the spy who loved me: the music of james bond · pdf filetheme from mission impossible lalo...

summer festival 2016AUG. 21

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

Official Television StationOfficial Classical Radio Station

Official Pops Radio Station

Official Media Sponsor

PacificSymphony.org • (714) 755-5799

Official Hotel

PACIFIC SYMPHONY’S SUMMER FESTIVAL 2016AT IRVINE MEADOWS AMPHITHEATRE

presents

ALBERT-GEORGE SCHRAM • CONDUCTORSHEENA EASTON • VOCALIST | SCOTT COULTER • VOCALIST

Theme from Mission ImpossibleLalo Schifrin

Theme from Get SmartIrving Szathmary

Theme from The Pink PantherHenry Mancini

Theme from Alfred Hitchcock Presents(Funeral March of a Marionette)Charles Gounod

A View to a KillJohn Barry & Duran Duran Scott Coulter

Windmills of Your Mind from The Thomas Crown AffairMichel LeGrand Scott Coulter

Against All OddsPhil Collins Scott Coulter

Sooner or Later from Dick TracyStephen Sondheim Sheena Easton

Whistling Away the Dark from Darling LiliHenry Mancini & Johnny Mercer Sheena Easton

I Know Him So Well from ChessBenny Anderson, Bjorn Ulvaeus & Tim Rice Sheena Easton

Separate Lives from White NightsStephen Bishop Sheena Easton, Scott Coulter

Theme from Austin Powers(Soul Bossa Nova)Quincy Jones

Theme from The SaintEdwin Astley

Theme from Charlie’s AngelsJack Elliott & Allyn Ferguson

Pop Spy Medley:“Private Eyes“ by Hall & Oates“Hello“ by Lionel Richie“Every Breath You Take“ by The Police Scott Coulter

Mack the KnifeKurt Weill Scott Coulter

Theme from James BondMonty Norman

GoldfingerJohn Barry, Leslie Bricusse & Anthony Newley Sheena Easton

Diamonds Are ForeverJohn Barry & Don Black Sheena Easton

SkyfallAdele Adkins & Paul Epworth Sheena Easton

For Your Eyes OnlyBill Conti & Mick Leeson Sheena Easton

I N T E R M I S S I O N

The Spy Who Loved Me:The Music of James Bond

The concert begins at 7:30 p.m.

This concert is generously sponsored by

1806 Symphony Summer Insert 4.indd 17 8/4/16 8:57 PM

E qually adept at conducting classical and pops programs, Albert-George Schram has led a wide variety of repertoire for many orchestras in the U.S. and abroad. Schram is currently resident conductor of the Nashville Symphony and resident staff conductor of

the Columbus (Ohio) and Charlotte symphonies. He has conducted classical, pops, holiday and educational concerts for all three orchestras. He has also served as music director of the Lubbock (Texas) Symphony and the Lynn (Fla.) Philharmonic, and has held titled positions with the Louisville and Florida philharmonic orchestras.

Schram’s guest-conducting roster has included the symphonies of Dallas, Charlotte, Tucson, New Orleans (Louisiana Philharmonic), Oklahoma City, Spokane, Dayton and San Antonio, among others. His conducting engagements abroad have been with the Netherlands Radio Philharmonic, the Taegu Symphony in Korea, the Orquestra Sinfonica Nacional of Bolivia, the Orquestra Sinfonica Universidad Nacional de Cuyo (in Mendoza, Argentina), the National Symphony Orchestra of Uzbekistan and the Orchester der Allgemeinen Musikgesellschaft in Luzern, Switzerland.

Educated at The Hague Conservatory in his native Netherlands, Schram has also studied at the University of Calgary and the University of Washington. His teachers have included Rafael Kubelik, Franco Ferrara, Abraham Kaplan and Neeme Järvi.

Schram has worked with many distinguished artists, including pianists Lang Lang and Olga Kern and violinist Elmar Oliveira, among others. His vast performance repertoire has included the Requiems of Verdi and Berlioz, most of the standard symphonies (by Mozart, Beethoven, Tchaikovsky, Brahms, Mahler, et al.), the basic concerto repertoire, and music by such acclaimed contemporary composers as John Corigliano and Jennifer Higdon. As a pops conductor, Schram has worked with James Taylor, Art Garfunkel, Chris Botti, LeAnn Rimes, Boyz II Men, Kenny G, Olivia Newton-John, Chicago, Aretha Franklin and many others. He also has put together a variety of theme programs, including a Big Band show, a Ray Charles tribute, “Home for the Holidays“ (a Christmas program) and a romantic evening called “That’s Amore.“

S heena Easton, whose career has spanned four decades, was born in Bellshill, Scotland, is the youngest of six children and is the mother of two children, Jake and Skylar. Her recording career has included Gold and Platinum albums in the United States, Europe and Asia.

She has sold over 20 million records worldwide, received two Grammys, and was the first—and still only—artist to have top five records on five major Billboard charts. In addition to her recording success, Easton is a top concert attraction around the world.

Easton also has a list of notable acting credits including a five-episode appearance on Miami Vice, a co-starring role opposite Stacy Keach in a John Carpenter-directed trilogy for Showtime titled Body Bags, and as a guest star in the cult syndicated series The Highlander and a starring role in UPN’s Ghost Stories. Other guest roles have included Brisco County and Tech Wars, as well as a starring role in Showtime’s Outer Limits. Easton also appeared as a regular on the 2005 PAX TV show Young Blades. During 2004 Easton and Brian McKnight hosted a talk show originating in Las Vegas.

On Broadway, Easton starred as Aldonza/Dulcinea in Man of La Mancha opposite the late Raul Julia’s Don Quixote. Throughout its year-long run the play remained one of the five top-grossing hits at the box office. She also starred on Broadway in the hit musical Grease as Rizzo.

Easton has been busy with frequent appearances in Las Vegas, where she has been a major attraction for the last two decades, and she was recently inducted into the Las Vegas Hall Of Fame.

Seen in venues not only nationally, but internationally, Easton continues to perform her hits and fan favorites. She is most at home working with the band, but has expanded her love of the concert stage as a guest vocalist in various programs with symphonies across the nation and has made frequent appearances in “The Spy Who Loved Me.“ This allows her to blend her romance with various styles of music: American standards, pop and Broadway.

ARTISTS meet the guest artists

Summer Festival 2016

ALBERT-GEORGE SCHRAMCONDUCTOR

SHEENA EASTONVOCALIST


The Spy Who Loved Me

S cott Coulter is one of New York’s most honored vocalists. For his work in cabaret, he has received fi ve MAC Awards (Manhattan Association of Cabarets and Clubs), fi ve Bistro Awards and two Nightlife Awards for Outstanding Vocalist and has performed at most of

NYC’s top rooms including Birdland, 54 Below, The Oak Room at the Algonquin and Feinstein’s at The Regency, where he spent a record-setting eight months performing the revue 11 O’Clock Numbers at 11 O’Clock which he also co-created, directed and musically arranged. His self-titled debut CD won the 2003 MAC Award for Outstanding Recording and was chosen as the best recording of the year by TheatreMania and Cabaret Scenes magazine which pronounced it “quite simply, the best these ears have ever heard.“

Coulter was director and star of A Christmas Carol: The Symphonic Concert in its world premiere with the Baltimore Symphony and reprised his role in the Emmy-nominated PBS production which premiered in December 2013.

Since 1997, Scott has performed around the country with award-winning songwriting duo Marcy Heisler and Zina Goldrich in their many revues. While singing with Goldrich and Heisler, he was discovered by Oscar and Grammy-winning composer Stephen Schwartz who then invited him to join the revue Stephen Schwartz & Friends. That revue (starring Schwartz and Coulter along with Liz Callaway and Tony Award-winner Debbie Gravitte) has been performing all over the world since 1999. Schwartz has said, “One of the greatest things that can happen to a composer is to have his music interpreted by Scott Coulter.“

Coulter regularly performs in concert both as a solo artist and with a variety of legendary performers including Stephen Schwartz, Tony winner Ben Vereen and Grammy winner Sheena Easton. He has performed with symphonies all over the world including San Francisco, Baltimore, Seattle, Phoenix, Winnipeg, St. Louis and Calgary. He is also a director of many shows in New York and on tour.

Coulter is founder/owner of Spot-On Entertainment. He’s a resident director of programming at 54 Below (Broadway’s Supper Club) in NYC and is a graduate of the Cincinnati College-Conservatory of Music.

ARTISTS meet the guest artists

SCOTT COULTERVOCALIST

“America’s reigning diva”—The Washington Post

“A voice that possesses the complex sweetness of wildflower honey…”—The Toronto Star

and Pacific SymphonyCARL ST.CLAIR, conductor • September 13, 2016

An Evening With

On SaleNOW!

A ONE-NIGHT-ONLY SPECTACULARInternationally acclaimed opera superstar Renée Fleming—one of the

truly great voices of our time—joins Pacific Symphony to inaugurate the orchestra’s 10th season in the stunning Renée and Henry Segerstrom

Concert Hall. The beloved soprano sings Richard Strauss’ Four Last Songs, along with personal and popular favorites from the

opera world and Broadway stage.

PacificSymphony.org • Call (714) 755-5799



NOTES

prototype of the proper British literary spy was Somerset Maugham’s character Ashenden—a shy, diffi dent playwright born as Edgar Brodie, later recruited to intelligence ops by a certain Colonel R. and given the name Ashenden as his cover.

In Ashenden’s world we can see a reverse template for Bond’s. Ian Fleming, aristocratic and well educated, arose from the same gentlemanly world as Somerset Maugham, and like Maugham, he mined his own life and experience to create his fi ctional master spy. But while Maugham gained his knowledge of espionage in World War I, Fleming’s Bond is a creature of the Cold War and the Atomic Age—a time when, as the writer Ed Sikov notes in his book about the fi lm industry of the 1950s, Laughing Hysterically, moviegoers were deeply anxious about “the brute fact of the Korean War, the resulting boom in bomb shelters, and the nationwide dissemination of pamphlets about how to remain alive in a nuclear holocaust....“ When we went to the movies we took our nightmares with us. Ashenden’s manners, intellectualism and moral complexity seemed distant and irrelevant, and the world of Fleming’s great contemporary in espionage fi ction—John le Carré—seemed way too serious, morally complex and drably real. We wanted escapist entertainment with outlandish plots, big explosions and beautiful women. We wanted a man of action who could seduce the women, kill the bad guys and vanquish our fears. We wanted James Bond.

After the fi rst couple of entries in the James Bond fi lm franchise—From Russia with Love (1962) and Dr. No (1963)—it became clear that an iconic hit song should be part of agent 007’s standard equipment. And since the fi lms are hyperbolically intense from beginning to end, the songs, too, must be bold. A great Bond song must confront us with strong emotion, yet also tempt us with an ironic twist—like the twist of lemon in Bond’s martini. It also helps to have a great vocalist with a signature voice to serve it up.

Music for an Insouciant Hero

E spionage is as old as history. The fi rst spy story that many of us learn, the biblical narrative of Samson and Delilah, is hardly the oldest. But spies have a special affi nity for the movies, and

there is one fi ctional spy in particular—James Bond—who seems born for the silver screen. The devil-may-care 007 is the very model of the modern-day movie hero: handsome, insouciant, eff ortlessly sexy and seemingly indestructible. Everything about him is cinematic, from the impeccable cut of his bespoke suits (Savile Row, of course) to his sybaritic lifestyle, with its very dry, shaken-not-stirred martinis outnumbered only by beautiful women.

Still going strong, the James Bond fi lm franchise is by far the most durable in the history of the movies. It began more than half a century ago, but James himself doesn’t look a day older than—well, no age at all, really. Unfl appably suave, he shows no signs of slowing down. But the birth of James Bond is actually one of the more improbable events in British cultural history. It took place in 1952, when Ian Fleming wrote a book called Casino Royale that wove together the strands of his own rather checkered career.

At age 44, Fleming had been a journalist and stockbroker, and had worked in naval intelligence during World War II. But as his colleagues on Fleet Street might have said, he had not yet tried to “write long.“ Still, he showed a confi dent and highly original way with suspense narrative as he deployed the writing skills he developed fi rst at the aristocratic Eton College and later in studies in Germany and Austria, then professionally at the Reuters news agency. Having worked directly for the director of Naval Intelligence in the Admiralty in London, his knowledge of intelligence operations and the wilder side of international espionage was keen. And even his background in the upper reaches of world fi nance came in handy as he situated the action of Casino Royale in glittering Monte Carlo, with Bond working elegantly under cover. The fate of the world depended upon his ability to wear perfectly tailored clothes, hold his liquor, seduce beautiful women and play baccarat for stratospherically high stakes using other people’s money with casual eff ortlessness.

Like the spy game itself, the charismatic Mr. Bond seems always to have been with us. But what we now take for granted seemed startling in 1953, when he shattered the mold of British espionage fi ction—just as the seemingly permanent verities of the British Empire had been shattered by the world wars. Until then, the

by michael clive

Casino Royale (2006); Eva Green (Vesper) and Daniel Craig (James Bond); ©MGM/Columbia Pictures/Photofest

Dr. No (1962); Jack Lord and Sean Connery; ©United Artists/Photofest



NOTESof London from streetwalkers to the police chief’s daughter, and no matter how closely he’s pursued, a woman is always nearby to help him out. In the movie version by Peter Brook, Laurence Olivier is a compelling Macheath.

In pre-World War II Germany, The Beggar’s Opera served as the basis for The Threepenny Opera, by composer Kurt Weill and playwright Bertolt Brecht with Elisabeth Hauptmann. “The Ballad of Mack the Knife“ comes from this acidly satirical “play with music.“ Not surprisingly, its success made it a target of the Nazis and forced its creators and Lotte Lenya, Brecht’s wife, to fl ee Germany for the U.S. Here, in a legendary 1950s New York production of Threepenny (translated from the original Die Dreigroschenoper), the outlaw Mackie Messer (knife) became “Mac the Knife.“ (Lenya would go on to play Rosa Klebb in the early Bond fi lm From Russia With Love.)

With swing versions by Louis Armstrong (1956) and Bobby Darin (1959), “The Ballad of Mack the Knife“ became a jazz-pop standard—simple yet sophisticated, and somehow hypnotic. But have you listened carefully to those lyrics? They convey the menace hidden just over your shoulder. Is it Mackie, with his lethal switchblade? A video game? Or the brute fact of oppression, war and violence fl aring when we least expect it?

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

The Listener’s Guide to Bond’s World—and Bond Songs

I f a song invites us to visit a musical world for a while, a Bond song takes us into a gleaming fantasy of romance and adventure. Bond’s world is packed with action and populated by beautiful,

eager women. The alcohol is copious, the gadgets ingenious and the epically evil bad guys bent on world domination. But ah, those women! More than just looks, they also possess special skills that make them formidable antagonists or allies—expertise that suggests the possibility of other skills reserved for the bedroom.

Bond’s amazing gadgetry is most often lethal; though Fleming himself never owned an Aston Martin, he gave one to Bond and equipped it with rocket launchers and a passenger ejector seat. Bond’s assignments and his fabulous gear are issued by his boss, M, most recently played by Dame Judi Dench in a prescient characterization that anticipates the icy competence of Angela Merkel and Theresa May, the new prime minister of Great Britain. As for Bond’s famous martinis, “shaken, not stirred“ (no serious afi cionado of fi ne spirits would actually shake them), killjoy academics calculate that Fleming’s narratives depict Bond consuming 1,150 units of alcohol in 88 days of work, an average of 92 units per week—four times the medically recommended maximum. Then there are Bond’s weird, ruthless antagonists—villains who seem to think that world domination is the only salve for their wounded psyches. In the words of the English music-hall ditty, they kill for power because “Daddy never bought them a bow-wow.“

Now, about those songs: No pressure, Mr. or Ms. Composer, but a Bond song is expected to be a hit, with musical impact to match the movie’s spectacular action on the geopolitical battlefi eld and in the bedroom. It takes a special kind of singer to provide this kind of gripping vocalism, and the biggest stars of the day have been recruited to the cause. Some renditions have become iconic pop interpretations: Shirley Bassey’s “Goldfi nger,“ Tom Jones’ “Thunderball,“ Nancy Sinatra’s “You Only Live Twice“ and “Live and Let Die“ by Paul McCartney and Wings, to name just a few.

Our musical expectations click into gear and our detailed mental picture of Bond’s world automatically surrounds us with the fi rst few notes of these songs. We know the musical ingredients: emotional intensity, dramatic phrases that build to rich climaxes and suggestive lyrics that use puns to confl ate all of Bond’s abilities as a covert agent and a lover. Loudness—big emotions and big, forte phrases are a must. When Carly Simon crooned “Nobody Does It Better“ with smoky ardor, she sounded like the fi rst woman who ever said “baby, you’re the best.“ But frankly, nobody ever did it better than Sheena Easton, whose rendition of “For Your Eyes Only“ accomplished the impossible: Simultaneously big and intimate, it imbues a standard phrase in the espionage lexicon with smoldering double-meaning.

Look — There Goes Mac the Knife!

W hat’s a scoundrel like Mac the Knife doing alongside James Bond, a quintessential good guy? “The Ballad of Mack the Knife“ traces its lineage back to one of James Bond’s most

illustrious forebears: the amoral, charismatic highwayman Macheath who was “captain“ of a gang of thieves in John Gay’s 1728 musical satire The Beggar’s Opera, an “anti-opera“ that interpolated popular operatic arias and folk songs of the day.

Macheath and Bond have much in common, especially their infallible way with women. Mackie has seduced every woman in his district

THANK YOU TO OUR SPONSOR

Jaguar Land Rover Aston Martin Newport Beach are proud ongoing sponsors of Pacifi c Symphony. Nestled along Jamboree Road in Newport Beach, the dealership is dedicated to serving the local community with excellent product and customer service. Experience the All-New Jaguar F-PACE crossover or Range Rover Sport at their award-winning facility today. For more information, please call (949) 432-4085 or visit www.Hornburg.com.

Live and Let Die (1973); Roger Moore and Jane Seymour; ©United Artists/Photofest



CARL meet the music director

T he 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.

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

I n 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 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, 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.

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.

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

NARONG PRANGCHAROEN • COMPOSER-IN-RESIDENCE

FIRST VIOLINVacant Concertmaster, Eleanor and Michael Gordon

ChairPaul Manaster Associate ConcertmasterJeanne Skrocki Assistant ConcertmasterNancy Coade EldridgeChristine FrankKimiyo TakeyaAyako SugayaAnn Shiau TenneyMaia Jasper†Robert SchumitzkyAgnes GottschewskiDana FreemanGrace OhAngel LiuMarisa Sorajja

SECOND VIOLINBridget Dolkas*

Elizabeth and John Stahr ChairYen-Ping LaiYu-Tong SharpAko KojianOvsep KetendjianLinda OwenPhil LunaMarlaJoy WeisshaarAlice Miller-WrateShelly ShiChloe Chiu

VIOLAVacant* Catherine and James Emmi

ChairMeredith Crawford**Carolyn RileyJohn AcevedoErik RynearsonVictor de AlmeidaJulia StaudhammerJoseph Wen-Xiang ZhangPamela JacobsonAdam NeeleyCheryl GatesMargaret Henken

CELLOTimothy Landauer* Catherine and James Emmi

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

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

CLARINETJoseph Morris* The Hanson Family

Foundation ChairDavid Chang

BASS CLARINETJoshua Ranz

BASSOONRose Corrigan*Elliott MoreauAndrew KleinAllen Savedoff

CONTRABASSOONAllen Savedoff

FRENCH HORNKeith Popejoy*Mark AdamsRussell Dicey

TRUMPETBarry Perkins* Susie and Steve Perry ChairTony EllisDavid Wailes

TROMBONEMichael Hoffman*David Stetson

BASS TROMBONEKyle Mendiguchia

TUBAJames Self*

TIMPANITodd Miller*

PERCUSSIONRobert A. Slack*Cliff Hulling

HARPMindy Ball*Michelle Temple

PIANO•CELESTESandra Matthews*

PERSONNEL MANAGERPaul Zibits

LIBRARIANSRussell DiceyBrent Anderson

PRODUCTION STAGE MANAGERWill Hunter

STAGE MANAGER & CONCERT VIDEO TECHNICIANWilliam Pruett

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the spy who loved me: the music of james bond · pdf filetheme from mission impossible lalo...

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