Performances Magazine | LA Phil, February 2023

FEBRUARY 2023

BOOK I • FEBRUARY 1–12

FEB 1

Colburn Celebrity Recital

Emanuel Ax

FEB 3–4

LA Phil

Ray Chen Plays Mendelssohn

FEB 7

Green Umbrella

LA Phil New Music Group with Paolo Bortolameolli

FEB 9

LA Phil

Yuja Wang & Dudamel: Rachmaninoff Concerto 1

FEB 10

LA Phil

Yuja Wang & Dudamel: Rachmaninoff’s Rhapsody

FEB 11–12

LA Phil

Yuja Wang & Dudamel: Rachmaninoff Concerto 2

BOOK II • FEBRUARY 16–28

FEB 16–17

LA Phil

Yuja Wang & Dudamel: Rachmaninoff Concerto 3

FEB 18–19

LA Phil

Yuja Wang & Dudamel: Rachmaninoff Concerto 4

FEB 23

LA Phil Lang Lang Plays Grieg

FEB 24–26

LA Phil Bruch and Brahms

FEB 25

Sounds About Town

American Youth Symphony and National Children’s Chorus

FEB 28

Chamber Music

Schubert and Prokofiev

Cover images, clockwise from top left: Gustavo Dudamel, Lang Lang, Emanuel Ax, Yuja Wang, Otto Tausk, Simone Lamsma, Ray Chen (center).

Paolo Bortolameolli

Courtney Bryan

Matthias Pintscher

My wealth. My priorities. My

Los Angeles Philharmonic Publications 2023

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One of our highlights this month is an exploration of both the music and life of Sergei Rachmaninoff. The extraordinary Russian pianist and composer wrote some of the most beloved piano works ever performed. Yuja Wang describes Rachmaninoff’s work as “the most sensuous and passionate thing,” a gift to play.

But many might forget that Rachmaninoff was both a naturalized American citizen and an Angeleno, passing away in his home on North Elm Drive in Beverly Hills. The LA Phil Humanities Initiative presents Rachmaninoff Was Here: The Golden Age of Beverly Hills, featuring a series of events celebrating the world the composer found here in the 1940s, including avant-garde artists, musicians, authors, and filmmakers— many of whom shared his émigré background.

Rachmaninoff joins countless past and present-day stories of immigrant artists being welcomed by our community, adding their perspectives and experiences, and building upon those they find here. At one point, two of the architects of 20th-century revolution in classical music—Igor Stravinsky and Arnold Schoenberg—lived only a few miles apart in Los Angeles. This legacy serves to remind us of a Southern California history worth remembering and to highlight a spirit of openness that we continue to foster and renew, in our music and in our communities.

Chad Smith Chief Executive Officer

David C. Bohnett Chief Executive Officer Chair Los Angeles Philharmonic Association

Board of Directors

CHAIR

Thomas L. Beckmen*

CEO

Chad Smith

VICE CHAIRS

David C. Bohnett*

Reveta Bowers*

Jane B. Eisner*

David Meline*

Diane Paul*

Jay Rasulo*

DIRECTORS

Nancy Abell

Gregory A. Adams

Julie Andrews

Linda Brittan

Jennifer Broder

Kawanna Brown

Andrea Chao-Kharma*

R. Martin Chavez

Christian D. Chivaroli, JD

Donald P. de Brier*

Louise D. Edgerton

Lisa Field

David A. Ford

Alfred Fraijo, Jr.

Jennifer Miller Goff*

Carol Colburn Grigor

Marian L. Hall

Antonia Hernandez*

Teena Hostovich

Jonathan Kagan*

Darioush Khaledi

Winnie Kho

Francois Mobasser

Margaret Morgan

Leith O’Leary

Andy Park

Sandy Pressman

Richard Raffetto

Geoff Rich

Laura Rosenwald

G. Gabrielle Starr

Jay Stein*

Christian Stracke*

Jason Subotky

Ronald D. Sugar*

Vikki Sung

Jack Suzar

Sue Tsao

Jon Vein

Megan Watanabe

Regina Weingarten

Alyce de Roulet

Williamson

Irwin Winkler

Debra Wong Yang

HONORARY LIFE DIRECTORS

Frank Gehry

Lenore S. Greenberg

Bowen H. “Buzz” McCoy

*Executive Committee Member as of October 1, 2022

LETTER FROM THE CEO

GUSTAVO DUDAMEL

Music & Artistic Director, Walt and Lilly Disney Chair

of legendary film composer John Williams with a Gala event. Further highlights with the LA Phil include 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 Rachmaninoff with Yuja Wang; and the return of Wagner’s Tristan und Isolde, directed by Peter Sellars, with video by Bill Viola.

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 underserved communities. He currently serves as the Music & Artistic Director, Walt and Lilly Disney Chair, of the Los Angeles Philharmonic and Music Director of the Opéra National de Paris and 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 continue their visionary, multiyear Pan-American Music Initiative and celebrate the 90th birthday

Following his inaugural season as Music Director of the Paris Opera, the 2022/23 season features 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, 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 April 2022, Dudamel conducted the LA Phil and a star-studded cast in a new 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 transformative experience as a youth in El Sistema,

Venezuela’s immersive musical training program, Dudamel with the LA Phil and its community partners founded YOLA (Youth Orchestra Los Angeles) in 2007, now providing 1,500 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 65 releases, including recent Deutsche Grammophon LA Phil recordings of Mahler’s Symphony No. 8, which won the Grammy® for Best Choral Performance, and the complete Charles Ives symphonies and Andrew Norman’s Sustain, which both won the Grammy Award® for Best Orchestral Performance.

For more information about Gustavo Dudamel, visit his official 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 2022/23 season is the orchestra’s 104th.

More than 250 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, The Ford, and the famed Hollywood Bowl. 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 worldfamous 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, with wide-ranging performances in the schools, churches, and neighborhood centers of a vastly diverse community. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles), inspired by Venezuela’s revolutionary El Sistema. Through YOLA, the LA Phil and its community partners now provide free instruments, intensive music instruction, and leadership training to 1,500 students from underserved neighborhoods, 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, and Andrew Norman. Deutsche Grammophon has released a comprehensive box set in honor of the orchestra’s centennial.

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

LOS ANGELES PHILHARMONIC

Gustavo Dudamel

Music & Artistic

Director

Walt and Lilly Disney Chair

Zubin Mehta

Conductor Emeritus

Esa-Pekka Salonen

Conductor Laureate

Susanna Mälkki

Principal Guest

Conductor Ann Ronus Chair

Paolo Bortolameolli

Associate Conductor

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 Affiliates Chair

Rebecca Reale

Michele Bovyer

Deanie and Jay Stein Chair

Rochelle Abramson

Camille Avellano

Margaret and Jerrold

L. Eberhardt Chair

Minyoung Chang

I.H. Albert Sutnick Chair

Tianyun Jia

Jordan Koransky

Mischa Lefkowitz

Edith Markman

Ashley Park

Stacy Wetzel

Justin Woo

SECOND VIOLINS

Lyndon Johnston Taylor

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

Nickolai Kurganov

Varty Manouelian

Michelle Tseng

Suli Xue

Gabriela Peña-Kim*

Sydney Adedamola*

Eugene and Marilyn Stein LA Phil Resident Fellow Chair

VIOLAS

Teng Li Principal

John Connell Chair

Ben Ullery

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

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

Marc Lachat

Principal

Carol Colburn Grigor Chair

Marion Arthur Kuszyk

Associate Principal

Anne Marie Gabriele

Carolyn Hove

English Horn

Carolyn Hove

Alyce de Roulet Williamson Chair

CLARINETS

Boris Allakhverdyan

Principal

Michele and Dudley Rauch Chair

Burt Hara

Associate Principal

Andrew Lowy

E-Flat Clarinet

Andrew Lowy

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

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

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

Jeffrey Strong

TROMBONES

David Rejano

Cantero Principal

James Miller

Associate Principal

Judith and Thomas L. Beckmen Chair

Paul Radke

Bass Trombone

John Lofton Miller and Goff Family Chair

TUBA

James 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

Justin Ochoa*

KEYBOARDS

Joanne Pearce Martin

Katharine Bixby Hotchkis Chair

HARP

Emmanuel Ceysson Principal

Ann Ronus Chair

LIBRARIANS

Stephen Biagini

Benjamin Picard

KT Somero

CONDUCTING FELLOWS

Rodolfo Barráez

Linhan Cui

Chloé Dufresne

Luis Toro Araya

* Judith and Thomas L. Beckmen L A Phil Resident Fellow

+ on sabbatical

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.

A healthy note from Kaiser Permanente:

Official partner in health & harmony

Music is good for you — mind, body, and spirit.

Chad Smith

CHIEF EXECUTIVE OFFICER

David C. Bohnett Chief Executive Officer Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CHIEF EXECUTIVE OFFICER

EXECUTIVE TEAM

Summer Bjork

CHIEF OF STAFF

Nora Brady

SENIOR VICE PRESIDENT, MARKETING & COMMUNICATIONS

Glenn Briffa

CHIEF FINANCIAL OFFICER

Margie Kim

CHIEF PHILANTHROPY OFFICER

Emanuel Maxwell

CHIEF TALENT AND EQUITY OFFICER

Renae Williams Niles

CHIEF CONTENT & ENGAGEMENT OFFICER

Mona Patel

GENERAL COUNSEL

Daniel Song

CHIEF OPERATING OFFICER

Meghan Umber

SENIOR VICE PRESIDENT, PROGRAMMING

SENIOR MANAGEMENT

TEAM

Laura Connelly

GENERAL MANAGER, HOLLYWOOD BOWL; VICE PRESIDENT, PRODUCTION

Cynthia Fuentes

DIRECTOR, THE FORD

Elsje

Kibler-Vermaas

VICE PRESIDENT, LEARNING

Sara Kim

VICE PRESIDENT, PHILANTHROPY

Johanna Rees

VICE PRESIDENT, PRESENTATIONS

Carlos Singer

DIRECTOR, GOVERNMENT & COMMUNITY ENGAGEMENT

Julia Ward

DIRECTOR, HUMANITIES

ADMINISTRATION

Stephanie Bates

COVID MONITOR

Michael Chang

DATABASE ADMINISTRATOR

Alex Hernandez

MANAGER, OFFICE SERVICES

Kevin Higa

CLOUD INFRASTRUCTURE

ENGINEER

Dean Hughes

SYSTEM SUPPORT III

Charles Koo

INFRASTRUCTURE MANAGER

Kevin Ma

SENIOR MANAGER, STRATEGIC INITIATIVES

Jeff Matchan

DIRECTOR, INFORMATION

TECHNOLOGY

Sergio Menendez

SYSTEM SUPPORT I

Edward Mesina

INFRASTRUCTURE ENGINEER

Angela Morrell

TESSITURA SUPPORT

Marius Olteanu

IT SUPPORT ENG I

Sean Pinto

DATABASE APPLICATIONS

MANAGER

Miguel A. Ponce, Jr.

SYSTEM SUPPORT I

Christopher Prince

TESSITURA SUPPORT

Mark Quinto

DIRECTOR, IT SERVICES

Aly Zacharias

DIRECTOR, LEGAL

ARTISTIC PLANNING & PRESENTATIONS

Emily Davis ARTIST LIAISON

Kristen

Flock-Ritchie

PROGRAMMING MANAGER

Brian Grohl

PROGRAM MANAGER, POPS /

MANAGER, HOLLYWOOD BOWL

ORCHESTRA

Ljiljana Grubisic

ARCHIVES AND MUSEUM

DIRECTOR

Daniel Mallampalli

SENIOR PROGRAMMING

MANAGER

Rafael Mariño

PROGRAM MANAGER

Meredith Reese

DIGITAL ASSET MANAGER

Ayrten Rodriguez

SENIOR PROGRAM MANAGER

Stephanie Yoon

ARTIST SERVICES MANAGER

AUDIENCE SERVICES

Denise Alfred REPRESENTATIVE

Vilma Alvarez

SUPERVISOR

Brendan Broms

SUPERVISOR

Diego Delatorre

SUPERVISOR

Jacquie Ferger

REPRESENTATIVE

Jennifer Hugus

PATRON SERVICES

Erika Jenko

PATRON SERVICES

Bernie Keating

REPRESENTATIVE

William Minor

REPRESENTATIVE

Rosa Ochoa

AUDIENCE SERVICES MANAGER

Karen O’Sullivan

REPRESENTATIVE

Eden Palomino

REPRESENTATIVE

Teresa Phillips

SUPERVISOR

Richard Ponce

REPRESENTATIVE

Michelle Sov

REPRESENTATIVE

WALT DISNEY

CONCERT HALL BOX OFFICE

Donella Coffey

2ND ASSISTANT TREASURER

Christy Galasso

1ST ASSISTANT TREASURER

Veronika Garcia

1ST ASSISTANT TREASURER

Alex Hennich

TICKET SELLER

Amy Lackow

2ND ASSISTANT TREASURER

Elia Luna

TICKET SELLER

Page Messerly

TREASURER

Ariana Morales

1ST ASSISTANT TREASURER

Carolina Orellana

2ND ASSISTANT TREASURER

Cathy Ramos

TICKET SELLER

Elias Santos

2ND ASSISTANT TREASURER

John Tadena

TICKET SELLER

Carlie Tomasulo

2ND ASSISTANT TREASURER

FINANCE

Jyoti Aaron CONTROLLER

Adriana Aguilar PAYROLL ADMINISTRATOR

Steven Cao

ACCOUNTING MANAGER

Katherine Franklin

VENUE ACCOUNTING SUPERVISOR

Lisa Hernandez

ACCOUNTS PAYABLE MANAGER

LaTonya Lindsey

ACCOUNTS PAYABLE COORDINATOR

Debbie Marcelo

FINANCIAL PLANNING MANAGER

Wade Mueller PAYROLL MANAGER

Kristine Nichols

PAYROLL COORDINATOR

Yuri Park FINANCIAL PLANNING ANALYST

Nina Phay PAYROLL ADMINISTRATOR

Lisa Renteria ACCOUNTS PAYABLE SPECIALIST

Sierra Shultz

STAFF ACCOUNTANT

HOLLYWOOD BOWL & THE FORD

Steve Arredondo

TRANSIT MANAGER

Gabriella Isabel

Hernandez COORDINATOR, THE FORD

Norm Kinard

PARKING & TRAFFIC MANAGER

Mark Ladd DIRECTOR, OPERATIONS/ HOLLYWOOD BOWL

Gina Leoni OPERATIONS MANAGER, THE FORD

Megan Ly-Lim OPERATIONS COORDINATOR, HOLLYWOOD BOWL

Tom Waldron

OPERATIONS MANAGER, HOLLYWOOD BOWL

HUMAN

RESOURCES

Melissa Magdaleno

HR COORDINATOR

Bryan Namba

HR BUSINESS PARTNER

Frank Patano

BENEFITS MANAGER

LEARNING

Anthony Crespo

PROGRAM MANAGER, YOLA AT TORRES

Camille DelaneyMcNeil

DIRECTOR, YOLA

Fabian Fuertes

SENIOR MANAGER, YOLA

Julie Hernandez

FACILITIES MANAGER, BECKMEN YOLA CENTER

Lorenzo Johnson

PROGRAM MANAGER, YOLA AT INGLEWOOD

Mariam Kaddoura

MANAGER, LEARNING

Diana Melgar

ASSISTANT MANAGER, YOLA

Gaudy Sanchez

YOLA ARTISTIC ADMINISTRATOR

MARKETING & COMMUNICATIONS

Micaela AccardiKrown MANAGER, SOCIAL MEDIA

Mary Allen

SENIOR MANAGER, SOCIAL MEDIA

Lushia Anson

MARKETING & COMMUNICATIONS COORDINATOR

Scott Arenstein

SENIOR DIRECTOR, BRAND

Janice Bartczak

DIRECTOR, RETAIL SERVICES

Lisa Burlingham

DIRECTOR, MARKETING

Charles Carroll

MANAGER, MARKETING

COMMUNICATIONS

Joe Carter SENIOR DIRECTOR, SALES & CUSTOMER EXPERIENCE

Elias Feghali ASSOCIATE DIRECTOR, AUDIENCE STRATEGIES & ANALYTICS

Justin Foo ASSOCIATE DIRECTOR, SALES & CUSTOMER ENGAGEMENT

Caila Gale

DIGITAL PRODUCER

Tara Gardner MANAGER, DIGITAL MARKETING

Karin Haule

GRAPHIC DESIGNER

Annisha Hinkle

SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS

Jennifer Hoffner

ASSOCIATE DIRECTOR, ADVERTISING

Linda Holloway

PATRON SERVICES MANAGER

Sophie Jefferies

DIRECTOR, PUBLIC RELATIONS

Alexis Kaneshiro

SENIOR GRAPHIC DESIGNER

Jediah McCourt

MANAGER, CORPORATE PARTNERSHIPS

Ino Mercado

RETAIL MANAGER, MERCHANDISING

Ricky O’Bannon

DIRECTOR, CONTENT

Erin Puckett

MARKETING COORDINATOR, PROMOTIONS & PARTNERSHIPS

Andrew Radden DIRECTOR, CORPORATE PARTNERSHIPS

Anna Ress

SENIOR DIRECTOR, COMMUNICATIONS

Tristan Rodman

SENIOR PRODUCT MANAGER

Martin Sartini Garner

CREATIVE COPYWRITER

Mary Smudde

ASSOCIATE CREATIVE DIRECTOR

Natalie Suarez

SENIOR CREATIVE DIRECTOR

Kahler Suzuki

VIDEO PRODUCER

Jonathan Thomas

MARKETING DATABASE

SPECIALIST

Holly Wallace

PUBLICIST

Lauren Winn

SENIOR PROJECT MANAGER, CREATIVE SERVICES

ORCHESTRA

MANAGEMENT & MEDIA INITIATIVES

Shana Bey

DIRECTOR, ORCHESTRA

MANAGEMENT

Kristie Chan

DIRECTOR, ORCHESTRA

PERSONNEL

Jessica Farber

ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Raymond Horwitz

PROJECT MANAGER, MEDIA INITIATIVES

Maren Slaughter

MANAGER, ORCHESTRA

PERSONNEL

PRODUCTION

Isabella Gorden

PRODUCTION ASSOCIATE

Alex Grossman

PRODUCTION MANAGER

Tina Kane

SCHEDULING MANAGER

Taylor Lockwood

ASSOCIATE PRODUCTION

MANAGER

Kimberly Mitchell

PRODUCTION MANAGER

Christopher Slaughter

PRODUCTION MANAGER

Michael Vitale

DIRECTOR, PRODUCTION

Kelvin Vu

TECHNICAL DIRECTOR

Bill Williams

PRODUCTION ADMINISTRATOR

PHILANTHROPY

Robert Albini

DIRECTOR, MAJOR GIFTS

Joshua Alvarenga

SENIOR MAJOR GIFTS OFFICER

Nancy Baxter

DIRECTOR OF GIFT PLANNING

Taylor Burrows

SENIOR COORDINATOR, GIFT PLANNING

Julia Cole

DIRECTOR, INSTITUTIONAL GIVING

Chelsea Downes

DIRECTOR, ANNUAL GIVING

Valeri Estrada

PHILANTHROPY OPERATIONS

SPECIALIST

Joel Fernandez

SENIOR RESEARCH ANALYST

Elan Fields GIFT & DATA SPECIALIST

Clara Fuhrman

SENIOR COORDINATOR, MAJOR GIFTS

Freyja Glover ASSISTANT MANAGER, ANNUAL FUND

Genevieve Goetz

GIFT PLANNING OFFICER

Angelina Grego

SENIOR COORDINATOR OF AFFILIATES/ANNUAL FUND

Gerry Heise

SENIOR MAJOR GIFTS OFFICER

Ashley Helm

ASSISTANT MANAGER, SPECIAL EVENTS

Crystal Jones

ASSOCIATE DIRECTOR, MAJOR GIFTS

Julian Kehs

MANAGER, INSTITUTIONAL GIVING

Emily Lair MAJOR GIFTS OFFICER

Christina Magaña

DONOR RELATIONS ASSOCIATE

Allison Mitchell

DIRECTOR, BOARD RELATIONS

Gisela Morales

MAJOR GIFTS OFFICER

Ryan Murphy

ASSISTANT MANAGER, SPECIAL EVENTS

Sophie Nelson

DONOR RELATIONS ASSISTANT

Ragan Reviere DIRECTOR/PRODUCER, SPECIAL EVENTS

Carina Sanchez

SENIOR MANAGER, RESEARCH AND PROSPECT DEVELOPMENT

Erica Sitko

DIRECTOR, STEWARDSHIP & PRINCIPAL GIFT STRATEGY

Peter Szumlas ASSOCIATE DIRECTOR, PHILANTHROPY OPERATIONS

Tyler Teich

SENIOR GIFT AND DATA SPECIALIST

Derek Traub MANAGER, PHILANTHROPY COMMUNICATIONS

Kevin Tsao ASSISTANT MANAGER, ANNUAL GIVING & SPECIAL PROJECTS

Morgan Walton ASSOCIATE DIRECTOR, SPECIAL EVENTS AND AFFILIATES

Richard T. Watkins ASSOCIATE DIRECTOR, PHILANTHROPY

The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.

MAR 3 & MAR 4

Shamel Pitts TRIBE

Touch of Red

Freud Playhouse

MAR 11

DakhaBrakha

The Theatre at Ace Hotel

MAR 25

Sam Green

32 Sounds

The Theatre at Ace Hotel

APR 29

Perla Batalla & Quetzal

Royce Hall

APR 30

Dream House Quartet

Katia & Marielle Làbeque, Bryce Dessner & David Chalmin

Royce Hall

2023 SPRING PROGRAMS

Tickets on sale January 26

Visit cap.ucla.edu/spring2023

MAY 7

Avery*Sunshine

The Theater at Ace Hotel

MAY 11

Quinteto Astor

Piazzolla

Royce Hall

MAY 12

The Small Glories

Royce Hall Terrace

MAY 21

Matthew Whitaker

The Theater at Ace Hotel

JUN 22

Dan Froot & Company Podcast

Royce Hall

Rehearsal Room

By Harlow Robinson

When Russian composer/pianist Sergei Rachmaninoff (1873–1943) settled in Los Angeles in early 1942, he joined a large community of European musicians and composers seeking refuge under the palm trees and sunshine from the rising dangers of fascism, Communism, anti-Semitism, and violence in their home countries.

Austrian Arnold Schoenberg (1874–1951), father of the New Viennese School of serial composition, had arrived in 1933 and would remain in LA until his death in 1951. He taught at UCLA from 1936 to 1944; the university’s music building bears his name. Russian Igor Stravinsky (1882–1971) of Firebird and Rite of Spring fame had settled in the City of Angels in 1940 after years of nomadic

existence spent outside Russia. Eventually, Stravinsky and his wife, Vera, took up permanent residence in a trim little house at 1260 North Wetherly Drive in West Hollywood, where he remained for nearly 30 years. “If there ever was a home for Stravinsky, it was the house in West Hollywood,” EsaPekka Salonen, Conductor Laureate of the Los Angeles Philharmonic, once observed.

Many other, less famous, European émigré composers also gravitated to the safety and opportunities (especially in the fast-growing movie business) of Los Angeles in the 1930s and ’40s: Austrian Erich Korngold, Russians Vernon Duke (né Vladimir Dukelsky) and Dimitri Tiomkin, Hungarian Miklós Rózsa, Czech Ernst Krenek. Hundreds of prominent émigré

Continued on page 16

WINTER @ THE WALLIS

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SUNDAY FUNDAY: Parker Bent, Broadway Babies, Dance Sunday with Debbie Allen & Friends: Flamenco

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Luminario Ballet of Los Angeles

FEB 23

Anthony McGill & The Pacifica Quartet

FEB 25

Santa Cecilia Orchestra

2022/2023

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ANTHONY MCGILL & THE PACIFICA QUARTET

SANTA CECILIA ORCHESTRA LUMINARIO BALLET OF LOS ANGELES

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DAHLAK BRATHWAITE: TRY/STEP/TRIP

musicians also set up shop here, including (to name only a few) violinist Jascha Heifetz (from Lithuania), and pianist Vladimir Horowitz and cellist Igor Piatigorsky, both born in Ukraine.

By the time he settled in LA, Rachmaninoff had been in emigration for nearly 25 years and was in the twilight of his career. His production of new works declined drastically after he fled Bolshevik Russia in 1918, but he had become wealthy and celebrated from his extensive tours as a piano virtuoso. At first, he lived in Europe, but moved to Long Island in 1939 to escape the coming war, then finally to California. At age 69, he was seriously ill, suffering from a variety of ailments: sclerosis, lumbago, neuralgia, high blood pressure, and headaches. He leased a house on Tower Road in

Benedict Canyon in Beverly Hills, complete with swimming pool, garden, sweeping views, and a music room that could accommodate two grand pianos. There he loved to play twopiano works and adaptations with his friend Vladimir Horowitz.

On occasion, the two keyboard titans hosted domestic recitals. Rachmaninoff’s friend Sergei Bertensson attended a particularly memorable one on June 15, 1942, featuring a program of works by Mozart and Rachmaninoff (the Second Suite for two pianos). “After the last note, no one spoke— time seemed to have stopped.

I, for one, forgot that I was living in Hollywood, where the word ‘art’ has a habit of slipping from one’s memory.”

Rachmaninoff and his guests also did lots of talking, especially

about the worsening situation in Europe and its impact on their family and friends. “Over dinner with the Horowitzes and other expatriate friends, the composer would talk about his feelings of guilt that he should be living in such luxury,” Bertensson later recalled. A few months later, Rachmaninoff bought a small house on Elm Drive in Beverly Hills, where he continued to host musical evenings. Around the same time, he was offered the position of music director of the Los Angeles Philharmonic, but turned it down, owing to his precarious health and dislike of the routine of conducting. (The position had been vacant since 1939, when Otto Klemperer departed for health reasons.) Sadly, Rachmaninoff

Continued on page 18

Above: Sergei Rachmaninoff. Right: Program for his 1942 performance with the Los Angeles Philharmonic led by Bruno Walter.

For 50 years, California Institute of the Arts has been a place where creative individuals come together to experiment, practice, teach, and learn as a community of artists. Their impact and influence have transformed the cultural landscape of Los Angeles and beyond.

As we celebrate this milestone anniversary, we look to our artists to challenge what has come before and show us what could be for generations to come.

Celebrating California Institute of the Arts’ 50th Anniversary

Top right: Fall 2022 photoshoot for The Sharon Disney Lund School of Dance at CalArts. Photo: Josh Rose.

Bottom right: From The School of Theater’s production of The Glass Mountain

At left: From a CalArts School of Art Practicum course titled, Waste Not

lived in his new house for only a few months before he died of cancer on March 28, 1943. His funeral was held in the tiny Russian Orthodox Church on Micheltorena Street in Silver Lake, whose incongruous onion domes rise today above the crush of traffic on the 101 Freeway.

When Rachmaninoff moved to Los Angeles, he was much better known in America than Stravinsky—or Schoenberg. In planning the animated musical feature that became Fantasia, Walt Disney at first envisioned Rachmaninoff playing his Second Piano Concerto. “I don’t know anything about music,” Disney is alleged to have told Leopold Stokowski, longtime conductor of the Philadelphia Orchestra, “but I have heard of Rachmaninoff for a long time.” In the end, Rachmaninoff never worked on any Hollywood projects, but his late romantic style was widely imitated in film scores, and his music was used in numerous

films, including Vincente Minelli’s The Story of Three Loves (featuring the Rhapsody on a Theme of Paganini) and David Lean’s Brief Encounter (Second Piano Concerto).

Rachmaninoff’s social circle in Los Angeles consisted mainly of other émigrés, mostly Russian. The Stravinskys lived nearby and received an invitation to dinner. At that historic meeting of two of the greatest Russian composers of all time, the conversation (according to Bertensson) dealt not with important aesthetic questions, however, but rather with nuts-and-bolts matters of the American music business, especially concert bureaus and royalties. “A few days later,” writes Stravinsky’s biographer Stephen Walsh, “Rachmaninoff arrived on his colleague’s doorstep with a huge jar of honey, a product for which Stravinsky had confessed a liking.”

A devout Russian Orthodox believer, Rachmaninoff was known for his generosity

to those in need. When his longtime friend, stage and film actor/director/ pedagogue Michael Chekhov (nephew of playwright Anton Chekhov), who had emigrated to the USA in 1935, was facing financial ruin in New York, Rachmaninoff spared no expense in helping to bring him to Hollywood, where Chekhov found work and stability.

Chekhov was deeply touched by Rachmaninoff’s kindness, extended when the composer was already seriously ill. “I kept waiting for the day when I could personally thank him for his indispensable help,” wrote Chekhov in his memoirs, “but he was quickly slipping away, and I did not have the opportunity to see him. Just a few days before his death, I did manage to send him a short note and a bouquet of red roses. I thanked him in my thoughts when I kissed his cold, beautiful hand at the funeral service in the small Russian church.”

—HARLOW ROBINSON

Rachmaninoff called Beverly Hills home for a brief but important period from 1942 to 1943. The LA Phil Humanities Initiative explores the creative communities of the time in a series of special events.

The LA Phil Humanities Initiative is generously supported by Linda and David Shaheen.

THE STORY THAT DEFINED A GENERATION. AN UNMISSABLE WORLD PREMIERE.

In Tulsa, Oklahoma, 1967, the hardened hearts and aching souls of Ponyboy Curtis, Johnny Cade and their chosen family of ‘outsiders’ are in a fight for survival and a quest for purpose in a world that may never accept them. A story of the bonds that brothers share and the hopes we all hold on to, this gripping new musical reinvigorates the timeless tale of ‘haves and have nots’, of protecting what’s yours and fighting for what could be.

BEGINS FEB 19

TICKETS WILL SELL OUT! PRODUCTION

Emanuel Ax

Emanuel Ax, piano

SCHUBERT Piano Sonata in A major, D. 664, Op. posth. 120 (c. 20 minutes)

Allegro moderato

Andante

Allegro

SCHUBERT-LISZT Four Songs (c. 18 minutes)

“Aufenthalt”

“Liebesbotschaft”

“Der Müller und der Bach”

“Horch, horch! Die Lerch”

LISZT Années de pèlerinage, I. Suisse, S. 160 (c. 12 minutes)

6. Vallée d’Obermann

INTERMISSION

SCHUBERT Piano Sonata in B-flat major, D. 960 (c. 40 minutes)

Molto moderato

Andante sostenuto

Scherzo: Allegro vivace con delicatezza—Trio

Allegro ma non troppo

Programs and artists subject to change.

WEDNESDAY

FEBRUARY 1, 2023 8PM

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

Media Sponsor: KPCC

AT A GLANCE

Complementary Contrasts

Schubert the introverted poet, Liszt the extroverted showman... Though there are reasons why these stereotypes developed, neither serve their respective artists well, as this intersection of Romantic contrasts reveals. There is brilliant muscular work as well as eloquent soulfulness aplenty in these two Schubert sonatas, some

of which clearly presages the extravagant outbursts of Liszt’s Vallée d’Obermann. And Liszt’s sensitivity to Schubert’s lyricism and textures is as apparent in the moody opening of Vallée d’Obermann as it is in his amplification of Schubert’s songs, where protean virtuosity is bent to expressive lyrical purpose. —John

Henken

SONATA IN A MAJOR, D. 664 (OP. POSTH. 120)

Franz Schubert (1797–1828)

Composed: 1819

When certain concert works are labeled, there is danger that truth in advertising is not entirely present. For example, Schubert’s Symphony in C, the one formerly known as No. 9, always carries with it the subtitle “The Great.” Similarly, the composer’s Piano Sonata in A of 1828 is dubbed a “grand” sonata. These designations, if they are used to describe the length and scope of the works in question, are perfectly valid. But unfortunately they tend to undermine, in the first case, Schubert’s delightful Sixth Symphony, also in C, and in the second case, his equally delightful but earlier Piano Sonata in A. No matter. The pleasures of the A-major Sonata on this program are both great and grand. Probably written in 1819, this work, with but three concise movements, is the

most direct and economical of the Schubert sonatas; it surely is one of the most endearing. The first movement’s main theme, although tailor-made for the keyboard, is another of those countless Schubert melodies that could be set to words. Cannily, however, the composer endowed the melody with a distinctive dotted-note figure that is highly developable, sonata-allegro style. In his characteristic manner, Schubert turns the second sentence of the theme to the minor, a procedure that occurs frequently throughout the movement. A triplet figure distinguishes the airy second theme, and in fact the ascending triplet scale in single notes that leads to the second theme generates the only brilliant passage in the movement, by way of a series of scales in octaves at the beginning of the development. In contrast to this slight virtuosic indulgence, Schubert ends the movement with a six-measure coda that reflects on the main theme with simple, sighing poignance.

The slow movement is a model of concentrated expressiveness. Built on but a single melodic idea appearing at times in uneven phrase lengths, the music unfolds with the miraculous variety of the changes of harmony, rhythm, and accompaniment. At midpoint, a transition phrase has a quasi-ominous ring as repeated drumbeats in the low bass remind us of the composer’s keen orchestral consciousness. The last movement is something of a whirlwind, but a charming whirlwind. There’s a lot of dance here, especially in the second theme’s rhythmic lilt. (Remember that Schubert composed dozens of dances for the piano, many ineffably lovely, some unbelievably banal.) There is also plenty of finely tuned bravura that is neither unmotivated nor excessive. The Sonata’s balances are, in fact, so wonderfully gauged and the materials so appealing, one (certainly this one) is tempted to label this Sonata “The Perfect.” —Orrin Howard

FOUR SONGS

Franz Schubert / Franz Liszt

Composed: 1833-46

As a composer, teacher, and pianist, Franz Liszt developed new methods in his compositions—both imaginative and technical—which left their mark upon his progressive concepts and procedures. He also developed the method of “transformation of themes” as part of his revolution in form, made radical experiments in harmony, and invented the orchestral symphonic poem.

The reputation of Schubert did not extend far beyond his native Vienna, and he was virtually unknown in several key European cities. Liszt attempted to correct the situation by transcribing 56 songs of Schubert for piano solo. These transcriptions are at times simple replicas of the melodic line written for voice, yet they can also take the form of free paraphrase. It is remarkable that the vocal line has been retained in the midst of so much pianistic virtuosity.

The transcriptions were begun in 1833, five years after the death of Schubert, and the last one was completed in 1846. Liszt’s love of Schubert is evident in “Der Müller und der Bach” (“The Miller and the Brook”), taken from Die schöne Müllerin. This beautiful melody is sung twice in the original song; here Liszt allows us to hear it three times. The second verse particularly has some of his most exquisite piano writing,

the bell-like melody singing elegantly above pedaled staccatos and arpeggios.

“Aufenthalt” (“Resting Place”) is the fifth song from Schubert’s Schwanengesang, D. 957. This sweet melody in E minor unfolds to a turbulent and moving line, modulating through unexpected and complex harmonic territory.

Like “Aufenthalt,” “Liebesbotschaft” comes from Schubert’s Schwanengesang cycle, composed in August 1828. Liszt keeps Schubert’s brook continually rippling, while moving the melody around in the texture, demanding extraordinary virtuosity of touch to keep it singing.

“Horch, horch! Die Lerch” is one of four songs Schubert wrote on lyrics by Shakespeare (in German translations) in July 1826. Liszt’s affectionate treatment greatly expands the range and technique required without fundamentally altering Schubert’s characterization.

Franz Liszt was himself one of the greatest virtuosi on the pianoforte; he fully understood the instrument’s potential and perceived its capabilities in full, which he never failed to exhaust in his compositions. In the works of Liszt, we find an example of a composer writing almost exclusively for the piano. The smaller-scaled piano works, such as his numerous etudes and assorted short pieces with poetic names, are among the most significant.

—Ileen Zovluck

© 2000 Columbia Artists Management, Inc.

ANNÉES DE PÈLERINAGE I: “VALLÉE D’OBERMANN”

Franz Liszt (1811–1886)

Composed: 1865

A student of Carl Czerny’s, Franz Liszt was a composer who never had a problem identifying extramusical ideas behind his compositions. A child prodigy and a leading figure in the Romantic cult of the virtuoso, Liszt consciously and successfully adopted the model of violinist Nicolò Paganini’s stagecraft, the black costumes and mannered air of mystery. The term “recital” was coined for his solo appearances, and he toured throughout Europe almost continually from 1839 to 1847.

For those performances, he composed, arranged, and transcribed a huge body of work, much of it appearing in several different versions. Exploiting the new capabilities of the rapidly developing piano, Liszt created a new playing style full of technical dazzle and color over the whole range of the instrument. He firmly believed in the power of music to express extramusical subjects, the “intrinsic and poetic meanings of things,” as he wrote in the preface to his early collection of character pieces, Album d'un voyageur. Literature, painting, and sculpture, scenes from nature, history, and legend, all inspired Liszt to compositions great and small. His goal was to express his response to the subject as much as to depict the thing itself in sound. He gathered two volumes of such pieces from his touring years under the title Années de pèlerinage (Years of Pilgrimage).

“Vallée d’Obermann” (Obermann’s Valley) was inspired by Étienne Pivert de Senancour’s novel of the same title and first appeared in Part 1 of Album d’un voyageur, subtitled “Impressions et Poesies.” The piece was extensively rewritten before being included as No. 6 in Première année: Suisse (First Year: Switzerland), S. 160, published in 1855. —Adapted from program notes by John Henken

SONATA IN B-FLAT MAJOR, D. 960

Franz Schubert

Composed: 1828

The great B-flat Sonata, written only weeks before his death in November 1828, closed forever Schubert’s catalog of solo piano works. What a final-year legacy: three grand piano sonatas, three smallish piano pieces, and the superb String Quintet in C. Even taking into consideration all the incalculable strokes of genius existing in the Schubert canon, the B-flat Sonata must be considered extraordinary. Like the first two of the last three sonatas, it is an expansive composition, each of its four movements built on a large scale. Yet, unlike many another Schubert masterwork “of heavenly length,” there is not a wasted note here. From the exalted opening measures to the exuberant final ones, pure inspiration never faltered; substance and craft are married in a miraculous union.

This well-nigh-perfect sonata begins with a theme of other-

worldly serenity, at the end of the first statement of which a trill in the lower depths of the bass rumbles quietly but ominously on two notes foreign to the key — G-flat and A-flat. After the main theme is repeated, another low trill takes us directly into the unrelated key of G-flat, where now the theme smiles with almost heartbreaking tenderness. This kind of expressiveness, intensified by sudden modulations and tonal ambiguity, is one of the most conspicuous and lifelong marks of the Schubert genius; in the mature works the effect can be overwhelming. One could easily get caught up in a detailed account of this movement’s wonders, but suffice it to mention only the development section. It starts with the main theme in tragic C-sharp minor in a marvelously lean fabric, and then travels a gripping course, ending in D minor just before the exquisitely poised recapitulation, heralded by that now familiar low trill.

For the slow movement, in C-sharp minor, Schubert takes us to a remote place of

austere and poignant calm, the rhythmic regularity acting as hypnotic momentum leading to an extended consoling section in A major. The main theme returns with elaborate ornamentation, and the movement ends with an “amen” benediction in C-sharp major.

The scene changes completely with the arrival of the third-movement Scherzo. Here is bounding, stylized, spiritualized joy in threequarter time, breezing along with only a brief interruption by a solemn Trio in B-flat minor.

C-minor (!) makes a surprise appearance at the beginning of the last movement, but it is quickly ejected and the movement proceeds on a buoyant and humorous B-flatmajor course. The opening seriousness is a recurring element in the proceedings, and there is a forceful section in F minor. But always the clouds part, and finally there is a very fast and exhilarating passage that closes the Schubert piano sonata ledger with brilliant, breathtaking finality. —Orrin Howard

EMANUEL AX

Born to Polish parents in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.

In the fall of 2021, he resumed a post-COVID touring schedule that included concerts with the Colorado, Pacific, Cincinnati,

and Houston symphonies as well as the Minnesota, Philadelphia, and Cleveland orchestras and the Los Angeles and New York philharmonics. 2022/23 will include a tour with Itzhak Perlman “and Friends” and a continuation of the Beethoven for Three touring and recording project with partners Leonidas Kavakos and Yo-Yo Ma.

In recital he can be heard in Palm Beach, Los Angeles, St. Louis, Chicago, Washington, D.C., Houston, Las Vegas, and New York and with orchestras in Atlanta, Detroit, Boston, San Francisco, San Diego, New York, Naples (FL), Portland (OR), Toronto, Philadelphia, Pittsburgh, and Cleveland. Touring in Europe in the fall and spring includes concerts in Germany, the U.K., Switzerland, and France.

Ax has been a Sony Classical exclusive recording artist since 1987. Following the success of the Brahms trios with Kavakos and Ma, the trio launched an ambitious, multiyear project to record all of Beethoven’s

trios and symphonies arranged for trio. The first two albums were released in 2022. Ax has received Grammy® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings of the Beethoven and Brahms cello sonatas with Yo-Yo Ma. In the 2004/05 season Ax contributed to an International Emmy® Awardwinning BBC documentary commemorating the Holocaust, which aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Ax’s recording Variations received the ECHO Klassik Award for Solo Recording of the Year (19th Century Music/Piano).

Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University.

For more information about Ax’s career, please visit EmanuelAx.com

Ray Chen Plays Mendelssohn

Los Angeles Philharmonic

Matthias Pintscher, conductor

Ray Chen, violin

FRIDAY

FEBRUARY 3, 2023 8PM

SATURDAY

FEBRUARY 4 8PM

Olga NEUWIRTH Masaot/Clocks without Hands (c. 20 minutes)

except friday

MENDELSSOHN Violin Concerto in E minor, Op. 64 (c. 28 minutes)

Allegro molto appassionato Andante

Allegretto non troppo—Allegro molto vivace

Ray Chen

INTERMISSION

except friday

BRAHMS, Piano Quartet in G minor, Op. 25 (c. 45 minutes)

Orch. SCHOENBERG Allegro

Intermezzo: Allegro ma non troppo—Trio: Animato

Andante con moto

Rondo alla Zingarese: Presto

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall

Friday’s performance is generously supported by Pasadena Showcase House for the Arts

Classical Partner (2/03): KUSC

Programs and artists subject to change.

AT A GLANCE

Variety and Variation

In one sense, variation is just variety with a constant, and this program has plenty of both. “Developing variation” was one aspect of Brahms’ craft that Schoenberg greatly admired, and the Brahms piano quartet that he orchestrated here in Los Angeles is a classic locus of that technique, brilliantly applied. In linking all three movements of his Violin Concerto and shifting the

position—and effect—of the cadenza, Mendelssohn created something like “developing structure,” or meta-variation, which was highly influential. The recombination of thematic elements in Olga Neuwirth’s rowdy Masaot/Clocks without Hands drives a sort of contextual variation, and its Eastern European nods make a framing connection with Brahms’ “gypsy” finale. —John Henken

MASAOT / CLOCKS WITHOUT HANDS

Olga Neuwirth (b. 1968)

Composed: 2014

Orchestration: 3 flutes (1st=piccolo), 3 oboes, 3 clarinets (1st=E-flat clarinet, 3rd=bass clarinet), 2 bassoons, contrabassoon, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, percussion (tubular bells, 3 gongs, 10 cymbals, 3 tom-toms, 3 suspended cymbals, 6 cowbells, 2 woodblocks, 2 toy ratchets, 3 metronomes, metal guiro with metal brush, Japanese bells, glockenspiel, small snare drum, large drum, 2 triangles, jingle bundle, temple bells, tam-tam, vibraphone), celesta, and strings

First LA Phil performance.

In 2010, the Vienna Philharmonic asked Olga Neuwirth to write an orchestral work for the 100th anniversary of Gustav Mahler’s death. Since she had to finish two operas by the end of 2011, she had to decline. When the commission was postponed until 2015, she decided that she did not want to drop the idea she had had while reflecting on Mahler in 2010.

Neuwirth made the multiethnic origins of her refugee grandfather the inspirational source of this

orchestral work. It’s a musical river journey. And the Danube, the massive waterway on which her grandfather grew up, is the quiet protagonist. It connects Neuwirth’s diverse and abruptly changing acoustic landscapes with the tableaux of citations into one musical tale. Along this waterway, the plot develops, so to speak, through her grandfather’s different cultures like a series of musical postcards. Masaot/ Clocks combines fragments of melodies from very different places and experiences from her grandfather’s life.

It opens with a tutti chord in triple forte that thrusts the iridescent initial sounds of the strings upon us. Soon the first snippets from her grandfather’s Eastern European Jewish song heritage can be heard—a poetic reflection on the search for identity and fading memories. They are the strands of tradition on a journey (in Hebrew masa’ot also means history and story, figuratively as well) through a broad, not merely musical, multiple homeland (Mehrheimat).

The composition evolves within a kind of grid in which song fragments resound and are recombined. Simultaneously, there is a “musical object,”

based on metronome beats, that makes time not only audible but palpable. Just like with a revolving carousel, these metronome beats appear and disappear. Through this ticking of the metronome, through time’s externally regulated pulsation, time itself becomes a subjective, timeless realm of the subconscious. Ultimately, time appears to dissolve into … clocks without hands.

Neuwirth’s grandfather was born in a seaside town with a turbulent history, but grew up in the Danube River Basin, on the border between Croatia and Hungary. The many different (musical) stories are carried to sea by a river; in her case, the Danube. Neuwirth wanted to look back at the world of Kakania from the perspective of her present life. In the search for identity and origin—because for her, Heimat (homeland, native country) is something nebulous. In Masaot/Clocks without Hands, she responds to the idea of someone having several homelands, namely, by composing music that is both native and foreign—with familiar and unfamiliar sounds beyond any form of nostalgia. —Adapted from program notes by Olga

Neuwirth

VIOLIN CONCERTO IN E MINOR, OP. 64 Felix Mendelssohn (1809–1847)

Composed: 1844

Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo violin

First LA Phil performance: January 2, 1920, Walter Henry Rothwell conducting, with Sylvain Noack, soloist

Mendelssohn participated as early as the age of nine in musical performances in his family’s Berlin home and wrote a charming concerto for violin and string orchestra in his 13th year. That work, in D minor, was not written for his own performance, but rather for his—only slightly older—teacher, Eduard Rietz, later to become a founder of the Berlin Philharmonic Society and concertmaster for Mendelssohn’s epochal 1829 revival of the Bach St. Matthew Passion

If the D-minor Concerto is the handiwork of a precocious youth, betraying its indebtedness to earlier models, the present work,

the Concerto in E minor, is not only the creation of a mature master, but also sui generis: brimming with lyric inspiration and structural inventiveness. It was written for another violinist friend of the composer, Ferdinand David, whom Mendelssohn had appointed his concertmaster when he became conductor of the Leipzig Gewandhaus Orchestra in 1835.

“I would like to write a concerto for you,” Mendelssohn wrote to David in 1838, “one with an E-minor theme that keeps running through my head, preventing me from thinking about anything else.” The work was begun shortly thereafter, but completion was delayed by other projects and by Mendelssohn’s frequent bouts of ill health. He never abandoned the score for long, however, and at intervals showed sketches to David, soliciting practical advice from its eventual dedicatee every step of the way.

The composer was particularly interested in David’s opinion regarding the cadenza: not only whether it would be too difficult to play, but also whether its unusual positioning

would prove detrimental to the whole. The cadenza, as it turns out, is the work’s pivotal episode and one of the composer’s great inspirations—one that would separate it from past concertos and set a course for composers of the future.

In earlier concertos, the cadenza constituted an often unwelcome break in continuity at the end of the first movement, the orchestra banished to allow the soloist opportunity for—more often than not, mindless—solo display. In his two earlier major concertos, for piano, Mendelssohn omitted cadenzas altogether, solving the problem by avoiding it.

Here, instead of placing the cadenza at the end of the first movement, Mendelssohn introduces it just beyond midpoint, allowing it to serve an integral function, growing out of the development and enriching everything to come in a score that is seamless, literally and figuratively: the three movements are not only played without a break, but might be regarded as variations on a single, evolving thought. —Herbert

Glass

PIANO QUARTET IN G MINOR, OP. 25

Johannes Brahms (1833–1897), orch. Arnold Schoenberg

Composed: 1861; 1937

Orchestration: 3 flutes (3rd= piccolo), 3 oboes (3rd = English horn), E-flat clarinet, 2 clarinets (2nd = bass clarinet), 3 bassoons (3rd = contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, snare drum, tambourine, triangle, and xylophone), and strings

First LA Phil performance: May 7, 1938, Otto Klemperer conducting

In a series of lectures from 1947 entitled “Brahms the Progressive,” Arnold Schoenberg (1874-1951) relates an instance of Brahms dealing with one of his fans. “Contemporaries found various ways to annoy him,” writes Schoenberg of Brahms. “A musician or a music lover might intend to display his own great understanding, good judgment of music, and acquaintance with ‘some’ of Brahms’ music. Hence, he dared say, he had observed that Brahms’ First Piano Sonata was very similar to Beethoven’s ‘Hammerklavier’ Sonata. No wonder that Brahms, in his straightforward manner, spoke out: ‘Every jackass notices that!’ ”

You don’t have to know about either composer or his works to understand why Brahms might sour at such a comment. He spent much of his life having his place in the history of German music found for him by others. His First Symphony was called “Beethoven’s Tenth.”

To Wagner’s detractors, Brahms represented everything that was good about German music and to Wagner’s fans, everything that was bad about it. It’s easy to point out the commonalities between Brahms and the generations that preceded him; finding what makes him a unique, progressive force in German music takes a bit more effort, and that was the point of Schoenberg’s lectures, and, in a sense, of his orchestration of one of Brahms’ chamber masterpieces.

Brahms’ Quartet had its premiere in Hamburg in 1861; Schoenberg orchestrated the work in 1937, and it was premiered in 1938 by the Los Angeles Philharmonic under the baton of then-Music Director Otto Klemperer at one of the orchestra’s Saturday Evening Concerts. Schoenberg explained the rationale behind his orchestration in a letter to Alfred Frankenstein, the music critic of the San Francisco Chronicle, almost a year after the premiere:

1. I like the piece

2. It is seldom played

3. It is always very badly played, because the better the pianist, the louder he plays, and you hear nothing from the strings. I wanted once to hear everything, and this I achieved.

Schoenberg liked the piece as a great example of “developing variation,” a Brahms innovation he discussed in his talks on “Brahms the Progressive.” The idea is really quite simple: Brahms would subject his thematic material to variations and transformations as soon as he introduced

them, rather than waiting until the development section of a sonata-form movement. This allowed him to create larger structures from these constantly developing materials.

An example comes right at the opening of the first movement. Brahms introduces a four-note motive that becomes the basis of the entire movement, undergoing numerous transformations throughout. The secondmovement intermezzo is the type of movement Brahms would fine-tune over the course of his career as a replacement for the traditional scherzo; it moves at a relaxed pace and exudes a warm elegance. The Andante con moto is a slow movement entirely typical of Brahms, radiant and serene. Schoenberg’s orchestral setting opens with a solo violin, a texture favored by Brahms in some of the slow movements of his symphonies. In fact, all three movements, aside from some cymbal crashes during the climactic pages of the first, could have been orchestrated by Brahms, although Schoenberg does favor some instrumental contributions that would have been a stretch in 1861. The finale, a “gypsy rondo,” is exhilarating and fiery, permeated by rhythm and given a suitably exciting treatment by Schoenberg, who really lets loose with a percussion section that, until now, he has held in check. When Klemperer premiered the score, he thought the orchestration a great success. He declared:

“You can’t even hear the original quartet, so beautiful is the arrangement.” —John

Mangum

MATTHIAS PINTSCHER

The 2022/23 season is Matthias Pintscher’s final season as Music Director of the Ensemble Intercontemporain (EIC), the world’s foremost contemporary music ensemble, founded in 1980 by Pierre Boulez. In his decadelong artistic leadership of the EIC, Pintscher continued and expanded the cultivation of new works by emerging composers of the 21st century, alongside performances of iconic works by the pillars of the avant-garde of the 20th century.

As conductor, Pintscher enjoys and maintains relationships with several of the world’s most distinguished orchestras,

among them the Bavarian Radio Symphony Orchestra (BRSO), the Los Angeles Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, and the BBC Scottish Symphony Orchestra. He is also Creative Partner for the Cincinnati Symphony. As guest conductor in Europe, he makes debut appearances this season with the Wiener Symphoniker and Gürzenich Orchester of Cologne and returns to the Royal Concertgebouw, BRSO, BBC Scottish Symphony Orchestra, Barcelona Symphony, and Berlin’s Boulez Ensemble. In North America, he will make prominent debuts with the Philadelphia Orchestra and Kansas City Symphony, in addition to regular visits to the Cincinnati Symphony and repeat guest engagements with the Detroit Symphony, Baltimore Symphony, Los Angeles Philharmonic, and New World Symphony. Pintscher has also conducted several opera productions for the Berliner Staatsoper (Beat Furrer’s Violetter Schnee, Wagner’s Lohengrin), Wiener Staatsoper (Olga Neuwirth’s

Orlando), and the Théâtre du Châtelet in Paris. He returns to the Berliner Staatsoper in 2023 for Die Fliegende Holländer.

Pintscher is well known as a composer, and his works appear frequently on the programs of major symphony orchestras throughout the world. In August 2021, he was the focus of the Suntory Hall Summer Festival—a weeklong celebration of his works with the Tokyo Symphony Orchestra as well as a residency by the EIC with symphonic and chamber music performances. His third violin concerto, Assonanza, written for Leila Josefowicz, premiered in January 2022 with the Cincinnati Symphony. Another 2021/22 world premiere was neharot, a co-commission of Suntory Hall, Orchestre Philharmonique de Radio France, Orchestre de la Suisse Romande, the Los Angeles Philharmonic, and Staatskapelle Dresden, where he was named Capell-Compositeur. In the 2016/17 season, he was the inaugural composer-in-residence of the Elbphilharmonie Hamburg, and from 2014 to 2017, he was artist-in-residence at the Danish National Symphony Orchestra.

RAY CHEN

Ray Chen is a violinist who redefines what it is to be a classical musician in the 21st century. With a media presence that enhances and inspires the classical audience, reaching out to millions through his unprecedented online following, Ray Chen conveys his remarkable musicianship to a global audience that is reflected in his engagements with the foremost orchestras and concert halls around the world.

Initially coming to attention via the Yehudi Menuhin (2008) and Queen Elizabeth (2009) competitions, of which he was First Prize winner, Ray has built a profile in Europe, Asia, and the U.S. as well as his native Australia, both live and on disc. Signed in 2017 to Decca Classics, he recorded the first album of this partnership with the London Philharmonic in the summer of that year, as a followup to his three previous critically acclaimed albums on Sony, the

first of which (Virtuoso) received an ECHO Klassik Award. Ray has been described as “one to watch” by The Strad and Gramophone magazines, and his profile has grown to encompass his being featured in the Forbes list of 30 most influential Asians under 30, appearing in the online TV series Mozart in the Jungle, a multiyear partnership with Giorgio Armani (who designed the cover of the Mozart album he recorded with Christoph Eschenbach), and performing at major media events such as France’s Bastille Day (for an audience of 800,000), the Nobel Prize Concert in Stockholm (telecast across Europe), and the BBC Proms.

He has appeared with the London Philharmonic Orchestra, National Symphony Orchestra, Leipzig Gewandhausorchester, Munich Philharmonic, Filarmonica della Scala, Orchestra Nazionale della Santa Cecilia, and Los Angeles Philharmonic, and his recent and upcoming debuts include the SWR Symphony, San Francisco Symphony, Pittsburgh Symphony, Berlin Radio Symphony, and Bavarian Radio Chamber Orchestra. He works with conductors such as Riccardo Chailly, Vladimir Jurowski, Sakari Oramo, Manfred Honeck, Daniele Gatti, Kirill Petrenko, Krzysztof Urbański, Juraj Valčuha, and many others. From 2012 to 2015, he was artist-in-residence at the Dortmund Konzerthaus.

His presence on social media makes Ray Chen a pioneer in an artist’s interaction with his audience, utilizing the new opportunities of modern technology. His appearances and interactions with music students and musicians are instantly disseminated to a new public in a contemporary and relatable way. He is the first musician to be invited to write a lifestyle blog for the largest Italian publishing house, RCS Rizzoli (Corriere della Sera, Gazzetta dello Sport, Max). He has been featured in Vogue magazine and is currently releasing his own design of violin cases for the industry manufacturer GEWA. His commitment to music education is paramount and inspires the younger generation of music students with his series of self-produced videos combining comedy and music. Through his online promotions, his appearances regularly sell out and draw an entirely new demographic to the concert hall.

Born in Taiwan and raised in Australia, at age 15 Ray was accepted to the Curtis Institute of Music, where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 “Joachim” Stradivarius violin on loan from the Nippon Music Foundation. This instrument was once owned by the famed Hungarian violinist Joseph Joachim (1831-1907).

camimusic.com/ray-chen

LA Phil New Music Group with Paolo Bortolameolli

LA Phil New Music Group

Paolo Bortolameolli, conductor

Courtney Bryan, piano

Nathan Cole, violin

Akiko Tarumoto, violin

Teng Li, viola

Jonathan Karoly, cello

Carolina HEREDIA Ausencias/Ausências/Absences (c. 17 minutes)

I. Violeta

II. Alfonsina

III. Ana C.

Nathan Cole, violin I

Akiko Tarumoto, violin II

Teng Li, viola

Jonathan Karoly, cello

Erika VEGA No oyes ladrar a los perros (c. 13 minutes) (world premiere, LA Phil commission with generous support from the Deborah Borda Women in the Arts Initiative)

INTERMISSION

Katherine BALCH all around the sea blazed gold (c. 13 minutes) (world premiere, LA Phil commission)

Courtney BRYAN Piano Concerto, House of Pianos (c. 22 minutes) (world premiere, LA Phil commission with generous support from the MaddocksBrown Fund for New Music)

I. rent party

II. jam session

III. homecoming

IV. sanctuary

V. praise house

Courtney Bryan, piano

Programs and artists subject to change.

TUESDAY

FEBRUARY 7, 2023 8PM

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

AT A GLANCE

At Play in Fields of Perception

More than just gender and generation unite this wide-ranging yet also tightly complementary program of new music by young female composers. There is a strong line of literary reference and inspiration, appreciation for vernacular music, and an interest in

memory and dream-world reflection. These aspects may be more apparent in some of these pieces than others, but all share a joy in creative sonority and the act of performance, as well as a sense of style as personal and particular expression rather than dogma. —John Henken

AUSENCIAS/AUSÊNCIAS/ ABSENCES

Carolina Heredia

Composed: 2016

Orchestration: fixed media and strings

First LA Phil performance.

Carolina Heredia is an Argentinian/LA-based acoustic and electronic music composer specializing in interdisciplinary collaboration and intermedia art. Her works have been commissioned and performed in the Americas and Europe by esteemed musicians and ensembles, including the JACK Quartet, Alarm Will Sound, clarinetists Alex Fiterstein and Derek Bermel, Tesla Quartet, and the Duo Cortona. Carolina’s 2015 Fromm Music Foundation Commission supported the creation of her string quartet Ausencias/ Ausências/Absences. This work received several recognitions, including the 2018 John Corigliano Grand Prize and the 2019 Lake George Music Composition Competition. She was later awarded a one-year fellowship at the University of Michigan Institute of Humanities to expand the string quartet into a longer, intermedia work in collaboration with interactive

engineer Carlos García and choreographer Sandra Torijano.

In 2021, she was awarded a Barlow Endowment Commission to compose a new piece for the NYbased Duo Axis, which premiered in 2022. Future premieres include a composition for SATB choir and chamber ensemble with text by LA-based writer Myriam Gurba commissioned by Sphinx Foundation’s Exigence Vocal Ensemble Choir, conducted by Eugene Rogers. Carolina’s music has been featured at Chamber Music OC, SONIC Festival NYC, Cortona Sessions, Bowdoin Festival, Lake George Music Festival, Aspen Music Festival, Crested Butte Music Festival, SEAMUS, Strange Beautiful Music Festival, among others in the United States and abroad.

Carolina holds Master’s and Doctorate degrees in Music Composition from the University of Michigan. Her mentors include Michael Daugherty, Evan Chambers, Erik Santos, and Kristin Kuster. In 2017, she was appointed as a Postdoctoral Fellow at the University of Missouri School of Music, where she later held the position of Assistant Professor in Music Composition and Assistant/Associate Director of the Mizzou New Music Initiative until 2022. She currently works as a freelance composer and the Director of Artist Support for the American Composers Forum.

“I believe generating empathy through art can be a strong mechanism to develop our understanding of one another. As a path to understanding the broad spectrum of the human experience, exercising empathy can give us a more accurate discernment of our limitations and our place in the infinite universe of perceptions and interpretations. In this work, I explore the concept of death as an intrinsic part of that experience and as an exercise of empathy and compassion for the suffering of others. Furthermore, a practice of relinquishment and detachment as we face the reality of our finite existence and reevaluate the meaning and value of all the things, relationships, and the power of decision we have in our hands daily throughout our lives. I imagine time expanding in all directions then; I feel connected to all the things and people, regardless of how distant we may have seen. The full version of Ausencias/Ausências/ Absences is 30 minute long and written for string quartet, fixed media electronics, dance, and interactive video. It also exists in an abridged version (17 minute), with different combinations of the extra-musical media. The artistic impetus of this work was taken from the last writings of three South-American poets who

took their own lives: Violeta Parra (1917–1967) of Chile, Alfonsina Storni (1892–1938) of Argentina, and Ana Cristina Cesar (1952–1983) of Brazil. The three main movements of the piece each focus on one poet and are inspired by the song “Gracias a la vida” (1966) by Parra, and the poems “Me voy a dormir” (1938) by Storni and “Samba canção” (1982) by Cesar.

The audio and video portions of the work include images and recordings taken during my research trips to Chile, Brazil, and Argentina in 2015, including the cuatro venezolano (small guitar with four strings) that belonged to Violeta Parra. In the intermedia version of the work, the dance floor is illuminated by images projected from two overhead projectors.

The full work, with dance, was premiered on March 24, 2017, at the Duderstadt Video Studio at the University of Michigan. The original musiconly version was premiered by JACK Quartet in March 2016, commissioned by the Fromm Music Foundation at Harvard University.” —Carolina Heredia

NO OYES LADRAR A LOS PERROS

Erika Vega

Composed: 2021–22

Orchestration: flute (=piccolo), oboe, clarinet (=bass clarinet), bassoon, horn, trumpet, trombone, percussion (1: vibraphone, glockenspiel, bass drum, temple blocks, 2 tom-toms;

2: tam-tam, crotales, chimes, wood blocks, 2 bongos, guiro), harp, prepared piano, organ, and strings

First LA Phil performance (world premiere).

Mexican composer Erika Vega has received several grants and prizes including the Eighth International Jurgenson Competition for Young Composers at the Moscow Tchaikovsky Conservatory (Russia), the 2016 Bludenzer Tage zeitgemäßer Music Workshop/Competition (Austria), the TACTUS 2017 Young Composers Forum (Belgium), the Los Angeles Philharmonic’s 2017 National Composers Intensive (USA), the Danish Arts Foundation (Denmark), the Fondation Royaumont (France), the Henfrey Prize for Composition 2019 and 2021 at the University of Oxford, and the Fellowship for young artists from the National Fund for Culture and Arts 2020 (Mexico). She has participated at the ManiFeste academy at IRCAM (2018-2019) and Prototype VI at Royaumont (20182019), writing music for dance, a collaborative relationship between composer and choreographer. Recent commissions include works written

for ELISION ensemble, The Curious Chamber Players, Frederik Munk Larsen, CEPROMUSIC ensemble, Sarah Maria Sun, Philippe Graffin, Katharina Gross, ALEPH Guitar Quartet, Sigma Project, and the Los Angeles Philharmonic among others.

Erika is currently a member of the National System of Art Creators (Mexico) and a PhD candidate in Composition at the University of Oxford, where she has been awarded the prestigious Clarendon fund. In her latest works, she has been exploring the relationship between music and poetry, proposing some musico-linguistic analogies that arise from a study of phonology, syntax and semantics, interacting and exchanging techniques and essential structural qualities.

“No oyes ladrar a los perros is composed after the homonymous tale by the Mexican writer Juan Rulfo, precursor of Magic Realism. The musical work evokes the notion of time and space found in Rulfo’s writings. In musical terms, analogous phenomena can be heard, perception opens up and the auditor is invited to cross the threshold into a dreamlike atmosphere with strong visual sense. The role of memory and perception is fundamental in the development of the non-lineal musical narrative. The literary manifests itself in the way time is perceived unravelling alternative perspectives. The harmonic construction is defined by the organ, and the ensemble is articulated in a spectral cloud.” —Erika Vega

ALL AROUND THE SEA BLAZED GOLD

Katherine Balch

Composed: 2022

Orchestration: flute (=piccolo), oboe, clarinet (=bass clarinet), bassoon (=contrabassoon), horn, trumpet, 2 trombones (2nd=bass trombone), percussion (1: vibraphone, rainstick, large tom-tom, large suspended cymbal, ocean drum; 2: xylophone, glockenspiel, crotales, medium suspended cymbal, ocean drum, snare drum, bass drum, tam-tam, coins, glass mason jar, guiro, small triangle), prepared piano, and strings

First LA Phil performance (world premiere).

Described as “some kind of musical Thomas Edison–you can just hear her tinkering around in her workshop, putting together new sounds and textural ideas” (San Francisco Chronicle) , composer Katherine Balch is interested in the intimacy of quotidian objects, found sounds, and natural processes. A collector of aural delights, field recordings are often at the heart of her work, which ranges from acoustic to mixed media and installation.

A recipient of the 2020/21 Rome Prize, Balch’s work has been commissioned and performed by leading ensembles and presenting organizations including the Los Angeles Philharmonic, the London Sinfonietta, Tanglewood, Suntory Summer Arts (Japan), Huddersfield Contemporary Music Festival (U.K.) and the symphony orchestras of Tokyo, Darmstadt, Minnesota, Oregon, Albany, Indianapolis, and Dallas. Her music is published worldwide exclusively by Schott. Balch is Visiting Assistant Professor of Composition at Yale School of Music and holds a DMA from Columbia University. katherinebalch.com

“all around the sea blazed gold takes its title from the prelude to Virginia Woolf’s experimental novel The Waves Throughout the novel, six narrators weave their way from childhood to adulthood, their increasingly intertwined dialogues separated by nine interludes depicting a coastal scene from sunrise to sunset. There are many things I love about The Waves that pique my sonic imagination, from its evocative language to a form that seems to fold over itself while also progressing through time, so it has been the source

of inspiration for several pieces of mine over the years.

In all around the sea blazed gold, I focused on the imagery of Woolf’s coastal interludes, which begin at dawn, when “the sea was indistinguishable from the sky, except that the sea was slightly creased as if a cloth had wrinkles in it,” and patiently documents the uniformity of near-darkness transforming into an abundance of detail. I wanted to borrow this trajectory [for] my own piece, which begins with a very open sound world that gradually is saturated with more and more polyphony. While the six narrators in The Waves begin as distinct voices and gradually conglomerate into one, the instruments in my piece begin as a unified sonic body and [then] fragment into soloists.

Since the ocean is a bit of a thematic staple of 20th- and 21st-century music, I also couldn’t resist “text painting” some of Woolf’s descriptions of the sea, so you’ll hear ocean drums and rain sticks and crotales dipped in water in the percussion, rolling breezes in the breath tones of winds and brass players, wave-like surges in the strings, and many other instrumental interpretations of the ocean’s eternal song.” —Katherine Balch

PIANO CONCERTO (HOUSE OF PIANOS)

Courtney Bryan

Composed: 2022

Orchestration: flute (=piccolo), oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, percussion (1: flexatone, cowbell, cymbals, snare drum, clave, seed rattles, hi-hat, crash cymbal, triangle; 2: bass drums, tom-toms, tambourine, bongos, seed rattles, finger cymbals, wind chimes, vibraslap), strings, and solo piano

First LA Phil performance (world premiere).

Composer and pianist

Courtney Bryan’s music is in conversation with various musical genres, including

jazz and experimental music, as well as traditional gospel, spirituals, and hymns. With degrees from Oberlin Conservatory (BM), Rutgers University (MM), and Columbia University (DMA) with advisor George Lewis, Bryan completed postdoctoral studies in the Department of African American Studies at Princeton University. Bryan is the Albert and Linda Mintz Professor of Music at Newcomb College in the School of Liberal Arts, Tulane University, Composer-in-Residence with Opera Philadelphia, and a Creative Partner with the Louisiana Philharmonic Orchestra. She was the 2018 music recipient of the Herb Alpert Award in the Arts, a 2019 Bard College Freehand Fellow, a 2019-20 recipient of the

Samuel Barber Rome Prize in Music Composition, and a 2020 United States Artists Fellow. courtneybryan.com

“My piano concerto, House of Pianos, is a love letter to the many pianists who have inspired me over the years. It is a dream world where I enter a house full of pianos and journey from room to room, witnessing gatherings of legendary pianists from various times and places. I join them in reverence and with thanksgiving and joy.” —Courtney Bryan

Scenes:

I. rent party

II. jam session

III. homecoming

IV. sanctuary

V. praise house

PAOLO BORTOLAMEOLLI

Paolo Bortolameolli is Music Director of the Orquesta Sinfónica Nacional Juvenil (Chile), Sinfónica Azteca (México), Principal Guest Conductor of Filarmónica de Santiago (Opera Nacional de Chile) and Associate Conductor of the Los Angeles Philharmonic.

In addition to these regular conducting relationships, he has led ensembles across the Western Hemisphere including engagements with the Orquesta Sinfónica Simón Bolivar (Caracas); Orquesta Filarmónica de Buenos Aires; Kansas City, Charlotte Symphony, Houston, and San Francisco symphonies; and the LA Phil. In Europe, he is a regular and return guest to the Polish National Radio Symphony

Orchestra, Orchestra Haydn (Bolzano), Helsinki Philharmonic and the Orchestra della Toscana (Florence).

His insatiable artistic curiosity brings him in equal measure to the opera stage with recent and upcoming projects including the Opéra de Paris (Tosca), the Gran Teatre del Liceu ( Die Zauberflöte), as well as Ópera Nacional de Chile for concerts with the Filarmónica in Mahler’s Symphony No. 2 and No. 8, “Symphony of a Thousand” with Orquesta Sinfónica Nacional Juvenil. He will also make his debut at the Detroit Opera in Golijov’s Ainadamar later in 2023.

Bortolameolli’s long relationship with the LA Phil continues through 2023, when he will conduct concerts at the Hollywood Bowl and Walt Disney Concert Hall. Alongside subscription and summer performances, notable past performances include a landmark new production of Meredith Monk’s inventive opera, ATLAS, performed at Walt Disney Concert Hall in Los Angeles in 2019.

Bortolameolli is passionately committed to new music including the work of Miguel

Farías, Gabriela Ortiz and Jorge Peña Hen, to name but a few. In 2022, his commission of Miguel Farías’s Estallido was premiered with the Los Angeles Philharmonic.

As Artistic Director of the Sinfónica Azteca, he leads an educational residency run by the Fundación Azteca from Grupo Salinas in Mexico every year. He has developed several new media initiatives with the Esperanza Azteca in Mexico, and his now legendary “Ponle Pausa”, a project that seeks to rethink the concept of music education through the implementation of short videos and concerts targeting social network users, has received wide acclaim.

In 2018, he was a guest lecturer for a TED Talk in New York and in 2020, he released his first book, Rubato: Procesos musicales y una playlist personal Bortolameolli holds a Master of Music degree (Yale School of Music, 2013), a Graduate Performance Diploma (Peabody Institute, 2015), a Piano Performance Diploma (Universidad Católica de Chile, 2006), and a Conducting Diploma (Universidad de Chile, 2011).

First

Nathan Cole joined the LA Phil in 2011 and holds the Ernest Fleischmann Chair. He has appeared as guest concertmaster with the orchestras of Pittsburgh, Minnesota, Houston, Ottawa,

Seattle, and Oregon and was previously a member of the Chicago Symphony and Principal Second Violin of the Saint Paul Chamber Orchestra. A native of Lexington, Kentucky, he made his debut with the Louisville Orchestra at the age of ten while studying with Donna Wiehe. After eight years working with Daniel Mason, Cole enrolled at the Curtis Institute of Music. In addition to his studies there with Pamela Frank, Felix Galimir, Ida Kavafian, and Jaime Laredo, Cole formed the Grancino String Quartet, debuting in New York’s Weill Hall. Several summers at Marlboro enriched his love of chamber music.

Nathan’s articles and videos on practicing, performing, teaching, and auditioning have

helped thousands of violinists worldwide. Visit natesviolin. com for the complete collection. In addition to his online teaching, Nathan is currently on faculty at the Colburn School for the Performing Arts, with classes at the Colburn Conservatory and USC. His articles and photographs have also appeared in Strings, Symphony, and Chamber Music magazines.

Nathan is married to Akiko Tarumoto, the LA Phil’s Assistant Concertmaster. Together they host the weekly podcast Stand Partners for Life, an inside look at orchestra life, which can be heard at standpartnersforlife. com. Nathan and Akiko live in Pasadena with their three children.

NATHAN COLE

Associate Concertmaster

JONATHAN KAROLY

Cellist Jonathan Karoly is a native of Chicago, where he began studying the cello at the age of three. He has been a prize-winning cellist, pianist, and composer from an early age. Following his studies in Chicago and New

York, Karoly graduated from the University of Southern California, where he was a pupil of Ronald Leonard. An avid chamber musician, Karoly has performed in many music festivals: Marlboro, Kingston, La Jolla Summerfest, Verbier, Sarasota, Music Academy of the West, the International Laureates Chamber Music Festival, and Aspen, where he was a fellowship recipient. He has also been a frequent performer on Musicians from Marlboro tours across the country, and was invited to perform several concerts of chamber works with Pierre Boulez at Carnegie Hall’s Weill Recital Hall. Karoly has appeared in live radio broadcasts of solo recitals and chamber music performances.

An accomplished competition winner, Karoly took grand prize in the Pasadena Instrumental Competition and first prize in the Chicago Cello Society Competition. He has performed concertos with numerous orchestras, including the Los Angeles Philharmonic, and has been principal cellist of the Civic Orchestra of Chicago and the Debut Orchestra of Los Angeles, among others. In 2009, Karoly was the featured performer and actor in the Los Angeles Philharmonic’s Symphonies for Youth program entitled The Spirit of the Cello, which told a fictional story about Karoly’s cello. These performances were repeated in 2016.

Karoly has been a member of the Los Angeles Philharmonic since 1997.

TENG LI

Teng Li is a diverse and dynamic performer internationally. Recently, she was appointed Principal Violist, John Connell Chair, of the Los Angeles Philharmonic after more than a decade as Principal with the Toronto Symphony Orchestra.

Teng Li is also an active recitalist and chamber musician participating in the festivals of Marlboro, Santa Fe, Mostly Mozart, Music from Angel Fire,

Rome, Moritzburg (Germany), and the Rising Stars festival in Caramoor. She has performed with the Guarneri Quartet in New York, at Carnegie Hall (Weill Recital Hall), and with the 92nd Street “Y” Chamber Music Society. Teng was featured with the Guarneri Quartet in their last season (2009) and was also a member of the prestigious Lincoln Center Chamber Music Society Two program. She is a member of the Rosamunde Quartet (led by Noah BendixBalgley, Concertmaster of the Berlin Philharmonic) and the Toronto-based Arkel Trio.

Teng Li has been featured as soloist with the National Chamber Orchestra, the Santa Rosa Symphony, Munich Chamber Orchestra, Haddonfield Symphony, Shanghai Opera Orchestra, Canadian Sinfonietta, and Esprit Orchestra. Her performances have been broadcast on CBC Radio 2, National Public Radio,

WQXR (New York), WHYY (Pennsylvania), WFMT (Chicago), and Bavarian Radio (Munich).

She has won top prizes at the Johanson International and the Holland-America Music Society competitions, the Primrose International Viola Competition, the Irving M. Klein International String Competition, and the ARD International Music Competition in Munich, Germany. She was also a winner of the Astral Artistic Services 2003 National Auditions.

Her discography includes a solo CD entitled 1939 with violinist Benjamin Bowman and pianist Meng-Chieh Liu (for Azica), along with many Toronto Symphony credits, most recently a Vaughan Williams disc featuring Teng Li performing Flos Campi (for Chandos).

Teng is a graduate of the Central Conservatory in Beijing, China, and the Curtis Institute of Music in Philadelphia.

AKIKO TARUMOTO

Akiko Tarumoto, Philharmonic Affiliates Chair, began her violin studies at age five. Her principal teachers have been Masao Kawasaki, Dorothy DeLay, and Glenn Dicterow. A native of Eastchester, New York, Tarumoto

studied at the preparatory division of the Juilliard School and received her bachelor’s degree in English and American Literature with honors from Harvard University in 1998. In 2000, she received her Master of Music degree from the Juilliard School and joined the second violin section of the Los Angeles Philharmonic.

In 2004, she was appointed to the first violin section of the Chicago Symphony Orchestra under Daniel Barenboim. While in Chicago, she performed on the Rush Hour and Chicago Symphony chamber series, at the Winter Chamber Music Festival at Northwestern University, and on the MusicNOW contemporary series.

Tarumoto returned to the Los Angeles Philharmonic in the fall of 2011 as a member of the second violin section and was appointed to fifth chair of the first violin section in March 2015. In January 2017, she was named Assistant Concertmaster. She is a frequent performer on the LA Phil’s Chamber Music and Green Umbrella series and has been featured as a soloist with the orchestra. Tarumoto has performed in the summer festivals of Aspen, Taos, and Spoleto (Italy). She has also appeared at the Mimir Festival in Fort Worth, Texas, and at the Chamber Music Festival of Lexington in Kentucky. Her husband is First Associate Concertmaster Nathan Cole.

Yuja Wang & Dudamel: Rachmaninoff Concerto 1

Los Angeles Philharmonic Gustavo Dudamel, conductor

Yuja Wang, piano

THURSDAY

FEBRUARY 9, 2023 8PM

RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Op. 1 (c. 27 minutes)

Vivace

Andante

Allegro vivace

Yuja Wang

INTERMISSION

RACHMANINOFF Symphonic Dances, Op. 45 (c. 35 minutes) Non allegro—Lento—Tempo I

Andante con moto (Tempo di valse) Lento assai—Allegro vivace

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall

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

Concerts in the Thursday 2 subscription series are generously supported by the Otis Booth Foundation.

Thursday’s performance is generously supported by Koni and Geoff Rich and the Elaine and Bram Goldsmith Great Artists Fund

Programs and artists subject to change.

AT A GLANCE

Rachmaninoff Rapture

Rachmaninoff the man may have had his insecurities, but his music has an epic grandeur of sound and spirit that has endeared it to audiences and performers alike. This is particularly true of his works for solo piano and orchestra, masterpieces all, with which Yuja Wang has been intensely involved since the beginning of her career. (Her first recording with orchestra paired the Piano

Concerto No. 2 with the Rhapsody on a Theme of Paganini.) She revels in “surfing the orchestral waves,” and in the sincerity, songfulness, and sheer Russianness of the music. She also—and unusually—finds a lot of wit in the Rhapsody. The lean and biting Symphonic Dances make a vivid contrast to the lushness of the concertos but are still unmistakably Rachmaninoff. —John Henken

PIANO CONCERTO NO. 1 Sergei Rachmaninoff (1873-1943)

Composed: 1891; 1917, 1919

Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (cymbals, triangle), strings, and solo piano

First LA Phil performance: July 12, 1960, William Steinberg conducting, with Byron Janis, soloist

“I have rewritten my First Concerto,” Rachmaninoff communicated to a friend. “It is really good now. All the youthful freshness is there, and yet it plays itself so much more easily. And nobody pays any attention. When I tell them in America that I will play the First Concerto, they do not protest, but I can see by their faces that they would prefer the Second or Third.”

Youthful freshness is not an unexpected quality considering

that the first movement of the Concerto was written by a student musician of 17, and the second and third movements when he was all of 18. What is remarkable is that Rachmaninoff maintained the freshness when he revised the work in 1917, some 26 years later. By that time, he had many major works to his credit—in addition to the Second and Third Piano Concertos, there were two symphonies, for the second of which he had won the prestigious Glinka Prize. And he had become celebrated not only as a composer but also as a pianist and conductor. The First Concerto, then, reflects both a teenaged Rachmaninoff who was already in possession of a strongly defined compositional style and a mature, worldly, and experienced creative artist.

The 26-year delay between the completion of the Concerto and its final revision is typical of Rachmaninoff’s somewhat haphazard approach to composing. The fact is, in his youth he was known as a somewhat lethargic student. Yet, in spite of his efforts to avoid hard work, he turned out some impressive scores even before graduating from the Moscow Conservatory: In addition to the First Concerto, there was the one-act opera Aleko, which won the admiration of Tchaikovsky, and several piano pieces, including the C-sharp-minor Prelude, whose immense success hounded the composer throughout his life. And of course, the emotional abyss into which he fell following the failure of his First Symphony in 1897 halted his productivity until a kind of hypnosis treatment brought him out of the

depression and into the glories of the Second Piano Concerto.

In the matter of compositional style, the First Concerto is thoroughly characteristic of Rachmaninoff’s once and always manner, which is both Russian and Romantic. In regard to the former, the composer said, “I am a Russian composer, and the land of my birth has influenced my temperament and outlook.”

Continuing this statement, Rachmaninoff in effect explained the Romanticism of his music: “My music is a product of my temperament, and so it is Russian music. I never consciously attempted to write Russian music, or any other kind of music.” Neither did he attempt to explore any of the contemporary stylistic trends that were appearing on the horizon. Rachmaninoff might have entered the new century making bold new sounds—after all, he was only 27 in 1900. But his musical mentality was of a different order than that of, say, his countryman Stravinsky, and he remained virtually impervious to the shock waves of the revolutionary salvos being released in the Europe of his time. Rachmaninoff the incorrigible Romantic continued throughout his career to operate in his own distinctive creative orbit, an orbit defined by plush lyricism that rides the waves of luxurious, enriched harmonies, and, in the piano works, expansive, richly detailed virtuosity in the grand 19th-century bravura tradition.

The mark of youthful impetuosity is particularly

apparent at the opening of the First Concerto, where an urgent two-measure fanfare in horns, clarinets, and bassoons sparks a fiery entrance from the piano, which, erupting high in the treble, lunges down the keyboard in blazing double octaves and chords. In his subsequent three piano concertos, the firstmovement scene is set with far more reserve and seriousness: at age 17, temperamental abandon came naturally. Following this introductory boldness, which climaxes in a cadenza-like flourish, the strings sing the lyric main theme, after which the piano takes the melody, adorning it with inimitable Rachmaninoffian decoration. Later, a stunning cadenza that follows an expanded return of the fanfare opening treats the main materials in a fantastic, brilliant fashion.

The middle movement’s nocturnal atmosphere, initiated by a horn solo, may echo the mood of the slow movement of Tchaikovsky’s Fifth Symphony, but the melting, extended piano solo that follows resonates with the pure Romanticism of Rachmaninoff. In this movement as in the vital finale, the pianism is absolutely ravishing and quite able to compensate for the somewhat wobbly structural stability, and, in the last movement, for the theme in a slow middle section that exceeds the acceptable level of sugar content. What matter: “It is really good now … it plays itself so much more easily” (if one has the fingers and the soul of Rachmaninoff). —Orrin Howard

SYMPHONIC DANCES

Sergei Rachmaninoff

Composed: 1940

Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle, and xylophone), piano, harp, and strings

First LA Phil performance: February 18, 1943, William Steinberg conducting

We now recognize and admire Rachmaninoff as a creator of moodily memorable melodies, without feeling the need, as we once did, to apologize for the beauty of those melodies—or blame him for being widely emulated by composers of film scores (who, likewise, are now regarded with a degree of respect formerly denied them), or the creators of the popular love songs his melodies inspired.

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.”

For most of his career Rachmaninoff, also one of the great pianists of his time, was the object of critics’ scorn for remaining stylistically rooted in the 19th century while living in the 20th. At the end of his life, however, with the present Symphonic Dances, Rachmaninoff combined a modernist rhythmic element— inspired by Stravinsky and Prokofiev—with his own unquenchable penchant for the big, big tune.

The Symphonic Dances had its beginnings as far back as 1915, in sketches for a ballet score called The Scythians (not to be confused with a similarly titled work by Prokofiev) that he submitted to dancer-choreographer Mikhail Fokine, who rejected them as “unballetic.” A quarter-century later, while living on New York’s Long Island, Rachmaninoff resurrected ideas from The Scythians to form the first movement of the Symphonic

Dances, premiered in 1941 by its dedicatees, Eugene Ormandy and his Philadelphia Orchestra. The initial reception for what is now widely regarded as Rachmaninoff’s most important symphonic work was lukewarm. The audience wanted more lushness, the critics less. It has since become the darling of critics among the composer’s scores and, increasingly, an audience favorite.

Interestingly, Rachmaninoff, his performers’ capabilities ever in mind, was in the habit of having an accomplished violinist check the practicability of the bowings for all his works involving strings. For the Symphonic Dances, this function was fulfilled by no less than Fritz Kreisler, Rachmaninoff’s frequent recital partner. Since Kreisler considered no violin part too difficult, the score emerged as music for a virtuoso orchestra.

The terse, march-like opening thematic figure dominates the entire first movement. It features prominently even in the gorgeously mournful, quintessentially Russian episode for the alto saxophone, whose part was submitted to another expert, the composer and Broadway arranger Robert Russell Bennett, for his approval. The final theme of the movement, announced staccato in the strings, is an exotic, richly chromatic affair that Rachmaninoff seems to have lifted from his de facto orchestration textbook, Rimsky-Korsakov’s opera

The Golden Cockerel. In the coda, Rachmaninoff quotes the opening theme of his First Symphony (1895). Does this act signify coming full circle? One hazards such a guess since the premiere of the Symphony was so disastrous that it caused critics to predict that Rachmaninoff had no future as a composer. Furthermore, the noisily hostile reception for the symphony, while not quite in a class with that later accorded Stravinsky’s The Rite of Spring, contributed to Rachmaninoff’s subsequent nervous breakdown.

The second dance opens with menacing chords (stopped horns and muted trumpets), followed by an eerie waltz that moves from near-lethargy to extreme agitation. The movement concludes with soft, scampering woodwind-and-string figures that suggest the participants not so much ending their dance as being blown away, still whirling, out of their dark, ghostly ballroom into an even darker night. The third and final section mixes Russian Orthodox chant and the medieval chant for the dead, “Dies irae.” The church is further represented by the “Alleluia” theme from the composer’s own choral Vespers (1915), which eventually muscles out the “Dies irae”: a symbolic triumph of life over death? Withal, this was the last music Rachmaninoff ever wrote. Two years later, and a month after becoming an American citizen, he died (of cancer), a few days short of his 70th birthday. —Herbert Glass

GUSTAVO DUDAMEL

For a biography of Music & Artistic Director Gustavo Dudamel, please turn to page 7

YUJA WANG

Pianist Yuja Wang is celebrated for her charismatic artistry, emotional honesty, and captivating stage presence. Artist-in-Residence at both the Czech Philharmonic and the Rotterdam Philharmonic in 2021/22, she has performed with the world’s most venerated conductors, musicians, and ensembles, and is renowned not only for her virtuosity, but also her spontaneous and lively performances, famously telling The New York Times, “I firmly believe every program should have its own life, and be a representation of how I feel at the moment.” This skill and charisma were recently demonstrated in her performance of the Shostakovich Piano Concerto No. 2 at Carnegie Hall’s openingnight gala in October 2021, following its historic 572 days of closure.

Yuja was born into a musical family in Beijing. After childhood piano studies in China, she received advanced training in

Canada and at the Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007, when she replaced Martha Argerich as soloist with the Boston Symphony Orchestra. Two years later, she signed an exclusive contract with Deutsche Grammophon and has since established her place among the world’s leading artists, with a succession of critically acclaimed performances and recordings. She was named Musical America’s Artist of the Year in 2017 and, in 2021, received an Opus Klassik Award for her world-premiere recording of John Adams’ Must the Devil Have All the Good Tunes? with the Los Angeles Philharmonic under the baton of Gustavo Dudamel.

As a chamber musician, Yuja has developed long-lasting partnerships with several leading artists, notably violinist Leonidas Kavakos, with whom she has recorded the complete Brahms violin sonatas and performed duo recitals in America in the autumn. In 2022, Yuja embarked on a highly anticipated international recital tour, which saw her perform in world-class venues across North America, Europe, and Asia, astounding audiences once more with her flair, technical ability, and exceptional artistry in a wide-ranging program to include Beethoven, Ligeti, and Schoenberg.

Intermusica represents Yuja Wang for worldwide general management.

Yuja Wang & Dudamel: Rachmaninoff’s Rhapsody

Los Angeles Philharmonic

Gustavo Dudamel, conductor

Yuja Wang, piano

RACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43 (c. 27 minutes)

Yuja Wang

INTERMISSION

RACHMANINOFF Symphonic Dances, Op. 45 (c. 35 minutes) Non allegro—Lento—Tempo I Andante con moto (Tempo di valse) Lento assai—Allegro vivace

FRIDAY

FEBRUARY 10, 2023 11AM

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall

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

Programs and artists subject to change.

AT A GLANCE

Rachmaninoff Rapture

Rachmaninoff the man may have had his insecurities, but his music has an epic grandeur of sound and spirit that has endeared it to audiences and performers alike. This is particularly true of his works for solo piano and orchestra, masterpieces all, with which Yuja Wang has been intensely involved since the beginning of her career. (Her first recording with orchestra paired the Piano

Concerto No. 2 with the Rhapsody on a Theme of Paganini.) She revels in “surfing the orchestral waves,” and in the sincerity, songfulness, and sheer Russianness of the music. She also—and unusually—finds a lot of wit in the Rhapsody. The lean and biting Symphonic Dances make a vivid contrast to the lushness of the concertos but are still unmistakably Rachmaninoff. —John Henken

RHAPSODY ON A THEME OF PAGANINI

Sergei Rachmaninoff (1873–1943)

Composed: 1934

Orchestration: piccolo, 2 flutes, 2 o boes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, orchestra bells, snare drum, triangle), harp, strings, and solo piano

First LA Phil performance: February 12, 1942, Bruno Walter conducting, with S ergei Rachmaninoff, soloist

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 Rimsky-Korsakov; 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.”

Withal, the Rhapsody on a Theme of Paganini is one of his least sentimental pieces—with the exception of that swooning 18th variation, which is really a tour de force of variation style, in which the minor-key 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, above all, a virtuoso pianist: a celebrated performer not only of his own works but of the solo piano music of Beethoven and Chopin, and as the keyboard half of recital partnerships with distinguished violinists, chief among them Fritz Kreisler.

His own music had by the early 1930s taken a turn toward a leaner and meaner style from

that of the sprawling, yearning pre-World War I scores on which his reputation, for good or ill, as a composer rested. In the later works, beginning with the Fourth Piano Concerto, continuing with the choral Three Russian Songs, Op. 41, the Corelli Variations for solo piano, Op. 42, and culminating with the present Rhapsody, the level of dissonance is higher, while rhythms are more angular than in the past.

The Rhapsody—actually, there is nothing rhapsodic about its tightly focused structure—comprises an introduction followed by 24 variations on the last of Niccolò Paganini’s 24 caprices for solo violin (a set of variations in itself). The theme was a favorite subject of 19th-century composers for large-scale variations works, among them Schumann, Liszt, and Brahms. But Rachmaninoff had 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 7th, 10th, and 24th variations. —Herbert

Glass

SYMPHONIC DANCES Sergei Rachmaninoff

Composed: 1940

Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle, and xylophone), piano, harp, and strings

First LA Phil performance: February 18, 1943, William Steinberg conducting

Please turn to page P24 to read the program notes.

For a biography of Music & Artistic Director Gustavo Dudamel, please turn to page 7

YUJA WANG

For a biography of pianist Yuja Wang, please turn to page P26

GUSTAVO DUDAMEL

Yuja Wang & Dudamel: Rachmaninoff Concerto 2

Los Angeles Philharmonic

Gustavo Dudamel, conductor

Yuja Wang, piano

SATURDAY

FEBRUARY 11, 2023 8PM

SUNDAY

FEBRUARY 12 2PM

RACHMANINOFF Piano Concerto No. 2 in C minor, Op. 18 (c. 34 minutes)

Moderato

Adagio sostenuto

Allegro scherzando

Yuja Wang

INTERMISSION

RACHMANINOFF Symphonic Dances, Op. 45 (c. 35 minutes)

Non allegro—Lento—Tempo I

Andante con moto (Tempo di valse)

Lento assai—Allegro vivace

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall

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

Saturday’s performance is generously supported by Koni and Geoff Rich

Programs and artists subject to change.

AT A GLANCE

Rachmaninoff Rapture

Rachmaninoff the man may have had his insecurities, but his music has an epic grandeur of sound and spirit that has endeared it to audiences and performers alike. This is particularly true of his works for solo piano and orchestra, masterpieces all, with which Yuja Wang has been intensely involved since the beginning of her career. (Her first recording with orchestra paired the Piano

Concerto No. 2 with the Rhapsody on a Theme of Paganini.) She revels in “surfing the orchestral waves,” and in the sincerity, songfulness, and sheer Russianness of the music. She also—and unusually—finds a lot of wit in the Rhapsody. The lean and biting Symphonic Dances make a vivid contrast to the lushness of the concertos but are still unmistakably Rachmaninoff. —John

Henken

PIANO CONCERTO NO. 2

Sergei Rachmaninoff (1873–1943)

Composed: 1901

Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum and cymbals), strings, and solo piano

First LA Phil performance: December 8, 1927, Georg Schnéevoigt conducting, with Benno Moiseiwitsch, soloist

It is hard to believe that music as confidently athletic and effusively lyrical as Rachmaninoff’s Second Piano Concerto could be the product of low self-esteem and writer’s block. But following the excoriation his Symphony No. 1 received after its 1897 premiere (in a terrible performance led by a reportedly drunk Alexander Glazunov), Rachmaninoff became increasingly depressed about composing. Promises of concertos for his friend Alexander Goldenweiser in 1898 and for the London Philharmonic

Society the following season went unfulfilled.

After many fruitless attempts to pull himself out of this deepening despondency—including visits to an unsympathetic and pontificating Leo Tolstoy— Rachmaninoff began daily sessions with a Dr. Nikolai Dahl in January of 1900. Dahl was an internist and hypnotist—and not at all incidentally a fine amateur musician—who had treated one of Rachmaninoff’s aunts. Dahl’s therapy, a combination of sensitive, understanding discussion and hypnotic suggestion, proved successful again.

In April, Rachmaninoff took off to the Mediterranean with his friend and recital partner, the bass Fyodor Chaliapin. A few months later Rachmaninoff returned to Russia with a portfolio of newly composed music, including a duet for his opera Francesca da Rimini and sketches for his Second Piano Concerto. He finished the second and third movements of the Concerto in time to play them at a benefit concert in December; the full work—dedicated

to Dahl—was completed the following summer and premiered in November 1901. The Concerto was ecstatically received at that premiere and has been a staple of heroic pianists ever since. Like many of the composer’s other popular scores, it has been pillaged for both style and content by film composers and songwriters— the luxuriant, exotically colored second theme in the finale provided the tune for “Full Moon and Empty Arms,” a hit for the young Frank Sinatra.

Besides its big tunes, other aspects of this concerto include imaginative treatments of the piano-orchestra relationship in texture and color as well as the highly evolved, thematic give-andtake. The great outpourings of melody are balanced by brutal dances and sardonic subtext. In this fabulous showpiece, the musicianship always motivates virtuosity— an interpretive virtuosity as much as a mechanical virtuosity, one that intensifies musical developments rather than replacing them.

—John Henken

ABOUT THE ARTISTS

SYMPHONIC DANCES Sergei

Rachmaninoff

Composed: 1940

Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle, and xylophone), piano, harp, and strings

First LA Phil performance: February 18, 1943, William Steinberg conducting

Please turn to page P24 to read the program notes.

For a biography of Music & Artistic Director Gustavo Dudamel, please turn to page 7

For a biography of pianist Yuja Wang, please turn to page P26

YUJA WANG

GUSTAVO DUDAMEL

CORPORATE PARTNERSHIPS

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 jmccourt@laphil.org.

ANNUAL FUND

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 support from Annual Donors that sustained us during the COVID-19 shutdown and made it possible to reopen our venues. We hope you, too, will consider joining the LA Phil family. 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 afterschool music instruction to children in underserved communities throughout Los Angeles. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, please call 213 972 7557.

PHILHARMONIC COUNCIL

Winnie Kho and Chris Testa, Co-Chairs Christian and Tiffany 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.

County of Los

Angeles

BOARD OF SUPERVISORS

Hilda L. Solis

Holly Mitchell

Lindsey P. Horvath

Janice K. Hahn Chair

Kathryn Barger

DEPARTMENT OF ARTS AND CULTURE

Kristin Sakoda Director

COUNTY ARTS COMMISSION

Eric R. Eisenberg President

Liane Weintraub Vice President

Patrisse Cullors Executive Committee

Constance Jolcuvar

Immediate Past President

Pamela Bright-Moon

Leticia Buckley

Patrisse Cullors

Madeline Di Nonno

Eric R. Eisenberg

Sandra Hahn

Helen Hernandez

Alis Clausen Odenthal

Anita Ortiz

Jennifer Price-Letscher

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 Department of Arts and Culture, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.

ESMAIL / FAURÉ

MARCH 26, 2023

Conductors

GRANT GERSHON, KIKI & DAVID GINDLER ARTISTIC DIRECTOR

JENNY WONG, ASSOCIATE ARTISTIC DIRECTOR 62 singers, soloists, tabla, percussion, chamber orchestra

REENA ESMAIL World Premiere*

GABRIEL FAURÉ Requiem in D Minor

Addy Sterrett, soprano

Abdiel Gonzalez, baritone

Creating rich tapestries of sound through Indian and Western classical music traditions, Reena Esmail, Swan Family Artist-in-Residence, explores the theme of water in her world premiere. Esmail’s exquisite piece is paired with Fauré’s stunning showcase of the human voice.

*Commissioned through a generous gift from Elizabeth and Justus Schlichting.

ENDOWMENT DONORS

We are honored to recognize our endowment donors, whose generosity ensures the longterm health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of August 15, 2022.

$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

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

Anonymous Dunard Fund USA

Lenore S. and Bernard A. Greenberg Fund

Carol Colburn Grigor

Terri and Jerry M. Kohl

Los Angeles Philharmonic Affiliates

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 Walt Disney Company

Fairchild-Martindale Foundation

Eris and Larry Field

Reese and Doris Gothie

Joan and John Hotchkis

Janeway Foundation

Bernice and Wendell Jeffrey

Carrie and Stuart Ketchum

Kenneth N. and Doreen R. Klee

B. Allen and Dorothy Lay

Los Angeles Philharmonic Committee

Estate of Judith Lynne

MaddocksBrown Foundation

Ginny Mancini

Raulee Marcus

Barbara and Buzz McCoy

Merle and Peter Mullin

William and Carolyn Powers

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

Lee and Hope Landis Warner

YOLA Student Fund

Edna Weiss

$250,000 TO $499,999

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 and 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.

Next Month at Walt Disney Concert Hall

MAR 3

Ladysmith Black Mambazo

MAR 7 SOLD OUT

Regina Spektor

MAR 8

Nathaniel Rateliff Plays Nilsson

MAR 16-17

Ziggy Marley

MAR 18

The Movie Music of Spike Lee & Terence Blanchard

The evolution of our name from the Los Angeles Jewish Home to Los Angeles Jewish Health reflects the full spectrum of our comprehensive, awardwinning programs and services. Los Angeles Jewish Health has grown from a group of caring neighbors providing shelter, to a leading non-profit senior care organization.

Our mission remains the same: to deliver excellence in senior care for all, rooted in Jewish values. With more than 100 years of trusted care, we meet you where you are in life to provide a customized experience that’s right for you.

Ladysmith Black Mambazo

Ziggy Marley

Regina Spektor

Terence Blanchard

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 between August 16, 2021, and August 15, 2022.

$1,000,000 AND ABOVE

Anonymous (3) Ann and Robert Ronus

Live Nation-Hewitt Silva Concerts, LLC

$500,000 TO $999,999

Norman and Music Center Foundation

Music Center Foundation

$200,000 TO $499,999

Anonymous

Colburn Foundation

Dunard Fund USA

Gordon P. Getty

Max H. Gluck

Foundation

Jenny Miller Goff

Tylie Jones

Terri and Jerry M. Kohl

$100,000 TO $199,999

Anonymous (2)

Mr. and Mrs. Karl J. Abert

Mr. Gregory A. Adams

Ms. Ursula C. Krummel

County of Los Angeles

Alfred E. Mann

Gregory Annenberg Weingarten/ GRoW @ Annenberg

The Blue Ribbon

The Eisner Foundation

Ms. Erika J. Glazer

$50,000 TO $99,999

Anonymous (6)

Mr. Robert J. Abernethy

Ms. Kate Angelo and Mr. Francois Mobasser

Judith and Thomas L. Beckmen

David Bohnett Foundation

Linda and Maynard Brittan

R. Martin Chavez and Christian Lundberg

Becca and Jonathan

Congdon

Mr. and Mrs. Robert Cook

Donelle Dadigan

Nancy and Donald de Brier

The De Marchena-Huyke Foundation

The Rafael and Luisa De Marchena-Huyke Foundation

The Walt Disney Company

Louise and Brad Edgerton/ Edgerton Foundation

Jane B. and Michael D. Eisner

Ms. Lisa Field

William Kelly and Tomas Fuller

Kiki Ramos Gindler and David Gindler

$25,000 TO $49,999

Anonymous (4)

Anonymous in memory of Dr. Suzanne Gemmell

Airbnb

The Herb Alpert Foundation

Charities

Anne Akiko Meyers and Jason Subotky

The Rose Hills Foundation

Linda May and Jack Suzar

Maureen and Stanley Moore

The Music Man Foundation

Mr. and Mrs. Jason O’Leary

Alexandra S. Glickman and Gayle Whittemore

Lucy S. Gonda MA, Creative Arts Therapies

Good Works Foundation and Laura Donnelley

Lenore S. and Bernard A. Greenberg Fund

Yvonne Hessler

The Hirsh Family

Fritz Hoelscher

Barbara and Amos Hostetter

Ms. Teena

Hostovich and Mr. Doug Martinet

The Ralph M. Parsons Foundation

Pasadena Showcase House for the Arts

Koni and Geoff Rich

Monique and Jonathan Kagan

Linda and Donald Kaplan

W.M. Keck Foundation

Darioush and Shahpar Khaledi

Dr. Ralph A. Korpman

The Norman and Sadie Lee Foundation

Barbara and Buzz McCoy

Mr. and Mrs. David Meline

Michael and Lori Milken Family Foundation

David and Linda Shaheen

Jay and Deanie Stein Foundation Trust

Rosenthal Family Foundation

James and Laura

Rosenwald/ Orinoco Foundation

Allyson Rubin

Sony Pictures

National Endowment for the Arts

David and Noriko Niemetz

M. David and Diane Paul

Peninsula Committee

Ms. Linda L. Pierce

Sandy and Barry

D. Pressman

Richard and Ariane Raffetto

Barbara and Jay Rasulo

Wendy and Ken

Ruby

Nancy S. and Barry Sanders

Marilyn and Eugene Stein

Entertainment, Inc.

Christian Stracke

Margo and Irwin Winkler

Ellen and Arnold Zetcher

Antonia Hernandez and Michael L. Stern

Ronald and Valerie Sugar

Frank Hu and Vikki Sung

Ms. Lois M. Tandy

Sue Tsao

Ellen GoldsmithVein and Jon Vein

Mindy and David Weiner

John and Marilyn Wells Family Foundation

Alyce de Roulet

Williamson

Debra Wong Yang and John W. Spiegel

Debra and Benjamin Ansell

Susan and Adam Berger

Samuel and Erin Biggs

Mr. and Mrs. Norris

J. Bishton, Jr.

Jill Black Zalben

Robert and Joan Blackman Family Foundation

Mr. Jeb Bonner

Kawanna and Jay Brown

Michele Brustin

Steven and Lori Bush

Oleg and Tatiana Butenko

California Office of the Small Business Advocate

Mara and Joseph Carieri

Esther S.M. Chui

Chao and Andrea

Chao-Kharma

Dan Clivner

Mr. Richard W. Colburn

Mr. and Mrs. Gordy Crawford

Lynette and Michael C. Davis

Orna and David Delrahim

Malsi DoyleForman and Michael Forman

Estate of Yates Keir

Van and Francine

Durrer Edison

International

Geoff Emery

Marianna J. Fisher and David Fisher

Austin and Lauren

Fite Foundation

Drs. Jessie and Steven Galson

The Rosalinde and Arthur Gilbert Foundation

Mr. James Gleason

Liz and Peter Goulds

Jason Greenman and Jeanne Williams

Renée and Paul Haas

Harman Family Foundation

Mr. Philip Hettema

Mr. and Mrs. James L. Hunter

JPMorgan Chase Foundation

Jo Ann and Charles Kaplan

Mr. and Mrs. Joshua R. Kaplan

Terri and Michael Kaplan

Paul Kester

Winnie Kho and Chris Testa

Vicki King

Mr. and Mrs. Kenneth N. Klee

The Erich and Della

Koenig Foundation

Mr. and Mrs. Keith

Landenberger

David Lee

Ken Lemberger and Linda Sasson

City of Los Angeles, Department of Cultural Affairs

Renee and Meyer Luskin

Roger Lustberg and Cheryl Petersen

Theresa Macellaro / The Macellaro

Law Firm

The Seth MacFarlane Foundation

Pamela Mass

Ashley McCarthy and Bret Barker

Ms. Kim McCarthy and Mr. Ben

Cheng

Ms. Irene Mecchi

David and Margaret

Mgrublian

Mr. Robert W. Olsen

Tye Ouzounian

Mr. and Mrs. Bruce Peters

$15,000 TO $24,999

Anonymous (10)

Drew and Susan Adams

Honorable and Mrs. Richard

Adler

Ms. Olga S. Alderson

Bobken and Hasmik Amirian

Ms. Elizabeth Barbatelli

Susan Baumgarten

Dr. William Benbassat

Miles and Joni Benickes

Mr. and Mrs. Wade Bourne

Mr. Stuart D. Buchalter

Ying Cai and Wann S. Lee

Foundation

Andrea ChaoKharma and Kenneth Kharma

Chivaroli and Associates, Tiffany and Christian

Chivaroli

Hyon Chough and Maurice Singer

Sarah and Roger Chrisman

Mr. and Mrs. Jonathan Cookler

Mark Houston

Dalzell and James

Dao-Dalzell

Jennifer Diener

Julia Stearns

Dockweiler

Charitable Foundation

Dr. and Mrs.

William M. Duxler

Daniel and Maryann Fong

Foothill

Philharmonic Committee

Mr. and Mrs.

Josh Friedman

Gary and Cindy Frischling

Carrie and Rob Glicksteen

Goodman Family Foundation

Robert and Lori Goodman

Allen Greenfield and Vivian

Feintech

Mr. Bill Grubman

Vicken and Susan

J. Haleblian

Carol Henry

Marion and Tod Hindin

Gerry Hinkley and Allen Briskin

Liz Levitt Hirsch

Linda Joyce Hodge

Mr. Glenn P. Jaffe

Meg and Bahram Jalali

Mr. Eugene Kapaloski

Tobe and Greg Karns

Mr. and Mrs. Robert A. Kasirer

Sandi and Kevin Kayse

Larry and Lisa Kohorn

N. Kubasak

Naomi and Fred Kurata

Lauren B.

Leichtman and Arthur E. Levine

Saul Levine

ANNUAL DONORS

Dr. Stuart Levine and Dr. Donna

Richey

Mr. and Mrs. Simon K.C. Li

Anita Lorber

Los Angeles County

Department of Arts and Culture

Los Angeles

Philharmonic Affiliates

The Mailman Foundation

Raulee Marcus

Jonathan and Delia Matz

Liliane Quon McCain

Dwayne and Eileen McKenzie

Marcy Miller

Mr. John Monahan

Deena and Edward Nahmias

Mr. and Mrs. Dan Napier

Ms. Mary D. Nichols

Shelby Notkin and Teresita Tinajero

Christine M. Ofiesh

Mr. Gary L. Ogden

Ana Paludi and Michael Lebovitz

Soham Patel and Jennifer Broder

Gregory Pickert and Beth Price

$10,000 TO $14,999

Anonymous (4)

B. Allen and Dorothy Lay

The Aversano Family Trust

Lorrie and Dan Baldwin

Judy and Leigh Bardugo

Stephanie Barron

Mr. Joseph A. Bartush

Mr. and Mrs. Phil Becker

Sondra Behrens

Phyllis and Sandy Beim

Mr. Mark and Pat Benjamin

Suzette and Monroe Berkman

Bob and Reveta Bowers

Campagna Family Trust

Ms. Nancy Carson and Mr. Chris Tobin

Chevron Products Company

Suzanne H. Christian and James L. Hardy

Ms. Bernice Colman

Alison Moore Cotter

Mr. Lawrence Damon and Mr. Ricardo Torres

Cary Davidson and Andrew Ogilvie

Victoria Seaver

Dean, Patrick Seaver, Carlton

Seaver

Thomas Denison

The Randee and Ken Devlin Foundation

Tim and Neda Disney

Janet and Larry Duitsman

Emil Ellis Farrar and Bill Ramackers

Bonnie and Ronald Fein

Mr. Tommy Finkelstein and Mr. Dan Chang

E. Mark Fishman and Carrie Feldman

Ella Fitzgerald

Charitable Foundation

Debra Frank

Ms. Kimberly Friedman

Dr. and Mrs. David Fung

$5,500 TO $9,999

Anonymous (7)

Ms. Janet Abbink and Mr. Henry Abbink

Alex Alben

Art and Pat Antin

Sandra Aronberg, M.D., and Charles Aronberg, M.D.

Mr. and Mrs. Arnold Porath

Cathleen and Scott Richland

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

Ms. Anne Rimer

John Peter Robinson and Denise Hudson

Jennifer and Evan Rosenfeld

The SahanDaywi Foundation

Ron and Melissa Sanders

Dr. and Mrs. Bruce Gainsley

Harriett and Richard E. Gold

Mr. and Mrs. Louis L. Gonda

Mr. and Mrs. Daniel

M. Gottlieb

Mr. and Mrs. Ken Gouw

Diane and Peter H. Gray

Tricia and Richard Grey

Roberta L. Haft and Howard L. Rosoff

Laurie and Chris Harbert

Mr. and Mrs. Irwin

Helford and Family

Mr. Tyler Holcomb

Mr. Raymond W. Holdsworth

Joyce and Fredric Horowitz

Mr. Frank J. Intiso

Kristi Jackson and William Newby

Robin and Gary Jacobs

Dr. William B. Jones

Mr. and Mrs. Stephen Keller

Remembering

Dena and Irv Schechter/The Hyman Levine Family Foundation: L’dor V’dor

Evy and Fred Scholder Family

Marc Seltzer and Christina Snyder

Mr. James J. Sepe

Nina Shaw and Wallace Little

Jill and Neil Sheffield

Mr. and Mrs. Howard A. Sherwood

Grady and Shelley Smith

Mr. and Mrs. Richard Sondheimer

Mr. Lev Spiro and Ms. Melissa Rosenberg

Mrs. Zenia Stept

Tom Strickler

Priscilla and Curtis S. Tamkin

Tracey BoldemannTatkin and Stan Tatkin

Hideya Terashima and Megan

Watanabe

Warren B. and Nancy L. Tucker

Elinor and Rubin

Turner

Lynn Wheeler Kinikin

Cary and Jennifer Kleinman

Sandra Krause and William Fitzgerald

Lucien Lacour

Mr. and Mrs. Norman A. Levin

Randi Levine

Ms. Agnes Lew

Ellen and Mark Lipson

Kyle Lott

Macy’s Marshall Field’s

Sandra Cumings

Malamed and Kenneth D. Malamed

Lisa and Willem Mesdag

Ms. Marlane Meyer

Mrs. Judith S. Mishkin

Ms. Susan Morad at Worldwide Integrated Resources, Inc.

Wendy Stark

Morrissey

Mr. and Mrs. James Mulally

Ms. Christine Muller and Mr. John Swanson

NBC Universal

Anthony and Olivia Neece

Dick and Chris Newman / C and R Newman Family Foundation

Kenneth T. and Eileen L. Norris Foundation

Ms. Jeri L. Nowlen

Mr. and Mrs. Peter O’Malley

Steve and Gail

Orens

Dennis C. Poulsen and Cindy

Costello

William “Mito”

Rafert

Lee Ramer

Alexander and Mariette

Sawchuk

Samantha and Marc Sedaka

Joan and Arnold Seidel

Dr. Donald Seligman and Dr. Jon Zimmermann

Neil Selman and Cynthia

Chapman

Walter H. Shepard and Arthur A. Scangas

Nancy Valentine

Noralisa Villarreal and John

Matthew Trott

Tee Vo and Chester Wang

Warner Bros.

Ms. Kelly

Weinhart-Henry and Ms. Bridgett

Henry

Libby Wilson, M.D.

Mahvash and Farrok Yazdi

Katiana and Tom Zimmerman

David Zuckerman and Ellie Kanner

Gloria Sherwood

The Sikand Foundation

Angelina and Mark Speare

Mr. and Mrs. Mark Stern

Marcie Polier Swartz and David Swartz

Mr. Akio Tagawa and Ms. Yui Suzuki

Mr. and Mrs. Randall Tamura

Michael Frazier

Thompson

Mr. Shaw Wagener and Ms. Deborah Heitz

Rachel Wagman

Frank Wagner and Lynn O’Hearn

Wagner

Abby and Ray Weiss

Amy and Norimoto

Yanagawa

Mr. and Mrs. Howard Zelikow

Bobbi and Walter Zifkin

Kevork and Elizabeth Zoryan

Ms. Judith A. Avery

Mr. Mustapha Baha

Dr. Richard Bardowell, M.D.

Mrs. Linda E.

Barnes

Sandra Kay Beckley

Mr. Barry Beitler

Maria and Bill Bell

Mr. and Mrs. Philip Bellomy

Benjamin Family Foundation

Charles Berney

and Family

Ms. Gail K. Bernstein

Helen and Peter S. Bing

Mr. and Mrs. Richard Birnholz

Lisa Biscaichipy

Mitchell Bloom

Mr. Ronald H. Bloom

Roz and Peter Bonerz

Greg Borrud

Mr. and Mrs. Hal Borthwick

Lynne Brickner and Gerald

Gallard

Mr. and Mrs. Steven Bristing

Abbott Brown

Thy Bui

Debra Burdorf

CBS Entertainment

Dr. Kirk Y. Chang

Arthur and Katheryn Chinski

Dr. Stephanie Cho and Jacob Green

Mr. and Mrs.

Ronald Clements

Mr. David Colburn

Jay and Nadege Conger

Mr. and Mrs. Richard W. Cook

Ms. Rosette Delug

Ms. Nancy L. Dennis

Ms. Mary Denove

Kathleen and Jerry L.

Eberhardt

Anna Sanders

Eigler

Ernst and Young LLP

Ms. Penelope Foley

The Franke Family Trust

Jason Gilbert

The Gillis Family

Mr. and Mrs.

Herbert Glaser

Mr. and Mrs. Russell Goldsmith

Lee Graff Foundation

Mr. and Mrs.

Paul E. Griffin III

Marnie and Dan

Gruen

Mr. and Mrs.

Paul Guerin

Cornelia Haag-

Molkenteller, M.D.

Mr. William Hair

Ms. Marian L. Hall

Stephen and Hope Heaney

Stephen D. Henry and Rudy M.

Oclaray

Ms. Luanne

Hernandez

Myrna and Uri Herscher Family Foundation

Elizabeth HofertDailey Trust

Janice and Laurence Hoffmann

Jill Hopper

Roberta and Burt

Horwitch

Dr. and Mrs. Mel

Hoshiko

Michele and James Jackoway

Mr. and Mrs. Tim

C. Johnson

Barbara A. Jones

Randi and Richard

B. Jones

Mr. and Mrs.

Steaven K.

Jones, Jr.

Robin and Craig

Justice

Hun and Jee Kang

Eileen and Ken Kaplan

Marty and Cari Kavinoky

UNSUK CHIN Subito con forza

ANNUAL DONORS

Mr. Mark Kim and Ms. Jeehyun Lee

Mr. and Mrs. V ictor Kohn

Mr. and Mrs. Stephen A. Kolodny

Mr. and Mrs. Joseph K. Kornwasser

Dr. and Mrs. Mark Labowe

Mr. and Mrs. Ronald B. Labowe

Ellie and Mark Lainer

Lee Lampe

Katherine Lance

Mr. and Mrs. Jack D. Lantz

Mr. George Lee

Marlene and Howard Leitner

Mary Beth and John Leonard

Marie and Edward Lewis

David and Rebecca Lindberg

Mr. Joseph Lund and Mr. James Kelley

Mr. and Mrs. Stanley Maron

Milli M. Martinez and Don Wilson

Vilma S. Martinez, Esq.

Leslie and Ray Mathiasen

Dr. and Mrs. Gene Matzkin

Mr. and Mrs. Thomas E. McCarthy

Cathy and John McMullen

Mr. Sheldon and Dr. Linda Mehr

Lawry Meister

Mr. and Mrs. Dana Messina

O’Malley and Ann Miller

Mr. Weston F. Milliken

Janet Minami

Marc and Jessica Mitchell

Mrs. Lillian Mueller

Craig and Lisa Murray

Mrs. Cynthia Nelson

Mr. Jerold B. Neuman

Mr. and Mrs. Randy Newman

$3,500 TO $5,499

Anonymous (6)

Ms. Rose Ahrens

Edgar Aleman

Adrienne S. Alpert

Stiv Bators

Catherine and Joseph Battaglia

Newton and Rochelle Becker

Charitable Trust

Ellis N. Beesley, Jr., M.D.

Mr. and Mrs. Gregg and Dara Bernstein

Vince Bertoni and Damon Hein

Eileen Bigelow and Brien J. Bigelow

Mr. and Mrs. Dan Biles

Dr. Andrew C. Blaine and Dr. Leigh Lindsey

Ken Blakeley and Quentin O’Brien

Mr. Michael Blea

Bill and Susan Bloomfield

Joan N. Borinstein

Ms. Leslie Botnick

Mr. Ray Boucher

Anita and Joel Boxer

Dr. and Mrs. Hans Bozler

Ms. Kimberly Nicholas

Ms. Margo Leonetti

O’Connell

Irene and Edward Ojdana

Ms. Melissa Papp-Green

Cynthia Patton

Ms. Debra Pelton and Mr. Jon Johannessen

Mary E. Petit and Eleanor Torres

Julie and Marc Platt

Lyle and Lisi Poncher

Robert J. Posek, M.D.

James S. Pratty, M.D.

Diana Reid and Marc Chazaud

Mr. Eduardo Repetto

Hon. Vicki Reynolds and Mr. Murray Pepper

Mr. and Mrs. Norman L. Roberts

In memory of RJ and JK Roe

Murphy and Ed Romano and Family

Amy and William Roth

Mr. Steven F. Roth

Ms. Rita Rothman

Linda and Tony Rubin

Mr. and Mrs. Paul Rutter

Thomas C. Sadler and Dr. Eila C. Skinner

Dr. and Mrs. Bernard Salick

Mrs. Elizabeth

Loucks Samson

San MarinoPasadena

Philharmonic Committee

Santa MonicaWestside

Philharmonic Committee

Dr. and Mrs. Heinrich

Schelbert

Claire and Charlie Shaeffer

Ruth and Mitchell Shapiro

Dr. Stephen and Mrs. Janet

Sherman

Pamela and Russ Shimizu

Mr. Adam Sidy

Mr. and Mrs. Peter R. Skinner

Leah R. Sklar

Mr. Douglas

H. Smith

William Spiller

Joseph and Suzanne Sposato

Lael Stabler and Jerone English

Mr. Adrian B. Stern

Jennifer Taguchi

Andrew Tapper and Mary Ann

Weyman

Mr. Avedis Tavitian

Mrs. Elayne

Techentin

Keith and Cecelia Terasaki

Ms. Evangeline

M. Thomson

Charles and Nicole Uhlmann

Verizon Foundation

Jenny Vogel

Terry and Ann Marie Volk

Wil Von Der Ahe

Dr. Marlene M. Schultz and Philip M. Walent

Lisa and Tim Wallender

Bob and Dorothy Webb

Max and Diane Weissberg

Doris Weitz and Alexander Williams

Westside Committee

Robert and Penny White

Mr. Robert E. Willett

David and Michele Wilson

Mr. Steve Winfield

Karen and Rick Wolfen

Mr. and Mrs. Irwin Wong

Mr. and Mrs. Richard Wynne

Mr. Nabih Youssef

Lynn Gordon and Jon Braun

Ms. Marie Brazil

Mrs. William Brand and Ms. Carla B. Breitner

Mr. Donald M. Briggs and Mrs. Deborah J. Briggs

Drs. Maryam and Iman Brivanlou

Kevin Brockman and Daniel Berendsen

Diana Buckhantz

Business and Professional Committee

Mr. and Mrs. Tom R. Camp

Mr. Jon C. Chambers

Mr. Louis Chertkow

Carla

Christofferson

Ms. Nancybell Coe

Dr. and Mrs. Lawrence J. Cohen

Susan and David Cole

Ms. Ina Coleman

Mr. Michael Corben and Ms. Linda Covette

Mr. and Mrs. Bruce Corwin

Donald Cron

Mr. and Mrs. Leo David

Mr. James Davidson and Mr. Michael Nunez

Mr. Howard M. Davine

Michael Dillon

R. Stephen Doan and Donna E. Doan

Sean Dugan and Joe Custer

Mr. Michael Edelstein

Dr. David Eisenberg

Mrs. Eva Elkins

John B. Emerson and Kimberly Marteau

Emerson

Joyce and David Evans

Jen and Ted Fentin

The Hon. Michael W. Fitzgerald

Dr. and Mrs. Arthur A. Fleisher, II

Mr. and Mrs. Michael M. Flynn

Mrs. Diane Forester

Bruce Fortune and Elodie Keene

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

Mr. Michael Fox

Lynn Franklin

Mr. and Mrs. Michael Freeland

Linda and James Freund

Dr. Tim A. Gault, Sr.

Beth Gertmenian

Mr. and Mrs. Ronald Gertz

Mr. and Mrs. Harlan Gibbs

Ms. Malinda

Gilchrist

Mr. and Mrs. Lawrence D. Gilson

Tina Warsaw

Gittelson

Glendale

Philharmonic Committee

Mr. Gregg

Goldman and

Mr. Anthony DeFrancesco

Dr. Patricia Goldring

Nestor Gonzalez and Richard

Rivera

Mr. Peter Anderson and Ms. Valerie Goo

Dr. Ellen Smith

Graff

Sue and Jim Gragg

Rob and Jan Graner

Ms. Linda Graul

Mr. Charles Gross

Mr. Frank Gruber and Ms. Janet

Levin

Mr. Gary M. Gugelchuk

Mr. and Mrs. Pierre and Rubina Habis

Mr. Robert T. Harkins

Mr. and Mrs. Brian L. Harvey

Lynette Hayde

Byron and DeAnne Hayes

Mr. Donald V. Hayes

Mr. Rex Heinke

and Judge

Margaret Nagle

Dryden and Brian Helgoe

The Hill Family

Dr. and Mrs. Hank Hilty

Arlene

Hirschkowitz

David and Martha Ho

Eugene and Katinka Holt

In and Ki Hong

Ms. Michelle Horowitz

Dr. Timothy Howard and Jerry Beale

Mr. and Mrs. Thomas C. Hudnut

Andrei and Luiza Iancu

Illig Construction Company

Carl and Wendy

Jacoby

Mr. Sean Johnson

Mr. and Mrs. David S. Karton

Dr. and Mrs. David Kawanishi

Kayne, Anderson

and Rudnick

Richard Kelton

Ms. Sharon Kerson

Richard and Lauren King

Mr. and Mrs. Jon Kirchner

Stephanie and Randy Klopfleisch

Michael and Patricia Klowden

Mr. and Mrs. Bruce Konheim

David Koontz and Jim Brophy

The Kraft Family

Elaine Kramer and Al Latham

Carol Krause

Brett Kroha and Ryan Bean

Mrs. Joan Kroll

Tom Lallas and Sandy Milo

Thomas and Gloria Lang

Joan and Chris Larkin

Mrs. Grace E. Latt

James D. Laur

Craig Lawson and Terry Peters

Mr. Randall Lee and Ms. Stella M.

Jeong

Mr. Robert Leevan

Dr. Bob Leibowitz

Lydia and Charles Levy

David and Meghan Licata

Alison Lifland

Ms. Joanne Lindquist

Ms. Elisabeth

Lipsman

Long Beach

Auxiliary

Ms. Diana Longarzo

Mr. Philip Lord

Susan Disney Lord and Scott Lord

Los Angeles

Philharmonic Committee

Kristine and David Losito

Mr. and Mrs. Boutie Lucas

Crystal and Elwood Lui

Luppe and Paula Luppen

Edward and Jamelle Magee

Mr. and Mrs. Ronald Manzani

Mona and Frank Mapel

Mr. Allan Marks and Dr. Mara Cohen

David Matalon and Sheryl Shark

ANNUAL DONORS

Dr. and Mrs. Allen

W. Mathies

Mr. Gary J. Matus

Mr. and Mrs. William F. McDonald

Ms. Barbara

H. McDowell

Mrs. Velma V. McKelvey

Professors

Anne and Ronald

Mellor

Robert L. Mendow

Ms. Janet G. Michaels

Mr. and Mrs. David Michaelson

Dr. Gary Milan

Linda and Kenneth Millman

Mr. and Mrs.

Simon Mills

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

Sheila Muller

Mr. Emory R. Myrick

Ms. Kari Nakama

Mr. and Mrs. Robert Neely

Bill and Mary Newbold

Mr. Richard

Newcome and Mr. Mark Enos

Heidi Novaes

Ms. Becky Novy

Mr. Dale Okuno

Mr. and Mrs.

Richard Orkand

Mr. Ralph Page

January

Parkos-Arnall

Angela Gheorghiu

Saturday, March 4, 2023 7:30 pm

–The New York Times

Vibrant opera star Angela Gheorghiu returns with an unmatched repertoire, including Handel, Strauss, Tosti, Massenet, and more.

Celebrity Opera Recitals at BroadStage are supported by a generous gift from the Lloyd E. Rigler — Lawrence E. Deutsch Foundation.

broadstage.org

Mr. and Mrs. Robert D. Paster

Mr. and Mrs. Joshua Perttula

Nancy and Glenn Pittson

Mr. Albert Praw

Joyce and David Primes

Ms. Marci Proietto

Ms. Miriam Rain

Richard Ranger

Marcia and Roger Rashman

Mr. and Mrs. Wayne Ratkovich

Dr. Robert Rauschenberger

Rita and Norton Reamer

Mary Beth

Redding

Resource Direct

Dr. Susan F. Rice

Rock River Robinson Family Foundation

Hon. Ernest M. Robles

Ernesto Rocco

Mrs. Laura H. Rockwell

Allison and Richard Roeder

Mr. and Mrs. William C. Roen

Peter and Marla Rosen

Mr. Lee N. Rosenbaum and Mrs. Corinna

Cotsen

Dr. James M. Rosser

Mimi Rotter

Mr. and Mrs. Matthew Rowland

Ann M. Ryder

Betty J. Saidel

Valerie Salkin

Mr. and Mrs. Charles M. Sarff

Kevin Savage and Britta Lindgren

Mark and Valerie Sawicki

Elliot Gordon and Carol Schwartz

Carol (Jackie) and Charles Schwartz

Mr. Alan

Scolamieri

Michael Sedrak

Robert Segal in memory of Jeanne Segal

Dr. and Mrs. Hervey Segall

Ms. Amy J. Shadur-Stein

Rayman Mathoda and Avantika

Shahi

Mr. Steven Shapiro

Dr. Alexis M.

Sheehy

Mr. Murray Siegel

Ms. Ruth M. Simon

David Singer

Dr. and Mrs.

Robert Sinskey

Mr. Kurt Skarin

Mr. Steven Smith

Mr. and Mrs. Michael G. Smooke

Virginia Sogomonian and Rich Weiss

Michael Soloman and Steven Good

Shondell and Ed Spiegel

Ms. Angelika Stauffer

Mr. and Mrs. Joseph Stein

Mr. and Mrs.Gene Stoeckly

Maia and Richard Suckle and

The Anna and Benjamin Suckle Foundation

The Sugimoto Family

Mr. and Mrs. Mark G. Sullivan

Ted Suzuki and Deborah May

GLYNDEBOURNE, GARSINGTON & LONDON FESTIVALS

June 18 – 30, 2023

GLYNDEBOURNE FESTIVAL: L’ELISIR D’AMORE; & DON GIOVANNI (New Production).

LONDON (Royal Opera– Covent Garden): WERTHER (Kaufmann); IL TROVATORE.

GARSINGTON FESTIVAL: ARIADNE AUF NAXOS; & Mozart’s MITRIDATE, RE DI PONTO.

HOLLAND PARK FESTIVAL: RIGOLETTO.

PLUS - A West End Musical (TBA).

– 5-Star Hotels –Grand Hotel – Eastbourne Sussex; The May Fair – London

MILAN & VERONA

June 29 – July 10, 2023

MILAN (La Scala): MACBETH (Netrebko); & Prokofiev’s ROMEO & JULIET BALLET.

VERONA (Arena): CARMEN; RIGOLETTO; LA TRAVIATA; & AIDA (New Production).

– 5-Star Hotels –Grand Hotel– Milan; Due Torri– Verona

–Orchestra Tickets to Performances––Selected Gourmet Meals & Wine––Customized Sightseeing and Excursions–

“alluring and expressive”

Celebrity Opera is back!

Photo by Cosmin Gogu

Mr. and Mrs. Larry

W. Swanson

Mr. Marc A.

Tamaroff

Suzanne Thomas

Mr. and Mrs. Harlan

H. Thompson

Mr. and Mrs. Leonard Unger

Christine Upton

Kathy Valentino

Perry Vidalakis

Jay T. Kinn and Jules B. Vogel

Elliott and Felise

Wachtel

Christopher V. Walker

Mr. Eldridge

Walker

Mr. and Mrs. Susan

Washton

Craig R. Webb and Melinda Taylor

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

Horowitz

Mr. and Mrs. Doug

M. Weitman

Mr. and Mrs. Steven White

Mr. Kirk Wickstrom and Mrs. Shannon Hearst

Wickstrom

Mr. Lee Winkelman and Ms. Wendey

Stanzler

Ms. Eileen Wong Linda and John

Woodall

Mr. Kevin Yoder

George and Eileen Young

Mrs. Lillian Zacky

Rudolf H. Ziesenhenne

Mr. Sanford Zisman and Ms. Janis Frame

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.

Symphonic Majesty

MAR 2–5

Mehta Conducts Mahler 3

Zubin Mehta, conductor

Gerhild Romberger, alto

Los Angeles Master Chorale

Grant Gershon, Artistic Director

Jenny Wong, Associate Artistic Director

Los Angeles Children’s Chorus

Fernando Malvar-Ruiz, Artistic Director

MAR 10–12

Symphonie fantastique with Mehta

Zubin Mehta, conductor

Nadine Sierra, soprano

MAR 23–25

Mälkki Leads Dvořák

Susanna Mälkki, conductor

Claire Chase, flute esperanza spalding, bass

MAR 30–31

Tchaikovsky and Sibelius

Dalia Stasevska, conductor

Randall Goosby, violin

COLBURN CELEBRITY RECITALS

MAR 12

Igor Levit, piano

MAR 15

Hilary Hahn, violin

Dalia Stasevska

Hilary Hahn

Susanna Mälkki

Igor Levit

Zubin Mehta

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

Heather Hutt

Paul Krekorian President

John S. Lee

Tim McOsker

Traci Park

Curren D. Price, Jr.

Nithya Raman

Monica Rodriguez

Hugo Soto-Martinez

Katy Young Yaroslavsky

DEPARTMENT OF CULTURAL AFFAIRS

Daniel Tarica

Acting General Manager

CULTURAL AFFAIRS COMMISSION

Elissa Scrafano President

Thien Ho Vice President

Evonne Gallardo

Charmaine Jefferson

Ray Jimenez

Eric Paquette

Robert Vinson

WALT DISNEY

CONCERT HALL

HOUSE STAFF

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

Welcome to The Music Center!

We are incredibly honored you have chosen to join us at L.A.’s only performing arts destination!

The Music Center is your place, where you can experience all the arts have to offer, from self-expression and connection to the joy of witnessing live performance and events in our four incredible theatres, at Jerry Moss Plaza and in Grand Park. With safety as our number one priority, we promise to provide you the best, safest experience possible on our campus.

Be sure to visit musiccenter.org to learn about upcoming events and performances.

Enjoy the show!

#BeAPartOfIt

@musiccenterla

General Information (213) 972-7211 | musiccenter.org

Support The Music Center (213) 972-3333 | musiccenter.org/support

2022/2023 BOARD OF DIRECTORS

OFFICERS

Cindy Miscikowski Chair

Robert J. Abernethy Vice Chair

Darrell R. Brown Vice Chair

Rachel S. Moore President & CEO

Diane G. Medina Secretary

Susan M. Wegleitner Treasurer

William Taylor Assistant Treasurer and Chief Financial Officer

MEMBERS AT LARGE

Charles F. Adams

William H. Ahmanson

Jill C. Baldauf

Susan E. Baumgarten

Phoebe Beasley

Thomas L. Beckmen

Dannielle Campos

Greg T. Geyer

Jeffrey M. Hill

Carl Jordan

Terri M. Kohl

Kent Kresa

Lily Lee

Cary J. Lefton

Keith R. Leonard, Jr.

David B. Lippman

Susan M. Matt

Mattie McFaddenLawson

Elizabeth Michelson

Darrell D. Miller

Shelby Notkin

Teresita Notkin

Michael J. Pagano

Cynthia M. Patton

Karen Kay Platt

Joseph J. Rice

Melissa Romain

Beverly P. Ryder

Maria S. Salinas

Lisa See

Mimi Song

GENERAL COUNSEL

Rollin A. Ransom

DIRECTORS EMERITI

Wallis Annenberg

Peter K. Barker

Judith Beckmen

Ronald W. Burkle

John B. Emerson **

Richard M. Ferry

Brindell Gottlieb

Bernard A. Greenberg

Stephen F. Hinchliffe, Jr.

Glen A. Holden

Edward J. McAniff

Walter M. Mirisch

Fredric M. Roberts

Richard K. Roeder

Claire L. Rothman

Joni J. Smith

Lisa Specht **

Cynthia A. Telles

James A. Thomas

Andrea L. Van de Kamp **

Thomas R. Weinberger ** Chair Emeritus

Current as of 12/12/2022

Share Your Love for the Arts with Others!

Do you love the arts and want to share your enthusiasm for The Music Center?

Become a volunteer docent and part of The Music Center Symphonians! This dedicated group offers tours of The Music Center and enjoys a wonderful network of like-minded fans of the arts.

More information at symphonians@musiccenter.org.

Matthew J. Spence

Johnese Spisso

Philip A. Swan

Timothy S. Wahl

Alyce de Roulet

Williamson

Jay S. Wintrob

Complexions Contemporary Ballet’s Jillian Davis. Photo by Rachel Neville.

BOARD OF SUPERVISORS

COUNTY OF LOS ANGELES

Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.

Hilda L. Solis Supervisor, First District

Janice Hahn Chair Supervisor, Fourth District

Kathryn Barger Supervisor, Fifth District

Holly J. Mitchell Supervisor, Second District

Lindsey P. Horvath Supervisor, Third District

Live at The Music Center

WED 1 FEB / 8:00 p.m.

Colburn Celebrity Recital

Emanuel Ax

LA PHIL

@ Walt Disney Concert Hall

FRI 3 FEB / 8:00 p.m.

Ray Chen plays Mendelssohn

LA PHIL

@ Walt Disney Concert Hall

Also 2/4/2023

SAT 4 FEB / 7:30 p.m.

The Marriage of Figaro

LA OPERA

@ Dorothy Chandler Pavilion

Thru 2/26/2023

SAT 4 FEB / 11:00 a.m.

The Firebird

— Symphonies for Youth

LA PHIL

@ Walt Disney Concert Hall

TUE 7 FEB / 8:00 p.m.

Green Umbrella

LA Phil New Music Group with Paolo Bortolameolli

LA PHIL

@ Walt Disney Concert Hall

THU 9 FEB / 8:00 p.m.

Yuja Wang & Dudamel: Rachmaninoff Concerto 1

LA PHIL

@ Walt Disney Concert Hall

FRI 10 FEB / 11:00 a.m.

Yuja Wang & Dudamel: Rachmaninoff’s “Rhapsody”

LA PHIL

@ Walt Disney Concert Hall

SAT 11 FEB / 8:00 p.m.

Yuja Wang & Dudamel: Rachmaninoff Concerto 2

LA PHIL

@ Walt Disney Concert Hall Also 2/12/2023

SUN 12 FEB / 7:00 p.m.

Choose Something

Like A Star

LOS ANGELES

MASTER CHORALE

@ Walt Disney Concert Hall

THU 16 FEB / 8:00 p.m.

Yuja Wang & Dudamel: Rachmaninoff Concerto 3

LA PHIL

@ Walt Disney Concert Hall Also 2/17/2023

SAT 18 FEB / 2:00 p.m.

Yuja Wang & Dudamel: Rachmaninoff Concerto 4

LA PHIL

@ Walt Disney Concert Hall Also 2/19/2023

SUN 19 FEB / 8:00 p.m.

The Secret Garden

CENTER THEATRE GROUP

@ Ahmanson Theatre Thru 3/26/2023

THU 23 FEB / 8:00 p.m.

Lang Lang Plays Grieg

LA PHIL

@ Walt Disney Concert Hall

FRI 24 FEB / 8:00 p.m.

Bruch and Brahms

LA PHIL

@ Walt Disney Concert Hall

Thru 2/26/2023

SAT 25 FEB / 11:00 a.m.

Very Special Arts Festival

— Community Day

THE MUSIC CENTER

@ Jerry Moss Plaza

SAT 25 FEB / 2:00 p.m.

Sounds About Town

American Youth Symphony and National Children’s Chorus

LA PHIL

@ Walt Disney Concert Hall

TUE 28 FEB / 8:00 p.m.

Chamber Music

Schubert and Prokofiev

LA PHIL

@ Walt Disney Concert Hall

Visit musiccenter.org for additional information on all upcoming events.

@musiccenterla

FEB 2023

Photo: Will T. Yang for The Music Center

Wed Feb 15 | 8pm

Filharmonie Brno: Janáček, Martinů and Dvořák

Dennis Russell Davies, Chief Conductor and Artistic Director

Sat Feb 18 | 8pm

Requiem: Fire in the Air of the Earth

A.I.M by Kyle Abraham

Thu Feb 23 | 8pm

Treelogy: A Musical Portrait of California’s Redwood, Sequoia and Joshua Trees

Sat Mar 4 | 3pm

Yamato – The Drummers of Japan

Hinotori: The Wings of Phoenix

Renowned composers Billy Childs, Steven Mackey, and Gabriella Smith — all with deep California roots of their own — have each composed original music for this three-part concert. Commissioned, produced, and presented by The Soraya, Treelogy is a celebration and a call to action to save California’s beloved and iconic trees.

Yamato

Filharmonie Brno

A.I.M. by Kyle Abraham