Pacific Symphony plays Mozart & Bruch
Amaryn Olmeda, violin
Jacob Sustaita, conductor
Sunday, March 23, 2025 | 3PM
Soka Performing Arts Center at Soka University of America
PROGRAM
MOZART
Symphony No. 39 in E-flat Major, K.543
Adagio; Allegro
Andante
Menuetto; Allegretto
Finale: Allegro
BRUCH
Violin Concerto No.1 in G minor, Op. 26
Vorspiel; Allegro moderato
Adagio
Finale: Allegro energico
Symphony No. 39 in E-flat Major, K.543
WOLFGANG AMADEUS MOZART
Born January 27, 1756, Salzburg
Died December 5, 1791, Vienna
Mozart’s early years in Vienna had brought success, but by the fall of 1787 Viennese tastes had changed and his fortunes were in sharp decline: he had fewer students and fewer opportunities to put on concerts of his music. Neither Mozart nor his wife was adept at managing finances, and–in straitened circumstances–they were forced to move from their apartment to more modest lodgings in a Vienna suburb. Soon they had to move again, but their landlord blocked the move until they had fully paid their rent. Mozart was reduced to pleading for loans from friends to pay his bills. And in the midst of these woes, Mozart’s infant daughter Theresia died on June 29, 1788.
From this utterly dismal situation, Mozart wrote three symphonies. They would be his final symphonies, and they are his finest. He wrote them with blinding speed: No. 39 was completed on June 26 (three days before the death of his daughter), No. 40 on July 25, and No. 41 two weeks later on August 10. No one is sure why Mozart wrote them. Usually he wrote only for scheduled performances, but there is no evidence that he foresaw performances for these symphonies (and he probably heard only one of them–the Symphony No. 40 in G Minor). Perhaps he wrote these symphonies for a projected series of concerts that
never came to pass. Or maybe he simply wrote them for himself. T.S. Eliot has noted that the greater the artist, the more completely he is able to separate the emotions of his own life from the work he creates. Mozart’s Symphony No. 39 may be one of the most stunning examples of such a separation. Written from the depths of humiliating poverty and family tragedy, this symphony is touched not by sorrow and pain but by radiant, powerful life.
If the Symphony No. 40 is–in Toscanini’s words–“great tragedy” and the Symphony No. 41 is suffused with Olympian grandeur, then the Symphony No. 39 breathes an entirely different atmosphere, easy to sense but difficult to define–this is joyous music, powerful, radiant, and beautifully proportioned. It also sounds different from Mozart’s other symphonies. He eliminates oboes and replaces them with a pair of clarinets, giving this symphony a smoother, more mellow sonority. This symphony also has a slow introduction, a feature that occurs in only two other Mozart symphonies. Punctuated by brass and timpani, this introduction is marked by unusual grandeur, but stinging dissonances suddenly pierce its progress. After so portentous a beginning, the Allegro soars gently on a main theme that is simplicity itself, suffused with sunlight and peace; the second subject is more complex, flowing smoothly between woodwinds and strings, and drives to a powerful conclusion. The development, devoted only to this second theme, is quite short, and then Mozart offers a glorious
recapitulation: the first subject sounds particularly fresh in this context, and a brief coda powers the movement to a vigorous close.
The Andante changes character completely. Strings have the opening to themselves, and their two opening phrases, both rocking along gently on dotted rhythms, form the basis of the entire movement. There is no development section per se here, though Mozart puts these themes through variations that are alternately fiery and serene.
The third movement is a powerful minuet, propelled by the martial sound of brass and timpani. The trio section, however, is as charming as it is surprising. Clarinets sing and swirl in music reminiscent of Viennese street bands or Austrian folkdances. Whatever the inspiration, the trio is a graceful interlude before the return of the vigorous minuet. The concluding Allegro, in sonata form, is one of Mozart’s finest finales. Its sparkling main theme, built on a blaze of sixteenth-notes, returns in varied form throughout, and Mozart liked this theme enough that when it comes time for the movement’s second subject, he simply uses the first theme again! At the close of this brief movement, the symphony suddenly vanishes on two quick fragments of this infectious melody.
Violin Concerto No. 1 in G minor, Opus 26 MAX BRUCH
Born January 6, 1838, Cologne
Died October 2, 1920, Friedenau
Max Bruch appears fated to remain
a one-work composer. His choral compositions are still admired in Germany, and one hears the Scottish Fantasy from time to time, but Bruch’s reputation today rests squarely on the fame of one work, his First Violin Concerto. Ironically, this concerto was a product of his youth–he began work on it at age 19, finished the first version nine years later, and had it in final form in 1868, when he was only 30. Joseph Joachim, the dedicatee, gave the successful premiere of this version, and the concerto’s instant popularity overwhelmed everything else Bruch wrote thereafter. He is said to have reacted with exasperation when young violinists came to play for him, for they always played this concerto. He was left complaining that he had written some other pieces for violin.
There are several good reasons for this concerto’s continuing popularity. Bruch writes gorgeous melodies for the violin here–this is late German romanticism at its most lyric. He is then able to build these simple melodies into climaxes of tremendous power and excitement. Last, and certainly not least, this concerto is beautifully written for the violin–it sits gracefully under the fingers, and while the Concerto in G minor is very difficult, it is also very grateful to play. This concerto has an evergreen quality that will keep it fresh forever.
The form is slightly unusual, and the opening movement gave Bruch a great deal of trouble. The first two movements are joined, and Bruch worried that the opening section
was not a complete movement. He called it Vorspiel (Prelude), and it is in an unusual form. It begins with a slow orchestral introduction, and the violin enters with a cadenzalike recitative. The music soon rushes ahead on soaring themes and dramatic writing to a great climax, and then Bruch brings back the recitative of the very beginning to lead the way into the middle movement.
The Adagio is one of the great slow movements in all the violin concerto literature, and it shows Bruch’s considerable melodic gift. There are three separate themes, all gentle and yearning, and all of them wellsuited to the violin’s lyrical nature. Bruch weaves them into a climax of considerable power before the movement ends quietly. The finale, aptly marked Allegro energico, is a rondo-like movement in G major. The orchestra’s introduction leads to the impressive violin entrance, reminiscent of gypsy fiddling. Once again, Bruch offers some terrific writing for the violin, and his performance markings tell the tale: passages marked appassionato or con fuoco or con forza alternate with material marked dolce or tranquillo e grazioso. The movement races to its close on a Presto coda that sends the solo violin soaring to the very top of its range.
Program notes by Eric Bromberger © 2025.
Pacific Symphony with Amaryn Olmeda
AMARYN OLMEDA, VIOLIN
Amaryn Olmeda is a violinist of rare expressive depth and electrifying virtuosity, celebrated for her “commanding stage presence, infallible technique, and interpretive ability already rivaling that of international concert stage veterans” (Violinist.com). Winner of First Prize and the Audience Choice Award at the 24th Annual Sphinx Competition, Olmeda is quickly establishing herself as one of the most compelling young artists of her generation, captivating audiences with performances that are bold, heartfelt, and deeply communicative.
The 2024-25 season marks an exciting chapter in Olmeda’s burgeoning career, featuring a series of major debuts as soloist with the Boulder Philharmonic, Alabama Symphony, Charlotte Symphony, Albany Symphony, Pacific Symphony, Omaha Symphony, and Sarasota Orchestra. She also makes her recital debut at the Kravis Center’s Young Artists Classical Series in West Palm Beach, FL, and at the University of Florida Performing Arts in Gainesville, FL. This season follows her 2024 Lincoln Center debut during the Summer for the City series, and builds on the momentum of her solo Carnegie Hall debut at
age 14 with the Sphinx Virtuosi, where she earned critical acclaim for her artistry well beyond her years.
Praised for performances that combine technical mastery with emotional nuance, Olmeda has appeared as soloist with leading American orchestras, including the Cleveland Orchestra, Houston Symphony, Philadelphia Orchestra, Seattle Symphony, Buffalo Philharmonic, and the San Francisco Chamber Orchestra, where her New Year’s Concert Series appearances led to a nomination for the San Francisco Classical Voice Audience Choice Awards. Recent recital highlights include engagements at Festival Napa Valley’s Bouchaine Young Artist Series and New York City’s National Arts Club.
In 2023, Olmeda made her recording debut as the featured soloist on Carlos Simon’s Between Worlds, part of the Sphinx Virtuosi’s inaugural Deutsche Grammophon release. The Strad praised her performance as “an impressive reading by the young musician [who] shows why she has garnered the word ‘prodigy.’” Additional accolades include being named an NPR From the
Top Fellow, a Young Artist Soloist with the Seattle Symphony, and a recipient of the National Arts Club’s Herman and Mary Neuman Music Award. Olmeda’s versatility has also led to collaborations beyond the concert hall, including a solo feature in the video production The Extraordinary Life of Joseph Bologne, Chevalier de Saint-Georges with the Sacramento Philharmonic and VITA Academy, and a gala performance with pianist Yuja Wang for the San Francisco Conservatory of Music.
A dedicated advocate for sharing classical music with new audiences, Olmeda frequently performs for community and educational outreach programs, with past appearances through the Buffalo Philharmonic, Richmond Symphony, Auburn Symphony, and Oakland Symphony.
Born in Melbourne, Australia in 2008, Olmeda currently studies at the New England Conservatory of Music with Miriam Fried and previously trained with Ian Swensen at the San Francisco Conservatory of Music. She performs on a 1864 violin made by J.B. Vuillaume, whose rich, warm sound matches her own distinctive musical voice.
For a complete schedule of Amaryn Olmeda’s upcoming performances, please visit: https://www.amarynolmeda. com/schedule
© Josh Wool
JACOB SUSTAITA, CONDUCTOR
Dr. Jacob Sustaita is an accomplished conductor, currently serving as Assistant Conductor for Pacific Symphony and Music Director of the Pacific Symphony Youth Orchestra (PSYO). Since joining Pacific Symphony in 2020, he has worked closely with Music Director Carl St.Clair, leading performances that inspire audiences and nurture the next generation of orchestral musicians. Under his leadership, PSYO has upheld its reputation as one of the premier youth orchestras in the nation.
Previously, Dr. Sustaita was Acting Director of Orchestras at CSULB and Director of Orchestral Studies at Sam Houston State University, where he led multiple ensembles, including a critically acclaimed American premiere of Bruckner’s Symphony No. 1 (original Linz version). In 2015, he was selected by Carnegie Hall’s Weill Institute as Assistant Conductor for Charles Dutoit and the National Youth Orchestra of the USA (NYOUSA), conducting during its New York residency and China tour.
A Texas native, Dr. Sustaita holds degrees from the University of Houston, Penn State University,
and Rice University. His mentors include Carl St.Clair, Charles Dutoit, and Paavo Järvi. With a passion for musical excellence, he continues to shape the future of orchestral music.
Pacific Symphony with Amaryn Olmeda
PACIFIC SYMPHONY
CARL ST.CLAIR MUSIC DIRECTOR
Currently celebrating its 46th anniversary season, the Symphony is the largest orchestra formed in the U.S. in the last 50 years and 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.
In April 2018, Pacific Symphony made its debut at Carnegie Hall as one of two orchestras invited to perform during a yearlong celebration of composer Philip Glass’ 80th birthday, and the following month the orchestra toured China. The orchestra made its national PBS debut in June 2018 on Great Performances with Peter Boyer’s Ellis Island: The Dream of America, conducted by St.Clair. Presenting more than 100 concerts and events a year and a rich array of education and community engagement programs, the Symphony reaches more than 300,000 residents—from school children to senior citizens.
In both 2005 and 2010, the Symphony received the prestigious ASCAP Award for Adventurous 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 awardwinning education and community engagement 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 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, Pacific Symphony Santiago Strings, and Pacific Symphony Youth Concert Band.
The Symphony also spreads the joy of music through arts-X-press, Class Act, Heartstrings, Lantern Festival Orchestra, Symphony on the Go!, and Symphony in the Cities.
Carl St.Clair Music Director, Pacific Symphony © Texas Classical Review
Pacific Symphony Announces Alexander Shelley as next Artistic & Music Director, beginning in 26-27 Season
Alexander Shelley has been appointed as Pacific Symphony’s next Artistic and Music Director, commencing in the 2026–27 season. This marks a historic transition as Carl St.Clair, who has led the orchestra for over three decades, steps into the role of Music Director Laureate in 2025–26. Shelley will serve as Artistic and Music Director Designate during the 2025–26 season, ensuring a smooth handover of artistic leadership.
Known for his dynamic artistry and innovative programming, Shelley brings extensive experience from his roles as Music Director of the National Arts Centre Orchestra in Canada, Principal Associate Conductor of London’s Royal Philharmonic Orchestra, and Artistic and Music Director at Artis—Naples. He is celebrated for his operatic productions and groundbreaking multimedia projects, including Life Reflected, which honors Canadian female pioneers, and the ballet-focused Encount3rs.
Shelley is a staunch advocate for community engagement and education, demonstrated by initiatives like the NAC Mentorship Program and Germany’s awardwinning “Future Lab.” His appointment signals an exciting new era for Pacific Symphony,
building on its legacy of musical excellence, education, and cultural contributions to Southern California.
Shelley’s vision for Pacific Symphony includes expanding its reach through inclusive programming, fostering new connections, and celebrating the role of music in uniting communities. His deep respect for the orchestra’s artistic foundation, paired with his forward-thinking leadership, promises to usher in a vibrant and innovative chapter for the ensemble.
Concessions
A wide variety of wine, beer, soft drinks and freshly prepared snacks will be available before the concert.
Artist Drink Pick
Saturn Cocktail
We asked the artist for their favorite drink pick to feature at concessions! Saturn Cocktail was selected by Jacob Sustaita and will be available for purchase before the performance. It is a drink with gin, lemon juice & passion fruit.
Click here for menu and to order
Pre-order your concessions and skip the line before the performance!
Our mission is to Engage, Educate, and Elevate the Human Spirit
Soka Performing Arts Center strives to elevate humanity through transcendent experiences. Come experience our exquisite acoustics. Come to expand your understanding and appreciation of music. Come to forge community and emotional connections through the shared experience of live music.
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 750 performances have taken place since the center’s dedication on May 27, 2011. The 2024-25 season marks our thirteenth 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 PSOC Series, which brings superlative artists to our stage. We also partner with PSOC 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.
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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
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Lorraine Leiser
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Raquel Bruno
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Ryosuke Iga
Jeannette Pease
Joyce M Wrice
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List current as of 09/26/2024
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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
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• Pacific Symphony
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SOKA PAC MANAGEMENT TEAM
Renée Bodie
General Manager & Artistic Director
John Morgan
Box Office Manager
Antoinette Rossman
House Manager/Assistant to the General Manager
Jaime Spataro
Marketing & Communications Manager
Steve Baker
Production Manager
Aadya Agrawal
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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
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