PMF 2025 will open with programs led by Karina Canellakis, featuring such monumental works as Sibelius’ Violin Concerto and Mahler’s Symphony No. 1. Universally recognized as among the top conductors of her generation, Canellakis' collaboration with the PMF Orchestra will certainly result in a fresh interpretation of these timeless masterpieces.

Dawid Runtz returns to PMF to conduct the PMF Host City Orchestra Concert, with the Sapporo Symphony Orchestra joined by PMF musicians, in Schubert’s “Unfinished” B minor symphony and Shostakovich’s Symphony No. 10. Runtz will also conduct a specially formed chamber orchestra in celebration of the 35th PMF, with alumni musicians and more, in a program centered on Mozart’s sublime Symphony No. 41 “Jupiter.”

Dawid Runtz, Chief Conductor of the Zagreb Philharmonic Orchestra and Principal Conductor of the Polish Royal Opera, will return to PMF after his time here in 2017 as a member of the Conducting Academy. He has kindly shared his thoughts on PMF with us!

What are your thoughts on returning to conduct at PMF?

As a conducting student, I had a wonderful time at PMF, which greatly enriched my perspective on conducting and allowed me to learn a new level of artist training. It was my first time in Japan, I discovered a wonderful country, and I am glad to be returning to the festival to conduct two concerts there.

What makes PMF unique?

This festival is created by people. Its unique atmosphere is deeply embedded in my memory. After the festival, I met with my fellow students from PMF 2017, both in Europe and in the United States. We are in touch. It is amazing how students of PMF form friendships and later pass each other in the professional world. In addition, I remember the orchestra rehearsals, the passionate commitment of the musicians, their smiles and the manifestation of the pure joy that music brings.

What do you hope Academy members experience at PMF?

I hope that, like in my case, the festival will be remembered as a time of both personal and professional development. The experience gained during PMF is absolutely invaluable and influences the course of the career path in the following years. I wish all members to make the best use of this time!

An ongoing series of interviews with PMF alumni and faculty, this issue and the next will feature a student and a teacher: Natalie Hoe (clarinet, PMF 2017), currently Principal Clarinet with the Florida Orchestra, and her former teacher Richie Hawley (clarinet, PMF 1990, 91), Professor of Clarinet/Chair of Woodwinds at Rice University’s Shepherd School of Music. In this issue, Natalie shares her thoughts on studying with Hawley, and on PMF.

Studying with Richie Hawley during my Master's degree at Rice University’s Shepherd School of Music was integral to my growth, not only as a musician but as an artist. His guidance helped me refine my playing, instill a disciplined approach to practicing, and develop a deeper understanding of playing in orchestra, all of which have been so key on my current musical journey.

What made you want to apply for PMF?

I wanted to apply for the Pacific Music Festival because it offered the incredible opportunity to work with prestigious faculty and connect with talented musicians from around the world, inspiring both my growth as a musician and my love for music.

Is there any difference between the way you thought of PMF before you participated and how you think of it now?

PMF was a pivotal experience for me, and I left the summer of 2017 feeling rejuvenated. It came right before I started as Principal Clarinet of the Florida Orchestra, and being surrounded by like-minded musicians and receiving feedback from seasoned professionals was incredibly valuable in preparing me for my new role. I arrived feeling a bit nervous and intimidated, but I left with newfound energy, inspiration, and lasting connections with friends and colleagues.

What do you hope the next generation of young musicians will take away from their time at PMF?

I hope the next generation of young musicians at PMF will leave with lasting friendships that span continents, a broadened perspective from working with diverse musicians, and a deeper sensitivity in their playing. I also hope they gain a greater appreciation for the unique personal voices that emerge through others’ musicianship.