Download PDF - Pacific Symphony

ORANGE COUNTY PERFORMING ARTS CENTER 

R E N É E A N D H E N R Y S E G E R S T R O M C O N C E R T H A L L 

Saturday, May 15, 2010, at 2:00 p.m. 

P R E S E N T S 

2009–2010 YOUTH WIND ENSEMBLE CONCERT SERIES 

PACIFIC SYMPHONY YOUTH WIND ENSEMBLE 

JOSHUA ROACH, CONDUCTOR 

NAMHEE HAN, ORGAN 

“Thundering Winds” 

GABRIELI 

(c.1555–1612) 

LAURIDSEN 

GIROUX 

(1882–1971) 

Canzon Primi Toni 

O Magnum Mysterium 

(Transcribed by H. Robert Reynolds) 

NAMHEE HAN 

La Mezquita de Córdoba 

— I N T E R M I S S I O N — 

HANSON 

(1896–1981) 

TICHELI 

DAUGHERTY 

Chorale and Alleluia 

Shenandoah 

Niagara Falls 

NAMHEE HAN 

S E G E R S T R O M C E N T E R F O R T H E A R T S 

Pacific Symphony P-11

ORANGE COUNTY PERFORMING ARTS CENTER 

R E N É E A N D H E N R Y S E G E R S T R O M C O N C E R T H A L L 

Sunday, May 16, 2010 

Pacific Symphony Santiago Strings at 2:30 p.m. 

Pacific Symphony Youth Orchestra at 4:00 p.m. 

P R E S E N T S 

2009–2010 CHENG FAMILY FOUNDATION 

YOUTH ORCHESTRA CONCERT SERIES 

PACIFIC SYMPHONY SANTIAGO STRINGS & 

PACIFIC SYMPHONY YOUTH ORCHESTRA 

IRENE KROESEN, CONDUCTOR PSSS • MAXIM ESHKENAZY, CONDUCTOR PSYO 

NAMHEE HAN, ORGAN 

KATRINA HERRERA • CHELSEA DEHN 

AARON GONZALES • EFRAIN MARTINEZ 

“Celebration in Sound” 

PACIFIC SYMPHONY SANTIAGO STRINGS 

P-12 Pacific Symphony 

SARCH 

Colonial Williamsburg Odyssey 

I. Tin Whistle March 

TIN WHISTLE: DOMINIC MUMOLO 

II. Burgess’ Ball at the Capitol 

Peter Pelham’s Minuet 

Cotillion: 18th Century Square Dance 

III. Candlelight Concert in the Governor’s Palace 

A Tribute to Vivaldi 

IV. Slave Songs 

Boat Song: Sold Off to Georgy 

Work Song: Hoe in My Ho’ 

VOCAL SOLOISTS: 

KATRINA HERRERA 

CHELSEA DEHN 

AARON GONZALEZ 

EFRAIN MARTINEZ 

V. Hymn at Bruton Parish Church 

All People That on Earth Do Dwell (The Doxology) 

VI. Fiddling at Chowning’s Tavern


(Program continued) 

BERNSTEIN 

(1918–1990) 

Arr. SARCH 

BERNSTEIN 

Arr. LONGFIELD 

COPLAND 

(1900–1990) 

“America” from West Side Story 

“One Hand, One Heart” from West Side Story 

“Hoe-Down” from Rodeo 

— I N T E R M I S S I O N — 


DAUGHERTY 

Once Upon a Castle 

The Winding Road to San Simeon 

Neptune Pool 

Silent Movies 

Rosebud 

BARBER Adagio for Strings 

(1910–1981) with Pacific Symphony Santiago Strings 

SHOSTAKOVICH Symphony No. 5 

(1906–1975) I. Moderato 

IV. Allegro non troppo 

S E G E R S T R O M C E N T E R F O R T H E A R T S 


PSYWE PROGRAM NOTES 

Canzon Primi Toni 

GIOVANNI GABRIELI 

(C.1555–1612) 

From its humble beginning in the fifth 

century as a marshy refuge for persons 

fleeing the barbarian invaders, 

Venice grew to become one of the 

wealthiest and most powerful states in 

Europe. Favorably situated for trade 

between East and West, owning a 

monopoly on salt and salted fish, and 

commanding the route to the Holy 

Lands during the Crusades, Venice grew 

and prospered for a thousand years. But 

in 1453 Bartholomew Diaz discovered 

the Cape route to India, and in 1492 

Columbus discovered the New World. 

Trade shifted to Spain and other Western 

nations, and the power of Venice began 

to decline. But even in decline Venice 

was still glorious, perhaps more so than 

in its prosperity. For it was not until this 

period that Venice began to make its 

great contributions to art and music. 

If Venice was the “jewel of the 

Adriatic,” the Cathedral of St. Mark’s was 

the jewel of Venice. St. Mark’s is a unique 

blend of Eastern and Western styles, decorated 

with the spoils of countless other 

buildings from both East and West (law 

required Venetian merchants to make 

contributions to the church for the right 

to trade). Since during that time there 

was little distinction between civic pride 

and religious fervor, a mixture of sacred 

and secular music pervaded all Venetian 

life. Thus, St. Mark’s was a center for all 

public musical life in the 16th century. 

The very splendor and richness of the 

church seems to have demanded elaborate 

music, while its architecture made 

possible a spatial orientation of music 

which resulted in the creation of 

antiphonal music of a magnificence that 

has never been equaled. The music of St. 

Mark’s culminated in the polychoral 

works of Giovanni Gabrieli. Like Bach, 


he wrote the magnificent finish to a 

remarkable period of music. While he 

worked at St. Mark’s, Gabrieli wrote 

Canzon Primi Toni, a selection from the 

Sacrae Symphonieae (1597). The wonderful 

architectural and acoustical design of the 

Renée and Henry Segerstrom Concert 

Hall offers the opportunity to perform 

this magnificent music in its original 

antiphonal intent. Multiple brass choirs 

(in this particular piece, there are two) 

are positioned in balconies throughout 

the venue and offer the listener a more 

surrounding and enveloping musical 

experience. 

O Magnum Mysterium 

MORTEN LAURIDSEN 

OMagnum Mysterium, commissioned 

by Marshall Rutter in honor of his 

wife Terry Knowles, has had several 

thousand performances throughout the 

world and dozens of recordings since its 

1994 premiere by the Los Angeles 

Master Chorale. I have also arranged the 

work for solo voice and piano or organ, 

men’s chorus, and brass ensemble; H. 

Robert Reynolds’ stunning adaptation 

for wind ensemble was recently premiered 

in Minneapolis by the Thornton 

Wind Symphony. 

For centuries, composers have been 

inspired by the beautiful O Magnum 

Mysterium text depicting the birth of the 

newborn King amongst the lowly animals 

and shepherds. This affirmation of 

God’s grace to the meek and the adoration 

of the Blessed Virgin are celebrated 

in my setting through a quiet song of 

profound inner joy. 

—Morten Lauridsen 

La Mezquita de Córdoba 

JULIE GIROUX 

I 

n 169 B.C., the Romans founded 

Córdoba. After the fall of Rome, it 

existed under the rule of the Visigoths 

and became the capital of Al Andalus, 

Muslim Spain, in 716. The Moors conquered 

Córdoba in the eighth century 

and by the tenth century, the city boasted 

a population of 500,000, compared to 

about 38,000 in Paris. According to the 

chronicles of the day, the city had 700 

mosques, some 60,000 palaces, and 70 

libraries — one reportedly housing 

500,000 manuscripts and employing a 

staff of researchers, illuminators and book 

binders. Córdoba also had some 900 

public baths as well as Europe’s first street 

lights. Reigning with wisdom and justice, 

the rulers of Córdoba treated 

Christians and Jews with tolerance. They 

also improved trade and agriculture, 

patronized the arts, made valuable contributions 

to science, and established 

Córdoba as the most sophisticated city in 

Europe. When the Moors conquered 

Córdoba, they found a Visigoth cathedral, 

promptly pulled it down and built a 

mosque complex, the walls of which 

enclosed about four acres. It was over 40 

years in the making. Over the centuries, 

the Moors roofed-over and developed 

more and more within this complex. 

Muslim, Christian, and Jewish faiths alike

were practiced within its walls, an 

unprecedented feat then and literally 

unheard of today. When the Christians 

re-conquered Córdoba in 1236, the new 

rulers were so awed by its beauty that 

they left it standing, building their cathedral 

in the midst of its rows of arches and 

columns. Thus it is preserved today, fondly 

referred to in Spain as “La Gran 

Mezquita.” La Mezquita contains over 

500 marble, granite, and alabaster 

columns. Mixed into the califal styles, 

one can see the Byzantine and oriental 

influences, as well as Hispano-romanic 

and Visigoth elements throughout the 

mosque. The grandeur of La Mezquita 

and its colorful political and religious 

history has earned it its place as a true 

wonder of the civilized world. “La 

Mezquita de Córdoba” opens with the 

destruction of the original Christian 

church in 716 A.D. and proceeds as a 

musical celebration of its multi-cultural, 

religious and artistic accomplishments. 

—Julie Giroux 

Chorale and Alleluia 

HOWARD HANSON 

Chorale and Alleluia was completed 

in January, 1954, and was Dr. 

Hanson’s first work for wind ensemble. 

It was given its premiere on February 26 

at the convention for the American Band 

Masters Association at West Point with 

Colonel William Santelmann, leader of 

the U.S. Marine Band, conducting. The 

composition opens with a fine flowing 

chorale. Soon, the joyous Alleluiai theme 

appears and is much in evidence 

throughout. A bold statement of a new 

melody makes its appearance in lower 

brasses in combination with the above 

themes. The effect is one of cathedral 

bells, religious exaltation, solemnity, and 

dignity. The music is impressive, straightforward, 

and pleasingly non-dissonant, 

and its resonance and sonority are ideally 

suited to the medium of the wind 

ensemble. 

Shenandoah 

FRANK TICHELI 

In my setting of Shenandoah I was 

inspired by the freedom and beauty of 

the folk melody and by the natural 

images evoked by the words, especially 

the image of a river. I was less concerned 

with the sound of a rolling river than 

with its life-affirming energy — its timelessness. 

Sometimes the accompaniment 

flows quietly under the melody; other 

times it breathes alongside it. The work’s 

mood ranges from quiet reflection, 

through growing optimism, to profound 

exaltation. 

HISTORICAL BACKGROUND 

The Shenandoah Valley and the 

Shenandoah River are located in 

Virginia. There is disagreement among 

historians concerning the origins of their 

names. Some claim that the river and 

valley were named in the 1750s by the 

Cherokee as a friendly tribute to a visiting 

Iroquois Chief named Skenandoah. 

Others suggest that the region was 

named not by the Cherokee, but by the 

Senedo Indians of Virginia Valley. In the 

Senedo tradition, Shenandoah means 

“Daughter of the Moon,” and bears no 

relation to the Iroquois Chief Skenandoah. 

The origins of the folksong are equally 

obscure, but all date to the 19th century. 

It has been attributed variously to a 

coal miner in Pennsylvania, to a young 

protégé of Stephen Foster, and to a 

housewife in Lexington, Kentucky. Many 

variants on the melody and text have 

been handed down through the years, 

the most popular telling the story of an 

early settler's love for a Native American 

woman. 

—Frank Ticheli 

Niagara Falls 

MICHAEL DAUGHERTY 

Niagara Falls (1997) was commissioned 

by the University of Michigan 

Symphonic Band in honor of its 100th 

anniversary and is dedicated to its conductor 

H. Robert Reynolds. The work 

was premiered by that ensemble on 

October 4, 1997 at “Bandarama,” conducted 

by Reynolds at Hill Auditorium, 

Ann Arbor, Michigan. 

Niagara Falls, a gateway between 

Canada and the United States, is a mecca 

for honeymooners and tourists who 

come to visit one of the most scenic 

waterfalls in the world. The Niagara 

River also generates electricity for towns 

on both sides of the border, where visitors 

are lured into haunted houses, 

motels, wax museums, candy stores, and 

tourist traps, as well as countless stores 

that sell “Niagara Falls” postcards, T-shirts, 

and souvenirs. 

This composition is another souvenir, 

inspired by my many trips to Niagara 

Falls. It is a 10-minute musical ride over 

the Niagara River with an occasional 

stop at a haunted house or wax museum 

along the way. Its principal musical 

motive is a haunting chromatic phrase of 

four tones corresponding to the syllables 

of Niagara Falls, and repeated in increasingly 

gothic proportions. A pulsing 

rhythm in the timpani and lower brass 

creates an undercurrent of energy to give 

an electric charge to the second motive, 

introduced in musical canons by the 

upper brass. The saxophones and clarinets 

introduce another level of counterpoint, 

in a bluesy riff with a film noir edge. My 

composition is a meditation on the 

American Sublime. 

—Michael Daugherty 


PSSS PROGRAM NOTES 

BY JOHANNA KROESEN 

Colonial Williamsburg Odyssey 

KENNETH SARCH 

Colonial Williamsburg Odyssey is a 

unique six-movement suite based 

on authentic American 18th-century 

music. In 1996, violinist composer 

Kenneth Sarch served as a performer-inresidence 

in Colonial Williamsburg — a 

historic district of original and restored 

buildings that served as the capital of 

colonial Virginia. Dressed in britches, 

knee socks, buckle shoes, and a threecorned 

hat, Sarch performed and studied 

music of the colonies, resulting in this 

work for string orchestra. 

The work opens with the “Tin 

Whistle March,” an upbeat first movement 

based on popular colonial tunes 

and accompanied by a tin whistle and 

military drum. Social dancing was a popular 

form of entertainment in the 

colonies, depicted in the second movement 

“Burgess’ Ball at the Capitol,” featuring 

Peter Pelham’s Minuet and 

Cotillion (an 18th-century square 

dance). When describing this movement, 

the composer writes, “Every lady and 

gentleman of any social rank had to take 

lessons from dance masters and display 

their dancing skills in public. A clumsy 

minuet dancer became the talk of the 

town almost as if it were a scandal.” 

Continuing with the social events of 

early American life, Sarch’s third movement, 

“Candlelight Concert in the 

Governor’s Palace,” is a tribute to the 

great Italian composer Vivaldi. Important 

members of colonial society would often 

entertain their guests in their homes or 

in government buildings with chamber 

music. Music of European composers, 

such as Vivaldi, Corelli, Handel and Bach 

was favored by colonial musicians and 

often performed for special events. 

Statesmen such as Thomas Jefferson and 

Patrick Henry could often be found in 

Williamsburg playing the violin or other 

instruments at such events. 

No account of the American colonies 

would be complete without recognizing 

the sad history of African-American slavery. 

Kenneth Sarch plays tribute to the 

thousands of men and women who suffered 

the horrors of slavery with his 

fourth movement, “Slave Songs.” Pacific 

Symphony Santiago Strings is excited to 

collaborate with vocal soloists for this 

movement. The string orchestra becomes 

the accompaniment to a quartet of 

vocalists, as they sing a pair of slave songs 

— the slow and tragic “Sold off to 

Georgy” and work song, “Hoe in My 

Ho’.” Movement five is a doxology, “All 

People Who On Earth Do Dwell,” most 

likely sung in Colonial Williamsburg’s 

Burton Parish Church. The suite ends 

with “Fiddling at Chowning’s Tavern.” A 

boisterous and exciting finale, this movement 

reflects 18th-century taverns. At 

night the taverns became a crowded and 

jovial center of community, as musicians 

would bring their instruments and play 

from collections of old Scottish fiddling 

tunes. 

Colonial Williamsburg Odyssey is an 

enjoyable musical journey through old 

colonial life and an educational look at 

the beginning of community music in 

America. 

Selections from West Side Story 

LEONARD BERNSTEIN 

(1918–1990) 

T 

he impact of Leonard Bernstein on 

American music cannot be overstated. 

As a composer, conductor, and educator, 

Bernstein not only wrote some of 

America’s most famous musical works, he 

transformed the role of the conductor and 

encouraged professional orchestras to 

invest in music education. As a conductor, 

Bernstein was dramatic, dynamic, and 

demonstrative. As music director of the 

New York Philharmonic, Bernstein spoke 

from the podium in support of educating 

audiences about classical music. This 

Harvard educated musician began in 1958 

a series of televised Young People’s 

Concerts which described and made 

music accessible to thousands of 

Americans. Bernstein was extremely prolific 

as a composer, writing symphonies, 

film scores, a mass, an opera, song cycles, 

and stage works. The most famous of these 

stage works is West Side Story (1957). 

P-16 Pacific Symphony

In 1949, Bernstein was approached by 

Jerry Robins, an American film director 

and choreographer, to write music for a 

stage production of a “modern-day 

Romeo and Juliet.” Originally, the work 

was to be called East Side Story and 

would feature conflict and romance of 

young Catholic and Jewish adults. 

However, as time progressed, Bernstein 

became interested in the growing conflict 

between Puerto Rican and firstgeneration 

Americans born of European 

immigrants. Stephen Sondheim was 

enlisted to write the lyrics and the title 

of the musical was changed to West Side 

Story. The musical opened in 1957 and 

has remained a staple of American musical 

theater ever since. The film version 

(1961) earned ten Oscars, including Best 

Picture. 

The compositional techniques used in 

West Side Story are truly brilliant. 

Bernstein draws on a mixture of Latin 

American rhythms, jazz harmonies, and 

contrapuntal writing that makes it 

extremely exciting for audiences and 

extremely difficult for the musicians. The 

work “America” is an energetic alternation 

of 6/8 and 3/8 time signatures. In 

the stage and film productions, “America” 

is a rousing accompaniment to a dynamic 

dance routine. In the orchestral version, 

one can hear the percussive dance 

steps and Latin influence which drives 

the storyline. While “America” describes 

the storyline’s challenges of immigrants 

in the United States, “One Hand, One 

Heart” is perhaps the tenderest moment 

in the production. Written to illustrate 

the romance between Tony and Maria 

(our modern-day Romeo and Juliet), this 

beautiful melody is a sharp contrast to 

the conflict and at times, violence in the 

rest of the musical. 

Leonard Bernstein’s West Side Story is 

a staple of American stage music and 

American orchestral music. Its rhythmic 

energy, romance, and melodic power 

make it both a musical challenge and 

musical masterpiece. 

Hoe-Down from Rodeo 

AARON COPLAND 

Perhaps the greatest figure in 

American music, Aaron Copland 

(1900-1990) shaped 20th-century music 

as a composer, conductor, and educator. 

Copland achieved great success and popularity 

composing music that balanced 

the classical aspects of orchestral music 

with American folk styles. 

Rodeo was first premiered as a ballet 

scored by Copland and choreographed 

by Agnes De Mille in 1942. Having 

already composed Billy the Kid (1942), 

Copland was at first not interested in 

writing another Western-inspired ballet. 

Thankfully, Copland gave in to De 

Mille’s persistent asking and since its very 

first premier, Rodeo has become an iconic 

American work. It is considered one of 

the earliest examples of true American 

ballet. Rodeo has been called a work with 

the exuberance of a Broadway musical, 

but with the discipline of classical music. 

Scored as a concert suite for string 

orchestra, the work is divided into four 

musical scenes, the last being “Hoedown.” 

The word “hoe-down” has various 

meanings. It can describe a lively square 

dance in duple meter, a fiddle-like piece 

of music, or a party originating in rural 

or southeastern parts of the country. 

Copland’s “Hoedown” draws from various 

folk song references, including 

“Bonaparte’s Retreat,” “Mcleod’s Reel,” 

and “Gilderoy.” Some of Copland’s characteristic 

compositional techniques are 

heard in this work, such as percussive 

rhythms and orchestration, changing 

meters, and open sounding chords. 

Undoubtedly, “Hoedown”’s energetic 

and recognizable tune will have audiences 

walking away humming or reciting 

that familiar phrase, “Beef: It’s What’s for 

Dinner.” 


PSYO PROGRAM NOTES 

Once Upon a Castle for 

organ and orchestra (2003) 

MICHAEL DAUGHERTY 

1. The Winding Road to San 

Simeon. 

One of my favorite excursions is a 

trip to Hearst Castle, located on 

Highway 1 about halfway between San 

Francisco and Los Angeles at San 

Simeon, California. Set high above the 

Pacific Ocean, Hearst Castle was the creation 

of the American media mogul 

William Randolph Hearst (1863-1951). 

Construction of the colossal castle began 

in 1919 and continued for nearly 30 

years. By 1947, Hearst Castle was a grand 

estate of 165 rooms overstuffed with 

priceless Renaissance antiques, and surrounded 

by many acres of gardens, terraces, 

pools and walkways. The music I 

have composed is inspired by the fivemile 

road winding up the San Simeon 

mountains to Hearst Castle. The music 

crescendos until we reach the top of the 

hill, where lush major chords in the 

organ and panoramic rhythmic sweeps of 

orchestral color evoke the spectacular 

views of the Pacific Ocean high above 

the coastline. 


2. Neptune Pool. 

The centerpiece of the Hearst Castle, 

and of my organ concerto, is the 

Neptune Pool. Framed by statues of the 

sea-god Neptune and his Nereids, this 

magnificent Olympic-sized pool inspired 

the mysteriously reflective “water music” 

I composed for this movement. I also 

had in mind Samuel Taylor Coleridge’s 

1798 poem, “Kubla Khan”: 

In Xanadu did Kubla Khan 

A stately pleasure-dome decree, 

Where Alph, the sacred river, ran 

Through caverns measureless to man 

Down to a sunless sea. 

“Neptune Pool” is dedicated to the 

memory of William Albright (1944-98), 

who taught composition for more than 

two decades at the University of 

Michigan and was considered one of the 

20th century’s greatest composers of 

contemporary organ music. 

3. Silent Movies. 

William Randolph Hearst’s powerful 

influence in America extended to publishing, 

communications and Hollywood. 

Hearst produced over 100 films at 

Paramount, MGM and Warner Brothers 

studios including such silent film classics 

as The Perils of Pauline. Marion Davies 

(1897-1961) was a successful comic 

actress who met Hearst in 1919 and was 

his constant companion and confidante 

until Hearst’s death in 1951. Davies and 

Hearst were Hollywood’s premiere couple, 

throwing lavish weekend parties at 

Hearst Castle attended by dignitaries 

such as Winston Churchill and elite 

Hollywood stars including Clark Gable, 

Charlie Chaplin, and Greta Garbo. After 

dinner, all guests were instructed to take 

a seat in the Casa Grande’s movie theatre 

where movies starring Marion Davies 

were frequently shown. In “Silent 

Movies,” I have composed music for an 

imaginary silent film. Like the improbable 

duo of Marion Davies and Randolph 

Hearst, we hear virtuoso music performed 

by a solo violin and organ featuring 

chromatic pedal cadenzas. 

4. Rosebud. 

In the shadow of Hearst Castle is 

Citizen Kane (1941), probably the world’s 

most famous and respected Hollywood 

film, directed by and starring Orson 

Welles, and with music by Bernard 

Herrmann. The film remains controversial 

because it appears to caricature 

events in the life of William Randolph 

Hearst at Hearst Castle. Like Hearst, the 

fictional Kane is a multi-millionaire 

newspaper publisher who builds a palace 

called Xanadu, and collects thousands of 

European classical paintings, tapestries, 

and sculptures that remain crated in 

warehouses during his lifetime. At the 

beginning of Citizen Kane, we hear 

Kane’s final words before he dies alone: 

“Rosebud.” The meaning of this phrase 

is revealed at the end of the film, in a 

famous series of shots leading to a closeup 

of the word “rosebud” painted on 

Kane’s childhood sled. For the man who 

had it all, in the end his childhood sled 

meant the most to him. My “Rosebud” 

is a bittersweet musical sleigh ride filled 

with rumbling brass chords, timpani riffs, 

pulsating strings, and dramatic organ 

chords. Like Welles, who invented the 

“flashback” as a cinematic device in 

Citizen Kane, I return in the final movement 

of my organ concerto to an elaborate 

development of music from the first 

movement. After this flashback, I pull out 

the stops for a dramatic ending, which 

concludes my tour of Xanadu and the 

castle that Hearst built. 

—Michael Daugherty

Adagio For Strings 

SAMUEL BARBER 

(1910–1981) 

American composer Samuel Barber, 

like many composers of the mid- 

20th century, was a fan of legendary 

Italian conductor Arturo Toscanini. After 

developing a friendship during the summer 

of 1933 while visiting Toscanini at 

his retreat in Lake Maggiore in Italy, 

Toscanini decided that he wanted to 

conduct a work by Barber. Although it 

took him a few years to complete his 

compositions, by 1938 Barber had decided 

to send two pieces to Toscanini — his 

First Essay for Orchestra and his beloved 

Adagio for Strings, which he originally 

wrote as a movement for his String 

Quartet Op. 11. He later made the 

arrangement for string orchestra, which 

is the version we know today. Having yet 

to hear even a comment from Toscanini 

stating whether or not the pieces were 

up to standard in his eyes, Barber soon 

found that Toscanini was so impressed by 

the pieces that he decided to perform 

both compositions on a radio broadcast 

with the NBC Symphony Orchestra on 

November 5, 1938 in New York. This is 

by far Barber’s most favored composition. 

Its simplistic nature and melodramatic 

tones send the listener into a world 

of sorrow and beauty simultaneously. Its 

very slow and long melodic line moves 

up by step, reaching to an unforgettably 

gorgeous climax, as Barber later then 

gently lulls the listener out of the musical 

universe he has created. Aside from its 

many concert productions, the piece was 

featured in Oliver Stone’s Academy 

Award-winning film Platoon, helping to 

create one of the most memorable war 

scenes in cinematic history. 

— Raul Hernandez 

Symphony No.5 

DMITRI SHOSTAKOVICH 

(1906–1975) 

Dmitri Shostakovich was a Russian 

composer whose fame grew during 

the notably oppressive time of the Soviet 

Union. After having a negative response 

on his successful opera Lady Macbeth of 

the Mtsensk District from Russian General 

Secretary of the Communist Party 

Joseph Stalin, Shostakovich’s opera was 

banned throughout the Soviet Union for 

almost 30 years. Stalin saw this opera as 

being highly offensive to the Communist 

regime. Shostakovich needed to write 

something that would not only please 

the Communist party, but also save his 

life as the now called “Great Terror” 

began in the Soviet Union. Due to faulty 

rehearsals and him deeming that the 

finale needed reworking, Shostakovich 

withdrew his 4th Symphony. During the 

middle of spring until the middle of 

summer of 1937, Shostakovich worked 

on his 5th Symphony, arguably his most 

famous work. The piece was premiered 

on November 21, 1937 in Leningrad by 

the Leningrad Philharmonic Orchestra. 

While all four movements are equally 

memorable, the first and fourth movements 

contain some very literal political 

qualities to it. These qualities were not 

entirely translated to Stalin or the rest of 

the Communist party. The first movement 

starts off with a very solemn and 

lonely lamenting tone, which is then 

interrupted by a heavy timpani march. 

The march is something that one might 

note as a direct representation of Stalin 

himself, being evidently brash and rough. 

The first movement ends in a very soft 

and gentle manner, similar to its opening. 

The fourth movement is probably his 

most memorable movement, carrying 

thick, loud, and triumphant timbres 

within it. Its minute-long finale is one of 

the most exciting finales ever written for 

a concert piece. As the Communist 

regime saw it as a symbol of their 

strength and power, the underlying 

intention slipped under their noses. As 

great as the final movement is, it was 

written in a forceful manner. The triumphant 

quality of it was not necessarily 

written to be a unifying symbol but 

rather the harsh reality of a brutal regime 

that had taken over. Overall, his 5th 

Symphony was an incredible success for 

Shostakovich. It pleased both the public 

and the Communist party. Now, understanding 

the true meaning behind the 

5th Symphony, one can truly appreciate 

the masterwork that was created by one 

of Russia’s greatest composers. 

— Raul Hernandez 


ABOUT THE ARTISTS 

MAXIM ESHKENAZY 

ASSISTANT CONDUCTOR, 

PACIFIC SYMPHONY 

Considered a rising 

star among today’s 

youngest generation of 

conductors, Bulgarian 

native Maxim 

Eshkenazy has been 

described as a musician 

of “vigor and intelligence…” who conducts 

with “complete assuredness and 

insight….” The Los Angeles Times calls 

him “charismatic and exciting.” 

Eshkenazy’s past conducting appointments 

have included music director of 

the Bakersfield Youth Orchestra and 

assistant conductor at the Colburn 

School in Los Angeles. Previously he was 

associated with the Pasadena Youth 

Symphony as its music director, and 

served as music director of the Music of 

Changes Chamber Orchestra, assistant 

conductor of the American Youth 

Symphony, and assistant conductor of the 

Herbert Zipper Chamber Orchestra. 

He regularly guest conducts Bulgaria’s 

major orchestras, including the Sofia 

Philharmonic, Classic FM Orchestra, 

Pleven Opera-Philharmonic Association, 

and Bourgas Opera-Philharmonic 

Association. Committed to the promotion 

of new music, Eshkenazy is frequently 

involved in performing the 

music of contemporary composers. 

During the 2007-08 season, 

Eshkenazy shared the concert stage with 

noted violinist Shlomo Mintz in celebration 

of the State of Israel Independence 

Day. He also made his conducting debut 

with the Varna Opera-Philharmonic 

Society Orchestra and returned to the 

Bourgas Opera-Philharmonic Society 

and Classic FM Orchestra. 

Previous highlights include a concert 

with violin virtuoso Pinchas Zukerman 

and the Classic FM Orchestra, which 


received nation-wide attention and was 

broadcast on Bulgarian National 

Television. 

Eshkenazy received his early musical 

training at the Sofia Conservatory before 

moving to the United States to pursue a 

double master’s of music degree in conducting 

and violin performance at the 

University of Southern California. 

He is an alumnus of several worldclass 

conducting schools and workshops, 

including the Pierre Monteux School in 

Maine, and was awarded a coveted 

Conductor’s Fellowship to the newly 

established American Academy of 

Conducting at the Aspen Music Festival 

in the summer of 2000. 

An avid sportsman and licensed pilot, 

Eshkenazy makes his home in Southern 

California. 

IRENE KROESEN 

CONDUCTOR, PACIFIC 

SYMPHONY SANTIAGO STRINGS 

Irene Kroesen 

received her bachelor’s 

degree in music 

education and teaching 

credential from 

Chapman University. 

Kroesen is a string specialist 

and past mentor of string education 

for the Irvine Unified School 

District, as well as an adjunct instructor 

at Chapman University, where she teaches 

the string pedagogy class for music 

education majors. As an orchestral conductor, 

she has directed the Irvine 

Elementary Honor Chamber Strings and 

Honor Orchestra, Irvine Middle School 

Honor Orchestra, Middle School Honor 

Orchestras for Capistrano Unified School 

District, Las Vegas, Placentia-Yorba Linda 

Unified School District, Long Beach 

Unified School District, Tustin Unified 

School District and the Orange County 

Youth Symphony Orchestra. In 2007, she 

was the guest conductor for the Southern 

California Schools Band and Orchestra 

Association All Southern Middle Honor 

String Orchestra. In addition to conducting 

the Pacific Symphony Santiago 

Strings, Kroesen has also served as a 

string clinician and adjudicator at county 

and state music conferences. In May of 

2003, she received the Orange County 

Outstanding Arts Educator Award for 

Elementary Instrumental Music. In 

2006, Kroesen was awarded the Irvine 

Unified School District Elementary 

Teacher of the Year and in 2008 received 

the Elementary Fine Arts Teacher of the 

Year Award. In addition to her teaching, 

she is also an active professional violist.

JOSHUA ROACH 

CONDUCTOR, PACIFIC SYMPHONY 

YOUTH WIND ENSEMBLE 

Joshua Roach, interim 

director of the Pacific 

Symphony Youth Wind 

Ensemble, leads a multifaceted 

life as a music 

educator, administrator, 

performer and composer. 

In addition to his conducting responsibilities 

with the PSYWE, Roach serves as 

the assistant conductor for the Downey 

Symphony, Young Musicians Foundation 

Debut Orchestra, and the University of 

Southern California (USC) Concert 

Orchestra. He is also the orchestra manager 

for the USC Thornton orchestras, 

where he is also pursuing a master’s degree 

in instrumental conducting with Larry 

Livingston. 

Roach has also served as conductor for 

the Irvine Young Concert Artists 

Orchestras, leading them on a 21-day tour 

of South Korea and China during the 

summer of 2008. Additionally, he has 

coached, conducted and toured with the 

Paradise Valley High School Wind 

Ensemble from Phoenix, AZ. 

Additionally, Roach currently enjoys a 

diverse professional freelance life, having 

been hired by Turner Classic Films, 

DreamWorks Pictures, PBS, the University 

of Arkansas Fort Smith, and various 

recording studio orchestras in Los Angeles 

for his freelance work as a musician, conductor, 

and educator. 

Roach moved to California to study 

music performance, conducting, composition, 

and scoring for film and TV at the 

USC Thornton School of Music. While 

there, Roach has studied with Los Angeles 

Philharmonic trumpeter Boyde Hood, 

conducting teacher and former Thornton 

dean Larry Livingston and composition 

teachers Rick Lesemann, Jack Smalley, and 

David Spear. 

NAMHEE HAN 

ORGAN 

Playing from the 

heart defines 

Namhee Han’s 

approach to music 

making. She was a featured 

artist at the 

National Convention 

of the American Guild of Organists 

(AGO) in 2004 and was selected for the 

6th Musashino-Tokyo International 

Organ Competition in 2008. Constantly 

expanding the repertoire of her artistic 

expressions, she has played the harpsichord 

and harmonium with the Grammy 

Award-winning Southwest Chamber 

Music. 

A native of South Korea, Han studied 

the piano from age eight. After earning a 

bachelor of arts in English education 

from Seoul National University, she 

came to the U.S. to pursue graduate 

studies in linguistics. It was then that she 

encountered the organ and became 

immediately fascinated with the limitless 

tonal and expressive possibilities of the 

instrument. She began organ study with 

Thomas Harmon in 1999 and completed 

master’s and doctoral degrees in organ 

performance at UCLA, working with 

Christoph Bull. In addition, she holds 

master’s and Ph.D. degrees in applied linguistics 

from UCLA. 

Han has coached with French organ 

masters Marie-Claire Alain and Jean 

Guillou, and has participated in master 

classes by such eminent teacher-organists 

as David Craighead, Frederick Swann, 

Marilyn Keiser, Christopher Herrick, 

Paul Jacobs, Kimberly Marshall and 

Sophie-Véronique Cauchefer-Choplin. 

She has also studied with Philip Smith, 

the Organ Conservator at Walt Disney 

Concert Hall. 

The resident organist at Westwood 

Presbyterian Church in Los Angeles, Han 

is keenly interested in contributing to 

the music community in Southern 

California and regularly collaborates with 

instrumentalists, orchestras and choral 

groups in local performances. She enjoys 

teaching piano and organ, and maintaining 

an intellectually stimulating and 

physically active life. 


ABOUT PACIFIC SYMPHONY 

YOUTH ENSEMBLES 

PACIFIC SYMPHONY YOUTH 

ORCHESTRA 

Focusing on music education, the Pacific 

Symphony Youth Orchestra (PSYO) program 

serves the community by providing performance 

opportunities to young instrumentalists 

from throughout Orange County. The Youth 

Orchestra is one of three Youth Ensembles 

which represent the primary education programs 

of Pacific Symphony. Led by Music 

Director Maxim Eshkenazy, who also serves 

as assistant conductor of Pacific Symphony, 

the program benefits from the vision of 

Pacific Symphony Music Director Carl 

St.Clair, who acts as the artistic advisor for all 

activities. Weekly Sunday afternoon rehearsals 

are held in the Music Department of the 

University of California, Irvine. 

PSYO presents a popular three-concert 

subscription series at the Renée and Henry 

Segerstrom Concert Hall in addition to other 

community performances. Members of PSYO 

benefit from coaching sessions with professional 

musicians of Pacific Symphony as well 

as rehearsing and performing “side-by-side” 

with their professional colleagues on a Family 

series concert each season. In addition, students 

receive free tickets to Pacific Symphony 

concerts and exclusive access to Pacific 

Symphony rehearsals together with opportunities 

to meet world-class guest artists. 

Formed in 1993, PSYO is celebrating its 

17th season! Previous conductors have 

included Edward Cumming (1993-1996), 

currently music director of the Hartford 

(Connecticut) Symphony Orchestra, Elizabeth 

Stoyanovich (1996-1999), currently music 

director of the Bremerton Symphony 

Association (Washington) and The Butte 

Symphony Association (Montana), Mark 

Mandarano (1999-2002), currently principal 

guest conductor of the Moscow Chamber 

Orchestra, and Michael Hall (2002-2008), 

who now serves as music director of the 

Southwest Florida Symphony. 

The 2003-2004 season saw the establishment 

of the PSYO Board of Directors, led by 

Hans Imhof, who served as Chair of the 

PSYO Board from 2003-2008. In 2007, the 


PSYO Board of Directors became the Pacific 

Symphony Youth Ensembles (PSYE) Board of 

Directors. In 2008–2009, former Chair of the 

Pacific Symphony Board John Stahr served as 

chair of the PSYE Board of Directors, taking 

the place of Hans Imhof. The Board Chair 

for the current season is Elizabeth Stahr. 

PACIFIC SYMPHONY YOUTH 

ENSEMBLES 

In 2007, Pacific Symphony saw the establishment 

of two new Youth Ensembles; Pacific 

Symphony Youth Wind Ensemble (PSYWE) 

and Pacific Symphony Santiago Strings 

(PSSS). Together, Pacific Symphony Santiago 

Strings, Youth Wind Ensemble, and Youth 

Orchestra form the Pacific Symphony Youth 

Ensembles (PSYE). The mission of the Pacific 

Symphony Youth Ensembles is to provide 

young musicians with an ensemble experience 

marked by educational excellence 

through a unique relationship with Pacific 

Symphony. 

Pacific Symphony Youth Wind Ensemble 

is unique in its relationship with a major professional 

orchestra, Pacific Symphony. Under 

the artistic direction and guidance of Pacific 

Symphony’s renowned Music Director, Carl 

St.Clair, and Program Advisor H. Robert 

Reynolds, PSYWE has quickly become recognized 

as being at the forefront of wind 

ensemble development in our country. 

PSYWE is in its third season and continues 

to attract young members of the community. 

PSYWE will explore the vast and wonderful 

repertoire available only for wind and percussion 

instruments. Students work closely with 

musicians from Pacific Symphony, providing 

an opportunity for exceptionally talented 

young wind and percussion instrumentalists 

between the ages of 12 and 21 to enhance 

their musicianship. 

Santiago String Youth Orchestra was founded 

in 1991 to provide a supportive and challenging 

musical experience for young string 

students in Orange County. In 2007, Santiago 

String Youth Orchestra joined Pacific 

Symphony family and became Pacific 

Symphony Santiago Strings. PSSS members 

have an exceptional educational experience 

that combines instruction from outstanding 

music educators with the unique opportunities 

provided by the association with Orange 

County’s professional orchestra, Pacific 

Symphony. PSSS uses rotational seating at 

rehearsals so members are not assigned specific 

chairs within their sections. This encourages 

cooperation, not competition and helps students 

become stronger section players. Principal 

positions are rotated for almost every concert 

in an effort to develop musical leadership skills 

in many students. PSSS is led by highly 

acclaimed conductor, Irene Kroesen. 

The season marks the 17th anniversary of 

Pacific Symphony Youth Orchestra. Formed 

in 1993, PSYO was the first Youth Ensemble 

offered to young musicians throughout and 

beyond Orange County by Pacific Symphony. 

Much like Pacific Symphony Santiago 

Strings, PSYO uses rotational seating at 

rehearsals and assigns three co-concertmasters 

and various co-principals in various sections 

which are rotated throughout the season. 

Members of all three ensembles are provided 

opportunities to meet guest artists who 

perform with Pacific Symphony, work closely 

with professional musicians of the Symphony, 

and are given exclusive access to Symphony 

rehearsals. The Youth Ensembles strive to provide 

not only an excellent educational experience 

to the youth of Orange County but 

also a professional environment in which 

young musicians can learn life skills that can 

be carried over in to various areas as they 

grow in to adulthood.


IRENE KROESEN, CONDUCTOR 

VIOLIN 

Cindy Ahn 

Nitya Bhardwaj 

Joanne Do 

Ashley Does 

Robbie Gleiser 

Joey Good 

Heesoo Kim 

Karen Kim 

Minjoo Kim 

Richard Kim 

Jeffrey Li 

Jessica Lim 

Sean Liu 

Kyle Lo 

Julianne Lockhart 

Alex Macalalad 

Katherine Park 

Rochelle Radzyminski 

Kethan Reddy 

Jenna Shimizu 

Robert Sodaro 

Minji Sohn 

Samuel Tang 

Pebbles Tsai 

Jennal Wang 

Emilee West 

Sarah Yin 

VIOLA 

Aki Barber 

Naomi Jia 

Dahna Lee 

Yehna Lee 

AD Ravi 

Keith Sorrells 

Clarissa Wu 

CELLO 

Lisa Dong 

Matthew Gustafson 

Emily Hoang 

David Hyon 

Kenny Kressin 

Samantha Lee 

Esther Lim 

Jane Lu 

Christina Park 

Thomas Seo 

Angela Shin 

Pauline Song 

BASS 

Kyle Liang 

Erica Sharp 

Hanson Wong 

STAFF 

Lonie Bosserman 

Manager and String Coach 

PACIFIC SYMPHONY YOUTH WIND ENSEMBLE 

JOSHUA ROACH, CONDUCTOR 

FLUTE 

Nathan Aclander, Principal 

Yoon Seo Cha 

Christine Lee 

Anita Yau 

Alexander Sogo* 

Bella Staav* 

OBOE 

Kathryn Gasparro, Principal 

Chris Kim 

Richard Donahue‡ 

CLARINET 

Seiji Saisho, Principal 

Stephen Chow 

Jiwoo Park 

ChangKon Kim 

Kaylin Sears 

Tyler Ross 

Holly Smith 

Jessica Clark 

Tommy Yoo 

BASSOON 

Austin Liang, Principal 

Sacha Duigou 

ALTO SAXOPHONE 

Kevin Homma, Principal 

Christopher Bryant 

Kevin Park 

TENOR SAXOPHONE 

Matthew Melissa 

BARITONE SAXOPHONE 

Dan Phung 

FRENCH HORN 

Ashley Schmidt, Principal 

David Liu 

Paul Selstad 

Michael Mardock 

Matthew Jaimes 

Timothy Walton 

Chris Chin 

TRUMPET 

Timothy Mathiesen, Principal 

Nathan Stone 

Cameron Reeves 

Michael Manzano 

Chase Preacher 

Tim Park 

Christine Hirata 

Ozzy Ozuna 

TROMBONE 

Kelsey Uyeda, Principal 

Reagan Lull 

Pearl Lee 

Angela Ni 

EUPHONIUM 

Michael Moller, Principal 

TUBA 

James Similuk 

Alexander Liao 

STRING BASS 

Melanie Cebula 

PERCUSSION 

Eric Tian 

Daniel Ellis 

Joel Wenhardt† 

HARP 

Melody Swen 

STAFF 

Dominic Mumolo 

Director 

Patricia Walton 

Manager 

*Piccolo 

‡English Horn 

† Piano 

BASS CLARINET 

Charles Min 

Matt Girardet 



MAXIM ESHKENAZY, MUSIC DIRECTOR 

Assistant Conductor, Pacific Symphony and Music Director, Pacific Symphony Youth Orchestra 

Mary E. Moore Family Assistant Conductor Chair 

VIOLIN I 

Ashley Sun, Co-Concertmaster 

Stephanie Pak, Co-Concertmaster 

Jamie Niu, Co-Concertmaster 

Heeyeon (Sarah) Chung, Associate 

Concertmaster 

James Lee, Associate Concertmaster 

Ray Cheng, Associate 

Concertmaster 

Listed alphabetically 

Peter Back 

Raina Borum 

Kristen Cheng 

Tiffany Huang 

Ryan Kim 

Tiffany Lin 

Katie Nakamura 

Monica Nguyen 

Young Jee Oh 

Meridith Sheegog 

Amy Tsou 

David Wang 

Esther Yoo 

VIOLIN II 

Claire Yee, Co-Principal 

Halle Davis, Co-Principal 

Paya Sarraf, Co-Principal 

Eun Ji (Lauren) Kim, Assistant 

Principal 

Michael Lee, Assistant Principal 

Anna Vosbigian, Assistant Principal 


Ye Won An 

Natalie Cervantes 

Tiffany Chen 

Wayne Chen 

Hannah Chung 

Justin Hamilton 

Ha Rim (Andrew) Jung 

Moses Kim 

Hee Ju (Phoebe) Kim 

Paul Lang 

Asa Ohsaki 

Amber Sun 

Vivian Tang 

VIOLA 

Gregory Yung, Principal 

Brandon Kim, Assistant Principal 


Christopher Chin 

Abigail Choi 

David Han 

Chae (Christine) Hwang 

Alexander Jow 

Amanda Lin 

Jongmin Song 

Meril Tomy 

Youval Yadlin 

CELLO 

Hyun Jae (Eric) Lee, Principal 

George Ma, Assistant Principal 


John Austin 

Alana Borum 

Wei Ting Chang 

Paul Chang 

Justin Ho 

Irene Kang 

Dong Hyun (Brian) Kim 

Kevin Mills 

Nathaniel Park 

Yurim Seo 

Philip Sheegog 

Ryan Song 

BASS 

Martin Pham, Principal 

Christopher (Shota) Horikawa, 

Assistant Principal 


Melanie Cebula 

Fernando de la Fuente 

Eric Fu 

Richard Hong 

Andrew Remley 

Elise Reysbergen 

FLUTE 

James Hilsabeck, Co-Principal 

Dianne Pak 

Xiteng Yan 

OBOE 

Michael Lindeborg, Principal 

Amanda Tong 

Michelle Kwon 

Sarah Dobrofsky 

CLARINET 

Sangmin (Eugene) Lee, 

Co-Principal 

Andrew Pak 

Jaewan (John) Choi 

Ruth Kim 

BASSOON 

Alexander Hibbard 

Crystal Lee 

HORN 

Clayton Ellis,Co-Principal 

Michael Esterly, Co-Principal 

Kevin Acciani 

Samuel Pesch 

Christine Kim 

TRUMPET 

Nick Reyna, Principal 

Jonathan Kang 

Hyunjae (Jason) Yi 

TROMBONE 

Ian Striedter, Principal 

Wesley Peng 

BASS TROMBONE 

Gavin Thrasher 

TUBA 

Puo Han Wu Fu 

PERCUSSION 


Natalie Collison 

Lindsey Eastham 

Katie Pipal 

Margaret Telles 

HARP 

Melody Swen, Principal 

Hye-Hyun Bahng 

STAFF 

Dominic Mumolo, Director 

Adrian Noack, Manager of Youth 

Ensembles 

* Piccolo 

‡ English Horn 

PSYO Chamber Music program 

generously funded by Dr. and 

Mrs. George P. Cheng 

P-24 Pacific Symphony

Elizabeth Stahr,* Chair 

John Stahr,* Immediate Past 

Chair, PSYE 

Hans Imhof, Past Chair, PSYE 

Poita Cernius 

Bao Chin 

Fiorenza Comunian 

BOARD OF DIRECTORS 

PACIFIC SYMPHONY YOUTH ENSEMBLES 

Julie Fishman 

Margaret Gates 

Ellie Gordon 

Donald Hellmich 

Michelle Horowitz* 

Mark Huebsch 

Janice Johnson* 

Randy Johnson 

Susan Lew 

Vivian McCluney 

Timothy Molnar 

Tom Nielsen 

EX-OFFICIO PSYE BOARD MEMBERS 

Carl St.Clair,* Artistic Director 

John Forsyte,* President, Pacific Symphony 

Sally Anderson,* Chair, Board of Directors, Pacific Symphony 

Pam Blaine, Vice President of Education and Community Programs, Pacific Symphony 

Jill Bolton,* Chair, Education and Community Programs Committee, Pacific Symphony 

Dominic Mumolo, Director of Pacific Symphony Youth Ensembles 

Adrian Noack, Manager of Pacific Symphony Youth Ensembles 

Maxim Eshkenazy, Assistant Conductor of Pacific Symphony, Music Director of Pacific Symphony Youth Orchestra 

Josh Roach, Director of Pacific Symphony Youth Wind Ensemble 

Patricia Walton, Manager of Pacific Symphony Youth Wind Ensemble 

Irene Kroesen, Conductor of Pacific Symphony Santiago Strings 

Lonie Bosserman, Manager and String Coach of Pacific Symphony Santiago Strings 

*Also member of Board of Directors for Pacific Symphony 

Anoosheh Oskouian* 

Linda Owen 

Shadi Shaffer 

Janice Smith* 

Patricia Steinmann 

Alan Terricciano 

ACKNOWLEDGMENTS 

Thank you to the following donors who have made a contribution to the Pacific Symphony Youth Ensembles for this season. 

$10,000 + 

Cheng Family Foundation 

Mr. and Mrs. Martin G. Hubbard 

Mr. and Mrs. Hans Imhof 

Mr. and Mrs. John Stahr 

Thagard Foundation 

Woody Youth Fund 

$5,000–$9,999 

Employees Community Fund of 

Boeing 

Mrs. Margaret Gates 

David L. Horowitz Family 

Mrs. Janice M. Johnson 

Roger & Janice Johnson Family 

Foundation 

Dot and Rick Nelson 

Marilyn and Tom Nielsen 

Janice and Ted Smith 

$1,000–$4,999 

Ann and Gordon Getty Foundation 

Anonymous 

Mr. Donald and Dr. Lois Attore 

Mrs. Poita Cernius 

Bao and Delia Chin 

Mrs. Fiorenza G. Comunian 

Robert and Richlyn Evins 

Mr. and Mrs. David Fishman 

Eleanor and Michael Gordon 

Jorinda Chen and Wilson Ho 

Mark and Mary Huebsch 

Mr. and Mrs. G. Randolph Johnson 

Joanne and Dennis Keith 

Clark King 

Mr. and Mrs. William Lazier 

Susan Lew 

Vivian and Jim McCluney 

Mr. and Mrs. Timothy J. Molnar 

OppenheimerFunds Legacy Program 

Anoosheh Oskouian 

Parallax Capital Partners, LLC 

Mr. and Mrs. Harry H. Selling 

Shadi Shaffer 

Patricia A. Steinmann 

Mr. and Mrs. Lazarus N. Sun 

$500–$999 

Donald and Karen Evarts 

Mr. John Hamilton 

Linda Maggard 

Junghwa Moon 

Bill and Linda Owen 

Larry and Laura Park 

Yoram and Lynne Yadlin 

$499 AND BELOW 

Albertson’s Community Partners 

Bill and Susan Armstrong 

Dr. Joon H. Bahng 

Barton and Roberta Blinder 

Richard and Sylvia Birt 

Mrs. Brian Brown 

BP Foundation 

John and Mary Cash 

Dr. Jane Cashell 

Ms. Ingrid Cebula 

Rong T. Chen 

Mr. Jay Chung 

Mr. and Mrs. Bradley Clark 

Complete Cryogenic Service, Inc 

Joseph and Christina Deaton 

Pegi DeRienzo 

Mr. Lawrence Eck and 

Mrs. Michelle Ziino-Eck 

Mr. and Mrs. Brendan Ellis 

Dan Esterly 

Barbara Etherington 

Mr. James Herbert 

Ms. Regina Heskett 

Ms. Lorene Hirata 

Mr. and Mrs. Andy Horowitz 

Rev. and Mrs. John A. Huffman 

Ms. Marie Hwang 

Mr. and Mrs. Rex Hyon 

Dennis and Joon Kang 

Dr. Burton Karson 

Judith Kolar 

Sung Sik Lee 

Phil Luna 

Mr. Michael Matlaf 

William and Betty Jo Mills 

Yennga Nguyen 

Ying Bian and Jinghui Niu 

Esmeralda and Bruce Ogilvie 

Dennis and Marcia O’Hern 

Mr. and Mrs. George Patino 

Jonathan Pelayo 

Ms. Debra Pierce 

Janice and William Powell 

Bobbi and Michael Purcell 

Deborah C. Rapport 

Mr. and Mrs. Patrick Remley 

John and Cindy Reysbergen 

David and Judith Ross 

Mr. W. F. Rylaarsdam 

Mr. and Mrs. Mohammad Sarraf 

Mr. and Mrs. Michael Selvidge 

Hn. Tully Seymour 

Mrs. Gisela Sharp 

Mr. and Mrs. David Sheegog 

Ms. Nikta Shokooh 

Ms. Nadine Skutnik 

Dr. Carmen Smith 

Mr. and Mrs. Henry A. Smith 

Eric and Polly Stanbridge 

Mr. and Mrs. A. Martin Stradtman 

Ms. Sandra Sutphen 

Lois and David Tingler 

Ms. Rachel Tong 

Alexandra Velasquez 

Mr. and Mrs. Dong Wang 

Jessica Yu and Albert Yee 

Hye-Sook and Man-Young Yoo

Download PDF - Pacific Symphony

Create successful ePaper yourself

Delete template?

Save as template?