Young Musicians Foundation Season Brochure

2013-2014 Concert Season

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Young Musicians Foundation Debut Orchestra Season 59

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Photo by: David Weiss

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Founded in 1955, Young Musicians Foundation (YMF) promotes the classical music tradition of Southern California by nurturing the personal, academic, and artistic development of youth ages 8-25 through performance opportunities, financial assistance, and community outreach.

As a 501(c)3 non-profit organization, YMF welcomes your tax deductible donation in any amount. www.ymf.org YoungMusiciansFoundation @noteworthy1955 Photo by: Kimmie Fadem Front page photo by: Kimmie Fadem

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2013

October 2013

Sunday, October 20, 2013 | 4:00pm UCLA Schoenberg Hall

November 2013

Sunday, November 17, 2013 | 6:00pm LACMA Leo S. Bing Theater

2014

February 2014

Friday, February 7, 2014 | 7:30pm Zipper Hall

April 2014

Friday, April 11, 2014 | 7:30pm Aratani/Japan America Theater Saturday, April 12, 2014 | 7:30pm Arcadia Performing Arts Center

We

thank our 2013-2014 Debut Orchestra sponsors:

Adams-Mastrovich Family Foundation Kasimoff-BlĂźthner Piano Co.

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CELEBRATE

the 59th season of one of the longest running pre-professional training orchestras in the country.

EXPERIENCE WITNESS

the artistry of young talent.

the new generation of classical musicians.

Comprised of Los Angeles’ most talented 15 to 25-year-old musicians, the Debut Orchestra has performed admission-free concerts for the public in professional venues throughout Los Angeles for 59 consecutive seasons.

The orchestra adheres to a professional rehearsal schedule and performs the full range of orchestra literature, from Baroque to 21st Century. Over the years, approximately 3,000 young musicians have played with the Debut Orchestra and emerged prepared for success in a wide range of musical professions.

Photo by: David Weiss

RRoger Kalia,

Music Director & Conductor

Newly appointed Assistant Conductor of the Charlotte Symphony Orchestra beginning this 2013-14 season, Roger Kalia is in his second season as Music Director of Young Musicians Foundation’s Debut Orchestra, where he is the recipient of the YMF Conducting Grant and BMI/Lionel Newman Conducting Scholarship. He is also Music Director and Principal Conductor of the Lake George Music Festival, a summer music festival that brings together musicians from such orchestras as the Dallas Symphony, Kansas City Symphony, Atlanta Symphony, Buffalo Philharmonic and the country’s premier conservatories.

Mr. Kalia made his subscription debut with the Memphis Symphony Orchestra in October 2011 after winning Second Prize in their inaugural International Conducting Competition. Recent engagements include the Tonhalle Orchestra Zurich, Danish National Symphony Orchestra, Fort Worth Symphony Orchestra, Cabrillo Festival Orchestra, and Royal Scottish National Orchestra, among others.

Chosen by former New York Philharmonic Music Director Kurt Masur to participate in his weeklong Conducting Seminar at the Manhattan School of Music this past January, Mr. Kalia was also personally selected by David Zinman to conduct the Tonhalle-Orchestra Zurich as part of his 2011 International Conducting Masterclass at the Zurich Festspiele. Recipient of the 2013 Sir George Solti Career Assistance Award U.S., Mr. Kalia was a conducting fellow at both the Cabrillo Festival of Contemporary Music and Aspen Music Festival in 2011 and 2010, respectively.

A native of New York, Mr. Kalia recently completed his work as an Associate Instructor and Doctoral Conducting Fellow at Indiana University, where he studied with David Effron and Arthur Fagen.

At Indiana, he served as Assistant Conductor of the IU Opera Theatre and Kalia brings a New Music Ensemble. He has undertaken additional studies at international masterclasses with acclaimed conductors Franz Welser-Möst, Robert Spano, Marin Alsop, Gustav Meier, Martyn Brabbins and -- The Republic Larry Rachleff.

“fresh view to classical music”

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October 2013

Sunday, October 20, 2013 | 4:00pm UCLA Schoenberg Hall Roger Kalia, conductor Tianpeng Yu, piano YMF 2013 Debut Concerto Competition Grand Prize Winner Benjamin Britten “Four Sea Interludes” from Peter Grimes II. Sunday Morning IV. Storm Robert Schumann Piano Concerto in A minor I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace

INTERMISSION Johannes Brahms Symphony No. 2 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (quasi andantino) IV. Allegro con spirito

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Tianpeng Yu, Piano Born in Shantou, China, 22-year-old pianist Tianpeng Yu has already won many national and international competitions. Born into a musical family, Tianpeng began playing the piano at the age of 4. In 2002, he began studying at the Shenzhen Arts School with renowned professors Dan Zhaoyi and Chen Guanquan. He then continued his studies at the Idyllwild Arts Academy in California, studying piano with Mr. Nelms McKelvain. Tianpeng was the First Prize winner of the Steinway Society of Riverside County Piano Competition, the first ASEAN Piano Concerto Competition in Indonesia, the fifth International Chopin Piano Competition in Asia, and the Hong Kong Asia Piano Open Competition, among others. In 2009, Tianpeng won the first prize at the Spotlight Awards Competition in Los Angeles, where his performance of the Chopin Fantasy was broadcast on national television. Tianpeng has performed with the members of the Poland Philharmonic, Indonesia’s National Philharmonic, the Shenzhen Philharmonic, and the Idyllwild Arts Academy Orchestra. Today, Tianpeng is a Performance Diploma candidate at the Colburn School Conservatory of Music in Los Angeles, California, where he studies with John Perry.

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CELEBRATE, EXPERIENCE, WITNESS Benjamin Britten

Benjamin Britten (1913-1976) ●“Four Sea Interludes” from Peter Grimes, Op. 33a (1945) Growing up in the small coastal English town of Lowestoft, Benjamin Britten witnessed the power and beauty of the sea from an early age.

Reflecting on his younger years, Britten remarked, “My life as a child was colored by the fierce storms that sometimes drove ships on our coast and ate away whole stretches of neighboring cliffs.” Thus, it comes as no surprise that Britten’s first opera, Peter Grimes, prominently features the sea, both as part of the setting and as a central part of the drama. The opera tells the tragic tale of a fisherman, Peter Grimes, whose rough appearance and lone nature cause the local townspeople to distrust him and accuse him of murdering two of his apprentices.

The musical interludes comment on preceding scenes and also prepare audiences for the upcoming ones.

So popular were these interludes that Britten decided to extract four of the six to form an orchestral suite that would form a musical journey for audience members in a concert setting. The added programmatic titles, “Dawn,” “Sunday Morning,” “Moonlight,” and “Storm” to help guide audiences on their journey.

The second movement, “Sunday Morning,” begins with bell-like tones in the horns and seems to portray a rustling and bustling village life.

“Storm” transforms the majestic power of the sea into a dark fury that eventually runs an exhilarating course.

Robert Schumann (1810-1856) ● Piano Concerto in A Minor, Op. 54 (1845)

Composed during a time when virtuosi performers graced the stages of Europe and dazzled audiences with elaborate show pieces and concerti, Robert Schumann’s Piano Concerto in A Minor was unimpressive to many contemporary critics. Famed piano virtuoso and composer Franz Liszt remarked that the piece was a “concerto without piano.” Liszt’s comment may sound like harsh criticism, but it also speaks to the truly symphonic nature of Schumann’s masterpiece. In other works, such as his many songs for voice and piano, Schumann strove to create pieces that were entirely collaborative. In his piano concerto, although the piano is the solo instrument, the orchestral parts are equally important and integrated into the texture and form of the work.

The first movement of the concerto, “Allegro affetuoso,” begins dramatically with sudden orchestral hits and a powerful cascading line in the solo piano – two gestures so memorable that Edvard Grieg borrowed them for the opening of his piano concerto from 1868. The first theme of the Schumann concerto arrives in the

oboe, a melody that also incorporates Schumann’s musical cipher, a series of pitches that refer to letters of a particular name or word, for Clara.

(The pitch series of C-B-A-A translates from Clara’s nickname, Chiara. In German, B-natural is represented by the letter H.) The second movement develops the first theme of the first movement in a lyrical and gentle intermezzo. The finale continues to develop melodies and ideas of the first movement, thus creating a work that is strongly unified in content. Adding to this unity is the lack of pause between the second and third movements.

Although the third movement lacks a cadenza, Schumann’s writing displays the technical aptitude of the soloist through moments of filigree fingerwork, fully-voiced chords, and brilliant runs that span the piano.

Johannes Brahms

(1833-1897) ● Symphony No. 2 in D Major, Op. 73 (1877)

Having achieved great success with his first symphony, which took over twenty years to write, Johannes Brahms composed his second symphony relatively quickly in just a few months.

Like many composers, Brahms sought inspiration and relaxation from his summer vacation. His second symphony, which is often noted for its pastoral quality, seems to reflect the Austrian countryside of Pörtschach where Brahms stayed during the summer of 1877.

From its onset, the symphony bears the hallmarks of a pastoral style: pairs of French horns recall the sounds of hunting horns and the simple melody heard in the woodwinds offers a bright and sunny disposition. Following various presentations of the first theme and its countermelody, the second theme is introduced by the cellos and is harmonized in thirds and sixths.

Attentive listeners may recognize this theme as Brahms’s “Wiegenlied” (Lullaby), written years earlier for a couple whose summer residence was near Pörtschach.

The symphony’s second movement stands in contrast to its other three movements. Aside from two upbeat interpolations, it is generally darker in color despite its overall key of B major.

The somber nature of this second movement has caused some critics to nickname this symphony Brahms’s “Tragic” symphony. However, whatever tragedy one may initially hear seems quickly forgotten by the movement’s end, and the third and fourth movements affirm this.

The third movement, a cross between a serenade and a scherzo, uses woodwinds and a folk-like melody in 3/4 time that recalls a Ländler, a folk dance from Austro-German regions.

The jovial mood of the third movement continues in the fourth, which relies heavily on sudden contrasts of color and volume. The finale, which is cast in a sonata allegro design, seems to flow in perpetual motion. The first theme is breathless and winding, and the rising melody of the second theme suggests forward and upward motion.

The movement’s coda builds intensity right until the end, punctuated by triumphant chords.

Program notes by Christine Wisch.

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November 2013

Sunday, November 17, 2013 | 6:00pm LACMA Leo S. Bing Theater Roger Kalia, conductor Arvo Pärt Cantus In Memoriam Benjamin Britten Darius Milhaud La création du monde I. The Chaos before Creation II. The slowly lifting darkness, the creation of trees, plants, insects, birds and beasts III. Man and woman created IV. The desire of man and woman V. The man and woman kiss

INTERMISSION Wolfgang Amadeus Mozart Symphony No. 40 I. Molto allegro II. Andante III. Minuetto: Allegretto – Trio IV. Finale: Allegro assai

CELEBRATE, EXPERIENCE, WITNESS

Photo by: David Weiss

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CELEBRATE, EXPERIENCE, WITNESS Arvo Pärt

(b. 1935) ● Cantus In Memoriam Benjamin Britten (Cantus in Memory of Benjamin Britten, 1977) Despite both Arvo Pärt’s and Benjamin Britten’s prominence as successful composers during the mid-twentieth century, the two composers never met. Why then would Arvo Pärt write a piece dedicated to the memory of Britten?

Pärt himself explains: “Why did the date of Benjamin Britten’s death – December 4, 1976 – touch such a chord in me?

During this time I was obviously at the point where I could recognize the magnitude of such a loss…I had just discovered Britten for myself.

Just before his death I began to appreciate the unusual purity of his music. And besides, for a long time I had wanted to meet Britten personally, and now it would not come to that!”

At the time Pärt wrote the Cantus, he was experimenting with a new technique, which he called “tintinnabulation.” Derived from the Latin word for little bells, the technique evokes the sound of bells and involves the dominance of a single triad in each musical moment.

Pärt’s tribute to the man he never met combines tintinnabulation with a repeated descending A-minor triad.

The combination of bells – both literal bells and the bell-like effect

of the strings – along with the idea of a cantus, a reference to medieval church singing, exalts the memory of Benjamin Britten. The piece builds gradually in volume and intensity, and each instrument enters at an increasingly slow rate with the cantus.

The instruments unite on a final A-minor chord, and the sounding of the bell marks the piece’s end.

Darius Milhaud

(1892-1974) ● La création du monde, Op. 81 (The Creation of the World, 1922-23) Following the end of World War I, many European composers found themselves looking to the Americas for musical inspiration and trends.

French composer Darius Milhaud was no exception, and his works such as Saudades do Brasil (Souvenirs of Brazil, 1920) and 3 Rag Caprices for piano show just a sampling of the composer’s range of influences.

During a 1922 trip to America, Milhaud traveled to Harlem, where he heard authentic jazz for the first time. These influences soon found their way into La création du monde, a twenty-minute ballet that outlined an African folk myth about the creation of the world.

Commissioned by the Ballet Suédois, the Swedish contemporaries to the Sergei Diaghilev’s Ballets Russe, La création du monde uses the perceived exoticism of American

jazz music to relate to the likewise perceived exotic nature of African folk tales. As a work initially designed for dancers, the piece relies heavily on rhythmic patterns and accents.

(The orchestral suite preserves the ballet music exactly and makes no changes to the performance order of the movements.) The prominence of drums, particularly in the opening movement, gives the music a primitive quality. Milhaud’s use of saxophone, blues notes, a rhythm section (drums, timpani, piano and bass) and frequent syncopations stem directly from his observations and knowledge of American jazz.

Although Milhaud’s combination of jazz influences and classical forms confused some early critics, within a decade many critics considered this work to be one of Milhaud’s most influential. Today the work remains one of Milhaud’s most famous pieces.

Wolfgang Amadeus Mozart

(1756-1791) ● Symphony No. 40 in G Minor, K. 550 (1788) Written toward the end of Mozart’s life, Symphony No. 40 epitomizes the composer’s many talents by combining operatic drama, classical refinement, learned counterpoint, and elegant lyricism in a thirtyminute journey that remains a staple of concert repertory. The symphony,

which appears to start in media res, grows from the seminal half-step motive that begins the work. The first movement’s second theme then picks up on this motive with a chromatic descent. Cast in a sonata allegro form, this first movement develops the first theme by presenting it in a variety of different keys before reuniting the two themes in the recapitulation. Rising and falling scales reinforce the rise and fall of the lines of the movement’s two main themes. In fact, it may be said that the entire symphony is marked by the interplay of rising and falling lines that reinforce and complement each other. The second movement, the subdued “Andante,” follows the same structural formula. The two themes complement each other, as the first follows a rising scalar figure, while the second theme also rises, but in leaps. The constant rising and falling of lines give the movement a calm and undulating quality that is reinforced by constant repeated notes in inner and lower voices. The short third movement, a minuet and trio, returns to the original key of G minor and plays with shifting metrical accents that momentarily disorient the listener. The coquettish finale, also in G minor, incorporates many of the melodic gestures present in the earlier movements, including an arpeggiated rising melody as a principal theme and incorporation of scalar passages and repeated notes to build drama.

Whereas the first theme rises, the second theme, more lyrical in nature, mostly falls, as if it were coming to rest. The symphony ends as quickly as it began with a simple extension of the first theme and a succinct closing chord.

Program notes by Christine Wisch.

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February 2014

Friday, February 7, 2014 | 7:30pm Zipper Hall Roger Kalia, conductor Zoltán Kodály Dances of Galánta TBA concerto Featuring the 2013 winner of the Alice and Eleonore Schoenfeld International String Competition

INTERMISSION Ludwig van Beethoven Symphony No. 6, “Pastoral” I. Allegro ma non troppo II. Andante molto mosso III. Allegro IV. Allegro V. Allegretto

CELEBRATE, EXPERIENCE, WITNESS

Photo by: Kimmie Fadem

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CELEBRATE, EXPERIENCE, WITNESS Zoltán Kodály

(1882–1967) ● Dances of Galánta (1933) Composer, ethnomusicologist, pedagogue, linguist and philosopher – all of these words describe Zoltán Kodály, and it is difficult to isolate any one of these professions as more important than another when discussing Kodály’s life and works. Today, he is often remembered in education as a founder of the “Kodály Method,” a systematic approach to teaching music education. As a composer, his works were greatly influenced by his ethnomusicological endeavors, in which he and his friend Béla Bartók actively sought and preserved over 4,000 examples of Hungarian folk song.

Kodály keenly noted that there existed a vast difference in what was perceived as Hungarian music and what was actually authentic. Much of what was thought to be Hungarian folk song was in fact “verbunkos” music, a style that originated in Hungary but was a stylized dance associated mostly with gypsies.

Whereas Kodály’s Marosszék Dances incorporates more authentic Hungarian folk songs, Dances of Galánta reflects more verbunkos music than folk song.

Kodály spent many childhood years in the town of Galánta, where he frequently heard a gypsy band led by a famous fiddler named Mihók. The fame of Mihók and his gypsies spread well beyond the town of Galánta, and many of the tunes appeared in print.

Kodály took these printed tunes and orchestrated them for his Dances of

Galánta suite. True to gypsy band style, the suite features a number of dazzling fiddling sections for the strings and prominent rhapsodic woodwind solos, including one for the clarinet, which is an instrument common to many Gypsy bands.

Ludwig van Beethoven

(1770–1827) ● Symphony No. 6 in F Major, Op. 68 (Pastoral, 1808) The idea that music can imitate or depict nature goes back hundreds of years. One may recall Antonio Vivaldi’s The Four Seasons from 1723 as one of the more famous early examples. In this respect, Beethoven’s Symphony No. 6 is not all that unusual. Nor was Beethoven’s symphony the first of this genre, the sinfonia caracteristica, to apply the idea of nature to the symphony. An earlier work from 1784

by Rhenish composer Justin Heinrich Knecht titled Le portrait musical de la nature (A Musical Portrait of Nature) accomplished this task. Yet the greatness of this symphony lies not in its innovation, but rather in the details and the way in which Beethoven weaves a story and images into the musical fabric of his symphony.

In the score, a short annotation with a description precedes each of the work’s movements. In order, they are: “Awakening of cheerful feelings upon arrival in the country,” “Scene at the

brook,” “Happy gathering of country folk,” “Thunderstorm” (“Storm”), and “Shepherd’s song: cheerful and thankful feelings after the storm.” With these descriptions in mind, we may hear each movement as either underscoring for each scene or as the sounds of the scenes themselves. Such vivid representations of nature including the undulating melody of the strings for the gentle brook, flute trills for nightingales, and cuckoo calls in the clarinet, which blur the line between imagined diegetic and non-diegetic music. Beethoven’s Pastoral Symphony provides us with snapshots of all aspects of country life, ranging from the landscape, to the people and their activities, to the storms that shape it. We even gain a sense of the spirituality associated with nature in the chorale of the last movement.

As we listen to the symphony, we ultimately stroll with Beethoven and hear his imagined soundscape of the countryside.

Program notes by Christine Wisch.

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Photo by: Kimmie Fadem

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April 2014

Friday, April 11, 2014 | 7:30pm Aratani/Japan America Theater and Saturday, April 12, 2014 | 7:30pm Arcadia Performing Arts Center Roger Kalia, conductor Bedřich Smetana Overture to The Bartered Bride Paul Dooley Commissioned Work

INTERMISSION Nikolai Rimsky-Korsakov Scheherazade I. The Sea and Sinbad’s Ship II. The Kalendar Prince III. The Young Prince and The Young Princess IV. Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman

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Photo by: Kimmie Fadem

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CELEBRATE, EXPERIENCE, WITNESS Bedrich Smetana Nikolai RimskyKorsakov

(1824-1884) ● Overture to The Bartered Bride (1863-66)

Inspired by other composers to create distinctly nationalist styles and genres of music, Czech composer Bedřich Smetana sought to create distinctly Czech music, including opera. His first opera, The Brandenburgers in Bohemia, won an award and was wellreceived, so Smetana quickly turned to composing a second opera, The Bartered Bride. Like the first, the opera focuses on Czech life. The Bartered Bride is a comic opera that tells the story of a young couple in love who go through various setbacks before finally marrying.

Whereas opera overtures are frequently written as an afterthought, or even borrowed from other works, the overture to The Bartered Bride was written before Smetana even saw the entire libretto. Smetana did, however, have a sense of the plot and eagerly looked forward to setting the libretto to music. His excitement about the prospect of the opera led him to write the overture and to incorporate the general known elements of the opera into the piece. Thus, we hear the lively bustling village in the brilliant and technically demanding opening, a polka, and a romantic interlude in the overture. The overture, which finishes with spectacular flourishes and excitement, undoubtedly prepared audiences for the jovial comedy that followed.

(1844-1908) ● Scheherazade, Op. 35 (1888)

Like all members of the group of composers known today as the “Mighty Russian Five,” composer Nikolai Rimsky-Korsakov had a different day job before becoming a composer and teacher. Yearning to travel the world from a young age, Rimsky-Korsakov enlisted in the navy. His many tours took him to places as far away as Rio de Janeiro and Niagara Falls. These trips, which he later recounted in an autobiography, exposed RimskyKorsakov to a variety of music, much of which inspired later works and an interest in orientalism.

During the winter of 1887, RimskyKorsakov became interested in writing a piece based on the collection of folk tales known as the Arabian Nights (One Thousand and One Nights). Underlying the tales is the story of Scheherazade, the wife of a Persian sultan who recounts the tales to her husband. In RimskyKorsakov’s version, Scheherazade is represented by a violin, whose graceful and ornamented theme frames many of the scenes, which are depicted as individual movements.

The sultan, too, figures into the music, and we hear his musical representation, a heavy and jagged

theme, first at the work’s opening.

This first movement, “The Sea and Sinbad’s Ship,” is similar to a rondo in that different sections of music alternate and return. The second movement begins with an elaborate violin cadenza that serves as the frame for Scheherazade’s tale of “The Kalendar Prince.” The Kalendars were wandering beggars, and in the movement the bassoon takes the role of a Kalendar telling his own story. Throughout the movement, the sultan appears to interrupt, which allows for exciting moments and brass-filled fanfares in the movement. “The Young Prince and Princess” is a love story told musically through variations on the lush and cantabile theme first presented in the upper strings and echoed and developed in other sections and instruments.

Scheherazade closes with an exciting and virtuosic movement that both recalls earlier themes and provides closure to Scheherazade’s own story.

We first hear the sultan, but soon Scheherazade enters with a doublestop filled variation of her theme.

We are thrust into the “Festival at Baghdad,” which is portrayed as a bustling scene through lilting melodies, seemingly frenetic string writing, and punctuating brass.

Indicated by a return of his theme,

the Kalendar Prince arrives for the festivities. From the festival, we are brought back to “The Sea” and soon to the final section of the piece, a depiction of “The Ship Breaks against a Cliff Surmounted by a Bronze Horseman.” In this last section, we hear Sinbad’s boat being tossed around in the waves and finally break, moments depicted with swirling strings, intense repeated notes in the brass, and emphatic percussion. The work closes with the uniting of Scheherazade’s theme and Sinbad’s theme, a sign that Scheherazade seduced and won over the sultan with her intelligence and the beautiful telling of her story.

With its colorful orchestration and rhapsodic melodies, Scheherazade continues to win over audiences around the world and remains one of the most enjoyed and performed pieces of the orchestral canon.

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YMF 59th Annual Benefit Gala

The Marvelous Music Box

03.08.14 Saturday, March 8, 2014 | 6:00 pm UCLA Royce Hall

Featuring

The Debut Orchestra Roger Kalia, Music Director & Conductor with Guest Artists Misha Dichter, piano Glenn Dicterow, violin Geneva Lewis, violin Tristan Paradee, piano Gabriel Sears, tuba

Performing works by Bernstein Saint-SaÍns Stravinsky Williams ‌ and more

Honoring

Alice Schoenfeld YMF Humanitarian Award Supervisor Zev Yaroslavsky Living the Legacy Award For program details and tickets, visit www.ymf.org.

Debut Orchestra Members 2013-2014

Violin I Heidi Hatch, concertmaster Evin Bloomberg Robby Gleiser Jalusha Kapoor Nicolette Koscardy Haesol Lee Marina Lenau Kiyoe Matsuura Blake Pouliot Violin II Ji Young Park, principal Yuiko Grace Nakano, associate principal Marie Hébert Ashley Hoe Harry Rayner Alex Regalado Goeun Shin Viola Matthew Cohen, principal Laura Jesson Chun Young Kim Bethany Lai Ying-Chen Tu Cello Timothy Beccue Christopher DeFazio Pierre Derycz Suyeon Kim Songhee Lee Thomas Lovasz Matthew Park Double Bass Steve Metcalf, principal Ryan Baird James Hernandez Sean O’Hara Flute Catherine Baker, principal Luke Fitzpatrick Piccolo Gina Luciani Oboe Rachel Van Amburgh, principal Alexander Curtis

Clarinet Benjamin Adler, principal Richard Dobeck Andrew Sandwick Bassoon Alex Rosales Garcia, principal Jon Peña Contrabassoon Brittany Seits French Horn John Shawger, principal Elyse Lauzon Katelyn Benedict Erika Miras Trumpet Casey Martin, principal Matthew Baker John Allen Trombone Daniel De Vere, principal Kurt Ferguson Bass Trombone Chris Hernacki, co-principal Jacob Kraft, co-principal Tuba Gabriel Sears, principal Timpani Jeffery Grant, principal Elizabeth Kosko Percussion Brice Burton, principal Ethan Ahmand Elizabeth Kosko Matthew Richards Andrew Stenvall Harp Elisabeth Zosseder, principal Piano Alexander Zhu, principal Orchestra Manager & Librarian Yurie Yoshida Assistant Orchestra Manager Pierre Derycz

Young Musicians Foundation 244 South San Pedro Street, 5th Floor, Suite 506 Los Angeles, California 90012 Fax: 213.617.7706 Phone: 213.617.7707 www.ymf.org