Carl St.Clair • conductor | Jon nakamatSu • pianoHuntington BeaCH ConCert Band

summer festival 2014aug. 30

i n t E r M i S S i o n

Tchaikovsky Spectacularthe concert begins at 8 p.m.

PACIFIC SYMPHONY’S SUMMER FESTIVAL 2014at VERIZON WIRELESS aMPHItHEatER

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P a C i f i C S y m P H o n y P r o u d l y r e C o g n i z e S i t S o f f i C i a l P a r t n e r S

Polonaise and Waltz from Eugene Onegin, tH 5pyotr ilyich tchaikovsky (1840-1893)

rhapsody on a theme of Paganini, op. 43Sergei rachmaninoff (1873-1943) Jon Nakamatsu

Pictures at an exhibitionModest Mussorgsky (1839-1881) / orch. by ravel promenade gnomus promenade the old castle promenade

tuileries Bydlo promenade Ballet of the chicks in their Shells Samuel goldenberg and Schmuyle Limoges catacombs cum mortuis in lingua mortua the Hut on Fowl’s Legs the great gate of Kiev

overture 1812, op. 49, tH 49pyotr ilyich tchaikovsky Huntington Beach Concert Band

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n o t E S by Michael Clive

rhapsody’s 24 variations before we hear a simple statement of the theme itself. rachmaninoff’s inventiveness tests listeners as well as instrumentalists: for many, the most beautiful variation is the swooningly romantic 18th. Hearing its seductive, singing line, we have to pay close attention to find its origins in paganini’s original theme.

as in several other rachmaninoff compositions including the brilliant Symphonic dances, the composer brings the traditional christian chant “dies irae,” or “day of rage,” into the rhapsody—first in variation 7, and later in variation 10 and in the rhapsody’s finale. Some analysts have called the dies irae rachmaninoff’s musical signature.

Pictures at an ExhibitionInstrumentation: 3 flutes (second and third doubling on piccolo), 3 oboes (third doubling on English horn), 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, 5 percussion, 2 harps, celesta, alto saxophone, strings Performance time: 35 minutes

Background

T he “Mighty Five” who emerged as founding fathers of the russian tradition in classical music had widely divergent composing styles, from the glittering, elegant craft of rimsky-

Korsakov to the boundless melodic richness of tchaikovsky. But they shared a reverence for the piano and for pianistic virtuosity. in his day and ours, Modest Mussorgsky’s reputation among these giants has been as the wild man of russian music, a composer of raw power who was heedless and unrefined in executing his ideas. But he shared his compatriots’ respect for the keyboard, and in Pictures at an Exhibition he created what is unquestionably one of the piano’s greatest solo works. the expressive power of this suite is such that it has been an irresistible subject for some of the greatest orchestral colorists in history—most notably Maurice ravel, whose full-orchestra arrangement of Pictures at an Exhibition is a famous example of brilliantly creative scoring.

Polonaise and Waltz from Eugene OneginPyotr IlyIch tchaIkovsky

Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, bass trombone, timpani, stringsPerformance time: 11 minutes

P artners need not be precisely matched to form a great marriage. Born in 1840, three years after pushkin’s death, tchaikovsky does not at first seem like the ideal composer to compose

operas based on pushkin’s long, brilliant verse narratives of russian life. But tchaikovsky was a devoted admirer of pushkin’s writing and carried a book of the poet’s verse wherever he went.

tchaikovsky was nothing if not passionate, and his operatic settings of the pushkin tales Eugene Onegin, Queen of Spades and Mazeppa surge with romantic ardor. pushkin’s ironic distance, his touches of humor and incisive social commentary are laid aside in favor of simplified, romantic plotlines—in this case between the young tatiana and the worldly poet Eugene onegin, who deflects her desperate crush on him. Years later, when she is married and presiding over a grand estate, the tables are turned, and she fights off onegin’s impassioned advances.

though pushkin’s cleverly observed social commentary is not directly addressed in the opera’s libretto, tchaikovsky’s incomparable dance music sketches it for us: in act ii, at a birthday party for the young tatiana, we hear the exuberant waltz, with its gorgeously contagious melody. the waltz’s irresistible rhythm makes us want to get up and dance, and it prompts onegin to flirt with tatiana and her sister olga. But by act iii, the once-impetuous tatiana has been transformed into a great lady of dignity and reserve, and she presides over a much stiffer polonaise during which such flirting would be totally out of place. though both dances are in triple rhythm, the polonaise has a much more formal time signature of six beats per measure that seems to communicate formal, elegant deportment and ramrod-straight posture. it reflects not only the grandeur of tatiana’s household, but also the rigidity of her bearing—foreshadowing her ultimate rejection of the man she still loves.

Rhapsody on a Theme of PaganiniInstrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, bass trombone, tuba, timpani, four percussion, harp, strings, solo pianoPerformance time: 22 minutes

T he word “rhapsody” in the title of a musical work can suggest an “anything-goes” approach to form. But Sergei rachmaninoff’s rhapsody on a theme of paganini is a

highly structured work that combines elements of a theme-and-variations and a concerto. composed during the summer of 1934 during a month of highly concentrated work, the rhapsody is one of rachmaninoff’s most popular works, requiring virtuoso playing from both the piano soloist and the full orchestra. its overall architecture presents a series of fast-paced variations at the beginning and the end framing a central group of slower variations, suggesting the traditional fast-slow-fast sequence of a concerto.

the rhapsody’s celebrated main theme, taken from paganini’s capriccio in a Minor, is not heard until after a brief introduction—another concerto-like feature. We actually hear the first of the

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n o t E Spassionate inspiration that gave us one of the great showpieces of the piano literature.

What to listen for

in form, Pictures is novel, even unique. Structurally, there is nothing in the classical repertory that resembles this suite, which is built as a series of musical paintings separated by promenades that combine to simulate the experience of walking through a gallery. the pictures on which it is based are mostly lost to history, but the surviving paintings by Hartmann seem rather academic and subdued compared to Mussorgsky’s music, which is full of bold dynamics and innovative harmonies. Experts who have analyzed both Mussorgsky’s score and Hartmann’s few surviving paintings suggest that the following program could serve as a loose “gallery guide” for Mussorgsky’s tour of Hartmann’s work. the movements of the suite alternate between musical evocations of the various paintings and “promenades” that take us from one gallery to the next.

Stylistically, there is an apparent disconnect between Hartmann’s surviving watercolor study of his architectural proposal for the heroes’ gate in Kiev—academic and conservative but significant as an expression of vernacular, non-European architectural style—with Mussorgsky’s monumental sounding and intensely emotional “great gate of Kiev,” which seems to celebrate an epic history in its notes. another contrast between source and score is in the comical musical depictions of scurrying unhatched chicks (their legs stick out from their eggs), based on static costume designs for a russian ballet. So the best way to enjoy the graphic suggestiveness of these aural pictures may be to start with the visual cues from tonight’s concert and let your imagination roam.

one further stylistic note cannot go unmentioned in a modern, Western program annotation of Pictures at an Exhibition, and that is the specter of anti-Semitism in the music. More than just a prevailing cultural attitude, anti-Semitism in the czarist russia of Mussorgsky was institutionalized, extreme and often violent. a number of Hartmann’s images were watercolor studies of Jews, and those that your annotator has seen in reproduction do not appear to be caricatures or hostile. But Mussorgsky’s routine use of anti-Semitic epithets in his correspondence is an established fact of music history, and the most telling evidence may be in Mussorgsky’s depictions of Hartmann’s subjects “Samuel goldenberg” and “Schmuele.” they seem to ridicule talmudic scholars by rendering them as a commonly held stereotype, bickerers engaged in a meaningless exegetical debate that dismisses the rest of the world’s values.

if this stereotype is in the notes of Pictures at an Exhibition, that is hardly its sole place in classical music. richard Strauss, for one, paints a very similar picture in his representation of five nattering Jews in his opera Salome—in the cast, they are numbered like Hollywood extras—but prevailing scholarly opinion has absolved Strauss of holding nazi sympathies. What you hear in Mussorgsky’s sound-portraits Samuel goldenberg and Schmuele, and in their overall impact on a great work of music, is ultimately a matter for your own ears, brain and heart.

Has this great arrangement come down to us as the result of a misperception? perhaps. the lack of orchestral polish that rimsky-Korsakov and others detected in Mussorgsky’s Pictures and in his other masterpiece—Boris Godunov, the supreme operatic expression of russian nationalism—has lately been reconsidered by music scholars. Where rimsky-Korsakov and others have heard a lack of refinement, russophiles now hear a raw emotionalism that reflects something deep in the russian soul. But as we thrill to the thundering climaxes we hear again and again in Pictures at an Exhibition and ponder the work of the composer who gave them to us, we can certainly understand rimsky-Korsakov’s point of view.

although the mysterious Mussorgsky seemed to shun formal conservatory studies, training as a composer primarily through personal association with other composers and self-teaching, he was well born and musically disciplined. if his compositions are moody and steeped in russian folk traditions, that description could fit almost any of his peers. Still, his voice is well-nigh unmistakable. Pictures at an Exhibition is a landmark example, popular as a virtuoso showpiece in both its original solo piano version and in many orchestral versions, especially the ravel orchestration we hear tonight.

Led by his passions and ardent, if mercurial, in his beliefs, Mussorgsky left a relatively small body of work, some of it remaining unfinished. all of it is marked by high drama, dark textures and boldly innovative harmonies. the exposed emotion and vividness of Mussorgsky’s expression suggests a visual component in almost everything he wrote—but most markedly in Pictures at an Exhibition, which was written both to create a musical evocation of a series of paintings and to memorialize the lost artist who painted them: Viktor Hartmann.

Mussorgsky had met and befriended Hartmann, a painter and architect, probably in 1870. Both were emerging artists; Hartmann, at 36, would have been five years older than Mussorgsky. only three years later Hartmann died of an aneurysm, an unexpected loss that shook the highly emotional Mussorgsky and the entire russian art world. Hartmann’s tragically early death and the retrospective exhibition that followed it so moved Mussorgsky that he wrote the piano score for Pictures at an Exhibition in about six weeks of

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n o t E SWhat to listen for

in contrast with tchaikovsky’s traditionally structured symphonies and chamber pieces, his 1812 overture and story-based symphonic poems such as “romeo and Juliet” and “Francesco da rimini” make deft use of leitmotifs—melodies or phrases that represent recurrent dramatic elements. in pioneering their use, the german composer richard Wagner, a contemporary of tchaikovsky’s, set the entire world of classical music on its ear. But Wagner’s operas seemed to inspire a cult of insiders while baffling outsiders, while tchaikovsky seemed easy and intuitive to just about everyone. that democratic style of musical storytelling may be one reason why american listeners have staked out the 1812 overture and made it our own.

as musical storytelling, the 1812 overture is so vivid that we can smell the gunpowder as it limns the progress of contending forces. the dynamics are full of exciting contrasts, building tension with long crescendos. Melodic themes entwine and shift balance as if battling for control. new elements introduce themselves softly as if they were distant, then grow louder as if drawing near.

as the overture opens, a plaintive choir of cellos and violas represents the people of russia in their homes and churches as the invasion and their suffering escalate. one critical element is the brass-borne strains of the French national anthem, “La Marseillaise,” which has the characteristic sound of the cavalry riding to the rescue. But remember, France represents the napoleonic menace; in other words, they are the bad guys. Victory comes when they are countered by louder strains of the russian anthem “god Save the czar.” and, of course, by the imperial army and its cannons—sixteen shots in all.

after the battling and the cannon fire, the initial hymn tune returns to the whole orchestra and triumphant church bells ring out. they remind us that it is not the army or the czar but the russian people who are the hero of the 1812 overture—as they are in Shostakovich’s Symphony no. 5 depicting the siege of Leningrad, and in Mussorgsky’s populist opera of czars and political intrigue, Boris Godunov. this idea—the common people as hero—is a democratic ideal that may be the closest link between america’s national culture and the historical origins of our beloved 1812 overture.

Michael Clive is a cultural reporter living in the Litchfield Hills of Connecticut. He is program annotator for Pacific Symphony and Louisiana Philharmonic, and editor-in-chief for The Santa Fe Opera.

1812 OvertureInstrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 coronets, 2 trumpets, 2 trombones, bass trombone, tuba, timpani, 5 percussion, stringsPerformance time: 13 minutes

Background

T he sound of national pride is pervasive throughout the 1812 overture the question is: pride in what nation? tchaikovsky was russian down to his bones, and music historians classify

him as one of the founders of russian nationalism in classical music. nothing about america or american history informed the composition of this work. Yet in towns across america, the 1812 overture is an indispensable part of the celebration of summer. We have come to feel not only that this music belongs to us, but that it is about us.

What makes this piece sound so american? it has a sound that america loves, distinctly brassy and martial, with narrative tension that builds to a thrillingly victorious climax. aural spectacle gets no more spectacular than this; it is surely the most popular piece of music ever scored for full orchestra with optional tubular bells, pipe organ and cannon.

From the popularly accepted title, many listeners wrongly assume that this dramatic overture commemorates something about the War of 1812—a conflict that is often overlooked or misunderstood in our national imagination. instead, the year in the title actually references napoleon’s catastrophic march toward Moscow and russia’s successful defense at the Battle of Borodino. as napoleon marched to consolidate his power in Europe during the opening years of the 19th century, his campaign called all the fundamentals of European politics and Enlightenment ideas into question. Half a century later, when tchaikovsky wrote music to celebrate the preservation of russian autonomy in the face of napoleon’s army, this history was still burning in the russian soul.

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by michael clivec a r L meet the music director

I n 2014-15, Music director carl St.clair celebrates his landmark 25th anniversary season with pacific Symphony, making him the longest tenured music director, still active, of any orchestra in the united States. St.clair’s lengthy history solidifies the strong relationship he

has forged with the musicians and the community. His continuing role also lends stability to the organization and continuity to his vision for the Symphony’s future. Few orchestras can claim such rapid artistic development as pacific Symphony—the largest orchestra formed in the united States in the last 40 years—due in large part to St.clair’s leadership.

during his tenure, St.clair has become widely recognized for his musically distinguished performances, his commitment to building outstanding educational programs and his innovative approaches to programming. among his creative endeavors are: the vocal initiative, “Symphonic Voices,” inaugurated in 2011-12 with the concert-opera production of La Bohème, followed by Tosca in 2012-13, La Traviata in 2013-14 and Carmen in 2014-15; the creation five years ago of a series of multimedia concerts featuring inventive formats called “Music unwound”; and the highly acclaimed american composers Festival, which celebrates its 15th anniversary in 2014-15 with a program of music by andré previn.

St.clair’s commitment to the development and performance of new works by composers is evident in the wealth of commissions and recordings by the Symphony. the 2014-15 season continues a recent slate of recordings that has included three newly released cds by today’s leading composers: richard danielpour’s Toward a Season of Peace, released in 2013-14, philip glass’ The Passion of Ramakrishna, and Michael daugherty’s Mount Rushmore and The Gospel According to Sister Aimee, both released in 2012-13. two more are due for release over the next few years, including William Bolcom’s Songs of Lorca and Prometheus and James newton Howard’s I Would Plant a Tree. St.clair has led the orchestra in other critically acclaimed albums including two piano concertos of Lukas Foss; danielpour’s An American Requiem and Elliot goldenthal’s Fire Water Paper: A Vietnam Oratorio with cellist Yo-Yo Ma. other composers commissioned by the Symphony include goldenthal in a world premiere in 2013-14, as well as earlier works by Bolcom, Zhou Long, tobias picker, Frank ticheli and chen Yi, curt cacioppo, Stephen Scott, Jim Self (pacific Symphony’s principal tubist) and christopher theofandis.

in 2006-07, St.clair led the orchestra’s historic move into its home in the renée and Henry Segerstrom concert Hall at Segerstrom center for the arts. the move came on the heels of the landmark 2005-06 season that included St.clair leading the Symphony on its first European tour—nine cities in three countries playing before capacity houses and receiving extraordinary responses and reviews.

From 2008 to 2010, St.clair was general music director for the Komische oper in Berlin, where he led successful new productions such as La Traviata (directed by Hans neuenfels). He also served as general music director and chief conductor of the german national theater and Staatskapelle (gntS) in Weimar, germany, where he led Wagner’s Ring Cycle to critical acclaim. He was the first non-European to hold his position at the gntS; the role also gave him the distinction of simultaneously leading one of the newest orchestras in america and one of the oldest in Europe.

in 2014, St.clair assumed the position as music director of the national Symphony orchestra in costa rica. His international career also has him conducting abroad several months a year, and he has appeared with orchestras throughout the world. He was the principal guest conductor of the radio Sinfonieorchester Stuttgart from 1998 to 2004, where he completed a three-year recording project of the Villa–Lobos symphonies. He has also appeared with orchestras in israel, Hong Kong, Japan, australia, new Zealand and South america, and summer festivals worldwide.

in north america, St.clair has led the Boston Symphony orchestra (where he served as assistant conductor for several years), new York philharmonic, philadelphia orchestra, Los angeles philharmonic and the San Francisco, Seattle, detroit, atlanta, Houston, indianapolis, Montreal, toronto and Vancouver symphonies, among many.

a strong advocate of music education for all ages, St.clair has been essential to the creation and implementation of the Symphony’s education programs including pacific Symphony Youth Ensembles, Sunday casual connections, oc can You play With us, arts-X-press and class act.

CARL ST.CLAIRWiLLiaM J. giLLESpiEMuSic dirEctor cHair

J o n meet the guest artists

“Jon Nakamatsu plays with the calm assurance that comes of having both a solid technique and a gentle, introspective, interpretive spirit.” —The New York Times

A merican pianist Jon nakamatsu continues to draw unanimous praise as a true aristocrat of the keyboard, whose playing combines elegance, clarity and electrifying power. a native of california, nakamatsu came to international attention in 1997 when he was named

gold Medalist of the 10th Van cliburn international piano competition, the only american to have achieved this distinction since 1981.

nakamatsu has performed widely in north america, Europe and the Far East, collaborating with such conductors as James conlon, Marek Janowski, raymond Leppard, Stanislaw Skrowaczewski, osmo Vänskä and Hans Vonk. He also performed at a White House concert hosted by president clinton and the First Lady.

nakamatsu’s extensive recital tours throughout the u.S. and Europe have featured appearances in new York’s carnegie Hall and Lincoln center, Washington d.c.’s Kennedy center, and in Boston, chicago, cincinnati, paris, London and Milan. He has worked with various chamber ensembles—among them the Brentano, tokyo, Kuss, Jupiter, cypress and Ying string quartets—and has toured repeatedly with the Berlin philharmonic Wind Quintet. together with clarinetist Jon Manasse, nakamatsu tours continually as a member of the Manasse/nakamatsu duo. the duo also serve as artistic directors of the esteemed cape cod chamber Music Festival in Massachusetts.

nakamatsu records exclusively for harmonia mundi uSa, which has released 12 cds to date. His recent all-gershwin recording with Jeff tyzik and the rochester philharmonic featuring Rhapsody in Blue and the concerto in F rose to number three on Billboard’s classical music charts, garnering extraordinary critical praise. other acclaimed releases include an all-Liszt disc featuring the dante Sonata; a recording of Brahms’ piano Sonata in F Minor; and rachmaninoff’s piano concerto no. 3 and Rhapsody on a Theme of Paganini. nakamatsu’s 2008 recording of Brahms’ clarinet Sonatas with Manasse was chosen by The New York Times as one of its top releases for the year. His latest disc with Manasse, released in august 2012, includes both the Brahms clarinet Quintet in B Minor and the piano Quintet in F Minor with the tokyo String Quartet.

nakamatsu studied privately with the late Marina derryberry from the age of 6, and has worked with Karl ulrich Schnabel, son of the great pianist artur Schnabel. He has also studied composition and orchestration with Leonard Stein of the Schoenberg institute at the university of Southern california, and pursued extensive studies in chamber music and musicology. nakamatsu is a graduate of Stanford university with a bachelor’s degree in german studies and a master’s degree in education.

Huntington Beach Concert Band

T he Huntington Beach concert Band has been performing for Southern california audiences for 40 years. Founded by John Mason in 1973, this non-profit volunteer community concert band is conducted by thomas ridley and provides concerts to the greater orange

county area throughout the year. the band’s purpose is to provide a creative opportunity for all musicians age 18 or older to share musical talents and bring enjoyment to others through public performance.

the band plays 12-15 concerts a year throughout orange county. this includes two concerts as part of the annual Sunday Summer concert Series. the band is proud to have organized and sponsored this series for many years, increasing the number of concerts from a low of four in 2004 to 11 since 2006. another highlight is playing a concert on the grass at Verizon Wireless amphitheater and then joining pacific Symphony on stage for the 1812 overture.

jON NAkAMATSUpiano

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M E E t the orchestra

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

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

ALEjANdRO gUTIéRREz • ASSISTANT CONDUCTORMary E. Moore Family Assistant Conductor Chair

NARONg PRANgCHAROEN • COMPOSER-IN-RESIdENCE

The musicians of Pacific Symphony are members of the American Federation of Musicians, Local 7.

FIRST VIOLINraymond Kobler Concertmaster, Eleanor and Michael Gordon

Chairpaul Manaster Associate ConcertmasterJeanne Skrocki Assistant Concertmasternancy coade Eldridgechristine FrankKimiyo takeyaayako Sugayaann Shiau tenneyMaia Jasperrobert Schumitzkyagnes gottschewskidana Freemangrace oh†Jean Kimangel LiuMarisa Sorajja

SECONd VIOLINBridget dolkas*Jessica guideri**Yen-ping LaiYu-tong Sharpako Kojianovsep KetendjianLinda owenphil LunaMarlaJoy Weisshaarrobin Sanduskyalice Miller-WrateShelly Shi

VIOLArobert Becker* Catherine and James Emmi

ChairMeredith crawford**carolyn rileyJohn acevedoErik rynearsonLuke MaurerJulia StaudhammerJoseph Wen-Xiang Zhangpamela Jacobsonadam neeleycheryl gatesMargaret Henken

CELLOtimothy Landauer*Kevin plunkett**John acostarobert VosLászló Mezöian McKinnellM. andrew HoneaWaldemar de almeidaJennifer gossrudolph Stein

BASSSteven Edelman*douglas Basye**christian Kollgaarddavid parmeterpaul Zibitsdavid Blackandrew Bumatayconstance deeter

FLUTEBenjamin Smolen* Valerie and Hans Imhof ChairSharon o’connorcynthia Ellis

PICCOLOcynthia Ellis

OBOEJessica pearlman* Suzanne R. Chonette Chair

ENgLISH HORNLelie resnick

CLARINETBenjamin Lulich* The Hanson Family

Foundation Chairdavid chang

BASS CLARINETJoshua ranz

BASSOONrose corrigan*Elliott Moreauandrew Kleinallen Savedoff

CONTRABASSOONallen Savedoff

FRENCH HORNKeith popejoy*Mark adamsJames taylor**russell dicey

TRUMPETBarry perkins*tony Ellisdavid Wailes

TROMBONEMichael Hoffman*david Stetson

BASS TROMBONEVacant

TUBAJames Self*

TIMPANItodd Miller*

PERCUSSIONrobert a. Slack*cliff Hulling

HARPMindy Ball*Michelle temple

PIANO•CELESTESandra Matthews*

PERSONNEL MANAgERpaul Zibits

LIBRARIANSrussell diceyBrent anderson

PROdUCTION STAgE MANAgERWill Hunter

ASSISTANT STAgE MANAgERWilliam pruett

* principal** assistant principal

† on Leave

celebrating , or years with pacific Symphony this season.

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F ishing around for that last olive, polishing off that last sip of chardonnay, settling in for some music under the stars—ahh, the great outdoors.

While you’re watching the summer sky fade away, however, remember that the great indoors is just around the corner. on Sept. 25, pacific Symphony launches its monumental 2014-15 concert season in the renée and Henry Segerstrom concert Hall, kicking off with violin superstar Joshua Bell performing one of his signature pieces, the glazunov Violin concerto.

Bell is just one of several internationally celebrated musicians who will be joining the symphony during the upcoming “Season of giants.” Yo-Yo

Ma, itzhak perlman, dawn upshaw, deborah Voigt, Barry douglas and andré previn are just a few of the classical music luminaries that will be taking center stage at Segerstrom concert Hall.

Even with the roster of virtuosos that have appeared with the Symphony over the decades, this season promises a wealth of musical riches. Why so many giants? Because they’re paying tribute to one of orange county’s giants, carl St.clair, marking his 25th year as the Symphony’s music director.

“i don’t need to be celebrated,” St.clair has said about the milestone. “i want to know that the values i possess and, in turn, the Symphony’s core values are being celebrated.” then again, the region’s classical music landscape is radically different today than it was in 1989 and looking back on where we were then, and where we are now, it’s hard not to place St.clair at the center of this musical renaissance. (of course, nearly everything has changed since then. there wasn’t even a World Wide Web. What were we doing with our time?).

those core values he holds dear—musical excellence, innovation, community engagement, education—are on full display throughout the season, as pacific Symphony presents a wide range of masterworks and musicians that have played key roles in shaping St.clair’s life.

For starters, you might want to put Jan. 29-31, 2015 on your calendar. that’s when St.clair, upshaw, and pianist Benjamin pasternack combine forces to pay homage to St.clair’s friend and mentor, the legendary Leonard Bernstein in an all-Bernstein program.

St.clair conducted the world premiere of Bernstein’s “arias and Barcarolles,” a work that makes an appearance on the program along with the “age of anxiety” symphony, the Candide overture, and upshaw performing vocal selections from West Side Story and Wonderful Town.

and while we’re on the topic of beautiful voices, pacific Symphony continues its wildly successful “Symphonic Voices” initiative, highlighted by mezzo Milena Kitić in the title role of a semi-staged production of Bizet’s Carmen (Feb. 19-24, 2015), and a visit by globe-trotting diva (and cSu Fullerton alumna) deborah Voigt singing

Brunhilde’s immolation scene from Wagner’s Götterdämmerung June 11-15, 2015.

three other long-running initiatives return in 2014-15: Music unwound, the american composers Festival and Sunday casual connections.

Music unwound concerts play with traditional notions of concert-going, adding non-traditional formats, thematic programming, multimedia and other extra-musical elements in an effort to place great works in context. the concerts honor the masterworks of the past, while ushering the concert experience into the 21st century. For these events (“For the Love of Bernstein,” “cathedrals of Sound” and “Fire and Water”), expect the unexpected, as always.

the american composers Festival (acF) has been a fixture on the Symphony’s calendar since 2000, expertly walking audiences across the vast, complex landscape of american music. Featuring in-depth explorations of composers and themes, the acF continues to broaden our awareness of america’s treasured musical heritage. in 2015, the acF spotlights the inimitable andré previn, composer, conductor, four-time oscar winner and 10-time grammy winner. previn himself joins the Symphony.

Sunday casual connections, hosted by St.clair, offers listeners the opportunity to get to know composers and their works in greater depth. conversation and illumination guide these Sunday afternoon performances, when audiences can take an intimate, detailed look at what makes great music.

other concerts of note include itzhak perlman performing the Beethoven Violin concerto on Jan. 11, 2015, Yo-Yo Ma in performance on May 5, 2015,

and pianist Barry douglas performing Beethoven’s mighty “Emperor” concerto May 7-9, 2015.

Finally, no season would be complete without the contemporary catalog brought to life by the Symphony’s long-time pops conductor richard Kaufman. the 2014-15 pops series brings together some of music’s best-known and best-loved artists, including Herb alpert and Lani Hall (June 4-6, 2015), a christmas concert with Sandi patty (dec. 18-20) and the chieftains (March 19-21, 2015).

all, of course, within the context of St.clair’s quarter-century as pacific Symphony’s music director. Summer may wind down, but a musical feast still waits for you after the picnic basket is put away.

Peter Lefevre writes about music for the orange county register, opera news and the Chicago Symphony Orchestra.

Joshua Bell

itzhak perlman

Yo-Yo Ma