SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday – Saturday, June 2 –4, 2011, at 8:00 p.m. Preview talk with Alan Chapman at 7:00 p.m.

PRESENTS

2010–2011 HAL AND JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES PLAYS RACHMANINOFF CARL ST.C LAIR , CONDUCTOR YUJA WANG , PIANO

MARTINU Memorial to Lidice, H. 296 (1890 –1959)

RACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43 (1873 –1943) YUJA WANG

—INTERMISSION—

SHOSTAKOVICH Symphony No. 5 in D Minor, Op. 47 (1906 –1975) Moderato Allegretto Largo Allegro non troppo

The Thursday, June 2, concert is generously sponsored by Symphony 100 The Friday, June 3, concert is generously sponsored by Janice Johnson The Saturday, June 4, concert is generously sponsored by Tom and Vina Williams Slattery and William J. Gillespie

Pacific Symphony proudly recognizes its Official Partners: Official Airline Official Hotel Official Television Station

The Saturday, June 4, performance is broadcast live on , the official classical radio station of Pacific Symphony. The simultaneous streaming of this broadcast over the internet at kusc.org is made possible by the generosity of the Musicians of Pacific Symphony. The Pacific Symphony broadcasts are made possible by a generous grant from PROGRAM NOTES BY MICHAEL CLIVE

Serge Koussevitzky. Martinu’s Memorial to ductively. His marriage to a hardworking Lidice , written in 1943 as a protest against dressmaker and stable home life gave him the Nazi atrocity at the Czechoslovak the freedom to focus on composing. But town of Lidice, is a musical cry of blacklisting by the Nazis forced Martinu anguish. Yet even this heartfelt lament to flee Paris for his life, and in 1940 he glows with humanity and resolves in the and his wife abandoned their home, pos - optimism that seems to pulse beneath the sessions and his manuscripts. Traveling surface of so much of Martinu’s music. first to Limoges and then to Aix-en- As a child, Martinu showed all the Provence, they spent nine months wan - early signs of a violin prodigy in a cul - dering and sleeping wherever they could ture that esteemed classical virtuosos — — including on more than a dozen violinists in particular. Yet despite early train-station platforms. Finally, in the achievements including public perform - spring of 1941, they secured passage to ances that brought him to the conserva - New York on the SS Exeter. They arrived tory in Prague for more advanced violin with no money, no English, and a hand - studies, Martinu resisted further training ful of musical scores. on the instrument. Overcoming his natu - The year after Martinu and his wife ral reticence, he defied his teachers and arrived in the U.S., the town of Lidice in Memorial to Lidice acquired a reputation for laxness. After his native Czechoslovakia was destroyed BOHUSLAV MARTINU switching his field of study to the organ, in an incident that became emblematic (1890 –1959) he was expelled for “incorrigible negli - of Nazi violence against civilians — gence” at age 19. serving, for example, as the model for an he history of classical composition in But Martinu was born to compose, atrocity described in the Quentin the 20th century is replete with trag - T and he had been doing so with little or Tarantino film Inglorious Basterds . The ically dispossessed musicians. But among no encouragement since he was 10 years incident occurred after the assassination these, the life of Bohuslav Martinu is old — drawing lines on blank pages of S.S. officer Reinhard Heydrich, especially perplexing. Born in 1890 in a when he could not obtain real staff known as “Heydrich the Hangman,” village in eastern Bohemia in what is now paper. After leaving conservatory, Martinu who had served as regional governor in the Czech Republic, Martinu wrote continued to write music, publishing his the area; after Heydrich died of injuries pieces in all genres from piano solos and first piano piece when he was only 21, in sustained in a bomb explosion, storm chamber works to operas. His sparkling 1912. During World War I he returned to troopers mounted a night-time raid on style integrates influences from the French his native village, where, working as a Lidice, killing every man in the village, composer Roussel, an early mentor, to music teacher, he avoided conscription deporting the women and children, and Czech nationalism and a graceful neoclas - and wrote some 120 musical scores. This burning every building and human arti - sicism uniquely his own. By the time he set a pattern of productivity that he fact. Nothing remained after the destruc - died in 1959, only 68 years old, he was maintained throughout his life, producing tion — not even the village cemetery. one of the most prolific of all 20th-centu - a steady stream of compositions that Martinu’s Memorial , written just 14 ry composers. integrate a wide range of musical idioms months after the destruction of Lidice, So why is his work not better known and influences into a distinctive, vigorous was the first of many international and more widely programmed? Whatever personal style. remembrances dedicated to the village. the reason, Martinu’s life and works are Martinu settled in Paris in the sum - Its haunting sound stems from its being rediscovered lately, like those of mer of 1923, taking advantage of a small bitonality, with two very close yet con - many other composers whose art was scholarship that afforded only an impov - flicting keys — C minor and C-sharp condemned as degenerate by the Third erished lifestyle, but that enabled him to minor — set against each other, echoing Reich. His works are polished, imagina - continue composing and studying. After like ghosts. The Memorial ’s development tive, ingeniously constructed and broadly coming to the attention of Roussel, he quotes the traditional slavic hymn to appealing; they earned the admiration of gained acceptance in Parisian musical Saint Wenceslaus, the patron saint of and were championed by circles and continued to compose pro - Bohemia, as well as a triumphant theme

P- 2 Pacific Symphony from the first movement of Beethoven’s showcase both compositional and per - a quick four-note figure, jumps up to E Symphony No. 5. formance skills; a heroic expansion of the — then drops an octave to a lower E, Today, Lidice remains an international original melody’s scale and dynamic repeats the four-note figure starting on E symbol — not only of destruction, but range; and special attention to rather than A to arrive back where it also of rebirth and for hope for interna - Rachmaninoff’s particular gifts as a began. This basic progression — start on tional understanding. It has been rebuilt pianist — the blazing speed and thunder - the tonic, jump up a fifth, drop an octave incorporating a large commemorative ing power that thrilled his audiences. and jump up a fourth to the tonic again rose garden donated by the citizens of Rachmaninoff was essentially a figure — it often called “circular,” and it could Great Britain. of the 20th century, the last of the Russian be repeated in an endless loop if a coun - romantics. But his sound was rooted in the terbalancing phrase didn’t intervene… Rhapsody on a Theme of 1800s and in the Russian nationalist tradi - eventually resolving it on the same tonic Paganini tion dating back to Glinka and note. Tchaikovsky. He trained as a performer In Rachmaninoff’s treatment of this (1873 –1943) and composer in Moscow and St. theme, the first ten variations form an Petersburg, focusing on the piano in both opening movement, with another theme as Rachmaninoff the greatest disciplines. But all expectations for his — a quotation of the Dies irae theme of Wpianist who ever lived? We will future life, including his life in music, were the Latin mass — arising in variations 7, never know. But this unanswerable ques - shattered by the Russian revolution of 10, 22 and 24. Variation 11 consists of a tion is the subject of renewed interest 1917, when Rachmaninoff’s aristocratic slow, poetic transition that leads us into a among music historians and keyboard family lost their long-held estate with its slow movement that moves gradually fanciers. traditional way of life. He became a citizen from D minor to D-flat minor, culminat - Not so long ago, the thrilling power of the United States and died here while ing in the most famous musical interlude and sheer dazzle of Rachmaninoff’s touring as a concert pianist, just three days in the entire Rhapsody , variation 18. piano works, along with their gloriously before his 70th birthday. You’ll be lost in the beauties of lush, unrestrained romanticism, began to Rachmaninoff composed the Rhapsody Rachmaninoff’s lush romanticism when encounter resistance from some piano in 1934, when he had already written this variation, vernal and ecstatic, soars purists. But listeners who cherish great four full-length concertos, and despite his forth, literally turning the original theme pianism have joined with scholars who frequent bouts of self-doubt, he had every on its head — a direct inversion of have rediscovered lost Rachmaninoff reason to be confident of its success and Paganini’s original A-minor subject. piano rolls, reconsidered his recordings, formal excellence. Not just a collection of Understanding its potential popularity, and reevaluated contemporary accounts variations on a theme, the Rhapsody is a Rachmaninoff is reported to have of his concerts. These reveal not just the concertante that is formally constructed, quipped “this [variation] is for my pianist of legend with tremendous hands with the 24 variations dividing themselves agent.” It is often played as a stand-alone capable of thundering power and speed, into three movements in which most of work. but also a poetic, aristocratic interpreter the variations, like Paganini’s original But the entire composition, as well, whose subtleties in performance matched theme, are stated and developed in A has been popular since its premiere in the dense layering and structural ingenu - minor. The result closely resembles a con - Baltimore in 1934. When Bruno Walter ity of his compositions. certo with traditional fast, slow and faster led the in the Which is not to gainsay the appeal of movements. Rhapsody’s first New York performance, Rachmaninoff’s technical brilliance. In Listeners who cannot quite place the Rachmaninoff was at the keyboard and his Rhapsody on a Theme of Paganini we formal title of the Rhapsody will immedi - writer Robert A. Simon commented in have a perfect convergence of all the ele - ately recognize Paganini’s familiar main that “the Rachmaninoff ments of instrumental virtuosity: a subject, which is the best-known and - variations, written with all the compos - melodic subject drawn from a violin loved of his set of 24 violin caprices. It’s er’s skill, turned out to be the most suc - caprice by Nicolo Paganini, the violinist built upon a pair of peppery A-minor cessful novelty that the Philharmonic who helped invent the very idea of the phrases that sound vaguely demonic, Symphony has had since Mr. Toscanini classical virtuoso superstar; an extraordi - especially on the violin. The melody overwhelmed the subscribers with nary set of 24 variations designed to starts with an emphatic A, and then, after Ravel’s Bolero .”

Pacific Symphony P- 3 PROGRAM NOTES (continued)

Symphony No. 5 more traditional techniques of composi - DMITRI SHOSTAKOVICH tion, gambling that somehow the (1906 –1975) bureaucrats gauging his artistic usefulness would not hear the meaning behind the he Hen… the Eroica… the melodies. TJupiter… the Titan. We know many Few composers have ever equalled familiar symphonies by their nicknames Shostakovich’s ability to combine lyrical — subtitles that, as often as not, are beauty and acid sarcasm. Although the first applied by publishers or others years after movement of the Symphony No. 5 begins the composing is done and the creative with an unambiguous expression of suffer - impetus for it long gone. But the subtitle ing that could represent both pre- and of Dmitri Shostakovich’s Symphony No. post-revolutionary Russia, this musical 5 is integral to the music. Created by the lamentation ends with a sudden burst of composer himself, it was calibrated to the fearful militarism that has been called the millimeter in an ongoing game of “Stalin theme,” an explosive, two-note brinksmanship with Soviet authorities. It motif in the tympani that suggests a col - can be translated as “A Soviet Artist’s umn of goose-stepping soldiers. Together, Practical Creative Reply to Just these themes present an all-too-familiar 1930s. If not for his growing reputation, Criticism.” And hiding in plain sight juxtaposition in Russian culture: the peo - his brilliant opera Lady Macbeth of the behind those ironic words is a symphony ple’s suffering in the face of the unstop - Mtsensk District might have resulted in his that is one long, contemptuous shout of pable machine of state. In the third move - exile or death rather than just censure: protest against the Stalinist regime’s cam - ment, this suffering culminates in a deso - with its bold confrontation of psychosex - paign of terror against the citizens of late outcry representing the unspeakable ual frustration, the dissatisfaction of Russia and its repressive, often brutal reg - deprivations of the Great Terror — the women and the inequities of Soviet life, ulation of artists. countless personal experiences of exile, it offended Stalin and led to Shostakovich’s Shostakovich’s Symphony No. 5 is starvation and death. public condemnation in Pravda. perhaps the most specifically and com - In the fourth movement, Shostakovich’s Throughout the period of the Great prehensively angry work in the sym - familiar sarcasm comes to the fore in a Terror in the Soviet Union, with its mass phonic literature: a “protest symphony” bathetic display of fake exultation. “What arrests and deportations, Shostakovich that critiques the conduct of an entire exultation could there be?” Shostakovich knew that his compositions were under government. At its historic premiere in asks in his posthumously published official scrutiny and could put him and November 1937 in Leningrad, the audi - memoir, which was smuggled to the his family at risk. ence recognized that critique and the West after his death. “I think it is clear to What did Soviet officials want from suffering behind it; a tearful, tumultuous everyone what happens in the Fifth. The their composers? Music that was highly ovation continued for half an hour after rejoicing is forced, created under accessible to the proletariat and utile to the symphony ended. Meanwhile, threat… it is as if someone were beating the state, promoting the advantages of uncomprehending Soviet officials you with a stick and saying ‘Your busi - approved collective ideals and the values remained convinced of the symphony’s ness is rejoicing, your business is rejoic - of the revolution. By the government’s political correctness as a “practical, cre - ing,’ and you rise, shaky, and go march - reckoning, even non-programmatic ative reply to just criticism” of ing off, muttering, ‘Our business is music could conflict with these goals if it Shostakovich in official channels such as rejoicing, our business is rejoicing.’ What explored new ideas in composition, as Pravda. The tension between kind of apotheosis is that? You have to be Shostakovich wanted to do. After with - Shostakovich and the bureaucrats moni - a complete oaf not to hear that.” We can drawing his progressive fourth symphony toring his creative output lasted through - be glad that Soviet bureaucrats proved to from rehearsal with the Leningrad out his career. be just the oafs Shostakovich had in Philharmonic in December 1936, Born in 1906, Shostakovich had mind. Shostakovich began work on his fifth. begun to attract international attention as On its surface, at least, he employed an important new composer by the mid-

P- 4 Pacific Symphony ABOUT THE MUSIC DIRECTOR

CARL ST.C LAIR St.Clair’s commitment to the devel - n 2010 –11, Music Director Carl St.Clair opment and performance of new works Icelebrates his 21st season with Pacific by American composers is evident in the Symphony. During his tenure, St.Clair has wealth of commissions and recordings by become widely recognized for his musical - Pacific Symphony. St.Clair has led the ly distinguished performances, his com - orchestra in numerous critically mitment to building outstanding educa - acclaimed albums including two piano tional programs and his innovative concertos of Lukas Foss on the harmonia approaches to programming. St.Clair’s mundi label. Under his guidance, the lengthy history with the Symphony solidi - orchestra has commissioned works which fies the strong relationship he has forged later became recordings, including with the musicians and the community. Richard Danielpour’s An American His continuing role also lends stability to Requiem on Reference Recordings and the organization and continuity to his Elliot Goldenthal’s Fire Water Paper: A vision for the Symphony’s future. Few Vietnam Oratorio on Sony Classical with orchestras can claim such rapid artistic cellist Yo-Yo Ma. Other composers com - development as Pacific Symphony—the missioned by St.Clair and Pacific Symphony largest orchestra formed in the United include William Bolcom, Philip Glass, States in the last 40 years—due in large Zhou Long, Tobias Picker, Frank Ticheli part to St.Clair’s leadership. and Chen Yi, Curt Cacioppo, Stephen The 2010-11 season, the “Year of the general music director and chief conduc - Scott, Jim Self (the Symphony’s principal Piano,” features numerous masterworks tor of the German National Theater and tubist), Christopher Theofandis and for keyboard performed by a slate of Staatskapelle (GNTS) in Weimar, James Newton Howard. internationally renowned artists. The sea - Germany, where he recently led Wagner’s In North America, St.Clair has led the son also features three “Music Unwound” “Ring Cycle” to great critical acclaim. Boston Symphony Orchestra, (where he concerts highlighted by multimedia ele - St.Clair was the first non-European to served as assistant conductor for several ments and innovative formats, two world hold his position at the GNTS; the role years), New York Philharmonic, premieres, and the 11th annual American also gave him the distinction of simulta - Orchestra, Los Angeles Composers Festival, featuring the music neously leading one of the newest Philharmonic, and the San Francisco, of Philip Glass. orchestras in America and one of the Seattle, Detroit, Atlanta, Houston, In 2008-2009, St.Clair celebrated the oldest orchestras in Europe. He has also Indianapolis, Montreal, Toronto, and milestone 30th anniversary of Pacific served as the general music director of Vancouver symphonies, among many. Symphony. In 2006-07, he led the the Komische Oper Berlin. Under St.Clair’s dynamic leadership, orchestra’s historic move into its home St.Clair’s international career has him the Symphony has built a relationship in the Renée and Henry Segerstrom conducting abroad numerous months a with the Southern California communi - Concert Hall at the Segerstrom Center year, and he has appeared with orchestras ty by understanding and responding to for the Arts. The move came on the heels throughout the world. He was the prin - its cultural needs. A strong advocate of of the landmark 2005-06 season that cipal guest conductor of the Radio- music education for all ages, St.Clair has included St.Clair leading the Symphony Sinfonieorchester Stuttgart from 1998– been essential to the creation and imple - on its first European tour—nine cities in 2004, where he successfully completed a mentation of the symphony education three countries playing before capacity three–year recording project of the Villa– programs including Classical Connections, houses and receiving extraordinary Lobos symphonies. He has also appeared arts-X-press and Class Act. responses. The Symphony received rave with orchestras in Israel, Hong Kong, reviews from Europe’s classical music Japan, Australia, New Zealand, and South critics—22 reviews in total. America, and summer festivals world - He recently concluded his tenure as wide.

Pacific Symphony P- 5 ABOUT THE ARTIST

Magazine, which named Wang the Philharmonic Orchestra in Spain and in Classic FM Gramophone Awards 2009 London, and the Hong Kong Young Artist of the Year. Her second Philharmonic. recording, Transformation , was released in Wang has given recitals in major cities spring of 2010 to great critical acclaim, throughout North America and abroad, and was selected by Gramophone is a dedicated performer of chamber Magazine as the July 2010 Record of the music, and makes regular appearances at Month. Most recently, Wang collaborated festivals including the Aspen Festival, with Maestro and the Santa Fe Chamber Music Festival, the Mahler Chamber Orchestra to record Gilmore Festival and the Verbier Festival. her first concerto album featuring She has worked with many of the Rachmaninoff’s Rhapsody on a Theme of world’s esteemed conductors including Paganini and his Piano Concerto No. 2 Claudio Abbado, , Daniele in C minor, released in spring 2011. Gatti, , , Antonio In the few short years since her 2005 Pappano, , Michael debut with the National Arts Center Tilson-Thomas and . Orchestra led by Pinchas Zukerman, Born in Beijing in 1987, Wang began YUJA WANG Wang has already performed with many studying piano at age 6, with her earliest PIANO of the world’s prestigious orchestras public performances taking place in including the Baltimore Symphony, China, Australia and Germany. She went wenty-four-year-old Chinese pianist Boston Symphony, Chicago Symphony, on to study at the Central Conservatory TYuja Wang is widely recognized for Dallas Symphony, Detroit Symphony, of Music in Beijing under Ling Yuan and playing that combines the spontaneity Houston Symphony, Los Angeles Zhou Guangren. Following three years, and fearless imagination of youth with Philharmonic, National Symphony, New from 1999 to 2001, at the Morningside the discipline and precision of a mature World Symphony, Philadelphia Music summer program at ’s artist. Regularly lauded for her con - Orchestra, Pittsburgh Orchestra and the Mount Royal College, Wang moved to trolled, prodigious technique, Wang’s , in the U.S., Canada and began studying with Hung command of the piano has been and abroad with the Tonhalle Orchestra, Kuan Chen and Tema Blackstone at the described as “astounding” and “superhu - China Philharmonic, Filarmonica della Mount Royal College Conservatory. In man,” and she has been praised for her Scala, Gulbenkian Orchestra, London 2002, at age 15, she won Aspen Music authority over the most complex techni - Philharmonic, Nagoya Philharmonic, the Festival’s concerto competition and cal demands of the repertoire, the depth NHK Symphony in Tokyo and Orchestra moved to the U.S. to study with Gary of her musical insight, as well as her fresh Mozart, among others. Graffman at The Curtis Institute of interpretations and graceful, charismatic In 2006 Wang made her New York Music in Philadelphia, where she gradu - stage presence. Following her San Philharmonic debut at the Bravo! Vail ated in 2008. In 2006 Wang received the Francisco recital debut, The San Francisco Music Festival and performed with the Gilmore Young Artist Award. In 2010 she Chronicle wrote, “The arrival of Chinese- orchestra the following season under was awarded the prestigious Avery Fisher born pianist Yuja Wang on the musical Lorin Maazel during the Philharmonic’s Career Grant. scene is an exhilarating and unnerving Japan/Korea visit. In 2008 Wang toured development. To listen to her in action is the United States with the Academy of to re-examine whatever assumptions you St. Martin in the Fields led by Sir may have had about how well the piano and in 2009 she per - can actually be played,” and The formed as a soloist with the YouTube Washington Post called Wang’s Kennedy Symphony Orchestra led by Michael Center recital debut “jaw-dropping.” Tilson Thomas at . She Wang is an exclusive recording artist also toured the U.S. with the Shanghai for . Her debut Symphony Orchestra led by Yu Long in recording, Sonatas & Etudes , released in honor of the orchestra’s 130th anniver - the spring of 2009, “suggests a combina - sary, and performed with the Lucerne tion of blazing technique and a rare Festival Orchestra conducted by Claudio instinct for poetry” wrote Gramophone Abbado in Beijing, the Royal

P- 6 Pacific Symphony SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL Sunday, June 5, 2011, at 3:00 p.m.

PRESENTS

CLASSICAL CONNECTIONS

CARL ST.C LAIR , CONDUCTOR AND HOST RACHMANINOFF ’S RHAPSODY YUJA WANG , PIANO

MARTINU Memorial to Lidice, H. 296 (1890 –1959)

RACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43 (1873 –1943) YUJA WANG

Official Airline Official Hotel Official Television Station Official Media Partner

Pacific Symphony P- 7 ABOUT PACIFIC SYMPHONY

acific Symphony, celebrating its 32nd Pseason in 2010 –11, is led by Music Director Carl St.Clair, who marked his 20th anniversary with the orchestra during 2009 –2010. The largest orchestra formed in the U.S. in the last 40 years, the Symphony is recognized as an outstanding ensemble making strides on both the national and international scene, as well as in its own burgeoning community of Orange County. Presenting more than 100 concerts a year Later that same season, the Symphony also the Symphony as one of the country’s five and a rich array of education and commu - performed, by special invitation from the most innovative orchestras. The orchestra nity programs, the Symphony reaches more League of American Orchestras, at its 2006 has commissioned such leading composers than 275,000 residents — from school chil - National Conference in Walt Disney as Michael Daugherty, James Newton dren to senior citizens. Concert Hall in Los Angeles. Howard, Paul Chihara, Philip Glass, The orchestra paid tribute to St.Clair’s Founded in 1979 by Keith Clark with a William Bolcom, Daniel Catán, William milestone in 2009–10 with a celebratory $2,000 grant, the Symphony made its Kraft, Tobias Picker, Frank Ticheli, and season featuring inventive, forward-thinking debut in December 1979 at the Plummer Chen Yi, who composed a cello concerto projects. These included the launch of a Auditorium in Fullerton, with Clark con - in 2004 for Yo-Yo Ma. The Symphony has new series of multimedia concerts called ducting. By 1983, the orchestra had moved also commissioned and recorded An “Music Unwound,” featuring new visual its concerts to the Santa Ana High School American Requiem , by Richard Danielpour, elements, varied formats and more to high - auditorium, made its first recording and and Elliot Goldenthal’s Fire Water Paper: light great masterworks. begun to build a subscriber base. Through A Vietnam Oratorio with Yo-Yo Ma. The Symphony also offers a popular Clark’s leadership, the Symphony took The Symphony’s award-winning educa - Pops season led by Principal Pops residency at the new Segerstrom Center for tion programs are designed to integrate the Conductor Richard Kaufman, celebrating the Arts in 1986, which greatly expanded Symphony and its music into the community 20 years with the orchestra in 2010 –11. its audience. Clark served in his role of in ways that stimulate all ages and form The Pops series stars some of the world’s music director until 1990. meaningful connections between students leading entertainers and is enhanced by Today, the Symphony offers moving and the organization. St.Clair actively par - state-of-the-art video and sound. Each musical experiences with repertoire rang - ticipates in the development and execution Pacific Symphony season also includes Café ing from the great orchestral masterworks of these programs. The orchestra’s Class Act Ludwig, a three-concert chamber music to music from today’s most prominent residency program has been honored as series, and “Classical Connections,” an composers, highlighted by the annual one of nine exemplary orchestra education orchestral series on Sunday afternoons American Composers Festival. The Wall programs in the nation by the National offering rich explorations of selected works Street Journal said, “Carl St.Clair, the Pacific Endowment for the Arts and the League of led by St.Clair. Assistant Conductor Maxim Symphony’s dynamic music director, has American Orchestras. Added to Pacific Eshkenazy brings a passionate commitment devoted 19 years to building not only the Symphony Youth Orchestra on the list of to building the next generation of audience orchestra’s skills but also the audience’s instrumental training initiatives since the and performer through his leadership of trust and musical sophistication — so 2007-08 season are Pacific Symphony the Pacific Symphony Youth Orchestra as successfully that they can now present Youth Wind Ensemble and Pacific well as the highly regarded Family Musical some of the most innovative programming Symphony Santiago Strings. Mornings series. in American classical music to its fast- In addition to its winter home, the Since 2006–07, the Symphony has per - growing, rapidly diversifying community.” Symphony presents a summer outdoor formed in the Renée and Henry Segerstrom The Symphony is dedicated to develop - series at Irvine’s Verizon Wireless Concert Hall, with striking architecture by ing and promoting today’s composers and Amphitheater, the organization’s summer Cesar Pelli and acoustics by the late Russell expanding the orchestral repertoire through residence since 1987. Johnson. In September 2008, the Symphony commissions, recordings, and in-depth debuted the hall’s critically acclaimed explorations of American artists and themes 4,322-pipe William J. Gillespie Concert at its American Composers Festival. For Organ. this work, the Symphony received the pres - In 2006, the Symphony embarked on its tigious ASCAP Award for Adventuresome first European tour, performing in nine Programming in 2005 and 2010. In 2010, a cities (including Vienna, Munich and study by the League of American Lucerne) in three countries — receiving an Orchestras, “Fearless Journeys,” included unprecedented 22 highly favorable reviews. P- 8 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

MAXIM ESHKENAZY , ASSISTANT CONDUCTOR Mary E. Moore Family Assistant Conductor Chair

FirsT Violin Viola piccolo Bass TromBone Raymond Kobler Robert Becker,* Cynthia Ellis Robert Sanders Concertmaster, Catherine and James Emmi Eleanor and Michael Gordon Chair oBoe TuBa Chair Carolyn Riley Jessica Pearlman,* James Self * Paul Manaster John Acevedo Suzanne R. Chonette Chair + Associate Concertmaster Meredith Crawford Deborah Shidler Timpani Jeanne Skrocki Luke Maurer Todd Miller* Assistant Concertmaster Julia Staudhammer englisH Horn Nancy Coade Eldridge Joseph Wen-Xiang Zhang Lelie Resnick percussion Christine Frank Pamela Jacobson Robert A. Slack* Kimiyo Takeya Cheryl Gates clarineT Cliff Hulling Ayako Sugaya Erik Rynearson Benjamin Lulich,* Ann Shiau Tenney Margaret Henken The Hanson Family Harp Maia Jasper Foundation Chair Mindy Ball* Robert Schumitzky cello David Chang Michelle Temple Agnes Gottschewski Timothy Landauer* Dana Freeman Kevin Plunkett** Bass clarineT piano/celesTe Grace Oh John Acosta Joshua Ranz Sandra Matthews* Jean Kim Robert Vos Angel Liu László Mezö Bassoon personnel manager Ian McKinnell Rose Corrigan* Paul Zibits second Violin M. Andrew Honea Elliott Moreau Bridget Dolkas* Waldemar de Almeida Andrew Klein liBrarians Jessica Guideri** Jennifer Goss Allen Savedoff Russell Dicey Yen-Ping Lai Rudolph Stein Brent Anderson Yu-Tong Sharp conTraBassoon producTion/sTage manager Ako Kojian Bass Allen Savedoff Ovsep Ketendjian Steven Edelman* Libby Farley Linda Owen Douglas Basye** FrencH Horn assisTanT Phil Luna Christian Kollgaard Keith Popejoy* sTage manager MarlaJoy Weisshaar David Parmeter Mark Adams Will Hunter Robin Sandusky Paul Zibits James Taylor** Alice Miller-Wrate David Black Russell Dicey * Principal Xiaowei Shi Andrew Bumatay ** Assistant Principal + On Leave Constance Deeter TrumpeT Barry Perkins* The musicians of Pacific FluTe Tony Ellis Mercedes Smith* David Wailes Symphony are members of Valerie and Hans Imhof Chair the American Federation of Musicians, Local 7. Sharon O’Connor TromBone Cynthia Ellis Michael Hoffman* David Stetson

Pacific Symphony P- 9