aug. 18 summerfest 2018...summerfest 2018 | 19 john meet the composer john williams composer i n a...

SummerFest 2018AUG. 18PACIFIC SYMPHONY’S SUMMERFEST 2018

AT PACIFIC AMPHITHEATREOC FAIR & EVENT CENTER

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P A C I F I C S Y M P H O N Y P R O U D L Y R E C O G N I Z E S I T S O F F I C I A L P A R T N E R S

The concert begins at 8 p.m.RICHARD KAUFMAN • CONDUCTOR

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SummerFest 2018 | 17

A STEVEN SPIELBERG FILM

“E.T. THE EXTRA-TERRESTRIAL”

DEE WALLACE

PETER COYOTE

HENRY THOMAS as ELLIOTT

Music by: JOHN WILLIAMS

Written by: MELISSA MATHISON

Produced by: STEVEN SPIELBERG and KATHLEEN KENNEDY

Directed by: STEVEN SPIELBERG

A UNIVERSAL PICTURE

Tonight’s program is a presentation of the complete fi lm E.T. The Extra-Terrestrial with a live performance of the fi lm’s entire score,including music played by the orchestra during the end credits. Out of respect for the musicians and

your fellow audience members, please remain seated until the conclusion of the credits.

E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All Rights Reserved. Available on Blu-ray and DVD from Universal PIctures Home Entertainment.

1970 Symphony Summer Insert 4.indd 17 8/6/18 10:30 AM

RICHARD meet the principal pops conductor

RICHARD KAUFMANHAL AND JEANETTE SEGERSTROMFAMILY FOUNDATION PRINCIPAL POPS CONDUCTOR CHAIR

R ichard Kaufman has devoted much of his musical life to conducting and supervising music for film and television productions, as well as performing film and classical music in concert halls and on recordings. The 2018–19 season marks Kaufman’s 28th as principal

pops conductor of Pacific Symphony. He is in his 13th season with the Chicago Symphony Orchestra concert series, CSO at the Movies, and holds the permanent title of pops conductor laureate with the Dallas Symphony.

Kaufman regularly appears as a guest conductor with symphony orchestras throughout the United States and around the world, including Cleveland, Philadelphia, St. Louis, the Royal Liverpool Philharmonic, the RTÉ Concert and RTÉ National Orchestras in Dublin, Indianapolis, San Diego and the Royal Scottish National Orchestra. In September, he will make his conducting debut with the Leipzig Gewandhaus Orchestra.

In addition to traditional concert presentations, he often conducts complete film scores in concert, synchronizing the music as the film is shown above the orchestra. These include Casablanca, North by Northwest, Singin’ in the Rain, The Wizard of Oz, Psycho, Vertigo, E.T. The Extra-Terrestrial, Jurassic Park, The Bride of Frankenstein, Pirates of the Caribbean I and II, Silverado, On the Waterfront, Raiders of the Lost Ark, Jaws, Star Trek (2009), Star Trek Beyond, Home Alone, Harry Potter and Star Wars (various episodes). Kaufman also conducts the scores to various silent films. He recently made his New York Philharmonic debut conducting five sold-out performances of the Oscar-winning film Amadeus.

Kaufman received the 1993 Grammy Award in the Best Pop Instrumental Performance category. He has recorded with the London Symphony, Nuremberg Symphony, the New Zealand Symphony and the Brandenburg Philharmonic Orchestra in Berlin.

He also has conducted for numerous performers including John Denver, Andy Williams, Nanette Fabray, Amy Grant, the Beach Boys, Chicago, Chris Botti, Arturo Sandoval and many others.

As a studio violinist, Kaufman performed on numerous film and television scores including Jaws, Close Encounters of the Third Kind, and (in a moment of desperation) Animal House. He has recorded and performed in concert with artists including John Denver, Burt Bacharach, the Carpenters, Ray Charles and Frank Sinatra.

Kaufman served as music associate to Lionel Newman at 20th Century Fox before joining the music department of Metro-Goldwyn-Mayer Studios in 1984 as music coordinator. For 18 years, he supervised music at MGM, during which he received two Emmy Award nominations. As a unique part of his career, Kaufman has coached various actors in musical roles, including Jack Nicholson, Dudley Moore and Tom Hanks.

In 2012, Kaufman received the Distinguished Alumni Award from California State University–Northridge (CSUN), where, as a student, he composed the University’s alma mater and fight song. He is a member of the music advisory board of the Young Musicians Foundation, and is on the board of the Film Music Foundation.

Born in Los Angeles, Kaufman began violin studies at the age of seven, played in the Peter Meremblum California Junior Symphony, was a member of the Young Musicians Foundation Debut Orchestra, attended the Berkshire Music Festival at Tanglewood in the fellowship program and earned a degree in music from CSUN. His wife, Gayle, is a former dancer/actress in film, television, and on Broadway, and his daughter, Whitney, is a singer/actress performing on recordings and in concert with orchestras around the world.

He is proud to be represented by Opus 3 Artists.

18 | PACIFIC SYMPHONY



JOHN meet the composer

JOHN WILLIAMSCOMPOSER

I n a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices.

He has composed the music and served as music director for more than 100 films, including all eight Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG and The Post. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games and the 2002 Winter Olympic Games.

Williams has received five Academy Awards and 51 Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), 24 Grammys, four Golden Globes, five Emmys and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. government. In 2016, he received the 44th Life Achievement Award from the American Film Institute—the first time in their history that this honor was bestowed upon a composer.

In January 1980, Williams was named 19th music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor, which he assumed following his retirement in December 1993, after 14 highly successful seasons. He also holds the title of artist-in-residence at Tanglewood. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra and a horn concerto for the Chicago Symphony Orchestra. In 2009, Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama, and in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra entitled “On Willows and Birches.”



NOTESimagination. But it is also an intimate tale of a young boy named Elliott, who fi nds a kindred spirit in E.T., a stranded wayfarer from another world, longing to fi nd his way home.

The success of E.T. astonished many Hollywood insiders. It surpassed Star Wars as the top-grossing fi lm of all time, a position it held for more than a decade, until another Spielberg epic, Jurassic Park (1993), pulled ahead. But with its contrasting moods ranging from grown-up authority to child-like wonder to the mysteries of outer space, the fi lm presented some novel challenges for Maestro Williams. The composer notes:

One of the experiences on E.T. that’s most clear in my mind has to do with the end of the movie. That 15-minute sequence required a lot of specifi c musical accents—a gesture for each speed bump of the bike chase; dramatic accents for the police cars; a special lift for the bicycles taking off —each one of which had to be exactly in the right place. When the orchestra was assembled to record the music with the picture running, I was unable to get a performance that felt right musically and emotionally while achieving all of the various sync points required by the fi lm. I expressed my concerns to Steven. He suggested that we take the movie off , and that I conduct the orchestra as I would want to in a concert, so that the performance would be completely uninhibited by any considerations of mathematics and measurement. Steven then adjusted the editing of the last reel of the fi lm to confi gure with the musical performance, which we all felt was more powerful emotionally.

In the redoubtable Wall Street Journal, a 2011 profi le of Williams by writer John Jurgensen was headlined “The Last Movie Maestro.” Jurgensen noted that a résumé surveying composer John Williams’ principal achievements in the movie industry would have to be 15 pages long. That was seven years and more than half a dozen movies ago. And let’s not forget that Williams is also a noted conductor and composer of concert and occasional pieces.

A large part of the legend is Williams’ alliance with Steven Spielberg and his terrifying score for Jaws, which became the prototypical summer blockbuster and broke all existing box-offi ce records with its release in 1975. The score for Jaws became famous with just two repeated bass notes—the spine-tingling theme that Williams wrote to suggest the presence of a dangerous shark that was rarely seen. It became the sound of nightmare fantasy for millions of viewers, and still rings in our ears as the essence of terror. Just as Jaws was often compared to Hitchcock thrillers, its score was often compared to Bernard Herrmann’s soundtrack for Psycho, which also ratcheted up

LISTENING TO E.T.

E.T. The Extra-TerrestrialDirected by Steven Spielberg (b. 1946)Music by John Williams (b. 1932)

T here can be no question that Steven Spielberg is one of the most skillful storytellers that Hollywood has ever produced, whose fi lms over the past four decades have brought untold

enjoyment to hundreds of millions of people around the globe. Earlier this year he became the fi rst director whose features have surpassed $10 billion in box-offi ce receipts.

Not surprisingly, Spielberg has always had a keen eye and ear for talent. His creative partnership with composer John Williams is surely one of the most durable and rewarding “marriages” in Hollywood, starting with Spielberg’s feature fi lm debut The Sugarland Express, and followed by Williams’ iconic music for the director’s fi rst blockbuster, Jaws (1975), made when Spielberg was just 27. Equally brilliant and even richer in musical narrative, Williams’ score for their later collaboration Raiders of the Lost Ark (1981) harks back to the golden era of Hollywood, when composers such as Erich Korngold and Bernard Herrmann were indispensable to the creation of epic swashbucklers and costume dramas.

As regular patrons of the Pacifi c Symphony fi lm series will recall, in Raiders of the Lost Ark we not only saw one of the greatest of all Hollywood adventure features; we also heard a master composer at work. Combining esteemed musical traditions with a compositional skill that has kept up with the times, the sound of Raiders of the Lost Ark works in perfect unison with the onscreen adventure, updating the thrills of the classic swashbuckler with contemporary spirit, wit and zest in a score that Billboard magazine ranked as number four among Williams’ 10 best.

In composing the score for E.T. The Extra-Terrestrial, Williams faced a challenge that was perhaps even more daunting: to capture the spirit of a great adventure and great ideas, but with the innocence of childhood. As a science-fi ction story, E.T. is as big as the human

by michael clive

A NOTE FROM THE COMPOSER

S teven Spielberg’s fi lm E.T. The Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and

new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless and true, that the fi lm absolutely qualifi es to be ranked as a classic.

What’s particularly special about tonight’s concert is that we’ll hear one of our great symphony orchestras, Pacifi c Symphony, performing the entire score live, along with the complete picture, sound eff ects and dialogue.

I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event … and I hope that tonight’s audience will fi nd great joy in experiencing this magical fi lm.



NOTESbroadcasts with newscasters Chet Huntley and David Brinkley. Williams also composed “Liberty Fanfare” for the rededication of the Statue of Liberty; “We’re Lookin’ Good!” for the Special Olympics in celebration of the 1987 International Summer Games; and themes for the 1984, 1988 and 1996 Summer Olympic games and the 2002 Winter Olympics. A recent concert work—Seven for Luck, for soprano and orchestra—is a seven-piece song cycle based on the texts of former U.S. Poet Laureate Rita Dove. Seven for Luck was given its world premiere by the Boston Symphony with soprano Cynthia Haymon as soloist and Maestro Williams conducting.

John Williams led the Boston Pops Esplanade Orchestra on United States tours in 1985, 1989 and 1992, and on a tour of Japan in 1987. He led the Boston Pops Orchestra on tours of Japan in 1990 and 1993. In addition to leading the Boston Symphony Orchestra at Symphony Hall and at Tanglewood, Williams has appeared as guest conductor with a number of major orchestras, including the London Symphony Orchestra, the Cleveland Orchestra, the Philadelphia Orchestra, the Chicago Symphony, the Pittsburgh Symphony, the Dallas Symphony, the San Francisco Symphony and the Los Angeles Philharmonic. Williams holds honorary degrees from 22 American universities, including Harvard University, The Juilliard School, Berklee College of Music in Boston, Boston College, Northeastern University, Tufts University, Boston University, the New England Conservatory of Music and the University of Massachusetts at Boston. He is a recipient of the Kennedy Center Honors, the National Medal of Arts and is the only composer to be honored with the American Film Institute’s Life Achievement Award.

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.

the tension and curdled our blood with the accompaniment to the famous shower scene. In E.T. we have the equivalent in the euphoric sense of limitless freedom in Williams’ music for that fabled bicycle ride. Even the most jaded and persnickety film critics were beguiled by the joy expressed by this sequence. The music seems to lift us, just as the bicycle is lifted. We feel like kids again.

Born in Queens, New York, John Williams moved to Los Angeles with his family in 1948. There he attended UCLA and studied composition privately with Mario Castelnuovo-Tedesco—like Williams, a composer who balanced a respect for tradition and a gift for melody with more modern influences.

After service in the Air Force, he returned to New York to attend The Juilliard School, where he studied piano with the distinguished pedagogue Rosina Lhévinne. While in New York, he also worked as a jazz pianist in clubs. Returning to Los Angeles, he began his career in the film industry, working as a studio pianist with such composers as Bernard Herrmann, Alfred Newman and Franz Waxman. He went on to write music for many television programs in the 1960s, winning two Emmy Awards for his work.

In January 1980, Williams was appointed the 19th conductor of the Boston Pops Orchestra since its founding in 1885, succeeding the beloved Arthur Fiedler. He assumed the title of Boston Pops Laureate Conductor following his retirement in December 1993, and currently holds the title of artist-in-residence at Tanglewood.

Williams has written many concert pieces, including a symphony, a sinfonietta for wind ensemble, a cello concerto premiered by Yo-Yo Ma and the Boston Symphony Orchestra at Tanglewood in 1994, concertos for the flute and violin recorded by the London Symphony Orchestra, concertos for the clarinet and tuba, and a trumpet concerto, which was premiered by the Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996. His bassoon concerto, The Five Sacred Trees, which was premiered by the New York Philharmonic and principal bassoon player Judith LeClair in 1995, was recorded for Sony Classical by Williams with LeClair and the London Symphony.

Movies are hardly Williams’ only link to popular culture; he also composed the well-known NBC News theme “The Mission,” introducing the network’s evening news program; as listeners of a certain age (including your intrepid annotator) can recall, this theme replaced a passage from the scherzo movement of Beethoven’s Symphony No. 9, which had long introduced the network’s nightly

PRODUCTION CREDITS

E.T. The Extra-Terrestrial: In Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie RichardsonProduction Manager: Rob StogsdillProduction Coordinator: Sophie GreavesWorldwide Representation: IMG Artists, LLCSupervising Technical Director: Mike RuniceTechnical Director: Warren Brown

Music Composed by John Williams Music Preparation: Jo Ann Kane Music ServiceFilm Preparation for Concert Performance: Ramiro BelgardtTechnical Consultant: Laura GibsonSound Remixing for Concert Performance: Chace Audio by DeluxeThe score for E.T. The Extra-Terrestrial has been adapted for live concert performance.With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Carol Nygren, Patrick Koors, Tammy Olsen, Darice Murphy, Lauren Purnell, Kristin Stark, Mark Graham and the musicians and staff of Pacific Symphony.



CARL meet the music director

T he 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 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 2010; 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 Casual Connections, OC Can You Play With Us?, arts-X-press and Class Act.

CARL ST.CLAIRWILLIAM J. GILLESPIEMUSIC DIRECTOR CHAIR



PACIFIC SYMPHONY

P acific 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 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 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, 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.

ABOUT pacific symphony



MEET the orchestra

* Principal** Assistant Principal

† On Leave

Celebrating or years with Pacific Symphony this season.

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 • ASSISTANT CONDUCTORMary E. Moore Family Assistant Conductor Chair

FIRST VIOLINVacant Concertmaster; Eleanor and

Michael Gordon ChairPaul Manaster Associate ConcertmasterJeanne Skrocki Assistant ConcertmasterNancy Coade EldridgeChristine FrankKimiyo TakeyaAyako Sugaya 20

Ann Shiau TenneyAi NihiraRobert SchumitzkyAgnes GottschewskiDana FreemanAngel LiuMarisa Sorajja

SECOND VIOLINBridget Dolkas* 20

Elizabeth and John Stahr ChairJennise Hwang** Yen Ping LaiYu-Tong SharpAko KojianOvsep KetendjianLinda OwenSooah KimMarlaJoy WeisshaarAlice Miller-WrateShelly Shi

VIOLAMeredith Crawford* Catherine and James Emmi

ChairJoshua Newburger**Carolyn Riley† 20

John AcevedoAdam NeeleyJulia StaudhammerJoseph Wen-Xiang ZhangPamela Jacobson†Cheryl GatesMargaret Henken

CELLOTimothy Landauer* Catherine and James Emmi

ChairKevin Plunkett** 30

John AcostaRobert VosLászló MezöIan McKinnellM. Andrew HoneaWaldemar de AlmeidaJennifer GossRudolph Stein 30

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

FLUTEBenjamin Smolen* Valerie and Hans Imhof ChairSharon O’ConnorCynthia Ellis

PICCOLOCynthia Ellis

OBOEJessica Pearlman Fields* Suzanne R. Chonette ChairTed Sugata

ENGLISH HORNLelie Resnick 20

CLARINETJoseph Morris* The Hanson Family

Foundation ChairDavid Chang

BASS CLARINETJoshua Ranz 20

BASSOONRose Corrigan*Elliott MoreauAndrew KleinAllen Savedoff

CONTRABASSOONAllen Savedoff

FRENCH HORNKeith Popejoy*Kaylet Torrez**

TRUMPETBarry Perkins* Susie and Steve Perry ChairTony EllisDavid Wailes

TROMBONEMichael Hoffman*David Stetson

BASS TROMBONEKyle Mendiguchia

TUBAJames Self*

TIMPANITodd Miller*

PERCUSSIONRobert A. Slack*

HARPMindy Ball*Michelle Temple

PIANO•CELESTESandra Matthews*

PERSONNEL MANAGERPaul Zibits

LIBRARIANSRussell DiceyBrent Anderson

PRODUCTION STAGE MANAGERWill Hunter

STAGE MANAGER & CONCERT VIDEO TECHNICIANWilliam Pruett

The musicians of Pacific Symphony are members of the American Federation of Musicians, Local 7. 30 20


aug. 18 summerfest 2018...summerfest 2018 | 19 john meet the composer john williams composer i n a...

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