Los Angeles Philharmonic May 2014

LOS ANGELES PHILHARMONIC GUSTAVO DUDAMEL, Music Director MAY 2014

WALT DISNEY CONCERT HALL

10TH ANNIVERSARY

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GUSTAVO DUDAMEL Music Director

MAY 2014 INSIDE

THE PROGRAMS

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Welcome

MAY 1-16

MAY 23-JUN 1

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Board of Directors

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Music Director Gustavo Dudamel

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P1

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Los Angeles Philharmonic

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News from the LA Phil

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Los Angeles Philharmonic Association

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10th Anniversary

22 Endowment Donors 50 Annual Donors 56 Affiliates

MAY 1 – 3 – LA Phil: Dudamel, Ax

P6 MAY 4 – Organ Recital: Jacobs P10 MAY 6 – Green Umbrella:

LA Phil New Music Group,

Milarsky, Suh, Van Raat

MAY 23, 25, 29, & 31 – LA Phil: Così fan tutte

P13 MAY 30 & JUN 1 – LA Phil:

Dudamel, Grimaud

P15 MAY 8 – 11 – LA Phil: Dudamel,

Lang Lang P21 MAY 15 & 16 – LA Phil: Dudamel,

Bell

65 Support the LA Phil

On the Cover The cover images this month are the winners of the #WDCH10 Instagram photo competition last fall, chosen from hundreds of entries.

Counterclockwise from top left: Thu Pham (theme: Angles); Guido Morales, Jr. (theme: Exterior); Tony Tharae (theme: Interior); Ji Eun Jang (theme: Inspiration); Fernando Galvez (theme: Light); Rolf Juario (theme: Garden) 2

PERFORMANCES MAGAZINE

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Published By SOUTHERN CALIFORNIA MEDIA GROUP Publisher Jeff Levy Editor in Chief Benjamin Epstein Art Director Carol Wakano Marketing Director Audrey Nimura Production Manager Ellen Melton Associate Art Director Heidi Schwindt Associate Editor Suzanne Ennis Production Artist Ryan Furuya Advertising Directors Richard Blankley, Lyle Laver Account Managers Kerry Brewer, Heather Howard-Heintz, Natalie Johnson, Brandee Leonard, Jessica Levin, Joanna McLean, Mali Mochow Advertising Services Dawn Kiko Cheng Administration Leanne Killian, Beth Moline, Christine Noriega-Roessler, Christina Xenos Honorary President Ted Levy

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PERFORMANCES MAGAZINE

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OFFICIAL TIMEPIECE OF LA OPERA

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WELCOME

from the President and CEO

If you have ever had the opportunity to sit in an empty theater, you know what a magical experience it can be. The space reverberates with the performances of the past, but like the blank page or canvas, suggests infinite possibilities.

Walt Disney Concert Hall is one such magical space. As the LA Phil’s 10th anniversary season at the Hall draws to a conclusion this month, we pause to reflect on the extraordinary possibilities that have played out on its stage.

The season began with Inside Out, a month-long celebration of the Hall that included a week of free community concerts, Yo-Yo Ma recreating his 2003 gala performance with a video-assist from director and multi-media artist Netia Jones, and Conductor Laureate Esa-Pekka Salonen bringing Frank Zappa’s 200 Motels back to roaring, psychedelic life.

Our year of possibilities continued with a record number of commissions and premieres, the breathtaking TchaikovskyFest collaboration with the Simón Bolívar Symphony Orchestra of Venezuela (SBSOV), and our second Minimalist Jukebox festival.

How do we conclude a season that has seen the combined forces of the LA Phil and SBSOV, more than a dozen emerging composers, and the robots of Kraftwerk take the Walt Disney Concert Hall stage?

By turning to the woman who famously said, “I really believe in the idea of the future” — Pritzker Prize-winning architect Zaha Hadid.

A belief in the future is at the core of the LA Phil’s own convictions and is embodied in the building that Frank Gehry designed as our home a decade ago. We are proud to collaborate with the like-minded Hadid, who has designed sets for the Mozart / Da Ponte Trilogy’s final installation, Così fan tutte. She has created an environment for our players which is in synchronicity with its surroundings and exhibits the powerful, curving forms most often associated with her work.

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As those of you who follow the orchestra know, the Trilogy is a signature project of Music Director Gustavo Dudamel. This year marks not only the anniversary of the Hall, but also of Dudamel’s tenure as the LA Phil’s artistic leader.

In this, his fifth year with the orchestra, Dudamel has solidified his partnership with the orchestra and established his commitment to advancing the art form through commissioning, collaboration, and community engagement. Since his arrival, the orchestra has premiered 52 new works and, through its YOLA and Take a Stand partnerships, has become an undisputed leader in the movement to effect positive social change through music education.

During a recent interview with BBC Music Magazine, Dudamel said, “After five years, I feel we are going to another level.” I invite you to join us as we journey to that next level. As Frank Gehry, Zaha Hadid, and the thousands of artists who have graced the Walt Disney Concert Hall stage over the past ten years have shown us, the possibilities are endless.

Enjoy the concert.

Deborah Borda President and Chief Executive Officer Los Angeles Philharmonic Association

PERFORMANCES MAGAZINE

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BOARD OF DIRECTORS LOS ANGELES PHILHARMONIC ASSOCIATION CHAIR Diane B. Paul* PRESIDENT and CHIEF EXECUTIVE OFFICER Deborah Borda

VICE CHAIRS David C. Bohnett Jerrold L. Eberhardt* Jane B. Eisner* David Gindler* Vicki McCluggage* William C. Powers* Jay Rasulo* SECRETARY Alan Wayte* DIRECTORS Julie Andrews Wallis Annenberg David N. Barry, III Lynn A. Booth Linda Brittan Anthon S. Cannon, Jr.* Adriana Cisneros Mark Houston Dalzell* Mari L. Danihel Kelvin L. Davis Donald P. de Brier* Kenneth M. Doran Louise D. Edgerton Giselle Fernandez Lawrence N. Field* Timothy F. Gallagher Sheri B. Gill Cecilia Aguilera Glassman Donna Gotch Lenore S. Greenberg Carol Colburn Grigor Pierre Habis

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Teena Hostovich John F. Hotchkis* Kenneth Kamins Darioush Khaledi Ronald Litzinger John V. Mallory* Bowen H. “Buzz” McCoy Younes Nazarian Leith O’Leary Barry D. Pressman, M.D.* Dudley A. Rauch* Ann Ronus Jennifer Rosenfeld Nancy S. Sanders* Eric L. Small Christian Stracke Ronald D. Sugar* Jack Suzar Jonathan Weedman Alyce Williamson Marilyn Ziering *Executive Committee Member HONORARY LIFE DIRECTORS Frank Gehry Bram Goldsmith Rocco C. Siciliano H. Russell Smith as of March 2014

PERFORMANCES MAGAZINE

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GUSTAVO DUDAMEL

Dynamic conductor GUSTAVO DUDAMEL’s passionate music making invigorates audiences of all ages worldwide. He is concurrently serving as Music Director of the Simón Bolívar Symphony Orchestra of Venezuela and the Los Angeles Philharmonic, and the impact of his musical leadership is felt on four continents. While his commitment to his music director posts in the United States and Venezuela accounts for the major portion of his yearly schedule, Dudamel also guest conducts with some of the world’s greatest musical institutions each season, such as the Vienna Philharmonic, the Berlin Philharmonic, and La Scala in both opera and concert.

Dudamel is continuing his fifth season as Music Director of the Los Angeles Philharmonic, where his contract has already been extended until 2018/19, the orchestra’s 100th season. Under his leadership the Los Angeles Philharmonic has extended its reach to an unprecedented extent via LA Phil LIVE to audiences throughout North America, Europe, and South America, and through Youth Orchestra LA (YOLA), which was widely influenced by Venezuela’s successful El Sistema.

It is not only the breadth of the audience reached, but also the depth of the programming performed under Gustavo Dudamel that are remarkable. Programs at the Los Angeles Philharmonic in 2013/14 continue to represent the best and the boldest: eleven world premieres and thirteen commissions; a Hollywood Bowl Aida and Verdi Requiem; a community-wide season-opening festival in celebration of the 10th anniversary of Walt Disney Concert Hall, culminating in a gala performance at the Hall; and a sevencity North American tour in March 2014. The season ends with a staged Così fan tutte with sets by architect Zaha Hadid, completing a three-consecutive-year Mozart/Da Ponte trilogy project.

Now in his 15th season as Music Director, Dudamel continues to lead the Simón Bolívar Symphony Orchestra in his native Venezuela as well as on tour. Starting with a production of Tannhäuser at the Bogotá Opera in July 2013, followed by a 2013 summer residency at the Salzburg Festival, the Simón Bolívar Symphony Orchestra then tours to Paris and the Middle East in January of 2014, before travelling to California in February

for a residency and joint concerts with the Los Angeles Philharmonic for the LA Phil’s TchaikovskyFest.

An exclusive Deutsche Grammophon artist since 2005, Gustavo Dudamel has numerous recordings on the label, including a 2012 Grammy-winning Brahms Symphony No. 4 and a recent Mahler 9, both with the Los Angeles Philharmonic. A CD of Adams’ Gospel According to the Other Mary with the Los Angeles Philharmonic was released in March 2014. In the area of video/DVD, many releases capture the excitement of important concerts in Dudamel’s musical life.

Gustavo Dudamel, one of the most decorated conductors of his generation, was recently named Musical America’s 2013 Musician of the Year. He was born in 1981 in Barquisimeto, Venezuela, and his early musical and mentoring experiences molded his commitment to music as an engine for social change – a lifelong passion. In 2012, Gustavo and Eloísa Dudamel launched The Dudamel Foundation, which is dedicated to furthering music education and social justice around the world. Visit gustavodudamel.com.

PERFORMANCES MAGAZINE

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LOS ANGELES PHILHARMONIC

The LOS ANGELES PHILHARMONIC, under the vibrant leadership of Music Director Gustavo Dudamel, is re-inventing the concept of the 21st-century orchestra. Both at home and abroad, the Philharmonic – recognized as one of the world’s outstanding orchestras – is leading the way in innovative programming, which is received enthusiastically by audiences and critics alike. 2013/14 marks the orchestra’s 95th season.

More than 250 concerts are either performed or presented by the Philharmonic at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl. These presentations represent a breadth and depth unrivaled by other orchestras or cultural institutions.

In October 2013 the Philharmonic celebrated the 10th anniversary of its winter home – the Frank Gehry-designed Walt Disney Concert Hall.

Praise for both the design and the acoustics of the Hall has been effusive, and the building embodies the energy, imagination, and creative spirit of the city of Los Angeles and its orchestra. As Time magazine noted, “With its curvaceous exterior and acoustically adroit interior, Gehry’s building bestowed on the city an important architectural landmark and proved that L.A. residents actually do go to the symphony,” while The Washington Post stated, “At last this orchestra has a hall worthy of its stature.”

During its 30-week winter subscription season of more than 100 performances at Walt Disney Concert Hall, the Philharmonic creates festivals, artist residencies, and other thematic programs designed to enhance the symphonic music experience and delve further into certain artists’ or composers’ work. In 2011/12, the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, under the baton of Gustavo Dudamel, completed a monumental endeavor by performing Mahler’s nine symphonies over the course of just three weeks in Los Angeles and one week in Caracas. Highlights of the 2012/13 season included: Mozart’s The Marriage of Figaro, the second installment of the three-year Mozart opera project (which concludes this season with Così fan tutte); an international tour of Creative Chair John Adams’ oratorio The Gospel According to the Other Mary; and Oliver Knussen’s one-act opera Where the Wild Things Are. The LA Phil’s commitment to the music of our time is also evident in its subscription concerts, the exhilarating Green Umbrella series, and its extensive commissioning initiatives.

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The orchestra’s involvement with Los Angeles also extends far beyond symphony concerts in a concert hall, with performances in schools, churches, and neighborhood centers of a vastly diverse community. Among its wide-ranging education initiatives is Youth Orchestra LA (YOLA). Central to YOLA is the Philharmonic’s plan to build, with community partners, youth orchestras in neighborhoods throughout Los Angeles. In 2012, the LA Phil launched Take a Stand, a partnership with the Longy School of Music at Bard College which supports social change through music by providing leaders with tools for growth through a series of conferences and workshops, and provides progressive and rigorous training for performing and teaching musicians.

Always inspired to expand its cultural offerings, the LA Phil each season produces concerts featuring distinguished artists in recital, jazz, world music, songbook, and visiting orchestra performances, in addition to special holiday concerts and series of chamber music, organ recitals, and Baroque music.

The Los Angeles Philharmonic continues to broaden its audience by touring worldwide, offering an extensive catalog of recorded music, and broadcasting concerts on radio and television. Thirteen concerts from the 2013/14 season will be broadcast in partnership with Classical KUSC and the WFMT Radio Network. The 2012/13 series was broadcast in 305 markets and reached over 3.7 million listeners. Through an ongoing partnership with Deutsche Grammophon, the orchestra also has a substantial catalog of concerts available online, including the first full-length classical music video released on iTunes. Rhapsody in Blue: Opening Night Concert and Gala was telecast as part of the PBS performing arts series Great Performances and garnered a 2012 Emmy nomination. In 2011, the Los Angeles Philharmonic and Gustavo Dudamel won a Grammy for Best Orchestral Performance for their recording of the Brahms Symphony No. 4. In 1974, the Los Angeles Philharmonic under the baton of Zubin Mehta won an Academy Award for “The Bolero,” a 30-minute short subject featuring Maurice Ravel’s famous orchestral work.

The Los Angeles Philharmonic was founded by William Andrews Clark, Jr., a millionaire and amateur musician, who established the city’s first permanent symphony orchestra in 1919. 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 Rodzinski (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).

PERFORMANCES MAGAZINE

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BASED ON THE SONGS OF

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LOS ANGELES PHILHARMONIC Gustavo Dudamel Music Director Walt and Lilly Disney Chair Esa-Pekka Salonen Conductor Laureate John Adams Creative Chair Deborah Borda President and Chief Executive Officer

VIOLAS

OBOES

TUBA

Carrie Dennis Principal John Connell Chair Dale Hikawa Silverman Associate Principal Ben Ullery Assistant Principal

Ariana Ghez Principal Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove

Norman Pearson

FIRST VIOLINS

Richard Elegino Dana Hansen John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel

Martin Chalifour Principal Concertmaster Marjorie Connell Wilson Chair Nathan Cole First Associate Concertmaster Ernest Fleischmann Chair Bing Wang Associate Concertmaster Mark Baranov Assistant Concertmaster Philharmonic Affiliates Chair Michele Bovyer Rochelle Abramson Camille Avellano Elizabeth Baker Minyoung Chang Vijay Gupta Mischa Lefkowitz Edith Markman Judith Mass Mitchell Newman Barry Socher Lawrence Sonderling Stacy Wetzel

SECOND VIOLINS Lyndon Johnston Taylor Principal Dorothy Rossel Lay Chair Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal Ingrid Kuo Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Paul Stein Yun Tang Akiko Tarumoto Suli Xue

CELLOS Robert deMaine Principal Bram and Elaine Goldsmith Chair Associate Principal (Vacant) Sadie and Norman Lee Chair Ben Hong Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum Tao Ni Serge Oskotsky Brent Samuel

BASSES Dennis Trembly Principal Christopher Hanulik Principal Oscar M. Meza Assistant Principal David Allen Moore Jack Cousin Brian Johnson Peter Rofé John Schiavo Frederick Tinsley

FLUTES Julien Beaudiment Principal Virginia and Henry Mancini Chair Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair Elise Shope Sarah Jackson

PICCOLO Sarah Jackson

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ENGLISH HORN Carolyn Hove

CLARINETS Michele Zukovsky Principal Burt Hara Associate Principal (Vacant) Mauk/Nunis Chair David Howard

BASS CLARINET David Howard

BASSOONS Whitney Crockett Principal Shawn Mouser Associate Principal Michele Grego Patricia Kindel

CONTRABASSOON

TIMPANI Joseph Pereira Principal Cecilia and Dudley Rauch Chair

PERCUSSION Raynor Carroll Principal James Babor Perry Dreiman

KEYBOARDS Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP Lou Anne Neill

LIBRARIANS Kazue Asawa McGregor Kenneth Bonebrake Stephen Biagini

PERSONNEL MANAGER

Patricia Kindel

Jeffrey Neville

HORNS

PRODUCTION DIRECTOR

Andrew Bain Principal John Cecil Bessell Chair Eric Overholt Associate Principal Gregory Roosa William and Sally Rutter Chair Brian Drake Loring Charitable Trust Chair (Vacant) Reese and Doris Gothie Chair Ethan Bearman Assistant Bud and Barbara Hellman Chair

TRUMPETS Thomas Hooten Principal James Wilt Associate Principal Christopher Still

TROMBONES Nitzan Haroz Principal James Miller Associate Principal Abbott and Linda Brown Chair Herbert Ausman

Paul M. Geller

CONDUCTING FELLOWS Daniel Cohen Ben Gernon Antonio Méndez

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

In those sections where there are two principals the musicians share the position equally and are listed in order of length of service.

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

BASS TROMBONE John Lofton

PERFORMANCES MAGAZINE

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NEWS FROM THE LA PHIL

LA Phil on Tour Rave Reviews In March, Gustavo Dudamel and the Los Angeles Philharmonic embarked on a North American tour together, commencing in San Francisco and continuing with performances in Kansas City, Toronto, Montreal, Washington D.C., New York, and Boston. The tour concerts featured music heard here prior to the tour: John Corigliano’s Symphony No. 1 and Brahms’ Symphony No. 2 (both of which can be heard again May 11, in a KUSC broadcast; see below), Tchaikovsky’s Symphony No. 5, Rachmaninoff’s Piano Concerto No. 3 (with soloist Yuja Wang), and Daníel Bjarnason’s Blow bright (which was commissioned by the LA Phil and premiered here last December).

The tour performances earned rave reviews and standing ovations.

“Brahms Symphony No. 2, with its endlessly hummable melodies and classical structure, seemed a safe, unassuming programming choice, but the performance was rousing, with vast emotional wealth,” wrote Libby Hansen in the Kansas City Star.

“Again, an unhurried ease permeated the introductory exchanges, belying the saturating passion to come. Dudamel shaped the ends of phrases with poignant energy, making beautifully spaced releases. A luxurious cello soli, impeccable winds and triumphant brass created a sophisticated, rejuvenating performance, the impact creating a spontaneous ovation.”

Tim Smith concurred in the Baltimore Sun: “The Los Angeles Philharmonic brought an inspired – you might even say brave – program to the Kennedy Center Tuesday night and made every note of it count.

“Instead of picking the usual crowd-pleasing stuff to go with Tchaikovsky’s Symphony No. 5, as touring orchestras are apt to do, the Philharmonic’s celebrated young music director, Gustavo Dudamel, chose a challenging score that divided listeners when it was first heard in 1990 and may divide them still – John Corigliano’s Symphony No. 1.

“This pairing resulted in all sorts of fascinating, riveting resonances that helped to make the concert, presented by the Washington Performing Arts Society, one of the season’s highlights.”

Anne Midgette, in the Washington Post, also found the Corigliano/ Tchaikovsky pairing inspiring: “Dudamel and the orchestra (including the principal cellist, Robert deMaine, who is spotlit in the third movement, ‘Giulio’s Song’) played [the Corigliano Symphony No. 1] with plenty of power and conviction. But it was in the Tchaikovsky that they really came alive. Dudamel, sometimes raw, always authoritative, moved the

supporting chords beneath the themes with the lissome tread of lions’ paws. The winds sounded rich and chewy, the horns gentle as spring.

“In the final movement, conductor and orchestra grabbed hold of the music with both hands and shook it fiercely, unrelentingly, ever building through its several climactic sequences, through to the end, a feat of physical endurance that left the audience braced and breathless. Even the encore, the Polonaise from Tchaikovsky’s Eugene Onegin, sounded thrilling and vital, rather than, as it so often does in the opera, a pretty decoration to be endured.”

The Boston tour stop also included a visit to the Longy School of Music of Bard College, the LA Phil’s partner in Take a Stand, an innovative national initiative that supports social change through music.

Gustavo Dudamel led a concert there of the school’s Sistema Side by Side Orchestra, at which he was presented with the Bernstein Lifetime Achievement Award by Longy President Karen Zorn and Jamie Bernstein, Leonard Bernstein’s daughter.

Previously, Dudamel had rehearsed the orchestra, along with ten members of Youth Orchestra Los Angeles plus students from the Longy Conservatory. The YOLA musicians also visited several nucleos of El Sistema USA in the Boston area.

“As we consider what the shaping of musicians in symphony orchestras in the United States will be, we’ve got to find intersections between music and social programs,” Los Angeles Philharmonic President and CEO Deborah Borda told the crowd observing the rehearsal. “This is the future, and if you really think about it like that, it’s a bright one.”

If you missed following the LA Phil on our tour blog, you can still catch up with more details, posts, and photographs at LAPhil.com/blog/2014Tour.

LA Phil, Classical KUSC Announce 2014 Broadcasts The Los Angeles Philharmonic and Classical KUSC continue their annual radio broadcast partnership, reaching over half a million listeners in Southern and Central California. The 13 concerts, recorded during the LA Phil’s 2013/14 10th anniversary season, feature the orchestra with an impressive roster of guest artists and conductors. The first broadcast featured the opening subscription program of the season, with Gustavo Dudamel leading the LA Phil in the world premiere of Peter Lieberson’s Shing Kham (orchestrated by Oliver Knussen, with soloist Pedro Carneiro), Schubert’s Symphony No. 4, and the Tchaikovsky Piano Concerto No. 1 (with soloist Yefim Bronfman); it aired locally on KUSC-FM 91.5, Sunday, March 30, at 7pm.

Interviews and features with soloists and orchestra members are heard throughout the series, offering unique insights and giving listeners a more in-depth perspective. Brian Lauritzen is the producer and host for the series, which is made possible through the support of the Office of Los Angeles County Supervisor Zev Yaroslavsky. The programs also stream on the KUSC website for a week following each broadcast.

Additional coverage areas include KDSC-FM 91.1 Thousand Oaks, KQSC-FM 88.7 Santa Barbara, KPSC-FM 88.5 Palm Springs, and KESC-FM 99.7 Morro Bay/San Luis Obispo.

Eight broadcasts remain on the schedule, Sundays at 7pm on KUSC. PERFORMANCES MAGAZINE

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NEWS

COUNTY OF LOS ANGELES

May 4 Gustavo Dudamel, conductor Tchaikovsky: Symphony No. 1, “Winter Daydreams” Tchaikovsky: Symphony No. 6, “Pathétique” May 11 Gustavo Dudamel, conductor Corigliano: Symphony No. 1 Brahms: Symphony No. 2 Unsuk Chin May 18 Charles Dutoit, conductor Jean-Yves Thibaudet, piano Los Angeles Master Chorale Beethoven: Piano Concerto No. 5, “Emperor” Ravel: Daphnis and Chloé May 25 James Conlon, conductor Garrick Ohlsson, piano Schulhoff: Scherzo, from Symphony No. 5 Mozart: Piano Concerto No. 21 Brahms: Symphony No. 1 June 1 John Adams, conductor Cameron Carpenter, organ Gordon: Sunshine of Your Love Riley: At the Royal Majestic Adams: Naive and Sentimental Music June 8 Gustavo Dudamel, conductor Emanuel Ax, piano Brahms: Academic Festival Overture Norman: Release Brahms: Piano Concerto No. 2 June 15 Gustavo Dudamel, conductor Lang Lang, piano Ravel: Valses nobles et sentimentales Prokofiev: Piano Concerto No. 3 Desenne: Sinfonía Burocratica ed’ Amazzonica Ravel: La valse June 22 Gustavo Dudamel, conductor Hélène Grimaud, piano Mozart: Serenata Notturna Ravel: Piano Concerto in G Mozart: Symphony No. 36, “Linz”

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BOARD OF SUPERVISORS

Mark Ridley-Thomas Gloria Molina Don Knabe Chair Zev Yaroslavsky Michael D. Antonovich William T Fujioka Chief Executive Officer COUNTY ARTS COMMISSION

Peter Lesnik President Jesus A. Reyes Vice President Harold L. Karpman, M.D. Secretary Bettina Korek Executive Committee Tomas J. Benitez Pamela Bright-Moon Betty Haagen Laurel Karabian Mattie McFadden-Lawson

Alis Clausen Odenthal Ronald D. Rosen Araceli Ruano Hope Warschaw Laura Zucker Executive Director

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.

PERFORMANCES MAGAZINE

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LOS ANGELES PHILHARMONIC Association Gustavo Dudamel Music Director, Walt and Lilly Disney Chair Deborah Borda President and Chief Executive Officer Gail Samuel Chief Operating Officer Chris Ayzoukian Vice President, Philharmonic and Production Michael DeMartini Vice President and Chief Financial Officer Shana Mathur Vice President, Marketing and Communications Mona Patel Vice President, Human Resources and General Counsel Chad Smith Vice President, Artistic Planning ADMINISTRATION Maxwell Adams Executive Assistant to the Vice President and CFO

Angela Blasi Executive Assistant to the President and CEO Audrey Choi Administrative Assistant Ruth Cwik Senior Contracts Manager Kevin Higa Infrastructure Engineer Dean Hughes Systems Support Specialist, Desktop Charles Koo Infrastructure Manager Rik Martin Administrative Services Manager Jeff Matchan Director of Information Technology Shawn Newmann Executive Assistant to the Chief Operating Officer

Miguel A. Ponce, Jr. Administrative Services Assistant Christopher Prince Application Support Technician Manuel Reed Systems Support Specialist, Desktop Jamy Sweet Data Warehouse Specialist Shannon Thal Benefits Manager Anjela Walker Application Support Technician Talia Warren Benefits Coordinator Katie Weber Human Resources Generalist ARTISTIC PLANNING Maryl Fleisher Manager of Artist Services Kylee Garton Artist Liaison Kassandra Kocoshis Assistant to the Music Director Meghan Martineau Artistic Administrator Laura Kay Swanson Artistic Planning Coordinator AUDIENCE SERVICES Marcus Ake Audience Services Representative Spring Ake Audience Services Representative Denise Alfred Audience Services Representative Brandon Avery Audience Services Representative Gloria Balcom Audience Services Supervisor Karen Beech Audience Services Representative Grace Chapron Audience Services Representative Constance Falto Audience Services Representative Jacqueline Ferger Audience Services Representative Linda Holloway Patron Services Manager Jennifer Hugus Patron / Audience Services Representative Bernie Keating Audience Services Representative Sarah Mears Audience Services Supervisor Samantha Miller Audience Services Representative Aurelio Minchaca Audience Services Representative Barbara Morgan Audience Services Representative Anwar Nasir Audience Services Manager Claudia Rhodes Audience Services Representative Randolph Stephen Audience Services Supervisor John Tadena Audience Services Representative Sherry Wallace Audience Services Coordinator Matthew Welton Audience Services Representative Barbara Whitesides Audience Services Representative BOX OFFICE – WINTER SEASON Toliman Au 2nd Assistant Treasurer Donella Coffey Ticket Seller Nancy Fitzgerald Ticket Seller (Group Services) Christy Galasso 1st Assistant Treasurer

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Veronika Garcia 2nd Assistant Treasurer Christian Harmony Ticket Seller Laurel Harris 1st Assistant Treasurer (Group Services) Tomorrow Kitchen 2nd Assistant Treasurer (Group Services) Amy Lackow 2nd Assistant Treasurer Page Messerly Treasurer Ariana Morales 1st Assistant Treasurer Jeret Ochi Ticket Seller (Group Services) Carolina Orellana 2nd Assistant Treasurer Cathy Ramos Ticket Seller Elias Santos 2nd Assistant Treasurer Susan Schwartz Ticket Seller (Group Services) Carlie Tomasulo 2nd Assistant Treasurer COMMUNITY AND GOVERNMENT AFFAIRS Leni Isaacs Boorstin Director of Community and Government Affairs

Steven Lacoste Archivist Carol Merrill-Mirsky Museum and Archives Director DEVELOPMENT Robert Albini Senior Major Gifts Officer Malorie Barbee Senior Manager, Annual Fund/Membership Ellen Bussing Director, Major Gifts Martin Cernosek Senior Manager, Corporate Sponsorship Julia Cole Director, Institutional Giving and Stewardship Evie DiCiaccio Director of Development Sharleen Eusebio Volunteer and Special Projects Coordinator Shanna Gamache Development Operations Coordinator Emily Hom Donor Coordinator Sara Kim Director, Individual Giving Lindsey Lansburgh Assistant Manager, Annual Fund Alexandra Lohse Senior Major Gifts Officer Melissa Malone Senior Manager, Development Operations Elizabeth McColgan Senior Major Gifts Officer Allison Mitchell Board Liaison Kevin O’Brien Director, Corporate Sponsorship Irma Ramirez Associate Manager, Special Events Susan Erburu Reardon Director, Gift Planning Ragan Reviere Senior Manager, Special Events Melanie Sanguinet Manager, Volunteer Activities Derek Traub Grant Writer Nahlyeé Van Brunt Development Operations Coordinator Michelle Vogel Corporate Sponsorship Coordinator Julia Ward Senior Development Communications Officer Stephanie Wells Principal Gifts Officer Natalie White Research Manager EDUCATION Dan Berkowitz Manager, Youth Orchestra LA Benjamin Cadwallader Education Programs Manager Rada Jovicic Education and Community Events Manager Gretchen Nielsen Director of Educational Initiatives Rebecca Sigel Coordinator, Youth Orchestra LA Megan Swan Programming Manager, Education Concerts FINANCE David Cherpin Director of Financial Planning Mark Crane Insurance Coordinator Bryan Crossley Controller / Treasurer Patricia Dambowy Payroll Coordinator Shirley Donatoni Supervisor, Cash Control and Collections Jesse Magana Payroll Supervisor Debbie Marcelo Senior Budget Analyst Janice San Jose Assistant Controller Jamie Scotland Accounts Payable Assistant Erica Veach Accounts Payable Supervisor Kathy Williams Staff Accountant

HOLLYWOOD BOWL AND PRESENTATIONS Kerri Bershon Operations Administrator, Hollywood Bowl Laura Connelly Director of Presentations Julie Galuska Concert Manager, Hollywood Bowl Orchestra and Presentations

Brian Grohl Program Manager, Pops / Manager, Hollywood Bowl Orchestra

Mark Ladd Assistant Director of Operations Joie Marites Production Assistant Michael Oliver Transit Manager George Portillo Theater Maintenance Manager Johanna Rees Associate Director of Presentations Edgar Tom Director, Hollywood Bowl Operations Christine Whitman Operations Manager, Hollywood Bowl Herbie Hancock William Powers & Carolyn Powers Creative Chair for Jazz

Darlene Chan, FestivalWest Inc. Program Advisor for Jazz MARKETING AND COMMUNICATIONS Katie Airey Marketing Coordinator Dennis Bade Associate Director of Publications Nora Brady Senior Manager, Sales and Marketing Lisa Burlingham Director, Advertising Communications Charles Carroll Advertising Manager Joe Carter Director of Sales and Customer Service Gretchen Citrin Art Director Christopher Delamarter Assistant Manager Cynthia Fuentes Promotions Manager Nick Gianopoulos Assistant Manager Paul Gibson Staff Writer Katie Griego Assistant Director, Retail Operations John Henken Director of Publications Amy Jones Retail Operations Inventory Accountant Joshua Levi Promotions Coordinator Chelsea Mason Manager, Digital Marketing Ino Mercado Assistant Manager David Nutt Audience Development Coordinator Alora Rutledge Marketing Assistant Amy Seidenwurm Director, Digital Initiatives Natalie Suarez Senior Designer Jonathan Thomas Marketing Analyst Truck Torrence Manager, Digital Design Fran Wheatley Art Director ORCHESTRA MANAGEMENT Drew Flaherty Stage Manager Paul M. Geller Production Director Megan McGrath Orchestra Personnel Administrator Patrick Milligan Recorded Media Manager Kierstin Quick Operations Assistant Taylor Saleeby Concert Operations Manager Jeff Wallace Production Manager Bill Williams Scheduling Manager and Operations Associate PUBLIC RELATIONS Lisa Bellamore Senior Publicist Sophie Jefferies Director of Public Relations Lillian Matchett Public Relations Coordinator Lisa White Publicist The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.

PERFORMANCES MAGAZINE

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WALT DISNEY CONCERT HALL 10TH ANNIVERSARY Ten Years Ago In May and June 2004, the Los Angeles Philharmonic closed its first season in Walt Disney Concert Hall with Building Music, an interdisciplinary exploration of music and architecture in collaboration with the Getty Research Institute. At the Philharmonic’s concerts and during its presentation series, audiences heard works associated with specific landmark architectural spaces, including Hector Berlioz’ Requiem (Les Invalides, Paris), Henry Brant’s Verticals Ascending (Watts Towers, Los Angeles), Morton Feldman’s Rothko Chapel (Rothko Chapel, Houston), Iannis Xenakis’ Metastaseis and Edgard Varèse’s Poème électronique (both Philips Pavilion, Brussels), and Igor Stravinsky’s Canticum Sacrum and Claudio Monteverdi’s Vespro della Beata Virgine (both St. Mark’s Cathedral, Venice).

Esa-Pekka Salonen, then the orchestra’s Music Director, also led the world premieres of two works directly inspired by Walt Disney Concert Hall: Liza Lim’s Ecstatic Architecture and his own Wing on Wing.

(Wing on Wing returned earlier this season as the focus for a Toyota Symphonies for Youth program.)

“Music does not exist without space. While some professional musicians claim to get enjoyment out of reading music from the page, I have to admit that I have never managed to emulate any sensual pleasure from reading a score,” Salonen said. “As music cannot subsist without the space where it sounds, that is a most natural – and overlooked – theme for a mini-festival. And more specifically, to look at music that has been created for a specific space.”

Among other events, Building Music also included a weekend seminar and a panel discussion. “This project is an unprecedented collaboration between one of the world’s leading performing arts institutes and a major research institution, and it grew from a need seen by both institutions to address in a fresh way the phenomenon of architecture built for performance, as well as the less conventional pursuit of creating music for specific built environments,” said Thomas Crow, director of the Getty Research Institute.

10th Anniversary Culmination The season-long celebration of the 10th anniversary of Walt Disney Concert Hall concludes this month, and it’s been a wild ride. The festivities began with insideOUT, a series of free community concerts, including a simulcast in Grand Park of Youth Orchestra LA’s first sideby-side concert with Gustavo Dudamel and the LA Phil at Walt Disney 18

Concert Hall. The Opening Night concert was a fascinating, video-enhanced musical summation of the long journey to the Hall’s completion, and then the season began in LA Phil fashion with an inspiring mix of Beethoven, Bach, and premieres, including a riotous new take on Frank Zappa’s 200 Motels, led by LA Phil Conductor Laureate Esa-Pekka Salonen. Major projects such as the TchaikovskyFest cycle and a North American tour confirmed that the creative will that brought the Hall into being still flourishes.

Another season highlight will be the culmination of the LA Phil’s much-lauded Mozart/ Da Ponte Trilogy this month, another innovative spin on the interaction of architecture and music. The project began in May 2012, with Walt Disney Concert Hall architect Frank Gehry turning the stage into a white-on-white wonderland for Don Giovanni, with the stellar cast dressed by Kate and Laura Mulleavy of the Los Angeles fashion house Rodarte. A year later, French architect Jean Nouvel designed stage installations that scooped out a central place for the LA Phil in The Marriage of Figaro, with costumes by the TunisianParisian couturier Azzedine Alaïa.

The project finale is Così fan tutte, a worldly probing of human relationships. The creative team includes Pritzker Prize-winning architect Zaha Hadid and visionary fashion designer Hussein Chalayan.

As in the previous two installments, Gustavo Dudamel conducts the Los Angeles Philharmonic and Christopher Alden is the stage director. The cast features Miah Persson and Roxana Constantinescu as Fiordiligi and Dorabella, Alek Shrader and Philippe Sly as Ferrando and Guglielmo, Rosemary Joshua as Despina, and Rod Gilfry as Don Alfonso. (May 23, 25, 29, & 31)

Happy Birthday, Hurricane Mama!

The party continues next season with another tenth anniversary. One of the more conspicuous architectural features of the Walt Disney Concert Hall interior, with its structurally exuberant burst of pipes (“French fries”), the Hall’s acclaimed organ was not inaugurated until September 2004, at the beginning of our second year in the space. Mozart crowned the organ as “the king of instruments,” but it is worth remembering that the full quotation is: “The organ, to my eyes and ear, is the king of instruments.” The Walt Disney Concert Hall Organ is certainly as

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T:8.125"

Celebrating 60 Years of helping people

Design Philanthropy.

Project 23

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10TH ANNIVERSARY

CORPORATE, FOUNDATION, AND GOVERNMENT

GIFTS

2

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 March 2013 and March 2014.

impressive to the eyes as to the ears. The look of the instrument is the result of collaboration between the architect of the Hall, Frank Gehry, and Los Angeles organ builder Manuel Rosales, while the mechanical and aural design is a collaboration between Rosales and Glatter-Götz Orgelbau in Germany.

So next season is the organ’s own tenth anniversary, celebrated with a series of “Happy Birthday, Hurricane Mama” concerts. (Hurricane Mama is the name bestowed on the instrument by composer Terry Riley, whose new organ concerto, At the Royal Majestic, was premiered here last month as part of the Minimalist Jukebox festival.) These concerts will include the U.S. premiere of Kaija Saariaho’s concerto Maan varjot (Earth Shadows), with soloist Olivier Latry and the LA Phil conducted by Esa-Pekka Salonen; an organ-and-orchestra blockbuster listing Barber’s Toccata Festiva, the world premiere of Stephen Hartke’s “Organ” Symphony No. 4, and Saint-Saëns’ own “Organ” Symphony No. 3, with soloist Cameron Carpenter and the orchestra conducted by Gustavo Dudamel; a group recital hosted by Michael Barone of the public radio program Pipedreams; and a Toyota Symphonies for Youth program titled “What Do French Fries Sound Like?”

For more information and tickets, visit LAPhil.com or call 323.850.2000.

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$250,000 AND ABoVE

$25,000 to $49,999

Anonymous Acura Colburn Foundation The Walt and Lilly Disney Foundation Max H. Gluck Foundation Pasadena Showcase House for the Arts Rolex, U.S.A. The Rose Hills Foundation Wells Fargo Foundation

Anonymous The John Bendheim Family / Lowenstein Foundation The Capital Group Companies Coca-Cola Enterprises Joseph & Bessie Feinberg Foundation Ferguson Foundation The Rosalinde and Arthur Gilbert Foundation Harman Family Foundation City of Los Angeles, Department of Cultural Affairs Macy’s Merrill Lynch and Co., Inc. MetLife Foundation Jay and Rose Phillips Foundation of California Sunset Marquis Hotel

$100,000 to $249,999 Amgen Foundation Andy & Bill Concerts, LLP Michael J. Connell Foundation County of Los Angeles The Walt Disney Company The Eisner Foundation Fidelity Investments Ann and Gordon Getty Foundation Heineken USA Incorporated The José Iturbi Foundation JPMorgan Chase Foundation Los Angeles County Arts Commission National Endowment for the Arts Toyota Motor Sales U.S.A., Inc. Union Bank of California Viking Cruises

$50,000 to $99,999 Anonymous The Ahmanson Foundation Cupcake Vineyards Edison International Hubert’s Lemonade The Norman and Sadie Lee Foundation B. N. Maltz Foundation Target Corporation Flora L. Thornton Foundation Warby Parker

$10,000 to $24,999 Cooper Tire & Rubber The Aaron Copland Fund for Music, Inc. Julia Stearns Dockweiler Charitable Foundation Ella Fitzgerald Charitable Foundation The Global Village Charitable Trust Goldman Sachs Philanthropy Fund KTWB•FM– CBS Radio League of American Orchestras’ Getty Education and Community Engagement Grants Program Chauncey and Marion D. McCormick Foundation Morgan Stanley Community Affairs Foundation Kenneth T. & Eileen L. Norris Foundation Petit Ermitage Warren & Katharine Schlinger Foundation Sony Pictures Entertainment, Inc. State Street Fund at the Boston Foundation TMD Group, Inc.

An

8 Val

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VPAC_P

2014/2015 SEASON Vanessa Williams

Martha Graham Dance Company

DANCE

Mummenschanz

Angelique Kidjo with very special guest Red Baraat

LATIN

Paquita la del Barrio

Russian National Ballet Theatre

Mariachi Vargas de Tecalitlán

Martha Graham Dance Company

National Symphony Orchestra of México

CLASSICAL

London Philharmonic Orchestra, Vladimir Jurowski, conductor, Czech Philharmonic Orchestra, Jiri Belohlavek, conductor,

COUNTRY

Jo Dee Messina Lee Ann Womack The Charlie Daniels Band

Mutter, Bronfman, Harrell Trio

SUBSCRIPTIONS AND SELECT MARQUEE PERFORMERS ON SALE NOW! Anne-Sophie Mutter

VPAC Ticket Office hours of operation: Tue. – Sat., 10 AM - 4 PM

818-677-3000 ValleyPerformingArtsCenter.org VPAC_Performances_1405_Ad.indd 1 LAPHIL_WRAP_0514.indd 21

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ENDOWMENT DONORS $25 MILLION Walt and Lilly Disney Foundation

$10 MILLION Colburn Foundation

$8 MILLION The Annenberg Foundation

$4 MILLION Alfred E. Mann

$3 MILLION Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Carol Colburn Grigor Flora L. Thornton

$2 MILLION Michael J. Connell Foundation Norman and Sadie Lee Foundation Cecilia and Dudley Rauch Ronus Foundation

$1 MILLION Linda and Robert Attiyeh Gordon and Adele Binder Helen and Peter S. Bing David C. Bohnett William H. Brady, III Fairchild-Martindale Foundation Eris and Larry Field Mr. and Mrs. Bram Goldsmith Joan and John F. Hotchkis Los Angeles Philharmonic Committee Karl H. Loring Ginny Mancini E. Peter Mauk, Jr./Doyce B. Nunis, Jr. Beatrix and Martin Padway William Powers & Carolyn Powers H. Russell Smith Foundation $500,000 TO $999,999 Ann and Martin Albert Betty Freeman Gertrude and Arthur Friedman Dorothy and B. Allen Lay Bowen H. “Buzz” McCoy and Family Earl and Victoria Pushee William and Sally Rutter Dody Waugh Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

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We are honored to recognize donors to our 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 to the Los Angeles Philharmonic Endowment campaign through March 2014.

$250,000 TO $499,999 Judith and Thomas L. Beckmen Linda and Maynard Brittan Linda and Abbott Brown Mark Houston Dalzell Dunard Fund USA Margaret and Jerrold Eberhardt Veronica and Robert Egelston Gordon Family Foundation Lenore S. and Bernard Greenberg William Randolph Hearst Foundation Yvonne and Gordon Hessler The Kaplan Family Trust Gerald L. Katell Carrie and Stuart Ketchum The Estate of Raymond A. Lieberman Los Angeles Philharmonic Affiliates Merle and Peter Mullin Jane and Marc Nathanson Nancy and Sidney Petersen Sandy and Barry D. Pressman Rice Family Foundation Robert Robinson Alyce and Warren B. Williamson

$100,000 TO $249,999 Anonymous Rachel and Lee Ault W. Lee Bailey, M.D. Baker Family Trust Lynn and Otis Booth Deborah Borda Jacqueline Briskin David A. Clark The James and Paula Coburn Foundation Silvia and Kevin Dretzka Christine and Daniel Ewell Eva G. and William D. Fremont Arnold Gilberg, M.D., Ph.D. Gonda Family Foundation The Estate of Fay Bettye Green Kathryn Kert Green and Mark Green Bud and Barbara Hellman H. Kirkland Jones and Yuri Long-Jones Jo Ann and Charles Kaplan Susanne and Paul Kester Vicki King Sylvia Kunin The L. Franc Scheuer Trust Ann and Edward Leibon Ellen and Mark Lipson Ms. Helen McKenna Elise Mudd Marvin Trust Minturn Family Foundation National Endowment for the Arts Soraya and Younes Nazarian Margaret M. Parmaley Edith Peluse Mary Pickford Foundation Sally and Frank Raab

Nancy S. and Barry Sanders David and Linda Shaheen Foundation William and Luigina Sheridan Mr. and Mrs. William E.B. Siart Katherine and Thomas Stoever Ronald and Valerie Sugar Geoffrey and Margot Tyrrash Wasserman Foundation

$25,000 TO $99,999 Anonymous (2) Mr. Robert J. Abernethy William A. Allison Joe Austin Marie Baier Foundation Angela Bardowell Richard Bardowell, M.D. Alvin W. Bisher Dorothy Burke Ann and Tony Cannon Hannah Carter Dee and Robert E. Cody The Colburn Fund Community Foundation Silicon Valley Terry Cox Ginny and John Cushman Marilyn J. Dale Nancy and Donald de Brier Dr. and Mrs. Roger DeBard Jennifer and Royce Diener Allan and Diane Eisenman Robert E. Englekirk Ernest Fleischmann Claudia and Mark Foster Lillian and Stephen Frank Tomas Fuller and William Kelly Ms. Jeanne M. Giovannoni Paul and Florence Glaser David and Paige Glickman Good Works Foundation Margaret Grauman The Harris Family Foundation Anne Heineman Linda Joyce Hodge In and Ki Hong Jean W. Horton Drs. Judith and Herbert Hyman Bernice and Wendell Jeffrey Robert Jesberg and Michael J. Carmody C.W. & Irene Johnson Family Trust Stephen A. Kanter, M.D. Hugh W. Kennedy Sandra Krause and William Fitzgerald Sarah F. Manson Vicki and Kerry McCluggage Meitus Marital Trust Sharyl and Rafael Mendez, M.D. John D. Millard Diane and Leon Morton Alfren and Arlene Noreen Occidental Petroleum Corporation

M. Lee Pearce Ann and Robert Ronus Lois Rosen James M. Rosser Anne and James Rothenberg Donald Tracy Rumford SahanDaywi Foundation Charles I. Schneider and Nancy Barrier Nancy and Richard Spelke Mary H. Statham Mr. and Mrs. Robert M. Stevens Priscilla and Curtis Tamkin Don Taylor Magda and Frederick R. Waingrow Rhio H. Weir Jean E. Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zion

Los Angeles Philharmonic Musicians Martin Chalifour Brian Drake Barry Gold Christopher Hanulik Ingrid Hutman Gloria Lum Joanne Pearce Martin Kazue Asawa McGregor Oscar M. Meza Mitchell Newman Peter Rofé John Schiavo Meredith Snow Barry Socher Paul Stein Leticia Oaks Strong Lyndon Johnston Taylor Dennis Trembly James Wilt Suli Xue We extend our heartfelt appreciation to the many donors who contributed to the LA Phil Endowment campaign with contributions below $25,000, whose names are too numerous to list due to space considerations.

Our apologies if your name has been misspelled or omitted from this list in error. Please contact our Development Office at 213.972.7557 and we will correct our mistake. Thank you.

PERFORMANCES MAGAZINE

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BU

Casual Fridays

BRAHMS

* NORMAN

(LA Phil commission generously underwritten

by Nancy and Barry Sanders) Emanuel Ax

*INTERMISSION

BRAHMS

Los Angeles Philharmonic Gustavo Dudamel, conductor Emanuel Ax, piano

Thursday, May 1, 2014, 8:00 Friday, May 2, 8:00 Saturday, May 3, 8:00 Academic Festival Overture, Op. 80 Release (world premiere)

Piano Concerto No. 2 in B-flat major, Op. 83

Allegro non troppo Allegro appassionato Andante Allegretto grazioso Emanuel Ax

*except Friday

UPBEAT LIVE Pre-Concert Event Thursday, Friday, Saturday, 7:00 BP Hall

TALKBACK Friday Post-Concert Discussion Onstage

This program is supported in part by a grant from the Andrew W. Mellon Foundation.

Media sponsor (Thursday): KUSC

Ron Elliott is chief piano technician for the Los Angeles Philharmonic.

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change.

LAPhil.com

PERFORMANCES MAGAZINE

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About the

PROGRAM

Academic Festival Overture, Op. 80 Johannes Brahms Composed: 1880 Length: c. 10 minutes Orchestration: piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, triangle), and strings

JOHANNES

BRAHMS Born: 1833, Hamburg, Germany Died: 1897, Vienna, Austria “It is not hard to compose, but it is wonderfully hard to let the superfluous notes fall under the table.”

Brahms was a fascinating man. As a boy, he loved to play with toy soldiers, read scripture, and study music. He was a natural at the keyboard who started playing in public as a teenager in Hamburg’s waterfront pubs. His music combines the serious and the playful, the intellectual and the earthy in a way that reminded many of Brahms’ contemporaries of Beethoven. There is a mastery apparent in everything Brahms composed, from his charming piano miniatures to his Olympian symphonies.

Further listening: Symphony No. 4 (1885) Los Angeles Philharmonic, Gustavo Dudamel (LA Phil Live; iTunes download) Clarinet Quintet, Op. 115 (1891) Paul Meyer; Renaud Capuçon, Gautier Capuçon, et al.

(Virgin Classics) For advance information about concert programming, sign up for FastNotes.

Before the concert, attend Upbeat Live or listen to it as it happens on your phone.

Visit LAPhil.com for details and links.

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First Los Angeles Philharmonic performance: January 2, 1925, Walter Henry Rothwell conducting Johannes Brahms never went to college.

When he was 20, however, he had the opportunity to indulge in the perks of student life for several weeks, without having to do a stitch of academic work.

This serendipitous state of affairs resulted after he got “laid off” while on tour with the flamboyant 25-year-old Hungarian violinist, Eduard Reményi. Early in July of 1853, Reményi and Brahms were guests at the home of Franz Liszt during an extended stopover in Weimar. Reményi worshipped at the shrine of Liszt, but Brahms wanted nothing to do with their host’s artistic goals and the “New German School.” Incensed that his reticent accompanist wasn’t according the great master proper respect, Reményi sent Brahms on his way.

A few weeks earlier, at the end of May, Reményi had introduced Brahms to violinistcomposer Joseph Joachim during a concert stop in Hanover. Foreseeing a personality clash between the ill-matched duo, Joachim had invited Brahms – if the opportunity arose – to join him at Göttingen, where he would be taking some summer courses in philosophy and history at the local university. For two glorious months that summer, Brahms hung out with Joachim and his circle, enjoying reading, debates, pleasant walks, beerdrinking sessions and song fests at the local beer-halls, and general student camaraderie.

By doing a recital with Joachim, he raised enough money to finance a long-held dream to take a walking tour of the Rhineland. Thus, the young composer packed his knapsack and bid peripheral university life adieu.

Brahms’ next brush with academe occurred 23 years later, in 1876. Cambridge University

offered him an honorary Doctorate in Music, which required his presence at the ceremony – but Brahms had a paralyzing distaste for sea travel. Then, he learned that Londoners were hatching lavish plans to celebrate his sojourn in England. Harboring an innate horror of fuss and lionization, and unwilling to face the Channel crossing, the composer stayed home and relinquished the honor.

It was in 1879 that the University of Breslau conferred upon him the degree of Doctor of Philosophy. Brahms was flattered and sent a postcard of thanks to the faculty.

However, a subsequent letter from his friend Bernhard Scholz, Director of Music in Breslau, made it clear that the university expected him to express his gratitude in musical form. While vacationing at Bad Ischl during the summer of 1880, Brahms penned his musical “thank you” – the Academic Festival Overture.

With a masterful balance of serious and light-hearted elements, the emphasis is on the “festival” rather than the “academic” in an overture that brims with an irrepressible sense of fun. The work also sports the most extravagant orchestral forces the composer ever employed. Brahms himself described the piece as “a very boisterous potpourri of student songs.” Indeed, excerpts from four student beer-hall tunes play a significant role in the orchestral texture in what is, perhaps, a fond backward look to the carefree summer days of 1853.

A hushed, but urgent statement launches the Overture, followed by a dramatic succession of contrasting ideas and dynamics. The principal idea here is an adaptation of the Rakóczy March, a favorite tune with the composer since his youth.

Following a soft drumroll, three trumpets then present the first of the traditional students’ songs: “Wir hatten gebauet ein stattliches Haus” (We have built a stately house). Its roots lie in a Thuringian folk song, which had been transformed into a defiant protest song in the East German town of Jena when the students’ association there was disbanded in 1819. After Brahms develops and mixes this song with the earlier Rakóczy adaptation, the melody of “Der Landesvater” (The father of our country) appears in a sweeping, lyrical rendition introduced by violins and violas.

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The tempo shifts to animato for the freshman’s song known as The Fox-Ride (“Was komm dort von der Höh’ ” – What comes from afar). Bassoons, accompanied by off-thebeat violas and cellos, add a touch of humor that must have raised a faculty eyebrow or two at the premiere. Not forgetting to stir in his original material, Brahms then plays the three student songs off one another in a lighthanded development. For the grand finale, a rambunctious version of the imposing “Gaudeamus igitur” (Therefore, let us be merry) makes a joyful noise and provides a rousing conclusion with its blazing brass and full orchestral forces.

The Overture has been one of Brahms’ most often played works ever since the composer himself conducted the premiere in Breslau on January 4, 1881.

— Kathy Henkel Release Andrew Norman Composed: 2014 Length: c. 20 minutes Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, percussion (almglocken, crotales, pitched gongs, suspended cymbals, vibraphone), harp, strings, and solo piano First Los Angeles Philharmonic performances (world premiere) The Los Angeles Philharmonic commissioned Norman to write Release for Emanuel Ax’ Brahms Project, which included two duo recitals earlier this season featuring Brahms’ cello sonatas and selected songs, along with new pieces inspired by a famous Brahms musical motif. “Brahms’ friend, the great violinist Joseph Joachim (being a true son of the Romantic era), declared that his motto was ‘Frei aber einsam’ (free but lonely),” Ax wrote. “For a special occasion, Schumann, Albert Dietrich, and Brahms composed a sonata – each contributing a movement – based on the notes F, A, and E. Brahms, not to be outdone, seems to have adopted a motto as well: ‘Frei aber froh’ (free but happy). The opening of his Third Symphony uses this motto in the notes F, A, and F. We have asked the composers if

they would be willing to use those notes as a theme or motive in their pieces, and they have all agreed. We are hoping that this idea, far from being a restriction, will be an inspiring starting point for them.”

Norman wrote the following note for Release: “Release is a 20-minute fantasy for piano and orchestra. It began, at the behest of Emanuel Ax, as an exploration of two melodic fragments, F-A-E (frei aber einsam, free but lonely) and F-A-F (frei aber froh, free but happy), that were significant to Johannes Brahms. From there it developed into an extended rumination on the ideas of freedom and solitude, a dream-like journey inspired by the creative, conflicted, lonely spirit of Brahms and the ever-present tensions in his (and my) life and music between spontaneity and control, sentiment and structure, indulgence and restraint.

“Like many of its forebears in the long tradition of keyboard fantasies, Release is intended to sound as if it is being made up on the spot, a single meandering but unbroken thread of thought spun out by the pianist from beginning to end. The piece follows a simple scenario: the pianist – perhaps a solitary, Brahms-like figure – sits down at the keyboard and slowly begins to improvise.

At first the sounds exist only in the pianist’s mind, but little by little they become real to the rest of us. The pianist very gradually imagines an orchestra into existence, and over the course of many minutes that imaginary orchestra assumes its own voice and identity, transforming from a shadow, a resonance, an echo of the piano into a powerful and distinct musical entity that threatens, at the work’s climax, to swallow up the pianist. The piece ends with a coda in which the pianist freely meditates on the F-A-F motive and the orchestra, player by player, is released into a world of free, uncoordinated playing.

“This piece is dedicated to my teacher, mentor, and friend Martha Ashleigh, who introduced me to the craft of Johannes Brahms and taught me the musical art of tension and release, and to Emanuel Ax, whose generous spirit and expansive mind gave life to every single note.”

ANDREW

NORMAN Born: 1979, Grand Rapids, Michigan “I love the idea of one sound transforming itself into something else and watching that process unfold. It’s like a dream where just as soon as you can grab onto something and say, ‘This is this,’ it’s already on its way to being something else.”

A graduate of the Yale and University of Southern California, Andrew Norman counts among his teachers Martha Ashleigh, Donald Crockett, Stephen Hartke, Stewart Gordon, Aaron Kernis, Ingram Marshall, and Martin Bresnick. He is the recipient of the 2006 Rome Prize and the 2009 Berlin Prize, and has served as composer-in-residence for Young Concert Artists in New York and for the Boston Modern Orchestra Project, which premiered Play, his large-scale cycle of symphonic pieces. He is currently composer-in-residence for the Los Angeles Chamber Orchestra.

Further listening: Recordings of many of Norman’s works can be heard online at andrewnormanmusic.com.

For advance information about concert programming, sign up for FastNotes.

Before the concert, attend Upbeat Live or listen to it as it happens on your phone.

Visit LAPhil.com for details and links.

PERFORMANCES MAGAZINE

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Piano Concerto No. 2 in B-flat major, Op. 83 Johannes Brahms Composed: 1881 Length: c. 50 minutes Orchestration: 2 flutes (1 = piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, and solo piano First Los Angeles Philharmonic performance: February 10, 1927, Walter Henry Rothwell conducting, with soloist Ossip Gabrilowitsch Pop quiz: what do Mozart, Mendelssohn, Tchaikovsky, and Brahms have in common – aside from their fame as composers? Why, Italy, of course, which plays a prominent part in their lives. Brahms isn’t normally included in this all-star lineup, yet he visited more often than any of them, eight times in all, between 1878 and 1893. But he left no obvious musical souvenirs of the land of the sun, lemon blossoms, and ancient civilizations, being always wary of assigning extramusical meanings to his scores. Still, there does seem to be an uncommon warmth and expansiveness about the B-flat Concerto, alongside its grander statements, that may be attributable to the influence of Italy.

Sketches for the Concerto were begun in 1878, immediately after the composer’s return from his first Italian visit, on which he was accompanied to Rome, Naples, and Sicily by his friend and cultural mentor, the Viennese surgeon Dr. Theodor Billroth. Some sketches completed, he set the Piano Concerto aside to work on his Violin Concerto for Joseph Joachim. Op. 83 was completed in 1881, after his second Italian visit, the itinerary this time including Venice, Florence, Siena, and Orvieto.

The premiere of the B-flat Concerto took place in Budapest on November 9, 1881, with the composer as soloist and another distinguished pianist-composer, Ferenc Erkel, on the podium. Franz Liszt, with whom Brahms had had some less than pleasant encounters in the past and who was in the audience, was uncharacteristically effusive in his praise of the Concerto. The first Vienna performance,

by Brahms with the Meiningen Orchestra under Hans von Bülow, took place three weeks later and was on that occasion heard by the celebrated critic – and Brahms partisan – Eduard Hanslick, whose enthusiasm for the

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work did not, however, constrain him from declaring that as a pianist Brahms’ best days were behind him.

The Concerto is dedicated not to any of the great personages of Brahms’ acquaintance but to the Hamburg piano pedagogue Eduard Marxsen, who took over the musical training of the 10-year-old Brahms, rescuing him from the prospect of a tour of the United States as a child prodigy. Marxsen also encouraged his young charge’s predilection for improvising at the piano, a step that preceded his beginning to compose in earnest at the age of 14.

The B-flat Concerto dates from the start of Brahms’ ripest maturity, the period when his fame had reached a peak throughout Europe and his physical image as we know it best was fixed: bearded and corpulent. It was also the time when one of his more tiresome quirks began to mark his correspondence: his cutesy references to his scores, the larger they got, as “miniatures.” Thus, the sketches for Op. 83 were described to Dr. Billroth as “some little piano pieces.” He went further with his confidante Elisabeth von Herzogenberg: “It is a tiny, tiny little concerto [Konzerterl] with a tiny, tiny little scherzo [Scherzerl].” This for what may well have been the largest piano concerto written to that time in terms of its complexity, thematic variety, and sheer length.

The Concerto in B-flat, in four movements rather than the usual three, opens with a mood-setting horn call that seems to gather all the other instruments, with the piano responding to its graceful melody with its own, equally graceful arpeggios before embarking on a thorny cadenza that announces the virtuoso nature of the movement. But it is a virtuosity neither omnipresent nor strained. Whenever one feels the drama is on the verge of getting out of hand, the composer reintroduces a placating element, the opening horn theme, played either by that instrument or by different sections of the orchestra.

Although Brahms labeled the second movement a scherzo (or “tiny, tiny little scherzo”) – hardly a form commonly found in a concerto – it is the most dramatic of the four movements, at the outset a crashing workout for the piano, followed and contrasted by a yearning, mellow theme for the violins and a noble trio section, prior to the repetition of the opening histrionics.

The songful, nocturnal slow movement is based entirely on its opening, the solo cello’s eight-measure phrase, which is passed to the violins and then expanded by the piano – a melody to which Brahms would later return for his haunting song “Immer leiser wird mein Schlummer” (Ever gentler grows my slumber).

The first impression of the rondo finale is one of gracious relaxation, but the movement is hardly of a single piece or mood, witness the increasing brilliance – building to a pair of aggressive climaxes – of the solo, before returning to the skipping opening theme, and the crunching final orchestral crescendo, by which time the mood has changed from the gracious to the thunderous, in which vein the Concerto ends.

— Herbert Glass

Composer Kathy Henkel has written program notes for many Southern California organizations. In 2012 she was principal guest composer at the 28th annual New Music Festival at Youngstown State University’s Dana School of Music in Ohio.

After serving on the administrative staffs of the New York Philharmonic and the San Francisco Opera, Herbert Glass was for many years a columnist / critic for the Los Angeles Times and a contributor to many periodicals, including Gramophone and The Strad. He has been associated with the Salzburg Festival since 1996.

PERFORMANCES MAGAZINE

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About the

ARTISTS

For a biography of Music Director GUSTAVO DUDAMEL, please see page 9.

Born in Lwów, Poland, EMANUEL AX moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. Additionally, he attended Columbia University, where he majored in French. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize.

The 2013/14 season began with appearances at the Barbican Centre followed by Lincoln Center with the London Symphony Orchestra conducted by Bernard Haitink as well as collaborations with the Concertgebouw Orchestra and Mariss Jansons in Amsterdam, Bucharest, China, and Japan during their world-wide centenary celebrations. The second half of the season sees the realization of a project inspired by Brahms which includes new pieces from composers Missy Mazzoli, Nico Muhly, Brett Dean, and Andrew Norman, all producing works linked to Brahms, commissioned jointly between the Los Angeles Philharmonic, Cal Performances Berkeley, the Chicago Symphony, and Carnegie Hall with the participation of collaborators Anne Sofie von Otter and Yo-Yo Ma. To conclude the season, he will travel to Hong Kong and Australia for a complete cycle of Beethoven concertos with incoming Chief Conductor David Robertson in Sydney and with Sir Andrew Davis in Melbourne.

In conjunction with his multiple weeks as Artist in Residence with the New York Philharmonic during the 2012/13 season, Sony Classical released his latest recital disc of works from Haydn to Schumann to Copland reflecting their different uses of the “variation” concept. In the spring he joined that orchestra on their European tour conducted by Alan Gilbert. He returned to the orchestras in Los Angeles, St. Louis, Atlanta, Detroit, Washington, and Pittsburgh, where he is a beloved regular.

Highlights of the 2011/12 season included return visits to the symphonies of Boston, Houston, Toronto, Philadelphia, Pittsburgh, Detroit, and Cincinnati; the New York and Los Angeles Philharmonics; and the San Francisco Symphony, with whom he collaborated in the “American Mavericks” festival presented in San Francisco, Ann Arbor, MI, and Carnegie Hall, NY. As curator and participant with the Chicago Symphony for a two-week spring residency “Keys to the City” he performed multiple roles as leader and collaborator in a festival celebrating the many varied facets of the piano.

and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla, and the premiere recording of John Adams’ Century Rolls with the Cleveland Orchestra for Nonesuch. In the 2004/05 season Ax also contributed to an International Emmywinning BBC documentary commemorating the Holocaust, which aired on the 60th anniversary of the liberation of Auschwitz.

In recent years, Ax has turned his attention toward the music of 20th-century composers, premiering works by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and

He is a Sony Classical exclusive recording artist since 1987; recent releases include Mendelssohn Trios with Yo-Yo Ma and Itzhak Perlman, Strauss’ Enoch Arden narrated by Patrick Stewart, and discs of two-piano music

by Brahms and Rachmaninoff with Yefim Bronfman. Emanuel Ax has received Grammys for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. His other recordings include the concertos of Liszt

Melinda Wagner. He is also devoted to chamber music, and has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern.

Emanuel Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities. For more information about his career, please visit EmanuelAx.com.

PERFORMANCES MAGAZINE

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Organ Recitals

BACH

Paul Jacobs, organ

Norbertine Canons of St. Michael’s Abbey

Sunday, May 4, 2014, 7:30 Clavier-Übung III (BWV 552, 669-689, 802-805) Praeludium pro organo pleno Kyrie, Gott Vater in Ewigkeit canto fermo in soprano, a 2 clav. e pedale Kyrie, Gott Vater in Ewigkeit alio modo, manualiter Christe, aller Welt Trost canto fermo in tenore, a 2 clav. e pedale Christe, aller Welt Trost Kyrie, Gott heiliger Geist a 5, canto fermo in basso, cum organo pleno Kyrie, Gott heiliger Geist Allein Gott in der Höh’ sei Ehr a 3, canto fermo in alto Allein Gott in der Höh’ sei Ehr a 2 clav. e pedale Fughetta super “Allein Gott in der Höh’ sei Ehr” manualiter Dies sind die heil’gen zehn Gebot a 2 clav. e pedale, canto fermo in canone Fughetta super “Dies sind die heil’gen zehn Gebot” Wir glauben all an einen Gott Fughetta super “Wir glauben all an einen Gott” Vater unser im Himmelreich a 2 clav. e pedale, canto fermo in canone Vater unser im Himmelreich alio modo, manualiter Christ, unser Herr, zum Jordan kam a 2 clav., canto fermo in pedale Christ, unser Herr, zum Jordan kam alio modo, manualiter Aus tiefer Not schrei ich zu dir a 6, in organo pleno con pedale doppio Aus tiefer Not schrei ich zu dir a 4, alio modo, manualiter Jesus Christus, unser Heiland a 2 clav., canto fermo in pedale Fuga super “Jesus Christus, unser Heiland” a 4, manualiter Duetto I Duetto II Detto III Duetto IV Fuga a 5 con pedale pro organo pleno

This program will be presented without intermission.

UPBEAT LIVE Pre-Concert Event Sunday, 6:30 BP Hall

Philip Smith is Walt Disney Concert Hall Organ Conservator.

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

Programs and artists subject to change.

LAPhil.com

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About the

PROGRAM

Notes by John Henken

Clavier-Übung III (BWV 552, 669-689, 802-805) Johann Sebastian Bach (1685-1750) Johann Sebastian Bach may have been the Leipzig town council’s reluctant third choice for Cantor, but that says more about the council than about the musician. His technical and improvisatory skills were matters for awe among his contemporaries in central Germany.

“So long as we can be offered in contradiction no more than the mere suggestion of the possible existence of better organists and clavier players, so long we cannot be blamed if we are bold enough to declare that our Bach was the greatest organist and clavier player that we have ever had,” wrote Bach’s son Carl Philipp Emanuel Bach and Johann Friedrich Agricola in their obituary article “The WorldFamous Organist, Mr. Johann Sebastian Bach, Royal Polish and Electoral Saxon Court Composer, and Music Director in Leipzig.” “It may be that many a famous man has accomplished much in polyphony upon this instrument; is he therefore just as skillful, in both hands and feet – just as skillful as Bach was? This doubt will not be considered unfounded by anyone who ever had the pleasure of hearing both him and others and is not carried away by prejudice. And anyone who looks at Bach’s organ and clavier pieces, which, as is generally known, he himself performed with the greatest perfection, will also not find much to object to in the sentence above.”

The awe was most keenly felt by those who had direct contact with Bach, but works such as the four volumes of Clavier-Übung that he published himself – and, as Carl Philipp Emanuel noted, the knowledge that Bach could play masterfully what he had written – carried his reputation far.

Not that the books, astonishingly expensive for the time, sold tremendously well. Indeed, unsold copies were part of Bach’s legacy to his sons. At three reichsthalers, the price for Part III of the Clavier-Übung was more than $200 today. By comparison, Bach’s Jacobus Stainer violin was valued at eight reichsthalers and an “ordinary” violin was worth only two reichsthalers.

“Clavier-Übung” (keyboard practice) was a fairly common title for keyboard anthologies, used by many of Bach’s contemporaries. Despite the title, however, these books were not

always – or even often – didactic tutorials; more practice in the sense of business standards than practice as preparatory exercises.

Part I of Bach’s Clavier-Übung (1731) consisted of six partitas, Part II (1735) was the Italian Concerto and the Overture in the French Manner, and Part IV (1741) was the “Goldberg” Variations. All of those were for harpsichord; Part III, published in 1739, was for organ.

The full title page is: Part Three of the Keyboard Practice, consisting of various preludes on the catechism and other hymns for the organ. For music lovers, and especially for connoisseurs of such work, to refresh their spirits, composed by Johann Sebastian Bach, Royal Polish and Electoral Saxon Court Composer, Capellmeister and Directore Chori Musici in Leipzig. Published by the author.

The book consists of nine chorale preludes for the Lutheran Mass and twelve for the catechism, plus four duets, all framed by a Prelude and Fugue in E-flat. Numerological symbolism is often important in Bach’s construction and formal plans, as it is here. “Three” is a symbol for perfection or completion (and the Trinity, of course). The key of E-flat has three flats, and the Prelude and Fugue each have three main sections and three themes. (The Fugue has been nicknamed “Trinity,” and is also known as “St. Anne,” for the popular hymn tune that may or may not have suggested its first theme.)

The celebratory Prelude opens in the style of a French overture, with crisp dotted rhythms.

This then alternates, like a ritornello, with a section featuring echo effects and a more lyrical tune, and a quick fugue in the Italian style. Number symbolism and the golden section figure crucially in the epic Fugue, although it is not a triple fugue in the strict sense, since the three themes do not appear together. (The second and third sections of the Fugue, however, do use the rhythm of the first theme in their contrapuntal combinations.) The first fugue, representing God the Father, is in strict stile antico, solemn and eternal. The second section (Christ the Son) is a light and lively fugue for just the manuals, and the third (the Holy Spirit) “is a modern, life-affirming, sweeping gigue in which the theme of the first fugue appears with great power,” as organist Hans Fagius observes.

Chorale preludes were intended to introduce a chorale for congregational singing. The chorale tunes that Bach uses would have been

quite familiar to his listeners, and this evening a choir sings the chorale tunes that provide the basis of the Clavier-Übung preludes. The first group (Kyrie, Christe, Kyrie) is also in the stile antico rooted in late Renaissance polyphony, rising to a double fugue for the third setting, and Trinitarian symbolism is again important, as the titles indicate.

Each of these is followed by a smaller setting (without pedals) of the same chorale alio modo, in another way, as little four-part fugues. The chorale “Allein Gott in der Höh sei Ehr” is the Lutheran equivalent of the Gloria, and Bach gives it three settings, rising step by step in pitch and contrapuntal elaboration.

Like the Kyries, the Catechism chorales are each set twice, once for the full organ, once for just manuals. The texts concern the Ten Commandments, the Nicene Creed, the Lord’s Prayer, baptism, and other prayers, and the music includes strict canons for the chorales, fughettas, and freer styles, including the most modern contemporary practices.

Because they do not have direct chorale connections, the four Duettos have always been hard to explain within the concept and structure of this otherwise highly unified collection. (There are suggestive chorale allusions, however, particularly in the third Duetto, where “Allein Gott in der Höh sei Ehr” seems apparent.) Some writers have gone so far as to suggest that these are mistakenly included harpsichord pieces. Although the Duettos do not use pedals, they are now seen as intended for the organ and for this book, perhaps representing the four Apostles and bringing the book up to 27 pieces (3x3x3). In style and method they are similar to Bach’s Two-Part Inventions, employing every type of fugal technique. Bach may have called them duets here to emphasize their dialogue aspect, like the vocal duets in his cantatas.

John Henken is Director of Publications for the Los Angeles Philharmonic Association.

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About the

ARTISTS

Described by the Chicago Tribune as “one of the most supremely gifted organists of his generation,” Grammy-winning organist PAUL JACOBS unites technical skills of the first order with probing emotional artistry. His performances of new works and core recital and symphonic repertoire have transfixed audiences, colleagues, and critics alike.

Paul Jacobs played the first concert on the newly restored Kuhn organ at Alice Tully Hall in New York, performing Bach’s monumental Clavier-Übung III as part of Lincoln Center’s first annual White Light Festival in 2010. A favorite and frequent guest of the San Francisco Symphony, he has performed and toured with them and Michael Tilson Thomas in varied

His recording of the Messiaen Livre du Saint Sacrement, released by Naxos in 2010, was awarded that year’s Best Solo Instrumental Grammy of the Year, the first time a disc of solo organ music has received this honor.

Paul Jacobs made musical history at the age of 23 when he played Bach’s complete organ works in an 18-hour marathon on the

In the 2013/14 season, Paul Jacobs returns to the Chicago Symphony Orchestra with conductor Charles Dutoit. He plays solo recitals in Washington DC presented by the National Symphony on the Kennedy Center Concert Hall’s new organ, as well as in Davies Hall presented by the San Francisco Symphony and Walt Disney Concert Hall presented by the Los Angeles Philharmonic. He returns to Spivey Hall in Atlanta, and in New York’s Zankel Hall he is featured in Carnegie Hall’s series of concerts, Collected Stories, performing in Arvo Pärt’s Passio, a contemporary setting of the Gospel according to St. John.

repertoire including Lou Harrison’s Concerto for Organ with Percussion and Copland’s Organ Symphony, both of which were recorded on the SFSO label. He has been a guest soloist with the Philadelphia Orchestra, California’s Pacific Symphony, the Kansas City Symphony, Miami’s New World Symphony, the Phoenix Symphony, the Cincinnati Symphony with James Conlon at the Cincinnati May Festival, and with the Chicago Symphony and Pierre Boulez in Janácˇek’s Glagolitic Mass. Internationally, he appeared with the San Francisco Symphony at the Lucerne Festival and in London at Westminster Cathedral’s Grand Organ Festival.

250th anniversary of the composer’s death.

He has also performed the complete organ works of Messiaen in marathon performances throughout North American and has reached the milestone of having performed in each of the 50 United States.

Prodigiously talented from his earliest years, at 15 Jacobs was appointed head organist of a parish of 3,500 in his hometown, Washington, Pennsylvania. He studied at the Curtis Institute of Music, double-majoring with John Weaver (organ) and Lionel Party (harpsichord) and at Yale University with Thomas Murray (organ).

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Walt Disney Concert Hall Organ Stop List Paul Jacobs joined the faculty of the Juilliard School in 2003 and was named Chairman of the Organ Department in 2004, one of the youngest faculty appointees in the school’s history. He received Juilliard’s prestigious William Schuman Scholar’s Chair in 2007. His own students have won prominent national and international competitions and are forging their own careers as performers and teachers at major venues and academic institutions in the United States and abroad.

In addition to his concert appearances and teaching, Jacobs has appeared on American Public Media’s Pipedreams, Performance Today, and Saint Paul Sunday, as well as NPR’s Morning Edition, and ABC-TV’s World News Tonight; in August 2011 he presented a recital for NPR’s Tiny Desk Concerts which remains available for viewing at npr.org.

The NORBERTINE CANONS OF ST. MICHAEL’S ABBEY are a monastic community of Roman Catholic priests and seminarians.

Their primary work is the solemn celebration of the sacred liturgy, wherein they come together several times throughout the day to chant the praises of God. Additionally, they are involved in a number of apostolic works throughout the diocese: helping in parishes, teaching in schools, and generally assisting the needs of the Church wherever they can.

Fr. Chrysostom Fr. Ambrose Fr. Jerome Fr. Alphonsus Fr. John Henry frater Jacob frater Edmund frater Simeon frater Anselm frater Frederick frater Andre frater Columba frater Peregrine frater Ignatius

REAT – Manual II (unenclosed) G 32’ Violonbasse (Gehry façade) 32’ ‘Grand Bourdon

(from 16’, 1-12 resultant)’ 16’ Prestant (polished tin façade) 16’ Violonbasse (ext.)

16’ Bourdon (PEDAL SUBBASS) 8’ Principal 8’ Diapason à Pavillon 8’ Violoncelle (ext. Violonbasse) 8’ Flûte harmonique 8’ Chimney Flute 5-1/3’ Grand Nasard 4’ Octave 4’ Spire Flute 3-1/5’ Grande Tierce 2-2/3’ Octave Quinte 2’ Super Octave III Grande Fourniture (16’ series) VIII Mixture (8’ series) IV Cymbale (4’ series) VII Corneta Magna 32’ Contre Basson (ext. 16’)

(Gehry façade) 16’ Basson 8’ Basson 4’ Basson 8’ Trompeta de Los Angeles

(LLAMARADA) 16’ Great to Great

(Does not affect 32’ stops)

POSITIVE – Manual I (enclosed) 16’ Quintaton 8’ Principal 8’ Unda Maris 8’ Gambe 8’ Flûte harmonique 8’ Gedackt 4’ Octave 4’ Hohlfl öte 2-2/3’ Nasard 2’ Super Octave 2’ Waldfl öte 1-3/5’ Tierce 1-1/3’ Larigot IV Mixture (1-1/3’) 16’ Cor anglais 8’ Trompette 8’ Cromorne 4’ Clairon

Tremolo 16’ Llamada (LLAMARADA) 8’ Llamada (LLAMARADA) 4’ Llamada (LLAMARADA) 8’ Trompeta de Los Angeles

(LLAMARADA) 16’ Positive to Positive

SWELL – Manual III (enclosed) 16’ Bourdon 8’ Diapason 8’ Flûte traversière 8’ Bourdon 8’ Viole de Gambe 8’ Voix céleste (CC) 8’ Dulciane doux

8’ Voix angélique (TC) 4’ Principal 4’ Flûte octaviante 2-2/3’ Nasard 2’ Octavin 1-3/5’ Tierce 1’ Piccolo III-V Plein jeu harmonique (2-2/3’) 16’ Bombarde 8’ Trompette 8’ Hautbois 8’ Voix humaine 4’ Clairon

Fast Tremulant

Slow Tremulant 8’ Llamada (LLAMARADA) 8’ Trompeta de Los Angeles

(LLAMARADA) 16’ Swell to Swell 4’ Swell to Swell

LLAMARADA – Manual IV (enclosed) 8’ Flautado grandiso 4’ Octava real V Compuestas V Lleno fuerte 16’ Bombardón 8’ Trompeta armónica 4’ Clarín armónico

Tremblante

Unenclosed 16’ Llamada (ext.)

8’ Llamada (horizontal Tuba) 4’ Llamada (ext.)

8’ Trompeta de Los Angeles

(Gehry façade)

Campanitas (Choice of one or

both bell arrays)

Pajaritos (Two pairs of birdolas)

Pitch Pipes (3 pipes) D’ F’ A’

(A=442)

PEDAL 32’ Flûte 32’ Violonbasse (Gehry façade) 16’ Flûte (ext.)

16’ Prestant (GREAT) 16’ Violonbasse (GREAT) 16’ Subbass 16’ Bourdon (SWELL) 10-2/3’ Grosse Quinte 8’ Octave 8’ Flûte (ext.)

8’ Violoncelle (GREAT) 8’ Bourdon (ext. Subbass) 4’ Super Octave 4’ Flûte (ext.)

V Mixture (5-1/3’) 32’ Contre Bombarde (ext.)

32’ Contre Basson (Gehry façade) 16’ Grande Bombarde 16’ Bombardón (LLAMARADA) 16’ Basson (GREAT 16’) 8 Trompeta (LLAMARADA) 8’ Basson (GREAT 8’) 4’ Clarín (LLAMARADA) 4’’ Basson (GREAT 4’) PERFORMANCES MAGAZINE

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Green Umbrella

BIRTWISTLE

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Los Angeles Philharmonic New Music Group Jeffrey Milarsky, conductor Yeree Suh, soprano Ralph van Raat, piano

Tuesday, May 6, 2014, 8:00 Vision in Music Three Settings of Celan

White and Light Night Tenebrae Yeree Suh

Oiseaux exotiques

MESSIAEN

Ralph van Raat

INTERMISSION

LINDBERG

UPBEAT LIVE Pre-Concert Event Tuesday, 7:00 BP Hall

Ron Elliott is chief piano technician for the Los Angeles Philharmonic.

Programs and artists subject to change.

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Joy

PERFORMANCES MAGAZINE

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About the

PROGRAM

Notes by Christopher Anderson-Bazzoli

Three Settings of Celan Harrison Birtwistle (b. 1934) One of Britain’s most acclaimed composers, Birtwistle grew up playing clarinet in the village band, and it was the clarinet which brought him to study at the Royal Manchester College of Music and the Royal Academy of Music in London. He has composed in most

and nine movements for string quartet into an hour-long work titled Pulse Shadows. From that he excerpted a smaller collection: Three Settings of Celan.

“White and Light,” “Night,” and “Tenebrae” are poems from late in Celan’s life, when he had moved away from a traditional lyricism to a more compressed and austere style. Utilizing English translations by Michael Hamburger Birtwistle’s score offers versions in both English and the original German.

“Pulse Shadows” is an apt image to describe the music. In “White and Light” there is a shadow play between the soprano and clarinet, which closely echo and anticipate each other’s melodic lines. The tempo and texture is unsteady and fluid, a quality reflected in Celan’s text by repeated use of the word “drift.” The soprano’s highest register is on full display in “Night,” while aggressive viola strokes provide an uneasy pulsation to “Tenebrae.” Long, sustained soprano notes – particularly on the many instances of the word “Lord” – lead the work to an enigmatic conclusion.

Oiseaux exotiques Olivier Messiaen (1908-1992) genres, ranging from solo piano music to the operas Gawain, The Second Mrs. Kong, and The Last Supper. Birtwistle’s honors include the 1986 Grawemeyer Award, the Chevalier des Arts et des Lettres in 1986, a British knighthood in 1988, the Siemens Prize in 1995, and a British Companion of Honor in 2001.

At the close of the last century, the poetry of Romanian-born Holocaust survivor Paul Celan (1920-1970) drew the interest of many composers. In the 1990s Luciano Berio, György Kurtág, John Zorn, and Peter Ruzicka composed works on the poet, the latter producing a fulllength opera. It was a culmination of Celan’s lifelong association with musical imagery beginning with his famous early poem Todesfuge (Death Fugue).

In 1989 Harrison Birtwistle set “White and Light” in response to a commission from England’s Composers Ensemble. Over the next several years he would return to Celan for inspiration to fulfill both vocal and instrumental commissions. In 1996 he combined nine poems

“Listen to the birds! They are great teachers.”

This pronouncement by Paul Dukas, composer of The Sorcerer’s Apprentice and professor at the Paris Conservatoire, must have left quite an impression on his teenage student Olivier Messiaen. However, even from early childhood, Messiaen firmly believed that the twittering language of the aerial creatures was much more than mere communication. It was music.

No other composer (in fact no other ornithologist) was ever so completely dedicated to the painstaking transcription, study, and musical application of birdsong.

An early manifestation of Messiaen’s style oiseaux appeared in the famous Quartet for the End of Time, composed during his internment at Görlitz prisoner of war camp in the 1940s.

In 1953 Messiaen shifted his focus almost entirely to birdsong, first producing Reveil des oiseaux (The Birds Awake) for piano and orchestra, containing songs from an impressive 38 species. Oiseaux exotiques, written three years later, features a more strident ensemble of woodwinds, brass, and percussion – with the piano acting as soloist in what Messiaen describes as “almost a piano concerto.”

Where Reveil featured songs one might hear between midnight and noon in the European Jura mountain range, Oiseaux exotiques features 18 species from India, China, Malaysia, and the Americas – a collection that Messiaen acknowledged could never exist together in nature.

Messiaen’s exotic aviary is divided into nine sections. Some are lengthy medleys of tightly intertwined songs for the entire ensemble.

Some are brief interludes showcasing individual birds in smaller instrumental combinations. Interspersed among them are several virtuosic piano cadenzas.

The work opens with a pair of shrieks from the Indian minah bird, followed by its full song in extreme slow motion. Note the long sequence of repeated notes at the end of this first melody. It will return in the piece’s dramatic final moments. A long tam-tam crescendo is a prelude to the song of the prairie chicken, whose nasal character is scored for clarinet and oboe in its lower registers. The long medley at the work’s center is introduced by the percussion (snare drum and woodblock) featuring rhythms derived from Hindu and Greek music – the only “unfeathered” music in the piece. The final piano cadenza treats the songs of two North American species, the bobolink and the catbird (with its characteristic “maeow”), as a kind of two-part invention.

Oiseaux exotiques was commissioned by Messiaen’s star pupil Pierre Boulez and premiered as part of his now legendary Domaine musicale concert series in March of 1956.

The piano soloist was Messiaen’s wife (and sometimes reluctant transcription assistant) Yvonne Loriod.

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Joy Magnus Lindberg (b. 1958) Magnus Lindberg frequently uses live electronics, but the sound of the orchestra itself is the basic stuff of his most characteristic music.

His style has broadened to include aspects of minimalism, free jazz, progressive rock, and East Asian music. He is closely associated with other Finnish musicians of his own generation, such as Esa-Pekka Salonen and Kaija Saariaho.

Magnus Lindberg’s Joy is the third in a triptych of orchestral works from the late 1980s in which the Finnish composer took his musical language in new directions. In Kinetics Lindberg introduced aspects of “spectralism,” based on the acoustic phenomenon of the overtone series (the subtle harmonies present in what we perceive as a single tone). With Marea Lindberg mixed spectralist harmonies with chords derived from atonal “set theory” – formulated from permutations of the twelve-tone scale. Joy adds a third element: the manipulation of acoustic sound via an electronic sampler keyboard.

“Sounds were recorded destroying an old grand piano,” explains Lindberg. “…low bass strings tuned down one or even two octaves, percussive sounds when cutting or tearing strings, etc. All these sounds were transferred

to the computer… where they were then transformed and treated. Many of the originally inharmonic sounds (non-pitch sounds) were forced to some pitch by means of filtering.

Non-continuous sounds were made continuous or irregular sounds were forced to become regular. The fascination with all these treatments lays evidently in the capacity of forcing a different nature or behavior onto a sound or to enhance some hidden aspects of a complex sound.” These “treatments” allow the characteristically rich overtone spectrum of the grand piano, along with its percussive nature, to be amplified – literally and figuratively.

True to its title, Joy has a palpable sense of play throughout its six-part form. The opening section is a set of variations featuring several tempos in alternation. Section two employs the musical process of chaconne – a repeating chord progression that provides what writer Peter Szendy calls “pillars of perception.” The kaleidoscopic surface activity subsides over the course of a long accelerando to reveal a vivid cadenza for the sampler – played in a more languorous tempo libero. A pair of scherzo sections brings a sense of stasis, not in tempo or surface activity, but in harmonic steadiness. It’s a sequence Lindberg likens to a pearl necklace with simple, elegant repetition.

A fifth section returns to the chaconne process,

which unfolds within a haze of continuous variation. The violent sounds from the sampler return for the final coda section.

Joy was commissioned by the Ensemble InterContemporain, which premiered the work in Frankfurt, Germany, on December 9, 1990, under the direction of Arturo Tamayo.

Christopher Anderson-Bazzoli is an Emmy-nominated composer, and he served as editor and copyist for Esa-Pekka Salonen’s LA Variations, among other works.

Tchaikovsky in Kamenka, summer 1875

About the

ARTISTS

American conductor JEFFREY MILARSKY is highly acclaimed worldwide for his impeccable musicianship, exhilarating presence, and innovative programming. He has been hailed for his interpretation of a wide range of repertoire, which spans from Bach to Xenakis. In recent seasons he has worked with accomplished groups such as the San Francisco Symphony, American Composers Orchestra, the MET Chamber Ensemble, the Los Angeles Philharmonic, the Milwaukee Symphony, the Bergen Philharmonic, the New York City Opera, the Chamber Music Society of Lincoln Center, the New World Symphony, the Tanglewood Festival Orchestra, and the

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New York Philharmonic chamber music series. In the United States and abroad, he has premiered and recorded works by many groundbreaking contemporary composers, in venues such as Carnegie Hall, Zankel Hall, Davies Symphony Hall, Alice Tully Hall, Walt Disney Concert Hall, and Boston’s Symphony Hall, and at IRCAM in Paris.

In 2015 Milarsky will make his New York Philharmonic debut conducting the CONTACT series, a Japanese-based program including music of Takemitsu, Messiaen, Fujikura, and Mochizuki. Additionally, he will be returning to the Milwaukee Symphony to conduct in the 2014/15 season.

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Milarsky has a long history of premiering, recording, and performing American composers, and in keeping with that he was recently presented the prestigious Ditson Conductor’s Award. Established in 1945, it is the oldest award honoring conductors for their commitment to the performance of American music. Past honorees have included Leonard Bernstein, Leopold Stokowski, and James Levine. His interest and dedication have brought forth collaborations with esteemed composers such as Adams, Babbitt, Cage, Carter, Corigliano, Crumb, Davidovsky, Druckman, Gordon, Lang, Mackey, Rouse, Shapey, Subotnick, Wuorinen, and an entire generation of young and developing composers.

A dedicated pedagogue, Milarsky is a Senior Lecturer in Music at Columbia University, where he is the Music Director and Conductor of the Columbia University Orchestra.

In addition to conducting the Juilliard Orchestra, he is the Music Director of AXIOM, the Juilliard School’s critically acclaimed contemporary music ensemble, and serves on the conducting faculty at Juilliard.

A much-in-demand timpanist and percussionist, Milarsky has been the Principal Timpanist for the Santa Fe Opera since 2005. In addition, he has performed and recorded with the New York Philharmonic, the Philadelphia Orchestra, and the Pittsburgh Symphony. He has recorded extensively for Angel, Bridge, Teldec, Telarc, New World, CRI, MusicMasters, EMI, Koch, and London records.

Milarsky received his Bachelor and Master of Music degrees from the Juilliard School.

Upon graduation, he was awarded the Peter Mennin Prize for outstanding leadership and achievement in the arts.

Soprano YEREE SUH made her professional debut with René Jacobs at the Innsbrucker Festwochen as Ninfa in Monteverdi’s Orfeo in 2003, a role she repeated at the Deutsche Staatsoper Berlin in 2004 and at Vienna’s Theater an der Wien in 2007. Since her debut she has established herself internationally as one of the most versatile and sought after singers in Baroque repertoire and contemporary music.

Yeree Suh commenced her training at the Seoul National University with Professor

Hyunjoo Yun before furthering her studies in Europe at Berlin’s Universität der Künste (studying opera with Professor Harald Stamm and graduating with distinction), with Professor Regina Werner-Dietrich in Leipzig, and with Professor Gerd Türk at the Schola Cantorum Basiliensis (Baroque vocal).

A prolific concert performer, Yeree Suh has performed with Andreas Spering (Haydn’s L’isola disabitata/Silvia and Handel’s Il Trionfo del tempo e del disinganno/La Bellezza); with Andrea Marcon and the Venice Baroque Orchestra (Handel’s Apollo e Dafne); with Philippe Herreweghe (Mendelssohn’s Ein Sommernachtstraum); with Ton Koopman and the DSO (Schütz, Die sieben Worte); with René Jacobs (Monteverdi, Madrigali); with both Frieder Bernius and Masaaki Suzuki (Handel’s Messiah); with the Münchner Symphoniker (Orff, Carmina Burana and Haensel und Gretel/Gretel in the Prinzregenten Theater Munich), and with the Freiburg Bachorchester (Bruckner’s Mass in F minor). Last season included performances of Bach cantatas with the Akademie für Alte Musik Berlin throughout South Korea, a European tour of Bach’s Easter Oratorio and assorted cantatas with La Petite Bande and Sigiswald Kuijken, Bach’s Christmas Oratorio with the Spanish Radio Orchestra/Rubén Dubrovsky, as well as a return to Theater Basel in Wolfgang Rihm’s Aria/Ariadne.

Particularly renowned for her exceptional interpretation of contemporary music, Yeree Suh sang the European premiere of Matthias Pintscher’s With lilies white with Kent Nagano at the Berliner Philharmonie and the Konzerthaus Dortmund, and has performed in contemporary projects with the Ensemble Modern/Sian Edwards, London’s Royal Philharmonic Orchestra at the Estoril Festival, with the Nieuw Ensemble at La biennale di Venezia, the London Sinfonietta/Baldur Broennimann at Settembre Musica, and with the BBC Scottish Symphony Orchestra and Ilan Volkov. For her New York debut at Lincoln Center with the Ensemble Intercontemporain and Susanna Mälkki, Yeree Suh performed Ligeti’s Mysteries of the Macabre and Unsuk Chin’s Akrostichon-Wortspiel. Recent opera appearances include a debut as Almirena in Handel’s Rinaldo at the National Theatre of Prague, la Musica in Orfeo with Andrea Marcon at Theater Basel, Semele at the Beijing

Festival, and revivals of Handel’s Rinaldo at the Grand Théâtre de la Ville de Luxembourg and the Opéra de Rennes.

Concert highlights this season include George Benjamin’s A Mind of Winter with Paavo Järvi and the Frankfurt RSO, an operetta gala with the WDR Radio SO in Cologne, Mozart’s Schauspieldirektor on tour with Concerto Köln, Bach and Mahler with the Basel Chamber Orchestra, Handel’s Messiah with the Munich Symphony Orchestra, Jean Barraqué’s Sequence at the Vienna Konzerthaus, and excerpts from Pierre Boulez’ Pli selon Pli with Peter Rundel and the Remix Ensemble in Porto.

In spring 2012, Yeree Suh performed the world premiere of a new piece by Michael Jarrell in Geneva and, in June 2012, she sang the title role in Hasse’s Cleofide at the Leipzig Bachfest (under Michael Hofstetter) to great acclaim.

Yeree Suh’s debut recording - Musik der Hamburger Pfeffersäcke - with Elbipolis Barockorchester was released to great acclaim in 2008. Her other recordings include Belinda in Purcell’s Dido and Aeneas (Ambronay editions), conducted by Leonardo Garcia Alarcon, Bach’s Easter Oratorio with Sigiswald Kuijken and La Petite Bande, works by Judith Bingham (Resonus), Handel’s Dixit Dominus with Pierre Cao, and Bach’s Cantata BWV 52 and assorted other cantatas.

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Pianist and musicologist RALPH VAN RAAT (born in 1978) studied the piano with Prof.

Ton Hartsuiker and Prof. Willem Brons at the Conservatory of Amsterdam and Musicology at the University of Amsterdam. During his piano studies, which he concluded cum laude in 2002, Van Raat was admitted to the Provision for Outstanding Musicians, a special training course offered alongside the regular curriculum. He also concluded his musicology

Van Raat appears as a recitalist in The Netherlands and abroad, in Europe, the Middle East, and Asia, as well as the United States.

Besides the traditional classical repertoire, he takes special interest in the performance of contemporary classical music. Many of his concerts have been broadcast by Dutch as well as foreign radio and television networks. He was given his own radio series about contemporary classical music for the

studies with the mention cum laude in 2003.

As a part of the Advanced Programme of the Conservatory of Amsterdam, and with help of the Dutch cultural trust Prins Bernhard Cultuurfonds, Van Raat also studied with Claude Helffer in Paris, with Ursula Oppens at Chicago’s Northwestern University, with Liisa Pohjola in Finland, and with Pierre-Laurent Aimard at the Musikhochschule in Cologne.

Van Raat has won the Second Prize and Donemus-Prize (for Contemporary Music) of the Princess Christina Competition (1995); the Stipend-Prize Darmstadt during the Internationale Ferienkurse fur Neue Musik in Darmstadt (Germany, 1998); First Prize of the International Gaudeamus Interpreters Competition (1999); the Philip Morris Arts Award (2003); the Elisabeth Everts Prize (2005); the international Borletti-Buitoni Fellowship (2005); VSCD Classical Music Prize (2005); the Fortis MeesPierson Award of the Concertgebouw, Amsterdam (2006); and the Prijs Klassiek (Classics Prize) of the Dutch radio and television broadcaster NTR (2010).

Dutch national broadcasting company, and his own concert series by, among others, the Concertgebouw of Amsterdam, the Muziekgebouw in Amsterdam, and De Doelen in Rotterdam.

Van Raat also performs very regularly as a soloist with orchestras including London Sinfonietta, the BBC Symphony Orchestra, the Shanghai Philharmonic, the Royal Concertgebouw Orchestra, the Rotterdam Philharmonic Orchestra, the Netherlands Radio Philharmonic Orchestra, the Radio Symphony Orchestra of Frankfurt, the Aarhus Symphony Orchestra, and the Dortmunder Philharmoniker. He has worked closely with conductors such as Valery Gergiev, JoAnn Falletta, David Robertson, Stefan Asbury, Michel Tabachnik, and Edo de Waart.

He has played as a soloist at important festivals such as the Gergiev Festival, the BBC Proms, the Festival International de Musique de Besançon, the Holland Festival, the Time of Music festival in Viitasaari, Finland, the Huddersfield Contemporary Music

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Festival in the UK, the Berliner Festspiele, and the Tanglewood Summer Festival in the United States.

Since December 2006, Ralph has an exclusive contract with the international record label Naxos. His first recording for Naxos, the complete piano works by John Adams, received top ratings in several magazines. In Gramophone, it was one of the highlighted CDs of the month. His second CD, of Frederic Rzewski’s The People United Will Never Be Defeated, was labelled a Benchmark CD in BBC Music Magazine, and Highly Recommended by Gramophone. In December 2010, Van Raat’s CD of Hans Otte: Das Buch der Klänge (The Book of Sounds) was chosen, within a month after its release, as CD of the Week by the Dutch national radio. Van Raat’s recording of Arvo Pärt’s piano music received a 5/5 star rating in BBC Music Magazine.

The Rzewski recording, plus those of the complete piano works by John Adams, Gavin Bryars, and Sir John Tavener, have all been bestsellers, having ranked among the Top 20 of bestselling Naxos albums worldwide. This has resulted in the publication of a special dedicated Artist Portrait CD box (in 2009), in which his complete recordings for Naxos until 2009 have been included.

Many composers have dedicated their piano compositions and piano concertos to Van Raat.

He has worked closely with many composers on the interpretation of their piano works, such as with John Adams, Louis Andriessen, Gavin Bryars, Jonathan Harvey, Tan Dun, György Kurtág, Magnus Lindberg, Arvo Pärt, Frederic Rzewski, and Sir John Tavener.

Van Raat teaches contemporary piano music interpretation at the Conservatory of Amsterdam. He regularly gives masterclasses, lectures and workshops also, such as at the conservatories of Tirana, Nizhny Novgorod, Kiev, the Ligeti Academy of the ASKO/Schönberg Ensemble, and for many foundations and universities.

As of 2003, Van Raat has been named a Steinway Artist by the Steinway piano company, joining an exquisite circle of renowned artists such as Vladimir Horowitz, Martha Argerich, Alfred Brendel, Lang Lang, and Keith Jarrett. He records exclusively on Steinway pianos and uses the Steinway piano as his preferred piano for world wide performances.

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Los Angeles Philharmonic

Thursday, May 8, 2014, 8:00 Friday, May 9, 8:00 Saturday, May 10, 8:00 Sunday, May 11, 2:00

RAVEL

PROKOFIEV

Andante; Allegro Tema con variazioni Allegro ma non troppo Lang Lang

INTERMISSION

DESENNE

Gustavo Dudamel, conductor Lang Lang, piano

Valses nobles et sentimentales Piano Concerto No. 3 in C major, Op. 26

Sinfonía Burocràtica ed’Amazzònica

La Leçon Anaconda Guasarana Bananera Death of the Automobile

RAVEL

La valse

UPBEAT LIVE Pre-Concert Event Thursday, Friday, Saturday, 7:00; Sunday, 1:00 BP Hall

Special thanks to performance patrons Eva and Marc Stern.

Thursday’s concert is made possible with the proud support of Rolex.

Media sponsor (Thursday): KUSC

Ron Elliott is chief piano technician for the Los Angeles Philharmonic.

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change.

LAPhil.com

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About the

PROGRAM

Valses nobles et sentimentales Maurice Ravel Composed: 1911-1912 Length: c. 18 minutes Orchestration: 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, keyboard glockenspiel, snare drum, tambourine, triangle), 2 harps, celesta, and strings

MAURICE

RAVEL

Born: 1875, Ciboure, France Died: 1937, Paris, France “Music, I feel, must be emotional first and intellectual second.”

Along with Debussy, Maurice Ravel was one of the pioneering musicians of the early 20th century. He, like his contemporary, was an impeccable orchestrator. His fascination with the exotic and the past can be heard in works such as the Rapsodie espagnole and Le tombeau de Couperin, the former inspired by Spain, the latter by 18th-century French music. Later in his career, Ravel was influenced by jazz, especially after meeting Gershwin in 1928. His distinctive voice was simultaneously one of the last of the Romantic era and one of the first of the modern age.

Further listening: Alborada del gracioso (1904-1905) Berlin Philharmonic, Pierre Boulez (DG) Piano Concerto in G (1929-1931) Martha Argerich; Berlin Philharmonic, Claudio Abbado (DG) For advance information about concert programming, sign up for FastNotes.

Before the concert, attend Upbeat Live or listen to it as it happens on your phone.

Visit LAPhil.com for details and links.

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First Los Angeles Philharmonic performance: August 12, 1938, with Eugene Goossens conducting Beginning in Mozart’s time, the waltz established a hold on the hearts – and legs – of Europeans that gained in intensity throughout the 19th century and hardly lost strength in the first years of the 20th.

Normally stuffy composers of serious music, captivated by the waltz’s simple rhythmic contour and by the fact that a dance-happy public was intoxicated by its lure, did not even try to resist the waltz mania.

One of the most generous contributors to the waltz catalog was Schubert, whose dozens upon dozens of dance pieces for piano Ravel took as models when writing the present set of pieces in 1911. [In 1823 Schubert composed a set of 34 dances titled Valses sentimentales, and in 1826 a set of 12 titled Valses nobles.]

Ravel was very open about the derivation of his dances, saying, “The title, Valses nobles et sentimentales, sufficiently indicates that I was intent on writing a set of Schubertian waltzes.

The virtuosity which formed the chief part of [the piano work] Gaspard de la nuit has been replaced by writing of obviously greater clarity which has strengthened the harmony and sharpened the contrasts.”

Ravel’s strengthened harmony and sharpened contrasts are not likely to fool anyone at this point in time; the composer’s distinctive use of dissonance and rhythmic subtlety, and his elegant sensuality – all rather more pungent here than in earlier works – are clearly recognizable elements of the Frenchman’s style. The set – written originally for piano and orchestrated in 1912 – consists of seven waltzes and an epilogue, the latter containing drifting allusions to what has gone before. And what has gone before is a

sometimes caustic, sometimes sentimental, always bracing view of Viennese dances as filtered through sophisticated Gallic eyes.

— Orrin Howard

Piano Concerto No. 3 in C major, Op. 26 Sergei Prokofiev Composed: 1917-1921 Length: c. 27 minutes Orchestration: 2 flutes (2nd = piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (bass drum, cymbals, castanets, tambourine), strings, and solo piano First Los Angeles Philharmonic performance: February 13, 1930, Artur Rodzinski conducting, with the composer at the keyboard Sergei Prokofiev completed his Third Piano Concerto while on vacation at St. Brevin-les-Pins in Brittany in the summer of 1921, shortly after the Parisian premieres of his Scythian Suite and his ballet for Diaghilev’s Ballets Russes, The Buffoon. He had actually been contemplating the Concerto for a long time. He took most of its themes from material that he had been accumulating towards various ends for ten years. In 1916-1917, for instance, he had toyed with the idea of writing a “whitekey” string quartet, music that can be played using only the white keys on the piano. Two themes for the finale of his concerto were retrieved from this project. The theme of the second movement dated from 1913 and two f its variations from a couple of years later, as did the opening theme of the first movement.

The result hardly sounds like a patchwork of bits and pieces cobbled together.

The powers of invention and the felicitous balance of signature elements of Prokofiev’s style – irrepressible rhythmic energy, a steely percussive edge, flashes of impish wit, a vivid orchestral palette, and a warm lyrical impulse – surely explain the enduring success of the Third Concerto. After its premiere in Chicago, on December 16, 1921, with the Chicago Symphony Orchestra under Frederick Stock, and the composer as soloist, it quickly became a repertory staple, both for the composer himself (it is the only concerto he recorded) and for many other pianists.

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The tonality of the concerto, C major, is the quintessential diatonic “white” scale, and the lyrical, introductory melody of the first movement (as well as the first theme of the finale) does not stray from its confines. With the entry of the solo piano with the main theme, however, Prokofiev’s harmony begins to take on more shading. Piano and orchestra interact in dialogue and rhythmic play; whether leading or following, the soloist is given few opportunities to rest.

The second movement takes the form of a theme with five variations and a coda. The

more settings of Balmont’s poems for voice and piano.) After the composer had introduced him to his Third Piano Concerto, the admiring poet transcribed his own impressions in verses full of vibrant images, ending with the lines: Prokofiev! Music and youth in bloom, In you, the orchestra yearned for resonant summer And the invincible Scythian strikes the tambourine of the sun.

— Laurel E. Fay

SERGEI

PROKOFIEV Born: 1891, Sontsovka, Russia Died: 1953, Moscow, Russia “To achieve a more simple and melodic expression is the inevitable direction for the musical art of the future.”

graceful theme, with its octave-displaced ornaments, is reminiscent of a gavotte (the one from the Classical Symphony springs to mind). The variations travel far afield – from the tempestoso of Variation II, to the lumbering syncopations of III, to the unearthly evanescence of IV, to the march strides of V – before the gavotte theme returns accompanied by the staccato chords of the piano.

The finale is a rondo. One of the subordinate themes is a melody as lovely as any Prokofiev ever wrote, but overall the spirit of the movement is propulsive; the momentum ratchets up steadily until the final chord.

During the summer he was working on his Third Concerto, Prokofiev socialized with the symbolist poet Konstantin Balmont, who happened to be staying nearby. (Earlier, Prokofiev had set a number of his poems, including Seven, They are Seven, for tenor, chorus, and orchestra. Now he also wrote a cycle of five

Sinfonía Burocràtica ed’Amazzònica Paul Desenne Composed: 2004 Length: c. 18 minutes Orchestration: flute, oboe, 3 clarinets (2nd = piccolo, 3rd = bass), 2 bassoons (2nd = contrabassoon), horn, trumpet, trombone, tuba, timpani, percussion (assorted cans & metal objects, bass drum, cowbells, cymbals, gongs, güiro, maracas, marimba, shell shaker, snare drum, tin torpedo, tom-toms, triangle, vibraphone, wood blocks), harp, and strings First Los Angeles Philharmonic performances Sinfonía Burocràtica ed’Amazzònica, composed for Joel Sachs and the New Juilliard Ensemble in 2004, was premiered at Alice Tully Hall, Lincoln Center, that same year. The

Before the Russian Revolution, Sergei Prokofiev shocked the St. Petersburg musical establishment as an enfant terrible. He quickly joined the European avant-garde in the ’20s and ’30s – his 1923 opera The Fiery Angel was so advanced that it remained unperformed until after his death. The Soviet Union scored a major coup when Prokofiev returned for good in 1936. The composer weathered the persecution of composers in the late ’30s and the trauma of World War II, only to die on the same day as Stalin – March 5, 1953.

Further listening: Piano Concerto No. 2 (1913; rev. 1923) Yuja Wang; Simón Bolívar Symphony Orchestra, Gustavo Dudamel (DG) Alexander Nevsky (1939) Christine Cairns; Los Angeles Master Chorale; Los Angeles Philharmonic, André Previn (Telarc) For advance information about concert programming, sign up for FastNotes.

Before the concert, attend Upbeat Live or listen to it as it happens on your phone.

Visit LAPhil.com for details and links.

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PAUL

DESENNE Born: 1959, Caracas, Venezuela “Latin American culture is, for various reasons (one of them being the period during which the Spanish conquest took place), a layered, multi-faceted, complicated baroque pearl, the true value of which is not easy to appraise from afar.”

The music of Paul Desenne, performed worldwide, expresses the complex musical environments of a broad region encompassing the Caribbean, the Andes, and the Orinoco-Amazon basin in a very personal way. Desenne is Resident Composer at El Sistema, a 2009 Guggenheim Fellow, and a 2010 fellow of the Radcliffe Institute for Advanced Studies; he was awarded the Premier Prix, Premier Nommé in cello performing at the Conservatoire Supérieur de Paris in 1985. Paul Desenne splits his time between an office in Cambridge, Mass., and his home in the forest wilderness near Caracas.

Further listening: Ranchosón (2001, solo flute) Ysmael Reyes (Clear Note) Jaguar Songs (2002, solo cello) Nancy Green (Classics Label) For advance information about concert programming, sign up for FastNotes.

Before the concert, attend Upbeat Live or listen to it as it happens on your phone.

Visit LAPhil.com for details and links.

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composer has provided the following note: The work is a tropical chamber symphony in five tableaux. The title is a clash of two opposite extremes of modern South American mythology: untamed wilderness and corrupt “civilization.” In the first movement, “La Leçon,” a nagging, repetitive staircase theme, like a line in a silly lesson, penetrates a maze of dense tropical climates, progressively shedding its typewriter business to become the underlying pulse of nocturnal creatures – frogs, crickets... and maracas.

The second movement, “Anaconda,” is a slow-moving orchestral reptile, slimy at times: an Amazonian Dodecaphonic snake, twice confronted by the shamanic healer and his throbbing chants and shakers. The Water and Earth deity of the Anaconda swallows the entire world, shrouding it in darkness; the musical healer must bring it back to light.

“Guasarana,” the third movement, has a moderately paced Venezuelan guasa structure, a genre in 5/8 meter. The nocturnal atmosphere picks up where the first movement left us and takes us to a serene landscape of tropical melancholy.

The serene transition takes us to “Bananera,” the fourth movement, built on a cumbia – the predominant genre of Colombia’s Caribbean coast and often heard in Venezuela as well. (We cannot avoid mentioning en passant García Márquez’s recurrent theme: the “Masacre de las Bananeras,” the 1928 massacre of banana plantation workers – a tragic landmark in the novel One Hundred Years of Solitude, which is set precisely in that particular coastal region of Colombia). But “Bananera” is not a social complaint. The poignant, recurrent theme in the clarinets is set in a laid-back and sometimes frail dance structure, delivering sudden changes in mood and intensity, some of which are unexpectedly pompous and awkward, others ironically shabby.

The finale, “Death of the Automobile,” plays on the ultimate confrontation between rural South American poverty and the dying machine. The engine of an old clunker refuses to start, but finally agrees to a last ride on a constant downhill slope. The orchestra evokes the various stages of engine resuscitation, a cartoon clip of the final drive, down to the death of the last piston.

The strangest anecdote I can remember in the short history of this Symphony was

explaining the final movement some years ago to an audience in Lansing, Michigan, in the heartland of the auto industry. Fortunately, most of the people in the audience took the ironic circumstance with a grain of salt.

— Paul Desenne

La valse Maurice Ravel Composed: 1919 Length: c. 13 minutes Orchestration: 3 flutes (3rd = piccolo), 3 oboes (3rd = English horn), 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, percussion (antique cymbals, bass drum, castanets, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle), timpani, 2 harps, and strings First Los Angeles Philharmonic performance: October 10, 1924, Walter Henry Rothwell conducting The historical context of Ravel’s La valse adds another rich layer of meaning to an already multifarious piece of music. Its darker, more brooding quality can be attributed to many things, although a contretemps with Diaghilev, who commissioned the work, reveals something especially telling about the work.

When Diaghilev first commissioned Ravel to write a ballet, the nearly hour-long Daphnis and Chloé in 1909, he did not foresee the numerous production problems which forced it to be premièred three years late. Among other things, the music was difficult to dance to, perhaps because the composer insisted that the music should be more prominent than the choreography. Daphnis and Chloé did not receive much success initially, but was revived and eventually appreciated as a great ballet and orchestral work.

After Ravel had served in World War I, Diaghilev decided to brave possible production delays again and approached him with another commission for a ballet. Ravel had already started a work in 1906 tentatively titled Wien (or Vienna) to be a tribute in two parts to the waltzes of Johann Strauss, Jr., so he adapted it to be Diaghilev’s new ballet project. Wien would eventually become La valse, and its brooding character is popularly

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interpreted today as reflecting the war and its carnage. Indeed, the original spirit of Wien, which explored the sweeping gestures of waltzing, now has a darker undercurrent to it, perhaps reflecting the Austria that Ravel fought against during the war. In other words, instead of thinking of the music illustrating lush, costumed couples dancing the waltz, the work now invokes images of the ravages of a

Another popular myth about La valse is that its darker qualities reflect the death of Ravel’s mother in 1916. Ravel had never married and had an unusually close relationship with his mother.

The loss noticeably changed his outlook on life.

Once again, Ravel insisted that his “ballet” should emphasize music over choreography, opting to call it a poème chorégraphique.

Diaghilev was disappointed with Ravel and,

Whether or not Ravel’s La valse represents a darker world than some of his earlier pieces might be a matter for each listener to decide.

Some could also hear that the impressionistic world that profoundly inspired Ravel’s earlier pieces might have been left behind in 1918 with Debussy’s death.

Nonetheless, Ida Rubinstein stepped in to rescue the original ballet that La valse was intended to be. She produced it with her own money for the second season of her shortlived Les Ballets de Madame Rubinstein. In this way, it makes an interesting companion piece to Ravel’s most famous work, Bolero, which the Rubinstein troupe had premiered the previous year.

— Gregg Wager

Orrin Howard annotated programs for the Los Angeles Philharmonic during his more than 20 years as Director of Publications and Archives. He continues to contribute regularly to the program book.

A specialist in Russian and Soviet music, musicologist Laurel E. Fay was Scholar in Residence for the LA Phil’s Shadow of Stalin festival in 2007. bitterly fought war. On the score itself, Ravel described the “whirling” patterns of the waltz almost surrealistically: Swirling clouds afford glimpses, through rifts, of waltzing couples. The clouds scatter little by little; one can distinguish an immense hall with a whirling crowd. The scene grows progressively brighter. The light of the chandeliers bursts forth at the fortissimo. An imperial court, about 1855.

no doubt foreseeing even greater problems than he had with Daphnis and Chloé, refused to produce it, claiming that the music for La valse could never be a serviceable ballet. La valse was successfully premièred in 1920 as an orchestral work, but Ravel’s contempt for Diaghilev endured. The rift developed into a mutual animosity, culminating years later when Diaghilev challenged Ravel to a duel (which thankfully never occurred).

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.

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About the

ARTISTS

For a biography of Music Director GUSTAVO DUDAMEL, please see page 9.

If one word applies to LANG LANG, to the musician, to the man, to his worldview, to those who come into contact with him, it is “inspiration.” It resounds like a musical motif through his life and career. He inspires millions with open-hearted, emotive playing, whether it be in intimate recitals or on the grandest of stages – such as the 56th Grammy Awards, where he played with Metallica; the Opening

Yet he never forgets what first inspired, and continues to inspire him. Great artists, above all the great composers – Liszt, Chopin, and the others – whose music he now delights in bringing to others. Even that famous old Tom and Jerry cartoon “The Cat Concerto,” which introduced him, as a child, to the music of Liszt – and that childlike excitement at the discovery of music now surely stays with him and propels him to what he calls “his second career,” bringing music into the lives of children around the world, both through his work for the United Nations as a Messenger

And the child Lang Lang was and who, perhaps, is always with him, would surely have approved of the way he gives back to youth.

He mentors prodigies, convenes 100 piano students at a time in concert, and dedicated his Lang Lang International Music Foundation to cultivating tomorrow’s top pianists, music education at the forefront of technology, and building a young audience.

Lang Lang has been featured on every major TV network and in magazines worldwide. He has performed for international dignitaries including the Secretary-General of the U.N.

of Peace focusing on global education and through his own Lang Lang International Music Foundation. As he inspires, he is inspired. As he is inspired, he inspires others.

It is this quality, perhaps, that led The New Yorker to call him “the world’s ambassador of the keyboard.”

Time Magazine named Lang Lang in the “Time 100,” citing him as a symbol of the youth of China, and its future. Lang Lang is cultural ambassador for Shenzhen and Shenyang. And if the Chinese passion for piano isn’t solely due to him, he has played no small part as a role model – a phenomenon coined by The Today Show as “the Lang Lang effect.” Steinway Pianos for the first time named a model after a single artist when they introduced “The Lang Lang Piano” to China, specially designed for education.

Ban Ki-moon, four U.S. presidents, President Koehler of Germany, Russian President Putin, former French President Sarkozy, and President François Hollande. Of many landmark events, he was honored to perform recently for President Obama and former President Hu Jin-Tao of China at the White House State Dinner, as well as at the Diamond Jubilee celebratory concert for Queen Elizabeth II at Buckingham Palace.

Honors include being added as one of the World Economic Forum’s 250 Young Global Leaders, Honorary Doctorates from the Royal College of Music and Manhattan School of Music, the highest prize awarded by China’s Ministry of Culture, Germany’s Order of Merit, and France’s Medal of the Order of Arts and Letters.

For further information visit langlang.com / langlangfoundation.org.

Tchaikovsky in Kamenka, summer 1875

Ceremony of the 2008 Beijing Olympics, where more than four billion people around the world viewed his performance; the Last Night of the Proms at London’s Royal Albert Hall; or the Liszt 200th birthday concert broadcast live to more than 500 cinemas around the U.S. and Europe.

He forms enduring musical partnerships with the world’s greatest artists, from conductors such as Daniel Barenboim, Gustavo Dudamel, and Sir Simon Rattle, to artists from outside of classical music – among them dubstep dancer Marquese “nonstop” Scott and jazz titan Herbie Hancock. Thanks to his Sony ambassadorship, he brought Prokofiev’s 7th Piano Sonata to the soundtrack of the multi-million-selling computer game Gran Turismo 5 and 6. And he builds cultural bridges between East and West, frequently introducing Chinese music to Western audiences, and vice versa.

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Los Angeles Philharmonic

Thursday, May 15, 2014, 8:00 Friday, May 16, 11:00

MOZART

* SIBELIUS

Allegro moderato Adagio di molto Allegro, ma non tanto Joshua Bell

INTERMISSION

MOZART

Gustavo Dudamel, conductor Joshua Bell, violin

The Abduction from the Seraglio Overture Violin Concerto in D minor, Op. 47

Symphony No. 36 in C major, K. 425 (“Linz”)

Adagio; Allegro spiritoso Poco adagio Menuetto Presto

*Recorded by the Los Angeles Philharmonic for Sony Classical, with Esa-Pekka Salonen conducting and soloist Joshua Bell

UPBEAT LIVE Pre-Concert Event Thursday, 7:00 BP Hall Friday, 9:45 Auditorium

Media sponsor (Thursday): KUSC

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change.

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About the

PROGRAM

The Abduction from the Seraglio Overture (Die Entführung aus dem Serail) Wolfgang Amadeus Mozart Composed: 1782 Length: c. 6 minutes Orchestration: flute (= piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion (bass drum, cymbals, triangle), and strings

WOLFGANG AMADEUS

MOZART

Born: 1756, Salzburg, Austria Died: 1791, Vienna, Austria “I like an aria to fit a singer as perfectly as a well-tailored suit of clothes.”

Mozart ranks alongside Bach and Beethoven as one of the greatest composers in the Western tradition. His music exemplifies the Classical style with its emphasis on form and balance. He composed in every genre, from dances for Vienna’s balls to opera for its Imperial Theater, and his more than 600 surviving works amply testify to his genius.

Further listening: Sinfonia concertante, K. 364 (1779) Gidon Kremer (violin), Kim Kashkashian (viola), Vienna Philharmonic, Nikolaus Harnoncourt (DG) Requiem, K. 626 (1791) BBC Symphony Chorus and Orchestra, Colin Davis (Philips) For advance information about concert programming, sign up for FastNotes.

Before the concert, attend Upbeat Live or listen to it as it happens on your phone.

Visit LAPhil.com for details and links.

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First performance by the Los Angeles Philharmonic: December 1, 1932, Artur Rodzinski conducting The Abduction from the Seraglio is a rescue opera in which the heroics of the rescuers are thwarted by the magnanimity of the chief villain. If the edge was thus taken off the dénouement of one of 18th-century Europe’s favorite play and opera subjects — the deliverance of Christians, particularly Christian women, from Turkish captivity, especially in Turkish harems — audiences still took Seraglio to their collective heart when the work was first performed in Vienna in 1782.

Mozart badly needed the success, for he had turned his hand to the task of writing the opera at a crucial time in his life. In the years 1781 and 1782 he was severing two important relationships — one with his repressive employer, the Archbishop of Salzburg, whom he loathed, the other with his dominating father Leopold, whom he loved unequivocally — and instituting another with his marriage to Constanze (coincidentally the name of Seraglio’s heroine) Weber.

Mozart’s imperturbable creativity barely faltered in the midst of these emotional involvements. He produced a work that, though not without faults, has some delicious and splendid music, and further, proved to be an important springboard for the operas yet to come.

With its quasi-exotic orchestration (piccolo, triangle, big drum, and cymbals are added to the standard combination), the Overture is in the old Italian style, notwithstanding that Mozart wrote Seraglio for the anti-Italian, German form of musical theater, the Singspiel.

There is a busy main section that, after a decided close, is followed by a slow episode in minor. A return to the initial material rounds off this eminently pleasant, jolly but unremarkable bit of Mozart fluff.

— Orrin Howard

Violin Concerto in D minor, Op. 47 Jean Sibelius Composed: 1903, rev. 1905 Length: c. 30 minutes Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, and solo violin First Los Angeles Philharmonic performance: November 5, 1931, with Artur Rodzinski conducting, and soloist Efrem Zimbalist Sibelius was trained as a violinist, although he never became a virtuoso performer. He started late on the instrument and gave up his ambitions late: he auditioned, unsuccessfully, for a place in the Vienna Philharmonic when he was 26, and when he was 50 could still write in his diary, “Dreamed I was twelve years old and a virtuoso.”

It is tempting, then, to imagine all sorts of personal issues sublimated in Sibelius’ Violin Concerto. Certainly inner demons were at play when he wrote it. In 1903 Sibelius was a celebrity in Finland and beginning to be known throughout Europe. He was also drinking heavily and living far beyond his means.

One of his strongest supporters at the time was the violinist Willy Burmester, who was eager to play the new concerto on which Sibelius was working. The composer readily promised the premiere to Burmester. He then made a sudden, unexplained, and seemingly self-destructive change, entrusting the 1904 Helsinki premiere instead to one Viktor Novácˇek. The result was an artistic disaster, as “a red-faced and perspiring Viktor Novácˇek fought a losing battle,” according to Sibelius biographer Erik Tawaststjerna. The influential critic Karl Flodin, generally favorable to Sibelius, reviewed it negatively not once, but twice.

Chastened, Sibelius went back to work and revised the Concerto heavily. Still not reconciled to Burmester, for whatever reason, Sibelius gave the new version to Karl Halir, who played the premiere in Berlin in 1905, with no less than Richard Strauss conducting the Berlin Philharmonic.

Very little of all this travail is apparent in the Concerto, though it gives even the most accomplished violinists cause for trepidation. It is a soloist’s concerto, squarely in the virtuoso tradition – and virtuosos have taken

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it to heart, making it the most often recorded 20th-century concerto, David Oistrakh alone recording it four times. It opens with the most magical, naturally expressive of themes, given to the soloist almost immediately, like the beginning of the Mendelssohn Violin Concerto, a work Sibelius played as a student.

But if there is plenty of room for technical display, it is displayed with a formal purpose quite characteristic of Sibelius. The cadenza in the first movement serves basically as the movement’s development section. (Remarkably, in the original version, the one that gave poor Novácˇek such trouble, there was a second cadenza, longer and more difficult than the surviving one.)

After the bristling tensions and dark energy of the first movement, the slow movement comes as a gift of grace, a moment of timelessness in an otherwise very time-conscious piece. The stark main theme is another wondrous inspiration – “mercilessly beautiful,” in the poet Lassi Nummi’s ecstatic vision of the Concerto – and this movement was the one Sibelius had the least doubt about, leaving it largely untouched during his ruthless purge of all unessentials in revision.

With the finale we are emphatically back in the flow of time, with an unrelenting forward motion. It is obsessive and driven, yes, but also brilliant and exciting, orchestra and soloist seeming to jostle each other for control of this speeding rocket.

— John Henken

Symphony No. 36 in C major, K. 425 (“Linz”) Wolfgang Amadeus Mozart Composed: 1783 Length: c. 25 minutes Orchestration: 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings First Los Angeles Philharmonic performance: February 27, 1941, with Thomas Beecham conducting In late July of 1783, Mozart and Constanze Weber, who had been married in Vienna in August of the previous year, to the great displeasure of Mozart’s father, made their way to Salzburg. The principal aim of the trip was to bring about a reconciliation between father

and son, which happened to a degree – but not to the degree of Leopold accepting Constanze into the bosom of the family. Wolfgang’s sister Nannerl – who found Constanze “unsuited to her brother,” for whatever reasons – remarked in her diary that on October 23 a mass by Wolfgang was performed in the Collegiate Church of St. Peter, the “Great” Mass in C minor, K. 427, large parts of which Mozart had composed earlier in Vienna, but had brought with him to Salzburg unfinished and had been unable to complete even there (or anywhere else, ever). Constanze, it should be noted, sang the exacting, high-lying first-soprano solos.

On their return trip to Vienna, the couple spent several days in Linz, at the invitation of an old family friend, Count Thun-Hohenstein.

“When we reached the gates of the city,” Wolfgang wrote to this father on October 31, “we found a servant waiting there to drive us to Count Thun’s, at whose house we are now staying. I really cannot tell you what kindnesses the family is showering on us.

On Tuesday, November 4, there will be an academy [concert] in the theater here and, as I have not a single symphony with me, I am writing a new one at breakneck speed.”

The first performance of this new symphony, which has since been given the nickname “Linz,” took place as scheduled.

The “Linz” Symphony, which opens the series of Mozart’s five great final symphonies, certainly shows no signs of haste. It is especially concisely worked out. Wolfgang sent his original score to his father from Vienna in February of 1784, and Leopold arranged to have it performed in Salzburg in September, chiefly, it would seem, to keep his son’s name alive there, since he (Leopold) assumed that Wolfgang would not make his way in the capital and would eventually return to his roots. Which, of course, did not happen. The first Vienna performance was in the following spring, and the work was probably performed once more in Mozart’s lifetime, in 1787 in Prague.

The first movement (Allegro spiritoso) begins, for the first time in Mozart but after the fashion of Joseph Haydn and his brother Michael, with a tension-filled slow introduction before launching into a blazing Allegro.

“The fruits of the artistic freedom of Vienna, of working with that city’s outstanding orchestral musicians, of experience in orchestration

JEAN

SIBELIUS Born: 1865, Hämeenlinna, Finland Died: 1957, Järvenpää, Finland “As usual, I am a slave to my themes and submit to their demands.”

Sibelius was a hero to his Finnnish countrymen, but mythology (including Finland’s national epic, the Kalevala) was just one source of inspiration for this composer’s compelling music. A number of theatrical works helped him to develop his sense of musical drama, but the skillful use of pure blocks of orchestral sound carry his best works into the realm of absolute music. One of music’s great enigmas was his decision to stop composing at the age of 60, even though he lived for another three decades. His music has gone in and out of favor over the years, but he is now widely acknowledged as one of the 20th century’s masters.

Further listening: Violin Concerto (1903) Joshua Bell; Los Angeles Philharmonic, Esa-Pekka Salonen (Sony Classical) Lemminkäinen Suite (1895) Royal Stockholm Philharmonic, Paavo Järvi (Virgin Classics) For advance information about concert programming, sign up for FastNotes.

Before the concert, attend Upbeat Live or listen to it as it happens on your phone.

Visit LAPhil.com for details and links.

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gained in piano concertos and Die Entführung [aus dem Serail],” as Neal Zaslaw writes, are fully evident in this thematically rich, largescale movement. And in the subsequent Adagio the presence of trumpets and drums, heretofore absent from Mozart’s slow movements, transforms what might otherwise have been “merely” a gracious instrumental aria into something, deeper, darker, even ominous. The Minuet is of the more or less conventionally pompous sort, but the Trio, with its duet for oboe and bassoon,

About the

John Henken is Director of Publications for the Los Angeles Philharmonic.

Orrin Howard, who served the Los Angeles Philharmonic as Director of Publications and Archives for more than 20 years, continues to contribute to the Philharmonic’s program book.

After serving on the administrative staffs of the New York Philharmonic and the San Francisco Opera, Herbert Glass was for many years a columnist / critic for the Los Angeles Times and a contributor to many periodicals, including Gramophone and The Strad. He has been associated with the Salzburg Festival since 1996.

Orchestra, and a summer concert with the Los Angeles Philharmonic round out the season.

In 2007, Bell performed incognito in a Washington, DC subway station for a Washington Post story by Gene Weingarten examining art and context. The story earned Weingarten a Pulitzer Prize and sparked an international firestorm of discussion. The conversation continues to this day, thanks in part to the September 2013 publication of the award-winning illustrated children’s book, The Man With the Violin by Kathy Stinson illustrated by Dušan Petricˇic´ from Annick Press.

Bell has recorded more than 40 CDs garnering Mercury, Grammy, Gramophone, and Echo Klassik awards. Bell’s first holiday CD, released in Fall of 2013, was titled Musical Gifts From Joshua Bell and Friends and features collaborations with artists including Chris Botti, Kristin Chenoweth, Chick Corea, Gloria Estefan, Renée Fleming, Plácido Domingo, and Alison Krauss. Recent releases include French Impressions with pianist Jeremy Denk, the eclectic At Home With Friends, the Defiance soundtrack, Vivaldi’s The Four Seasons, Tchaikovsky’s Violin Concerto with the Berlin Philharmonic, The Red Violin Concerto, Voice of the Violin, and Romance of the Violin, which Billboard named the 2004 Classical CD of the Year, and Bell the Classical Artist of the Year.

His discography encompasses criticallyacclaimed performances of the major violin repertoire in addition to John Corigliano’s Oscar-winning soundtrack, The Red Violin.

Born in Bloomington, Indiana, Bell received his first violin at age four and at 12 began studying with Josef Gingold, at Indiana University. Two years later Bell came to national attention in his debut with Riccardo Muti and the Philadelphia Orchestra and, at 17, debuted at Carnegie Hall. Bell’s career has now spanned over 30 years as a soloist, chamber musician, recording artist, and conductor.

Joshua Bell appears by arrangement with IMG Artists LLC, Carnegie Hall Tower, 152 West 57th Street, 5th Floor, New York, NY 10019.

Bell performs on the 1713 Huberman Stradivarius.

Visit joshuabell.com.

ARTISTS

For a biography of Music Director GUSTAVO DUDAMEL, please see page 9.

JOSHUA BELL’s stunning virtuosity, beautiful tone, and charismatic stage presence have brought him universal acclaim. He is often referred to as the “poet of the violin.”

An Avery Fisher Prize recipient, Bell received the New York Recording Academy Honors in June 2013. Recently appointed Music Director of the Academy of St Martin in the Fields, Bell is the first person to hold this title since Sir Neville Marriner formed the orchestra in 1958.

Their first recording under Bell’s leadership of Beethoven’s Fourth and Seventh Symphonies from Sony Classical debuted at #1 on the Billboard Classical chart; they will next record the Bach violin concertos.

Last fall Bell performed a South American recital tour with pianist Alessio Bax and a European tour with the Academy of St Martin in the Fields. Bell also was the guest of the Houston, Dallas, and St. Louis symphonies.

In 2014, Joshua reunites with his beloved Academy of St Martin in the Fields, directing Beethoven’s Third and Fifth Symphonies. He will also perform the Brahms Violin Concerto with the legendary Vienna Philharmonic under the baton of Paavo Järvi, and the Sibelius Concerto with Gustavo Dudamel conducting the Los Angeles Philharmonic. A U.S. recital tour with Sam Haywood, a performance at the Kennedy Center with the National Symphony

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is Mozart at his most wittily elegant. The dazzling finale, instructed to be played “as fast as possible,” is a profusion of thematic ideas, each subtly developed from its predecessor.

— Herbert Glass

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ANNUAL DONORS The LA Phil is pleased to recognize and thank our supporters. The following list includes donors who have contributed $2,000 or more to the Annual Fund and Special Events from March 2013 to March 2014.

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Frederick Carl Frieseke The Garden Chair oil on canvas 28 1/4 x 35 3/4in $1,000,000 - 1,500,000 American Art, May 21

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PERFORMANCES MAGAZINE

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ANNUAL DONORS $15,000 to $24,999 Anonymous (2) John Adams and Deborah O’Grady Honorable and Mrs. Richard Adler Nancy and Michael Alder AON Risk Services The Aversano Family Trust Lorrie and Dan Baldwin Karen and Jonathan Bass The Honorable Frank and Kathy Baxter Dr. William Benbassat Samuel Biggs and Erin Rose Mr. and Mrs. Norris J. Bishton, Jr. Mr. and Mrs. Stephen A. Block John and Annette Brende Jacqueline Briskin Lyn and Frank Campbell Joseph and Mara Carieri Tod Carson Esther Chao Rick Chivaroli Dr. and Mrs. Kevin Choy Mr. and Mrs. Jonathan Cookler Donelle Dadigan Ron de Salvo Victoria Seaver Dean, Patrick Seaver, Carlton Seaver The 2010 Faith Charitable Trust Mrs. Jeanne Faoro Lillian and Steve Frank Drs. Harold and Gloria Frankl Ms. Valerie Franklin Ms. Bonnie Corwin Fuller Dr. Hilary Garland and Mr. Neil McLean Lori and Robert Goodman Mr. and Mrs. Daniel M. Gottlieb Diane and Peter H. Gray Tricia and Richard Grey Marnie and Dan Gruen Renée and Paul Haas Dwight Hare and Stephanie Bergsma Tina and Ivan Hindshaw Liz Levitt Hirsch The Hollywood Bowl Society Mrs. Ghada and Dr. Ray Irani Ms. Tylie Jones Monique and Jon Kagan Linda and Donald Kaplan Mr. and Mrs. Robert A. Kasirer Gerald L. Katell Pamela and Bob Krupka Tom and Sandy Lallas Mr. Maurice LaMarche Charlotte and Thomas Lane Carl Lauryssen, M.D. The Hyman Levine Family Foundation: L’DOR V’DOR Morelle and Dr. Norman D. Levine Mr. Stan Lipshutz Anita Lorber Lillian Lovelace Robert W. Lovelace and Alicia Miñana Theresa Macellaro / The Macellaro Law Firm Raulee Marcus Ms. Helen McKenna Dwayne and Eileen McKenzie Sharyl and Rafael Mendez, M.D. Dr. Richard N. Merkin Joel and Joanne Mogy Mr. David S. Moromisato Deena and Edward Nahmias Mr. and Mrs. Dan Napier Mr. Jose Luis Nazar Dick and Chris Newman / C&R Newman Family Foundation Nicholas Nikolov and Valeria Rico-Nikolov Darcie Denkert Notkin and Shelby Notkin Parsons Corporation

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Paul Hastings LLP Mr. and Mrs. R. Joseph Plascencia Pat Pratt Ceil & Michael E. Pulitzer Mr. and Mrs. Alan C. Rakov Max Ramberg Mr. and Mrs. J. Peter Robinson Michael J. Rogerson Katy and Michael S. Saei Mr. and Mrs. Irving Schechter Dr. and Mrs. Heinrich Schelbert Ken and Carol Schultz Foundation Dr. Donald Seligman and Dr. Jon Zimmermann Mr. and Mrs. Pierce T. Selwood Dr. Chester Semel Elliott Sernel & Larry Falconio Randy and Susan Snyder The Specialty Family Foundation Marilyn and Eugene Stein Mr. Thomas S. Strickler Tracey and Stanley Tatkin Suzanne and Michael E. Tennenbaum Lisa L. and Charles H. Troe Mr. and Mrs. Thomas E. Unterman Noralisa Villarreal and John Matthew Trott / The P-Twenty One Foundation Mr. Nate Walker Western Asset Management Company Westside Committee of the Los Angeles Philharmonic Dr. Libby F. Wilson Mr. and Mrs. Howard Zelikow

$10,000 to $14,999 ABC Entertainment Mr. Robert J. Abernethy Mr. Drew Adams Mr. Robert Adler Julie Andrews Richard Bardowell, M.D. Cecile C. Bartman Sue Baumgarten Phyllis and Sandy Beim Mr. Mark Benjamin Ms. Deborah Borda Yuki and Alex Bouzari Brass Ring Foundation Mr. and Mrs. Steven Bristing Mr. and Mrs. Arthur Burdorf Ms. Debra M. Burdorf Ann and Tony Cannon Liza Mae and Mark Carlin Par and Sharon Chadha Arthur and Katheryn Chinski Dan Clivner and Steven Cochran Ms. Ina Coleman Louis L. Colen Jay and Nadege Conger Mr. and Mrs. Robert Cook Zoe and Donald Cosgrove Mr. Michael J. Coulson Mr. and Mrs. Leo David Lynette and Michael C. Davis Dr. and Mrs. Aurelio de la Vega Ms. Rosette Delug Jennifer and Royce Diener Dr. and Mrs. William M. Duxler Mary and Robert Estrin Mr. Tommy Finkelstein and Mr. Dan Chang Virginia Friedhofer Charitable Trust Mr. William Friedkin and Ms. Sherry Lansing Bernard H. Friedman and Lesley Hyatt Mr. and Mrs. Josh Friedman Tomas Fuller and William Kelly Mr. Arthur J. Gallagher Mr. and Mrs. James P. Gauer The Gillis Family

PERFORMANCES MAGAZINE

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Paige and David Glickman Arline and Henry Gluck Carol Goldsmith Mr. and Mrs. Abner D. Goldstine The Gorfaine / Schwartz Agency, Inc. Nancy and Barry Greenfield Carolyn and Bernard Hamilton Seta Hanoian Harvard-Westlake School Stephen T. Hearst Heaven Sent Foundation Bud and Barbara Hellman Dr. Diane J. Henderson Susan and Tom Hertz Roberta and Burt Horwitch Robin and Gary Jacobs Mary and Russell Johnson Marty and Cari Kavinoky Anne and Michael Keating KPMG LLP Mrs. Joan Kroll Mr. Seth Krugliak Ellie and Mark Lainer Mr. and Mrs. B. Allen Lay Mrs. Gayle Leventhal Audrey Davis and Peter Dan Levin Lydia and Charles Levy Masha and Matthew Lichtenberg The Luppe & Paula Luppen Family Foundation Laura and James Maslon Matt Construction Corporation Jonathan and Delia Matz Kathleen Maurer Foundation Liliane Quon McCain Mrs. Edward H. McLaughlin, Jr. Dr. and Mrs. Robert Mendez O’Malley and Ann Miller Mr. Weston F. Milliken Haydee and Carlos A. Mollura Ms. Susan Morad at Worldwide Integrated Resources, Inc. Museum of Modern Art Elizabeth Hirsh Naftali and Yehuda Naftali NBC Universal Ms. Kristi Jackson and Mr. William Newby Kim and P.F. James Overton Mary Jayne Parker and Beckie Yon Brian Pendleton and Chad Goldman Lyle and Lisi Poncher Rita and Norton Reamer Robert Gore Rifkind Foundation Natalie Roberts Lois Rosen Michael S. Rosenblum and Sheri Bloomberg Mr. and Mrs. Anthony J. Rossi Ms. Karen Roxborough Anna Sanders Eigler Ron and Melissa Sanders Warren & Katharine Schlinger Foundation Malcolm Schneer Family Trust Mr. Dino Schofield Evy and Fred Scholder Mr. Samuel Schwartz Chris and Anne Marie Scibelli Marc Seltzer and Christina Snyder Gloria Sherwood Mark Siegel Mr. Bill J. Silva Ms. Christine Smith Mr. and Mrs. Richard Sondheimer Mr. Lev Spiro and Ms. Melissa Rosenberg Stein Family Fund - Judie Stein Drs. Ellen and James Strauss Priscilla and Curtis S. Tamkin Teshinsky Family Foundation Michael Frazier Thompson

PERFORMANCES MAGAZINE

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“...into the garden�

2014 Annual Benefit Tour

Pathways to Paradise

Elinor and Rubin Turner Universal Music Classes Mr. and Mrs. Peter J. Van Haften Warner Bros.

Bob and Dorothy Webb Doris Weitz and Alexander Williams Robert Allan White Mrs. Judith Wolf Ms. Robbi Work Mr. and Mrs. Richard Wynne Mrs. Lillian Zacky Bobbi and Walter Zifkin Zolla Family Foundation Susan Zolla, In Memory of Edward M. Zolla Mr. David Zuckerman

$7,500 to $9,999

Saturday May 17 10 AM to 4PM

Y Y

Grand Marshal Hutton Wilkinson Tours of Four Private Westside Gardens Buffet Luncheon Boutique Shopping Book Signings Fashions on the Lawn

Y

The Robinson Estate is embellished by Prominent Designers & Florists

Y

www.Robinsongardens.org 310-550-2068 for information and admission 54

Admarketing, Inc. Dr. and Mrs. Frank Agrama Bernie J. Beiser Barbara Bernstein and Stephen R. Bernstein Employees Community Fund of Boeing California Ms. Nancy Carson Doug and Linda Clarke Tim and Neda Disney Gail and James Ellis Ms. Lisa Field C. Randolph Fishburn Rachel Gerstein Leslie and Cliff Gilbert-Lurie Goldman, Sachs & Co Matching Gift Program Mr. Manuel Graiwer and Ms. Lucrecia Tulic Mr. Jeff Green Suzanne H. Christian and James L. Hardy Dr. and Mrs. Samuel B. Haveson Alan and Michelle Heilpern Myrna & Uri Herscher Family Foundation Mr. James Herzfeld Mr. Philip Hettema Dr. Gregory and Michele Jenkins Dr. William B. Jones Mr. Gary Kirkpatrick Michael and Patricia Klowden Carol Krause Mrs. Grace E. Latt Rick and Jan Lesser Levene, Neale, Bender, Yoo & Brill LLP Mannco Mr. Brian R. Morrow Larry and Beth Peerce Mr. and Mrs. Joseph P. Perna Joyce and David Primes Mr. James H. Radin Murphy and Ed Romano and Family Ms. Rita Rothman Mr. and Mrs. William Ruch Santa Monica Westside Philharmonic Committee Dr. Lee B. Silver, M.D. June Simmons Mr. and Mrs. Richard Sondheimer Suzanne and Joseph Sposato Louis Stern The Valley CommitteeS for the Los Angeles Philharmonic Robert and Penny White Ms. Lori Williams

$5,500 to $7,499 Anonymous Nancy and Leslie Abell Mrs. Lisette Ackerberg Mr. and Mrs. Stephen L. Allen Mr. Robert C. Anderson Art and Pat Antin Ms. Judith A. Avery Mr. Thomas S. Ballantyne Mr. and Mrs. Richard L. Battista

Mr. and Mrs. Roy A. Battocchio Mr. and Mrs. Barry Beitler Maria and Bill Bell Robert Bellevue Benevity Community Impact Fund The Honorable and Mrs. Michael Berg Mr. and Mrs. Adam Berger Carol and Charles S. Berney Mr. Ronald H. Bloom Martha and Avrum Bluming Roz and Peter Bonerz Mr. and Mrs. Hal Borthwick Gabriel and Deborah Brener Cindy and Tony Canzoneri Ms. Diane Cataldo CBS Entertainment Pat and Niles Chapman Chicago Title Company Committee of Professional Women for LAPA Mr. and Mrs. Richard W. Cook Mr. Barry Cooper Brian Cox Dr. Carey Cullinane Custom Employee Benefits Mrs. Nancy A. Cypert Mr. Cary Davidson Ann Deal Mr. David Dicristofaro Ms. Victoria Dummer The Annie M. Edlen Foundation Veronica and Robert Egelston Dr. James Eshom Mr. and Mrs. David Fett Beverly A. Fittipaldo Sandra Krause and William Fitzgerald Mr. Jay G. Foonberg Mr. Thomas Ford Ms. Katherine Franklin Lorraine and Donald Freeberg Gary and Cindy Frischling Ms. Linda Gassoumis Dr. Suzanne Gemmell Earl B. Gilmore Foundation Mr. and Mrs. James H. Gisbrecht Mr. and Mrs. Herbert Glaser Mr. and Mrs. Richard Goldman Henry J. Gonzalez, M.D. Leslie A. Goodman Lee Graff Foundation Mr. Leonard I. Green Mr. and Mrs. Paul E. Griffin III Ms. Paula M. Grigsby Mr. and Mrs. Michael J. Grobstein Mr. and Mrs. Paul Guerin Mrs. Judith Gurian Mrs. Audrey R. Haas Mr. and Mrs. David Haddad John and Elizabeth Hancock Alan Harris and Marcella Ruble Mr. Les Harrison Mr. Willis Hayes Mr. Rex Heinke and Judge Margaret Nagle Margaret M. Hess Marion and Tod Hindin Anita Hirsh Janice and Laurence Hoffmann Mr. and Mrs. Daniel Paul Horwitz Dr. and Mrs. Mel Hoshiko Dr. and Mrs. Mark H. Hyman Isen Family Foundation Dr. and Mrs. Adel F. Jabour Michele and James Jackoway Mr. and Mrs. Theodore W. Jackson Ms. Lorri L. Jean and Ms. Gina M. Calvelli Mrs. Michelle Joanou Mr. and Mrs. Tim C. Johnson

F

Th of rec

Govind Armstrong photo by Vanessa Stump; Suzanne Goin photo by David Young-Wolf Photography; Miles Thompson

Friends of Robinson Gardens

ANNUAL DONORS

PERFORMANCES MAGAZINE

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Govind Armstrong photo by Vanessa Stump; Suzanne Goin photo by David Young-Wolf Photography; Miles Thompson photo by Marie Buck Photography; Curtis Stone photo by Ray Kachatorian; Ori Menashe photo by Sierra Prescott; Margarita and Walter Manzke photo by Ryan Tanaka

The Hollywood Bowl picnic season is just around the corner. Make your experience memorable by becoming a member of Chefs Picnic Club. Every Monday during the Hollywood Bowl season, you will be emailed simple, innovative picnic recipes themed on the venue’s weekly programming, from the hottest chefs on the dining scene. IT’S FREE!

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Members of the Glendale Committee with the Music Mobile™ Glendale Committee for the Los Angeles Philharmonic The Glendale Committee, a group of 25 women, was founded in 1962 and actively supports the Los Angeles Philharmonic in various ways. The members have volunteered with Symphonies for Schools and the Saturday morning Symphonies for Youth concerts, as well as assisting with the Pasadena Showcase House of Design.

The Glendale Committee is passionate about youth music education. Every January, members take the Music Mobile™, which is a van loaded with instruments, to Glendale elementary schools and present a program to the 3rd grade classes. The students receive an introduction to the instruments of the orchestra and a hands-on experience with the instruments. For many of these students, this is the first time holding an orchestral instrument, and their delight is extremely evident to all. In addition to presenting the Music Mobile program to the schools, the Committee has provided buses to select Glendale elementary schools to attend the Hollywood Bowl’s presentation of the Music Mobile.

In the spring, the Committee presents a grant to the instrumental music teachers of three middle schools to support their classroom music program. Teachers are able to purchase instrument supplies, music, or additional instruments with these funds.

The Glendale Committee meets monthly in member’s homes. Twice a year, there is a luncheon with a special musical program, and guests are invited to attend. In December, an LA

Phil member performs, and in the spring, local high school student musicians are featured.

For further information about the Glendale Committee, please contact the Volunteer Office of the LA Phil at 213.972.3530.

Peninsula Committee Presents a Grand Salon The Peninsula Committee will proudly present a Grand Salon on Sunday, June 1, at a spectacular Palos Verdes oceanfront estate.

This year the annual event will feature a performance by Andrew Bain, Principal Horn player for the Los Angeles Philharmonic.

As guests arrive they will be greeted by a chamber ensemble comprised of outstanding young musicians from Peninsula schools.

Before the featured horn concert, guests will sample fine wines and an array of gourmet tastings from notable South Bay restaurants.

Andrew Bain

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ANNUAL DONORS Jones Day Ms. Marian L. Hall Eileen and Ken Kaplan Dr. and Mrs. Robert M. Karns Ms. Nancy Katayama Sandi and Kevin Kayse Mr. William M. Keck II Kem Productions, Inc. Lisa See and Richard Kendall Dr. and Mrs. Robert Koblin Mr. and Mrs. Stephen A. Kolodny Joan Velazquez and Joel Kozberg Mr. and Mrs. Stanley Kramer Ms. Phyllis Kupferstein and Mr. Donald O. Farkas Dr. and Mrs. Kihong Kwon Mr. and Mrs. Jack D. Lantz Mr. James D. Laur Mr. George Lee Leonard Green and Partners LP Mr. and Mrs. Norman A. Levin Anita and Saul Levine Dr. and Mrs. Rendel L. Levonian Susan Disney Lord and Scott Lord Kristine and David Losito Shelly and Dennis Lowe Sandra Cumings Malamed & Kenneth D. Malamed Mona and Frank Mapel Pamela Mass Leslie and Ray Mathiasen Mr. and Mrs. Thomas E. McCarthy Mrs.Lydia McCroskey Dr. and Mrs. Sheldon Mehr Mr. and Mrs. Rick Merrill Mr. and Mrs. Dana Messina Mr. and Mrs. Simon Mills Moore McLennan, LLP Mr. and Mrs. Angelo R. Mozilo Ms. Lillian Mueller Mr. and Mrs. James Mulally Nathan Family Foundation Mrs. Cynthia Nelson Mr. and Mrs. Randy Newman Ms. Becky Novy Irene and Edward Ojdana Linda and Ed Ornitz Robert J. Posek, M.D. Mrs. Miriam Rand Marcia and Roger Rashman Red Light Management Dr. David Reinhardt Dr. and Mrs. Gordon S. Reiter Mr. and Mrs. Frederic Rheinstein Mr. and Mrs. Scott H. Richland Mr. Jed Robinson Ms. Elizabeth Davis Rogers David and Lori Rousso Mr. and Mrs. Bill H. Rowland Mr. and Mrs. Paul Rutter Dr. and Mrs. Bernard Salick Mr. Alexander Sawchuk Mr. and Mrs. Alfred G. Scheid Dr. Warren and Katherine Schlinger Mr. Walter Sebring Samantha and Marc Sedaka Neil Selman and Cynthia Chapman Mr. and Mrs. William E. B. Siart Mr. Adam Sidy Annette Simons Trust Thomas C. Sadler and Dr. Eila C. Skinner Mr. Douglas H. Smith Mr. and Mrs. Richard E. Sobelle SouthWest Heights Philharmonic Committee Mr. George Sponhaltz Steaven K. & Judith G. Jones Foundation Strauss Foundation

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ANNUAL DONORS Celebrating the Golden Age Belmont Village residents enjoy exceptional hospitality, luxurious amenities and premier programs for health and wellness. Senior Living has never looked better!

belmontvillage.com Burbank (818) 972-2405 Encino (818) 788-8870 Hollywood Hills (323) 874-7711 Rancho Palos Verdes (310) 377-9977 Thousand Oaks (805) 496-9301 Westwood (310) 475-7501

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Maia and Richard Suckle and The Anna & Benjamin Suckle Foundation Mr. Paul A. Swerdlove Thomson Technicolor Keith and Cecelia Terasaki Mr. and Mrs. Harris Toibb Mr. and Mrs. Richard E. Troop Linda and Sorrell Trope Ciedra Urich-Sass Bruce Vaughn David H. Vena Christopher V. Walker Fredda and Bruce Wasserman Mr. Beryl Weiner Mr. Robert E. Willett Mr. Jeffrey Winant Karen and Richard Wolfen

$3,500 to $5,499

Anonymous (5) Ms. Olga S. Alderson Mr. and Mrs. Daniel E. Altman Lynn K. Altman Mr. Philip Anthony Linda and Robert Attiyeh Gary N. Babick Ms. Lisa Baronsky Marilyn and Alan Bergman Mr. and Mrs. Elliot S. Berkowitz Winner of the George Mason University Healthcare Mr. Ira Bilson and Mrs. Alberta Stahl Award for the Circle of Friends© memory Adele and Gordon M. Binder program for Mild Cognitive Impairment.

Dr. Andrew C. Blaine and Dr. Leigh Lindsey Mary Anne and Bradford B. Blaine Mrs. William E. Bloomfield RCFE Lic 197608468, 197608466, The Boeing Company Gift Matching Program 197608467, 198601646, 197608291, Anita and Joel Boxer 565801746 © 2014 Belmont Village, L.P. Mrs. Marie Brazil Ms. Deborah Barth Bremner Joyce Klein and Gerald Breslauer 3/25/14 1:28 PM Kevin and Claudia Bright Abbott Brown Mrs. Linda L. Brown Terry and Fran Buchanan Mr. and Mrs. Richard Camp Mr. and Mrs. Tom R. Camp Sue Chandler Jim and Carolyn Cheney Ms. Carla Christofferson For one evening, leave the multitasking Mr. Morgan Chu Jan R. Cloyde to Jeffrey Kahane. He conducts Patricia and Ira Cohen two double concertos from the keyboard Dr. and Mrs. Lauren Harold Colloff and a third from the podium.

Ms. Melanie Cook and Mr. Woody Woods Ray Ushikubo joins him for Bach and Mr. and Mrs. Bruce Corwin Richard Cullen and Robert Finnerty Joanne Pearce Martin for Mozart, Dr. and Mrs. Robert A. Cutietta while Jeremy Denk performs the fiendishly Mr. Dudley Danoff finger-twisting Ligeti.

Mr. Morris Darnov Mr. and Mrs. Milton Delugg Mike and Anne DeMartini bach & mozart: double concertos Ms. Mary Denove sat may 17 @ 8 pm Alex Theatre, Glendale Mr. and Mrs. Delano Dinelly sun may 18 @ 7 pm Royce Hall, UCLA Mr. and Mrs. A. Redmond Doms, Jr. Mr. Redmond Doms Jeffrey Kahane conductor & piano Laura Donnelley Ray Ushikubo piano Mr. David A. Drummond Jeremy Denk piano Mr. and Mrs. Gerald Du Manoir Joanne Pearce Martin piano Mr. Jon Dunham Mr. David Eisman Bach Concerto in C major for Two Pianos Mr. Marvin Elkin Ligeti Piano Concerto Mrs. Charles F. Elkins Mozart Concerto in E-flat major for Two Pianos Ellerbe Becket, Inc. Mr. Geoff Emery Jon and Peggy Feder Syndy Felnel Jen and Ted Fentin

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Mr. and Mrs. Irwin S. Field Marianna J. Fisher and David Fisher Mrs. Diane Forester Mr. and Mrs. Michael J. Fourticq Mr. and Mrs. James Freund Mr. Randall Fried Dr. Gwen K. Friend Dr. E. Peter and Thea Gabor Mr. and Mrs. George Garvey Susan and David Gersh Mr. and Mrs. Ronald H. Gertz Dr. and Mrs. Gary Gitnick Mr. James Gleason Mr. Manny Gleicher Glendale Philharmonic Committee Mr. Fred Glienna Mr. Gregg Goldman and Mr. Anthony DeFrancesco Dr. Patricia Goldring Dr. Robert Goldstein and Mrs. Eilene Rothman Goldstein Dr. Ellen Smith Graff Stuart R. Grant, M.D. Felix and Beverly Grossman Foundation Mr. Gary M. Gugelchuk Ms. Laura C. Guthman Sally Gutierrez and Ed Mineo Mr. William Hair Hancock Park Associates Christopher and Laurie Harbert Mr. Alan Harris and Ms. Marcella Ruble Mr. Harris Hartman Mr. Thomas J. Hartman and Ms. Deanna A. Elwell Mr. and Mrs. Brian L. Harvey Mr. and Mrs. Stephen Heaney Lois M. Petzold Hindin Ms. Diane C. Weil and Mr. Leslie R. Horowitz Ms. Marcia H. Howard The Thelma Pearl Howard Foundation Dr. Timothy P. Howard Mr. Arthur Huberman and Ms. Debra S. Kanoff Mr. Andrei Iancu Mr. Richard S. Jacinto Mr. and Mrs. Paul A. James Mr. and Mrs. David S. Karton Dr. and Mrs. David Kawanishi Mr. Kent Keller Mr. and Mrs. Michael Kelly Ms. Olive Margaret Kemp Carrie and Stuart Ketchum Laura King and Charles Nagurka Richard and Lauren King Mrs. Elizabeth Koen The Konheim Family Susanne and Franklin Konigsberg Mr. and Mrs. Thomas Kranz Dr. Fred Kurata David Lann and Arlene Luizza Mr. and Mrs. Christopher C. Larkin Stephen D. Layton of E and B Natural Resources Mr. Donald S. Levin Dr. and Mrs. Albert Levine Mr. and Mrs. Edward B. Levine Dr. Stuart Levine Peachy and Mark Levy Dr. and Mrs. Mark Lipian Ellen and Mark Lipson Jane and Howard Lipstone Long Beach Auxiliary of the LAPA Elizabeth and Robert J. Lowe Mr. and Mrs. Boutie Lucas Crystal and Elwood Lui Mr. and Mrs. Stuart P. Mabon Mr. Michael Maltzan Mr. Prem Manjooran Mr. and Mrs. Ronald Manzani Claudia and Mike Margolis Mara and Allan Marks

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ANNUAL DONORS

STORE Distinctive Artwork Contemporary Jewelry Architectural Pieces Great Music • Fine Books Cool Items for Kids LA Phil Gift Cards Gustavo Dudamel Merchandise Hand-woven baskets by ZenZulu tribe

WALT DISNEY CONCERT HALL LAPhilStore.com • 213.972.3440 • 131 S. Grand Ave., Los Angeles 10am-5pm daily • open during and after evening concerts

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Clara and Bret Martin Mrs. Suzanne Marx Mr. and Mrs. Kevin Mayer Mr. William McClure Mr. William McCune Mr. and Mrs. William F. McDonald Mr. and Mrs. James B. McKenna Mr. Harry T. McMahon Mrs. Marilyn Meltzer Dr. Gary Milan Mr. and Mrs. Michael D. Miller Mr. Lawrence A. Mirisch Cynthia Miscikowski Dr. Robert Modlin Linda and John Moore Ms. Noriko Fujinami and Mr. Paul D.Y. Moore Mr. Buddy Morra Toni Hollander Morse and Lawrence Morse Ms. Kari Nakama Mr. and Mrs. Peter Narbonne Mr. and Mrs. Allan Nemiroff Catherine and Eugene Ohr Mr. Steven Ohren Mr. Dale Okuno Ms. Jean Oppenheimer Mr. and Mrs. David Overton Cathryn and Victor Palmieri Palomar Ventures Mr. and Mrs. Richard O. Pancost Ellen Pansky Mr. Jamshid Parvaresh and Mrs. Pardis Mirzai Joan Payden Mr. John G. Perenchio, Esq. Glenn Pfeffer Mrs. Ruth S. Popkin Sandra and Lawrence Post Ms. Eleanor Pott Mr. Albert Praw Ms. Miriam Rain Richie-Madden Children’s Foundation Mr. Fredric N. Richman Sharon and Nelson Rising Mr. and Mrs. Norman L. Roberts Ms. Elizabeth Roberts Betsey and Neil Roberts Mrs. Margaret Robinson Ms. Pauline Romano Dr. David L. Rose Ronald S. and Judith Rosen Peter K. & Marla A. Rosen Mr. and Mrs. Brad Rosenberg Joyce and Deane Ross Dr. James M. Rosser Mr. and Mrs. Matthew Rowland Mr. and Mrs. Mark Rubin Mr. and Mrs. Allan M. Rudnick Sandra and Paul Rudnick Dr. Michael Rudolph Shawn and Cathy Ryan Household Ann M. Ryder Mr. and Mrs. Avram Salkin Mr. and Mrs. Lee C. Samson Ms. Yoriko Saneyoshi and Ms. Kay Harrington Kenneth D. Sanson, Jr. Mr. Noriyuki Sasaki David N. Sayah, M.D. Roger and Marlene Schaffner Household Margaret and David A. Schwanke Mr. and Mrs. Edward Scott Dr. and Mrs. Hooshang Semnani Mr. Hovav Shacham Robert and Sue Shadur E. L. and Ruth B. Shannon Family Foundation Mr. Stan Sharma Hope and Richard N. Shaw Ryan Shawn

PERFORMANCES MAGAZINE

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Dr. John L. Sherman Doreen and Jack Shine Mr. and Mrs. Elliot Shoenman Marion and Rocco Siciliano Mrs. Anita Silverstein Mr. and Mrs. Martin A. Sklar Professor Judy and Dr. William Sloan Barbara and Hugh Smith H. Russell Smith Foundation Mr. Steven Smith Mr. and Mrs. Michael G. Smooke Ms. Virginia Sogomonian Mr. and Mrs. William Sollfrey Ms. Lisa Specht Mr. and Mrs. C. Edward Spiegel Dr. and Mrs. Norman F. Sprague, III Ms. Angelika Stauffer Mr. and Mrs. Mark Stern Mr. Roger Stewart Perri J. Stinson, Ph.D. Mr. Max Stolz, Jr. Mr. Ed Summers Mr. Takehiko Suzuki Mr. Stephen A. Talesnick Mr. Marc A. Tamaroff Mr. and Mrs. Randall Tamura Mr. Stephen S. Taylor Thomas and Elayne Techentin Thomas Investment Partners Mr. and Mrs. Harlan H. Thompson Arlette M. Towner Bonnie K. Trapp Felisa Vanoff Vargo Physical Therapy Billie and Richard Udko Mr. and Mrs. Zev Vered Jennifer Vogel Koltai Mr. and Mrs. Terry Volk Mr. Richard J. Ward Mrs. Elaine Warsaw Mr. Seymour Waterman Mr. Sage Weil Mr. and Mrs. Doug M. Weitman Fern and Ronald H. Wender Mr. Michael J. Widman Dr. Helen B. Wolff Mr. Sergei Yershov

Donate Your Best So We Can Do Our Best Donations of gently-used items help us provide services for at-risk women, children and families.

$2,000 to $3,499

Anonymous (5) Gary and Diane Ackerman Arnon and Camille Adar Lena and David Adishian AECOM Mr. Steven C. Afriat Mr. Robert A. Ahdoot Dr. and Mrs. David Aizuss Ms. Mara Akil Geraldine and Harold Alden Mr. Davis Alexander Missy and Dennis Alfieri Ms. Janice Altemus Mr. Ronald Altoon American Society of Composers, Authors and Publishers Paul and Herta Amir Mr. and Mrs. Mark Andes Mr. Richard Anzalone Sandra Aronberg, M.D. and Charles Aronberg, M.D. Mrs. Shirley Ashkenas Avery Dennison Corporation Ms. Mary L. Babbitt Mr. and Mrs. Mustapha Baha The Marie Baier Foundation Dr. Alice Huang and Dr. David Baltimore Pamela and Jeffrey Balton Jackie and Howard S. Banchik Bruce and Adrienne Barack Mr. James Barker Dr. Margaret Bates Mr. and Mrs. Ronald N. Baumgarten Mr. Richard Bayer

Tax-deductible itemized receipts Call us to schedule your pick up 8 convenient locations

800-400-6259 www.ncjwla.org PERFORMANCES MAGAZINE NCJWOurBestFurniturePerformance_.indd 1

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Ms. Malinda Gilchrist Mr. and Mrs. Gregg J. Gittler Mr. Jerome J. Glaser The Jacqueline Glass Family Mr. Paul M. Glenney Robert Glicksteen Mr. Gary Goldberg and Dr. Diana Meehan Mr. and Mrs. Ronald Goldberg Dr. and Mrs. Steven Goldberg Mr. and Mrs. James Goris Mr. and Mrs. J.B. Graner Mr. James Granger Dr. and Mrs. Edmund R. Gray Dr. Stuart and Mrs. Adrienne Green Mr. and Mrs. Carl C. Gregory Mr. Alan Grosbard Cornelia Haag-Molkenteller, M.D. Mr. and Mrs. Rod Hagenbuch Mr. William Hague Ms. Sherry Hall Tomeo Mr. and Mrs. Thomas R. Hamilton Ms. Daytra Hansel Mr. James Hardy Harman International, Inc. Mr. and Mrs. William Harper Mr. Lewis K. Hashimoto DeAnne and Byron Hayes Mr. and Mrs. Kenneth Hearn Mr. Steven Z. Heckler Mr. Robert Heenan Damon R. Hein and Vince Bertoni Gail and Murray E. Heltzer Mr. Clair Higgins Ms. Karen Hillenburg Mr. and Mrs. Eric Hirshberg David and Martha Ho Linda Joyce Hodge Ms. Judy Hohman Mr. and Mrs. Philip J. Holthouse Douglas and Carolyn Honig Mrs. Katherine M. Horgan Ms. Julia Huang Dr. Marianne Huntsberry-Dorner Jill J. Hurwitz Illig Construction Company Mr. Arturo Irizarry Dr. and Mrs. William H. Isacoff Dr. Douglas W. Jackson and Curtis W. Spencer Mr. Richard Jacobs Mr. and Mrs. Leonard Jaffe Ms. Joan D. Johnson Jones Marketing Services Ms. Marcia Jones Ms. Martha B. Jordan Kristofer Jorstad Mr. James Judge Mr. Ken Kahan Mr. and Mrs. James Kang Karen and Don Karl Kayne Foundation Kayne, Anderson & Rudnick Patricia Keating and Bruce Hayes Ms. Jean Keatley Richard Kelton Mr. John Kern Kidney Disease Medical Group Ms. Madeleine A. Kleiner Dr. Minas Kochumian Junko Koike Mrs. Rosalie Kornblau Kathleen McCarthy and Frank Kostlan KTN Enterprises, Inc. Carole and Norm La Caze Mrs. Estelyn La Hive Mrs. Dorothy Lake Mr. and Mrs. Keith Landenberger Hope Warschaw and John Law Mr. Tom Leanse Dr. Bob Leibowitz Mrs. Barbara Leidenfrost Mr. Benjamin Lench The Honorable Lisa Lench Mr. and Mrs. Steven Lepoole Mr. and Mrs. Michael J. Lesser Lauren B. Leichtman and Arthur E. Levine Nathalie Blossom and Howard Levy Lolly Levy Allison and Thomas S. Levyn Mr. and Mrs. Alvin P. Lewis

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Dr. Maria C. Linder Mr. and Mrs. Stuart S. Y. Liu Mr. and Mrs. Steve Loeb Los Angeles Philharmonic Affiliates at Large Los Angeles Philharmonic Committee Mr. and Mrs. Ronald Low Ms. Marion Lowry Cynthia Lee, M.D. Dr. and Mrs. Franklin W. Lusby Mr. Roger I. MacFarlane Susan and John MacLaurin Macy’s Foundation Ms. Marilyn Magid Ms. Wendie D. Malick Carol and Doug Mancino Mr. Paul Markovits Mr. and Mrs. William Marks Ms. Anita Marsten Mr. and Mrs. Gary O. Martin Milli M. Martinez Vilma S. Martinez, Esq. Richard Marx Ms. Suzanne Marx Dr. and Mrs. Allen W. Mathies Ms. Melissa Mathison Mr. Gary J. Matus Dr. and Mrs. Gene Matzkin Lorraine Mawhinney Mr. and Mrs. Roger Mayer Mr. and Mrs. Bruce A. Meyer Ms. Julie Milligan Linda Millman and Kenneth S. Millman Mr. Andrew Millstein Jody Minsky Ms. Cynthia Mitchell Mr. Marc Mitchell Montessori School In Memory of Harvey S. Morse Susan Morse-Lebow Ms. Gwyn Myers Ms. Carrie E Nedrow Dr. David Neer Ms. Rozann Newman Mr. John Norris Ms. Jeri L. Nowlen Mr. and Mrs. Oberfeld Mr. Dennis Oblock Mr. and Mrs. Arthur J. Ochoa Ms. Margo Leonetti O’Connell Mr. Donald Ohlmeyer Mr. and Mrs. Richard Orkand Mr. and Mrs. John B. Orr Mr. and Mrs. Jay Orringer Ms. Joyce B. Osborn Bill and Carol Ouchi Mr. Daniel J. Palladino Vic and Emilie Pallos Bob & Brana Paster Foundation Mr. Jack Perry Linda and Robert Perry Mr. Rupert Perry, CBE Ms. Iris Peters Mrs. Ethel Phipps Mr. Alan Pick Mrs. Charlotte Pinksy Mr. Joel Pollack Mr. Mark E. Pollack Mr. Fred O. Poston, III Mr. Joseph S. Powe Celeste Prince Janet and Jerald Puchlik Ms. Carmen A. Puliafito Pyro-spectaculars Jerome and Toby Rapport Foundation Mr. Charles C. Read Gay and Ronald Redcay Mr. and Mrs. W. Randolph Reiss Mr. and Mrs. Frank Renek William J. Resnick, M.D. Kirk and Cathy Reynolds Hon. Vicki Reynolds and Mr. Murray Pepper Ms. Iva C. Roberts The Rosenthal Group Steven and Robyn Ross Sadie and Louis Roth Foundation Inc. Mr. Daniel Rothmuller Mimi Rotter Mr. Larry Ruderman Mr. Habib Sadeghi

Mr. Adam Saitman Gail Samuel Ms. Francine E. Sanders Ms. Susan Fragnoli and Mr. David Sands Mr. Kevin J. Savage and Ms. Britta Lindgren Ms. Maxine Savitz Mr. William A. Scharpenberg Mr. and Mrs. Gerry Schwartz Jeanne and Robert Segal Dr. and Mrs. Hervey Segall Mr. Majid M. Seyedi-Rezvani Mr. and Mrs. Jeffrey Alan Seymour Dr. and Mrs. Hrayr K. Shahinian Dr. Hanna Shammas Abraham and Miriam Shapiro Mitchell and Ruth Shapiro Mr. Chris Sheridan Pamela and Russ Shimizu Mr. and Mrs. William Shinbane Mr. Scott Showalter Skadden, Arps, Slate, Meagher & Flom LLP Pamela J. Smith Drs. Phillip and Debra Sobol Daniel and Tracy Soiseth Alfred Sommer Speakers Bureau of the LAPA Mr. and Mrs. Mark Speare Curtis W. Spencer III, M.D. Mr. John W. Spiegel Dr. Vina Spiehler Ian and Pamela Spiszman Mr. and Mrs. Joseph Stein Mr. and Mrs. James S. Sterling Mr. and Mrs. Robert M. Stevens Ms. Sunshine Stone William R. Stringer The Elbridge & Evelyn Stuart Foundation Robert and Joan Sugar Mr. Brandon Sugimoto Dr. and Mrs. Edgar L. Surprenant Ms. I.H. Sutnick Mr. Ward Sylvester Mr. Bradley Tabach-Bank Mr. Akio Tagawa and Ms. Yui Suzuki Mr. Steven Tallarico Mr. Andrew Tennenbaum Dr. Douglas Thomas Tichenor & Thorp Architects, Inc. Ticketmaster Corporation (Attn: Heidi Fogelman) Helen and Conrad Timpe Mr. Ken Titley Ms. Mary A. Umekubo Mihaela Varga Ms. Dianne J. Vidugiris Frank Wagner Mr. Theodore Walch Mr. Andrew V. Walker James R. and Robin J. Walther Mr. Bradley A. Wayne Michael Weber and Frances Spivy-Weber Mr. and Mrs. Stephen Weber Mr. Joel Weiner Mr. and Mrs. Max K. Weissberg Dr. Robert Weissman Welch Family Foundation Westwood Village Development Co. Mr. and Mrs. Steven White Mr. William A. White Mr. Warren Williamson Ms. Tina H. Wilson Drs. Donald and Deborah Wiss Mr. and Mrs. Larry Wolf Mr. Payson Wolff and Dr. Helen Wolff Christopher Yo Mr. Dylan Yolles George and Eileen Young Mr. William Zak Ms. Seeta Zieger Mrs. Tamara Zipser Marshall S. Zolla Rachel and Michael Zugsmith

Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit LAPhil.com. If your name has been misspelled or omitted from this list in error, please contact the Development Office at 213.972.7557 and we will correct our mistake. Thank you.

PERFORMANCES MAGAZINE

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SUPPORT THE LA PHIL Annual Fund From the concerts that take place on stage at Walt Disney Concert Hall and the Hollywood Bowl, to the education programs that fill our community with music, it is support from Annual Donors that makes our work possible.

We hope you, too, will consider joining the LA Phil family. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music – sharing in its power to uplift, unite, and transform the lives of its listeners. For more information on how to become a donor to the LA Phil, please call 213.972.7557.

Board of Overseers Sandy and Barry D. Pressman, Chairs Nancy S. and Barry Sanders, Co-Chairs Alyce and Warren B. Williamson, 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.

back by popular DemanD

An evening with

David Sedaris Tue, Jun 24 Royce Hall 8pm

Back by popular demand, David Sedaris returns to Royce Hall for another winning evening at the podium featuring anecdotes, works-in-progress and readings from recent and popular books.

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.

We invite you to join the Friends and Patrons of the LA Phil program. 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.

Ticket sales cover only a portion of the costs associated with the LA Phil’s extraordinary menu of artistic and educational activities. Your participation, at any level, is critical to our vitality and success. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil program. For more information, please call 213.972.7557.

PERFORMANCES MAGAZINE

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CITY OF LOS ANGELES

Eric Garcetti Mayor Mike Feuer City Attorney Ron Galperin Controller CITY COUNCIL

Bob Blumenfield Mike Bonin Joe Buscaino Gilbert Cedillo Mitchell Englander Felipe Fuentes Jose Huizar Paul Koretz Paul Krekorian Tom LaBonge Assistant President Pro Tempore Nury Martinez Mitch O’Farrell Bernard C. Parks Curren D. Price, Jr. Herb J. Wesson, Jr. President

Before The Curtain Goes Up Or After The Curtain Comes Down

DEPARTMENT OF CULTURAL AFFAIRS

Olga Garay Executive Director CULTURAL AFFAIRS COMMISSION

Maria Bell York Chang President Annie Chu Charmaine Jefferson Richard Montoya Lee Ramer Josephine Ramirez Vice President

WALT DISNEY CONCERT HALL HOUSE STAFF

R E S T A U R A N T

Wilshire Boulevard at Doheny Drive 310-278-3699 66

Ronald H. Galbraith Master Carpenter John Phillips Property Master Terry Klein Master Electrician Kevin F. Wapner Master Audio/Video Greg Flusty House Manager The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada, Local No. 33.

PERFORMANCES MAGAZINE

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F I V E D E CA D E S | J OA N M I R Ă“

MAY 2014

GALERIE

MICHAEL

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THE MUSIC CENTER 2013-2014 BOARD OF DIRECTORS OFFICERS

MEMBERS AT LARGE

Lisa Specht

Wallis Annenberg Colleen Bell Louise Henry Bryson Fung Der Craig A. Ellis David Gindler Brindell Gottlieb Joyce Hameetman Dennis Haysbert Stephen F. Hinchliffe, Jr. Amb. Glen A. Holden Richard B. Jones Carolbeth Korn Amb. Lester B. Korn Nigel Lythgoe Martin Massman Patrick S. McCabe Bowen “Buzz” H. McCoy Elizabeth Michelson Neal S. Millard Darrell D. Miller Cindy Miscikowski

BOARD CHAIR

Robert J. Abernethy Michael J. Pagano VICE CHAIRS

Stephen D. Rountree PRESIDENT AND CHIEF EXECUTIVE OFFICER

Karen Kay Platt SECRETARY

Thomas R. Weinberger TREASURER

Lisa Whitney ASSISTANT TREASURER AND CHIEF FINANCIAL OFFICER

DIRECTORS EMERITI Shelby Notkin Diane Paul Kurt C. Peterson Max Ramberg Joseph Rice Richard K. Roeder Thomas L. Safran Carla Sands Joni J. Smith Catharine Soros Marc I. Stern Cynthia A. Telles Franklin E. Ulf Walter F. Ulloa Catalina Joos Vergara Timothy S. Wahl Susan M. Wegleitner Alyce Williamson Rosalind W. Wyman Stephen G. Contopulos GENERAL COUNSEL

Peter K. Barker Judith Beckmen Eli Broad Ronald W. Burkle Lloyd E. Cotsen John B. Emerson* Lois Erburu Richard M. Ferry Bernard A. Greenberg Joanne D. Hale Stuart M. Ketchum Kent Kresa Robert F. Maguire, III Ginny Mancini Edward J. McAniff Walter M. Mirisch Fredric M. Roberts Claire L. Rothman James A. Thomas Andrea L. Van de Kamp* Paul M. Watson *­CHAIR EMERITUS

SUPPORT THE MUSIC CENTER

CONTACT THE MUSIC CENTER

The Music Center Annual Fund supports world-class dance programming, nationally recognized arts education programs and participatory arts programs that inspire people of all ages and create opportunities for expression.

It is only through unrestricted annual support that our innovative programs continue to grow.

General Information Theatre Rentals Filming Patina Restaurant Group/Catered Events Audio Description/Project D.A.T.E. (Direct Audience Theatre Experience) Lost and Found

For more information, please call (213) 972-4349.

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(213) 972-7211 (213) 972-3600 (213) 972-7334 (213) 972-3331 (213) 680-4017 (213) 972-2600

4/10/14 2:52 PM

44th ANNUAL BLUE RIBBON

CHILDREN’S FESTIVAL: CELEBRATING THE MAGIC AND IMPACT OF THE ARTS

Each Spring, The Music Center comes to life with the sounds of joyful laughter and excitement as 18,000 fifth grade students enjoy a special performance on the stage of the Dorothy Chandler Pavilion and then take to the stage—or in this case, The Music Center Plaza—where they become the stars.

Thanks to The Blue Ribbon of The Music Center, more than 800,000 students have had the opportunity to share in this magical experience, known as The Blue Ribbon Children’s Festival. One of California’s longestcontinuing free arts education programs, the Festival is now in its 44th year, thanks to the dedication of The Blue Ribbon, an independent charitable group of outstanding women leaders in the Los Angeles community. Founded by Dorothy Chandler in 1968, The Blue Ribbon is committed to giving students access to the best of the performing arts from a young age.

Students participating in this year's Blue Ribbon Children's Festival (held April 9-11) experienced a performance by the Paul Taylor Company. The company’s choreographer, Paul Taylor, is one of America’s greatest living pioneers of modern dance.

After the performance, the students joined with their peers from all over Los Angeles County on The Music

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Center Plaza in a dance inspired by Paul Taylor’s work and choreographed just for them.

Against the backdrop of an increasing number of studies that show the arts transform the lives of young people, the Festival opens the eyes of fifth graders to the wonders of the performing arts. For many students who have never visited The Music Center, or seen a live performance in a theater, the opportunity to experience the arts firsthand has real and lasting impact. Thanks to a gift from Blue Ribbon member Maxine Dunitz, each student who attends the Festival receives A Journey Through The Music Center, a keepsake book about The Music Center’s history and the many aspects of live performances.

This year, as The Music Center readies to celebrate its 50th anniversary, The Blue Ribbon pays particular tribute to the countless devoted fifth grade teachers who make it possible for students to experience The Blue Ribbon Children’s Festival. Their enthusiasm for the arts expands the horizons of students. The Blue Ribbon hopes these students and their teachers will be inspired to return again and again to enjoy the many artistic resources at The Music Center.

4/10/14 2:52 PM

COUNTY OF LOS ANGELES

Through the support of the Board of Supervisors, the County of Los Angeles plays an invaluable role in the successful operation of The Music Center.

BOARD OF SUPERVISORS

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Gloria Molina

Zev Yaroslavsky

Michael D. Antonovich

FIRST DISTRICT

THIRD DISTRICT

FIFTH DISTRICT

Mark Ridley-Thomas

Don Knabe

William T Fujioka

SECOND DISTRICT

FOURTH DISTRICT, CHAIRMAN

CHIEF EXECUTIVE OFFICER

4/10/14 2:52 PM

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At The Music Center May 2014

Sumayya Ali, David Hughey and the cast of The Gershwins’ Porgy and Bess Photo by Michael J. Lutch

Plácido Domingo in Thaïs. Photo by Tato Baeza.

THURSDAY, MAY 1

MONDAY, MAY 5

Porgy and Bess 8:00 PM Center Theatre Group / Ahmanson Theatre Runs through June 1

TUESDAY, MAY 6

The Tallest Tree in the Forest 8:00 PM Center Theatre Group / Mark Taper Forum Runs through May 25

THURSDAY, MAY 8

Javier Téllez: Games are forbidden in the labyrinth 12:00 REDCAT / 6:00 PM Gallery at REDCAT Runs through June 1

AX BRAHMS PROJECT: Ax & Dudamel 8:00 PM LA Phil / Walt Disney Concert Hall Runs through May 3

FRIDAY, MAY 2

25th Annual High School Choir Festival 1:00 PM LA Master Chorale / Walt Disney Concert Hall

SATURDAY, MAY 3

REDCAT International Children's Film Festival 3:00 PM REDCAT / Roy and Edna Disney / CALARTS Theatre Runs through May 11

SUNDAY, MAY 4

Organ Recital: Paul Jacobs 7:30 PM LA Phil / Walt Disney Concert Hall

Juan Manuel Echavarría: Coping with Violence, Defying Oblivion (Film Screening) 8:30 PM REDCAT / Roy and Edna Disney / CALARTS Theatre Green Umbrella: Vision in Music 8:00 PM LA Phil / Walt Disney Concert Hall Dudamel & Lang Lang 8:00 PM LA Phil / Walt Disney Concert Hall Runs through May 11

FRIDAY, MAY 9

The Next Dance Company 8:30 PM REDCAT / Roy and Edna Disney / CALARTS Theatre Runs through May 10

THURSDAY, MAY 15

Sibelius with Dudamel & Joshua Bell 8:00 PM LA Phil / Walt Disney Concert Hall Runs through May 16

SATURDAY, MAY 17

Saturday Mornings at The Opera: Mozart Opera Tales 10:00 AM LA Opera / Eva and Marc Stern Grand Hall of the Dorthy Chandler Pavillion

For more information, visit musiccenter.org or call (213) 972-7211.

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Wylie & The Wild West. Photo by Ross Hecox.

World City: Daughters of the Purple Sage and Wylie & The Wild West 11:00 AM The Music Center / & 12:30 PM W.M. Keck Amplitheatre Thaïs 7:30PM

LA Opera / Dorthy Chandler Pavillion Runs through June 7

SUNDAY, MAY 18

A Streetcar Named Desire 5:00 PM LA Opera / Dorthy Chandler Pavillion Runs through May 24

THURSDAY, MAY 22

Dmitri Hvorostovsky 7:30 PM LA Opera / Dorthy Chandler Pavillion

FRIDAY, MAY 23

MOZART / DA PONTE TRILOGY: Dudamel Conducts Così 7:30 PM LA Phil / Walt Disney Concert Hall Runs through May 31 Ravel with Dudamel & Grimaud 8:00 PM LA Phil / Walt Disney Concert Hall Runs through June 1

SATURDAY, MAY 31

Studio: Spring 2014 8:30 PM REDCAT / Roy and Edna Disney / CALARTS Theatre Runs through June 1

JOIN US @MusicCenterLA:

4/10/14 2:52 PM

Ernest Hemingway, Virginia Woolf and Elizabeth Hofmann.They’re all here at Villa Gardens.

From literary lectures and political discussions to evening concerts, Elizabeth found a rich new quality of life, a warm welcome, and the peace of mind that comes from living in an award-winning continuing care retirement community. And that was just the beginning. She now leads a tai-chi group, sharing a long-held interest with her new friends. And she’s a mentor, too, introducing new Villa Gardens residents to the stimulating, supportive community she loves. And with Pasadena’s restaurants, shops, plays, museums, and her daughter all close-by, Elizabeth is right at home.

Elizabeth Hofmann

“It feels like coming home again. You just have to walk out your door to find people who are happy to see you.”

Find home. Find new friends. Find it all.

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We’re an equal opportunity housing provider.

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Owned And Operated By a Subsidiary of NRT LLC. Broker does not guarantee the accuracy of square footage, lot size or other information concerning the condition or features of property provided by seller or obtained from public records or other sources, and the buyer is advised to independently verify the accuracy of that information through personal inspection and with appropriate professionals.

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