Performances Magazine | LA Phil, March 2023

MARCH 2023

MAR

MAR 7 Regina Spektor

MAR 8

Nathaniel Rateliff Plays Nilsson

MAR 10–12

MAR

LA Phil Symphonie fantastique with Mehta

MAR 12

Colburn Celebrity Recital Igor Levit

BOOK II • MARCH 14–31

MAR 14 Green Umbrella

LA Phil New Music Group with John Adams

MAR 15

Colburn Celebrity Recital

Hilary Hahn

MAR 18 Jazz

The Movie Music of Spike Lee & Terence Blanchard

MAR 23–25

LA Phil Mälkki Leads Dvořák

MAR 28

Chamber Music

Tchaikovsky and Wagner

MAR 30–31

LA Phil

Tchaikovsky and Sibelius

Cover images, clockwise from top left: Zubin Mehta, Susanna Mälkki, Dalia Stasevska, Terence Blanchard, Hilary Hahn, Randall Goosby, Regina Spektor, Nadine Sierra.

2

Madison McFerrin

Gerhild Romberger

Ladysmith Black Mambazo

Helping you reach your goals is

Helping you reach your goals is our top priority.

our top priority.

Experience the benefits of investments, banking and wealth planning – all expertly coordinated to bring you the capabilities you need with the service you expect.

Experience the benefits of investments, banking and wealth planning – all expertly coordinated to bring you the capabilities you need with the service you expect.

Los Angeles Philharmonic Publications 2023

Editor Anna Ress

Art Director

Natalie Suarez

Design Studio Fuse

Editorial Coordinator

Michail Sklansky

Explore more at: laphil.com

Publisher Jeff Levy

Art Director

Carol Wakano

Production Manager

Glenda Mendez

Production Artist

Diana Gonzalez

Digital Program Manager

Audrey Duncan Welch

Digital Manager

Lorenzo Dela Rama

Advertising Director

Walter Lewis

Account Directors

Kerry Baggett, Jan Bussman, Jean Greene, Tina Marie Smith

Circulation Manager

Christine Noriega-Roessler

Business Manager

Leanne Killian Riggar

Marketing/

Production manager

Dawn Kiko Cheng

Contact Us

Advertising

Walter.Lewis@ CaliforniaMediaGroup.com

Website

Lorenzo.DelaRama@ CaliforniaMediaGroup.com

Circulation

Christine.Roessler@ CaliforniaMediaGroup.com

Honorary President

Ted Levy

For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone:

WELCOME!

Last month we announced our 2023/24 season at Walt Disney Concert Hall. The season illustrates the full scope of our mission, featuring a number of ambitious projects led by Music & Artistic Director Gustavo Dudamel, the third year of our Pan-American Music Initiative, a retrospective series with composer John Williams, a showcase of Californian creativity in partnership with arts organizations across this state, and a wide range of artists in symphonic music, jazz, rock, opera, and more. A throughline in this new season and all our work is the shared belief that music can lift us up, build connection, and must be accessible to all.

Access was also the driving motivation behind Walt Disney Concert Hall, which will mark its 20th anniversary in our next season. Frank Gehry hoped this hall would not just be a world-class place to hear music, but a “living room for the city” that, in his words, would “invite people to come inside, be accessible for everyone, feel not pompous or overly formal.” Throughout the 2023/24 season, we will celebrate the legacy of this venue, the spirit it embodies, and our relationship and collaborations with Frank Gehry. I invite you to explore details of the new season, and we look forward to sharing great music with you, both this year and the next.

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

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.

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

Andrew Moreno

ASSISTANT, OFFICE SERVICES

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

Meredith Reese

DIGITAL ASSET MANAGER

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

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

Diana Salazar

PATRON SERVICES

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

Dreima Flores

OPERATIONS ADMINISTRATOR

Charee Heard

EVENT 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

Sarah Little

ASSOCIATE DIRECTOR, LEARNING

Diana Melgar

ASSISTANT MANAGER, YOLA

Michael Salas 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

David Halperin

CREATIVE COPYWRITER

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

Jordan Kauffman

MANAGER, AUDIENCE GROWTH AND ENGAGEMENT

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 K. 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

Dustin Seo ASSISTANT MANAGER, ANNUAL GIVING

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

ANNUAL GIVING OFFICER

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.

A healthy note from Kaiser Permanente: Music is good for you — mind, body, and spirit.

Official partner in health & harmony

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 GIVING

From the concerts that take place onstage at Walt Disney Concert Hall, Hollywood Bowl, and The Ford to the learning programs that fill our community with music, it is the consistent support of Annual Donors that sustains and propels our work. We hope you, too, will consider 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.

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 December 31, 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 Rafael & Luisa de MarchenaHuyke Foundation

The Walt Disney Company

Fairchild-Martindale Foundation

Eris and Larry Field

Reese and Doris Gothie

Joan and John Hotchkis

Janeway Foundation

Bernice and Wendell 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

Deanie and Jay Stein

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 Family Foundation

Jane and Marc B. Nathanson

Y & S Nazarian Family Foundation

Nancy and Sidney Petersen

Rice Family Foundation

Robert Robinson

Katharine and Thomas Stoever

Sue Tsao

Alyce and Warren Williamson

$100,000 TO $249,999

Mr. Robert J. Abernethy

William A. Allison

Rachel and Lee Ault

W. Lee Bailey, M.D.

Angela Bardowell

Deborah Borda

The Eli and Edythe Broad Foundation

Jane Carruthers

Pei-yuan Chia and Katherine Shen

James and Paula Coburn Foundation

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

Mr. and Mrs. Terry Cox

Silvia and Kevin Dretzka

Allan and Diane Eisenman

Christine and Daniel Ewell

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

David and Paige Glickman

Nicholas T. Goldsborough

Gonda Family Foundation

Margaret Grauman

Kathryn Kert Green and Mark Green

Joan and John F. Hotchkis

Freya and Mark Ivener

Ruth Jacobson

Stephen A. Kanter, M.D.

Jo Ann and Charles Kaplan

Yates Keir

Susanne and Paul Kester

Vicki King

Sylvia Kunin

Ann and Edward Leibon

Ellen and Mark Lipson

B. and Lonis Liverman

Glenn Miya and Steven Llanusa

Ms. Gloria Lothrop

Vicki and Kerry McCluggage

David and Margaret Mgrublian

Diane and Leon Morton

Mary Pickford Foundation

Sally and Frank Raab

Mr. David Sanders

Malcolm Schneer and Cathy Liu

David and Linda Shaheen Foundation

William E.B. and Laura K. Siart

Magda and Frederick R. Waingrow

Wasserman Foundation

Robert Wood

Syham Yohanna and James W. Manns

$25,000 TO $99,999

Marie Baier Foundation

Dr. Richard Bardowell, M.D.

Jacqueline Briskin

Dona Burrell

Ying Cai & Wann S. Lee Foundation

Ann and Tony Cannon

Dee and Robert E. Cody

The Colburn Fund

Margaret Sheehy Collins

Mr. Allen Don Cornelsen

Ginny and John Cushman

Marilyn J. Dale

Mrs. Barbara A. Davis

Dr. and Mrs. Roger DeBard

Jennifer and Royce Diener

Jane B. and Michael D. Eisner

The Englekirk Family

Claudia and Mark Foster

Lillian and Stephen Frank

Dr. Suzanne Gemmell

Paul and Florence Glaser

Good Works Foundation

Anne Heineman

Ann and Jean Horton

Drs. Judith and Herbert Hyman

Albert E. and Nancy C. Jenkins

Robert Jesberg and Michael J. Carmody

Ms. Ann L. Kligman

Sandra Krause and William Fitzgerald

Michael and Emily Laskin

Sarah and Ira R. Manson

Carole McCormac

Meitus Marital Trust

Sharyl and Rafael Mendez, M.D.

John Millard

National Endowment for the Arts

Alfred and Arlene Noreen

Occidental Petroleum Corporation

Dr. M. Lee Pearce

Lois Rosen

Anne and James Rothenberg

Donald Tracy Rumford Family Trust

The SahanDaywi Foundation

Mrs. Nancie Schneider

William and Luiginia Sheridan

Virginia Skinner Living Trust

Nancy and Richard Spelke

Mary H. Statham

Ms. Fran H. Tuchman

Tom and Janet Unterman

Rhio H. Weir

Mrs. Joseph F. Westheimer

Jean Willingham

Winnick Family Foundation

Cheryl and Peter Ziegler

Lynn and Roger Zino

LA PHIL MUSICIANS

Anonymous

Kenneth Bonebrake

Nancy and Martin Chalifour

Brian Drake

Perry Dreiman

Barry Gold

Christopher Hanulik

John Hayhurst

Jory and Selina Herman

Ingrid Hutman

Andrew Lowy

Gloria Lum

Joanne Pearce Martin

Kazue Asawa McGregor

Oscar and Diane Meza

Mitchell Newman

Peter Rofé

Meredith Snow and Mark Zimoski

Barry Socher

Paul Stein

Leticia Oaks Strong

Lyndon and Beth Johnston Taylor

Dennis Trembly

Allison and Jim Wilt

Suli Xue

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

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 now

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

ANNUAL DONORS

The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between January 1, 2022, and December 31, 2022.

$1,000,000 AND ABOVE

Anonymous (3)

$500,000 TO $999,999

Ballmer GroupDunard Fund USA

$200,000 TO $499,999

Anonymous

Judith and Thomas L. Beckmen

Colburn Foundation

Ms. Lisa Field

Anonymous (4)

Nancy and Leslie Abell

Mr. and Mrs. Karl J. Abert

Mr. Gregory A. Adams

Gregory Annenberg

Weingarten/ GRoW @ Annenberg

Robyn Field and Anthony O'Carroll

Gordon P. Getty

Max H. Gluck Foundation

Jenny Miller Goff

$100,000 TO $199,999

The Blue Ribbon

The Eisner Foundation

Breck and Georgia Eisner

Jane B. and Michael D. Eisner

Ms. Erika J. Glazer

John Mohme Foundation

$50,000 TO $99,999

Anonymous (3)

Mr. Robert

J. Abernethy

Amgen Foundation

Ms. Kate Angelo and Mr. Francois

Mobasser

Aramont

Charitable Foundation

David Bohnett

Foundation

Anoosheh Bostani

Linda and Maynard Brittan

Steven and Lori Bush

Ann and Robert Ronus

Esther S. M. Chui

Chao & Andrea

Chao-Kharma

Dan Clivner

Mr. Richard

W. Colburn

Becca and Jonathan

Congdon

Nancy and Donald de Brier

De Marchena-

Huyke Foundation

Orna and David Delrahim

Kathleen and Jerry L. Eberhardt

$25,000 TO $49,999

Anonymous (3)

Anonymous in memory of Dr. Suzanne Gemmell

Live

Estate of Yates Keir Music Center Foundation

Jay and Deanie Stein Foundation Trust

Hearthland Foundation

Tylie Jones

Terri and Jerry M. Kohl

Ms. Ursula C. Krummel

Anne Akiko

Meyers and Jason Subotky

Maureen and Stanley Moore

Margaret Morgan and Wesley Phoa

Mr. and Mrs. Jason O'Leary

The Norman and Sadie Lee Foundation

County of Los Angeles

Alfred E. Mann

Charities

Ariane and Richard Raffetto

The Ralph M. Parsons Foundation

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

The Music Man Foundation

Pasadena

Showcase House for the Arts

M. David and Diane Paul

James and Laura Rosenwald/ Orinoco Foundation

Allyson Rubin

David and Linda Shaheen

Sony Pictures Entertainment, Inc.

The Rauch Family Foundation

Koni and Geoff Rich

The Rose Hills Foundation

Christian Stracke

Ms. Lois M. Tandy

Alyce de Roulet Williamson

Margo and Irwin Winkler

Ellen and Arnold Zetcher

Mr. James Gleason

Alexandra S. Glickman and Gayle Whittemore

The Grand LA

Lenore S. and Bernard A. Greenberg Fund

Yvonne Hessler

The Hirsh Family

Barbara and Amos Hostetter

Ms. Teena

Hostovich and Mr. Doug Martinet

Monique and Jonathan Kagan

Linda and Donald Kaplan

W.M. Keck Foundation

Darioush and Shahpar Khaledi

Winnie Kho and Chris Testa

Dr. Ralph A. Korpman

Los Angeles County

Department of Arts and Culture

The Seth MacFarlane Foundation

Linda May and Jack Suzar

Barbara and Buzz McCoy

Michael and Lori Milken Family Foundation

National Endowment for the Arts

Peninsula Committee

Ms. Linda L. Pierce

Sandy and Barry

D. Pressman

Jay and Barbara Rasulo

Wendy and Ken Ruby

Katy and Michael S. Saei

Ronald and Valerie Sugar

Sue Tsao

Ellen GoldsmithVein and Jon Vein

John and Marilyn Wells Family Foundation

Debra Wong Yang and John W. Spiegel

The Herb Alpert Foundation Debra and Benjamin Ansell

Mr. and Mrs. Phil Becker

Samuel and Erin Biggs

Mr. and Mrs. Norris J. Bishton, Jr. Jill Black Zalben

Robert and Joan Blackman Family Foundation

Mr. Jeb Bonner

Michele Brustin

Gail Buchalter and Warren Breslow

Nation-Hewitt Silva Concerts, LLC

Oleg and Tatiana Butenko California Community Foundation

Campagna Family Trust

Mara and Joseph Carieri

Mr. and Mrs. Robert Cook

Mr. and Mrs. Gordy Crawford

Donelle Dadigan

Lynette and Michael C. Davis

The Walt Disney Company

Malsi DoyleForman and Michael Forman

Van and Francine Durrer

Geoff Emery

Marianna J. Fisher and David Fisher

Austin and Lauren Fite Foundation

Daniel and Maryann Fong

Foothill Philharmonic Committee

William Kelly and Tomas Fuller

Drs. Jessie and Steven Galson

The Rosalinde and Arthur Gilbert Foundation

Kiki Ramos Gindler and David Gindler

Carrie and Rob Glicksteen

Goldman Sachs

Mr. Gregg Goldman and Mr. Anthony DeFrancesco

Lucy S. Gonda MA, Creative Arts Therapies

$15,000 TO $24,999

Anonymous (10)

Drew and Susan Adams

Honorable and Mrs. Richard Adler

Ms. Olga S. Alderson

Bank of America

Susan Baumgarten

Dr. William Benbassat

Miles and Joni Benickes

Susan and Adam Berger

Suzette and Monroe Berkman

Mr. Ronald H. Bloom

Mr. and Mrs. Wade Bourne

Kawanna and Jay Brown

Ying Cai & 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

Alison Moore

Cotter

Good Works Foundation and Laura Donnelley

Liz and Peter Goulds

Michael Gorfaine

The Green Foundation

Faye Greenberg and David Lawrence

Jason Greenman and Jeanne Williams

Renée and Paul Haas

Harman Family Foundation

Mr. Philip Hettema

The Hillenburg Family

Fritz Hoelscher

Mr. Tyler Holcomb

Kaiser Permanente of Southern California

Mr. and Mrs. Joshua R. Kaplan

Terri and Michael Kaplan

Paul Kester

Vicki King

The Erich and Della Koenig Foundation

Mr. and Mrs. Keith Landenberger

Ken Lemberger and Linda Sasson

Marvin J. Levy

City of Los Angeles, Department of Cultural Affairs

Renee and Meyer Luskin

Roger Lustberg and Cheryl Petersen

Pam and Ron Mass

Liliane Quon McCain

Ashley McCarthy and Bret Barker

Ms. Kim McCarthy and Mr. Ben Cheng

Ms. Irene Mecchi

Molly Munger and Stephen English

Mr. Robert W. Olsen

Tye Ouzounian

Bruce and Aulana Peters

Dennis C. Poulsen and Cindy Costello

Frederick and Julie Reisz

Andrew M. Rosenfeld

Mr. Bennett Rosenthal

Ross Endowment Fund

Mr. Lee C. Samson

Ellen and Richard Sandler

Elizabeth and Justus Schlichting

Gregory Slewett

Marc Seltzer and Christina Snyder

Randy and Susan Snyder

Lisa and Wayne Stelmar

Mrs. Zenia Stept

Eva and Marc Stern

Dwight Stuart Youth Fund

Hideya Terashima and Megan Watanabe

Thomas Dubois

Hormel Foundation

Dr. James

Thompson and Dr. Diane Birnbaumer

Tom and Janet Unterman

Nancy Valentine

Stasia and Michael Washington

Mindy and David Weiner

WHH Foundation

Zolla Family Foundation

Mark Houston

Dalzell and James Dao-Dalzell

Jennifer Diener

Lauren Donner

Dr. and Mrs.

William M. Duxler

Michael Edelstein and Dr. Robin Hilder

Ms. Robin Eisenman and Mr. Maurice LaMarche

The Specialty Family Foundation

E. Mark Fishman and Carrie Feldman

Alfred Fraijo and Arturo Becerra

Tony and Elisabeth Freinberg

Joan Friedman, Ph.D. and Robert

N. Braun, M.D.

Mr. and Mrs. Josh Friedman

Dr. and Mrs. Bruce

Gainsley

Mr. and Mrs. Louis L. Gonda

Goodman Family Foundation

Robert and Lori Goodman

Evelyn and Norman Feintech Family Foundation

Mr. Bill Grubman

Mr. and Mrs. Paul Guerin

Roberta L. Haft and Howard L. Rosoff

Vicken and Susan J. Haleblian

Dwight Hare and Stephanie Bergsma

Stephen T. Hearst Walter and Donna Helm

Diane Henderson M.D.

Stephen D. Henry and Rudy M. Oclaray

Ms. Luanne Hernandez

Marion and Tod Hindin

Gerry Hinkley and Allen Briskin

Liz Levitt Hirsch

Linda Joyce Hodge

Ms. Michelle Horowitz

Mr. and Mrs. Daniel Paul Horwitz

Meg and Bahram Jalali

Mr. and Mrs. Steaven

K. Jones, Jr.

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

Ellie and Mark Lainer David Lee

Lauren B. Leichtman and Arthur E. Levine

Allyn and Jeffrey L. Levine

Dr. Stuart Levine and Dr. Donna Richey

Mr. and Mrs. Simon K.C. Li

Ms. Judith W. Locke

Anita Lorber

Los Angeles

Philharmonic Affiliates

Theresa Macellaro / The Macellaro Law Firm

The Mailman Foundation

Raulee Marcus

Jonathan and Delia Matz

Dwayne and Eileen McKenzie

David and Barbara

Meline

David and Margaret Mgrublian

Marcy Miller

Joel and Joanne Mogy

Mr. John Monahan

Ms. Susan Morad at Worldwide Integrated Resources, Inc.

Deena and Edward

Nahmias

Ms. Kari Nakama

Mr. and Mrs. Dan Napier

Ms. Mary D. Nichols

Shelby Notkin and Teresita Tinajero

Ms. Jeri L. Nowlen

Christine M. Ofiesh

Andy Park

Soham Patel and Jennifer Broder

Gregory Pickert and Beth Price

Nancy and Glenn Pittson

William “Mito”

Rafert

Cathleen and Scott Richland

Mimi Rotter

Linda and Tony Rubin

Tom Safran

The SahanDaywi Foundation

Ron and Melissa Sanders

Dena and Irv Schechter/ The Hyman Levine Family Foundation: L'DOR V'DOR

Evy and Fred Scholder Family

Joan and Arnold Seidel

Neil Selman and Cynthia Chapman

Mr. James J. Sepe

Mr. Steven Shapiro

Nina Shaw and Wallace Little

Jill and Neil Sheffield

Mr. and Mrs. Richard Sondheimer

Mr. Lev Spiro and Ms. Melissa Rosenberg

Stein Family Fund - Judie Stein

Mr. and Mrs. Mark Stern

Frank Hu and Vikki Sung

Marcie Polier Swartz and David Swartz

Akio Tagawa

ANNUAL DONORS

Tracey BoldemannTatkin and Stan Tatkin

Warren B. and Nancy L. Tucker

Elinor and Rubin Turner

Charles and Nicole Uhlmann

Christine Upton

$10,000 TO $14,999

Anonymous (4)

B. Allen and Dorothy Lay

Art and Pat Antin

The Aversano Family Trust

Stephanie Barron

Mr. Joseph A. Bartush

Stiv Bators

Sondra Behrens

Phyllis and Sandy Beim

Mr. Mark and Pat Benjamin

Ms. Gail K. Bernstein

Helen and Peter S. Bing

Ken Blakeley and Quentin O'Brien

Mitchell Bloom

Lynn A. Booth

Mr. and Mrs. Hal Borthwick

Bob and Reveta Bowers

Thy Bui

Ms. Nancy Carson and Mr. Chris Tobin

CBS Entertainment

Chivaroli and Associates

Insurance Services

Suzanne H. Christian and James L. Hardy

Ms. Bernice

Colman

Mr. Lawrence Damon and Mr. Ricardo Torres

Dr. and Mrs. Nazareth E.

Darakjian

Cary Davidson and Andrew Ogilvie

Victoria Seaver

Dean, Patrick Seaver, Carlton

Seaver

Thomas Denison

Ms. Nancy L. Dennis

Tim and Neda Disney

Cameron Dunn

Ernst & Young LLP

Emil Ellis Farrar and Bill Ramackers

Bonnie and Ronald Fein

Mr. Tommy Finkelstein and Mr. Dan Chang

Ella Fitzgerald

Charitable Foundation

Mr. Michael Fox

Debra Frank

Dr. and Mrs. David Fung

Beth Gertmenian

Greg and Etty Goetzman

Harriett and Richard E. Gold

$5,500 TO $9,999

Anonymous (12)

Ms. Janet Abbink and Mr. Henry Abbink

Alex Alben

Bobken and Hasmik Amirian

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

Ms. Judith A. Avery

Mr. Mustapha Baha

Pamela and Jeffrey Balton

Dr. Richard Bardowell, M.D.

Noralisa Villarreal and John Matthew Trott

Tee Vo and Chester Wang

Mr. and Mrs. Russell Goldsmith

Nestor Gonzalez and Richard Rivera

Mr. and Mrs. Daniel M. Gottlieb

Mr. and Mrs. Ken Gouw

Lee Graff Foundation

Diane and Peter H. Gray

Tricia and Richard Grey

Mr. and Mrs. Paul E. Griffin III

Mr. William Hair

Laurie and Chris Harbert

John C. Harpole and Gabrielle Starr

Mr. and Mrs. Irwin Helford and Family

Carol Henry

Mr. Raymond W. Holdsworth

Joyce and Fredric Horowitz

Roberta and Burt Horwitch

Ms. Loretta Hung

Mr. Frank J. Intiso

Michele and James Jackoway

Warner Bros. John and Samantha Williams

Libby Wilson, MD

Bob and Nita Hirsch Family Foundation

Mahvash and Farrok Yazdi

Karl and Dian Zeile David Zuckerman and Ellie Kanner

Mr. Gregory Jackson and Mrs. Lenora Jackson

Kristi Jackson and William Newby

Robin and Gary Jacobs

Barbara A. Jones

Dr. William B. Jones

Mr. and Mrs. Stephen Keller

Mr. and Mrs. Kenneth N. Klee

Cary and Jennifer Kleinman

Mr. and Mrs. Ronald B. Labowe

Lucien Lacour

Ms. Leerae Leaver

Mary Beth and John Leonard

Mr. and Mrs. Norman A. Levin

Ms. Agnes Lew

Kyle Lott

Sandra Cumings

Malamed and Kenneth D.

Malamed

Lisa and Willem Mesdag

Ms. Marlane Meyer

Mrs. Judith

S. Mishkin

Wendy Stark Morrissey

Mr. Brian R. Morrow

Mr. and Mrs. James Mulally

NBC Universal

Anthony and Olivia Neece

Mr. and Mrs. Randy Newman

Dick and Chris

Newman / C & R Newman Family Foundation

Kenneth T. & Eileen L. Norris

Foundation

Mr. John Nuckols

Steve and Gail Orens

Cynthia Patton

Lyle and Lisi Poncher

Audrey Prins

Lee Ramer

Jesse Russo and Alicia Hirsch

Alexander and Mariette Sawchuk

Dr. and Mrs.

Heinrich

Schelbert

Mr. Alan

M. Schwartz

Samantha and Marc Sedaka

Dr. Donald Seligman and Dr. Jon

Zimmermann

Julie and Bradley Shames

Ruth and Mitchell Shapiro

Walter H. Shepard and Arthur A. Scangas

Gloria Sherwood

The Sikand Foundation

Mr. George

Sponhaltz

Joseph and Suzanne Sposato

Mr. Adrian B. Stern

Antonia

Hernández and Michael L. Stern

James C. Stewart

Charitable Foundation

Michael Frazier

Thompson

Terry and Ann Marie Volk

Mr. Shaw Wagener and Ms. Deborah Heitz

Rachel Wagman

Frank Wagner and Lynn O'Hearn Wagner

Bob and Dorothy Webb

Abby and Ray Weiss

Mr. Steve Winfield

Mr. and Mrs. Howard Zelikow

Bobbi and Walter Zifkin

Kevork and Elizabeth Zoryan

Mrs. Linda

E. Barnes

Karen and Jonathan Bass

Mr. Barry Beitler

Logan Beitler

Mr. and Mrs. Richard Birnholz

Dr. Andrew

C. Blaine and Dr. Leigh Lindsey

Roz and Peter Bonerz

Joan N. Borinstein

Greg Borrud

Mrs. William Brand and Ms. Carla B. Breitner

Lynne Brickner and Gerald Gallard

Mr. Donald M.

Briggs and Mrs. Deborah J. Briggs

Mr. and Mrs. Gary D. Brown

Diana Buckhantz

Debra Burdorf

Business and Professional Committee

Mr. and Mrs. Tom R. Camp

Dr. Kirk Y. Chang

Arthur and Katheryn Chinski

Dr. Stephanie Cho and Jacob Green

Mr. and Mrs. Ronald Clements

Dr. and Mrs. Lawrence J. Cohen

Mr. David Colburn

Jay and Nadege Conger

Mr. and Mrs. Richard W. Cook

Mr. and Mrs. Michael Corben

Mr. and Mrs. Bruce Corwin

Ms. Rosette Delug

The Randee and Ken Devlin Foundation

Julie and Stan Dorobek

Mr. and Ms. Gregory C. Drapac

Sean Dugan and Joe Custer

Mr. and Mrs. Brack W. Duker

Anna Sanders

Eigler

The Hon. Michael W. Fitzgerald

Dr. and Mrs. Arthur A. Fleisher, II

Ms. Penelope Foley

Ms. Susan Fragnoli and Mr. David Sands

The Franke Family Trust

Ms. Kimberly Friedman

Jason Gilbert

Leslie and Cliff Gilbert-Lurie

Daniel Goldman

Dr. Patricia Goldring

Lori G. Gordon

Marnie and Dan Gruen

Cornelia HaagMolkenteller, M.D.

Ms. Marian L. Hall

Mr. Donald V. Hayes

Stephen and Hope Heaney

Myrna and Uri Herscher Family Foundation

Arlene Hirschkowitz

Elizabeth HofertDailey Trust

Janice and Laurence Hoffmann

Eugene and Katinka Holt

Dr. and Mrs. Mel Hoshiko

Mr. and Mrs. Thomas C. Hudnut

Rif and Bridget Hutton

Mr. and Mrs. Tim C. Johnson

Randi and Richard B. Jones

Melinda Johnstone

Robin and Craig Justice

Katherine Kang

Marilee and Fred Karlsen

Marty and Cari Kavinoky

Mr. Mark Kim and Ms. Jeehyun Lee

Mr. and Mrs. Jon Kirchner

Stephanie and Randy Klopfleisch

Alan S Koenigsberg and John A Dotto

Mr. and Mrs. Joseph K. Kornwasser

Barry Kraus

Sandra Krause and William Fitzgerald

Dr. and Mrs. Mark Labowe

Katherine Lance

Thomas and Gloria Lang

Mr. and Mrs. Jack D. Lantz

Mr. Jason Larian

Ana Paludi and Michael Lebovitz

Mr. George Lee

Mr. Randall Lee and Ms. Stella

M. Jeong

Marlene and Howard Leitner

$3,500 TO $5,499

Anonymous (4)

Ms. Rose Ahrens

Edgar Aleman

Adrienne S. Alpert

Dr. Philip Anthony

Carol L. Archie

Ms. Lisette

Arsuaga and Mr. Gilbert Davila

Mr. and Mrs.

Ken and Renee Ballard

Catherine and Joseph Battaglia

Reed Baumgarten

Ms. Nettie Becker

Newton and Rochelle Becker

Charitable Trust

Benjamin Family Foundation

Mr. and Mrs. Gregg and Dara Bernstein

Randi Levine

David and Rebecca Lindberg

Ms. Diana Longarzo

Susan Disney Lord and Scott Lord

Mr. Joseph Lund and Mr. James Kelley

Susan MacLaurin

Stephanie Martineau

Milli M. Martinez and Don Wilson

Leslie and Ray Mathiasen

Mr. and Mrs. Thomas E. McCarthy

Mr. and Mrs. William F. McDonald

Cathy and John McMullen

Mr. Sheldon and Dr. Linda Mehr

Lawry Meister

Mr. and Mrs. Dana Messina

Dr. Gary Milan

Mr. Weston

F. Milliken

Maria and Marzi Mistry

Wesley Mizutani

Robert and Claudia Modlin

Mrs. Lillian Mueller

Sheila Muller

Craig and Lisa Murray

Mrs. Cynthia Nelson

Ms. Kimberly Nicholas

Ms. Margo Leonetti

O'Connell

Irene and Edward Ojdana

David Olson and Ruth Stevens

Mr. Ralph Page

Ms. Debra Pelton and Mr. Jon Johannessen

Julie and Marc Platt

Robert J. Posek, M.D.

Ms. Eleanor Pott

James S. Pratty, M.D.

Diana Reid and Marc Chazaud

Mr. Eduardo Repetto

Hon. Vicki Reynolds and Mr. Murray

Pepper

Allison and Richard Roeder

Murphy and Ed Romano and Family

Craig Kwiatkowski and Oren

Rosenthal

Amy and William Roth

Ms. Rita Rothman

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. Marlene M.

Schultz and Philip M. Walent

Dr. and Mrs. Hervey Segall

Claire and Charlie Shaeffer

Pamela and Russ Shimizu

Mr. Adam Sidy

Mr. Murray Siegel

Mr. and Mrs. Peter

R. Skinner

Mr. Douglas

H. Smith

Michael Soloman and Steven Good

William Spiller

Lael Stabler and Jerone English

Marilyn and Eugene Stein

Hilde StephensLevonian

The Sugimoto

Family

Jennifer Taguchi

Mr. and Mrs.

Randall Tamura

Mr. Avedis Tavitian

Mrs Elayne

Techentin

Keith and Cecelia Terasaki

Suzanne Thomas

Mr. and Mrs. Craig Vickers

Jennifer Villarreal

Wil Von Der Ahe

Christopher

V. Walker

Mr. Nate Walker

Lisa and Tim Wallender

Westside Committee

Robert and Penny White

Mr. and Mrs. Steven White

Mr. Robert

E. Willett

David and Michele Wilson

Mr. Lee Winkelman and Ms. Wendey

Stanzler

Karen and Rick Wolfen

Mr. and Mrs. Richard Wynne

Mr. Nabih Youssef

Mrs. Lillian Zacky

D Bichir

Eileen Bigelow and Brien

J. Bigelow

Mr. and Mrs. Dan Biles

Aaron Blackburn

Mr. Michael Blea

Thomas J. Blumenthal

Ms. Leslie Botnick

Mr. Ray Boucher

Mr. Matthew C.

Bousquette and

Mr. John Jacobs

Mrs. Susan Bowey

Anita and Joel Boxer

Dr. and Mrs. Hans Bozler

Mr. and Mrs.

Jonathan

M. Brandler

Ms. Marie Brazil

Drs. Maryam and Iman Brivanlou

Kevin Brockman and Daniel Berendsen

Abbott Brown

Mrs. Lupe

P. Burson

Dexter Cannon and Lee Hendrix

Mr. Jon C. Chambers

Nolan and Marlene

Charbonnet

Mr. Louis Chertkow

Susan and David Cole

Ms. Ina Coleman

Cox FamilyPernell, Keila, and Harper Q.

Donald Cron

Ms. Laurie Dahlerbruch

Mr. and Mrs. Leo David

Mr. James Davidson and Mr. Michael Nunez

Mr. Howard

M. Davine

Ann Deal

Ms. Mary Denove

Mr. Kevin Dill

Michael Dillon

R. Stephen Doan and Donna

E. Doan

Julia Stearns

Dockweiler Charitable Foundation

Louise and Brad

Edgerton/ Edgerton Foundation

Dr. David Eisenberg

Mrs. Eva Elkins

John B. Emerson and Kimberly

Marteau

Emerson

Joyce and David Evans

Jen and Ted Fentin

Mr. and Mrs.

Michael M. Flynn

Bruce Fortune and Elodie Keene

Lynn Franklin

Mr. and Mrs. Michael Freeland

Linda and James Freund

Ian and Meredith Fried

Steven Friednam

Dr. Tim A. Gault, Sr.

Mr. and Mrs.

Ronald Gertz

Mr. and Mrs. David A. Gill

Mr. and Mrs. Lawrence

D. Gilson

Tina Warsaw Gittelson

William and Phyllis Glantz

Glendale

Philharmonic Committee

Elliot Gordon and Carol Schwartz

Dr. Ellen Smith Graff

Sue and Jim Gragg

Ms. Linda Graul

Mr. Frank Gruber and Ms. Janet Levin

Mr. Gary M. Gugelchuk

Mr. and Mrs. Pierre and Rubina Habis

LA Phil New Music Group with John Adams

LA Phil New Music Group

John Adams, conductor

Teng Li, viola

Katherine Young, bassoon

Anthony CHEUNG Parallel Play (world premiere, L A Phil commission) (c. 15 minutes)

I. Doubling Up

II. Imitation Points

III. Game of Pairs, Distanced

IV. Running in Cycles

V. Associative Play

VI. Cooperative Play (Rings Around the Rosie)

Katherine YOUNG Spores (world premiere, LA Phil commission) (c. 15 minutes)

Katherine Young, bassoon

INTERMISSION

Esa-Pekka SALONEN Objets Trouvés (c. 7 minutes) Teng Li, viola

John ADAMS Scratchband (c. 12 minutes)

TUESDAY

MARCH 14, 2023 8PM

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

Programs and artists subject to change.

AT A GLANCE

LA Phil Creative Chair John Adams leads world premieres by the “gritty, inventive, and wonderfully assured” (San Francisco Chronicle) Anthony Cheung and

“bassoon colossus” (The Wire) Katherine Young. LA Phil viola chair Teng Li performs solo Salonen, with Adams’ original, virtuosic Scratchband closing out the evening.

PARALLEL PLAY

Anthony Cheung (b. 1982)

Composed: 2022

Orchestration: flute (=piccolo), oboe, clarinet, bassoon (=contrabassoon), 2 horns, trumpet, trombone, percussion (vibraphone, marimba, tam-tam, bass drum, 2 tom-toms, 2 bongos, snare drum, hi-hat, ride cymbal, crash cymbal, wood blocks, triangle, 4 almglocken, Thai gong), harp, piano (=keyboard), organ

In sociologist Mildred Parten Newhall’s theory of the six stages of child’s play, she observed and categorized the social behavior of children aged 2–5 into six prevalent types—unoccupied, solitary, onlooker, parallel, associative, and cooperative—occurring in roughly that order of a child’s development. When I began writing this piece, I was fascinated with how my then three-year-old daughter was opening to the world and engaging with her fellow little humans. Initially, still very much in the solitary/onlooker stages, she would cautiously proceed to “parallel play” with her classmates and friends through observation and mimicry, blissfully doing or making something side by side without so much as a word exchanged or presence acknowledged.

For some reason, the possibility of mirroring these types of activities in a large ensemble work ignited the imagination.

Such parallels already frequently exist in music: an instrument will take the lead while others follow, then disappear completely into independent textures, only to have another group emerge into the foreground. Or two instruments might be playing a simultaneous melody, unified by a common contour or goal, but each with its own embellished identity, either oblivious to or in dialogue with the other.

The 18-person ensemble in Parallel Play is divided up into seven duos, a harp-piano-percussion trio that is often similar in function, and the organ, which dialogues equally with everyone. The duo pairs often share common traits, even if they aren’t from the same musical family, i.e., clarinet with viola, or (contra)bassoon with contrabass. While the duos often interact among themselves, occasionally forming meta-instruments, they also influence and even cooperate with other pairs. This is especially true in the brash fanfares and coordinated attacks of the opening movement (“Doubling Up”) or in the delicate back-and-forth exchanges of the second (“Imitation Points”). The piece is orchestrated in such a way as to give a sense of sound traveling in space: the third movement—“Game of Pairs, Distanced”—is all about a highly choreographed exchange between the pairs, while the fifth movement (“Associative Play”) creates fresh pairings across groups in a newly

socially engaged way. By this point in the piece, six players have moved to offstage positions, setting the stage for the final movement, “Cooperative Play (Rings Around the Rosie),” a highly coordinated group activity. In this case, the game involves a circular movement of sound in constantly swirling motion, and the final goal of striving for something that always appears just out of reach.

Parallel Play is dedicated to John Adams, with gratitude for his support of this and so many other new works, and to my daughter Mirabel, with whom I’ve now joyously observed every stage of play. —Anthony Cheung, February 2023

SPORES

Katherine Young

Composed (2017, 2022)

Orchestration: clarinet (=bass clarinet), 2 bassoons, trombone, tuba, soprano/tenor saxophone, percussion (vibraphone, 2 bass drums, bongos, temple blocks, 2 triangles, 2 pairs of shakers, wood blocks, flexitone, 2 pairs of 3-piece mixed metal set-ups), strings (viola, cello, and bass), and solo bassoon (amplified).

“Spores take off toward unknown destinations, mate across types, and at least occasionally, give rise to new organisms—a beginning for new kinds. Spores are hard to pin down; that is their grace.” —Anna Lowenhaupt Tsing, The Mushroom at the End of the World

Spores is the second generation of a piece initially written in 2017. We had to cancel the premiere due to illness, and the intervening years have been dense and charged. I have definitely changed, and returning in 2022 to the unrealized 2017 score felt disorienting. I needed to reconceptualize and rework material in order to reconnect with the music. Most significantly, in my revisions I worked to make room for everyone in the ensemble to have more nuanced and varied listening and improvisational experiences, to give us space to explore “the spore-filled airy stratosphere” together.

—Katherine Young

OBJETS TROUVÉS

Esa-Pekka SALONEN (b. 1958)

Composed: 2020

Orchestration: solo viola and drone

First LA Phil performance.

During the 2020 moratorium on live performances, Esa-Pekka Salonen contributed a series of 10 short “lockdown commissions” for the British violist Lawrence Power, who had himself filmed performing each piece in and atop iconic venues in the UK—including Queen’s Hall in Edinburgh for Objets Trouvés (“Found Objects”). Salonen has written a grimly virtuosic part for solo viola, which seems at times chained to the relentless drone against which it plays, generating a tension and desire for release that works splendidly as musical metaphor.

Since the pieces were premiered online—Power’s rendition can still be seen on YouTube—when LA Phil principal violist Teng Li performed Objets Trouvés at the 2021 Ojai Music Festival, this marked its first live concert performance. She revisits this work on tonight’s program. —Thomas May

SCRATCHBAND

John Adams (b. 1947)

Composed: 1996, rev. 1997

Orchestration: flute (=piccolo), oboe, clarinet, bass clarinet, horn, trumpet, trombone, percussion (pedal bass drum, conga, snare drum, bongos, 2 tambourines, hi-hat, ride cymbal, woodblock, cowbell, maracas, temple block, claves, guiro, castanets, floor tom, timpani), electric guitar, bass guitar, piano, and keyboard sampler

Scratchband was written expressly for the Ensemble Modern with that group’s unique mixture of virtuosity and stylistic adaptability always in mind. The instrumentation is that of a hybrid of a rock band. With the use of electric guitar, electric bass, drum set, and amplified winds and synthesizers, the timbres and style of orchestration make it a close sibling to the pit band of Ceiling/Sky, the 1995 song play I composed in collaboration with June Jordan and Peter Sellars. During the preparation periods for the various productions of Ceiling/Sky, I noticed that the traditional “rock” instruments were capable of extraordinary power and virtuosity, but that these abilities were rarely if ever realized in commercial music. Technical “chops” displayed by even the greatest of rock musicians—a Jimi Hendrix or an Eric Clapton, for example— tended to rest comfortably within the accepted language of the tradition. Understanding and transcending this limitation may have been Frank Zappa’s most lasting contribution to the future development of

the art. Zappa understood that the language of rock could be vastly expanded by an informed cross-fertilization from the world of classical music. He chose musicians for his bands who could move beyond the simple structures of popular music and respond to his experiments in rhythm and counterpoint with skill and audacity.

For listeners familiar with my recent music, Scratchband will probably appear as a strange shotgun wedding, one that marries the busy, terrierlike activity of the Chamber Symphony to the pop timbres of the Ceiling/Sky score. As I write this note [February 1996], the piece is barely more than half completed, so my comments are not unlike an attempt to fill in a full personality sketch on the basis of a single ultrasound scan. What strikes me about the piece, however, is the way in which minimalist gestures are beginning to reappear in my music after a significant absence (the overture to Ceiling/Sky being the only other significant exception).

After a frantic explosion of scales charging up and down the gamut in a garish panoply of constantly shifting modes, the music stabilizes in the key of B major, boogying back and forth across modal borders that suddenly and dramatically alter the color and mood of the action. Eventually, this hyperactive energy levels off into a series of panels that introduce motivic material in a more formal “minimalist” guise. But the emotional underpinning here is far more volatile than in pieces from the ’70s or ’80s. Nevertheless, this same volatility provides the stimulus for real virtuoso writing, a kind of writing that falls so naturally within the capacities of a group like the Ensemble Modern. —John Adams, Berkeley, CA, February 1996

JOHN ADAMS

Composer, conductor, and creative thinker—John Adams occupies a unique position in the world of American music. His works stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes.

Among Adams’ works are several of the most performed contemporary classical pieces today: Harmonielehre, Shaker Loops, Chamber Symphony, Absolute Jest, Short Ride in a Fast Machine, and his Violin Concerto. His stage works,

many in collaboration with director Peter Sellars, include Nixon in China The Death of Klinghoffer, El Niño, Doctor Atomic, A Flowering Tree, the Passion oratorio The Gospel According to the Other Mary, and Girls of the Golden West. Adams’ most recent opera, Antony and Cleopatra, featuring a libretto adapted by the composer from Shakespeare’s tragedy, was premiered by the San Francisco Opera in September 2022 in a production directed by Elkhanah Pulitzer. Adams is the 2019 recipient of the Erasmus Prize “for notable contributions to European culture, society and social science”—the only American composer to be so honored in the prize’s 61-year history. As an advocate of his composer colleagues, Adams has premiered over 100 new works ranging from composers such as Glass, Riley, Rihm, Wolfe, and Gordon to works by young emerging composers. He received the 2021 Ditson Conductor’s Award from Columbia University in recognition for his “exceptional commitment to American composers.”

Adams has additionally received honorary doctorates from Harvard, Yale, Northwestern University, Cambridge University, and the Juilliard School. Since 2009, he has held the position of Creative Chair with the Los Angeles Philharmonic. A provocative writer, he is author of the highly acclaimed autobiography Hallelujah Junction and has contributed to both The New Yorker magazine and The New York Times Book Review

As a conductor of his own works and a wide variety of repertoire, Adams has appeared with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, London Symphony Orchestra, Wiener Symphoniker, the New York Philharmonic, and the Los Angeles Philharmonic, and the orchestras of Seattle, Cleveland, and Rotterdam.

In a salute to Adams’ 75th birthday in 2022, Nonesuch Records released the 40-disc John Adams Collected Works, a box set of recordings spanning more than four decades of the composer’s career with the label. —Reprinted by kind permission of Boosey & Hawkes

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 festivals including Marlboro, Santa Fe, Mostly Mozart, Music from Angel Fire, Rome, Moritzburg (Germany), and the Rising Stars 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 II program. She is a member of the

Rosamunde Quartet (led by Noah Bendix-Balgley, 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 (Philadelphia), WFMT (Chicago), and Bavarian Radio (Munich).

She has won top prizes at the Johansen 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 her performance of Flos Campi (for Chandos).

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

KATHERINE YOUNG

Katherine Young uses expressive noises, curious timbres, and kinetic structures in her electroacoustic music and sonic art. Relationship building is central to her practice. She has worked closely with Yarn/Wire, Wet Ink, Ensemble Nikel, Linda Jankowska, Oliva DePrato, Weston Olencki, and others. The Chicago Symphony Orchestra’s MusicNOW, Internationales Musikinstitut Darmstadt, Third Coast Percussion, Ensemble Dal Niente, Bludenzer Tage zeitgemäßer Musik, and others have commissioned her music. The University of Chicago’s Smart Museum of Art has commissioned her installation work. Katherine is a 2021 Guggenheim Fellow in Music Composition.

As a bassoonist and improviser, Katherine amplifies her instrument and employs a flexible electronics setup. She has documented her work on numerous recordings, including her debut with Sam Scranton as Beautifulish and recordings with Anthony Braxton. She earned her DMA in Composition from Northwestern University and now teaches composition, improvisation, and electronic music at Emory University in Atlanta.

katherineyoung.info

Hilary Hahn

WEDNESDAY MARCH 15, 2023 8PM

BACH Sonata No. 1 in G minor for solo violin, BWV 1001 (c. 17 minutes)

Adagio Fuga Siciliana Presto

BACH Partita No. 1 in B minor for solo violin, BWV 1002 (c. 32 minutes)

Allemanda—Double Courante—Double Sarabande—Double Tempo di Bourrée—Double

INTERMISSION

BACH Partita No. 2 in D minor for solo violin, BWV 1004 (c. 32 minutes)

Allemande Courante Sarabande Gigue Chaconne

Media Sponsor: LAist

Programs and artists subject to change.

Hilary Hahn, violin

AT A GLANCE

Worlds of Feeling

It is worth remembering that Bach’s father was a notable violinist and that Johann Sebastian himself was concertmaster as well as court organist in Weimar; while in Cöthen, he played violin as much as keyboard. It was in Cöthen in 1720 that he brought his “Sei Solo” (Six Solo) to completion: three sonatas and three partitas for unaccompanied violin. The sonatas are in the four-movement church form and generally

more rigorously contrapuntal than the partitas, which focus on dance forms. The second partita, however, ends with the monumental Chaconne, justly one of the most famous creations in European music. “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings,” Johannes Brahms wrote to Clara Schumann. —John Henken

SONATA NO. 1 IN G MINOR, BWV 1001

PARTITA NO. 1 IN B MINOR, BWV 1002

PARTITA NO. 2 IN D MINOR, BWV 1004

Johann Sebastian Bach (1685-1750)

“Fiddler” is seldom how we first or best know Johann Sebastian Bach, but it is worth remembering that he was born and bred in the Stadtpfeifer tradition of practical multiinstrumentalists. His father, Johann Ambrosius, was a notable violinist (and trumpeter) who seems to have left his son a legacy of strong technique and artistic curiosity, and possibly the fine Stainer violin that formed part of Sebastian’s extensive working collection.

In 1708, Bach was appointed court organist to Wilhelm Ernst, the reigning Duke of Weimar, and in 1714, he added concertmaster to his title (along with a substantial raise). “In his youth and until the approach of old age he played the violin cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with

the harpsichord,” Carl Philipp Emanuel Bach wrote of his father to Johann Nikolaus Forkel. “He understood to perfection the possibilities of all stringed instruments. This is evidenced by his solos for the violin and for the violoncello without bass. One of the greatest violinists once told me that he had seen nothing more perfect for learning to be a good violinist, and could suggest nothing better to anyone eager to learn, than the said violin solos without bass.”

The origin of the sonatas and partitas for unaccompanied violin—“Sei Solo” (Six Solo), as the manuscript is simply headed—probably extends back to Bach’s first tenure in Weimar, however: a bare six months in 1703 as “lackey” to Johann Ernst, younger brother of Wilhelm. One of the Weimar court musicians at that time was Johann Paul von Westhoff, a well-educated and well-traveled violinist who had published a set of short, four-movement partitas for solo violin in Dresden in 1696 (and a suite in 1683 in Paris). These are the first known multi-movement works for unaccompanied violin, and Bach would have met and worked with Westhoff.

The “Sei Solo” were brought to finished state in 1720 in Cöthen,

however, during Bach’s years in service as Kapellmeister to Prince Leopold (brother-in-law to Johann Ernst’s eldest son, Ernst Augustus, in the small world of minor German nobility). This was the period (1717–1723) of Bach’s greatest concentration on instrumental music. Exactly when the works were first performed and by whom is unknown, though clearly Bach himself would be an obvious possibility. (A fingering indication in the “Sei Solo” manuscript is sometimes entered as evidence that Bach himself played the pieces. But if there was any pedagogical intent to the works—as the passage in his son’s letter quoted above suggests— then such an indication might be simply a helpful hint in execution and not a personal annotation.)

The “Sei Solo” are three sonatas and three partitas, entered alternately in the manuscript. Inter-relationships between the six works and how the set fits together—if it does— are issues that have provoked many pages of theories.

The three sonatas are in the four-movement church (da chiesa) form, slow–fast–slow–fast, and all but the third movement in the home key. “The sonata is a piece for instruments, especially the violin, of a serious and artful

nature, in which adagios and allegros alternate,”as Bach’s cousin Johann Gottfried Walther defined it succinctly in his Musicalisches Lexicon (Musical Lexicon) of 1723. The Sonata No. 1 provides a clear template: the first movement serves as a prelude to a brilliantly developed fugue, the third movement is a contrasting cantabile, and the finale a lively binary dance of the moto perpetuo sort. Sonatas such as these were probably actually performed in church— as Forkel mentions in the first biography of the composer (1802).

The three partitas or dance suites are much more multifarious in form, and generally lighter in style and texture. The four core dances of the Baroque suite were allemande, courante, sarabanda, and gigue, inherited from the 16th century and usually highly stylized. Other, newer types, often current as actual dances, could be added. In his Partita No. 1, Bach replaced the gigue with a bourrée and added a “double” for each dance, a patterned rhythmic variation. To the four standard dances in the Partita No. 2, Bach added the famous Chaconne (ciaccona in Bach’s Italian terminology), longer than the four other movements combined.

The first half of the Partita No. 2 consists of a clear statement of the four core dances of the Baroque suite: stately Allemanda, “running” Corrente, somber

Sarabanda (far removed by this time from its much wilder origins), and dashing Giga. Each of these dances is cast in typical binary form (two halves, each repeated), though rather darker in character than the norm. (The Sarabanda ends, unusually, with a little coda.)

As attractive and winning as those dances are in performance and contemplation alike, they fade into generic anonymity in comparison with the towering Ciaccona that follows. “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings,” Johannes Brahms wrote to Clara Schumann. “If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earthshattering experience would have driven me out of my mind.”

In some ways, the Chaconne (to use the more common French spelling) is the fulfillment of the previous dances, all of which give intimations of the Chaconne’s repeating bass and harmonic pattern. The Chaconne moves in the rhythm of the Sarabanda (in 3/4, with the weight on the dotted second beat). It is in three-part form, with the exalted middle section in the parallel major. A chaconne is basically a set of free variations over a repeating harmonic pattern (and/or its bass line). This one is protean

enough that analysts cannot even agree on how many of these patterns or themes there are, or whether it is 32 variations on an eight-bar pattern or 64 on a four-bar figure.

It should not be surprising then, that the Chaconne has also inspired reworking by later musicians in a multitude of transcriptions and arrangements, nor that it has prompted extravagant theories about the inner nature of its mysteries. The German musicologist Helga Thoene has developed a theory that the entire Partita and the Chaconne particularly are full of coded references to death and to pertinent chorales. Thoene believes that the Chaconne is in fact a tombeau, a memorial piece for Bach’s first wife, Maria Barbara, who died unexpectedly in 1720 while Bach was away with Prince Leopold. Thoene’s evidence tends to rely on numerology, but several recent recordings have shown, in very different, intriguing, and even compelling ways, how chorale fragments might be embedded in this music.

Whether you accept any of the theories ascribing plot lines and extramusical connections and references to the set, it is not hard to feel that a journey has been completed here, that the fiddler has come happily home from lofty spiritual struggles and contrapuntal communion. —Excerpted from a program note by John Henken

HILARY HAHN

Three-time Grammy Awardwinning violinist Hilary Hahn melds expressive musicality and technical expertise with a diverse repertoire guided by artistic curiosity. Her barrier-breaking attitude toward classical music and her commitment to sharing her experiences with a global community have made her a fan favorite. Hahn is a prolific recording artist and commissioner of new works, and her 22 feature recordings have received every critical prize in the international press. Her Instagram-based practice initiative, #100daysofpractice, has helped to transform practicing into a communityoriented celebration of artistic development. Since creating the hashtag in 2017, Hahn has led the project four times under her handle, @violincase; fellow performers and students have contributed nearly 800,000 posts under the hashtag. She is currently Artist-in-Residence at both the Chicago Symphony Orchestra and London’s Wigmore Hall, and she is Co-Founder and VP of Artistic Partnerships of the AI-music initiative Deepmusic.AI. This season, Hahn appears as soloist on concertos by Brahms, Sibelius, Dvořák, Tchaikovsky,

and Prokofiev, as well as Pablo de Sarasate’s Carmen Fantasy and Einojuhani Rautavaara’s Deux Sérénades, which is heard in its U.S. premiere. Hahn also performs several solo recitals this season. In addition to recitals of works by Lera Auerbach and Prokofiev in London and Berlin, she performs the Bach repertoire that made her a household name in solo recitals in London, New York, San Francisco, Los Angeles, and Chicago.

A strong advocate for new music, Hahn has championed and commissioned works by a diverse array of contemporary composers. Her 2021 release Paris features the worldpremiere recording of Rautavaara’s Deux Sérénades, a piece written for Hahn and completed posthumously by Kalevi Aho; Hahn premiered it in 2019. Other recent commissions include Michael Abels’ Isolation Variation—Hahn’s recording of which was nominated for a Grammy Award in the Best Classical Instrumental Solo category—Barbara Assiginaak’s Sphinx Moth, Lera Auerbach’s Sonata No. 4: Fractured Dreams, and Six Partitas by Antón García Abril, a recording of which was released in 2019. García Abril, Auerbach, and Rautavaara were contributing composers for In 27 Pieces: the Hilary Hahn Encores, Hahn’s Grammy Award-winning multiyear commissioning project to revitalize the duo encore genre.

Hahn’s 22 feature albums on Decca, Deutsche Grammophon, and Sony have all opened in the Top 10 of the Billboard charts. Her most recent recording, 2022’s Eclipse, celebrates Hahn’s return to the stage and studio after two seasons away and features pieces by Dvořák, Ginastera, and Sarasate. Three of

Hahn’s albums—her 2003 Brahms and Stravinsky concerto disc, a 2008 pairing of the Schoenberg and Sibelius concertos, and her 2013 recording of In 27 Pieces: the Hilary Hahn Encores—have been awarded Grammys.

Hahn has related to her fans naturally from the very beginning of her career. She has held signings after nearly every concert and maintains and shares a collection of the fan art she has received over the course of 20 years. Her “Bring Your Own Baby” concerts create opportunities for parents of infants to share their enjoyment of live classical music with their children in a nurturing, welcoming environment.

Hahn’s commitment to her fans extends to a long history of educational initiatives. A former Suzuki student, she released new recordings of the first three books of the Suzuki Violin School in 2020, in partnership with the International Suzuki Association and Alfred Music.

Hahn is the recipient of numerous awards and recognitions. She received the 11th Annual Glasshütte Original Music Festival Award, which she donated to the Philadelphiabased music education nonprofit Project 440. She received the Herbert von Karajan award in 2021 and delivered the keynote speech to the Second Annual Women in Classical Music Symposium in the same year. In 2023, she was named Musical America ’s Artist of the Year.

Hahn was the 2022 Chubb Fellow at Yale University’s Timothy Dwight College; she also holds honorary doctorates from Middlebury College—where she spent four summers in the total immersion German-, French-, and Japanese-language programs—and Ball State University, where there are three scholarships in her name.

The Movie Music of Spike Lee & Terence Blanchard

Terence Blanchard

Los Angeles Philharmonic

Thomas Wilkins, conductor

Lalah Hathaway, special guest

Tarriona “Tank” Ball, special guest

Programs and artists subject to change.

SATURDAY

MARCH 18, 2023 8PM

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.

TERENCE BLANCHARD

Terence Blanchard has been a consistent artistic force for making powerful musical statements concerning painful American tragedies—past and present. He stands tall as one of jazz’s most-esteemed trumpeters and defies expectations by creating a spectrum of artistic pursuits.

A seven-time Grammy winner and twice Oscar-nominated film composer, Blanchard becomes only the second African-American composer to be nominated twice in the original score category at the 2022 Academy Awards, duplicating Quincy Jones’ feat from 1967’s In Cold Blood and 1985’s The Color Purple Blanchard is also heralded as a two-time opera composer, whose Fire Shut Up in My Bones is based on the memoir of celebrated writer and The New York Times columnist Charles Blow. The Metropolitan Opera premiered Fire Shut Up in My Bones on September 27, 2021, to open their 2021/22 season in New York, making it the first opera composed by an AfricanAmerican composer to premiere at the Met. The recording of those performances just received a Grammy Award for Best Opera Recording. The New York Times labeled Blanchard’s

opera “inspiring,” “subtly powerful,” and “a bold affecting adaptation of Charles Blow’s work.” Of the historical moment, Blanchard said, “I don’t want to be a token, but a turnkey.”

Blanchard’s first opera, Champion, with a libretto by Pulitzer Prize winner Michael Cristofer, premiered in 2013, also to critical acclaim, and starred Denyce Graves. Champion will be coming to the Met in April 2023.

But there is a center of gravity. It’s Blanchard’s beautiful, provocative, inspiring jazz recordings that undergird all these projects. The same holds true now as it did early in his career in 1994, when he told DownBeat : “Writing for film is fun, but nothing can beat being a jazz musician, playing a club, playing a concert.”

From his expansive work composing the scores for over 20 Spike Lee projects over three decades, ranging from the documentary When the Levees Broke to the latest Lee film, Da 5 Bloods, Blanchard has interwoven beautiful melodies that created strong backdrops to human stories, like Regina King’s One Night in Miami, Kasi Lemmons’ Eve’s Bayou and Harriet, George Lucas’ Red Tails, the critically acclaimed drama series Perry Mason, the National Geographic limited series Genius: Aretha, Apple TV’s docuseries They Call Me Magic (for which Blanchard received his second Emmy nomination), and, in theaters now, Gina Prince Bythewood and Viola Davis’ The Woman King.

In his 30th year as a recording leader, Blanchard delivers Absence, a collaboration with his longtime E-Collective band and the acclaimed Turtle Island Quartet. which received Grammy nominations in November 2021 for Best Instrumental Jazz Album and Best Improvised Jazz Solo

for Blanchard. Recorded in February 2020 just before the COVID-19 lockdowns, Absence started out as a project to show gratitude to Wayne Shorter. “I knew that Wayne wasn’t feeling well at the time, so I wanted to honor him to let him know how much he has meant to me,” says Blanchard, who today lives in Los Angeles as well as in his native New Orleans.

“When you look at my own writing, you can see how much I’ve learned from Wayne. He mastered writing compositions starting with a simple melody and then juxtaposing it against the harmonies that come from a different place to make it come alive in a different light.”

Regarding his consistent attachment to artistic works of conscience, Blanchard confesses, “You get to a certain age when you ask, ‘Who’s going to stand up and speak out for us?’ Then you look around and realize that the James Baldwins, Muhammad Alis, and Dr. Kings are no longer here...and begin to understand that it falls on you. I’m not trying to say I’m here to try to correct the whole thing, I’m just trying to speak the truth.” In that regard, he cites unimpeachable inspirations.

“Max Roach with his Freedom Now Suite, John Coltrane playing Alabama, even Louis Armstrong talking about what was going on with his people any time he was interviewed. Herbie Hancock and Wayne Shorter who live by their Buddhist philosophy and try to expand the conscience of their communities. I’m standing on all their shoulders. How dare I come through this life having had the blessing of meeting those men and not take away any of that?

Like anybody else, I’d like to play feel-good party music but sometimes my music is about the reality of where we are.”

THOMAS WILKINS

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

Additionally, he is the Boston Symphony’s Artistic Advisor, Education and Community Engagement; Indiana University’s Henry A. Upper Chair of Orchestral Conducting established by the late Barbara and David Jacobs, and Principal Guest Conductor of the Virginia

Symphony. At the close of the 2020/21 season, he ended his long and successful tenure as Music Director of the Omaha Symphony. Other past positions have included resident conductor of the Detroit Symphony and Florida Orchestra (Tampa Bay), and associate conductor of the Richmond (VA) Symphony. He also has served on the music faculties of North Park University (Chicago), the University of Tennessee in Chattanooga, and Virginia Commonwealth University in Richmond. Devoted to promoting a lifelong enthusiasm for music, Thomas Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful first season with the Boston Symphony, the Boston Globe named him among the “Best People and Ideas of 2011.”

In 2014, Wilkins received the prestigious “Outstanding Artist” award at the Nebraska Governor’s Arts Awards for his significant contribution to music in the state while

in March of 2018, the Longy School of Music awarded him the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society. In 2019 the Virginia Symphony bestowed Thomas Wilkins with their annual Dreamer’s Award. In 2022 the Omaha Entertainment and Arts Awards presented him with their Lifetime Achievement Award for Music, Boston Conservatory at Berklee awarded him an honorary Doctorate of Arts, and he was the recipient of the League of American Orchestras’ Gold Baton Award.

During his conducting career, he has led orchestras throughout the United States, including the New York and Los Angeles philharmonics; the Philadelphia and Cleveland orchestras; the symphonies of Chicago, Boston, Cincinnati, and Detroit; and the National Symphony.

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

LALAH HATHAWAY

Lalah Hathaway is a five-time Grammy Award-winning singer/ songwriter and producer and 10-time nominee. Undeniable music royalty and a 30-year music industry veteran, Lalah makes music that transcends genre—from R&B ballads to pop standards and soulful jazz—and has collaborated with today’s top hitmakers, including Pharrell Williams, Kendrick Lamar, Dr. Dre, Anderson .Paak, and Snoop Dogg. Lalah has also shared the stage with music legends, from Prince to Stevie Wonder to Anita Baker. Film and television credits include appearing as herself in the 2017 hit film Girls Trip, as the wedding singer in the series finale of BET’s Being Mary Jane, a cameo in Yvette Nicole Brown’s film Always a Bridesmaid, and features as a special guest on the latest season of Family Reunion on Netflix.

Lalah headlined the Lincoln Center’s Out of Doors summer concert series in 2019 with the soldout show “Legacy: Lalah Hathaway Sings Donny Hathaway.” Lalah also served as a featured artist on the lost album of the legendary Miles Davis, appearing on the single “So Emotional.” Lalah’s song “Show Me Your Soul,” from the hit documentary Mr. Soul!, was featured on the Oscars 2021 shortlist for Best Original Song.

TARRIONA “TANK” BALL

Hailing from New Orleans, Tarriona “Tank” Ball is the frontwoman of the two-time Grammy-nominated group Tank and The Bangas. The four-piece group has a rare knack for combining various musical styles—fiery soul, deft hip-hop, deep-drove R&B, and subtle jazz—into one dazzling, cohesive whole that evokes the scope of New Orleans music while retaining a distinctive feel all its own. The band’s most recent album Red Balloon was released in 2022.

Tank is also known for her amazing ability to write, and she released her first poetry book, Vulnerable AF, in 2021. Tarriona “Tank” Ball has collaborated with artists like Norah Jones, Lalah Hathaway, Robert Glasper, Moonchild, Brasstracks, Terence Blanchard, and many more.

Mälkki Leads Dvořák

Los Angeles Philharmonic

Susanna Mälkki, conductor

Claire Chase, flute esperanza spalding, bass

THURSDAY

MARCH 23, 2023 8PM

FRIDAY

MARCH 24 8PM

SATURDAY

MARCH 25 8PM

DVOŘÁK Slavonic Dances, Op. 46 (c. 40 minutes)

Furiant. Presto

Dumka. Allegretto scherzando—Allegro vivo

Polka. Poco Allegro

Sousedská. Tempo di menuetto

Skocná. Allegro vivace

Sousedská. Allegretto scherzando Skocná. Allegro assai

Furiant. Presto

INTERMISSION

Felipe LARA Double Concerto (U.S. premiere, LA Phil commission) (c. 30 minutes)

Claire Chase, flute esperanza spalding, bass and voice

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

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

These performances are generously supported by the Frank Gehry Fund for Creativity

Programs and artists subject to change.

AT A GLANCE

Virtuosity and Dance

Originally written for piano four-hands, the Slavonic Dances were Dvořák’s breakthrough hit as a composer. Richly authentic in Bohemian and Czech character without actually quoting folk material, the Dances are wonderfully tuneful and kinetic, and Dvořák almost immediately gave them inspired orchestrations. Felipe Lara’s new Double Concerto

is equally wide-ranging in mood and character and even more extravagant in its sound palette. And do not think of it as a concerto for flute and bass: rather, it is a concerto for these specific soloists, for few others could meet its unique challenges. Virtuosity dances here as surely as it does in Dvořák’s spirited creations. —John

Henken

SLAVONIC DANCES, OP. 46

Antonín Dvořák (1841–1904)

Composed: 1878

Orchestration: 2 flutes (2nd=piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (bass drum, crash cymbals, triangle), and strings

First LA Phil performance: March 12, 1964, Zubin Mehta conducting

In the 19th century, an age of widespread amateur performance, the face of composition changed dramatically: more and more pieces were being written not only with the concert hall, but also with the amateur’s drawing room, in mind. It was not a new tactic—Mozart, after all, wrote concertos for his students—but with the growth of commercial music publishing, a host of instruction books appeared, and a new generation of amateur musicians demanded music to fit their newly developing skills. Antonín Dvořák was among the crop of composers who recognized this and, as a result, tailored some of his catalogue for amateur performance.

The composer’s Slavonic Dances, originally scored for piano duo, are among this body of works suitable for everyday performance. The set of eight folk dances was written in 1878 at the request of publisher Fritz Simrock. Simrock was Johannes Brahms’ publisher—Brahms and Dvořák became good friends early in the younger composer’s career—and he had nearly a year earlier helped launch a career for Dvořák by accepting the virtually unknown composer’s Moravian Duets But it was the Slavonic Dances that introduced Dvořák to the European concert scene; after their 1878 Dresden premiere, renown for the composer increased dramatically. (It must be noted that Dvořák, still in relative obscurity, received just 300 marks from Simrock—less than $100—for the work that exposed him to the public eye.)

Soon after completing the original piano duet, Dvořák arranged the dances for full orchestra (the form in which they were premiered in Dresden), resulting in a single work presented in two different color palettes. The piano version

is simple enough for student performance but shows a brilliance in condensing Dvořák’s varied coloristic and rhythmic skills into a more limited format. The orchestral version lacks such economy of scale but makes up for it with a hefty dose of vibrant instrumentation and rhythmic verve.

Although labeled under the catchall description of “Slavonic” dances, seven of the eight sketches are Bohemian in origin, with only the second dance being native to Serbia. (Dvořák’s sequel to this work, 1886’s Op. 72, rounded out the international balance with music from Poland, Slovakia, and Ukraine.) The overall flavor is vigorous, witty, and highly rhythmic. While the majority of the pieces resemble, at least in overall structure, traditional dances of symphonic form, there are departures. The fourth dance, for example, is a strongly accented version of a minuet. Of course, Dvořák’s characteristic folk melodies and colorful harmonies can be heard throughout, making the work a lively, vigorous vignette of the composer’s style. —Jessica Schilling

DOUBLE CONCERTO Felipe Lara (b. 1979)

Composed: 2019, 2023

Orchestration: 4 flutes (4th=piccolo), 2 oboes, English horn, 4 clarinets, 3 bassoons (3rd=contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussion, 2 harps, strings, amplified solo flutes, and amplified solo voice and bass

First LA Phil performances (U.S. premiere).

Double Concerto was co-commissioned by the Helsinki Philharmonic Orchestra and the Los Angeles Philharmonic. The halfhour composition features soloists esperanza spalding (contrabass and voice), Claire Chase (flute in C, glissando headjoint, alto, and contrabass flutes), and symphony orchestra. The ultimate goal was to (re)interpret the orchestral

duo concerto genre in the form of a performer-specific work, which explored aspects of oral, improvisational, written, and electroacoustic musical traditions. However, instead of exposing the soloists’ stylistic differences by creating superficial clashes of style, I favored synthesizing both musicians as a Hydra-like compound soloist. This approach embraces the role of the soloists as unique interpreters from different backgrounds, who are invited to negotiate the otherness of their musical traditions, tendencies, and sensibilities. Furthermore, I explore various aspects of the soloists’ voices in the typically instrumental concerto setting. I employ vocal utterances, breathy noise, and set my own text in Portuguese, which I found in a diary entry from 2002. I also translate physical aspects of the performers’

voices, such as phonemes, consonants, and modulations caused by Claire’s playing and singing simultaneously. I analyze, deconstruct, and interpret samples pre-recorded by the soloists, and transfer aspects of their acoustic profiles into harmonic, timbral, and textural nuances of the orchestra. While the vast majority of the work is meticulously notated, improvisation is one of its key aspects. I engage both performers in various degrees of improvisation, from the simple embellishment of a tone, directed moments where the soloists are invited to react to one another, soloing over a given chord or progression, all the way to an entire section in the end of the cadenza, where my hands are off the score and the soloists are finally free to take the music wherever their sensibilities desire. —Felipe

Lara

SUSANNA MÄLKKI

Susanna Mälkki is sought after at the highest level with symphony orchestras and in opera houses worldwide. In her final season as Chief Conductor of the Helsinki Philharmonic Orchestra, she concludes a seven-year tenure with a distinctive dynamism and imaginative flair to her programming. In addition to a full season in Finland, she leads the Helsinki orchestra on tour at the prestigious Lucerne

and Edinburgh festivals, New York’s Carnegie Hall, and Washington’s Kennedy Center this season.

Mälkki appears regularly with top orchestras throughout Europe and North America: Los Angeles Philharmonic, where she was Principal Guest Conductor from 2017 until 2022, Philadelphia Orchestra, the Cleveland Orchestra, the New York Philharmonic, Chicago Symphony Orchestra, the Boston Symphony, London Symphony Orchestra, the Münchner Philharmoniker, Wiener Symphoniker, Bayerischer Rundfunk, and the Berliner Philharmoniker.

Equally in demand with major opera houses, she has made notable appearances at the Opéra National de Paris, Teatro alla Scala in Milan, the Wiener Staatsoper, and the Metropolitan Opera in New York. This season, she visits the Royal Opera House, London, with Kaija Saariaho’s Innocence (which Mälkki

premiered in 2021 at the Festival d’Aix-en-Provence) and the Gran Teatre del Liceu, Barcelona, for Puccini’s Il trittico. Future operatic titles include Debussy’s Pelléas et Mélisande and Beethoven’s Fidelio

Recognized for her significant contribution to the art form, Mälkki was awarded the Pro Finlandia Medal of the Order of the Lion of Finland— one of the country’s highest honors—in 2011. She has been named Officier (2014) and Commandeur (2022) de l’Ordre des Arts et des Lettres of France and in January 2016 was made a Chevalier of the Légion d’honneur in France. She is a Fellow of the Royal Academy of Music in London and a member of the Kungliga Musikaliska Akademien in Stockholm. In October 2016, she was named Musical America ’s 2017 Conductor of the Year, and in November 2017, she was awarded the Nordic Council Music Prize.

CLAIRE CHASE

Claire Chase is a musician, interdisciplinary artist, and educator. Passionately dedicated to the creation of new ecosystems for the music of our time, Chase has given the world premieres of hundreds of new works by a new generation of artists. In 2013, she began a 24-year commissioning initiative to create a new body of repertoire for the flute leading up to the centennial of Edgard Varèse’s seminal 1936 flute solo Density 21.5. Each year leading up to the centennial, Chase premieres a program of newly commissioned music, and, in 2036, she will play a 24-hour marathon of all of the repertory generated in the project. Chase co-founded the International Contemporary Ensemble in 2001, was named a MacArthur Fellow in 2012, and, in 2017, was awarded the Avery Fisher Prize from Lincoln Center for the Performing Arts. She is Professor of the Practice of Music at Harvard University’s Department of Music, a Creative Associate at the Juilliard School, and a Collaborative Partner with Esa-Pekka Salonen and the San Francisco Symphony. She lives in Brooklyn. density2036.org

ESPERANZA SPALDING

esperanza spalding (also known as irma nejando or i.e.) is a being who has grown to recognize love in the abstract and aspirational, and is now fully dedicated to learning how she can serve and embody actualized love through honor for and receptivity to fellow humans, teachers, and practitioners of various regenerative arts.

Bass, piano, composition, performance, voice, and lyrics are tools and disciplines she has engaged in deeply to cultivate her own channel for transmitting care and beauty through vibration, sound, and presence.

She has written an opera with Wayne Shorter, which premiered in the fall of 2021. She is currently developing a mockumentary in collaboration with Brontë Velez and the San Francisco Symphony; researching liberation technologies in jazz and black dance; and continuing a lifelong collaboration with practitioners in various fields relating to music, healing, and cognition to develop music with enhanced therapeutic potential. From 2017 to 2022, Harvard University hired her to co-create and learn with students, working on developing creative practices that serve the restoration of people and land.

Tchaikovsky and Wagner

Members of the Los Angeles Philharmonic

BARTÓK String Quartet No. 3 in C-sharp minor (c. 15 minutes)

Prima parte: Moderato—

Seconda parte: Allegro—

Ricapitolazione della prima parte: Moderato—

Coda: Allegro molto

Tianyun Jia, violin

Ashley Park, violin

Michael Larco, viola

Dahae Kim, cello

WAGNER, Prelude and “Liebestod” from arr.

Martina Trumpp Tristan und Isolde (c. 20 minutes)

Akiko Tarumoto, violin

Johnny Lee, violin

Dana Lawson, viola

Ingrid Hutman, viola

Gloria Lum, cello

Jason Lippmann, cello

INTERMISSION

TCHAIKOVSKY String Quartet No. 1 in D major, Op. 11 (c. 30 minutes)

Moderato e simplice

Andante cantabile

Scherzo. Allegro non tanto e con fuoco

Finale. Allegro giusto

Mark Kashper, violin

Jung Eun Kang, violin

Leticia Oaks Strong, viola

Barry Gold, cello

Programs and artists subject to change.

TUESDAY

MARCH 28, 2023 8PM

AT A GLANCE

Tradition, Tradition!

Tchaikovsky used folk music for themes in a number of his works, and in his String Quartet No. 1, the main tune of the popular Andante cantabile movement is a folk song he heard at his sister’s estate in Ukraine. Bartók studied and collected folk music quite seriously, but he quotes none of it literally in his Third Quartet.

QUARTET NO. 3 IN C-SHARP MINOR Béla Bartók (1881–1945)

Bartók composed his third quartet in 1927, during a period in which he found both inspiration and validation from the international musical community that had been so disrupted during World War I. This piece won a prize from the Musical Fund Society of Philadelphia and was soon thereafter premiered by the Waldbauer-Kerpely Quartet at Wigmore Hall in London, followed just two days later by the Vienna Quartet in Frankfurt in an International Society of Contemporary Music concert. Bartók’s answer to a cable from Fritz Reiner congratulating him on the prize reveals both his gratification and his stillstraitened circumstances:

“Don’t think, however, that you were the first with the news: you were outstripped by the paper Az Est, which, on the afternoon of Oct. 2, reported that I had won 6,000 dollars! I read this with suspicion and calmed down a little only when I got your cable in the evening and was able to say to myself that, after all, I really had won something. Within a few days, I had learned from foreign newspapers that at least

Instead, he distills its spirit and techniques into a wildly creative sonic world. Wagner’s main use of traditional material was narrative, in the librettos of his music dramas such as Tristan und Isolde, from which we hear the beginning and the end in a “pocket opera” arrangement by German violinist Martina Trumpp. —John Henken

four of us had won something; who had won how much we couldn’t discover from the many conflicting reports. So I waited patiently until at last, a few days ago, the letter from Philadelphia arrived, telling me exactly what had happened (and including the check of course). There is no need for me to stress the fact that the money ‘came in handy’; we are able to breathe more freely now, to say nothing of the publicity we’ve had…”

The shortest of the composer’s six string quartets, the work is divided unconventionally: Two sections, designated “prima parte” and “seconda parte,” are followed by a “Ricapitolazione [recapitulation] della prima parte” and a coda that in effect is a recapitulation of the second part. This form, the result of several years’ experimentation, allowed both contrast and elaboration as well as a framework within which Bartók could wring a great deal of music out of a small amount of melodic material. As Theodor Adorno described in 1929: “What is decisive is the formative power of the work; the iron concentration, the wholly original tectonics.”

The string writing features a wide range of coloristic effects:

glissando, pizzicato, mutes, tapping the strings with the bow, bowing near the fingerboard or the bridge, and strumming.

The lyrical prima parte begins with a solo violin passage over moody accompaniment introducing the raw material of the movement—not so much a true theme as what musicologist János S. Kárpáti calls a “primordial figure.” Less contrapuntal than much of Bartók’s previous quartet writing, the movement features tight two-part or chordal textures as it elaborates the material. The moderato leads without break into the seconda parte, a folk-danceinspired allegro. Here Bartók’s unconventional techniques infuse the music with a savage quality. The combination of the furious tempo and the intense concentration of the material has the odd effect of a simultaneous acceleration and slowing-down—a musical analogy, perhaps, to Einstein’s theory of relativity, in which mass increases with speed to the point where further acceleration is impossible. The recapitulations of both parts exaggerate their contrasting atmospheres. — Susan Key

PRELUDE AND “LIEBESTOD” FROM TRISTAN UND ISOLDE

Richard Wagner (1813–1883)

Arranged by Martina Trumpp

In the early 1850s, Wagner began reading the works of the German philosopher Arthur Schopenhauer (admired, incidentally, by Nietzsche). For Schopenhauer, music occupied a station above all other arts, including poetry, which meant that the text of an opera was relegated to a supporting role.

Wagner started to show symptoms of his exposure to Schopenhauer by the mid-1850s, and, naturally, the composer’s major operatic project of the decade reflected this influence. Until Tristan und Isolde, no one had imagined the extent to which music alone could embody drama. In one long arc, Wagner lays bare the inner lives of the opera’s title characters as their love, doomed from its beginning, finds fulfillment in death.

The Prelude and “Liebestod” (Love-Death) comprise the beginning and ending of the opera. In its original orchestration, the Prelude opens with the cellos softly playing four notes. The last note fades into an extraordinary chord played by oboes, bassoons, and English horn. This chord, the famous “Tristan chord,” sounds strange because it is an unresolved dissonance, an academic way of saying that it sounds like it’s leading to something. But because Wagner, at this point, withholds resolution, the chord is a beginning without an end. What follows is a lush orchestral work that charts the psychology of the opera, which itself explores the unexplainable, primal nature of love. (The version heard tonight is an arrangement for strings made by German violinist Martina Trumpp.)

The chord returns during the course of the opera, but it is only resolved during the work’s final, ecstatic closing “Liebestod.” It is the culmination of the opera’s tragic events, which are set in motion when Tristan and Isolde drink a love potion. Tristan, though, has claimed Isolde on behalf of his lord, King Marke. When Marke discovers the lovers together, one of the king’s knights stabs Tristan, who returns to his fortress alone to die. When the “Liebestod” begins, Isolde has just arrived to find Tristan dead. Her worldly surroundings fade away as she contemplates sinking unconscious into supreme bliss and finally consummating her love with Tristan in death. The passage builds to a climax as “waves of refreshing breezes” begin to envelop Isolde and again as she imagines expiring in “the vast wave of the world’s breath.” She sinks down as the luminous strings float to a resolution of the chord from the Prelude.

—John Mangum

STRING QUARTET NO. 1 IN D MAJOR, OP. 11 Peter Ilyich Tchaikovsky (1840–1893)

Chamber music was only a tiny portion of Tchaikovsky’s total output: three string quartets, a piano trio, a string sextet, and three pieces for violin and piano. For the most part, these smaller works are simply a distillation of the unrestrained emotiveness of his larger works, but the First String Quartet in D major, Op. 11, is different altogether. In it, Tchaikovsky gives us textbook Classical string quartet writing: taut, noble, and tasteful.

The First Quartet was written with the most pragmatic of intentions: to make money. In

1871, teaching at the Moscow Conservatory and running low on cash, Tchaikovsky decided at the urging of his friend Nikolay Rubinstein (brother of Tchaikovsky’s former teacher, Anton, and founder of the Moscow Conservatory) to present a concert of his own chamber music (chamber music being cheaper to present than a full orchestra). Remarkably, the Quartet was written on the fly just weeks before the concert. The first movement, Moderato e semplice, places the gently rocking first theme in a dignified classical setting, with rich harmonies and intense counterpoint that celebrate the sense of unity found in the string quartet sound. The second movement takes its first theme from a Ukrainian folk song, “Vanya sat on the sofa,” about a besotted and inebriated peasant daydreaming about his love. The movement was an immediate hit and has since become renowned as one of music’s sentimental, romantic favorites. Still, there is something to be said for laying out a simple, lovely tune: Six years later, Tchaikovsky wrote in his diary after a performance of the Quartet at the Moscow Conservatory: “Never in my life have I felt so flattered and proud of my creative ability as when Leo Tolstoy, sitting next to me, heard my andante with tears coursing down his cheeks.” And in 1888, in a review of an all-Tchaikovsky program at the Lisztverein in Leipzig, the Neue Zeitschrift für Musik called the andante “a slumbering lily in the valley.” The jaunty syncopated theme and dark, minor-key flavor of the Scherzo movement make it alternately mysterious and festive, while the masculine, forthright sonatarondo Finale contains the lyricism, simple harmonies, and syncopated rhythms that characterize the entire work. —Meg

Ryan

BARRY GOLD

Los Angeles-born cellist

Barry Gold, a member of the Los Angeles Philharmonic since 1982, began studying cello with Gretchen Geber. A Young Musicians Foundation scholarship recipient, Gold began his performing career as a member of the YMF Debut Orchestra of Los Angeles; while still a teenager, he was a member of a piano trio that won a prestigious Coleman Chamber Music Prize. He earned both his Bachelor’s and Master’s degrees from the Juilliard School of Music, which awarded him the Eduard Steuermann Memorial Prize upon his graduation in 1979. In addition to cello studies with Harvey Shapiro, he studied chamber music with Felix Galimir and members of the Juilliard String Quartet.

Prior to joining the Los Angeles Philharmonic, Gold participated in the Tanglewood and Victoria (BC) summer festivals and was a member of both the Pasadena and Long Beach symphonies. He has appeared as a soloist with the Philharmonic, is a frequent performer at the LA Phil’s Chamber Music concerts and has participated in a number of world premieres on the Philharmonic’s Green Umbrella programs. He is also featured with the LA Phil’s New Music Group on the recording of John Harbison’s The Natural World

INGRID HUTMAN

Violist Ingrid Hutman is a native of Sierra Madre and began her music education in the Pasadena public schools. She was a member of the American Youth Symphony under the direction of Mehli Mehta and played in the Young Musicians Foundation Debut Orchestra

and other Southland youth ensembles. She studied viola performance at California State University, Northridge, with Louis Kievman and Heiichiro Ohyama, the Encore School of Music, and the Cleveland Institute of Music with Robert Vernon. She participated in the Los Angeles Philharmonic Institute in 1987 and 1988.

Since joining the LA Phil in 1991, Hutman has performed on its Chamber Music and New Music Group series. An advocate for music education and training, Hutman has taught viola privately and at the Colburn Community School of Performing Arts. She performed in school programs and judged instrumental competitions sponsored by the Los Angeles Philharmonic Department of Education; she coached young musicians in the Santa Monica public schools, at USC and through YOLA; and she served on the Board of Directors of Elemental Music, a nonprofit organization that trains young musicians to play in ensembles.

Outside of her musical endeavors, Hutman is an avid explorer of the peaks and canyons of the Eastern Sierra Nevada, the San Bernardinos, the San Gabriels, the Verdugos, and the Santa Monicas. She grows organic tomatoes, leafy greens, and herbs in her kitchen garden, and she makes a distinctively strong cup of coffee.

TIANYUN JIA

Tianyun Jia is a multiple award-winning violinist and avid chamber musician hailing from China. She has made frequent guest-solo appearances with symphony orchestras all over the world. Jia has also

won prizes in many renowned international competitions. She received her early formal training in Shanghai, where she rapidly rose through the schools affiliated with the Shanghai Conservatory of Music. Jia subsequently moved to London to pursue her studies at the Royal Academy of Music in 2008, earning her Bachelor and Master of Music degrees. She is currently continuing her studies as a Starling Fellow at the USC Thornton School of Music under the tutelage of Midori Goto.

Tianyun Jia has given several solo recitals at prestigious venues, such as London’s Royal Festival Hall, the Purcell Room in the Southbank Centre, and Singapore’s Victoria Concert Hall. In her native China, she has performed as soloist in Shanghai Concert Hall and Beijing Concert Hall. In recent seasons, she has made solo appearances with the Qingdao Symphony Orchestra and the Xiamen Philharmonic Orchestra.

Jia studied in London with György Pauk and won scholarships from the Philharmonia Orchestra/Martin Musical Scholarship Fund, from the City of London’s Worshipful Company of Musicians, the Hattori Foundation, and the Ruggiero Ricci Foundation. She was awarded Second Prize in the 2011 Third China Violin Competition, which was held in Qingdao. She has participated in master classes led by Midori Goto, Maxim Vengerov, Thomas Brandis, Ruggiero Ricci, Aaron Rosand, and the Emerson and Tokyo string quartets. Tianyun Jia is currently a faculty member of the Zhejiang Conservatory of Music in Hangzhou, China. She has been a member of the Los Angeles Philharmonic since September 2017.

JUNG EUN KANG

Violinist Jung Eun Kang is a versatile musician who has performed across the United States and South Korea as a soloist, chamber musician, and orchestra player. Born in South Korea, she has been the recipient of many top prizes at several national competitions, including the Sung Jung Competition, the 30th Busan Music Competition, and the Sejong Arts and Culture Foundation Competition. In 2019, as a winner of the Woolsey Concerto Competition, she appeared as a soloist with the Yale Philharmonia under the direction of Ludovic Morlot. She was a fellow at the New World Symphony from 2019 until she joined the Los Angeles Philharmonic in 2022. As a member of Sejong Soloists, she was one of the young virtuosos heard in the Fendi Renaissance— Anima Mundi project.

MARK KASHPER

Born and raised in Saint Petersburg, Russia, Mark Kashper started taking violin lessons at the age of five. In addition to being a graduate of the Moscow Conservatory, where he was one of the last and favorite pupils of the legendary David Oistrakh, Kashper also graduated from the Leningrad Conservatory. As a student, he was a recipient of numerous awards and scholarships. As the assistant concertmaster and soloist with the Moscow Conservatory Chamber Orchestra, he concertized extensively throughout the Soviet Union, Europe, and Latin America.

In February 1978, Kashper arrived in the United States as a refugee, and three months later won an audition to become

a member of the Los Angeles Philharmonic. In September 1979, he was promoted to the first violin section and, after progressing steadily through its ranks, won another audition to become the orchestra’s Associate Principal Second Violin in May 1986. In March of 1987, Kashper won high praise for his performance of Luciano Berio’s Corale in its West Coast premiere with the Los Angeles Philharmonic under the direction of Pierre Boulez. He has also appeared as soloist with the orchestra at the Hollywood Bowl and at the Ojai Festival, as well as on many New Music Group and Chamber Music series programs, collaborating with such distinguished musicians as—to name just a few—Heinz Holliger, André Previn, Emanuel Ax, and Yefim Bronfman. Between 2007 and 2011, Kashper led the Los Angeles Philharmonic’s second violin section as its Acting Principal.

An active recitalist and avid chamber music player, Kashper performs extensively in the Los Angeles area and throughout the United States. Since the creation of the Los Angeles Jewish Symphony in the spring of 1994, he has also been busy as that orchestra’s founding principal concertmaster and frequent featured soloist, performing throughout Southern California and touring in New York and Israel. In February 2000, Kashper was the soloist in performances of Korngold’s Violin Concerto with the Santa Barbara Symphony Orchestra, conducted by its then-Music Director, Gisèle Ben-Dor.

In September 2001, in Japan, Kashper participated in the concerts of the Super World Orchestra—an ensemble made up of principal players

from most of the world’s greatest orchestras—under the direction of Lorin Maazel. In June 2006, in France, he proudly represented the United States in the concerts of the World Philharmonic Orchestra—a unique ensemble that included principal players of the leading symphony orchestras from 80 countries.

DAHAE KIM

Cellist Dahae Kim joined the Los Angeles Philharmonic as Assistant Principal in 2016. Previously, she served as Assistant Principal Cello of the Detroit Symphony Orchestra. She has been featured as soloist with the DSO in the Benjamin Lees Concerto for String Quartet and Orchestra, led by Leonard Slatkin, and with the Detroit Medical Orchestra, performing the Saint-Saëns Cello Concerto No. 1 in 2014. Dahae completed her studies at the New England Conservatory of Music in 2013 as the recipient of the Gregor Piatigorsky Scholarship, earning Bachelor’s and Master’s degrees as a student of Laurence Lesser and Paul Katz. She also studied privately with famed cellist Bernard Greenhouse, formerly of the Beaux Arts Trio. She won first place in the 2010 Hudson Valley Philharmonic Strings Competition, returning the following year to perform Shostakovich’s Cello Concerto No. 1. She was a participant at the Tanglewood Music Center for three years and served as Principal Cello of the National Repertory Orchestra in the summer of 2012, when she also performed as soloist in Lalo’s Cello Concerto. As a chamber musician, she has performed on numerous

occasions in Jordan Hall and Ozawa Hall, and coached with members of the Cleveland, Takács, Borromeo, and Juilliard string quartets.

Dahae was born in Seoul, South Korea, and first studied music with her mother, who taught her piano and violin. She moved to Rockland County, New York, with her family at age eight; there she took up cello studies with Irene Sharp and New York Philharmonic cellist Qiang Tu.

MICHAEL LARCO

Michael Larco was Assistant Principal Violist of the Rochester Philharmonic Orchestra from 2005 to 2012 and joined the Los Angeles Philharmonic in July 2012.

He has collaborated in concert with Lynn Harrell, Itzhak Perlman, Alisa Weilerstein, and Rachel Barton Pine. Recent appearances have included a Chicago “Dame Myra Hess” recital debut with pianist Soojin Ahn, broadcast live on WFMT; performances at the Philadelphia Chamber Music Society with tenor Anthony Dean Griffey; Kravis Center for the Performing Arts (West Palm Beach); Zankel Hall at Carnegie Hall with Griffey and Warren Jones; Chamber Music Rochester (NY); Skaneateles Festival (NY); and Monadnock Music (NH).

Larco was a founding member (2000–2005) of the New York City-based Fountain Ensemble. He has served as principal violist of the Juilliard Orchestra and the Tanglewood Music Center Orchestra under Seiji Ozawa, Kurt Masur, and James Conlon. He has performed with the New York Philharmonic, the Boston Symphony Orchestra, and the

Philadelphia Orchestra. An active chamber musician and coach, Larco has been a faculty member at the Hartt School at the University of Hartford and the School for Strings (NYC). Most recently, he has coached alongside the Biava String Quartet at the David Einfeldt Chamber Music Seminar at the Hartt School.

Larco received his Bachelor’s and Master’s degrees from the Juilliard School, where he studied with Heidi Castleman, Misha Amory, and Samuel Rhodes. In 1999, Larco was awarded the Frank Huntington Beebe Scholarship for studies in Europe. While living in Italy (1999–2000), he studied at the Mozarteum in Salzburg with Thomas Riebl and in Cremona with Bruno Giuranna.

DANA LAWSON

Violist Dana Lawson is a Massachusetts native. She began violin studies at the age of five and took up the viola at the age of 15. After graduating from Harvard College with a cum laude degree in Modern European History, she attended the Juilliard School, where she received her Master’s degree in 2003. In Boston, she studied viola and chamber music with James Dunham and Robert Levin. At Juilliard, she studied with Misha Amory and Heidi Castleman. During her summers, she attended the Aspen, Taos, and Tanglewood music festivals. She was a member of the Saint Louis Symphony Orchestra before joining the Los Angeles Philharmonic in 2004. She is the mother of three wonderful daughters.

JOHNNY LEE

Violinist Johnny Lee joined the Los Angeles Philharmonic in 2005 under Esa-Pekka Salonen. Previously, he was Assistant Concertmaster of the Charlotte Symphony and Concertmaster of the Canton Symphony. He was also a member of the Grant Park Orchestra in Chicago.

Johnny has been a featured soloist with the LA Phil twice, performing Vivaldi concertos at Walt Disney Concert Hall and at the Hollywood Bowl. He has also appeared as a soloist with the Charlotte Symphony, Moscow Chamber Orchestra, Ohio Chamber Orchestra, Spoleto Festival Orchestra, and various local orchestras here in Los Angeles.

An avid chamber musician, Johnny appears frequently on the LA Phil’s Chamber Music series. As a founding member of Ensemble Ditto, Johnny helped introduce more than 15,000 people to chamber music as South Korea’s most popular classical music presentation of 2008. He has recorded three albums with the group, performing works by Saint-Saëns, Schubert, Schumann, and Tchaikovsky.

Johnny began playing the violin at age five and won his first competition three years later. An Ohio native, he spent his weekends taking lessons at the Cleveland Institute of Music (CIM). After graduating from Harvard College with a cum laude degree in Economics, Johnny realized that music was his true passion and returned to CIM, where he received his Master’s degree in 2003.

JASON LIPPMANN

Jason Lippmann joined the Los Angeles Philharmonic during the 2004/05 season, after five years of performing as a member of the New Jersey Symphony Orchestra. Lippmann has also performed with the Baltimore Symphony, with both the Cincinnati Symphony and Cincinnati Opera, the New World Symphony, the American Ballet Theatre Orchestra, and the Orpheus Chamber Orchestra. Along with his orchestral playing, Lippmann has actively performed as a chamber and solo musician, most recently on the Philharmonic’s Chamber Music and Green Umbrella series.

A native of Cincinnati, Ohio, Lippmann began his music studies on the violin at the age of three. He switched to the cello a year later and studied with Norman Johns, Assistant Principal cellist of the Cincinnati Symphony.

Lippmann received his Bachelor of Music degree from the Manhattan School of Music, where he studied with Peter Wiley, Alan Stepansky, Julia Lichten, and David Geber (whose father, Ed Geber, was a member of the Los Angeles Philharmonic cello section).

Lippmann has performed at the Tanglewood Festival, the Aspen Music Festival, the Bard Festival, and the Bellingham Music Festival.

GLORIA LUM

Cellist Gloria Lum, a native of Berkeley, California, attended both the University of California at Los Angeles and the University of Southern California, graduating from the latter institution magna cum laude. A student of Gabor

Rejto and Ronald Leonard, she was a member of the Oakland Symphony and the Denver Symphony before joining the Los Angeles Philharmonic in 1985. She currently holds the Linda and Maynard Brittan Chair. A frequent participant on the LA Phil’s Green Umbrella series, Gloria has been involved in tributes to Elliott Carter, György Ligeti, and Witold Lutosławski, and most recently appeared in a solo work by David Lang. On the Chamber Music series, she has appeared with André Previn, Emanuel Ax, Lars Vogt, and Joshua Bell. In the summer of 2015, she was a featured artist in the Cactus Pear Music Festival in San Antonio, Texas. Gloria currently teaches cello and chamber music at Occidental College.

ASHLEY PARK

Violinist Ashley Jeehyun Park joined the Los Angeles Philharmonic in February 2022. Born in New York and raised in New Jersey, she is a graduate of the Juilliard School and has principally studied with Joel Smirnoff, Ronald Copes, Hyo Kang, I Hao Lee, and K.G. Zhang. Previously, Ashley served as concertmaster of the Juilliard Orchestra, where she collaborated with esteemed conductors including Barbara Hannigan, David Robertson, and Gerard Schwarz. She also performed with the Princeton Symphony Orchestra as the visiting Principal Second Violin, the New York Classical Players, the Verbier Festival Orchestra, and as a substitute with the New York Philharmonic.

Shortly after beginning her violin studies, she made her solo debut at age five with the Elan International Music Festival orchestra in Stowe, Vermont. Since then, she has received numerous accolades and awards, including first prize at the Hudson Valley String Competition, second prize at the Andrea Postacchini International Violin Competition, a distinction from the National YoungArts Foundation, and first prize at the New York Music Competition for four consecutive years. Ashley has performed as a soloist, chamber musician, and orchestra player at Carnegie Hall and at Lincoln Center, as well as on stages across Europe, Asia, and New Zealand.

Ashley has participated in festivals and master classes around the world, including the Verbier Festival, the International Holland Music Sessions, the Conservatoire Américaine at the Fontainebleau Schools, and the Great Mountains Music Festival in Pyeongchang, South Korea, as the recipient of the Artistic Director’s Scholarship.

Throughout her life, Park has been committed to giving back to her community and has given performances in senior centers, hospitals, and rehabilitation facilities with organizations like EnoB and as a Gluck Community Service Fellow at Juilliard.

In her free time, you can find Ashley practicing yoga, playing golf, or trying her best to stay away from TikTok and YouTube.

LETICIA OAKS STRONG

Leticia Oaks Strong joined the Los Angeles Philharmonic in 1994. A native of Provo, Utah, she began studying violin with Hiroko Primrose at the age of four, and subsequently switched to viola at age 12. She studied viola with David Dalton of Brigham Young University and then with Donald McInnes while an undergraduate student at the University of Southern California. Strong graduated from USC in 1994 as the Outstanding Graduate of the School of Music and joined the Los Angeles Philharmonic later that year.

Strong has performed as a soloist with several orchestras, including the Utah Symphony, the Salt Lake Symphony, and the Music Academy of the West Festival Orchestra. She has given numerous recitals including a guest artist recital at Brigham Young University and several appearances on the Temple Square Concert Series in Salt Lake City. Strong has also performed at the International Viola Congress,

where she premiered the viola sonata Wild Bells, written for her by composer Lansing McLoskey, which she recorded for an Albany Records CD celebrating McLoskey’s works. Strong also enjoys performing on the Philharmonic’s Chamber Music and Green Umbrella series. She plays on a 1992 Larry Furse viola. Strong resides in La Crescenta with her husband and their five children.

AKIKO TARUMOTO

Akiko Tarumoto 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 and currently holds the Philharmonic Affiliates Chair. 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.

Tchaikovsky and Sibelius

Los Angeles Philharmonic

Dalia Stasevska, conductor

Randall Goosby, violin

Andrea TARRODI Liguria (c. 10 minutes)

TCHAIKOVSKY Violin Concerto in D major, Op. 35 (c. 34 minutes)

Allegro moderato

Canzonetta: Andante

Finale: Allegro vivacissimo

Randall Goosby, violin

INTERMISSION

SIBELIUS Symphony No. 2 in D major, Op. 43 (c. 44 minutes)

Allegretto

Andante, ma rubato

Vivacissimo

Finale: Allegro moderato

THURSDAY

MARCH 30, 2023 8PM

FRIDAY

MARCH 31 11AM

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

Programs and artists subject to change.

AT A GLANCE

The Italian Connection

In 1901, Sibelius went to Italy after a specific admonition about how inspirational the country had been for Tchaikovsky, whose influence on the Finnish composer was very strong at that time. Sibelius began sketching themes for his Second Symphony in Rapallo, on the Ligurian coast. Tchaikovsky composed his Violin Concerto in Clarens, Switzerland, but also visited Italy on the same long trip, fleeing his

disastrous marriage. (Though written seemingly effortlessly in the space of a few weeks, the Concerto had a difficult time until it was popularized by Karel Halir, the Czech virtuoso who also later rescued Sibelius’ own Violin Concerto, premiering its revised version.) To open, we have a set of musical postcards, mini tone poems inspired by scenes at five fishing villages on the Ligurian coast. —John Henken

LIGURIA

Andrea Tarrodi (b. 1981)

Orchestration: 3 flutes (3rd=piccolo), 2 oboes, English horn, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, large suspended cymbal, large tam-tam, chimes, vibraphone, xylophone, guiro, crotales), harp, and strings

Composed: 2012

First LA Phil performances.

Liguria was commissioned by the Swedish Radio and written for the Swedish Radio Symphony Orchestra. The piece was premiered by the orchestra on April 20, 2012, at Berwaldhallen, conducted by Daniel Harding. Liguria has since then been performed many times in Sweden and abroad. In 2017, it was performed at the BBC Proms.

“On the northwest coast of Italy by the Ligurian Sea are five small fishing villages clinging to the steep cliffs. These are called Riomaggiore, Manarola, Corniglia, Vernazza, and Monterosso, and between the villages are paths connecting them through the mountains. In August 2011, I visited this area and, as soon as we arrived, I knew that I wanted to write music about it. The result is a work that can be described as a “walking tour” among the small villages: Riomaggiore with its high waves; Manarola with its clock tower; Monterosso, where sunbathers stressedly hurried to secure a place on the beach and open up their colorful beach umbrellas, as if in a scene in a Fellini film; Vernazza, with its watchtower and cliffs; and lastly, Corniglia, where the night sky was filled with stars.” —Andrea

Tarrodi

VIOLIN CONCERTO

Peter Ilyich Tchaikovsky (1840–1893)

Composed: 1878

Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, and solo violin

First LA Phil performance: January 17, 1921, Walter Henry Rothwell conducting, with Max Rosen, soloist

In October 1877, Tchaikovsky fled from his home and from a disastrous marriage that had lasted little over two months. It threw him into a deep depression, but it was a curious part of his psychological makeup that a crisis that would have silenced most creative minds worked in his case in a positive direction. He

never lost his will to compose even when he felt besieged by the world’s tormenting army. Always a wanderer, he left Russia and resumed work on two of his most masterly pieces, the opera Eugene Onegin and the Fourth Symphony. In March 1878, when he moved on from his refuge in Italy to Clarens in Switzerland, still troubled in spirit but rich in inspiration, he composed the Violin Concerto with remarkable speed.

His pupil Josef Kotek, a violinist of considerable ability, was one of the few people who had been aware of Tchaikovsky’s unhappiness in the first days of his marriage, and it is tempting to read an acknowledgment of confidence in the affectionate solo part of the Concerto. Kotek came to Clarens, and they played a great deal of music together, including Lalo’s very recent Symphonie espagnole, which Tchaikovsky adored. The Concerto was quickly written: the first movement in a week and the full draft in less than two weeks. Kotek was delighted with it, although both felt uneasy about the slow movement. No problem: Tchaikovsky immediately wrote another, the lovely Canzonetta.

Fearing the gossip of a dedication to Kotek,

Tchaikovsky dedicated it instead to the great Hungarian violinist Leopold Auer, then principal violin teacher at the Moscow Conservatoire. Auer began to revise the solo part, but amid much prevarication neither Auer nor Kotek came to give its first performance. Rumor held the work to be unplayable, a familiar judgment on works subsequently accepted in the everyday repertoire. In the end, it was Adolf Brodsky who took up the challenge, playing it to a stormy reception in Vienna in 1881. Hanslick, a critic by no means hostile to Tchaikovsky, considered that it “gave off a bad smell.” Auer did not play it until 1893, a few months before the composer’s sudden death. His revisions of the solo part have been widely accepted and are frequently heard today.

At the other end of the Alps and only a few months after Tchaikovsky, Brahms too wrote a Violin Concerto in D, borrowing the key from Beethoven’s concerto. Tchaikovsky had the additional model of Lalo’s work, also in D. The key has an inescapable magic and brilliance on the violin that all these composers fully appreciated. The course of Tchaikovsky’s Concerto is not hard to follow, although the only real puzzle comes at the very beginning: the first eight bars, so affecting and

so innocent, are never heard again. The first subject proper is left until the soloist’s entry, and when it has generated a lively rush of notes, the second subject seems to continue in precisely the same mood. It too develops in pace and complexity until the full orchestra gives out the main theme, like a grand ceremonial procession. The development follows, and a cadenza of great brilliance brings back the opening material. In the coda, the contest between violin and orchestra becomes more and more strident.

In the Canzonetta, a brief introductory passage for the winds gives place to a melody of enchanting simplicity for the soloist. Nowhere in the movement is the writing the least bit showy; it contrasts and neatly dovetails with the rousing, brilliant Finale, where the composer’s Russian origin is much more evident. It is abruptly sectional, the second tune being slower and even more folksy, over a drone bass on the cellos and a counterpoint in the bassoon. The third tune dialogues between solo winds (and later the soloist) like one of the more melancholy scenes in Eugene Onegin All the tunes return, and the orchestra incites the soloist to a crackling display of fireworks to crown the concerto. —Hugh Macdonald

SYMPHONY NO. 2 Jean Sibelius (1865–1957)

Composed: 1901–1902

Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings

First LA Phil performance: December 2, 1921, Walter Henry Rothwell conducting

In March 1900, a couple of months before the first European concert tour of the Helsinki Philharmonic Orchestra, Sibelius received a letter signed by “X.” X inquired whether Sibelius had considered writing an overture for the concert at the World’s Fair in Paris. He reminded Sibelius of Anton Rubinstein’s fantasy Rossija (“Russia”) written for the 1889 World’s Fair and declared: “The name of your overture should be Finlandia–shouldn’t it?” It was Mr. X, alias Baron Axel Carpelan, who invented the name of one of Sibelius’ most well-known compositions.

Later the same year Sibelius received another letter: “You have been sitting at home for quite a while, Mr. Sibelius, it is high time for you to travel. You will spend the late autumn and the winter in Italy, a country where one learns cantabile, balance and harmony, plasticity and symmetry of lines, a country where everything is beautiful—even the ugly. You remember what Italy meant for Tchaikovsky’s development and for Richard Strauss.”

Unfortunately, Baron Carpelan was penniless. He had connections, though, and he managed to find a patron who consented to supply funds for

Sibelius’ stay in Italy. Sibelius with family left home in October 1900, stayed first for two months in Berlin, and continued from there to Italy at the end of January 1901. He hired a mountain villa near Rapallo. As he sat there in his study, a literary remembrance suddenly came to his mind: “Jean Paul says somewhere in Flegeljahre that the midday moment has something ominous to it…a kind of muteness, as if nature itself is breathlessly listening to the stealthy footsteps of something supernatural, and at that very moment, one feels a greater need for company than ever.”

This image continued to haunt him, and he wrote on a sheet of paper the following vision: “Don Juan. Sitting in the twilight in my castle, a guest enters. I ask many times who he is.—No answer. I make an effort to entertain him. He remains mute. Eventually, he starts singing. At this time, Don Juan notices who he is—Death.” On the reverse side of the sheet, he noted the date “2/19/01” and sketched the melody that became the D-minor bassoon theme of the Tempo andante, ma rubato second movement of the Second Symphony. Two months later, in Florence, he drafted a C-major theme, above which he wrote the word “Christus.” This theme became the second theme, in F-sharp major, of the same movement. The former may well stand for death and defeat and the latter for life and resurrection.

There is no evidence of eventual programmatic ideas related to the other movements of the Second Symphony. But immediately after its

premiere on March 8, 1902, the Symphony was appropriated as an emblem of national liberation. The hard times the Grand Duchy of Finland was going through, during the “russification program” of Tsar Nikolai II in the years 1899–1905, spontaneously invited such an interpretation. But it was Robert Kajanus, founder and conductor of the Helsinki Philharmonic Orchestra, who put it in words: “The Andante strikes one as the most brokenhearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent. …The scherzo gives a picture of frenetic preparation. Everyone piles his straw on the haystack, all fibers are strained, and every second seems to last an hour. One senses in the contrasting trio section with its oboe motive in G-flat major what is at stake. The finale develops towards a triumphant conclusion intended to rouse in the listener a picture of lighter and confident prospects for the future.”

Sibelius categorically denied any such programmatic readings, claiming that his symphonies are pure absolute music. Nevertheless, there are scholars who firmly believe in the Symphony’s political connotations. The controversy, however, is not very productive, since it cannot be solved; and even if there was a secret program in the composer’s mind at the time he composed the Symphony, the reception of it as a work of art does not require any knowledge of it. —Ilkka

Oramo

DALIA STASEVSKA

Dalia Stasevska’s charismatic and dynamic musicianship has established her as a conductor of exceptional versatility. Chief Conductor of the Lahti Symphony Orchestra and Artistic Director of the International Sibelius Festival, Dalia also holds the post of Principal Guest Conductor of the BBC Symphony Orchestra. She has made several appearances at the BBC Proms and conducted Last Night of the Proms in 2022. With the BBC Symphony Orchestra, she opened the 2021 Edinburgh International Festival.

The 2022/23 season sees Dalia conducting the Chicago, Cincinnati, San Francisco, and Toronto symphony orchestras, the Philadelphia Orchestra, Minnesota Orchestra, and the National Symphony Orchestra in Washington, D.C. She returns to the New York Philharmonic, Orchestre Symphonique de Montréal, and Los Angeles Philharmonic, following her successful

Hollywood Bowl debut in summer 2022. She also appears with the Netherlands Radio Philharmonic at the Concertgebouw in Amsterdam and the Orchestre Philharmonique de Strasbourg.

In summer 2022, she toured Germany with the BBC Symphony Orchestra, making her debut at the Mecklenburg-Vorpommern Festival, and that autumn, they embarked on a sixconcert tour of Japan with soloists Sol Gabetta, Nicola Benedetti, and Roderick Williams. In spring 2023, Dalia and BBC Symphony Orchestra collaborate on a project entitled Our Precious Planet with Grégoire Pont at the Barbican Centre. Performing works of living composers is a core part of Dalia’s programming, and with the Lahti Symphony Orchestra she presents works by Missy Mazzoli, Andrew Norman, Thomas Adès, Helen Grime, Kaija Saariaho, and Outi Tarkiainen, among others. Recent highlights include the Baltimore and Seattle symphony orchestras, Orchestre National de France, returns to Oslo Philharmonic Orchestra and NAC Orchestra, and the opening of the Tongyeong Festival.

A passionate opera conductor, Dalia will debut at the Glyndebourne Opera Festival with a revival of the iconic Peter Hall production of Britten’s A Midsummer Night’s Dream. In previous seasons, she returned to the

Finnish National Opera and Ballet to conduct a double bill of Poulenc’s La voix humaine and Weill’s Songs with Karita Mattila, and to Norske Opera to conduct Madama Butterfly and Lucia di Lammermoor. Other productions include Don Giovanni with Kungliga Opera Stockholm, directed by Ole Anders Tandberg; Eugene Onegin at the Opéra de Toulon; Cunning Little Vixen with Finnish National Opera; and Sebastian Fagerlund’s Höstsonaten at the 2018 Baltic Sea Festival in Stockholm, featuring Anne-Sofie von Otter.

Dalia originally trained as a violinist and composer at the Tampere Conservatoire and studied violin, viola, and conducting at the Sibelius Academy. Her conducting teachers include Jorma Panula and Leif Segerstam. She was bestowed the Order of Princess Olga of the III degree by President Volodymyr Zelenskyy in October 2020 for her significant personal contribution to the development of international cooperation, strengthening the prestige of Ukraine internationally, and popularization of its historical and cultural heritage. In December 2018, she had the honor of conducting the Royal Stockholm Philharmonic at the Nobel Prize ceremony in Stockholm. Dalia received the Royal Philharmonic Society’s Conductor Award in 2020, and this year she was among the recipients of Finland’s Alfred Kordelin Foundation Prize.

RANDALL GOOSBY

“For me, personally, music has been a way to inspire others.” Randall Goosby’s own words sum up perfectly his commitment to being an artist who makes a difference. Signed exclusively to Decca Classics in 2020 at the age of 24, American violinist Randall Goosby is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of underrepresented composers to light.

Highlights of Goosby’s 2022/23 season include appearances with the Philadelphia Orchestra and Yannick Nézet-Séguin; San Francisco Symphony and Esa-Pekka Salonen, performing the Florence Price concertos; returns to London Philharmonic Orchestra with Alpesh Chauhan, Philharmonia Orchestra with Santtu-Matias Rouvali, and Los Angeles Philharmonic with Dalia Stasevska; Royal Scottish National Orchestra with Tabita Berglund and Dallas Symphony Orchestra with Karina Canellakis. Goosby will also make his debuts in South Korea in recital and in Japan with the Orchestra Ensemble Kanazawa

and Mark Wigglesworth, performing the Bruch Violin Concerto in G minor. Summer 2022 included debuts with the Philadelphia Orchestra under Yannick Nézet-Séguin at the Saratoga Performing Arts Center; Concertgebouw Hall, Amsterdam, with Antwerp Symphony Orchestra under Elim Chan, and in recital at the Lucerne Festival with pianist Anna Han. Goosby also returned to the Hollywood Bowl performing the Bach Double Concerto with his mentor, Itzhak Perlman, and the Los Angeles Philharmonic. Upcoming recital appearances include La Jolla Music Society, Vancouver Recital Series, Philadelphia Chamber Music Society and the Schubert Club International Series, featuring works by Boulanger, William Grant Still, Ravel, and Beethoven.

June 2021 saw the release of Goosby’s debut album for Decca entitled Roots, a celebration of African-American music that explores its evolution from the spiritual through to present-day compositions. Collaborating with pianist Zhu Wang, Goosby curated an album paying homage to the pioneering artists who paved the way for him and other artists of color. It features three world-premiere recordings of music written by AfricanAmerican composer Florence Price and includes works by composers William Grant Still and Coleridge-Taylor Perkinson, plus a newly commissioned piece by acclaimed double bassist Xavier Foley, a fellow Sphinx and Young Concert Artists alumnus.

Goosby is deeply passionate about inspiring and serving others through education, social engagement, and outreach activities. He has enjoyed working with nonprofit organizations such

as the Opportunity Music Project and Concerts in Motion in New York City, as well as participating in community engagement programs for schools, hospitals, and assisted living facilities across the United States. In the 2022/23 season, Goosby hosts a residency with the Iris Collective in Memphis with pianist Zhu Wang. Together they will explore how the student’s family history can relate to music and building community collaboration through narrative and performances.

Goosby was First Prize Winner in the 2018 Young Concert Artists International Auditions. In 2019, he was named the inaugural Robey Artist by Young Classical Artists Trust in partnership with Music Masters in London, and, in 2020, he became an Ambassador for Music Masters, a role that sees him mentoring and inspiring students in schools around the United Kingdom. In 2010, he won first prize in the Sphinx Concerto Competition. He is a recipient of Sphinx’s Isaac Stern Award, a career advancement grant from the Bagby Foundation, and a 2022 Avery Fisher Career Grant. An active chamber musician, he has spent his summers studying at the Perlman Music Program, Verbier Festival Academy, and Mozarteum Summer Academy.

Goosby made his debut with Jacksonville Symphony at age nine and with New York Philharmonic on a Young People’s Concert at Lincoln Center’s Avery Fisher Hall at age 13. A graduate of the Juilliard School, Goosby continues his studies there, pursuing an Artist Diploma under Itzhak Perlman and Catherine Cho. Goosby plays a 1735 Giuseppe Guarneri del Gesù, on generous loan from the Stradivari Society.

ANNUAL DONORS

Leslie E.

Fishbein Hansen

Mr. Robert

T. Harkins

Mr. Rick Harrison and Ms. Susan

Hammer

Jon Hawk

Nicolette F. Hebert

Vince Bertoni and Damon Hein

Mr. Rex Heinke and Judge

Margaret Nagle

Dryden and Brian Helgoe

The Hill Family

David and Martha Ho

Greg and Jill Hoenes

Laura Fox, M.D. and John

Hofbauer, M.D.

In and Ki Hong

Jill Hopper

Dr. Timothy Howard and Jerry Beale

Andrei and Luiza Iancu

Michael Insalago

International Committee

Mr. and Mrs. Jeremy Ireland

Harry and Judy Isaacs

Rock River

Mr. and Mrs. Theodore

W. Jackson

Libby and Arthur Jacobson

Mr. Sean Johnson

Mr. Ken Kahan

Lawrence Kalantari

Mr. and Mrs. David S. Karton

Dr. and Mrs. David Kawanishi

Kayne, Anderson and Rudnick

Gary W. Kearney and Mary Lou Byrne

Richard Kelton

Ms. Karin Kemenes

Leigha Kemmett

Richard and Lauren King

Remembering Lynn Wheeler Kinikin

Jay T. Kinn and Jules B. Vogel

Michael and Patricia Klowden

Mr. and Mrs. Victor Kohn

Elaine Kramer and Al Latham

Brett Kroha and Ryan Bean

Mrs. Estelyn La Hive

Tom Lallas and Sandy Milo

Joan and Chris Larkin

James D. Laur

Craig Lawson and Terry Peters

Mr. Les Lazar

Mr. Robert Leevan

Dr. Bob Leibowitz

Mr. and Mrs. Edward B. Levine

Lydia and Charles Levy

Mr. Jeff Levy

David and Meghan Licata

Alison Lifland

Ms. Joanne

Lindquist

Ms. Elisabeth

Lipsman

Mr. Greg Lipstone Long Beach

Auxiliary

Julie Long

Robert and Susan Long

Mr. and Mrs. Robert Lopata

Mr. Philip Lord

Los Angeles Philharmonic Committee

Mr. and Mrs. Boutie Lucas

Crystal and Elwood Lui

Luppe and Paula Luppen

Ruth and Roger MacFarlane

Douglas MacLennan

Mr. and Mrs. Rick Madden

Mr. and Mrs. Ronald Manzani

Mona and Frank Mapel

Dorrie and Paul Markovits

Mr. Allan Marks and Dr. Mara Cohen

Mr. and Mrs. Stanley Maron

Vilma S. Martinez, Esq.

Dr. and Mrs. Allen W. Mathies

Dr. and Mrs. Gene Matzkin

Lisa Mazzocco and Andrew Silver

Mr. William McCune

Mr. David McGowan

Professors

Anne and Ronald Mellor

Robert L. Mendow

Dr. Yolanda Mendoza

Marcia Bonner

Meudell and Mike Merrigan

Linda and David Michaelson

Ms. Joanna Miller

Linda and Kenneth Millman

Mr. and Mrs. Simon Mills

Janet Minami

Mr. and Mrs. William Mingst

Mr. Lawrence

A. Mirisch

Cynthia Miscikowski

Ms. Roxanne

Modjallal

Linda and John Moore

Mr. Alexander Moradi

Gretl and Arnold Mulder

Mr. Emory

R. Myrick

S W and Stuart Needleman

Mr. and Mrs. Robert Neely

Mumsey and Allan Nemiroff

Mr. Richard Newcome and Mr. Mark Enos

Steven A. Nissen

Mr. Dale Okuno

D. Orenstein and J. Lu

Mr. and Mrs. Richard Orkand

Ellen Pansky

January

Parkos-Arnall

Mr. and Mrs. Joshua Perttula

Chris Pine

Mrs. Charlotte Pinsky

Mr. Jeff Polak and Mrs. Lauren

Reisman Polak

Mrs. Ruth S. Popkin

Mr. Albert Praw

Joyce and David Primes

Ms. Marci Proietto

Ms. Miriam Rain

Marcia and Roger Rashman

Mr. and Mrs. Wayne Ratkovich

Dr. Robert Rauschenberger

Rita and Norton Reamer

Resource Direct

Dr. Susan F. Rice

Mr. Ronald

Ridgeway

Mr. and Mrs. Norman

L. Roberts

Robinson Family Foundation

Hon. Ernest

M. Robles

Ernesto Rocco

Mrs. Laura

H. Rockwell

In memory of RJ and JK Roe

Mr. and Mrs. William C. Roen

Peter and Marla Rosen

Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen

Mr. Michael Rouse

Mr. and Mrs. Matthew Rowland

Bill Rowland

Dr. Michael Rudolph

Ann M. Ryder

Valerie Salkin

Mr. and Mrs. Charles M. Sarff

Kevin Savage and Britta Lindgren

Carol (Jackie) and Charles Schwartz

Dr. and Mrs. Ronald Schwartz

Michael Sedrak

Robert Segal in memory of Jeanne Segal

Ms. Amy J. Shadur-Stein

Rayman Mathoda and Avantika

Shahi

Shamban Family

Emmanuel Sharef

Dr. Alexis M. Sheehy

Abby Sher

Mr. Chris Sheridan

Mr. and Mrs. Elliot Shoenman

June Simmons

Ms. Ruth M. Simon

David Singer

Dr. and Mrs. Robert Sinskey

Eric Small

Linda Smith

Mr. Steven Smith

Mr. and Mrs. Michael G.

Smooke

Harold Snedcof

Virginia Sogomonian and Rich Weiss

Shondell and Ed Spiegel

Ms. Angelika

Stauffer

Mr. and Mrs. Pierre Steele

Mr. and Mrs. Joseph Stein

Jeff and Peg Stephens

Mr. Scott Stephens

Mr. and Mrs. Gene Stoeckly

Ted Suzuki and Deborah May

Mr. and Mrs. Larry

W. Swanson

Mr. Marc A.

Tamaroff

Andrew Tapper and Mary Ann

Weyman

Judith Taylor

Mr. Nick Teeter

Mr. and Mrs. Harlan H. Thompson

Ms. Evangeline

M. Thomson

Richard Turkanis and Wendy Kirshner

Mr. and Mrs. Leonard Unger

Ingrid Urich-Sass

Kathy Valentino

David H. Vena

Perry Vidalakis

Jenny Vogel

Elliott and Felise Wachtel

Mr. Eldridge Walker

Mr. Darryl Wash

Mr. Martin Washton

Craig R. Webb and Melinda Taylor

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

Mr. Peter Weiner

Dr. Arthur Weinstein

Brian and Maxine

Weinstock

Mr. and Mrs. Doug M. Weitman

Mr. Kirk

Wickstrom and Mrs. Shannon Hearst

Wickstrom

Dr. and Mrs. Daniel H. Wiseman

Mr. and Mrs. Irwin Wong

Linda and John Woodall

Mr. Kevin Yoder

Susan Young

Rudolf H. Ziesenhenne

Katiana and Tom Zimmerman

Mr. Sanford

Zisman and Ms. Janis Frame

Rachel and Michael Zugsmith

LA PHIL DONOR DOLLARS AT WORK

For six decades, Mimi Rotter has been a loyal LA Phil subscriber, donor, volunteer, and friend.

“In the beginning, I didn’t have a lot of money, so I gave my time,” Rotter said of her work with the Santa Monica–Westside Philharmonic Committee. Rotter has developed close relationships with many LA Phil musicians over the years, becoming a member of the extended LA Phil family herself. Rotter became a member of the William Andrews Clark Society by leaving a legacy gift to the LA Phil, but this year she also made a significant gift of appreciated stock, which enabled her to give more than she otherwise would have been able to.

“I’m going to be leaving a gift in my will, and I would like

to be able to give something now and see it going to work. I saw [Gustavo] Dudamel conduct a program of the music of [Aaron] Copland and [Gabriela] Ortiz. When he plays music like that, there is such passion and joy. It is incumbent upon us all to say thank you in our own way, and if you can afford to give any amount, you will find that it is very gratifying,” Rotter said.

If you would like to join Mimi Rotter in making a gift of appreciated stock, we encourage you to reach out to Nancy Baxter, Director of Gift Planning nbaxter@laphil.org or the Office of Gift Planning at 213 972 3458. Visit laphil.planmylegacy.org for more information.

“IT IS INCUMBENT UPON US ALL TO SAY THANK YOU IN OUR OWN WAY, AND IF YOU CAN AFFORD TO GIVE ANY AMOUNT, YOU WILL FIND THAT IT IS VERY GRATIFYING...”

Mimi Rotter

WINTER @ THE WALLIS

MAR 3 The Last Sorcerer (LE DERNIER SORCIER)

MAR 4

An Evening with Isaac Mizrahi

MAR 9

Seth Parker Woods, Cello

MAR 16-18 Songs of Shanghai Sonatas

MAR 30

Lillias White with Seth Rudetsky HOST & PIANIST

APR 9

SUNDAY FUNDAY:

Mostly Kosher, Dance Sunday with Debbie Allen & Friends: Salsa

APR 13-16

Hershey Felder as George Gershwin Alone

APR 22-23

Acoustic Rooster’s Barnyard

Boogie: Starring Indigo Blume

APR 27

Ulysses Owens, Jr. & J’nai Bridges: Notes On Hope

SINGLE TICKETS NOW ON SALE!

SEASON

GET YOUR TICKETS! TheWallis.org

ACOUSTIC ROOSTER’S BARNYARD BOOGIE: STARRING INDIGO BLUME

SETH PARKER WOODS

ISAAC MIZRAHI

SONGS OF SHANGHAI SONATAS

THE WILLIAM ANDREWS CLARK SOCIETY

Investing in the Future of the LA Phil

The William Andrews Clark Society, named for our dynamic founder, recognizes those generous individuals who have remembered the LA Phil in their estate plans through their wills or other legacy gifts at any level. Members receive recognition and the opportunity to become involved in the ongoing life of the LA Phil through special donor events. For more information, please email legacy@laphil.org.

Anonymous (29)

Mr.* and Mrs.*

Karl J. Abert

Mr. Bruce R. Acker

Ben Adrian and Claudis Choi

Lucie Hubbard

Agbabian*

Ms. Florence C. Agcawili

Ann* and Martin* Albert

Olga Samuel Alderson*

Gizella Allen*

Mr. William A. Allison*

Lynn K. Altman*

Edna R.S. Alvarez

Mr. Robert C. Anderson

Linda* and Bob Attiyeh

W. Lee Bailey, M.D. Baker Family Trust

Mrs. Victoria Solaini Baker*

Paul and Anissa Balson

Sharon Baranoff

Mr. and Mrs. Bruce L. Barbee

Ms. Angela Bardowell

Richard Bardowell, M.D.

Donna Barnett

Margaret* and David* Barry

Mr. Joseph A. Bartush

Ms. Adrienne Bass

Ruth B. Baus*

Ms. Marjorie Beale

Sandra Kay Beckley*

Judith and Thomas Beckmen

Mrs. Olive Behrendt*

Peggy Bergmann*

Mr. Herbert M. Berk

Barbara and Scott H. Bice

Alvin Bisher*

Dr. Mark Bisson

Ken Blakeley and Quentin O'Brien

David F. Bode, M.D. David Bohnett

Mr.* and Mrs. Seymour Bond

Mr. Jeb Bonner*

Jonathan and Leni Boorstin

Deborah Borda

Gertrude

H. Bowlby*

Derald and Charlotte

Brackmann

Truman

P. Brewster*

Martin J. Brickman

Jacqueline* and Bert* Briskin

Linda and Maynard Brittan

Abbott Brown

Mrs. Linda L. Brown

Thomas* and Arlyss Burkett

Dona Burrell*

Mr.* and Mrs. Henry K. Cahn

Lois* and Rene* Cailliet

Richard and Norma* Camp

Margaret C. Campbell*

Tony

Campodonico and Cheryl Goettemoeller

Jane Carruthers*

George L. Cassat*

Sue Caughey

Ms. Jessica Chen

Ms. Marjorie

H. Cherry

Mr. Pei-yuan

Chia and Ms. Katherine Shen

Mr. Donald G. Christian

Evelyn and Leonard*

Chudacoff

Esther S. M. Chui Chao

Elisabeth O. Clark, Ph.D.

Mr. and Mrs. John S. Clauss, Jr.

Brian* and Nancy Cochran

Robert* and Dee* Cody

Nancybell Coe and William Burke

Ms. Jan Turner Colburn

Ms. Annette Colfax

continued on page 28

Los Angeles Jewish Health is Energizing Senior Life!

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.

•

•

•

AVA

U.S. PREMIERE

04.05–05.07.2023

PRESENTING SPONSOR

WRITTEN BY ELIZABETH MCGOVERN DIRECTED BY MORITZ VON STUELPNAGEL

BASED ON THE BOOK THE SECRET CONVERSATIONS BY PETER EVANS & AVA GARDNER

PRODUCED IN ASSOCIATION WITH KARL SYDOW PRODUCED WITH THE SUPPORT OF THE AVA GARDNER TRUST STARRING ELIZABETH MCGOVERN

ADDITIONAL CASTING TO BE ANNOUNCED

TICKETS START AT JUST $30!

· 310.208.2028

Ms. Bernice Colman*

Geraldine Coombs*

Jan and Gene* Corey

Don* and Zoe* Cosgrove

Ms. Margaret Q. Coulter

Ms. Gerry W. Cox

Mr. and Mrs. Terry Cox

Mr. John Cragin*

Mrs. Judith Tishkoff and Mr. Keith Crasnick

Ginny and John Cushman

Marilyn J. Dale

Mari L. Danihel

Barbara A. Davis*

Mr. Daniel Davis*

Ms. Juanita Davis

Mr. and Mrs. Ray Day

Dr. and Mrs. Roger DeBard

Richard Del Belso*

Mr. Ronald Del Carlo

Virginia DeNubila*

Raymond and Anne Destabelle

Betty Jean* and Robert* Di Vall

Jennifer Diener

Mr. James Dillon* and Mr. Allen Cornelsen*

Harriet H. Doerr*

Ms. Nancy Dunetz

Mr. Paul Dupree and Mr. David Peterson

Kathleen and Jerrold L. Eberhardt

Mr.* and Mrs. Allan R. Eisenman

John Endicott*

Ms. Elaine M. Endres

Mr. and Mrs. C. Daniel Ewell

Mr. Gerald Faris

Ms. Katherine S. Farlow

Ms. Elizabeth Farrar

Mr. and Mrs. Curtis L. Feese

Irving Feintech*

Jann Feldman

Lawrence* and Eris* Field

Mr. Murray Fields*

Dr. Daniel J. Fink

Sandra Krause and William Fitzgerald

Marlene Ann Fletcher

Cindy Fong

Mr. and Mrs. Robert C. Forst

Mr. Max P. Foster*

Mr. and Mrs. Robert C. Foster

Valerie Franklin*

David F. Freedman

Mrs. Joan L. Freeman*

Eva* and William* Fremon

Arthur* and Gertrude* Friedman

Roy J. Friedman* and Mae C. Friedman

Mrs. Shirley Frierman*

Mr. and Mrs. Tom Frisina

Mrs. Diane Futterman

Dr. and Mrs. Dennis Galanter

Millicent Gappell*

Mr. Joseph Garcia

Mr. and Mrs. John* O. Garvey

Ms. Margaret E. Gascoigne

Mr. James Gelb

Dr. Suzanne Gemmell*

Mrs. Janice Gerard

Mr. Paul

J. Gerstley*

Mr. Richard Giesbret

Arnold Gilberg, M.D.

Malinda and Andrew Gilchrist

Lynn and Sheri J. Gill

Jeanne M. Giovannoni*

Mr. and Mrs. Paul F. Glaser

Mr. Jerome

J. Glaser

Alexandra S.

Glickman and Gayle Whittemore

Paige and David Glickman

Maxwell* and Muriel* Gluck

Elizabeth A. Goetz

Ruth and Charles* Gold

Nicholas T. Goldsborough

Elaine and Bram* Goldsmith

Dr. Raymond* and Betty* Goodman

Julius Gort*

Doris* and Reese* Gothie

Ms. Karen Gottlieb

Mr. David Grant

Peggy and Walter* Grauman

Fay Bettye Green*

Lenore S. and Bernard A. Greenberg

Tom Greene

William Greenlee, Jr.*

Mrs. Sally B. Gref*

Tricia and Richard Grey

Ms. Sharon

Griffin-Galamba

Mr. Alan Grunfeld

Ms. Sarah B. Gyer*

Ms. Pilar Hale

Richard and Ruth Halverstadt

Burks Hamner, III

Jerome Handelsman*

Marjorie and Don* Harbison

Mr. and Mrs.

John R. Harbison

Mr. James

L. Hardy*

Ms. K. Harland*

Joan Green Harris*

Ms. Janet Harris

Ms. Laura Hecht

Karen E. Hedman*

Ms. Nita

Heimbaugh

Anne* and Warner*

Heineman

William J. Heiter

Bud* and Barbara Hellman

Dr. Jackson

N. Henry Char and Michael Hersh

Yvonne and Gordon* Hessler

Mr. Philip Hettema

Anita Hirsh*

The Hirsh Family

Mr. Harvey Hoeppner

Evelyn Hoffman*

Ms. Joan E. Hogue

Marcia* and Gary Hollander

Joan and John* F. Hotchkis

Ms. Nancy Howard

Judith and Herbert* Hyman

Mr. Christopher

W. Ince, Jr.

Freya and Mark Ivener

Mr.* and Mrs. Roger L. Jackson

Ruth Jacobson*

Albert* and Nancy* Jenkins

Robert Jesberg* and Michael

J. Carmody

C.W.* and Irene* Johnson

Mr. and Mrs. Steaven K. Jones, Jr.

Dr. William B. Jones

Mr.* and Mrs. William H. Jordan

David and Elizabeth* Kalifon

Earl Kallberg

Stephen A. Kanter, M.D.*

Mr. and Mrs. Joshua R. Kaplan

Mr. and Mrs. Maurice H. Katz

Norma Kayser*

Owen and Suzanne Keavney

Yates Keir*

Hugh Wilson

Kennedy*

Dale E. Kern*

Ms. Suzanne R. Kern*

Paul and Susanne* Kester

Carrie and Stuart* Ketchum

Vicki King

Mr. Alan S. Klee*

Mr. and Mrs. Kenneth N. Klee

Ms. Ann L. Kligman

Mr. Chris H. Kortner*

Kent and Joyce* Kresa

Howard and Bette Krom

Ms. Ursula C. Krummel*

Slyvia Kunin* and Al Eben*

Ms. Sally Kurtzman

Donna and C. Joseph* LaBonté

Diane Landrum

Thomas and Gloria Lang

John and Barbara Larson

Michael and Emily Laskin

Mr. and Mrs. B. Allen Lay

Lillian Lazar*

Ms. Leerae Leaver*

Gayle and Harold*

Leventhal

Mr. Alan J. Levi and Mrs. Sondra Currie-Levi

Audrey Davis and Peter Dan Levin

Ms. Marla E. Levine

Mr. and Mrs. Gary Lewis Raymond Lieberman*

B.T.* and Lonis* Liverman

Mr. Steven L. Llanusa and Dr. Glenn Miya

H. Kirkland Jones* and Yuri Long-Jones

Inez Lopez

Karl H. Loring*

Ms. Gloria Lothrop*

Mr. Joseph Lund and Mr. James Kelley

Judith Lynne*

Ms. Shari Madison

Jeanne Mallet*

Nancy Malone*

Mr. Fred Manaster

Richard Mandell

Sarah and Ira* Manson

Raulee Marcus

Jason Markesich

Mr. Elliott Markoff

Darrel Marsh

Ms. Monique Marti*

Mr. Sam Matsumoto and Mr. Gordon* Geever

Ernest Mauk* and Doyce Nunis*

Patricia Maurice

Mr. David Maxwell

Linda May and Jack Suzar

Mr. and Mrs.

Anthony Mazzaferro

Liliane Quon McCain

Mr. Edward V. McCann

Carole McCormac*

Barbara and Buzz McCoy

Mr. Donald E. McDonald

Olive* and Hugh* McDuffee

Velma* and George* McKelvey

Helen McKenna*

Cathy and John McMullen

Mr. Sheldon and Dr. Linda Mehr

Pierre Menard, M.D.

Sylvia Meyer

Mr.* and Mrs.*

Harold J. Meyerman

Maurice and Diane* Meysenburg

Ruth M. Mickey*

Ms. Barbara J. Miller

Frank Miller and Emmanuel Samoy

Mr.* and Mrs.*

Robert W. Miller

Drs. Theodore and Judith Mitrani

Mr. Michel Montet

Jane* and Paul* Moore

Michelle Sanders and Paul Moore

Ronald Moormeister and Mary Mossman

Lynn and Stanley Morris

Maury and Barbara Mortensen

Diane and Leon* Morton

Elise Mudd Marvin*

Merle and Peter Mullin

Mr. Emory Ron Myrick

Michael J. Napoli

Bonnie Nash and Don Wing

Mr. Carl Neu

Myra and Bruce H. Newman

Mrs. Joan Newman

Mr. and Mrs. Alfred E. Noreen

Becky Novy

Rosanne O'Brien*

Mr. and Mrs. Daniel F. Olivarez

Robert W. Olsen*

Dr. and Mrs. Howard R. Panosian

Margaret Parmaley*

Davis R. and Linda M. Parsons

Mr. Russell Patrick

Mr. Jerome E. Paul and Fern Yu

M. David and Diane Paul

Mr. Carlos Paz

Lenore and Carl Pearlston

Byron* and Louise Peebles

Debra Pelton and Jon Johannessen

Edith Peluse*

Nancy* and Sidney Petersen

Ms. Carol Phillips

Ms. Camilla C. Pillsbury*

Caro Pinto

Paula and Jack* Pitzer

Ms. Susan Polifronio

Photo by Yves Kerstius

Theatre

Laurie and Bill Benenson, Susan Stockel

Celebrating California Institute of the Arts’ 50th Anniversary

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.

Top right: Chris Ryan Williams’ (Performer-Composer MFA 18) recital Mehahn, a performative installation curated by the composer and featuring Film/Video, Dance, and Music students.

Bottom right: Spring Dance Concert, with original work by faculty Julie Bour. Photo: Josh Rose.

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

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 Picture Machine Operators of the United States and Canada, Local No. 33.

March 24

April 22

John

April 23

TICKETS ON SALE NOW DISCOVER OUR FULL SEASON AT THELUCKMAN.ORG

theluckman.org

323-343-6600

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–

Patti LaBelleMelissa Etheridge

Furs

PRIVATE SALE

Dr. and Mrs. Edward Shore

kie Silverman

W. June Simmons

Annette Simons*

Mr. Lynn F. Sipe

Virginia Skinner*

y Smith

Howard Russell

Steven Smith and Michelle Guy

Bernard* and Shani Smolens

Mr. and Mrs.*

William Sollfrey

Mr. Mathew

Mr. and Mrs. Richard Spelke

Dr. Williametta

Mr. Lev Spiro and Ms. Melissa

Rosenberg

Robert and n Stevens

ay Stoever

Mr. Max Stolz, Jr.

Dr. and Mrs. traughan

Ms. Vikki Sung

Donna Swayze*

Mrs. Marilyn*

Boren-Sweeney and Mr. Jack*

weeney

Ms. Lucia Takemae

Ms. Sherry Hall Tomeo*

Dr. and Mrs. David Tomlinson

Arlette and Porter* Towner

Fran H. Tuchman*

Geoffrey* and Margot* Tyrrash

Christine Upton

Ms. Elizabeth Van De Water

Sylvianna Van De Water*

Mr. John Van Horn and Mr. Charles

R. Owens

Craig Vickers and Junior Winokur

Mr. Dietrich Eugene Wagner

Magda and Frederick*

R. Waingrow

Mr. John Watson and Mrs. Kathryn Gundersen

Dorothy Waugh Small*

Robert and Nancy

Weingartner

Rhio H. Weir*

Edna and Maurice* Weiss

Bernice* and Wendell* Jeffrey

Ms. Gabriele

West-Adams

Mrs. Joseph

F. Westheimer*

Robert Allan White

Mr. Jim F. Whitledge*

Schneider*

Mr. Alan M. Schwartz

Richard and Bradley Seeley

Dr. and Mrs. Hervey Segall

Dan and Elaine Seigel

Ms. Elizabeth Shafer and Mr. Abraham

Tetenbaum

Judith Shaffer

Jill and Neil Sheffield

Elisabeth* and Jack* Tamari

Ms. Lois M. Tandy*

Donald Taylor*

L. Franc Scheuer*

Dr. James Thompson and Dr. Diane Birnbaumer

Michael Frazier Thompson

Vangie Thomson

William G. Tierney and Barry

H. Weiss

Mr. Jeffrey Toelsin and Mr. Sean

M. Reilly

Bradley Wigor and Andrae Gonzalo

Jean and Robert* Wilkinson

Jean Elaine Willingham*

Mr. Kenneth L. Willner and Mr. Jim Stine

Joan Wilner

Dr. Libby F. Wilson

Mrs. Halina Wolf*

Robert Wood*

Ms. Esther Wu*

David M. Yellin

Mr. and Mrs. Jerry C. Zinser

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

Leticia Buckley Secretary

Patrisse Cullors Executive Committee

Constance Jolcuvar

Immediate Past President

Pamela Bright-Moon

Madeline Di Nonno

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.

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

Amy R. Forbes

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 McFadden-

Lawson

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

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 01/25/23

TAKE A TOUR OF THE MUSIC CENTER

Free 90-minute docent-led tours take you through the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum and Walt Disney Concert Hall, along with Jerry Moss Plaza. You’ll learn about the history and architecture of the theatres along with The Music Center’s beautiful outdoor spaces.

Tours are offered daily. Check the schedule to plan a fun-filled day in Downtown L.A.!

Visit musiccenter.org for additional information.

Mimi Song

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 MAR / 8:00 p.m.

The Secret Garden

CENTER THEATRE GROUP

@ Ahmanson Theatre

Thru 3/26/2023

THU 2 MAR / 8:00 p.m.

Mehta Conducts Mahler 3

LA PHIL

@ Walt Disney Concert Hall

Thru 3/5/2023

FRI 3 MAR / 8:00 p.m.

Ladysmith Black Mambazo

● Madison McFerrin

LA PHIL

@ Walt Disney Concert Hall

SUN 5 MAR / 7:30 p.m.

Alcee Chriss, organ

LA PHIL

@ Walt Disney Concert Hall

TUE 7 MAR / 8:30 p.m.

Regina Spektor

LA PHIL

@ Walt Disney Concert Hall

WED 8 MAR / 8:00 p.m.

Twilight: Los Angeles, 1992

CENTER THEATRE GROUP

@ Mark Taper Forum

Thru 4/9/2023

WED 8 MAR / 8:00 p.m.

Nathaniel Rateliff Plays Nilsson

LA PHIL

@ Walt Disney Concert Hall

MAR 2023

FRI 10 MAR / 7:30 p.m.

The English Concert: Solomon

LA OPERA

@ Dorothy Chandler Pavilion

SUN 12 MAR / 7:30 p.m.

Igor Levit, piano

LA PHIL

@ Walt Disney Concert Hall

TUE 14 MAR / 8:00 p.m.

LA Phil New Music Group

John Adams, conductor

LA PHIL

@ Walt Disney Concert Hall

WED 15 MAR / 8:00 p.m.

Hilary Hahn, violin

LA PHIL

@ Walt Disney Concert Hall

SAT 18 MAR / 8:00 p.m.

The Movie Music of Spike Lee & Terence Blanchard

LA PHIL

@ Walt Disney Concert Hall

THU 23 MAR / 8:00 p.m.

Mälkki Leads Dvořák

LA PHIL

@ Walt Disney Concert Hall

Thru 3/25/2023

SAT 25 MAR / 7:30 p.m.

Pelléas & Mélisande

LA OPERA

@ Dorothy Chandler Pavilion

Thru 4/16/2023

SUN 26 MAR / 7:00 p.m.

Esmail / Fauré

LOS ANGELES

MASTER CHORALE

@ Walt Disney Concert Hall

TUE 28 MAR / 9:45 a.m.

The Blue Ribbon

Children’s Festival

THE MUSIC CENTER

@ Dorothy Chandler Pavilion

Thru 3/30/2023

TUE 28 MAR / 8:00 p.m.

Tchaikovsky and Wagner

LA PHIL

@ Walt Disney Concert Hall

THU 30 MAR / 8:00 p.m.

Tchaikovsky and Sibelius

LA PHIL

@ Walt Disney Concert Hall

Also 3/31/2023

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

The Music Center’s Very Special Arts Festival. Photo by Will T. Yang for The Music Center.

New New

NOW SERVING: Tunisian Soul Cuisine from Chef Lenora Marouani

UP-AND-COMING CHEFS. MENUS. SPECIAL LIMITED ENGAGEMENTS.

TRY CHEF LENORA'S MENU!

DRUM ROLL

Sat Mar 4 | 3pm

Yamato–The Drummers of Japan

Hinotori: The Wings of Phoenix

Sun Mar 5 | 7pm

Sitkovetsky Trio

Premiere by Julia Adolphe and pieces by Rachmaninoff and Mendelssohn

ONSTAGE SESSIONS

Wed Mar 8 | 8pm

Kariné Poghosyan

CSUN Alumni Concert

ONSTAGE SESSIONS

Sat Mar 18 | 8pm

Charles Lloyd

85th Birthday Celebration

Sat Mar 25 | 3pm

Disney in Concert: Aladdin

30th Anniversary

Thu Mar 30 | 8pm

Kombilesa Mi with Jungle Fire

The Language Lives Through Music

Sun Apr 2 | 7pm

A Whole New World of Alan Menken

An Evening of Stories and Songs

Yamato

Disney’s Aladdin In Concert Alan Menken

Kariné Poghosyan

Sitkovetsky Trio

Kombilesa Mi

Charles Lloyd