2019 OCT
2019 OCTT c h a i k o v s k y ’ s “ Pat h é t i q u e ”2019-20 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIESCarl St.Clair, conductorDennis Kim, violinPacific SymphonyWilliamsTRIBUTES! FOR SEIJISaint-SaënsINTRODUCTION & RONDO CAPRICCIOSOFOR VIOLIN & ORCHESTRADennis KimRavelTZIGANEDennis KimIntermissionTchaikovskySYMPHONY NO. 6 IN B MINOR,“PATHÉTIQUE”Adagio - Allegro non troppoAllegro con graziaAllegro molto vivaceAdagio lamentosoThe Thursday night concert has been generously sponsoredby Ellie & Mike Gordon.Thursday, Oct. 17, 2019 @ 8 p.m.Friday,Oct. 18, 2019 @ 8 p.m.Saturday, Oct. 19, 2019 @ 8 p.m.Segerstrom Center for the ArtsRenée and Henry Segerstrom Concert HallPacificSymphony.orgOfficial HotelOfficial TV StationOfficial Music StationOCT 20191
PROGRAM NOTESJohn Williams:Tributes! For SeijiJohn Williamsbelongs toAmerica, butBoston can justlylay special claim tothis most prolificand popular ofliving Americancomposers. Asa cradle of ournation’s classicalmusic, orchestral and conductingtraditions, Boston is a historic linkbetween Williams, Boston Symphonymusic emeritus Seiji Ozawa and our ownCarl St.Clair, who studied conducting inBoston with Leonard Bernstein and cameto Pacific Symphony thanks to Williams’influence. Williams, too, began his climbto prominence with the Boston Symphonyand Boston Pops, and composed histribute to the BSO’s brilliant longtimemusic director in 1999.In a career that spans five decades,John Williams has become one ofAmerica’s most accomplished composersfor film and the concert stage. He hasserved as music director and laureateconductor of the Boston Pops Orchestra,and he maintains thriving artisticrelationships with many of the world’sgreat orchestras, including the BostonSymphony Orchestra, the New YorkPhilharmonic, the Chicago Symphony andthe Los Angeles Philharmonic.Williams’s catalog includes twosymphonies, and concertos for flute,violin, clarinet, viola, oboe and tuba. Healso has filled commissions by severalof the world’s leading orchestras,including the New York Philharmonic,the Boston Symphony, the ClevelandOrchestra, and the Chicago SymphonyOrchestra. His pieces d’occasion forcommemorative events include LibertyFanfare, composed for the centennialrededication of the Statue of Libertyin 1986. His orchestral work Soundingswas performed at the celebratoryopening of Walt Disney Concert Hall inLos Angeles. In the world of sport, hehas contributed musical themes for the1984, 1988 and 1996 Summer OlympicGames, the 2002 Winter Olympic Games,and the 1987 International SummerGames of the Special Olympics. In 2006,Williams composed the theme for NBC’spresentation of NFL Football.Camille Saint-Saëns:Introduction andRondo CapricciosoSaint-Saëns wasborn into the greatage of instrumentalshowmanship, whencharismatic pianistsand violinists createdthe template fortoday’s rock stars,complete withriotous, blissed-outaudiences. By thetime Paganini died, Saint-Saëns was five. Hewas well aware of the Paganini legend, andwas already giving concerts of his own. Liszt,a magician of the keyboard who was 24 yearsSaint-Saëns’ senior, was a longtime friend andmentor. Saint-Saëns was 28 when he createdthe Introduction and Rondo Capriccioso for athird superstar, the Spanish violinist Pablo deSarasate. We can hear this cultural contextin every bar of the work, which is a superblyconstructed showcase for superstar violinplaying. To call it a vehicle for virtuosity doesnot diminish the sheer joy of listening.John WilliamsBorn: 1932. New York City, New YorkTributes! For SeijiBut the Rondo is, in fact, much more thanthat. Saint-Saëns originally intended it asthe finale of his first violin concerto, and itsstructure—a tension-building, slow initialtheme leading to dramatic and showy maintheme—is beautifully detailed and concertoready. It also happens to meet the primaryrequirements of the musical caprice: aportentous introduction, a shift in tempo, achange of mood and a sense of emotionalspontaneity, all couched in virtuoso playing.The “introduction” section is slow andlyrical, with upward-arching arpeggios forthe violin exposed against block chords inthe orchestra. When the pace of theplaying shifts for the first time, it’s not temposo much as the note values that change,from flowing to peppery solo playing againsta thumping andante in the orchestra. Then,as the finish line comes into view, the tempoaccelerates to animato and we hear therousing finale for which Saint-Saëns hasprimed us, complete with fingerwork ofdazzling rapidity.Maurice Ravel:TziganeSpain exerted anirresistible pullon many Frenchcomposers, whoconflated Spanishculture—theheat, the sun, thelight, the overtsensuality— withRomani and Magyarmusical traditionsthat fascinated composers from Haydn toBrahms. The “Gypsy violin” was the essenceof this tradition, and its flamboyance wasof special fascination to the great violinistsand violin composers of the late 19th andearly 20th centuries. This is where theCamille Saint-SaënsBorn: 1835. Paris, FranceBorn: 1921. Algiers, AlgeriaComposed: 1999Introduction & Rondo Capriccioso for Violin & Orchestra, Op. 28World premiere: April 22, 1999 by the Boston Symphony Orchestra,Seiji Ozawa conductingWorld premiere: April 4, 1863Composed: 1863Most recent Pacific Symphony performance: May 10, 2014,Carl St.Clair conductingMost recent Pacific Symphony performance: Oct. 17, 1992,Daniel Hege conductingInstrumentation: 3 flutes including piccolo, 3 oboes including Englishhorn, 3 clarinets including bass clarinet and e-flat clarinet, 3 bassoonsincluding contrabassoon; 5 horns, 3 trumpets, 4 trombones, tuba; timpani;percussion; harp; piano; celesta; stringsInstrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns,2 trumpets; timpani; strings; solo violinEstimated duration: 10 minutesEstimated duration: 10 minutes2OCT 2019PacificSymphony.org
Spanish and Hungarian musical folkwaysirresistibly combine. Tzigane meansGypsy, as do the German Zigeuner and theHungarian Cigány.Tzigane belongs to this popular genreof violin solo. it incorporates Romanitraditions of violin playing, characterizedby passionate emotionalism, vigorousbowing, a willingness to let the stringsgrowl and technical daring. A sense ofperilously freewheeling improvisationprevails—we can imagine the fiddleralmost dancing, eyes closed, hair flying.When we listen to Romani music, weintuitively know that it is not based ona written musical score, but rather ongenerations of tradition and the feelingsof the moment. Yet Ravel creates thiseffect in a written score that is typicallyand dauntingly precise. This is the soundof unplanned, passionate expressionwe expect in a piece called Tzigane, butcrafted to a level beyond our expectations.Ravel composed Tzigane oncommission from the Hungarian violinistJelly d’Arányi, the great-niece of legendaryviolinist Joseph Joachim. It is almostnever performed as originally scored, forviolin and piano with luthéal, a mechanicalattachment for piano that has all butdisappeared.Pyotr Ilyich Tchaikovsky:Symphony No. 6 in B Minor,“Pathetique”On thepsychiatrist’scouch, there is nosuch thing as luckor coincidence.Which begs thequestion: was itjust an unfortunatetwist of fate thatTchaikovsky dranka glass of cholera-contaminated water fivedays after conducting the premiere of hisSymphony No. 6? Was he unconsciouslypunishing himself for the sexual impulsesthat tormented him, perhaps evensuccumbing to an urge to die? Or did he, infact, commit suicide via poison to concealhis alleged affair with the nephew of DukeStenbock Thurmor?The tide of speculation regardingTchaikovsky’s sense of shame as a motivefor his possible suicide has abated in recentyears; it is simply too hard to substantiate.But the drinking of tainted water byaccident seems equally unlikely. Afterall, cholera was rife in Saint Petersburgin 1893, and citizens throughout the citywere boiling their drinking water. It’shard to imagine Tchaikovsky, who alwaysfretted and feared the worst, letting hisguard down offhandedly. Tchaikovsky wasacutely aware—perhaps unrealisticallyso—of his image, both as a composer whosereputation would survive him, and as apublic figure in Russian society.By 1892, when he was working on earlysections of a sixth symphony in E-flatmajor, Tchaikovsky was one of the mostfamous composers in the world—a manwhose fame redounded to the glory of hishomeland, as he had hoped it would. Butat age 53, his struggles with self-imageand sexual identity were no closer toresolution. Musicologists’ analyses of hisagonized homosexual relationships arespeculative, but it’s difficult to escape someobvious conclusions about his conflictedrelationship with his nephew Bob Davydov,with whom he was in love: Davydov’sencouragement and understandingwere indispensable to the self-doubtingTchaikovsky, but the younger man’s verypresence in the composer’s life was atemptation and a reminder of feelingshe was trying to suppress. How could hecontinue to craft a symphony that wasplanned to be highly programmatic, andthus self-revealing?At an impasse and feeling that hiscreative resources were spent, Tchaikovskyhalted work on the E-flat major draft inDecember 1892—a decision that felt notlike surrender, but liberation. Within twomonths he began an entirely new approachto his sixth symphony, and the ideas camepouring forth. He drafted its first sectionin only four days and could clearly imaginethe rest. Six months later, his work on thesymphony was complete. He wrote hisnephew that its meaning would “remain amystery—let them guess.” Today we are stillguessing.The sound of this symphony gives usa sense of inchoate longing—somber,melancholy and yearning by turns. Theovation that greeted Tchaikovsky whenhe took the podium in October 1893 tolead the premiere performance was notmatched once the symphony ended, whenthe audience was left to reflect on thesecrets of this moody masterpiece. Todayit is esteemed as one of Tchaikovsky’smost eloquent expressions of disappointedhopes and the ache for personal fulfillment.The symphony’s forte passages suggestthe gravity of judgment rather thantriumph, while the softer passages—whichdwindle down to a Guinness-record-worthymarking of “pppppp”—communicateagonized introspection. These dynamicsleft Tchaikovsky’s audience with a verydifferent listening experience than theyexpected, and prompted the composer’sbrother Modest to propose “Pathétique” asa name for the symphony.Michael Clive is a cultural reporter livingin the Litchfield Hills of Connecticut.He is program annotator for PacificSymphony and Louisiana Philharmonic, andeditor‑in‑chief for The Santa Fe Opera.Maurice RavelPyotr Ilyich TchaikovskyBorn: 1875. Ciboure, FranceDied: 1937. Paris, FranceBorn: 1840. Votkinsk, RussiaDied: 1893. St. Peterburg, RussiaTziganeSymphony No. 6 in B Minor, “Pathétique”World premiere: Oct. 19, 1924, with Pierre Monteux conducting theConcertgebouw and Samuel Dushkin as soloistWorld premiere: Oct. 28, 1893, with Tchaikovsky conductingComposed: 1809-10Most recent Pacific Symphony performance: June 17, 2018,Carl St.Clair conductingComposed: 1893Most recent Pacific Symphony performance: March 15, 2015,Carl St.Clair conductingInstrumentation: 2 flutes including piccolo, 2 oboes, 2 clarinets, 2bassoons; 2 horns, trumpet; percussion; harp; celesta; strings; solo violinInstrumentation: 3 flutes including piccolo, 2 oboes, 2 clarinets, 2bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani; percussion;stringsEstimated duration: 10 minutesEstimated duration: 48 minutesPacificSymphony.orgOCT 20193
DENNIS KIMDennis Kim is concertmaster of PacificSymphony, performing his first concertin the position Sept. 8, 2018. A citizenof the world, Kim was born in Korea,raised in Canada and educated in theUnited States. He has spent more than adecade leading orchestras in the UnitedStates, Europe and Asia. Most recently,he was concertmaster of the BuffaloPhilharmonic Orchestra in New York. Hewas first appointed concertmaster of theTucson Symphony Orchestra at the ageof 22. He then served as the youngestconcertmaster in the history of the HongKong Philharmonic Orchestra, beforegoing on to lead the Seoul PhilharmonicOrchestra and the Tampere PhilharmonicOrchestra in Finland.As guest concertmaster, Kim hasperformed on four continents, leadingthe BBC Symphony Orchestra, LondonPhilharmonic Orchestra, Royal StockholmPhilharmonic Orchestra, HelsinkiPhilharmonic Orchestra, OrchestreNational de Lille, KBS SymphonyOrchestra, Montpelier SymphonyOrchestra, Malaysian PhilharmonicOrchestra, Western AustraliaSymphony Orchestra and SymphonyOrchestra of Navarra. He served asguest concertmaster with the BergenPhilharmonic Orchestra on their 10‑citytour of the United Kingdom and led the4OCT 2019Qatar Philharmonic Orchestra in their BBCProms debut in 2014.After making his solo debut at the age of14 with the Toronto Philharmonic Orchestra,Kim has gone on to perform as a soloist withmany of the most important orchestrasin China and Korea. Highlights includeperforming on 10 hours’ notice to replace anailing William Preucil, performing Vivaldi’sFour Seasons 20 times in one week andtouring Japan with the Busan Philharmonicin 2008. During his tenure as concertmasterwith the Buffalo Philharmonic Orchestra andthe Tampere Philharmonic Orchestra, he wasfeatured annually as a soloist. Over the lasttwo seasons, he was a guest soloist with theLebanon Philharmonic Orchestra and theOrchestra NOW, with repertoire ranging fromMozart and Haydn, to Glass and Penderecki.Future engagements include those with theNational Symphony Orchestra of Cuba.A dedicated teacher, Kim was recently onthe faculty at the Royal Conservatory of Musicin Toronto, Canada’s PRISMA festival and theInterlochen Center for the Arts as ValadeConcertmaster in the World Youth SymphonyOrchestra summer program. He has also beenon the faculty of the Hong Kong Academy ofPerforming Arts, Korean National Universityof the Arts, Yonsei University, TampereConservatory and the Bowdoin InternationalMusic Festival, Atlantic Music Festival andSuolahti International Music Festival. Hisstudents have been accepted to theCurtis Institute of Music, Colburn School,Juilliard School, Peabody Conservatoryand the Queen Elizabeth College of Musicand play in orchestras around the world.A graduate of the Curtis Institute of Musicand Yale School of Music, Kim’s teachersinclude Jaime Laredo, Aaron Rosand,Peter Oundjian, Paul Kantor, VictorDanchenko and Yumi Ninomiya Scott.He plays the 1701 ex‑DushkinStradivarius, on permanent loan from agenerous donor.Thank you to our sponsors:Ellie and Mike GordonPacific Symphony is deeply indebtedto Ellie and Mike Gordon, who havebeen generous and loyal supportersof the Symphony for more than 25years. The Gordons have endowedthe Symphony’s ConcertmasterChair in perpetuity, the chair is nowheld by Dennis Kim; and annuallysponsor one of our classical concertweekends. Mike is a former Chairmanof the Symphony board, and currentlyserves on the Executive and FinanceCommittees. Ellie is an active memberof Symphony 100, and has chairedthree Symphony Galas. The Gordonshave our most sincere gratitude!PacificSymphony.org
Carl St.ClairThe 2019-20 season marks Music DirectorCarl St.Clair’s 30th year leading PacificSymphony. He is one of the longesttenured conductors of the major Americanorchestras. St.Clair’s lengthy historysolidifies the strong relationship he hasforged with the musicians and thecommunity. His continuing role also lendsstability to the organization and continuityto his vision for the Symphony’s future. Feworchestras can claim such rapid artisticdevelopment as Pacific Symphony—thelargest-budgeted orchestra formed in theUnited States in the last 50 years, whichwas recently elevated to the status of aTier 1 orchestra by the League of AmericanOrchestras—due in large part to St.Clair’sleadership.During his tenure, St.Clair has becomewidely recognized for his musicallydistinguished performances, hiscommitment to building outstandingeducational programs and his innovativeapproaches to programming. In April 2018,St.Clair led Pacific Symphony in its soldout Carnegie Hall debut, as the finale tothe Carnegie’s yearlong celebration ofpre-eminent composer Philip Glass’ 80thbirthday, ending in a standing ovation, withThe New York Times calling the Symphony“a major ensemble!” He led PacificSymphony on its first tour to China in May2018, the orchestra’s first internationaltour since touring Europe in 2006. Theorchestra made its national PBS debutin June 2018 on Great Performances withPeter Boyer’s “Ellis Island: The Dream ofAmerica,” conducted by St.Clair. AmongSt.Clair’s many creative endeavors are thehighly acclaimed American ComposersFestival, which began in 2000; and thePacificSymphony.orgopera initiative, “Symphonic Voices,” whichcontinues for the ninth season in 2019-20 withVerdi’s Othello, following the concert-operaproductions of Madame Butterfly, The MagicFlute, Aida, Turandot, Carmen, La Traviata,Tosca and La Bohème in previous seasons.St.Clair’s commitment to the developmentand performance of new works by composersis evident in the wealth of commissions andrecordings by the Symphony. The 2016-17season featured commissions by pianist/composer Conrad Tao and composer-inresidence Narong Prangcharoen, a follow-upto the recent slate of recordings of workscommissioned and performed by theSymphony in recent years. These includeWilliam Bolcom’s Songs of Lorca andPrometheus (2015-16), Elliot Goldenthal’sSymphony in G-sharp Minor (2014-15), RichardDanielpour’s Toward a Season of Peace (201314), Philip Glass’ The Passion of Ramakrishna(2012-13), and Michael Daugherty’s MountRushmore and The Gospel According toSister Aimee (2012-13). St.Clair has led theorchestra in other critically acclaimedalbums including two piano concertosof Lukas Foss; Danielpour’s An AmericanRequiem and Goldenthal’s Fire Water Paper:A Vietnam Oratorio with cellist Yo-Yo Ma.Other commissioned composers includeJames Newton Howard, Zhou Long, TobiasPicker, Frank Ticheli, Chen Yi, Curt Cacioppo,Stephen Scott, Jim Self (Pacific Symphony’sprincipal tubist) and Christopher Theofanidis.In 2006-07, St.Clair led the orchestra’shistoric move into its home in the Renéeand Henry Segerstrom Concert Hall atSegerstrom Center for the Arts. The movecame on the heels of the landmark 2005-06season that included St.Clair leading theSymphony on its first European tour—ninecities in three countries playing beforecapacity houses and receiving extraordinaryresponses and reviews.From 2008-10, St.Clair was generalmusic director for the Komische Oper inBerlin. He also served as general musicdirector and chief conductor of the GermanNational Theater and Staatskapelle (GNTS)in Weimar, Germany, where he led Wagner’sRing Cycle to critical acclaim. He was thefirst non-European to hold his positionat the GNTS; the role also gave him thedistinction of simultaneously leading one ofthe newest orchestras in America and oneof the oldest in Europe.In 2014, St.Clair became the musicdirector of the National SymphonyOrchestra in Costa Rica. His internationalcareer also has him conducting abroadseveral months a year, and he has appearedwith orchestras throughout the world. Hewas the principal guest conductor of theRadio Sinfonieorchester Stuttgart from1998-2004, where he completed a threeyear recording project of the Villa–Lobossymphonies. He has also appeared withorchestras in Israel, Hong Kong, Japan,Australia, New Zealand and South America,China, Thailand, Malaysia, and summerfestivals worldwide. In North America,St.Clair has led the Boston SymphonyOrchestra (where he served as assistantconductor for several years), New YorkPhilharmonic, Philadelphia Orchestra,Los Angeles Philharmonic and the SanFrancisco, Seattle, Detroit, Atlanta,Houston, Indianapolis, Montreal, Torontoand Vancouver symphonies, among many.Carl St.Clair is a strong advocateof music education for all ages, andis internationally recognized for hisdistinguished career as a master teacher.He has been essential to the creationand implementation of the Symphony’seducation and community engagementprograms including Pacific Symphony YouthEnsembles, Heartstrings, Sunday Matinées,OC Can You Play With Us?, arts-X-press andClass Act. In addition to his professionalconducting career, St.Clair has workedwith most major music schools acrossthe country. In 2018, Chapman UniversityPresident Danielle Struppa appointedSt.Clair as a Presidential Fellow, workingclosely with the students of the College ofthe Performing Arts at Chapman University.St.Clair has been named “DistinguishedAlumni in Residence” at the University ofTexas Butler School of Music beginning2019. And, for over over 25 years, he hashad a continuing relationship with the USCThornton School where is artistic leader andprincipal conductor of the USC Thorntonorchestral program.OCT 20195
Pacific SymphonyPacific Symphony, led by Music Director CarlSt.Clair for the last 30 years, has been theresident orchestra of the Renée and HenrySegerstrom Concert Hall for over a decade.Currently in its 41st season, the Symphonyis the largest orchestra formed in the U.S.in the last 50 years and is recognized as anoutstanding ensemble making strides onboth the national and international scene,as well as in its own community of OrangeCounty. In April 2018, Pacific Symphonymade its debut at Carnegie Hall as one oftwo orchestras invited to perform duringa yearlong celebration of composer PhilipGlass’ 80th birthday, and the followingmonth the orchestra toured China. Theorchestra made its national PBS debut inJune 2018 on Great Performances with PeterBoyer’s “Ellis Island: The Dream of America,”conducted by St.Clair. Presenting morethan 100 concerts and events a year anda rich array of education and communityengagement programs, the Symphonyreaches more than 300,000 residents—from school children to senior citizens.The Symphony offers repertoire rangingfrom the great orchestral masterworksto music from today’s most prominentcomposers. Nine seasons ago, theSymphony launched the highly successfulopera initiative, “Symphonic Voices,”which continues in April 2020 with Verdi’sOtello. It also offers a popular Pops season,enhanced by state-of-the-art video andsound, led by Principal Pops ConductorRichard Kaufman. Each Symphony seasonalso includes Café Ludwig, a chambermusic series; an educational Family MusicalMornings series; and Sunday Matinées,an orchestral matinée series offeringrich explorations of selected works led bySt.Clair.6OCT 2019Founded in 1978 as a collaborationbetween California State University,Fullerton (CSUF), and North Orange Countycommunity leaders led by Marcy Mulville,the Symphony performed its first concertsat Fullerton’s Plummer Auditorium as thePacific Chamber Orchestra, under thebaton of then-CSUF orchestra conductorKeith Clark. Two seasons later, theSymphony expanded its size and changedits name to Pacific Symphony Orchestra.Then in 1981-82, the orchestra movedto Knott’s Berry Farm for one year. Thesubsequent four seasons, led by Clark,took place at Santa Ana High Schoolauditorium where the Symphony alsomade its first six acclaimed recordings. InSeptember 1986, the Symphony moved tothe new Orange County Performing ArtsCenter, and from 1987-2016, the orchestraadditionally presented a Summer Festivalat Irvine Meadows Amphitheatre. In2006, the Symphony moved into theRenée and Henry Segerstrom ConcertHall, with striking architecture by CesarPelli and acoustics by Russell Johnson—and in 2008, inaugurated the Hall’scritically acclaimed 4,322-pipe William J.Gillespie Concert Organ. The orchestraembarked on its first European tour in2006, performing in nine cities in threecountries.The 2016-17 season continuedSt.Clair’s commitment to new music withcommissions by pianist/composer ConradTao and former composer-in-residenceNarong Prangcharoen. Recordingscommissioned and performed by theSymphony include the release of WilliamBolcom’s Songs of Lorca and Prometheusin 2015-16, Richard Danielpour’s Towarda Season of Peace and Philip Glass’ ThePassion of Ramakrishna in 2013-14; andMichael Daugherty’s Mount Rushmoreand The Gospel According to Sister Aimeein 2012-13. In 2014-15, Elliot Goldenthalreleased a recording of his Symphony inG-sharp Minor, written for and performedby the Symphony. The Symphony hasalso commissioned and recorded AnAmerican Requiem by Danielpour andFire Water Paper: A Vietnam Oratorio byGoldenthal featuring Yo-Yo Ma. Otherrecordings have included collaborationswith such composers as Lukas Foss andToru Takemitsu. Other leading composerscommissioned by the Symphony includePaul Chihara, Daniel Catán, James NewtonHoward, William Kraft, Ana Lara, TobiasPicker, Christopher Theofanidis, FrankTicheli and Chen Yi.In both 2005 and 2010, the Symphonyreceived the prestigious ASCAP Awardfor Adventurous Programming. Also in2010, a study by the League of AmericanOrchestras, “Fearless Journeys,” includedthe Symphony as one of the country’sfive most innovative orchestras. TheSymphony’s award-winning educationand community engagement programsbenefit from the vision of St.Clair andare designed to integrate the orchestraand its music into the community in waysthat stimulate all ages. The Symphony’sClass Act program has been honoredas one of nine exemplary orchestraeducation programs by the NationalEndowment for the Arts and the Leagueof American Orchestras. The list ofinstrumental training initiatives includesPacific Symphony Youth Orchestra,Pacific Symphony Youth Wind Ensembleand Pacific Symphony Santiago Strings.The Symphony also spreads the joy ofmusic through arts-X-press, Class Act,Heartstrings, OC Can You Play With Us?,Santa Ana Strings, Strings for Generationsand Symphony in the Cities.PacificSymphony.org
P ACI F IC S Y M P H O N YCarl St.Clair Music DirectorWilliam J. Gillespie Music Director ChairRichard Kaufman Principal Pops ConductorHal and Jeanette Segerstrom Family Foundation Principal Pops Conductor ChairRoger Kalia Associate ConductorMary E. Moore Family Assistant Conductor ChairFI R ST VI O LI NV IO L APICCO LOBAS S TROMBONEDennis KimMeredith Crawford*Cynthia EllisKyle MendiguchiaPaul ManasterJoshua Newburger**Carolyn RileyJohn AcevedoAdam NeeleyJulia StaudhammerJoseph Wen-Xiang ZhangCheryl GatesMargaret HenkenO BO ETUBAJessica Pearlman Fields*James Self*Ted SugataTIMPAN IConcertmaster; Eleanor andMichael Gordon ChairAssociate ConcertmasterJeanne SkrockiAssistant ConcertmasterNancy Coade EldridgeChristine FrankKimiyo TakeyaAyako SugayaAnn Shiau TenneyJoanna LeeRobert SchumitzkyAgnes GottschewskiDana FreemanAngel LiuJulie AhnSE CON D VI O LI NBridget Dolkas*Elizabeth and John Stahr ChairJennise Hwang**Yen Ping LaiYu-Tong SharpAko KojianOvsep KetendjianLinda OwenSooah KimMarlaJoy WeisshaarAlice Miller-WrateShelly ShiHanbyul JangCatherine and James EmmiChairC E L LOWarren HagertyCatherine and James EmmiChairKevin Plunkett**John AcostaRobert VosLázló MezöIan McKinnellM. Andrew HoneaJennifer GossRudolph SteinBAS SDouglas Basye**Christian KollgaardDavid Parmeter Paul ZibitsDavid BlackAndrew BumatayConstance DeeterF L U TEBenjamin Smolen*Valerie and Hans Imhof ChairSharon O’ConnorCynthia Ellis* Principal** Assistant Principal† On LeaveThe musicians of Pacific Symphonyare members of the AmericanFederation of Musicians, Local 7.PacificSymphony.orgSuzanne R. Chonette ChairE N GL IS H H O RNLelie ResnickCL ARIN E TJoseph Morris*The Hanson Family FoundationChairDavid ChangBAS S CL ARIN E TJoshua RanzBAS S O O NRose Corrigan*Elliott MoreauAndrew KleinAllen SavedoffTodd Miller*PE RCU S S IONRobert A. Slack*H ARPMindy Ball*Michelle TempleL IBR ARIA NBrent AndersonD IRE CTO R OF P R ODUCTIONWill HunterD IRE CTO R OF MULTIMEDIAO PE R ATIONSWilliam PruettCO N TR ABAS S O O NAllen SavedoffFRE N CH H O RNKeith Popejoy*Adedeji OgunfoluKaylet Torrez**Elyse LauzonTRU MPE TBarry Perkins*Susie and Steve Perry ChairTony EllisDavid WailesTRO MBO N EMichael Hoffman*David StetsonOCT 20197
A COMMITMENT TO EXCELLENCEby Jeanne Skrocki, Assistant ConcertmasterIt was May, 1992, and I entered thelabyrinth basement of our former concerthall to warm up for my audition for PacificSymphony. I was grateful for the signsdirecting me to the green room, the warmup spaces and the room that we wouldrandomly draw our numbers to determinethe order in which we would audition. Itwas 8 a.m. and auditions were going tobegin at 9 a.m. Little did I know what lay instore for me, both on that day and for thenext 28 years!Over the next hours, candidates playedmultiple preliminary rounds and wereeither thanked and sent home or invited toparticipate in the final rounds beginninglater in the evening. This was the lastaudition in which the final rounds did nothave a “screen,” so the committee and thecandidate were free to interact and nothidden from each other. In the last finalsround of the day, I walked in at around10:30 p.m. to offer more excerpts from thestandard orchestral repertoire. I was tired.The committee was tired. It had been avery long day for all. The committee askedto hear a particularly difficult excerpt fromSchumann’s Symphony No. 2 one moretime. My brain was foggy and my fingersfelt like jelly, but I focused and gatheredmy courage and began. It was not goingwell–by the end of the first line of musicmy heart fell and I knew that I would likelynot be offered a job in this orchestra.Just then, Carl St.Clair stopped me andasked if I would like to begin again. I clearlyremember having two, simultaneousthoughts–the first was something like,“Oh, yes, would I ever like to have another8OCT 2019try at this, wow it really was that awful,I hope that I can manage to do betterthe second time!” The second thoughtwas extreme gratefulness at being givenanother shot at it and wild appreciationthat Maestro St.Clair recognized that thisdemonstration was not congruent withthe rest of my playing that day. It was clearto me that he unde
Fanfare, composed for the centennial rededication of the Statue of Liberty in 1986. His orchestral work Soundings was performed at the celebratory opening of Walt Disney Concert Hall in Los Angeles. In the world of sport, he has contributed musical themes for the 1984, 1988 and 1996 Summer Olympic
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Oct 7 Memory I Chapter 5 Oct 12 Memory II Oct 14 Memory III Module 4: Development, Emotion, and Stress . Oct 19 Development I Chapter 9 Oct 21 Development II Oct 26 . NO CLASS: FALL BREAK! Oct 28 Emotions, Stress and Health I Chapter 8 Nov 2 Emotions, Stress and Health II Chapter 11 Nov 4 . Review. Module 5: Psychological Disorders and .
