Performances Magazine | Walt Disney Concert Hall, March 2020 by California Media Group

MARCH 2020

INSIDE

LAPHIL_WRAP_0320.indd 1

G USTAVO D UDAMEL

FEATURE

NEWS

MONTHLY P RO G R AM

2/6/20 5:02 PM

LAPHIL_WRAP_0320.indd 2

2/6/20 5:02 PM

How do you deﬁne luxury?

Contact Linda for more information on this listing.

LINDA@LINDAMAY.COM | 310.492.0735 | LINDAMAY.COM LINDA MAY | DRE 00475038 ©2020 Hilton & Hyland Real Estate, Inc. Broker does not guarantee the accuracy of square footage, lot size or other information concerning the condition or features of property obtained from public records or other sources. Equal Housing Opportunity. DRE 01160681

LAPHIL_WRAP_0320.indd 1

2/6/20 5:05 PM

MARCH 2020

CONTENTS 6 BOARD OF DIRECTORS 7

ABOUT THE LA PHIL

14 FEATURE: A Q&A with Herbie Hancock

BOOK I • MARCH 3-15

P1 P5

18 NEWS: The Latest from the LA Phil

MAR 3 Chamber Music: Intimate Dvořák & Ives MAR 5 Power to the People!: Herbie Hancock

P10 MAR 6 Power to the People!: Patti Smith and Her Band P12 MAR 7 Power to the People!: Residente

P15

MAR 8 Power to the People!: Yolanda Adams with Gustavo Dudamel and the LA Phil

P19 MAR 10 Power to the People!: Conrad Tao P23

MAR 14 Power to the People!: The Movie Music of Spike Lee & Terence Blanchard

P29 MAR 15 Power to the People!: Cécile McLorin Salvant – Ogresse

BOOK II • MARCH 20-31

22 SUPPORT THE LA PHIL

MAR 20-22 LA Phil: Piatigorsky International Cello Festival

P21 MAR 27-29 LA Phil: Requiems: Fauré & Duruflé

MAR 22 Colburn Celebrity Recitals: Piatigorsky Cello Festival

P27 MAR 31 Chamber Music: Schubert & Adès

P13 MAR 24 Green Umbrella: Place

2 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 2

2/14/20 3:44 PM

“We love the fact that First Republic treats us like members of a close-knit family.” B ET Y E S A A R , Artist (left) A L I S O N S A A R , Artist (right)

(855) 886-4824 | firstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER

LAPHIL_WRAP_0320.indd 3

2/11/20 3:20 PM

Published By CALIFORNIA MEDIA GROUP Publisher Jeff Levy Editor in Chief Benjamin Epstein Art Director Carol Wakano Production Manager Glenda Mendez Editor Gillian Glover Digital Editor Alicia Luchak Production Artist Diana Gonzalez Contributing Designer Heidi Schwindt Advertising Director Lyle Laver Account Managers Kerry Brewer, Jean Greene, Alexandra LaClergue, Walter Lewis, Jessica Levin Poff, Reagan Zorn Business Manager Leanne Killian Riggar Marketing Manager Dawn Kiko Cheng Honorary President Ted Levy

For information about advertising and rates, call California Media Group 3679 Motor Ave, Suite 300 Los Angeles, CA 90034 tel: (310) 280-2880 fax: (310) 280-2890 Visit Performances Magazine www.socalpulse.com

PERFORMANCES MAGAZINE is published monthly by California Media Group to serve theatrical attractions throughout the west.

Rachmaninoff ’s Faithful Accompaniment

“There are only two important things which I took with me on my way to America. It’s been my wife Natalja and my precious Blüthner.”

Helga Kasimoff, importers since 1963

KASIMOFF-BLUTHNER PIANO CO. ¨

337 N. Larchmont Blvd. • Hollywood, CA 90004

(323) 466-7707

www.bluthnerlosangeles.com

4 PERFORMANCES MAGAZINE Rachmaninoff Performance Ad—3/2010

LAPHIL_WRAP_0320.indd 4

2/7/20 12:51 PM

LA Perfo

“A Life-Changing Experience.” —Stage Whispers

PROUDLY MADE IN THE USA

“A fascinating insight into what China’s culture used to be and what I hope one day will be restored to China.” —Edward McMillan-Scott, former Vice-President of the European Parliament

“The highest and the best

of what humans can produce.” —Olevia Brown-Klahn, singer and musician

“It is breathtaking!

I am walking away deeply inspired and profoundly moved!” —Rita Cosby, Emmy Award-winning journalist

“Mesmerizing!

I encourage everyone to see and all of us to learn from.” —Donna Karan, creator of DKNY

—Broadway World

APRIL 3–MAY 10

Costa Mesa • Thousand Oaks • Northridge San Luis Obispo • Long Beach • Palm Desert • Claremont

GET TICKETS TODAY: Online ShenYun.com/LA | Hotline 800.880.0188

LA Performance Magazine_8.125x10.875_20200104.indd 1 LAPHIL_WRAP_0320.indd 5

1/30/2020 9:11:13 PM 2/6/20 5:06 PM

LOS ANGELES PHILHARMONIC ASSOCIATION

CHAIR Thomas L. Beckmen* CEO Chad Smith VICE CHAIRS David C. Bohnett* Jerrold L. Eberhardt* Jane B. Eisner* David Meline* Diane Paul* Jay Rasulo*

Welcome! This month we begin our Power to the People! festival, bringing together musicians, thought leaders, and activists from many backgrounds to celebrate the role artists have played and continue to play in advancing social change and humanitarian causes. This festival comes together under the guidance of our Creative Chair for Jazz Herbie Hancock and Music & Artistic Director Gustavo Dudamel, and features 16 events (both free and ticketed) across an entire month. From Conrad Tao and Ted Hearne to Terence Blanchard, Patti Smith, and Residente, to Wesley Morris and Dr. Angela Davis – what unites this diverse range of artists and intellectuals is their ability to speak their truths to power with creativity and poignancy. More and more, we are working to extend the ideas you hear on our stage to conversations outside our concert hall. We’re partnering with artists, scholars, and organizations from across our Southern California community who bring added expertise and perspectives to these conversations. The LA Phil is fortunate to collaborate in our presentation of Power to the People! with the California African American Museum and to have partners in American Cinematheque, A Noise Within, and Power California. This is work we are increasingly engaging in. We invite our audience to join us, not just for concerts at Walt Disney Concert Hall, but for symposia, multi-disciplinary performances, and exhibitions in the spaces of this building and at our partner venues across Los Angeles. Through festivals like Power to the People! and projects we are excited to bring you in next year’s season, we invite you to listen, think, take part, and engage with the ideas that make art so essential.

DIRECTORS Gregory A. Adams Julie Andrews Wallis Annenberg Lynn A. Booth Reveta F. Bowers Linda Brittan Jennifer Broder Kawanna Brown Andrea Chao-Kharma* R. Martin Chavez Christian D. Chivaroli, JD Dan Clivner Mari L. Danihel Donald P. de Brier* Louise D. Edgerton Lisa Field Joshua Friedman David Gindler Jennifer Miller Goff* Lenore S. Greenberg Carol Colburn Grigor Megan Hernandez* Teena Hostovich Jonathan Kagan* Sarah H. Ketterer Darioush Khaledi Francois Mobasser Margaret Morgan Younes Nazarian Leith O’Leary

Louise Peebles R. Joseph Plascencia Sandy Pressman Ann Ronus Jennifer Rosenfeld Laura Rosenwald Nancy S. Sanders* Eric L. Small G. Gabrielle Starr Jay Stein* Christian Stracke* Jason Subotky Ronald D. Sugar* Vikki Sung Jack Suzar Sue Tsao Jon Vein Megan Watanabe Alyce de Roulet Williamson Irwin Winkler Debra Wong Yang HONORARY LIFE DIRECTORS Lawrence N. Field Frank Gehry Ginny Mancini Bowen H. “Buzz” McCoy *Executive Committee Member as of October 1, 2019

Chad Smith Chief Executive Officer Los Angeles Philharmonic Association

6 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 6

2/6/20 5:06 PM

ABOUT THE LA PHIL

GUSTAVO DUDAMEL Music & Artistic Director

Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, Dudamel has introduced classical music to new audiences around the world and has helped to provide access to the arts for countless people in underserved communities. Dudamel’s 2019/20 season will see him enter his second decade as the Music & Artistic Director of the Los Angeles Philharmonic, where his bold programming and expansive vision led The New York Times to herald the LA Phil as “the most important orchestra in America — period.” Other highlights of the season include leading the Berlin Philharmonic in four concerts for the 2020 Olympics celebrations in Tokyo, conducting the New York Philharmonic for a two-week residency at Lincoln Center, touring a concert version of Beethoven’s opera Fidelio throughout Europe with the Mahler Chamber Orchestra (which will include the famed Venezuelan “Manos Blancas” choir), and an Italian tour with the Accademia Nazionale di Santa Cecilia. A lifelong advocate for music education and social development through art, Dudamel himself was shaped by his childhood experience with El Sistema, the extraordinary program and philosophy initiated in 1975 by Maestro José Antonio Abreu. Inspired by El Sistema, in 2007 Dudamel, the LA Phil, and its community partners founded YOLA (Youth Orchestra

Los Angeles), which now serves more than 1,200 musicians, providing young people with free instruments, intensive music instruction, academic support, and leadership training. In 2020, YOLA will have its own permanent, purpose-built facility, the Judith and Thomas L. Beckmen YOLA Center, designed by architect Frank Gehry. In recognition of Dudamel’s advocacy for the proliferation of the arts in the Americas, in 2019, he was honored with a star on the Hollywood Walk of Fame and received the Distinguished Artist Award from the International Society for the Performing Arts (ISPA). He was awarded with the Gish Prize, The Paez Medal of Art, and the Pablo Neruda Order of Artistic and Cultural Merit in 2018. In 2017, he led the Royal Stockholm Philharmonic in the Nobel Prize Concert in Sweden, where he also delivered a lecture on the unity of the arts and sciences. Dudamel was named one of Time magazine’s 100 most influential people in 2009. Dudamel has reached mainstream audiences and achieved name recognition far beyond the classical concert hall. He will conduct Bernstein’s iconic score for Steven Spielberg’s 2020 adaptation of West Side Story. At John Williams’ personal request, he guest conducted the opening and closing credits of Star Wars: The Force Awakens and performed with the LA Phil at the 2019 Academy Awards. A bona fide pop culture persona, Dudamel has had cameos in Amazon Studio’s award-winning comedy series Mozart in the Jungle, The Simpsons,

and Disney’s The Nutcracker and the Four Realms, for which he also recorded the score. He became the first classical musician to participate in the Super Bowl halftime show in 2016, leading members of YOLA alongside pop stars Coldplay, Beyoncé, and Bruno Mars. Dudamel has been featured several times on CBS’ 60 Minutes, profiled on PBS, and interviewed by Christiane Amanpour on CNN, Conan O’Brien on Conan, Stephen Colbert on The Late Show, and Elmo on Sesame Street. Inspired by Dudamel’s early musical and mentoring experiences, the Gustavo Dudamel Foundation, a registered charity, was created in 2012 with the goal of promoting access to music as a human right and a catalyst for learning, integration, and social change. For more information about Gustavo Dudamel, visit his official website gustavodudamel.com, and dudamelfoundation.org and laphil.com.

PERFORMANCES MAGAZINE 7

LAPHIL_WRAP_0320.indd 7

2/6/20 5:06 PM

ABOUT THE LA PHIL

LOS ANGELES PHILHARMONIC Over the course of 100 seasons, the Los Angeles Philharmonic has redefined what an orchestra can be. Now in its 101st season, the LA Phil presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Recognized as one of the world’s outstanding orchestras at home and abroad, the LA Phil leads the way in groundbreaking and diverse programming, demonstrating the orchestra’s artistry and vision on stage and in the community. Under the charismatic leadership of Music & Artistic Director Gustavo Dudamel since 2009, the LA Phil performs or presents more than 250 concerts annually at its two iconic venues: Walt Disney Concert Hall 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. The orchestra’s involvement with Los

Angeles extends far beyond the concert hall, with wide-ranging performances in the schools, churches, and neighborhood centers of a vastly diverse community. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles ), inspired by Venezuela’s revolutionary El Sistema. Through YOLA, the LA Phil and its community partners provide free instruments, intensive music instruction, and leadership training to nearly 1,200 students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change. The orchestra also undertakes annual tours, including regular visits to New York, Paris, and Tokyo, among other cities. The LA Phil is now the International Orchestral Partner at London’s Barbican Centre. The orchestra’s very first tour was in 1921, and it has toured every season since 1969/70. The LA Phil has a substantial catalog of recordings, including concerts available online, such as the first full-length classical music video released on iTunes. Deutsche Grammophon has recently released a comprehensive box set in honor of the orchestra’s Centennial.

FULL PAGE AD

The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a millionaire and amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (19271929); 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); EsaPekka Salonen (1992-2009); and Gustavo Dudamel (2009-present).

“SO FAR AHEAD OF OTHER AMERICAN ORCHESTRAS THAT IT IS IN COMPETITION MAINLY WITH ITS OWN PAST ACHIEVEMENTS.” — The New Yorker’s Alex Ross

8 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 8

2/6/20 5:06 PM

Trim: 8.125” x 10.875” Bleed: 8.375” x 11.125”

My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations.

To learn more, please visit unionbank.com/theprivatebank or contact: Candice Nakagawa Private Wealth Advisor 310-767-5879 candice.nakagawa@unionbank.com

Simon Rawlinson, CFP®, CWS® Private Wealth Advisor 818-254-0787 simon.rawlinson@unionbank.com

Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. Certified Financial Planner Board of Standards Inc. owns the certification mark CFP in the U.S., which it awards to individuals who successfully complete CFP Board’s initial and ongoing certification requirements.

LAPHIL_WRAP_0320.indd 9

2/6/20 5:06 PM

Los Angeles Philharmonic Gustavo Dudamel Music & Artistic Director Walt and Lilly Disney Chair

Zubin Mehta Conductor Emeritus Esa-Pekka Salonen Conductor Laureate Susanna Mälkki Principal Guest Conductor Ann Ronus Chair

Paolo Bortolameolli Associate Conductor John Adams John and Samantha Williams Creative Chair

FIRST VIOLINS Martin Chalifour Principal Concertmaster

Marjorie Connell Wilson Chair

Nathan Cole First Associate Concertmaster Ernest Fleischmann Chair

Bing Wang Associate Concertmaster Barbara and Jay Rasulo Chair

Akiko Tarumoto Assistant Concertmaster Philharmonic Affiliates Chair

Michele Bovyer Deanie and Jay Stein Chair

Rochelle Abramson Camille Avellano Margaret and Jerrold L. Eberhardt Chair

Minyoung Chang

I.H. Albert Sutnick Chair

Miika Gregg Jordan Koransky Mischa Lefkowitz Edith Markman Mitchell Newman

Mark Houston Dalzell and James Dao-Dalzell Chair for Artistic Service to the Community

Rebecca Reale Stacy Wetzel Justin Woo

SECOND VIOLINS

BASSES

BASSOONS

PERCUSSION

Lyndon Johnston Taylor Principal

Christopher Hanulik Principal

Whitney Crockett Principal

Matthew Howard Principal

Oscar M. Meza Assistant Principal

Shawn Mouser Associate Principal

David Allen Moore

Michele Grego Evan Kuhlmann

James Babor Perry Dreiman Wesley Sumpter*

Dorothy Rossel Lay Chair

Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal Ingrid Chun Jin-Shan Dai Tianyun Jia Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Yun Tang+ Michelle Tseng Suli Xue Gabriela Peña-Kim*

VIOLAS Teng Li Principal John Connell Chair

Dale Hikawa Silverman Associate Principal Ben Ullery Assistant Principal Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel

CELLOS Robert deMaine Principal Bram and Elaine Goldsmith Chair

Ben Hong Associate Principal Sadie and Norman Lee Chair

Dahae Kim Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum Linda and Maynard Brittan Chair

Serge Oskotsky Brent Samuel

Ted Botsford Jack Cousin Jory Herman Brian Johnson Peter Rofé Michael Fuller* Dennis Trembly Principal Bass Emeritus

FLUTES Denis Bouriakov Principal Virginia and Henry Mancini Chair

Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair

Elise Shope Henry Mari L. Danihel Chair

Sarah Jackson Piccolo Sarah Jackson

Contrabassoon Evan Kuhlmann

HORNS Andrew Bain Principal John Cecil Bessell Chair

Jaclyn Rainey Associate Principal Gregory Roosa Alan Scott Klee Chair

Amy Jo Rhine

Vacant Principal Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove English Horn Carolyn Hove Alyce de Roulet Williamson Chair

CLARINETS Boris Allakhverdyan Principal Michele and Dudley Rauch Chair

Burt Hara Associate Principal Andrew Lowy David Howard E-Flat Clarinet Andrew Lowy Bass Clarinet David Howard

Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP Lou Anne Neill

LIBRARIANS Kazue Asawa McGregor Benjamin Picard Stephen Biagini KT Somero

PERSONNEL MANAGER

Loring Charitable Trust Chair

Jeffrey Neville

Reese and Doris Gothie Chair

CONDUCTING FELLOWS

Brian Drake+

Ethan Bearman Assistant

Bud and Barbara Hellman Chair

TRUMPETS Thomas Hooten Principal M. David and Diane Paul Chair

OBOES

KEYBOARDS

James Wilt Associate Principal Nancy and Donald de Brier Chair

Christopher Still Ronald and Valerie Sugar Chair

Jeffrey Strong

TROMBONES David Rejano Cantero Principal James Miller Associate Principal Judith and Thomas L. Beckmen Chair

Paul Radke

Hilo Carriel Marta Gardolińska Enluis Montes Olivar Anna Rakitina * Resident Fellows + on sabbatical The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically. In those sections where there are two principals the musicians share the position equally and are listed in order of length of service. The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

Bass Trombone John Lofton

TUBA Norman Pearson

TIMPANI Joseph Pereira Principal Cecilia and Dudley Rauch Chair

10 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 10

2/6/20 5:06 PM

Discover Adventure

Some things in life just canâ&#x20AC;&#x2122;t be described. And to truly understand them, you must experience them yourself.

Join us for our 10th Anniversary on the beautiful Palos Verdes Peninsula, a hidden gem on the Los Angeles Coast.

LAPHIL_WRAP_0320.indd 11

2/6/20 5:06 PM

With over 75 destination shops, acclaimed restaurants and independent specialty stores West 3rd Street is the most walkable dining and shopping district in the center of Los Angeles.

@W3RDSTREET_LA

A WALKABLE DINING & SHOPPING DISTRICT “Between La Cienega and Fairfax”

Comprised of six connecting blocks between La Cienega Boulevard and Fairfax Avenue, West 3rd Street is just moments from The Grove, The Original Farmers Market, The Beverly Center and The Los Angeles County Museum of Art (LACMA). www.west3rdstreet.com

DAN DEUTSCH

GOAL SPORTS CAFE

THE ORLANDO HOTEL

Expert opticians. Definitive eyewear. Beverly Hills. WeHo, UCLA, Manhattan Beach, Sunset Plaza, Santa Monica, Studio City

East Coast-Style sports bar in L.A. that features elevated bar food and speciality cocktails.

Family-owned boutique hotel known for its neighborhood charm.

8358 West 3rd Street (323) 658-6181 dandeutschopticaloutlook.com

8334 West 3rd Street (323) 655-5955 goalsportscafe.com

384 West 3rd Street (800) 624-6835 theorlando.com

POLKADOTS & MOONBEAMS

PYRRHA

Fabulous, glamorous and accidentally sexy. Mention ad for free gift with purchase.

Symbolic talismans that empower, celebrate, and inspire.

8261 and 8367 West 3rd Street (323) 655-3880 polkadotsandmoonbeams.com

8315 West 3rd Street (323) 424-4807 pyrrha.com

LAPHIL_WRAP_0320.indd 12

2/18/20 3:11 PM

ng ga

t e ers er nty ).

LAPHIL_WRAP_0320.indd 13

2/18/20 3:12 PM

FEATURE

A Q&A with Herbie Hancock Herbie Hancock isn’t just a jazz legend. He’s also a committed humanitarian, a tireless advocate for “human beings to be better tomorrow than they are today,” as he puts it. It’s an ethos he’s learned both on- and off-stage, as he said in a recent interview, and he’s applying it to the LA Phil’s Power to the People! festival, which he’s curating alongside Music & Artistic Director Gustavo Dudamel. On a warm Saturday afternoon at his Beverly Hills home, Herbie talked at length about his motivations as an artist, the inspiration behind Power to the People!, and what jazz has taught him about the way people should treat one another. Has playing jazz informed the way you think about ethics or politics? I had an amazing mentor in music with Miles Davis. I learned a lot from him, and what I learned from him about music, I later found

out those same attributes are incredibly important for living a good life, a healthy life, a life that you can be proud of. [He taught me about] the importance of listening, even of listening to voices of people who you don’t agree with. Miles demonstrated that he was paying attention to these younger musicians that he hired. If I changed the voicing of a chord or took a different path with what I was playing, Miles would take a different path with his notes, and I knew that I was the reason he was doing that. And so when Miles would take his solos, the band sounded like one mind. It was one unit that was consolidated, and that unity made the band sound better. If we take that model and apply it to humanity in general, I think that we’re on a pathway to creating the kind of world that will solidify, that life will continue generation after generation.

You’ve made a point of continuing to work with younger musicians and learning how to incorporate their ideas into your own musical vision. Is it hard to stay young in that way? Why is it important to stay open to fresh ideas? Older people think that they lose their youthful spirit, and that it’s a natural thing to [come to] a certain place where we stop growing. [But] that youthful spirit is still in there waiting for you to wake up to it! I’m looking at the fact that it will be young people who are shaping the present and the future. And what I want to do is encourage young people and be willing and ready to share experiences or anything I may have learned – but not to the point of where I’m trying to make them do what I do. They have to decide for themselves what they want to do. I’m starting to feel like this is the new 1960s, [with] young people having such a huge influence on the moment and the

14 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 14

2/6/20 5:06 PM

LAPHIL_WRAP_0320.indd 15

2/6/20 5:06 PM

FEATURE

CONTINUED

future. I believe that that’s starting to happen again, and boy am I glad about that, because these times are... I‘ve never lived in a time when things seem to be this bad. So seeing young people come to the fore and move things forward toward a more humanitarian age… At the best it could lead to a new golden age. [But] it’s not just about politics, per se. […] It’s about democracy.

Patti Smith

Angela Davis

Residente

Gustavo Dudamel

In your mind, what’s the difference? Democracy, at least in my view, is the voice of the people, what people want in order for humanity itself to constantly move forward and to ascend and lift itself, for human beings to be better tomorrow than they are today. That to me is kind of humanitarian ethics. When you’re playing a concert, does the audience play any role in the exchange of ideas or feelings? What happens at a concert is, whether I’m playing solo piano or with a trio or a quintet – if it’s a quintet, there’s a sixth member of the band, and that’s the audience. It took me many years to realize this, by the way. And I’m convinced of it, because every time I play a concert, it’s different. There’s not just empty chairs there: There’s life there. That life influences your presence on the stage. You’re there to present something and it’s something that’s so palpable, you could cut it with a knife. You feel it. You walk on the stage and you look out there at all of those people and you feel something that is different than when you walk off the stage and you’re in the dressing room. So I encourage artists and others, too, to be your true self, to tell your story, especially when it’s a positive message. Patti Smith is playing at the Power to the People! festival. What does she mean to you? We’re so fortunate to have Patti Smith to not just entertain us, but to give us messages that we need to hear against war, against that kind of violence. She’s been a fighter throughout her career for the good of humanity. What do you think about the work Residente has done, elevating Puerto Rican issues and encouraging social engagement in his music?

He’s had quite a career. He’s got 25 Latin Grammys and he’s done a lot of work with UNICEF and Amnesty International. He’s made being socially conscious such an important part of his work, and he cannot be ignored. People need to be active, not just sit on the sidelines. That infusion of blood that his music has given to the people is so important. Your 1971 piece “Ostinato (Suite for Angela)” is dedicated to Dr. Angela Davis, who will be speaking at the festival. What made you want to dedicate that piece to her? I wanted to give her a gift of some sort, so I dedicated that to her. “Ostinato” is a musical term, and it just means a musical phrase that repeats over and over and over again while you build something on top of it. If we think about the world that goes around and around, that’s an ostinato. It’s the same phrase over and over again. What we do with life around that ostinato happening shapes and informs the course of history. In a sense, it can apply to Angela Davis, because what she did was wake a lot of people up about civil rights, which were so in need of repair, and she was a person of the people who made her own decision to stand up, to go to jail for human rights. That’s courage. She’s a hero. I happened to be playing a concert in San Francisco the day she got out of jail [in 1972], and she was

able to attend; I was delighted and thrilled that she could be there. I’m really looking forward to seeing her again. You’re putting this festival together with Gustavo Dudamel. How does he inspire you? Gustavo is fantastic. He’s so full of life! He’s got that eager spirit to want to try something new, something innovative. He’s got the enthusiasm and the spirit and the kind of wide-eyed view of “what can we do next?” He’s always looking forward. I admire that so much in him. I think everybody can have that to varying degrees, but fear can be a deterrent to manifesting curiosity. I’ve never seen him afraid of anything. He doesn’t seem like the kind of person that even entertains the idea of fear. And that’s the other thing about music. It really helps to deter that fear syndrome that... we all have in us. But music helps to kind of a sprinkle some kind of acid on that to get rid of it – or at least keep it at bay so that you feel stronger, so that you feel you have more courage to try something new.

16 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 16

2/6/20 5:06 PM

CNB_SoCalPerf_FullBleed_8.125x10.875.pdf

LAPHIL_WRAP_0320.indd 17

10/11/19

12:04 PM

2/6/20 5:06 PM

NEWS

THE LATEST FROM THE LA PHIL

Gustavo Dudamel

Dudamel / LA Phil Win Grammy Award Music & Artistic Director Gustavo Dudamel and the Los Angeles Philharmonic’s recording of the world premiere of Andrew Norman’s Sustain won the Grammy® Award for Best Orchestral Performance at the 62nd Annual Grammy Awards in January. Sustain was commissioned by the LA Phil, and recorded in partnership with Deutsche Grammophon, to help celebrate the orchestra’s Centennial season. Premiered and recorded in October 2018 at Walt Disney Concert Hall, the piece was hailed as “a new American masterpiece” in The New Yorker, “sublime” by The New York Times, and “a near out-of-body acoustic experience that sounds like, and feels like, the future we want” in the Los Angeles Times. Sustain was one of the 2019 Pulitzer Prize Finalists in Music. “Andrew Norman is an extraordinary talent and vital member of our LA Phil family,” Dudamel said, “and we are all so proud to have been able to commission, premiere and record this magnificent work of his.” “It was an honor and a privilege to collaborate with Gustavo Dudamel and the inspiring musicians of the Los Angeles Philharmonic,” stated Norman. “They brought my piece to life in a completely magical way, and I am very grateful for all the work they do to move this art form forward.”

Andrew Norman, a member of the faculty at the USC Thornton School of Music and director of the LA Phil’s Barry and Nancy Sanders Composer Fellowship Program, is deeply embedded in the L.A. creative music scene. The LA Phil first presented his music in 2010 and has since commissioned and given the world premieres of a number of his major works. He was Musical America’s Composer of the Year in 2017 and won the Grawemeyer Award for 2013’s Play, the recording of which received a Grammy nomination.

Gustavo Dudamel Extends Contract as Music & Artistic Director In December, Los Angeles Philharmonic leadership announced that Gustavo Dudamel’s contract as Music & Artistic Director of the LA Phil will be extended through the 2025/26 season. “So much has happened since that first wonderful concert at the Bowl, and yet it feels as if the past ten 10 years have flown by,” Dudamel said. “I am so grateful to the orchestra, the staff, the Board, and especially the people of Los Angeles for making this a true musical marriage.” Dudamel’s original contract as Music Director began in the 2009/10 season. Its original five-year term was soon extended, in March 2011, to run through the 2018/19

season. In March 2015, the LA Phil recognized Dudamel’s continuing commitment to the Association by adding the title of Artistic Director to Music Director and extending his contract further, through the 2021/22 season. As an artist and leader, Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, Dudamel has introduced classical music to new audiences around the world and has helped to provide access to the arts for countless people in underresourced communities. “I know I speak for our entire organization in saying that this is truly a day of joy and celebration for us all,” said LA Phil CEO Chad Smith. “As we embark on our second century of extraordinary music making, it’s the perfect moment to reaffirm one of the great musical partnerships of all time, between the LA Phil and our dear friend and colleague, the incomparable and visionary Gustavo Dudamel.”

Gail Samuel Appointed President of Hollywood Bowl, COO of LA Phil In January, Gail Samuel was promoted to President of the Hollywood Bowl and Chief Operating Officer of the Los Angeles Philharmonic Association. She most recently served as Executive Director of the Los Angeles Philharmonic, leading operations at the Hollywood Bowl, including programming jazz, world music, and orchestral pops and pop / rock presentations, as well as management of the Hollywood Bowl Orchestra and human resources, strategy, and special projects. In her new position, Samuel will provide strategic leadership for both the Hollywood Bowl and The Ford, as well as operational oversight for all the organization’s venues. “Gail Samuel is a strategic partner and

18 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 18

2/6/20 5:06 PM

LAPHIL_WRAP_0320.indd 19

2/18/20 1:20 PM

NEWS

CONTINUED

County of Los Angeles BOARD OF SUPERVISORS Gail Samuel

critical member of our leadership team,” said Chad Smith, Chief Executive Officer of the LA Phil. “Since 2012, she has been the exemplary executive overseeing operations and programming at the Hollywood Bowl. In recognition of her extraordinary work and the addition of the stewardship of The Ford to her portfolio, I am delighted to recognize her leadership, service and mentorship within the Association by promoting her to the newly created position of President of the Hollywood Bowl.” “The LA Phil has been my professional home, and I’m eager to move into this next phase of my work here,” added Samuel. “For its nearly 100-year history, the Hollywood Bowl has been central to the cultural life of Los Angeles. It’s been a thrill working on behalf of this beautiful County park, and I look forward to greater opportunity to create a vision for its future as the LA Phil’s summer home and as a vital experience for all Angelenos.” Samuel’s tenure at the Los Angeles Philharmonic began more than 25 years ago, when she joined the Orchestra Operations department, and she has held several critical roles within the Association. Early in her career, Samuel held positions with the Minnesota Orchestra, Yale University, Tanglewood Music Festival, and the Young Musicians Foundation. Samuel studied violin and earned undergraduate degrees in music and psychology and an MBA from the University of Southern California. She serves on the Board of Councilors for the USC Thornton School of Music and on the Board of Directors of A Noise Within.

Benjamin Louis Alexandre Picard

New Librarian Joins LA Phil In June 2019, following a highly competitive selection process, Benjamin Louis Alexandre Picard was appointed as one of the Los Angeles Philharmonic’s librarians. Benjamin holds degrees in Music and Composition from Cambridge University, Robinson College (MPhil, 2014) and Sussex University (BA(hons), 2012), where he studied under the guidance of professors Richard Causton, Robin Holloway, Martin Butler, and Ed Hughes. He has taken part in composition masterclasses with some of today’s leading composers, including Mark Anthony Turnage, Julian Anderson, Jonathan Harvey, and Sir Harrison Birtwistle, and has had his music performed by a wide variety of ensembles at festivals and venues throughout the UK. In March 2016, he was appointed as Music Librarian of the London Symphony Orchestra. In this role he has prepared music for the LSO’s famously busy schedule of concerts and recordings – which includes 70 performances a year at the Orchestra’s London home at the Barbican Centre as well as regular performances at many of the world’s most prestigious concert halls and music festivals, highlights of which include: Tokyo’s Suntory Hall, the Paris Philharmonie, La Scala Milan, Hamburg’s Elbphilharmonie and the Berlin Philharmonie. During his time with the LSO, Benjamin has had the pleasure of working closely with many internationally recognised artists including Sir Simon Rattle, Sir John Elliot Gardiner, Michael Tilson Thomas, Gianandrea Noseda, Francois Xavier Roth, and Daniel Harding, to name only a few.

Hilda L. Solis Mark Ridley-Thomas Sheila J. Kuehl Janice K. Hahn Kathryn Barger Chair

DEPARTMENT OF ARTS AND CULTURE Kristin Sakoda Director

COUNTY ARTS COMMISSION

Helen Hernandez President Eric Hanks Vice President Constance Jolcuvar Secretary Eric R. Eisenberg Immediate Past President Liane Weintraub Executive Committee Pamela Bright-Moon Tim Dang Darnella Davidson Madeline Di Nonno Liz Schindler Johnson Bettina Korek Alis Clausen Odenthal Norma Provencio Pichardo Hope Warschaw Rosalind Wyman

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

20 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 20

2/6/20 5:06 PM

Thordal Christensen & Colleen Neary Artistic Directors 2017/2018 Season

Christensen/Neary after Petipa

Redondo Beach Performing Arts Center June 13, 7:30pm

Royce Hall, UCLA June 20, 7:30pm June 21, 2:00pm

Alex Theatre June 27, 7:30pm

Tickets On Sale Now losangelesballet.org

310.998.7782

Photography: Reed Hutchinson

LAPHIL_WRAP_0320.indd 21

2/12/20 11:16 AM

Endowment Donors

We are honored to recognize donors to the LA Phil’s Endowment Fund, whose generosity ensures a living tradition of world-class music at Walt Disney Concert Hall and the Hollywood Bowl. The following list represents contributions made on or before November 15, 2019.

The Annenberg Foundation Colburn Foundation

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 Nancy and Barry Sanders H. Russell Smith Foundation Deanie and Jay Stein Ronald and Valerie Sugar I.H. Sutnick

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

$500,000 TO $999,999

$25,000,000+ 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

Lenore S. and Bernard A. Greenberg Fund Terri and Jerry M. Kohl Los Angeles Philharmonic Affiliates 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 Jo Lynn Booth/Otis Booth Foundation Dunard Fund USA Elaine and Bram Goldsmith Carol Colburn Grigor Norman and Sadie Lee Foundation Karl H. Loring Alfred E. Mann Elise Mudd Marvin Trust Barbara and Jay Rasulo Flora L. Thornton

$1,000,000 TO $2,499,999 Linda and Robert Attiyeh Judith and Thomas Beckmen Gordon Binder and Adele Haggarty Helen and Peter Bing William H. Brady, III Linda and Maynard Brittan Richard and Norma Camp Mr. and Mrs. Michael J. Connell Mark Houston Dalzell and James Dao-Dalzell Mari L. Danihel Nancy and Donald de Brier The Walt Disney Company Fairchild-Martindale Foundation Eris and Larry Field Reese and Doris Gothie Joan and John Hotchkis Janeway Foundation Bernice and Wendell Jeffrey Carrie and Stuart Ketchum Kenneth N. and Doreen R. Klee B. Allen and Dorothy Lay

Ann and Martin Albert Abbott Brown Kathleen and Jerrold L. Eberhardt 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 Richard and Bradley Seeley Christian Stracke Donna Swayze Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

$250,000 TO $499,999 Mr. Gregory A. Adams Baker Family Trust Veronica and Robert Egelston Gordon Family Foundation Ms. Kay Harland Joan Green Harris Trust Bud and Barbara Hellman Gerald L. Katell Norma Kayser Joyce and Kent Kresa Raymond Lieberman Mr. Kevin MacCarthy and Ms. Lauren Lexton 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

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 Jo Ann and Charles Kaplan Susanne and Paul Kester Vicki King Sylvia Kunin Ann and Edward Leibon Ellen and Mark Lipson B. and Lonis Liverman Glen Miya and Steven Llanusa Ms. Gloria Lothrop Vicki and Kerry McCluggage 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 & James W. Manns

$25,000 TO $99,999 Marie Baier Foundation Dr. Richard Bardowell, M.D. Jacqueline Briskin Dona Burrell Ann and Tony Cannon Dee and Robert E. Cody The Colburn Fund 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

Stephen A. Kanter, M.D. 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 Rhio H. Weir 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 Development Office at 213 972 0757. Thank you.

22 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 22

2/14/20 3:45 PM

LAPHIL_WRAP_0320.indd 23

2/18/20 3:11 PM

S O U T H PA S A D E N A 853 Mission Street • 626.799.4595 S A N TA M O N I C A 1 2 2 7 5 t h S t r e e t • 3 1 0 . 4 3 4 . 9 6 9 7 C O S TA M E S A 1664 Newpor t Blvd • 949.515.TILE (8453) W W W. M I S S I O N T I L E W E S T. C O M

905 Mission Street • South Pasadena • 6 2 6 . 7 9 9 . 3 5 0 3 W W W. M I S S I O N W E S T. B I Z ad design by Blue Metropolis Design . photography by Ed Rudolph Photography

LAPHIL_WRAP_0320.indd 24

2/6/20 5:06 PM

CHAMBER MUSIC

PROGRAM

Intimate Dvořák & Ives

TUESDAY MARCH 3, 2020 8PM

Members of the Los Angeles Philharmonic

IVES

String Quartet No. 1 (c. 27 minutes) Andante con moto Allegro Adagio cantabile Allegro marziale Rebecca Reale, Jordan Koransky, violins Michael Larco, viola Jonathan Karoly, cello

INTERMISSION

DVOŘÁK String Quartet No. 12 in F major, Op. 96, “American” (c. 30 minutes)

Allegro ma non troppo Lento Molto vivace – Trio Finale: Vivace ma non troppo

Bing Wang, Rebecca Reale, violins Teng Li, viola Ben Hong, cello

Programs and artists subject to change.

PERFORMANCES MAGAZINE P1

LAPHIL_PROG1_0320.indd 1

2/18/20 6:38 PM

ABOUT THE PROGRAM

Notes by Herbert Glass

STRING QUARTET NO. 1 Charles Ives (1874-1954) Where did Charles Ives come from? Geographically, from Danbury, Connecticut, a 50-mile commute from New York City and thus the site nowadays of prized real estate. During Ives’ youth, it had the distinction of being called “America’s Hat City,” for the manufacture of men’s and women’s headgear, the industry being the city’s largest employer. Musically, Ives might be said to have come from the brilliant quirks of his bandmaster father, George. Among George’s predilections was the positioning of bands at the four corners of a Danbury park and having them march, each playing a different tune, to a central point, creating the most delectable cacophony and initiating Charles’ lifelong love affair with polytonality. Additionally, Papa Ives would have Charles sing, from an early age, identical tunes in different keys, to George’s piano accompaniment. He also gave the boy a thorough grounding in keyboard technique, which culminated in his becoming organist of the Danbury Baptist Church at the age of 14. During his tenure there, he composed the spectacular variations on America (“My country, ‘tis of thee…”), today part of every organ virtuoso’s repertoire. His interest in Protestant hymn tunes deepened there, too, until they became an essential part of his compositional style, nowhere more so than in his First String Quartet. Variously subtitled “A Revival Service” and “From the Salvation Army,” the Quartet begins with a movement written as a fugal exercise in 1896 while he was a Yale undergraduate and pupil of Horatio Parker, a deeply conservative, German-trained composer, who must have found Ives quite a handful. On weekends, Ives served as organist at a church in New Haven, where the second, third, and fourth movements of the present quartet were performed as part of a service, and whose minister admired Ives’s experimentation as an organist and composer, saying, “My opinion is that God gets awfully tired of hearing the same thing over and over again.”

Among the hymn tunes incorporated in the quartet are “From Greenland’s Icy Mountains” and “All Hail the Power of Jesus’ Name,” which dominate the majestic first movement, the most formal portion of the work, to which Parker probably had no objection. In the lively second movement, Ives prominently uses the hymns “Beulah Land” and “Shining Shore,” with a snippet of “Bringing in the Sheaves” for good measure. “Beulah Land” returns in gentle conclusion, following a coda which gives us a little foretaste of the bad-boy harmonist Ives of later works. The meditative, lyrical third movement starts with a paraphrase of the hymn “Come, Thou Fount of Every Blessing,” with a subsequent, waltz-like section based on the same hymn but with a pizzicato accompaniment. This is followed by a substantial increase in energy, almost a march, and a return to the movement’s opening material for a calming conclusion. The finale begins in lively fashion, quoting the hymns “All Hail the Power of Jesus’ Name” and “Stand Up for Jesus.” The contrasting lyrical section again quotes “Shining Shore,” and for the movement’s climax, Ives superimposes “Shining Shore” on “Stand Up for Jesus,” each in different meter, creating the kind of chaos beloved of Ivesian fans and probably terrifying the congregation, before the triumphant, placating conclusion.

STRING QUARTET IN F MAJOR, OP. 96 (“AMERICAN”) Antonín Dvořák (1830-1904) The New York socialite Mrs. Jeannette Thurber was a woman of determination and means. When she failed, in 1889, to establish an English-language opera company to compete with the established Metropolitan Opera, she embarked on a new venture (1891): the National Conservatory of Music, which she hoped would rival with Europe’s establishments of higher musical education. What better way to attract attention – and pupils – than to choose as its director a European of great artistic renown, with administrative credentials a secondary consideration.

Contemporary sketch of Dvořák in Stillville

She narrowed her list of candidates to two: the young Sibelius and the older Dvořák. The latter emerged as the man for the job: not only did he respond (Sibelius seemingly did not, if indeed he was ever approached) but accepted, after some hesitancy about leaving his teaching job at the Prague Conservatory. Mrs. Thurber had made him an offer he couldn’t refuse: exceedingly generous remuneration, duties that were hardly onerous, and four months paid vacation per year. Dvořák arrived in New York in June of 1893, with his wife, their six children, and a maid. On hand as well was a Czech-speaking American, Josef Jan Kovarík, who would serve as interpreter and guide for the duration of the composer’s American stay. In reading through Dvořák’s correspondence and the comments of his friends during the three years he spent in America, we get the impression that the composer was most happy there in the company of his Czech countrymen. And it was thoughts of the old country, more than direct experiences of the New World, that fueled his creative fires. (Which is not to say that he didn’t pick up some useful “native” ideas in traveling the United States.) His minimal duties at the Conservatory (which required the services of a translator – Kovarík – in class) gave him ample time to compose. The music he started or wrote in its entirety during his stint as titular director of the Conservatory includes some of his most intensely, insistently Czech music: the last and most imposing of his string string quartets, Opp. 96, 105, 106; the String Quintet, Op. 97; the E-minor Symphon y (“From the New World”); the Te Deum; and the Cello Concerto. A lasting and productive experience of the American stay was, in fact, Czech – that is, his visit in the summer of 1893 to the

P2 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 2

2/18/20 6:38 PM

ABOUT THE PROGRAM

Bohemian colony of Spillville, Iowa, where Kovarík had relatives. It was there that he wrote much of his “New World” Symphony and the entirety of the present quartet, begun three days after his arrival and completed in a mere two weeks, along with the Op. 97 Quintet. The F-major Quartet “reflects,” in the words of Dvořák scholar Jaroslav

Holeček, “the happy, restful moments and the magic of the beautiful countryside that the composer would walk every day of his stay there, usually beginning shortly after sunrise.” Coincidentally and perhaps ironically, Ives’ teacher Horatio Parker taught at the National Academy for a year during Dvořák’s

tenure. The latter was in fact on a jury that awarded Parker a prize for one of his choral compositions. It might be further noted that Ives knew Dvořák’s music, if not the man, and seemed to have ill-disguised contempt for it – chiefly because as the work of a “famous foreigner” it was so warmly received by American audiences.

ABOUT THE ARTISTS

BEN HONG Cellist Ben Hong joined the Los Angeles Philharmonic in 1993, at age 24, as Assistant Principal Cello. He currently serves as Associate Principal Cello, appointed in 2015 by Music Director Gustavo Dudamel. Hong also performs frequently as soloist and as a member of chamber music ensembles. He has collaborated with such artists as Emanuel Ax, Yefim Bronfman, Janine Jansen, Lang Lang, Sir Simon Rattle, and Esa-Pekka Salonen. Concerto appearances with the LA Phil have included the U.S. premiere of Mark-Anthony Turnage’s cello concerto Kai, with Rattle conducting at the Ojai Music Festival and the LA Phil premiere of Tan Dun’s Crouching Tiger Concerto, conducted by Long Yu at the Hollywood Bowl. In 2009, Hong was hired by DreamWorks Pictures to train several members of the cast of the movie The Soloist, including Jamie Foxx. In addition, he was the featured soloist on the soundtrack, which was released on the Deutsche Grammophon label. Born in Taipei, Taiwan, Hong won his native country’s National Cello Competition three years in a row before leaving home, at age 13, for The Juilliard School. Later he studied with Lynn Harrell at the University of Southern California’s School of Music before joining the LA Phil. In 2012, Hong joined the faculty of USC’s Thornton School of Music as an Adjunct Professor. Additionally, he frequently presents clinics and master classes in the U.S. and abroad.

three. He has been a prize-winning cellist, pianist, and composer from an early age. Following his studies in Chicago and New York, Karoly graduated from the University of Southern California, where he was a pupil of Ronald Leonard. An avid chamber musician, Karoly has performed in many music festivals, including Marlboro, Kingston, La Jolla SummerFest, Verbier, Sarasota, Music Academy of the West, the International Laureates Chamber Music Festival, and Aspen, where he was a fellowship recipient. He has also been a frequent performer on Musicians from Marlboro tours across the country and was invited to perform several concerts of chamber works with Pierre Boulez at Carnegie Hall’s Weill Recital Hall. Karoly has appeared in live radio broadcasts of solo recitals and chamber music performances. An accomplished competition winner, Karoly took grand prize in the Pasadena Instrumental Competition and first prize in the Chicago Cello Society Competition. He has performed concertos with numerous orchestras, including the Los Angeles Philharmonic, and has been principal cellist of the Civic Orchestra of Chicago and the Debut Orchestra of Los Angeles, among others. In 2009, Karoly was the featured performer and actor in the Los Angeles Philharmonic’s Symphonies for Youth program entitled The Spirit of the Cello, which told a fictional story about Karoly’s cello. These performances were repeated in 2016. Karoly has been a member of the Los Angeles Philharmonic since 1997.

JONATHAN KAROLY

JORDAN KORANSKY

Jonathan Karoly is a native of Chicago, where he began studying the cello at the age of

Jordan Koransky joined the LA Phil in fall 2019, having previously played with the

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

MICHAEL LARCO Violist Michael Larco joined the Los Angeles Philharmonic in 2012 after seven seasons as Assistant Principal in the Rochester Philharmonic Orchestra. A frequent participant of the LA Phil’s Green Umbrella and Chamber Music series, Michael has also been a guest violist with the Capitol Ensemble at the Los Angeles County Museum of Art and Street Symphony. He has collaborated in concert with Lynn Harrell, Itzhak Perlman, Alisa Weilerstein, and Rachel Barton Pine. Recent appearances have included a recital debut (broadcast live on WFMT) at the Dame Myra Hess Memorial Concerts in Chicago with pianist Soojin Ahn; performances at the Philadelphia Chamber Music Society with tenor Anthony Dean Griffey; Kravis Center for the

PERFORMANCES MAGAZINE P3

LAPHIL_PROG1_0320.indd 3

2/18/20 6:38 PM

ABOUT THE ARTISTS

Performing Arts (West Palm Beach); Zankel Hall at Carnegie Hall with Griffey and Warren Jones; Chamber Music Rochester, New York; Skaneateles Festival, New York; and Monadnock Music, New Hampshire. Michael was a founding member (2000-2005) of the New York City-based Fountain Ensemble. He has served as principal violist of the Juilliard Orchestra and the Tanglewood Music Center Orchestra under Seiji Ozawa, Kurt Masur, and James Conlon. In recent seasons, he has performed in the New York Philharmonic, the Boston Symphony Orchestra, and the Philadelphia Orchestra. Since 2014, he has mentored students at Youth Orchestra Los Angeles (YOLA) and is a on the faculty of the Pascale Institute in South Pasadena. Larco received his bachelor’s and master’s degrees from the Juilliard School, where he studied with Heidi Castleman, Misha Amory, and Samuel Rhodes. In 1999, Larco was awarded the Frank Huntington Beebe Scholarship for studies in Europe. While living in Italy from 1999 to 2000, he studied both at the Mozarteum in Salzburg with Thomas Riebl and in Cremona with Bruno Giuranna.

Orchestra, the Haddonfield Symphony, Shanghai Opera Orchestra, the Canadian Sinfonietta, and Esprit Orchestra. Her performances have been broadcast on CBC Radio 2, National Public Radio, WQXR (New York), WHYY (Pennsylvania), WFMT (Chicago), and Bavarian Radio (Munich). She has won top prizes at the Johanson International and the Holland-America Music Society competitions, the Primrose International Viola Competition, the Irving M. Klein International String Competition, and the ARD International Music Competition in Munich, Germany. She was also a winner of the Astral Artistic Services 2003 National Auditions. Her discography includes a solo CD entitled 1939 with violinist Benjamin Bowman and pianist Meng-Chieh Liu (Azica), along with many Toronto Symphony credits, most recently their Vaughan Williams disc featuring Teng performing Flos Campi (Chandos). Teng is a graduate of the Central Conservatory in Beijing, China, and the Curtis Institute of Music in Philadelphia.

TENG LI

Rebecca Reale, born in upstate New York, began studying the violin when she was just two and a half years old. Her passion for music led her to Boston at an early age to attend boarding school for the arts. While she was there, she studied with Muir Quartet member and Boston University professor Peter Zazofsky. She went on to receive her bachelor’s degree from Rice University as a full scholarship student, studying with Kathleen Winkler. Reale was a fellow with the New World Symphony for their 2015/16 season. During her time with the orchestra, she won the concerto competition and performed Mozart’s Violin Concerto No. 5 on a subscription concert. Her “flawless” performance was hailed by South Florida Classical Review for its “youthful freshness” and “effortless manner with expert bow control and deadon intonation.” Prior to joining the Los Angeles Philharmonic, Rebecca was the associate principal second violin of the Houston Symphony, and served as acting principal second for the 2016/17 season.

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 the festivals of Marlboro, Santa Fe, Mostly Mozart, Music from Angel Fire, Rome, Moritzburg (Germany), and the Evnin Rising Stars in Caramoor. She has performed with the Guarneri Quartet in New York, at Carnegie Hall (Weill Recital Hall), and with the 92nd Street “Y” Chamber Music Society. Teng was also featured with the Guarneri Quartet in their final season (2009) and was also a member of the Lincoln Center Chamber Music Society II Program. She is a member of the Rosamunde Quartet (led by Noah Bendix-Balgley, concertmaster of the Berlin Philharmonic) and the Toronto-based Trio Arkel. Li has been featured as soloist with the National Chamber Orchestra, the Santa Rosa Symphony, the Munich Chamber

REBECCA REALE

BING WANG Violinist Bing Wang joined the Los Angeles Philharmonic as Associate Concertmaster in 1994. She previously held the position of Principal Second Violin of the Cincinnati Symphony, and has served on the faculty and as concertmaster at the Aspen Music Festival and School since 2003. Since 2009, she has also been Guest Concertmaster of her hometown orchestra, the Shanghai Symphony Orchestra, where her tenure was highlighted by a televised New Year’s concert conducted by Riccardo Muti. As a soloist, Wang has won critical praise for her appearances with the Los Angeles Philharmonic. Wang has also appeared regularly with the American Youth Symphony since 1997, and she has also been featured as a soloist with the Cincinnati Symphony, the Manhattan Symphony, and other orchestras. In 2002, she gave her first performances in China since emigrating to the U.S., touring as a soloist with the Shanghai Symphony Orchestra. Active as a chamber musician, Wang has collaborated with such distinguished artists as Lang Lang, Yefim Bronfman, Emanuel Ax, and Jean-Yves Thibaudet, among others. Bing Wang began studying the violin with her parents at the age of six. She entered the middle school of the Shanghai Conservatory of Music, where she was concertmaster of the school orchestra, and graduated with highest honors. After coming to the United States to study with Berl Senofsky at the Peabody Conservatory, she received her master’s degree from the Manhattan School of Music under the tutelage of Glenn Dicterow. In 2012, Bing Wang was named an Adjunct Associate Professor at the USC Thornton School of Music.

P4 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 4

2/18/20 6:38 PM

JAZZ

PROGRAM

Power to the People! Herbie Hancock

THURSDAY MARCH 5, 2020 8PM

Los Angeles Philharmonic Gustavo Dudamel, conductor Herbie Hancock

Jessie MONTGOMERY Banner (c. 8 minutes) Courtney BRYAN

White Gleam of Our Bright Star (c. 8 minutes)

Wayne SHORTER

Aurora (text by Maya Angelou) (c. 7 minutes)

INTERMISSION

Herbie HANCOCK

Ostinato: Suite for Angela (c. 13 minutes)

Herbie HANCOCK

I Have a Dream (c. 11 minutes)

Herbie Hancock Vinnie Colaiuta, drums James Genus, bass Lionel Loueke, guitar / vocals Terrace Martin, keyboards / Sax

The Power to the People! festival is generously supported in part by Margaret Morgan and Wesley Phoa, GRoW @ Annenberg, the Frank Gehry Fund for Creativity, and by an award from the National Endowment for the Arts. Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Programs and artists subject to change.

PERFORMANCES MAGAZINE P5

LAPHIL_PROG1_0320.indd 5

2/18/20 6:38 PM

ABOUT THE PROGRAM

BANNER Jessie Montgomery (b. 1981) Composed: 2014 Orchestration: 2 flutes (2nd = piccolo), oboe, clarinet, bassoon, horn, trumpet, timpani, percussion (kick drum, snare drum, tom-tom), strings, and solo string quartet First Los Angeles Philharmonic performance Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, and her works are performed frequently around the world by leading musicians and ensembles. Her compositions interweave classical music with elements of vernacular music, improvisation, spoken word, and social justice, placing her squarely as one of the most relevant interpreters of 21st-century American sound and experience. Jessie was born and raised in Manhattan’s Lower East Side in the 1980s during a time when the neighborhood was at a major turning point in its history. Artists gravitated to the hotbed of artistic experimentation and community development. Her parents – her father a musician, her mother a theater artist and storyteller – were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, performances, and parties where neighbors, activists, and artists gathered to celebrate and support the movements of the time. Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports young African-American and Latinx string players. She currently serves as composerin-residence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble. She was a two-time laureate of the annual Sphinx Competition and was awarded a generous MPower grant to assist in the development of her debut album, Strum: Music for Strings (Azica Records). In the 2019/20 season, new commissioned works will be premiered by the Orpheus Chamber Orchestra, the National Choral Society, and ASCAP Foundation. Jessie is also teaming up with composerviolinist Jannina Norpoth to reimagine

Scott Joplin’s opera Treemonisha; it is being produced by Volcano Theatre and co-commissioned by Washington Performing Arts, Stanford University, Southbank Centre (London), National Arts Centre (Ottawa), and the Banff Centre for the Arts. The New York Philharmonic has selected Jessie as one of the featured composers for their Project 19, which marks the centennial of the ratification of the 19th Amendment, granting equal voting rights in the United States to women. Banner is a tribute to the 200th anniversary of “The Star Spangled Banner,” [the lyrics of which were written by Francis Scott Key in 1814]. Banner is a rhapsody on the theme of “The Star Spangled Banner.” Drawing on musical and historical sources from various world anthems and patriotic songs, I’ve made an attempt to answer the question: “What does an anthem for the 21st century sound like in today’s multi-cultural environment?” In 2009, I was commissioned by the Providence String Quartet and Community MusicWorks to write Anthem, a tribute to the historical election of Barack Obama. In that piece, I wove together the theme from “The Star Spangled Banner” with the commonly named Black National Anthem, “Lift Every Voice and Sing” by James Weldon Johnson (which coincidentally share the exact same phrase structure). Banner picks up where Anthem left off by using a similar backbone source in its middle section, but expands further both in the amount of references and also in the role played by the string quartet as the individual voice working both with and against the larger community of the orchestra behind them. The structure is loosely based on traditional marching band form, where there are several strains or contrasting sections, preceded by an introduction, and I have drawn on the drum line chorus as a source for the rhythmic underpinning in the finale. Within the same tradition, I have attempted to evoke the breathing of a large brass choir as it approaches the climax of the “trio” section. A variety of other cultural anthems and American folk songs and popular idioms interact to form various textures in the finale section, contributing to a multi-layered fanfare. “The Star Spangled Banner” is an ideal subject for exploration in contradictions. For most Americans, the song represents

a paradigm of liberty and solidarity against fierce odds, and for others it implies a contradiction between the ideals of freedom and the realities of injustice and oppression. As a culture, it is my opinion that we Americans are perpetually in search of ways to express and celebrate our ideals of freedom — a way to proclaim, “we’ve made it!” as if the very action of saying it aloud makes it so. And for many of our nation’s people, that was the case: through work songs and spirituals, enslaved Africans promised themselves a way out and built up the nerve to endure the most abominable treatment for the promise of a free life. Immigrants from Europe, Central America, and the Pacific have sought out a safe haven here and though met with the trials of building a multi-cultured democracy, continue to find rooting in our nation and make significant contributions to our cultural landscape. In 2014, a tribute to the U.S. National Anthem means acknowledging the contradictions, leaps and bounds, and milestones that allow us to celebrate and maintain the tradition of our ideals. — Jessie Montgomery

WHITE GLEAM OF OUR BRIGHT STAR Courtney Bryan Composed: 2016 Orchestration: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, 4 cymbals, snare drum, 3 tom-toms, triangle), and strings First Los Angeles Philharmonic performance Courtney Bryan, a native of New Orleans, LA, is “a pianist and composer of panoramic interests” (The New York Times). Her music is in conversation with various musical genres, including jazz and other types of experimental music, as well as traditional gospel, spirituals, and hymns. Focusing on bridging the sacred and the secular, Bryan’s compositions explore human emotions through sound, confronting the challenge of notating the feeling of improvisation. Bryan has academic degrees from Oberlin

P6 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 6

2/18/20 6:38 PM

ABOUT THE PROGRAM

Conservatory (BM), Rutgers University (MM), and Columbia University (DMA) with advisor George Lewis, and she completed an appointment as Postdoctoral Research Associate in the Department of African American Studies at Princeton University. Bryan is currently an Assistant Professor of Music in the Newcomb Department of Music at Tulane University, and the Mary Carr Patton Composer-in-Residence with the Jacksonville Symphony. She was the 2018 music recipient of the Herb Alpert Award in the Arts, a 2019 Bard College Freehand Fellow, and is currently a 2019/20 recipient of the Samuel Barber Rome Prize in Music Composition and a 2020 United States Artists Fellow. Bryan’s work has been presented in a wide range of venues, including Carnegie Hall, Lincoln Center, Miller Theatre, The Stone, Roulette Intermedium, La MaMa Experimental Theatre, The Metropolitan Museum of Art, National Gallery of Art, Blue Note Jazz Club, Walt Disney Concert Hall, Isabella Stewart Gardner Museum, Bethany and Abyssinian Baptist Churches, New Orleans Jazz and Heritage Festival, and the Ojai Music Festival. Her compositions have been performed by the Jacksonville Symphony, Louisiana Philharmonic Orchestra, American Composers Orchestra, Colorado Springs Philharmonic, International Contemporary Ensemble, La Jolla Symphony & Chorus, Orchestra of St. Luke’s, Aperture Duo, Duo Noire, Ekmeles, Ensemble Pi, New York Jazzharmonic, Spektral String Quartet, Talea Ensemble, Quince Vocal Ensemble, Jennifer Koh, and Kelly Hall-Tompkins. Collaborators include visual artists Cauleen Smith, Tiona McClodden, Steffani Jemison, Abigail DeVille, Kara Lynch, Lake Simons, Amy Bryan, and Alma Bryan Powell, directors Charlotte Brathwaite, Lileana Blain-Cruz, and Patricia McGregor, and writers Suzan-Lori Parks, Sharan Strange, and Ashon Crawley, and musicians Helga Davis, Brandee Younger, Joe Dyson, Brian Quezergue, and Stephen Gladney. She has two recordings, Quest for Freedom (2007) and This Little Light of Mine (2010), and has a third recording in progress, Sounds of Freedom (2020). Bryan is currently writing an opera, Awakening, a collaboration with the International Contemporary Ensemble, Charlotte Brathwaite,

Helga Davis, Cauleen Smith, Sharan Strange, Sunder Ganglani, and Matthew Morrison, which will premiere in 2021. As an American composer, my inspiration often comes from the landscapes where I have lived. Growing up in New Orleans, LA, I am accustomed to living in a city that feels like it is simultaneously in the past, present, and future. I am inspired by the living history in this fascinating city. During my years living in the Midwest and East Coast, and visits to the West Coast, I have been inspired by the landscapes to hear different sounds and explore new possibilities. When Katharine Lee Bates composed the poem “America the Beautiful,” originally entitled “Pikes Peak” (1895), she drew inspiration from the beauty of the Pikes Peak region of Colorado Springs, illustrating an idealistic vision of the United States of America. Describing “spacious skies,” “amber waves of grain,” “purple mountain majesties,” and the “fruited plain,” she wrote a request for God to “shed his grace” on the country and to “crown thy good with brotherhood from sea to shining sea.” The beauty of the natural landscape could represent the potential beauty within the country among its citizens, brothers and sisters. The potential of what America can be at its best has been inspiration for American artists over the decades. Writer James Baldwin wrote, “I love America more than any other country in this world, and, exactly for this reason, I insist on the right to criticize her perpetually.” In 1938, poet Langston Hughes’ “Let America be America Again” appealed to the ideals of America while addressing the challenges America must overcome to reach its potential. The opening lines seem to be in conversation with Bates’ view of America: “Let America be America again. Let it be the dream it used to be. Let it be the pioneer on the plain Seeking a home where he himself is free. (America never was America to me.)” In defining “me,” Langston Hughes writes: “I am the poor white, fooled and pushed apart, I am the Negro bearing slavery’s scars. I am the red man driven from the land, I am the immigrant clutching the hope I seek —

And finding only the same old stupid plan Of dog eat dog, of mighty crush the weak.” He remains hopeful of the great heights Americans can reach together in these lines: “O, yes, I say it plain, America never was America to me, And yet I swear this oath — America will be!” In the same decade Bates wrote her poem, writer James Weldon Johnson, in 1899, wrote “Lift Every Voice and Sing,” set to music by his brother, composer J. Rosamond Johnson. The final stanza acknowledges the perils of the past while pressing on towards better days. This stanza is addressed to God, praying that God, “keep us forever in the path,” and that: “Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land.” While composing White Gleam of Our Bright Star, a phrase borrowed from Johnson’s “Lift Every Voice and Sing,” I musically meditated on the themes of sister/brotherhood, freedom, and equality. — Courtney Bryan

AURORA Wayne Shorter (b. 1933) Composed: 2009-2010 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings First Los Angeles Philharmonic performance Born in Newark, New Jersey, Wayne Shorter studied clarinet in high school, but switched to tenor saxophone at New York University. After graduation and two years in the U.S. Army, Shorter joined Art Blakey’s Jazz Messengers. That was followed by a tenure with Miles Davis, which included the ground-breaking fusion albums In a Silent Way and Bitches Brew. At the same time, he was recording albums as a leader for Blue

PERFORMANCES MAGAZINE P7

LAPHIL_PROG1_0320.indd 7

2/18/20 6:38 PM

ABOUT THE ARTISTS

Note, most featuring his own compositions. He was a co-founder of Weather Report, and toured and recorded with the V.S.O.P quintet and with artists such as Herbie Hancock, Carlos Santana, and Joni Mitchell. An influential composer for ensembles small and large, as well as a revered master of tenor and soprano saxes, Shorter has won 11 Grammys®, the Polar Music Prize and Kennedy Center Honors, and was named an NEA Jazz Master. Aurora premiered at the St. Louis Symphony’s gala season opening concert in October 2010, led by David Robertson, with soprano soloist Renée Fleming. It is the intended climax of a large-scale setting of The Rock Cries Out to Us Today, the poem Maya Angelou wrote for Bill Clinton’s inauguration in 1992. Though Shorter and Fleming had been discussing the idea of doing this piece for a decade or more, it came together in final form quite quickly in the summer of 2010. (Fleming also sang the work during Shorter’s tribute portion of the Kennedy Center Honors in 2018.) “Musically [the piece has] the kind of wonderfully spun-out lyrical melodies that we know from his saxophone playing, scored with a really rich harmonic background so that it already feels like a major part of the American musical landscape,” Robertson said in a St. Louis Post-Dispatch interview before the gala. “The best part is the way it fits hand in glove with Renée’s voice.” Actually, the music may have gestated for more than half a century, according to Shorter’s comments to R.J. DeLuke in a 2013 All About Jazz interview: “But when you write something, it’s not for anyone when you write it. You just hold onto it until somebody wants to record it,” Shorter said, referring to Aurora. “I started it when I was 19, around 1952. Just starting NYU, because I worked for a year before I went to college. I continued it and finished it in 2009, this piece called Aurora. She [Fleming] did it with the St. Louis Symphony Orchestra. You never know. You just do things. There’s no mystery. I figured out how to write music when I was about 16. Little notes. I wrote about 28 arrangements for a dance band. For people to dance to. A lot of them were mambo, Latin stuff. I wanted to have some fun with the rhythm.”

OSTINATO: SUITE FOR ANGELA Herbie Hancock (b. 1940) Composed: 1970 Orchestration: 3 flutes (3rd = alto flute & piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cowbell, small chime cymbal, mark tree, rain stick, shaker, tambourine, tam-tam, triangle), harp, strings, and solo jazz ensemble First Los Angeles Philharmonic performance Ostinato: Suite for Angela is the first track on Hancock’s 1971 album Mwandishi, a Swahili word meaning “writer” or “composer” that Hancock used for himself and as the name of his sextet. The work is dedicated to political activist Angela Davis, who was in prison at the time. (See page 16 for Hancock’s discussion of the piece and Angela Davis.) “I wanted to write a tune with an underlying rock beat, but using it in a more open way than usual,” Hancock says in Bob Gluck’s book about Hancock and the Mwandishi band. “I finally achieved it by making the number of beats uneven – it’s in 15/8, one bar of 4/4 and one of 7/8. I started with a repeated syncopated bass line in 4/4, a regular thing. The way I chose the notes in the riff was that I figured most of the rock bass lines telegraph their chord so distinctly that there’s no escaping it. I wrote something that could imply many chords... some fourths even, like Trane and McCoy... a kind of pentatonic scale, but starting on a different degree of that scale.” “But then I thought, ‘Why should I keep that all the way through?’ so I changed it slightly and shortened every second phrase by half a beat. Now if, instead of two 4/4 bars, I had a 4/4 and a 7/8, it meant I had to change the notes to make them sound natural. Having done that, I had to decide what to put on top, and what it is, is different degrees of tension and release. Music and life flow because of those qualities, as do all the senses. It’s contrast: to know what cold water is, you have to know what hot water is. Music’s like that; it has to flow, and if there’s no tension and release it will

be totally bland, with no vitality. ... Having 15 beats in a bar automatically sets up a little tension, because just when you think you’ve got it figured out, it eludes you. At the end of each bar we all hit a phrase together, and that’s a release. That’s also true of harmony. Very little of the music is consonant, but the dissonance varies so greatly that it’s a matter of some of it being less dissonant and thus becoming consonant by comparison.”

I HAVE A DREAM Herbie Hancock Composed: 1968-1969 Orchestration: 2 flutes, alto flute, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, chimes, congas, dumbek, gong, shaker, tambourine,tam-tam, triangle), harp, strings, and solo jazz ensemble First Los Angeles Philharmonic performance I Have a Dream is the first track on The Prisoner, a tribute to Dr. Martin Luther King, Jr., who had been assassinated the year before the album was released by Blue Note in 1969. Hancock had brought the tune to Miles Davis in January, 1968, four months before King was murdered. About the same time, Hancock left Davis’ quintet (although he continued to record with Davis on several projects), and formed his own sextet, with which he recorded The Prisoner, his last album for Blue Note. Lyrically reflective but not solemn or sedate, I Have a Dream is an airy, optimistic piece. “Generally speaking, I’ve been able to get closer to the real me with this album than on any other previous one,” Hancock said in Herb Wong’s notes for the original album. “I want my music to evolve toward a point where it can contain that part of me that is relatively most musical to people – but in a jazz climate that can communicate to the general public. “I am trying to write hummable tunes with a kind of rhythmic element people can be infected with,” he continued, “and one key to the rhythmic thing is the duple meter.”

P8 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 8

2/18/20 6:38 PM

ABOUT THE ARTISTS

GUSTAVO DUDAMEL For a biography of conductor Gustavo Dudamel, please turn to page 7.

HERBIE HANCOCK Now in the sixth decade of his professional life, Herbie Hancock remains where he has always been: at the forefront of world culture, technology, business and music. In addition to being recognized as a legendary pianist and composer, Herbie Hancock has been an integral part of every popular music movement since the 1960s. A member of the Miles Davis Quintet that pioneered a groundbreaking sound in jazz, he also developed new approaches on his own recordings, followed by his work in the ‘70s – with record-breaking albums such

as Head Hunters – that combined electric jazz with funk and rock in an innovative style that continues to influence contemporary music. “Rockit” and “Future Shock” marked Hancock’s foray into electronic dance sounds; during the same period, he also continued to work in an acoustic setting with V.S.O.P., which included ex-Miles Davis bandmates Wayne Shorter, Ron Carter, and Tony Williams. Hancock received an Academy Award® for his ’Round Midnight film score and 14 Grammy® Awards, including Album of the Year for River: The Joni Letters and two 2011 Grammy Awards for the globally collaborative CD, The Imagine Project. Many of his compositions, including “Canteloupe Island,” “Maiden Voyage,” “Watermelon Man,” and “Chameleon,” are modern standards. Hancock is the William Powers & Carolyn Powers Creative Chair for Jazz for the

Los Angeles Philharmonic Association and serves as Institute Chairman of the Thelonious Monk Institute of Jazz. He is a founder of the International Committee of Artists for Peace (ICAP) and was named a “Commandeur des Arts et des Lettres” by French Prime Minister François Fillon. In 2011, Hancock was named a UNESCO Goodwill Ambassador by UNESCO Director-General Irina Bokova, and in December of 2013, he was a recipient of the Kennedy Center Honors. In 2014, he was named the 2014 Norton Professor of Poetry at Harvard University, completing his six-week lectures series, “The Ethics of Jazz.” His memoir, Herbie Hancock: Possibilities was published in 2014, and in February 2016, he was honored with the Grammy Lifetime Achievement Award. A member of the American Academy of Arts and Sciences, Hancock is currently in the studio at work on a new album.

Herbie Hancock

PERFORMANCES MAGAZINE P9

LAPHIL_PROG1_0320.indd 9

2/18/20 6:38 PM

PROGRAM

Power to the People! Patti Smith and Her Band

FRIDAY MARCH 6, 2020 8PM

Patti Smith

Patti Smith, vocals Lenny Kaye, guitar Jackson Smith, guitar Jay Dee Daugherty, drums Tony Shanahan, bass/piano

Program presented without intermission

Programs and artists subject to change.

P10 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 10

2/18/20 6:38 PM

Patti Smith

PATTI SMITH Patti Smith, born in Chicago and raised in South Jersey, migrated to New York City in 1967. Her extensive achievements as a performer, author, recording and visual artist are acknowledged worldwide. Released in 1975, Smith’s first recording, Horses, was inducted into the National Recording Registry at the Library of Congress in 2010 by the National Recording Preservation Board. Her subsequent albums include Radio Ethiopia; Easter, which included “Because the Night,” co-written with Bruce Springsteen; Wave; Dream of Life, which included “People Have the Power,” cowritten with her late husband, Fred Sonic Smith; Gone Again; Peace and Noise; Gung Ho; Trampin’; Land; Twelve; Banga; and Outside Society. She is a four-time Grammy® nominee and a Golden Globe nominee for the song “Mercy Is,” cowritten with Lenny Kay for the film Noah. Steven Sebring’s 2008 documentary, Patti Smith: Dream of Life, received an Emmy nomination. Patti Smith was awarded the prestigious

2010 National Book Award for her bestselling memoir, Just Kids, chronicling her deep friendship with photographer Robert Mapplethorpe and the evolution of their work. Her books include Witt, Babel, Woolgathering, The Coral Sea, Auguries of Innocence, Collected Lyrics, M Train, Devotion, and Year of the Monkey. Smith holds the title of “Commandeur des Arts et des Lettres,” awarded by the French Ministry of Culture. In 2007, she was inducted into the Rock and Roll Hall of Fame. She was honored by ASCAP with the Founders Award in 2010, representing lifetime achievement, and was the recipient of Sweden’s 2011 Polar Award, an international acknowledgement for significant achievements in music. In 2013, Smith received the Katharine Hepburn Medal from Bryn Mawr College, recognizing women whose contributions embody the drive and work ethic of the celebrated actress. In 2014, Barnard College Board of Trustees presented Patti Smith with their Medal of Distinction. In 2016, she was awarded the Burke Medal for Outstanding Contribution to the Arts in Trinity College, Dublin.

Steven Sebring

ABOUT THE ARTIST

Smith’s photographs, drawings, and installations have been exhibited in galleries and museums worldwide. Coupled with her photography exhibit Higher Learning, Smith received the Laurea Magistrate causa from Parma, Italy and an honorary doctorate in Euro-American Literature from Padova University. She was awarded The Badge of the Austrian Decoration of Science and Art in 2019. Her renowned band includes guitarist and author Lenny Kaye, with whom she has collaborated since 1971; drummer Jay Dee Daugherty, since 1975; Tony Shanahan on bass and keyboards, since 1996; and her son, guitarist Jackson Smith, for over a decade. At present, Smith writes, performs, lending support for human-rights issues and environmental groups, primarily to Pathway to Paris, a nonprofit organization co-founded by her daughter, Jesse Paris Smith, offering tangible solutions for combatting global climate. In May, Smith is receiving the PEN Literary Service Award, and an honorary Doctorate from Columbia University. She resides in New York City.

PERFORMANCES MAGAZINE P11

LAPHIL_PROG1_0320.indd 11

2/18/20 6:38 PM

LOS ANGELES PHILHARMONIC

Power to the People! Residente

PROGRAM

SATURDAY MARCH 7, 2020 8PM

Los Angeles Philharmonic Gustavo Dudamel, conductor Residente

Jessie MONTGOMERY

Banner (c. 9 minutes)

Gabriela ORTIZ

Téneek - Invenciones de Territorio (c. 15 minutes)

INTERMISSION

Residente with the LA Phil

Programs and artists subject to change.

P12 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 12

2/18/20 6:38 PM

ABOUT THE PROGRAM

For a program note on Jessie Montgomery’s Banner, please see page P6.

TÉENEK – INVENCIONES DE TERRITORIO (TERRITORIAL INVENTIONS) Gabriela Ortiz (b. 1964) Composed: 2017 Orchestration: piccolo, 3 flutes (3rd = alto flute, piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bongos, chimes, 2 claves, 3 cowbells, crotales, glockenspiel, güiro, jaw bone or vibraslap, maracas, marimba, snare drum, 3 suspended cymbals, tam-tam, 3 Thai nipple gongs, 2 timbales, triangle, vibraphone, xylophone), harp, celesta, piano, and strings First Los Angeles Philharmonic performance: October 12, 2017, Gustavo Dudamel conducting. As the daughter of two founders of the group Los Folkloristas, Gabriela Ortiz grew up immersed in the sounds of Mexican vernacular music. Yet she is also highly trained at some of Mexico’s and Europe’s most esteemed music schools, ultimately obtaining a doctorate from London’s City University. The interaction of street and academy, of improvised traditional music and rigorous electronic formulas, has been crucial in much of her work. “I have been very interested in writing different pieces that would involve two contrasting sides of my own musical background,” Ortiz said. “As a composer working with computers and electronics, I have experienced a considerable change in the way I approach musical creation. On the other hand, the fact of being born in a country with an enormous cultural heritage of popular and ethnic music has motivated me to try to be fair to the different worlds existing inside myself.” The LA Phil commissioned and gave world premiere of her concerto for percussion ensemble and orchestra, Altar de piedra, in 2002, and Yanga in 2019.

Gabriela Ortiz

Téenek is the language spoken in the Huasteca region, which encompasses the states of Veracruz, Tamaulipas, San Luis Potosí, Hidalgo, Puebla, and Querétaro in Mexico. Its name means “local man,” in reference to all the men and women who belong to a place whose mere existence determines their destinations in time and space: their territories. Indeed, in any region of the world, human beings from any given era determine a way of BEING that transcends time and defines their relationship with their surroundings, no matter what their race, skin color, political borders, or socio-economic condition may be. We are all mortals, just as our domains, differences, borders, and possessions will eventually disappear, if not in decades, over the course of centuries. In the end, human beings transcend such conditions and circumstances by simply BEING, by culturally existing, by everything that remains. Téenek is a sonorous metaphor of our transcendence, a strength that alludes to a future where there are no borders, but

rather, a recognition of the actual particularities and differences between us that propitiate our development while at the same time enriching and uplifting us. Music thus bears witness to a gradual history of matches and mismatches, of ancient cultures and new symbols, of ways to resist and comprehend the world by imagining sounds and senses, of that vital rhythm that lends meaning to the sense of belonging, and of roots that identify us culturally. Through the plain and simple idea of fitting in, of not dividing but, rather, recognizing otherness, Téenek reflects on the importance of reaffirming identities through fragmentation. It is precisely because of this that Téenek is composed of a series of apparently dissimilar inventions which find their strength in their differences, enrichment, and musical development: these are interwoven and transformed over time in a discourse that demonstrates how the existence of borders may be diluted in pursuit of the powerful idea that our potential future lies in recognizing our differences. — Alejandro Escuer

PERFORMANCES MAGAZINE P13

LAPHIL_PROG1_0320.indd 13

2/18/20 6:38 PM

ABOUT THE ARTISTS

Residente

GUSTAVO DUDAMEL For a biography of conductor Gustavo Dudamel, please see page 7.

RESIDENTE Residente (born René Pérez Joglar, February 23, 1978) is a Puerto Rican rapper, writer, producer, and co-founder of the alternative

rap group Calle 13. He has won 25 Grammy® awards, the most Grammys ever awarded to a Latin artist. He studied fine art for eight years, before launching an independent career as a lyricist, performer, and his own director for his many music videos. His lyrics have been lauded by critics and studied by academics at universities around the world. He is most recognized for his commitment to social justice, championing educational and native rights across Latin

America. In November 2015, Residente received the Nobel Peace Summit Award for his commitment to social awareness and promoting peace. He has also served as the spokesperson for several UNICEF and Amnesty International campaigns. Despite his success, Residente has never shied away from speaking his mind. In 2009, his work was notably censored for three years after he called the governor of Puerto Rico an “SOB” for laying off more than 30,000 public employees.

P14 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 14

2/18/20 6:38 PM

LOS ANGELES PHILHARMONIC

PROGRAM

Power to the People!

SUNDAY MARCH 8, 2020 2PM

Los Angeles Philharmonic Gustavo Dudamel, conductor Yolanda Adams, gospel soloist West Angeles Church of God in Christ Choir Dr. Judith McAllister, director

Jessie MONTGOMERY Banner (c. 9 minutes) ELLINGTON Arr. HENDERSON

Three Black Kings (c. 18 minutes) “King of the Magi” “King Solomon” “Martin Luther King”

INTERMISSION

Yolanda Adams with the LA Phil West Angeles Church of God in Christ Choir

Programs and artists subject to change.

PERFORMANCES MAGAZINE P15

LAPHIL_PROG1_0320.indd 15

2/18/20 6:38 PM

ABOUT THE PROGRAM

Duke Ellington

For a program note on Jessie Montgomery’s Banner, please see page P6.

THREE BLACK KINGS Duke Ellington Composed: 1974 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets (all = flugelhorn), 4 trombones, tuba, timpani, percussion (bells, chime tree, conga drums, suspended cymbal, drum set, jawbone, marimba, tambourine, triangle, vibraphone), harp, piano, electric guitar, & strings First Los Angeles Philharmonic performance: February 17, 2019 conducted by Thomas Wilkins

Collaboration, one might say, is the essence of jazz. Even Ellington’s Three Black Kings, his final composition, proves the point in its own way. Ellington had nearly completed the piece before he died. But he rarely wrote the final notes of a composition until the day of the premiere, leaving his son Mercer, a successful bandleader and composer in his own right, to guess how it should ultimately be completed. The great composer and arranger Luther Henderson orchestrated a version that Mercer premiered at a tribute concert for his father in 1976 – where First Lady Betty Ford gave the downbeat. Alvin Ailey choreographed a ballet to accompany the piece, which his troupe performed throughout the 1976/77 season. And Ellington’s longtime friend Maurice Peress, an esteemed conductor, eventually rescored it for symphony orchestra. It took many hands to create the piece as we know it today. Intended (in Mercer’s words) as a “eulogy for Martin Luther King, Jr.,” Three Black

Kings continues Ellington’s series of narrative pieces on a grand symphonic scale – a series that includes Black, Brown, and Beige (1943), Harlem (1950), and Night Creature (1955). Traversing centuries, each movement captures the psychological depth of its respective subject. The first, depicting King Balthazar (the black king of the Nativity), features propulsive percussion sounds that explode into ravishing, exotic melodies in the strings. The episodic second, which fluctuates between sultry strings accompanied by harp and upbeat passages reminiscent of Ellington’s jazz orchestra, evokes King Solomon’s taste for love more than his fabled wisdom. The gospel-inflected third, complete with subtle tambourine backbeats, is a fitting tribute to the Reverend Doctor King himself – a man who, as Nina Simone put it in her own music eulogy, “had seen the mountaintop, and knew he could not stop, always living with the threat of death ahead.” — Douglas Shadle

P16 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 16

2/18/20 6:38 PM

ABOUT THE ARTISTS

YOLANDA ADAMS After 12 albums, five Grammys®, and performances for several U.S. presidents, she still wows audiences all over the world, ever since her 1988 debut album, Just As I Am. Yolanda Adams is renowned for pioneering the blend of modern gospel music infused with soul and jazz. For decades, she has empowered fans through her inspirational and contemporary music. She is the eldest of six siblings, and her leading spirit and optimism soon became her trademark. Her solid church background and love for all genres of music left her with respect for traditional musical hues, as well as a desire for a more contemporary interpretation. She was employed as an elementary teacher when she began to garner recognition for her stunning performances. It was while she served as a lead singer in her native town, Houston, Texas with the Southeast Inspirational Choir that Yolanda caught the eye of the prolific composer/ producer Thomas Whitfield, who guided her first album. She was soon hailed as the most versatile contemporary gospel singer since Aretha Franklin. Her brilliant follow-up albums have earned her multiple awards from music’s highest honors such as the Stellars, Grammys, BMI, Soul Train Awards, NAACP Image, BET, and more. In 2001, she opened a new category and was the first artist to receive an American Music Award for “Favorite Contemporary Inspirational Artist.” The Gospel Music Association has continuously honored Yolanda through multiple Dove Awards, and on May 9, 2017, she was inducted into GMA’s Hall of Fame for her outstanding achievements in the Christian music industry. In addition to being a gospel superstar, she has reigned on radio airwaves for more than 10 years as the host of her own show, “The Yolanda Adams Morning Show,” which has been heard in over 60 markets nationally. As a former teacher, her natural love for community initiatives and the well-being of youth is just as captivating as her singing. She served as a spokesperson for the FILA Corporation’s Operation Rebound program, which addressed the concerns of inner-city school children. In 2016, former President Barack Obama presented Yolanda Adams

Yolanda Adams

with the Presidential Lifetime Achievement Award for grateful recognition with the Corporation for National Community Service for her lifelong commitment to building a stronger nation through volunteer service. While she is grateful for her success, Yolanda’s greatest achievement comes from being a mother and great example to her daughter. A former teacher, now gospel legend, she continues to influence the world and change lives through her music and humanitarian efforts.

PERFORMANCES MAGAZINE P17

LAPHIL_PROG1_0320.indd 17

2/18/20 6:38 PM

ABOUT THE ARTISTS

West Angeles Church of God in Christ Choir

P18 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 18

2/18/20 6:38 PM

COLBURN CELEBRITY SERIES

Power to the People! Conrad Tao

PROGRAM

TUESDAY MARCH 10, 2020 8PM

Conrad Tao, piano

Frederic RZEWSKI Which Side Are You On? (c. 16 minutes) COPLAND Piano Sonata in G major (c. 22 minutes) Allegro maestoso Andante cantabile Allegro vivace

INTERMISSION

Frederic RZEWSKI The People United Will Never Be Defeated! (c. 60 minutes)

Programs and artists subject to change.

PERFORMANCES MAGAZINE P19

LAPHIL_PROG1_0320.indd 19

2/18/20 6:38 PM

ABOUT THE PROGRAM

Notes by John Henken

WHICH SIDE ARE YOU ON? Frederic Rzewski (b. 1938) Rzewski’s early mentors and colleagues present a highly distinguished cross-section of 20th-century music. A Massachusetts native himself, he studied at Harvard with Randall Thompson and Walter Piston, followed by graduate work at Princeton with Roger Sessions and Milton Babbitt. He also studied with Luigi Dallapiccola in Italy and Elliott Carter in Berlin, and became friends with Christian Wolff, John Cage, and David Tudor. He taught composition himself, on the faculty of the conservatory in Liège, Belgium; he has also taught at other institutions in Europe and the U.S., including CalArts and UCSD. Although he did not consider music seriously as a career until college, Rzewski did study piano from early youth and is a brilliant performer. (“…a granitically overpowering piano technician, capable of depositing huge boulders of sonoristic material across the keyboard without wrecking the instrument,” in Nicolas Slonimsky’s characteristically evocative description.) In Italy in the 1960s, he formed Musica Elettronica Viva (MEV) with Alvin Curran and Richard Teitelbaum, and the group became well-known for pioneering work in live electronics and improvisation. He continues to perform and was the soloist in the world premiere of his Piano Concerto at the BBC Proms in 2013, with Ilan Volkov conducting the BBC Scottish Symphony Orchestra. Experimental art music in Italy in the ‘60s was among the most socially and politically conscious music anywhere, and in 1971 Rzewski brought that orientation back to New York. That was an eventful year in a tumultuous era, and Rzewski was quickly engaged by the riot/uprising at the Attica Correctional Facility in upstate New York, writing Coming Together and Attica, inspired by the letters of Samuel Melville, one of the leaders of the prison rebellion. (The Los Angeles Philharmonic New Music Group performed those pieces two years ago, here and on tour in the U.K.) He followed that soon after with The People United Will Never Be Defeated!, a massive set of solo piano varia-

tions on the anthem of the Chilean Unidad Popular, which became a rallying cry for the resistance after the 1973 coupe against the Allende government. (See below.) In 1979, the pianist Paul Jacobs asked Rzewski for music he could include on an album of American piano music. Rzewski responded with Four North American Ballads. (Paul Jacobs Plays Blues, Ballads, & Rags was released on Nonesuch in 1980, and includes Copland’s Four Piano Blues and three Ghost Rags by William Bolcom.) “In writing these pieces, I took as a model the chorale preludes of Bach, who in his contrapuntal writing consistently derives motivic configurations from the basic tune,” Rzewski said in his program note. “In each piece, I built up contrapuntal textures in a similar way, using classical techniques like augmentation, diminution, transposition, and compression, always keeping the profile of the tune on some level.” Which Side Are You On? is the second piece in the set. The original protest song was written in the 1930s by Florence Reese, the wife of a union organizer in the Kentucky coal mines, to the tune of a Baptist hymn (Lay the Lily Low). The full tune is quoted only at the end, the composer beginning instead with fragments that suggest questions more than answers. There are meter and key changes throughout, across an extreme dynamic range, and Minimalist passages as well as an opportunity for improvisation. “The structure of the melody illustrates the words, Which Side Are You On?,” Rzewski said in a dissertation interview with pianist Sujin Kim. “So, are you on this side? Or are you on that side? Are you supporting the miners? Or are you supporting the bosses? It’s a question. So the idea is that you have to be on one side or the other. The music is intended to illustrate that simple idea. So, it’s divided into two parts. The first section is complex, the second section is simple.”

PIANO SONATA Aaron Copland (1900-1990) The quintessential American composer, Aaron Copland worked with a wide range of techniques and styles in virtually every musical genre. He studied with Nadia Boulanger

Aaron Copland at the Hollywood Bowl in 1928

in Paris and benefitted from the championship of Serge Koussevitzky. Copland is best known for his trio of ballets on American folk motives – Billy the Kid (1938), Rodeo (1942), and Appalachian Spring (1944) – but he also wrote symphonies and songs, operas and film scores (winning an Academy Award for his 1949 score for The Heiress), choral music, and chamber music. He was also a talented pianist (he played the solo part in the West Coast premiere of his Piano Concerto at the Hollywood Bowl in 1928) and was precocious as a composer, starting around the age of 12. At 17, he began studying composition with Rubin Goldmark, and wrote a piano sonata for Goldmark as a sort of graduation piece in 1921. Goldmark was on Copland’s mind again in 1939, when the playwright Clifford Odets commissioned a new piano sonata. “I always connect the Piano Sonata with my old teacher, Rubin Goldmark,” Copland wrote. “He thought of sonata form as music’s highest goal. It was what a composer aimed for, even more than the fugue. One thinks of the sonata as dramatic – a kind of play being acted out with plenty of time for self-expression. It seems to me that my Piano Sonata follows that idea. It is a serious piece that requires careful and repeated study. There is considerable dissonance in it, yet the work is predominantly consonant. Not as spare and bony as the Piano Variations, the themes in the Sonata are fuller and the chords more protracted than in the earlier piece. But every note was carefully chosen and none included for ornamental reasons.”

P20 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 20

2/18/20 6:38 PM

Copland did not finish this second sonata until 1941, however, and even then it was almost lost. As he was leaving to go to Tanglewood for the summer, he left two bags, one containing the manuscript for the almost completed sonata, unattended and they were stolen. The musical manuscripts were not recovered, but Copland was able to reconstruct the sonata with the aid of pianist John Kirkpatrick, who had been given previews of the work by the composer. “The Sonata lies somewhere between the Variations and Our Town,” Copland wrote. “Its three movements follow a slow, fast, slow sequence and are separate in character, but with subtle relationships between them, so that each seems to grow from the preceding. “The first movement is a regular sonata allegro form with two themes, a development section characterized by disjunct rhythms and a playful mood, and a clear recapitulation in which the opening idea is dramatically restated. The second movement scherzo is rhythmically American – I would never have thought of those rhythms if I had not been familiar with jazz… “The third movement of the Sonata is free in form and further from the classic sonata than the previous movements. The British music historian Wilfrid Mellers, whose writings about American music I have long admired, pointed to the final movement of the Piano Sonata as ’the essential Copland… its relinquishment of the time sense… is a phenomenon of quite profound spiritual and cultural implication.‘ Mellers’ allusion to the sense of ’immobility’ in the Sonata seems to say in prose what I had in mind when composing the music. The Sonata does not end with the usual flash of virtuosic passages: instead, it is rather grand and massive.”

THE PEOPLE UNITED WILL NEVER BE DEFEATED! Frederic Rzewski As a classically trained composer and sound engineer, a composition professor, and director of the television station run by the Universidad de Chile, Sergio Ortega (1938-2003) was in an excellent place to become the musical voice of the Chilean

left, which he did with inspired energy and skill. He wrote Salvador Allende‘s campaign theme song and then turned Allende’s political program into a theme album, recorded by Inti-Illimani. He wrote anthems for the Partido Radical, the Juventudes Comunistas, and the Central Única de Trabajadores, but is best-known for “¡El pueblo unido, jamás será vencido!” (The People United Will Never Be Defeated), which became the anthem of Allende’s Unidad Popular. “One day in June, 1973, three months before the bombing by Pinochet’s military coup,” Otega wrote, “I was walking through the plaza in front of the Palace of Finance in Santiago, Chile, and saw a street singer shouting, ‘The people united will never be defeated’ – a well-known Chilean chant for social change. I couldn’t stop, and continued across the square, but his incessant chanting followed me and stuck in my mind. “On the following Sunday, after the broadcast of the show Chile Says No to Civil War, which I directed for Channel 9, we went with a few artists to eat at my house outside Santiago. Upon arrival, I sat down at my piano and thought about the experience in the plaza and the events at large. When I reproduced the chant of the people in my head, the chant that could not be restrained, the entire melody exploded from me: I saw it complete and played it in its entirety at once. The text unfurled itself quickly and fell, like falling rocks, upon the melody… The song was performed in public two days later by the group Quilapayún in a heavily attended concert in the Alameda.” In the aftermath of the military coup that deposed Allende, the song became a call to action for the resistance in Chile, and soon spread around the world. It has been recorded, paraphrased, and sampled in many forms and languages, by artists ranging from jazz bassist Charlie Haden to Thievery Corporation and Big Sean in the U.S. alone; still current, it was sung in Cantonese by the protesters in Hong Kong last year. In 1975, Rzewski – who counted Ortega among his close friends – composed a stunning set of 36 variations on the song. Rzewski grouped his variations in six cycles,

Frederic Rzewski

Betty Freeman

ABOUT THE PROGRAM

with each variation a stage of musical development; the six cycles reflect the meta-development of those six stages. The music ranges over lyrical reflections and thorny counterpoint, with a broad palette of extended piano techniques, including singing and whistling. “Two songs,” Rzewski wrote, “aside from the theme itself, appear at various points: the Italian revolutionary song ‘Bandiera Rossa,’ in reference to the Italian people who in the ’70s opened their doors to so many refugees from Chilean fascism, and Hanns Eisler’s 1932 antifascist ‘Solidaritätslied,’ a reminder that parallels to present threats existed in the past and that it is important to learn from them. After the sixth cycle, the pianist is offered the option of improvising a cadenza... The extended length of the composition may be an allusion to the idea that the unification of people is a long story and that nothing worth winning is acquired without effort.”

PERFORMANCES MAGAZINE P21

LAPHIL_PROG1_0320.indd 21

2/18/20 6:38 PM

ABOUT THE ARTIST

Conrad Tao

CONRAD TAO Conrad Tao has appeared worldwide as a pianist and composer and has been dubbed a musician of “probing intellect and openhearted vision” by The New York Times, who also cited him as “one of five classical music faces to watch” in the 2018/19 season. Tao is a recipient of the prestigious Avery Fisher Career Grant and was named a Gilmore Young Artist – an honor awarded every two years to highlight the most promising American pianists of the new generation. At the 2019 New York Dance and Performance Award (“Bessies”), Tao was the recipient of the award for Outstanding Sound Design / Music Composition, for his work on More Forever, his collaboration with Caleb Teicher. Tao’s 2018/19 season began with the New York Philharmonic’s world premiere of their commission Everything Must Go, and the inaugural concert of their curated late-night concert series Nightcap. He also made his LA Opera debut in the West Coast premiere of David Lang’s adaptation of Thomas Bernhard’s the loser and made his Los Angeles Philharmonic debut performing Beethoven’s Piano Concerto No. 1, alongside summer debuts with the Cleveland Orchestra, New York Philharmonic, and Boston Symphony.

In Europe, he was presented by the Swedish Radio Symphony in recital and in Andrew Norman’s Suspend alongside Susanna Mälkki; he also returned to the Orchestra dell’Accademia Nazionale di Santa Cecilia, performing with Antonio Pappano. In the 2019/20 season, Tao is appearing in recital by Carnegie Hall, performing works by David Lang, Bach, Julia Wolfe, Jason Eckhardt, Carter, Rachmaninoff, and Schumann. He is also making his debut in recital at Walt Disney Concert Hall, where the LA Phil is presenting him in works by Copland and Frederic Rzewski. Following his debut at Blossom, The Cleveland Orchestra is presenting Tao in Severance Hall in a special program featuring music by Mary Lou Williams and Ligeti, and improvisation alongside pianist Aaron Diehl. Concerto highlights of the season include performances of his own work for piano and orchestra, The Oneiroi in New York, with the Seattle Symphony, as well as performances with the Baltimore, Charlotte, and Pacific symphony orchestras. He will also perform The Oneiroi alongside Galina Ustvolskaya’s Piano Concerto with the Phoenix Symphony. In March 2020, Tao’s piece Everything Must Go is receiving its European premiere with the Antwerp Symphony Orchestra and conductor Edo de Waart.

In addition to concert halls, he is also touring college campuses, including the University of Notre Dame, UC Berkeley, Humboldt State University, Oregon State University, and Princeton University. Tao’s acclaimed evening-length collaboration with choreographer Caleb Teicher, More Forever, is being presented by Celebrity Series of Boston, and is making its West Coast premiere at Segerstrom Hall in Orange County. His ongoing electroacoustic collaboration with improviser and vocalist Charmaine Lee continues with an opening-night performance at the 2019 Resonant Bodies Festival in New York. In the spring, Tao is touring with the JCT Trio – his ensemble with violinist Stefan Jackiw and cellist Jay Campbell – to Massachusetts, Washington D.C., Ohio, Texas, and New Mexico. He will also celebrate Stephen Sondheim’s 90th birthday at the 92Y with Anthony de Mare, premiering a new two-piano take on “Move On,” from Sunday in the Park with George. As a curator and producer, Tao presented the UNPLAY Festival in June 2013 at the powerHouse Arena in Brooklyn. The festival, hailed by The New York Times for its “clever organization” and “endlessly engaging” performances, featured Tao with guest artists performing a wide variety of new works. Across three nights encompassing electroacoustic music, performance art, youth ensembles, and much more, UNPLAY explored the fleeting ephemera of the internet, the notion of canonization in the 21st century, and the role music plays in social activism and critique. A Warner Classics recording artist, Tao’s debut disc Voyages was declared a “spiky debut” by The New Yorker’s Alex Ross. His next album, Pictures, with works by David Lang, Toru Takemitsu, Elliott Carter, Mussorgsky, and Tao himself, was hailed by The New York Times as “a fascinating album [by] a thoughtful artist and dynamic performer… played with enormous imagination, color and command.” His third album, entitled Compassion, was released in October 2019 and features works by Julia Wolfe, Frederic Rzewski, and Aaron Copland. Tao was born in Urbana, Illinois, in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis.

P22 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 22

2/18/20 6:38 PM

PROGRAM

Power to the People! The Movie Music of Spike Lee & Terence Blanchard

SATURDAY MARCH 14, 2020 8PM

Terence Blanchard and The E-Collective Anthony Hamilton, special guest Ben Harper, special guest Valerie June, special guest Los Angeles Philharmonic Damon Gupton, conductor

Produced in association with Robin Burgess and Danny Kapilian Terence Blanchard and The E-Collective Terence Blanchard, trumpet and synths Charles Altura, electric guitar Fabian Almazan, piano / synths David Ginyard, Jr., electric bass Oscar Seaton, drums

Programs and artists subject to change.

PERFORMANCES MAGAZINE P23

LAPHIL_PROG1_0320.indd 23

2/18/20 6:38 PM

ABOUT THE PROGRAM

The Movie Music of Spike Lee and Terence Blanchard celebrates the long relationship between filmmaker and composer as well as the “extramarital” relationship between scoring and being your own unique artist. The show features music performed live with projected images and video mapping of Spike Lee films culled from the early ’90s to the present, orchestrated by Blanchard for his E-Collective, an orchestra, and very special guests. “Each track... is a reflection on the human spirit, sometimes in pain or rage. Blanchard... creates music that has a broken heart, and yet there’s also a fierce and defiant side to the writing that will make it hard to ignore...” (Film Score) For a concert exploring music in film, there is no better curator than six-time Grammy® winner Terence Blanchard — one of the most important musicians, composers and band leaders of his generation. Blanchard has scored almost every Spike Lee film since Jungle Fever, though he was a sideman in the orchestra on Do the Right Thing and the trumpet voice of Denzel Washington in Mo’ Better Blues. Tonight’s show celebrates Spike Lee and Terence Blanchard’s 30 years of creative collaboration. Terence Blanchard and Spike Lee have one of the most fruitful and eclectic composerdirector marriages in movie history. They became creative brothers in 1988, when the filmmaker’s father, composer Bill Lee, hired the young jazz trumpeter and his New Orleans comrades — Wynton Marsalis, Branford Marsalis, and Donald Harrison — to play on the old man’s score for School Daze. The young men were all “avid sports fans,” said Lee, “so we just hung out together.” Bill Lee had scored all of his son’s films since Spike’s own school days, and the jazz cats again played on Bill’s Americana score for Do the Right Thing in 1989. But the director was ready for a new composer, and he looked beyond his blood to this adopted artistic family. Lee was already planning to give his musicians a bigger role in his next film, Mo’ Better Blues, a saga about music, rivalry, and relationships centered on Denzel Washington’s jazz trumpeter, Bleek Gilliam. Lee cast Blanchard as Washington’s

trumpet and Branford Marsalis as Wesley Snipes’ saxophone, which required them to pre-record their parts before the film was shot. “We were in the recording studio one day,” Lee recalled, “and Terence was playing this beautiful melody on the piano. I said, ‘Terence, what is that?’ ‘It ain’t nothin.’ ‘Nah, nah, don’t give me that. That’s something right there. What’s the name of that?’ And he says, ‘The title’s called ‘Sing Soweto’ [named for the Apartheid-era ghetto outside Johannesburg]. I said, ‘You know what? We should make this the theme for Bleek Gilliam.’” Blanchard’s original tune supplemented Bill Lee’s score, and when Spike Lee made his next film – Jungle Fever – he hired Blanchard to compose the whole thing. Twenty-four films and nearly 30 years later... they’re still going. Blanchard studied composition from the time he was 16, but he had never scored a film before 1991. That didn’t matter to the director of Jungle Fever. “I had the belief that jazz musicians are the greatest musicians of all,” Lee said. “The greats are telling a story every time they play their instrument.” Blanchard called on his training in analyzing symphonies, and he “went out and got some Debussy, and got some Stravinsky, pulled out those scores and just started poring through them and looking at the voicings that were used for certain sounds and textures and colors, and then started to try to implement those things.” He agrees that jazz prepared him for the role: “You’re going to have a beginning, middle, and an end to what it is that you do, even though you’re improvising. It’s not just about regurgitating ideas over chord changes. When I listen to Wayne Shorter, and when I listen to Herbie Hancock, they take you on a journey. And I think that plays well for us in the film-writing process, because you look at the entire film as one composition.” Blanchard is a jazz giant, but he’s often reduced to nothing else. His work for Spike Lee alone shouts a different story. He has composed the scores for historical epics (Malcolm X), World War II action pics (Miracle at St. Anna), documentaries about the civil rights movement (4 Little Girls) and Hurricane Katrina (When the Levees Broke), crime dramas (Inside Man, 25th Hour), serial killer stories (Summer of Sam), and

a tale about Chicago gang violence by way of ancient Greek theater (Chi-Raq). From the comic to the deadly serious – sometimes within the same film – and roving all over the map of musical style and mood, Blanchard and Lee have created a joint body of work as prolific and diverse as nearly any director-composer pairing in film history. “That’s one of the stigmas that are put upon jazz musicians, that they can only do jazz,” said Lee, who knows a thing or two about being put in a box. “Which is nonsense.” Lee loves melody more than almost anything. “One of the first conversations we had,” recalled Blanchard, “Spike told me, ‘Listen, I don’t like underscore.’ I had to learn how to be able to take melodic content and try to fit that around dialogue. He wants people to walk away from the film humming the themes.” When he was preparing to score the opening battle of Miracle at St. Anna in 2008, Blanchard said, “I was chomping at the bit, like, Oh man, this is like Private Ryan! I can do some crazy [stuff]. And Spike’s like, ‘No, no, no, man! I just want the sweeping, melodic thing.’ And it works, but that’s part of his aesthetic, and it’s grown into something.” After nearly three decades of scoring films, Blanchard finally earned his first Academy Award nomination in 2019 for BlackKklansman. Aptly, it’s the story of a black man infiltrating a sealed-off and extremely white system – an all-white police force and the Ku Klux Klan – and the composer baked a musical metaphor into the score, inspired by the protagonist Ron Stallworth. “Boy, I relate to the moment where he’s telling his captain, ‘Well, I speak the Queen’s English, but I also speak jive,’” said Blanchard. “That moment, for a lot of African-Americans, is very resonant, because we always have kind of known we’re operating in two worlds.” So Blanchard wrote a score that codeswitches between orchestral, Aaron Copland Americana and the R&B sound of his band, the E-Collective, with featured solos on electric guitar. The instrument’s wail fit the film’s narrative, but it also taps into the vein of the composer’s entire life and career. He was inspired by Jimi Hendrix famously shredding on the national anthem at Woodstock. “I thought, that’s probably

P24 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 24

2/18/20 6:38 PM

ABOUT THE ARTISTS

one of the most patriotic musical things that I’ve heard,” Blanchard said. “It represented to me the notion that women and people of color have been screaming for decades: ‘We’re Americans, too, who should be afforded the same rights as anybody else.’ It’s that thing where somebody responds to you in such a way that’s totally foreign to

who you are, and you know they did it just because of the way you look. You want to scream to them: ‘Woah, woah, woah – why do you think that of me? You haven’t had a conversation with me. You haven’t gotten to know me.” BlackKklansman is reflective of the director’s whole repertory, too. “When I

think about Spike’s films,” Blanchard said, “the overall gist of what he’s dealing with is humanity.” Lee said Blanchard’s music is almost like a narrator in his films, and more than that: “I would use the word ‘soul.’ Not in the sense of soul music, but soul. We just have a great thing. You know, sympatico.” — Tim Greiving

ABOUT THE ARTISTS

TERENCE BLANCHARD Oscar nominee, 2018 USA Fellow and sixtime Grammy-winning trumpeter/composer Terence Blanchard has been a consistent artistic force for making powerful musical statements concerning painful American tragedies – past and present. From his expansive work composing the scores for Spike Lee films ranging from the documentary When the Levees Broke, about Blanchard’s hometown of New Orleans during the devastation from Hurricane Katrina to the epic BlacKkKlansman, Blanchard has interwoven melodies that created strong backdrops to Lee’s stories. With his current quintet E-Collective, featured on the score to BlacKkKlansman with a 75-piece orchestra, Blanchard delivers “a soaring, seething, luxuriant score,” comments the New York Times. In Vice Magazine, Blanchard elaborates, “In BlacKkKlansman it all became real to me. You feel the level of intolerance that exists for people who ignore other people’s pain. Musically, I can’t ignore that. I can’t add to that intolerance. Instead I have to help people heal from it.” With his newest Blue Note jazz album, Live, which he is currently touring with his band, Blanchard addresses the staggering cyclical epidemic of gun violence in this country. He delivers seven powerful songs recorded live in concert that both reflect the bitter frustration of the conscious masses while also providing a balm of emotional healing. With a title that carries a pointed double meaning, the album is an impassioned continuation of the band’s Grammy®-nominated 2015 studio recording,

Terence Blanchard

Breathless, (named in honor of Eric Garner who pleaded in vain to a pile of police officers with their knees in his back that he could not breathe). If those few projects didn’t keep Blanchard busy enough, simultaneously he was putting the finishing touches on his second opera, Fire Shut Up in My Bones, hailed by the NYTimes as ”a bold and affecting adaptation of Charles Blow’s memoir.” Blow, a NY Times writer and political pundit, worked with Blanchard on the libretto by film director Kasi Lemmons, a longtime friend and collaborator of Blanchard’s from their early days together of working on Eve’s Bayou and this year’s Harriet. Fire Shut Up in My Bones premiered in 2019 at Opera Theatre St. Louis, which also premiered Blanchard’s first lauded opera, Champion, a semi-biographical look at gay welterweight champion, Emile Griffith’s life. This year, the Metro-politan Opera announced plans to present Blanchard’s Fire Shut

Up in My Bones in an upcoming season. When the work premieres under the baton of Met music director Yannick Nézet-Séguin, it will mark the first time in the Met’s 136year history that the company has staged an opera by a black composer. Regarding his consistent attachment to artistic works of conscience, Blanchard confesses, “You get to a certain age when you ask, ‘Who’s going to stand up and speak out for us?’ Then you look around and realize that the James Baldwins, Muhammad Alis, and Dr. Kings are no longer here...and you begin to understand that it falls on you. I’m not trying to say I’m here to try to correct the whole thing, I’m just trying to speak the truth.” In that regard, he cites unimpeachable inspirations. “Max Roach with his ‘Freedom Now Suite,’ John Coltrane playing ‘Alabama,’ even Louis Armstrong talking about what was going on with his people any time he was interviewed. Herbie Hancock and Wayne Shorter who live by their

PERFORMANCES MAGAZINE P25

LAPHIL_PROG1_0320.indd 25

2/18/20 6:38 PM

ABOUT THE ARTISTS

Buddhist philosophy and try to expand the conscience of their communities. I’m standing on all of their shoulders. How dare I come through this life having had the blessing of meeting those men and not take away any of that? Like anybody else, I’d like to play feel-good party music but sometimes my music is about the reality of where we are.”

E-COLLECTIVE Discussing the origin of the E-Collective, Terence Blanchard states, “I didn’t put this group together to be a protest band. We started out wanting to play music to inspire young people who didn’t want to play jazz to play instrumental music on its highest level. In this computer age, we saw too many kids playing music but not trying to learn theory or master their craft. However, while we were on tour in Europe, Mike Brown got shot. Trayvon Martin had already been murdered. And back then it seemed like these shootings were happening every month. That’s when I felt we had to stand up and make a musical. What would we look like as artists, doing a record like Breathless then come out with some other project totally devoid of consciousness?” The E-Collective is experimental, electric, and exotic. “This band is an example of the revolution that is taking place,” Blanchard explains. “The pianist Fabian Almazan – born in Cuba, raised in Florida – has his own record label, Biophilia, that’s devoted to making the planet green. The bassist David Ginyard, Jr., from Greensboro, South Carolina, is a very talented and spiritual person. He doesn’t preach or wear it on his sleeve, but he walks tall in his confidence every day. The guitarist Charles Altura looks like a hard rocker, but he’s a brilliant Stanford alumnus who studied anthropology, yet sits at the piano and plays Chopin after most shows. And the drummer Oscar Seaton, who grew up playing gospel in church in Chicago, has been with Lionel Richie for 16 years. When you look at the conglomeration of us all, from different walks of life, look at how we come together and create something harmonious. We are what the promise of America is supposed to be.”

Anthony Hamilton

ANTHONY HAMILTON Proclaimed a ”national treasure” by the Los Angeles Times, Grammy® Award winning singer, songwriter, producer, and actor Anthony Hamilton has achieved global sales of over 50 million albums. The North Carolina Music Hall of Fame inductee notably performed for President Barack Obama and First Lady Michelle Obama, cementing his place in the history books as the “narrator of love.” Introduced by way of the iconic 2003 smash “Charlene,” his raw, awe-inspiring performances garnered the attention of NPR where he starred in their Noteworthy documentary series. He made his film debut in the critically

acclaimed American Gangster, and he lent his vocals to the song “Freedom” from the Academy Award®-nominated film Django Unchained. Hamilton will now add author and publisher to his list of accomplishments with the unveiling of his first self-published book, Cornbread Fish ‘n Collard Greens, in which he shares the inspiration for some of the iconic songs in his illustrious career and his love of Southern food.

BEN HARPER Beginning with his 1994 debut, Welcome To The Cruel World, Ben Harper released a string of eight studio albums over a decade

Ben Harper

P26 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 26

2/18/20 6:38 PM

ABOUT THE ARTISTS

and a half. This extraordinary run, featuring contributions from the Innocent Criminals, established him as a singularly powerful songwriter and performer with range across multiple genres and an unmatched ability to blend the personal and political. The accolades poured in – Rolling Stone hailed his “jewels of unique and exquisitely tender rock & roll,” while Entertainment Weekly praised his “casual profundity,” and Billboard said his music “reminds us of the power and beauty of simplicity.” Massive, international sold-out tours, Top 10 debuts in the U.S., Gold and Platinum certifications overseas, and a slew of TV appearances cemented Harper and the band’s status as genuine global stars.

VALERIE JUNE “Understanding the order of time is important to anyone hoping to manifest a dream,” says Valerie June. “There is a time to push, and a time to gently tend the garden.” Since the release of her 2013 breakout Pushin’ Against A Stone, June has been patiently at work in the garden of song, nurturing seedlings with love and care into the lush bloom that is her stunning new album, The Order of Time. Some songs grew from seeds planted more than a decade ago, others blossomed overnight when she least expected them to, but every track bears the influence of time. See, time has been on June’s mind a lot lately. It’s the only constant

in life, even though it’s constantly changing. It’s the healer of all wounds, the killer of all men. It’s at once infinite and finite, ever flowing with twists and turns and brutal, churning rapids that give way to serene stretches of placid tranquility. Fight against the current and it will knock you flat on your ass. Learn to read it, to speak its language, and it will carry you exactly where you’re meant to be. “Time is the ruler of Earth’s rhythm,” June explains. “Our daily lives revolve around it. Our hearts beat along to its song. If we let it, it can be a powerful guide to turning our greatest hopes and dreams into realities.” June knows a thing or two about turning hopes and dreams into realities. With Pushin’ Against A Stone, she went from self-releasing her music as Tennessee’s best kept secret to being hailed by the New York Times as one of America’s “most intriguing, fully formed new talents.” The New Yorker was captivated by her “unique, stunning voice,” while Rolling Stone dubbed her “unstoppable,” and NPR called her “an elemental talent born with the ability to rearrange the clouds themselves.” She astonished TV audiences from coast-to-coast with spellbinding performances on The Tonight Show, The Late Show, Austin City Limits, Rachael Ray, and CBS Saturday Morning, and graced some of the world’s most prestigious stages, from Carnegie Hall to the Kennedy Center. First Lady Michelle Obama invited June to The White House, and she toured with artists like Sharon Jones & The Dap Kings,

Valerie June

Sturgill Simpson, Norah Jones, and Jake Bugg in addition to flooring festival crowds at Bonnaroo, Outside Lands, Newport Folk, Hangout, ACL, Pickathon, Mountain Jam and more. In the UK, the reaction was similarly ecstatic. June performed on Later…with Jools Holland, joined a bill with the Rolling Stones in Hyde Park, and took the press by storm. Uncut praised her “remarkably careworn vocals,” MOJO swooned for her “glorious sound,” and The Independent’s Andy Gill wrote, “June has the most strikingly individual delivery I’ve heard in ages.” When it came time to record the followup, June felt liberated by the success, fearless and more confident than ever in trusting her instincts and following her muse. There was to be no rushing the music, no harvesting a song before it was ripe on the vine and ready to be plucked. When she sensed the time was right, she headed to rural Guilford, Vermont, with producer Matt Marinelli, spending long stretches through the fall and winter living and recording away from the hustle and bustle of her adopted home of Brooklyn. “They made us feel so welcome in Vermont,” remembers June. “I was cooking amazing food and hanging out with the band all the time. There were long talks and long walks in the snow, and friends would come up for holidays. I felt like I put myself in a place where I could really soar. With the last album, I was absorbing and learning and developing so much in the studio, but this is me taking the things I learned and the things I felt in my heart and fighting for them.” In her heart, June is a songwriter first and foremost, willing and able to blur the lines between genres and eras of sounds. The result is an eclectic blend of folk and soul and country and R&B and blues that is undoubtedly the finest work of her career. Opener “Long Lonely Road” settles in like languid southern heat, as June looks back to the sacrifices of her parents and grandparents, singing in a gentle near whisper of the sometimes difficult, sometimes beautiful journey we all must undertake in search of brighter days. On the soulful “Love You Once Made,” her voice is backed by rich horns and vintage organ as she makes peace with the specter of loss and the ephemeral nature of our relationships, while the bluesy juke joint rocker “Shake Down”

PERFORMANCES MAGAZINE P27

LAPHIL_PROG1_0320.indd 27

2/18/20 6:38 PM

ABOUT THE ARTISTS

features backup vocals from her brothers, Jason and Patrick Hockett and father, Emerson Hockett recorded at home in Tennessee, and “Man Done Wrong” centers on a hypnotic banjo riff that’s more African than Appalachian. “People shouldn’t necessarily think of bluegrass when they see the banjo,” explains June. “It was originally an African instrument, and people in America used to play all kinds of banjo: mandolin banjo, ukulele banjo, bass banjo, classical banjo, jazz banjo, there were even banjo orchestras. For some reason people like to limit it and say it just has to be in folk and bluegrass, but to me it can be in anything, and I really wanted to set the banjo free on this record.” The banjo turns up again later as the underpinning of the R&B rave-up “Got Soul,” which plays out like a mission statement for the entire album, as June offers to “sing a country tune” or “play the blues” but reveals that underneath it all is her sweet soul. Those genre terms might be simplistic ways to attempt to define her, empty signifiers creating distinctions between sounds where June sees none. “With You” channels the sprightly, ethereal beauty of Nico with fingerpicked electric guitar and cinematic strings, “Slip Slide On By” grooves with shades of Van Morrison, and “If And” slowly builds over meditative hum that hints at John Cale. Despite the music’s varied nature, the songs all belong to a cohesive family, in part because they’re tied together by June’s one-of-a-kind voice, and because they’re all pieces of a larger rumination on the passage of time and how it affects us. The ultimate takeaway from tracks like “The Front Door” and “Just in Time” is that the present is all we have. Everything around us (our loved ones, our youth, our beauty) will someday fade and disappear, but that transience is what makes those things all the more magical. We’re given this brief moment to share our love and light with the world, and when, as June sings on the album, “Time’s hands turn and point straight towards you,” you’d better be ready. Thankfully for us, June was ready when time told her to harvest these songs. In the garden, as in life, there is a time for everything, and the moment has finally arrived to enjoy the fruits of all her labor. With The

Order of Time, Valerie June has prepared a bountiful feast, and there’s a seat at the table for everyone.

DAMON GUPTON Damon Gupton is the newly appointed Principal Guest Conductor of the Cincinnati Pops Orchestra. A native of Detroit, Michigan, Gupton served as American Conducting Fellow of the Houston Symphony and held the post of assistant conductor of the Kansas City Symphony. His conducting appearances include the Orchestra of St. Luke’s, Detroit Symphony, Baltimore Symphony, Cincinnati Pops, National Symphony Orchestra, Ft. Worth Symphony, San Francisco Symphony, Atlanta Symphony Orchestra, Orchestre Philharmonique de Monte Carlo, and Orquesta Filarmonica de UNAM. He led the Sphinx Chamber Orchestra on two national tours with performances at Carnegie Hall, and he conducted the finals of the Seventh Cliburn International Amateur Piano Competition in 2016 and will return to Cliburn again in 2020. Gupton received his Bachelor of Music Education from the University of Michigan, and he studied

conducting with David Zinman and Murry Sidlin at the Aspen Music Festival and with Leonard Slatkin at the National Conducting Institute. Awards include the Robert J. Harth Conducting Prize and the Aspen Conducting Prize. Gupton is the inaugural recipient of the Emerging Artist Award from the University of Michigan School of Music and Alumni Society. An accomplished actor, Gupton graduated from the Drama Division of the Juilliard School. He has had roles in television, film, and on stage, including the Broadway production of Bruce Norris’ Pulitzer Prize and Tony Award-winning Clybourne Park, the Ovation and L.A. Drama Critic’s Circle award winning Ma Rainey’s Black Bottom at the Mark Taper Forum. Gupton’s television credits include series regular roles on Black Lightning, Criminal Minds, The Player, The Divide, Prime Suspect, and Deadline as well as guest or recurring appearances on Dirty John, Goliath, Bates Motel, The Newsroom, Suits, Empire, and Rake, as well as Damien Chazelle’s Academy Award-winning films Whiplash and LaLa Land.

Damon Gupton

P28 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 28

2/18/20 6:38 PM

SONGBOOK

Power to the People! Cécile McLorin Salvant – Ogresse

PROGRAM

TUESDAY MARCH 15, 2020 7:30PM

Cécile McLorin Salvant Arranged and conducted by Darcy James Argue

Cécile McLorin Salvant, vocals Alexa Tarantino, piccolo, flute, alto flute, clarinet, soprano sax, alto sax Tom Christensen, oboe, English horn, bass clarinet, tenor sax Kirk Knuffke, cornet Josh Roseman, trombone, tuba Brandon Seabrook, guitar, tenor banjo Joel Ross, vibraphone, marimba Helen Sung, piano, melodica, organ David Wong, contrabass Samuel Torres, percussion Mivos String Quartet Olivia De Prato, violin Maya Bennardo, violin Victor Lowrie Tafoya, viola Tyler J. Borden, cello Darcy James Argue, conductor

Program presented without intermission

Programs and artists subject to change.

PERFORMANCES MAGAZINE P29

LAPHIL_PROG1_0320.indd 29

2/18/20 6:38 PM

ABOUT THE PROGRAM

OGRESSE Music and libretto by Cécile McLorin Salvant Arranged by Darcy James Argue “A woman lived in the woods on the outskirts of town. Her skin is chocolate brown. Upon her head, she wears a crown of bones.” These are the opening lines of Ogresse, which imaginatively brings to life a love story about a female ogre. Ogresse is an 80-minute musical story written by three-time Grammy-award winning artist Cécile McLorin Salvant. Arranged by Darcy James Argue and performed by a 13-piece ensemble, the composition blends classical, folk, and jazz. It reflects Cécile’s indepth study of music, folktales ,and culture with her Haitian-American background and her 21st-century American environment.

Cécile is an accomplished and wildly imaginative composer as well as a charismatic vocalist, and her interests include visual art, mythology, and theater as well as music. McLorin Salvant wrote the music and libretto herself. She then brought in Darcy James Argue to arrange some of the songs, but during their collaboration, the project turned into a theatrical show with McLorin Salvant embodying multiple narrative voices over Argue’s deft orchestrations Ogresse addresses the concept of the “other” and how people are marginalized and made to seem monstrous. It deals with the attempt to find a self and personal culture within, while being debased by external indignities. It is about how those indignities can seep in and be consumed by a person, and the tragic consequences of that consumption. The protagonist, the ogresse,

is highly influenced by the story of Sara Baartman, a South African Khoikhoi woman who was exhibited as a freak show attraction in Europe in the early 1800s. Baartman died in Paris, and her body was dissected and displayed in a museum until the 1970s. Ogresse is a “story at once epic and intimate, full of unexpected detours,” Will Friedwald wrote in his Wall Street Journal review its Jazz at Lincoln Center performance last year. “Virtually everything about it is staggeringly original.” Ogresse was commissioned by The Metropolitan Museum of Art, the New Jersey Performing Arts Center, and the John F. Kennedy Center for the Performing Arts; Cécile has performed Ogresse at all three of those venues, in addition to Jazz at Lincoln Center.

a string quartet, standards and original compositions – held together by a vocal delivery that cuts against the grain, ever deepening, intensifying, and nuancing the lyrics. Thematically, The Window is a meditative cycle of songs about the mercurial nature of love. The duo explores the theme across a wide repertory that includes Richard Rodgers and Stephen Sondheim, the innervisionary Stevie Wonder, gems of French cabaret, and early Rhythm and Blues, alongside McLorin Salvant’s brilliant, original compositions. Just as a window frames a view – revealing as much as it hides, connecting as much as it separates – each song on the album offers a shifting and discerning perspective on love’s emotional complexity. McLorin Salvant sings of anticipation and joy, obsession and madness, torment and longing, tactics and coyness. The Window traverses love’s wide universe, from the pleasure of a lover’s touch with its feelings of human communion, to the invisible masks we wear to hide from others and from ourselves. Her gifts as an artist are rooted in her intensive study of the history of American Music and her uncanny ability to curate its treasures for her audience. Her albums are

explorations of the immense repository of experience and feeling that abound in popular song. She understands the special role of the musician to find and share the emotions and messages in music that speak to our past, present and future. “I am not interested in the idea of relevance,” she explains. “I am interested in the idea of

ABOUT THE ARTISTS

CÉCILE MCLORIN SALVANT The world first learned of the incredible vocal artistry of Cécile McLorin Salvant when she won the prestigious 2010 Thelonious Monk International Jazz Competition. In just under the span of a decade, she has evolved into a multi-Grammy® Awardwinner (with all three Mack Avenue Records releases receiving nominations, and the last two winning the Best Jazz Vocal Album category) and a prescient and fearless voice in music today. Her newest release, The Window, an album of duets with the pianist Sullivan Fortner, explores and extends the tradition of the piano-vocal duo and its expressive possibilities. With just Fortner’s deft accompaniment to support McLorin Salvant, the two are free to improvise and rhapsodize, to play freely with time, harmony, melody, and phrasing. Each new recording by McLorin Salvant reveals new aspects of her artistry. WomanChild and For One to Love established her style, her command, and interpretive range. Dreams and Daggers is a work that highlights her fresh and fearless approach to art that transcends the conventional – live and in the studio, with a trio and with

Cécile McLorin Salvant

P30 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 30

2/18/20 6:38 PM

ABOUT THE ARTISTS

presence. I want to communicate across time, through time, play with time.” Onstage, her persona is often compared to that of an actress. But, as McLorin Salvant notes, “jazz would not be what it is without its theatrical origins, vaudeville, and minstrel shows.” Through her selection of repertory and brilliant interpretations, she “plays with time,” making the musical past speak to our contemporary world. Historically, her unflinching performance of songs from the minstrel tradition challenge us to think harder about race in America today. Her ironic, even sinister, rendition of songs explore the complex intertwining of sex, gender, and power. Her blues numbers are bawdy and vibrant, melancholic and forlorn, insistent and emancipatory. She sings of the ecstasy and agony of love, of jubilation and dejection, of desire and being desired, of fearlessness and fragility. “I want to get as close to the center of the song as I can,” McLorin Salvant explains. “When I find something, beautiful and touching I try to get close to it and share that with the audience.” Immersed in the song and yet completely in control, McLorin Salvant brings her immense personality to the music – daring, witty, playful, honest, and mischievous. All of McLorin Salvant’s study, training, creativity, intelligence, and artistry come together in her voice on The Window. The sound of her voice covers the gamut from breathy to bold, deep and husky to high and resonant, limpid to bluesy, with a clarity and richness that is nearly unparalleled. When she first burst onto the jazz scene, many listeners were struck by her ability to recall the sound of Bessie Smith, Sarah Vaughan, or Betty Carter. Yet with each new album, McLorin Salvant’s voice has become more her own, more singular. While conjuring the spirits of the ancestors, her references are controlled, focused, and purposeful. Her remarkable vocal technique never overshadows her rich interpretations of songs both familiar and obscure. Touched at every moment by Cécile McLorin Salvant’s brilliance, The Window is a dazzling new release from an artist who is surely, to quote Duke Ellington, “beyond category.”

DARCY JAMES ARGUE “For a wholly original take on big band’s past, present and future, look to Darcy James Argue” — so says Newsweek’s Seth Colter Walls. The Vancouver-born, Brooklyn-based composer and bandleader has toured nationally and internationally with his 18-piece ensemble, Secret Society, garnering countless awards and nominations and reimagining what a 21st-century big band can sound like. “It’s maximalist music of impressive complexity and immense entertainment value, in your face and then in your head” writes Richard Gehr in the Village Voice. Argue made his mark with his critically acclaimed 2009 debut Infernal Machines. 2013 saw the release of Brooklyn Babylon, which, like Infernal Machines before it, earned the group nominations for both Grammy® and JUNO Awards. His most recent recording, Real Enemies, released in the fall of 2016, earned a third consecutive Grammy nom-ination and has been praised as “wildly discursive, twitchily allusive, a work of furious ambition… deeply in tune with our present moment” by The New York Times’ Nate Chinen. Argue recently collaborated with Grammywinning vocalist Cécile McLorin Salvant, arranging, orchestrating, and conducting her “macabre, majestically relevant” (New York Music Daily) original song cycle Ogresse, which premiered in September 2018 to a standing-room only crowd at the Metropolitan Museum of Art. JazzTimes’ Matthew Kassel calls Ogresse “a daring, and genredefying, departure… a grand synthesis of jazz, musical theater, mythology, visual art, cooking, fashion, acting, race, sexuality.” In addition to his work with Secret Society, Argue has toured Australia and New Zealand leading the Jazzgroove Mothership Orchestra and was featured in the Orquestra Jazz de Matosinhos’ inaugural international Jazz Composers Forum. He has led performances of his music by the WDR Big Band, the Danish Radio Big Band, the Frankfurt Radio Bigband, the Cologne Contemporary Jazz Orchestra, the Big Band Palácio das Artes, and the West Point Jazz Knights. Argue has composed works for chamber duo and string quartet, art songs for Newspeak, and created arrangements for the Atlanta Symphony

Darcy James Argue

Orchestra. He has conducted residencies and workshops at the University of North Texas, McGill University, the Royal Conservatory of The Hague, Cornish College, Western Connecticut State University, and with the Western Australian Jazz Youth Orchestra, among others. In 2012, he was composerin-residence for Missouri State University’s annual Composition Festival. In 2015, Argue was awarded a Guggenheim Fellowship in Music Composition and a Doris Duke Artist Award. He has received commissions from the Fromm Music Foundation, the Jazz Gallery, the Manhattan New Music Project, the Jerome Foundation, and BAM, as well as ensembles including the Danish Radio Big Band, the Hard Rubber Orchestra, the West Point Jazz Knights, and the Orquestra Jazz de Matosinhos. He is the recipient of grants and fellowships from the New York Foundation for the Arts, New Music USA, the Aaron Copland Fund for Music, Composers Now, the Mid Atlantic Arts Foundation, the Canada Council for the Arts, and the MacDowell Colony.

PERFORMANCES MAGAZINE P31

LAPHIL_PROG1_0320.indd 31

2/18/20 6:38 PM

COMING SOON

FRI MAR 20 11AM

SUN MAR 22 7:30PM

PIATIGORSKY INTERNATIONAL CELLO FESTIVAL: HAYDN CONCERTO

PIATIGORSKY INTERNATIONAL CELLO FESTIVAL

SAT MAR 21 8PM

PIATIGORSKY INTERNATIONAL CELLO FESTIVAL: SCHUMANN CONCERTO SUN MAR 22 2PM

PIATIGORSKY INTERNATIONAL CELLO FESTIVAL: ADOLPHE CONCERTO Los Angeles Philharmonic Karen Kamensek, conductor Laura van der Heijden, cello (Fri) Kian Soltani, cello (Sat) Ralph Kirshbaum, cello (Sun) Camille PÉPIN Vajrayana HAYDN Cello Concerto No. 1 in C (Fri) SCHUMANN Cello Concerto (Sat) Julia ADOLPHE Chrysalis (world premiere, LA Phil commission) (Sun) MENDELSSOHN Symphony No. 3, “Scottish” The Piatigorsky International Cello Festival reaches a peak this weekend as three brilliant cellists alternate on three dates in three concertos: two acknowledged masterworks and one world premiere. In her Philharmonic debut, American conductor Karen Kamensek also leads Mendelssohn’s popular musical memoir of visiting Scotland.

Hilo Carriel, conductor Jean-Guihen Queyras, cello Juho Pohjonen, piano Camille Thomas, cello Bernadene Blaha, piano Narek Hakhnazaryan, cello Kevin Fitz-Gerald, piano Sakura Cello Quintet Sarah Shafer, soprano Piatigorsky Mass Cello Ensemble   FRANCK Cello Sonata    RAVEL Kaddish from Deux mélodies hébraïques DEBUSSY Cello Sonata FAURÉ Élégie PAGANINI Variations on One String Donald CROCKETT Carving an Alphabet (world premiere) DEBUSSY The Girl with the Flaxen Hair VILLA-LOBOS Bachianas Brasileiras No. 5  BACH Air on the G String This very popular event begins with pieces for individual cellos, featuring three incredible artists, then eventually proceeds to the stunning sound of a stage completely filled with cellists. TUE MAR 24 8PM

POWER TO THE PEOPLE! Place Co-created by Ted Hearne, Patricia McGregor, and Saul Williams LA Phil New Music Group Ted Hearne, composer and conductor Saul Williams and Ted Hearne, libretto Patricia McGregor, director Tim Brown and Sanford Biggers, scenic design Tim Brown, video design Pablo Santiago, lighting design Jody Elff, sound design Rachel Myers, costume design Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods, vocalists

Ted HEARNE Place (West Coast premiere, LA Phil commission) Co-produced and co-commissioned by Beth Morrison Projects In a country at a crossroads, where the legacy of manifest destiny has given rise to the complexities of gentrification, Hearne’s Place explores the contentious mapping of the place we call home.

FRI MAR 27 8PM SAT MAR 28 8PM SUN MAR 29 2PM

REQUIEMS: FAURÉ & DURUFLÉ Los Angeles Philharmonic Bernard Labadie, conductor Lydia Teuscher, soprano Julie Boulianne, mezzo-soprano Jean-François Lapointe, baritone Thomas Annand, organ La Chapelle de Québec FAURÉ Requiem (1893 version) DURUFLÉ Requiem (1961 version) Labadie, a natural to conduct French choral music, brings his choir for two of the most beautiful and comforting settings of the Requiem Mass in existence. In Duruflé’s case, the composer took his country’s strong tradition of Gregorian chant and married it to the liquid harmonies and lush orchestrations of his compatriots Fauré and Debussy. TUE MAR 31 8PM

SCHUBERT & ADÈS Members of the Los Angeles Philharmonic Thomas Adès, piano SCHUBERT Quartettsatz, D. 703 Thomas ADÈS Piano Quintet SCHUBERT Piano Quintet, “The Trout” Renowned as a composer, pianist, and conductor, Thomas Adès joins our musicians for a remarkable Schubert-Adès program.

P32 PERFORMANCES MAGAZINE

LAPHIL_PROG1_0320.indd 32

2/18/20 6:38 PM

DISABILITY INCLUSION

INCLUDE. DONâ&#x20AC;&#x2122;T ISOLATE. Small actions create big changes.

We believe disability inclusion starts with small actions. Those small actions can create big changes. Encouraging everyone to be more inclusive. Creating a movement for good and seeing the world through a new lens. One that celebrates. Everyone. And never separates them. Because, when we all do the little things together, we can create big changes.

CelebrateDontSeparate.org

LAPHIL_WRAP_0320.indd 57

2/6/20 5:10 PM

Corporate, Foundation, and Government Gifts We are honored to recognize corporate, foundation, and government donors who generously support the mission of the Los Angeles Philharmonic Association: to perform, present, and promote music in its many varied forms at the highest level of excellence to a large and diverse audience. We are deeply grateful for the following contributions to the Los Angeles Philharmonic and the Hollywood Bowl received between November 2018 and November 15, 2019.

$1,000,000 AND ABOVE Anonymous Live Nation-Hewitt Silva Concerts, LLC

FLYIN’

WEST By PEARL CLEAGE

Directed by INGER TUDOR

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

$500,000 TO $999,999 Anonymous Acura

American Airlines, Inc.

$250,000 TO $499,999 Colburn Foundation County of Los Angeles Max H. Gluck Foundation

Living Legacy Foundation Rolex Watch USA, Inc.

$100,000 TO $249,999

1898. Nicodemus, Kansas. Taking advantage of the Homestead Act, three sisters leave behind the past to start anew in a town established for AfricanAmerican settlers. But when their newfound independence is threatened, they’ll have to go to any lengths to keep what’s theirs. TICKETS & INFO

LATW.ORG (310) 827-0889

APR 17-19

UPCOMING SHOWS MAY 22-24

By Ayad Akhtar. The story of how the leveraged buyouts of the 1980’s set the stage for the last 30 years of American capitalism.

THE WINSLOW BOY

Pasadena Showcase House for the Arts Pepsi Beverage Group Rosenthal Family Foundation James and Laura Rosenwald/Orinoco Foundation Viking Cruises Wells Fargo Foundation Winc

$50,000 TO $99,999 California Arts Council Edison International The Rosalinde and Arthur Gilbert Foundation The José Iturbi Foundation League of American Orchestras’ Futures Fund The Norman and Sadie Lee Foundation City of Los Angeles, Department of Cultural Affairs

Music Center Foundation The Music Man Foundation National Endowment for the Arts Transit Systems Unlimited Inc. U.S. Bank United Airlines

$25,000 TO $49,999

THE UCLA JAMES BRIDGES THEATER

JUNK

Amgen Foundation GRoW @ Annenberg Anheuser-Busch Inc. The Walt Disney Company The Eisner Foundation Heineken USA Incorporated Lyft, Inc.

JUN 26-28

By Terence Ratigan. A cadet's legal case draws the attention of the nation, as a family risks their public standing to clear their son’s name.

Anonymous The Herb Alpert Foundation Cooper Tires Julia Stearns Dockweiler Charitable Foundation The Green Foundation Harman Family Foundation Michael and Irene Ross Endowment Fund of the Jewish Community Fndn.

JPMorgan Chase Foundation League of American Orchestras’ Catalyst Fund Leon Lowenstein Foundation Merrill Lynch The Jay and Rose Phillips Family Foundation of California Dwight Stuart Youth Fund

$10,000 TO $24,999 Ameriprise Financial Boingo Wireless Ella Fitzgerald Charitable Foundation Los Angeles County Department of Arts and Culture

Kenneth T. & Eileen L. Norris Foundation Sony Pictures Entertainment, Inc. The Specialty Family Foundation James C. Stewart Charitable Foundation

Up Close and Personal L.A. Theatre Works has entertained the world for over 40 years with our signature radio theatre format.

58 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 58

2/6/20 5:10 PM

wallis19

“A SWEETLY FUNNY, GORGEOUSLY TENDER MUSICAL ROM-COM.”

- The Times (London)

THE WALLIS PRESENTS PLUSH THEATRICALS IN ASSOCIATION WITH WISE CHILDREN PRODUCTION OF

March 17–29, 2020

U.S. Premiere

Emma Rice LYRICS BY Christopher Dimond MUSIC BY Michael Kooman DIRECTED BY Emma Rice BOOK BY

310.746.4000 TheWallis.org/Romantics

wallis1920_RA_ads_Perf_1.indd 1 LAPHIL_WRAP_0320.indd 59

1/27/20 10:09 AM 2/6/20 5:10 PM

INTERNATIONAL CURTAIN CALL

2020 Deluxe Opera & Music Tours PRAGUE & VIENNA

Annual Donors The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil between November 2018 and November 15, 2019.

June 17 – July 1, 2020

PRAGUE: BARTERED BRIDE; RUSALKA; DVORAK'S NEW WORLD SYMPHONY (Czech Phil.); CONCERT AT HISTORIC ST. MARTIN CHURCH; VIVALDI'S FOUR SEASONS AT THE KLEMENTINUM. VIENNA: IL TROVATORE (Rachvelishvili, Rebeka, Kunde, Petean); TRAVIATA (Garifulina; Bernheim, Keenlyside); BALLO IN MASCHERA (Stoyanova; Meli); FALSTAFF (Bezsmertna; Maestri); & NUREYEV GALA BALLET. Guided Tours of Important Prague Sites; and Excursion to Nelahozeves Castle. Vienna – Guided Tours of Palace Schönbrunn, St. Stephans, Fine Arts Museums; & More. – 5-Star Deluxe Hotels – Art Nouveau Palace Hotel – Prague & Grand Hotel – Vienna

VENICE–VERONA–MILAN June 30 – July 13, 2020

VENICE: ROBERTO DEVEREUX (Mantegna, Jorstad; Scala, Luongo); Handel's RINALDO (Iervolino, Semenzato, Remigio). VERONA: AIDA; NABUCCO; CAVALLERIA RUSTICANA & I PAGLIACCI [Casts tba]; DOMINGO GALA CONCERT. MILAN: LA TRAVIATA (Rebeka; Meli); & BALLO IN MASCHERA (Hernandez; Sartori). Guided Tours of Important Sites of Venice, Verona & Milan–Including VIP Backstage Scala Opera House & Museum. Excursions to Lake Garda and Mantua. – 5-Star Hotels – Danieli – Venice; Due Torri – Verona & Westin Palace – Milan

LONDON–GARSINGTON & GLYNDEBOURNE FESTIVALS July 13 – 26, 2020

LONDON (Royal Opera) & GARSINGTON: TOSCA (Netrebko; Jagde, Terfel); MADAMA BUTTERFLY (Jaho; Puente, Finley) DON CARLO (Gerezmava, Garanca, Fabiano, Furlanetto); RUSALKA; Plus WEST END MUSICAL TBA. GLYNDEBOURNE FESTIVAL: FIDELIO; ENTFUHRUNG AUS DEM SERAIL; & Handel's ALCINA [Casts tba] Guided Tours Include: London–Westminster Abbey & Buckingham Palace, Churchill War Rooms, Tate Museums. Excursions to Brighton & Lewes Castle. – 5-Star Hotels – The May Fair – London & Grand Hotel – Eastbourne

SALZBURG FESTIVAL August 22 – September 1, 2020

DON GIOVANNI; DIE ZAUBERFLÖTE; BORIS GODOUNOV; CONCERTS– VIENNA PHILHARMONIC/ Dudamel–Kissin; BERLIN PHILHARMONIC/ Petrenko; & PITTSBURGH SYMPHONY/ Honeck– Anne-Sophie Mutter. – Guided Tours of Important Salzburg Sites – 5-Star Hotel – Sheraton Grand Salzburg

Contact International Curtain Call 3313 Patricia Avenue Los Angeles, CA 90064 Ph: (310) 204-4934; (800) 669-9070 E-Mail: Icctours1@aol.com www.IccOperaTours.com

$1,000,000 AND ABOVE Dunard Fund USA

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

$500,000 TO $999,999 Jenny Miller Goff Michele Moehring

Music Center Foundation

$200,000 TO $499,999 Judith and Thomas L. Beckmen Louise and Brad Edgerton/Edgerton Foundation Gordon P. and Ann G. Getty Ms. Yuri Long-Jones

M. David and Diane Paul Barbara and Jay Rasulo Ann and Robert Ronus Deanie and Jay Stein

$100,000 TO $199,999 Anonymous (6) Mr. Robert J. Abernethy The Blue Ribbon David Bohnett Foundation Lynn A. Booth Ms. Mari L. Danihel Betty Jean L. DiVall Kathleen and Jerrold L. Eberhardt Jane B. and Michael D. Eisner Ms. Nancy Ferguson Mr. Lawrence N. Field Ms. Lisa Field Lenore S. and Bernard A. Greenberg Fund Ms. Teena Hostovich and Mr. Doug Martinet

Tylie Jones Kaiser Permanente Ms. Sarah H. Ketterer Terri and Jerry M. Kohl Anne Akiko Meyers and Jason Subotky James and Laura Rosenwald/Orinoco Foundation Wendy and Ken Ruby Eva and Marc Stern Alyce de Roulet Williamson Ms. Marilyn Ziering

$50,000 TO $99,999 Mr. Gregory A. Adams Ms. Wallis Annenberg Linda and Maynard Brittan Business & Professional Committee California Community Foundation R. Martin Chavez Nancy and Donald de Brier Mr. and Mrs. Josh Friedman Kiki and David I. Gindler Alexandra S. Glickman and Gayle Whittemore Gother Family Trust Mr. and Mrs. Enrique Hernandez, Jr. Yvonne Hessler The Hirsh Family Monique and Jonathan Kagan Paul Kester Darioush and Shahpar Khaledi Dr. Ralph A. Korpman Linda May and Jack Suzar Barbara and Buzz McCoy Ms. Joanna Miller Maureen and Stanley Moore Y & S Nazarian Family Foundation Mr. and Mrs. Jason O’Leary Peninsula Committee Ms. Linda L. Pierce Lorena and R. Joseph Plascencia Sandy and Barry D. Pressman Nancy S. and Barry Sanders

David and Linda Shaheen Gunjit S. Sikand Eric Small and Dorothy Waugh Marilyn and Eugene Stein Christian Stracke Ronald and Valerie Sugar Ticketmaster Corporation Sue Tsao Mr. Jon Vein and Mrs. Ellen Goldsmith-Vein John and Marilyn Wells Family Foundation Margo and Irwin Winkler Ellen and Arnold Zetcher

60 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 60

2/6/20 5:10 PM

CAP UCLA in association with the Skoll Center for Social Impact Entertainment at the UCLA School of Theater, Film and Television Presents

CHICK COREA TRILOGY

PORTE PAROLE With Christian McBride & Brian Blade

AIN GORDON

217 Boxes of Dr. Henry Anonymous

Seeds Thu, Oct 3 | Royce Hall

Fri, Oct 11 & Sat, Oct 12 | Freud Playhouse

Fri, Apr 3 & Sat, Apr 4 | Freud Playhouse

MARIKE SPLINT

Among Us—UCLA

PHILIP GLASS & JERRY QUICKLEY

Sat, Feb 29, Sun, Mar 1 SANKAI JUKU Sat, Apr 18, Sun, Apr 19 Meguri Sat, Sun,Hall May 10 | UCLA Campus Sun, May Oct 6 9, | Royce

Whistleblower

Sat, Mar 21 | The Theatre at Ace Hotel

JOIN US FOR OUR

2019-20 SEASON

PERLA BATALLA

Discoteca Batalla

Sat, Apr 18 | The Theatre at Ace Hotel

RACHEL FULLER’S ANIMAL REQUIEM

MAYA BEISER/WENDY WHELAN/ LUCINDA CHILDS/DAVID LANG

THE DAY Jennifer

A Concert to Celebrate and Honor All Animals With special guestDE PeteMARE Townshend ANTHONY

Koh & Davóne Tines

Liaisons 2020: Re-imagining Sondheim From The Piano

Sat, Oct 26 | Royce Hall

Fri, Oct 18 & Sat, Oct 19 | Royce Hall EVERYTHING THAT RISES MUST CONVERGE

Sat, Apr 25 | Royce Hall

Fri, Apr 17 | Royce Hall

TICKETS ON SALE NOW cap.ucla.edu | 310-825-2101

LAPHIL_WRAP_0320.indd 61

@cap_ucla | #capucla

2/6/20 5:10 PM

ANNUAL DONORS $25,000 TO $49,999

Anonymous (4) Dr. and Mrs. Keith L. Agre Lynn K. Altman Ms. Kate Angelo and Mr. Francois Mobasser Debra and Benjamin Ansell Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Robert and Joan Blackman Family Foundation Oleg and Tatiana Butenko The Capital Group Companies Charitable Foundation Mara and Joseph Carieri Andrea Chao-Kharma and Kenneth Kharma Esther S. M. Chui Chao Chevron Products Company S U P P O RTI NG Chivaroli and Associates, Tiffany and Christian Chivaroli Hyon Chough and Maurice Singer Sarah and Roger Chrisman Dan Clivner and Steven Cochran Mr. Richard W. Colburn Becca and Jonathan Congdon Mr. and Mrs. Robert Cook Your donations support Donelle Dadigan The Walt Disney Company programs that help women Edison International and families thrive. Geoff Emery Foothill Philharmonic Committee Dr. Hilary Garland Liz and Peter Goulds Ms. Nurdan Gulcelik Donations help raise funds Renée and Paul Haas for our programs and are Vicken and Susan J. Haleblian Dwight Hare and Stephanie Bergsma directly distributed to people Mr. Philip Hettema in need through: Mrs. Karen Hillenburg Gerry Hinkley and Allen Briskin  Rental assistance Elizabeth Hofert-Dailey Trust Mr. and Mrs. James L. Hunter  Clothing Vouchers Mr. and Mrs. William H. Hurt Mr. Eugene Kapaloski  Disaster Relief Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan  Scholarships Linda and Donald Kaplan Terri and Michael Kaplan  Financial Literacy Winnie Kho and Chris Testa Vicki King Training Bob and Pamela Krupka Mr. and Mrs. Isaac Larian Ken Lemberger and Linda Sasson Saul Levine Ms. Agnes Lew Long Beach Auxiliary Renee and Meyer Luskin Roger Lustberg and Cheryl Petersen Liliane Quon McCain Ashley McCarthy and Bret Barker Ms. Kim McCarthy and Mr. Ben Cheng Janis B. McEldowney Kelly Sutherlin McLeod and Steven B. McLeod Mr. and Mrs. David Meline Michael and Lori Milken Family Foundation Joel and Joanne Mogy Deena and Edward Nahmias 2020Perf-Ad-Thrift-1-2pg.indd 1 1/27/20 8:58 PM Shelby Notkin and Teresita Tinajero Mr. and Mrs. Peter O’Malley Jayne Parker & Beckie Yon Gregory Pickert and Beth Price Lois Rosen Katy and Michael S. Saei Ellen and Richard Sandler Providing the nation's most exclusive placements since 1982 Elizabeth and Justus Schlichting Ken & Carol Schultz Foundation Executive & Personal Assistants • Chefs SEI Institutional Group Estate Managers • Nannies • Butlers Cynthia and John Smet Housekeepers • Baby Nurses • Elder Care Randy and Susan Snyder Mr. John Spiegel and Ms. Debra Yang Lisa and Wayne Stelmar Los Angeles • New York • San Francisco Mrs. Faith F. Strong Sun Family Foundation 310-828-4111 Michael Frazier Thompson Mr. and Mrs. Thomas E. Unterman www.thehelpcompany.com Tee Vo and Chester Wang Debra and John Warfel

THE COUNCIL SHOP

National Council of Jewish Women

DONATE TODAY!

Donate today to any of our seven locations! We’ll pack it up! We’ll pick it up! Call for free pick-up services 800-400-6259 Follow us at ncjwla.org

62 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 62

2/6/20 5:10 PM

Performanc

LAPHIL_WRAP_0320.indd 63 Performances ad SofM and MammaMia.indd 1

2/6/20 5:10 PM 1/20/20 12:55 PM

ANNUAL DONORS Mindy and David Weiner John and Samantha Williams

Your community music school

$15,000 TO $24,999

pasadenaconservatory.org

Anonymous (7) Nancy and Leslie Abell Drew and Susan Adams Honorable and Mrs. Richard Adler Antonieta Arango, In memory of Javier Arango Mrs. Shirley Ashkenas The Aversano Family Trust Lorrie and Dan Baldwin Ms. Elizabeth Barbatelli Dr. William Benbassat Miles and Joni Benickes Mr. and Mrs. Adam Berger Barbara and Scott Bice Mr. Jay Borzi Kawanna and Jay Brown Debra Burdorf Ying Cai & Wann S. Lee Foundation Campagna Family Trust Ms. Nancy Carson and Mr. Chris Tobin Par and Sharon Chadha Dr. Kirk Y. Chang Mr. Pei-yuan Chia and Ms. Katherine Shen Chivaroli and Associates Insurance Services Christy Smith For Assembly 2020 City National Bank Mr. and Mrs. Jonathan Cookler Jennifer Diener Malsi Doyle and Michael Forman Van and Francine Durrer Dr. and Mrs. William M. Duxler Dr. Paul and Patti Eisenberg Ms. Robin Eisenman and Mr. Maurice LaMarche Austin and Lauren Fite Foundation Daniel and Maryann Fong Joan Friedman, Ph.D. and Robert N. Braun, M.D. Gary and Cindy Frischling Ms. Bonnie Corwin Fuller Drs. Jessie and Steven Galson Jo Ann and Julian Ganz, Jr. Mr. and Mrs. Jeffrey L. Glassman Mr. and Mrs. Abner D. Goldstine Good Works Foundation and Laura Donnelley Goodman Family Foundation Robert and Lori Goodman The Gorfaine/Schwartz Agency Mr. and Mrs. Daniel M. Gottlieb Beverly and Felix Grossman Mr. Bill Grubman Dr. Diane J. Henderson Carol and Warner Henry Marion and Tod Hindin Mr. Raymond W. Holdsworth Dr. Louise Horvitz and Carrie Fishman Meg and Bahram Jalali Tobe and Greg Karns Mr. and Mrs. Robert A. Kasirer Ms. Nancy Katayama Sandi and Kevin Kayse Mr. Mark Kim and Ms. Jeehyun Lee Mr. and Mrs. Kenneth N. Klee Elaine Kohn and Berndt Lohr-Schmidt Lisa and Larry Kohorn Mr. and Mrs. Stephen A. Kolodny Carol Krause Naomi and Fred Kurata Charlotte and Thomas Lane Lauren B. Leichtman and Arthur E. Levine Mr. and Mrs. Norman A. Levin Allyn and Jeffrey L. Levine Anita Lorber Los Angeles Philharmonic Affiliates Lillian P. Lovelace The Luppe and Paula Luppen Family Foundation Theresa Macellaro / The Macellaro Law Firm The Mailman Foundation Raulee Marcus Jonathan and Delia Matz Dwayne and Eileen McKenzie Sharyl and Rafael Mendez, M.D.

64â&#x20AC;&#x201A; PERFORMANCESâ&#x20AC;&#x201A; MAGAZINE

LAPHIL_WRAP_0320.indd 64

2/11/20 12:39 PM

BERNHARDT/ HAMLET WEST COAST PREMIERE

04.07–05.10 THERESA REBECK DIRECTED BY SARNA LAPINE

WRITTEN BY

TICKE

GEFFE

NPLAY

START

JUST

RG U S E.O

$3 0!

310.2

0 8.54

MAN OF GOD 03.04–04.12 ANNA MOENCH DIRECTED BY MAGGIE BURROWS WRITTEN BY

LAPHIL_WRAP_0320.indd 65

2/6/20 5:10 PM

State-of-the-Art State-of-the-Heart

SERVICE CARE

The Los Angeles Jewish Home’s Short-Term Rehabilitative Care program helps seniors quickly return home from a hospital stay. We help patients reach their recovery goals and may greatly improve their quality of life. We offer care in our Home, in your home, or in the community.

Short-Term Rehabilitative Services Include: • •

Discharge planning

Physical, occupational and speech therapy

• Access

to all LAJH services

•

Intravenous therapy and other nursing services Window views

•

Typical stays from several days to several weeks

Welcome to our community of care!

Connect with us! Call CONNECTIONS TO CARE at 855.227.3745 to access the Jewish Home’s comprehensive senior services. Visit us at lajh.org Hand Carved Pen in Violin Case by Jack Cousin

ORCHESTRATIONS Artisan Gifts by Classical Musicians

Artisan Gifts Handcrafted By LA Phil Double Bassist & Renowned Fine Art Woodworker Jack Cousin

More online from Jack Cousin & Andrea Comsky

etsy.com/shop/orchestrations

ANNUAL DONORS Dr. Richard N. Merkin Lisa and Willem Mesdag Mr. and Mrs. Dana Messina David and Margaret Mgrublian Mr. Jack Miller Marcy Miller Mr. Brian R. Morrow Ms. Christine Muller and Mr. John Swanson Ms. Kari Nakama Mr. and Mrs. Dan Napier Mr. and Mrs. Randy Newman Mr. Robert W. Olsen Ana Paludi and Michael Lebovitz Catherine Partridge Mr. Soham Patel and Ms. Jennifer Broder Lyle and Lisi Poncher Mr. Michael Poole Mr. and Mrs. Arnold Porath James S. Pratty, M.D. Ms. Carol Price Mr. and Mrs. Bruce Ramer Cathleen and Scott Richland Ms. Anne Rimer John Peter Robinson and Denise Hudson Jennifer and Evan Rosenfeld Linda and Tony Rubin Tom Safran The SahanDaywi Foundation Mr. Lee C. Samson San Francisco Symphony Ron and Melissa Sanders Dena and Irv Schechter/The Hyman Levine Family Foundation: L’DOR V’DOR Dr. and Mrs. Heinrich Schelbert Evy and Fred Scholder Family Mr. and Mrs. Arnold Seidel Marc Seltzer and Christina Snyder Dr. Chester Semel Mr. James J. Sepe Elliott Sernel and Larry Falconio Jill and Neil Sheffield Walter H. Shepard and Arthur A. Scangas Mr. and Mrs. Howard A. Sherwood Grady and Shelley Smith Mr. and Mrs. Richard Sondheimer Stein Family Fund - Judie Stein Mr. Thomas S. Strickler Mr. Karl I. Swaidan Priscilla and Curtis S. Tamkin Tracey Boldemann-Tatkin and Stan Tatkin Suzanne and Michael E. Tennenbaum Warren B. and Nancy L. Tucker Elinor and Rubin Turner Nancy Valentine Noralisa Villarreal and John Matthew Trott Warner Bros. Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Libby Wilson, MD Susan and Alan Wohl Mahvash and Farrok Yazdi Karl and Dian Zeile Mr. and Mrs. Howard Zelikow Bobbi and Walter Zifkin David Zuckerman and Ellie Kanner

$10,000 TO $14,999

Anonymous (4) Art and Pat Antin Susan Baumgarten Mr. and Mrs. Phil Becker Ms. Sondra Behrens Phyllis and Sandy Beim Mr. Mark Benjamin Suzette and Monroe Berkman Ms. Gail K. Bernstein Dr. Andrew C. Blaine and Dr. Leigh Lindsey Mr. Kenneth Blakeley Bill and Susan Bloomfield Roz and Peter Bonerz Mr. Greg Borrud Brass Ring Foundation Mr. and Mrs. Steven Bristing Lyn and Frank Campbell

66 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 66

2/11/20 12:28 PM

117th Season • 2020 - 2021

In 1965, a group of women working in the professions wanted to support the Los Angeles Philharmonic to bring great music to the Los Angeles community. These women did not have much free time to fundraise, so they used what time they had to donate their efforts in order to make certain the LA Phil was able to survive in this city of entertainment. Today, that group – now composed of women and men – calls itself COPW. COPW has over 80 members. Each member has a subscription to the LA Phil, contributes generously to the LA Phil, and volunteers for numerous events. The committee provides volunteers for the Toyota Symphonies for Youth concerts, which allows the LA Phil to bring fine music to children who may never have a chance to set foot in a concert hall. Members also volunteer for the Music Mobile™, the Pasadena Showcase for the Arts, and they support for YOLA. Members also participate in Symphonies for Schools, which brings students from all areas of Los Angeles to a concert at Walt Disney Concert Hall. Although not organized as a fundraising group, the committee does raise money for the LA Phil by presenting three to four musical events each year. Once a year, the committee holds a silent auction for the sole purpose of raising needed funds for the LA Phil. Music education and appreciation is also part of the group’s agenda. Members frequently organize outings to musical events and keep the committee informed of musical performances all over California.

SUNDAYS ó®ã« COLEMAN

COMMITTEE OF PROFESSIONAL WOMEN

“Music of the Spheres”

Affiliates

DAVID FINCKEL, WU HAN, AND PHILIP SETZER • OCTOBER 11, 2020 DOVER STRING QUARTET • JANUARY 10, 2021 CALIDORE STRING QUARTET • JANUARY 31, 2021 PRAŽÁK STRING QUARTET • FEBRUARY 21, 2021 TAFELMUSIK BAROQUE ORCHESTRA • March 7, 2021 ACADEMY OF ST MARTIN IN THE FIELDS WIND ENSEMBLE • MARCH 28, 2021 All concerts on Sundays at 3:30 ÖÃ in Caltech’s Beckman Auditorium Tickets, brochure & info: • 626.793.4191 • krfccma@aol.com • www.colemanchambermusic.org

COLEMAN CHAMBER MUSIC ASSOCIATION



Pasadena, CA

Bond Furs Custom designed or ready made garments, alterations, restyling, cleaning, glazing & storage. Come visit our showroom in Old Town Monrovia. 626.471.9912 • www.bondfurs.com 114 W. Lime Ave, Monrovia, CA 91016

PERFORMANCES MAGAZINE 67

LAPHIL_WRAP_0320.indd 67

2/6/20 5:10 PM

ANNUAL DONORS

AMBASSADOR AUDITORIUM

MOZART & MCGEGAN

RACHMANINOFF PIANO CONCERTO NO. 3

MARCH 21, 2020

APRIL 18, 2020

NICHOLAS MCGEGAN, conductor ELIZA BAGG, soprano YERIN YANG, piano

DAVID LOCKINGTON , conductor INON BARNATAN , piano MICHAEL ABELS Russian Overtures

CAROLINE SHAW Red, Red Rose

world premiere, Pasadena Symphony commission

MOZART Piano Concerto No. 20

RACHMANINOFF Piano Concerto No. 3

MOZART Symphony No. 39

MUSSORGSKY Pictures at an Exhibition

6 2 6 . 7 9 3 . 7 1 7 2 | PA S A D E N A S Y M P H O N Y- P O P S . O R G

NATALE E T H A I

C U I S I N E

“The Best of Culver City” 10 Years in a Row ~Culver City News

“Readers’ Choice Award” ~LA Times “Best of The West Side” ~The Argonaut

Venice (310) 202-7003 10101 Venice Blvd. Full Bar | Sushi Bar Beverly Hills (310) 855-9380 998 S. Robertson Blvd. Full Bar | Valet Parking

Dine In | Delivery Take Out | Order Online

nataleethai.com

Jay and Nadege Conger Mr. and Mrs. Richard W. Cook Lynette and Michael C. Davis Dr. and Mrs. Aurelio de la Vega Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Julie and Stan Dorobek Mr. and Mrs. Larry Duitsman Edward A. And Ai O. Shay Family Foundation Mr. and Mrs. Richard Ellis Mr. Marc Ezralow Bonnie and Ronald Fein Mr. Tommy Finkelstein and Mr. Dan Chang Mr. Thomas Ford Dr. and Mrs. David Fung Mr. Arthur J. Gallagher Mr. James Gleason Robert Glicksteen Harriett and Richard E. Gold Mr. and Mrs. Louis L. Gonda Mr. and Mrs. David Gordon Mr. and Mrs. Ken Gouw Ms. Lynn Gretkowski Tricia and Richard Grey Mr. William Hair Dr. and Mrs. Alan M. Heilpern Mr. and Mrs. Irwin Helford and Family Bud and Barbara Hellman Stephen D. Henry and Rudy M. Oclaray Myrna and Uri Herscher Family Foundation Liz Levitt Hirsch International Committee Shelby and Jason Istrin Kristi Jackson and William Newby Robin and Gary Jacobs Dr. William B. Jones Sarilee Kahn and David Singer Marty and Cari Kavinoky Anne and Michael Keating Mr. and Mrs. Stephen Keller Richard and Lauren King Jill Kirshner Ellie and Mark Lainer David Lee Marlene and Howard Leitner Randi Levine Dr. Stuart Levine and Dr. Donna Richey Mr. and Mrs. Simon K.C. Li Maria and Matthew Lichtenberg Wanda Denson-Low and Ronald Low Sandra Cumings Malamed and Kenneth D. Malamed Maurice Marciano Family Foundation Mr. and Mrs. Stanley Maron Emil Ellis Farrar and Bill Ramackers Pamela Mass Matt Construction Corporation Cynthia Miscikowski Marc and Jessica Mitchell Ms. Susan Morad at Worldwide Integrated Resources, Inc. Wendy Stark Morrissey NBC Universal Christine M. Ofiesh D. Orenstein & J. Lu Quinn Emanuel Urquhart & Sullivan, LLP Lee Ramer Murphy and Ed Romano and Family David and Lori Rousso Dr. and Mrs. Bernard Salick Jane and Esa-Pekka Salonen Santa Monica-Westside Philharmonic Committee Samantha and Marc Sedaka Dr. Donald Seligman and Dr. Jon Zimmermann Neil Selman and Cynthia Chapman Gloria Sherwood Patricia and Stanley Silver Southampton Row Trust Ltd. Angelina and Mark Speare Mr. Lev Spiro and Ms. Melissa Rosenberg Joe and Suzanne Sposato Mr. Michael L. Stern Mr. Avedis Tavitian Mr. Hideya Terashima and Mrs. Megan Watanabe Charles and Miriam Vogel Frank Wagner and Lynn O’Hearn Wagner

68 PERFORMANCES MAGAZINE NatThai_1019_h_v1.indd 1 LAPHIL_WRAP_0320.indd 68

9/4/19 2:49 PM 2/11/20 12:29 PM

... EXPLORE POWER SUNDAY

Tickets: $52 Student/Senior: $47 16 & under: $42

APR 19, 2020 at 2PM

photo: Andy Rowley

Ms. Adrienne Alpert Mrs. Linda E. Barnes Mr. and Mrs. Richard Bennett Helen and Peter S. Bing Committee of Professional Women Mrs. Nancy A. Cypert Mr. Howard M. Davine The Randee and Ken Devlin Foundation Tim and Neda Disney Josh Earl Drs. Harold and Gloria Frankl Mr. Thomas Gordon Mr. and Mrs. John Hernandez-Storr Ms. Gail Hershowitz Mr. and Mrs. Steaven K. Jones, Jr. Gerald L. Katell Patricia Keating and Bruce Hayes Cary and Jennifer Kleinman Linda Lee Mr. Jeff Levy Mr. and Mrs. Boutie Lucas Mr. and Mrs. Ronald Manzani Milli M. Martinez and Don Wilson Ms. Marlane Meyer Linda and John Moore Mary E. Petit and Eleanor Torres Glenn Pittson Ann M. Ryder Kasey Salter Dr. and Mrs. Hervey Segall Mr. and Mrs. Michael G. Smooke Mr. and Mrs. Randall Tamura David H. Vena Westside Committee Ms. Tina H. Wilson

...

$7,500 TO $9,999

DRUM TAO 2020

EXPLORE SWING

Ms. Kelly Weinhart-Henry and Ms. Bridgett Henry Doris Weitz and Alexander Williams Susan Zolla, In Memory of Edward M. Zolla

$5,500 TO $7,499

Anonymous (4) Ms. Lynn Allen Dr. Philip Anthony Ms. Judith A. Avery Myla Azer Mr. Mustapha Baha Pamela and Jeffrey Balton Dr. Richard Bardowell, M.D. Ken and Lisa Baronsky Karen and Jonathan Bass Catherine and Josephe Battaglia Ms. Barbara Bauer Mr. Barry Beitler Maria and Bill Bell Mr. and Mrs. Philip Bellomy Matthew Benjamin Michael and Hedvah Berg Mr. and Mrs. Richard Birnholz Joyce and Stanley Black and Family Mr. Michael Blea Mr. Larry Blivas Mr. Ronald H. Bloom Joan N. Borinstein Mr. and Mrs. Hal Borthwick Barbara and Richard Braun Ms. Lynne Brickner Drs. Maryam and Iman Brivanlou Mrs. Linda L. Brown Eileen Bushman Fanya Carter, Ph.D. CBS Entertainment Arthur and Katheryn Chinski Mr. and Mrs. Joel T. Chitea Mr. and Mrs. Ronald Clements Kevin G. Clifford Mr. David Colburn Mr. Michael Corben and Ms. Linda Covette Ms. Barbara Cox-Winter Dr. Carey Cullinane Dr. and Mrs. Robert A. Cutietta

SATURDAY

MAY 30, 2020 AT 7PM

20% OFF*

1000 W. Foothill Blvd. Glendora, CA 91741

Tickets: $52 Student/Senior: $47 16 & under: $42

FULL-PRICE TICKETS

with code BIGBADDRUMS

@haughpac

TICKETS: (626) 963-9411 • www.haughpac.com *Offer not valid on previously purchased tickets.

Piano Lessons on the westside UpperHandsPiano@gmail.com PERFORMANCES MAGAZINE 69

LAPHIL_WRAP_0320.indd 69

2/11/20 12:30 PM

ANNUAL DONORS

ON EXHIBIT

JANUARY 26–APRIL 10

OBJECTS

FROM THE

CONCENTRATION CAMPS Photographs by Richard Wiesel

LOS ANGELES MUSEUM OF THE HOLOCAUST

100 The Grove Drive, Los Angeles • lamoth.org • Admission always free

Mr. Cary Davidson Ms. Cynthia Davis Brett Dedeaux Orna and David Delrahim Ms. Rosette Delug Ms. Mary Denove Victoria Dummer & Brion Allen Anna Sanders Eigler Ms. Annmarie Eldering and Ms. Anne Vandenabeele John B. Emerson and Kimberly Marteau Emerson Mrs. Margaret Feder Mr. William Feldman Mr. Walter Fidler Mr. and Mrs. Michael M. Flynn The Franke Family Trust Dr. Tim A. Gault, Sr. Leslie and Cliff Gilbert-Lurie The Gillis Family Tina Warsaw Gittelson Mr. and Mrs. Herbert Glaser Mr. Gregg Goldman and Mr. Anthony DeFrancesco Dr. Patricia Goldring Lee Graff Foundation Mr. George A. Graham, Jr. Mr. and Mrs. Paul E. Griffin III Marnie and Dan Gruen Mr. and Mrs. Paul Guerin Rod Hagenbuch Dean Hale Ms. Marian L. Hall Laurie and Chris Harbert Mr. and Mrs. Robert E. Hart Dr. and Mrs. Chester A. Hasday Dr. and Mrs. Samuel B. Haveson Mr. Willis Hayes Stephen and Hope Heaney Mr. Rex Heinke and Judge Margaret Nagle The Hill Family Tina and Ivan Hindshaw Roberta and Burt Horwitch Dr. and Mrs. Mel Hoshiko Michele and James Jackoway Mr. and Mrs. Theodore W. Jackson Mr. and Mrs. Tim C. Johnson Ms. Marcia Jones and Mr. George Arias Gary Kading Eileen and Ken Kaplan Marilee and Fred Karlsen Dr. and Mrs. David Kawanishi Mr. Kent Keller Richard Kelton Ms. Sharon Kerson Mr. Paul Kessler and Mrs. Diana Derycz-Kessler Remembering Lynn Wheeler Kinikin Mr. and Mrs. Bruce Konheim Mr. and Mrs. Joseph K. Kornwasser Sandra Krause and William Fitzgerald Ms. and Mr. Nickie Kubasak Ms. Phyllis Kupferstein and Mr. Donald O. Farkas Dr. and Mrs. Kihong Kwon Mr. and Mrs. Ronald B. Labowe Tom Lallas and Sandy Milo Katherine Lance Mr. and Mrs. Keith Landenberger Mr. and Mrs. Jack D. Lantz James D. Laur Craig Lawson and Terry Peters Mr. George Lee Mr. Randall Lee and Ms. Stella M. Jeong Mr. Robert Leevan Marie and Edward Lewis Mr. Joseph Lund and Mr. James Kelley Mr. Roger I. MacFarlane Mona and Frank Mapel Mr. Allan Marks and Dr. Mara Cohen Clara and Bret Martin Art Maruyama Leslie and Ray Mathiasen Mr. and Mrs. Thomas E. McCarthy Linda and Sheldon Mehr Mitra Best Ms. Barbara J. Miller O’Malley and Ann Miller Mr. Weston F. Milliken

70 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 70

2/10/20 11:32 AM

Linda and Kenneth Millman Mrs. Iris Mink Mrs. Judith S. Mishkin Mr. John Monahan Ms. Carmen Morgan Ms. Lillian Mueller Mr. James A. Nadal and Amelia Nadal Mr. Ron Nakagawa Mrs. Cynthia Nelson Mr. Jerold B. Neuman Mr. Richard Newcome and Mr. Mark Enos Dick and Chris Newman / C & R Newman Family Foundation Ms. Josephine Y. W. Ng Irene and Edward Ojdana Adriana Ortiz Mrs. Jane C. Parks Ms. Debra Pelton and Mr. Jon Johannessen Mr. and Mrs. Joshua Perttula Robert J. Posek, M.D. Sandra and Lawrence Post Joyce and David Primes Hon. Vicki Reynolds and Mr. Murray Pepper Mr. and Mrs. Norman L. Roberts Mr. Ernesto Rocco Mr. and Mrs. William C. Roen Dr. James M. Rosser Amy Roth Mr. Steven F. Roth Ms. Rita Rothman Mr. and Mrs. Matthew Rowland Mrs. Dinah Ruch Dr. Michael Rudolph Mr. and Mrs. Paul Rutter Thomas C. Sadler and Dr. Eila C. Skinner Ms. and Mr. Galina Samuel San Marino-Pasadena Philharmonic Committee Alexander and Mariette Sawchuk Linda & Cliff Schaffer Malcolm Schneer Family Trust Mr. and Mrs. Elliot Shoenman Mr. and Mrs. William E. B. Siart Mr. Adam Sidy Mark Siegel Mr. and Mrs. Peter R. Skinner Leah R. Sklar Mr. Douglas H. Smith Virginia Sogomonian and Rich Weiss Mr. Charles P. Souw Shondell and Ed Spiegel Lael Stabler and Jerone English Rose and Mark Sturza I.H. Sutnick Dr. James Thompson and Dr. Diane Birnbaumer Billie and Richard Udko Mr. and Mrs. Peter J. Van Haften Kathleen and Louis Victorino Mr. and Mrs. Terry Volk Dr. Marlene M. Schultz and Philip M. Walent Christopher V. Walker Mr. Nate Walker Jennifer Walske Bob and Dorothy Webb Robert and Penny White Mr. and Mrs. Steven White Mr. Robert E. Willett Tom and Lisa Williams David and Michele Wilson Mr. Lee Winkelman and Ms. Wendey Stanzler Karen and Rick Wolfen Ms. Shirley Wong Mr. and Mrs. Richard Wynne Mr. Nabih Youssef Mrs. Lillian Zacky

A MUSTSEE NEW MUSICAL ABOUT LOVE, MAGIC & MANNEQUINS! written & composed by James Chiao An epic tale of a successful businessman whose obsession to become an opera singer pushes his wife to the breaking point and gets him kicked out of the house. After he moves into his warehouse, his singing brings the mannequins to life ... Will this magi opportunity to realize his dream cost him magical the love of his life?

APRIL 3rd & 4th

CERRITOS CENTER FOR THE PERFORMING ARTS

$3,500 TO $5,499

Anonymous (11) Ms. Janet Abbink and Mr. Henry Abbink ABC Entertainment Acorn Paper Product Company Dr. and Mrs. Frank Agrama Ms. Rose Ahrens Mr. and Mrs. Daniel E. Altman

562 9168500 ∙ CERRITOSCENTER.COM ∙ TENORBYNIGHT.COM PERFORMANCES MAGAZINE 71

LAPHIL_WRAP_0320.indd 71

2/6/20 5:10 PM

CalPhil_Perfomances_Magazine_Jan.pdf

2/2/20

12:00 AM

ANNUAL DONORS

JUNE 21 • SUNDAY, 2 PM A BEETHOVEN BIRTHDAY BASH

Symphony Symphony No. No. 99 “Ode “Ode to to Joy” Joy” •• Cats Cats •• Oklahoma! Oklahoma! •• Frozen Frozen

JUNE 28 • SUNDAY, 2 PM TALES AS OLD AS TIME

Scheherazade Scheherazade •• Lord Lord of of the the Rings Rings •• Beauty Beauty and and The The Beast Beast The The Red Red Violin Violin •• Sorcerer’s Sorcerer’s Apprentice Apprentice

JULY 26 • SUNDAY, 2 PM BERNSTEIN AND THE CLASSICS

Candide Candide Overture Overture •• Symphonic Symphonic Dances, Dances, West West Side Side Story Story On the Waterfront • William Tell Overture On the Waterfront • William Tell Overture

AUGUST 8 • SATURDAY, 2 PM OLYMPIC GREATS, WARS & WARRIORS

Great Great Choruses! Choruses! Tchaikovsky’s Tchaikovsky’s 1812 1812 Overture Overture •• Verdi’s Verdi’s Dies Dies Irae Irae Olympic Olympic Fanfare Fanfare •• The The Raiders Raiders March March •• Star Star Wars Wars

AUGUST 23 • SUNDAY, 2 PM THE FIERY PASSIONS OF SPAIN, BOLERO!

Ravel’s Ravel’s Bolero Bolero •• Man Man of of La La Mancha Mancha •• Lady Lady of of Spain Spain •• España España de de Falla’s Falla’s Three Three Cornered Cornered Hat Hat •• Rodrigo’s Rodrigo’s Concierto Concierto Aranjuez Aranjuez

97%

of audiences read the program.

6.2

million readers annually.

65%

support advertisers who support the arts. Call us to advertise 310.280.2880 We entertain great ideas.

HERE’S TO YOU

Elizabeth Altman Dr. Carol L. Archie Sandra Aronberg, M.D. and Charles Aronberg, M.D. Ms. Mary L. Babbitt Mr. Craig Bailey Mr. Stacy Baird Mr. Barry Baker Mr. James Barker Stephanie Barron Mr. and Mrs. David J. Barton Kay and Joe Baumbach Mr. Richard Bayer Mr. Kerry Belcher Ms. Karen S. Bell and Mr. Robert Cox Mr. and Mrs. Elliot S. Berkowitz Mr. Alan N. Berro Mary Anne and Bradford B. Blaine Nathalie Blossom and Howard Levy Ms. Leslie Botnick Dr. and Mrs. Hans Bozler Joyce Brandman/Saul Brandman Foundation Mrs. Marie Brazil Mrs. William Brand and Ms. Carla B. Breitner Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Nancy and Peter Ross Charles Brown Elizabeth Brown Sue & Barry Brucker Mrs. Lupe P. Burson Doug and Liz Button Mr. and Mrs. Tom R. Camp Victor Carabello Raphaelle and Philip Cassens Nancy and Martin Chalifour Mr. Jon C. Chambers Diana Reid and Marc Chazaud Mr. Louis Chertkow Mr. Eric Chien Susan and David Cole Rhoda and Howard Coleman Ms. Ina Coleman Mr. Garrett Collins and Mr. Matthew McIntyre Dr. and Mrs. Martin Cooper Nathan Cork Mr. and Mrs. Bruce Corwin Mr. Benjamin Cotner Mr. Don Cron Mr. Lawrence Damon and Mr. Ricardo Torres Mr. and Mrs. Leo David Mr. James Davidson and Mr. Michael Nunez Ann Deal Del Mar Productions, LLC Mrs. Tammy Dimitri John and Leslie Dorman Mr. Gordon A. Ecker Dr. David Eisenberg Mr. Marvin Elkin Mrs. Eva Elkins Richard J. Evans and Sara Evans Mr. and Mrs. Burton A. Falk Janice Feldman, JANUS et cie Jen and Ted Fentin Dr. Walter Fierson and Dr. Carolyn Fierson Beverly Fisgus Marianna J. Fisher and David Fisher Burt and Nanette Forester Mrs. Diane Forester Mr. Michael Fox Dr. Thomas S. Freeman Linda and James Freund Mr. Jerry Friedman Sharon and Mark Friedman Steven Friednam Dr. E. Peter and Thea Gabor Dr. and Mrs. Bruce Gainsley E. Brandon Garrett A. R. Gendein, M.D. Ms. Beth Gertmenian Mr. and Mrs. Ronald Gertz Susan and Jaime Gesundheit Mr. and Mrs. Harlan Gibbs Jason Gilbert Mr. and Mrs. David A. Gill Dr. and Mrs. Gary Gitnick

72 PERFORMANCES MAGAZINE onesixth H.indd 1 LAPHIL_WRAP_0320.indd 72

1/10/19 4:03 PM 2/11/20 12:42 PM

City of Los Angeles Eric Garcetti Mayor Mike Feuer City Attorney Ron Galperin Controller

CITY COUNCIL

Bob Blumenfield Mike Bonin Joe Buscaino Gilbert Cedillo Marqueece Harris-Dawson Jose Huizar Paul Koretz Paul Krekorian John S. Lee Nury Martinez Mitch O’Farrell Curren D. Price, Jr. Monica Rodriguez David Ryu Herb J. Wesson, Jr. President

DEPARTMENT OF CULTURAL AFFAIRS

Danielle Brazell General Manager

CULTURAL AFFAIRS COMMISSION

the faurÉ requiem MARCH 28 AND 29

G R A N T G E R S H O N , K I K I & DAV I D G I N D L E R A RT I ST I C D I R ECTO R T I C K E T S S TA R T AT $ 2 9 L A M A S T E R C H O R A L E . O R G · 2 1 3 - 9 7 2 -7 2 8 2

2 0 2 0 Where Art Lives

Charmaine Jefferson President John Wirfs Vice President Jill Cohen Thien Ho Evonne Gallardo Eric Paquette Elissa Scrafano

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

April 4 - 5 11 A M - 6 P M

210 0 N . M a i n S t . L . A . , C A 9 0 0 31

WALT DISNEY CONCERT HALL HOUSE STAFF

Ronald H. Galbraith Master Carpenter John Phillips Property Master Terry Klein Master Electrician Kevin F. Wapner Master Audio/Video Greg Flusty House Manager

SPRING

A R T

W A L K

Bre

Ar ery

twa

lk.c

PERFORMANCES MAGAZINE 73

LAPHIL_WRAP_0320.indd 73

2/11/20 12:42 PM

Support the LA Phil ANNUAL FUND From the concerts that take place on stage at Walt Disney Concert Hall and the Hollywood Bowl, to the education programs that fill our community with music, it is support from Annual Donors that makes our work possible. We hope you, too, will consider joining the LA Phil family. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music — sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our success. FRIENDS OF THE LA PHIL Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall and the Hollywood Bowl as well as groundbreaking educational initiatives such as YOLA, which provides free after-school music instruction to children in underserved communities throughout Los Angeles. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, please call 213 972 7557. BOARD OF OVERSEERS Jack Suzar and Linda May, Chairs Jonathan and Monique Kagan, Vice Chairs The Board of Overseers is a vital leadership group, providing critical resources in support of the LA Phil’s general operations. Their vision and generosity enables the LA Phil to recruit the best musicians, invest in groundbreaking educational initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Board of Overseers. For more information, please call 213 972 7209.

74 PERFORMANCES MAGAZINE

LAPHIL_WRAP_0320.indd 74

2/6/20 5:11 PM

ANNUAL DONORS Glendale Philharmonic Committee Dr. and Mrs. Steven Goldberg Mr. and Mrs. Fred Golob Ms. Karen Caffee and Mr. Manuel Grace Dr. Ellen Smith Graff Nancy and Barry Greenfield Mr. and Mrs. Carl C. Gregory Ms. Lysa Grigorian Mr. Gary M. Gugelchuk Cornelia Haag-Molkenteller, M.D. Mr. William Hague Mr. Robert T. Harkins Mr. John C. Harpole and Ms. Gabrielle Starr Harriet & Richard Orkand Family Educational Foundation Mr. and Mrs. Brian L. Harvey Lynette Hayde Byron and DeAnne Hayes Mr. Brian Helgoe Jim Herzfeld Dr. and Mrs. Hank Hilty David and Martha Ho Laura Fox, MD and John Hofbauer, MD Janice and Laurence Hoffmann Mr. Tyler Holcomb The Hollywood Bowl Committee Douglas and Carolyn Honig Ms. Marcia H. Howard Dr. Timothy Howard and Jerry Beale Ms. Loretta Hung Mr. Deighton Hutchinson and Mr. Greig Hutchinson Andrei and Luiza Iancu Mr. Gregory Jackson and Mrs. Lenora Jackson Irwin and Meredith Jacobson Len and Nancy Jacoby Jaconi Family Mr. and Mrs. Jonathan Jaffe Mr. and Mrs. Leonard Jaffe Mr. Paul A. James John and Nancy Edwards Family Foundation Mr. Channing Johnson Mr. Gordon M. Johnson and Ms. Barbara Schnell Mr. and Mrs. Morley Justman Mr. Ken Kahan Mr. and Mrs. James Kang Mr. and Mrs. David S. Karton Kayne, Anderson & Rudnick Mr. and Mrs. Michael C. Kelley Capital Group Companies Jill Kent Ms. Joanne Kim Mr. and Mrs. Jon Kirchner Julie Kiritani Stephanie and Randy Klopfleisch Michael and Patricia Klowden Elaine Kramer and Al Latham Mrs. Joan Kroll Carole and Norm La Caze Mr. and Mrs. Christopher C. Larkin Mrs. Grace E. Latt Mr. Tom Leanse Mr. Alan J. Levi and Mrs. Sondra Currie-Levi Mr. Donald S. Levin Mr. and Mrs. Edward B. Levine Lydia and Charles Levy David and Meghan Licata Ms. Joanne Lindquist Ms. Elisabeth Lipsman Susan Disney Lord and Scott Lord Los Angeles Dodgers Foundation Los Angeles Philharmonic Committee

Kristine and David Losito Crystal and Elwood Lui Susan and John MacLaurin Ginny Mancini Dorrie and Paul Markovits Elisa and William Marks Paul Martin Mr. and Mrs. Ray Martin Vilma S. Martinez, Esq. Dr. and Mrs. Allen W. Mathies Mr. Gary J. Matus Dr. and Mrs. Gene Matzkin Ms. Jerilyn McAniff Mr. William McCune Mr. and Mrs. William F. McDonald Ms. Barbara H. McDowell Mr. David McGowan Mr. Maurice F. Meysenburg Dr. Gary Milan Ms. Julie Milligan Mr. and Mrs. Simon Mills Mr. and Mrs. William Mingst Mr. Lawrence A. Mirisch Mr. David S. Moromisato Mr. Buddy Morra Ms. Marsha L. Morton Anthony and Olivia Neece Dr. S W Needleman Mr. and Mrs. Robert Neely Drs. Anthony Nesburn & Cristina Kenney Ms. Jeri L. Nowlen Mr. and Mrs. Oberfeld Howard and Inna Ockelmann Mr. Dale Okuno Ms. Jean Oppenheimer Ms. Patricia O’Toole Mr. Ralph Page Ellen Pansky Ms. Melissa Papp-Green Carrol Parris Mr. and Mrs. Robert D. Paster Ms. Iris Peters Mrs. Ethel Phipps Mrs. Charlotte Pinsky Ms. Julie Platt Mrs. Ruth S. Popkin Mr. Joseph S. Powe Mr. Albert Praw Ms. Miriam Rain Marcia and Roger Rashman Rita and Norton Reamer Gay and Ronald Redcay Mr. Eduardo Repetto Kirk and Cathy Reynolds Dr. Susan F. Rice Mr. Ronald Ridgeway Robinson Family Foundation Mrs. Laura H. Rockwell Ms. Pauline Romano Peter and Marla Rosen Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen Mr. and Mrs. Brad Rosenberg Mr. Bradley Ross and Ms. Linda McDonough Robyn and Steven Ross Ms. Anita Sabine Ms. Betty Saidel Mr. Noriyuki Sasaki Britta Lindgren Mr. Michael Sedrak Robert Segal in memory of Jeanne Segal Dr. and Mrs. Hooshang Semnani Ms. Amy J. Shadur-Stein Mr. Steven Shapiro Hope and Richard N. Shaw Stephen & Kathy Shegda Carla Christofferson Abby Sher Kevin and Eileen Shields Mrs. Mary Silver-Giatas Ms. Ruth M. Simon

Ms. Roberta Smith Mr. Steven Smith Sodexo Mr. and Mrs. William Sollfrey Speakers Bureau Dr. Vina Spiehler Ms. Angelika Stauffer Mr. and Mrs. Pierre Steele Mr. and Mrs. Joseph Stein Mrs. Hilde Stephens-Levonian Mr. Adrian B. Stern Louis Stern Mr. and Mrs. Mark Stern Dr. Angie Stockwell and Mr. Herbert Kanigher Mr. Max Stolz, Jr. Mr. and Mrs. Darrin Stovall Maia and Richard Suckle and The Anna & Benjamin Suckle Foundation Mr. Brandon Sugimoto Mr. David Suruki and Mr. Bob Shahnazarian Mr. Takehiko Suzuki Brent Sweer Mr. Bradley Tabach-Bank Mr. Akio Tagawa and Ms. Yui Suzuki David Jan Takata Mr. Marc A. Tamaroff The only upscale boutique in greater Mr. Stephen S. Taylor Los Angeles for women size 12 and up. Thomas and Elayne Techentin Mr. Andrew Tennenbaum From comfortable to casual or dressy— Mr. Michael Thaxton classic to funky or fun: Ms. Amy Thomas Abundance has it all! Mr. and Mrs. Harlan H. Thompson 13606 Ventura Blvd. Sherman Oaks Mr. and Mrs. Harris Toibb 818.990.6128 Arlette M. Towner Mr. Michael Tully AbundancePlusSizes.com Mr. and Mrs. Leonard Unger Ms. Ingrid Urich-Sass Kathy Valentino The Valley CommitteeS for the Los Angeles Philharmonic Abundance_0320_outline.indd 1 1/29/20 2:02 PM Mr. and Mrs. Zev Vered DISCOVER THE BEAT OF SOUTHERN CALIFORNIA Perry Vidalakis Jenny Vogel Mr. Jules Vogel Felise Wachtel Mr. and Mrs. Carl R. Waldman Hope Warschaw and John Law Ms. Diane C. Weil and Mr. Leslie R. Horowitz Ms. Abby Silverman Weiss and Mr. Ray F. Weiss Mr. and Mrs. Doug M. Weitman Fern and Ronald H. Wender Mr. William A. White Ms. Claudia Williams Ms. Lori Williams and Mr. Stephen Schulte Mr. Steve Winfield Ms. Susan M. Wolford Ms. Eileen Wong Mr. and Mrs. Irwin Wong Mr. and Mrs. David Yellin Mr. Kevin Yoder Bobbie Yunis Zamora & Hoffmeier Mr. Michael Zells Mr. Sanford Zisman and Ms. Janis Frame Marshall S. Zolla

S CALPULSE

# L ove S o C a l

Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit laphil.com. If your name has been misspelled or omitted from the list in error, please contact the Development Department at 213 972 0757. Thank you.

WHERE TO EAT • WHERE TO SHOP • WHERE TO GO

F I N D U S AT S OC A L P U L S E . CO M

L O S A N G E L E S • O R A N G E CO U N T Y • S A N D I E G O

1-6 V SOCALPULSE.indd 6

LAPHIL_WRAP_0320.indd 75

PERFORMANCES MAGAZINE 75

3/10/16 3:52 PM

2/6/20 5:11 PM

Meet

The Music Center of the 21st Century The Music Center is one of the nation’s largest performing arts centers and a cultural anchor in Los Angeles County. Our programming engine, TMC Arts, convenes artists, communities and ideas to deepen the cultural lives of all. With relevant, engaging arts experiences and arts education programs, TMC Arts reflects the diverse voices and interests of the many communities of Los Angeles. The Music Center is home to and the force behind some of the most creative expression today.

2019/2020 MUSIC CENTER BOARD OF DIRECTORS OFFICERS Cindy Miscikowski Board Chair

Robert J. Abernethy Darrell Brown Vice Chairs Rachel S. Moore President and Chief Executive Officer

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 Wallis Annenberg Jill Baldauf

Richard K. Roeder Melissa Ann Romain Maria Salinas Lisa See Matthew J. Spence Marc I. Stern Philip A. Swan Walter F. Ulloa Timothy S. Wahl Alyce Williamson Jay Wintrob Rollin A. Ransom General Counsel ^

Leave of absence

DIRECTORS EMERITI Peter K. Barker Judith Beckmen Eli Broad Ronald W. Burkle

Susan Baumgarten

Amb. (ret.) John B. Emerson*

Phoebe Beasley

Richard M. Ferry

Thomas L. Beckmen

Brindell Gottlieb

Kimaada M. Brown

Bernard A. Greenberg

Dannielle Campos

Stephen F. Hinchliffe, Jr.

Greg T. Geyer

Amb. (ret.) Glen A. Holden

Lisa Gilford

Stuart M. Ketchum

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

Kiki Ramos Gindler

Amb. (ret.) Lester B. Korn

Maria Rosario Jackson

Kent Kresa

Carl Jordan

Robert F. Maguire, III

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

Glenn Kaino

Ginny Mancini

Stefanie Kane

Edward J. McAniff

Terri Kohl

Walter M. Mirisch

Cary J. Lefton

Fredric Roberts

David Lippman

Claire L. Rothman

Richard Lynn Martinez

Joni J. Smith

Bowen “Buzz” H. McCoy

Lisa Specht*

Mattie McFadden-Lawson

Cynthia A. Telles

Elizabeth Michelson

James A. Thomas

Darrell D. Miller

Andrea L. Van de Kamp*

Shelby Notkin

Paul M. Watson

Michael Pagano

Thomas R. Weinberger

Cynthia M. Patton

Rosalind W. Wyman

Karen Kay Platt

* Chairman Emeritus

Welcome to The Music Center! @musiccenterla

Be a Music Center Docent If you love the arts and enjoy sharing this enthusiasm with the public, we invite you to join the Symphonians, The Music Center’s volunteer docents. musiccenter.org/symphonians symphonians@musiccenter.org

Max Ramberg^ Joseph Rice

MCDEV_0320.indd 1

2/5/20 3:02 PM

Featured Events at

The Music Center SUN 01 MAR / 1:00 p.m. The Book of Mormon CENTER THEATRE GROUP @ Ahmanson Theatre Thru 3/29

SAT 07 MAR / 8:00 p.m. Power to the People! Residente LA PHIL @ Walt Disney Concert Hall

SAT 21 MAR / 2:00 p.m. Seth Parker Woods and Spencer Topel, Iced Bodies LA PHIL @ Walt Disney Concert Hall

SUN 01 MAR / 2:00 p.m. Roberto Devereux LA OPERA @ Dorothy Chandler Pavilion Thru 3/14

SUN 08 MAR / 1:00 p.m. Imani Uzuri: Revolutionary Choir LA PHIL @ Walt Disney Concert Hall

SUN 22 MAR / 7:30 p.m. Piatigorsky International Cello Festival LA PHIL @ Walt Disney Concert Hall

SUN 01 MAR / 7:30 p.m. The Chieftains’ Irish Goodbye Tour LA PHIL @ Walt Disney Concert Hall

SAT 14 MAR / 8:00 p.m. Power to the People! The Movie Music of Spike Lee & Terence Blanchard LA PHIL @ Walt Disney Concert Hall

WED 25 MAR / 8:00 p.m. The Antipodes CENTER THEATRE GROUP @ Mark Taper Forum Thru 4/26

TUE 03 MAR / 8:00 p.m. Intimate Ives & Dvořák LA PHIL @ Walt Disney Concert Hall WED 04 MAR / 12:15 p.m. LUNCH À LA PARK: Yoga reTREAT @ Grand Park Every Wed–Friday FRI 06 MAR / 8:00 p.m. Power to the People! Patti Smith and Her Band LA PHIL @ Walt Disney Concert Hall FRI 06 MAR / 8:30 p.m. Ghost Ensemble: Arctic Air REDCAT

@ Roy and Edna Disney / CalArts Theater

WED 18 MAR / 7:30 p.m. Alvin Ailey American Dance Theater THE MUSIC CENTER @ Dorothy Chandler Pavilion Thru 3/22

FRI 27 MAR / 8:00 p.m. Requiems: Fauré & Duruflé LA PHIL @ Walt Disney Concert Hall Thru 3/29

WED 18 MAR / 8:00 p.m. Dr. Angela Davis Power to the Imagination: The Role of Art and Creativity in Social Change LA PHIL @ Walt Disney Concert Hall FRI 20 MAR / 11:00 a.m. Piatigorsky International Cello Festival: Haydn Concerto LA PHIL @ Walt Disney Concert Hall

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

MCDEV_0320.indd 2

WED 25 MAR / 8:30 p.m. Rosanna Gamson / World Wide: Sugar Houses REDCAT

SUN 15 MAR / 7:30 p.m. Power to the People! Cecile McLorin Salvant—Ogresse LA PHIL @ Walt Disney Concert Hall

Thru 3/29

SAT 28 MAR / 2:00 p.m. The Fauré Requiem LA MASTER CHORALE @ Walt Disney Concert Hall Thru 3/29

Illustrations by: Down The Street Designs

TUE 03 MAR / 11:00 a.m. LUNCH À LA PARK: Food Trucks @ Grand Park Every Tue, Wed, Thu

TUE 31 MAR / 8:00 p.m. Schubert & Adès LA PHIL @ Walt Disney Concert Hall

MAR 2/5/20 3:02 PM

N OW FE AT URING

JA SON FULLILOVE M O DERN SO UL FO O D

Next Chef: Ryan Costanza, Spring 2020 A dining experience that spotlights L.A.â&#x20AC;&#x2122;s diverse cuisine, related and plated by the chefs who tell it best.

Jason Fullilove Courtesy of Brian Feinzimer

TA S T ING C ULT UR E . E X PL OR ING F OOD. VISI T US O N T HE MUSI C CEN T ER PL A Z A BEFORE OR AF T ER T HE SH OW ! 220 N. Hope Street | Los Angeles, CA 90012 | (213) 972-8088 AbernethysLA.com |

MCDEV_0320.indd 3

@AbernethysLA

2/19/20 12:08 PM

April 17–19, 2020

Presented in association with UCLA's Center for the Art of Performance.

The Music Center’s Dorothy Chandler Pavilion musiccenter.org/pinabausch | (213) 972-0711 Groups of 10+: (213) 972-8555 | mcgroupsales@musiccenter.org Ensemble, Palermo Palermo. © Klaus Dilger.

MCDEV_0320.indd 4

2/5/20 3:02 PM

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.

FROM LEFT TO RIGHT: MARK RIDLEY-THOMAS, Second District; SHEILA J. KUEHL, Third District; KATHRYN BARGER, Fifth District, Chair; HILDA L. SOLIS, First District; and JANICE HAHN, Fourth District

MCDEV_0320.indd 5

2/5/20 3:02 PM

Upcoming Concerts featuring instruments from Violins of Hope

Violins of Hope

LOS ANGELES JEWISH SYMPHONY DR. NOREEN GREEN, ARTISTIC DIRECTOR LINDSAY DEUTSCH, VIOLIN Supported By Jewish Community Foundation Los Angeles, Milken Family Foundation

Sun Mar 22 | THE SORAYA

Music has the power to heal, to transcend pain and anguish, and to bring hope. Even through humanity’s darkest chapters — music persists. Sixty violins rescued and restored from the Holocaust will make the journey from Tel Aviv to Los Angeles County. Learn their stories at:

ViolinsofHopeLosAngeles.org Violins of Hope Los Angeles County Chair, Susanne Reyto Honorary Chair, Los Angeles City Controller Ron Galperin,

ROTTERDAM PHILHARMONIC ORCHESTRA LAHAV SHANI, CONDUCTOR NELSON FREIRE, PIANO Beethoven Piano Conerto No. 5 Generously Sponsored By Earl S. Enzer ‘83 & Karen D. Enzer ‘82, The Lloyd E. Rigler-Lawrence E. Deutsch Foundation, Kathleen P. Martin

Wed Mar 25 | THE SORAYA LOS ANGELES LAWYERS PHILHARMONIC MUSIC DIRECTOR GARY S. GREENE, ESQ. Mar 29 | WILSHIRE EBELL THEATRE

Programs Supported By The Annenberg Foundation Los Angeles County Supervisor Sheila Kuehl

Arts Education at The Soraya Generously sponsored by The Labowe Family Foundation and The Green Foundation

THE JERUSALEM QUARTET Onstage Sessions Chamber Music Generously Sponsored By Earl S. Enzer ‘83 & Karen D. Enzer ‘82, The Lloyd E. Rigler-Lawrence E. Deutsch Foundation

Sun Apr 5 | THE SORAYA NEW WEST SYMPHONY MUSIC DIRECTOR MICHAEL CHRISTIE APR 18 | THOUSAND OAKS CIVIC ARTS PLAZA

Niv Ashkenazi, the only individual musician in North America entrusted with one of the collection’s rescued violins, will take the storied instruments “on tour” to visit local students in grades K-12 at 40 public and private schools as The Soraya’s first Artist-in-Residence.

LONG BEACH SYMPHONY, MUSIC DIRECTOR ECKART PREU FEATURING NIV ASHKENAZI APR 25 & APR 26 | TERRACE THEATER, LONG BEACH

For tickets and more information, visit TheSoraya.org/violinsofhopela

TheSorayaStage | TheSoraya.org | (818) 677-3000 LAPHIL_WRAP_0320.indd 3

2/6/20 5:03 PM

I love what I do and the people I do it for.

COLDWELL BANKER GLOBAL LUXURY 310.285.7508 • HOMES@JADEMILLS.COM • JADEMILLS.COM • CalRE #00526877

LAPHIL_WRAP_0320.indd 4

2/7/20 12:35 PM