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Welcome to our presentation of the Los Angeles Philharmonic. Along with these wonderful musicians, we are pleased to have Stéphane Denève and Gil Shaham back with us. I first heard Gil Shaham soloing with Sarasota Orchestra at the Van Wezel Performing Arts Center in Florida. He couldn’t have been more than 15. He was terrific. What a career he has gone on to have. There some among you in the audience that have two simultaneous thoughts: I love Rachmaninoff and I can’t stand Bartók. The Rachmaninoff is easy to love, especially the Second Symphony. If you don’t love this music, I would suggest that you see your cardiologist immediately for a heart examination to see if you actually have one. The Bartók Second Violin Concerto is very approachable. Full of the Gypsy passion and interesting harmonies for which Bartók is famous. We don’t often hear this concerto on our stage. Maestro Denève has organized a very interesting program, for which we are very grateful. Once again, I would like to thank Donna L. Kendall for generously sponsoring the Donna L. Kendall Classical Series of concerts. Her passion for great music, expertly played, helps tremendously to keep our standards high and makes it possible for you to enjoy some wonderful performances. It is always great to see you here. Thank you and please… Enjoy,

Dean Corey President and Artistic Director


From the President...

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Pre-concert lecture by Christopher Russell, 7PM Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall

LOS ANGELES PHILHARMONIC Stéphane Denève, conductor Gil Shaham, violin Béla BARTÓK (1881-1945)

Violin Concerto No. 2 Allegro non troppo Andante tranquillo Allegro molto Gil Shaham, violin - INTERMISSION -

Sergei RACHMANINOFF (1873-1943)

Symphony No. 2 in E minor Op. 27 Largo; Allegro moderato Allegro molto Adagio Allegro vivace The Philharmonic Society gratefully acknowledges the Donna L. Kendall Foundation for its generous sponsorship of tonight’s performance. We also would like to thank Mr. and Mrs. Lawrence Hull for their additional support. Exclusive Print Sponsor


Although rare, all dates, times, artists, programs and prices are subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices.

GIL SHAHAM (Luke Ratray)

Notes by Herbert Glass Bartók: Violin ConCerto no. 2 Composed: 1937-1938 Length: c. 35 minutes Orchestration: 2 flutes (2nd = piccolo), 2 oboes (2nd = English horn), 2 clarinets (2nd = bass clarinet), 2 bassoons (2nd = contrabassoon), 4 horns, 2 trumpets, 3 trombones, timpani, percussion (bass drum, cymbals, gong, 2 snare drums, triangle), harp, celesta, strings, and solo violin First Los Angeles Philharmonic performance: August 11, 1945, Antal Dorati conducting, with soloist Yehudi Menuhin In 1938, Bartók had every reason to be pessimistic about his and Europe’s future. He expressed his outrage in a letter to a friend in Switzerland: “What is most appalling is the imminent danger that Hungary too will surrender to this system of robbers and murderers...Hungary, where unfortunately the ‘educated’ Christian people are almost exclusively devoted to the Nazi system. I am really ashamed that I come from this class.” He then discusses the possibility of emigrating. Within a year he would be gone, eventually to end his days in the United States. There were two bright spots in Bartók’s professional life during those last years in Hungary: the support of the Swiss Maecenas and conductor Paul Sacher, who commissioned three Foundation large-scale works from him, and the fulfillment of a long-standing request for a violin concerto from Zoltán Székely, his frequent recital partner since 1921.

The first performance of what has come to be regarded as one of the great 20th-century violin concertos, indeed in the history of the genre, was given on April 24, 1939, by Székely and the Amsterdam Concertgebouw Orchestra, conducted by Willem Mengelberg. A recording of the event has long been available on the Hungaroton label. The point that Bartók used folk elements without employing actual folk tunes is magnificently illustrated by the violin’s long, rhapsodic opening theme, which with its insistence on the intervals of fourths, fifths, and seconds could come from nowhere but Hungary. Bartók sets the stage for that theme with a sustained horn note, harp strummings, and pizzicato low strings: mysterious, brooding, and lush. Purest Bartók. Regarding the second, contrasting theme, note the following recollection by the late Yehudi Menuhin, one of the Concerto’s foremost interpreters, of an exchange with the composer in Bartók’s New York apartment in 1943: “[Bartók] was trying to find out how well I had grasped [the Concerto], asking particularly my opinion of a passage in the first movement. ‘It’s rather chromatic,’ I offered. ‘Yes, it’s chromatic,’ he said, but then nudging me toward the point he was making: ‘You see that it comes very often?’ Which it does, some 32 times, never exactly the same. ‘Well, I wanted to show Schoenberg that one can use all 12 tones and still remain tonal.’ Here was one of Bartók’s barbs: ‘…and any one of those repeated sequences would supply a dodecaphonist with material for a whole opera…’ ” The midpoint of the movement presents one of the most magical of the composer’s inspirations in this concerto, with an inversion of the principal theme, the violin’s exquisite cantilena accompanied by harp, celesta, and muted violins. In the recapitulation the entire string sec-

tion engages in a favorite Bartók device, a pizzicato of such forcefulness that the strings cannonade off the fingerboard. The magnificently atmospheric slow movement consists of a calm, almost childlike G major theme, with six variations. In the first variation, the timpani is treated as a melodic instrument as it partners the solo violin. The second variation takes apart the opening theme, blending its components into an orchestra of woodwinds, harp, and celesta. The third, with its hammering double stops for the solo, is all rhythmic energy, while in the fourth variation the violin theme is transferred to the low strings, encircled by the solo violin’s trills and scales. Five is a fast scherzando affair, the solo joined by snare drum and celesta, with harp glissandos and a scurrying flute. The last variation begins with a lavishly embellished version of the theme before the solo line broadens out lyrically and the theme is stated by the violin, as at the beginning of the movement, but an octave higher. The movement draws to a misty, mysterious close, its mood of indeterminacy dispersed by the rude entry of the massed strings, ushering in the finale: not the expected rondo but, like the opening movement, a sonata-allegro. Its main melodic thread is a rhythmically altered version of the first movement’s principal theme.

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On the eve of starting the Concerto, Bartók began to have doubts, which he expressed in letters to Székely, who had emigrated to Holland, and whose salient points the violinist relates: “Would I have time to play the new concerto during the period [three years] of my exclusive performing rights? If you join the quartet [the New Hungarian Quartet, the ‘New’ was later dropped, of which Székely became first violinist] how will you be able to play solos?’... I wrote to Bartók to assure him that once I had the concerto I would set aside time every season to give performances of it... He wrote again [in May]: ‘If that is the case, there is really nothing in the way. Only you didn’t mention how you will be able to fit together quartet and solo playing...’” Not an easy man, Béla Bartók.

raChmaninoff: Symphony no. 2 in e minor, op. 27 Composed: 1906-1907 Length: c. 60 minutes Orchestration: 3 flutes (3rd = piccolo), 3 oboes (3rd = English horn), 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, snare drum), and strings First Los Angeles Philharmonic performance: January 25, 1924, Walter Henry Rothwell conducting Rachmaninoff composed his Second Symphony in 1906-07, ten years after the First Symphony, whose failure with critics and the public had resulted in one of the most celebrated nervous breakdowns (his own) in musical history. But Rachmaninoff was creatively active again within a couple of years and in 1901 achieved what would remain his greatest popular success—as a pianist (he was one of the century’s best) and composer—the C minor Piano Concerto, Op. 18. 3

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The acclaim that came in the wake of the Concerto was so great that by 1905 Rachmaninoff was in constant demand as a performer of his works in Russia and throughout Europe and had achieved the status of prized social catch at home and abroad. And he was not even required to play for his supper. The tall, gaunt Rachmaninoff was recognized and often mobbed by fans on the streets of Moscow and St. Petersburg. Even for as sociable a man as he was at the time, it all became too much. He found it impossible to compose. So, early in 1906, he, his wife, and their young daughter decided to move to quiet, dignified Dresden, a city Rachmaninoff had loved since his first visit there in 1891, which included a first encounter with Wagner’s Die Meistersinger, which would become his favorite opera.

tessential “love music” of the classics. The composer couldn’t possibly reveal his bursting heart less uninhibitedly than here. But this is Rachmaninoff, and he goes the first movement one better with the voluptuous third movement. Not, however, before a respite in the form of a festive scherzo (Allegro molto) brazenly announced by four unison French horns, their tune taken up and reshaped by the violins.

The Saxon capital appealed not only for its own sedate charms but for its proximity to Leipzig and the famed Gewandhaus Orchestra, whose conductor, Arthur Nikisch, Rachmaninoff admired above all other practitioners of his craft.

The finale is a rowdy affair whose opening and main theme recalls a Neapolitan tarantella. It is followed by a brief, rather grotesque march episode, yet another creamy slow tune (violins and violas in unison octaves) and an unexpected recapitulation of one of the slow movement’s heartbreakers, before the tarantella rhythm returns and ushers in the jolly, raucous conclusion.

Rachmaninoff began composing almost the moment he arrived in Dresden, producing in rapid (for him) succession his First Piano Sonata; the songs of Op. 6; the finest of his symphonic poems, The Isle of the Dead; and his orchestral masterpiece, the Second Symphony. The Symphony was drafted in less than three months, the orchestration took another two, and the whole was completed in the fall of 1907. The first performance, which the composer conducted, was given in St. Petersburg the following January. It was a smashing success. Sketches for the opening pages—including the dark, seven-note motto theme from which the first movement and indeed the whole Symphony grows—date back to the composer’s student days and the fragment of a symphony that was quickly abandoned. The opening of the E minor Symphony, lifted virtually intact from that student work, is announced by the cellos and basses, followed by some portentous woodwind phrases and a luscious descending violin figure that winds down to a mournful English horn solo recalling the opening motto theme. The faster main theme, still based on that seven-note motto, is a long-lined, gorgeous affair in which the composer seems to achieve the ultimate in the soulful Russian melancholy that has come to signify the quin4

There are contrasting, slower episodes before the second movement ends, but rather surprisingly no final resumption of the scherzo’s energy. Rather, the music fades away, to prepare us for that improbably gorgeous Adagio, with its two killer melodies—one for the violins, the other for solo clarinet—which become contrapuntally interwoven.

After serving on the administrative staffs of the New York Philharmonic and the San Francisco Opera, Herbert Glass was for many years a columnist / critic for the Los Angeles Times and a contributor to many periodicals, including Gramophone and The Strad. He has been associated with the Salzburg Festival since 1996. Stéphane DenèVe, ConDUCtor Stéphane Denève is Chief Conductor of the Stuttgart Radio Symphony Orchestra and the former Music Director of the Royal Scottish National Orchestra. Recognized internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s leading orchestras and soloists. He has a special affinity for the music of his native France, and is also a champion of new music. Recent European engagements have included appearances with the Royal Concertgebouw Orchestra, the Bavarian Radio Symphony, the Munich Philharmonic, the Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, the London Symphony Orchestra, the Philharmonia Orchestra, the Deutsches Symphonie Orchester Berlin, and the Swedish Radio Symphony. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony Orchestra, with whom

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Gil Shaham, Violin Avery Fisher Prize-winner Gil Shaham is one of the foremost violinists of our time, whose combination of flawless technique with inimitable warmth and generosity of spirit has solidified his legacy as an American master. Named Musical America’s “Instrumentalist of the Year,” he is sought after throughout the world for concerto appearances with leading orchestras and conductors, and regularly gives recitals and ensemble appearances on the great concert stages and at the most prestigious festivals.

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Stéphane DenèVe (Angela Caitlin)

he is a frequent guest both in Boston and at Tanglewood, and he appears regularly with the Philadelphia Orchestra, the Chicago Symphony, the Cleveland Orchestra, the Los Angeles Philharmonic, and the San Francisco Symphony. He enjoys close relationships with many of the world's leading solo artists, including Jean-Yves Thibaudet, Leif Ove Andsnes, Yo-Yo Ma, Leonidas Kavakos, Frank Peter Zimmermann, Nikolaj Znaider, Gil Shaham, Piotr Anderszewski, Emanuel Ax, Lars Vogt, Nikolai Lugansky, Paul Lewis, Joshua Bell, Hilary Hahn, Vadim Repin, and Natalie Dessay. In the field of opera, Stéphane Denève has led productions at the Royal Opera House, the Glyndebourne Festival, La Scala, the Saito Kinen Festival, the Gran Teatro de Liceu, the Netherlands Opera, La Monnaie, the Opéra National de Paris, the Teatro Comunale Bologna, and Cincinnati Opera. As a recording artist, Stéphane Denève has won critical acclaim for his recordings of the works of Poulenc, Debussy, Roussel, Franck, and Connesson. He is a double winner of the Diapason d’Or de l’année, was shortlisted in 2012 for Gramophone’s Artist of the Year Award, and won the prize for symphonic music at the 2013 International Classical Music Awards. A graduate and prize-winner of the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre, and Seiji Ozawa. He is committed to inspiring the next generation of musicians and listeners, and works regularly with young people in

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the programs of the Tanglewood Music Center and the New World Symphony. For further information, visit


The new season sees Shaham return to one of his signature works, reprising his “brilliant, almost ecstatic performance” (Los Angeles Times) of Korngold’s Violin Concerto with Zubin Mehta and the Vienna Philharmonic at Carnegie Hall, as well as with the Cleveland Orchestra during its annual Miami residency; John Adams and the Houston Symphony; James Conlon conducting the National Symphony; the symphony orchestras of St. Louis and Austin; and France’s Orchestre de Paris. He also takes his longterm exploration of “Violin Concertos of the 1930s” —recognized by Musical America as “one of the most imaginative programming concepts in years”—into a fifth season, with performances of Bartók’s Second with the Los Angeles Philharmonic and the Atlanta Symphony, Prokofiev’s Second with Michael Tilson Thomas and the San Francisco Symphony, Barber’s with the Louisiana Philharmonic and the Mexico National Symphony, and Berg’s with the Berlin Radio Symphony and the Bavarian Radio Symphony in Munich, Paris, and at Carnegie Hall. With the symphony orchestras of Detroit, Singapore, and London’s BBC, Shaham gives the world, Asian, and European premieres of a new concerto by Bright Sheng. His other upcoming orchestral collaborations include dates with his longtime friend and musical partner John Williams at the Chicago Symphony. In anticipation of his next recording project, the master violinist also returns to Bach’s Sonatas and Partitas for solo violin, taking his singular approach to these beloved works to Baltimore, Cleveland, and Italy’s Florence and Rome. During the 2012-13 season, Shaham gave the world premiere of a solo suite written for him by William Bolcom, and pioneered recent commissions by Avner


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Dorman and Julian Milone. Dorman’s work also forms the centerpiece of Nigunim: Hebrew Melodies, a new album that Shaham recorded with his sister, pianist Orli Shaham, and released on his own Canary Classics label in June 2013. According to the Buffalo News, “Shaham’s virtuosity on this disc is of such pyrotechnic flamboyance and ferocity and the impassioned beauty so openhearted that it bids fair to be one of the greatest of Shaham’s long career and one of the greatest intimate violin recordings anyone is likely to encounter in a while.” “The Shahams achieve overwhelming heights of expressiveness,” agreed The Strad magazine. “This is a lovingly produced and presented recording of some hauntingly beautiful music from the violinist’s own label.” Gil Shaham already has more than two dozen concerto and solo CDs to his name, including bestsellers that have appeared on record charts in the U.S. and abroad. These recordings have earned prestigious awards, including multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. His recent recordings are produced on the Canary Classics label, which he founded in 2004. Upcoming titles include Bach’s complete works for solo violin and several installments of the “Violin Concertos of the 1930s” project. Gil Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of seven, receiving annual scholarships from the America-Israel Cultural Foundation. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year he began his studies with Dorothy DeLay and Jens Ellermann at Aspen. In 1982, after taking first prize in Israel’s Claremont Competition, he became a scholarship student at Juilliard, where he worked with DeLay and Hyo Kang. He also studied at Columbia University.


Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. In 2012, he was named “Instrumentalist of the Year” by Musical America, which cited the “special kind of humanism” with which his performances are imbued. Shaham plays the 1699 Countess Polignac Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

loS anGeleS philharmoniC The Los Angeles Philharmonic, under the vibrant leadership of Music Director Gustavo Dudamel, is reinventing the concept of the 21st-century orchestra. Both at home and abroad, the Philharmonic is leading the way in innovative programming, which is received enthusiastically by audiences and critics alike. 2013-14 marks the orchestra’s 95th season. More than 250 concerts are either performed or presented by the Philharmonic at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl. These presentations represent a breadth and depth unrivaled by other orchestras or cultural institutions. During its 30-week winter subscription season of more than 100 performances at Walt Disney Concert Hall, the Philharmonic creates festivals, artist residencies, and other thematic programs designed to enhance the symphonic music experience and delve further into certain artists’ or composers’ work. The LA Phil’s commitment to the music of our time is also evident in its subscription concerts, the exhilarating Green Umbrella series, and its extensive commissioning initiatives. The orchestra’s involvement with Los Angeles also extends far beyond symphony concerts in a concert hall, with performances in schools, churches, and neighborhood centers of a vastly diverse community. Among its wide-ranging education initiatives is Youth Orchestra LA (YOLA). Central to YOLA is the Philharmonic’s plan to build, with community partners, youth orchestras in neighborhoods throughout Los Angeles. The Los Angeles Philharmonic continues to broaden its audience by touring worldwide, offering an extensive catalog of recorded music, and broadcasting concerts on radio and television. The Los Angeles Philharmonic was founded by William Andrews Clark, Jr., a millionaire and amateur musician, who established the city’s first permanent symphony orchestra in 1919. Walter Henry Rothwell became its first Music Director, followed by ten renowned conductors: Georg Schnéevoigt, Artur Rodzinski, Otto Klemperer, Alfred Wallenstein, Eduard van Beinum, Zubin Mehta, Carlo Maria Giulini, André Previn, Esa-Pekka Salonen, and Gustavo Dudamel.

Gustavo Dudamel Music Director, Walt and Lilly Disney Chair Esa-Pekka Salonen Conductor Laureate John Adams Creative Chair Deborah Borda President and Chief Executive Officer firSt Violin Martin Chalifour Principal Concertmaster Marjorie Connell Wilson Chair Nathan Cole First Associate Concertmaster Ernest Fleischmann Chair Bing Wang Associate Concertmaster Mark Baranov Assistant Concertmaster Philharmonic Affiliates Chair Michele Bovyer Rochelle Abramson Camille Avellano Elizabeth Baker Minyoung Chang Vijay Gupta Mischa Lefkowitz Edith Markman Judith Mass Mitchell Newman Barry Socher Lawrence Sonderling Stacy Wetzel SeConD Violin Lyndon Johnston Taylor Principal Dorothy Rossel Lay Chair Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal Ingrid Kuo Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Paul Stein Yun Tang Akiko Tarumoto Suli Xue Viola Carrie Dennis Principal John Connell Chair Dale Hikawa Silverman Associate Principal Ben Ullery Assistant Principal Richard Elegino Dana Hansen John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel

Cello Robert deMaine Principal Bram and Elaine Goldsmith Chair (Vacant) Associate Principal Sadie and Norman Lee Chair Ben Hong Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum Tao Ni Serge Oskotsky Brent Samuel BaSS Dennis Trembly Principal Christopher Hanulik Principal Oscar M. Meza Assistant Principal David Allen Moore Jack Cousin Brian Johnson Peter RofĂŠ John Schiavo Frederick Tinsley flUte Julien Beaudiment Principal Virginia and Henry Mancini Chair Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair Elise Shope Sarah Jackson piCColo Sarah Jackson oBoe Ariana Ghez Principal Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove

BaSS Clarinet David Howard BaSSoon Whitney Crockett Principal Shawn Mouser Associate Principal Michele Grego Patricia Kindel ContraBaSSoon Patricia Kindel horn Andrew Bain Principal John Cecil Bessell Chair Eric Overholt Associate Principal Gregory Roosa William and Sally Rutter Chair Brian Drake Loring Charitable Trust Chair (Vacant) Reese and Doris Gothie Chair Ethan Bearman Assistant Bud and Barbara Hellman Chair trUmpet Thomas Hooten Principal James Wilt Associate Principal Christopher Still tromBone Nitzan Haroz Principal James Miller Associate Principal Abbott and Linda Brown Chair Herbert Ausman

keyBoarD Joanne Pearce Martin Katharine Bixby Hotchkis Chair harp Lou Anne Neill liBrarianS Kazue Asawa McGregor Kenneth Bonebrake Stephen Biagini

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perSonnel manaGer Jeffrey Neville proDUCtion DireCtor Paul M. Geller ConDUCtinG felloWS Daniel Cohen Ben Gernon Antonio MĂŠndez

The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically. In those sections where there are two principals the musicians share the position equally and are listed in order of length of service. The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

BaSS tromBone John Lofton tUBa Norman Pearson

enGliSh horn Carolyn Hove

timpani Joseph Pereira Principal Cecilia and Dudley Rauch Chair

Clarinet Michele Zukovsky Principal Burt Hara Associate Principal (Vacant) Mauk/Nunis Chair David Howard

perCUSSion Raynor Carroll Principal James Babor Perry Dreiman


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Since its inception in 1954, the Philharmonic Society, a not-for-profit organization, has been a primary catalyst for cultural growth in Orange County. From viewing concerts on gymnasium bleachers to enjoying the world’s finest orchestras in the elegance of Segerstrom Center for the Arts, the culture of Orange County has been nurtured and challenged by the Philharmonic Society. The Society has provided visionary leadership in our community while ensuring that the legacy of our cultural heritage will be preserved for our children and our children’s children. For 60 years the Society has presented artists who set the standards for artistic achievement: Sir Georg Solti, Itzhak Perlman, Jacqueline du Pré, Daniel Barenboim, Lorin Maazel and Cecilia Bartoli, to name just a few. In addition, many of the world’s greatest orchestras have performed in Orange County by invitation of the Philharmonic Society. The Society celebrated the diversity of our cultural landscape with Eclectic Orange presentations, transcending the boundaries separating arts disciplines and seeking great art wherever it is found. Past Eclectic Orange events champion contemporary composers through commissions and sponsorship of regional and world premieres. Among the living composers presented were Tan Dun, Philip Glass, Osvaldo Golijov, John Adams, Edgar Meyer, Burhan Öçal and Mikel Rouse. Past presentations include the West Coast premiere of Steve Reich’s “The Cave,” the Southern California premiere of Terry Riley’s “Sun Rings,” the United States exclusive engagement of Théâtre Zingaro, and the West Coast premiere of “Orion” by Philip Glass.

John-David Keller as Beethoven

Donors meet Yo-Yo Ma at a reception

Hand-in-hand with its commitment to artistic excellence is the Society’s commitment to music education. Sharing the love of music with others and helping the community deepen its appreciation and enjoyment of music is a foundation stone of the Society. Over the years, millions of children have encountered classical music—many for the first time—at Philharmonic Society education programs. The Committees of the Philharmonic are the Society’s principal fund-raising and volunteer force. Together they create, fund and produce an extraordinary array of music education programs for children. The Committees also present a wide variety of fundraising events, including Philharmonic House of Design and the Huntington Harbour Cruise of Lights®.

Gustavo Dudamel conducts the LA Phil

The Philharmonic Society's nationally recognized music education programs for youth reach more than 150,000 Orange County students, from kindergarten through high school, yearly. More than 1,500 presentations are offered by professional musicians and trained docents at no charge to all public and private schools in the county. For more information, visit Music Mobile


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s p O n s O r s p Ot L i g h t

Sabra Bordas

Noel Hamilton

Douglas H. Smith

Immediate Past Chairman

Chairman, CEO


executive committee

Darrel Anderson

Sandi Campbell-McClain

Jane K. Grier


President, Philharmonic Committees


Eleanor Anderson

Warren G. Coy

David Rosenberg

Strategic Planning



Douglas T. Burch, Jr.

Dr. Daniel Stein

Donor Affairs

Technology Task Force

Stephen Amendt John W. Benecke Linda England Margaret Gates Jerry Harrington

Dr. Burton Karson Donna L. Kendall David H. Koontz Joseph S. Lewis, III Anthony Mastrangelo Sharon C. McNalley

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Elaine P. Neuss Barbara Roberts Toni Sobel David Troob George Wentworth

President And Artistic director Dean Corey



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 more than 150,000 K-12 students each year with quality music programs. Gifts range from $50 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.

HonorArY seAson sPonsor Anonymous 60th Anniversary Challenge Grant Donor Disneyland Resort • Mr. Sam Ersan • Donna L. Kendall Foundation • Milan Panic Barbara Roberts • Mrs. Michelle Rohé • Segerstrom Center for the Arts The Segerstrom Foundation • Shanbrom Family Foundation Mr. and Mrs. Douglas H. Smith • The Committees of the Philharmonic Society

cHAirmAn’s circLe Colburn Foundation • The Crean Foundation • Ann and Gordon Getty Foundation Joan Halvajian • Phillip N. and Mary A. Lyons • National Endowment for the Arts Sandy and Harold Price • Mr. and Mrs. Douglas H. Smith • Elaine Weinberg • Anonymous (1)

neW WorK & sPeciAL ProJect sPonsors Karen and Don Evarts • Joan Halvajian • Edward Halvajian Trust Phillip N. and Mary A. Lyons • Anonymous (1)

YoutH educAtion ProGrAm sPonsors City of Aliso Viejo • American Business Bank Anaheim Band Instruments, part of the Music and Arts Center Family City of Mission Viejo • The Crean Foundation • Disneyland Resort • Macy’s Music Performance Trust Fund • Orange County Musicians’ Association, Local 7 Pacific Life Foundation • Target • U.S. Bancorp • Wells Fargo

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. Douglas T. Burch, Jr. Mr. and Mrs. John Carson Cheng Family Foundation Mr. and Mrs. William P. Conlin Mr. Warren G. Coy Mr. and Mrs. Roger C. Davisson Mr. and Mrs. Jack Delman Mrs. Otto Fuerbringer Mary and Patrick Dirk/ Troy Group Mr. and Mrs. Ben Dolson 12

Dr. and Mrs. Christopher Duma Mr. and Mrs. Rodney Emery Mr. Sam Ersan Margaret M. Gates- In memory of Lawrence Gates Mr. William J. Gillespie Mr. and Mrs. Milton S. Grier, Jr Maralou and Jerry M. Harrington Phyllis Jacobs Dr. and Mrs. Howard J. Jelinek Mr. and Mrs. Mark Chapin Johnson Drs. Siret and Jaak 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. Michael McNalley Drs. Vahe and Armine Meghrouni Mr. and Mrs. Michael D. Nadler Mr. and Mrs. Thomas Nielsen Milan Panic Barbara Roberts Mrs. Frederick W. Rohé Mr. and Mrs. Stephen L. Salyer Mr. and Mrs. Henry T. Segerstrom Helen Shanbrom Mr. and Mrs. Douglas H. Smith Mrs. Eugenia D. Thompson Mitzi and Yutaka Tonai Mrs. Elaine Weinberg Mr. and Mrs. George Wentworth Bobbitt and Bill Williams Anonymous (1)

President’s cLuB

PLAtinum BAton

GoLden BAton

Mr. and Mrs. Carl Neuss Pacific Life Foundation Mr. and Mrs. William F. Podlich Deborah and Richard Polonsky Dr. and Mrs. Chase Roh Mr. and Mrs. David Rosenberg Schumann|Rosenberg LLP Dea Stanuszek Dr. and Mrs. Daniel Stein Mrs. Eugenia D. Thompson Ms. Annette Thompson Mr. and Mrs. David Troob U.S. Bank Mr. Stephen Amendt

Wells Fargo Foundation Mr. and Mrs. Noel Hamilton Mr. and Mrs. George Wentworth Bobbitt and Bill Williams

Marcia Kay and Ronald Radelet

Dr. and Mrs. Fritz Westerhout

Mr. and Mrs. William McCormick Mr. and Mrs. Rick Muth Mr. and Mrs. Michael D. Nadler Dr. Susan Powers The Orange County Register Mr. and Mrs. James Reynolds Mrs. Howard Roop

Mr. Dickson Shafer – In memory of Lois Shafer Dr. Steven Sorenson Mr. and Mrs. John Stahr Mr. and Mrs. Robert A. Teitsworth

City of Mission Viejo Dr. and Mrs. Philip O’Carroll Mr. Patrick Paddon Dr. William Pedler Dr. and Mrs. Paul Qaqundah Mr. and Mrs. Walter Rados Mary Rence Karen and Philip Ridout Walter and Dagmar Rios Ms. Jennie Robinson Dr. and Mrs. Stephen G. Romansky Mr. and Mrs. Fred Schneider Mr. and Mrs. Lawrence S. Spitz Richard and Elizabeth Steele Fund

Diane and Michael Stephens Dr. and Mrs. David Stephenson Dr. and Mrs. Julio Taleisnik Target Mrs. H. Lloyd Taylor Dr. Nancy E. Van Deusen Dr. Gayle Widyolar and Mr. David Scott Dr. and Mrs. Peter Willens Chava and Ted Wortrich

($6,000+) Dr. William Lycette

Dr. and Mrs. Richard D. Campbell Ms. Injoa Kim


Carol and Raymond Baugh Linda M. Beimfohr Dr. and Mrs. Shigeru Chino Mr. and Mrs. David Chonette Mrs. William L. Cook Richard Cullen and Robert Finnerty Ms. Carol Dalton Mr. and Mrs. Roger Davisson

siLver BAton

William Gillespie Foundation Mr. and Mrs. Milton S. Grier, Jr. Maralou and Jerry M. Harrington Mr. and Mrs. Lawrence Hull Dr. Burton L. Karson Mr. David H. Koontz and Mr. James Brophy Joann Leatherby Macy’s Mr. and Mrs. Anthony Mastrangelo Mrs. Michael McNalley Mikimoto


Mr. and Mrs. James Alexiou Ms. Elizabeth An and Mr. Gordon Clune of Anqi Bistro Mr. and Mrs. Darrel Anderson Mr. and Mrs. James W. Anderson Sabra and Peter Bordas Mr. Douglas T. Burch, Jr. Mr. and Mrs. Michael Carroll Mr. Warren G. Coy Mary and Patrick Dirk/Troy Group Patricia and Ben Dolson Mr. and Mrs. James A. Driscoll Mr. and Mrs. Donald P. Evarts


Elizabeth F. Hayward and Robert M. Carmichael Milli and Jim Hill Drs. Siret and Jaak Jurison Knobbe, Martens, Olson & Bear Dr. and Mrs. Fritz Lin Drs. Vahe and Armine Meghrouni


Hope Aldrich and Michael Jeffers Mr. and Mrs. Richard D. Allen Dr. and Mrs. Francisco Ayala John W. Benecke Ms. Catherine Bradley Mr. and Mrs. John C. Carson Dr. and Mrs. David Casey Mr. and Mrs. Ming Chang Mr. and Mrs. Stewart A. Clark Mr. and Mrs. William P. Conlin Joanne Fernbach Sandra M. French and Donald B. French Mr. and Mrs. Michael Gordon

Mr. and Mrs. Carl J. Greenwood Mr. and Mrs. Robert J. Hall Dr. Renee Harwick Ms. Sigrid Hecht Mr. Charles Hill Mr. and Mrs. Joseph Innes Mr. G. Berk Kellogg Dr. and Mrs. Tae S. Kim Mr. and Mrs. Louis J. Knobbe Lockie and Clark Leonard Mr. and Mrs. Albert A. LoSchiavo Linda Mandelbaum Mr. and Mrs. Orville L. Marlett Millstream Fund





Dr. and Mrs. Daniel L. Abbott Dr. Donald Abrahm Mrs. Janet L. Aengst Diane and John Chimo Arnold Mr. and Mrs. Joe Bati Mr. Peter Conlon and Mrs. Deborah Shaw Mr. Frank A. D’Accone


Ms. V. de Reynal Dr. and Mrs. John F. Dean Mr. and Mrs. Neil Fitzpatrick Mr. and Mrs. Philip Friedel Dr. Anna Gonosova Wanda Gwozdziowski Bonnie and William S. Hall Dr. and Mrs. Richard Harano

Dr. and Mrs. Kevin J. Ivey Ms. Elizabeth S. Jones Dr. Nancy L. Kidder Barbara Kilponen Mrs. Betty J. Lang Mr. and Mrs. Carl Neisser Mrs. Carol Schwab

The Rev’d and Mrs. Chau Schwendimann Dr. and Mrs. Henry Sobel Chantel and Andrew Uchida Mr. and Mrs. Christopher Zumberge

Mr. and Mrs. C.W. Fisher Dr. and Mrs. Glenn Fowler JoAnn and Peter Fuerbringer Mr. William Gilbert Mr. and Mrs. Philip Gold Alpha and Walt Hahn Terry Hanna Mr. and Mrs. Don Howland J. Stanley and Mary W. Johnson Foundation Mr. Woon Ki Jung Dr. and Mrs. William P. Klein Prof. and Mrs. John Koshak June R. Kvarda Dr. and Mrs. Craig Leonard Mr. and Mrs. Harry W. Levy Peggy Benson Maradudin

Twyla Matsumoto Mr. Richard Messenger Caroline J. Miller Mrs. Marci Novegrod Cheryl Hill Oakes Mr. and Mrs. Richard Packard Mr. and Mrs. Lyman Porter Ms. Karyn Rashoff Ms. Elizabeth G. Reinhold Mr. Stephen Richards Mr. and Mrs. Mel Richley Mrs. Merilyn Sandahl Mr. Kenneth Sanson Mr. and Mrs. Juergen O. Schar Mr. Justus Schlichting Mr. and Mrs. David Seigle

Ellen and Vasily I. Semeniuta Dr. and Mrs. Martin Serbin Lois Sorensen Drs. Ilene and Gerald Spear Mr. Paul Specterman and Mr. Terry Hanna Jennifer Tice Mrs. Janice Wallace Mr. and Mrs. Ritchie H. Wilson Ms. Cynthia Wolcott Katharine and Robert Young


Mr. and Mrs. Nicholas Alexopoulos Dr. and Mrs. Ruben Baghdassarian David and Frances Nitta Barnes Mr. and Mrs. Paul Bender Eric Blum Dr. and Mrs. Henry Brenner Mr. Scott Brinkerhoff Mary E. Chelius Mrs. Susan Lindquist de la Para Dr. and Mrs. Michael Dogali Mr. Jim Doulames Dr. and Mrs. Grant Duncan Mr. and Mrs. John Dunham

LeGAcY circLe The Philharmonic Society is proud to recognize those who have remembered us in their estate plans. We are grateful for their support, which will ensure the legacy of incomparable music and the continuation of superb music education programs.

Dr. and Mrs. Julio Aljure Mr. and Mrs. John Arnold Estate of Edra E. Brophy * Mr. Douglas T. Burch, Jr. Mr. and Mrs. William P. Conlin Pamela Courtial * Mr. Warren G. Coy Mr. and Mrs. Ben Dolson

William Gillespie Foundation Ms. Carol Frobish * Mr. Edward Halvajian * Mrs. Joan Halvajian Ms. Marie Hiebsch * Mr. and Mrs. Leonard Jaffee Judith and Howard Jelinek

Dr. Burton Karson Mrs. Carla Liggett Dr. William Lycette 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 Salyer Betty M. Williams * Anonymous (3) *Deceased

Endowment contributions (noted in bold type) are invested in perpetuity by the Philharmonic Foundation. Interest generated from the endowment each year supports the work of the Philharmonic Society. Gifts can provide general support or can be designated to support specific aspects of the Society’s work. The Philharmonic Foundation is a separate 501(c) 3 support organization. By remembering the Society or the Foundation in a will, an insurance policy or retirement plan, by establishing a charitable remainder trust or through any other planned giving vehicle, you have the opportunity to leave a musical legacy for this community. Please consider extending your generosity beyond your lifetime and joining with those listed here who wish to inspire future generations in Orange County with great music. If you would like more information about including the Society or Foundation in your estate plans, please call Bonnie Hall at (949) 553-2422, ext. 202. All inquiries are strictly confidential. If you have included the Society in your will or trust, let us know so that we may recognize and invite you to the Legacy Circle event in the Spring of 2014.


etude ($150+) Mr. and Mrs. Karl Fletcher Ms. Shirley Forcier Roberta L. Fox Mrs. Susie Gallagher Mr. and Mrs. Frank Gibson Mr. and Mrs. Phillip S. Glasgow Mrs. John Goodlad Hildegard Gray Kerry and Wesley Hacker Helen and James Hagen Mrs. Ingrid Harris Carol and Howard Hay Mr. and Mrs. Zachary J. Heinrichs Mr. and Mrs. Michael Hewitt Ms. Patricia Hicks Dr. and Mrs. Grant Hieshima Ms. Grace Holdaway Mr. and Mrs. Dan Horgan Beverly Horn Amy and Derek Hunt Drs. Curtis Jensen and Maria Minon Mr. and Mrs. James R. Johnson Karen Johnson Mr. Thomas Johnson Dr. Yutaka Kikkawa and Mrs. Helen Kikkawa Halim Kim and Lawrence Lee Mr. and Mrs. John Kincaid Dyan R. Kirkland Varla E. N. and Curtis A. Knauss Dr. and Mrs. C. Ronald Koons Mr. and Mrs. Edward S. Kriz Mr. Richard Labowitz Dr. and Mrs. Gary C. Lawrence

Dr. and Mrs. Ira Lott Louise and John Ludutsky Carol Malouf Mr. and Mrs. Richard Mandel Judy and Herb Michel Mrs. Nancy A. Miller Mr. Dean Mixon Mr. and Mrs. William Moore Ms. Victoria Mortensen Ms. Jacklyn Murphy-Harper Mr. and Mrs. Gordon Niedringhaus Dr. and Mrs. Kevin O’Grady Mr. and Mrs. Lee B. Olsen Cathy and Tim O'Neil Tharice and Bill Opalewski Mr. and Mrs. Gus Ordonez Linda andWilliam Owen Pamela and Barry Pearl Ms. Joan S. Petty Pat Peyton Mr. and Mrs. Warren Pfeifer Barbara and Bud Quist Ms. Silvia Rahlfs Laura J. Rainey Mr. and Mrs. Peter Rask Mr. and Mrs. Neil N. Reich Mr. and Mrs. Ernest Reveal Dr. and Mrs. Peter T. Ridley Mrs. Louise Ringwalt Mrs. Marjorie Ringwalt Mr. and Mrs. Herbert Rosenblum Mr. Hans Scharer Mr. and Mrs. Ted Schell Dr. and Mrs. Karl Schlaepfer Mr. Paul A. Schmidhauser and Ms. Cindy Hughes Judith M. Schmidt Mr. and Mrs. Jack Schoellerman

Mr. and Mrs. James Schultz Mr. and Mrs. James V. Selna Dixie M. Shaw Mr. and Mrs. Jacob Shen Mrs. Jennifer Friend Smith Ms. Dorothy J. Solinger Mr. David Sonneborn Ms. Christine Speed Barbara J. Steinberg Mr. and Mrs. Larry Stephenson Mr. and Mrs. Jonas Store Ms. Diane Stovall Dr. and Mrs. William Thibault Lois and David Tingler Mitzi and Yutaka Tonai Ms. Louise Upham Mrs. Doreen Vail Mr. Jeffrey Virden Mrs. Gina Viziroglu Mr. and Mrs. Ralph C. Wallace Mr. and Mrs. Sinclair Wang Mrs. Barbara Wheeler Mr. and Mrs. Robert W. Yates Mr. and Mrs. Edward Zinke


Mrs. Keythe W. Aguilar Mr. Joseph Aldama Mr. and Mrs. Richard Alexander Roan and Kevin Alombro Mrs. Judy Alverson Mrs. Sandee Ashlock Ms. Tomi J. Baker Bonnie and William Barrington Dr. Ken and Roberta Bell Mr. and Mrs. Ronald G. Bender Mr. Richard Bigelow Mr. and Mrs. Bradford Blaine Mr. and Mrs. Walter Boice Mrs. Barbara Boies Mr. and Mrs. Donald Brantley Mr. and Mrs. Paul E. Brown Ms. Christine B. Browne Mrs. Evelyn Brownstone Ms. Mary C. Bullard Ms. Judith Burns Mr. and Mrs. Tykye Camaras Mr. Gary Capata Mr. and Mrs. David M. Carlberg Renate Collison Mr. and Mrs. Edgar H. Compton Mr. Patches Cunningham Ms. Fran Cyrus Susan T. and Kevin C. Daly Mr. and Mrs. Lawrence Danto Nancy and Ken Davis Mr. and Mrs. Frank Delsandro Dr. and Mrs. Eiwu Djang Mr. Roger Du Plessis Mr. and Mrs. David Erikson Mr. Robert Farmer

List current as of March 2014

HonorArY Life memBers Frieda Belinfante John M. Rau

Gifts from music lovers like you are the Philharmonic Society’s single most important source of revenue. Through the world-class artists we present on stage and the programs we present in the classroom, we’re dedicated to inspiring a lifetime of engagement with great music. Halim Kim at (949) 553-2422, ext. 233, or visit us online at and click on Support Us.


a D M i n i s t r at i V E s t a F F 16

President & Artistic director Dean Corey

Artistic oPerAtions


Sean Samimi

Chau Schwendimann

Artistic Administrator

Director of Finance / Human Resources

Peter Conlon

Roan Alombro

Manager, Beethoven Project

Finance and Human Resources Associate

Kathy Smith

Patrick Le

Piano Technician

Accounting Associate


mArKetinG And PuBLic reLAtions

Bonnie Brittain Hall

Chantel Chen Uchida

Vice President of Development

Vice President of Marketing and Public Relations

Halim Kim

Jean Hsu

Director of Annual Campaign

Marketing and Public Relations Manager

Allison Heinrichs

Marie Songco-Torres

Development Associate

Senior Marketing and Public Relations Associate

Tina Anjozian

Francesca de la Fuente

Development Assistant

Marketing and Public Relations Intern


PAtron services

Rita Major

Jonathan Mariott

Director of Education / Grants Administrator

Director of Patron Services

Heather Cromleigh

Siri Bloom

Director of Volunteer Services / Board Liaison

Ticketing and Marketing Associate

Madeline Fields

Randy Polevoi

Huntington Harbour Office Manager

Musical Concierge

LA Philharmonic Program Book  

Saturday, April 26, 2014 Renée & Henry Segerstrom Concert Hall

LA Philharmonic Program Book  

Saturday, April 26, 2014 Renée & Henry Segerstrom Concert Hall