SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday – Saturday, June 9 –11, 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 RHAPSODY IN BLUE JAMES GAFFIGAN , CONDUCTOR ORION WEISS , PIANO

HARBISON Remembering Gatsby: Foxtrot for Orchestra (b. 1938)

GERSHWIN Rhapsody in Blue (1898 –1937) ORION WEISS

“I Got Rhythm” Variations for Piano and Orchestra ORION WEISS

—INTERMISSION—

RACHMANINOFF Symphony No. 2 in E Minor, Op. 27 (1873 –1943) Largo - Allegro moderato Allegro molto Adagio Allegro vivace

The Thursday, June 9, concert is generously sponsored by Catherine and Jim Emmi

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The Saturday, June 11, 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.

P- 10 Pacific Symphony The Pacific Symphony broadcasts are made possible by a generous grant from PROGRAM NOTES BY MICHAEL CLIVE

our minds, absorbed in their evocations minutes, beginning with a cantabile pas - of time and place as well as their classic sage for full orchestra representing rhythms. Commenting on a 2008 pro - Gatsby’s haunting vision of the green gram when she programmed light on Daisy’s dock. Then the dance Remembering Gatsby in Ohio, the con - begins — “first with a kind of call to ductor Susan Davenny Wyner noted, “I order,” says Harbison, “then a ’20s tune I love… musical adventures that take us had written for one of the party scenes, into powerful emotional worlds, and at played by a concertino led by a soprano the same time are fun and catch us by saxophone. The tune is then varied and surprise… The Foxtrot starts with broken into its components, leading to solemn, grand sonorities and then sud - an altered reprise of the call to order, and denly breaks into a 1920s-style tune with an intensification of the original its own dance band.” cantabile.” Harbison’s talent and eclecticism Closing the dramatic frame of the equipped him well to capture the nostal - dance, Harbison provides a brief coda gic moods of The Great Gatsby, a com - that combines some of the motifs and mission from the Metropolitan Opera. In refers fleetingly to the ringing telephone addition to the Pulitzer, he also received and honking car horns that were instru - Remembering Gatsby: a MacArthur Foundation “genius” grant ments of Jay Gatsby’s fate. And Foxtrot for Orchestra and the Heinz Award in the Arts and Harbison’s comments to Schirmer’s add JOHN HARBISON Humanities. He has written commissions a poignant resonance connecting his own (B. 1938) for the Chicago Lyric Opera, the New life’s narrative to Gatsby’s: “My father, York Philharmonic, the Chicago eventually a Reformation historian, was a hat is it about the foxtrot? Is it Symphony, the Boston Symphony, the young show-tune composer in the ’20s, Wsimple or suggestive? Innocent or Los Angeles Philharmonic, the Chamber and this piece may also have been a seductive? Retro or timeless? The atmos - Music Society of Lincoln Center, and chance to see him in his tuxedo again.” pheric sway of the foxtrot quickly draws the Santa Fe and Aspen festivals in genres us into its own world, and it also links including string quartets, symphonies, Rhapsody in Blue, and two distinguished American composers ballets, operas and choral works. Together Variations on “I’ve Got who would seem to have little else in they are characterized by a remarkable common: John Harbison and John Rhythm” range and variety of styles that Fanfare Adams. Both have Pulitzer Prizes and magazine described as “original, varied, (1898 –1937) many other honors to their credit, and and absorbing — relatively easy for audi - both have written operas for which they ences to grasp and yet formal and com - e all know George Gershwin, or composed foxtrots, then withdrew them. plex enough to hold our interest through Wat least we think we do: the And in both cases, the withdrawn foxtrot repeated hearings.” American troubadour who wrote has gained stand-alone popularity in the Harbison composed Remembering Gatsby “Swanee” when he was 19 and never orchestral repertoire: John Harbison’s for the Atlanta Symphony and its music looked back. The magician of musical Remembering Gatsby: Foxtrot for Orchestra , director, Robert Shaw, in 1985 — 14 years theater whose endless torrent of originally conceived for his opera The before his opera, which he temporarily dis - melodies lit the lights of Broadway. The Great Gatsby ; and John Adams’ The continued, finally premiered at the Met. serious classical composer of the Chairman Dances , which he held out of “After I abandoned the project,” he told Concerto in F and , whose his “current-event opera” Nixon in his publisher Schirmer’s, “I sometimes ran Rhapsody in Blue defined a new genre of China . across musical images (in my sketchbooks) composition uniting jazz and European The success of these operatic foxtrots and fragrances from the novel (in my sens - idioms. Tirelessly prolific, Gershwin was is hardly surprising: though they inhabit es). A few of these were brought together not yet 39 when he died in 1937, seem - different worlds, the music makes both in this orchestral foxtrot.” ingly having lived more life and written easy to envision — we dance to them in The work lasts approximately eight more music than most composers could

Pacific Symphony P- 11 PROGRAM NOTES (continued)

in two or three lifetimes. His career Boulanger, who helped scores of promi - spanned Tin Pan Alley, the legitimate nent composers find their own distinc - theater and the opera house. Which was tive voice, reportedly advised Gershwin the real George Gershwin? And now, 113 that she had nothing to teach him and years after his birth, what is his place in sent him home to continue composing. classical music? Despite the insecurity that continually To answer unanswerable questions drove him to seek validation from theo - such as these, critics and music historians reticians with classical credentials, often start with the magisterial writings Gershwin’s career was an unbroken of the late , whose string of successes in both the classical brilliantly concise descriptions and razor- and popular realms — setting a prece - edged judgments made distinguished dent that would later be followed by musicians tremble — even, it was said, if other Americans including Leonard they had been dead for hundreds of Bernstein, Andre Previn, John Williams years. Slonimksy’s use of adjectives was and Alex North. His Rhapsody in Blue is so precisely barbed that it inspired a cult still described by many as the most pop - of musical detectives who sought to ular and widely performed of all decode the language in the thousands of American classical works. In Slonimsky’s scarily hierarchical world articles he edited for Baker’s Biographical Gershwin composed Rhapsody in Blue of musical prestige ratings, Gershwin Dictionary of Musicians , a standard refer - as a commission for the influential con - occupies a position far above ence in the profession. They focused on ductor/producer Paul Whiteman, who Tchaikovsky’s when gauged on merit the first two or three words of any given asked him for a piece with the character - alone. entry, where Slonimsky was liable to istics of a classical piano concerto, but By age 16 Gershwin was already embed a veiled value judgment — often suitable for inclusion in an all-jazz con - working in Tin Pan Alley music stores, of extreme harshness. For example, here cert. Scored for solo piano and jazz band, demonstrating sheet music on the piano is how he opens his entry on Rhapsody in Blue combines elements of and absorbing the songwriter’s craft. His Tchaikovsky (quoted from the seventh classical music with jazz effects and for - early piano studies with Ernest Hutcheson edition, published in 1984: mal elements including “blue notes” — and Charles Hambitzer in New York did especially flatted third and seventh notes not amount to much, and one gathers Tchaikovsky, Piotr Ilyich, famous of the diatonic scale. that even his early study of harmonic Russian composer; b. Votkinsk, Its premiere, when Gershwin was 25, theory with Edward Kilenyi and Rubin Viatka district, May 7, 1840; took place in New York with the Palais Goldmark merely formalized principles Royal Orchestra under Paul Whiteman’s he was already using intuitively. But By limiting his description to the baton. Billed as “An Experiment in throughout his career Gershwin main - word “famous,” Slonimsky was damning Modern Music,” the event attracted such tained a serious, disciplined application with faint praise, implying that luminaries as John Phillip Sousa and to music education, continuing private Tchaikovsky is popular but overrated. . It was, as the title lessons in counterpoint with Henry And here is how he opens his entry on suggests, long and tedious, with a repeti - Cowell and Wallingford Riegger. During George Gershwin: tive program and didactic commentary the last years of his life, Slonimsky notes, by Whiteman himself. The audience’s “he applied himself with great earnest - Gershwin, George, immensely attention was reportedly wandering until ness to studying with Joseph Schillinger gifted American composer; b. the Rhapsody ’s opening clarinet glissando in an attempt to organize his technique Brooklyn, N.Y., Sept 26, 1898; brought an electrified hush to the hall. in a scientific manner; some of Not surprisingly, the work’s melodic Schillingers methods he applied in Porgy With the words “immensely gifted,” richness and the rhythmic drive of its and Bess .” He also joined the migration Slonimsky uses Gershwin’s prodigious brilliantly animated development kept of American composers who studied talent as a springboard to position him them spellbound. with Nadia Boulanger in Paris; editorially in the pantheon of composers. According to the account that

P- 12 Pacific Symphony Gershwin reported to his first biogra - ic form. As if colleagues and friends became a citizen of the United States pher, Isaac Goldberg, the Rhapsody was might forget that he considered himself and died here while touring as a concert inspired by a train ride he took only five no symphonist, he took every opportuni - pianist, just three days before his 70th weeks before the piece was due. “It was ty to remind them. birthday. on the train, with its steely rhythms, its But if he is known primarily as a creator After the failure of his first symphony, rattle-ty bang, that is so often so stimu - and interpreter of music that showcases it took 10 years for Rachmaninoff to lating to a composer — I frequently hear the piano, his avoidance of the symphony essay the form again. He composed his music in the very heart of the noise… was neither justified nor absolute. It may Symphony No. 2 in 1906 and 1907, con - And there I suddenly heard, and even have stemmed from the harsh critical ducting the premiere in St. Petersburg in saw on paper — the complete construc - reception for his Symphony No. 1, 1908. Its length was formidable — the tion of the Rhapsody , from beginning to which was daring in its almost brutal performance lasted more than an hour, end.” melodic subjects and wide-open har - including a first-movement repeat that is Gershwin composed his Variations on monies — dramatically effective to mod - often cut in modern readings. “I’ve Got Rhythm” on commission for a ern ears, but perhaps shockingly unre - Filled with emotional contrasts, the concert tour by the Leo Reisman fined in late 19th-century Russia. symphony displays Rachmaninoff’s gift Orchestra and dedicated it to his brother Modern reconsiderations of the sympho - for melody and dramatic invention to Ira, one of the most gifted lyricists ny’s premiere suggest that problems with great advantage. The first movement casts America ever produced. Recognized as a its musical preparation may have under - a pall of intense mystery, vacillating gifted poet and lyricist since his college mined the performance of a work that is between stormy conflict and serene days, proved his wit and both novel and powerful. vision, followed by a second-movement versatility in numerous Broadway collab - scherzo that Rachmaninoff described as orations with his brother including Girl “vigorous to the point of abandon.” The Crazy , the source of the melody for “I’ve deeply introspective, languorous third Got Rhythm”… though, perhaps movement — with its dreamy clarinet inevitably, his career was overshadowed reverie that harks back to the first move - by that of his brother. ment — is full of melodic riches, includ - The Variations begin with a distinctive ing the sources for pop songs like repeated four-note figure in the clarinets “Never Gonna Fall in Love Again” and — the four notes of the five-note penta - “If I Ever Forget You.” tonic scale that comprise the opening bar In Russian symphonic tradition, the of the song. The variations that follow symphony’s fourth movement recaps the sparkle with wit in divergent styles, thematic subjects exposed in the earlier including a waltz and a jazz iteration. movements, bringing them to dramatic The “oriental” variation leverages the Such speculation serves to remind us resolution. The movement’s finale, a vig - Asian pentatonic scale in which the orig - that Rachmaninoff was essentially a fig - orous allegro vivace, concludes the sym - inal song is written. ure of the 20th century, the last of the phony with a sense of grandeur and tri - Russian romantics, whose sound was umph. Symphony No. 2 rooted in the 1800s and in the Russian Considering the expressive power of SERGEI RACHMANINOFF nationalist tradition dating back to Rachmaninoff’s symphonies, did he per - (1873 –1943) Glinka and Tchaikovsky. He trained as a haps protest too much regarding the bur - performer and composer in Moscow and dens of symphonic form? It seems likely. ergei Rachmaninoff’s phenomenal St. Petersburg, focusing on the piano in In retrospect it would seem he wrote Svirtuosity as a pianist and his compo - both disciplines. But all expectations for four highly successful symphonies that sitional grasp of the piano, which enabled his future life, including his life in music, capture the spirit of late romanticism on him to explore this instrument’s expres - were shattered by the Russian revolution a grand scale. The same could be said of sive capabilities as few composers ever of 1917, when Rachmaninoff’s aristo - Johannes Brahms, who felt equally could, were counterbalanced by an cratic family lost their long-held estate bedeviled by the form but was an almost superstitious fear of the symphon - with its traditional way of life. He acknowledged master of it.

Pacific Symphony P- 13 ABOUT THE ARTISTS

Philharmonic, Cincinatti, Houston and Artist of the Year, and will release a recital Indianapolis, orchestras. This season he will album of Dvo rˇák, Prokofiev and Bartók dur - make his debut with the Milwaukee ing the current season. He will also be fea - Symphony, Dresden Staatskapelle, Scottish tured in a recording project of the complete Chamber Orchestra, Sao Paolo Symphony, Gershwin works for piano and orchestra with Tokyo Metropolitan Symphony, Sydney the Buffalo Philharmonic and JoAnn Falletta, Symphony, Seoul Philharmonic and Monte and will perform with the Carlo Philharmonic Orchestras. Symphony Orchestra, Toronto Symphony Increasingly active as an opera conductor, Orchestra and Slovenian Philharmonic. this season Gaffigan conducts The Marriage of Continuing his close relationships as a collab - Figaro at the Houston Opera. He first made orator, Weiss performs this season and regular - his professional opera debut at the Zurich ly with his wife, pianist Anna Polonsky, as Opera in 2005 conducting La Bohème . In the well as working again with the Pacifica summer of 2009, he conducted Don Giovanni Quartet and multiple recital partners. at the Aspen Music Festival and also led a The summer of 2010 saw well-received production of Falstaff for Glyndebourne-on- returns to the Ravinia, Bard, La Jolla, Seattle, JAMES GAFFIGAN Tour. He returned to the Glyndebourne Colorado, and Bravo! Vail Valley music festivals CONDUCTOR Festival in 2010 to share a production of Cosi and Chamber Music Northwest. In recent sea - fan tutte with Sir Charles Mackerras as well as sons, Weiss has performed with the Los Angeles ailed for the natural ease of his con - to Aspen to lead performances of The Philharmonic, San Francisco Symphony, Hducting and the compelling insight of Marriage of Figaro. Chicago Symphony Orchestra, Philadelphia his musicianship, James Gaffigan is considered Orchestra, Pittsburgh Symphony, New World by many to be the most outstanding young Symphony, National Arts Centre Orchestra, American conductor of his generation. He Orpheus Chamber Orchestra, and in duo sum - was recently appointed chief conductor of the mer concerts with the New York Philharmonic Lucerne Symphony Orchestra and principal at both Lincoln Center and the Bravo! Vail guest conductor of the Netherlands Radio Valley Festival. He has also appeared with the Philharmonic Orchestra, both positions symphony orchestras of Houston, Indianapolis, beginning in the 2011-12 season. As a guest Kansas City, Rochester, Albany, Annapolis, conductor, he is in high demand, working Louisville, Vancouver, and Omaha, as well as the with leading orchestras and opera houses Minnesota Orchestra, Pacific Symphony and throughout the United States and Europe. Oregon Symphony, among others. He toured In the United States, Gaffigan’s guest the U.S. with the Orchester der engagements have included the Philadelphia Klangverwaltung Munich in October 2007. In Orchestra, the Chicago, St. Louis, Cincinnati, 2005, he toured Israel with the Israel Indianapolis, Minnesota, Dallas, Detroit, Philharmonic Orchestra conducted by Itzhak Houston, Baltimore and National symphonies Perlman. and the St. Paul Chamber Orchestra. In As a recitalist and chamber musician, Weiss Europe, he has worked with the Munich has appeared across the U.S. at venues and Philharmonic, Rotterdam Philharmonic, ORION WEISS festivals including Lincoln Center, the Deutsches Symphony Orchestra (Berlin), City PIANO Ravinia Festival, Sheldon Concert Hall, the of Birmingham Symphony Orchestra, Zurich Seattle Chamber Music Festival, La Jolla ianist Orion Weiss is one of the most Tonhalle Orchestra, Bournemouth Symphony, Music Society Summerfest, Chamber Music sought-after soloists and collaborators in Camerata Salzburg, Orchestra of the Age of P Northwest, the Bard Music Festival, the his generation of young American musicians. Enlightenment, the Leipzig and Stuttgart Bridgehampton Chamber Music Festival, the His deeply felt and exceptionally crafted per - Radio Orchestras and the Gürzenich Kennedy Center, and Spivey Hall. He won formances go far beyond his technical mas - Orchestra (Cologne) among others. the 2005 Juilliard William Petschek Award tery and have won him acclaim from audi - In the 2010-11 season, he returns to the and made his New York recital debut at Alice ences, critics and colleagues in a wide range Leipzig and Stuttgart Radio Orchestras, Tully Hall that April. Also in 2005, he made of repertoire and formats. Munich Philharmonic, Iceland Symphony, his European debut in a recital at the Musée In September 2010, Weiss was named the Bournemouth Symphony, DSO Berlin, Qatar du Louvre in Paris. Classical Recording Foundation’s Young

P- 14 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 - Philadelphia 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 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