Performances Magazine: Los Angeles Philharmonic February 2015 by California Media Group

FEBRUARY 2015 WALT DISNEY CONCERT HALL | LOS ANGELES PHILHARMONIC | GUSTAVO DUDAMEL, Music Director

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GUSTAVO DUDAMEL Music Director

FEBRUARY 2015 INSIDE

THE PROGRAMS

Welcome

FEBRUARY 3 – 15

FEBRUARY 18 – MARCH 1

Board of Directors

Music Director Gustavo Dudamel

FEB 3 – World Music: Kodo

FEB 18 – Colburn Celebrity Recital: Schiff

Los Angeles Philharmonic

Celebrate Chinese New Year!

FEB 6-8 – LA Phil: Manze, Hooten, Bain

FEB 19-21 – LA Phil: Zhang, Feng, Zhang, Wang

Los Angeles Philharmonic Association

FEB 10 – Chamber Music: Members of the LA Phil

P10 FEB 27, 28 – LA Phil: Mälkki, soloists, choruses

News from the LA Phil

Endowment Donors

Annual Donors

P16 FEB 12, 14, 15 – LA Phil: Valcˇuha, Argerich

P20 MAR 1 – LA Phil: Gražinyte˙ -Tyla

P21 FEB 13 – Jazz: Carrington et al.; McLorin Salvant

64 Affiliates 66 Support the LA Phil

PERFORMANCES MAGAZINE

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PERFORMANCES MAGAZINE

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L os An g e l e s â&#x20AC;&#x2122; Be s t - K e p t S e c re t

GALERIE W H E R E

T H E

MICHAEL

M A S T E R S

R E S I D E

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12/4/2014 1/12/15 10:43:19 1:17 PMAM

WELCOME

from the President and CEO

There are certain stories we return to again and again as a culture, endlessly interpreting them for our historical moment. Their characters become archetypes, and their meanings resonate across time and place. Alice’s Adventures in Wonderland is one of these stories. Nearly 150 years after its creation, Alice continues to attract artists of every conceivable discipline. Lewis Carroll’s fantastical rumination on the dreaming life of one very logical little girl has served as an inspiration for everything from full-length ballets and surrealist illustrations to pop song cycles and video games. This month, the LA Phil is proud to present what may be one of the most daring takes on Alice yet – composer Unsuk Chin’s groundbreaking opera Alice in Wonderland directed by Netia Jones with visual material derived from Ralph Steadman’s unforgettable 1973 illustrations of the story. Longtime LA Phil audiences will be familiar with both Chin and Jones. Chin is a frequent collaborator with the orchestra, which commissioned and performed three of her most recent works – Cantatrix Sopranica, Su (Concerto for Sheng and Orchestra), and Graffiti – at Walt Disney Concert Hall. Jones, a pioneering director and video artist, is best known locally for her stunning realization of Oliver Knussen’s one-act opera Where the Wild Things Are and her multimedia contributions to the LA Phil’s 2013 and 2014 season-opening celebrations. Together, Chin, Jones, and the LA Phil have tapped into the anarchy of Wonderland. Chin is the perfect musical match for Carroll – his linguistic playfulness finds expression in her command of pastiche and musical irony. A dark humor and sense of mischief are shot through the production, which promises to be among the most talked about of the season.

The rest of this month’s programs speak to the value of returning to texts as well – in this case, the musical texts of Mozart, Haydn, Tchaikovsky, and Chopin, among others. Mozart and Haydn will be featured on a program that highlights the tremendous talents of our orchestra’s Principal Horn Andrew Bain and Principal Trumpet Thomas Hooten. Tchaikovsky’s Rococo Variations and Chopin’s Grand Polonaise join the West Coast premiere of Tan Dun’s The Triple Resurrection in the LA Phil’s first-ever program celebrating Chinese New Year. Taken in combination, these programs ask us to consider why it is that we return to Mozart’s compositions or Carroll’s stories. Which cultural expressions stand the test of time, and which don’t? While many factors may play into a work of art’s fate, the simplest explanation may be that we return to works that are universal enough to speak to the most basic conditions of our humanity, but rich enough to give us something new to discover every time we encounter them. Ideally, we are all “Alices” when we enter the concert hall. We have left the real world of over-stuffed schedules and traffic behind, walked through the looking glass, and arrived in a far more imaginative place – one where, as the Queen of Hearts might say, you can “believe as many as six impossible things before breakfast.” No matter which concert you are joining us for this month, I hope we are able to evoke a sense of wonder in you. Enjoy the performance.

Deborah Borda President and Chief Executive Officer Los Angeles Philharmonic Association David C. Bohnett Presidential Chair

PERFORMANCES MAGAZINE

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

VICE CHAIRS David C. Bohnett* Jerrold L. Eberhardt* Jane B. Eisner* David I. Gindler* 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 Lawrence N. Field* Timothy F. Gallagher Sheri Bradshaw Gill Cecilia Aguilera Glassman Lenore S. Greenberg Carol Colburn Grigor Pierre Habis Teena Hostovich John F. Hotchkis* Jonathan Kagan Kenneth Kamins

Darioush Khaledi Ronald Litzinger Kevin MacCarthy Bowen H. “Buzz” McCoy John V. Mallory* Younes Nazarian Leith O’Leary William C. Powers* Barry D. Pressman, M.D.* Dudley A. Rauch* Ann Ronus Jennifer Rosenfeld Laura Rosenwald Nancy S. Sanders* Eric L. Small Christian Stracke Ronald D. Sugar* Jack Suzar Katherine Watkins Jonathan Weedman Alyce Williamson Marilyn Ziering *Executive Committee Member

HONORARY LIFE DIRECTORS Frank Gehry Bram Goldsmith Rocco C. Siciliano as of December 2014

PERFORMANCES MAGAZINE

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GUSTAVO DUDAMEL

GUSTAVO DUDAMEL is defined by his untiring advocacy of access to music for all. As a symphonic and operatic conductor, his music making on four continents continues to inspire audiences of all ages. Currently serving as Music Director of both the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, the impact of his musical leadership is felt internationally. While his commitment to these posts accounts for the major portion of his yearly schedule, Dudamel also guest conducts with some of the world’s greatest musical institutions. This season he returns to the Berlin Philharmonic, Berlin Staatskapelle, Gothenburg Symphony, Tonhalle Orchestra Zürich, and to the Vienna Philharmonic in Vienna and Salzburg as well as on tour through Europe and Asia. Dudamel made his first foray into composing for film with the major feature The Liberator / Libertador (the life of Simón Bolívar), for which he wrote the score and recorded it with the Simón Bolívar Symphony

Orchestra of Venezuela. The worldwide film release was in October 2014, with the soundtrack release in summer 2014. Gustavo Dudamel is in his sixth season as Music Director of the Los Angeles Philharmonic, where his contract has been extended through 2018/19, the orchestra’s 100th season. Under his leadership the Los Angeles Philharmonic has expanded its diversified outreach through many notable projects, including Youth Orchestra Los Angeles (YOLA), influenced by Venezuela’s widely successful El Sistema. With YOLA, Gustavo brings music to children in the underserved communities of Los Angeles, and also serves as an inspiration for similar efforts throughout the U.S. and in Europe. Now in his 16th season as Music Director of the entire El Sistema project in Venezuela and ushering this institution into its 40th anniversary season, Dudamel continues to lead the Simón Bolívar Symphony Orchestra, in Venezuela as well as on tour.

An exclusive Deutsche Grammophon artist since 2005, Grammy-winner Gustavo Dudamel has numerous recordings on the label, as well as many video/DVD releases that capture the excitement of significant moments of his musical life. One of the most decorated conductors of his generation, recent distinctions include the 2014 Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society from the Longy School, 2013 Musical America’s Musician of the Year and induction into Gramophone Hall of Fame, 2010 Eugene McDermott Award in the Arts at MIT, 2009 Chevalier de l’Ordre des Arts et des Lettres and one of TIME Magazine’s 100 most influential people, 2008 “Q” Prize from Harvard, along with several honorary doctorates. Gustavo Dudamel was born in Venezuela in 1981. Access to music for all has been the cornerstone of Gustavo’s philosophy both professionally and philanthropically.

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, both on stage and in the community, offering a diverse range of presentations that reflect the orchestra’s artistry and demonstrate its vision. 2014/15 marks the orchestra’s 96th season. More than 240 concerts are either performed or presented by the Philharmonic at its two iconic venues, the Frank Gehry-designed Walt Disney Concert Hall and the Hollywood Bowl, representing a breadth and depth unrivaled by other orchestras or cultural institutions. During its 30-week winter subscription season of more than 170 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 an artist’s or composer’s work. The LA Phil’s commitment to the music of our time is also evident throughout the season programming, as well in the exhilarating Green Umbrella series and the LA Phil’s extensive commissioning initiatives. Launching the 2013/14 season, the LA Phil presented a month-long celebration, Inside Out, commemorating the 10th anniversary of its winter home, Walt Disney Concert Hall. Highlights included a series of concerts with Conductor Laureate Esa-Pekka Salonen; free LA Phil community concerts culminating in the first joint concert with YOLA (Youth Orchestra Los Angeles) at Walt Disney Concert Hall; an opening night gala with Yo-Yo Ma featuring video installations by artist/director Netia Jones; and the world premiere of Frank Zappa’s 200 Motels. Praise for both the design and the acoustics of Walt Disney Concert 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.” Additional highlights of the LA Phil’s 2013/14 season included the conclusion of the three-year Mozart/Da Ponte opera project with performances of Così fan tutte, Tchaikovskyfest with Gustavo Dudamel leading the LA Phil and the Simón Bolívar Symphony Orchestra in all of the composer’s symphonies, Emanuel Ax’s Brahms project, and a Minimalist Jukebox festival highlighting the works of the genre’s brightest stars including Riley, Glass, Reich, Andriessen, and Adams.

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). Inspired by Venezuela’s revolutionary El Sistema, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 600 students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change. In 2012, the LA Phil formed an innovative partnership with the Longy School of Music of Bard College. This bi-coastal alliance launched Take a Stand, a national initiative that supports social change through music by providing leaders with tools for growth through a series of conferences and workshops, as well as providing 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 were broadcast in partnership with Classical KUSC and the WFMT Radio Network. The 2012/13 series was nationally 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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CONTINUES!

ROSSINI’S

conducted by

JAMES CONLON SUBTITLED IN

ENGLISH 6 SHOWS ONLY: FEB 28—MAR 22

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LOS ANGELES PHILHARMONIC Gustavo Dudamel Music Director Walt and Lilly Disney Chair Esa-Pekka Salonen Conductor Laureate Mirga Gražinyte˙ -Tyla Assistant Conductor John Adams Creative Chair Deborah Borda President and Chief Executive Officer David C. Bohnett Presidential Chair

FIRST VIOLINS 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 Edith Markman Judith Mass Mitchell Newman Barry Socher 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

VIOLAS

OBOES

BASS TROMBONE

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

John Lofton

ENGLISH HORN

TIMPANI

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

CELLOS Robert deMaine Principal Bram and Elaine Goldsmith Chair 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 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

CLARINETS Michele Zukovsky Principal Burt Hara Associate Principal Andrew Lowy Mauk/Nunis Chair David Howard

E-FLAT CLARINET Andrew Lowy

BASS CLARINET David Howard

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

CONTRABASSOON Patricia Kindel

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

TRUMPETS Thomas Hooten Principal James Wilt Associate Principal Christopher Still Stéphane Beaulac

TROMBONES PICCOLO Sarah Jackson

Carolyn Hove

TUBA Norman Pearson

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 Jeffrey Neville

PRODUCTION DIRECTOR Paul M. Geller

CONDUCTING FELLOWS Christian Kluxen Gemma New 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.

Principal (Vacant) James Miller Associate Principal Abbott and Linda Brown Chair Herbert Ausman

PERFORMANCES MAGAZINE

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CELEBRATE CHINESE NEW YEAR!

This year the Chinese New Year begins Thursday, February 19 on the Gregorian calendar, and the Los Angeles Philharmonic celebrates the event for the first time with a festive blend of music from East and West, concluding with a colorful dragon dance. Xian Zhang, Music Director of the Orchestra Sinfonica di Milano Giuseppe Verdi, returns to lead the LA Phil and a trio of soloists in an eclectic program featuring the West Coast premiere of The Triple Resurrection by Tan Dun, in three performances, February 19-21. The Triple Resurrection is the fourth part of Tan Dun’s Martial Arts Cycle, a set of concertos based on his famous film scores. It unites the themes and musical characters from Crouching Tiger, Hidden Dragon (cello), The Banquet (piano), and Hero (violin). Composed in 2013, it commemorates the 200th birthday of Richard Wagner and pays homage to the Ring Cycle. It had its world premiere in Leipzig, Germany, with the composer conducting the MDR Symphony Orchestra. “This colorful piece is the fourth part of Mr. Tan’s Martial Arts Cycle, a set of concertos based on his popular film scores. The Triple Resurrection, his salute to Wagner’s Ring cycle, begins with subdued, rippling arpeggios and horn themes that are near-quotations from the opening music of Das Rheingold, here given an Asian cast,” Anthony Tommasini wrote in his New York Times review last year.

“As the piece evolves, repeated-note rhythms signal a coming mood shift. Soon, percussive blasts and wailing orchestra chords lend the concerto a little Crouching Tiger, Hidden Dragon action. The instrumental writing includes the captivating amplified sounds of water being poured into basins.” Each of the three soloists also plays a work for soloist and orchestra from the 19th-century Romantic European canon. Ning Feng, first prize winner at the 2006 International Paganini Competition, plays SaintSaëns’ ingratiating Introduction and Rondo Capriccioso; 2009 Cliburn Competition co-winner Hoachen Zhang offers Chopin’s exhilarating Andante spianato and Grand Polonaise; and celebrated Deutsche Grammophon recording artist Jian Wang plays Tchaikovsky’s elegantly expressive Rococo Variations. (All three are making their Los Angeles Philharmonic debuts.) The Chinese New Year is celebrated with the Spring Festival, and the program opens with the Spring Festival Overture, composed in 1955-1956 by Li Huanzhi (1919-2000), who studied at the Lu Xun College of the Arts while Xian Xinghai (composer of the Yellow River Cantata) was directing the music program there. The work is strongly influenced by Xian Xinghai’s efforts to interpret Chinese folk music in Western musical styles, and its themes come from folk music from the Shanbei region. Like the Yellow River Concerto, it exists in various versions, some employing more traditional Chinese instruments than others. A recording of the Spring Festival Overture was sent into space with China’s first moon probe in 2007, and it capped (with fireworks!) the LA Phil’s highly successful “Evening of Chinese Splendor” last summer at the Hollywood Bowl. For tickets or further information, please visit LAPhil.com or call 323.850.2000.

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, David C. Bohnett Presidential Chair

Gail Samuel Chief Operating Officer Chris Ayzoukian Vice President, Philharmonic and Production Michael DeMartini Vice President and Chief Financial Officer Kathleen Kane Vice President, Philanthropy 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 Audrey Choi Administrative Assistant Ruth Cwik Attorney/Senior Contracts Manager Laura Gunn Executive Assistant to the President and CEO 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 Angela Morrell Application Support Technician 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 Talia Warren Benefits Coordinator Katie Weber Human Resources Generalist

ARTISTIC PLANNING Nate Bachhuber Associate Manager, Artistic Planning Kylee Garton Manager of Artist Services Meghan Martineau Artistic Administrator John Schwerbel Artist Liaison Laura Kay Swanson Artistic Planning Coordinator

AUDIENCE SERVICES Marcus Ake Audience Services Representative Denise Alfred Audience Services Representative Gloria Balcom Audience Services Supervisor Karen Beech Audience Services Representative Juliana Castillo 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 â&#x20AC;&#x201C; WINTER SEASON Marcus Ake Ticket Seller Spring Ake Ticket Seller Toliman Au 2nd Assistant Treasurer Donella Coffey 2nd Assistant Treasurer

Matt Dolce Ticket Seller (Group Services) Nancy Fitzgerald Ticket Seller (Group Services) Angelia Franco Ticket Seller (Group Services) Christy Galasso 1st Assistant Treasurer Veronika Garcia 2nd Assistant Treasurer Laurel Harris 1st Assistant Treasurer (Group Services) Tomorrow Kitchen 2nd Assistant Treasurer (Group Services) Amy Lackow 2nd Assistant Treasurer Elia Luna Ticket Seller Page Messerly Treasurer Ariana Morales 1st Assistant Treasurer Carolina Orellana 2nd Assistant Treasurer Cathy Ramos Ticket Seller Elias Santos 2nd Assistant Treasurer Carlie Tomasulo 2nd Assistant Treasurer

COMMUNITY AND GOVERNMENT AFFAIRS Leni Isaacs Boorstin Director of Community and Government Affairs Ljiljana Grubisic Archives and Museum Director Steven Lacoste Archivist

DEVELOPMENT Robert Albini Senior Major Gifts Officer Joshua Alvarenga Senior Major Gifts Officer Malorie Barbee Senior Manager, Annual Fund/Membership Yoli Brizuela Executive Assistant to the VP of Philanthropy Ellen Bussing Director, Major Gifts Martin Cernosek Director, Corporate Sponsorship Julia Cole Director, Institutional Giving and Stewardship Evie DiCiaccio Director of Development Joseph Feneck Volunteer and Special Projects Coordinator Shanna Gamache Development Operations Coordinator Genevieve Goetz Donor Coordinator Jen Kehs Grant Writer Sara Kim Director, Individual Giving Lindsey Lansburgh Assistant Manager, Annual Fund Alexandra Lohse Senior Major Gifts Officer Melissa Malone Associate Director, Development Operations Allison Mitchell Board Liaison Irma Ramirez Associate Manager, Special Events Susan Erburu Reardon Director, Gift Planning Ragan Reviere Senior Manager, Special Events Erica Rippy Campaign Project Manager Melanie Sanguinet Manager, Volunteer Activities Derek Traub Senior Writer NahlyeĂŠ Van Brunt Development Operations Coordinator Michelle Vogel Corporate Sponsorship Coordinator Morgan Walton Special Events Coordinator Julia Ward Senior Manager, Development Communications Stephanie Wells Principal Gifts Officer Natalie White Senior Research Manager

EDUCATION Allyson Busch Education Assistant 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 Ida Chan Controller/Treasurer David Cherpin Director of Financial Planning Mark Crane Insurance Coordinator Shirley Donatoni Supervisor, Cash Control and Collections Jesse Magana Payroll Supervisor Debbie Marcelo Senior Budget Analyst

Janice San Jose Assistant Controller 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 Coordinator 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 Dennis Bade Associate Director of Publications Janice Bartczak Director, Retail Services 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 John Henken Director of Publications Joshua Levi Promotions Coordinator Brant Markley Marketing Coordinator Chelsea Mason Manager, Digital Marketing Ino Mercado Assistant Manager Marc Muszynski Manager, Digital Content 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 Lee Helms Concert Operations Manager Megan McGrath Orchestra Personnel Administrator Patrick Milligan Recorded Media Manager Kierstin Quick Operations Assistant Taylor Saleeby Senior 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 Andrew Schwartz 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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NEWS FROM THE PHILHARMONIC Orchestra Welcomes New Member A native of Lebanon, Pennsylvania, AMY JO RHINE joined the Los Angeles Philharmonic as Third Horn in December. A seasoned orchestral performer, she has held Associate Principal and Principal positions with the Colorado Music Festival since 1997 and the Memphisbased IRIS orchestra since 2001. Rhine is also active in the Los Angeles recording studios and can be heard on some of Hollywood’s latest blockbuster releases.

Prior to her family’s move to sunny SoCal in 2012, they spent nine years in St. Louis, where she enjoyed a diverse professional life, teaching from her home private studio, held the adjunct faculty positions at both Webster and Maryville universities, and played regularly with the St. Louis Symphony. From 1996-2001, Rhine was the Assistant Professor of Horn at Wichita State University and Principal Horn with the Wichita Symphony Orchestra. Prior to that she held the Principal Horn position in New Orleans with the Louisiana Philharmonic, also making significant administrative contributions in that cooperative ensemble. Passionate about chamber music, she has performed throughout the United States, Europe, Japan, and Panama with the Lieurance Wind Quintet, the Wichita Brass Quintet, the

Wilson Wind Quintet, and QUADRE, The Voice of Four Horns. Rhine joined QUADRE, a horn quartet based in Mountain View, CA, in 2008. She performed on and helped produce their most recent albums, Our Time and Horns For The Holidays. Rhine received her training from Verne Reynolds at the Eastman School of Music, earning a BM degree and Performer’s Certificate, and with James Decker at the University of Southern California, graduating with a MM degree. Amid busy performance schedules, Amy Jo and her husband, the LA Phil’s second horn Greg Roosa, reserve ample time to discover the finer points of supercars and super heroes with their sons, Norty and Sutton.

LA Phil Broadcasts Announced Four concerts from the Los Angeles Philharmonic’s 2014/15 season at Walt Disney Concert Hall will be broadcast nationally to over 90 public radio stations via American Public Media’s SymphonyCast program. The concerts feature Los Angeles Philharmonic Music Director Gustavo Dudamel, Conductor Laureate EsaPekka Salonen, and guest conductor Herbert Blomstedt, as well as soloists Leif Ove Andsnes, Jeremy Denk, Gautier Capuçon, and Richard Goode. In addition, a performance of Gustavo Dudamel leading the LA Phil in Mahler’s 9th Symphony recorded in 2012 will be broadcast as part of the series. SymphonyCast, hosted by Alison Young, is a weekly two-hour radio program featuring full-length concerts by the best symphony orchestras from around the world. Material is drawn from Europe’s premier ensembles, along with U.S. orchestras such as the Los Angeles Philharmonic, the Philadelphia Orchestra, and the Cleveland Orchestra. Listeners can obtain information on partner stations and specific broadcast days and times, as well as access to concerts on demand at symphonycast.org. Each show is promoted on American Public Media partnering stations the week of the broadcast. The first two broadcasts were heard in December and January. The remainder of the schedule is as follows:

Broadcasting the week of February 23, 2015 (Recorded February 3, 4 and 5, 2012) Gustavo Dudamel, conductor MAHLER: Symphony No. 9 Broadcasting the week of March 23, 2015 (Recorded November 29 and 30, 2014) Gustavo Dudamel, conductor Gautier Capuçon, cello REGER Four Tone Poems after Arnold Böcklin HAYDN Cello Concerto in C SCHUBERT Symphony No. 6 Broadcasting the week of March 30, 2015 (Recorded January 31 and February 1, 2015) Herbert Blomstedt, conductor Richard Goode, piano MOZART Piano Concerto No. 27, K. 595 BRUCKNER Symphony No. 9 In addition, Sirius/XM launched “On the Podium with Gustavo Dudamel” last month. This is a series of six concert performances from the 2012/13 and 2013/14 seasons, with each broadcast featuring an interview with Dudamel by host David Srebnik. The concerts include Dudamel’s allBeethoven program with Leif Ove Andsnes playing the Piano Concerto No. 3; three tour programs (Vivier’s Zipangu, Debussy’s La mer, and Stravinsky’s Firebird; the world premiere of Daníel Bjarnason’s Blow Bright, Rachmaninoff’s Piano Concerto No. 3 with Yuja Wang, and Stravinsky’s Petrushka; and the pairing of John Corigliano’s Symphony No. 1 with Brahms’ Symphony No. 2); and a TchaikovskyFest program of that composer’s Symphony No. 1 (“Winter Dreams”) and Symphony No. 6 (“Pathétique’). The series also includes a concert conducted by LA Phil Conductor Laureate Esa-Pekka Salonen featuring Beethoven’s King Stephen Overture and Symphony No. 2 and Lutoslawski’s Symphony No. 1 and Fanfare for Los Angeles Philharmonic.

World Premiere Performance Released The Los Angeles Philharmonic, conducted by David Robertson, gave the first performance of Michael Gordon’s Dystopia in January 2008, as part of its acclaimed Concrete Frequency

PERFORMANCES MAGAZINE

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THE ARTS DELIVERED. IN BEVERLY HILLS. FEBRUARY 6 -7, 2015

DanceBrazil

FEBRUARY 7 - MARCH 1, 2015 The Off-Broadway Hit Based on Carl Reiner’s Semi-Autobiographical Novel

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Patti LuPone: Coulda, Woulda, Shoulda... Played That Part FEBRUARY 14, 2015 Back by popular demand!

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Lifeboat

POTTED POTTER: The Unauthorized Harry Experience - a Parody by Dan and Jeff

David Axelrod with Michel Martin

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Barbara Cook MARCH 13 - 22, 2015 Catherine Wheels Theatre Company’s

Lifeboat

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NEWS festival. That performance is scheduled to be released on CD by Cantaloupe Music February 24, as well as an iTunes digital exclusive. “Dystopia is… a work of rediscovery, taking as its subject Los Angeles as seen through film old and new. The project is a follow-up to Decasia, in which [Bill] Morrison created ghostly new work based on an old film barely preserved on decaying nitrate stock, with a score by Gordon adding a striking commentary. A presentation of the film with Gordon’s score performed live was one of the hits of the Philharmonic’s Minimalist Jukebox festival two years ago,” Mark Swed wrote in his Los Angeles Times review. “The new work honors L.A. and its past. It includes snippets from film shot on Spring Street by Thomas Edison in 1898 and then proceeds through history. Morrison frequently divides the wide screen into three panels and, like others before him, he speeds up traffic. He lingers on images and neighborhoods that catch his fancy as he views the town from a slow-moving car. “This, though, would be little more than another arty montage without Gordon’s astonishing 30-minute orchestral blowout… The weird, woozy strings in Dystopia seem in a permanent state of distortion. Fluttering winds and brass have their own, very different, disorders. The orchestra is really loud a lot of the time and in your face all of the time. “But Gordon builds on the past too, be it ’70s pop, Minimalism, Stravinsky, or early polyphony. Given the resources of a great orchestra – and, with Robertson, a conductor who can and will master any kind of music – he uses everything with gusto. The organ goes absolutely crazy. “The ending sounds like a drunken fugue of the future. Built up, layer by layer, from a seasick bass, it reaches a rollicking, massive, percussion-laden climax. The layers are the layers of city, incompatible musics forced to live together and managing to do so with glee. Musical preservationists will surely flinch at the notion, but for half an hour I was a believer that Dystopia is the new utopia.” Dystopia was commissioned by the Los Angeles Philharmonic and recorded live at Walt Disney Concert Hall.

COUNTY OF LOS ANGELES

board of supervisors

Michael D. Antonovich Mayor of Los Angeles County Hilda L. Solis Mark Ridley-Thomas Sheila J. Kuehl Don Knabe

county arts commission

Araceli Ruano President Harold L. Karpman, M.D. Vice President Bettina Korek Secretary Pamela Bright-Moon Executive Committee Guadalupe Rosas Bojorquez Betty Haagen Eric Hanks Peter Lesnik Claudia Margolis

Mattie McFadden-Lawson Richard Montoya Alis Clausen Odenthal Ronald D. Rosen 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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“The greatest musical of all time.” —Newsweek

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The Dance of Death. PHOTO BY CRAIG SCHWARTZ.

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CORPORATE, FOUNDATION, AND GOVERNMENT

GIFTS

We are honored to recognize corporate, foundation, and government donors who generously support the mission of the Los Angeles Philharmonic Association: to perform, present, and promote music in its many varied forms at the highest level of excellence to a large and diverse audience. We are deeply grateful for the following contributions to the Los Angeles Philharmonic and the Hollywood Bowl received between December 2013 and December 2014. gifts of $250,000 and above

Anonymous The Ahmanson Foundation Andy & Bill Concerts, LLP Margaret A. Cargill Foundation Colburn Foundation County of Los Angeles

The Walt and Lilly Disney Foundation Andrew W. Mellon Foundation Pasadena Showcase House for the Arts Rolex Watch USA, Inc. The Rose Hills Foundation

$100,000 to $249,999 Acura Amgen Foundation Michael J. Connell Foundation The Eisner Foundation Fidelity Investments Ann and Gordon Getty Foundation Max H. Gluck Foundation Heineken USA Incorporated

The José Iturbi Foundation Los Angeles County Arts Commission JPMorgan Chase Foundation Rosenthal Family Foundation Toyota Motor Sales U.S.A., Inc. Viking Cruises Wells Fargo Private Bank The Office of County Supervisor Zev Yaroslavsky

$50,000 to $99,999 Cupcake Vineyards Edison International The Getty Foundation The Rosalinde and Arthur Gilbert Foundation Hubert’s Lemonade The Norman and Sadie Lee Foundation

B. N. Maltz Foundation National Endowment for the Arts Target Corporation Transit Systems Unlimited Inc. Union Bank of California

$25,000 to $49,999 Anonymous The Herb Alpert Foundation The Capital Group Companies Coca Cola Enterprises Cooper Tire & Rubber The Walt Disney Company Joseph & Bessie Feinberg Foundation Friends of Expo Center Golden Road Brewing

The Green Foundation City of Los Angeles, Department of Cultural Affairs The John Bendheim Family / Lowenstein Foundation Merrill Lynch and Co., Inc. MetLife Foundation The Barbro Osher Pro Suecia Foundation Jay and Rose Phillips Foundation of California Sunset Marquis

$10,000 to $24,999 Julia Stearns Dockweiler Charitable Foundation East West Bank Ella Fitzgerald Charitable Foundation The Global Village Charitable Trust Goldman Sachs Philanthropy Fund KTWV•FM – CBS Radio League of American Orchestras’ Getty Education and Community Engagement LN-HS Concerts, LLC Chauncey and Marion D. McCormick Foundation Mid Atlantic Arts Foundation

Milken Family Foundation Morgan Stanley Community Affairs Foundation Kenneth T. & Eileen L. Norris Foundation Kermit Henry Schotter Trust Sony Pictures Entertainment, Inc. The Specialty Family Foundation State Farm Insurance Dwight Stuart Youth Fund TMD Group, Inc. World Presidents’ Organization, City of Angels Chapter

PERFORMANCES MAGAZINE

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2014-2015 VALLEY PERFORMING ARTS CENTER

Experience San Fernando Valley’s finest cultural arts and entertainment destination. DINOSAUR TRAIN LIVE

FEBRUARY 2/5 2/7

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ENDOWMENT DONORS $25 MILLION Walt and Lilly Disney Foundation

$20 MILLION David Bohnett 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 William H. Brady, III Fairchild-Martindale Foundation Eris and Larry Field Kiki and David I. Gindler 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 Elise Mudd Marvin Trust Bowen H. “Buzz” McCoy and Family Earl and Victoria Pushee William and Sally Rutter Dody Waugh 22

Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

$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 Ms. Norma D. Kayser 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 Joan Green Harris Trust 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 Minturn Family Foundation National Endowment for the Arts Soraya and Younes Nazarian

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 December 2014.

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 Mr. Allen Don Cornelsen 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 Albert E. and Nancy C. Jenkins Charitable Trust 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 Virginia Skinner Trust Nancy and Richard Spelke Mary H. Statham Mr. and Mrs. Robert M. Stevens Priscilla and Curtis Tamkin Don Taylor Ms. Fran H. Tuchman Magda and Frederick R. Waingrow Rhio H. Weir Jean E. Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zino

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 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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S&S14_

World Music

One Earth Tour 2015: Mystery Tuesday, February 3, 2015, 8:00

Part One Jamai: Traditional, arranged by Kodo Yomichi: Composed by Tsuyoshi Maeda, 2013 Wall: Composed by Yosuke Oda, 2013 Ajara: Composed by Mitsuru Ishizuka, 2006 Ake no Myojo: Composed by Yosuke Oda, 2012 Harewataru: Composed by Eri Uchida, 2013 Namahage: Arranged by Kodo, featuring “Yomichi” by Tsuyoshi Maeda, 2013 Mute: Composed by Yosuke Oda, 2013 Kusa-wake: Composed by Yuta Sumiyoshi, 2013 Kei Kei: Composed by Yuta Sumiyoshi, 2012

INTERMISSION

Part Two Chit Chat: Composed by Eri Uchida, 2013 Shishimai: Arranged by Kodo, featuring “Lion” by Leonard Eto, 1990 Yuyami: Composed by Yuta Sumiyoshi, 2013 Color: Composed by Masayuki Sakamoto, 2009 Miyake: Traditional, arranged by Kodo Yatai-bayashi: Traditional, arranged by Kodo Jamai: Traditional, arranged by Kodo Hekireki: Composed by Masayuki Sakamoto, 2013

The following pieces are based on these regional traditional performing arts: Jamai: Iwami Kagura (Iwami Region, Shimane) Miyake: Kamitsuki Mikoshi Taiko (Miyake Island, Tokyo) Yatai-bayashi: Chichibu Yatai-bayashi (Chichibu, Saitama)

Performers

Masayuki Sakamoto Eri Uchida Mariko Omi Yosuke Kusa Shogo Komatsuzaki Akiko Ando Yuta Sumiyoshi Tetsumi Hanaoka Kosuke Urushikubo Jun Jidai Koki Miura Shunichiro Kamiya Ryoma Tsurumi Kengo Watanabe Tomoe Miura

Artistic Director: Tamasaburo Bando Assistant Artistic Director: Yosuke Oda Choreography: Kazumi Boy Technical Director: Martin Lechner Lighting Designer: Kenichi Mashiko (S.L.S.) Stage Manager: Takeshi Arai Assistant Stage Manager: Nanako Suzuki (Niigata Shoumei Giken) Company Manager: Takashi Akamine Assistant Company Managers: Yui Kawamoto, Mio Teycheney

Media sponsor: 89.9 KCRW

Programs and artists subject to change. LAPhil.com PERFORMANCES MAGAZINE

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About the

PROGRAM

A Message from the Artistic Director In the folk arts that have been handed down across Japan, there’s a sacredness, an air of mystery within prayers. The drums express this, and I’d like for the audience to feel it. I hope theater-goers will experience the same sort of otherworldly splendor that you sense at a temple or a shrine, or when you discover things in nearby woods. Another thing is I like people to enjoy “darkness.” The beauty of something you come across lit by candlelight, a sense of something vague yet marvelous. Mystery enfolds within it fear, humor, charm, and various other qualities. In the “Serpent Dances” that have come down from old, the defeated serpent is endowed with a surprising level of sacredness. In this performance, many things will emerge from out of the darkness. While it’s a drum concert, playing as only drums can play, we’ve added plenty of visual interest. A space or time of wonder can only be experienced by those who were actually there. Religious rituals and arts as well have been refined over a long span of time from the

inspiration of those who went before us. In this staging of drums I hope the audience will enjoy to the fullest that magical sense of space and time. — Tamasaburo Bando

Notes from the Producer One day, while we were sharing a meal, the artistic director and some Kodo performers were discussing the future of Kodo. They spoke about the future direction of the group and the kind of expression they want to explore moving forward. You could say that both our field of performing arts and the world we live in differ greatly from that of our artistic director. For this reason alone, his demands on us create significant challenges. If we prepare for a performance with our own concepts, we cannot meet his demands. What is our artistic director aiming to do? What do we need to do to achieve those goals? These questions prompted us to ponder the very meaning of appearing on stage as opposed to just playing taiko.

The answer has to begin with us shedding the image of ourselves that we have forged to date as taiko players. In order for the Kodo performing arts ensemble to carry on, Kodo cannot merely play taiko; the group also has to experiment with new stage productions that captivate more varied and vast audiences. This ensemble has been a leader in the taiko world for many years, so we tend to end up imitating a fixed image of our own, but we do not want this image to limit our creative process. “Mystery” incorporates lavish theatrical elements with new costumes and props like never before. Best of all, the pieces Kodo performs in this production are almost all new compositions. This performance feels like one answer to our questions about Kodo’s future, a work that was sparked by deeper dialogue and enhanced collaboration with our artistic director. We hope that this new creation will reverberate with this renewed passion and touch the hearts of our audience. — Nobuyuki Nishimura

PERFORMANCES MAGAZINE

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About the

ARTISTS

Tamasaburo Bando is a leading Kabuki actor, and the most popular and celebrated onnagata (actor specializing in female roles) currently on stage. His profound aesthetic sense has been demonstrated across numerous platforms as he received high acclaim for his many artistic endeavors. His stage direction of productions such as Romeo & Juliet and Kaijin Besso garnered accolades, while as a movie director he demonstrated his artistic prowess in the films Gekashitsu, Yume no Onna, and Tenshu Monogatari, which caused a splash in the arts world. In April 2012, Bando assumed the position of Kodo’s artistic director. In September 2012, he was recognized as an Important Intangible Cultural Property Holder (“Living National Treasure”), and in 2013 he was decorated with the highest honor of France’s Order of Arts and Letters, Commander. Kodo One Earth Tour 2015: Mystery is supported by ASANO TAIKO U.S. Contact Kodo at: Kitamaesen Co., Ltd. / Kodo Website: http://www.kodo.or.jp

Exploring the limitless possibilities of the traditional Japanese drum, the taiko, KODO is forging new directions for a vibrant living art form. The vibrations created by the drummers not only reach the ears of the audience, they move listeners on a visceral level. Making their debut at the Berlin Festival in 1981, Kodo is based on Sado Island in Niigata, having given over 5500 performances in 46 countries worldwide under the theme “One Earth.” Spending about a third of the year overseas, a third touring in Japan, and a third on Sado Island, Kodo is always on the move, giving performances that transcend borders, genres, and time.

Tamasaburo Bando & Kodo In 2003, the first Kodo performance directed by Tamasaburo Bando, Kodo One Earth Tour Special, was held. The production was crafted over the course of two years with Bando making five visits to Sado Island for rehearsals. 2006 marked the first on-stage collaboration between Bando and Kodo with Amaterasu, a musical dance play based on

the famous Japanese myth. Featuring Bando as the sun goddess Amaterasu and Kodo as the gods of the story, this performance was a catalyst for Kodo to break new ground in taiko expression. It has continued to receive high acclaim in its encore performances in 2007 and new-look performances in 2013. Bando’s cutting-edge Kodo Dadan, a production that boldly portrays the essence of drumming, premiered in Japan in 2009 and has become an ever-evolving series that was most recently performed in Spain and France in 2014. Kodo One Earth Tour: Legend, Kodo’s first production under the artistic direction of Bando, made its premiere in 2012 and went on to tour throughout Japan, the USA, and Europe. In 2013, Bando’s second work, Kodo One Earth Tour: Mystery, premiered in Japan and toured extensively the following year, and this 2015 North America tour marks the production’s foreign debut.

PERFORMANCES MAGAZINE

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Andrew Manze, conductor Thomas Hooten, trumpet Andrew Bain, horn

Friday, February 6, 2015, 8:00 Saturday, February 7, 8:00 Sunday, February 8, 2:00

MOZART

Symphony No. 35 in D major, K. 385 (“Haffner”) Allegro con spirito Andante Menuetto Finale: Presto

HAYDN

Trumpet Concerto in E-flat major

Allegro (Cadenza: James Stephenson) Andante Allegro Thomas Hooten

INTERMISSION

Los Angeles Philharmonic

MOZART

Horn Concerto No. 4 in E-flat major, K. 495

Allegro maestoso (Cadenza: A Tribute to Dennis Brain and Barry Tuckwell) Romanza: Andante cantabile Rondo: Allegro vivace Andrew Bain

HAYDN

Adagio; Allegro Andante Menuetto: Allegro Finale: Spiritoso

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

Special thanks to Performance Patrons Tom and Judy Beckmen.

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change. LAPhil.com

Symphony No. 104 in D major (“London”)

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About the

PROGRAM

Symphony No. 35 in D major, K. 385 (“Haffner”) Wolfgang Amadeus Mozart Composed: 1782 Length: c. 18 minutes Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings First Los Angeles Philharmonic performance: December 22, 1934, Otto Klemperer conducting The “Haffner” Symphony arose from Mozart’s connection with Salzburg’s most prominent family. Sigmund Haffner senior, who built the family’s banking and importexport business into one of the few things in Salzburg (other than Mozart) with any claim to an international reputation, was also mayor of Salzburg until his death in 1772. It was for the 1776 marriage of his daughter that Mozart had written the “Haffner” Serenade. Sigmund junior was a few months younger than Mozart and had been his childhood friend, but they apparently had no contact once Mozart moved to Vienna. Sigmund was known to be a retiring, solitary person who may have suffered from depression and died at 30 in 1787. In 1782, he was officially elevated to the nobility, and it was for that occasion that Mozart was commissioned to write what we now call the “Haffner” Symphony. The request came through Mozart’s father Leopold in Salzburg. Mozart wrote to Leopold that he was swamped: busy with several new compositions, the premiere of his opera The Abduction from the Seraglio, preparations for his marriage, and a move to new lodgings. Perhaps there was a subtext in which the younger Mozart was letting Dad know that he had more important things to do than compose music for the provincial burg that he had abandoned over his father’s objections. In any event, Mozart did not finish and send the Symphony until two days after the ennoblement ceremony, and we don’t know whether it arrived in time for whatever celebration it was intended to adorn. Leopold was doubtless miffed at what seemed like disrespect toward an important patron and Salzburg generally, and months later, when Mozart needed the Symphony back for a Vi-

enna concert, Leopold showed his annoyance by waiting three months to send it back. “My new Haffner symphony positively amazes me,” wrote Mozart when he finally saw the Symphony for the first time in half a year, “for I had forgotten every single note of it.” For the Vienna premiere he eliminated a march and second minuet, making the work a symphony rather than a serenade, and added flutes and clarinets to the outer movements (there were no clarinets in Salzburg). The Symphony is a fiery and forceful work. The opening movement sets the tone with its bold, leaping principal theme, running scales, and big, slashing chords. An andante of aristocratic refinement and elegance is followed by a thunderous minuet of regal, if not imperial, pomp, and a rushing, dazzling finale. — Howard Posner

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.”

Trumpet Concerto in E-flat major Joseph Haydn Composed: 1796 Length: c. 15 minutes Orchestration: two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, strings, and solo trumpet First Los Angeles Philharmonic performance: March 3, 1968, Zubin Mehta conducting, with soloist Robert Di Vall Haydn’s trumpet concerto is the only significant monument to half a century of experiments in trumpet technology. It was written for an instrument that never really caught on (and today is largely unknown even among period-instrument specialists), and for that reason lay neglected for more than century. To the 18th century, a trumpet was a coiled tube of brass about eight feet long (about twice as long as the standard modern instrument), starting with a mouthpiece at one end and flaring into a bell at the other, with none of the valve machinery in the middle that characterizes the modern instrument. It was capable of playing “natural” notes of the overtone series, which has large intervals at the low end and progressively smaller ones as pitch gets higher, so that the trumpeter could play scales, instead of just bugle-call

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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JOSEPH

HAYDN Born: 1732, Rohrau, Austria Died: 1809, Vienna, Austria “The free arts and the beautiful science of composition will not tolerate technical chains. The mind and the soul must be free.” Few composers come close to Haydn in terms of both the quantity and the quality of their production, and of its historical importance. In a lifetime that ran from the high Baroque of Bach and Handel, across the whole Classical era and the short life of Mozart, up to the dawn of Romanticism and Beethoven’s first six symphonies, Haydn not only lived through a period of enormous cultural change, he helped impel it. Writing prolifically in all genres, he virtually created the string quartet and did much to establish the symphony. Further listening: Six String Quartets, Op. 33 (1781) Kodály Quartet (Naxos) Mass in C, “Missa in tempore belli” (1796) Soloists, Collegium Musicum 90, Richard Hickox (Chandos) 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.

notes, only by cultivating high notes. The player could produce its notes in different keys by detaching one section, or “crook,” of tubing and substituting another of different length, but since the player had to stop playing to do this, the standard practice was to “crook” the instrument in one key for an entire movement. In the later 18th century, some innovators took a page from the woodwind book and put holes in the instrument to change the pitch, opening and closing them with keys. The best-known advocate of the keyed trumpet was Anton Weidinger, trumpeter of the Imperial Court Orchestra in Vienna, who commissioned Haydn’s Concerto (and a few others, including one by Hummel) in 1796, and played it for the first time in public in 1800, having evidently spent the intervening years refining his keyed-trumpet technique. Haydn responded to the capability of the instrument like a gleeful child with a new toy. At the outset he indulges in a little teasing, letting the trumpet join the orchestra in the opening tutti for a few notes, all of them playable on the natural trumpet. Only with the first solo entrance does he break new ground, with the trumpet running up the scale from its written middle C, playing notes not possible on the natural trumpet. From then on the trumpet sings, slides around chromatically, skips and jumps, and every now and then plays a fanfare figure, as if Haydn wants to remind us that this newfangled thing really is a trumpet. Only the middle movement, a song that would be at home in any of Haydn’s operas, is entirely free of trumpet clichés. Haydn occasionally gives the solo trumpet what seems a minor accompaniment part, but they are parts that involve notes that could not previously have been played on a trumpet, and would therefore have had a very different meaning in 1800, jumping out at listeners who knew they were hearing the impossible. The sheer wonder of it is lost on modern listeners who have heard “Flight of the Bumblebee” on a trumpet. For a number of reasons, the keyed trumpet never became an orchestral instrument, though a similar instrument was, for a short time, a mainstay of military bands, and a bass key-bugle, the ophicleide, was introduced into the orchestra in the 1820s and lasted until mid-century. Instruments with valves were invented a few years after Haydn’s death in 1809, but did not start to make headway into orchestras for nearly a

generation, by which time they had already replaced key-bugles in bands. Valve trumpets did not become standard in orchestras until about 1840. Thus there was a gap of decades between the composition of Haydn’s Concerto and a time when someone other than Weidinger could play it, and in that interval the whole idea of a trumpet concerto, so common in the Baroque era, was now beyond the pale. — H. P.

Horn Concerto No. 4 in E-flat major, K. 495 Wolfgang Amadeus Mozart Composed: 1786 Length: c. 15 minutes Orchestration: 2 oboes, 2 horns, strings, and solo horn First Los Angeles Philharmonic performance: August 1, 1972, Lawrence Foster conducting, with soloist Barry Tuckwell Joseph Leutgeb (1732-1811) was the preeminent Austrian horn player of the second half of the 18th century, concertizing widely in continental Europe. In 1763 he became first horn of the orchestra in Salzburg, where he became friends with the Mozart family. He traveled with them in Italy, Leopold Mozart loaned Leutgeb money when he moved to Vienna in 1777, and Leutgeb remained a friend of Wolfgang Amadeus to the end of the composer’s life. (In his last letters to his wife, Mozart mentions staying with Leutgeb and socializing with him.) So it might not be surprising then that the first work Mozart composed in 1781 after he too relocated to Vienna was his first work for horn and orchestra, a Rondo in E-flat major, K. 371. Mozart ended up writing four concertos and a quintet with strings for the horn, all with Leutgeb in mind. Mozart included some characteristically pungent humor at Leutgeb’s expense in the manuscripts, but he clearly had enormous affection for the older musician and utmost respect for his abilities. “Ein Waldhorn Konzert für den Leutgeb” (a hunting horn concerto for Leutgeb) was how Mozart described K. 495 in his own catalog. He used ink of four different colors in the manuscript, and the work is indeed a merry one, at least in the vivacious outer movements. The horn at that time was the natural, valveless instrument, and Mozart

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flaunts (or challenges) Leutgeb’s handstopping ability with chromatic lines in the first movement and lively passagework in the finale. The central Romanza is essentially an instrumental song, a typically Mozartean transformation of hunting horn commonplaces into reflective grace. — John Henken

Symphony No. 104 in D major (“London”) Joseph Haydn Composed: 1794 Length: c. 30 minutes Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings First Los Angeles Philharmonic performance: July 9, 1936, Richard Lert conducting By 1790 Haydn was no longer in service to the Esterházy family. His longtime patron, Prince Nicolaus, had died, leaving Haydn a handsome pension while he maintained some connection with the court. However, the new Prince, Anton, although he increased Haydn’s pension, dismissed the entire musical establishment, leaving Haydn with little to do. So, the composer moved to Vienna. Abundant job offers came his way, but near- ing 60, famous and secure financially, the composer decided that he had no need to seek another permanent appointment. Thus, he accepted the most beguiling of the many commissions

About the

he was offered: for a half-dozen symphonies, ordered by Johann Peter Salomon of London, impresario, violinist, and conductor of his own orchestra, reportedly England’s finest. Haydn was treated like royalty – or at least like Europe’s greatest composer – upon his arrival in England at the beginning of 1791 for a residency during which the first set of Salomon’s symphonies, Nos. 93-98, would be presented. Later, another series of six – the rest of the 12 so-called “London Symphonies” – was composed in Vienna. Haydn returned to a breathlessly expectant London in February of 1794. The English were not disappointed. The last symphony, the present work, to which alone among the 12 the name “London” has become particularly attached, was first heard on April 13, 1795, and was also the main event of Haydn’s London farewell concert, for his own benefit, three weeks later. Of the latter, Haydn recorded in his diary: “The hall was filled with a picked audience. The whole company was delighted and so was I. I took in this evening 4000 gulden. One can make as much as this only in England.” It should be noted that by this time Salomon was no longer able to afford his own series and Haydn had become associated with another presenter. Whether or not Haydn had decided that this would be his last symphony – which it is – everything about it projects the feeling of a “statement,” including the boldly decisive, symmetrical introduction, as distinct from the improvisatory feeling Haydn conveys in similar circumstances elsewhere: two portentous D-minor episodes framing a smaller one in

the key of F major. The dark drama nonetheless gives way to something quite different (otherwise it wouldn’t be Haydn, master of the unexpected), a charging, joyous Allegro. Reversing the procedure, the Adagio begins with an innocent, lilting G-major melody in the first violins, which darkens almost imperceptibly as the other strings enter, then changes its personality as the winds play a little lament, whereupon the whole orchestra bursts out in (minor-key) fury. The burly minuet has a particularly jaunty trio, dominated by solo oboe and bassoon, while the grand finale – to London and to Haydn, the symphonist – is a potpourri of Slavonic folk tunes which Haydn heard during his years on the Esterházy estates. The opening theme had long been thought of as a London tribute, quoting from the street-song “Hot Cross Buns,” but in recent years has been identified as “Oj Jelena,” a ballad sung by the Croatians living in Eisenstadt when Haydn made his home there. — Herbert Glass

Howard Posner plays lute and Baroque guitar and practices appellate law in Los Angeles. John Henken is Director of Publications for the Los Angeles Philharmonic Association. Herbert Glass is a contributor to many periodicals, including Gramophone and The Strad. He has been associated with the Salzburg Festival since 1996.

ARTISTS

ANDREW MANZE has rapidly emerged as one of the most stimulating and inspirational conductors of his generation. His extensive and scholarly knowledge of the repertoire together with his rare skill as a communicator and his boundless energy mark him out. In September 2014 Manze became the Principal Conductor of the NDR Radio Philharmonic Orchestra in Hannover. As a guest conductor Manze has regular relationships with a number of leading international orchestras, including the Munich Philharmonic, Leipzig Gewandhaus, Deutsches Symphonie-Orchester Berlin, Royal Stockholm

Philharmonic, Finnish Radio Symphony Orchestra, Gothenburg Symphony, Oslo Philharmonic, City of Birmingham Symphony, Hallé, Royal Liverpool Philharmonic, Mahler Chamber Orchestra, and the Scottish and Swedish chamber orchestras. From 2006 until 2014 Manze was Principal Conductor and Artistic Director of the Helsingborg Symphony Orchestra, Sweden. With the orchestra he made a number of recordings including Beethoven’s “Eroica” (harmonia mundi) and a cycle of the Brahms symphonies (CPO). From the 2010 to 2014, Manze held the title of Associate Guest

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Conductor of the BBC Scottish Symphony Orchestra and he was Principal Guest Conductor of the Norwegian Radio Symphony Orchestra from 2008-2011. Orchestral debuts in the 2014/15 season and beyond include the Los Angeles Philharmonic, the London Philharmonic, and the Frankfurt Radio Symphony orchestras and Orquestra Sinfônica do Estado de São Paulo. Alongside his regular guesting, Manze returns to the Leipzig Gewandhausorchester, WDR Sinfonieorchester Köln, Tonkünstler Orchestra, and Danish National Symphony orchestras, and also returns in summer 2015 for his fourth consecutive appearance at the Mostly Mozart Festival, New York. After reading Classics at Cambridge University, Manze studied the violin and rapidly became a leading specialist in the world of historical performance practice. He became Associate Director of The Academy of Ancient Music in 1996 and then Artistic Director of The English Concert from 2003 to 2007. As a violinist Manze has released an astonishing variety of CDs, many of them award-winning. Manze is a fellow of the Royal Academy of Music and a Visiting Professor at the Oslo Academy and has contributed to new editions of sonatas and concertos by Mozart and Bach published by Bärenreiter and Breitkopf and Härtel. In November 2011 Andrew Manze received the prestigious Rolf Schock Prize in Stockholm. Principal Trumpet of the Los Angeles Philharmonic since 2012, THOMAS HOOTEN was born in Tampa, Florida. He earned his Bachelor of Music degree from the University of South Florida and his Master of Music degree from Rice University; his primary trumpet teachers have included Armando Ghitalla, John Hagstrom, and Don Owen. In 2000, Hooten earned a trumpet/cornet position with “The President’s Own” United States Marine Band in Washington, D.C., where he was often a featured soloist. While still in the Marine Band, Hooten won the 2nd trumpet audition with the Richmond (VA) Symphony, and he continued to work with them through 2004. Following his four-year enlistment in the Marine Band, Thomas won the Assistant Principal Trumpet position with the Indianapolis Symphony – a position he held for two years. During his time in Indianapolis, Hooten won auditions for principal trumpet in both the Houston and Atlanta symphonies. He acted as Principal Trumpet in the Atlanta Symphony from 2006-2012.

Thomas Hooten has appeared as a soloist with the Atlanta Symphony Orchestra, the Saint Paul Chamber Orchestra, the United States Air Force Band, Keystone Winds, and the Richmond Symphony Orchestra. He has given master classes and recitals at Juilliard, Northwestern University, Indiana University, Mannes School of Music, San Francisco Conservatory, the Universities of Kentucky and Illinois, and many other locations throughout the United States. Hooten has appeared as a guest principal in the Saint Louis Symphony, at the Grand Teton Music Festival, and with the Los Angeles Philharmonic. Thomas has served on the faculty for the Aspen Music Festival, acting as a guest artist and teacher. While in Atlanta, he shared a studio with his wife at Kennesaw State University, where they provided lessons, master classes, and performance coachings to a diverse range of professional and student musicians. Thomas can be heard on numerous Los Angeles Philharmonic recordings, including Mahler’s Ninth Symphony and Lutoslawski’s Symphony No. 1. He also recorded, with the Atlanta Symphony, Scriabin’s Poem of Ecstasy and Gandolfi’s Garden of Cosmic Speculation. He released his first solo album, Trumpet Call, in 2011. Born and raised in Australia, ANDREW BAIN was appointed to the chair of Principal Horn of the Los Angeles Philharmonic by Gustavo Dudamel in May 2011. Prior to moving to L.A. Andrew was the Principal Horn of the Melbourne Symphony. He has also held the positions of Principal Horn of the Queensland Symphony Orchestra, thw Münchner Symphoniker, and the Australian Opera & Ballet Orchestra and Associate Principal Horn of the Adelaide Symphony Orchestra. From 2003-2012 he was the Principal Horn of the Colorado Music Festival.

A regarded solo artist, Andrew has appeared as a soloist with the Melbourne Symphony and Queensland Symphony, Colorado Music Festival, and Music in the Round Festival. He has performed Schumann’s Konzertstück at the Colorado Music Festival and with the Colburn Orchestra in Los Angeles. In 2013 Andrew made his solo debut with the Los Angeles Philharmonic under the baton of Maestro Dudamel. Andrew is proud to be the Horn Professor at the Colburn School Conservatory. While in Australia, Andrew worked with the horn students at the Australian National Academy of Music, University of Melbourne, Tasmanian Conservatorium of Music, and Sydney Conservatorium. He has also given master classes and lectures at the Pacific Music Festival, UCLA, Royal College of Music London, Guildhall School London, Manhattan School of Music, Elder Conservatorium, Queensland Conservatorium, Shanghai Conservatory, and Colorado Music Festival. Throughout 2014, Andrew presented masterclasses at the San Francisco Conservatory, Manhattan School of Music, Juilliard, and McGill University in Montreal. He also appeared as guest Principal Horn with the Chicago Symphony Orchestra and Esa-Pekka Salonen. During the summer of 2014, Andrew’s schedule included presenting recitals and masterclasses in Poland for the Sinfonia Varsovia Academy, returning as guest Solo Horn with the Berliner Philharmoniker, playing at the La Jolla Summerfest, and teaching and playing at the Aspen Music Festival and School, including a performance of the Schumann Konzertstück. In addition to music, Andrew loves traveling, cooking, and exploring L.A. with his beautiful wife, Rupal. If he’s not working, you will most likely find him on the golf course trying to improve his handicap. More information can be found at andrewbainhorn.com.

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Chamber Music

DEBUSSY

SCHUMANN

Sostenuto assai; Allegro non troppo Scherzo: Molto vivace Andante cantabile Finale: Vivace Guido Lamell, violin

Ingrid Hutman, viola

Gloria Lum, cello Norman Krieger, piano

INTERMISSION

WOOD

BLOCH

Members of the Los Angeles Philharmonic Tuesday, February 10, 2015, 8:00 Sonata for Flute, Viola, and Harp Pastorale Interlude Finale Elise Shope, flute Richard Elegino, viola Lou Anne Neill, harp

Piano Quartet in E-flat major, Op. 47

Quintet Brian Johnson, bass Christopher Hanulik, bass Oscar M. Meza, bass David Allen Moore, bass Peter RofĂŠ, bass

Piano Quintet No. 1

Agitato Andante mistico Allegro energico Martin Chalifour, violin Mitchell Newman, violin Meredith Snow, viola Barry Gold, cello Joanne Pearce Martin, piano

Programs and artists subject to change. LAPhil.com

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About the

PROGRAM

Sonata for Flute, Viola, and Harp Claude Achille Debussy (1862-1918) World War I changed the thinking of nearly everyone in Europe, except the ineducable generals who ran it. It made Claude Debussy think that he had not been nearly militant enough. Raised in a world dominated by the Germanic alternatives of Wagner and Brahms, he had always sought a distinctly French voice. With the coming of the war, he went from nationalist to chauvinist. In 1915, ailing and not having composed for a year, he took up arms against romantic excess, German artistic influence, and the German invaders – for he seemed to equate the three. It is, for example, not altogether clear whether he referred to German cultural imperialism or flesh-andblood militarism when he wrote: “I want to work not so much for my own sake as to give a proof, small as it may be, that not 30 million Boches could destroy French thought, even having tried to degrade it before they annihilated it. I am thinking of the French youth stupidly ruined by these merchants of ‘Kultur,’ which have lost forever what should have brought glory to our country. What I am composing will be a secret homage to them – a dedication is superfluous.” Whatever these ideas meant, Debussy was destined to work them out on a small scale. He began a series wishfully titled “Six Sonates Pour Divers Instruments,” but he was losing the battle with cancer and would live to finish only three: the Cello Sonata, the Sonata for Flute, Viola, and Harp, and the Volin Sonata. The Sonata for Flute, Viola, and Harp was premiered late in 1916. In December, Debussy wrote to his friend Robert Godet: “The sound of it is not bad, though it is not for me to speak to you of the music. I could do so, however, without embarrassment, for it is the music of a Debussy I no longer know. It is so terribly melancholy that I don’t know whether to laugh or cry at it; maybe both?” The Sonata is a lean, sparsely textured work. Sometimes it barely moves, and sometimes it’s barely there at all. This is a result not so much of the instrumentation – a harp can make plump sounds if it wants to – as of an effort to strip music down to its barest essence. There is little sense of progress in the traditional sonata sense of introducing melodies, taking them through transformations in different

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keys, and revisiting them in light of experience: Debussy found the dramatic side of sonata form too excessive and too German. The Pastorale has slow, chantlike, melodies interrupted by rhythmically complicated flourishes that have the effect of suspending the rhythm. The second movement begins with similar material, as if the boundary between one movement and the next was one more traditional structure that Debussy wanted to knock down. It is marked “in minuet tempo” and written in ordinary-looking triple meter, but it sounds in two. Contrast finally arrives midway through the movement, when it has a notable tonal shift and speeds up, with the harp playing running arpeggios in the right hand and bell-like harmonics in the left. This more animated spirit carries over into the finale. The whole work can be seen as a progression from static slow to moving quick, at least until the music of the opening Pastorale returns in the finale. — Howard Posner

Piano Quartet in E-flat major, Op. 47 Robert Schumann (1810-1856) Schumann’s creative impulses, unlike those of most other major composers, operated in extremely narrow ranges of repertoire at various times in his life. After composing primarily for the piano until 1840, Schumann turned in that year of his marriage (to Clara Wieck) to the writing of song, and only after the outpouring of emotions into some 120 vocal pieces did he make his first serious move into the symphonic realm, producing two symphonies in 1841 – No. 1 in B-flat (“Spring”) and No. 2 in D minor (revised ten years later and now known as No. 4). Having taken on the full orchestra, Schumann then narrowed his instrumental thinking, and 1842 became a year of chamber music. In very quick succession starting in June, he turned out three string quartets, a piano trio, a piano quintet, and the present Quartet for the same forces minus one violin; both Quartet and Quintet are in the key of E-flat. It is staggering to realize that portions of the last two works were composed simultaneously – perhaps there was method to Schumann’s setting both pieces in the same key. However, the father bestowed distinct identities upon

each of his Eflat chamber children, and if the Quintet emerged as the grander of the two, the Quartet is still a splendid specimen. The work opens with a brief, slow introduction which is to reappear twice in altered form during the course of the movement; it contains a four-note motif that is the basis of the Allegro’s main theme. This melody, along with a more energetic idea beginning with an ascending minorkey scale figure, dominates the movement. The Scherzo that follows, all staccato vigor and rushing fantasy imagery, is interrupted by two contrasting Trios, each of these shot through with the Scherzo’s impetuosity. The movement ends with a whispered echo of the first Trio. The slow movement, beginning as if it had already been in motion before we come upon it, offers one of Schumann’s most achingly romantic melodies, breathed first by the cello. This theme embodies the 19th century’s quintessential longing and unrest with its major and minor sevenths reaching upward and then falling sighingly. Only Schumann could make such a melody. Toward the end of this Andante, the cello is instructed to tune its lowest string, a C, down to B-flat so that in the final measures it can provide a pedal bass in octaves of the tonic of the key. During these measures, the theme of the Vivace last movement is previewed softly and at a slow tempo in the manner of Schumann’s literary alter ego, the poetic dreamer Eusebius; when the theme fully emerges in the finale, it is set forth with the empathic vigor of Eusebius’ opposite, the volatile Florestan. This main theme – a falling fifth and ascending sixth followed by 16th-note figures – is treated fugally, and later set into sharp contrast to more lyrical material. At movement’s end, three of the thematic ideas are combined ingeniously, a fourth theme returns fleetingly, and the work concludes with great thrust, with the piano continuing to play the dominant role it has been allotted throughout a composition that is aptly referred to as a piano quartet. — Orrin Howard

Quintet Gareth Wood (b. 1950) Welsh composer Gareth Wood is himself a bass player. After studying composition and

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bass at the Royal Academy of Music, he joined the Royal Philharmonic Orchestra in 1972; he became the Orchestra’s chairman in 1991 and he conducted the Orchestra at the San Juan Music Festival in 1995. He has written a large body of band music, but has also been commissioned by the RPO and the National Youth Orchestra of Wales. He has also composed a number of concertos, including three for the bass, and his Fantasy on Welsh Song is performed every year at the last night of the Welsh Proms in Cardiff. Wood is also devoted to music education. He now teaches at the National Centre for Young Bass Players, and composed Light, a dectet for the Centre basses, in 2011. One of the ten young bassists who performed Light was Laurence Ungless, and Wood dedicated his 2013 Quintet to Ungless. (Los Angeles Philharmonic bassist David Allen Moore also teaches at the National Centre for Young Bass Players.) This Quintet is a burly work, much interested in sonority and texture, which Wood explores with idiomatic energy and confidence. It is also a spiky work, much given to dissonant sequential riffing, but usually pointed at triadic goals. In the slow central section Wood develops a brooding lyricism to an edgy climax that slips away chromatically to a reprise of the opening material. He takes it in a different direction this time, however, to a stress test coda. The final cadence seems characteristic: an A-major chord followed by an E-flat-minor chord; two plain triads, but about as unrelated as possible. — John Henken

About the

Piano Quintet No. 1 Ernest Bloch (1880-1959) The son of a Swiss businessman catering to tourists, Ernest Bloch was almost a tourist himself in his musical training. After studying violin and composition in Geneva, his hometown, Bloch went to Brussels for a few years, continuing to emphasize violin and composition. He then spent four years in Frankfurt and Munich, followed by a year in Paris, before returning to Geneva to join his father’s company as a bookkeeper. He continued to compose, however, and had his only opera, Macbeth, premiered at the Opéra-Comique in Paris in 1910. Bloch also worked as an orchestral conductor, and in 1916 he joined dancer Maud Allan’s company on a U.S. tour as its conductor. The tour failed, but after returning to Geneva, Bloch used his new U.S. contacts to land a teaching job at the recently founded Mannes College of Music in New York. From that point his career burgeoned rapidly, in both concert and academics. Bloch had Schelomo, the “Hebrew Rhapsody” for cello and orchestra that remains his best-known work, premiered in New York in 1917, signed a publishing contract with G. Schirmer, and in 1920 became the founding director of the Cleveland Institute of Music; he became a U.S. citizen in 1924. In his five years in Cleveland, Bloch concentrated on chamber music. He wrote his boldly original First Piano Quintet in 1921-1923, and his own movement markings provide capsule descriptions of the work. The first movement, Agitato, is indeed agitated, a neo-Classical

form filled with surging power and anxious quarter-tone detailing. Its restlessness is firmly directed, however, to clear architectural and expressive ends. “Mistico” is also quite appropriate for Bloch’s eerie middle movement, both for the mystical nature of its haunted melodies and the sonic mist he conjures from tolling chords, ostinatos, thin strands from the upper strings, and harmonic chiaroscuro. “Art is the outlet of the mystical, emotional needs of the human spirit,” Bloch wrote, “it is created rather by instinct than by intelligence; rather by intuition than by will.” (Opposition to the educational reforms this credo led him to propose in Cleveland led to his resignation, but he again landed on his feet, directing the San Francisco Conservatory of Music for five years after leaving Cleveland.) The sprawling, muscular finale is everything we might expect from an Allegro energico in this context. Bloch generates terrific waves of ostinato energy, but he also returns to slithery quarter-tones in places and rests in exotic, fading raptures at the end. — J. H.

Howard Posner plays lute and Baroque guitar and practices appellate law in Los Angeles. 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. John Henken is Director of Publications for the Los Angeles Philharmonic Association.

ARTISTS

MARTIN CHALIFOUR began his tenure as Principal Concertmaster of the Los Angeles Philharmonic in 1995. The recipient of various grants and awards in his native Canada, he graduated with honors from the Montreal Conservatory at the age of 18 and then moved to Philadelphia to pursue studies at the Curtis Institute of Music.

Chalifour received a Certificate of Honor at the Tchaikovsky Competition in Moscow, and is also a laureate of the Montreal International Competition. Apart from his LA Phil duties he maintains an active solo career, playing a diverse repertoire of more than 60 concertos. Chalifour has appeared as soloist with conductors Pierre Boulez, Gustavo Dudamel,

Charles Dutoit, Christoph Eschenbach, Sir Neville Marriner, and Esa-Pekka Salonen. Outside the U.S., he has played solos with the Auckland Philharmonia, the Montreal Symphony, the Hong Kong Philharmonic, the National Orchestra of Taiwan, and the Malaysian Philharmonic, among others.

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Chalifour began his orchestral career with the late Robert Shaw and the Atlanta Symphony, playing as Associate Concertmaster for six years. Subsequently he occupied the same position for five years in the Cleveland Orchestra, where he also served as Acting Concertmaster under Christoph von Dohnányi. While in Cleveland, Chalifour taught at the Cleveland Institute of Music and was a founding member of the Cleveland Orch- estra Piano Trio. Chalifour is a frequent guest at several summer music festivals, including the Sarasota Festival, the Mainly Mozart Festival, and the Reno Chamber Music Festival. In December 2014 at the same Nevada festival, Chalifour was featured with his friend and colleague Noah Bendix-Balgley in a special program entitled “The Concertmasters of the Berlin Phil and the LA Phil.” Maintaining close ties with his native country, he has returned there often to teach and perform as soloist with various Canadian orchestras, most recently with the Vancouver Symphony and Bramwell Tovey. Martin Chalifour has recorded solo and chamber music for the Telarc, Northstar, and Yarlung labels. He teaches at the University of Southern California and Caltech.

Tokyo-born violist RICHARD ELEGINO has been a resident of California since 1972 and a member of the Los Angeles Philharmonic since 1980. He has studied with Fumiki Asazuma, V. Barstow and L. Kievman. Every year, Elegino spends the month of June in Japan, where he visits and gives free chamber music concerts at local elementary and middle schools, schools for children with special needs, and hospitals. He has also been a member of the Astre Quartet for over ten years. He founded the Ohta Pacific Chamber Players in 2003 and served as the conductor/director for five years, giving free chamber orchestra concerts to the residents of his hometown, Ohta. His conducting credits include the 9-11 Memorial Concert in Jodo Shu Temple and Japan’s Great Earthquake Charity Concert in the City of Cerritos. Since his travels to El Sistema in Caracas, Venezuela with Gustavo Dudamel in 2012, Elegino has been involved in YOLA (Youth Orchestra of Los Angeles), and in Japan’s El Sistema in Fukushima and Iwate.

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Los Angeles-born cellist BARRY GOLD, a member of the Los Angeles Philharmonic since 1982, began studying cello with Gretchen Geber. A Young Musicians Foundation scholarship recipient, Gold began his performing career as a member of the YMF Debut Orchestra of Los Angeles; while still a teenager, he was a member of a piano trio that won a prestigious Coleman Chamber Music Prize. He earned both his bachelor’s and master’s degrees from the Juilliard School of Music, which awarded him the Eduard Steuermann Memorial Prize upon his graduation in 1979. In addition to cello studies with Harvey Shapiro, he studied chamber music with Felix Galimir and members of the Juilliard String Quartet. Prior to joining the Los Angeles Philharmonic, Gold participated in the Tanglewood and Victoria (B.C.) summer festivals and was a member of both the Pasadena and Long Beach Symphonies. He has appeared as a soloist with the Philharmonic, is a frequent performer at Philharmonic Chamber Music Society concerts, and has participated in a number of world premieres on Philharmonic New Music Group programs. He is also featured with the New Music Group on the recording of John Harbison’s The Natural World. From 1990-1993 he served as teaching assistant to Lynn Harrell at USC, and from 1993-2000 he was a visiting assistant professor of cello at UCLA.

CHRISTOPHER HANULIK joined the Los Angeles Philharmonic in 1984 and was appointed Principal Bass in 1987. He also served as Principal Bass of the Cleveland Orchestra. During his tenure in Cleveland, he made numerous recordings, including Stravinsky’s Histoire du soldat, conducted by Pierre Boulez for Deutsche Grammophon. Hanulik appears regularly with the Los Angeles Philharmonic Chamber Music Society and on the LA Phil’s Green Umbrella series. He has performed with the Miami String Quartet, the Jacques Thibaud String Trio, the Chicago String Quartet, and the Calder Quartet. He has also performed with Gil Shaham, Cho-Liang Lin, Yefim Bronfman, Emanuel Ax, Vladimir Feltsman, and Thomas Adès, among others. Hanulik has performed at the St. Barth Music Festival, Chamber Music Sedona, and La Jolla Summerfest.

Hanulik has served on the faculties of the Cleveland Institute of Music, the Kent/Blossom Summer Music Festival, Pepperdine University, and California State University Northridge. He has given master classes at the Juilliard School, Indiana University, and the Eastern Music Festival, and in Los Angeles at the Colburn School, the University of Southern California, and for the Corwin Seminars. He has also given master classes in Germany at the Hochschule für Musik Köln, and in Hong Kong at the Hong Kong Academy for the Performing Arts. He is currently on the faculties of the University of California Los Angeles, the Aspen Music Festival, and the Idyllwild Arts Academy. Hanulik attended the Juilliard School, where he studied with famed bass pedagogue Homer R. Mensch.

Violist INGRID HUTMAN was born in Los Angeles and earned her Bachelor of Music degree at California State University Northridge, where she studied with Louis Kievman and Heiichiro Ohyama, the Philharmonic’s former Principal Violist. Hutman continued her studies at the Cleveland Institute of Music under the tutelage of the Cleveland Orchestra’s Principal Violist, Robert Vernon; she also participated in the Los Angeles Philharmonic Institute during the 1987 and 1988 seasons. Since she joined the Los Angeles Philharmonic in 1991, Hutman has performed regularly with the Los Angeles Philharmonic Chamber Music Society and the Los Angeles Philharmonic New Music Group. She joined the faculty of the Colburn School of Performing Arts in 1997.

Bassist BRIAN JOHNSON joined the Los Angeles Philharmonic in November 2013, at the invitation of Music Director Gustavo Dudamel. Prior to joining the Los Angeles Philharmonic, Brian was a member of the Oregon Symphony from 2011-2013 and the Kansas City Symphony from 2010-2011. Brian has also performed with the National Symphony, the Seattle Symphony, the Atlanta Symphony, and the Nashville Symphony. Brian graduated from the Indiana University School of Music with a Bachelor of Music degree in 2008 and from the Rice University School of Music with a Master of

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Music degree in 2010. His primary teachers were Bruce Bransby, Timothy Pitts, and Christopher Hanulik. Brian spent six summers as a fellow at the Aspen Music Festival and School in Colorado from 2007-2012. Born and raised in Oregon, Brian graduated from the Grammy-honored Sprague High School. In his free time Brian enjoys staying active running, weight lifting, golfing, watching his Oregon Ducks dominate the Pac-12, and exploring and discovering new vegetarian restaurants and recipes. Go Ducks!

A native of Los Angeles, NORMAN KRIEGER is one of the most acclaimed pianists of his generation, highly regarded as an artist of depth, sensitivity, and virtuosic flair. Zubin Mehta, Marin Alsop, Myung-Whun Chung, Miguel Harth-Bedoya, JoAnn Falletta, Jeffrey Kahane, Donald Runnicles, Leonard Slatkin, Michael Tilson Thomas, Keith Lockhart, Jaap van Zweden, and Carl St.Clair are just a few of conductors with whom Krieger has collaborated. Norman Krieger regularly appears with the major orchestras of North America. Abroad, he has been guest soloist with Germany’s Philharmonisches Orchester Augsburg, Holland’s Orkest van het Oosten, Prague’s Czech National Symphony Orchestra, Turkey’s Presidential Symphony Orchestra, New Zealand’s Auckland Philharmonia, Taiwan’s National Symphony Orchestra, the Shanghai Symphony, and the Hong Kong Philharmonic. In September of 2014 he recorded Brahms’ Second Piano Concerto with the London Symphony Orchestra under the baton of Philip Ryan Mann. In recital, Norman Krieger has appeared throughout the United States, Europe, Mexico, and Asia, while chamber-music collaborations have included appearances with sopranos Beverly Hoch and Sheri Greenawald, cellists Jian Wang and Zuill Bailey, and the Tokyo and Manhattan string quartets. Krieger’s debut at New York City’s Carnegie Hall and Mostly Mozart Festival earned him an immediate invitation to Lincoln Center’s 2005/06 Great Performers Series. In 1987, Norman Krieger made headlines by being named the Gold Medal Winner of the first Palm Beach Invitational Piano Competition. Earlier, in 1984, he earned selection to the

distinguished roster of Affiliate Artists, where he participated in the Xerox Pianists Program from 1984 to 1986. Krieger is also the recipient of the Paderewski Foundation Award, the Bruce Hungerford Memorial Prize, the Victor Herbert Memorial Prize, the Buffalo Philharmonic Young Artists Competition Prize, and the Saint Louis Symphony Prize. Norman Krieger’s first piano teacher was his uncle, Rudy Hadda. Later training began in Los Angeles under the tutelage of Esther Lipton. At the age of 15, he became a full scholarship student of Adele Marcus at the Juilliard School, at which he earned both bachelor’s and master’s degrees. Subsequently, he studied with Alfred Brendel and Maria Curcio in London and earned an Artists Diploma from the New England Conservatory, where he worked with Russell Sherman. Norman Krieger’s solo recordings include Norman Krieger: Transformations – comprised of Liszt’s two Piano Concertos and Totentanz; Gershwin in Prague – including Rhapsody in Blue and Concerto in F and Tomas Svoboda’s Piano Concerto No. 2; Norman Krieger: Piano Recital, with music by Bach, Mozart, Beethoven, and Chopin; and American Piano Concertos, featuring works by Edward MacDowell and David Wiley (all on the Artisie 4 label). Chamber music collaborations include Raising the Roof, an album of chamber music by Haydn, Bloch, Bruch, and Martinu° (Artisie 4); The Prince Albert Chamber Music Festival, including works by Barber, Beethoven, Bizet, Chopin, Schubert, and Tchaikovsky (Artisie 4); Voices Through Time, works of Brahms and Schubert with flutist Emily Skala (Summit); and Summerdays, music of Barber, Berg, Bernstein, Gershwin, Glazunov, Lehár, and Mozart, from the Musical Masterworks Festival at Old Lyme (Well-Tempered). Norman Krieger is the founding Artistic Director of The Prince Albert Music Festival in Hawaii. In 1997, he earned appointment as Professor of Keyboard Studies on the faculty of USC’s Thornton School of Music. Since 2008 he has served on the summer faculty at the Brevard Music Center in North Carolina.

Violinist GUIDO LAMELL joined the Los Angeles Philharmonic in 1979 under Carlo Maria Giulini, after having served for two years as associate concertmaster of the Louisville

Orchestra and for one year as concertmaster of the Mexico City Philharmonic. Lamell has performed frequently on the Philharmonic’s Chamber Music Society and Green Umbrella series, and has appeared widely as a recitalist and orchestral soloist. He particularly loves playing in small ensembles and has enjoyed playing chamber music in his home with some of the Philharmonic’s guest soloists, including Gustavo Dudamel, Emanuel Ax, Lynn Harrell, Joshua Bell, Sir Simon Rattle, and others. In addition, Lamell has been very active as a conductor. Having conducted various local ensembles for many years, he traveled to Kiev in 2000 with celebrated American violin soloist Eugene Fodor to record six concertos with the National Symphony of Ukraine. These recordings received critical acclaim and ultimately proved to be Fodor’s last recordings. In recent years, Lamell has been coaching orchestras and conductors throughout Los Angeles through the Philharmonic’s Youth Orchestra Partnership Program. This continued on the Philharmonic’s tour to Caracas, when he coached two of the El Sistema youth orchestras and gave a conducting masterclass (in Spanish) to a group of El Sistema conducting students. In 2011, he produced and conducted Beethoven’s Ninth Symphony at Walt Disney Concert Hall as a benefit concert for Japan earthquake relief. This concert was honored with a reward of the American Prize. In 2012, Lamell was appointed Music Director of the Santa Monica Symphony and is active in his third season with them. He is excited about bringing Philharmonic-level ideals and enthusiasm to this orchestra in its 70th anniversary season. Visit smsymphony.org.

Cellist GLORIA LUM, a native of Berkeley, California, attended both the University of California at Los Angeles and the University of Southern California, graduating from the latter institution magna cum laude. A student of Gabor Rejto and Ronald Leonard, she was a member of the Oakland Symphony and the Denver Symphony before joining the Los Angeles Philharmonic in 1985. A frequent participant of the Philharmonic’s Green Umbrella series, Lum has been involved in tributes to Elliott Carter, György Ligeti, and Witold Lutoslawski, and most recently

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appeared in a solo work by David Lang. On the Chamber Music series, she has appeared with André Previn, Emanuel Ax, Lars Vogt, and Joshua Bell. Lum currently teaches cello and chamber music at Occidental College.

JOANNE PEARCE MARTIN was appointed by Esa-Pekka Salonen in 2001 as the Los Angeles Philharmonic’s Keyboardist. Born in Allentown, PA, she also performs worldwide as soloist, chamber musician, and recording artist. With the LA Phil, she has made numerous solo appearances on piano, harpsichord, and the Walt Disney Concert Hall organ, appearing with such conductors as Salonen, John Adams, and Miguel Harth-Bedoya. She has made frequent solo appearances with the LA Phil during the summer Hollywood Bowl seasons. A graduate of the Curtis Institute of Music, she has been guest soloist with many other orchestras in the U.S. and abroad, including the Philadelphia Orchestra, Charlotte Symphony, Los Angeles Chamber Orchestra, San Diego Chamber Orchestra, Florida West Coast Symphony, and England’s Huddersfield Philharmonic. In great demand as a collaborative artist, she has performed with such artists as Joshua Bell, Lynn Harrell, James Galway, Jean-Pierre Rampal, Julius Baker, and Joseph Silverstein. Martin has performed at dozens of summer music festivals and concert series spanning four continents, including those in Aspen, Sarasota, Park City (Utah), Costa Rica, Sydney, Taipei, Edinburgh, Cologne, and Nice, and at New York’s 92nd St. Y, Carnegie Recital Hall, the Lincoln Center Library, as well as the Kennedy Center. Southern California audiences have followed her performances of new music and “standards” for years with the LA Phil’s Green Umbrella and Chamber Music series, Piano Spheres, Monday Evening Concerts, Camerata Pacifica, Jacaranda, Dilijan, Pacific Serenades, South Bay Chamber Music Society, and the Ojai, Mainly Mozart, and HEAR NOW festivals. Martin is a Steinway Artist. This season she and her husband Gavin Martin have continued to concertize together internationally as a two-piano team, including performances on the U.S. East Coast and in Goa, India. Her playing has

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been described by the Los Angeles Times as possessing “unusual fervor and fluency” and “stirring virtuosity.” She has recorded solo and chamber music commercially for Centaur, Summit, and Albany. Martin and her career have also been the subject of several national television features, the most recent entitled Career Day. Her solo CD, Barefoot, was recently released on Yarlung and Linn Records to critical acclaim. She enjoys delving into new musical projects; her newest and certainly freshest musical adventure is playing the Theremin. She has performed and recorded a commissioned piece (Theremin’s Journey) by Los Angeles composer Gernot Wolfgang on her Moog “Etherwave Pro.” This season she also premiered a newly commissioned solo piano work (D’Nato) by composer and LA Phil Principal Timpanist Joseph Pereira. When she’s not making music, you might find Joanne up in the air – she is an instrument-rated airplane pilot and masterrated skydiver.

Bassist OSCAR M. MEZA, performing regularly with the Los Angeles Philharmonic as a substitute musician beginning in July of 1990, won the audition for the post of Assistant Principal Bass in March of 1993. Born in Southern California, Meza began playing the bass at the age of nine under the tutelage of his father, Oscar Meza Sr., who has been his principal teacher. He studied with Nathaniel Gangursky in 1973 and graduated from Sylmar High School in 1975. Meza went on to study with Arni Egilsson at California State University Northridge as a bass performance major. He participated in the Congress of Strings at the University of Washington in Seattle in 1975 and 1976, and began his professional career in the fall of 1976 as a member of the San Diego Symphony as a section bass player until 1985 when he auditioned and won for the post of Associate Principal Bass, auditioned again in 1989 and won the Principal Bass position. During those years, he also served as Principal Bass in the San Diego Opera and San Diego Chamber orchestras. Meza also performs chamber music at the Gindi Auditorium and participates

regularly in the Los Angeles Philharmonic’s Green Umbrella series. He also maintains a connection to the city of San Diego by performing in the La Jolla Chamber Music and Mainly Mozart festivals. Meza currently teaches double bass at California State University Northridge.

DAVID ALLEN MOORE graduated summa cum laude from the University of Southern California in 1993 where he studied with Dennis Trembly, Paul Ellison, and John Clayton. Moore continued his studies in Boston, working privately with BSO principal bass Edwin Barker while performing with Boston Baroque, the Rhode Island Philharmonic, Emmanuel Music, and the Boston Pops Esplanade Orchestra. Moore performed as a substitute with the Los Angeles Philharmonic during the 1995/96 season, after which he was a member of the Houston Symphony bass section under maestro Christoph Eschenbach, from 1996 to 1999. In January of 2000 Moore became the newest member of the Los Angeles Philharmonic’s bass section and was promoted to the 4th chair by audition in October of the same year. Moore has participated in numerous festivals including Tanglewood, the Grand Teton Music Festival, Mainly Mozart, and Kent/Blossom Summer Music Festival. He is an active recitalist and chamber musician, having performed in the Houston area with the Greenbriar Consortium, in Los Angeles with the Philharmonic’s New Music Group, and in San Diego with the Mainly Mozart Festival. He was also a featured clinician at the 1999 Texas Double Bass Symposium. From 20032009 Moore was a faculty member at the Colburn Conservatory in Los Angeles. Moore has been a faculty member of the University of Southern California’s Thornton School of Music since 2000, and in the fall of 2010 he joined the full-time faculty there while maintaining his position in the Los Angeles Philharmonic. Since 2007 Moore has been a faculty member at Domaine Forget in Quebec, Canada. In November of 2007 he began studies with internationally renowned double bass pedagogue and soloist François Rabbath in Paris. Moore received both the Diploma and Teaching Certificate from the Institut International Rabbath in February of 2009.

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The double bass that Moore performs on with the Philharmonic is an instrument by Nicolo Gagliano made in 1735. His solo bass is a modern instrument by French luthier Christian Laborie. Moore uses bows designed especially for him by Paris bowmaker Boris Fritsch that are a unique French/German hybrid and are designed to be played either overhand or underhand.

LOU ANNE NEILL has been the harpist with the Los Angeles Philharmonic since her appointment by Carlo Maria Giulini in 1983. Her activities with the LA Phil have included solo appearances at the Dorothy Chandler Pavilion and the Hollywood Bowl, as well as concerts with the Los Angeles Philharmonic New Music Group and on the LA Phil’s Chamber Music series. Neill is an expert in harp music of the late 20th century and has premiered and recorded many new compositions. She is the co-author of Writing for the Pedal Harp: A Standardized Manual for Composers and Harpists (University of California Press, 1985, Vanderbilt Music, 2006 2nd Edition) and co-producer of To Her Glory: A Tribute to Mother Earth, a five-minute, 35mm-film inspired by the music of George Frideric Handel and shown in film festivals in Ireland, Spain, Italy, and the U.S. Neill has been a faculty member at UCLA since 1981. She has also been on the faculties of UC Santa Barbara and California Institute of the Arts. Her degrees include a BA and MA in Musicology from UCLA. In 2006, Lou Anne Neill created The Harp In Our Public Schools Project (ourschoolharp. com). For nine years, a team of dedicated harp teachers has taught the harp to over 400 children in four schools in South Los Angeles.

Violinist MITCHELL NEWMAN is a native of Los Angeles and joined the Los Angeles Philharmonic in 1987. After studies with Philharmonic violist David Stockhammer, he attended the Curtis Institute of Music, studying with David Cerone, Yumi Ninomya, and Aaron Rosand. Newman is a regular participant in the LA Phil’s Chamber Music and Green Umbrella series and has had the opportunity to play

the Mendelssohn Octet with Joshua Bell, and Thomas Adès’ Piano Quintet with the composer playing piano. Newman can be heard on Grammy-winning Southwest Chamber Music’s recording of the First and Third String Quartets of Carlos Chávez. He has also recorded the music of Eric Zeisl for harmonia mundi, and Stories from My Favorite Planet by Los Angeles composer Russell Steinberg. Newman also gives performances at the Gold Coast Chamber Music Festival in the San Francisco area. Currently, Newman teaches privately and coaches orchestra repertoire at the Colburn School. Each year he produces, performs, and narrates a concert in English and Spanish for the Los Angeles Philharmonic at St. Thomas Church. Also yearly, he produces and plays a fundraising chamber music concert for Mental Health America Long Beach and was recognized as a Mental Health Hero by the California State Senate. In the summer of 2010, Newman opened Hilltop Boot Camp: Orchestra Audition Preparation for Strings (playdonjuan. com). He also travels to Ensenada, Mexico to work with the students of the Benning Academy, a program that provides instruments and lessons to children of all economic backgrounds. Newman is President of the Board of the Los Angeles Youth Orchestra. (LosAngelesYouthOrchestra.org.)

PETER ROFÉ has been a bassist with the Los Angeles Philharmonic since 1986. He began his orchestral career as the principal bassist with the San Diego Symphony and the San Diego Opera and held those posts for 14 years. He also performs with the Los Angeles Philharmonic New Music Group and on the Los Angeles Philharmonic Chamber Music series. Rofé has performed as a guest artist at many music festivals, including the Chautauqua Symphony, the Kapalua Chamber Music Festival, the San Diego Mainly Mozart Festival, the Grand Teton Music Festival, and the Sitka Chamber Music Festival. In addition to performing, Rofé has served on the music faculty of several colleges and universities, including California State University at Los Angeles, California State University at San Diego, the Chautauqua Summer School of Music, Pepperdine University, Occidental College, and California Institute of the Arts (CalArts).

Originally from Houston, Texas, ELISE SHOPE received her Bachelor of Music degree at the University of Michigan while studying under Amy Porter. In Michigan, she appeared with the Detroit Symphony Orchestra and performed the Ibert Flute Concerto at Hill Auditorium in Ann Arbor. Shope later attended the Manhattan School of Music, earning her Master of Music degree under the tutelage of Robert Langevin. She has performed with the New York Philharmonic and appeared on the stages of Carnegie Hall, St. John the Divine, and Avery Fisher Hall. Shope was a fellow at the Aspen Music Festival and the Music Academy of the West. She has played under the baton of Valery Gergiev, Alan Gilbert, David Zinman, Peter Oundjian, and Leonard Slatkin. Alongside the New York Philharmonic and violinist Anne-Sophie Mutter, Shope can be heard on the Deutsche Grammophon label performing Sebastian Currier’s piece Time Machines. In addition to her classical music performances, she plays other genres, such as Brazilian popular, Irish folk, and classical Hindustani. Shope joined the Los Angeles Philharmonic as Second Flutist in September 2012.

Violist MEREDITH SNOW, a native of Long Island, New York, received her bachelor’s and master’s degrees from the Juilliard School of Music, where she was a student of Paul Doktor and Samuel Rhodes. A former member of the Colorado String Quartet, Snow performed with that ensemble in the United States, Europe, and Brazil, including its premiere performance in London in 1982. She has participated in the Tanglewood, Aspen, and Marlboro Music Festivals. She became a member of the Los Angeles Philharmonic in 1986 after three years with the San Francisco Opera Orchestra. Snow lives in the San Fernando Valley with her husband and son. She enjoys reading, making stained glass, bicycling, and chamber music, appearing often with the Philharmonic Chamber Music Society and the Philharmonic New Music Group and performing at the Music in the Mountains Festival in Durango, Colorado every summer in July. She also serves as a Member at Large on the ICSOM (International Conference of Symphony and Opera Musicians) Governing Board.

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Los Angeles Philharmonic

Thursday, February 12, 2015, 8:00 Saturday, February 14, 2:00 Sunday, February 15, 2:00

BRITTEN

SCHUMANN

Juraj Valcˇuha, conductor Martha Argerich, piano

Four Sea Interludes from Peter Grimes Dawn Sunday Morning Moonlight Storm

Piano Concerto in A minor, Op. 54

Allegro affettuoso Intermezzo: Andantino grazioso — Allegro vivace Martha Argerich

INTERMISSION

STRAUSS

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

Media sponsor (Thursday): 91.5 KUSC

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change. LAPhil.com

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Death and Transfiguration, Op. 24

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About the

PROGRAM

Four Sea Interludes from Peter Grimes Benjamin Britten Composed: 1945 Length: c. 16 minutes Orchestration: 2 flutes (= piccolos), 2 oboes, 2 clarinets (2nd = E-flat), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bells, cymbals, gong, snare drum, tam-tam, tambourine, xylophone), harp, and strings First Los Angeles Philharmonic performance: November 24, 1949, Benjamin Britten conducting Peter Grimes, Benjamin Britten’s first opera, is about a fisherman in Aldeburgh on England’s eastern coast, a misanthropic loner who is hounded to self-destruction by the townspeople after the mysterious, but accidental, deaths of two of his apprentices. The opera’s premiere as the first postwar production of the Sadler’s Wells Opera was immediately recognized as a landmark for both Britten and English opera. In the opera the Sea Interludes are scene changes. Britten was extraordinarily adept at making a virtue of the necessity of getting smoothly from one set to another, and his interludes not only take the listener from one physical location to another (giving the impression at times of going out to sea and back), but also go inside the characters’ minds, which throughout the opera are full of turmoil and doubt. There is not a bar in the interludes, no matter how beautiful, that is free of foreboding. They are integrated into the opera’s action, leading into the next scene without pause. In making concert pieces out of them, Britten put them in a different sequence and changed some endings to make them selfcontained. “Dawn” is the first interlude in the opera, a bridge between the Prologue (an inquest into the death of Peter’s first apprentice) and the outdoor early morning of Act I. It follows a duet in which Peter and Ellen Orford, the schoolteacher he hopes to marry, sing about the hurt he suffers from the rumors about him. Britten divides his orchestra into three choirs that present three elements: flutes

and violins play a high, largely static melody, against which the harp, violas, and clarinets interject shimmering arpeggios. The rest of the orchestra interrupts periodically with ominously surging chords. “Sunday Morning” comprises the prologue to, and first moments of, Act II. Large church bells are suggested by clanging thirds from opposing pairs of horns, and later by actual bells. Woodwinds, strings, and trumpets represent smaller bells, while a flute evokes waking birds. A sweeping melody in the violins at the end is, in the opera, Ellen Orford’s song greeting the morning. “Moonlight,” which again bridges night and the following day, is the prologue to Act III. It is a curious and unsettling blend of motion and stasis, with moving parts against drones in other parts. It is built around the “second inversion” chord (a major chord with the fifth at the bottom), which in traditional harmony is a consonance that functions like a dissonance because it doesn’t feel at rest. In Classical concertos, it was the chord on which everything stopped for the cadenza before the big finish, and retains a feeling of being penultimate. A movement in which many such chords are strung together will necessarily have a subtle feeling of instability. The “Storm” comes in the middle of Act I, bridging a scene in which Grimes waits outside for an oncoming storm and a scene in which the townspeople wait out the storm in a pub. The sweeping theme heard when the storm music begins to subside has the feel of safety, and indeed it is to this music that Grimes had sung “What harbor shelters peace, away from tidal waves, away from storms? What harbor can embrace terrors and tragedies?” in the previous scene. It will be also the last thing Peter sings in Act III before he goes down with his sinking boat. — Howard Posner

BENJAMIN

BRITTEN Born: 1913, Lowestoft, Suffolk, England Died: 1976, Aldeburgh, England “I try to write as Stravinsky has written, and Picasso has painted, … they were the men who freed music and painting from the tyranny of the purely personal. They passed from manner to manner as a bee passes from flower to flower. I try to do the same.” If not quite a Renaissance man, Benjamin Britten was still less a man of his times than he was a throwback to the remarkably versatile, thoroughly skilled musicians-forall-seasons who functioned brilliantly during the 18th century. His professionalism virtually always precluded mere dutifulness in even the most modest creative endeavors; like the court or church composers of the distant past, he wrote with facility and imagination whether working on order or on impulse. He was also a pianist of virtuoso caliber, and a conductor of considerable competence. Although his creative gifts flourished most remarkably when applied to vocal music – whether in solo, choral, or operatic context – he also demonstrated a high level of excellence in many instrumental works. Further listening: Lachrymae (1948, orch. 1976) Kim Kashkashian, viola Stuttgart Chamber Orchestra, Dennis Russell Davies (ECM New Series) Peter Grimes (1945) Peter Pears, et al., Royal Opera House Orchestra and Chorus, Britten (Decca) PERFORMANCES MAGAZINE

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Piano Concerto in A minor, Op. 54 Robert Schumann Composed: 1841; 1845 Length: c. 30 minutes Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano First Los Angeles Philharmonic performance: January 6, 1922, Walter Henry Rothwell conducting, with pianist Harold Bauer

ROBERT

SCHUMANN Born: 1810, Zwickau, Germany Died: 1856, Endenich, Germany “It is the artist’s lofty mission to shed light into the very depths of the human heart.” Robert Schumann was the youngest son of a successful writer and bookseller and a somewhat unstable mother. During Schumann’s teenage years, his father died and his sister committed suicide. Prone himself to unpredictable mood swings, Schumann worried constantly about madness and death. He pursued a career as a concert pianist after leaving law school, but, when his career failed to take wing, he focused on composing. Largely self-taught, Schumann was a formal innovator, imbuing his greatest works with tremendous imagination and atmosphere. He eventually succumbed to the madness he feared so much, dying in an asylum at the age of 46. Further listening: Piano Quintet, Op. 44 (1842) Martha Argerich et al. (EMI) Carnaval, Papillons, Kinderszenen, Arabeske Nelson Freire, piano (Decca) 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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Robert Schumann married Clara Wieck, the daughter of his piano teacher and herself one of the age’s great pianists, on September 12, 1840. Having gradually given up his ambition to become a professional pianist himself, Robert was happy to yield the virtuoso title to his wife and focus on his activities as a composer. Before his marriage, Schumann had concentrated exclusively on composing songs and piano works. We can thank Clara for encouraging her husband to try his hand at larger-scale forms such as symphonies, oratorios, and concertos. In a letter dated January 7, 1839, Clara wrote, “Don’t take it amiss if I tell you that I’ve been seized by the desire to encourage you to write for orchestra. Your imagination and your spirit are too great for the weak piano.” With Clara’s support, Schumann entered one of the most creative periods of his life after their marriage. For five years, he produced large-scale masterwork after large-scale masterwork, including the “Spring” Symphony; the Overture, Scherzo, and Finale; the oratorio Paradise and the Peri; the three String Quartets, Op. 41; and the E-flat Piano Quartet and Quintet. He didn’t neglect the song either – these years produced the Op. 39 and Op. 48 song cycles (the Liederkreis and the Dichterliebe, respectively). Only his output of solo piano music dropped off. The Piano Concerto bookends these years of manic creativity. It began life as a Fantasy for Piano and Orchestra in one movement, completed by Schumann in May 1841. The Fantasy was Schumann’s first completed work for piano and orchestra; he had made four earlier attempts at writing a piano concerto, but these were all abandoned. In 1845, Schumann added a slow movement and

finale to a revised version of the Fantasy to complete a three-movement concerto. Clara’s importance to the Concerto’s gestation should not be underestimated. Not only did she encourage Robert to try his hand at writing for orchestra, but she also may have provided a model. Her own Piano Concerto, also in A minor, was written between 1832 and 1835, and Schumann had orchestrated the finale during late 1834 and early 1835. The works have more in common than their key – both modulate into A-flat major for a lengthy, contrasting slower section in the first movement, and Robert uses a four-note motive from the finale of Clara’s concerto prominently in the coda of his own concerto’s first movement. The completion of Robert’s Concerto in mid-July 1845 was followed by total physical collapse and debilitating worry for its composer. He had to cancel appearances at a Beethoven festival in Bonn and spend the summer and fall resting. He did manage to pull himself together long enough to attend the work’s premiere in Dresden on December 4, 1845, where Clara was the soloist and Ferdinand Hiller conducted. The Concerto opens with the revised version of the 1841 Fantasy. The movement adheres loosely to the strictures of the sonata-allegro (exposition-developmentrecapitulation), but it also retains the freewheeling character of the original Fantasy (the A-flat andante between the exposition and the development is a good example of this). After a long cadenza that challenges the soloist’s expressive and technical abilities (as any good cadenza should), the movement ends with a martial coda. The brief intermezzo slow movement relaxes the tension after the vigorous close of the allegro. Schumann surrounds pointed, crystalline writing for the piano in a dreamlike haze of strings in a movement that is among his most purely beautiful creations. This frames a central section comprised of a dialogue for the soloist and the cellos. The intermezzo leads directly into the finale without a pause. The movement’s opening theme is a major-key reworking of the first movement’s main theme, its nobility nicely contrasted with the more playful character of the syncopated second theme. As in the first movement, Schumann

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approaches form with great freedom, with a new theme introduced by oboes and piano later in the finale. A long coda, impulsive and irresistible, ends Schumann’s Concerto, one of the most accomplished and unique in the repertory, with three minutes of unadulterated perfection. — John Mangum

Death and Transfiguration Richard Strauss Composed: 1889 Length: c. 23 minutes Orchestration: 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, tam-tam, 2 harps, and strings First Los Angeles Philharmonic performance: March 17, 1922, with Walter Henry Rothwell conducting Richard Wagner was a virtual living presence for the young Richard Strauss, at no time more so than in 1888, when he began the present work. So profoundly in thrall to Wagner’s Tristan und Isolde was Strauss that the then-24-year-old, already celebrated for his Don Juan of two years earlier, sought and obtained the humble job of répétiteur (a fancy name for vocal coach) for a production of Tristan at the Bayreuth Festival that summer. Strauss’ Tristan-fixation extended even to the title of his new work, since Wagner had originally titled the concert excerpt from the opera known to us as the “Prelude and Love-Death” (Vorspiel und Liebestod) as Liebestod und Verklärung (Love-Death and Transfiguration). One has to marvel that under the circumstances Strauss does not include even a suggestion of a Tristan theme in his own work. What Strauss actually had in mind when writing the work isn’t clear. For the premiere of Death and Transfiguration at Eisenach in 1890, however, the composer asked a friend, the poet Alexander von Ritter, to write a brief poem based on the theme of earthly travail leading to heavenly bliss. At Strauss’ behest, the poem was expanded by Ritter into a full

scale musico-dramatic road map for the published edition, a program in four parts corresponding to the composition’s four sections (played continuously): I. (Largo) In a dark, shabby room, a man lies dying. The silence is disturbed only by the ticking of a clock — or is it the beating of the man’s heart? A melancholy smile appears on the invalid’s face. Is he dreaming of his happy childhood? II. (Allegro molto agitato) A furious struggle between life and death, at whose climax we hear, briefly, the theme of Transfiguration that will dominate the final portion of the work. The struggle is unresolved, and silence returns. III. (Meno mosso ma sempre alla breve) He sees his life again, the happy times, the ideals striven for as a young man. But the hammerblow of death rings out. His eyes are covered with eternal night. IV. (Moderato) The heavens open to show him what the world denied him, Redemption, Transfiguration — the Transfiguration theme first played pianissimo by the full orchestra, its flowering enriched by the celestial arpeggios of two harps. The theme climbs ever higher, dazzlingly, into the empyrean. — Herbert Glass

Howard Posner plays lute and Baroque guitar and practices appellate law in Los Angeles. John Mangum is President and Artistic Director of the Orange County Philharmonic Society. 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.

RICHARD

STRAUSS Born: 1864, Munich, Bavaria (Germany) Died: 1949, Garmisch, Germany “Poetic inspiration can still have a connection with the intelligence, because it must externalize itself through words – melodic inspiration is the absolute revelation of final mysteries.” Strauss is known today for his orchestral works, his operas, and his songs. He burst on the scene at the end of the 19th century with a series of vibrant orchestral works. He then shocked audiences with the rawness of his operas Salome and Elektra before charming them with the luxuriant vocal and orchestral splendor of Der Rosenkavalier. During his last years, Strauss composed a number of moving works, including the Metamorphosen for strings and his Four Last Songs. Further listening: Don Juan (1889) Royal Concertgebouw Orchestra, Bernard Haitink (Philips) Der Rosenkavalier (1910) Elisabeth Schwarzkopf et al., Philharmonia Orchestra, Herbert von Karajan (EMI) 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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About the

ARTISTS London. He has debuts with the Orchestre Symphonique de Montréal as well as the Wiener Symphoniker and the Konzerthaus Orchester Berlin. In the opera house, he will conduct productions of Parsifal at the Budapest Opera, Turandot at Teatro San Carlo Napoli, and Jenu°fa at Teatro Comunale Bologna. 2015/16 promises returns to the New York Philharmonic, the San Francisco Symphony, the Pittsburgh Symphony, the Minnesota Orchestra, the NSO Washington, the Munich Philharmonic, the Philharmonia London, the Orchestre de Paris, the Czech Philharmonic, and the radio orchestras in Frankfurt and Hamburg.

JURAJ VALCˇUHA has been Chief Conductor of the Orchestra Sinfonica Nazionale della RAI, Torino since 2009. He studied composition and conducting in Bratislava and St. Petersburg with Ilya Musin and in Paris. 2005 saw his debut with the Orchestre National de France. In the following seasons, he has regularly conducted the Philharmonia Orchestra, the Munich and Rotterdam philharmonic orchestras, the Gewandhaus Leipzig, the Swedish Radio Orchestra, the Staatskapelle Dresden, and the Orchestre de Paris. In the U.S. he has made debuts with the Pittsburgh Symphony, the Los Angeles Philharmonic, and the National Symphony Orchestra in Washington. In 2011/12 he debuted with the Concertgebouw Orchestra Amsterdam, the Berlin Philharmonic, and the Cincinnati and Boston symphony orchestras. With his RAI orchestra he led a tour, primarily to the Musikverein Vienna and the Philharmonie in Berlin. The 2012/13 season marked his debuts with the San Francisco Symphony, the New York Philharmonic, the Filarmonica della Scala in Milan, the Santa Cecilia Orchestra in Rome, and the National Arts Centre Ottawa. His engagements in 2014 and 2015 take him back to the San Francisco, Cincinnati, and Pittsburgh symphony orchestras, the Los Angeles Philharmonic, and the NSO in Washington, as well as the Philharmonia in

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MARTHA ARGERICH was born in Buenos Aires (Argentina). She began her first piano lessons at the age of five with Vincenzo Scaramuzza. Considered a child prodigy, she soon performed in public. In 1955, she moved to Europe and continued her studies in London, Vienna, and Switzerland with Bruno Seidlhofer, Friedrich Gulda, Nikita Magaloff, Madeleine Lipatti, and Stefan Askenase. In 1957, she won the Bolzano and Geneva Piano Competitions, and in 1965 the Warsaw International Chopin Competition. Since then, she has been one of the most prominent pianists in the world both in popularity and ability. Martha Argerich has been rated highly for her performance of the virtuoso piano literature of the 19th and 20th centuries. Her large repertoire includes Bach and Bartók, Beethoven and Messiaen, as well as Chopin, Schumann, Liszt, Debussy, Ravel, Franck, Prokofiev, Stravinsky, Shostakovich, and Tchaikovsky. Though she is frequently engaged by the most prestigious orchestras, conductors, and music festivals in Europe, Japan, and America, chamber music occupies a significant part in her musical life. She regularly plays and records with pianists Nelson Freire and Alexandre Rabinovitch, cellist Mischa Maisky, and violinist Gidon Kremer. She says, “This harmony within a group of people gives me a strong and peaceful feeling.” Martha Argerich has recorded for EMI, Sony, Philips, Teldec, and DG, and many of her performances have been broadcast on television worldwide. She has received many awards: a Grammy for Bartók and Prokofiev

concertos; Gramophone’s Artist of the Y ear; “Best Piano Concerto Recording of the Year” for Chopin concertos; Choc from the Monde de la Musique for her Amsterdam recital; Künstler des Jahres Deutscher Schallplatten Kritik; a Grammy for Prokofiev’s Cinderella with Mikhael Pletnev; a Grammy for Beethoven Concertos Nos. 2 and 3 with the Mahler Chamber Orchestra under Claudio Abbado (DG / Best Instrumental Soloist Performance); and Sunday Times – Record of the Year and BBC Music Magazine Award for her Shostakovich recording (EMI, 2007). Since 1998 she has been the Artistic Director of the Beppu Festival in Japan. In 1999 she created the International Piano Competition and Festival Martha Argerich in Buenos Aires, and in June 2002 the Progetto Martha Argerich in Lugano.

Martha Argerich has received numerous distinctions: Officier de l’Ordre des Arts et Lettres in 1996 and Commandeur de l’Ordre des Arts et des Lettres in 2004 from the French government; Accademica di Santa Cecilia in Rome in 1997; Musician of the Year in Musical America 2001; The Order of the Rising Sun, Gold Rays with Rosette, awarded by the Japanese Emperor; and the prestigious Praemium Imperiale from the Japan Art Association in 2005.

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Terri Lyne Carrington’s Mosaic Project Cécile McLorin Salvant

Jazz

Cécile McLorin Salvant, vocals Aaron Diehl, piano Paul Sikivie, bass Peter Van Nostrand, drums

INTERMISSION

Friday, February 13, 2015, 8:00

Terri Lyne Carrington, drums Lizz Wright, vocals Nona Hendryx, vocals Carmen Lundy, vocals Tia Fuller, sax Ingrid Jensen, trumpet Helen Sung, piano Matt Stevens, guitar Josh Hari, bass

Selections will be announced from the stage.

Media sponsor: Los Angeles Times

Programs and artists subject to change. LAPhil.com

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About the

ARTISTS include 2002’s Jazz Is a Spirit, which features Herbie Hancock, Gary Thomas, Wallace Roney, Terence Blanchard, Kevin Eubanks, and Bob Hurst, and 2004’s Structure, a cooperative group which features Adam Rogers, Jimmy Haslip, and Greg Osby. Carrington released The Mosaic Project in July 2011, her fifth recording overall and first on Concord Jazz. The critically acclaimed CD, which won a Grammy for Best Jazz Vocal Album, gathered a myriad of voices and crystallized them into a multi-faceted whole that far outweighed the sum of its parts. In February 2013, Carrington released Money Jungle: Provocative in Blue, her much anticipated homage to Duke Ellington, Charles Mingus, and Max Roach, to coincide with the 50th anniversary of the release of their iconic 1963 Money Jungle album. Her new recording features Gerald Clayton and Christian McBride, with guests Clark Terry, Lizz Wright, Herbie Hancock, and others.

Grammy-winning drummer, composer, and bandleader TERRI LYNE CARRINGTON was born in 1965 in Medford, Massachusetts. After an extensive touring career of over 20 years with luminaries like Herbie Hancock, Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Joe Sample, Cassandra Wilson, Clark Terry, Dianne Reeves, and more, she recently returned to her hometown, where she was appointed professor at her alma mater, Berklee College of Music. Terri Lyne also received an honorary doctorate from Berklee College of Music in 2003. After studying under full scholarship at Berklee, with the encouragement of her mentor, Jack DeJohnette, Carrington moved to New York in 1983. For five years she was a much in-demand musician, working with James Moody, Lester Bowie, Pharoah Sanders, and others. In the late ’80s she relocated to Los Angeles, where she gained recognition on late night TV as the house drummer for the Arsenio Hall Show, then again in the late ’90s as the drummer on the Quincy Jones late night TV show VIBE, hosted by Sinbad. In 1989, Carrington released a Grammynominated debut CD entitled Real Life Story, which featured Carlos Santana, Grover Washington Jr., Dianne Reeves, Wayne Shorter, Patrice Rushen, Gerald Albright, John Scofield, Robert Irving III, Greg Osby, Don Alias, and Hiram Bullock. Other solo CDs

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LIZZ WRIGHT was born in the small town of Hahira, Georgia. Her father was a minister and her mother sang in the services. As a child, she began playing piano and singing in church with her two siblings. In high school, she broadened her musical horizons by studying choral music, performing with groups of various sizes and winning several regional and national awards. Wright subsequently studied voice at Georgia State University in Atlanta. “My major was music performance; I only did one year. There wasn’t a vocal jazz program and I didn’t want to do classical. On the side, I would work with small jazz combos so I could learn standards.” In the summer of ’98, Lizz relocated 200 miles south to Macon. It was a turning point. It was at a jam session in 1999 that Wright was discovered and invited to join the Atlanta band In the Spirit. Her debut album, Salt (2003), introduced Wright as both an accomplished songwriter and an effortlessly magnetic performer, delivering subtly persuasive performances in understated jazz/R&B settings. Dreaming Wide Awake followed in 2005, expanding Wright’s interpretive range on a broad array of material ranging from Fats Waller to Neil Young and reaching the top of the Billboard Contempo-

rary Jazz chart. Her third release, The Orchard (2008), was largely self-penned as she continued to mine her own experiences to create an unmistakably personal musical statement. Wright’s newest recording, Fellowship (2010), continues her genre-defying journey, a nod to her roots in gospel on the one hand and her gospel of eclecticism on the other.

From her beginnings with Patti LaBelle & The Bluebelles (the sweethearts of The Apollo Theater), to LaBelle (a trio made up of Patti LaBelle and Sarah Dash) – the groundbreaking rock funk band of the 70s, followed by a stunning solo career, and then inducted into The Rhythm & Blues Foundation’s Hall of Fame in 1999, NONA HENDRYX has always been on the cutting edge of music. Labelle racked up three gold albums and a No. 1 worldwide hit with “Lady Marmalade (Voulez Vous Coucher Avec Moi Ce Soir?).” Her solo efforts have been equally challenging, from rock (Nona 1977) to funk (Female Trouble) to New Age (SkinDiver), with Top 10 hits including “Bustin’ Out,” “Keep It Confidential,” “Transformation,” “Why Should I Cry?,” “I Sweat (Goin’ Thru the Motions),” and “Winds of Change,” and fruitful collaborations with Material, Arthur Baker, Prince, Peter Gabriel, Dan Hartman, and Talking Heads sandwiched in between. Over the past few years Nona has worked with many young rappers/poets/hip hop artists, ranging from a cameo appearance in an India.Arie video to a duet with Bounty Killer to production and co-writes for the film Preaching to the Choir. Nona wrote the “System” feature in the 2010 Oscar-nominated film Precious, directed by Lee Daniels, for the 2009 Labelle Reunion CD Back to Now. Nona collaborated with Charles RandolphWright on the successful play with music Blue in 2000. Nona composed eleven new songs for the production. The Randolph-Wright/Hendryx team are working on a multi-media cybermusical based on Hendryx’ CD SkinDiver. Hendryx is a Grammy nominee for “Rock This House” (featuring The Rolling Stones’ Keith Richards on guitar) and an Emmy nominee for her collaboration with Jason Miles on the composition “Children of the World,” recorded by Sounds of Blackness for People, a Disney animated children’s special.

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CARMEN LUNDY began her professional career in Miami, FL, as a jazz vocalist and composer when there were very few young, gifted, and aspiring jazz vocalists on the horizon. Over four decades later, Lundy is celebrated throughout the world for her vocal artistry and is highly regarded for her jazz innovation. Currently on the Afrasia Productions label, Carmen released her 14th album in 2014. Almost two years in the making, it consists of new original songs by Lundy, and a few very special collaborations. The highly regarded 2012 release Changes (Afrasia Productions) is on several Top 10 Albums of 2012 lists, and continues to garner both critical and popular acclaim. Terri Lyne Carrington’s Mosaic Project – Grammy winner for Best Jazz Vocal Album of 2011 – features the Carmen Lundy composition “Show Me A Sign,” with Lundy’s original performance from the album Solamente reinvented on the arrangement. Carmen has had several Top Ten albums on JazzWeek (Jazz and the New Songbook-Live at The Madrid, Come Home, and Changes) and a No. 3 spot on Billboard’s jazz chart for 23 weeks with her debut album Good Morning Kiss. Among her other awards and recognitions, especially rewarding was Miami-Dade’s County Office of the Mayor and Board of County Commissioners proclaiming January 25 “Carmen Lundy Day,” along with handing Lundy the keys to the City of Miami. Carmen Lundy’s path to being one of today’s most talented, respected, and sophisticated jazz singers began at age six, with her first piano lessons. She was deeply inspired by her mother, who was then lead singer in the gospel group The Apostolic Singers. Lundy attended the University of Miami as an opera major, but soon discovered that jazz was where her talent really shone. While working steadily in the Miami jazz scene, she graduated with a degree in Studio Music and Jazz – one of the first singers to do so. Lundy then moved to New York City in the spring of ’78 and immediately began working in jazz circles throughout the Tri-State area, and from Harlem to Greenwich Village, quickly impressing the notoriously critical jazz cognoscenti and audiences alike. Lundy is also a gifted actress active in theater. She performed the lead role of Billie Holiday in the Off-Off Broadway play They

Were All Gardenias by Lawrence Holder, as well as the lead role in the Broadway show Duke Ellington’s Sophisticated Ladies, and she made her television debut as the star of the CBS pilot-special Shangri-La Plaza in the role of Geneva, after which she relocated to Los Angeles, where she currently resides.

When Mack Avenue recording artist TIA FULLER picks up her sax to play, the two become one and something amazing happens as the notes and reverberations of her musical elixir fill the room. Suddenly, everything in the universe feels right and it’s easy to see and hear why this artist and teacher, who has a Bachelor of Arts degree in Music from Spelman College in Atlanta (magna cum laude) and a Master’s degree in Jazz Pedagogy and Performance from the University of Colorado at Boulder (summa cum laude), was selected to be a member of the all-female band touring with R&B star Beyoncé. Tia has recorded three CDs with her quartet. The first, Pillar of Strength (2005/Wambui), received praise as being “an exhilarating work that introduced her as a leader who strives for perfection” (All About Jazz magazine). Her sophomore release, Healing Space (2007/Mack Avenue), is an offering of “melodic medicine” that the wide-eyed optimist sincerely hopes will serve as a healing agent for those who indulge in it. Tia released her third CD, Decisive Steps, in January 2010. Tia was born in Aurora, Colorado to jazz musicians Fred and Ethopia Fuller. She grew up listening to her parents rehearse in the basement of their home, as well as the music of jazz greats such as John Coltrane, Sarah Vaughan, and Charlie Parker. Inspired by her older sister Shamie, Tia began playing classical piano when she was just three years old and continued until she was 13. She also began studying the flute when she was nine. Her interest in jazz came into fruition in high school. It was during this time that she began playing the saxophone. Now residing in Essex County, New Jersey, Tia says playing music makes her feel as if she is a vessel for the Spirit to flow through. While listening to her songs, she wants people to be uplifted and experience a sense of restoration, compelling them to move forward not in fear, but in love and faith.

Born in Vancouver and raised in Nanaimo, Canada, INGRID JENSEN headed east after receiving a number of scholarships to attend the Berklee College of Music in Boston. Since graduating in 1989, her life has contained a whirlwind of musical activities. From her early days playing in the subways of New York, to establishing herself as a leader and soloist in a wide array of musical genres, Ingrid has made her mark. Her three CDs for the ENJA label and her latest CD, At Sea, won her nominations from the Canadian Juno Awards, including an award in 1995 for Vernal Fields. Her performances as a leader and as a featured soloist have taken her around the world from Canada to Japan, Australia, South America, South Africa, the Caribbean, and to almost every country in Europe and Scandinavia. Jensen can be heard as a soloist with the Christine Jensen Orchestra, her own quartet and quintet formations, Project O, Nordic Connect, and a number of other New York-based bands. In 2003 she was nominated, for the second time, alongside trumpeter Dave Douglas, for a Jazz Journalist Association Award in New York, and she is seen yearly in the top five of the Downbeat Critic Polls in the Talent Deserving Wider Recognition category. Ingrid was on staff at the Port Townsend Centrum Jazz Workshop for five consecutive years and from 1990 until 1992 held the Professor of Jazz Trumpet chair at the Bruckner Conservatory of Music in Austria. Currently, she is an artist-in-residence on the trumpet faculty at the University of Michigan in Ann Arbor. Jensen continues to fill her schedule with an astonishing array of artistic creativity as a performer and educator. In addition to performing, she conducts master classes, clinics, and workshops around the world.

A native of Houston, Texas, HELEN SUNG attended Houston’s High School for the Performing and Visual Arts (HSPVA). She initially aspired to be a classical pianist but was bitten by the jazz bug (specifically by Tommy Flanagan’s solo on Charlie Parker’s composition Confirmation) while studying at the University of Texas at Austin. Going against both her musical and cultural upbringing, she switched to jazz and was soon after accepted into the inaugural class of the Thelonious Monk

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Institute of Jazz Performance (then at Boston’s New England Conservatory of Music). As bandleader, Sung has performed on Marian McPartland’s acclaimed Piano Jazz show, NPR’s JazzSet w/DeeDee Bridgewater, and XM Radio’s In the Swing Seat w/ Wynton Marsalis. Her band has headlined at the Fontana Chamber Arts Summer Festival, Kalisz International Jazz Piano Festival, the Kennedy Center’s Mary Lou Williams Jazz Festival, Clifford Brown Jazz Festival, Vermont Mozart Festival, Jazz Lucca Donna Festival (Italy), Tri-C Jazz Festival (Cleveland), Jazz Festival Bern, the American Jazz Museum’s ‘Blue Room,’ the Philadelphia Museum of Art, and New York City’s finest jazz venues. Her CD Helenistique was praised as “one of the year’s most exciting listens” (JazzTimes); and Sungbird after Albéniz, a jazz-classical adventure, was hailed “a real winner” (All About Jazz), a “seamless recording in which one composer’s contributions complement the other’s” (Billboard). Her project NuGenerations toured southern Africa (Zimbabwe, Swaziland, Namibia, and South Africa) as a 2009 U.S. State Department-Rhythm Road: American Music Abroad ensemble.

One of the brightest guitarists of his generation, MATTHEW STEVENS will soon be releasing his debut album on Concord Records. Over the past decade he has performed and recorded with some of contemporary music’s finest musicians, including Christian Scott, Victor Bailey, Jason Moran, Rodney Holmes, Ben Williams, Jeff Lorber, Jacky Terrasson, Esperanza Spalding, Ambrose Akinmusire, Sean Jones, Dave Samuels, Walter Smith III, Terri Lyne Carrington, Harvey Mason, and Dr. Lonnie Smith. He has toured extensively in the U.S., Canada, Europe, Japan, South Africa, and South America, performing at some of the best national and international jazz festivals, including Montreux, North Sea, Newport, Montreal, Monterey, Fujitsu, New Orleans Jazz and Heritage, and at renowned venues such as the Hollywood Bowl, the Kennedy Center, the Blue Note clubs in New York, Tokyo, and Milan, and the Moscow International Music House. Stevens is a member of the adjunct faculty at the New School and has taught at the Maryland Summer Jazz Workshop and Berklee

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College of Music Guitar Week (his alma mater). He is from Toronto, Canada, and currently resides in New York City

JOSH HARI is an upright and electric bassist from Oakland, California and Guadalajara, Mexico. He has performed in a professional setting and/or recorded with: Dianne Reeves, Terri Lyne Carrington, Lalah Hathaway, Goapele, Lyrics Born, Killah Priest, Richie Rich, Joe Louis Walker, John Ellis, Bobby Sparks, Gary Thomas, Nona Hendryx, Julian Lage, Greg Osby, Bicasso, Bobby Ozuna, and many others. He has been fortunate to perform at the White House, Carnegie Hall, Bonnaroo, the Anguilla, BeanTown, Fillmore, Jazz a Vienne Martinique, Monterey, Montreux, and Ouro Preto jazz festivals; and at the Blue Note NY, Dakota Jazz Club, and Yoshi’s. He’s currently in his last semester at Berklee College of Music.

When CÉCILE McLORIN SALVANT arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world’s most prestigious contest, the buzz began almost immediately. If anything, it intensified in the months leading up to the 2013 launch of her Mack Avenue Records debut, WomanChild. At almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant’s first language was French. She immersed herself in the classical music tradition long before she turned to jazz, starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the U.S. conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on Classical and Baroque vocal music as well as jazz. There, thousands of miles away from jazz’s land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before

returning to the U.S., she gave concerts in Paris, recorded with Bonnel’s quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant’s contemporaries. McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams, and other early masters of American music. However, McLorin Salvant can’t be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish, or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae, and Abbey Lincoln. She is also currently continuing her studies of the Classical and Baroque tradition.

PERFORMANCES MAGAZINE

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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 December 2013 to December 2014. The LA Phil gratefully acknowledges Al Mannâ&#x20AC;&#x2122;s leadership gift of $10 million to make possible the Alfred E. Mann Los Angeles Philharmonic Association Administrative Building.

$200,000 and above Dunard Fund USA Diane and M. David Paul Barbara and Jay Rasulo Lloyd E. Rigler - Lawrence E. Deutsch Foundation

Ronus Foundation Wells Fargo Foundation Alyce and Warren B. Williamson

$100,000 to $199,999 Anonymous Ms. Wallis Annenberg David C. Bohnett Louise and Brad Edgerton / Edgerton Foundation Mr. Lawrence N. Field Kiki and David I. Gindler Lenore S. and Bernard Greenberg

Joan and John F. Hotchkis Kenneth Kamins and Judith Selbst Kamins Estate of Dale E. Kern Terri and Jerry M. Kohl James and Laura Rosenwald / Orinoco Foundation Eva and Marc Stern Christian and Sutton Stracke

$50,000 to $99,999 Anonymous (2) Margaret and David N. Barry, III Judith and Thomas L. Beckmen Lynn A. Booth California Community Foundation Kevin G. Clifford Mark Houston Dalzell Ms. Mari L. Danihel Kelvin L. Davis Nancy and Donald de Brier Elizabeth and Kenneth M. Doran Margaret and Jerrold L. Eberhardt Jane B. and Michael D. Eisner Mrs. Danielle Erem Fairbrook Foundation Mr. and Mrs. Jeffrey L. Glassman Anita Hirsh Ms. Teena Hostovich and Mr. Doug Martinet Ruth Jacobson Survivorâ&#x20AC;&#x2122;s Trust JL Foundation Monique and Jon Kagan Michael B. Kaplan Ms. Sarah H. Ketterer 50

Darioush and Shahpar Khaledi Mr. and Mrs. Norman Lear Ronald Litzinger Mr. George Lucas Mr. Kevin MacCarthy and Ms. Lauren Lexton Diane and Ron Miller Y & S Nazarian Family Foundation Peninsula Committee for the Los Angeles Philharmonic William C. Powers Dudley Rauch Nancy S. and Barry Sanders Mr. and Mrs. Richard Sandler Ken & Carol Schultz Foundation David and Linda Shaheen Eric Small Traub-Brittan Family Foundation Sue Tsao Marilyn and John Wells Mr. and Mrs. John Williams Margo and Irwin Winkler Ms. Marilyn Ziering

PERFORMANCES MAGAZINE

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$25,000 to $49,999

Anonymous (2) Mrs. Faith F. Strong and the 2010 Faith Charitable Trust 20th Century Fox Film Mr. Gregory A. Adams Dr. Benjamin and Debra Ansell Adele and Gordon M. Binder Joyce Brandman / Saul Brandman Foundation The Eli and Edythe Broad Foundation Mr. Ronald W. Burkle Business and Professional Committee Chevron Products Company Esther S. M. Chui-Chao Adriana Cisneros de Griffin and Nicholas Griffin The James and Paula Coburn Foundation Mr. Richard W. Colburn Donelle Dadigan Ferguson Foundation Foothill Philharmonic Committee Gibson, Dunn & Crutcher Alexandra S. Glickman and Gayle Whittemore Julia and Ken Gouw Mr. and Mrs. Pierre Habis Fred and Betty Hayman Foundation Fern and Arnold Heyman Mr. and Mrs. James L. Hunter Mr. and Mrs. William H. Hurt Bernice and Wendell Jeffrey Randi and Richard B. Jones Jo Ann and Charles Kaplan Paul and Susanne Kester Vicki King Los Angeles Philharmonic Affiliates Renee and Meyer Luskin Theresa Macellaro / The Macellaro Law Firm Mr. and Mrs. John V. Mallory Manatt, Phelps & Phillips, LLP Ginny Mancini Barbara and Garry Marshall Victoria and Kerry McCluggage Barbara and Buzz McCoy Janis B. McEldowney Lisa and Willem Mesdag David and Margaret Mgrublian Maureen and Stanley Moore Mr. and Mrs. Peter O’Malley Otis Booth Foundation Ms. Linda L. Pierce Sandy and Barry D. Pressman Ms. Monica Rosenthal Linda and Tony Rubin Wendy and Ken Ruby Carla and Fred Sands Elizabeth and Justus Schlichting Mr. and Mrs. Gerry Schwartz Dr. Chester Semel Ronald and Valerie Sugar Linda May and Jack Suzar Mr. Avedis Tavitian Suzanne and Michael E. Tennenbaum Ms. Tylie Jones Judith and Dr. John Uphold Noralisa Villarreal and John Matthew Trott Sheila and Walter Weisman Mr. Kenneth L. Willner and Mr. Jim Stine Zenith National Insurance Co. Ellen and Arnold Zetcher Mary Hayley and Selim K. Zilkha

FEB 7 - FEB 22, 2015

PLUMMER AUDITORIUM IN FULLERTON

FEB 28 - MAR 8, 2015

APR 25 - MAY 10, 2015

PLAYING ONLY AT PLUMMER AUDITORIUM IN FULLERTON

REDONDO BEACH PERFORMING ARTS CENTER

JUL 11 - JUL 26, 2015

PLUMMER AUDITORIUM IN FULLERTON

AUG 1 - AUG 9, 2015

REDONDO BEACH PERFORMING ARTS CENTER

OCT 10 - OCT 25, 2015

PLUMMER AUDITORIUM IN FULLERTON

OCT 31 - NOV 8, 2015

REDONDO BEACH PERFORMING ARTS CENTER

“Cancel that ﬂight to New York;

there’s no need to ﬂy all that way to experience Broadway. Not when there is a locally produced, wonderfully staged, energetic and enthusiastic musical from 3-D Theatricals.” - Los Angeles Daily News

$15,000 to $24,999

Anonymous John Adams and Deborah O’Grady Honorable and Mrs. Richard Adler Nancy and Michael Alder

714-589-2770 3DTSHOWS.COM PERFORMANCES MAGAZINE

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INTERNATIONAL CURTAIN CALL 2015 Deluxe Opera & Music Tours SPRING ITALY TOUR Naples - Palermo - Sicily - Rome (May 14 - 27, 2015)

NAPLES: Jommelli's The Desert Island/ L'Isola Disabitata (Royal Palace Theater); PALERMO: Un Ballo In Maschera. ROME: Le Nozze Di Figaro; S. Cecilia Concert– Bruckner's 8th Symphony; Plus extensive Sicily tour.

VIENNA WAGNER RING PLUS (May 28 – June 8, 2015)

Sir Simon Rattle- Sven-Eric Bechtolf's DER RING DES NIBELUNGEN: Herlitzius (Brünnhilde), Kulman(Fricka), Volle (Wotan & Der Wanderer), Serafin (Sieglinde), Ventris (Siegmund), Gould (Siegfried), Konieczny (Alberich). PLUS: FIDELIO (Stemme); SALOMÉ and COSÌ FAN TUTTE.

ITALY SUMMER FESTIVALS Milan & Verona +*Venice Extension (June 18-28; *June 28 - July 2, 2015)

MILAN La Scala: Cavalleria Rusticana (Kaufmann) & Pagliacci; and Baritone– Leo Nucci's Recital. VERONA: Aida; Nabucco; and Tosca.

*VENICE EXTENSION: Vivaldi's Juditha Triumphans (La Fenice): and Rossini's La Scala Di Seta (Teatro Malibran).

GLYNDEBOURNE , LONDON, & GARSINGTON FESTIVALS (June 30 – July 11, 2015)

GLYNDEBOURNE: New productions of Donizetti's Poliuto and Mozart's Die Entführung aus dem Serail. GARSINGTON: Mozart's Così Fan Tutte; and Strauss' Intermezzo. LONDON ROYAL OPERA: La Boheme; Guillaume Tell; and Falstaff; Plus Shakespeare Play "As You Like It" at Old Globe; and the West End Show– "Matilda The Musical".

SALZBURG FESTIVAL & VIENNA OPENING WEEK (August 24 – Sept 6, 2015)

SALZBURG: Der Rosenkavalier; Ernani; Iphigenie En Tauride; Concerts of Israel Philharmonic/Mehta (Tchaikowsky 6th Symphony), and Vienna Philharmonic/ Bychkov (Brahms 3rd Symphony). VIENNA SEASON OPENING WEEK– Rigoletto; Der Fliegende Holländer. Die Zauberflöte; and Die Fledermaus.

5-Star Hotels–Buffet Breakfasts– Selected Gourmet Meals & Wine– Special Sightseeing and Excursions. LIMITED SPACE AVAILABLE Contact International Curtain Call 3313 Patricia Avenue Los Angeles, CA 90064 Ph: (310) 204-4934; (800) 669-9070 E-Mail: Icctours1@aol.com www.IccOperaTours.com

Paul and Herta Amir AON Risk Services The Aversano Family Trust Lorrie and Dan Baldwin Dr. William Benbassat Mr. Joe Berchtold Mr. and Mrs. Norris J. Bishton, Jr. Robert and Joan Blackman Family Foundation Mr. and Mrs. Stephen A. Block Mr. Ronald H. Bloom Joan Friedman, Ph.D. and Robert N. Braun, M.D. John and Annette Brende Jacqueline Briskin Grant and Peggy Cambridge Lyn and Frank Campbell Joseph and Mara Carieri Ms. Nancy Carson Tod E. Carson Raphaelle and Philip Cassens Dan Clivner and Steven Cochran Mr. and Mrs. Jonathan Cookler Ron de Salvo Elliott Sernel & Larry Falconio Ms. Lisa Field Malsi Doyle and Michael Forman Lillian and Steve Frank Lori and Robert Goodman The Gorfaine / Schwartz Agency Mr. and Mrs. Daniel M. Gottlieb Peter and Diane Gray Tricia and Richard Grey Marnie and Dan Gruen Renée and Paul Haas Dwight Hare and Stephanie Bergsma Havner Family Foundation Mr. and Mrs. Irwin Helford and Family Dr. Diane J. Henderson Carol and Warner Henry Yvonne and Gordon Hessler Tina and Ivan Hindshaw Liz Levitt Hirsch and the Mortimer Levitt Foundation, Inc. Mr. and Mrs. Jeff Hyland Gary and Denise Kading Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan Mr. and Mrs. Robert A. Kasirer Gerald L. Katell Sandi and Kevin Kayse Anne and Michael Keating Doreen and Ken Klee Elaine Kohn and Berndt Lohr-Schmidt Carol Krause Pamela and Bob Krupka Ms. Robin Eisenman and Mr. Maurice LaMarche Charlotte and Thomas Lane Morelle and Dr. Norman D. Levine Phyllis and Ken Lemberger Rick and Jan Lesser Allyn and Jeffrey L. Levine Marie and Edward Lewis Mr. Stan Lipshutz Lillian Lovelace Mr. and Mrs. Ronald Low Raulee Marcus Dwayne and Eileen McKenzie Dr. Hilary Garland and Mr. Neil McLean Merkin Family Foundation Joel and Joanne Mogy 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 Mary Jayne Parker and Beckie Yon Parsons Corporation Catherine and David B. Partridge Mr. and Mrs. R. Joseph Plascencia Pat Pratt Gregory Pickert Mr. and Mrs. Alan C. Rakov Mr. Robert G. Rifkind Mr. and Mrs. J. Peter Robinson Robert Robinson Michael J. Rogerson Steven and Robyn Ross Katy and Michael S. Saei Tom Safran The SahanDaywi Foundation Dr. and Mrs. Heinrich Schelbert Malcolm Schneer Family Trust Dr. Donald Seligman and Dr. Jon Zimmermann Neil Selman and Cynthia Chapman Mr. James J. Sepe Randy and Susan Snyder Marilyn and Eugene Stein Mr. Thomas S. Strickler Tracey and Stanley Tatkin Teshinsky Family Foundation Mr. and Mrs. Thomas E. Unterman Jan and Meredith Voboril Charles and Miriam Vogel Warner Bros. Mindy and David Weiner Western Asset Management Company Westside Committee of the Los Angeles Philharmonic Mr. John Wileman Dr. Libby F. Wilson Stanley R. Zax

$10,000 to $14,999

Anonymous (10) ABC Entertainment Mr. Robert J. Abernethy Ms. Katie McGrath and Mr. J. J. Abrams Mrs. Lisette Ackerberg Drew and Susan Adams Sara and Robert Adler Admarketing, Inc. Julie Andrews Mr. Philip Anthony Ms. Judith A. Avery Richard Bardowell, M.D. Barkley Court Reporters The Bartman Foundation Sue Baumgarten The Honorable Frank and Kathy Baxter Phyllis and Sandy Beim Bernie J. Beiser Maria and Bill Bell Mr. Mark Benjamin Michael and Hedvah Berg Barbara Bernstein and Stephen R. Bernstein Samuel Biggs and Erin Rose Dr. Andrew C. Blaine and Dr. Leigh Lindsey Ms. Deborah Borda Mr. and Mrs. Hal Borthwick Yuki and Alex Bouzari Brass Ring Foundation Gabriel and Deborah Brener Mr. and Mrs. Steven Bristing Ms. Wendi Bromley Mrs. Linda L. Brown Debra Burdorf Rory Burnett and Lois Wecker Mr. and Mrs. Richard Camp Ms. Marla Campagna

PERFORMANCES MAGAZINE

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OPERA LONG BEACH

GAVIN BRYARS’

MARILYN FOREVER More reverie than reality, Marilyn Forever is a celebration of Monroe’s life, flashed before our eyes through a series of Hollywood vignettes as told by the men closest her. Bryars’ blue, film-noir musical palette celebrates a true American icon known by all, desired by many, understood by few.

Only Two Performances! US Premiere Warner Grand Theatre, San Pedro

MAR

8:00P

MAR

2:30P

COMING IN JUNE 2015 HYDROGEN JUKEBOX by Philip Glass & Allen Ginsberg

LONGBEACHOPERA.ORG • 562.432.5934 LAPHIL_WRAP_0215.indd 53

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continued

Your

Festival

Experience

MAGIC CEDAR CIT Y

B A R D . O R G 8 0 0 - P L AY T I X Photos, top to bottom: Kimberly Mellen (left) and Max Robinson in A Midsummer Night’s Dream, 2011; and the Adams Shakespeare Theatre Courtyard.

Ann and Tony Cannon Liza Mae and Mark Carlin Par and Sharon Chadha Ms. Sharie Chandra Arthur and Katheryn Chinski Mr. and Mrs. Ronald Clements The Cloobeck Family Mr. and Mrs. Richard W. Cook Mr. and Mrs. Robert Cook Zoe and Donald Cosgrove Mr. and Mrs. Michael Coulson Dr. and Mrs. Robert A. Cutietta Mr. Morris Darnov Mr. Cary Davidson Lynette and Michael C. Davis Dr. and Mrs. Aurelio de la Vega Ms. Rosette Delug Robert and Patty Dickman Jennifer and Royce Diener Tim and Neda Disney Good Works Foundation and Laura Donnelley Dr. and Mrs. William M. Duxler Elizabeth Hofert-Dailey Trust Mr. and Mrs. Richard Ellis Mr. Geoff Emery Mary and Robert Estrin Mrs. Jeanne Faoro Mr. and Mrs. David Fett Jen and Ted Fentin First Republic Bank C. Randolph Fishburn Beverly A. Fittipaldo Ronald Lee Fleming and Sandra Ourusoff Mr. Jay G. Foonberg Mr. and Mrs. Robert C. Forst Drs. Harold and Gloria Frankl 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 Dr. and Mrs. David Fung Mr. Arthur J. Gallagher Mr. and Mrs. James P. Gauer Gelfand, Rennert & Feldman Nomi Ghez Foundation The Gillis Family Mr. and Mrs. James H. Gisbrecht Mr. and Mrs. Herbert Glaser Paige and David Glickman Arline and Henry Gluck Cindy and Richard Goldman Carol Goldsmith Mr. and Mrs. Abner D. Goldstine Mr. Manuel Graiwer and Ms. Lucrecia Tulic Mr. Robert Greenblatt Nancy and Barry Greenfield Mr. and Mrs. Paul E. Griffin III Ms. Paula M. Grigsby Mr. and Mrs. Paul Guerin Alan Harris and Marcella Ruble Harvard-Westlake School Stephen T. Hearst Mr. Rex Heinke and Judge Margaret Nagle Bud and Barbara Hellman Susan and Tom Hertz Andrew Hewitt Marion and Tod Hindin Laura and James Hirschmann Dr. Louise Horvitz and Carrie Fishman Roberta and Burt Horwitch Mr. and Mrs. Daniel Paul Horwitz Dr. and Mrs. Mel Hoshiko Dr. and Mrs. Mark H. Hyman

Mrs. Ghada and Dr. Ray Irani Mr. and Mrs. Theodore W. Jackson Robin and Gary Jacobs Mr. and Mrs. Paul A. James Jones Day Dr. William B. Jones Stephen A. Kanter, M.D. Eileen and Ken Kaplan Mr. and Mrs. Kenneth Karmin Dr. and Mrs. Robert M. Karns Ms. Nancy Katayama Mr. Eric Kaufman Marty and Cari Kavinoky Kem Productions, Inc. Lisa See and Richard Kendall Laura King and Charles Nagurka Richard and Lauren King Mr. and Mrs. Stephen A. Kolodny Dr. Ralph A. Korpman Kathleen McCarthy and Frank Kostlan KPMG LLP Mr. Seth Krugliak Ms. Phyllis Kupferstein and Mr. Donald O. Farkas Tom and Sandy Lallas Mr. and Mrs. Jack D. Lantz Mrs. Grace E. Latt Richard and Ruth Lavine Family Foundation Mr. and Mrs. B. Allen Lay Mr. George Lee Mr. and Mrs. Norman A. Levin Audrey Davis and Peter Dan Levin The Hyman Levine Family Foundation: L’DOR V’DOR Lauren B. Leichtman and Arthur E. Levine Anita and Saul Levine Lydia and Charles Levy Masha and Matthew Lichtenberg Ellen and Mark Lipson Susan Disney Lord and Scott Lord Robert W. Lovelace and Alicia Miñana The Luppe & Paula Luppen Family Foundation Sandra Cumings Malamed & Kenneth D. Malamed Pamela Mass Leslie and Ray Mathiasen Matt Construction Corporation Kathleen Maurer Foundation Liliane Quon McCain Mr. and Mrs. Thomas E. McCarthy Mr. William McClure Dr. and Mrs. Sheldon Mehr Sharyl and Rafael Mendez, M.D. Mr. and Mrs. Dana Messina Mr. Weston F. Milliken Haydee and Carlos A. Mollura Ms. Susan Morad at Worldwide Integrated Resources, Inc. Mr. and Mrs. Angelo R. Mozilo Ms. Kari Nakama NBC Universal Mrs. Cynthia Nelson Ms. Kristi Jackson and Mr. William Newby Mr. and Mrs. Randy Newman Christine M. Ofiesh Irene and Edward Ojdana The Opportunity Divide Project, Inc. Ms. Sandra Ourusoff Kim and P.F. James Overton Mr. and Mrs. Joseph P. Perna Lyle and Lisi Poncher Robert J. Posek, M.D. Joyce and David Primes P-Twenty One Foundation Mr. James H. Radin Marcia and Roger Rashman The Reamer Family Foundation Mr. and Mrs. Richard Roberts

PERFORMANCES MAGAZINE

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Bill T. Jones/Arnie Zane Dance Company & SITI Company: A Rite Fri-Sat, Mar 6-7

EXPLORE ENGAGE EXPERIENCE

Pilc Moutin Hoenig Fri, Mar 6

Kyle Abraham/ Abraham.In.Motion

The Watershed

When The Wolves Came In

Thu, Feb 12

Fri, Feb 13

LAPHIL_WRAP_0215.indd 55

Gabriel Kahane: The Ambassador Fri-Sat, Feb 27-28

1/12/15 1:18 PM

continued Ms. Elizabeth Davis Rogers Michelle Rohe Murphy and Ed Romano and Family Ronald S. and Judith Rosen Lois Rosen Michael S. Rosenblum and Sheri Bloomberg Dr. and Mrs. Bernard Salick Ron and Melissa Sanders Mr. Alexander Sawchuk Warren & Katharine Schlinger Foundation Mr. Dino Schofield Evy and Fred Scholder Mr. Samuel Schwartz Chris and Anne Marie Scibelli The Seaver Endowment Samantha and Marc Sedaka Dr. John L. Sherman Gloria Sherwood Mr. and Mrs. Elliot Shoenman Mr. and Mrs. William E. B. Siart Mark Siegel Mr. Bill J. Silva June Simmons Grady and Shelley Smith Virginia Sogomonian and Rich Weiss Mr. and Mrs. Richard Sondheimer Mr. and Mrs. Mark Speare Mr. Lev Spiro and Ms. Melissa Rosenberg Stein Family Fund - Judie Stein Drs. Ellen and James Strauss Priscilla and Curtis S. Tamkin Michael Frazier Thompson Elinor and Rubin Turner Universal Music Classes Mr. Nate Walker Richard and Ann Ward Fredda and Bruce Wasserman Bob and Dorothy Webb Mr. Beryl Weiner The Whittier Trust Company Mr. Robert E. Willett Doris Weitz and Alexander Williams Karen and Richard Wolfen Paul and Betty Woolls Mr. and Mrs. Richard Wynne Mrs. Lillian Zacky Mr. and Mrs. Howard Zelikow Mr. and Mrs. Karl Zeile Bobbi and Walter Zifkin Zolla Family Foundation David Zuckerman and Ellie Kanner-Zuckerman

$7,500 TO $9,999

Dr. and Mrs. Frank Agrama Missy and Dennis Alfieri Mr. and Mrs. Mustapha Baha Mr. and Mrs. Barry Beitler Marilyn and Alan Bergman Mr. and Mrs. Elliot S. Berkowitz Helen and Peter S. Bing Joan N. Borinstein Mrs. Marie Brazil Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Julie and Stan Dorobek Mr. David A. Drummond Ms. Victoria Dummer Veronica and Robert Egelston Gail and James Ellis Mr. and Mrs. Irwin S. Field Sandra Krause and William Fitzgerald Lorraine and Donald Freeberg Dr. Suzanne Gemmell Leslie and Cliff Gilbert-Lurie Dr. and Mrs. Gary Gitnick

Mr. James Gleason Mr. Jeff Green Ms. Marian L. Hall Carolyn and Bernard Hamilton Dr. and Mrs. Samuel B. Haveson Dr. and Mrs. Alan M. Heilpern Myrna & Uri Herscher Family Foundation Mr. James Herzfeld International Committee for the LAPA Dr. and Mrs. Adel F. Jabour Mr. and Mrs. James Kang Mr. Gary Kirkpatrick Jill Kirshner Michael and Patricia Klowden Mr. and Mrs. Stanley Kramer Mr. Donald S. Levin Mr. and Mrs. Edward B. Levine Dr. and Mrs. Rendel L. Levonian Nathalie Blossom and Howard Levy Los Angeles Lakers Mr. Prem Manjooran Milli M. Martinez Jonathan and Delia Matz Mr. and Mrs. William F. McDonald Dr. and Mrs. Robert Mendez Mr. David S. Moromisato Mr. and Mrs. Allan Nemiroff Mr. Steven Ohren David and Lori Rousso Mr. and Mrs. Bill H. Rowland Mr. and Mrs. Paul Rutter Santa Monica Westside Philharmonic Committee Seaver Institute Marc Seltzer and Christina Snyder Hope and Richard N. Shaw Dr. and Mrs. Lee B. Silver, M.D. Mr. Douglas H. Smith Mr. and Mrs. C. Edward Spiegel Mr. George Sponhaltz Suzanne and Joseph Sposato Mr. and Mrs. Randall Tamura David H. Vena Fern and Ronald H. Wender Robert and Penny White Mr. and Mrs. Steven White

$5,500 TO $7,499

Anonymous Nancy and Leslie Abell Mr. and Mrs. Stephen L. Allen Mr. and Mrs. Daniel E. Altman Mr. Ronald Altoon Art and Pat Antin Mr. Philip Anthony Linda and Robert Attiyeh Mr. Thomas S. Ballantyne Ken and Lisa Baronsky Karen and Jonathan Bass Mr. and Mrs. Roy A. Battocchio Joanne Benickes Mr. and Mrs. Adam Berger Charles Berney and Family Ms. Gail K. Bernstein The Stanley & Joyce Black Family Foundation Martha and Avrum Bluming Roz and Peter Bonerz Ms. Lynne Brickner Ms. Heather Broussard Mr. and Mrs. Tom R. Camp CBS Entertainment Pat and Niles Chapman Jim and Carolyn Cheney Chicago Title Company Rick Chivaroli Dr. Burton Christensen, Ph.D.

PERFORMANCES MAGAZINE

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nce upon a time there was a chair Not a big chair, not a small chair. Just a chair. The problem was it no longer fit in. Mother said, “That chair has got to go!” Father said, “But that chair belonged to my mother. I can’t part with it.” And so it went. The poor lonely chair lived in a corner gathering dust. One day mother had enough and she said, “If that chair isn’t gone by tomorrow, then you go!” Father fretted. What to do? Sister fretted, what to do? Along came wise Aunt Jane who said, “I have the best idea! LET’S DONATE THE CHAIR TO COUNCIL THRIFT. The chair will be bought by a nice person and it will have a nice new life in a nice new home. Plus, it will help NCJW/LA to provide services for at-risk women, children and families!” Father was relieved. Sister was relieved. And mom, well, she went out and bought a nice new chair.

{

Jan R. Cloyde Bruce M. Cohen, Esq. Mrs. Peggy C. Cole Ms. Ina Coleman Committee of Professional Women for LAPA Mr. and Mrs. Bruce Corwin Arline and Michael Covell Mrs. Nancy A. Cypert Mr. William Damaschke Mr. and Mrs. Leo David Mr. Howard M. Davine Ms. Mary Denove The Randee and Ken Devlin Foundation Ms. Annmarie Eldering and Ms. Anne Vandenabelle Dr. James Eshom Lorraine Fellman Mr. and Mrs. Robert T. Flesh Mr. Thomas Ford Mrs. Diane Forester Jim and Michelle Franke Dr. Gwen K. Friend Gary and Cindy Frischling Mr. and Mrs. George Garvey Ms. Linda Gassoumis Ms. Malinda Gilchrist Earl B. Gilmore Foundation Mr. and Mrs. Ronald Goldberg Henry J. Gonzalez, M.D. Dr. Ellen Smith Graff Lee Graff Foundation Mr. Leonard I. Green Felix and Beverly Grossman Foundation Mr. Gary M. Gugelchuk Mr. and Mrs. David Haddad Ms. Judith Hall Mr. and Mrs. John Hancock Christopher and Laurie Harbert Mr. Les Harrison Mr. Thomas J. Hartman and Ms. Deanna A. Elwell Mr. and Mrs. Brian L. Harvey Mr. Willis Hayes Mr. and Mrs. Robert Heenan Mr. Philip Hettema Lois Petzold Hindin Mr. and Mrs. Eric Hirshberg Janice and Laurence Hoffmann Ms. Diane C. Weil and Mr. Leslie R. Horowitz Mr. Andrei Iancu Michele and James Jackoway Mr. Richard Jacobs Ms. Lorri L. Jean and Ms. Gina M. Calvelli Mr. and Mrs. Tim C. Johnson Steaven K. & Judith G. Jones Foundation Kristofer Jorstad Mr. and Mrs. David S. Karton Patricia Keating and Bruce Hayes Richard Kelton Dr. and Mrs. Robert Koblin The Konheim Family Joan Velazquez and Joel Kozberg Carole and Norm La Caze Ellie and Mark Lainer Katherine Lance Mr. and Mrs. Christopher C. Larkin Ms. Elaine F. Kramer Carl Lauryssen, M.D. Ms. Sally Lee Leonard Green and Partners LP Mr. and Mrs. Michael J. Lesser Dr. Stuart Levine Peachy Levy Dr. and Mrs. Mark Lipian Mr. and Mrs. Steve Loeb Kristine and David Losito Shelly and Dennis Lowe

The Moral of the Story: Don’t fret. Donate gently-used furniture, household goods and clothes to Council Thrift. They even pick up!

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

800-400-6259 www.ncjwla.org

PERFORMANCES MAGAZINE CouncilThriftChairAd_final.indd 1

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5/6/14 1:43 PM

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continued

Unfinished business? Learn the story behind the chilling legend of the masterpiece Mozart left in a tantalizing state of incompleteness at his death. Then experience the power of Robert Levin’s critically acclaimed completion with Jeffrey Kahane at the helm.

discover mozart’s requiem thu feb 19 @ 8 pm

Ambassador Auditorium, Pasadena

Jeffrey Kahane

Music Director

painting by B. Kraftsmall

Jeffrey Kahane conductor & musical tour guide Alison King soprano Emily Fons alto Nicholas Phan tenor Aubrey Allicock bass Los Angeles Master Chorale

Introduction Mozart Requiem in D minor

making great music personal

Tickets from $25 at laco.org or call 213 622 70 01 x 1

Feb. 19, 21 & 24 Segerstrom Concert Hall Carl St.Clair, conductor Dean Anthony, stage director

Be seduced by intoxicating melodies and the sultry sounds of Spain as Bizet’s riveting tale of love and lust comes alive. CAST includes: Milena Kitić, Carmen Andrew Richards, Don José Elizabeth Caballero, Miceala Kostas Smoriginas, Escamillo Pacific Chorale — John Alexander, artistic director

BIZET’S

CARMEN

“

PACIFIC SYMPHONY PRESENTS

”

(714) 755-5799 PacificSymphony.org

600 Town Center Drive, Costa Mesa FOR ADDITIONAL PERFORMANCE INFORMATION: SCFTA.org

Crystal and Elwood Lui Mona and Frank Mapel Clara and Bret Martin Laura and James Maslon Mrs. Lydia McCroskey Mr. and Mrs. James B. McKenna Mr. and Mrs. Rick Merrill Dr. Gary Milan Mr. and Mrs. Michael D. Miller O’Malley and Ann Miller Ms. Julie Milligan Mr. Lawrence A. Mirisch Cynthia Miscikowski Ms. Cynthia Mitchell Moore McLennan, LLP Mr. Brian R. Morrow Susan Morse-Lebow Ms. Lillian Mueller Nathan Family Foundation Ms. Rozann Newman Mr. and Mrs. Oberfeld Mr. Dale Okuno Ms. Jean Oppenheimer Ms. Eleanor Pott Ms. Miriam Rain Mrs. Miriam Rand Gay and Ronald Redcay Dr. David Reinhardt Dr. and Mrs. Gordon S. Reiter Hon. Vicki Reynolds and Mr. Murray Pepper Mr. and Mrs. Frederic Rheinstein Mr. and Mrs. Scott H. Richland Sharon and Nelson Rising Mr. and Mrs. Norman L. Roberts Joyce and Deane Ross Dr. James M. Rosser Mr. and Mrs. Bernard B. Roth Ms. Rita Rothman Mr. and Mrs. Matthew Rowland Mr. and Mrs. Allan M. Rudnick Dr. Michael Rudolph Ann M. Ryder Mr. and Mrs. Lee C. Samson Anna Sanders Eigler Ms. Susan Fragnoli and Mr. David Sands Mr. Noriyuki Sasaki Mr. Kevin J. Savage and Ms. Britta Lindgren E. L. and Ruth B. Shannon Family Foundation Mitchell and Ruth Shapiro Doreen and Jack Shine Mr. Adam Sidy Patricia and Stanley Silver Thomas C. Sadler and Dr. Eila C. Skinner Mr. and Mrs. Martin A. Sklar Professor Judy and Dr. William Sloan Mr. Steven Smith Mr. and Mrs. Richard E. Sobelle Mr. and Mrs. James S. Sterling Louis Stern Mr. and Mrs. Mark Stern Roger Stewart Strauss Foundation Mr. Takehiko Suzuki Mr. Paul A. Swerdlove Mr. Ward Sylvester Mr. Stephen S. Taylor Thomas and Elayne Techentin Keith and Cecelia Terasaki Thomson Technicolor Ticketmaster Corporation Mr. and Mrs. Harris Toibb Mr. and Mrs. Richard E. Troop Linda and Sorrell Trope Warren B. and Nancy L. Tucker Ciedra Urich-Sass

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Performances magazine

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The Valley Committees for the Los Angeles Philharmonic Bruce Vaughn Mr. and Mrs. Zev Vered Frank Wagner Christopher V. Walker Mr. Seymour Waterman Michael Weber and Frances Spivy-Weber Mr. and Mrs. Doug M. Weitman Robert Allan White Ms. Robbi Work George and Eileen Young Mr. Nabih Youssef

$3,500 to $5,499

Anonymous (9) Gary and Diane Ackerman Arnon and Camille Adar Mr. Steven C. Afriat Dr. and Mrs. David Aizuss Ms. Mara Akil Ms. Olga S. Alderson Ms. Adrienne Alpert Mr. David Altemus Lynn K. Altman Ms. Allene Anderson Mr. Robert C. Anderson Mr. Joseph Argilagos Sandra Aronberg, M.D. and Charles Aronberg, M.D. Gary N. Babick Pamela and Jeffrey Balton Jackie and Howard S. Banchik Mr. James Barker Mr. Joseph A. Bartush Mr. and Mrs. Richard L. Battista Mr. and Mrs. Ronald N. Baumgarten Mr. Richard Bayer Ms. Karen S. Bell and Mr. Robert Cox Mr. and Mrs. Philip Bellomy Mr. Alan N. Berro Mr. and Mrs. Richard Birnholz Mary Anne and Bradford B. Blaine Ms. Elizabeth P. Blake Mrs. William E. Bloomfield Anita and Joel Boxer Dr. Anne C. Taubman and Mr. David Boyle Mr. and Mrs. Jonathan M. Brandler Ms. Janet Braun Dr. and Mrs. Richard A. Braun Ms. Deborah Barth Bremner Joyce Klein and Gerald Breslauer Abbott Brown Mr. Dennis L. Bryant Terry and Fran Buchanan Mrs. Lupe P. Burson Mr. Richard M. Carter Ms. Diane Cataldo Mr. Eric Chien Mr. Joel T. Chitiea Mr. Morgan Chu Doug and Linda Clarke Patricia and Ira Cohen Dr. and Mrs. Lawrence J. Cohen Mr. and Mrs. Mark Cohen Collingwood Foundation Dr. and Mrs. Lauren Harold Colloff David Conney, M.D. Nevada and Skip Cook Ms. Melanie Cook and Mr. Woody Woods Corwin Family Foundation Richard Cullen and Robert Finnerty Dr. Carey Cullinane Mr. Dudley Danoff Ann Deal Mr. and Mrs. Milton Delugg

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westside connections chamber music with a twist Margaret Batjer curator & host

Explore the collaborative process of architecture and music with LACO musicians and award-winning architect Frederick Fisher.* *known for Annenberg Beach House

thu mar 19 @ 7:30 pm

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Frederick Fisher architect Sarah Thornblade violin Roland Kato viola Victoria Miskolczy viola Andrew Shulman cello Kevin Puts Arches for solo violin Donald Crockett To Be Sung on the Water Brahms String Quintet No. 2 in G major, Op. 111

making great music personal

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Mike and Anne DeMartini Mr. and Mrs. Delano Dinelly Mr. and Mrs. A. Redmond Doms, Jr. Mr. Redmond Doms Carolyn Dirks Family Mr. Stanley J. Dzieminski Mr. and Mrs. Paul Eisenberg Mr. Marvin Elkin Mrs. Charles F. Elkins Ellerbe Becket, Inc. Cedric Emery, M.D. Encore Janice Feldman, JANUS et cie Syndy Felnel Mr. and Mrs. Bruce Ferber Mr. Guy Ferland Dr. Walter Fierson and Dr. Carolyn Fierson The Irene C. Finkelstein Foundation Marianna J. Fisher and David Fisher Burt and Nanette Forester Mr. and Mrs. Michael J. Fourticq Pauline and Gordon Freshman Linda and James Freund Mr. Jerry Friedman Sharon and Mark Friedman Mr. David Fukes Susan and David Gersh Rachel Gerstein Mr. and Mrs. Ronald H. Gertz Given & Co. Mr. Manny Gleicher Glendale Philharmonic Committee Mr. Fred Glienna Harriett and Richard E. Gold Mr. Gregg Goldman and Mr. Anthony DeFrancesco Dr. Patricia Goldring Dr. Robert Goldstein and Mrs. Eilene Rothman Goldstein Mr. Manuel Graiwer Mr. James Granger Stuart R. Grant, M.D. Mr. and Mrs. Carl C. Gregory Mr. Alan Grosbard Mrs. Judith Gurian Ms. Laura C. Guthman H. Russell Smith Foundation Cornelia Haag-Molkenteller, M.D. Mr. William Hague Mr. William Hair Mr. and Mrs. Thomas R. Hamilton Hancock Park Associates Ms. Daytra Hansel Mr. James Hardy Mr. Robert T. Harkins Mr. William Hart Mr. Lewis K. Hashimoto Stephen and Hope Heaney Margaret M. and Philip J. Hess David and Martha Ho Mr. Benjamin Hops Mrs. Katherine M. Horgan Ms. Marcia H. Howard Dr. Timothy P. Howard Mr. Arthur Huberman and Ms. Debra S. Kanoff Mr. Ron Hudson Dr. and Mrs. William H. Isacoff Isen Family Foundation Mr. Richard S. Jacinto Dr. Gregory and Michele Jenkins Mrs. Michelle Joanou Karen and Don Karl Dr. and Mrs. David Kawanishi Ms. Jean Keatley Mr. Stephen Keck Mr. Kent Keller

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Ms. Olive Margaret Kemp Ms. Lena L. Kennedy Mr. John Kern Carrie and Stuart Ketchum Ms. Madeleine A. Kleiner Mrs. Elizabeth Koen Susanne and Franklin Konigsberg Mrs. Joan Kroll Dr. Fred Kurata Lamb & Kawakami LLP Cynthia Lee, M.D. David Lann and Arlene Luizza James D. Laur Hope Warschaw and John Law Stephen D. Layton of E and B Natural Resources Mr. Tom Leanse Dr. Bob Leibowitz The Honorable Lisa Lench Levene, Neale, Bender, Yoo & Brill LLP Dr. and Mrs. Phillip M. Levin Sid Levine Allison and Thomas S. Levyn Dr. Maria C. Linder Jane and Howard Lipstone Long Beach Auxiliary of the LAPA Elizabeth and Robert J. Lowe Mr. and Mrs. Boutie Lucas Mr. Roger I. MacFarlane Mr. Michael Maltzan Carol and Doug Mancino Mr. and Mrs. Ronald Manzani Mara and Allan Marks Vilma S. Martinez, Esq. Mrs. Suzanne Marx Ms. Suzanne Marx Dr. and Mrs. Allen W. Mathies Ms. Melissa Mathison Mr. and Mrs. Kevin Mayer Mr. Pascale McCracken Mr. William McCune Mr. Harry T. McMahon Mrs. Marilyn Meltzer Jeffrey and Diane Miller Linda Millman and Kenneth S. Millman Mr. and Mrs. Simon Mills Jody Minsky Dr. Robert Modlin Linda and John Moore Ms. Noriko Fujinami and Mr. Paul D.Y. Moore Mr. Buddy Morra In Memory of Harvey S. Morse Mr. and Mrs. Robert Neely Dr. David Neer Mr. John Norris Ms. Becky Novy Darla S. Nunn, M.D. Mr. Dennis Oblock Howard and Inna Ockelmann Ms. Margo Leonetti O’Connell Catherine and Eugene Ohr O’Melveny & Myers LLP Mr. and Mrs. Richard Orkand Cathryn and Victor Palmieri Palomar Ventures Loren Pannier Ellen Pansky Mr. Jamshid Parvaresh and Mrs. Pardis Mirzai Larry and Beth Peerce Ms. Debra Pelton and Mr. Jon Johannessen Brian Pendleton and Chad Goldman Mr. John G. Perenchio, Esq. Ms. Iris Peters Glenn Pfeffer Mrs. Charlotte Pinsky Mr. Mark E. Pollack

Mrs. Ruth S. Popkin Sandra and Lawrence Post Sizes Mr. Joseph S. Powe Mr. Jeffrey Rayden 12 & up Razorgator Interactive Group Mr. Charles C. Read Mr. and Mrs. W. Randolph Reiss Richie-Madden Children’s Foundation Ms. Elizabeth Roberts Betsey and Neil Roberts Robinson Family Foundation Allison and Richard Roeder Ms. Pauline Romano Peter K. & Marla A. Rosen Steven and Candice Rosen Mr. and Mrs. Brad Rosenberg Ms. Karen Roxborough Mr. and Mrs. Mark Rubin Sandra and Paul Rudnick Shawn and Cathy Ryan Ms. Yoriko Saneyoshi and Ms. Kay Harrington Mr. Alexander Sanger, Esq. Kenneth D. Sanson, Jr. David N. Sayah, M.D. Marlene and Roger Schaffner Mr. William A. Scharpenberg Mr. and Mrs. Irving Schechter Mr. and Mrs. Alfred G. Scheid Dr. Warren and Katherine Schlinger The only upscale boutique in greater Margaret and David A. Schwanke Los Angeles for women size 12 and up. Dr. and Mrs. Hervey Segall From comfortable to casual or dressy— Dr. and Mrs. Hooshang Semnani classic to funky or fun: Mr. Majid M. Seyedi-Rezvani Abundance has it all! Mr. and Mrs. Jeffrey Alan Seymour Mr. Hovav Shacham 13604 Ventura Blvd. Sherman Oaks Robert and Sue Shadur 818.990.6128 Dr. Ava Shamban AbundancePlusSizes.com Dr. Hanna Shammas Adam Shell and Carla Christofferson Mr. Chris Sheridan Mr. and Mrs. William Shinbane Abundance_0115v1.indd 1 12/2/14 Marion and Rocco Siciliano Mrs. Mary Silver-Giatas Mrs. Anita Silverstein Mr. and Mrs. John H. Simpson Mr. and Mrs. Michael G. Smooke Daniel and Tracy Soiseth SouthWest Heights Philharmonic Committee Ms. Lisa Specht Dr. and Mrs. Norman F. Sprague, III Mr. Ira Bilson and Mrs. Alberta Stahl Ms. Angelika Stauffer Dr. Perri Stinson Mr. Max Stolz, Jr. Maia and Richard Suckle and The Anna & Benjamin Suckle Foundation Mr. Brandon Sugimoto Mr. Ed and Peggy Summers Ms. I.H. Sutnick Mr. Bradley Tabach-Bank Mr. Akio Tagawa and Ms. Yui Suzuki Mr. Stephen A. Talesnick Mr. Marc A. Tamaroff Janet Teague Tech Amor Mr. Andrew Tennenbaum James and Sally Thomas Mr. and Mrs. Harlan H. Thompson Tichenor & Thorp Architects, Inc. Arlette M. Towner Bonnie K. Trapp Billie and Richard Udko Mr. and Mrs. Peter J. Van Haften Felisa Vanoff Jennifer Vogel Koltai

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Anonymous (3) Ms. Janet Abbink Ms. Christine Adams Mr. Robert A. Ahdoot Geraldine and Harold Alden Mr. Davis Alexander Ms. Janice Altemus Mr. and Mrs. Alan Alter Mr. Richard Anzalone Mrs. Shirley Ashkenas Avery Dennison Corporation Ms. Mary L. Babbitt Ms. Corinne Baldassano Bank of America Dr. Margaret Bates Mr. Robert Bellevue Beverly Hills Plastic Surgery, Inc. Eileen Bigelow and Brien J. Bigelow Mrs. Adelaide Black Joyce and Stanley Black and Family Ms. Marjorie Blatt The Bodhisattva Foundation Mr. Andrew E. Bogen Leni I. Boorstin Mr. Wallace W. Booth Mr. Casey Borman Mr. Thomas V. Borys Ms. Monica Bouldin Mr. and Mrs. Wade Bourne Ms. Mary Leslie Bower Dr. Stuart P. Bowne Ms. Bonnie Brae Mrs. William Brand and Ms. Carla B. Breitner Kevin and Claudia Bright Mr. Jaron Brooks Dr. Darrell H. Burstein, M.D. Dr. and Mrs. R. Melvin Butler Barbara and George Byrne Cindy and Tony Canzoneri John A. Cariello Trust Mr. Rod Carter Mr. Patrick Casciato Sue Chandler Benjamin Chu Ms. Miriam Clarke Mr. William Clayton Ms. Nancybell Coe Ms. Eleanor S. Cohen Mr. Dale Conrad Dr. and Mrs. Martin Cooper Mr. Robert Corwin Ms. Lois J. Cox Bryant and Judith Danner Mr. Michael Darner Mr. and Mrs. Geoffrey Darwin Mr. and Mrs. Robert C. Davidson

Paul Deitch Mr. and Mrs. Durand M. Djivre Mr. & Mrs. John Douglass Mr. and Mrs. Gerald Du Manoir Ms. Ethel J. Dudzik Mr. Kevin Dunbar Mr. Jon Dunham Mr. and Mrs. Karl Durow Ms. Sheila Eaton Mr. Gordon A. Ecker Dr. David Eisenberg Mr. John P. Endicott Mr. Burkhard Englert and Ms. Eunheui Kim Mr. Gregory Evans Vana and Robert Farina Mrs. Joan B. Feder Jon and Peggy Feder Ronald and Bonnie Fein Dr. and Mrs. Milton Feinberg Mr. Tommy Finkelstein and Mr. Dan Chang Ms. Melanie Salata Fitch Dr. and Mrs. Arthur A. Fleisher, II Jain Fletcher Mr. William Flumenbaum Mr. and Mrs. Michael Flynn Mr. and Mrs. Michael M. Flynn Alfred E. Forrest, M.D. Mr. and Mrs. Michael Freeland Mr. Edward Friedman Ms. Bonnie Corwin Fuller Mr. Michael Fuller Hon. Ruth Galanter Mrs. Brenda L. Galloway Dr. and Mrs. Stephen A. Geller A. R. Gendein, M.D. Mrs. Ramon I. Gerson Ms. Rachel Gerstein Jason Gilbert Mr. and Mrs. Michael Gilbert Ms. Barbara L. Gilmore Mr. and Mrs. Gregg J. Gittler Mr. Jerome J. Glaser The Jacqueline Glass Family Mr. Paul M. Glenney Ms. Lori Glickman Gary David Goldberg and Diana Meehan Mr. Geoffrey Gold Dr. and Mrs. Steven Goldberg Mr. Daniel Goldman Mr. and Mrs. Fred Golob Ms. Gloria Goodale Mr. George A. Graham, Jr. Mr. and Mrs. J.B. Graner Dr. and Mrs. Edmund R. Gray Dr. Stuart and Mrs. Adrienne Green Ms. Whitney Green Mr. and Mrs. Michael J. Grobstein Dr. Frances S. Grover Mr. and Mrs. Rod Hagenbuch Mr. Paul Hanneman Suzanne H. Christian and James L. Hardy Harman International, Inc. Mr. Samuel G. Harris Ekkehart Hassels-Weiler DeAnne and Byron Hayes Mr. and Mrs. Kenneth Hearn Mr. Steven Z. Heckler Damon R. Hein and Vince Bertoni Gail and Murray E. Heltzer Mr. Philip Hettena Mr. Clair Higgins Ms. Diane Hill Dr. and Mrs. Kenneth D. Hill Dr. Samuel W. Ho Linda Joyce Hodge

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Ms. Judy Hohman Mr. Richard L. Holme Mr. and Mrs. Philip J. Holthouse In and Ki Hong Douglas and Carolyn Honig Mr. Andrew Hopwood Dr. and Mrs. Richard E. Horowitz Ms. Julia Huang Frances And Loretta Hung Foundation Dr. Marianne Huntsberry-Dorner Jill J. Hurwitz Mrs. Bonnie Hutchins Illig Construction Company Dr. Douglas W. Jackson and Curtis W. Spencer Mr. and Mrs. Richard Jacobs Mr. Irwin Jacobson Mr. and Mrs. Leonard Jaffe Jones Marketing Services Ms. Marcia Jones Ms. Martha B. Jordan Marvin Jubas Mr. James Judge Mr. Ken Kahan Marilee and Fred Karlsen Kayne Foundation Kayne, Anderson & Rudnick Mr. Joseph Kelly and Dr. Cleveland Hayes Mrs. Judith G. Kelly Kidney Disease Medical Group Cary Kleinman Mr. and Mrs. Elmar and Katrina Klotz Dr. Minas Kochumian Dr. Edward J. Kormondy Mrs. Rosalie Kornblau Mrs. Carla Kotoyantz Mr. and Mrs. Thomas Kranz Roberta Weintraub and Ira Krinsky Ms. Sharon Krischer KTN Enterprises, Inc. Dr. and Mrs. Kihong Kwon Mrs. Estelyn La Hive Mr. and Mrs. Keith Landenberger Thomas and Gloria Lang Faye Greenberg and David Lawrence Ms. Eyvinne Lee Mr. Ben Leeds Mr. Benjamin Lench Mr. and Mrs. Steven Lepoole Dr. and Mrs. Ronald Lesser Alan J. Levi and Sondra Currie-Levi Dr. and Mrs. Albert Levine Ms. Suzann Levine Mr. and Mrs. Steven Levine Lolly Levy Mr. and Mrs. Alvin P. Lewis Ms. Arline Lloyd Ms. Bonnie Lockrem Los Angeles Philharmonic Affiliates at Large Ms. Marion Lowry Carolyn and Bruce Ludwig Dr. and Mrs. Franklin W. Lusby Mr. and Mrs. Stuart P. Mabon Susan and John MacLaurin Macy’s Ms. Marilyn Magid Mr. Stanley Magnone Dorrie and Paul Markovits Mr. and Mrs. William Marks Ms. Anita Marsten Mr. and Mrs. Gary O. Martin Mr. Richard Marx Mr. Gary J. Matus Dr. and Mrs. Gene Matzkin Mr. and Mrs. Roger Mayer Ms. Donna Mccullough

MUSIC | ARCHITECTURE | DESIGN

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AFFILIATES Silvia Mautner

TRAVEL TO HAVANA

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Los Angeles Philharmonic Committee Members at the Walt Disney Concert Hall Opening Night Gala on September 30, 2014 (from left): Tina Houy (Foothill Committee), Lorraine Stark (LAPC President), Lorraine Foley, and Diane Futterman

Los Angeles Philharmonic Committee The 2014/15 season celebrates the Los Angeles Philharmonic Committee’s 80th anniversary. The committee’s mission statement is: “To cultivate an enthusiasm for music in children by increasing access to and deepening understanding of music presented by the Los Angeles Philharmonic.” Financially and actively supporting this mission, LAPC members raise money and participate in the Toyota Symphonies for Youth, Symphonies for Schools, and the Music Mobile outreach programs. Yearly, busloads of children arrive at Walt Disney Concert Hall for Symphonies for Schools, where they attend free concerts performed by the Los Angeles Philharmonic. Usually, this is the children’s first experience with a live orchestra. The Music Mobile at the Hollywood Bowl Volunteer Cottage similarly introduces young students to the instruments played in a symphony orchestra.

The anniversary celebration continued through the winter season with the LAPC Annual Holiday Party on December 13 at the California Club in downtown Los Angeles. On April 13, 2015, the LAPC will host their annual benefit at the Peninsula Hotel in Beverly Hills. The benefit’s theme will be “Around the World in 80 Years” in honor of the committee’s 80th anniversary. The LAPC also hosts general monthly luncheon meetings that feature professional musicians held at various venues throughout Los Angeles and surrounding areas. As Lorraine Stark, LAPC 2014/15 President, notes, “The committee looks forward to future programs that continue to inspire children to explore and enjoy music.”

the alphabet starts at ‘d’ EAST HOLLYWOOD

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continued McKinsey & Co., Inc. Mr. and Mrs. Bruce A. Meyer Dr. Robert Millhouse and Dr. Kennth Cosmer Mr. Andrew and Rosemarie Millstein Mr. Marc Mitchell Mrs. Susan Molyneux Farideh Monghate Montessori School Mr. Martin Morris Toni Hollander Morse and Lawrence Morse Ms. Gwyn Myers Rosanne and Mel Nachman Carrie Nedrow Mr. and Mrs. John W. Newbold Ms. Margery A. Nicolson Mr. Michael B. Nissman Mr. and Mrs. Arthur J. Ochoa Mr. Donald Ohlmeyer Mr. Alan Oppenheimer Linda and Ed Ornitz Mr. and Mrs. John B. Orr Mr. and Mrs. Jay Orringer Mr. and Mrs. David Overton Mr. Daniel J. Palladino Mr. and Mrs. Richard O. Pancost Ms. Cathrine J. Pankow Mr. Frank Parth Bob & Brana Paster Foundation Patina Restaurant Group Joan Payden Mr. Thomas C. Payne Marjorie and Joseph Perloff Mr. Jack Perry Mr. Rupert Perry, CBE J. Edmond Phillips Mrs. Ethel Phipps Mr. Alan Pick Mr. Joel Pollack Mr. Fred O. Poston, III Debbie and Rick Powell Mr. Albert Praw Ms. Carol Price Celeste Prince Janet and Jerald Puchlik Pyro-spectaculars Lee Ramer Roberta Kramer and Evert Rapmund Jerome and Toby Rapport Foundation Mrs. Mildred Ratner Mr. and Mrs. Richard G. Reinis, Esq. Mr. and Mrs. Frank Renek William J. Resnick, M.D. Kirk and Cathy Reynolds Dr. Susan F. Rice Debra and Lawrence Riff Ms. Iva C. Roberts Mr. and Mrs. Mark K. Robinson Mrs. Laura H. Rockwell Mr. John A. Rodriguez II Mr. Edward Rogas, Jr. Dr. David L. Rose Mr. Richard Rosenthal and Ms. Katherine Spillar Mr. and Mrs. Anthony J. Rossi Sadie and Louis Roth Foundation Inc. Mr. Daniel Rothmuller Mr. Robert Rothschild Mr. Larry Ruderman Mr. Habib Sadeghi Mr. Adam Saitman Nancy and Ted Sanborn W.S. Scharff Family Foundation Schrillo Family Foundation Mr. and Mrs. Edward Scott Mr. Walter Sebring Dr. and Mrs. Hrayr K. Shahinian

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TAIX_1-6v.pdf

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Abraham and Miriam Shapiro Abby Sher Ms. Jeneane Shield Pamela and Russ Shimizu Dr. and Mrs. David B. Sievers Mr. Jack Silberkleit Skadden, Arps, Slate, Meagher & Flom LLP Cynthia and John Smet Barbara and Hugh Smith Mrs. Adeline Smith-Clark Pamela J. Smith Drs. Phillip and Debra Sobol Mr. and Mrs. William Sollfrey Alfred Sommer Speakers Bureau of the LAPA Richard A. and Nancy S. Spelke Foundation Curtis W. Spencer III, M.D. John W. Spiegel Dr. Vina Spiehler Ian and Pamela Spiszman Mr. and Mrs. Joseph Stein Mr. Dan Stillwell Dr. Evangelina Ramirez Stockwell Tom and Kay Stoever Ms. Sunshine Stone The Elbridge & Evelyn Stuart Foundation Robert and Joan Sugar Dr. and Mrs. Edgar L. Surprenant Ms. Carol Tavris Ms. Jennifer Terry Dr. Douglas Thomas Mr. Ken Titley Ms. Mary A. Umekubo Carolyn Van Brunt Mr. John van Horn Mihaela Varga Vargo Physical Therapy Ms. Dianne J. Vidugiris Mr. and Mrs. Barton Wald Andrew V. Walker Mr. Bradley A. Wayne Mr. Joel Weiner Mr. and Mrs. George Weisenfeld Mr. and Mrs. Max K. Weissberg Dr. Robert Weissman David and Sylvia Weisz Westwood Village Development Co. Mr. Eric Witten Dr. Terris Wolff Mr. Robert Wood Mr. Robert Woodhams and Dr. Selma Calmes Mr. Michael Yeaman Christopher Yo Mr. Kevin Yoder Mr. Dylan Yolles Mr. William Zak Ms. Seeta Zieger Mrs. Daphna Ziman Mrs. Tamara Zipser

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.

SUPPORT THE 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, 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. 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.

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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 Oâ&#x20AC;&#x2122;Farrell Bernard C. Parks Curren D. Price, Jr. Herb J. Wesson, Jr. President department of cultural affairs

Danielle Brazell General Manager

Give the Gift of Art

cultural affairs commission

Maria Bell Mari Edelman Javier Gonzalez Charmaine Jefferson Sonia Molina Eric Paquette President

WALT DISNEY CONCERT HALL HOUSE STAFF Ronald H. Galbraith Master Carpenter John Phillips Property Master Terry Klein Master Electrician Kevin F. Wapner Master Audio/Video Greg Flusty House Manager 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.

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THE MUSIC CENTER 2014-2015 BOARD OF DIRECTORS OFFICERS Lisa Specht BOARD CHAIR

Robert J. Abernethy Michael J. Pagano VICE CHAIRS

Karen Kay Platt SECRETARY

Lisa Whitney ASSISTANT TREASURER AND CHIEF FINANCIAL OFFICER

INTERIM PRESIDENT AND CEO Howard Sherman EXECUTIVE VICE PRESIDENT AND CHIEF OPERATING OFFICER

MEMBERS AT LARGE Wallis Annenberg Louise Henry Bryson Fung Der Craig A. Ellis David Gindler Brindell Gottlieb Joyce Hameetman Richard B. Jones Carolbeth Korn Nigel Lythgoe Martin Massman Patrick S. McCabe Bowen “Buzz” H. McCoy Elizabeth Michelson Neal S. Millard Darrell D. Miller Cindy Miscikowski Shelby Notkin Diane Paul Kurt C. Peterson Max Ramberg Joseph Rice Richard K. Roeder Carla Sands Joni J. Smith

DIRECTORS EMERITI 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 Stephen F. Hinchliffe, Jr. Amb. Glen A. Holden Stuart M. Ketchum Amb. Lester B. Korn 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 Thomas R. Weinberger * 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

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“Unbelievable. Go see Ailey. It’s change-your-life good.” - NBC’s Today Show

Robert Battle Artistic Director Masazumi Chaya Associate Artistic Director

April 15–19

Glenn Allen Sims. Photo by Andrew Eccles.

Don’t miss three distinct programs covering time-honored Ailey classics alongside works by today’s most innovative and renowned choreographers.

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MEDIA PARTNERS

(213) 972-0711 musiccenter.org/ailey

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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 Michael D. Antonovich Mayor of Los Angeles County Hilda L. Solis Mark Ridley-Thomas Sheila J. Kuehl Don Knabe

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FREE

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015 2 – 4 201

Discover artistic traditions from around the globe at outdoor performances and art-making workshops.

FEBRUARY 22 (BALI) GAMELAN SEKAR JAYA MARCH 22 (ITALY) MUSICÀNTICA & STUDIO ZANNI APRIL 11 (UKRAINE) DAKHABRAKHA MAY 9 (AFRO-CUBAN) KÙLÚ MÈLÉ 11 a.m & 12:30 p.m. performances W.M Keck Foundation Children’s Amphitheatre musiccenter.org/worldcity (213) 972–4396 facebook.com/musiccenterla @MusicCenterLA

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EXCLUSIVE TELEVISION SPONSOR

MEDIA SPONSOR

World City at The Music Center is supported in part by The Jill & Curtis Kaufman Fund,Macy’s, Sue Tsao, and The Kenneth T. & Eileen L. Norris Foundation.

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At The Music Center February 2015

LA Opera:, The Barber of Seville

World City: Gamelan Sekar Jaya

SUNDAY, FEBRUARY 1

Dame Edna's Glorious Goodbye: The Farewell Tour 1:00 PM Center Theatre Group / Ahmanson Theatre Runs through Mar 15 Late Masterworks of Mozart & Bruckner 2:00 PM LA Phil / Walt Disney Concert Hall Bach: St. Matthew Passion 7:00 PM LA Master Chorale / Walt Disney Concert Hall The Wooster Group: Early Shaker Spirituals: A Record Album Interpretation 3:00 PM REDCAT / Roy & Edna Disney CalArts Theatre Closing Night

REDCAT: Frances McDormand in The Wooster Group's Early Shaker Spirituals. Photo: Paula Court

The Ghosts of Versailles 7:30 PM LA Opera / Dorothy Chandler Pavilion Runs through Mar 1

TUESDAY, FEBRUARY 10

Chamber Music: Debussy & Schumann 8:00 PM LA Phil / Walt Disney Concert Hall

WEDNESDAY, FEBRUARY 11 The Price 8:00 PM

Center Theatre Group / Mark Taper Forum Runs through Mar 22

THURSDAY, FEBRUARY 12

TUESDAY, FEBRUARY 3

Martha Argerich Plays Schumann 8:00 PM LA Phil / Walt Disney Concert Hall Runs through Feb 15

FRIDAY, FEBRUARY 6

Mariano Pensotti: Cineastas 8:30 PM REDCAT / Roy & Edna Disney CalArts Theatre Runs through Feb 21

Kodo One Earth Tour: Mystery 8:00 PM LA Phil / Walt Disney Concert Hall Brilliant Brass: Haydn & Mozart 8:00 PM LA Phil / Walt Disney Concert Hall Runs through Feb 8

SATURDAY, FEBRUARY 7

Toyota Symphonies For Youth: Bolero: Ravel's Dance For Orchestra 11:00 AM LA Phil / Walt Disney Concert Hall Runs through Feb 14

FRIDAY, FEBRUARY 13

Terri Lyne Carrington’s Mosaic Project 8:00 PM LA Phil / Walt Disney Concert Hall

Chinese New Year: From Tchaikovsky To Tan Dun 8:00 PM LA Phil / Walt Disney Concert Hall Runs through Feb 21

SUNDAY, FEBRUARY 22

World City: Gamelan Sekar Jaya 11:00 AM The Music Center / & 12:30 PM W.M. Keck Amphitheatre

THURSDAY, FEBRUARY 26

Miwa Yanagi: Zero Hour: Tokyo Rose’s Last Tape 8:30 PM REDCAT / Roy & Edna Disney CalArts Theatre Runs through Feb 28

FRIDAY, FEBRUARY 27

Alice in Wonderland 8:00 PM LA Phil / Walt Disney Concert Hall Runs through Feb 28

SATURDAY, FEBRUARY 28

The Barber of Seville 7:30 PM LA Opera / Dorothy Chandler Pavilion Runs through Mar 22

WEDNESDAY, FEBRUARY 18

Late Masterworks With András Schiff 8:00 PM LA Phil / Walt Disney Concert Hall

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

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THURSDAY, FEBRUARY 19

JOIN US @MusicCenterLA:

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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. – Ask us about our month-to-month option – 842 E. VILLA STREET

PA S A D E N A , C A 9 1 1 0 1

626.4 63.5300 villagardens.org We’re an equal opportunity housing provider.

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CA License #197602345 COA #195

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