summerfest 2017AUG 19PACIFIC SYMPHONY’S SUMMERFEST 2017

AT PACIFIC AMPHITHEATREOC FAIR & EVENT CENTER

presents

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

RICHARD KAUFMAN • CONDUCTOR

A STEVEN SPIELBERG FILM

The performance begins at 8 p.m.

Offi cial Classical Radio Station

Offi cial Pops Radio Station

Offi cial Media Sponsor

Pacifi cSymphony.org • (714) 755-5799

This concert is generously sponsored by Diane and Rodney Sawyer and Capital Group.

Offi cial Television StationOffi cial Hotel

SUMMERFEST 2017 | 17

SAM NEILL • LAURA DERN • JEFF GOLDBLUM • and RICHARD ATTENBOROUGH

BOB PECK • MARTIN FERRERO • B.D. WONGSAMUEL L. JACKSON • WAYNE KNIGHT • JOSEPH MAZZELLO • ARIANNA RICHARDS

Live Action Dinosaurs Full Motion Dinosaurs by STAN WINSTON DENNIS MUREN, A.S.C.

Dinosaur Supervisor Special Dinosaur Eff ects PHIL TIPPETT MICHAEL LANTIERI

Music byJOHN WILLIAMS

Film Edited by Production Designer Director of Photography MICHAEL KAHN, A.C.E. RICK CARTER DEAN CUNDEY, A.S.C.

Based on the Novel by Screenplay by MICHAEL CRICHTON MICHAEL CRICHTON and DAVID KOEPP

Produced byKATHLEEN KENNEDY and GERALD R. MOLEN

Directed bySTEVEN SPIELBERG

A UNIVERSAL PICTURE

Tonight’s program is a presentation of the complete fi lm Jurassic Park 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.

Jurassic Park is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All Rights Reserved. 29

FCL Jurassic Park Purchaser Agreement Updated 12-16-16

(ORCHESTRA NAME) (DATE / TIME OF PERFORMANCE) (CONDUCTOR NAME)

A STEVEN SPIELBERG Film

SAM NEILL

LAURA DERN

JEFF GOLDBLUM

and RICHARD ATTENBOROUGH

_____

BOB PECK

MARTIN FERRERO

B.D. WONG

SAMUEL L. JACKSON

WAYNE KNIGHT

JOSEPH MAZZELLO

ARIANA RICHARDS

Live Action Dinosaurs STAN WINSTON

Full Motion Dinosaurs by DENNIS MUREN, A.S.C.

Dinosaur Supervisor

PHIL TIPPETT

Special Dinosaur Effects MICHAEL LANTIERI

Supporting Sponsor

18 | PACIFIC SYMPHONY

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 fi lm and television productions, as well as performing fi lm and classical music in concert halls and on recordings. The 2017-18 concert season marks Kaufman’s 27th

season as principal pops conductor of Pacifi c Symphony. He also holds the permanent title of pops conductor laureate with the Dallas Symphony, and soon begins his 12th season with the Chicago Symphony Orchestra concert series, “CSO at the Movies.” In May 2015, Kaufman made his conducting debut with the Boston Pops, substituting for John Williams at the Annual Pops Film Night, and last summer, Mr. Williams graciously invited him to share the podium at the annual Tanglewood Film Night.

Kaufman regularly appears as a guest conductor with symphony orchestras throughout both the United States and around the world including Cleveland, Atlanta, St. Louis, Liverpool, the RTE Concert Orchestra in Dublin, Indianapolis, San Diego and the Royal Scottish National Orchestra. In addition to conducting “traditional” concert presentations, Kaufman often leads performances of complete fi lm scores in concert, synchronizing the music to the actual fi lm as it is shown on the screen above the orchestra. These legendary fi lm titles include Amadeus, E.T. the Extra Terrestrial, Raiders of the Lost Ark, Singin’ in the Rain, The Wizard of Oz, Jaws, Home Alone, Psycho, Casablanca, The Bride of Frankenstein, Pirates of the Caribbean, Silverado, Star Trek and various silent fi lms. Last summer, Kaufman conducted the San Diego Symphony in the Gala premiere performance with fi lm of Michael Giacchino’s score for Star Trek Beyond. It was the fi rst time a fi lm has been presented outdoors in IMAX.

Kaufman received the 1993 Grammy Award in the category of Best Pop Instrumental Performance. In addition to his two recordings with the London Symphony Orchestra, he has recorded CDs with the Nuremberg Symphony, the New Zealand Symphony Orchestra and the Brandenburg Philharmonic in Berlin.

He has conducted for performers including John Denver, Andy Williams, Mary Martin, Nanette Fabray, Sir James Galway, Chris Botti, The Beach Boys, Peter, Paul and Mary, Robert Goulet, David Copperfi eld, The Righteous Brothers and Art Garfunkel.

As a violinist, Kaufman performed on numerous fi lm and television scores including Jaws, Close Encounters of the Third Kind, Saturday Night Fever and (in a moment of desperation) Animal House. He has recorded with artists including John Denver, Burt Bacharach, Neil Sedaka, The Carpenters and Ray Charles.

Kaufman joined the music department of Metro-Goldwyn-Mayer Studios in 1984 as music coordinator, and for the next 18 years supervised music for MGM. He received two Emmy Award nominations, one for the animated series, The Pink Panther, in the category of Outstanding Music Direction and Composition, and another for Outstanding Original Song co-authored for the series, All Dogs Go to Heaven. For the MGM television series In the Heat of the Night, Kaufman composed songs with actor/producer Carroll O’Connor. He conducted the scores for various fi lms including Guarding Tess and Jungle to Jungle. As a unique part of his career in fi lm, 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). While a student at CSUN, he composed the University’s Alma Mater and Fight Song. He has appeared as a guest speaker at various universities including USC, Georgia and the California State Universities at Northridge and Fullerton. He is a member of the Music Advisory Board of the Young Musicians Foundation.

Born in Los Angeles, Kaufman began violin studies at age 7, played in the Peter Meremblum California Junior Symphony and was a member of the Young Musicians Foundation Debut Orchestra. He attended the Berkshire Music Festival at Tanglewood in the fellowship program, and earned a B.A. in Music from California State University, Northridge. Kaufman lives in Southern California with his wife, Gayle, a former dancer in fi lm, television and on Broadway. His daughter, Whitney, is a successful actress/singer who, for 2 ½ years, was a member of the cast of the National Tour of Mamma Mia! She is a graduate (with honors) from Chapman University.

Kaufman is proud to be represented by Opus 3 Artists.

SUMMERFEST 2017 | 19

JOHN WILLIAMSCOMPOSER

I n a career spanning more than fi ve decades, John Williams has become one of America’s most accomplished and successful composers for fi lm 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 fi lms, including all seven Star Wars fi lms, the fi rst three Harry Potter fi lms, 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 40-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful fi lms, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones fi lms, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse and Lincoln. His contributions to television music include scores for more than 200 television fi lms 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. He has received fi ve Academy Awards and 50 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), 23 Grammys, four Golden Globes, fi ve 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 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 fi rst 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 fi rst 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.”

ABOUT john williams

THANK YOU TO OUR SPONSORS

DIANE AND RODNEY SAWYER AND CAPITAL GROUP

Diane and Rodney Sawyer are wonderful friends of Pacifi c Symphony. Diane serves on Pacifi c Symphony’s Board of Directors and has a passion for our education and community programs. She is senior vice president, general manager of Capital Group, which has a long history of corporate support with Pacifi c Symphony. Capital Group currently provides funding for the Symphony’s Class Act program, which brings music into 30 elementary schools throughout Orange County. We are deeply grateful to Diane and Rodney for their ongoing support of Pacifi c Symphony, the summer concert series and for their generous sponsorship of the Jurassic Park concert.

20 | PACIFIC SYMPHONY

NOTES

JURASSIC PARK

I t’s a fi lm that made history: based on a 1990 novel by Michael Crichton, Jurassic Park broke box offi ce records and confi rmed that Crichton’s literary specialty—thrillers based on some of the most

important scientifi c ideas of our times—could keep moviegoers on the edge of their seats.

A tale combining genetic science with corporate greed, Jurassic Park centers on the development of a dinosaur theme park. But at this park, the dinosaurs are real… and they’re hungry. It’s a narrative premise tailor-made for director Steven Spielberg, who developed it with a superb cast including Sam Neill, Laura Dern, Jeff Goldblum and Richard Attenborough—renowned as a naturalist as well as an actor. Released in 1993, Jurassic Park initiated one of the most successful fi lm franchises in cinematic history. The fourth fi lm in the series, Jurassic World, was released in 2015, and the fi fth entry—Jurassic World: Fallen Kingdom—is scheduled to reach theaters in 2018.

Spielberg bought the rights for Crichton’s novel Jurassic Park before it even hit the presses, retaining Crichton to adapt it as a movie. He chose John Williams to do what Williams does like nobody else: compose a fi lm score with epic sweep and dramatic tension. At fi rst, matching a futuristic thriller by writer Michael Crichton with music by the statesmanlike composer John Williams might have seemed like an odd idea; Williams, after all, is often called a traditionalist, while Crichton was something of a futurist, refl ecting on the present while looking ahead toward potentially dire consequences. While Williams’ movie scores meld elements of classical musical styles of the past and present, Crichton used his knowledge of science to immerse himself in what-if scenarios, and answered with pulse-pounding speculative fi ctions.

But in watching Jurassic Park, we fi nd that the alliance of Spielberg, Crichton and Williams—like the brilliantly CGI-enhanced settings in Hawaii and elsewhere—seems perfectly natural. Crichton’s skill in combining technical ideas and emotive storytelling is the reason

why we are gripped by the complications of evolution, fossilized DNA and cloning; Williams’ music is why, as we watch a dinosaur in pursuit, we seem to feel its hot breath and the shaking ground.

John Williams is—should it go without saying?—

the composer of many of the most popular and recognizable fi lm scores of Hollywood’s modern era: Jaws, the Star Wars franchise, E.T. The Extra-Terrestrial, and of course the Indiana Jones franchise. No other composer approaches his dominance in the movie industry. His impressive productivity brings to mind the career of J.S. Bach, who also affi liated with a dominant cultural force of the time (in his case the church) and turned out inspired compositions with breathtaking speed. And like Bach’s, Williams’ career has become the stuff of cultural mythology, though in Williams’ case this distinction came during his lifetime, rather than later.

Williams’ creative partnership with Steven Spielberg began 19 years before Jurassic Park, fi rst with The Sugarland Express, which was followed by the terrifying score for Jaws, which became the prototypical summer blockbuster. 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.

Born in Queens, N.Y., 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 infl uences. After service in the Air Force he returned to New York to attend The Juilliard School, where he studied piano with Rosina Lhevinne. He also worked as a jazz pianist in clubs. Returning to Los Angeles, he began his career in the fi lm industry, working with such composers as Bernard Herrmann, Alfred Newman and Franz

by michael clive

A NOTE FROM THE COMPOSER

I n his highly successful book, Jurassic Park, author Michael Crichton enabled us to imagine what the return of the great vertebrates of 150 million years ago might be like. In his

thrilling 1993 fi lm adaptation, Steven Spielberg brought these fascinating and terrifying creatures to life, and in so doing captivated movie audiences around the world.

I must say that I greatly enjoyed the challenge of trying to tell the fi lm’s story musically. And while we can luxuriate this evening in the magnifi cent sound produced by Pacifi c Symphony as they perform the entire score live to the picture, it’s nevertheless tempting to imagine what the trumpeting of these great beasts of the distant past might have been like…

I know I speak for everyone connected with the making of Jurassic Park in saying that we’re greatly honored by this event… and I hope that tonight’s audience will have some measure of the joy we experienced while making the fi lm more than 20 years ago.

SUMMERFEST 2017 | 21

NOTES

Waxman. He went on to write music for many television programs in the 1960s, winning two Emmy Awards.

In January 1980, Williams was appointed the 19th conductor of the Boston Pops Orchestra since its founding in 1885, succeeding the revered 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’ breadth of experience on and off the podium seems to have made him comfortable (and skillful) in a huge range of compositional techniques. This versatility is one of the reasons that a 2011 profile of Williams in The Wall Street Journal could be headlined “The Last Movie Maestro.” But he also has a natural gift for musical narrative, and this talent is surely the main reason why his affiliation with Spielberg has reached legendary status. Both men take sheer joy in storytelling—Spielberg with a camera, Williams with an orchestra.

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 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 broadcasts 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. His 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. Williams conducted its premiere with the Boston Symphony and soprano Cynthia Haymon.

Michael Crichton was only 66 when he died almost nine years ago. But thanks to his intellectual vigor and the sheer abundance of his

ideas, he is still a living presence in American culture. No other artist of any kind did more to demonstrate the potential impact of seemingly distant scientific concepts on everyday life.

Crichton was famous for being brilliant, prolific and tall (six feet, nine inches). As an undergraduate at Harvard he already displayed a questing, fearless intellect that allowed him to see connections between seemingly disparate ideas and to challenge his professors. Though he showed early ability in writing, publishing a travel-related column in The New York Times at age 14, he switched his major at Harvard from English to biological anthropology, graduating summa cum laude and entering Harvard Medical School, where he tossed off novels under a pen name in his spare time.

With almost more smarts than he knew what to do with—he’d also received a major fellowship and visited Cambridge as a visiting lecturer in anthropology by the time he was 23—Crichton became recognized and celebrated as a visionary writer with the publication of his breakthrough novel, The Andromeda Strain. He was 27 and the year was 1969, when the Apollo 11 mission first brought human beings to the moon.

In The Andromeda Strain, Crichton asks: What if a dormant microorganism comes back from space with an astronaut? In Jurassic Park, he asks: Why not bring extinct animals back to life using preserved DNA? What’s the worst that could happen? In dozens of books and movies, Crichton addressed techno-geeky concerns like these in white-knuckle thrillers that made remote possibilities seem real. His books have sold more than 200 million copies around the world.

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.

PRODUCTION CREDITS Jurassic Park in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Alex Levy Music Composed by: John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe

The score for Jurassic Park has been adapted for live concert performance.

With special thanks to: Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, Chris Herzberger, Noah Bergman, Paul Ginsburg, Paul Tamara Woolfork, Adrienne Crew, Darice Murphy, Mike Matessino, Mark Graham and the musicians and staff of Pacific Symphony.

CARL meet the music director

T he 2017-18 season marks Music Director Carl St.Clair’s 28th 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 will lead Pacific Symphony in its Carnegie Hall debut, as the finale to a yearlong celebration of pre-eminent composer Philip Glass’ 80th birthday. 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 seventh season in 2017-18 with Mozart’s The Magic Flute, following the concert-opera productions of 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

22 | PACIFIC SYMPHONY

PACIFIC SYMPHONY

P acific Symphony, led by Music Director Carl St.Clair for the last 28 years, has been the resident orchestra of the Renée and Henry Segerstrom Concert Hall for over a decade. Currently in its 39th 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 will make its debut at Carnegie Hall as one of two orchestras invited to perform for a yearlong celebration of composer Philip Glass’ 80th birthday. 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. Seven seasons ago, the Symphony launched the highly successful opera initiative, “Symphonic Voices,” which continues in February 2018 with Mozart’s The Magic Flute. 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 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

SUMMERFEST 2017 | 23

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 SugayaAnn Shiau TenneyRobert SchumitzkyAgnes GottschewskiDana FreemanAngel LiuMarisa Sorajja

SECOND VIOLINBridget Dolkas*

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

VIOLAVacant* Catherine and James Emmi

ChairMeredith Crawford**Carolyn RileyJohn AcevedoVictor 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*Joshua Paulus**

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

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24 | PACIFIC SYMPHONY