8 • Pacific Symphony

ROGER KALIA • CONDUCTORBRENDAN FAEGRE • COMPOSER & PERCUSSION

pacific symphony youth orchestraMAR. 12

Brendan Faegre (b. 1985) Analog Intelligence* (A 21st Century Dance Suite) Dubstep IDM Drum ‘n’ Bass Brendan Faegre, percussionist

Gustav Mahler (1860–1911) Symphony No. 1 in D Major, “Titan” Slowly, dragging. Very restrained throughout Moving strongly, but not too quickly Solemnly and measured, without dragging Stormily agitated – energetic

The concert begins at 7 p.m.

SEGERSTROM CENTER FOR THE ARTSRENÉE AND HENRY SEGERSTROM CONCERT HALL

presents

2017-18 PACIFIC SYMPHONYYOUTH ORCHESTRA CONCERT SERIES

*Commissioned by Pacific Symphony Youth Orchestra

This evening’s performance is generously sponsored by Irvine Korean Parent Association (IKPA).

Spring Concert

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

Pacific Symphony • 9

NOTES

O ne of the most significant Austro-German composers of the late 19th and early 20th centuries, Gustav Mahler (1860-1911) was perhaps the single most important link between

late Romanticism and 20th century modernism. Today known as a composer, he was primarily regarded as a conductor in his own day. Considered the world’s greatest living conductor, he was nonetheless highly controversial. He had extremely high, uncompromising musical standards and reformed many of the institutions he served. In particular, he drastically increased rehearsal time, demanding nothing less than absolute perfection from his musicians.

Predictably, his unrelenting artistic standards were not always enthusiastically received by orchestra members with whom he repeatedly clashed. In fact, some of his musicians threatened him with physical violence, and he was once even challenged to a duel (thankfully, he refused). Mahler’s career was certainly not helped by his difficult personality. In spite of the pushback, Mahler’s ideas would prove highly decisive and helped inform how we think about and perform music to this day.

* * * *

The son of Jewish parents, Mahler grew up in the town of Iglau in western Bohemia, then part of the Austro-Hungarian Empire. He studied piano and composition and participated in the town’s musical life featuring Czech folk musicians, an amateur orchestra, a small professional theatre and opera, and open-air military band concerts in the main square. As a part of Austria, Bohemia hosted a German-speaking middle and upper class into which Mahler’s parents had assimilated.

After a brief academic stint in Prague, Mahler attended the Vienna Conservatory where he studied piano and composition (including some classes with Anton Bruckner) and fell under the spell of Wagner—to his teachers’ consternation. He also attended academic courses at the University of Vienna, developing particular interests in the Academic Wagner Society, leftist philosophical circles and pan-Germanism. As a student, he began conducting student rehearsals and gave piano lessons. A young artist and intellectual in a city renowned for its café culture, Mahler frequently discussed philosophy with friends.

A native of Portland, Oregon, Brendan Faegre (b. 1985) received his bachelor’s degree from the University of Puget Sound in Tacoma, Washington. He received master’s degrees from the

Royal Conservatory in The Hague and from Indiana University, and has also studied at the Norwegian Academy of Music and at Aspen Music Festival in Colorado. In addition, he studied Indian classical music in India. Faegre has served as composer and drummer for Edge Ensemble, a contemporary music ensemble noted for blurring the boundaries between different musical genres. Analog Intelligence (A 21st Century Dance Suite) is a newly written work, commissioned for Pacific Symphony Youth Orchestra.

Faegre’s musical influences are highly eclectic, including contemporary classical music, traditional Indian music, rock and jazz. Such a diverse set of musical stimuli is common in this day and age, an era unlike any other in music history in which virtually anything that has ever been composed anywhere in the world is immediately available at the touch of a button. This aspect of Faegre’s music reflects how technology is changing contemporary culture.

COMPOSER’S NOTE

Analog Intelligence was originally written for my violin/drum kit/electronics trio ‘Bow Hammer Connection.’ It was a 21st century dance suite, equally inspired by J.S. Bach and James Blake. When Roger Kalia approached me about writing a piece for Pacific Symphony Youth Orchestra, I knew the dance suite could be done great justice in a detailed orchestration. I set about translating the heavily electronic soundworld of the original piece into the language of an acoustic orchestra. The echo effect became slow wah-wah mutes in the brass, the distortion effect became aluminum foil mutes in the strings, and the reverb effect became airy sounds from all sections of the orchestra. In this new version a unique sonic environment is born, straddling the line between acoustic orchestral and electronic chamber music.

—Brendan Faegre

by joshua grayson

BREN

DA

N F

AEG

RE(b

. 198

5)

GU

STA

V M

AH

LER

(186

0–19

11)

10 • Pacific Symphony

NOTESgaining power in government as well as within the theater. Amidst this uncomfortable, stifling political environment, Mahler broke contract. He was soon hired to conduct in Hamburg.

A free city for hundreds of years, not subject to the same restrictions as other regions of the Holy Roman Empire, Hamburg had a history and traditions of an open, entrepreneurial climate. Moreover, a part of the recently unified Germany rather than an ethnically disjointed Austria, its political environment was far less fraught. The Hamburg opera was run as a commercial business with a manager committed to maximizing revenues and audience sizes, not managing an official public culture.

Mahler thrived in the new environment, where he conducted freely, enjoyed long walks along the harbor, and finally returned to his symphony. He drastically revised its orchestration, finishing his second version in 1893. The work was performed in Hamburg in 1893 and in Weimar (through the help of Richard Strauss) the following year. Both cities were far more receptive to experimentalism than Budapest, although the work still proved controversial and divisive. Mahler continued revising and re-orchestrating the piece, finally publishing it in 1899.

* * * *

In a famous conversation, Finnish counterpart Jean Sibelius remarked that a symphony must have “profound logic and inner connection.” Disagreeing with him, Mahler countered, “No, a symphony must be like the world. It must contain everything.” Mahler symphonies are indeed world-encompassing.

For Mahler, unlike many other German symphony composers, the “world” of the symphony included social criticism. Since his youth, Mahler had been fascinated by the prospect of using music as a metaphor for social justice, with different “voices” coming to denote different social classes and ethnic identities. Mahler’s incorporation of popular music into the symphony represents the culmination of this impulse. Another inspiration for the extreme levels of contrast in Mahler’s music was a childhood incident. Witnessing a distressing argument between his parents, the young Mahler ran away from home. Distraught, he encountered a local street band. He never forgot the juxtaposition of his own unhappiness with a wider world that seemed unknowing and uncaring.

Mahler’s music also reflects attitudes about symphonic music as a vehicle for the expression of profound philosophical ideas. In German artistic philosophy, absolute, “pure” music (i.e., music without words) was held in higher esteem than vocal music or “program” music. Program music—music written to express a specific extra-musical literary, philosophical, or artistic idea—was limited in possibilities and could only be about one specific thing (and was frequently expressed as “tone poems”). In contrast, absolute music—as embodied by the symphony—was held to offer limitless and infinite expression. Combining both theoretical impulses, Mahler’s music reflects the paradoxes of cosmic and personal, high and low, symphony and song, huge societal forces and intensely private meditation.

* * * *

Like nearly all his works, Mahler’s first symphony represents his efforts to reconcile poetry and music. Large parts of it were assembled out of music previously used in his song cycle Lieder eines fahrenden Gesellen (Songs of a Wayfarer). A set of four songs for piano and voice written in 1884, that work’s poetic text deals with a young man’s idyllic youth, a disastrous love affair and emotional

In 1885, Mahler was hired by Arthur Nikisch (future conductor of the New York Philharmonic) for a six-year contract at the Leipzig Opera to begin the following year; due to disputes with Nikisch he would only stay for two years. Mahler composed his First Symphony in 1888 while working as second conductor at the Leipzig City Theatre, although much of it was assembled from music written earlier. Although he tried to have it performed in Leipzig, he was unsuccessful. In addition to the composer’s artistic, philosophical and social aims for the piece, the work’s intense expressivity is partly due to his romantic association with Marion von Weber, the English-born wife of the grandson of the early 19th century German composer Carl Maria von Weber.

A difficult personality to work with, Mahler resigned from his position in Leipzig two years into his six-year position; he returned to Prague but was soon fired there. Luckily for him, he was noticed by David Popper, a cellist who was in charge of the Royal Hungarian Opera in Budapest (Mahler nearly missed his meeting with Popper because he was intensely absorbed in composing).

* * * *

Mahler’s arrival in Budapest in 1888 thrust him in the midst of a raging political dispute. As with Ljubljana and Prague, he came to Budapest as a representative of German culture. Although he had come from a Jewish family in a small town in Bohemia, his family had been highly assimilated into Austrian society. Throughout the Austrian Empire, German had been both the language of administration and a unifying cultural force in an empire that encompassed many minority groups. Mahler thus grew up speaking German rather than Czech or Yiddish, reading German literature, attending a German high school and studying and producing what was perceived as German music.

During the 1860s, Hungary had been granted particularly strong autonomy within Austria, becoming an equal component within the Austro-Hungarian Empire. By the time of Mahler’s arrival there in the late 1880s, two factions vied for control of Budapest high society. A more liberal, pro-German group wanted to accept German culture, although on Hungary’s terms. This faction sought to perform German works, particularly Wagner, although it aimed to utilize Hungarian singers and to perform the works in Hungarian translation. On the other side, a right-wing conservative faction embraced Hungarian culture over German and sought to perform works primarily by Hungarian composers. Mahler, for his part, attempted to learn Hungarian and establish friendships with important members of Hungarian society, but he still was seen by many as overwhelmingly German and foreign. Much of the criticism he faced was due to this tension between rival political factions within Hungarian society, although he also suffered from anti-Semitism.

It was in this fraught political situation in which the 1888 premiere of Mahler’s first symphony took place. The piece’s first part was warmly received, with high praise from critics and ovations from audiences. The darker, more experimental second part, however, was roundly rejected by audiences and critics alike. Mahler put the work away for three years, focusing instead on conducting.

* * * *

During the 1880s, the Royal Hungarian Opera theatre had been run by Sandor Erkel, part of the anti-German faction. At the same time, both the general manager for all Budapest theatres and the Intendant of the Royal Opera were pro-German Wagner supporters. In 1890, Hungarian politics shifted to the right, with the pro-Hungarian faction

Pacific Symphony • 11

NOTESof the hero. It has a shocking effect in its sharp irony and inconsiderate polyphony, especially when we see the procession returning from the funeral (after the beautiful middle section), and the funeral band starts to play the usual happy tune (which pierces here to the bone).

The finale, which Mahler describes as “’D’all Inferno,’ like the suddenly erupting cry of a heart wounded to its depths,” follows immediately after the previous movement. In his own words, Mahler describes it as “A battle in which victory is always farthest away at the exact moment when the warrior believes himself to be closest to it. This is the character of every spiritual battle, since it is not so easy to become or to be a hero.” In another letter, Mahler offers the following description: “Our hero is completely abandoned, engaged in a most dreadful battle with all the sorrow of this world. Time and again he—and the victorious motif with him—is dealt a blow by fate whenever he rises above it and seems to get hold of it, and only in death, when he has become victorious over himself, does he gain victory. Then the wonderful allusion to his youth rings out once again with the theme of the first movement.”

Regardless of whether one takes Mahler’s program on face value, the work is a profound expression of the human spirit. Like the world, it truly contains everything.

Joshua Grayson, Ph.D., is an historical musicologist and graduate of the USC ThorntonSchool of Music.

resolution. Unlike today’s version, the symphony originally had five movements; an additional movement (called “Blumine”) was placed after the first. Mahler based “Blumine” on incidental music he had composed in 1884 for a poem by Joseph Victor von Scheffel, but excised it from the symphony after the first three performances.

Mahler originally called the piece Titan, a Tone Poem in Symphonic Form rather than a symphony. The piece straddles the boundary between absolute music and program music. For its first performance, in Budapest, Mahler left it as abstract (albeit with hidden literary references). He did supply a program for the Hamburg and Weimar performances, but later recanted it. To this day, it remains controversial among musicologists whether these explanations should be taken as authoritative.

In the written program, Mahler described the piece’s first movement as “’Spring and no end’ (Introduction and Allegro Comodo). The Introduction depicts the awakening of Nature from the long sleep of winter.” The movement uses a unison A in the strings to represent natural sounds including bird calls, while off-stage trumpets represent physical distance, separation, and alienation between man and the nature from which he springs. Depicting the symphonic main character’s youth, the movement reworks the song “Ging heut’ Morgen übers Feld” (“I went this morning on the field”) from Lieder eines fahrenden Gesellen. Coming after “Blumine,” the current second movement is described as “’With full sails (Scherzo).” A ländler, a simple Austrian country dance in 3/4 meter, the movement represents the symphony’s main character growing up, filled with youthful energy. Some of the movement’s music dates back to “Der Trompeter von Säkkingen” which Mahler wrote in 1880, a full eight years prior to the symphony.

Mahler gave an extended description of the third movement:

Stranded! (A funeral march in “the manner of Callot.”) The following might explain this movement: the external inspiration for the piece came to the author from a parodistic picture well known to all children in Austria: “The Huntsman’s Funeral,” from an old children’s book: the animals of the forest accompany the dead huntsman’s bier to the grave; hares escort the little troop, in front of them marches a group of Bohemian musicians, accompanied by playing cats, toads, crows etc. Stags, deer, foxes and other four-legged and feathered animals follow the procession in comic attitudes. In this passage the piece is intended to have now an ironically merry, now a mysteriously brooding mood.

Filled with bitter irony, the movement’s round on Frère Jacques in a minor key reflects disillusioned memories of childhood. A contrasting section presents an ironically detached street music scene. The bitterness of a seemingly uncaring world breaking in on the protagonist’s existential crisis almost certainly reflects Mahler’s memory of his own childhood incident. Mahler also provided an alternative explanation for the movement in a private letter:

On the surface one might imagine this scenario: A funeral procession passes by our hero, and the misery, the whole distress of the world, with its cutting contrasts and horrible irony, grasps him. The funeral march “Brother Martin” [Frère Jacques] one has to imagine as being played in a dull manner by a band of very bad musicians, as they usually follow such funeral processions. The roughness, gaiety, and banality of this world then appears in the sounds of some interfering Bohemian musicians, heard at the time as the terribly painful lamentation

12 • Pacific Symphony

ROGER KALIAMUSIC DIRECTOR, PACIFIC SYMPHONY YOUTH ORCHESTRA

H ailed as a conductor who leads with “passionate intensity” and recognized as “one to watch,” Roger Kalia is one of America’s most exciting young conductors. A recipient of a 2013 and 2017 Solti Foundation U.S. Career Assistance Award, Kalia is currently

the assistant conductor of Pacific Symphony and the music director of Pacific Symphony Youth Orchestra. He began his tenure in 2015, and was recently awarded a two-year contract extension, becoming only the second assistant conductor in Pacific Symphony’s history to receive this honor. Kalia also serves as co-founder and music director of the Lake George Music Festival in upstate New York, the premier musical arts festival in the region. Previously, he served for two seasons as assistant conductor of the Charlotte Symphony, where he conducted the orchestra in a variety of performances and invigorated the orchestra’s engagement with the community. Kalia has also held music director positions with both the Young Musicians Foundation (YMF) Debut Orchestra and Columbus (IN) Symphony Orchestra, the oldest orchestra in the state and only its fourth music director. In June 2016, Kalia led the Pacific Symphony Youth Orchestra on a highly successful tour of China, which marked the orchestra’s second international tour and its first to Asia. The orchestra performed sold-out concerts in Beijing’s Forbidden City Concert Hall and Shanghai’s Oriental Arts Centre as well as a cultural exchange concert with the Shanghai Nanyang Model School Orchestra, which was broadcasted worldwide on International Channel Shanghai (ICS).

In addition to his current positions, Kalia is in consistent demand as a guest conductor. In the 2017-18 season, he makes his European subscription debut with the Szczecin Philharmonic in Poland, and will conduct the Bakersfield Symphony on their annual Gala concert Further recent and upcoming guest conducting engagements include appearances with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta at Symphony Hall, Long Beach Symphony, Great Falls Symphony, Owensboro Symphony, Boise Philharmonic, Adrian Symphony and the 2018 Missouri All-State Orchestra.

Kalia has collaborated with a variety of artists such as Glenn Dicterow, David Kim, Randy Newman, the B-52s, Dan Dunn, Fei-Fei Dong, and Misha Dichter, and has served as cover conductor for the Los Angeles Philharmonic, St. Louis Symphony and Indianapolis Symphony. Kalia has worked in various capacities with the New York Philharmonic, Pittsburgh Symphony, Seattle Symphony, Utah Symphony, Fort Worth Symphony, Danish National Symphony and Royal Scottish National Orchestra, among others. Kalia conducted the Memphis Symphony in 2011 after winning Second Prize in their International Conducting Competition, which led to his debut the following season and launched his professional career.

As co-founder and music director of the Lake George Music Festival, Kalia conducts the Lake George Festival Orchestra and chamber ensembles every August, whose distinguished musicians come from many of North America’s finest orchestras and conservatories. Through its unique and innovative artistic collaborations and outreach, the festival recently received its first-ever grant from the National Endowment of the Arts (NEA). In 2017, Kalia created a new and innovative concert series called Sounds of Our Time, which highlights the connections between the popular music of our time and orchestral music. For its debut concert, the series focused on electronic music, specifically electronic dance music (EDM), with the Festival Symphony Orchestra collaborating with the EDM-indie group and Billboard artist, MAKO, in a performance of original compositions, one of the first collaborations of its kind. The collaboration gained national publicity by being featured in the League of American Orchestras’ The Hub, Broadway World, EDMjoy, the Albany Times Union and Saratoga Living. The Festival Orchestra has also been featured on a variety of recognized classical radio programs including American Public Media’s Performance Today with Fred Child and WQXR-NY.

Passionate about teaching the next generation of musicians, Kalia maintains a regular teaching relationship with the Colburn School and Cal State Fullerton, and has been invited as a guest speaker at the Irvine Music Festival, Mt. San Antonio College and Osher Lifelong Learning Institute.

A native of New York, Kalia received his doctorate from Indiana University, where he served as an associate instructor and assistant conductor of the IU Opera Theater and New Music Ensemble. He also holds degrees from the University of Houston and SUNY Potsdam’s Crane School of Music. His primary mentors include David Effron, Arthur Fagen and Franz Anton Krager.

ROGER meet the psyo music director

Pacific Symphony • 13

MEETPACIFIC SYMPHONY YOUTH ORCHESTRA

ROGER KALIA • MUSIC DIRECTOR

2017-18 Season Sections listed alphabetically under principal

the youth orchestra

VIOLIN IDanielle Liu, Co-ConcertmasterPhil Chen, Co-ConcertmasterLeo Matsuoka, Assistant

ConcertmasterGrace ChoiMaddie FrumanLauren HuangAnna KimSanghyun KimSean KimSarah KimEunice LeeStephanie LiaoMegan MartonoJullian PepitoAaron ToAlex TranAlan WangHelen YangJulia C Yuan

VIOLIN 2Simina Tiprigan, PrincipalDaniel ApolonioAndrew DaiJustin HeoDavid HuhEmily KimEthan LeeRachel LeongLauren MillerEllie NagatomiGrace ParkJean ParkAlex QuFrankie SonJustin SongAlexa SturrockHannah VelezAustin WangAlice WardenIsabella Yuan

VIOLAAddison Jadwin, PrincipalKristina AbyadElaine ChiKevin ChoSamantha HongJulia ImLexi KimEileen KimJoshua KimJay LeePhoebe LinNicolas PerkinsWesley TjangnakaEleas Vrahnos

CELLOSedong Hwang, Co-PrincipalReina Cho, Co-PrincipalAllison HuPriscilla KimJonathan KuDanielle LeeJonah PacisAndrea RoyMatthew TengMichael WuKenneth YehDaniel Yoo

DOUBLE BASSSienna George, PrincipalMegan LuKylen PatelDaniel WooBrian YipJun Yun

FLUTEAllison Huh, PrincipalAaron LiuDianne Seo

OBOEClarissa Antoine, PrincipalChris CorreaRui WangCathy Zhang

CLARINETHeejun Park, PrincipalLawrence ChenJustin LeeAnnabelle Wang

BASSOONShelby Capozzoli, PrincipalPatrick BeirneCasey Patterson HORNRachel Kim, PrincipalKatelyn ChanJack FinlayRiad GhandourSean Mc Lendon

TRUMPETStephan Ko, Co-PrincipalDaichi Sakai, Co-PrincipalRemy GilboeYoungbo Shim

TROMBONEWill Gerber, PrincipalEliana LeishJose Sahagun

BASS TROMBONEDominic DiazEthan Holmes

TUBAThomas Wong, Co-PrincipalPatrick Zhang, Co-Principal

HARPSarah Hsiao, Principal

PIANOJocelyn Chen, Principal

PERCUSSIONRyan Chao, PrincipalJustin AhnJeremy DavisHampton DouglasJay Kim

STAFFOscar J. Esteves, Youth

Orchestra Manager

PARTICIPATING SCHOOLSAliso Niguel High SchoolAnaheim Magnolia Christian

SchoolArnold O. Beckman High

SchoolCalifornia Virtual AcademyCanyon High SchoolCathedral City High SchoolCrean Lutheran High SchoolDana Hills High SchoolDiamond Bar High SchoolFairmont Preparatory AcademyHope Christian Academy (PSP)Huntington Beach High SchoolIrvine High SchoolLong Beach Polytechnic High

SchoolLos Alamitos High SchoolMater Dei High SchoolNorthwood High SchoolOrange County School of the

ArtsPacific AcademyPortola High SchoolSage Hill SchoolSan Juan Hills High SchoolSonora High SchoolSt. Margaret’s Episcopal SchoolSunny Hills High SchoolTesoro High SchoolTorrance High SchoolTroy High SchoolUniversity High SchoolVista Murrieta High SchoolWoodbridge High School

14 • Pacific Symphony

MEET the psye board and staff

BOARD OF DIRECTORSPACIFIC SYMPHONY YOUTH ENSEMBLES

Elizabeth Stahr* Board Chair

Robert AndersonSherry ChenHelen Chin

Wilfred CohenDana Freeman

Ellie GordonJoyce Hanson

Junko Hara

Michelle Horowitz*Jerry HuangHans Imhof†Sheng Jiang*

Kari KerrSarah Koo

Evelyn KroenerHedy Lee

Suzy Lee*Ian McKinnell

Dot NelsonElizabeth Rho

Herb RothWendy SalterElaine SarkariaJanice Smith

Walter StahrJames Steinmann

Pat SteinmannAnn Tenney

Alan TerriccianoTom WilliamsLarry Woody

EX-OFFICIO PSYE BOARD MEMBERS

Carl St.Clair* Music Director, Pacific Symphony

John Forsyte* President, Pacific Symphony

Eileen Jeanette Vice President of Artistic and Orchestra Operations,

Pacific Symphony

Louanne Champagne-Brazil Director of Legacy Planning and Major Gifts,

Pacific Symphony

Irene Kroesen Music Director, Pacific Symphony Santiago Strings

Dr. Gregory X. Whitmore Music Director, Pacific Symphony Youth Wind Ensemble

Dr. Roger Kalia Director, Pacific Symphony Youth Orchestra &

Assistant Conductor of Pacific Symphony

Shawne Natalia Zarubica Director of Youth Ensembles, Pacific Symphony

Bridget Bow String Coach, Pacific Symphony Santiago Strings

Oscar Esteves Pacific Symphony Youth Orchestra Manager

Nicole Kroesen Pacific Symphony Youth Wind Ensemble Manager

Amanda Sansonetti Pacific Symphony Santiago Strings Manager

$10,000 +William J. GillespieJoyce and Rondell Hanson Valerie and Hans Imhof Lonie Bosserman FundNew Music USAPacific LifeJudith PosnikoffElaine Sarkaria Segerstrom Family FoundationElizabeth and John Stahr Charles and Ling Zhang

$5,000-9,999Joe Sadacca and Leona AronoffHelen and Peter Bing Suzanne and David ChonetteClassics for KidsDr. Walter DietikerDolores Grunigen David L. Horowitz FamilyMr. Jerry C. HuangMr. Sheng Jiang and

Mrs. Jane Xu Carlos and Haydee MolluraDot and Rick Nelson NPI Services, Inc.Pat and William PodlichJanet Marie and James Walkie

Ray Herbert Roth Janice and Theodore SmithTaco Bell Community GrantsWoody Youth Fund

$1,000-4,999Anonymous

Mr. and Mrs. Howard F. Ahmanson Jr.

Elaine and James Alexiou Robert AndersonMs. Sarah J. Anderson and

Mr. Thomas B. Rogers Mr. Robert BergstromRosalind and Paul Britton Carlson-Solmssen FoundationPamela and John Carrington Mrs. Poita CerniusHelen and San Chin Wilfred and Dolli Cohen Marjorie and Roger Davisson Ruth Ann and John EvansMichelle and John ForsyteMrs. Frances Fukuda Eleanor and Michael Gordon Junko Hara Jerry and Maralou HarringtonDiane HowellHsu Hwa Chao FoundationMary Anna and Arthur JeppeMr. and Mrs. G. Randolph

Johnson Damien and Yvonne JordonJoanne and Dennis Keith Kari Kerr William and Carolyn KleinDorothy Lazier Hedy and Charles Lee Canyon and Susan Lew Patsy Martin Sharon McNalleyKathryn and David Moore Peter and Gail OchsPacific Trading USA, Inc.

Lilys PanJanet and James RayElizabeth RhoBarbara Roberts Michelle Rohé Herbert RothWendy and Fred Salter Judith and Harry Selling Sangdo and Mijung Shim Vina Williams and

Tom SlatteryWalter and Masami Stahr Patricia and Charles Steinmann Richard and Jane Taylor Mr. and Mrs. George Thagard IIITrico RealtyMr. Christopher D. TowerRichard and Patricia WallaceThomas and Sheila WilliamsKeiko and William WitteMr. Larry Woody

$500-999Helen and San ChinMs. Kelly ChuCatherine Emmi Jackson KwokBrian and Cindy LeishMaggie Liang and Sam LiuMr. Michael Nilsson and

Dr. Eugenia Esgalhado Linda and Bill Owen Ingrid R. Shutkin Larry Tucker and

Jill Johnson-TuckerJudith VanderreisSheila and Thomas Williams

$100-499AnonymousChristine AldenMrs. Barbara J. BensonDave CameronLinda and William Campbell Richard and France CampbellMr. Jun CaoMr. Seungho ChaMs. Denise B ChilcoteKelly ChuAlex ChunHihwan Chung and

Hyungjin Oh Yun ChungGloria and Edwin ClarkMs. Karen DavidsonMr. and Mrs. Allan Fainbarg Mr. Michael FarooqMaria GalantineRoger and Diane Garriott Noel and Katherine HamiltonWonseok HeoMr. Ronald J. HoeferEileen JeanetteRobert KaminskiPhillip KimLouis and Jeanette KnobbeRichard KongEvelyn KroenerIrene and Chris Kroesen Mrs. Sung LeeCindy and Brian Leish Ivy LinYuh Chun Lin and Wen Ju LeeRichard and Anyi Liu Sally Liu

Sam Liu and Maggie Liang Ms. Yi LiuPhilip LuAdeline and Robert MahMerage Jewish Community

CenterMia MiyungLeonard and Theresa NiuDr. Howard OkinBill O'NeillOrange County Bureau of

Jewish EducationVictor PerrinThe Honorable James and

Harriet SelnaThe Honorable Tully SeymourIngrid ShutkinDr. Karlton SkindrudLarry and Barbara SpitzBella StaavCatherine SuHui TangPauline Y. TangFaith and Aaron TaoJudy and David Threshie Lois and David TinglerBob and Ruth Wilkoff Donald YangSamuel and Jenny Yang Mrs. Sharon YangDr. Joanne B. YoonSein Yun

ACKNOWLEDGEMENTSThank you to the following donors who have made an annual contribution to Pacific Symphony Youth Ensembles

from August 1, 2016 through July 31, 2017.

*Also member of Board of Directors for Pacific Symphony† Pacific Symphony Life Director