2012-2013 HAL & JEANETTE SEGERSTROM FAMILY
NOV. 8, 9, 10classical seriesS E G E R S T R OM CENTER FOR THE ARTSRenée and Henry Segerstrom Concert HallConcert begins at 8 p.m. Preview Talk with Alan Chapman begins at 7 p.m.presents2012-2013 HAL & JEANETTE SEGERSTROMFAMILY FOUNDATION CLASSICAL SERIESCarl St.Clair conductorUte Lemper vocalist Hudson Shad vocal quartetKurt WeillDie Sieben TodsündenLibretto by(The Seven Deadly Sins)Bertholt BrechtPrologueFaulheit (Sloth)Stolz (Pride)Zorn (Anger)Völlerei (Gluttony)Unzucht (Lust)Habsucht (Covetousness)Neid (Envy)EpilogueUte LemperHudson Shad(1900-1950)INTERMISSIONGEORGE GERSHWIN(1898-1937)An American in ParisGEORGE GERSHWINLyrics by Ira Gershwin I Got Rhythm / Naughty Babyand Desmond Carter Ute LemperArr. Mark LambertNORBERT GLANZBERG(1910-2001)Padam Padam (Thump Thump)Lyrics by Henry Contet Ute LemperArr. Bruno FontaineJACQUES BREL(1929-1978)Ne Me Quitte Pas (Don’t Leave Me)Arr. Bruno Fontaine Ute LemperÉDITH PIAF(1915-1963)L’Accordéoniste (The Accordionist)Arr. Bruno Fontaine Ute LemperThe enhancements in this program are made possible by agenerous grant from the Andrew W. Mellon Foundation,awarded to the Symphony in support of innovative andthematic programming.LOUIGUY(1916-1991) La Vie en Rose (Life Through(Rose-Colored Glasses)Lyrics by Édith PiafUte LemperArr. Bruno FontaineP a c i f i c S y m ph o n y P r o u d l y R e c o g n i z e s i t s o f f i c i a l p a r t n e r sOfficial AirlineOfficial HotelOfficial Television StationPacific Symphony broadcasts are madepossible by a generous grant fromThe Saturday, Nov. 10, performance is broadcast live on KUSC, the official classical radio station of Pacific Symphony. The simultaneousstreaming of this broadcast over the internet at kusc.org is made possible by the generosity of the musicians of Pacific Symphony.Pacific Symphony gratefully acknowledges the support of its 12,500 subscribing patrons. Thank you!Pacific Symphony 1
NOTESby michael cliveThe Seven Deadly Sins kurt weillBackgroundW(1900-1950)Kurt Weille tend to associate repression of political dissent inGermany between the wars with the Nazi regime, but theWeimar government that preceded it was also repressive.Political critiques were off-limits in almost every medium. But oddly,Kabarett venues were not censored. Through the Weimar years andinto the early years of Hitler’s Germany, Kabarett entertainment wasthe medium for social satire — sketch comedy that critiqued Germanpolitics and mores through acting, song and dance.“Life is a cabaret, old chum. Come to the cabaret.”Those words burst upon Broadway in 1966 with the JohnKander-Fred Ebb musical Cabaret, opening a window onthe German genre of Kabarett entertainment and offeringa vivid glimpse of Germany between the wars. Cabaret changedour language and our ideas about musicals as it renewed ourappreciation of composer Kurt Weill and of songs as entertainmentthat could be serious and even dangerous.It also changed our language: Before Cabaret, we thought ofcabaret as an art of carefree, urbane sophistication to be enjoyed inluxuriously intimate clubrooms. The Gershwins were a mainstay ofthis musical milieu; in the 1930s they filled their Broadway showswith brilliant songs that made their way to the cabaret circuit andjazz clubs. The fact that the plots were contrived and lighter than airhardly mattered.After Cabaret came a loss of innocence that reached beyond thenightclub. For Americans, glimpsing the sexually frank world of theKabarett genre cast a new light on Edith Piaf, the legendary chanteuseknown here by the sentimental nickname “the little sparrow,” a roughtranslation of the name she adopted professionally. Yes, she was theuniversal voice of French romance and of the global favorite “La Vieen Rose,” representing the eternal beauty and optimism of Parisianromance, but she was also a child of the streets — a drug addict andvictim of sexual abuse who poured her pain into her singing.Even the cheerful sexual innuendos of the Gershwins, Cole Porterand the blues sounded less sly and more brazen after Cabaret. “Here,life is beautiful,” the show’s scary emcee tells us, beckoning us tolook behind the curtain and enter the world of the cabaret. Oncethere we quickly find out that he’s lying; sex, drugs and a worldfalling apart are ugly, but very good subjects for the songwriter’s art.2 Pacific SymphonyComposer Kurt Weill and playwright Bertolt Brecht were theforemost exponents of Kabarett style, though their epoch-makingworks such as The Threepenny Opera and The Seven Deadly Sinswere created when the famously permissive cabarets that informedIsherwood’s Berlin Stories — the basis of Cabaret — were almostgone. Brecht and Weill were true revolutionaries, bringing a deepunderstanding of classical music and drama to a world of horrifyingdecadence and social disorder. The totalitarianism was brutal, thehyperinflation rampant. While other Kabarett artists lampoonedbourgeois life and bureaucratic idiocies in the face of this dystopiannightmare, Brecht and Weill pursued a much larger theme —Marxist revolution for both society and the theater — in sardonicmusic-dramas that could be performed in small, club-like venues.Brecht-Weill collaborations have given us some archetypes ofmodern theater: Mack the Knife, the murderous thief with nine livesin The Threepenny Opera; Leocadia Begbick, the amoral accountantfrom Rise and Fall of the City of Mahoganny, who establishes a citywhere almost anything goes, but running out of cash is punishableby death; and Anna, the heroine of The Seven Deadly Sins, a childof misfortune performed by a singer and a dancer. As critiques ofAmerican-style capitalism, many of these works including The SevenDeadly Sins are set in America even though Brecht and Weill knewlittle about it at the time. Some of their plays almost seem scriptedby the Occupy Wall Street protests — such as Happy End (1929), inwhich the anti-heroine says “I discovered it was easier to rob peoplewith a bank than with a gun.”The Seven Deadly Sins chronicles how circumstance forces Annainto a life of sin so she and her family can survive. It was the lastcollaboration between Brecht and Weill (1933) before they fledGermany. (Weill settled in New York and became a successfulBroadway composer, dying in 1950).What to Listen forCombining technical sophistication with show-songs’ simplicity anddirectness, the music of The Seven Deadly Sins could only have beenwritten by a highly skilled classical composer. Weill’s distinctivevoice in these early works has been imitated often, though neversuccessfully — an ironic mixture of seemingly opposite moods,like treacle with overtones of acid. (Think “The Ballad of Mackthe Knife.”) His concentrated, trenchant scoring creates tones andtextures that are enormously expressive with just a few instruments.The musical arc of The Seven Deadly Sins takes us from a prologue,with Anna seeking her vocation as a dancer so she can providea home for her family (in an invented “Louisiana”) through herprogressive corruption by greed and its consequences. Finally, in
NOTESan epilogue, Anna and her family get to inhabit their new home. Inaddition to Anna’s, the voices of The Seven Deadly Sins include thatmost American of ensembles, the barbershop quartet.Weill’s music makes the difficult sound easy. His songs have anapparent simplicity even as they incorporate daring modulations orrepeat themes in odd places, with or without a conventional “bridge”section, or with a bridge that modulates or interrupts itself. They areingeniously constructed, but best enjoyed without formal analysis —as unselfconscious musical narratives.The Seven Deadly Sins was originally conceived as a ballet chanté(a sung ballet) with the protagonist Anna enacted jointly by Weill’swife, singer-actress Lotte Lenya, and chief backer Edward James’swife, Tilly Losch, a dancer. (Lenya had also trained as a dancer andthe two women were of similar stature.) It succeeds in a numberof different versions — for a single, singing Anna, and with Anna’smusic in a higher key, for soprano. (Lenya’s voice was so deep thatshe was sometimes jokingly called a baritone.)An American in Paris george gershwinin all of music, an evocation of a Parisian traffic jam that issimultaneously beautiful and hilarious in its verisimilitude. Listenerswho are old enough, and who grew up in the right neighborhood, mayremember the lyrics “my mother gave me a nickel to buy a pickle,”inspired by one of the can-can melodies that Gershwin quotes.I Got Rhythm / Naughty Baby Igeorge gershwint’s one of Gershwin’s best-known songs, but in too manyversions, “I Got Rhythm” doesn’t. Listen for the syncopation:the vocal line accents the second beat, not the first. “NaughtyBaby,” on the other hand, is performed far less often. It’s from the1920s musical Primrose, and not to be confused with the standard“Embraceable You,” from Girl Crazy — which also contains asuggestive reference to a “naughty baby.”(1898-1937)IGershwin composed An American in Paris in 1928, when he was notquite 30, on commission from the New York Philharmonic. For thoseof us who know his songs best, this sparkling ballet score-cum-tonepoem is one of the best gateways to his skill as a composer in theclassical mold. No composition by Gershwin or anyone else can beatit for its energetic, exuberant expression of love for a city and forlife itself. Woody Allen’s movie Midnight in Paris offers an equallyromantic view of the American artist’s pilgrimage to the Paris of the1920s and ’30s for self-discovery and artistic development.This was a pilgrimage that Gershwin actually made, famously seekinginstruction from the great composition teacher Nadia Boulanger. Bothshe and Maurice Ravel, whom Gershwin met when Ravel was touringthe U.S., gave him the same advice: He had already found his voice asa composer, and they had nothing to teach him.What to Listen forAn American in Paris is rhapsodic and buoyant, a combinationof characteristically French textures and can-can rhythms, atraditional tune or two, and Gershwin’s usual melodic and harmonicinventiveness. It’s not surprising that Gershwin manages to makeAmerican blues scales sound Gallic, as French composers werealready using the flatted third and seventh notes of the scale in theirown works. Besides, remember — this is an American in Paris, so wehear the Parisian scene through Yankee ears.The work is structured in five rough sections that form a looselyarched structure, A-B-A in form. But it is best heard without anawareness of these formal elements. Gershwin’s music takes usthrough time and space, bringing Paris to life in a way that is asreal as being there — perhaps more so. It takes us to jazz joints anddance clubs, and it begins with one of the most vivid streetscapesédith piafn a tragically short life of great productivity, George Gershwinproved his genius in many musical genres, from Tin Pan Alleyto Broadway to the opera house. Perhaps that is why his musicendlessly surprises us as we rediscover him again and again.Four Songs (1915-1963)Backgroundédith piafPadam Padam; Ne Me Quitte Pas; L’Accordéoniste; La Vie enRoseThese songs, four of Piaf’s most celebrated, are like ananthology of love’s joys and sorrows. In “Padam Padam,” thememory of past love stays with us like a drumbeat; in “Ne MeQuitte Pas,” we experience a desperate woman’s plea for her lovernot to leave her; in “L’Accordéoniste” we see a “good-time girl,”her client, and her boyfriend — an accordionist in a dance-hall —rendered with the telling precision of a Lautrec sketch; and Piaf’santhem of the joys of Parisian love, “La Vie en Rose.”Michael Clive is editor-in-chief of the Santa Fe Opera and blogs as TheOperahound for Classical TV.com.stay connected with pacific symphony eMobile Appwww.PacificSymphony.orgPacific Symphony 3
NOTESby kurt mortensen
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CARLmeet the music directorIn 2012-13, Music Director Carl St.Clair celebrates his 23rd season with Pacific Symphony.During his tenure, St.Clair has become widely recognized for his musically distinguishedperformances, his commitment to building outstanding educational programs and hisinnovative approaches to programming. St.Clair’s lengthy history with the Symphony solidifiesthe strong relationship he has forged with the musicians and the community. His continuing rolealso lends stability to the organization and continuity to his vision for the Symphony’s future.Few orchestras can claim such rapid artistic development as Pacific Symphony — the largestorchestra formed in the United States in the last 40 years — due in large part to St.Clair’sleadership.The 2012-13 season continues the three-year opera-vocal initiative, “Symphonic Voices,”with a semi-staged production of Puccini’s Tosca, and a “Music Unwound” concert featuringSoprano Ute Lemper singing Kurt Weill’s Seven Deadly Sins as well as songs by GeorgeGershwin and Edith Piaf. Two additional “Music Unwound” concerts highlighted by multimediaelements and innovative formats include Mozart’s Requiem and the 100th anniversary ofStravinsky’s Rite of Spring. The 13th American Composers Festival is a jazz celebrationfeaturing the Duke Ellington Orchestra and composer Daniel Schnyder.In 2008-09, St.Clair celebrated the milestone 30th anniversary of Pacific Symphony. In 2006-07,he led the orchestra’s historic move into its home in the Renée and Henry Segerstrom Concert Hallat Segerstrom Center for the Arts. The move came on the heels of the landmark 2005-06 seasonthat included St.Clair leading the Symphony on its first European tour — nine cities in threecountries playing before capacity houses and receiving extraordinary responses. The Symphonyreceived rave reviews from Europe’s classical music critics — 22 reviews in total.From 2008 to 2010, St.Clair was general music director for the Komische Oper in Berlin,where he led successful new productions such as La Traviata (directed by Hans Neuenfels). Healso served as general music director and chief conductor of the German National Theater andStaatskapelle (GNTS) in Weimar, Germany, where he recently led Wagner’s Ring Cycle to greatcritical acclaim. St.Clair was the first non-European to hold his position at the GNTS; the rolealso gave him the distinction of simultaneously leading one of the newest orchestras in Americaand one of the oldest orchestras in Europe.St.Clair’s international career has him conducting abroad numerous months a year, and he hasappeared with orchestras throughout the world. He was the principal guest conductor of theRadio Sinfonieorchester Stuttgart from 1998-2004, where he successfully completed a threeyear recording project of the Villa-Lobos symphonies. He has also appeared with orchestrasin Israel, Hong Kong, Japan, Australia, New Zealand, and South America, and summerfestivals worldwide. St.Clair’s commitment to the development and performance of new worksby American composers is evident in the wealth of commissions and recordings by PacificSymphony. St.Clair has led the orchestra in numerous critically acclaimed albums including twopiano concertos of Lukas Foss on the harmonia mundi label. Under his guidance, the orchestrahas commissioned works which later became recordings, including Philip Glass’ The Passion ofRamakrishna, Richard Danielpour’s An American Requiem on Reference Recordings and ElliotGoldenthal’s Fire Water Paper: A Vietnam Oratorio on Sony Classical with cellist Yo-Yo Ma.Other composers commissioned by St.Clair and Pacific Symphony include William Bolcom,Philip Glass, Zhou Long, Tobias Picker, Frank Ticheli and Chen Yi, Curt Cacioppo, StephenScott, Jim Self (the Symphony’s principal tubist), Christopher Theofandis and James NewtonHoward.Carl St.ClairWilliam J. GillespieMusic Director ChairIn North America, St.Clair has led the Boston Symphony Orchestra, (where he served asassistant conductor for several years), New York Philharmonic, Philadelphia Orchestra, LosAngeles Philharmonic and the San Francisco, Seattle, Detroit, Atlanta, Houston, Indianapolis,Montreal, Toronto and Vancouver symphonies, among many.A strong advocate of music education for all ages, St.Clair has been essential to the creationand implementation of the symphony education programs including Classical Connections,arts-X-press and Class Act.6 Pacific Symphony
UTEmeet the guest artistsUte Lemper’s career is vast and varied. She has made her mark on the stage, in films,in concert and as a unique recording artist. She has been universally praised for herinterpretations of Berlin cabaret songs, the works of Kurt Weill and Berthold Brecht andthe French chanson as well as her portrayals on Broadway, in Paris and in London’s West End.Her newest creation is Ultimo Tango, an entirely new show, presenting a journey through thesongs of Astor Piazzolla, the fabulous Argentinian composer of tango, and the words of the poet,Horacio Ferrer. She sings in the original Spanish and has created adaptations of these storiesof love, abandonment, decadence and passion in Buenos Aires, Berlin, Paris and New York, inFrench, German and English.Very different is Lemper’s other new creation, The Bukowski Project, a rather avant-garde,adventurous collage in music and songs of the poetry of Charles Bukowski. This homage to thepoet was invented and largely composed by Lemper herself with a collaboration of her partnerTodd Turkisher and her pianist Vana Gierig.Lemper was born in Munster, Germany and completed her studies at the Dance Academy inCologne and the Max Reinhardt Seminary Drama School in Vienna.Her professional debut on the musical stage was in the original Vienna production of Cats in theroles of Grizabella and Bombalurina. She went on to play Peter Pan in Peter Pan (Berlin) andSally Bowles in Jerome Savary’s Cabaret (Paris) for which she received the Moliere Award forBest Actress in a Musical. She played Lola in The Blue Angel (Berlin) and Maurice Bejart createda ballet for her, La Mort Subite (Paris). Lemper also appeared in many Weill revues with the PinaBausch Tanztheater, and she created the part of Velma Kelly in London’s production of Chicagoin the West End, for which she was honored with the Laurence Olivier Award, and moved to theBroadway production after one year.Lemper’s solo concerts, which include Kurt Weill/Berthold Brecht recitals, Dietrich and Piaf,Jacques Brel, Leo Ferre, Kosma, Prevert and Sondheim evenings, and a Berlin cabaret evening,have been produced in prestigious venues throughout the world. Her symphony concerts includeThe Seven Deadly Sins, “Songs from Kurt Weill,” Songbook (Michael Nyman) and songs fromWeill, Piaf and Dietrich with the symphony orchestras of London, Israel, Boston, Hollywood, SanFrancisco, Berlin, the Paris Radio Symphony Orchestra, the Illusions Orchestra (Bruno Fontaine)and the Michael Nyman Band (Michael Nyman). She also appeared in Folksongs with the LucianoBerio Orchestra (Luciano Berio) and with the Matrix Ensemble (Robert Ziegler) performingBerlin cabaret songs. She has performed with the finest symphony orchestras all over the worldfrom Buenos Aires to Sydney.Her celebrated recordings for the Decca label include Ute Lemper Sings Kurt Weill (Vols. I andII), The Threepenny Opera, The Seven Deadly Sins, Mahagonny Songspiel, Prospero’s Books(Michael Nyman), Songbook (Michael Nyman/Paul Celan), Illusions (Piaf/Dietrich), City ofStrangers (Prevert/Sondheim) and Berlin Cabaret Songs (German and English versions). Shewas named Billboard Magazine’s Crossover Artist of the Year for 1993-94. In early 2000,Decca/Universal Music released Punishing Kiss, featuring new songs composed for her by ElvisCostello, Tom Waits, Philip Glass and Nick Cave. Her following release on Decca, But One Day,features new arrangements of Weill, Brel, Piazolla, Heymann and Eisler songs, as well as thefirst recordings of her own compositions, for which she wrote both lyrics and music. She has alsorecorded Crimes of the Heart, Life is a Cabaret and Ute Lemper Live for CBS Records and, for thePolydor label, Espace Indecent, Nuits Etranges and She Has a Heart.Ute LempervocalistHer newest album, Between Yesterday and Tomorrow, is entirely self-penned music and lyrics,and Lemper was pleased to co-produce the songs together with her partner in life and work, ToddTurkisher.Lemper lives in New York with her three children, Max, Stella and Julian.Pacific Symphony 7
G UESTSmeet the guest artistsThough the six-man ensemble Hudson Shad (five singers and a pianist) debuted officially in1992, their nucleus formed in 1977 when three of them made their Carnegie Hall debutsas soloists in Penderecki’s Magnificat. In 1989, the Arts at St. Ann’s in Brooklyn askedbass Wilbur Pauley to contract a quartet to perform as The Family in Kurt Weill’s Seven DeadlySins with Marianne Faithfull. After this initial success came another request from St. Ann’s toassemble a group similar to the legendary German group, the Comedian Harmonists, for a tributeto their music, and the group Hudson Shad was born.Since Hudson Shad’s initial performance of The Family, they have performed the Seven DeadlySins in over 30 different productions, numbering over 100 performances worldwide, including withthe New York Philharmonic, Chicago Symphony Orchestra, Los Angeles Philharmonic, OrchestreSymphonique de Montreal, Radio Symphonie Orchester Wien, National Symphony Orchestra(Ottawa) and Orchestra Regionale di Toscana.Hudson ShadVocal QuartetThey participated in a staging of the work, in a double bill with Weill’s Der Lindbergflug, atthe Macerata Festival. They have twice recorded the work, once with Masur and the New YorkPhilharmonic and once with Faithfull, Maestro Dennis Russell Davies and the RSO-Wien. Otherorchestra appearances by Hudson Shad have featured more Weill: Kleine Mahagonny withthe St. Paul Chamber Orchestra, and Aufstieg und Fall der Stadt Mahagonny at the SalzburgFestival. The Schubert bicentennial found Hudson Shad returning to the New York Philharmonicfor orchestral works with men’s voices, and they performed Schubert songs using the Regerorchestrations with the Bruckner Orchester in Linz.The members of Hudson Shad performing in these concerts are: Mark Bleeke, tenor; Eric Edlund,baritone; Peter Becker, bass/baritone; and Wilbur Pauley, bass.Upcoming holiday concerts with pacific symphonyHAL & JEANETTE SEGERSTROM FAMILYFOUNDATION CLASSICal SERIESAlisa Weilerstein Plays DvořákThu, Fri & Sat, Dec 6-8 8 p.m.Alexander Shelley, conductorAlisa Weilerstein, celloHandel’s delightful “Royal Fireworks Music,”Debussy’s La Mer and Dvořák’s exquisite CelloConcerto.FAMILY MUSICAL MORNINGSNutcracker for KidsSat, Dec 8 10 & 11:30 a.m.Maxim Eshkenazy, conductorFestival Ballet TheatreTchaikovsky’s delightful Christmas ballet—in aversion created just for kids ages 5-11.SPECIAL EVENTHandel’s Glorious “Messiah”Sun, Dec 9 3 p.m.John Alexander, conductorPacific Chorale —John Alexander, artistic directorThrill to blazing trumpets, thundering timpaniand the uplifting “Hallelujah” chorus.8 Pacific SymphonyPACIFIC SYMPHONY POPSChristmas with Amy GrantThu, Fri & Sat, Dec 13-15 8 p.m.Richard Kaufman, conductorShare a special holiday program with the sixtime Grammy Award winner and Americanmusic icon.PEDALS & PIPESHoliday Organ SpectacularTue, Dec 18 7:30 p.m.Todd Wilson, organLisa Vroman, vocalistBenjamin Smolen, fluteBarry Perkins, trumpetMindy Ball, harpFavorite Christmas carols share the bill withtraditional organ works by Bach, Handel andothers.
A B OUTpacific symphonyPacific Symphony, celebrating its 34th season in 2012-13, is led by Music Director CarlSt.Clair, who marks his 23rd season with the orchestra. The largest orchestra formedin the U.S. in the last 40 years, the Symphony is recognized as an outstanding ensemblemaking strides on both the national and international scene, as well as in its own burgeoningcommunity of Orange County. Presenting more than 100 concerts a year and a rich array ofeducation and community programs, the Symphony reaches more than 275,000 residents—fromschool children to senior citizens.The Symphony offers moving musical experiences with repertoire ranging from the greatorchestral masterworks to music from today’s most prominent composers, highlighted by theannual American Composers Festival and a new series of multi-media concerts called “MusicUnwound.”The Symphony also offers a popular Pops season led by Principal Pops Conductor RichardKaufman, who celebrates 22 years with the orchestra in 2012-13. The Pops series stars someof the world’s leading entertainers and is enhanced by state-of-the-art video and sound. EachPacific Symphony season also includes Café Ludwig, a three-concert chamber music series,and Classical Connections, an orchestral series on Sunday afternoons offering rich explorationsof selected works led by St.Clair. Assistant Conductor Maxim Eshkenazy brings a passionatecommitment to building the next generation of audience and performer through his leadershipof the Pacific Symphony Youth Orchestra as well as the highly regarded Family Musical Morningsseries.Since 2006-07, the Symphony has performed in the Renée and Henry Segerstrom Concert Hall,with striking architecture by Cesar Pelli and acoustics by the late Russell Johnson. In September2008, the Symphony debuted the hall’s critically acclaimed 4,322-pipe William J. GillespieConcert Organ. In March 2006, the Symphony embarked on its first European tour, performingin nine cities in three countries.Founded in 1978, as a collaboration between California State University, Fullerton (CSUF)and North Orange County community leaders led by Marcy Mulville, the Symphony performedits first concerts at Fullerton’s Plummer Auditorium as the Fullerton Chamber Orchestra underthe baton of then-CSUF orchestra conductor Keith Clark. The following season the Symphonyexpanded its size, changed its name to Pacific Symphony Orchestra and moved to Knott’s BerryFarm. The subsequent six seasons led by Keith Clark were at Santa Ana High School auditoriumwhere the Symphony also made its first six acclaimed recordings. In September 1986, theSymphony moved to the new Orange County Performing Arts Center, where Clark served asmusic director until 1990.The Symphony received the prestigious ASCAP Award for Adventuresome Programming in2005 and 2010. In 2010, a study by the League of American Orchestras, “Fearless Journeys,”included the Symphony as one of the country’s five most innovative orchestras. The orchestrahas commissioned such leading composers as Michael Daugherty, James Newton Howard, PaulChihara, Philip Glass, William Bolcom, Daniel Catán, William Kraft, Tobias Picker, FrankTicheli and Chen Yi, who composed a cello concerto in 2004 for Yo-Yo Ma. In March 2012,the Symphony premiered Danielpour’s Toward a Season of Peace. The Symphony has alsocommissioned and recorded The Passion of Ramakrishna by Philip Glass (released in September2012), An American Requiem, by Richard Danielpour, and Elliot Goldenthal’s Fire WaterPaper: A Vietnam Oratorio with Yo-Yo Ma.PACIFIC SYMPHONYThe Symphony’s award-winning education programs benefit from the vision of St.Clair and aredesigned to integrate the Symphony and its music into the community in ways that stimulate allages. The orchestra’s Class Act program has been honored as one of nine exemplary orchestraeducation programs by the National Endowment for the Arts and the League of AmericanOrchestras. The list of instrumental training initiatives includes Pacific Symphony Youth Orchestra,Pacific Symphony Youth Wind Ensemble and Pacific Symphony Santiago Strings.In addition to its winter home, the Symphony presents a summer outdoor series at Irvine’sVerizon Wireless Amphitheater, the organization’s summer residence since 1987.Pacific Symphony 11
M EETthe orchestraCARL ST.CLAIR MUSIC DIRECTORWilliam J. Gillespie Music Director ChairRICHARD KAUFMAN PRINCIPAL POPS CONDUCTORHal and Jeanette Segerstrom Family Foundation Principal Pops Conductor ChairMAXIM ESHKENAZY ASSISTANT CONDUCTORAlejandro Gutiérrez ASSISTANT CONDUCTORMary E. Moore Family Assistant Conductor ChairFIRST VIOLINRaymond KoblerConcertmaster,Eleanor and Michael Gordon ChairPaul ManasterAssociate ConcertmasterJeanne SkrockiAssistant ConcertmasterNancy Coade EldridgeChristine FrankKimiyo TakeyaAyako SugayaAnn Shiau TenneyMaia JasperRobert SchumitzkyAgnes GottschewskiDana FreemanGrace OhJean KimAngel LiuMarisa SorajjaSecond ViolinBridget Dolkas*Jessica Guideri**Yen-Ping LaiYu-Tong SharpAko KojianOvsep KetendjianLinda OwenPhil LunaMarlaJoy WeisshaarRobin SanduskyAlice Miller-WrateShelly ShiViolaRobert Becker*Catherine and James Emmi ChairMeredith Crawford**Carolyn RileyJohn AcevedoErik RynearsonLuke Maurer†Julia StaudhammerJoseph Wen-Xiang ZhangPamela JacobsonCheryl GatesMargaret HenkenCelloTimothy Landauer*Kevin Plunkett**John AcostaRobert VosLászló MezöIan McKinnellM. Andrew HoneaWaldemar de AlmeidaJennifer GossRudolph SteinBassSteven Edelman*Douglas Basye**Christian KollgaardDavid ParmeterPaul ZibitsDavid BlackAndrew BumatayConstance DeeterFluteBenjamin Smolen*Valerie and Hans Imhof ChairSharon O’ConnorCynthia EllisPiccoloCynthia EllisOboeJessica Pearlman*Suzanne R. Chonette ChairDeborah ShidlerEnglish HornLelie ResnickClarinetBenjamin Lulich*The Hanson Family Foundation ChairDavid ChangBass ClarinetJoshua RanzBassoonRose Corrigan*Elliott MoreauAndrew KleinAllen SavedoffContrabassoonAllen SavedoffFrench HornKeith Popejoy*Mark AdamsJames Taylor**Russell DiceyTrumpetBarry Perkins*Tony EllisDavid WailesThe musicians of Pacific Symphony are members of the American Federation of Musicians, Local 7.12 Pacific SymphonyTromboneMichael Hoffman*David StetsonBass TromboneRobert SandersTUBAJames Self*TimpaniTodd Miller*PercussionRobert A. Slack*Cliff HullingHarpMindy Ball*Michelle TemplePiano CelesteSandra Matthews*Personnel ManagerPaul ZibitsLibrariansRussell D
where almost anything goes, but running out of cash is punishable by death; and anna, the heroine of The Seven Deadly Sins, a child of misfortune performed by a singer and a dancer. as critiques of american-style capitalism, many of these works including The Seven Deadly
RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday–Saturday, October 14–16, 2010, 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 PICTURES AT AN EXHIBITION CARL ST.C LAIR, CONDUCTOR JEAN-EFFLAM BAVOUZET, PIANO RAVEL Concerto in G Major for Piano
Messiah George Frideric Handel 1685-1759. Soprano Alto Tenor Bass 1 1 Hal le-lu-jah! Hal - le-lu-jah! Hal - le-lu-jah! Hal - le-lu-jah! Hal - le - lu-jah! Hal-le - . George Frideric Handel Hallelujah From Messiah Revelation 11:15, 19:6, 16 1685-1759. S. A. T. B. 20 lu-jah, Hal-le-lu-jah, Hal-le -
George Frideric Handel Hallelujah From Messiah 1685-1759 Revelation 11:15, 19:6, 16. S. A. T. B. 16 God Om- ni - po- tent God Om- ni - po- tent God Om- ni - po- tent Hal- le-reign - eth, Hal- le-reign - eth, Hal- le-reign - eth, Hal- le-lu- jah, Hal- le- lu- jah, Hal- le-
Adagio for Strings Instrumentation: strings Performance time: 8 minutes S amuel barber’s moving adagio for strings is one of the most popular and frequently programmed american compositions in the standard repertory. elemental and beautiful, the adagio
Bolcom was born in seattle in 1938. His teachers, both in paris and at california’s mills college, included darius milhaud. of the important european composers of his generation, milhaud (1892-1974) was notably engaged by the popular music of north and south america. Bolcom follows mi
of opera both mozart and Beethoven included “turkish” marches in longer compositions, and we can consider the egyptian symbols in The Magic Flute, which come by way of the Masonic movement, as part of the same fascination. at least three of rossini’s popular comic operas were cast from this mold: The Italian Girl in Algiers
Papa thought he could not possibly play anything. Wolfgang said, “You don’t need to have studied in order to play second violin,” and when Papa insisted that he should go away and not bother us any more, Wolfgang began to weep bitterly and stamped off with his little violin. I
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