about the artists
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 160,000 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 • Catherine and James Emmi Colburn Foundation • Mr. Sam B. Ersan • Donna L. Kendall Foundation Barbara Roberts • Mrs. Michelle Rohé • Segerstrom Center for the Arts The Segerstrom Foundation • The Committees of the Philharmonic Society
CHAIRMAN’S CIRCLE The Crean Foundation • Ann and Gordon Getty Foundation • Mr. and Mrs. Milton S. Grier, Jr. Joan Halvajian • Maralou and Jerry M. Harrington • Dr. and Mrs. Howard Jelinek Phillip N. and Mary A. Lyons • National Endowment for the Arts • Sandy and Harold Price Shanbrom Family Foundation • Mr. and Mrs. Douglas H. Smith
Mr. Wylie A. Aitken Mr. and Mrs. James Alexiou Ms. Elizabeth An and Mr. Gordon Clune of AnQi Bistro Eleanor and Jim Anderson Sabra and Peter Bordas Mr. Douglas T. Burch, Jr. Mr. Gary Capata Mr. Warren G. Coy The Dirk Family Mr. and Mrs. James A. Driscoll Mr. and Mrs. Donald P. Evarts
Mrs. Joanne Fernbach First American Trust Kimberly Dwan Bernatz The William Gillespie Foundation Margaret M. Gates- In memory of Lawrence Gates Mr. and Mrs. Lawrence Hull Dr. Burton L. Karson Mr. David H. Koontz and Mr. James Brophy Joann Leatherby and Dr. Greg Bates Macy’s
PLATINUM BATON Dr. and Mrs. Richard D. Campbell Ms. Injoa Kim
American Business Bank Linda M. Beimfohr Dr. and Mrs. Shigeru Chino Suzanne and David Chonette Mr. and Mrs. William P. Conlin Mrs. William L. Cook Richard Cullen and Robert Finnerty Mr. and Mrs. Roger Davisson
Mr. and Mrs. David Rosenberg Schumann|Rosenberg LLP Ms. Dea Stanuszek Dr. and Mrs. Daniel Stein Mr. and Mrs. David Troob U.S. Bank Mr. Stephen Amendt Wells Fargo Foundation Mr. and Mrs. Noel Hamilton
($6,000+) Orange County Community Foundation/ Jane Deming Fund
Mr. and Mrs. Anthony Mastrangelo Mrs. Michael McNalley Mikimoto Isidore C. and Penny W. Myers Foundation Endowment Fund/ Jewish Community Foundation of Orange County Elaine and Carl Neuss Pacific Life Foundation Mr. and Mrs. William F. Podlich Deborah and Richard Polonsky Dr. and Mrs. Chase Roh
The Orange County Register Mr. and Mrs. Robert A. Teitsworth
($3,000+) Frome Family Foundation Elizabeth F. Hayward and Robert M. Carmichael Ms. Sigrid Hecht Milli and Jim Hill Drs. Siret and Jaak Jurison Helen and Fritz Lin Regina and John Mangum
Mr. and Mrs. William McCormick Drs. Armine and Vahe Meghrouni Mr. and Mrs. Michael D. Nadler Dr. Susan Powers Marcia Kay and Ron Radelet Mr. and Mrs. James Reynolds Mrs. Howard Roop Lih Ping and Chin-Shun Shih
Dr. Steven Sorenson Mr. and Mrs. John Stahr Dr. and Mrs. Fritz C. Westerhout Gayle Widyolar and David Scott Bobbitt and Bill Williams
Mr. and Mrs. Albert A. LoSchiavo Mr. and Mrs. Richard Mangum Mr. and Mrs. Orville L. Marlett Millstream Fund City of Mission Viejo Mr. and Mrs. Mike Morris Lauren and Richard Packard Mr. Patrick Paddon Dr. William Pedler Dr. and Mrs. Paul Qaqundah Mr. and Mrs. Walter Rados Mary Rence Mr. and Mrs. Philip Ridout Dagmar and Walter Rios
Ms. Jennie Robinson Eva and Fred Schneider Mr. Dickson Shafer – In memory of Lois Shafer Dr. Emmanuel Sharef 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 Ms. Judy Tschetter Dr. Nancy E. Van Deusen Chava and Ted Wortrich
Anne and David Rosenberg
Hope Aldrich and Michael Jeffers Mr. and Mrs. Richard D. Allen Dr. and Mrs. Jerry P. Andes John W. Benecke The Boeing Company Mr. and Mrs. John C. Carson Dr. and Mrs. David Casey Mrs. Linda Lipman Cassuto Elizabeth and Ming Chang Mr. and Mrs. Stewart A. Clark Ms. Carol Dalton Mr. and Mrs. Jack Delman Mr. and Mrs. Neil Donavan Mr. and Mrs. Roger Duplessis
Sandra M. French and Donald B. French Mr. and Mrs. Gudelio Friedstadt Mr. and Mrs. Philip Gold Mr. and Mrs. Carl Greenwood JoAnn and Peter Fuerbringer Bonnie and William S. Hall Mr. and Mrs. Robert J. Hall Dr. Renee Harwick Mr. Charles Hill Carole and Joseph Innes Dr. and Mrs. Tae S. Kim Mr. and Mrs. Louis J. Knobbe Mr. Clark Leonard
*List current as of April 30, 2015. Full listing of donors appears in all Segerstrom Center for the Arts program books.
CARL ST.CLAIR TRIBUTE
25 YEARS AS MUSIC DIRECToR oF PACIFIC SYMPhoNY
orli Shaham, piano and harpsichord Raymond Kobler, violin Timothy Landauer, cello Paul Manaster, violin Steve Edelman, double bass Bridget Dolkas, violin Jessica Pearlman Fields, oboe Robert Becker, viola Benjamin Smolen, flute
oboe Quartet K. 370
Wolfgang Amadeus MoZART (1756 - 1791)
Allegro Adagio Rondeau: Allegro Raymond Kobler, Robert Becker Timothy Landauer, Jessica Pearlman Fields
Brandenburg Concerto Johann Sebastian BACh No. 5 in D Major, BWV 1050 (1685 - 1750) Allegro Affettuoso Allegro Raymond Kobler, Paul Manaster Benjamin Smolen, Robert Becker Timothy Landauer, Steve Edelman orli Shaham
- INTERMISSIoN Piano Quintet in F minor op. 34
Johannes BRAhMS (1833-1897)
Allegro non troppo Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto – Allegro non troppo – Presto, non troppo Raymond Kobler, Bridget Dolkas Robert Becker, Timothy Landauer orli Shaham Concert generously sponsored by Phillip N. and Mary A. Lyons Margaret M. Gates | The Dirk Family Mr. and Mrs. David Troob 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.
cARl st.clAiR (boggReve)
MoZARt: oboe QUARtet, K. 370 Like Brahms, Mozart made a fateful move from his hometown (Salzburg) to Vienna, one of the wealthiest and most sophisticated cultural capitols in Europe. This was quite literally a career move, and, at age 25, Mozart had much to prove—to himself, to his father, and to the politicos and concertgoers who would determine his professional future. Even for the always-prolific Mozart, it was a time of furious productivity that included the three “Early Vienna” piano concertos, Nos. 11, 12 and 13. Mozart's commission for the oboe quartet came just before the move to Vienna and was written for performance in Munich, but was professionally useful nonetheless. The previous year, the Elector of Munich, who had commissioned Mozart's great opera Idomeneo, invited Mozart to return there for a carnival; while there he became reacquainted with the oboist Friedrich Ramm, one of the most accomplished oboists of the era, whose spectacular playing was very much to the public taste for solo showmanship. In composing the quartet as a showcase for Ramm, Mozart was creating beautiful music while quite literally "playing to his public”—associating himself with a highly regarded soloist and demonstrating the abilities of both. For the same reason, Mozart composed the Early Vienna piano concertos with himself in mind as soloist. Yet, despite the career pressures he was facing, this 1781 composition bears none of the telltale signs of music written solely for commercial success. It has all the grace and melodic charm of a typical Mozart quartet and is structured in the familiar three-movement, fast-slow-fast manner, closing with a rondeau. The oboe's lines are fully integrated, with the oboe playing alongside the viola, cello and just one violin; the violin and oboe frequently share the melodic line, with the oboe both harmonizing and emerging into its own. On the other hand, Mozart does demand real virtuosity from the oboist: melting legatos and rising phrases that carry the oboe line to stratospheric high notes—a fact that certainly would not have been lost on Friedrich Ramm's contemporary admirers.
about the ProGraM
Tuesday, May 19, 2015, 8pm Irvine Barclay Theatre
about the ProGraM
bAcH: bRANDeNbURg coNceRto No. 5 iN D MAjoR, bWv 1050
began life as a string quintet with two cellos and was destined to evolve through more versions before taking the form we know today.
We can trace the origins of Bach's fabled Brandenburg Concertos to approximately 1719, when Bach, who was in his early 30s, needed a new harpsichord. On his way to Berlin to order the instrument, he took the opportunity to perform for the margrave of the region, who commissioned several works. What happened next is less clear, but it seems certain that the compositions were submitted and remained unpaid for. After that, the scores lay ignored for more than a century without being played. They were discovered in the Brandenburg archives in 1849 and published in 1850.
When Brahms entrusted the violinist Joseph Joachim and the pianist Clara Schumann with the first three movements of the original scoring, they responded with praise, but also with specific reservations about the instrumentation. Brahms reworked it as a sonata for two pianos, which he performed with Karl Tausig in 1864, but Clara Schumann—an incomparably sympathetic and acute listener who was the love of Brahms's life—suggested further revision. Listening to the final version, for piano, two violins, viola and cello, it is difficult to imagine that the quintet ever took any other form.
In the Brandenburg No. 5, the concertino (roughly, solo instruments) comprises a standard combination of Bach's day: harpsichord, violin and flute. The harpsichord, always indispensably versatile, is deployed like a utility infielder in this concerto, playing in both the concertino and the ripieno (roughly, background instruments). In the central movement, marked affettuoso, the concertino instruments play without accompaniment. Here and in the final movement, the harpsichord provides an obbligato: a secondary, following line for a primary voice that serves to add color, context and emphasis. But in the first movement we hear a spectacular cadenza performed by the harpsichordist— a long, showy solo passage that has a spontaneous, improvised quality. The gorgeously fast runs of notes become even more impressive when we remember that the harpsichord soloist has fewer resources to work with than a modern pianist in coloring and phrasing: virtually no loud-soft variation in the note and a rapid decay time (the note disappears almost as soon as it's played, so the instrumentalist can't "shape" it as a pianist might). The challenge for the soloist, and for us as listeners, lies not just in the accuracy of the notes but in the expressiveness of the phrase. Bach was well known as a harpsichord virtuoso, and it seems likely that he wrote this part with himself in mind as soloist. In fact, musicologists believe he composed the part to showcase that fateful harpsichord he ordered in Berlin after calling on the margrave of Brandenburg. bRAHMs: PiANo QUiNtet iN F MiNoR, oP. 34 "I shall be born when and where I want, and I do not choose to be born in Lowell," the American artist J.M. Whistler famously declared. It's just incongruous in looking around the gritty German port of Hamburg to imagine it as the hometown of Johannes Brahms. In 1862, at age 29, Brahms left Hamburg for the city that would forever be more closely associated with his life and music: Vienna. It was in that year that he began work on his Piano Quintet in F minor, an early masterpiece that
Even in this phase of his career, Brahms was composing with the discipline and deep craftsmanship that give his music a sense of perfect flow. This suavity balances the quintet's power and passion; it doesn't sound like an "early" work. It begins intensely, with an opening movement that is energetic and dense—formally structured, dramatic and somber. But while the intensity never flags, the quintet's moods vary across a broad range: the impressive gravity of its opening gives way to a second movement of tender lyricism, while the third movement is a remarkable scherzo built upon three contrasting motivic statements. As is so often the case with Brahms, this movement carries us along with a sense of utter naturalness that belies its intricate craft, which juxtaposes a singing, artfully syncopated line above a pizzicato bass line. The fourth movement, a finale marked poco sostenuto, brings the quintet's many moods together: Brahms ratchets up the tension of its introspective, dark opening, then releases it with a joyful whirl of Magyar rhythm and melody. This kind of "gypsy music" inspired Brahms throughout his life. - Program notes by Michael Clive Michael Clive is a cultural reporter living in the Litchfield Hills of Connecticut. He is program annotator for Pacific Symphony and Louisiana Philharmonic, and editor in-chief for The Santa Fe Opera. cARl st.clAiR William J. Gillespie Music Director Chair Music Director, Pacific Symphony In 2014-15, Music Director Carl St.Clair celebrates his 25th anniversary season with Pacific Symphony. He is one of the longest tenured conductors of the major American orchestras, and has become widely recognized for his musically distinguished performances, commitment to outstanding educational programs and innovative approaches to programming. Among his creative endeavors with Pacific Symphony are leading productions of the operas La Bohème, Tosca, La Traviata and Carmen, commissioning and recording for CD a series of new works by American composers, and the creation of the highly acclaimed American Composers Festival. St.Clair led the orchestra’s historic move into the Renée and Henry Segerstrom Concert Hall and took the Symphony on
its highly successful first European tour. During his tenure, Pacific Symphony has launched more than 20 different education and community engagement programs serving more than 100,000 people across Orange County. St.Clair is also the music director of Costa Rica’s National Symphony Orchestra, and has led both the Komische Oper in Berlin and the German National Theater and Staatskapelle in Weimar, Germany, as well as guest conducting orchestras around the world. PAciFic syMPHoNy Pacific Symphony, led by Music Director Carl St.Clair, is the largest orchestra formed in the United States in the last 50 years, and is recognized as an outstanding ensemble making strides on both the national and international scene as well as in its own community of Orange County. Pacific Symphony offers moving musical experiences with repertoire ranging from the great orchestral masterworks to music from today’s most prominent composers, highlighted by the annual American Composers Festival and a series of multimedia concerts called “Music Unwound.” Pacific Symphony is dedicated to developing and promoting today’s composers and expanding the orchestral repertoire—illustrated through its many commissions and recordings, in-depth explorations of American artists and themes. The Symphony’s innovative approaches to new works received the ASCAP Award for Adventurous Programming in 2005 and 2010. In 2010, Pacific Symphony was named one of five orchestras profiled by the League of American Orchestras in a study on innovation. Since 2006, the Symphony has performed in the Renée and Henry Segerstrom Concert Hall, designed by Cesar Pelli with acoustics by Russell Johnson. In March 2006, the Symphony embarked on its first European tour —receiving an unprecedented 22 rave reviews. Orli Shaham, piano A consummate musician recognized for her grace, subtlety and vitality, Orli Shaham has established an impressive international reputation as one of today’s most gifted pianists. Hailed by critics on four continents, Shaham is in demand for her prodigious skills and admired for her interpretations of both standard and modern repertoire. The Chicago Tribune recently referred to her as “a first-rate Mozartean,” and London’s Guardian said Shaham’s playing was “perfection” during her recent Proms debut with the BBC Symphony Orchestra. Shaham has given recitals in North America, Europe and Asia at such renowned concert halls as Carnegie Hall, The Kennedy Center, Amsterdam’s Concertgebouw, Frankfurt’s Alte Oper, and the Herkulessaal in Munich, and has worked with many eminent conductors including Sir Neville Marriner, Sir Roger Norrington, Christopher Hogwood, David Robertson, Wolfgang Sawallisch, Leonard Slatkin, Robert Spano and Gerard Schwarz, among others. Raymond Kobler, violin Kobler has been concertmaster of Pacific Symphony since 1999 and currently occupies the Eleanor and Michael Gordon Chair. In April 2014, Decca issued a 13-CD Collector’s Edition of the Complete Tone Poems and Concertos of Richard Strauss, in celebration of the 150th anniversary of his birth. Raymond Kobler,
cARl st.clAiR AND PAciFic syMPHoNy
as concertmaster of the San Francisco Symphony (1980-98), is featured as solo violin in Ein Heldenleben and Also sprach Zarathustra, which were chosen for this honor along with four other tone poems conducted by Herbert Bolmstedt (Don Juan, Alpine Symphony, Death and Transfiguration, Metamorphosen). This collection includes the Vienna Philharmonic, Berlin Philharmonic, the Cleveland Orchestra and many more. It is available on Arkivmusic and Amazon. In Stereo Review (August 1994), David Hall wrote of this recording of Ein Heldenleben: “The closing ‘Escape from the world and fulfillment’ is as movingly played as I have ever heard it: Compliments not only to Kobler but also to the horn soloist… I haven’t heard the final bars so gloriously executed… since the Mengelberg/New York Philharmonic reading of hallowed memory.” Paul Manaster, violin Paul Manaster has been the associate concertmaster of Pacific Symphony since 1998. He is almost a native Californian, having grown up in San Diego. Manaster has performed with a variety of groups in the Southern California area, including the San Diego Symphony and the Los Angeles Philharmonic. He has performed as concertmaster of the Riverside Philharmonic and the San Diego Chamber Orchestra. Prior to his move to Orange County, Manaster lived in Texas for eight years, playing with the San Antonio Symphony. He received a Bachelor of Music degree from Northwestern University. In addition to performing, Manaster teaches violin privately and has served on the faculty of Trinity University and other institutions. Paul lives in Irvine with his actress/oboist wife Dianne, their daughter Stephanie and three cats. Bridget Dolkas, violin Bridget Dolkas holds the Elizabeth and John Stahr chair as principal second violinist of Pacific Symphony and is a passionate and vibrant member of the Southern California musical community. As first violinist and founding member of the California Quartet, she cofounded the Connections Chamber Music Series. Since 2000, the California Quartet has performed in Europe and the United States to great acclaim. Dolkas has performed worldwide since the age of 10. In recent years, she has performed as soloist with South Coast Chamber Orchestra and Poway Symphony. She performed for eight years in the San Diego Symphony and the San Diego Opera Orchestra. Studying chamber music under such masters as
Robert Becker, viola Robert Becker is currently in his 32nd season as principal viola of Pacific Symphony. He currently serves as the full-time director of string studies at Chapman University’s Conservatory of Music. Internationally known as a pedagogue of the viola and chamber music and founder of the Viola Workout in Crested Butte, Colorado, he is dedicated to the training of young violists and string players for a future career in performing, teaching, chamber music and orchestral playing. Continuing his tenure as principal viola of Pacific Symphony, he served as principal and solo viola for American Ballet Theatre’s West Coast performances at Dorothy Chandler Pavilion and Segerstrom Center for the Arts in 2009-10. Becker occupies the Catherine and James Emmi Chair. Timothy Landauer, cello Timothy Landauer was hailed "a cellist of extraordinary gifts" by The New York Times when he won the coveted Concert Artists Guild International Award in 1983, New York. Landauer is the winner of numerous prestigious prizes and awards, among them the Young Musicians Foundation's National Gregor Piatigorsky Memorial Cello Award, the Samuel Applebaum Grand Prize of the National Solo Competition of the American String Teacher's Association and the 1984 Hammer-Rostropovich Scholarship Award. Landauer's extensive engagements include his highly acclaimed recitals at Carnegie Recital Hall, the Ambassador Auditorium in Los Angeles, the Orford Arts Center in Montreal, the City Hall Theatre in Hong Kong and in Hannover, Germany. He has performed as a soloist with orchestras across three continents: they include the Russian Philharmonic Orchestra, the Gulbenkian Orchestra in Lisbon, the Hong Kong Philharmonic, the Taiwan National Symphony, the Beijing Symphony, and the Shanghai Symphony Orchestra. In the United States, Landauer has also appeared with the Maryland Symphony, the Grand Teton Festival Orchestra and Pacific Symphony. Landauer was the recipient of "The Outstanding Individual Artist Award 2004" presented by Arts Orange County. Steve Edelman, double bass The Edelman family has an old joke about "coming from a long line of musicians, at the unemployment office." Nothing could be further from the truth. When Steve Edelman’s grandfather fled the Czar's army, where he was a band leader, and came to America with his eight children, he found employment right away. His father's career began at 18 and Edelman’s at 19. In 1969 a contract for assistant principal at Phoenix Symphony was offered to him, and by his 24th birthday, Edelman had returned home to Los Angeles, having played in three
different orchestras around the country, including the Kansas City Philharmonic and the San Diego Symphony. He made a recording in Manhattan in 1970, recorded and played concerts with the Eagles (Hotel California) and started playing at The Music Center and Dorothy Chandler Pavilion for just about anything from ballet, opera, Broadway, the Academy Awards and much more. Throw in that when Edelman turns on the tube, he can’t find a movie where he hasn’t played on the soundtrack, and you'd have to say “that's one lucky so and so.” He’s recorded on eight John Williams soundtracks and is entering his 44th year of studio recording. Edelman says his daughter is incredibly smart, his wife is a wonderful ceramicist and he’s having a great time playing music in Pacific Symphony. Jessica Pearlman Fields, oboe Jessica Pearlman Fields currently holds the position of principal oboe for Pacific Symphony. Fields moved to Southern California after completing her Master of Music degree in 2009 at The Juilliard School. While in New York, she performed and toured with the Orpheus Chamber Orchestra, the New York City Ballet and the Metropolitan Opera. As a soloist, Fields has been featured with the San Jose Chamber Symphony, the Colorado College Summer Music Festival and the Mansfield, Ohio Symphony Orchestra where she also served as principal oboe during the 2005-06 season. An avid chamber musician, Fields tours regularly with her innovative New York-based chamber group “Shuffle Concert.” Intrigued by both science and music, Fields earned bachelor’s degrees in oboe performance and neuroscience from Oberlin College as a pre-med student. Fields is an adjunct faculty member at Long Beach City College in addition to maintaining a private teaching studio. Fields occupies the Suzanne R. Chonette Chair. Benjamin Smolen, flute Benjamin Smolen was appointed principal flutist of Pacific Symphony in September 2011. Since beginning his studies at age 10 in Charlotte, North Carolina, he has won top prizes at the Haynes International Flute Competition, the James Pappoutsakis Memorial Flute Competition and the New York Flute Club Young Artist Competition. He has given solo performances with the Princeton University Orchestra, Charlotte Civic and Youth Orchestras, Gardner Webb Symphony Orchestra, and on National Public Radio’s From the Top with pianist Christopher O’Riley. Smolen has participated in the Manchester Music Festival, the American Institute of Musical Studies Festival Orchestra in Graz and twice as a fellow at the Tanglewood Music Center. Smolen completed his undergraduate studies in the music and Slavic departments at Princeton University, during which time he also completed a Performance Diploma at the Moscow Tchaikovsky Conservatory. He subsequently earned a Master of Music degree in flute performance at the New England Conservatory and a Performance Certificate from the University of Michigan.
about the artists
Joseph Silverstein, Kim Kashkashian, Fred Sherry, Toby Appel, as well as the Juilliard, Alexander and Miro quartets, has made a tremendous musical impact on Dolkas. As a student of Alice Schoenfeld, she earned her Bachelor of Music degree at USC, continuing her studies with Isaac Malkin and completing a Master of Music degree from the Manhattan School of Music. She is near completion of a Doctor of Musical Arts degree from UCLA, where she studied with Mark Kaplan.