Performances Magazine | LA Phil, May 2024

T

P1 PROGRAM NOTES

MAY 1

Colburn Celebrity Recital Víkingur Ólafsson

MAY 2–5

LA Phil

Dudamel Leads

Beethoven and Strauss

MAY 7

Chamber Music

Beethoven and Schumann

MAY 9–12

LA Phil Dvořák and Ortiz with Dudamel

MAY 12

Colburn Celebrity Recital Yuja Wang

MAY 16–17

LA Phil

Beethoven’s Fidelio with Dudamel and Deaf West Theatre

MAY 18–19

LA Phil

JOHN WILLIAMS SPOTLIGHT

Dudamel Conducts Harry Potter

MAY 21–26 & 28–30

Kraftwerk

MAY 31

Songbook

Silvana Estrada

Cécile McLorin Salvant

TENG LI

Los Angeles Philharmonic

Publications 2024

Editor

Amanda Angel

Art Director

Natalie Suarez

Design

Studio Fuse

Editorial Coordinator

Michail Sklansky

Explore more at: laphil.com

Publisher

Jeff Levy

Art Director

Carol Wakano

Production Manager

Glenda Mendez

Production Artist

Diana Gonzalez

Digital Program Manager

Audrey Duncan Welch

Digital Manager

Lorenzo Dela Rama

Advertising Director

Walter Lewis

Account Directors

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

Circulation Manager

Christine Noriega-Roessler

Business Manager

Leanne Killian Riggar

Marketing/

Production Manager

Dawn Kiko Cheng

Contact Us

Advertising

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Website

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Circulation Christine.Roessler@ CaliforniaMediaGroup.com

Honorary President Ted Levy

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A Celebration of Music: Imperial Danube

Beginning in 2025, follow the melodies of Mozart, Strauss and other legendary composers along their muse, the “Blue Danube.” Live musical performances, exquisite locally sourced food and wine, and visits to the magnificent Budapest Opera House, Vienna’s Schönbrunn Palace and glorious Melk Abbey are all included.

Contact your travel advisor or call 1.888.626.0994 to reserve your luxury river cruise today.

Welcome to the LA Phil

When the new production of Beethoven’s Fidelio that was designed for both Deaf and hearing audiences premiered at Walt Disney Concert Hall in 2022, Gustavo Dudamel said he was amazed at how attendees connected in new and unexpected ways with an opera that was created more than 200 years ago. Bringing together the LA Phil, Deaf West Theatre, Venezuela’s Coro de Manos Blancas, the Cor de Cambra del Palau de la Música Catalana, and a stellar cast of singers and actors, Fidelio transcends perceived differences and explores a universal need for communication and freedom. At the end of this month, we are thrilled to take this landmark production on tour to Barcelona, Paris, and London, and we invite you to join us May 16 and 17 at Walt Disney Concert Hall before the tour begins.

Last month, we announced plans for the summer season at The Ford. Rich with history, the 1,200-seat outdoor amphitheater—tucked into the natural beauty of the Hollywood Hills—offers an incredibly intimate concert experience. Onstage, you will find a wide range of artists, genres, and traditions that represent the diverse artistic communities of Los Angeles. If you haven’t had an opportunity to experience it yet, The Ford is one of LA’s hidden gems, and we hope to see you there very soon.

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 March 14, 2024

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

usbank.com/privatewealth

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).

Los Angeles Philharmonic

CELLOS

BASSES

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

DuMarkus Davis

PROGRAM MANAGER, YOLA AT TORRES

Camille

Delaney-McNeil

DIRECTOR, YOLA & BECKMEN YOLA CENTER

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, PROMOTIONS & PARTNERSHIPS

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

Leah Price

DIRECTOR, PUBLIC RELATIONS

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

SENIOR PRODUCTION MANAGER

Tina Kane

SCHEDULING MANAGER

Taylor Lockwood

PRODUCTION MANAGER

Kimberly Mitchell

ASSOCIATE DIRECTOR, PRODUCTION

Cameron Pieratt

ASSISTANT TECHNICAL DIRECTOR

Christopher Slaughter

ASSOCIATE DIRECTOR, PRODUCTION

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

Fabian Fuertes

GIFT PLANNING OFFICER

Freyja Glover MANAGER, ANNUAL GIVING

Genevieve Goetz 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

Carina Sanchez

ASSOCIATE DIRECTOR, RESEARCH

Dustin Seo

ASSISTANT MANAGER, ANNUAL GIVING

Rochelle Siegrist SENIOR COORDINATOR, ANNUAL GIVING

Erica Sitko DIRECTOR, STEWARDSHIP & PRINCIPAL GIFT STRATEGY

Peter Szumlas

ASSOCIATE DIRECTOR, PHILANTHROPY OPERATIONS

Tyler Teich SENIOR GIFT AND DATA SPECIALIST

Derek Traub MANAGER, PHILANTHROPY COMMUNICATIONS

Morgan Walton ASSOCIATE DIRECTOR, AFFILIATES & VOLUNTEER ENGAGEMENT

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

Composers’ Roundtable Gabriela Ortiz, Arturo Márquez, Tania León, and Roberto Sierra

Last fall, as part of the California Festival concerts Canto en resistencia, Gustavo Dudamel led the LA Phil in music by four Latin American composers: Gabriela Ortiz (Mexico), Arturo Márquez (Mexico), Tania León (Cuba), and Roberto Sierra (Puerto Rico). Ortiz is the curator of the LA Phil’s Pan-American Music Initiative, and she recently led a roundtable conversation with her fellow composers that explored their individual works as well as ideas around representation, resistance, and what makes a piece Latin American.

ON WHAT MAKES MUSIC UNIVERSAL

ARTURO MÁRQUEZ: Like Tolstoy said, “Paint your village and you will paint the world.” Very similar to what VillaLobos said about the idea of folklore. In other words, we

really are on a common path, not only as Latin Americans but as humans.

ROBERTO SIERRA: That Tolstoy quote is very true. I have always thought that the universal is reached from within. He who tries to achieve the universal

and goes towards what we think is universal becomes a parishioner immediately. One must start from within and have the courage to write what you want to write and then present it with the hope that it will reach other people. When I was young in Puerto

composers , from left : GABRIELA ORTIZ, ROBERTO SIERRA, TANIA LEÓN, AND ARTURO MÁRQUEZ

Rico, they talked about the following: especially the work of Beethoven, that this is great universal music! And at that moment I thought, universal? But this is music from a faraway country. But the reason we can say it is universal is because it reflects that village, his German village to your own village.

ON CATEGORIZATION

TANIA LEÓN: My father once asked me, “Your music is very interesting, but where are you in your music?” And he found that it was music influenced by pointillism, by realism, all the isms. The need for categories has always caught my attention, which is something I’ve always been opposed to. I would say to someone that I am not what I look like. This is nothing more than my shell.

ON THE PAN-AMERICAN MUSIC INITIATIVE

GABRIELA ORTIZ: One of the concerns that I have talked about with Gustavo [for the Pan-American Music Initiative] is about positioning Latin American music. I think it has taken us a lot of work to position it internationally. It has not been easy, and our young composers have a hard time getting their music heard, so that’s one area we are trying to fill the gap. I also believe another area is with education. This has changed somewhat, but it is not studied

as much in schools. I remember a book from Oxford University Press that I searched for “Latin America” in the glossary, and the only thing I found was “conga: Latin American instrument.” If a continent is summarized in a conga… [what does that say?]”

ON CALIFORNIA AN D THE CALIFORNIA FESTIVAL

ARTURO MÁRQUEZ: I lived in California for about seven years in the ’60s, and I also studied at CalArts in the ’80s. California is practically a country unto itself. It’s such a big place, so great culturally. It is important that [events like the California Festival] happen to showcase that. Something that is very important about California— Latin America is very important, it is true. But there are people from everywhere. All these fusions, all these mixtures make artistic creativity have a very broad meaning.

ON GUSTAVO DUDAMEL

ARTURO MÁRQUEZ: Do you remember the moment when Gustavo Dudamel led the Simón Bolívar Symphony Orchestra of Venezuela at the Proms? I think it was a very important moment.

“I THINK IT HAS TAKEN US A LOT OF WORK TO POSITION [LATIN AMERICAN MUSIC] INTERNATIONALLY.”

—Gabriela Ortiz

The world was listening to Latin American music and realizing classical music can be made in a different way.

TANIA LEÓN: Within this country there were not many conductors from Latin America. When Gustavo came, he seemed to revolutionize everything, from programming to attitude and flexibility. Usually, conductors have come here from other continents with their own mentality. And you hear a difference when you hear someone conduct something like Ginastera’s ballet Estancia The accents and the sazón [seasoning]—that cannot be explained. I have always said that style is not in the score. Style is something that is felt, that is understood. I also say this because I have been in Europe and heard certain orchestras play Brahms, and it left an impression on me. It had that German sazón. Being human is the thread that connects us all, and we have a lot to learn from each other.

The full half-hour conversation can be found at laphil.com/watch-and-listen.

LA Phil Releases Works by John Adams and Gabriela Ortiz

Girls of the Golden West now streaming; Revolución diamantina available June 7

This spring, the Los Angeles Philharmonic releases a pair of albums that powerfully delve into pivotal episodes of U.S. and Mexican history by two of today’s most important compositional voices.

John Adams’ Girls of the Golden West explores and explodes the modern-day myth of America that was forged during the California Gold Rush. Built around real-life characters and events, the opera finds profound resonances between past and present. The production, directed by Adams’ frequent collaborator and librettist Peter Sellars, was recorded live in January 2023 in Walt Disney Hall with an acclaimed cast—including Julia Bullock, Davóne Tines, Paul

Appleby, and Hye Jung Lee—the composer, the LA Phil, and Los Angeles Master Chorale. Girls of the Golden West is available as a two-disc set as well as in digital formats from Nonesuch Records.

Revolución diamantina marks the first full album of orchestral works by Mexican composer Gabriela Ortiz, curator of the LA Phil’s Pan-American New Music Initiative. Soloist María Dueñas joins the orchestra and Music & Artistic Director Gustavo Dudamel for Ortiz’s violin concerto, Altar de cuerda, a salute to Mayan culture. The concerto will be available to stream on all platforms on May 10 to coincide with the LA Phil’s European tour, during which Dueñas performs the work in

Barcelona, Paris, and London. It is paired with the titular ballet Revolución diamantina, inspired by Mexico’s 2019 feminist uprising nicknamed the “Glitter Revolution,” and Kauyumari, commissioned to celebrate the return to the stage following the Covid-19 pandemic. Released by Platoon, Revolución diamantina also features the Los Angeles Master Chorale and will be available on all digital streaming platforms.

“Gabriela Ortiz’s music speaks to both the body and the spirit, full of visceral primeval rhythms and mysterious, soulful soundworlds,” says Gustavo Dudamel. “It has long been a dream of mine to dedicate an album entirely to her music.”

CYNTHIA ERIVO

NATALIA LAFOURCADE

PATTI L aBELLE

INDIA.ARIE

CHAKA KHAN

T-PAIN

HARRY CONNICK, JR.

GUSTAVO DUDAMEL

KAREN GOMYO

Pasadena Showcase House of Design

The Los Angeles Philharmonic Association is pleased to celebrate our longtime cornerstone partner the Pasadena Showcase House for the Arts, which has generously supported the LA Phil and our

Learning and Community Engagement initiatives for more than 75 years. Each year, the organization presents the Pasadena Showcase House of Design—a fundraiser to support music programs and to award gifts and grants to other nonprofit organizations across the city.

This year’s home—the Potter Daniels Manor—is an English Tudor estate with panoramic views and a significant historical background. Visitors will be transported to

another era of elegance and enchantment as 27 interior and exterior designers add the latest lifestyle trends to this storybook home. The House is open through May 19, and tickets are available at pasadenashowcase.org/tickets/ or 626 606 1600.

Most important, proceeds from the event provide critical support to life-changing initiatives like the LA Phil’s YOLA (Youth Orchestra Los Angeles) program. YOLA provides incomparable and equitable access to a high-quality and intensive music education for young people in diverse and vibrant communities across Los Angeles and beyond. With the support of partners like the Pasadena Showcase House for the Arts, YOLA empowers young people to leverage their learned skills and artistic identities and to create transformational change for themselves and their communities.

Once again, we thank the organization’s members for their commitment to supporting the arts for young people in Southern California and encourage you to attend this year’s Pasadena Showcase House of Design.

If you would like to learn more or get involved, feel free to contact membership@pasadenashowcase.org

59TH PASADENA SHOWCASE HOUSE OF DESIGN—POTTER DANIELS HOUSE. WATERCOLOR BY LYNN VAN DAM COOPER.

Víkingur Ólafsson

Víkingur Ólafsson, piano

BACH G oldberg Variations, BWV 988

(c. 1 hour 15 minutes)

Aria

No. 1 a 1 Clav.

No. 2 a 1 Clav.

No. 3 Canone all’Unisono a 1 Clav.

No. 4 a 1 Clav.

No. 5 a 1 ô vero 2 Clav.

No. 6 Canone alla Seconda a 1 Clav.

No. 7 a 1 ô vero 2 Clav.

No. 8 a 2 Clav.

No. 9 Canone alla Terza a 1 Clav.

No. 10 Fughetta a 1 Clav.

No. 11 a 2 Clav.

No. 12 Canone alla Quarta a 1 Clav.

No. 13 a 2 Clav.

No. 14 a 2 Clav.

No. 15 Canone alla Quinta a 1 Clav. Andante.

No. 16 Ouverture a 1 Clav.

No. 17 a 2 Clav.

No. 18 Canone alla Sesta a 1 Clav.

No. 19 a 1 Clav.

No. 20 a 2 Clav.

No. 21 Canone alla Settima a 1 Clav.

No. 22 a 1 Clav. Alla breve.

No. 23 a 2 Clav.

No. 24 Canone all’Ottava a 1 Clav.

No. 25 a 2 Clav. Adagio.

No. 26 a 2 Clav.

No. 27 Canone alla Nona a 2 Clav.

No. 28 a 2 Clav.

No. 29 a 1 ô vero 2 Clav.

No. 30 Quodlibet a 1 Clav.

Aria da capo

Tonight’s program is presented without intermission.

Programs and artists subject to change.

WEDNESDAY MAY 1, 2024 8PM

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

This series is generously supported by the Colburn Foundation.

Media sponsor: LAist

AT A GLANCE

Diversity Within Unity

The Goldberg Variations are not variations in the sense that Mozart or Beethoven—or most any later composer—understood the term. Bach’s theme, a poised instrumental aria that moves in the sublime dance orbit of his sarabandes, is not recognizably varied as a tune. Rather, Bach uses its harmony and bass line to build 30 distinctly characterized

pieces—all manner of dances, fleet toccatas, gentle reveries, rigorously polyphonic canons—organized in 10 groups of three in a progressive pattern, before ending where it began, with that elegant aria. The result is a vast passacaglia of continuous variations over a repeating frame, a radical monument to the Baroque obsession with unity. —John Henken

GOLDBERG VARIATIONS, BWV 988

Johann Sebastian Bach (1685–1750)

Variety may be the spice of life, but variation is something much more fundamental to music. Any sort of motivic development is a form of micro-variation, for example, and on another level, interpretation inevitably implies variation. A jazz player’s approach to a standard is also a matter of variation, much like “theme and variation” works by Classical composers, which often captured or re-created improvisations. Bach’s chorale preludes for organ are something like an improvisation on a standard, and he also created variants (doubles) of some dance movements in his suites. Bach also created two

monuments of continuous variation—the Passacaglia in C minor for organ and the Chaconne from the Partita in D minor for solo violin—and it is certainly an element in works such as The Musical Offering. But of “theme and variations” in the more common sense, Bach left only three examples, the early Aria variata alla maniera italiana, the Canonic Variations on the Christmas Song “Vom Himmel hoch, da komm’ ich her,” and these Goldberg Variations When the Goldberg Variations were published in 1741 as Book IV of the Clavier-Übung, it was simply as “an aria with different variations for harpsichord with two manuals.” The name of keyboard virtuoso and composer Johann Gottlieb

Goldberg (1727–1756) was attached to the work upon the publication of Johann Nikolaus Forkel’s groundbreaking biography of Bach, in 1802. According to Forkel (translations vary), “Count Keyserlingk, formerly Russian ambassador to Saxony, often visited Leipzig. Among his servants there was a talented young man, Johann Gottlieb Goldberg—a harpsichordist who was a pupil of Wilhelm Friedemann Bach and later of Johann Sebastian Bach himself. The count had been suffering from insomnia and ill health and Goldberg, who also lived there, had to stay in the room next door to soothe his master’s suffering with music. Once the count asked Bach to compose some keyboard pieces

for Goldberg, pieces of mellowness and gaiety that would enliven his sleepless nights. Bach decided to write a set of variations, a form that prior to this hadn’t interested him much. Nevertheless, in his masterly hands, an exemplary work of art had been born. The count was so delighted with it, he called them ‘my variations.’ He would often say: ‘My dear Goldberg, play me one of my variations.’ Bach had probably never been so generously rewarded for his music. The count gave him a golden goblet with a hundred Louis d’or!”

It is difficult to believe that Bach would have published a commissioned work without any dedication to either Keyserlingk or Goldberg, which makes the story

doubtful, along with the fact that Goldberg was only 14 at the time. Goldberg, however, was a renowned prodigy, and there are links between Bach and Keyserlingk. Bach may have given Keyserlingk a copy of the printed edition and received a reward for it.

The aria that is the subject of the variations is an original creation, an elegantly serene sarabande that contains everything Bach needs for a vast universe of modulation. Do not listen for that exquisite tune in the variations, however. Only some unifying cadential phrasing survives Bach’s transformations, which are based on the aria’s architecture and harmonic pattern, particularly the bass line, making the Goldberg

Variations a sort of mega passacaglia or chaconne. The variations can be grouped into 10 sets of three, with the third variation in each set being a canon, the strictest form of contrapuntal imitation, where one voice imitates another at a set interval. In addition to these subdivisions, the variations are split into two halves, mirroring the structure of the Aria, with the grandiose gestures of the 16th variation, a French overture, marking the beginning of the work’s figurative second half. If you count the opening Aria and its repeat at the close, the Goldberg Variations are in 32 sections, mirroring the 32 bars of the Aria itself. —Excerpted from program notes by John Henken and John Mangum

VÍKINGUR ÓLAFSSON

Icelandic pianist Víkingur Ólafsson has made a profound impact with his remarkable combination of highest-level musicianship and visionary programs. His recordings for Deutsche Grammophon—Philip Glass Piano Works (2017), Johann Sebastian Bach (2018), Debussy—Rameau (2020), Mozart & Contemporaries (2021), and From Afar (2022)—captured the public and critical imagination and

have led to over 600 million career streams.

In October 2023, Ólafsson released his much anticipated album on Deutsche Grammophon of J.S. Bach’s Goldberg Variations. Ólafsson, one of the most sought-after artists of today, has dedicated his entire 2023/24 season to a Goldberg Variations world tour, performing the work across six continents throughout the year. He brings Bach’s masterpiece to major concert halls, including London’s Southbank Centre, New York’s Carnegie Hall, Wiener Konzerthaus, Paris Philharmonie, Tokyo’s Suntory Hall, Reykjavik’s Harpa concert hall, Walt Disney Concert Hall, Sala São Paulo, Shanghai Symphony Hall, Tonhalle Zürich, Philharmonie Berlin, Müpa Budapest, KKL Luzern, and Alte Oper Frankfurt.

Ólafsson’s multiple awards include Opus Klassik Instrumentalist of the Year (2023), Opus Klassik Solo Recording Instrumental (twice), CoScan’s International Nordic Person of the Year (2023), the Rolf Schock Prize for Music (2022), Gramophone’s Artist of the Year (2019), and Album of the Year at the BBC Music Magazine Awards (2019).

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

photo : (C)

Markus Jans

Dudamel Leads Beethoven and Strauss

Los Angeles Philharmonic

Gustavo Dudamel, conductor

Maria João Pires, piano

Robert deMaine, cello Teng Li, viola

Andreia Cortejo (c. 10 minutes) (world premiere, LA Phil PINTO commission with generous support from the CORREIA Esa-Pekka Salonen Commissions Fund) — except friday

Procesión

Claroscuro

Procesión

Claroscuro

Infinitas Luces

Reencuentros

BEETHOVEN Piano Concerto No. 4 in G major, Op. 58 (c. 34 minutes)

Allegro moderato

Andante con moto

Rondo: Vivace

Maria João Pires

INTERMISSION — except friday

R. STRAUSS Don Quixote, Op. 35 (c. 38 minutes)

Introduction (“Don Quixote loses his sanity after reading novels about knights, and decides to become a knight-errant”)

Theme (“Don Quixote, knight of the sorrowful countenance”)

Maggiore (“Sancho Panza”)

Variation I (“Adventure at the windmills”)

Variation II (“The victorious struggle against the army of the great emperor Alifanfaron”)

Variation III (“Dialogue between knight and squire”)

Variation IV (“Unhappy adventure with a procession of pilgrims”)

Variation V (“The knight’s vigil”)

Variation VI (“The meeting with Dulcinea”)

Variation VII (“The ride through the air”)

Variation VIII (“The unhappy voyage in the enchanted boat”)

Variation IX (“Battle with the magicians”)

Variation X (“Duel with the knight of the bright moon”)

Finale (“Coming to his senses again”

— Death of Don Quixote)

Robert deMaine

Teng Li

THURSDAY

MAY 2, 2024 8PM

FRIDAY

MAY 3 8PM

SATURDAY

MAY 4 8PM

SUNDAY

MAY 5 2PM

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

The May 2 performance is generously supported by the Elaine and Bram Goldsmith Great Artists Fund and the Valerie Franklin Baroque Music Fund.

Media sponsor: KUSC (5/3)

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

Programs and artists subject to change.

AT A GLANCE

Romantic Polestars

The two big pieces on this program reveal something of how the 19th-century argument about the aesthetic merit of abstract “pure” music versus descriptive “program” music evolved—and its futility. Beethoven, in his Fourth Piano Concerto, was still much informed by the Classical tradition, which he revolutionized in form and expression. A generation after Beethoven died, listeners could still hear the mythological

scene of Orpheus subduing the Furies in the concerto’s middle movement. By the end of the century, Richard Strauss could make tone poems such as Don Quixote his major orchestral statements, capturing the exuberant wit and poignant wisdom of Cervantes’ classic novel in a set of variations, with its titular woeful knight and his earthy squire vividly characterized by solo cello and viola. —John Henken

CORTEJO

Andreia Pinto Correia (b. 1971)

Composed: 2023

Orchestration: 3 flutes (3rd=piccolo), 3 oboes (3rd=English horn), 3 clarinets (3rd=bass clarinet), 3 bassoons (3rd=contrabassoon), 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, percussion (1=vibraphone, nipple gong, tam-tams, snare drum; 2=crotales, marimba, nipple gongs, tam-tams, cowbell, triangle, suspended cymbal, crash cymbal, sizzle cymbal, side drum; 3=glockenspiel, xylophone, tubular bells, tam-tams, triangles, suspended cymbal, sizzle cymbal, tom-toms, bass drum), harp, piano, and strings

First LA Phil performances (world premiere).

Upon receiving Gustavo Dudamel’s request to compose a work inspired by Cervantes’ Don Quijote de la Mancha, I found myself transported to my teenage years in Portugal when I first encountered the adventures of the ingenious hidalgo. As I started composing, I could not stop reflecting on how one of the most enduring images that stayed with me is that of the procession, a theme that recurs throughout Don Quijote. In Cortejo I strove to conjure elements of Iberian processions—ritual and communal, religious and pagan, celebratory and mournful—witnessed throughout my life. My father, who taught me to value the vast array of Iberian traditions, was a medievalist, scholar,

professor, and poet. He was also the director of the Centro de Tradições Orais Portuguesas (Center for Portuguese Oral Traditions) at the University of Lisbon, and I therefore grew up immersed in our Iberian popular traditions: prayers, fantastic tales, cures, songs—and processions. Thus, composing this piece has offered me a unique opportunity to blend my own recollections and compositional voice with the fantastic world of Iberian traditions in which Don Quijote figures so prominently. During the writing process, I turned to a description of one of the processions in Don Quijote, “el cortejo de los sabios” (the procession of the wise men). Cortejo is divided into six

episodes, each inspired by a particular word in “el cortejo de los sabios” and depicting a distinct musical landscape. The episodes follow a procession-like cyclical structure and are played without pause.

I. Procesión:

An initial tutti orchestral section opens the work in a spark of celebration, guided by the snare drum.

II. Claroscuro

(light and darkness):

The celebratory procession is suddenly interrupted by layers of strings representing light. A distant musical landscape ensues, interrupted by the low winds and brass, as well as by the piano and percussion (whose music represents darkness). Flashbacks of the procession return in the

brass as a passage of sharp contrasts, hinting at the hidalgo’s obscure dreams.

III. Procesión:

The procession features a call and answer between the solo oboe and wind ensemble, playing a recurring melody in unison that is abruptly interrupted by sharp orchestral outbursts.

IV. Claroscuro

Claroscuro returns, this time beginning with the wind ensemble mirroring string harmonies from the previous claroscuro episode. Interspersed with fragments of the procession, this episode eventually builds to an orchestral tutti, only to disintegrate as if in a dream. A short dialogue between the English horn and harp concludes the episode.

V. Infinitas luces (Infinite Lights):

This most lyrical and delicate of the episodes features the chords previously played by the piano and percussion, which reappear, newly orchestrated in the winds, while the high strings play a lontano melody. In the dark sky above, the stars seem to dissipate while the orchestra plays downward glissandi, “ las estrellas que corren,” as Cervantes describes them. A cloud of shimmering percussion concludes the episode.

VI. Reencuentros (Reencounters):

The end of the procession nears, as elements from the five previous episodes reemerge, meld, mirror each other, then vanish abruptly as if waking from a dream. —Andreia Pinto Correia

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

Ludwig van Beethoven (1770–1827)

Composed: 1805–06

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

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

Beethoven began the Fourth Piano Concerto in 1805 and worked on it throughout 1806. He played it in a private performance at the palace of his patron and friend Prince Lobkowitz in March 1807, but it was not until December 22, 1808, that he played it publicly in that legendary concert that saw the premieres of the Fifth and Sixth Symphonies, the Choral Fantasy, and parts of the Mass in C. At least one audience member found the experience physically and mentally numbing, writing: “There we sat from 6:30 till 10:30 in the most bitter cold, and found by experience that one might easily have

too much of a good thing.” Even had the heating been effective, the concert undoubtedly suffered from inadequate rehearsal, and occasionally from Beethoven’s inadequate direction. He was, of course, getting more and more deaf, and the Fourth is the last of his concertos that he was able to perform himself.

The three movements of the Concerto are remarkably different from one another. The first is scored for strings, woodwinds, and horns, without trumpets or timpani. Its opening is unusual, if not unique, in that the piano begins alone, introducing a stately, reflective theme built on the short-shortshort-long rhythm that characterizes much of Beethoven’s “middle period” music. The orchestra enters immediately with the same theme, but in the surprising key of B major. Beethoven often used these “wrong-key” entrances, and achieved a variety of effects with them. Here, it works an instant change in mood, like stage lights changing color.

In the second movement, brusque passages in octaves from the strings (the winds

are silent) are answered by gentle chords from the piano. By movement’s end, the strings are playing soft harmonies under the piano, as if they have been lulled. The piano writing is extraordinarily subtle and delicate. Beethoven’s newest piano had three strings for each of the upper notes, like the modern instrument. Unlike the modern instrument, it had a new pedal mechanism that shifted the hammers so as to hit only one, only two, or all three strings, with a remarkable change not only in loudness but also in tone color: On one string, his piano could achieve a ghostly chime, not unlike a celesta. Beethoven asks for “una corda” and “due corde” in the second movement. The player of the modern grand piano can only approximate the effect.

The Rondo finale begins quietly, with a little fanfare figure in the strings that begins in C major, before making its way around to G. Only after it has been heard twice do the trumpets and drums, at long last, make their entrance in a frenetic explosion of sound. —Howard Posner

DON QUIXOTE, OP. 35

Richard Strauss (1864–1949)

Composed: 1897

Orchestration: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets (2nd=E-flat clarinet), bass clarinet, 3 bassoons, contrabassoon, 6 horns, 3 trumpets, 3 trombones, 2 tubas, timpani, percussion (small bells, bass drum, cymbals, side drum, tambourine, triangle, wind machine), harp, strings, solo cello, and solo viola

First LA Phil performance:

December 5, 1929, Artur Rodziński conducting, with Gregor Piatigorsky, cello, and Emile Ferir, viola

The early works of Richard Strauss betray the influence of his father’s conservative musical tastes. A professional musician himself—serving as principal horn in the Bavarian Court Opera for over four decades—the authoritarian Franz, fiercely reactionary in his music orientation, shepherded Richard during his early development, steering him toward the music of Haydn, Mozart, and Beethoven (and shielding him from the influence of Wagner).

As an adolescent, Strauss came under the tutelage of composer-violinist Alexander Ritter, a cultured and visionary figure who would eventually encourage Strauss to abandon traditional forms (such as the symphony and concerto) in favor of the more forward-looking tone poem. Between 1888 and 1898, Strauss produced seven major works: his first opera, Guntram, and six mature tone poems, the last three of which—Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898)—are especially ambitious in their originality and daring.

Completed in the final days of 1897, Don Quixote, Fantastic Variations on a Theme of Knightly Character, is ostensibly a duo-concertante for cello, viola, and large orchestra. And while it is billed as a set of variations, its programmatic elements place it more accurately within the tonepoem genre. In his episodic approach to Cervantes’ novel, Strauss singled out specific moments on which to focus musically. In doing so, he was able to fashion something akin to a picaresque, built around colorful scenarios specific to each of the given variations.

When the solo cello enters, we glimpse the visage of a man on the brink of insanity; focusing in, we discern in fine detail his “woeful countenance” (a face whose expression of self-pity is treated with mockery, set to music in the historically doleful key of D minor).

Shortly thereafter, Quixote’s squire, Sancho Panza, is introduced. He is represented chiefly by the viola but is often aided by the bass clarinet and tenor tuba. His fundamental goodness earns him a theme in G major, a key frequently associated with innocence. A man proud of his illiteracy, Sancho is nevertheless wise in worldly matters. He is a loyal sidekick, pragmatic, skeptical, and realistic in his thinking. The piece concludes with a solemnity and dignity that is more the rule than the exception with Strauss tone poems (the myth of Strauss as a vulgarian concerned with shock value couldn’t be less true). Only one of the six major tone poems—Till Eulenspiegel’s Merry Pranks—ends forcefully. The conclusion of Don Quixote, in keeping with the cruelty of fate, marks the death of our hero—a death that cannot transpire, however, until our hero regains his sanity. —David Fick

GUSTAVO DUDAMEL

To read about Music & Artistic Director Gustavo Dudamel, please turn to page 8

MARIA JOÃO PIRES

Born in 1944 in Lisbon, Maria João Pires gave her first public performance at the age of four and began her studies of music and piano with Campos Coelho and Francine Benoît, continuing later in Germany with Rosl Schmid and Karl Engel. In addition to her concerts, she has made recordings for Erato for 15 years and Deutsche Grammophon for 20 years. Since the 1970s, she has devoted herself to reflecting the influence of art in life, community, and education, trying to discover new ways of establishing this way of thinking in society. She has searched for new

ways that, respecting the development of individuals and cultures, encourage the sharing of ideas.

In 1999, she created the Belgais Centre for the Study of the Arts in Portugal. Pires regularly offers interdisciplinary workshops for professional musicians and music lovers. Concerts and recordings regularly take place in the Belgais concert hall. In the future, these will be shared with the international digital community (pay and non-pay).

In 2012, in Belgium, she initiated two complementary projects: the Partitura Choirs, a project that creates and develops choirs for children from disadvantaged backgrounds (as the Hesperos Choir in Belgium) and the Partitura Workshops. All of the Partitura projects aim to create an altruistic dynamic between artists of different generations by proposing an alternative in a world too often focused on competitiveness. This philosophy is being spread worldwide at Partitura projects and workshops. mariajoaopires.com

Robert deMaine is an American virtuoso cellist who has been hailed by The New York Times as “an artist who makes one hang on every note.” He has distinguished himself as one of the finest and most versatile instrumentalists of his generation, performing to critical acclaim as soloist, recitalist, orchestra principal, recording artist, chamber musician, and

composer-arranger. In 2010, deMaine was a founding member of the highly acclaimed Ehnes String Quartet and completed several world tours and recordings with the ensemble. In 2012, he was invited to join the Los Angeles Philharmonic as Principal Cello. He collaborates often in a piano trio with violinist Hilary Hahn and pianist Natalie Zhu.

A first-prize winner in many national and international competitions, deMaine was the first cellist ever to win the grand prize at San Francisco’s Irving M. Klein International String Competition. As soloist, he has collaborated with many distinguished conductors, including Neeme Järvi, Peter Oundjian, Joseph Silverstein, and Leonard Slatkin, and has performed

nearly all the major cello concertos with the Detroit Symphony Orchestra, where he served as principal cello for over a decade.

His recording of the John Williams Cello Concerto is available on Naxos. Other recordings include the complete works of Beethoven for piano and cello with pianist Peter Takács, the Haydn Cello Concertos with the Moravian Philharmonic of the Czech Republic, and a recital CD of Grieg and Rachmaninoff sonatas with pianist Andrew Armstrong. DeMaine studied at The Juilliard School, the Eastman School of Music, the University of Southern California, Yale University, and the Kronberg Academy in Germany. Please visit robertdemaine.com to learn more.

ROBERT deMAINE

TENG LI

Teng Li is a diverse and dynamic performer internationally. Recently, she was appointed Principal Violist of the Los Angeles Philharmonic after more than a decade as Principal with the Toronto Symphony Orchestra. Li is also an active recitalist and chamber musician participating in festivals including Marlboro, Santa Fe, Mostly Mozart, Music from Angel Fire, Rome, Moritzburg (Germany), and the Rising Stars at Caramoor.

She has performed with the Guarneri Quartet in New York, at Carnegie Hall (Weill Recital Hall), and with the 92nd Street Y Chamber Music Society. Li was featured with the Guarneri Quartet in its last season (2009) and was also a member of the prestigious Lincoln Center Chamber Music Society II program. She is a member of the Rosamunde Quartet (led by Noah BendixBalgley, Concertmaster of the Berlin Philharmonic) and the Torontobased Arkel Trio. Li has been featured as soloist with the National Chamber Orchestra, Santa Rosa Symphony, Munich Chamber Orchestra, Haddonfield Symphony, Shanghai Opera Orchestra, Canadian Sinfonietta, and Esprit Orchestra. Her performances have been broadcast on CBC Radio 2, National Public Radio, WQXR (New York),

WHYY (Philadelphia), WFMT (Chicago), and Bavarian Radio (Munich).

She has won top prizes at the Johansen International and HollandAmerica Music Society competitions, the Primrose International Viola Competition, the Irving M. Klein International String Competition, and the ARD International Music Competition in Munich. She was also a winner of the Astral Artistic Services 2003 National Auditions. Her discography includes a solo CD titled 1939 with violinist Benjamin Bowman and pianist MengChieh Liu (for Azica). Her many Toronto Symphony credits include a Vaughan Williams disc featuring her performance of Flos Campi (for Chandos).

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

Beethoven and Schumann

Members of the Los Angeles Philharmonic

BEETHOVEN String Trio in D major, Op. 9, No. 2 (c. 24 minutes)

Allegretto

Andante quasi allegretto

Minuet: Allegro—Trio

Rondo: Allegro

Ashley Park, violin

Michael Larco, viola

Jason Lippmann, cello

R. SCHUMANN String Quartet No. 3 in A major, Op. 41, No. 3 (c. 25 minutes)

Andante espressivo— Allegro molto moderato

Assai agitato

Adagio molto

Finale: Allegro molto vivace—quasi Trio

Rebecca Reale, violin

Johnny Lee, violin

Dana Lawson, viola

Robert deMaine, cello

INTERMISSION

BEETHOVEN Piano Trio No. 7 in B-flat major, Op. 97, “Archduke” (c. 40 minutes)

Allegro moderato

Scherzo: Allegro

Andante cantabile ma però con moto

Allegro moderato

Jin-Shan Dai, violin

Jonathan Karoly, cello

Jennie Jung, piano

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

Programs and artists subject to change.

TUESDAY MAY 7, 2024 8PM

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

Dvořák and Ortiz with Dudamel

Los Angeles Philharmonic

Gustavo Dudamel, conductor

María Dueñas, violin

John WILLIAMS O lympic Fanfare and Theme (c. 5 minutes)

Gabriela ORTIZ Altar de cuerda (c. 28 minutes) (LA Phil commission with generous support from the Lenore S. and Bernard A. Greenberg Fund)

Morisco chilango

Canto abierto Maya déco

María Dueñas

INTERMISSION

DVOŘÁK

Symphony No. 9 in E minor, Op. 95, B. 178, “ From the New World” (c. 40 minutes)

Adagio–Allegro molto

Largo Molto vivace

Allegro con fuoco

Programs and artists subject to change.

THURSDAY

MAY 9, 2024 8PM

FRIDAY

MAY 10 11AM

SATURDAY

MAY 11 8PM

SUNDAY

MAY 12 2PM

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

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

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

AT A GLANCE

New World Perspectives

Dvořák’s “New World” Symphony was not the work of a cultural tourist. The composer knew African American spirituals well and had firsthand experience with Native American music. The result was a beloved crosscultural masterpiece that eagerly accepted and reflected his American experiences from the perspective of his Czech-Moravian roots. Gabriela Ortiz also works avidly across

cultural borders, something displayed with compelling zest in her violin concerto Altar de cuerda, which Gustavo Dudamel and María Dueñas premiered here two years ago. John Williams’ blazing, optimistic Olympic Fanfare and Theme was a very American welcome to a major international event, the summer Olympics, held here in Los Angeles 40 years ago. —John Henken

OLYMPIC FANFARE AND THEME

John Williams (b. 1932)

Composed: 1984

Orchestration: 2 flutes, piccolo, 3 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (snare drum, field drum, crash cymbals, bass drum, suspended cymbal, chimes, glockenspiel, vibraphone, triangle), harp, piano, optional organ, and strings

First LA Phil performance: July 27, 1984, Michael Tilson Thomas conducting

John Williams has become an irreplaceable figure in American popular culture. He ranks as the best-known creator of movie music in Hollywood history, with themes and scores that

are instantly recognizable to listeners around the world. And his growing body of music for the concert hall (including numerous concertos) has solidified his reputation as a major American composer of the late 20th and early 21st centuries.

At the same time, he has had close relationships with music directors of the LA Philharmonic, including— and especially—the current one, Gustavo Dudamel.

Dudamel told Variety : “I’ve admired John Williams all my life. As a kid, I was just crazy about movies and in love with all his music: Star Wars, E.T., Indiana Jones. Film composers are great musicians, great orchestrators, and for me, John is simply one of the greatest of our time. He is also a wonderful man and a wonderful friend.”

Williams has long been associated with the Olympic Games, beginning in 1984 when the Los Angeles Olympic Committee commissioned Olympic Fanfare and Theme for the Games of the XXIII Olympiad. Its regular use in television coverage of the international athletic competitions has made it the best-known of the composer’s four Olympic fanfares.

As the composer wrote in 1984: “The Olympic Games continue to fascinate and inspire us. With every presentation of the Games, we experience that complete dedication and unshakable will to persevere that typifies the goal of each competitor. The human spirit soars, and we strive for the best within us.” —Jon Burlingame

ALTAR DE CUERDA

Gabriela Ortiz (b. 1964)

Composed: 2021

Orchestration: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, bass trombone, timpani, percussion (1=suspended cymbal, vibraphone, tambourine, tam-tam, guiro, maracas, snare drum; 2=crotales, glockenspiel, large gong, Tibetan singing bowls, xylophone, whip, congas; 3=triangle, gong, bongos, cymbals, snare drum, mark tree, temple block), harp, piano/celesta, strings, and solo violin

First LA Phil performance: May 14, 2022, Gustavo Dudamel conducting, with María Dueñas, soloist

To date, Mexican composer Gabriela Ortiz has created eight works in the series of “musical altars,” and there is no reason to assume that she will not write more in the future.

This is the full list so far:

Altar de neón (1995), for four percussionists and chamber orchestra

Altar de muertos (1997), for string quartet, water drums, and masks

Altar de piedra (2002), for three percussionists and orchestra

Altar de fuego (2010), for orchestra

Altar de luz (2013), for tape

Altar de viento (2015), for flute and orchestra

Altar de cuerda (2021), for violin and orchestra

Altar de bronce (2022), for trumpet and orchestra

The fact is that for Gabriela Ortiz, the altar is not a religious concept; instead, its meaning for her tends more toward the symbolic, the spiritual, and the magic; an altar is a place to throw music

into relief. Nonetheless, the first work in the series was in fact inspired by a true neon altar she came across in a church. In this most improbable image, she found a cultural syncretism, an erasure of borders, a conceptual eclecticism that can very well be synthesized in the idea of the postmodern, which happens to be one of the main aesthetic tendencies that define her music.

In recent years, Ortiz has established a close working relationship with the Los Angeles Philharmonic, a relationship that has led to the premieres of Altar de piedra (2002), Téenek (2017), Pico-Bite-Beat (2018), Yanga (2019), Kauyumari (2021), Seis piezas a Violeta (2023), and the concert version of Revolución diamantina (2023). In 2021, when the opportunity to write a violin concerto arose, the composer was ready (and willing). Gustavo Dudamel, the LA Phil’s Music & Artistic Director, put forth

the name of the brilliant young Spanish violinist María Dueñas. Thus the stage was set for the creation of Altar de cuerda (String Altar), for violin and orchestra.

Tackling the issue of form in her new piece, Gabriela Ortiz proceeds according to tradition and chooses the usual three-movement structure, fast–slow–fast. In the first movement, “Morisco chilango” (Chilango Moorish, where “chilango” is a moniker for Mexico City natives), the composer has included a few subtle melodic turns that impart a vaguely Mediterranean flavor, a nod to María Dueñas’ Andalusian roots. More generally, “Morisco chilango” represents one more of Gabriela Ortiz’s visions on cultural appropriation and reappropriation, an important theme in her musical thought. (She herself is, by the way, proudly chilanga.)

In “Canto abierto” (Open Song), the distant reference

is to the open chapels that were a common feature in 16th-century Mexican churches, built to catechize indigenous communities still reluctant to go inside a temple. Here, the composer’s operating principle is the creation of chords that are built and deconstructed, harmonies that slowly grow and contract like a sea swell that can be visually perceived in the score, while the solo violin lyrically floats over the sound waves. At the beginning and at the end of the movement, all wind players (both woodwind and brass) play tuned crystal glasses, which create an additional harmonic field.

“Maya déco” is a virtuosic, rhythmic, and fast-paced movement, with a constant dialogue between the solo violin and the orchestra; near the end of the piece, there is a fully written-out cadenza for the soloist.

The thoughtful listener will discover that there are references to architecture in all of Altar de cuerda ’s three

movements. On the one hand, this may be attributed to the fact that those cross-border appropriations that occupy the composer´s thoughts are particularly evident in architecture; on the other hand, it so happens that Gabriela Ortiz’s father, Rubén Ortiz Fernández, was not only a prominent music lover and a musician himself, but also an architect by profession. It is worth noting that in all of Gabriela Ortiz’s Altars (except for Altar de luz) there is an important (and sometimes protagonistic) presence of percussion instruments; Altar de cuerda includes, besides timpani, three percussionists playing a role related more to color than to rhythm.

Gabriela Ortiz wrote Altar de cuerda between September and December 2021, on a commission from the LA Phil, and the work is, as it happens, the first concerto dedicated to María Dueñas. —Juan Arturo Brennan

SYMPHONY NO. 9

IN E MINOR, OP. 95, “FROM THE NEW WORLD” Antonín Dvořák (1841–1904)

Composed: 1893

Orchestration: 2 flutes (2nd=piccolo), 2 oboes (2nd=English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, triangle, and strings

First LA Phil performance: October 25, 1919, Walter Henry Rothwell conducting

Czech composer Antonín Dvořák sought his inspiration in all quarters. In a famous essay, “Music in America,” he wrote: “Nothing must be too low or too insignificant for the musician. When he walks, he should listen to every whistling boy, every street singer or blind organ player. It is a sign of barrenness, indeed, when such characteristic bits of music are not heeded by the learned musicians of the age.” In 1892, already a “learned musician,” Dvořák was invited to become Artistic Director and Professor of Composition at the National Conservatory of Music in America (New York). The conservatory management wanted the

“old world” master to help establish an American sound in the concert hall, so upon his arrival at the Conservatory, Dvořák sought out music that was distinctly American. He wrote: “In the Negro melodies of America I have discovered all that is needed for the creation of a great and noble school of music. These beautiful and varied themes are the product of the soil, they are the folk songs of America.” There is no doubt that the Czech composer was under the spell of both African American spirituals and Native American music, but his music mostly reflects the European concert tradition. Indeed, the subtitle, “From the New World,” was only an afterthought added by the composer just as he was about to send the score off to the publisher.

The symphony is conventional in form, a fourmovement work that follows the established pattern. The opening is more reminiscent of Beethoven than of folk music, particularly the forceful timpani swats that seem to echo similar moments in Beethoven’s Ninth. Low strings, then horns, introduce a bold theme that will be heard throughout the entire

work. The Largo second movement has been the focus of much speculation.

An African American spiritual—or at least the five-note pentatonic scale that is often prominent in those songs—seems to have inspired the plaintive melody that begins this movement. It is moving and melancholy music with a tangible feeling of nostalgia (Dvořák was quite homesick during his time in America).

In the scherzo, Dvořák carefully balances the Beethovenian bluster with a waltz that could easily have come from a Czech village dance. The finale begins with another brassy melody that has the energy of a folk dance. There is then a new, wistful second theme in the clarinets; a wacky, threenote “Three Blind Mice” transition; another reference or two to Beethoven; and continual reiterations of the first movement’s first theme and the finale’s opening theme. In the long run, it really doesn’t make any difference where Dvořák found his inspiration. We continue to value the “New World” Symphony precisely because it has come to mean many things to many people. —Excerpted from a note by Dave Kopplin

GUSTAVO DUDAMEL

To read about Music & Artistic Director Gustavo Dudamel, please turn to page 8

MARÍA DUEÑAS

Spanish violinist María Dueñas enchants her audience with the breathtaking variety of colors that she elicits from her instrument. Her technical prowess, artistic maturity, and bold interpretations inspire rave reviews, captivate competition juries, and earn her invitations to perform with many of the world’s top orchestras and conductors.

Dueñas’ love of classical music was awakened in her by the recordings her parents regularly listened to at home and by attending concerts in her hometown. Born in Granada in 2002, she began playing the violin at the age of six and was admitted to the Granada Conservatory just one year later. Since 2016, she has been studying with the renowned violin teacher Boris Kuschnir at the Music and Arts Private University of the City of Vienna.

Dueñas maintains a close connection with the Los Angeles Philharmonic and Gustavo Dudamel. After her 2021 debut at the Hollywood Bowl, the following year the premiere of the violin concerto Altar de cuerda by Gabriela Ortiz, dedicated to her, caused an international stir, not only at Walt Disney Concert Hall but also in New York’s Carnegie Hall, in Boston, and at the Cervantino Festival in Mexico. Further concerts in Los Angeles and on tour in Barcelona, Paris, and London take place in 2024.

Highlights of the 2023/24 season also include a tour with the Kammerphilharmonie Bremen under Paavo Järvi, concerts with the Dresden Philharmonic under Kent Nagano, and debuts with the Swedish Radio Symphony Orchestra under Daniel Harding, the Munich Philharmonic (with Manfred Honeck), the Accademia di Santa Cecilia in Rome, the Orchestre Philharmonique de Radio France under Mikko Franck, and the Bamberg Symphony under Christoph Eschenbach. The German Musical Life Foundation honored Dueñas as the winner of the German Musical Instrument Fund competition and has since loaned her a violin by Nicolò Gagliano (Naples, 17?4), owned by the Federal Republic of Germany. She also plays the 1710 Stradivarius “Camposelice,” generously loaned by the Nippon Music Foundation.

Yuja Wang

Yuja Wang, piano

MESSIAEN Vingt Regards sur l’Enfant-Jésus (c. 22 minutes)

No. 15, Le baiser de l’Enfant-Jésus No. 10, Regard de l’Esprit de joie

SCRIABIN Piano Sonata No. 8, Op. 66 (c. 13 minutes)

DEBUSSY L’isle joyeuse (c. 7 minutes)

INTERMISSION

CHOPIN

Ballade No. 1 in G minor, Op. 23 (c. 9 minutes)

Ballade No. 2 in F major, Op. 38 (c. 8 minutes)

Ballade No. 3 in A-flat major, Op. 47 (c. 8 minutes)

Ballade No. 4 in F minor, Op. 52 (c. 10 minutes)

Programs and artists subject to change.

SUNDAY MAY 12, 2024 7:30PM

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association. This series is generously supported by the Colburn Foundation.

Media sponsor: LAist

AT A GLANCE

Sonic Rapport

Chopin’s Four Ballades are core monuments of the piano repertory. Composed across a decade, they are single-movement works of vast expressive power, independently conceived but sharing some objective formal elements. Scriabin was greatly influenced by Chopin in his early works, and though far removed in harmony and style, his late

piano sonatas are similar in dimensions and ambitions to Chopin’s Ballades. Scriabin’s wide-ranging sonorities and harmonic inventions offer a great deal of sonic rapport with the joyful French pieces by Messiaen and Debussy surrounding his Sonata No. 8, though its often tragic emotional attitude is in marked contrast. —John Henken

VINGT REGARDS SUR L’ENFANT-JÉSUS

Olivier Messiaen (1908–1992)

In 1940, Olivier Messiaen was serving in the French army as a hospital nurse when he was captured by Nazi troops and imprisoned for nine months. Messiaen later said: “When I arrived at the camp, I was stripped of all my clothes, like all the prisoners. But naked as I was, I clung fiercely to a little bag of miniature scores that served as consolation when I suffered. The Germans considered me to be completely harmless, and since they still loved music, not only did they allow me to keep my scores, but an officer also gave me pencils, erasers, and some music paper.”

As a prisoner of war, Messiaen composed his influential Quartet for the End of Time, a piece inspired by the New Testament Book of Revelation. Much of Messiaen’s music was deeply rooted in his Catholic faith and reflective upon Christ. This was especially true for Vingt Regards sur l’Enfant-Jésus, or “Twenty Contemplations on the Infant Jesus” in English. Four years after his imprisonment, Messiaen composed the Vingt Regards in Paris during the city’s liberation from Nazi occupation. Though World War II was not quite over, Messiaen saw the light at the end of the tunnel, and his music reflected that. The Vingt Regards were intended to complement 12 poems about the Nativity scene by Maurice Toesca.

But the poems grew to 20 contemplations and two hours’ worth of music, earning it a reputation as one of the most demanding and impressive works in the entire piano repertoire. Through its four themes— God, the Star and the Cross, Chords, and Mystical Love—the Vingt Regards fluctuate from hypnotic to nightmarish, covering a range of expressions. The Theme of God can be heard in the dissonant ecstasy of No. 10, “Contemplation of the joyful Spirit,” as well as in the twinkling lullaby of No. 15, “The kiss of the Infant Jesus.” Messiaen’s genius lies in these complex details, and like a spiritual scientist of rhythm and harmony, he concocts a floating sensation of profound and ultimate peace. —Piper Starnes

PIANO SONATA NO. 8, OP. 66

Alexander Scriabin (1872–1915)

Scriabin was much influenced by Friedrich Nietzsche and theosophy, and he tried to realize that in his music. His 10 piano sonatas—and the last six particularly—are all to some degree programmatic works striving for mystical ecstasy. To express this, Scriabin developed his own idiosyncratic system of non-triadic harmony, something that seems to baffle analysts more than audiences.

Like all of the last six sonatas, the Eighth is in a single, multi-sectional movement. The longest of the sonatas, it is also the most rigorously symmetric in structure and proportion, with regular repetition of several well-defined motives. A keyboard virtuoso himself, Scriabin exploited the full range and sonority of the instrument, creating an enormous technical as well as conceptual challenge. Scriabin regarded the piece as deeply tragic and never performed it himself. But the effect of the repetition and symmetrical form on his richly colored soundscape is one of “enchanted time,” in which there is no linear past or future, only a magical now.

—John Henken

L’ISLE JOYEUSE

Claude Debussy (1862–1918)

Possibly with tongue firmly in cheek (or maybe not), Debussy wrote to his publisher about L’isle joyeuse (The Isle of Joy): “But God, how difficult it is to perform... That piece seems to assemble all the ways to attack a piano since it unites force and grace...”—as if it assembled the ways without help from the composer. The piece, composed in 1904, is a vivid, virtuosic, large-scale bacchanale that evokes Debussy’s orchestral style of Fêtes and La mer. And if, broadly speaking, it seems to take some of its impetus from Liszt’s tone poems and from Rimsky-Korsakov’s Scheherazade, it is still quintessential Debussy. Thought to have been inspired by a Watteau painting (The Embarcation for Cythera), L’isle joyeuse bursts with a sensuality, rhythmic excitement, and buoyant propulsiveness that illuminates its homage to the spirit of Venus and her court. Beginning with a flute-type cadenza combining chromatics and whole tones, the music is hypnotic as it swirls, cascades, and erupts in some of the most extroverted orchestral pianism to have come from the pen of Debussy. —Orrin Howard

BALLADE NO. 1 IN G MINOR, OP. 23

Frédéric Chopin (1810–1849)

Chopin visited Robert Schumann in Leipzig in 1836, and of that meeting Schumann wrote to a friend, “I have Chopin’s new Ballade [the G-minor]. It seems to me to be the piece that shows most genius, and I told him that I liked it most of all his works. After thinking a long time he said with great feeling, ‘I’m glad of that because it’s the one I prefer too.’” Their joint choice of a favored Chopin piece was not a difficult selection if they were taking into account only the large-scale works, for, other than the pianoorchestral compositions, most of those were yet to come. At any rate, the Ballade in G minor represents Chopin at the peak of youthful impetuosity, striking the kind of poetic fire that would certainly have excited the similarly youthful, temperamental, tragically unbalanced Schumann. The two composers were 25 at the time, Chopin being the elder by only some three months. The piece begins with one of the most compelling introductions possible: The hands in single notes an octave apart stride urgently from low bass to high treble for three measures, whisper provocatively for two bars, then, finally in chords, evoke the ultimate anticipation with a superbly placed dissonance that melts into the austerely lyric main theme. In contrast to this

rather steely-eyed melody, the second theme, in major, is all nocturnal sweetness, although it eventually attains surprising muscularity and thrust. Entwined with the lyricism, glittering passagework and technical gnarls abound, climaxing in a presto con fuoco coda of demonic difficulty. The no-technical-holds-barred coda was to become the signature of all of Chopin’s Four Ballades except the third. It is difficult to designate one of the three gnarly ones as the most demanding, but the present one might get the vote of many a pianist.

—Orrin Howard

BALLADE NO. 2 IN F MAJOR, OP. 38

Frédéric Chopin

In his published review of the Second Ballade, Robert Schumann recalled that Chopin credited the works of the Polish nationalist poet Adam Mickiewicz as being an inspiration. This is not to suggest that Chopin drew a literal programmatic storyline from any of the poet’s work, but rather that the bardic tone of the poetry inspired the turbulent emotional currents in the Ballades. In fact, Schumann goes on to clarify, “[Chopin’s] music would inspire a poet to write words to it.”

Chopin died at the age of 39, so all of his works necessarily are those of a

relatively young man, but the Ballades, completed between 1836 and 1842, are products of the composer’s maturity.

In the Second Ballade, dedicated to Schumann after its completion in 1839, a tender beginning, a gentle rocking motive, is shattered by crazed outbursts. The ending recalls the beginning, with no illusions of innocence.

—Grant Hiroshima

BALLADE NO. 3 IN A-FLAT MAJOR, OP. 47

Frédéric Chopin

The manifestation of Chopin’s abiding spiritual connection to Poland was not limited to the obvious musics of his loved native land, the mazurkas and polonaises. For example, the first three of his Four Ballades were said to be inspired by poems of the Polish patriot Adam Mickiewicz. The Third Ballade, once known as Undine, which was a poem by Mickiewicz, basks in some of the most open-faced, exuberant music Chopin ever wrote. In fact, it’s hard to think of a more joyous piece of sizable proportion than this Ballade by the composer often accused of being melodramatic. An eight-measure introduction is the smiling, narrative-like entrance to a work that virtually shuns angst. There is no disquiet in the benign main theme, although there are hints of some

seriousness. The latter does indeed evolve in a minor-key section but passes quickly: The Ballade’s tenor is chiefly piquant and buoyantly aristocratic, elements that reach an apogee in the irresistibly charming second theme heralded by rocking octaves. The piece ends, not with cruel disregard for a pianist’s virtuosic endurance as in the manner of the knucklebreaking codas of the other Ballades, but gracefully, maintaining the dual air of simplicity and elegance that has pervaded most of its pages. —Orrin Howard

BALLADE NO. 4 IN F MINOR, OP. 52

Frédéric Chopin

Primarily, we conceive of narrative in verbal terms. The story. The poem. The novel. No wonder, then, that Chopin appropriated the ballade from its word-bound roots. In literature as well as in song, the ballade had long been associated with epic and dramatic themes—the fertile matrix of the blossoming Romantic era. The Fourth Ballade, completed in 1842, surveys a vast emotional terrain and is one of the composer’s greatest achievements. Moving effortlessly from heroic declarations to intimate lyricism, Chopin’s tale ends in a brutal, fiery coda. –Grant Hiroshima

YUJA WANG

Pianist Yuja Wang is celebrated for her charismatic artistry, emotional honesty, and captivating stage presence. She has performed with the world’s most venerated conductors, musicians, and ensembles, and is renowned not only for her virtuosity, but her spontaneous and lively performances, famously telling The New York Times, “I firmly believe every program should have its own life and be a representation of how I feel at the moment.”

Her skill and charisma were recently demonstrated in

a marathon Rachmaninoff performance at Carnegie Hall alongside conductor Yannick Nézet-Séguin and The Philadelphia Orchestra. This historic event, celebrating 150 years since the birth of Rachmaninoff, included performances of all four of his concertos plus the Rhapsody on a Theme of Paganini in one afternoon and saw lines around the block for tickets on the day. The 2022/23 season also saw Yuja perform the world premiere of Magnus Lindberg’s Piano Concerto No. 3 with the San Francisco Symphony Orchestra, and further performances of the work throughout North America and Europe across the season.

Yuja was born into a musical family in Beijing. After childhood piano studies in China, she received advanced training in Canada and at the Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007,

when she replaced Martha Argerich as soloist with the Boston Symphony Orchestra. Two years later, she signed an exclusive contract with Deutsche Grammophon and has since established her place among the world’s leading artists, with a succession of critically acclaimed performances and recordings. She was named Musical America ’s Artist of the Year in 2017, and in 2021 received an Opus Klassik award for her world-premiere recording of John Adams’ Must the Devil Have All the Good Tunes? with the Los Angeles Philharmonic under the baton of Gustavo Dudamel. This season, Yuja embarks on a highly anticipated international recital tour, performing in world-class venues across North America, Europe, and Asia, astounding audiences once more with her flair, technical ability, and exceptional artistry in a wide-ranging program.

photo : (C) Julia Wesely

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.

VISIT

EXPLORE

by Shervin Lainez

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.

2023/2024 SEASON

May/June

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

Photo: Ethan Gulley

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

The Eisner Foundation

Ms. Erika J. Glazer

Alexandra S. Glickman and Gayle Whittemore

Peggy Grauman

Daniel Huh Kaiser Permanente

$50,000 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

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

Jill Black Zalben

Tracey BoldemannTatkin and Stan Tatkin

Kawanna and Jay Brown

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

Maureen and Stanley Moore

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

Gail Buchalter and Warren Breslow

Michele Brustin

Steven and Lori Bush

California Arts Council

California Office Of The Small Business Advocate

Tylie Jones

Terri and Jerry M. Kohl

Anne Akiko Meyers and Jason Subotky

The Music Man Foundation

Pasadena Showcase House for the Arts

The Ralph M. Parsons Foundation

Peninsula Committee

Richard and Ariane Raffetto

Koni and Geoff Rich

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

Mr. Richard W. Colburn

Becca and Jonathan Congdon

Mr. and Mrs.

Robert Cook

Orna and David Delrahim

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

Allyson Rubin

Thomas Safran

Ellen and Richard Sandler

Marilyn and Eugene Stein

Ronald and Valerie Sugar

Jennifer Diener and Eric Small

Malsi and Johnny Doyle

Van and Francine Durrer

East West Bank

Kathleen and Jerry L. Eberhardt

Rolex Watch USA, Inc.

Linda and David Shaheen

Alyce de Roulet Williamson

Christian Stracke

Mr. Alex Weingarten

Margo and Irwin Winkler

Kristin and Jeff W

Ellen and Arnold Zetcher

Keith and Cecili

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

Dr. Paul and Patti Eisenberg

Geoff Emery

Max Factor

Family Foundation

Marianna J. Fisher and David Fisher

Austin and Lauren Fite Foundation

WORLD-PREMIERE MUSICAL

Johnny Cash and June Carter had one of the most iconic love stories in music history. This whole-hearted and clear-eyed musical told through the eyes of their son covers it all — complete with a soundtrack of hits, including I Walk the Line, Ring of Fire, Jackson, I’ve Been Everywhere and more.

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

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

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 Hofert-Dailey 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.

Marilee and Fred Karlsen

Rizwan and Hollee Kassim

Lee Kolodny

Mr. and Mrs. Scott Krivis

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

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

SAVOR

Troy Pospisil

Mark Proksch and Amelie Gilette

Lee Ramer

Hon. Vicki Reynolds and Mr.

Murray Pepper

Risk Placement Services

Ernesto Rocco

Ms. Rita Rothman

$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

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

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

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

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

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

Juan Carlos Gonzalez

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

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

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

Mr. Richard

W. Labowe

Vicki Lan

Katherine Lance

Mr. and Mrs.

Jack D. Lantz

Jennifer Speers

Joseph and Suzanne Sposato

Mr. and Mrs.

Mark Stern

James C. Stewart

Charitable Foundation

Marcie Polier Swartz and David Swartz

Priscilla and Curtis S. Tamkin

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

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

Suzanne and Michael E. Tennenbaum

Gabrielle Union

Christine Upton

Kathy Valentino

Mr. and Mrs. Johannes Van Tilburg

Nancy Voorhees

Rachel Wagman

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

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

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

LOS ANGELES CHAMBER ORCHESTRA 2024/25 SEASON

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

Jaime Martín MUSIC DIRECTOR

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

Rogerio V. Carvalheiro

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

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

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 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

Jonathan Hodge

Mary Ann Hunt-Jacobsen

Carl Jordan

Richard B. Kendall

Terri M. Kohl

Lily Lee

Cary J. Lefton

Keith R. Leonard, Jr.

Kelsey Martin

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

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 4/3/24

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 ACKNOWLEDGMENT

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

WED 1 MAY / 8:00 P.M.

Víkingur Ólafsson

Colburn Celebrity Recital

LA PHIL

@ Walt Disney Concert Hall

THU 2 MAY / 8:00 p.m.

Dudamel Leads Beethoven and Strauss

LA PHIL

@ Walt Disney Concert Hall Thru 5/5/24

FRI 3 MAY / 1:00 p.m.

High School Choir Festival: 35th Anniversary Celebration

LA MASTER CHORALE

@ Walt Disney Concert Hall

Sat 4 May / 4:00 p.m.

The Music Center's On the Record: Vinyl Fair

TMC Arts

@ Jerry Moss Plaza at The Music Center

TUE 7 MAY / 8:00 p.m.

Beethoven and Schumann

Chamber Music with the LA Phil

LA PHIL

@ Walt Disney Concert Hall

THU 9 MAY / 8:00 p.m.

Dvořák and Ortiz with Dudamel

LA PHIL

MAY 2024

@ Walt Disney Concert Hall Thru 5/12/24

SUN 12 MAY / 7:30 p.m.

Yuja Wang

Colburn Celebrity Recital

LA PHIL

@ Walt Disney Concert Hall

Tue 14 May / 6:00 p.m.

Black Bar Social: Alex Rivera

TMC Arts

@ Dorothy Chandler Pavilion

Founders’ Room

THU 16 MAY / 8:00 p.m.

Beethoven’s “Fidelio” with Dudamel and Deaf

West Theatre

LA PHIL

@ Walt Disney Concert Hall Thru 5/17/24

SAT 18 MAY / 7:30 p.m.

Turandot

LA OPERA

@ Dorothy Chandler Pavilion Thru 6/8/24

SAT 18 MAY / 2:00 p.m.

Dudamel Conducts “Harry Potter”

John Williams Spotlight

LA PHIL

@ Walt Disney Concert Hall Thru 5/19/24

TUE 21 MAY / 8:00 p.m.

Kraftwerk

LA PHIL

@ Walt Disney Concert Hall Thru 5/30/24

FRI 31 MAY / 8:00 p.m.

Silvana Estrada |

Cécile McLorin Salvant

Songbook

LA PHIL

@ Walt Disney Concert Hall

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

@musiccenterla

Photo by John McCoy.

Victoria Jaiani and Alberto Velazquez.

Photo by Cheryl Mann.

Photo by