Performances Magazine | Hollywood Bowl, August 2024 by California Media Group

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GUSTAVO

LAUFEY

SYMPHONIC TANGO

XIAN ZHANG

THOMAS WILKINS

RYAN BANCROFT

HERBIE HANCOCK

WELCOME!

It’s an absolute thrill and honor to join you all for the 2024 Hollywood Bowl season. This summer marks the beginning of a long-held dream for me as I step into the role of President & CEO of the Los Angeles Philharmonic Association.

For many years, I’ve admired the LA Phil for showing how music can build community by bringing together this great city and visitors from beyond to share in the power of live performance. Music can inspire and transform us, and we strive to make that experience available to all. Nowhere is this felt more deeply than at the Hollywood Bowl. Founded by visionary Southern Californians who hoped to unite their community in song, the Bowl embodies a spirit of accessibility, from its $1 tickets to its role as a Los Angeles County public park, to its commitment to music education.

In my own musical journey, I have found inspiration in everything from punk rock to symphony orchestras. Artistry takes so many forms that we should celebrate, and this season truly showcases the diverse power of artistic expression, from the Roots to Rachmaninof to Rodgers & Hammerstein.

I am so excited to be welcomed into the LA Phil family and your Hollywood Bowl community. It is a distinct privilege to be entrusted with the legacy of this lauded institution, and it is a joy to work with the talented musicians, dedicated staf, generous donors, and all of our valued partners as we create new and transformational ways to touch hearts and souls through music.

Warmly,

Kim Noltemy President & CEO

David

Bohnett

Presidential Chair Los Angeles Philharmonic Association

BOARD OF DIRECTORS

CHAIR

Thomas L. Beckmen*

VICE CHAIRS

Reveta Bowers*

Jane B. Eisner*

David Meline*

Diane Paul*

Jay Rasulo*

DIRECTORS

Nancy L. Abell

Gregory A. Adams

Julie Andrews

Camilo Esteban Becdach

Linda Brittan

Jennifer Broder

Kawanna Brown

Andrea Chao-Kharma*

R. Martin Chavez

Christian D. Chivaroli

Jonathan L. Congdon

Donald P. de Brier*

Louise D. Edgerton

Lisa Field

David A. Ford

Alfred Fraijo Jr.

Hilary Garland

Jennifer Miller Goff*

Tamara Golihew

Carol Colburn Grigor

Marian L. Hall

Antonia Hernández*

Teena Hostovich

Jonathan Kagan*

Darioush Khaledi

Winnie Kho

Matt McIntyre

Francois Mobasser

Margaret Morgan

Leith O’Leary

Andy Park

Sandy Pressman

Richard Raffetto

Geoff Rich

Laura Rosenwald

Richard Schirtzer

G. Gabrielle Starr

Jay Stein*

Christian Stracke*

Jason Subotky

Ronald D. Sugar*

Vikki Sung

Jack Suzar

Keith Terasaki

Sue Tsao

Jon Vein

Megan Watanabe

Regina Weingarten

Jenny Williams

Alyce de Roulet Williamson

Irwin Winkler

Debra Wong Yang

HONORARY LIFE DIRECTORS

David C. Bohnett

Frank Gehry

Lenore S. Greenberg

Bowen H. “Buzz” McCoy

*Executive Committee Member as of March 14, 2024

Photo: Dallas Symphony Orchestra/Sylvia Elzafon

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ADVERTISING DIRECTOR

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ADVERTISING MANAGER

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ACCOUNT DIRECTORS

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CIRCULATION MANAGER

Christine Noriega-Roessler

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WELCOME FROM SUPERVISOR BARGER

COUNTY OF LOS ANGELES DEPARTMENT OF PARKS AND RECREATION

I’m excited to welcome you to the Hollywood Bowl, one of the most historic and beloved venues in Los Angeles County. Whether this iconic facility is hosting a performance by the exceptional Los Angeles Philharmonic or a concert by a visiting world-class musician, the Hollywood Bowl is known for its commitment to excellence both on the stage and behind the scenes. It’s particularly special to me that the Hollywood Bowl ﬁnds its home in Los Angeles County’s Fifth District among the communities I have the privilege to represent. With such a rich and storied history, and host to some of the biggest names in music today, the Bowl is one of the landmarks that make our district unique. Whether you’re visiting from down the street, across the county, or around the world, I hope you enjoy your time at this remarkable venue. I still hold near and dear the many fond and fun memories I’ve made at the

Hollywood Bowl throughout my life. I know your experience here will be just as memorable, whether it’s your ﬁrst show or you’re a regular visitor. Throughout the season, I encourage you to take advantage of all the incredible opportunities available to you. To hop on the convenient and afordable Park & Ride shuttles accessible from all over the county, look at the delicious food options, get a sneak peek at your seats, and ﬁnd everything else you need to know, head to hollywoodbowl.com/visit so you can make the most of your evening. You can stay in touch with me at kathrynbarger.lacounty.gov or on social media for the latest community updates and resources. I look forward to connecting with you and hope to see you at a Hollywood Bowl concert soon!

Best wishes, Supervisor Kathryn Barger Fifth District, Los Angeles County

A MESSAGE FROM DIRECTOR NORMA EDITH GARCÍA- GONZALEZ

I am proud that the Hollywood Bowl, a world-class venue, is owned and operated by the County of Los Angeles Department of Parks and Recreation (LA County Parks). When the Los Angeles Philharmonic and other musicians are not onstage, the Hollywood Bowl is open to the public for recreation and exercise.

LA County Parks and the LA Phil partner to enhance the dual role of the Hollywood Bowl as a public park and a one-ofa-kind performance venue.

concert series creating memories and experiences for families, friends, and visitors alike. Summer at the Hollywood Bowl is certainly a time of excitement, not only for music lovers but also for those who work behind the scenes to make it a memorable experience for all. This season the Hollywood Bowl features diverse music and exceptional performances for all ages and music enthusiasts.

The Hollywood Bowl ofers a magniﬁ cent park where visitors can stroll, take pictures in front of the iconic shell, and learn about the venue’s history at the on-site museum. The Hollywood Bowl is also the perfect setting for a great workout, with exercise enthusiasts taking advantage of the steps throughout the park.

The Hollywood Bowl never falls short of ofering a dynamic summer

LA County Parks and the LA Phil have also partnered to support the Hollywood Bowl Access Program. Each season hundreds of teens and seniors from LA County Parks programs experience the magic of Hollywood Bowl summer concerts. This partnership further strengthens the commitment of the County of Los Angeles Board of Supervisors and LA County Parks to access for all!

For more LA County Parks summer programming, follow us via social media @lacountyparks

Norma Edith García-Gonzalez

Kathryn Barger

Chelsea Handler

Hannah Berner

Chelsea Handler

Nate

Martin

Hannah Berner

GUSTAVO DUDAMEL

Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, Dudamel has introduced classical music to new audiences around the globe and has helped to provide access to the arts for countless people in under-resourced communities. He currently serves as the Music & Artistic Director, Walt and Lilly Disney Chair, of the Los Angeles Philharmonic and Music Director of the Simón Bolívar Symphony Orchestra.

Dudamel’s bold programming and expansive vision led The New York Times to herald the LA Phil as “the most important orchestra in America—period.” In the 2022/23 season, Dudamel and the LA Phil continued their visionary, multiyear Pan-American Music Initiative and celebrated the 90th birthday of legendary ﬁlm composer John Williams with a Gala event. Further highlights with the LA Phil included a fall tour with performances at Carnegie Hall, Boston, and Mexico City and Guanajuato as part of the Cervantino Festival; a multi-week exploration of the piano/orchestral works of Rachmaninof with Yuja Wang; and the return of Wagner’s Tristan und Isolde, directed by Peter Sellars, with video by Bill Viola.

Following his inaugural season as Music Director of the Paris Opera, the 2022/23 season featured Dudamel leading productions of Puccini’s Tosca, Wagner’s Tristan und Isolde, a new production of John Adams’ Nixon in China, and Thomas Adès’ Dante Project, choreographed by Wayne McGregor. Dudamel has led over 30 staged and semi-staged operas as well as concert productions across the world’s major stages, including ﬁve

productions with Teatro alla Scala, productions at the Berlin and Vienna State Operas, and the Metropolitan Opera in New York, and 13 operas in Los Angeles, with repertoire ranging from Così fan tutte to Carmen, from Otello to Tannhäuser, from West Side Story to contemporary operas by composers like John Adams and Oliver Knussen. In May 2024, Dudamel conducted the LA Phil and a star-studded cast in a revival of the 2022 production of Beethoven’s opera Fidelio, produced in collaboration with Los Angeles’ Tony Award-winning Deaf West Theatre, Deaf performers of El Sistema Venezuela’s Coro de Manos Blancas (White Hands Choir), and the Dudamel Foundation.

Dudamel’s advocacy for the power of music to unite, heal, and inspire is global in scope. Shaped by his own training as a young musician, Dudamel with the LA Phil and its community partners founded YOLA (Youth Orchestra Los Angeles) in 2007, now providing over 1,700 young people with free instruments, intensive music instruction, academic support, and leadership training. In October 2021, YOLA opened its ﬁrst permanent, purpose-built facility: The Judith and

Thomas L. Beckmen YOLA Center at Inglewood, designed by architect Frank Gehry. Dudamel also created the Dudamel Foundation in 2012 with the goal “to expand access to music and the arts for young people by providing tools and opportunities to shape their creative futures.”

One of the few classical musicians to become a bona ﬁde pop-culture phenomenon, Dudamel was honored with a star on the Hollywood Walk of Fame in 2019, joining Hollywood greats as well as musical luminaries such as Leonard Bernstein, Duke Ellington, and Arturo Toscanini. He conducted the score to Steven Spielberg’s new ﬁlm adaptation of Bernstein’s West Side Story and starred as the subject of the documentary ¡Viva Maestro!

Dudamel’s extensive, multipleGrammy Award-winning discography numbers 67 releases, including LA Phil’s recent Nonesuch recording of Thomas Ades’ Dante, which won the 2024 Grammy Award for Best Orchestral Performance.

For more information about Gustavo Dudamel, visit his ofcial website at gustavodudamel.com and the Dudamel Foundation at dudamelfoundation.org

“THE RARE CLASSICAL ARTIST TO HAVE CROSSED INTO POP-CULTURE CELEBRITY.” — The New York Times’ Zachary Woolfe and Laura Cappelle

LOS ANGELES PHILHARMONIC

The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2023/24 season is the orchestra’s 105th.

Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the finest artists from all genres of music. Situated in a 32-acre park and under the

stewardship of the LA Phil since December 2019, The Ford presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles.

The orchestra’s involvement with Los Angeles extends far beyond its venues. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles). Through YOLA, inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purpose-built facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry.

The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City,

London, Boston, and New York.

The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.

The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy Award-winning recordings featuring the music of Johannes Brahms, Charles Ives, Andrew Norman, and Thomas Adès—including a 2024 Best Orchestral Performance Grammy for the latter’s Dante

The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity. Their names are Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), Otto Klemperer (1933-1939), Alfred Wallenstein (1943-1956), Eduard van Beinum (1956-1959), Zubin Mehta (1962-1978), Carlo Maria Giulini (1978-1984), André Previn (1985-1989), Esa-Pekka Salonen (1992-2009), and Gustavo Dudamel (2009-present).

“SO FAR AHEAD OF OTHER AMERICAN ORCHESTRAS THAT IT IS IN COMPETITION MAINLY WITH ITS OWN PAST ACHIEVEMENTS.”

— The New Yorker ’s Alex Ross

THOMAS WILKINS

Thomas Wilkins is Principal Conductor of the Hollywood Bowl Orchestra. He has held a titled position at the Hollywood Bowl since 2008, when he was named Principal Guest Conductor; in the spring of 2014, he became Principal Conductor.

In addition, he is the Boston Symphony’s Artistic Advisor, Education and Community Engagement; Indiana University’s Henry A. Upper Chair of Orchestral Conducting, a position established by the late Barbara and David Jacobs; and Principal Guest Conductor of the Virginia Symphony. At the close of the 2020/21 season, he ended his long and successful tenure as Music Director of the Omaha Symphony. Other past positions include resident conductor of the Detroit Symphony and The Florida Orchestra (Tampa Bay) and associate conductor of the Richmond (VA) Symphony. He also has served on

the music faculties of North Park University (Chicago), the University of Tennessee in Chattanooga, and Virginia Commonwealth University in Richmond.

Devoted to promoting a lifelong enthusiasm for music, Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful ﬁrst season with the Boston Symphony, The Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious Outstanding Artist award at the Nebraska Governor’s Arts Awards for his signiﬁcant contribution to music in the state, and in March 2018, the Longy School of Music at Bard College honored him with the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society. In 2019, the Virginia Symphony

bestowed Wilkins with its annual Dreamer’s Award. In 2022, the Omaha Entertainment and Arts Awards presented him with its Lifetime Achievement Award for Music, the Boston Conservatory awarded him an honorary Doctorate of Arts, and he was the recipient of the League of American Orchestras’ Gold Baton Award. During his conducting career, Wilkins has led orchestras throughout the United States, including the New York and Los Angeles philharmonic orchestras; the Philadelphia and Cleveland orchestras; the symphony orchestras of Chicago, Boston, Cincinnati, and Detroit; and the National Symphony.

A native of Norfolk, VA, Wilkins is a graduate of the Shenandoah Conservatory and the New England Conservatory. He and his wife, Sheri-Lee, are the proud parents of twin daughters, Erica and Nicole.

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HOLLYWOOD BOWL ORCHESTRA

The Hollywood Bowl Orchestra is composed of approximately 65 regular players, an international mix of classically trained musicians who are among the best studio musicians in Los Angeles. Many spend their days on Hollywood’s scoring stages. It might be surprising to learn that there is no overlap between the musicians of the Los Angeles Philharmonic and those of the Hollywood Bowl Orchestra—another indicator that LA has a tremendous pool of musical talent.

Musicians have been performing at the Hollywood Bowl since its opening in 1922. “Bowl Orchestra” was used as early as 1925, and “Hollywood Bowl Orchestra” appeared on live recordings made in 1928. Leopold Stokowski was Music Director of the Hollywood Bowl

Symphony Orchestra from 1945 to 1946. During that time, the orchestra recorded a number of classical works. In the 1950s and 1960s, Capitol Records issued an extensive series of recordings of the Hollywood Bowl Symphony Orchestra with a number of different conductors, including Carmen Dragon, Felix Slatkin, Alfred Newman, and Miklós Rózsa, with album titles such as Rhapsody Under the Stars Chopin by Starlight, Fiesta!, Marche!, and many others.

From the 1950s on, there was no official Hollywood Bowl Orchestra, until it reappeared in 1991, under the auspices of the Los Angeles Philharmonic Association, as a completely new ensemble under the direction of Principal Conductor John Mauceri. After retiring from the orchestra in 2006, Mauceri

was awarded the lifelong title of Founding Director of the Hollywood Bowl Orchestra.

In 2008, Thomas Wilkins began an appointment as Principal Guest Conductor of the Hollywood Bowl Orchestra. In June 2014, he became the orchestra’s Principal Conductor, in which position he continues to lead the ensemble each summer in a wide range of concerts at the fabled outdoor venue.

From Mozart to Motown, the repertoire of the Hollywood Bowl Orchestra is as diverse as Hollywood itself. In a single season, the orchestra may perform everything from Broadway favorites to film music, pop music to jazz, and classical music to world premieres by living composers. In essence, the Hollywood Bowl Orchestra does it all.

YOLA

Through YOLA (Youth Orchestra Los Angeles), inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians—aged 6 to 18— empowering them to become vital citizens, leaders, and agents of change. Seventeen years ago, the LA Phil and its community partners launched YOLA with 80 students at the EXPO Center in South LA. Today, there are five sites: in South LA, the Rampart District, Westlake/MacArthur Park, East LA, and Inglewood. YOLA engages players from more than 200 schools in culturally vibrant and ethnically diverse communities across LA County. Music study is complemented by leadership development opportunities, workshops, and performances. YOLA’s young musicians have performed on great stages, from the LA Phil’s iconic venues—the Hollywood Bowl and Walt Disney Concert

Hall—to national and international television broadcasts, and alongside the greatest artists.

On October 15, 2021, the Los Angeles Philharmonic opened the

Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Gehry Partners, LLC, the first permanent, purposebuilt facility for YOLA.

To learn more about YOLA, please visit laphil.com/yola

YOLA MUSICIANS AND SILVANA ESTRADA AT THE BECKMEN YOLA CENTER IN INGLEWOOD.

can you hear it now? the sound of your inner voice no longer on mute

The whispering wind through the bamboo forest, the crunch of your boots on miles of private hiking trails, the deep exhale after a day of ﬁtness for mind, body, and spirit, the irrepressible sigh of a massage every day. The ring of your inner voice calling you back. Itʼs all inside.

AN ICONIC DESIGN FOR AN ICONIC VENUE

Justina Blakeney, an LA-based artist and founder of the design studio and lifestyle brand Jungalow, calls the Hollywood Bowl one of her favorite places in Los Angeles. She says, “Music, nature, creativity swirling in the open air under the stars—who wouldn’t love it?!”

Blakeney captured all of those elements in her first collaboration with the Hollywood Bowl, a vibrant capsule collection for the 2023 Jazz Festival. For the 2024 season, she’s followed up with an eye-catching “Iconic” design that celebrates the venue’s acclaimed history, the beauty of its landscape, and the magic of experiencing live performance together. She shares her inspiration with us.

“When I’m at the Bowl, the shell shape always grabs my attention ﬁ rst. So, in my artwork, I made sure that everything, from the guitars to the trumpets and the decorative scalloped details, subtly echoed that iconic form.”

“The Bowl’s rich history, tracing back to the 1920s, with its nods to Art Deco, also inﬂuenced my approach. You’ll notice geometric patterns, stepped forms, and stylized representations of nature in my art, paying homage to that era.”

“As for colors, I drew inspiration from the lush greens of the surrounding botanical life and the earthy browns of the terrain. These hues set the scene, reﬂecting the natural beauty surrounding the Bowl.”

“The dynamic interaction between the community and the performers at the Hollywood Bowl was something I was excited to capture. I represented these good vibrations through the symbols emerging from the trumpets—hearts, stars, diamonds, and four-leaf clovers, symbolizing love, light, abundance, and good luck.”

JUSTINA BLAKENEY

Kaiser Permanente cares for all that is you

Because you’re more than one note — you’re a symphony.

Thank you for sharing the music with us tonight. Enjoy the show.

The Bowl’s food and wine team--James Beard Award Winners chef Suzanne Goin and restaurateur Caroline Styne of celebrated restaurants Lucques, a.o.c., Caldo Verde and Cara Cara - are now in their seventh year of providing exceptional cuisine designed to make your concert experiences even more spectacular. From supper in your box seats to freshly-prepared picnic baskets and market-driven fare, there’s truly something for everyone.

FOOD + WINE AT-A-GLANCE

SUPPER IN YOUR SEATS

Enjoy a delicious pre-concert meal served to you in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine.

Order by 4pm the day before your concert.

MARKETPLACES

Specialty sandwiches, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wide-ranging variety of approachable and delicious wines await you at all of three of our Marketplaces. You’ll ﬁnd everything you need to build a picnic from scratch or supplement one you already have.

LUCQUES AT THE CIRCLE

Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the award-winning restaurant Lucques.

STREET FOOD & SNACKS

A variety of delicious options are available throughout the Bowl, including street tacos, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.

PICNIC BOXES

PHOTOGRAPHY BY ROB STARK

THE BACKYARD

Inspired by the gorgeous natural surroundings of the Bowl, this al fresco space has the feel of a chic backyard in the Hollywood Hills. Two large wood-burning grills are the focus of this farmers’ market-driven restaurant serving grilled ﬁsh, chops, steaks, vegetables, salads, and raw bar items.

ANN’S WINE BAR by a.o.c.

Inspired by the original a.o.c. on 3rd St., Ann’s Wine Bar features a wide selection of Caroline’s favorite new and old world wines to be explored by both experienced and novice wine lovers, all paired with Suzanne Goin’s signature small plates menu. Reservations recommended.

CATERING AT THE BOWL

Give your guests the experience of a lifetime when you host your next event at the Bowl! Our selection of seven beautiful venues is perfect for events of all sizes, from intimate gatherings to elaborate afairs.

KITCHEN 22

Kitchen 22 is the best place to indulge in fan favorites like burgers, French fries, fried chicken, specialty sandwiches, and salads.

MOBILE ORDERING: Download the Hollywood Bowl app or scan one of the many QR codes to place an order from the comfort of your seat and skip the line at pick up. Mobile ordering is available throughout the venue.

It’s easier than ever to enjoy a picnic supper before your concert with ﬁve options for delectable fresh-made picnic boxes from Food + Wine. Simply pre-order online by 4 pm the day before your concert, and your choice will be waiting for you when you arrive at the Bowl.

HEAD HUNTERS AT 50

On Wednesday, August 14, Herbie Hancock reunites with the original lineup from the landmark album for the first time in five decades at the Hollywood Bowl. Sadie Sartini Garner explores how the Headhunters broke down barriers between jazz and pop to create one of the greatest albums of all time.

Picture Herbie Hancock in 1973. He’s been a jazz star for a dozen or so years. In fact, he’s played in one of the greatest groups in the genre’s history, Miles Davis’ Second Great Quintet, where he helped jazz incorporate wild new ideas without losing its plot. And when Miles wanted to push it even further, Herbie joined him, plugging in an electric piano and crumbling whatever superﬁcial structures separated jazz from acid rock and funk and even ambient music on a series of revolutionary records. The form they cracked open in Bitches Brew released a new spirit, and Herbie chased it into the atmosphere. And now, in 1973, he is the leader of one of the farthest-out groups of all time— the mighty Mwandishi, explorers of deep outer space. He’s helped to reshape jazz three or four times already. And he’s only 33 years old. If he were to retire today, he would already go down as one of the most important musicians of the 20th century. And he’s completely undone by The Pointer Sisters.

The Oakland R&B group was, at the time, climbing the charts on the back of “Yes We Can Can,” a thick, patient, interlocking piece of pop-funk written by the great Allen Toussaint. The Pointers opened for Mwandishi at the Troubadour in West Hollywood and had the entire room up, stomping, clapping, sweating. How could the cosmos ever compare to the specter of several hundred people dancing together in a steaming club?

There had never been a band like Mwandishi before. But when you follow your muse that far out, it can be hard for people to come along. The up-close views of Mars

are unforgettable, but it’s hard to connect when you’re wearing a space suit. And Herbie wanted desperately to connect. “My philosophy of music changed,” he told the Baltimore Afro-American in 1976. “What I discovered is that my music wasn’t functional. It wasn’t dinner music, it wasn’t party music, it wasn’t music with which you could have a conversation with someone.” The

Head Hunters, the only album this band ever made together, is one of the greatest jazz albums of all time. It’s also one of the greatest funk albums of all time. It shaped the course of both genres—and R&B, and eventually hip-hop— breaking down perceived barriers between art music and pop music. Fifty years later, its inﬂuence can still be felt in everything from Trombone Shorty’s big-tent brass-

“I WAS BEGINNING TO FEEL THAT WE WERE PLAYING THIS HEAVY KIND OF MUSIC, AND I WAS TIRED OF EVERYTHING BEING SO HEAVY” — Herbie Hancock

lack of gravitational pull might make things seem light, but in that deoxygenated darkness, distant from the earthy Black funk of the Pointers and Funkadelic and Isaac Hayes—to say nothing of the liberating cri de coeur of Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)”—the Mwandishi music felt leaden. “I was beginning to feel that we were playing this heavy kind of music, and I was tired of everything being so heavy,” he said. So Herbie lightened up. He let most of his band go, keeping only saxophonist Bennie Maupin. He poached drummer Harvey Mason from his old boss Donald Byrd. He plucked bassist Paul Jackson from an obscure Santana side project. Percussionist Bill Summers had played on a single track by Jerry Garcia associate Merl Saunders. The band they’d eventually call Headhunters couldn’t have been much farther from jazz orthodoxy if they’d tried. For old heads attuned to the evolution of the genre, it wasn’t exactly the Third Great Quintet.

rock to J Dilla’s collagist hip-hop to the UK drum ’n’ bass workouts of Roni Size & Reprazent. Flying Lotus, Thundercat, Kendrick Lamar on To Pimp A Butterﬂy, Kamasi Washington, Terrace Martin, Robert Glasper—these are just current LA musicians working in Head Hunters’ shadow. Mason’s slap-back drumming and Herbie’s oozing synth lines have been sampled by pop stars (Madonna), rappers (Digable Planets, Tupac, LL Cool J, Ice Cube), trip-hop legends (Massive Attack), rock weirdos (Frank Zappa), titans of dub (The Upsetters), and titans of basketball (Shaquille O’Neal). It is exceedingly rare that an album is actually as good as music critics, history, and its fans insist it is. If anything, Head Hunters is even better.

It’s also informed by some of the ideas he’d pursued years before. Miles Davis’ 1969 album In A Silent Way, which Herbie contributed to, was composed of long jams that were then shaped and layered in postproduction—a common technique in rock and pop music of the time, but controversial

in jazz, where live improvisation and spontaneous group energy reigned supreme. Herbie brought this cut-and-shape ethos to Head Hunters, and it allowed him to create interplay at a meta level. Though the concept hadn’t quite made its way into popular jazz at the time, the band treats their lines almost like tape loops, playing the same phrases repeatedly without much elaboration. Through sheer repetition and clever juxtaposition, sounds that have been repeated any number of times appear to evolve and deepen.

Herbie had written “Watermelon Man” 10 years earlier for his 1962 solo debut Takin’ Of, but the version on Head Hunters appears

in dramatically diferent form. It opens with Summers blowing a ducking and diving pattern across the top of a beer bottle, simulating the sound of a Cameroonian ﬂute. The rest of the Headhunters join in with blowing, whistling, yipping, their individual rhythms percolating into a single unit as complex and round as a mound of soap bubbles. Jackson plays a clipped bass line that neatly predicts the method hip-hop producers would use to sample records like this one 20 years later—his rif sounds like the best and most idiosyncratic moment in a longer solo that he’s isolated and turned into the song’s spine. By the time Herbie comes in

“…MONOTONY…CAN BE LOOKED ON AS BORING REPETITION—OR IT CAN BE BORING A HOLE STRAIGHT THROUGH INTO YOUR MIND.” — Herbie Hancock

with a clavinet keyboard line as sharp as rose thorns, Mason is anchoring a cubist beat that feels like ﬁve rhythms and one at the same time, all of it anchored by Summers’ beer bottle. Suddenly, all this sound gathers into a single strike, the whistling disappears, and “Watermelon Man” begins to sound like something closer to a traditional jazz song. When the beer-bottle melody returns much later in the song and the yipping and whistling are layered back in, the patterns they’re playing haven’t changed from the song’s beginning, but the air around them—and thus the way we hear them—carries a diferent charge. It’s a masterful arrangement. All this repetition confounded some critics and more traditionally minded musicians. The Associated Press accused Herbie of “playing schlock,” while DownBeat ’s Gary Larson, reviewing a live Headhunters show shortly after the album’s release, wrote, “The band tends to get caught in an up-tempo groove and remain there for the entire set.” For Larson, all that power came at a perceived cost: “The subtlety of previous Hancock groups is notably absent,” he wrote. Even leaving aside the racially charged notion that rhythmic subtlety is less sophisticated than melodic subtlety, an old head might have said that Headhunters’ focus on groove meant the music wasn’t developing and it wasn’t doing anything, and therefore it wasn’t exploratory. But Herbie—and John and Alice Coltrane, and Pharoah Sanders, and any other Black artist who by 1973 had sought their own reﬂection in West African music and culture— had discovered a secret. There

HERBIE HANCOCK IN 1965 BY FRANCIS WOLFF FOR MOSAIC RECORDS

can be great profundity in repetition. There can be great profundity in moving your body.

“There are two ways to listen to monotony,” Herbie told the great jazz critic Leonard Feather around this time. “It can be looked on as boring repetition—or it can be boring a hole straight through into your mind.” It’s the famous decree Funkadelic had issued three years prior put in reverse: Free your ass, and your mind will follow. “It’s simpler, true,” Herbie conceded, “but I wouldn’t say that the intellectualization of music necessarily improves it; nor does the voicing of horns in a manner more complex than what I’m now using. It’s a matter of personal taste, which has nothing to do with the value of the music.”

But in 1973, many, many people’s personal taste suggested that there was something valuable about this music. A truncated version of “Chameleon” was a certiﬁed hit, charting on Top R&B Singles and the Hot 100. The album went gold, selling 500,000 copies six months after it was released—a feat that took Miles Davis’ epochal Kind of Blue 35 years to achieve. It became the ﬁrst jazz album to sell 1 million copies. It’s not hard to understand why: Mason’s drumming is so good that his isolated tracks could’ve sold 100,000 copies on their own.

More important, Head Hunters connected Herbie to his audience in a way he’d never experienced. “It’s a pleasure…to walk out on stage and see a packed house actually dancing to your music,” he told Feather. “All the audiences I played to [before] were 80 to 90 percent white. Finally, I’ve been able to come out with some music the general black public can relate to.”

A HEAD HUNTERS FAMILY TREE: A LINEAGE OF INFLUENCE

INFLUENCES ON HEAD HUNTERS

Herbie got his ﬁrst big break when legendary trumpeter Donald Byrd hired him in 1961

Mason played on Byrd’s 1973 album Street Lady

Jackson was plucked from Santana timbale player Coke Escovedo’s side project

Impressed by Herbie’s work with Donald Byrd, Miles Davis hired him away in 1963. Herbie played on countless Davis albums, helping the trumpeter evolve his sound, including On the Corner (1972), which brought hard funk together with jazz.

Maupin played with Herbie on Davis’ Bitches Brew (1969)

Wattstax (1972)

“The Black Woodstock” had a profound impact of Maupin’s sense of melody.

The Pointer Sisters “Yes We

Sly and the Family Stone, “Thank You (Falettinme Be Mice Elf Agin)” (1970)

Herbie Hancock

Bill Summers

Paul Jackson BASS

Bennie Maupin SAXOPHONE

Can Can” (1973)

A HEAD HUNTERS FAMILY TREE: A LINEAGE OF INFLUENCE

SAMPLES FROM HEAD HUNTERS

“CHAMELEON” IS SAMPLED IN: “WATERMELON MAN” IS SAMPLED IN:

Frank Zappa, “Greggery Peccary” (1978)

2Pac, “Words of Wisdom” (1991)

Beck, “Cellphone’s Dead” (2006); While not a sample, the track is clearly a tribute to the trademark “Chameleon” bass line

808 State, “Headhunters” (1988)

Shaquille O’Neal, “I Hate 2 Brag” (1993); Producer Def Jef ﬂips the sample for Shaq’s debut album

Aaliyah, “Death of a Playa” (1997)

J Dilla, “Zen Guitar” (2005)

The trip-hop group Lamb samples Herbie’s piano rif from “VEIN MELTER” in “Gold” (1996)

Nas samples “SLY” in “You Can’t Kill Me” (2006)

There they are, Headhunters, on Soul Train, in September 1974, playing “Chameleon” for Don Cornelius and what musicologist Steven F. Pond called “a young, hip, black listenership that had largely come to yawn at jazz.”

The Black press understood the album instantly: “Head Hunters is BAD. The album for the most part is Funkaay,” wrote the Atlanta Panther. “This album is a monster. If this is any indication of Herbie’s new sound, I welcome the change.”

Head Hunters wasn’t just a new direction for Herbie. At a time when jazz fans worried about the genre’s relevance and future, Herbie and his new band—along with fusion groups like Return to Forever, Weather Report, The Tony Williams Lifetime, and Ornette Coleman’s Prime Time—showed a way to incorporate ideas from the worlds of funk and pop and rock to bring jazz forward. By making “dance music for the cerebrum,” as one writer put it, Herbie showed that the genre could converse with other styles without losing its soul.

“The thing that keeps jazz alive, even if it’s under the radar, is that it is so free and so open to not only lend its inﬂuence to other genres, but to borrow and be inﬂuenced by other genres,” Herbie told The New York Times’ Nate Chinen in 2013. “That’s the way it breathes.”

Jazz inhales music from around the world, and it exhales a new jazz back into that world. Breathe enough and it may start to seem natural, normal, a vital exchange in the most literal sense of the term. Something so close to the source of life it can be hard not to take it for granted. You may be so busy dancing to the music, you forget you’re breathing at all.

Massive Attack, “Dead Editors” (2016)

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SCHUMANN & BRUCH

THURSDAY AUGUST 1, 2024 8PM

Los Angeles Philharmonic

Xian Zhang, conductor

Karen Gomyo, violin

WAGNER

BRUCH

R. SCHUMANN

Prelude to Die Meistersinger von Nürnberg (c. 10 minutes)

Violin Concerto No. 1 in G minor, Op. 26 (c. 24 minutes)

Prelude: Allegro moderato

Adagio

Finale: Allegro energico

Karen Gomyo

INTERMISSION

Symphony No. 1 in B-flat major, Op. 38, “Spring” (c. 31 minutes)

Andante un poco maestoso; Allegro molto vivace

Larghetto

Scherzo: Molto vivace

Allegro animato e grazioso

Classical Partner: KUSC

Programs and artists subject to change.

PRELUDE TO DIE MEISTERSINGER VON NÜRNBERG

Richard Wagner (1813–1883)

Wagner first contemplated Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) as a possible subject as early as 1845. He had just finished his opera Tannhäuser and was taking a cure at Marienbad, reading Georg Gottfried Gervinus’ history of German literature to unwind. A lighthearted opera about the historical mastersingers and their singing contests seemed like a good way to follow up Tannhäuser, which itself offered a spiritual and moral tale centered on another contest of song from the annals of medieval German legend.

Several other projects were fermenting in the composer’s brain at the time, including Lohengrin, Parsifal, and The Ring; Lohengrin ultimately took precedence (Wagner had started it earlier, in 1841), so Die Meistersinger had to wait.

Wagner thought about revisiting Die Meistersinger during a visit to a museum in Venice in autumn 1861, when a painting from the 1500s reminded him of the world of the mastersingers.

The intervening decade and a half had seen Wagner’s exile from Saxony for supporting the 1848 revolution, controversially appearing in London and Paris, and working on The Ring and Tristan und Isolde. It had also seen his rise from a respected position as

music director in Dresden to the status of international celebrity, a man whose every move was eagerly awaited by both his most ardent supporters and his most passionate detractors. The optimistic and lighter tone of Die Meistersinger, coupled with Wagner’s ability to tap into the nationalist sentiment sweeping the German-speaking states of central Europe in the 1860s—a united Germany finally emerged in 1871 from the carnage of the Franco-Prussian War—helped the work win over audiences at its Munich premiere in 1868.

The opera’s story revolves around the struggle between the forces of musical conservatism and musical change. The hero, Walther, with the help of mastersinger Hans Sachs (both characters were based on historical figures), ultimately triumphs with his song, a creation unlike any the mastersingers have heard before, and he gets the girl, too—and they don’t have to hurl themselves into the ocean, ride into a funeral pyre, or die in each other’s arms to bring about the symbolic fulfillment of the German soul or something like that.

Wagner composed the Prelude to Act I during a train trip in March 1862, before beginning work on the rest of the opera. It introduces thematic material associated with the mastersingers and their apprentices. The

opening music presents two broad, majestic themes that recur at the end of the opera, the first heard during the work’s celebratory final moments and the second accompanying the entrance of the mastersingers. A contrasting theme returns later during Walther’s prize song, music of great lyricism. The central section of the prelude introduces busy music for the mastersingers’ apprentices, which Wagner uses as the basis of a fugue, a polyphonic nod to the opera’s 16th-century setting. The composer then brings back the two opening themes for a peroration of rousing splendor. —John Mangum

VIOLIN

CONCERTO NO. 1 IN G MINOR, OP. 26

Max Bruch (1838–1920)

Max Bruch is one of those marginal—nominally “unimportant”—musical figures who, if he were alive today, could live off the royalties of just one work, this concerto. In view of the few compositions by Bruch that have survived in the repertory, one might think that he was a string player. The present concerto, the Scottish Fantasy (also for violin and orchestra), and the cello staple Kol Nidrei could support that conclusion. Bruch was, in fact,

a prodigy not as an instrumental virtuoso but as a composer who would gain his greatest renown for his vocal music. His love for the voice was instilled by his mother, a professional singer and his first teacher.

Young Max already had numerous compositions to his credit when, at the age of 14, he created a stir throughout Germany by winning a major prize for his First Symphony. At age 20, he set up shop as a music teacher in his native Cologne, quietly establishing a reputation as a reliable composer whose accessible, conservative works—often for chorus—were assured of a public hearing in Germany and Austria.

The British love for choral music in general and, for a time, for Bruch’s in particular gained him the post of chief conductor of the Liverpool Philharmonic Society’s orchestra and chorus in 1879. After touring as a guest conductor in the late 1880s, including engagements in Boston and New York, he settled down to teaching at the Berlin Academy, where he led the master class in composition until his retirement from public life in 1910.

Sketches for the G-minor Violin Concerto date as far back as 1857, when Bruch was only 18, and a first version of the complete work was heard in public as early as 1865. But he was less happy with it than

the critics were, and the score underwent extensive revision the following year, whereupon it was sent to the great violinist Joseph Joachim for his approval.

Joachim, after suggesting certain changes, accepted the dedication of the concerto and premiered it in Bremen in 1867. It was an instant success, and its sweetly melancholy strains have retained their hold on listeners and grateful virtuosos to this day. —Herbert Glass

SYMPHONY NO. 1 IN B - FLAT MAJOR, OP. 38, “SPRING”

Robert Schumann (1810–1856)

It is frequently the case that nicknames attached to musical compositions are the fanciful creations of enthusiastic publishers rather than the original intentions of composers, Beethoven’s “Moonlight” Sonata being the most famous example. In the case of Schumann’s “Spring” Symphony, we see on the preserved manuscript’s first page, in the composer’s hand, the nickname in German: “Frühlings Symphonie.”

Schumann’s feet were planted firmly in the Romantic world, emerging from the imposing shadow that Beethoven was to cast over all 19th-century symphonists, and we shouldn’t underestimate his newness.

Schumann’s orchestral palette is rich, heavy with brass, and he willingly embarks on freer chromatic adventures than his predecessors, such as Mendelssohn.

The symphony, sketched in a four-day burst and completed within a month, originally bore movement titles: “The Beginning of Spring,” “Evening,” “Merry Playmates,” and “Spring in Full Bloom.” The titles were deleted before publication but are still perfect invitations to this music.

A brass fanfare announces “The Beginning of Spring,” but the brief musical crisis that follows reminds us that Schumann composed this symphony in January and February, the dead of winter. We have to anticipate spring before it fully arrives. The tenderness of the second movement, “Evening,” leads directly into the seemingly angry Scherzo of “Merry Playmates,” but the mood changes quickly. In a letter to a friend, Schumann wrote that while the last movement was “Spring in Full Bloom,” it was also a farewell to spring, as much marking a departure as celebrating the present.

The “Spring” Symphony premiered in Leipzig on March 31, 1841. The Leipzig Gewandhaus Orchestra was conducted by Felix Mendelssohn. —Grant Hiroshima

XIAN ZHANG

The 2023/24 season marks Xian Zhang’s eighth as Music Director of the New Jersey Symphony Orchestra, which celebrated its centennial last season. Zhang also holds the positions of Principal Guest Conductor of the Melbourne Symphony Orchestra and Conductor Emeritus of Orchestra Sinfonica di Milano, having previously held the position of Music Director between 2009 and 2016. In high demand as a guest conductor, Zhang juggles an exceptionally busy diary of engagements alongside her titled commitments. Throughout 2023/24, she conducts Puccini’s Madama Butterfly at the Metropolitan Opera in New York. Zhang also returned to The Philadelphia Orchestra, Seattle Symphony, Orquestra Sinfônica do Estado de São Paulo, Houston Symphony, Orchestra of St Luke’s, and National Symphony (Washington, D.C.). In summer 2023, she led the Boston Symphony Orchestra at Tanglewood. Zhang remains a popular guest of the London Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Detroit Symphony, Baltimore Symphony, Montreal Symphony, Toronto

Symphony, NAC Ottawa, Orchestre National du Capitole de Toulouse, Belgian National Orchestra, and Norwegian Opera, where she returned last season for Puccini’s Tosca Letters for the Future, Zhang’s 2022 release on Deutsche Grammophon with The Philadelphia Orchestra and Time for Three, won Grammy Awards for Best Contemporary Classical Composition (for Kevin Puts’ Contact) and Best Classical Instrumental Solo.

Zhang previously served as Principal Guest Conductor of the BBC National Orchestra and Chorus of Wales, the first female conductor to hold a titled role with a BBC orchestra. In 2002, she won first prize in the Maazel-Vilar Conductor’s Competition. She was appointed the New York Philharmonic’s Assistant Conductor in 2002, subsequently becoming Associate Conductor and the first holder of the Arturo Toscanini Chair.

XIAN ZHANG

KAREN GOMYO

Karen Gomyo, “a ﬁrst-rate artist of real musical command, vitality, brilliance, and intensity” (The Chicago Tribune), possesses a rare ability to captivate and connect intimately with audiences through her deeply emotional and heartfelt performances. With a ﬂawless command of the instrument and an elegance of expression, she is one of today’s leading violinists.

Gomyo’s 2023/24 season engagements include her debuts with the Chicago Symphony Orchestra with John Storgårds, Gewandhausorchester Leipzig with Semyon Bychkov, and the National Symphony Orchestra of Ireland with Lio Kuokman. She also appears with the Mozarteumorchester Salzburg with Constantinos Carydis, BBC Philharmonic Orchestra with Storgårds, Gulbenkian Orchestra with Giancarlo Guerrero, Orquesta Sinfónica de Bilbao with composer-

conductor Samy Moussa, and the Vancouver Symphony with Gerard Schwarz. In February 2024, Gomyo returned to the Dallas Symphony Orchestra for the world premiere of Year 2020, a Concerto for Trumpet, Violin, and Orchestra by Xi Wang, with trumpeter Tine Thing Helseth and conductor Fabio Luisi. Together with conductor Jakub Hrůša, a frequent collaborator, Gomyo traveled to Japan to perform with the Tokyo Metropolitan Symphony Orchestra. Highlights of recent seasons include subscription debuts with the New York Philharmonic, Pittsburgh Symphony, Orquesta Nacional de España, Czech Philharmonic, and Rome’s Accademia Nazionale di Santa Cecilia. Gomyo also returned to the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl, the Orchestre Philharmonique de Radio France in Paris under Mikko Franck, and the WDR Sinfonieorchester Köln with Cristian Macelaru.

A passionate chamber musician, Gomyo has performed with Olli Mustonen, Leif Ove Andsnes, Enrico Pace, James Ehnes, Noah BendixBalgley, Daishin Kashimoto, Emmanuel Pahud, Julian Steckel, the late Heinrich Schif, mezzo-soprano Susan Graham, and guitarist Ismo Eskelinen, with whom she recorded the duo album Carnival on BIS Records.

Gomyo is also a champion of the Nuevo Tango music of Astor Piazzolla. She regularly collaborates with Piazzolla’s longtime pianist, tango legend Pablo Ziegler, as well as with bandoneon players Hector del Curto, JP Jofre, and Marcelo Nisinman. In 2021, Gomyo released A Piazzolla Trilogy (BIS Records), recorded with the strings of Orchestre National des Pays de la Loire and guitarist Stephanie Jones. Renowned for her commitment to commissioning new repertoire, Gomyo has given the U.S. premieres of Samy Moussa’s violin concerto Adrano with the Pittsburgh Symphony and Matthias Pintscher’s violin concerto Mar’eh with the National Symphony Orchestra in Washington, D.C., under the baton of the composer. In May 2018, she performed the world premiere of Samuel Adams’ new Chamber Concerto with members of the Chicago Symphony Orchestra and Esa-Pekka Salonen, a work written speciﬁcally for Gomyo and commissioned by the CSO’s Music Now series for its 20th anniversary. Born in Tokyo, Gomyo began her musical career in Montreal and New York. She studied under the legendary pedagogue Dorothy DeLay at The Juilliard School before continuing her studies at Indiana University’s Jacobs School of Music and New England Conservatory. Gomyo also participated as violinist, host, and narrator in a documentary ﬁlm about Antonio Stradivarius called The Mysteries of the Supreme Violin, produced by NHK Japan and broadcast worldwide on NHK World.

KAREN GOMYO

TCHAIKOVSKY SPECTACULAR WITH FIREWORKS

FRIDAY AUGUST 2, 2024 8PM SATURDAY AUGUST 3, 2024 8PM

Los Angeles Philharmonic Otto Tausk, conductor

Behzod Abduraimov, piano

USC Trojan Marching Band

TCHAIKOVSKY

Polonaise from Eugene Onegin, Op. 24 (c. 4 minutes)

Piano Concerto No. 1 in B-flat minor, Op. 23 (c. 34 minutes)

Allegro non troppo e molto maestoso—Allegro con spirito

Andantino semplice—Prestissimo

Allegro con fuoco

Behzod Abduraimov

INTERMISSION

Suite from The Sleeping Beauty, Op. 66 (c. 23 minutes)

Introduction: The Lilac Fairy

Adagio: Pas d’action

Pas de caractère: Puss in Boots

Panorama

Waltz

1812 Overture, Op. 49 (c. 16 minutes)

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Pianos provided by Steinway Piano Gallery—Beverly Hills

Pyrotechnics: Pyro Spectaculars by Souza

Paul Souza, Designer and Technical Director of Fireworks

Programs and artists subject to change.

POLONAISE FROM EUGENE ONEGIN

Peter Ilyich Tchaikovsky (1840–1893)

It is impossible to measure Tchaikovsky’s—or anyone’s— degree of happiness, but, from the evidence, it seems safe to say that no work of his gave him more pleasure in the writing than the opera Eugene Onegin The extent of the moody and frequently depressed composer’s Onegin elation is reflected in a letter to his brother Modest (June 1877): “I am in love with the image of Tatyana,” he wrote. “I am under the spell of Pushkin’s poetry, and am compelled to compose the music as if by irresistible attraction.”

The score of Eugene Onegin is pervaded by shades of lyricism, from quiet melancholy to breathless passion (but hardly any “glitter”), punctuated now and then by music of a purely—but appropriately—decorative nature. One example of the latter occurs in the ball scene at the beginning of the third act, when a dashing Polonaise is danced. For the festivities, Tchaikovsky provided music with exactly the right aristocratic pomp and ceremony.

—Orrin Howard

PIANO CONCERTO NO. 1 IN B - FLAT MINOR, OP. 23

Peter Ilyich Tchaikovsky

On Christmas Eve of 1874, Tchaikovsky took the completed score of his First Piano Concerto to the virtuoso Nikolai Rubinstein, hoping that the player would premiere the work and, through his advocacy, ﬁnd a place for it in the repertoire. Rubinstein had played other works by Tchaikovsky and, until this point, had been one of the composer’s strongest supporters. No wonder that Tchaikovsky was stunned when the pianist gave the new concerto a reception that made the Siberian tundra seem warm and welcoming. The composer described the incident in a letter to his benefactor, Nadezhda von Meck, written in January 1878.

“I played the ﬁrst movement. Never a word, never a single remark. Do you know the awkward and ridiculous sensation of putting before a friend a meal which you have cooked yourself, which he eats—and then holds his tongue? Oh, for a single word, for friendly abuse, for anything to break the silence! For God’s sake say something! But Rubinstein never opened his lips.”

The run-through continued, but the composer still got no reaction from the stone-faced Rubinstein. The master pianist held his tongue

until Tchaikovsky had played through the entire concerto, at which point Rubinstein could no longer contain his disgust.

“‘Well?’ I asked, and rose from the piano. Then a torrent broke from Rubinstein’s lips, gentle at ﬁrst, gathering volume as it proceeded, and ﬁnally bursting into the fury of a Jupiter. My Concerto was worthless, absolutely unplayable; the passages so broken, so disconnected, so unskillfully written, that they could not even be improved; the work itself was bad, trivial, common; here and there I had stolen from other people; only one or two pages were worth anything; all the rest had better be destroyed. I left the room without a word. Presently Rubinstein came to me and, seeing how upset I was, repeated that my Concerto was impossible but said if I would suit it to his requirements he would bring it out at his concert. ‘I shall not alter a single note,’ I replied.”

Luckily, Tchaikovsky didn’t. He immediately banished the idea of dedicating the concerto to Rubinstein, eventually bestowing the honor on the German pianist and conductor Hans von Bülow. Bülow premiered the work in Boston on October 13, 1875, where it was a triumphant success, marking the beginning of a string of

American performances that increased Tchaikovsky’s popularity here.

The opening Allegro non troppo e molto maestoso is majestic and measured. After an introductory flourish dominated by the brass, a series of inevitable chords from the piano rides a passionate melody in the orchestra. Before this first theme has completely run out of steam, snippets of the second steal in, foreshadowing its imminent appearance in a uniquely structured double exposition. The stormy development builds to two shattering climaxes, first for the piano, punctuated by the orchestra, and then for the orchestra, featuring a searing figure for the strings taken up by the piano with thundering bravura. Closing the movement is dazzling passagework for the soloist, which gives melodic shape to a series of resolute chords played by the orchestra.

The central movement unexpectedly presents a meltingly beautiful Andantino semplice—just what one would expect of a slow movement—that gives way to a finger-twisting Prestissimo of the fleetest kind. The melody of this section comes from a French song, “Il faut s’amuser, danser, et rire” (One must have fun, dance, and laugh), a favorite of Tchaikovsky’s onetime fiancée, the soprano Désirée Artôt.

The finale, marked Allegro con fuoco—fast with fire—opens with a flamboyant Ukrainian tune that dissolves into a soaring second theme, played ﬁrst by the violins, then by the soloist. Tchaikovsky pulls out all the stops for the concerto’s coda, with the orchestra playing the second theme for all its worth before everyone launches into the spellbinding last pages. —John Mangum

SUITE FROM THE SLEEPING BEAUTY

Peter Ilyich Tchaikovsky

Tchaikovsky wrote his first ballet, Swan Lake, in 1875 because—he was frank to admit—he needed the money. The project may have helped fill his pockets, but it also fully awakened what had been manifest in many of his nonballet scores: the gift to write music that captures the essence of dance. Some 13 years, two symphonies, and several operas later, Tchaikovsky was commissioned to write another ballet, this one for the Mariinsky Theater in St. Petersburg, based on The Sleeping Beauty, the fairy tale by Charles Perrault. The composer was somewhat wary of another bout with the world of ballet, for Swan Lake had been a difficult experience, and the public shrugged off its badly staged 1877 premiere at the Bolshoi Theater. At the time, Tchaikovsky was not surprised at the relative failure of his first balletic child. He wrote in his diary: “Lately I have heard Delibes’ very clever music. Swan Lake is poor stuff compared to it. Nothing in the last few years has charmed me so greatly as this ballet of Delibes’.”

Delibes notwithstanding, the composer had enough faith in his abilities in the genre to accept The Sleeping Beauty commission, and in addition he had the inestimable help

of choreographer Marius Petipa, the founder of the Russian school of classical ballet. Tchaikovsky cooperated fully with Petipa, providing the ballet with music of incomparable richness and rightness—a score of symphonic splendor. Yet at the first production in January 1890 the audience was somewhat dismayed by the score. Although it contains melodies aplenty, it has a scope and a grandeur that were not considered appropriate for the dance theater at the time.

How times have changed. The Sleeping Beauty has long since attained the status of a classic in the ballet repertory, known and loved in its fullevening version. Even on its own in the concert hall, the music casts its enchantment, for it is Tchaikovsky at his best. No less a musician than the 20th-century master Igor Stravinsky went on record with that latter judgment. In a lengthy open letter to Ballets Russes director Serge Diaghilev, who presented the London premiere of The Sleeping Beauty in 1921, Stravinsky pays homage to Tchaikovsky and extends gratitude to Diaghilev for “producing that masterpiece by our great and beloved Tchaikovsky. The convincing example of Tchaikovsky’s great creative power is beyond all doubt the ballet

The Sleeping Beauty. I have

just read again the score of this ballet. I have orchestrated some numbers of it which had remained unorchestrated and unperformed. I have spent some days of intense pleasure in finding again and again the same feeling of freshness, inventiveness, ingenuity, and vigor.” He closed the letter, which was printed in The Times, with “I warmly desire that your audiences of all countries may feel this work as it is felt by me, a Russian musician.”

This suite opens with the music that is heard before the curtain rises. Rather than beginning the ballet with the kind of graceful dance music one might expect in a fairy-tale ballet, Tchaikovsky sounds a vital, muscular tone with the aggressive motif associated with the wicked fairy Carabosse, who casts the evil spell on Princess Aurora. This is followed in short order by the flowing, shimmering strains of Carabosse’s counterpart, the Lilac Fairy, who devotes her magical powers to the happiness of the Princess. We then encounter the procession of Aurora’s suitors as they each present her a rose, the delightful dance of Puss in Boots from the Act III wedding, and the shimmering Panorama at the start of Act II. The Suite concludes with one of Tchaikovsky’s best-known waltzes, danced by the corps holding garlands of flowers in celebration of Aurora’s 16th birthday. —Orrin Howard

1812 OVERTURE

Peter Ilyich Tchaikovsky

Triumph is the order of the day in Tchaikovsky’s 1812 Overture. The work’s of cial title is The Year 1812, a Festival Overture to Mark the Consecration of the Cathedral of Christ the Savior, which was in Moscow. Tchaikovsky wrote the piece in less than a week—his capacity to compose quickly was legendary. Anton Rubinstein, his teacher at the Moscow Conservatory, remembered an instance when the young Tchaikovsky was asked to submit a few contrapuntal variations; he turned in over 200.

The commission for the overture came from Anton’s younger brother, Nikolai Rubinstein, who was organizing music for an exhibition that took place in 1882. The overture’s first performance took place August 20, not outside the Cathedral of Christ the Savior as is often assumed, but in a concert hall expressly built for the exhibition. The cathedral was built to commemorate the Russian defeat of Napoleon in 1812, and Tchaikovsky crafted a suitably patriotic work for the occasion. He used the Russian Empire’s national anthem, “God Save the Czar,” to open and usher in the close of the work, also incorporating a folk melody borrowed from his forgotten opera The Voyevoda and the French national anthem, “La Marseillaise.” What most remember about the overture, however, is its use of cannons, first to mark the French defeat, then during the final, celebratory dance that follows the second, triumphant statement of “God Save the Czar.” —John Mangum

OTTO TAUSK

Now in his sixth season as Music Director of the Vancouver Symphony Orchestra (VSO) and Artistic Advisor of the VSO School of Music, Dutch conductor Otto Tausk has shown extraordinary artistic leadership in the VSO community and beyond. His innovatively reimagined digital performance series and the initiative to introduce Canadian contemporary music, including ﬁve indigenous composers’ works, were received to great acclaim and signiﬁcantly widened the orchestra’s reach.

Tausk is a passionate believer in the concert as a shared experience between the performers and the audience, and his inclusive approach has had a profound impact on the community of Vancouver, where the orchestra has become an essential part of the cultural identity of the city and its people.

In the 2023/24 season, Tausk conducts masterpieces by Mahler, Tchaikovsky, and Shostakovich as well as Verdi’s Requiem and Haydn’s Creation, and gives the world premiere

performance of a work by British Columbian composer Nicholas Ryan Kelly. He works with stellar soloists such as Vadim Gluzman, Steven Isserlis, Lang Lang, Yo-Yo Ma, and Fazıl Say. Tausk’s guest-conducting appearances of the season include appearances with the San Diego Symphony, Tasmanian Symphony Orchestra, Concertgebouworkest, Orquesta Sinfónica de Galicia, and Norwegian Radio Orchestra. He will also conduct Thomas Ades’ opera Powder Her Face at the Nederlandse Reisopera.

Tausk has recorded with the Concertgebouworkest, Sinfonieorchester St. Gallen, BBC Scottish Symphony Orchestra, and the Netherlands Radio Philharmonic Orchestra. Born in Utrecht, Otto Tausk studied violin with Victor Lieberman and conducting with Jonas Aleksa. From 2004 to 2006, he was an Assistant Conductor to Valery Gergiev with the Rotterdam Philharmonic Orchestra. In 2011, he received the prestigious De Olifant prize of City of Haarlem, recognizing his achievements as music director of the Holland Symfonia and his contribution to the arts in the Netherlands.

OTTO TAUSK

BEHZOD ABDURAIMOV

Behzod Abduraimov’s performances combine an immense depth of musicality with phenomenal technique and breathtaking delicacy. He performs with renowned orchestras worldwide, including the Philharmonia Orchestra, Los Angeles Philharmonic, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, The Cleveland Orchestra, Orchestre de Paris, Concertgebouworkest, Czech Philharmonic, Vienna Symphony Orchestra, NHK Symphony, and RundfunkSinfonieorchester Berlin, with prestigious conductors such as Santtu-Matias Rouvali, Gustavo Dudamel, Semyon Bychkov, Gianandrea Noseda, and Vasily Petrenko.

During the 2023/24 season, he performed with the Chicago Symphony, Houston Symphony, and Pittsburgh Symphony orchestras; Mozarteumorchester Salzburg; Oslo Philharmonic; Stavanger Symphony Orchestra, including a tour of Spain; and the Belgian National Orchestra at the Concertgebouw.

Conductor collaborations include Osmo Vänskä, Juraj Valčuha, Constantinos Carydis, Robin Ticciati, Manfred Honeck, Yoel Levi, Hannu Lintu, and Andris Poga.

In recital, Abduraimov has appeared at Carnegie Hall’s Stern Auditorium, Queen Elizabeth Hall in London, and Amsterdam’s Concertgebouw and has recently been presented by Alte Oper, Frankfurt; Toppan Hall, Tokyo; Teatro alla Scala; and La Società dei Concerti di Milano. Regular festival appearances include Aspen, Verbier, Rheingau, La Roqued’Anthéron, Lucerne, and Ravello.

Abduraimov’s latest recording for Alpha Classics was an Editor’s Choice in the January issue of Gramophone and was included

in Apple Music’s “10 Classical Albums You Must Hear This Month” in February. A DVD of his BBC Proms debut in 2016 with the Münchner Philharmoniker was released in 2018.

Born in Tashkent, Uzbekistan, in 1990, Abduraimov began his piano studies at the age 5. In 2009, he won ﬁrst prize at the London International Piano Competition. He studied with Stanislav Ioudenitch at the International Center for Music at Park University, Missouri, where he is Artist-in-Residence.

BEHZOD ABDURAIMOV

USC TROJAN MARCHING BAND

Shortly after the University of Southern California was founded in 1880, a group of musicians came together to form what would become the Trojan Marching Band. Now the largest spirit organization on campus, the band has developed into one of the most exciting and innovative collegiate marching bands in the country. Featuring 350 passionate students from nearly every major, the TMB is a prominent representative of the university with 300 engagements each year. Together with USC Song, the USC Spirit Leaders, and USC’s mascot Traveler, the Trojan Marching

Band is known as “The Spirit of Troy” for its commitment to USC and its tireless support of Trojan athletics.

Twice named the “Best Band in College Football” by USA Today, the TMB has not missed a USC football game—at home or on the road—since 1987, a streak that surpassed 440 last season. At home in the Los Angeles Memorial Coliseum, the band entertains the Trojan faithful with performances before, during, and after the game. The traditional pregame features the Trojan ﬁght songs and the band’s distinctive rendition of “The

Star-Spangled Banner.” Each halftime, the TMB presents a new and exciting ﬁeld show that is a powerful blend of popular music, precision drills, and crowd-pleasing dance routines. Then, after the game, the band performs its customary set of “rock charts” for the lucky fans who stay past the ﬁnal whistle.

The TMB is directed by Dr. Jacob Vogel, in his third season leading the organization. He was elevated to the position after 12 years as a teaching assistant, assistant director, associate director, and arranger with the program.

USC TROJAN MARCHING BAND

PROKOFIEV & SHOSTAKOVICH

TUESDAY AUGUST 6, 2024 8PM

Los Angeles Philharmonic

Ryan Bancroft, conductor

Denis Kozhukhin, piano

PROKOFIEV

SHOSTAKOVICH

Piano Concerto No. 3 in C major, Op. 26 (c. 27 minutes)

Andante—Allegro Tema con variazioni

Allegro ma non troppo

Denis Kozhukhin

INTERMISSION

Symphony No. 10 in E minor, Op. 93 (c. 57 minutes)

Moderato

Allegro Allegretto

Andante—Allegro

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Pianos provided by Steinway Piano Gallery—Beverly Hills

Programs and artists subject to change.

PIANO CONCERTO NO. 3

IN C MAJOR, OP. 26

Sergei Prokofiev

(1891–1953)

In common with Beethoven, Prokofiev wrote five piano concertos. Only one of them, however, is played often. It is the Third, which was first performed in Chicago in December 1921, during the composer’s selfimposed exile from his native Russia. Although the work had been in progress since 1911, its elements are united in an exciting and colorful display that shows no signs of its long gestation period.

Prokoﬁev made his debut as a pianist-composer in 1908, when he shocked the audience with such daring works as his Suggestion diabolique, and he would go on to write a signiﬁcant body of work for the keyboard (including an astonishing trilogy of so-called “War” Sonatas—Nos. 6, 7, and 8—between 1939 and 1944).

Prokoﬁev’s distinctive style, blending rapid and percussive playing with liquid lyricism and pungent harmonies, makes his music almost instantly recognizable. You will hear pre-echoes of his wonderful Romeo and Juliet ballet score (1935–36) in this concerto, which the composer himself introduced in Chicago and then later in Los Angeles.

The ﬁrst movement opens with a haunting theme in the clarinets that is soon displaced by energetic activity in the strings, making way in turn for the piano’s entry. The staccato passagework required of the soloist is of the most exciting

(and exacting) order. An interlude for oboe (with castanets) leads to a development of the opening melody, then more fireworks for the soloist and orchestra. The second movement is in the form of theme and variations, alternating between rapt and poetic, dazzling and dynamic. The third and final movement returns to the brilliant style of the first, uniting the composer’s contrasting proclivities for extremely (even decadently) luscious melody and brittle, machine-like rhythmic energy.

—Dennis Bade

SYMPHONY NO. 10 IN E MINOR, OP. 93

Dmitri Shostakovich (1906–1975)

Shostakovich’s Tenth Symphony is 50 minutes of tragedy, despair, terror, and violence— and two minutes of triumph. Since the end of the 1970s, the most widely accepted interpretation of the work has seen it as a depiction of the Stalin years in Russia, when as many as 20 million people died as a direct or indirect result of Stalin’s regime and those who didn’t lived in constant fear. Shostakovich certainly felt the capriciousness of Stalin’s rule firsthand—he was publicly denounced, his works banned, and his status reduced to that of a “non-person.” Friends and colleagues disappeared. The horror of those years—and the collective sigh of relief that doubtlessly followed when Stalin died on March 5, 1953—certainly make a plausible program for Shostakovich’s Tenth.

Traditionally, the Tenth Symphony has been dated to the summer of 1953, after Stalin’s death; the composer hadn’t written a symphony since an infamous 1948 crackdown proscribed his music. Recent scholarship has shown that the first movement’s two opening themes rework ideas from an abandoned 1946 violin sonata; the pianist Tatiana Nikolayeva asserted that Shostakovich composed the movement in the early part of 1951, simultaneously with his 24 Preludes and Fugues for piano, and completed the symphony, perhaps in an early version, that year. Shostakovich’s own letters clearly date much of the work on the symphony to the summer of 1953, but in light of this other evidence, the work had been stirring in the composer’s imagination for several years. The symphony opens with an extended Moderato that comprises nearly half of the work’s total length. The movement centers on two extended groups of thematic material. The first contrasts a steady tread that begins in the cellos and basses, with longer notes held initially by violins and violas. Out of this a wistful motif emerges in the clarinet from which Shostakovich builds to an impassioned, wrenching climax. After a grave brass chorale and an extended reiteration of the clarinet motif, a solo flute starts the second group of material, which Shostakovich slyly works into an insinuating, almost predatory waltz. The bassoons take up the clarinet theme to launch the movement’s nightmarish central section, as Shostakovich

quickly builds to a sustained emotional outpouring, complete with lurid, shrieking piccolos and ominous military drum. Using marches and waltzes for the interior movements of a symphony was something Tchaikovsky had done, so Shostakovich’s decision to write a march and waltz for the second and third movements of the Tenth comes as no surprise. The march is music of unremitting terror and frenzied violence, the military drum again making its presence keenly felt. In the third-movement waltz, the composer introduces himself into the music with a signature—D, E flat, C, and B, the D-S-C-H motif—from his first initial and the first three letters of his last name spelled out in German. (In German notation,

E flat is known as “Es” and B natural as “H.”) This theme is first introduced by flutes and clarinets about a minute into the movement. Another motif, played repeatedly by the solo horn, comes from the name of one of his pupils, Elmira Nazirova (E-A-E-D-A, or E-La-Mi-Re-A with solfège mixed in), a code cracked by Shostakovich scholar Nelly Kravetz. At the movement’s close, the horn obsesses on the Elmira motif while the piccolo and the flute play the D-S-C-H signature, underlining the music’s dimension of personal tragedy, its sardonic, bitter tone arising from unfulfilled longing for an unattainable muse.

The finale begins with an extended dialogue dominated by solo winds, an effective counterbalance to the

symphony’s opening. The clarinets launch the manic Allegro, which soon ventures into the nightmare territory of the opening movement. A massive eruption of the D-S-C-H motif, hammered out by the full orchestra triple forte, stops the madness. The motif hovers in the background during the ensuing passage, played three times by trumpet and trombone, before a return to the Allegro material. It starts as a jaunty bassoon solo, finally untroubled by the shadows that have haunted the rest of the symphony. The music builds to a massive climax, fortiﬁed by the D-S-C-H signature (in horns and trumpets), a resolute assertion of the individual’s triumph over a soulless, dehumanizing regime.

—John Mangum

RYAN BANCROFT

Ryan Bancroft grew up in Los Angeles and ﬁrst came to international attention in April 2018 when he won First Prize and the Audience Prize at the prestigious Malko Competition for Young Conductors in Copenhagen. Since September 2021, Bancroft has been Principal Conductor of the BBC National Orchestra of Wales. Following his ﬁrst visit to work with the Tapiola Sinfonietta in Finland, Bancroft was invited to become its Artist in Association from the 2021/22 season onward. In 2021, Bancroft was announced as Chief Conductor Designate of the Royal Stockholm Philharmonic Orchestra and took up the position in September 2023.

Bancroft’s ﬁrst season in Stockholm opened with the orchestra’s ﬁrst performance of Sven-David Sandström’s The High Mass, together with the Eric Ericson Chamber Choir. Throughout the season Bancroft conducted a wide range of repertoire with the orchestra, including premieres by Daniel Börtz and Anders Hillborg and appearances with soloists including Emanuel Ax and Seong-Jin Cho.

Bancroft made his Hollywood Bowl debut in August 2023 with the Los Angeles Philharmonic and Eric Lu, followed by his debut with The Cleveland Orchestra at the Blossom Festival alongside Mao Fujita. In the 2023/24 season, he made debuts with the San Francisco and Cincinnati symphony orchestras and returned to the Toronto

Symphony. Previous seasons included performances with the Minnesota, Baltimore, Houston, and Dallas symphony orchestras.

The 2023/24 season also saw Bancroft debut with the NDR Elbphilharmonie Orchestra with Joshua Bell, the Orquesta Sinfónica de Castilla y Léon with Martin Fröst, and the Netherlands Radio Philharmonic with Bomsori Kim, and he returned to the Royal Festival Hall with the Philharmonia and Renaud Capuçon.

Since winning the Malko Competition, Bancroft has conducted other leading European orchestras including the London Philharmonic, BBC Symphony, Orchestre Nationale du Capitole de Toulouse, City of Birmingham Symphony, Swedish Radio Symphony Orchestra, Danish National Symphony, Rotterdam Philharmonic, Rai Torino, and Ensemble Intercontemporain.

Bancroft has a passion for contemporary music and has performed with Amsterdam’s acclaimed Nieuw Ensemble, assisted Pierre Boulez in a performance of his Sur Incises in Los Angeles, premiered works by Soﬁa Gubaidulina, John Cage, James Tenney, and Anne LeBaron, and worked closely with improvisers such as Wadada Leo Smith and Charlie Haden.

Bancroft studied trumpet at the California Institute of the Arts, with additional studies in harp, ﬂute, cello, and Ghanaian music and dance. He received a Master of Music degree in Orchestral Conducting from the Royal Conservatoire of Scotland.

RYAN BANCROFT

DENIS KOZHUKHIN

A pianist of exceptional technique, emotional depth, and sophistication, Denis Kozhukhin has gained significant recognition through his powerful performances, establishing himself as one of the most accomplished musicians of his generation. Highlights of the last two seasons include performances with the San Francisco Symphony, Orchestre symphonique de Montréal, Frankfurt’s hr-Sinfonieorchester, BBC Symphony, Orchestre National de Belgique, Danish National Symphony, Philharmonia Orchestra, Royal Stockholm Philharmonic, and WDR Sinfonieorchester. He has worked with Rafael Payare, Alain Altinoglu, Cristian Mă celaru, Hannu Lintu, Dalia Stasevska, and Santtu-Matias Rouvali. Kozhukhin’s 2023/24 season includes returns to the Oslo Philharmonic, NHK Symphony, National Symphony (Washington, D.C.), and Orquestra Simfònica de Barcelona, alongside debuts with the Dallas Symphony, Düsseldorfer Symphoniker, and Melbourne Symphony. He also

performs recitals and chamber music at the Pierre Boulez Saal, Elbphilharmonie, Wigmore Hall, Vienna’s Konzerthaus, and Zurich’s Tonhalle. Since winning the Queen Elisabeth Competition in 2010, Kozhukhin has performed with the London Symphony, Royal Concertgebouw Orchestra, Rotterdam Philharmonic, and Staatskapelle Berlin. A sought-after recitalist and chamber musician, he regularly appears at prominent music festivals including Verbier, Gstaad, Grafenegg, Dresden, Intonations, Tsinandali, Klavier Ruhr, Lanaudière, and Jerusalem, as well as the BBC Proms. Kozukhin is a Pentatone recording artist, with a discography spanning works by Haydn, Mendelssohn, Tchaikovsky, Grieg, Ravel, and Gershwin.

A graduate of the Reina Sofía School of Music in Madrid under the guidance of Dmitri Bashkirov and Claudio Martínez-Mehner, Kozhukhin further honed his skills at the Piano Academy at Lake Como, where he worked with notable pianists such as Fou Ts’ong, Stanislav Ioudenitch, Peter Frankl, Boris Berman, Charles Rosen, and Andreas Staier, and in Stuttgart with Kirill Gerstein.

DENIS KOZHUKHIN

LAUFEY WITH THE LA PHIL

WEDNESDAY AUGUST 7, 2024 8PM

Laufey

Los Angeles Philharmonic

Thomas Wilkins, conductor

Laufey, lead vocals, piano, guitar, cello

Heather Rivas, keyboards

Maverick MacMillan, drums

Dario Bizio, bass

Ryland Holland, guitar & percussion

Michelle Shin, violin 1

Molly Rogers, violin 2

Leah Metzler, cello

Kiara Perico, viola

Intermission to be announced from the stage.

Programs and artists subject to change.

LAUFEY

Laufey (pronounced LAY-vay) is a 25-year-old Los Angeles-based singer, composer, producer, and multi-instrumentalist whose jazz songs are about young love and self-discovery. Raised in Reykjavík and Washington, D.C., with annual visits to Beijing, the Icelandic-Chinese artist grew up playing cello as well as piano and became hooked on the jazz standards of Ella Fitzgerald after digging through her father’s record collection. In 2020, while still a student at Berklee College of Music, Laufey released her debut single, “Street by Street,” which went on to top the Icelandic radio charts. Following the launch of her 2021 EP, Typical of Me, Laufey was named Best New Artist in Jazz and Blues at the Icelandic Music Awards and hosted her own show on BBC Radio 3/BBC Sounds. Her ﬁrst full-length album, Everything

I Know About Love, debuted at No. 1 on Billboard’s Alternative New Artist Album chart, and the lead single, “Valentine,” peaked at No. 1 on the Spotify Jazz Chart. In 2022, Laufey was the most-streamed jazz artist on Spotify, with 425 million streams across all platforms.

To read about conductor Thomas Wilkins, please turn to page 16

THOMAS WILKINS

LAUFEY

THOMAS WILKINS

SYMPHONIC TANGO & FLAMENCO

THURSDAY AUGUST 8, 2024 8PM

Los Angeles Philharmonic

François López-Ferrer, conductor

Blake Pouliot, violin

Flamenco Vivo Carlota Santana Emilio Ochando, choreographer

FALLA

PIAZZOLLA,

The Three-Cornered Hat, Suite No. 2 (c. 12 minutes)

The Neighbors

Miller’s Dance (Farruca)

Final Dance

Flamenco Vivo Carlota Santana

The Four Seasons of Buenos Aires (c. 27 minutes)

Arranged by Autumn Leonid DESYATNIKOV Winter Spring

Summer

Blake Pouliot

INTERMISSION

DEBUSSY

RAVEL

Ibéria (c. 20 minutes)

Par les rues et par les chemins (Along the streets and along the paths)

Les parfums de la nuit (The scents of the night)

Le matin d’un jour de fête (The morning of a festive day)

Boléro (c. 14 minutes)

Flamenco Vivo Carlota Santana

This performance is generously supported by Pasadena Showcase House for the Arts

Programs and artists subject to change.

THE THREE-CORNERED HAT, SUITE NO. 2

Manuel de Falla (1876–1946)

During World War I, neutral Spain received an invigorating influx of foreign artists looking for alternative markets to those along the usual Paris-BerlinVienna routes. Prominent among those artists was the impresario Serge Diaghilev and his Ballets Russes, which became a favorite of King Alfonso XIII. Diaghilev discussed several potential projects with Spanish composer Manuel de Falla, settling on an adaptation of the 19thcentury writer Pedro Antonio de Alarcón’s comic novella El sombrero de tres picos (The Three-Cornered Hat). Falla brought this to the stage first as the pantomime El corregidor y la molinera, based on two scenes adapted by his usual collaborators, the husband-andwife team of Gregorio Martínez Sierra and María Lejárraga. Alarcón’s novella contains a confusing amount of incident, but the central narrative follows the traditional characters of a jealous miller, his beautiful young wife, and a lecherous corregidor (the local magistrate, whose position is symbolized by his three-cornered hat).

The oafish but persistent corregidor is thwarted at every turn, is mistakenly arrested by his own constables, and suffers the peasant justice of being tossed in a blanket for a finale of general merriment.

For Diaghilev, Falla increased the size of the orchestra and eliminated some incidental music from the second part while adding a solo specifically for Léonide Massine, who choreographed the ballet and danced the part of the miller. Pablo Picasso designed the sets and costumes, and at his request Falla wrote an introduction and solo song to be performed before Picasso’s curtain went up. The ballet had a hugely successful premiere in London in 1919 (as Le tricorne), establishing Falla’s international reputation. The Second Suite opens with the miller’s neighbors gathering to celebrate the Feast of St. John and dancing seguidillas based on traditional themes, including one also popularized in Gerónimo Giménez’s zarzuela La boda de Luis Alonso. The miller then has his solo, a dark and fiery flamenco farruca, the earthiest dance in the ballet. All of the ballet’s themes combine in the final jota, a chaotic climax and jubilant resolution in one. —John Henken

THE FOUR SEASONS OF BUENOS AIRES

Astor Piazzolla (1921–1992)

Arranged by Leonid Desyatnikov (b. 1955)

Vivaldi’s Spring, Summer, Autumn, and Winter were the first four of the 12 concertos in his Opus 8, The Contest Between Harmony and Invention published in 1725. Together they comprise Vivaldi’s Seasons, with virtually every passage describing the events set out in a sonnet accompanying each of the concertos. There are also descriptive directions to the players that are not in the sonnets. This extramusical symbolism did not suit everyone’s taste, and the most savage critics were the musicians most opposed to Vivaldian flashiness in the first place.

Two centuries later, Astor Piazzolla faced another sort of argument about propriety. If the distance of time makes it hard to appreciate Vivaldi’s true importance, geographical and cultural distance obscures the position of Piazzolla, who occupies something of a fringe position in the Eurocentric classical world.

Piazzolla was rooted in the world of the tango. Like the

tango, he was born in Buenos Aires, and similarly, he quickly went elsewhere, moving with his parents to New York’s Little Italy when he was 4. In his teens, he returned to Buenos Aires, where he studied composition with the eminent Argentinian composer Alberto Ginastera and played the bandoneon, a type of accordion (with buttons instead of keys), in tango orchestras.

Setting out on his own, Piazzolla quickly moved beyond the boundaries of traditional tango. His music expanded the use of dissonance and complex harmony and rhythm, and he incorporated elements picked up from the classical and jazz repertoire. It forsook the dance hall for the concert hall, where his audiences were more likely to be classical or jazz fans than tango aficionados.

And yet Piazzolla’s nontango influences made him a controversial figure among those aficionados. “I have had enough of people telling me that what I am playing is not tango,” he said. One tango purist is said to have threatened him with a gun in the 1950s. Whether coincidentally or not, he left Argentina for Paris in 1954 to study with Nadia Boulanger, who convinced him that he was, after all, a tango composer. He returned from Paris and formed the quintet (violin, bass, piano, guitar, and bandoneon) that inspired his best-known work in what he called “the New Tango.” Neither fish nor fowl, his music was

destined for either the obscurity that befalls work that never ﬁnds an audience or the prominence that comes with appealing to multiple audiences that marketers call “crossover.” Toward the end of his life, Piazzolla’s music crossed over in a big way.

The Four Seasons of Buenos Aires, completed in 1970, are themselves fairly well traveled. Like much of his music, they have been arranged for a host of diferent instrumentations: Piazzolla recorded them with his own groups, and other versions include solo guitar and piano trio. The version heard tonight is a fairly free adaptation (by Russian composer Leonid Desyatnikov, arranged for solo violin and orchestra in 1996–98) made with Vivaldi’s Four Seasons in mind: The numerous quotations from Vivaldi (sometimes interpolated and sometimes worked into the fabric of the music) are not from Piazzolla’s pen. But keep in mind that Piazzolla’s own performances of his music were often full of improvisation, so additions or alterations by performers or arrangers can be seen as part of the game. —Howard Posner

IBÉRIA

Claude Debussy (1862–1918)

Ibéria is the second of three pieces Debussy composed between 1905 and 1912 that are included in the set titled

Images pour orchestre, the first being Gigues and the last Rondes de printemps Ibéria itself is in three movements. He originally planned the pieces for two pianos but came to the realization that his visions required the full palette of symphonic color.

For Debussy, the musical essence of Spain elicited subtle insinuation, elegant rhythmic dash, and, perhaps surprisingly in a pictorial work such as Ibéria, a considerable amount of polyphonic activity.

The Spain he conjured in Ibéria is drawn almost entirely from imagination, for the French composer had spent no more than a few hours in the country. But no less an authority than the great Spanish composer Manuel de Falla attested to Debussy’s genuine embrace of the country’s distinct character, saying of Ibéria: “The echoes from the villages, a kind of sevillana—the generic theme of the work— which seems to float in a clear atmosphere of scintillating light; the intoxicating spell of Andalusian nights, the festive gaiety of a people dancing to the joyous strains of a banda of guitars and bandurrias... all this whirls in the air, approaches and recedes, and our imagination is continually kept awake and dazzled by the power of an intensely expressive and richly varied

music.” Falla also thought that Debussy used an ideal approach in composing Ibéria, using merely the fundamental elements of popular music instead of employing authentic folk songs.

The first section, “Along the streets and along the paths,” opens with dancing triplet figures in the winds (the woodwinds are the true heroes of Ibéria), castanets, and tambourine, in alternation with strings plucked in modally inflected consecutive fifths. Into this insinuating rhythmic activity the main theme, part plaintive, part haughty, enters on clarinets. Throughout the movement this theme, fragmented or in its entirety, on its own or used in a contrapuntal texture, plays the leading role, even though others glint in and out of the streets and paths, including a languorous Moorish tune in oboe and viola that will enter again in the second movement and a martial proclamation by horns and trumpets that is taken up at some length. After a return of the main theme, the music dissolves into thin air.

The second movement, “The scents of the night,” is pure Impressionistic poetry, opening with an enchanted garden of provocative sonorities: High muted strings, touches of winds, xylophone, celesta, and tambourine form the backdrop for a hesitant oboe, which finally finds the courage to sing the seductive

melody it foreshadowed in the first movement. An ardent, syncopated idea in the strings becomes an important factor in an increasingly intense climax, after which winds, strings, and muted trumpets recall the first movement’s main theme. After yet another climax, a flute and a violin voice the melancholy motif introduced earlier by horn, and as bells sound in the distance, the third movement, “The morning of a festive day,” begins without pause. When the day has fully awakened, the strings, strumming vibrant chords like some giant guitar, take the festivities on a joyous course. Themes from the first and second movements are recalled, and the finale, erupting in dazzling exuberance, is an essay in Iberian abandon illuminated by Gallic control. —Orrin Howard

BOLÉRO

Maurice Ravel (1875–1937)

Boléro grew out of an abortive project to orchestrate piano pieces from Spanish composer Isaac Albéniz’s Iberia to create a ballet, Fandango, for dancer Ida Rubinstein. Another composer had already secured the rights to orchestrate the Albéniz pieces, and Ravel didn’t have time to compose something new. During his summer holiday

in Saint-Jean-de-Luz, Ravel hit on the ingeniously simple idea of Boléro. He created a single theme, introduced by the flute over a simple rhythmic pattern, and repeated it over and over, in different—and brilliant— instrumental combinations, gradually increasing the dynamic level from pianissimo to fortissimo over the work’s 15-minute span. With the task of composition drastically minimized, Ravel completed the work in time for its November 1928 premiere at the Paris Opera, with Rubinstein in the main role of a Spanish dancer. Spain was not the only inspiration— Ravel hinted to his pupil and biographer Alexis RolandManuel that the relentless rhythm was inspired by the factory, putting the score into the context of other industrial compositions of the period, including Proko ﬁ ev’s The Steel Step (which Ravel had seen in Paris in 1927) and Arthur Honegger’s locomotiveinspired Paciﬁc 231 (which premiered at the Opera in 1924). Ravel expressed his dissatisfaction with the “picturesque” Rubinstein production—which featured her dancing on a table in a bar—to his brother Édouard, who oversaw a factoryinspired production at the Opera in 1941. —John Mangum

FRANÇOIS LÓPEZ- FERRER

Spanish-American conductor François López-Ferrer, currently serving as the Resident Conductor of the Opéra de Paris’ Académie, boasts a remarkable career trajectory. Formerly Associate Conductor of the Cincinnati Symphony Orchestra (CSO) and May Festival, López-Ferrer further honed his talent during his tenure as a 2021/22 Dudamel Fellow with the Los Angeles Philharmonic. He captivated audiences and critics alike in January 2022 when he stepped in for Louis Langrée with the CSO for the U.S. premiere of Mark Simpson’s Violin Concerto featuring Nicola Benedetti. His recent career highlights are a testament to his talent, marked by outstanding debuts with prestigious orchestras worldwide including the Chicago Symphony Orchestra, Los Angeles Philharmonic, Hong Kong Philharmonic, Orquesta Nacional de España, Ensemble Intercontemporain, Opéra de Lausanne, Colorado Music Festival, Orquesta de Valencia, Orquesta Sinfónica de Galicia, Orquesta Sinfónica Radio Televisión Española, Rochester Philharmonic Orchestra, Omaha Symphony, Sacramento Philharmonic, Orchestra di Padova e del Veneto, and Pasadena Symphony. Moreover, he was a featured conductor in the prestigious 2022

Bruno Walter National Conductor Preview with the Louisiana Philharmonic Orchestra.

This season’s engagements include debuts with the Hollywood Bowl, May Festival, George Enescu Philharmonic, Colorado Springs Philharmonic, Tucson Symphony, and San Antonio Classical Music Institute, along with a highly anticipated return to the Pasadena Symphony.

López-Ferrer was formerly Associate Conductor of the Orquesta Sinfónica Nacional de Chile and Principal Conductor of the Ballet Nacional Chileno. His musical journey began as an apprentice of the Verbier Festival’s inaugural Conductor Mentorship Program in 2018, where he made a last-minute, critically acclaimed debut stepping in for Iván Fischer in a program shared with luminaries Simon Rattle and Gábor TakácsNagy. He is a two-time recipient of a Career Assistance Award from the Solti Foundation U.S., winner of the inaugural 2015 Neeme Järvi Prize at the Menuhin-Gstaad Festival, and a former member of the Deutsche Dirigentenforum.

López-Ferrer’s educational background includes a Master’s degree in orchestral conducting from the Haute École de Musique de Lausanne and a Bachelor’s degree in composition from the University of Cincinnati College-Conservatory of Music.

FRANÇOIS LÓPEZ-FERRER

BLAKE POULIOT

Described as “immaculate, at once reﬁned and impassioned” ( ArtsATL) in his playing, violinist Blake Pouliot (pool-YACHT) has established himself as “one of those special talents that comes along once in a lifetime” (Toronto Star).

Pouliot’s 2023/24 season includes performances across the U.S. and Canada with Orchestre Symphonique de Montréal with Roderick Cox, Artis— Naples and NAC Ottawa with Alexander Shelley, and Quebec City Symphony with Clemens Schuldt, among others. Pouliot makes his Spanish debut with the Philharmonic Orchestra of

Spain at the Teatro Monumental in Madrid and plays and directs Piazzolla’s The Four Seasons in a separate chamber program. During his time as Soloistin-Residence of Orchestre Métropolitain in 2020/21, Pouliot and Yannick Nézet-Séguin performed Mozart’s Violin Concerto No. 5 and Piazzolla’s The Four Seasons, which led to Pouliot’s 2022 debut with The Philadelphia Orchestra, performing John Corigliano’s The Red Violin (Chaconne for Violin and Orchestra) with Nézet-Séguin. Highlights elsewhere include Beethoven’s Triple Concerto with Orchestre Symphonique de Montréal with Angela Hewitt and Bryan Cheng, as well as

performances of concertos by Paganini, Mendelssohn, and Saint-Saëns and Bruch’s Scottish Fantasy in subscription series across North America.

As a chamber musician, Pouliot returns this season to NAC Chamber Festival, Aspen Music Festival, and La Jolla SummerFest, where he performed the festivalopening concert last year with conductor Alan Gilbert, and the National Youth Orchestra of Canada for his third consecutive year as Artist in Residence. He also makes his chamber debut with Festival Napa Valley at the San Francisco Conservatory. Previous recitals include Koerner Hall in Toronto, Seattle Chamber Music Society, and the world premiere of Derrick Skye’s God of the Gaps for violin and electronics at the Isabella Stewart Gardner Museum in Boston.

Pouliot released his debut album of 20th-century French music on the Analekta label in 2019. The recording received a ﬁve-star rating from BBC Music Magazine and a 2019 Juno Award nomination for Best Classical Album.

Since his orchestral debut at age 11, Pouliot has also performed with the orchestras of Atlanta, Detroit, Dallas, Madison, Toronto, San Francisco, and Seattle. Internationally, he has performed as soloist with the Soﬁa Philharmonic in Bulgaria and Orchestra of the Americas on its South American tour. He was the featured soloist for the ﬁrst-ever joint tour of the European Union Youth Orchestra and National Youth Orchestra of Canada.

Pouliot performs on a 1729 Guarneri del Gesù on generous loan from an anonymous donor.

BLAKE POULIOT

FLAMENCO VIVO

CARLOTA SANTANA

Founded in 1983 and having just reached its 40th anniversary, Flamenco Vivo Carlota Santana is one of America’s premier flamenco companies with home bases in New York City and Durham, NC. The company serves more than 30,000 people nationwide each year through far-reaching programs that entertain, educate, and empower. The company’s mission is to promote flamenco as a living art form and a vital part of Hispanic heritage; produce and perform high-quality dance works; provide arts education programs that catalyze connections among diverse participants; and nurture the next generations of flamenco artists and educators. Recognized by UNESCO as an intangible world treasure, flamenco

is a powerful vehicle for fostering community through an expression of shared humanity. Flamenco Vivo believes that the universal spirit of ﬂamenco—with inﬂuences from Arab, Jewish, Roma, Spanish, and Latin American cultures—gives this art form a unique power to build bridges between people.

Hailed as “The Keeper of Flamenco” by Dance Magazine and honored by the King and Government of Spain with La Cruz de la Orden del Mérito Civil for “all the years of passion, excellence, and dedication to the flamenco art,” Carlota Santana is a revered flamenco and Spanish dance artist and educator. In 1983, she cofounded the company with Roberto Lorca. Following his death from AIDS in 1987, she continued their work and, in the decades since, has led Flamenco Vivo’s growth into one of this country’s most successful flamenco companies.

Under Santana’s artistic direction, Flamenco Vivo has premiered original works, ofering commissions to ﬂamenco artists from Spain and the U.S. Santana created the company’s innovative arts-ineducation program, integrating ﬂamenco and culture with academic curricula, and has pioneered bilingual education initiatives targeted to immigrant populations, as well as programs supporting students with disabilities.

Emilio Ochando

Fanny Ara

Adrian Dominguez

Lorena Franco

Fernando Jiménez

Ricardo Moro

Madison Olguin

Laura Peralta

Alberto Sellés

Rebeca Tomás

Yoel Vargas

FLAMENCO VIVO CARLOTA SANTANA

EMILIO OCHANDO

Emilio Ochando was born in Valencia in 1984. At the age of 9 he began to train as a dancer, at 12 he collaborated with the National Ballet of Spain, and at 16 he moved to Madrid, where he continued his training as a professional dancer at the Madrid Royal Conservatory. He has danced in companies such as Domingo Ortega, Inma Ortega, Malucos Danza, Nuevo Ballet Español (Rojas and Rodríguez), Aida Gómez, and Flamenco Vivo, where he covers the entire national and international scene. He has also danced in various large tableaus such as El Corral de la Pacheca, La Morería, and Las Tablas. Three years ago, Ochando began his career as a choregrapher and created his own dance company. Among his repertoire are shows such as Round Trip 3DEUNO, and the recently launched SIROCO He is currently immersed in the latest production of the Royal Professional Conservatory of Dance Mariemma and in solo projects for national and international companies as a guest artist. He also continues to tour Spain and abroad at renowned festivals such as the Jerez Festival, Suzanne Dellal Festival, Madrid Flamenco Festival, and Red Theaters while continuing to conduct workshops and master classes all over the world.

EMILIO OCHANDO

ALL RACHMANINOFF

TUESDAY AUGUST 13, 2024 8PM

Los Angeles Philharmonic

Dima Slobodeniouk, conductor Alexander Malofeev, piano

RACHMANINOFF

Rhapsody on a Theme of Paganini, Op. 43 (c. 22 minutes) Alexander Malofeev

INTERMISSION

Symphony No. 2 in E minor, Op. 27 (c. 60 minutes)

Largo—Allegro moderato Allegro molto Adagio Allegro vivace

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Pianos provided by Steinway Piano Gallery—Beverly Hills

Programs and artists subject to change.

RHAPSODY ON A THEME OF PAGANINI, OP. 43

Sergei Rachmaninoff (1873–1943)

Rachmaninoff summed up his life as a composer shortly before his death (in Beverly Hills, his final home): “In my own compositions, no conscious effort has been made to be original, or Romantic, or Nationalistic, or anything else. I write down on paper the music I hear within me, as naturally as possible. I am a Russian composer, and the land of my birth has influenced my temperament and outlook. My music is the product of my temperament, and so it is Russian music.... I have been strongly influenced by Tchaikovsky and RimskyKorsakov; but I have never, to the best of my knowledge, imitated anyone. What I try to do, when writing down my music, is to make it say simply and directly that which is in my

heart when I am composing. If there is love there, or bitterness, or sadness, or religion, these moods become part of my music, and it becomes either beautiful or bitter or sad or religious.”

The Rhapsody on a Theme of Paganini is one of his least sentimental pieces—with the exception of that swooning 18th variation, which is a tour de force in which the minorkey Paganini theme is inverted to become a major-key, inescapably Russian theme. The score was written in 1934, by which time Rachmaninoff could look back on three decades of fame as a virtuoso pianist, admired for performing not only his own works but also those of Beethoven and Chopin, and alongside distinguished violinists, chief among them Fritz Kreisler. His own music had by the early 1930s become leaner and meaner from the sprawling, yearning pre-World War I scores on which his reputation, for good or ill, rested. In the

later works—beginning with the Fourth Piano Concerto, Op. 40, continuing with the Three Russian Songs, Op. 41, the Corelli Variations for solo piano, Op. 42, and culminating with the Rhapsody—the level of dissonance is higher, while rhythms are more angular than in the past.

The Rhapsody—though there is nothing rhapsodic about its tightly focused structure— comprises an introduction followed by 24 variations on the last of Nicolò Paganini’s 24 caprices for solo violin (a set of variations in itself). The theme was a favorite subject of 19thcentury composers for largescale variations works, among them Robert Schumann, Liszt, and Brahms. Rachmaninoff applied his own, highly original thoughts on the subject, his grandest inspiration being the combining of the theme by the “devilish” violinist with the hellish medieval liturgical Dies irae theme, which is heard in the seventh, 10th, and 24th variations. —Herbert Glass

SYMPHONY NO. 2

IN E MINOR, OP. 27

Sergei Rachmaninoff

Rachmaninoff composed his Second Symphony from 1906 to 1907, a decade after the First Symphony, whose failure with critics and the public resulted in one of the most storied nervous breakdowns in musical history. But Rachmaninoff was creatively active again within a couple of years and in 1901 achieved what would remain his greatest popular success—the C-minor Piano Concerto, Op. 18. The acclaim that came in the wake of the concerto was so great that by 1905 Rachmaninoff was in constant demand as a performer of his own works in Russia and throughout Europe and had achieved celebrity status at home and abroad. The tall, gaunt Rachmaninoff was recognized and often mobbed by fans on the streets of Moscow and St. Petersburg. Even for as sociable a man as he was at the time, it all became too much. He found it impossible to compose. So, early in 1906 he, his wife, and their young daughter moved to quiet, dignified Dresden, a city Rachmaninoff had loved since his first visit there in 1891.

The Saxon capital appealed not only for its own sedate charms but also for its proximity to Leipzig and the famed Gewandhaus Orchestra, whose conductor, Arthur Nikisch, Rachmaninof admired above all others.

Rachmaninof began composing the moment he arrived in Dresden, producing in rapid (for him) succession his First Piano Sonata; the songs of Op. 26; the ﬁnest of his symphonic poems, The Isle of the Dead; and his orchestral masterpiece, the Second Symphony.

He drafted the symphony in less than three months, the orchestration took two more, and the whole was completed in fall 1907. The composer conducted the first performance in St. Petersburg the following January. It was a smashing success.

Sketches for the opening pages of the E-minor Symphony— including the dark, seven-note motto theme from which the ﬁrst movement and the whole symphony grows—were lifted virtually intact from a fragment of a student work that was quickly abandoned. That opening is announced by the cellos and basses. It is followed by some portentous woodwind phrases and a luscious descending violin ﬁgure that winds down to a mournful English horn solo recalling the motto theme.

The faster main theme, still based on that seven-note motto, is a long-lined, gorgeous afair in which the composer seems to achieve the ultimate soulful Russian melancholy that has come to signify the quintessential “love music” of the classics. The composer reveals his bursting heart uninhibitedly. But this is Rachmaninof, and he goes the ﬁrst movement one better with the voluptuous third movement. Not, however, before a respite in the form of a festive scherzo (Allegro molto) brazenly announced by four unison horns, their tune taken up and reshaped by the violins.

There are contrasting, slower episodes before the second movement ends. The music fades away to prepare us for that improbably gorgeous Adagio, with its two killer melodies—one for the violins, the other for solo clarinet—which become contrapuntally interwoven. The finale is a rowdy affair whose opening and main theme recall a Neapolitan tarantella. It is followed by a brief, rather grotesque march, yet another delicious slow tune (violins and violas in unison octaves) and an unexpected recapitulation of one of the slow movement’s heartbreakers before the tarantella rhythm returns and ushers in the jolly, raucous conclusion. —Herbert Glass

DIMA SLOBODENIOUK

Praised for his exhilarating approach and energetic leadership by musicians and audiences alike, Dima Slobodeniouk has become one of the most sought-after conductors of his generation.

Slobodeniouk works with the world’s foremost orchestras, including the New York Philharmonic, Boston Symphony Orchestra, London Symphony Orchestra, Berliner Philharmoniker, Gewandhausorchester Leipzig, Münchner Philharmoniker, Concertgebouworkest Amsterdam, and NHK Symphony Orchestra.

In the 2023/24 season, Slobodeniouk makes debuts with the National Symphony Orchestra in Washington and TonhalleOrchester Zürich. He returns to the London Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra, NDR Elbphilharmonie Orchester, and Rundfunk-Sinfonieorchester Berlin. He also appears with the Wiener Symphoniker and Helsinki Philharmonic Orchestra and will make a special return to the Orquesta Sinfónica de Galicia, where he was Music Director until 2022. Slobodeniouk opened the season with the Boston Symphony Orchestra in Tanglewood. He returned to the orchestra later in the season and appeared with the Seattle Symphony Orchestra in the spring.

In the opera pit, Slobodeniouk makes his debut at the Bayerische Staatsoper, where he conducts the revival of Calixto Bieito’s production of Boris Godunov

Soloists he has worked with include Leif Ove Andsnes, Emanuel Ax, Khatia Buniatishvili, Seong-Jin Cho, Isabelle Faust, Kirill Gerstein, Barbara Hannigan, Håkan Hardenberger, Martin Helmchen, Alexandre Kantorow, Patricia Kopatchinskaja, Beatrice Rana, Baiba Skride, Yuja Wang, and Frank Peter Zimmermann. Known for his musical expertise and interpretive depth, Slobodeniouk is also an acclaimed recording artist. Recent notable recordings include Esa-Pekka Salonen’s Cello Concerto with Rotterdam Philharmonic Orchestra and Nicolas Altstaedt on Alpha, for which he received an ICMA Award. On the BIS label, he released an album of music inspired by the Finnish folk epic the Kalevala. Other releases on this label include the works of Kalevi Aho with the Lahti Symphony Orchestra, which won the 2018 BBC Music Magazine Award, and a later disc of Aho’s Sieidi and his Fifth Symphony. For the Ondine label, Slobodeniouk recorded works by Perttu Haapanen and Lotta Wennäkoski with the Finnish Radio Symphony Orchestra.

Slobodeniouk studied with the Ukrainian violinist Olga Parkhomenko at Helsinki’s Sibelius Academy and graduated in 2001. It was there that he took up conducting studies with Leif Segerstam, Jorma Panula, and Atso Almila. From 2016 to 2021, he was Principal Conductor of the Lahti Symphony Orchestra,

as well as the Artistic Director of the Sibelius Festival. He was Music Director of the Orquesta Sinfónica de Galicia from 2013 to 2022 and Principal Conductor of the Lahti Symphony Orchestra from 2016 to 2021, as well as the Artistic Director of the Sibelius Festival. Together with the Orquesta Sinfónica de Galicia he built an extensive and highly acclaimed media library of live concert recordings in recent years. A passionate believer in widening opportunity, he started a conducting initiative while at the Orquesta Sinfónica de Galicia, giving aspiring conductors podium time with a professional orchestra and the opportunity to work with him on selected repertoire.

DIMA SLOBODENIOUK

ALEXANDER MALOFEEV

Alexander Malofeev came to international prominence when, in 2014, he won the International Tchaikovsky Competition for Young Musicians at age 13. Reviewing the performance, Amadeus noted, “Contrary to what could be expected of a youngster… he demonstrated not only high technical accuracy but also an incredible maturity. Crystal clear sounds and perfect balance revealed his exceptional ability.” Since this triumph, Malofeev has quickly established himself as one of the most prominent pianists of his generation. Highlights of the 2023/24 season include Malofeev’s return to the Bournemouth Symphony for a multi-concert residency, a solo tour in China, and a European tour with Filarmonica della Scala and Riccardo Chailly, as well as performances at the Amsterdam Concertgebouw, Munich Isarphilharmonie, Elbphilharmonie in Hamburg, and Carnegie Hall in New York. He performs with the National Symphony Orchestra, Lucerne Festival Orchestra,

Frankfurt Radio Orchestra, Netherlands Radio Philharmonic Orchestra under Kent Nagano, and Orchestre de la Suisse Romande under Marin Alsop.

Malofeev performs with some of the best-known orchestras and most distinguished conductors around the world. He has been a guest of renowned music festivals and series including Verbier Festival, Rheingau Music Festival, Tanglewood Music Festival, Aspen Music Festival, and the Celebrity Series of Boston.

Malofeev was born in Moscow in October 2001. Now living in Berlin, he continues to give concerts at the Concertgebouw in Amsterdam, where he opened the 30th-anniversary concert of the renowned Meester Pianists series. In addition to his First Prize at the Tchaikovsky Competition for Young Musicians, he has won numerous awards and prizes at international competitions and festivals, including the Grand Prix of the ﬁrst International Competition for Young Pianists Grand Piano Competition, the Premio Giovane Talento Musicale dell’anno, and Best Young Musician of 2017. In 2017, Malofeev became the ﬁrst Young Yamaha Artist.

ALEXANDER MALOFEEV

LOS ANGELES PHILHARMONIC

Gustavo Dudamel

Music & Artistic

Director

Walt and Lilly Disney Chair

Zubin Mehta

Conductor Emeritus

Esa-Pekka Salonen

Conductor Laureate

Rodolfo Barráez

Assistant Conductor

Ann Ronus Chair

John Adams

John and Samantha Williams

Creative Chair

Herbie Hancock

Creative Chair for Jazz

FIRST VIOLINS

Martin Chalifour

Principal

Concertmaster

Marjorie Connell Wilson Chair

Nathan Cole

First Associate

Concertmaster

Ernest Fleischmann Chair

Bing Wang

Associate

Concertmaster

Barbara and Jay Rasulo Chair

Akiko Tarumoto

Assistant Concertmaster

Philharmonic

Afliates Chair

Rebecca Reale

Deanie and Jay Stein Chair

Rochelle Abramson

Minyoung Chang

I.H. Albert

Sutnick Chair

Tianyun Jia

Jordan Koransky

Ashley Park

Justin Woo

Katherine Woo

Ye Melody Yuan

SECOND VIOLINS

[Position vacant]

Principal

Dorothy Rossel Lay Chair

Mark Kashper

Associate Principal

Kristine Whitson

Johnny Lee

Dale Breidenthal

Mark Houston Dalzell and James DaoDalzell Chair for Artistic Service to the Community

Ingrid Chun

Jin-Shan Dai

Chao-Hua Jin

Jung Eun Kang

Vivian Kukiel

Nickolai Kurganov

Varty Manouelian

Michelle Tseng

Suli Xue

Ayrton Pisco* Nebyu Samuel*

VIOLAS

Teng Li

Principal

John Connell Chair

Ben Ullery

Associate Principal

Jenni Seo

Assistant Principal

Dana Lawson

Richard Elegino

John Hayhurst

Ingrid Hutman

Michael Larco

Hui Liu

Meredith Snow

Leticia Oaks Strong

Minor L. Wetzel

Jarrett Threadgill*

Nancy and Leslie

Abell LA Phil Resident

Fellow Chair

* Judith and Thomas L. Beckmen

LA Phil Resident Fellow

+ On sabbatical

CELLOS

Robert deMaine

Principal

Bram and Elaine Goldsmith Chair

Ben Hong

Associate Principal

Sadie and Norman

Lee Chair

Dahae Kim

Assistant Principal

Jonathan Karoly

David Garrett

Barry Gold

Jason Lippmann

Gloria Lum

Linda and Maynard

Brittan Chair

Serge Oskotsky

Brent Samuel+

Ismael Guerrero*

BASSES

Christopher Hanulik

Principal

Diane Disney Miller and Ron Miller Chair

Kaelan Decman

Associate Principal

Oscar M. Meza

Assistant Principal

David Allen Moore

Ted Botsford

Jack Cousin

Jory Herman

Brian Johnson

Peter Rofé

Nicholas Arredondo*

FLUTES

Denis Bouriakov

Principal

Virginia and Henry Mancini Chair

Catherine

Ransom Karoly

Associate Principal

Mr. and Mrs. H.

Russell Smith Chair

Elise Shope Henry

Mari L. Danihel Chair

Sarah Jackson

Piccolo

Sarah Jackson

OBOES

[Position vacant]

Principal

Carol Colburn

Grigor Chair

Marion Arthur

Kuszyk

Associate Principal

Anne Marie Gabriele

Carolyn Hove

English Horn

Carolyn Hove

CLARINETS

Boris Allakhverdyan

Principal

Michele and Dudley

Rauch Chair

Burt Hara

Associate Principal

Andrew Lowy

Taylor Eifert

E-Flat Clarinet

Andrew Lowy

Bass Clarinet

Taylor Eifert

BASSOONS

Whitney Crockett

Principal

Shawn Mouser

Associate Principal

Ann Ronus Chair

Michele Grego

Evan Kuhlmann

Contrabassoon

Evan Kuhlmann

HORNS

Andrew Bain

Principal

John Cecil Bessell Chair

David Cooper

Associate Principal

Gregory Roosa

Alan Scott Klee Chair

Amy Jo Rhine

Loring Charitable

Trust Chair

Elyse Lauzon

Reese and Doris

Gothie Chair

Ethan Bearman

Assistant

Bud and Barbara

Hellman Chair

Elizabeth Linares Montero*

TRUMPETS

Thomas Hooten

Principal

M. David and Diane

Paul Chair

James Wilt

Associate Principal

Nancy and Donald de Brier Chair

Christopher Still

Ronald and Valerie

Sugar Chair

Jefrey Strong

TROMBONES

David Rejano Cantero

Principal

Koni and Geof

Rich Chair

James Miller

Associate Principal

Judith and Thomas L. Beckmen Chair

Paul Radke

Bass Trombone

John Lofton

Miller and Gof

Family Chair

TUBA

Mason Soria

TIMPANI

Joseph Pereira

Principal

Cecilia and Dudley

Rauch Chair

David Riccobono

Assistant Principal

PERCUSSION

Matthew Howard Principal

James Babor+

Perry Dreiman

David Riccobono

KEYBOARDS

Joanne Pearce

Martin

Katharine Bixby

Hotchkis Chair

HARP

Emmanuel Ceysson

Principal

Ann Ronus Chair

LIBRARIANS

Stephen Biagini

Benjamin Picard

KT Somero

CONDUCTING FELLOWS

Carlos Ágreda

Ross Jamie Collins

Michelle Di Russo

Anna Handler

The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.

The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

HOLLYWOOD BOWL ORCHESTRA

Thomas Wilkins Principal Conductor

John Mauceri Founding Director

FIRST VIOLINS

Kathryn Eberle Concertmaster

Marisa Sorajja Principal

Grace Oh Associate Principal

Rebecca Bunnell

Chloe Szu-Yun Chiu

Christine Frank

Yen-Ping Lai

Radu Pieptea

Adrianne Pope

Yutong Sharp

Shelly Shi

Mari Tsumura

SECOND VIOLINS

[position vacant]

Principal

Cheryl Norman Brick

Associate Principal

Pam Gates

Natalie Leggett

Carolyn Osborn

Robert Schumitzky

Kathleen Sloan

Olivia Tsui

Vivian Wolf

VIOLAS

Erik Rynearson Principal

[position vacant]

Associate Principal

Carrie Holzman-Little

Carole Kleister-Castillo

Stefan L. Smith

Phillip Triggs

Hyeree Yu

CELLOS

Dennis Karmazyn Principal

Armen Ksajikian Associate Principal

Giovanna Moraga

Clayton

Trevor Handy

Julie Jung

Erin Breene Schumitzky

BASSES

[position vacant] Principal

Denise Briesé Associate Principal

Paul Macres

Barry Newton

FLUTES

Heather Clark Principal

Lawrence Kaplan Piccolo [position vacant]

OBOES

Lelie Resnick Principal

English Horn

Catherine Del Russo

CLARINETS

Gary Bovyer Principal

Bass Clarinet

Ralph Williams

BASSOONS

Elliott Moreau Principal

Contrabassoon

Allen Savedof HORNS

Dylan Hart Principal

Allen Fogle Associate Principal

Todd Miller

TRUMPETS

Robert Schaer Principal

Robert Frear

TROMBONES

William Booth Principal

Alexander Iles

Bass Trombone

Todd Eames

TUBA

Jim Self Principal

TIMPANI

Tyler Stell Principal

DRUMS

Brian Miller Principal

PERCUSSION

Wade Culbreath Principal

Gregory Goodall

HARP

Cristina Montes

Mateo Principal

KEYBOARDS

Alan Steinberger Principal

SAXOPHONE [position vacant]

ASSOCIATE CONDUCTOR

Scott Dunn

PERSONNEL MANAGER

Shana Bey

LIBRARIAN

Stephen Biagini

The Hollywood Bowl Orchestra string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.

RODRIGO Y GABRIELA

2024 OPENING NIGHT AT THE HOLLYWOOD BOWL CHAIRS AND COMMITTEE

HONORARY CO-CHAIRS

Felice Mancini

Monica Mancini

OPENING NIGHT CO-CHAIRS

Gregory A. Adams

R. Martin Chavez

Lisa Field

Robyn Field and Anthony O’Carroll

Teena Hostovich, Doug Martinet, and Michael Martinet

Keith and Cecilia Terasaki

TITLE SPONSOR

Kaiser Permanente

CENTENNIAL LEADERS

Lisa Field

Robyn Field and Anthony O’Carroll

Jerry and Terri Kohl

PREMIER SPONSOR

Live Nation-Hewitt Silva

MUSE SPONSORS

Amazon

R. Martin Chavez

The Horn Foundation

SYMPHONIC SPONSORS

Alfred E. Mann Charities

Pasadena Showcase House for the Arts

OPENING NIGHT COMMITTEE

Nancy and Leslie Abell

Lisette and Norman Ackerberg

Tom and Judy Beckmen

Joe Berchtold

David C. Bohnett

Kawanna and Jay Brown

California Community Foundation

Andrea Chao-Kharma and Ken Kharma, Esther Chui-Chao

Chevron El Segundo

Steve Cius—Risk Placement Services

Daniel Clivner

Michael Earl Dillon

Louise and Brad Edgerton

Paul and Patti Eisenberg

Jane Fujishige

Hilary Garland

Erika Glazer

Alexandra Glickman and Gayle Whittemore

Jennifer Miller Gof

Marnie and Dan Gruen

Deborah Harkness

Antonia Hernández and Michael Stern

Andy and Jacinta Hewitt

Tylie Jones

Winnie Kho and Chris Testa

Terri and Jerry Kohl

MATT Construction

Alicia Miñana and Rob Lovelace

Christine Muller and John Swanson

Carrie Nery

Diane and M. David Paul

Nancy and Glenn Pittson

Barry and Sandy Pressman

Jay and Barbara Rasulo

Koni and Geof Rich

Michael and Katy Saei

Bill Silva

Mark and Rose Sturza

Jack Suzar and Linda May

Jon Vein and Ellen Goldsmith-Vein

Kathy S. Walton

Megan Watanabe and Hideya Terashima

Gregory Annenberg Weingarten, GRoW @ Annenberg

Alyce de Roulet Williamson

2024/25 ONE CTG SUBSCRIPTION PACKAGES NOW ON SALE!

Photo by Danny Kaan.

Bernadette Peters and Lea Salonga star in Cameron Mackintosh’s Production of Stephen Sondheim’s Old Friends.

LA PHIL ON TOUR

As a capstone to an extraordinary season, the Los Angeles Philharmonic, under the leadership of Music & Artistic Director Gustavo Dudamel, set off on a 12-day tour to Barcelona, Paris, and London. Joined by the rising violin virtuoso María Dueñas as well as the cast and choruses of Fidelio, the group presented seven performances at four venues, winning applause and accolades along the way.

BARCELONA

The tour began with two performances of the LA Phil’s landmark semi-staged production of Fidelio at the Gran Teatre del Liceu on May 26 and 27. Featuring a cast of opera singers alongside Deaf actors who performed the libretto in International Sign Language, the production “united two communities in an opera house: those with hearing functionality and those who are Deaf like Beethoven himself,” reported La Vanguardia

On May 28, the orchestra performed at modernist gem the Palau de la Música Catalana. John Williams’ Olympic Fanfare and Theme opened the program before Dueñas joined in for Gabriela Ortiz’s violin concerto Altar de cuerda. The second half of the program featured Dvořák’s Symphony No. 9, “From the New World.” La Vanguardia summed up the programs: “The maestro leaves a new success at the Palau de la Música and a human lesson on deafness with Fidelio.”

Support for the LA Phil on tour is generously provided by the Michele and Dudley Rauch Tour Fund and the Karl Loring Fund.

LONDON

The third and ﬁnal leg of the tour took the orchestra to the Barbican on June 2 and 3. Reporting on the ﬁrst concert, featuring the music of Williams, Ortiz, and Dvořák, Scene and Heard International wrote, “The LA Phil has no weak sections…. This was a performance of exactitude: Gustavo Dudamel wasted no time getting started, and from then of, razor-sharp precision was the order of the day.”

The production of Fidelio provided a ﬁtting ﬁnale for the 2024 European tour, an extraordinary union of orchestra, two casts, three choirs, and the opera’s message of “brotherhood” under Dudamel.

PARIS

A pair of sold-out houses greeted the orchestra in the City of Lights, where it performed both programs at the Philharmonie de Paris. On May 30, composer Gabriela Ortiz joined Dueñas to a rapturous reception for her Altar de cuerda Efecto Cocuyo described the evening’s concert as “a sensory journey that left the audience paralyzed and breathless.”

The following night, the cast of Fidelio was equally applauded. “The recitatives, exclusively performed in sign language, are performed in a striking silence that captures the attention,” wrote Forum Opéra, and Le Point remarked on how this integrated production “touched on the transformative power of art.”

G A L A

Tuesday, October 1, 20

Los Angeles Philharmonic

Gustavo Dudamel, conductor

Lang Lang, piano

Gustavo Castillo, baritone

RACHMANINOFF Piano Concerto

No. 2 in C minor, Op. 18

GINASTERA Estancia

COCKTAIL RECEPTION 5:30PM

CONCERT 7PM

DINNER AND AFTER-PARTY 9PM

THIS EVENING IS MADE POSSIBLE WITH THE PROUD SUPPORT OF

For more information, call 213 972 3051, email gala@laphil.org, or visit us online at laphil.org/gala.

LEAVE THE DRIVING TO US!

Take the stress out of your next concert trip. Audiences have been taking part in the Hollywood Bowl bus program since 1974, helping to make it the largest and most comprehensive transportation system of any concert venue west of the Mississippi. This season, the Hollywood Bowl has added a transportation hub to help streamline access for Park & Ride, Bowl Shuttle, Metro, and rideshares. These efforts help reduce the number of cars coming to the Bowl by more than 2,000 vehicles each evening, making your night run smoother. Plan your next trip at hollywoodbowl.com/gettinghere

DID YOU KNOW?

• When you show your same-day Park & Ride or Shuttle ticket at the Plaza Marketplace, you get 20% off your purchase.

• New this season, buses drop you of at the top of Lot B.

• Bowl Shuttle rides are FREE with a valid TAP card used within the past two hours, a GoMetro RoundTrip Pass, or Burbank Metrolink ticket.

LAND ACKNOWLEDGMENT

We acknowledge the Gabrielino Tongva, Gabrielino Kizh, and Fernandeño Tataviam Nations as the traditional stewards of the land now called the Hollywood Bowl.

We honor and respect the many indigenous peoples connected to this land and express our admiration for their resilient and important cultural leaders in our region—past, present, and future.

LOS ANGELES COUNTY BOARD OF SUPERVISORS

Janice K. Hahn FOURTH DISTRICT

Lindsey P. Horvath

Holly J. Mitchell

BOARD OF SUPERVISORS

Hilda L. Solis

Holly J. Mitchell

Lindsey P. Horvath Chair

Janice K. Hahn

Kathryn Barger

DEPARTMENT OF ARTS AND CULTURE

Kristin Sakoda Director

THIRD DISTRICT CHAIR

Kathryn Barger FIFTH DISTRICT CHAIR

DISTRICT Hilda L. Solis

TEM

The mission of the Los Angeles County Department of Arts and Culture is to advance arts, culture, and creativity throughout LA County. We provide leadership, services, and support in areas including grants and technical assistance for nonproﬁt organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross-sector creative strategies that address civic issues. All of this work is framed by our long-standing commitment to fostering access to the arts and by the County’s Cultural Equity and Inclusion Initiative.

The Los Angeles County Arts Commission supports and advocates for the mission, vision, and values of the Los Angeles County Department of Arts and Culture. The Commission is an advisory group to the Board of Supervisors, with three appointees for each District.

The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, from the City of Los Angeles Department of Cultural Afairs, and from the National Endowment for the Arts.

COUNTY ARTS COMMISSION

Leticia Buckley President

Randi Tahara

Vice President

Rogerio V. Carvalheiro

Secretary

Liane Weintraub

Immediate

Past President

Pamela Bright-Moon

Patrice Cullors

Diana Diaz

Eric R. Eisenberg

Brad Gluckstein

Sandra P. Hahn

Helen Hernandez

Constance Jolcuvar

Alis Clausen Odenthal

Anita Ortiz

Jennifer Price-Letscher

Hailed as America’s ﬁ nest major chorus, the Grammy® Award-winning Los Angeles Master Chorale celebrates six decades of excellence and artistry. The 2024/25 Season features world premieres, classic favorites and a special 60th Anniversary Concert.

Single Tickets On Sale August 2

2024/25 SEASON

GRANT GERSHON

KIKI & DAVID GINDLER

ARTISTIC DIRECTOR

JENNY WONG

ASSOCIATE

ARTISTIC DIRECTOR

REENA ESMAIL

SWAN FAMILY

ARTIST-IN-RESIDENCE

AS A PATRON AND A PARENT, MADELEINE HEIL NURTURES THE NEXT GENERATION OF MUSIC LOVERS

Madeleine Heil and her husband, Sean Peterson, have always been avid theatergoers and music lovers. Their journey into the world of the arts began early, with both growing up learning to play the piano. “My husband went to school for composition,” Heil says. “We’ve both had educational exposure to the arts for a long time growing up.”

As members of Club 101, a group of dedicated donors at the Hollywood Bowl and The Ford, Madeleine and Sean have found a community of like-minded individuals who share their passion for the arts. Club 101 ofers exclusive beneﬁ ts and unique experiences to its members, fostering a deeper connection with the music and artists they love.

Heil particularly treasures the sense of community fostered by the LA Phil: “Getting to watch [Music & Artistic Director Gustavo] Dudamel do his thing is incredible—the energy as soon as he walks out onstage is unmatched,” she says. “And

having people like Freyja [Annual Giving Manager Freyja Glover] on our team has been amazing. She helped us take advantage of so many opportunities we didn’t even know about, like upgrading our seats to the Pool Circle for Jacob Collier and enjoying the talks before the concerts.”

The Collier concert was a family afair, Heil recalls: “Our son was in the front row at just two weeks old, with little headphones on. He slept through 90% of it, but it was important to us

“YOU DONʼT REALIZE THE EXTENT TO WHICH THE LA PHIL GIVES BACK TO THE COMMUNITY UNTIL YOUʼRE A GREATER PART OF IT.” — Madeleine Heil

to start him early.” And this spring they added a third generation to the mix when Heil’s parents traveled to Los Angeles for James Taylor: “It was just wonderful to create those memories,” she says.

For Heil, the LA Phil’s impact extends far beyond the major performances. “You don’t realize the extent to which the LA Phil gives back to the community until you’re a greater part of it,” she reﬂects. “The public only knows about the big headliners, but it’s all the smaller programs that help everyone else where the real value in donating is.”

Heil’s generous support and enthusiastic participation highlight the vital role that patrons play in sustaining the arts. Her family’s story is a testament to the transformative power of the arts and the importance of community in enriching our cultural landscape.

SEAN PETERSON AND MADELINE HEIL ( REAR ) WITH THEIR SON AND HEIL’S PARENTS

CORPORATE PARTNERS

The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email corporatepartnerships@laphil.org.

ANNUAL GIVING

From the concerts that take place onstage at Walt Disney Concert Hall, Hollywood Bowl, and The Ford to the learning programs that ﬁll our community with music, it is the consistent support of Annual Donors that sustains and propels our work. We hope you, too, will consider making a gift today. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music— sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation at any level is critical to our success.

FRIENDS OF THE LA PHIL

Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA, which provides free after-school music instruction to children in culturally vibrant and ethnically diverse communities across LA County. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, or to learn about membership beneﬁts, please call 213 972 7557 or email friends@laphil.org.

PHILHARMONIC COUNCIL

Winnie Kho and Chris Testa, Co-Chairs Christian and Tifany Chivaroli, Co-Chairs

The Philharmonic Council is a vital leadership group whose members provide critical resources in support of the LA Phil’s general operations. Their vision and generosity enable the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.

Belong

28 SEP 8PM SAT SEP

Randy Newman’s FAUST: The Concert Music and Lyrics by

Clayton-Hamilton Jazz Orchestra

Emanuel Ax

2 NOV 3PM SAT

3PM 8PM 3PM 3PM 8PM 8PM 3PM 8PM

Randall Goosby,

Canta a Juan Gabriel

Explore the full 2024-25 Season

Lark, Roman & Meyer violin

Joshua Roman, ONSTAGE SESSIONS

Live-to-Film Concert

Single Tickets & Membership Discounts Available Now

Featuring Orquesta Folclórica Nacional de México

Mummenschanz

50th Anniversary Tour

Emanuel Ax, piano

Leyendas del Mariachi

Reuniendo a Los Mejores Talentos del Mariachi

Philharmonia Baroque

mandolin Estelí Gomez, ONSTAGE SESSIONS

Conrad Tao & The Clayton-Hamilton Jazz Orchestra

Gershwin’s Rhapsody in Christopher Rountree, with musicians from Wild Up

Edgar Meyer, JAZZ Medhi Walerski

New Works by and Crystal Pite

Aida Cuevas

ENDOWMENT DONORS

We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of April 15, 2024.

$25,000,000 AND ABOVE

Walt and Lilly

Disney Foundation

Cecilia and Dudley Rauch

$20,000,000 TO $24,999,999

David Bohnett Foundation

$10,000,000 TO $19,000,000

The Annenberg Foundation

Colburn Foundation

Lenore S. and Bernard A. Greenberg Fund

$5,000,000 TO $9,999,999

Anonymous

Dunard Fund USA

Carol Colburn Grigor

Terri and Jerry M. Kohl

Los Angeles

Philharmonic Afliates

Diane and Ron Miller Charitable Fund

M. David and Diane Paul

Ann and Robert Ronus

Ronus Foundation

John and Samantha Williams

$2,500,000 TO $4,999,999

Peggy Bergmann

YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann

Lynn Booth/Otis Booth Foundation

Elaine and Bram Goldsmith

Norman and Sadie Lee Foundation

Karl H. Loring

Alfred E. Mann

Elise Mudd

Marvin Trust

Barbara and Jay Rasulo

Flora L. Thornton

$1,000,000 TO $2,499,999

Linda and Robert Attiyeh

Judith and Thomas Beckmen

Gordon Binder and Adele Haggarty

Helen and Peter Bing

William H. Brady, III

Linda and Maynard Brittan

Richard and Norma Camp

Mr. and Mrs.

Michael J. Connell

Mark Houston

Dalzell and James Dao-Dalzell

Mari L. Danihel

Nancy and Donald de Brier

The Rafael & Luisa de Marchena-Huyke Foundation

The Walt Disney Company

Fairchild-Martindale Foundation

Eris and Larry Field

Reese and Doris Gothie

Joan and John Hotchkis

Janeway Foundation

Bernice and Wendell Jefrey

Carrie and Stuart Ketchum

Kenneth N. and Doreen R. Klee

B. Allen and Dorothy Lay

Los Angeles

Philharmonic Committee

Estate of Judith Lynne

Maddocks-Brown Foundation

Ginny Mancini

Raulee Marcus

Barbara and Buzz McCoy

Merle and Peter Mullin

William and Carolyn Powers

Koni and Geof Rich

H. Russell Smith Foundation

Jay and Deanie Stein Foundation Trust

Ronald and Valerie Sugar

I.H. Sutnick

$500,000 TO $999,999

Ann and Martin Albert

Abbott Brown

Mr. George L. Cassat

Kathleen and Jerrold L. Eberhardt

Valerie Franklin

Yvonne and Gordon Hessler

Ernest Mauk and Doyce Nunis

Mr. and Mrs.

David Meline

Sandy and Barry D. Pressman

Earl and Victoria Pushee

William and Sally Rutter

Nancy and Barry Sanders

Richard and Bradley Seeley

Christian Stracke

Donna Swayze

Judy Ungar and Adrienne Fritz

Lee and Hope Landis

Warner YOLA

Student Fund

Edna Weiss

$250,000 TO $499,999

Nancy and Leslie Abell

Mr. Gregory A. Adams

Baker Family Trust

Veronica and Robert Egelston

Gordon Family Foundation

Ms. Kay Harland

Joan Green Harris Trust

Bud and Barbara Hellman

Gerald L. Katell

Norma Kayser

Joyce and Kent Kresa

Raymond Lieberman

Mr. Kevin MacCarthy and Ms. Lauren Lexton

Alfred E. Mann Charities

Jane and Marc B. Nathanson

Y & S Nazarian

Family Foundation

Nancy and Sidney Petersen

Rice Family Foundation

Robert Robinson

Katharine and Thomas Stoever

Sue Tsao

Alyce and Warren Williamson

$100,000 TO $249,999

Mr. Robert J. Abernethy

William A. Allison

Rachel and Lee Ault

W. Lee Bailey, M.D.

Angela Bardowell

Deborah Borda

The Eli and Edythe

Broad Foundation

Jane Carruthers

Pei-yuan Chia and Katherine Shen

James and Paula Coburn Foundation

The Geraldine P. Coombs Trust in memory of Gerie P. Coombs

Mr. and Mrs. Terry Cox

Silvia and Kevin Dretzka

Allan and Diane Eisenman

Christine and Daniel Ewell

Arnold Gilberg, M.D., Ph.D.

David and Paige Glickman

Nicholas T. Goldsborough

Gonda Family Foundation

Margaret Grauman

Kathryn Kert Green and Mark Green

Joan and John F. Hotchkis

Freya and Mark Ivener

Ruth Jacobson

Stephen A. Kanter, M.D.

Jo Ann and Charles Kaplan

Yates Keir

Susanne and Paul Kester

Vicki King

Sylvia Kunin

Ann and Edward Leibon

Ellen and Mark Lipson

B. and Lonis Liverman

Glenn Miya and Steven Llanusa

Ms. Gloria Lothrop

Vicki and Kerry McCluggage

David and Margaret Mgrublian

Diane and Leon

Morton

Mary Pickford

Foundation

Sally and Frank Raab

Mr. David Sanders

Malcolm Schneer and Cathy Liu

David and Linda

Shaheen Foundation

William E.B. and Laura K. Siart

Magda and Frederick R. Waingrow

Wasserman Foundation

Robert Wood

Syham Yohanna and James W. Manns

$25,000 TO $99,999

Marie Baier Foundation

Dr. Richard Bardowell, M.D.

Jacqueline Briskin

Dona Burrell

Ying Cai & Wann S. Lee Foundation

Ann and Tony Cannon

Dee and Robert E. Cody

The Colburn Fund

Margaret Sheehy Collins

Mr. Allen Don Cornelsen

Ginny and John Cushman

Marilyn J. Dale

Mrs. Barbara A. Davis

Dr. and Mrs.

Roger DeBard

Jennifer and Royce Diener

Jane B. and Michael D. Eisner

The Englekirk Family

Claudia and Mark Foster

Lillian and Stephen Frank

Dr. Suzanne Gemmell

Paul and Florence Glaser

Good Works Foundation

Anne Heineman

Ann and Jean Horton

Drs. Judith and Herbert Hyman

Albert E. and Nancy C. Jenkins

Robert Jesberg and Michael J. Carmody

Ms. Ann L. Kligman

Sandra Krause and William Fitzgerald

Michael and Emily Laskin

Sarah and Ira R. Manson

Carole McCormac

Meitus Marital Trust

Sharyl and Rafael Mendez, M.D.

John Millard

National Endowment for the Arts

Alfred and Arlene Noreen

Occidental Petroleum Corporation

Dr. M. Lee Pearce

Lois Rosen

Anne and James Rothenberg

Donald Tracy Rumford

Family Trust

The SahanDaywi Foundation

Mrs. Nancie Schneider

William and Luiginia Sheridan

Virginia Skinner

Living Trust

Nancy and Richard Spelke

Mary H. Statham

Ms. Fran H. Tuchman

Tom and Janet Unterman

Rhio H. Weir

Mrs. Joseph F. Westheimer

Jean Willingham

Winnick Family Foundation

Cheryl and Peter Ziegler

Lynn and Roger Zino

LA PHIL

MUSICIANS

Anonymous

Kenneth Bonebrake

Nancy and Martin Chalifour

Brian Drake

Perry Dreiman

Barry Gold

Christopher Hanulik

John Hayhurst

Jory and Selina Herman

Ingrid Hutman

Andrew Lowy

Gloria Lum

Joanne Pearce Martin

Kazue Asawa

McGregor

Oscar and Diane Meza

Mitchell Newman

Peter Rofé

Meredith Snow and Mark Zimoski

Barry Socher

Paul Stein

Leticia Oaks Strong

Lyndon and Beth Johnston Taylor

Dennis Trembly

Allison and Jim Wilt

Suli Xue

We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.

ROMANTICS:

ARTISANS:

MARTÍN + HAYDN + BEAL

CELESTIALS:

+ VIVALDI

Reginald Mobley

TRAILBLAZERS: MARTÍN + BRAHMS + BAUER Jaime Martín MUSIC

CURRENT: ROUTES Lara

BOURGEOISIE: MOZART + HAYDN + HANDEL

Jeannette

PIONEERS: MARTÍN + SCHUMANN + PRICE

IMPRESSIONISTS:

VANGUARD: FARRENC’S NONET Margaret Batjer

CURRENT: ROOTS

Tessa Lark CURATOR

VISIONARIES: MARTÍN + BEETHOVEN

MAESTROS: MARTÍN + BACH Jaime

ANNUAL DONORS

The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between April 16, 2023, and April 15, 2024.

$1,000,000 AND ABOVE

Anonymous (3) Ann and Robert Ronus

$500,000 TO $999,999

The Ahmanson Foundation Ballmer GroupDunard Fund USAJennifer Miller GoffMusic Center Foundation

$200,000 TO $499,999

Anonymous

Lynn K. Altman

Judith and Thomas L. Beckmen

Colburn Foundation

Jane B. and Michael D. Eisner

Lisa Field

Robyn Field and Anthony O’Carroll

The Getty Foundation

Gordon P. Getty

Max H. Gluck Foundation

William Randolph Hearst Foundation

$100,000 TO $199,999

Anonymous (3)

Nancy and Leslie Abell

Mr. Gregory A. Adams

Gregory Annenberg Weingarten, GRoW@ Annenberg

The Blue Ribbon

R. Martin Chavez

Donelle Dadigan

Louise and Brad Edgerton/ Edgerton Foundation

The Eisner Foundation

Breck and Georgia Eisner

$50,000 TO $99,999

Anonymous (4)

Mr. Robert J. Abernethy

Amgen Foundation

Ms. Kate Angelo and Mr. Francois Mobasser

Aramont Charitable Foundation

Linda and Maynard Brittan

California Community Foundation

Canon Insurance Service

Esther S.M. Chui

Chao & Andrea Chao-Kharma

Dan Clivner

Nancy and Donald de Brier

De MarchenaHuyke Foundation

Berta and Frank Gehry

Mr. James Gleason

Alexandra S. Glickman and Gayle Whittemore

Mr. Gregg Goldman and Mr. Anthony DeFrancesco

Lenore S. and Bernard A. Greenberg Fund

Yvonne Hessler

Mr. Philip Hettema

The Hillenburg Family

The Hirsh Family

David Z. & Young O. Hong Family Foundation

The Hearthland Foundation

Tylie Jones

Terri and Jerry M. Kohl

Anne Akiko

Meyers and Jason Subotky

Ms. Erika J. Glazer

Daniel Huh

Kaiser Permanente

Winnie Kho and Chris Testa

County of Los Angeles

Mr. and Mrs.

David Meline

The Music Man Foundation

Michael J. Connell Foundation Pasadena Showcase House for the Arts

Barbara and Jay Rasulo

John Mohme Foundation

Maureen and Stanley Moore

The Ralph M. Parsons Foundation

Peninsula Committee

The Rauch Family Foundation

James D. Rigler/ Lloyd E. Rigler - Lawrence E. Deutsch Foundation

Rolex Watch USA, Inc.

Richard and Ariane Raffetto

Koni and Geoff Rich Rosenthal Family Foundation

James and Laura Rosenwald/ Orinoco Foundation

Linda and David Shaheen

Alyce de Roulet Williamson

Barbara and Amos Hostetter

Ms. Teena Hostovich and Mr. Doug Martinet

Frank Hu and Vikki Sung

Rif and Bridget Hutton

Monique and Jonathan Kagan

Mr. and Mrs.

Joshua R. Kaplan

Linda and

Donald Kaplan

W.M. Keck

Foundation

Darioush and Shahpar Khaledi

Dr. Ralph A. Korpman

Mr. and Mrs. Keith Landenberger

The Norman and Sadie Lee

Foundation

Live Nation

Los Angeles County Department of Arts and Culture

Renee and Meyer Luskin

Alfred E. Mann

Charities

Linda May and Jack Suzar

Barbara and Buzz McCoy

Ms. Irene Mecchi

Michael and Lori Milken Family Foundation

Ms. Christine Muller and Mr. John Swanson National Endowment for the Arts

M. David and Diane Paul

Ms. Linda L. Pierce

Sandy and Barry D. Pressman

David William Upham Foundation

Mr. Bennett

Rosenthal

Allyson Rubin

Wendy and Ken Ruby

Thomas Safran

Richard and Diane Schirtzer

Elizabeth and Henry T. Segerstrom

Jay and Deanie Stein Foundation Trust

Christian Stracke

Kristin and Jeff Worthe

Ellen and Arnold Zetcher

Elizabeth and Justus Schlichting

Ronald and Valerie Sugar

Keith and Cecilia Terasaki

Sue Tsao

Michael Tyler

Ellen GoldsmithVein and Jon Vein

Barbara and Robert Veir

Mr. Alex Weingarten

John and Marilyn Wells

Family Foundation

Margo and Irwin Winkler

Debra Wong Yang and John W. Spiegel

TO SAVE 30% UP TO

SUMMER CONCERT SERIES

MICHAEL FEINSTEIN

Principal Pops Conductor

Harlem Nights: Duke, Ella and the Legacy of the Harlem Renaissance

JUNE 29 , 2024

Michael Feinstein, conductor

Catherine Russell & Byron Stripling, soloists

Waterloo: A Tribute To ABBA

JU LY 13 , 2024

Larry Blank, conductor

Michael Feinstein’s Tribute to Tony Bennett & Frank Sinatra

JULY 27, 2024

Larry Blank, conductor

Michael Cavanaugh: Singer Songwriters

AUGUST 10, 2024

Larry Blank, conductor

California Dreamin’

AUGUST 24 , 2024

Michael Feinstein, conductor Betsy Wolfe & tba, soloists

Oscar Meets Tony

SEPTEMBER 7, 2024

Michael Feinstein, conductor

Victoria Clark & Norm Lewis, soloists AT THE LA ARBORETUM

The Natural World of Studio Ghibli

Natural World of Studio Ghibli

$25,000 TO $49,999

Anonymous (7)

The Herb Alpert Foundation

Amazon

Tracy Anderson

Mr. and Mrs.

Phil Becker

Susan and Adam Berger

Samuel and Erin Biggs

Mr. and Mrs. Norris

J. Bishton, Jr.

David Bohnett Foundation

Kawanna and Jay Brown

Michele Brustin

Gail Buchalter and Warren Breslow

Thy Bui

Steven and Lori Bush

Oleg and Tatiana Butenko

Ying Cai & Wann S. Lee Foundation

California

Arts Council

California Office of The Small Business Advocate

Chevron Products Company

Mr. Richard W. Colburn

Becca and Jonathan Congdon

Mr. and Mrs.

Robert Cook

Lynette and Michael C. Davis

Orna and David Delrahim

Jennifer Diener and Eric Small

The Walt Disney Company

Malsi and Johnny Doyle

Michael Dreyer

Van and Francine Durrer East West Bank

Kathleen and Jerry L. Eberhardt

Dr. Paul and Patti Eisenberg

Austin and Lauren Fite Foundation

Max Factor Family Foundation

Marianna J. Fisher and David Fisher

Foothill

Philharmonic Committee

Debra Frank

Drs. Jessie and Steven Galson

$15,000 TO $24,999

Anonymous (4)

Drew and Susan Adams

Honorable and Mrs.

Richard Adler

Ms. Elizabeth Barbatelli

Stephanie Barron

Susan Baumgarten

Camilo Esteban

Becdach

Mr. and Mrs.

Philip Bellomy

Dr. William Benbassat

Miles and Joni Benickes

Mark and Pat Benjamin

Helen and Peter S. Bing

Robert and Joan Blackman Family Foundation

Mr. Ronald H. Bloom

Tracey

BoldemannTatkin and Stan Tatkin

Otis Booth Foundation

Jaron and Wendy Brooks

Mrs. Linda L. Brown

Business and Professional Committee

Campagna Family Trust

The Capital Group Companies

Charitable Foundation

The Rosalinde and Arthur Gilbert Foundation

Kiki Ramos

Gindler and David Gindler

Francis Goelet

Charitable Lead Trusts

Goldman

Sachs Co. Llc

Good Works Foundation and

Laura Donnelley

Kate Good

Liz and Peter Goulds

Rob and Jan Graner

Faye Greenberg and David Lawrence

Jason Greenman and Jeanne Williams

Renée and Paul Haas Harman Family Foundation

Lynette Maria

Carlucci Hayde

Stephen T. Hearst

Madeleine Heil and Sean Petersen

Andrew Hewitt

Liz Levitt Hirsch

David and

Martha Ho

Ms. Nancy Carson and Mr. Chris Tobin

Dominic Chan

Andrea ChaoKharma and Kenneth Kharma

Marlene Schall

Chavez, Ph.D

Chivaroli and Associates, Tiffany and Christian

Chivaroli

Sarah and Roger Chrisman

Larison Clark

Susan Colvin

Jay and Nadege Conger

Faith and Jonathan Cookler

Fritz Hoelscher

Mr. Tyler Holcomb

Thomas Dubois

Hormel

Foundation

Ms. Michelle

Horowitz

Mr. and Mrs.

Daniel Paul

Horwitz

Annica and James Newton

Howard

Mr. and Mrs.

James L. Hunter

Robin and Gary Jacobs

Jo Ann and Charles Kaplan

Terri and Michael Kaplan

Paul Kester

Mr. and Mrs.

Simon K.C. Li

City of Los Angeles, Department of Cultural Affairs

Los Angeles Philharmonic Affiliates

Roger Lustberg and Cheryl Petersen

The Seth MacFarlane Foundation

Mrs. Beverly C. Marksbury

Ashley McCarthy and Bret Barker

Marc and

Ashley Merrill

Molly Munger and

Stephen English

Deena and Edward Nahmias

Anthony and Olivia Neece

Mr. and Mrs.

Randy Newman

Mr. Robert W. Olsen

Tye Ouzounian

Bruce and Aulana Peters

Dennis C. Poulsen and Cindy Costello

Madeline and Bruce Ramer

Ross Endowment Fund

Bill and Amy Roth

Linda and Tony Rubin

Katy and Michael S. Saei

Mr. Lee C. Samson

San MarinoPasadena Philharmonic Committee

Ellen and Richard Sandler

Zoe Cosgrove

Cary Davidson and Andrew Ogilvie

Victoria Seaver

Dean, Patrick

Seaver, Carlton

Seaver

Michael Dillon

Sean Dugan and Joe Custer

Dr. and Mrs.

William M. Duxler

Michael Edelstein and Dr.

Robin Hilder

Edison International

Ms. Ruth Eisen

Ms. Robin Eisenman and Mr. Maurice

LaMarche

Geoff Emery

Bonnie and Ronald Fein

Evelyn and Norman Feintech Family Foundation

E. Mark Fishman and Carrie Feldman

Dr. and Mrs. Arthur

A. Fleisher, II

Tony and Elisabeth Freinberg

Joan Friedman, Ph.D. and Robert

N. Braun, M.D.

Mr. and Mrs. Josh Friedman

Ms. Kimberly Friedman

Gary and Cindy Frischling

Roberta and Conrad Furlong

Dr. and Mrs. Bruce Gainsley

Dena and Irv Schechter/The Hyman Levine

Family Foundation: L’DOR V’DOR

Melanie and Harold Snedcof

Randy and Susan Snyder

Jeremy and Luanne Stark

Lisa and Wayne Stelmar

Dwight Stuart Youth Fund

Dr. James Thompson and Dr. Diane Birnbaumer

Charles Urban

Jennifer and Dr. Ken Waltzer

Walter and Shirley Wang

Debra and John Warfel

Stasia and Michael

Washington

Mindy and David Weiner

John and Samantha Williams

Libby Wilson, M.D.

Jill Black Zalben

Lynn and Roger Zino

Zolla Family Foundation

Mr. and Mrs.

Ronald Gertz

Carrie and Rob Glicksteen

Greg and Etty Goetzman

Goodman Family Foundation

Robert and Lori Goodman

Lori Greene

Gordon and Neil Gordon

The Gorfaine/ Schwartz Agency

Mr. Bill Grubman

Marnie and Dan Gruen

Eric Gutshall and Felicia Davis

Vicken and Susan J. Haleblian

Laurie and Chris Harbert and Family

Lyndsay Harding

Diane Henderson

M.D.

Walter and Donna Helm

Stephen D. Henry and Rudy M. Oclaray

Carol Henry

Marion and Tod Hindin

Gerry Hinkley and Allen Briskin

Arlene Hirschkowitz

Deedie and Tom Hudnut

Mr. Gregory

Jackson and Mrs. Lenora Jackson

Meg and Bahram Jalali

Mr. Eugene Kapaloski

Tobe and Greg Karns

Mr. and Mrs.

Robert A. Kasirer

Igor Khandros and Susan Bloch

Jennifer and Cary Kleinman

Larry and Lisa Kohorn

Ms. Ursula C. Krummel

Naomi and Fred Kurata

Ellie and Mark Lainer

David Lee

Keith and Nanette Leonard

Allyn and Jeffrey L. Levine

Marvin J. Levy

Ms. Agnes Lew

Karen and Clark Linstone

Ms. Judith W. Locke

Theresa Macellaro / The Macellaro Law Firm

The Mailman Foundation

Raulee Marcus

Mr. and Mrs.

Andrew W. Marlowe

$10,000 TO $14,999

Anonymous (4)

ABC Entertainment

Affiliates of the Desert B. Allen and Dorothy Lay

Tichina Arnold

Ms. Lisette

Arsuaga and Mr. Gilbert Davila

The Aversano

Family Trust

Pamela and Jeffrey Balton

Dr. Richard Bardowell, M.D.

Mrs. Linda E.

Barnes

Mr. Joseph A.

Bartush

Sondra Behrens

Phyllis and Sandy Beim

Mr. Herbert

M. Berk

Suzette and Monroe Berkman

Ms. Gail K.

Bernstein

Ken Blakeley and Quentin O’Brien

Phillip and Stephanie Martineau

Leslie and Ray Mathiasen

Jonathan and Delia Matz

Dwayne and Eileen McKenzie

David and Margaret Mgrublian

Marcy Miller

Cindy Miscikowski

Mrs. Judith S. Mishkin

Mr. John Monahan

Ms. Susan Morad at Worldwide Integrated Resources, Inc.

Wendy Stark Morrissey

Mr. Brian R. Morrow

Ms. Kari Nakama

Mr. and Mrs.

Dan Napier

NBC Universal

Shelby Notkin and Teresita Tinajero

Christine M. Ofiesh

Laura Owens

Christopher Bridges

Garrett Camp

Mara and Joseph Carieri

Chien Family

Chivaroli and Associates

Insurance Services

Carla Christofferson

Leland Clow

Mr. and Mrs.

V. Shannon Clyne

Mrs. and Mr.

Eleanor Congdon

Mr. and Mrs.

Richard W. Cook

Alison Moore

Cotter

Dr. and Mrs.

Nazareth E.

Darakjian

Nancy and Patrick Dennis

Lauren Shuler

Donner

Elizabeth and Kenneth M. Doran

Emil Ellis Farrar and Bill Ramackers

Melissa PappGreen and Jeff Green

Andy S. Park

Gregory Pickert and Beth Price

Nancy and Glenn Pittson

Mr. and Mrs.

Arnold Porath

Diana Reid and Marc Chazaud

Cathleen and Scott Richland

Ms. Anne Rimer

John Peter

Robinson and Denise Hudson

Mimi Rotter

Ann M. Ryder

The SahanDaywi Foundation

Ron and Melissa Sanders

Santa MonicaWestside

Philharmonic Committee

Gary Satin

Evy and Fred Scholder Family

Mr. Murat

Sehidoglu

Joan and Arnold Seidel

Neil Selman and Cynthia Chapman

Marc Seltzer and Christina Snyder

Jane Semel

Mr. James J. Sepe

Julie and Bradley Shames

Mr. Steven Shapiro

Nina Shaw and Wallace Little

Jill and

Neil Sheffield

Hyon Chough and Maurice Singer

Mr. and Mrs. Richard Sondheimer

Mr. Lev Spiro and Ms. Melissa Rosenberg

Stein Family Fund - Judie Stein

Zenia Stept and Lee Hutcherson

Eva and Marc Stern

Mr. Tommy

Finkelstein and Mr. Dan Chang

Ella Fitzgerald

Charitable Foundation

Daniel and Maryann Fong

Mr. Michael Fox

Bernard H. Friedman and Lesley Hyatt

Dr. and Mrs.

David Fung

Beth Gertmenian

Harriett and Richard E. Gold

Manuela Cerri

Goren

Mr. and Mrs.

Daniel M. Gottlieb

Mr. and Mrs.

Ken Gouw

Diane and Peter H. Gray

Tricia and Richard Grey

Beverly and Felix Grossman

Roberta L. Haft and Howard L. Rosoff

Ms. Marian L. Hall

Ms. Deborah Harkness

Mr. Sam Harris

Mr. and Mrs. Irwin

Helford and Family

Jackson N. Henry

Jessica and Elliot Hirsch

Linda Joyce Hodge

Elizabeth HofertDailey Trust

Mr. Raymond W. Holdsworth

Joyce and Fredric Horowitz

Mr. Frank J. Intiso

James Jackoway

Kristi Jackson and William Newby

Sharon and Alan Jones

Mr. and Mrs.

Steaven K. Jones, Jr.

Marilee and Fred Karlsen

Rizwan and Hollee Kassim

Marty and Cari Kavinoky

Tom Strickler

Akio Tagawa

Priscilla and Curtis S. Tamkin

Megan Watanabe and Hideya

Terashima

Warren B. and Nancy L. Tucker

Elinor and Rubin Turner

Tom and Janet Unterman

Nancy Valentine

Noralisa Villarreal and John Matthew Trott

Meredith Jackson and Jan Voboril

Frank Wagner and Lynn O’Hearn Wagner

Mahvash and Farrok Yazdi

Mr. Nabih Youssef

Karl and Dian Zeile

Mr. and Mrs.

Howard Zelikow

Kevork and Elizabeth Zoryan

Mr. and Mrs.

Michael C. Kelley

Mr. and Mrs.

Jon Kirchner

Mr. and Mrs.

Kenneth N. Klee

Nickie and Marc Kubasak

Lauren B. Leichtman and Arthur E. Levine

Mr. and Mrs.

Norman A. Levin

Randi Levine

Dr. Stuart Levine and Dr.

Donna Richey

Maria and Matthew Lichtenberg

Anita Lorber

Kyle Lott

Sandra Cumings

Malamed and Kenneth D. Malamed

Vilma S. Martinez, Esq.

Pam and Ron Mass

Mr. and Mrs.

Steve Matt

Liliane Quon

McCain

Cathy McMullen

Lisa and Willem Mesdag

Ms. Joanna Miller

Marc and Jessica Mitchell

Carmen Morgan

Dick and Chris Newman / C & R

Newman Family Foundation

Kenneth T. & Eileen L. Norris

Foundation

Irene and Edward Ojdana

Mr. and Mrs. Peter O’Malley

Steve and Gail Orens

Mr. Ralph Page and Patty Lesh

Loren Pannier

Ellen Pansky

Ms. Debra Pelton and Mr. Jon Johannessen

Chris Pine

Lorena and R. Joseph Plascencia

Troy Pospisil

Joyce and David Primes

Mark Proksch and Amelie Gilette

William “Mito” Rafert

Lee Ramer

Risk Placement Services

Hon. Ernest M. Robles

Ernesto Rocco

Mr. and Mrs.

William C. Roen

Ms. Rita Rothman

Jesse Russo and Alicia Hirsch

Alexander and Mariette Sawchuk

Dr. and Mrs. Heinrich Schelbert

$5,500 TO $9,999

Anonymous (9)

Cary Albertsone

Edgar Aleman

Bobken and Hasmik Amirian

Mr. Robert C. Anderson

Debra and Benjamin Ansell

Art and Pat Antin

Javi Arango

Dr. Mehrdad Ariani

Ms. Judith A. Avery

Mr. Mustapha Baha

Karen and Jonathan Bass

Reed Baumgarten

Ellis N. Beesley, Jr.

M.D.

Logan Beitler

Ms. Karen S. Bell and Mr. Robert Cox

Maria and Bill Bell

Mr. and Mrs.

Richard Birnholz

Mitchell Bloom

Samantha and Marc Sedaka

Dr. Donald Seligman and Dr. Jon Zimmermann

Ruth and Mitchell Shapiro

Walter H. Shepard and Arthur A. Scangas

Gloria Sherwood

The Sikand Foundation

Steven Blum

Joan N. Borinstein

Greg Borrud

Mr. and Mrs.

Hal Borthwick

Mr. Ray Boucher

The Hon. Bob Bowers and Mrs. Reveta Bowers

Mrs. Susan Bowey

Ms. Marie Brazil

Lynne Brickner and Gerald Gallard

Angelina and Mark Speare

Jennifer Speers

Terry and

Karey Spidell

Joseph and Suzanne Sposato

Mr. and Mrs.

Mark Stern

James C. Stewart

Charitable Foundation

Rose and Mark Sturza

Marcie Polier

Swartz and David Swartz

Suzanne and Michael E. Tennenbaum

Michael Frazier Thompson

Jeremy Thurswell

Christine Upton

Kathy Valentino

Mr. Donald M.

Briggs and Mrs.

Deborah J. Briggs

Mr. and Mrs.

Steven Bristing

Kevin Brockman and

Dan Berendsen

Jennifer Broder and Soham Patel

Mary Lou Byrne and Gary W. Kearney

Tanille Carter

CBS Entertainment

Dr. Kirk Y. Chang

Dr. Stephanie Cho and Jacob Green

Mr. and Mrs.

Ronald Clements

Dr. and Mrs.

Lawrence J. Cohen

Mr. David Colburn

Mr. Michael Corben and Ms. Linda Covette

Mr. and Mrs.

Bruce Corwin

Mr. and Mrs.

Johannes

Van Tilburg

Rachel Wagman

Laura and Casey Wasserman

Bob and Dorothy Webb

Sheila and Wally Weisman

Alana L. Wray

David Zuckerman and Ellie Kanner

Lloyd Eric Cotsen

Mr. and Mrs.

Richard R. Crowell

Mr. James

Davidson and Mr. Michael Nunez

Gloria De Olarte

Ms. Rosette Delug

Ms. Mary Denove

Wanda DensonLow and Ronald Low

2024 OPENING NIGHT AT THE HOLLYWOOD

BOWL. ( TOP, LEFT TO RIGHT ) OPENING NIGHT CO - CHAIRS KEITH TERASAKI, CECILIA TERASAKI, ROBYN FIELD, AND LISA FIELD; CHARLEY HAMES JR. WITH KAISER PERMANENTE’S MICHELLE GASKILLHAMES; AND OPENING NIGHT CO - CHAIR TEENA HOSTOVICH. ( BOTTOM RIGHT )

The Randee and Ken Devlin Foundation

Mr. Kevin Dill

Julie and Stan Dorobek

James and Andrea Drollinger

Bob Ducsay and Marina Pires de Souza

Steven Duffy

Janet and Larry Duitsman

Mr. and Mrs. Brack W. Duker

Anna Sanders Eigler

Mrs. Eva Elkins

Bryan Elms

John B. Emerson and Kimberly Marteau Emerson

Richard J. Evans and Sara Evans

Janice Feldman, JANUS et cie

Mr. and Mrs. Irwin S. Field

The Hon. Michael W. Fitzgerald and Mr. Arturo Vargas

The Franke Family Trust

Dr. and Mrs. Robert Freilich

Linda and James Freund

Mrs. Diane Futterman

Ruchika Garga

Mr. and Mrs. Alan M. Gasmer

Gibson, Dunn & Crutcher

Leslie and Cliff Gilbert-Lurie

Donald Glover

Jory Goldman

Mr. and Mrs. Russell Goldsmith

Mr. and Mrs. Louis L. Gonda

Juan Carlos Gonzalez

Lee Graff Foundation

Mr. and Mrs. Paul E. Griffin III

Mr. and Mrs. Paul Guerin

Beth Fishbein Hansen

Dwight Hare and Stephanie Bergsma

Mr. Rick Harrison and Ms. Susan Hammar

Mr. Donald V. Hayes

Stephen and Hope Heaney

Myrna and Uri Herscher Family Foundation

Jill Hopper

Dr. and Mrs. Mel Hoshiko

Kevin Huvane

Andrei and Luiza Iancu

Libby and Arthur Jacobson

Jeffrey and Kristen Jaeger

Mr. and Mrs. Leonard Jaffe

Mr. Channing Johnson

Barbara A. Jones

Randi and Richard B. Jones

Dr. William B. Jones

Mr. William Jordan

Meredith Jury

Catherine and Harry Kane

Judith and Russell Kantor

Mr. and Mrs. Stephen Keller

Susan Keller and Myron S. Shapero, M.D.

Leigha Kemmett and Jacob Goldstein

Mr. Mark Kim and Ms. Jeehyun Lee

Molly Kirk

Phyllis H. Klein, M.D.

Kathryn Ko

Lee Kolodny

Mr. and Mrs. Scott Krivis

Craig Kwiatkowski and Oren Rosenthal

Dr. and Mrs. Kihong Kwon

Mr. and Mrs. Ronald B. Labowe

Vicki Lan

Katherine Lance

Mr. and Mrs. Jack D. Lantz

Mrs. Grace E. Latt

Ms. Leerae Leaver

Mr. George Lee

Mr. Randall Lee and Ms. Stella M. Jeong

Mr. Benjamin Lench

Mary Beth and John Leonard

Saul Levine

Lydia and Charles Levy

Mr. Jeff Levy

Arthur Lewis

Marie and Edward Lewis

David and Rebecca Lindberg

Lynn Loeb

Patricia and Larry Londre

Julie and Ron Long

Ms. Diana Longarzo

Scott Lord

Los Angeles

Philharmonic Committee

Mr. Joseph Lund and Mr. James Kelley

Ruth and Roger MacFarlane

Mr. and Mrs. John V. Mallory

Melvin Mandel, M.D.

Paul Martin

Milli M. Martinez and Don Wilson

Mr. Gary J. Matus

Kathleen McCarthy and Frank Kostlan

Mr. and Mrs.

Thomas E. McCarthy

Mr. and Mrs.

William F. McDonald

Jeffrey and Tracy McEvoy

Mr. David McGowan

Mr. Sheldon and Dr. Linda Mehr

Michael and Jan Meisel

Lawry Meister

Carlos Melich

Mr. and Mrs. Dana Messina

Ms. Marlane Meyer

Coco Miller

Mr. Weston F. Milliken

Linda and Kenneth Millman

Mrs. Lillian Mueller

Gretl and Arnold Mulder

Sheila Muller

Munger, Tolles & Olson

Craig and Lisa Murray

Kevin Nazemi

Robert and Sally Neely

Mrs. Cynthia Nelson

Mumsey and Allan Nemiroff

Mr. Jerold B. Neuman

Ms. Kimberly Nicholas

Ms. Mary D. Nichols

Renae Niles

Immerse yourself in the vibrant sounds of jazz music echoing through multiple venues throughout the day, along with food and beverage, specialty vendors, and more. This one-day festival in Santa Monica celebrates the intergenerational transmission of the arts.

Don’t miss out on this one-of-a-kind celebration of art, culture, music, and community!

Steven A. Nissen

Nellie Nizam

Mr. and Mrs. Arthur J. Ochoa

Ms. Margo Leonetti O’Connell

Adriana Ortiz

Ana Paludi and Michael Lebovitz

Cynthia Patton

Alyssa Phaneuf

Julie and Marc Platt

Bronwyn Pollock

Lyle and Lisi Poncher

Robert J. Posek, M.D.

Ms. Eleanor Pott

James S. Pratty, M.D.

Steven Ray

Mr. Eduardo Repetto

Hon. Vicki Reynolds and Mr. Murray Pepper

Mrs. Laura H. Rockwell

Murphy and Ed Romano and Family

Peter and Marla Rosen

Mr. Bradley Ross and Ms. Linda McDonough

Mr. Steven F. Roth

Mr. and Mrs. Matthew Rowland

Ms. Karen Roxborough

Dr. Michael Rudolph

Mr. David Rudy

Mr. and Mrs. Paul Rutter

Thomas C. Sadler and

Dr. Eila C. Skinner

Ms. Yvonne Nam and

Mr. David Sands

Drs. Joan and Harry Saperstein

Mark and Valerie Sawicki

Dr. Marlene M. Schultz and Philip M. Walent

Dr. and Mrs. Hervey Segall

Hope and Richard N. Shaw

Abby Sher

Mr. Adam Sidy

Mr. and Mrs. Peter R. Skinner

Professor Judy and Dr. William Sloan

Mr. Douglas H. Smith

Mr. and Mrs. Michael G. Smooke

Virginia Sogomonian and Rich Weiss

William Spiller

Ian and Pamela Spiszman

Lael Stabler and Jerone English

John Stauffer

Ms. Margaret Stevens and Mr. Robin Meadow

Jennifer Taguchi

Mr. and Mrs. Randall Tamura

Andrew Tapper and Mary Ann Weyman

Mr. Stephen S. Taylor

Mr. Todd H. Temanson

Judith Hill Isaiah Collier

Stanley Clarke

Gretchen Parlato

Jeremiah Collier

Gerald Clayton

Jahari Stampley

Spiñorita

Connie Han Cameron Graves

Clarence Penn Alan Hampton

Ruslan Sirota

INSTANT ALTER with Emilio Modeste and Natasha Agrama

Mr. and Mrs. Harris Toibb

Mary Tong

Richard Turkanis and Wendy Kirshner

Typesetting Ink

Charles and Nicole Uhlmann

Mr. and Mrs.

Peter J. Van Haften

Mr. and Mrs. Craig Vickers

Terry and Ann Marie Volk

Mr. Nate Walker

Lisa and Tim Wallender

Eric Wang

Mr. and Mrs. Steven White

Mr. Kirk Wickstrom and Mrs.

Shannon Hearst Wickstrom

Mr. Robert E. Willett

David and Michele Wilson

Mr. Steve Winfield

Bill Wishner

Karen and Rick Wolfen

Ms. Eileen Wong

Mr. and Mrs. Irwin Wong

Paul and Betty Woolls

Mr. and Mrs. Richard Wynne

Ms. Stacie Yee

Mr. Kevin Yoder

Yust Family Trust

$3,500 TO $5,499

Anonymous (3)

Dr. and Mrs. Frank Agrama

Mr. Robert A. Ahdoot

Ty Ahmad-Taylor

Ms. Rose Ahrens

Adrienne S. Alpert

Mr. Peter Anderson and Ms. Valerie Goo

Carol L. Archie

Sandra Aronberg, M.D.

Carlo and Amy Baghoomian

Tawney Bains and Zachary Roberts

Mr. Barry Baker

Terence Balagia

Howard Banchik

Clare Baren and David Dwiggins

Isaac Barinholtz and Erica Hanson

Ken and Lisa Baronsky

Catherine and Joseph Battaglia

Kay and Joe Baumbach

George and Karen Bayz

Newton and Rochelle Becker

Charitable Trust

Ms. Nettie Becker

Mr. Richard Bemis

Benjamin Family Foundation

Mr. Stephen Bergens

Mr. and Mrs. Elliot S. Berkowitz

Mr. and Mrs. Gregg and Dara Bernstein

Vince Bertoni and Damon Hein

Mr. and Mrs. Dan Biles

Lisa Biscaichipy

Dr. Andrew C. Blaine and Dr. Leigh Lindsey

Michael Blake

Mr. Michael Blea

Mr. Larry Blivas

Thomas J. Blumenthal

Ms. Leslie Botnick

Anita and Joel Boxer

Dr. and Mrs. Hans Bozler

Mrs. William Brand and Ms. Carla B. Breitner

Drs. Maryam and Iman Brivanlou

Mr. Tad Brown and Mr. Jonathan Daillak

Casey and Brea Brumels

Diana Buckhantz

Mrs. Lupe P. Burson

Mr. Jon C. Chambers

Jerry Chang

Nolan and Marlene Charbonnet

Adam Chase

Mr. Louis Chertkow

Arthur and Katheryn Chinski

Mr. and Mrs. Joel T. Chitea

Mr. and Mrs. Michael Colby

Susan and David Cole

Ms. Ina Coleman

Dr Leni and Roger Cook

Kevin and Katie Cordano

Cox Family - Pernell, Keila, and Harper Q.

John Curry

Mrs. Nancy A. Cypert

Jessica and James Dabney

Ms. Laurie Dahlerbruch

Chris Daly

Mr. and Mrs. Leo David

Mr. Howard M. Davine

David Diaz

Tim and Neda Disney

R. Stephen Doan and Donna E. Doan

Mr. Anthony Dominici and Ms. Georgia Archer

Mr. Gregory C. Drapac

Martha Duran

Dr. David Eisenberg

Alex Elias

Susan Entin

Bob Estrin

Ms. Anita Famili

Sidney B. Felsen

Jen and Ted Fentin

Lyn and Bruce Ferber

Dr. Walter Fierson and Dr. Carolyn Fierson

Mr. Michael A. Firestein

A.B. Fischer

Ms. Melanie Salata Fitch

Mr. and Mrs. Michael M. Flynn

David and Eve Ford

Mrs. Diane Forester

Bruce Fortune and Elodie Keene

Lynn Franklin

Mr. and Mrs. Michael Freeland

Ms. Alisa J. Freundlich

Friars Charitable Foundation

Ian and Meredith Fried

Steven Friednam

David Fury

Ben Gardner

Ms. Sybil Garry

Sara and Derek Geissler

Dr. and Mrs. Anthony Gerber

Susan and David Gersh

Susan and Jaime Gesundheit

Mr. and Mrs. Harlan Gibbs

Jason Gilbert

Mr. and Mrs. David A. Gill

The Gillis Family

William and Phyllis Glantz

Mr. and Mrs. Herbert Glaser

Ms. Patricia Glaser and Mr. Sam Mudie

Glendale Philharmonic

Committee

Madelyn and Bruce S. Glickfeld

Dana Goldberg

Dr. and Mrs. Steven Goldberg

The Honorable and Mrs. Allan J. Goodman

Samantha Grant

Mr. and Mrs. Carl C. Gregory

Dr. Wayne W. Grody

Marcy Gross

Mr. Gary M. Gugelchuk

Mr. and Mrs. Pierre and Rubina Habis

Charles F. Hanes

Mr. Robert T. Harkins

Mr. and Mrs. Brian L. Harvey

Mr. and Mrs. Lewis K. Hashimoto

Mr. David R. Hatcher

Christy Haubegger

Kaitlin and Jonathan Hawk

Byron and DeAnne Hayes

Nicolette F. Hebert

Mr. Rex Heinke and Judge Margaret Nagle

Dryden and Brian Helgoe

Gail and Murray E. Heltzer

Betsydiane and Larry Hendrickson

Mr. and Mrs. Enrique Hernandez, Jr.

Jim Herzfeld

The Hill Family

Dr. and Mrs. Hank Hilty

Greg and Jill Hoenes

Laura Fox, M.D., and John Hofbauer, M.D.

Janice and Laurence Hoffmann

Mrs. Cathy Hong

In Hong

Douglas and Carolyn Honig

Dr. Timothy Howard and Jerry Beale

DISTINGUISHED SPEAKER

International Committee

Harry and Judy Isaacs

Mr. and Mrs.

Theodore W. Jackson

Gordon M. Johnson and Barbara A. Schnell

Mr. Sean Johnson

Ratna Jones

Robin and Craig Justice

Mr. Ken Kahan

Lawrence Kalantari

Karen and Don Karl

Mr. and Mrs.

David S. Karton

Ms. Christine Kaunitz

Dr. and Mrs.

David Kawanishi

Kayne, Anderson and Rudnick

Mr. Stephen Keck

Richard Kelton

Ms. Sharon Kerson

Nona Khodai

Daisietta Kim and Rudolf Marloth

Richard and Lauren King

Jay T. Kinn and Jules B. Vogel

Michael and Patricia Klowden

Mr. and Mrs.

Bruce Konheim

Sandra Krause and William Fitzgerald

Sharon and Joel Krischer

Brett Kroha and Ryan Bean

Tom Lallas and Sandy Milo

Thomas and Gloria Lang

Joan and Chris Larkin

James Laur and Peter Kongkasem

Craig Lawson and Terry Peters

Mr. Les Lazar

Mr. Robert Leevan

Ms. Marie-Laure Leglise

Dr. Bob Leibowitz

Mr. Stephen Leidner

Mr. Donald S. Levin

Mr. and Mrs.

Edward B. Levine

Benjamin Bear Levy

David and Meghan Licata

Dr. and Mrs. Mark Lipian

Ms. Elisabeth Lipsman

Mr. Greg Lipstone

Ms. Bonnie Lockrem and Mr. Steven Ravaglioli

Long Beach Auxiliary

Robert and Susan Long

Susan Disney Lord and Scott Lord

Mr. and Mrs.

Boutie Lucas

Crystal and Elwood Lui

Nigel Lythgoe

Dr. Jamshid Maddahi

Konstantina Mahlia

Mr. and Mrs.

Ronald Manzani

Mona and Frank Mapel

Dorrie and Paul Markovits

Mr. Allan Marks and Dr. Mara Cohen

Jay and Alice Marks

Mr. and Mrs.

Stanley Maron

Bridgette Marsh

Dr. and Mrs.

Gene Matzkin

Lisa Mazzocco and Andrew Silver

Courtney McKeown

Robert L. Mendow

Marcia Bonner Meudell and Mike Merrigan

Linda and David Michaelson

Larry and Mary Anne Mielke

Dr. Gary Milan

Mr. and Mrs.

Michael D. Miller

Mr. and Mrs. Simon Mills

Janet Minami

Mr. and Mrs.

William Mingst

Mr. Lawrence A. Mirisch

Cynthia Miscikowski

Maria and Marzi Mistry

Robert and Claudia Modlin

Linda and John Moore

Mr. Alexander Moradi

William Morton

Mr. Emory R. Myrick

Mr. James A. Nadal and Amelia Nadal

Mr. Jose Luis Nazar

Stuart and Bruce Needleman

Mr. John M. Nisley

Ms. Jeri L. Nowlen

Ms. Margaret R. O’Donnell

Mr. Dale Okuno

Mr. and Mrs.

John D. Olinski

David Olson and Ruth Stevens

Mr. and Mrs.

Richard Orkand

Kim and P.F. James Overton

January Parkos-Arnall

Nicholas Pepper

Mrs. Ethel Phipps

Pillsbury Winthrop

Shaw Pittman LLP

Nancy Pine

Mr. Jeff Polak and Mrs.

Lauren Reisman Polak

Mr. Joseph S. Powe

Debbie and Rick Powell

Mr. Albert Praw

John R. Privitelli

Ms. Marci Proietto

Ms. Miriam Rain

Bradley Ramberg

Marcia and Roger Rashman

Mr. and Mrs.

Wayne Ratkovich

Mr. and Mrs. Harold Ray

David and Mary Beth Redding

Resource Direct

Dr. Susan F. Rice

Mr. Ronald Ridgeway

Mr. and Mrs.

Kenneth Riley

Mr. and Mrs.

Norman L. Roberts

Mr. Jed Robinson

Phil Alden Robinson and Paulette Bartlett

Rock River

Ms. Kristina Rodgers

Berta Rodriguez

In memory of RJ and JK Roe

Mr. Lee N. Rosenbaum and Mrs.

Corinna Cotsen

Michelle and Mark Rosenblatt

Mr. Richard Rosenthal and Ms.

Katherine Spillar

Joshua Roth and Amy Klimek

Mr. Michael Rouse

Mr. Andrew E. Rubin

Betty J. Saidel

Valerie Salkin

Esa-Pekka Salonen

Curtis Sanchez

Mr. and Mrs.

Michael Sanders

Mr. and Mrs.

Charles M. Sarff

Ms. Maryanne Sawoski

Sue and Don Schuster

Carol (Jackie) and Charles Schwartz

Mr. Alan Scolamieri

Michael Sedrak

John L. Segal

Mr. and Mrs. Peter Segal

Dr. and Mrs. Hooshang Semnani

Ms. Amy J. Shadur-Stein

Ms. Avantika Shahi

Dr. Ava Shamban

Dr. Alexis M. Sheehy

Ms. Martha Shen-Urquidez

Mr. Chris Sheridan

Mr. Ross Shideler and Ms. Kathleen Komar

Pamela and Russ Shimizu

Mr. and Mrs. Elliot Shoenman

Mr. Murray Siegel

June Simmons

Loraine Sinskey

Leah R. Sklar

Cynthia and John Smet

Ms. Roberta Smith

Mr. Steven Smith

Michael Soloman and Steven Good

Michael and Mildred Sondermann

Dr. Michael Sopher and Dr. Debra Vilinsky

Mr. Hamid Soroudi

Shondell and Ed Spiegel

Ms. Angelika Stauffer

Mr. and Mrs. Pierre Steele

Mr. and Mrs. Joseph Stein

Jeff and Peg Stephens

Mr. Scott Stephens

Hilde Stephens-Levonian

Mr. Roy Sukimoto

Ed and Peggy Summers

Deborah May and Ted Suzuki

Mr. and Mrs.

Larry W. Swanson

David Jan Takata

Mr. Marc A. Tamaroff

Mr. Glenn Tan

Judith Taylor

Mrs. Elayne Techentin

Mr. Nick Teeter

Suzanne Thomas

Mr. and Mrs.

Harlan H. Thompson

Ms. Evangeline M. Thomson

Tichenor & Thorp

Architects, Inc.

Tina Gittelson

John Tootle

Mr. and Mrs. Leonard Unger

Ingrid Urich-Sass

The Valley Committees for the Los Angeles

Philharmonic

Vargo Physical Therapy

David H. Vena

Dorrit Vered and Jerome Vered

Adriana Vinson

Jenny Vogel

Elliott and Felise Wachtel

Christopher V. Walker

Mr. Eldridge Walker

Kathy S. Walton

J. Leslie Waxman

Craig R. Webb and Melinda Taylor

Ms. Diane C. Weil and Mr. Leslie R. Horowitz

Robert Weingarten

Mr. and Mrs. Doug M. Weitman

JOSH KLINE: CLIMATE CHANGE

Robert and Penny White

Mr. William A. White

Mr. and Mrs.

Kenneth Williams

Tom and Lisa Williams

Mr. Lee Winkelman and Ms. Wendey Stanzler

Dr. and Mrs.

Daniel H. Wiseman

Lori Wolf

Delores M. Komar and Susan M. Wolford

Scott Lee and Karen Wong

Chris and Melissa Wood

Linda and John Woodall

Robert Wyman

Damier Xandrine

Susan Young

Mrs. Lillian Zacky

Mr. William Zak

Zamora & Hoffmeier, A Professional Corporation

Dr. and Mrs. Martin Zane

Rudolf H. Ziesenhenne

Rachel and Michael Zugsmith

Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit laphil.com.

If your name has been misspelled or omitted from the list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.

CITY OF LOS ANGELES

Karen Bass Mayor

Hydee Feldstein Soto City Attorney

Kenneth Mejia Controller

CITY COUNCIL

Bob Blumenﬁeld

Kevin de León

Marqueece Harris-Dawson

Eunisses Hernandez

Heather Hutt

Paul Krekorian President

John S. Lee

Tim McOsker

Imelda Padilla

Traci Park

Curren D. Price, Jr.

Nithya Raman

Monica Rodriguez

Hugo Soto-Martínez

Katy Young Yaroslavsky

DEPARTMENT OF CULTURAL AFFAIRS

Daniel Tarica General Manager

CULTURAL AFFAIRS COMMISSION

Thien Ho President

Robert Vinson Vice President

Natasha Case

Ray Jimenez

Asantewa Olatunji

Cathy Unger

Tria Blu Wakpa

WALT DISNEY CONCERT

HALL HOUSE STAFF

Sergio Quintanar

Master Carpenter

Marcus Conroy

Master Electrician

Kevin F. Wapner

Master Audio/Video

Greg Flusty House Manager

The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada, Local No. 33.

SANTA BARBARA’S PROFESSIONAL THEATRE COMPANY

POOL CIRCLE

The LA Phil is pleased to recognize and thank the following Pool Circle supporters. We are deeply grateful for the generosity received for the 2024 Hollywood Bowl season.

Anonymous (6)

ABC Entertainment

Mrs. Lisette Ackerberg

Mr. Gregory A. Adams

Ms. Barbara Adams-Mitchell

Arnon and Camille Adar

Dr. and Mrs. Frank Agrama

Nancy Furse Alder

Edgar Aleman

Missy and Dennis Alﬁeri

Mr. and Mrs.

Stephen L. Allen

Mr. Ronald Altoon

Dariush Arfaania

Avery Dennison

Corporation

Bank of America

Ms. Elizabeth Barbatelli

Dr. Richard Bardowell, M.D.

Karen and Jonathan Bass

Gia Battocchio and Carrie Battocchio

Menachem

Mr. Robert Bellevue

Dr. William Benbassat

Barbara Bernstein and Stephen R. Bernstein

Mr. and Mrs. Gregg and Dara Bernstein

Beverly Hills Plastic Surgery, Inc.

Samuel and Erin Biggs

Mr. and Mrs.

Norris J. Bishton, Jr.

Mr. and Mrs.

John Blasius

Mr. Michael Blea

Martha and Avrum Bluming

Mr. Jay Borzi

Ms. Bonnie Brae

John and Annette Brende

Gabriel and Deborah Brener

Abbott Brown

Mrs. Linda L. Brown

Patricia Bulkeley

Mr. Ronald W. Burkle

Canon Insurance Service

Mara and Joseph Carieri

Mr. Ernie Carswell and Mr.

Donald Kreindler

Andrea ChaoKharma and Kenneth Kharma

Chicago Title

Company

Helen and Morgan Chu

The Cloobeck

Family

Bruce M. Cohen, Esq.

Mr. Garrett Collins and Mr. Matthew McIntyre

Mr. Robert Corwin

Arline and Michael Covell

Faye and Bob Davidson

Kelvin and Hana Davis, in honor of Mary Davis

Orna and David Delrahim

Ms. Rosette Delug

Mr. John Devoe

Mr. Kevin Dill

Michael Dillon

Martin and Geraldine Dirks

Elizabeth and Kenneth M. Doran

Malsi and Johnny Doyle

Kathleen and Jerry L. Eberhardt

Anna Sanders

Eigler

Dr. David Eisenberg

Geof Emery

Dr. Annette Ermshar and Dan Monahan

Dr. James Eshom

Marc Ezralow

Mr. Brad Fauvre

Mr. C. Randolph

Fishburn and Mr. Andrew Sands

Pauline and Gordon Freshman

Joan Friedman,

Ph.D., and Robert N. Braun, M.D.

Mr. and Mrs. Josh Friedman

Mrs. Brenda L. Galloway

Rachel Gerstein

The Rosalinde and Arthur Gilbert Foundation

Leslie and Clif Gilbert-Lurie

Kiki Ramos

Gindler and David Gindler

Mr. and Mrs.

Gregg J. Gittler

Paige and David Glickman

Greg and Etty Goetzman

Mr. and Mrs.

Ronald Goldberg

Henry J. Gonzalez, M.D.

Daniel Gore

Mr. and Mrs.

Ken Gouw

Mr. Jef Green

Leonard Green and Partners LP

Tricia and Richard Grey

Mr. Alan Grosbard and Ms.

Karen Bobo

Renée and Paul Haas

Mr. and Mrs.

David Haddad

Rod Hagenbuch

Ms. Timi Hallem

Hancock Park

Associates

Mr. and Mrs.

John Hancock

Dwight Hare and Stephanie Bergsma

Mr. Les Harrison

Kaitlin and Jonathan Hawk

Lynette Hayde

Mr. and Mrs.

Kenneth Hearn

Mr. and Mrs.

Irwin Helford and Family

Mr. and Mrs.

Enrique

Hernandez, Jr.

Mr. and Mrs.

Kenneth Hertz

Dr. and Mrs.

Warren F.

Hofman

Janice and Laurence

Hofmann

K. Hohman Family

Heather and Chris Holme

Mr. and Mrs. Philip J. Holthouse

Mr. Benjamin Hops

Mr. and Mrs.

Daniel Paul Horwitz

Ms. Julia Huang

Mrs. Bonnie Hutchins

Dr. and Mrs.

Mark H. Hyman

Shelby and Jason Istrin

Mr. and Mrs.

Theodore W.

Jackson

Mr. Richard Jacobs

Ms. Lorri L. Jean and Ms.

Gina M. Calvelli

Mrs. Michelle

Joanou

Jones Day Jones Marketing Services

Gary Kading

Monique and Jonathan Kagan

Jo Ann and Charles Kaplan

Mr. and Mrs.

Joshua R. Kaplan

Linda and

Donald Kaplan

Dr. and Mrs.

Robert M. Karns

Tobe and Greg Karns

Rizwan and Hollee Kassim

Jerry Katell

Kem Productions, Inc.

Richard Kendall and Lisa See

Darioush and Shahpar Khaledi

Vicki King

Mr. Gary

Kirkpatrick and Mrs. Rebeccah

Bush Kirkpatrick

Ms. Madeleine

A. Kleiner

Michael and Patricia Klowden

Dr. and Mrs.

Robert Koblin

Carla and Archy Kotoyantz

KPMG LLP

Mr. and Mrs.

Stanley Kramer

Sandra Krause and William

Fitzgerald

Eric Kunze

Tom Lallas and Sandy Milo

The Norman and Sadie Lee

Foundation

Mr. and Mrs.

Russ Lesser

Saul Levine

Mr. and Mrs.

Steven Levine

Lydia and Charles Levy

Allison and Thomas S. Levyn

Ms. Agnes Lew

Marie and Edward Lewis

Mr. Stuart Liner

Mr. and Mrs.

Steve Loeb

Mr. and Mrs.

Robert Lopata

Shelly and Dennis Lowe

Ms. Marion Lowry

Dr. and Mrs.

Franklin W. Lusby

Theresa Macellaro

/ The Macellaro

Law Firm

Barbara Marshall

Mr. Gary J. Matus

Mr. and Mrs. Brad McCroskey

Dwayne and Eileen McKenzie

Sharyl and Rafael Mendez, M.D.

Marc and Ashley Merrill

Mr. and Mrs.

Bruce A. Meyer

David and Margaret Mgrublian

Ms. Julie Milligan

Ms. Cynthia Mitchell

Montessori School

Mr. David S. Moromisato

Michael J. Morris and Julie A. Dopheide

Susan Morse

Christy Mozilo

Larsen

Ms. Christine Muller and Mr. John Swanson

Mr. Jose Luis Nazar

Mumsey and Allan Nemirof

Mr. Jerold B. Neuman

Dr. and Mrs. Jay Orringer

Ana Paludi and Michael Lebovitz

M. David and

Diane Paul

Mr. and Mrs.

Joseph P. Perna

Lorena and R. Joseph Plascencia

Mr. Mark E. Pollack

Lyle and Lisi Poncher

Mr. Michael Poole

Resource Direct

Mr. Max Rifkind-Barron

Betsey and Neil Roberts

Ms. Iva C. Roberts

Ari Rosenblatt, D.D.S.

James and Laura Rosenwald/ Orinoco Foundation

Joyce and Deane Ross

Robyn and Steven Ross

Linda and Tony Rubin

Mr. Larry Ruderman

Katy and Michael S. Saei

The Saitman

Family

Mr. Lee C. Samson

Ellen and

Richard Sandler

David N. Sayah, M.D.

Mr. and Mrs.

Alfred G. Scheid

Mr. and Mrs.

Gerry Schwartz

Dr. Donald Seligman and Dr. Jon Zimmermann

Neil Selman and Cynthia Chapman

Dr. and Mrs. Hrayr

K. Shahinian

Dr. Hanna Shammas

Mrs. S. Shinbane

Dr. and Mrs. Lee B. Silver

June Simmons

Grady and Shelley Smith

Marilyn and Eugene Stein

Hilde StephensLevonian

Ed and Peggy Summers

Mr. David Suruki and Mr. Bob Shahnazarian

Mr. Elgart Aster and Mr. Paul A. Swerdlove

Mr. Stephen A. Talesnick

Mr. and Mrs. Randall Tamura

Mr. Andrew Tennenbaum and Dr. Ali Strocker

Ms. Jennifer

Cannon Terry

Suzanne Thomas Thomson

Technicolor

Jeremy Thurswell

Judith and Dr. John Uphold

Ellen GoldsmithVein and Jon Vein

Joan Velazquez and Joel Kozberg

Noralisa Villarreal and John

Matthew Trott

Western Health Insurance Services, Inc.

Christopher V. Walker

Robert and Nancy Wallan

Lisa and Tim Wallender

Walter and Shirley Wang

Fredda and Bruce

Wasserman

Mr. and Mrs.

Bradley Wayne

Mr. and Mrs.

Stephen Weber

Mr. Beryl Weiner

Mindy and David Weiner

Mr. Joel Weiner

Ms. Galena

Nayberg and Mr. Seth Weissman

Alyce de Roulet

Williamson

Willkie Farr & Gallagher LLP

Mr. Peter Christian and Mr. Robert Wyka

Mr. Dylan Yolles

Mrs. Lillian Zacky

Ms. Seeta Zieger

CONCERT CONDUCT

If the behavior of a patron or patrons near you becomes disruptive, the incident should be reported to the nearest usher or security person. To report an incident discreetly during an event, a text can be placed to the Customer Courtesy Line using the keyword BOWL sent to 69050. For the full Code of Conduct, visit hollywoodbowl.com/houserules.

SMOKING POLICY

By law (LACC 17.04.645), smoking is not permitted on the Hollywood Bowl grounds, except in designated areas. Violators are subject to removal. Smoking in any other areas could lead to arrest and would be considered a misdemeanor.

FIRST AID

In case of illness or injury, please see an usher, who will escort you to the First Aid Station.

LOST AND FOUND

Any lost articles found on concert nights may be claimed at the Operations Ofce the next morning. Unclaimed articles are kept for 30 days from the date they are found. For information, call 323 850 2060.

PHOTOGRAPHS

Your use of a ticket constitutes acknowledgment of willingness to appear in photographs taken in public areas of the Hollywood Bowl and releases the Los Angeles Philharmonic Association, its lessees, and all others from liability resulting from the use of such photographs.

PATRONS WITH DISABILITIES

For information detailing accessible seating, restrooms, dining, on-site transportation, assistive listening devices, or any further information, please request the Map of the Hollywood Bowl for Patrons with Disabilities by phoning 323 850 2125. Please ask for Accessible Services or visit hollywoodbowl.com/accessible

Zev Yaroslavsky Main Gate / Lawrence N. Field Gate / Monique & Jonathan Kagan Patio Norman & Sadie Lee Foundation Pool Circle / Margo & Irwin Winkler Promenade