Season Sponsors and Presenting Sponsors, Education ProgramsPhillip N. and Mary A. Lyons

Major Concert SponsorWilliam J. Gillespie

Concert support provided by:Karl and Marilyn ForsstromThe Great 8:

Anonymous (2)Craig KistlerYoung MacKeandChikayo RatteeBob RifeMeri Rogoff Janice Strength

Tom and Anne HenleyJeanette MoonLorie Reed

Peter Hallock (1924–2014)I Will Sing Unto the Lord (The Song of Moses) (1989)

Eugène Gigout (1844–1925) | Arr. Michael AllenGrand Chœur Dialogué from Six Pièces d’Orgue (1881)

Anton Bruckner (1824–1896)Ecce sacerdos magnus, WAB 13 (1885)

Aharon Harlap (b. 1941)Bat Yiftach (Jephthah’s Daughter) (1980)

Mack Wilberg (b. 1955)Jubilate Deo from Tres Cantus Laudendi (1990)

T W O W A L T W H I T M A N S E T T I N G S

René Clausen (b. 1953)The Last Invocation from Three Whitman Settings (1992)

Gustav Holst (1874–1934)Dirge for Two Veterans (1914)

Craig Phillips (b. 1961)Toccata from Suite for Organ, Brass and Percussion (2001)

Norman Dello Joio (1913–2008)To Saint Cecilia (1958)

T W O F O L K S O N G S E T T I N G S

American Folk Song | Arr. James ErbShenandoah

Percy Grainger (1882-1961)I’m Seventeen Come Sunday (1912)Official hotel of Pacific Chorale:

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presents

PIPES: VOICES, BRASS & ORGANSunday, November 2, 2014 at 5:30 p.m.

Pacific ChoraleJung-A Lee, organ

Members of Pacific SymphonyCarl St.Clair, music director

John Alexander, conducting

Community Partners:

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TEXTS & TRANSLATIONSHallock: I Will Sing Unto the LordText after Exodus 15

I will sing unto the Lord.The Lord is a mighty warrior,The chariots of Pharoah has he hurled into the sea.The horse and the rider has he thrown into the seas.Who can be compared with you, O Lord?Who is like you, awesome in your holiness?With your constant love you have redeemed your people.You will bring them to your dwelling, O Lord,That holy place, your sanctuaryThat your right hand has prepared.The Lord has risen up in triumph,The Lord is my strength and my refuge.The Lord has become my Savior.Alleluia!

Ecce sacerdos magnus,qui in diebus suis placuit Deo.Ideo jurejurando fecit illum

Dominuscrescere in plebem suam.Benedictionem omnium gentium

dedit illi,et testamentum suum confirmavitsuper caput ejus.

Gloria Patri et Filio, et Spiritui Sancto,sicut erat in principio,et nunc et semper,et in saecula saeculorum. Amen.

Behold a great priest,who in his days pleased God.Therefore by an oath the Lord

made himto increase among his people.He gave him the blessing of all

nations,and confirmed his covenant upon his head.

Glory be to the Father, and the Son, and to the Holy Spirit,as it was in the beginning,is now, and ever shall be,world without end. Amen.

Bruchner: Ecce Sacerdos MagnusText after Ecclesiasticus 44

Harlap: Bat YiftachText after Judges 11:29-39 (English translation by Dr. David H. Stern from the Complete Jewish Bible, 1998)

Then the spirit of ADONAI came upon Yiftach; and he passed through Gil‘ad and M’nasheh, on through Mitzpeh of Gil‘ad, and from there over to the people of ‘Amon. Yiftach made a vow to ADONAI: “If you will hand the people of ‘Amon over to me, then whatever comes out the doors of my house to meet me when I return in peace from the people of ‘Amon will belong to ADONAI; I will sacrifice it as a burnt offering.” So Yiftach crossed over to fight the people of ‘Amon, and ADONAI handed them over to him. He killed them from ‘Aro‘er until you reach Minnit, twenty cities, all the way to Avel-K’ramim; it was a massacre. So the people of ‘Amon were defeated before the people of Isra’el.

As Yiftach was returning to his house in Mitzpah, his daughter came dancing out to meet him with tambourines. She was his only child; he had no other son or daughter. When he saw her, he tore his clothes and said, “Oh, no, my daughter! You’re breaking my heart! Why must you be the cause of such pain to me? I made a vow to ADONAI, and I can’t go back on my word.”

She said to him, “Father, you made a vow to ADONAI; so do whatever you said you would do to me; because ADONAI did take vengeance on your enemies the people of ‘Amon.” Then she said to her father, “Just do this one thing for me—let me be alone for two months. I’ll go away into the mountains with my friends and mourn, because I will die without getting married.”

“You may go,” he answered, and he sent her away for two months. She left, she and her friends, and mourned in the mountains that she would die unmarried. After two months she returned to her father, and he did with her what he had vowed; she had remained a virgin.

Jubilate Deo, omnis terra;

servite Domino in laetitia.Introite in conspectu ejus in

exultatione.Scitote quoniam Dominus ipse

est Deus;ipse fecit nos, et non ipsi nos;

populus ejus, et oves pascuae ejus.

Introite portas ejus in confessione,

atria ejus hymnis; confitemini illi.

Laudate nomen ejus.

Sing joyfully to God, all the earth;

serve the Lord with gladness.Enter into his presence with

great joy.Know that the Lord alone is

God;he has made us, and not we

ourselves;we are his people, and the

sheep of his pasture.Enter into his gates with

thanksgiving,and into his courts with praise;

give thanks to him.Praise his name.

Wilberg: Jubilate DeoText after Psalm 100:1–4

Clausen: The Last InvocationText by Walt Whitman (1819–1892), from Leaves of Grass (1872 ed.)

At the last, tenderly, From the walls of the powerful, fortress’d house,From the clasp of the knitted locks—from the keep of the

well-closed doors,Let me be wafted.

Let me glide forth noiselessly;With the key of softness unlock the locks—with a whisper,Set ope the doors, O Soul!

Tenderly! be not impatient!(Strong is your hold, O mortal flesh!Strong is your hold, O love.)

Holst: A Dirge for Two VeteransText by Walt Whitman (1819–1892), from Leaves of Grass (1867 ed.)

The last sunbeamLightly falls from the finish’d Sabbath,On the pavement here—and there beyond, it is looking, Down a new-made double grave.

Lo! the moon ascending!Up from the east, the silvery round moon;Beautiful over the house-tops, ghastly, phantom moon; Immense and silent moon.

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I see a sad procession,And I hear the sound of coming full-key’d bugles;All the channels of the city streets they’re flooding, As with voices and with tears.

I hear the great drums pounding,And the small drums steady whirring;And every blow of the great convulsive drums, Strikes me through and through.

For the son is brought with the father;(In the foremost ranks of the fierce assault they fell;Two veterans, son and father, dropt together, And the double grave awaits them.)

Now nearer blow the bugles,And the drums strike more convulsive;And the day-light o’er the pavement quite has faded, And the strong dead-march enwraps me.

In the eastern sky up-buoying,The sorrowful vast phantom moves illumin’d;(‘T is some mother’s large, transparent face, In heaven brighter growing.)

O strong dead-march, you please me!O moon immense, with your silvery face you soothe me!O my soldiers twain! O my veterans, passing to burial! What I have I also give you.

The moon gives you light,And the bugles and the drums give you music;And my heart, O my soldiers, my veterans, My heart gives you love.

Dello Joio: To Saint CeciliaText by John Dryden (1631–1700), adapted by the composer

From harmony this universal frame began:When Nature underneath a heap Of jarring atoms lay,And could not heave her head.

The Voice of Thunder was heard on high,“Arise, arise ye more than dead.”Then cold, and hot, and moist, and dry,The elements, they heard from high:And to their stations leap,And Music’s power obey.

From heavenly harmony this universal frame began:From harmony to harmony.Through all the compass of notes it ran,The diapason closing full in Man.

What passion cannot Music raise or quell!When Jubal struck the corded shell,His list’ning brethren stood around,And, wond’ring, on their faces fell, To worship that celestial sound. Less than a god they thought there could not dwellWithin the hollow of that shell

That spoke so sweetly and so well.What passion cannot Music raise or quell!

The Trumpet’s loud clangorExcites us to arms,With shrill notes of angerAnd mortal alarms.

Trumpets proclaim from the depths of painIn desperation, in indignation:The Violins proclaim their jealous pangsFor the fair, disdainful dame.

But, oh! What art can teach,What human voice can reachThe sacred Organ’s praise?Its sacred praise inspiring holy love,Notes that wing their heavenly waysTo mend the choirs above.

Orpheus could lead the savage race,And trees uprooted left their place,But bright Cecilia raised the wonder higher:When to her Organ vocal breath was given,An angel heard and straight appeared,Mistaking earth for heaven.

As from the power of sacred laysThe spheres began to move,And sung the great Creator’s praiseTo all the blest above;So, when the last and dreadful hourThis crumbling pageant shall devour,The Trumpet shall be heard on high,The dead shall live, the living die,And Music shall untune the sky.

Erb: ShenandoahText Traditional

O Shenando’, I long to see you,And hear your rolling river,O Shenando’, I long to see you,‘Way, we’re bound away, Across the wide Missouri.

I long to see your smiling valley,And hear your rolling river,I long to see your smiling valley,‘Way, we’re bound away, Across the wide Missouri.

‘Tis sev’n long years since last I see you,And hear your rolling river,‘Tis sev’n long years since last I see you,‘Way, we’re bound away, Across the wide Missouri.

O Shenando’, I long to see you,And hear your rolling river,O Shenando’, I long to see you,‘Way, we’re bound away, Across the wide Missouri.

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Grainger: I’m Seventeen Come SundayText Traditional

As I rose up one May morning, one May morning so early, I overtook a pretty fair maid just as the day was a-dawning.

Refrain: With me rue-rum-ray, fo-ther-diddle-ay, Whack-fol-lare-diddle-I-doh.

Her stockin’s white, and her boots were bright, and her buckling shone like silver,

She had a dark and a rolling eye, and her hair hung round her shoulder.

“Where are you going, my pretty fair maid? Where are you going, my honey?”

She answered me right cheerfully, “I’m an errand for me mummy.”

“How old are you, my pretty fair maid? How old are you, my honey?”

She answered me right cheerfully, “I am seventeen come Sunday.”

“Will you take a man, my pretty fair maid? Will you take a man, my honey?”

She answered me right cheerfully, “I dar’st not for me mummy.”

“Will you come down to my mummy’s house, when the moon shone bright and clearly.

You’ll come down, I’ll let you in, and my mummy shall not hear me.”

“O it’s now I’m with my soldier lad, his ways they are so winnin’; It’s drum and fife is my delight, and a pint o’ rum in the mornin’.”

TEXTS & PROGRAM NOTES

The world of music owes a great debt of thanks to the amazing acoustic properties of the lowly pipe. In fact,

our entire assortment of wind instruments, from the voice to the trumpet to the organ, produces sound from air blown into, through, or across a pipe of one sort or another. Tonight we salute the pipes of music with works for voices, organ, and brass in a delightful variety of combinations.

For his anthem entitled “I Will Sing unto the Lord” American composer Peter Hallock (1924–2014) chose four excerpts from Exodus 15, which he set vividly for seven-part chorus, soprano and tenor soloists, solo french horn, brass ensemble, and organ. The nine voice parts begin with the title text, singing independent lines that shimmer to a climax and then echo away, supported by drone-like organ chords that suggest the eternal Divine. Regal dotted figures and military, fanfare-like scales in the organ then introduce the choir’s praise of God as a “mighty warrior.” A peaceful contemplation follows, setting the stage for an exultant Old Testament declaration

of what was to become the essence of the New Testament: “The Lord is risen up in triumph, the Lord is my strength and my refuge, the Lord has become my Savior. Alleluia.” Hallock could have ended with a bang right here, but he chose instead, as he did often, to turn inward, harking back to the serene words and music with which he began.

Eugène Gigout (1844–1925) came from the second generation of great French organist-composers of the nineteenth century. He studied with Camille Saint-Saëns, was himself a teacher of Gabriel Fauré, and served as organist at the church of St. Augustin in Paris for 62 years. In his stately “Grand chœur dialogué” (Great chorus in the form of a dialogue) from his first major publication, the Six Pieces for Organ of 1881, the music is constructed by alternating two contrasting registrations (“choruses”) of the organ, the first of which repeats, varies, or responds to the music of the second. Our performance is of an arrangement by Michael Allen in which a brass septet takes the role of the second

chorus, and the organ that of the first.

Anton Bruckner’s “Ecce sacerdos magnus” (Behold a great priest) is a sacred motet for the Roman Catholic ordination celebration, a setting of the words that are intoned during the procession of the bishop. It is also an embodiment of a duality that perplexed the artistic life of its composer.

A devout Roman Catholic, Bruckner (1824–1896) aspired to serve God through his sacred music. He made this explicit by inscribing this very score with the words “All things for the greater glory of God,” just as J.S. Bach had done in his own sacred works. But Bruckner also felt called to compose in his own style, the grandeur and expressive extremes of which were considered too worldly for the Catholic liturgy. This dichotomy made for thrilling church music—and bewildered clergy. Perhaps the latter explains why this work, commissioned in 1885, appears not to have been performed at all until nearly forty years later.

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PROGRAM NOTES

The very first chord resounds at triple forte as the chorus and organ proclaim the text in majestic dotted rhythms. Bruckner pushes a second statement a step higher and adds three trombones at full volume, then sets a third iteration yet higher and comes to a crashing climax. All of this in nine measures.

For the twelve bars that follow (“who in his days pleased God”) Bruckner turns—seemingly in penance for the transgression just committed—to the reserved, imitative polyphony of the Renaissance, a style favored by the church. But after just seven measures of restraint he can’t help himself and builds to another climax. Such intensity predominates until the closing doxology, which is sung in quiet, unison chant. On this gentle note the liturgical text ends, but not Bruckner, who out of the blue presents for a third (and liturgically improper) time the electrifying music previously heard to the words “Therefore by an oath the Lord made him to increase.”

Israeli composer Aharon Harlap’s “Bat Yiftach” (Jephtha’s daughter) relates the heartbreaking story of a child’s payment for her father’s hubris. The eleventh chapter of Judges tells of Jephtha, “a mighty man of valor,” who offers to sacrifice whatever comes forth from the doors of his house on his return home—if God will grant him victory in battle. When the time comes, his only child, a daughter, dances out to greet him. In Harlap’s searing setting, the four-part chorus provides the narration while a baritone soloist takes the part of Jephtha and a soprano soloist the part of his daughter. The french horn, an instrument traditionally associated with destiny, introduces and concludes the work, and throughout contributes its own autonomous and haunting voice.

Mack Wilberg’s “Jubilate Deo” (Make a joyful noise unto the Lord) constitutes four and a half minutes of uninterrupted celebration, in which the chorus and brass ensemble dance nimbly to delightfully inconstant rhythms. Wilberg lets up on the gas in the introspective third verse (Know ye that the Lord he is God . . . .), giving him the opportunity to build toward the ebullient fourth verse (Enter into his gates with thanksgiving . . . .) and a closing return to the spirited words and music of the beginning.

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The words of the American poet Walt Whitman (1819–1892) provide the texts for our next two works, René Clausen’s “The Last Invocation” and “Dirge for Two Veterans” by Gustav Holst. Both poems first appeared in the fifth edition (1871–72) of Whitman’s Leaves of Grass, a collection that he had printed with his own money in 1855 and saw through eight editions that swelled from twelve poems to more than 400 over the following 37 years.

“The Last Invocation” is a gentle prayer for death to release the spirit. The end will come, but in its own time (“tenderly—be not impatient“), for mortal flesh and love do not easily loosen their holds on the soul. One might imagine a mortally wounded soldier dreaming these thoughts as he awaits—perhaps yearns for—the inevitable.

The “Dirge for Two Veterans” was printed in Leaves of Grass as no. 22 of a group entitled “Drum Taps,” 32 poems occasioned by the bloodbath of the Civil War, which gave birth to dozens of Whitman’s most personal and touching verses. Gustav Holst composed his musical setting for male voices and brass in 1914, at the beginning of the Great War, which was to dwarf the Civil War in its carnage. His military-style brass band is much more than an accompaniment; it leads the funeral procession, underlines the reminiscence of futile battles, and provides a conclusion of exquisite tenderness.

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The “Toccata” of Craig Phillips, the final movement from his Suite for Organ, Brass Quintet, and Percussion from 2001, shares some attributes with Gigout’s “Dialogue,” including their performing forces and majestic character. But while the two performing groups in the “Dialogue” exchange similar “blocks” of music, the organ in the “Toccata” is largely independent and serves as a foundation for the brass choir rather than emulating it. The name of the composition derives from the way the organ part is written. The earliest toccatas, from the seventeenth century, were written to resemble improvisations, with a profusion of passagework and rhythmic figuration. Phillips follows this model, but with occasional pauses to engage in motivic dialogue with the brass. While the brass choir is integral to the composition, the spotlight here is really on the organist, who is called on to play

virtuosically throughout.

John Dryden’s 1687 poem entitled “A Song for St. Cecilia’s Day” provides the basis for Norman Dello Joio’s expansive “To Saint Cecilia,” a hymn in praise of music for chorus and brass ensemble. The length of Dryden’s seven stanzas and concluding ”Grand Chorus” have led some composers to abbreviate the poem, but Dello Joio preserves nearly all of it, giving him the opportunity for many splendid contrasts. The brass is always an independent partner of the voices, absent only during the most delicate passages.

The end of the Civil War marked the beginning of the great westward migration; millions of pioneers in search of riches or simply a new life set out in endless wagon trains, pushing the frontier ever closer to the Pacific. With them they took precious few belongings, but many memories of the land they loved and left behind. “Shenandoah,” the words of a wistful Virginia settler transplanted west of the Missouri River, is an expression of his homesickness. It is also one of the greatest American songs, and James Erb’s arrangement stands as one of the most unforgettable folksong arrangements in the repertoire.

Like his friend Ralph Vaughan Williams, Percy Grainger (1882–1961) spent some of his musical youth on the road, collecting English folk music. Many of the pieces he transcribed served later as the basis for his own arrangements.

On March 9, 1905, during one of his folksong expeditions, Grainger heard Mr. Fred Atkinson, of Redbourne, Kirton, Lindsey, Lincolnshire, sing “I’m Seventeen Come Sunday,” a tale of boy meets, flirts with, propositions, beds, and weds girl. (Grainger, a child of the Victorian era, felt it decorous to omit the “beds” verse.) The robustness of the tale and its tune apparently struck his fancy, as he set himself to arranging it, finishing at Christmas.

Grainger had no use for an anemic “historical” arrangement. A veteran wind-band player, he composed his version for a six-part chorus accompanied by brass band. Especially stirring is his boisterous conclusion, with the final verse treated as a lusty, latter-day madrigal.

by Dr. Gordon Paine

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ABOUT THE ARTISTS

Jung-A Lee has performed in Europe, North America, and Asia as an organist, pianist, and conductor. She currently works as an organist at St. Andrew’s Presbyterian Church in Newport Beach, and an adjunct professor at Vanguard University. In addition, she frequently plays for the choirs of the University of California, Irvine, as a collaborative pianist. In 2009 she founded Music Mission International in order to promote organ music. She is the chairman of the nonprofit organization with thirteen board members.

Lee gives about seventy concerts throughout the year as a concert organist and collaborative pianist. Most recently she made organ concert tours in France, Italy, and Nigeria. Lee gave solo organ recitals in many venues including the Cadet Chapel at United States Military Academy in West Point, New York; Woolsey Hall at Yale University; The Memorial Church and Rudolph Busch Hall at Harvard University; Methuen Music Hall in Massachusetts; Grace Cathedral in San Francisco; Segerstrom Hall in

Costa Mesa; the Crystal Cathedral in Garden Grove; the Cathedral of Our Lady of the Angels in Los Angeles; First Congregational Church in Los Angeles; and several churches in France, Germany, Italy, and South Korea.

This summer she toured with the UCI choirs in Slovakia and Hungary. Lee has also played for major performances of Pacific Chorale and Pacific Symphony under the direction of Maestro John Alexander in Segerstrom Hall, Costa Mesa, California for the last several years. In 2010 she played for the performances of Men in Blaque from UC Irvine in Shaoxing, China as part of the Choral Olympics. In the same year she played the organ at Lincoln Center in New York City for the Vanguard University and St. Andrew’s Presbyterian Church choirs. In 2008 she played for the UCI choirs in the International Choral Competition in Wales, United Kingdom, which was televised. In 2007 she also conducted the UCI choirs at St. Paul’s Cathedral, London.

She completed a doctor of musical arts degree in organ performance from Boston University. Her dissertation was on Peter Eben’s (1929-2007) chamber music. In Boston, Lee served as an organ scholar of The Memorial Church, Harvard University from 2001 to 2003. She earned her master of music degree in organ performance from Yale University with a full scholarship and worked as a collaborative pianist for the Opera School at Yale. While studying there she received many prizes including the Charles Ives Prize. From 1996 to 1997 she studied at Humboldt University and Kirchenmusikschule in Berlin as an exchange student. Lee finished her bachelor of music degree in organ performance from the

University of Toronto. While studying in Toronto, she served as an organist at Timothy Eaton Memorial Church. She also holds a London Trinity College Licentiate Diploma in piano performance.

Her teachers include James David Christie, Thomas Murray, Martin Jean, Gerre Hancock, John Tuttle, Karl Hochreither, Michael Bloss, and William Wright. Lee also participated in master classes with Olivier Latry, Marilyn Keiser, and Susan Landale. She worked with fine conductors including Christopher Hogwood, Doreen Rao, Murray Somerville, and Chai-Hoon Park. Lee can be heard as organist on Rorem: Works for Choir and Organ, Harvard University Choir CD on Black Box label (catalog number 1102), on the recordings of Men in Blaque of UC Irvine, and the recordings of the Concert Choir of Vanguard University. Her first DVD of Music Mission International, Beauty in the Wind, was released in 2010. Several pieces from the DVD were broadcast on the radio program Pipedreams hosted by Michael Barone (pipereams.publicradio.org). In 2012 her CD Precious Lord was released, which includes numerous hymn arrangements and features guests David Washburn (trumpet), Valerie Geller (violin), and Lori Loftus (piano). In 2013 she was featured at KUSC 91.5 FM, South Carolina ETV, and Kookdong Korean Christian Radio. This fall her 90-minute solo organ recital will be broadcast at KVPR 89.3 FM. In addition, she also has a CD project which will be recorded in 2015.

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ABOUT THE ARTISTIC DIRECTORPhillip N. & Mary A. Lyons Artistic Director Chair

Artistic Director of Pacific Chorale since 1972, John Alexander is one

of America’s most respected choral conductors. His inspired leadership both on the podium and as an advocate for the advancement of the choral art has garnered national and international admiration and acclaim.

Alexander’s long and distinguished career has encompassed conducting hundreds of choral and orchestral per-formances nationally and in 27 countries around the globe. He has conducted his singers with orchestras throughout Europe, Asia, the former Soviet Union and South America and, closer to home, with Pacific Symphony, Pasadena Symphony, Musica Angelica and the Los Angeles Chamber Orchestra. Equally versatile whether on the podium or behind the scenes, Alexander has pre-pared choruses for many of the world’s most outstanding orchestral conductors, including Zubin Mehta, Pierre Boulez, Seiji Ozawa, Michael Tilson Thomas, Leonard Slatkin, Esa-Pekka Salonen, Gustavo Dudamel, Lukas Foss, Max Rudolf, Carl St.Clair, Gerard Schwarz, Marin Alsop, John Mauceri, John Williams, and Keith Lockhart.

A proponent of contemporary American music, Alexander is noted for the strong representation of American works and composers in his programming. He has conducted many premieres of works by composers such as Jake Heggie, Morten Lauridsen, Eric Whitacre, Frank Ticheli, and James Hopkins.

Alexander is nationally recognized for his leadership in the musical and organi-zational development of the performing arts. He is a board member and former president of Chorus America, the ser-vice organization for choruses in North America. Alexander also has served on artistic review panels for national, state-wide and local arts organizations, includ-ing the National Endowment for the Arts, the California Arts Council, and the Los Angeles County Arts Commission.

Alexander retired in spring 2006 from his position as Director of Choral Studies at California State University, Fullerton, hav-ing been awarded the honor of Professor Emeritus. From 1970 to 1996, he held the position of Director of Choral Studies at California State University, Northridge. Alexander continues his involvement in the pre-professional training of choral conductors. He is in demand as a teach-er, clinician, and adjudicator in festivals,

seminars and workshops across the United States. In 2003, Chorus America honored him with the establishment of the “John Alexander Conducting Faculty Chair” for their national conducting work-shops.

Alexander is a composer of many works and serves as the editor of the John Alexander Choral Series with Hinshaw Music, as well as the John Alexander Singers Choral Series with Pavane Publishing. His numerous tributes and awards include the “Michael Korn Founders Award for Development of the Professional Choral Art” from Chorus America (2008); The “Distinguished Faculty Member” award from California State University, Fullerton (2006); the Helena Modjeska Cultural Legacy Award (2003), presented in honor of his lifetime achievement as an artistic visionary in the development of the arts in Orange County; the “Outstanding Individual Artist” Award (2000) from Arts Orange County; the “Gershwin Award” (1990), presented by the county of Los Angeles in recognition of his cultural leader-ship in that city; and the “Outstanding Professor” Award (1976) from California State University, Northridge.

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ABOUT PACIFIC CHORALE

Founded in 1968, Pacific Chorale is internationally recognized for exceptional artistic expression,

stimulating American-focused programming, and influential education programs. Pacific Chorale presents a substantial performance season of its own at Segerstrom Center for the Arts in Orange County, California, and is sought regularly to perform with the nation’s leading symphonies. Under the inspired guidance of Artistic Director John Alexander, Pacific Chorale has infused an Old World art form with California’s hallmark innovation and cultural independence, developing innovative new concepts in programming, and expanding the traditional concepts of choral repertoire and performance.

Pacific Chorale is comprised of 140 professional and volunteer singers. In addition to its long-standing partnership with Pacific Symphony, the Chorale has performed with such renowned American ensembles as the Los Angeles Philharmonic, the Boston Symphony, the National Symphony, San Diego Symphony, Los Angeles Chamber Orchestra, Philharmonia Baroque Orchestra, and Musica Angelica. Other noted collaborations within the Southern California community include the Hollywood Bowl Orchestra, Long Beach Symphony, Pasadena Symphony, and Riverside Symphony. John Alexander and the Chorale have toured extensively in Europe, South America and Asia, performing in London, Paris, Belgium, Germany, Estonia, Russia, Spain, Brazil, Argentina, Shanghai, Guangzhou, Beijing and Hong Kong, and collaborating with the London Symphony, the Munich Symphony, L’Orchestre Lamoureux and L’Orchestre de St-Louis-en-l’Île of Paris, the National Orchestra of Belgium, the China National Symphony, the Hong Kong Sinfonietta, the Estonian National Symphony, and the Orquesta Sinfonica Nacional of Argentina.

Pacific Chorale’s chamber choir, the John Alexander Singers, is a fully professional vocal ensemble of 24 singers recognized for their musical excellence across a broad range of musical periods and styles. The John Alexander Singers perform regularly in concert venues throughout Southern California. In addition to extensive collaborations with Musica Angelica, Southern California’s premier period instrument orchestra, the John Alexander Singers have performed with the Kronos Quartet, Mark Morris Dance Company, The Royal Ballet of London, the Los Angeles Chamber Orchestra, Philharmonia Baroque Orchestra, and Pacific Symphony, and on the Los Angeles Philharmonic’s “Green Umbrella” new music series. In 2012, the John Alexander Singers presented the Paris premiere of David Lang’s Pulitzer Prize-winning The Little Match Girl Passion. In 2014, the group presented the world premiere of Jake Heggie’s choral opera The Radio Hour, which has been recorded for future release on the Delos label.

Education programs are central to Pacific Chorale’s vision of enriching and educating the community. Toward this aim, Pacific Chorale has produced innovative educational initiatives that have opened the door to the art of choral music and the magic of the creative process for thousands of students and adults annually, including: a Choral Academy for elementary school students modeled on the El Sistema movement; a Choral Camp presented in association with California State University, Fullerton providing high school students with training in music theory and vocal production; a Choral Festival uniting 400 community members each summer in a free community performance; a Youth Honor Choir which performs in collaboration with the Pacific Symphony Youth Orchestra; affordable, accessible Musicianship Classes for community

singers; Intro to the Arts and Passage to the Arts, partnerships with local social service organizations and high school choral directors that allow students, at-risk youth, and low-income families to attend Pacific Chorale performances free of charge; a Young Composers Competition; Concert Previews that provide deeper insight into the repertoire that Pacific Chorale performs; and the Elliot and Kathleen Alexander Memorial Scholarship, awarded annually to an outstanding choral conducting student at California State University, Fullerton.

Pacific Chorale has received numerous awards from Chorus America, the service organization for North American choral groups, including the prestigious “Margaret Hillis Achievement Award for Choral Excellence,” the first national “Educational Outreach Award,” and the 2005 ASCAP Chorus America Alice Parker Award for adventurous programming.

The Chorale’s outstanding performances can be heard on ten CDs, including Nocturne, a collection of American a cappella works conducted by John Alexander; Songs of Eternity by James F. Hopkins and Voices by Stephen Paulus, conducted by John Alexander and featuring Pacific Symphony; a holiday recording, Christmas Time Is Here, released on the Gothic Records label; a live concert recording of Sergei Rachmaninov’s Vespers; the world premiere recording of Frank Ticheli’s The Shore for chorus and orchestra; and five recordings released by Pacific Symphony, including Elliot Goldenthal’s Fire, Water, Paper: A Vietnam Oratorio, Richard Danielpour’s An American Requiem, Philip Glass’s The Passion of Ramakrishna, Michael Daugherty’s Mount Rushmore, and Richard Danielpour’s Toward a Season of Peace, all conducted by Carl St.Clair.

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SOPRANOKaren F. HendersonSusan JacobsSinae KangKathy KersteinKellee KingBarbara KingsburyRandi LarsenSusan LindleyMary A. LyonsYoung MacKeandRita MajorMegan Malone-FranklinJennifer ManciniLenora MeisterDonna MorseMaria Cristina NavarroHien NguyenKris Oca *Deborah PasarowMelanie PedroKathryn PittsChikayo Rattee *Meri RogoffSandy RosalesMia Noriega SearightJanice StrengthSarah ThompsonRebecca TomaskoAllison TylerRuthanne WalkerAnne WebsterLinda Wells-SholikAndrea Zomorodian

ALTONancy BeachJudie BertolinoMary BreuerJanelle BurrisJulie CampenTina ChenKathryn Cobb-Woll*Sister Paulette DetersHarriet Edwards*Tiffany FernandezMarilyn ForsstromMary GallowayKathryn GibsonLaura HarrisonAnne HenleyNancy LanpherKaii LeeChelsea LyonsJeanette MoonMichele M. Mulidor *Pat NewtonKathleen PrestonBonnie PridonoffLoraine Reed *Kelly SelfJane ShepherdJane ShimJennifer WallaceMartha WetzelAngel Yu

TENORDaniel Coy Babcock, Roger

W. Johnson Memorial ChairCarl Porter, Singers Memorial

Chair *Brenton AlmondMichael AndrewsSheridan BallMichael Ben-YehudaCraig DavisPhil EnnsMarius EvangelistaJason FranciscoVincent HansJose Luis HernandezSteven M. HoffmanRichard HuppCraig S. Kistler *Jeffrey LeeChristopher LindleyDavid LopezGerald McMillanJeff MorrisAaron MosleyAaron PalmerNicholas PrestonGabriel RatinoffDavid RigsbySean SacloloKevin St. ClairJohn St. MarieGregorio TaniguchiFaulkner White

BASSKarl Forsstrom, Singers

Memorial ChairJim AndersonRyan AntalAram BarsamianMac BrightJames DunningLarry GatesPeter HahnMark HamiltonTom HenleyMichael JacobsMatthew KellawayJonathan KraussKevin LongRicardo McKillipsTom MenaMartin MinnichEmmanuel MirandaPhilip NashSeth PeelleCarl PikeRyan Ratcliff *George ReissRobert RifeThomas RinglandPaul RojoEric SoholtDavid StankeyBob StrombergerDavid SvobodaRoger SwiboldNathan WagenetScott Ziemann

PACIFIC CHORALE

* Pacific Chorale Artists’ Council

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ABOUT PACIFIC SYMPHONY

Pacific Symphony, celebrating its 36th season in 2014-15, is led

by Music Director Carl St.Clair, who marks his 25th anniversary season with the orchestra. The largest orchestra formed in the U.S. in the last 50 years, the Symphony is recognized as an outstanding ensemble making strides on both the national and international scene, as well as in its own community of Orange County. Presenting more than 100 concerts a year and a rich array of education and community programs, the Symphony reaches more than 275,000 residents—from school children to senior citizens.

The Symphony offers repertoire ranging from the great orchestral masterworks to music from today’s most prominent composers, highlighted by the annual American Composers Festival and a series of multimedia concerts called “Music Unwound.” Three seasons ago, the Symphony launched the highly successful opera and vocal initiative, “Symphonic Voices.” It also offers a popular Pops season, enhanced by state-of-the-art video and sound, led by Principal Pops Conductor Richard Kaufman, who celebrates 24 years with the orchestra in 2014-15. Each Symphony season also includes Café Ludwig, a chamber music series, and Sunday Casual Connections, an orchestral matinee series offering rich explorations of selected works led by St.Clair. Assistant Conductor Alejandro Gutiérrez is music director of Pacific Symphony Youth Orchestra and also leads Family and Youth Concerts.

Founded in 1978 as a collaboration between California State University, Fullerton (CSUF), and North Orange County community leaders led by Marcy Mulville, the Symphony performed its first concerts at Fullerton’s Plummer Auditorium as the Pacific Chamber Orchestra, under

the baton of then-CSUF orchestra conductor Keith Clark. Two seasons later, the Symphony expanded its size and changed its name to Pacific Symphony Orchestra. Then in 1981-82, the orchestra moved to Knott’s Berry Farm for one year. The subsequent four seasons, led by Clark, took place at Santa Ana High School auditorium, where the Symphony also made its first six acclaimed recordings. In September 1986, the Symphony moved to the new Orange County Performing Arts Center, where Clark served as music director until 1990 and since 1987, the orchestra has additionally presented a summer outdoor series at Irvine’s Verizon Wireless Amphitheater. In 2006-07, the Symphony moved into the Renée and Henry Segerstrom Concert Hall, with striking architecture by Cesar Pelli and acoustics by Russell Johnson—and in 2008, inaugurated the hall’s critically acclaimed 4,322-pipe William J. Gillespie Concert Organ. The orchestra embarked on its first European tour in 2006, performing in nine cities in three countries.

In 2013-14, Pacific Symphony released a new CD of Richard Danielpour’s Toward a Season of Peace, which continued the recent slate of recordings that began with two newly released CDs in 2012-13 featuring two of today’s leading composers, Philip Glass’ The Passion of Ramakrishna and Michael Daugherty’s Mount Rushmore, both the result of works commissioned and performed by the Symphony, with two more recordings due to be released over the next few years. These feature the music of Symphony-commissioned works by William Bolcom, Songs of Lorca and Prometheus and James Newton Howard’s I Would Plant a Tree. The Symphony has also commissioned and recorded Danielpour’s An American Requiem

and Elliot Goldenthal’s Fire Water Paper: A Vietnam Oratorio with Yo-Yo Ma. Other recordings have included collaborations with such composers as Lucas Foss and Toru Takemitsu. It has also commissioned such leading composers as Paul Chihara, Daniel Catán, William Kraft, Ana Lara, Tobias Picker, Christopher Theofanidis, Frank Ticheli and Chen Yi.

In both 2005 and 2010, the Symphony received the prestigious ASCAP Award for Adventuresome Programming. Also in 2010, a study by the League of American Orchestras, “Fearless Journeys,” included the Symphony as one of the country’s five most innovative orchestras. The Symphony’s award-winning education programs benefit from the vision of St.Clair and are designed to integrate the orchestra and its music into the community in ways that stimulate all ages. The Symphony’s Class Act program celebrates its 20th anniversary this season and has been honored as one of nine exemplary orchestra education programs by the National Endowment for the Arts and the League of American Orchestras. The list of instrumental training initiatives includes Pacific Symphony Youth Orchestra, Pacific Symphony Youth Wind Ensemble and Pacific Symphony Santiago Strings as well as Santa Ana Strings.

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

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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 OhJean KimAngel LiuMarisa Sorajja

SECOND VIOLINBridget Dolkas*Jessica Guideri**†Yen-Ping LaiYu-Tong SharpAko KojianOvsep KetendjianLinda OwenPhil LunaMarlaJoy WeisshaarAlice 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 ChairTed Sugata

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 TROMBONEKyle Mendiguchia

TUBAJames Self*

TIMPANITodd Miller*

PERCUSSIONRobert A. Slack*Cliff Hulling

HARPMindy Ball*Michelle Temple

PIANO/CELESTESandra Matthews*

PERSONNEL MANAGERPaul Zibits

LIBRARIANSRussell DiceyBrent Anderson

PRODUCTION STAGE MANAGER

Will Hunter

ASSISTANT STAGE MANAGER

William Pruett

PACIFIC SYMPHONY

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

www.pacificchorale.org(714) 662-2345

At Renée and Henry Segerstrom Concert Hall

2014-2015

March 7, 2015December 21-22, 2014

May 17, 2015

Appearances with Pacific Symphony:

Handel’s Messiah | December 14, 2014

Bizet’s Carmen | February 19, 21 & 24, 2015

Carl St.Clair’s 25th Anniversary Concert | March 12–14, 2015

CHECK OUT THE NEWEST RECORDINGS BY PACIFIC CHORALE AND THE JOHN ALEXANDER SINGERS!

Available tonight in the lobby and online through iTunes and Amazon.com

13

PACIFIC CHORALE DONORS

Pacific Chorale gratefully acknowledges the following donors for their generous contributions during the past twelve months. These contributions enable Pacific Chorale to continue serving the community with performances of the highest artistic quality, and providing exceptional educational programs designed to continue the tradition

of choral artistry in Orange County.

Gifts of DistinctionWe gratefully acknowledge the following donors, whose total gifts are in excess of $1 million, for

their exceptional generosity and commitment to the success of the nationally recognized Pacific Chorale.

William J. GillespiePhillip N. and Mary A. Lyons

GOLDWarren CoyMart and Margie HubbardHans and Valerie ImhofPhillip N. and Mary A. LyonsLenora Meister &

Salt-Away Products Inc.

SILVERJohn and Lori LoftusThe Shanbrom Family FoundationThe Capital Group CompaniesThe Segerstrom FoundationVina Williams and Tom Slattery

BRONZEAnn & Gordon Getty FoundationBenton and Wanlyn BejachMargaret GatesMrs. Roger W. JohnsonCraig LyonsWells Fargo Foundation

Conductor’s SocietyThe Conductor’s Society recognizes the following donors who, through annual gifts of $10,000 or more, enable Pacific Chorale

to continue creating artistic excellence, thereby enriching the quality of life of our community.

Audrey Steele BurnandWarren Coy

William J. GillespieRon Gray

Jerry and Maralou HarringtonMartin and Margie Hubbard

Hans and Valerie Imhof

Janice JohnsonDonald and Dorothy Kennedy

John and Lori LoftusMarcus Lussier

Phillip N. and Mary A. LyonsDoreen MarshallLenora Meister

David and Darrellyn MelilliTom and Patty Moore

Ron RudderowSally Segerstrom

The Shanbrom Family FoundationVina Williams and Tom Slattery

John and Elizabeth Stahr

Maestro Society DonorsPacific Chorale is pleased to honor the following individuals who have given or pledged $100,000 or more in the last ten years.

We are truly humbled by their generous, ongoing commitment to and belief in Pacific Chorale’s mission.

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DONORS

Friends of Pacific ChoralePacific Chorale gratefully recognizes the following donors who have made significant contributions with gifts of $100 to $999.

Mark E. AldrichBrien Amspoker and Ellen BreitmanJanet AnwylSusanne AultzJames and Deborah BabcockBeverly BesoyanJune BiggeMary Anne and Brad BlaineJulie BondiBP Foundation, Inc.Paul and Rosalind BrittonThomas and Susanne CampbellJulia Anne CampenStephen CanfieldPatrick and Karen CardinaleHenrietta McKee CarterJulie Lee ChienDenise ChilcoteKaren CohoeWilliam and Laila ConlinStan and Kristina DendingerCharles and Darlette DexterDenice A. DouglasHarriet C. EdwardsSara EdwardsElaine Elliott

Judi EltermanHoward and Janet EmeryDavid E. ExlineExxonMobil Foundation Matching

Gift ProgramJudy FeutzBrooks and Catherine FirestoneEvelyn FletcherMichael GallupCarol D. GentryNancy GerhardYtzhak and Rhona GewelberJames and Sharon GivensNancy GriffinPeter HahnMichael HardsSarah and Dan HoganYilin Hsu and Josh WentlandtJane HummerMary HuntWendy IsbellHoward and Judith JelinekGary JenkinsBarbara Sue Johnson, in memory of

Johnny MannKenneth Keller

Norma KershawCraig and Debbie KistlerJames KlinglerRichard and Sharon KobayashiJim and Doris KolliasSteven LaCountMatt and Mary LawsonKaii LeeSusan and Chris LindleyMrs. Robert L. LyonsYoung and Russel MackeandGeorgiann and Tony MastrangeloKaren M. and James S. McBride, Jr.Ann McDonaldMichael and Emilia McKayWilliam McMasterKen and Patty McMillanJoyce MedfordMartin MinnichSteve and Barbara MorihiroJeff MorrisJeffrey MorrisDonna MorseBetsy and Jerry MoultonMichele M. MulidorAnthony and Alice Mumolo

Chet and Dorothy NeedelmanPat NewtonAnne B. NuttJoan S. PettyJudy PhillipsSally and Lynn RansChikayo and Fred RatteeMeredith RiekseRobert and Cheryl RifeMel and Marcia RogersMeri and David RogoffRonald N. RudderowJoan and Ron SeveraJane ShepherdKathy SizerDavid Svoboda and Patricia FogartyRoger SwiboldMalcolm WarnerSteve WebbHomer and Helen WeeksLinda WiddowsonKent and Carol WilkenMarilyn WilliamsJohn Woolley and Eleanor PalkRichard and Susan Zevnik

Pacific Chorale Special Projects Fund Contributions to Pacific Chorale’s Special Projects Fund are given to sponsor unique enterprises and presentations.

A Cappella SocietyPacific Chorale applauds the following donors who have made generous contributions of $1,000 to $9,999.

ALLEGROAllergan FoundationRobert and Kimberly Dwan

BernatzMichael J. and Karen CarrollJohn and Marcia CashionDavid and Jacline EveredHsu Hwa Choa FoundationJerry and Maralou HarringtonTom and Anne HenleyDavid and Michelle HorowitzJan LandstromKenneth and Christine LesterSharon McNalleyThomas H. NielsenRyan and Dina OwensPlaza BankLoraine ReedThe Kroger Company

Michael VantreaseWilliam Gillespie Foundation

LAU R EATEJames and Catherine EmmiHarvey and Sharon FairKarl and Marilyn ForsstromJames P. GrayJoan HalvajianKremer FoundationLon V. Smith FoundationRichard J. McNeilCarlos and Haydee MolluraJeanette MoonOrange County Community

FoundationElizabeth PearsonGeorge H. I. ReissDaniel and Francine ScintoMartha and Peter Wetzel

PATRONJohn AlexanderGarth and Marion BergesonCenter For Cultural InnovationsDavid and Suzanne ChonettePhyllis and Terry ClarkCarol DaltonDr. and Mrs. James E. DunningJohn and Ruth Ann EvansJan EversmeyerKirk and Marica FinleyPhil and Katie FriedelRoger GibbKathryn GibsonMilton and Jane GrierDiana HensleyJohn HogansonMichael and Susan JacobsBarbara KingsburyAndrea and Nels Klyver

Peter KremerRita and Norman MajorMarilyn McintyreDavid and Darrellyn MelilliRichard MessengerSharon MorrisonRobert and Christie NarverTom and Bonnie PridonoffChristopher QuilterDana and Frank RamosThomas RinglandAl RobertsJames and Lahoma SchulzeJohn and Elizabeth StahrChristopher Tower and

Robert CelioFaulkner White and Sandy Grim

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In–Kind GiftsPacific Chorale wishes to thank the following businesses and individuals for their generous in–kind donations of goods and

services. We thank these individuals and also encourage Pacific Chorale supporters to patronize the businesses listed below.

Ed ArnoldThe Buddy GroupMaria Hall-Brown

Mr. and Mrs. Martin G. HubbardBarbara Kingsbury

William C. KingsburyJan LandstromJon Madison

Deborah PasarowPBS SoCal

Segerstrom Center for the Arts

South Coast RepertoryStan Sholik Photography

Stor-It Self StorageHelen Wardner

The Westin South Coast Plaza

Pacific Chorale Endowment Fund Contributions to Pacific Chorale’s Endowment Fund are invested in perpetuity. The interest generated from the

Endowment helps to provide the Chorale with long-term financial stability. The Chorale is delighted to acknowledge its generous Endowment Fund donors. We are deeply grateful to them for their belief and investment in the organization’s future.

Very special care has been given to the preparation of donor listings. We deeply regret any errors and omissions, and appreciate your phone call to Pacific Chorale at (714) 662-2345 or email to ContactUs@PacificChorale.org with needed corrections. Thank you for your support of Pacific Chorale.

Commitments of $1,000,000 and aboveWilliam J. GillespiePhillip N. and Mary A. Lyons

Commitments of $50,000 and aboveJanice Johnson

in memory of Roger W. JohnsonJohn and Elizabeth Stahr

Commitments of $25,000 and aboveMarilyn and Tom NielsenGeorge H. I. Reiss

Commitments of $10,000 and aboveWells Fargo BankGreg and MarJane ChristoffersonDr. Edward and Mrs. Helen Shanbrom

in memory of David Lee ShanbromVina and Barry Williams

Commitments of $5,000 and aboveRon GrayAnne B. Nutt

Commitments of $1,000 and aboveMichael and Karen CarrollDr. James and Yuko Kawai DunningMichael and Eleanor GordonDennis V. MenkeRichard MessengerRichard and Michele McNeilJeanette MoonDonna MorseCarl and Susan St.Clair

in memory of Cole Carsan St.Clair

Pacific Chorale Encore Society We all share the desire to leave a mark on our society, our community and our culture. Creating such a legacy is exactly

what these special friends of Pacific Chorale have done in becoming members of the Encore Society.

The Encore Society recognizes and honors those who have included Pacific Chorale as part of their estate planning. By remembering Pacific Chorale in a will, an insurance policy or retirement plan, by establishing a charitable remainder trust, or through any other planned-

giving vehicle, you have the opportunity to leave a definite legacy. Please consider extending your generosity beyond your lifetime and joining with those listed below who wish to ensure the preservation of quality choral music and education.

Pacific Chorale gratefully acknowledges the following benefactors for their visionary support:

If you have already remembered Pacific Chorale in your estate plan, or are interested in doing so, please contact Dominic Mumolo at 714-662-2345. All inquiries will be strictly confidential.

AnonymousMark E. Aldrich

Percy Brotherton*Dr. and Mrs. Thomas C. Campbell

Phyllis and Terry ClarkWarren Coy

Jacline R. EveredRoger and Geri Gibb

Ron Gray

George W. Haas*George Hatchard*

Tom and Anne HenleyDennis L. HouserBarbara Kingsbury

John and Jan LandstromPhillip N. and Mary A. Lyons

Richard MessengerJeanette Moon

Thomas C. Moore Trust

Ann and Steve MorrisSandy and Val Policky

Loraine ReedRon RudderowJane ShepherdSusan Van Wig

Martha and Peter WetzelVina Williams* Deceased

16

BOARD/PERSONNEL

Pacific Chorale is a member of Arts Orange County, the Association of California Symphony Orchestras, and Chorus America.

Warren Coy, Immediate Past ChairmanDenice Douglas, Chair, Finance

Martin Hubbard, Chair, NominatingJanice M. Johnson, Secretary

Mary A. Lyons, Chairman Emeritus & Chair, EducationRyan Owens, Co-Chair, Development—Corporate Engagement

Elizabeth Pearson, President & CEOMichael Vantrease, Chair, Strategic Planning

Vina Williams, Co-Chair, Development—Planned Giving

Pete DeutschmanValerie ImhofJan LandstromChristopher Lindley

Susan LindleySara McFerrinSharon McNalley

Thomas H. NielsenCarl Porter,

Artists’ Council RepresentativeMel Rogers

Distinguished Emeritus Board

Michael J. CarrollStanley CochranDr. James DunningBonnie Brittain HallKaren Johnson

Jan LandstromMarcus LussierThomas C. MooreMarilyn NielsenThomas H. Nielsen

Anne B. NuttGeorge ReissHelen ShanbromElizabeth D. Stahr

Personnel

John Alexander, Elizabeth Pearson, President & CEO

Directors

Administration Brian Sullivan, Director of Artistic OperationsDominic Mumolo, Director of Development

Molly Buzick Pontin, Director of Education & Community Programs

Cristy Seyler, Director of Finance & Administration

Ryan McSweeney, Director of Marketing & Box Office

Liana Schwind, Marketing & Development Assistant, Concierge

Diane Huynh, Education & Operations Intern

Artistic StaffDr. Robert M. Istad, Assistant Conductor

Dr. David Clemensen, AccompanistNicholas Preston, Pacific Chorale

Personnel ManagerAram Barsamian, John Alexander Singers Personnel Manager, Assistant to the Artistic

Director, and Bass Section LeaderKellee King, Soprano Section Leader

Jane Shim, Alto Section LeaderDaniel Babcock, Tenor Section Leader

Volunteer Administration Tom Henley, Volunteer Librarian

Barbara Kingsbury, HistorianCarl Porter, Artists’ Council President

Bonnie Pridonoff, Grant Research VolunteerLorie Reed, Library Assistant

Pacific Chorale Board of Directors and Personnel

Rick McNeil, Chairman

Executive Committee

Mission StatementPacific Chorale enriches and educates the community by demonstrating outstanding leadership

in the performance, creation and preservation of choral music.