NOV. 19 pacific symphony santiago strings · 2016-10-25 · Pacific Symphony • 29 NOTES Although...

Pacific Symphony • 27

pacific symphony santiago stringsNOV. 19

The concert begins at 2 p.m.

SEGERSTROM CENTER FOR THE ARTSRENÉE AND HENRY SEGERSTROM CONCERT HALL

presents

This afternoon's performance is generously sponsored by The Carlson-Solmssen Foundation, Janice and Ted Smith and Frances Fukuda.

Forever Young!

PRELUDE CHAMBER STRINGS HELEN WEED • CONDUCTOR

Wolfgang Amadeus Mozart (1756-1791); Arr. J. Hoffman Allegro from Symphony No. 25 featured in Amadeus

Felix Mendelssohn (1809-1847); Arr. R. S. Frost Andante from Symphony No. 4 in A Major, Op. 90

Franz Schubert (1797-1828); Arr. B. Cerulli March No. 1 from Marche Militaire, Op. 51, D. 733 Brian Balmages (b. 1975) Forever Joyful!

PACIFIC SYMPHONY SANTIAGO STRINGS IRENE KROESEN • CONDUCTOR

Henry Purcell (1659-1695); Arr. H. Hoeckner Music from Abdelazar Overture – Rondeau – Minuet – Air – Jig – Hornpipe

Wolfgang Amadeus Mozart; Arr. R. D. McCashin Allegro Moderato from Symphony No. 29 in A Major Franz Schubert; Arr. C. Colnot Four Songs for Strings The Hunter – Frozen Tears – Serenade – Farewell

Felix Mendelssohn; Arr. K. Moss Sinfonia No. 2 in D Major, Movement 1

Frederic Chopin (1810-1849); Arr. R. Longfield Polonaise Militaire

Modest Mussorgsky (1839-1881); Arr. E. Segnitz Night on Bald Mountain

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

1820 PS Program 3 PSYWE PSYO P2 C2 PSSS.indd 27 10/20/16 9:00 PM

28 • Pacific Symphony

NOTESPRELUDE CHAMBER STRINGS

Allegro from Symphony No. 25 featured in Amadeus WOLFGANG AMADEUS MOZART (1756-1791)

Written in October 1773 by the 17-year-old Mozart, Symphony No. 25 is known as the “little” G-minor symphony (though today’s arrangement is in E minor) and is featured as the intense opening music to the movie Amadeus. Mozart vigorously studied Haydn’s music, whose G-minor symphonies had great influence on him. The fierce syncopation and dramatic bass lines are hints of the young composer’s creativity just beginning to blossom.

Andante from Symphony No. 4 in A Major, Op. 90 FELIX MENDELSSOHN (1809-1847)

Known as the “Italian Symphony,” Felix Mendelssohn’s Symphony No. 4 was the 20-year-old’s second symphony to compose; however, he continued to write revisions of it throughout his life, so it was the fourth of his symphonies to be published. The Andante movement captures the feelings of a solemn religious processional that he witnessed in Naples, with a plaintive melody accompanied by a walking bass line. Previously he had written to his sister Fanny, “The Italian symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow movement yet, and I think that I will save that for Naples.”

March No. 1 from Marche Militaire, Op. 51, D. 733 FRANZ SCHUBERT (1797-1828)

One of Schubert’s most famous melodies, this piece was the first of three marches for piano duet that Schubert wrote while teaching Count Esterhazy’s daughters. It has been quoted in many other works, including Stravinsky’s “Circus Polka” and Walt Disney’s animated short called “Santa’s Workshop.”

Forever Joyful! BRIAN BALMAGES (B. 1975)

Forever Joyful was written to evoke the emotion of joy—all the various aspects of the emotion, from the very lighthearted to the more “intense happiness and euphoria.” Specifically, it was inspired by the composer’s family decision to adopt a puppy, and all the fun that followed!

PACIFIC SYMPHONY SANTIAGO STRINGS Notes by Joshua Grayson

Music from Abdelazar HENRY PURCELL (1659-1695)

O ne of the most important English composers of the 17th century, Henry Purcell spent the early part of his career working for the royal court, serving as court composer for

violins but composing mainly sacred vocal music. During the 1680s he worked as organist and music director for Westminster Abbey, one of the most prestigious appointments available to a British musician.

In 1689 came a swift change in the British monarchy. Termed the “Glorious Revolution,” this uprising saw King James II (the last of the Stuart dynasty) deposed and replaced by King William III and Queen Mary II (first of the House of Orange). Among the many changes the new dynasty brought was a decreased royal involvement in music. Facing a threat to his livelihood, Purcell adapted by seeking other opportunities. Spurred on by the change in working conditions, he branched out into new areas and began writing musical dramas for the London stage. In fact, Dido and Aeneas, his most famous work, is often considered to be the first English opera.

In late 17th-century England, the distinction between music and drama was far less pronounced than today. Music was highly important to prose drama, and the division between “musical” and “straight” play we take for granted today would have made little sense to Purcell’s audience. Music was almost always used in prose drama to mark critical junctions between acts, and the London stage would have been a natural place for Purcell to take his talents. Other than Dido and Aeneas, most of Purcell’s dramatic music was intended as accompaniment for spoken plays (called “incidental music”). In addition to background music, Purcell’s stage music also includes songs for the characters at appropriate points in the story. Unlike operas, the words are mainly spoken and include only a few passages of sung music.

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NOTES

Although arranged for string orchestra, the works comprising Four Songs for Strings were originally songs, taken from three separate song cycles. Die Schöne Müllerin, the first, was taken from a set of 23 poems, a prologue and an epilogue by the German poet Wilhelm Müller—Schubert set 20 of these in his song cycle (the work’s title is a play on words, meaning both “The Beautiful Miller’s Daughter” and “The Beautiful Müller”). Part of a large book of poems by Müller published in 1820, they tell a tragic story of unrequited love finding fulfillment through death, a common theme in German Romantic poetry. “The Hunter” was taken from this collection.

“Frozen Tears” comes from a later song cycle, Die Winterreise (“Winter Journey”). A set of 24 poems, also by Müller, it forms a sequel to Die Schöne Müllerin in which a lonely traveler, alienated by love, confronts a frozen landscape that mirrors the desolation of his own heart. The work perhaps reflects the composer, who in his youth had pined over a young female acquaintance yet remained a lifelong bachelor. “Serenade” and “Farewell” are both taken from Ludwig Rellstab’s Schwanengesang (“Swan Song.”)

In “The Hunter,” a young man, scorned in love, wanders through the countryside and comes upon a hunter. The poem offers an ironic depiction of the hunter out of his element; the narrator berates him in his mind for disturbing the peace of the place, and entreats him to hunt something useful (the boars that disturb his beloved) instead. “Frozen Tears” depicts a young man crying, scornfully rebuking his own tears for not being hot enough to withstand the winter ice. In “Serenade,” a lover sings to his beloved, hoping to cheer her up, while in “Farewell,” a young man must leave his hometown in spite of having been happy there.

Die Winterreise is one of Schubert's most famous compositions and was written in 1827, one year before his untimely death at age 31.

Composed in 1695, Purcell’s Music for Abdelazar premiered in March of that year at the Drury Lane Theatre in London. The play itself had been written in 1676 by Aphra Behn, one of the leading female British playwrights, and was based on Lust’s Dominion, written in 1600 by Thomas Dekker. Subtitled “The Moor’s Revenge,” the play is the story of the Prince of Fez, who is being held prisoner in Spain. The play depicts his machinations and struggle to take over the crown from the Spanish queen who had fallen in love with him; he is defeated in the end. The play was criticized for its lewdness, quite common to British theater at the time.

Purcell’s music for the play consists of a French overture, a set of eight dances, and a song (“Lucinda is Bewitching Fair”). The French overture, based on overtures by the French court composer Jean-Baptiste Lully, far surpasses its model on both musical and emotional grounds. The first dance, a rondeau, was arranged by Benjamin Britten and set as the theme for his Young Person’s Guide to the Orchestra in 1945.

Allegro Moderato from Symphony No. 29 in A Major WOLFGANG AMADEUS MOZART (1756-1791)

W olfgang Amadeus Mozart composed his Symphony No. 29 in A Major in 1774, one year after a brief visit to Vienna (six years before he would become a permanent

resident of the imperial capital). Composed at the age of 18, it has much in common with his other symphonies—indeed, together with Haydn, Mozart invented and perfected the genre. Yet it offers much uniqueness as well. Unlike many of his purely orchestral symphonies, this one contrasts orchestral writing with more intimate chamber musical styles. It also features a high degree of imitative counterpoint, especially in the first movement’s coda. In fact, Mozart had learned this musical technique during his recent trip to Vienna, and so the piece represents one of the earliest examples of his synthesis of Salzburg and Viennese musical cultures.

Four Songs for Strings FRANZ SCHUBERT (1797-1828)

O f the famous four great Viennese composers, Franz Schubert was the only one actually born in Vienna. Although he wrote piano sonatas, chamber music, symphonies, religious music

and operas—all before his untimely death at the age of 31—Schubert was most famous for his nearly 600 songs for voice and piano (called “Lieder” in German), comprising almost two-thirds of his compositional output. In addition to songs published individually, he also composed song cycles, sets of several songs published collectively and intended to be performed together as a group. Contemplative and intimate yet highly emotional, Schubert’s songs are perhaps more musically daring and innovative than any of his other compositions.

Schubert’s fascination with the art song comes as no surprise. Many of his close personal friends were highly interested in German literature; Schubert frequently attended poetry readings. Such gatherings among friends were quite common to Viennese and German society at the time. Schubert used his musical abilities as a way of commenting on and interpreting the poetic texts. The combination of music with text adds emotional intensity, can indicate irony, or can serve to illustrate the composer’s interpretation of the poet’s intent.

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30 • Pacific Symphony

NOTES

Night on Bald Mountain MODEST MUSSORGSKY (1839-1881)

M odest Mussorgsky was long fascinated by the music and culture of his native Russia. After training in a military academy, he became a commissioned officer in the

Preobrazhensky Regiment, the most elite part of the Russian Imperial Guard. Although he resigned his commission after two years in order to devote himself to music, he remained enthralled by Russian history and culture. His visit to Moscow, Russia’s ancient capital, in the summer of 1859 only heightened this fascination, and in the 1860s he joined with a group of other Russian composers called the “moguchaya kuchka” (“mighty handful”). Led by Mussorgsky’s teacher Mily Balakirev, the group opposed Western-style music education and sought to develop national music based on indigenous Russian traditions.

Composed in 1867, the tone poem “St. John’s Night on Bald Mountain” marked the beginning of Mussorgsky’s musical independence from his teacher Balakirev. Mussorgsky had contemplated the idea as early as 1858, when he expressed interest in writing a three-act opera based on “St. John’s Eve,” an 1830 short story by Nikolai Gogol. He began writing the work in 1860, originally intending it as incidental music to the play Ved’ma (“The Witch”) by Baron Georgy Mengden, one of his army friends. Some of its music was recycled from a never-completed opera based on a novel by Flaubert about ancient Carthage, which Mussorgsky began in 1864.

Although Mussorgsky expressed great pride in the work, his mentor Balakirev was far less encouraging and requested many changes. Mussorgsky withdrew the work from performance rather than making any of Balakirev’s changes, and from then on never submitted any other to him. However, he did revise this twice more. The version now known, published in 1886, was heavily “corrected” after Mussorgsky’s death by his friend Nikolai Rimsky-Korsakov. The piece is a depiction of a witch gathering on St. John’s Night, a Russian holiday in celebration of St. John the Baptist with admixture of an old Slavic pagan summer festival.

Sinfonia No. 2 in D Major FELIX MENDELSSOHN (1809-1847)

T he grandson of the great Jewish philosopher Moses Mendelssohn, proponent of religious toleration and civic rights for all, Felix Mendelssohn grew up in a wealthy upper

middle class household. Baptized into Christianity at age 7, he led a remarkable musical career. As a conductor and music director, he almost single-handedly rediscovered Bach and helped restore him to his rightful place as a great composer, discovered much of the music of Schubert, raised musical performance standards in Germany to new heights and helped establish the music conservatory system—all while composing brilliant music.

An incredibly precocious child, Mendelssohn wrote 13 string sinfonias by the year 1823. The Sinfonia No. 2 was written in 1821 at the tender age of 12, and was published in the 1960s. It features strict fugues and counterpoint, inspired by Johann Sebastian Bach and by the sinfonias of Bach’s son CPE Bach.

Polonaise Militaire FRÉDÉRIC CHOPIN (1810-1849)

O ne of the greatest pianists in the history of music, Frédéric Chopin grew up in Warsaw at a time of Russian domination of Poland. After spending several months in Vienna in 1830,

he settled in cosmopolitan Paris, where many migrants from across Europe had settled. While Chopin was residing in Vienna, an uprising against Russian rule broke out in Poland. Caring deeply about the Polish national cause, Chopin wanted to go back and fight, but was urged not to by friends who persuaded him that he could better contribute in other ways. While his friends and former teachers wanted him to write a grand opera devoted to Poland’s suffering, he instead turned to what he knew best—piano music. For the rest of his career, chief among Chopin’s output would be characteristic Polish-inspired piano works.

One of Chopin’s chief musical interests was the polonaise, a popular Polish aristocratic dance. In the early 19th century, the polonaise had been a popular show piece for salon culture; Chopin had written quite a few of these in his youth and played them for his aristocratic patrons at social gatherings. After leaving Poland in 1830, he stopped writing these kinds of polonaises. Four years later he reinvented the musical form, recasting it as a vehicle for Polish nationalism. Composed in 1838, the so-called Military Polonaise, Op. 40 No. 1 was Chopin’s second installment of this new type of Polonaise. Even more nationalistic than the first, it is dedicated to his friend Julian Fontana, a Polish pianist, composer, lawyer and academic. Like many later composers who were interested in the nationalist possibilities of folk music (Dvořák and Sibelius among many others), Chopin used his musical talents to transform humble folk genres, elevating them into the highest levels of art music.

Yet Chopin’s music is far more than nationalistic bluster. When composing the work in 1838, he had just begun the love affair of his life with the novelist George Sand (a woman, in spite of the male-sounding name). He would live with Sand for years, spending summers with her in Majorca at her villa. At the time he wrote this polonaise, he was deeply enamored with her. The piece features elegant music and brilliant piano writing (transcribed here for string orchestra), and sparks deep, primal passions.

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IRENE KROESENMUSIC DIRECTOR, PACIFIC SYMPHONY SANTIAGO STRINGS

I rene Kroesen received her bachelor’s degree in music education and teaching credential from Chapman University. Currently, Kroesen is a retired string specialist for the Irvine Unified School District (USD). From 1988 to 2011, Kroesen was an adjunct instructor at Chapman

University where she taught the String Methods for music education majors. Kroesen has also served as a mentor teacher for Irvine USD as well as a designated master teacher for Chapman University and California State Universities, Long Beach and Fullerton. She has also written curriculum for county and state workshops as well as sharing and distributing her teaching materials to Placentia-Yorba USD and Garden Grove USD.

Kroesen has appeared as conductor of the Irvine Elementary and Middle School Honor Orchestras and guest conductor of the Middle School Honor Orchestras for Las Vegas Unified, Capistrano Unified, Placentia-Yorba Linda School District, Long Beach Unified, Fresno-Madeira County and the SCSBOA All-Southern Middle School Honor String Orchestra. Kroesen served as the guest conductor for the Inaugural Year 2015 SCSBOA Elementary Honor Orchestra. She has also served as manager and assistant conductor of the Orange County Youth Symphony Orchestra and is currently the conductor of Pacific Symphony Santiago Strings. She is listed in Who’s Who Among American Teachers and is a past recipient of the Alumni of the Year Award from the School of Music at Chapman University. In 2003, she received the Orange County Outstanding Arts Educator Award for Elementary Instrumental Music. In 2006, Kroesen was selected as the Irvine Unified School District Elementary Teacher of the Year.

As a string educator and clinician, Kroesen has given numerous workshops at both county and state music conferences as well as working with individual school orchestras from Nevada, Arizona and the country of Norway. She has also served as an adjudicator for the Disney Creative Challenge and has auditioned violinist and violists for both the All-Southern California Middle School and High School Honor Orchestras. In 2015, Kroesen served as program advisor for Pacific Symphony’s Strings for Generations program and is currently the music director for the 2015-16 season.

Kroesen is a member of the American String Teachers Association, Southern California School Band and Orchestra Association, Music Educators National Conference and California Music Educators Association. She is also a member of the Los Angeles Musicians Union and is active as a professional violist.

HELEN WEED, Prelude Chamber Strings Music Director

H elen Weed is the founding conductor and music director of the Prelude Chamber Strings and Prelude String Orchestra. She received a B.M. degree in music education from Chapman University where she studied conducting with John Koshak. Currently Ms.

Weed is music arts coordinator at Calvary Church of Santa Ana, instrumental music teacher at Calvary Christian School and also conductor of the Praise Symphony Orchestra. She is an active member of the Music Teachers Association and a past president of the National Association of Church Musicians. She is also a private teacher of violin and piano and has traveled to several countries, including Romania, Brazil, Chile and Cuba to conduct, teach and take instruments and supplies to musicians. She loves to see students excel beyond what they could ever imagine!

The Prelude String Orchestra (PSO) began its first season in fall of 1994 with advice and financial support from the Tustin Area Council for Fine Arts. Annette Brower, who has managed the orchestra since the founding year, chose Helen Weed as the conductor because of her enthusiastic pledge of commitment to this orchestra which did not yet exist. Ms. Weed chose the name of the orchestra, “Prelude,” to indicate the first orchestral experience for many children. All students in the orchestra study with private teachers and have been accepted based on an audition. Due to overwhelming interest, the Orchestra has grown from a group of eight violins and two cellos in its first season to about 90 musicians divided into two string ensembles. The Prelude String Orchestra is designed to meet the needs of intermediate level students and the Prelude Chamber Strings (PCS) is for more advanced students. Orchestra members are in elementary and junior high school and this season, come from 18 different cities in Orange County. Since 1994, PSO and PCS have enjoyed performing throughout Orange County at various community churches, as well as Christ Cathedral, Santa Ana Zoo, Laguna Hills and Brea Malls, South Coast Plaza, Tustin Historical Society home tour, Laguna Woods, Knott’s Berry Farm, Disneyland, Concordia University, Segerstrom Center for the Arts and the inaugural reception for the mayor of Tustin, Tracy Worlley.

MEET meet the music directors

HELEN WEEDPRELUDE CHAMBER STRINGSMUSIC DIRECTOR


32 • Pacifi c Symphony

MEET the musicians

PACIFIC SYMPHONY SANTIAGO STRINGSIRENE KROESEN • MUSIC DIRECTOR

2016-17 SeasonSections listed alphabetically

VIOLIN IJoanna BaiEvan ChanKatelyn GeJehyeok (Justin) HeoRachel KimEthan LeeEunice LeeKate LeeAdam LinSarah LiuAlexander TranHannah VelezAustin WangAlison YangIsabella YuanJulia YuenSein YunMengshu Zhang

VIOLIN IIChristian ByunLianne ChaClaire ChenLaura ChenRonica ChengElaine ChiRichard FengJason GalantineSierra GreenAngela HuangGrace JinShayna KaplanRebecca LiuSam MikolajczykGloria ParkAniyah ShenRachel TianTiff any Xiao

Leyland YangKevin YeJayden Yeung

VIOLAAlison CaoSarah ChenJoon ChoiSol ChoiYejin HeoZoe LeeNicholas PanKadie ParkLawrence SongJason StangeLucy Van der ReisMax WangAmanda Zhu

CELLOEthan ChoHannah DoesAndrea HuangMadeleine KimIrene LeeTiana LinJonah PacisEric ParkGiulia RoyIvan WangElliot WongMichael WuChristian YangKenneth Yeh

DOUBLE BASSCarly BunimEthan Chang

STAFFBridget Bow,

Strings CoachAmanda Sansonetti,

Santiago Strings Manager

PRELUDE CHAMBER STRINGSHELEN WEED • MUSIC DIRECTOR

2016-17 SeasonSections listed alphabetically

VIOLIN IBrian ChangEllie KennedyJaden KimTara NguyenAshley PapacWilson SongAngela TangAaron TomEdison TsengTim WangKailey YunPaula Zhang

VIOLIN IIAlysa HuangNathan HwangSophia LeeAz LiIris LuLucas NguyenAn PhamMaxwell ShihTristen TaingJoshua TengEsther Wu

VIOLIN IIIElizabeth BrandtDavid JouEileen LeeKarina PatelMaya PompelKimberly PothCeline ShafeeKara TsaiShunsuke YamamuroKatelyn Yoo

VIOLAEthan Wang

CELLOSylvia CheesemanDanica KwanNatalie KwokEthan LiaoThomas ParishAlexander TranIan TsengAndrea WangAnna YoonJiin YunRichard Zhang



MEET the psye board and staff

BOARD OF DIRECTORSPACIFIC SYMPHONY YOUTH ENSEMBLES

Elizabeth Stahr* Board Chair

Helen ChinWilfred Cohen

Ellie GordonDolores Grunigan

Joyce HansonJunko Hara

David Horowitz Michelle Horowitz*

Jerry HuangHans Imhof†

Sheng Jiang*Randy Johnson†

Kari KerrSarah KooHedy Lee

Susan Hsia LewKathryn Moore

Dot NelsonJanet Ray

Elizabeth RhoHerb Roth

Elaine Sarkaria

Wendy SalterJanice SmithWalter Stahr

James SteinmannPat Steinmann

Jane TaylorAlan Terricciano

Lin Wang

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 Associate Director of Individual Giving,

Pacific Symphony

Irene Kroesen Music Director, Pacific Symphony Santiago Strings

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

Roger Kalia Music Director, Pacific Symphony Youth Orchestra &

Assistant Conductor, Pacific Symphony

Shawne Zarubica Director of Youth Ensembles, Pacific Symphony

Bridget Bow String Coach, Pacific Symphony Santiago Strings

Nicole Kroesen Pacific Symphony Youth Wind Ensemble Manager

Amanda Sansonetti Pacific Symphony Santiago Strings Manager

Kelsey Uyeda Pacific Symphony Youth Orchestra Manager

$10,000 +William J. GillespieJoyce and Rondell Hanson Valerie and Hans Imhof Lonie Bosserman FundNew Music USAPacific LifeElaine Sarkaria Elizabeth and John Stahr Charles and Ling Zhang

$5,000-9,999Helen and Peter Bing Dr. Walter Dietiker Dolores GrunigenDavid L. Horowitz FamilyMr. Sheng Jiang and Mrs. Jane XuYuri and Tomoya Masanao Dot and Rick Nelson NPI Services, Inc.Judith PosnikoffJanet Marie and James Walkie Ray Herbert Roth Janice and Ted SmithClancey StahrTaco Bell Community Grants

$1,000-4,999Mr. and Mrs. Howard F. Ahmanson Jr.Elaine and James Alexiou Ms. Sarah J. Anderson and

Mr. Thomas B. Rogers Rosalind and Paul BrittonCarlson-Solmssen FoundationPamela and John Carrington Mr. and Mrs. William CerniusHelen and San Chin Helen and Wilfred Cohen Marjorie and Roger Davisson Mrs. Frances FukudaEleanor and Michael Gordon Hsu Hwa Chao FoundationMr. and Mrs. G. Randolph Johnson Joanne and Dennis Keith Kari Kerr Dorothy Lazier Hedy and Charles Lee Canyon and Susan Lew Lilys Pan Patsy Martin Kathryn and David Moore Pacific Trading USA, Inc.Barbara Roberts Michelle Rohé Wendy and Fred Salter Judith and Harry Selling Mr. Sangdo Shim Masami and Walter Stahr Mr. and Mrs. George Thagard III

$500-999Kelly ChuCatherine EmmiMr. Michael Nilsson and

Dr. Eugenia Esgalhado Linda and Bill Owen Ingrid R. Shutkin Judith Vanderreis

$100-499AnonymousMrs. Barbara J. BensonDave CameronLinda and William Campbell Mr. Jun CaoMr. Seungho ChaDenise B. ChilcoteAlex ChunDr. Hihwan Chung and

Dr. Hyungjin Oh Yun ChungMs. Karen DavidsonMr. and Mrs. Allan Fainbarg Mr. Michael FarooqMaria GalantineDiane and Richard Garriott Wonseok HeoRichard and Anyi Liu HouseholdEileen JeanetteRobert KaminskiPhillip KimMr. Richard Kong

Mr. and Mrs. Chris Kroesen Mrs. Sung LeeCindy and Brian Leish Ms. Maggie LiangSally LiuSam Liu and Maggie Liang Philip LuMia MiyungVictor PerrinOrange County Bureau of Jewish

EducationBella StaavMs. Catherine SuHui TangPauline and William TangFaith and Aaron TaoLois and David TinglerJudy and David ThreshieMr. and Mrs. Bob Wilkoff Donald YangSharon YangSein Yun

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

from July 1, 2015 through August 31, 2016.

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


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