SEPT. 13 special event SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL presents RENÉE FLEMING Performance begins at 8 p.m. CARL ST.CLAIR CONDUCTOR RENÉE FLEMING SOPRANO Mikhail Glinka (1804-1857) Overture to Russlan and Ludmilla Richard Strauss (1864-1949) Four Last Songs, TrV 296 Frühling (Spring) September Beim Schlafengehen (At Bedtime) Im Abendrot (At Sunset) Wolfgang Amadeus Mozart (1756-1791) INTERMISSION Overture to The Abduction from the Seraglio, K. 384 Francesco Paolo Tosti (1846-1916) Aprile Stefano Donaudy (1879-1925) Ruggero Leoncavallo (1857-1919) Leonard Bernstein (1918-1990) Richard Rodgers (1902-1979) Lyrics by Oscar Hammerstein II O Del Mio Amato Ben Mattinata Overture to Candide Selections from The King and I I Whistle a Happy Tune Something Wonderful Shall We Dance This concert is generously sponsored by Catherine Emmi and Cameron Emmi. PACIFIC SYMPHONY PROUDLY RECOGNIZES ITS OFFICIAL PARTNERS Official Hotel Official Television Station Official Classical Radio Station 2 Pacific Symphony
NOTES by michael clive Four Last Songs r i c h a r d st r a u s s (1864-1949) RICHARD STRAUSS (1864-1949) To appreciate the achievement that is the capstone of Richard Strauss long and illustrious career his Four Last Songs we must appreciate how masterfully Strauss fashioned his career as a composer of vocal music over the course of the six decades that preceded this suite for voice and orchestra. In Europe, and particularly in the musical tradition of middle Europe roughly Austria, Germany and Hungary the classical composer is viewed with a sense of intense proprietorship, an essential part of every citizen s cultural patrimony, and the great composer is a national figurehead. Strauss shaped his oeuvre and his public image in a way that secured his status as a composer whose greatness would be recognized by his public. His Four Last Songs provide a sublime and reflective valediction befitting such an artist. To groom his prodigiously talented son for greatness, Strauss father, Franz himself a renowned musician ensured that Richard received a first-rate musical education, but embargoed the music of Richard Wagner. But as any good comedy writer could have told the elder Strauss, the one way to ensure Richard s fascination with Wagner was to prohibit him from listening to his music. When Richard surreptitiously visited the Wagner Festspielhaus at Bayreuth and attended a performance of the revolutionary opera Tristan und Isolde, the experience overwhelmed him. Did the teenage Richard Strauss encounter with Wagner s music set him on a path toward vocal rather than symphonic composition? It s difficult to say, though his early works gave no indication that he would eventually focus on opera and song. Earmarked from an early age as promising the curse of many a young musician he began his career as a pianist and composer of orchestral music that demonstrated his supreme mastery of orchestral color and post-wagnerian harmonics. In his 20s, he established himself as a dazzling musical technician with superb keyboard technique. His mastery of complex, inventive harmonies gave hope to listeners in the post-brahmsian, post-wagnerian world that there were still musical frontiers to explore without abandoning tonality altogether, as the Second Viennese School was doing under the leadership of Arnold Schoenberg and Alban Berg. Strauss established his early reputation as a composer with lushly entertaining, vaguely programmatic tone poems. It s possible to surmise the plot points that underlie various musical passages in each, and to hear the innate theatricality that would lead Strauss to write more than two dozen operas. But most impressive is the construction of Strauss densely chromatic chords and their dizzying changes. Musicologists sometimes analyze a symphony in terms of how a composer gets out of each movement; as Strauss leads us through exotic modulations, at least half the fun is marveling at how he gets where he s going, leading us back to his tonic key. Even Strauss advocates were unprepared for the musical scandal that catapulted him to international fame when he was 42: his opera Salome, based on a German translation of Oscar Wilde s play. As if the play s lurid treatment of sexual obsession and necrophilia (not to mention a hint of incest) wasn t enough, the music was heard to be even more shocking: cacophonous and atonal. (Actually, it s far from either.) Salome made Strauss notorious, rich, and internationally famous; he followed it in 1909 with his brilliant and even more shocking opera Elektra, a collaboration with the great German writer Hugo von Hoffmansthal that probes the psychology of Sophocles heroine in a daringly modern way. The shadow of Freud is present in both works, and it put Strauss in the thick of the intellectual ferment pervading Vienna at the turn of the century. To many listeners, Strauss had gone from traditional composer to modernist rebel. But for his own artistic reasons and not by way of public apology he had long been nurturing the idea of writing a lighter work in the manner of Mozart s The Marriage of Figaro. The result, Strauss 1911 masterpiece Der Rosenkavalier, was like an irresistible valentine to the public that felt Strauss had abandoned them. All was forgiven, and Strauss was confirmed in his career as the greatest exponent of 20thcentury vocal music in the German language. Flash forward some four decades and we get to Strauss valedictory works, Capriccio his last opera and the Four Last Songs, his magnificent final meditation on life and art. Imagine: Strauss, who was born while the American Civil War was still under way, composed this music after the horrors of World War II. The political and moral realities of post-nazi Germany could not be more relevant to it. Though he remained in Germany during the War and was criticized by some for accommodating the Reich, Strauss had a Jewish daughter-in-law and acted to protect her as well as Jewish musical colleagues. His dignified posture as the great composer may well have been a pose. After composing more than two dozen operas drenched in German culture, he set the 1944 Capriccio in Paris and gave it a French sensibility; he set three of the Four Last Songs to texts by the Nobel prizewinning writer Hermann Hesse, whom the Nazis reviled. The most terrible period of human history is at an end, he wrote at the end of the War, the twelve-year reign of bestiality, ignorance, and anti-culture under the greatest criminals, during which Germany s 2000 years of cultural evolution met its doom. His carefully constructed lifetime as a German composer of greatness was a grotesque ruin. These four songs, with their musical evocation of autumnal imagery, serenity, and fond resignation, were surely his final consolation. Pacific Symphony 3
NOTES THE OVERTURES Overture to Russlan and Ludmilla m i k h a i l glinka (1804-1857) Overtures are often called curtain raisers even when there s no curtain to be raised; they warm up the orchestra as well as the audience, providing spectacular enjoyment while making us impatient for what comes next. And the overture to Mikhail Glinka s Russlan and Ludmilla is one of the most exciting in the repertory. Often credited as the father of Russian opera, Glinka one of the Mighty Five composed two superb operas, and though Russlan is considered the better of the two, it is best remembered for its fabulous overture, which starts at a breakneck pace and intensifies from there. The rapid string passages are flung like a scarf that goes flying in the wind. According to anecdote, the opera s complex plot was framed in 15 minutes by poet Konstantin Bakhturin, who was drunk at the time. Overture to The Abduction from the Seraglio wo l f g a n g amadeus mo z a r t (1756-1791) The Overture to The Abduction from the Seraglio is one of the most exuberant Mozart ever composed, with an energy that communicates a sense of the opera's comical plots and characters. Composed in 1782, the opera reflects a craze for faux-middle Eastern exoticism known as Turquerie, though the style was not particularly Turkish; refashioned for European tastes, it was comprised mainly of an invented, generic exoticism and martial-sounding march tempos. Thumping rhythms, cymbals, tinkling percussion and vaguely foreign harmonies were all part of the mix. (The cymbals, at least, were an authentic touch; they were widely used in Arab music for centuries before their adoption in Europe.) Overture to Candide l e o n a r d bernst e i n (1918-1990) With an abundance of glorious music, hilariously satirical scenes and a book and lyrics by some of the greatest literary talents of its day (including the playwright Lillian Hellmann and the poet Richard Wilbur), why don t we get to hear Bernstein s 1956 Candide more often? That question is not easy to answer; but then, the work itself is not easy to perform. Variously called a musical, an operetta and an opera, it is prodigiously demanding perhaps most famously in Glitter and Be Gay, a parody of a coloratura aria that is full of extravagant vocal pyrotechnics capped off by a high E-flat. That s the theme that brings the overture to its stirring yet witty close. THE ITALIAN SONGS "Aprile" f r a n c e s co pao lo to s t i (1846-1916) "O Del Mio Amato Ben" s t e fa n o dona u dy (1879-1925) Mattinata r u g g e r o leoncava l lo (1857-1919) After this concert, the highbrow cocktail-party bluffers among us can rightly boast that we heard three glorious examples of the canzone tradition. In contrast with the prevailing European art song tradition, which depends on an intense, subtle communion connecting the composer, singer, poet and listener, the Italian canzone genre is far more direct. These songs touch our hearts with their sincere emotions and pure melodies. Paolo Tosti was perhaps the most famously prolific of all canzone composers, while Palermo native Stefano Donaudy is best remembered for his collection of 36 Arie de Stile Antico old-fashioned airs of which O Del Mio Amato Ben is an example. Mattinata is a morning song by the composer of the one-act operatic masterpiece Cavalleria Rusticana. RICHARD RODGERS (1902-1979) Songs from The King and I: "I Whistle a Happy Tune," "Something Wonderful" and "Shall We Dance?" r i c h a r d rodgers (1902-1979) We know these songs so well, it s easy to take them for granted. But with his lyricist and partner Oscar Hammerstein, the composer Richard Rodgers brought a revolution to Broadway with Oklahoma!, their 1943 hit, and then kept going, transforming the Great American Songbook by finding a new musical language to imbue their songs with drama. The King and I was their fifth collaboration, and was drawn from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. In songs by Rodgers and Hammerstein as in those by their artistic legatee, Stephen Sondheim we are treated not just to beautiful melodies and witty lyrics, but to penetrating emotion that conveys authentic theatricality. 4 Pacific Symphony
CARL meet the music director The 2016-17 season marks Music Director Carl St.Clair s 27th year leading Pacific Symphony. He is one of the longest tenured conductors of the major American orchestras. St.Clair s lengthy history solidifies the strong relationship he has forged with the musicians and the community. His continuing role also 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 largest orchestra formed in the United States in the last 50 years due in large part to St.Clair s leadership. During his tenure, St.Clair has become widely recognized for his musically distinguished performances, his commitment to building outstanding educational programs and his innovative approaches to programming. Among his creative endeavors are: the opera initiative, Symphonic Voices, which continues for the sixth season in 2016-17 with Verdi s Aida, following the concert-opera productions of La Bohème, Tosca, La Traviata, Carmen and Turandot in subsequent seasons; and the highly acclaimed American Composers Festival, which, now in its 17th year, celebrates the 70th birthday of John Adams with a performance of The Dharma at Big Sur, featuring electric violinist Tracy Silverman, followed by Steven Boyers Ellis Island: The Dream of America. St.Clair s commitment to the development and performance of new works by composers is evident in the wealth of commissions and recordings by the Symphony. The 2016-17 season features commissions by pianist/composer Conrad Tao and composer-in-residence Narong Prangcharoen, a follow-up to the recent slate of recordings of works commissioned and performed by the Symphony in recent years. These include William Bolcom s Songs of Lorca and Prometheus (2015-16), Elliot Goldenthal s Symphony in G-sharp Minor (2014-15), Richard Danielpour s Toward a Season of Peace (2013-14) Philip Glass The Passion of Ramakrishna (2012-13), and Michael Daugherty s Mount Rushmore and The Gospel According to Sister Aimee (2012-13). St.Clair has led the orchestra in other critically acclaimed albums including two piano concertos of Lukas Foss; Danielpour s An American Requiem and Goldenthal s Fire Water Paper: A Vietnam Oratorio with cellist Yo-Yo Ma. Other commissioned composers include James Newton Howard, Zhou Long, Tobias Picker, Frank Ticheli and Chen Yi, Curt Cacioppo, Stephen Scott, Jim Self (Pacific Symphony s principal tubist) and Christopher Theofanidis. In 2006-07, St.Clair led the orchestra s historic move into its home in the Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts. The move came on the heels of the landmark 2005-06 season that included St.Clair leading the Symphony on its first European tour nine cities in three countries playing before capacity houses and receiving extraordinary responses and reviews. From 2008-10, 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). He also served as general music director and chief conductor of the German National Theater and Staatskapelle (GNTS) in Weimar, Germany, where he led Wagner s Ring Cycle to critical acclaim. He was the first non-european to hold his position at the GNTS; the role also gave him the distinction of simultaneously leading one of the newest orchestras in America and one of the oldest in Europe. In 2014, St.Clair became the music director of the National Symphony Orchestra in Costa Rica. His international career also has him conducting abroad several months a year, and he has appeared with orchestras throughout the world. He was the principal guest conductor of the Radio Sinfonieorchester Stuttgart from 1998-2004, where he completed a three-year recording project of the Villa Lobos symphonies. He has also appeared with orchestras in Israel, Hong Kong, Japan, Australia, New Zealand and South America, and summer festivals worldwide. CARL ST.CLAIR WILLIAM J. GILLESPIE MUSIC DIRECTOR CHAIR In North America, St.Clair has led the Boston Symphony Orchestra (where he served as assistant conductor for several years), New York Philharmonic, Philadelphia Orchestra, Los Angeles 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 creation and implementation of the Symphony s education and community engagement programs including Pacific Symphony Youth Ensembles, Heartstrings, Sunday Casual Connections, OC Can You Play With Us?, arts-x-press and Class Act. Pacific Symphony 5
RENÉE meet the guest artist is one of the most acclaimed singers of our time. In 2013, President Obama awarded her America s highest honor for an individual artist, the National Medal of Arts. Winner of the 2013 Best Classical Vocal Grammy Award, she has sung at momentous occasions around the world, from the Nobel Peace Prize ceremony to performances in Beijing during the 2008 Olympic Games. In 2012, she sang on the balcony of Buckingham Palace in the Diamond Jubilee Concert for HM Queen Elizabeth II. In 2014 she became the first classical singer ever to perform U.S. National Anthem at the Super Bowl; and the same year, she celebrated the 25th anniversary of the fall of the Berlin Wall in a televised concert at the Brandenburg Gate. An earlier distinction came in 2008 when Fleming became the first woman in the 125-year history of the Metropolitan Opera to solo headline an opening night gala. Fleming has appeared in virtually all of the world s greatest opera houses and concert halls. This year, her concert schedule has taken her to Boston, New York, Stockholm, London, Paris, Vienna, Madrid, Monte Carlo, Mexico City and Buenos Aires. In August, she sang with the Philadelphia Orchestra and Maestro Yannick Nézet-Séguin in Saratoga, N.Y. In the fall, she will tour to San Francisco, Toronto, Los Angeles and Miami. The year finishes with her appearance as the Marschallin in a new production of Strauss Der Rosenkavalier at the Royal Opera, Covent Garden. She will sing the role again at the Metropolitan Opera in the spring. Known for bringing new audiences to classical music and opera, Fleming has sung not only with Luciano Pavarotti, Plácido Domingo and Andrea Bocelli, but also with Elton John, Paul Simon, Sting, Lou Reed, Josh Groban and Joan Baez. Fleming has hosted a wide variety of television and radio broadcasts, including the Metropolitan Opera s Live in HD series and Live from Lincoln Center. She has been a frequent guest on Garrison Keillor s Prairie Home Companion, and she famously sang the Top Ten list on The Late Show with David Letterman. In 2015, she made her Broadway debut as an actress in the comedy Living on Love, for which she was nominated for a Drama League Award. In 2013, she joined with the John F. Kennedy Center for the Performing Arts to present American Voices, a concert and three-day festival celebrating the best American singing in all genres. The festival was the subject of a Great Performances documentary on PBS. Fleming won her fourth Grammy Award for her album Poèmes. Her most recent album, Berg: Lyric Suite; Wellesz: Sonnets, recorded with the Emerson String Quartet, was released in September by Decca. Her first-ever holiday album, Christmas in New York, was released in 2014, and was the inspiration for a special on PBS. Recipient of 14 Grammy nominations to date, she has recorded everything from complete operas and song recitals to an album of indie rock covers, Dark Hope, the jazz album Haunted Heart and the movie soundtrack of The Lord of the Rings: The Return of the King. In March, Fleming was appointed artistic advisor-at-large for the John F. Kennedy Center for the Performing Arts. In 2010, Fleming was named the first-ever creative consultant at Lyric Opera of Chicago, where she recently curated the creation of Bel Canto, a world premiere opera based on Ann Patchett s best-selling novel. The production will be telecast on PBS Great Performances in the coming season. Fleming is currently a member of the Board of Trustees of the Carnegie Hall Corporation, the Board of Sing for Hope and the Artistic Advisory Board of the Polyphony Foundation. Among her awards are the Fulbright Lifetime Achievement Medal, the Chevalier de la Légion d Honneur, Germany s Cross of the Order of Merit, Honorary Membership in the Royal Academy of Music, Sweden s Polar Music Prize and honorary doctorates from Harvard University, the University of Pennsylvania, Duke University, Carnegie Mellon University, the Eastman School of Music and The Juilliard School. RENÉE FLEMING SOPRANO appears by arrangement with IMG Artists, 7 West 54th Street, New York, NY 10019 www.imgartists.com. Ms. Fleming is an exclusive recording artist for Decca and Mercury Records (UK). Ms. Fleming's jewelry is by Ann Ziff for Tamsen Z. THANK YOU TO OUR SPONSORS, Catherine Emmi and Cameron Emmi The Emmi family have long been among the Symphony s most generous supporters. At the time of his passing in May, James Emmi was Pacific Symphony s longest-serving board member, serving for nearly years. Through much of that time, his wife Catherine has been equally active as a Symphony volunteer leader and supporter. We are happy to have Catherine join the Pacific Symphony Board of Directors. Catherine, along with her son, Cameron, continue the long tradition of generous giving to Pacific Symphony. The Emmis financial support includes the endowment of the Principal Viola Chair, in perpetuity; recently they have also endowed the Symphony s Principal Cello Chair, held by Timothy Landauer. Pacific Symphony is deeply indebted to Catherine Emmi and Cameron Emmi for their lifelong support of Pacific Symphony. 6 Pacific Symphony
ABOUT pacific symphony In 2016-17 Pacific Symphony, currently in its 38th season, celebrates the 10th anniversary as the resident orchestra of the Renée and Henry Segerstrom Concert Hall. Led by Music Director Carl St.Clair, who is in his 27th season, the Symphony is the largest orchestra formed in the U.S. in the last 50 years and is recognized as an outstanding ensemble making strides on both the national and international scene, as well as in its own community of Orange County. Presenting more than 100 concerts and events a year and a rich array of education and community engagement programs, the Symphony reaches more than 0,000 residents from school children to senior citizens. The Symphony offers repertoire ranging from the great orchestral masterworks to music from today s most prominent composers, highlighted by the annual American Composers Festival. Five seasons ago, the Symphony launched the highly successful opera initiative, Symphonic Voices. It also offers a popular Pops season, enhanced by state-of-the-art video and sound, led by Principal Pops Conductor Richard Kaufman, who celebrated 25 years with the orchestra last season. Each Symphony season also includes Café Ludwig, a chamber music series; an educational Family Musical Mornings series; and Sunday Casual Connections, an orchestral matinee series offering rich explorations of selected works led by St.Clair. Founded in 1978 as a collaboration between California State University, Fullerton (CSUF), and North Orange County community leaders led by Marcy Mulville, the Symphony performed its first concerts at Fullerton s Plummer Auditorium as the Pacific Chamber Orchestra, under the baton of then-csuf orchestra conductor Keith Clark. Two seasons later, the Symphony expanded its size and changed its name to Pacific Symphony Orchestra. Then in 1981-82, the orchestra moved to Knott s Berry Farm for one year. The subsequent four seasons, led by Clark, took place at Santa Ana High School auditorium where the Symphony also made its first six acclaimed recordings. In September 1986, the Symphony moved to the new Orange County Performing Arts Center, where Clark served as music director until 1990, and from 1987-2016, the orchestra has additionally presented a Summer Festival at Irvine Meadows Amphitheatre. Ten years ago, the Symphony moved into the Renée and Henry Segerstrom Concert Hall, with striking architecture by Cesar Pelli and acoustics by Russell Johnson and in 2008, inaugurated the hall s critically acclaimed 4,322- pipe William J. Gillespie Concert Organ. The orchestra embarked on its first European tour in 2006, performing in nine cities in three countries. The 2016-17 season continues St.Clair s commitment to new music with commissions by pianist/ composer Conrad Tao and composer-in-residence Narong Prangcharoen. Works commissioned and performed by the Symphony include the release of William Bolcom s Songs of Lorca and Prometheus in 2015-16. In 2014-15, Elliot Goldenthal released a recording of his Symphony in G-sharp Minor, written for and performed by the Symphony. In 2013-14, the Symphony released Richard Danielpour s Toward a Season of Peace and Philip Glass The Passion of Ramakrishna; in 2012-13, Michael Daugherty s Mount Rushmore in 2012-13 all three commissioned and performed by the Symphony. The Symphony has also commissioned and recorded An American Requiem by Danielpour and Fire Water Paper: A Vietnam Oratorio by Goldenthal featuring Yo-Yo Ma. Other recordings have included collaborations with such composers as Lukas Foss and Toru Takemitsu. Other leading composers commissioned by the Symphony include Paul Chihara, Daniel Catán, James Newton Howard, William Kraft, Ana Lara, Tobias Picker, Christopher Theofanidis, Frank Ticheli and Chen Yi. PACIFIC SYMPHONY In both 2005 and 2010, the Symphony received the prestigious ASCAP Award for Adventurous Programming. Also in 2010, a study by the League of American Orchestras, Fearless Journeys, included Pacific Symphony as one of the country s five most innovative orchestras. The Symphony s award-winning education programs benefit from the vision of St.Clair and are designed to integrate the orchestra and its music into the community in ways that stimulate all ages. The Symphony s Class Act program has been honored as one of nine exemplary orchestra education programs by the National Endowment for the Arts and the League of American Orchestras. The list of instrumental training initiatives includes Pacific Symphony Youth Orchestra, Pacific Symphony Youth Wind Ensemble and Pacific Symphony Santiago Strings. The Symphony also brings the gift of music to Orange County communities through its many programs including arts-x-press, Class Act, Heartstrings, OC Can You Play With Us?, Santa Ana Strings, Strings for Generations and Symphony in the Cities. Pacific Symphony 7
MEET the orchestra CARL ST.CLAIR MUSIC DIRECTOR William J. Gillespie Music Director Chair RICHARD KAUFMAN PRINCIPAL POPS CONDUCTOR Hal and Jeanette Segerstrom Family Foundation Principal Pops Conductor Chair ROGER KALIA ASSISTANT CONDUCTOR Mary E. Moore Family Assistant Conductor Chair NARONG PRANGCHAROEN COMPOSER-IN-RESIDENCE FIRST VIOLIN Vacant Concertmaster, Eleanor and Michael Gordon Chair Paul Manaster Associate Concertmaster Jeanne Skrocki Assistant Concertmaster Nancy Coade Eldridge Christine Frank Kimiyo Takeya Ayako Sugaya 20 Ann Shiau Tenney Maia Jasper Robert Schumitzky Agnes Gottschewski Dana Freeman Grace Oh Angel Liu Marisa Sorajja SECOND VIOLIN Bridget Dolkas* Elizabeth and John Stahr Chair Yen-Ping Lai Yu-Tong Sharp Ako Kojian Ovsep Ketendjian Linda Owen Phil Luna MarlaJoy Weisshaar Alice Miller-Wrate Shelly Shi Chloe Chiu VIOLA Vacant* Catherine and James Emmi Chair Meredith Crawford** Carolyn Riley 20 John Acevedo Erik Rynearson Victor de Almeida Julia Staudhammer Joseph Wen-Xiang Zhang Pamela Jacobson Adam Neeley Cheryl Gates Margaret Henken CELLO Timothy Landauer* Catherine and James Emmi Chair Kevin Plunkett** John Acosta Robert Vos László Mezö Ian McKinnell M. Andrew Honea Waldemar de Almeida Jennifer Goss Rudolph Stein BASS Steven Edelman* Douglas Basye** Christian Kollgaard David Parmeter Paul Zibits David Black Andrew Bumatay Constance Deeter FLUTE Benjamin Smolen* Valerie and Hans Imhof Chair Sharon O Connor Cynthia Ellis PICCOLO Cynthia Ellis OBOE Jessica Pearlman Fields* Suzanne R. Chonette Chair Ted Sugata ENGLISH HORN Lelie Resnick CLARINET Joseph Morris* The Hanson Family Foundation Chair David Chang BASS CLARINET Joshua Ranz BASSOON Rose Corrigan* Elliott Moreau Andrew Klein Allen Savedoff CONTRABASSOON Allen Savedoff FRENCH HORN Keith Popejoy* Mark Adams TRUMPET Barry Perkins* Susie and Steve Perry Chair Tony Ellis David Wailes TROMBONE Michael Hoffman* David Stetson BASS TROMBONE Kyle Mendiguchia TUBA James Self* TIMPANI Todd Miller* PERCUSSION Robert A. Slack* Cliff Hulling HARP Mindy Ball* Michelle Temple PIANO CELESTE Sandra Matthews* PERSONNEL MANAGER Paul Zibits LIBRARIANS Russell Dicey Brent Anderson PRODUCTION STAGE MANAGER Will Hunter STAGE MANAGER & CONCERT VIDEO TECHNICIAN William Pruett * Principal ** Assistant Principal On Leave The musicians of Pacific Symphony are members of the American Federation of Musicians, Local 7. Celebrating or 20 years with Pacific Symphony this season. 8 Pacific Symphony