2023.12.05 | Seong-Jin Cho Program

Co-presented with Philharmonic Society of Orange County

Seong-Jin Cho Tuesday, Dec. 5 | 8 PM Pre-Concert Lecture by Classical California KUSC’s Brian Lauritzen | 7 PM

Soka Performing Arts Center at Soka University of America

Seong-Jin Cho

PROGRAM JOSEPH HAYDN Piano Sonata in E Minor, Hob.XVI: 34 Presto Adagio Vivace molto

MAURICE RAVEL Menuet sur le nom d’Haydn MAURICE RAVEL Miroirs Noctuelles Oiseaux tristes Une barque sur l’océan Alborada del gracioso La vallée des cloches

- INTERMISSION WOLFGANG AMADEUS MOZART Adagio in B Minor, K.540 FRANZ LISZT from Années de Pelerinage, Deuxième Année “Italie” Sonetto 47 del Petrarca Sonetto 104 del Petrarca Sonetto 123 del Petrarca Après une lecture du Dante, fantasia quasi una sonata

ABOUT THE PROGRAM Piano Sonata in E Minor, Hob.XVI:34 FRANZ JOSEPH HAYDN Born March 31, 1732, Rohrau Died May 31, 1809, Vienna Presto Adagio Vivace molto Haydn’s 62 keyboard sonatas offer some of his most original work, yet this large body of music remains largely unfamiliar to audiences today. The keyboard sonatas span Haydn’s creative career – he wrote the earliest about 1750, when he was 18, the last in 1794 when he was 62–and they have defied easy categorization. These sonatas can be quirky, sometimes consisting of unusual numbers of movements presented in unexpected sequences. They have baffled many performers and audiences, and as late as 1950 the distinguished piano pedagogue Ernest Hutcheson suggested that it did no real harm to the music if performers played individual movements from the sonatas rather than playing them complete.

Over the last half-century, we have learned to value these sonatas on their own terms rather than dismissing them because they do not conform to familiar expectations.

The Sonata in E Minor was published in London in January 1784, though it appears to have been written several years earlier.

Haydn was at this point a mature composer: he turned 62 in 1784,

and he had already composed nearly 80 of his 104 symphonies.

The sonata’s opening Presto is quite brilliant, with virtuoso passagework and rapid exchanges between the pianist’s hands. After the complex textures of the opening movement, the Adagio–once again in sonata form–seems clarity itself: all the musical interest here is in the right hand, while the left provides understated accompaniment.

Haydn proceeds without pause into the finale, marked Molto vivace. It is in rondo form, and the infectious principal theme returns constantly, shaded and colored differently on each appearance, until Haydn drives the sonata to its firm conclusion.

Menuet sur le nom d’Haydn MAURICE RAVEL Born March 7, 1875, Ciboure, Basses-Pyrennes Died December 28, 1937, Paris In early 1909 Jules Ecorcheville, editor of the journal Revue musicale de la S.I.M., wished to observe the centenary of the death of Joseph Haydn, who had died in May 1809. He asked a group of eight French composers to write a short piece based on the musical equivalents of the letters of Haydn’s last name, as determined by Ecorcheville: H A Y D N B A D D G Two of those composers–SaintSaëns and Gabriel Fauré–declined

Seong-Jin Cho the invitation (Saint-Saëns objected to Ecorcheville’s musical equivalents), but the remaining six composers each wrote a brief piece to honor that earlier master: Ravel, Debussy, d’Indy, Widor, Hahn, and Dukas. These were published in the Revue musicale, and on March 11, 1911, Ennemond Trillat gave the public premiere of all six at a concert of the Societé national at the Salle Pleyel.

Ravel set his piece in a form that Haydn would have recognized, a minuet, but he abandoned Haydn’s three-part form and instead composed a graceful little dance based on the fivenote sequence. What makes his Menuet sur le nom d’Haydn so ingenious is that Ravel treats that sequence in a way that might have pleased Arnold Schoenberg: he gives us those notes forward, backward, and inverted, carefully pointing out these uses by writing Haydn’s name backwards and upside-down in the score as they appear. This makes the music sound terribly learned, and it is not. Instead, this graceful and affectionate gesture toward the music of Haydn is pure Ravel.

Miroirs MAURICE RAVEL Born March 7, 1875, Ciboure Died December 28, 1937, Paris Noctuelles Oiseaux tristes Une barque sur l’océan Alborada del gracioso La vallée des cloches

Ravel wrote the five-movement set of piano pieces entitled Miroirs in the years 1904-5, when he was thirty years old. This was the period of scandal that arose when the faculty of the Paris Conservatory one more time blocked Ravel’s attempt to win the Prix de Rome, claiming that he broke too many “rules.” They were in effect denying the prize to a young man who had become an established composer, and the resulting outcry led to the resignation of some of those who had opposed him.

A century later, Miroirs may still sound exotic, but no listener today will find this music difficult. The title Miroirs suggests that Ravel’s attempt here is to reflect an image, and each of the pieces that make up Miroirs piano suggests a “sound-picture” of its title.

The opening title, Noctuelles, translates as “Night Moths,” and the music suggests the fluttering, clumsy flight of moths. The music spills and swirls its way to a calmer center section before the moths resume flight, and the piece ends on delicate wisps of sound. The second piece, Oiseaux tristes (“Sad Birds”), was the first to be written. Ravel himself called this “the most typical in the collection” and described its content: “These are birds lost in the mazes of an extremely dark forest during the hottest hours of summer.” Repeated notes, exotic swirls of sound, and extensive use of rubato mark his portrait of the birds. Audiences may find the third piece, Une barque sur l’océan (“A Barque

ABOUT THE PROGRAM on the Ocean”), familiar, for Ravel orchestrated it shortly after publishing Miroirs. Here is one of Ravel’s most successful efforts at tone-painting: waves shimmer and fall, the wind whistles, and the boat glides and surges across the water. The fourth piece, Alborada del gracioso, is also well-known in its orchestral guise, though Ravel did not orchestrate it until 1918.

The title of this colorful music does not translate easily, and the English rendering “Morning Song of the Jester” is prosaic. Himself of Basque origins, Ravel had a special affection for Spanish music throughout his life, and the rhythmic vitality of Alborada shows this influence clearly. The final piece–La vallée des cloches (“The Valley of the Bells”)–is a tonepainting of the sound of church bells. This movement is written on three staves, and Ravel–who said that the inspiration for this music was the church bells of Paris that would ring out at noon–gives us a huge range of bell-sounds, from deep tolling bells to high bells that ring out brightly. Some sense of this music may be found in Ravel’s instructions to the pianist. He asks that the performance be “very gentle and without accents” and specifies twice that the playing should be très calme.

Adagio in B Minor, K.540 WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna This brief Adagio is one of Mozart’s least-known works for solo piano–

and one of his finest. He wrote it on March 19, 1788, during what must have seemed a period of numbing transition for the 32-year-old composer. He had worked for most of the previous year on Don Giovanni, but that opera–successful at its Prague premiere–had not won over the Viennese so readily, and now Mozart was beginning to sense that his position in his adopted city had deteriorated. His financial situation was increasingly precarious, and that summer would come moves to cheaper apartments and painful appeals to friends for assistance.

The Adagio is dark and expressive music, yet one needs to be extremely careful about making easy connections between this music and the details of Mozart’s life. Someone once observed that Mozart would no more consider writing music about how he was feeling than he would consider writing music about what he had had for breakfast–the features of his own life were not the subject of his art. We know virtually nothing about the background of the Adagio or why Mozart wrote it.

What we can feel is the greatness of the music itself, and critics have made some staggering claims on its behalf. Alfred Einstein calls the Adagio “one of the most perfect, most deeply felt, and most despairing of all his works,” while Arthur Hutchings names it “Mozart’s finest single work for solo piano.” Yet this music is difficult to describe. One can

Seong-Jin Cho speak (accurately) of its chromatic writing, surprising dynamic contrasts, unusual leaps across the range of the keyboard, and lean textures without ever getting at the intense quality of this music or at its curious fusion of bleakness and grace. Rather than trying to make tempting connections between Mozart’s life and his art, it is far better to take this brief Adagio for what it is: some of the most expressive music Mozart ever wrote. from Années de pèlerinage (Deuxième année: Italie), S.161 FRANZ LISZT Born October 22, 1811, Raiding Died July 31, 1886, Bayreuth Sonetto 47 del Petrarca Sonetto 104 del Petrarca Sonetto 123 del Petrarca Après une lecture du Dante, fantasia quasi una sonata Liszt and his mistress Marie d’Agoult made an extended visit to Italy in 1838-39, and they fell in love with the country, its people, its art.

While in Italy, Liszt began to sketch a second collection of piano pieces in the manner of the first book of Années de pèlerinage (“Years of Pilgrimage”). Where the first collection was devoted to physical locations in Switzerland, now Liszt changed his focus: the seven pieces of Italie were inspired by varied works of Italian art. While in Italy, Liszt and Marie d’Agoult read through the sonnets of Petrarch together, and Liszt was so struck

by these poems that the following year he wrote three songs that set Petrarch’s sonnets 104, 47, and 123. These appear to have been the first songs composed

by Liszt, who was 28 at the time.

These dramatic songs have been described as operatic, for they were written for high tenor and go up to high C-sharp. Liszt immediately transcribed the three songs as piano pieces, and these transcriptions were published as a set–in a slightly different order–in 1846. Several years later, Liszt returned to these piano pieces and revised them for inclusion in the second book of Années de pèlerinage.

While the impulse behind these three pieces is lyric, Liszt turned the piano versions into virtuoso keyboard works: moments of melting lyricism will give way almost instantly to bravura writing that demands an absolutely first-class pianist simply to get the notes. All three may end very quietly, but along the way comes some very dynamic and exciting music. Sonetto 47 opens with a brief but impetuous introduction before settling into the main melody of the song, which Liszt marks both con intimo sentimento and sempre dolce and which sings gracefully on syncopated rhythms. The songtheme is elaborated–and the introductory material returns in various forms–before the music closes with a quiet reminiscence of the central theme.

By contrast, the famous Sonetto

ABOUT THE PROGRAM 104 opens powerfully (Agitato assai), as befits the troubled topic of this sonnet, but this abrupt beginning quickly gives way to the melody of the song, which is then extended at length. The writing for piano is particularly impressive here, with difficult chordal passages, powerful writing in octaves, great cadenza-like flourishes, and chains of thirds.

After all this energy, the peaceful main theme returns to draw the music to its close on quietlyarpeggiated chords.

The subject of Sonetto 123 is more peaceful, and Liszt marks this setting Lento placido and specifies that the performance should be dolcissimo and espressivo.

Despite an occasional outburst, this music remains generally restrained, and in the closing moments there is some lovely use of the piano’s ringing high register, which helps lead the music to its delicate conclusion.

The final work of this set is a sort of companion-piece to the three Petrarch settings, and it was published as the seventh (and final) piece of the Italian book of Années de pèlerinage. Liszt borrowed the elaborate name Après une lecture du Dante from a poem by Victor Hugo and appended his own description fantasia quasi sonata; the work is sometimes known as the Dante Sonata. It was written in 1839, the same year as the Petrarch settings, and it was apparently very difficult for Liszt: Marie d’Agoult wrote to a friend to say that its composition

“was sending him to the very devil.” Certainly the topic gripped Liszt, for it here inspires some of his most vivid tone-painting.

The Dante Sonata opens with powerful descending octaves meant to depict the entry into hell and doubtless inspired by the line “Abandon hope, all ye who enter here.” Liszt underlines this association by having the octaves descend on the interval of a tritone. This unsettling interval (a diminished fifth) has been associated for centuries with the devil: its unresolved dissonance was referred to as the diabolus in music, and its use was forbidden in some circles. Here that ominous sound makes an ideal accompaniment for our descent into hell, and soon we are plunged into the torment of the damned on music that Liszt marks lamentoso.

Liszt biographer Alan Walker notes that one of Liszt’s students– on information provided by the composer–copied the following lines from The Inferno into his own score at this point: Here sighs, with lamentations and loud moans, Resounded through the air pierced by no star, That e’en I wept at entering.

Strange tongues, Horrible cries, words of pain, Tones of anger, voices deep and hoarse, With hands together smote that swelled the sounds, Made up a tumult, that for ever whirls Round through that air with solid

ABOUT THE PROGRAM darkness stained, Like to the sand that in the whirlwind flies.

Consolation comes with the singing and serene second subject (perhaps a vision of heaven from out of the pit of hell), though Walker points out that this is ingeniously derived from the horrifying lamentation theme. Liszt then

extends both these ideas through some furious development– the work is not so much in the sonata form that its title implies as a sort of free expansion of the fundamental themes. There are moments of radiant calm along the way, but finally Liszt drives the Dante Sonata to a close that is both dramatic and sonorous.

Program Notes are Copyright © Eric Bromberger 2023

ABOUT SEONG-JIN CHO With an innate musicality and overwhelming talent, Seong-Jin Cho has established himself worldwide as one of the leading pianists of his generation and most distinctive artists on the current music scene. His thoughtful and poetic, assertive and tender, virtuosic, and colourful playing can combine panache with purity and is driven by an impressive natural sense of balance.

Seong-Jin Cho was brought to the world’s attention in 2015 when he won First Prize at the Chopin International Competition in Warsaw, and his career has rapidly ascended since. In January 2016, he signed an exclusive contract with Deutsche Grammophon.

An artist high in demand, Cho works with the world’s most prestigious orchestras including Berliner Philharmoniker, Wiener Philharmoniker, London Symphony Orchestra, Orchestre de Paris, New York Philharmonic and The Philadelphia Orchestra.

Conductors he regularly

collaborates with include MyungWhun Chung, Gustavo Dudamel, Andris Nelsons, Yannick NézetSéguin, Gianandrea Noseda, Sir Simon Rattle, Santtu-Matias Rouvali, Esa-Pekka Salonen and Lahav Shani.

Highlights of Seong-Jin Cho’s 2023/24 season include his anticipated debut at the Salzburger Festspiele with the Mozarteumorchester and Ivor Bolton, and his return to London’s BBC Proms with the Philharmonia Orchestra and Santtu-Matias Rouvali. He notably returns to the Concertgebouworkest, Los Angeles Philharmonic and Boston Symphony Orchestra, giving performances in both Boston and Carnegie Hall, and makes anticipated debuts with The Cleveland Orchestra, San Francisco and Chicago Symphony Orchestras. A highly sought-after touring soloist, Cho embarks on several international tours, including with the Berliner Philharmoniker and Kirill

SEONG-JIN CHO Petrenko in Korea, and with the Gewandhausorchester Leipzig and Andris Nelsons in Korea and Japan.

He also performs with the National Symphony Orchestra Washington and Gianandrea Noseda throughout Europe in Spring 2024.

An active recitalist very much in demand, Seong-Jin Cho appears in many of the world’s most prestigious concert halls including the main stage of Carnegie Hall, Concertgebouw Amsterdam, Berliner Philharmonie, Musikverein Wien, Konzerthaus Wien, Prinzregententheater München, Barbican London, Suntory Hall Tokyo, Walt Disney Hall Los Angeles, Festival International de piano de la Roque d’Anthéron, and Verbier Festival. During the coming season he is engaged to perform solo recitals at halls including the Alte Oper Frankfurt, Théâtre des Champs-Élysées, KKL Luzern, Sala Santa Cecilia, Megaron Athens and Carnegie Hall.

Seong-Jin Cho’s latest recording is his solo album entitled The Handel Project, released in February 2023, and in August 2021, he released Chopin’s Piano Concerto No. 2 and Scherzi with the London Symphony Orchestra and Gianandrea Noseda for Deutsche Grammophon. He had previously recorded his first album with the same orchestra and conductor featuring Chopin’s Piano Concerto No. 1 as well as the Four Ballades.

His solo album titled The Wanderer was released in May 2020 and features Schubert’s “Wanderer” Fantasy, Berg’s Piano Sonata op.

1 and Liszt’s Piano Sonata in B minor. A solo Debussy recital was also released in November 2017, followed by a Mozart album with the Chamber Orchestra of Europe and Yannick Nézet-Séguin in 2018. All albums have been released on the Yellow Label and have garnered impressive critical acclaim worldwide.

Born in 1994 in Seoul, Seong-Jin Cho started learning the piano at the age of six and gave his first public recital aged 11. In 2009, he became the youngest-ever winner of Japan’s Hamamatsu International Piano Competition.

In 2011, he won Third Prize at the International Tchaikovsky Competition in Moscow at the age of 17. From 2012-2015 he studied with Michel Béroff at the Conservatoire National Supérieur de Musique de Paris. Seong-Jin Cho is now based in Berlin.

Mr. Cho records exclusively for Deutsche Grammophon More information on Seong-Jin Cho can be found at www.seongjin-cho.com

UPCOMING

“Prestigious beyond belief.”

BBC Radio 3

Chamber Music Society Of Lincoln Center: The Complete Brandenburg Concerti SATURDAY, DECEMBER 9, 2023, 8 PM

Pre-concert lecture by Classical California KUSC’s Brian Lauritzen | 7 PM

SOKA PERFORMING ARTS CENTER

BACH Brandenburg Concerto No. 1 in F major, BWV 1046 BACH Brandenburg Concerto No. 2 in F major, BWV 1047 BACH Brandenburg Concerto No. 3 in G major, BWV 1048 INTERMISSION BACH Brandenburg Concerto No. 4 in G major, BWV 1049 BACH Brandenburg Concerto No. 5 in D major, BWV 1050 BACH Brandenburg Concerto No. 6 in B-flat major, BWV 1051 This concert is co-presented with Philharmonic Society of Orange County.

“Mr. Bell doesn’t stand in anyone’s shadow.”

The New York Times

Joshua Bell &

Academy Of St Martin In The Fields WEDNESDAY, APRIL 3, 2024, 8 PM

Pre-concert lecture by Classical California KUSC’s Brian Lauritzen | 7 PM

SOKA PERFORMING ARTS CENTER

VINCE MENDOZA opening work (new commission) MENDELSSOHN Violin Concerto in E minor, Op. 64 SCHUMANN Symphony No. 2, Op. 61 One of those rare musicians whose charisma and effortless talent has made him a beloved and revered musician across the world, violinist Joshua Bell appears with his chamber orchestra, Academy of St Martin in the Fields, for an enchanting evening of musical brilliance.

This concert is co-presented with Philharmonic Society of Orange County.

TICKETS AND INFORMATION Soka.edu/Pac | 949.480.4278 All programs are subject to change

SOKA PERFORMING ARTS CENTER MISSION STATEMENT

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.

Come to Listen. Feel. Transform.

ABOUT SOKA PERFORMING ARTS CENTER

Soka Performing Arts Center is located on the beautiful hilltop campus of Soka University of America in Aliso Viejo. Our facility includes the 1,032seat 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 2023-24 season marks our twelfth 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, Blues Festival, 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.

SOKA PERFORMING ARTS CENTER DONORS

OUR SUPPORTERS

DIRECTOR’S CIRCLE ($75,000+) Dr. Kenneth & Sandra Tokita Sam & Lyndie Ersan CONCERTMASTER ($10,000+) Ms. Emi Maeda STAGE CHAMPION ($5000+) Anonymous STAGE BENEFACTOR ($1000+) John and Sue Prange Terumi Saito Jochen Schumacher GOLD CLEF ($500+) Jeffrey Hendrix Jane A. Lynch Alex & Sandy Scott SILVER CLEF ($200+) Lorraine Leiser Anson and Marilyn Wong BRONZE CLEF ($25+) Raquel Bruno Sammy Chang Judy Kaufman Jeannette Pease Thomas Prigorac Jonia Suri Naomi Uchiyama Joseph Whitaker Joyce M Wrice Taro Yamanashi Anonymous

List current as of 09/29/2023 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 Renee Bodie, General Manager at (949) 480-4821 to make us aware of any error or omission in the foregoing list.

CREATE YOUR OWN SUBSCRIPTION PACKAGE

This season, we have made exciting updates to our subscription and renewal program, providing 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 • San Diego Symphony • Parnassus Society

SOKA PAC MANAGEMENT TEAM Renée Bodie General Manager & Artistic Director John Morgan Box Office Manager Jarmil Maupin Technical Services Manager Jenski Nguyen Stage Manager Madeline Webb Lighting Technician Hiroyuki Connor Miki Internal Events Manager Jaime Spataro Marketing & Communications Manager Joe Nicholls Marketing & Communications Assistant Steve Baker Interim Production/House Manager

SokaPAC @SokaPAC SokaPerformingArtsCenter @SokaPAC Website soka.edu/pac

SOKA UNIVERSITY OF AMERICA BOARD OF TRUSTEES 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 Steve Dunham, JD Chair Vice President and General Counsel Emeritus, Pennsylvania State University | Baltimore, Maryland Tariq Hasan, PhD Vice Chair Chief Executive Officer, SGIUSA | 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 Lawrence A. Hickman, PhD Director Emeritus, The Center for Dewey Studies and Professor Emeritus, Department of Philosophy, Southern Illinois University Carbondale | Carbondale, Illinois

Kris Knudsen, JD Attorney | Wilsonville, Oregon 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 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 Edward M. Feasel, PhD President, Soka University of America (ex-officio member) | Aliso Viejo, California

SUA LEADERSHIP COUNCIL

SUA LEADERSHIP COUNCIL Edward M. Feasel, PhD President Chief Academic Officer Professor of Economics

M. Robert Hamersley, PhD Dean of Faculty Professor of Environmental Biogeochemistry

Archibald E. Asawa Executive Vice President for Finance and Administration Chief Financial Officer Chief Investment Officer

Hyon J. Moon, EdD Dean of Students Title IX and Section 504 Deputy Coordinator for Students

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 Kevin Moncrief, PhD Vice President for Mission Integration 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

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

PHILHARMONIC SOCIETY DONORS

The Philharmonic Society of Orange County gratefully acknowledges the following donors for their generous support of the Fund for Music during the past twelve months. These contributions make up the difference between the income generated from ticket sales and the actual cost of bringing the world’s finest orchestras, soloists and chamber ensembles to Orange County and inspiring 100,000 K-12 students each year with quality music programs. Gifts range from $60 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.

YOUTH MUSIC EDUCATION PROGRAM SPONSORS Bluebird Legacy Inc. The Crean Foundation Chapman University The Davisson Family Fund for Youth Music Education The William Gillespie Foundation Hearst Foundation

Thomas J. Madracki Memorial Endowment Orange County Community Foundation Pacific Life Foundation U.S. Bank Anonymous

SERIES SPONSORS Donna L. Kendall Foundation Dr. and Mrs. Howard Jelinek/Jelinek Family Trust, Eclectic Orange Series Henry T. and Elizabeth Segerstrom Foundation

PHILHARMONIC CIRCLE ($100,000+) The Committees of the Philharmonic Society Donna L. Kendall and the Donna L. Kendall Foundation Dr. Howard Jelinek/Jelinek Family Trust Philharmonic Foundation

Henry T. and Elizabeth Segerstrom Foundation The Segerstrom Foundation

MAESTRO CIRCLE ($50,000+) Colburn Foundation Hearst Foundation Mr. and Mrs. Jerry Kohl Mr. and Mrs. William F. Podlich

Gail and Robert Sebring Dr. Bob and Mao Shillman Ms. Dea Stanuszek

CHAIRMAN’S CIRCLE ($25,000+) Bluebird Legacy, Inc. The Crean Foundation Sam B. and Lyndie Ersan Moti and Idit Ferder, Lugano Diamonds Valerie and Hans Imhof The Isidore and Penny Myers Foundation Carolyn and Bill Klein

Lauren and Richard Packard Mr. and Mrs. Douglas H. Smith Steven M. Sorenson MD and J. Eric Shay Al Spector and Tatjana Soli U.S. Bank Mr. Stephen Amendt

PRESIDENT’S CIRCLE ($10,000+) Sabra and Peter Bordas Mr. James J. Brophy Mr. Gary Capata City of Laguna Beach Marjorie and Roger Davisson The Dirk Family Karen and Don Evarts

Hung Fan and Michael Feldman Mrs. Joanne C. Fernbach Mr. John D. Flemming and Mr. Mark Powell Margaret M. Gatesin memory of family

Mr. Richard A. Goodman Ms. Joan Halvajian Maralou Harrington Milli Hill Carole Innes-Owens Helen and Fritz Lin

Phillip N. and Mary A. Lyons Elaine and Carl Neuss Cheryl Hill Oakes Mr. Patrick Paddon Gayle Widyolar

PHILHARMONIC SOCIETY DONORS

PLATINUM BATON ($6,000+) Dr. Richard D. and France Campbell Suzanne and David Chonette

Frome Family Foundation Gary and Betsy Jenkins

Marcia Kay and Ron Radelet Barbara Roberts

Diane and Michael Stephens Edward and Anna Young

GOLDEN BATON ($3,000+) Mr. and Mrs. James Alexiou Diane and John Chimo Arnold John W. Benecke and Lee Marino Mr. Warren G. Coy Carl and Kathy Greenwood Jane and Joe Hanauer Stephanie and Don Harrell

Ellen Pickler Harris and Ron Harris Elizabeth Evans Henry Ms. Elizabeth Jones Vicki and Richard Lee Marshall Fund for Dramatic Arts and Classical Music Marlene and Chris Nielsen Mr. John Nootbaar

Tommy and Julie Dr. and Mrs. Lawrence Phillips S. Spitz Christopher Quilter Richard and Elizabeth Mr. and Mrs. James G. Steele Endowment Reynolds Fund Mr. and Mrs. Philip E. Ms. Barbara Tanner Ridout The William Gillespie Ms. Harriet Roop Foundation Mr. and Mrs. David Seigle Dr. Emmanuel Sharef Dr. and Mrs. Henry Sobel

SILVER BATON ($1,200+) Dr. and Mrs. Daniel L. Abbott Nancy Arnold Leona Aronoff-Sadacca David and Francis Nitta Barnes Ms. Michelle Brenner Mr. James Carter Dr. and Mrs. David Casey Dr. and Mrs. Shigeru Chino Mr. and Mrs. Stewart A. Clark Mr. and Mrs. Robert Clemmer Crevier Family Foundation

Susan and Kevin Daly Dr. Harvey Eisenberg Mrs. John Felder Dr. and Mrs. Sidney A. Field Mr. and Mrs. Donald French Petrina Friede David Gartley Dr. Anna Gonosova Mr. and Mrs. Michael S. Gordon Teresa Gordon Dr. Daniel E. Haspert and Mr. Gerard Curtin Barbara and Don Howland

Anne Johnson LaDonna Kienitz Professor and Mrs. John Koshak Cathy and David Krinsky Hank and Bonnie Landsberg Ms. Barbara Macgillivray Mr. and Mrs. Richard Malcolm Mrs. Linda Lipman Mandelbaum Daniel and Kristy Melita Pat Morgan Richard and Dot Nelson Leslie and Gus Ordonez Susan Qaqundah

Les Redpath Mr. and Mrs. Glen L. Reeves Deborah and Robert Schlesinger Eva and Fred Schneider Dr. Ellis Schwied Igal and Diane Silber Walter and Masami Stahr Dr. Daniel and Jeule Stein Edith Tonkon Dr. and Mrs. Fritz C. Westerhout Ms. Sally Westrom

Dr. and Mrs. Glenn Fowler Dr. and Mrs. Mark W. Gow Grace Holdaway Kevin Huoh Dr. and Mrs. Kevin Ivey Dr. Nancy L. Kidder Mr. Greg Kwan Dr. and Mrs. Gary C. Lawrence Katsuhiko and Meiko Maeshige

Mater Dei High School Kelly and Susan McClellan Mrs. Janine McMillion Elizabeth Morse Mrs. Gordon Niedringhaus Linda Owen Mr. Keith Polakoff Mr. and Mrs. John Prange Deborah and Tom Rapport

Karyn Rashoff Suzanne Sandmeyer and Wes Hatfield Carol Schwab Ms. Barbara Sentell Ann D. Stephens John and Mary Karyl Thorne Kathryn and David Wopschall

Mary E. Chelius Mr. Randall K. Chun Mr. and Mrs. Edgar Compton Ross Connor and Emmett Carlson Joan Fang Reuben H. Fleet Foundation Fund Marvin Goecks, Jr. Dr. Alan L. Goldin Terry Hanna

Howard and Carol Hay Marlene Hewitt Mr. and Mrs. Dan Horgan Mr. Paul A. Schmidhauser and Ms. Cindy R. Hughes Ms. Kathryn Hummel Mary and Stanley Johnson Ms. Sumie Jossi Mr. and Mrs. Eric M. Kadison

Kari Kerr Dr. and Mrs. William P. Klein Kent and Ami Kreutziger Mr. and Mrs. Edward S. Kriz Dr. William Langstaff Bruce Larson and Dinny Beringer Yueshii Lee Sijie Ling Elsie M. Little

CONCERTO ($600+) Janet Lee Aengst Richard Alexander Beard Family Foundation Lauren and Cor Claus David and Victoria Collins Peter Conlon and Deborah Shaw Mr. and Mrs. Jack Delman Michael DeVries Walter C. Fidler

SONATA ($300+) Brien Amspoker and Ellen Breitman Mr. and Mrs. Tony Bedi Richard Bigelow Mr. and Mrs. Walter Boice Mr. Scott Brinkerhoff Evelyn Brownstone Mr. and Mrs. Tyke Camaras Mr. and Mrs. Gustave S. Chabre

PHILHARMONIC SOCIETY DONORS

SONATA ($300+) Dr. Lani and Mr. David Martin Lisa Miller Chris Reed and Pat O’Brien Dr. Kevin O’Grady and Mrs. Nella Webster O’Grady Mary and Lee Olsen Mr. Richard Parslow

Sidney and Nancy Peterson Lucinda Prewitt Coralie Prince Mrs. Vicki de Reynal Mrs. Margaret Richley Mr. and Mrs. Arthur Rose Herbert and Joyce Rosenblum

Deborah and Frank Rugani Mrs. Katherine Sangster Ms. Suzanne Schaumburg Pamela Sefton Dr. James Shelburne Nick and Donna Shubin Mr. and Mrs. John Stevens

Diane Stovall Dr. Agnes Szekeres Mike Thompkins and Lynn Weiser Ms. Carole Uhlaner and Mr. D Brownstone Mrs. Louise Upham Mike Tompkins and Lynn Weiser Ivy Yan

HONORARY LIFE MEMBERS Frieda Belinfante, in memoriam Jane K. Grier, in memoriam John M. Rau

OFFICIAL WINE SPONSOR Waters Edge Winery, Long Beach

List current as of 10/25/2023 The Philharmonic Society deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Contact the Development Department at (949) 553-2422, ext. 233, to make us aware of any error or omission in the foregoing list.

PHILHARMONIC SOCIETY DONORS

ESTERHAZY PATRONS The Philharmonic Society is proud to recognize our dedicated patrons who have made a multi-year Esterhazy Patron pledge. We are grateful for their support, which has been largely responsible for enabling us to present the world’s most acclaimed symphony orchestras, chamber ensembles and soloists.

Mr. and Mrs. James Alexiou Mr. and Mrs. Darrel Anderson A. Gary Anderson Family Foundation Mr. Gary N. Babick Ms. Tricia Babick Mrs. Alan Beimfohr Mr. and Mrs. John Carson Cheng Family Foundation Mrs. William P. Conlin Mr. Warren G. Coy Marjorie and Roger Davisson Mr. and Mrs. Jack Delman The Dirk Family Dr. and Mrs. Christopher Duma Mr. and Mrs. Rodney Emery Catherine Emmi

Sam and Lyndie Ersan Mr. and Mrs. Howard Freedland Margaret M. Gates- In memory of family Mr. and Mrs.* Milton S. Grier, Jr. Maralou Harrington Dr. Howard J. Jelinek Mr. and Mrs. Mark Chapin Johnson Dr. Siret Jurison Donna L. Kendall Foundation Mr. and Mrs. Venelin Khristov Mr. and Mrs. Roger Kirwan Capt. Steve Lutz and Shala Shashani Lutz Professor Robert and Dr. Adeline Yen Mah

Mrs. Sharon McNalley Drs. Vahe Meghrouni Mrs. Michael D. Nadler Elaine and Carl Neuss Mr. Thomas Nielsen Milena and Milan Panic Helen Reinsch Barbara Roberts Mrs. Michelle Rohé Mr. and Mrs. Stephen L. Salyer Elizabeth Segerstrom Mr. and Mrs. Douglas H. Smith Mrs. Elaine Weinberg Mr. and Mrs. George Wentworth Bobbitt and Bill Williams Anonymous

The William Gillespie Foundation Mr. and Mrs.* Milton S. Grier, Jr. Mr. Edward Halvajian* Ms. Joan Halvajian Ms. Marie Hiebsch* Mildred and James* Hill Mr. and Mrs. Lawrence Hull Mr. Leonard Jaffe Judith* and Howard Jelinek Dr. Burton L. Karson Donna L. Kendall Hank and Bonnie Landsberg Mrs. Carla Liggett Dr. William Lycette Mr. and Mrs. Herbert Michel Mr. and Mrs. Bart Morrow Mr. and Mrs. Michael D. Nadler

Eva Cebulski Olivier Mrs. Frank M. Posch* Marcia Kay Radelet Marjorie Rawlins* Mrs. Ladislaw Reday* Elaine M. Redfield* Mr. Richard M. Reinsch* Mr. and Mrs. Stephen L. Salyer Mr. and Mrs. Robert Sebring Mr. H. Russell Smith* Al Spector and Tatjana Soli Ms. Dea Stanuszek Diane and Michael Stephens Vas Nunes Family Trust* Betty M. Williams* Anonymous

LEGACY CIRCLE MEMBERS Mr. and Mrs. James Alexiou Dr. and Mrs. Julio Aljure Diane and John Chimo Arnold Estate of Edra E. Brophy* Mr. James J. Brophy Mr. Douglas T. Burch, Jr.* Mr. William P. Conlin* and Mrs. Laila Conlin Pamela Courtial* Mr. Warren G. Coy Richard Cullen and Robert Finnerty Mr. Ben Dolson* Camille and Eric Durand Trust* Karen and Don Evarts Erika E. Faust* James and Judy Freimuth Ms. Carol Frobish* *Deceased

|

Bold type indicates gifts of $50,000 or more.

Please call the Philharmonic Society Development Department if you have included either the Philharmonic Society or the separate Philharmonic Foundation in your will or trust so that we may honor you as a member of the Legacy Circle. For more information, call (949) 553-2422, ext. 233, or visit www.PhilharmonicSociety.org/Support and click on Secure the Future.

PHILHARMONIC SOCIETY DONORS

DONORS TO THE PHILHARMONIC FORWARD CAMPAIGN The Philharmonic Society’s Forward Campaign is the first of its kind in the organization’s history. It will grow the Philharmonic Society’s endowment—providing greater opportunities for the presentation of the world’s leading orchestras and other musical performances while expandingour educational and community outreach—and also establish a current needs fund for organizational sustainability and flexibility. We are proud to recognize those who are helping secure the Society’s future with a gift to the Philharmonic Forward Campaign. We are grateful for their support, which will help fuel the Philharmonic Society’s growth and provide a legacy of incomparable music and superb music education programs in perpetuity.

Co-Chairs Donna L. Kendall and Douglas H. Smith $1,000,000+ Mr. James J. Brophy Donna L. Kendall and the Donna L. Kendall Foundation Mr. and Mrs. Robert Sebring Anonymous $500,000+ Richard Cullen and Robert Finnerty James and Judy Freimuth $250,000+ The Davisson Family Fund for Youth Music Education Margaret M. Gates- In memory of family Mr. and Mrs.* Milton S. Grier, Jr. Mr. and Mrs. Douglas H. Smith

$100,000+ Pete and Sabra Bordas David and Suzanne Chonette Karen and Don Evarts Milli and Jim* Hill Marlene and Chris Nielsen Richard and Deborah Polonsky Diane and Michael Stephens Anonymous $50,000+ Mr. Douglas T. Burch, Jr.* Dr. and Mrs. Richard D. Campbell Erika E. Faust* Mrs. Joanne C. Fernbach Joan Halvajian Elaine and Carl Neuss Marcia Kay Radelet Mr. and Mrs. Philip E. Ridout Ms. Dea Stanuszek Dr. Daniel and Jeule Stein

$25,000+ Douglas Burch Classical Programs Fund Mr. William P. Conlin* and Mrs. Laila Conlin Mr. and Mrs. Donald French Mr. and Mrs. Peter Fuerbringer Mr. and Mrs. Noel Hamilton Dr. and Mrs. Chase* Roh

Mrs. Alice E. Hood Huntington Harbour Philharmonic Committee - Marina Windjammer Group Kevin and Judith Ivey Ms. Lula Belle Jenkins Doris and Jim Kollias Mrs. Elizabeth C. Kramer Mr. and Mrs. Richard Lewis Mr. and Mrs. Thomas Madracki Mr. and Mrs. Anthony Mastrangelo Up to $24,999 Mr. and Mrs. Herbert Eleanor and Jim* Michel Anderson Charles Mosmann John W. Benecke Carl Neisser* Mr. and Mrs. Jim Burra Joan Rehnborg Ana and Ron Dufault Dr. and Mrs. Henry Sobel Hung Fan and Dr. and Mrs. Julio Michael Feldman Taleisnik First American Trust Marti and Walter Unger Kimberly Dwan Bernatz Gayle Widyolar, M.D. Mr. John D. Flemming Sandi Wright-Cordes and Mr. Mark Powell U.S. Bank Duke Funderburke Anonymous Carolyn and John Garrett Karin Easter Gurwell Maralou and Jerry M.* *Deceased Harrington

LEAVE A LEGACY Estate gifts allow our long-time subscribers and donors to leave an enduring legacy that helps ensure the long-term financial strength of the Philharmonic Society of Orange County. Please consider including us in your will, as either a percentage of your estate or a fixed amount. Doing so will support our commitment of presenting world-class programming and music education that enriches the cultural life of Orange County for generations to come.

For more information, please contact (949) 553-2422, ext. 233, or email support@philharmonicsociety.org

ABOUT THE PHILHARMONIC SOCIETY OF ORANGE COUNTY

THE PHILHARMONIC SOCIETY OF ORANGE COUNTY

Founded in 1954 as Orange County’s first music organization, the Philharmonic Society of Orange County presents national and international performances of the highest quality and provides dynamic and innovative music education programs for individuals of all ages to enhance the lives of Orange County audiences through music.

For more than 70 years the Philharmonic Society has evolved and grown with the county’s changing landscape, presenting artists and orchestras who set the standard for artistic achievement from Itzhak Perlman, Gustavo Dudamel, Yo-Yo Ma, and Renée Fleming to the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony Orchestra, and many others. In addition, the Philharmonic Society celebrates multi-disciplinary performances under its Eclectic Orange brand and embraces music from a wide range of countries with its World Music performances. Its celebrated family concerts introduce children to classical music with creative and inspiring performances, instilling music appreciation for future generations.

The Philharmonic Society’s nationally recognized Youth Music Education Programs, offered free of charge, engage more than 100,000 students annually through curriculum-based music education programs that aim to inspire, expand imaginations, and encourage learning at all levels. These programs are made possible by the Committees of the Philharmonic Society comprised of 500 volunteer members who provide more than 90,000 hours of in-kind service each year.

As a key youth program, the exceptional Orange County Youth Symphony and String Ensemble provide top-tier training to the area’s most talented young musicians through multi-level ensemble instruction, leadership training, touring opportunities, challenging professional repertoire, and performances in world-class venues. The Philharmonic Society also promotes life-long learning by connecting with colleges and universities to conduct masterclasses and workshops and providing pre-concert lectures to introduce audiences to program selections.

PhilharmonicSocietyOC @PhilharmonicSocietyOC PhilharmonicSoc @PhilharmonicSoc

PHILHARMONIC SOCIETY BOARD OF DIRECTORS AND STAFF

BOARD OF DIRECTORS

ADMINISTRATIVE STAFF

OFFICERS John Flemming, Chair/CEO Donna L. Kendall, Deputy Board Chair Sabra Bordas, Vice Chair Stephen Amendt, Secretary / Treasurer

ARTISTIC OPERATIONS Emily Persinko, Artistic Operations Manager Kathy Smith, Piano Technician

EXECUTIVE COMMITTEE John W. Benecke, Development Sabra Bordas, Nominating and Governance Hung Fan, Laguna Beach Music Festival Douglas H. Smith, Member at Large Kathryn Wopschall, President, The Committees Sandi Wright-Cordes, Orange County Youth Symphony BOARD OF DIRECTORS Jim Brophy Gary Capata Jean Felder Margaret M. Gates Kari Kerr Barbara Roberts Steven M. Sorenson, MD PRESIDENT AND ARTISTIC DIRECTOR Tommy Phillips IN MEMORIAM Douglas T. Burch, Jr. Wesley Kruse LIFETIME BOARD MEMBER Jane Grier

DEVELOPMENT Mark Saville, Vice President of Development Halim Kim, Senior Director of Development Fatima Rizvi-Flores, Patron Stewardship Manager and Board Liaison Nicole Gonzales, Special Events Manager Paige Frank, Development Coordinator EDUCATION Katherine Yang, Vice President of Education and Community Engagement Courtney McKinnon, Manager of Volunteer and Education Services Jennifer Niedringhaus, Education and Engagement Operations Manager Chloe Hopper, Education Associate Penny Arroyo, Huntington Harbour Office Manager and Finance Coordinator FINANCE Roan Alombro, Vice President of Finance Fay Hu, Finance and HR Associate MARKETING AND PUBLIC RELATIONS Jean Hsu, COO / Vice President of Communications Daniel Acosta, Director of Marketing Marie Songco-Torres, Senior Marketing and PR Manager Adaora Onyebeke, Marketing and PR Associate PATRON SERVICES Jonathan Mariott, Director of Patron Services Angelica Nicolas, Marketing and Patron Services Manager Randy Polevoi, Musical Concierge ORANGE COUNTY YOUTH SYMPHONY AND STRING ENSEMBLE Johannes Müller Stosch, Music Director and OCYS Conductor Lucy Lu, OCYSE Conductor & OCYS Strings Coach Danielle Culhane, Operations and Personnel Manager

CONCESSIONS

Concessions A wide variety of wine, beer, soft drinks and freshly prepared snacks will be available before the concert and during intermission in the lobby.

Pre-order your concessions and skip the line ahead of time!

Click here for menu and to order

Concessions provided

by FPG Events

FOOD DONATION DRIVE With the holidays approaching, Soka Performing Arts Center has partnered with the Laguna Food Pantry and will be collecting food donations for the most vulnerable in our community.

Collection bins will be located in the lobby for all December concerts. If you are able to, please consider donating some of these highly requested items:

• Canned Proteins

• Pasta & Pasta • Tuna | Salmon Sauce Chicken | Beans • Rice • Breakfast Cereal • Dried Beans • Peanut Butter • Soup