FRIDAY, MAY 24, 2013, 8PM Pre-concert lecture by Rich Capparela, 7pm Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall DONNA L. KENDALL CLASSICAL SERIES
LoS anGeLeS pHiLHarmonic GUSTaVo dUdameL, condUcTor ariana GHez, oboe micHeLe zUkoVSky, cLarineT WHiTney crockeTT, baSSoon andreW bain, Horn Ciaccona from Polish Requiem
(b. 1933) Sinfonia Concertante in E-flat major, K. 297b
Wolfgang Amadeus MOZART (1756-1791)
Notes by Hugh Macdonald
penderecki: ciaccona from Polish Requiem Composed: 2005 Length: c. 7 minutes Orchestration: strings
Allegro Adagio Andantino con variazioni Ariana Ghez, Michele Zukovsky, Whitney Crockett, Andrew Bain - INTERMISSION Symphony No. 5 in D major, Op. 107 “Reformation”
Felix MENDELSSOHN (1809-1847)
Andante; Allegro con fuoco Allegro vivace Andante — Andante con moto; Allegro maestoso LAPhil.com The Philharmonic Society gratefully acknowledges Donna L. Kendall Foundation and Elaine Weinberg for their generous sponsorship of tonight’s performance.
Exclusive Print Sponsor Programs, artists and dates subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices.
First Los Angeles Philharmonic performance The Ciaccona is an extract from one of Penderecki’s major works, his Polish Requiem, for soloists, chorus, and a large orchestra. An analogy to Brahms’ German Requiem does not apply to this work, for, with the exception of a hymn sung for the Offertory, the texts are not in Polish, but are the traditional Latin words as set by Mozart, Berlioz, Verdi, and countless other composers. Unlike some of those composers, Penderecki is a devout Catholic, although he himself has stated that the human significance of the Requiem text means more to him than its traditional liturgical function. Born in 1933, Penderecki has watched his country survive the grim years of German occupation and Soviet colonization; the experience of suffering and endurance lies behind his setting of the Requiem, with its profound meditation on death. The work has existed in many forms, for it was fashioned in 1984 by absorbing two earli-
More was yet to be added to the Requiem, for in 1993 Penderecki wrote the Sanctus and gave its first performance in Stockholm that year. The Requiem was still not complete, for at the death of Pope John Paul II in April 2005, the composer inserted an instrumental movement between the Agnus dei and the Sanctus in memory of the Polish Pope and gave the first performance on September 17, 2005, in Wrocław. This is the Ciaccona for strings. As with the traditional Baroque chaconne, the Ciaccona is built on a simple descending bass line with richly ornamental writing for the strings. There are nine reiterations of the basic pattern, supporting a strong melodic line heard mostly in the violins, but also in the cellos. The ending vanishes in high harmonics over a fading, misty chord.
mozarT: Sinfonia concerTanTe in e-fLaT major, k. 297b Composed: 1778 Duration: c. 30 minutes Orchestration: 2 oboes, 2 horns, and strings, with solo oboe, clarinet, bassoon, and horn First Los Angeles Philharmonic performance: November 18, 1928, Georg Schnéevoigt conducting The mysteries surrounding this work are deep and impenetrable. There is no mystery about its charm, its melodiousness, or its wide appeal,
er works, his Lacrimosa, from 1970, and his Agnus dei, from 1981. The Lacrimosa was a response to events in the Gdańsk shipyards in 1970 and is dedicated to Lech Wałęsa and the Solidarity Union. The Agnus dei, for unaccompanied eight-part chorus, was composed for the funeral of Penderecki’s friend, Cardinal Stefan Wyszyński, in 1981. The Requiem had its first full performance in Stuttgart on September 28, 1984, conducted by one of the composer’s most ardent supporters, Mstislav Rostropovich, who had been the first to introduce the Lacrimosa to the U.S. in a performance in 1981 in Washington, DC, with his wife Galina Vishnevskaya as the soprano soloist.
but there is no solution to the problem of when or for whom it was written, or even whether it is truly by Mozart. Robert Levin has devoted a whole book to this last question without being able to resolve it conclusively. The last edition of the revered Köchel catalog removed it from the list of authentic works. While most listeners’ ears will tell them that this is genuine Mozart without a doubt, those who also enjoy sleuthing historical questions will find the puzzle intriguing. In short, the problem is to figure out how a work which Mozart said he wrote for four friends in Paris in 1778, who were respectively flutist, oboist, bassoonist, and hornist, should turn up in Berlin in 1870 in a manuscript copy, not in Mozart’s hand, with solo parts for oboe, clarinet, bassoon, and horn. Could the manuscript be an arrangement for different instruments of the lost concerto? If so, who did the arranging? Listening to the clarinet’s superbly idiomatic writing, we cannot imagine that the work might have existed in a form in which a flute was the soloist and not a clarinet. Assuming that the original autograph, which Mozart said he left behind in Paris, is lost, could he have written a second work for slightly different instruments without leaving any trace other than this mysterious posthumous copy? The rather lame excuse he offered his father for 3
and lucid, and they have a neat cadenza at the end of the first movement, carefully composed, as such cadenzas have to be, not left to group improvisation. The slow movement is, unusually, in the same key, E-flat major, and unusually long. In contrast, the finale is a series of variations on a brief and simple theme. One phrase from this melody is taken directly from the second main melody of the first movement. Ten variations reproduce the outline of the theme with increasingly decorative display from the soloists. Then the tenth variation dissolves into an Adagio before the jolly close in hunting style.
Wolfgang Amadeus Mozart
not bringing this manuscript (and others) home from Paris raises the suspicion that he never actually wrote it, a fact he would have reason to conceal from the over-concerned Leopold. It is sufficient to know that Mozart was much taken by the special problems of composing for more than one soloist. We have a concerto for two pianos and one for three pianos, and we have the beautiful Sinfonia Concertante for violin and viola probably composed in Salzburg in 1779, and a promising Sinfonia Concertante for violin, viola, and cello, of which, alas, only 134 bars were completed. In the 1770s, the French were particularly fond of these multiple concertos, so it was natural that Mozart would think of composing one while he was in Paris, even more natural to imagine him writing another (with clarinet) for his friends in the superb orchestra in Mannheim either before or after they were transferred to Munich, although there is no evidence whatever to link the work as we have it with these, or any other, players. No composer understood wind instruments better than Mozart, so the solo lines are composed with a fine feeling for their special qualities: the oboe’s expressive, penetrating voice; the clarinet’s liquid fluency over a wide range; the horn’s elegant adventures in its upper octave; and the bassoon’s many functions as bass line, tenor line, or tune. Their interplay is balanced 4
mendeLSSoHn: SympHony no. 5 in d major, op. 107 “reformaTion” Composed: 1830 Length: c. 30 minutes Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings First Los Angeles Philharmonic performance: April 2, 1953, Alfred Wallenstein conducting Between the ages of 12 and 14, Mendelssohn composed 13 symphonies for strings (with occasional surprise entries for percussion), a fluency quite at odds with his mature approach to the symphony, for the five grown-up symphonies were composed at wide intervals and regarded with considerable unease by their composer, yet usually admired for the polish and approachability we find in all his music. They were numbered according to their order of publication, and since he never published the popular “Italian” Symphony nor the “Reformation” Symphony, they ended up misleadingly numbered 4 and 5. If the “Reformation” Symphony had been performed according to Mendelssohn’s original intentions, it might have escaped the disdain in which he seems to have held it ever since. Aware that the year 1830 was to be celebrated as the tercentennial of the Augsburg Confession submitted by Luther and Melanchthon to the Emperor Charles V in 1530, Mendelssohn was already thinking about a suitable composition during his adventurous trip to the British Isles
Two other impulses were at work. Since writing his previous symphony “No. 1” in 1824, Mendelssohn, like all alert German musicians, had become aware of Beethoven’s Ninth Symphony and its overwhelming power. As the bearer of a message of universal brotherhood, it stood as a model of how dramatic a symphony can be, even in its opening three movements, which are not sung. Mendelssohn was always aware that the finale can bear the climactic weight of a symphony, and not be, as one might infer from Haydn or Mozart, a mere happy ending. The other thread in Mendelssohn’s mind was the pursuit of what later became known as “program music.” He had already composed an overture that depicted the world and action of A Midsummer Night's Dream, and on his visit to the Scottish islands he had begun to sketch out a pictorial overture eventually to be known as The Hebrides. Music as the bearer of a narrative was not new, but it had great attraction to a Romantic generation anxious to illustrate events, places, and feelings with the colorful resources of the modern orchestra. The “Reformation” Symphony was thus conceived as celebrating the triumph of Protestantism, represented in the finale by Luther’s chorale “Ein feste Burg,” over Catholicism, which is depicted very briefly at the beginning of the Symphony in beautiful, but symbolically old-fashioned Palestrinian polyphony. After his visit to Scotland in the summer of 1829 Mendelssohn spent a few weeks in north Wales at the home of John Taylor, a wealthy mineowner, and it was in the depths of a lead-mine there, 500 feet beneath the surface, that Mendelssohn found himself thinking about the conclusion of his Symphony. Back in Berlin by
in 1829. As a devout Protestant himself and a boundless admirer of Bach (whose St. Matthew Passion he had recently revived in Berlin), Mendelssohn felt drawn by the idea of a symphony that symbolized the Protestant Reformation not with a grand choral work on a sacred text, as might be expected, but with a four-movement symphony without words.
the end of the year, he started the Symphony in earnest and had finished the first three movements by April 13. But he was held up by illness, also perhaps by the feeling that the Symphony had not actually been commissioned by King Friedrich Wilhelm III for the Berlin celebrations planned for the month of June, and by the time he completed the Symphony, May 13, it was too late. Mendelssohn had in any case planned to be gone from the city by then on his next series of foreign adventures, this time to Italy. On his way south he attempted to get a hearing for the Symphony in Leipzig and Munich but was unlucky in both cities. Early in 1832 he was in Paris, where it was at least tried out under the enterprising baton of François Habeneck. But the orchestra rejected it as “too learned” and it was not until Mendelssohn returned to Berlin that he was able to include the work in a series of concerts he gave in the fall of 1832. By this time he had made a number of revisions, mostly shortening the last movement. Berlin’s leading music critic objected to the idea of a symphony carrying some kind of external message, but whether or not this was enough to turn the composer against his own work, he later refused to have it performed, describing it as “juvenile.” He even said he thought it should be burnt. 5
Happily for us, the “Reformation” Symphony has survived, and it can give great satisfaction as a four-movement symphony with or without its references to the great events it was intended to celebrate. The two middle movements, after all, have no explicit connection with history but are simply a scherzo and trio followed by an expressive slow movement. The first movement persuasively carries the notion of conflict, at first in the slow introduction where clarion figures seem to call out for reform over the aspiring counterpoint in the lower strings. Mendelssohn also cites the “Dresden Amen,” a simple rising scale heard twice very softly in widely spaced strings, which he may have regarded as a symbol of the Protestant church even though it was originally intended for the Catholic royal chapel in Dresden and later adopted by both churches. Then the main Allegro, in the minor mode, comes close to Beethovenian anger, dramatically interrupted at the end of the development when the music speeds up almost out of control, only to be stopped in its tracks by the strings quietly singing out the “Dresden Amen” and bringing order out of chaos. The Scherzo second movement might well have struck its composer as juvenile since it evokes the world of Haydn, or perhaps early Beethoven, although its Trio is closer to Mendelssohn’s own style in its elegant melodiousness. The slow movement resembles a vocal aria, the voice line entrusted to the first violins, and like an aria it is compact and short. At this point Mendelssohn originally composed a short linking movement in which a solo flute evokes Luther the musician (he is known to have played the flute) leading directly into the statement of the chorale “Ein feste Burg.” This plan was later dropped. The first strain of the chorale is heard on the flute alone, and the winds and lower strings gradually join in. What follows is a surprise, for the chorale is treated in jaunty fashion as if it were to be a set of variations. But the tune is never completed, and the full orchestra interrupts it with the start of the finale proper, a vigorously positive statement to support the triumph of the Reformation.
Fragments of the chorale are admitted into the texture and eventually the chorale appears in a strong statement from the winds. Its final strain provides a close from which all elements of doubt and conflict have been banished. Hugh Macdonald is Avis Blewett Professor Emeritus of Music at Washington University, St. Louis. He has written books on Scriabin, Berlioz, and Bizet, and his latest book, Music in 1853: the Biography of a Year, was listed by the Financial Times in its Books of the Year for 2012. He has provided singing translations of operas for many companies in the UK and the U.S.
abOutthEaRtists Gustavo Dudamel
GUSTaVo dUdameL, condUcTor Dynamic conductor Gustavo Dudamel’s passionate music-making invigorates audiences of all ages worldwide. He is concurrently serving as Music Director of the Simón Bolívar Symphony Orchestra of Venezuela and the Los Angeles Philharmonic, and the impact of his musical leadership is felt on several continents. While his commitment to his music director posts in the United States and Venezuela accounts for the major portion of his yearly schedule, Dudamel also guest conducts with some of the world’s greatest musical institutions each season. This season he returns to the Vienna Philharmonic, Berlin Philharmonic, and La Scala in both opera and concert, along with appearances with the Royal Concertgebouw, Berlin Staatskapelle, Israel Philharmonic, Santa Cecilia Orchestra, and Gothenburg Symphony, where he is now Honorary Conductor. Dudamel is in his fourth season as Music Director of the Los Angeles Philharmonic, where his contract has already been extended until 2018-19, the orchestra’s 100th season.
Under his leadership the Los Angeles Philharmonic has extended its reach to an unprecedented extent via LA Phil LIVE, experimental theater-casts of Los Angeles Philharmonic concerts which have reached audiences throughout North America, Europe and South America, and through 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 United States, as well as for programs in Sweden and Scotland. It is not only the breadth of the audience reached, but also the depth of the programming performed under Gustavo Dudamel that is remarkable. Programs at the Los Angeles Philharmonic in 2012-13 represent the best and the boldest: ranging from an LA Phil-commissioned and now staged oratorio by John Adams titled The Gospel According to the Other Mary, which the LA Phil and Dudamel toured to New York’s Lincoln Center, London’s Barbican 7
Centre, Switzerland’s Lucerne Festival, and Paris’ Salle Pleyel; to a staged Marriage of Figaro with sets by architect Jean Nouvel, representing part two of a three-consecutive-year project of presenting the Mozart/Da Ponte trilogy. Having triumphed in performances at the 2012 Olympics in London, Gustavo Dudamel continues to lead the Simón Bolívar Symphony Orchestra in his native Venezuela as well as on tour, in this his 14th season as Music Director. Late fall 2012 touring included performances at Berkeley’s Cal Performances, Chicago’s Symphony Hall, Washington’s Kennedy Center, Philadelphia’s Kimmel Center, and New York’s Carnegie Hall, where they were part of the Voices from Latin America festival. Additional highlights included a fully staged Rigoletto in July 2012 in Caracas, which is part of a multi-year collaboration of shared productions with La Scala. In April 2013, Dudamel and the Bolívars were joined by Lang Lang for the world premiere of the Benzecry Piano Concerto, jointly commissioned by Dudamel and Lang Lang. The orchestra then embarks on a five-country tour of South America. The Bolívar season rounds out with a production of Tannhäuser at the Bogotá Opera in June 2013, followed by a 2013 summer residency at the Salzburg Festival. An exclusive Deutsche Grammophon artist since 2005, Gustavo Dudamel has numerous recordings on the label, ranging in repertoire from Stravinsky’s Le sacre du printemps to Beethoven’s Symphonies Nos. 3, 5 and 7. In February 2012, Dudamel and the Los Angeles Philharmonic won the Grammy for Best Orchestral Performance for their live recording of the Brahms Symphony No. 4. In spring 2012, an LP of Mendelssohn’s Symphony No. 3 with the Vienna Philharmonic was released, with proceeds donated to charity for the purchase of instruments for young musicians of El Sistema in San Vicente, Venezuela. In August 2012, the CD, DVD and PBS telecast of the live Vienna Philharmonic Schönbrunn concert, The Summer Night Concert, was released. The September 2012 release, Gustavo Dudamel: Discoveries, is a compilation of recording activities with the Vienna and Berlin Philharmonics,
the Simón Bolívar Symphony Orchestra and the Gothenburg Symphony (CD, CD+DVD). Released in October 2012, Dudamel: Mahler 8 Symphony of a Thousand Live from Caracas (DVD + Blu-Ray), features the combined forces of the LA Phil and the Bolívars, and the Mahler No. 9 (CD) with the LA Phil was released in early 2013. Also, anticipated for release during the 2013 season are the Mahler Symphony No. 7 (CD / Bolívars) and an all-Strauss disc with the Berlin Philharmonic (CD). In the area of video/DVD, many releases capture the excitement of important concerts in Gustavo Dudamel’s musical life, including The Inaugural Concert documenting his first concert in 2009 as Music Director of the Los Angeles Philharmonic, New Year’s Eve Concert Gala 2011 with the Berlin Philharmonic, and a Birthday Concert for Pope Benedict XVI, among others. In June 2011, a documentary, Let the Children Play, featuring Dudamel, was shown in more than 500 Fathom movie theaters nation-
Gustavo Dudamel is one of the most decorated conductors of his generation. He has recently been named Musical America’s 2013 Musician of the Year, one of the highest honors in the classical music industry. In October of 2011, he was named Gramophone Artist of the Year, and in May of the same year, was inducted into the Royal Swedish Academy of Music in consideration of his “eminent merits in the musical art.” The previous year, he received the Eugene McDermott Award in the Arts at MIT. Dudamel was inducted into l’Ordre des Arts et des Lettres as a Chevalier in Paris in 2009, and received an honorary doctorate from the Universidad Centro-Occidental Lisandro Alvarado in his hometown of Barquisimeto. He also received an honorary doctorate from the University of Gothenburg in 2012. In 2008, the Simón Bolívar Youth Orchestra was awarded Spain’s prestigious annual Prince of Asturias Award for the Arts and, along with his mentor José Antonio Abreu, Dudamel was given the “Q Prize” from Harvard University for extraordinary service to children.
ing experiences molded his commitment to music as an engine for social change—a lifelong passion. In 2012, Gustavo and Eloísa Dudamel launched a foundation which carries their name and is dedicated to furthering music education and social justice around the world. Gustavo Dudamel, his wife Eloísa Maturén, and their young son Martín divide their time mainly between Caracas and Los Angeles. Additional information about Gustavo Dudamel can be found on his website: www.gustavodudamel.com
wide. Gustavo Dudamel has been featured three times on CBS’s 60 Minutes and appeared on a 2010 PBS special, Dudamel: Conducting a Life, with Tavis Smiley. He appeared on Sesame Street with Elmo in February 2012.
Named one of Time Magazine’s 100 most influential people in 2009, Gustavo Dudamel was born in 1981 in Barquisimeto, Venezuela. He began violin lessons as a child with José Luis Giménez and Francisco Díaz at the Jacinto Lara Conservatory. He continued his violin studies with Rubén Cova and José Francisco del Castillo at the Latin American Academy of Violin. His conducting studies began in 1996 with Rodolfo Saglimbeni and, that same year, he was given his first conducting position, Music Director of the Amadeus Chamber Orchestra. In 1999, he was appointed Music Director of the Simón Bolívar Youth Orchestra and began conducting studies with the orchestra’s founder, Dr. Abreu; a few years later in 2004, Dudamel was brought to international attention by winning the inaugural Bamberger Symphoniker Gustav Mahler Competition. These early musical and mentor9
Walt Disney Concert Hall. Other chamber engagements include collaborations with Jaime Laredo and Ida Kavafian (92Y) and Gil Shaham (Aspen Music Festival).
Ghez holds a bachelor’s degree in English literature from Columbia University, where she was enrolled in the Columbia/Juilliard School joint program and studied with John Mack and John Ferrillo. She pursued graduate studies at Temple University in Philadelphia, where she studied with Richard Woodhams and was an oboe teaching assistant. Ghez is on the faculty of Chapman University of Orange County, and has given master classes at the Oberlin College/Conservatory, the University of Southern California, the Colburn School, and Kent/Blossom Summer Festival. She has served as a guest faculty member at the Aspen Music Festival and School. micHeLe zUkoVSky, cLarineT
ariana GHez, oboe Ariana Ghez joined the Los Angeles Philharmonic as Principal Oboe in September 2006. Prior to her appointment in Los Angeles, Ghez was principal oboe of the Rochester Philharmonic Orchestra and of the Santa Fe Opera. She has also performed as guest principal oboe with the Chicago Symphony Orchestra and the New York Philharmonic.
Los Angeles Philharmonic Principal Clarinetist Michele Zukovsky has appeared many times as soloist with the Philharmonic, both at the Hollywood Bowl and at the Music Center. She
As a soloist, she has performed with the Los Angeles Philharmonic, the Rochester Philharmonic, the Chamber Orchestra of the South Bay, the Lake Tahoe Music Festival Orchestra, and the Aspen Music Festival, among many others. In a recording soon to be released on Ancalagon Records, Ghez joins violinist Lara St. John and the Simón Bolívar Youth Orchestra in the Bach Concerto for Oboe and Violin. An avid lover of chamber music, Ghez performs frequently with her Los Angeles Philharmonic colleagues and guests on the chamber series at 10
WHiTney crockeTT, baSSoon
has been a guest soloist with many orchestras around the world, including the world premiere performance of John Williams’ Clarinet Concerto with the Boston Pops. Zukovsky also performs regularly at the Philharmonic’s Chamber Music Society concerts, and she has participated in several premieres as a soloist with the orchestra’s New Music Group. She has collaborated with a number of chamber ensembles, most notably the Angeles and the St. Petersburg String Quartets, and has appeared frequently in 92nd Street Y’s “Concerts at the Y” and at the Ravinia, Lincoln Center, Mostly Mozart, Lochinhaus, Schlesswig-Holstein, and Marlboro festivals. She was solo clarinetist at the Casals Festival in Puerto Rico and played the Mozart Quintet at the memorial for Pablo Casals. Zukovsky is active as a teacher of master classes throughout the world, and she is currently on the faculty of the Thornton School of Music at the University of Southern California. She studied clarinet with her father, Kalman Bloch, himself a former principal with the Los Angeles Philharmonic.
Whitney Crockett joined the Los Angeles Philharmonic as Principal Bassoon in April 2010 as one of Gustavo Dudamel’s first appointments. He came to Los Angeles after 12 years as Principal Bassoon of the Metropolitan Opera Orchestra under James Levine. Prior to his work in New York, Crockett held the same position with the Montreal Symphony Orchestra. Earlier in his career, he held Principal Bassoon positions with the Florida Orchestra, the South Florida Symphony, and the Orquesta Sinfónica Nacionál of the Dominican Republic.
Michele Zukovsky has recorded for London/Decca, Avant, Nonesuch, Philips, and Summit Records. Her recent Summit recordings include works by Martinů and transcriptions of pieces by Simon Bellison, the former clarinetist of the New York Philharmonic.
As a soloist, Crockett has appeared with the Montreal Symphony Orchestra, the Florida Orchestra, the Yamagata Symphony Orchestra, the Bellingham Festival Orchestra, and Les Violons du Roy. He has performed regularly on the MET Chamber Players series at Carnegie Hall, and he has recorded, performed, and toured extensively with the New York Kammermusiker double reed ensemble. In recent summers, Crockett has performed with the Super World Orchestra of the Tokyo Music Festival, as well as at the Affinis Music Festival (Japan), the Bellingham Festival of Music, Instrumenta Oaxaca in Mexico, and the San Diego Mainly Mozart Festival. He has also appeared at the Santa Fe, Caramoor, Bridgehampton, and Cape Cod chamber music festivals. A respected pedagogue, Crockett serves on the faculty of the Académie de Verbier in Switzerland. He has also served on the faculties of the Juilliard and Manhattan schools of music, as well as McGill University in Montreal. He has given master classes at numerous institu11
tions, including the Domaine Forget in Québec, the Curtis Institute, the Puerto Rico Conservatory, and many universities across the United States. A native of Miami, Whitney Crockett began his bassoon studies with Michael Finn and Luciano Magnanini. He is a graduate of the Juilliard School, where he studied with Stephen Maxym. andreW bain, Horn Andrew Bain was appointed to the position of Principal Horn of the Los Angeles Philharmonic by Gustavo Dudamel in May 2011. Born and raised in Adelaide, Bain is a proud graduate of the Elder Conservatorium of Music. After leaving Adelaide in 1994, Bain furthered his studies with Geoff Collinson in Sydney and Hector MacDonald in Vienna, and in 2003 completed a Graduate Diploma in Chamber Music under Will Sanders in Karlsruhe. Most recently, Bain was Principal Horn of the Melbourne Symphony Orchestra, and since 2003 has appeared as the Principal Horn of the Colorado Music Festival. He has also held the positions of Associate Principal Horn of the Adelaide Symphony Orchestra (1997-2000) and Principal Horn in the Queensland Symphony Orchestra (2000-2001 and 2005-2009), the Munich Symphony Orchestra (2001-2003), and the Australian Opera and Ballet Orchestra at the Sydney Opera House (2003-2005). He has appeared as soloist with the Queensland Symphony Orchestra, the Colorado Music Festival, and Monash University’s Music in the Round. In 2010 Bain performed as soloist with the Melbourne Symphony and played Schumann’s Konzertstück with the Colorado Music Festival. The 2000 winner of the Marten Bequest, Bain has also performed with the Saarbrücken Radio Symphony, the Bavarian State Opera, the Malaysian Philharmonic, the Australian Chamber Orchestra, and the Sydney, West Australian, and Tasmanian symphony orchestras.
Bain is heard on several recordings with the Queensland Symphony Orchestra and is on the soundtracks of numerous recordings and films, including Happy Feet, Australia, Anacondas, RIPD, and Pacific Rim. Bain has collaborated with such artists as Martha Argerich, World Brass, and the Australian Art Orchestra. He is a founding member of the New Sydney Wind Quintet (2004-2010) and recently toured with the Mahler Chamber Orchestra throughout Europe. Bain has been the Principal Horn of the Melbourne Chamber Orchestra since 2009. From 2004 to 2009 Bain was Lecturer in Horn at the Sydney Conservatorium and has given master classes and lectures at the Elder Conservatorium, the Queensland Conservatorium, the Shanghai Conservatory, and the Colorado Music Festival. From 20092011 he was Lecturer in Horn at the Australian National Academy of Music, University of Melbourne, and the Tasmanian Conservatorium of Music. Currently the Horn Instructor at the Colburn School Conservatory, Bain is committed to the
As well as playing golf whenever and wherever he can, Bain enjoys travel, cooking, and the odd glass of good Australian red wine. More information can be found at www.andrewbainhorn.com. THe LoS anGeLeS pHiLHarmonic The Los Angeles Philharmonic is reinventing the concept of a 21st-century orchestra under the vibrant leadership of Gustavo Dudamel. Now in its 94th season, the Philharmonic is recognized as one of the world’s outstanding orchestras and is received enthusiastically by audiences and critics alike. Both at home and abroad, the Philharmonic is leading the way in innovative programming and re-defining the musical experience. This view is shared by more than one million listeners who experience live performances by the Los Angeles Philharmonic each year. The Philharmonic demonstrates a breadth and depth of programming unrivaled by other orchestras and cultural institutions, performing or presenting nearly 300 concerts throughout the year at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl. The orchestra’s involvement with Los Angeles also extends far beyond regular symphony concerts in a concert hall, embracing the schools, churches, and neighborhood centers of a vastly diverse community. Among its wide-ranging education initiatives is Youth Orchestra LA (YOLA). Central to YOLA is the Philharmonic’s plan to build, with community partners, youth orchestras in communities throughout Los Angeles. In 2012, the LA Phil in partnership with the Longy School of Music (Cambridge, MA) and Bard College (New York) furthered this goal with the new initiative, Take a Stand, which supports social change through music by providing leaders with tools for growth through a
series of conferences and workshops, and provides progressive and rigorous training for performing and teaching musicians. The Los Angeles Philharmonic was founded by William Andrews Clark Jr., a multi-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 and, since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Eduard van Beinum (1956-1959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (1992-2009); and Gustavo Dudamel (2009-present).
education of young musicians and presented master classes in London and New York in 2013; he looks forward to working at the Pacific Music Festival and Aspen Music Festival this summer.
In October 2003, the doors to one of the world’s most celebrated venues—the Frank Gehry-designed Walt Disney Concert Hall— were opened and the Los Angeles Philharmonic took the stage in its new home, which has become known not only as a local cultural landmark, but also as “…a sensational place to hear music... In richness of sound, it has few rivals on the international scene, and in terms of visual drama it may have no rival at all.” (The New Yorker) Praise for both the design and the acoustics of the Hall has been effusive, and the glistening curved steel exterior of Walt Disney Concert Hall embodies the energy, imagination, and creative spirit of the city of Los Angeles and its orchestra. Inspired to consider new directions, Dudamel and the Philharmonic aim to find programming that remains faithful to tradition, yet also seeks new ground, new audiences, and new ways to enhance the symphonic music experience. During its 30-week winter subscription season of 110 performances at Walt Disney Concert Hall, the Philharmonic creates festivals, artist residencies, and other thematic programs designed to delve further into certain artists’ or composers’ work. In 2011-12, the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, under the baton of 13
Gustavo Dudamel and the Los Angeles Philharmonic
Gustavo Dudamel, completed a monumental endeavor by performing Mahlerâ€™s nine symphonies over the course of just three weeks in Los Angeles and one week in Caracas. The Los Angeles Philharmonicâ€™s commitment to the presentation of music of our time is evident in its subscription concerts, its exhilarating Green Umbrella series, and its extensive commissioning initiatives. The Los Angeles Philharmonic New Music Group, devoted exclusively to performing compositions on the cutting edge of the repertoire, attracts leading composers and performers of contemporary music. The Los Angeles Philharmonic Association expands its cultural offerings by producing concerts featuring distinguished artists in recital, jazz, world music, songbook, and visiting orchestra performances, in addition to special holiday concerts and series of organ recitals, chamber music, and Baroque music. 14
The Los Angeles Philharmonic continues to broaden its audience by touring worldwide, offering an extensive catalog of recorded music, and broadcasting concerts on radio and television. 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 2012, the Los Angeles Philharmonic and Gustavo Dudamel won the Grammy for Best Orchestral Performance for their recording of Brahms Symphony No. 4.
Gustavo Dudamel Music Director Walt and Lilly Disney Chair Esa-Pekka Salonen Conductor Laureate Lionel Bringuier Resident 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
Carrie Dennis Principal John Connell Chair Dale Hikawa Silverman Associate Principal Ben Ullery Assistant Principal
Ariana Ghez Principal Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove*
Richard Elegino Dana Hansen John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel
Joseph Pereira Principal Cecilia and Dudley Rauch Chair
Michele Zukovsky Principal Monica Kaenzig Mauk/Nunis Chair David Howard
Robert deMaine Principal Bram and Elaine Goldsmith Chair Tao Ni Associate Principal Sadie and Norman Lee Chair Ben Hong Assistant Principal Jonathan Karoly
Joanne Pearce Martin Katharine Bixby Hotchkis Chair
David Garrett Barry Gold Jason Lippmann Gloria Lum Serge Oskotsky Brent Samuel
Whitney Crockett Principal Shawn Mouser Associate Principal Michele Grego Patricia Kindel
Rochelle Abramson Camille Avellano Elizabeth Baker Minyoung Chang Tamara Chernyak Robert Vijay Gupta Mischa Lefkowitz Edith Markman Judith Mass Mitchell Newman Barry Socher Lawrence Sonderling Stacy Wetzel
Jack Cousin Peter RofĂŠ John Schiavo Frederick Tinsley
Lyndon Johnston Taylor Principal Dorothy Rossel Lay Chair Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal Ingrid Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Paul Stein Yun Tang Akiko Tarumoto Suli Xue*
Dennis Trembly Principal Christopher Hanulik Principal Oscar M. Meza Assistant Principal David Allen Moore
fLUTe Principal (vacant) Virginia and Henry Mancini Chair Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair Elise Shope Sarah Jackson
piccoLo Sarah Jackson
TUba Norman Pearson
percUSSion Raynor Carroll Principal James Babor Perry Dreiman
conTrabaSSoon Patricia Kindel
Harp Lou Anne Neill
LibrarianS Kazue Asawa McGregor Kenneth Bonebrake Stephen Biagini
perSonneL manaGer Jeffrey Neville
Horn Andrew Bain Principal John Cecil Bessell Chair Eric Overholt Associate Principal Gregory Roosa William and Sally Rutter Chair Brian Drake Loring Charitable Trust Chair Elizabeth Cook-Shen Reese and Doris Gothie Chair Ethan Bearman Assistant Bud and Barbara Hellman Chair
TrUmpeT Thomas Hooten Principal James Wilt Associate Principal Christopher Still Michael Myers
Trombone Nitzan Haroz Principal James Miller Associate Principal Abbott and Linda Brown Chair Herbert Ausman
prodUcTion direcTor Paul M. Geller
condUcTinG feLLoWS Mirga Grazinyte-Tyla Christopher Lees Dietrich Paredes Rafael Payare *on sabbatical 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.