THE PASSION OF

AMERICAN COMPOSERS FESTIVAL 2011 THE FESTIVAL AT A GLANCE

his year, Pacific Symphony’s American Composers Festival (ACF) is part of the first-ever Southern TCalifornia Philip Glass Festival. The Symphony, in partnership with Long Beach Opera, has assembled a month of events (see opposite page for a complete listing), all of which probe deeply into the life and music of Philip Glass, one of America’s most fascinating and pre-eminent living composers.

The unifying theme for the Symphony’s 2011 ACF, led by Music Director Carl St.Clair, is the influence that India’s music and philosophy have had on Glass. The Festival focuses on the composer’s collaborations with Indian sitar master Ravi Shankar, whom Glass first met in India in 1965. Mixing Eastern and Western tradi - tions, Glass’ heroic musical homage to a simple Hindu holy man paints an exquisite symphonic and choral picture of India emerging from centuries of foreign domination.

ACF begins with the Classical concert Thursday through Saturday, with St. Clair conducting The Passion of Philip Glass, featuring Christópheren Nomura, baritone; Prism Quartet, saxophones; Janice Chandler-Eteme, soprano; Kevin Deas, bass-baritone and Pacific Chorale. The concert begins with an excerpt from “Meetings Along the Edge” from Passages , a 1990 collaboration between Glass and Shankar, with each having written arrangements around themes created by the other. The program also includes one of Glass’ most performed concertos, for saxophone quartet and orchestra, composed for the Rascher Saxophone Quartet in 1995. The concert rounds out with Glass’s epic The Passion of Ramakrishna , and includes pre- and post-concert talks with Glass and St.Clair.

Continuing Sunday at 3 p.m., St.Clair and the orchestra further explore The Passion of Ramakrishna , Glass’s symphonic tribute to the 19th-century Indian spiritual leader, during Classical Connections, an informative and relaxed Sunday afternoon conversation and performance.

Later Sunday evening at 7 p.m., the Symphony partners for a second time with Newport Beach Film Festival to present Behind the Score: The Illusionist. Glass provided the soundtrack for the 2006 mystery/thriller, The Illusionist , and this event features a screening of the film and panel discussion with the composer at the historic Regency Lido Theater in Newport Beach.

The final Pacific Symphony event, Glass Plays Glass, takes place Monday, March 14, at 8 p.m. in the Samueli Theater and features Glass playing an evening of his original music composed for solo piano as well as a number of arrangements for organ or instrumental combinations.

This years ACF also includes events with Long Beach Opera (LBO). Glass’ opera Akhnaten will be presented by LBO Saturday, March 19 and Sunday, March 27.

For more information about the American Composers Festival visit: www.pacificsymphony.org/ACF, or join the conversation at www.pacificsymphonyblog.org

The Passion of Philip Glass is generously sponsored by: THE NATIONAL ENDOWMENT FOR THE ARTS THE AARON COPLAND FUND FOR MUSIC

P- 2 Pacific Symphony FESTIVAL EVENTS PRESENTED BY LONG BEACH OPERA AND PACIFIC SYMPHONY

Sunday, February 27 • 11 a.m. Sunday, March 13 • 7 p.m. LBOpera Cinema – Part I of the Qatsi Trilogy Behind the Score: Koyaanisqatsi: “The Illusionist” (MOVIE ) Life Out of Balance (MOVIE ) Pacific Symphony/Newport Beach Film Festival Art Theatre of Long Beach Regency Lido Theater, Newport Beach

Directed by Godfrey Reggio, sweeping images of the natural envi - Glass provided the soundtrack for the 2006 Academy-Award win - ronment colliding with the industrial world are fused with Glass’ ning mystery/thriller, “The Illusionist,” starring Edward Norton modern synthesized music leaving viewers breathlessly floating and Paul Giamatti. This special screening features an in-person Q through time and space. & A with the film’s composer Philip Glass.

Saturday, March 5 • 2-4:15 p.m. Sunday, March 13 • 3 p.m. Akhnaten and His World (LECTURE ) The Passion of LBO and UCLA Egyptology Ramakrishna (CONCERT ) UCLA, Lenart Auditorium, North Campus Renée and Henry Segerstrom Concert Hall

The mysteries of Akhnaten and the society he tried to change are Music Director Carl St.Clair further explores the “The Passion of explained by professors and faculty from UCLA’s Department of Ramakrishna,” Philip Glass’ symphonic and choral tribute to the Near Eastern Languages and Culture (NELC)/ Cotsen Institute of 19th-century Indian spiritual leader, during Pacific Symphony’s Archaeology. Classical Connections.

Sunday, March 6 • 11 a.m. Monday, March 14 • 8 p.m. LBOpera Cinema – Part II of the Qatsi Trilogy Glass Plays Glass (CONCERT ) Powaqqatsi: Samueli Theater Life in Transition (MOVIE ) Art Theatre of Long Beach Philip Glass has had a long history of performing his own music, being among the first of a new generation of composer/performers. Directed by Godfrey Reggio, this moving film travels to Third World This evening features works composed for solo piano as well as a societies thrown into the path of industrialization and modern number of arrangements for organ or instrumental combinations. technology with a score that combines the sound of synthesizers and an orchestra while native instruments and human voices rise in Saturday, March 19 • 7:30–10:30 p.m. song. Sunday, March 27 • 2:00–5:00 p.m. Akhnaten (OPERA ) Thursday –Saturday, March 10 –12, 8 p.m. Terrace Theater, Long Beach Performing Arts Center Pacific Symphony’s American Composer’s Festival 2011 The Passion of Philip Glass (CONCERT ) Completing the opera trilogy which began with “Einstein on the Renée and Henry Segerstrom Concert Hall Beach” and “Satyagraha,” Glass explores the rise and fall of the Egyptian Pharaoh Akhnaten and how his inner vision changed the Mixing Eastern and Western traditions, Philip Glass’ heroic musical world. Director Mitisek gives a pre-opera talk one-hour before per - homage to a simple Hindu holy man paints an exquisite symphonic formances. and choral picture of India emerging from centuries of foreign domi - nation. Sunday, March 20 • 11 a.m. Saturday, March 12 • 2 –4:30 p.m. LBOpera Cinema - Part III of the Qatsi Trilogy Glass in Conversation about Akhnaten (DISCUSSION AND Naqoyqatsi: Life as War (MOVIE ) CONCERT ) Art Theatre of Long Beach LBO and Los Angeles County Museum of Art Los Angeles County Museum of Art The aggressive pace of modern technology is depicted with enhanced imagery in what Director Reggio call “virtual cinema.” LBO Director Andreas Mitisek and Philip Glass join in a lively dis - The score balances the effect of the startling images with a “sound cussion of the composer’s spectacular opera, “Akhnaten” inviting world of ‘natural’ timbres” and features the superb cello of Yo-Yo the audience to participate in a Q&A. Cast members sing selec - Ma. tions from the opera and concert pianist Michelle Schumann plays Glass compositions.

Pacific Symphony P- 3 SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday – Saturday, March 10 –12, 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 THE PASSION OF PHILIP GLASS CARL ST.C LAIR , CONDUCTOR JANICE CHANDLER -E TEME , SOPRANO • CHRISTÒPHEREN NOMURA , BARITONE KEVIN DEAS , BASS PACIFIC CHORALE — J OHN ALEXANDER , ARTISTIC DIRECTOR I-C HIN FEINBLATT , MEZZO SOPRANO • NICHOLAS PRESTON , TENOR PRISM SAXOPHONE QUARTET TIMOTHY MCALLISTER , SOPRANO SAXOPHONE • ZACHARY SHEMON , ALTO SAXOPHONE MATT LEVY , TENOR SAXOPHONE • TAIMUR SULLIVAN , BARITONE SAXOPHONE

GLASS Passages GLASS The Passion of Ramakrishna (b. 1937) Meetings along the Edge (based on a Prologue theme by Ravi Shankar) Part One: The Master’s Visions PRISM QUARTET Part Two: Sarada Devi Part Three: The Master’s Illness Concerto for Saxophone Quartet Part Four: The Mahasamadhi of the and Orchestra Master PRISM QUARTET Epilogue JANICE CHANDLER -E TEME —INTERMISSION— CHRISTÒPHEREN NOMURA KEVIN DEAS PACIFIC CHORALE I-C HIN FEINBLATT NICHOLAS PRESTON

The Aaron Copland The 2011 American Composers Festival is generously supported by: Fund for Music

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

The Saturday, March 12, 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- 4 Pacific Symphony The Pacific Symphony broadcasts are made possible by a generous grant from PROGRAM NOTES BY JOSEPH HOROWITZ , Artistic Advisor, Pacific Symphony

specialized as they had never done racing in place. He called it “intention - before. In this regard, Glass, Reich, and less” music, in contradistinction to ten - Adams are throwbacks. They are all sion-and-release Western trajectories. accomplished performers: Glass as a Einstein on the Beach , at the pianist, Reich as a percussionist, Adams as Metropolitan Opera House in 1976, was a conductor. This became a factor in a landmark event. Though this was a their wide popularity and appeal. And rental, not a Met presentation, it was Glass’s popularity and appeal are widest. wholly unignorable. Its operatic magni - His music is a familiar galvanizing pres - tude was sealed by its five-hour length, ence onstage, on the screen, in the con - its sung text, and the continuity of its cert hall. musical fabric. But the “libretto” consist - Born in 1937, Glass initially headed in ed of numbers and solfège syllables, and other directions. At the University of nothing resembling a story intruded Chicago, he majored in mathematics and upon the glacial grandeur of Glass’s pul - philosophy. He enrolled at Juilliard, sating scales and arpeggios, or of Robert where he composed, as he later put it, Wilson’s surreal stage pictures. During n 1973, Leonard Bernstein offered a “A-plus pieces” in the style of his teach - one twenty-minute sequence, a horizon - Iseries of Norton Lectures at Harvard ers William Bergsma and Vincent tal slab of light tilted vertically and arose, titled “The Unanswered Question.” The Persichetti. In 1964, he went to France an event so artfully integrated with question Bernstein was attempting to to work with Nadia Boulanger — a leg - music that its ascent was hypnotic. answer was: “Whither music in our time?” endary pedagogue. The fierce rigor of Elsewhere, the exhilaration of streaking He labored for weeks. His antipathy to the Boulanger regime was a crucial roulades of tone precisely mated with the non-tonal music directed him away from influence on Glass. So was Ravi Shankar, whipping physicality of furiously disci - Schoenberg and Webern. Stravinsky, too, the eminent Indian sitarist whom he also plined bodies. was not wholly satisfactory. Instead, his met in France, and from whom he Though Glass had to return to incorrigible Romanticism led him back - acquired new ways of organizing driving a cab to pay his bills, Einstein ward — to Gustav Mahler as the iconic rhythm. clinched his rise to influence and pres - 20th-century composer. And yet Mahler Glass returned to New York a differ - tige. Equally, it clinched the potency of had died in 1911. In effect, Bernstein’s ent musician. He had also traveled to Glass’ idiom onstage, as a catalyst for search led nowhere: he could not find his Morocco and India. In lower Manhattan, actors, singers, and dancers. The City of way. he discovered a vital alternative arts Rotterdam now commissioned from him Today, the answer to Bernstein’s ques - milieu, in which composers were a “real opera” for the Netherlands Opera. tion is self-evident. It is all around us. attempting radically simplified styles, and The result was Satyagraha (1979), with What has refreshed classical music in our actors were pursuing non-narrative “per - more conventional vocal and instrumen - time are the twin influences of non- formance art.” Juilliard composers had tal forces, in which the achievements of Western and popular music. In America, been discouraged from performing. Glass Mahatma Gandhi were represented by a the central exemplars are Philip Glass, had entered a counter-environment. He series of semi-static musical-dramatic Steve Reich, and John Adams. They draw and Steve Reich shared an ensemble; in tableaux. If Einstein was a special event on the music of Africa and India, on 1971, the band split into the Philip Glass transcending genre, Satyagraha has swing, on rock ‘n’ roll. They command a Ensemble, and Steve Reich and emerged as a repertoire piece. And Glass huge and variegated public. In fact, they Musicians. In 1974, Glass performed at has proved a gifted collaborator with cannot even be classified as “classical Town Hall — a move uptown toward dancers and filmmakers. His moody musicians.” the bastions of high culture — for a Violin Concerto (1987) attracts leading For much of the 20th century, classical cheering audience of 1,200. By now, violinists. His connectedness with a mass music shrank and fractured. Contemporary “minimalism” was an established credo. of listeners is something new in composers and contemporary audiences Glass had earned grudging respect with - American concert music since went their different ways. Composers, in the mainstream. He had honed a Bernstein’s Candide Overture and West conductors, and instrumentalists narrowly music of stasis, quiescently hovering or Side Story Dances .

Pacific Symphony P- 5 PROGRAM NOTES

The Passion of Ramakrishna by anyone interested in knowing about his BY PHILIP GLASS life and work. BORN 1937 IN BALTIMORE As a young man, he was largely self- taught, having absorbed knowledge of the Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 ancient tradition of India through reading bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, and hearing the religious stories in the timpani, percussion, harp, piano, strings, soprano, Puranas as well as his association with the baritone and bass-baritone soloists, and chorus. holy men, pilgrims and wandering monks Performance time: 45 minutes who would stop at Kamarpukur on their way to Puri and other holy places. In time he Passion of Ramakrishna was co-com - he became famous throughout India for his Tmissioned by Pacific Symphony and ability to expound and elucidate the most the Nashville Symphony, and premiered at subtle aspects of that profound and vast tra - one of Pacific Symphony’s inaugural con - dition. It was not uncommon in the years certs in the Renée and Henry Segerstrom of his maturity for pundits from all over Concert Hall, on September 16, 2006. Ever India to come and “test” his knowledge. since that single performance, Music Invariably, they were astonished by the ease and eloquence with which he addressed Director Carl St.Clair has been itching to California. Even today the influence of return to the work, and to record it. The their questions. It appeared that his first- hand spiritual experiences were more than India (and ultimately, of Ramakrishna) can present American Composers Festival per - be heard in the poetry and music of Allen mits him to do both. Our program also adequate when it came to explaining the scriptures of ancient India. In this way he Ginsburg and the Beatles, to mention only includes one of Glass’ most performed a few artists. It is hard to imagine the concertos – for saxophone quartet and was able to remove all doubt about their meaning and, indeed, his own authority. emergence of India on the world stage orchestra, composed for the Rascher without the spark that was provided by Saxophone Quartet in 1995. And we begin By the late nineteenth century India had been governed for almost four hun - Ramakrishna’s brilliance. Perhaps, some with an excerpt from Meetings Along the may doubt that India — the most popu - Edge from Passages , a 1990 collaboration dred years by two of the great world empires — the Mughals and the British. lous democracy of our time, brimming between Glass and Ravi Shankar, with each with vitality and creativity — could owe so writing arrangements around themes writ - Each had fostered a foreign religion and culture in India which, in time, had been much to one saintly man, long gone, who ten by the other. Originally scored for lived a life of such utter simplicity. Yet I orchestra, and based on a theme by absorbed into Indian civilization. The genius of Ramakrishna was to restore and believe that is exactly the case. Shankar, Meetings Along the Edge is tonight It has been said that when a great man performed as arranged for saxophone quar - reaffirm the ancient Hindu culture from its spiritual source. dies, it is as if all of humanity — and the tet and chamber orchestra by Dennis whole world, for that matter — were wit - Russell Davies. It would be hard to overestimate the impact that the life, presence and teaching nessing a beautiful, timeless sunset. At that of Sri Ramakrishna had on the formation moment “the great matter of life and Philip Glass has furnished the following note for death” is revealed, if not explained and The Passion of Ramakrishna: of the modern India we know today. It was as if the sleeping giant of Indian culture understood. By bearing witness to that and spirituality — certainly one of the event, perhaps we understand a little better ri Ramakrishna was born on February our own mortality, its limits and possibili - 18, 1836 in Kamarpukur, a village in foremost cultures of the ancient world — S had been re-awakened and empowered to ties. The Passion of Ramakrishna is meant to rural Bengal. As a young man he took up recount, in this highly abbreviated work, service in the temple dedicated to Kali, take its rightful place in modern times. Within a generation of his death, Gandhi’s his suffering, death and transfiguration as The Divine Mother, at Dakshineswar, a vil - they took place during the last few months lage about ten miles north of Calcutta in “quit India” movement was in full bloom. The poetry of Tagore as well as countless of his life. In this work, the words of those years. There he remained for the rest Ramakrishna are taken up by the Chorus. of his life, dying in the early hours of manifestations in theater, music, philosophy and civil discourse were becoming known Sarada Devi was his wife and lifelong com - Monday, August 16, 1886. The Kali temple panion. M. (his real name was at Dakshineswar is still there today, but is to the world at large. Over one hundred years ago Swami Vivekananda (the Mahendranath Gupta) was the disciple now surrounded by an ever-expanding and who kept a close record of his meetings bustling Calcutta. By coincidence, it stands Narendra of our text) traveled to the West to take part in the first Parliament of the with Ramakrishna, later published as The not far from the place established for the Gospel of Sri Ramakrishna. Dr. Sarkar was work and residence of the late Mother World’s Religions in Chicago in 1893. He established in America the first Vedanta his attending physician. The two disciples Teresa. Ramakrishna’s home remains there, who sing small solo parts are unidentified still embodying his spirit and worth a visit Centers, which have spread throughout the world, with major centers in Southern in the text. P- 6 Pacific Symphony AN INTERVIEW WITH PHILIP GLASS BY JOSEPH HOROWITZ

JH: You’re performing an evening of your solo answers to a lot of obscure theological stimulate a tremendous artistic revolution piano music as part of this year’s American questions. Also, he was involved in the over the next ten years. It makes me real - Composers Festival. People might be surprised same issues of Indian cultural identity ly happy. Because my generation experi - to know that when Dennis Russell Davies that Gandhi got so involved in. Asserting enced terrible times getting people to performs your piano music, it sounds different. the legitimacy and antiquity of a true take us seriously. Of course, we had cer - He keeps a strict pulse. You don’t; you play Hindu culture was something that had to tain places of refuge, like the Brooklyn with rubato. So your music is susceptible to a be done. Under British rule, Indian chil - Academy of Music. But I didn’t get to variety of interpretations. dren were being educated as if India had play at Carnegie Hall until 1979 — no past. The impact of Ramakrishna on when I was 42 years old. And yet I don’t PG: I’m not as good a pianist as Dennis modern, post-colonial Indian life and think it was a bad time. We didn’t have or any number of other people. When I culture is comparable to the impact of any money, but we certainly had audi - perform or record my solo piano music, Gandhi. He affirmed the importance of ences. Today, the appetite for new work what you hear is what it sounds like ancient traditions in a way that hadn’t is much more general than in my time. when I’m alone and playing for myself. been achieved for several hundred years. And young composers look upon my The [Philip Glass] Ensemble performs generation very favorably. That doesn’t my music in a more motoric, rhythmic JH: Leonard Bernstein, in his 1973 Norton make me unhappy either. There’s more style that doesn’t allow for the freedom Lectures, puzzled endlessly over the future continuity than in a long time. of playing by oneself. direction of music. Where does that search I don’t believe in such a thing as a stand today? JH: Where are you headed? “definite” interpretation of any piece of music. I mean, there was a time when we PG: Bernstein wasn’t the only person PG: I have an idea about that. What I’m all though Glenn Gould was the defini - with that problem. Donal Henahan, interested in now is how non-harmonic tive interpreter of Bach’s Goldberg when he was chief critic of The New York movement becomes integrated into har - Variations . Before that, it was Wanda Times , used to wonder out loud: Where monic movement. That’s very technical – Landowska. In fact, gifted interpreters are the great composers of today? And but that’s how I think. I operate accord - can bring a range of interpretation to a yet he was living in a city with a new ing to what I hear, not according to an piece of music, and my music is no music scene bubbling up to the surface. ideological agenda. exception. He just didn’t notice it – or he didn’t I notice that people are beginning to approve. JH: As we’re performing “Meetings Along the play my pieces — the Violin Concerto, From my perspective, I’m looking Edge,” could you say something about your for instance — much more freely. today at a younger generation of com - relationship to Ravi Shankar? posers totally liberated from the histori - JH: How does “The Passion of cal imperatives of a former time. All PG: With Nadia Boulanger, he was the Ramakrishna” fit into your output? kinds of mixed styles and ancillary tech - most important person I ever worked niques are being practiced. I find a with. It was my great luck to meet a PG: I’ve always had a strong attraction to tremendous energy in these young com - master of a great tradition of global choral music. As a young man I sang in posers. music. One of Ravi’s great achievements choruses and got to know the choral lit - I’m convinced that the one thing they is the way he extrapolates rhythmic erature fairly well. And choruses enjoy need is a kind of socio-political impetus structure into the overall structure of a singing my music — it’s well written for for their work. And now they have one. composition. Ravi is a complete master the voice. This piece is a good example The political landscape in this country of that. of that. The chorus is central. In fact, a has turned bizarre; one-third of the elec - I heard a concert he did last year, at good choral group could find within torate believes that the President wasn’t the age of 90. It was inspiring. I met him itself the soloists needed for this piece. born here. I’m reminded of the 1950s when he was 45. I have very dear mem - I spent a lot of time traveling in India and the Red Scare, when there were ories of him from that time to the pres - during the middle years of my life. I’ve bulls coming down the runway. That ent. When we worked together on long known about the Gospel of became the catalyst for people like Allen Meetings Along the Edge, I introduced Ramakrishna . It’s a classic book, written Ginsburg and John Cage. complex contrapuntal techniques not in a beautiful style. When I was in We’re again in a highly repressive familiar to people who play Indian classi - Calcutta, I went to see where he lived. environment. I think that the present cal music. I actually don’t know what he What was interesting about Ramakrishna extreme situation, where you have peo - thinks of the music we did together. But is that he was an uneducated man. For ple like Sarah Palin and Rush Limbaugh he’s a very kind man. I think he tolerated some reason he seemed to know the basically running Fox News — will me.

Pacific Symphony P- 7 PHILIP GLASS ON INDIA AND THE WISDOM OF THE EAST (FROM A 1992 INTERVIEW IN TRICYCLE MAGAZINE )

was in the fall of 1966. . . . We went off Then, of course, it is even more intense to India overland, the classic route: for the generation after World War II. through Turkey by train, through Iran That’s us. By the Sixties, coincidences of and Afghanistan by bus, and into Pakistan cultural ideas were going on. On the one through the Khyber Pass, and then into hand, you have an explosion of Indian the Punjab. . . . I was interested in some - culture, and on the other, a reaction to thing more exotic than studying yoga in nineteenth- and twentieth-century nar - New York. I was ready for an experience rative art. These two cross-currents tend - in India. . . . ed to reinforce each other. When I came back from that first trip to India. I started Is it completely coincidental that at the same looking at paintings by Frank Stella and time as meditation practice enters North Jasper Johns, and again I saw work based America in a big way, a movement in music on a different kind of thinking. appears with obvious parallels to meditation – music that, for example, denies habitual patterns There seem to be recognizable interconnections [A big cultural explosion] happened of expectation, breaks the convention of begin - between your music and your studies in in 1968 when the Beatles went to India nings and endings, eliminates crescendos, and Buddhism. to study with the Maharishi. They dissolves the dualities of peaks and valleys? brought back Indian culture. Only after Certainly. But not in the music itself. The that did people like Ravi Shankar begin There are other sources. real impact of Buddhist practice affects performing in large concert halls – and how you live your life on a daily basis, filling them. George Harrison made Ravi Such as? not how you do your art. How you live, Shakar a household name. But when I day by day, moment by moment. The started out, any kind of Eastern interest Non-narrative theater or non-narrative impact of Buddhism is not theoretical, as was still pretty marginal. art. . . . The influences are not Indian in how you paint or how you write a alone. Beckett was a big influence. So novel. That’s hardly as interesting as how What were you reading? was Brecht. Genet, too. . . . These writers you live on a daily basis, don’t you think? took the subject out of the narrative. Aspects of Buddhist studies, such as the Well, there was an odd assortment of They broke the pattern of the reader development of compassion and equa - things. . . . One person I read at that time identifying with the main character. . . . nimity and mindfulness, are the practical was Sir John George Woodruffe. He con - Brecht does it with irony . . . Beckett aspects of daily life. centrated on the yoga that developed in does it through fragmentation . . . And the Bengali parts of India, and that led Genet does it through transcendent This is a big departure from the exoticism you me to Ramakrishna. But I didn’t get to vision. . . . It has to do with [denying] pursued in India thirty years ago. India until 1965. . . . I had received a fel - the self-grasping or self-cherishing mind. lowship to study in Paris with Nadia Brecht is the obvious example of trying You start out pursuing the exotic, and it Boulanger in 1964. For extra money, I to go beyond the self-cherishing mind. brings you around to the most basic took a job transcribing music for Ravi But in each case, the attempt is the basis daily activities. Also, the music world Shankar. . . . I had never even heard for defining the artist as avant-garde. encourages such an exhausting and com - Indian music before! What accounts for this? pulsive way of living that is it is impor - tant to balance your life against the Did you get to India through Ravi Shankar? World War I saw the end of a nine - demands of that kind of career. teenth-century Romantic idealism. These No. Through Swami Satchidananda. I men came after that. They had lived It took a generation to discover that it’s about had met him in Paris when he was en though that disillusionment, and it pro - how you put you shoes on in the morning. route to New York. He had a yoga duced an attitude that was freshly and ashram in Sri Lanka – that is, in Ceyon – newly critical of the Western tradition But that’s what turns out to be the most and he invited me to study there. This that landed the world in such a mess. interesting thing. That’s why I de-empha -

P- 8 Pacific Symphony size the impact on the actual music itself. My Tibetan friends have always encour - his impact on the social order – in terms aged my music practice. I’ve been of the society as a whole or the individ - Even though certain aspects of the Buddhist encouraged to devote myself entirely to ual in society. . . At a certain point, I true path may have unexpectedly routed you music. There is some kind of recognition wanted the music to reflect my feelings from the exotic to the mundane, other aspects on their part, I think, that music is a kind of social responsibility. Take the image of of Buddhist meditation practice complement of “practice,” too – that is, this is practice the artist as someone cut off from socie - the classical training of a Western musician: in their terms. This is a practice of a kind ty. We learn from dharma teachers that discipline, rigor, and the relationship between that need not be profane or self-cherish - this separateness is an illusion, and things formal structure and personal creativity, ing. begin to shift – we begin to see our - between discipline and playfulness. selves as connected. And then, too, you did a series of operas with That’s what you learned from a teacher overt social themes. In the opera trilogy “Einstein on the Beach,” like Nadia Boulanger. . . . Before I went “Satyagraha,” and “Ahknaten,” the agents of to Paris, I had acquired very good work I did three operas about social change these revolutions (of physics, of politics, of reli - habits, which itself is a discipline. But through nonviolence. It started with gion) were all individual great men. The Boulanger carried the idea of discipline Einstein on the Beach, which I did with movements that followed would have been to another level. She added something Bob Wilson, though at the time, I . . . impossible without these three individuals, and that I became familiar with later through would not have seen it that way. But yet all three of them ended in some kind of Tibetan practice, something that I can with the next one, Satyagraha (in which disaster or failure along with great triumph. only describe as a devotional aspect of Mahatma Gandhi was the main charac - From Einstein, we get Hiroshima . . . music study, and anyone who studied ter), I was consciously thinking about a with her could talk about that. religious revolutionary. Again with Not only Hiroshima, but also the para - Akhnaten (the Egyptian king) and with dox of quantum mechanics, which was a Were you inspired by Boulanger’s devotion? terrible failure that Einstein himself never recovered from. Ghandhi lived to Boulanger set herself up as an incompa - see the India that he had fought for torn rable model of discipline and dedication, apart by religious war and division. And and she expected you to be just like her. Akhnaten, after seventeen years of reign, And that was almost impossible, because was almost forgotten. He was eliminated she seemed beyond what any human from the list of kings. . . . being could really hope to be. Yet, she did it in a very simple way – I would not How do you put on your shoes? say gracious, no one ever said that Boulanger was gracious – but she did it There is a kind of ordinariness, a kind of in a simple, clear way. When I studied ordinary thinking – is there such a thing with her, for example, the only way to as high ordinary? – I mean, there is a live up to her standards and to turn out way of thinking about ordinary life in a the amount of work she expected every distinctly Buddhist way; and I think that’s week was to get up between 6 and 7 in the real practice. Funny, isn’t it? It turns the morning and work all day long. And out that the pie in the sky is the same if I did that every day, I would turn up at pie that’s in your refrigerator. my lesson and Boulanger gave me the impression that I had done just about the very minimum. . . .

Have there ever been conflicts between Tibetan practice and making music?

Pacific Symphony P- 9 THE PASSION OF RAMAKRISHNA

CAST OF CHARACTERS PART ONE

Sri Ramakrishna, “The Master” (sung by the Chorus) THE MASTER: “M.”, The Narrator (Mahendranath Gupta) God can be seen. One can talk to Him Sarada Devi, Wife of Sri Ramakrishna As I am talking to you. Narendra (later Swami Vivekananda) It was not merely a vision of Him. Dr. Mahendra Lal Sarkar We talked together day and night. First Devotee Yes, He talked to me. Under the banyan tree Second Devotee I saw Him coming from the Ganges. We laughed so much! Then He talked, yes, He talked to me. For three days I wept without stopping. PROLOGUE And He revealed to me what is in the scriptures: The Vedas, the Puranas, Who is this Woman who lights the field of battle? The Tantras and other scriptures. Her body gleams darker than even the darkest storm-cloud, He showed me the Maya of Mahamaya. And from Her teeth there flash the lightning’s blinding flames! A small light inside a room began to grow; Disheveled Her hair flies behind as She rushes At last it enveloped the entire universe. Undaunted in this war between the gods and the demons. Laughing Her terrible laugh, She slays the fleeing asuras, In those days of God-vision And with Her dazzling flashes She lays bares the horrors of I felt as if I were passing through a hurricane, war. and everything had blown away from me. No trace of my old self was left. How beautiful on Her brow the drops of moisture appear! About Her dense black hair the bees are buzzing; I am like a cast-off leaf before a storm. The moon has veiled its face, beholding this Sea of Beauty. The wind blows the leaf wherever it wants. Tell me, who can She be, this Enchanter? Wonder of wonders! Shiva Himself lies like a corpse vanquished at Her feet. The Divine Mother revealed to me in the Kali temple Kamalakanta has guessed who She is, She with the elephant’s That it is She who had become everything. gait; The Image was Consciousness, She is none other than Kali, Mother of all the worlds. The altar was Consciousness, The water-vessels were Consciousness, The door-sill was Consciousness, The marble floor was Consciousness, I myself was Consciousness – All was Consciousness. I found everything soaked in Bliss – The Bliss of Satchidananda.

Then like a madman I began To shower flowers in all directions. Whatever I saw, I worshipped. Men, animals and other living beings – all Pure Consciousness.

P- 10 Pacific Symphony You know I am a fool. As if a pitcher full of bliss I know nothing. Was placed in my heart. Then who is it That joy cannot be described. Who says all these things? O Mother, I am the machine THE MASTER: And You are the Operator. When she came to stay with me I said, I am the house “Do you want to drag me down into Maya?” And You dwell within. I am the car SARADA DEVI: And You are the Driver. Why should I do that? I am asleep; I have only come to help you. You make me conscious. It is not I! It is all You! THE MASTER: It is all not I! It is all You! I used to worship my own mother Hers is the glory; With flowers and sandal-paste. We are Her instruments. The Mother of the Universe Is embodied as our earthly mother. God alone is the Doer. SARADA DEVI: Nothing exists but the One. How do you look upon me?

Mother, here is Your knowledge and here is Your ignorance. THE MASTER: Take them both, Mother, and give me pure love. As the Blissful Mother who is worshipped in the temple, Here is Your holiness and Your unholiness. The mother who gave birth to this body, Take them both, Mother, and give me pure love. And you who are here with me – Here is Your good and here is Your evil. I look upon all as the Divine Mother. Take them both, Mother, and give me pure love. With the ritual required by the scriptures Here is Your righteousness and here is Your unrighteousness. I worshipped her as the Divine Mother manifest. Take them both, Mother, and give me pure love. I offered to her my rosary and all that I had, I gave up everything at Her Feet Myself and the fruits of my years of striving. But could not bring myself to give up truth. It was late at night when the worship was over. All that was mine became hers. PART TWO SARADA DEVI: THE MASTER: My own mother said, My Mother! Who is my Mother? “You are married to a lunatic. Ah, She is the Mother of the Universe. You will never know the happiness of a mother.” It is She who creates and preserves the world And who always protects her children, THE MASTER: And who grants whatever they desire. Your daughter will have so many children, A true son cannot be far from his mother. She will grow weary of hearing The mother knows everything. The cries of “Mother, Mother!” night and day. The child doesn’t worry About the things of the world. SARADA DEVI: And as he was dying he said to me, SARADA DEVI: He taught me everything. SARADA DEVI AND THE MASTER: I always used to feel People live like worms in darkness.

Pacific Symphony P- 11 PROGRAM TEXTS (continued)

You must take care of them. FIRST DEVOTEE: Won’t you do anything? Am I to do all? You will soon be cured If only you say, SARADA DEVI: “Mother, please make me well.” I am a woman. What can I do? THE MASTER: SARADA DEVI AND THE MASTER: I cannot ask God to cure my disease. No, no! You have to do much. Sometimes I say, “O Mother, Please mend the sheath of the sword a little.” SARADA DEVI: But such prayers are less frequent. In the fullness of the path you will find Nowadays I do not find my “I”; That He Who resides in your heart I see that it is God alone resides in the hearts of all others as well. Who resides in the sheath. Learn to make the whole world your own. The body is a mere pillow-case. No one is a stranger. The only real substance is the Indivisible Satchidananda. The whole world is your own. Note: the last three lines are her final teachings before her death. M. The Master has trouble swallowing. PART THREE He eats farina pudding. August 1885 THE MASTER (TO DR. SARKAR): M. Please cure my illness. Since last April the Master has not been well. I cannot chant the name and glories of God. The doctors now say the sore in his throat is cancer. DR. SARKAR: THE MASTER: You must not talk. It will make your throat worse. I cannot tell the Mother of my illness. I feel ashamed to talk of it. THE MASTER: I have been coughing and my throat is sore. FIRST DEVOTEE: In the morning my mouth was filled with water. God will cure you. My whole body is aching.

SECOND DEVOTEE: M. Yes, you will be all right. Your suffering is indeed great, but it has a deep meaning. A change is coming over your mind. THE MASTER: It is being directed to the formless aspect of God. Well, why do I have this illness? THE MASTER: M. True. My teaching of others is coming to an end. People are amazed to find that I cannot give more instruction. In spite of your illness And I say to myself, You only think of God. “Whom shall I teach? I saw everything passing from form to formlessness. THE MASTER: I want to tell you the things I saw, but cannot. I woke up again covered with perspiration. This tendency of mine towards the formless I don’t understand this illness. Is a sign of my approaching dissolution. It seems I shall not recover.

P- 12 Pacific Symphony M. PART FOUR The Master asked me by a sign to come nearer. The sight of his suffering was unbearable. M. In a soft voice and with great difficulty he said, On August 15, 1886, The Master’s pulse became irregular. THE MASTER: He had difficulty breathing. I have gone on suffering so much He said he was hungry but could not eat, for fear of making you weep if I leave you. Then went into deep samadhi. But if you say, “Oh, there is so much suffering! After midnight he revived Let the body die,” then I may give up the body. And ate a bowl of porridge. He said he felt strong again M. And sat up against some pillows. These words pierced our hearts. We fanned him and Narendra rubbed his feet. FIRST DEVOTEE: He said to him over and over, Is this another crucifixion – “Take care of these boys.” Then he asked to lie down. SECOND DEVOTEE: The sacrifice of the body for the sake of the devotees? Three times in a ringing voice He cried the name of Kali, FIRST AND SECOND DEVOTEES (TOGETHER): His life’s Beloved, and lay back. Pray to the Mother. She must listen to you. At two minutes past one A thrill passed over his body. THE MASTER: His hair stood on end. But I cannot pray for my body. His face was lit with a smile. The final ecstasy began, NARENDRA: From which he never returned. You must do it, for our sake at least. Narendra could not bear it And ran downstairs. THE MASTER: The next day at noon Dr. Sarkar came Mother, I cannot swallow food because of my pain. And said the Master had died Let me eat just a little. A half an hour before. She pointed you all out to me and said, “What? You are eating through all these mouths. Isn’t that so?” EPILOGUE I was ashamed to utter a word. O Mother, who has offered these red hibiscus flowers at Your M. AND FIRST AND SECOND DEVOTEES Feet? (TOGETHER) I beg of You, O Mother, place one or two upon my head. When the Master said this, Then I shall cry aloud to You, “Oh, Mother! Mother!” We lost all hope. And I shall dance around You and clap my hands for joy, . And You will look at me and laugh, and tie the flowers in my hair.

FIN

Pacific Symphony P- 13 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 musi - Pacific Symphony. St.Clair has led the cally 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 son also features three “Music Unwound” “Ring Cycle” to great critical acclaim. the Boston Symphony Orchestra, (where concerts highlighted by multimedia ele - St.Clair was the first non-European to he served as assistant conductor for sev - ments and innovative formats, two world hold his position at the GNTS; the role eral 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 in St.Clair’s international career has him the Symphony has built a relationship 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 been essential to the creation and imple - on its first European tour—nine cities in 1998–2004, where he successfully com - mentation of the symphony education three countries playing before capacity pleted a three–year recording project of programs including Classical Connections, houses and receiving extraordinary the Villa–Lobos symphonies. He has also arts-X-press and Class Act. responses. The Symphony received rave appeared with orchestras in Israel, Hong reviews from Europe’s classical music Kong, Japan, Australia, New Zealand, and critics—22 reviews in total. South America, and summer festivals He recently concluded his tenure as worldwide.

P- 14 Pacific Symphony ABOUT THE ARTISTS

world. The series has featured an eclectic the title role in Porgy and Bess , having range of guest artists, including Ethel, the sung it with the New York Talujon Percussion Quartet, Music From Philharmonic, Philadelphia Orchestra, China, Miro Dance Theatre, Cantori National Symphony, the St. Paul New York, pianist Marilyn Nonken, sax - Chamber Orchestra, San Francisco, ophonist Donald Sinta, and many of Atlanta, San Diego, Utah, Houston, New York’s most progressive jazz artists, Baltimore and Montreal symphonies and including guitarist Ben Monder, saxo - the Ravinia and Saratoga festivals. phonists Tim Ries and Rick Margitza, Deas’ 2010-11 season highlights con - and drummers Gerald Cleaver, John sist of appearances with the Calgary Riley, and Mark Ferber. Prism has also Philharmonic in Porgy and Bess , Boston PRISM QUARTET joined forces with the New York Baroque with Messiah ; a Richmond SAXOPHONE Consort of Viols, the Chester String Symphony Beethoven Symphony No. 9; Quartet, Opera Colorado, and the St. John Passion at the Winter Park Festival; ntriguing programs of great beauty Chilean rock band Inti-Illimani in tour - Philip Glass’ Passion of Ramakrishna with Iand breadth have distinguished the ing engagements. Pacific Symphony, and Beethoven’s Prism Quartet as one of America’s fore - Prism has recorded for Koch Ninth Symphony with the National most chamber ensembles. Two-time International, Naxos, New Dynamic, Symphony of Costa Rica on occasion of winners of the Chamber Music America/ Albany, and Innova. Prism may also be the orchestra’s 70th anniversary. ASCAP Award for Adventurous heard on the soundtrack of the film Two Recent highlights include his return Programming, Prism has performed in Plus One by Emmy nominee Eugene to the New York Philharmonic in Carnegie Hall on the Making Music Martin, scored by Quartet member Ravel’s L’enfant et les sortilèges under series, in Alice Tully Hall with the Matthew Levy, and is featured in the Lorin Maazel. He then sang in the world Chamber Music Society of Lincoln theme music to the weekly PBS news premiere of Derek Bermel’s The Good Center, and throughout Latin America magazine NOW . Life with the Pittsburgh Symphony under the auspices of the United States Members of Prism are Matthew Levy, under Leonard Slatkin and was again Information Agency. Prism has also been Timothy McAllister, Zach Shemon, and heard in Hannibal Lokumbe’s Dear Mrs. presented to critical acclaim as soloists Taimur Sullivan. Parks , this time with the Detroit with orchestras nationwide, including the Symphony. He performed Beethoven’s Detroit Symphony and Cleveland KEVIN DEAS Ninth Symphony under the baton of Orchestra, performing William Bolcom’s BASS Daniel Barenboim with Filarmonica Concerto Grosso , written especially for the della Scala in Accra celebrating the 50th Quartet. Champions of new music, Kevin Deas has gained anniversary of the founding of Ghana, Prism has premiered over 100 works, international acclaim Copland’s Old American Songs . many by internationally celebrated com - as one of America’s He sang Mozart’s Marriage of Figaro posers, including Steven Mackey, William leading basses. Lauded with the Chicago Symphony, Messiah Albright, Chen Yi, Lee Hyla, Greg Osby, for his “burnished with the Cleveland Orchestra, Brooklyn Jennifer Higdon, Martin Bresnick, Bernard sound, clarity of dic - Philharmonic and Handel & Haydn Rands, and Zhou Long. The Quartet also tion and sincerity of Society, an opening performance at the maintains three annual Young Composer expression” and “fer - Newport Jazz Festival with the Dave Commissioning Awards in Philadelphia, vent intensity” by Brubeck Quartet, Beethoven’s Symphony New York, and at the Walden School in Chicago Tribune critic John von Rhein, No. 9 with the Colorado Symphony and New Hampshire, where Prism conducts Deas has been variously called “exem - Tokyo Symphony Orchestra, and per - regular residencies. plary” ( Denver Post ), “especially fine” formances of Brubeck’s To Hope! in In 1997, Prism initiated its own con - (The Washington Post ) and possessing “a Salzburg and Vienna. cert series in Philadelphia and New York resourceful range of expression” ( The Other noteworthy engagements have City, presenting the newest compositions Cincinnati Enquirer ). He is perhaps most included appearances at Lincoln Center’s created for their ensemble by both classi - acclaimed for his signature portrayal of Mostly Mozart Festival and Carnegie cal and jazz composers from around the

Pacific Symphony P- 15 ABOUT THE ARTISTS (continued)

Hall, Elgar’s Dream of Gerontius with the Milwaukee Symphony under Andreas Symphony Orchestra, Phoenix Symphony, Chicago Symphony and Barenboim, Delfs for Mahler’s Symphony No. 8. In Kansas City Symphony, Santa Rosa Mozart’s Requiem with the Atlanta addition, she was heard in Lokumbe’s Symphony, Rochester Philharmonic and Symphony, and How the Grinch Stole Dear Mrs. Parks with the Detroit Hong Kong Philharmonic. In addition, Christmas with the Houston Symphony. Symphony Orchestra, in Beethoven’s she has sung at the Bard Music Festival, A strong proponent of contemporary Symphony No. 9 with the Alabama Grand Park Music Festival, Aspen Music music, Deas was heard at Italy’s Spoleto Symphony, and she joined the Qingdao Festival, Chautauqua Festival, Prague Festival in a new production of Menotti’s Symphony under the direction of Yong Autumn International Music Festival, Amahl and the Night Visitors in honor of Yan Hu for a concert performance of and at the Blossom Music Festival. the composer’s 85th birthday, videotaped Porgy and Bess at Carnegie Hall. Chandler-Eteme’s recordings include for worldwide release. His 20-year col - During the 2007 –2008 season an inspirational solo disc entitled laboration with Dave Brubeck has taken Chandler-Eteme made her debut with Devotions, Dvo rˇák’s Te Deum with him to Salzburg, Vienna and Moscow in the Dallas Opera as Clara in Porgy and Zdenek Macal and the New Jersey To Hope!, and his Gates of Justice were Bess . She also made her European Symphony, and a forthcoming world- presented in a gala performance in New Operatic debut as Bess in Porgy and Bess premiere recording of Maslanka’s Mass . York during the ’95/’96 season. He also with Opera de Lyon under the direction She holds a bachelor of arts in vocal per - performed Tippet’s Child of Our Time of William Eddins, a role she reprised formance from Oakwood College, a with the Vancouver Symphony and in during the 2009-2010 season for pro - master of music in vocal performance 1992 debuted with the Chicago ductions in Edinburgh, London and from Indiana University, and has studied Symphony in a concert version of X: The Lyon. In addition, she joined the with Virginia Zeani, Margaret Harshaw Life and Times of Malcolm X by Anthony Orchestra of St. Luke’s for Brahms’ and Todd Duncan. Davis, later repeated in New York and Requiem at Carnegie Hall, performed recorded. Missa Solemnis with the National CHRISTÒPHEREN NOMURA Philharmonic, Beethoven’s Symphony BARITONE JANICE CHANDLER -E TEME No. 9 with the Detroit Symphony SOPRANO Orchestra, and Handel’s Messiah with the Baritone Minnesota Orchestra. Christòpheren Janice Chandler-Eteme A pre-eminent concert soloist, Nomura has earned a has long been among Chandler-Eteme sang under the baton of prominent place on America’s foremost Robert Shaw with the Cleveland Symphony the operatic, concert lyric sopranos, singing Orchestra, Minnesota Orchestra, Florida and recital stages. In an astonishing range of Orchestra, Baltimore Symphony the realm of opera, music with the world’s Orchestra and Atlanta Symphony Nomura is a noted top orchestras and Orchestra. In addition, she has worked Mozartean, known for conductors. Called with such distinguished conductors as his portrayals of Don Giovanni, “one of the loveliest Marin Alsop, Christoph von Dohnányi, Papageno in The Magic Flute , the Count soprano voices on earth” by The Charles Dutoit, Jo Ann Falletta, Claus in Le nozze di Figaro and Guglielmo in Baltimore Sun and “radiant” by the Peter Flor, Neal Gittleman, Raymond Così fan tutte . He has sung Don Giovanni Cincinnati Enquirer , the 2008 –2009 season Harvey, Carlos Kalmar, Yakov Kreizberg, with the New Hampshire Music Festival found the soprano singing Mahler’s Raymond Leppard, Christof Perick, Esa- and New York Chamber Symphony; Symphony No. 2 both with the Pekka Salonen, Alfred Savia, Robert Papageno for his debut with the Lyric Cincinnati Symphony under Gilbert Spano, Vladimir Spivakov, Edo de Waart Opera of Kansas City; Così fan tutte for Kaplan and the Colorado Symphony and Hugh Wolff. She has performed with his Hawaii Opera debut and the count in under Jeffrey Kahane. She joined the the Los Angeles Philharmonic, Saint Paul Figaro for his Opera Carolina debut. He Atlanta Symphony Orchestra and Chamber Orchestra, Boston Symphony has likewise had a strong association with Memphis Symphony Orchestra for Orchestra, NHK (Japan), Philadelphia Puccini’s Madama Butterfly . He was Handel’s Creation , the San Diego Orchestra, Los Angeles Philharmonic, Prince Yamadori in the SONY film of Symphony for Brahms’ Requiem , and the Montreal Symphony Orchestra, Vancouver Butterfly co-directed by Martin Scorsese

P- 16 Pacific Symphony and Frédéric Mitterand, conducted by appeared with the North Carolina produced programs exploring Tchaikovsky’s James Conlon. He sang Yamadori for his Symphony, Nova Scotia Symphony, the Pathétique Symphony . He has produced Boston Symphony debut under Seiji National Philharmonic, Pacific Symphony similar programs on Tchaikovsky, Ozawa and the Imperial Commissioner and made his debut with the Oregon Bach Dvo rˇák, and Brahms for the New York for his debut with Dallas Opera. He sang Festival singing Haydn’s Creation under Philharmonic. This season, he serves as both of these roles for his Cincinnati Helmuth Rilling. Among the highlights of artistic advisor to a two-week Tchaikovsky Opera debut. He sang Figaro in Il 2009-10 are an appearance with Mo. festival by the Pittsburgh Symphony and Barbiere di Siviglia for his debut with the Rilling in Los Angeles, performances with undertakes two projects for the National Skylight Opera of Milwaukee, returning Music of Baroque in Chicago, the Symphony. His own Post-Classical as Enrico in Lucia di Lammermoor. He Cincinnati Symphony and two programs Ensemble of Washington, D.C., which he sang Malatesta in Don Pasquale for his with the Cedar Rapids Symphony. co-founded eight years ago, presents fes - Seattle Opera debut in 2003 and his first A noted Bach specialist, Nomura has tivals of music by George Gershwin, Lou Dandini in Rossini’s La Cenerentola for been a frequent performer with the Bach Harrison, and Igor Stravinsky. his debut with Lake George Opera. Choir of Bethlehem, the Carmel Bach Horowitz is also the author of eight Nomura has appeared with many of Festival, Baldwin-Wallace Bach Festival, books, of which Classical Music in the prominent North American orches - Handel & Haydn Society, Boston Early America: A History (2008) and Artists in tras, in wide-ranging repertoire. He has Music Festival, Boston Baroque and the Exile: How Refugees from Twentieth Century appeared with the Boston Symphony, Berkshire Choral Festival. Also known War and Revolution Transformed the San Francisco Symphony, Minnesota for his deep commitment to the art of American Performing Arts (2005) were Orchestra, Saint Paul Chamber Orchestra, the recital, he has given more than 250 both named “best books of the year” by National Symphony Orchestra, Orchestra recitals throughout North America, The Economist . He annually serves as of St. Luke’s, Vancouver Symphony, Europe, Asia, South America and Africa. Artistic Director of the NEA Music Indianapolis Symphony, Charlotte He has appeared at Lincoln Center, the Critics Institute at Columbia University. Symphony, Pacific Symphony, Utah “Making Music” series at Carnegie Hall, As director of an NEH National Symphony Orchestra, Philharmonia the Bank of America Celebrity Series in Education Project, he wrote a young Baroque Orchestra and the Boston Pops Boston, the Rising Stars Series at readers book on Dvo rˇák and America performing under internationally Ravinia, the John F. Kennedy Center in and commissioned (from Robert Winter renowned conductors such as Leonard Washington, DC and the Vancouver and Peter Bodganoff) a companion inter - Bernstein, Seiji Ozawa, James Conlon, Recital Society, frequently combining active DVD; these were the core materi - Sergiu Comissiona, Christof Perick, performances with in-depth residencies als for an NEH Teacher Training work - Roger Norrington, Christopher to introduce new audiences to classical shop Horowitz directed last summer for Hogwood, Ton Koopman, Bruno Weil, vocal music. He was Artist-In-Residence the Pittsburgh Symphony. Andrew Parrott, and Nicholas McGegan. with San Francisco Performances for In all, Horowitz has conceived and In 2006 he sang for Pacific Symphony’s four seasons and returned for their 30th produced more than three dozen inter- inaugural concerts in the new Renée and Anniversary season in 2009. disciplinary festivals for American orches - Henry Segerstrom Concert Hall, in the tras. He has also served as executive title role for the premiere of Philip Glass’ JOSEPH HOROWITZ director of the Brooklyn Philharmonic The Passion of Ramakrishna , conducted by ARTISTIC ADVISOR and as a music critic for The New York Carl St.Clair. That season also brought Times . He is the recipient of a debuts with the Baltimore Symphony Joseph Horowitz has Guggenheim Fellowship, two NEH under Louis Langrée, North Carolina been artistic advisor to Research Fellowships, a fellowship from Symphony under Grant Llewellyn and the Pacific Symphony and Columbia University National Arts Annapolis Symphony. In 2007-08 he made to the orchestra’s Journalism Program and a commenda - debuts with the Pensacola Symphony, the American Composers tion from the Czech Parliament for his Alabama Symphony and Chicago’s Music Festival since 1999. For many explorations of Dvo rˇák’s American of The Baroque. In 2008-09 he returned to the 2009-10 season’s sojourn. Pacific Symphony to premiere Alva “Music Unwound” Henderson’s From Greater Light. He also series, he wrote and

Pacific Symphony P- 17 ABOUT THE ARTISTS (continued)

JOHN ALEXANDER Alexander is nationally recognized for 2008, Alexander received the “Michael his leadership in the musical and organiza - Korn Founders Award for Development ARTISTIC DIRECTOR , tional development of the performing arts. of the Professional Choral Art” from PACIFIC CHORALE He is a board member and former presi - Chorus America. Artistic Director of dent of Chorus America, the service Pacific Chorale since organization for choruses in North I-C HIN FEINBLATT 1972, John Alexander America. Alexander also has served on MEZZO -SOPRANO is one of America’s artistic review panels for national, most respected choral statewide and local arts organizations, I-Chin “Betty” conductors. His including the National Endowment for Feinblatt is a graduate inspired leadership the Arts, the California Arts Council, and of California State both on the podium the Los Angeles County Arts Commission. University, Fullerton and as an advocate for Alexander retired in spring 2006 from in vocal performance the advancement of the choral art has his position as Director of Choral Studies and music education. garnered national and international at California State University, Fullerton, She currently sings admiration and acclaim. having been awarded the honor of professionally with Alexander’s long and distinguished Professor Emeritus. From 1970 to 1996, Pacific Chorale, the career has encompassed conducting hun - he held the position of Director of John Alexander Singers, and First dreds of choral and orchestral perform - Choral Studies at California State Presbyterian church in Orange, Calif. ances nationally and in 27 countries University, Northridge. Alexander con - Feinblatt has performed as a chorister around the globe. He has conducted his tinues his involvement in the pre-profes - and soloist with Pacific Chorale on singers with orchestras throughout sional training of choral conductors. He numerous occasions, most recently as the Europe, Asia, the former Soviet Union is in demand as a teacher, clinician, and mezzo soloist in Duruflé’s Requiem , in and South America and, closer to home, adjudicator in festivals, seminars and March 2009, and an alto soloist in Bach’s with Pacific Symphony, Pasadena workshops across the United States. In St. John’s Passion , in April 2009. Among Symphony, Musica Angelica and the Los 2003, Chorus America honored him her Southland solo performances are her Angeles Chamber Orchestra. Equally with the establishment of the “John performance as alto soloist of Handel’s versatile whether on the podium or Alexander Conducting Faculty Chair” Messiah in June 2009 with The National behind the scenes, Alexander has pre - for their national conducting workshops. Children’s Choir at The Broad Stage of pared choruses for many of the world’s Alexander is a composer of many Santa Monica, and in December 2009 most outstanding orchestral conductors, works and serves as the editor of the with Camerata Singers of Long Beach. including Zubin Mehta, Pierre Boulez, John Alexander Choral Series with Feinblatt’s most recent solo work Seiji Ozawa, Michael Tilson Thomas, Hinshaw Music. His numerous tributes includes Beethoven’s Choral Fantasy with Leonard Slatkin, Esa-Pekka Salonen, and awards include: The “Distinguished Pacific Symphony, celebrating Carl Gustavo Dudamel, Lukas Foss, Max Faculty Member” award from California St.Clair’s 20th anniversary, and perform - Rudolf, Carl St.Clair, Gerard Schwarz, State University, Fullerton (2006); the ing the Rachmaninoff Vespers with Marin Alsop, John Mauceri, John Helena Modjeska Cultural Legacy Award Pacific Chorale in May 2010. Williams, and Keith Lockhart. (2003), presented in honor of his lifetime Feinblatt also was one of the guest A proponent of contemporary achievement as an artistic visionary in artists of “Organica,” an annual concert American music, Alexander is noted for the development of the arts in Orange event at UCLA’s Royce Hall with the strong representation of American County; the “Outstanding Individual organist Christoph Bull in April 2009. works and composers in his program - Artist” Award (2000) from Arts Orange Feinblatt is a frequent guest of ming. He has conducted many premieres County; the “Gershwin Award” (1990), “Organica,” and in June 2008 her per - of works by composers such as Jake presented by the county of Los Angeles formance was reviewed by Charles Heggie, Morten Lauridsen, Eric in recognition of his cultural leadership Lonberger in The Beverly Hills Outlook : Whitacre, Frank Ticheli, and James in that city; and the “Outstanding “Best of all the guest artists...who vocally Hopkins. Professor” Award (1976) from California caressed art songs by Fauré and Gounod State University, Northridge. In June with a low, velvety dark yet strong and

P- 18 Pacific Symphony sturdy instrument… she was a wonder was a featured soloist for the world pre - and a revelation this night.” miere of Philip Glass’ The Passion of Feinblatt was a featured soloist in the Ramakrishna , which was commissioned world premiere of The Passion of for the grand opening of the Renée and Ramakrishna by Philip Glass at the Henry Segerstrom Concert Hall and Segerstrom Center for the Arts in premiered by Pacific Symphony and September 2006. She was also the mezzo Pacific Chorale under the direction of soloist in Bach’s Mass in B Minor at the Carl St.Clair. Orange County Performing Arts Center Preston has performed as a guest artist with the John Alexander Singers in at Loyola Marymount University with October 2004. Feinblatt has been a vocal the Sinatra Opera Workshop, performing music teacher at Fountain Valley High the role of Tamino in The Magic Flute . School since spring 2007. She currently He also played the role of Father studies with voice teacher Monika Grenville in scenes from the acclaimed Bruckner in Sherman Oaks, and has opera Dead Man Walking , with the com - coached with Dr. Kathleen Roland- poser Jake Hegge accompanying. He has Silverstein in Studio City. made appearances with Los Angeles Opera Chorus and is a frequent principal NICHOLAS PRESTON artist in Los Angeles Opera’s Education TENOR and Community Program. Most recently, he played the role of The Count in their Originally from production of Figaro’s American Adventure , Hawaii, tenor Nicholas which was filmed and directed by Ken Preston is quickly Shapiro. establishing himself as Preston received his primary vocal a significant soloist in training at Loyola Marymount University, Southern California where he sang in the University and beyond. He has Choruses under the direction of Dr. been a member of Mary Breden, and studied voice with Dr. Pacific Chorale and Karl Snider. Nicholas resides in Culver The John Alexander Singers since 2002, City with his wife, Kathleen, who is also and has appeared as a soloist with both a member of Pacific Chorale and The groups, as well as Pacific Symphony, John Alexander Singers, and is pursuing Mountainside Master Chorale, her Ph.D. in quantitative psychology at Claremont Chorale, Cypress UCLA. Masterworks Chorale, and The Boston Pops Esplanade Orchestra. He has worked under the batons of John Alexander, Carl St.Clair, Bruce Rogers, Keith Lockhart, John Williams, Nicholas McGegan, Kent Nagano, John Mauceri, and Esa-Pekka Salonen. Preston has performed the tenor solos in numerous works, including Bach’s B Minor Mass and St. Matthew Passion, Mozart’s Coronation Mass and Requiem , Handel’s Messiah , and Benjamin Britten’s War Requiem . In September of 2006, he

Pacific Symphony P- 19 ABOUT PACIFIC CHORALE ounded in 1968, Pacific Chorale is National Symphony, and the Long Pacific Chorale received the ASCAP Finternationally recognized for excep - Beach, Pasadena, Riverside and San Chorus America Alice Parker Award for tional artistic expression, stimulating Diego symphonies. John Alexander and adventurous programming. American-focused programming, and the Chorale have toured extensively in The Chorale’s outstanding perform - influential education programs. Pacific Europe, South America and Asia, per - ances can be heard on seven CDs, Chorale presents a substantial perform - forming in London, Paris, Belgium, including Nocturne , a collection of ance season of its own at the Segerstrom Germany, Estonia, Russia, Spain, Brazil, American a cappella works conducted by Center for the Arts and is sought regu - Argentina, Shanghai, Guangzhou, Beijing John Alexander; Songs of Eternity by larly to perform with the nation’s leading and Hong Kong, and collaborating with James F. Hopkins and Voices by Stephen symphonies. Under the inspired guid - the London Symphony, L’Orchestre Paulus, conducted by John Alexander and ance of Artistic Director John Alexander, Lamoureux of Paris, the National featuring Pacific Symphony; Pacific Pacific Chorale has infused an Old World Orchestra of Belgium, the China Symphony’s Fire, Water, Paper: A Vietnam art form with California’s hallmark inno - National Symphony, the Hong Kong Oratorio by Elliot Goldenthal, and An vation and cultural independence. Sinfonietta, the Estonian National American Requiem by Richard Danielpour Pacific Chorale is comprised of 140 Symphony, and the Orquesta Sinfonica (both recordings conducted by Carl professional and volunteer singers. In Nacional of Argentina. St.Clair); and a holiday recording, addition to its long-standing partnership Pacific Chorale, the seventh largest- Christmas Time Is Here , released on the with Pacific Symphony, the Chorale has budgeted chorus in the United States, Gothic Records label. Pacific Chorale’s performed with the Los Angeles has received numerous awards, including most recent recording, Pacific Chorale Philharmonic in Disney Hall on numer - Chorus America’s prestigious “Margaret Live: Rachmaninov Vespers , was released in ous occasions. Other noted collabora - Hillis Achievement Award for Choral November 2010. tions include the Hollywood Bowl Excellence” and the first national Orchestra, the Boston Symphony, the “Educational Outreach Award.” In 2005,

JOHN ALEXANDER , ARTISTIC DIRECTOR • ROBERT M. I STAD , ASSISTANT CONDUCTOR KELLY RUGGIRELLO , PRESIDENT • MARTIN HUBBARD , CHAIRMAN

SOPRANO Kathleen Sullivan Kathryn Holder David Evered Karl Forsstrom Hannah Rae Arevalo Sarah Thompson Adrienne Larsen David Exline Michael Gallup Susanne Aultz Ruthanne Walker Kaii Lee Jason Francisco Larry Gates Judith Bohlen Roberta Wall Jeanette Moon Vincent Hans Mark Hamilton Rhonda Bright Lorraine Joy Welling Michele M. Mulidor Steven M. Hoffman Tom Henley Sarah Dixon Linda Wells-Sholik Pat Newton Richard Hupp John Hoganson Julie Foyle Anne Williams Kathleen Preston Craig S. Kistler Michael Jacobs Karen F. Henderson Bonnie Pridonoff Chang H. Lee Eulis Kay Nancy Hodgson ALTO Heather Ralph Jinming Liao Gordon La Cross Sinae Kang Cindy Anderson Loraine Reed Christopher Lindley Michael McKay Kathy Kerstein Nancy Beach Karen Rose Gerald McMillan Ricardo McKillips Joyce Kim Judith Bertolino Vanessa Rothholtz Jeff Morris Martin Minnich Kellee King Mary Breuer Joan Severa Aaron Mosley Emmanuel Miranda Barbara Kingsbury Kay Brown Jane Shepherd Aaron Palmer Seth Peelle Andrea Klyver Monika Bruckner Jane Shim Ray Quiett Carl Pike Susan Lew Julie Ann Campen Marijke van Niekerk Patrick Sullivan John Boone Pooler Susan Lindley Tina Chen Gregorio Taniguchi George Reiss Rita Major Kathryn Cobb-Woll TENOR Faulkner White Robert Rife Jennifer Mancini Sr. Paulette Deters Nicholas Preston, Roger W. James Spivey Hannah McMeans Harriet Edwards Johnson Memorial Chair BASS David Stankey Lenora Meister I-Chin Feinblatt Carl Porter, Singers John Carpenter, Singers Joshua Stansfield Donna Morse Tiffany Fernandez Memorial Chair Memorial Chair David Svoboda Kris Oca Marilyn Forsstrom Mark E. Aldrich Jim Anderson Roger Swibold Deborah Pasarow Mary Galloway Michael Ben-Yehuda Aram Barsamian Joseph Tillotson Linda Williams Pearce Geraldine Gibb Matt Brown Brian Beck Steve Webb Dana Ramos Kathryn Gibson David Bunker Robert David Bretón Scott Ziemann Chikayo Rattee Sandy Grim Jack Burke Mac Bright Zanaida Robles Maya Guerrero Joseph Cruz Carver Cossey Meri Rogoff Laura Harrison Craig Davis James Dunning Katharin Rundus Anne Henley Phil Enns Thomas Enders

P- 20 Pacific Symphony 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 National Conference in Walt Disney as Michael Daugherty, James Newton children 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 education Pops season led by Principal Pops residency at the new Segerstrom Center programs are designed to integrate the Conductor Richard Kaufman, celebrating for the Arts in 1986, which greatly expand - Symphony and its music into the community 20 years with the orchestra in 2010 –11. ed 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 audi - orchestra’s skills but also the audience’s instrumental training initiatives since the ence and performer through his leadership trust and musical sophistication — so 2007-08 season are Pacific Symphony of the Pacific Symphony Youth Orchestra successfully that they can now present Youth Wind Ensemble and Pacific as well as the highly regarded Family some of the most innovative programming Symphony Santiago Strings. Musical 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. Pacific Symphony P- 21 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 Shalini Vijayan Ian McKinnell Rose Corrigan* Paul Zibits M. Andrew Honea Elliott Moreau second Violin Waldemar de Almeida Andrew Klein liBrarians Bridget Dolkas* Jennifer Goss Allen Savedoff Russell Dicey Jessica Guideri** Rudolph Stein Brent Anderson Yen-Ping Lai conTraBassoon producTion/sTage manager Yu-Tong Sharp Bass Allen Savedoff Ako Kojian Steven Edelman* Libby Farley Ovsep Ketendjian Douglas Basye** FrencH Horn assisTanT Linda Owen Christian Kollgaard Keith Popejoy* sTage manager Phil Luna David Parmeter Mark Adams Will Hunter MarlaJoy Weisshaar Paul Zibits James Taylor** Robin Sandusky David Black Russell Dicey * Principal Alice Miller-Wrate Andrew Bumatay ** Assistant Principal + On Leave Xiaowei Shi Constance Deeter TrumpeT Barry Perkins* The musicians of Pacific FluTe Tony Ellis Mercedes Smith* David Wailes Symphony are members of Sharon O’Connor the American Federation of Musicians, Local 7. Cynthia Ellis TromBone Michael Hoffman* David Stetson

P- 22 Pacific Symphony SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL Sunday, March 13, 2011, at 3:00 p.m.

PRESENTS

CLASSICAL CONNECTIONS

CARL ST.C LAIR , CONDUCTOR AND HOST THE PASSION OF RAMAKRISHNA JANICE CHANDLER -E TEME , SOPRANO • CHRISTÒPHEREN NOMURA , BARITONE KEVIN DEAS , BASS PACIFIC CHORALE — J OHN ALEXANDER , ARTISTIC DIRECTOR I-C HIN FEINBLATT , MEZZO -SOPRANO • NICHOLAS PRESTON , TENOR

GLASS The Passion of Ramakrishna (b. 1937) Prologue Part One: The Master’s Visions Part Two: Sarada Devi Part Three: The Master's Illness Part Four: The Mahasamadhi of the Master Epilogue JANICE CHANDLER -E TEME CHRISTÒPHEREN NOMURA KEVIN DEAS PACIFIC CHORALE I-C HIN FEINBLATT NICHOLAS PRESTON

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Pacific Symphony P- 23 SEGERSTROM CENTER FOR THE ARTS SAMUELI THEATER Monday, March 14, 2011 at 8:00 p.m.

PRESENTS

PHILIP GLASS in a performance of ETUDES AND OTHER WORKS FOR SOLO PIANO

This evening’s program consists of original music composed for solo piano as well as a number of arrangements for organ or instrumental combinations. All the music comes from the period dating from 1976 to the present and will include a selection of the following works:

Six Etudes (Nos. 1, 2, 3, 6, 9,10) (1994-1999) These etudes are part of an evening length work of 16 etudes for piano completed in 1999. Each etude approaches the piano in a somewhat different way, producing a highly diverse set of pieces.

Mad Rush (1980) This piece was commissioned by Radio Bremen and originally composed for organ. Lucinda Childs choreographed a solo dance to this piece shortly after its premiere.

Metamorphoses (Nos. 2, 3, 4) (1989) This is a set of piano pieces drawn from both Errol Morris’ film A Thin Blue Line and a staging of Kafka’s The Metamorphosis , part of The Kafka Trilogy (The Process) by Gerald Thomas, first performed in Sao Paulo, Brazil. As both projects were undertaken at the same time, the music seemed to lend itself well to a synthesis of this kind.

Dreaming Awake (2006) Originally written as a gift for a Tibetan studies center in New York City and later performed as a work for dance by choreographer Molissa Fenley.

Wichita Vortex Sutra (1990) Allen Ginsberg and Philip Glass first collaborated on Hydrogen Jukebox , which had its world premiere at the Spoleto Festival in Charleston, South Carolina in 1990. The chamber opera included Wichita Vortex Sutra (1966), Ginsberg’s poetic reflection of the anti-war mood of the 1960s.

This evening’s program runs approximately 80 minutes with no intermission.

P- 24 Pacific Symphony ABOUT THE ARTIST

Award nomination, while his score for Ray Kurzweil called Transcendent Man Peter Weir’s The Truman Show won him a that premiered in April 2009. Golden Globe. His film score for Glass’ next opera, based on the life Stephen Daldry’s The Hours received and work of Johannes Kepler and com - Golden Globe, Grammy, and Academy missioned by Linz 2009, Cultural Capital Award nominations, along with winning of Europe, and Landestheater Linz, pre - a BAFTA in Film Music from the British miered in September 2009 in Linz, Academy of Film and Television Arts. Austria. Original scores for the critically acclaimed films The Illusionist and Notes POMEGRANATE ARTS on a Scandal were recently released. Glass TOURING PRODUCER has received an Oscar nomination for his Notes score. ounded in 1998 by Linda Brumbach, In 2004, Glass premiered the new FPomegranate Arts is an independent work Orion — a collaboration between production company dedicated to the Glass and six other international artists development of international contempo - opening in Athens as part of the cultural rary performing arts projects. Since its celebration of the 2004 Olympics in inception, Pomegranate Arts has con - Greece, and his Piano Concerto No. 2 ceived, produced, or represented projects PHILIP GLASS (After Lewis and Clark ) with the Omaha by Philip Glass, Laurie Anderson, Symphony Orchestra. Glass’ latest sym - London’s Improbable, Sankai Juku, Dan PIANO & COMPOSER phonies, Symphony No. 7 and Symphony Zanes, and Goran Bregovic. Special proj - orn in Baltimore, Maryland, Philip No. 8, premiered in 2005 with the ects include Dracula: The Music And Film BGlass is a graduate of the University National Symphony Orchestra at the with Philip Glass and the Kronos of Chicago and The Juilliard School. In Kennedy Center for the Performing Arts Quartet; the music theater work the early 1960s, Glass spent two years of in Washington, DC, and Bruckner Shockheaded Peter ; Brazilian vocalist intensive study in Paris with Nadia Orchester Linz at the Brooklyn Academy Virginia Rodrigues; Drama Desk Award- Boulanger and, while there, earned of Music, respectively. 2005 also saw the winning Charlie Victor Romeo; Healing money by transcribing Ravi Shankar’s premiere of Waiting for the Barbarians, an The Divide, A Concert for Peace and Indian music into Western notation. opera based on the book by J.M. Reconciliation , presented by Philip Glass Upon his return to New York, he applied Coetzee. Glass’ orchestral tribute to and Richard Gere; and Hal Willner's these Eastern techniques to his own Indian spiritual leader Sri Ramakrishna, Came So Far For Beauty, An Evening Of music. By 1974, Glass had a number of The Passion of Ramakrishna , premiered in Leonard Cohen Songs . Recent projects significant and innovative projects, creat - 2006 at Segerstrom Center for the Arts include the first North American tour of ing a large collection of new music for (formerly Orange County Performing Goran Bregovic and the remounting of his performing group, the Philip Glass Arts Center). Lucinda Childs’ 1979 classic Dance . Ensemble, and for the Mabou Mines Glass maintained a dense creative Pomegranate Arts will be re-mounting Theater Company, which he co-found - schedule throughout 2007 and 2008, the Robert Wilson, Philip Glass, Lucinda ed. This period culminated in Music in unveiling several highly anticipated Childs’ masterpiece Einstein on the Beach Twelve Parts , followed by the landmark works, including Book of Longing and an in celebration of Philip Glass’ 75th birth - opera Einstein on the Beach , created with opera about the end of the Civil War day in 2012. Robert Wilson in 1976. titled Appomattox . In April 2007, the Since Einstein , Glass has expanded his English National Opera, in conjunction repertoire to include music for opera, with the Metropolitan Opera, remounted dance, theater, chamber ensemble, Glass’ Satyagraha , which appeared in New orchestra, and film. His score for Martin York in April 2008. Recent film projects Scorsese’s Kundun received an Academy include a score to Woody Allen’s film, Cassandra’s Dream , and a documentary on

Pacific Symphony P- 25