ORANGE COUNTY PERFORMING ARTS CENTER RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday –Saturday, June 3 –5, 2010, at 8:00 p.m.

PRESENTS

2009–2010 HAL AND JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES

CARL ST.C LAIR , CONDUCTOR LEILA JOSEFOWICZ , VIOLIN

RAVEL Suite from Ma Mère l’Oye (Mother Goose ) (1875 –1937) Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty) Petit Poucet (Tom Thumb) Laideronnette, Impératrice des pagodes (Laideronnette, Empress of the Pagodas) Les Entretiens de la Belle et de la Bête (Conversations of Beauty and the Beast) Le Jardin féerique (The Enchanted Garden)

ADAMS Violin Concerto (b. 1947) Quarter note = 78 Chaconne: Body Through Which the Dream Flows Toccare LEILA JOSEFOWICZ

—INTERMISSION—

MOZART Symphony No. 32 in G Major, K. 318 (1756 –1791) Allegro spiritoso Andante Tempo primo

STRAVINSKY Suite from The Firebird (L’oiseau de feu ) (1919 version) (1882 –1971) Introduction L’Oiseau de feu et sa danse & Variation de l’oiseau de feu (The Firebird and its Dance & Variation of the Firebird) Ronde des princesses (Round of the Princesses) Danse infernale du roi Kastcheï (Infernal Dance of King Kastcheï) Berceuse – Final

The Thursday, June 3, concert is generously sponsored by Anoosheh and Alan Oskouian The Saturday, June 5, concert is generously sponsored by the A. Gary Anderson Foundation Pacific Symphony proudly recognizes its Official Partners:

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The Saturday, June 5, 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

Pacific Symphony P- 1 SEGERSTROM CENTER FOR THE ARTS PROGRAM NOTES BY PETER LAKI , Program annotator for the Cleveland Orchestra and Pacific Symphony

1. Pavane de la Belle au Bois dormant almond shells; for the instruments (“Pavane of the Sleeping Beauty”). The had to be of a size appropriate to pavane is a slow dance of Spanish origin their own. to which Ravel had first turned in his early Pavane for a Dead Princess . This new The music is a study in turn-of-the- Pavane is rather brief, consisting of a century Orientalism, with a lively penta - single motif, soft and delicate, repeated tonic melody (playable on the black keys by various instruments of the orchestra. of the piano), colorfully orchestrated. In a more serious middle section, Little 2. Petit Poucet (“Tom Thumb”). The score Homely dances with the Green Serpent is preceded by a short excerpt from (who will turn out to be Prince Perrault’s story: Charming, also disguised by an evil spell). The dance of the “pagodes” then He thought he would be able to returns. find the path easily by means of the bread he had strewn wherever 4. Les entretiens de la Belle et de la Bête he had walked. But he was quite (“Conversations of Beauty and the surprised when he couldn't find a Beast”). This story is very well known, Mother Goose Suite (1908-1911) single crumb; the birds had come but few actually remember the name of BY MAURICE RAVEL and eaten them all. its author, Marie Leprince de Beaumont (CIBOURE, BASSES-PYRÉNÉES, 1875 - PARIS, 1937) (1757). Again, the words that are relevant Tom Thumb’s wanderings are depicted to the music are reprinted in the score: Instrumentation: 2 flutes, piccolo, 2 oboes, English here by a steady motion in eighth-notes horn, 2 clarinets, 2 bassoons, contrabassoon, 2 in the strings, over which the woodwind “When I think of your good horns, timpani, percussion, celesta, harp, and strings. play a quiet “walking” melody. The birds heart, you don't seem so ugly.” Performance time: 17 minutes. referred to in the story are indicated by a “Oh, I should say so! I have a solo violin playing harmonic glissandos good heart, but I am a monster.” aurice Ravel’s Mother Goose has against a twittering flute and piccolo. “There are many men who are Mnothing to do with the famous more monstrous than you.” collection of English nursery rhymes. 3. Laideronnette, Impératrice des Pagodes “If I were witty I would pay This Mother Goose (or Ma Mère l’Oye ) (Little Homely, Empress of the Pagodes). you a great compliment to thank is French, and has been known for her The story on which this movement was you, but I am only a beast.” fairy tales since the late 17th century. In based was written by the Countess ... 1697, Charles Perrault (1628-1703) d’Aulnoy, a contemporary of Perrault. “Beauty, would you like to be collected some old and new tales in a The heroine is a beautiful princess who my wife?” book that became known popularly as was made ugly by a wicked witch. She “No, Beast!” “Mother Goose”; his collection con - travels to a distant country inhabited by ... tained, among others, the stories of tiny, munchkin-like people called “I die happy because I have the Sleeping Beauty and Little Red Riding “pagodes.” (Eventually, as one might pleasure of seeing you once again.” Hood. expect, she is restored to her original “No, my dear Beast, you shall Ravel was inspired by Perrault’s col - beauty and finds her Prince Charming.) not die. You shall live to become lection and other fairy tales when, in As in the previous movement, Ravel my husband.” 1908, he decided to write a short suite concentrated on a single image from the ... The Beast had disappeared, for piano duet, intended as a gift for story, and he wrote it down at the head and she beheld at her feet a prince Mimi and Jean Godebski, the children of the score: more handsome than Amor, who of his friends Cipa and Ida Godebski. was thanking her for having lifted He orchestrated the suite in 1911, and She undressed and got into the his spell. expanded it into a ballet score. However, bath. Immediately the pagodes and the work is more often performed in the pagodesses began to sing and to The movement is in the tempo of a original suite form, consisting of the play instruments. Some had theor - slow waltz. The Beauty is represented by orchestrations of the five movements for bos [large lutes] made from walnut the clarinet, the Beast by the contrabas - piano duet. shells; some had viols made from soon. The two instruments take turns at first, and then join in a duet that P- 2 Pacific Symphony becomes more and more impassioned. the syncopations and polymeters grow After a fortissimo climax and a measure more and more complex. After a short of silence, an expressive violin solo (with but enormously challenging unaccompa - harmonics) brings the movement back to nied cadenza, the movement continues its original tempo as the Beast is trans - without a break into the second-move - formed into a handsome prince. ment chaconne. The latter’s subtitle (“Body through which the dream 5. Le jardin féerique (“The Fairy Garden”). flows”) comes from a poem by Robert This movement does not seem to be Hass, who like Adams lives in the San based on any particular fairy tale. It is a Francisco area and who, after the pre - celebration of the splendor of this mirac - miere of the Violin Concerto, would go ulous garden, where the sun never goes on to become the Poet Laureate of the down and everyone lives a blessed and United States. happy life. The music is a single crescen - A chaconne is a set of variations writ - do from a soft and low string sonority to ten on a ground bass; Adams chose a a veritable feast of sound, resplendent very well-known classical bass pattern with harp, celesta and glockenspiel. known from Pachelbel’s Canon, among other works. The composer superim - formances became a model for (1993) posed many complex harmonic layers on Violin Concerto how a serious new instrumental BY JOHN ADAMS this simple bass that is easy to lose sight work could indeed achieve reper - (B. WORCESTER, MASS., 1947) of as the violin begins to weave its sinu - toire status through the deter - ous melodic liners and the orchestral mined advocacy of an exceptional - Instrumentation: solo violin, 2 flutes (both doubling strings add their eerie harmonics, some - ly talented artist. piccolos), 2 oboes (second doubling English horn), times in quarter-tones. A second stage in 2 clarinets (second doubling bass clarinet), 2 bassoons, the evolution of the chaconne is reached WHAT TO LISTEN FOR 2 horns, trumpet, percussion, 2 keyboard synthesiz - when the woodwinds begin to play a The Violin Concerto is perhaps the ers, and strings. series of exciting, rapid figurations over first work in which Adams severed all Performance time: 33 minutes. the bass line that, finally, begins to connections of his minimalist past. This change as well under the influence of all music is no longer built on the repetition uring the decade and a half of its the complex voice-leading going on of single rhythmic harmonic patterns but existence, John Adams’ Violin above it. In her last solo passage in the D instead based on progressions and Concerto has firmly established itself in movement, the soloist completely frees motivic development. (There are long the repertoire as one of the most frequent - herself from the orchestra in terms of stretches of even eighth- or sixteenth- ly performed new concertos. Originally rhythmic coordination. After a few quiet note motion, but those are present in the written for Jorja Fleezanis, concertmaster measures to conclude the chaconne, the music of J. S. Bach as well.) What is new of the Minnesota Orchestra and pre - third movement (“Toccare”) erupts as a is an extreme harmonic and timbral miered in Minneapolis in January 1994, force of nature. The title is a variant of richness, enhanced by the dozens of sam - it has been championed by artists such as toccata and means “to touch” and “to pled sounds produced by the two syn - Gidon Kremer, Vadim Repin, Midori— play” with a connotation of supreme vir - thesizers. Moreover, Adams wholeheart - and Leila Josefowicz, of whom Adams tuosity which indeed is required in every edly embraced the great 19th- and 20th- has written in his recently-published measure of this sparkling finale. autobiography, Halleluja Junction : century concerto tradition from Beethoven to Berg and Shostakovich, Leila especially took the concerto producing a work that carries on that to heart, playing it from memory tradition into the present. in cities all over the United States Soaring violin melodies against shim - and Europe, finding rhythmic mering harmonies in the orchestra dom - shadings and expressive possibilities inate the first movement. The melodies that even its composer had never eventually dissolve into figuration as the realized were implicit in the music. solo violin, which plays nearly non-stop The concerto is Leila’s signature for the entire concerto, deploys many piece, and her mesmerizing per - different virtuoso techniques. The rhyth - mic difficulties also keep increasing as

Pacific Symphony P- 3 PROGRAM NOTES (continued)

adopted this overture form in a work years with Debussy, Ravel, Falla, whose theatrical connections are, howev - Prokofiev, and others. However, he never er, unclear. Mozart did have it played six made a more sensational nor a more years later, in Vienna, as an overture to an fruitful musical discovery than when he opera by another composer ( La Villanella engaged the 27-year-old Igor Stravinsky rapita , or “The Abducted Country Girl,” to write the music for Michel Fokine’s by Francesco Bianchi. Mozart con - new ballet, The Firebird. It was the start tributed two other numbers to that pro - of a long collaboration that was to give duction). It may have been at that point the world Pétrouchka, The Rite of Spring, that the trumpet and timpani parts were Les Noces, Mavra, and Apollon Musagète , added. The great Mozart scholar Alfred and which ended only shortly before Einstein thought that this work was Diaghilev’s death in 1929. originally intended for Zaide , an opera Since the end of the 19th century, Mozart never completed—just as the there had been a great affinity between only other Mozart symphony to use this Russia and France. The political alliance form, No. 26 (K. 184 in E-flat) possibly between the two countries had brought belonged to the incidental music to Russia closer to France (France had Thamos . always been close to Russia where Symphony No. 32 in G Major, French had long been the language of K. 318 (1779) WHAT TO LISTEN FOR the educated classes). At the same time, BY WOLFGANG AMADEUS MOZART The first theme of the work is a typi - the geographical distance and the differ - (SALZBURG, 1756 – VIENNA, 1791) cal Mozartian fanfare, followed by not ence in culture endowed things Russian one but several graceful and lyrical ideas with an exotic flavor in the eyes of the Instrumentation: 2 flutes, 2 obes, 2 bassoons, 4 before the fanfare returns. Then, on a French. Both Debussy and Ravel horns, 2 trumpets, timpani and strings. powerful dominant chord, the music is admired and were influenced by the Performance time: 10 minutes. left hanging in the air and a songful music of the 19th-century Russian mas - Andante begins, only to be abruptly bro - ters Mussorgsky and Rimsky-Korsakov. ong before symphonies were heard in ken off in its turn as the Allegro returns, To create a story of an appropriately Lconcert halls, they were performed at ushering in an abridged recapitulation of exotic flavor, Fokine and his collabora - the theater as operatic overtures—which the opening material. tors used several Russian fairy tales in is what the Italian word sinfonia original - the scenario of The Firebird . The stories ly meant. It was at the opera that the Suite from The Firebird of the beneficent Firebird and the evil typical fast-slow-fast format for orchestral (Revised version of 1919) ogre Kashchei the Immortal are com - works was first developed. Only later did BY IGOR STRAVINSKY bined in an ingenious plot, which Eric the evolution of the concert symphony (ORANIENBAUM, NR. ST. PETERSBURG, 1882 – NEW Walter White summarized in his standard take off in new directions, mainly with YORK, 1971) book on Stravinsky as follows: the addition of the minuet, which increased the number of movements Instrumentation: 2 flutes, 2 oboes, English horn, 2 A young Prince, Ivan Tsarevich, from three to four. The operatic overture clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trom - wanders into Kashchei’s magic gar - mostly kept the three-movement format, bones, tuba, timpani, percussion, piano, harp, and den at night in pursuit of the or variants thereof. The last movement strings. Performance time: 20 minutes. Firebird, whom he finds fluttering could be replaced by a vocal number that round a tree bearing golden apples. would get the opera going; or it could ergei Diaghilev’s Paris-based “Ballets He captures it and extracts a feath - be simply a reprise of the opening SRusses” was one of the greatest ballet er as forfeit before agreeing to let Allegro. The most famous example of the companies in history that united many of it go. He then meets a group of latter type is Mozart’s overture to The the best dancers of its time. Diaghilev, thirteen maidens and falls in love Abduction from the Seraglio (1782), but this the director, combined the soul of a bril - with one of them, only to find that way of writing overtures was especially liant artist with the mind and skills of a she and the other twelve maidens popular in Paris while Mozart lived there shrewd businessman. He was committed are princesses under the spell of in 1778. to exciting and innovative productions, Kashchei. When dawn comes and In his first symphony written after and he sought out the best modern the princesses have to return to returning from Paris to Salzburg, Mozart artists and composers available. Among Kashchei to Kashchei’s palace, he musicians alone, he worked over the P- 4 Pacific Symphony breaks open the gates to follow D-sharp – E – F-sharp – G – A – B flat. WHAT TO LISTEN FOR them inside; but he is captured by This particular grouping of tones, lying The 1919 suite is in five movements. Kashchei’s guardian monsters and outside the major-minor system, is The mysterious Introduction leads into is about to suffer the usual penalty always associated with the evil Kashchei. the glittering Dance of the Firebird, fol - of petrifaction, when he remem - The music of the magical Firebird is also lowed by the slow and solemn Khorovod bers the magic feather. He waves chromatic in nature, related in part to the (round dance) of the captive princesses, it; and at his summons the Firebird Kashchei music. The motifs of the based on a melancholy Russian folksong reappears and reveals to him the Tsarevich, on the other hand, are purely first played by the oboe. “Kashchei’s secret of Kashchei’s immortality diatonic (using a traditional seven-note Infernal Dance” is next, started by a fast [his soul, in the form of an egg, is scale) and are derived from a central type timpani roll and dominated by a synco - preserved in a casket]. Opening the of Russian folksong known as the “long- pated motif that arises from the lower casket, Ivan smashes the vital egg, drawn-out” song ( protyazhnaya pesnya ). registers (bassoons, horn, tuba) and is and the ogre immediately expires. Both the story and the musical style of gradually taken over by the entire His enchantments dissolve, all the the ballet seemed highly original in the orchestra. This is the longest movement captives are freed, and Ivan and his West, although in fact, both grew out of in the suite, including a lyrical counter - Tsarevna are betrothed with due an indigenous Russian tradition. subject symbolizing the plight of solemnity. Yet for all the Rimsky influence, Kashchei’s prisoners. The “infernal Stravinsky’s first ballet shows a remark - dance” returns, concluding with a wild According to the original plans, the able individuality. The handling of climax. As a total contrast, the Firebird’s music for The Firebird was to be written rhythm in particular (with already a few Berceuse (“Lullaby”) is a delicate song by Nikolai Tcherepnin (1873-1945), and, typical Stravinskyan ostinatos, or “stub - for solo bassoon. It leads directly into the after Tcherepnin’s withdrawal, by either bornly” repeated figures) is quite innova - Finale (the wedding of Ivan Tsarevich Anatoli Liadov (1855-1914) or Alexander tive, and the orchestration reveals the and the Princess), where the first horn Glazunov (1865-1936). For whatever hand of a true master. Stravinsky knew introduces what is probably the most reason, none of these more experienced how to draw the most spectacular effects famous Russian folksong in the ballet. As composers worked out. So Diaghilev from his enormous orchestra. One may this beautiful melody grows in volume approached the young Stravinsky, who cite special items that have made history, and orchestration, it undergoes a signifi - had already worked for the Ballets like the harmonic arpeggios for strings in cant metric change: the symmetrical Russes as an orchestrator. The young the introduction or the solos for the triple meter (3/2) is transformed into an composer, honored by the commission, small D-clarinet at several points. But asymmetrical 7/4, bringing the music to put aside the opera The Nightingale, even more important are the multifarious its final culmination point. whose first act he had just completed, new combinations of instrumental colors The Firebird , a resounding success at and began work on the ballet. appearing on virtually every page of the the Paris premiere, remained Stravinsky’s To describe the magical world of score. most popular work for half a century. fairy-birds and evil sorcerers, Stravinsky Stravinsky himself conducted hundreds had a whole tradition to build on, a tra - of performances of The Firebird , mainly dition he had inherited from his teacher, in the form of the suites, of which the Nikolai Rimsky-Korsakov. In the last 1919 version became the best known. years before his death in 1908, Rimsky- And though his style and artistic outlook Korsakov had written three operas on had changed considerably (and repeated - fantastic subjects, one of which was titled ly) during the intervening decades, even Kashchei the Immortal (the other two were the 80-year-old Stravinsky had every The Legend of the Invisible City of Kitezh reason to like the work that had cata - and The Golden Cockerel ). In his fantastic pulted him to fame at 28. operas as elsewhere, Rimsky-Korsakov made ample use of a special scale known to Russian musicians as the “Rimsky scale,” which was subsequently adopted by the master’s most famous pupil. The “Rimsky scale,” nowadays called “octa - tonic,” consists of a regular alternation of half-steps and whole steps: C – C-sharp –

Pacific Symphony P- 5 ABOUT THE MUSIC DIRECTOR

CARL ST.C LAIR the Villa–Lobos symphonies. He has also n 2009-10, Pacific Symphony’s Music appeared with orchestras in Israel, Hong IDirector Carl St.Clair celebrates his Kong, Japan, Australia, New Zealand, and 20th anniversary with the orchestra. South America, and summer festivals During his tenure, St.Clair has become worldwide. widely recognized for his musically distin - St.Clair’s commitment to the devel - guished performances, his commitment to opment and performance of new works building outstanding educational programs by American composers is evident in the and his innovative approaches to program - wealth of commissions and recordings by ming. St.Clair’s lengthy history with the Pacific Symphony. St.Clair has led the Symphony solidifies the strong relationship orchestra in numerous critically he has forged with the musicians and the acclaimed albums including two piano community. His continuing role also lends concertos of Lukas Foss on the harmonia stability to the organization and continuity mundi label. Under his guidance, the to his vision for the Symphony’s future. orchestra has commissioned works which Few orchestras can claim such rapid artis - later became recordings, including tic development as Pacific Symphony— Richard Danielpour’s An American the largest orchestra formed in the United Requiem on Reference Recordings and States in the last 40 years—due in large Elliot Goldenthal’s Fire Water Paper: A part to St.Clair’s leadership. Vietnam Oratorio on Sony Classical with St.Clair and the Symphony launch from Europe’s classical music critics—22 cellist Yo-Yo Ma. Other composers com - the 2009-10 season surrounded by inter - reviews in total. missioned by St.Clair and Pacific Symphony nationally celebrated artists with whom At the start of 2008-09, St.Clair added include William Bolcom, Philip Glass, he has developed close relationships. The to his portfolio the role of general music Zhou Long, Tobias Picker, Frank Ticheli season includes inventive, forward-think - director of the Komische Oper Berlin, a and Chen Yi, Curt Cacioppo, Stephen ing programming, including a new series prestigious opera company located in Scott, Jim Self (the Symphony’s principal of concerts, “Music Unwound,” featuring Berlin, Germany, with a history that tubist), Christopher Theofandis and multimedia, varied formats and ancillary dates back to 1892. He recently conclud - James Newton Howard. events. Other highlights include four ed his tenure as general music director In North America, St.Clair has led world premieres and the critically and chief conductor of the German the Boston Symphony Orchestra, (where acclaimed American Composers Festival, National Theater and Staatskapelle he served as assistant conductor for sev - in its 10th year under St.Clair, entitled (GNTS) in Weimar, Germany, where he eral years), New York Philharmonic, “The Greatest Generation.” recently led Wagner’s “Ring Cycle” to Philadelphia Orchestra, Los Angeles This past season, St.Clair celebrated great critical acclaim. St.Clair was the Philharmonic, and the San Francisco, another milestone—the 30th anniversary first non-European to hold his position Seattle, Detroit, Atlanta, Houston, of Pacific Symphony. In 2006-07, at the GNTS; the role also gave him the Indianapolis, Montreal, Toronto, and St.Clair led the orchestra’s historic move distinction of simultaneously leading one Vancouver symphonies, among many. into its home in the Renée and Henry of the newest orchestras in America and Under St.Clair’s dynamic leadership, Segerstrom Concert Hall at the Orange one of the oldest orchestras in Europe. the Symphony has built a relationship County Performing Arts Center. The St.Clair’s international career has him with the Southern California communi - move came on the heels of the landmark conducting abroad numerous months a ty by understanding and responding to 2005-06 season that included St.Clair year, and he has appeared with orchestras its cultural needs. A strong advocate of leading the Symphony on its first throughout the world. He was the prin - music education for all ages, St.Clair has European tour—nine cities in three cipal guest conductor of the Radio- been essential to the creation and imple - countries playing before capacity houses Sinfonieorchester Stuttgart from mentation of the symphony education and receiving extraordinary responses. 1998–2004, where he successfully com - programs including Classical Connections, The Symphony received rave reviews pleted a three–year recording project of arts-X–press and Class Act.

P- 6 Pacific Symphony ABOUT THE GUEST ARTIST

LEILA JOSEFOWICZ Subsequent releases on that label include VIOLIN Solo , a disc of unaccompanied works, which also won a Diapason d’or; Bohemian Rhapsodies , a collection of vir - iolinist Leila Josefowicz has won the tuosic works with orchestra; For the End hearts of audiences around the world V of Time and Americana with pianist John with her honest, fresh approach to the Novacek; and the Mendelssohn, repertoire and her dynamic virtuosity. Glazunov and Prokofiev concertos with Josefowicz came to national attention the Montreal Symphony/Dutoit. in 1994 when she made her Carnegie Additional releases include a live record - Hall debut with Sir Neville Marriner ing of her performance of the Adams and the Academy of St. Martin in the Violin Concerto with John Adams con - Fields and has since appeared with many ducting on the BBC label and Adams’ of the world’s most prestigious orchestras Road Movies , which received a 2004 and eminent conductors. A regular, close Grammy nomination, for Nonesuch. Her collaborator of leading composers of the most recent releases are a recital disc and day such as John Adams and Oliver the Shostakovich Violin Sonata and Knussen, she is a strong advocate of new Concerto No. 1 with the City of music — a characteristic which is at Zankel Hall at Carnegie Hall. Birmingham Symphony Orchestra/ reflected in her diverse programs and her During her 2009-10 season, Oramo, which received a 2007 ECHO enthusiasm for premiering new works. Josefowicz returns to the Cleveland Award, both for Warner Classics, and a During the 2008 –2009 season, Josefowicz Orchestra and Toronto Symphony, again live recording of the Knussen concerto premiered concertos written for her by to play first performances of the Adès conducted by the composer at the Esa-Pekka Salonen/Los Angeles concerto, as well as to the Los Angeles London Proms for Deutsche Philharmonic and Steve Mackey/St. Philharmonic, National Arts Centre Gramophone. Louis Symphony and played first per - Orchestra, and the National, Atlanta, A recipient of the prestigious Avery formances of Thomas Adès’ violin con - Baltimore, Indianapolis, Utah and Fisher Career Grant in 1994 as well as a certo Concentric Paths with the Colorado symphonies, among others. 2007 United States Artists Cummings Philadelphia Orchestra and San Francisco Equally active internationally, recent Fellowship, Josefowicz is a graduate of and Seattle symphonies. In October and upcoming engagements in Europe the Curtis Institute of Music where she 2009, she premiered another concerto and Asia include appearances with the studied with Jaime Laredo and Jascha written for her by Colin Matthews with Royal Concertgebouw and Leipzig Brodsky. Josefowicz currently performs the City of Birmingham Symphony Gewandhaus orchestras, the London, on a Del Gesu violin made in 1724. Orchestra. In recognition of her passion - Munich and Czech philharmonics and ate advocacy and genuine commitment Finnish Radio Orchestra; performances to the music of today, Josefowicz was of the new Salonen concerto with the awarded a 2008 MacArthur Foundation Swedish Radio Orchestra and Mahler Fellowship. Chamber Orchestra with the composer Recent appearances in North on the podium; a tour with the London America include performances with the Symphony Orchestra playing John New York Philharmonic, the Minnesota Adams’ Dharma on Big Sur with Adams Orchestra and St. Paul Chamber conducting; recital and chamber music Orchestra and the Chicago, Pittsburgh, performances at the Verbier Festival; and Detroit, Baltimore, Dallas, Houston and a fourth appearance at the London Cincinnati symphonies; a performance of Proms. John Adams’ Violin Concerto in Josefowicz’s debut recording with Sir Carnegie Hall with the American Neville Marriner and the Academy of St. Composers Orchestra under the baton of Martin in the Fields in 1994 for Philips Mr. Adams; and recitals in San Francisco, Classics was awarded a Diapason d’or. Baltimore, Los Angeles, Philadelphia and

Pacific Symphony P- 7