To the Fullest: The Music of Julius Eastman and Arthur Russell
MAR 6–9
Los Angeles Philharmonic Mahler’s Fifth with Dudamel
MAR 13
COLBURN CELEBRITY RECITAL Midori
MAR 14–16
Los Angeles Philharmonic Tchaikovsky & Schubert
MAR 14
SONGBOOK
Jason Isbell
BOOK II • MARCH 21–30
MAR 21–23
Los Angeles Philharmonic Haïm Leads Handel & Bach
MAR 25
COLBURN CELEBRITY RECITAL
Le Concert d’Astrée Ode for St. Cecilia’s Day
MAR 27
COLBURN CELEBRITY RECITAL
Le Concert d’Astrée The Triumph of Time and Disillusion
MAR 29
Gregory Alan Isakov with the LA Phil
MAR 30
JAZZ
Herbie Hancock
AUGUSTIN HADELICH
SASHA COOKE
Through May 25 Getty Center
Organized by the J. Paul Getty Museum, the Musée d’Orsay, Paris, and the Art Institute of Chicago. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Over the past weeks and months, the LA Phil has been profoundly moved by the ways our community has come together, from our resilient neighbors and fellow Angelenos who inspire us daily to our friends around the country and world who have warmed our hearts with their wellwishes. To all of you, we are deeply thankful. Being at Walt Disney Concert Hall over this period has been a great reminder of music’s unparalleled power to connect us—audience and performers alike—and to find strength and solace in these communal experiences.
This March, a number of collaborations exemplify the potent alchemy of creative energy that happens when we come together. We kick off the month with LA-based new music ensemble Wild Up and our neighbors at REDCAT joining us for an electrifying series, To the Fullest, celebrating the work of pioneering artists Julius Eastman and Arthur Russell. And we close with what will undoubtedly be an inspiring evening featuring our Creative Chair for Jazz Herbie Hancock. In between, we welcome back old friends Midori, Augustin Hadelich, and Jason Isbell and embrace new ones such as conductor Joana Mallwitz, Gregory Alan Isakov, and many others.
It’s a month filled with treats for the ears and spirits, and we cannot wait to share them with you.
Warmly,
Kim Noltemy President & Chief Executive Officer
David C. Bohnett Presidential Chair Los Angeles Philharmonic Association
Board of Directors
CHAIR
Jason Subotky*
PRESIDENT & CEO
David C. Bohnett Presidential Chair
Kim Noltemy
VICE CHAIRS
Thomas L. Beckmen*
Reveta Bowers*
Jane B. Eisner*
David Meline*
Diane Paul*
Jay Rasulo*
DIRECTORS
Nancy L. Abell
Gregory A. Adams
Julie Andrews
Camilo Esteban
Becdach
Linda Brittan
Jennifer Broder
Kawanna Brown
Andrea Chao-Kharma*
R. Martin Chavez
Christian D. Chivaroli
Jonathan L. Congdon
Donald P. de Brier*
Louise D. Edgerton
Lisa Field
David A. Ford
Alfred Fraijo Jr.
Hilary Garland
Jennifer Miller Goff*
Tamara Golihew
Carol Colburn Grigor
Marian L. Hall
Antonia Hernández*
Jonathan Kagan*
Darioush Khaledi
Winnie Kho
In Memoriam
Joey Lee
Matt McIntyre
Francois Mobasser
Margaret Morgan
Leith O’Leary
Andy S. Park
Sandy Pressman
Geoff Rich*
Laura Rosenwald
Richard Schirtzer
John Sinnema
G. Gabrielle Starr
Jay Stein*
Christian Stracke*
Ronald D. Sugar*
Vikki Sung
Jack Suzar
Sue Tsao
Jon Vein
Megan Watanabe
Regina Weingarten
Jenny Williams
Alyce de Roulet Williamson
Irwin Winkler
Debra Wong Yang
HONORARY LIFE DIRECTORS
David C. Bohnett
Frank Gehry
Lenore S. Greenberg
Bowen H. “Buzz” McCoy
PAST CHAIRS**
Thomas L. Beckmen
Jay Rasulo
Diane B. Paul
David C. Bohnett
Jerrold L. Eberhardt
John F. Hotchkis†
Executive Committee Member as of December 10, 2024
From the opening of Walt Disney Concert Hall on October 24, 2003, to present
Kaiser Permanente cares for all that is you
Because you’re more than one note — you’re a symphony.
Thank you for sharing the music with us tonight. Enjoy the show.
usbank.com/privatewealth
Gustavo Dudamel
Music & Artistic Director
Walt and Lilly Disney Chair
Gustavo Dudamel is committed to creating a better world through music. Guided by an unwavering belief in the power of art to inspire and transform lives, he has worked tirelessly to expand education and access for underserved communities around the world and to broaden the impact of classical music to new and ever-larger audiences. His rise, from humble beginnings as a child in Venezuela to an unparalleled career of artistic and social achievements, offers living proof that culture can bring meaning to the life of an individual and greater harmony to the world at large. He currently serves as the Music & Artistic Director of the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, and in 2026, he becomes the Music and Artistic Director of the New York Philharmonic, continuing a legacy that includes Gustav Mahler, Arturo Toscanini, and Leonard Bernstein. Throughout 2025, Dudamel will celebrate the 50th Anniversary of El Sistema, honoring the global impact of José Antonio Abreu’s visionary education program across five generations, and acknowledging the vital importance of arts education. Dudamel’s advocacy for the power of music to unite, heal, and inspire is global in scope. In appearances from the United Nations to the White House to the Nobel Peace Prize Concert, Dudamel has served as a passionate advocate for music education and social integration through art, sharing his own transformative experience in Venezuela’s El Sistema program as an example of how music can give a sense of purpose and meaning to young people and help them rise
above challenging circumstances. In 2007, Dudamel, the LA Phil, and its community partners founded YOLA (Youth Orchestra Los Angeles), which now provides more than 1,700 young people with free instruments, intensive music instruction, academic support, and leadership training. In 2012, Dudamel launched the Dudamel Foundation, which he co-chairs with his wife, actress and director María Valverde, with the goal of expanding access to music and the arts for young people by providing tools and opportunities to shape their creative futures. As a conductor, Dudamel is one of the few classical musicians to become a bona fide pop-culture phenomenon and has worked tirelessly to ensure that music reaches an evergreater audience. He was the first classical artist to participate in the Super Bowl halftime show and the youngest conductor ever to lead the Vienna Philharmonic’s New Year’s Day Concert. He has performed at global mainstream events from the Academy Awards to the Olympics, and has worked with musical icons like Billie Eilish, Christina Aguilera, Ricky Martin, Gwen Stefani, Coldplay, and Nas. Dudamel conducted the score to Steven Spielberg’s new adaptation of West Side Story, and at John Williams’ personal request, he guest conducted the opening and closing credits of Star Wars: The Force Awakens. His film and television appearances include Sesame Street The Simpsons Mozart in the Jungle, Trolls World Tour, and The Nutcracker and the Four Realms, and in 2019 Dudamel was honored with a star on the Hollywood Walk of Fame.
The Moments That Move Me
with David Allen Moore, bass
WHICH PIECE OF MUSIC…
…BRINGS YOU TO TEARS?
Mahler Five, for sure. It’s hard to narrow it down between the Mahler symphonies because each one of them is this epic journey of life from beginning to end, but this one stands out for sure.
…GIVES YOU CHILLS?
Anything by Bartók—either his Concerto for Orchestra or Music for Strings, Percussion and Celesta is definitely one that has that vibe to it.
…MAKES YOU SMILE?
I honestly can’t narrow it down to a single piece, so I would have to say anything by Mozart. To a non-musician, in a lot of ways, Mozart is seen as being very dignified and proper and all this kind of stuff. But I’ve read things that theorize that he might have had Tourette’s and was a relentless prankster. There’s a lot of joy and puckishness in his music that’s always really engaging. —Piper Starnes
photo: DANNY CLINCH, LA PHIL
Los Angeles Philharmonic
The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2024/25 season is the orchestra’s 106th.
Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the finest artists from all genres of music. The Ford, situated in a 32-acre park and
under the stewardship of the LA Phil since December 2019, presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles.
The orchestra’s involvement with Los Angeles extends far beyond its venues. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles). Through YOLA, inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purpose-built facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry.
The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global Centennial activities, the
orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.
The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy Awardwinning recordings featuring the music of Johannes Brahms, Charles Ives, Andrew Norman, and Thomas Adès—whose Dante won the 2024 Grammy for Best Orchestral Performance.
The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), O tto Klemperer (1933-1939), Alfred Wallenstein (1943-1956), Eduard van Beinum (1956-1959), Zubin Mehta (1962-1978), Carlo Maria Giulini (1978-1984), André Previn (1985-1989), Esa-Pekka Salonen (1992-2009), and Gustavo Dudamel (2009-present).
Los Angeles Philharmonic
Gustavo Dudamel
Music & Artistic
Director
Walt and Lilly Disney Chair
Zubin Mehta
Conductor Emeritus
Esa-Pekka Salonen Conductor Laureate
Rodolfo Barráez Assistant Conductor
Ann Ronus Chair
John Adams
John and Samantha Williams
Creative Chair
Herbie Hancock Creative Chair for Jazz
FIRST VIOLINS
Martin Chalifour
Principal
Concertmaster
Marjorie Connell Wilson Chair
Nathan Cole First Associate
Concertmaster
Ernest Fleischmann Chair
Bing Wang
Associate
Concertmaster
Barbara and Jay Rasulo Chair
Akiko Tarumoto
Assistant Concertmaster
Philharmonic Affiliates Chair
Rebecca Reale
Deanie and Jay Stein Chair
Rochelle Abramson
Minyoung Chang
I.H. Albert
Sutnick Chair
Tianyun Jia
Jordan Koransky
Ashley Park
Justin Woo
Katherine Woo
Melody Ye Yuan Weilu Zhang
SECOND VIOLINS
[Position vacant]
Principal
Mark Kashper
Associate Principal
Isabella Brown Assistant Principal
Kristine Whitson
Johnny Lee
Dale Breidenthal
Mark Houston Dalzell and James DaoDalzell Chair for Artistic Service to the Community
Ingrid Chun
Jin-Shan Dai
Chao-Hua Jin
Jung Eun Kang
Vivian Kukiel
Nickolai Kurganov
Varty Manouelian
Emily Shehi
Michelle Tseng
VIOLAS
[Position vacant]
Principal
John Connell Chair
Ben Ullery
Associate Principal
Jenni Seo
Assistant Principal
Dana Lawson
Richard Elegino
John Hayhurst
Ingrid Hutman
Michael Larco
Hui Liu
Meredith Snow
Leticia Oaks Strong
Minor L. Wetzel+
Bradley Parrimore*
* Judith and Thomas L. Beckmen
L A Phil Resident Fellow
+ On sabbatical
CELLOS
Robert deMaine
Principal
Bram and Elaine Goldsmith Chair
Ben Hong
Associate Principal
Sadie and Norman Lee Chair
Dahae Kim
Assistant Principal
Jonathan Karoly
David Garrett
Barry Gold
Jason Lippmann
Gloria Lum
Linda and Maynard
Brittan Chair
Zachary Mowitz
Serge Oskotsky
Brent Samuel
Ismael Guerrero*
Alicia Miñana and Rob Lovelace LA Phil
Resident Fellow Chair
BASSES
Christopher Hanulik
Principal
Diane Disney Miller and Ron Miller Chair
Kaelan Decman
Associate Principal
Oscar M. Meza
Assistant Principal
David Allen Moore
Ted Botsford
Jack Cousin
Jory Herman
Brian Johnson
Peter Rofé
Nicholas Arredondo*
Alicia Miñana and Rob Lovelace LA Phil Resident Fellow Chair
FLUTES
Denis Bouriakov Principal
Virginia and Henry Mancini Chair
Catherine
Ransom Karoly
Associate Principal
Mr. and Mrs. H.
Russell Smith Chair
Elise Shope Henry
Mari L. Danihel Chair
Sarah Jackson
Piccolo
Sarah Jackson
OBOES
[Position vacant]
Principal
Carol Colburn Grigor Chair
Marion Arthur
Kuszyk
Associate Principal
Anne Marie Gabriele
English Horn [Position vacant]
CLARINETS
Boris Allakhverdyan
Principal
Michele and Dudley Rauch Chair
[Position vacant]
Associate Principal
Andrew Lowy
Taylor Eiffert
E-Flat Clarinet
Andrew Lowy
Bass Clarinet
Taylor Eiffert
BASSOONS
Whitney Crockett Principal
Shawn Mouser+
Associate Principal
Ann Ronus Chair
Michele Grego Evan Kuhlmann
Contrabassoon Evan Kuhlmann
The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
HORNS
Andrew Bain
Principal
John Cecil Bessell Chair
David Cooper
Associate Principal
Gregory Roosa
Alan Scott Klee Chair
Amy Jo Rhine
Loring Charitable Trust Chair
Elyse Lauzon
Ethan Bearman
Assistant
Bud and Barbara Hellman Chair
Elizabeth Linares Montero*
Nancy and Leslie Abell LA Phil Resident Fellow Chair
TRUMPETS
Thomas Hooten
Principal
M. David and Diane
Paul Chair
James Wilt
Associate Principal
Nancy and Donald de Brier Chair
Christopher Still
Ronald and Valerie Sugar Chair
Jeffrey Strong
TROMBONES
David Rejano Cantero
Principal Koni and Geoff Rich Chair
James Miller
Associate Principal
Judith and Thomas
L. Beckmen Chair
Paul Radke
Bass Trombone
John Lofton
Miller and Goff Family Chair
TUBA
Mason Soria
TIMPANI
Joseph Pereira
Principal
Cecilia and Dudley Rauch Chair
David Riccobono
Assistant Principal
PERCUSSION
Matthew Howard Principal
James Babor David Riccobono
KEYBOARDS
Joanne Pearce Martin Katharine Bixby Hotchkis Chair
HARP
Emmanuel Ceysson Principal Ann Ronus Chair
LIBRARIANS
Stephen Biagini
Benjamin Picard
KT Somero
CONDUCTING FELLOWS
Luis Castillo-Briceño
Holly Hyun Choe
Dayner Tafur-Díaz
Molly Turner
The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
LA Phil Honored with Three Grammys
Revolución diamantina, the first full album of Gabriela Ortiz’s symphonic works, featuring Music & Artistic Director Gustavo Dudamel leading the Los Angeles Philharmonic, won Best Orchestral Performance and Best Classical Compendium, and the title work, Revolución diamantina, received Best Contemporary Classical Composition at the 2025 Grammy Awards on February 2.
In accepting the award, Ortiz said, “This is my first major orchestral album, and I feel so grateful [for] all the people that have been involved in making this dream come true. All my gratitude to the Los Angeles Philharmonic, Gustavo Dudamel, LA Master Chorale, and María Dueñas. All of you are the most important musical inspiration. I would also like to thank Gustavo Dudamel and [Chief Content Officer] Meghan Umber for their guidance and support.”
Released on Platoon in July, the album documents a substantial part of the LA Phil’s
Pan-American Music Initiative, of which Ortiz is curator. It features three of the composer’s works that were commissioned for the orchestra: the concert version of Revolución diamantina performed with the LA Master Chorale; Altar de cuerda, a violin concerto featuring soloist María Dueñas; and the orchestral work Kauyumari
“Gabriela Ortiz’s compositions embody a rare fusion of primal energy and deep emotional resonance, speaking directly to both the body and the soul,” Dudamel said. “For years, I’ve dreamed of dedicating an album
solely to her incredible music, and now, with the LA Phil and Platoon, we’ve made that dream a reality. These Grammys are recognition of her singular artistry, and of the unique, shared journey we’ve embarked on together through the beauty of music.”
Two LA Phil recordings accounted for a total of six 2025 Grammy nominations. Both Revolución diamantina and the orchestra’s recording of John Adams’ opera Girls of the Golden West were nominated for Best Engineered Album, Classical, and the latter was nominated for Best Opera Recording.
For more information on the LA Phil’s recordings, please visit laphil.com/recordings
GUSTAVO DUDAMEL THORGY THOR
YUJA WANG
HERBIE HANCOCK
ANNE AKIKO MEYERS
VILDE FRANG
YO-YO MA & ANGÉLIQUE KIDJO RHIANNON GIDDENS
DALIA STASEVSKA
KIRILL GERSTEIN HÉLÈNE GRIMAUD LEONARD SLATKIN GRACE JONES
SEONG-JIN CHO
ALISA WEILERSTEIN THOMAS WILKINS
RAFAEL PAYARE
DIANA ROSS
DANIIL TRIFONOV
ANTHONY ROTH COSTANZO
Pasadena Showcase House for the Arts
Celebrates 77 Years of Support for the LA Phil
Pasadena Showcase House for the Arts—founded in 1948 as the Pasadena Junior Philharmonic Committee—is proud to celebrate 77 years of support for the LA Phil.
With the dedication of its 240 volunteer members, Pasadena Showcase raises funds from its major benefit, the annual Pasadena Showcase House of Design, one of the oldest, largest, and most successful home and garden tours in the country.
Throughout its history, Pasadena Showcase has given more than $26 million to nonprofit organizations in
support of music education, scholarships, concerts, and music therapy, while continuing to support the LA Phil and its Learning and Community Engagement programs. Pasadena Showcase also nurtures the study and appreciation of music among young people with its three music programs: the Music Mobile™, which has introduced orchestral instruments to more than 125,000 third-grade students; the Instrumental Competition, which has awarded more than $700,000 in monetary prizes to exceptionally talented young musicians; and the Youth Concert, which has
brought nearly 260,000 fourth graders to Walt Disney Concert Hall for exuberant performances presented by the LA Phil.
This year’s Pasadena Showcase House of Design will take place at Bauer Estate & Gardens, a 1928 Monterey colonial designed by renowned Pasadena architect Reginald D. Johnson. Honored as the 60th Showcase House, Bauer Estate & Gardens will feature more than 15,000 square feet of interior design trends alongside five acres of beautifully manicured gardens. Public tours of the Pasadena Showcase House of Design will take place April 20 to May 18, 2025.
Visit pasadenashowcase.org for more information.
photo: Susan Pickering
THE COLEMAN CHAMBER MUSIC ASSOCIATION
“Music... life to everything”
Praised for their warm sound and powerful stage presence, the Esmé Quartet was formed in 2016 at the Hochschule für Musik und Tanz in Cologne, Germany by four musicians who were already friends and shared common interests and passions in music, the arts, and life. In 2018 the quartet won the first prize as well as sweeping four special prizes at the prestigious Wigmore Hall International String Quartet Competition in London, and also became HSBC Laureate of the Académie du Festival d’Aix. The quartet’s name— Esmé—is derived from medieval French and means “beloved.”
The Poulenc Trio has earned critical acclaim over its 20-year history, with the New York Times praising their “elegant rendition” of Piazzolla’s tangos and the Washington Post commending them for honoring their namesake with an “intriguing and beautifully played program” that exuded “convincing elegance, near e ortless lightness, and grace.” Pianist Irina Kaplan Lande teaches at the Peabody Institute, oboist Aleh Remezau is renowned for his “incredibly expressive” playing (Vancouver Sun), and Bryan Young is principal bassoonist at the Baltimore Chamber Orchestra. Guest Boris Allakhverdyan is principal clarinetist of the Los Angeles Philharmonic.
FREEWAYS: LACO FELLOWS CONCERT
MAR 8 | 8 PM | LA LGBT CENTER
Lara Downes CREATIVE PARTNER LACO Fellows
VANGUARD: FARRENC’S NONET
APR 5 | 7:30 PM | THE WALLIS
APR 6 | 7:30 PM | THE HUNTINGTON ♀
Margaret Batjer DIRECTOR OF CHAMBER MUSIC ♀A Special Event Highlighting Women Composers.
BOURGEOISIE: MOZART + HAYDN + HANDEL
MAR 15 | 7:30 PM | ALEX THEATRE
Jeannette Sorrell CONDUCTOR Awadagin Pratt PIANO
PIONEERS: MARTÍN +SCHUMANN + PRICE
APR 19 | 7:30 PM | ALEX THEATRE
APR 20 | 4 PM | THE WALLIS
Jaime Martín MUSIC DIRECTOR Lara Downes PIANO
DON’T MISS LACO’S EXHILARATING
ORCHESTRAL
2024/25 SEASON
VISIONARIES: MARTÍN + BEETHOVEN
MAY 10 | 7:30 PM | ALEX THEATRE
MAY 11 | 4 PM | THE WALLIS
Jaime Martín MUSIC DIRECTOR Nemanja Radulović VIOLIN
BAROQUE
CELESTIALS: MOBLEY + VIVALDI
MAY 20 | 7:30 PM | THE WALLIS
MAY 22 | 7:30 PM | THE HUNTINGTON
Margaret Batjer DIRECTOR OF CHAMBER MUSIC
Reginald Mobley COUNTERTENOR
David Washburn TRUMPET
CURRENT
CURRENT: ROOTS
MAY 17 | 7:30 PM AUTRY MUSEUM OF THE AMERICAN WEST
Tessa Lark CURATOR, LEADER + VIOLIN
BAROQUE
MAESTROS: MARTÍN + BACH
MAY 31 | 7:30 PM | THE WALLIS
JUN 1 | 4 PM | THE HUNTINGTON
Jaime Martín MUSIC DIRECTOR + SOLO FLUTE
BOOK YOUR NEXT CORPORATE EVENT, CONFERENCE, OR MEETING WITH HOPE & GRAND EVENTS AT THE MUSIC CENTER - WHERE WE TRANSFORM MOMENTS INTO UNFORGETTABLE EXPERIENCES.
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To the Fullest: The Music of Julius Eastman and Arthur Russell
Christopher Rountree, conductor Wild Up, ensemble
Adam Tendler, piano
Andrew Yee, cello and vocalist
Robin Pecknold, vocalist serpentwithfeet, vocalist
Vicky Chow, piano
Julius EASTMAN Evil N– (c. 22 minutes)
Adam Tendler, piano
Vicky Chow, piano
Arthur RUSSELL The Arthur Russell Songbook (c. 30 minutes)
Jodie Landau, arranger and vocalist
Darian Donovan Thomas, violin, arranger, and vocalist
Andrew Yee, cello and vocalist
Christopher Rountree, vocalist
Shelley Washington, saxophone and arranger
Andrew Tholl, arranger serpentwithfeet, vocalist
Robin Pecknold, vocalist
Julius EASTMAN Gay Guerrilla (c. 29 minutes)
This performance will be presented without intermission.
TUESDAY MARCH 4, 2025 8PM
Produced in collaboration with Wild Up
Production Director for W ild Up, Brian Sea
Executive Producer for W ild Up, Elizabeth Cline
Programs and artists subject to change.
“WHAT I AM TRYING TO ACHIEVE IS TO BE WHAT I AM TO THE FULLEST—BLACK TO THE FULLEST, A MUSICIAN TO THE FULLEST, AND A HOMOSEXUAL TO THE FULLEST.”
—Julius Eastman
Radical figures in New York’s 1970s–’80s “downtown” scene, Julius Eastman and Arthur Russell transcend all attempts to categorize them—their genre-bending music fused pop and avant-garde worlds in ways that still feel ahead of their time. Maverick composerperformers, they exuded a creative freedom that was ultimately sourced to a greater Mystery, which they explored through spiritual discipline and its musical applications. Eastman, who proudly celebrated his Black identity, and Russell have become gay icons for the glorified sexuality that inhabits their music—though their queerness extended beyond sex and gender. In an unjust society, both pursued absolute freedom, as Eastman insisted, “sexually, spiritually, musically, in terms of an entire life and an entire way of being—refusing the position of victim and instead claiming that of ‘warrior.’” Sexually, spiritually, and musically they’ve gifted us a powerful vulnerability
and a mercurial force that continues to challenge all obstacles to freedom. Nowhere is this more audible than in tonight’s stellar program, featuring two of Eastman’s militantly spiritual piano quartets and a selection of Russell’s most treasured songs.
Christopher Rountree leads the Grammynominated orchestral collective Wild Up, joined by special guests Robin Pecknold, serpentwithfeet, and Andrew Yee.
SEXUALLY
Eastman’s notorious performance of John Cage’s Song Books (1970) had him declaiming the joys of homosexuality while writhing across two people stripping naked. “I don’t approve,” an infuriated Cage said, “because the ego of Julius Eastman is closed in on the subject of homosexuality.” Eastman was known to put lipstick on during his composition lessons, give pedicures at men’s shelters, and wear a dress when performing his breathtaking composition
Femenine. At the same time, he was gender-transmuting pronouns in a 1979 article: “The composer is therefore enjoined to accomplish the following: she must establish himself as a major instrumentalist, he must not wait upon a descending being, and she must become an interpreter.” These loud celebrations of homosexuality and gender nonconformity bravely defied a culture that was aggressively demonizing both.
The sexual union of masculine and feminine energies was fundamental to Russell’s Buddhist practice. His homosexuality was awakened by beat poet Allen Ginsberg, and the two went on to perform Ginsberg’s songs, like “Everybody Sing” (which begins with the lyric, “Everybody’s just a little bit homosexual, whether they like it or not,” alongside Buddhist chants. Ginsberg’s view of homosexuality was inspiringly political, spiritual, and creative, and this found communal elevation when Russell discovered Manhattan’s queer-friendly
disco culture. Among their many collaborations, we can hear Eastman’s orgasmic vocals on Russell’s experimental disco track “Go Bang!” Though, as Steven Hall notes, “Arthur’s work was more sexual than homosexual. He was inclusive in a way that even some early gay pride pioneers were not.” Always dissolving stereotypes, Eastman and Russell fearlessly lived into their sexuality in the wake of the Stonewall riots in 1969 and the immediate terror of HIV/ AIDS, the latter tragically taking Russell’s life.
SPIRITUALLY
Both artists also embraced a spiritual intentionality that would serve as the guiding context for their life and art, helping them flower to their fullest and unify their manifold natures. Having joined a Bay Area Buddhist commune as a teenager, Russell would seek to channel Buddhist teachings directly into his music for the rest of his life. He did this through the use of mantra, mandala, meditation, divination (numerology and astrology), and their musical applications. With Russell’s spiritual aims and the 1960s pop fad in mind, Ginsberg memorably described his music as
“Buddhist bubblegum.”
Never attaching himself to any single tradition, Eastman devoured a vast array of mystical perspectives. In his list of works we find references to Buddhism, Christianity, Zen, Taoism, Islam, and more. Toward the end of his life, Eastman wore a white robe and identified as “a wandering monk.” Speaking more candidly about his spiritual perspective in a 1984 interview with David Garland, he reflected, “I just worship the pure essence, I don’t mess around with anything else.” In many ways heretical, Eastman’s music was spiritually militant and, like Russell’s, tuned to the moment.
MUSICALLY
Contrasting the highly controlled and conceptual minimalism of composers like Philip Glass and Steve Reich, Eastman and Russell nurtured an improvisatory take on repetition via dance culture and world music traditions. A spontaneous openness pervades their work, or as Russell noted, “It’s based on hearing what you do while you do it.” Synthesizing their musical and spiritual intentions, both artists developed their own method of scored improvisation. Their queering of categories is palpable here, too, as such
methods blur the lines between performer and composer, foreground and background, form and formlessness.
Eastman employed what he called his “organic” method of composition, which would define his best-known works, including the two works on tonight’s program. By this method, the latter third section of a piece of music contains all of the musical material that precedes it, the whole being developed through a process of accumulation and disintegration. Though less audible tonight, Russell explored a divination-like “matrix” process involving a vast array of pitches he’d work with for over a decade. Devised for and best represented by his multimedia magnum opus, Instrumentals once conducted by Eastman—he also applied this method to his dance works and songwriting. Such approaches summon the performer to greater creative participation than the average concert repertoire. Or, as Wild Up director Christopher Rountree has described, they “send musicians closer to themselves, to force agency on them, and pull their insides out.”
EVIL N–Julius Eastman (1940–1990)
The provocative names of Eastman’s works often meet the listener before the music does. “These names,” he stated at the premiere, “either I glorify them or they glorify me.” Both being true, they glorify what culture at large is wrongfully compelled to demonize. They are, he continues, “the field n——s on which the American economic system was built… that fundamental thing which eschews the superficial or, can we say, elegant.” Rather than be wounded and defeated by bigoted language, he wears it as a badge of honor. He doubles down with additional negative qualifiers, proudly repurposing the language with a musical militancy rarely placed on a historically white, male concert stage. And he glorifies this language, equating the “many kinds of N——s” with the 99 names of Allah. This work is designed according to Eastman’s “organic” method of composition. Beginning with a three-note figure (F-E-D), on this tactile bed of pitches he introduces a seven-note “Dies irae” theme, which anchors the work at various points with tremendous gravitas. This is heightened by Eastman’s audible count-offs, cuing the only moments the performers synchronize. As the work storms into being, this theme returns like a clap of thunder, elsewhere evanescing like angels descending into the world. Projecting it into various key centers, dense atmospheres of sound accrue. Moving through these harmonic fields, a cascade of moods transfigures like the iridescent colors of a pearl, before disintegrating into silence.
THE ARTHUR RUSSELL SONGBOOK
Arthur Russell (1951–1992)
The songs of Arthur Russell are a kaleidoscope of American pop history, uniquely channeled through his unmistakable voice and cello-driven harmonies. It’s hard to think of a genre he didn’t inhabit. His lyrics drew from everyday observation, experimental poetry, Buddhist philosophy, and memories of his childhood in Oskaloosa, IA. Seeking a middle ground between the everyday and enigmatic abstraction, Russell would often consult his East Village neighbor Allen Ginsberg for guidance. And he would frequently metamorphose his songs into wildly different styles, from boisterous dance tracks to serenely sparse cello hymns. In the spirit of their author, his songs remain ripe for covering and remixing.
Tonight we are fortunate to hear eight reimaginings of some of Russell’s most beloved songs. Each song has been arranged by members of the collective and is sung by members Jodie Landau, Darian Donovan Thomas, and Christopher Rountree, alongside special guests cello virtuoso Andrew Yee, luminary vocalists Robin Pecknold and serpentwithfeet, and saxophonist Shelley Washington. The songs offered here range from Russell’s earliest folk efforts (“Close My Eyes,” “I Never Get Lonesome”) to his later infectious pop anthems (“Keeping Up,” “Wild Combination”) and close out with Yee’s arrangement and performance of an unreleased song, “Out on the Porch.”
GAY GUERRILLA
Julius Eastman
Proudly gay and militantly so, Gay Guerrilla is a sibling work to Evil N— in both commentary and compositional process. As he glorified the N-word and its “Evil” qualification in the latter, he says of the former, “in the case of ‘guerrilla,’ that glorifies ‘gay.’” Both works orient themselves around a minor key, while Gay Guerrilla begins with a comparatively more gentle pulsation. But in like manner this pulse develops according to Eastman’s “organic” process, as harmonies arise and dissolve into serene mosaics and volatile abstractions.
Having referenced Islam in regard to Evil N—, Eastman incorporates a Christian perspective into Gay Guerrilla. The slow, somber pulsing in this work is akin to the tolling of cathedral bells. Eastman directly incorporates “A Mighty Fortress Is Our God,” a hymn composed by Martin Luther in 1527. It appears in canon form toward the end of the work, where it invokes the deity as a shield and protector. Referring us back to the composer’s spoken commentary, the lyrics of this hymn touch on Eastman’s emphasis on principled conviction and self-sacrifice in the name of truth and freedom. Or, as Luther penned: “The body they may kill/God’s truth abideth still.” —Matt Marble
CHRISTOPHER ROUNTREE
Three-time Grammy-nominated conductor and composer Christopher Rountree is the music director of Long Beach Opera, co-founder of the Los Angeles Conducting Co-op, and perhaps best known as founder, conductor, and Artistic Director of the pathbreaking orchestral collective Wild Up. The group’s eccentric mix of new music, pop, and performance art quickly jumped from raucous DIY bar shows to being lauded as the vanguard of classical music by critics for the Los Angeles Times, The Wall Street Journal, public radio’s Performance Today, and The New York Times
Wild Up started in 2010 with no funding and no musicians, driven only by Rountree’s vision of a world-class orchestra that creates visceral, provocative experiences that are unmoored from classical traditions.
In 2019 he curated and conducted the Los Angeles Philharmonic’s Fluxus Festival, the experimental music component of the LA Phil’s 100th season, in collaboration with the Getty Research Institute. The 16-concert Fluxus Festival united icons of contemporary art with classical music for the first time, placing Yoko Ono next to Ryoji Ikeda and Luciano Berio. Ragnar Kjartansson’s Bliss, an ecstatic 12-hour rendering of Mozart, stood next to Alison Knowles’ Make a Salad, performed by 1,700 people. David Lang’s crowd out took over downtown LA as orchestra musicians launched watermelons called for in Ken Friedman’s Sonata for Melons and Gravity off the top of Walt Disney Concert Hall.
As he’s become regarded as one of the most exciting and iconoclastic conductors and programmers in the field, Rountree’s inimitable style has
led to collaborations with Björk, John Adams, Yoko Ono, David Lang, Scott Walker, La Monte Young, Esa-Pekka Salonen, Mica Levi, Alison Knowles, Yuval Sharon, Sigourney Weaver, Tyshawn Sorey, Ragnar Kjartansson, Ash Fure, Julia Holter, Claire Chase, Missy Mazzoli, Ryoji Ikeda, Du Yun, Thaddeus Strassberger, Ellen Reid, Ted Hearne, James Darrah, and many of the planet’s greatest orchestras and ensembles, including the National, San Francisco, Houston, Cincinnati, Colorado, San Diego, and Chicago symphonies, the Los Angeles Philharmonic, International Contemporary Ensemble, Roomful of Teeth, Opéra national de Paris, the Washington National, Los Angeles, Omaha, San Diego, and Atlanta operas, and the Martha Graham Dance Company. He has presented compositions and concerts at Walt Disney Concert Hall, Palais Garnier, Mile High Stadium, LA Memorial Coliseum, the Echoplex, Kennedy Center, Philadelphia Museum of Art, Ace Hotel, National Sawdust, a basketball court in Santa Cruz, and Lincoln Center for the New York Philharmonic’s Biennial.
WILD UP
Called “a raucous, grungy, irresistibly exuberant…funloving, exceptionally virtuosic family” (The New York Times), Wild Up has been lauded as one of new music’s most exciting groups by virtually every significant institution and critic within earshot. Artistic Director Christopher Rountree started the orchestral collective in 2010 to eschew outdated concert
traditions by experimenting with different methodologies, approaches, and contexts.
After a decade and a half of rampant creativity and curiosity Wild Up is an ambassador of West Coast music. The group has collaborated with a wide range of composers, performers, and cultural institutions, premiering and creating hundreds of new works. They accompanied Björk at Goldenvoice’s FYF Fest, sung into a Picasso with Pamela Z at LACMA, and created Democracy Sessions—playing against growing autocracy at MOCA. They premiered David Lang and Mark Dion’s anatomy theater at LA Opera, collaborated with the Martha Graham Dance Company, and performed scores for Under the Skin by Mica Levi and Punch-Drunk Love by Jon Brion at the Regent Theater and Ace Hotel. They were booed out of Toronto for playing a piece too quietly. Wild Up premiered a new opera by Julia Holter at National Sawdust, debuted an avant-pop work by Scott Walker at Walt Disney Concert Hall, sustained 12 hours of Ragnar Kjartansson’s Bliss at REDCAT, and championed Julius Eastman’s music worldwide. Their decade-long, critically acclaimed, multi-Grammy nominated Julius Eastman Anthology has been celebrated as “a masterpiece” (The New York Times), “instantly recognizable” (Vogue), and “singularly jubilant…a bit in your face, sometimes capricious, and always surprising” by NPR, which named the anthology’s first installment, Julius Eastman, Vol. 1: Femenine, among its top 10 records of 2021 in all genres.
ADAM TENDLER
Grammy-nominated pianist Adam Tendler is a recipient of the Lincoln Center Award for Emerging Artists and the Yvar Mikhashoff Prize. He is considered “currently the hottest pianist on the American contemporary classical scene” (Minneapolis Star Tribune) and an “intrepid...maverick pianist” (The New Yorker). At 23, Tendler performed solo recitals in all 50 states as part of a grassroots recital tour called America 88x50, the subject of his coming-out memoir, 88x50. He has gone on to perform with the London Symphony, Los Angeles Philharmonic, Sydney Symphony, Toronto Symphony, Vermont Symphony, and New Jersey Symphony.
Tendler’s recordings include Inheritances, an album comprising 16 new works for piano from composers including Laurie Anderson, Nico Muhly, Dev Hynes, and Missy Mazzoli. His recordings also include Wild Up’s Grammy-nominated
album of works by Julius Eastman, If You’re So Smart, Why Aren’t You Rich?, as well as solo albums of music by Robert Palmer and Franz Liszt and of his own music.
ANDREW YEE
Two-time Grammy Awardwinning cellist and composer Andrew Yee (she/they) loves making art. She is a founding member of the Attacca Quartet, whose recordings of string quartets of Caroline Shaw, Orange and Evergreen, have each won Grammy Awards. They can also be heard on the score of the Alfonso Cuarón show Disclaimer by Finneas O’Connell and on Billie Eilish’s album Hit Me Hard and Soft
As a composer she has written for film and television, including Wu Tsang’s Moby Dick; Love, Jamie; and the BBC show We Might Regret This. She has had pieces premiered by the Zurich Chamber Ensemble, the New York Philharmonic, and Caroline Shaw. Her new version of the opera
Carmen was premiered in Zurich in 2024.
As well as performing with orchestras and chamber groups around the world as a soloist, Yee also has a solo project called “Halfie” that draws from her experience as a trans woman and being biracial.
ROBIN PECKNOLD
Robin Pecknold is an American singer-songwriter best known as the principal songwriter and vocalist for Fleet Foxes. He has recorded four studio albums: Fleet Foxes (2008), Helplessness Blues (2011), Crack-Up (2017), and Shore (2020), along with live albums A Very Lonely Solstice (2021) and Live On Boston Harbor (2024). Pecknold, who is originally from Seattle, has received Grammy nominations for Best Folk Album and Best Alternative Music Album. He recently published the lyric book Wading in Waist-High Water: The Lyrics of Fleet Foxes (Tin House and Faber).
SERPENTWITHFEET
serpentwithfeet is an alternative r&b artist. The Baltimore-born singersongwriter, whose influences include Geoffrey Holder, Toni Morrison, Brandy, and Nina Simone, is taking the natural steps as a versatile talent from chapter to chapter in his career. serpent’s third album, GRIP, is the result of these latest steps. GRIP finds its home on the dance floor of Black gay clubs and the intimate moments that happen there and afterward, no matter the location.
Through all of his music, he allows compassion to be the backbone of his art, as he communes with his most loving self. In 2021, serpent released his sophomore album, DEACON, which enshrined the Black, queer love at its center as something blessedly uncomplicated and precious. The following year, he released a content series, serpent’s Parlor, which was accompanied by the smooth, propulsive single “I’m Pressed.”
VICKY CHOW
Hong Kong/Canadian/American pianist Vicky Chow has been described as “one of our era’s most brilliant pianists” (Pitchfork). Since joining the Bang on a Can All-Stars in 2009, she has collaborated and worked with artists such as Tania León, Meredith Monk, Julia Wolfe, David Lang, Steve Reich, Philip Glass, Terry Riley, John Zorn, and George Lewis, as well as organizations such as the Bill T. Jones/Arnie Zane Dance Company, BBC Orchestra, Los Angeles Philharmonic, and International Contemporary Ensemble, to name a few. She has toured over 40 countries and performed in venues such as Carnegie Hall, Walt Disney Concert Hall, Muziekgebouw, Hong Kong Arts Centre, Barbican Centre, Royal Albert Hall, L’Auditori, City Recital Hall, POLIN Museum, and Teatro Colón. She serves as faculty at the Bang on a Can Summer Institute and Nief-Norf Summer Festival, and has been on faculty at the Banff Centre for Arts and Creativity. A graduate of The Juilliard School and the Manhattan School of Music, Chow is a Yamaha Artist.
Mahler Grooves Festival
Mahler’s Fifth with Dudamel
Los Angeles Philharmonic Gustavo Dudamel, conductor Sasha Cooke, mezzo-soprano
A. MAHLER, Five Songs (c. 12 minutes)
Orchestrated by Die stille Stadt
David and In meines Vaters Garten
Colin Matthews Laue Sommernacht
Bei dir ist es traut
Ich wandle unter Blumen
Sasha Cooke
INTERMISSION
G. MAHLER
Symphony No. 5 in C-sharp minor (c. 68 minutes)
Part I
Trauermarsch
Stürmisch bewegt, mit grösster Vehemenz
Part II
Scherzo: Kräftig, night zu schnell Part III
Adagietto: Sehr langsam Rondo-Finale: Allegro
Programs and artists subject to change.
THURSDAY
MARCH 6, 2025 8PM
FRIDAY
MARCH 7 8PM
SATURDAY
MARCH 8 8PM
SUNDAY
MARCH 9 2PM
Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall
Concerts in the Thursday 2 subscription series are generously supported by The Otis Booth Foundation. The Mahler Grooves Festival is generously supported by the Frank Gehry Fund for Creativity
AT A GLANCE
Much has been written and even more has been speculated about the marriage of Gustav and Alma Mahler. Their union brought together two of the most captivating personalities of fin-de-siècle Vienna: He was director of the Court Opera and a composer of renown, while she dazzled the city with her riveting mix of wit, talent, and charm.
Alma and Gustav began work on the Five Songs and Fifth Symphony, respectively, prior to meeting and completed them during their courtship. Alma’s song about blooming love, “In meines Vaters Garten,” was written around the time she met Gustav. The famous Adagietto of the Fifth Symphony, meanwhile, was presented to Alma as a love letter. The conductor Willem
Mengelberg attested: “This Adagietto was Gustav Mahler’s declaration of love for Alma! Instead of a letter, he sent her this in manuscript form; no other words accompanied it. She understood....” Amid this torrid affair, Gustav penned his infamous letter to Alma in which he laid out their roles: his as a composer and hers to support him. She would all but abandon her musical career (almost all of her existing works—exclusively songs for voice and piano— were written before the marriage). This program focuses on the brief moment before compromises, dashed dreams, personal tragedies, and affairs—when two of Vienna’s blazing intellects and artists found boundless inspiration in one another. —Amanda Angel
FIVE SONGS
Alma Mahler (1879–1964)
Orchestrated by David Matthews (b. 1943) and Colin Matthews (b. 1946)
Alma Schindler was destined for greatness. Born in Vienna in 1879 to
painter Emil Schindler and operetta singer Anna Sofie, Alma had talent, brains, and beauty, which captivated many of the leaders among Vienna’s cultural class. Her first kiss was rumored to have been with Secessionist artist Gustav Klimt, when still a teenager. She would eventually count composer Gustav Mahler, Bauhaus founder Walter Gropius, and writer Franz Werfel among her husbands, and composer Alexander Zemlinsky and artist Oskar Kokoschka as lovers.
With the company she kept, it’s no wonder that Alma Mahler became known as one of history’s great muses, but it came
at the expense of her recognition as an artist in her own right. Before she met any of these men, Alma Schindler was a talented pianist and aspiring composer. She began writing music at the age of 9 and poured herself into piano studies following the death of her father, when she was 12. A few years later, she began composition lessons with the well-known musician Josef Labor and eventually Zemlinsky, who also taught Arnold Schoenberg. With Zemlinsky, Schindler began an ill-fated love affair; while she admired his talents and intellect, she mocked his physical appearance and stature
in Viennese society. The relationship ended abruptly as her whirlwind romance with Gustav Mahler started. They met in November 1901, married in March 1902, and welcomed their first child later that fall.
The Five Songs were written from 1900 to 1901, during the tumultuous period of Alma’s relationship with Zemlinsky and her courtship with Mahler. The order in which they were composed is unclear, but Alma’s skills as a pianist and her literary tastes are on display in the accompaniment and texts.
The first song, “Die stille Stadt” (The quiet town), sets a poem by Richard Dehmel, whose “Verklärte Nacht” (Transfigured night) inspired Arnold Schoenberg’s first masterpiece in 1899. Harmonically the most complex of the set, “Die stille Stadt” begins on Richard Wagner’s enigmatic “Tristan” chord, setting the scene for a traveler’s journey through misty mountains at dusk.
“In meines Vaters Garten” (In my father’s garden) is the longest of the set and was likely written the same month that Alma met Gustav. It begins as a smiling waltz to Otto Erich Hartleben’s lyrics of blooming love underneath an apple tree, but a red morning and the sounds of drums ominously signal war. In “Laue Sommernacht” (Mild summer night), the piano ascends chromatically as two lovers find each other in a dark night only to find the ecstatic light of love. Mahler continues to explore the nuances of all-consuming passions in the gently rocking “Bei dir ist es traut” (With you I feel at ease), with texts by Rainer Maria Rilke. The final song, “Ich wandle unter Blumen” (I wander among flowers), barely one minute long, tiptoes upward in the first of two short verses by Heinrich Heine before rapturously erupting, “drunk with love.”
Though the songs were written before Alma and
Gustav wed, it took nearly a decade and a marital crisis to bring about their publishing. During their brief courtship, Gustav wrote Alma a 20-page letter in which he set forth the terms of their forthcoming union— specifically that their marriage could support only one artist, and telling Alma, “You have only one profession from now on: to make me happy!”
Alma’s unhappiness came into full relief for Gustav in 1910, when he came into possession of one of her letters from Gropius. It laid bare their affair and sent Gustav into a tailspin. Gustav sought help from Sigmund Freud and made arrangements for Alma’s songs to be published. Recitals featuring Alma’s songs were received warmly in Vienna and New York. Arnold Schoenberg, who heard the songs in Vienna, wrote to Alma, “A pity you didn’t continue that work. It would certainly have led somewhere.”
First LA Phil performance: February 28, 1929, Georg Schnéevoigt conducting
Since his death in 1911, Gustav Mahler has come to occupy a central place in the history of music and in the orchestral repertory. With advances in recording technology, his symphonies—many of them clocking in around 80 minutes, perfect for a single CD—have found a huge audience, beyond the handful of dedicated acolytes who championed his music in the decades after his death. Mahler has also emerged as a crucial bridge between the Romanticism of the 19th century and the modernism of the 20th, a composer who simultaneously summed up the achievements of his predecessors and pointed the way forward. The Fifth Symphony occupies a pivotal place in Mahler’s endlessly fascinating output. It was his first purely instrumental symphony since
the First, which he had worked on during the 1880s and subjected to heavy revision in 1893. He composed the Fifth during the summers of 1901 and 1902, during his annual holiday from his job as director of the Vienna Court Opera. It was in Vienna, the November after beginning the Fifth Symphony, that Mahler met Alma Schindler, the beautiful daughter of a famous landscape painter. Mahler proposed to her in December 1901, and the symphony, with its trajectory from mourning to triumph, reflects this development in its composer’s personal life.
The symphony is in five movements, grouped into three parts. The work opens with a funeral march that starts with a trumpet fanfare whose rhythm dominates the movement. The march contrasts with two trio sections: the first bursting out of near silence like some sort of terrifying, demonic carnival music; and the second a more somber, restrained passage for the strings. The second movement builds on the demonic first trio material. This is intense, raw music, with Mahler whipping up a frenzy. The only respite comes with the appearance of a D-major chorale, a joyous, hymn-like passage that finds the sun temporarily piercing the charged gray hues of surrounding storm clouds. Taken together, these two movements make up the first part of the symphony and foreshadow its overall
trajectory, as the D-major chorale’s reappearance in the finale confirms.
The third-movement Scherzo is the symphony’s longest movement and comprises the work’s entire second part. The music’s episodic nature has a strong dramatic trajectory, balancing the tone of folksy Austrian country dances and the more cultivated elegance of the Viennese waltz. The central trio section, with its evocative horn solo (the horn plays a prominent role in the whole of this movement) and shadowy writing for orchestra, has much in common with the “night music” movements of Mahler’s Seventh Symphony, the Fifth’s underappreciated but closest relative in the composer’s output.
The symphony’s third and final part begins with the Adagietto, arguably Mahler’s “greatest hit.” Often performed as a stand-alone piece, it most famously was conducted by Leonard Bernstein at Robert Kennedy’s funeral in 1968. According to the conductor Willem Mengelberg, an early Mahler champion, the movement was intended not as a eulogy but rather “a declaration of love for Alma!” This rapturous slow movement silences everyone in the orchestra except for the luscious strings and harp. The brilliant Rondo-Finale ensues without pause, a lively celebration capped by the return of the D-major chorale theme from the second movement. —John Mangum
GUSTAVO DUDAMEL
To read about Music & Artistic Director Gustavo Dudamel, please turn to page 9.
SASHA COOKE
Two-time Grammy-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” by The New York Times and “equal parts poise, radiance and elegant directness” by Opera News Cooke has sung at the Metropolitan Opera, San Francisco Opera, English National Opera, Seattle Opera, Opéra National de Bordeaux, and Gran Teatre del Liceu, as well as with over 80 symphony orchestras worldwide, frequently in the works of Mahler. This season, Cooke debuts at La Monnaie / De Munt as Emilie Ekdahl in the world premiere of Fanny and Alexander, sings Marguerite in La damnation de Faust at the
Bard Festival and Brannen in Tristan und Isolde at the Gstaad Menuhin Festival, and returns to Houston Grand Opera as Venus in Francesca Zambello’s new production of Tannhäuser On the concert stage, Cooke reprises much of her most celebrated repertoire, joining orchestras such as the Vienna Symphony, San Francisco Symphony, St. Louis Symphony, Vienna Radio Symphony, Netherlands Radio Philharmonic, Cologne Philharmonic, Tucson Symphony Orchestra, Los Angeles Philharmonic, Philharmonia Orchestra, Oslo Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Slovenian Philharmonic Orchestra, collaborating with conductors such as EsaPekka Salonen, Marin Alsop, Cristian Măcelaru, Gustavo Dudamel, Trevor Pinnock, Klaus Mäkelä, Gemma New, Karina Canellakis, and Daniel Harding. In recital, Cooke returns to Wigmore Hall for a recital with pianist Malcolm Martineau and Carnegie Hall for Shostakovich’s From Jewish Folk Poetry with pianist Evgeny Kissin.
Midori
Midori, violin
Özgür Aydin, piano
Che BUFORD Resonances of Spirit (c. 16 minutes)
BRAHMS
POULENC
Sonata No. 1 in G major, Op. 78 (c. 21 minutes)
Vivace ma non troppo
Adagio
Allegro molto moderato
INTERMISSION
Sonata for Violin and Piano (c. 18 minutes)
Allegro con fuoco
Intermezzo
Presto tragico
RAVEL, Kaddish from Deux mélodies hébraïques Arranged by (c. 5 minutes)
GARBAN
RAVEL Tzigane (c. 9 minutes)
Programs and artists subject to change.
THURSDAY MARCH 13, 2025 8PM
This series is generously supported by the Colburn Foundation
AT A GLANCE
This program, of musical reflections on suffering and loss, is inspired by the Spanish writer Federico García Lorca and his poem “Casida of the Lament,” written shortly before his assassination in the early days of the Spanish Civil War. Francis Poulenc’s Violin Sonata, composed during World War II, was dedicated to the great poet’s memory, while the Brahms Sonata No. 1 is in part based on Brahms songs that equate rain with tears,
RESONANCES OF SPIRIT
Che Buford (b. 2000)
When Midori asked me to create a piece based on Negro spirituals—focusing on the violin’s capacity to express pain and sorrow and fitting into a program that explores diverse spiritual influences—I was immediately intrigued. However, I spent time reflecting on how I could approach this in a new, personal way. I have always been deeply moved by the way Negro spirituals express profound sorrow and pain, but also resilience and joy. Yet, rather than referencing them in a literal or transparent way, I wanted to capture their emotional essence and transform it through my own musical language that includes incorporating electronic elements and my own improvisational practice as a performer. As I started this process, I found myself drawn to spiritual methodologies from the African diaspora, particularly Yoruba practices.
much as García Lorca’s “Casida” is saturated in a country’s weeping. Ravel set the Kaddish, the Jewish prayer for the dead, while his Tzigane in part pictures the tribulations of a wandering life. A group of spirituals, performed in transcription, take on a special authority in the violin’s particular capacity for expressing pain and sorrow. These pieces depict spiritual verities that tie humanity together, in the depth and beauties of lamentation. —Midori
I began asking: What recurring themes exist between Yoruba spiritual traditions and the messages conveyed in these songs? How broadly can “spirituals” be interpreted in the context of sound as a vehicle for spirituality? This led me to explore concepts of ancestral memory and the ways memory is embedded in nature.
The piece contains sounds of water, wind, deep vibrating sine tones, electronic drones, whispers of Yoruba prayer, and my own humming and singing within the electronics. The violin blends with these elements, enhancing the atmosphere through exploration of texture and timbre, while remaining fragmented and lyrical.
Resonances of Spirit is part of a multipiece project that continues to explore these themes of memory, spirituality, and nature. This piece for solo violin and electronics, written for Midori, is Volume 1 of the series. —Che Buford
SONATA NO. 1 IN G MAJOR, OP. 78
Johannes Brahms (1833–1897)
The Sonata for Violin and Piano in G major, known to us as the first, was actually Brahms’ fifth for this combination; his scrupulous judgment of what was fit to represent him caused the composer to suppress many important finished works, including his first four attempts in this medium. Composed from 1878 to 1879, when Brahms was already in his late 40s, the G-major Sonata heralded the mature productions of his later life. This work shows its composer in his most genial mood and is remarkable for an extraordinary predominance of lyrical cantabile playing.
Throughout this work, the violin provides the leading voice. The first movement begins with transparent chords in the piano against which the violin presents the first theme. As the piano part grows thicker, the violin continues to lead the way until the development section provides the work’s only stormy passages.
The Adagio consists of a highly developed A-B-A structure. It is solemn and dramatic, and its themes exhibit great rhythmic freedom. The coda augments the
themes from the middle section, providing tremendous depth to the proceedings. Some scholars have pointed out the influence derived from the Adagio of Beethoven’s Op. 96 Sonata.
The work concludes with a flowing rondo in G minor. This movement is the most closely related to Brahms’ two songs that inspired the whole work, “Regenlied” and “Nachklang.” The main theme is derived from the two and provides one of the rare instances when Brahms alluded to specific external influences, though the musical depiction of falling rain would not be obvious without knowing the source: a song in which rain is the main theme. The concluding coda is in G major, and its new rhythmic figuration provides a series of modulations that foreshadow the solemn conclusion of the Third Symphony. —Edgar
Colón-Hernández
SONATA FOR VIOLIN AND PIANO
Francis Poulenc (1899–1963)
A sonata as intense and deeply felt as this one—and for a solo string instrument, at that—is something of an anomaly in Poulenc’s output. An urbane master of musical sarcasm and sentiment, working happily in miniatures and parody, Poulenc was one of the last century’s most inspired songwriters. Writing for solo winds also proved congenial, but Poulenc acknowledged his unhappiness composing for solo strings. He had written and destroyed two violin sonatas (in 1919 and 1924) before completing the present work in 1943 (revised
in 1949). Poulenc remained in occupied France during World War II and expressed his political opposition musically often through his choice of poetry that he set. He dedicated this Sonata to Federico García Lorca, the Spanish poet who was shot by Fascists at the outbreak of the Spanish Civil War, in 1936.
In that context, movement headings such as “Allegro con fuoco” and “Presto tragico” have a double meaning. Those passionate outer movements express both fury and grief over the tragedy of Lorca’s murder in terms of pointed rhythmicality, abated occasionally by softer sentiment.
The Intermezzo, however, is a gentle elegy, more sad than angry. Marked “very slow and calm,” it also carries a quotation from Lorca—“the guitar makes dreams weep.” Pizzicatos suggest Lorca’s guitar, and there are hints of French ideas about Spanish languor in the supple main melody, a plaint as tender and expressive as any that Poulenc ever wrote for voice.
The Sonata premiered on June 21, 1943, in Paris, with violinist Ginette Neveu and Poulenc himself at the piano. —John Henken
KADDISH FROM DEUX MÉLODIES HÉBRAÏQUES
Maurice Ravel (1875–1937)
Arranged by Lucien Garban (1877–1959)
Throughout his life, Ravel was broadly and creatively engaged with the music of other times and places. He imitated and referenced a wide range of music from previous eras and other countries, and even harmonized
and arranged traditional melodies from various cultures. After the success of Ravel’s four Chants populaires (1910), which included a “Chanson hébraïque,” Alvina Alvi, a soprano with the Saint Petersburg Opera, asked him to arrange two additional Hebrew melodies, “Kaddisch” and “L’énigme éternelle.” The latter was a Yiddish folk song that had been published in a Russian collection in 1911; the “Kaddisch” is a liturgical chant, and Ravel gives its spellbinding cantorial melismas a rhapsodic flow, with tolling chords in the piano part. Alvi gave the premiere of the songs in June 1914, in Paris, with the composer at the piano. These were the last traditional melodies that Ravel would harmonize; he orchestrated them from 1919 to 1920. —John Henken
TZIGANE
Maurice Ravel
Several foreign lands received the brushstrokes of Ravel’s pictorialism and Gallic wit: Spain—Rapsodie espagnole; Vienna—La valse; and Hungary—Tzigane. The latter work, written in 1924 and dedicated to the violinist Jelly d’Arányi, who gave its first performances, was described by the composer as “a virtuoso piece in the style of a Hungarian Rhapsody.” Clearly, Ravel’s simple description is adequate for the musical situation.
The Frenchman’s Tzigane is all fiery temperament, from the extended solo cadenza with which the piece opens to the breathless closing. And if this performer doesn’t make their violin cry, they make it dazzle by using nearly every technical trick in the book. —John Henken
MIDORI
Midori is a visionary artist, activist, and educator who explores and builds connections between music and the human experience and breaks traditional boundaries, which makes her one of the most outstanding violinists of our time. Her trailblazing performances, which exude style, beauty, intimacy, and intensity, are celebrated worldwide. Midori has performed with the London, Chicago, and San Francisco symphony orchestras; the Sinfonieorchester des Bayerischen Rundfunks; the Berlin and Vienna philharmonics; the Mahler Chamber Orchestra; and Festival Strings Lucerne, among others. She has collaborated with such outstanding musicians as Claudio Abbado, Emanuel Ax, Leonard Bernstein, Jonathan Biss, Constantinos Carydis, Elim Chan,
Christoph Eschenbach, Daniel Harding, Paavo Järvi, Mariss Jansons, Yo-Yo Ma, Susanna Mälkki, Joana Mallwitz, Antonello Manacorda, Zubin Mehta, Donald Runnicles, Jean-Yves Thibaudet, and Omer Meir Wellber.
Midori’s 2024/25 season opened with performances at the Aspen Music Festival, Tanglewood Music Festival, Hollywood Bowl, and Edinburgh International Festival. She returns to the Vienna Philharmonic to play Prokofiev’s Violin Concerto No. 1 at the Musikverein and Wiener Konzerthaus, followed by a major tour with the orchestra to South Korea and Japan. Further highlights include appearances with Deutsches Symphonie-Orchester Berlin, Seattle Symphony, and Gürzenich Orchestra. Midori also embarks on recital tours across Europe and North America.
Her diverse discography includes the 2020 recording with the Festival Strings Lucerne of Beethoven’s Violin Concerto and two Romances on Warner Classics and a Grammy Award-winning recording of Hindemith’s Violin Concerto with Christoph Eschenbach conducting the NDR Symphony Orchestra as well as Bach’s Sonatas and Partitas for Solo Violin filmed at Köthen Castle for Accentus.
Marking the 40th anniversary of her professional debut, Midori released a landmark recording of Beethoven sonatas performed with Jean-Yves Thibaudet (Warner Classics).
Deeply committed to furthering humanitarian and educational goals, she has founded several nonprofit organizations. Midori & Friends, now with over 30 years of service, provides music programs for New York City youth and communities, and MUSIC SHARING, a Japan-based foundation, brings both Western classical and Japanese music traditions to children and adults in Japan and throughout Asia. For her Orchestra Residencies Program (ORP), Midori commissioned composer Derek Bermel to write a new piece, Spring Cadenzas, which was premiered (mostly virtually) by student orchestras in 2021 and continues to be performed by ORP participants. Through Partners in Performance (PiP), Midori co-presents chamber music concerts around the US, focusing on smaller communities that are outside the radius of major urban centers and have limited resources. In 2022, Midori appeared in Carnegie Hall’s benefit Concert for Ukraine. In recognition of her work as an artist and humanitarian,
Midori serves as a United Nations Messenger of Peace. She is a recipient of the Asian Cultural Council’s 2021 John D. Rockefeller 3rd Award and the 2020 Brahms Prize from the Schleswig-Holstein Brahms Society. In recognition of her lifetime of contributions to American culture, Midori is a Kennedy Center Honoree and was celebrated by Yo-Yo Ma, Bette Midler, and John Lithgow, among others, during the May 2021 ceremony.
Midori was born in Osaka in 1971 and began her violin studies with her mother, Setsu Goto. In 1982, conductor Zubin Mehta invited the then 11-year-old Midori to perform in the New York Philharmonic’s annual New Year’s Eve concert, laying the foundation for her career. Midori is the Dorothy Richard Starling Chair in Violin Studies at the Curtis Institute of Music and a Distinguished Visiting Artist at the Peabody Institute of the Johns Hopkins University. Midori is the newly appointed Artistic Director of Ravinia Steans Institute’s Piano & Strings program, overseeing the program since summer 2024.
Midori plays the 1734 Guarnerius del Gesù “ex-Huberman.” She uses four bows: two by Dominique Peccatte, one by François Peccatte, and one by Paul Siefried.
ÖZGÜR AYDIN
Turkish American pianist Özgür Aydin made his major concerto debut in 1997 in a performance of Brahms’ Piano Concerto No. 1 with the Bavarian Radio Symphony Orchestra. In the same year, he won the renowned ARD International Music Competition in Munich and the Nippon Music Award in Tokyo—recognition that has since served as the basis for an active and diverse international performing career. He is also a laureate of the Cleveland International Piano Competition.
Aydin has appeared as soloist with orchestras in Germany and Turkey, as well as with the BBC Concert Orchestra (London), the Simón Bolívar Symphony Orchestra (Venezuela), the Slovak Philharmonic, and the Calgary Philharmonic. He is frequently invited to summer music festivals and has appeared at Salzburg, Schleswig-Holstein, Rheingau, Ravinia, and
Edinburgh. He is a guest at many prestigious venues, including New York’s Carnegie Hall, London’s Wigmore Hall, Munich’s Herkulessaal, and Tokyo’s Suntory Hall.
Aydin has recorded solo piano works by Beethoven, Schumann, Chopin, Liszt, and Rachmaninoff for the European labels Videal and Yapi Kredi. His performances of complete cycles of Beethoven’s 32 piano sonatas and five concertos as well as Bach’s Well-Tempered Clavier have been praised by critics. A dedicated chamber musician, Aydin enjoys recurrent collaborations with violinists Midori and Kolja Blacher, cellist Clemens Hagen, violist Naoko Shimizu, and members of the Berlin Philharmonic. A recording with Midori of works by Bloch, Janáček, and Shostakovich was released in fall 2013 on Onyx Classics.
Born in Colorado to Turkish parents, Aydin began his musical studies with Professor Kartal at the Ankara Conservatory in Turkey. He subsequently studied with Peter Katin at the Royal College of Music in London and with Karl-Heinz Kämmerling at the Hanover University of Music, Drama and Media. He has also received valuable instruction from artists such as Tatiana Nikolayeva and András Schiff. Aydin lives in Berlin.
Tchaikovsky & Schubert
Los Angeles Philharmonic
Joana Mallwitz, conductor
Augustin Hadelich, violin
Marko NIKODIJEVIC GHB/tanzaggregat (c. 6 minutes)
TCHAIKOVSKY Violin Concerto in D major, Op. 35 (c. 33 minutes)
Allegro moderato
Canzonetta: Andante
Finale: Allegro vivacissimo
Augustin Hadelich
INTERMISSION
SCHUBERT
Symphony No. 9 in C major, D. 944, “The Great” (c. 48 minutes)
Andante—Allegro, ma non troppo
Andante con moto
Scherzo: Allegro vivace
Allegro vivace
Programs and artists subject to change.
FRIDAY
MARCH 14, 2025 11AM
SATURDAY
MARCH 15 8PM
SUNDAY
MARCH 16 2PM
Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall
These performances are generously supported in part by the Kohl Virtuoso Violin Fund
AT A GLANCE
Like most of Schubert’s major instrumental works, his “Great” C-major Symphony No. 9 was largely unknown when he died in 1828. (Ironically, perhaps, the only one of his symphonies to receive a true public performance in his lifetime seems to have been the “Little” C-major Symphony, No. 6.) But after Schumann discovered the manuscript and extolled its “heavenly length, like that of a thick novel,” its wonders became known and admired by musicians and audiences alike. When Tchaikovsky reviewed a Moscow performance of it in 1874,
“GHB” is the abbreviation for a drug that is quite popular in the techno scene. In line with the aesthetic and interactive orientation of this scene, the drug has euphoric, disinhibiting effects and enhances the feeling of direct physical closeness: communal closeness and empathetic compassion as states of intoxication within
he could identify it as “Schubert’s famous Symphony in C.” It was not a specific model for Tchaikovsky, but many of the qualities he praised in it—its wealth of beautiful and original melodies particularly—also characterize the Violin Concerto he would compose four years later.
Preceding these two works, Marko Nikodijevic alludes to Serbian folk music and Khachaturian’s ballet music in his recent techno-inspired GHB/tanzaggregat (dance aggregation), a percussion-rich evocation of euphoric intoxication. —John Henken
the rituals of techno culture. This orchestral piece aims to evoke such states without actually producing techno music. It is, therefore, a kind of synesthetic transference.
However, GHB has inscribed itself into the piece in another way: It is also the pitch cell G-H-B [G, B, and B-flat in English notation] that is processed using a fractal algorithm at the very beginning of the piece, thereby generating the pitch material. This material is processed with complex high-speed rhythms derived from electronic dance music as commonly used in the techno scene. As in most of my pieces, this orchestral work engages with a kind of archival or referential approach to other music and its history.
On one hand, a Serbian folk song (“Lela Vranjanka”) is sampled here. On the other hand, deliberate allusions
to the ballet music of the Armenian composer Aram Khachaturian are created as a conscious homage. This homage is intentional because Khachaturian’s ballet music seems to me no less a resounding, uninhibited physical action than the pulsating energy of a techno night. Additionally, Khachaturian’s refined approach to instrumentation serves as an inspiration for the orchestral writing in this piece. Finally, there is one more note regarding the continuity of this orchestral piece. Like most of my works, this orchestral piece is characterized by features that could be summarized with the following keywords: states of intoxication, electronic music, sampling techniques, and the world of fractal beauties. The piece is dedicated to Bernd Künzig. —Marko Nikodijevic/ Courtesy of Boosey & Hawkes
VIOLIN CONCERTO IN D MAJOR, OP. 35
Pyotr Ilyich Tchaikovsky (1840–1893)
Composed: 1878
Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, and solo violin
First LA Phil performance: January 7, 1921, Walter Henry Rothwell conducting, with Max Rosen, soloist
Tchaikovsky composed his Violin Concerto during a stay in Switzerland in 1878. Inspired by the presence of the young violinist Josef Kotek in his circle there, the composer completed the entire concerto in less than a month. During the work’s composition, Kotek and Tchaikovsky collaborated closely, but almost as soon as the ink on the manuscript had dried, Kotek began to cool toward the work. This, added to Tchaikovsky’s need for a famous name on the work’s title page to guarantee performances in Western Europe and America, meant that the dedication was offered to the Hungarian violinist Leopold Auer. Auer declined it, declaring the work too long and the solo
part unplayable, something Tchaikovsky had heard before and a reminder that the composer’s music wasn’t always considered comfortable for listeners and performers.
Russian-born violinist Adolf Brodsky eventually mastered the concerto’s technical challenges well enough to premiere it in Vienna, where it was not well received.
The critic Eduard Hanslick, whose staunch support of Brahms helped—perhaps a bit unfairly—to brand Brahms as a conservative, heaped abuse on the work’s innovative layout and Tchaikovsky’s composition of the solo part in his review of the first performance.
“For a while, it moves along well enough, musical and not lacking in spirit, but soon the roughness gets the upper hand and remains in charge until the end of the first movement. It is no longer a question of whether the violin is being played, but of being yanked about and torn to tatters. Whether it is at all possible to extract a pure sound out of these hair-raising acrobatics I do not know, but I do know that in making the attempt Mr. Brodsky tortured his audience
no less than he did himself.” Hanslick would further elaborate, claiming the concerto “stank to the ear.”
Tchaikovsky’s concerto appears unconventional when placed alongside stalwarts of the genre by other composers (not least the Brahms concerto, which premiered two years before Tchaikovsky’s and no doubt was fresh in Hanslick’s mind). The first movement combines lyricism with nobility, as the violin spins out the movement’s two themes over an ever-shifting accompaniment. The slow movement, which Tchaikovsky labeled “Canzonetta” (Little song), opens with a delicate woodwind introduction, before the violin’s melancholy entry. The movement leads without pause to the rondofinale, a movement with rhythmic abandon and a folklike flavor. The rondo, which alternates a main theme with contrasting episodes, gives the violinist a chance for reckless bravura display. In a sense, Tchaikovsky’s concerto is guilty of some of the charges made by Hanslick, but what good concerto doesn’t benefit from some “hair-raising acrobatics”? —John Mangum
First LA Phil performance: August 3, 1926, Willem van Hoogstraten conducting Schubert’s early—and even relatively recent— romantically inclined biographers would have been devastated to learn (some did) that the grandiose, swaggering C-major Symphony, to many minds the greatest of the 19th century’s postBeethoven symphonies, was not written at the end of his life, in heroic defiance of the encroaching reaper, but at a time when things were going well for the composer. The period of this C-major Symphony’s birth centered on Schubert’s long recital tour in 1825, covering the length and breadth of Austria, with the principal interpreter and dedicatee of his songs, the baritone
Michael Vogl. The tour brought the young composer more recognition than he had ever known, as well as a decent income. It was during this trip that he was once assumed to have written the “Gastein Symphony,” long the subject of speculation as being the composer’s “lost masterpiece.” It is now widely assumed that there is no lost symphony at all: What we had been looking for all these years is actually the present “Great C-major” Symphony. It was probably early in 1826 that the “Great C-major” Symphony was finished. A performance, however, had to wait until 1839, 11 years after Schubert’s death, when Mendelssohn conducted a truncated version in Leipzig. The symphony had been brought to Mendelssohn’s attention by Robert Schumann, who found the score amid a pile of manuscripts in the care of Schubert’s brother Ferdinand. It nonetheless took more than half a century after the Leipzig premiere before performers could cope with the symphony’s daunting length and technical difficulties. By the early years of the 20th century,
it had settled comfortably into the repertory.
What settled in, however, was hardly an accurate reflection of Schubert’s intent. It took several decades for published editions to root out countless errors when compared with the original manuscript, which now resides in the library of the Gesellschaft der Musikfreunde in Vienna. On the most basic level, the symphony emerges a faster, more taut, more nervous composition than old-time performances would have had us believe, and indeed as earlier performers could not help thinking it was. Its driving power, its dissonant harmonies, and the striking trombone coloring take it a giant step even beyond the highly original “Unfinished” Symphony No. 8 (1822).
The simple correction of the score’s opening marking, from the published versions’ four beats in a bar to the manuscript’s two (alla breve), greatly changes the character of the first movement, and by extension the entire Symphony, from Brucknerlike massiveness to something more lithe and springy—more Schubertian, if you will—if no less heroic. —Herbert Glass
JOANA MALLWITZ
Joana Mallwitz has been Chief Conductor and Artistic Director of the Konzerthausorchester Berlin since the start of the 2023/24 season, becoming the first woman to lead one of Berlin’s major orchestras. Since her acclaimed debut at the 2020 Salzburg Festival with Mozart’s Così fan
tutte, she has been one of the outstanding female conductors of her generation on the international stage.
Mallwitz has also enjoyed great success with new productions at the Semperoper Dresden, the Nationale Opera Amsterdam, the Royal Opera House Covent Garden, the Bavarian State Opera, the Frankfurt Opera, and the Royal Opera House in Copenhagen. She is a regular guest with major orchestras worldwide. These include the Bavarian Radio Symphony Orchestra, the Royal Concertgebouw Orchestra Amsterdam, the Vienna Philharmonic Orchestra, the Boston Symphony Orchestra, the NDR Elbphilharmonie Orchester, the Philharmonia Orchestra, the Munich
Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, Orchestre National de France, Orchestre de Paris, and the Gothenburg Symphony Orchestra.
Mallwitz is an exclusive artist of Deutsche Grammophon and dedicated her first joint CD project with the Konzerthausorchester Berlin to the works of Kurt Weill. In the 2024/25 season, she performs with the Konzerthausorchester Berlin at Musikfest Berlin and makes guest appearances in Dortmund and on a European tour in Essen, Antwerp, and Zurich. She also debuts with the Berliner Philharmoniker, the Los Angeles Philharmonic, and the Metropolitan Opera.
AUGUSTIN HADELICH
Augustin Hadelich is one of the great violinists of our time. Known for his phenomenal technique, insightful and persuasive interpretations, and ravishing tone, he appears extensively on the world’s foremost concert stages. Hadelich has performed with all the major American orchestras as well as the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra Amsterdam, Bavarian Radio Symphony Orchestra, London Philharmonic, and many other eminent ensembles.
During the 2024 summer festival season, Hadelich appeared at the Hollywood Bowl with the Los Angeles Philharmonic, Tanglewood Music Festival with the Boston Symphony, Bravo! Vail with the New York Philharmonic, Ravinia Festival with the Chicago Symphony, Aspen Music Festival in Colorado, and in Mexico City with the Orquesta Sinfónica de Minería. Highlights of the 2024/25 season include returns to the Berlin Philharmonic, Royal
Concertgebouw Orchestra
Amsterdam, Vienna Philharmonic, Gewandhausorchester Leipzig, Los Angeles Philharmonic, and The Cleveland Orchestra. Hadelich will also perform with the Frankfurt Radio Symphony, Royal Stockholm Philharmonic, Danish National Symphony Orchestra, Tonhalle-Orchester Zürich, Vienna Symphony, London Philharmonic, Sydney Symphony, New Zealand Symphony, and Orquesta Nacional de España as well as the symphony orchestras of Baltimore, Dallas, and Seattle. As artist-in-residence, he performs with the Dresden Philharmonic throughout the season, and he tours with the RSB Radio Orchestra Berlin, Mahler Chamber Orchestra, Mozarteum Orchestra Salzburg, the Academy of St Martin in the Fields. He performs solo violin recitals in London, Barcelona, Gothenburg, Tallinn, and Abu Dhabi, as well as duo recitals with pianist Francesco Piemontesi in Budapest, Dresden, Katowice (Poland), Rome, and Bologna. In summer 2025, he will perform extensively in Asia, including engagements with the Seoul Philharmonic, Yomiuri Nippon Symphony Orchestra, Hong Kong Philharmonic, Shanghai Symphony Orchestra, Guangzhou Symphony Orchestra, and tour concerts in Taiwan with the Berliner Barock Solisten. Hadelich received a Grammy Award for Best Classical Instrumental Solo in 2016 for his recording of Dutilleux’s concerto L’Arbre des songes
with the Seattle Symphony and Ludovic Morlot. A Warner Classics Artist, he released his most recent album, American Road Trip, a journey through the landscape of American music with pianist Orion Weiss, in August 2024. Other albums for Warner Classics include Paganini’s 24 Caprices (2018); the Brahms and Ligeti Violin Concertos (2019); the Grammynominated Bohemian Tales, which includes the Dvořák Violin Concerto with the Bavarian Radio Symphony Orchestra and Jakub Hrůša (2020); the Grammy-nominated recording of Bach’s complete Sonatas and Partitas; and Recuerdos, a Spain-themed album featuring works by Sarasate, Tarrega, Prokofiev, and Britten (2022).
Hadelich, an American and German citizen born in Italy to German parents, rose to fame when he won the Gold Medal at the 2006 International Violin Competition of Indianapolis. Further distinctions followed, including an Avery Fisher Career Grant (2009), the UK’s Borletti-Buitoni Trust Fellowship (2011), and an honorary doctorate from the University of Exeter in the UK (2017). In 2018, he was named Instrumentalist of the Year by Musical America. Hadelich holds an Artist Diploma from The Juilliard School, where he studied with Joel Smirnoff, and in 2021, he was appointed to the violin faculty at Yale School of Music. He plays a 1744 violin by Giuseppe Guarneri del Gesù, known as ‘Leduc, ex Szeryng,’ on loan from the Tarisio Trust.
An Evening with Jason Isbell
Jason Isbell
JASON ISBELL
Critically acclaimed for his raw emotional honesty, singer, guitarist, and actor Jason Isbell has steadily earned his place as one of music’s greatest
performing songwriters. The six-time Grammy winner and rock ’n’ roll icon celebrated a remarkable year in 2023, starring in Martin Scorsese’s Killers of the Flower Moon, releasing his ninth studio album, Weathervanes, and adding three Grammy nominations to his growing list of accolades. Isbell lights up any stage with “brutally beautiful” (Rolling Stone) songs such as “Cover Me Up,” “If We Were Vampires,” “King of Oklahoma,” and “Cast Iron Skillet.” His new album, Foxes in the Snow, was released earlier this month.
The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.
Corporate Partners
The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email corporatepartnerships@laphil.org.
ANNUAL GIVING
From the concerts that take place onstage at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford to the learning programs that fill our community with music, it is the consistent support of Annual Donors that sustains and propels our work. We hope you, too, will consider making a gift today. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music—sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our success.
FRIENDS OF THE LA PHIL
Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA (Youth Orchestra Los Angeles), which provides free after-school music instruction to children in culturally vibrant and ethnically diverse communities across LA County. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, or to learn about membership benefits, please call 213 972 7557 or email friends@laphil.org.
PHILHARMONIC COUNCIL
Winnie Kho and Chris Testa, Co-Chairs Christian and Tiffany Chivaroli, Co-Chairs
The Philharmonic Council is a vital leadership group whose members provide critical resources in support of the LA Phil’s general operations. Their vision and generosity enable the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.
Endowment Donors
We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of October 31, 2024.
$25,000,000 AND ABOVE
Walt and Lilly Disney Foundation
Cecilia and Dudley Rauch
$20,000,000 TO $24,999,999
David Bohnett Foundation
$10,000,000 TO $19,999,999
The Annenberg Foundation
Colburn Foundation
Lenore S. and Bernard A. Greenberg Fund
$5,000,000 TO $9,999,999
Anonymous Dunard Fund USA
Carol Colburn Grigor
Terri and Jerry M. Kohl
Los Angeles
Philharmonic
Affiliates
Diane and Ron Miller
Charitable Fund
M. David and Diane Paul
Ann and Robert Ronus
Ronus Foundation
John and Samantha Williams
$2,500,000 TO $4,999,999
Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann
Lynn Booth/Otis Booth Foundation
Elaine and Bram Goldsmith
Norman and Sadie Lee Foundation
Karl H. Loring
Alfred E. Mann
Elise Mudd
Marvin Trust
Barbara and Jay Rasulo
Flora L. Thornton
$1,000,000 TO $2,499,999
Linda and Robert Attiyeh
Judith and Thomas Beckmen
Gordon Binder and Adele Haggarty
Helen and Peter Bing
William H. Brady, III
Linda and Maynard Brittan
Richard and Norma Camp
Mr. and Mrs. Michael J. Connell
Mark Houston Dalzell and James Dao-Dalzell
Mari L. Danihel
Nancy and Donald de Brier
The Rafael & Luisa de Marchena-Huyke Foundation
The Walt Disney Company
Fairchild-Martindale Foundation
Eris and Larry Field
Max H. Gluck Foundation
Reese and Doris Gothie
Joan and John Hotchkis
Janeway Foundation
Bernice and Wendell Jeffrey
Carrie and Stuart Ketchum
Kenneth N. and Doreen R. Klee
B. Allen and Dorothy Lay
Los Angeles Philharmonic Committee
Estate of Judith Lynne
Maddocks-Brown Foundation
Ginny Mancini
Raulee Marcus
Barbara and Buzz McCoy
Merle and Peter Mullin
William Powers and Carolyn Powers
Koni and Geoff Rich
H. Russell Smith Foundation
Jay and Deanie Stein Foundation Trust
Ronald and Valerie Sugar
I.H. Sutnick
$500,000 TO $999,999
Ann and Martin Albert
Abbott Brown
Mr. George L. Cassat
Kathleen and Jerrold L. Eberhardt
Valerie Franklin
Yvonne and Gordon Hessler
Barbara Leidenfrost
Ernest Mauk and Doyce Nunis
Mr. and Mrs. David Meline
Sandy and Barry D. Pressman
Earl and Victoria Pushee
William and Sally Rutter
Nancy and Barry Sanders
Richard and Bradley Seeley
Christian Stracke
Donna Swayze
Judy Ungar and Adrienne Fritz
Lee and Hope
Landis Warner
YOLA Student Fund
Edna Weiss
$250,000 TO $499,999
Nancy and Leslie Abell
Mr. Gregory A. Adams
Baker Family Trust
Kawanna and Jay Brown
Leah Danberg
Veronica and Robert Egelston
Gordon Family Foundation
Ms. Kay Harland
Joan Green Harris Trust
Bud and Barbara Hellman
Gerald L. Katell
Norma Kayser
Joyce and Kent Kresa
Raymond Lieberman
Mr. Kevin MacCarthy and Ms. Lauren Lexton
Alfred E. Mann Charities
Glenn Miya and Steven Llanusa
Jane and Marc B. Nathanson
Miguel A. Navarro
Y & S Nazarian
Family Foundation
Nancy and Sidney Petersen
Rice Family Foundation
Robert Robinson
Kenneth D. Sanson
Katharine and Thomas Stoever
Sue Tsao
Alyce and Warren Williamson
$100,000 TO $249,999
Mr. Robert J. Abernethy
William A. Allison
Rachel and Lee Ault
W. Lee Bailey, M.D.
Angela Bardowell
Deborah Borda
The Eli and Edythe
Broad Foundation
Jane Carruthers
Pei-yuan Chia and Katherine Shen
James and Paula Coburn Foundation
The Geraldine P. Coombs Trust in memory of Gerie P. Coombs
Mr. and Mrs. Terry Cox
Silvia and Kevin Dretzka
Allan and Diane Eisenman
Christine and Daniel Ewell
Arnold Gilberg, M.D., Ph.D.
David and Paige Glickman
Nicholas T. Goldsborough
Gonda Family Foundation
Margaret Grauman
Kathryn Kert Green and Mark Green
Freya and Mark Ivener
Ruth Jacobson
Estate of Mary Calfas Janos
Stephen A. Kanter, M.D.
Jo Ann and Charles Kaplan
Yates Keir
Susanne and Paul Kester
Vicki King
Sylvia Kunin
Ann and Edward Leibon
Ellen and Mark Lipson
Ms. Gloria Lothrop
Vicki and Kerry McCluggage
Heidi and Steve McLean in memory of Katharine Lamb
David and Margaret Mgrublian
Diane and Leon Morton
Mary Pickford Foundation
Sally and Frank Raab
Mr. David Sanders
Malcolm Schneer and Cathy Liu
David and Linda Shaheen Foundation
William E.B. and Laura K. Siart
Magda and Frederick R. Waingrow
Wasserman Foundation
Robert Wood
Syham Yohanna & James W. Manns
$25,000 TO $99,999
Marie Baier Foundation
Dr. Richard Bardowell, M.D.
Jacqueline Briskin
Dona Burrell
Ying Cai & Wann S. Lee Foundation
Ann and Tony Cannon
Dee and Robert E. Cody
The Colburn Fund
Margaret Sheehy
Collins
Mr. Allen Don Cornelsen
Ginny and John Cushman
Marilyn J. Dale
Mrs. Barbara A. Davis
Dr. and Mrs. Roger DeBard
Jennifer and Royce Diener
Jane B. and Michael D. Eisner
The Englekirk Family
Claudia and Mark Foster
Lillian and Stephen Frank
Dr. Suzanne Gemmell
Paul and Florence Glaser
Good Works Foundation
Anne Heineman
Ann and Jean Horton
Drs. Judith and Herbert Hyman
Albert E. and Nancy C. Jenkins
Robert Jesberg and Michael J. Carmody
Ms. Ann L. Kligman
Sandra Krause and William Fitzgerald
Michael and Emily Laskin
B. and Lonis Liverman
Sarah and Ira R. Manson
Carole McCormac
Meitus Marital Trust
Sharyl and Rafael Mendez, M.D.
John Millard
National Endowment for the Arts
Alfred and Arlene Noreen
Occidental Petroleum Corporation
Dr. M. Lee Pearce
Lois Rosen
Anne and James Rothenberg
Donald Tracy Rumford Family Trust
The SahanDaywi Foundation
Mrs. Nancie Schneider
William and Luiginia Sheridan
Virginia Skinner
Living Trust
Nancy and Richard Spelke
Mary H. Statham
Ms. Fran H. Tuchman
Tom and Janet Unterman
Rhio H. Weir
Mrs. Joseph F. Westheimer
Jean Willingham
Winnick Family Foundation
Cheryl and Peter Ziegler
Lynn and Roger Zino
LA PHIL MUSICIANS
Anonymous Kenneth Bonebrake
Nancy and Martin Chalifour
Brian Drake
Perry Dreiman
Barry Gold
Christopher Hanulik
John Hayhurst
Jory and Selina Herman
Ingrid Hutman
Andrew Lowy
Gloria Lum
Joanne Pearce Martin
Kazue Asawa McGregor
Oscar and Diane Meza
Mitchell Newman
Peter Rofé
Meredith Snow and Mark Zimoski
Barry Socher
Paul Stein
Leticia Oaks Strong
Lyndon and Beth Johnston Taylor
Dennis Trembly
Allison and Jim Wilt
Suli Xue
We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.
Ballet Folklórico de México de Amalia Hernández
This exuberant group travels the world sharing the beauty of Mexico with original choreography, elaborate costumes, and the finest dancers. Founded in 1952, Ballet Folklórico de México de Amalia Hernández has wowed more than 30 million spectators with traditional dances from Mexico.
The Drummers of Japan
Hito no chikara
Power of Human Strength
Making its fifth appearance at The Soraya, YAMATO returns with Hito no chikara, The Power of Human Strength. Packed with high energy and the traditional sounds of Japan, every YAMATO performance (they’ve done more than 4,000 so far!) engulfs audiences of all ages in the sound of Taiko.
Annual Donors
The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between November 1, 2023, and October 31, 2024.
$1,000,000 AND ABOVE
Anonymous (2)
$500,000 TO $999,999
Ballmer Group
$200,000 TO $499,999
Anonymous (2)
Judith and Thomas L. Beckmen
Colburn Foundation
Jane B. and Michael D. Eisner
Lisa Field/Robyn Field and Anthony O’Carroll
The Getty Foundation
Gordon P. Getty
Jennifer Miller Goff
$100,000 TO $199,999
Anonymous (4)
Mr. Gregory A. Adams
Regina Weingarten and Gregory Annenberg
Weingarten
R. Martin Chavez
Becca and Jonathan Congdon
Donelle Dadigan
Dunard Fund USA
The Eisner Foundation
Ms. Erika J. Glazer
Alexandra S. Glickman and Gayle Whittemore
Peggy Grauman
$50,000 TO $99,999
Anonymous
Nancy and Leslie Abell
Alfred E. Mann
Charities
Amgen Foundation
Ms. Kate Angelo and Mr. Francois Mobasser
Aramont Foundation
Samuel and Erin Biggs
David Bohnett Foundation
Linda and Maynard Brittan
Thy Bui
Canon Insurance Service
Andrea Chao-Kharma and Kenneth Kharma
Nancy and Donald de Brier
De Marchena-Huyke Foundation
The Walt Disney Company
Louise and Brad Edgerton/Edgerton Foundation
Dr. Paul and Patti Eisenberg
Robyn Field and Anthony O’Carroll
Mr. James Gleason
Mr. Gregg Goldman and Mr. Anthony DeFrancesco
Tamara Golihew
Lori Greene Gordon and Neil Gordon
$25,000 TO $49,999
Anonymous (10)
The Herb Alpert
Foundation
Dr. William Benbassat
Susan and Adam Berger
Mr. and Mrs.
Norris J. Bishton, Jr.
Jill Black Zalben
Kawanna and Jay Brown
Michele Brustin
Gail Buchalter and Warren Breslow
Steven and Lori Bush
Ying Cai & Wann S. Lee Foundation
Chevron Products Company
Esther S.M. Chui
Chao & Andrea
Chao-Kharma
Dan Clivner
Mr. Richard W. Colburn
Mr. and Mrs.
Robert Cook
Orna and David Delrahim
Mr. Lawrence Doyle and Dr. LuAnn Wilkerson
Malsi and Johnny Doyle
Michael Dreyer
Anne Akiko Meyers and Jason Subotky
Max H. Gluck Foundation
The Hearthland Foundation
Tylie Jones
Terri and Jerry M. Kohl
Pasadena Showcase House for the Arts
Daniel Huh Kaiser Permanente
Winnie Kho and Chris Testa
Linda May and Jack Suzar
John Mohme Foundation
Madeleine Heil and Sean Petersen
Yvonne Hessler
Mr. Philip Hettema
The Hillenburg Family
David Z. & Young O. Hong Family Foundation
Cindy and Alan Horn
Ms. Michelle Horowitz
Barbara and Amos Hostetter
Frank Hu and Vikki Sung
The Norman and Sadie Lee Foundation
Monique and Jonathan Kagan
Mr. and Mrs. Joshua R. Kaplan
Joseph Drown Foundation
Van and Francine Durrer
East West Bank
Kathleen and Jerry L. Eberhardt
Edison International
Marianna J. Fisher and David Fisher
Austin and Lauren Fite Foundation
Debra Frank
Tony and Elisabeth Freinberg
Drs. Jessie and Steven Galson
M. David and Diane Paul
Barbara and Jay Rasulo
The Rauch Family Foundation
Maureen and Stanley Moore
Michael J. Connell Foundation
The Ralph M. Parsons Foundation
Koni and Geoff Rich
Rosenthal Family Foundation
Linda and Donald Kaplan
W.M. Keck Foundation
Darioush and Shahpar Khaledi
Dr. Ralph A. Korpman
Mr. and Mrs. Keith Landenberger
Los Angeles County Department of Arts and Culture
Live Nation-Hewitt
Silva Concerts, LLC
Renee and Meyer Luskin
Roger Lustberg and Cheryl Petersen
Barbara and Buzz McCoy
Ms. Irene Mecchi
The Rosalinde and Arthur Gilbert Foundation
Kiki Ramos Gindler and David Gindler
Francis Goelet
Charitable Lead Trusts
Greg and Etty Goetzman
Good Works Foundation and Laura Donnelley
Kate Good
The Gorfaine/ Schwartz Agency
Liz and Peter Goulds
The Green Foundation
Music Center Foundation
James D. Rigler/Lloyd E. Rigler - Lawrence E. Deutsch Foundation
Rolex Watch USA, Inc.
James and Laura Rosenwald/Orinoco Foundation
Maria Seferian
Elizabeth and Henry T. Segerstrom
Jay and Deanie Stein Foundation Trust
Christian Stracke
Mr. and Mrs.
David Meline
Michael and Lori Milken Family Foundation
National Endowment for the Arts
Peninsula Committee
Ms. Linda L. Pierce
Dennis C. Poulsen and Cindy Costello
Sandy and Barry D. Pressman
Wendy and Ken Ruby
Richard and Diane Schirtzer
Howard and
Stephanie Sherwood
Marilyn and Eugene Stein
Faye Greenberg and David Lawrence
Renée and Paul Haas
Harman Family Foundation
Lynette Maria Carlucci Hayde
Stephen T. Hearst
Walter and Donna Helm
David and Martha Ho
Fritz Hoelscher
Mr. Tyler Holcomb
Thomas Dubois
Hormel Foundation
Mr. and Mrs. Daniel
Paul Horwitz
Linda and David Shaheen
Alyce de Roulet Williamson
Margo and Irwin Winkler
Ellen and Arnold Zetcher
Ronald and Valerie Sugar
Keith and Cecilia Terasaki
Sue Tsao
David William Upham Foundation
Ellen Goldsmith-Vein and Jon Vein
Barbara and Robert Veir
Mr. Alex Weingarten
John and Marilyn Wells Family Foundation
Jenny Williams
Debra Wong Yang and John W. Spiegel
Lynn and Roger Zino
Mr. and Mrs.
James L. Hunter
Rif and Bridget Hutton
Robin and Gary Jacobs
Estate of Mary Calfas Janos
Terri and Michael Kaplan
Tobe and Greg Karns
Paul Kester
Elizabeth Kolawa
Delores M. Komar and Susan M. Wolford
David Lee
Mr. and Mrs.
Simon K.C. Li
SUNDAY, MARCH 16, 2025 AT 7PM
Carmina Burana’s evocative lyrics, drawn from medieval poetry, speak of love, lust, and the inexorable wheel of fortune. This exhilarating showpiece — arguably the most iconic choral work of the twentieth century — is paired with the world premiere of choral re-imaginings of five Indian folk songs by Swan Family Artist-in-Residence Reena Esmail.
JENNY WONG, CONDUCTOR 88 SINGERS, LOS ANGELES CHILDREN’S CHORUS, NATIONAL CHILDREN’S CHORUS, 3 SOLOISTS, ORCHESTRA
City of Los Angeles, Department of Cultural Affairs
Los Angeles
Philharmonic
Affiliates
The Seth MacFarlane Foundation
Mrs. Beverly C. Marksbury
Ashley McCarthy and Bret Barker
Ms. Kim McCarthy and Mr. Ben Cheng
Heidi and Steve McLean
Coco Miller
Ms. Susan Morad at Worldwide Integrated Resources, Inc.
Ms. Christine Muller and Mr. John Swanson
Molly Munger and Stephen English
Deena and Edward Nahmias
Mr. and Mrs.
Randy Newman
Mr. Robert W. Olsen
$15,000 TO $24,999
Anonymous (3)
Mrs. Lisette Ackerberg
Drew and Susan Adams
Honorable and Mrs. Richard Adler
The Aversano Family Trust
Mrs. Stella Balesh
Ms. Elizabeth Barbatelli
Camilo Esteban Becdach
Miles and Joni Benickes
Robert and Joan Blackman Family Foundation
Mr. and Mrs.
Geoff C. Bland
Mr. Ronald H. Bloom
Tracey BoldemannTatkin and Stan Tatkin
Otis Booth Foundation
Mr. and Mrs.
Steven Bristing
Jennifer Broder and Soham Patel
Business and Professional Committee
Campagna Family Trust
Chivaroli and Associates, Tiffany and Christian Chivaroli
Sarah and Roger Chrisman
Larison Clark
Mr. and Mrs. V.
Shannon Clyne
Faith and Jonathan Cookler
Cary Davidson and Andrew Ogilvie
Lynette and Michael C. Davis
Victoria Seaver Dean, Patrick Seaver, Carlton Seaver
Jennifer Diener and Eric Small
Michael Dillon
Dr. and Mrs.
William M. Duxler
Michael Edelstein and Dr. Robin Hilder
Ms. Robin Eisenman and Mr. Maurice LaMarche
Geoff Emery
Evelyn and Norman Feintech Family Foundation
Max Factor Family Foundation
E. Mark Fishman and Carrie Feldman
Ella Fitzgerald Charitable Foundation
Daniel and Maryann Fong
Foothill Philharmonic Committee
Alfred Fraijo Jr. and Arturo
Becerra-Fraijo
Joan Friedman, Ph.D. and Robert N. Braun, M.D.
Mr. and Mrs.
Josh Friedman
Ms. Kimberly Friedman
Gary and Cindy Frischling
Jane Fujishige
$10,000 TO $14,999
Anonymous (4)
Affiliates of the Desert
B. Allen and Dorothy Lay
Dr. Mehrdad Ariani
Tichina Arnold
Ms. Lisette Arsuaga and Mr. Gilbert Davila
Pamela and Jeffrey Balton
Dr. Richard Bardowell, M.D.
Judy and Leigh Bardugo
Stephanie Barron
Mr. Joseph A. Bartush
Susan Baumgarten
Sondra Behrens
Phyllis and Sandy Beim
Tye Ouzounian
Laura Owens Bruce and Aulana Peters
Gregory Pickert and Beth Price
Madeline and Bruce Ramer
Mr. Bennett Rosenthal
Ross Endowment Fund
Bill and Amy Roth
Katy and Michael S. Saei
Mr. Lee C. Samson
Beth Gertmenian
Mr. and Mrs.
Ronald Gertz
Carrie and Rob Glicksteen
Goldman Sachs Co.
LLC
Mr. and Mrs.
Louis L. Gonda
Goodman Family Foundation
Robert and Lori Goodman
Rob and Jan Graner
Mr. Bill Grubman
Marnie and Dan Gruen
Vicken and Susan J. Haleblian
Ms. Marian L. Hall
Laurie and Chris Harbert and Family
Lyndsay Harding
Mr. Sam Harris
Diane Henderson MD
Jackson N. Henry
Stephen D. Henry and Rudy M. Oclaray
Carol Henry
California Community Foundation
Stephen F. Hinchliffe
Marion and Tod Hindin
Gerry Hinkley and Allen Briskin
Jessica and Elliot Hirsch
Arlene Hirschkowitz
Elizabeth HofertDailey Trust
K. Hohman Family
Deedie and Tom Hudnut
James Jackoway
Mr. and Mrs.
Philip Bellomy
Mark and Pat Benjamin
Suzette and Monroe Berkman
Ms. Gail K. Bernstein
Ken Blakeley and Quentin O’Brien
Mr. and Mrs.
Hal Borthwick
The Hon. Bob Bowers and Mrs. Reveta Bowers
Oleg and Tatiana Butenko
Garrett Camp
Mara and Joseph Carieri
Ms. Nancy Carson and Mr. Chris Tobin
San Marino-Pasadena Philharmonic Committee
Ellen and Richard Sandler
Miguel Santana Dena and Irv Schechter/The Hyman Levine
Family Foundation: L’DOR V’DOR
Elizabeth and Justus Schlichting
Melanie and Harold Snedcof
Mr. Gregory Jackson and Mrs. Lenora
Jackson
Meredith Jackson and Jan Voboril
Meg and Bahram Jalali
Mr. Eugene Kapaloski
Mr. and Mrs.
Robert A. Kasirer
Sandi and Kevin Kayse
Vicki King
Jennifer and Cary Kleinman
Larry and Lisa Kohorn
Ms. Ursula C. Krummel
Naomi and Fred Kurata
Mr. and Mrs.
Jack D. Lantz
Mr. and Mrs.
Norman A. Levin
Allyn and Jeffrey L. Levine
Stuart Levine and
Donna Richey
Ms. Agnes Lew
Karen and Clark Linstone
Ms. Judith W. Locke
Los Angeles
Philharmonic Committee
The Mailman Foundation
Raulee Marcus
Mr. and Mrs.
Andrew W. Marlowe
Matt Construction Corporation
Jonathan and Delia Matz
Dwayne and Eileen McKenzie
David and
Margaret Mgrublian
Chien Family
Chivaroli and Associates Insurance Services
Dr. and Mrs.
Lawrence J. Cohen
Susan Colvin
Jay and Nadege Conger
Mr. and Mrs.
Richard W. Cook
Hillary and Weston Cookler
Alison Moore Cotter
Katie Danois
Dr. and Mrs. Nazareth
E. Darakjian
Nancy and Patrick Dennis
Steven Duffy
Randy and Susan Snyder
Jeremy and Luanne Stark
Lisa and Wayne Stelmar
Dwight Stuart Youth Fund
Megan Watanabe and Hideya Terashima
Dr. James Thompson and Dr. Diane Birnbaumer
Michael Frazier Thompson
Marcy Miller
Cynthia Miscikowski
Mrs. Judith S. Mishkin
Mr. John Monahan
Mr. Brian R. Morrow
Ms. Kari Nakama
Mr. and Mrs.
Dan Napier
NBC Universal
Shelby Notkin and Teresita Tinajero
Christine M. Ofiesh
Steve and Gail Orens
Melissa Papp-Green and Jeff Green
Andy S. Park
Nancy and Glenn Pittson
Cathleen and Scott Richland
Ms. Anne Rimer
John Peter Robinson and Denise Hudson
Mimi Rotter
Linda and Tony Rubin
Mr. David Rudy
Thomas Safran
Ron and
Melissa Sanders
Santa MonicaWestside
Philharmonic Committee
Gary Satin
Alexander and Mariette Sawchuk
Evy and Fred Scholder Family
Michael Sedrak
Joan and Arnold Seidel
Neil Selman and Cynthia Chapman
Emil Ellis Farrar and Bill Ramackers
Mr. Tommy Finkelstein and Mr. Dan Chang
Mr. Michael Fox
Bernard H. Friedman and Lesley Hyatt
Dr. and Mrs.
David Fung
Roberta and Conrad Furlong
Dr. and Mrs.
Bruce Gainsley
Mr. Peter A. Gelles and Mrs. Eve
Steele Gelles
Harriett and Richard E. Gold
Jory Goldman
Manuela Cerri Goren
Michael Tyler
Charles Urban
Nancy Valentine
Jennifer and Dr. Ken Waltzer
Walter and Shirley Wang
Debra and John Warfel
Mindy and David Weiner
Libby Wilson, MD
Zolla Family Foundation
Mr. and Mrs.
Daniel M. Gottlieb
Mr. and Mrs. Ken Gouw
Tricia and Richard Grey
Beverly and Felix Grossman
Roberta L. Haft and Howard L. Rosoff
Beth Fishbein Hansen
Ms. Deborah Harkness
Mr. Rick Harrison and
Ms. Susan Hammar
Mr. and Mrs. Irwin
Helford and Family
Linda Joyce Hodge
Janice and Laurence Hoffmann
Mr. Raymond W. Holdsworth
Marc Seltzer and Christina Snyder
Jane Semel
Mr. James J. Sepe
Julie and Bradley Shames
Mr. Steven Shapiro
Jill and Neil Sheffield
Lauren Shuler Donner
Mr. and Mrs. Richard Sondheimer
Angelina and Mark Speare
Terry and Karey Spidell
Stein Family FundJudie Stein
Zenia Stept and Lee Hutcherson
Eva and Marc Stern
Tom Strickler
Akio Tagawa
Priscilla and Curtis S. Tamkin
Warren B. and Nancy L. Tucker
Elinor and Rubin Turner
Mr. and Mrs.
Leonard Unger
Tom and Janet Unterman
Noralisa Villarreal and John Matthew Trott
Frank Wagner and Lynn O’Hearn
Wagner
Warner Bros. Discovery
Stasia and Michael Washington
Alana L. Wray
Mahvash and Farrok Yazdi
Karl and Dian Zeile
Joyce and Fredric Horowitz
Mr. Frank J. Intiso
Kristi Jackson and William Newby
Sharon and Alan Jones
Mr. and Mrs. Steaven
K. Jones, Jr.
Dr. William B. Jones
Marilee and Fred Karlsen
Rizwan and Hollee Kassim
Mr. and Mrs.
Michael C. Kelley
Mr. and Mrs.
Kenneth N. Klee
Mr. and Mrs.
Scott Krivis
BOARD OF SUPERVISORS
Hilda L. Solis
Holly J. Mitchell
Lindsey P. Horvath
Janice K. Hahn
Kathryn Barger Chair
DEPARTMENT OF ARTS AND CULTURE
Kristin Sakoda Director
COUNTY ARTS COMMISSION
Leticia Buckley
President
Randi Tahara
Vice President
Rogerio V. Carvalheiro
Secretary
Sandra P. Hahn
Executive Committee
Member
Liane Weintraub
Immediate Past President
Pamela Bright-Moon
Patrice Cullors
Diana Diaz
Eric R. Eisenberg
Brad Gluckstein
Helen Hernandez
Constance Jolcuvar
Alis Clausen Odenthal
Anita Ortiz
Jennifer Price-Letscher
Nickie and Marc Kubasak
Craig Kwiatkowski and Oren Rosenthal
Ellie and Mark Lainer
Mrs. Grace E. Latt
Lauren B. Leichtman and Arthur E. Levine
Randi Levine
Lydia and Charles Levy
Marie and Edward Lewis
Maria and Matthew Lichtenberg
Anita Lorber
Kyle Lott
Sandra Cumings
Malamed and
Kenneth D. Malamed
Mona and Frank Mapel
Milli M. Martinez and Don Wilson
Vilma S. Martinez, Esq.
Leslie and Ray Mathiasen
Liliane Quon McCain
Mr. and Mrs. Thomas
E. McCarthy
Cathy McMullen
Lisa and Willem Mesdag
Ms. Joanna Miller
Linda and Kenneth Millman
Marc and Jessica Mitchell
Mr. Alexander Moradi
Wendy Stark Morrissey
Carrie Nery
$5,500 TO $9,999
Anonymous (9)
Ms. Rose Ahrens
Bobken and Hasmik Amirian
Mr. Robert C. Anderson
Debra and Benjamin Ansell
Art and Pat Antin
Javi Arango
Sandra Aronberg, M.D.
Ms. Judith A. Avery
Mr. Mustapha Baha
Tawney Bains and Zachary Roberts
Mrs. Linda E. Barnes
Karen and Jonathan Bass
Catherine and Joseph Battaglia
Reed Baumgarten
George and
Karen Bayz
Ms. Nettie Becker
Logan Beitler
Maria and Bill Bell
Helen and Peter S. Bing
Richard Birnholz
Mr. Larry Blivas and Ms. Julie Blivas
Mitchell Bloom
Leni I. Boorstin
Joan N. Borinstein
Greg Borrud
Mr. Ray Boucher
Dick and Chris Newman / C & R Newman Family Foundation
Kenneth T. & Eileen L.
Norris Foundation
Mr. John Nuckols
Irene and Edward Ojdana
Loren Pannier
Ellen Pansky
Mr. and Mrs.
Carl Pearlston
Ms. Debra Pelton and Mr. Jon Johannessen
Chris Pine
Julie and Marc Platt
Mr. Jeff Polak and Mrs. Lauren Reisman Polak
Robert J. Posek, M.D.
Mrs. Susan Bowey
Ms. Marie Brazil
Lynne Brickner and Gerald Gallard
Drs. Maryam and Iman Brivanlou
Mrs. Linda L. Brown
Diana Buckhantz
Tanille Carter
CBS Entertainment
Dr. Kirk Y. Chang
Dr. Stephanie Cho and Jacob Green
Mr. and Mrs.
Ronald Clements
Mr. David Colburn
Committee of Professional Women
Joyce and David Primes
Mark Proksch and Amelie Gillette
William “Mito” Rafert
Lee Ramer
Diana Reid and Marc Chazaud
Eduardo Repetto and Carla Figueroa
Risk Placement
Services
Hon. Ernest M. Robles
Murphy and Ed Romano and Family
Mr. Steven F. Roth
Ms. Rita Rothman
Mr. and Mrs.
Stanford Rubin
Dr. Michael Rudolph
Ann M. Ryder
Mr. Michael Corben and Ms.
Linda Covette
Mr. and Mrs.
Bruce Corwin
Lloyd Eric Cotsen
Mr. and Mrs.
Richard R. Crowell
Mr. and Mrs.
Leo David
Mr. James Davidson and Mr.
Michael Nunez
Ms. Rosette Delug
Ms. Mary Denove
The Randee and Ken Devlin Foundation
Mr. Kevin Dill
Dr. and Mrs.
Heinrich Schelbert
Samantha and Marc Sedaka
Dr. Donald Seligman and Dr. Jon Zimmermann
Ruth and Mitchell Shapiro
Gloria Sherwood
The Sikand Foundation
Mr. and Mrs.
Michael G. Smooke
Jennifer Speers
Joseph and Suzanne Sposato
Mr. and Mrs. Mark Stern
James C. Stewart
Charitable Foundation
Rose and Mark Sturza
Elizabeth and Kenneth M. Doran
Julie and Stan Dorobek
James and Andrea Drollinger
Bob Ducsay and Marina Pires
de Souza
Mr. and Mrs.
Brack W. Duker
Victoria Dummer and Brion Allen
Anna Sanders Eigler
Alex Elias
John B. Emerson and Kimberly Marteau
Emerson
Marcie Polier Swartz and David Swartz
Jeremy Thurswell
Christine Upton
Kathy Valentino
Rachel Wagman
Sheila and Wally Weisman
Abby and Ray Weiss
Mr. and Mrs.
Steven White
Karen and Rick Wolfen
Mr. Kevin Yoder
Mr. and Mrs.
Howard Zelikow
Bobbi and Walter Zifkin
Kevork and Elizabeth Zoryan
Janice Feldman, JANUS et cie
Mr. Gregg Field and Ms. Monica Mancini
The Hon. Michael W. Fitzgerald and Mr. Arturo Vargas
Mr. and Mrs.
Michael M. Flynn
The Franke Family Trust
Dr. and Mrs.
Robert Freilich
Linda and James Freund
Ruchika Garga
Gibson, Dunn & Crutcher
Los Angeles Jewish Health...Energizing Senior Life!
CITY OF LOS ANGELES
Karen Bass Mayor
Hydee Feldstein Soto
City Attorney
Kenneth Mejia Controller
CITY COUNCIL
Bob Blumenfield
Marqueece Harris-Dawson
President
Eunisses Hernandez
Heather Hutt
Ysabel J. Jurado
John S. Lee
Tim McOsker
Adrin Nazarian
Imelda Padilla
Traci Park
Curren D. Price, Jr.
Nithya Raman
Monica Rodriguez
Hugo Soto-Martínez
Katy Young Yaroslavsky
DEPARTMENT OF CULTURAL AFFAIRS
Daniel Tarica
General Manager
CULTURAL AFFAIRS COMMISSION
Robert Vinson President
Natasha Case Vice President
Thien Ho
Ray Jimenez
Asantewa Olatunji
Christina Tung
Tria Blu Wakpa
WALT DISNEY CONCERT HALL HOUSE STAFF
Marcus Conroy
Master Electrician, Steward
Charles Miledi
Master Props
Sergio Quintanar
Master Carpenter
Kevin F. Wapner
Master Audio/Video
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. YOUR ONE-STOP
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(inside the iconic Westin Bonaventure)
Hollywood (Sunset Blvd)
Monterey (Inside Casa Munras Garden Hotel & Spa)
Leslie and Cliff
Gilbert-Lurie
Mr. and Mrs.
Herbert Glaser
Glendale
Philharmonic Committee
Carol Goldsmith
Mr. and Mrs.
Russell Goldsmith
Edith Gould
Lee Graff Foundation
Diane and Peter H. Gray
Mr. and Mrs.
Paul E. Griffin III
Mr. and Mrs.
Paul Guerin
Rod Hagenbuch
Mr. William Hair
Dwight Hare and Stephanie Bergsma
Gail and Murray E. Heltzer
Myrna and Uri Herscher Family Foundation
William Hewes
Tina and Ivan Hindshaw
Eugene and Katinka Holt
Jill Hopper
Dr. and Mrs.
Mel Hoshiko
Andrei and Luiza Iancu
Libby and Arthur Jacobson
Mr. and Mrs.
Leonard Jaffe
Doug and Minda Johnstone
Barbara A. Jones
Randi and Richard B. Jones
Mr. William Jordan
Meredith Jury
Robin and Craig Justice
Catherine and Harry Kane
Judith and Russell Kantor
Marty and Cari Kavinoky
Mr. and Mrs.
Stephen Keller
Leigha Kemmett and Jacob Goldstein
Ms. Sharon Kerson
Daisietta Kim and Rudolf Marloth
Mr. Mark Kim and Ms. Jeehyun Lee
Mr. and Mrs.
Jon Kirchner
Phyllis H. Klein, M.D.
Alan S. Koenigsberg and John A. Dotto
Lee Kolodny
Lori Kunkel
Dr. and Mrs. Kihong Kwon
Vicki Lan
Katherine Lance
Ms. Jeanne Lawson
Ms. Leerae Leaver
Mr. George Lee
Mr. Randall Lee and Ms. Stella M. Jeong
Mr. Stephen Leidner
Mr. Benjamin Lench
Mary Beth and John Leonard
Saul Levine
$3,500 TO $5,499
Anonymous (5)
Dr. and Mrs.
Frank Agrama
Mr. Robert A. Ahdoot
Ty Ahmad-Taylor
Cary Albertsone
Edgar Aleman
Adrienne S. Alpert
Edna R.S. Alvarez
Mr. Peter Anderson and Ms. Valerie Goo
Betsy and Harold E. Applebaum
Carlo and Amy Baghoomian
Terence Balagia
Howard Banchik
Clare Baren and David Dwiggins
Isaac Barinholtz and Erica Hanson
Kay and Joe Baumbach
Newton and Rochelle Becker
Charitable Trust
Ellis N. Beesley, Jr. M.D.
Garrett Bell and Catherine Simms
Ms. Karen S. Bell and Mr. Robert Cox
Mr. Richard Bemis
Benjamin Family
Foundation
Mr. and Mrs.
Elliot S. Berkowitz
Mr. and Mrs. Gregg and Dara Bernstein
Mr. Alan N. Berro
Vince Bertoni and Damon Hein
David and Rebecca Lindberg
Mr. Greg Lipstone
Lynn Loeb
Julie and Ron Long
Ms. Diana Longarzo
Scott Lord
Mr. Joseph Lund and Mr. James Kelley
Theresa Macellaro / The Macellaro
Law Firm
Ruth and Roger MacFarlane
Kevin MacLellan
Mr. and Mrs.
Stanley Maron
Stephen Martinez
Pam and Ron Mass
Mr. Gary J. Matus
Andrew Silver
Kathleen McCarthy and Frank Kostlan
Mr. and Mrs. William F. McDonald
Jeffrey and Tracy McEvoy
Mr. David McGowan
Mr. Sheldon and Dr. Linda Mehr
Lawry Meister
Mr. and Mrs.
Dana Messina
Ms. Marlane Meyer
Mr. Weston F. Milliken
Mrs. Lillian Mueller
Gretl and Arnold Mulder
Sheila Muller
Loretta Munoz
Craig and Lisa Murray
Mr. and Mrs. Dan Biles
Lisa Biscaichipy
Dr. Andrew C. Blaine and Dr. Leigh Lindsey
Michael Blake
Mr. Michael Blea
Ms. Judith Blumenthal
Ms. Leslie Botnick
Michael Boucher and Ashley Coats
Jemelia Bowie
Anita and Joel Boxer
Dr. and Mrs. Hans Bozler
Mrs. William Brand and Ms.
Carla B. Breitner
Mr. Donald M. Briggs and Mrs.
Deborah J. Briggs
Kevin Brockman and Dan Berendsen
Ronald Brot
Ryan and Michelle Brown
Mr. Tad Brown and Mr. Jonathan Daillak
Casey and Brea Brumels
Mrs. Lupe P. Burson
Dan and Catherine Campbell
Dexter Cannon and Lee Hendrix
Michael Chait
Mr. Jon C. Chambers
Nolan and Marlene Charbonnet
Adam Chase
Mr. Louis Chertkow
Ms. Yvonne Nam and Mr. David Sands
Mr. Jose Luis Nazar
Anthony and Olivia Neece
Mrs. Cynthia Nelson
Mumsey and Allan Nemiroff
Ms. Beatrice H. Nemlaha
Ms. Kimberly Nicholas
Ms. Mary D. Nichols
Steven A. Nissen
Amelia and Joe Norris
Mr. and Mrs.
Arthur J. Ochoa
Ms. Margo Leonetti
O’Connell
John C. Orr
Kim and P.F.
James Overton
Cynthia Patton
Peggy Phillips
Lorena and R.
Joseph Plascencia
Lyle and Lisi Poncher
Ms. Eleanor Pott
Mr. Joseph S. Powe
James S. Pratty, M.D.
Hon. Vicki Reynolds and Mr. Murray
Pepper
Mrs. Laura H. Rockwell
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William C. Roen
Peter and Marla Rosen
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Paul Rutter
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Joel T. Chitea
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In Honor of Judge
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Georgia Archer
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Drapac
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Bernard Salick
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Peter Segal
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Hervey Segall
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Peter R. Skinner
Professor Judy and Dr. William Sloan
Cynthia and John Smet
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SouthWest Heights
Philharmonic Committee
Shondell and Ed Spiegel
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Lael Stabler and Jerone English
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Carolyn Fierson
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Lynn Franklin
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Michael Freeland
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Friars Charitable
Foundation
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Anthony Gerber
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David A. Gill
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Randall Tamura
Andrew Tapper and Mary Ann Weyman
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Mr. Nabih Youssef
Stephen Gingold
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The Honorable and Mrs. Allan
J. Goodman
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Lewis K. Hashimoto
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Margaret Nagle
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In Hong
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MAR 22, 2025
STEFAN JACKIW, violin
ADOLPHUS HAILSTORK Baroque Suite
PROKOFIEV Classical Symphony
STRAVINSKY Suite from Pulcinella
MAY 3, 2025
WILLIAM HAGEN, violin
SAMUEL JONES Hymn to the Earth
BRUCH Violin Concerto No. 1
Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit laphil.com
If your name has been misspelled or omitted from the list in error, please contact the Philanthropy Department at contributions@laphil.org Thank you.
CYAS
Welcome to The Music Center!
Thank you for joining us.
The Music Center is your place to experience the joy, solace and transformative power of the arts. Here you can express yourself, connect with others and enjoy incredible live performances and events in our four beautiful theatres, at Jerry Moss Plaza and in Gloria Molina Grand Park.
We promise to provide you with the best experience possible on our campus. Please do your part to help us create a safe, welcoming and inclusive environment by reviewing The Music Center Guest Agreement at musiccenter.org/guestagreement
Visit musiccenter.org to learn about upcoming events and performances.
Enjoy the show!
#BeAPartOfIt
@musiccenterla
General Information (213) 972-7211 | musiccenter.org
Support The Music Center (213) 972-3333 | musiccenter.org/support
TAKE A TOUR OF THE MUSIC CENTER
Free 90-minute docent-led tours take you through the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum and Walt Disney Concert Hall, along with Jerry Moss Plaza. You’ll learn about the history and architecture of the theatres along with The Music Center’s beautiful outdoor spaces along with the incredible selection of artwork located throughout the campus.
Tours are offered daily. Check the schedule to plan a fun-filled day in Downtown L.A.!
Visit musiccenter.org for additional information.
OFFICERS
Cindy Miscikowski
Chair
Robert J. Abernethy
Vice Chair
Rachel S. Moore
President & CEO
Diane G. Medina
Secretary
Susan M. Wegleitner
Treasurer
William Taylor
Assistant Treasurer and Chief Financial Officer
MEMBERS AT LARGE
Charlene Achki-Repko
Charles F. Adams
William H. Ahmanson
Jill C. Baldauf
Susan Baumgarten
Phoebe Beasley
Kristin Burr
Dannielle Campos
Alberto M. Carvalho
Elizabeth Khuri Chandler
Riley Etheridge, Jr.
Amy R. Forbes
Greg T. Geyer
Joan E. Herman
Jeffrey M. Hill
Jonathan B. Hodge
Mary Ann Hunt-Jacobsen
Carl Jordan
Richard B. Kendall
Terri M. Kohl
Lily Lee
Cary J. Lefton
Keith R. Leonard, Jr.
Kelsey N. Martin
Susan M. Matt
Elizabeth Michelson
Darrell D. Miller
Teresita Notkin
Michael J. Pagano
Karen Kay Platt
Susan Erburu Reardon
Joseph J. Rice
Melissa Romain
Beverly P. Ryder
Maria S. Salinas
Corinne Jessie
Sanchez
Mimi Song
Johnese Spisso
Michael Stockton
Jason Subotky
Timothy S. Wahl
Jennifer M. Walske
Jay S. Wintrob
GENERAL COUNSEL
Rollin A. Ransom
DIRECTORS
EMERITI
Wallis Annenberg
Peter K. Barker
Judith Beckmen
Darrell R. Brown
Ronald W. Burkle
John B. Emerson **
Richard M. Ferry
Bernard A. Greenberg
Stephen F. Hinchliffe, Jr.
Kent Kresa
Mattie McFaddenLawson
Fredric M. Roberts
Richard K. Roeder
Claire L. Rothman
Joni J. Smith
Lisa Specht **
Cynthia A. Telles
James A. Thomas
Andrea L. Van de Kamp **
Thomas R. Weinberger
Alyce de Roulet
Williamson
** Chair Emeritus
Current as of 1/27/25
Alvin Ailey American Dance Theater’s Yannick Lebrun.
Photo by Dario Calmese.
Will Yang for The Music Center.
BOARD OF SUPERVISORS COUNTY OF LOS ANGELES
Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.
Hilda L. Solis
Chair Pro Tem, First District
Holly
J. Mitchell
Supervisor, Second District
Lindsey P. Horvath Supervisor, Third District
Janice Hahn Supervisor, Fourth District
Kathryn Barger Chair, Fifth District
LAND ACKNOWLEDGMENT
As a steward of The Music Center of Los Angeles County, we recognize that we occupy land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash Peoples. We honor and pay respect to their elders and descendants — past, present and emerging — as they continue their stewardship of these lands and waters. We acknowledge that settler colonization resulted in land seizure, disease, subjugation, slavery, relocation, broken promises, genocide and multigenerational trauma. This acknowledgment demonstrates our responsibility and commitment to truth, healing and reconciliation and to elevating the stories, culture and community of the original inhabitants of Los Angeles County.
We are grateful to have the opportunity to live and work on these ancestral lands. We are dedicated to growing and sustaining relationships with Native peoples and local tribal governments, including (in no particular order) the:
• Fernandeño Tataviam Band of Mission Indians
• Gabrielino Tongva Indians of California Tribal Council
• Gabrieleno/Tongva San Gabriel Band of Mission Indians
• Gabrieleño Band of Mission Indians-Kizh Nation
• San Manuel Band of Mission Indians
• San Fernando Band of Mission Indians
To learn more about the First Peoples of Los Angeles County, please visit the Los Angeles City/County Native American Indian Commission website at lanaic.lacounty.go
MARCH 2025 Happening at The Music Center
SAT 1 MAR / 2:00 & 8:00 p.m.
Stephen Sondheim's Old Friends
CENTER THEATRE GROUP
@ Ahmanson Theatre Thru 3/9/2025
SAT 1 MAR / 2:30 & 8:00 p.m.
Fake It Until You Make It
CENTER THEATRE GROUP
@ Mark Taper Forum Thru 3/9/2025
SAT 1 MAR /2:00 p.m.
Dudamel Leads
Song of the Night
LA PHIL
@ Walt Disney Concert Hall
SUN 2 MAR / 12:00 p.m.
Mahlerthon: Part One
LA PHIL
@ Walt Disney Concert Hall
SUN 2 MAR / 5:00 p.m.
Mahlerthon: Part Two
LA PHIL
@ Walt Disney Concert Hall
TUE 4 MAR / 8:00 p.m.
To the Fullest: The Music of Julius Eastman and Arthur Russell
LA PHIL
@ Walt Disney Concert Hall
THU 6 MAR / 8:00 p.m.
Gustav and Alma with Dudamel
LA PHIL
@ Walt Disney Concert Hall Thru 3/9/2025
SAT 8 MAR / 7:30 p.m.
Così Fan Tutte
LA OPERA
@Dorothy Chandler Pavilion Thru 3/30/2025
THU 13 MAR / 8:00 p.m.
Midori
LA PHIL
@ Walt Disney Concert Hall
FRI 14 MAR / 11:00 a.m.
Tchaikovsky & Schubert
LA PHIL
@ Walt Disney Concert Hall Thru 3/16/2025
FRI 14 MAR / 8:00 p.m.
Jason Isbell
LA PHIL
@ Walt Disney Concert Hall
SAT 15 MAR / 7:30 p.m.
Angel Blue in Concert
LA OPERA
@ Dorothy Chandler Pavilion
SAT 15 MAR / 11:00 a.m.
Symphonies for Youth: Harmony and Structure: An introduction to the string family
LA PHIL
@ Walt Disney Concert Hall Also 3/22/2025
SUN 16 MAR / 7:00 p.m.
Carmina Burana
LA MASTER CHORALE
@ Walt Disney Concert Hall
FRI 21 MAR / 7:30 p.m.
According to Ray: Ray Charles’s Message to America
CENTER THEATRE GROUP
Presented in partnership with MUSE/IQUE
@ Mark Taper Forum Thru 3/23/2025
FRI 21 MAR / 8:00 p.m.
Haïm Leads Handel & Bach
LA PHIL
@ Walt Disney Concert Hall Thru 3/23/2025
TUE 25 MAR / 8:00 p.m.
Le Concert d’Astrée
LA PHIL
@ Walt Disney Concert Hall
Also 3/27/2025
THU 27 MAR / 8:00 p.m.
Le Concert d'Astrée —The
Triumph of Time and Disillusion
LA PHIL
@ Walt Disney Concert Hall
SUN 30 MAR / 7:30 p.m.
Herbie Hancock
LA PHIL
@ Walt Disney Concert Hall
Visit musiccenter.org for additional information on all upcoming events.
@musiccenterla
Will Yang for The Music Center.
April 2–6, 2025
May 2–4, 2025
Grupo Corpo, one of Brazil’s premier dance companies, blends vibrant Afro-Brazilian rhythms, classical technique and cultural tradition in two powerful works—21 and Gira. Experience the sheer physical virtuosity and mesmerizing movement that have captivated audiences worldwide.
The Music Center’s Ahmanson Theatre musiccenter.org/grupocorpo | (213) 972-0711
BRING A GROUP AND SAVE! Contact marketing@musiccenter.org for more information.
TICKETS ON SALE NOW!
Grupo Corpo. Photo by José Luiz Pederneiras.
Boldy Restaged as one Magical Show
Harry Potter creator J.K. Rowling ended her epic sevenvolume series of novels with a tantalizing teaser: an epilogue titled “Nineteen Years Later,” in which Harry and his friends Hermione and Ron, now grown, are preparing to send their children off to school at Hogwarts. That brief chapter inspired the spectacular stage production Harry Potter and the Cursed Child, now embarking on its first national tour. Jack Thorne’s Tony Award-winning play, based on an original story by Rowling, Thorne, and director John Tiffany, takes audiences on an unforgettable adventure in which two generations travel through time to save the wizarding world.
The newly expanded Potter universe seamlessly blends movement, magic, and good old-fashioned storytelling, centering on Albus Potter (the middle child of Harry and his wife, Ginny) and Scorpius Malfoy (son of Harry’s rival Draco Malfoy). “I’ve always had the sense that Hogwarts was a world that belonged on stage,”
says Tiffany, a Tony winner for his direction.
“I could see suitcases floating and cloaks whirling; arches and columns that could become trees in the forbidden forest. What’s amazing about the fantasy world of Harry Potter is that it allows you to explore the human experience in a magnified and dramatic way.”
Indeed, as they crafted a magicfilled narrative with Rowling’s input and encouragement, Thorne and Tiffany never lost sight of the story’s humanity. “There were two things I was interested in conveying,” the playwright says. “The first was what it’s like to go to Hogwarts when you don’t fit in, because I was a person who struggled in school. I’m drawn
to outsiders, and so are John and Jo [Rowling]. The other was the notion of what it means to be put in a place you’re uncomfortable with. What would happen if one of Harry’s kids ended up in a house [at Hogwarts] where he thought he didn’t belong, and then discovered through friendship that he did?”
The touring production of Harry Potter and the Cursed Child includes all the breathtaking effects and stunning staging that helped make the play an international hit, attracting enthusiastic theatergoers of all ages. “The magic is there,” promises Tiffany, “and we’re excited to bring the show to as many people as possible. We feel a responsibility to do justice not just to Harry Potter but to theater as an art form. We want this play to be like nothing anyone has ever experienced.”
