Performances Magazine | LA Phil, April 2024

APR 2

Chamber Music Debussy, Ewald & Françaix

APR 3

Colburn Celebrity Recital Yo-Yo Ma, cello Kathryn Stott, piano

APR 4, 6–7

LA Phil

Elgar and Vaughan Williams

APR 9

Colburn Celebrity Recital UNSTILL LIFE

APR 12–14

LA Phil

Saint-Saëns’ Organ Symphony

APR 16

Green Umbrella

John Adams Conducts the LA Phil New Music Group

APR 18–19, 21

LA Phil

The Labèques, Muhly, and Dessner

APR 20

Jazz

Herbie Hancock

APR 21

Organ Recital

Anna Lapwood

APR 24

Colburn Celebrity Recital Yefim Bronfman, piano

APR 26–28

LA Phil Bartók and Mozart

APR 30

Green Umbrella Pan-American New Music

YEFIM BRONFMAN

ALEXANDRE THARAUD

ANNA LAPWOOD

BENJAMIN MILLEPIED

LOUIS LANGRÉE

JOHN ADAMS

on the National Register of Historic Places, Old Pasadena is an architectural treasure.

A Diver se mix of 300 restaurants and shops line pedestrian-friendly streets and charming alley walkways.

Conveniently located near world-class cultural institutions, including the Rose Bowl, Norton Simon Museum, Pacific Asia Museum, and the Gamble House, Old Pasadena offers visitors a variety of choices and a truly unique experience.

Served by Metro A Line Del Mar and Memorial Park Stations. First 2 hours only $ 1 in Park & Walk Garages.

Welcome to the LA Phil

Last month, the LA Phil announced plans for next season at Walt Disney Concert Hall. The 2024/25 season is dedicated to the moments that move us: those ephemeral moments that happen onstage, which we share with those who were there and which echo in our memories long after the concert. Sometimes they are a glorious few seconds we anticipate hearing anew from our favorite symphony; other times they can be completely unexpected from a piece that’s new to us that we will never forget. No matter where we find them, these moments are at the heart of our shared love of music.

The 2024/25 season features many festivals brimming with possibility. Music & Artistic Director Gustavo Dudamel revisits one of his lifelong passions during the Mahler Grooves Festival, which channels the spirit of a countercultural LA-based group of Mahler lovers from the 1970s to dive deep into the composer’s music and inner world. Later in the season, the Seoul Festival, curated by Unsuk Chin, showcases fast-rising Korean performing talent, distinct voices, and broad-reaching culture. And in the second year of the John Williams Spotlight, the legendary composer curates concerts that explore Hollywood’s and Mexico City’s golden age of film music, a special concert featuring Yo-Yo Ma, and a thrilling musical journey through all nine Star Wars films. We are also excited to introduce celebrated Baroque specialist Emmanuelle Haïm, who begins a three-year term as Artist Collaborator with an exploration of Handel.

There is so much more than can be mentioned here, and we invite you to explore the moments that move us at our website to find the full schedule of exciting artists and festivals.

Board of Directors

CHAIR

Thomas L. Beckmen*

VICE CHAIRS

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

Jonathan L. Congdon

Donald P. de Brier*

Louise D. Edgerton

Lisa Field

David A. Ford

Hilary Garland

Jennifer Miller Goff*

Tamara Golihew

Carol Colburn Grigor

Marian L. Hall

Suzanne M. Hart

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

Richard Schirtzer

G. Gabrielle Starr

Jay Stein*

Christian Stracke*

Jason Subotky

Ronald D. Sugar*

Vikki Sung

Jack Suzar

Keith Terasaki

Sue Tsao

Jon Vein

Megan Watanabe

Regina Weingarten

Alyce de Roulet Williamson

Irwin Winkler

Debra Wong Yang

HONORARY

LIFE DIRECTORS

David C. Bohnett

Frank Gehry

Lenore

S. Greenberg

Bowen H.

“Buzz” McCoy

*Executive Committee Member as of October 1, 2023

Image: The Waltz (Allioli) (detail), about 1900. Camille Claudel. Bronze. Private collection. Photo: Musée Yves Brayer. Text and design © 2024 J. Paul Getty Trust

Gustavo Dudamel

Music & Artistic Director, Walt and Lilly Disney Chair

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, he has introduced classical music to new audiences around the globe and has helped provide access to the arts for countless people in underserved communities.

Dudamel currently serves as Music & Artistic Director of the Los Angeles Philharmonic and Music Director of the Simón Bolívar Symphony Orchestra, and in 2026, he becomes the Music and Artistic Director of the New York Philharmonic, continuing a legacy that includes Gustav Mahler, Arturo Toscanini, and Leonard Bernstein.

Dudamel is one of the few classical musicians to become a bona fide pop-culture phenomenon. His film credits include Steven Spielberg’s adaptation of West Side Story, Star Wars: The Force Awakens, and The Simpsons, and he led the LA Phil with Billie Eilish in the concert film Happier Than Ever: A Love Letter to Los Angeles. He has performed at the Super Bowl halftime show, the Academy Awards, and the Nobel Prize concert, and has worked with international superstars Christina Aguilera; Ricky Martin; Tyler, The Creator; Coldplay; and others. His extensive discography includes 67 releases and five Grammy Awards.

Inspired by his transformative experience as a youth in Venezuela’s immersive musical training program El Sistema, he created the Dudamel Foundation in 2012, which he co-chairs with his wife, actress and director María Valverde, with the goal “to expand access to music and the arts for young people by providing tools and opportunities to shape their creative futures.” In July and August 2022, the Dudamel Foundation brought its Encuentros initiative to the Hollywood Bowl as part of the 100thanniversary season, in a two-week intensive global leadership and orchestral training program for young musicians from around the world that culminated in a concert at the Hollywood Bowl and a tour with the Orquesta del Encuentro to the legendary Greek Theatre in Berkeley, CA.

“THE RARE CLASSICAL ARTIST TO HAVE CROSSED INTO POP-CULTURE CELEBRITY.”

—The New York Times’ Zachary Woolfe and Laura Cappelle

A healthy note from Kaiser Permanente:

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

Official partner in health & harmony

Los Angeles Philharmonic

“SO

FAR AHEAD OF

OTHER AMERICAN ORCHESTRAS THAT IT IS IN COMPETITION MAINLY WITH ITS OWN PAST ACHIEVEMENTS.”

—The New Yorker ’s Alex Ross

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

Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, The Ford, and the 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 world-famous Hollywood Bowl, host to the finest artists from all genres of music. Situated in a 32-acre park and

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

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

The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As

part of its global Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.

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

The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity. Their names are

Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), Otto Klemperer (1933-1939), Alfred Wallenstein (1943-1956), Eduard van Beinum (1956-1959), Zubin Mehta (1962-1978), Carlo Maria Giulini (1978-1984), André Previn (1985-1989), Esa-Pekka Salonen (1992-2009), and Gustavo Dudamel (2009-present).

ABOUT THE LA PHIL

Los Angeles Philharmonic

Gustavo Dudamel

Music & Artistic

Director

Walt and Lilly

Disney Chair

Zubin Mehta

Conductor Emeritus

Esa-Pekka Salonen

Conductor

Laureate

Rodolfo Barráez

Assistant Conductor

Ann Ronus Chair

John Adams

John and Samantha Williams

Creative Chair

Herbie Hancock

Creative Chair for Jazz

FIRST VIOLINS

Martin Chalifour

Principal

Concertmaster

Marjorie Connell

Wilson Chair

Nathan Cole

First Associate

Concertmaster

Ernest Fleischmann

Chair

Bing Wang

Associate

Concertmaster

Barbara and Jay Rasulo Chair

Akiko Tarumoto

Assistant

Concertmaster

Philharmonic Affiliates Chair

Rebecca Reale

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

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

Ayrton Pisco*

Nebyu Samuel*

VIOLAS

Teng Li

Principal

John Connell Chair

Ben Ullery

Associate Principal

Jenni Seo

Assistant Principal

Dana Lawson

Richard Elegino

John Hayhurst

Ingrid Hutman

Michael Larco

Hui Liu

Meredith Snow

Leticia Oaks Strong

* Judith and Thomas L. Beckmen

L A Phil Resident Fellow

+ On sabbatical

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

CLARINETS

Boris Allakhverdyan

Principal

Michele and Dudley Rauch Chair

Burt Hara

Associate Principal

Andrew Lowy

Taylor Eiffert

E-Flat Clarinet

Andrew Lowy

Bass Clarinet

Taylor Eiffert

BASSOONS

Whitney Crockett

Principal

Shawn Mouser

Associate Principal

Ann Ronus Chair

Michele Grego+

Evan Kuhlmann

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

Contrabassoon

Evan Kuhlmann

HORNS

Andrew Bain

Principal

John Cecil

Bessell Chair

David Cooper

Associate Principal

Gregory Roosa

Alan Scott Klee Chair

Amy Jo Rhine

Loring Charitable

Trust Chair

Elyse Lauzon

Reese and Doris

Gothie Chair

Ethan Bearman

Assistant

Bud and Barbara Hellman Chair

Elizabeth Linares Montero*

TRUMPETS

Thomas Hooten

Principal

M. David and Diane

Paul Chair

James Wilt

Associate Principal

Nancy and Donald de Brier Chair

Christopher Still

Ronald and Valerie Sugar Chair

Jeffrey Strong

TROMBONES

David Rejano

Cantero

Principal

Koni and Geoff

Rich Chair

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

KEYBOARDS

Joanne Pearce

Martin

Katharine Bixby

Hotchkis Chair

HARP

Emmanuel Ceysson

Principal

Ann Ronus Chair

LIBRARIANS

Stephen Biagini

Benjamin Picard

KT Somero

CONDUCTING FELLOWS

Carlos Ágreda

Ross Jamie Collins

Michelle Di Russo

Anna Handler

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

BOYZ II MEN

MICHAEL BUBLÉ

GARY CLARK JR.

CYNTHIA ERIVO

NATALIA LAFOURCADE

PATTI L aBELLE

INDIA.ARIE

MITSKI

CHAKA KHAN

T-PAIN

HARRY CONNICK, JR.

MIDORI

GUSTAVO DUDAMEL

Daniel Song INTERIM CHIEF

EXECUTIVE OFFICER; CHIEF OPERATING OFFICER

David C. Bohnett Chief Executive Officer Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CEO

EXECUTIVE TEAM

Summer Bjork

CHIEF OF STAFF

Nora Brady

CHIEF MARKETING & COMMUNICATIONS OFFICER

Glenn Briffa

CHIEF FINANCIAL OFFICER

Margie Kim

CHIEF PHILANTHROPY OFFICER

Emanuel Maxwell

CHIEF TALENT & EQUITY OFFICER

Mona Patel GENERAL COUNSEL

Meghan Umber

CHIEF PROGRAMMING OFFICER

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, PROGRAMMING

Carlos Singer DIRECTOR, GOVERNMENT & COMMUNITY ENGAGEMENT

Julia Ward DIRECTOR, PROGRAMMING

ADMINISTRATION

Jermaine Banks OFFICE MANAGER/ RECEPTIONIST

Stephanie Bates

CONTRACTS AND RISK MANAGEMENT ADMINISTRATOR

Michael Chang

DATABASE ADMINISTRATOR

Sarita Eldridge

DIRECTOR OF SAFETY AND SECURITY

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

SENIOR MANAGER, INFORMATION TECHNOLOGY

Aly Zacharias

DIRECTOR, LEGAL

ARTISTIC

PLANNING & PRESENTATIONS

Linda Diaz ARTIST LIAISON

Kristen Flock-Ritchie

ARTISTIC ADMINISTRATOR

Brian Grohl

ASSOCIATE DIRECTOR, PROGRAMMING

Ljiljana Grubisic

ARCHIVES AND MUSEUM DIRECTOR

Daniel Mallampalli

ASSOCIATE DIRECTOR, PROGRAMMING

Rafael Mariño

PROGRAM MANAGER

Mark McNeill

CREATIVE PRODUCER

Ayrten Rodriguez

SENIOR PROGRAM MANAGER

Stephanie Yoon

ARTIST SERVICES MANAGER

Rebeca Zepeda

ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

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

REPRESENTATIVE

Bernie Keating

REPRESENTATIVE

Melissa Magana

REPRESENTATIVE

William Minor

REPRESENTATIVE

Rosa Ochoa

AUDIENCE SERVICES

MANAGER

Karen O’Sullivan

REPRESENTATIVE

Eden Palomino

REPRESENTATIVE

Richard Ponce

SUPERVISOR

Diana Salazar

PATRON SERVICES

REPRESENTATIVE

Noé Sandoval

REPRESENTATIVE

Christopher Selland

PATRON SERVICES REPRESENTATIVE

WALT DISNEY

CONCERT HALL

BOX OFFICE

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

Debbie Lang To FINANCIAL PLANNING MANAGER

LaTonya Lindsey ACCOUNTS PAYABLE COORDINATOR

Luz Myrick PAYROLL MANAGER

Kristine Nichols PAYROLL COORDINATOR

Yuri Park FINANCIAL PLANNING ANALYST

Nina Phay PAYROLL ADMINISTRATOR

Lisa Renteria ACCOUNTS PAYABLE SPECIALIST

Sierra Shultz STAFF ACCOUNTANT

Robert Siegel SENIOR ACCOUNTANT

HOLLYWOOD BOWL & THE FORD

Steve Arredondo TRANSIT MANAGER

Dreima Flores OPERATIONS ADMINISTRATOR

Sienna Garcia PARKING & TRAFFIC ASSISTANT

Charee Heard EVENT MANAGER

Gaby Hernandez COORDINATOR, THE FORD

Norm Kinard PARKING & TRAFFIC MANAGER

Mark Ladd DIRECTOR, OPERATIONS/ HOLLYWOOD BOWL

Gina Leoni ASSOCIATE DIRECTOR OF OPERATIONS AND LOGISTICS, THE FORD

Megan Ly-Lim OPERATIONS COORDINATOR, HOLLYWOOD BOWL

Tom Waldron ASSOCIATE DIRECTOR, OPERATIONS/ HOLLYWOOD BOWL

HUMAN RESOURCES

Amber Blanco

HR BUSINESS PARTNER

Monica Ly HR REPRESENTATIVE

Bryan Namba

HR BUSINESS PARTNER

Frank Patano

HR MANAGER

LEARNING

Camille

Delaney-McNeil DIRECTOR, YOLA & BECKMEN YOLA CENTER

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 DIRECTOR, LEARNING

Diana Melgar MANAGER, YOLA

Karla Melgar SENIOR PROGRAM COORDINATOR, YOLA AT TORRES

Michael Salas MANAGER, YOLA NATIONAL

Gaudy Sanchez YOLA ARTISTIC DIRECTOR

Miles Williams SENIOR PROGRAM COORDINATOR, YOLA AT INGLEWOOD

MARKETING & COMMUNICATIONS

Micaela

Accardi-Krown MANAGER, SOCIAL MEDIA

Melissa Achten OPERATIONS MANAGER, RETAIL

Mary Allen SENIOR MANAGER, SOCIAL MEDIA

Amanda Angel DIRECTOR, EDITORIAL

Lushia Anson MARKETING & COMMUNICATIONS OPERATIONS MANAGER

Scott Arenstein

SENIOR DIRECTOR, BRAND

Janice Bartczak DIRECTOR, RETAIL SERVICES

Lisa Burlingham SENIOR DIRECTOR, MARKETING & PARTNERSHIPS

Charles Carroll MANAGER, MARKETING COMMUNICATIONS

Joe Carter SENIOR DIRECTOR, SALES AND CUSTOMER EXPERIENCE

Kevine Ecliserio-Velez MARKETING COORDINATOR

Elias Feghali ASSOCIATE DIRECTOR, AUDIENCE STRATEGIES & ANALYTICS

Justin Foo

ASSOCIATE DIRECTOR, SALES & CUSTOMER ENGAGEMENT

Caila Gale SENIOR DIGITAL PRODUCER

Tara Gardner SENIOR MANAGER, DIGITAL MARKETING

Karin Haule GRAPHIC DESIGNER

Annisha Hinkle SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS

Jennifer Hoffner

ASSOCIATE DIRECTOR, ADVERTISING

Alexis Kaneshiro SENIOR GRAPHIC DESIGNER

Jordan Kauffman MANAGER, AUDIENCE GROWTH & ENGAGEMENT

Jediah McCourt MANAGER, CORPORATE PARTNERSHIPS

Ino Mercado RETAIL MANAGER, MERCHANDISING

Ricky O’Bannon

DIRECTOR, CONTENT

Erin Puckett MARKETING MANAGER

Andrew Radden DIRECTOR, CORPORATE PARTNERSHIPS

Anna Ress SENIOR DIRECTOR, COMMUNICATIONS

Rochell Rotenberg SENIOR MANAGER, CORPORATE PARTNERSHIPS

Sadie Sartini Garner CREATIVE COPYWRITER

Mary Smudde ASSOCIATE CREATIVE DIRECTOR

Piper Starnes

CREATIVE COPYWRITER

Natalie Suarez

SENIOR CREATIVE DIRECTOR

Kahler Suzuki SENIOR VIDEO PRODUCER

Jonathan Thomas

MARKETING DATABASE SPECIALIST

Lauren Winn SENIOR PROJECT MANAGER, CREATIVE SERVICES ORCHESTRA MANAGEMENT & MEDIA INITIATIVES

Shana Bey

DIRECTOR, ORCHESTRA MANAGEMENT

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

PRODUCTION MANAGER

Kimberly Mitchell

PRODUCTION MANAGER

Christopher Slaughter

PRODUCTION MANAGER

Jonathan Thompson

ASSOCIATE PRODUCTION MANAGER

Michael Vitale

DIRECTOR, PRODUCTION

Kelvin Vu TECHNICAL DIRECTOR

Bill Williams

PRODUCTION ADMINISTRATOR

PHILANTHROPY

Annalise Aguirre

MAJOR GIFTS OFFICER

Robert Albini DIRECTOR, MAJOR GIFTS

Joshua Alvarenga

ASSOCIATE DIRECTOR, MAJOR GIFTS

Taylor Burrows SENIOR COORDINATOR, GIFT PLANNING

Michelle Carrasquillo

DATABASE MANAGER, PHILANTHROPY OPERATIONS

Julia Cole DIRECTOR, INSTITUTIONAL GIVING

Joel Fernandez SENIOR RESEARCH ANALYST

Elan Fields ASSISTANT MANAGER, PHILANTHROPY OPERATIONS

Freyja Glover MANAGER, ANNUAL GIVING

Genevieve Goetz INTERIM DIRECTOR, GIFT PLANNING

Angelina Grego MANAGER, AFFILIATES & VOLUNTEER ENGAGEMENT

Gerry Heise SENIOR MAJOR GIFTS OFFICER

Julian Kehs MANAGER, INSTITUTIONAL GIVING

Emily Lair SENIOR MAJOR GIFTS OFFICER

Shannon K. Larner DIRECTOR, ANNUAL GIVING

Christina Magaña ASSISTANT MANAGER, DONOR RELATIONS

Regina Mayhew DONOR RELATIONS ASSISTANT

Allison Mitchell DIRECTOR, BOARD RELATIONS

Gisela Morales SENIOR MAJOR GIFTS OFFICER

Michelle Mountain DIRECTOR, SPECIAL EVENTS

Ryan Murphy ASSISTANT MANAGER, SPECIAL EVENTS

Sophie Nelson SENIOR COORDINATOR, MAJOR GIFTS

Andrea Perez-Rulfo ANNUAL GIVING OFFICER

Sofia Rosenberg COORDINATOR, SPECIAL EVENTS

Rochell Rotenberg SENIOR MANAGER, CORPORATE PARTNERSHIPS

Carina Sanchez ASSOCIATE DIRECTOR, RESEARCH

Dustin Seo ASSISTANT MANAGER, ANNUAL GIVING

Rochelle Siegrist SENIOR ANNUAL GIVING COORDINATOR

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

Morgan Walton

ASSOCIATE DIRECTOR, AFFILIATES & VOLUNTEER ENGAGEMENT

LA Phil at the Grammys

At the 66th Annual Grammy Awards, Music & Artistic Director Gustavo Dudamel and the

Los Angeles Philharmonic’s recording of Thomas Adès’ Dante won for Best Orchestral Performance. This is the fourth win for Best Orchestral Performance for Dudamel and the LA Phil, adding to the 2021 win for Charles Ives: Complete Symphonies and the 2020 win for Andrew Norman’s Sustain.

Recorded live at Walt Disney Concert Hall in April 2022, Thomas Adès’ Dante is a ballet score in three acts (“Inferno,”

“Purgatorio,” and “Paradiso”), inspired by the alternately chilling and sunlit landscapes of Dante Alighieri’s La Divina Commedia. The Los Angeles Times wrote, “In any new shortlist of great ballet scores by Tchaikovsky, Stravinsky, Bartók, Ravel, Prokofiev, Britten, and Bernstein, Dante must newly be included for its musical invention alone. There is not a second in its 88 minutes that doesn’t delight. All of it is unexpected and wanted.”

Fidelio on Tour

The LA Phil’s semi-staged production of Beethoven’s Fidelio was hailed as a groundbreaking triumph when it premiered in 2022. Created for both Deaf and hearing audiences and using both singers and Deaf actors in each role, the production explores Beethoven’s only opera through the lens of his identity as a Deaf artist who was losing his hearing when Fidelio premiered in 1805.

The idea for the production was originally developed by Gustavo Dudamel through the Dudamel Foundation, which he co-chairs with his wife, actress María Valverde, as a means of elevating Deaf artistry to illuminate the opera’s central theme: the fight to overcome obstacles in order to discover one’s own personal freedom. The project took shape with director Alberto Arvelo, Tony Award-winning Deaf West Theatre led by Artistic Director DJ Kurs,

and performers from El Sistema of Venezuela’s Coro de Manos Blancas (White Hands Choir).

Los Angeles audiences can experience the returning production at Walt Disney Concert Hall on May 16 and 17, before the LA Phil goes on tour performing Fidelio as one of its programs at Barcelona’s Gran Teatre del Liceu (May 26-27), the Paris Philharmonie (May 31), and London’s Barbican Centre (June 3).

LA Phil Broadcasts on KUSC

The Los Angeles Philharmonic and Classical California

KUSC continue their annual radio broadcast partnership, reaching listeners across Southern California.

This broadcast series, recorded during the LA Phil’s 2023/24 season at Walt Disney Concert Hall, pairs the orchestra with an impressive roster of guest artists and conductors, showcasing an eclectic repertoire that includes world premieres from composers Timo Andres, Jonathan Bailey Holland, and Andreia Pinto Correia. Through the organizations’ ongoing partnership with WFMT and the WFMT Radio Network, the 2024 broadcast series will also be syndicated nationwide.

The first concert in the 2024 broadcast series will air locally on KUSC’s SoCal Sunday Night program, the station’s weekly local concert spotlight, on Sunday, April 7, 2024, at 7:00pm. It will feature Elim Chan leading the Los Angeles Philharmonic in Jessie Montgomery’s Coincident Dances, Gershwin’s Concerto in F with pianist Igor Levit, and Rachmaninoff’s Symphonic Dances. Each concert in the series will also be streamed for one week, on demand at the KUSC website, immediately following the broadcasts.

Other series highlights include performances (in order of appearance) by noted soloists Boris Allakhverdyan, LA Phil’s principal clarinet; Anne-Sophie Mutter, violin; Pablo Ferrández, cello; Kirill Gerstein, piano; Daniil Trifonov, piano; Victor Wooten, bass; Aaron Diehl, piano; Martin Chalifour, LA Phil’s principal concertmaster; Maria João Pires, piano; Robert deMaine, LA Phil’s principal cello; and Teng Li, principal viola.

In addition to concerts conducted by Dudamel, broadcasts will feature guest conductors (in order of appearance) Zubin Mehta (LA Phil’s Conductor Emeritus), Gemma New, Thomas Adès, Susanna Mälkki, Thomas Wilkins, John Adams, Michael Tilson Thomas, Louis Langrée, and Karina Canellakis.

The series, hosted by KUSC’s Brian Lauritzen, features interviews with soloists and orchestra members, offering unique insights and giving listeners a more in-depth perspective.

UPCOMING BROADCASTS

SoCal Sundays at 7pm

APRIL 7

Elim Chan, conductor Igor Levit, piano

Jessie Coincident Dances MONTGOMERY

GERSHWIN Concerto in F RACHMANINOFF Symphonic Dances

APRIL 14

Zubin Mehta, conductor

BEETHOVEN Symphony No. 6, “Pastoral”

BEETHOVEN Symphony No. 3, “Eroica”

APRIL 21

Gemma New, conductor

Boris Allakhverdyan, clarinet

STRAVINSKY Danses concertantes

COPLAND Clarinet Concerto

MOZART Symphony No. 38, “Prague”

APRIL 28

Gustavo Dudamel, conductor

Anne-Sophie Mutter, violin

Pablo Ferrández*, cello

BRAHMS Double Concerto

BRUCKNER Symphony No. 1

ELIM CHAN

ZUBIN MEHTA

GUSTAVO DUDAMEL

Diane Lam: Leading with Innovation and Inclusivity at the

Diane Lam’s lifelong journey with the LA Phil began in her childhood, driving up with her family from Orange County to attend concerts at the Dorothy Chandler Pavilion. In recent years, Diane has embraced a new role, transitioning from an audience member to a volunteer and leader within the organization as a recent President of the San Marino-Pasadena Philharmonic Affiliate Committee.

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. With 13 committees representing a wide range of geographic and interest areas,

there is a welcoming place for everyone in the Affiliates.

“I think the Affiliate programs are wonderful in how they bring like-minded people together,” Lam said. “Because we’re a young, new Affiliate group, we have a lot of energy, and everyone is very enthusiastic. Over just eight years, we’ve grown to 60 members.”

Lam has been instrumental in infusing new energy and direction into the century-old tradition of the LA Phil Affiliates. Her innovative leadership—alongside the Committee’s many dedicated supporters—has resulted in exciting new events and programs.

Early in the pandemic, Lam organized the Affiliates’ first Zoom event—a fundraiser called “Music

Lam encourages any passionate fan of music and the LA Phil to find the Affiliate Committee that is right for them. April is National Volunteer Month and the perfect time to get involved. Learn more by visiting laphil.com/affiliates

of the World” that featured LA Phil musicians Minor Wetzel (viola) and Stacy Wetzel (violin). For another event, Lam invited Dr. Assal Habibi—from the University of Southern California’s Brain and Creativity Institute—to speak about her cutting-edge research into music and the brain that she has been conducting at YOLA (Youth Orchestra Los Angeles) over the last decade.

Expand your participation and dedication to the LA Phil. Join one of our LA Phil Affiliate committees today and participate in volunteer service, community engagement, and fundraising efforts that support the greater Los Angeles community. For more information, contact volunteer@laphil.org or call 213 972 3530

from left : LORRAINE FOLEY, MARIA MOORE, MARLOU DE LUNA, MARIAN DUNTLEY, MARLA CAMPAGNA, AND BABATUNDE COLE

DIANE LAM

Corporate Partners

The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email 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 making a gift today. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music—sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our success.

FRIENDS OF THE LA PHIL

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

PHILHARMONIC COUNCIL

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

Debussy, Ewald & Françaix

Members of the Los Angeles Philharmonic

DRING Trio for flute, oboe, and piano (c. 11 minutes)

Allegro con brio

Andante semplice

Allegro giocoso

Catherine Ransom Karoly, flute

Marion Arthur Kuszyk, oboe

Joanne Pearce Martin, piano

FRANÇAIX Quartet for English horn, violin, viola, and cello (c. 15 minutes)

Allegro vivace

Andante tranquillo

Vivo assai

Andantino

Allegro giocoso

Carolyn Hove, English horn

Camille Avellano, violin

Dana Lawson, viola

Jason Lippmann, cello

INTERMISSION

DEBUSSY String Quartet in G minor, Op. 10 (c. 25 minutes)

Animé et très décidé

Assez vif et bien rythmé

Andantino, doucement expressif

Très modéré

Nathan Cole, violin

Akiko Tarumoto, violin

Jenni Seo, viola

Robert deMaine, cello

EWALD Brass Quintet No. 3, Op. 7 (c. 18 minutes)

Allegro moderato

Intermezzo

Andante

Vivo

Thomas Hooten, trumpet

Jeffrey Strong, trumpet

David Cooper, horn

James Miller, trombone

Mason Soria, tuba

To read about the program and the performers, please turn to the enclosed insert.

TUESDAY

APRIL 2, 2024 8PM

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

Programs and artists subject to change.

Yo-Yo Ma

Kathryn Stott

Yo-Yo Ma, cello

Kathryn Stott, piano

The first five pieces will be played as a set.

FAURÉ Berceuse, Op. 16

DVOŘÁK Songs My Mother Taught Me

Sérgio ASSAD Menino

N. BOULANGER Cantique

FAURÉ Papillon, Op. 77

SHOSTAKOVICH

Cello Sonata in D minor, Op. 40

Allegro non troppo

Allegro

Largo

Allegro

INTERMISSION

Arvo PÄRT Spiegel im Spiegel

FRANCK

Violin Sonata in A major (transcribed for cello)

Allegretto ben moderato

Allegro

Recitativo-Fantasia: Ben moderato— Molto lento

Allegretto poco mosso

WEDNESDAY

APRIL 3, 2024 8PM

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

Media sponsor: LAist

From the Performers

Music is about connection and exploration, and Kathy Stott has been my constant partner in both for many decades, sustaining me as an artist and as a human being. Among Kathy’s many gifts is her ability to craft a concert program that brings performers and audience on a shared journey, creating the unbroken circle of content, communication, and reception that can turn the concert hall into a communal space, at once sacred and secular.

It is a special honor to share this space with you tonight—this is a program of particular significance: Kathy will retire from her extraordinary career as a performer at the end of this year, and she designed this program knowing it would likely be the last we would perform together.

I hope you will listen to tonight’s concert with this in mind, hearing in its whole a celebration of the time we have spent together, and in each piece a glimpse of the explorations we have shared.

Kathy and I believe that music lives through relationships: among performers, between students and teachers, across generations. The opening suite is testament to this, to the fact that we musicians stand on the shoulders of those who came before us, and that we can only hope that ours will sustain those who come after.

My path and Kathy’s intersect through one teacher, Nadia Boulanger. Nadia taught Kathy in her early years at the Menuhin School, south of London, and Nadia’s student Luise Vosgerchian was my professor in college. Professor Vosgerchian liberated me from being a neurotic instrumentalist tethered to perfection and taught me how to approach music with perspective, with humanity. It feels right that Nadia Boulanger’s Cantique—a song of praise—arrives two thirds of the way through the suite, at its golden mean. Cantique anchors an opening that contains our shared musical world, from

Dvořák’s own homage to the transmission of music across the generations to the creation of Sérgio Assad, one of the many friends Kathy and I met in our immersion in the music of Brazil. It is a microcosm fittingly framed by the composer who has been with Kathy since the very beginning, Gabriel Fauré, friend and mentor to Nadia Boulanger!

The three pieces that follow the opening suite contain worlds of meaning for us. In the Shostakovich, we hear the pursuit of truth, against all odds; in Arvo Pärt’s Spiegel im Spiegel, simplicity and complexity coexist to create a portrait of the universe; and in César Franck’s sonata, composed as a wedding gift for the violinist Eugène Ysaÿe, we are given the immortal gift of love. All three are, for us, reminders of our humanity, as needed today as ever. When I reflect on my decades of collaboration with Kathy, I realize that they have been so sustaining in part because she is fiercely grounded, yet always open to receiving the world as it is. This program reflects this, her clarity, her curiosity, and her boundless love of music.

I want to leave you with the opening lyrics of Nadia Boulanger’s Cantique They are words that you won’t hear in our performance, lines from a poem by the Belgian poet Maurice Maeterlinck:

À toute âme qui pleure, À tout péché qui passe, J’ouvre aux sein des étoiles Mes mains pleines de grâces.

(To every crying soul, to each passing sin, I open to the bosom of the stars my hands full of grace.)

I write this note with the deepest affection and greatest admiration, trying to reconcile a spirit of huge celebration with real sadness and, above all, gratitude. —Yo-Yo Ma

For Yo-Yo Ma, “music lives through relationships: among performers, between students and teachers, across generations.” Different kinds of interpersonal, historical, and creative partnerships link the pieces he has assembled into the “suite” of this program. The strongest and most obvious exists between Nadia Boulanger (1887–1979) and Gabriel Fauré (1845–1924). Boulanger was only 14 when she began studying with Fauré at the Paris Conservatoire in 1901. What she admired in him was “a sense of dignity and a vision of life that was modest, tranquil and detached…. He often had the air of a dreamer, of being somewhere else: we adored him…”

Fauré had composed the two pieces on this program long before he met Boulanger. Written “for violin (or cello) and piano,” the Berceuse, Op. 16 (1878–79), has been arranged for many other combinations of instruments. To Fauré’s surprise, this charming small lullaby in D major

(marked allegretto moderato), to which he attached little importance, achieved an immediate and lasting success and was one of his first published works.

Fauré wrote numerous other pieces for cello, including the popular Sicilienne, Op. 78, two sonatas for cello and piano, and Papillon, Op. 77 (1884). Composed at his publisher’s request for a “brilliant showpiece,” Papillon is in straightforward A-B-A form (two fast outer movements with a lyrical middle section) and gives the cellist ample opportunity to exhibit virtuosic skill.

Fauré’s student Nadia Boulanger became much better known as an influential teacher—among her many pupils were Aaron Copland and Philip Glass—than as a composer. Songs make up most of her own small musical œuvre, including Cantique de sœur Béatrice, set to verses of the symbolist poet Maurice Maeterlinck (arranged here for cello and piano). One of 10 songs from her collection

of Mélodies, Cantique is a luminous tribute to the power of love, with a glowing solo line soaring above a spare accompaniment, in F major. The song’s text ends: “And if love gets lost/On the paths of the earth/Its tears will find me/And not go astray.”

Czech composer Antonín Dvořák (1841–1904) was Fauré’s near contemporary, but followed a very different musical path. Many of his compositions used folk texts and songs of Bohemia and Moravia, including the Gypsy Songs, Op. 55 (1880), completed soon after his hugely successful Slavonic Dances. Adapted from folk models, these songs adopt what has been called a “Slavonic cabaret style,” characterized by rubato, chromatic accompaniment, cross rhythms, and melancholy moods. The cycle’s fourth song, Songs My Mother Taught Me (“Když mne stará matka zpívat učívala ”), a touchingly sentimental tribute to the continuity of Roma culture through

generations, became an immediate and enduring international hit. Originally written for tenor voice, in slow waltz time contrasting 2/4 meter in the solo part with 6/8 in the accompaniment, it has been arranged for various solo instruments with piano.

Spiegel im Spiegel (1978) by Estonian composer Arvo Pärt (b. 1935) takes us to an entirely different time, place, and style. In autumn 1979, one of Pärt’s pieces was scheduled to be performed at the Moscow Conservatory. But just a few days before the performance, Pärt’s name and the piece’s title—Tabula rasa—were crudely blotted out on posters announcing the concert. The reason, as I subsequently learned from Moscow friends, was simple: Pärt had just made public his intention to emigrate abroad. Like other Soviet artists before him who had chosen or been forced to emigrate, Pärt became an instant non-person. Until glasnost

and the collapse of the USSR more than 10 years later, his name was struck from the official history of Soviet music. Meanwhile, his “minimalist” music became increasingly popular with audiences elsewhere. Today, he is considered one of the world’s most important living composers.

The last composition Pärt completed before leaving Estonia was Spiegel im Spiegel ( Mirror in the Mirror ), now one of his best-known and frequently performed works. Violinist Vladimir Spivakov commissioned it and gave the first performance at the Moscow Conservatory in December 1978. In other versions, the violin in this hypnotic duet with piano has been replaced by cello and various solo instruments. A prime example of Pärt’s “tintinnabuli style,” in which a bell-like (tintinnabular) accompaniment intertwines with a spare melodic voice, Spiegel im Spiegel grows out of

the piano’s repeated F-major triads, with the cello playing up and down in scales centered around A. The complex and constantly changing relationship between the two lines—progressing with mathematical precision despite the apparent simplicity— produces the illusion of infinite mirroring, as the piano and cello parts imitate and reflect each other. Spiegel im Spiegel has found a wide audience through film and television, and even showed up prominently on the third season of Ted Lasso Brazilian composer and instrumentalist Sérgio Assad (b. 1952) has worked with Yo-Yo Ma on numerous projects, both live and recorded. One of their most successful collaborations was on the seductive and wistful Menino (“Little Child ”) (2003), which Assad has described simply as “a song about a child, the child we all have inside ourselves.”

—Harlow Robinson

CELLO SONATA IN D MINOR, OP. 40

Dmitri Shostakovich (1906–1975)

One of the most wellrehearsed stories of political oppression and music in the 20th century is that of Shostakovich’s opera Lady Macbeth of Mtsensk and Stalin’s belated critical reaction to it. Opening almost simultaneously in Leningrad and Moscow in January 1934, the opera had run very successfully for two years, with 180 performances in those two cities and a bevy of European and U.S. premieres, when an anonymous review in Pravda (thought to be by Stalin himself) savaged the work as “Muddle Instead of Music,” instantly reconfiguring Shostakovich’s career arc.

What is seldom noted about the incident, however, is that on the day the Pravda article appeared, Shostakovich was in Archangelsk, playing his Cello Sonata with his friend Viktor Kubatsky (the dedicatee of the work). Composed in 1934 shortly after Lady Macbeth, the Sonata is everything Pravda said his opera was not: disciplined, classically

proportioned, sonorous, and eminently lyrical.

The only big chamber piece before the Cello Sonata, his Piano Trio No. 1, Op. 8, is a sprawling 20-minute, singlemovement student work that unexpectedly won Shostakovich admission into the graduate composition course at the Moscow Conservatory, to which he wanted to transfer from the more restrictive Leningrad Conservatory.

Even the Leningrad conservatives, however, would have had little trouble with the textbook sonata form of the first movement of the Beethovenian Cello Sonata. It has a repeated exposition, for the first time in Shostakovich’s music, and its themes have the sharp character contrast— serious intellectual energy against expressive tenderness— common to Romantic-era “masculine” and “feminine” stereotypes. (They are also severely differentiated in key: The second theme is in the remote key of B major.) Given that the work was composed in a few weeks while Shostakovich was separated from his first wife, many commentators have read romantic turmoil into the movement. The

ending would have puzzled the “conservatives,” however—a slow, ghostly restatement of the main theme, chromatically reharmonized.

There is more than a hint of satire in the biting, quasi moto perpetuo second movement, but its industrial-strength dynamism echoes the energy of many a Beethoven scherzo, as does the swapping of lines between cello and piano. If this movement is the closest in spirit to Shostakovich’s earlier music, the long-spanned brooding cantilena of the following Largo most readily summons presentiments of the composer’s late style, though it is far less angular and more compassionate than desolate, with an almost Schubertian degree of lyrical grace.

The finale is again athletic. It was composed for his own performing use, like the 24 solo Preludes and the Piano Concerto No. 1 from the previous year, and it makes a ready impression, with technique and sass amply displayed in both parts. The piano even has a pell-mell cadenza in the second episode of this rondo-like movement of spare textures but extreme energy. —John

Henken

VIOLIN SONATA IN A MAJOR (transcribed

for cello)

César Franck (1822–1890)

The marriage of violinist Eugène Ysaÿe and Louise Bourdeau in 1886 inspired Franck’s lone Violin Sonata. Like Franck, Ysaÿe (1858–1931) was born in Liège, Belgium. A composer himself, he became a champion of the newest French music. (In addition to Franck’s Sonata, the Concerto and Poème by Chausson and Debussy’s String Quartet are dedicated to him.) Although 64 years old in 1886, Franck was still known primarily as an organist—at the important church St. Clotilde and the lavish public arts palace the Trocadéro, as well as professor of organ at the Paris Conservatory. The recognition that he gained in the last years of his life, and then increasingly afterward, was due in large part to the fervent missionary work of supporters such as Ysaÿe. The violinist played Franck’s Sonata many times on his wide-ranging tours, telling his listeners that he played it con amore since it was a wedding present.

Franck originally intended the opening movement to be

slow and reflective, but Ysaÿe persuaded him that it worked best at a quicker tempo, so Franck marked it Allegretto, though with the qualifier “ben moderato.” The movement juxtaposes rather than develops two themes, the first given almost exclusively to the violin, the second to the piano. These themes, particularly the violin’s, will return in the following movements, a sort of cyclical recontextualizing that Franck picked up from Liszt.

The second movement is a dramatic scherzo in D minor, opening as a turbulent piano toccata, then with a surging, offbeat violin line laid over it. There are lyrical or pensive interludes, working like trio sections, but the roiling toccata always reasserts itself, ending with a final sweep to D-major triumph.

The voice-led chromaticism that Franck absorbed from Wagner is apparent in the piano’s almost Tristanesque introduction to the third movement, a RecitativoFantasia. This introduction

is also a reference to the opening of the Sonata, and much of this free-form movement is devoted to reflection on the previous movements. As the heading of the movement clearly indicates, there is a pronounced personality split midway through, as the improvisatory Recitativo yields to the more insistently directed Fantasia, which picks up some of the rumbling power of the second movement. The violin has a freshly configured dramatic theme in this section, which will come back in the finale.

That finale begins in a state of pure lyric grace, with a lovely optimistic theme that is played in canon, the violin following the piano’s lead a bar later. This is developed against stormier energies from the second movement in a section that shifts from five flats to six sharps and back. The opening theme of the movement sneaks back into A major with all of its original sweetness—and in canon again—before swelling into exultant joy. —John

Henken

YO-YO MA

Yo-Yo Ma’s multifaceted career is testament to his belief in culture’s power to generate trust and understanding. Whether performing new or familiar works for cello, bringing communities together to explore culture’s role in society, or engaging unexpected musical forms, Ma strives to foster connections that stimulate the imagination and reinforce our humanity.

Most recently, Ma began Our Common Nature, a cultural journey to celebrate the ways that nature can reunite us in pursuit of a shared future. Our Common Nature follows the Bach Project, a 36-community, six-continent tour of J.S. Bach’s cello suites paired with local cultural programming. Both

endeavors reflect Ma’s lifelong commitment to stretching the boundaries of genre and tradition to understand how music helps us to imagine and build a stronger society.

Ma is an advocate for a future guided by humanity, trust, and understanding. Among his many roles, Ma is a United Nations Messenger of Peace, the first artist ever appointed to the World Economic Forum’s board of trustees, a member of the board of Nia Tero, the U.S.-based nonprofit working in solidarity with Indigenous peoples and movements worldwide, and the founder of the global music collective Silkroad. His discography of more than 120 albums (including 19 Grammy Award winners) ranges from iconic renditions of the Western classical canon to recordings that defy categorization, such as Hush with Bobby McFerrin and the Goat Rodeo Sessions with Stuart Duncan, Edgar Meyer, and Chris Thile. Ma’s recent releases include Six Evolutions, his third recording of Bach’s cello suites, and Songs of Comfort and Hope, created and recorded with pianist

Kathryn Stott in response to the COVID-19 pandemic. Ma’s latest album, Beethoven for Three: Symphony No. 4 and Op. 97 ‘Archduke,’ is the third in a new series of Beethoven recordings with pianist Emanuel Ax and violinist Leonidas Kavakos.

Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four, and three years later moved with his family to New York City, where he continued his cello studies at the Juilliard School before pursuing a liberal arts education at Harvard. He has received numerous awards, including the Avery Fisher Prize (1978), the National Medal of the Arts (2001), the Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), the Polar Music Prize (2012), and the Birgit Nilsson Prize (2022). He has performed for nine American presidents, most recently on the occasion of President Biden’s inauguration.

Ma and his wife have two children. He plays three instruments: a 2003 instrument made by Moes & Moes, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius.

photo : Jason Bell

KATHRYN STOTT

“At the age of five, I made friends with the upright piano in our living room. That was the beginning of my musical journey, one which continues as you read this. It would appear that my initial progress was rapid and by the age of eight, I found myself at a boarding school for young musicians, the Yehudi Menuhin School. During my studies there, it’s now clear to me that I was heavily influenced by two occasional visitors to the school:

Nadia Boulanger and Vlado Perlemuter. From them, my great passion for French music was ignited and Fauré in particular has remained the musical love of my life.

Further studies at the Royal College of Music in London then led me very abruptly into the life of a professional musician via the

Leeds International Piano Competition. It remains the steepest learning curve I’ve ever experienced. After a roller-coaster three years, I realized that I needed to reconnect with chamber music in a bid to feel more connected to other musicians and after all, this had played an important part of my musical existence since being a child.

When, quite by chance, I met Yo-Yo Ma in 1978, it turned out to be one of the most fortuitous moments of my life. Since 1985, we have enjoyed a collaboration which has taken us to so many fascinating parts of the world and led to musical adventures with musicians who shared so much from their own traditions. I’ve always considered us to be intrepid musical explorers on our own individual paths but with an incredible bond that unites us on the creative highway.

Presently, I enjoy the challenge of creativity in a different way by bringing many musicians together once a year in my role as Artistic Director of the Australian Festival of Chamber Music. My love of curating and directing began in 1995 and since then I’ve brought to life many of my ideas in events lasting anything

from long weekends to two weeks. I continue to push my capacity for exploring music I know nothing about and love bringing together unusual combinations whenever possible.

There are too many highlights in my career to mention. Yes, it was a thrill to perform at the Last Night of the Proms to millions around the world, but equally a massive thrill to have lit up 20 small faces in an inner-city school while they jumped up and down to energetic piano music!

Working with young musicians is something I feel passionate about and presently teach at the Academy of Music in Oslo. I’ve also had some truly exciting music written for me and enjoyed a particularly close collaboration with composer Graham Fitkin. What an unbelievable privilege it is to be immersed in a language which has no boundaries and has allowed me to share musical stories on a global scale; that little upright piano set me on quite a path! Talking of paths: I’ve also been found trekking in Nepal, Costa Rica, Bhutan, or walking my spaniel Archie on the Yorkshire Moors. The journey continues.”

photo :

Jacqui Ferry

Elgar and Vaughan Williams

Los Angeles Philharmonic

Simone Young, conductor

Gautier Capuçon, cello

Arvo PÄRT Cantus in Memoriam Benjamin Britten (c. 6 minutes)

ELGAR

THURSDAY

APRIL 4, 2024 8PM

SATURDAY

APRIL 6 8PM

SUNDAY

APRIL 7 2PM

Cello Concerto in E minor, Op. 85 (c. 30 minutes)

Adagio–Moderato Lento–Allegro molto

Adagio

Allegro–Moderato–Allegro, ma non troppo–Poco più lento–Adagio

Gautier Capuçon

INTERMISSION

VAUGHAN Symphony No. 8 in D minor (c. 46 minutes)

WILLIAMS

Fantasia

Scherzo alla marcia

Cavatina

Toccata

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

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

Media sponsor: KUSC (4/4)

AT A GLANCE

Music of Farewell

There is a distinctly elegiac cast to this richly reflective program. The ghosts of friends fallen in World War I haunt Elgar’s Cello Concerto, composed in 1919. That does not preclude virtuosity—it is a dauntingly difficult work—but the emphasis is on expressive reconcilement of loss. Written nearly 40 years later, Vaughan Williams’ Symphony No. 8 is a much more

CANTUS IN MEMORY OF BENJAMIN BRITTEN

Arvo Pärt (b. 1935)

Composed: 1977

Orchestration: glockenspiel and strings

First LA Phil performance: July 11, 2002, Paavo Järvi conducting

The three very quiet, widely spaced chimings of a lone bell that open the Cantus initiate music that casts a mesmerizing spell, enveloping one in its transcendental aura for the six-minute duration of the piece. When the strings enter, they begin very softly and increase in intensity little by little, reaching to a sustained fortissimo as they play throughout on variants of a descending scale of A minor. The scales, permeated by the bell’s seemingly random appearances, overlap each other at different speeds, the whole wash of sound creating an archaic, churchly atmosphere. The

extroverted work, but also has strong elements of autumnal farewell, particularly in the Cavatina for the strings. The Cantus that Arvo Pärt wrote after the death of Benjamin Britten is explicitly memorial: an extended mournful sigh of descending A-minor scales for strings, with a single tolling bell; simple in concept, vastly moving in experience. —John Henken

repetitiousness of the music suggests minimalism (Philip Glass, Steve Reich, and John Adams are preeminent practitioners of this style), but the elevated nature of the Cantus—call it spirituality—sets it apart from any kind of formulaic method.

Arvo Pärt attended the Tallinn Conservatory, from which he graduated in 1963. While still a student, he began working as a recording engineer for Estonian radio and also wrote more than 50 film scores. In 1980, he, his wife, and their two children received permission to emigrate to Israel, but, stopping first in Vienna for more than a year, they eventually settled in West Berlin, where they now live.

In the late 1970s, Pärt began to use a style he termed “tintinnabulation.”

He explained it this way: “I have discovered that it is enough when a single note is beautifully played. This one note, or a moment of silence, comforts me. I work with

very few elements—with one voice, two voices,...primitive materials, with the triad, with one specific tonality. The three notes of a triad are like bells. And that is why I call it ‘tintinnabulation.’”

There wasn’t any human relationship or seemingly a musical one between the Estonian and Benjamin Britten. But Pärt was moved to write a work in memory of the British composer, describing the inception of the piece. “Why did the date of Benjamin Britten’s death— December 4, 1976—touch such a chord in me? During this time I was obviously at the point where I could recognize the magnitude of such a loss,” he said in answering his own question. “I had just discovered Britten for myself. Just before his death, I began to appreciate the unusual purity of his music. And besides, for a long time, I had wanted to meet Britten personally, and now it would not come to that.” —Orrin

Howard

CELLO CONCERTO IN E MINOR, OP. 85

Edward Elgar (1857–1934)

Composed: 1919

Orchestration: 2 flutes (2nd=piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, strings, and solo cello

First LA Phil performance: December 12, 1968, Zubin Mehta conducting, with Jacqueline du Pré, soloist

Elgar’s name and the Enigma Variations are inextricably bound, but those who think of him as a one-piece composer need only look at his large catalog of compositions in virtually all instrumental and vocal forms to realize the scope of the man’s creativity.

The Cello Concerto of 1919 was the last full-scale orchestral work Elgar was destined to complete. With some deviations from its norm, the Concerto moves from dour to dourer—which I think aptly describes the brief introduction and the main theme that follows.

The four-movement work begins with a short cello passage marked with one of Elgar’s favored performing

directives, Nobilmente. This assertive but morose musical gesture, which returns briefly in the second movement and also at the end of the Concerto, contrasts sharply with the austere, longlimbed main theme of the movement proper given by violas alone. Resignation and bitterness seem to mingle here, with only flickering moments of hope entering the autumnal atmosphere.

The first movement is linked to the second by rhapsodic material in the cello that begins with a pizzicato allusion to the first movement’s opening, and then goes on to a perpetual motion, virtuosic course as a Scherzo.

SYMPHONY NO. 8 IN D MINOR

Ralph Vaughan Williams (1872–1958)

Composed: 1956

Orchestration: 2 flutes (2nd=piccolo), 2 oboes, 2 clarinets, 3 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, percussion (bass drum, chimes, cymbals, glockenspiel, side drum, triangle, vibraphone, xylophone, tuned gongs), 2 harps, celesta, and strings

First LA Phil performance: February 11, 1959, John Barbirolli conducting

A brief, meditative, and searching slow movement prefaces a finale notable for rich contrasts that include an energetic main theme, an accompanied cadenza, and a return of part of the slow movement’s materials as well as that first idea with which the Concerto began. But behold, after all of the deep melancholy that has suffused the work, the ending has about it the kind of bravado that tells much about British fortitude, about the “chin up, carry on” strength of that people. It is a good and a bold stroke.

—Orrin Howard

Ralph Vaughan Williams’ homespun but wholly commendable guiding principle was that “a composer’s art should be an expression of the whole life of the community.” Clearly, he also believed that the community’s life is rooted in its past—because, for the basis of his art, he made a beeline for the long, communal traditions of English folk song and the music of 16th-century composers. This was no dewy-eyed fancy. A rising generation of red-blooded English composers, men such as Vaughan Williams, Gerald Finzi, George Butterworth, Ernest Moeran, and John Ireland had a common strategy to start again, from identifiably indigenous English music that predated the rise of the then-dominant

German influence. Such composers were classed as “English Pastoralists.” Through many wonderful works—such as his mystical Fantasia on a Theme by Thomas Tallis (1910), idyllic The Lark Ascending (1914-20), and ruddy-cheeked English Folk Song Suite (1923)— VW emerged as a leading light.

Over the years, VW suffered a barrage of barbs that symptomized a feeling, among the increasingly influential postwar “progressives,” that pastoralism had led English music up a blind alley, isolating it from the musical mainstream. For this reason, I like to think of the Eighth Symphony (1956) as “An English Artist’s Reply to Unjust Criticism.”

Although it must have hurt him, VW, seemingly serenely indifferent to his detractors, carried on his merry way and produced a radiant, vibrant celebration of pastoralism.

A private run-through (1955) provoked some consternation—and, from a friendly critic, a question. Wryly, VW replied, “I feel the thing is a symphony, and it is going to remain one.” Apparently, the naughty VW had contravened standing orders, deciding against sonata form for his first movement. In fact, all four movements seem to avoid conventional symphonic forms.

I. Fantasia (Variations without a theme). The opening four-note trumpet motive, immediately clothed in exotic percussion colors, may be more a motive than a definite melody, but it is nevertheless the theme. Venturing far and wide, VW proceeds both to work it like plasticine—bending and stretching, squashing and twisting it—or using it as a skeleton to support other material. This tour de force of the composer’s art is closed neatly by the return of the “indefinite theme.”

The remaining movements spotlight, in turn, the orchestra’s wind sections, bowed strings, and percussion.

II. Scherzo alla marcia (for wind instruments). A woodwind “clog-dance,” twisting and turning on the village green, is soon superseded by a cheery trumpet tune—the archetypal brass band, tiddly-om-pompomming its jolly way along the prom-prom-prom. But then VW, maybe mindful of that missing sonata, sidesteps any regulation repeats and instead treats his themes to a rollercoaster ride of lively—and largely fugal—development!

The Trio’s lilting tune comes within an imperial inch of quoting from his Sixth

Symphony (the melody later popularized by the TV drama A Family at War). Thence, without further ado, straight into the coda, in whose final frayed phrase VW seems to say, “And that’ll be enough of that.”

III. Cavatina (for stringed instruments). VW’s continually evolving movement corresponds closely to the original meaning—an operatic aria in one section and without any repetition of words or phrases. These induce various passions: surges of love, nostalgia, perhaps regret, maybe even umbrage. We can picture VW musing by the fireside, “Surely, what I’ve done isn’t all that bad, is it?”

IV. Toccata. In the finale, he answers his own question— “No, it jolly well isn’t!”—and leaves no stop unpulled in proving his point. Far from gratuitous, though, the lavish instrumentation (including tubular bells, xylophone, celesta, glockenspiel, vibraphone, and three tuned gongs) is brilliantly integrated with the thematic materials, to echo the celebratory clangor of church bells—which is a universally recognized connotation! —Paul Serotsky, ©2009 Edited and used with permission

SIMONE YOUNG

One of the most important conductors of our time, Simone Young took up her position as principal conductor of the Sydney Symphony Orchestra in 2022.

In the 2023/24 season, she will conduct a new production of Peter Grimes, directed by Robert Carsen, at the Teatro alla Scala. Further opera engagements take her to the Vienna State Opera with Die Fledermaus and La fanciulla del West, as well as to the Staatsoper Unter den Linden Berlin with Khovanshchina. In the symphonic field, she conducts the Tonhalle-Orchester Zürich, the Orchestre Philharmonique de Radio France, the Royal Stockholm Philharmonic Orchestra, the Gothenburg Symphony Orchestra, the Oslo Philharmonic Orchestra, the Orchestre National de Lyon, the Los Angeles Philharmonic, the National Symphony Orchestra, and the Dallas Symphony Orchestra.

Young has released numerous recordings, including the Hamburg State Opera’s Mathis der Maler and the complete Ring of the Nibelung on Oehms Classics and Poulenc’s Dialogues des Carmélites and Aribert Reimann’s Lear.

Young holds an honorary doctorate from the universities of Sydney and Melbourne and is a professor at the University of Music and Theater in Hamburg. She is a Member of the Order of Australia and recipient of a Chevalier des Arts et des Lettres

medal in France as well as the Goethe Medal; she also received the Brahms Prize SchleswigHolstein. In April 2022, Simone Young was awarded honorary membership in the Vienna State Opera. She studied in her hometown of Sydney, went to the Cologne Opera on a scholarship, soon appearing as Kapellmeister, and was then brought to the Staatsoper Unter den Linden in Berlin by Daniel Barenboim. Within a few years, Young’s rapidly developing international career took her to all the major opera houses and the most important orchestras in the world.

GAUTIER CAPUÇON

Gautier Capuçon is a true 21st-century ambassador for the cello. Performing internationally with many of the world’s foremost conductors and instrumentalists, he is also deeply committed to education and support for young musicians from every background. In the summer of 2020, Capuçon brought music directly into the lives of families across the length and breadth of France during his musical odyssey “Un été en France.” The fifth edition of the project, featuring young musicians and dancers, takes place in July 2024. In January 2022, Gautier Capuçon launched his own foundation to support young and talented

musicians at the beginning of their careers. Capuçon is also a passionate ambassador for the Orchestre à l’École Association, which brings classical music to more than 42,000 schoolchildren across France.

A multiple award winner, Capuçon is acclaimed for his expressive musicianship, exuberant virtuosity, and for the deep sonority of his 1701 Matteo Goffriller cello “L’Ambassadeur.” Highlights of the 2023/24 season include return visits as soloist with the Los Angeles Philharmonic, Münchner Philharmoniker, Orchestre National de France, and Wiener Philharmoniker. In October 2023, he rejoined longtime musical partners Lisa Batiashvili and Jean-Yves Thibaudet for a tour crossing the U.S.

Recording exclusively for Erato (Warner Classics), Capuçon has won multiple awards and holds an extensive discography featuring major concerto and chamber music literature. His album Destination Paris, released in November 2023, celebrates French music, from classical repertoire to film scores. Further albums exploring short, popular pieces from a range of different genres— including Sensations (released in autumn 2022)—have generated tens of millions of streams.

Born in Chambéry, Capuçon began playing the cello at the age of five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. Now a household name in his native France, Capuçon appears on screen and online in shows such as Prodiges, Now Hear This, Symphonie pour la Vie, and The Artist Academy, and is a guest presenter on Radio Classique in the show Les carnets de Gautier Capuçon

UNSTILL LIFE

Benjamin Millepied, choreographer and dancer

Alexandre Tharaud, piano

L.A. Dance Project

Directed, choreographed, and performed by Benjamin Millepied Music performed by Alexandre Tharaud

Produced by L.A. Dance Project

Olivier Simola, Artistic Collaborator

Loïc Barrère, Dramaturge

Camille Assaf, Costumes

Masha Tsimring, Lighting Designer

RAMEAU Suite en La, RCT 5 Gavotte

Première double de la Gavotte

Deuxième double

Troisième double

Quatrième double

Cinquième double

Sixième double

SATIE Gnossienne No. 5

SATIE Pièces Froides: Danses de Travers, I

SATIE Gnossienne No. 3, Lent

BACH Partita No. 2 in C minor, BWV 826

I. Sinfonia

II. Allemande

IV. Sarabande

V. Rondeaux

SCHUBERT 4 Impromptus, Op. 90, D. 899

No. 3 in G-flat major: Andante

No. 2 in E-flat major: Allegro

BEETHOVEN Piano Sonata No. 32 in C minor, Op. 111

Maestoso–Allegro con brio ed appassionato Arietta–Adagio molto semplice e cantabile

TUESDAY

APRIL 9, 2024 8PM

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

Media sponsor: LAist

Programs and artists subject to change.

FOREWORD

As a child, I wanted to become a dancer, irresistibly drawn to the Paris Opera, while Benjamin dreamed of being a pianist, before becoming the great dancer and choreographer we know. For lack of talent, I did not pursue classical dance.

The piano welcomed me with open arms. Benjamin and I met a few years ago, Place des Vosges, in Paris. That day, the idea germinated in us of a residency at the Opera, during which I would have given concerts and participated in

SUITE EN LA , RCT 5

Jean-Philippe

Rameau (1683–1764)

“Harmony alone can stir the emotions. It is the one source from which melody directly emanates and draws its power.”

Rameau is best known today for his numerous stage works, but he began his career as an organist, serving a number of provincial and Parisian churches. Although he published a book of keyboard suites as early as 1706, his breakthrough work was a monumental theoretical treatise on harmony published in 1722. He was 50 when he composed his first opera, which created a furor and established him as the foremost opera composer of the day.

GNOSSIENNES

NOS. 3 & 5, PIÈCES FROIDES: DANSES DE TRAVERS

Erik Satie (1866–1925)

The quirky titles Erik Satie invented for his compositions may suggest a certain offhand cynicism, but there is no aural hint of that in the three pieces heard

a few ballets inspired by the piano repertoire.

Time has passed; today, our paths cross again in a more intimate project, that of a face-toface relationship between our two forms of art. If Benjamin’s entire work is deeply linked to music, I believe I can say that my playing would not be what it is today without my years of barre and physical discipline as a child, and my passion for dance constantly renewed.

—Alexandre Tharaud, September

tonight. The title Gnossienne is as enigmatic as the music itself. It is a word coined by Satie, and we can’t even be certain of what it means, though there must be some connection to the obscure religious philosophies of Gnosticism.

PARTITA NO. 2 IN C MINOR, BWV 826

Johann Sebastian Bach (1685–1750)

In 1731, Johann Sebastian Bach gathered six keyboard partitas that he had previously composed and published individually, and issued them himself as his Op. 1, the first part of his monumental Clavier Übung (Keyboard Practice) anthology. He dedicated them to “music lovers, for the delight of their spirits,” and although sales of his printed edition proved disappointing (Bach died with plenty of unsold copies), these magisterial dance suites circulated widely in manuscript copies.

“This work made in its time a great noise in the musical

2021

world,” Johann Nikolaus Forkel wrote in 1802. “Such excellent compositions for the clavier had never been seen and heard before. Anyone who had learnt to perform well some pieces out of them could make his fortune in the world thereby; and even in our times, a young artist might gain acknowledgment by doing so, they are so brilliant, well-sounding, expressive, and always new.”

The second of these “excellent compositions,” the Partita No. 2 in C minor, BWV 826, begins with a Sinfonia in the form and style of a French overture. An austerely noble, dotted-note introduction leads to a long and finely spun cantilena, which in turn vaults into an athletic two-voice fugue. The Allemande is suffused with a gentle melancholy, its dance elements abstracted, but the Sarabande is lyrically open and in motion. The rhythmically vigorous Rondeau underscores the French influence in this Partita, in terms of content as well as style. —John Henken

IMPROMPTUS

D. 899, NOS. 2 & 3 (OP. 90, NOS. 2 & 3)

Franz Schubert (1797–1828)

Schubert composed eight Impromptus, in two sets, all in 1827; five of the eight are in major keys, including the two pieces heard tonight. Unlucky for Schubert, he lived virtually all his life under the shadow of that giant in his kingdom of Vienna, Ludwig van Beethoven. In awe of the master when the young man was 19, Schubert later recovered from his bout with Beethovenitis and thereafter remained true to his own individuality, which was far more gentle and lyric than Beethoven’s.

When it came to writing the first of his Impromptus (a year before his own death), Schubert was in full command of his own creative identity. As a composer for piano, this meant exploiting keyboard sonority as sheer color in multi-hues, and using sudden and unexpected shifts of key as a crucial element of his expressive language. —Orrin

Howard

PIANO SONATA NO. 32

IN C MINOR, OP. 111

Ludwig van Beethoven (1770–1827)

After completing his 32nd piano sonata, almost three decades after writing his first, Beethoven made the startling and literally unbelievable comment that the piano is “after all an unsatisfactory instrument.” He surely

wasn’t to be taken seriously, particularly since he went on to write the incredibly expansive Diabelli Variations as well as the last set of Bagatelles.

But wait. The piano, as Beethoven wrote for it, was indeed able to contain the musical and formal thoughts he had for specific pieces. Though just barely. In fact, Beethoven wrote music that was not always piano music, the kind of music born for the keyboard that Chopin later invented. The final movement of Op. 111 is a supreme strain on the resources of the piano as well as on the technical abilities and spiritual perceptiveness of a performer. In this very last of his sonata movements Beethoven was viewing other worlds and utilizing the heights and depths of the keyboard to reveal his vision.

One thing to be expected of Beethoven, particularly in his last creative period, is the unexpected. In 1822, in crowning his body of piano sonatas with the great Op. 111 work in C minor, the composer at first alludes strongly to the taut, muscular imagery with which he had imbued so many of his earlier piano scores, and only then does he return to the transcendentalism which had become his mature form of expression. Juxtaposing the appassionato extroversion of his middle period with the visionary profundities of his last, he makes a supremely personal statement about himself as a consummately versatile and spiritual creative artist.

The opening movement’s defiance and steely-eyed anger begin with the urgent dramatics of a brief introduction that rumbles its way into the movement proper. Here, the performing directive Allegro con brio ed appassionato tells everything about the kind of bravura Beethoven has in mind. And he doesn’t make accomplishing the bravura an easy matter, for the textures are very lean, often constructed in polyphonic, two- or threepart-invention style, and in general looking back to the manner of the last movement of the “Appassionata” Sonata of 1805. Unlike that movement, this one breathes an air of calm in its final measures, a benign C-major calm that prepares for the serene nobility of the opening of the Sonata’s finale. Having wrestled with tempests, Beethoven turns to an otherworldly sphere for his very last sonata movement. Titling it Arietta, he presents an adagio theme of exalted (though not, as the name implies, diminutive) simplicity, on which he constructs—no, divines—four variations and a fantasy-like coda. A description can be given of the unfolding of the variations as a progressive doubling of the number of notes in each beat, and of the chains of double trills that seem to emerge, not from the keyboard but from some mysterious and enchanted source. But no commentary is sufficient to describe the effect of music that goes far beyond aural perception, that reaches the sublime. —Orrin Howard

BENJAMIN MILLEPIED

Benjamin Millepied (Artistic Director, L.A. Dance Project) is a French dancer, choreographer, and filmmaker. Millepied was a principal with the New York City Ballet, where he danced from 1995 to 2011. Millepied’s many ballets are in the repertory of major dance companies around the world such as American Ballet Theatre, New York City Ballet, Paris Opera Ballet, the Mariinsky Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, San Francisco Ballet, Berlin Staatsoper, Lyon Opera Ballet, and Dutch National Ballet. Millepied also choreographed the solo Years Later for Mikhail Baryshnikov in 2008. His collaborators include composers Nico Muhly, Nicholas Britell, David Lang, and Bryce Dessner; artists Christopher Wool, Barbara Kruger, Mark

Bradford, Daniel Buren, Liam Gillick, and United Visual Artists; and designers Rodarte, Iris van Herpen, and Alessandro Sartori.

In 2010, Millepied choreographed and starred in the award-winning film Black Swan. In 2012, Millepied founded L.A. Dance Project. In 2014, Millepied was appointed Director of Dance at the Paris Opera. For the two seasons he programmed at the Paris Opera Ballet, Millepied commissioned new works by William Forsythe, Justin Peck, Jérôme Bel, Wayne McGregor, Crystal Pite, Tino Sehgal, Nico Muhly, and James Blake. In 2015, Millepied was the subject of the documentary Reset, which follows him choreographing and directing at the POB. In 2016, Millepied resigned from his position in order to focus his energy on making L.A. Dance Project the organization he envisions for dance today.

Millepied has directed numerous dance short films over the years. In 2023, he made his directorial feature debut with the film musical Carmen Millepied is a recipient of the Prix de Lausanne, the Mae L. Win Award, and the U.S.A. Artists fellowship, and is a Chevalier in the Order of Arts and Letters.

L.A. DANCE PROJECT

L.A. Dance Project is a boundary-expanding nonprofit dance company under the Artistic Direction of Benjamin Millepied. Founded in 2012, L.A.D.P. opened the doors to its studio and performance space in Los Angeles’ downtown arts district in 2017. Through new commissions, revivals of choreographic masterpieces, and efforts to support local emerging artists, foster community partnerships, and uplift dance education, L.A. Dance Project serves as a central hub for audiences and artists alike. Its mission is to create, perform, and present exceptional and accessible dance in Los Angeles and around the world.

Executive Director: Lucinda Lent

Director of Production: Nathan Shreeve-Moon

Communications Director: Alice Mathis

Director of Institutional Advancement: Devon Caranicas

Stage Manager: Betsy Herst

Video Director: Baxter Stapleton

UNSTILL LIFE was made possible with thanks to the Van Cleef & Arpels Fund for L.A. Dance Project

ALEXANDRE THARAUD

Alexandre Tharaud’s extraordinary discography of over 25 solo albums—most of which have received major awards from the music press—features repertoire ranging from Couperin, Bach, and Scarlatti through Mozart, Beethoven, Schubert, Chopin, Brahms, and Rachmaninoff to the major 20th-century French composers. The breadth of his artistic endeavors is also reflected in collaborations with theater makers, dancers, choreographers, writers, and filmmakers, as well as with singer-songwriters and musicians outside the realm of classical music.

Tharaud is a sought-after soloist, appearing with many of the world’s leading orchestras. Highlights include concerto performances with Orchestra dell’Accademia Nazionale di Santa Cecilia; National Symphony Orchestra, Taiwan; Orchestre National du Capitole de Toulouse; and Hong Kong Sinfonietta. Recent concerto engagements include Aurora Orchestra, Orchestre de Paris, Les Violons du Roy, São

Paulo State Symphony, BBC National Orchestra of Wales, the Symphonieorchester des Bayerischen Rundfunks, Royal Concertgebouworkest, The Cleveland and The Philadelphia orchestras, Cincinnati Symphony, London Philharmonic, and hr-Sinfonieorchester Frankfurt.

As a recitalist, Tharaud is a regular guest at the world’s most prestigious venues, including the Paris Philharmonie, Wigmore Hall, Frankfurt Alte Oper, Bayreuth, Concertgebouw Amsterdam, Casa da Música Porto, Carnegie Hall’s Zankel Hall, and on extensive tours of Japan, China, and South Korea. Tharaud continues his long collaboration with the cellist Jean-Guihen Queyras for an extensive European tour.

Following the critically acclaimed debut of Unstill Life, a collaboration with the choreographer Benjamin Millepied performed in Paris, Lyon, and Spoleto, Tharaud brings this production to Walt Disney Concert Hall in Los Angeles. He also continues his collaboration with the singer Angélique Kidjo. This season, Alexandre is Artist in Residence at Muziekgebouw Amsterdam, where, alongside recitals and chamber music, he brings a range of projects including an electronic project with the artist Para One, accompanying a silent film, and a meditation on sleep entitled Dodo Tharaud

Tharaud is an exclusive recording artist of Warner Classics. This season, the release of his highly anticipated recording of the two Ravel piano

concertos with the Orchestre National de France and Louis Langrée is timed to celebrate the composer’s birthday anniversary in 2025. October 2020 saw the release of Le Poète du Piano, gathering together some of Alexandre’s best-known recordings in one album. His discography reflects an eclectic affinity for many musical styles, with such recordings as Versailles, which pays tribute to composers associated with the courts of the French kings Louis XIV, XV and XVI; a tribute to singer-songwriter Barbara; a Brahms duo album with Jean-Guihen Queyras (a regular chamber music partner for some 20 years); and Rachmaninoff’s Piano Concerto No. 2. Over the course of his career, he has made critically acclaimed recordings of Rameau, Scarlatti, Bach’s Goldberg Variations and Italian Concerto, Beethoven’s three final sonatas, Chopin’s 24 Preludes, and Ravel’s complete piano works.

In 2017, Tharaud published Montrez-moi vos mains, an introspective and engaging account of his daily life as a pianist. He had previously co-authored Piano Intime with journalist Nicolas Southon. He is the subject of a film directed by Swiss filmmaker Raphaëlle Aellig Régnier, Alexandre Tharaud: Le temps dérobé, and he appeared in the role of the pianist “Alexandre” in Michael Haneke’s celebrated 2012 film Amour

In 2021, Tharaud won the Instrumental Soloist of the Year award at the Victoires de la Musique Classique.

Saint-Saëns’ Organ Symphony

Los Angeles Philharmonic

Louis Langrée, conductor

Martin Chalifour, violin

Joanne Pearce Martin, organ

Jonathan Bailey Assemble (c. 13 minutes)

HOLLAND (world premiere, LA Phil commission)

RAVEL Tzigane (c. 9 minutes)

Martin Chalifour

RAVEL Mother Goose Suite (c. 16 minutes)

Pavane of the Sleeping Beauty

Tom Thumb

Laideronette, Empress of the Pagodas Conversations of Beauty and the Beast

The Enchanted Garden

INTERMISSION

SAINT-SAËNS Symphony No. 3 in C minor, Op. 78 (c. 36 minutes)

Adagio–Allegro moderato–Poco adagio Allegro moderato–Presto–Maestoso–Allegro

Joanne Pearce Martin

FRIDAY

APRIL 12, 2024 8PM

SATURDAY

APRIL 13 2PM

SUNDAY

APRIL 14 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

AT A GLANCE

Musical Elements

Time has winnowed much of the vast and varied music that Camille Saint-Saëns composed in a long and venturesome life. But his “Organ” Symphony has maintained a constant presence since its premiere in 1886. A paradoxically innovative summation, it appeals to head and heart with equal impact. Similarly, Jonathan Bailey Holland gathers basic

elements of rhythm, harmony, and melody and puts them together in his new orchestral work, Assemble—a title of multiple implications, including our gathering as an audience. The pivotal hinge between these pieces is a pair of works by Ravel: His dazzling Tzigane (a short set of virtuoso variations) and the enchanting Mother Goose Suite.

—John Henken

ASSEMBLE

Jonathan Bailey Holland (b. 1974)

Composed: 2024

Orchestration: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons (3rd=contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (vibraphone, wind chimes, claves, suspended cymbals, tam-tam, wood block, sand block, snare drum, tom-toms, bass drum), harp, and strings

First LA Phil performances (world premiere).

Assemble: to gather / to put together Rhythm, harmony, and melody are basic musical building blocks. These elements are often interwoven to create a layered musical landscape. In this work, each of these elements is introduced individually, one

emerging from the energy produced by the one before. By the end you will have heard the rhythm, harmony, and melody separately, but you will have also heard the piece in its entirety through the presentation of the individual parts...which are, of course, interdependent and not always clearly delineated.

—Jonathan Bailey Holland

TZIGANE, RAPSODIE DE CONCERT

Maurice Ravel (1875–1937)

Composed: 1924

Orchestration: 2 flutes (2nd=piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet, percussion (crash cymbals, orchestra bells, suspended cymbals, triangle), harp, celesta, strings, and solo violin

First LA Phil performance: April 7, 1932, Artur Rodziński conducting, with Paul Kochanski, soloist

Several foreign lands received the brushstrokes of Ravel’s pictorialism and Gallic wit: Spain—Rapsodie espagnole; Vienna—La valse; and Hungary— Tzigane. The latter work, written in 1924 and dedicated to the violinist Jelly d’Arányi, who gave its first performances, was described by the composer as “a virtuoso piece in the style of a Hungarian Rhapsody.” Clearly, Ravel’s simple description is adequate for the musical situation. The Frenchman’s Tzigane is all fiery temperament, from the extended solo cadenza with which the piece opens to the breathless closing. And if this performer doesn’t make his violin cry, he makes it dazzle by using nearly every technical trick in the book. —John Henken

MOTHER GOOSE SUITE

Maurice Ravel

Composed: 1908–10

Orchestration: 2 flutes (2nd=piccolo), 2 oboes (2nd=English horn), 2 clarinets, 2 bassoons (2nd=contrabassoon), 2 horns, timpani, percussion (bass drum, cymbals, glockenspiel, tam-tam, triangle, xylophone), harp, celesta, and strings

First LA Phil performance: March 6, 1927, Walter Henry Rothwell conducting

The phenomenal success of Ravel’s “greatest hits” (especially the almost notorious Boléro) may blind us to the subtleties of his most enchanting works. The refinement of the orchestral textures Ravel utilizes in this suite is an endless source of wonderment. After the moody opening “Pavane of the Sleeping Beauty,” we are transported to the forest where Tom Thumb’s trail of crumbs is the victim of various songbirds. A colorful and exotic depiction of things Chinese follows, as “Laideronette, Empress of the Pagodas” bathes while being entertained with musical walnut-shells and almond-shells. Then comes “Conversations of Beauty and the Beast,” which British writer Gerald Larner described as “Ravel’s firstever love scene.” This is no Disneyfied Beauty and the Beast, though, and the

transformation of the Beast leads to a hymn-like but eventually ecstatic celebration of nature in “The Enchanted Garden.”

The radiant orchestration is quintessential Ravel.

—Dennis Bade

SYMPHONY NO. 3 IN C MINOR, OP. 78 (“ORGAN”)

Camille Saint-Saëns (1835–1921)

Composed: 1886

Orchestration: 3 flutes (3rd=piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, crash cymbals, triangle), piano (four hands), organ, and strings

First LA Phil performance: November 14, 1935, Pierre Monteux conducting

The French composer Charles Gounod is said to have referred to Saint-Saëns as the French Beethoven. Saint-Saëns wrote five symphonies, none of them suggesting its creator thought himself an heir to the Bonn master’s throne. In reality, for his Third Symphony and for his symphonic poems, SaintSaëns owed his largest debt to Liszt, since it is the Hungarian composer’s method of thematic transformation

and the cyclical use of the transformed material throughout a given piece that the Frenchman zealously appropriated.

For the first performance of his Third Symphony in 1886 by the London Philharmonic Society, for which it was composed, Saint-Saëns indicated in a written analysis that the work, though divided into two parts, included practically the traditional four symphony movements.

The Symphony begins with a slow, Wagnerish (Tristan und Isolde) introduction, after which the restless Allegro first theme is announced in the strings; this is the motif that appears in transformations throughout the work—and one that is strongly suggestive of the first theme of Schubert’s “Unfinished” Symphony. The organ appears for the first time in the contemplative Adagio, while the piano enters the Symphony’s scene in the assertive scherzo, which, in Saint-Saëns’ scheme, is at the beginning of the second movement. The finale is built upon yet another of the many transformations of the first movement’s main theme, here made majestic by the organ’s mighty support, and the exceedingly attractive composition ends with a brilliant massing of orchestral forces. —John Henken

LOUIS LANGRÉE

French conductor Louis Langrée became Director of the Théâtre national de l’Opéra-Comique in November 2021, named by the president of France, Emmanuel Macron. He has been Music Director of the Cincinnati Symphony Orchestra since 2013 and was Music Director of the Mostly Mozart Festival at Lincoln Center from 2003 to 2023.

In the 2023/24 season, Langrée rounds off 10 successful years as Music Director of the Cincinnati Symphony, where he conducts Thomas’ opera Hamlet as well as new works by Jonathan Bailey Holland, Bryce Dessner (U.S. premiere), and Anthony Davis (world premiere), among others. Langrée will continue as Director at l’Opera-Comique with a production of Pulcinella and L’Heure espagnole, as well as bringing l’Opera-Comique to the Edinburgh Festival. Langrée also returns to the Los Angeles Philharmonic at Walt Disney Concert Hall.

A regular presence in New York since his 1998 debut, Langrée has conducted about 250 performances and concerts at Lincoln Center, including the Mostly Mozart Festival,

the Metropolitan Opera, and the New York Philharmonic. Guest-conductor appearances include the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, Philadelphia Orchestra, Budapest Festival Orchestra, Czech Philharmonic, NHK Symphony, Orchestre National de France, Orchestre de Paris, and Leipzig Gewandhaus, as well as Orchestre des Champs-Elysées, Freiburg Baroque, and the Orchestra of the Age of Enlightenment. In addition to the Met, he frequently conducts at leading opera houses including Vienna Staatsoper; Teatro alla Scala; Royal Opera House, Covent Garden; Lyric Opera of Chicago; and Bayerische Staatsoper in Munich, and at festivals including Glyndebourne, Aix-en-Provence, BBC Proms, Edinburgh International, the Hong Kong Arts Festival, Wiener Festwochen, Salzburg Mozartwoche, and Whitsun.

An advocate for the music of our time, Langrée has conducted world premieres by Daníel Bjarnason, Julia Adolphe, Guillaume Connesson, Anna Clyne, Jonathan Bailey Holland, David Lang, Julia Wolfe, Nico Muhly, André Previn, Caroline Shaw, and Christopher Rouse.

Among his recent recordings, the DVD of Thomas’ Hamlet, filmed at the Opéra-Comique in Paris with the Orchestre des Champs-Elysées, won the Best Recording of the Year Award at the International Opera Awards, Best Video Performance at the International Classical Music Awards, the Grand Prix de l’Académie Charles Cros, the

Caecilia Prize, and Diapason d’Or of the Year. His two last CDs with the Cincinnati Symphony Orchestra were nominated for Best Orchestral Performance at the Grammy Awards.

Previous music-director roles include Orchestre de Picardie, Opéra National de Lyon, Glyndebourne Touring Opera, Orchestre Philharmonique Royal de Liège, and chief conductor of the Camerata Salzburg. A native of Alsace, France, Langrée is an Honorary Member of the Confrérie SaintÉtienne d’Alsace, an Alsatian winemakers’ brotherhood dating back to the 14th century. Louis Langrée is a Chevalier de la Légion d’Honneur and an Officier des Arts et des Lettres.

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 maintains 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 Esa-Pekka 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.

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.

JOANNE PEARCE MARTIN

Joanne Pearce Martin was appointed to the Los Angeles Philharmonic by Esa-Pekka Salonen in 2001. She holds the Katharine Bixby Hotchkis Chair. A native of Allentown, PA, and a graduate of Philadelphia’s Curtis Institute, she balances a busy career as soloist, chamber musician, and recording artist.

Martin has been featured with the LA Phil on multiple occasions at both the Hollywood Bowl and Walt Disney Concert Hall. In 2016, she was the piano soloist in a sold-out and critically acclaimed performance of Messiaen’s epic work Des canyons aux étoiles at London’s Barbican Centre with the LA Phil and Gustavo Dudamel.

She has performed at dozens of music series and festivals spanning four continents, collaborating with artists such as Joshua Bell, Lynn Harrell, Julius Baker, Joseph Silverstein, and Steven Isserlis. She has been guest soloist with many

other orchestras in the U.S. and abroad, including the Charlotte Symphony, Los Angeles Chamber Orchestra, Florida West Coast Symphony, England’s Huddersfield Philharmonic, and The Philadelphia Orchestra.

Since the 1990s, Joanne and her husband, Gavin Martin, have performed in the U.S. and abroad as a two-piano team, including multiple performances with the LA Phil. She has also collaborated periodically with pianist Jeffrey Kahane.

Martin enjoys delving into new musical adventures, such as playing the theremin. She has performed and recorded a commissioned piece (Theremin’s Journey) by Gernot Wolfgang and a solo piano work (D’Nato) by composer and LA Phil Principal Timpanist Joseph Pereira. She is also a regular performer on the LA Phil’s Green Umbrella series.

Martin’s playing can be heard on Hollywood movie soundtracks, and she has made numerous television appearances, notably with violinist Joshua Bell at the Smith Center in Las Vegas and on Tavis Smiley

During the 2021/22 season, Martin had the distinct pleasure of working alongside Steven Spielberg as the featured solo pianist in his award-winning semiautobiographical film The Fabelmans. At the personal invitation of John Williams, she recorded a varied collection of solo classical pieces as well as Williams’ original score for the film.

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 January 31, 2024.

$25,000,000 AND ABOVE

Walt and Lilly Disney Foundation

Cecilia and Dudley Rauch

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

David Bohnett Foundation

$10,000,000 TO $19,999,999

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 Marchena-Huyke Foundation

The Walt Disney Company

Fairchild-Martindale Foundation

Eris and Larry Field

Reese and Doris Gothie

Joan and John Hotchkis

Janeway Foundation

Bernice and Wendell 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

Koni and Geoff Rich

H. Russell

Smith Foundation

Jay and Deanie Stein Foundation Trust

Ronald and Valerie Sugar

I.H. Sutnick

$500,000 TO $999,999

Ann and Martin Albert

Abbott Brown

Mr. George L. Cassat

Kathleen and Jerrold L. Eberhardt

Valerie Franklin

Yvonne and Gordon Hessler

Ernest Mauk and Doyce Nunis

Mr. and Mrs. David Meline

Sandy and Barry D. Pressman

Earl and Victoria Pushee

William and Sally Rutter

Nancy and Barry Sanders

Richard and Bradley Seeley

Christian Stracke

Donna Swayze

In memory of Judy Ungar and Adrienne Fritz

Lee and Hope Landis Warner

YOLA Student Fund

Edna Weiss

$250,000 TO $499,999

Nancy and Leslie Abell

Mr. Gregory A. Adams

Baker Family Trust

Veronica and Robert Egelston

Gordon Family Foundation

Ms. Kay Harland

Joan Green Harris Trust

Bud and Barbara Hellman

Gerald L. Katell

Norma Kayser

Joyce and Kent Kresa

Raymond Lieberman

Mr. Kevin MacCarthy and Ms. Lauren Lexton

Alfred E. Mann Charities

Jane and Marc B. Nathanson

Y & S Nazarian

Family Foundation

Nancy and Sidney Petersen

Rice Family Foundation

Robert Robinson

Katharine and Thomas Stoever

Sue Tsao

Alyce and Warren Williamson

$100,000 TO $249,999

Mr. Robert J. Abernethy

William A. Allison

Rachel and Lee Ault

W. Lee Bailey, M.D.

Angela Bardowell

Deborah Borda

The Eli and Edythe Broad Foundation

Jane Carruthers

Pei-yuan Chia and Katherine Shen

James and Paula Coburn Foundation

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

Mr. and Mrs. Terry Cox

Silvia and Kevin Dretzka

Allan and Diane Eisenman

Christine and Daniel Ewell

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

David and Paige Glickman

Nicholas T. Goldsborough

Gonda Family Foundation

Margaret Grauman

Kathryn Kert Green and Mark Green

Joan and John F. Hotchkis

Freya and Mark Ivener

Ruth Jacobson

Stephen A. Kanter, M.D.

Jo Ann and Charles Kaplan

Yates Keir

Susanne and Paul Kester

Vicki King

Sylvia Kunin

Ann and Edward Leibon

Ellen and Mark Lipson

B. and Lonis Liverman

Glenn Miya and Steven Llanusa

Ms. Gloria Lothrop

Vicki and Kerry McCluggage

David and Margaret Mgrublian

Diane and Leon Morton

Mary Pickford Foundation

Sally and Frank Raab

Mr. David Sanders

Malcolm Schneer and Cathy Liu

David and Linda Shaheen Foundation

William E.B. and Laura K. Siart

Magda and Frederick R. Waingrow

Wasserman Foundation

Robert Wood

Syham Yohanna and James W. Manns

$25,000 TO $99,999

Marie Baier Foundation

Dr. Richard Bardowell, M.D.

Jacqueline Briskin

Dona Burrell

Ying Cai & Wann

S. Lee Foundation

Ann and Tony Cannon

Dee and Robert E. Cody

The Colburn Fund

Margaret Sheehy

Collins

Mr. Allen Don Cornelsen

Ginny and John Cushman

Marilyn J. Dale

Mrs. Barbara A. Davis

Dr. and Mrs. Roger DeBard

Jennifer and Royce Diener

Jane B. and Michael D. Eisner

The Englekirk Family

Claudia and Mark Foster

Lillian and Stephen Frank

Dr. Suzanne Gemmell

Paul and Florence Glaser

Good Works Foundation

Anne Heineman

Ann and Jean Horton

Drs. Judith and Herbert Hyman

Albert E. and Nancy C. Jenkins

Robert Jesberg and Michael J. Carmody

Ms. Ann L. Kligman

Sandra Krause and William Fitzgerald

Michael and Emily Laskin

Sarah and Ira R. Manson

Carole McCormac

Meitus Marital Trust

Sharyl and Rafael Mendez, M.D.

John Millard

National Endowment for the Arts

Alfred and Arlene Noreen

Occidental Petroleum Corporation

Dr. M. Lee Pearce

Lois Rosen

Anne and James Rothenberg

Donald Tracy Rumford Family Trust

The SahanDaywi Foundation

Mrs. Nancie Schneider

William and Luiginia Sheridan

Virginia Skinner Living Trust

Nancy and Richard Spelke

Mary H. Statham

Ms. Fran H. Tuchman

Tom and Janet Unterman

Rhio H. Weir

Mrs. Joseph F. Westheimer

Jean Willingham

Winnick Family Foundation

Cheryl and Peter Ziegler

Lynn and Roger Zino

LA PHIL MUSICIANS

Anonymous

Kenneth Bonebrake

Nancy and Martin Chalifour

Brian Drake

Perry Dreiman

Barry Gold

Christopher Hanulik

John Hayhurst

Jory and Selina Herman

Ingrid Hutman

Andrew Lowy

Gloria Lum

Joanne Pearce Martin

Kazue Asawa McGregor

Oscar and Diane Meza

Mitchell Newman

Peter Rofé

Meredith Snow and Mark Zimoski

Barry Socher

Paul Stein

Leticia Oaks Strong

Lyndon and Beth Johnston Taylor

Dennis Trembly

Allison and Jim Wilt

Suli Xue

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

ART IN BLOOM

This spring, CAP UCLA welcomes today’s most searching, innovative and compelling artists.

VISIT

The UCLA Nimoy Theater (opened in September 2023) Royce Hall and The United Theater on Broadway.

EXPLORE

A genre-defying lineup of music, dance, theater and literary arts.

SEASON HIGHLIGHTS

> Urban Bush Women > Molly Joyce and Jerron Herman > Third Coast Percussion

> Flamenco Vivo Carlota Santana > Ronnie Burkett > Alfredo Rodriguez > yMusic > Kronos Quartet > Meshell Ndegeocello > Luciana Souza > LADAMA

cap.ucla.edu/2023–24

AND MANY MORE!

Kronos Quartet by Nación Imago

Urban Bush Women by Ian Douglas

Annual Donors

The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between February 1, 2023, and January 31, 2024.

$1,000,000 AND ABOVE

Anonymous (3)

Ann and Robert Ronus

$500,000 TO $999,999

The Ahmanson Foundation

Ballmer Group

$200,000 TO $499,999

Anonymous

Lynn K. Altman

Regina Weingarten and Gregory Annenberg

Weingarten

Judith and Thomas L. Beckmen

R. Martin Chavez

Colburn Foundation

Michael J. Connell Foundation

Jane B. and Michael D. Eisner

Lisa Field

Robyn Field and Anthony O’Carroll

$100,000 TO $199,999

Mr. Gregory A. Adams

The Blue Ribbon

Donelle Dadigan

Louise and Brad Edgerton/Edgerton Foundation

Breck and Georgia Eisner

$50,000

The Eisner Foundation

Ms. Erika J. Glazer

Alexandra S. Glickman and Gayle Whittemore

Peggy Grauman

Daniel Huh

Kaiser Permanente

TO $99,999

Anonymous (8)

Amazon

Amgen Foundation

Ms. Kate Angelo and Mr. Francois Mobasser

Aramont Charitable Foundation

David Bohnett Foundation

Linda and Maynard Brittan

California Community Foundation

Canon Insurance Service

Esther S.M. Chui

Chao & Andrea

Chao-Kharma

Dan Clivner

Nancy and Donald de Brier

De Marchena-Huyke Foundation

The Walt Disney Company

Berta and Frank Gehry

Mr. James Gleason

Mr. Gregg Goldman and Mr. Anthony DeFrancesco

Ellen Goldsmith-Vein and Jon Vein

Lenore S. and Bernard

A. Greenberg Fund

Yvonne Hessler

Mr. Philip Hettema

The Hillenburg Family

The Hirsh Family

Ed Hong

$25,000 TO $49,999

Anonymous (7)

The Herb Alpert Foundation

Tracy Anderson

Mr. and Mrs. Phil Becker

Susan and Adam Berger

Samuel and Erin Biggs

Dunard Fund USA

Jennifer Miller Goff

The Getty Foundation

Gordon P. Getty

Max H. Gluck Foundation

William Randolph Hearst Foundation

The Hearthland Foundation

Winnie Kho and Chris Testa

County of Los Angeles

Mr. and Mrs. David Meline

John Mohme Foundation

Barbara and Amos Hostetter

Ms. Teena Hostovich and Mr. Doug Martinet

Frank Hu and Vikki Sung

Mr. and Mrs. James L. Hunter

Rif and Bridget Hutton

Elizabeth Bixby Janeway Foundation

Monique and Jonathan Kagan

W.M. Keck Foundation

Mr. and Mrs. Michael C. Kelley

Darioush and Shahpar Khaledi

Dr. Ralph A. Korpman

Tylie Jones

Terri and Jerry M. Kohl

Anne Akiko Meyers and Jason Subotky

The Music Man Foundation

Pasadena Showcase House for the Arts

Maureen and Stanley Moore

The Ralph M. Parsons Foundation

Peninsula Committee

Richard and Ariane Raffetto

Rosenthal Family Foundation

Mr. and Mrs. Keith Landenberger

The Norman and Sadie Lee Foundation

Live Nation

Hewitt Silva

Los Angeles County Department of Arts and Culture

Renee and Meyer Luskin

Alfred E. Mann Charities

Mrs. Beverly C. Marksbury

Linda May and Jack Suzar

Barbara and Buzz McCoy

Ms. Irene Mecchi

Music Center Foundation

Barbara and Jay Rasulo

The Rauch Family Foundation

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

James and Laura Rosenwald/ Orinoco Foundation

Estate of Kenneth D. Sanson, Jr.

Elizabeth and Henry T. Segerstrom

Jay and Deanie Stein Foundation Trust

Michael and Lori Milken Family Foundation

Ms. Christine Muller and Mr. John Swanson

National Endowment for the Arts

M. David and Diane Paul

Ms. Linda L. Pierce

Sandy and Barry D. Pressman

Koni and Geoff Rich

Allyson Rubin

Thomas Safran

Ellen and Richard Sandler

Marilyn and Eugene Stein

Rolex Watch USA, Inc.

Linda and David Shaheen

Alyce de Roulet Williamson

Christian Stracke

Mr. Alex Weingarten

Margo and Irwin Winkler

Kristin and Jeff Worthe

Ellen and Arnold Zetcher

Ronald and Valerie Sugar

Keith and Cecilia Terasaki

Sue Tsao

Michael Tyler

David William Upham Foundation

Barbara and Robert Veir

Walter and Shirley Wang

Stasia and Michael Washington

John and Marilyn Wells Family Foundation

Debra Wong Yang and John W. Spiegel

Mr. and Mrs. Norris J. Bishton, Jr.

Jill Black Zalben

Tracey BoldemannTatkin and Stan Tatkin

Kawanna and Jay Brown

Gail Buchalter and Warren Breslow

Michele Brustin

Steven and Lori Bush

California

Arts Council

California Office Of The Small Business Advocate

Mr. Richard W. Colburn

Becca and Jonathan Congdon

Mr. and Mrs. Robert Cook

Orna and David Delrahim

Jennifer Diener and Eric Small

Malsi and Johnny Doyle

Van and Francine Durrer

East West Bank

Kathleen and Jerry L. Eberhardt

Dr. Paul and Patti Eisenberg

Geoff Emery

Max Factor Family Foundation

Marianna J. Fisher and David Fisher

Austin and Lauren Fite Foundation

VERDI REQUIEM

GRANT GERSHON, conductor ANA MARÍA MARTÍNEZ, soprano

MELODY MOORE, mezzo-soprano

SATURDAY, JUNE 8 AT 2PM | SUNDAY, JUNE 9 AT 7PM

SEAN PANIKKAR, tenor

PEIXIN CHEN, bass

100 singers, orchestra

GIUSEPPE VERDI Requiem

Thunderous rhythms, sublime melodies, and rhapsodic solo passages express both the heights of salvation and depths of damnation in this epic and panoramic masterpiece. A performance of Verdi’s Requiem by the Grammy® Award-winning LA Master Chorale is not to be missed.

TICKETS

Courtney Taylor SOPRANO

Foothill Philharmonic Committee

Debra Frank

Gary and Cindy Frischling

William Kelly and Tomas Fuller

Drs. Jessie and Steven Galson

The Rosalinde and Arthur Gilbert Foundation

Kiki Ramos Gindler and David Gindler

Francis Goelet

Charitable Lead Trusts

Goldman Sachs Co. LLC

Good Works Foundation and Laura Donnelley

Kate Good

Liz and Peter Goulds

Faye Greenberg and David Lawrence

Renée and Paul Haas

Laurie and Chris

Harbert and Family

Harman Family Foundation

Stephen T. Hearst

Madeleine Heil and Sean Petersen

Jeremy and Luanne Stark

Andrew Hewitt

Liz Levitt Hirsch

David and Martha Ho

Mr. Tyler Holcomb

Thomas Dubois

Hormel Foundation

Ms. Michelle

Horowitz

Annica and James Newton Howard

$15,000 TO $24,999

Anonymous (4)

Drew and Susan Adams

Honorable and Mrs. Richard Adler

Ms. Elizabeth Barbatelli

Susan Baumgarten

Camilo Esteban

Becdach

Dr. William Benbassat

Miles and Joni Benickes

Helen and Peter S. Bing

Robert and Joan Blackman Family Foundation

Mr. Ronald H. Bloom

Otis Booth Foundation

Mr. and Mrs.

Wade Bourne

Jaron and Wendy Brooks

Mrs. Linda L. Brown

Thy Bui

Business and Professional Committee

Ying Cai & Wann S. Lee Foundation

Campagna Family Trust

The Capital Group Companies

Charitable Foundation

Mara and Joseph Carieri

Dominic Chan

Andrea ChaoKharma and Kenneth Kharma

Marlene Schall

Chavez, Ph.D

Chevron Products Company

Chivaroli and Associates, Tiffany and Christian Chivaroli

Hyon Chough and Maurice Singer

Sarah and Roger Chrisman

Larison Clark

Susan Colvin

Jay and Nadege Conger

Faith and Jonathan Cookler

Zoe Cosgrove

Lynette and Michael C. Davis

Victoria Seaver Dean, Patrick Seaver, Carlton Seaver

Dr. and Mrs. William M. Duxler

Michael Edelstein and Dr. Robin Hilder

Edison International

Ms. Ruth Eisen

Ms. Robin Eisenman and Mr.

Maurice LaMarche

Bonnie and Ronald Fein

Evelyn and Norman Feintech Family Foundation

E. Mark Fishman and Carrie Feldman

$10,000 TO $14,999

Anonymous (5)

ABC Entertainment

Mr. Robert J. Abernethy

Ty Ahmad-Taylor

B. Allen and Dorothy Lay

Debra and Benjamin Ansell

Robin and Gary Jacobs

Meg and Bahram Jalali

Jo Ann and Charles Kaplan

Mr. and Mrs. Joshua R. Kaplan

Terri and Michael Kaplan

Paul Kester

City of Los Angeles, Department of Cultural Affairs

Los Angeles Philharmonic Affiliates

Roger Lustberg and Cheryl Petersen

The Seth MacFarlane Foundation

Ashley McCarthy and Bret Barker

Ms. Kim McCarthy and Mr. Ben Cheng

Marc and Ashley Merrill

David and Margaret Mgrublian

Molly Munger and Stephen English

Deena and Edward Nahmias

NBC Universal

Anthony and Olivia Neece

Carrie Nery

Mr. and Mrs. Randy Newman

Mr. Robert W. Olsen

Tye Ouzounian

Bruce and Aulana Peters

Dennis C. Poulsen and Cindy Costello

Tony and Elisabeth Freinberg

Mr. and Mrs. Josh Friedman

Ms. Kimberly Friedman

Dr. and Mrs. David Fung

Mr. and Mrs. Ronald Gertz

Carrie and Rob Glicksteen

Greg and Etty Goetzman

Harriett and Richard E. Gold

Goodman Family Foundation

Robert and Lori Goodman

Lori G. Gordon

The Gorfaine/ Schwartz Agency

Rob and Jan Graner

Mr. Bill Grubman

Marnie and Dan Gruen

Eric Gutshall and Felicia Davis

Vicken and Susan J. Haleblian

Lyndsay Harding

Walter and Donna Helm

Stephen D. Henry and Rudy M. Oclaray

Carol Henry

Marion and Tod Hindin

Gerry Hinkley and Allen Briskin

Tichina Arnold

Ms. Lisette Arsuaga and Mr. Gilbert Davila

The Aversano Family Trust

Mr. Mustapha Baha

Stephanie Barron

Mr. Joseph A. Bartush

Sondra Behrens

Phyllis and Sandy Beim

Maria and Bill Bell

Mr. and Mrs. Philip Bellomy

Mark and Pat Benjamin

Mr. Herbert M. Berk

Madeline and Bruce Ramer

John Peter Robinson and Denise Hudson

Mr. Bennett Rosenthal

Ross Endowment Fund

Bill and Amy Roth

Linda and Tony Rubin

David William

Upham Foundation

Mr. Lee C. Samson

San Marino-Pasadena

Philharmonic Committee

Dena and Irv Schechter/The Hyman Levine

Family Foundation: L’DOR V’DOR

Elizabeth and Justus Schlichting

Melanie and Harold Snedcof

Mr. Gregory Jackson and Mrs. Lenora Jackson

Mr. Eugene Kapaloski

Linda and Donald Kaplan

Tobe and Greg Karns

Igor Khandros and Susan Bloch

Jennifer and Cary Kleinman

Larry and Lisa Kohorn

Ms. Ursula

C. Krummel

Naomi and Fred Kurata

Ellie and Mark Lainer

David Lee

Keith and Nanette Leonard

Allyn and Jeffrey L. Levine

Marvin J. Levy

Ms. Agnes Lew

Mr. and Mrs. Simon K.C. Li

Ms. Judith W. Locke

Theresa Macellaro / The Macellaro Law Firm

The Mailman Foundation

Raulee Marcus

Phillip and Stephanie Martineau

Jonathan and Delia Matz

Dwayne and Eileen McKenzie

Marcy Miller

Cindy Miscikowski

Mrs. Judith S. Mishkin

Mr. John Monahan

Ms. Gail K. Bernstein

Ken Blakeley and Quentin O’Brien

Christopher Bridges

Mr. Ronald W. Burkle

Oleg and Tatiana Butenko

Ms. Nancy Carson and Mr. Chris Tobin

Randy and Susan Snyder

Lisa and Wayne Stelmar

Megan Watanabe and Hideya Terashima

Dr. James Thompson and Dr. Diane Birnbaumer

Elinor and Rubin Turner

Jennifer and Dr. Ken Waltzer

Debra and John Warfel

Mindy and David Weiner

John and Samantha Williams

Libby Wilson, MD

Lynn and Roger Zino

Zolla Family Foundation

Ms. Susan Morad at Worldwide Integrated Resources, Inc.

Wendy Stark Morrissey

Mr. Brian R. Morrow

Mr. and Mrs. Dan Napier

Shelby Notkin and Teresita Tinajero

Steve and Gail Orens

Laura Owens

Ellen Pansky

Ms. Melissa Papp-Green

Gregory Pickert and Beth Price

Chris Pine

Mr. and Mrs. Arnold Porath

Diana Reid and Marc Chazaud

Cathleen and Scott Richland

Ms. Anne Rimer

Mimi Rotter

The SahanDaywi Foundation

Ron and Melissa Sanders

Santa MonicaWestside

Philharmonic Committee

Gary Satin

Evy and Fred Scholder Family

Mr. Murat Sehidoglu

Joan and Arnold Seidel

Neil Selman and Cynthia Chapman

Carla Christofferson

Leland Clow

Mr. and Mrs. V. Shannon Clyne

Mrs. and Mr.

Eleanor Congdon

Mr. and Mrs. Richard W. Cook

Lloyd Eric Cotsen

Marc Seltzer and Christina Snyder

Mr. James J. Sepe

Julie and Bradley Shames

Mr. Steven Shapiro

Nina Shaw and Wallace Little

Jill and Neil Sheffield

Walter H. Shepard and Arthur A. Scangas

Mr. and Mrs. Richard Sondheimer

The Specialty Family Foundation

Mr. Lev Spiro and Ms. Melissa Rosenberg

Stein Family Fund— Judie Stein

Zenia Stept and Lee Hutcherson

Eva and Marc Stern

Tom Strickler

Akio Tagawa

Warren B. and Nancy L. Tucker

Tom and Janet Unterman

Nancy Valentine

Noralisa Villarreal and John Matthew Trott

Meredith Jackson and Jan Voboril

Warner Bros.

Discovery

Mahvash and Farrok Yazdi

Andre Young

Mr. Nabih Youssef

Karl and Dian Zeile

Kevork and Elizabeth Zoryan

Alison Moore Cotter

Dr. and Mrs. Nazareth

E. Darakjian

Cary Davidson and Andrew Ogilvie

Sean Dugan and Joe Custer

Emil Ellis Farrar and Bill Ramackers

2023/2024 SEASON

Firebird & Serenade

May/June 2024

Firebird

Possokhov | Stravinsky

Serenade

Balanchine | Tchaikovsky

Pasadena Civic Auditorium

May 11 2:00 pm & 7:30 pm

Redondo Beach

Performing Arts Center

May 25 2:00 pm & 7:30 pm

Royce Hall at UCLA

June 1 2:00 pm & 7:30 pm

Mr. Tommy

Finkelstein and Mr. Dan Chang

Ella Fitzgerald Charitable Foundation

Daniel and Maryann Fong

Mr. Michael Fox

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

Roberta and Conrad Furlong

Dr. and Mrs. Bruce Gainsley

Beth Gertmenian

Mr. and Mrs. Louis L. Gonda

Manuela Cerri Goren

Mr. and Mrs. Daniel M. Gottlieb

Mr. and Mrs. Ken Gouw

Diane and Peter H. Gray

Tricia and Richard Grey

Beverly and Felix Grossman

$5,500 TO $9,999

Anonymous (5)

Bobken and Hasmik Amirian

Mr. Peter Anderson and Ms. Valerie Goo

Art and Pat Antin

Javi Arango

Dr. Mehrdad Ariani

Ms. Judith A. Avery

Pamela and Jeffrey Balton

Dr. Richard Bardowell, M.D.

Clare Baren and David Dwiggins

Mrs. Linda E. Barnes

Karen and Jonathan Bass

Reed Baumgarten

Logan Beitler

Ms. Karen S. Bell and Mr. Robert Cox

Mr. and Mrs. Richard Birnholz

Lisa Biscaichipy

Mitchell Bloom

Steven Blum

Joan N. Borinstein

Greg Borrud

Mr. and Mrs. Hal Borthwick

Mr. Ray Boucher

The Hon. Bob Bowers and Mrs. Reveta Bowers

Mrs. Susan Bowey

Ms. Marie Brazil

Lynne Brickner and Gerald Gallard

Mr. and Mrs.

Steven Bristing

Kevin Brockman and Dan Berendsen

Dr. Kirk Y. Chang

Adam Chase

Chien Family

Arthur and Katheryn Chinski

Roberta L. Haft and Howard L. Rosoff

Mr. Sam Harris

Mr. and Mrs.

Irwin Helford and Family

Jackson N. Henry

Jessica and Elliot Hirsch

Linda Joyce Hodge

Elizabeth HofertDailey Trust

Mr. Raymond W. Holdsworth

Joyce and Fredric Horowitz

Ms. Julia Huang

Deedie and Tom Hudnut

Mr. Frank J. Intiso

Kristi Jackson and William Newby

Earvin Johnson Jr.

Mr. and Mrs. Steaven

K. Jones, Jr.

Rizwan and Hollee Kassim

Lee Kolodny

Mr. and Mrs. Scott Krivis

Dr. Stephanie Cho and Jacob Green

Mr. and Mrs. Ronald Clements

Dr. and Mrs. Lawrence J. Cohen

Mr. David Colburn

Susan Cole-Hill

Ms. Ina Coleman

Mr. Michael Corben and Ms. Linda Covette

Mr. and Mrs. Bruce Corwin

Mr. and Mrs. Richard R. Crowell

Jessica and James Dabney

Mr. James Davidson and Mr. Michael Nunez

Gloria De Olarte

Ms. Rosette Delug

Nancy and Patrick Dennis

Ms. Mary Denove

Wanda Denson-Low and Ronald Low

The Randee and Ken Devlin Foundation

Mr. Kevin Dill

Mr. Anthony Dominici and Ms. Georgia Archer

Lauren Shuler

Donner

Elizabeth and Kenneth M. Doran

Julie and Stan Dorobek

Bob Ducsay and Marina Pires

de Souza

Janet and Larry Duitsman

Mr. and Mrs. Brack W. Duker

Nickie and Marc Kubasak

Lauren B. Leichtman and Arthur E. Levine

Mr. and Mrs.

Norman A. Levin

Randi Levine

Saul Levine

Dr. Stuart Levine and Dr. Donna Richey

Maria and Matthew Lichtenberg

Anita Lorber

Kyle Lott

Ruth and Roger MacFarlane

Sandra Cumings

Malamed and Kenneth D. Malamed

Vilma S. Martinez, Esq.

Pam and Ron Mass

Leslie and Ray Mathiasen

Matt Construction Corporation

Mr. and Mrs. Steve Matt

Cathy and John McMullen

Anna Sanders Eigler

Bryan Elms

John B. Emerson and Kimberly Marteau Emerson

Janice Feldman, JANUS et cie

Mr. and Mrs. Irwin S. Field

A.B. Fischer

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

Dr. and Mrs. Arthur A. Fleisher, II

Fox Rothschild LLP

Alfred Fraijo Jr. and Arturo Becerra

The Franke Family Trust

Dr. and Mrs. Robert Freilich

Linda and James Freund

Friars Charitable Foundation

Ruchika Garga

Gibson, Dunn and Crutcher

Leslie and Cliff Gilbert-Lurie

Tina Warsaw Gittelson

Donald Glover

Jory Goldman

Mr. and Mrs. Russell Goldsmith

Juan Carlos

Lee Graff Foundation

Mr. and Mrs. Paul E. Griffin III

Mr. and Mrs. Paul Guerin

Ms. Marian L. Hall

Beth Fishbein Hansen

Dwight Hare and Stephanie Bergsma

Mr. Rick Harrison and Ms. Susan Hammar

Lisa and Willem Mesdag

Ms. Joanna Miller

Marc and Jessica Mitchell

Carmen Morgan

Craig and Lisa Murray

Dick and Chris Newman / C & R Newman Family Foundation

Kenneth T. & Eileen L. Norris Foundation

Mr. and Mrs. Peter O’Malley

Mr. Ralph Page and Patty Lesh

Loren Pannier

Ms. Debra Pelton and Mr. Jon Johannessen

Nancy and Glenn Pittson

Troy Pospisil

Mark Proksch and Amelie Gilette

Lee Ramer

Hon. Vicki Reynolds and Mr. Murray Pepper

Mr. Donald V. Hayes

Stephen and Hope Heaney

Myrna and Uri Herscher Family Foundation

Dr. and Mrs. Hank Hilty

Arlene Hirschkowitz

Fritz Hoelscher

Douglas and Carolyn Honig

Jill Hopper

Dr. and Mrs. Mel Hoshiko

Kevin Huvane

Andrei and Luiza Iancu

Michele and James Jackoway

Jeffrey and Kristen Jaeger

Randi and Richard B. Jones

Dr. William B. Jones

Meredith Jury

Judith and Russell Kantor

Marilee and Fred Karlsen

Marty and Cari Kavinoky

Mr. and Mrs.

Stephen Keller

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

Nona Khodai

Mr. and Mrs. Jon Kirchner

Molly Kirk

Phyllis H. Klein, M.D.

Kathryn Ko

Craig Kwiatkowski and Oren

Rosenthal

Dr. and Mrs. Kihong Kwon

Risk Placement Services

Ernesto Rocco

Ms. Rita Rothman

Jesse Russo and Alicia Hirsch

Alexander and Mariette Sawchuk

Mark and Valerie Sawicki

Dr. and Mrs.

Heinrich Schelbert

Mr. Walter Sebring

Samantha and Marc Sedaka

Dr. Donald Seligman and Dr. Jon Zimmermann

Jane Semel

Ruth and Mitchell Shapiro

Gloria Sherwood

Mr. Adam Sidy

The Sikand Foundation

Angelina and Mark Speare

Jennifer Speers

Joseph and Suzanne Sposato

Mr. Richard W. Labowe

Vicki Lan

Katherine Lance

Mr. and Mrs. Jack D. Lantz

Mrs. Grace E. Latt

Ms. Leerae Leaver

Mr. Randall Lee and Ms. Stella M. Jeong

Mary Beth and John Leonard

Mr. Donald S. Levin

Arthur Lewis

Marie and Edward Lewis

David and Rebecca Lindberg

lynn loeb

Patricia and Larry Londre

Julie and Ron Long

Ms. Diana Longarzo

Los Angeles Philharmonic Committee

Mr. Joseph Lund and Mr.

James Kelley

Mr. and Mrs. John V. Mallory

Melvin Mandel, M.D.

Paul Martin

Milli M. Martinez and Don Wilson

Mr. Gary J. Matus

Mr. and Mrs. Thomas E. McCarthy

Ms. Catherine McClenahan

Mr. and Mrs. William F. McDonald

Jeffrey and Tracy McEvoy

Mr. David McGowan

Mr. Sheldon and Dr. Linda Mehr

Mr. and Mrs. Mark Stern

James C. Stewart

Charitable Foundation

Marcie Polier Swartz and David Swartz

Priscilla and Curtis S. Tamkin

Suzanne and Michael E. Tennenbaum

Gabrielle Union

Christine Upton

Kathy Valentino

Mr. and Mrs. Johannes

Van Tilburg

Nancy Voorhees

Rachel Wagman

Frank Wagner and Lynn O’Hearn

Wagner

Laura and Casey

Wasserman

Sheila and Wally Weisman

Kimberly K. Wilson

Alana L. Wray

Mr. and Mrs. Howard Zelikow

Michael and Jan Meisel

Lawry Meister

Carlos Melich

Mr. and Mrs.

Dana Messina

Ms. Marlane Meyer

Coco Miller

Mr. and Mrs. Michael D. Miller

Rachel Miller

Mr. Weston F. Milliken

Linda and Kenneth Millman

Mr. and Mrs. Simon Mills

Mrs. Lillian Mueller

Sheila Muller

Kevin Nazemi

Robert and Sally Neely

Mrs. Cynthia Nelson

Mumsey and Allan Nemiroff

Mr. Jerold B. Neuman

Ms. Kimberly Nicholas

Ms. Mary D. Nichols

Renae Niles

Nellie Nizam

Mr. and Mrs. Arthur J. Ochoa

Ms. Margo

Leonetti O’Connell

Ms. Margaret R. O’Donnell

Irene and Edward Ojdana

Adriana Ortiz

Jennifer Broder and Soham Patel

Cynthia Patton

Alyssa Phaneuf

Mrs. Ethel Phipps

Lorena and R. Joseph Plascencia

Julie and Marc Platt

Bronwyn Pollock

Lyle and Lisi Poncher

Robert J. Posek, M.D.

Ms. Eleanor Pott

Debbie and Rick Powell

James S. Pratty, M.D.

William “Mito” Rafert

Steven Ray

David and Mary Beth Redding

Mr. Eduardo Repetto

Resource Direct

Christopher Reynolds

Murphy and Ed Romano and Family

Peter and Marla Rosen

Mr. Bradley Ross and Ms. Linda McDonough

Mr. Steven F. Roth

Mr. and Mrs. Matthew Rowland

Dr. Michael Rudolph

Mr. David Rudy

Mr. and Mrs. Paul Rutter

Ann M. Ryder

Thomas C. Sadler and Dr. Eila C. Skinner

Ms. Yvonne Nam and Mr. David Sands

Drs. Joan and Harry Saperstein

Dr. Marlene M. Schultz and Philip M. Walent

Dr. and Mrs. Hervey Segall

Hope and Richard N. Shaw

Abby Sher

Kenneth and Renata Simril

Leah R. Sklar

Mr. Douglas H. Smith

Mr. and Mrs.

Michael G. Smooke

Michael and Mildred Sondermann

SouthWest Heights

Philharmonic Committee

Terry and Karey Spidell

Ian and Pamela Spiszman

Lael Stabler and Jerone English

John Stauffer

Ms. Margaret Stevens and Mr. Robin Meadow

Jennifer Taguchi

Mr. and Mrs. Randall Tamura

Andrew Tapper and Mary Ann Weyman

Mr. Stephen S. Taylor

Mr. Todd H. Temanson

Mr. and Mrs. Harris Toibb

Mary Tong

Typesetting Ink

Charles and Nicole Uhlmann

Mr. and Mrs. Craig Vickers

Terry and Ann Marie Volk

Mr. Nate Walker

Lisa and Tim Wallender

Eric Wang

Bob and Dorothy Webb

Mr. and Mrs. Steven White

Ms. Jill Wickert

Mr. Kirk Wickstrom and Mrs. Shannon

Hearst Wickstrom

Mr. Robert E. Willett

David and Michele Wilson

Mr. Steve Winfield

Karen and Rick Wolfen

Ms. Eileen Wong

Mr. and Mrs. Irwin Wong

Robert Wyman

Mr. and Mrs. Richard Wynne

Ms. Stacie Yee

Mr. Kevin Yoder

Mr. William Zak

$3,500 TO $5,499

Anonymous (2)

Dr. and Mrs. Frank Agrama

Mr. Robert A. Ahdoot

Ms. Rose Ahrens

Alicyn, Jason and Bodhi

Adrienne S. Alpert

Mr. Robert

C. Anderson

Carlo and Amy Baghoomian

Tawney Bains and Zachary Roberts

Mr. Barry Baker

Terence Balagia

Isaac Barinholtz and Erica Hanson

Ken and Lisa Baronsky

Mr. Michael Barr

Catherine and Joseph Battaglia

George and Karen Bayz

Newton and Rochelle Becker

Charitable Trust

Ms. Nettie Becker

Ellis N. Beesley, Jr.

M.D.

Mr. Richard Bemis

Benjamin Family Foundation

Mr. Stephen Bergens

Mr. and Mrs.

Elliot S. Berkowitz

Mr. and Mrs. Gregg and Dara Bernstein

Mr. and Mrs.

Dan Biles

Michael Blake

Mr. Michael Blea

Mr. Larry Blivas

Thomas J. Blumenthal

Ms. Leslie Botnick

Anita and Joel Boxer

Dr. and Mrs. Hans Bozler

Mrs. William Brand and Ms. Carla B. Breitner

Mr. Donald M. Briggs and Mrs.

Deborah J. Briggs

Drs. Maryam and Iman Brivanlou

Mr. Tad Brown and Mr. Jonathan Daillak

Casey and Brea Brumels

Diana Buckhantz

Mary Lou Byrne and Gary W. Kearney

Victor Carabello

Mr. Jon C. Chambers

Jerry Chang

Nolan and Marlene

Charbonnet

Mr. Louis Chertkow

Mr. and Mrs.

Joel T. Chitea

Mr. and Mrs.

Michael Colby

Susan and David Cole

Kevin and Katie Cordano

Cox Family—Pernell, Keila, and Harper Q.

John Curry

Ms. Laurie Dahlerbruch

Chris Daly

Mr. and Mrs.

Leo David

David Diaz

Michael Dillon

Tim and Neda Disney

R. Stephen Doan and Donna E. Doan

Mr. Gregory

C. Drapac

Martha Duran

Dr. David Eisenberg

Alex Elias

Mrs. Eva Elkins

Susan Entin

Bob Estrin

Richard J. Evans and Sara Evans

Ms. Janet Fahey

Ms. Anita Famili

Sidney B. Felsen

Jen and Ted Fentin

Lyn and Bruce Ferber

Ms. Melanie

Salata Fitch

Mr. and Mrs.

Michael M. Flynn

David and Eve Ford

Mrs. Diane Forester

Bruce Fortune and Elodie Keene

Janet Franklin

Lynn Franklin

Mr. and Mrs.

Michael Freeland

Ms. Alisa J. Freundlich

Ian and Meredith Fried

Steven Friednam

Mrs. Diane Futterman

Ben Gardner

Ms. Sybil Garry

Mr. and Mrs. Alan M. Gasmer

Dr. Tim A. Gault, Sr.

Susan and David Gersh

Susan and Jaime Gesundheit

Mr. and Mrs. Harlan Gibbs

Jon M. Gibson

Jason Gilbert

Mr. and Mrs. David A. Gill

William and Phyllis Glantz

Glendale

Philharmonic Committee

Mr. and Mrs. Bruce S. Glickfeld

Dana Goldberg

Dr. and Mrs. Steven Goldberg

The Honorable and Mrs. Allan

J. Goodman

Elliot Gordon and Carol Schwartz

Lynn Gordon and Jon Braun

Kathy Gould

Samantha Grant

Ms. Linda Graul

Dr. Stuart and Adrienne Green

Mr. and Mrs.

Carl C. Gregory

Mr. Frank Gruber and Ms. Janet Levin

Mr. Gary M. Gugelchuk

Mr. and Mrs. Pierre and Rubina Habis

Mr. William Hair

Cynthia D. Hallett, MPH

Charles F. Hanes

Mr. Robert T. Harkins

Kerri Harper-Howie

Julie and Mark Harrison

Mr. and Mrs. Brian L. Harvey

Mr. and Mrs. Lewis K. Hashimoto

Mr. David R. Hatcher

Christy Haubegger

Kaitlin and Jonathan Hawk

Byron and DeAnne Hayes

Nicolette F. Hebert

Mr. Rex Heinke and Judge

Margaret Nagle

Dryden and Brian Helgoe

Gail and Murray E. Heltzer

Diane Henderson M.D.

Betsydiane and Larry Hendrickson

Mr. and Mrs. Enrique Hernandez, Jr.

Jim Herzfeld

The Hill Family

Greg and Jill Hoenes

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

Janice and Laurence Hoffmann

K. Hohman Family

In Hong

Sean Horton

Dr. Timothy Howard and Jerry Beale

Brennan Hughes

International Committee

Harry and Judy Isaacs

Mr. and Mrs. Theodore W. Jackson

Mr. Channing Johnson

Mr. Sean Johnson

Ratna Jones

Robin and Craig Justice

Mr. Ken Kahan

Lawrence Kalantari

Karen and Don Karl

Mr. and Mrs. David S. Karton

Ms. Christine Kaunitz

Dr. and Mrs. David Kawanishi

Kayne, Anderson and Rudnick

Mr. Stephen Keck

Richard Kelton

Ms. Sharon Kerson

Daisietta Kim and Rudolf Marloth

Richard and Lauren King

Jay T. Kinn and Jules B. Vogel

Michael and Patricia Klowden

Alan S. Koenigsberg and John A. Dotto

Mr. and Mrs. Bruce Konheim

Sandra Krause and William Fitzgerald

Sharon and Joel Krischer

Brett Kroha and Ryan Bean

Carole and Norm La Caze

Tom Lallas and Sandy Milo

Thomas and Gloria Lang

Joan and Chris Larkin

James Laur and Peter Kongkasem

Craig Lawson and Terry Peters

Mr. Les Lazar

Mr. Robert Leevan

Ms. Marie-Laure Leglise

Dr. Bob Leibowitz

Mr. Stephen Leidner

Mr. and Mrs. Edward B. Levine

Lydia and Charles Levy

Mr. Jeff Levy

David and Meghan Licata

Dr. and Mrs. Mark Lipian

Mr. and Mrs. Ethan Lipsig

Ms. Elisabeth Lipsman

Mr. Greg Lipstone

Ms. Bonnie Lockrem and Mr. Steven Ravaglioli

Long Beach Auxiliary

Robert and Susan Long

Susan Disney Lord and Scott Lord

Kristine and David Losito

Mr. and Mrs. Boutie Lucas

Crystal and Elwood Lui

Nigel Lythgoe

Dr. Jamshid Maddahi

Konstantina Mahlia

Mr. and Mrs. Ronald Manzani

Mona and Frank Mapel

Dorrie and Paul Markovits

Mr. Allan Marks and Dr. Mara Cohen

Mr. and Mrs. Stanley Maron

Bridgette Marsh

Dr. and Mrs. Gene Matzkin

Lisa Mazzocco and Andrew Silver

Kathleen McCarthy and Frank Kostlan

Courtney McKeown

Robert L. Mendow

Marcia Bonner

Meudell and Mike Merrigan

Linda and David Michaelson

Larry and Mary Anne Mielke

Dr. Gary Milan

Janet Minami

Mr. and Mrs. William Mingst

Mr. Lawrence A. Mirisch

Cynthia Miscikowski

Maria and Marzi Mistry

Robert and Claudia Modlin

Linda and John Moore

Mr. Alexander Moradi

William Morton

Gretl and Arnold Mulder

Munger, Tolles & Olson

Mr. Emory R. Myrick

Mr. James A. Nadal and Amelia Nadal

Ms. Kari Nakama

Mr. Jose Luis Nazar

Stuart and Bruce Needleman

Mr. Carl Neu

Ms. Jeri L. Nowlen

Mr. Dale Okuno

Mr. and Mrs. John D. Olinski

David Olson and Ruth Stevens

Mr. and Mrs. Richard Orkand

Kim and P.F. James Overton

Andy S. Park

January Parkos-Arnall

Nicholas Pepper

Pillsbury Winthrop Shaw Pittman LLP

Mr. Jeff Polak and Mrs. Lauren Reisman Polak

John Porter and Deborah Blair Porter

Mr. Joseph S. Powe

Mr. Albert Praw

Michael Praw

Joyce and David Primes

John R. Privitelli

Ms. Marci Proietto

Ms. Miriam Rain

Bradley Ramberg

Andrew Rankin

Marcia and Roger Rashman

Mr. and Mrs. Wayne Ratkovich

Dr. Susan F. Rice

Mr. Ronald Ridgeway

Mr. and Mrs.

Kenneth Riley

Mr. and Mrs. Norman L. Roberts

Mr. Jed Robinson

Hon. Ernest M. Robles

Rock River

Mrs. Laura H. Rockwell

Ms. Kristina Rodgers

Berta Rodriguez

In memory of RJ and JK Roe

Mr. and Mrs. William C. Roen

Mr. Gary Rogers and Ms. Jeri L. Lane

Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen

Michelle and Mark Rosenblatt

Mr. Richard Rosenthal and Ms. Katherine Spillar

Kevin and Marguerite Ross

Robyn and Steven Ross

Joshua Roth and Amy Klimek

Mr. Michael Rouse

Ms. Karen

Roxborough

Mr. Andrew E. Rubin

Wendy and Ken Ruby

Valerie Salkin

Esa-Pekka Salonen

Curtis Sanchez

Mr. and Mrs. Michael Sanders

Mr. and Mrs. Charles M. Sarff

Sue Schuster

Carol (Jackie) and Charles Schwartz

Mr. Alan Scolamieri

Michael Sedrak

Mr. and Mrs. Peter Segal

Dr. and Mrs. Hooshang Semnani

Ms. Amy J. Shadur-Stein

Ms. Avantika Shahi

Dr. Ava Shamban

Dr. Alexis M. Sheehy

Mr. Chris Sheridan

Pamela and Russ Shimizu

Mr. and Mrs. Elliot Shoenman

Mr. Murray Siegel

June Simmons

Ms. Ruth M. Simon

Dr. and Mrs. Robert Sinskey

Mr. and Mrs. Peter R. Skinner

Brandi Slayton

Professor Judy and Dr. William Sloan

Cynthia and John Smet

Mr. Steven Smith

Virginia Sogomonian and Rich Weiss

Michael Soloman and Steven Good

Dr. Michael Sopher and Dr. Debra Vilinsky

Mr. Hamid Soroudi

Shondell and Ed Spiegel

Ms. Angelika Stauffer

Mr. and Mrs. Pierre Steele

Mr. and Mrs. Joseph Stein

Jeff and Peg Stephens

Mr. Scott Stephens

Hilde Stephens-Levonian

Samuel Suchowiecky

Maia and Richard Suckle and The Anna & Benjamin Suckle Foundation

Mr. Roy Sukimoto

Ed and Peggy Summers

Deborah May and Ted Suzuki

Mr. and Mrs. Larry W. Swanson

Mr. Glenn Tan

Mrs. Elayne Techentin

Mr. Nick Teeter

Suzanne Thomas

Mr. and Mrs. Harlan H. Thompson

Ms. Evangeline M. Thomson

Tichenor & Thorp Architects, Inc.

John Tootle

Mr. and Mrs. Leonard Unger

Ingrid Urich-Sass

The Valley Committees for the Los Angeles Philharmonic

Mr. and Mrs. Peter J. Van Haften

Vargo Physical Therapy

David H. Vena

Dorrit Vered and Jerome Vered

Adriana Vinson

Jenny Vogel

Elliott and Felise Wachtel

Christopher V. Walker

John Ward

Tina Anne Warsaw Trust

Craig R. Webb and Melinda Taylor

Mr. William A. Weber

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

Mr. and Mrs. Doug M. Weitman

Robert and Penny White

Mr. William A. White

Mr. and Mrs. Kenneth Williams

Lori Williams and Stephen Schulte

Mr. Lee Winkelman and Ms. Wendey Stanzler

Dr. and Mrs. Daniel H. Wiseman

Lori Wolf

Scott Lee and Karen Wong

Chris and Melissa Wood

Linda and John Woodall

Robert Wu and Merry Sui Yuan

Damier Xandrine

Susan Young

Mrs. Lillian Zacky

Zamora & Hoffmeier, A Professional Corporation

Dr. and Mrs. Martin Zane

Michael Zells

Rudolf H. Ziesenhenne

David Zuckerman and Ellie Kanner

Rachel and Michael Zugsmith

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

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

County of Los Angeles

BOARD OF SUPERVISORS

Hilda L. Solis

Holly J. Mitchell

Lindsey P. Horvath Chair

Janice K. Hahn

Kathryn Barger

DEPARTMENT OF ARTS AND CULTURE

Kristin Sakoda Director

COUNTY ARTS COMMISSION

Liane Weintraub President

Leticia Buckley Vice President

Patrisse Cullors Secretary

Madeline Di Nonno Executive Committee

Eric R. Eisenberg Immediate Past President

Pamela Bright-Moon

Diana Diaz

Sandra Hahn

Helen Hernandez

Constance Jolcuvar

Alis Clausen Odenthal

Anita Ortiz

Jennifer Price-Letscher Randi Tahara

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

CITY OF LOS ANGELES

Karen Bass Mayor

Hydee Feldstein Soto City Attorney

Kenneth Mejia Controller CITY COUNCIL

Bob Blumenfield

Kevin de León

Marqueece Harris-Dawson

Eunisses Hernandez

Heather Hutt

Paul Krekorian President

John S. Lee

Tim McOsker

Imelda Padilla

Traci Park

Curren D. Price, Jr.

Nithya Raman

Monica Rodriguez

Hugo Soto-Martinez

Katy Young Yaroslavsky

DEPARTMENT OF CULTURAL AFFAIRS

Daniel Tarica General Manager

CULTURAL AFFAIRS COMMISSION

Thien Ho President

Robert Vinson

Vice President

Natasha Case

Ray Jimenez

Asantewa Olatunji

Cathy Unger

Tria Blu Wakpa

WALT DISNEY CONCERT HALL HOUSE STAFF

Sergio Quintanar

Master Carpenter

Marcus Conroy

Master Electrician

Kevin F. Wapner

Master Audio/Video

Greg Flusty

House Manager

The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators

Excerpts

Anne

Laraine

Santa Barbara’s Professional Theatre Company

Troy Blendell Chris Butler Leo

Welcome to The Music Center!

Thank you for joining us.

The Music Center is your place to experience all the arts have to offer, where you can express yourself, connect with others and enjoy incredible live performances and events in our four beautiful theatres, at Jerry Moss Plaza and in Gloria Molina Grand Park.

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

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.

2023/2024 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

Kristin Burr

Dannielle Campos

Elizabeth Khuri Chandler

Amy R. Forbes

Greg T. Geyer

Joan E. Herman

Jeffrey M. Hill

Mary Ann Hunt-Jacobsen

Carl Jordan

Richard B. Kendall

Terri M. Kohl

Lily Lee

Cary J. Lefton

Keith R. Leonard, Jr.

David B. Lippman

Susan M. Matt

Elizabeth Michelson

Darrell D. Miller

Teresita Notkin

Michael J. Pagano

Cynthia M. Patton

Karen Kay Platt

Joseph J. Rice

Melissa Romain

Beverly P. Ryder

Maria S. Salinas

Corinne Jessie

Sanchez

Mimi Song

Johnese Spisso

Michael Stockton

Philip A. Swan

Timothy S. Wahl

Jennifer M. Walske

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

Kent Kresa

Edward J. McAniff

Mattie McFaddenLawson

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

Alyce de Roulet

Williamson

** Chair Emeritus

Current as of 2/22/24

Alvin Ailey American Dance Theater’s Yannick Lebrun.

Photo by Dario Calmese.

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.

LAND ACKNOWLEDGEMENT

As a steward of The Music Center of Los Angeles County, we recognize that we occupy land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash Peoples. We honor and pay respect to their elders and descendants — past, present and emerging — as they continue their stewardship of these lands and waters. We acknowledge that settler colonization resulted in land seizure, disease, subjugation, slavery, relocation, broken promises, genocide and multigenerational trauma. This acknowledgment demonstrates our responsibility and commitment to truth, healing and reconciliation and to elevating the stories, culture and community of the original inhabitants of Los Angeles County.

Janice Hahn Supervisor, Fourth District

Hilda L. Solis Supervisor, First District

Lindsey P. Horvath Chair, Third District

Kathryn Barger Chair Pro Tem, Fifth District

Holly J. Mitchell Supervisor, Second District

We are grateful to have the opportunity to live and work on these ancestral lands. We are dedicated to growing and sustaining relationships with Native peoples and local tribal governments, including (in no particular order) the:

• Fernandeño Tataviam Band of Mission Indians

• Gabrielino Tongva Indians of California Tribal Council

• Gabrieleno/Tongva San Gabriel Band of Mission Indians

• Gabrieleño Band of Mission Indians-Kizh Nation

• San Manuel Band of Mission Indians

• San Fernando Band of Mission Indians

To learn more about the First Peoples of Los Angeles County, please visit the Los Angeles City/County Native American Indian Commission website at lanaic.lacounty.go

(From left to right)

Live at The Music Center

TUE 2 APR / 8:00 P.M.

Funny Girl CENTER THEATRE GROUP

@ Ahmanson Theatre Thru 4/28/24

TUE 2 APR / 8:00 p.m.

Debussy, Ewald & Françaix: Chamber Music

LA PHIL

@ Walt Disney Concert Hall

TUE 2 APR / NOON - 11:00 p.m.

Music off the Wall

THE MUSIC CENTER

@ Jerry Moss Plaza & Plaza Gallery Thru 5/4/24 (Tuesday - Sunday)

WED 3 APR / 8:00 p.m.

Yo-Yo Ma & Kathryn Stott Colburn Celebrity Recital

LA PHIL

@ Walt Disney Concert Hall

THU 4 MAR / 8:00 p.m.

Elgar and Vaughan Williams

LA PHIL

@ Walt Disney Concert Hall Thru 4/7/24

SAT 6 APR / 8:00 p.m.

La Traviata

LA OPERA

@ Dorothy Chandler Pavilion Thru 4/27/24

SAT 6 APR / 2:00 p.m.

I Believe: The Music of Bach, Bonds & Robles

LOS ANGELES MASTER

CHORALE

@ Walt Disney Concert Hall 4/7/24 at 7:00 p.m.

TUE 9 APR / 8:00 p.m.

UNSTILL LIFE

Colburn Celebrity Recital

LA PHIL

APR 2024

@ Walt Disney Concert Hall

FRI 12 APR / 8:00 p.m.

Saint-Saëns' Organ Symphony

LA PHIL

@ Walt Disney Concert Hall Thru 4/14/24

SAT 13 APR / 8:00 p.m.

Feinstein's at the Taper CENTER THEATRE GROUP

@ Mark Taper Forum

TUE 16 APR / 8:00 P.M.

John Adams Conducts the LA Phil New Music Group

LA PHIL

@ Walt Disney Concert Hall

THU 18 APR / 8:00 p.m.

The Labèques, Muhly, and Dessner

LA PHIL

@ Walt Disney Concert Hall Thru 4/21/24

SAT 20 APR / 7:30 p.m.

Patti LuPone in Concert

LA OPERA

@ Dorothy Chandler Pavilion

SAT 20 APR / 8:00 p.m.

Herbie Hancock

LA PHIL

@ Walt Disney Concert Hall

SUN 21 APR / 7:30 p.m.

Anna Lapwood

Organ Recital

LA PHIL

@ Walt Disney Concert Hall

WED 24 APR / 8:00 p.m.

Yefim Bronfman

Colburn Celebrity Recital

LA PHIL

@ Walt Disney Concert Hall

FRI 26 APR / 8:00 p.m.

Bartók and Mozart

LA PHIL

@ Walt Disney Concert Hall Thru 4/28/24

SAT 27 APR / 11:00 a.m.

Very Special Arts Festival Family Day

THE MUSIC CENTER

@ Jerry Moss Plaza

SUN 28 APR / 7:30 P.M.

CTG: The Gala 2024

CENTER THEATRE GROUP @ Mark Taper Forum

TUE 30 APR / 8:00 p.m.

Pan-American New Music - Green Umbrella

LA PHIL

@ Walt Disney Concert Hall

@musiccenterla

Photo by John McCoy.