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about the artists


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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 B. Ersan • Donna L. Kendall Foundation Milan Panic • Barbara Roberts • 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)



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 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

PLATINUM BATON Dr. and Mrs. Richard D. Campbell

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

Millstream Fund 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



American Business Bank 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. 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

($6,000+) Ms. Injoa Kim


Mikimoto 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. Roger Davisson 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

*Listing as of March 3, 2014. Full listing of donors appears in all Segerstrom Center for the Arts program books.


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SCHAROUN ENSEMBLE BERLIN Wolfram Brandl, violin Christophe Horak, violin Micha Afkham, viola Jakob Spahn, cello Peter Riegelbauer, doublebass Alexander Bader, clarinet Mor Biron, bassoon Stefan de Leval Jezierski, horn Clarinet Quintet in A major, K. 581

Wolfgang Amadeus MOZART (1756-1791)

Allegro Larghetto Menuetto Allegretto con variazioni

INTERMISSION Septet in E-flat major Ludwig van BEETHOVEN for Strings and Winds, Op. 20 (1770-1827) Adagio, Allegro con brio Adagio cantabile Tempo di menuetto Teme con variazioni: Andante Scherzo: Allegro molto e vivace Andante con moto all Marcia, Presto Tour Direction: COLUMBIA ARTISTS MANAGEMENT LLC Tim Fox / Alison Ahart Williams 1790 Broadway New York, NY 10019

This concert is generously sponsored by Mr. Sam B. Ersan Exclusive Print Sponsor

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

Scharoun Ensemble Berlin

MOZART: ClARineT QuinTeT in A MAjOR, K. 581 Mozart’s Clarinet Quintet of 1789, in which scoring displays a sensitive blend of a true chamber style and concertante writing far surpasses his earlier works for a wind instrument and strings. The clarinet is treated with the honor due to a distinguished guest without solely dominating the work, and the equality between parts that is an essential feature of true chamber music is always maintained. Mozart wrote the Quintet for his friend and fellow freemason Anton Stadler, the extremely gifted principal clarinetist of the court orchestra in Vienna. It is widely known that Stadler was a scoundrel who was essentially a freeloader in the Mozart home, never repaid the money he borrowed from his host and even stole some of the composer’s pawn tickets. In spite of Stadler’s shortcomings, Mozart’s admiration for him as a musician combined with his love for the clarinet was sufficient inspiration for this superb chamber work. The premiere performance took place on December 22, 1789, at a benefit concert given in Vienna by the Society of Musicians at the Imperial and Royal Court Theater; Stadler played the clarinet and Mozart probably played the viola. The Quintet opens with beautifully shaped and richly harmonized Allegro in sonata form. The main theme is first introduced by the strings, followed by a response from the clarinet. The first violin presents the second sprightly melody,

about the ProGraM

Friday, March 21, 2014, 8pm Irvine Barclay Theatre

about the ProGraM

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BeeTHOVen: SepTeT in e-flAT MAjOR fOR STRingS And WindS, Op. 20 In December 1800, Beethoven wrote to Franz Anton Hoffmeister (who had just founded a music publishing firm in Leipzig, which, as the C.F. Peters Corp., has now celebrated its 200th anniversary), offering him several new compositions, among them: “I, a septet for violin, viola, violoncello, double bass, clarinet, horn, bassoon tutti obbligati (I cannot compose anything that is not obbligato, seeing that, as a matter of fact, I came into the world with an obbligato accompaniment).” Wolfgang Amadeus Mozart

succeeded by yet another theme shared by the violin and clarinet. For the development, each string instrument plays the clarinet’s opening phrase. The beauty of the D major Larghetto lies in the clarinet’s long melodic line which holds the stage throughout, except in the middle section, where it shares a dialogue for the first violin. Mozart then introduces a slightly more agitated duet for first violin and clarinet, concluding the movement with a repeat of these two sections. The stoic Minuet contains two trios, the first in A minor, in which the clarinet is silent, but the second in A major brings back the clarinet to lead a lively dance. The movement ends with a review of the Minuet. The folk-like theme of the Allegretto is first stated by the strings with afterthoughts by the clarinet. The theme is then put through six variations. The first, fourth and fifth elaborate the original tune, while the second, third and sixth probe the melody more deeply, showing various aspects of its basic character. The final variation, marked Adagio, comes like a moment of thoughtful reflection before the tempo changes to Allegro, a lively close to a gentle work. © 1997 Columbia Artists Management Inc.

The reference is to the traditions that Beethoven was born with a caul, a symbol of good fortune in folklore. Hoffmeister accepted all the works proffered, and published the Septet in 1802, with a dedication to the Empress Maria Theresa. Its ancestry may be traced to the Mozart Divertimento K. 334 for two violins, viola, bass, and two horns, from which it differs structurally in the provision of slow introductions for the first and last movements. The Septet was for a considerable time one of Beethoven’s most popular works. Its thematic material is fresh, its forms succinct, and it conveys an overall sense of spontaneity. It is admirably suited to its instrumentation, and there is no necessity and little justification for performance—as Toscanini and others have done—with orchestral string sections. Beethoven himself provided adaptations for other instrumental combinations, but always for smaller groups such as quintet and trio. Space limitations permit only a casual catalogue of events. The introductions to the first and last movements are of the “serenade” type characteristic of Mozart and Haydn; the movements are, of course, in sonata form, the first with several themes, the last with only two. Beethoven interpolates a violin cadenza before the recapitulation of the finale. The songlike theme of the Adagio is presented in odd key relationships: A-flat, C (!), A-flat. For the Menuetto Beethoven borrowed the first section of a minuet he had written some years earlier for a piano sonata (Op. 49, No. 2—the opus number indicates order of publication, not composition): the remainder of the movement is new. The theme of the variations is folk-like and sometimes identified as a folksong, though apparently works were merely added to Beethoven’s music and

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has engaged such artists as Fanny Ardant, Loriot, and Dominique Horwitz. Bridging the gap between tradition and the modern is the Scharoun Ensemble’s principal artistic focus. It has given world premieres of many 20th- and 21stcentury compositions while dedicating itself with equal passion to the interpretation of works from past centuries. Among the cornerstones of its repertoire are Franz Schubert’s Octet d803, with which the ensemble made its public debut in 1983, and Ludwig van Beethoven’s Septet Op.20.

Ludwig van Beethoven

the resulting artificial folksong printed in Kretschmer’s collection (1838). The Scherzo is characteristically Beethovenian, though the theme of the Trio is curiously like that of Schumann’s song Der Hidalgo. © 2001 Columbia Artists Management Inc.

SCHAROun enSeMBle BeRlin Founded in 1983 by members of the Berlin Philharmonic Orchestra, the Scharoun Ensemble is one of Germany’s leading chamber music organizations. With its wide repertoire, ranging from composers of the Baroque period by way of Classical and Romantic chamber music to contemporary works, the Scharoun Ensemble has been inspiring audiences in Europe and overseas for more than a quarter of a century. Innovative programming, a refined tonal culture and spirited interpretations are hallmarks of the ensemble, which performs in a variety of instrumental combinations. The permanent core of the Scharoun Ensemble is a classical octet (clarinet, bassoon, horn, two violins, viola, cello and double bass), made up entirely of members of the Berlin Philharmonic. When called for, the ensemble brings in additional instrumentalists as well as noted conductors. The Scharoun Ensemble has prepared and presented various programs under the direction of Claudio Abbado, Sir Simon Rattle, Daniel Barenboim and Pierre Boulez. It has also performed with singers, including Thomas Quasthoff, Annette Dasch, Simon Keenlyside and Barbara Hannigan, and, for interdisciplinary projects, the ensemble

Cultivating an active contact with today’s composers has been a matter of special interest to the Scharoun Ensemble since its inception. György Ligeti, Hans Werner Henze, Pierre Boulez, György Kurtág and Wolfgang Rihm have accompanied the group on its artistic journey, as have composers of the younger generation including Jörg Widmann and Matthias Pintscher. Complementing the Scharoun Ensemble’s brisk international concert activity is its annual residence at and artistic directorship of the Zermatt Festival, founded in 2005. Along with concerts by major artists, each summer’s festival includes musical workshops offering young musicians the chance to work with the members of the Scharoun Ensemble. Lending his name to the Scharoun Ensemble is the architect of its musical home. In designing the Berlin Philharmonie, Hans Scharoun (1893-1972) created a concert hall that was unique in the world, undertaking a synthesis between innovation and awareness of tradition and opening up new approaches to artistic communication—ideals to which the Scharoun Ensemble is also committed. For more information, please visit


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Available for viewing at the following concerts: Irvine Barclay eatre Mar. 21 (Scharoun Ensemble Berlin) Renée and Henry Segerstrom Concert Hall, Segerstrom Center for the Arts May 15 (Beethoven: e Late Great—e Finale) An exhibition of Charles Schulz’s beloved Peanuts comic strips featuring a serious young pianist named Schroeder, whose love for Beethoven and his music was all-consuming. A self-playing Yamaha Disklavier piano will accompany the exhibition and provide patrons with an up-close mini performance of Beethoven’s challenging Hammerklavier Sonata, which was featured in one of the strips. For a listing of all Beethoven: e Late Great events, visit Piano graciously provided by

© Peanuts Worldwide, LLC.

uPCoMiNG eVeNts


Scharoun Ensemble Berlin Program Book  

Friday, March 21, 2014 Irvine Barclay Theatre

Scharoun Ensemble Berlin Program Book  

Friday, March 21, 2014 Irvine Barclay Theatre