LA Phil - Nov 2019

NOVEMBER 2019

INSIDE

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GUSTAVO D UDAMEL

NE WS FROM THE L A P HIL

COMING SOON

MONTH LY P ROG R AM

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“ADAM DRIVER AND ANNETTE BENING GIVE EXCELLENT PERFORMANCES” “A STAR-STUDDED, PERFECTLY CAST ENSEMBLE”

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NOVEMBER 2019

CONTENTS 6 BOARD OF DIRECTORS 8

ABOUT THE LA PHIL

16 FEATURE: A Rose for Lilly

18 NEWS:

The Latest from the LA Phil

BOOK I • NOVEMBER 1-23

22 COMING SOON 26 SUPPORT THE LA PHIL

P1

NOV 1-3 LA Phil: Dudamel Conducts Bruckner

P19 NOV 7-8

LA Phil:

Dudamel & Yuja Wang

P4

NOV 3 Organ Recital: Jane Parker-Smith

P24 NOV 14-15

Sylvan Esso

P8

NOV 5 Green Umbrella: John Adams & Jay Campbell

P14 NOV 6

Colburn Celebrity Recital:

Ray Chen & Julio Elizalde

P27 NOV 16 Songbook:

An Evening with Melissa Etheridge P29 NOV 23

World Music:

The Cinematic Orchestra

2 PERFORMANCES MAGAZINE

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“First Republic shares our passion for innovation and world-class performance.”

ANDREA MILLER

Founder, Artistic Director and Choreographer, Gallim Dance 2017-2018 Artist in Residence, The Metropolitan Museum of Art

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

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Published By SOUTHERN 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 Photo by Chris Lee

Strauss Symphony of America Balázs Bánfi, conductor (Budapest) Patricia Nessy, soprano (Vienna) David Danholt, tenor (Vienna–Copenhagen)

Waltzes & Operetta Hits European Singers, Ballroom Dancers & Ballet

Sunday, Dec. 29, 2019 • 2:30 pm 1.800.745.3000 • dolbytheatre.com salutetovienna.com/losangeles

Save 10%* with code AUSTRIA Produced by: *Not valid on previously purchased tickets, while supply lasts.

Production Artist Diana Gonzalez Contributing Designer Heidi Schwindt Advertising Director Lyle Laver Account Managers Kerry Brewer, Tim Egan, Alexandra LaClergue, Walter Lewis, Jessica Levin Poff, Reagan Zorn Business Manager Leanne Killian Riggar Marketing Manager Dawn Kiko Cheng Administration Kelsey Bauder Honorary President Ted Levy For information about advertising and rates, call Southern 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 Southern California Media Group to serve theatrical attractions throughout the west. © 2019 Southern California Media Group.

All rights reserved.

Southern California Media Group 3679 Motor Avenue, Suite 300, Los Angeles, CA 90034 Telephone: (310) 280-2880 FAX: (310) 280-2890

4 PERFORMANCES MAGAZINE

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A stunningly-staged globe-trottting journey.”

—EMPIRE MAGAZINE

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST ANIMATED FEATURE ly , by e d a m hand- udio that created the st AND Loving

“I’m lonely. Your world, it grows bigger. Mine is eaten away.”

— MR. LINK

For more on this extraordinary film and a schedule of where you can see it on the big screen, go to www.missinglinkguilds.com

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GREETINGS

WELCOME! With our Centennial Birthday Celebration behind us – and what a magnificent and inspiring event it was! – we are now firmly on the journey of our next hundred years.

It is a great honor to serve the Los Angeles Philharmonic Association at this pivotal time as the newly elected Chair of its Board of Directors.

This month, that journey becomes literal, as Gustavo Dudamel and the LA Phil complete the final legs of our intercontinental Centennial Tour with concerts in Mexico City, London, and New York. We are delighted to share our artistry and our inclusive vision of a 21st-century orchestra with audiences and partners around the world.

A core element of that vision is our work in the community, which is so dear to my own heart. Since 2013, musicians from our

flagship learning program, YOLA (Youth Orchestra Los Angeles) have traveled with the LA Phil on all of its tours. When our great orchestra travels to Mexico City this month, they will be joined by more than 80 YOLA musicians, our largest YOLA touring contingent ever. Now in its 13th year, YOLA opens doors for young people from underserved communities, providing free instruments, intensive music instruction, leadership training, and opportunities such as these to perform internationally.

The talent, dedication, and promise of these remarkable young musicians inspires me every day. That is why my wife Judy and I made the decision to support a permanent home for this vital work through a gift to name the Judith and Thomas L. Beckmen YOLA Center at Inglewood.

And, of course, we have our usual astonishing range of supremely accomplished and imaginative music making here at home: concerts by the LA Phil before and after the tour weeks, as well as recitals, a Green Umbrella program, and special performances

by Sylvan Esso, Melissa Etheridge, and The Cinematic Orchestra.

Everything we do – in the community, as well as onstage here and around the world – is made possible by your active support and encouragement. Thank you, and enjoy these next steps into the future!

Thomas L. Beckmen Board Chair Los Angeles Philharmonic Association

Los Angeles Philharmonic Association Board of Directors CHAIR Thomas L. Beckmen* VICE CHAIRS David C. Bohnett* Jerrold L. Eberhardt* Jane B. Eisner* David Meline* Diane Paul* Jay Rasulo*

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

6 PERFORMANCES MAGAZINE

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5,000 YEARS OF CIVILIZATION REBORN

A journey through 5,000 years

SHEN YUN presents an epic production that expands the theatrical experience across time and space. We invite you on an inspiring journey into one of humanity's greatest treasures—five millennia of Chinese civilization.

Featuring one of the world’s oldest art forms— classical Chinese dance—along with patented interactive backdrops and all-original orchestral compositions, Shen Yun brings to life ancient China’s enchanting beauty and profound wisdom.

“It is breathtaking! I am walking away deeply inspired and profoundly moved!”

—Rita Cosby, Emmy Award-winning journalist

“The energy, the precision, the beauty...

I’m just overwhelmed. It’s so beautiful!”

—John Anthony, retired judge

“

I’ve reviewed about 4,000 shows.

None can compare to what I saw tonight.”

—Richard Connema, theater critic

APRIL 3–MAY 10, 2020

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

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Tickets: ShenYun.com/LA 800.880.0188 Early bird code: Early20 Get best seats & waive fees by 1/15/2020

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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.

8 PERFORMANCES MAGAZINE

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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 worldfamous 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.

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

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

10 PERFORMANCES MAGAZINE

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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

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

Vacant Principal Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove English Horn Carolyn Hove

Bram and Elaine Goldsmith Chair

CLARINETS

Sadie and Norman Lee Chair

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

Tao Ni Serge Oskotsky Brent Samuel

HORNS Andrew Bain Principal John Cecil Bessell Chair

Jaclyn Rainey Associate Principal Gregory Roosa

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 Stephen Biagini

PERSONNEL MANAGER

Alan Scott Klee Chair

Jeffrey Neville

Loring Charitable Trust Chair

CONDUCTING FELLOWS

Amy Jo Rhine Brian Drake+

Reese and Doris Gothie Chair

Ethan Bearman Assistant

Bud and Barbara Hellman Chair

TRUMPETS Thomas Hooten Principal M. David and Diane Paul Chair

OBOES

Robert deMaine Principal

Ben Hong Associate Principal

Contrabassoon Evan Kuhlmann

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

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.

Paul Radke Bass Trombone John Lofton

TUBA Norman Pearson

TIMPANI Joseph Pereira Principal Cecilia and Dudley Rauch Chair

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FEATURE

A Rose for Lilly

A garden tribute to a porcelain passion A walk through the shade and flowering trees of the Blue Ribbon Garden inevitably pauses at a blooming rose. Against the backdrop of Walt Disney Concert Hall’s otherworldly steel façade, visitors pose in front of a fountain shaped from fragments of Royal Delft Blue porcelain. What has become a shared public art stop for concertgoers and Los Angeles tourists started as a personal connection between just two people: Frank Gehry and Lillian Disney.

Disney pledged $50 million towards constructing a new concert venue, and Gehry visited her in her home to talk about his plans for building that hall. On that visit, Gehry noticed a china cabinet that was full of imitation Delft vases that looked out of place in her beautiful home. When the architect asked about the knockoffs, Disney explained that she and her husband Walt had a tradition of buying the imitations from airport souvenir shops during their many travels, and she loved to show them to friends to see if they could spot the fakes.

When Gehry was asked to create a tribute to Lillian Disney, he combined her love of Delft porcelain with her favorite flower into the fountain titled A Rose for Lilly. Gehry works as much as an artist as he does an architect. The sculptural style of his

buildings is a distinctive feature of his work.

Early in his career, Gehry created sculptures and furniture using inventive forms made from unexpected materials, such as corrugated cardboard (the Easy Edges and Experimental Edges series of chairs and tables), pliable bentwood (Knoll furniture series), and translucent plastic laminate (ColorCore for a series of lamps).

“I love it because it’s not architectural – it’s almost sentimental. It’s not something you would expect from the famous contemporary architect,” Tomas Osinki told told the Los Angeles Times in 2003.

Osinski was tasked by Gehry to oversee the construction of the fountain, translating Gehry’s 14-inch model into an installation measuring 22 feet wide by 17 feet long and 7 feet high.

“I called Delft, in Holland, and they asked me how many vases I wanted,” Osinski said.

“They told me that I may have to wait about 10 years.”

Fortunately for the project, Osinki and Gehry were able to convince Royal Delft to provide the 200 vases on their timeline. To do so, Osinski assembled a team of eight artists, including his wife, Ewa Osinska. This team collectively shaped rebar to form the skeleton of the rose petals, attached steel

mesh onto the rebar, packed reinforced concrete onto the mesh, applied mortar, and broke 200 Delft porcelain vases and more than 10,000 tiles to create a quarterof-a-million mosaic fragments.

The construction of the fountain was tedious work and a race against time to be ready for the opening of Walt Disney Concert Hall. The eight artists worked eight-hour days, six days a week building the shape and placing each fragment. The artists also left behind little Easter eggs for any visitors who closely inspect the fountain.

Hidden among the thousands of Delft fragments are 60 hand-drawn shards that bear artist initials, playful drawings, and one illustration depicting Frank Gehry.

16 PERFORMANCES MAGAZINE

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NEWS

THE LATEST FROM THE LA PHIL responsible for planning the orchestra’s Green Umbrella new music series, as well as the classical programming at the Hollywood Bowl. After briefly serving as the New York Philharmonic’s head artistic planner, in 2006 Smith returned to the LA Phil in the expanded role of Vice President of Artistic Planning, a position he held until being named Chief Operating Officer in 2015.

Smith also serves as Artistic Director of the Ojai Music Festival; his first planned festival will be in the summer of 2020. A native of Gettysburg, Pennsylvania, Smith earned a B.A. in European history from Tufts University, as well as B.M. and M.M. degrees in vocal performance from the New England Conservatory.

Chad Smith

Chad Smith Appointed New LA Phil CEO In October, the Los Angeles Philharmonic Association named Chad Smith as its new Chief Executive Officer, David C. Bohnett Chief Executive Officer Chair, beginning immediately. Smith was serving as Chief Operating Officer. His tenure with the orchestra has been defined by his close relationships with Music & Artistic Director Gustavo Dudamel and Conductor Laureate Esa-Pekka Salonen; groundbreaking artistic initiatives, including the launch of new orchestral series, major multi-disciplinary projects, and dozens of festivals; and an unparalleled commitment to composers and the music of today. He has also overseen the launch of many of the organization’s defining learning programs, including YOLA (Youth Orchestra Los Angeles).

“Chad Smith has done years of brilliant work in advancing the LA Phil in every aspect of its mission,” said Board Chair Thomas L. Beckmen. “He enjoys the complete confidence and support of everyone in this organization. The Board enthusiastically welcomes him as the LA Phil’s new

CEO and looks forward to many great achievements to come.”

“I am very happy, together with the Board, to welcome Chad Smith as the next CEO of the LA Phil,” added Gustavo Dudamel, Music & Artistic Director. “I’ve known him since I first arrived in L.A. a decade ago, and I have complete faith that he will help me deliver on our immense dreams and responsibilities to the next generation – artistically, educationally, and musically.”

“The LA Phil has been my creative home for the last 17 years, and I am honored to be stepping into this role,” Smith said. “Supporting the expansive vision of Gustavo and his deeply held commitment to serving the whole of the L.A. community has never been more important. As we focus on ensuring that our great orchestra thrives, as we continue to grow our YOLA program, and as we imagine new ways our programming can connect to existing audiences while inviting in new listeners, I could not be more excited about beginning my new role.”

Smith began his career in 2000 at the New World Symphony, working closely with conductor Michael Tilson Thomas. He first joined the LA Phil in 2002, when he was

New Dudamel Fellows Welcomed The Los Angeles Philharmonic Association has announced the four conductors who will participate in the 2019/20 Dudamel Fellowship Program: Hilo Carriel, Marta Gardolínska, Enluis Montes Olivar, and Anna Rakitina. Music & Artistic Director Gustavo Dudamel, together with the Los Angeles Philharmonic, created the Dudamel Fellowship Program in 2009 to provide a unique opportunity for promising young conductors from around the world to develop their craft and enrich their musical experience through personal mentorship and participation in the LA Phil’s orchestral, learning, and community programs.

“I look forward to welcoming these four extraordinary young conductors into the 10th year of the program, on behalf on the LA Phil.

We are excited to support their talent, and to provide firsthand experience that will help them grow in their craft,” Dudamel says.

The Fellows will work alongside Dudamel and musicians of the Los Angeles Philharmonic, as well as visiting artists and conductors, and will also work with students in key LA Phil learning programs. The program for each of the Fellows will run separately. The Fellows will hone their skills through observation and

18 PERFORMANCES MAGAZINE

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NEWS

CONTINUED

application, such as conducting Los Angeles Philharmonic youth concerts at Walt Disney Concert Hall, participating as cover conductors, and serving as mentors themselves through participation in programs such as YOLA (Youth Orchestra Los Angeles).

Hilo Carriel is a recipient of the prestigious Baltimore Symphony Orchestra Peabody Conducting Fellowship, and is being mentored by Marin Alsop. Born and raised in the state of Amazonas, Northern region of Brazil, Hilo Carriel is pursuing his master’s degree in orchestral conducting under the guidance of Marin Alsop at The Peabody Institute of The Johns Hopkins University.

Carriel holds a Bachelor’s Degree in Music from the School of Arts and Tourism at the State University of Amazonas.

As guest conductor, Carriel led the São Paulo Symphony Orchestra in the world premiere of Caymmi Suite – History of Fishermen by Dori Caymmi. The live recording of this concert was made available by OSESP’s Digital Seal. Hilo served as pianist of the Experimental Philharmonic Orchestra of Amazonas, Amazonas Choir, and Children’s Choir of the Cláudio Santoro Lyceum of Arts and Crafts for several seasons. He also works with Giovanny Conte in Duo Conte & Carriel, dedicated to Brazilian music for violin and piano.

Marta Gardolińska was born in 1988 in Warsaw, Poland and currently holds the post of Leverhulme Young Conductor in Association at the Bournemouth Symphony Orchestra. In October 2018, she stood in at the last minute to make her acclaimed subscription debut with the BSO and will lead the Orchestra in a variety of concerts and educational activities over the coming seasons. During the summer of 2018, Marta made her festival and orchestral debut with the Scottish Chamber Orch-estra to close the Edinburgh International Festival.

Inspired by the experience of singing in her school choir and fascinated by the colors of symphonic music, Gardolińska studied conducting at the Frederic Chopin Music University of Warsaw, the University of Music and Performing Arts in Vienna. Before deciding to become a musician, she spent several years training professionally in acrobatics, swimming, and middle distance running, while at the same time studying flute and piano.

Enluis Montes Olivar was born in 1996, in the city of Guanare (Portuguesa), Venezuela. He began his music studies at the age of eight on the recorder with professor Norwis Pérez and trumpet with Carlos Mínguez. He joined the National Children’s Symphony Orchestra of Venezuela in 2010, when it was directed by Gustavo Dudamel and Simon Rattle.

Montes made his podium debut in 2007 at the age of 11, leading the Guanare Youth and Children’s Symphonic Orchestra and Choir. He later began formal studies in orchestral conducting with Teresa Hernández.

José Antonio Abreu likewise assumed an important role in his training. Montes made his first international tour in NovemberDecember 2018, traveling to Japan, where he led a concert at the Tokyo Metropolitan Arts space. He was Musical Director of the Franco Medina Youth Symphony Orchestra from 2014 to 2017, as well as the Lara’s Children’s Symphony Orchestra in 2015.

He is currently Deputy Musical Director of the Orchestral and Choral Management Department of the Simón Bolívar Musical Foundation.

Anna Rakitina was second-prize winner of the Malko competition in Copenhagen (2018), third-prize winner of the “Deutscher Dirigentenpreis” competition in Cologne (2017) and third-prize winner of the TCO International Conducting Competition in Taipei (Taiwan, 2015). Born in Moscow, Rakitina began her career as violin player, and has studied conducting at the Moscow Tchaikovsky Conservatory with Stanislav Diachenko. From 2016 to 2018, she studied conducting in Hamburg Hochschule für Musik und Theatre with Ulrich Windfuhr.

She was a guest conductor for the Taiwan National Orchestra in 2017, and in 2018 with the Moscow State Symphony Orchestra.

Anna’s main project has been the creation of the chamber orchestra Affrettando, in conjunction with fellow conductor Sergei Akimov. Anna has also conducted such orchestras as the Danish National Symphony Orchestra, Lucerne Festival Strings, Gürzenich-Orchester Köln, Bucharest George Enescu Philharmonic Orchestra, Hamburger Symphoniker, the National Philharmonic Orchestra of Russia, Taipei Symphony Orchestra, and others.

Hilo Carriel

Marta Gardolińska

Enluis Montes Olivar

Anna Rakitina

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COMING SOON

DECK THE HALL

Make Your Holidays Merry with Music!

Celebration has been an essential element of LA Phil programming at Walt Disney Concert Hall since the iconic venue opened in 2003 and December non-subscription seasonal delights have become a beloved annual “Deck the Hall” tradition.

Chanticleer

The masters of this hall would clearly seem to be Chanticleer, the much-admired “orchestra of voices.” Regulars since 2004, the 12-man Grammy®-winning vocal ensemble returns Tuesday, December 17, with A Chanticleer Christmas. Stunningly beautiful singing and an invigoratingly eclectic program make this evening a perennial favorite.

Families particularly enjoy the annual Holiday Sing-Along, with two performances Saturday, December 21. The Hall’s pipe organ – sonically as well as visually stunning — plus a choir and a jazz combo accompany the singing of numerous popular songs of the season. You’ll enjoy singing a cheerful selection of seasonal favorites, hosted by the hilarious Melissa Peterman, with John Sutton conducting the Angeles Chorale. A jolly good time for the whole family!

You also will have two chances to enjoy singing along on such classics as “Snow,” “Sisters,” “Count Your Blessings Instead of Sheep,” and, of course, the iconic “White Christmas” when the White Christmas Sing-Along returns Sunday, December 22. The beloved 1954 film stars Bing Crosby, Danny Kaye, Rosemary Clooney, and Vera-Ellen, and features that hit-studded score by Irving Berlin.

Kristin Chenoweth

Kristin Chenoweth, the wildly talented and versatile star of Broadway and TV sends 2019 out with a bang, Tuesday, December 31, with two performances of material drawn from her entire career. Whether she’s singing showtunes, gospel, country, or pop, the Tony® and Emmy® Award winner commands the stage with her operatic voice, unparalleled panache, and charm.

Zubin Mehta CeCe Winans

Dianne Reeves

On Friday, December 20, one of the greatest vocalists of our time performs holiday favorites. The LA Phil’s first Creative Chair for Jazz, Dianne Reeves brings a first-rate ensemble – pianist Peter Martin, guitarist Romero Lubambo, bassist Reginald Veal, and drummer Terreon Gully – to revisit her classic holiday album, Christmas Time Is Here. It’s a night of guaranteed good cheer!

One of the best-selling and most-awarded female gospel artists of all time, CeCe Winans is known throughout the world as an icon in modern music history. Having sold over five million albums, she has been awarded a staggering 12 Grammys®, 20 Dove Awards, and seven Stellar Awards, as well as multiple NAACP Image Awards, Soul Train Awards, Essence Awards, and more. Marking her Walt Disney Concert Hall debut, Monday, December 23, this special holiday-themed gospel concert will feature CeCe with a full band and gospel choir.

Then on the first day of the New Year, Zubin Mehta conducts the LA Phil in a New Year’s Day Celebration in the delightful Viennese tradition! Mehta honed his craft in Vienna, led the Vienna Philharmonic countless times, and is an honorary member of the Vienna State Opera, so we are thrilled to have him lead this wonderful event, new to us but so rich in history. Violinist Julian Rachlin and soprano Chen Reiss join him in a program featuring popular favorites by Mozart and Johann Strauss, Jr., the “Waltz King.”

For further information and tickets, please visit laphil.com or call 323 850 2000.

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County of Los Angeles BOARD OF SUPERVISORS Hilda L. Solis Mark Ridley-Thomas Sheila J. Kuehl Janice K. Hahn Chair Kathryn Barger

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.

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Support the LA Phil

2019 – 2020 From Chinese modern dance to an urban-rooted a cappella performance, this season celebrates diverse cultural expression and creativity.

Oct. 19 | 8 p.m.

Perla Batalla in The House of Cohen

Dec. 14 | 8 p.m.

Kiran Ahluwalia

Feb. 21 & 22 | 8 p.m.

Beijing Dance/LDTX at Ambassador Auditorium

May 2 | 3 p.m. & 8 p.m.

Capitol Steps

Nov. 17 | 8 p.m.

Naturally 7

Jan. 25 | 8 p.m.

Kres Mersky The Life and Times of A. Einstein

Mar. 15 | 3 p.m.

Eileen Ivers

May 17 | 3 p.m.

Wolfgang’s Magical Musical Circus

For a 10% discount on adult tickets use code PM (Valid for all events except Capitol Steps) For ticket and other information go to: CaltechLive.Caltech.edu Ticket Office: 626.395.4652 1200 E. California Blvd., Pasadena, CA 91125 All performances in Caltech’s Beckman Auditorium (except for Beijing Dance/LDTX)

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.

26 PERFORMANCES MAGAZINE

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LOS ANGELES PHILHARMONIC

Dudamel Conducts Bruckner Los Angeles Philharmonic Gustavo Dudamel, conductor

Andrew NORMAN

PROGRAM

FRIDAY NOVEMBER 1, 2019 8PM SATURDAY NOVEMBER 2 2PM SUNDAY NOVEMBER 3 2PM

Sustain (c. 45 minutes) – except Friday (LA Phil commission)

INTERMISSION (except Friday)

BRUCKNER Symphony No. 4 in E-flat major, “Romantic” (1878/80) (c. 64 minutes)

Bewegt, nicht zu schnell Andante, quasi allegretto Scherzo: Bewegt – Trio: Nicht zu schnell Finale: Bewegt, doch nicht zu schnell

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

Programs and artists subject to change.

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ABOUT THE PROGRAM

Program at a Glance It is interesting that Andrew Norman uses the phrase “geologically unfolding sonic processes” for some of his thinking about Sustain, since Bruckner’s symphonic forms are often described in geological terms. Norman was thinking about the time spans involved rather than the solidity of rock, of course, although its sonic heft led Los Angeles Times critic Mark Swed to call the score “granitic,” another word used for some of Bruckner’s music.

Bruckner himself discussed his Fourth Symphony in programmatic terms of knights and castles and hunting parties in the woods. The

SUSTAIN Andrew Norman (b. 1979) Composed: 2018 Orchestration: 3 flutes (3rd = piccolo), 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bell tree, crotales, glockenspiel, 4 log drums, 4 pieces of wood, tam-tam, 4 temple blocks, vibraphone), harp, piano, quarter-tone piano, and strings First Los Angeles Philharmonic Performance: October 4, 2018, Gustavo Dudamel conducting (world premiere) On the faculty of the USC Thornton School of Music and director of the LA Phil’s Barry and Nancy Sanders Composer Fellowship Program, Andrew Norman 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 five major works by Norman. He was Musical America’s Composer of the Year in 2017 and won the Grawemeyer Award for Play, which also received a Grammy® nomination. Gustavo Dudamel and the LA Phil recorded Sustain in their live performances last year for a Deutsche Grammophon digital release now available.

My first thought in writing Sustain was to imagine the audience that will sit in Walt Disney Concert Hall 100 years from now, during the 200th season of the Los Angeles

subtitle “Romantic” was his, and it suggests those musical fantasies as much as its position in the lineage of German Romantic music.

And once suggested, it is not hard to hear those images in his music; the scherzo is about as exuberantly physical as German symphonies get. But he builds up the structures of his symphony in unhurried, cleanly delineated blocks.

Both of these works are journeys through time and sound masses.

That could, of course, be said about any piece of music. But few of them make the experience quite so immediate and enthralling.

Philharmonic. What will it mean to gather as a community and listen to an orchestra in 2118? How will the ears and minds of those people be different from ours? How will they be the same? How will their notions of time and space and sound and history be shaped by the world around them, and what will that world outside the Hall look like? What place will the art of live symphonic performance have in such a society?

These are broad and bottomless questions which led me in many directions, but gradually they coalesced around a pair of subjects. The first is time. Perhaps, 100 years from now, the act of sitting quietly and listening to a symphonic argument unfold over 45 minutes will mean even more than it does today. Perhaps, in a time when humans will be bombarded with increasingly atomized bits of information, when overstimulation, fragmentation, and isolation will be the given norms of experience and discourse, perhaps then communal listening to a single, long unbroken musical thought will carry a kind of significance, sacrifice, and otherness we can’t yet really imagine.

I realized, as I was trying to conceptualize Sustain as one long unbroken musical thought, that I was attempting to access and understand spans of time that were much bigger than my own, that I was trying to move from times with which I was familiar — that of a tweet, or a work day, or a year — to things I could never personally experience, like the rise and fall of species, the movement of tectonic plates, the birth and death of stars.

And this thinking brought me around to what is perhaps at the heart this piece:

the natural world. Midway through writing Sustain, I discovered that I was really writing a piece about the Earth, and my — and our — relationship to it. All the work I was doing with long spans of musical time and geologically unfolding sonic processes was in many ways my attempt to place us, the listeners in Walt Disney Concert Hall, in relation to things in nature which are unfathomably bigger and longer than we are. And if there is a sense of sadness or loss that permeates this music, it comes from the knowledge that we, at this critical moment in our history, are not doing enough to sustain the planet that sustains us, that we are not preparing our home for those who will inhabit it in the next hundred, thousand, or million years.

— Andrew Norman

Andrew Norman

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ABOUT THE PROGRAM

SYMPHONY NO. 4 IN E-FLAT MAJOR, “ROMANTIC” (1878/1880 version)

Anton Bruckner (1824-1896) Composed: 1874, revised 1878 and 1880 Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings First Los Angeles Philharmonic performance: January 13, 1927, Walter Henry Rothwell conducting It is hard to imagine the Bruckner of legend – morbidly shy, solitary, and insecure – enjoying the acclamation of vast enthusiastic audiences in Paris and London. But that is how he was received in those cities in 1869 and 1871 when he displayed his legendary skill as an organ virtuoso. He had recently been appointed to a professorship in harmony, counterpoint, and organ at the Vienna Conservatory, and had moved to the imperial capital from Linz. He was 44, and very little known in Vienna, even though he had already composed three symphonies and a magnificent body of choral music.

The London success spurred him on to compose with new fire. He began to compose a new symphony every year, with the Fourth (actually the sixth in the series since the first two were never given numbers) begun on January 2, 1874, and completed that November. He himself gave it the title “Romantic,” perhaps because it echoes so many features of German Romantic music from Weber and Schumann to Wagner. The Second Symphony was performed in Vienna in 1873, but the Third was still unperformed and the Fourth remained unperformed for some years too. Bruckner always had to contend with the entrenched hostility of Eduard Hanslick, Vienna’s most influential critic, who did everything in his power to keep Bruckner’s career in check.

A Fifth Symphony came into being soon after the Fourth, and this too remained on the shelf for many years. Then in 1878, following a disastrous concert in which Bruckner had himself conducted the Third Symphony to a half-empty hall, he decided not to compose a new symphony but instead to revise the Fourth, and although almost all his symphonies underwent revision at some time or other, revisions to the Fourth were more radical than most. He replaced the Scherzo entirely and subjected the finale to radical revision. The 1880 finale is in effect a new movement.

In its new form, the work was played in Vienna on February 20, 1881, under Karl Richter and was well received. At a rehearsal for this concert Bruckner gave Richter a small coin, begging him to drink his health with a glass of beer. Richter, touched, kept the coin on his keychain ever after.

Bruckner’s situation did not improve, however, despite growing fame. His later symphonies appeared at wider intervals and all were subjected to revision, sometimes by Bruckner himself, more often by well-meaning but incompetent hands, which has left a legacy of dubious editions and confused sources.

The 20th century saw a series of sustained efforts to present Bruckner’s works free of the depredations of other editors, and on this foundation he has come to be appreciated as a major symphonist, in the shadow of neither Wagner nor Brahms nor Mahler, but speaking eloquently with his own voice.

Bruckner’s symphonic style is broad and leisurely. Haste and condensation play no part in his structures. He lays out his themes one by one and builds upon them in monumental fashion. Despite his enthusiastic admiration for Wagner, he does not call for Wagnerian immensity in his orchestration, confining himself to the size of orchestra that Beethoven had at his disposal, with no percussion other than timpani and no coloristic instruments such as the harp or the English horn. Nor does he explore

Anton Bruckner

the complex overlapping and combination of themes, as Brahms might. The music progresses step by step, section by section, with cumulative force.

The themes that stand out are, first and foremost, the splendid horn solo that opens the work against a shimmering string background; then a five-note figure (grouped as 2 + 3) that recurs in the finale. From time to time the brass enter in a solid phalanx, often in direct contrast to passages of lyrical writing in the strings.

The second movement, in C minor, has the character of a funeral march alternating with echoes of a German chorale. It builds to a finely judged climax followed by a trail of timpani taps leading to silence.

The scherzo is the apotheosis of hunting music, with the horns in full cry, and its short trio offers gentle rustic contrast as a trio by Haydn or Beethoven might.

For the finale in this version, Bruckner introduced a broad descending three-note phrase which follows a somewhat circuitous route, with plenty of contrasting material, to the grand close in which the symphony’s beginning is, mightily transformed, also its end. — Hugh Macdonald

ABOUT THE ARTIST

GUSTAVO DUDAMEL

For a biography of conductor Gustavo Dudamel, please see page 8.

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ORGAN

PROGRAM

Jane Parker-Smith

SUNDAY NOVEMBER 3, 2019 7:30PM

Jane Parker-Smith, organ

BACH, Arr. FOX

“Nun danket alle Gott,” from Cantata No. 79, BWV 79 (c. 4 minutes)

FRANCK

Fantaisie in A major (c. 14 minutes)

KREBS

Chorale Prelude on “Wie schön leuchtet der Morgenstern” (c. 5 minutes)

WIDOR

“Marche Pontificale,” from Organ Symphony in C minor, Op. 13, No. 1 (c. 8 minutes)

LANGLAIS

“La Nativité,” from Poèmes Évangéliques, Op. 2 (c. 6 minutes)

JONGEN

Sonata Eroïca, Op. 94 (c. 16 minutes)

INTERMISSION

Andreas WILLSCHER

Toccata alla Rumba (c. 4 minutes)

LISZT, Arr. GUILLOU

Orpheus (c. 10 minutes)

Denis BÉDARD

Rhapsodie sur le nom de Lavoie (c. 8 minutes)

DUPARC, Arr. FOURNIER

Aux étoiles (c. 5 minutes)

DETHIER

Variations on “Adeste Fideles” (c. 15 minutes)

Manuel Rosales and Kevin Gilchrist are principal technicians for the Walt Disney Concert Hall organ.

Programs and artists subject to change.

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ABOUT THE PROGRAM

Notes by Gregg Wager When English organist Jane Parker-Smith made the decision to study with the blind French organist Jean Langlais, she was choosing a direction for her artistry strongly rooted in 20th-century French organ music.

This program of 11 works, however, includes only one such work squarely within that expertise, by Langlais himself, although music

by Belgian and Canadian composers, as well as fin-de-siècle French repertoire, also enjoy an advantage.

That said, each piece also brings with it an interesting twist, free of anything that would make it typical of a specific country or century. Listen especially for these moments of wit, along with a richly sonorous approach to the instrument.

The hymn “Nun danket alle Gott” (Now thank we all our God) by protestant minister Martin Rinckart (1586-1649) served well as material for one of the more introspective and fugal organ chorale preludes by Johann Sebastian Bach (1685-1750).

When given the task of writing a cantata for Reformation Day (October 31, which was last Thursday), Cantata 79, Bach chose to set that tune with louder, more joyous instrumental forces.

Flamboyant American organist Virgil Fox (1912-1980) probably reflected upon those contrasting settings, preferring the one in the Cantata to fit his style of playing the organ. Although not a type of chorale prelude representing any purist forms or models that Bach might have been concerned with, Fox’s transcription produces a rousing seasonal hymn.

César Franck’s (1822-1890) Fantaisie in A (published as the first in a set of three organ pieces) opens with a six-note motive, the first three notes of which outline an A-major triad, stated twice, followed by another twobar motive stated twice. These two repetitions combine to form an eight-bar melody that recurs throughout the 13-minute piece.

Emulating a cantor with a response from a four-part chorus, the opening section transforms into something more Wagnerian by the end. Motives are introduced, developed, and finally played simultaneously, culminating in a grand climax.

Following in the footsteps of his teacher J.S. Bach, Johann Ludwig Krebs (1713-1780) continued his master’s penchant for chorale preludes in the Baroque style. He set the 16th-century hymn “Wie schön leuchtet der Morgenstern” (How beautiful shines the morning star shine) by Phillipp Nicolai (1556-1608) with a relentless ostinato in the right hand and the melody in the left. The starkly simple construction nonetheless has its fascinating moments when simple scalar motion and sequencing become expressive, even catchy.

The first Organ Symphony by Charles Widor (1844-1937) consists of seven movements, the fifth of which carries the title “Marche Pontificale,” perhaps drawing influence from a similar march of the same title by Charles Gounod. Widor uses an A-B-A form, commencing and ending with a loud melody in chords and pedals in octaves, with the dense, busy contrasting section maintaining the unyielding pomp of the opening.

The slowly unfolding La Nativité by Jean Langlais (1907-1991) is from his Poèmes Évangéliques, Op. 2, published in 1936. Its Christmas theme depicts the characters in the manger scene, with a tonal language that occasionally wanders freely outside the rules.

In November 1930, Belgian organist and composer Joseph Jongen (1873-1953) premiered his Sonata Eroïca in Brussels. Six years later, it was published as his Op. 94 in Paris, dedicated to Joseph Bonnet, who was the organist of the city’s St. Eustache Church.

The grand opening use of pedal points and parallel chromatic chords suggests a combination of fanfares and cadenzas, before a distinct 11-bar melody in C-sharp minor appears, almost as if it were the theme in a set of variations. As such, the theme is repeated two more times, each at a slightly faster tempo. After a thorough development section, the theme occurs in large chords with the full organ, eventually moving into an elaborate fugue.

In 1981, German composer Andreas Willscher (b. 1955) gave his rousing Toccata alla Rumba the tempo indication “Allegro barbaro,” probably after a piano piece by

Béla Bartók. The latter word of the tempo translates as “barbarous,” and perhaps that is an understatement, in light of its moments of loud rapture and cacophony.

The source that inspired Franz Liszt (18111886) in his orchestral work Orpheus from 1853-1854 was the art work on an ancient Greek vase. The rhapsodic, slow-moving music lends itself to the sustained sound of a pipe organ, and prominent French organist Jean Guillou (1930-2019) prepared this transcription, which preserves its introspection and solemnity.

A native of Quebec, Denis Bédard (b. 1950) studied under several teachers at the Conservatoire de musique Québec, including Claude Lavoie (1918-2014). In 1994, Bédard published his Rhapsodie sur le nom de LAVOIE based on a six-note motive that Bédard assures us in the score spells out his teacher’s name with the notes D-A-G-G-A-E. This statement first occurs in eighth notes on the pedal.

The four movements that comprise the seven-minute piece (Maestoso; Allegro; Tristamente; and Vivo) make stark and inventive use of the motive, which occurs frequently and clearly without much transformation.

Parallel dissonant chords accompany the motive in the first movement, with a second movement of fast perpetual motion in the right hand. The slow and sustained Tristamente movement proves sad as its title indicates, but in the fourth movement, an upbeat four-part fugue leads to a grand finale.

Written when Henri Duparc (1848-1933) was still a fairly young composer in 1874, Aux étoiles (To the stars) represents a sort of anthem in a slowly unfolding triple meter.

It was originally the first part of a threemovement orchestral piece with the title Poème nocturne, but the highly self-critical composer destroyed the other two movements. This arrangement for organ is by the French composer Paul Fournier.

In 1902, Belgian-American composer Gaston Marie Dethier (1875-1958) found a New York publisher who specialized in church music for a work he called “Christmas: organ piece for an opening.”

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ABOUT THE PROGRAM

Dethier even dedicated the score to the memory of the publisher, Joseph Fischer.

Also known as a set of variations on its recurring carol melody “Adeste fideles” (O come, all ye faithful), the 15-minute

work balances restraint with youthful invention. Although much tamer in comparison, it is even reminiscent of Ives’s Variations on “America” as a piece wonderfully teetering between youthful and mature work.

Gregg Wager is a composer and critic. He is author of Symbolism as a Compositional Method in the Works of Karlheinz Stockhausen. He has a PhD in musicology from the Free University Berlin and a JD from McGeorge School of Law.

ABOUT THE ARTIST

JANE PARKER-SMITH Described as “the Martha Argerich of the organ” (The Sunday Times), Jane ParkerSmith is internationally recognized by the critics and public alike for her musicianship, virtuosity, entertaining programs, and electrifying performances. An innate interpretative ability, prodigious technique, and flair for tonal color are the hallmarks that make Jane Parker-Smith one of the most sought-after organists in the world.

Her studies at the Royal College of Music in London were crowned with a number of prizes and scholarships, including the Walford Davies Prize for organ performance. After a further period of work with the eminent concert organist Nicolas Kynaston, a French government scholarship enabled her to complete her studies in Paris with the legendary organist Jean Langlais, perfecting the knowledge and understanding of twentieth-century French organ music for which she is today internationally renowned.

She made her London debut at Westminster Cathedral at the age of 20, and two years later made her first solo appearance at the BBC Promenade Concerts in the Royal Albert Hall. She has since performed in concert halls, cathedrals, and churches throughout the world.

She has recorded a wide range of solo repertoire for the RCA, Classics for Pleasure, L’Oiseau Lyre, EMI, ASV, Collins Classics, Motette, and Avie labels. In addition, she has collaborated with the renowned Maurice André in a duo recording of music for trumpet and organ. She has performed numerous times on radio and television with special feature programs on the BBC, German, and Swiss television.

Highlights in her concert career have been performances in major venues and international festivals such as Westminster Cathedral, Westminster Abbey, St. Paul’s Cathedral, Royal Festival Hall, Royal Albert Hall (both solo and concerto performances), Three Choirs Festival, City of London Festival, Bath Festival, and Blenheim Palace (Winston Churchill Memorial Concert) in the U.K.; Jyväskylä Festival, Finland; Stockholm Concert Hall, Sweden; Hong Kong Arts Festival; Roy Thomson Hall, Toronto, Canada; Festival Paris Quartier d’Été, France; Festival Ciclo El Organo en la Iglesia, Buenos Aires, Argentina; Festival Internationale di Musica Organistica Magadino, Switzerland; Cube Concert Hall, Shiroishi, Japan; Athens Organ Festival, Greece; Severance Hall in Cleveland, Davies Symphony Hall in San Francisco, and Walt Disney Concert Hall in Los Angeles, USA; Sejong Cultural Centre, Seoul, Korea; Esplanade Concert Hall, Singapore; Symphony Hall, Birmingham, U.K.; Mariinsky Concert Hall, St. Petersburg, Russia. and ZK Matthews Hall, University of South Africa, Pretoria.

In 1996, she gave four solo concerts at the American Guild of Organists National Centennial Convention in New York City.

She was also a featured artist for the AGO National Convention in Philadelphia in 2002, for the AGO Region II Convention in New York City, and the AGO Region V Convention in Columbus, Ohio in 2007, for the AGO National Convention in Nashville in 2012, and, most recently, for the AGO Regional Convention in Fort Worth, Texas in 2015.

Jane Parker-Smith’s extensive concerto repertoire has led to her performances with many leading orchestras, including the BBC Symphony and the BBC Concert Orchestras, the London Symphony, the London Philharmonic and Royal Philharmonic Orchestras,

Jane Parker-Smith

the Philharmonia, the City of Birmingham Symphony, the Royal Stockholm Philharmonic, the Athens State Orchestra, and the Prague Chamber Orchestra. She has worked with conductors of the stature of Sir Simon Rattle, Serge Baudo, Carl Davis, Vernon Handley, Matthias Bamert, and Richard Hickox.

Parker-Smith is an Honorary Fellow of the Guild of Musicians and Singers and a member of the Incorporated Society of Musicians. She is listed in the World Who’s Who and the International Who’s Who in Music and in 2014 was chosen as one of the “1000 Most Influential Londoners” by the London Evening Standard newspaper.

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WALT DISNEY CONCERT HALL ORGAN STOP LIST

GREAT – MANUAL II Violonbasse 32ʹ 16ʹ Prestant Violonbasse 16ʹ 16ʹ Bourdon Principal 8ʹ 8ʹ Diapason à Pavilon Violoncelle 8ʹ 8ʹ Flûte harmonique Chimney Flute 8ʹ 8ʹ Bourdon Grand Nasard 5-1/3ʹ 4ʹ Octave Spire Flute 4ʹ 3-1/5ʹ Grande Tierce 2-2/3ʹ Octave Quinte 2ʹ Super Octave Grande Fourniture (16ʹ series) III VIII Mixture (8ʹ series) Cymbale (4ʹ series) IV VII Corneta Magna Contre Basson (ext. 16ʹ) 32ʹ 16ʹ Basson Basson 8ʹ Basson 4ʹ Trompeta de Los Angeles 8ʹ Great to Great 16ʹ Tremolo Sostenuto

SWELL – MANUAL III (enclosed) 16ʹ Bourdon 8ʹ Diapason Flûte traversière 8ʹ 8ʹ Bourdon Viole de Gambe 8ʹ 8ʹ Voix céleste (CC) Dulciane doux 8ʹ 8ʹ Voix angélique (TC) Principal 4ʹ 4ʹ Flûte octaviante 2-2/3ʹ Nasard 2ʹ Octavin 1-3/5ʹ Tierce 1ʹ Piccolo Plein jeu harmonique (2-2/3ʹ) III-V 16ʹ Bombarde Trompette 8ʹ 8ʹ Hautbois Voix humaine 8ʹ 4ʹ Clairon Fast Tremulant

Slow Tremulant

Trompeta de Los Angeles 8ʹ Llamada 8ʹ Swell to Swell 16ʹ

Swell Unison off Swell to Swell 4ʹ Sostenuto

POSITIVE – MANUAL I (enclosed) Quintaton 16ʹ Principal 8ʹ Unda Maris (CC) 8ʹ Gambe 8ʹ Flûte harmonique 8ʹ Gedackt 8ʹ Octave 4ʹ Hohlflöte 4ʹ 2-2/3ʹ Nasard Super Octave 2ʹ Waldflöte 2ʹ 1-3/5ʹ Tierce 1-1/3ʹ Larigot IV Mixture (1-1/3ʹ) Trompette 8ʹ 8ʹ Cromorne Cor Anglais 8ʹ 4ʹ Clairon Tremolo 16ʹ Llamada Llamada 8ʹ 4ʹ Llamada Trompeta de Los Angeles (TC) 16ʹ Trompeta de Los Angeles 8ʹ Positive to Positive 16ʹ

Positive Unison off Positive to Positive 4ʹ Harp Celesta Sostenuto

LLAMARADA – MANUAL IV (enclosed) Flautado grandiso 8ʹ Octava real 4ʹ Compuestas V Lleno fuerte V Contra Tromba 16ʹ Tromba 8ʹ Tromba Clarion 4ʹ Tremblante

Chimes (unenclosed) Trompeta de Los Angeles 8ʹ (horizontal) 16ʹ Llamada (ext.)

Llamada (horizontal Tuba) 8ʹ Llamada (ext.)

4ʹ Llamadas transfer to Great

Sostenuto

Cymbelstern (high pitched bells)

Campanitas (low pitched bells) Pajaritos (4 pipes)

PEDAL 32ʹ Flûte Violonbasse 32ʹ 32ʹ Bourdon Flûte (ext.)

16ʹ 16ʹ Prestant (Gr.) Violonbasse (Gr.) 16ʹ 16ʹ Subbass Bourdon (Sw.) 16ʹ 10-2/3ʹ Grosse Quinte 8ʹ Octave Flûte (ext.)

8ʹ Violoncelle (Gr.) 8ʹ Bourdon (ext. Subbass) 8ʹ Super Octave 4ʹ Flûte (ext.)

4ʹ Mixture (5-1/3ʹ) V Contre Basson (BBBBB) 64ʹ Contre Bombarde 32ʹ Contre Basson (Gr.) 32ʹ Grande Bombarde (ext.)

16ʹ Llamada (Lla.) 16ʹ Contra Tromba (Lla.) 16ʹ Basson (Gr.) 16ʹ Trompeta de Los Angeles (Lla.) 8ʹ Llamada (Lla.) 8ʹ Basson (Gr.) 8ʹ Trompeta de Los Angeles (Lla.) 4ʹ Llamada (Lla.) 4ʹ Pedal Chimes

Pedal Divide (adjustable)

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GREEN UMBRELLA

John Adams & Jay Campbell

PROGRAM

TUESDAY NOVEMBER 5, 2019 8PM

LA Phil New Music Group John Adams, conductor Jay Campbell, cello Eric Wubbels, piano

Co-curated by John Adams and Jay Campbell Gabriella SMITH

Carrot Revolution (c. 12 minutes)

Marc SABAT

Partite Requiem (world premiere, LA Phil commission)

Eric WUBBELS

Nathan Cole, Akiko Tarumoto, violins Teng Li, viola Jonathan Karoly, cello

Jay Campbell, cello

gretchen am spinnrade Jay Campbell, cello Eric Wubbels, piano

INTERMISSION

Sky MACKLAY

Swarm Collecting (world premiere, LA Phil commission, with generous support from the Deborah Borda Women in the Arts Initiative)

Lyndon Johnston Taylor, Michelle Tseng, violins Dale Hikawa Silverman, Michael Larco, violas Marion Arthur Kuszyk, Carolyn Hove, oboes Boris Allakhverdyan, Andrew Lowy, clarinets Shawn Mouser, Evan Kuhlmann, bassoons Jaclyn Rainey, Gregory Roosa, horns Thomas Hooten, Christopher Still, trumpets David Rejano Cantero, James Miller, bass trombones Doug Tornquist, Scott Sutherland, tubas Joseph Pereira, timpani James Babor, Matthew Howard, percussion John Adams, conductor

Tristan PERICH

Formations

Jay Campbell, cello Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Programs and artists subject to change.

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ABOUT THE PROGRAM

Gabriella Smith

CARROT REVOLUTION Gabriella Smith (b. 1991) Gabriella Smith is a composer from the San Francisco Bay Area whose music is described as “high-voltage and wildly imaginative” (Philadelphia Inquirer), and “the coolest, most exciting, most inventive new voice I’ve heard in ages” (Musical America). Her music has been performed throughout the U.S. and internationally by eighth blackbird, Bang on a Can All-Stars, the Cabrillo Festival Orchestra, the Nashville Symphony, PRISM Quartet, Aizuri Quartet, and yMusic, among others.

Recent highlights include the world premiere of a new work for Roomful of Teeth and Dover Quartet at Bravo! Vail Music Festival and performances of Tumblebird Contrails by the Los Angeles Philharmonic in January 2019, conducted by John Adams.

She received her Bachelor of Music in composition from the Curtis Institute of Music and then attended Princeton University for graduate school. When not composing, she can be found hiking, backpacking, birding, playing capoeira, and recording underwater soundscapes with her hydrophone.

I wrote Carrot Revolution in 2015 for my friends the Aizuri Quartet. It was commissioned by the Barnes Foundation in Philadelphia for their exhibition The Order of Things, in which they commissioned three visual artists and myself to respond to Dr. Barnes’ distinctive “ensembles,” the unique ways in which he arranged his acquired paintings along with metal objects, furniture, and pottery, juxtaposing them in ways that bring out their similarities and

differences in shape, color, and texture.

While walking around the Barnes, looking for inspiration for this string quartet, I suddenly remembered a Cézanne quote I’d heard years ago (though which I later learned was misattributed to him): “The day will come when a single, freshly observed carrot will start a revolution.” And I knew immediately that my piece would be called Carrot Revolution.

I envisioned the piece as a celebration of that spirit of fresh observation and of new ways of looking at old things, such as the string quartet – a 250-year-old medium – as well as some of my even older musical influences (Bach, Perotin, Gregorian chant, Georgian folk songs, and Celtic fiddle tunes).

The piece is a patchwork of my wildly contrasting influences and full of weird, unexpected juxtapositions and intersecting planes of sound, inspired by the way Barnes’ ensembles show old works in new contexts and draw connections between things we don’t think of as being related.

— Gabriella Smith

Marc Sabat

PARTITE REQUIEM Marc Sabat (b. 1965) Canadian composer of Ukrainian descent Marc Sabat has been based in Berlin since 1999. He makes pieces for concert and installation settings, drawing inspiration from investigations of the sounding and perception of just intonation and relating to various music styles — folk, experimental, and classical. He is a frequent collaborator, seeking interactions with other musicians and with artists of visual and literary modes

to find points of shared exploration and dialogue between various forms of experience and different cultural traditions. His works are presented internationally.

Sabat studied composition, violin, and mathematics at the University of Toronto, at the Juilliard School in New York, and at McGill University, as well as working privately with Malcolm Goldstein, James Tenney, and Walter Zimmermann. Together with Wolfgang von Schweinitz, he developed the Extended Helmholtz-Ellis JI Pitch Notation and is a pioneer of music written and performed in microtonal just intonation. He teaches composition and the theory and practice of intonation at the Universität der Künste Berlin. Creative commons scores and artist editions are available from Plainsound Music Edition.

Partite Requiem was written in remembrance of the life and work of one of America’s most remarkable 20th-century composers, just-intonation pioneer Ben Johnston (19262019). I had the opportunity to meet Ben in 2008, when we worked together to realise a performance of his long unheard orchestra work at the Donaueschinger Musiktage in Germany. His gentleness, warmth, and insight has had a profound influence on my own work. He suggested that choices we make in artistic creation might come from sensing the interconnectedness of things: of thought, matter, and vibration. As makers, we share a responsibility to reveal such experiences in all their complexity and simplicity: direct, true, untempered, unadorned. The perception of harmonic sound senses proportional relationships of frequencies as interactions of tone, opening a subtle continuum of relative consonance and dissonance, becoming melody, counterpoint, music. — Marc Sabat

GRETCHEN AM SPINNRADE Eric Wubbels (b. 1980) Goethe/Schubert’s Gretchen at the spinning wheel (“Meine Ruh’ ist hin / Mein Herz ist schwer”) but also the wheel of karma (Bhavachakra) turning of cause and effect

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ABOUT THE PROGRAM

compulsive loops of thought and action repetitive behavior and cycles of history A manic, hounded piece, alternating relentless motoric circuits with plateaus of regular, “idling” motion. *** gretchen am spinnrade was written for and is dedicated to cellist Mariel Roberts. It is the sixth in a series of duo works for piano paired with another instrument, originally written for myself to play with some of my closest collaborators. I’m excited to play it here tonight with another extraordinary artist, Jay Campbell. gretchen was written primarily during a residency at the MacDowell Colony (Peterborough, NH) in the fall of 2016, a period colored and eventually consumed by events surrounding the 2016 presidential election. The extremity of its expression derives at least in part from an attempt to process, metabolize, and transform some of the toxic, chaotic atmosphere of that moment. — Eric Wubbels

Sky Macklay

SWARM COLLECTING Sky Macklay (b. 1988) Sky Macklay is a composer, oboist, and installation artist currently living in northwest Indiana. Her music is conceptual yet expressive, exploring extreme contrasts, audible processes, humor, and the physicality of sound. She has been commissioned

by Chamber Music America (with Splinter

Reeds), the Fromm Foundation at Harvard University (with Ensemble Dal Niente), the Barlow Endowment (with andPlay), and The Jerome Fund for New Music (with ICE saxophonist Ryan Muncy). Sky’s work has also been recognized with awards and fellowships from the American Academy of Arts and Letters, ASCAP, The International Alliance for Women in Music, and Civitella Ranieri. Recent projects include an opera set in a uterus and two interactive installations of harmonica-playing inflatable sculptures. Sky completed her D.M.A. at Columbia University and is Assistant Professor of Music at Valparaiso University. Her music is published by C.F. Peters.

“The collection of swarms is an important part of beekeeping. A significant number of non-beekeepers is frightened of insects and in particular a mass of several thousand of them. In 50 years of beekeeping, I have only ever come across about three swarms that have been aggressive; in general, they are very docile and easy to deal with.”

— David A. Cushman, beekeeper

As I began composing Swarm Collecting, I imagined blatty, low, slippery, and slightly amorphous yet rhythmically recognizable chorales; sound objects being passed by one group of instruments to another like a dance hastily taught. This image of instruments passing a message through a jerky dance reminded me of a book I read as a child at my grandparents’ cabin in northern Minnesota. It was a National Geographic kids book about bees and it described the “waggle dance” that bees perform to communicate the location of flowers to the rest of the hive. Like the bees, the instruments in my piece pass a message that changes in translation until the individuals and groups morph, merge, and congeal into one big, unwieldy swarm of sound. — Sky Macklay

was the first album ever released as a microchip, programmed to synthesize his electronic composition live. His latest circuit album, 1-Bit Symphony, has received critical acclaim, called “sublime” by the New York Press and the Wall Street Journal said “[its] oscillations have an intense, hypnotic force and a surprising emotional depth.” His award-winning work coupling 1-bit electronics with traditional forms in both music (Active Field, Observations) and visual art (Machine Drawings, Microtonal Wall) has been presented around the world, from Sonar and Ars Electronica to MoMA bitforms gallery.

The Los Angeles Philharmonic presented his Interface for string quartet and four-channel 1-bit electronics as part of the Next on Grand festival in May 2015.

I am interested in the threshold between the abstract world of computation and the physical world around us. Scored for traditional instrumentation combined with 1-bit electronics, these compositions are duets between musicians and code, exploring an interest in the foundations of electronic sound. The simplest electronic tones can be created by sending on and off pulses of electricity to a speaker, creating an oscillation at the desired pitch. These pulses are represented digitally in binary as 1-bit information, where a 1 or 0 signifies the corresponding electrical state. When working with 1-bit waveforms, data is equivalent to sound; no higher-level translation is needed.

Formations, for solo cello and six-channel 1-bit electronics, was premiered by Mariel Roberts at the Shiny Toys Festival in Mulheim an der Ruhr, Germany, in September 2011.

— Tristan Perich

FORMATIONS Tristan Perich (b. 1982) Tristan Perich’s work is inspired by the aesthetic simplicity of math, physics, and code.

The WIRE Magazine describes his compositions as “an austere meeting of electronic and organic.” 1-Bit Music, his 2004 release,

Tristan Perich

P10 PERFORMANCES MAGAZINE

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ABOUT THE ARTISTS

JOHN ADAMS Composer, conductor, and creative thinker – John Adams occupies a unique position in the world of music. His works stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes; his stage compositions, all in collaboration with director Peter Sellars, have transformed the genre of contemporary music theatre. Spanning more than three decades, works such as Harmonielehre, Shaker Loops, El Niño, and Nixon in China are among the most performed of all contemporary classical music.

As a conductor, he has led the world’s major orchestras, programming his own works with a wide variety of repertoire ranging from Beethoven, Mozart, and Debussy to Ives, Carter, and Ellington.

Among his honorary doctorates are those from Yale, Harvard, Northwestern, and Cambridge universities and from The Juilliard School. A provocative writer, he is author of the highly acclaimed autobiography Hallelujah Junction and is a frequent contributor to The New York Times Book Review. Since 2009, Adams has been Creative Chair of the Los Angeles Philharmonic.

Born and raised in New England, Adams learned the clarinet from his father and played in marching bands and community orchestras during his formative years.

He began composing aged ten, and his first orchestral pieces were performed while he was still a teenager. In 2017, Adams celebrated his 70th birthday with festivals of his music in Europe and the US, including special retrospectives at London’s Barbican, La Cité de la Musique in Paris, and in Amsterdam, New York, and Geneva, among other cities. In 2019, he was the recipient of both Spain’s BBVA “Frontiers of Knowledge” award and Holland’s Erasmus Prize “for notable contributions to European culture, society, and social science.”

The official John Adams website is earbox.com.

Conducting engagements in the 2019/20 season include return visits to

John Adams

the New York Philharmonic, Los Angeles Philharmonic, the Philadelphia Orchestra, St. Louis Symphony, Seattle Symphony, and Netherlands Radio Philharmonic orchestras, and in February 2020 Adams makes his debut with the Orchestre Philharmonique de Radio France. Several of these engagements include Adams’ new piano concerto Must the Devil Have All the Good Tunes?, premiered by Yuja Wang and the Los Angeles Philharmonic in March 2019.

Conducting highlights in 2018/19 included performances with the Cleveland Orchestra, Dallas Symphony, and Oslo Philharmonic orchestras, the world premiere of Philip Glass’ Symphony No.12, “Lodger,” with the Los Angeles Philharmonic, and performances of The Gospel According to the Other Mary with the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia. In February 2019, the Dutch National Opera gave the European premiere of Adams’ new opera about the Californian Gold Rush, Girls of the Golden West, first premiered by the San Francisco Opera in November 2017.

Recent recordings include two Grammy®-nominated albums: Doctor Atomic – featuring the BBC Symphony Orchestra and BBC Singers conducted

by Adams, with Gerald Finley and Julia

Bullock; Scheherazade.2, a dramatic symphony for violin and orchestra written for Leila Josefowicz; and the Berliner Philharmoniker’s “John Adams Edition,” a box set comprising seven of his works, conducted by Rattle, Dudamel, Petrenko, Gilbert, and Adams.

JAY CAMPBELL Praised by The New York Times for his “electrifying performances” which “conveyed every nuance,” American cellist Jay Campbell has already forged a reputation as a spellbinding artist. A 2016 recipient of the Avery Fisher Career Grant, he is well known for his eclectic musical interests, having collaborated with musicians ranging from Elliott Carter, Pierre Boulez, David Lang, and John Zorn, to members of Radiohead and Einstürzende Neubauten.

Campbell was named artiste étoile (artist in residence) for the 2017 Lucerne Festival, the youngest ever to have achieved that distinction, which honored him with a familiar role in programming as well as performing. His highly successful stint as artistic director of Ligeti Forward for the New York Philharmonic’s 2016 Biennial underscored his outstanding contributions as both curator and performer. Working

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ABOUT THE ARTISTS

Jay Campbell

closely with Alan Gilbert, he created a three-concert series which explored Hungarian composer György Ligeti as a fountainhead of modern music. He was also featured soloist on the second program performing Ligeti’s Cello Concerto.

Jay Campbell has premiered nearly one hundred works to date, including concertos by Chris Rogerson and Pulitzer Prize-winning composer David Lang. At the 2017 Lucerne Festival, he performed the Swiss premiere of Michael Van der Aa’s multimedia cello concerto Up-close, and the world premiere of a new concerto by Luca Francesconi. His close association with John Zorn has resulted in over a half-dozen new works for cello. Hen to Pan, a disc featuring all new compositions written for him by Zorn, was released in February 2015 and named by The New York Times in its “Best Classical Music Recordings of 2015.”

Recipient of awards from the BMI and ASCAP foundations, Jay Campbell was also First Prize winner of the 2012 Concert Artist Guild auditions, and Second Prize winner of the 2015 Walter W. Naumburg International Cello Competition. Born in Berkeley, California, he holds an Artist Diploma from the Juilliard School where he was a student of Fred Sherry.

ERIC WUBBELS Eric Wubbels (b.1980) is a composer and pianist, and a co-director of the Wet Ink Ensemble.

His music has been performed throughout Europe, Asia, Australia, and the U.S. by groups such as Wet Ink Ensemble, Mivos Quartet, yarn|wire,

Splinter Reeds, Kupka’s Piano (Australia), SCENATET (Denmark), Hong Kong New Music Ensemble, and featured on festivals including Huddersfield Festival, Chicago Symphony’s MusicNOW, New York Philharmonic’s CONTACT, MATA Festival, and Zurich Tage für Neue Musik.

Wubbels has been awarded grants and fellowships from the American Academy of Arts and Letters, NYFA, NYSCA, Chamber Music America, ISSUE Project Room, MATA Festival, Barlow Endowment, Jerome Foundation, and Yvar Mikhashoff Trust, and residencies at the MacDowell Colony (2011, 2016), Copland House, L’Abri (Geneva), Djerassi Resident Artists Program, and Civitella Ranieri Center (Italy).

As a performer, he has given U.S. and world premieres of works by major figures such as Peter Ablinger, Richard Barrett, Beat Furrer, George Lewis, and Mathias Spahlinger, as well as vital young artists such as Rick Burkhardt, Francesco Filidei, Erin Gee, Bryn Harrison, Clara Iannotta, Darius Jones, Cat Lamb, Ingrid Laubrock, Charmaine Lee, Alex Mincek, Sam Pluta, Katharina Rosenberger, and Kate Soper.

He has recorded for Carrier Records, hatART, Intakt, New Focus, Spektral (Vienna), quiet design, and Albany Records, among others, and has held teaching positions at Amherst College and Oberlin Conservatory.

Eric Wubbels

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GREEN UMBRELLA

Coming Creative Collaborations TUE DEC 10 8PM A Tribute to Oliver Knussen LA Phil New Music Group Susanna Mälkki, conductor Leila Josefowicz, violin Co-curated by Susanna Mälkki and Leila Josefowicz Colin MATTHEWS Hidden Variables KNUSSEN Reflection Helen GRIME A Cold Spring Huw WATKINS Piano Quartet KNUSSEN Ophelia Dances Book 1 KNUSSEN Two Organa HARVEY Mortuos Plango, Vivos Voco To honor the memory of our talented and beloved colleague Oliver Knussen, Mälkki and Josefowicz have programmed three of his remarkable creations and surrounded them with chamber-sized music by his friends, colleagues, and students. Come celebrate a musical life.

TUE FEB 4 8PM Bjarnason & Ólafsson LA Phil New Music Group Daníel Bjarnason, conductor Víkingur Ólafsson, piano István Várdai, cello Co-curated by Daníel Bjarnason and Víkingur Ólafsson Bent SØRENSEN The Weeping White Room Kaija SAARIAHO Seven Papillons Daníel BJARNASON Five Possibilities Thurídur JÓNSDÓTTIR new work for ensemble (world premiere, LA Phil commission) Bent SØRENSEN Mignon – Papillons (U.S. premiere) Two of the biggest stars of our 2017 Reykjavík Festival, conductor/composer Daníel Bjarnason and pianist Víkingur Ólafsson, have put together a fascinating program that includes a world premiere.

TUE MAR 24 8PM Power to the People!

Place LA Phil New Music Group Co-created by Ted Hearne, Patricia McGregor, and Saul Williams 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

Du Yun

Daníel Bjarnason

Ted HEARNE Place (West Coast premiere, LA Phil commission) Co-produced and co-commissioned by Beth Morrison Projects A new operatic work explores the essence of place.

TUE APR 21 8PM Du Yun & David Bloom LA Phil New Music Group David Bloom, conductor Co-curated by Du Yun and David Bloom Carlos Gutiérrez QUIROGA Jintili Vicente ALEXIM Impulses Aida SHIRAZI Lullaby for Shattered Angels Mazz SWIFT new work (world premiere, LA Phil commission) DU YUN new work (world premiere, LA Phil commission) Rajna SWAMINATHAN new work (world premiere, LA Phil commission) This wide-ranging program of music handpicked by Du Yun and David Bloom begins with the evocative Jintili, for tiny pan flutes and loofahs, and concludes with three world premieres.

Ted Hearne

SAT JUNE 6 8PM Steve Reich Premiere LA Phil New Music Group Brad Lubman, conductor Steve REICH Double Sextet Steve REICH Runner Steve REICH Reich/Richter (West Coast premiere, LA Phil commission) film by Gerhard Richter & Corinna Belz This concert anchoring Noon to Midnight culminates with the premiere of a collaboration between Reich and artist Gerhard Richter. Richter will provide a computergenerated film of his painting 946-3. The result: a stream of images interpreted by music and a musical composition visualized by film images.

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COLBURN CELEBRITY SERIES

Ray Chen

PROGRAM

WEDNESDAY NOVEMBER 6, 2019 8PM

Ray Chen, violin Julio Elizalde, piano

GRIEG

Violin Sonata No. 2 in G major, Op. 13 (c. 20 minutes)

SAINT-SAËNS

Violin Sonata No. 1 in D minor, Op. 75 (c. 22 minutes) Allegro agitato Allegretto moderato

Lento doloroso Allegretto tranquillo Allegro animato

INTERMISSION

BACH

Chaconne from Partita No. 2 for Solo Violin, BWV 1004 (c. 14 minutes)

DEBUSSY, Arr. ROELENS

Clair de lune (c. 5 minutes)

RAVEL

Tzigane (c. 10 minutes)

Media Sponsor: KPCC Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Programs and artists subject to change.

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ABOUT THE PROGRAM

Notes by John Henken

VIOLIN SONATA NO. 2 IN G MAJOR, OP. 13 Edvard Grieg (1843-1907) Grieg was an accomplished pianist and toured regularly, mostly performing his own music. In addition to solo and duo piano pieces, these concerts usually included some of his songs (with his wife a frequent collaborator) and often one of his three violin sonatas. Grieg considered the sonatas to be among his finest works and he often played the piano part for them, at social gatherings as well as public concerts. “They represent,” he said in 1900, “periods in my development – the first naïve, rich in ideas; the second national; and the third with a wider horizon.”

It was the great Norwegian violinist Ole Bull who “discovered” Grieg, in the sense that it was he who persuaded Grieg’s parents to send him to the Leipzig Conservatory in 1858 at the age of 15. An ardent nationalist in many ways (he bought about 27 square miles of land in Pennsylvania and founded a utopian community called New Norway there in 1852), Bull used Norwegian folk elements in his own playing and compositions, and his influence can be clearly heard in Grieg’s Second Violin Sonata, which was composed in three joyful weeks the month after Grieg got married.

Grieg’s happiness is not immediately apparent, in an operatically sad introduction marked Lento doloroso. But that is an emotional feint that only puts the leaping glee of the ensuing spring dance in high relief.

The taut sonata form of the movement, with its textbook exposition of two contrasting themes, development, recapitulation, and coda, shows that Grieg paid attention during his four somewhat forlorn years in Leipzig.

But the unbridled zest of the dance is purely personal Grieg, with his ear on Norwegian folk music.

Mercurial by temperament, Grieg never sustained a truly slow movement for long.

The second movement of this sonata is marked Allegretto tranquillo, and though it does begin and end in the minor mode, the music seems to gravitate irresistibly to dance again, with clear references to the first movement and a peaceful country scene in the middle.

The finale is pure dance, boldly projected into conservatory-approved form. Its shadows are both passionate and fleeting, overwhelmed by sheer sunny exultation.

SONATA NO. 1 IN D MINOR FOR VIOLIN AND PIANO, OP. 75 Camille Saint-Saëns (1835-1921) A genuine prodigy of wide-ranging talent and interests – he was also a linguist, amateur scientist, eager traveler, and an author on many subjects – Saint-Saëns composed in almost every form and medium then imaginable, and he premiered most of his works featuring the piano (including this sonata; likewise, Grieg was the first pianist for his violin sonatas).

His First Violin Sonata dates from 1885, after Saint-Saëns had already composed his three violin concertos. It was also the year before his popular “Organ” Symphony in C minor, a work with which it shares many characteristics. In this Sonata (as in the “Organ” Symphony), Saint-Saëns took the standard four movements, merged them into two pairs, and unified the whole with cyclic thematic recurrences.

The opening Allegro half of the first movement is a poised sonata form, the second theme of which – first heard in the violin against rustling arpeggios in the piano – is the one that recurs most frequently and conspicuously. (This Sonata, and this second theme particularly, was a favorite of Marcel Proust and inspired the fictive sonata by Vinteuil in À la Recherche du Temps Perdu.)

A quiet interlude connects this with a dreamy song, serving as the Sonata’s slow movement. The two parts of the second movement form the scherzo (here a fleet waltz) and a brilliantly virtuosic rondo finale.

CHACONNE, FROM PARTITA NO. 2, BWV 1004 Johann Sebastian Bach (1685-1750) “In his youth and until the approach of old age he played the violin cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with the harpsichord,” Carl Philipp Emanuel Bach wrote of his father to Johann Nikolaus

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

The origin of the sonatas and partitas for unaccompanied violin – “Sei Solo” (Six Solo), as the manuscript is simply headed – probably extends back to Bach’s first tenure in Weimar, a bare six months in 1703. The “Sei Solo” were brought to finished state in 1720 in Cöthen, however, during Bach’s years in service as Kapellmeister to Prince Leopold. This was the period (1717-1723) of Bach’s greatest concentration on instrumental music. Exactly when the works were first performed and by whom is unknown, though clearly Bach himself would be an obvious possibility.

The first half of the Partita No. 2 consists of clear statements of the four core dances of the Baroque suite: stately Allemanda, “running” Corrente, somber Sarabanda (far removed by this time from its much wilder origins), and dashing Giga. Each of these dances is cast in typical binary form (two halves, each repeated), though rather darker in character than the norm. (The Sarabanda ends, unusually, with a little coda.)

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

In some ways, the Chaconne (to use the more common French spelling) is the fulfillment of the previous dances, all of which give intimations of the Chaconne’s repeating bass and harmonic pattern. The Chaconne moves in the rhythm of a sarabande (in 3/4, with the weight on the dotted second beat).

It is in three-part form (A-B-A), with the exalted middle section in the parallel major. A

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ABOUT THE PROGRAM

chaconne is basically a set of free variations over a repeating harmonic pattern (and/or its bass line), and this one is protean enough that analysts cannot even agree on how many of these patterns or themes there are.

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

CLAIR DE LUNE Claude Debussy (1862-1918) Paul Verlaine’s 1869 poem “Clair de lune” (Moonlight) was very important for Debussy, who set it twice for voice and piano, as well as presenting it as a sort of tone poem for solo piano in the third movement of his Suite bergamasque. (Gabriel Fauré also set the poem as a song in 1887.) A bergamask was a type of rustic Renaissance dance associated with the Italian town of Bergamo; Verlaine refers to bergamasks in his musically suggestive poem.

Debussy originally wrote the piano pieces of Suite bergamasque around 1890, but made many changes before he published it in 1905. Among those changes was the title; there was no “Clair de lune” in the original version. In its place was a “Promenade sentimentale.” How much of the music Debussy carried over is uncertain, but the final piece is certainly evocative of a moonlit dance, distant in time. Even more so, perhaps, it summons the ecstatic streaming water of fountains from the last lines of the poem; Debussy was the composer of water par excellence.

One of Debussy’s greatest hits, Clair de lune has been arranged for everything from orchestra to organ (by Dimitri Tiomkin for the 1956 film Giant). Ray Chen plays the arrangement by Alexandre Roelens (18811948), which was popularized by Heifetz and Oistrakh.

TZIGANE Maurice Ravel (1875-1937) While on tour in England in 1922, Ravel met the London-based Hungarian violinist Jelly d’Arányi. She played the violin part in a private performance of his Sonata for Violin and Cello, and afterwards the composer asked her to play some gypsy tunes. She obliged, again and again until early the next morning. It took almost two years, but from this meeting came Tzigane, which Ravel completed only a few days before she premiered it in London on April 26, 1924, to great acclaim. (Henri Gil-Marchex played the piano for her on this all-Ravel program, thought the composer did accompany one of his songs.)

That is strong evidence of her virtuosity, because Tzigane bristles with technical challenges of the highest order. Jelly d’Arányi was indeed an illustrious musician, the chamber partner of cellist Pablo Casals and composer/pianist Béla Bartók, who dedicated both of his violin sonatas to her.

Ralph Vaughan Williams dedicated his Concerto Accademico to her and Gustav Holst wrote his Double Concerto for Two Violins for Jelly and her sister Adila Fachri.

In the case of Tzigane, “gypsy” should be understood as a sort of popular generic exoticism rather than anything specifically ethnological. The piece does not quote any authentic Roma or folk melodies, though it does exploit traditional modes and rhythms.

It is basically a “Hungarian rhapsody” in the Lisztian manner, though spikier in harmony and rhythm. Shifting speed impetuously and brilliantly colored with harmonics and plucked passages, it whirls to a perpetualmotion close.

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ABOUT THE ARTISTS

Ray Chen

RAY CHEN Ray Chen is a violinist who redefines what it is to be a classical musician in the 21st century. With a media presence that enhances and inspires the classical audience, reaching out to millions through his unprecedented online following, Ray Chen’s remarkable musicianship transmits to a global audience and is reflected in his engagements with the foremost orchestras and concert halls around the world.

A Sony Electronics Ambassador, and winner of the Queen Elisabeth Competition and Yehudi Menuhin Competition in back-to-back years (2008 and 2009, respectively), he has earned a uniquely enthusiastic audience throughout Europe, Asia, USA, and Australia through stellar performances both live and recorded.

Signed in 2017 to Decca Classics, Ray’s label debut recording, The Golden Age, follows three critically acclaimed albums for Sony Classical, the first of which (“Virtuoso”) received an ECHO Klassik Award.

Ray Chen’s profile continues to grow: he was featured as “one to watch” by The Strad and Gramophone magazines; included on Forbes’ list of 30 most influential Asians under 30; made a guest appearance on Amazon’s Mozart in the Jungle TV series; participated in a multi-year partnership with Giorgio Armani (who designed the

cover of his Mozart album with Christoph Eschenbach); and performs at major media events such as France’s Bastille Day (live to an audience of 800,000), the Nobel Prize Concert in Stockholm (telecast across Europe), and the BBC Proms.

In partnership with the Los Angeles Philharmonic, Ray launched Play with Ray, an international skill-based competition to find talented violinists, giving the finalist a chance to perform Bach’s Double Concerto on stage at the Hollywood Bowl with Ray Chen and the LA Phil in summer 2019. The competition had over 800 applicants from all over the world, in a selection process covered by the Los Angeles Times.

Ray has performed with the London Philharmonic Orchestra, London Symphony, National Symphony Orchestra, Royal Liverpool Philharmonic, Leipzig Gewandhausorchester, Munich Philharmonic, Filarmonica della Scala, Orchestra Nazionale della Santa Cecilia, Los Angeles Philharmonic, SWR Symphony, San Francisco Symphony, Pittsburgh Symphony, Berlin Radio Symphony, and Bavarian Radio Chamber Orchestra. He works with conductors such as Andrés Orozco-Estrada, Riccardo Chailly, Vladimir Jurowski, Sakari Oramo, Manfred Honeck, Kirill Petrenko, Krystof Urbanski, and Juraj Valcuha. From 2012 to 2015, he was in residence at the Dortmund Konzerthaus and during the 2017/18 season

was the subject of an “Artist Focus” with the Berlin Radio Symphony.

His presence on social media makes Ray Chen a pioneer in an artist’s interaction with the audience, utilizing the new opportunities of modern technology. His appearances and interactions with music and musicians are instantly disseminated to a new public in a contemporary and relatable way. He is the first musician to be invited to write a lifestyle blog for Italian publishing house, RCS Rizzoli (Corriere della Sera, Gazzetta dello Sport, Max). He has been featured in Vogue magazine and is currently releasing his own design of violin case for the industry manufacturer GEWA. His commitment to music education is paramount, and he inspires the younger generation of music students with his series of self-produced videos combining comedy and music. Through his online promotions, his appearances regularly sell out and draw an entirely new demographic to the concert hall.

Born in Taiwan and raised in Australia, at age 15 Ray was accepted to the Curtis Institute of Music, where he studied with Aaron Rosand and was supported

by Young Concert Artists. He plays the 1715 “Joachim” Stradivarius violin on loan from the Nippon Music Foundation.

This instrument was once owned by the famed Hungarian violinist, Joseph Joachim (1831-1907).

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ABOUT THE ARTISTS

Julio Elizalde

JULIO ELIZALDE Praised as a musician of “compelling artistry and power” by the Seattle Times, the gifted American pianist Julio Elizalde is a multi-faceted artist who enjoys a versatile career as soloist, chamber musician, artistic administrator, educator, and curator. He has performed in many of the major music centers throughout the United States, Europe, Asia, and Latin America to popular and critical acclaim. Since 2014, he has served as the Artistic Director of the Olympic Music Festival near Seattle, Washington.

Julio Elizalde has appeared with many of the leading artists of our time. He tours internationally with world-renowned violinists Sarah Chang and Ray Chen and has performed alongside conductors Itzhak Perlman, Teddy Abrams, and Anne Manson.

He has collaborated with artists such as violinist Pamela Frank, composers Osvaldo Golijov and Stephen Hough, baritone William Sharp, and members of the Juilliard, Cleveland, Takács, Kronos, and Brentano string quartets.

Julio is a founding member of the New Trio with violinist Andrew Wan (coconcertmaster of the Montréal Symphony) and Patrick Jee (cellist of the New York Philharmonic). The New Trio was the winner of both the Fischoff and Coleman National Chamber Music Competitions and was awarded the Harvard Musical Association’s prestigious Arthur W. Foote Prize. As part of the New Trio, Julio has performed for leading American politicians such as President Bill Clinton, Secretaries of State Condoleezza Rice and Henry Kissinger, and the late Massachusetts Senator Ted Kennedy. He was a featured performer for the soundtrack of the 2013 film Jimmy P, composed by Academy Award-winning Howard Shore.

Julio is a passionately active educator.

In 2013, he served as a visiting professor of piano at the University of Puget Sound in Tacoma, Washington and has given piano and chamber music masterclasses throughout the United States at major conservatories and universities. He has also appeared at various summer music festivals including Yellow Barn, Taos, Caramoor, Bowdoin,

Kneisel Hall, and the Music Academy of the West. In 2012, Julio was the youngest juror ever selected at the Fischoff National Chamber Music Competition held at the University of Notre Dame in South Bend, Indiana.

Originally from the San Francisco Bay Area, Julio received a bachelor of music degree with honors from the San Francisco Conservatory of Music, where he studied with Paul Hersh. He holds master’s and doctor of musical arts degrees from the Juilliard School in New York City, where he studied with Jerome Lowenthal, Joseph Kalichstein, and Robert McDonald.

Follow Julio Elizalde on Facebook, Twitter, and Instagram: @JulioThePianist

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LOS ANGELES PHILHARMONIC PROGRAM

PROGRAM

Dudamel & Yuja Wang

THURSDAY NOVEMBER 7, 2019 8PM

Los Angeles Philharmonic Gustavo Dudamel, conductor Yuja Wang, piano

GINASTERA

Variaciones concertantes, Op. 23 (c. 24 minutes)

John ADAMS

Must the Devil Have All the Good Tunes? (c. 25 minutes)

FRIDAY NOVEMBER 8 11AM

Yuja Wang

INTERMISSION

STRAVINSKY

The Rite of Spring (c. 33 minutes) Part I: The Adoration of the Earth Introduction Augurs of Spring: Dance of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Two Tribes Procession of the Sage The Kiss of the Earth (The Sage) Dance of the Earth Part II: The Exalted Sacrifice Introduction Mystic Circle of the Young Girls The Naming and Honoring of the Chosen One Evocation of the Ancestors Sacrificial Dance (The Chosen One)

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

Programs and artists subject to change.

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Program at a Glance “A nation creates music – the composer only arranges it,” Mikhail Glinka once opined. All of the pieces on this program deal to some degree with vernacular music; national music, though not of the overtly patriotic sort.

Of the three composers represented here, Alberto Ginastera is probably the one most known as a “nationalist” composer. Though that was explicit in only his earliest work, the Variaciones concertantes – a compact concerto for orchestra – are imbued with both the spirit of traditional Argentine music and some of its specific harmonic and rhythmic elements.

John Adams has always dealt artfully and enthusiastically with the full spectrum of musical traditions. His first piano concerto, Eros Piano, is a tribute to the Japanese classical composer Toru Take-

VARIACIONES CONCERTANTES Alberto Ginastera (1916-1983) Composed: 1953 Orchestration: 2 flutes (2nd = piccolo), oboe, 2 clarinets, bassoon, 2 horns, trumpet, trombone, timpani, harp, and strings

mitsu and jazz pianist Bill Evans; his second, Century Rolls, took “a kind of polymorphous-perverse pleasure in the whole past century of piano music, both popular and classical.” This new one is a sort of barroom Totentanz, in a “funk-invested American style.”

Igor Stravinsky stressed absolute abstraction in many of his public utterances on music, but he had his greatest successes – across all styles, throughout his career – with directly expressive music for the theater, much of it referencing earlier composers or folk music.

Some of the thematic fragments he used in The Rite of Spring do come from traditional sources, but he also drew on his own memories of the actual seasonal impact for the astonishing power of his groundbreaking work. “The violent Russian spring seemed to begin in an hour and was like the whole earth cracking,” he said.

as heard in the harp under the solo cello statement of the theme at the beginning, and again before the final variation. (These pitches – E, A, D, G, B – also supply variation material and represent the main key areas of the whole set.)

Two interludes (the first for strings, the second for winds) then frame seven character variations featuring different solo instruments with the orchestra. The first is a spunky scamper for the flute (Variazione

First Los Angeles Philharmonic performance: August 18, 1955, Carlos Chávez conducting The Variaciones concertantes were composed in 1953, during a difficult period for Ginastera, as political conflicts with the Perón government forced him to resign as director of the music conservatory at the National University of La Plata. He supported himself by scoring films, as he had been since 1942, and accepting commissions such as the Variaciones, which came to him from the Asociación Amigos de la Música in Buenos Aires, where Igor Markevitch conducted the premiere in June 1953.

This was a central work of the “subjective nationalism” of Ginastera’s second stylistic period, in which folkloric and traditional materials are idealized and sublimated in a personal way. One characteristic musical symbol of this is harmony derived from the open strings of the guitar,

giocosa), which leads directly into an edgier romp featuring clarinet (Variazione in modo di Scherzo). The haunting elegy for the viola (Variazione drammatica) is much the longest of the group. Its modal chords seem to spill over into the next variation, a dusky duet for oboe and bassoon (Variazione canonica). The brief, brilliant variation for trumpet and trombone (Variazione ritmica) is basically a splashy fanfare for the ensuing violin whirlwind (Variazione in modo di Moto perpetuo). To close this central group of variations, the horn offers a lyrically poised take on the original theme (Variazione pastorale).

Ginastera rounds this off with a reprise of the main theme, again accompanied by the harp but this time with double bass taking up the tune. A final variation, for the full ensemble, ensues (Variazione in modo di Rondo). This is a high-voltage malambo, the competitive gaucho dance that was another prime symbol for Ginastera. The steady repeated notes represent tapping feet, with virtuosic and jazzy flourishes coming from all instrumental points.

— John Henken

Alberto Ginastera

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ABOUT THE PROGRAM

MUST THE DEVIL HAVE ALL THE GOOD TUNES? John Adams (b. 1947) Composed: 2019 Orchestration: piccolo, 2 flutes (2nd = piccolo), 2 oboes, English horn, 2 clarinets (2nd = clarinet in A), bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, percussion (Almglocken, bass drum, snare drum), honky tonk piano (detuned upright), bass guitar, strings, & solo piano First Los Angeles Philharmonic performance: March 7, 2019 (world premiere, LA Phil commission with generous support from the Lenore S. and Bernard A. Greenberg Fund) Must the Devil Have All the Good Tunes? is John Adams’ third piano concerto, following Century Rolls (1996) and Eros Piano (1989).

He explains that the title “came from an article about Dorothy Day in a very old copy of

The New Yorker. In the same way that I first encountered the name ‘Hallelujah Junction’ and knew that I had to write a piece with that title, when I saw the phrase ‘Must the Devil Have All the Good Tunes?’ I thought to myself, ‘that’s a good title just waiting for a piece.’ The phrase suggested a Totentanz, only not of the Lisztian manner, but more of a funk-invested American-style.” Adams points out that the origin of the phrase has been attributed to Martin Luther and various 18th- and 19th-century theologians.

While the concerto is in one continuous movement, its three seamlessly connected sections follow the traditional fast-slowfast format, with the piano soloist active throughout. Piano and orchestra begin in the bass register, with a gospel-like riff (marked “Gritty, Funky”). Even with a steady groove, the meter of 9/8 divides into an even 4/4 plus one extra 8th-note punctuation, providing an off-kilter lurch.

After a series of questioning chords in dialog between piano and orchestra, the second section emerges with suspended strings over the delicately ornamented

piano solo. (Adams says that in this section he was inspired especially by Yuja Wang’s lyrical playing.)

The transition to the third section is barely noticeable, as gentle pulsing gives way to a rocking 12/8 rhythm, marked “Obsession/Swing.” The virtuosity and playfulness here are familiar from other Adams finales, with a brilliantly energetic piano part ranging across the entire keyboard which, after three mysterious, brief interruptions of a held octave D in the orchestra, propels the concerto to a boisterous close.

— Sarah Cahill

THE RITE OF SPRING Igor Stravinsky (1882-1971) Composed: 1910-1913, rev. 1947 Orchestration: piccolo, 3 flutes (3rd = 2nd piccolo), alto flute, 4 oboes (4th = 2nd English horn), English horn, 3 clarinets (3rd = 2nd bass clarinet), E-flat clarinet, bass clarinet, 4 bassoons (4th = 2nd contrabassoon), contrabassoon, 8 horns (7th and 8th =

John Adams

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ABOUT THE PROGRAM

Igor Stravinsky

Wagner tuba), piccolo trumpet, 4 trumpets, 3 trombones, bass trombone, 2 tubas, 2 sets of timpani, percussion (antique cymbals, bass drum, cymbals, guiro, tam-tam, tambourine, and triangle), and strings First Los Angeles Philharmonic performance: August 31, 1928, Eugene Goossens conducting “The idea of The Rite of Spring came to me while I was still composing Firebird,” Igor Stravinsky recalled, 45 years after the ballet’s first performance in 1913, in his book Conversations. “I had dreamed of a scene of pagan ritual in which a chosen sacrificial virgin danced herself to death.” If Stravinsky is to be believed, this dream marked the beginning of a process that culminated in the premiere of one of the 20th century’s most important musical works.

Stravinsky’s music was meant to capture the spirit of the scenario, which he had outlined with the help of painter and ethnographer Nikolai Roerich and dancer and choreographer Mikhail Fokine during the spring and summer of 1910. Roerich

had filled Stravinsky’s head with tales about all sorts of rituals from ancient Russia – divinations, sacrifices, dances, and so on – involving a variety of characters. The ballet that resulted revolves around the return of spring and the renewal of the earth through the sacrifice of a virgin. In his handwritten version of the story, Stravinsky described The Rite as “a musical choreographic work. It represents pagan Russia and is unified by a single idea: the mystery and the great surge of the creative power of spring….”

Stravinsky completed the score on March 29, 1913, and exactly two months later, the ballet premiered in Paris at the Théâtre des Champs-Élysées, where it caused the famous scandal that ushered in modern music. Nijinsky’s choreography and the wild, unchecked power of Stravinsky’s score were something wholly new. Stravinsky wrote for one of his largest orchestras ever in The Rite, and he used it with an assurance and confidence one would hardly expect from a composer just out of his twenties and with only two big successes – The Firebird and Petrushka – behind him.

But those two scores, for all of their individuality and accomplishment, did not seem like they were leading to The Rite.

What Stravinsky did was totally unexpected.

The stage action during the ballet’s second half, leading up to the sacrifice, was enough to capture the attention of even that raucous audience at the first performance.

Finally quiet, they could hear Stravinsky’s score and watch as Maria Piltz, the dancer who played the sacrificial victim, stood motionless as the ritual unfolded around her, gradually coming to life to perform her dance, with its angular contortions and tortured motions.

Her collapse, which, according to Stravinsky, represented “the annual cycle of forces which are born, and which fall again into the bosom of nature,” marked the end of another cycle, one which only a few years earlier had culminated in the ultraRomanticism of Gustav Mahler and the young Richard Strauss. The “bosom of nature” had yielded something new in their stead: Stravinsky and musical modernism.

— John Mangum

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GUSTAVO DUDAMEL

For a biography of conductor Gustavo Dudamel, please see page 8.

YUJA WANG Critical superlatives and audience ovations have continuously followed Yuja Wang’s dazzling career. The Beijing-born pianist, celebrated for her charismatic artistry and captivating stage presence, is set to achieve new heights during the 2019/20 season, which features recitals, concert series, and extensive tours with some of the world’s most venerated ensembles and conductors.

Wang began the summer of 2019 performing John Adams’ Must the Devil Have All the Good Tunes? – a work which was written for

her – with the Los Angeles Philharmonic and Gustavo Dudamel at the Hollywood Bowl.

She toured throughout Europe, including a recital with Leonidas Kavakos at the Lucerne Festival in August. Main season engagements include Staatskapelle Dresden, NDR Hamburg, Vienna, New York, and Boston Philharmonic orchestras, and the orchestras of Cleveland and San Francisco.

In 2018/19, Wang was featured as an Artist-in-Residence at three of the world’s premier venues: New York’s Carnegie Hall with a season-long “Perspectives” series, the Vienna Konzerthaus with a “Portrait” series, and also at the Luxembourg Philharmonie. Highlights included concerts with the Vienna Philharmonic Orchestra at Versailles, as well as the Summer Night Concert at the Schönbrunn Palace with Dudamel. In

Spring 2019, Wang embarked on a tour of Los Angeles, Seoul, and Tokyo with the Los Angeles Philharmonic Orchestra to give the first-ever performances of John Adams’ newest piano concerto, as well as reuniting with cellist and frequent collaborator Gautier Capuçon for a vast U.S. chambermusic tour.

Wang received advanced training in Canada and at Philadelphia’s Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007 when she replaced Martha Argerich as soloist with the Boston Symphony Orchestra. Two years later, she signed an exclusive contract with Deutsche Grammophon and has since established her place among the world’s leading artists, with a succession of critically acclaimed performances and recordings.

Yuja Wang

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PROGRAM

Sylvan Esso presents WITH Sylvan Esso Hand Habits

THURSDAY

NOVEMBER 14, 2019 8PM

FRIDAY

NOVEMBER 15 8PM

In order of appearance Hand Habits Meg Duffy INTERMISSION

Sylvan Esso

Meg Duffy, guitar Dev Gupta, synth Matt McCaughan, drums Amelia Meath, vocals Nick Sanborn, synth / bass Molly Sarlé, vocals Alexandra Sauser-Monnig, vocals Adam Schatz, horns Jenn Wasner, synth / bass Joe Westerlund, percussion

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

Programs and artists subject to change.

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ABOUT THE ARTISTS

SYLVAN ESSO Sylvan Esso began as a chance meeting, followed by a couple of risky cross-country relocations that coalesced into 10 songs. It became very clear early on that these songs were the product of sheer alchemy; Amelia Meath’s effortlessly acrobatic melodic reflections complimented Nick Sanborn’s dynamic compositions in ways that were as unlikely as they were undeniable. When it started it was whisper quiet, a slight frame, something almost domestic but gleaming with excitement. Then it made contact with the air.

The duo found themselves on a threeyear worldwide swirl of planes, buses, vans, venues, festival stages, hotel rooms, radio stations, and television studios. It’s difficult to draw distinctions. We frequently have to work as a group to remember the chronology and version of events, but the stories that make us howl with laughter or shake our heads in bewilderment are crystal clear. Throughout this process there was an underlying truth that remained this shred of creative excitement in what was at times a monotonous grind: that this is just the beginning. But what’s next? Surely, it’s not just these 10 songs?

Then something happened on a summer afternoon in New York as Nick tuned a broken synthesizer to the pitch of Amelia’s voice while she sang a new mantra. It seemed fitting that Sylvan Esso’s first implementation of the process was for the human to tune the machine, not the other way around. The lines between instrument and voice, programmed and improvised, Amelia and Nick, began to blur. This reverse autotune created the sonic blueprint for new music and seemed to articulate something the band was searching for; a need to connect with the light of humanity in our overly stimulated world; seeking the signal amidst the noise. Over the next 18 months, the band constructed and shaped these songs at their studio in Durham, North Carolina as well as extended stays in the paralyzing rural Wisconsin winter and the dry desert heat of downtown Los Angeles.

What once sounded small and modest has grown to squall and surge without boundary, but never at the expense of its own intimacy or honesty. There’s been an

Sylvan Esso

awakening as to what a Sylvan Esso song can be. The whole thing still shifts and quakes as if the kinetic energy of its own making might send it skittering off, but it stays right there perched on a busted flight case on a keyboard stand that’s been lost countless times yet somehow always recovered. The music pushes air. Sylvan Esso is a living breathing thing that exists in the real world.

At its core, What Now is an album that was created against the backdrop of 2016, which means that it is inherently grappling with the chaos of a country seething inward on itself. Time in the lion’s den gave way to seared indictments of the music industry and narcissistic mass media culture. When the present seems unstable and the future is a pastiche of foreboding it can be natural to turn to the past, to search for some solace in the skipping CDs and rewinding VHS tapes of one’s childhood, but you can never go back again. Never one to shy away from duality, Amelia muses true love as an unavoidable deterrent for a death-wish; it’s a record about falling in love and learning that it won’t save you. It’s an album about meeting your own personal successes but feeling the fizzling embers of the afterglow rather than the roar of achievement; about the crushing realization that no progress may ever be permanent. There are no grand exits or Hollywood endings, life just goes on.

Perhaps it is in this truth that we can begin

to extend connectivity to one another, free from our own need for narrative. This isn’t just pop music that refuses to be dumb, anymore, this is protest music that refuses to not be personal.

In the final moments of 2016, packed like sardines on the patio of our favorite neighborhood bar, Nick and Amelia looked at me wide-eyed and said, “it’s done”. They were referring to their new album, but I’m still not sure what punctuation they intended to conclude that statement. I think it was a decree. Or were they asking me? Whatever it was, we all clinked glasses and turned the page to a new year. Or did anything change at all? I think we look older than we did, but I don’t feel any different. They probably don’t feel any different, but I can see how they’ve grown and changed. It’s a family now, one that has a lot of miles under its belt- and it’s growing. When I drive through the grey slate winter light and listen to this album, this new fleet of ten songs, I hear the collections of moments that have led us, all of us, here – What Now. — Martin Anderson

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ABOUT THE ARTISTS

HAND HABITS Meg Duffy grew up in a small town in Upstate New York and they cut their teeth as a session guitarist and touring member of Kevin Morby’s band. The Hand Habits project emerged after Meg moved to Los Angeles; it started as a private songwriting outlet but soon evolved into a fully-fledged band with Meg at the helm. Hand Habits’ debut album, Wildly Idle (Humble Before The Void), was released by Woodsist Records in 2017. The LP was entirely self-produced and recorded in Meg’s home during spare moments when they weren’t touring. Wildly Idle (Humble Before The Void) is a lush, homespun collection of folk songs that found Meg in an exploratory state as an artist moving out on their own for the first time.

Two years later, Hand Habits returned with their sophomore album, placeholder, released March 1 on Saddle Creek. To make this album, Meg chose to work in a studio and bring in collaborators, entrusting them with what had previously been a very personal creative process. Over the course of 12 tracks, Meg emerges with new confidence as both a bandleader and singer. This album is as tender and immediate as anything Meg’s ever written, but it’s also intensely focused and refined, the work of a meticulous musician ready to share their singular vision with the world.

The name placeholder stems from Meg’s fascination with the undefinable. Their songs serve as openings – carved-out spaces waiting to be endowed with meaning. As a lyricist, Meg is drawn to the in-between, and the songs on this new album primarily

Meg Duffy

confront the ways in which certain experiences can serve as a steppingstone on the road to self-discovery. “A big aspect of my songwriting and the way I move through the world depends on my relationships with people. The songs on placeholder are about accountability and forgiveness,” Meg says.

“These are all real stories. I don’t fictionalize much.” placeholder opens with the title track which on its surface is about a break-up. “Oh, but I was just a placeholder/ A lesson to be learned,” a scorned Meg sings over a lush bed of twangy guitars. The blame quickly shifts, though, as Meg begins to take on partial responsibility for the partnership’s collapse: “Oh but now you are just a placeholder/ Blinded by desire/ Oh

now you’re just a placeholder for someone wasting time.” Nothing in Meg’s world is as simple as black and white, right or wrong.

An openness to nuance drives revelation in these songs. “I value the closeness I share with my chosen family and I’m interested in queering relationships in my music. The relationships in my life expand my capacity to love because the lines between romance and friendship are often blurred,” Meg explains.

The bonds Meg addresses on placeholder extend beyond the bounds of romance.

On “can’t calm down,” Meg contemplates inherited trauma and questions whether it’s possible for someone to upend patterns of familial suffering. Relatedly, the closing track, “book on how to change part II,” refers back to Meg’s mother, who died when they were young. It’s a simultaneously aching and reassuring song, buoyed in part by a saxophone and Meg’s pointed harmonies that bring levity to painful subject matter.

Wildfires raged in Southern California when Meg wrote the bulk of placeholder, and the anxiety that came with living in L.A. during that time exposes itself throughout these songs. “Fire is such a powerful symbol.

It’s destructive, but it’s also generative,” Meg says. References to that particular mindset abound on placeholder, most notably on the stand-out track “wildfire,” but it creeps into other songs, too. Separating side A from side B is a MIDI interlude titled “heat,” which finds Meg repeating, “Heat beyond the lines of passion,” a line borrowed from Jeanette Winterson’s novel The Passion.

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SONGBOOK

PROGRAM

An Evening with Melissa Etheridge

SATURDAY NOVEMBER 16, 2019 8PM

Melissa Etheridge

Melissa Etheridge, artist Eric Gardner, drums Max Hart, keyboards / guitar David Santos, bass

Media Sponsor: Los Angeles Magazine Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Programs and artists subject to change.

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ABOUT THE ARTIST

MELISSA ETHERIDGE “I thought long and hard about the first impression of this album,” says Melissa Etheridge about the choice of the title track to lead off her new album, The Medicine Show.

The song opens the album with power and force, roaringly loud guitars, banging drums amassed with fire and intensity by producer John Shanks. And in front of this, Etheridge puts out the call like a 21stcentury carnival barker: Let’s all go to the medicine show!

And that medicine? Etheridge is not coy.

Which is the point.

“Calling the album The Medicine Show puts straight up, front and center, that this is about health, wellness, cannabis, this new thought, new paradigm, however you want to talk about it, however you want to understand it. It influences every song on the album. We’re not afraid of this anymore.

We’ve come a long way.”

It’s an album of renewal, of reconciliation, of reckoning, of compassion and, most profoundly, of healing.

“Yeah, a lot of healing,” Etheridge says.

“Personal healing, national healing, human healing.”

These, of course, are themes that have run through Etheridge’s career, core to the vision and drive that has brought her 15 Grammy® Awards nominations and two wins, an Academy Award for “I Need to Wake Up,” from the climate change documentary An Inconvenient Truth, and has fueled her life’s work as an activist for human rights, LGBTQ issues, breast cancer awareness, and alternative medical approaches.

With this, her fourteenth studio album, she brings it all to new levels of artistry.

The healing builds on the musical medicine of its two predecessors, 2014’s exuberantly expressive This is M.E. and 2016’s joyous trip through the cherished history of the iconic Stax Records legacy, Memphis Rock and Soul.

“I had done This is M.E., an outward journey of myself and then of course straight back to my roots doing Memphis Rock and Soul,” she says. “The last few years, I have loved what I’ve done, the tours with different bands, loved each version of it. When I started this at the end of 2017, everything in

Melissa Etheridge

me was saying, ‘I want to do what I’ve always done, see where I’m at, write some songs from that and go make them.”

Renewed and recharged, Etheridge dove into creating new songs, holing up in a Nashville basement studio owned by her friend, bassist David Santos. Working alone, she created music for 11 tracks, then went home and wrote lyrics – “pages and pages, the way I always do” – and the songs came into shape.

About a month later, Shanks happened to hear Etheridge singing in a special event at the NAMM music gear convention in Anaheim and after a little chat backstage invited her to his new studio. When she played the new songs for Shanks, who had produced her Breakdown, Lucky, and Fearless Love albums and remained a close friend, the two quickly decided to work together again.

Shanks teamed her with the tight, lean trio of drummer Victor Indrizzo, bassist Chris Chaney and keyboardist Max Hart. The

sessions were done largely live in studio, capturing the intimate immediacy and crisp vibrancy of the material, the performances sparkling with bold colors.

“I wanted the album to have a sound, a feel,” she says.

But again, the album is about both pain and healing. About finding balance, finding hope.

“Right as everything started going crazy in 2017, with the division and racism and hatred coming to the surface, I would find these little stories on Twitter and everywhere,” she says. “There was one with a man in France, I think, stuck in the ocean in a riptide and the water was about to take him, and the people on the beach noticed him and made a human chain and pulled him in. I thought, ‘That’s who we are! I wrote in my notebook, ‘The Human Chain.’ Then I kept it simple with the feel and lyrics. You see something like that, and it breaks your heart. We are so much more loving than we are fearful. It’s time to come together.”

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WORLD MUSIC

PROGRAM

The Cinematic Orchestra

SATURDAY

NOVEMBER 23, 2019 8PM

The Cinematic Orchestra Patrick Watson, special guest

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

Programs and artists subject to change.

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ABOUT THE ARTISTS

THE CINEMATIC ORCHESTRA The Cinematic Orchestra (TCO) have always defied category and convention. Neither an orchestra nor a band, not a pure jazz act but full of its influence, not electronic but originally rooted in a London-based electronic scene. Musical trends come and go but TCO – now comprising founder Jason Swinscoe and long-time collaborator and friend Dominic Smith – have assuredly and defiantly stuck to their principles. A refusal to compromise, to bend to classification, to follow convention.

Starting a new album is never easy, and after the success of Ma Fleur, Swinscoe faced new challenges. How to reinvent the band’s narrative again, how to keep the process vital and inspired. At this time, Smith was increasingly inspired by the West Coast and in particular, L.A. Smith recalls, “I was drawn purely by the music I heard coming out the city. But, after spending time there, it was the inclusion and collaboration which was so surprising to me. Having been immersed in the overly competitive and sometimes destructive music scenes I knew in New York and London, it was clear to me that something special and quite unique was happening, and I wanted Jason to see it.”

Swinscoe, who had been living in New York for a number of years, remembers: “I was finding the city less inspiring, and increasingly detrimental to my creative focus and direction,” but now hearing of the emerging jazz scene in L.A. at that time, (something that resonated viscerally with Swinscoe), he made the move West – Smith introduced him to some of the mainstays of the L.A. scene and sound at the time, which led naturally to Austin Peralta joining the band on the road and the subsequent collaborations with Dennis Hamm, Miguel Atwood Ferguson, and Moses Sumney.

With a new found purpose, Smith and Swinscoe reconnected with TCO band members and collaborators; Larry Brown (aka grey reverend) contributed to writing and playing across the album, and Luke Flowers, Tom Chant, Heidi Vogel, Tawiah B, Dominic Marshall, Sam Vicary, Dorian Concept, and Roots Manuva all recorded in sessions in London and L.A., helping in a process of recording and re-sampling that informed the creation of tracks.

The Cinematic Orchestra

As the music began to form in imagination and reality, so too did the ideas that would inform the narrative of the record.

Connecting with another L.A. mainstay and friend, photographer and filmmaker B+, during long discussions the trio explored their mistrust of some of the new political, cultural, and media trends which became a worrying backdrop to the writing process.

A call for self-examination, a more critical approach to political interaction and a need for empathy felt more and more relevant as divisions widened globally. To Believe is a meditation on our consciousness in this moment, a question, not an answer, an album that bucks the trend of making three-minute playlist-friendly tracks and tries to give an alternative, something increasingly rare.

In L.A., Smith and Swinscoe connected with a music community full of collabora-

tion and an authenticity rarely found in any metropolis, then reconnected with a family of musicians who have spanned the band’s career, and as a result delivered their best work to date.

PATRICK WATSON Once there was a boy named Patrick Watson who was born on a military base in the Mojave Desert. His father rode around in planes carrying bombs, waiting for a command to drop them that never came. He was the baby in a family of five, which would include a future figure skater, an engineer, and an air force pilot, but he was seven years younger than his next older sibling.

The family moved to Hudson, Quebec, when Patrick was four. He was asked by an old gentleman by the name of Frank Cobatt

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ABOUT THE ARTISTS

Patrick Watson

to sing in the church choir, perhaps they met in the cough drop section of the local grocery store. Patrick sang in the church, and his little boy’s pretty, melancholic voice broke everyone’s heart. The choir director then had him sing at the foot of a grave at a funeral. Because there is something in his voice that captures all the lovely things in life we can only hold onto temporarily and how their transience is what makes them wonderful.

Patrick started playing piano as a child.

The piano used to belong to a boy named Gordon, and he would appear as a ghost and teach Patrick how to play in the middle of the night. Even if Patrick played at three in the morning, his mother never interrupted these vital lessons.

Patrick says he became a singer by accident. He thought he would compose scores for others to play, which seems like an odd thing to say, because he is so clearly

sprinkled with that special something that causes a person to be transfixing on stage.

And it’s now hard to imagine Montreal without the soundtrack of his songs.

But he met the artist Brigitte Henry who was taking surreal underwater photographs of people in their clothes to make a book.

This seemed like very important business to Patrick, so he made music for her exhibition. They performed the show at the adult movie theatre Cinema L’Amour, it sold out, and Brigitte Henry still designs some of his album covers, including this one.

Patrick likes to hang on to people. He met his first guitar player Simon Angell playing guitar on the small streets of Hudson. In his first jazz class at college he walked in, and Robbie Kuster and Mishka Stein were both sitting there. It was as though they were all waiting for each other. They would play together for the next 20 years.

While they were working on his first album, the band lived in an abandoned church. They were kicked out for ringing the church bells when homeless people came in to be married, waking all the neighbors up in the middle of the night, in a misguided attempt to let them know love existed.

They opened for James Brown where they learned to manage a large crowd. Every day before a concert, James Brown and his team would hold hands and pray the show would be amazing. This taught Patrick and the band that being on stage is a humbling honor, and a music show is where people come to have a mystical experience. In the end, it was not so different than when he sang in church as a boy.

While Patrick was writing his new album, the drummer Robbie left, Patrick and his partner separated, and his mother passed away. Much of Wave is about having a wave knock you over when you realize that everything you have in life can be wiped away in a moment. He brought a notebook underneath the waves and composed tunes about melancholy while listening to the lonely hymns of mermaids.

The beginning artist’s craft is so intuitive and odd, drawing from a trunk of recipes for happiness and hope. They begin with an idea that the world is good, and that things and love will work out. The mature artist creates from a place of melancholy and understanding of foibles and accepting a story that has already been written. It’s the difference between singing a solo at a stranger’s grave as a child and singing one at your own mother’s funeral.

It’s the same magical and sweet Patrick Watson on Wave, but each of the feelings are deeper and dive down to stranger places, where even happiness seems impossible to bear. So, the album moves from a dark place of loss to one of hope and magic and new love. The way you thought life was going to work out, but never does. Then it sometimes turns out to be more beautiful and surprising once it is broken.

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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 August 13, 2019.

$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 The Annenberg Foundation Colburn Foundation

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 Ronald and Valerie Sugar I.H. Sutnick

$500,000 TO $999,999 $5,000,000 TO $9,999,999 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 Dunard Fund USA Elaine and Bram Goldsmith Carol Colburn Grigor Norman and Sadie Lee Foundation 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 Karl H. Loring Los Angeles Philharmonic Committee

Ann and Martin Albert Abbott Brown 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 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 Lynn and Otis Booth 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 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 Ms. Rosanne O’Brien 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

LOS ANGELES PHILHARMONIC MUSICIANS Anonymous Kenneth Bonebrake Nancy and Martin Chalifour Brian Drake Perry Dreiman Barry Gold Christopher Hanulik Jory and Selina Herman Ingrid Hutman 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.

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The taste of California meets relaxed dining Welcome to Gelson’s - we’re a food lover’s paradise! Why not sit down, relax, and enjoy the nosh at one of our eleven wine bars, including Manhattan Beach, Santa Monica, Century City, and Silver Lake?

• Our in-store bar/restaurants offer curated wines, craft beer, and a mouthwatering menu of light bites.

• There’s no need to make reservations or leave a tip.

• You can also visit our Carving Cart, Sandwich Station, and Salad Bar as well as our Soup, Chili, and Hot Foods Bar. Or, browse our selection of Wolfgang Puck signature items.

• As always, Gelson’s prepared gourmet foods feature Mediterranean-inspired recipes highlighting the very best of California’s amazing harvest.

Nosh at Gelson’s today.

Life tastes better here!

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INTERNATIONAL CURTAIN CALL

2020 Deluxe Opera & Music Tours PRAGUE & VIENNA June 17 – July 1, 2020

PRAGUE: CARMEN; RUSALKA; BILLY BUDD; DVORAK'S NEW WORLD SYMPHONY (Czech Philharmonic); VIVALDI'S FOUR SEASONS AT THE FAMED KLEMENTINUM MIRROR HALL. Old Town Walking Tour, Royal Palace Complex – St. Vitus Cathedral, Jewish Quarter; Excursion to Nelahozeves Castle & Troja Chateau.

VIENNA: IL TROVATORE (Rebeka, Rachvelishvili, Kunde, Petean); LA TRAVIATA (Garifulina; Bernheim, Keenlyside); BALLO IN MASCHERA(Stoyanova; Meli); FALSTAFF (Bezsmertna; Maestri); & NUREYEV GALA BALLET. Guided Tours of Palace Schönbrunn, St. Stephans Cathedral, House of Music; Fine Arts & Belvedere Museums.

– 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 [Casts tba]; DOMINGO GALA. MILAN: LA TRAVIATA (Rebeka; Meli); & BALLO IN MASCHERA (Hernandez; Sartori).

Guided Tours: Venice–St. Mark–Doge Palace, Accademia & Guggenheim Museums; Verona Center; Milan–Last Supper, 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

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 August 2018 and August 13, 2019.

$1,000,000 AND ABOVE Anonymous

Live Nation-Hewitt Silva Concerts, LLC

$500,000 TO $999,999 Anonymousß Acura

American Airlines, Inc.

$250,000 TO $499,999 County of Los Angeles Max H. Gluck Foundation Living Legacy Foundation Andrew W. Mellon Foundation

Rolex Watch USA, Inc. The Rose Hills Foundation Target Corporation

$100,000 TO $249,999 Amgen Foundation Anheuser-Busch Inc. The Walt Disney Company The Eisner Foundation Heineken USA Incorporated Lyft, Inc.

Pasadena Showcase House for the Arts Pepsi Beverage Group Rosenthal Family Foundation Viking Cruises Wells Fargo Foundation Winc

$50,000 TO $99,999 The José Iturbi Foundation League of American Orchestras’ Futures Fund The Norman and Sadie Lee Foundation Los Angeles County Department of Arts and Culture

City of Los Angeles, Department of Cultural Affairs The Music Man Foundation National Endowment for the Arts United Airlines W.M. Keck Foundation

July 13 – 26, 2020

LONDON(Royal Opera) & GARSINGTON: TOSCA (Netrebko; Jagde, Terfel); MADAMA BUTTERFLY (Jaho; Puente, Finley) DON CARLO (Gerezmava, Garanca, Fabiano, Furlanetto); RUSALKA; And WEST END MUSICAL TBA. GLYNDEBOURNE FESTIVAL: FIDELIO; ENTFUHRUNG AUS DEM SERAIL; & Handel's ALCINA [Casts tba] Guided Tours: London–Westminster Abbey & Buckingham Palace; Parliament & Churchill War Rooms; Tate Museums.

Excursions to Brighton & Lewes Castle.

– 5-Star Hotels – The May Fair –London & Grand Hotel– Eastbourne

SALZBURG FESTIVAL August 2020

PERFORMANCES To Be Announced – 5-Star Hotel – Sheraton Grand Salzburg

$25,000 TO $49,999 Anonymous The Herb Alpert Foundation The John Bendheim Family / Lowenstein Foundation Cooper Tires Edison International The Rosalinde and Arthur Gilbert Foundation

The Green Foundation Harman Family Foundation Merrill Lynch The Jay and Rose Phillips Family Foundation of California Ross Endowment Fund Dwight Stuart Youth Fund

$10,000 TO $24,999 Ameriprise Financial Boingo Wireless California Arts Council Julia Stearns Dockweiler Charitable Foundation

Ella Fitzgerald Charitable Foundation Kenneth T. & Eileen L. Norris Foundation The Specialty Family Foundation James C. Stewart Charitable Foundation

LIMITED SPACE AVAILABLE 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 62 PERFORMANCES MAGAZINE

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T:7”

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Someone who understands the charitable implications of the new tax laws and can explain them clearly.

Our name tells our story. We’re the Jewish Community Foundation of Los Angeles and we exist to better our community. We’re managed by people like you. We have over $1 billion of assets and 1,300 donor families.

We’ve been helping our donors create tax-effective charitable funds and give more strategically for 65 years.

Talk to someone who has worked with us. Read about the remarkable work our donors are accomplishing with the charitable funds we’re helping them create and manage.

T:10”

While you’re here trust is essential. And for your legacy trust is everything.

www.jewishfoundationla.org/trust | 323.761.8704 | trust@jewishfoundationla.org

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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 August 2018 and August 13, 2019.

HERE’S

$1,000,000 AND ABOVE

TO YOU

Dunard Fund USA

$500,000 TO $999,999 Music Center Foundation

$200,000 TO $499,999 The Blue Ribbon Louise and Brad Edgerton / Edgerton Foundation Gordon P. and Ann G. Getty

Jenny Miller Goff Barbara and Jay Rasulo Deanie and Jay Stein Eva and Marc Stern

$100,000 TO $199,999 Anonymous (3) Mr. Robert J. Abernethy Lynn A. Booth Ms. Mari L. Danihel Nancy and Donald de Brier Betty Jean L. DiVall Ms. Nancy Ferguson Berta and Frank Gehry Tylie Jones

97%

Kaiser Permanente Ms. Sarah H. Ketterer Terri and Jerry M. Kohl Anne Akiko Meyers and Jason Subotky M. David and Diane Paul James and Laura Rosenwald / Orinoco Foundation Wells Family Charitable Foundation Ms. Marilyn Ziering

$50,000 TO $99,999

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.

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70 PERFORMANCES MAGAZINE

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wallis19

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CHICK COREA TRILOGY

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JOIN US FOR OUR

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3/19/19 3:16 PM 10/9/19 11:06 AM

O G R A L Y KE E S U O H Y LA P N E F GEF

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DIRECTED BY

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JEFFREY HATCHER & ANDY GARCIA

DOUG HUGHES

PRODUCED IN ASSOCIATION WITH

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ORIGINAL MUSIC BY

ARTURO SANDOVAL

BASED ON THE PLAY BY MAXWELL ANDERSON AND THE WARNER BROS. FILM; PRODUCED BY SPECIAL ARRANGEMENT WITH WARNER BROS. THEATRE VENTURES.

STEPHEN BORRELLO

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ANNUAL DONORS Karen and Rick Wolfen Ms. Shirley Wong Robbi J. Work Mr. and Mrs. Richard Wynne George and Eileen Young Mr. Nabih Youssef

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DAVID LOCKINGTON MUSIC DIRECTOR

GERSHWIN PORGY & BESS FEBRUARY 15, 2020 NICK KENDALL, violin

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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

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76 PERFORMANCES MAGAZINE

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Statue : photo Christoph Gerigk©Franck Goddio / Hilti Foundation

REAGANLIBRARY.COM/LOSTCITIES 40 Presidential Dr., Simi Valley, CA 93065 • 800.410.8354

Ms. Lysa Grigorian Mr. Gary M. Gugelchuk Mr. William Hague Mr. Robert T. Harkins Mr. John C. Harpole and Ms. Gabrielle Starr Mr. and Mrs. Robert E. Hart Mr. and Mrs. Brian L. Harvey Lynette Hayde Byron and DeAnne Hayes Mr. Rex Heinke and Judge Margaret Nagle Mr. Brian Helgoe Mr. and Mrs. John Hernandez-Storr Ms. Gail Hershowitz The Hill Family Dr. and Mrs. Hank Hilty David and Martha Ho Janice and Laurence Hoffmann Ms. Marcia H. Howard Dr. Timothy Howard and Jerry Beale Andrei and Luiza Iancu Mr. and Mrs. Theodore W. Jackson Len and Nancy Jacoby Jaconi Family Mr. and Mrs. Jonathan Jaffe Mr. Paul A. James Ms. Marcia Jones and Mr. George Arias Kristofer Jorstad Mr. and Mrs. Morley Justman Mr. and Mrs. David S. Karton Dr. and Mrs. David Kawanishi Kayne, Anderson & Rudnick Ms. Sharon Kerson Joanne Kim Mr. and Mrs. Jon Kirchner Stephanie and Randy Klopfleisch Mr. and Mrs. Bruce Konheim Mr. and Mrs. Thomas Kranz Mrs. Joan Kroll Veronika Kurshinskaya Carole and Norm La Caze Mr. and Mrs. Christopher C. Larkin James D. Laur Craig Lawson and Terry Peters Mr. Randall Lee and Ms. Stella M. Jeong Mr. Robert Leevan Mr. Donald S. Levin Lydia and Charles Levy David and Meghan Licata Ms. Joanne Lindquist Jeffrey and Lori Litow Family Trust Long Beach Auxiliary Susan Disney Lord and Scott Lord Los Angeles Dodgers Foundation Los Angeles PhilharmonicCommittee Kristine and David Losito Crystal and Elwood Lui Chae and Austin Ma Mr. and Mrs. Ronald Manzani Mona and Frank Mapel Clara and Bret Martin Mr. and Mrs. Ray Martin Milli M. Martinez and Don Wilson Vilma S. Martinez, Esq. Mr. Gary J. Matus Mr. William McCune Mr. and Mrs. William F. McDonald Mr. Maurice F. Meysenburg Dr. Gary Milan Ms. Barbara J. Miller Ms. Julie Milligan Mr. and Mrs. Simon Mills Henry and Janet Minami Mr. and Mrs. William Mingst Mr. Lawrence A. Mirisch Cynthia Miscikowski Linda and John Moore Ms. Marsha L. Morton Mrs. Garna Muller Mr. James A. Nadal Anthony & Olivia Neece Dr. S W Needleman Mr. and Mrs. Robert Neely Mr. Richard Newcome and Mr. Mark Enos Ms. Jeri L. Nowlen Howard and Inna Ockelmann Mr. Dale Okuno Ms. Jean Oppenheimer Mr. and Mrs. Richard Orkand Adriana Ortiz Ms. Patricia O’Toole Carrol Parris Mr. and Mrs. Joshua Perttula Ms. Iris Peters Mrs. Ethel Phipps Mrs. Ruth S. Popkin Mr. Albert Praw Ms. Miriam Rain Marcia and Roger Rashman Rita and Norton Reamer Kirk and Cathy Reynolds Dr. Susan F. Rice

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ANNUAL DONORS

ON EXHIBIT NOW

Beyond the Shadows: The Holocaust and the Danish Exception Photographs by Judy Glickman Lauder

y Glickman Lauder 1939 LOS ANGELES MUSEUM OF THE HOLOCAUST Auschwitz Extermination Camp, 100 ThePoland, Grove2018 Drive, Los Angeles, CA 90036 • 323.651.3704 www.lamoth.org • Admission always free ed in pencil on verso val pigment print 29" 2)

CLASSIC elegance STEEPED IN HOLLYWOOD GLAMOUR SINCE 1923 506 South Grand Avenue • Los Angeles, CA 90071

www.TheBiltmore.com

Scan the QR code, and enjoy ouR 360 ViRtual touR. Book youR Room with code laPhil to ReceiVe SPecial Rate.

Mr. and Mrs. Norman L. Roberts Robinson Family Foundation Mrs. Laura H. Rockwell Mr. and Mrs. William C. Roen Ms. Pauline Romano Lois Rosen Peter and Marla Rosen Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen Mr. and Mrs. Brad Rosenberg Nancy and Peter Ross Robyn and Steven Ross Dr. James M. Rosser Mr. and Mrs. Matthew Rowland Mr. and Mrs. Stanford Rubin Ann M. Ryder Betty Saidel Ms. and Mr. Galina Samuel Mr. Noriyuki Sasaki Linda & Cliff Schaffer Malcolm Schneer Family Trust Hope and Peter Schneider Mr. Michael Sedrak Robert Segal in memory of Jeanne Segal Dr. and Mrs. Hervey Segall Ms. Amy J. Shadur-Stein Shamban Family Mr. Steven Shapiro Hope and Richard N. Shaw Stephen & Kathy Shegda Carla Christofferson Kevin and Eileen Shields Mr. and Mrs. Elliot Shoenman Mrs. Mary Silver-Giatas Ms. Ruth M. Simon Mr. Kurt Skarin Mr. Steven Smith Mr. and Mrs. Michael G. Smooke Sodexo Shondell and Ed Spiegel Louise Mayeri Spillman Ms. Angelika Stauffer Mr. and Mrs. Pierre Steele Mr. and Mrs. Joseph Stein Louis Stern Mr. and Mrs. Mark Stern Mr. Max Stolz, Jr. Maia and Richard Suckle and The Anna & Benjamin Suckle Foundation Mr. Brandon Sugimoto Mr. Takehiko Suzuki Brent Sweer Ms. Defne Tabori David Jan Takata Mr. Marc A. Tamaroff Mr. and Mrs. Randall Tamura Mr. Andrew Tennenbaum Suzanne and Michael E. Tennenbaum Mr. Michael Thaxton Mr. and Mrs. Harlan H. Thompson Mr. and Mrs. Harris Toibb Arlette M. Towner Bonnie K. Trapp Mr. Michael Tully Mr. and Mrs. Leonard Unger Ms. Kathy Valentino The Valley CommitteeS for the Los Angeles Philharmonic Mr. and Mrs. Peter J. Van Haften David H. Vena Jan and Meredith Voboril Jenny Vogel Mr. Jules Vogel Felise Wachtel Ms. Diane C. Weil and Mr. Leslie R. Horowitz Ms. Abby Silverman Weiss and Mr. Ray F. Weiss Mr. and Mrs. Doug M. Weitman Wells Fargo Foundation Fern and Ronald H. Wender Robert and Penny White The Whittier Trust Company Claudia Williams Ms. Lori Williams and Mr. Stephen Schulte Ms. Tina H. Wilson Mr. Steve Winfield Mr. and Mrs. Irwin Wong Mr. and Mrs. David Yellin Mr. Kevin Yoder Bobbie Yunis Mrs. Lillian Zacky Mr. Sanford Zisman and Ms. Janis Frame 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.

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AFFILIATES

“Tapestries of Music”

Volunteering at the Los Angeles Philharmonic is a meaningful and significant form of philanthropy. Giving your time and sharing your passion demonstrate an invaluable expression of support for the LA Phil.

SUNDAYS ó®ã« COLEMAN

116th Season • 2019 - 2020

AFFILIATE COMMITTEES The Los Angeles Philharmonic Affiliates support the mission of the LA Phil through volunteer service, community engagement, and fundraising. Affiliates are steadfast ambassadors for music and its power to transform lives and connect communities.

The LA Phil has 17 Affiliate Committees based on neighborhood, special interests, and service. Affiliate members have exciting opportunities to volunteer at the LA Phil’s Toyota Symphonies for Youth and Symphonies for Schools concerts, as well as the award-winning Affiliate Music Mobile™ program. The Affiliates also play a vital role within their communities through a variety of events and programs.

E MERSON S TRING Q UARTET October 27, 2019 J ASPER S TRING Q UARTET WITH NICHOLAS PHAN, TENOR November 24, 2019 C ONCERTO I TALIANO January 12, 2020 E LIAS S TRING Q UARTET February 16, 2020

OFFICE ORCHESTRA The Office Orchestra is a hands-on volunteer group designed for individuals who enjoy assisting the LA Phil staff with office tasks and projects. Office Orchestra volunteers are contacted on an as-needed basis.

You must be 18 or older to participate in any volunteer activities with the LA Phil.

For further information, please contact the Volunteer Activities team at volunteer@laphil.org.

T AKÁCS S TRING Q UARTET March 22, 2020 C AMERATA RCO April 5, 2020 All concerts on Sundays at 3:30 ÖÃ in Caltech’s Beckman Auditorium To purchase tickets: • Caltech ticket office 626.395.4652 For a brochure & info: • 626.793.4191 • krfccma@aol.com • www.colemanchambermusic.org COLEMAN CHAMBER MUSIC ASSOCIATION

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



Pasadena, CA 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

PERFORMANCES MAGAZINE 81 NatThai_1019_h_v1.indd 1 LAPHIL_WRAP_1119.indd 81

9/4/19 2:49 PM 10/9/19 11:16 AM

Anne Marie Ketchum Artistic Director

Laraine Ann Madden Accompanist

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

Excerpts from: Otello • Il Trovatore • Turandot Tosca • The Merry Widow

CITY COUNCIL

With

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

Shana BlaKe hill Soprano

alex Boyer Tenor

MalcolM MacKenzie Baritone

Sat., Nov. 16 • 7:30 pm Sun., Nov. 17 • 2:00 pm Information and tickets

www.verdichorus.org • 800-838-3006

First United Methodist Church • Santa Monica

DEPARTMENT OF CULTURAL AFFAIRS

# Love S o C a l

Danielle Brazell General Manager

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

WHERE TO EAT WHERE TO SHOP

WALT DISNEY CONCERT HALL HOUSE STAFF

WHERE TO GO

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

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

S CALPULSE

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.

DISCOVER THE BEAT OF SOUTHERN CALIFORNIA

S O C A L P U L S E .CO M

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Los Angeles Philharmonic Association Chad Smith

CHIEF EXECUTIVE OFFICER David C. Bohnett Chief Executive Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CEO

Gail Samuel

EXECUTIVE DIRECTOR

ARTISTIC PLANNING Phillippa Cole

ASSOCIATE DIRECTOR, ARTISTIC PLANNING

Kristen Flock-Ritchie

ASSISTANT MANAGER, ARTISTIC PLANNING

Kathleen Kane

Casey Lewis

Alison Sowden

Daniel Mallampalli

CHIEF ADVANCEMENT OFFICER

ARTIST LIAISON

CHIEF FINANCIAL OFFICER

ARTISTIC PLANNING ASSISTANT

Laura Connelly

MANAGER, ARTIST SERVICES

VICE PRESIDENT, PRESENTATIONS

Elsje Kibler-Vermaas VICE PRESIDENT, LEARNING

J. Philip Koester

VICE PRESIDENT, MARKETING AND COMMUNICATIONS

Meghan Martineau

VICE PRESIDENT, ARTISTIC PLANNING

Mona Patel

VICE PRESIDENT, HUMAN RESOURCES AND GENERAL COUNSEL

Daniel Song

VICE PRESIDENT, PHILHARMONIC AND PRODUCTION

Leni Isaacs Boorstin SENIOR ADVISOR, EXTERNAL ENGAGEMENT

Summer Bjork

DIRECTOR, STRATEGY AND SPECIAL PROJECTS

ADMINISTRATION Maxwell Adams

RISK AND LOGISTICS MANAGER

Leslie Bell PARALEGAL

Maren Quanbeck

ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

Julia Ward

DIRECTOR, HUMANITIES

Denise Alfred

Rose Doylemason

RECEPTIONIST/HR ASSISTANT

Samantha Ganeku

HUMAN RESOURCES MANAGER

Alex Hernandez

MAIL ROOM ASSISTANT

Kevin Higa

CLOUD INFRASTRUCTURE ENGINEER

Dean Hughes

HELP DESK SPECIALIST

Charles Koo

INFRASTRUCTURE MANAGER

Rik Martin

ADMINISTRATIVE SERVICES MANAGER

Frank Park

INFRASTRUCTURE ENGINEER

Sean Pinto

DATABASE APPLICATIONS MANAGER

Miguel A. Ponce, Jr. SYSTEM SUPPORT I

Christopher Prince TESSITURA SUPPORT

Manuel Reed

SYSTEM SUPPORT II

Aly Zacharias STAFF ATTORNEY

Kimberley Valentine

COMMUNITY & GOVERNMENT AFFAIRS DIGITAL ARCHIVES MANAGER

Ljiljana Grubisic

ARCHIVES AND MUSEUM DIRECTOR

Kelly Kress

DIRECTOR, LEADERSHIP GIFTS

Morgan Walton

MANAGER, SPECIAL EVENTS

Richard T. Watkins

ASSOCIATE DIRECTOR, DEVELOPMENT

Natalie White

SENIOR RESEARCH AND PROSPECT MANAGER

Jonathan Thomas

Sarah Little

Sherry Wallace

Ian Richard

Lisa White

Gaudy Sanchez

Kassandra Winchester

EDUCATION COORDINATOR

CREATIVE DIRECTOR

EDUCATION PROJECT MANAGER

MARKETING DATABASE SPECIALIST

EDUCATION PROJECT MANAGER

SALES OPERATION COORDINATOR

PROGRAM MANAGER YOLA@TORRES

PUBLICIST

YOLA ADVISOR

PR ASSISTANT

Lauren Winn

PROJECT MANAGER

MARKETING & COMMUNICATIONS Melissa Achten

ORCHESTRA MANAGEMENT & PRODUCTION

David Cherpin

Shana Bey

Jonathan Clemente

Janice Bartczak

Taylor Comen

Henry Cofresi

Nora Brady

Jessie Farber

ACCOUNTS PAYABLE COORDINATOR

Lisa Burlingham

Lyla Forlani

CONTROLLER

Charles Carroll

Raymond Horwitz

PAYROLL COORDINATOR

Joe Carter

Kimberly Mitchell

Brendan Broms

AUDIENCE SERVICES SUPERVISOR

Grace Chapron

AUDIENCE SERVICES REPRESENTATIVE

Jacqueline Ferger

PATRON / AUDIENCE SERVICES REPRESENTATIVE

Stephen Gluck

AUDIENCE SERVICES REPRESENTATIVE

Jennifer Hugus Bernie Keating

Aurelio Minchaca

AUDIENCE SERVICES REPRESENTATIVE

Rosa Ochoa

AUDIENCE SERVICES SUPERVISOR

Claudia Rhodes

AUDIENCE SERVICES REPRESENTATIVE

Randolph Stephen

AUDIENCE SERVICES SUPERVISOR’

Robert Ullrich

PATRON / AUDIENCE SERVICES REPRESENTATIVE

WALT DISNEY CONCERT HALL BOX OFFICE

2ND ASSISTANT TREASURER

EXECUTIVE ASSISTANT TO THE EXECUTIVE DIRECTOR

MANAGER, DEVELOPMENT COMMUNICATIONS

Natalie Suarez

Emily Lair

ART DIRECTOR

Scott Arenstein

AUDIENCE SERVICES SUPERVISOR

Toliman Au

Shawn Newmann-Batarse

TICKET SELLER

Derek Traub

Alexis Gallardo

Daniel Anderson

TICKET SELLER

TESSITURA SUPPORT

Jose Villasenor

CAMPAIGN PROJECT MANAGER

Mary Smudde

CREATIVE COPYWRITER

EDUCATION PROJECT MANAGER

Xyra Aranda

Gloria Balcom

MANAGER, STRATEGY AND SPECIAL PROJECTS

Angela Morrell

2ND ASSISTANT TREASURER

Kylee Teti

Fabian Fuertes

Mary Allen

Petra McNeilly Rutledge

HUMAN RESOURCES COORDINATOR

Tomorrow Kitchen

Martin Sartini Garner

EDUCATION PROJECT MANAGER

Adriana Aguilar

DIRECTOR, INFORMATION TECHNOLOGY

Thelma Meza

1ST ASSISTANT TREASURER

ANNUAL FUND COORDINATOR

AUDIENCE SERVICES MANAGER

Angelica Cortez

DIGITAL ASSET MANAGER

Spring Ake

SYSTEM SUPPORT I

Laurel Harris

Gabriel Tanguay Ortega

Richard Rubio

ASSOCIATE DIRECTOR, SOCIAL INNOVATION

PATRON / AUDIENCE SERVICES REPRESENTATIVE

Vilma Alvarez

Jeff Matchan

Sergio Menendez

TICKET SELLER

MARKETING COORDINATOR, PROMOTIONS AND PARTNERSHIPS

Phil Bravo

FINANCE

AUDIENCE SERVICES REPRESENTATIVE

HR GENERALIST

Angelia Franco

SENIOR MANAGER, DEVELOPMENT OPERATIONS AND ANALYTICS

Peter Szumlas

Cindy Ly Rozas

LEARNING

ASSISTANT ARCHIVIST

Lauren Coakley

Christine Correa

Hope Steinman-Iacullo

AUDIENCE SERVICES REPRESENTATIVE

Michael Chang

HUMAN RESOURCES MANAGER

DIRECTOR, CORPORATE SPONSORSHIP EXECUTIVE ASSISTANT TO THE CAO

TICKET SELLER

Selena Chau

AUDIENCE SERVICES

Stefanie Sprester

Nancy Fitzgerald

Ebner Sobalvarro

PATRON / AUDIENCE SERVICES REPRESENTATIVE

DATABASE ADMINISTRATOR

BOX OFFICE — GROUP SERVICES

Donella Coffey

2ND ASSISTANT TREASURER

Christy Galasso

1ST ASSISTANT TREASURER

Veronika Garcia

2ND ASSISTANT TREASURER

Alex Hennich TICKET SELLER

Amy Lackow

Meredith Reese

DEVELOPMENT Robert Albini

ASSOCIATE DIRECTOR, MAJOR GIFTS

Helen Allemano

ASSISTANT MANAGER, ANNUAL FUND

Joshua Alvarenga

SENIOR MAJOR GIFTS OFFICER

Malorie Barbee

ASSOCIATE DIRECTOR, ANNUAL FUND/ MEMBERSHIP

Tess Carota

DEVELOPMENT OPERATIONS, GIFT AND DATA SPECIALIST

Michael Cocks

DEVELOPMENT OPERATIONS PROJECT MANAGER

Julia Cole

DIRECTOR, INSTITUTIONAL GIVING AND STEWARDSHIP

Constance Dewey

ASSISTANT MANAGER, VOLUNTEER ACTIVITIES

Victoria Dinu

CORPORATE SPONSORSHIP COORDINATOR

SENIOR ACCOUNTANT

ORCHESTRA OPERATIONS COORDINATOR

DIRECTOR, DIGITAL MARKETING TECHNOLOGY

ASSOCIATE ORCHESTRA PERSONNEL MANAGER

DIRECTOR, RETAIL SERVICES

DIRECTOR, PRODUCTION

DIRECTOR, AUDIENCE STRATEGIES AND INSIGHTS

ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Genevieve Dunaway

DIRECTOR, MARKETING

PRODUCTION MANAGER

Steve Flores

DIRECT MARKETING MANAGER

PROJECT MANAGER, MEDIA INITIATIVES

Lisa Hernandez

DIRECTOR, SALES AND CUSTOMER EXPERIENCE

PRODUCTION MANAGER

SENIOR ADVISOR, STRATEGIC FINANCIAL PLANNING STAFF ACCOUNTANT PAYROLL MANAGER

Heather Dodds

ARTIST PAYMENT SPECIALIST

Ashley Hofer

EXECUTIVE ASSISTANT TO THE CFO

Dustin Hsu

ASSISTANT CONTROLLER

Geoffrey Kwok STAFF ACCOUNTANT

Pamela Li

SENIOR ACCOUNTANT

LaTonya Lindsey

ACCOUNTS PAYABLE COORDINATOR

Joseph Feneck

STAFF ACCOUNTANT

Genevieve Goetz

FINANCIAL PLANNING MANAGER

Christina Hall

FINANCIAL PLANNING ANALYST

Gerry Heise

ACCOUNTS PAYABLE MANAGER

Jen Kehs

SUPERVISING SENIOR ACCOUNTANT

Sara Kim

PAYROLL TECHNICIAN

ANNUAL FUND OFFICER

Ester Malkhasyan

MANAGER, VOLUNTEER ACTIVITIES

Debbie Marcelo

MANAGER, GIFT PLANNING

Francisco Millan

SENIOR MAJOR GIFTS OFFICER

Elizabeth Rojo

SENIOR MAJOR GIFTS OFFICER

Marianne Valmonte Kimberly White

DIRECTOR, INDIVIDUAL GIVING

Anita Lawson

DIRECTOR, DEVELOPMENT OPERATIONS

Angie Lee

ASSOCIATE MANAGER, SPECIAL EVENTS

Allison Mitchell

ASSISTANT MANAGER, SPECIAL EVENTS

Mark Ladd

MANAGER, MAJOR GIFTS

Gina Leoni

DEVELOPMENT WRITER

George Portillo

DIRECTOR, GIFT PLANNING

Ruben Reyes

PROJECT MANAGER, DONOR RELATIONS

Edgar Tom

RESEARCH ANALYST

Tom Waldron

2ND ASSISTANT TREASURER

Melissa Meyers

TICKET SELLER

Katherine Nicolai

ASSOCIATE DIRECTOR, OPERATIONS

TREASURER

Rachel Pryzgoda

OPERATIONS COORDINATOR

1ST ASSISTANT TREASURER

Susan Erburu Reardon

THEATER MAINTENANCE MANAGER

2ND ASSISTANT TREASURER

Alicia Rhymes

ASSOCIATE HOUSE MANAGER

TICKET SELLER

Carina Sanchez

DIRECTOR, OPERATIONS

2ND ASSISTANT TREASURER

Kristina Schaaf

HOUSE MANAGER

TICKET SELLER

Erica Sitko

Page Messerly Ariana Morales

Carolina Orellana Cathy Ramos Elias Santos

John Tadena

Carlie Tomasulo

ASSOCIATE PRODUCTION MANAGER

Michael Vitale

DIGITAL OPERATIONS MANAGER

Melissa Falchini

PRODUCTION MANAGER

SENIOR MANAGER, CREATIVE SERVICES

Lydia Fong

Jeff Wallace

ASSOCIATE DIRECTOR, PRODUCTION

Bill Williams

PUBLICIST

Justin Foo

PRODUCTION ASSOCIATE

ASSISTANT DIRECTOR, SALES AND CUSTOMER SERVICE

Cynthia Fuentes

PRESENTATIONS

Tara Gardner

Stephanie Bates

Paul Gibson

Brian Grohl

ASSISTANT DIRECTOR, MARKETING

PRESENTATIONS ASSISTANT

MANAGER, DIGITAL MARKETING

PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA

CREATIVE COPYWRITER

John Henken

Joie Marites Lopez

MANAGING EDITOR

Jennifer Hoffner

EVENT MANAGER

Linda Holloway

PRODUCTION COORDINATOR

Sophie Jefferies

DIRECTOR, PRESENTATIONS

Alexis Kaneshiro

CONCERT MANAGER, PRESENTATIONS AND HOLLYWOOD BOWL ORCHESTRA

Rafael Mariño

SENIOR ADVERTISING MANAGER

Johanna Rees

PATRON SERVICES MANAGER

GRAPHIC DESIGNER

Board Liaison / Senior Gift Officer

Christopher Slaughter

Toi Duckworth

Kerri Bershon

Kim Kevorkian

PRODUCTION ASSOCIATE

JR GRAPHIC DESIGNER

HOLLYWOOD BOWL OPERATIONS ADMINISTRATOR

Rita Santos

Julia Dankberg

DIRECTOR, PUBLIC RELATIONS

TRAFFIC AND PARKING MANAGER

Elia Luna

Lila Atchison

SOCIAL MEDIA MANAGER VIDEO PRODUCER

SENIOR ACCOUNTANT

Chelsea Downes

SENIOR GRANT WRITER

ASSISTANT MANAGER, MUSIC BUYER

Ayrten Rodriguez Herbie Hancock

Amanda Lester

WILLIAM POWERS & CAROLYN POWERS CREATIVE CHAIR FOR JAZZ

ASSISTANT MANAGER, AUDIENCE DEVELOPMENT AND INSIGHTS

Yuko Makuuchi

ASSISTANT MANAGER, RETAIL OPERATIONS

Brant Markley

MANAGER, REVENUE STRATEGIES AND ANALYTICS

Ino Mercado

ASSISTANT MANAGER

Ricky O’Bannon DIRECTOR, CONTENT

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

Janet Renteria

ADVERTISING COORDINATOR

MANAGER, CORPORATE SPONSORSHIP CAMPAIGN MANAGER

2ND ASSISTANT TREASURER

PERFORMANCES MAGAZINE 83

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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

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

William Taylor Assistant Treasurer and Chief Financial Officer

Rollin A. Ransom General Counsel

MEMBERS AT LARGE Charles F. Adams

DIRECTORS EMERITI Peter K. Barker

William H. Ahmanson Wallis Annenberg Jill Baldauf Susan Baumgarten

^

Leave of absence

Judith Beckmen Eli Broad Ronald W. Burkle

Phoebe Beasley

Amb. (ret.) John B. Emerson*

Kimaada M. Brown

Richard M. Ferry

Dannielle Campos

Brindell Gottlieb

Greg T. Geyer

Bernard A. Greenberg

Lisa Gilford

Stephen F. Hinchliffe, Jr.

Kiki Ramos Gindler

Amb. (ret.) Glen A. Holden

Maria Rosario Jackson

Stuart M. Ketchum

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

Glenn Kaino

Amb. (ret.) Lester B. Korn

Stefanie Kane

Kent Kresa

Terri Kohl

Robert F. Maguire, III

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

Cary J. Lefton

Ginny Mancini

David Lippman

Edward J. McAniff

Richard Lynn Martinez

Walter M. Mirisch

Bowen “Buzz” H. McCoy

Fredric Roberts

Mattie McFadden-Lawson

Claire L. Rothman

Elizabeth Michelson

Joni J. Smith

Darrell D. Miller

Cynthia A. Telles

Shelby Notkin

James A. Thomas

Michael Pagano

Andrea L. Van de Kamp*

Cynthia M. Patton

Paul M. Watson

Karen Kay Platt

Thomas R. Weinberger

Max Ramberg ^

Rosalind W. Wyman

Jay Rasulo

* Chairman Emeritus

Welcome to The Music Center!

Follow The Music Center on Facebook, Instagram and Twitter @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. musiccenter.org/symphonians symphonians@musiccenter.org

Joseph Rice

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Featured Events at

The Music Center FRI 01 NOV / 8:00 p.m.

Dudamel Conducts Bruckner LA PHIL @ Walt Disney Concert Hall Thru 11/3 FRI 01 NOV / 10:00 a.m.

Grand Park’s Downtown Día de los Muertos @ Grand Park Performance Lawn + The Music Center Plaza Thru 11/3 FRI 01 NOV / 12:15 p.m.

LUNCH A LA PARK: Yoga reTREAT @ Grand Park Every Wed/Fri SUN 03 NOV / 7:30 p.m.

Jane Parker-Smith LA PHIL @ Walt Disney Concert Hall MON 04 NOV / 11:00 a.m.

Grand Ave Arts: All Access @ Grand Avenue MON 04 NOV / 8:30 p.m.

Memories of the Unknowable: Films by Sylvia Schedelbauer REDCAT @ Roy and Edna Disney / CalArts Theater TUE 05 NOV / 11:00 a.m.

LUNCH À LA PARK: Food Trucks REDCAT @ Grand Park Every Tue/Wed/Thur TUE 05 NOV / 8:00 p.m.

John Adams & Jay Campbell LA PHIL @ Walt Disney Concert Hall

WED 06 NOV/ 8:00 p.m.

Ray Chen LA PHIL @ Walt Disney Concert Hall WED 06 NOV / 8:30 p.m.

Peter Vermeersch and FLAT EARTH SOCIETY: 100-year anniversary of The Oyster Princess REDCAT @ Roy and Edna Disney / CalArts Theater THU 07 NOV / 8:00 p.m.

Dudamel & Yuja Wang LA PHIL @ Walt Disney Concert Hall Thru 11/8 FRI 08 NOV / 9:30 a.m.

The Music Center’s Very Special Arts Festival THE MUSIC CENTER @ The Music Center Plaza SUN 10 NOV / 8:30 p.m.

Studio: Fall 2019 REDCAT @ Roy and Edna Disney / CalArts Theater Thru 11/11 THU 14 NOV / 8:00 p.m.

Sylvan Esso presents WITH LA PHIL @ Walt Disney Concert Hall Thru 11/15 SAT 16 NOV / 7:30 p.m.

The Magic Flute LA OPERA @ Dorothy Chandler Pavilion Thru 12/15 SAT 16 NOV / 8:00 p.m.

An Evening with Melissa Etheridge LA PHIL @ Walt Disney Concert Hall

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

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SAT 16 NOV / 8:30 p.m.

Hunter Hunt-Hendrix, with Liturgy and CalArts’ Sonic Boom dir. Ulrich Krieger: Origin of the Alimonies REDCAT @ Roy and Edna Disney / CalArts Theater MON 18 NOV / 8:30 p.m.

Lei Lei: Breathless Animals and a selection of shorts REDCAT @ Roy and Edna Disney / CalArts Theater FRI 22 NOV / 8:00 p.m.

August Wilson’s Jitney CENTER THEATRE GROUP @ Mark Taper Forum Thru 12/29 FRI 22 NOV / 8:30 p.m.

Dorian Wood: XAVELA LUX AETERNA REDCAT @ Roy and Edna Disney / CalArts Theater Thru 11/23 SAT 23 NOV / 8:00 p.m.

The Cinematic Orchestra LA PHIL @ Walt Disney Concert Hall MON 25 NOV / 8:30 p.m.

Playful Perversions: Short Films by Gabriel Abrantes REDCAT @ Roy and Edna Disney / CalArts Theater

Illustrations by: Down The Street Designs

FRI 01 NOV / 8:00 p.m.

The New One CENTER THEATRE GROUP @ Ahmanson Theatre Thru 11/24

SAT 30 NOV / 8:00 p.m.

Dudamel Conducts Rachmaninoff & Stravinsky LA PHIL @ Walt Disney Concert Hall

NOV 10/7/19 11:57 AM

Join us

for happy hour between 4 – 6 p.m. and 8 p.m. to close Tues. – Fri.

MIXOLOGY BY:

The Mullin Wine Bar 205 N. Grand Avenue Los Angeles, CA 90012 (213) 972-8084 TheMullinLA.com

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Christiaan Röllich A celebrated Los Angeles bartender, Christiaan approaches a drink the way a master chef approaches a dish: he draws on high-quality seasonal ingredients to create cocktails for every occasion.

10/7/19 11:57 AM

featuring Chef Shirley Chung NEXT CHEF: JASON FULLILOVE, WINTER 2019 A dining experience that spotlights L.A.’s diverse cuisine, related and plated by the chefs who tell it best.

Tasting Culture.

Exploring Food.

NOW OPEN ON THE MUSIC CENTER PLAZA!

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220 N. Hope Street Los Angeles, CA 90012 (213) 972-8088 AbernethysLA.com @AbernethysLA

10/7/19 11:57 AM

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; JANICE HAHN, Fourth District, Chair; KATHRYN BARGER, Fifth District; and HILDA L. SOLIS, First District

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THE SORAYA IS

THE VALLEY’S CENTER FOR THE PERFORMING ARTS

NOVEMBER

OK GO THE LIVE VIDEO TOUR Sat Nov 2 | 8PM Sun Nov 3 | 3PM FARRUQUITO Sat Nov 9 | 8PM THE KALICHSTEIN-LAREDO-ROBINSON TRIO Onstage Sessions Chamber Music Tue Nov 12 | 8PM Wed Nov 13 | 8PM - SOLD OUT

ASPEN SANTA FE BALLET’S

THE NUTCRACKER USHER IN THE SEASON WITH THIS HOLIDAY CLASSIC

CAMILA MEZA THE NECTAR ORCHESTRA ÁMBAR Onstage Sessions Jazz Club Fri Nov 15 | 8PM Sat Nov 16 | 8PM

Sat Dec 7 | 3PM & 8PM Sun Dec 8 | 3PM

FRANKIE AVALON Thu Nov 21 | 8PM

DECEMBER NOCHEBUENA FEATURING EUGENIA LEÓN BALLET FOLKLÓRICO DE LOS ÁNGELES MARIACHI GARIBALDI DE JAIME CUÉLLAR Sat Dec 14 | 3PM & 8PM VOCTAVE THE SPIRIT OF THE SEASON Sun Dec 15 | 3PM

TheSorayaStage | TheSoraya.org | (818) 677-3000

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Whether it’s real estate, interior design, computer science, dance, drama, writing, singing or painting, your art is your own...

Support the arts

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

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