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MAY 13
youth orchestra series
SEGERSTROM CENTER FOR THE ARTS
Renée and Henry Segerstrom Concert Hall
Concert begins at 7 p.m.
present
2011–2012 Cheng FAMILY FOUNDATION
Youth Orchestra Concert SERIES
Maxim Eshkenazy • conductor
Launy GrØndahl
Trombone Concerto
(1886-1960) Ian Striedter, trombone
Felix Mendelssohn Violin Concerto in E Minor, Op. 64
(1809-1847) III. Allegretto non troppo – Allegro molto vivace
David Chang, violin
Antonin Dvořák Cello Concerto in B Minor, Op. 104
(1841-1904) III. Finale: Allegro moderato
Chloe Hong, cello
Ottorino Respighi
Pines of Rome
(1879-1936) The Pines of the Villa Borghese
Pines Near a Catacomb
The Pines of the Janiculum
The Pines of the Appian Way
Pacific Symphony • 17

N O T E S
by joshua grayson
LAUNY GrØndahl
(1886-1960)
Felix Mendelssohn
(1809-1847)
Trombone Concerto
T
he
trombone concerto of Launy Grøndahl (1886-1960) is
perhaps the most famous trombone concerto in the concert
repertoire. A native of Denmark, Grøndahl spent a great
deal of time traveling through Europe in order to gain a sense of
broader musical developments during the early 20th century. In
the course of his travels, he studied in Vienna, Paris and Italy. The
trombone concerto, written in 1924, was composed in Italy and
remains Grøndahl’s best-known work. Although written in Italy,
it was composed for the Casino Theatre in Copenhagen. After the
composer’s sojourn through Europe, he returned to Copenhagen,
where he conducted the Danish National Symphony Orchestra for 30
years and championed the works of other Danish composers.
Beginning with an upbeat jazzy sound, the trombone concerto
displays the influence of Ravel and other French composers during
the 1920s. Using an entirely conventional harmonic idiom, it
augments traditional tonal harmonies with chromatic decorations.
Its strongly rhythmic, angular, motivically derived melodic sections
provide ample contrast to the more lyrical second movement. Overall,
the instrumental writing brilliantly displays the trombone’s timbral
qualities, wide range and technical abilities.
Violin Concerto in E Minor, Op. 64
T
he
Violin Concerto in E Minor, Op. 64 is perhaps the best
known concerto of Felix Mendelssohn (1809-1847). Begun
in 1838, it was not finished until 1844. During this time,
Mendelssohn had been appointed principle conductor of the Leipzig
Gewandhaus Orchestra (one of the oldest concert orchestras in
Europe, dating back to 1743). Further duties in Berlin took up
a great deal of the composer’s time and energy; he was not able
to complete the concerto until these duties were finished, he had
returned to Leipzig, and he was able to enjoy a summer holiday from
conducting.
Mendelssohn’s musical style was relatively traditional in some
respects. Its sound world is recognizably derived from Mozart
and Beethoven. Lighthearted and exuberant, this concerto is quite
reflective of the composer’s personal style, and is similar to the
sprightly “elven” style of his incidental music to A Midsummer Night’s
Dream. However, for all its traditionalism, the work is quite innovative
in many respects. First off, the first movement begins with a violin solo
— concertos written before this began with long orchestral sections
presenting the main themes of the work. The first movement also
features the first example of a fully written-out cadenza — up to this
time, cadenzas had been improvised on the spot by the soloist. Finally,
the movements of this piece share musical and thematic connections to
one another, and are presented without pause.
Cello Concerto in B Minor, Op. 104
F
illed with longing and haunting beauty, the instantly
recognizable cello concerto of Antonín Dvořák (1841-1904)
represents a thoroughly traditional musical conception. During
the later 19th century, a new generation of radical composers took
inspiration from the operas of Richard Wagner (1813-1883). While
during the 1890s composers such as Gustav Mahler (1860-1911)
and Richard Strauss (1864-1949) were writing music which pushed
the boundaries of comprehensibility and sensibility, another group
of older composers was writing more traditional music. Led by the
great German composer Johannes Brahms (1833-1897), these
composers in many ways created music that hearkened back to the
ideals of Beethoven’s time.
A native of what is known today as the Czech Republic, Dvořák
had been residing in New York City since 1892. He had been
invited by Jeanette Thurber to lead the National Conservatory, the
leading American school of music during the closing decade of the
19th century. Thurber had long maintained an interest in folk and
nationalist music and chose Dvořák to head the conservatory because
of his music’s folk-like qualities. In many of his pieces composed
18 • Pacific Symphony

N O T E S
during this time—particularly the “New World” Symphony and
the “American” String Quartet — Dvořák incorporated aspects
of American folk music, including Native American melodies and
African-American spirituals.
By 1895, however, the composer began experiencing homesickness
for his native Bohemia. This sense of nostalgia is particularly
pronounced in the cello concerto, which is entirely devoid of
“Americanisms.” Infused with aching melancholy, the work speaks
of a longing to return to the familiar comforts of home, family,
and friends. At the same time, the composer’s sister-in-law became
gravely ill. In deference to her, Dvořák chose to include a quotation
of his melancholy 1882 song “Lasst mich allein,” Op. 82 No. 1 in
the second movement of the concerto. When she died, Dvořák added
this melody to the third movement as well. Composed in 1894-
95, the piece was written for cellist Hanuš Wihan (1855-1920).
Traditional in its outlook, it begins with an orchestral introduction,
a feature that had largely disappeared from concertos by the 1840s
and was incredibly old-fashioned by the 1890s.
Pines of Rome
The music of Ottorini Respighi (1879-1936) in some ways represents
the struggles and dramas of its composer’s native Italy during the early
20th century. Four decades after achieving political unification, a
newly resurgent Italy had begun to feel more self-assured, consolidated
political power domestically and expanded its reach abroad. During
the early period of Italian Fascist rule, Italy began to flex her muscles,
establishing military outposts in Albania and colonies in North Africa.
Some circles even began to talk about establishing a second Roman
Empire and re-conquering the Mediterranean Sea as “Mare Nostrum”
(Latin for “our sea”); Benito Mussolini spoke of creating an Italy that
was “great, respected and feared.”
This debate played itself out in cultural spheres as well. During this time,
there arose a group of Italian composers, led by Respighi, who sought to
Antonin DvoŘák
(1841–1904)
Ottorino Respighi
(1879-1936)
prove to the world that Italians were no longer merely jolly old men who
wrote comic operas. For his part, Respighi aimed to blend non-operatic
Italian traditions, current French and German musical developments and
local Italian imagery. In his music, he represented Italy through Italian
folk melody and through musical depictions of Italian landscapes and
cityscapes. At the same time, he used innovative musical techniques as
a way of proving that Italians were just as capable of writing advanced
modern music as the Germans or French. Respighi’s cosmopolitan
leanings reflected his musical training, having studied in St. Petersburg
with Nikolai Rimsky-Korsakov (1844-1908) and in Berlin with Max
Bruch (1838-1920).
Written in 1924, Pines of Rome is the second of a trio of famous
orchestral tone poems on Italian subjects by Respighi. The first of
these works, “Fountains of Rome” (1917) established Respighi’s
reputation as a well-respected composer; “Pines” followed seven
years later, and the final work of the trilogy, “Roman Festival,”
appeared in 1929. In addition to incorporating ancient plainchant
and Italian folk melodies, Pines of Rome is kaleidoscopic in technical
conception, demonstrating the brilliant orchestration the composer
learned from Rimsky-Korsakov. The end of the piece calls for a
recording of bird song. In addition, Respighi includes a part for
the “buccina,” a circular-shaped brass instrument dating back to
the Roman Empire. However, since this instrument has not been
produced in over 1500 years, the composer expected that this part
would be played on modern instruments such as the trumpet and
flugelhorn.
Pacific Symphony • 19

M a x i m
meet the assistant conductor
C
onsidered a rising star among today’s generation of young conductors, Bulgarian native
Maxim Eshkenazy has been described as a musician of “vigor and intelligence,” who
conducts with “complete assuredness and insight.” Called “charismatic and exciting” by
the Los Angeles Times, Eshkenazy marks his fourth season with Pacific Symphony in 2011-12,
where he serves as assistant conductor, leading the Family Musical Mornings series and Class
Act youth concerts. He also conducts and serves as the music director of Pacific Symphony
Youth Orchestra (PSYO). In 2011, Eshkenazy led the PSYO’s first highly successful European
tour through Bulgaria, where they performed concerts in the cities of Varna, Plovdiv and Sofia
to strong acclaim.
Two years ago, with Bakersfield Youth Symphony Orchestra, Eshkenazy completed a successful
tour to South Korea, which was also received with great enthusiasm by audience and press alike.
Eshkenazy returned last summer to Pacific Symphony’s Summer Festival to conduct the season
finale, “Tchaikovsky Spectacular,” following the previous summer’s “Cirque de la Symphonie,”
and his summer debut in 2009 with the Symphony in collaboration with the Orange County
affiliate of Susan G. Komen for the Cure, which saw record-breaking attendance.
The 2010-11 season also marked the inception of Fortissimo Fest, where Eshkenazy served as
music director. The newly founded festival, underwritten entirely by the America for Bulgaria
Foundation, took place in his home town of Sofia, and includes most of the major Bulgarian
orchestras as well as orchestras and soloists from the United States. The Fortissimo Fest is a
cultural bridge builder and Eshkenazy is pleased to be an ambassador for the arts and integral
link between the two nations.
At the Colburn School of Performing Arts in Los Angeles, Eshkenazy is the music director
and conductor for the Colburn Chamber Orchestra, and music director and conductor for the
Colburn Orchestra. Members of the Colburn Orchestra traveled with Eshkenazy to Fortissimo
Fest in September 2010.
Eshkenazy received his early musical training at the Sofia Conservatory before moving to the
United States to pursue double master of music degrees in conducting and violin performance at
the University of Southern California.
He is an alumnus of several world-class conducting schools and workshops including the Pierre
Monteux School in Maine, and he 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.
Eshkenazy lives not far from the Pacific Ocean in Long Beach, Calif. He is an airplane pilot and
also has his helicopter license.
Maxim Eshkenazy
pacific symphony youth
Orchestra Music Director
20 • Pacific Symphony

A B O U T
meet the psyo soloists
I
an Striedter was born in Pasadena in 1994 and has lived in Irvine ever since. He began his
first musical studies at the age of 5 by joining the Southern California Children's Chorus
and continued singing until the age of 10. Stiedter first discovered the trombone in a fifthgrade
band class at Turtle Rock Elementary School and quickly fell in love with the instrument.
He currently attends University High School and has already established quite a resumé. Music
has taken him across the globe to China, Korea, Italy, Germany, Austria and Bulgaria. He has
participated in All-Southern, All-State and All-National honor groups. Stiedter has also taken
lessons and participated in master classes with some of the world’s best brass musicians. His
teachers include Peter Fournier and Pacific Symphony’s own Michael Hoffman.
Ian Striedter
trombone
At age 12, David Chang, native of Irvine, begged his parents to get him a violin. What
sparked his hunger? A single introduction to music in the fourth grade. Chang’s
accomplishments include winning the VOCE music competition, the IKPA competition,
and numerous awards in the Southern Youth Music Festival. Under the guidance of his teacher,
Margaret Batjer, concertmaster of the Los Angeles Chamber Orchestra, he gained the opportunity
to participate in many summer music festivals and master classes. In 2008, he was soloist with the
All-Southern Middle School Honor Orchestra and also performed many times in the IUSD honor’s
music concerts. During the 2011-12 season, Chang served as a co-concertmaster for the Pacific
Symphony Youth Orchestra. He also has taken master classes with well-known violinists such
as Ruggiero Ricci, Ken Iso, Jennifer Koh, Abram Shtern, and Aaron Rosand. Currently, Chang
attends Crean Lutheran High.
Besides taking violin lessons, he is also a learning pianist and sports enthusiast. He loves to go out
and play sports and play with his friends.
David Chang
Violin
Chloe Hong is a 15-year-old cellist currently attending Woodbridge High School in Irvine.
She is a highly acclaimed musician, winning awards at the MOCO, ASTA, LAVS, IKYC,
IYPF as well as in concerto competitions such as the SSO, OCC, TSY and PSO. She
began her musical journey at the age of 5 playing piano, and by the age of 8 had moved on to
cello.
Her first solo debut was at the concert “Young Stars of the Future” in 2008 at the age of 11
with the South Coast Symphony. In the same year, she performed with the Montecito Youth
Orchestra for the Montecito Music Summer Festival, followed by a third concert, the “Festival of
Music,” with the Torrance Symphony Orchestra in 2009, where she performed the Haydn Cello
Concerto. In 2010, she received the top prize in the Edith Knox Performance Competition, and
had the opportunity to perform the full movement of the Elgar Cello Concerto as a soloist with the
Peninsula Symphony Orchestra. Hong has performed in Kennedy Hall at Washington D.C., as well
as in New York’s renowned Carnegie Hall with her JCM chamber trio, and in the last year she has
taken classes with some of the world’s top musicians, such as Janos Starker, Gilda Barston and
Johannes Moser. She also enjoys being part of chamber ensembles and helping out in the Salvation
Army Outreach program.
Chloe Hong
Cello
Hong is currently studying cello with the very talented Sarah Koo, a constant encouragement and
great mentor. She is eternally thankful to her parents and teachers for all their support and help
that has gotten her this far. Her main purpose is to play for God’s honor, and for all others who
share her love of music.
Pacific Symphony • 21

A B O U T
pacific symphony youth orchestra
About Pacific Symphony Youth Orchestra
P
acific Symphony Youth Orchestra (PSYO) is one of three Youth Ensembles programs
offered by Pacific Symphony. The ensemble consists of some of the most talented young
musicians (ages 13-18) in Orange County. Led by Music Director and Pacific Symphony
Assistant Conductor Maxim Eshkenazy, the program also benefits from the artistic vision of
Pacific Symphony Music Director Carl St.Clair. Maestro St.Clair acts as the artistic advisor and
guides all programming and activities. The orchestra rehearses weekly in the music department
of UC Irvine and presents a popular three-concert series at the Renée and Henry Segerstrom
Concert Hall, Segerstrom Center for the Arts.
Members of PSYO benefit from close working relationships with the professional musicians of
Pacific Symphony through coaching sessions and an annual “side-by-side” concert. The latter
seats each student next to their professional counterpart for a rehearsal and a performance on the
Family Musical Mornings concert series. Being a part of PSYO entitles its members to exclusive
access to concerts and rehearsals of Pacific Symphony as well as guest artist master classes.
The year 2011 marked the PSYO’s inaugural tour to Bulgaria — Maestro Eshkenazy’s home
country. This 10-day, three-concert tour took the orchestra to Sofia, Varna and Plovdiv as they
enjoyed the sights, sounds and culture of this Eastern European country and played three standingroom-only
performances.
PSYO rehearses every Sunday afternoon from 2-5 p.m. in the music department at UC Irvine.
Weekly rehearsals start in September and end in May each season. Members are selected through
auditions which take place annually in late June.
Founded in 1993,PSYO has emerged as the premier training orchestra of Orange County. Under
the artistic direction and guidance of Pacific Symphony’s renowned Music Director Carl St.Clair,
PSYO is quickly being recognized as one of the most outstanding youth orchestras in our country.
Members enjoy the following benefits:
• In-depth study of challenging orchestral repertoire
• Direction by a professional conductor
• Conducting clinic with Music Director Carl St.Clair
• Coaching by professional musicians of Pacific Symphony
• Performances in the world-renowned Renée and Henry Segerstrom Concert Hall
• Annual weekend retreat
• Access to Pacific Symphony rehearsals to observe how a professional orchestra rehearses
• Exposure to nationally recognized soloists
• Annual concerto competition
• Free admission to Classical Connections concerts with Pacific Symphony
About PSYE
F
ocusing on music education, the Pacific Symphony Youth Ensembles (PSYE) program
serves the community by providing the highest level of performance opportunities available
to young instrumentalists between the ages of 11 and 18 from throughout Orange
County. It is one of the flagship education programs of Pacific Symphony.
PACIFIC SYMPHONY
Youth Orchestra
Pacific Symphony Youth Ensembles are made up of three groups: Pacific Symphony Youth
Orchestra, Pacific Symphony Youth Wind Ensemble, and Pacific Symphony Santiago Strings.
All three ensembles benefit from the artistic vision of Pacific Symphony Music Director Carl
St.Clair, who acts as the artistic advisor for all activities. The ensembles perform in the worldclass
Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts, as well
as at other venues around Southern California. Students enjoy a variety of interactions with
Symphony musicians including sectionals, master classes, and side-by-side performances.
Pacific Symphony Youth Orchestra is led by Music Director Maxim Eshkenazy who also serves
as the assistant conductor of Pacific Symphony. Joshua Roach is music director of Pacific
Symphony Youth Wind Ensemble and Irene Kroesen leads Pacific Symphony Santiago Strings.
The PSYE management team is led by Melissa Craig, director.
22 • Pacific Symphony

M E E T
the youth orchestra
VIOLIN I
Ray Cheng
Co-Concertmaster
Chair sponsored by Wen Chung Cheng
and Shaowei Hsu
Katie Nakamura
Co-Concertmaster
David Chang
Co-Concertmaster
Tiffany Chen
Assistant Concertmaster
Katie Hahm
Assistant Concertmaster
Moses Kim
Assistant Concertmaster
Raina Borum
William Chen
Ha-Rim Choi
Lauren Kim
Hiroko Nagafuchi
Monica Nguyen
Sarah Noh
Katherine Park
Harmonie Strohl
Vivian Tang
Nissi Vasa
Eileen Wang
Katherine Wee
VIOLIN II
Kristin Cheng
Co-Principal
Anne Jung
Co-Principal
Esther Yoo
Co-Principal
Cindy Ahn
Assistant Principal
Wayne Chen
Assistant Principal
Sean Liu
Assistant Principal
Eileen Kim
Brian Lee
Christine Lee
Jessica Lim
Tiffany Lin
Connie Oh
Cathy Park
Rochelle Radzyminski
Samuel Tang
Lauren Wong
Daniel Yang
VIOLA
Abigail Choi
Co-Principal
Christine Hwang
Co-Principal
Simon Chang
Lucy Chen
Steven Hart
Peter Min
Meril Tomy
Samantha Wilson
MAXIM ESHKENAZY • MUSIC DIRECTOR
2011–2012 Season
Sections are listed alphabetically after principals
CELLO
Philip Sheegog
Co-Principal
Matthew Gustafson
Co-Principal
Chloe Hong
Co-Principal
John Austin
Assistant Principal
Chair sponsored by John Austin and
Jasmin Yur-Austin
Nathan Park
Assistant Principal
Ryan Song
Assistant Principal
Alana Borum
Lisa Dong
Judy Hyeon
Jonathan Lee
Rochelle Lewis
Joanne Oh
Thomas Seo
BASS
Maggie Lin
Principal
Melanie Cebula
Assistant Principal
Nicole Bennett
Keith Kim
Erica Sharp
Pauline Valdez
Ryan Yi
FLUTE
Michelle Sung
Principal
Michael Cheng
Gloria Liu*
OBOE
Sydney Lee
Principal
Sarina Chen
Austyn Esty-Ang
CLARINET
Lacey Yun
Principal
Jiwoo Park
Nicholas Yoon
Dalton Tran
BASSOON
Ryan Yamashiro
Kahayla Rapolla
HORN
Matthew Jaimes
Principal
Allison DeMeulle
Ellie Antici
Janelle Francisco
TRUMPET
Jeremy Reichenbach
Principal
Christine Hirata
Ian Fisher
TROMBONE
Ian Striedter
Principal
Reagan Lull
BASS TROMBONE
Cameron Yong
TUBA
Stuart Wegner
PERCUSSION
David Yoon
Principal
Austin Floyd
Andrew Lee**
Che-Hsuan Liao**
HARP
Melody Swen
Principal
PIANO
Natalie Cernius**
STAFF
Melissa Craig
Director of Youth Ensembles
Nathan von Trotha
Youth Orchestra Manager
* Piccolo
** Member of both PSYO and
PSYWE
† English horn
Participating Schools
Aliso Niguel High School
Anaheim Magnolia Christian
School
Arnold O. Beckman High
School
Brea Olinda High School
Crean Lutheran High School
Cypress High School
Diamond Bar High School
Edison High School
El Camino High School
Huntington Beach High School
Integrity Christian School
IQ Academy
Irvine High School
La Mirada High School
Laguna Hills High School
Los Alamitos High School
Northwood High School
Orange County High School of
the Arts
Saddleback Valley Christian
Schools
Sage Hill High School
San Clemente High School
St. Margaret’s Episcopal
School
Tesoro High School
Trabuco Hills High School
University High School
Valencia High School
Vista Murrieta High School
Whitney High School
Woodbridge High School
Pacific Symphony • 23