Smetana Trio

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Smetana Trio Tuesday, March 2, 2021



SMETANA TRIO Jan Talich, violin Jan Pálenícek, cello Jitka Cechová, piano

PROGRAM Piano Trio in Ludwig van BEETHOVEN D major, Op. 70, No. 1, “Ghost” (1770–1827) Allegro vivace e con brio Largo assai ed espressivo Presto

Piano Trio in D minor, Vitĕzslav NOVÁK Op. 27, “Trio quasi una ballata” (1870-1949) Andante tragico - Allegro - Allegro burlesco quazi scherzo - Andante tragico - Allegro

Piano Trio No. 4 in E minor, Op. 90, “Dumky”

Antonín DVOŘÁK (1841-1904)

Lento maestoso — Allegro quasi doppio movimento Poco adagio — Vivace non troppo Andante — Vivace non troppo Andante moderato — Allegretto scherzando Allegro

The Philharmonic Society’s 2020-21 season is made possible through the generous support of Donna L. Kendall and the Donna L. Kendall Foundation Anonymous Howard and Judith Jelinek The Segerstrom Foundation Sam and Lyndie Ersan


In the fall of 1808 when Beethoven began writing his two Piano Trios, Op. 70, he was living in rooms generously furnished to him by Countess Marie Erdödy. Beethoven participated in the first performance of the Opus 70 Trios at Countess Erdödy’s home around Christmas in 1808, and sent them off to his publisher with a dedication to her. At one point he changed his mind and wished to dedicate them to Archduke Rudolph, but in the end let the dedication to the Countess stand. It had been ten years since Beethoven had composed his Opus 11 Trio for clarinet (or violin), cello, and piano, and twelve years since he had composed his last major works in the piano trio genre—his three Opus 1 Trios, which had served as his public entrée. By 1808 he was at the pinnacle of his productivity and popularity, and the Opus 70 Trios are surrounded by the masterpieces he presented on that famous marathon concert in December 1808—the Fifth and Sixth Symphonies, the C major Mass, the Choral Fantasy—and equally important works such as his Coriolan Overture and A major Cello Sonata. The first of the Opus 70 Trios came to be called the “Ghost” because of a comment made after Beethoven’s death about the amazing slow movement. Carl Czerny, Beethoven’s former pupil, wrote in 1842 that the Largo assai ed espressivo “resembles an appearance from the underworld. One could think not inappropriately of the first appearance of the ghost in Hamlet.” The nickname stuck for the entire Trio, and only afterwards it was discovered that Beethoven may have had something supernatural on his mind, because sketches for this movement appear near those for a Witches’ Chorus for a projected Macbeth opera. The forthright unison opening of the first movement sounds almost as if Beethoven derived it from the first movement of the his Piano Sonata, Op. 10, No. 3, and injected it

ABOUT THE PROGRAM NOVÁK: PIANO TRIO IN D MINOR, OP. 27, “TRIO QUASI UNA BALLATA” Vitĕzslav Novák’s Piano Trio No. 2, Quasi una Ballata, was written at a time (1902) when his allegiance was torn between two different musical camps. He was still attracted to the use of folk melody as was advocated by the older and more conservative generation of Czech composers such as Dvořák, but he was also attracted to the tonal modernism which was emerging from fin du siecle Europe. This conflict caused him considerable anguish and he was later to write that in many ways, the trio was autobiographical. with new energy. He contrasts this immediately with a sweeter phrase begun by the cello. Beethoven allows himself an expansive development section with quite a bit of counterpoint after his extremely concise exposition. The tranquil coda relies on his sweet second phrase until a bright recall of the opening idea ends the movement. The celebrated “Ghost” movement is one of those marvels that fired the Romantic imagination with its alternating-repeating fragments, plaintive melodic lines, sudden contrasts, agitated tremolos, unsettled harmonies (diminished seventh chords), and above all the eerie floating descents of the piano right hand and rumbling bass notes in the left. As with many of Beethoven’s most startlingly original movements, the overall sonorities mask the quite traditional aspects of his structure, in this case a simple three-part form with coda. Beethoven opted to return to a three-movement format for this Trio, and hence there is no scherzo. The sonata-form finale returns to the light of day, with a cheerful main theme that keeps halting and digressing. This good-natured meandering flows so naturally that occasional harmonic surprises are swept right along without ceremony. Just before the conclusion, a clever diversion with pizzicato effects, seamless splitting of the melody between the two strings, and piano right-hand glitter gives added urgency to the cadential flourish.


Vitĕzslav Novák was a leading proponent of the Czech nationalism in music in the generation after Dvořák and Smetana. However it seemed unlikely that he would become a musician having begun by hating music as a result of being brutally forced to study the violin and the piano as a young child. But a fascination for composition, which he discovered in his teens, led to his decision to enter the Prague Conservatory, where he studied with Dvořák among others. Dvořák’s example of using Czech folk melody in his music to foster the nationalist cause at a time when the Czech and Slovak peoples were seeking statehood from Austria encouraged the young composer to follow this path. After graduating from the Conservatory in 1896, he traveled to eastern Moravia and Slovakia where the local folk melodies he found served as a source of inspiration for him. Although the trio is written in one movement, hence a ballad, it nonetheless follows traditional classical structure in that it has four succinct episodes or sections. It begins with an introductory Andante tragico, full of pessimism and though tonally advanced for the time, there are still traces, mostly rhythmical, of Moravian folk songs. This is followed by an Allegro which has a heroic theme for its main subject but it too is tinged with a sense of the tragic. Next comes a sarcastic scherzo, Allegro burlesco. In the fourth section, the Andante tragico is reprised, this time followed by a very dramatic Allegro which leads to a somber and funereal coda. 3

ABOUT THE PROGRAM This trio, along with the Dumky of Dvořák and the Smetana, make up the foundation of the piano trio literature in the Czech Republic, yet sadly, it has been rarely if ever performed abroad. We hope professional groups will investigate and program this extraordinary work, which amateurs will also find worthwhile.


DVOŘÁK: PIANO TRIO NO. 4 IN E MINOR, OP. 90, “DUMKY” In 1892, Dvořák, now world famous as a composer, accepted an invitation to become the director of the new National Conservatory of Music in New York. As things turned out, he became acutely homesick, and after three years he resigned and returned home to Prague. At the time of his departure, however, he fully expected to settle permanently in the United States, and he undertook a “farewell” 40-concert tour of Bohemia and Moravia, accompanied by two colleagues from the Prague conservatory, violinist Ferdinand Lachner and cellist Hanus Wihan. As the centerpiece for the tour, Dvořák chose the work in which he most poignantly expressed his love for his motherland and its musical culture—his “Dumky” Trio. Completed in February, 1891, the work had been premiered at a concert in April, 1891, celebrating Dvořák’s honorary doctorate from Prague’s Charles University. It was then published in 1894 while Dvořák was in the United States, with his friend Brahms taking time out from his own work to read and correct the proofs. Dumky is the plural of dumka, a Slavonic word with a long etymological history. Originally it meant to meditate or brood. In the Ukraine, the term took on the additional meaning of a “lament” or pensive folk ballad about deeds of heroism in bygone days. Still later, a dumka became a sorrowful instrumental work, often followed by a wildly joyful dance called a furiant. This pairing of two sharply contrasting moods spread throughout central Europe, becoming particularly characteristic of folk music in Poland and Bohemia. 4

Dvořák used the term dumka for the blending of such contrasting melancholy and joyful elements within one piece, thus providing a vehicle for his emotionally complex temperament. In this sense, he composed a number of dumky, both as short pieces in themselves or as movements in a longer work. Examples include his Slavonic Dance No. 2 and the slow movements of his String Quartet, Op. 51, and Piano Quintet, Op. 81. In his “Dumky” Trio, Dvořák went further, writing a piece consisting entirely of dumky. There are, in fact, six of them, each in a different key and with its own distinct individuality and tonal coloring. The first, second, third and sixth dumky follow the traditional pattern of a slow, melancholy or pensive section followed by a fast, exuberant one. In the fourth and fifth dumky, the contrasts come between the two movements. This unique format made it impossible for Dvořák to follow the convention established by Haydn of using traditional sonata form, with its emphasis on thematic development, for at least one movement. The trio as a whole, however, has a structural unity roughly like a conventional four-movement composition. The first three dumky are linked together without pause, and are thus parallel to a conventional first movement. The fourth dumka is dominated by a slow melancholy melody presented by the cello over a piano ostinato figure, and is like a slow movement. The fifth dumka is more energetic and playful, like a scherzo. The final dumka, after a somber introduction, is alternatively wild and quietly expressive, not unlike a traditional rondo, bringing this remarkable piece to a brilliant whirling close. —

ABOUT THE ARTISTS SMETANA TRIO The Smetana Trio, founded in 1934 by the legendary Czech pianist Josef Pálenícek, violinist Alexandr Plocek and cellist František Smetana, is today’s foremost Czech chamber ensemble. Currently comprised of Jitka Cechová (piano), Jan Talich (violin), and Jan Pálenícek (cello), the Smetana perpetuates the interpretational ideals created by its illustrious predecessors thas well as other superlative 20 -century soloists active in chamber music. “There is nothing routine about the Smetana Trio’s approach to this engaging repertoire. Every aspect of their interpretation is carefully considered without losing an ounce of spontaneity. Individual lines are remarkable for their focus and beauty, though the powerful sense of ensemble is never sacrificed to individual display.” - BBC Music Magazine Following a triumphant, multi-city North American tour in the 2017-2018 season, the Smetana Trio returned to the United States in spring 2019 with programs including piano trios by Rachmaninoff, Martinů, Dvořák, Novak, and Smetana. Highlights from this tour included performances at the University of Oregon, Friends of Chamber Music Vancouver, and Queen’s University in Ontario. Overseas, the Trio embarked on several European tours with performances throughout the Czech Republic, Germany, Switzerland, Italy, and the United Kingdom, where the Trio was presented by London’s Wigmore Hall. The Trio returns to North America in the 2020-2021 sesaon.

Germany. In 2015 the Smetana Trio toured South America with performances in Lima, Medellin, Rio de Janeiro as well as the Beethoven Triple Concerto with the Brazilian Symphony Orchestra. With an impressive discography of nearly a dozen albums recorded exclusively for Supraphon since 2000, the group’s recordings include an album featuring the complete piano trios of Shostakovich and Ravel, and an all-Dvořák disc which received BBC Music Magazine’s Chamber Award for 2007 and the French Diapason d’Or. Additional discs include works by Smetana, Tchaikovsky, Mendelssohn and Schubert. In 2019, the group released a new album of late-19th century piano trios by Zemlinsky, Rachmaninov, and Arensky. In spring 2017, the Smetana Trio was voted to win the BBC Music Magazine Chamber Award for its recording of the complete trios by Bohuslav Martinů, released by Supraphon Records in March 2015. The acclaimed recording received such recognition as BBC Music Magazine’s June 2016 Recording of the Month, Sunday Times Recording of the Week, Diapason d’Or award, and a review on opining “this is the greatest chamber disc I’ve heard in ages, and I can’t imagine a better introduction to Martinů’s music.”

The Smetana Trio has toured extensively in both chamber ensemble and as orchestral soloists, working with conductors such as Jirí Belohlávek, Libor Pešek, John Axelrod, Michael Boder, Tomáš Hanus and Stanislav Vavrínek and orchestras such as the Bamberg Symphony Orchestra, Orchestra della Svizzera italiana Lugano, Orchestre National des Pays de la Loire, Prague Symphony Orchestra, Prague Philharmonic, Chamber Philharmonic Orchestra Pardubice and Moravian Philharmonic Orchestra Olomouc. Festivals and concert series include Cambrai, Aix-en-Provence and Nice in France, and Munich, Würzburg and Tübingen in 5


*PLEASE NOTE: All 2021 concerts will have virtual viewing options. In-person opportunities will be announced on a concert by concert basis.





Thursday, March 4, 2021, 7pm PST
 Virtual Concert BEETHOVEN: Eroica Variations, Op. 35 LISZT: Piano Sonata in B minor, S. 178

Select Beethoven Cello Sonatas



JACOBSEN: Three Miniatures for String Quartet SHAW: Schisma FRANK: Kanto Kechua #2 ESMAIL: Zeher (Poison) RAVEL: String Quartet in F major

HAYDN: String Quartet No. 6 in D major, Op. 17 BARTÓK: String Quartet No. 5, Sz. 102
 BRAHMS: String Quartet No. 2 in A minor, Op. 51

Thursday, March 11, 2021, 6pm PST Virtual Concert

YEFIM BRONFMAN, PIANO Sunday, March 21, 2021, 3pm PST Virtual Concert

BEETHOVEN: Sonata in D major, Op. 10, No. 3 DEBUSSY: Suite bergamasque BEETHOVEN: Sonata in F minor, Op. 57 (“Appassionata”)


Thursday, April 8, 2021, 8pm PST Renée and Henry Segerstrom Concert Hall*

Friday, April 9, 2021, 8pm PST Venue TBD*

PINCHAS ZUKERMAN, VIOLIN WITH AMANDA FORSYTH, CELLO AND SHAI WOSNER, PIANO Wednesday, April 21, 2021, 8pm PST Renée and Henry Segerstrom Concert Hall*

BEETHOVEN: Variations on ‘Ich bin der Schneider Kakadu’, Op 121a (“Kakadu Variations”) MOZART: Violin Sonata No. 21 in E minor, K. 304 FAURÉ: Élégie, Op. 24 BRAHMS: Scherzo in C minor from the F.A.E. Sonata (“Sonatensatz”) BRAHMS: Piano Trio No. 2 in C major, Op. 87


Philippe Quint, violin
 Additional artists to be announced
 Tuesday, April 6, 2021, 8pm PST Co-presented by Irvine Barclay Theatre Concert sponsored by Steven M. Sorenson MD
 Additional support provided by the Ibex Foundation Multi-Grammy-nominated violinist Philippe Quint celebrates the centennial of tango legend Astor Piazzolla in a performance of music and dance.


Saturday, April 24, 2021, 8pm
PST Renée and Henry Segerstrom Concert Hall* DEBUSSY: Préludes Books 1 and 2

2021 Laguna Beach Music Festival ITS BRILLIANCE ALMOST FRIGHTENED ME Festival Artistic Director: Conrad Tao, piano Saturday, May 15, 2021 Locations in Laguna Beach*

Laurence CRANE: Prelude No. 1
 BERG: “Traumgekrönt” from Seven Early Songs
 SCHUBERT: “Gretchen am spinnrade” (Gretchen at the Spinning Wheel) Eric WUBBELS: gretchen am spinnrade
 Ruth Crawford SEEGER: String Quartet
 BEETHOVEN: String Quartet No. 16, Op. 135

2021 Laguna Beach Music Festival CHANGE THIS THREAD ON WHICH WE MOVE Festival Artistic Director: Conrad Tao, piano Sunday, May 16, 2021 Locations in Laguna Beach*

Caroline SHAW: Entr’acte (Westerlies arrangement) DEBUSSY: Violin Sonata in G minor
 GESUALDO: selected Madrigals
 Other works to be announced.

MAY 2021 Laguna Beach Music Festival COUNTERPOINT
 Festival Artistic Director: Conrad Tao, piano Caleb Teicher, dancer
 Friday, May 14, 2021 Locations in Laguna Beach*

Duo program with music by Bach, Gershwin, etc.

DANISH STRING QUARTET Sunday, May 16, 2021, 3pm PST Samueli Theater*

Grammy-nominated Danish String Quartet makes its second appearance in the 2020-21 season with a performance showcasing its players’ masterful technique and heartfelt expressivity. Program to be announced.



Sergio Assad, guitar
 Clarice Assad, piano/voice
 Third Coast Percussion Friday, May 28, 2021, 8pm
PST Renée and Henry Segerstrom Concert Hall*


Thursday, June 17, 2021, 8pm PST Renée and Henry Segerstrom oncert Hall* In a rescheduled performance from the previous season, four-time Grammy winner and legendary soprano Renée Fleming appears in a program of beloved songs and arias.

In an exploration of global music traditions, legendary guitarist Sergio Assad, along with Clarice Assad’s spellbinding vocals and the rhythms of Grammy-winning Third Coast Percussion, will take audiences on a vast musical journey grounded in familiar stories.


Monday, June 14, 2021, 8pm PST Renée and Henry Segerstrom Concert Hall* BEETHOVEN: Violin Sonata No. 4 in A minor, Op. 23 DEBUSSY: Sonata in G minor, L. 140
 COLL: Hyperlude No. 5 for Solo Violin
 YSAŸE: Sonata No. 6 in E major for Solo Violin BRAHMS: Sonata No. 2 in A major, Op. 100 DEBUSSY: L’isle joyeuse, L. 106 ADAMS: Road Movies

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YOUTH MUSIC EDUCATION PROGRAM SPONSORS The Crean Foundation • Chapman University The Davisson Family Fund For Youth Music Education • The William Gillespie Foundation Thomas J. Madracki Memorial Endowment • Orange County Community Foundation Pacific Life Foundation • Gail and Robert Sebring • U.S. Bank • Wells Fargo • Anonymous

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HONORARY LIFE MEMBERS Frieda Belinfante in memoriam

Douglas T. Burch, Jr. in memoriam

Jane K. Grier John M. Rau

List current as of January 29, 2021 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.


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$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+ 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

Mr. and Mrs. Anthony Mastrangelo Mr. and Mrs. Herbert Michel Charles Mosmann Carl Neisser Joan Rehnborg Dr. and Mrs. Henry Sobel Dr. and Mrs. Julio Taleisnik Marti and Walter Unger Gayle Widyolar, M.D. Sandi Wright-Cordes U.S. Bank Anonymous

Up to $24,999 Eleanor and Jim Anderson John W. Benecke *Deceased Mr. and Mrs. Jim Burra Ana and Ron Dufault Hung Fan and Michael Feldman First American Trust Kimberly Dwan Bernatz Mr. John D. Flemming and Mr. Mark Powell Duke Funderburke Carolyn and John Garrett Karin Easter Gurwell Maralou and Jerry M. Harrington Mrs. Alice E. Hood Huntington Harbour Philharmonic Committee Marina Windjammer Group Judith and Kevin Ivey Ms. Lula Belle Jenkins Doris and Jim Kollias Mrs. Elizabeth C. Kramer Mr. and Mrs. Richard Lewis Mr. and Mrs. Thomas Madracki

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DONORS 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*

The William Gillespie Foundation Mr. and Mrs. Milton S. Grier, Jr. Mr. Edward Halvajian* Ms. Joan Halvajian Ms. Marie Hiebsch* Mr. and Mrs. James R. 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* Ms. Dea Stanuszek Diane and Michael Stephens Vas Nunes Family Trust* Betty M. Williams* Anonymous

*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: and click on Planned Giving.

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. William J. Gillespie Mr. and Mrs. Milton S. Grier, Jr. Maralou and Jerry M. Harrington 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 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. Eugenia D. Thompson Mrs. Elaine Weinberg Mr. and Mrs. George Wentworth Bobbitt and Bill Williams Anonymous


BOARD OF DIRECTORS OFFICERS Donna L. Kendall Chairman, CEO John Flemming Vice Chairman

Sabra Bordas Vice Chairman

Kimberly Dwan Bernatz Immediate Past Chairman

Stephen Amendt Secretary/Treasurer

EXECUTIVE COMMITTEE John W. Benecke Development

JoAnn Fuerbringer Orange County Youth Symphony

Elaine P. Neuss Artistic and Marketing

Sabra Bordas Nominating

Jane K. Grier Member at Large

Douglas H. Smith Foundation

Hung Fan Laguna Beach Music Festival

Jean Felder President, The Committees

Jim Brophy

Margaret M. Gates

David Troob

Gary Capata

Wesley Kruse

Kim Weddon

Joanne C. Fernbach

Barbara Roberts

Kathryn Wopschall


ADMINISTRATIVE STAFF MARKETING AND PUBLIC RELATIONS Jean Hsu Chief Operating Officer / Vice President of Communications Marie Songco-Torres Senior Marketing & Public Relations Manager Jennifer Niedringhaus Marketing & Public Relations Associate

DEVELOPMENT Halim Kim Senior Director of Development Kevin Kwan Loucks Director of Business Development and Strategic Partnerships Katie Lockie Development Coordinator

ARTISTIC OPERATIONS Kathy Smith Piano Technician

FINANCE Roan Alombro Vice President of Finance Jessica Cho Finance Associate / HR Administrator

PATRON SERVICES Jonathan Mariott Director of Patron Services Angelica Nicolas Marketing & Patron Services Associate Randy Polevoi Musical Concierge

ORANGE COUNTY YOUTH SYMPHONY Johannes Müller Stosch Music Director & Conductor Cathy Olinger General Manager & OCYSE Conductor Danielle Culhane Operations & Personnel Manager


Sarah Little Vice President of Education & Community Engagement Heather Cromleigh Director of Volunteer & Education Services / Board Liaison

Moni Simeonov Coordinator of Strings Mathieu Girardet Coordinator of Winds Tristan Chilvers Assistant Manager & Librarian


THE PHILHARMONIC SOCIETY OF ORANGE COUNTY ABOUT US 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 65 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 700 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.