Performances Magazine | LA Phil, May-June 2023

MAY–JUNE 2023

STica

Janet Jackson

Special Guest: Ludacris June 14

BOOK I • MAY 2–14

MAY 2

Chamber Music

Bohemian Strings

MAY 5–7

LA Phil Dvořák and Bruckner

MAY 7

Sounds About Town Los Angeles

Children’s Chorus

MAY 9

World Music Ziggy Marley

MAY 10

Colburn Celebrity Recital Víkingur Ólafsson

MAY 11, 13–14

LA Phil Beethoven and Strauss

MAY 12

Psycho with Orchestra

BOOK II • MAY 18–JUNE 4

MAY 18-19, 21

LA Phil Salonen, Stravinsky, and Bartók

MAY 20

Green Umbrella Stranger Love

MAY 23

Chamber Music

Organ & Strings featuring Iveta Apkalna

MAY 25–27

LA Phil Dudamel Leads Beethoven and Smith

JUNE 1–4

LA Phil Dudamel Conducts Mozart

JUNE 2

Songbook Rufus Wainwright

Cover images, clockwise from top left: Mitsuko Uchida, Gustavo Dudamel, Eva Ollikainen, Víkingur Ólafsson, Philippe Jordan, Ziggy Marley, Esa-Pekka Salonen, a nd Rufus Wainwright.

Pierre-Laurent Aimard

Iveta Apkalna

Los Angeles Children’s Chorus

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Los Angeles Philharmonic Publications 2023

Editor Anna Ress

Art Director Natalie Suarez

Design Studio Fuse

Editorial Coordinator

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Honorary President Ted Levy

For

Visit

WELCOME!

Perhaps we are a little biased, but we believe California is a special place for artists. Home to breathtaking landscapes and an ethos of openness, the Golden State welcomes dreamers from across the Pacific, from beyond its southern border, and those across the United States looking to create something new. Californian communities and audiences have long nurtured free-spirited thinkers and musical experimentation, and that can be seen regularly at Walt Disney Concert Hall.

This month, for example, Gustavo Dudamel leads two world premieres inspired by California’s remarkable geography: Gabriella Smith’s Lost Coast: Concerto for Cello and Orchestra and Ellen Reid’s West Coast Sky Eternal—the latter of which was commissioned by a fund established in honor of LA Phil Conductor Laureate Esa-Pekka Salonen, one of many creators who made this state their artistic home.

Earlier this year, we announced a brand-new initiative that comes out of this artistic legacy, the California Festival: A Celebration of New Music, taking place this fall, November 3–19. Created by the LA Phil, San Francisco Symphony, and San Diego Symphony and including music organizations from across the state, the California Festival will showcase music created in the last five years. Covering genres from classical to jazz, the festival honors the collaborative and innovative ideas that thrive in the state and influence culture far beyond its borders. Look for more information about this exciting initiative, including the full list of participating partners, later this summer.

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

Camilo Esteban Becdach

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 Hernández*

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

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.

Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, The 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

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

Amy Jo Rhine

Acting Associate

Principal

Loring Charitable Trust Chair

Gregory Roosa

Alan Scott Klee 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 LA 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 & 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

Mark McNeill

CREATIVE PRODUCER

Ayrten Rodriguez

SENIOR PROGRAM MANAGER

Stephanie Yoon

ARTIST SERVICES MANAGER

AUDIENCE SERVICES

Denise Alfred

REPRESENTATIVE

Vilma Alvarez

SUPERVISOR

Brendan Broms

SUPERVISOR

Diego De La Torre

SUPERVISOR

Jacquie Ferger

REPRESENTATIVE

Linda Holloway

PATRON SERVICES MANAGER

Jennifer Hugus

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

Amanda La Pierre

STAFF ACCOUNTANT

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

Amber Blanco

HR BUSINESS PARTNER

Monica Ly HR REPRESENTATIVE

Melissa Magdaleno

HR COORDINATOR

Bryan Namba

HR BUSINESS PARTNER

Frank Patano

HUMAN RESOURCES 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 FOR MUSIC PROGRAMMING

Karin Haule

GRAPHIC DESIGNER

Annisha Hinkle

SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS

Jennifer Hoffner

ASSOCIATE DIRECTOR, ADVERTISING

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

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

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.

COMPOSER FELLOWSHIP PROGRAM

For years, Mia Ruhman did not envision herself as a composer. “I knew logically it wasn’t outlawed or anything. But just innately it’s not something I associated with women,” says Ruhman, now a 20-year-old music composition major at UCLA. She adds with a laugh, “I guess you imagine old white guys in powdered wigs.”

Founded in 2007 by Steven Stucky, the multi-year, tuition-free program—now under the direction of Program Director Andrew Norman, Assistant Director Sarah Gibson, and Teaching Artist Daniel Allas—has grown from serving four students at a time to 15.

For that reason, Ruhman aspired to become a vocalist. It took her until the ripe old age of 17 as a student at Pacific Palisades High to really consider herself a composer with an eye toward musical theater. And a big reason she was able to see herself in this new light was the chance to participate in the Los Angeles Philharmonic’s Composer Fellowship Program.

“What helped me to consider myself a composer was joining the program,” Ruhman says, “I was like, you know what, I’m a singer-songwriter. I’ll try my hand at classical composition.”

That’s exactly the kind of inspiration Program Director Andrew Norman hopes to foster for high school musicians.

Founded in 2007 by Steven Stucky, the multi-year, tuition-

Composer Fellowship Program, class of 2019/20. Standing at rear: Program Director Andrew Norman and Assistant Director Sarah Gibson.

free program—now under the direction of Norman, Assistant Director Sarah Gibson, and Teaching Artist Daniel Allas— has grown from serving four students at a time to 15.

“We have kids from elite private schools, all kinds of public schools…and some homeschooled kids, so we get a really interesting cross section of young people in LA,” Norman says.

Norman, a classical composer and educator whose accolades include two Pulitzer Prize nominations and a Grammy Award for the LA Phil’s recording of his piece Sustain, says the intensive program serves to build community in what can be an isolating profession. And, yes, to address that “old white guys” problem cited by program graduate Ruhman.

“There is something still within the air in our culture that says if you want to do this, you have to look like all the people who’ve done it in the past,” Norman observes. “It’s definitely our job as creators and educators to dispel that myth, to bust it open, to do what we can to show that anyone can make music in this way.”

Depending on what grade they’re in when they join, students may enjoy one, two, or three years in the program. Participants spend two or three Saturdays per month interacting with professionals, and offerings include guest speakers from the industry as well as professional critique sessions for their work. Students also get free admission to more than 20 concerts at Walt Disney Concert Hall and the Hollywood Bowl throughout the year.

“Some of the things we’re looking for in these young people is just creativity and excitement and passion about music,” Norman says. “It’s a lot about getting them to clarify their imaginations, what their vision is. When they’re a little further along in the process in writing, a lot of our work is about making sure their notation is meeting a kind of standard that trained musicians can read and interpret.”

Through the years, students have had to chance to meet prominent composers including John Adams, EsaPekka Salonen, Caroline Shaw, Magnus Lindberg, and Kaija Saariaho, and they have also composed works for readings and performances by LA Phil musicians, the Calder Quartet, American Youth Symphony, and the Southeast Symphony.

Equally important, says Ruhman, is the opportunity to interact with her young

composer peers. “As a composer, you don’t meet composers if you’re not in one of these workshops or programs,” she says. “Some of my closest friends are at the USC Thornton School of Music, and some are here at UCLA, and we all met in CFP. These connections overreach school rivalries—we’re just people that collaborate. To this day, I’m performing their pieces, and they perform mine. It’s gold.”

—Diane Haithman

Mia Ruhman, a Sue Tsao Composer Fellow and CFP alumna, class of 2020/21.

Program Director Andrew Norman (center), with Teaching Artist Daniel Allas and Assistant Director Sarah Gibson.

LA PHIL BROADCASTS ON KUSC

The Los Angeles Philharmonic and Classical California KUSC continue their annual radio broadcast partnership, reaching listeners in Southern California as well as online. Thirteen concerts, recorded during the LA Phil’s 2022/23 season, feature the orchestra with an impressive roster of guest artists and conductors and an eclectic repertoire including five world premieres and two U.S. premieres. Through the organizations’ ongoing partnership with the WFMT Radio Network, the 2023 broadcast series will also be syndicated nationwide.

The next concert in the series airs on KUSC’s SoCal Sunday Night program, the station’s weekly local concert spotlight, on May 7 and features guest conductor Osmo Vänskä leading the LA Phil in the world premiere of Donghoon Shin’s Upon His Ghostly Solitude (commissioned by the orchestra), along with Sibelius’ Symphony No. 3 and Brahms’ Piano Concerto No. 1 with Inon Barnatan, soloist. Each concert in the series, hosted by KUSC’s Brian Lauritzen, will also be streamed for one week, on demand at the KUSC website, immediately following the broadcasts.

Additional series highlights include performances by noted soloists (in order of appearance) Dorothea Röschmann, soprano; Sunwook Kim, piano; Leila Josefowicz, violin; Martin Chalifour, violin; PierreLaurent Aimard, piano; Gabriel Cabezas, cello; and Mitsuko Uchida, piano.

Along with concerts led by Dudamel, broadcasts will feature guest conductors (in order of appearance) Rafael Payare, Tianyi Lu, Elim Chan, Philippe Jordan, and Eva Ollikainen.

For complete details, please visit laphil.com/radio.

UPCOMING BROADCASTS

SoCal Sundays at 7pm on KUSC

MAY 7

Osmo Vänskä, conductor Inon Barnatan, piano

BRAHMS Piano Concerto No. 1

Donghoon SHIN Upon His Ghostly Solitude

SIBELIUS Symphony No. 3

MAY 14

Rafael Payare, conductor Dorothea Röschmann, soprano

STILL Darker America

WAGNER Wesendonck Lieder

BRAHMS Symphony No. 1

MAY 21

Tianyi Lu, conductor Sunwook Kim, piano

Anna CLYNE This Midnight Hour

R. SCHUMANN Piano Concerto

RIMSKY- Scheherazade KORSAKOV

Elim Chan Rafael Payare Gustavo Dudamel

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

Official partner in health & harmony

County of Los Angeles

BOARD OF SUPERVISORS

Hilda L. Solis

Holly Mitchell

Lindsey P. Horvath

Janice K. Hahn Chair

Kathryn Barger

NEW ALBUM FROM DUDAMEL AND THE LA PHIL

On April 21, Nonesuch Records released an album of Thomas Adès’ Dante, performed by Gustavo Dudamel and the Los Angeles Philharmonic.

Recorded in concert last spring at Walt Disney Concert Hall, is a ballet in three acts inspired by the alternately chilling and sunlit landscapes of La Divina Commedia. Written in the 14th century, this seminal Italian poem recounts an initiatory journey through hell, purgatory, and paradise. In the ballet, Adès and choreographer Wayne McGregor bring the medieval Christian fantasy to life with a narrative arc about a young woman named Beatrice who embodies a promise of love and hope.

Premiered at London’s Royal Opera House as part of McGregor’s The Dante Project, the ballet score was deemed by The New York Times to stand

“alongside the great dance music of Stravinsky and Tchaikovsky that thrives on the concert stage.” When Dudamel and the LA Phil performed it at Walt Disney Concert Hall, the Los Angeles Times added, “There is not a second in its 88 minutes that doesn’t delight. All of it is unexpected and wanted.” In addition to the CD and digital versions released on April 21, Nonesuch has issued a collectible limited-edition twoLP vinyl version of the album, featuring artwork by Tacita Dean and photography from the Royal Ballet’s performance; the artwork and photography are also included in the CD packaging. CD and LP versions are available for purchase at the LA Phil store.

The Affiliates’ story began 100 years ago, when the Los Angeles Philharmonic Women’s Committee was organized under the leadership of Honorary Chair Bessie Bartlett Frankel.

A composer and champion of chamber music, Frankel spent the next 50 years supporting the LA Phil and music in Los Angeles. “Music can hardly be considered in the category of amusements,” she wrote in a 1923 letter. “It is an educational force.”

Throughout the last century, the Women’s Committee that Frankel founded has grown

outward across Southern California into 16 Affiliate Committees composed of more than 750 LA Phil supporters.

Today’s Affiliate Chair, Marian Hall, encourages all LA Phil fans to join their local committee: “From my personal experience, I found that I met others who share the love of music. I’ve made great friends while also contributing to the arts and raising funds. Together, we will ensure that Los Angeles continues to have a world-class orchestra that leads the way with groundbreaking programming.” For

The LA Phil Affiliates are members of the Los Angeles community who dedicate their time and efforts to support the mission of the LA Phil through volunteer service, community engagement, and fundraising.

Affiliate members, supporting the LA Phil’s Symphonies for Schools at Walt Disney Concert Hall. From left: Mona Walker, Marian Duntley, Katherine Dagermangy, Ranjit Bhatia, Lorraine Foley, Cathi Lundy, Suresh Khilnani, Yuri Kantor, Vic Pallos, and Richard Scadron.

“MUSIC CAN HARDLY BE CONSIDERED IN THE CATEGORY OF AMUSEMENTS.... IT IS AN EDUCATIONAL FORCE.”

—Bessie Bartlett Frankel, 1923 Honorary Chair Los Angeles Philharmonic Women’s Committee

Meeting of Philharmonic Women’s Committee

Members of the Compton Affiliates Committee, circa 1980s. From left: Sadie Gray, Edie Davis, Barbara Jo Scott, and Ethel Jenkins

Affiliate members Jan Hauhe, Monica McAllister, Marla Campagna, and Lorna Interian, supporting one of the Learning initiatives for the LA Phil: Symphonies for Youth pre-concert activities at Walt Disney Concert Hall.

Gaby Hollerith, Peninsula Committee guest; Morgan Walton, Associate Director of Special Events and Affiliates; and Marian Hall, Affiliate Chair, at the Peninsula Committee’s Fall 2022 fundraiser, “Viola & Vaqueros.”

ATTENTIONGETTING THRILLER

THE 1982 PULITZER Prize-winning A Soldier’s Play has been back in the spotlight, thanks to a run that earned the Roundabout Theatre Company a Tony Award in 2020 for best revival. The Charles Fuller thriller is on a national tour that stops at the Center Theatre Group’s Ahmanson Theatre May 23 through June 25. “This is a play that deserves to be staged regularly all over America—though it’s hard to imagine that it will ever be done better than this,” wrote The Wall Street Journal of the production. “It keeps you guessing all the way to the final curtain.”

Variety calls the show a “knock-your-socks-off drama.” Two shots ring out on a Louisiana Army base in 1944; a Black sergeant is murdered, and the interrogations that follow trigger a barrage of questions about sacrifice, service and identity in America.

Broadway’s Norm Lewis leads a powerhouse cast; Tony Award winner Kenny Leon directs. 135 N. Grand Ave., downtown, 213.628.2772, centertheatregroup.org

Above: A Soldier’s Play national touring cast.

Left: William Connell, standing, and Norm Lewis.

Food and Drink for Thought

COMESTIBLES APPEAR nearly everywhere in the history of European art, notably in depictions of luscious fruits and vegetables, sumptuous feasts and bustling markets. The Norton Simon Museum’s All Consuming: Art and the Essence of Food explores how the artists responded to and shaped food cultures from 1500 to 1900. The images present the subject’s aesthetic appeal and reveal activities

that give them profound social meaning: indulging, abstaining, buying, selling, making, growing, craving and sharing. Sixty paintings, prints, photographs and sculptures examine the dynamics of eating and drinking, positive and negative. Assistant curator Maggie Bell presents them in sections titled “Hunger,” “Excess” and “Sustenance.” 411 W. Colorado Blvd., Pasadena, 626.449.6840, nortonsimon.org

Jacques Linard, Still Life: The Five Senses with Flowers (1639). Below: François-Hubert Drouais, Young Girl Holding a Basket of Fruit (mid-18th century)

Bohemian Strings

Members of the Los Angeles Philharmonic

David Garrett, curator

JANÁČEK String Quartet No. 2, “Intimate Letters” (c. 25 minutes)

Andante

Adagio

Moderato

Allegro

Jin-Shan Dai, violin

Jordan Koransky, violin

Ben Ullery, viola

Dahae Kim, cello

MARTINŮ String Quartet No. 3 (c. 12 minutes)

Allegro

Andante

Vivo

Stacy Wetzel, violin

Ingrid Chun, violin

Minor L. Wetzel, viola

David Garrett, cello

INTERMISSION

DVOŘÁK String Quintet No. 2 in G major, Op. 77 (c. 33 minutes)

Allegro con fuoco

Scherzo: Allegro vivace

Poco andante

Finale: Allegro assai

Jin-Shan Dai, violin

Michelle Tseng, violin

Michael Larco, viola

Gloria Lum, cello

Ted Botsford, bass

Programs and artists subject to change.

TUESDAY

MAY 2, 2023 8PM

AT A GLANCE

Nationality/Individuality

In geopolitical terms of origin, Dvořák, Janáček, and Martinů were practically neighbors. Musically, however, they stand worlds apart, as might be expected from artists very self-conscious about both national and personal style. Dvořák’s String Quintet with bass (his two other quintets add a second viola to the usual foursome) was dedicated “to my nation”

and does have a sort of epic, open-air sonority, though its terse motivic development is pure Viennese classicism. Written over 50 years later (and within a year of each other), Janáček’s autobiographical “Intimate Letters” String Quartet and Martinů’s short, fierce String Quartet No. 3 are distinctively quirky works of great passion and power. —John

Henken

STRING QUARTET NO. 2, “INTIMATE LETTERS”

Leoš Janáček (1854–1928)

Composed: 1928

During the era of Haydn, Mozart, and Beethoven, the Bohemian capital of Prague rivaled Vienna in terms of quality and quantity of musical performance. Even today, musicians frequent Prague’s beautiful city squares, skillfully performing music by the town’s favorite son, Mozart, as well as more contemporary exponents of Bohemian music such as those represented on tonight’s program.

Leoš Janáček, like the later Hungarian composers Bartók and Kodály, devoted himself as a young man to the study, collection, and transcription of folk music. And like Bartók, he created a modern and highly personal synthesis of stylistic traits from folk and classical traditions. Born in Moravia, an area sandwiched between Bohemia and the Hungarian-speaking region of Slovakia, Janáček studied piano and organ, first at a monastery in Brno and later in Prague. He later founded the Brno Organ Academy.

Janáček’s fame as a composer came late in life. His masterpiece, Jenůfa, was composed just before his 50th birthday and received notoriety only after it was presented in Prague in 1916. By that time, Janáček had thoroughly assimilated

Eastern European folk music into his own modernist style, abandoning for the most part the Romantic qualities of his friend and mentor Dvořák.

The String Quartet No. 2, “Intimate Letters,” was composed in 1928, shortly before his death. Like the popular Sinfonietta and the Glagolitic Mass, the Quartet was inspired by Kamila Stösslová, 37 years his junior. Janáček, unhappily married to Zdenka Schulzová since 1881, met Kamila in 1917, and over the next decade, he channeled his passion for her into his music and the writing of more than 700 love letters. Painfully for the composer, the relationship was completely one-sided. She tolerated his affections and even encouraged them but did little to reciprocate.

Janáček’s Second Quartet is his supreme declaration of love for Kamila–both “real and imagined,” in his own words. “I have begun to write something beautiful. Our life will be contained in it. It will be called Love Letters [and] in this work I will be alone with you.”

Each movement relates to episodes in his (mostly) imagined relationship with Kamila: the first portrays their two personalities in strongly contrasting themes; the second, their chance encounter at a Moravian spa; the third suggests his passion and desire to have a child with her; the fourth explores the web of complex emotions he felt toward her.

Janáček’s death mirrored his bizarre relationship with Stösslová: While living in a court-sanctioned separation from Zdenka, he went on holiday with Kamila, her husband, and their young son. While there, he caught a chill that developed into pneumonia. He died at the age of 74 in a private sanatorium in Ostrava. —Thomas

Neenan

STRING QUARTET NO. 3

Bohuslav Martinů (1890-1959)

Composed: 1929

Bohuslav Martinů remarked from time to time on his birth and upbringing “193 steps above the ground” in the tower of St. Jakub’s Church in the small town of Polička, not far from the Moravian border. His father was the town watchman, church sexton, and shoe repairman and was frequently called upon to transport his son up and down the stairs because of the child’s poor health. The sound of the organ, church bells, and ticktock of the tower clock were the soundtrack of Martinů’s childhood.

Displaying an aptitude for music at a young age, he was given a violin and, at age 16, sent to the conservatory in Prague to study. Unable to keep up with the rigorous demands of the violin faculty, he followed his predecessors Dvořák and Janáček and continued as an organist, before being dismissed entirely in 1910 because of what was described as “incorrigible negligence.”

Returning to Polička, he devoted himself to the analysis of mostly French music, composed modest works for piano, chamber ensemble, and choir, and began teaching. His first public recognition came after the premiere of a cantata, Czech Rhapsody, celebrating the declaration of Czechoslovakia as an independent republic in 1918. He joined the violin sections of the Czech Philharmonic and National Theater orchestras and was mentored by the great conductor Václav Talich. In 1923, Martinů moved to Paris to study with Albert Roussel.

While in Paris, Martinů attracted the attention of several prominent composers and conductors including Serge Koussevitzky, conductor of the Boston Symphony, who frequented Paris during the off-season and who would premiere Martinů’s La bagarre (1927), a work inspired by Charles Lindbergh’s transatlantic flight.

Blending influences from Eastern European folk music, the neoclassicism of Les Six (a group of composers that included Poulenc, Milhaud, and Honegger), impressionism, jazz, and the modernist styles of Stravinsky and Bartók, Martinů developed a highly personal musical language that served him over the next three decades.

The acerbic and concise String Quartet No. 3 was composed in 1929. The opening movement features plucked cello and viola playing col legno (with the wood of the bow), supporting elusive figures in the two violins that seem to threaten to break into a jazz riff. Unapologetically dissonant, the four very independent— and very argumentative—musical lines rise and fall together but, it seems, uneasily. With the hints of jazz resonating in our ears, the second movement takes on a bluesy quality, with the viola often given the primary musical line. The Finale is a scorcher (marked half note = 132), demanding incredible virtuosity and attentive ensemble playing.

Martinů fled Paris for the United States in 1940. His friendship with Koussevitzky paved the way for many

commissions, but his time here was not entirely happy. Never able to master English, he did manage to do some teaching and continued to compose. One night, taking his usual evening stroll, he misjudged a flight of stairs and took a serious fall. He drifted in and out of a coma for days. After months of recuperation, he eventually regained his ability to walk, talk, and compose, but he was never quite the same. After World War II, Martinů taught at the Mannes College of Music and Princeton. He was a frequent visitor at Tanglewood, and his works were performed by all the leading orchestras including Boston, New York, Philadelphia, Cleveland, and Chicago.

He left the U.S. in 1953, settling in Nice and then Switzerland, where he died in 1959. He was buried in his hometown of Polička.

—Thomas Neenan

STRING QUINTET NO. 2 IN G MAJOR, OP. 77

Antonín Dvořák (1841-1904)

Composed: 1875

In 1875, when the 34-year-old Dvořák composed his second String Quintet, he was becoming a prominent figure in Prague musical circles. He had spent his youth cultivating the “new” style of Liszt and Wagner in the face of opposition from conservatives in the musical establishment, and then rejecting that style himself and developing the quintessentially Bohemian voice for which he would become known.

Embracing Bohemian nationalism would ordinarily have meant that he was abandoning prospects of becoming prominent internationally in favor of becoming a local favorite son, but it turned out to be the key to widespread fame. Dvořák’s music won him Austrian state artist stipends in 1874 and 1875, but more important than the stipends themselves was that it attracted the

attention of Brahms, who was on the selection jury. Though Brahms was only eight years older than Dvořák, he had been famous for two decades and had great influence, which he used to push Dvořák’s career, getting him a publishing contract with the prestigious Simrock firm.

The Quintet in G major that Dvořák completed in 1875, and called Op. 18, was composed for a chamber music competition sponsored by a Prague organization called the Artistic Circle. It won the prize and lavish praise from the jury for its “distinction of theme, technical skill in polyphonic composition, and mastery of form” and “knowledge of the instruments.” It consisted of five movements: the four we hear tonight plus an andante religioso that had been adapted from a string quartet and would later become the Nocturne for Strings, Op. 40. Simrock published the four-movement work, now considered the definitive version, as Op. 77 in 1888. (Simrock often published older Dvořák works with deceptively high opus numbers, which greatly annoyed Dvořák, who did not want the public mistaking his youthful works for mature ones.)

The addition of the double bass to the standard quartet adds sonority and a sense of space, which greatly contributes to the open-air quality of the work, particularly in the first movement.

Dvořák, who had a Schubertian gift for melody and was often profligate with his themes, here makes less do more in the outer movements. Small motifs are combined into long sequences, repeated while the harmony changes around them, or pitted against one another in counterpoint. The Scherzo and the Finale actually begin with (and are built to a great extent from) the same five notes, though the effect is drastically different because both meter and key are different. Even in the poco andante, where Dvořák the magical melodist creates a movement of sweet warmth, a few phrases do most of the work. —Howard

Posner

ABOUT THE ARTISTS

TED BOTSFORD

As an orchestral musician, soloist, teacher, and proponent of contemporary music, Ted Botsford enjoys a varied career, exploring the sonorities of the double bass and pushing back against its perceived limitations in the musical world.

Ted joined the Los Angeles Philharmonic in August of 2017. Prior to his appointment in LA, he played in the Seattle Symphony for two seasons and was Assistant Principal Bass and Acting Principal Bass of the Oregon Symphony for five seasons. For several summers, he also performed as Principal Bass of the Cabrillo Festival of Contemporary Music in Santa Cruz, CA.

Between degrees at Rice University (BM and MM with Paul Ellison), Ted spent a year studying with François Rabbath in Paris, practicing Bach cello suites, working through Rabbath’s sizable catalog of solo music, and receiving the Diplôme and Teaching Certificate in Rabbath’s method, along with a wealth of inspiration.

Always in search of new ways to grow and connect more directly with audiences, Ted engages in several solo projects each year—most recently, performing live-streamed recitals for Occidental College and the 2021 International Society of Bassists convention. He also gave the Portland premiere of John Harbison’s Concerto for Bass Viol with the Portland Youth Philharmonic.

Following the example of his first teacher, innovative pedagogue George Vance, Ted teaches students of all ages and is on the faculty at Occidental College and the Colburn Community School for the Performing Arts—an opportunity to pass along rich traditions, discover new possibilities, and inspire passion for the double bass.

INGRID CHUN

Violinist Ingrid Chun was born in Taiwan to a family of musicians. She began her music studies at age five on violin and piano. After winning the Taiwan National Competition, she emigrated to the U.S. and studied with Almita Vamos and Alice Schoenfeld. She earned her bachelor’s and master’s degrees in music from the Juilliard School as a scholarship student of Dorothy DeLay. Chun has received numerous honors and awards from various organizations, such as the National Endowment for the Arts and the Young Musicians Foundation.

Chun has participated in the Hague Music Festival as well as the Aspen and Taos Music Festivals. Chun made her solo debut with the LA Phil at Walt Disney Concert Hall in 2005 and has been a soloist in the LA Phil’s Symphonies for Youth concerts. She maintains a regular performance schedule as a soloist and chamber musician and is featured often in the LA Phil’s Green Umbrella and Chamber Music series. As a teacher, Chun has served on the faculty of La Sierra University and as string orchestra director for the Master’s College. She currently teaches at Azusa Pacific University. Moreover, Chun enjoys arranging, composing, and improvising on piano and violin. She can also be heard on her solo albums of popular hymns, What a Friend and Songs for My Father.

JIN-SHAN DAI

Dynamic violinist Jin-Shan Dai has performed extensively throughout North America, Europe, and Asia. He joined the Los Angeles Philharmonic at the start of the 2010/11 season. Previously, he was a member of the Toronto Symphony from

2004 to 2010 and made his debut as a soloist with that orchestra in 2008 playing Vivaldi’s Four Seasons. A native of China, Dai studied at the Central Conservatory of Music in Beijing before moving to the U.S. at the age of 17 to continue his studies with Julia Bushkova, Eugene Drucker, Philip Setzer, Ani Kavafian, and Peter Oundjian. He was also greatly influenced by Paul Kantor and Kathleen Winkler.

Dai is the recipient of numerous prizes and accolades, among them top prizes in the 2000 Emerson International Chamber Music Competition and the 2000 Van Rooy National Violin Competition. Dai performs frequently as a chamber musician, and has collaborated with such artists as Mstislav Rostropovich, Lowell Liebermann, and members of the Emerson String Quartet.

Dai is a strong believer in the transformative power of music. He began his outreach efforts in Toronto with the Bach Consort, a charitable organization devoted to performing works by J.S. Bach to raise money for local charities.

Here in Los Angeles, he is proud to participate in Street Symphony, a nonprofit organization that brings live classical music outreach to the underserved mentally ill, living within homeless, incarcerated, and veteran communities on Skid Row and throughout Los Angeles.

Dai has held leading positions in festival orchestras such as the Schleswig-Holstein Music Festival in Germany, the Jerusalem International Music Festival in Israel, and the Spoleto Festival in Charleston, SC. Dai performs annually as part of the Asia Philharmonic Orchestra, a performancefocused festival orchestra that promotes harmony and friendship through music among Asian countries and the world.

DAVID GARRETT

David Garrett joined the Los Angeles Philharmonic in 2000, after tenures with the orchestras of Houston, San Antonio, Shreveport, New Orleans, and Grand Rapids. He also appears frequently as recitalist, chamber musician, and soloist, including performances on the LA Phil’s Chamber Music and Green Umbrella series. Garrett pursues a wide range of musical interests: he has recorded modern cello works for the Albany and Opus One labels; his doctoral dissertation included publication of previously unknown Baroque cello works; and along with his wife—Occidental College faculty pianist Junko Ueno Garrett—he performs cello and piano recitals as the Belrose Duo, including several tours in the U.S. and Japan. Away from the cello, Garrett enjoys playing the viola da gamba, musical arranging, and publishing.

Garrett is a dedicated advocate for music education. He coaches youth orchestras, visits schools, and is cello teacher for the LA Phil’s YOLA (Youth Orchestra Los Angeles). At the Bob Cole Conservatory of Music at CSU Long Beach, Garrett directs the Collegium Musicum ensemble and maintains one of Southern California’s top cello teaching studios. Garrett’s community service extends beyond the Philharmonic’s projects; he is a board member of the Los Angeles Violoncello Society and an active member of the First United Methodist Church of Pasadena. During pandemics and at other spare moments, Garrett enjoys games and sports. In particular, he is an avid, if frustrated, golfer.

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, where she also performed as soloist in the Lalo 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.

JORDAN KORANSKY

Violinist Jordan Koransky joined the LA Phil in 2019, having previously played with the Houston Symphony for three seasons. A native of Southern California, he attended USC as a Trustee Scholar, receiving a Bachelor of Music degree summa cum laude from the Thornton School of Music, studying under Alice Schoenfeld. He completed his Master of Music degree at Rice University Shepherd School of Music, where he studied with Paul Kantor. While at Rice, Koransky served as concertmaster of the Shepherd Symphony Orchestra on multiple occasions. Koransky has held fellowships at several music festivals, including Tanglewood, Taos, and the Music Academy of the West. In 2016, he was in residence at Tanglewood as a member of the New Fromm Players, and he performed numerous premieres of contemporary chamber music works. Jordan plays on a violin by Joseph Curtin, made in Ann Arbor in 1998. In his free time, Jordan is an avid reader and poker player.

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.

ABOUT THE ARTISTS

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 both at the Mozarteum in Salzburg with Thomas Riebl and in Cremona with Bruno Giuranna.

GLORIA LUM

Cellist Gloria Lum, a native of Berkeley, CA, 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 in the LA Phil’s Green Umbrella series, Lum 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, TX. Lum teaches cello and chamber music at Occidental College.

MICHELLE TSENG

Violinist Michelle Tseng joined the Los Angeles Philharmonic under Gustavo Dudamel in 2017. The Southern California native has performed as soloist with the Torrance, Downey, Peninsula, South Coast, USC, and Rio Hondo symphonies. She has garnered numerous competition and scholarship prizes, receiving First Prize in the Senior Division of the ASTA 2011 National Finals Competition, and presented in the Dorothy Chandler Pavilion as a Grand Prize winner of the 2009 Los Angeles Spotlight Awards. As a freshman, she won the USC Concerto Competition, appearing as soloist with the USC Symphony in a performance broadcast on KUSC-FM (91.5) classical radio’s Thornton Center Stage Tseng has performed in the New York String Orchestra Seminar and the inaugural Cambridge International String Academy (CISA) 2012 held at Trinity College, Cambridge, where she won the Outstanding Prize. Here in Los Angeles, Tseng frequently appears on the LA Phil’s Chamber Music and Green Umbrella series.

Tseng served as concertmaster in the CISA Orchestra, the USC Symphony, and the Juilliard Orchestra. She

has been concertmaster with distinguished conductors such as David Robertson, Alan Gilbert, Jaap van Zweden, and Carl St.Clair, and at notable venues across the globe, including Walt Disney Concert Hall, Avery Fisher Hall, and Sydney Opera House. Tseng has participated in master classes and studied with numerous artists, including the late Joseph Silverstein, Rodney Friend, Sylvia Rosenberg, György Pauk, Almita and Roland Vamos, Boris Kuschnir, and the late Ida Haendel. She completed her Bachelor of Music degree magna cum laude under full scholarship from the USC Thornton School of Music, studying with the late Alice Schoenfeld, and earned her Master of Music degree at the Juilliard School, studying with Ida Kavafian. Tseng earned her Graduate Certificate at the USC Thornton School of Music, studying with Glenn Dicterow.

BEN ULLERY

Praised by the Chicago Tribune for his “febrile intensity,” violist Ben Ullery enjoys a multifaceted performing career as a soloist, chamber musician, orchestral leader, and educator.

He currently holds the chair of Assistant Principal Viola with the LA Phil, a position he was appointed to by Music Director Gustavo Dudamel in 2012. In addition to his appearances with the LA Phil, Ullery has performed across the country and abroad in the role of Guest Principal Viola with the Chicago Symphony, Pittsburgh Symphony, Minnesota Orchestra, Detroit Symphony, Saint Paul Chamber Orchestra, and Australian Chamber Orchestra.

An active solo performer, he has recently given recitals at Festival Mozaic and La Sierra

University, where he premiered his own viola arrangement of Brahms’ Violin Sonata No. 1. Ullery is currently planning his first full-length duo album with acclaimed pianist Dominic Cheli, which will feature works by Paul Hindemith, Rebecca Clarke, and Lillian Fuchs.

As a chamber musician, he has been in high demand in the Los Angeles area and at festivals and concert series in the U.S. and Europe. In addition to having performed over 50 chamber works on the LA Phil’s chamber music series in Walt Disney Concert Hall, Ullery has appeared at the Mozaic, Music in the Vineyards, Mainly Mozart, Emerald City, Music at Millford (SC), Leksand, Grand Teton, and Aspen festivals, among others. He has been featured on NPR’s Performance Today as well as local broadcasts on KUSC in Los Angeles and Minnesota Public Radio. As a recording artist, he has been featured on albums released by the Bridge and Albany labels.

An enthusiastic teacher, Ullery is on the faculty at the Colburn School in downtown Los Angeles, where he teaches orchestral repertoire as well as coaching the Colburn Orchestra’s viola section. Many of his former students have gone on to hold positions with top orchestras in the U.S., Europe, and Asia. He has given master classes at the Aspen Music Festival; California State University, Fullerton; Azusa Pacific University; and the Shanghai Orchestra Academy. A native of Saint Paul, MN, Ullery earned a Bachelor of Music degree in violin from the Oberlin Conservatory and later studied violin at New England Conservatory and viola at the Colburn School.

STACY WETZEL

Violinist Stacy Wetzel attended the Juilliard School and the San Francisco Conservatory. She studied at the Banff Centre and received her Bachelor of Music degree from the University of Washington and her Master of Music degree from the University of Michigan. She was the firstplace winner in the Washington International Competition and the Buffalo Young Artists competition, and she won the Swiss Radio Prize in the Tibor Varga Competition in Switzerland.

Wetzel has been a soloist with the Los Angeles Chamber Symphony and the Buffalo Philharmonic. For two years she was concertmaster of the Ann Arbor Chamber Orchestra, and she has performed with ensembles including the Soviet Émigré Chamber Orchestra, Chamber Music West, and the Michigan Chamber Players. She was on the faculty of the University of Michigan and served on the faculty of the San Francisco Conservatory of Music.

She joined the San Francisco Symphony in 1987. In the fall of 1995, she followed her husband (who joined the Los Angeles Philharmonic in 1994) to Southern California and won the audition for a position in the second violin section of the Los Angeles Philharmonic. In 2001, she moved up to join the orchestra’s first violin section. She made her concerto debut with the Philharmonic playing “Autumn” from Vivaldi’s Four Seasons at the Dorothy Chandler Pavilion, with subsequent performances at the Hollywood Bowl in August of 2003. She appeared on the LA Phil’s Symphonies for Youth series and educational programs in 2014. Wetzel is a frequent performer on the LA Phil’s Green Umbrella and Chamber Music series.

MINOR L. WETZEL

A native of Almira, WA, violist Minor L. Wetzel studied at Indiana University and received his bachelor’s and master’s degrees from the University of Michigan. His teachers have included Paul Coletti, Roland Vamos, Emanuel Vardi, Donald McInnes, Camilla Wicks, Yizhak Schotten, and Tadeusz Wroński. Wetzel completed his doctoral degree in viola performance at UCLA in 2010. His orchestral experience includes the Spokane Symphony, principal viola of the Ann Arbor Chamber and Sacramento Symphony orchestras, the San Francisco Ballet Orchestra, and—for the six years prior to joining the LA Phil—the San Francisco Symphony. He joined the Los Angeles Philharmonic at the start of the 1994/95 season. Wetzel has performed as soloist with various local orchestras. His awards include the W.E. Hill & Sons Award at the Lionel Tertis International Viola Competition.

Dvořák and Bruckner

Los Angeles Philharmonic

Philippe Jordan, conductor

Martin Chalifour, violin

DVOŘÁK Violin Concerto in A minor, Op. 53 (c. 30 minutes)

Allegro, ma non troppo

Adagio, ma non troppo

Finale: Allegro giocoso, ma non troppo

Martin Chalifour, violin

INTERMISSION

BRUCKNER Symphony No. 7 in E major (c. 70 minutes)

Allegro moderato

Adagio: Sehr feierlich und sehr langsam

Scherzo: Sehr schnell

Finale: Bewegt, doch nicht schnell

FRIDAY

MAY 5, 2023 8PM

SATURDAY

MAY 6 8PM

SUNDAY

MAY 7 2PM

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

These performances are generously supported in part by the Kohl Virtuoso Violin Fund

Classical Partner (May 6): KUSC

Programs and artists subject to change.

AT A GLANCE

Helpful Friends

In the summer of 1879, Dvořák completed a draft of a violin concerto with inspired efficiency. Then he sent it to Joseph Joachim, a colleague and admirer as well as probably the most famous living violinist. It would be four years and several revisions later before the work was finally premiered—and then not by Joachim but by a young Czech violinist, who brought the dancing

and dramatic concerto to audiences around the world. Bruckner wrote his transcendental Seventh Symphony during this same period. It was the great triumph of his working life, but even so, it has had three competing published editions trying to sort out the composer’s true intentions from the emendations of helpful friends.

—John Henken

VIOLIN CONCERTO IN A MINOR, OP. 53

Antonín Dvořák (1841–1904)

Composed: 1879, rev. 1880, 1882

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

First LA Phil performance: February 21, 1952, Alfred Wallenstein conducting, with Nathan Milstein, soloist

Dvořák’s sole Violin Concerto grew out of his relationship with the Hungarian violinist Joseph Joachim. The two first met in May 1878, and Joachim soon became one of the composer’s supporters. (That Brahms and Joachim were close friends certainly helped, as did Dvořák’s own knowledge of the violin, which he had played since his childhood.) Dvořák composed the Concerto for Joachim at

publisher Simrock’s suggestion, working at the score between May and September 1879. Dvořák revised the work in early 1880, taking Joachim’s suggestions into account; as the composer wrote to Simrock, “Although I have retained some themes, I have written several new ones. The whole concept of the work is however changed. The harmonization, the orchestration, and the rhythms are new.”

Even with the revisions, Joachim was never happy with the Concerto. He finally returned the score to Dvořák in 1882. The composer revised the work again before its premiere in Prague in October 1883 with the Czech violinist František Ondříček as soloist. Ondříček also introduced the Concerto in Vienna and London, part of the spread of Dvořák’s music across Europe during the 1880s.

The Concerto is in three movements. The opening allegro begins with a forthright

statement from the orchestra, answered by a rustic, folk-like motive from the soloist. The movement as a whole unfolds according to sonata-form principles, with a terse but relaxed second subject, followed by the development section launched by the soloist revisiting the movement’s opening material. After a shortened recapitulation of the themes, though, the expected coda never arrives. Instead, Dvořák makes a transition without a break into the adagio, whose manifold beauties alone justify the concerto’s persistence in the repertory. The finale, a dancing rondo, relies on thematic material characterized by the same folk-like energy found in the Slavonic Dances, but the tunes are not borrowed from any folk sources. Rather, they are the creations of a composer completely immersed in the musical traditions of his homeland. —John

Mangum

SYMPHONY NO. 7 IN E MAJOR Anton Bruckner (1824–1896)

Composed: 1881-1883

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

First LA Phil performance: March 19, 1936, Otto Klemperer conducting

In the pantheon of 19th-century composers, Anton Bruckner holds a unique if not enigmatic place. Widely known as a composer of symphonies at a time when the music drama and the symphonic poem were all the rage, this heir to Beethoven’s Ninth Symphony managed to avoid the infusion of literary concerns that so influenced the Romantics. That Bruckner should recognize the purely absolute music of the symphonic genre to be his ideal, resulting from his encounter with the music of the arch-literary composer Richard Wagner, is one of history’s supreme ironies. It was a hearing of Wagner’s opera Tannhäuser in Linz in 1863 at the age of 39 that initiated Bruckner’s inward path to selfdiscovery. Wagner, the master of harmonic innovation, was the key to artistic freedom.

Up to this time in his career, Bruckner had been a perennial student of music theory. After securing a position as organist at the cathedral at Linz at the

age of 31 in December of 1855, he set himself on a path of intense theoretical studies (by way of a correspondence course with rigorous exams once a year in Vienna) with the then-renowned Austrian theorist Simon Sechter. Under the tuition of Sechter, from 1856 to 1861, Bruckner became an expert in strict counterpoint and harmony. Upon completion of these studies at age 37, he felt compelled to acquire full expertise in symphonic form and orchestration, which he did with Otto Kitzler, principal cellist and occasional conductor at the Linz Municipal Theater. (Kitzler was also the conductor of the Tannhäuser performance that was revelatory to Bruckner.) Wagner’s example showed that a composer could break the rules of harmonic progression drilled into him by Sechter and still create a work of genius. Bruckner had found a new master from which to learn, at the age of 41.

Bruckner became a great composer nearly overnight. As a consequence of this encounter with Wagner, he immediately began to compose his first significant works of instrumental music, his first three symphonies, under the spell of this master. Bruckner’s individuality and steadfast assuredness proved effective in his not being overwhelmed by the theatrical values of Wagner’s operatic work,

while being affected by the sonority of his orchestration and perhaps the musical filling out of great swaths of time.

The Symphony No. 7 was Bruckner’s memorial monument to Wagner. Much of the Symphony had been completed when he attended a performance of Parsifal at Bayreuth in July 1882. That was to be his last meeting with Wagner, who died in February of 1883.

The first movement opens with a theme first heard in horn and cellos that emerges out of a hushed, sustaineddyad accompaniment in the violins. Two more important themes ensue, followed by a development and coda. The Adagio begins with music for four Wagner tubas (the first appearance of these instruments in symphonic music). The movement consists of two contrasting themes, each one given to elaboration. Bruckner was at work on this movement when he heard of Wagner’s death in Venice.

The Scherzo, with its rustic atmosphere, brings contrasting comic relief to the intensity of the Adagio. The first theme of the Finale shares the basic outline of the first theme of the opening movement. The link between the two movements is further enhanced by the return of the Symphony’s first theme in the fanfares of the closing measures. —Steve

Lacoste

PHILIPPE JORDAN

Coming from an artistic Swiss family, Philippe Jordan has a career that has taken him to all the world’s major opera houses, festivals, and orchestras. He is regarded as one of the most established and important conductors of our time.

He has been Music Director of the Wiener Staatsoper since September 2020 and opened his first season with new productions of Madama Butterfly, Parsifal, and Macbeth alongside revivals of Der Rosenkavalier and Le nozze di Figaro. The 2021/22 season saw further new productions of Don Giovanni, Wozzeck, and Tristan und Isolde. In the current season, he is conducting new productions of Die Meistersinger von Nürnberg, Salome, and Le nozze di Figaro and revivals of Don Giovanni, Der Rosenkavalier, Tristan und Isolde, Wozzeck, and Parsifal

Guest appearances in the 2022/23 season take him to the Orchestre National de France, Munich Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and Teatro del Maggio Musicale Fiorentino. He can be seen with the Vienna Philharmonic in symphonic concerts at the Konzerthaus Wien in the spring of 2023.

Jordan’s career on the podium began as Kapellmeister at Germany’s Stadttheater Ulm and at the Staatsoper Unter den Linden in Berlin. From 2001 to 2004, he was principal conductor of the Graz Opera and the Graz Philharmonic Orchestra, during which period he also debuted at several of the world’s leading opera houses and festivals, including Metropolitan Opera; the Royal Opera House, Covent Garden; the Teatro alla Scala; the Bavarian State Opera; the Wiener Staatsoper; the Festspielhaus Baden-Baden; and the Aix-enProvence, Glyndebourne, and Salzburg festivals. From 2006 to 2010, he returned to the Berlin State Opera as principal guest conductor. In the summer of 2012, he debuted at the Bayreuth Festival with Parsifal, returning again in 2017 with Bayreuth’s new production of Die Meistersinger von Nürnberg, which he also conducted in subsequent years.

Jordan was musical director of the Opéra National de Paris between 2009 and 2021, during which time he conducted numerous

premieres and revivals, including Moses und Aron, La damnation de Faust, Der Rosenkavalier, Samson et Dalila, Lohengrin, Don Carlos (in its original French version), Les Troyens, Don Giovanni, a new production of Borodin’s Prince Igor, and Wagner’s Ring cycle in a concert version.

From 2014 to 2020, Jordan served as principal conductor of the Wiener Symphoniker. Highlights of his tenure with the orchestra include complete cycles of Schubert’s symphonies and Beethoven’s symphonies and piano concertos, a cycle of J.S. Bach’s masses and oratorios, and a contrast-filled dialogue of Bruckner´s last three symphonies with modern classics by Kurtág, Ligeti, and Scelsi.

As a symphonic conductor, Philippe Jordan has worked with the world’s most famous orchestras, including the Berliner and Wiener Philharmoniker, Münchner Philharmoniker, Wiener Symphoniker, London Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, Tonhalle Orchester Zürich, Chamber Orchestra of Europe, Mahler Chamber Orchestra, Gustav Mahler Jugendorchester, Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, and the symphony orchestras of Boston, Seattle, Saint Louis, Dallas, Detroit, Chicago, Cleveland, Philadelphia, Washington, Minnesota, Montreal, and San Francisco.

MARTIN CHALIFOUR

Martin Chalifour has been Principal Concertmaster of the Los Angeles Philharmonic since 1995. He graduated with honors from the Montreal Conservatory at the age of 18 and then moved to the United States to continue studies at the famed Curtis Institute of Music.

Chalifour received a Certificate of Honor at the Tchaikovsky Competition in Moscow and is also a laureate of the prestigious Montreal International Competition. Apart from his LA Phil duties, he has maintained an active solo career, playing a diverse repertoire of more than 60 concertos. Chalifour has appeared as soloist with conductors Pierre Boulez, Gustavo Dudamel, Charles Dutoit, Christoph Eschenbach, Neville Marriner, and EsaPekka Salonen. Outside the U.S., he has played solos with the Auckland Philharmonia, the Montreal Symphony, the Hong Kong Philharmonic, the National Orchestra of Taiwan, and the Malaysian Philharmonic, among others.

Chalifour began his orchestral career with the late Robert Shaw and the Atlanta Symphony, playing as Associate Concertmaster for six years.

Subsequently, for five years he occupied the same position in the Cleveland Orchestra, where he also served as Acting Concertmaster under Christoph von Dohnányi. While in Cleveland, Chalifour taught at the Cleveland Institute of Music and was a founding member of the Cleveland Orchestra Piano Trio.

Chalifour is a frequent guest at summer music festivals, including the Mainly Mozart Festival and the Ottawa Chamber Music Festival.

Maintaining close ties with his native country, he has returned there often to teach and perform as soloist with various Canadian orchestras, most recently in Vancouver and in Hamilton.

Martin Chalifour has recorded solo and chamber music for the Telarc, Northstar, and Yarlung labels. He teaches at Caltech and at the University of Southern California’s Thornton School of Music.

Los Angeles Children’s Chorus

Los Angeles Children’s Chorus

Fernando Malvar-Ruiz, conductor

Mandy Brigham, conductor

Steven Kronauer, conductor

Eric Lifland, conductor

Twyla Meyer, piano

Jahyeong Koo, piano

Mitsuko Morikawa, piano

Joshua Tan, piano

Christine Skinner, violin

Aya Kiyonaga, violin

David Kang, viola

Yoshika Masuda, cello

Lisa Gass, bass

Megan Foley, percussion

William Schmidt, organ

HERE’S TO SONG

CHANT, Ave Maris Stella arr. MALVAR-RUIZ

Pedro OSUNA Santa Maria, Strela do dia (world premiere, commissioned for LACC by the Tourist Office of Spain in Los Angeles) Concert Choir, Fernando Malvar-Ruiz

J.L. BACH

“Ich jauchze,” Duet from Cantata No. 15 Intermediate Choir, Mandy Brigham

TRADITIONAL, Arirang, Korean Song arr. WOO, Apprentice Choir, Eric Lifland ed. LIFLAND

PURCELL Choruses from Dido and Aeneas

“To the hills and the vales”

“In a deep vaulted cell”

“Witches’ Chorus”

SPIRITUAL, Wade in the Water, African-American Spiritual arr. LUBOFF Chorale, Fernando Malvar-Ruiz

TRADITIONAL, Gao Shan Qing, Taiwanese Aboriginal Tune arr. CRIDDLE

SPIRITUAL, Joshua Fit de Battle of Jericho, arr. AMES African-American Spiritual Young Men’s Ensemble, Steven Kronauer

SUNDAY

MAY 7, 2023 7PM

KODÁLY

Tantum Ergo

Reena ESMAIL Tuttarana

Chamber Singers, Fernando Malvar-Ruiz

Josu ELBERDIN Cantate Domino

SPIRITUAL, Music Down in My Soul, African-American Spiritual arr. HOGAN Concert Choir, Fernando Malvar-Ruiz

INTERMISSION

Derrick SKYE But, we press on… (world premiere, /Ellen Gilson VOTH commissioned by Los Angeles Children’s Chorus) Concert Choir, Fernando Malvar-Ruiz

Daisy FRAGOSO Ciranda da Lua

Apprentice Choir, Eric Lifland

BOUMAN I Lift up My Eyes to the Hills

SPIRITUAL, Walk in Jerusalem, African-American Spiritual arr. DILWORTH Intermediate Choir, Mandy Brigham

GARCIA VIARDOT Finale from Le dernier sorcier

Rosephanye Still I Rise

POWELL Chamber Singers, Fernando Malvar-Ruiz

WOLF Verborgenheit

TRADITIONAL, Ca’ the Yowes to the Knowes, Scottish Melody arr. KIRCHNER Young Men’s Ensemble, Steven Kronauer Joshua Moore, soloist

MATAMOROS, Juramento arr. SILVA

Paul McCARTNEY, When I’m Sixty-Four arr. SHARON Chorale, Fernando Malvar-Ruiz

Sarah HOPKINS Past Life Melodies

Concert Choir, Fernando Malvar-Ruiz

BIEBL Ave Maria

Concert Choir, Chamber Singers, and Young Men’s Ensemble, Fernando Malvar-Ruiz

Allister Here’s to Song

MacGILLIVRAY, Combined Choirs, Mandy Brigham arr. ADAMS

Programs and artists subject to change.

AT A GLANCE

Here’s to Song is a celebration of vocal music, reflecting an astounding variety of styles of singing across cultures and time. Ranging from Gregorian chant, developed well over a thousand years ago, to two world premieres written just this year, and from an Australian piece influenced by aboriginal sounds to music written right here in Los Angeles, this program showcases how amazingly and beautifully diverse the human condition is, as expressed in song.

This concert also aims to pay tribute to our Associate Artistic Director Mandy Brigham, who, after more than 20 years of service, is leaving LACC for a much-deserved retirement. Every singer onstage, every alumnus in the audience, and all of us who had the fortune and the pleasure of working with Mandy owe her a huge debt of gratitude. We are all better because she was in our life. ¡Un cordial saludo!

—Fernando Malvar-Ruiz

SANTA MARIA, STRELA DO DIA

Pedro

Osuna

My first contact with music before the piano, the violin, and composition was singing in my school choir. One of the pieces we used to sing was “Santa Maria, Strela do Dia” (Saint Mary, Star of the Day): the 100th cantiga in the Cantigas de Santa Maria Codex (c. 1250). The Canticles of Holy Mary are 420 poems with musical notation, written in the early medieval GalicianPortuguese language at the court of Alfonso X of Castile, “El Sabio” (1221–1284). Most of them are about miracles involving Holy Mary and borrow melodies from Gregorian monody, popular lyricism, and the songs of the troubadours. This piece is built around that old but timeless melody and fueled by the love for choir music that I have carried since childhood. —Pedro

Osuna

BUT, WE PRESS ON… Derrick Skye

Ellen Gilson Voth

The piece But, we press on... was birthed in a phone conversation following the powerful delivery of Amanda Gorman’s 2021 inaugural poem “The Hill We Climb.” In the spirit of her call to resilience and hope, Los Angeles composer Derrick Skye and West Hartford (CT) composer Ellen Gilson Voth, collaborating from coast to coast, wove together original texts with statements from LACC singers, a quotation from Abraham Lincoln’s second inaugural address, a quotation of Henry Wadsworth Longfellow (1807-1882), and several poems of abolitionist and activist Frances Ellen Watkins Harper (1825-1911). Opening with repetitive motives beneath a chorale tune suggesting lament, the piece

moves from a reckoning of the struggles of the present time toward a recognition of the role we have, individually and collectively, to chart a better path forward. Fragments of James Weldon Johnson’s “Lift Every Voice and Sing” are heard first in the accompaniment, later in the voices; the second half of the chorale tune then emerges with a different tonal center and coupled with a new text. Body percussion augments the section on “rising up” before the opening rhythmic motives reappear in statements “for our children’s children”—a merging of past, present, and future. In the end, the “pressing on” is as much or more for those that follow us as it is for ourselves—an ongoing work that remains unfinished as the piece gradually fades.

—Ellen Gilson Voth

One of choral music’s oldest functions is presenting sacred texts in church. Ave Maris Stella is part of Vespers, the Catholic evening service. Franz Biebl composed his Ave Maria, a choral setting of the “Ave Maria” texts interspersed with lines of the Gregorian chant “Angelus Domini nuntiavit Mariae” in 1959 and later made versions for four different combinations of voices. Zoltan Kodály’s 1928 Tantum Ergo is a setting of a part of the communion service.

The duet “Ich jauchze” by Johann Ludwig Bach (1677–1731) is from a cantata composed for a Lutheran service in Meiningen. Because Johann Sebastian Bach, his third cousin, performed it in a Leipzig service in the 1720s, there was a copy in the manuscripts J.S. Bach bequeathed to his sons, and until about 1959, it was thought that he wrote it.

I Lift up My Eyes to the Hills by Paul Bouman (1918–2019), a longtime Lutheran church music director, is a complete setting of Psalm 121. Basque composer Josu Elberdin’s Cantate Domino sets the first part of Psalm 98 in English, Basque, and Latin.

The four African-American spirituals on the program are a different kind of liturgy, being arrangements of participatory hymns originating in the slave experience, sung in worship and work. They were often based on stories in the Hebrew Bible that thinly veiled their

expressions of longing to be free (“Wade in the water” was both an oblique reference to stepping into the parted waters to flee Pharaoh’s troops and advice to runaway slaves to make it harder for bloodhounds to track them) and smash down walls as did Joshua at Jericho. Closely related is the gospelinspired Still I Rise by Rosephanye Powell, professor of voice at Auburn University, an anthem about female empowerment and persistence.

There are three arrangements of folk songs from outside the Americas on the program. The Korean Arirang is about young lovers separated by water, while the Taiwanese Gao Shan Qing is about a young man and woman as inseparable as the mountain and the river running by it. Ca’ the Yowes to the Knowes, from 18th-century Scotland, exists with two sets of words: the original and a rewrite by Robert Burns.

There are also three arrangements of popular songs. Juramento was a hit for Miguel Matamoros and his Trio Matamoros, a well-known group in Cuba between 1925 and 1961. Paul McCartney’s When I’m Sixty-Four, from the Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band, shows his penchant for exploring pre-rock’n’roll musical styles (John Lennon called it “Paul’s granny music”). Canadian singer-songwriter Allister MacGillivray’s Here’s to Song is an ode to song and friendship.

A handful of selections on this program are works intended for theater or concert performance in their original form. Purcell’s Dido and Aeneas, a short opera about the queen of Carthage and the legendary founder of Rome, was written for a performance at the English royal court in the 1680s but was for centuries wrongly believed to have been composed for a London girls’ school. Hugo Wolf’s Verborgenheit (“Seclusion”) is his own arrangement of his 1888 solo song.

Pauline Garcia Viardot was a legendary opera singer who retired to teach and compose small operas like The Last Sorcerer, a story about fairies tricking an old sorcerer. Ivan Turgenev, her extremely close friend, wrote the French-language text.

Reena Esmail’s Tuttarana, from 2014, draws its name from the Italian tutti and tarana, a North Indian solo vocal piece that involves rapid pronunciation akin to jazz scat-singing. Esmail posted a 23-minute YouTube tutorial about how to pronounce the phrases.

Past Life Melodies, by the Australian cellist-composer Sarah Hopkins, is also wordless, and indeed mostly consonantless, exploring the different tone colors of vowel sounds.

Daisy Fragoso’s reflection on the moon, Ciranda da Lua, explores the popular rhythms of her native Brazil. —Howard Posner

LOS ANGELES CHILDREN’S CHORUS

Grammy Award-winning Los Angeles Children’s Chorus (LACC), one of the world’s preeminent youth choruses, has been lauded as “hauntingly beautiful” by the Los Angeles Times. Led by Artistic Director Fernando Malvar-Ruiz, LACC annually appears in more than 50 public performances, including in its own self-produced concerts and in collaborations with leading organizations such as LA Opera, the Los Angeles Philharmonic, Los Angeles Master Chorale, and the Pasadena Symphony and POPS.

Annually, the Chorus serves over 400 young people ages 6–18 from more than 40 communities across Southern California through its seven choirs, First Experiences in Singing class, and First Experiences in Choral Singing ensemble.

LACC is featured in alumna Billie Eilish’s 2021 cinematic concert experience Happier Than Ever: A Love Letter to Los Angeles on Disney+, and it has appeared on John Williams’ 2017 recording John Williams & Steven Spielberg: The Ultimate Collection and the Los Angeles Master Chorale’s critically acclaimed Decca recording A Good Understanding. The subject of four documentaries by Academy Award-winning filmmaker Freida Mock, LACC is featured in the Academy Award-nominated Sing!, about a year in the life of the choir. LACC has performed with John Mayer on NBC’s The Tonight Show and been featured on PBS’ Great Performances, BBC Radio, and PRI’s nationally syndicated show From the Top Winner of a 2022 Grammy Award for Best Choral Performance for its performance on the LA Phil’s 2021 album of Mahler’s Symphony No. 8 and recipient of Chorus America’s Margaret Hillis Award for Choral Excellence, LACC frequently serves as a cultural ambassador on tours that have taken the Chorus to more than 20 countries on six continents.

LACC was founded in 1986 by Rebecca Thompson and led from 1995 to 2018 by Artistic Director Emerita Anne Tomlinson.

For more information, please visit lachildrenschorus.org

FERNANDO MALVAR-RUIZ

Fernando Malvar-Ruiz is serving his fifth season as Artistic Director of Los Angeles Children’s Chorus, having commenced his tenure on August 1, 2018. Malvar-Ruiz is an internationally regarded choral conductor, clinician, and educator who has worked with children’s and youth choirs his entire career.

From 2004 to 2017, he was the Artistic Director of the American Boychoir, leading the ensemble in over 150 performances and up to five national and international tours annually. He has prepared choirs for appearances with the Los Angeles Philharmonic, LA Opera, San Francisco Symphony, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony Orchestra, Berlin Philharmonic, and London Symphony Orchestra.

He has worked with such conductors as Gustavo Dudamel, Marin Alsop, Pierre Boulez, Yannick Nézet-Séguin, Michael Tilson Thomas, and Valery Gergiev, as well as artists ranging from cellist Yo-Yo Ma; trumpeter Wynton Marsalis; pop legends Billie Eilish, Beyoncé Knowles, Paul McCartney, and Josh Groban; to opera singers Kathleen Battle and Jessye Norman. He conducted the American Boychoir on six recordings and led its performances at the Academy Awards and a 9/11 Memorial Service broadcast, heard globally on CNN. Malvar-Ruiz was the music director for the film Boychoir, starring Dustin Hoffman, Kathy Bates, Debra Winger, and Josh Lucas.

Malvar-Ruiz previously served as the American Boychoir’s Associate Music Director from

2000 to 2004 under James Litton. An expert in the adolescent voice, he has guest-conducted children’s and youth choirs around the globe. He earned a master’s degree in choral conducting from Ohio State University and completed coursework toward a doctoral degree in choral music from the University of Illinois.

MANDY BRIGHAM

Mandy Brigham (Associate Artistic Director) is in her 22nd and final season with Los Angeles Children’s Chorus. In addition to conducting LACC’s Intermediate Choir, she is responsible for overseeing the organization’s music literacy and vocal coaching programs. Brigham has prepared choristers for collaborations with the Los Angeles Philharmonic, Hollywood Bowl Orchestra, Pasadena Symphony, Long Beach Symphony, Angeles Chorale, and for the Britten100/LA production of the composer’s Prodigal Son, conducted by James Conlon. She has assisted with the preparation of the children’s chorus for numerous LA Opera productions— including Carmen, La bohème, Grendel, El gato montés, The Magic Flute, Otello and Tosca, including the current season’s productions—under the baton of James Conlon, Grant Gershon, Alan Gilbert, and Kent Nagano.

Brigham holds a Bachelor of Music degree from the USC Thornton School of Music, where she also pursued graduate study and where her teachers included Morten Lauridsen, James Vail, and Charles Hirt. Other significant mentors include Paul Salamunovich and Kyra Humphrey. In addition to her work at LACC, Brigham presents at workshops and conferences for fellow educators and conductors, and for over 20 years she directed the vocal music program at Balboa Boulevard Magnet School in Northridge.

STEVEN KRONAUER

Steven Kronauer (Young Men’s Ensemble Director) is a conductor and voice teacher. He started his singing career at the Munich Opera, where he served a 10-year engagement and sang concert repertoire around Europe and the U.S. His voice students include Grammy- and Oscar winning Billie Eilish, Finneas, and Cheryl Bentyne of Manhattan Transfer. He has conducted the Young Men’s Ensemble for more than 11 years. Kronauer has been the head of the Voice Department of UC Santa Barbara and is currently on the faculty of CSU Long Beach at the Bob Cole Conservatory of Music, teaching voice and German diction. He is also the founding conductor of the mixed-voice ensemble Artes Vocales, which rehearses at First Baptist Church in Pasadena, specializing in the finest of choral repertoire and vocal technique, celebrating our community.

Kronauer holds a doctorate from UCLA in Operatic and Choral Conducting. He holds two master’s degrees from the University of Michigan: in Voice Performance and Choral Conducting.

ERIC LIFLAND

Eric Lifland (Apprentice Choir Director/Assistant Young Men’s Ensemble Conductor) is a conductor and musicianship instructor as well as a former LACC chorister. Lifland is in his sixth season with LACC. He holds a Bachelor of Music degree from the University of Pennsylvania.

Lifland is a music teacher at Polytechnic School, where he directs the choirs, accompanies and coaches musical theater, and teaches music history. He also maintains a private studio for voice and piano students. He earned his Kodály certification from the Kodály Association of Southern California and serves on its board as executive secretary. Previously, he taught K-5 music in LA public schools and worked in musical theater as a music director and briefly as an assistant to Hal Prince.

TWYLA MEYER

Twyla Meyer (Principal Pianist) accompanies for Concert Choir, Chamber Singers, and Chorale. She has been on staff with LACC for 25 years and has toured with the choir to the British Isles, Canada, Brazil, Alaska, Italy, China, Scandinavia, Germany, and South Africa.

Meyer was staff accompanist/ vocal coach and adjunct keyboard faculty at CSU Los Angeles from 1980 to 2010 and has held similar positions at Pasadena City College and Occidental College. A specialist in 20th-century chamber music, she is a founding member of the Matrix Chamber Ensemble, performing numerous concerts on the West Coast and in New York. Meyer has been on the faculty of the Idyllwild School of Music and was a featured performer with the Southern California Brahms Festival, along with being the principal pianist for the annual Claremont Clarinet Festival. She coached opera at the University of Redlands from 2011 to 2017 and is a guest collaborative artist at both CSU Fullerton and CSU Long Beach.

Along with playing for Artes Vocales and several choirs at Pomona College, she continues to play for various choirs at All Saints Church in Pasadena. She is currently pursuing an active freelance career that includes work with the Los Angeles Philharmonic and the LA Opera Education Department, along with private vocal and instrumental coaching.

Meyer has recorded for Artel Records with tenor Gary Lakes, with whom she also appeared on The Tonight Show. In August 2007, she toured Chile as a collaborative artist in art song recitals and workshops. She holds a Bachelor of Fine Arts degree in Piano Performance from the University of Minnesota and a Master of Music degree in Accompanying (with honors) from USC.

JAHYEONG (JACKIE) KOO

Pianist Jahyeong (Jackie) Koo serves as LACC’s Intermediate and Preparatory Choir accompanist. Koo also serves as the staff accompanist for CSU Northridge, as well as being the founder and manager of the Valley Philharmonic Youth Orchestra. She has won numerous piano competitions and awards, both as a solo artist and as an accompanist throughout the United States, Europe, and Asia. Having been invited to perform with the Moscow Philharmonic Orchestra in Russia and the Razgrad Philharmonic Orchestra in Bulgaria, she also performed with the LA TRIO and taught master classes in China, as well as performing for the International Clarinet Festival in Japan and serving as resident accompanist for the International Clarinet and Saxophone Festival in Beijing in 2007 and Chongqing in 2015. A CSU Los Angeles Adjunct Professor of Music from 2004 to 2009, Koo is a member of the MTNA and SYMF and currently accompanies the youth choirs at All Saints Church in Pasadena.

Koo is a graduate of the Sun-Hwa Performing Arts School in Seoul, South Korea. She received her Bachelor of Music and Master of Music degrees in piano performance from the University of Northern Iowa, along with an enrollment as a doctoral candidate at USC with an Accompanying Assistantship.

MITSUKO MORIKAWA

Pianist Mitsuko Morikawa accompanies for the Apprentice Choir, has been an active soloist, accompanist, and chamber musician throughout the world, has recorded music for the New World Records label, and has been featured on radio programs in the U.S. and Japan. She has served on the faculties at the Meadowmount School of Music, Oberlin College Conservatory, the Oberlin Flute Institute, Baldwin Wallace College Conservatory, and the ENCORE School of Strings.

Morikawa freelances frequently with LA Opera, the LA Phil, LA Master Chorale, and Los Robles Master Chorale. She is currently a staff accompanist at CSULA, UCLA, and the Colburn School. Morikawa holds a Bachelor of Music

degree in Piano Performance from the Toho School of Music in Japan; a Master of Music degree in Piano Performance from the Manhattan School of Music; a Professional Studies Certificate in piano performance from the Cleveland Institute of Music; and a Doctor of Musical Arts degree in Keyboard Collaborative Arts from USC. Morikawa’s teachers include Alan Smith, Norman Krieger, Sergei Babayan, Cheng-Zong Yin, Paul Schenly, Sara Davis Buechner, and Hisako Ueno.

JOSHUA TAN

Pianist Joshua Tan plays for the Young Men’s Ensemble and also serves as an LACC musicianship instructor. He is currently serving on the faculty at Fullerton College and maintains an active private teaching studio. Tan recently received his Doctor of Musical Arts degree from the USC Thornton School of Music as the 2020 Outstanding Graduate in Piano Performance. A recipient of many awards, he won first prizes at the MTNA Young Artist Competition for Texas and the Fourth Annual Mika Hasler Foundation Competition.

During his Master of Music graduate studies at the University of Arizona, he received an Outstanding Graduate Teaching Award from the College of Fine Arts. In 2015, he represented the University of Arizona as a touring soloist in the southwestern United States and in Mexico. Tan has always integrated his piano training and choral studies, having earned a dual Bachelor of Music degree in Piano Performance and Choral Music Education. A singer himself, he has toured and competed internationally throughout Europe with many choral ensembles, singing under conductors such as Jo-Michael Scheibe and Betsy Cook Weber. Tan’s musical mentors include Bernadene Blaha, Kevin Fitz-Gerald, John Milbauer, Nancy Weems, and Joseph Zins.

PEDRO OSUNA

A composer from Spain based in Los Angeles, Pedro Osuna has had what has been described as a "meteoric" career. He started singing in choirs and playing violin at five and piano at seven. By age 15, he had begun assisting composers in Spain to learn the craft, while finishing his studies at the Granada Conservatory. Pedro went to Berklee College of Music in Boston on a scholarship and graduated summa cum laude after receiving the most prestigious awards in film scoring and fugue writing.

At 21, he had become the youngest Berklee student to write music for an Academy Awardnominated motion picture and the youngest person ever to work as an orchestrator on a James Bond film (No Time to Die). After continuing his studies with Nadia Boulanger’s student Isaiah Jackson and Bernstein’s disciple Richard Danielpour at UCLA, Pedro quickly found his style and started to receive commissions from some of the most exciting artists of our time. His recent collaborations include the Golden Globe-winning film Argentina, 1985; the Diotima Quartet; cellist Sophia Bacelar; and multi-Grammy Awardwinning soprano Hila Plitmann.

DERRICK SKYE

Derrick Skye is an acclaimed Los Angeles-based composer and musician known for his transcultural approach to music, combining Western classical music with musical practices such as West African traditional, Persian classical, Indian classical, and Balkan folk music. Skye’s music has been commissioned and/or performed by prestigious ensembles including the London Philharmonic, Netherlands Philharmonic, National Arts Centre Orchestra of Canada, and Los Angeles Master Chorale. The Los Angeles Times has described his music as “something to savor” and “enormous fun to listen to,” while The Times (London) has praised Skye’s compositions as “deliciously head-spinning.” In addition to his work as a composer, Skye is dedicated to

promoting cross-cultural understanding through music. His mission is to create music that transcends cultural boundaries and unites diverse communities. Through his music, Skye demonstrates his belief in the power of music to inspire, connect, and foster dialogue across cultures.

ELLEN GILSON VOTH

Ellen Gilson Voth leads an active and fulfilling career as conductor and composer, educator, and keyboard artist. Currently, Voth is Artistic Director of the Farmington Valley Chorale based in Simsbury, CT—a large symphonic chorale of 80-plus members. Through her engagement with singers, collaborating with guest professionals, and partnerships with arts organizations, her vision and artistic leadership of the Chorale has garnered attention throughout the greater Hartford region and beyond. For the Spring 2023 semester, she is the Visiting Conductor of the Wesleyan University Concert Choir. Voth has also served on the music faculties of Western Connecticut State University, Westfield State University (MA), Western New England University (MA, also serving as music coordinator), Gordon College (MA), and the Ithaca College School of Music (NY). Her teaching and mentoring reflect her passion for and dedication to high standards of artistry, scholarship, and integration among different areas of study. For seven years, Voth served as Artistic Director of Novi Cantori, a professional chamber choir based in greater Springfield, MA, conducting nearly 50 performances of music from the Renaissance through the present, balancing traditional and innovative programming with new ventures in community outreach. She also served as Chorus Director of the Pioneer Valley Symphony Chorus (MA), as Director of the Symphonic Chorale at Gordon College (MA), as Assistant Conductor of the New Haven Chorale (CT), and as a conductor with the Connecticut Children’s Chorus. For many summers, Voth served on the faculty of the Masterworks Festival in Winona Lake, IN, and the Csehy Summer School of Music in Langhorne, PA. Her guest-conducting invitations have been regional and national in scope, including the Rhode Island All-State Festival and OAKE National Chamber Choir.

ABOUT THE ARTISTS

APPRENTICE CHOIR

Nyla Abdus-Samad

Audrey Rose

Alexander-Johnstad

Daniel Baker-Garcia

Shea Barrett-Ross

Aeris Basta Getting

Berit Beebe Read

Juliette Berg

Lucien Brenot

Emari Campbell

Aaron Chang

Preston Chiao

Cara Chun

Abraham Coher

Tessa Conte

Grace Couts

William Crook

Adalynn Davis

Larkin DeWitt

Charlie Diecker

Lake Diecker

Sydney Epps

Matilda Eusebio

Phoenix Farina

Alexa Franz

Madeleine Gallagher

Catherine Hampton

Ada Harrison

De Boever

Gemma Hays

Laird Henriod

Alexa Ho

Riley Holmes

Mia Hu

Isabella Huang

Elias Humer

Julie Hung

Hannah Jones

Madeline Kang

Charles Kashkooli

Lyra Kawamura

Felix Kelly

Connor Kim

Lylah Kim

Atticus King

Emiliano Lara-Aguilar

Jaslyn Lee

Ashley Liang

Vincent Liao

Ellie Lin

Kaitlyn Loh

Chloe Luna

Adam Mandel

Augustus McGlothlin

Kaya McLean

Quinn McNary

Katherine Menjivar

Natalie Kaye Ngo

Kate Nguyen

Gabriella Obey

Joshua Obey

Audra O'Dair

Maricela Palacios

Adam Pan

Antonio Peck

Zazie Pritchett-Sidle

Yuriana Raab

Layla Rivera

Kian Sandgren

Gwendolyn Schneider

Katarina Shcharansky

Noah Shiba-Yuson

Naysa Shokeen

Zoe Siemens

Samuel Slavin

Mila Smith

Siri Stromvall

Dashiell Taylor

London Terry

Ellen Thomas

Elle Thorman

Alessandro Tolot

Paloma Vega

Nila Vivek

Allen Wang

Aura Wang

Zooey Yang

Cheyenne Yenofsky

Kelly Yeung

Audrey Yi

Eric Yoo

Lilly Young

Sophie Yu

Christina Zhang

Cleo Zhang

Robert Zhang

Phoebe Li, Mentor

Leah Taylor, Mentor

INTERMEDIATE CHOIR

Celeste Berlejung

Ella Bernthal

Willow Beuoy

Natalie Braxton

Madeleine Cham

Sophia Cham

Emily Cheung

Kadence Chian

Crystal Chong

Charlotte Conn

Camden Corey

Rio-Marie Criego

Abigail Davis

Kyla De Villa

Xann Diaz

Sebastian Dolinar

Linnea Dunsheath

Penelope Epstein

Greta Feinstein

Sofia Gaffigan

Heather Galt

Izabella Prana Gao

Emme Harris

Sadie Hays

Minuet Hong

Kalea Hoshi

Maya Kasturi

Elisabeth Koeckert

Lucy Koeckert

Sophia Lalin

Zara Latif

Isabella Lee

Kiara Liang

Kaia Luna

Risha Mandal

Natalie McMahon

Amanda Moore

Angeline Peng

Nova Radisich

Lily Raymond

Edie Remender

Shinjini Sarkar

Claire Shing

Aviva Simon

Mia Slowinski-Krall

Riley Smith

Rhea Solbes

Ellie Song

Abigail Suh

Gregory Sullivan

Angelina Sun

Srishti Thilak

Irene Thomas

Charlise Wong

Maximo Wong-Chacon

Jamie Wu

Maebh Wu

Sophia Wu

Claire Xuan

Olivia Yan

Pema Yu

Olivia Yun

Julianne Zumbiehl

Amelie Besch, Mentor

Sofia Flores-Castro, Mentor

Kennedy King, Mentor

Leah Taylor, Mentor

CONCERT CHOIR

Peony Anand

Severine Beasley

Sallie Berentsen

Portia Bharne

Mary Bingham

Ella Cannon

Cynthia Chao

Sarah Chen

Annabelle Cheung

Kaitlyn Chiao

Sophie Chiu

Audrey Choi

Kaylin Choi

Kai Cunningham

Audrey de Groot

Rachel DeMerit

Aisling De Villa

Sabreen El-Amin

Rianna Fisher

Jerald Flick

Sofia Flores-Castro

Anna Fratto

Ye Joy Gao

Lily Gustafson

Mila Gustafson

Hannah Hagiwara

Tessa Henriod

Claire Huang

Elizabeth Huang

Saxon Humphrey

Harmony Jones

Eugenia Kang

Kennedy King

Madeleine King

Raia Kita

Erika Kok

Zora Kuzma

Clarissa Lalin

Allegra Lazo

LeMarie

Kelsi Lo

Sasha Madilian

Therese Magboo

Elle Michelson

Katherine Olsen

Ilan Orlina

Aurora Patlan

Lilia Prokopec Urueta

Luca Rauch

Daniel Rigali

Jade Riley

Cozette Rinde

Kimberly Robinson

Frances Salata

Leona Ray Salata

Quinn Scherbert

Madison Shen

Melina Singer

Camila Sparks

Kieran Sparks

Preethi Syverson

Leah Taylor

Erin Tomooka

Chloe Tse

Ava Villacorta

Emily Woo

Sophia Wood

Cailyn Wu

Rachel Yang

Irene Zhang

Chloe Zou

CHAMBER SINGERS

Emilia Bernstein

Amelie Besch

Ella Carey

Natalie Chan

Nitya Chawla

Elizabeth Christian

Eleanor Cramer

Maya Day

Anne-Elizabeth

Debreu

Trinity Dela Cruz

Stephanie Endara

Leigh Epstein

Sofia Flores-Castro

Anna Fratto

Megan Hoffman

Kennedy King

Isabella Leyva

Phoebe Li

Natalia Mathias

Clara Pierce

Elena Ruiz

Liv Ryssdal

Emily Savage

Matilda Scott

Jasmine Sov

Reagan Voxman

Rachel Yang

CHORALE

Daniel Arias

Owen Bearman

Emilia Bernstein

Zion Berry

Amelie Besch

Matthias Besch

Andrew Bigelow

Adrian Carter

Natalie Chan

Harvey Chang

Elizabeth Christian

Eleanor Cramer

Maya Day

Anne-Elizabeth

Debreu

Audrey de Groot

Rachel DeMerit

Stephanie Endara

Leigh Epstein

Joshua Fisher

Anna Fratto

Lily Gustafson

Ian Kim

Kennedy King

Clarissa Lalin

Isabella Leyva

Phoebe Li

Ryan Liddy

Caius McGlothlin

Clara Pierce

Maximilian Rabaudi

Jade Riley

Frances Salata

Matilda Scott

Jasmine Sov

Erin Tomooka

Reagan Voxman

Oscar Yum

YOUNG MEN’S ENSEMBLE

Daniel Arias

Owen Bearman

Zion Berry

Matthias Besch

Andrew Bigelow

Adrian Carter

Harvey Chang

William Chang

Marc Cheung

Enzo Emerson

Joshua Fisher

Luke Gustafson

Aurix Hong

David Kakuk

Ryan Ke

William Killackey

Ian Kim

Roy Kim

Ethan Kwak

Ryan Liddy

Ian Loo

Julian Madilian

Maximilian Matsu

Caius McGlothlin

Joshua Moore

Michael Patzakis

Maximilian Rabaudi

Elias Ramirez

Angel Reyes

Noah Rios

Lucas Stanton

Khalil Tan

Luca Tolot

Marcus Wu

Miles Yum

Oscar Yum

Ziggy Marley

Ziggy Marley

TUESDAY

MAY 9, 2023 8PM

Tonight’s program is presented without intermission. Programs and artists subject to change.

ABOUT THE ARTIST

ZIGGY MARLEY

Ziggy Marley is an eight-time Grammy winner, Emmy winner, musician, producer, activist, and humanitarian who has cultivated a legendary career for close to 40 years. The eldest son of Bob and Rita Marley, Ziggy has hewed his own path as a musical pioneer, infusing the reggae genre with funk, blues, rock, and other elements through mindful songcraft. Equal parts master storyteller and motivational guide, he deftly explores issues from environmental awareness

to self-empowerment, social injustice to political inequity, while returning again and again to the transformative power of love. And over the past 15 years with his own companies, Tuff Gong Worldwide and Ishti Music, Marley has complete control of his masters and publishing. His charity URGE benefits the well-being of children in Jamaica, Africa, and North America. For more information, visit ziggymarley.com and all social media platforms at @ziggymarley

Víkingur Ólafsson

Víkingur Ólafsson, piano

MOZART AND HIS CONTEMPORARIES

GALUPPI Piano Sonata No. 9 in F minor (c. 2 minutes)

I. Andante spiritoso

MOZART Rondo in F major, K. 494 (c. 6 minutes)

C.P.E. BACH Rondo for Keyboard in D minor, Wq 61/4 (c. 4 minutes)

CIMAROSA, Keyboard Sonata No. 42 in D minor (c. 3 minutes) arr. ÓLAFSSON

MOZART Fantasia for Piano No. 3 in D minor, K. 397 (c. 6 minutes)

MOZART Rondo in D major, K. 485 (c. 4 minutes)

CIMAROSA, Keyboard Sonata No. 55 in A minor (c. 3 minutes) arr. ÓLAFSSON

HAYDN Piano Sonata No. 47 in B minor, Hob.XVI:32 (c. 8 minutes)

I. Allegro moderato

II. Menuetto—Trio (Minore)

III. Finale: Presto

MOZART Kleine Gigue in G major, K. 574 (c. 2 minutes)

MOZART Piano Sonata No. 16 in C major, K. 545 (c. 9 minutes)

I. Allegro

II. Andante

III. Rondo: Allegretto

INTERMISSION

MOZART, String Quintet No. 4 in G minor, K. 516 (c. 8 minutes) arr. ÓLAFSSON III. Adagio ma non troppo

GALUPPI Piano Sonata No. 34 in C minor (c. 6 minutes)

I. Larghetto

MOZART Piano Sonata No. 14 in C minor, K. 457 (c. 16 minutes)

I. Molto allegro

II. Adagio

III. Allegro assai

MOZART Adagio in B minor, K. 540 (c. 8 minutes)

MOZART, Ave verum corpus, K. 618 (c. 4 minutes) transcr. LISZT

WEDNESDAY

MAY 10, 2023 8PM

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

Media Sponsor: LAist

Programs and artists subject to change.

AT A GLANCE

So imposing is Wolfgang Amadeus Mozart’s stature that the adjective “Mozartean” describes the style and zeitgeist of an entire era. His very name has become synonymous with the world of classical music (e.g., Mozart in the Jungle). Richard Wagner, not often given to compliments, said that “the most tremendous genius raised Mozart above all masters, in all centuries and in all the arts.”

But there were of course many other talented and significant composers active during Mozart’s lifetime: Joseph Haydn, C.P.E. Bach, Baldassare Galuppi, and Domenico Cimarosa, to name

only a few. Icelandic pianist Víkingur Ólafsson believes that looking more closely at the music of these contemporaries can help us more fully understand and appreciate Mozart’s genius. What is it that he does better? What sets his music apart? Is it his ability to convey emotion? The ambiguity of feeling? His weird sense of humor? His own legendary skill as a pianist, which made him a European rock star? Tonight’s recital program encourages us to ponder these questions and examine both the roots of Mozart’s style and his influence.

—Harlow Robinson

Mozart’s short but remarkably prolific creative life spanned three different periods in musical history. Born at the very end of the Baroque era, he came of age at the height of the Classical age and died at the dawning of Romanticism. Elements of all these styles found their way into his compositions. A gifted synthesizer of various and sometimes contradictory influences, Mozart (like his admirer Stravinsky in the 20th century) eagerly absorbed and transformed the music he heard around him into an integrated and often revolutionary personal style that resists neat categorization.

As Ólafsson has observed in an essay, Mozart “was not just perfecting the Classical tradition but subtly subverting it, his graceful touch as featherlight as always but the shadows darker, the nuances and ambiguities more profound.” But what led Ólafsson to construct the eclectic program he presents here is the “ecosystem of 18th-century music” in which Mozart operated. The music of the four composers who join Mozart here presents an “echo of the age” and helps us to see him as part of a larger tradition, not just an isolated genius.

Two are Italian and had little or no direct contact with Mozart:

Baldassare Galuppi (1706–1785) and Domenico Cimarosa (1749–1801). Two are Austro-Germanic and were closely connected to him musically or personally: C.P.E. Bach (1714–1788) and Franz Joseph Haydn (1732–1809).

Best known as composers of opera, Galuppi and Cimarosa together wrote nearly 200. They also shared the experience of working in Saint Petersburg as court composers for Empress Catherine the Great of Russia. Venetian Galuppi served there from 1765 to 1768 and entertained her courtiers with his fashionable galant style of keyboard performance. Ólafsson includes two Galuppi pieces here: the Andante spiritoso from the Sonata No. 9, with its “elusive combination of darkly polished elegance and apprehensive energy,” and the moody, melancholy Larghetto from Piano Sonata No. 34.

Catherine found the more “fastidious and scholarly” Cimarosa less congenial to her flamboyant taste, and his sojourn in the frigid Russian capital (1787–1791) was decidedly less successful. His keyboard music was a mere sideline, and little was known of it until some sonatas were discovered in the 1920s. Ólafsson has chosen movements of a “lamenting,

arioso quality” from two sparsely scored sonatas (Nos. 42 and 55), harmonizing and arranging them for the modern piano.

When Mozart was making his name in the 1760s and 1770s, Carl Philipp Emanuel Bach, the so-called “Berlin Bach,” fifth child and second surviving son of J.S. Bach, was one of the most influential composers in Europe. Mozart famously said of him (and not of his father), “Bach is the father, we are the children.” C.P.E. Bach’s Rondo in D minor provides a superb example of his characteristic empfindsamer Stil (sensitive style)— virtuosic and fresh, with unexpected detours and shifts in tempo and mood, qualities Mozart later brought to his own keyboard works.

Of all the composers represented here, Mozart had the closest and most complex relationship with Joseph Haydn. Often considered together as twin peaks of the Classical style, they were the leading composers in Vienna at the end of the 18th century. Sturdy “Papa Haydn” was old enough to be Mozart’s father, but actually outlived him by 18 years. Hapsburg Emperor Joseph II compared Mozart’s compositions to “a gold snuffbox, manufactured in Paris, and Haydn’s to one finished off in London.”

Their professional situations were quite different, as musicologist David Wyn Jones has observed: “Haydn was a dutiful Kapellmeister; Mozart was a freelance musician.”

Both composers wrote a large body of music for the keyboard, but Haydn produced more sonatas: 60 to Mozart’s 18. (Admittedly, Haydn’s are generally much shorter.) Until the 1770s, when the pianoforte came into wider use, Haydn wrote mainly for the harpsichord and then transitioned to the new instrument, while Mozart wrote only a few early pieces for the harpsichord and then focused on the piano.

Haydn’s Sonata in B minor (No. 47, Hob.XVI:32) dates from the mid1770s. A surprisingly dramatic work full of sharp contrasts and virtuosic passages, it seems to foreshadow Beethoven with its insistently repeated (hammered, even) themes. Of particular interest is the Minuet, opening as a stately Baroque dance in B major but taking a dark and stormy romantic turn in the middle section (trio minore).

ABOUT THE ARTIST

Haydn admired Mozart and considered him “far above me” in talent. In general, Mozart’s music is more emotional and serious, with longer phrases and more developed slow movements. Mozart’s style is sophisticated, nuanced, and “urban”; Haydn’s rustic, less chromatic, and often jolly. Many of Mozart’s sonatas also had a pedagogical purpose, used when he turned to teaching for financial support in the late 1780s. The sunny and charming Piano Sonata No. 16 in C major, known as the Sonata facile (easy sonata), composed in 1788, is a prime example and has been used by piano teachers (including mine!) for many generations as a gentle introduction to “serious” music. Twice as long, and very different in personality and difficulty, is the Piano Sonata No. 14 in C minor, with its pregnant pauses, dark colors, and arresting changes of timbre, rhythm, and tempo.

Mozart also mastered smaller forms. The five examples on this program span various genres and moods: the cheerful but complex

F-major Rondo, K. 494; the dreamy, mysterious (and unfinished) Fantasia in D minor, K. 397; the technical tour de force of the Rondo in D major, K. 485; the tiny, exuberant personal tribute to J.S. Bach of the Kleine Gigue, K. 574; and the Adagio in B minor, K. 540, a balance, in Ólafsson’s words, of “dark, introspective tension with tender meditation.”

The “grace and consolation” of the Adagio movement of the melancholy 1787 G-minor String Quintet, K. 516 (for two violins, two violas, and cello), inspired Ólafsson to create an arrangement for piano solo. Many other composers have transcribed Mozart’s works for piano solo, including one of the most prolific transcribers of all, Franz Liszt (1811-1886). His 1867 version of the beloved 1791 short motet Ave verum corpus, composed just six months before Mozart’s untimely death, dwells mainly in the piano’s upper register. Writes Ólafsson, “Mozart has become an angel of sorts.” —Harlow

Robinson

Works (2017), Johann Sebastian Bach (2018), Debussy/Rameau (2020), and Mozart & Contemporaries (2021)—captured the public and critical imagination and have led to career streams of over 400 million. His latest album, From Afar, was released in October 2022.

Ólafsson’s multiple awards include the Rolf Schock Prize for music (2022), Gramophone magazine Artist of the Year, Opus Klassik Solo Recording Instrumental (twice), and Album of the Year at the BBC Music Magazine Awards.

VÍKINGUR ÓLAFSSON

Icelandic pianist Víkingur Ólafsson has made a profound impact with his remarkable combination of highestlevel musicianship and visionary programs. His recordings for Deutsche Grammophon—Philip Glass: Piano

Now one of the most soughtafter artists of today, Ólafsson continues to perform as artistin-residence at the world’s top orchestras, concert halls, and festivals, and to work with today’s greatest composers. In the 2022/23

season, he performs with orchestras including the Philharmonia Orchestra, Concertgebouworkest, Czech Philharmonic Orchestra, New York Philharmonic, Berliner Philharmoniker, the Cleveland Orchestra, the London, and Bergen philharmonic orchestras, Toronto Symphony, and the Orchestre Symphonique de Montréal.

Ólafsson’s significant talent extends to broadcasts. A captivating communicator both on and off stage, he has presented several of his own series for television and radio. He was Artist-in-Residence for three months on BBC Radio 4’s flagship arts program, Front Row; broadcasting live during lockdown from an empty Harpa concert hall in Reykjavík, he reached millions of listeners around the world.

Beethoven and Strauss

Los Angeles Philharmonic

Eva Ollikainen, conductor

Pierre-Laurent Aimard, piano

THURSDAY

MAY 11, 2023 8PM

SATURDAY

MAY 13 2PM

SUNDAY

MAY 14 2PM

BEETHOVEN

Piano Concerto No. 4 in G major, Op. 58 (c. 37 minutes)

Allegro moderato

Andante con moto

Rondo: Vivace

Pierre-Laurent Aimard

INTERMISSION

Anna ARCHORA (U.S. premiere, LA Phil commission THORVALDSDOTTIR with generous support from Elizabeth and Justus Schlichting) (c. 20 minutes)

Worlds within worlds

Divergence

Primordia

R. STRAUSS Der Rosenkavalier Suite, Op. 59 (c. 22 minutes)

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

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

Programs and artists subject to change.

AT A GLANCE

Orchestral Voices

It has long been remarked that the orchestra is one of the main characters in Strauss’ opera Der Rosenkavalier, commenting on and interpreting the words and action onstage. That wordless eloquence—sometimes exalted, sometimes riotously funny—is wonderfully audible in the sumptuous Suite from the opera. Icelandic composer Anna

PIANO CONCERTO NO. 4 IN G MAJOR, OP. 58

Ludwig van Beethoven (1770-1827)

Composed: 1806

Orchestration: flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano

First LA Phil performance: February 22, 1924, Walter Henry Rothwell conducting, with Ernst von Dohnányi, soloist

As Beethoven’s reputation as a composer came to match his fame as a pianist, he began introducing his large-scale compositions in ambitious musical academies. The most sprawling of these concerts came on December 22, 1808, at the Theater an der Wien, when Beethoven programmed his Fifth and Sixth Symphonies, three movements from his Mass in C, a Fantasia for solo piano, a concert aria, the Choral Fantasia, and the present work, the Piano Concerto No. 4 in G major, Op. 58.

Johann Friedrich Reichardt, a well-known musical traveler, writer, and former music director to the King of Prussia, happened to be in the theater that night, as a guest of one of Beethoven’s patrons. Reichardt was no musical conservative—he helped cultivate the German art song,

Thorvaldsdottir is a modern master of the medium, and her ARCHORA takes a deep dive into immersive sonority. Beethoven’s Fourth Piano Concerto certainly provides the expected showcase for the soloist, but it was also revolutionary in how the soloist interacts with the orchestra, in dialogues and designs as dramatic as any opera. —John Henken paving the way for Schubert—but even he had trouble listening to four hours of Beethoven’s new music. “I accepted the kind offer of Prince Lobkowitz to let me sit in his box with hearty thanks,” Reichardt remembered. “There we continued, in the bitterest cold, too, from half past six to half past ten, and experienced the truth that one can easily have too much of a good thing—and still more of a loud.”

“It was with the Fourth Concerto, in G major, that the ultimate of condensation, of unity with the solo exposition, of imagination, and of discipline was attained,” wrote the pianist Glenn Gould. This might seem like a surprising statement, especially when the Third Concerto, with its stormy C minor paralleling the Fifth Symphony, and the Fifth Concerto, characterized as it is by breadth and nobility, have tended to overshadow their more understated companion. But just listen to the unanimity of purpose between soloist and orchestra as the Fourth Concerto opens, with the piano making itself heard from the silence and the strings stealing in as its first utterance fades away.

Or witness the careful construction of the dialogue between soloist and orchestra in the slow movement, a movement so imaginative that commentators gripped by fantasy have sought a program where none was intended, suggesting, for example, the

dialogue of Orpheus (soloist) and the Furies (orchestra) at the gates of the underworld. Another legendary pianist, the German Wilhelm Kempff, wrote that “On the two pages of full score which this movement occupies, there are few notes. Instead, there are many rests, which sit like black, sinister birds on the lines of the music, signs signifying a silence which takes the breath away.”

From the depths of the slow movement’s E-minor gloom, the main theme of the rondo-finale scurries in, shy and playful at first, but soon assuming an assertive, almost bellicose character. Orpheus reappears in a brief moment of melodic repose in a patch of thematic material that returns throughout the movement to counterbalance the opening’s more martial character. —John

Mangum

ARCHORA

Anna Thorvaldsdottir (b. 1977)

Composed: 2022

Orchestration: 2 flutes, alto flute, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, trombone, bass trombone, tenor tuba, bass tuba, percussion (1=tam-tam, bass drum; 2=bossed gong, bass drum; 3=bossed gong, tam-tam, bass drum), organ, and strings.

First LA Phil performance: May 11, 2023

The core inspiration behind ARCHORA centers around the notion of a primordial energy and the idea of an omnipresent parallel realm— a world both familiar and strange, static and transforming, nowhere and everywhere at the same time. The piece revolves around the extremes on the spectrum between the Primordia and its resulting afterglow—and the conflict between these elements which are nevertheless fundamentally one and the same. The halo emerges from the Primordia but they have both lost perspective and the connection to one another, experiencing themselves individually as opposing forces rather than one and the same.

As with my music generally, the inspiration is not something I am trying to describe through the music as such—it is a way to intuitively approach and work with the core energy, structure, atmosphere, and material of the piece. —Anna

Thorvaldsdottir

DER ROSENKAVALIER SUITE

Richard Strauss (1864-1949)

Composed: 1909-1910

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

First LA Phil performance: November 15, 1945, Alfred Wallenstein conducting

When Richard Strauss needed some local color for his opera Der Rosenkavalier (The Cavalier of the Rose), which is set in Vienna, he turned to the waltz. It was a rather anachronistic choice, since the

opera is set in the 18th century, roughly 100 years before Johann Strauss, Jr., and company had everyone in the Austrian capital dancing in 3/4 time. Examples of the waltz can be found as far back as the late 18th century, but, for most music lovers, the waltz equals Vienna during its 19th-century glory days. By the time Strauss composed Der Rosenkavalier in 1909-10, the sun was setting on that golden age, and the composer used the waltz in the opera as shorthand for the elegance and grace of a bygone era.

The opera’s story unfolds in old-regime Europe. Octavian, a young nobleman (sung by a mezzosoprano in the opera, which makes the part one of the most famous trouser roles), is carrying on a love affair with the Marschallin (she is married to a field marshal, which explains her name, a feminized form of the German “Marschall”). Baron Ochs, a bumbling old bumpkin and relative of the Marschallin, wants to marry lovely young Sophie, so the Marschallin suggests Octavian as a go-between for the proposal. When Octavian falls in love with Sophie, amusing machinations ensue, and eventually their love becomes clear to all. In the end, the Marschallin gives up Octavian so that he and Sophie can be united.

Strauss’ score for the opera, with its delectable waltzes and passages of ravishing beauty, proved extremely popular with audiences, and Strauss culled two “Waltz Sequences” from the score for performance in the concert hall. Delicious as these are, they miss out on some of the score’s more subtle flavors. The composer also sanctioned and had a hand in the arrangement of substantial excerpts from the score to accompany a 1925 silent film of Der Rosenkavalier, directed by Robert Wiene of The Cabinet of Dr. Caligari fame. Strauss was very reluctant about the whole venture, in spite of a $10,000 fee,

and his trepidation was borne out by the fairly disappointing end result.

Two decades later, Strauss consented to another version of his Rosenkavalier score for orchestra, the Suite selected for tonight’s program. The Suite was presumably arranged by Artur Rodziński, who was conductor of the New York Philharmonic at the time and had been Music Director of the Los Angeles Philharmonic from 1929 to 1933, and he conducted its first performance in New York on October 5, 1944. Strauss, in a tough spot financially after World War II, agreed to its publication in 1945.

The Suite opens just as the opera does, with bellowing horns and glowing strings portraying the lovemaking that has just taken place between Octavian and his significantly older mistress, the Marschallin. The music that accompanies the presentation of the silver rose in Act II (Octavian gives it to Sophie as an engagement present from Baron Ochs) follows, delicate and rapt, the rose itself depicted by a series of shimmering chords played by flutes, solo violins, harps, and celesta. A brief passage of turbulent music that accompanies Ochs’ discovery that Octavian has been posing as his go-between only to pursue Sophie himself precedes the series of waltzes that we hear in Act II while Ochs is trying to sweet-talk Sophie with smooth lines like “With me, no night will be too long for you!” Here, any attempt to follow the narrative of the opera begins to disintegrate, as the Suite jumps back to the beginning of Act II and then to an orchestral rendition of the famed trio and duet that close the opera, as the Marschallin gracefully yields to Sophie and the elated young lovers sing their duet. The Suite’s coda brings yet another waltz, this time from earlier in Act III, a fitting culmination for a Suite from an opera that revels in the splendor, opulence, and charm of Vienna’s golden age. —John

Mangum

EVA OLLIKAINEN

Eva Ollikainen has been the Artistic Leader and Chief Conductor of the Iceland Symphony Orchestra since 2020. Her recent guest appearances include concerts and performances with Staatskapelle Dresden, Wiener Symphoniker, BBC Symphony Orchestra, Royal Scottish National Orchestra, Royal Danish Orchestra, and Kennedy Center Opera House Orchestra. She served as chief conductor for Nordic Chamber Orchestra from 2018 to 2021.

One of the highlights of the 2022/23 season is her debut at the Proms with the BBC Philharmonic, featuring the world premiere of Anna Thorvaldsdottir’s ARCHORA. She also makes her debut with Los Angeles Philharmonic, both at Walt Disney Concert Hall and the Hollywood Bowl, and she performs with BBC Symphony Orchestra at the Printemps des Arts festival in Monte Carlo.

This season she also visits the Baltimore Symphony Orchestra, National Arts Centre Orchestra in Canada, Orchestre National de Belgique, and Helsinki Philharmonic. Apart from an extensive U.K. tour with the Iceland Symphony Orchestra, she will also conduct the centenary celebration concert of the BBC Philharmonic.

Ollikainen is a frequent guest teacher at the Sibelius Academy’s Conducting Class and, in her first season as Artistic Leader of the Iceland Symphony Orchestra, she founded the Conducting Academy for young musicians in Iceland. This season she has also been invited to give a master class at Peabody Institute of the Johns Hopkins University.

PIERRE-LAURENT AIMARD

Widely acclaimed as a key figure in the music of our time, Pierre-Laurent Aimard has had close collaborations with many leading composers including György Ligeti, Karlheinz Stockhausen, George Benjamin, Pierre Boulez, and Olivier Messiaen. Aimard began the 2022/23 season by receiving Denmark’s most prominent music award, the Léonie Sonning Music Prize 2022, which is being celebrated in concerts with the Royal Danish Orchestra under Sylvain Cambreling and recitals in Copenhagen and Aarhus. Elsewhere he continues to work closely with leading orchestras and conductors across Europe, including Antwerp Symphony with Philippe Herreweghe, Radio Filharmonisch Orkest with Stéphane Denève, Deutsche Symphony Orchester Berlin with Elim Chan, Orchestre National de Lille with Alexandre Bloch, and Orchestre Philharmonique de Radio France. He continues his collaboration with the San Francisco Symphony and EsaPekka Salonen, recording Bartók’s complete piano concertos, due for release in the fall of 2023, and returns to the Los Angeles Philharmonic for Beethoven’s Piano Concerto No. 4.

In celebration of György Ligeti’s 100th Anniversary in 2023, Aimard will perform works by the composer in collaborations throughout the season, including the Seoul Philharmonic with David Robertson for his Concerto for Piano; acclaimed German jazz pianist Michael Wollny on an improvisatory project around the

Etudes, and continuing to celebrate the composer through his unique recital programming.

In other chamber projects, highlights include collaborations with Tamara Stefanovich for Messiaen’s Visions de l’amen at the Boulez Saal and continued partnerships with Mark Simpson and Jean-Guihen Queyras for trio recitals including works by Helmut Lachenmann in Luxembourg and Vienna. Together with Isabelle Faust and Jörg Widmann, Aimard joins Queyras for Messiaen’s Quatuor pour la fin du temps, touring the work across Spain in the autumn.

Having recently released a new disc of Beethoven’s Hammerklavier Sonata and Eroica Variations for Pentatone to great critical acclaim, Aimard also released a new recording of Visions de l’amen with Tamara Stefanovich in September 2022. Recent seasons have also included Messiaen’s magnum opus Catalogue d’oiseaux, which was honored with multiple awards including the Preis der Deutschen Schallplattenkritik. Aimard has also performed the world premieres of piano works by Kurtág at Teatro alla Scala; Carter’s last piece, Epigrams, which was written for him; Harrison Birtwistle’s works Responses: Sweet Disorder and the Carefully Careless, and Keyboard Engine for two pianos, which received its London premiere in the fall of 2019.

Through his professorship at the Hochschule Köln, as well as numerous series of concert lectures and workshops worldwide, Aimard sheds an inspiring light on music of all periods. He was previously an Associate Professor at the College de France, Paris, and is a member of Bayerische Akademie der Schönen Künste. He took up the position as Head of New Music at the Reina Sofía School, Madrid, in autumn 2021. In spring 2020, after several years’ work and in collaboration with the Klavier-Festival Ruhr, he relaunched a major online resource, “Explore the Score,” which centers on the performance and teaching of Ligeti’s piano music.

Psycho with Orchestra

Hollywood Bowl Orchestra

Constantine Kitsopoulos, conductor

Psycho (1960) (c. 109 minutes)

CAST

Anthony Perkins Norman Bates

Vera Miles Lila Crane

John Gavin Sam Loomis

Martin Balsam Milton Arbogast

John McIntire Deputy Sheriff Al Chambers

Simon Oakland Dr. Fred Richmond

Vaughn Taylor George Lowery

Frank Albertson Tom Cassidy

Lurene Tuttle Mrs. Chambers

Patricia Hitchcock Caroline (as Pat Hitchcock)

John Anderson California Charlie

Mort Mills Highway Patrol Officer

Janet Leigh Marion Crane

Screenplay by Joseph Stefano

Based on the novel by Robert Bloch

Directed by Alfred Hitchcock

Music by Bernard Herrmann

A Universal Picture

Production Credits

John Goberman, producer John Waxman, music consultant

Technical Supervisor Pat McGillen Music Preparation Larry Spivack

FRIDAY

MAY 12, 2023 8PM

A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York), and appears by arrangement with IMG Artists.

The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).

PSYCHO Bernard Herrmann (1911-1975)

Orchestration: strings

First LA Phil performance: May 12, 2023

“To orchestrate is like a thumbprint. I can’t understand having someone else do it. It would be like someone putting color to your paintings.”

Musically precocious, Bernard Herrmann (b. 1911, New York City; d. 1975, North Hollywood) won a composition prize at age 13, founded his own orchestra at age 20, and joined CBS as a staff conductor three years later, eventually becoming Chief Conductor of the CBS Symphony Orchestra. Through his work at CBS, he met Orson Welles, writing or arranging music for Welles’ radio programs, and then following Welles into films; Citizen Kane was his first film score. Herrmann’s most famous relationship was with Alfred Hitchcock, for whom he

scored seven films. His only Academy Award, however, came for William Dieterle’s The Devil and Daniel Webster He was widely acclaimed for distinctive orchestration, such as the use of theremins in The Day the Earth Stood Still, and the string scoring for Psycho

Herrmann’s use of orchestral color was never more ingenious than in this legendary, much-imitated score, written in 1960 for string orchestra only, in which he created what he called a “black and white sound” to mirror Psycho’s stark blackand-white images.

Originally, Hitchcock had requested that no music be written for the shower murder of Marion Crane (Janet Leigh). Ever true to his own instincts, Herrmann ignored his employer, believing the sequence needed scoring for full impact. According to the composer, at the recording session Hitchcock listened with approval to

the score, then expressed regret that he had asked for no music during the shower scene. A beaming Herrmann confessed that he had written something anyway—would Hitch like to hear it? The director listened to the cue and immediately overruled his own “improper suggestion.”

For decades, film theorists have analyzed the multiple meanings suggested by Herrmann’s shrieking violins, which have been said to reflect the stabbing knife, Marion’s screams, even bird cries that may be a clue to Marion’s killer (taxidermist Norman Bates, who fills his office with dead birds). When asked what he had intended to convey, Herrmann replied with a single word: “Terror.” —Adapted from notes by Steven C. Smith, author of A Heart at Fire’s Center: The Life and Music of Bernard Herrmann (University of California Press, 1991) and a recipient of the Deems Taylor Award for writing on music.

CONSTANTINE KITSOPOULOS

Constantine Kitsopoulos has established himself as a dynamic conductor known for his ability to work in many different genres and settings. He is equally at home with opera, symphonic repertoire, film with live orchestra, musical theater, and composition. His work has taken him all over the world, where he has conducted the major orchestras of North America, the Hong Kong Philharmonic, and the Tokyo Philharmonic.

In addition to Kitsopoulos’ engagements as guest conductor, he is Music Director of the Festival of the Arts Boca and General Director of Chatham Opera. He is General Director of the New York Grand Opera and is working with the company to bring opera, free and open to the public, back to New York’s Central Park.

During the 2022/23 season, Kitsopoulos will make his debut with the Chicago Symphony Orchestra and will conduct return engagements with the New York Philharmonic, the Philadelphia Orchestra, and the Detroit, Phoenix, Houston, Vancouver, New Jersey, and San Francisco symphonies.

Highlights of previous seasons include return engagements with the Dallas Symphony, Detroit Symphony, Phoenix Symphony, New Jersey Symphony, San Francisco Symphony, San Antonio Symphony, Houston Symphony, Toronto Symphony, New York Philharmonic, and Louisiana Philharmonic. Kitsopoulos also conducted Leonard Bernstein’s Mass at Indiana University Opera Theatre.

Kitsopoulos has developed semistaged productions of Mozart’s The Magic Flute (for which he has written a new translation), Don Giovanni, and La bohème. He has conducted IU Opera Theatre’s productions of Falstaff, Die Fledermaus, A View from the Bridge, H.M.S. Pinafore, The Most Happy Fella, South Pacific, Oklahoma!, The Music Man, and The Last Savage. He was Assistant Chorus Master at New York City Opera from 1984 to 1989.

On Broadway, Kitsopoulos has been Music Director of Rodgers & Hammerstein’s Cinderella, The Gershwins’ Porgy and Bess (cast album on PS Classics), A Catered Affair (cast album on PS Classics), Coram Boy, Baz Luhrmann’s production of Puccini’s La bohème (cast album on DreamWorks Records), Swan Lake, and Les Misérables. He was Music Director of ACT’s production of Weill/ Brecht’s Happy End and made the only English-language recording of the piece for Sh-K-Boom Records.

Kitsopoulos studied piano with Marienka Michna, Chandler Gregg, Edward Edson, and Sophia Rosoff. He studied conducting with Semyon Bychkov, Sergiu Commissiona, Gustav Meier, and Vincent La Selva, his principal teacher.

HOLLYWOOD BOWL ORCHESTRA

Musicians have been performing at the Hollywood Bowl since its inception in 1922. “Bowl Orchestra” was used as early as 1925, and “HOLLYWOOD BOWL ORCHESTRA” was used on live recordings made in 1928 under the baton of Eugene Goossens. From 1945 to 1946, Leopold Stokowski was Music Director of the Hollywood Bowl Symphony Orchestra. From the 1950s on, however, there was no official Hollywood Bowl Orchestra until it reappeared in 1991 as a completely new ensemble.

The current incarnation of the Hollywood Bowl Orchestra was

established under the direction of former Principal Conductor John Mauceri and gave its first public performances on July 2, 3, and 4, 1991. During his 16-season tenure, Mauceri and the Hollywood Bowl Orchestra toured Japan four times and, in November 1996, performed two public concerts in Rio de Janeiro and São Paulo, Brazil, representing the first time an American orchestra was invited to Brazil specifically to perform the great music of the American cinema. After retiring from the orchestra in 2006, Mauceri was awarded the permanent title of Founding Director of the Hollywood Bowl Orchestra.

In 2008, Thomas Wilkins began his appointment as Principal Conductor of the Hollywood Bowl Orchestra. Wilkins, committed to promoting a lifelong enthusiasm for music, is an audience favorite whenever he conducts.

The Hollywood Bowl Orchestra comprises 80 players, an international mix of classically trained musicians who are among the best studio musicians in Los Angeles. Many make their daily living on Hollywood’s scoring stages and are also accomplished soloists among LA’s various regional and chamber orchestras. It might be surprising to learn that there is no crossover between the Los Angeles Philharmonic and the Hollywood Bowl Orchestra—another indicator that LA has a tremendous pool of musical talent.

For the last three decades, Hollywood Bowl Orchestra concerts have featured an incredible variety of distinguished artists from all genres of music and the world of entertainment. From Mozart to Motown, the repertoire of the Hollywood Bowl Orchestra is as diverse as Hollywood itself. In a single season, the orchestra will perform everything from Broadway favorites to film music, pop music to jazz, and classical music to world premieres by living composers. In essence, the Hollywood Bowl Orchestra does it all.

HOLLYWOOD BOWL ORCHESTRA

Thomas Wilkins

Principal Conductor

John Mauceri

Founding Director

FIRST VIOLINS

Kathryn Eberle

Concertmaster

Marisa Sorajja

Principal

Grace Oh

Associate Principal

Rebecca Bunnell

Chloe Szu-Yun Chiu

Christine Frank

Yen-Ping Lai

Radu Pieptea

Adrianne Pope

Yutong Sharp

Shelly Shi

Mari Tsumura

SECOND VIOLINS

[position vacant]

Principal

Cheryl Norman Brick

Associate Principal

Pam Gates

Natalie Leggett

Carolyn Osborn

Robert Schumitzky

Kathleen Sloan

Olivia Tsui

Vivian Wolf

VIOLAS

Erik Rynearson

Principal [position vacant]

Associate Principal

Carrie Holzman-Little

Carole Kleister-Castillo

Adam Neely

Stefan Landon Smith

Phillip Triggs Hyeree Yu

CELLOS

Dennis Karmazyn Principal

Armen Ksajikian

Associate Principal

Giovanna Moraga Clayton

Trevor Handy

Julie Jung

Erin Breene Schumitzky

BASSES [position vacant] Principal

Denise Briesé Associate Principal

Jeff Bandy

Paul Macres

Barry Newton

FLUTES

Heather Clark Principal

Lawrence Kaplan Piccolo [position vacant]

OBOES

Lelie Resnick Principal [position vacant]

English Horn

Catherine Del Russo

CLARINETS

Gary Bovyer Principal

[position vacant]

Bass Clarinet

Ralph Williams

BASSOONS

Elliott Moreau Principal [position vacant]

Contrabassoon

Allen Savedoff

HORNS

Dylan Hart Principal [position vacant]

Allen Fogle Associate Principal

Todd Miller

TRUMPETS

Robert Schaer Principal

Robert Frear

TROMBONES

William Booth

Principal

Alexander Iles

Bass Trombone

Todd Eames

TUBA

Jim Self Principal

TIMPANI

Tyler Stell Principal

DRUMS

Brian Miller Principal

PERCUSSION

Wade Culbreath Principal

Gregory Goodall

HARP

Mindy Ball Principal

KEYBOARDS

Alan Steinberger Principal

Carrie and Stuart

M. Ketchum Chair

ASSOCIATE CONDUCTOR

Scott Dunn

PERSONNEL MANAGER [position vacant]

LIBRARIAN

Steve Biagini

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

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 long-term 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

Anne 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.

ANNUAL DONORS

The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil between January 1, 2022 and December 31, 2022.

$1,000,000 AND ABOVE

Anonymous (3)

Ann and Robert Ronus

$500,000 TO $999,999

Ballmer Group

$200,000 TO $499,999

Anonymous (2)

Judith and Thomas L. Beckmen

Colburn Foundation

Dunard Fund USA

Jane B. and Michael D. Eisner

Lisa Field

Robyn Field Gordon P. Getty

Max H. Gluck Foundation

Jenny Miller Goff

$100,000 TO $199,999

Anonymous (3)

Nancy and Leslie Abell

Mr. Robert J. Abernethy

Mr. and Mrs. Karl J. Abert

Mr. Gregory A . Adams

Gregory Annenberg

Weingarten/ GRoW @ Annenberg

The Blue Ribbon

The Eisner Foundation

Breck and Georgia Eisner

$50,000 TO $99,999

Anonymous (3)

Amgen Foundation

Ms. Kate Angelo and Mr. Francois

Mobasser

Aramont

Charitable Foundation

David Bohnett Foundation

Anoosheh

Bostani

Linda and Maynard

Brittan

Esther S. M. Chui

Chao & Andrea

Chao-Kharma

Dan Clivner

Becca and Jonathan Congdon

Nancy and Donald de Brier

De MarchenaHuyke Foundation

Kathleen and Jerry L. Eberhardt

Mr. James Gleason

Alexandra S. Glickman and Gayle Whittemore

Music Center Foundation

Hearthland Foundation

Tylie Jones

Kaiser Permanente

Terri and Jerry M. Kohl

Ms. Ursula C. Krummel

The Norman and Sadie Lee Foundation

County of Los Angeles

Alfred E. Mann Charities

Pasadena Showcase House for the Arts

M. David and Diane Paul

The Rauch Family Foundation

Koni and Geoff Rich

Rolex Watch USA, Inc.

The Rose Hills Foundation

Ms. Erika J. Glazer

The Grand LA/ Related John Mohme Foundation

Winnie Kho and Chris Testa

Anne Akiko Meyers and Jason Subotky

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

Mr. and Mrs. Joshua R. Kaplan

Linda and Donald Kaplan

Maureen and Stanley Moore

Mr. and Mrs. Jason O'Leary

The Ralph M. Parsons Foundation

Richard and Ariane Raffetto

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

James and Laura Rosenwald/ Orinoco Foundation

Allyson Rubin

Sony Pictures Entertainment, Inc.

Christian Stracke

Ms. Lois M. Tandy

Alyce de Roulet Williamson

Margo and Ir win Winkler

Ellen and Arnold Zetcher

W.M. Keck Foundation

Darioush and Shahpar

Khaledi 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

Andrew M. Rosenfeld

Wendy and Ken Ruby

David and Linda Shaheen

Marilyn and Eugene Stein

Antonia Hernandez and Michael L. Stern

Ronald and Valerie Sugar

Sue Tsao

Ellen GoldsmithVein and Jon Vein

John and Marilyn Wells Family Foundation

Debra Wong Yang and John W. Spiegel

Live Nation-Hewitt Silva Concerts, LLC

Jay and Deanie Stein Foundation Trust

Estate of Yates Keir

$25,000 TO $49,999

Anonymous (4)

Anonymous in memory of Dr. Suzanne

Gemmell

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

Kawanna and Jay Brown

Michele Brustin

Gail Buchalter and Warren Breslow

Steven and Lori Bush

Oleg and Tatiana Butenko

Ying Cai & Wann S. Lee Foundation

Campagna Family Trust

Mara and Joseph Carieri

Chivaroli and Associates,

Tiffany and Christian Chivaroli

Mr. Richard W. Colburn

Mr. and Mrs. Robert Cook

Mr. and Mrs. Gordy Crawford

Donelle Dadigan

Lynette and Michael C. Davis

Orna and David Delrahim

The Walt Disney Company

Malsi DoyleForman and Michael Forman

Van and Francine Durrer

East West Bank

Michael Edelstein and Dr. Robin Hilder

Geoff Emery

Marianna J. Fisher and David Fisher

Austin and Lauren Fite Foundation

Daniel and Maryann Fong

Foothill Philharmonic Committee

$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

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 Gives

Mr. Gregg Goldman and Mr. Anthony DeFrancesco

Lucy S. Gonda

MA, Creative Arts Therapies

Good Works Foundation and Laura Donnelley

The Gorfaine/ Schwartz Agency

Liz and Peter Goulds

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

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

Live NationHewitt Silva Concerts, LLC

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

Sharyl and Rafael Mendez, M.D.

Ms. Christine Muller and Mr. John Swanson

Molly Munger and Stephen

English

Mr. Robert W. Olsen

Tye Ouzounian

Andy Park

Bruce and Aulana Peters

Nancy and Glenn Pittson

Dennis C. Poulsen and Cindy Costello

Frederick and Julie Reisz

Mr. Bennett Rosenthal

Ross Endowment Fund

Katy and Michael S. Saei

Mr. Lee

C. Samson

Ellen and Richard Sandler

Elizabeth and Justus Schlichting

Gregory Slewett

Randy and Susan Snyder

Lisa and Wayne Stelmar

Mrs. Zenia Stept

Eva and Marc Stern

Dwight Stuart Youth Fund

Megan Watanabe and Hideya

Terashima

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

Bob and Nita Hirsch Family Foundation

Zolla Family Foundation

Suzette and Monroe Berkman

Mr. Ronald

H. Bloom

Mr. and Mrs. Wade Bourne

Thy Bui California Community Foundation

Ms. Nancy

Carson and Mr. Chris Tobin

Andrea Chao-

Kharma and Kenneth Kharma

R. Martin Chavez

Chevron Products Company

Sarah and Roger Chrisman

Mr. and Mrs. Jonathan Cookler

Alison Moore

Cotter

Mark Houston

Dalzell and James Dao-Dalzell

Victoria Seaver

Dean, Patrick Seaver, Carlton Seaver

Jennifer Diener

Lauren Shuler

Donner

Dr. and Mrs. William M. Duxler

Louise and Brad Edgerton/ Edgerton Foundation

Ms. Robin Eisenman and Mr. Maurice LaMarche

Evelyn and Norman Feintech Family Foundation

E. Mark Fishman and Carrie Feldman

Alfred Fraijo

Jr. 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

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

ANNUAL DONORS

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

Arlene Hirschkowitz

Linda Joyce

Hodge

Ms. Michelle Horowitz

Mr. and Mrs. Daniel Paul

Horwitz

Meg and Bahram Jalali

Barbara A . Jones

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

Mr. Eugene Kapaloski

Tobe and Greg Karns

Mr. and Mrs. Robert A . Kasirer

Sandi and Kevin Kayse

Ms. Sarah H.

Ketterer

Larry and Lisa Kohorn

Nickie and Marc 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

Ms. Agnes Lew

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 Matt

Construction Corporation

$10,000 TO $14,999

Anonymous (8)

B. Allen and Dorothy Lay

Art and Pat Antin

Andy Arica

The Aversano Family Trust

David Bailey

and Elizabeth

L. Gerber

Lorrie and Dan Baldwin

Dr. Richard

Bardowell, M.D.

Jonathan and Delia Matz

Dwayne and Eileen McKenzie

Mr. and Mrs. David 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

Jennifer Broder and Soham Patel

Gregory Pickert and Beth Price

Joyce and David Primes

William “Mito”

Rafert

Barbara and Jay Rasulo

Diana Reid and Marc Chazaud

Cathleen and Scott Richland

Risk Placement Services

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

Marc Seltzer and Christina Snyder

Mr. James

J. Sepe

Mr. Steven Shapiro

Nina Shaw and Wallace Little

Jill and Neil Sheffield

Hyon Chough and Maurice Singer

Mr. and Mrs. Richard Sondheimer

The Specialty Family Foundation

Mr. Lev Spiro and Ms. Melissa Rosenberg

Jeremy Stark

Stein Family Fund - Judie Stein

Mr. and Mrs.

Mark Stern

Frank Hu and Vikki Sung

Marcie Polier

Swartz and David Swartz

Akio Tagawa

Tracey

BoldemannTatkin and Stan Tatkin

Warren B. and Nancy L. Tucker

Elinor and Rubin Turner

Charles and Nicole

Uhlmann

Christine Upton

Noralisa

Villarreal and John Matthew Trott

Tee Vo and Chester Wang

Frank Wagner and Lynn

O'Hearn

Wagner

Warner Bros. Discovery

Bryan D. Weissman and Jennifer Resnik

John and Samantha Williams

Libby Wilson, M.D.

Mahvash and Farrok Yazdi

Karl and Dian Zeile

Kevork and Elizabeth Zoryan

David Zuckerman and Ellie Kanner

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

Reveta and Bob Bowers

CBS Entertainment

Suzanne H. Christian and James L. Hardy

Ms. Bernice Colman

Mr. and Mrs. Jim Connelly

Dr. Carey

Cullinane

Mr. Lawrence

Damon and Mr. Ricardo Torres

Dr. and Mrs.

Nazareth E.

Darakjian

Cary Davidson and Andrew

Ogilvie

Chaz Dean

Thomas Denison

Ms. Nancy L. Dennis

Tim and Neda Disney

Tara Dollinger

Cameron Dunn

Dr. Paul and Patti Eisenberg

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

Jane Fujishige

Dr. and Mrs. David Fung

Beth Gertmenian

Greg and Etty Goetzman

Harriett and Richard E. Gold

Mr. and Mrs. Russell Goldsmith

June 3

blackbox: Mento Buru

May 12

Te Amo, Argentina 2

May 28

Los Angeles Ballet Memoryhouse

June 15 - 17

blackbox: Rodd Bland and the Members Only Band

June 23

Sunday Morning Music / Santa Monica:

Photo by Matt Munoz

Photo by Clay Patrick McBridge

Jason Moran

ANNUAL DONORS

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

Mrs. Judith Gurian

Mr. William Hair

Laurie and Chris Harbert

Ms. Deborah

Harkness

Gabrielle Starr and John

Harpole

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

Mr. Gregory Jackson and Mrs. Lenora Jackson

Kristi Jackson and William

Newby

Mr. and Mrs. Theodore

W. Jackson

Robin and Gary Jacobs

Dr. William B. Jones

Marty and Cari Kavinoky

Mr. and Mrs.

Stephen Keller

Mr. and Mrs. Kenneth N. Klee

Cary and Jennifer Kleinman

$5,500 TO $9,999

Anonymous (6)

Ms. Janet

Abbink and Mr. Henry Abbink

Alex Alben

Juan Carlos

Albors

Adrienne S. Alpert

Bobken and Hasmik Amirian

Sandra

Aronberg, M.D. and Charles

Aronberg, M.D.

Ms. Judith A . Avery

Mr. Mustapha

Baha

Pamela and Jeffrey Balton

Mrs. Linda E. Barnes

Mr. and Mrs. Ronald B. Labowe

Lucien Lacour

Ms. Leerae

Leaver

Mary Beth and John Leonard

Mr. and Mrs. Norman A . Levin

Kyle Lott

Sandra Cumings

Malamed and Kenneth D.

Malamed

Milli M. Martinez and Don Wilson

Lisa and Willem Mesdag

Ms. Marlane Meyer

Cynthia

Miscikowski

Mrs. Judith S. Mishkin

Carmen Morgan

Wendy Stark

Morrissey

Mr. Brian R. Morrow

Mr. and Mrs. James Mulally

Mr. Emory R. Myrick

Mr. and Mrs. Jeff Nathan

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

Ellen Pansky

Carol Parry

Cynthia Patton

Lyle and Lisi Poncher

Audrey Prins

Lee Ramer

William F.

Rodriguez

Murphy and Ed Romano

and Family

Robyn and Steven Ross

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

James C. Stewart

Charitable Foundation

Michael Frazier Thompson

Terry and Ann Marie Volk

Mr. Shaw

Wagener and Ms. Deborah

Heitz

Rachel Wagman

Jennifer and Steven Walske

Emory Walton

Bob and Dorothy Webb

Abby and Ray Weiss

Mr. and Mrs. Steven White

Mr. Steve

Winfield

Mr. and Mrs. Howard

Zelikow

Bobbi and Walter Zifkin

Karen and Jonathan Bass

Mr. Barry Beitler

Logan Beitler

Denise Bevers

Mr. and Mrs. Richard Birnholz

Dr. Andrew C. Blaine and Dr. Leigh

Lindsey

Mr. Michael Blea

Kristen Boggs

Jaeger

Roz and Peter Bonerz

Joan N. Borinstein

Greg Borrud

Mr. David F. Bowman

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

Lori Bush

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

Victoria Cook

Mr. and Mrs. Michael Corben

Mr. and Mrs. Bruce Corwin

Mrs. Nancy

A . Cypert

Eric Gutshall and Felicia Davis

Ms. Rosette Delug

The Randee and Ken Devlin Foundation

Mark Dorner

Julie and Stan Dorobek

Mr. and Ms. Gregory C. Drapac

Shaun D'Souza

The Duane Wilder Foundation, Inc

Sean Dugan and Joe Custer

Mr. and Mrs. Brack W. Duker

Drs. Ray Duncan and Lauren

Crosby

Anna Sanders

Eigler

Kristen Engle

Dr. Annette

Ermshar and Dan Monahan

Jennifer Feeley

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

ANNUAL DONORS

Mr. Daniel Goldman

Dr. Patricia

Goldring

Lori G. Gordon

Marnie and Dan Gruen

Cornelia HaagMolkenteller, M.D.

Ms. Marian L. Hall

Lynette Hayde

Mr. Donald V. Hayes

Stephen and Hope Heaney

Myrna and Uri Herscher Family Foundation

Elizabeth HofertDailey Trust

Janice and Laurence Hoffmann

Eugene and Katinka Holt

Mrs. Diana Honeycutt

Dr. and Mrs. Mel Hoshiko

Mr. and Mrs. Thomas C. Hudnut

Rif and Bridget Hutton

Mr. and Mrs. Tim C. Johnson

Ms. Melinda Johnstone

Randi and Richard B. Jones

Robin and Craig Justice

Lawrence

Kalantari

Katherine Kang

Marilee and Fred Karlsen

Bradley Keywell

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

Vicki Lan

Katherine Lance

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

Randi Levine

David and Rebecca

Lindberg

Devon Lipe

Ms. Diana Longarzo

Susan Disney Lord and Scott Lord

Mr. Joseph Lund and Mr. James Kelley

Susan MacLaurin

Nedda Mahrou

Mr. Arthur Maruyama

Kaavya Matatova

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

Heidi and Jon Monkarsh

Mr. David S. Moromisato

Mrs. Lillian Mueller

Sheila Muller

Craig and Lisa Murray

Mrs. Cynthia Nelson

Carrie Nery

David T. Netto

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

Carolyn Phillips

Julie and Marc Platt

Robert J. Posek, M.D.

Ms. Eleanor Pott

John Powell

James S. Pratty, M.D.

Mr. Albert Praw

Mr. Eduardo

Repetto

Hon. Vicki Reynolds

and Mr. Murray Pepper

Jhamal Robinson

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Jody Rogers

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Rosenthal

Amy and William Roth

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Mr. and Mrs. Paul Rutter

Thomas C. Sadler and Dr. Eila C. Skinner

Dr. and Mrs. Bernard Salick

Mrs. Elizabeth

Loucks Samson

San Marino-Pasadena

Philharmonic Committee

Jason Sanford

Santa Monica-Westside

Philharmonic Committee

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Schwab Charitable Fund

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Reed Baumgarten

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Newton and Rochelle Becker Charitable Trust

Benjamin Family Foundation

Peter Benudiz

Coriii Berg

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Nitin Bhatia

D Bichir

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ANNUAL DONORS

Mr. Stephen

E. Haddad

Ahjalia Hall

Leslie E. Fishbein

Hansen

Mr. Robert

T. Harkins

Tiffany Harrington

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Harrison and Ms. Susan Hammer

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Hershowitz

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Hoenes

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Hofbauer, M.D.

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uiza Iancu

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International Committee

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Remembering

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Auxiliary

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McDermut

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Professors

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Michaelson

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Millman

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Modjallal

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Moradi

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Needleman

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Newcome and Mr. Mark Enos

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Ochoa-Marquez

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and J. Lu

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January

Parkos-Arnall

Paul Pelligrino

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Perttula

Natasha Phan

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Pinsky

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Polak and Mrs. Lauren

Reisman Polak

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Proietto

Patrick Ragen

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Julie Ramirez

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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. and Mrs. Matthew Rowland

Bill Rowland

Dr. Michael Rudolph

Luis Ruiz

Ann M. Ryder

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Valerie Salkin

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Jessica Savage

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

Ms. Avantika

Shahi

Shamban Family

Emmanuel

Sharef

Dr. Alexis M. Sheehy

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Shen-Urquidez

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continued on page 42

Photo

Bond Furs ANNUAL PRIVATE SALE

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Warshauer

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Weinstein

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P. Wright

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Marci Zuniga

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

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

City of Los Angeles

Karen Bass Mayor

Hydee Feldstein Soto

City Attorney

Kenneth Mejia Controller

CITY COUNCIL

Bob Blumenfield

Kevin de León

Marqueece Harris-Dawson

Eunisses Hernandez

Heather Hutt

Paul Krekorian President

John S. Lee

Tim McOsker

Traci Park

Curren D. Price, Jr.

Nithya Raman

Monica Rodriguez

Hugo Soto-Martinez

Katy Young Yaroslavsky

DEPARTMENT OF CULTURAL AFFAIRS

Daniel Tarica

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

Sergio Quintanar

Master Carpenter

Marcus Conroy

Master Electrician

Kevin F. Wapner

Master Audio/Video

Greg Flusty

House Manager

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

EXODUS: THE SHANGHAI JEWS

MAY 19-21

THE GREAT GATSBY

In Jazz Age New York, self-made millionaire Jay Gatsby obsesses over Daisy Buchanan, luring neighbor Nick Carraway into a world of wealth, wild parties, and bootleg liquor.

Adapted by ANNA LYSE ERIKSON

From the Novel by F. SCOTT FITZGERALD Directed by ROSALIND AYRES

JUNE 23-25

EXODUS: THE SHANGHAI JEWS

Escaping Nazi persecution during the Second World War, Jewish refugees settle in Shanghai and build a new life amidst Japanese occupation and harsh conditions.

AN LATW ORIGINAL COMMISSION

By KATE McALL

L.A. Theatre Works presents live audio theatre performances at the UCLA James Bridges Theater for later rebroadcast on public radio, streaming and podcasts. Join our live audience to watch well-known actors from stage and screen record classic and contemporary works in an intimate setting.

827-0889

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 Gloria Molina 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

Elizabeth Michelson

Darrell D. Miller

Shelby Notkin

Teresita Notkin

Michael J. Pagano

Cynthia M. Patton

Karen Kay Platt

Joseph J. Rice

Melissa Romain

Beverly P. Ryder

Maria S. Salinas

Lisa See

Mimi Song

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.

Matthew J. Spence

Johnese Spisso

Philip A. Swan

Timothy S. Wahl

Alyce de Roulet

Williamson

Jay S. Wintrob

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

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 3/22/2023

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, Fourth District

Kathryn Barger Supervisor, Fifth District

Holly J. Mitchell Supervisor, Second District

Lindsey P. Horvath Chair Pro Tem, Third District

Live at The Music Center

TUE 2 MAY / 8:00 p.m.

1776

CENTER THEATRE GROUP

@ Ahmanson Theatre

Thru 5/7/2023

TUE 2 MAY / 8:00 p.m.

Bohemian Strings

LA PHIL

@ Walt Disney Concert Hall

FRI 5 MAY / 8:00 p.m.

Dvořák and Bruckner

LA PHIL

@ Walt Disney Concert Hall

Thru 5/7/2023

SUN 7 MAY / 7:00 p.m.

Sounds About Town with Los Angeles Children’s

Chorus

LA PHIL

@ Walt Disney Concert Hall

TUE 9 MAY / 8:00 p.m.

Ziggy Marley

LA PHIL

@ Walt Disney Concert Hall

WED 10 MAY / 8:00 p.m.

Víkingur Ólafsson

LA PHIL

@ Walt Disney Concert Hall

MAY 2023

THU 11 MAY / 8:00 p.m.

Beethoven and Strauss

LA PHIL

@ Walt Disney Concert Hall

Thru 5/14/2023

FRI 12 MAY / 8:00 p.m.

Psycho with Orchestra

LA PHIL

@ Walt Disney Concert Hall

SAT 13 MAY / 7:30 p.m.

Otello

LA OPERA

@ Dorothy Chandler Pavilion

Thru 6/4/2023

THU 18 MAY / 8:00 p.m.

Salonen, Stravinsky, and Bartók

LA PHIL

@ Walt Disney Concert Hall

Thru 5/21/2023

FRI 19 MAY / 7:30 p.m.

MOMIX: Alice

THE MUSIC CENTER

@ Ahmanson Theatre

Thru 5/21/2023

SAT 20 MAY / 4:00 p.m.

Stranger Love

LA PHIL

@ Walt Disney Concert Hall

SAT 20 MAY / 8:00 p.m.

A Transparent Musical

CENTER THEATRE GROUP

@ Mark Taper Forum

Thru 6/25/2023

TUE 23 MAY / 8:00 p.m.

A Soldier’s Play

CENTER THEATRE GROUP

@ Ahmanson Theatre

Thru 6/25/2023

TUE 23 MAY / 8:00 p.m.

Organ & Strings featuring Iveta Apkalna

LA PHIL

@ Walt Disney Concert Hall

THU 25 MAY / 8:00 p.m.

Dudamel Leads Beethoven and Smith

LA PHIL

@ Walt Disney Concert Hall

Thru 5/27/2023

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

The Music Center’s Very Special Arts Festival. Photo by John McCoy for The Music Center.

Dutch National Ballet’s Frida

July 14–16, 2023

Dutch National Ballet’s Frida paints its own vibrant portrait of Frida Khalo’s life, art and enduring legacy through dance. Be inspired by this full-length work that dives deeper into the psyche of one of the most intriguing artists of the 20th century.

Dutch National Ballet— Frida. Photo by Hans Gerritsen. Dancers: Maia Makhateli and ensemble.

Friday, June 16, 2023 @ 7:30 p.m.

Saturday, June 17, 2023 @ 7:30 p.m.

Sunday, June 18, 2023 @ 2:00 p.m.

“Companies like Complexions are gamechanging: they’re forging a path for what ballet can be instead of what it historically has been.”

— The Guardian

Jillian Davis by Rachel Neville.

Sat May 6 | 8pm

Ballet BC

Wed May 10 | 8pm

Thu May 11 | 8pm

Delirium Musicum

Chamber Orchestra

with Artist in Residence Etienne Gara

Four Seasons Reimagined by Max Richter and Philip Glass

ONSTAGE SESSIONS

Sat May 13 | 8pm

Dreamers

Magos Herrera and Brooklyn Rider

ONSTAGE SESSIONS

Ballet BC

Delirium Musicum

Magos Herrera & Brooklyn Rider