Philharmonic Society of Orange County and Irvine Barclay Theatre Presents

Midori Plays Bach
Sunday, April 16, 2023 at 3pm

Part of the Distinctive Experiences Series

This performance will include one 15-minute intermission.

BACH   Sonata No. 2 for Solo Violin in A Minor, BWV 1003

1. Grave
2. Fuga
3. Andante
4. Allegro

ESCAICH    Nun komm

BACH   Sonata No. 3 for Solo Violin in C Major, BWV 1005

1. Adagio
2. Fuga
3. Largo
4. Allegro assai

-INTERVAL-

ZORN   Passagen

BACH     Partita No. 2 for Solo Violin in D Minor, BWV 1004

1. Allemande
2. Courante
3. Sarabande
4. Gigue
5. Chaconne

We find Johann Sebastian Bach in the year 1720 as Kapellmeister in the court of Prince Leopold of Anhalt-Cöthen. A musician in early mid-career and much better known as an organist than as a composer, Bach busied himself during his six-year sojourn in Cöthen with writing some of his most important instrumental music (rather than the religious vocal compositions his work demanded in such profusion in other postings), while still performing the customary duties of a musical director in a secular court—playing, rehearsing, performing, and conducting—showing leadership as the head musician of the town. This period he spent in a relatively small town (centuries later to become a part of Communist East Germany, the town  today with a population of approximately 30,000, its only claim to fame being it’s “Bach-rabilia”), must have allowed him a good balance of family life and work, and within the latter, the flexibility to write without the regular necessity to write for church services.

We know little of the history of the compositions said to be from this period, such as the solo Violin Sonatas and Partitas as well as the Cello Suites. We can well assume that they were first performed in Cöthen, most likely at court, by one of the court musicians. It is also possible though, that in the case of the solo Violin Sonatas and Partitas, Bach himself gave their first presentation, even though he may have played these works on a keyboard instead. That he was a good violinist is a known fact and is prominently documented by his son, Carl Philipp Emanuel. However, the richness and the fullness of their harmonies could, for their maximum effect, be much more successfully and easily executed on a keyboard rather than on a violin.

There is absolutely no record of the context in which the solo violin works were written, nor in what order they were composed, and modern thoughts on whether and how they were performed in the Cöthen years are mere speculation. In fact, while we believe them to have been composed in Cöthen, there is some reason to believe that Bach had already prepared these works while still in his previous post, in Weimar, and that 1720 was the year when he brought them together into a standard collection of six works. Unlike the Cello Suites, the manuscript autograph of these pieces, from Bach's own hand, does exist--beautiful and elegant as well as meticulous--and it reminds this writer of yet another example of divinely inspired art whose glories seemingly transcend the capacities of any mere mortal soul, Caravaggio’s great painting in which the angel is guiding and dictating St. Matthew.

One wonders where Bach’s inspiration came from and how he must have felt after having completed such an brilliant output. These pieces are monumental achievements. They are masterpieces of composition, of course, but beside Bach’s brilliant innovations, they have a remarkable impact on each player and listener. At first hearing, the listener could be completely taken by the timelessness, the apparent contemporaneous feel, of each of these works, and in practicing them, one loses oneself in the passing of time. From a compositional perspective, the mastery of counterpoint and thematic writing has not lost its mystery; the perfection of the compositional techniques employed has superseded the passage of time. From all perspectives, these works are considered to be a pinnacle of compositional achievement. This is music that presents each listener and performer with an intense experience that cannot be replicated; requiring complete abandonment to the music and the workings of a mind so transcendent.

These compositions place huge organizational demands on a player, who is required to execute a multitude of voices, lines, melodies, counterpoint, and within all that convey the music’s character and impressions. At first, Bach’s individual line is simple, but then, when presented in multiple voices, complexities emerge, and it becomes the greatest of challenges to simultaneously render differing lines while retaining their underlying simplicity. A performer is required to carefully consider the organization of the left and right hands, remembering to pristinely present both the interlocking of musical lines as well as their independence from each other. The lines’ simultaneous independence and dependence of and with each other is at the core of these works. As a performer strives to simplify and organize the lines, that player’s ears and fingers are sharpened and trained, in the mental quest to present relationships between notes, lines, voices and sections that can be both coherent and/or in contrast with each other.  Given the richness of Bach’s harmony as well as its purity, the greatest intonation accuracy is demanded, and anything less is blatantly distracting. The smoothness of the melodic line requires mastery of right hand technique, and complete control of its execution. This music requires more than just the possession of high-end technical skills; it demands a player’s coordination its many elements simultaneously, while handling them with both flair and seeming ease. And on top of all that, such technical virtuosity must largely be secondary to artistic priorities.

These pieces also present numerous interpretive challenges to a player. The main question is that of style. A Romantic reading of these works once predominated, with rubato, with wide vibrato, and "meaty" chordal executions a major element of many player’s interpretations.  Some of the earliest extant recordings of the complete set are performed in this fashion. Since the renewed popularity and influence of Early Music presentation, the trend is perhaps moving in the direction of performances more in keeping with what we understand been the prevailing style during Bach's lifetime. Some players go so far as to perform on instruments resembling those of the Baroque era, while others use only the Baroque bow while performing on "modern" instruments, or to use gut strings but with a "regular" or "modern" tuning. There are also those who make no visible modifications to their equipment, while still leaning in the direction of sound and interpretation that are closer to period instrument presentations, handling the instrument "as if" playing a period violin. There is no single “right” way to playing this music--conviction is the key. There is also a question of what to prioritize, what elements of this capacious music to bring to the fore (these choices being both technical and artistic, clearly). Because of the music’s many elements, its multiplicity of lines, plus demanding harmony and rhythms, a player must prioritize a particular element at certain times. For each performer, there are many decisions that must be made, both in planning and in “real-time,” during actual performance. These are issues to which do not lend themselves to one teachable “correct” answer or another, but they certainly need to be recognized and learned and internalized by each individual player. In the end, each performer must make well-informed choices. In truth, it seems to this performer that it is most important to honestly place this music in the context of a player's life.

At the end of the day, these are some of the most beautiful pieces ever written. They are works that must be played with passion and not fear, that can be felt with hopefulness and not disappointment and hatred, and with adoration and respect. They are to be revered and played with a sense of love for their mysteries and glories, and not because a certain correctness is required. This is music that invokes compassion and has the capacity to reach the deepest and the most inner core of the each person's soul.  It is music that responds to each player’s individuality, reflecting that person’s inner life in ways that strikes a chord of recognition with another person, allowing both the player and listener the musical means for heightened self-examination. In this sense, each interpretation, in its elements that extend beyond learned aesthetics and academic presentation, is stemming from life itself, which is to say that every performance of these works will always be different, emphases and colorings and “meanings” constantly changing. This is indeed living music, that walks in concert with life's movements.

When encountering such life-altering achievement, people often speak of “divine” inspiration, as though the work was a direct product of godly instruction. Still, this is music of human dimension. Bach was given to normal emotions, as we are aware of his frustrations in some career situations, and knowing of his huge family, we may imagine the demands such a home life placed on the man. He wrote the Sonatas and Partitas for solo violin in a town of no particularly great claim, and they have been played ever since by very human musicians for “normal” listeners. Yet amidst all this normalcy is the humbling beauty of this music, a gift we gratefully accept.

©Midori Goto, 2017

North American Representation: Kirshbaum Associates Inc.
307 Seventh Avenue Suite 506
New York, NY 10001
www.kirshbaumassociates.com

Midori’s recordings are available on Warner Classics, Sony Classical, Sony Japan, Onyx Classics, and Accentus Music.

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 160,000 K-12 students each year with quality music programs. Gifts range from $60 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.

Youth Music Education Program Sponsors
The Crean Foundation
Chapman University
The Davisson Family Fund for Youth Music Education
The William Gillespie Foundation
Hearst Foundation
Thomas J. Madracki Memorial Endowment
Orange County Community Foundation
Pacific Life Foundation
U.S. Bank
Wells Fargo
Anonymous

Season Sponsors
Donna L. Kendall and the Donna L. Kendall Foundation
Judith and Howard Jelinek/Jelinek Family Trust
Anonymous

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

Philharmonic Circle ($100,000+)
The Committees of the Philharmonic Society
Donna L. Kendall and the Donna L. Kendall Foundation
Dr. Howard Jelinek/Jelinek Family Trust
Philharmonic Foundation
Henry T. and Elizabeth Segerstrom Foundation
The Segerstrom Foundation

Maestro Circle ($50,000+)
Colburn Foundation
Hearst Foundation
Mr. and Mrs. Jerry Kohl
Mr. and Mrs. William F. Podlich
Gail and Robert Sebring
Dr. Bob and Mao Shillman
Ms. Dea Stanuszek

Chairman's Circle ($25,000+)
Bluebird Legacy, Inc.
The Crean Foundation
Sam B. and Lyndie Ersan
Moti and Idit Ferder, Lugano Diamonds
Mr. John D. Flemming and Mr. Mark Powell
Valerie and Hans Imhof
The Isidore and Penny Myers Foundation
Carolyn and Bill Klein
Mr. and Mrs. Douglas H. Smith
Steven M. Sorenson MD and the IBEX Foundation
Al Spector and Tatjana Soli

President's Circle ($10,000+)
Sabra and Peter Bordas
Mr. Gary Capata
City of Laguna Beach
Richard Cullen and Robert Finnerty
Marjorie and Roger Davisson
The Dirk Family
Karen and Don Evarts
Hung Fan and Michael Feldman
Margaret M. Gates- in memory of family
Mr. Richard A. Goodman
Ms. Joan Halvajian
Maralou and Jerry M. Harrington
Carole Innes-Owens
Helen and Fritz Lin
National Endowment for the Arts
Elaine and Carl Neuss
Cheryl Hill Oakes
Pacific Life Foundation
Lauren and Richard Packard
Mr. Patrick Paddon
U.S. Bank
    Mr. Stephen Amendt
Gayle Widyolar

Platinum Baton ($6,000+)
Dr. Richard D. and France Campbell
Suzanne and David Chonette
Frome Family Foundation
Gary and Betsy Jenkins
Marcia Kay and Ron Radelet
Diane and Michael Stephens

Golden Baton ($3,000+)
Mr. and Mrs. James Alexiou
John W. Benecke and Lee Marino
Mr. Warren G. Coy
Marjorie Davis
Deborah and Cody Engle
Gluck Bradley Foundation
Carl and Kathy Greenwood
Jane and Joe Hanauer
Ellen Pickler Harris and Ron Harris
Dr. Daniel E. Haspert and Mr. Gerard Curtin
Sigrid Hecht
Milli Hill
Ms. Elizabeth Jones
Vicki and Richard Lee
Mrs. Michael McNalley
Richard and Dot Nelson
David and Frances Nitta Barnes
Mr. John Nootbaar
Tommy and Julie Phillips
Richard and Deborah Polonsky
Christopher Quilter
Mr. and Mrs. James G. Reynolds
Mr. and Mrs. Philip E. Ridout
Ms. Harriet Roop
Mr. and Mrs. David Seigle
Dr. Emmanuel Sharef
Dr. and Mrs. Henry Sobel
Dr. and Mrs. Lawrence S. Spitz
Ms. Barbara Tanner

Silver Baton ($1,200+)
Dr. and Mrs. Daniel L. Abbott
Diane and John Chimo Arnold
Nancy Arnold
Robert and Barbara Boies
Ms. Michelle Brenner
Dr. and Mrs. David Casey
Mr. and Mrs. Stewart A. Clark
Mr. and Mrs. Robert Clemmer
Crevier Family Foundation
Susan and Kevin Daly
Dr. Harvey Eisenberg
Mrs. John Felder
Dr. and Mrs. Sidney A. Field
Mr. and Mrs. Donald French
Petrina Friede
Mr. and Mrs. Peter Fuerbringer
David Gartley
Dr. Anna Gonosova
Mr. and Mrs. Michael S. Gordon
Ms. Barbara Hamkalo
Stephanie and Don Harrell
The Bryant Henry Family
Barbara and Don Howland
LaDonna Kienitz
Cathy and David Krinsky
Hank and Bonnie Landsberg
Mr. and Mrs. Richard Malcolm
Mrs. Linda Lipman Mandelbaum
Peggy and Alex Maradudin
Vahe and Armine Meghrouni
Daniel and Kristy Melita
Pat Morgan
Mr. Carl Neisser
Marlene and Chris Nielsen
PIMCO Foundation
Michael and Meili Pinto
Lucinda Prewitt
Sandra Price
Susan Qaqundah
Michael Ray
Mr. and Mrs. Glen L. Reeves
Deborah and Robert Schlesinger
Eva and Fred Schneider
Dr. Ellis Schwied
Igal and Diane Silber
Walter and Masami Stahr
Edith Tonkon
Dr. and Mrs. Fritz C. Westerhout
Ms. Sally Westrom
Edward and Anna Yeung

Concerto ($600+)
Janet Lee Aengst
Beard Family Foundation
Sandi Campbell-McClain and Fran McClain
Helen Dell-Imagine
Michael DeVries
Walter C. Fidler
Dr. Alan L. Goldin
Dr. and Mrs. Mark W. Gow
Terry Hanna
Kevin Huoh
Dr. and Mrs. Kevin Ivey
Ms. Sumie Jossi
Dr. Nancy L. Kidder
Mr. and Mrs. Edward S. Kriz
Mr. Greg Kwan
Dr. and Mrs. Gary C. Lawrence
Ms. Barbara Macgillivray
Katsuhiko and Meiko Maeshige
Kelly and Susan McClellan
Karen McCulley
Elizabeth Morse
Mrs. Gordon Niedringhaus
Linda Owen
Mr. Craig Poindexter
David and Helen Porter
Mr. and Mrs. John Prange
Deborah and Tom Rapport
Karyn Rashoff
Les Redpath
Chris Reed and Pat O'Brien
Suzanne Sandmeyer and Wes Hatfield
Christa Schar
James and Karen Schultz
Carol Schwab
Dr. Agnes Szekeres
John and Mary Karyl Thorne
Janice Wallace
Kathryn and David Wopschall
Ivy Yan

Sonata ($300+)
Brien Amspoker and Ellen Breitman
Dr. and Mrs. Ralph H. Bauer
Richard Bigelow
Mr. and Mrs. Walter Boice
Howard and Denise Brink
Mr. Scott Brinkerhoff
Evelyn Brownstone
Mr. and Mrs. Tyke Camaras
Luisa Cano
Mary E. Chelius
Mr. and Mrs. Edgar Compton
Peter Conlon and Deborah Shaw
Ross Conner and Emmett Carlson
Mrs. V. de Reynal
Mrs. Lynda Folsom
Dr. and Mrs. Glenn Fowler
Mrs. Frank Gibson
Marvin Goecks, Jr.
Howard and Carol Hay
Marlene Hewitt
Ms. Grace Holdaway
Mr. Paul A. Schmidhauser and Ms. Cindy R. Hughes
Mary and Stanley Johnson
Mr. and Mrs. Eric M. Kadison
Kari Kerr
Mr. and Mrs. Venelin Khristov
Dr. and Mrs. William P. Klein
Professor and Mrs. John Koshak
Dr. William Langstaff
Bruce Larson and Dinny Beringer
Dr. and Mrs. Craig Leonard
Sijie Ling
Elsie M. Little
Dr. Lani and Mr. David Martin
Dr. Kevin O'Grady and Mrs. Nella Webster O'Grady
Leslie and Gus Ordonez
Sidney and Nancy Petersen
Mr. Keith Polakoff
Coralie Prince
Mrs. Margaret Richley
Dr. and Mrs. Stephen G. Romansky
Deborah and Frank Rugani
Mrs. Kathleen Sangster
Pamela Sefton
Dr. James Shelburne
Ms. Dorothy J. Solinger
Ann D. Stephens
Dr. Sergio C. Stone
Diane Stovall
Marva Thomas
Dr. and Mrs. Harvey S. Triebwasser
Ms. Carole Uhlaner and Mr. D Brownstone
Mike Tompkins and Lynn Weiser
Cory Winter
Bob and Ellie Yates
Mrs. Alice Zamboni

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.

Esterhazy Patrons

Mr. and Mrs. James Alexiou

Mr. and Mrs. Darrel Anderson

A. Gary Anderson Family Foundation

Mr. Gary N. Babick

Ms. Tricia Babick

Mrs. Alan Beimfohr

Mr. and Mrs. John Carson

Cheng Family Foundation

Mrs. William P. Conlin

Mr. Warren G. Coy

Marjorie and Roger Davisson

Mr. and Mrs. Jack Delman

The Dirk Family

Dr. and Mrs. Christopher Duma

Mr. and Mrs. Rodney Emery

Catherine Emmi

Sam and Lyndie Ersan

Mr. and Mrs. Howard Freedland

Margaret M. Gates—In memory of family

Mr. and Mrs. Milton S. Grier, Jr.

Maralou Harrington

Dr. Howard J. Jelinek

Mr. and Mrs. Mark Chapin Johnson

Dr. Siret Jurison

Donna L. Kendall Foundation

Mr. and Mrs. Venelin Khristov

Mr. and Mrs. Roger Kirwan

Capt. Steve Lutz and Shala Shashani Lutz

Professor Robert and Dr. Adeline Yen Mah

Mrs. 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. Elaine Weinberg

Mr. and Mrs. George Wentworth

Bobbitt and Bill Williams

Anonymous

LEGACY CIRCLE MEMBERS

Mr. and Mrs. James Alexiou

Dr. and Mrs. Julio Aljure

Diane and John Chimo Arnold

Estate of Edra E. Brophy*

Mr. James J. Brophy

Mr. Douglas T. Burch, Jr.*

Mr. William P. Conlin* and

   Mrs. Laila Conlin

Pamela Courtial*

Mr. Warren G. Coy

Richard Cullen and Robert Finnerty

Mr. Ben Dolson*

Camille and Eric Durand Trust*

Karen and Don Evarts

Erika E. Faust*

James and Judy Freimuth

Ms. Carol Frobish*

The William Gillespie Foundation

Mr. and Mrs. Milton S. Grier, Jr.

Mr. Edward Halvajian*

Ms. Joan Halvajian

Ms. Marie Hiebsch*

Mildred and James* Hill

Mr. and Mrs. Lawrence Hull

Mr. Leonard Jaffe

Judith* and Howard Jelinek

Dr. Burton L. Karson

Donna L. Kendall

Hank and Bonnie Landsberg

Mrs. Carla Liggett

Dr. William Lycette

Mr. and Mrs. Herbert Michel

Mr. and Mrs. Bart Morrow

Mr. and Mrs. Michael D. Nadler

Eva Cebulski Olivier

Mrs. Frank M. Posch*

Marcia Kay Radelet

Marjorie Rawlins*

Mrs. Ladislaw Reday*

Elaine M. Redfield*

Mr. Richard M. Reinsch*

Mr. and Mrs. Stephen L. Salyer

Mr. and Mrs. Robert Sebring

Mr. H. Russell Smith*

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. 202 or visit: www.PhilharmonicSociety.org/SupportUs and click on Planned Giving.

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

Donna L. Kendall and Douglas H. Smith

Co-Chairs

DONORS TO THE PHILHARMONIC FORWARD CAMPAIGN

$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. Richard D. and France Campbell

Erika E. Faust*

Mrs. Joanne C. Fernbach

Joan Halvajian

Elaine and Carl Neuss

Marcia Kay Radelet

Mr. and Mrs. Philip E. Ridout

Ms. Dea Stanuszek

Dr. Daniel and Jeule Stein

$25,000+

Douglas Burch Classical Programs Fund

Mr. William P. Conlin* and Mrs. Laila Conlin

Mr. and Mrs. Donald French 

Mr. and Mrs. Peter Fuerbringer

Mr. and Mrs. Noel Hamilton

Dr. and Mrs. Chase Roh

Up to $24,999

Eleanor and Jim Anderson

John W. Benecke

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

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

*Deceased

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.

 949.553.2422  |  PHILHARMONICSOCIETY.ORG

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

EXECUTIVE COMMITTEE
John W. Benecke, Development
Sabra Bordas, Nominating and Governance
Hung Fan, Laguna Beach Music Festival
Douglas H. Smith, Member at Large
Kathryn Wopschall, President, The Committees
Sandi Wright-Cordes, Orange County Youth Symphony

BOARD OF DIRECTORS
Jim Brophy
Gary Capata
Jean Felder
Margaret M. Gates
Kari Kerr
Barbara Roberts
Steven M. Sorenson, MD

PRESIDENT AND ARTISTIC DIRECTOR
Tommy Phillips

IN MEMORIAM
Douglas T. Burch, Jr.
Wesley Kruse

LIFETIME BOARD MEMBER
Jane Grier

ARTISTIC OPERATIONS
Drew Cady, Production Coordinator
Emily Persinko, Artistic Operations Manager
Kathy Smith, Piano Technician

DEVELOPMENT
Mark Saville, Vice President of Development
Halim Kim, Senior Director of Development
Fatima Rizvi-Flores, Patron Stewardship Manager / Board Liaison
Paige Frank, Development Associate

EDUCATION
Courtney McKinnon, Manager of Volunteer and Education Services
Chloe Hopper, Education Associate

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

MARKETING AND PUBLIC RELATIONS
Jean Hsu, COO / Vice President of Communications
Marie Songco-Torres, Senior Marketing and Public Relations Manager

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

Season Sponsor

Venue Sponsor

Corporate Sponsors