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PACIFIC SYMPHONY’SAMERICAN COMPOSERS FESTIVAL 2013Plus, Composer-in-Residence Daniel Schnyder

FestivalEventsThursday-Saturday, May 16-18, 8 p.m.Hal and Jeanette Segerstrom Family Foundation Classical SeriesDuke Ellington OrchestraRenée and Henry Segerstrom Concert HallCarl St.Clair, conductorDaniel Schnyder, composer and saxophoneDavid Taylor, tromboneKenny Drew Jr., pianoDuke Ellington OrchestraPacific SymphonyA celebration of American composers is incomplete without mention of DukeEllington, and this year, Pacific Symphony isn’t just mentioning him, but presentingthe ensemble that carries his name and has been playing together in one formor another for eight decades. Plus, composer-in-residence, saxophonist DanielSchnyder presents his reflections on music inspired by Ellington, Jimi Hendrix andthe instrument, the bass trombone.Sunday, May 19, 3 p.m.Classical ConnectionsDuke Ellington RevealedRenée and Henry Segerstrom Concert HallCarl St.Clair, conductorDuke Ellington OrchestraPacific SymphonyThe ensemble founded by Duke Ellington himself shines as Music Director CarlSt.Clair and Pacific Symphony explore why Ellington influenced so many othercomposers of the 20th and 21st centuries. The concert includes pieces Ellingtonmade famous including “Take the ‘A’ Train,” “Caravan,” “Satin Doll” and “ItDon’t Mean a Thing (If it Ain’t Got That Swing).”Sunday, May 19, 7 p.m.FaustSamueli TheaterDaniel Schnyder, composer and saxophoneDavid Taylor, bass tromboneKenny Drew Jr., pianoFascinated by Friedrich Murnau’s famous silent movie Faust from 1926, composerand saxophonist Daniel Schnyder has created music linking the saga about seductionand destruction of the human soul to its traces in European musical history.Schnyder and his trio “Words within Music” accompany key scenes of the film withfully composed pieces and adaptions.2 Pacific Symphony

Dear Friends,On behalf of Pacific Symphony, I am delighted to welcome you to what will be a very exciting American ComposersFestival 2013. This year, we are presenting the works of two modern masters — the iconic Edward Kennedy“Duke” Ellington (1899-1974) and living composer-saxophonist Daniel Schnyder. For our 13th celebration ofAmerican composers, it seemed more than appropriate to highlight the music of Ellington, whose works have inspiredcountless composers of the 20th and 21st centuries. And I wanted to welcome my friend, Swiss-American composerDaniel Schnyder, whose compositions cross many musical boundaries and genres into his own unique musical language,just like Ellington’s.A couple of summers ago, the Symphony and I performed with the Duke Ellington Orchestra at Verizon WirelessAmphitheater, and I fell in love with it—the musicians, their love and enthusiasm for music. I am proud to collaboratewith them again to bring Ellington’s music alive in the Renée and Henry Segerstrom Concert Hall. The orchestra wasled by Ellington himself from 1923 until his death in 1974, and the band now lives on under the direction of Ellington’sgrandson, Paul Mercer Ellington. I hope that the image magnification on these concerts will help you feel as up close andpersonal to these wonderful musicians as I have.The evening performances begin with the spotlight on Schnyder, who, no less than Ellington, is a gifted performer andimproviser. Joining him and the orchestra onstage are members from his trio “Words within Music,” bass trombonistDavid Taylor and pianist Kenny Drew, Jr. I first worked with Daniel on tour in Germany, where I felt an immediatecloseness to him and his musical spirit. Both Ellington and Schnyder take musical ideas, themes and various multiculturalmusical idioms, and through their individual genius, create their own unique musical identity.I hope you will further explore Daniel Schynder’s music at Sunday’s screening of the silent film, Faust with musiccomposed by Schnyder and performed by his trio. Thank you again for joining us for the American Composer’s Festival2013 and for trusting the orchestra and me to take you on a journey of new musical discoveries.Yours Truly,Carl St.ClairPacific Symphony 3

May 16, 17, 18classical seriesSEGERSTRO M CENTER  FOR THE ARTSRenée and Henry Segerstrom Concert HallConcerts begin at 8 p.m. Preview talk with Alan Chapman begins at 7 p.m.presents2012-2013 HAL & JEANETTE SEGERSTROMFAMILY FOUNDATION CLASSICAL SERIESCarl St.Clair conductor Duke Ellington OrchestraDaniel Schnyder saxophone david taylor bass trombone Kenny Drew, Jr. pianoShourouk, Arabian Overture for OrchestraDaniel SchnyderDaniel SchnyderKenny Drew, Jr.David TaylorDuke Ellington OrchestraSelections include:Take the ‘A’ TrainBilly Strayhorn / Arr. Luther HendersonIn a Sentimental MoodCaravanDuke Ellington / Arr. Daniel SchnyderDaniel SchnyderDuke Ellington / Juan Tizol / Arr. Richard HaymanVariations on Purple Haze (Jimi Hendrix)Satin DollDaniel SchnyderDuke Ellington / Billy StrayhornArr. Calvin Jackson / Tommy JamessubZERO, Concerto forBass Trombone and OrchestraCreole Love CallDuke Ellington / Arr. Barrie Lee HallDaniel SchnydersubZEROSama’i ThaqilZOOM OUTDavid TaylorThe Eighth VeilDuke Ellington / Billy Strayhorn / Arr. Tommy JamesMartin Luther King, Jr.from Three Black KingsDuke Ellington / Mercer Ellington / Arr. Maurice PeressINTERMISSIONIt Don’t Mean a Thing(If It Ain’t Got that Swing)Duke EllingtonSpecial thanks to the presenting sponsors of the American Composers Festival 2013, Dr. Donald and Sue Hecht.The Friday, May 17 concert is generously sponsored by Jane and Richard Taylor.The Saturday, May 18 concert is generously sponsored by The Westin South Coast Plaza.Pacific Symphony Proudly Recognizes its official partnersOfficial AirlineOfficial HotelOfficial Television StationPacific Symphony broadcasts are madepossible by a generous grant fromACF Official Media SponsorThe Saturday, May 18, 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.4 Pacific Symphony

NOTESby joseph horowitz, artistic adviser to pacific symphonystab. During his lifetime, Ellington was denied the Pulitzer Prizebecause his music lacked a “classical” pedigree. But those days aredone. (He was in fact awarded a posthumous Pulitzer in 1999.)In recent decades, Ellington’s music has arguably been more studiedby scholars than that of any other American composer. During theinter-war decades, when his band had already achieved fame andinfluence, no historian of American classical music would havethought to include him in the new pantheon of Aaron Copland, RoyHarris and others bent on defining an American sound. Coplandhimself, in his surveys of important American composers, nevermentioned Ellington or Gershwin – as jazz practitioners, they wereregarded as makeshift or unconsummated creators. That Ellington’scompositions incorporated improvisation more categorized him asa “performer.” That, historically, classical musicians had widelyimprovised before the 20th century was ignored or forgotten.An early prophet of Ellington’s compositional stature was theAmerican composer/conductor/educator/scholar Gunther Schuller,who in 1957 invented the term “Third Stream” to promote a newterrain joining classical music and jazz. Writing of Ellington’sReminiscing in Tempo (as recorded in 1935), Schuller said:The term “classical music,” as used in the U.S. to distinguishconcert music and opera from popular and vernaculargenres, originated in the mid-19th century with such writersas Boston’s John Sullivan Dwight, editor of Dwight’s Journal ofMusic. Dwight’s definition was value-laden – “classical music”designated the supreme stratum of musical expression. Dwight calledStephen Foster’s “Old Folks at Home” – the century’s most popularAmerican composition – a “melodic itch.”This understanding of “classical music” is impossibly snobbishtoday. It penalizes non-Western music. And it penalizes the signaturecreative achievement of American music of the mid-20th century:jazz. Today’s musical landscape, which some have called “postclassical,” is wide, varied and level; it does not rank one form ofmusical experience over another. In the concert hall, a lot of themost significant activity now occurs when different types of musicinteract. Our American Composers Festival has celebrated hybrids ofthis kind in celebrating such master composers as Lou Harrison (whoabsorbed Javanese gamelan), Zhou Long (who combines Westernand Chinese musical practices) and John Adams (on whom the swingera exerted a lasting influence).Ellington resisted the stigmatization of his music as jazz, ormore correctly, as merely jazz. Similarly, he resisted. . . theconstant pressures to commercialize his art, to level it offto some pre-ordained mold of easy marketability, to identifyhimself with the expected stereotypes. . . . Reminiscing inTempo burst the pre-set molds established for jazz onceand for all. Gone was the 10-inch, 78-rpm three-minutetime limitation . . . ; gone were the 32- or 12-bar jazzforms imposed by mass public taste . . . Reminiscing wasinnovative not only for its duration – some thirteen minutes– but in the way its several themes and episodes wereintegrated into a single unified whole.Schuller’s detailed analysis of Reminiscing in Tempo, in his landmark1989 book The Swing Era, was indistinguishable in approachfrom the manner in which he might have appreciated thematicrelationships in a Brahms symphony.The most recent music historian to undertake a book-lengthEllington study is David Schiff, who in The Ellington Century (2012)provocatively writes:This year’s American Composers Festival celebrates two moresuch figures, past and present. Duke Ellington (1899-1974) wasmemorably described as “beyond category.” The Swiss-Americancomposer Daniel Schnyder (born in Switzerland in 1961 and now aresident of Harlem in New York City) is equally uncategorizable.Between-the-cracks composers like Ellington and Schnyder – orGeorge Gershwin and Kurt Weill, both of whom composed for theconcert hall and the opera house, Broadway and Hollywood – usedto be viewed with suspicion in American classical music circles.Gershwin’s Porgy and Bess was initially patronized as a dilettantePacific Symphony 5

NOTESEllington never composed “crossover” music. In pursuinghis artistic project he sidestepped the available Europeangenres of high seriousness: symphony, opera, oratorio.When a work like Harlem or Night Creatures would involvean orchestra, he farmed out the orchestration (usually tothe Juilliard-trained Luther Henderson) and made sure thatthe music that mattered was assigned to his own musicians.Though it still maddens some critics, he never played therole of the isolated genius. For Ellington composition wascollaborative and open-ended; his reluctance to terminatethings (compositions or marriages), often described asa superstition, can also be taken as an aesthetic stance.Refusing to merge the idiom of jazz with the forms andensembles of European concert music, he set himself on adifferent course from Gershwin or Copland. . . Europeanforms. . . were simply irrelevant. . . to the experiences hestrove to represent musically. The scope of ideas, images,and emotions of his music was panoramic, from politicalprotest (“Jump for Joy”) to religious faith (“Heaven”),from the African past (“Ko-Ko”) to the American present(“The Air-Conditioned Jungle”), from Rio to Tokyo.Daniel Schnyder, being European-born, came to Ellington withoutthe prejudices once afflicting American classical musicians. Hisformal training in Zurich, in flute and composition, was rigorously“classical.” But he equally absorbed the influence of jazz. He says:I live around the corner from where Duke used to livein Harlem. I “Take the A Train” to get home frommid-Manhattan. Ellington’s greatness is of course multidimensional. He worked with great individual players andformed his sound from their individual voices – rather thangetting performers to give up a part of their individualityin order to form the sound of a great orchestra. In writingfor instrumentalists like Johnny Hodges and Ben Webster,Duke is actually similar to Bach. Today’s conductorsrefer to their orchestras as their instrument – that is theopposite of what Ellington believed in. He recorded withJohn Coltrane and Charles Mingus in a quartet setting. Abeautiful album! But the three individuals come from threedifferent planets. I also believe in something like that. Mybass trombone concerto is composed specifically for DavidTaylor, who has reinvented the instrument. My goal wasto write a solo trombone part that would be so natural toTaylor that it would sound as if it were being invented onthe spot – and then in the next generation would be takenup by trombonists all over the place. Which is exactly whathas happened.Schnyder also observes of Ellington that “he was one of the first jazzcomposers to use Arab scales and rhythms, as in Caravan.” Schnyderis himself an omnivorous creator, drawing on Renaissance polyphony,Schubert and Mahler, Ellington and Gershwin, Arabia and Africa. Heis also, no less than Ellington, a gifted performer and improviser (onthe saxophone). Like Ellington, he espouses multiple musical worlds.* * *Daniel Schnyder was born in Zurich and now lives in New York City.His vast catalogue of compositions includes commissions from NewYork’s Orpheus Chamber Orchestra, the Milwaukee Symphony, the6 Pacific SymphonySt. Paul Chamber Orchestra, the Berlin Philharmonic, Vienna’sTonkünster Orchestra, the Radio Symphony Orchestra in Berlin(for which he was composer-in-residence), Zurich’s TonhalleOrchestra (a Fourth Symphony, for David Zinman) and the BernOpera (The Tempest, after Shakespeare), and the Opera Companyof Philadelphia (an opera about the life of Charlie Parker, tobe premiered in 2015). A saxophonist, he tours with a trio alsoincluding David Taylor and the pianist Kenny Drew, Jr.; theirrepertoire includes Bach, Wagner, Gershwin and Ellington. BothSchndyer and his trio are better-known in Europe than in America.Of subZERO, the 1999 bass trombone concerto we hear tonight,Schnyder says: “This piece was easy to write because I alreadyknew David Taylor’s playing very well. He’s played with everybodyon the planet, and can shift to any idiom. I don’t mean to imply thatthe resulting concerto is a collage – in my opinion, it represents themusical reality of today.” Taylor says: “Schnyder’s concerto is thebest vehicle I’ve ever had with orchestra. I reference all kinds of jazzand popular styles; Schnyder has a gift for picking up the essenceof a style. At the same time, he’s a deeply schooled composer;everything he composes is organic; he never panders.” The concerto’ssecond movement superimposes a meditative 10/4 Syrian sufi rhythm(sama’i thaqil) with a 4/4 son Cuban beat.Taylor is himself edgy, flamboyant, reckless, experimental. Amonghis colleagues, he is both famous and notorious. While studyingat Juilliard, he was a member of Leopold Stokowski’s AmericanSymphony, and occasionally played with the New York Philharmonicunder Pierre Boulez. Shortly after, he joined the Thad Jones Jazzband. He recorded with Duke Ellington and with The Rolling Stones.He has since been closely associated with the Chamber Music Societyof Lincoln Center, the Gil Evans Big Band and the Charles Mingus BigBand. He has performed chamber music with Winton Marsalis, Yo-YoMa and Itzhak Perlman. Alan Hohvanness, Charles Wuorinen, GeorgePerl, and Frederic Rzewski – important composers from all points ofthe compass—have all composed for him.The other Schnyder works we hear tonight are Shourouk: an ArabianOverture for Orchestra, and two Schnyder arrangements: of DukeEllington’s In a Sentimental Mood and of Jimi Hendrix’s PurpleHaze. The first two of these compositions incorporate some degree ofimprovisation by Schnyder on saxophone, Taylor on bass tromboneand the pianist Kenny Drew, Jr.

NOTESWinner of the 1990 Great American Jazz Piano Competition inJacksonville, Drew has performed with a gamut of musicians,including Smokey Robinson, the Mingus Big Band, the CarnegieHall Jazz Band, the Faddis/Hampton/Heath Sextet, the LincolnCenter Jazz Orchestra. In the realm of classical music, his repertoireincludes Bach concertos, Haydn, Mozart, Chopin, Liszt and worksby African-American composers. He has performed and recordedextensively with Daniel Schnyder and David Taylor. He played asolo piano tribute to Duke Ellington on Ellington’s 100th birthdayat the Tonhalle in Zurich. His “classical” performances includeappearances with the Milwaukee Symphony (in Mozart) and Ravelwith the Winterthur Orchestra in Switzerland.In a recent interview, Schnyder offered the following reflections:There’s a big change happening right now, a change leadingback to where classical music began. Bach and Mozartwere improvisers. If you wanted to get a job as a chambermusician in the 18th century, you had to improvise –otherwise, no job. So your creative potential was tested.Nowadays in classical music, people don’t even improvisetheir cadenzas any more. We have now a separationbetween the performer and the composer; musiciansreproduce music. I don’t want to put that down, it createsfantastic results. But the value of trying to combine theseseparate worlds that belong together – it’s enormous. Forone thing, it increases the power to reach an audience – akind of power we’ve lost to popular music and to sports.Look at someone like Mick Jagger or Michael Jackson–his music, his band, his sound had a combined power thatabsorbed and fascinated audiences because it emanatedfrom one individual. I think we are going back to a timewhen music was something holistic.A lot of the music I compose adapts the compositions ofgreat artists of the past, trying to find ways to expressmyself through their music. This is nothing new. Schoenbergdid it, Busoni did it, lots of important composers did it.But for many decades, this practice of adaptation andtranscription was put down. When Stokowski transcribedBach, it was denounced almost as a crime. Now, however,transcriptions are coming back.My training as a composer was traditional, and includedthe contrapuntal practices of Renaissance composers. Andmy own music incorporates canons, canons in inversion,proportional canons. This aspect of composition –counterpoint – was central to the composer’s art for a longtime. Schubert was still studying counterpoint when he wasalready an accomplished great composer. In my opinion,today’s concert music is often more about colors, rhythms,effects – there’s a certain lack of contrapuntal interest.I also value enormously ethnomusicology. It’s somethingI got involved in because of an opportunity to work withmusicians in Lebanon and Jordan. I go to the source –African musicians, Chinese musicians. It’s much easier thangoing to a library and looking for the right books.for Western instruments in combination with oud, the ney,and the rik – a kind of tambourine, the main percussioninstrument of Arabian music. The piece also uses scales thatare different from our scales, and the malfuf rhythm, whichis also found in Latin jazz and Western African music—allthese worlds connected through history.Duke Ellington’s In a Sentimental Mood has a lot oflong notes – which facilitates adding counterpoint andorchestral lines, so that the orchestra can be fully activated.In adapting a jazz staple for symphony orchestra, you don’twant to simply give the musicians whole notes with thesoloists on top. That’s boring for the players and also forlisteners. It’s a Ferrari driving at twenty miles per hour.In a Sentimental Mood also has sophisticated chordchanges – whereas Purple Haze doesn’t really have anychord changes. It’s just a rhythm and the idea of blues. It’sinteresting for me to deal with R&B (rhythm-and-blues)background, and the different colors it can generate. Andwith the brutality of this music – how to write for orchestraand retain raw expression. My arrangement has fugues in it,and canons. You can do all these things because the piece isso raw, so bare, that it’s an open playing field.Joseph Horowitz, artistic adviserJoseph Horowitz, PacificSymphony’s artistic advisorsince 1999, has long been apioneer in thematic, interdisciplinaryclassical music programming,beginning with his tenure as artisticadvisor for the annual Schubertiadeat New York’s 92nd Street Y. Asexecutive director of the BrooklynPhilharmonic Orchestra, he receivednational attention for “the RussianStravinsky,” “Dvořák and America,”“American Transcendentalists,”“Flamenco,” and other festivals thatexplored the folk roots of concert works and the quest for nationalidentity through the arts. Now an artistic adviser to various Americanorchestras, he has created more than three dozen interdisciplinarymusic festivals since 1985. He is also the founding artistic director ofWashington, D.C.’s pathbreaking chamber orchestra, PostClassicalEnsemble, in which capacity he has produced two DVDs for Naxos thatfeature classical documentary films with newly recorded soundtracks.He is also the award-winning author of eight books that address theinstitutional history of classical music in the United States. BothClassical Music in America: A History (2005) and Artists in Exile(2008) were named best books of the year by The Economist. TheCzech Parliament has awarded him a certificate of appreciation;he is also the recipient of a Guggenheim Fellowship and fellowshipsfrom the NEH and Columbia University.For my Shourouk (which is the Arabic word for “sunrise”),I was taught Arabian rhythms by Arabian musicians in NewYork, most especially Bassam Saba. The piece is composedPacific Symphony 7

C A R Lmeet 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.8 Pacific Symphony

GUESTSmeet the guest artistsTThe Duke EllingtonOrchestrahe Duke Ellington Orchestra is the preeminent performer of the music of Duke Ellington.A prolific composer, Ellington created over 2,000 pieces of music, including the standardsongs “Take the ‘A’ Train” and “It Don’t Mean a Thing (If It Ain’t Got That Swing)”and the longer works “Black, Brown and Beige,” “Liberian Suite” and “Afro-EurasianEclipse.” The orchestra has repeatedly toured over four continents to play and promote themusic of Duke Ellington. The Orchestra has been the featured performer at the prestigiousTokyo Jazz Festival and the Cape May Jazz Festival (one of the longest running jazz festivalsin the United States). In 2008, the Duke Ellington Orchestra travelled throughout the worldincluding two tours in Japan, Puerto Rico and a six-week United States West Coast tour.The Orchestra performed at the world-famous jazz clubs Jazz Alley in Seattle, Blues Alley inWashington D.C., Billboard Clubs in Japan, Blue Note New York and Nagoya. The year alsoincluded a return to the Cotton Club Tokyo and the closing day performance at the prestigiousHeineken Jazz Festival. In 2009, the Duke Ellington Orchestra returned to Japan andperformed with the Colorado Symphony and the Austin Symphony. The Orchestra completeda Far East tour that included Taiwan and its first performances in China. In May, it recordedits first studio recording in over thirty years. In 2011, the Orchestra went on a European tourincluding seven performances in eight Russian cities and performances in Finland, Estonia,the Czech Republic, Romania and Bucharest. The members returned to Japan and China witha featured performance at the prestigious Beijing Jazz Festival. The Duke Ellington Orchestraalso played with the Indianapolis Symphony and the Utah Symphony. The year concluded with aperformance for His Majesty the King Bhumibol Adulyadej of Thailand.Tommy James was born in Mt. Pleasant, N.Y. into a family of non-musicians. While otherkids were playing baseball, he ventured to his neighbor’s apartment to play on the piano.He learned to play by ear and by mimicking his favorite performers. After high school, hestudied at The Manhattan School and majored in music composition. James became a memberof The Duke Ellington Orchestra in 1987 after being personally invited by Mercer Ellington(the son of Duke Ellington). When the band’s piano player couldn’t go on tour to Europe, Jamesreceived the call to join the orchestra.James has performed or recorded with numerous artists including Freddie Hubbard, StanleyTurrentine, Roy Ayers, Lionel Hampton and Savior Glover. For The Duke Ellington Orchestra,he recorded Third Generation (2009) and Only God Can Make A Tree (1996) with MercerEllington. He has also served as music director for vocalists Marlena Shaw, Maureen McGovernand Nell Carter. James has also performed with Patti LaBelle, Roberta Flack, Manu Dibango,The Sylistics and Teddy Pendergrast.Recent theater credits include Sammy and Me (2010) with the Alliance Theater (Atlanta) andScandalous People (2009) (New York International Fringe Festival). He also performed andwas the musical director for the world tours of Classical Savion, Bring in ‘da Noise, Bring in ‘daFunk and Improvography. Currently, he is the pianist for British singer Cleo Lane.Thank you to our Festival and Concert sponsorsWe are extraordinarily grateful to Dr. Donald and Sue Hechtfor their sponsorship of the American Composer’s Festival. The Hechts are avid lovers of symphonicmusic, and we are so pleased to have them as members of the Pacific Symphony family. Their generosityprovides inspiration and example for all touched by the wonderful music of

take the ‘a’ train Billy Strayhorn / Arr. Luther Henderson caravan Duke Ellington / Juan Tizol / Arr. Richard Hayman Satin doll Duke Ellington / Billy Strayhorn Arr. Calvin Jackson / Tommy James creole love call Duke Ellington / Arr. Barrie Lee Hall the eighth Veil Duke Ellington / Billy Strayhorn / Arr. Tommy James artin luther King, Jr.

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