AMERICAN COMPOSERSFESTIVAL 2011

THE PASSION OF

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THE FESTIVAL AT A GLANCEThis year, Pacific Symphony’s American Composers Festival (ACF) is part of the first-ever Southern

California Philip Glass Festival. The Symphony, in partnership with Long Beach Opera, has assembled amonth of events (see opposite page for a complete listing), all of which probe deeply into the life and musicof Philip Glass, one of America’s most fascinating and pre-eminent living composers.

The unifying theme for the Symphony’s 2011 ACF, led by Music Director Carl St.Clair, is the influence thatIndia’s music and philosophy have had on Glass. The Festival focuses on the composer’s collaborations withIndian sitar master Ravi Shankar, whom Glass first met in India in 1965. Mixing Eastern and Western tradi-tions, Glass’ heroic musical homage to a simple Hindu holy man paints an exquisite symphonic and choralpicture of India emerging from centuries of foreign domination.

ACF begins with the Classical concert Thursday through Saturday, with St. Clair conducting The Passion ofPhilip Glass, featuring Christópheren Nomura, baritone; Prism Quartet, saxophones; Janice Chandler-Eteme,soprano; Kevin Deas, bass-baritone and Pacific Chorale. The concert begins with an excerpt from “MeetingsAlong the Edge” from Passages, a 1990 collaboration between Glass and Shankar, with each having writtenarrangements around themes created by the other. The program also includes one of Glass’ most performedconcertos, for saxophone quartet and orchestra, composed for the Rascher Saxophone Quartet in 1995. Theconcert rounds out with Glass’s epic The Passion of Ramakrishna, and includes pre- and post-concert talkswith Glass and St.Clair.

Continuing Sunday at 3 p.m., St.Clair and the orchestra further explore The Passion of Ramakrishna, Glass’ssymphonic tribute to the 19th-century Indian spiritual leader, during Classical Connections, an informativeand relaxed Sunday afternoon conversation and performance.

Later Sunday evening at 7 p.m., the Symphony partners for a second time with Newport Beach FilmFestival to present Behind the Score: The Illusionist. Glass provided the soundtrack for the 2006mystery/thriller, The Illusionist, and this event features a screening of the film and panel discussion with thecomposer at the historic Regency Lido Theater in Newport Beach.

The final Pacific Symphony event, Glass Plays Glass, takes place Monday, March 14, at 8 p.m. in the SamueliTheater and features Glass playing an evening of his original music composed for solo piano as well as anumber of arrangements for organ or instrumental combinations.

This years ACF also includes events with Long Beach Opera (LBO).Glass’ opera Akhnaten will be presented by LBO Saturday, March 19and Sunday, March 27.

For more information about the American Composers Festival visit: www.pacificsymphony.org/ACF,

or join the conversation at www.pacificsymphonyblog.org

The Passion of Philip Glassis generously sponsored by:

THE NATIONAL ENDOWMENT FOR THE ARTSTHE AARON COPLAND FUND FOR MUSIC

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Sunday, February 27 • 11 a.m.LBOpera Cinema – Part I of the Qatsi TrilogyKoyaanisqatsi: Life Out of Balance (MOVIE)

Art Theatre of Long Beach

Directed by Godfrey Reggio, sweeping images of the natural envi-ronment colliding with the industrial world are fused with Glass’modern synthesized music leaving viewers breathlessly floatingthrough time and space.

Saturday, March 5 • 2-4:15 p.m.Akhnaten and His World (LECTURE)

LBO and UCLA EgyptologyUCLA, Lenart Auditorium, North Campus

The mysteries of Akhnaten and the society he tried to change areexplained by professors and faculty from UCLA’s Department ofNear Eastern Languages and Culture (NELC)/ Cotsen Institute ofArchaeology.

Sunday, March 6 • 11 a.m.LBOpera Cinema – Part II of the Qatsi TrilogyPowaqqatsi: Life in Transition (MOVIE)

Art Theatre of Long Beach

Directed by Godfrey Reggio, this moving film travels to Third Worldsocieties thrown into the path of industrialization and moderntechnology with a score that combines the sound of synthesizersand an orchestra while native instruments and human voices rise insong.

Thursday–Saturday, March 10–12, 8 p.m.Pacific Symphony’s American Composer’s Festival 2011The Passion of Philip Glass (CONCERT)

Renée and Henry Segerstrom Concert Hall

Mixing Eastern and Western traditions, Philip Glass’ heroic musicalhomage to a simple Hindu holy man paints an exquisite symphonicand choral picture of India emerging from centuries of foreign domi-nation.

Saturday, March 12 • 2–4:30 p.m.Glass in Conversation about Akhnaten (DISCUSSION AND

CONCERT)

LBO and Los Angeles County Museum of ArtLos Angeles County Museum of Art

LBO Director Andreas Mitisek and Philip Glass join in a lively dis-cussion of the composer’s spectacular opera, “Akhnaten” invitingthe audience to participate in a Q&A. Cast members sing selec-tions from the opera and concert pianist Michelle Schumann playsGlass compositions.

Sunday, March 13 • 7 p.m.Behind the Score: “The Illusionist” (MOVIE)

Pacific Symphony/Newport Beach Film FestivalRegency Lido Theater, Newport Beach

Glass provided the soundtrack for the 2006 Academy-Award win-ning mystery/thriller, “The Illusionist,” starring Edward Nortonand Paul Giamatti. This special screening features an in-person Q& A with the film’s composer Philip Glass.

Sunday, March 13 • 3 p.m.The Passion of Ramakrishna (CONCERT)

Renée and Henry Segerstrom Concert Hall

Music Director Carl St.Clair further explores the “The Passion ofRamakrishna,” Philip Glass’ symphonic and choral tribute to the19th-century Indian spiritual leader, during Pacific Symphony’sClassical Connections.

Monday, March 14 • 8 p.m.Glass Plays Glass (CONCERT)

Samueli Theater

Philip Glass has had a long history of performing his own music,being among the first of a new generation of composer/performers.This evening features works composed for solo piano as well as anumber of arrangements for organ or instrumental combinations.

Saturday, March 19 • 7:30–10:30 p.m.Sunday, March 27 • 2:00–5:00 p.m.Akhnaten (OPERA)

Terrace Theater, Long Beach Performing Arts Center

Completing the opera trilogy which began with “Einstein on theBeach” and “Satyagraha,” Glass explores the rise and fall of theEgyptian Pharaoh Akhnaten and how his inner vision changed theworld. Director Mitisek gives a pre-opera talk one-hour before per-formances.

Sunday, March 20 • 11 a.m.LBOpera Cinema - Part III of the Qatsi TrilogyNaqoyqatsi: Life as War (MOVIE)

Art Theatre of Long Beach

The aggressive pace of modern technology is depicted withenhanced imagery in what Director Reggio call “virtual cinema.”The score balances the effect of the startling images with a “soundworld of ‘natural’ timbres” and features the superb cello of Yo-YoMa.

FESTIVAL EVENTSPRESENTED BY LONG BEACH OPERA AND PACIFIC SYMPHONY

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SEGERSTROM CENTER FOR THE ARTSR 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

Thursday – Saturday, March 10–12, 2011, at 8:00 p.m.Preview talk with Alan Chapman at 7:00 p.m.

P R E S E N T S

2010–2011 HAL AND JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES

THE PASSION OF PHILIP GLASSCARL ST.CLAIR, CONDUCTOR

JANICE CHANDLER-ETEME, SOPRANO • CHRISTÒPHEREN NOMURA, BARITONEKEVIN DEAS, BASS

PACIFIC CHORALE — JOHN ALEXANDER, ARTISTIC DIRECTORI-CHIN FEINBLATT, MEZZO SOPRANO • NICHOLAS PRESTON, TENOR

PRISM SAXOPHONE QUARTETTIMOTHY MCALLISTER, SOPRANO SAXOPHONE • ZACHARY SHEMON, ALTO SAXOPHONE

MATT LEVY, TENOR SAXOPHONE • TAIMUR SULLIVAN, BARITONE SAXOPHONE

GLASS Passages(b. 1937) Meetings along the Edge (based on a

theme by Ravi Shankar)PRISM QUARTET

Concerto for Saxophone Quartet and Orchestra

PRISM QUARTET

— I N T E R M I S S I O N —

GLASS The Passion of RamakrishnaProloguePart One: The Master’s VisionsPart Two: Sarada DeviPart Three: The Master’s IllnessPart Four: The Mahasamadhi of the Master

EpilogueJANICE CHANDLER-ETEMECHRISTÒPHEREN NOMURAKEVIN DEASPACIFIC CHORALEI-CHIN FEINBLATTNICHOLAS PRESTON

Official HotelOfficial Airline Official Television Station American Composers FestivalOfficial Media Sponsor

Pacific Symphony proudly recognizes its Official Partners:

The 2011 American Composers Festival is generously supported by:The Aaron Copland Fund for Music

The Saturday, March 12, performance is broadcast live on , the official classical radio station of Pacific Symphony.

The Pacific Symphony broadcasts are made possible by a generous grant from

The simultaneous streaming of this broadcast over the internet at kusc.org is made possible by the generosity ofthe Musicians of Pacific Symphony.

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PROGRAM NOTESBY JOSEPH HOROWITZ, Artistic Advisor, Pacific Symphony

In 1973, Leonard Bernstein offered aseries of Norton Lectures at Harvardtitled “The Unanswered Question.” Thequestion Bernstein was attempting toanswer was: “Whither music in our time?”He labored for weeks. His antipathy tonon-tonal music directed him away fromSchoenberg and Webern. Stravinsky, too,was not wholly satisfactory. Instead, hisincorrigible Romanticism led him back-ward — to Gustav Mahler as the iconic20th-century composer. And yet Mahlerhad died in 1911. In effect, Bernstein’ssearch led nowhere: he could not find hisway.Today, the answer to Bernstein’s ques-

tion is self-evident. It is all around us.What has refreshed classical music in ourtime are the twin influences of non-Western and popular music. In America,the central exemplars are Philip Glass,Steve Reich, and John Adams. They drawon the music of Africa and India, onswing, on rock ‘n’ roll. They command ahuge and variegated public. In fact, theycannot even be classified as “classicalmusicians.”For much of the 20th century, classical

music shrank and fractured. Contemporarycomposers and contemporary audienceswent their different ways. Composers,conductors, and instrumentalists narrowly

specialized as they had never donebefore. In this regard, Glass, Reich, andAdams are throwbacks. They are allaccomplished performers: Glass as apianist, Reich as a percussionist, Adams asa conductor. This became a factor intheir wide popularity and appeal. AndGlass’s popularity and appeal are widest.His music is a familiar galvanizing pres-ence onstage, on the screen, in the con-cert hall.Born in 1937, Glass initially headed in

other directions. At the University ofChicago, he majored in mathematics andphilosophy. He enrolled at Juilliard,where he composed, as he later put it,“A-plus pieces” in the style of his teach-ers William Bergsma and VincentPersichetti. In 1964, he went to Franceto work with Nadia Boulanger — a leg-endary pedagogue. The fierce rigor ofthe Boulanger regime was a crucialinfluence on Glass. So was Ravi Shankar,the eminent Indian sitarist whom he alsomet in France, and from whom heacquired new ways of organizingrhythm.Glass returned to New York a differ-

ent musician. He had also traveled toMorocco and India. In lower Manhattan,he discovered a vital alternative artsmilieu, in which composers wereattempting radically simplified styles, andactors were pursuing non-narrative “per-formance art.” Juilliard composers hadbeen discouraged from performing. Glasshad entered a counter-environment. Heand Steve Reich shared an ensemble; in1971, the band split into the Philip GlassEnsemble, and Steve Reich andMusicians. In 1974, Glass performed atTown Hall — a move uptown towardthe bastions of high culture — for acheering audience of 1,200. By now,“minimalism” was an established credo.Glass had earned grudging respect with-in the mainstream. He had honed amusic of stasis, quiescently hovering or

racing in place. He called it “intention-less” music, in contradistinction to ten-sion-and-release Western trajectories.

Einstein on the Beach, at theMetropolitan Opera House in 1976, wasa landmark event. Though this was arental, not a Met presentation, it waswholly unignorable. Its operatic magni-tude was sealed by its five-hour length,its sung text, and the continuity of itsmusical fabric. But the “libretto” consist-ed of numbers and solfège syllables, andnothing resembling a story intrudedupon the glacial grandeur of Glass’s pul-sating scales and arpeggios, or of RobertWilson’s surreal stage pictures. Duringone twenty-minute sequence, a horizon-tal slab of light tilted vertically and arose,an event so artfully integrated withmusic that its ascent was hypnotic.Elsewhere, the exhilaration of streakingroulades of tone precisely mated with thewhipping physicality of furiously disci-plined bodies. Though Glass had to return to

driving a cab to pay his bills, Einsteinclinched his rise to influence and pres-tige. Equally, it clinched the potency ofGlass’ idiom onstage, as a catalyst foractors, singers, and dancers. The City ofRotterdam now commissioned from hima “real opera” for the Netherlands Opera.The result was Satyagraha (1979), withmore conventional vocal and instrumen-tal forces, in which the achievements ofMahatma Gandhi were represented by aseries of semi-static musical-dramatictableaux. If Einstein was a special eventtranscending genre, Satyagraha hasemerged as a repertoire piece. And Glasshas proved a gifted collaborator withdancers and filmmakers. His moodyViolin Concerto (1987) attracts leadingviolinists. His connectedness with a massof listeners is something new inAmerican concert music sinceBernstein’s Candide Overture and WestSide Story Dances.

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PROGRAM NOTESThe Passion of RamakrishnaBY PHILIP GLASSBORN 1937 IN BALTIMORE

Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3bassoons, 4 horns, 3 trumpets, 3 trombones, tuba,timpani, percussion, harp, piano, strings, soprano,baritone and bass-baritone soloists, and chorus.Performance time: 45 minutes

The Passion of Ramakrishna was co-com-missioned by Pacific Symphony and

the Nashville Symphony, and premiered atone of Pacific Symphony’s inaugural con-certs in the Renée and Henry SegerstromConcert Hall, on September 16, 2006. Eversince that single performance, MusicDirector Carl St.Clair has been itching toreturn to the work, and to record it. Thepresent American Composers Festival per-mits him to do both. Our program alsoincludes one of Glass’ most performedconcertos – for saxophone quartet andorchestra, composed for the RascherSaxophone Quartet in 1995. And we beginwith an excerpt from Meetings Along theEdge from Passages, a 1990 collaborationbetween Glass and Ravi Shankar, with eachwriting arrangements around themes writ-ten by the other. Originally scored fororchestra, and based on a theme byShankar, Meetings Along the Edge is tonightperformed as arranged for saxophone quar-tet and chamber orchestra by DennisRussell Davies.

Philip Glass has furnished the following note forThe Passion of Ramakrishna:

Sri Ramakrishna was born on February18, 1836 in Kamarpukur, a village inrural Bengal. As a young man he took upservice in the temple dedicated to Kali,The Divine Mother, at Dakshineswar, a vil-lage about ten miles north of Calcutta inthose years. There he remained for the restof his life, dying in the early hours ofMonday, August 16, 1886. The Kali templeat Dakshineswar is still there today, but isnow surrounded by an ever-expanding andbustling Calcutta. By coincidence, it standsnot far from the place established for thework and residence of the late MotherTeresa. Ramakrishna’s home remains there,still embodying his spirit and worth a visit

by anyone interested in knowing about hislife and work.As a young man, he was largely self-

taught, having absorbed knowledge of theancient tradition of India through readingand hearing the religious stories in thePuranas as well as his association with theholy men, pilgrims and wandering monkswho would stop at Kamarpukur on theirway to Puri and other holy places. In timehe became famous throughout India for hisability to expound and elucidate the mostsubtle aspects of that profound and vast tra-dition. It was not uncommon in the yearsof his maturity for pundits from all overIndia to come and “test” his knowledge.Invariably, they were astonished by the easeand eloquence with which he addressedtheir questions. It appeared that his first-hand spiritual experiences were more thanadequate when it came to explaining thescriptures of ancient India. In this way hewas able to remove all doubt about theirmeaning and, indeed, his own authority.By the late nineteenth century India

had been governed for almost four hun-dred years by two of the great worldempires — the Mughals and the British.Each had fostered a foreign religion andculture in India which, in time, had beenabsorbed into Indian civilization. Thegenius of Ramakrishna was to restore andreaffirm the ancient Hindu culture from itsspiritual source.It would be hard to overestimate the

impact that the life, presence and teachingof Sri Ramakrishna had on the formationof the modern India we know today. It wasas if the sleeping giant of Indian cultureand spirituality — certainly one of theforemost cultures of the ancient world —had been re-awakened and empowered totake its rightful place in modern times.Within a generation of his death, Gandhi’s“quit India” movement was in full bloom.The poetry of Tagore as well as countlessmanifestations in theater, music, philosophyand civil discourse were becoming knownto the world at large. Over one hundredyears ago Swami Vivekananda (theNarendra of our text) traveled to the Westto take part in the first Parliament of theWorld’s Religions in Chicago in 1893. Heestablished in America the first VedantaCenters, which have spread throughout theworld, with major centers in Southern

California. Even today the influence ofIndia (and ultimately, of Ramakrishna) canbe heard in the poetry and music of AllenGinsburg and the Beatles, to mention onlya few artists. It is hard to imagine theemergence of India on the world stagewithout the spark that was provided byRamakrishna’s brilliance. Perhaps, somemay doubt that India — the most popu-lous democracy of our time, brimmingwith vitality and creativity — could owe somuch to one saintly man, long gone, wholived a life of such utter simplicity. Yet Ibelieve that is exactly the case.It has been said that when a great man

dies, it is as if all of humanity — and thewhole world, for that matter — were wit-nessing a beautiful, timeless sunset. At thatmoment “the great matter of life anddeath” is revealed, if not explained andunderstood. By bearing witness to thatevent, perhaps we understand a little betterour own mortality, its limits and possibili-ties. The Passion of Ramakrishna is meant torecount, in this highly abbreviated work,his suffering, death and transfiguration asthey took place during the last few monthsof his life. In this work, the words ofRamakrishna are taken up by the Chorus.Sarada Devi was his wife and lifelong com-panion. M. (his real name wasMahendranath Gupta) was the disciplewho kept a close record of his meetingswith Ramakrishna, later published as TheGospel of Sri Ramakrishna. Dr. Sarkar washis attending physician. The two discipleswho sing small solo parts are unidentifiedin the text.

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JH: You’re performing an evening of your solopiano music as part of this year’s AmericanComposers Festival. People might be surprisedto know that when Dennis Russell Daviesperforms your piano music, it sounds different.He keeps a strict pulse. You don’t; you playwith rubato. So your music is susceptible to avariety of interpretations.

PG: I’m not as good a pianist as Dennisor any number of other people. When Iperform or record my solo piano music,what you hear is what it sounds likewhen I’m alone and playing for myself.The [Philip Glass] Ensemble performsmy music in a more motoric, rhythmicstyle that doesn’t allow for the freedomof playing by oneself. I don’t believe in such a thing as a

“definite” interpretation of any piece ofmusic. I mean, there was a time when weall though Glenn Gould was the defini-tive interpreter of Bach’s GoldbergVariations. Before that, it was WandaLandowska. In fact, gifted interpreterscan bring a range of interpretation to apiece of music, and my music is noexception. I notice that people are beginning to

play my pieces — the Violin Concerto,for instance — much more freely.

JH: How does “The Passion ofRamakrishna” fit into your output?

PG: I’ve always had a strong attraction tochoral music. As a young man I sang inchoruses and got to know the choral lit-erature fairly well. And choruses enjoysinging my music — it’s well written forthe voice. This piece is a good exampleof that. The chorus is central. In fact, agood choral group could find withinitself the soloists needed for this piece.I spent a lot of time traveling in India

during the middle years of my life. I’velong known about the Gospel ofRamakrishna. It’s a classic book, writtenin a beautiful style. When I was inCalcutta, I went to see where he lived.What was interesting about Ramakrishnais that he was an uneducated man. Forsome reason he seemed to know the

answers to a lot of obscure theologicalquestions. Also, he was involved in thesame issues of Indian cultural identitythat Gandhi got so involved in. Assertingthe legitimacy and antiquity of a trueHindu culture was something that had tobe done. Under British rule, Indian chil-dren were being educated as if India hadno past. The impact of Ramakrishna onmodern, post-colonial Indian life andculture is comparable to the impact ofGandhi. He affirmed the importance ofancient traditions in a way that hadn’tbeen achieved for several hundred years.

JH: Leonard Bernstein, in his 1973 NortonLectures, puzzled endlessly over the futuredirection of music. Where does that searchstand today?

PG: Bernstein wasn’t the only personwith that problem. Donal Henahan,when he was chief critic of The New YorkTimes, used to wonder out loud: Whereare the great composers of today? Andyet he was living in a city with a newmusic scene bubbling up to the surface.He just didn’t notice it – or he didn’tapprove.From my perspective, I’m looking

today at a younger generation of com-posers totally liberated from the histori-cal imperatives of a former time. Allkinds of mixed styles and ancillary tech-niques are being practiced. I find atremendous energy in these young com-posers. I’m convinced that the one thing they

need is a kind of socio-political impetusfor their work. And now they have one.The political landscape in this countryhas turned bizarre; one-third of the elec-torate believes that the President wasn’tborn here. I’m reminded of the 1950sand the Red Scare, when there werebulls coming down the runway. Thatbecame the catalyst for people like AllenGinsburg and John Cage. We’re again in a highly repressive

environment. I think that the presentextreme situation, where you have peo-ple like Sarah Palin and Rush Limbaughbasically running Fox News — will

stimulate a tremendous artistic revolutionover the next ten years. It makes me real-ly happy. Because my generation experi-enced terrible times getting people totake us seriously. Of course, we had cer-tain places of refuge, like the BrooklynAcademy of Music. But I didn’t get toplay at Carnegie Hall until 1979 —when I was 42 years old. And yet I don’tthink it was a bad time. We didn’t haveany money, but we certainly had audi-ences. Today, the appetite for new workis much more general than in my time.And young composers look upon mygeneration very favorably. That doesn’tmake me unhappy either. There’s morecontinuity than in a long time.

JH: Where are you headed?

PG: I have an idea about that. What I’minterested in now is how non-harmonicmovement becomes integrated into har-monic movement. That’s very technical –but that’s how I think. I operate accord-ing to what I hear, not according to anideological agenda.

JH: As we’re performing “Meetings Along theEdge,” could you say something about yourrelationship to Ravi Shankar?

PG: With Nadia Boulanger, he was themost important person I ever workedwith. It was my great luck to meet amaster of a great tradition of globalmusic. One of Ravi’s great achievementsis the way he extrapolates rhythmicstructure into the overall structure of acomposition. Ravi is a complete masterof that.I heard a concert he did last year, at

the age of 90. It was inspiring. I met himwhen he was 45. I have very dear mem-ories of him from that time to the pres-ent. When we worked together onMeetings Along the Edge, I introducedcomplex contrapuntal techniques notfamiliar to people who play Indian classi-cal music. I actually don’t know what hethinks of the music we did together. Buthe’s a very kind man. I think he toleratedme.

AN INTERVIEWWITH PHILIP GLASSBY JOSEPH HOROWITZ

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PHILIP GLASS ON INDIA AND THE WISDOM OF THE EAST(FROM A 1992 INTERVIEW INTRICYCLE MAGAZINE)

[A big cultural explosion] happenedin 1968 when the Beatles went to Indiato study with the Maharishi. Theybrought back Indian culture. Only afterthat did people like Ravi Shankar beginperforming in large concert halls – andfilling them. George Harrison made RaviShakar a household name. But when Istarted out, any kind of Eastern interestwas still pretty marginal.

What were you reading?

Well, there was an odd assortment ofthings. . . . One person I read at that timewas Sir John George Woodruffe. He con-centrated on the yoga that developed inthe Bengali parts of India, and that ledme to Ramakrishna. But I didn’t get toIndia until 1965. . . . I had received a fel-lowship to study in Paris with NadiaBoulanger in 1964. For extra money, Itook a job transcribing music for RaviShankar. . . . I had never even heardIndian music before!

Did you get to India through Ravi Shankar?

No. Through Swami Satchidananda. Ihad met him in Paris when he was enroute to New York. He had a yogaashram in Sri Lanka – that is, in Ceyon –and he invited me to study there. This

was in the fall of 1966. . . . We went offto India overland, the classic route:through Turkey by train, through Iranand Afghanistan by bus, and into Pakistanthrough the Khyber Pass, and then intothe Punjab. . . . I was interested in some-thing more exotic than studying yoga inNew York. I was ready for an experiencein India. . . .

Is it completely coincidental that at the sametime as meditation practice enters NorthAmerica in a big way, a movement in musicappears with obvious parallels to meditation –music that, for example, denies habitual patternsof expectation, breaks the convention of begin-nings and endings, eliminates crescendos, anddissolves the dualities of peaks and valleys?

There are other sources.

Such as?

Non-narrative theater or non-narrativeart. . . . The influences are not Indianalone. Beckett was a big influence. Sowas Brecht. Genet, too. . . . These writerstook the subject out of the narrative.They broke the pattern of the readeridentifying with the main character. . . .Brecht does it with irony . . . Beckettdoes it through fragmentation . . . AndGenet does it through transcendentvision. . . . It has to do with [denying]the self-grasping or self-cherishing mind.Brecht is the obvious example of tryingto go beyond the self-cherishing mind.But in each case, the attempt is the basisfor defining the artist as avant-garde.What accounts for this?

World War I saw the end of a nine-teenth-century Romantic idealism. Thesemen came after that. They had livedthough that disillusionment, and it pro-duced an attitude that was freshly andnewly critical of the Western traditionthat landed the world in such a mess.

Then, of course, it is even more intensefor the generation after World War II.That’s us. By the Sixties, coincidences ofcultural ideas were going on. On the onehand, you have an explosion of Indianculture, and on the other, a reaction tonineteenth- and twentieth-century nar-rative art. These two cross-currents tend-ed to reinforce each other. When I cameback from that first trip to India. I startedlooking at paintings by Frank Stella andJasper Johns, and again I saw work basedon a different kind of thinking.

There seem to be recognizable interconnectionsbetween your music and your studies inBuddhism.

Certainly. But not in the music itself. Thereal impact of Buddhist practice affectshow you live your life on a daily basis,not how you do your art. How you live,day by day, moment by moment. Theimpact of Buddhism is not theoretical, asin how you paint or how you write anovel. That’s hardly as interesting as howyou live on a daily basis, don’t you think?Aspects of Buddhist studies, such as thedevelopment of compassion and equa-nimity and mindfulness, are the practicalaspects of daily life.

This is a big departure from the exoticism youpursued in India thirty years ago.

You start out pursuing the exotic, and itbrings you around to the most basicdaily activities. Also, the music worldencourages such an exhausting and com-pulsive way of living that is it is impor-tant to balance your life against thedemands of that kind of career.

It took a generation to discover that it’s abouthow you put you shoes on in the morning.

But that’s what turns out to be the mostinteresting thing. That’s why I de-empha-

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size the impact on the actual music itself.

Even though certain aspects of the Buddhisttrue path may have unexpectedly routed youfrom the exotic to the mundane, other aspectsof Buddhist meditation practice complementthe classical training of a Western musician:discipline, rigor, and the relationship betweenformal structure and personal creativity,between discipline and playfulness.

That’s what you learned from a teacherlike Nadia Boulanger. . . . Before I wentto Paris, I had acquired very good workhabits, which itself is a discipline. ButBoulanger carried the idea of disciplineto another level. She added somethingthat I became familiar with later throughTibetan practice, something that I canonly describe as a devotional aspect ofmusic study, and anyone who studiedwith her could talk about that.

Were you inspired by Boulanger’s devotion?

Boulanger set herself up as an incompa-rable model of discipline and dedication,and she expected you to be just like her.And that was almost impossible, becauseshe seemed beyond what any humanbeing could really hope to be. Yet, shedid it in a very simple way – I would notsay gracious, no one ever said thatBoulanger was gracious – but she did itin a simple, clear way. When I studiedwith her, for example, the only way tolive up to her standards and to turn outthe amount of work she expected everyweek was to get up between 6 and 7 inthe morning and work all day long. Andif I did that every day, I would turn up atmy lesson and Boulanger gave me theimpression that I had done just about thevery minimum. . . .

Have there ever been conflicts between Tibetanpractice and making music?

My Tibetan friends have always encour-aged my music practice. I’ve beenencouraged to devote myself entirely tomusic. There is some kind of recognitionon their part, I think, that music is a kindof “practice,” too – that is, this is practicein their terms. This is a practice of a kindthat need not be profane or self-cherish-ing.

And then, too, you did a series of operas withovert social themes.

I did three operas about social changethrough nonviolence. It started withEinstein on the Beach, which I did withBob Wilson, though at the time, I . . .would not have seen it that way. Butwith the next one, Satyagraha (in whichMahatma Gandhi was the main charac-ter), I was consciously thinking about areligious revolutionary. Again withAkhnaten (the Egyptian king) and with

his impact on the social order – in termsof the society as a whole or the individ-ual in society. . . At a certain point, Iwanted the music to reflect my feelingsof social responsibility. Take the image ofthe artist as someone cut off from socie-ty. We learn from dharma teachers thatthis separateness is an illusion, and thingsbegin to shift – we begin to see our-selves as connected.

In the opera trilogy “Einstein on the Beach,”“Satyagraha,” and “Ahknaten,” the agents ofthese revolutions (of physics, of politics, of reli-gion) were all individual great men. Themovements that followed would have beenimpossible without these three individuals, andyet all three of them ended in some kind ofdisaster or failure along with great triumph.From Einstein, we get Hiroshima . . .

Not only Hiroshima, but also the para-dox of quantum mechanics, which was aterrible failure that Einstein himselfnever recovered from. Ghandhi lived tosee the India that he had fought for tornapart by religious war and division. AndAkhnaten, after seventeen years of reign,was almost forgotten. He was eliminatedfrom the list of kings. . . .

How do you put on your shoes?

There is a kind of ordinariness, a kind ofordinary thinking – is there such a thingas high ordinary? – I mean, there is away of thinking about ordinary life in adistinctly Buddhist way; and I think that’sthe real practice. Funny, isn’t it? It turnsout that the pie in the sky is the samepie that’s in your refrigerator.

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THE PASSION OF RAMAKRISHNACAST OF CHARACTERS

Sri Ramakrishna, “The Master” (sung by the Chorus)

“M.”, The Narrator (Mahendranath Gupta)

Sarada Devi, Wife of Sri Ramakrishna

Narendra (later Swami Vivekananda)

Dr. Mahendra Lal Sarkar

First Devotee

Second Devotee

PROLOGUE

Who is this Woman who lights the field of battle?Her body gleams darker than even the darkest storm-cloud,And from Her teeth there flash the lightning’s blinding flames!Disheveled Her hair flies behind as She rushesUndaunted in this war between the gods and the demons.Laughing Her terrible laugh, She slays the fleeing asuras,And with Her dazzling flashes She lays bares the horrors ofwar.

How beautiful on Her brow the drops of moisture appear!About Her dense black hair the bees are buzzing;The moon has veiled its face, beholding this Sea of Beauty.Tell me, who can She be, this Enchanter? Wonder of wonders!Shiva Himself lies like a corpse vanquished at Her feet.Kamalakanta has guessed who She is, She with the elephant’sgait;

She is none other than Kali, Mother of all the worlds.

PART ONE

THE MASTER: God can be seen.One can talk to HimAs I am talking to you.

It was not merely a vision of Him.We talked together day and night.Yes, He talked to me.Under the banyan treeI saw Him coming from the Ganges.We laughed so much!Then He talked, yes, He talked to me.For three days I wept without stopping.And He revealed to me what is in the scriptures:The Vedas, the Puranas,The Tantras and other scriptures.He showed me the Maya of Mahamaya.A small light inside a room began to grow;At last it enveloped the entire universe.

In those days of God-visionI felt as if I were passing through a hurricane,and everything had blown away from me.No trace of my old self was left.

I am like a cast-off leaf before a storm.The wind blows the leaf wherever it wants.

The Divine Mother revealed to me in the Kali templeThat it is She who had become everything.The Image was Consciousness,The altar was Consciousness,The water-vessels were Consciousness,The door-sill was Consciousness,The marble floor was Consciousness,I myself was Consciousness –All was Consciousness.I found everything soaked in Bliss –The Bliss of Satchidananda.

Then like a madman I beganTo shower flowers in all directions.Whatever I saw, I worshipped.Men, animals and other living beings– all Pure Consciousness.

Pac i f i c Symphony P-11

You know I am a fool.I know nothing.Then who is itWho says all these things?O Mother, I am the machineAnd You are the Operator.I am the houseAnd You dwell within.I am the carAnd You are the Driver.I am asleep;You make me conscious.It is not I! It is all You!It is all not I! It is all You!Hers is the glory;We are Her instruments.

God alone is the Doer.

Nothing exists but the One.

Mother, here is Your knowledge and here is Your ignorance.Take them both, Mother, and give me pure love.Here is Your holiness and Your unholiness.Take them both, Mother, and give me pure love.Here is Your good and here is Your evil.Take them both, Mother, and give me pure love.Here is Your righteousness and here is Your unrighteousness.Take them both, Mother, and give me pure love.I gave up everything at Her FeetBut could not bring myself to give up truth.

PART TWO

THE MASTER: My Mother! Who is my Mother?Ah, She is the Mother of the Universe.It is She who creates and preserves the worldAnd who always protects her children,And who grants whatever they desire.A true son cannot be far from his mother.The mother knows everything.The child doesn’t worryAbout the things of the world.

SARADA DEVI: He taught me everything.I always used to feel

As if a pitcher full of blissWas placed in my heart.That joy cannot be described.

THE MASTER: When she came to stay with me I said,“Do you want to drag me down into Maya?”

SARADA DEVI: Why should I do that?I have only come to help you.

THE MASTER: I used to worship my own motherWith flowers and sandal-paste.The Mother of the UniverseIs embodied as our earthly mother.

SARADA DEVI: How do you look upon me?

THE MASTER: As the Blissful Mother who is worshipped in the temple,The mother who gave birth to this body,And you who are here with me –I look upon all as the Divine Mother.With the ritual required by the scripturesI worshipped her as the Divine Mother manifest.I offered to her my rosary and all that I had,Myself and the fruits of my years of striving.It was late at night when the worship was over.All that was mine became hers.

SARADA DEVI: My own mother said,“You are married to a lunatic.You will never know the happiness of a mother.”

THE MASTER: Your daughter will have so many children,She will grow weary of hearingThe cries of “Mother, Mother!” night and day.

SARADA DEVI: And as he was dying he said to me,

SARADA DEVI AND THE MASTER:People live like worms in darkness.

PROGRAMTEXTS (continued)

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You must take care of them.Won’t you do anything? Am I to do all?

SARADA DEVI: I am a woman. What can I do?

SARADA DEVI AND THE MASTER:No, no! You have to do much.

SARADA DEVI: In the fullness of the path you will findThat He Who resides in your heartresides in the hearts of all others as well.Learn to make the whole world your own.No one is a stranger.The whole world is your own.

Note: the last three lines are her final teachings before her death.

PART THREEAugust 1885

M. Since last April the Master has not been well.The doctors now say the sore in his throat is cancer.

THE MASTER: I cannot tell the Mother of my illness.I feel ashamed to talk of it.

FIRST DEVOTEE: God will cure you.

SECOND DEVOTEE: Yes, you will be all right.

THE MASTER: Well, why do I have this illness?

M. People are amazed to find thatIn spite of your illnessYou only think of God.

THE MASTER: I woke up again covered with perspiration.I don’t understand this illness.It seems I shall not recover.

FIRST DEVOTEE: You will soon be curedIf only you say,“Mother, please make me well.”

THE MASTER: I cannot ask God to cure my disease.Sometimes I say, “O Mother,Please mend the sheath of the sword a little.”But such prayers are less frequent.Nowadays I do not find my “I”;I see that it is God aloneWho resides in the sheath.The body is a mere pillow-case.The only real substance is the Indivisible Satchidananda.

M. The Master has trouble swallowing.He eats farina pudding.

THE MASTER (TO DR. SARKAR): Please cure my illness.I cannot chant the name and glories of God.

DR. SARKAR: You must not talk. It will make your throat worse.

THE MASTER: I have been coughing and my throat is sore.In the morning my mouth was filled with water.My whole body is aching.

M. Your suffering is indeed great, but it has a deep meaning.A change is coming over your mind.It is being directed to the formless aspect of God.

THE MASTER: True. My teaching of others is coming to an end.I cannot give more instruction.And I say to myself,“Whom shall I teach?I saw everything passing from form to formlessness.I want to tell you the things I saw, but cannot.This tendency of mine towards the formlessIs a sign of my approaching dissolution.

Pac i f i c Symphony P-13

M. The Master asked me by a sign to come nearer.The sight of his suffering was unbearable.In a soft voice and with great difficulty he said,

THE MASTER: I have gone on suffering so muchfor fear of making you weep if I leave you.But if you say, “Oh, there is so much suffering!Let the body die,” then I may give up the body.

M. These words pierced our hearts.

FIRST DEVOTEE: Is this another crucifixion –

SECOND DEVOTEE: The sacrifice of the body for the sake of the devotees?

FIRST AND SECOND DEVOTEES (TOGETHER): Pray to the Mother. She must listen to you.

THE MASTER: But I cannot pray for my body.

NARENDRA: You must do it, for our sake at least.

THE MASTER: Mother, I cannot swallow food because of my pain.Let me eat just a little.She pointed you all out to me and said,“What? You are eating through all these mouths.Isn’t that so?”I was ashamed to utter a word.

M. AND FIRST AND SECOND DEVOTEES (TOGETHER) When the Master said this,We lost all hope.

.

PART FOUR

M. On August 15, 1886,The Master’s pulse became irregular.He had difficulty breathing.He said he was hungry but could not eat,Then went into deep samadhi.After midnight he revivedAnd ate a bowl of porridge.He said he felt strong againAnd sat up against some pillows.We fanned him andNarendra rubbed his feet.He said to him over and over,“Take care of these boys.”Then he asked to lie down.

Three times in a ringing voiceHe cried the name of Kali,His life’s Beloved, and lay back.At two minutes past oneA thrill passed over his body.His hair stood on end.His face was lit with a smile.The final ecstasy began,From which he never returned.Narendra could not bear itAnd ran downstairs.The next day at noon Dr. Sarkar cameAnd said the Master had diedA half an hour before.

EPILOGUE

O Mother, who has offered these red hibiscus flowers at YourFeet?

I beg of You, O Mother, place one or two upon my head.Then I shall cry aloud to You, “Oh, Mother! Mother!”And I shall dance around You and clap my hands for joy,And You will look at me and laugh, and tie the flowers in myhair.

FIN

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general music director and chief conduc-tor of the German National Theater andStaatskapelle (GNTS) in Weimar,Germany, where he recently led Wagner’s“Ring Cycle” to great critical acclaim.St.Clair was the first non-European tohold his position at the GNTS; the rolealso gave him the distinction of simulta-neously leading one of the newestorchestras in America and one of theoldest orchestras in Europe. He has alsoserved as the general music director ofthe Komische Oper Berlin.St.Clair’s international career has him

conducting abroad numerous months ayear, and he has appeared with orchestrasthroughout the world. He was the prin-cipal guest conductor of the Radio-Sinfonieorchester Stuttgart from1998–2004, where he successfully com-pleted a three–year recording project ofthe Villa–Lobos symphonies. He has alsoappeared with orchestras in Israel, HongKong, Japan, Australia, New Zealand, andSouth America, and summer festivalsworldwide.

In 2010–11, Music Director Carl St.Claircelebrates his 21st season with PacificSymphony. During his tenure, St.Clair hasbecome widely recognized for his musi-cally distinguished performances, his com-mitment to building outstanding educa-tional programs and his innovativeapproaches to programming. St.Clair’slengthy history with the Symphony solidi-fies the strong relationship he has forgedwith the musicians and the community.His continuing role also lends stability tothe organization and continuity to hisvision for the Symphony’s future. Feworchestras can claim such rapid artisticdevelopment as Pacific Symphony—thelargest orchestra formed in the UnitedStates in the last 40 years—due in largepart to St.Clair’s leadership.The 2010-11 season, the “Year of the

Piano,” features numerous masterworksfor keyboard performed by a slate ofinternationally renowned artists. The sea-son also features three “Music Unwound”concerts highlighted by multimedia ele-ments and innovative formats, two worldpremieres, and the 11th annual AmericanComposers Festival, featuring the musicof Philip Glass.In 2008-2009, St.Clair celebrated the

milestone 30th anniversary of PacificSymphony. In 2006-07, he led theorchestra’s historic move into its home inthe Renée and Henry SegerstromConcert Hall at the Segerstrom Centerfor the Arts. The move came on the heelsof the landmark 2005-06 season thatincluded St.Clair leading the Symphonyon its first European tour—nine cities inthree countries playing before capacityhouses and receiving extraordinaryresponses. The Symphony received ravereviews from Europe’s classical musiccritics—22 reviews in total. He recently concluded his tenure as

St.Clair’s commitment to the devel-opment and performance of new worksby American composers is evident in thewealth of commissions and recordings byPacific Symphony. St.Clair has led theorchestra in numerous criticallyacclaimed albums including two pianoconcertos of Lukas Foss on the harmoniamundi label. Under his guidance, theorchestra has commissioned works whichlater became recordings, includingRichard Danielpour’s An AmericanRequiem on Reference Recordings andElliot Goldenthal’s Fire Water Paper: AVietnam Oratorio on Sony Classical withcellist Yo-Yo Ma. Other composers com-missioned by St.Clair and Pacific Symphonyinclude William Bolcom, Philip Glass,Zhou Long, Tobias Picker, Frank Ticheliand Chen Yi, Curt Cacioppo, StephenScott, Jim Self (the Symphony’s principaltubist), Christopher Theofandis andJames Newton Howard.In North America, St.Clair has led

the Boston Symphony Orchestra, (wherehe served as assistant conductor for sev-eral years), New York Philharmonic,Philadelphia Orchestra, Los AngelesPhilharmonic, and the San Francisco,Seattle, Detroit, Atlanta, Houston,Indianapolis, Montreal, Toronto, andVancouver symphonies, among many. Under St.Clair’s dynamic leadership,

the Symphony has built a relationshipwith the Southern California communi-ty by understanding and responding toits cultural needs. A strong advocate ofmusic education for all ages, St.Clair hasbeen essential to the creation and imple-mentation of the symphony educationprograms including Classical Connections,arts-X-press and Class Act.

CARL ST.CLAIR

ABOUT THE MUSIC DIRECTOR

Pac i f i c Symphony P-15

PRISM QUARTETSAXOPHONE

Intriguing programs of great beautyand breadth have distinguished thePrism Quartet as one of America’s fore-most chamber ensembles. Two-time winners of the Chamber Music America/ASCAP Award for AdventurousProgramming, Prism has performed inCarnegie Hall on the Making Musicseries, in Alice Tully Hall with theChamber Music Society of LincolnCenter, and throughout Latin Americaunder the auspices of the United StatesInformation Agency. Prism has also beenpresented to critical acclaim as soloistswith orchestras nationwide, including theDetroit Symphony and ClevelandOrchestra, performing William Bolcom’sConcerto Grosso, written especially for theQuartet. Champions of new music,Prism has premiered over 100 works,many by internationally celebrated com-posers, including Steven Mackey, WilliamAlbright, Chen Yi, Lee Hyla, Greg Osby,Jennifer Higdon, Martin Bresnick, BernardRands, and Zhou Long. The Quartet alsomaintains three annual Young ComposerCommissioning Awards in Philadelphia,New York, and at the Walden School inNew Hampshire, where Prism conductsregular residencies. In 1997, Prism initiated its own con-

cert series in Philadelphia and New YorkCity, presenting the newest compositionscreated for their ensemble by both classi-cal and jazz composers from around the

world. The series has featured an eclecticrange of guest artists, including Ethel, theTalujon Percussion Quartet, Music FromChina, Miro Dance Theatre, CantoriNew York, pianist Marilyn Nonken, sax-ophonist Donald Sinta, and many ofNew York’s most progressive jazz artists,including guitarist Ben Monder, saxo-phonists Tim Ries and Rick Margitza,and drummers Gerald Cleaver, JohnRiley, and Mark Ferber. Prism has alsojoined forces with the New YorkConsort of Viols, the Chester StringQuartet, Opera Colorado, and theChilean rock band Inti-Illimani in tour-ing engagements.Prism has recorded for Koch

International, Naxos, New Dynamic,Albany, and Innova. Prism may also beheard on the soundtrack of the film TwoPlus One by Emmy nominee EugeneMartin, scored by Quartet memberMatthew Levy, and is featured in thetheme music to the weekly PBS newsmagazine NOW. Members of Prism are Matthew Levy,

Timothy McAllister, Zach Shemon, andTaimur Sullivan.

KEVIN DEASBASS

Kevin Deas has gainedinternational acclaimas one of America’sleading basses. Laudedfor his “burnishedsound, clarity of dic-tion and sincerity ofexpression” and “fer-vent intensity” by

Chicago Tribune critic John von Rhein,Deas has been variously called “exem-plary” (Denver Post), “especially fine” (The Washington Post) and possessing “aresourceful range of expression” (TheCincinnati Enquirer). He is perhaps mostacclaimed for his signature portrayal of

the title role in Porgy and Bess, havingsung it with the New YorkPhilharmonic, Philadelphia Orchestra,National Symphony, the St. PaulChamber Orchestra, San Francisco,Atlanta, San Diego, Utah, Houston,Baltimore and Montreal symphonies andthe Ravinia and Saratoga festivals. Deas’ 2010-11 season highlights con-

sist of appearances with the CalgaryPhilharmonic in Porgy and Bess, BostonBaroque with Messiah; a RichmondSymphony Beethoven Symphony No. 9;St. John Passion at the Winter Park Festival;Philip Glass’ Passion of Ramakrishna withPacific Symphony, and Beethoven’sNinth Symphony with the NationalSymphony of Costa Rica on occasion ofthe orchestra’s 70th anniversary. Recent highlights include his return

to the New York Philharmonic inRavel’s L’enfant et les sortilèges underLorin Maazel. He then sang in the worldpremiere of Derek Bermel’s The GoodLife with the Pittsburgh Symphonyunder Leonard Slatkin and was againheard in Hannibal Lokumbe’s Dear Mrs.Parks, this time with the DetroitSymphony. He performed Beethoven’sNinth Symphony under the baton ofDaniel Barenboim with Filarmonicadella Scala in Accra celebrating the 50thanniversary of the founding of Ghana,Copland’s Old American Songs.He sang Mozart’s Marriage of Figaro

with the Chicago Symphony, Messiahwith the Cleveland Orchestra, BrooklynPhilharmonic and Handel & HaydnSociety, an opening performance at theNewport Jazz Festival with the DaveBrubeck Quartet, Beethoven’s SymphonyNo. 9 with the Colorado Symphony andTokyo Symphony Orchestra, and per-formances of Brubeck’s To Hope! inSalzburg and Vienna.Other noteworthy engagements have

included appearances at Lincoln Center’sMostly Mozart Festival and Carnegie

ABOUT THE ARTISTS

Hall, Elgar’s Dream of Gerontius with theChicago Symphony and Barenboim,Mozart’s Requiem with the AtlantaSymphony, and How the Grinch StoleChristmas with the Houston Symphony.A strong proponent of contemporary

music, Deas was heard at Italy’s SpoletoFestival in a new production of Menotti’sAmahl and the Night Visitors in honor ofthe composer’s 85th birthday, videotapedfor worldwide release. His 20-year col-laboration with Dave Brubeck has takenhim to Salzburg, Vienna and Moscow inTo Hope!, and his Gates of Justice werepresented in a gala performance in NewYork during the ’95/’96 season. He alsoperformed Tippet’s Child of Our Timewith the Vancouver Symphony and in1992 debuted with the ChicagoSymphony in a concert version of X: TheLife and Times of Malcolm X by AnthonyDavis, later repeated in New York andrecorded.

JANICE CHANDLER-ETEMESOPRANO

Janice Chandler-Etemehas long been amongAmerica’s foremostlyric sopranos, singingan astonishing range ofmusic with the world’stop orchestras andconductors. Called“one of the loveliest

soprano voices on earth” by TheBaltimore Sun and “radiant” by theCincinnati Enquirer, the 2008–2009 seasonfound the soprano singing Mahler’sSymphony No. 2 both with theCincinnati Symphony under GilbertKaplan and the Colorado Symphonyunder Jeffrey Kahane. She joined theAtlanta Symphony Orchestra andMemphis Symphony Orchestra forHandel’s Creation, the San DiegoSymphony for Brahms’ Requiem, and the

Milwaukee Symphony under AndreasDelfs for Mahler’s Symphony No. 8. Inaddition, she was heard in Lokumbe’sDear Mrs. Parks with the DetroitSymphony Orchestra, in Beethoven’sSymphony No. 9 with the AlabamaSymphony, and she joined the QingdaoSymphony under the direction of YongYan Hu for a concert performance ofPorgy and Bess at Carnegie Hall.During the 2007–2008 season

Chandler-Eteme made her debut withthe Dallas Opera as Clara in Porgy andBess. She also made her EuropeanOperatic debut as Bess in Porgy and Besswith Opera de Lyon under the directionof William Eddins, a role she reprisedduring the 2009-2010 season for pro-ductions in Edinburgh, London andLyon. In addition, she joined theOrchestra of St. Luke’s for Brahms’Requiem at Carnegie Hall, performedMissa Solemnis with the NationalPhilharmonic, Beethoven’s SymphonyNo. 9 with the Detroit SymphonyOrchestra, and Handel’s Messiah with theMinnesota Orchestra.A pre-eminent concert soloist,

Chandler-Eteme sang under the baton ofRobert Shaw with the Cleveland SymphonyOrchestra, Minnesota Orchestra, FloridaOrchestra, Baltimore SymphonyOrchestra and Atlanta SymphonyOrchestra. In addition, she has workedwith such distinguished conductors asMarin Alsop, Christoph von Dohnányi,Charles Dutoit, Jo Ann Falletta, ClausPeter Flor, Neal Gittleman, RaymondHarvey, Carlos Kalmar, Yakov Kreizberg,Raymond Leppard, Christof Perick, Esa-Pekka Salonen, Alfred Savia, RobertSpano, Vladimir Spivakov, Edo de Waartand Hugh Wolff. She has performed withthe Los Angeles Philharmonic, Saint PaulChamber Orchestra, Boston SymphonyOrchestra, NHK (Japan), PhiladelphiaOrchestra, Los Angeles Philharmonic,Montreal Symphony Orchestra, Vancouver

Symphony Orchestra, Phoenix Symphony,Kansas City Symphony, Santa RosaSymphony, Rochester Philharmonic andHong Kong Philharmonic. In addition,she has sung at the Bard Music Festival,Grand Park Music Festival, Aspen MusicFestival, Chautauqua Festival, PragueAutumn International Music Festival,and at the Blossom Music Festival. Chandler-Eteme’s recordings include

an inspirational solo disc entitledDevotions, Dvorák’s Te Deum withZdenek Macal and the New JerseySymphony, and a forthcoming world-premiere recording of Maslanka’s Mass.She holds a bachelor of arts in vocal per-formance from Oakwood College, amaster of music in vocal performancefrom Indiana University, and has studiedwith Virginia Zeani, Margaret Harshawand Todd Duncan.

CHRISTÒPHEREN NOMURABARITONE

BaritoneChristòpherenNomura has earned aprominent place onthe operatic, concertand recital stages. Inthe realm of opera,Nomura is a notedMozartean, known for

his portrayals of Don Giovanni,Papageno in The Magic Flute, the Countin Le nozze di Figaro and Guglielmo inCosì fan tutte. He has sung Don Giovanniwith the New Hampshire Music Festivaland New York Chamber Symphony;Papageno for his debut with the LyricOpera of Kansas City; Così fan tutte forhis Hawaii Opera debut and the count inFigaro for his Opera Carolina debut. Hehas likewise had a strong association withPuccini’s Madama Butterfly. He wasPrince Yamadori in the SONY film ofButterfly co-directed by Martin Scorsese

P-16 Pac i f i c Symphony

ABOUT THE ARTISTS (continued)

Pac i f i c Symphony P-17

and Frédéric Mitterand, conducted byJames Conlon. He sang Yamadori for hisBoston Symphony debut under SeijiOzawa and the Imperial Commissionerfor his debut with Dallas Opera. He sangboth of these roles for his CincinnatiOpera debut. He sang Figaro in IlBarbiere di Siviglia for his debut with theSkylight Opera of Milwaukee, returningas Enrico in Lucia di Lammermoor. Hesang Malatesta in Don Pasquale for hisSeattle Opera debut in 2003 and his firstDandini in Rossini’s La Cenerentola forhis debut with Lake George Opera.Nomura has appeared with many of

the prominent North American orches-tras, in wide-ranging repertoire. He hasappeared with the Boston Symphony,San Francisco Symphony, MinnesotaOrchestra, Saint Paul Chamber Orchestra,National Symphony Orchestra, Orchestraof St. Luke’s, Vancouver Symphony,Indianapolis Symphony, CharlotteSymphony, Pacific Symphony, UtahSymphony Orchestra, PhilharmoniaBaroque Orchestra and the Boston Popsperforming under internationallyrenowned conductors such as LeonardBernstein, Seiji Ozawa, James Conlon,Sergiu Comissiona, Christof Perick,Roger Norrington, ChristopherHogwood, Ton Koopman, Bruno Weil,Andrew Parrott, and Nicholas McGegan. In 2006 he sang for Pacific Symphony’s

inaugural concerts in the new Renée andHenry Segerstrom Concert Hall, in thetitle role for the premiere of Philip Glass’The Passion of Ramakrishna, conducted byCarl St.Clair. That season also broughtdebuts with the Baltimore Symphonyunder Louis Langrée, North CarolinaSymphony under Grant Llewellyn and theAnnapolis Symphony. In 2007-08 he madedebuts with the Pensacola Symphony, theAlabama Symphony and Chicago’s Musicof The Baroque. In 2008-09 he returned toPacific Symphony to premiere AlvaHenderson’s From Greater Light. He also

appeared with the North CarolinaSymphony, Nova Scotia Symphony, theNational Philharmonic, Pacific Symphonyand made his debut with the Oregon BachFestival singing Haydn’s Creation underHelmuth Rilling. Among the highlights of2009-10 are an appearance with Mo.Rilling in Los Angeles, performances withMusic of Baroque in Chicago, theCincinnati Symphony and two programswith the Cedar Rapids Symphony.A noted Bach specialist, Nomura has

been a frequent performer with the BachChoir of Bethlehem, the Carmel BachFestival, Baldwin-Wallace Bach Festival,Handel & Haydn Society, Boston EarlyMusic Festival, Boston Baroque and theBerkshire Choral Festival. Also knownfor his deep commitment to the art ofthe recital, he has given more than 250recitals throughout North America,Europe, Asia, South America and Africa.He has appeared at Lincoln Center, the“Making Music” series at Carnegie Hall,the Bank of America Celebrity Series inBoston, the Rising Stars Series atRavinia, the John F. Kennedy Center inWashington, DC and the VancouverRecital Society, frequently combiningperformances with in-depth residenciesto introduce new audiences to classicalvocal music. He was Artist-In-Residencewith San Francisco Performances forfour seasons and returned for their 30thAnniversary season in 2009.

JOSEPH HOROWITZARTISTIC ADVISOR

Joseph Horowitz hasbeen artistic advisor toPacific Symphony andto the orchestra’sAmerican ComposersFestival since 1999. Forthe 2009-10 season’s“Music Unwound”series, he wrote and

produced programs exploring Tchaikovsky’sPathétique Symphony. He has producedsimilar programs on Tchaikovsky,Dvorák, and Brahms for the New YorkPhilharmonic. This season, he serves asartistic advisor to a two-week Tchaikovskyfestival by the Pittsburgh Symphony andundertakes two projects for the NationalSymphony. His own Post-ClassicalEnsemble of Washington, D.C., which heco-founded eight years ago, presents fes-tivals of music by George Gershwin, LouHarrison, and Igor Stravinsky. Horowitz is also the author of eight

books, of which Classical Music inAmerica: A History (2008) and Artists inExile: How Refugees from Twentieth CenturyWar and Revolution Transformed theAmerican Performing Arts (2005) wereboth named “best books of the year” byThe Economist. He annually serves asArtistic Director of the NEA MusicCritics Institute at Columbia University.As director of an NEH NationalEducation Project, he wrote a youngreaders book on Dvorák and Americaand commissioned (from Robert Winterand Peter Bodganoff) a companion inter-active DVD; these were the core materi-als for an NEH Teacher Training work-shop Horowitz directed last summer forthe Pittsburgh Symphony. In all, Horowitz has conceived and

produced more than three dozen inter-disciplinary festivals for American orches-tras. He has also served as executivedirector of the Brooklyn Philharmonicand as a music critic for The New YorkTimes. He is the recipient of aGuggenheim Fellowship, two NEHResearch Fellowships, a fellowship fromColumbia University National ArtsJournalism Program and a commenda-tion from the Czech Parliament for hismany explorations of Dvorák’s Americansojourn.

ABOUT THE ARTISTS (continued)

JOHN ALEXANDERARTISTIC DIRECTOR, PACIFIC CHORALE

Artistic Director ofPacific Chorale since1972, John Alexanderis one of America’smost respected choralconductors. Hisinspired leadershipboth on the podiumand as an advocate for

the advancement of the choral art hasgarnered national and internationaladmiration and acclaim. Alexander’s long and distinguished

career has encompassed conducting hun-dreds of choral and orchestral perform-ances nationally and in 27 countriesaround the globe. He has conducted hissingers with orchestras throughoutEurope, Asia, the former Soviet Unionand South America and, closer to home,with Pacific Symphony, PasadenaSymphony, Musica Angelica and the LosAngeles Chamber Orchestra. Equallyversatile whether on the podium orbehind the scenes, Alexander has pre-pared choruses for many of the world’smost outstanding orchestral conductors,including Zubin Mehta, Pierre Boulez,Seiji Ozawa, Michael Tilson Thomas,Leonard Slatkin, Esa-Pekka Salonen,Gustavo Dudamel, Lukas Foss, MaxRudolf, Carl St.Clair, Gerard Schwarz,Marin Alsop, John Mauceri, JohnWilliams, and Keith Lockhart.A proponent of contemporary

American music, Alexander is noted forthe strong representation of Americanworks and composers in his program-ming. He has conducted many premieresof works by composers such as JakeHeggie, Morten Lauridsen, EricWhitacre, Frank Ticheli, and JamesHopkins.

Alexander is nationally recognized forhis leadership in the musical and organiza-tional development of the performing arts.He is a board member and former presi-dent of Chorus America, the serviceorganization for choruses in NorthAmerica. Alexander also has served onartistic review panels for national,statewide and local arts organizations,including the National Endowment forthe Arts, the California Arts Council, andthe Los Angeles County Arts Commission.Alexander retired in spring 2006 from

his position as Director of Choral Studiesat California State University, Fullerton,having been awarded the honor ofProfessor Emeritus. From 1970 to 1996,he held the position of Director ofChoral Studies at California StateUniversity, Northridge. Alexander con-tinues his involvement in the pre-profes-sional training of choral conductors. Heis in demand as a teacher, clinician, andadjudicator in festivals, seminars andworkshops across the United States. In2003, Chorus America honored himwith the establishment of the “JohnAlexander Conducting Faculty Chair”for their national conducting workshops.Alexander is a composer of many

works and serves as the editor of theJohn Alexander Choral Series withHinshaw Music. His numerous tributesand awards include: The “DistinguishedFaculty Member” award from CaliforniaState University, Fullerton (2006); theHelena Modjeska Cultural Legacy Award(2003), presented in honor of his lifetimeachievement as an artistic visionary inthe development of the arts in OrangeCounty; the “Outstanding IndividualArtist” Award (2000) from Arts OrangeCounty; the “Gershwin Award” (1990),presented by the county of Los Angelesin recognition of his cultural leadershipin that city; and the “OutstandingProfessor” Award (1976) from CaliforniaState University, Northridge. In June

2008, Alexander received the “MichaelKorn Founders Award for Developmentof the Professional Choral Art” fromChorus America.

I-CHIN FEINBLATTMEZZO-SOPRANO

I-Chin “Betty”Feinblatt is a graduateof California StateUniversity, Fullertonin vocal performanceand music education.She currently singsprofessionally withPacific Chorale, the

John Alexander Singers, and FirstPresbyterian church in Orange, Calif.Feinblatt has performed as a choristerand soloist with Pacific Chorale onnumerous occasions, most recently as themezzo soloist in Duruflé’s Requiem, inMarch 2009, and an alto soloist in Bach’sSt. John’s Passion, in April 2009. Amongher Southland solo performances are herperformance as alto soloist of Handel’sMessiah in June 2009 with The NationalChildren’s Choir at The Broad Stage ofSanta Monica, and in December 2009with Camerata Singers of Long Beach.Feinblatt’s most recent solo workincludes Beethoven’s Choral Fantasy withPacific Symphony, celebrating CarlSt.Clair’s 20th anniversary, and perform-ing the Rachmaninoff Vespers withPacific Chorale in May 2010.Feinblatt also was one of the guest

artists of “Organica,” an annual concertevent at UCLA’s Royce Hall withorganist Christoph Bull in April 2009.Feinblatt is a frequent guest of“Organica,” and in June 2008 her per-formance was reviewed by CharlesLonberger in The Beverly Hills Outlook:“Best of all the guest artists...who vocallycaressed art songs by Fauré and Gounodwith a low, velvety dark yet strong and

P-18 Pac i f i c Symphony

Pac i f i c Symphony P-19

sturdy instrument… she was a wonderand a revelation this night.”Feinblatt was a featured soloist in the

world premiere of The Passion ofRamakrishna by Philip Glass at theSegerstrom Center for the Arts inSeptember 2006. She was also the mezzosoloist in Bach’s Mass in B Minor at theOrange County Performing Arts Centerwith the John Alexander Singers inOctober 2004. Feinblatt has been a vocalmusic teacher at Fountain Valley HighSchool since spring 2007. She currentlystudies with voice teacher MonikaBruckner in Sherman Oaks, and hascoached with Dr. Kathleen Roland-Silverstein in Studio City.

NICHOLAS PRESTONTENOR

Originally fromHawaii, tenor NicholasPreston is quicklyestablishing himself asa significant soloist inSouthern Californiaand beyond. He hasbeen a member ofPacific Chorale and

The John Alexander Singers since 2002,and has appeared as a soloist with bothgroups, as well as Pacific Symphony,Mountainside Master Chorale,Claremont Chorale, CypressMasterworks Chorale, and The BostonPops Esplanade Orchestra. He hasworked under the batons of JohnAlexander, Carl St.Clair, Bruce Rogers,Keith Lockhart, John Williams, NicholasMcGegan, Kent Nagano, John Mauceri,and Esa-Pekka Salonen. Preston has performed the tenor solos

in numerous works, including Bach’s BMinor Mass and St. Matthew Passion,Mozart’s Coronation Mass and Requiem,Handel’s Messiah, and Benjamin Britten’sWar Requiem. In September of 2006, he

was a featured soloist for the world pre-miere of Philip Glass’ The Passion ofRamakrishna, which was commissionedfor the grand opening of the Renée andHenry Segerstrom Concert Hall andpremiered by Pacific Symphony andPacific Chorale under the direction ofCarl St.Clair. Preston has performed as a guest artist

at Loyola Marymount University withthe Sinatra Opera Workshop, performingthe role of Tamino in The Magic Flute.He also played the role of FatherGrenville in scenes from the acclaimedopera Dead Man Walking, with the com-poser Jake Hegge accompanying. He hasmade appearances with Los AngelesOpera Chorus and is a frequent principalartist in Los Angeles Opera’s Educationand Community Program. Most recently,he played the role of The Count in theirproduction of Figaro’s American Adventure,which was filmed and directed by KenShapiro. Preston received his primary vocal

training at Loyola Marymount University,where he sang in the UniversityChoruses under the direction of Dr.Mary Breden, and studied voice with Dr.Karl Snider. Nicholas resides in CulverCity with his wife, Kathleen, who is alsoa member of Pacific Chorale and TheJohn Alexander Singers, and is pursuingher Ph.D. in quantitative psychology atUCLA.

ABOUT PACIFIC CHORALEFounded in 1968, Pacific Chorale isinternationally recognized for excep-

tional artistic expression, stimulatingAmerican-focused programming, andinfluential education programs. PacificChorale presents a substantial perform-ance season of its own at the SegerstromCenter for the Arts and is sought regu-larly to perform with the nation’s leadingsymphonies. Under the inspired guid-ance of Artistic Director John Alexander,Pacific Chorale has infused an Old Worldart form with California’s hallmark inno-vation and cultural independence.Pacific Chorale is comprised of 140

professional and volunteer singers. Inaddition to its long-standing partnershipwith Pacific Symphony, the Chorale hasperformed with the Los AngelesPhilharmonic in Disney Hall on numer-ous occasions. Other noted collabora-tions include the Hollywood BowlOrchestra, the Boston Symphony, the

National Symphony, and the LongBeach, Pasadena, Riverside and SanDiego symphonies. John Alexander andthe Chorale have toured extensively inEurope, South America and Asia, per-forming in London, Paris, Belgium,Germany, Estonia, Russia, Spain, Brazil,Argentina, Shanghai, Guangzhou, Beijingand Hong Kong, and collaborating withthe London Symphony, L’OrchestreLamoureux of Paris, the NationalOrchestra of Belgium, the ChinaNational Symphony, the Hong KongSinfonietta, the Estonian NationalSymphony, and the Orquesta SinfonicaNacional of Argentina.Pacific Chorale, the seventh largest-

budgeted chorus in the United States,has received numerous awards, includingChorus America’s prestigious “MargaretHillis Achievement Award for ChoralExcellence” and the first national“Educational Outreach Award.” In 2005,

Pacific Chorale received the ASCAPChorus America Alice Parker Award foradventurous programming.The Chorale’s outstanding perform-

ances can be heard on seven CDs,including Nocturne, a collection ofAmerican a cappella works conducted byJohn Alexander; Songs of Eternity byJames F. Hopkins and Voices by StephenPaulus, conducted by John Alexander andfeaturing Pacific Symphony; PacificSymphony’s Fire, Water, Paper: A VietnamOratorio by Elliot Goldenthal, and AnAmerican Requiem by Richard Danielpour(both recordings conducted by CarlSt.Clair); and a holiday recording,Christmas Time Is Here, released on theGothic Records label. Pacific Chorale’smost recent recording, Pacific ChoraleLive: Rachmaninov Vespers, was released inNovember 2010.

P-20 Pac i f i c Symphony

SOPRANO

Hannah Rae ArevaloSusanne AultzJudith BohlenRhonda BrightSarah DixonJulie FoyleKaren F. HendersonNancy HodgsonSinae KangKathy KersteinJoyce KimKellee KingBarbara KingsburyAndrea KlyverSusan LewSusan LindleyRita MajorJennifer ManciniHannah McMeansLenora MeisterDonna MorseKris OcaDeborah PasarowLinda Williams PearceDana RamosChikayo RatteeZanaida RoblesMeri RogoffKatharin Rundus

Kathleen SullivanSarah ThompsonRuthanne WalkerRoberta WallLorraine Joy WellingLinda Wells-SholikAnne Williams

ALTO

Cindy AndersonNancy BeachJudith BertolinoMary BreuerKay BrownMonika BrucknerJulie Ann CampenTina ChenKathryn Cobb-WollSr. Paulette DetersHarriet EdwardsI-Chin FeinblattTiffany FernandezMarilyn ForsstromMary GallowayGeraldine GibbKathryn GibsonSandy GrimMaya GuerreroLaura HarrisonAnne Henley

Kathryn HolderAdrienne LarsenKaii LeeJeanette MoonMichele M. MulidorPat NewtonKathleen PrestonBonnie PridonoffHeather RalphLoraine ReedKaren RoseVanessa RothholtzJoan SeveraJane ShepherdJane ShimMarijke van Niekerk

TENOR

Nicholas Preston, Roger W.Johnson Memorial Chair

Carl Porter, SingersMemorial Chair

Mark E. AldrichMichael Ben-YehudaMatt BrownDavid BunkerJack BurkeJoseph CruzCraig DavisPhil Enns

David EveredDavid ExlineJason FranciscoVincent HansSteven M. HoffmanRichard HuppCraig S. KistlerChang H. LeeJinming LiaoChristopher LindleyGerald McMillanJeff MorrisAaron MosleyAaron PalmerRay QuiettPatrick SullivanGregorio TaniguchiFaulkner White

BASS

John Carpenter, SingersMemorial Chair

Jim AndersonAram BarsamianBrian BeckRobert David BretónMac BrightCarver CosseyJames DunningThomas Enders

Karl ForsstromMichael GallupLarry GatesMark HamiltonTom HenleyJohn HogansonMichael JacobsEulis KayGordon La CrossMichael McKayRicardo McKillipsMartin MinnichEmmanuel MirandaSeth PeelleCarl PikeJohn Boone PoolerGeorge ReissRobert RifeJames SpiveyDavid StankeyJoshua StansfieldDavid SvobodaRoger SwiboldJoseph TillotsonSteve WebbScott Ziemann

JOHN ALEXANDER, ARTISTIC DIRECTOR • ROBERT M. ISTAD, ASSISTANT CONDUCTORKELLY RUGGIRELLO, PRESIDENT • MARTIN HUBBARD, CHAIRMAN

Pac i f i c Symphony P-21

ABOUT PACIFIC SYMPHONY

Pacific Symphony, celebrating its 32ndseason in 2010–11, is led by Music

Director Carl St.Clair, who marked his20th anniversary with the orchestra during2009–2010. The largest orchestra formed inthe U.S. in the last 40 years, the Symphonyis recognized as an outstanding ensemblemaking strides on both the national andinternational scene, as well as in its ownburgeoning community of Orange County.Presenting more than 100 concerts a yearand a rich array of education and commu-nity programs, the Symphony reaches morethan 275,000 residents — from schoolchildren to senior citizens. The orchestra paid tribute to St.Clair’s

milestone in 2009–10 with a celebratoryseason featuring inventive, forward-thinkingprojects. These included the launch of anew series of multimedia concerts called“Music Unwound,” featuring new visualelements, varied formats and more to high-light great masterworks. The Symphony also offers a popular

Pops season led by Principal PopsConductor Richard Kaufman, celebrating20 years with the orchestra in 2010–11.The Pops series stars some of the world’sleading entertainers and is enhanced bystate-of-the-art video and sound. EachPacific Symphony season also includes CaféLudwig, a three-concert chamber musicseries, and “Classical Connections,” anorchestral series on Sunday afternoonsoffering rich explorations of selected worksled by St.Clair. Assistant Conductor MaximEshkenazy brings a passionate commitmentto building the next generation of audi-ence and performer through his leadershipof the Pacific Symphony Youth Orchestraas well as the highly regarded FamilyMusical Mornings series.Since 2006–07, the Symphony has per-

formed in the Renée and Henry SegerstromConcert Hall, with striking architecture byCesar Pelli and acoustics by the late RussellJohnson. In September 2008, the Symphonydebuted the hall’s critically acclaimed4,322-pipe William J. Gillespie ConcertOrgan. In 2006, the Symphony embarked on its

first European tour, performing in ninecities (including Vienna, Munich andLucerne) in three countries — receiving anunprecedented 22 highly favorable reviews.

Later that same season, the Symphony alsoperformed, by special invitation from theLeague of American Orchestras, at its 2006National Conference in Walt DisneyConcert Hall in Los Angeles.Founded in 1979 by Keith Clark with a

$2,000 grant, the Symphony made itsdebut in December 1979 at the PlummerAuditorium in Fullerton, with Clark con-ducting. By 1983, the orchestra had movedits concerts to the Santa Ana High Schoolauditorium, made its first recording andbegun to build a subscriber base. ThroughClark’s leadership, the Symphony took residency at the new Segerstrom Centerfor the Arts in 1986, which greatly expand-ed its audience. Clark served in his role ofmusic director until 1990.Today, the Symphony offers moving

musical experiences with repertoire rang-ing from the great orchestral masterworksto music from today’s most prominentcomposers, highlighted by the annualAmerican Composers Festival. The WallStreet Journal said, “Carl St.Clair, the PacificSymphony’s dynamic music director, hasdevoted 19 years to building not only theorchestra’s skills but also the audience’strust and musical sophistication — so successfully that they can now presentsome of the most innovative programmingin American classical music to its fast-growing, rapidly diversifying community.” The Symphony is dedicated to develop-

ing and promoting today’s composers andexpanding the orchestral repertoire throughcommissions, recordings, and in-depthexplorations of American artists and themesat its American Composers Festival. Forthis work, the Symphony received the pres-tigious ASCAP Award for AdventuresomeProgramming in 2005 and 2010. In 2010, astudy by the League of AmericanOrchestras, “Fearless Journeys,” included

the Symphony as one of the country’s fivemost innovative orchestras. The orchestrahas commissioned such leading composersas Michael Daugherty, James NewtonHoward, Paul Chihara, Philip Glass,William Bolcom, Daniel Catán, WilliamKraft, Tobias Picker, Frank Ticheli, andChen Yi, who composed a cello concertoin 2004 for Yo-Yo Ma. The Symphony hasalso commissioned and recorded AnAmerican Requiem, by Richard Danielpour,and Elliot Goldenthal’s Fire Water Paper: A Vietnam Oratorio with Yo-Yo Ma. The Symphony’s award-winning education

programs are designed to integrate theSymphony and its music into the communityin ways that stimulate all ages and formmeaningful connections between studentsand the organization. St.Clair actively par-ticipates in the development and executionof these programs. The orchestra’s Class Actresidency program has been honored asone of nine exemplary orchestra educationprograms in the nation by the NationalEndowment for the Arts and the League ofAmerican Orchestras. Added to PacificSymphony Youth Orchestra on the list ofinstrumental training initiatives since the2007-08 season are Pacific SymphonyYouth Wind Ensemble and PacificSymphony Santiago Strings.In addition to its winter home, the

Symphony presents a summer outdoorseries at Irvine’s Verizon WirelessAmphitheater, the organization’s summerresidence since 1987.

P-22 Pac i f i c Symphony

piccolo

Cynthia Ellis

oBoe

Jessica Pearlman,*Suzanne R. Chonette ChairDeborah Shidler+

englisH Horn

Lelie Resnick

clarineT

Benjamin Lulich,*The Hanson FamilyFoundation ChairDavid Chang

Bass clarineT

Joshua Ranz

Bassoon

Rose Corrigan*Elliott MoreauAndrew KleinAllen Savedoff

conTraBassoon

Allen Savedoff

FrencH Horn

Keith Popejoy*Mark AdamsJames Taylor**Russell Dicey

TrumpeT

Barry Perkins*Tony EllisDavid Wailes

TromBone

Michael Hoffman*David Stetson

Viola

Robert Becker,*Catherine and James EmmiChairCarolyn RileyJohn AcevedoMeredith CrawfordLuke MaurerJulia StaudhammerJoseph Wen-Xiang ZhangPamela JacobsonCheryl GatesErik RynearsonMargaret Henken

cello

Timothy Landauer*Kevin Plunkett**John AcostaRobert VosLászló MezöIan McKinnellM. Andrew HoneaWaldemar de AlmeidaJennifer GossRudolph Stein

Bass

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

FluTe

Mercedes Smith*Sharon O’ConnorCynthia Ellis

FirsT Violin

Raymond KoblerConcertmaster,Eleanor and Michael GordonChairPaul Manaster

Associate ConcertmasterJeanne Skrocki

Assistant ConcertmasterNancy Coade EldridgeChristine FrankKimiyo TakeyaAyako SugayaAnn Shiau TenneyMaia JasperRobert SchumitzkyAgnes GottschewskiDana FreemanGrace OhJean KimAngel LiuShalini Vijayan

second Violin

Bridget Dolkas*Jessica Guideri**Yen-Ping LaiYu-Tong SharpAko KojianOvsep KetendjianLinda OwenPhil LunaMarlaJoy WeisshaarRobin SanduskyAlice Miller-WrateXiaowei Shi

CARL ST.CLAIR, MUSIC DIRECTORWilliam J. Gillespie Music Director Chair

RICHARD KAUFMAN, PRINCIPAL POPS CONDUCTORHal and Jeanette Segerstrom Family Foundation Principal Pops Conductor Chair

MAXIM ESHKENAZY, ASSISTANT CONDUCTORMary E. Moore Family Assistant Conductor Chair

Bass TromBone

Robert Sanders

TuBa

James Self *

Timpani

Todd Miller*

percussion

Robert A. Slack*Cliff Hulling

Harp

Mindy Ball*Michelle Temple

piano/celesTe

Sandra Matthews*

personnel manager

Paul Zibits

liBrarians

Russell DiceyBrent Anderson

producTion/sTage manager

Libby Farley

assisTanT

sTage manager

Will Hunter

* Principal** Assistant Principal+ On Leave

The musicians of PacificSymphony are members of the American Federation ofMusicians, Local 7.

Pac i f i c Symphony P-23

SEGERSTROM CENTER FOR THE ARTSR 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, March 13, 2011, at 3:00 p.m.

P R E S E N T S

CLASSICAL CONNECTIONS

CARL ST.CLAIR, CONDUCTOR AND HOST

THE PASSION OF RAMAKRISHNAJANICE CHANDLER-ETEME, SOPRANO • CHRISTÒPHEREN NOMURA, BARITONE

KEVIN DEAS, BASSPACIFIC CHORALE — JOHN ALEXANDER, ARTISTIC DIRECTOR

I-CHIN FEINBLATT, MEZZO-SOPRANO • NICHOLAS PRESTON, TENOR

GLASS The Passion of Ramakrishna(b. 1937) Prologue

Part One: The Master’s VisionsPart Two: Sarada DeviPart Three: The Master's IllnessPart Four: The Mahasamadhi of the MasterEpilogueJANICE CHANDLER-ETEMECHRISTÒPHEREN NOMURAKEVIN DEASPACIFIC CHORALEI-CHIN FEINBLATTNICHOLAS PRESTON

Official HotelOfficial Airline Official Television Station Official Media Partner

P-24 Pac i f i c Symphony

SEGERSTROM CENTER FOR THE ARTSS A M U E L I T H E A T E R

Monday, March 14, 2011 at 8:00 p.m.

P R E S E N T S

PHILIP GLASSin a performance of

ETUDES AND OTHERWORKS FOR SOLO PIANO

This evening’s program consists of original music composed for solo piano as well asa number of arrangements for organ or instrumental combinations. All the musiccomes from the period dating from 1976 to the present and will include a selectionof the following works:

Six Etudes (Nos. 1, 2, 3, 6, 9,10) (1994-1999)These etudes are part of an evening length work of 16 etudes for piano completed in1999. Each etude approaches the piano in a somewhat different way, producing ahighly diverse set of pieces.

Mad Rush (1980)This piece was commissioned by Radio Bremen and originally composed for organ.Lucinda Childs choreographed a solo dance to this piece shortly after its premiere.

Metamorphoses (Nos. 2, 3, 4) (1989)This is a set of piano pieces drawn from both Errol Morris’ film A Thin Blue Line anda staging of Kafka’s The Metamorphosis, part of The Kafka Trilogy (The Process) byGerald Thomas, first performed in Sao Paulo, Brazil. As both projects were undertakenat the same time, the music seemed to lend itself well to a synthesis of this kind.

Dreaming Awake (2006)Originally written as a gift for a Tibetan studies center in New York City and laterperformed as a work for dance by choreographer Molissa Fenley.

Wichita Vortex Sutra (1990)Allen Ginsberg and Philip Glass first collaborated on Hydrogen Jukebox, which had itsworld premiere at the Spoleto Festival in Charleston, South Carolina in 1990. Thechamber opera included Wichita Vortex Sutra (1966), Ginsberg’s poetic reflection ofthe anti-war mood of the 1960s.

This evening’s program runs approximately 80 minutes with no intermission.

Pac i f i c Symphony P-25

PHILIP GLASSPIANO & COMPOSER

Born in Baltimore, Maryland, PhilipGlass is a graduate of the University

of Chicago and The Juilliard School. Inthe early 1960s, Glass spent two years ofintensive study in Paris with NadiaBoulanger and, while there, earnedmoney by transcribing Ravi Shankar’sIndian music into Western notation.Upon his return to New York, he appliedthese Eastern techniques to his ownmusic. By 1974, Glass had a number ofsignificant and innovative projects, creat-ing a large collection of new music forhis performing group, the Philip GlassEnsemble, and for the Mabou MinesTheater Company, which he co-found-ed. This period culminated in Music inTwelve Parts, followed by the landmarkopera Einstein on the Beach, created withRobert Wilson in 1976. Since Einstein, Glass has expanded his

repertoire to include music for opera,dance, theater, chamber ensemble,orchestra, and film. His score for MartinScorsese’s Kundun received an Academy

Award nomination, while his score forPeter Weir’s The Truman Show won him aGolden Globe. His film score forStephen Daldry’s The Hours receivedGolden Globe, Grammy, and AcademyAward nominations, along with winninga BAFTA in Film Music from the BritishAcademy of Film and Television Arts.Original scores for the criticallyacclaimed films The Illusionist and Noteson a Scandal were recently released. Glasshas received an Oscar nomination for hisNotes score. In 2004, Glass premiered the new

work Orion — a collaboration betweenGlass and six other international artistsopening in Athens as part of the culturalcelebration of the 2004 Olympics inGreece, and his Piano Concerto No. 2(After Lewis and Clark) with the OmahaSymphony Orchestra. Glass’ latest sym-phonies, Symphony No. 7 and SymphonyNo. 8, premiered in 2005 with theNational Symphony Orchestra at theKennedy Center for the Performing Artsin Washington, DC, and BrucknerOrchester Linz at the Brooklyn Academyof Music, respectively. 2005 also saw thepremiere of Waiting for the Barbarians, anopera based on the book by J.M.Coetzee. Glass’ orchestral tribute toIndian spiritual leader Sri Ramakrishna,The Passion of Ramakrishna, premiered in2006 at Segerstrom Center for the Arts(formerly Orange County PerformingArts Center). Glass maintained a dense creative

schedule throughout 2007 and 2008,unveiling several highly anticipatedworks, including Book of Longing and anopera about the end of the Civil Wartitled Appomattox. In April 2007, theEnglish National Opera, in conjunctionwith the Metropolitan Opera, remountedGlass’ Satyagraha, which appeared in NewYork in April 2008. Recent film projectsinclude a score to Woody Allen’s film,Cassandra’s Dream, and a documentary on

Ray Kurzweil calledTranscendent Manthat premiered in April 2009.Glass’ next opera, based on the life

and work of Johannes Kepler and com-missioned by Linz 2009, Cultural Capitalof Europe, and Landestheater Linz, pre-miered in September 2009 in Linz,Austria.

POMEGRANATE ARTSTOURING PRODUCER

Founded in 1998 by Linda Brumbach,Pomegranate Arts is an independent

production company dedicated to thedevelopment of international contempo-rary performing arts projects. Since itsinception, Pomegranate Arts has con-ceived, produced, or represented projectsby Philip Glass, Laurie Anderson,London’s Improbable, Sankai Juku, DanZanes, and Goran Bregovic. Special proj-ects include Dracula: The Music And Filmwith Philip Glass and the KronosQuartet; the music theater workShockheaded Peter; Brazilian vocalistVirginia Rodrigues; Drama Desk Award-winning Charlie Victor Romeo; HealingThe Divide, A Concert for Peace andReconciliation, presented by Philip Glassand Richard Gere; and Hal Willner'sCame So Far For Beauty, An Evening OfLeonard Cohen Songs. Recent projectsinclude the first North American tour ofGoran Bregovic and the remounting ofLucinda Childs’ 1979 classic Dance.Pomegranate Arts will be re-mountingthe Robert Wilson, Philip Glass, LucindaChilds’ masterpiece Einstein on the Beachin celebration of Philip Glass’ 75th birth-day in 2012.

ABOUT THE ARTIST