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BARBER: TOCCATA FESTIVA, OP. 36 Composed: 1960 Length: c. 15 minutes

SUNDAY, NOVEMBER 23, 2014 @ 3PM Pre-concert lecture by Rich Capparela, 2pm Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall


Toccata Festiva, Op. 36

Samuel BARBER (1910-1981)

Cameron Carpenter, organ

Symphony No. 4 (LA Phil co-commission)

Stephen HARTKE (b. 1952)

Heidi Stober, soprano

- INTERMISSION Symphony No. 3 in C minor, Op. 78 “Organ”

Camille SAINT-SAËNS (1835-1921)

Adagio; Allegro moderato — Poco adagio Allegro moderato; Presto; Allegro moderato — Maestoso; Allegro; Molto allegro; Pesante Cameron Carpenter, organ

Stephen Hartke’s Symphony No. 4 was commissioned by Edward Halvajian (1935-2009) for the Los Angeles Philharmonic, Gustavo Dudamel, Music Director, and the Philharmonic Society of Orange County.

The Philharmonic Society gratefully acknowledges Joan Halvajian for her generous sponsorship of this afternoon’s performance.

Exclusive Print Sponsor Although rare, all dates, times, artists, programs and prices are subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices. 2

Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, bass drum, snare drum, tam-tam, triangle, xylophone), strings, and solo organ First Los Angeles Philharmonic performance: May 18, 2007, with organist Simon Preston, Alexander Mickelthwate conducting As large organs became more common in new concert halls in the later 19th century, a modest repertory of celebratory music for organ and orchestra also began developing. Perhaps the most exuberant of all such pieces is the Toccata Festiva Samuel Barber composed for the inauguration of a new organ at the Academy of Music in Philadelphia. Mary Curtis Zimbalist, a friend and patron of the composer since his youth at the Curtis Institute, funded the organ and also commissioned this piece. Paul Callaway, the organist and music director at the National Cathedral in Washington, D.C., played the organ at the premiere in September 1960, with Eugene Ormandy conducting the Philadelphia Orchestra. Barber shapes his piece much like the first movement of a typical Romantic concerto. It begins boldly, with an edgy, rushing fanfare in A minor, introduced by the orchestra, then picked up by the organ. At the end of this opening section the organ presents a dotted-rhythm figure in 5/8 meter that will become very important. Here, it leads into a slow, lyrical theme, first in the strings, then the organ. The little dotted figure begins to make its presence felt, however, as a quietly dancing countermelody. Listen to it on the organ’s reed pipes, then in the orchestra’s English horn. Barber treats solo instruments in the orchestra like solo stops on the organ, and vice-versa, making the combination into a sort of über-organ.

I have wanted to compose a symphony for organ and orchestra since I first started to write music at the age of ten. Thanks to the kindness and support of the Los Angeles Philharmonic, and the Philharmonic Society of Orange County, I was not only able to realize this dream but to sketch a good deal of the organ part at the console of the Walt Disney Concert Hall organ, exploring its wonderful array of unique timbres. In casting the piece as a symphony with organ, it was my aim to use it as an integral part of the orchestral fabric, a fifth choir contributing special colors in the way only it can.

After further motivic conflation, the organist gets an extraordinary cadenza for the pedals. This is also based on thematic bits in a Bachian manner, combining the virtuosity of the pedal passages in Bach’s early toccatas with Bach’s style in the solo cello suites, wringing contrapuntal implications from basically a single line. Played as a single continuous whole, the Symphony is nonetheless in three large sections, The orchestra comes quietly back, the English the first of which begins with a roiling progreshorn and clarinets again sounding like solo reed sion of dark chords that brings a musical world stops, as Barber recapitulates his themes into a into being. There follows a series of themes, the big, blazing finish in A major. first presented by the organ, the second by two oboes, and the third by the cellos, which reappear – John Henken in various guises throughout the work. HARTKE: SYMPHONY NO. 4 Composed: 2014 Length: c. 28 minutes

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The swirling fanfare returns, ushering in a section that develops and mixes all the motivic elements in a flurry of metrical and rhythmic games. As another example of Barber’s ideas about solo scoring, there is a trumpet call in the organ with cues in the orchestral trumpet part (for performances with an organ lacking a strong trumpet stop).

The middle section begins with a high, quiet chorale for the strings and then yields to a scherzo-like movement featuring the organ in its highest register. Gradually, new ideas enter that seek to push aside the initial theme. What has begun with a certain degree of lightness and innocence becomes more restive, and even violent. A brief respite appears in a calm theme for the quartet of trumpets, but the growing upheaval reasserts itself and brings the section to a brief fortississimo conclusion.

Orchestration: 4 flutes (3rd & 4th = piccolo), 4 oboes (4th = English horn), 4 clarinets (3rd = E-flat clarinet; 4th = bass clarinet), 4 bassoons (4th = contrabassoon), 6 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (crotales, glockenspiel, vibraphone, xylophone, triangles, suspended cymbals, Chinese cymbal, gong, guiro, temple blocks, wood blocks, log drums, timpano, bass drums), piano, harp, The final section is an aria for soprano, a setting of Federico García Lorca’s “Sleepwalking Ballad” organ, strings, and solo soprano in the beautiful English translation by the late Irish poet Michael Hartnett. Lorca’s poetry is First Los Angeles Philharmonic performance: especially notable for its beguiling combination November 20, 2014, Gustavo Dudamel conducting, with soprano Heidi Stober (world premiere) of vivid depiction and surreal imagery. This poem tells of desire, recklessness, and loss. One Stephen Hartke’s Symphony No. 4 was commis- commentator has interpreted it as a vision at the sioned by Edward Halvajian for the Los Angeles very instant of death. I have placed it here as both Philharmonic and the Philharmonic Society of a commentary on and a working out of the Orange County. The score is dedicated to Gustavo drama set forth in the two previous sections. Dudamel and the Los Angeles Philharmonic. – Stephen Hartke 3

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THE SLEEPWALKING BALLAD Federico García Lorca, translated by Michael Hartnett

Green, how I love you, green. Green wind, green branches. Ship up on the sea, horse in the mountain ranches. With shadows at her waist she dreams at her balcony window, Green flesh, green hair and eyes of cold silver. Green, how I love you, green. Huge stars of frost come out with the fish-shadow to open the dawn’s pass. The fig tree strokes the wind with its sandpaper talons, the thieving cat of a mountain bristles its sour aloes. But who will come? And from where? She lingers on the balcony, green flesh, green hair, dreaming of the bitter sea. ‘Friend, I want to swap my saddle for your mirror, my horse for your house, my knife for your bed-cover. Friend, I have come bleeding from the passes of Cabra.’ ‘If I could, young man, I would close the bargain. But I am no longer myself nor is my house my own.’ ‘Friend, I wish to die decently at home with white linen bed-clothes. Do you not see this wound I have from breast to throat?’ ‘On your white shirt you have three hundred dark roses. Your blood smells pungent as through your sash it oozes. But I am no longer myself nor is my house my own.’


‘At least let me climb up to the high balcony alone, let me climb, let me up to the green balconies where the water sounds on the moon’s many balconies.’ And now the two friends climb up to the green stairs, leaving a trail of blood, leaving a trail of tears. Small lanterns of tin on the roofs quaked: A thousand drums of crystal wounded the daybreak. Green, how I love you, green. Green wind, green branches. The two friends climb and the strong wind launches a strange taste in the mouth, mint, gall and basil. ‘Friend, where is she? Tell me, Where is your bitter girl? How often she waited for you! How often she would wait on the green balcony, cool face, black hair.’ Over the face of the well the gypsy girl shivered, green flesh, green hair and eyes of cold silver. An icicle of the moon over the water held her: the night became as secret as a little square. Green, how I love you, green. Green wind, green branches, ship up on the sea, horse in the mountain ranches. (Text used by permission of the Estate of Michael Hartnett)

Composed: 1886 Length: c. 35 minutes Orchestration: 3 flutes (3rd = piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle), piano (four-hands), organ, and strings First Los Angeles Philharmonic performance: November 14, 1935, Pierre Monteux conducting Saint-Saëns was an organist himself, winning first prize in organ at the Paris Conservatory in 1851. His “Organ” Symphony, however, is no virtuoso vehicle (the nickname is not his). Rather it is a remarkable example of scoring for keyboard instruments—including piano fourhands!—in a symphonic context. Saint-Saëns was hugely popular in England as a conductor and pianist as well as a composer. (He eventually received honorary doctorates from both Cambridge and Oxford, and was made a Commander of the Victorian Order after composing a coronation march for Edward VII in 1902.) He first traveled to England in 1871, playing for Queen Victoria and studying Handel’s manuscripts in the Buckingham Palace library. In 1886 the Philharmonic Society commissioned his Third Symphony, and SaintSaëns conducted the premiere in London. Although Saint-Saëns came to be considered a conservative—if not reactionary—composer, his Symphony No. 3 is highly original and innovative in many ways, including form and thematic development as well as instrumentation. The typical symphony, as received from the Classical era, had four movements: an opening in the socalled “sonata” form, contrasting and developing themes and tonal levels; a slow movement that

was often a type of orchestral song; a quick scherzo, usually a humorous dance; and a finale commonly composed as a sonata-rondo, a lively and lighter embodiment of sonata form principles. In his Third Symphony, Saint-Saëns condensed these movements into two, eliminating sections that would have repeated material. After a brief, slow introduction, his opening movement begins as a sonata form. But at the point where a typical sonata movement would have begun recapitulating the original thematic materials, Saint-Saëns instead moves directly into a slow movement in the remote key of D-flat major. This may sound dauntingly technical, but in sound the moment is impossible to miss, as the organ makes its first entrance, soft and low, and the strings slide in with lyrical bliss. Serenity replaces neurotic urgency as the movement grows to euphoric heights.

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Saint-Saëns does something similar with the second half of his Symphony. His scherzo section seems well articulated, as aggressively driven strings give way to lighter, quieter music mostly in woodwinds, with ascending scales and broken chords in the piano. But just as the pattern of formal repetition seems clear, chaos breaks in and the music finds its way to a haunted recollection of the blissful string chorale. This dwindles to another point of dissolution, and again Saint-Saëns uses the organ to signal a major architectural pillar, this time with a loud C-major chord. The finale builds with aspiring brilliance to the apotheosis of C-major in a gloriously over-the-top coda. Saint-Saëns dedicated the Symphony to the memory of Franz Liszt, who died in June of 1886. Liszt promoted the concept of cyclical thematic transformation, the extended development and variation of a single motivic source across all the movements or sections of a work, and Saint-Saëns was much influenced by the idea. He uses it in the Third Symphony with great imagination and flair. The gradual trans5

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formation of the Symphony’s motto, from its initial nervy appearance to its full climactic glory, gives the work its keenly felt unity and sense of questing direction. – John Henken

THE LOS ANGELES PHILHARMONIC The Los Angeles Philharmonic, under the vibrant leadership of Music Director Gustavo Dudamel, is re-inventing the concept of the 21st-century orchestra. Both at home and abroad, the Philharmonic—recognized as one of the world’s outstanding orchestras—is leading the way in innovative programming, both on stage and in the community, offering a diverse range of presentations that reflect the orchestra’s artistry and demonstrate its vision. 201415 marks the orchestra’s 96th season. 6

More than 240 concerts are either performed or presented by the Philharmonic at its two iconic venues, the Frank Gehry-designed Walt Disney Concert Hall and the Hollywood Bowl, representing a breadth and depth unrivaled by other orchestras or cultural institutions. The orchestra’s involvement with Los Angeles also extends far beyond symphony concerts in a concert hall, with performances in schools, churches, and neighborhood centers of a vastly diverse community. Among its wide-ranging education initiatives is Youth Orchestra LA (YOLA). Inspired by Venezuela’s revolutionary El Sistema, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to more than 600 students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change. The Los Angeles Philharmonic continues to broaden its audience by touring worldwide, offer-

The Los Angeles Philharmonic was founded by William Andrews Clark, Jr., a millionaire and amateur musician, who established the city’s first permanent symphony orchestra in 1919. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Eduard van Beinum (1956-1959); Zubin Mehta (19621978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (19922009); and Gustavo Dudamel (2009-present). GuSTAVO DuDAMEL, CONDuCTOR Gustavo Dudamel is defined by his untiring advocacy of access to music for all. As a symphonic and operatic conductor, his music making on four continents continues to inspire audiences of all ages. He is currently serving as Music Director of both the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, and the impact of his musical leadership is felt internationally. While his commitment to these posts accounts for the major portion of his yearly schedule, Dudamel also guest conducts with some of the world’s greatest musical institutions. This season he returns to the Berlin Philharmonic, Berlin Staatskapelle, Gothenburg Symphony, and Tonhalle Orchestra Zürich, and to the Vienna Philharmonic in Vienna and Salzburg as well as on tour through Europe and Asia.

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ing an extensive catalog of recorded music, and broadcasting concerts on radio and television. Through an ongoing partnership with Deutsche Grammophon, the orchestra also has a substantial catalog of concerts available online, including the first full-length classical music video released on iTunes. In 2011, the Los Angeles Philharmonic and Gustavo Dudamel won a Grammy for Best Orchestral Performance for their recording of the Brahms Symphony No. 4.


Dudamel makes his first foray into composing for film with the major feature The Liberator/Libertador (the life of Simón Bolívar), for which he wrote the score and recorded it with the Simón Bolívar Symphony Orchestra of Venezuela. The worldwide film release was in October 2014, with the soundtrack release in summer 2014. Gustavo Dudamel is in his sixth season as Music Director of the Los Angeles Philharmonic, where his contract has been extended through 2018-19, the orchestra’s 100th season. Under his leadership the Los Angeles Philharmonic has expanded its diversified outreach through many notable projects, including Youth Orchestra Los Angeles (YOLA), influenced by Venezuela’s widely successful El Sistema. With YOLA, Gustavo brings music to children in the underserved communities of Los Angeles, and also serves as an inspiration for similar efforts throughout the U.S. and in Europe. Now in his 16th season as Music Director of the entire El Sistema project in Venezuela and ushering this institution into its 40th anniversary season, Dudamel continues to lead the Simón Bolívar Symphony Orchestra, in Venezuela as well as on tour. 7

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

CAMERON CARPENTER, ORGAN Cameron Carpenter is having a ball smashing the stereotypes of organists and organ music— all the while generating worldwide acclaim and controversy. His repertoire—from the complete works of J. S. Bach to film scores, his original works, and hundreds of transcriptions and arrangements—is probably the most diverse of any organist. He is the first organist ever nominated for a Grammy Award for a solo album. Carpenter regularly appears as a soloist with many of the world’s great orchestras, and signed in 2013 an exclusive multi-album recording contract with Sony Classical. In 2014, he launched his International Touring Organ—a monumental digital organ of his own design, playable throughout the world—with two Lincoln Center concerts and the release of the Sony 8


album If You Could Read My Mind, and a 31concert tour to Europe, the U.S., and the UK. As a keyboard prodigy, he performed Bach’s Well-Tempered Clavier at age 11 before joining the American Boychoir School in 1992 as a boy soprano. During his four years of high school studies at the North Carolina School of the Arts, he made his first studies in orchestration and orchestral composition, and transcribed for the organ more than 100 major works, including Gustav Mahler’s complete Symphony No. 5. Cameron continued composing after moving to New York City in 2000 to attend the Juilliard School. While there, he composed art songs; the symphonic poem Child of Baghdad (2003) for orchestra, chorus, and ondes Martenot; his first substantial works for solo organ; and numerous organ arrangements of piano works by Chopin, Godowsky, Grainger, Ives, Liszt, Medtner, Rachmaninoff, Schumann, and others. Cameron received a master’s degree from Juilliard in 2006. The same year, he began his worldwide organ concert tours, giving numerous debuts at venues

Cameron is one of the only performing artists to make a practice of meeting his audience in person before his performances—often spending more than an hour before each concert shaking hands and signing autographs on the floor of a concert venue. With combined millions of hits on YouTube and numerous television, radio, and press features including CNN The Next List, CBS Sunday Morning, BBC Radio 3, ARD, ZDF, NDR Kultur, The New York Times, The New Yorker, The Wall Street Journal, and many others, he is the world’s most visible organist. Cameron Carpenter appears by arrangement with Columbia Artists Music, LLC. He records exclusively for Sony Classical. HEIDI STOBER, SOPRANO Stunning audiences with her sterling lyric soprano voice and incisive stage personality, American soprano Heidi Stober has established

herself as a house favorite at leading opera companies on both sides of the Atlantic. Since her critically acclaimed debut at the Deutsche Oper Berlin in the fall of 2008, Stober has cultivated a relationship with the company, appearing in a variety of leading roles, including Pamina in Die Zauberflöte, Micaëla in Carmen, Susanna in Le nozze di Figaro, Adina in a new production of L’elisir d’amore, Gretel in Hänsel und Gretel, Oscar in Un ballo in maschera, Nanetta in Falstaff and Princess Ninetta in Robert Carsen’s new production of Prokofiev’s L’Amour des Trois Oranges.

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including Royal Albert Hall, the Leipzig Gewandhaus, Melbourne Town Hall, Tchaikovsky Hall in Moscow, Davies Hall in San Francisco, and many others. His first album for Telarc, the Grammy-nominated Revolutionary (2008), was followed in 2010 by the critically acclaimed full-length DVD and CD Cameron Live! Edition Peters became his publisher in 2010, beginning the ongoing release of his original works with Aria, Op. 1 (2010). His first major work for organ and orchestra, The Scandal, Op. 3, was commissioned by the Cologne Philharmonie (KölnMusic GmbH) and premiered on New Year’s Day 2011 by the Deutsche Kammerphilharmonie under the direction of Alexander Shelley. Of Cameron the composer, Die Welt’s Manuel Brug writes: “Carpenter… is proving himself to be a clever eclecticist, who understands to entertain with much finesse, and admits with a wink that he is ‘annoyed by intellectual music.’ ”

In the current season Stober returns to the Metropolitan Opera for Gretel in Hänsel und Gretel conducted by Sir Andrew Davis in an international radio broadcast and Oscar in Un ballo in maschera conducted by James Levine; the role will also see her return to San Francisco Opera in a production led by Nicola Luisotti. She makes a return to Santa Fe Opera for her role debut as Sandrina in La Finta Giardiniera, and debuts with Opera Philadelphia, reprising the role of Ada in Theadore Morrison’s Oscar, based on the life of Oscar Wilde. The soprano will return to the Deutsche Oper Berlin for further performances of Pamina, Adina, Gretel, and Ninetta. Concert appearances include a solo recital in Carnegie Hall’s Weill Recital Hall, a return to her alma mater of Lawrence University for a recital and master class, both with pianist Craig Terry, and a return to the Los Angeles Philharmonic for the world premiere of Stephen Hartke’s Symphony No. 4, conducted by Gustavo Dudamel. Having already taken to the stages of the world’s most important opera companies, Stober made her debut at the Metropolitan Opera during the 2011-12 season as Gretel in Hänsel und Gretel conducted by Robin Ticciati as well as a role debut as Zdenka in Arabella conducted by Sir Andrew Davis with the Santa Fe Opera. She debuted with the San Francisco Opera to great 9

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critical acclaim as Sophie in Werther, which was followed by performances of Susanna in Le nozze di Figaro and a highly acclaimed Pamina in a new production of Die Zauberflöte. Solidly established as a house favorite at Houston Grand Opera, in addition to Xerxes, Stober has appeared as Susanna, Blondchen in Die Entführung aus dem Serail, Drusilla in L’incoronazione di Poppea, Norina in Don Pasquale, and Musetta in a new production of La bohème. Her 2007 debut as La Folie in Platée with the Santa Fe Opera was a particular success, leading to a continuing relationship with that company in such roles as Tigrane in Handel’s Radamisto and Musetta in La bohème, and Ada in the world premiere of Oscar. She made her role debut as Leïla in Les pêcheurs de perles with Opera Colorado, her South American debut with Teatro Municipal in Santiago as Morgana in Alcina, and role and house debuts with Opera Theatre of St. Louis as Aminta in Mozart’s Il re pastore. The New York Times wrote of her New York City Opera debut that she “contributed some remarkable singing” as Poppea in Handel’s Agrippina. Stober made early appearances with Boston Lyric Opera, Wolf Trap Opera, Central City Opera, and Utah Opera. Highlights of concert engagements include Mozart’s Requiem with the Los Angeles Philharmonic, Mahler’s Symphony No. 4 (Edo de Waart, conductor) with the Milwaukee Symphony Orchestra, and the role of Anne Trulove in The Rake’s Progress with the St. Paul Chamber Orchestra. Additional concert work includes Barber’s Knoxville: Summer of 1915 with the Oslo Philharmonic, Beethoven’s Symphony No. 9 with the Baltimore Symphony, Brahms’ Ein deutsches Requiem with the Houston Symphony, Handel’s Messiah with the Hong Kong Philharmonic, and Carmina Burana with Houston Ballet.



Heidi Stober’s professional training took place at the Houston Grand Opera Studio, and she holds degrees from Lawrence University and the New England Conservatory. She and her husband, baritone Simon Pauly, currently make their home in Berlin with their son. For more information about Heidi Stober, please visit


Esa-Pekka Salonen Conductor Laureate Mirga Gražinytė-Tyla Assistant Conductor John Adams Creative Chair Deborah Borda President and Chief Executive Officer FIRST VIOLIN Martin Chalifour Principal Concertmaster Marjorie Connell Wilson Chair Nathan Cole First Associate Concertmaster Ernest Fleischmann Chair Bing Wang Associate Concertmaster Mark Baranov Assistant Concertmaster Philharmonic Affiliates Chair Michele Bovyer Rochelle Abramson Camille Avellano Elizabeth Baker Minyoung Chang Vijay Gupta Edith Markman Judith Mass Mitchell Newman Barry Socher Stacy Wetzel SECOND VIOLIN Lyndon Johnston Taylor Principal Dorothy Rossel Lay Chair Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal Ingrid Kuo Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Paul Stein Yun Tang Akiko Tarumoto Suli Xue

VIOLA Carrie Dennis Principal John Connell Chair Dale Hikawa Silverman Associate Principal Ben Ullery Assistant Principal Richard Elegino Dana Hansen John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel CELLO Robert deMaine Principal Bram and Elaine Goldsmith Chair Associate Principal (Vacant) Sadie and Norman Lee Chair Ben Hong Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum Tao Ni Serge Oskotsky Brent Samuel BASS Dennis Trembly Principal Christopher Hanulik Principal Oscar M. Meza Assistant Principal David Allen Moore Jack Cousin Brian Johnson Peter Rofé John Schiavo Frederick Tinsley FLUTE Julien Beaudiment Principal Virginia and Henry Mancini Chair Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair Elise Shope Sarah Jackson

PICCOLO Sarah Jackson

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

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



TUBA Norman Pearson

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

TIMPANI Joseph Pereira Principal Cecilia and Dudley Rauch Chair

BASS CLARINET David Howard BASSOON Whitney Crockett Principal Shawn Mouser Associate Principal Michele Grego Patricia Kindel CONTRABASSOON Patricia Kindel HORN Andrew Bain Principal John Cecil Bessell Chair Associate Principal (Vacant) Gregory Roosa William and Sally Rutter Chair (Vacant) Loring Charitable Trust Chair Brian Drake Reese and Doris Gothie Chair Ethan Bearman Assistant Bud and Barbara Hellman Chair TRUMPET Thomas Hooten Principal James Wilt Associate Principal Christopher Still Stéphane Beaulac

O r C h Es t r a r O s t E r

Gustavo Dudamel Music Director Walt and Lilly Disney Chair

PERCUSSION Raynor Carroll Principal James Babor Perry Dreiman KEYBOARD Joanne Pearce Martin Katharine Bixby Hotchkis Chair HARP Lou Anne Neill LIBRARIANS Kazue Asawa McGregor Kenneth Bonebrake Stephen Biagini PERSONNEL MANAGER Jeffrey Neville PRODUCTION DIRECTOR Paul M. Geller CONDUCTING FELLOWS Christian Kluxen Gemma New The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically. In those sections where there are two principals, the musicians share the position equally and are listed in order of length of service. The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.


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