wagner’s Ring Cycle to critical acclaim. He was the first non‑European to CARL ST.CLAIR hold his position at the GNTS; the role also gave him the distinction of simultaneously leading one of the newest orchestras in The 2018‑19 season marks Music of America, conducted by St.Clair. Among America and one of the oldest in Europe. Director Carl St.Clair’s 29th year leading St.Clair’s many creative endeavors are the In 2014, St.Clair became the music Pacific Symphony. He is one of the highly acclaimed American Composers director of the National Symphony longest‑tenured conductors of the major Festival, which began in 2000; and the Orchestra in Costa Rica. His international American orchestras. St.Clair’s lengthy opera initiative, “Symphonic Voices,” which career also has him conducting abroad history solidifies the strong relationship continues for the eighth season in 2018‑19 several months a year, and he has appeared he has forged with the musicians and the with Puccini’s Madame Butterfly, following with orchestras throughout the world. community. His continuing role also lends the concert‑opera productions of The Magic He was the principal guest conductor of stability to the organization and continuity Flute, Aida, Turandot, Carmen, La Traviata, the Radio Sinfonieorchester Stuttgart to his vision for the Symphony’s future. Few Tosca and La Bohème in previous seasons. from 1998‑2004, where he completed a orchestras can claim such rapid artistic St.Clair’s commitment to the three‑year recording project of the Villa– development as Pacific Symphony—the development and performance of new Lobos symphonies. He has also appeared largest-budgeted orchestra formed in the works by composers is evident in the with orchestras in Israel, Hong Kong, United States in the last 50 years—due in wealth of commissions and recordings by Japan, Australia, New Zealand and South large part to St.Clair’s leadership. the Symphony. The 2016‑17 season featured America, and summer festivals worldwide. During his tenure, St.Clair has commissions by pianist/composer Conrad In North America, St.Clair has led the become widely recognized for his Tao and composer‑in‑residence Narong Boston Symphony Orchestra (where he musically distinguished performances, Prangcharoen, a follow‑up to the recent served as assistant conductor for several his commitment to building outstanding slate of recordings of works commissioned years), New York Philharmonic, Philadelphia educational programs and his innovative and performed by the Symphony in recent Orchestra, and approaches to programming. In April years. These include William Bolcom’s the San Francisco, Seattle, Detroit, Atlanta, 2018, St.Clair led Pacific Symphony in its Songs of Lorca and Prometheus (2015‑16), Houston, Indianapolis, Montreal, Toronto Carnegie Hall debut, as the finale to the Elliot Goldenthal’s Symphony in G‑sharp and Vancouver symphonies, among many. Hall’s yearlong celebration of pre‑eminent Minor (2014‑15), Richard Danielpour’s A strong advocate of music education composer Philip Glass’ 80th birthday. He Toward a Season of Peace (2013‑14), for all ages, St.Clair has been essential to led Pacific Symphony on its first tour to Philip Glass’ The Passion of Ramakrishna the creation and implementation of the China in May 2018, the orchestra’s first (2012‑13), and Michael Daugherty’s Mount Symphony’s education and community international tour since touring Europe in Rushmore and The Gospel According to engagement programs including Pacific 2006. The orchestra made its national PBS Sister Aimee (2012‑13). St.Clair has led the Symphony Youth Ensembles, Heartstrings, debut in June 2018 on “Great Performances” orchestra in other critically acclaimed Sunday Matinées , OC Can You Play With with Peter Boyer’s Ellis Island: The Dream albums including two piano concertos Us?, arts‑X‑press and Class Act.

4 DECEMBER Gewandhaus, Mozarteum Orchestra, New Japan Philharmonic, Orchestre de la Suisse Romande, Osaka Philharmonic, Royal Scottish National Orchestra, St. Petersburg Philharmonic, SWR Orchestra/ Stuttgart and the Warsaw Philharmonic. Among the conductors with whom Groh has collaborated are Jesus López Cobos, Andreas Delfs, Ivan Fischer, Miguel Harth- Bedoya, Marek Janowski, Neeme Järvi, Fabio Luisi, Ludovic Morlot, Kent Nagano, Jonathan Nott, David Robertson, Kwamé Ryan and Stefan Sanderling. A spellbinding recitalist, Groh draws from the piano shapes, textures, and colors that one seldom hears in live performance. In addition to his stunning debut on the Hayes Piano Series at Kennedy Center in 2013, he has appeared at the Friends of Chamber Music Denver, Friends of Chamber MARKUS GROH Music Kansas City, Vancouver Recital Society, and several times at The Frick Collection in New York. Chamber music Pianist Markus Groh gained immediate activities include regular tours with the world attention after winning the Queen Tokyo String Quartet and the newly founded Elisabeth International Competition in Berlin Philharmonic Piano Quartet. 1995, the first German to do so. Since then Widely acclaimed for his interpretations his remarkable “sound imagination” and of Liszt, an all-Liszt CD (including the astonishing technique have confirmed his Totentanz and B Minor Sonata) was place among the finest pianists in the world. released by AVIE in 2006. Showered with Sharing the same birthday with Alfred rave reviews, it was also named “Editor’s Brendel, Arturo Benedetti Michelangeli Choice” in Gramophone Magazine. In the and Maurizio Pollini, he has proven himself words of the Philadelphia Inquirer, “Among worthy of their company. the pianists laying claim to Liszt as a central During the current season, Groh made figure in their repertoires, Groh’s fingers and his debut with the National Symphony sense of comprehension set a new modern Orchestra of Costa Rica under Carl St.Clair, standard.” A highly acclaimed all-Brahms performing the Brahms Piano Concerto CD was released by AVIE in June of 2008. No. 1. Later this season, he returns to the Other recordings include a CD of Debussy, U.S. on tour with the Berlin Philharmonic Prokofiev, and Britten cello sonatas with Piano Quartet, in the Morgan Library Claudio Bohórquez on Berlin Classics and a Chamber Music Series. In 2018-19, he will CD of Liszt’s Totentanz with the Orchestre make a debut with the National Symphony de la Suisse Romande, conducted by Fabio of Colombia, as well as return appearances Luisi on Cascavelle. with the Omaha Symphony and the National A frequent guest at international Symphony Orchestra of Costa Rica. festivals such as Grant Park, Festival Groh has previously appeared with Cultural de Mayo/Mexico, La Folle Journée, the symphony orchestras of Baltimore, Ruhr, Ludwigsburg, Bad Kissingen and Cincinnati, Cleveland, Colorado, Detroit, the Schubertiade, Groh is the founder and Florida, Fort Worth, Houston, Indianapolis, artistic director of the Bebersee Festival Jacksonville, Kansas City, Louisville, near Berlin. He has appeared frequently Milwaukee, National (Washington D.C.), on radio and television throughout Europe, New Jersey, New Orleans, the New York and in Japan (NHK), Mexico, Canada and the Philharmonic, Omaha, Philadelphia, United States (NPR). Rochester, Saint Louis, San Francisco, Groh was a student of professor Konrad Seattle, Toledo and Vancouver. Worldwide Richter in Stuttgart and professor Hans engagements include the Auckland Leygraf in Berlin and Salzburg. He has Philharmonia, Bamberg Symphony, recently been named professor of piano at Beijing Symphony, Berlin Symphony, the University of the Arts in Berlin. Bournemouth Symphony, Budapest Festival Orchestra, Hague Residentie Orkest, Helsinki Philharmonic, London Symphony, Malmö Symphony, MDR Orchestra/ Leipzig

5 PACIFIC SYMPHONY

Pacific Symphony, led by Music Director Founded in 1978 as a collaboration and The Gospel According to Sister Aimee Carl St.Clair for the last 29 years, has been between California State University, in 2012‑13. In 2014‑15, Elliot Goldenthal the resident orchestra of the Renée and Fullerton (CSUF), and North Orange County released a recording of his Symphony in Henry Segerstrom Concert Hall for over community leaders led by Marcy Mulville, G‑sharp Minor, written for and performed a decade. Currently in its 40th season, the Symphony performed its first concerts by the Symphony. The Symphony has the Symphony is the largest-budgeted at Fullerton’s Plummer Auditorium as the also commissioned and recorded An orchestra formed in the U.S. in the last 50 Pacific Chamber Orchestra, under the American Requiem by Danielpour and years and is recognized as an outstanding baton of then‑CSUF orchestra conductor Fire Water Paper: A Vietnam Oratorio by ensemble making strides on both the Keith Clark. Two seasons later, the Goldenthal featuring Yo‑Yo Ma. Other national and international scene, as well Symphony expanded its size and changed recordings have included collaborations as in its own community of Orange County. its name to Pacific Symphony Orchestra. with such composers as Lukas Foss and In April 2018, Pacific Symphony made Then in 1981‑82, the orchestra moved Toru Takemitsu. Other leading composers its debut at Carnegie Hall as one of two to Knott’s Berry Farm for one year. The commissioned by the Symphony include orchestras invited to perform during a subsequent four seasons, led by Clark, took Paul Chihara, Daniel Catán, James Newton yearlong celebration of composer Philip place at Santa Ana High School auditorium Howard, William Kraft, Ana Lara, Tobias Glass’ 80th birthday, and the following month where the Symphony also made its first Picker, Christopher Theofanidis, Frank the orchestra toured China. The orchestra six acclaimed recordings. In September Ticheli and Chen Yi. made its national PBS debut in June 2018 on 1986, the Symphony moved to the new In both 2005 and 2010, the Symphony “Great Performances” with Peter Boyer’s Ellis Orange County Performing Arts Center, and received the prestigious ASCAP Award Island: The Dream of America, conducted from 1987‑2016, the orchestra additionally for Adventurous Programming. Also in by St.Clair. Presenting more than 100 presented a Summer Festival at Irvine 2010, a study by the League of American concerts and events a year and a rich array Meadows Amphitheatre. In 2006, the Orchestras, “Fearless Journeys,” included of education and community engagement Symphony moved into the Renée and Henry the Symphony as one of the country’s programs, the Symphony reaches more than Segerstrom Concert Hall, with striking five most innovative orchestras. The 300,000 residents—from school children to architecture by Cesar Pelli and acoustics by Symphony’s award‑winning education senior citizens. Russell Johnson—and in 2008, inaugurated and community engagement programs The Symphony offers repertoire ranging the Hall’s critically acclaimed 4,322‑pipe benefit from the vision of St.Clair and are from the great orchestral masterworks William J. Gillespie Concert Organ. The designed to integrate the orchestra and to music from today’s most prominent orchestra embarked on its first European its music into the community in ways that composers. Eight seasons ago, the tour in 2006, performing in nine cities in stimulate all ages. The Symphony’s Class Symphony launched the highly successful three countries. Act program has been honored as one opera initiative, “Symphonic Voices,” The 2016‑17 season continued of nine exemplary orchestra education which continues in February 2019 with St.Clair’s commitment to new music with programs by the National Endowment Puccini’s Madame Butterfly. It also offers commissions by pianist/composer Conrad for the Arts and the League of American a popular Pops season, enhanced by Tao and former composer‑in‑residence Orchestras. The list of instrumental training state‑of‑the‑art video and sound, led by Narong Prangcharoen. Recordings initiatives includes Pacific Symphony Youth Principal Pops Conductor Richard Kaufman. commissioned and performed by the Orchestra, Pacific Symphony Youth Wind Each Symphony season also includes Symphony include the release of William Ensemble and Pacific Symphony Santiago Café Ludwig, a chamber music series; Bolcom’s Songs of Lorca and Prometheus Strings. The Symphony also spreads the joy an educational Family Musical Mornings in 2015‑16, Richard Danielpour’s Toward of music through arts‑X‑press, Class Act, series; and Sunday Matinées, an orchestral a Season of Peace and Philip Glass’ The Heartstrings, OC Can You Play With Us?, matinée series offering rich explorations of Passion of Ramakrishna in 2013‑14; and Santa Ana Strings, Strings for Generations selected works led by St.Clair. Michael Daugherty’s Mount Rushmore and Symphony in the Cities.

6 DECEMBER PACIFIC SYMPHONY

CARL ST.CLAIR, Music Director William J. Gillespie Music Director Chair

RICHARD KAUFMAN, Principal Pops Conductor Hal and Jeanette Segerstrom Family Foundation Principal Pops Conductor Chair

ROGER KALIA, Assistant Conductor Mary E. Moore Family Assistant Conductor Chair

FIRST VIOLIN VIOLA PICCOLO TROMBONE Dennis Kim Meredith Crawford* Cynthia Ellis Michael Hoffman* Concertmaster; Eleanor and Catherine and James Emmi David Stetson Michael Gordon Chair Chair OBOE Paul Manaster Joshua Newburger** Jessica Pearlman Fields* BASS TROMBONE Associate Concertmaster Carolyn Riley Suzanne R. Chonette Chair Kyle Mendiguchia Jeanne Skrocki John Acevedo Ted Sugata Assistant Concertmaster Adam Neeley TUBA Nancy Coade Eldridge Julia Staudhammer ENGLISH HORN James Self* Christine Frank Joseph Wen‑Xiang Zhang Lelie Resnick Kimiyo Takeya Cheryl Gates TIMPANI Ayako Sugaya Margaret Henken CLARINET Todd Miller* Ann Shiau Tenney Joseph Morris* Ai Nihira CELLO The Hanson Family PERCUSSION Robert Schumitzky Timothy Landauer* Foundation Chair Robert A. Slack* Agnes Gottschewski Catherine and James Emmi David Chang Dana Freeman Chair HARP Angel Liu Kevin Plunkett** BASS CLARINET Mindy Ball* Marisa Sorajja John Acosta Joshua Ranz Michelle Temple Robert Vos SECOND VIOLIN László Mezö BASSOON PIANO•CELESTE Bridget Dolkas* Ian McKinnell Rose Corrigan* Sandra Matthews* Elizabeth and John Stahr M. Andrew Honea Elliott Moreau Chair Waldemar de Almeida Andrew Klein PERSONNEL MANAGER Jennise Hwang** Jennifer Goss Allen Savedoff Paul Zibits Yen Ping Lai Rudolph Stein Yu‑Tong Sharp CONTRABASSOON LIBRARIANS Ako Kojian BASS Allen Savedoff Russell Dicey Ovsep Ketendjian Steven Edelman* Brent Anderson Linda Owen Douglas Basye** FRENCH HORN Sooah Kim Christian Kollgaard Keith Popejoy* PRODUCTION & MarlaJoy Weisshaar David Parmeter Adedeji Ogunfolu STAGE MANAGER Alice Miller‑Wrate Paul Zibits Kaylet Torrez** Will Hunter Shelly Shi David Black Andrew Bumatay TRUMPET STAGE MANAGER & Constance Deeter Barry Perkins* CONCERT VIDEO TECHNICIAN Susie and Steve Perry Chair William Pruett FLUTE Tony Ellis Benjamin Smolen* David Wailes DIRECTOR OF IMAGE Valerie and Hans Imhof Chair MAGNIFICATION Sharon O’Connor Jeffery Sells Cynthia Ellis POPS AND OPERA LIGHTING DIRECTOR * Principal Kathy Pryzgoda ** Assistant Principal † On Leave The musicians of Pacific Symphony are Celebrating or years with members of the American Federation of Pacific Symphony this season. Musicians, Local 7. 7