Thursday, June 6, 2019 @ 8 p.m.Friday, June 7, 2019 @ 8 p.m.Saturday, June 8, 2019 @ 8 p.m.Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall

Carl St.Clair, conductorBenjamin Smolen, fluteJessica Pearlman Fields, oboeRose Corrigan, bassoonKeith Popejoy, horn

2019 JUNE4 0 t h s e A s o n

M A h L e R ’ s “ t I t A n ”2018-19 PACIFIC SYMPHONY

sInFonIA ConCeRtAnte FoR FoUR WInDs In e-FLAt MAJoR Allegro Adagio Andantino con variationiBenjamin SmolenJessica Pearlman FieldsRose CorriganKeith Popejoy

sYMPhonY no. 1 In D MAJoR (“tItAn”) Langsam, schleppend Kräftig bewegt Feierlich und gemessen Stürmisch bewegt

Mozart

Intermission

Mahler

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Sunday, June 9, 2019 @ 3 p.m.Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall

Carl St.Clair, conductor

2019 JUNE4 0 t h s e A s o n

M A h L e R ’ s F I R s t

sYMPhonY no. 1 In D MAJoR (“tItAn”) Langsam, schleppend Kräftig bewegt Feierlich und gemessen Stürmisch bewegt

Mahler

2018-19 SUNDAY CASUAL CONNECTIONS SERIES

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sYMPhonY no. 1 In D MAJoR (“tItAn”)Langsam, schleppendKräftig bewegtFeierlich und gemessenStürmisch bewegt

Wolfgang Amadeus Mozart:Sinfonia Concertante for Four Winds

Trying to think of a non-boring way to state timeworn truisms about Mozart’s uncanny way with the sinfonia concertante form and with wind instruments in groups, your

intrepid annotator imagined himself at a rock arena: “When I say concertante, you say pleasure! Concertante! Pleasure! Concertante! Pleasure!” Sheer entertainment is the common element among the forms that the sinfonia concertante can take; the phrase itself is one of those terms, like “fantasia” or “rhapsody,” that can mean whatever the composer wishes, within limits. Nobody composed sinfonias like Mozart, just as no one—to this day—has ever grouped woodwind instruments with such textural eloquence and beauty.

Looking at the instrumentation for this concertante, we might expect it to resemble a baroque concerto grosso, with a group of four solo wind instruments foregrounded in a vigorous musical dialogue with a larger group of strings in the background. But not this time. Mozart composed this sinfonia during his extended professional tour of Paris in 1778, where musical tastes called for something more relaxed, with the solo instruments supported by pure accompaniment in the strings. Mozart had reason to tailor his work accordingly: at age 22 he was a renowned composer, but he had not

PROGRAM NOTES achieved the recognition he wanted, and was seeking the kinds of commissions that would enhance his professional reputation. Three years later he would move to Vienna for the same reason.

The ease and simplicity of this sinfonia contrasts with the story of its commission, which has been the subject of intrigue and speculation going back to its inception. Because the original manuscript score was lost, some scholars are unwilling to go beyond identifying the commonly accepted performing edition—mysteriously found in the late 1860s, and not in Mozart’s hand—as “attributed to” Mozart. Others were certain that Mozart himself identifies it in this famous excerpt from a letter he sent from Paris to his family in Salzburg (regarding a concert producer he felt was trying to swindle him):

LeGros bought my 2 overtures and the sinfonia concertante; he thinks he alone has that music now, but that’s not quite true, for I still have it fresh in my head and shall write it down again as soon as I get home.

Your intrepid annotator suggests that when it comes to this gloriously pleasurable work, we let our own ears do the authenticating. Alternatively, we can rely on the redoubtable Robert Levin, a musicologist and pianist who is one of the foremost living authorities on Mozart, and whose prodigious talent is oddly Mozartean. (It’s said that while he was still in his teens, he memorized every note Amadeus ever wrote.) Analyzing with clarinetist and scholar Daniel Leeson, Levin’s complex and highly qualified conclusion is that this sinfonia is at least largely Mozart, though the orchestration is still up for grabs.

Gustav Mahler: Symphony No. 1 in D Major, “Titan”

Today we know Mahler primarily as a symphonist—some would say the pre-eminent symphonist since Beethoven. But during his lifetime, the acceptance that Mahler’s symphonies won

from critics and the public was mostly grudging, barely hinting at the appreciation that these masterworks would receive later. His artful song cycles placed him within the lineage of the foremost German-language art-song composers, but somehow did not establish him as a composer of greatness. As a conductor, on the other hand, Mahler was a giant of his day, with a reputation that made him perhaps the first modern celebrity-conductor. (His ill-fated stint as leader of the New York Philharmonic is one of the tragedies of his life and of American music.) As a conductor of opera, he was a penetrating musical analyst with a tremendous sense of theater. All of these factors helped shape his approach to symphonic composition, which he reserved for his biggest ideas about music and the search for meaning in life, and for transcendence through the sublimity of music. Often described as monumental, Mahler’s symphonies offer the listener an experience that is not only transcendently beautiful, but that also reflects Mahler’s experience in working through these ideas.

Born in 1860 in Bohemia, Mahler was one of the composers who toiled in the shadow of Beethoven, who had redefined the possibilities of symphonic form with his “Choral” Symphony, the Ninth.

Wolfgang Amadeus MozartBorn: 1756. Salzburg, AustriaDied: 1791. Vienna, Austria

sinfonia Concertante for Four Winds Composed: 1778

World premiere: Unknown

Most recent Pacific Symphony performance: Dec. 13, 1987

Instrumentation: 2 oboes, 2 horns, strings, solo flute, solo oboe, solo bassoon and solo horn

estimated duration: 32 minutes

Gustav MahlerBorn: 1860. Kaliště, CzechiaDied: 1911. Vienna, Austria

symphony no. 1 in D Major, “titan”Composed: 1887-88

World premiere: Nov. 20, 1889, at the Vigadó Concert Hall in Budapest

Most recent Pacific Symphony performance: April 2, 2011, with Justin Brown conducting

Instrumentation: 4 flutes including piccolo, 4 oboes including English horn, 4 clarinets including bass clarinet and e-flat clarinet, 3 bassoons including contrabassoon, 7 horns, 4 trumpets, 3 trombones, one tuba, 2 timpani, percussion, harp and strings

estimated duration: 53 minutes

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In 1888, when he composed most of his Symphony No. 1, other composers were still incorporating the familiar, decorative conventions of the late Romantic era in their symphonies—Dvořák, Saint-Saëns, Brahms and Tchaikovsky, to name a few. Though Brahms was also haunted by the specter of Beethoven, he worked as an apprentice might with a master’s tools and traditions. It was Mahler who faced the challenge of revolutionizing the form as Beethoven did, and who used it to express the fullness of meaning he found in the biggest metaphysical questions and the deepest personal experiences we face as human beings. Mahler was insecure about many things, but had no doubts regarding theimportance of his own music. Musicologists marvel that at age 29, the composer expected nothing but success when his First Symphony premiered in Budapest on Nov. 20, 1889. Unlike the symphonists who preceded him, he actually provided his own nickname for this symphony, and though he dropped the “Titan” designation after just a few performances, one glance at the huge roster of instruments shown above will tell you why the name stuck. What happens when a hugely ambitious and startlingly innovative orchestral work lands with a thud? Stravinsky’s Sacre du printemps started a riot; Mahler’s First wasn’t a fiasco, but rather a fizzle, greeted with scattered boos and halfhearted applause. “Naively, I imagined it would be child’s play for performers and listeners, and would have such immediate appeal that I should beable to live on the profits and go on composing,” he told his friend Natalie Bauer-Lechner. By contrast, Brahms, who was in his 40s and a successful composer by the time he completed his first symphony, was tormented by anxiety over its introduction. What could have caused Mahler to miscalculate the musical public’s readiness for his Symphony No. 1 sogrossly? No less than his later symphonies, this symphony incorporates formal innovations, jarring dissonances and cheek-by-jowl juxtapositions of classical and popular musical motifs—elements that might have shocked contemporary listeners, but had lost all sense of novelty and risk for Mahler, whose work habits were obsessive and immersive. Though he did most of his work on this symphony in the year 1888, when he was 28, he drew upon musical sources dating back to his teens. Mahler

may also have taken confidence from initial reaction to his 1884 song cycle, Songs of a Wayfarer, which was already revered by musical insiders though it had not yet achieved a wider following. Two of the cycle’s songs provide thematic material for the symphony, and the love that inspired it—Mahler’s thwarted affair with the soprano Johanna Richter—was a wellspring for the emotions we hear in the symphony. As with many of his compositions, Mahler continued to revise and correct his Symphony No. 1 for years after its premiere. He completed the final performing edition in 1906. As the symphony’s first movement takes rise, we hear the legacy of Beethoven: the seemingly random accretion of natural sounds as they gather into music, evoking a beautiful spring morning. As the tempo hastens, the movement’s key settles into D major and we hear the wayfarer’s walking theme as he seeks consolation over love’s disappointment. Many listeners hear a questing, self-questioning mind at work in Mahlerian movements such as this one, prompted by a wounding experience: as we listen, are we working through the lover’s personal anguish, or are we surrendering to self-pity? We know the rustic Austrian dances known as Ländler from composers dating back to Haydn, Beethoven and Mozart (who loved to write them). But in Mahler, they are staples in his recurring juxtaposition of the elegant and the vulgar. In the second movement of this symphony, the example we hear is based on Mahler’s 1880 song “Hans und Grethe.” Some listeners hear suggestions of taking comfort through drinking here—a frequent element in such country dances. But any possible humor or sentimentality is eclipsed in the symphony’s third movement, a funeral march that intensifies the contrast between elegance and vulgarity to a degree that Mahler’s contemporary audiences found disturbing. Yes, that is the familiar children’s song “Frère Jacques” (known in German as “Brüder Martin”) that we hear in the midst of the grotesquely solemn funeral march. More street music follows—café songs, hints of klezmer and Magyar themes—before Mahler startlingly transports us to an extended lyrical passage that brings the movement to a close.

The symphony ends with one of the most theatrical movements in the symphonic repertory, as the hysteria of a violently dissonant opening evokes what Mahler called “the cry of a wounded heart.” This agony yields to a peaceful, expansive melody borne up by cellos and violins; though the pain of the opening bars returns, it includes trumpet fanfares suggesting the eventual triumph over the pain of lost love. Eventually we hear a reprise of the morning sounds that opened the symphony and a final interchange between optimism and despair. Mahler’s scoring instructs that the horn players rise to their feet, playing “as if to drown out the entire orchestra” in triumphant resolution.

Michael Clive is a cultural reporter living in the Litchfield Hills of Connecticut. He is program annotator for Pacific Symphony and Louisiana Philharmonic, and editor-in-chief for The Santa Fe Opera.

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The 2018-19 season marks Music Director Carl St.Clair’s 29th 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-budgeted 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. In April 2018, St.Clair led Pacific Symphony in its Carnegie Hall debut, as the finale to the Hall’s yearlong celebration of pre-eminent composer Philip Glass’ 80th birthday. He led Pacific Symphony on its first tour to China in May 2018, the orchestra’s first international tour since touring Europe in 2006. The orchestra made its national PBS debut in June 2018 on “Great Performances” with Peter Boyer’s Ellis Island: The Dream of America, conducted by St.Clair. Among St.Clair’s many creative endeavors are the highly acclaimed

American Composers Festival, which began in 2000; and the opera initiative, “Symphonic Voices,” which continues for the eighth season in 2018-19 with Puccini’s Madame Butterfly, following the concert-opera productions of The Magic Flute, Aida, Turandot, Carmen, La Traviata, Tosca and La Bohème in previous seasons. 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 featured 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, 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. 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 Matinées , OC Can You Play With Us?, arts-X-press and Class Act.

CARl St.ClAIR

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beN SMoleN flute

Benjamin Smolen was appointed principal flutist of Pacific Symphony in September 2011, where he occupies the Valerie and Hans Imhof Chair. He has won top prizes at the Haynes International

Flute Competition, James Pappoutsakis Memorial Flute Competition, National Flute Association Young Artist Competition and New York Flute Club Young Artist Competition. He has given solo performances in Russia, Japan, Belgium, France and as concerto soloist with Pacific Symphony, Princeton University Orchestra, Charlotte Civic and Youth Orchestras, and Gardner Webb Symphony Orchestra. Smolen’s performances have been featured on NPR (Performance Today and From the Top), WGBH-Boston, WDAV-Charlotte, French National Radio, and the Naxos and Mode record labels. Additionally, he can be heard on the soundtracks for movies such as Monsters University, Planes, A Million Ways to Die in the West, Night at the Museumand Star Wars: The Force Awakens. He recently released his debut album, Bach to Beaser, with guitarist Jerome Mouffe. Smolen studied at Princeton University, the Moscow Conservatory, the New England Conservatory and the University of Michigan. His primary teachers include Paula Robison, Michael Parloff and Aleksandr Golyshev. He is a William S. Haynes Artist and performs on a handmade, custom-crafted Haynes 14-karat gold flute.

JeSSICA PeARlMAN FIelDS oboe

Jessica Pearlman Fields currently holds the position of principal oboe for Pacific Symphony. Fields moved to Southern California after completing her Master of Music degree in 2009 at The Juilliard

School as a student of Elaine Douvas, Nathan Hughes and Pedro Diaz, all of the Metropolitan Opera. While in New York, she performed and toured with some of the city’s most esteemed ensembles, including the Orpheus Chamber Orchestra, the New York City Ballet and the Metropolitan Opera. She was a member

RoSe CoRRIgAN bassoon

Rose Corrigan started playing bassoon to escape from the flute section of her high school band. It was an act of rebellion, and perhaps a way to sit closer to boys. After her first lesson she brought

the bassoon home, hoping to shock her parents with her act of bravery and independence, only to discover that her mother had played it herself in high school. This undermined her act of rebellion; however, she was already passionate about the instrument, loving its variety of tone color, richness and lyricism. Its tessitura was closer to that of her voice, and she discovered that she was drawn to the supporting role it often plays in the repertoire.

of the Verbier (Switzerland) Festival Orchestra from 2007-09, participating in two international tours led by Charles Dutoit and Ludovic Morlot and working in the summer under such conductors as Valery Gergiev and Kurt Masur. As a soloist, Fields was featured with the San Jose Chamber Symphony, a performance MetroActive described as “extraordinary … [she] dazzled through the overlapping melodies and 32nd-note runs of a bravura show-off piece by Antonino Pasculli … [a] barrage of acclamation followed her tour de force …” Other solo appearances include the Mozart oboe concerto with the Pacific Chamber Symphony and Colorado College Summer Music Festival and the Bach Double Concerto for Oboe and Violin with the Mansfield Symphony Orchestra in Ohio, where she also served as principal oboe during the 2005-06 season. An avid chamber musician, Fields has performed with Orli Shaham on Pacific Symphony’s prestigious Café Ludwig Chamber Music series and tours regularly with her innovative New York-based chamber group “Shuffle Concert.”

Fields hails from Half Moon Bay, Calif., where she studied oboe and violin and performed in the San Francisco Symphony Youth Orchestra and with her local community orchestra. Her continued study of music and science brought her to Oberlin College and Conservatory, where she earned a Bachelor of Music under the tutelage of the late James Caldwell as well as a Bachelor of Arts in Neuroscience, as a pre-med student.

Currently, Corrigan is principal bassoonist of Pacific Symphony, the Hollywood Bowl Orchestra and the Pasadena Symphony, and a former member of the Los Angeles Chamber Orchestra and the Los Angeles Opera Orchestra. Corrigan is a graduate of the University of Southern California where she studied with Michael O’Donovan, a teacher whose pedagogy included exposure to great cinema, literature and restaurants. She returned to the university as an adjunct professor, teaching bassoon from 1993 until 2011.

Corrigan has played bassoon and contrabassoon on the soundtracks of over 500 motion pictures, working with composers such as Michael Giacchino, Patrick Doyle, Hans Zimmer, Danny Elfman, John Powell, Jerry Goldsmith, John Williams, James Horner, Michel Legrand, Michael Kamen and William Ross. A few of the films that include her playing are Ice Age, Life of Pi, Bolt, Despicable Me, Dances with Wolves, A River Runs Through It, Aladdin, The Lion King, Cars, Enchanted, WALL-E and Pirates of the Caribbean. Her bassoon solos are prominent in March of the Penguins, one of the only movies to list a bassoonist in its closing credits. She has also performed on hundreds of records for stars like Paul McCartney, Tony Williams, Barbra Streisand and Natalie Cole.

KeItH PoPeJoy horn

Principal horn player Keith Popejoy has been with Pacific Symphony since 2004. Popejoy is also a long-time resident of San Diego, having attended San Diego State University 1983-85. After

graduating, Popejoy served as first call substitute horn for the San Diego Opera and San Diego Symphony from 1985 to 1994. In 1997, he played principal horn with the San Diego Chamber Orchestra, followed by two years as principal horn with the San Antonio Symphony. Concurrent with this, Popejoy became third horn with the San Diego Opera and assistant principal horn with San Diego Symphony from 1994-2008. During the summer, Popejoy can be found back down in San Diego, performing in La Jolla’s Summerfest.

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Pacific Symphony, led by Music Director Carl St.Clair for the last 29 years, has been the resident orchestra of the Renée and Henry Segerstrom Concert Hall for over a decade. Currently in its 40th season, the Symphony is the largest-budgeted 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. In April 2018, Pacific Symphony made its debut at Carnegie Hall as one of two orchestras invited to perform during a yearlong celebration of composer Philip Glass’ 80th birthday, and the following month the orchestra toured China. The orchestra made its national PBS debut in June 2018 on “Great Performances” with Peter Boyer’s Ellis Island: The Dream of America, conducted by St.Clair. Presenting more than 100 concerts and events a year and a rich array of education and community engagement programs, the Symphony reaches more than 300,000 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. Eight seasons ago, the Symphony launched the highly successful opera initiative, “Symphonic Voices,” which continues in February 2019 with Puccini’s Madame Butterfly. It also offers a popular Pops season, enhanced by state-of-the-art video and sound, led by Principal Pops Conductor Richard Kaufman. Each Symphony season also includes Café Ludwig, a chamber music series; an educational Family Musical Mornings series; and Sunday Matinées, an orchestral matinée 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, and from 1987-2016, the orchestra additionally presented a Summer Festival at Irvine Meadows Amphitheatre. In 2006, 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 continued St.Clair’s commitment to new music with commissions by pianist/composer Conrad Tao and former Composer-in-Residence Narong Prangcharoen. Recordings commissioned and performed by the Symphony include the release of William Bolcom’s Songs of Lorca and Prometheus in 2015-16, Richard Danielpour’s Toward a Season of Peace and Philip Glass’ The Passion of Ramakrishna in 2013-14; and Michael Daugherty’s Mount Rushmore and

The Gospel According to Sister Aimee in 2012-13. In 2014-15, Elliot Goldenthal released a recording of his Symphony in G-sharp Minor, written for 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. 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 the Symphony as one of the country’s five most innovative orchestras. The Symphony’s award-winning education and community engagement 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 spreads the joy of music through 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

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Carl St.Clair, Music DirectorWilliam J. Gillespie Music Director Chair

Richard Kaufman, Principal Pops ConductorHal and Jeanette Segerstrom Family Foundation Principal Pops Conductor Chair

Roger Kalia, Associate ConductorMary E. Moore Family Assistant Conductor Chair

Sections listed alphabetically under principal

F IR ST V IOL IN

Dennis KimConcertmaster; Eleanor and Michael Gordon Chair

Paul Manaster Associate Concertmaster

Jeanne SkrockiAssistant Concertmaster;Arlene and Seymour Grubman Chair

Nancy Coade EldridgeChristine Frank Kimiyo TakeyaAyako SugayaAnn Shiau TenneyAi NihiraRobert SchumitzkyAgnes GottschewskiDana FreemanAngel Liu

SECOND V IOL IN

Bridget Dolkas*Elizabeth and John Stahr Chair

Jennise Hwang**Yen Ping LaiYu-Tong SharpAko KojianOvsep KetendjianLinda Owen Sooah KimMarlaJoy WeisshaarAlice Miller-WrateShelly Shi

VIOL A

Meredith Crawford*Catherine and James Emmi Chair

Joshua Newburger**Carolyn RileyJohn AcevedoAdam NeeleyJulia StaudhammerJoseph Wen-Xiang ZhangCheryl GatesMargaret Henken

C E L LO

Timothy Landauer*Catherine and James Emmi Chair

Kevin Plunkett**John AcostaRobert VosLászló MezöIan McKinnellM. Andrew HoneaWaldemar de AlmeidaJennifer GossRudolph Stein

BASS

Steven Edelman*Douglas Basye**Christian KollgaardDavid ParmeterPaul ZibitsDavid BlackAndrew BumatayConstance Deeter

FL UTE

Benjamin Smolen*Valerie and Hans Imhof Chair

Sharon O’ConnorCynthia Ellis

PI CCOLO

Cynthia Ellis

OBOE

Jessica Pearlman Fields*Suzanne R. Chonette Chair

Ted Sugata

ENGLI SH HORN

Lelie Resnick

CL ARI NET

Joseph Morris*The Hanson Family Foundation Chair

David Chang

BASS CL ARI NET

Joshua Ranz

BASSOON

Rose Corrigan*Elliott MoreauAndrew KleinAllen Savedoff

CONT R ABASSOON

Allen Savedoff

F RENCH HORN

Keith Popejoy*Adedeji OgunfoluKaylet Torrez**

T RUMPET

Barry Perkins*Susie and Steve Perry Chair

Tony EllisDavid Wailes

T ROMBONE

Michael Hoffman*David Stetson

BASS T ROMBONE

Kyle Mendiguchia

TUBA

James Self*

T I MPANI

Todd Miller*

PERCUSSI ON

Robert A. Slack*

H ARP

Mindy Ball*Michelle Temple

PIANO•CELESTE

Sandra Matthews* 

PER SONNEL M ANAGER

Paul Zibits

LI BR ARI ANS

Russell DiceyBrent Anderson

PRODUCT I ON & STAGE M ANAGER

Will Hunter

STAGE M ANAGER & CONCERT V I DEO T ECHNI C I AN

William Pruett

DI RECTOR OF I M AGE M AGNI F I CAT I ON

Jeffery Sells

POPS AND OPER A L IGHTING D I RECTOR

Kathy Pryzgoda

P A C I F I C s Y M P h o n Y

* Principal** Assistant Principal† On Leave

Celebrating or years with Pacific Symphony this season.

The musicians of Pacific Symphony are members of the American Federation of Musicians, Local 7.

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