THE FESTIVAL AT A GLANCE

ur festival began last Monday night at the Orange County High School of the Arts Owith a presentation of Pare Lorentz’s classic 1938 documentary The River , with Virgil Thomson’s score performed live by the High School Orchestra led by Christopher Russell.

The present Classical concert begins with Fanfare for the Common Man (1942) by Aaron Copland (1900-1990), commissioned by the Cincinnati Symphony as a “contribution to the war effort.” For the Fallen (1943), by Bernard Herrmann (1911-1975), was conceived as a tribute “for those who lie asleep on the many alien battlefields of the war.”

The Walt Whitman Songs (1942, 1947) of Kurt Weill (1900-1950), coming next, were composed in response to Pearl Harbor; they set Civil War poems by Whitman; this is the West Coast premiere of the orchestral version. Amber Waves (1976) by Morton Gould (1913-1996) is a sublime patriotic gesture, adapting “America the Beautiful.”

Michael Daugherty’s Mount Rushmore for chorus and orchestra (2010), a Pacific Symphony commission, is inspired by Gutzon Borglum’s famous rock sculpture of George Washington, Thomas Jefferson, Abraham Lincoln, and Theodore Roosevelt, created between 1927 –1941. This is a world premiere.

The festival concludes next Tuesday, at State University –Fullerton’s Meng Hall, with a concert featuring the most impressively impassioned of all World War II-inspired com - positions: Arnold Schoenberg’s Ode to Napoleon (1942); composed in response to Pearl Harbor, it unforgettably denounces the tyrant Hitler and exalts the democrat Franklin Delano Roosevelt. The same program features Copland’s 1939 worker’s song “Into the Streets May First!,” excerpts from Rodgers and Hammerstein’s uplifting musicals Oklahoma! (1943) and Carousel (1945), and more music by the grateful refugee Kurt Weill, from the 1930s and ’40s.

A singular participant in our festival concerts is the legendary documentary filmmaker George Stoney. Born in 1916, Stoney is an eyewitness to history, who during the New Deal served as a public information officer for the Farm Security Administration. For the American Festival, he worked with film students at the Orange County High School of the Arts. —J.H.

For more about the American Composers Festival visit: www.PacificSymphony.org/ACF or join the discussion at www.PacificSymphonyBlog.org

P- 2 Pacific Symphony ANCILLARY EVENTS American Composers Festival 2010: “The Greatest Generation”

THE RIVER INTO THE STREETS February 1, 2010, 7:30 pm February 9, 2010, 8 p.m. Symphony Hall, Orange County High School of the Arts Meng Hall, California State University, Fullerton 1010 N. Main St., Santa Ana Tickets: $5-$30 Tickets: $10, general admission Box Office: (657) 278-3371 OCHSA Box office: (714) 564-3282 On the Web at: www.fullerton.edu/arts/events

Featuring student performers from the Orange County Members of Pacific Symphony: High School of the Arts: Raymond Kobler, violin OCHSA Symphony Orchestra, Bridget Dolkas, violin Christopher Russell, conductor Robert Becker, viola OCHSA Chamber Singers, Maria Lazarova, director Kevin Plunkett, cello Film & TV Conservatory, Aaron Orullian, director Douglas Webster, baritone Music & Theater Conservatory, Jeff Paul, director Gloria Cheng, piano George Stoney, commentary and film clips PROGRAM: CSUF University Singers, Rob Istad, conductor The People, Yes (excerpt) Monica Hull, mezzo-soprano Poem by Carl Sandburg Mark Salters, piano Introduction Joseph Horowitz, host Joe Horowitz Songs from The River PROGRAM: OCHSA Chamber Singers COPLAND: Into the Streets May First! My Shepherd Will Supply My Need WEILL: Mack the Knife How Firm a Foundation WEILL: Songs from “Lunchtime Follies” Jesus Loves Me Song of the Inventory (West Coast premiere) Go Tell Aunt Rhody Buddy on the Nightshift Short Documentaries on the Depression and World Schickelgruber War II WEILL: Ice Cream Sextet Kaylen Hadley, Lauren Morales and RODGERS & HAMMERSTEIN: Adrian Azevedo, filmmakers You’ll Never Walk Alone These short films were created by members of Everything’s Up to Date in Kansas City instructor Michael Brown’s Documentary Oklahoma! Filmmaking course in collaboration with renowned OCHSA student documentary film documentarian George Stoney SCHOENBERG: Ode to Napoleon for speaker, piano and The New Deal and The River string quartet George Stoney and Joe Horowitz The River Post-concert discussion OCHSA Symphony Orchestra Robyn Mack and Chelsea Sanders, narrators This performance supported in part by: Film directed by Pare Lorentz MAMM Alliance for the Performing Arts Score by Virgil Thomson

Pacific Symphony P- 3 ORANGE COUNTY PERFORMING ARTS CENTER RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday –Saturday, February 4 –6, 2010, at 8:00 p.m.

PRESENTS

2009–2010 HAL AND JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES THE GREATEST GENERATION

CARL ST.C LAIR , CONDUCTOR DOUGLAS WEBSTER , BARITONE PACIFIC CHORALE –JOHN ALEXANDER , ARTISTIC DIRECTOR

COPLAND Fanfare for the Common Man (1942) GOULD Amber Waves (1976) (1900 –1990) (1913 –1996) No.2 from American Ballads HERRMANN For the Fallen (1943) DAUGHERTY Mount Rushmore (2010) for Chorus (1911 –1975) (West Coast Premiere) (b. 1954) and Orchestra (World Premiere) Pacific Chorale WEILL Four Walt Whitman Songs (1942) (1900 –1950) (West Coast Premiere of the version with orchestra) Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans DOUGLAS WEBSTER

—INTERMISSION—

Michael Daugherty is the Music Alive -in-Residence with Pacific Symphony. Music Alive is a national residency program of the League of American Orchestras and Meet The Composer. The American Composers Festival is supported by:

THE AARON COPLAND FUND FOR MUSIC

This performance is funded in part by The Kurt Weill Foundation for Music, Inc., , NY

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

The Saturday, February 6, performance is broadcast live on , the official classical radio station of Pacific Symphony. The Pacific Symphony broadcasts are made possible by a generous grant from

P- 4 Pacific Symphony SEGERSTROM CENTER FOR THE ARTS PROGRAM NOTES BY JOSEPH HOROWITZ , artistic advisor, Pacific Symphony

artists did: he was politicized. He experi - other titles: Fanfare for the Spirit of enced a compassionate need to side with Democracy, Fanfare for the Four Freedoms (in the challenged and dispossessed. As a reference to Franklin Roosevelt’s 1941 “fellow traveler” on the left, he com - State of the Union Address urging free - posed—not to mince words—a 1934 dom of speech and of religion, and free - workers song for Communists: “Into the dom from want and from fear). Late in Streets May First!” (which we hear per - life, Copland pertinently remarked: “it formed next Tuesday night at California was . . . the common man, after all, who State University –Fullerton’s Meng Hall). was doing all the dirty work in the war He later disowned this opus as “the silli - and the army. He deserved a fanfare.” est thing I did.” The music of the ’30s But Copland’s patriotic ardor faded and early ’40s for which he is remem - afterward. He grew frustrated with the bered—including El Salón México (1932- new audience he had courted, with its 36), Billy the Kid (1938), Rodeo (1942), conservative taste and diehard preference and Appalachian Spring (1943-44)— for European masterworks. And his polit - adopts a far more tempered populist ical past (though a typical product of the tone. Copland urged his fellow com - times) came to haunt him. In 1953, pres -

AARON COPLAND posers to reach out to a “new audience.” sure from the right forced his Lincoln “The radio and phonograph have given Portrait off Dwight D. Eisenhower’s inau - us listeners whose sheer numbers in gural concert. Not long after, Copland ard times can produce great art. themselves create a special problem,” he was subpoenaed and interrogat ed by HThis year, our American wrote, one whose solution was “to find a Senator Joseph McCarthy’s Permanent Composers Festival revisits the hard musical style which satisfies both us and Subcommittee on Investigations. Around times of the 1930s and ’40s, and explores them.” He also reached out to new lis - the same time, Copland reverted to music that could not have been com - teners in lectures and broadcasts, and in something like the modernist style with posed without the somber impetus of his books What to Listen for in Music which he had begun his mature career. the Great Depression and World War II. (1939) and Our New Music (1941). And The resulting “late Copland” composi - We also listen to a new work, by a major he began composing for film. contemporary composer, inspired by After Pearl Harbor, Copland’s style MIGRANT MOTHER, photo by Dorothea Lange, 1936 momentous, often exigent times, past and acquired a distinctly patriotic tone. His A present. Lincoln Portrait (1942) sets uplifting Aaron Copland , America’s iconic Presidential rhetoric. The Symphony mid-20th century concert composer, is a No. 3 (1944-46) is a hortatory exercise case in point. Like so many American in parallel with Shostakovich’s paeans to artists and intellectuals of his period— Russian pride and resilience. The Fanfare Copland was born in Brooklyn in 1900 for the Common Man , opening our pro - —he moved to Paris after World War I gram, was composed for Eugene and absorbed European modernism. He Goossens’ Cincinnati Symphony came of age with his Piano Variations Orchestra as one of 18 wartime fanfares (1930): a new American sound, sky - for brass and percussion commissioned scraper music of steel and concrete that by that ensemble. Goossens sought “stir - must have confounded most who first ring and significant contributions to the heard it. In Boston, where Serge war effort.” The other commissioned fan - Koussevitzky premiered his Music for the fare composers included Henry Cowell, Theater and Piano Concerto , Copland was Paul Creston, Morton Gould, Howard regarded as a 20th century wild man. Hanson, Darius Milhaud, Walter Piston, As the Depression deepened, however, and Virgil Thomson. Copland’s is the Copland responded as countless other fanfare that endures. Copland toyed with

Pacific Symphony P- 5 PROGRAM NOTES (continued)

tions are today largely forgotten. Absent films—unthinkable without their indeli - nearly mythic in dimension. The immi - the Depression and World War II, ble music—as Vertigo , North by Northwest , grants who composed in celebration of Copland’s output dwindled and—it and Psycho . Herrmann’s movie scores— FDR included the likes of Arnold seems reasonable to surmise—his creative 51 in all, also including The Magnificent Schoenberg, Paul Hindemith, and Erich impetus slackened. Ambersons, Cape Fear, and Taxi Driver — Korngold. But the immigrant composer are among the most honored ever created. who most fully “became an American” * * * But Herrmann ever sought wider recog - was surely Kurt Weill. nition as a conductor and concert com - Weill resolved to speak English from poser. the day he landed in New York City in BERNARD HERRMANN Herrmann’s concert output is small 1935. An artist at all times attuned to his but impressive. The big works are an collaborators and to his audience, he opera, a symphony, an oratorio, a string became a Broadway composer. He quartet, and a clarinet quintet. In fact, shunned the Eurocentric Metropolitan the Herrmann style—a suffusion of his Opera, and also his fellow German morbid Romantic self—remains distinc - immigrants. “I totally feel like an tive whether assigned to film, the opera American,” he said in 1942. “Americans house, or the concert hall. As a concert seem to be ashamed to appreciate things composer, he was hopelessly out of step here,” he told Time in 1945; “I’m not.” with such tastemakers as Stravinsky or The abrasive idiom of his signature stage Copland. Only today can we readily work— Die Dreigroschenoper (The accept that he spoke in the same voice Threepenny Opera , 1928), in collaboration no matter the medium. with Bertolt Brecht— was abandoned in Like his turbulent symphony, For the favor of a smoother “American” style Fallen is a wartime work weighted with embodied by “September Song,” “Speak wartime feelings and thoughts. One of a Low,” and such successful shows as Lady series of 1943 League of Composers in the Dark and One Touch of Venus . commissions for pieces based on the By comparison, Weill’s Walt Whitman theme of war, it was (like Herrmann’s Songs , setting four of Whitman’s Civil “ symphony) composed for the New York usically I count myself an individ - Philharmonic. Herrmann called it “a Mualist,” Bernard Herrmann once berceuse for those who lie asleep on the wrote. “I believe that only music which many alien battlefields of the war.” In the springs out of genuine personal emotion opinion of Herrmann’s inspired biogra - is alive and important. I hate all cults, pher, Steven C. Smith, it is his “most fads, and circles.” moving and evocative concert work.” Herrmann was born in New York in The rocking 6/8 berceuse rhythm grad - 1911 and died in Los Angeles in 1975. ually impels the music toward a heaving He joined CBS as a radio conductor, climax. At the close, Herrmann briefly arranger, and composer in 1934 and quotes “He Shall Feed his Flock” from there promoted a remarkable variety of Handel’s Messiah . important music. As an innovative com - poser for radio, his success was deservedly * * * great. It was his radio work for Orson Welles that led to his historic score for Among the composers inspired by Welles’ Hollywood masterpiece Citizen American hard times were refugees from Kane (1941). In Hollywood, Herrmann Hitler’s Europe for whom the United was especially linked with Alfred States was a haven of freedom, and Hitchcock and with such Hitchcock Franklin Delano Roosevelt was a hero KURT WEILL

P- 6 Pacific Symphony War poems, were (and remain) unde - and American Salute (1943). But the servedly neglected. Three were composed Amber Waves we hear is part of a patri - in 1942 in direct response to Pearl otic set, American Ballads , composed in Harbor. The fourth—“Come Up from 1976. This memorably sublime seven- the Fields, Father,” in which a mother minute adaptation of “America the receives news of her son’s death in com - Beautiful” is the second of Gould’s six bat—was added in 1947. Though Weill Ballads. (The first, also memorable, frac - (whose death in 1950, at the age of 50, tures and recombines “The Star-Spangled left his American career tragically unfin - Banner.”) ished) had intended to set additional Whitman war poems, the four that we have comprise a felicitous cycle. “Oh Michael Daugherty has furnished the follow - Captain, My Captain!,” Whitman’s cry of ing note for his Mount Rushmore for cho - anguish at Lincoln’s assassination, rus and orchestra: becomes a breezy Broadway ballad. Another song in the set, “Beat! Beat! Mount Rushmore (2010) for chorus Drums!,” was performed by Helen Hayes and orchestra is inspired by the monu - as “spoken song” on an RCA Victor war- mental sculpture, located in the Black benefit recording. Weill looked forward Hills of South Dakota, of four American to performances of the Whitman songs presidents: George Washington (1732- by Paul Robeson or Lawrence Tibbett— 1799), Thomas Jefferson (1743-1826), but it never happened. Theodore Roosevelt (1858-1919) and Weill orchestrated the piano accom - Abraham Lincoln (1809-1865). The paniments for three of the Whitman American sculptor Gutzon Borglum life, until I sleep with my Fathers.” songs; after his death, Carlos Surinach supervised the carving of these figure - Perhaps Washington predicted his future scored “Come Up from the Fields” using heads into the granite mountainside of place at Mount Rushmore where, as the same instrumentation. Our perform - Mount Rushmore, from 1927 until his America’s first President, he “sleeps” with ances, remarkably, mark the West Coast death in 1941. Created during the Great other important “fathers” of American premiere of the full set of four with Depression against seemingly impossible history. Musical echoes of popular orchestra. The ordering is that of the odds with a small crew of men, Mount Revolutionary War anthems (“Chester” songs as recorded with piano under Rushmore came to symbolize an attitude by William Billings, and “Yankee Doodle”) Weill’s supervision. The Weill scholar of hope against adversity. Borglum are a reminder of Washington’s role as Kim Kowalke comments: “Linked by described the monument as “American, commander-in-chief of the Continental Whitman’s musical imagery of trumpets drawn from American sources, memori - Army during the American Revolutionary and drums, ‘Beat! Beat! Drums!’ and alizing American achievement.” Drawing War. ‘Dirge for Two Veterans’ frame the indi - from American musical sources and texts, Thomas Jefferson, the third President vidual tragedies. . . portrayed in ‘Oh my composition echoes the resonance of America, was a brilliant political Captain, My Captain!’ and ‘Come Up and dissonance of Mount Rushmore as a writer and also an accomplished violinist, From the Fields, Father.’ The four songs complex icon of American history. Like who wrote that “Music is the passion of thereby comprise a compelling mini- Mount Rushmore, my libretto is carved my soul.” As the American Minister to drama.” Stylistically, they suggest an out of the words of each President. France (1785-89), the recently widowed Americanization of the European art For the first movement, I have select - Jefferson met Maria Cosway in Paris, and song, mediating between the concert hall ed a fragment of George Washington’s fell in love with this young, charismatic, and the popular stage. final letter, upon his retirement from mil - Anglo-Italian society hostess, musician, Morton Gould ’s catalogue includes a itary and public life to Mount Vernon, to and composer of salon music. The second World War II brass and percussion fanfare the French General Marquis de Lafayette, movement of my composition inter - for the Cincinnati Symphony Orchestra his Revolutionary War comrade in arms: twines a love song composed by Cosway and, for orchestra, Lincoln Legend (1942) “I will move gently down the stream of

Pacific Symphony P- 7 PROGRAM NOTES (continued)

for Jefferson ( Ogni Dolce Aura ) together WALT WHITMAN SONGS O Captain! My Captain! with a love letter composed by Jefferson Text: Walt Whitman O Captain! my Captain! our fearful trip is for Cosway (“Dialogue of the Head vs. Music: Kurt Weill done; the Heart”) and key fragments from The ship has weather’d every rack, the prize Jefferson’s Declaration of Independence. TEXTS we sought is won; The port is near, the bells I hear, the people The third movement is based on the Beat! Beat! Drums! all exulting, words of America’s 26th President, Beat! beat! drums! – Blow! bugles! blow! While follow eyes the steady keel, the vessel Theodore Roosevelt, who was a great Through the windows – through doors – grim and daring: explorer of the uncharted wilderness. As burst like a ruthless force, But O heart! heart! heart! President, Roosevelt created the National Into the solemn church, and scatter the O the bleeding drops of red, Park Service and successfully saved, congregation; Where on the deck my Captain lies, against great opposition from commercial Into the school where the scholar is studying; Fallen cold and dead. developers, over 234 million acres of Leave not the bridegroom quiet – no happi - plains, forests, rivers and mountain ranges ness must he have now with his bride; O Captain! my Captain! rise up and hear the of the American West. It was during his Nor the peaceful farmer any peace, plowing bells; retreats into the barren Badlands of his field or gathering his grain; Rise up – for you the flag is flung – for you So fierce you whirr and pound, you drums – the bugle trills; North Dakota (not far from Mount so shrill you bugles blow. For you bouquets and ribbon’d wreaths – for Rushmore) that Roosevelt, as a young you the shores a-crowding; man, realized that the “majestic beauty” Beat! beat! drums! – Blow! bugles! blow! For you they call, the swaying mass, their of the American wilderness needed to be Over the traffic of cities – over the rumble of eager faces turning; left “as it is” for future generations. I have wheels in the streets: Here Captain! dear father! composed music to suggest the robust Are beds prepared for sleepers at night in the This arm beneath your head; and mystical sense of Roosevelt’s “delight houses? No sleepers must sleep in those It is some dream that on the deck, in the hardy life of the open” and “the beds; You’ve fallen cold and dead. hidden spirit of the wilderness.” No bargainers’ bargains by day – no brokers The fourth and final movement of or speculators – Would they continue? My Captain does not answer, his lips are pale Mount Rushmore is dedicated to Abraham Would the talkers be talking? would the and still; singer attempt to sing? My father does not feel my arm, he has no Lincoln, who successfully led the United Would the lawyer rise in the court to state pulse nor will; States through the Civil War and initiated his case before the judge? The ship is anchor’d safe and sound, its voy - the end of slavery. I have set the rhyth - Then rattle quicker, heavier drums – you age closed and done; mic cadences and powerful words of his bugles wilder blow. From fearful trip, the victor ship, comes in Gettysburg Address (1863) to music that with object won; resonates with echoes of period music Beat! beat! drums! – Blow! bugles! blow! Exult, O shores, and ring, O bells! from the Civil War. I create a musical Make no parley – stop for no expostulation; But I, with mournful tread, portrait of the sixteenth President of the Mind not the timid – mind not the weeper Walk the deck my Captain lies, , who expressed his vision or prayer; Fallen cold and dead. with eloquence, and with hope that the Mind not the old man beseeching the young human spirit could overcome prejudice man; Let not the child’s voice be heard, nor the and differences of opinion in order to mother’s entreaties; create a better world. Make even the trestles to shake the dead, where they lie awaiting the hearses, — Michael Daugherty So strong you thump, O terrible drums – so loud you bugles blow.

P- 8 Pacific Symphony WALT WHITMAN SONGS

Come up from the Fields, Father The little sisters huddle around speechless and Two veterans, son and father, dropt together, Come up from the fields, father, here’s a letter dismay’d), And the double grave awaits them. from our Pete, See, dearest mother, the letter says Pete will And come to the front door, mother, here’s a soon be better. Now nearer blow the bugles, letter from thy dear son. And the drums strike more convulsive; Alas, poor boy, he will never be better (nor And the day-light o’er the pavement quite Lo, ‘tis autumn, maybe needs to be better, that brave and has faded, Lo, where the trees, deeper green, yellower simple soul), And the strong dead-march enwraps me. and redder, While they stand at home at the door he is Cool and sweeten Ohio’s villages with leaves dead already, In the eastern sky up-buoying, fluttering in the moderate wind, The only son is dead. The sorrowful vast phantom moves illumin’d; Where apples ripe in the orchards hang and (‘Tis some mother’s large, transparent face, grapes on the trellis’d vines, But the mother needs to be better, In heaven brighter growing.) (Smell you the smell of the grapes on the She with thin form presently drest in black, vines? By day her meals untouch’d, then at night fit - O strong dead-march, you please me! Smell you the buckwheat where the bees fully sleeping, often waking, O moon immense, with your silvery face you were lately buzzing?) In the midnight waking, weeping, longing soothe me! Above all, lo, the sky so calm, so transparent with one deep longing, O my soldiers twain! O my veterans, passing after the rain, and with wondrous clouds, O that she might withdraw unnoticed, silent to burial! Below too, all calm, all vital and beautiful, and from life escape and withdraw, What I have I also give you. the farm prospers well. To follow, to seek, to be with her dear dead son. The moon gives you light, Down in the fields all prospers well, And the bugles and the drums give you But now from the fields come, father, come Dirge for Two Veterans music; at the daughter’s call, The last sunbeam And my heart, O my soldiers, my veterans, And come to the entry, mother, to the front Lightly falls from the finish’d Sabbath, My heart gives you love. door come right away. On the pavement here – and there beyond, it is looking, The Kurt Weill Foundation for Music, Inc., Fast as she can she hurries, something omi - Down a new-made double grave. administers, promotes, and perpetuates the legacies nous, her steps trembling, of Kurt Weill and Lotte Lenya. It encourages broad She does not tarry to smooth her hair nor Lo! the moon ascending! dissemination and appreciation of Weill’s music adjust her cap. Up from the east, the silvery round moon; through support of performances, productions, Beautiful over the house tops, ghastly phan - recordings, and scholarship; it fosters understanding Open the envelope quickly, tom moon; of Weill’s and Lenya’s lives and work within O this is not our son’s writing, yet his name Immense and silent moon. diverse cultural contexts; and, building upon the is sign’d, legacies of both, it nurtures talent, particularly in O a strange hand writes for our dear son, O I see a sad procession, the creation, performance, and study of musical the - stricken mother’s soul! And I hear the sound of coming full-key’d ater in its various manifestations and media. All swims before her eyes, flashes with black, bugles; www.kwf.org. she catches the main words only, All the channels of the city streets they’re Sentences broken, gunshot wound in the flooding, breast, cavalry skirmish, taken to hospital, As with voices and with tears. At present low, but will soon be better. I hear the great drums pounding, Ah, now the single figure to me, And the small drums steady whirring; Amid all teeming and wealthy Ohio with all And every blow of the great convulsive its cities and farms, drums, Sickly white in the face and dull in the head, Strikes me through and through. very faint, For the son is brought with the father; By the jamb of a door leans. In the foremost ranks of the fierce assault Grieve not so, dear mother (the just-grown they fell; daughter speaks through her sobs,

Pacific Symphony P- 9 MOUNT RUSHMORE

I. George Washington III. Theodore Roosevelt should do this.

Let tyrants shake their iron rod, There is delight in the hardy life of the But, in a larger sense, we can not dedi - And slav’ry clank her galling chains, open. cate, we can not consecrate, we can not We’ll fear them not; we trust in God, Forest and rivers hallow this ground. The brave men, liv - New England’s God forever reigns. Mountains and plains ing and dead, who struggled here, have (Chester , Revolutionary War Anthem by William There is delight in the hardy life of the consecrated it, far above our poor power Billings, 1770) open. to add or detract. The world will little note, nor long remember what we say I will move gently down the stream of There are no words that can tell the hid - here, but it can never forget what they life, until I sleep with my fathers. den spirit of the wilderness, did here. It is for us the living, rather, to (Letter from George Washington to the Marquis de that can reveal its mystery, its melancholy, be dedicated here to the unfinished work Lafayette, February 1, 1784) and its charm. which they who fought here have thus far so nobly advanced. It is rather for us II. Thomas Jefferson Leave it as it is. to be here dedicated to the great task The ages at work remaining before us—that from these Ogni dolce Aura che spira honored dead we take increased devotion par che dica ecco il mio ben There is delight in the hardy life of the to that cause for which they gave the last l’al ma in sen d’amor sospira open. full measure of devotion—that we here qua l’attendo e mai non vien Wonderful grandeur highly resolve that these dead shall not Majestic beauty have died in vain—that this nation, Each sweet breeze that blows Natural wonder under God, shall have a new birth of Seems to say, “Behold my beloved.” There is delight in the hardy life of the freedom—and that government: of the The soul in the breast of love sighs. open. people, by the people, for the people, Here I await but my love never comes... shall not perish from the earth. (Ogni Dolce Aura ; song by Maria Cosway for Keep it for your children. Thomas Jefferson, December 24, 1786, Paris, Leave it as it is. (Gettysburg Address; Abraham Lincoln, November France) (Speech at the Grand Canyon, May 6, 1903; 19, 1863) African Game Trails; Theodore Roosevelt, my Head 1910) my Heart (Letter from Thomas Jefferson to Maria Cosway, IV. Abraham Lincoln 1786, Paris, France) Four score and seven years ago our Music is the passion of my soul fathers brought forth on this continent a (Letter from Thomas Jefferson to Giovanni new nation, conceived in Liberty, and Fabbroni, June 8, 1778) dedicated to the proposition that all men are created equal. Declaration Tyranny Now we are engaged in a great civil war, Liberty testing whether that nation, or any Slavery nation, so conceived and so dedicated, Necessity can long endure. We are met on a great Justice battlefield of that war. We have come to Declaration of Independence dedicate a portion of that field, as a final (Declaration of Independence; Thomas Jefferson, resting place for those who here gave July 4, 1776) their lives that that nation might live. It is altogether fitting and proper that we

P- 10 Pacific Symphony 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 marks the start of Kong, Japan, Australia, New Zealand, and his 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 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 , 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.

Pacific Symphony P- 11 ABOUT THE GUEST ARTISTS

MICHAEL DAUGHERTY awards, distinctions, and fellowships for his music including a Fulbright Fellowship PACIFIC SYMPHONY (1977), Kennedy Center Friedheim Award COMPOSER -IN -R ESIDENCE (1989), Goddard Lieberson Fellowship from the American Academy of Arts and ichael Daugherty is one of the Letters (1991), fellowships from the Mmost commissioned, performed National Endowment for the Arts (1992) and recorded composers on the interna - and the Guggenheim Foundation (1996), tional concert music scene today. the Stoeger Prize from the Chamber Inspired by icons, places and historical Music Society of Lincoln Center (2000) figures, his music is rich with cultural and the Michigan Governor’s Award and political allusions and bears the (2004). In 2005, Daugherty received the stamp of classic modernism, with collid - Lancaster Symphony Orchestra ing tonalities and blocks of sound; at the Composer’s Award, and in 2007, the same time, his melodies can be eloquent Delaware Symphony Orchestra selected and stirring. Daugherty has been hailed Daugherty as the winner of the A. I. by The Times (London) as “a master icon duPont Award. Also in 2007, Daugherty maker” with a “maverick imagination, was named “Outstanding Classical fearless structural sense and meticulous Composer” at the Detroit Music Awards ear.” and received the American Bandmasters Daugherty first came to international György Ligeti in Hamburg, Germany Association Ostwald Award for his com - attention when the Baltimore Symphony (1982-84). After teaching music compo - position Raise the Roof for Timpani and Orchestra, conducted by David Zinman, sition from 1986-1990 at the Oberlin Symphonic Band. His music is published performed his Metropolis Symphony at Conservatory of Music, Daugherty by Peermusic Classical and, since 2003, by Carnegie Hall in 1994. Since that time, joined the University of Michigan Boosey and Hawkes. Daugherty’s music Daugherty’s music has entered the School of Music, Theatre and Dance in can be heard on, among others, the orchestral, band and chamber music Ann Arbor, Michigan where, since 1991, Albany, Argo, Delos, Equilibrium, Naxos, repertoire and made him, according to he has been a mentor to many of today’s Nonesuch and Sony labels. the League of American Orchestras, one most talented young composers. of the ten most performed living Daugherty is a frequent guest of pro - As this season’s Music Alive Composer-in- Residence, Michael Daugherty will be present in American composers. fessional orchestras, festivals, universities Orange County for several weeks this spring. Born in 1954 in Cedar Rapids, Iowa, and conservatories around the world where he participates in pre-concert During his residency, students and community Daugherty is the son of a dance-band members will have the opportunity to get to know talks, teaches composition master classes drummer and the oldest of five brothers, the composer and his work through coachings, all professional musicians. He studied and works with student composers and workshops, and the American Composers music composition at the University of ensembles. Daugherty has been the com - Competition, which will hold its live final round at North Texas (1972-76), the Manhattan poser-in-residence with the Louisville the Pacific Symphony Youth Wind Ensemble con - School of Music (1976-78) and comput - Symphony Orchestra (2000), Detroit cert in March. er music at Boulez’s IRCAM in Paris Symphony Orchestra (1999-2003), (1979-80). Daugherty received his doc - Colorado Symphony Orchestra (2001- The Residency of Michael Daugherty is made pos - torate from Yale University in 1986 2002), Cabrillo Festival of Contemporary sible through Music Alive, a residency program of the League of American Orchestras and Meet The where his teachers included Jacob Music (2001-04, 2006-08), Westshore Composer. This national program is designed to Druckman, Earle Brown, Roger Symphony Orchestra (2005-06), Eugene Symphony (2006), provide orchestras with resources and tools to sup - Reynolds, and Bernard Rands. During port their presentation of new music to the public Summer Institute (2006), Music from this time, he also collaborated with and build support for new music within their insti - arranger Gil Evans in New York, and Angel Fire Chamber Music Festival tutions. Funding for Music Alive is provided by pursued further studies with composer (2006) and Pacific Symphony (2010). The Andrew W. Mellon Foundation, The Aaron Daugherty has received numerous Copland Fund for Music, and The ASCAP Foundation Joseph & Rosalie Meyer Fund. P- 12 Pacific Symphony The Tender Land (Koch records) and the Symphony’s American Composers title roles in Sousa’s El Capitan (Zephyr Festival of 2002). He is the author of the records) and Mozart’s Don Giovanni . He entry on “classical music” for both the has appeared with orchestras across the Oxford Encyclopedia of American History country both as baritone soloist and with and the Encyclopedia of New York State . He the trio, BRAVO Broadway! Webster is is co-founder and artistic director of artistic director of American Singer Post-Classical Ensemble, a chamber Seminars, a program that brings young orchestra based in Washington, D.C.; his performers together with working pro - “Post-Classical Productions” also pro - fessionals from Broadway, opera, and the duces events in New York City and concert stage. Chicago. JOSEPH HOROWITZ ARTISTIC ADVISOR

oseph Horowitz has served as artistic Jadvisor to Pacific Symphony since the inception of the critically acclaimed American Composers Festival in 2000. A distinguished cultural historian, he is the DOUGLAS WEBSTER author of eight books, most recently Artists in Exile: How Refugees from War and BARITONE Revolution Transformed the American onsidered the foremost interpreter Performing Arts (HarperCollins); like Cof the role of the Celebrant in Classical Music in America: A History Leonard Bernstein’s MASS , Douglas (2005), it was named one of the best Webster’s portrayal was recorded for books of the year by The Economist. As DVD when he, along with a hand- executive director of the Brooklyn picked cast, presented the work in per - Philharmonic Orchestra in the 1990s, formance at the Vatican. The following Horowitz was a pioneer in the explo - day, he was received by His Holiness, ration of new symphonic concert for - Pope John Paul II. Recent performances mats. He has since curated more than of MASS have included The Kennedy three dozen interdisciplinary festivals Center, the Dallas Symphony and throughout the United States. Two sea - Catholic University of America. He sons ago, he inaugurated the New York returns to the role of the celebrant for Philharmonic’s new “Inside the Music” the 25th anniversary season of Columbus series, producing, writing, and hosting a Pro-Musica. Between stints in Les presentation on Tchaikovsky’s Pathétique Miserables (Broadway, National Tour), Symphony. Last season, he returned to Webster was awarded a Concert Artists the Philharmonic to produce two pro - Guild prize and the Joy In Singing grams on Dvo rˇák in America. Horowitz’s Award for recitalists. Over the past two many honors and awards include a seasons, he has logged over one hundered Guggenheim Fellowship, two fellowships solo recitals in as many cities with pianist from the National Endowment for the Lincoln Mayorga. His regional stage Humanities, and a certificate of apprecia - credits include Tony in West Side Story , tion from the Czech Parliament for his Tommy in Brigadoon , Top in Copland’s many celebrations of Dvo rˇák’s historic sojourn in America (including Pacific

Pacific Symphony P- 13 ABOUT THE GUEST ARTISTS (continued)

JOHN ALEXANDER organization for choruses in North ARTISTIC DIRECTOR OF PACIFIC America. Alexander also has served on artistic review panels for national, CHORALE statewide and local arts organizations, rtistic Director of Pacific Chorale including the National Endowment for Asince 1972, John Alexander is one of the Arts, the California Arts Council, and America’s most respected choral conduc - the Los Angeles County Arts tors. He has conducted his singers with Commission. orchestras throughout Europe, Asia, the Alexander retired in spring 2006 from former Soviet Union and South America his position as director of choral studies and, closer to home, with Pacific at California State University, Fullerton, Symphony, Pasadena Symphony, Musica having been awarded the honor of Angelica and the Los Angeles Chamber Professor Emeritus. From 1970 to 1996, Orchestra. Alexander has prepared cho - he held the position of director of choral ruses for many of the world’s most out - studies at California State University, standing orchestral conductors, including Northridge. In 2003, Chorus America Zubin Mehta, Pierre Boulez, Seiji honored him with the establishment of Ozawa, , Leonard the “John Alexander Conducting Faculty Slatkin, Esa-Pekka Salonen, Gustavo Chair” for their national conducting Dudamel, Lukas Foss, Max Rudolf, Carl workshops. GEORGE STONEY St.Clair, Gerard Schwarz, Marin Alsop, Alexander’s numerous tributes and awards include the “Distinguished FILMMAKER John Mauceri, John Williams, and Keith Lockhart. Faculty Member” award from California eorge Cashel Stoney is a legendary Alexander is nationally recognized for State University, Fullerton (2006); the Gdocumentary filmmaker who is also his leadership in the musical and organi - Helena Modjeska Cultural Legacy Award considered to be a father of public access zational development of the performing (2003), presented in honor of his lifetime television. He has mentored hundreds of arts. He is a board member and former achievement as an artistic visionary in young filmmakers as a professor of pro - president of Chorus America, the service the development of the arts in Orange duction and media theory at New York County; the “Outstanding Individual University, where he has taught since Artist” Award (2000) from Arts Orange 1970. At NYU, he co-founded the County; and the “Gershwin Award” Alternate Media Center, and his interns (1990), presented by the county of Los eventually went on to start the Alliance Angeles in recognition of his cultural for Community Media. leadership in that city. In June 2008, Stoney was born in Winston-Salem, Alexander received the “Michael Korn North Carolina, on July 1, 1916. Prior to Founders Award for Development of the his film career, he worked as a public Professional Choral Art” from Chorus information officer for the Farm America. Security Administration, and a photo intelligence officer during World War II. He began making films in 1946, focusing on films primarily in the areas of health and social change. Eventually he became executive director of the National Film Board of Canada’s influential Challenge for Change series from 1966-1970.

P- 14 Pacific Symphony