2025.11.23 | Pacific Symphony with Shelley Program
PROGRAM
MOZART
Violin Concerto No. 2 in D Major, K. 211
Allegro moderato Andante
Rondo: Allegro
BEETHOVEN
Symphony No. 7 in A Major, Op. 92
Poco sostenuto; Vivace Allegretto
Presto; Assai meno presto Allegro con brio
Violin Concerto No. 2 in D Major, K.211
WOLFGANG AMADEUS MOZART
Born January 27, 1756, Salzburg
Died December 5, 1791, Vienna
Everyone agrees that Mozart’s piano concertos represent one of the summits of his achievement. Composed across the entire span of his creative life, those 27 concertos redefined the form, making the soloist and orchestra protagonists in a virtually symphonic argument, and along the way they offer some of Mozart’s most expressive and dramatic music. If Mozart was one of Europe’s greatest pianists, he was also one of its finest violinists, and that makes the fact that he wrote only five violin concertos all the more mysterious. Mozart was very young when he composed his violin concertos: he wrote all five while still in his teens (they were composed between his Fifth and Sixth Piano Concertos) and then never returned to the form. His great Sinfonia Concertante for Violin and Viola of 1779 suggests how extraordinary a mature violin concerto from him might have been, but Mozart clearly had no interest in writing another violin concerto. Some have suggested that he so identified the violin with his father that once he rejected his father’s controlling influence and moved to Vienna, he also rejected his father’s instrument.
Mozart wrote his First Violin Concerto in 1773, then composed the remaining four across 1775, when he was 19. The Mozart family was in the employment of
Archbishop Colloredo in Salzburg, and so the young composer’s primary duty in these years was to write church music, but he also wrote extensively for friends in Salzburg, composing serenades, symphonies, and other instrumental music. No one knows the occasion for which Mozart wrote his violin concertos. He had been named Konzertmeister at the Salzburg court in 1772, so he may have written them for himself, he may have written them for friends in Salzburg, and he may have written them for the Italian violinist Antonio Brunetti, who would replace him as Konzertmeister in 1776.
Mozart completed his Violin Concerto No. 2 on June 14, 1775. By coincidence, on that exact same day in Philadelphia the Second Continental Congress named George Washington commander of the Continental Army—the world was about to change, though there could be little inkling of that in Salzburg in 1775. Mozart’s final three violin concertos have become part of the repertory and are heard fairly regularly, but the first two remain less familiar. Some have felt that Mozart used the Italian baroque violin concerto as the model for his Second Violin Concerto: the solo and orchestral parts are not so tightly integrated as in the later concertos, the solo part is unusually florid and decorative, and there are six separate opportunities for cadenzas in this concerto—one in the first movement, two in the second, and three in the third.
This agreeable music may be
described briefly. The Allegro moderato opens with a brief but vigorous orchestral introduction, full of syncopations and dotted rhythms. The soloist enters with the orchestra’s opening gesture, but quickly the solo violin introduces themes and passagework all its own, and that division will characterize the entire movement. Mozart offers his soloist a cadenza just before the orchestra’s spirited conclusion. The lyric Andante finds soloist and orchestra trading material smoothly; not only are there two cadenzas in this movement, but at other moments Mozart inserts fermatas into the flow of the music, effectively bringing it to brief pauses. The finale is a rondo whose subdued opening quickly gives way to some very energetic writing for the soloist. The three opportunities for cadenzas in this movement mean that the soloist can shape this movement much as he or she wants—Mozart would have assumed a certain compositional skill from his soloist. The concerto concludes with a quick reprise of the rondo theme.
Symphony No. 7 in A Major, Opus 92
LUDWIG VAN BEETHOVEN
Born December 16, 1770, Bonn
Died March 26, 1827, Vienna
Beethoven turned 40 in December 1810. Forty can be a difficult age for anyone, but for Beethoven things were going very well. True, his hearing had deteriorated to the point where he was virtually deaf, but he was still riding that white-hot explosion of creativity
that has become known, for better or worse, as his “Heroic Style.” Over the decade-long span of that style (1803-1813) Beethoven essentially re-imagined music and its possibilities. The works that crystalized the Heroic Style—the Eroica and the Fifth Symphony unleashed a level of violence and darkness previously unknown in music, forces that Beethoven’s biographer Maynard Solomon has described as “hostile energy,” and then triumphed over them. In these violent symphonies, music became not a matter of polite discourse but of conflict, struggle, and resolution.
In the fall of 1811, Beethoven began a new symphony—it would be his Seventh—and it would differ sharply from those two famous predecessors. Gone is the sense of cataclysmic struggle and hard-won victory that had driven those earlier symphonies. There are no battles fought and won in the Seventh Symphony—instead, this music is infused from its first instant with a mood of pure celebration. Such a spirit has inevitably produced a number of interpretations as to what this symphony is “about”: Berlioz heard a peasants’ dance in it, Wagner called it “the apotheosis of the dance,” and more recently Maynard Solomon has suggested that the Seventh is the musical representation of a festival, a brief moment of pure spiritual liberation.
But it may be safest to leave the issue of “meaning” aside and instead listen to the Seventh simply as music. There had never been music like this before, nor has there
been since—Beethoven’s Seventh Symphony contains more energy than any other piece of music ever written. Much has been made (correctly) of Beethoven’s ability to transform small bits of theme into massive symphonic structures, but in the Seventh he begins not so much with theme as with rhythm: he builds the entire symphony from what are almost scraps of rhythm, tiny figures that seem unpromising, even uninteresting, in themselves. Gradually he unleashes the energy locked up in these small figures and from them builds one of the mightiest symphonies ever written.
The first movement opens with a slow introduction so long that it almost becomes a separate movement of its own. Tremendous chords punctuate the slow beginning, which gives way to a poised duet for oboes. The real effect of this long Poco sostenuto, however, is to coil the energy that will be unleashed in the true first movement, and Beethoven conveys this rhythmically: the meter of the introduction is a rocksolid (even square) 4/4, but the main body of the movement, marked Vivace, transforms this into a lightfooted 6/8. This Vivace begins in what seems a most unpromising manner, however, as woodwinds toot out a simple dotted 6/8 rhythm and the solo flute announces the first theme, a graceful melody on this same rhythm. Beethoven builds the entire first movement from this simple dotted rhythm, which saturates virtually every measure. As theme, as accompaniment, as motor rhythm, it is always present,
hammering into our consciousness. At the climax, horns sail majestically to the close as the orchestra thunders out that rhythm one final time.
The second movement, in A minor, is one of Beethoven’s most famous slow movements, but the debate continues as to whether it really is a slow movement. Beethoven could not decide whether to mark it Andante (a walking tempo) or Allegretto (a moderately fast pace). He finally decided on Allegretto, though the actual pulse is somewhere between those two. This movement too is built on a short rhythmic pattern, in this case the first five notes: long-short-shortlong-long—and this pattern repeats here almost as obsessively as the pattern of the first movement. The opening sounds like a series of static chords—the theme itself occurs quietly inside those chords—and Beethoven simply repeats this theme, varying it as it proceeds. The central episode in A major moves gracefully along smoothly-flowing triplets before a little fugato on the opening rhythms builds to a great climax. Beethoven winds the movement down on the woodwinds’ almost skeletal reprise of the fundamental rhythm.
The Scherzo explodes to life on a theme full of grace notes, powerful accents, flying staccatos, and timpani explosions. This alternates with a trio section for winds reportedly based on an old pilgrims’ hymn, though no one, it seems, has been able to identify that exact hymn. Beethoven offers a second
repeat of the trio, then seems about to offer a third before five powerful chords cut the movement off abruptly.
These chords set the stage for the Allegro con brio, again built on the near-obsessive treatment of a short rhythmic pattern, in this case the movement’s opening four-note fanfare. This four-note pattern punctuates the entire movement: it shapes the beginning of the main theme, and its stinging accents thrust the music forward continuously as this movement almost boils over with energy. The ending is remarkable: above growling cellos and basses (which rock along on a two-note ostinato for 28 measures), the opening theme drives to a climax that Beethoven marks fff, a dynamic marking he almost never used. This conclusion is virtually Bacchanalian in its wild power—no matter how many times one has heard it, the ending of the Seventh Symphony remains one of the most exciting moments in all of music.
The first performance of the Seventh Symphony took place in the Great Hall of the University in Vienna on December 8, 1813. Though nearly deaf at this point, Beethoven led the performance, and the orchestra was able to compensate for his failings, so that the premiere was a huge success. On that occasion—and at three subsequent performances over the next few months—the audience demanded that the second movement be repeated.
One of the foremost conductors of his generation, Alexander Shelley is “a natural communicator, both on and off the podium” (The Daily Telegraph). A passionate and articulate advocate for new music and the role of music in society, Shelley has spearheaded multiple award-winning and groundbreaking projects, unlocking creativity in the next generation and bringing symphonic music to new audiences.
With a conducting technique described as “immaculate, everything crystal clear” (Yorkshire Post) and with a “precision, distinction and beauty of gesture not seen since Lorin Maazel” (Le Devoir), Shelley is known for the integrity of his interpretations and for his creative programming, having led more than 40 major world premieres, highly praised cycles of Beethoven, Schumann and Brahms symphonies, operas, ballets and innovative multimedia productions.
In 2024, Shelley was appointed to become Pacific Symphony’s third artistic leader, taking the title of Artistic and Music Director, beginning in the 2026-27 season. He is serving as Artistic and Music Director Designate during the 202526 season, which marks Pacific Symphony’s 47th season.
The 2025-26 season will be Shelley’s 11th and final as Music
Director of Canada’s National Arts Centre Orchestra (NACO). In 2023, Shelley was named Artistic and Music Director at Artis—Naples, in Florida, where he provides artistic leadership to the Naples Philharmonic and oversees the entire multidisciplinary organization. He also continues as the Principal Associate Conductor of London’s Royal Philharmonic Orchestra, a position he has held since 2015. He was the youngestever Chief Conductor of Germany’s Nürnberger Symphoniker, a position he held for eight seasons, from 2009 to 2017.
Shelley performs regularly across six continents with the world’s finest orchestras and soloists. He collaborates with leading artists, including Emanuel Ax, Joshua Bell, Renée Fleming, Hilary Hahn, Thomas Hampson, Daniel Hope, Lang Lang, and Itzhak Perlman. He is a regular guest with some of the finest orchestras of Europe, the Americas, Asia and Australasia, including Leipzig’s Gewandhaus Orchestra, the Konzerthausorchester Berlin, Orchestre de la Suisse Romande, the Helsinki, Hong Kong, Luxembourg, Malaysian, Oslo, Rotterdam and Stockholm philharmonic orchestras and the Sao Paulo, Houston, Seattle, Baltimore, Indianapolis, Montreal, Toronto, Munich, Singapore, Melbourne, Sydney and New Zealand symphony orchestras.
Shelley is equally at home leading symphonic, opera, and ballet repertoire as well as multi-genre
projects. His operatic credentials include leading productions at the Royal Danish Opera, Opera Lyra/National Arts Centre, Canadian Opera Company/ National Arts Centre, Deutsche Kammerphilharmonie Bremen, Opéra National de Montpellier and Opera North (Leeds).
During his tenure at NACO, Shelley’s programming has been credited for turning NAC Orchestra “almost overnight ... into one of the more audacious orchestras in North America” (Maclean’s). Together they have undertaken major tours of North America, Europe, and Asia, recorded award-winning albums, and commissioned groundbreaking projects that include Life Reflected, a multimedia work celebrating Canadian female pioneers, and Encount3rs, which commissioned new ballets from top composers and choreographers.
Shelley’s experience has been highlighted by a strong commitment to education and community engagement. With NACO, he has led innovative festivals, such as SPHERE and Ideas of North, and tours that celebrated Indigenous stories and music, including a histo ric performance on Eskasoni First Nation Reserve. He conceived and spearheads the NAC Mentorship Program, designed to nurture the next generation of musicians, ensuring that the impact of orchestral music extends beyond the concert hall.
Shelley was also the founding artistic director of the Deutsche
Kammerphilharmonie Bremen’s “Future Lab,” an award-winning program that uses music and art to unlock potential in some of the most disadvantaged youth in Germany. For his engagement in bringing music and the arts to young people in Germany and for his commitment to the power of music as a force for good, Shelley was awarded the Order of Merit of the Federal Republic of Germany by President Frank-Walter Steinmeier.
Born in London to celebrated concert pianists Howard Shelley and Hilary Macnamara, Shelley began playing the piano as a toddler and later learned to play the cello. He gained widespread attention when he was unanimously awarded first prize at the 2005 Leeds Conductors Competition, where he was praised as “the most exciting and gifted young conductor to have taken this highly prestigious award.”
JULIAN RHEE VIOLIN
Winner of the prestigious 2024 Avery Fisher Career Grant, KoreanAmerican violinist Julian Rhee has enthralled listeners internationally, praised for his refinement and beauty of sound, and “the kind of poise and showmanship that thrills audiences.” (The Strad) His passion for all forms of collaboration has taken him around the world, producing a thoroughly sensitive and informed artist.
Rhee came to international prominence following his prize winning performances at the 2024 Queen Elisabeth International
Violin Competition and Silver Medal finish at The 11th Quadrennial International Violin Competition of Indianapolis. Also the first prize winner of the 2020 Elmar Oliveira International Competition and Astral Artists’ National Auditions, Rhee is the recipient of numerous awards such as the Aspen Festival’s Dorothy DeLay Fellowship, Arkady Fomin Scholarship Fund, Theodore Presser Scholar Award, The Foote Award, and the Manfred Grommek Prize from the Kronberg Academy. He is a Young Strings of America Ambassador sponsored by SHAR Music.
Since his Milwaukee Symphony Orchestra debut at age 8, Rhee has gone on to perform with orchestras all across the world, such as the Belgian National Orchestra, Indianapolis Symphony, Antwerp Symphony, Richmond Symphony, Pittsburgh Symphony, Aspen Philharmonic, East Coast Chamber, Orchestra Royal de Chamber de Wallonie, Württemberg Chamber Orchestra of Heilbronn, and San Diego Symphony, and with acclaimed conductors such as Francesco Lecce-Chong, Nicolas McGegan, David Danzmayr, Rune Bergmann, Valentina Peleggi, Antony Hermus, and Leonard Slatkin, among others. He has performed in an array of venues including Staatsoper Hamburg, Kronberg Academy’s Casals Forum, Ravinia’s Bennett Gordon Hall, Center for Fine Arts BOZAR in Brussels, Heinz Hall, the Overture Center for the Arts, Teatro El Círculo in Rosario, Argentina, The Musikverein in Vienna, Bartok Hall
in Hungary, New World Center, and the John F Kennedy Center as a US Presidential Scholar, receiving his medal at the White House. Recent and upcoming engagements include appearances with the Stuttgarter KammerOrchester, Arkansas Symphony, Oregon Symphony, Calgary Philharmonic, European Orchestra Academy, and returns to the Santa Rosa Symphony, Eugene Symphony, and Madison Symphony Orchestras.
Equally invested in chamber music, Rhee is the newest member of the Chamber Music Society of Lincoln Center CMS’s Bowers Program. Rhee has also performed at and attended festivals including the Ravinia Steans Institute, Marlboro Festival, Rockport Music, and North Shore Chamber Music Festivals, performing alongside esteemed musicians such as Vadim Gluzman, Jonathan Biss, Mitsuko Uchida, Kim Kashkashian, and Peter Wiley. He has appeared alongside Time For Three on NPR’s From the Top, Jupiter Chamber Players, Dame Myra Hess Memorial Concerts, WQXR’s Young Artists Showcase, Milwaukee Public Television, and Wisconsin Public Radio and Television.
Rhee studied with Hye-Sun Lee and Almita Vamos at the Music Institute of Chicago Academy and received his bachelor’s degree and master’s degree as teaching assistant of Miriam Fried at the New England Conservatory. He currently studies with Christian Tetzlaff at the Kronberg Academy.
Rhee is the recipient of the
outstanding 1699 “Lady Tennant” Antonio Stradivari violin and Jean Pierre Marie Persoit bow on extended loan through the generosity of the Mary B. Galvin Foundation and the efforts of the Stradivari Society, a division of Bein & Fushi, Inc. The Mary B. Galvin Foundation, Inc. and the Stradivari Society support the very highest level of string playing by loaning precious antique Italian instruments to artists of exceptional talent and ability.outstanding 1699 “Lady Tennant” Antonio Stradivari violin and Jean Pierre Marie Persoit bow on extended loan through the generosity of the Mary B. Galvin Foundation and the efforts of the Stradivari Society, a division of Bein & Fushi, Inc. The Mary B. Galvin Foundation, Inc. and the Stradivari Society support the very highest level of string playing by loaning precious antique Italian instruments to artists of exceptional talent and ability.
PACIFIC SYMPHONY
Pacific Symphony is the largest orchestra formed in the United States in the past 50 years and has earned national recognition for its adventurous programming, community engagement, and artistic growth. Founded in 1978, the Symphony has been led for 35 years by Music Director Carl St.Clair, one of the longest-serving music directors of a major American orchestra. In 2024, Alexander Shelley was named Artistic and Music Director Designate for the 2025–26 season and will begin his full-time tenure in the 2026–27 season, marking a bold
new chapter in the Symphony’s artistic evolution.
With a purpose to lift the human spirit through the power of music, the Symphony is a pillar of the cultural landscape of Southern California, enriching lives and bringing communities together through creative and diverse programming. As the resident orchestra of the Renée and Henry Segerstrom Concert Hall, the Symphony presents more than 100 concerts and events each year and a rich array of education and community engagement programs, reaching more than 300,000 residents of all ages.
Vienna Boys Choir
MONDAY, NOV. 24, 2025 | 7:30PM
PROGRAM
Christmas in Vienna (specific works on the website)
Co-presented with Philharmonic Society of Orange County
“The angelic voices of this most famous vocal group are ageless.”
The Salt Lake Tribune
Pacific Symphony plays Haydn & Mendelssohn with Carl St.Clair cond., feat. Vitaly Starikov, piano
SUNDAY, APR. 26, 2026 | 3PM
HAYDN Symphony No. 88 in G Major
MENDELSSOHN Piano Concerto No. 1 in G Minor, Op. 25
After years of unforgettable performances and passionate artistry, Carl St.Clair takes the podium to lead a program that promises brilliance, beauty, and a touch of legacy.
Concessions
A wide variety of wine, beer, soft drinks and freshly prepared snacks will be available before the concert and during intermission.
Artist Drink Pick
Margarita
We asked the artists for their favorite drink pick to feature at concessions! Margarita was selected and will be available for purchase before the performance and during intermission.
Click here for menu and to order
Pre-order your concessions and skip the line during intermission!
Our mission is to Engage, Educate, and Elevate the Human Spirit
Soka Performing Arts Center is dedicated to elevating the human spirit through transcendent live experiences. Discover the unmatched beauty of our acoustics. Expand your understanding and appreciation of music through our programs that illuminate new perspectives. Build community and forge deep connections through the shared experience of live performance. We invite you to become a part of our Soka Performing Arts Center family and to Listen. Feel. Transform.
Soka Performing Arts Center is located on the beautiful hilltop campus of Soka University of America in Aliso Viejo. Our facility includes the 1,042seat Concert Hall featuring world-class acoustics designed by master acoustician Yasuhisa Toyota, designer of the Walt Disney Concert Hall in Los Angeles and Suntory Hall in Tokyo, among many others. We also have an intimate 350-seat Black Box Theatre that allows for multiple seating configurations including club seating with bistro tables.
More than 800 performances have taken place since the center’s dedication on May 27, 2011. The 2025-26 season marks our fifteenth season presenting first-class programming in our world-class concert hall. We are continuing to expand our programming and outreach with the addition of a Children’s Concert Series and the only Great Pianists Series on the West Coast. From classical and jazz to world and contemporary music, the Soka Performing Arts Center has become a prized space for artists and audiences alike.
We are proud to be the home of the Pacific Symphony Chamber Orchestra. Our Sundays @ Soka Series with Pacific Symphony continues to be one of our most popular series year after year. Our presentations with other Orange County arts organizations have enabled us to reach further into our community to offer arts education and programming. Our partnership with the Philharmonic Society of Orange County includes our Philharmonic Society Series, which brings superlative artists to our stage. We also partner with Philharmonic Society for our Outreach Program, bringing over 7,000 school children to Soka Performing Arts Center to experience live performances with outstanding musicians.
With its world-class acoustics and first-class performances, Soka Performing Arts Center is quickly becoming one of the cultural jewels of Orange County.
OUR SUPPORTERS
DIRECTOR’S CIRCLE ($75,000+)
Dr. Kenneth & Sandra Tokita
Sam* & Lyndie Ersan
CONCERTMASTER ($10,000+)
Ms. Emi Maeda
STAGE CHAMPION ($5000+)
Yoshitomo & Takemi Daido
STAGE BENEFACTOR ($1000+)
Anonymous
OC Chinese Cultural Club
John and Sue Prange
Terumi Saito
Jochen Schumacher
Alex & Sandy Scott
Scott A Shuping
Anson and Marilyn Wong
PLATINUM CLEF ($500+)
Anonymous
Jeffrey Hendrix
Edward D. Jones
Jane A. Lynch
GOLD CLEF ($200+)
Judy Kaufman
Lorraine Leiser
Naomi Uchiyama
SILVER CLEF ($100+)
Renée Bodie
Sam Chang
Masako Inage
Debrah Jiang
Chiharu Nagai
Paul Porto
Thomas Prigorac
Jonia Suri
Joseph Whittaker
BRONZE CLEF ($25+)
Raquel Bruno
Kenneth Hanawa
Ryosuke Iga
Jeannette Pease
Joyce M Wrice
Taro Yamanashi
* Deceased
List current as of 09/26/2024
The Soka Performing Arts Center deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Contact Renée Bodie, General Manager at (949) 480-4821 to make us aware of any error or omission in the foregoing list.
DONATE TO SOKA PERFORMING ARTS CENTER
Your support helps ensure Soka Performing Arts Center fulfills its purpose: to engage, educate, and elevate the human spirit. Your gift supports the programming of world-class performances, provides transformative educational outreach experiences, and opens the opportunity to build engagement with our community by sharing the joy of live music.
Our subscription and renewal program provides you with even more flexibility in our season packages*. With our enhanced program, you now have the power to curate your very own unique experience.
• 15% Discount for a 3 performance package
• 18% Discount for a 4 performance package
• 20% Discount for a 5+ performance package
*full details online at soka.edu/pac
OUR PARTNERS
• Blueport Jazz
• Philharmonic Society of Orange County
• Pacific Symphony
• Parnassus Society
SOKA PAC MANAGEMENT TEAM
Renée Bodie
General Manager & Artistic Director
John Morgan
Box Office Manager
Antoinette Rossman
House Manager/Assistant to the General Manager
Steve Baker
Production Manager
Jarmil Maupin
Internal Events Manager
Ian Smith
Technical Services Manager
Katie Ohrn
Lighting Supervisor
Piano Tuners
Kathy Smith Lead Tuner
Ron Elliott
David Stoneman
David Vanderlip
Website soka.edu/pac
Soka Performing Arts Center resides on the beautiful campus of Soka University of America. We thank the SUA Board of Trustees and the SUA Leadership Council for all of their support.
SUA BOARD OF TRUSTEES
Stephen S. Dunham, JD | CHAIR
Vice President and General Counsel Emeritus, Pennsylvania State University | Baltimore, Maryland
Tariq Hasan, PhD | VICE CHAIR
Chief Executive Officer, SGI-USA | New York, New York
Andrea Bartoli, PhD
President, Sant’Egidio Foundation for Peace and Dialogue | New York, New York
Matilda Buck
Benefactor | Los Angeles, California
Lawrence E. Carter, Sr, PhD, DD, DH, DRS
Dean, Professor of Religion, College Archivist and Curator, Morehouse College | Atlanta, Georgia
Andy Firoved
CEO, HOTB Software | Irvine, California
Jason Goulah, PhD
Professor of Bilingual-Bicultural Education and Director, Institute for Daisaku Ikeda Studies in Education, Director of Programs in Bilingual-Bicultural Education, World Language Education, and Value-Creating Education for Global Citizenship, College of Education, DePaul University | Chicago, Illinois
Clothilde V. Hewlett, JD
Commissioner of Department of Financial Protection and Innovation, State of California | San Francisco, California
Karen Lewis, PhD
Sondheimer Professor of International Finance and Co-Director, Weiss Center for International Financial Research, Wharton School, University of Pennsylvania | Philadelphia, Pennsylvania
Luis Nieves
Founder, Chairman Emeritus AUL Corp, Benefactor | Napa, California
Isabel Nuñez, PhD, MPhil, JD
Professor of Educational Studies, Dean of School of Education, Purdue University Fort Wayne | Fort Wayne, Indiana
Gene Marie O’Connell, RN, MS
Health Care Consultant, Associate Clinical Professor, University of California, San Francisco School of Nursing | Corte Madera, California
Adin Strauss
General Director, Soka Gakkai International-USA | Santa Monica, California
Yoshiki Tanigawa
Benefactor, Soka Gakkai | Tokyo, Japan
Gregg S. Wolpert
Co-president, The Stahl Organization | New York, New York
Edward M. Feasel, PhD
President, Soka University of America (ex-officio member) | Aliso Viejo, California
Edward M. Feasel, PhD
President
Chief Academic Officer
Professor of Economics
Archibald E. Asawa
Executive Vice President for Finance and Administration
Chief Financial Officer
Chief Investment Officer
Katherine M. King, PHR
Executive Vice President of University
Community
Chief Human Resources Officer
Title IX and Section 504 Coordinator for Faculty, Staff and Others
Michael Weiner, PhD
Executive Vice President for Academic Affairs
Professor of East Asian History & International Studies
Bryan E. Penprase, PhD
Vice President for Sponsored Research and External Academic Relations Professor of Physics and Astronomy
Tomoko Takahashi, PhD, EdD, LHD
Vice President for Institutional Research and Assessment
Dean of the Graduate School Professor of Linguistics and Education
David Welch, JD Vice President University Counsel
M. Robert Hamersley, PhD Dean of Faculty Professor of Environmental Biogeochemistry
Hyon J. Moon, EdD Dean of Students
Title IX and Section 504 Deputy Coordinator for Students
Michelle Hobby-Mears, MBA
Associate Dean of Students Director of Student Activities
Andrew Woolsey, EdD Dean of Enrollment Services
Martin Beck, MA
Executive Director of Strategic Marketing and Communications
