Performances Magazine | LA Phil Gala, October 2023

Thursday, October 5, 2023

LOS ANGELES PHILHARMONIC GUSTAVO DUDAMEL, conductor FRANK GEHRY, honoree

special guests

LUCINDA CHILDS, choreographer and performer

HERBIE HANCOCK, LA Phil Creative Chair for Jazz H.E.R.

GENEVA LEWIS, violin

Welcome from the Gala Co-Chairs

Welcome from the LA Phil Board of Directors

Welcome from the Board Chair

Gala Co-Chairs & Committee

Gala Patrons

The Program

About the Music

About the Artists

Los Angeles Philharmonic

FEATURE: Frank Gehry on Walt Disney Concert Hall

usbank.com/privatewealth

WELCOME FROM THE GALA COMMITTEE CHAIRS

Judy and Tom Beckmen

Georgia and Breck Eisner

Lisa Field

Robyn Field and Anthony O’Carroll

Antonia Hernández

Winnie Kho and Chris Testa

Diane and David Paul

Kristin and Jeff Worthe

As your Gala Committee Chairs, we are honored to extend our warmest greetings to each and every one of you gathered here this evening. Tonight, we celebrate Walt Disney Concert Hall, Frank Gehry, and the Los Angeles Philharmonic’s 20 years of exceptional music-making in this venue unlike any other in the world!

Walt Disney Concert Hall stands as a testament to the power of art to shape communities and transcend time. With its gleaming steel curves and breathtaking acoustics, the Hall symbolizes the harmonious blend of imagination and technical expertise that has come to define the LA Phil. It is a space where musical brilliance thrives and where artists and audiences alike can experience the transformative power of music.

Through your support of this evening’s Gala, the LA Phil is able to extend its reach far beyond the stage of Walt Disney Concert Hall. Your support enables us to nurture the next generation of musicians, to create innovative educational initiatives, and to engage with communities throughout Los Angeles.

From our youth music education programs to our community concerts that bring the joy of music to neighborhoods across Southern California, your kindness opens doors of opportunity and fosters a deeper appreciation for the arts among people of all ages and backgrounds. The philanthropic support of donors is the driving force behind these programs, making them a source of inspiration, empowerment, and hope for thousands of individuals who are touched by the magic of music.

Your commitment and presence tonight are crucial to our mission of making music accessible to all and fostering a deeper appreciation for the arts in our community. Tonight, let us revel in the music, the art, and the company of kindred spirits as we set the stage for another momentous year ahead!

Thank you.

Your Gala Committee Chairs

WELCOME FROM THE LA PHIL

This month, the iconic Walt Disney Concert Hall turns 20. Thanks to architect Frank Gehry and the generosity of Lillian Disney and the Disney family, the building we call home is one of the most beautiful and acoustically sophisticated concert halls in the world. It has allowed us to take on even more ambitious projects, and its Yasuhisa Toyota–designed acoustics have allowed the LA Phil to be enjoyed by audiences with more clarity than ever before.

The LA Phil’s creative relationship with Frank began in 1970, when the visionary architect was hired to solve some tricky acoustics at the Hollywood Bowl. In 1987, his design was chosen for Walt Disney Concert Hall, now an iconic landmark. Since then, Frank’s contributions have continued to elevate our city and the orchestra—from set design on Gustavo Dudamel’s production of Don Giovanni and other major operas to the creation of the Judith and Thomas L. Beckmen YOLA Center at Inglewood and The Grand development, our neighbor across the street from Walt Disney Concert Hall.

As we pay tribute to Frank and the special place he holds in our artistic family, please enjoy this wide-ranging program featuring LA Phil Creative Chair for Jazz Herbie Hancock, dancer and choreographer Lucinda Childs, R&B singer

H.E.R., and, of course, our Music & Artistic Director Gustavo Dudamel and the LA Phil. All proceeds from the gala will support our work onstage and in our community, and for that we deeply thank our donors. As we strive to bring the transformational power of music to every corner of our city, it is your generosity that makes this work possible.

DANIEL SONG

Interim Chief Executive Officer Chief Operating Officer

David C. Bohnett CEO Chair

Los Angeles Philharmonic Association

LOS ANGELES PHILHARMONIC ASSOCIATION

BOARD OF DIRECTORS

CHAIR

Thomas L. Beckmen*

VICE CHAIRS

David C. Bohnett*

Reveta Bowers*

Jane B. Eisner*

David Meline*

Diane Paul*

Jay Rasulo*

DIRECTORS

Nancy Abell

Gregory A. Adams

Julie Andrews

Camilo Esteban Becdach

Linda Brittan

Jennifer Broder

Kawanna Brown

Andrea Chao-Kharma*

R. Martin Chavez

Christian D. Chivaroli, JD

Donald P. de Brier*

Louise D. Edgerton

Lisa Field

David A. Ford

Alfred Fraijo, Jr.

Jennifer Miller Goff*

Carol Colburn Grigor

Marian L. Hall

Suzanne Hart

Antonia Hernández*

Teena Hostovich

Jonathan Kagan*

Darioush Khaledi

Winnie Kho

Francois Mobasser

Margaret Morgan

Leith O’Leary

Andy Park

Sandy Pressman

Richard Raffetto

Geoff Rich

Laura Rosenwald

G. Gabrielle Starr

Jay Stein*

Christian Stracke*

Jason Subotky

Ronald D. Sugar*

Vikki Sung

Jack Suzar

Sue Tsao

Jon Vein

Megan Watanabe

Regina Weingarten

Alyce de Roulet Williamson

WELCOME FROM THE BOARD CHAIR

It is with great excitement that I extend my warmest welcome to you all, as we gather to kick off the LA Phil’s 2023/24 season at Walt Disney Concert Hall. This evening marks not only a brilliant overture to the LA Phil’s artistic journey this year but also a special occasion of celebration.

Tonight, we pay tribute to the visionary Frank Gehry and the illustrious 20-year anniversary of Walt Disney Concert Hall. Music & Artistic Director Gustavo Dudamel has curated a richly diverse concert program, which stands as a testament to the artistic spirit that has defined this remarkable venue for two decades.

Yet this occasion holds a significance beyond the enchantment of the performance. Your presence and generosity here tonight provide essential support, enabling the LA Phil to further enrich our community through transformative music learning and engagement initiatives. Among them, the inspiring YOLA (Youth Orchestra Los Angeles) program, which continues to uplift countless young individuals and their families, nurturing not only musicianship but also life skills that will resonate for years to come.

I extend my heartfelt gratitude to each of you for your support, which makes performances such as tonight’s and countless others possible. As we stand on the precipice of this season, and the dawn of the LA Phil’s third decade at Walt Disney Concert Hall, I could not be more hopeful for the future of music in Los Angeles.

Here’s to an enchanting evening and a season that promises to be nothing short of extraordinary!

THOMAS L. BECKMEN Board Chair Los Angeles Philharmonic Association

ONE NIGHT ONLY IN LAS VEGAS!

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OCTOBER 13, 2023 | PARIS LAS VEGAS

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STAGE AND SCREEN STAR JAMES SNYDER

LEGENDARY MUSCIAL DIRECTOR

MICHAEL ORLAND

TONY AWARD WINNER IDINA MENZEL

GRAMMY NOMINEE ALOE BLACC

LA PHIL GALA CHAIRS & COMMITTEE

HONORARY GALA CHAIRS

Diane Disney Miller

Jennifer Miller Goff

GALA CO-CHAIRS

Judy and Tom Beckmen

Georgia and Breck Eisner

Lisa Field

Robyn Field and Anthony O’Carroll

Antonia Hernández

Winnie Kho and Chris Testa

Diane and David Paul

Kristin and Jeff Worthe

SPONSORSHIP

GALA COMMITTEE

Gregory A. Adams

David C. Bohnett

Thy Bui

California Community Foundation

City National Bank

Leland Clow

David Conney

Nancy and Donald P. de Brier

Jennifer Diener and Eric Small

East West Bank

Kathleen and Jerry Eberhardt

Frank and Berta Gehry

Alexandra Glickman and Gayle Whittemore

Goldman Sachs

Michael and Diane Gorfaine

Carol and Murray Grigor

David and Donna Helm

Andrew and Jacinta Hewitt

Susan Keller and Myron Shapero, M.D.

Dr. Jason King, USC Thornton School of Music

Terri and Jerry Kohl

Ellie and Mark Lainer

Live Nation Hewitt Silva

Larry Steven Londre

Renee and Meyer Luskin

Cindy Miscikowski

Judith S. Mishkin

Margaret Morgan and Wesley Phoa

Anthony and Olivia Neece

Andy Park

Pasadena Showcase House for the Arts

Sandy and Barry Pressman

Ariane and Rich Raffetto

Barbara and Jay Rasulo

Geoff and Koni Rich

Robert Ronus

Carolyn Ronus Randall

Ann M. Ryder

Tom Safran

Dena and Irv Schechter

David and Linda Shaheen

Jennifer Speers

Jeremy Stark and Luanne Hernandez

Eva and Marc Stern

Christian Stracke

Jason Subotky and Anne Akiko Meyers

Jack Suzar and Linda May

Michael E. Tennenbaum

Mary Tong

Sue Tsao

Regina and Gregory Annenberg Weingarten, GRoW @ Annenberg

Valerie Vanaman

Craig Webb

Alyce de Roulet Williamson

Susan Zolla

CONGRATULATIONS

to the music center, la phil, and frank gehry on the 20th anniversary of walt disney concert hall.

The Colburn School joins the LA Phil in celebrating Frank Gehry, whose vision, originality, and boundless imagination inspires Los Angeles—and the world.

We are honored to be his partner in building a home for the next generation of musicians and dancers at Colburn, opening in the 2026-27 season.

colburnschool.edu/future

Above: Colburn Dance Academy ballet dancers on the School’s Grand Avenue balcony.

GALA PATRONS

WDCH 20

INNOVATION LEADERS

Judy and Tom Beckmen

Dunard Fund USA

Carol and Murray Grigor

Terri and Jerry Kohl

Jennifer Miller Goff

David and Diane Paul

Alyce de Roulet Williamson

GRAND PATRON TABLE

Kristin and Jeff Worthe

PLATINUM PATRON TABLE

Breck Eisner

Michael and Jane Eisner

Lisa Field

Robyn Field and A nthony O’Carroll

GOLD PATRON TABLE

Gregory A. Adams

California Community Foundation

Antonia Hernández

Jason Subotky and A nne Akiko Meyers

SILVER PATRON TABLE

Alfred E. Mann Charities

City National Bank

Frank and Berta Gehry

Winnie Kho and Chris Testa

Pasadena Showcase House for the Arts

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Lloyd E. Rigler—Lawrence

E. Deutsch Foundation

Robert Ronus

Carolyn Ronus Randall

Christian Stracke

BRONZE PATRON TABLE

East West Bank

Alexandra Glickman and Gayle Whittemore

Goldman Sachs

Kaiser Permanente of Southern California

Margaret Morgan and Wesley Phoa

GRAND PATRON TICKET

David C. Bohnett

Cindy Miscikowski

Tom Safran

PLATINUM PATRON TICKET

Kathleen and Jerry Eberhardt

Michael and Diane Gorfaine

Michelle Rohe

Eva and Marc Stern

Michael E. Tennenbaum

Sue Tsao

GOLD PATRON TICKET

Larry Steven Londre

Phil and Stephanie Martineau

David and Linda Shaheen

Jack Suzar and Linda May

SILVER PATRON TICKET

Leland Clow

Nancy and Donald P. de Brier

Brad and Louise Edgerton

Darioush and Shahpar Khaledi

Anthony and Olivia Neece

Sandy and Barry Pressman

Dena and Irv Schechter

Abby Sher

Jeremy Stark and Luanne Hernandez

BRONZE PATRON TICKET

Thy Bui

David Conney M.D.

Jennifer Diener and Eric Small

David and Donna Helm

Andrew and Jacinta Hewitt

Susan Keller and M yron Shapero, M.D.

Dr. Jason King, USC

Thornton School of Music

Molly Kirk

Ellie and Mark Lainer

David and Barbara Meline

Coco Miller

Judith S. Mishkin

Andy Park

Ann M. Ryder

Mary Tong

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Valerie Vanaman

Craig Webb

Susan Zolla

CONTRIBUTORS

Robert Attiyeh

Renee and Meyer Luskin

Jennifer Speers

Regina and Gregory

Annenberg Weingarten, GRoW @ Annenberg

IN-KIND WINE SPONSORS

Ashes & Diamonds

Laurel Glen Wines

LA PHIL GALA CELEBRATING FRANK GEHRY

LOS ANGELES PHILHARMONIC

GUSTAVO DUDAMEL, conductor

FRANK GEHRY, honoree

SPECIAL GUESTS:

LUCINDA CHILDS, choreographer and performer

HERBIE HANCOCK, LA Phil Creative Chair for Jazz

H.E.R.

GENEVA LEWIS, violin

J.S. BACH Partita in E major, BWV 1006: Preludio (c. 4 minutes) Geneva Lewis, violin

Esa-Pekka Fog (c. 10 minutes)

SALONEN Choreographed and performed by Lucinda Childs

Herbie HANCOCK Maiden Voyage (c. 10 minutes)

/Vince MENDOZA Herbie Hancock

H .E.R. with the LA Phil (c. 10 minutes)

DEBUSSY La mer (c. 23 minutes)

De l’aube à midi sur la mer (From Dawn to Noon on the Sea)

Jeux des vagues (Play of the Waves)

Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)

Tonight’s program will be presented without intermission.

Esa-Pekka SALONEN: Fog - Presented under license by G . Schirmer, Inc. o/b/o Chester Music Ltd., copyright owners.

Programs and artists subject to change.

Thursday October 5, 2023

7PM

This evening is made possible with the proud support of Rolex.

Proceeds from the LA Phil Gala fundraiser will support our community programs, which bring the joy of music and music-making into the lives of 150,000 children and families each year.

Gustavo Dudamel and the musicians of the Los Angeles Philharmonic are donating their services for this concert.

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Kaiser Permanente cares for all that is you

Because you’re more than one note — you’re a symphony.

THE PLAY OF WATER

In ancient traditions around the world, water is the element associated with intuition and imagination, with emotion and feelings. It can be still or in motion, and with its ability to shift shapes from liquid to solid or gas, water is also identified with change and variation.

Gustavo Dudamel has put all of these aspects into play in his curation of this gala program, designed to mark the 20th anniversary of Walt Disney Concert Hall. Not coincidentally, they also characterize the Hall itself and the work of its architect, Frank O. Gehry, whose creations at any scale can seem restless and serene at the same time.

Gehry has a long-standing fascination with fish, which has found literal expression in designs ranging from table lamps to monumental sculptures. But the waterdefined form and function of fish can be manifested more metaphorically as well, as in the undulating curves of Walt Disney Concert Hall, clad in shimmering scales. Gehry is also an avid sailor, and he found inspiration for the elegantly dynamic view of the Hall from the corner of Grand Avenue and First Street in the “wing on wing” formation of two sails at a 180-degree angle. That sailing term became the

title of Esa-Pekka Salonen’s symphonic fantasy composed for the LA Phil’s first season in the Hall as “an homage to an extraordinary building by an extraordinary man.”

Whatever its inspiration, architectural eloquence does not guarantee that music will speak in it with equal clarity and power. As the new building was nearing completion, Gehry called Salonen (then the LA Phil’s Music Director) with the desire to hear actual music in the room. Salonen asked Principal Concertmaster Martin Chalifour to join them on site. There, Gehry and Salonen in hard hats stood in the balcony area while Chalifour found a place in front of the gaping hole still waiting for its stage.

“We were incredibly nervous because obviously that was the first critical moment— how does music sound in this place?” Salonen later recalled. “And then Martin started playing the E-major Prelude, and all these beautiful sounds floated in the air. We were so happy. It was a tearful moment for both of us.”

That Prelude from Bach’s E-major Partita for solo violin is very fish-like in its own way, all flashing scales and darting

patterns. Bach’s distillation of contrapuntal techniques into basically single lines in the three sonatas and three partitas he wrote for solo violin in 1720 is astonishing for its expressive vigor even more than for the sheer technical mastery displayed.

The memory of that Prelude, the first music heard in Walt Disney Concert Hall, returned to Salonen 16 years later as the inspiration for Fog, a 90th-birthday tribute to Gehry. “It is a fantasy around the Bach E-major Prelude (from the Partita in E, BWV 1006), whose harmonic and melodic structure is almost omnipresent, sometimes clearly identifiable, sometimes veiled or completely hidden,” the composer writes. The architect is well-represented symbolically in the work.

“FOG” are the initials of his name, of course, but Foggy is the name of his sailboat and Salonen also found the pitches for much of the harmony in the letters of Gehry’s name.

Joey Terrill, Painted by Her Brother, 1983 (detail). Acrylic on canvas. Frame 25¼ × 31¼ in. (64.1 × 79.4 cm). Courtesy of the artist and Ortuzar Projects, New York. Photo: Timothy Doyon

A number of Salonen’s works have been choreographed, and tonight Fog gets its first dance treatment, courtesy of Lucinda Childs, a legend of American modern and postmodern dance noted for her investigations of space through patterned movement. Forty years ago, she collaborated with Gehry and composer John Adams in Available Light, a large-scale performance piece for which Gehry designed the set. When the work was revived at Walt Disney Concert Hall in 2015, Gehry recalled the day he watched Childs in her studio. “I sat quietly in a corner, and she danced privately for me for an hour or so. It was probably one of the most unforgettable experiences of my life.”

Jazz is another area of intense interest and joy for Gehry, and Herbie Hancock, the LA Phil’s Creative Chair for Jazz, has been part of the Walt Disney Concert Hall family since its inaugural season. “Maiden Voyage,” the title track from Hancock’s 1965 Blue Note album, continues the aquatic theme. “The sea has often stirred the imagination of creative minds involved in all spheres of art,” Hancock wrote. “This music attempts to capture its vastness and majesty, the splendor of a sea-going vessel on its maiden voyage, the graceful beauty of the playful dolphins, the constant struggle for survival of even the tiniest sea creatures, and the awesome destructive power of the hurricane, nemesis of seamen.”

A much newer member of this circle of artistic collaborators is H.E.R., the Grammy- and Oscar-winning Bay Area R&B

singer-songwriter. She made her Hollywood Bowl debut in 2019, and in 2021 she joined Gustavo Dudamel and the LA Phil there for her first concerts ever with full orchestra. Her work is noted for its emotional power and social consciousness, which makes it a natural fit for this company of icons of inspiration.

The play of water has seldom been expressed more, well, fluidly than in Debussy’s La mer Indeed, the second of these three symphonic sketches is titled “Play of the Waves.” Not that Debussy tried any literal depiction of the sea through sound. It was the generalized character or spirit of the sea and the perception of it that interested him. “I have countless reminiscences,” Debussy wrote to a friend. “This matters more, in my opinion, than a reality.”

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WALT DISNEY

CONCERT HALL HOUSE STAFF

Sergio Quintanar

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Master Electrician

Kevin F. Wapner

Master Audio/Video

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House Manager

Henken

Debussy composed the piece between August 1903 and March 1905. This was relatively quick work by his usual painstaking standards, and at a time of great personal turmoil. Debussy was very responsive to the mutability of the sea, to the quick changes of light and wind and the tensions between the bright surface and the deeper colors and currents beneath. Debussy evokes both the broad sway and the flickering spatter of the sea with original techniques that owe little or nothing to pictorial Romantic stereotypes. Instead, he shows that the characteristic tools we often associate in his music with sensuous exoticism—the wholetone scale and chords built on fourths and fifths, for example— can also create a sense of elemental space. —John

The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada, Local No. 33.

GUSTAVO DUDAMEL

Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, he has introduced classical music to new audiences around the globe and has helped provide access to the arts for countless people in underresourced communities.

Dudamel currently serves as Music and Artistic Director of the Los Angeles Philharmonic and Music Director of the Simón Bolívar Symphony Orchestra, and in 2026, he becomes the Music and Artistic Director of the New York Philharmonic, continuing a legacy that includes Gustav Mahler, Arturo Toscanini, and Leonard Bernstein.

Dudamel is one of the few classical musicians to become a bona fide popculture phenomenon. His film credits include Steven Spielberg’s adaptation of West Side Story, Star Wars: The Force Awakens, and The Simpsons, and he led the LA Phil with Billie Eilish in the concert film Happier Than Ever: A Love Letter to Los Angeles. He has performed at the Super Bowl halftime show, the Academy Awards, and the Nobel Prize concert, and has worked

with international superstars Christina Aguilera; Ricky Martin; Tyler, The Creator; Coldplay; and others. His extensive discography includes 67 releases and four Grammy Awards.

Inspired by his transformative experience as a youth in Venezuela’s immersive musical training program El Sistema, he created the Dudamel Foundation in 2012, which he co-chairs with his wife, actress and director María Valverde, with the goal “to expand access to music and the arts for

young people by providing tools and opportunities to shape their creative futures.”

In July and August 2022, the Dudamel Foundation brought its Encuentros initiative to the Hollywood Bowl as part of the 100thanniversary season, in a two-week intensive global leadership and orchestral training program for young musicians from around the world that culminated in a concert at the Hollywood Bowl and a tour with the Orquesta del Encuentro to the legendary Greek Theatre in Berkeley, CA.

FRANK GEHRY

The designs of Frank Gehry—one of the most innovative architects working today—grace numerous metropolitan skylines around the world. Known for the creative use of materials and experimentation with sculptural forms, Gehry’s buildings incorporate a wealth of textures that lend a sense of movement to his dynamic structures. This innovation and interest in unexpected materials can be seen early in his career with Easy Edges (1969–73) and Experimental Edges (1979–82), a series of chairs and tables made of industrial corrugated cardboard, and the later Knoll furniture series (1989–92), which was made from pliable bentwood. Gehry was also commissioned by Formica Corp. to use ColorCore, a translucent plastic laminate product, in a series of lamps consisting of radiant snake and fish forms (1983–86). These first Fish Lamps were shown in Frank Gehry: Unique Lamps at the original Gagosian Gallery in Los Angeles in 1984. Since then, the fish has been a recurring motif

in Gehry’s work, including the Fish Sculpture at Vila Olímpica in Barcelona, Spain (1989–92), and the Standing Glass Fish for the Minneapolis Sculpture Garden (1986). It can also be recognized in the undulating, curvilinear forms of the Guggenheim Museum in Bilbao, Spain (1991–97).

Gehry was born in 1929 in Toronto, Canada. He received a Bachelor of Arts degree in 1954 from the University of Southern California and completed graduate coursework in city planning at Harvard University. Gehry’s drawings, models, designs, and sculptures have been exhibited in major museums throughout the world. Solo exhibitions include Frank Gehry: Architect, Solomon R. Guggenheim Museum, New York (2001); Frank Gehry, Architect: Designs for Museums, Weisman Art Museum, Minneapolis (2003, traveled to Corcoran Gallery of Art, Washington, DC); Frank O. Gehry since 1997, Vitra Design Museum, Weil

am Rhein, Germany (2010); Frank Gehry, Fondation Louis Vuitton, Paris (2014), Centre Pompidou, Paris (2014), and Los Angeles County Museum of Art (2015); I Have an Idea, 21_21 Design Sight, Tokyo (2015); and Fondation Louis Vuitton Building in Paris by Frank Gehry, Espace Louis Vuitton, Venice, Italy (2016). Among Gehry’s most celebrated buildings are the Vitra International Manufacturing Facility and Design Museum, Weil am Rhein, Germany (1989); Guggenheim Museum Bilbao, Spain (1997); Walt Disney Concert Hall, Los Angeles (2003); Fondation Louis Vuitton, Paris (2014); University of Technology Sydney Business School, Sydney, Australia (2015); and the LUMA / Parc des Ateliers in Arles, France (2021).

Gehry has received numerous awards and honors, including the Pritzker Architecture Prize (1989); Wolf Prize in Arts (1992); Praemium Imperiale in Architecture, Japan Art Association (1992); Dorothy and Lillian Gish Prize (1994); Chrysler Design Award (1995); US National Medal of Arts (1998); Gold Medal, American Institute of Architects (1999); Royal Gold Medal, Royal Institute of British Architects (2000); Lifetime Achievement Award, Americans for the Arts (2000); Henry C. Turner Prize for Innovation in Construction Technology (2007); and US Presidential Medal of Freedom (2016).

Gehry lives and works in Los Angeles.

LUCINDA CHILDS

Lucinda Childs began her career as choreographer in the early 1960s as a member of the seminal Judson Dance Theater. She formed her own company in 1973 and three years later was featured in the landmark avant-garde opera Einstein on the Beach by Philip Glass and Robert Wilson, for which she won an Obie Award. In 1977, she and Wilson co-directed and performed in I was sitting on my patio this guy appeared I thought I was hallucinating They revived the work for the Festival d’Automne in Paris in 2021, where they also created an evening-length work titled Bach 6 Solo with the violinist Jennifer Koh.

In 1979, Childs choreographed one of her most enduring works, Dance, with music by Philip Glass and film decor by Sol LeWitt, for which she was awarded a Guggenheim fellowship. Dance toured internationally and has been added to the repertory of the Lyon Opera Ballet. In 2015, she revived Available Light, created in 1983 with music by John Adams and a split-level set designed by Frank Gehry, for the Festival d’Automne in Paris. Available Light was presented at the Mostly Mozart Festival in New York in 2018, and that same year Childs’ company performed some of her early work as part of the exhibition Judson Dance Theater: The Work Is Never Done at the Museum of Modern Art in New York.

In addition to work for her own group, Childs has choreographed more than 30 works for major ballet companies. She has also directed and choreographed a number of contemporary and 18th-century operas, most recently Philip Glass’ Akhnaten for l’Opéra de Nice Côte d’Azur with Childs’ role as the narrator on film. The premiere was streamed in November 2020 and live performances took place in Nice in November 2021.

Childs’ other collaborations with Robert Wilson include H—100 seconds to midnight and Letter to a Man, the latter based on Nijinsky’s diaries and performed by Mikhail Baryshnikov. She has also appeared as an actor in Wilson’s productions of Heiner Müller’s Quartett and Marguerite Duras’ La maladie de la mort with Michel Piccoli as well as Adam’s Passion with music by Arvo Pärt.

Childs’ opera productions include Gluck’s Orfeo ed Euridice for the Los Angeles Opera; Mozart’s Zaide, Stravinsky’s Le rossignol and

Oedipus rex, Vivaldi’s Farnace, and John Adams’ Dr. Atomic for the Opéra national du Rhin in Strasbourg; Handel’s Alessandro at the Megaron Concert Hall in Athens; and Lully’s Atys and Leclair’s Scylla and Glaucus for the Theater Kiel in Germany.

In 2016, in an exhibit titled Nothing Personal, Childs’ choreographic scores were shown at the Thaddeus Ropac Gallery in Paris in collaboration with the Centre Nationale de la Danse, to which she has donated her archive.

Childs holds the rank of Commandeur in France’s Ordre des Arts et des Lettres. In 2017, she received the Golden Lion award from the Venice Biennale and the Samuel H. Scripps American Dance Festival award for lifetime achievement. She has been inducted into the Hall of Fame of the National Museum of Dance in Saratoga Springs, NY, and received an honorary doctorate from the Université Côte d’Azur in 2021. She received the Dance Magazine award in December 2022.

HERBIE HANCOCK

Now in the sixth decade of his professional life, Herbie Hancock remains where he has always been: at the forefront of world culture, technology, business, and music.

Herbie Hancock has been

an integral part of every popular music movement since the 1960s. As a member of the Miles Davis Quintet that pioneered a groundbreaking sound in jazz, he also developed new approaches on his own recordings, followed by his work in the ’70s—with record-breaking albums such as Headhunters

that combined electric jazz with funk and rock in an innovative style that continues to influence contemporary music.

“Rockit” and “Future Shock” marked Hancock’s foray into electronic dance sounds; during the same period he also continued to work in an acoustic setting with V.S.O.P

Hancock received an Academy Award for his ’Round Midnight film score and 14 Grammy Awards, including Album of the Year for River: The Joni Letters and two 2011 Grammy Awards for the globally collaborative album The Imagine Project.

Hancock serves as Creative Chair for Jazz for the Los Angeles Philharmonic Association and as Institute Chairman of the Herbie Hancock Institute of Jazz. In 2011, Hancock was named a UNESCO Goodwill Ambassador and in December 2013 received a Kennedy Center Honor. His memoir, Herbie Hancock: Possibilities, was published by Viking in 2014, and in February 2016, he was awarded the Grammy Lifetime Achievement Award. Hancock is currently in the studio at work on a new album.

GENEVA LEWIS

New Zealand-born violinist Geneva Lewis has forged a reputation as a musician of consummate artistry whose performances speak from and to the heart. She is the recipient of a 2022 BorlettiBuitoni Trust Award and a 2021 Avery Fisher Career Grant and is Grand Prize winner of the 2020 Concert Artists Guild Competition. Additional accolades include Kronberg Academy’s Prince of Hesse Prize and being named a Performance Today Young Artist in Residence, as well as Musical America’s New Artist of the Month. Most recently, Lewis was named one of BBC Radio 3’s New Generation Artists.

Since her solo debut at age 11 with the Pasadena POPS, Lewis has gone on to perform with orchestras including the Orpheus Chamber Orchestra and Pasadena Symphony, and with conductors including Nicholas McGegan, Michael Feinstein, and Sameer Patel. The 2022/23 season included performances with the Auckland Philharmonia, North Carolina Symphony, Kansas City Symphony, and Austin Symphony. In recital, recent and upcoming highlights include performances at

Wigmore Hall, Tippet Rise, Philadelphia Chamber Music Society, Washington Performing Arts, Merkin Hall, and the Dame Myra Hess Memorial Concerts.

Deeply passionate about collaboration, Lewis has had the pleasure of performing with such prominent musicians as Jonathan Biss, Glenn Dicterow, Miriam Fried, Kim Kashkashian, Gidon Kremer, Marcy Rosen, Sir András Schiff, and Mitsuko Uchida. She is also a founding member of the Callisto Trio, Artists-in-Residence at the Da Camera Society in Los Angeles.

An advocate of community engagement and music education, Lewis was selected for the New England Conservatory’s Community

Performances and Partnerships

Program’s Ensemble Fellowship, through which her string quartet created interactive educational programs for audiences throughout Boston.

Lewis received her Artist Diploma and Bachelor of Music as the recipient of the Charlotte F. Rabb Presidential Scholarship at the New England Conservatory, studying with Miriam Fried. Prior to that, she studied with Aimée Kreston at the Colburn School of Performing Arts.

Lewis is currently performing on a violin by Zosimo Bergonzi of Cremona, c. 1770, courtesy of Guarneri Hall NFP and Darnton & Hersh Fine Violins, Chicago.

H.E.R.

In a short period of time, H.E.R. has accrued over 8 billion combined audio and video streams worldwide— and counting—of the breakthrough projects H.E.R. (RIAA-certified Platinum), I Used To Know Her, and hit singles including “Slide,” the powerful track and MTV Video Music Award-winning video “I Can’t Breathe,” and her latest, “Damage.” Accumulating 13 Grammy nominations and 4 wins in just three years, H.E.R. has proven herself an R&B force to be reckoned with. In 2019, the singer/songwriter/ multi-instrumentalist won two Grammy Awards for Best R&B Album (H.E.R.) and Best R&B Performance (“Best Part” featuring Daniel Caesar) and an NAACP Image Award for Outstanding Female Artist, among additional awards and accolades.

H.E.R. has captivated audiences with stellar live performances at Super Bowl LV, on Saturday Night Live, Grammy Awards, the Today show, Good Morning America, Let’s Go Crazy: The Grammy Salute to Prince, A BET COVID-19 Relief Effort special,

Graduate Together: America Honors the High School Class of 2020, and all the late-night television shows: The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live!, The Late Show with Stephen Colbert, The Late Late Show with James Corden, and Late Night with Seth Meyers. She has also participated in fundraising activities to benefit various charity efforts including COVID relief and Black Lives Matter.

H.E.R. and producer partner Live Nation Urban introduced Lights On Festival, the first female-owned and -curated R&B festival in decades.

In addition to starring in

Pepsi’s 2020 “Zero Sugar. Done Right” Super Bowl LIV commercial alongside Missy Elliott, she launched her own eyewear partnership with Diff with a charitable component, a Tommy Hilfiger Capsule collaboration with Lewis Hamilton, and her own signature guitar line with Fender.

H.E.R. won an Academy Award for “Fight for You,” and her powerful single “I Can’t Breathe” won Song of the Year at the 2021 Grammy Awards. She also performed a soulstirring rendition of “America the Beautiful” at the Super Bowl to glowing reviews.

LOS ANGELES PHILHARMONIC

The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2023/24 season is the orchestra’s 105th.

Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, The Ford, and the Hollywood Bowl. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the worldfamous Hollywood Bowl, host to the finest artists from all genres of music. Situated in a 32-acre park and under the stewardship of the LA Phil since December 2019, The Ford

presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles.

The orchestra’s involvement with Los Angeles extends far beyond its venues. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles). Through YOLA, inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purposebuilt facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry.

The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston,

and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.

The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy Award-winning recordings featuring the music of Johannes Brahms, Charles Ives, and Andrew Norman.

Deutsche Grammophon released a comprehensive box set in honor of the orchestra’s centennial.

The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity. Their names are Georg Schnéevoigt (1927-1929), Artur Rodziński (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).

LOS ANGELES PHILHARMONIC

Gustavo Dudamel Music & Artistic Director

Walt and Lilly Disney Chair

Zubin Mehta

Conductor Emeritus

Esa-Pekka Salonen

Conductor

Laureate

John Adams

John and Samantha Williams

Creative Chair

Herbie Hancock

Creative Chair for Jazz

Rodolfo Barráez

Assistant Conductor

Ann Ronus Chair

FIRST VIOLINS

Martin Chalifour

Principal Concertmaster

Marjorie Connell Wilson Chair

Nathan Cole

First Associate

Concertmaster

Ernest Fleischmann Chair

Bing Wang

Associate

Concertmaster

Barbara and Jay Rasulo Chair

Akiko Tarumoto

Assistant

Concertmaster

Philharmonic Affiliates Chair

Rebecca Reale

Michele Bovyer

Deanie and Jay Stein Chair

Rochelle Abramson

Camille Avellano

Margaret and Jerrold L.

Eberhardt Chair

Minyoung Chang

I.H. Albert

Sutnick Chair

Tianyun Jia

Jordan Koransky

Edith Markman

Ashley Park

Stacy Wetzel

Justin Woo

SECOND VIOLINS

Lyndon Johnston Taylor

Principal

Dorothy Rossel

Lay Chair

Mark Kashper Associate Principal

Kristine Whitson

Johnny Lee

Dale Breidenthal

Mark Houston

Dalzell and James

Dao-Dalzell Chair for Artistic Service to the Community

Ingrid Chun

Jin-Shan Dai

Chao-Hua Jin

Jung Eun Kang

Nickolai Kurganov

Varty Manouelian

Michelle Tseng

Suli Xue

Ayrton Pisco*

Nebyu Samuel*

VIOLAS

Teng Li Principal

John Connell Chair

Ben Ullery Assistant Principal

Jenni Seo

Dana Lawson

Richard Elegino

John Hayhurst

Ingrid Hutman

Michael Larco

Hui Liu

Meredith Snow

Leticia Oaks Strong

Minor L. Wetzel

Jarrett Threadgill*

Nancy and Leslie Abell

LA Phil Resident

Fellow Chair

CELLOS

Robert deMaine

Principal

Bram and Elaine Goldsmith Chair

Ben Hong Associate

Principal

Sadie and Norman Lee Chair

Dahae Kim Assistant Principal

Jonathan Karoly

David Garrett

Barry Gold

Jason Lippmann

Gloria Lum

Linda and Maynard

Brittan Chair

Serge Oskotsky

Brent Samuel+

Ismael Guerrero*

BASSES

Christopher Hanulik

Principal

Diane Disney Miller and Ron Miller Chair

Kaelan Decman Associate Principal

Oscar M. Meza

Assistant Principal

David Allen Moore

Ted Botsford

Jack Cousin

Jory Herman

Brian Johnson

Peter Rofé

Nicholas Arredondo*

FLUTES

Denis Bouriakov

Principal

Virginia and Henry Mancini Chair

Catherine Ransom Karoly

Associate Principal

Mr. and Mrs. H.

Russell Smith Chair

Elise Shope Henry

Mari L. Danihel Chair

Sarah Jackson

Piccolo

Sarah Jackson

OBOES

Marc Lachat

Principal

Carol Colburn

Grigor Chair

Marion Arthur Kuszyk

Associate

Principal

Anne Marie Gabriele

Carolyn Hove

English Horn

Carolyn Hove

CLARINETS

Boris

Allakhverdyan

Principal

Michele and Dudley Rauch Chair

Burt Hara Associate Principal

Andrew Lowy

Michael Taylor

Eiffert

E-Flat Clarinet

Andrew Lowy

Bass Clarinet

Michael Taylor Eiffert

BASSOONS

Whitney Crockett Principal

Shawn Mouser Associate Principal

Ann Ronus Chair

Michele Grego++

Evan Kuhlmann

Contrabassoon

Evan Kuhlmann

HORNS

Andrew Bain Principal

John Cecil

Bessell Chair

David Cooper Associate Principal

Gregory Roosa

Alan Scott

Klee Chair

Amy Jo Rhine

Loring Charitable Trust Chair

Elyse Lauzon

Reese and Doris

Gothie Chair

Ethan Bearman Assistant

Bud and Barbara Hellman Chair

Elizabeth Linares Montero*

TRUMPETS

Thomas Hooten

Principal

M. David and Diane

Paul Chair

James Wilt

Associate Principal

Nancy and Donald

de Brier Chair

Christopher Still

Ronald and Valerie

Sugar Chair

Jeffrey Strong

TROMBONES

David Rejano

Cantero Principal

James Miller Associate Principal

Judith and Thomas

L. Beckmen Chair

Paul Radke

Bass Trombone

John Lofton

Miller and Goff

Family Chair

TUBA

Mason Soria

TIMPANI

Joseph Pereira Principal

Cecilia and Dudley

Rauch Chair

David Riccobono

Assistant Principal

PERCUSSION

Matthew Howard Principal

James Babor

Perry Dreiman

David Riccobono

KEYBOARDS

Joanne Pearce

Martin

Katharine Bixby Hotchkis Chair

HARP

Emmanuel Ceysson Principal

Ann Ronus Chair

LIBRARIANS

Stephen Biagini

Benjamin Picard

KT Somero

CONDUCTING FELLOWS

Carlos Ágreda

Ross Jamie Collins

Michelle Di Russo

Anna Handler

* Judith and Thomas L. Beckmen LA Phil Resident Fellow

+ On sabbatical

The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.

The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

FRANK GEHRY ON WALT DISNEY CONCERT HALL

Walt Disney Concert Hall opened its doors 20 years ago, but the process of conceiving the shapes and form of the iconic venue began in 1987. From initial sketches for the international architectural competition, which led to the selection of Frank Gehry, to construction and the final opening, the hall evolved as Gehry refined his ideas.

In honor of the 20th anniversary of his accomplishment, the Getty Research Institute, which holds the Frank Gehry archive, has curated an exhibition called Modeling Sound that showcases Gehry’s work with six architectural models documenting the design process. Modeling Sound is on view in BP Hall throughout the month of October. The Getty Research Institute also interviewed Gehry about the history of his work on Walt Disney Concert Hall for the digital exhibition Sculpting Harmony, which features more than 150 models, sketches, and archival photographs tracing the concert hall’s development. Sculpting Harmony is available at gehry.getty.edu. Selections from the interview can be read below.

appointed the architect for Walt Disney Concert Hall, the first thing I did was go to Berlin and stay there for a week. I attended all of the concerts in the Scharoun hall and experienced the intimacy that he achieved. He was a master of people-feeling architecture.

On connecting the audience with the musicians… I’ve talked to actors about this, and they always say that [feeling the audience in the room] is important. Musicians also feel that. They can feel it when the audience is disconnected, when there’s no rapport. And so that’s what I was trying to do. The concert hall before this had Continental seating, which meant the audience was spread out on the aisle so people could [more easily] walk by. Walt Disney Concert Hall’s [layout] is harder to get in and out of but feels more intimate. The payoff is incredible. The musicians tell me all the time that they feel the audience, and the audience tells me they feel

so connected to the musicians. It makes a big difference.

The space connecting the audience and the performer is the most important part of it. When we were roughly 90% complete with the building, the actress Annette Bening happened to visit with Warren Beatty, her husband. I’ll never forget this. She walked out on stage and stood there for about five minutes, and she turned to me and said, “This is it. This works. I get it. Thank you.”

On other halls that inspired him…

The architect of the Berlin Philharmonie concert hall was Hans Scharoun. When I was

If you go to his library, which is across the road from the Philharmonie, you sit down and you feel like you’re at home. People try to copy this. It’s more subtle than just surrounding the artist with seating. So we ended up [adjusting that idea] to still place seats around the stage but balance for acoustics. It starts to break down the shoe box model that was the paradigm of concert halls for many years. I decided to play with that idea, to not do the fan-shaped concert hall like Scharoun but go more to a hybrid shoe box like Concertgebouw [in Amsterdam].

On using wood inside the concert hall…

There are concert halls in Germany that are plaster and are beautiful. I’m not against that. We looked at that here and decided that the wood had a warmth to it that brought people feeling closer together.

“THE MUSICIANS TELL ME ALL THE TIME THAT THEY FEEL THE AUDIENCE, AND THE AUDIENCE TELLS ME THEY FEEL SO CONNECTED TO THE MUSICIANS.”

On building the organ…

It was quite a saga. Ernest Fleischmann, who was the executive director of the LA Phil, didn’t want any distractions from the music. And it became clear to me that since there was going to be an organ in the hall, that it was the one opportunity to make a musical instrument that had some movement to it, some excitement architecturally that would be a centerpiece kind of sculpture.

The simplest thing we could do without getting ourselves in trouble was to break the pipes out and make a kind of a cluster, almost like a floral arrangement where the pipes are flowers. We worked with the organ builder [Manuel Rosales] to [develop] a sense of movement, something as a focal point. That led to this design.

On knowing the acoustics worked…

When the hall was nearly completed, I called [then Music Director] Esa-Pekka Salonen one night and said, “Esa-Pekka, I have calculated in my head the amount of absorptive material and reflective material, and my gut tells me it’s close.” I know it’s all under construction and that we’re going to be standing

on poles in the floor. But I said, “Could you bring a musical instrument with you?”

He brought a musical instrument, all right. He brought Martin Chalifour, the concertmaster of the LA Phil. I brought my son Sam, and the four of us [stood in the hall]. The stage wasn’t quite finished, so it was wobbly. Martin stood where the conductor would be and played his violin. He did unaccompanied Bach. And it was so beautiful. I realized that Esa-Pekka, Sam, and I were holding hands, and we started to cry. It was so beautiful because we knew the sound was there.

Modeling Sound is part of the LA Phil Insight initiative generously supported by Linda and David Shaheen.

COUNTY OF LOS ANGELES

The mission of the Los Angeles County Department of Arts and Culture is to advance arts, culture, and creativity throughout LA County. We provide leadership, services, and support in areas including grants and technical assistance for nonprofit organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross-sector creative strategies that address civic issues. All of this work is framed by our longstanding commitment to fostering access to the arts and by the County’s Cultural Equity and Inclusion Initiative.

The Los Angeles County Arts Commission supports and advocates for the mission, vision, and values of the Los Angeles County Department of Arts and Culture. The Commission is an advisory group to the Board of Supervisors, with three appointees for each District.

The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.

BOARD OF SUPERVISORS

Hilda L. Solis

Holly J. Mitchell

Lindsey P. Horvath

Janice K. Hahn Chair

Kathryn Barger

DEPARTMENT OF ARTS AND CULTURE

Kristin Sakoda

Director

COUNTY ARTS COMMISSION

Liane Weintraub

President

Leticia Buckley

Vice President

Patrisse Cullors

Secretary

Madeline Di Nonno

Executive Committee

Eric R. Eisenberg

Immediate Past President

Pamela Bright-Moon

Diana Diaz

Sandra Hahn

Helen Hernandez

Constance Jolcuvar

Alis Clausen Odenthal

Anita Ortiz

Jennifer Price-Letscher

Randi Tahara

Kathryn Barger FIFTH DISTRICT

Lindsey P. Horvath THIRD DISTRICT CHAIR PRO TEM

Holly J. Mitchell SECOND DISTRICT

Hilda L. Solis FIRST DISTRICT

Janice K. Hahn FOURTH DISTRICT CHAIR