Performances Magazine | LA Phil, October 2021

OCTOBER 2021

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ABOUT THE2021 OCTOBER PROGRAM

CONTENTS 6

WELCOME MESSAGE FROM THE CEO

7

ABOUT THE LA PHIL

12

NEWS: The Latest from the LA Phil

18

SUPPORT THE LA PHIL

MONTHLY PROGRAM • OCTOBER 14–31 P1

OCT 14–17 LA Phil: Dudamel Conducts Strauss

P15 OCT 29–31 LA Phil: Tchaikovsky and Saariaho with Mälkki

P6

OCT 17 Organ: Cameron Carpenter

P21 OCT 31 Halloween Organ, Film & Music: Dr. Jekyll and Mr. Hyde

P10 OCT 21–24 LA Phil: Dudamel Conducts Mahler

DR. JEKYLL AND MR. HYDE

LOS ANGELES PHILHARMONIC

BEATRICE RANA, PIANO WALT DISNEY CONCERT HALL

cover images , counterclockwise from top: GUSTAVO DUDAMEL, GOLDA SCHULTZ, SUSANNA MÄLKKI, AND JESSIE MONTGOMERY

2 PERFORMANCES MAGAZINE

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Publisher Jeff Levy Art Director Carol Wakano Production Manager Glenda Mendez Production Artist Diana Gonzalez Digital Manager Whitney Lauren Han Advertising Director Walter Lewis Account Directors Kerry Baggett, Jan Bussman, Jean Greene, Tina Marie Smith

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Advertising Walter.Lewis@ CaliforniaMediaGroup.com Website Whitney.Han@ CaliforniaMediaGroup.com Circulation Christine.Roessler@ CaliforniaMediaGroup.com Honorary President Ted Levy For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: 310.280.2890 Visit Performances Magazine online at socalpulse.com Performances Magazine is published by California Media Group to serve performing arts venues throughout the West. © 2021 California Media Group.

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4 PERFORMANCES MAGAZINE

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LETTER FROM THE CEO

LOS ANGELES PHILHARMONIC ASSOCIATION

Board of Directors CHAIR

Margaret Morgan

Thomas L. Beckmen*

Leith O’Leary Louise Peebles

VICE CHAIRS

WELCOME BACK! The start of every season is a special moment for us. The concerts on our schedule begin months, in some cases years, earlier, with a single idea around a piece of music or composer who inspires us, a performer we want to bring to Los Angeles for a collaboration, or a theme that we want to explore musically. When the season finally comes after countless conversations, we get to listen as those ideas come to life.

But while the launch of every season is special for us, 2021/22 is undoubtedly different.

Every one of us on stage, working behind the scenes, and in the audience has been changed by the events of the past 19 months. 579 days passed between LA Phil concerts at Walt Disney Concert Hall. During that time, music has comforted us, excited us, maybe even made us feel less alone in the era of shelter in place, but some things are best when they’re shared.

This season is all about coming together and sharing experiences, whether it’s the communal event of a concert or the sharing of personal and cultural experiences that happens when we open ourselves to listen closely to music created by artists who navigate a different world than our own. I invite you to rediscover live music with your neighbors and listen with fresh ears and an open heart. We are all so glad you’re here.

Chad Smith Chief Executive Officer David C. Bohnett CEO Chair Los Angeles Philharmonic Association

R. Joseph Plascencia*

David C. Bohnett*

Sandy Pressman

Jerrold L. Eberhardt*

Ann Ronus

Jane B. Eisner*

Laura Rosenwald

David Meline*

Nancy S. Sanders

Diane Paul*

G. Gabrielle Starr

Jay Rasulo*

Jay Stein*

DIRECTORS

Jason Subotky

Christian Stracke* Gregory A. Adams

Ronald D. Sugar*

Julie Andrews

Jack Suzar

Reveta F. Bowers*

Sue Tsao

Linda Brittan

Jon Vein

Jennifer Broder

Megan Watanabe

Kawanna Brown

Alyce de Roulet

Andrea Chao-Kharma*

Williamson

R. Martin Chavez

Irwin Winkler

Christian D.

Debra Wong Yang

Chivaroli, JD Mari L. Danihel

HONORARY LIFE

Donald P. de Brier*

DIRECTORS

Louise D. Edgerton

Frank Gehry

Marti Farley

Ginny Mancini

Lisa Field

Bowen H. “Buzz”

David A. Ford

McCoy

Alfred Fraijo, Jr. David Gindler

*Executive Committee

Jennifer Miller Goff*

Member as of

Lenore S. Greenberg

October 1, 2020

Carol Colburn Grigor Antonia Hernandez Megan Hernandez Teena Hostovich Jonathan Kagan* Darioush Khaledi Francois Mobasser

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ABOUT THE PROGRAM ABOUT THE LA PHIL

GUSTAVO DUDAMEL Music & Artistic Director, Walt and Lilly Disney Chair 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, Dudamel has introduced classical music to new audiences around the world and has helped to provide access to the arts for countless people in underserved communities. As the Music & Artistic Director of the Los Angeles Philharmonic, now in his 12th season, Dudamel’s bold programming and expansive vision led The New York Times to herald the LA Phil as “the most important orchestra in America—period.”

Over the course of the COVID-19 pandemic, Dudamel has committed even more time and energy to his mission of bringing music to people across the globe, firm in his conviction that the arts play an essential role in creating a more just, peaceful, and integrated society.

A landmark event was the highly anticipated launch of Symphony, a touring virtual reality project in collaboration with “la Caixa” Foundation that features Dudamel and 101 musicians from 22 countries in a state-of-the-art, immersive VR film experience. The free touring exhibition, housed in two mobile pop-up cinemas, launched in Barcelona and will travel to hundreds of towns across Spain and Portugal in order to allow tens of thousands of people to have access to the power of symphonic music.

In April 2021, it was announced that Dudamel would join the Paris Opera as its next Music Director, for six seasons beginning in August 2021. Dudamel has led more than 30 staged, semi-staged, and concert productions across the world’s major stages, including five staged

productions with Teatro alla Scala, productions at the Berlin and Vienna State Operas, the Metropolitan Opera in New York, and 13 operas in Los Angeles, with repertoire ranging from Così fan tutte to Carmen, from Otello to Tannhäuser, from West Side Story to contemporary operas by composers like John Adams and Oliver Knussen. As part of his inaugural season as Music Director of the Paris Opera, in fall 2021 Dudamel will conduct performances of Puccini’s Turandot and Mozart’s Le nozze di Figaro.

Following his U.S. debut with the Los Angeles Philharmonic at the Hollywood Bowl in 2005, Dudamel became the orchestra’s music director starting in the 2009/10 season, and under his direction “THE RARE CLASSICAL the LA Phil has secured its place as one of the leading orchestras in ARTIST TO HAVE the world. Inspired by El Sistema, Dudamel, the LA Phil, and its CROSSED INTO POPcommunity partners founded YOLA CULTURE CELEBRITY.” (Youth Orchestra Los Angeles) in 2007, now providing 1,300 young — The New York Times’ Zachary people with free instruments, Woolfe and Laura Cappelle intensive music instruction, academic support, and leadership training. In fall of 2021, YOLA opened its own permanent, purpose-built facility: Grammy Award® for Best Orchestral The Judith and Thomas L. Beckmen Performance).

YOLA Center at Inglewood, designed Dudamel’s advocacy for the power by architect Frank Gehry. of music to unite, heal, and inspire One of the few classical is global in scope. Shaped by his musicians to become a bona transformative experience as a youth fide pop culture phenomenon, in Venezuela’s immersive musical Dudamel will conduct the score training program El Sistema, he to Bernstein’s iconic score for created the Dudamel Foundation in Steven Spielberg’s new adaptation 2012 with the goal “to expand access to of West Side Story. His extensive, music and the arts by providing tools multiple-Grammy Award®-winning and opportunities for young people to discography includes 57 releases, shape their creative futures.” including recent Deutsche For more information about Grammophon LA Phil recordings Gustavo Dudamel, visit his official of the complete Charles Ives website at gustavodudamel.com symphonies and Andrew Norman’s and Dudamel Foundation at Sustain (both of which won the dudamelfoundation.org.

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ABOUT THE LA PROGRAM PHIL

LOS ANGELES PHILHARMONIC The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations.

Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, on stage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. 2021/22 marks the orchestra’s 103rd season.

More than 250 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 famed 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, with wide-ranging performances in the schools, churches, and neighborhood centers of a vastly diverse community. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles), inspired by Venezuela’s revolutionary El Sistema. Through YOLA, the LA Phil and its community partners provide free instruments, intensive music instruction, and leadership training to nearly 1,300 students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change. In fall of 2021, YOLA opened its own permanent, purposebuilt facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by architect Frank Gehry.

The orchestra also undertakes tours, both domestically and

“SO FAR AHEAD OF OTHER AMERICAN ORCHESTRAS THAT IT IS IN COMPETITION MAINLY WITH ITS OWN PAST ACHIEVEMENTS.” — The New Yorker’s Alex Ross

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 has 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).

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ABOUT THE LA PHIL

LOS ANGELES PHILHARMONIC Gustavo Dudamel Music & Artistic Director

Camille Avellano

Margaret and Jerrold L. Eberhardt Chair

Walt and Lilly Disney Chair

Minyoung Chang

Zubin Mehta Conductor Emeritus

Miika Gregg Tianyun Jia Jordan Koransky Mischa Lefkowitz Edith Markman Stacy Wetzel Justin Woo

Esa-Pekka Salonen Conductor Laureate Susanna Mälkki Principal Guest Conductor

I.H. Albert Sutnick Chair

Ann Ronus Chair

SECOND VIOLINS

Paolo Bortolameolli Associate Conductor

Lyndon Johnston Taylor+ Principal

John Adams

John and Samantha Williams Creative 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

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 Nickolai Kurganov Varty Manouelian Michelle Tseng Suli Xue Gabriela Peña-Kim* Sydney Adedamola* Eugene and Marilyn Stein LA Phil Resident Fellow Chair

Ben Ullery Assistant Principal Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel Jarrett Threadgill*

CELLOS Robert deMaine Principal

on sabbatical

Mr. and Mrs. H. Russell Smith Chair

TUBA

Michele Grego Evan Kuhlmann

(Vacant)

Elise Shope Henry

Contrabassoon Evan Kuhlmann

Sarah Jackson

HORNS

Piccolo Sarah Jackson

John Cecil Bessell Chair

Mari L. Danihel Chair

Dahae Kim Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum

Anne Marie Gabriele Carolyn Hove English Horn Carolyn Hove

Alyce de Roulet Williamson Chair

Linda and Maynard Brittan Chair

CLARINETS

BASSES

Michele and Dudley Rauch Chair

Christopher Hanulik Principal

Burt Hara Associate Principal

Serge Oskotsky Brent Samuel

Diane Disney Miller and Ron Miller Chair

Ted Botsford Jack Cousin Jory Herman Brian Johnson Peter Rofé Michael Fuller*

Boris Allakhverdyan Principal

Andrew Lowy David Howard E-Flat Clarinet Andrew Lowy Bass Clarinet David Howard

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

TIMPANI Joseph Pereira Principal

Cecilia and Dudley Rauch Chair

Andrew Bain Principal

PERCUSSION

Gregory Roosa

Matthew Howard Principal

(Vacant)

Principal (Vacant)

Miller and Goff Family Chair

Ann Ronus Chair

Marion Arthur Kuszyk+ Associate Principal

Sadie and Norman Lee Chair

David Allen Moore

+

Catherine Ransom Karoly Associate Principal

Shawn Mouser Associate Principal

Amy Jo Rhine

Teng Li Principal

* Judith and Thomas Beckmen LA Phil Resident Fellows

Virginia and Henry Mancini Chair

Carol Colburn Grigor Chair

VIOLAS

Dale Hikawa Silverman Associate Principal

Bass Trombone John Lofton

Ben Hong Associate Principal

Rebecca Reale Michele Bovyer Rochelle Abramson

Paul Radke

Whitney Crockett Principal

OBOES

Oscar M. Meza Assistant Principal

John Connell Chair

BASSOONS

Denis Bouriakov Principal

Bram and Elaine Goldsmith Chair

Philharmonic Affiliates Chair

Deanie and Jay Stein Chair

FLUTES

Alan Scott Klee Chair Loring Charitable Trust Chair Reese and Doris Gothie Chair

Ethan Bearman Assistant

Bud and Barbara Hellman Chair

TRUMPETS Thomas Hooten Principal

M. David and Diane Paul Chair

James Wilt Associate Principal Nancy and Donald de Brier Chair

Christopher Still

Ronald and Valerie Sugar Chair

Jeffrey Strong

TROMBONES David Rejano Cantero Principal James Miller Associate Principal Judith and Thomas L. Beckmen Chair

James Babor Perry Dreiman Wesley Sumpter*

Nancy and Leslie Abell LA Phil Resident Fellow Chair

KEYBOARDS Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP Emmanuel Ceysson

LIBRARIANS Stephen Biagini Benjamin Picard KT Somero

PERSONNEL MANAGER Jeffrey Neville

CONDUCTING FELLOWS François López-Ferrer Enluis Montes Olivar Camilo Téllez Chloé van Soeterstède

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

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NEWS

REMEMBERING GUIDO LAMELL

Guido Lamell, violinist with the Los Angeles Philharmonic, passed away this July. Lamell was a longtime Santa Monica resident, joining the LA Phil in 1979 under Carlo Maria Giulini, after having served as associate concertmaster of the Louisville Orchestra and concertmaster of the Mexico City Philharmonic.

Lamell performed frequently on the LA Phil’s chamber music

and Green Umbrella series and appeared widely as a recitalist and orchestral soloist.

Lamell was a dedicated teacher in Los Angeles and Santa Monica schools. He coached orchestras and conductors through the LA Phil’s learning programs, and was a very active conductor, leading local school and university ensembles as well as the National Symphony of Ukraine. In 2011, he produced and conducted the Santa Monica Symphony in Beethoven’s Ninth Symphony at Walt Disney Concert Hall in a benefit concert aiding the victims of Japan’s 2011 Tohoku earthquake and tsunami.

In 2012, Lamell was appointed music director of the Santa Monica Symphony. He was embraced by audiences both young and old and will be sorely missed.

BECKMEN YOLA CENTER OPENS The 25,000-square-foot Judith and Thomas L. Beckmen YOLA Center held its first classes in September. The Inglewood-based Center will serve as the home of YOLA’s fifth site as well as providing a gathering place for students from existing and future YOLA sites. In addition to its youth programming, the Beckmen YOLA Center will also be a space for music educators from across the U.S. and around the world to collaborate and learn. It will be a

cultural resource for the people of Inglewood, and act as the focal point of the LA Phil’s commitment to community engagement in the area.

The Beckmen YOLA Center emerged out of a close collaboration between the City of Inglewood, architect Frank Gehry, and LA Phil Music & Artistic Director Gustavo Dudamel. “It’s so important for young artists to have a good space to build their dreams and to be inspired.”

County of Los Angeles BOARD OF SUPERVISORS Hilda L. Solis Chair Holly Mitchell Sheila J. Kuehl Janice K. Hahn Kathryn Barger

DEPARTMENT OF ARTS AND CULTURE Kristin Sakoda Director

COUNTY ARTS COMMISSION Constance Jolcuvar President Darnella Davidson Vice President Liane Weintraub Secretary Tim Dang Executive Committee Eric Hanks Immediate Past President Pamela Bright-Moon Leticia Buckley Patrisse Cullors Madeline Di Nonno Eric R. Eisenberg Helen Hernandez Alis Clausen Odenthal Jennifer Price-Letscher Rosalind Wyman 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 Department of Arts and Culture, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.

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Leonor Antunes Yael Bartana Pauline Boudry & Renate Lorenz

Candice Breitz Shu Lea Cheang Minerva Cuevas Vaginal Davis

Every Ocean Hughes Bouchra Khalili Laura Lima Teresa Margolles

Otobong Nkanga Okwui Okpokwasili Lara Schnitger Beverly Semmes

October 10, 2021–January 9, 2022 hammer.ucla.edu | theicala.org

OTOBONG NKANGA, IN PURSUIT OF BLING, 2014

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ENDOWMENT

ENDOWMENT DONORS

We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund. $25,000,000 AND ABOVE

Walt and Lilly Disney Foundation Cecilia and Dudley Rauch

$20,000,000 TO $24,999,999

David Bohnett Foundation

$10,000,000 TO $19,999,999

The Annenberg Foundation Colburn Foundation

$5,000,000 TO $9,999,999

Anonymous Dunard Fund USA Lenore S. and Bernard A. Greenberg Fund Carol Colburn Grigor Terri and Jerry M. Kohl Los Angeles Philharmonic Affiliates Diane and Ron Miller Charitable Fund M. David and Diane Paul Ann and Robert Ronus Ronus Foundation John and Samantha Williams

$2,500,000 TO $4,999,999

Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Lynn Booth/Otis Booth Foundation Elaine and Bram Goldsmith Norman and Sadie Lee Foundation Karl H. Loring Alfred E. Mann Elise Mudd Marvin Trust Barbara and Jay Rasulo Flora L. Thornton

$1,000,000 TO $2,499,999

Linda and Robert Attiyeh Judith and Thomas Beckmen Gordon Binder and Adele Haggarty Helen and Peter Bing William H. Brady, III Linda and Maynard Brittan Richard and Norma Camp Mr. and Mrs. Michael J. Connell Mark Houston Dalzell and James Dao-Dalzell Mari L. Danihel Nancy and Donald de Brier The Walt Disney Company Fairchild-Martindale Foundation Eris and Larry Field Reese and Doris Gothie Joan and John Hotchkis Janeway Foundation Bernice and Wendell Jeffrey Carrie and Stuart Ketchum Kenneth N. and Doreen R. Klee

B. Allen and Dorothy Lay Los Angeles Philharmonic Committee Estate of Judith Lynne MaddocksBrown Foundation Ginny Mancini Raulee Marcus Barbara and Buzz McCoy Merle and Peter Mullin William and Carolyn Powers Nancy and Barry Sanders H. Russell Smith Foundation Deanie and Jay Stein Ronald and Valerie Sugar I.H. Sutnick

Jane Carruthers Ms. Ann L. Kligman James and Paula Coburn Foundation Sandra Krause and The Geraldine P. Coombs Trust William Fitzgerald in memory of Gerie P. Coombs Michael and Emily Laskin Mr. and Mrs. Terry Cox Sarah and Ira R. Manson Silvia and Kevin Dretzka Carole McCormac Allan and Diane Eisenman Meitus Marital Trust Christine and Daniel Ewell Sharyl and Rafael Mendez, M.D. Arnold Gilberg, M.D., Ph.D. John Millard David and Paige Glickman National Endowment for the Arts Nicholas T. Goldsborough Alfred and Arlene Noreen Gonda Family Foundation Occidental Petroleum Corporation Margaret Grauman Dr. M. Lee Pearce Kathryn Kert Green and Mark Green Lois Rosen Joan and John F. Hotchkis Anne and James Rothenberg Freya and Mark Ivener Donald Tracy Rumford Family Trust Ruth Jacobson The SahanDaywi Foundation $500,000 TO $999,999 Stephen A. Kanter, M.D. Mrs. Nancie Schneider Jo Ann and Charles Kaplan William and Luiginia Sheridan Ann and Martin Albert Susanne and Paul Kester Virginia Skinner Living Trust Abbott Brown Nancy and Richard Spelke Ying Cai and Wann S. Lee Foundation Vicki King Sylvia Kunin Mary H. Statham Mr. George L. Cassat Ms. Fran H. Tuchman Kathleen and Jerrold L. Eberhardt Ann and Edward Leibon Ellen and Mark Lipson Rhio H. Weir Valerie Franklin B. and Lonis Liverman Mrs. Joseph F. Westheimer Yvonne and Gordon Hessler Glen Miya and Steven Llanusa Jean Willingham Ernest Mauk and Doyce Nunis Ms. Gloria Lothrop Winnick Family Foundation Mr. and Mrs. David Meline Vicki and Kerry McCluggage Cheryl and Peter Ziegler Sandy and Barry D. Pressman David and Margaret Mgrublian Lynn and Roger Zino Earl and Victoria Pushee Diane and Leon Morton William and Sally Rutter Mary Pickford Foundation Richard and Bradley Seeley LA PHIL MUSICIANS Sally and Frank Raab Christian Stracke Mr. David Sanders Donna Swayze Anonymous Malcolm Schneer and Cathy Liu Lee and Hope Landis Warner Kenneth Bonebrake David and Linda YOLA Student Fund Nancy and Martin Chalifour Shaheen Foundation Edna Weiss Brian Drake William E.B. and Laura K. Siart Perry Dreiman Magda and Frederick R. Waingrow Barry Gold Wasserman Foundation $250,000 TO $499,999 Christopher Hanulik Robert Wood John Hayhurst Mr. Gregory A. Adams Syham Yohanna and Jory and Selina Herman Baker Family Trust James W. Manns Ingrid Hutman Veronica and Robert Egelston Andrew Lowy Gordon Family Foundation Gloria Lum Ms. Kay Harland $25,000 TO $99,999 Joanne Pearce Martin Joan Green Harris Trust Kazue Asawa McGregor Marie Baier Foundation Bud and Barbara Hellman Oscar and Diane Meza Dr. Richard Bardowell, M.D. Gerald L. Katell Mitchell Newman Jacqueline Briskin Norma Kayser Peter Rofé Dona Burrell Joyce and Kent Kresa Meredith Snow and Mark Zimoski Ann and Tony Cannon Raymond Lieberman Barry Socher Dee and Robert E. Cody Mr. Kevin MacCarthy and Paul Stein The Colburn Fund Ms. Lauren Lexton Leticia Oaks Strong Mr. Allen Don Cornelsen Jane and Marc B. Nathanson Lyndon and Beth Johnston Taylor Y & S Nazarian Family Foundation Ginny and John Cushman Dennis Trembly Marilyn J. Dale Nancy and Sidney Petersen Allison and Jim Wilt Mrs. Barbara A. Davis Rice Family Foundation Suli Xue Dr. and Mrs. Roger DeBard Robert Robinson Jennifer and Royce Diener Katharine and Thomas Stoever Jane B. and Michael D. Eisner Sue Tsao We extend our heartfelt The Englekirk Family Alyce and Warren Williamson appreciation to the many Claudia and Mark Foster donors who have contributed Lillian and Stephen Frank to the LA Phil Endowment Dr. Suzanne Gemmell $100,000 TO $249,999 with contributions below Paul and Florence Glaser Mr. Robert J. Abernethy $25,000, whose names are too Good Works Foundation William A. Allison numerous to list due to space Anne Heineman Rachel and Lee Ault considerations. If your name has Ann and Jean Horton W. Lee Bailey, M.D. Drs. Judith and Herbert Hyman been misspelled or omitted from Angela Bardowell Albert E. and Nancy C. Jenkins this list in error, please contact Deborah Borda Robert Jesberg and the Philanthropy Department at The Eli and Edythe Michael J. Carmody Broad Foundation contributions@laphil.org.

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A CONCERT TRIBUTE TO LINDA RONSTADT:

AIDA CUEVAS, LA MARISOUL, AND LUCIANA SOUZA In her third visit to The Soraya, the “Queen of Ranchera Music,” Aida Cuevas shows off her stunning vocals as she performs the hits of Linda Ronstadt with La Marisoul, Luciana Souza, and Mariachi Garibaldi de Jamie Cuéllar.

Sat Oct 23 | 8PM Prices start at $41 (Parking Included)

UPCOMING CONCERTS

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BEETHOVEN SYMPHONY NO. 7

RHAPSODY IN BLUE

BAROQUE: BRANDENBURG 5

Joseph Young, conductor Randall Goosby, violin

Anna Rakitina, conductor Llewellyn Sanchez-Werner, piano

Nicholas McGegan, conductor Aubree Oliverson, violin

TCHAIKOVSKY VIOLIN CONCERTO

MOZART SYMPHONY NO. 40

BEETHOVEN SYMPHONY NO. 5

Lidiya Yankovskaya, conductor Chee-Yun, violin

Brett Mitchell, conductor Aldo López-Gavilán, piano

Keitaro Harada, conductor Valentina Lisitsa, piano

OCT 16, 2021

FEB 12, 2022

Joseph Young

Chee-Yun

NOV 13, 2021

MAR 19, 2022

Randall Goosby

Valentina Lisitsa

JAN 22, 2022

APR 30, 2022

Brett Mitchell

Lidiya Yankovskaya

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LOS ANGELES PHILHARMONIC

Dudamel Conducts Strauss Los Angeles Philharmonic Gustavo Dudamel, conductor Golda Schultz, soprano

THURSDAY OCTOBER 14, 2021 8PM FRIDAY OCTOBER 15 11AM SATURDAY OCTOBER 16 2PM SUNDAY OCTOBER 17 2PM

SCHOENBERG

Transfigured Night, Op. 4 (c. 30 minutes)

INTERMISSION

STRAUSS Four Last Songs (c. 24 minutes) “Frühling” (Spring) “September” “Beim Schlafengehen” (When Falling Asleep) “Im Abendrot” (At Sunset) Golda Schultz STRAUSS

Death and Transfiguration (c. 23 minutes)

Official Timepiece of the Los Angeles Philharmonic These performances are made possible by generous support from the Lloyd E. Rigler—Lawrence E. Deutsch Foundation.

Programs and artists subject to change.

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AT A GLANCE The Tao of Transfiguration

There is death and pain and regret in this program— and a “program” it truly is: two tone poems and a group of songs, all on closely related themes. But the emphasis is on redemptive change and shining hope. The way of transfiguration here is a journey through changed psychological states, from unrest, uncertainty, and the remembrance of things past to completion and serenity.

Schoenberg and Strauss were each about 25 when they composed their transfiguration pieces, 11 years apart in the last decades of the 19th century. The journey in Schoenberg is literal as well as metaphorical, as a man and a woman find their way through “a bare, cold wood” to “the high, bright night” of acceptance and forgiveness. It begins with a drooping trudge in D minor, develops through emotionally charged polyphony, and closes

VERKLÄRTE NACHT (TRANSFIGURED NIGHT), OP. 4 Arnold Schoenberg (1874–1951) Composed: 1899; arr. for string orchestra 1917; rev. 1943 Orchestration: strings First Los Angeles Philharmonic Performance: February 12, 1926 (1917 version), Walter Henry Rothwell, conducting; April 15, 1967 (1943 version), Zubin Mehta conducting In 1949, two years before his death, Schoenberg wrote: “It was not given to me to continue writing in the style of Verklärte Nacht… fate led me along a harder path. But the wish to return to the earlier style remained constantly within me, and from time to time I have given in to this desire…” The style referred to was, to state the case perhaps over-simply, that of Wagner, above all of his Tristan und Isolde, with lashings of

in radiant D major. Strauss describes the death of an artist, and his music follows a similar arc, from tired gloom through agitation to blissed-out peace, moving from C minor to C major.

Sixty years and two world wars later, Strauss composed four astonishingly rich and reflective songs for soprano and orchestra. (They became Four Last Songs only when published after his death in 1949.) As published, they make a compelling life journey, from “Spring” to “At Sunset.” In “At Sunset,” another couple walks hand in hand, at peace after weary wandering. The final line asks a question: “Is this perhaps death?” Here, Strauss quotes the final transfiguration theme from his earlier work. The young composer’s Death and Transfiguration had its overachieving aspects; this is wonderfully warm and wise music. —John Henken

Brahms. Schoenberg continues: “Nevertheless, I believe that a little bit of Schoenberg may also be found in it, particularly in the breadth of the melodies, in contrapuntal and motivic developments, and in the quasicontrapuntal movement of harmonies and harmonic basses against the melody. Finally, there are even passages…of indeterminate tonality, which doubtless may be portents for the future.”

It was Alexander von Zemlinsky, Schoenberg’s first composition teacher (and later his brotherin-law), who had suggested to the Vienna Tonkünstlerverein in 1899 that they perform the just-completed string sextet Verklärte Nacht. But they were not impressed, one observer dismissing it as Tristan und Isolde “smudged over.” Yet four years later the same organization did present the work, the performers being the augmented Rosé Quartet.

Schoenberg, as noted, maintained a lifelong affection

for his luscious early creation, arranging it for string orchestra in 1917 and again, with slight alterations, in 1943. The inspiration for the score came from Verklärte Nacht, by the German poet Richard Dehmel (1863–1920), whose sensual lyrics represented an extreme reaction to the prevalent naturalism of his time. The five main sections of Schoenberg’s composition correspond to the five sections of Dehmel’s poem: Two people walk through the bare, cold woods. The moon, above tall oaks, accompanies them. Jagged peaks reach into the cloudless sky. The woman speaks: ”I carry a child, but not yours. I felt such longing for meaning in life, for the joys of motherhood, that I gave myself to a stranger’s embrace. Now life has taken revenge, for I have met you.” Walking with awkward steps, she looks up: Her dark glance is inundated with light. The man speaks: ”Let the child you have conceived not be a burden.

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See how brightly all creation shimmers in the moonlight. A special warmth reaches from you to me, from me to you. That warmth will transfigure the child.

You will bear it for me, from me.

You have brought radiance into me, made me a child myself.”

He embraces her. Their breath mingles in the air. Two people pass through the exalted brightness of the night.

VIER LETZTE LIEDER (FOUR LAST SONGS) Richard Strauss (1864–1949) Composed: 1947–49 Orchestration: piccolo, 3 flutes (3rd = piccolo 2), 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons (3rd = contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, celesta, harp, strings, and solo soprano.

First Los Angeles Philharmonic Performance: August 9, 1955, Izler Solomon conducting, with soprano Elisabeth Schwarzkopf Richard Strauss lived through two world wars. And in a sense lived through neither, remaining nearly oblivious, we are led to believe, of the worlds crumbling and realigning about him.

Sigmund Freud might never have existed, the demons of modern history only marginally. And all that was progressive in 20thcentury music—the ferocious rhythms and folk inspirations of Stravinsky and Bartók, the serialism of the Second Viennese School, the “New Objectivity” of Hindemith, and beyond—all these extensions of music history took place during Strauss’ lifetime. He remained unaffected even by his own futurism, exemplified by the opera Elektra (1909), a stylistic dead end. Yet his compositions

continued in an unbroken stream for another four decades, until his death in 1949 at the age of 85.

It took personal rather than cosmic events to rouse him to a realization of what had been destroyed in his life and in his world, and that occasioned the ”second summer” that enabled him to create musical marvels after he had passed the age of 80. The desire to escape the unappealing present of the Third Reich must have inspired his gentle World War II compositions, the opera Capriccio, the Second Horn Concerto, the wind sonatinas. Those that followed the war—most of which he spent in Germany—the sublime Metamorphosen and Four Last Songs, are retrospective, drenched in a sense of what was and never will be again.

It was the destruction in 1943

by Allied bombers of the Munich National Theater, the city’s great old opera house, that woke Strauss from his slumber. News of the destruction as well of Berlin’s Lindenoper, the Semper Oper in Dresden (the scene of major Strauss premieres), and the Vienna State Opera house followed.

Strauss remarked: “The burning of the Munich Hoftheater, as it was called during the Imperial era, consecrated to the first performances of Tristan and Meistersinger, where 73 years ago I heard Freischütz for the first time, where my good father sat for 49 years in the orchestra as first horn, where… I experienced the keenest sense of fulfillment as the composer of 10 operas produced there—this was the great catastrophe of my life. For that there can be no consolation in my old age, no hope.”

But there was a measure of consolation, in the form of a tiny musical sketch, Trauer um München (“Mourning for Munich”), which would resurface two years

later when the Swiss conductor Paul Sacher commissioned from the 80-year-old composer a new work for his Zurich Collegium Musicum. The result, incorporating the “Trauer” sketch, was Metamorphosen—A Study for 23 Solo Strings, which Sacher introduced in January of 1946.

Two years later, the “Four Last Songs” (not the composer’s title since he did not know they would be the last... of anything) were written, as individual entities rather than as a cycle. But they are indeed songs of farewell—to life, to art, to a vanished world.

There is nothing like them in music for the sheer intensity of their concentrated, gentle heartache. Strauss says goodbye wistfully, but not tragically.

The order of the songs’ composition in 1948—as distinct from the order in which they are usually performed—is as follows: “Im Abendrot,” May; “Frühling,” July; “Beim Schlafengehen,” August; and “September,” appropriately enough, written in that month—also the month in which, a year later, Richard Strauss died at his home in the Bavarian mountain resort of Garmisch-Partenkirchen.

It is music so bewitchingly sensuous, so achingly nostalgic, so subtle in its interweaving of vocal and instrumental textures as to defy description. To more than one observer, Strauss saved his best for the very end.

The first three songs as performed at these concerts are to texts by the German-born Swiss poet and novelist Hermann Hesse (1877–1962). “Im Abendrot” is by the German poet Joseph Eichendorff (1788–1857), one of the Romantics’ favorites for musical setting, most notably Schumann and Wolf.

A few personal favorite moments from among the gentle marvels Strauss created here:

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ABOUT THE PROGRAM

the sinuous vocal phrases, framed by clarinets and oboes, depicting the rain soaking into the receptive earth (“Kühl sinkt in die Blumen der Regen”) in “September”; the ecstatic violin solo, representing the soul’s flight, that separates the second and third verses of “Beim Schlafengehen”; the trilling flutes, representing a loving pair of larks, in “Im Abendrot”; and in the same song, the last in the group, the soprano’s final line, “Ist dies etwa der Tod?” (Can this perhaps be death?), followed by a whispered orchestral quotation from the composer’s early tone poem Death and Transfiguration, traditionally regarded as the last notes Strauss set down on paper.

The first performance of the “Four Last Songs” took place in London in May of 1950. Kirsten Flagstad was the soprano soloist, with the Philharmonia Orchestra under the direction of Wilhelm Furtwängler.

TOD UND VERKLÄRUNG (DEATH AND TRANSFIGURATION), OP. 24 Richard Strauss Composed: 1888–89 Orchestration: 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, tam-tam, 2 harps, and strings

First Los Angeles Philharmonic Performance: March 17, 1922, Walter Henry Rothwell conducting Richard Wagner was a virtual living presence for the young Richard Strauss, at no time more so than in 1888, when he began the present work. So profoundly in thrall to Wagner’s Tristan und Isolde was Strauss that the then24-year-old, already celebrated for his Don Juan of two years earlier, sought and obtained the humble job of répétiteur (a fancy name for vocal coach) for a production of Tristan at the Bayreuth Festival that summer.

Strauss’ Tristan fixation extended even to the title of his new work, since Wagner had originally titled the concert excerpt from the opera known to us as the “Prelude and LoveDeath” (Vorspiel und Liebestod) as Liebestod und Verklärung (Love-Death and Transfiguration).

One has to marvel that under the circumstances Strauss does not include even a suggestion of a Tristan theme in his own work.

What Strauss actually had in mind when writing the work isn’t clear. For the premiere of Death and Transfiguration at Eisenach in 1890, however, the composer asked a friend, the poet Alexander von Ritter, to write a brief poem based on the theme of earthly travail leading to heavenly bliss. At Strauss’

behest, the poem was expanded

by Ritter into a full scale musicodramatic road map for the published edition, a program in four parts corresponding to the composition’s four sections (played continuously): I. (Largo) In a dark, shabby room, a man lies dying. The silence is disturbed only by the ticking of a clock—or is it the beating of the man’s heart? A melancholy smile appears on the invalid’s face. Is he dreaming of his happy childhood?

II. (Allegro molto agitato) A furious struggle between life and death, at whose climax we hear, briefly, the theme of Transfiguration that will dominate the final portion of the work.

The struggle is unresolved, and silence returns.

III. (Meno mosso ma sempre alla breve) He sees his life again, the happy times, the ideals striven for as a young man. But the hammer-blow of death rings out. His eyes are covered with eternal night.

IV. (Moderato) The heavens open to show him what the world denied him, Redemption, Transfiguration—the Transfiguration theme first played pianissimo by the full orchestra, its flowering enriched by the celestial arpeggios of two harps.

The theme climbs ever higher, dazzlingly, into the empyrean.

—program notes by Herbert Glass

ABOUT THE ARTISTS

GUSTAVO DUDAMEL For a biography of conductor Gustavo Dudamel, please turn to page 7

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GOLDA SCHULTZ South African soprano Golda Schultz is internationally hailed as one of today’s most talented and versatile artists. Equally at home in leading operatic roles and as featured soloist with the world’s foremost orchestras and conductors, she garners consistent praise for a fresh, radiant stage personality and lustrous tone.

In the 2021/22 season, Schultz adds two new roles to her repertoire: Anne Trulove in The Rake’s Progress, which she sings at the Metropolitan Opera under Susanna Mälkki, and Adina in L’elisir d’amore, which will mark her debut at the Opéra National de Bordeaux under Nil Venditti. At the Bayerische Staatsoper, she will appear as both Agathe (Der Freischütz) and the Countess Almaviva (Le nozze di Figaro); the latter role she also sings at the Metropolitan Opera under Yannick Nézet-Séguin.

On the concert platform, Schultz opens the season with the Danish National Symphony Orchestra and Fabio Luisi in Mahler and the Los Angeles Philharmonic and Gustavo Dudamel in Strauss’ Vier letzte Lieder. She sings Mendelssohn’s Elias with the Gewandhausorchester Leipzig and Andris Nelsons, Mozart’s Requiem as part of the Salzburger Osterfestspiele under Christian Thielemann, Barber’s Knoxville, Summer of 1915 with the Orchestre Philharmonique de Radio France and Santtu-Matias Rouvali, and debuts with the New York Philharmonic, also under Rouvali, in Strauss’ Brentano Lieder.

A committed recitalist, Schultz and collaborative pianist Jonathan Ware appear this season in Berlin, Cologne, Philadelphia, San Francisco, and Halifax (NS) in “This be her verse”: a program exploring the worlds and inspirations of female composers from the Romantic era to the present day, including music commissioned from Kathleen Tagg and Lila Palmer.

Trained at New York’s Juilliard School and Bayerische Staatsoper’s Opernstudio, Schultz found immediate success on both sides of the Atlantic through operatic appearances including the Countess Almaviva at Wiener Staatsoper, Opernhaus Zürich, and Glyndebourne Festival Opera; Sophie (Der Rosenkavalier) at the Salzburger Festspiele and New National Theatre, Tokyo;

Clara in Jake Heggie’s It’s A Wonderful Life at San Francisco Opera; Liù (Turandot) at Wiener Staatsoper and Bayerische Staatsoper; Susanna (Le nozze di Figaro) at the Teatro alla Scala; Pamina (Die Zauberflöte), Nanetta (Falstaff ), Clara (Porgy and Bess), and Sophie at the Metropolitan Opera; and Vitellia (La clemenza di Tito) at the Salzburger Festspiele.

In 2020, Golda Schultz was featured soloist of the Last Night of the BBC Proms and, together with Dalia Stasevska and the BBC Symphony Orchestra, their specially curated program was broadcast live on radio and television to a global audience of millions. Other recent concert highlights include a remarkable week with the Los Angeles Philharmonic during which she joined Esa-Pekka Salonen for Sibelius’ Luonnotar, Gustavo Dudamel for Beethoven’s Symphony No.9, and Zubin Mehta for Mahler’s Symphony No.2. With the Cleveland Orchestra and Franz Welser-Möst she performed Haydn’s Die Jahreszeiten in Cleveland and at New York’s Carnegie Hall, and in Mozart’s Requiem she debuted with the Philadelphia Orchestra and Yannick Nézet-Séguin. Last season, Golda Schultz joined Accademia Nazionale di Santa Cecilia in an all-Mozart gala under Riccardo Minasi, and she debuts at the Edinburgh International Festival in Errollyn Wallen’s new work, Dido’s Ghost, in the summer of 2021.

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ORGAN

Cameron Carpenter Cameron Carpenter, organ

BACH

SUNDAY OCTOBER 17, 2021 7:30PM

Fantasia and Fugue in C minor, BWV 537 (c. 7 minutes)

BACH Selections from Well-Tempered Clavier, Book II (c. 9 minutes)

Prelude and Fugue I in C major, BWV 870

Prelude and Fugue XII in F major, BWV 880 BACH

Fantasia super “Komm, Heiliger Geist,” BWV 651 (c. 6 minutes)

BACH

Chorale Prelude “O Mensch, bewein’ dein’ Sünde groß,“ BWV 622 (c. 6 minutes)

BACH

Prelude and Fugue in E-flat major, BWV 552, “St. Anne” (c. 16 minutes)

BACH

INTERMISSION

Goldberg Variations, BWV 988 (c. 40 minutes) No. 16 Ouverture, a 1 Clav.

Aria No. 17 a 2 Clav.

No. 1 a 1 Clav.

No. 18 Canone alla Sesta, No. 2 a 1 Clav. a 1 Clav.

No. 3 Canone all’Unisono, No. 19 a 1 Clav. a 1 Clav.

No. 20 a 2 Clav.

No. 4 a 1 Clav.

No. 21 Canone alla Settima No. 5 a 1 ô vero 2 Clav. a 1 Clav.

No. 6 Canone alla Seconda, No. 22 a 1 Clav. alla breve a 1 Clav.

No. 7 a 1 ô vero 2 Clav. No. 23 a 2 Clav.

No. 24 Canone all’Ottava, al tempo di Giga a 1 Clav.

No. 8 a 2 Clav.

No. 9 Canone alla Terza, No. 25 a 2 Clav.: Adagio No. 26 a 2 Clav. a 1 Clav.

No. 27 Canone alla Nona, No. 10 Fughetta, a 1 Clav. a 2 Clav.

No. 11 a 2 Clav.

No. 12 Canone alla Quarta No. 28 a 2 Clav. in moto contrario, a 1 Clav. No. 29 a 1 ô vero 2 Clav.

No. 30 Quodlibet, a 1 Clav.

No. 13 a 2 Clav.

Aria da capo No. 14 a 2 Clav.

No. 15 Canone alla Quinta, a 1 Clav.: Andante

Michael Wilson is Walt Disney Concert Hall Organ Conservator.

Manuel Rosales and Kevin Cartwright are principal technicians for the Walt Disney Concert Hall organ.

Programs and artists subject to change.

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AT A GLANCE Back to Bach

Bach’s keyboard mastery was the stuff of legends even in his own time, at least within Germany.

His renown as a performer and composer on the organ was such that he was also often asked to advise and consult on the construction or remodeling of major new instruments.

This program surveys some of Bach’s masterpieces for organ and harpsichord, mostly from around 1740.

Bach was unusual among his contemporaries in writing most often for specific instruments, rather than for generic keyboards. (Few organs in Italy or

England at the time even had pedals, and organ and harpsichord were often interchangeable mediums.) The third volume of Bach’s Clavier Übung (Keyboard Practice), which is framed by the “St. Anne” Prelude and Fugue in E-flat, is for organ, with obligatory pedal parts. The fourth book, containing the Goldberg Variations, is for harpsichord, and specifically one with two manual keyboards, making it actually more readily and “authentically” adaptable to organ than to piano.

—John Henken

MUSIC BY JOHANN SEBASTIAN BACH (1685–1750) FANTASIA AND FUGUE IN C MINOR, BWV 537

Where many of Bach’s fugues open with a free and virtuosic introduction, the Fantasia and Fugue in C minor is decidedly restrained, focusing on a lyricism that expresses a mournful “lamento” tone in the fantasia section as the lingering high melody seems to savor each note suspended in air and shifting lower harmonies tease resolution that never seems to come. Unlike many of the organ works composed in Bach’s second Weimar period, there is no cadenza in either the fantasia or fugue, and even the latter with its stacking of themes introduced in the fantasia could be imagined as owing to Bach’s keen sense of choral music. —Ricky O’Bannon

SELECTIONS FROM WELLTEMPERED CLAVIER, BOOK II The two books of The WellTempered Clavier, one compiled in 1722, and the other completed late

in his career (1744), remained, like so much of Bach’s music, unpublished for decades after the composer’s lifetime. Public interest in his work may have waned until the mid19th-century revival spearheaded

by Mendelssohn, but all the major composers in the interim (Mozart, Beethoven, Chopin, Schumann among them) played Bach privately, praised his genius, and used his music for instruction. Copies of the music, transcribed by hand, were passed from teacher to pupil and from generation to generation.

The concentration and contrasts to be found in these selections are astonishing. For example, the F-major Prelude begins in oceanic calm, only to be met immediately with the jauntiness of a Fugue in the form of a gigue. The C-major Prelude features a continuously flowing sequence of melodic ideas that give it the character of an improvisation. What other single composer could provide such a variety of moods in a single evening’s music? —Grant Hiroshima

FANTASIA SUPER “KOMM, HEILIGER GEIST,” BWV 651

This is the first of 18 chorales that Bach brought together in an anthology he compiled and arranged in Leipzig in the mid1740s, the so-called “Great 18.”

This is an encyclopedia of ways to elaborate on hymn tunes.

Most of the pieces were originally created in 1710–1714, while Bach was in Weimar, and given definitive and extended forms in Leipzig.

In this fantasia, Bach wrote a free, three-voice fugue over the chorale melody in the pedals.

The fugue depicts the rushing Pentecostal wind of the chorale, “Come, Holy Spirit” (Veni, Sancte Spiritus), in exuberant swirls, like a highly contrapuntal toccata.

This style of chorale elaboration was popularized by Johann Pachelbel. Bach’s older brother Johann Christoph had studied with Pachelbel, and passed the style on to Johann Sebastian.

—John Henken

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CHORALE PRELUDE “O MENSCH, BEWEIN’ DEIN’ SÜNDE GROSS,” BWV 622

One of 46 Lutheran hymn tunes Bach set in his Orgelbüchlein (Little Organ Book), meant as a teaching tool for young church organists, the Chorale Prelude sets a Passion hymn that translates as “O man, bewail thy sins so great,” with a melody by Matthias Greiter and words by Sebald Heyden.

Bach would return to that melody in versions of both his St. Matthew Passion and St. John Passion. In this Chorale Prelude, Bach reflects the somber, guilt-ridden tone of the text, letting the melody slowly unfold, he still adorns the theme with plenty of his characteristic ornamentation.

—Ricky O’Bannon

PRELUDE AND FUGUE IN E-FLAT MAJOR, BWV 552 (“ST. ANNE”) Built upon Christian numerology, the third book of Johann Sebastian Bach’s Clavierübung may have aspired to be more a Mass for organ than a collection of related smaller pieces. It opens and closes with what has since been commonly catalogued as the Prelude and Fugue in E-flat major, BWV 552.

The three-part Prelude follows the triple symbolism of the Holy Trinity, with the Father as a dotted rhythm; Son as a lighter, simpler idea; and Holy Ghost as the allencompassing 16th-note melody.

The five-voice triple Fugue is popularly referred to as “St. Anne,” because its subject sounds similar to an English hymn tune with that name. —Gregg Wager

GOLDBERG VARIATIONS, BWV 988

Variety may be the spice of life, but variation is something much more fundamental to music. Any sort of motivic development is a form of micro-variation, for example, and

on another level, interpretation inevitably implies variation. A jazz player’s approach to a standard is also a matter of variation, very much like “theme and variation” works by classical composers, which often captured or recreated improvisations. Bach’s chorale preludes for organ are something like an improvisation on a standard, and he also created variants (doubles) of some dance movements in his suites.

Bach also created two monuments of continuous variation—the Passacaglia in C minor for organ and the Chaconne from the Partita in D minor for solo violin—and variation is certainly an element in works such as The Musical Offering. But of “theme and variations” in the more common sense, Bach left only three examples, the early Aria variata alla maniera italiana, the Canonic Variations on the Christmas song “Vom Himmel hoch, da komm’ ich her,” and these Goldberg Variations.

When the “Goldberg” Variations were published in 1741 as Book IV of the Clavier-Übung, it was simply as “an aria with different variations for harpsichord with two manuals.” The keyboard virtuoso and composer Johann Gottlieb Goldberg (17271756) had his name attached to the work in 1802, when Johann Nikolaus Forkel published his groundbreaking biography of Bach.

According to Forkel (translations vary), “Count Keyserlingk, formerly Russian ambassador to Saxony, often visited Leipzig. Among his servants there was a talented young man, Johann Gottlieb Goldberg—a harpsichordist (Cembalist) who was a pupil of Wilhelm Friedemann Bach and later of Johann Sebastian Bach himself. The count had been suffering from insomnia and ill health and Goldberg, who also lived there, had to stay in the room next door to soothe his master’s suffering with music. Once the count asked Bach to compose some keyboard pieces for Goldberg, pieces of mellowness and gaiety that would enliven his

sleepless nights. Bach decided to write a set of variations, a form that prior to this, hadn’t interested him much. Nevertheless, in his masterly hands, an exemplary work of art had been born. The count was so delighted with it, he called them ‘my variations’. Bach had probably never been so generously rewarded for his music. The count gave him a golden goblet with a hundred Louis d’Or!” It is difficult to believe that Bach would have published a commissioned work without any dedication to either Keyserlingk or Goldberg, which makes the story doubtful, along with the fact that Goldberg was only 14 at the time.

Goldberg, however, was a renowned prodigy, and there are links between Bach and Keyserlingk. Bach may have given Keyserlingk a copy of the printed edition and received a reward for it. The aria that is the subject of the variations is an original creation, an elegantly serene sarabande which contains everything Bach needs for a vast universe of variation. Do not listen for that exquisite tune in the variations, however. Only some unifying cadential phrasing survives Bach’s transformations, which are based on the aria’s architecture and harmonic pattern, particularly the bass line, making the Goldberg Variations a sort of mega passacaglia or chaconne.

The 30 variations are divided into ten groups of three. Each group contains a brilliant virtuoso toccatalike piece, a gentle and elegant character piece, and a strictly polyphonic canon. The canons are presented in a sequence of increasing intervals, starting with the canon in unison up until the canon in ninths. In place of the canon in tenths we have a quodlibet “what pleases”, which combines fragments of two folk songs with the ground bass. The tonality remains G major for the most part, with shadows of tonic minor in three variations (Nos. 15, 21, & 25). —John Henken

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CAMERON CARPENTER With his exceptional musicality, sheer endless technical ability, and pioneering spirit, the extraordinary organist Cameron Carpenter is already leaving his mark on recent music history.

Ever since the completion of his own instrument, the International Touring Organ (ITO) in 2014, Cameron has defied initial skepticism towards this digital instrument and established the ITO on the world’s most prestigious stages. By now, he almost exclusively performs on the ITO, be it in recital or

concerto appearances. This tailor-made instrument, based on Carpenter’s own plans, allows him to perform at almost any location worldwide. Thus far, he has taken it on tour to Australia, New Zealand, Russia, and Asia, in addition to numerous appearances around Europe and the U.S. Cameron’s most recent album, Rachmaninoff & Poulenc, is a live recording with the Berlin Konzerthaus Orchestra, released in April 2019 on Sony Classical. It is the follow-up to All You Need is Bach, which topped the Billboard Classical Chart at #1 in the U.S. and entered the European charts upon its release in spring 2016.

Recent highlights include performances with the Los Angeles Philharmonic and recitals at the Lucerne Festival, Philharmonie Cologne, Festspielhaus Baden-Baden, Philharmonie Luxembourg, and his debut at the Cité de la musique in Paris. The core of Carpenter’s repertoire in the current season will be Johann Sebastian Bach’s Goldberg Variations, as well as his transcription of Howard Hanson’s Symphony No. 2 (“Romantic”).

Born in 1981 in Pennsylvania, Carpenter performed J.S.

Bach’s Well-Tempered Clavier for the first time when he was 11 and became a member of the American Boy Choir School in 1992. Besides his mentor Beth Etter, it was John Bertalot and James Litton who also taught him. At the North Carolina School of Arts, he studied composition and organ with John E. Mitchener. Carpenter has transcribed more than 100 works for organ, among them, Mahler’s Symphony No. 5. He composed his first original works during his studies at the Juilliard School in New York, 2000–2006, where at the same time he also had piano lessons with Miles Fusco. In 2011, his concerto for organ and orchestra, The Scandal, was premiered by the Deutsche Kammerphilharmonie Bremen at the Philharmonie Cologne. In 2012, he received the Leonard Bernstein Award from the Schleswig-Holstein Music Festival, and he was Artistin-Residence at Konzerthaus Berlin in the 2017/18 season.

Cameron Carpenter appears by arrangement with Columbia Artists Music, LLC To see the Walt Disney Concert Hall organ stop list, please turn to page P24 .

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LOS ANGELES PHILHARMONIC

Dudamel Conducts Mahler Los Angeles Philharmonic Gustavo Dudamel, conductor Thomas Hooten, trumpet Camilla Tilling, soprano

THURSDAY OCTOBER 21, 2021 8PM FRIDAY OCTOBER 22 8PM SATURDAY OCTOBER 23 8PM SUNDAY OCTOBER 24 2PM

Jessie MONTGOMERY

Strum (c. 8 minutes)

Steven MACKEY

Shivaree: Fantasy for Trumpet and Orchestra (c. 20 minutes) (world premiere, LA Phil commission with generous support from Ellen and Arnold Zetcher) Shivaree Chthonian Erumpent Tintinnabulation Exonumia Requiescat Deipnosophist Omphaloskepsis Horripilation Deliquesce Apopemptic (in memoriam Louis Andriessen) Shivaree (slight return) Thomas Hooten

INTERMISSION

MAHLER Symphony No. 4 in G major (c. 64 minutes)

Bedächtig, nicht eilen (Moderately, not rushed)

In gemächlicher Bewegung, ohne Hast

(Leisurely moving, without haste)

Ruhevoll, poco adagio (Peacefully, somewhat slowly) Sehr behaglich (Very comfortably) Camilla Tilling

Official Timepiece of the Los Angeles Philharmonic Concerts in the Thursday 2 subscription series are generously supported by the Otis Booth Foundation.

Programs and artists subject to change.

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AT A GLANCE Awake to Joy

There are bigger separations between the two halves of this program than just intermission; old world vs. new world and more than a hundred years, to note just the obvious. But there are also shared musical and human experiences that bridge those gulfs.

For Jessie Montgomery, her Strum for string orchestra “has a kind of narrative that begins with a sense of nostalgia and transforms into ecstatic celebration.” That also makes tidy pocket summary of Gustav Mahler’s Fourth Symphony; the last line of its folksong finale is “all things awake to joy.”

Montgomery explores traditional American string band music and dances; for Mahler, it was the Austrian military bands that he loved, and the songs

STRUM Jessie Montgomery (born 1981) Composed: 2006, rev. 2012 Orchestration: strings First Los Angeles Philharmonic Performance: September 22, 2021, Anthony Parnther conducting Strum is the culminating result of several versions of a string quintet I wrote in 2006. It was originally written for the Providence String Quartet and guests of Community MusicWorks Players, then arranged for string quartet in 2008 with several small revisions.

In 2012, the piece underwent its final revisions with a rewrite of both the introduction and the ending for the Catalyst Quartet in a performance celebrating the 15th annual Sphinx Competition.

Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music

and dances of the countryside. Mahler uses a full orchestra over a much longer time scale, but there are even ghostly premonitions of Montgomery’s string sound in his bucolic plucking strings and particularly in his haunted scherzo, with its solo violin (tuned a step higher than the rest of the strings).

Between them lies brand new music by Steven Mackey, a composer with a long and rich history with the LA Phil. His Shivaree is a fantasy for trumpet and orchestra, commissioned by the LA Phil for its Principal Trumpet, Thomas Hooten. For Mackey, his idea in Shivaree was “to traverse a wide range of emotions and colors from light and whimsical to dark and profound, all presented as equal constituents of the human experience.” —John Henken

an expansive quality of sound.

Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out.

The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration.

—Jessie Montgomery

SHIVAREE: FANTASY FOR TRUMPET AND ORCHESTRA Steven Mackey (born 1956) Composed: 2021 Orchestration: 4 flutes (2nd = alto flute, and 3rd = piccolo), 3 oboes (3rd = English horn), 2 clarinets, bass clarinet, 3

bassoons (3rd = contrabassoon), 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (tin cans, flower pots, bicycle horn, snare drum, party horn/ noisemaker, 2 tam-tams, lion’s roar, rain stick, compressed gas, jaw bone, ratchet, chimes, marimba, piatti, wine bottles, glockenspiel, xylophone, wood blocks, vibraphone, crotales, brake drum, tea cups, police whistle, bongo drums, vibraslap, castanets, tom-toms, garbagecan lid, drum set, cowbell, saucepans), harp, strings, and solo trumpet (doubling on flugelhorn) First Los Angeles Philharmonic Performance: October 21, 2021, Gustavo Dudamel conducting Bright in coloring, ecstatic in inventiveness, lively and profound, Steven Mackey’s music spins his improvisatory riffs into largescale works of grooving, dramatic coherence. He has written for chamber ensemble, orchestra,

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dance, and opera—commissioned by the greatest orchestras around the world. Mackey has served as professor of music at Princeton University for the past 35 years and has won several awards from the American Academy of Arts and Letters, a Guggenheim Fellowship, and a Kennedy Center Friedheim Award. He continues to explore an ever-widening world of timbres befitting a complex, 21st-century culture, while always striving to make music that unites the head and heart, which is visceral and gets us moving. stevenmackey.com Tom Hooten, in our first conversation about what this piece might be, said he was interested in fringe modes of expression. This delighted me since I have frequently claimed that my music explores fringe states of consciousness rather than brand-name emotions.

There was also the contractual language from the LA Phil which was always very consistent in referring to this new work as a “Fantasy” rather than a “Concerto,” which reinforced the quirky impulses that Tom and I had and led me to imagine a piece made of many small and vividly characterized miniatures, bagatelles, fragments, interludes, and/or hallucinations. The idea was to traverse a wide range of emotions and colors from light and whimsical to dark and profound, all presented as equal constituents of the human experience.

Around this time, two little rituals became part of my daily life. I was getting notification on my phone every morning with the word of the day from dictionary.com, and my tenyear-old daughter would wander into my study, sit down at the piano, and say, “Give me a word.”

She would play an improvisation

inspired by those words, which led me to decide to take some of the more unusual and evocative “words of the day” as points of departure for my Trumpet Fantasy. Some of the words, like the eponymous Shivaree, lend themselves to musical interpretation while others, like “exonumia,” are more like zen koans. What I learned from my daughter is that the virtue is in the musical discovery that merely begins with a word, not in the accurate representation of the word’s meaning.

Shivaree is in 12 short movements, played without pause.

—Steven Mackey

SYMPHONY NO. 4 IN G MAJOR Gustav Mahler (1860–1911) Composed: 1899–1901 Orchestration: 4 flutes (3rd and 4th = piccolo), 3 oboes (3rd = English horn), 3 clarinets (3rd = E-flat clarinet), bass clarinet, 3 bassoons (3rd = contrabassoon), 4 horns, 3 trumpets, timpani, percussion (bass drum, triangle, jingles, glockenspiel, cymbals, tam tam), harp, strings, and soprano solo First Los Angeles Philharmonic performance: November 17, 1949, Alfred Wallenstein conducting, with soprano Jean Fenn Venison, asparagus, 11,000 virgins... Who would have thought that these apparently un-symphonic items would have their special place in the best loved and most frequently played of Mahler’s symphonies? The Fourth is “about” childhood, in the sense that most of his music seems to be “about” profound issues of life and death. Perhaps we are more willing to identify

with the child’s world than to face the numberless existential issues that haunted Mahler throughout his life. At all events, there is a directness and charm in the Fourth Symphony missing from the others, with their often-sprawling exploration of good and evil, heaven and hell.

The Fourth Symphony adopts the standard classical fourmovement design and uses a modest orchestra without heavy brass; there are no formidable thunderbolts and no tense musical arguments that defy the listener’s comprehension. We emerge from the Symphony in a glow of serenity and peace.

Its origin—and a clue to its understanding—lies in Mahler’s preoccupation with the folk world of Des Knaben Wunderhorn (The Youth’s Magic Horn), a collection of poetry published nearly 100 years earlier purporting to be German folk poetry, but often half genuine, half invented.

Both the Second and Third Symphonies included settings of these verses, and in the very long Third Symphony Mahler originally planned to include, as a seventh movement, a setting of a song he had written in 1892 called “Der Himmel hängt voller Geigen” (Heaven is full of violins).

Before the Third Symphony was performed, this song was taken out and set aside as the basis of a symphony of its own. He re-titled the song “Das himmlische Leben” (Life in Heaven) and composed three new movements to precede the song, all creating an image of childhood sealed by the child’s vision of heaven in the song.

The child imagines a carefree life in heaven, full of dancing and playing, good music and good food (asparagus, beans, hare, fish, wine), and full of saints and martyrs too. The child has no qualms about imagining King

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Herod butchering a lamb or St. Luke slaughtering an ox. St. Peter catches fish, of course, and St. Martha, the patron saint of cooks, serves the dish.

Why Mahler retained the three lines that mention St. Ursula, martyred along with 11,000 virgins, is a mystery, since he did omit one verse of the poem that mentions St. Lawrence,

another martyr also regarded as a patron saint of cooks because he was himself cooked.

The opening movement, in traditional symphonic form, has a disarming tunefulness, occasionally colored by jingling sleigh-bells. The second movement, a kind of scherzo, features a solo violin tuned higher than normal to suggest

the country fiddler. The third is a calm Adagio, disturbed only by short outbursts of intense passion or headlong speed.

Towards the end the music breaks out in a glorious epiphany of E major, the key in which the last movement—and the child’s dream—will eventually close. —Hugh Macdonald

ABOUT THE ARTISTS

GUSTAVO DUDAMEL For a biography of conductor Gustavo Dudamel, please turn to page 7

THOMAS HOOTEN Thomas Hooten is Principal Trumpet of the Los Angeles Philharmonic, a position that he has held since 2012. Prior to joining the LA Phil, Hooten served as Principal Trumpet in the Atlanta Symphony from 2006 to 2012 and as Assistant

Principal Trumpet with the Indianapolis Symphony. He began his professional career in 2000 with a trumpet/cornet position in “The President’s Own” United States Marine Band in Washington, D.C. He released Trumpet Call, his first solo album, in 2011. Tom, along with his wife Jennifer Marotta, edited the most recent version of Arban’s Complete Conservatory Method for Trumpet, one of the most widely used etude books for trumpet students and players, published by Carl Fischer.

Tom is currently on the faculty at the University of Southern California, and he also serves on the faculty for the Aspen Music Festival, acting as a guest artist and teacher. While in Atlanta, he taught trumpet at Kennesaw State University. Tom travels across the world as a soloist and clinician, and he is currently active in the Los Angeles studio scene. A native of Tampa, Florida, he earned his Bachelor of Music degree from the University of South Florida and his Master of Music degree from Rice University.

His primary trumpet teachers have included Armando Ghitalla, John Hagstrom, and Don Owen.

Tom is a Yamaha performing artist.

CAMILLA TILLING With her “beguiling tone and unfailing musicality” (Gramophone), soprano Camilla Tilling has been performing on the world’s leading opera, concert, and recital stages for over two decades while simultaneously building an impressive discography. Her most recent releases include Jugendstil Songs 1898–1916, recorded with her long-time collaborator, pianist Paul Rivinius; Die Schöpfung with Symphonieorchester des Bayerischen Rundfunks led

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by Bernard Haitink; and an acclaimed album of Gluck and Mozart Arias with Musica Saeculorum and Philipp von Steinaecker, which sit alongside her three existing recital discs on the BIS label, featuring Schubert, Strauss, and Nordic Songs.

Early operatic roles such as Sophie (Der Rosenkavalier), Pamina (Die Zauberflöte), Ilia (Idomeneo), Susanna (Le nozze di Figaro), and Zerlina (Don Giovanni) took Tilling to the Royal Opera House, Covent Garden; San Francisco Opera; Bayerische Staatsoper; Opéra National de Paris; Lyric Opera of Chicago; Teatro alla Scala; and The Metropolitan Opera.

Later roles included the Governess (The Turn of the Screw) at Glyndebourne Festival, Euridice (Orfeo ed Euridice) at Salzburg Mozartwoche, Donna Clara (Der Zwerg) at Bayerische Staatsoper, Gretel (Hänsel und Gretel) at Covent Garden, l’Ange (Saint François d’Assise) for Dutch National Opera, both Blanche de la Force (Dialogues des Carmélites) and Countess Almaviva (Le nozze di Figaro) at Royal Swedish

Opera, and Mélisande (Pelléas et Mélisande) at Teatro Real Madrid, Semperoper Dresden, Finnish National Opera, and with the Los Angeles Philharmonic.

Recent concert highlights include performances as a soloist in Bernard Haitink’s historic final appearance with the Radio Filharmonish Orkest at Amsterdam’s Concertgebouw in a Strauss program, Brahms’ German Requiem with the City of Birmingham Symphony Orchestra and Mirga Gražinytė Tyla, Dutilleux’s Correspondances with the Los Angeles Philharmonic and Esa-Pekka Salonen, Mahler’s Symphony No. 4 with Orchestre de Paris and Thomas Hengelbrock, Berg’s Sieben frühe Lieder with both the Sydney Symphony Orchestra under Christoph von Dohnányi and the London Symphony Orchestra under François-Xavier Roth, and extensive tours in Peter Sellar’s stagings of Bach’s St. Matthew Passion and St. John Passion with the Berliner Philharmoniker and Sir Simon Rattle. The recent addition of Beethoven’s Missa Solemnis to Tilling’s repertoire immediately brought

performances with the Finnish Radio Symphony Orchestra under Hannu Lintu, the Orchestra of Teatro alla Scala under Bernard Haitink, and with the London Symphony and Royal Stockholm Philharmonic orchestras, both under Michael Tilson Thomas.

Under Esa-Pekka Salonen, she has recently appeared as Tove in Schoenberg’s Gurrelieder with both the combined forces of Swedish Radio Symphony and Stockholm Philharmonic orchestras (Baltic Sea Festival) and the Philharmonia Orchestra.

Camilla Tilling demonstrates her repertoire versatility with recent performances of Brahms’ German Requiem with Orchestre Philharmonique de Radio France under David Zinman, a program of Mahler and Strauss with the Philharmonie Zuidnederland under Marc Soustro, Mahler’s Symphony No. 4 with the Concertgebouworkest and Gustavo Dudamel, and together with the Freiburger Barock Orchester and René Jacobs, she reprises her earlier success as Fiordiligi in concert performances of Mozart’s Così fan tutte.

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LOS ANGELES PHILHARMONIC

Tchaikovsky and Saariaho with Mälkki Los Angeles Philharmonic Susanna Mälkki, conductor Beatrice Rana, piano

FRIDAY OCTOBER 29, 2021 8PM SATURDAY OCTOBER 30 8PM SUNDAY OCTOBER 31 2PM

Kaija SAARIAHO

Vista (c. 25 minutes) (U.S. premiere, LA Phil commission with generous support from Carol Grigor and the Esa-Pekka Salonen Commissions Fund) Horizons Targets TCHAIKOVSKY

Piano Concerto No. 1 in B-flat minor, Op. 23 (c. 32 minutes)

Allegro non troppo e molto maestoso—

Allegro con spirito

Andantino semplice—Prestissimo Allegro con fuoco Beatrice Rana

SCRIABIN

INTERMISSION ( e xc e p t f r i day )

The Poem of Ecstasy, Op. 54 (c. 22 minutes) ( e xc e p t f r i day )

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

Programs and artists subject to change.

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AT A GLANCE Musical Points of View

The time has come to talk of mystic chords and spectral harmonies. This is not a ghost story, although those things can produce otherworldly music. Alexander Scriabin’s “mystic chord” (the term was not the composer’s) was both musically functional and philosophically symbolic. Spectral music uses analysis of the acoustic properties of sound spectra to inform compositional choices about timbre and texture, and was a pivotal influence on Kaija Saariaho.

These techniques are like musical icebergs, however: vast, dense bodies of theory submerged under stunning compositions of utterly original color and sheen. Both Scriabin and Saariaho experienced forms of synesthesia, in which the visual and sonic worlds are one. Scriabin’s “ecstasy” was a sort of cosmic culmination (the composer was a Theosophist), and his symphonic poem, with its mystic chord and heroic trumpet part, is basically extended musical foreplay that

VISTA Kaija Saariaho (b. 1952) Composed: 2019 Orchestration: 3 flutes (each = piccolo), 3 oboes, English horn, 3 clarinets (3rd in E-flat), bass clarinet, 3 bassoons (3rd = contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, large cymbal, percussion (bass drum, bell, chimes [glass, metal, wood], crotales, frame drum, glockenspiel, guiro, marimba, sizzle cymbal, snare drum, suspended cymbal, tam-tam, tom-toms, triangle, vibraphone, whip, wood block, and xylophone), and strings First Los Angeles Philharmonic performance: October 29, 2021, Susanna Mälkki conducting

gathers restless lines into a shattering climax.

Commissioned by the LA Phil, Saariaho’s Vista was inspired by the wide horizons observed from scenic lookouts on a drive from Los Angeles to San Diego. She talks about how the independent lines of the first movement (“Horizons”) are “transformed sometimes into pure color,” while the second movement (“Targets”) generates “clear physical energy and determination” from the same musical material, reaching multilayered climaxes before the work ends with a reinterpretation of the calm, spacious textures of the opening.

In this context, Tchaikovsky’s Piano Concerto No. 1 sounds almost Mozartean (his favorite composer) in its faithfulness to classical traditions. But it is worth remembering that when Tchaikovsky first played this now-beloved archetype of piano concertos for the great pianist Nikolai Rubinstein, he received a cataclysmic rant on how unplayable and unintelligible it was. —John Henken

Tone color and instrumental timbre are of central importance in the music of Saariaho. The Finnish composer studied at the Sibelius Academy in Helsinki and with Brian Ferneyhough in Freiburg, but her move to Paris and the electronic music studios of IRCAM was decisive in the composition of a large amount of solo instrumental and chamber works in combination with electronic effects. Her lyrical flair is revealed in many songs and choral pieces, mostly for female voices, and she composed the ballet Maa (The Earth) for the Finnish National Ballet and the opera L’amour de Loin for the Salzburg Festival. She was named Composer of the Year in 2008 by Musical America.

Her music entered the LA Phil repertory with the U.S. premiere

of Lichtbogen in 1989, and the orchestra has commissioned and premiered a number of important works since then.

In January 2019, I attended the U.S. premiere performances of my harp concerto Trans with the Los Angeles Philharmonic, played by Xavier de Maistre and conducted by Susanna Mälkki.

I had completed my latest opera, Innocence, before Christmas, just a month earlier, and was letting my mind get fixed on the ideas that were rousing into my consciousness, planning to get into work after having returned home to Paris.

My next piece was to be an orchestra piece for Susanna.

When driving after the last concert from Los Angeles to San Diego for a few days, I was filled with joy after beautiful

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performances and enjoying the scenery on my right during the ride. We stopped every now and then to admire the view, and later I realized that most places were called vistas.

As I literally also felt that new music was flowing into my mind and opening new kinds of ideas for the piece, I started calling it simply Vista.

The score has two movements: “Horizons” and “Targets.” The excitement of writing for a full orchestra without soloists—after the many years I had used them for opera composition—was inspiring and obvious when hearing the piece.

Nevertheless, I also wanted to challenge myself and deliberately left out some of my signature instruments in orchestral context, namely harp, piano, and celesta. I also chose varied colors for the triple woodwind section and wanted to give them a larger place than usual.

These simple decisions made the composition process challenging, as they forced me to find new ways of expressing myself with orchestra. But after patient digging, I found a fresh sonority that is more clearly defined without the unifying resonances of harp and piano, and the individual wind instrument lines and textures are prominent.

The two movements are using the same musical material but are contrasting in their character.

Whereas “Horizons” is based on lines and abstract textures, “Targets” is more tense and dramatic, with much physical energy. The formal construction of the piece is based on the different ways of varying the—as such quite reduced—musical material. There are recognizable gestures that go through disparate transformations and, especially in “Targets,” search restlessly for new combinations;

the several energetic attempts to break out are finally resolved into a slow coda section, during which the music returns to the calm confidence of the opening measures. —Kaija Saariaho

PIANO CONCERTO NO. 1 IN B-FLAT MINOR, OP. 23 Peter Ilyich Tchaikovsky (1840–1893) Composed: 1874–75, rev.

1876–79, 1888–90?

Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, and solo piano First Los Angeles Philharmonic performance: November 21, 1919, Walter Henry Rothwell conducting, with soloist Rudolph Ganz On Christmas Eve of 1874, Tchaikovsky took the completed score of his First Piano Concerto to the piano virtuoso Nikolai Rubinstein, hoping that the player would premiere the work and, through his advocacy, find a place for it in the repertoire.

Rubinstein had played other works by Tchaikovsky and, until this point, had been one of the composer’s strongest supporters.

No wonder that Tchaikovsky was stunned when the pianist gave the new concerto a reception that made the Siberian tundra seem warm and welcoming.

The composer described the incident in a letter to his benefactress, Nadezhda von Meck, written in January, 1878.

“I played the first movement.

Never a word, never a single remark. […] Rubinstein never opened his lips…”

The run-through continued, but the composer still got

no reaction from the stonefaced Rubinstein. The master pianist held his tongue until Tchaikovsky had played through the entire concerto, at which point Rubinstein could no longer contain his disgust. “‘Well?’ I asked, and rose from the piano. Then a torrent broke from Rubinstein’s lips, gentle at first, gathering volume as it proceeded, and finally bursting into the fury of a Jupiter. My concerto was worthless, absolutely unplayable; the passages so broken, so disconnected, so unskillfully written, that they could not even be improved; the work itself was bad, trivial, common; here and there I had stolen from other people; only one or two pages were worth anything; all the rest had better be destroyed.

I left the room without a word.

Presently Rubinstein came to me and, seeing how upset I was, repeated that my concerto was impossible but said if I would suit it to his requirements he would bring it out at his concert. ‘I shall not alter a single note,’ I replied.”

Luckily, Tchaikovsky didn’t. He immediately banished the idea of dedicating the concerto to Rubinstein, eventually settling on the German pianist and conductor Hans von Bülow for the honor. Bülow premiered the work in Boston on October 13, 1875, where it was a triumphant success, marking the beginning of a string of American performances that increased Tchaikovsky’s popularity here.

The opening Allegro non troppo e molto maestoso is certainly that—majestic and measured.

After an introductory flourish dominated by the brass, a series of inevitable chords from the piano ride a passionate melody in the orchestra. Before this first theme has completely run

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out of steam, snatches of the second steal in, foreshadowing its imminent appearance in a uniquely structured double exposition.

The stormy development builds to two shattering climaxes, first for the piano, punctuated by the orchestra, and then for the orchestra, with a searing figure for the strings taken up by the piano with thundering bravura.

The movement closes with great assurance and authority, with dazzling passagework for the soloist giving melodic shape to a series of resolute chords played by the orchestra.

The central movement is unique in that a meltingly beautiful Andantino semplice— just what one would expect of a slow movement—gives way to a finger-twisting Prestissimo of the fleetest kind. The melody of this section comes from a French song, “Il faut s’amuser, danser, et rire,” that was a favorite of Tchaikovsky’s one-time fiancée, the soprano Désirée Artôt.

The finale, marked Allegro con fuoco—fast with fire—opens with a flamboyant Ukrainian tune which dissolves into a soaring second theme, played first by the violins, then by the soloist.

Tchaikovsky pulls out all the stops for the Concerto’s coda, with the orchestra playing the second theme for all its worth before everyone launches into the dazzling closing pages.

Several years after he trashed Tchaikovsky’s work, a contrite Rubinstein took up the concerto, becoming its most ardent and renowned exponent. Tchaikovsky had known all along that the piece and Rubinstein were made for each other; it just took the pianist a while to come around.

Since then, it has become

one of the most popular and beloved works in the concerto repertoire. —John Mangum

THE POEM OF ECSTASY, OP. 54 Alexander Scriabin (1872–1915) Composed: 1908 Orchestration: piccolo, 3 flutes, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, church bell, cymbals, orchestra bells, tam-tam, triangle), 2 harps, celesta, organ, and strings First Los Angeles Philharmonic performance: November 6, 1925, Walter Henry Rothwell conducting The fascination with Moscowborn Alexander Scriabin at the turn of the 19th into the 20th century stems less from his early, great success as a pianist, mainly playing his own Chopin-influenced short pieces with Chopinesque names— prelude, etude, nocturne, etc.— attractive as that music may be.

He became notorious as purveyor of the “mystical” creations of the final decade of his short life: his last piano sonatas and two orchestral works, the Poem of Ecstasy heard on the present program and the subsequent Prometheus, Poem of Fire.

The Poem of Ecstasy was written in a villa near Genoa where the composer was hiding out from a censorious Russian society with Tatiana Schlözer, for whom he was in the process of leaving his wife. Scriabin’s selfexile coincided with an invitation to come to New York to present a series of recitals and to perform

his early Piano Concerto with the New York Philharmonic. However, the orchestra’s conductor, Vassily Safonov, a friend of the abandoned Mrs. Scriabin, would not countenance Scriabin’s presence, or his music. He refused to conduct the concerto and what would have been the world premiere of the recently completed Poem of Ecstasy.

With warnings from an old friend, the conductor Modest Altschuler, that serious problems lay ahead—the Russian writer Maxim Gorky and a woman not his wife recently had been run out of New York for similar “moral offenses”—Scriabin and Tatiana returned to Europe. The Poem finally made it to New York two years later, when it was presented

by Altschuler and the Russian Symphony Orchestra of New York. The reviews were scathing.

A program note for a concert of Scriabin’s music, given in Moscow in March of 1909, offers a view of the piece that is probably Scriabin’s own (we can’t blame anyone else)—and a small taste of what “theosophy” is about: “Poem of Ecstasy is the joy of liberated action. The Cosmos, i.e., Spirit, is eternal Creation without External Motivation, a Divine Play with Worlds. […] When the Spirit has attained the supreme culmination of its activity and has been torn away from the embraces of teleology and relativity, when it has exhausted completely its substance and its liberated active energy, the Time of Ecstasy shall then arrive.”

To go much further in describing this gloriously overthe-top, swooning piece of musical mysticism would be to bring it down to earth, the last thing its composer would have wanted. —Herbert Glass

P18 PERFORMANCES MAGAZINE

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ABOUT THE ARTISTS

SUSANNA MÄLKKI A conductor of intelligence and vision, Susanna Mälkki is sought after by symphony orchestras, opera houses, and contemporary music ensembles at the highest level. As she enters her fifth season as Chief Conductor of the Helsinki Philharmonic Orchestra and her fourth season as the Principal Guest Conductor of the Los Angeles Philharmonic, she continues to challenge audiences with a fresh and impressively broad approach to programming.

The COVID-19 pandemic only slightly curtailed her busy calendar as preparations continued over the summer of 2020 for her postponed debut at the Aix-en-Provence Festival, where in July 2021 she led the London Symphony Orchestra and a cast of soloists in the world premiere of Kaija Saariaho’s new opera, Innocence.

Susanna Mälkki’s recent season as Chief Conductor with the Helsinki Philharmonic embraced experimentation and expanded collaborations as hallmarks of the adapted performance schedule, serving her community with more socially distanced performances and media collaborations.

Additionally, she guest-conducts with the Montréal Symphony, the London Symphony Orchestra, Los Angeles Philharmonic, Bavarian Radio Symphony Orchestra, Leipzig Gewandhaus Orchestra, and the Berlin Philharmonic, as well as leading a new production of Die Walküre at the Finnish National Opera, which premiered in January 2021.

Previous major operatic appearances include the Opéra National de Paris, conducting Boesmans’ Yvonne, Princesse de Bourgogne (2020), Dvořák’s Rusalka (2019), and the world premiere of Francesconi’s Trompe-la-Mort (2017). In 2018, she debuted at the Wiener Staatsoper in Gottfried von Einem’s Dantons Tod, and December 2016 marked her debut at the Metropolitan Opera for its premiere of Saariaho’s L’Amour de loin, directed by Robert Lepage.

Equally in demand as a symphonic guest conductor, she appears regularly with top orchestras throughout Europe and North America, including the Cleveland Orchestra, the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, the Boston Symphony, London Symphony Orchestra, the Münchner Philharmoniker, Wiener Symphoniker, and Symphonieorchester des Bayerischen Rundfunks.

Recognized for her significant contribution to the art form, Mälkki was elected a Fellow of the Royal Academy of Music in London in 2010; she was awarded the Pro Finlandia Medal of the Order of the Lion of Finland—one of Finland’s highest honors—in 2011; named Officier de l’Ordre des Arts et des Lettres of France in 2014; and in January 2016 was made a Chevalier of the Légion

d’Honneur in France. In October 2016, she was named Musical America’s 2017 Conductor of the Year, and in November 2017 she was awarded the Nordic Council Music Prize.

BEATRICE RANA Beatrice Rana has shaken the international classical music world already, arousing admiration and interest from concert presenters, conductors, critics, and audiences in many countries. Beatrice performs at the world’s most esteemed concert halls and festivals, including Vienna’s Konzerthaus and Musikverein; Berlin Philharmonie; Amsterdam Concertgebouw’s main hall; New York’s Lincoln Center and Carnegie Hall; Zurich’s Tonhalle; London’s Wigmore Hall, Royal Albert Hall, and Royal Festival Hall; Paris’ Théâtre des Champs-Élysées; Lucerne’s KKL; Cologne Philharmonie; Munich’s Philharmonie, Prinzregententheater, and Herkulessaal; Frankfurt’s Alte Oper; Milan’s Società dei Concerti; Ferrara Musica; Verbier Festival; Klavier

PERFORMANCES MAGAZINE P19

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ABOUT THE ARTISTS

Festival Ruhr; Lugano’s LAC; La Roque d’Anthéron Festival; Montpellier Radio France Festival; Rencontres Musicales d’Evian; Bucharest Enescu Festival; Mostly Mozart Festival at Lincoln Center; San Francisco Performances; Los Angeles’ Walt Disney Concert Hall and Hollywood Bowl; and the Kennedy Center in Washington, D.C. She collaborates with conductors such as Yannick Nézet-Séguin, Antonio Pappano, Fabio Luisi, Riccardo Chailly, Yuri Temirkanov, Gianandrea Noseda, Jun Märkl, Trevor Pinnock, James Gaffigan, Mirga Gražinytė-Tyla, Lahav Shani, Andrés Orozco-Estrada, Susanna Mälkki, Leonard Slatkin, Kent Nagano, and Zubin Mehta.

Orchestral appearances include the Royal Concertgebouw Orchestra, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, BBC Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, Detroit Symphony, NHK Symphony, Dallas Symphony Orchestra, Pittsburgh Symphony Orchestra, Melbourne Symphony, Seoul Philharmonic, Orchestre National de France, Tonkünstler Orchester, Lucerne Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, Orchestra Sinfonicadella RAI, Filarmonica della Scala, Helsinki Philharmonic, Royal Liverpool Philharmonic, Danish National Symphony Orchestra, and the St. Petersburg Philharmonic.

During the upcoming seasons, Beatrice will debut

with the Chicago Symphony Orchestra, Orchestre de Paris, Bayerische Rundfunk Sinfonieorchester, New York Philharmonic, Deutsches Sinfonie-Orchester, Hessischer Rundfunk Sinfonieorchester, Orquesta Nacional de España, Royal Stockholm Philharmonic Orchestra, Toronto Symphony Orchestra, and Orchestre National de Lyon, and she will return to the Pittsburgh Symphony Orchestra, Danish National Symphony Orchestra, Dallas Symphony Orchestra, and Antwerp Symphony Orchestra.

She will also tour with the London Philharmonic Orchestra and Vladimir Jurowski, the Wiener Symphoniker and Andrés Orozco-Estrada, and the Philharmonia Zurich and Fabio Luisi, with whom she is in residency for a complete Beethoven concerto cycle.

Beatrice will play recitals at the Berlin Philharmonie as part of the Berlin Philharmonic recital series, Carnegie Hall’s mainstage as part of their Virtuoso series, Lisbon’s Gulbenkian Foundation, Barcelona’s Palau de la Musica, Lugano’s LAC, Paris’ Théâtre des Champs-Élysées, Madrid’s Scherzo Great Performers series, Gilmore Keyboard Festival, Tokyo’s Kioi Hall, Wigmore Hall as part of a residency, as well as many other venues and festivals. She will also continue her collaboration with the Dortmund Konzerthaus as a “Junge Wilde” until 2022.

Beatrice Rana records exclusively for Warner Classics.

In 2015, her first album, featuring piano concertos by Prokofiev

and Tchaikovsky with Antonio Pappano and the Accademia Nazionale Santa Cecilia di Roma, earned her a Gramophone Editor’s Choice and BBC Music Magazine’s Newcomer of the Year Award. Her 2017 release of Bach’s Goldberg Variations was crowned by two major awards: Young Artist of the Year at the Gramophone Awards and Discovery of the Year at the Edison Awards. In June 2018, she was named Female Artist of the Year at the Classic BRIT Awards held at the Royal Albert Hall. Her 2019 solo album, featuring works

by Stravinsky and Ravel, earned her a Diapason d’Or de l’Année and Choc de l’Année Classica in France. A Chopin album is set for release in the fall of 2021.

In June 2013, Beatrice won the Silver Medal and the Audience Award at the Cliburn International Piano Competition. Born to a family of musicians in 1993, Beatrice Rana made her debut as a soloist with orchestra at the age of nine. She had begun her musical studies at the age of four and earned her piano degree under the guidance of Benedetto Lupo at the Nino Rota Conservatory of Music in Monopoli, where she also studied composition with Marco della Sciucca. She later studied with Arie Vardi in Hannover and again with Benedetto Lupo at the Accademia di Santa Cecilia. She is based in Rome.

More information about Beatrice Rana can be found at beatriceranapiano.com.

Management for Beatrice Rana: Primo Artists, New York, NY, primoartists.com

P20 PERFORMANCES MAGAZINE

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HALLOWEEN ORGAN, FILM & MUSIC

Dr. Jekyll and Mr. Hyde Clark Wilson, organ

SUNDAY OCTOBER 31, 2021 7:30PM

Dr. Jekyll and Mr. Hyde (1920) (c. 70 minutes) Directed by Story by

Scenario by Photographed by Art Direction by Set Decoration by Presented by Produced by

John S. Robertson Robert Louis Stevenson (“The Strange Case of Dr. Jekyll and Mr. Hyde”) Clara S. Beranger Roy Overbaugh Robert M. Haas Charles O. Seessel Adolph Zukor Famous Players–Lasky Corporation

CAST John Barrymore Dr. Henry Jekyll / Mr. Edward Hyde Charles Lane Dr. Richard Lanyon Brandon Hurst Sir George Carew Cecil Clovelly Edward Enfield Nita Naldi Miss Gina – Italian Singer Michael Wilson is Walt Disney Concert Hall Organ Conservator.

Manuel Rosales and Kevin Cartwright are principal technicians for the Walt Disney Concert Hall organ.

Print courtesy of Kino International Programs and artists subject to change.

PERFORMANCES MAGAZINE P21

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ABOUT THE PROGRAM

AT A GLANCE In 1886, a singularly disturbing nightmare inspired Robert Louis Stevenson’s sinister tale about the good and evil that reside in us all. In 1920, legendary American actor John Barrymore famously starred

DR. JEKYLL AND MR. HYDE

It is altogether remarkable that a story so well known as this one can still intrigue and fascinate us to such a degree! It might be difficult to believe that more than 100 film versions of this psychological tale of misguided medicine and experimental self-discovery have been produced over the past 100 years. The novella by Robert Louis Stevenson (of Treasure Island fame) was published in 1886, whereupon it was almost immediately adapted for the stage. (In those days before our mass media, the stage was the place for all sorts of literary characters, from BenHur to Sherlock Holmes.)

The newly launched film industry eagerly latched onto

in the dual roles of Dr. Jekyll and Mr. Hyde. Tonight, Clark Wilson breathes terrifying new life into this classic of silent horror, accompanying the film on Walt Disney Concert Hall’s monster pipe organ.

this sad/bizarre/depraved/ pathetic/horrific/fascinating/ irresistible story without hesitation. From the firstever film version (1908) to a one-reeler filmed in 1912 (that told the tale in fewer than 20 minutes), the various film productions got more and more sophisticated, with better sets, better actors, and better special effects.

The Los Angeles Philharmonic’s Halloween series of silent films with live organ accompaniment affords a chance to consider a “classic” version, the one starring the legendary John Barrymore (in the role which is generally acknowledged as his first screen triumph). By this time, Famous Players–Lasky (soon to become Paramount Pictures)

was already among the leading production companies, and its new Astoria Studios on Long Island (conveniently located just an hour or so from Broadway) were used for shooting, under the direction of John S. Robertson. (The pioneering Franco-American composer Edgard Varèse, living in New York City since 1915, had an uncredited bit part in the film.)

The atmospheric settings and the extravagant but compelling theatrical style of Barrymore’s portrayal of the two sides of the central character have earned this 1920 film many admirers, and—even if its horrors are not exactly ghoulish—its appeal on a dark Halloween night is undeniable, especially with live organ accompaniment.

—Dennis Bade

P22 PERFORMANCES MAGAZINE

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ABOUT THE ARTISTS

CLARK WILSON Clark Wilson is one of the most prominent and recognized scorers of silent photoplays in America today. He works exclusively with the organ in developing accurate and historic musical accompaniments as they were performed in major picture palaces during the heyday of the silent film.

Clark began his scoring career in 1980 and has successfully toured with hundreds of film presentations at schools and universities, concert halls and performing arts centers, theaters, film festivals, and conventions. He is the organist of choice for many

of the American Theatre Organ Society’s international convention silent film presentations, has performed at American Guild of Organists and Organ Historical Society conventions, the East Texas Pipe Organ Festival, and has scored pictures for Kino International for public DVD release. He currently enjoys creating scores for, and working with, Suzanne Lloyd on the presentation of classic Harold Lloyd comedies. His work has encompassed North America, Australia, and the United Kingdom.

Wilson has been organ conservator and Resident Organist at the Ohio Theatre for the Columbus Association for the Performing Arts since 1992 and has additionally given performances at the Academy of Motion Picture Arts and Sciences (the premiere of the restored classic Wings, in honor of Paramount Pictures’ 100th anniversary), Atlanta’s Fox Theatre, UCLA’s Royce Hall, and the Packard Foundation’s Stanford Theatre. Film festival engagements have included Toronto, Cinequest, San Francisco, and the Los Angeles Conservancy. He has presented the annual Halloween Night film at Walt Disney Concert Hall for 15 years. This past

summer, Wilson had the honor of scoring the pictures at The Riverside Church in New York City, and at the San Diego International Pipe Organ Festival.

Academic credits include introducing silent film scoring at Indiana University’s organ department and being named adjunct professor at the University of Oklahoma, teaching courses in silent-picture scoring and the history of the American theatre organ, the first such accredited classes offered in the United States since 1929. He has lectured and written numerous articles for pipe-organ journals.

Wilson was presented with the American Theatre Organ Society’s Organist of the Year award in 1998.

A successful organ technician, tonal finisher, and consultant, he runs his own organ shop and has been professionally involved with over 200 pipe organ installations to date. Most recently, he headed a project to save and transplant a late Aeolian-Skinner instrument from the Ohio State University.

He has also earned the ATOS Technician of Merit award, the first of only two persons to ever receive both ATOS distinctions.

To see the Walt Disney Concert Hall organ stop list, please turn to page P24 .

PERFORMANCES MAGAZINE P23

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Th

WALT DISNEY CONCERT HALL ORGAN – 2021 STOP LIST

GREAT – MANUAL II 32' 16' 16' 16' 8' 8' 8' 8' 8' 8' 5-1/3' 4' 4' 3-¹⁄₅' 2-2/3' 2' III VIII IV VII 32' 16' 8' 4' 8'

Violonbasse Prestant Violonbasse Bourdon Principal Diapason à pavilion Violoncelle Flûte harmonique Chimney Flute Bourdon Grand Nasard Octave Spire Flute Grande Tierce Octave Quinte Super Octave Grande Fourniture Mixture Cymbale Corneta Magna Contre Basson Basson Basson Basson Trompeta de Los Angeles Sostenuto

POSITIVE – MANUAL I 16' 8' 8' 8' 8' 8' 4' 4' 2-2/3' 2' 2' 1-³⁄₅' 1-1/3' IV 16' 8' 8'

Quintaton Principal Unda Maris Gambe Flûte harmonique Gedackt Octave Hohlflöte Nasard Super Octave Waldflöte Tierce Larigot Mixture Bass Clarinet Trompette Cromorne

8' 8' 4'

16' 8' 4' 8'

Clarinet Cor anglais Clairon Tremolo Llamada Tuba Llamada Tuba Llamada Tuba Trompeta de Los Angeles Harp Celesta Sostenuto

SWELL – MANUAL III 16' 8' 8' 8' 8' 8' 8' 8' 4' 4' 2-2/3' 2' 1-³⁄₅' 1' III-V 16' 8' 8' 8' 4'

8' 8'

Bourdon Diapason Flûte traversière Bourdon Viole de Gambe Voix céleste Dulciane doux Voix Angelique Principal Flûte octaviante Nasard Octavin Tierce Piccolo Plein-jeu harmonique Bombarde Trompette Hautbois Voix humaine Clairon Fast Tremulant Slow Tremulant Trompeta de Los Angeles Llamada Tuba Sostenuto

LLAMARADA – MANUAL IV 8'

Flautado grande

4' V V 16' 8'

Octava real Lleno fuerte Compuestas Contra Tromba Tromba

4'

8' 16' 8' 4'

Tromba Clarion Tremolo Chimes Trompeta de Los Angeles Llamada Tuba Llamada Tuba Llamada Tuba Llamadas on Great Sostenuto Cymbelstern Campanitas Paiaritos

PEDAL 32' 32' 32' 16' 16' 16' 16' 16' 10-2/3' 8' 8' 8' 8' 4' 4' V 64' 32' 32' 16' 16' 16' 16' 16' 8' 8' 8' 8' 4' 4'

Flûte Violonbasse Bourdon Flûte Prestant Violonbasse Subbass Bourdon Grosse Quinte Octave Flûte Violoncelle Bourdon Super Octave Flûte Mixture Contre Basson (b) Contre Bombarde Contre Basson Grande Bombarde Llamada Tuba Contra Tromba Basson Bass Clarinette Llamada Tuba Trompeta de Los Angeles Basson Clarinet Trompeta de Los Angeles Llamada Tuba Pedal Chimes Pedal Divide

P24 PERFORMANCES MAGAZINE

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20

The Nutcracker

Apollo • Ghosts • Bloom

The Sleeping Beauty

2021/2022 season Get Tickets losangelesballet.org

Los Angeles Ballet Thordal Christensen & Colleen Neary Artistic Directors

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CORPORATE PARTNERSHIPS

CORPORATE PARTNERSHIPS

SUPPORT THE LA PHIL

The Los Angeles Philharmonic Association is honored to recognize our generous corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email jmccourt@laphil.org.

From the concerts that take place on stage at Walt Disney Concert Hall, Hollywood Bowl, and The Ford to the learning programs that fill our community with music, it is support from Annual Donors that sustained us during the COVID-19 shutdown and makes it possible to reopen our venues. We hope you, too, will consider joining the LA Phil family. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music—sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our success.

$250,000 TO $499,999 Rolex

$100,000 TO $249,999

Anheuser-Busch Inc. Lyft, Inc. Pepsi Beverage Group Postmates Toyota Motor North America Viking Cruises

$50,000 TO $99,999

Asahi José Iturbi Foundation Pasadena Showcase House for the Arts United Airlines Winc Zevia

$25,000 TO $49,999 Cooper Tires

$10,000 TO $24,999 El Silencio

ANNUAL FUND

9

$

FRIENDS OF THE LA PHIL

Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA, which provides free after-school music instruction to children in underserved communities throughout Los Angeles. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, please call 213 972 7557.

PHILHARMONIC COUNCIL

Jack Suzar and Linda May, Chairs Jonathan and Monique Kagan, Vice Chairs The Philharmonic Council is a vital leadership group, providing critical resources in support of the LA Phil’s general operations.

Their vision and generosity enables the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.

E T

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L 3 @ D

Co for sta

18 PERFORMANCES MAGAZINE

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95%

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$80

MILLIONS OF DOLL ARS

R AT E O N M U LT I P L E OFFER SCENARIOS

IN RESIDENTIAL REAL E STAT E VO LU M E

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Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01991628. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been verified. Changes in price, condition, sale or withdrawal may be made without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate *National Association of Realtors. based on GCI.

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ANNUAL DONORS

ANNUAL DONORS The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil between September 2020 and August 2021.

$1,000,000 AND ABOVE Anonymous (4) Lynn K. Altman

Judith and Thomas L. Beckmen

Michele Moehring

Ann and Robert Ronus

$500,000 TO $999,999 Zoe Cosgrove Cosgrove

Norman andSadie SadieLee Lee Foundation Norman and Foundation

Music CenterFoundation Foundation Music Center

$200,000 TO $499,999 Nancy and Leslie Abell Amazon Studios Colburn Foundation The Walt and Lilly Disney Foundation

Louise and Brad Edgerton/Edgerton Foundation Dr. Hilary Garland Gordon P. Getty

Max H. Gluck Foundation Tylie Jones Mr. Alan S. Klee Terri and Jerry M. Kohl Mr. and Mrs. David Meline

Pasadena Showcase House for the Arts The Rafael & Luisa de Marchena-Huyke Foundation

David and Linda Shaheen

Department of Arts and Culture Molly Munger and Stephen English The Music Man Foundation Mr. and Mrs. Jason O'Leary

M. David and Diane Paul Barbara and Jay Rasulo James D. Rigler/Lloyd E. Rigler—Lawrence E. Deutsch Foundation James and Laura

Rosenwald/Orinoco Foundation Deanie and Jay Stein Toyota Motor Sales U.S.A., Inc. Sue Tsao

Ms. Teena Hostovich and Mr. Doug Martinet Monique and Jonathan Kagan W.M. Keck Foundation Paul Kester Ms. Sarah H. Ketterer Darioush and Shahpar Khaledi Dr. Ralph A. Korpman Ginny Mancini Linda May and Jack Suzar Barbara and Buzz McCoy Anne Akiko Meyers and Jason Subotky David and Margaret Mgrublian

Maureen and Stanley Moore National Endowment for the Arts Soham Patel and Jennifer Broder Mrs. Louise Peebles Peninsula Committee Mr. and Mrs. Bruce Peters Ms. Linda L. Pierce Lorena and R. Joseph Plascencia Sandy and Barry D. Pressman Richard and Ariane Raffetto Wendy and Ken Ruby Nancy S. and Barry Sanders

Debra Wong Yang and John W. Spiegel Marilyn and Eugene Stein Mr. Michael L. Stern Christian Stracke Ronald and Valerie Sugar Hideya Terashima and Megan Watanabe Ms. Sherry Hall Tomeo and Mr. Don Tomeo United Airlines Ellen Goldsmith-Vein and Jon Vein John and Marilyn Wells Family Foundation Alyce de Roulet Williamson Margo and Irwin Winkler Ellen and Arnold Zetcher

Foothill Philharmonic Committee Drs. Jessie and Steven Galson Good Works Foundation and Laura Donnelley The Green Foundation Renée and Paul Haas Dwight Hare and Stephanie Bergsma Harman Family Foundation Mr. Philip Hettema Mr. and Mrs. Daniel Paul Horwitz Mr. and Mrs. James L. Hunter Mr. and Mrs. William H. Hurt

Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan Winnie Kho and Chris Testa Vicki King Bob and Pamela Krupka Lana Del Rey Ken Lemberger and Linda Sasson Renee and Meyer Luskin Roger Lustberg and Cheryl Petersen The Seth MacFarlane Foundation Ashley McCarthy and Bret Barker

Ms. Kim McCarthy and Mr. Ben Cheng Dwayne and Eileen McKenzie Michael and Lori Milken Family Foundation Joel and Joanne Mogy Mr. Robert W. Olsen The Jay and Rose Phillips Family Foundation of California Jennifer and Evan Rosenfeld Mr. Bennett Rosenthal Katy and Michael S. Saei Mr. Lee C. Samson Ellen and Richard Sandler

$100,000 TO $199,999 Anonymous The Blue Ribbon R. Martin Chavez Nancy and Donald de Brier The Walt Disney Company Dunard Fund USA

The Eisner Foundation Ms. Lisa Field Jenny Miller Goff Lenore S. and Bernard A. Greenberg Fund Los Angeles County

$50,000 TO $99,999 Anonymous (7) Mr. Gregory A. Adams Julie Andrews Ms. Kate Angelo and Mr. Francois Mobasser Ms. Wallis Annenberg David Bohnett Foundation Lynn A. Booth Bob and Reveta Bowers Linda and Maynard Brittan Kawanna and Jay Brown Andrea Chao-Kharma and Kenneth Kharma Chivaroli and Associates, Tiffany and Christian Chivaroli Mr. and Mrs. Robert Cook Ms. Mari L. Danihel

Kelvin and Hana Davis, in honor of Mary Davis Kathleen and Jerry L. Eberhardt Jane B. and Michael D. Eisner Marti C. Farley Mr. Walter Fidler David and Eve Ford Alfred Fraijo Berta and Frank Gehry Kiki and David I. Gindler John C. Harpole and Gabrielle Starr Mr. and Mrs. Enrique Hernandez, Jr. Yvonne Hessler The Hirsh Family

$25,000 TO $49,999 Anonymous (2) Debra and Benjamin Ansell Mr. and Mrs. Phil Becker Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Jill Black Zalben Michele Brustin Oleg and Tatiana Butenko Lois and Rene Cailliet The Capital Group Companies Charitable Foundation Esther S. M. Chui Chao City National Bank City of Los Angeles

Department of Cultural Affairs Dan Clivner Mr. Richard W. Colburn Becca and Jonathan Congdon Mr. and Mrs. Jonathan Cookler Donelle Dadigan Lynette and Michael C. Davis Orna and David Delrahim Malsi Doyle-Forman and Michael Forman Edison International Marianna J. Fisher and David Fisher

20 PERFORMANCES MAGAZINE

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Elizabeth and Justus Schlichting Randy and Susan Snyder Dwight Stuart Youth Fund Michael Frazier Thompson Mr. and Mrs. Thomas E. Unterman David H. Vena Meredith Jackson and Jan Voboril Debra and John Warfel Stasia Washington Mindy and David Weiner Bob and Nita Hirsch Family Foundation Tye Ouzounian and Karyn A. Wong David Zuckerman and Ellie Kanner

$15,000 TO $24,999 Anonymous (6) Drew and Susan Adams Honorable and Mrs. Richard Adler The Aversano Family Trust Ms. Elizabeth Barbatelli Susan Baumgarten Dr. William Benbassat Miles and Joni Benickes Mr. and Mrs. Adam Berger Robert and Joan Blackman Family Foundation Ying Cai & Wann S. Lee Foundation Hyon Chough and Maurice Singer Sarah and Roger Chrisman Jennifer Diener Julia Stearns Dockweiler Charitable Foundation Van and Francine Durrer Dr. and Mrs. William M. Duxler Geoff Emery Bob and Mary Estrin Mr. and Mrs. Josh Friedman Gary and Cindy Frischling The Rosalinde and Arthur Gilbert Foundation Mr. James Gleason Carrie and Rob Glicksteen Goodman Family Foundation Robert and Lori Goodman Mr. and Mrs. Ken Gouw Mr. Bill Grubman Vicken and Susan J. Haleblian Stephen T. Hearst Diane Henderson MD Carol and Warner Henry Marion and Tod Hindin Gerry Hinkley and Allen Briskin Fritz Hoelscher Mr. Eugene Kapaloski Tobe and Greg Karns Mr. and Mrs. Robert A. Kasirer Ms. Nancy Katayama Sandi and Kevin Kayse Larry and Lisa Kohorn Vicki Lan Mr. and Mrs. Keith Landenberger League of American Orchestras' Catalyst Fund David Lee Allyn and Jeffrey L. Levine Mr. and Mrs. Simon K.C. Li Theresa Macellaro/The Macellaro Law Firm The Mailman Foundation Raulee Marcus MasterCard Jonathan and Delia Matz Ms. Irene Mecchi Marcy Miller Mr. Weston F. Milliken Deena and Edward Nahmias Mr. and Mrs. Dan Napier Shelby Notkin and Teresita Tinajero Christine M. Ofiesh PERFORMANCES MAGAZINE 21

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ANNUAL DONORS

Mr. Charles B. Ortner Ana Paludi and Michael Lebovitz Gregory Pickert and Beth Price John Peter Robinson and Denise Hudson Linda and Tony Rubin The SahanDaywi

Foundation Ron and Melissa Sanders Dena and Irv Schechter/ The Hyman Levine Family Foundation: L'DOR V'DOR Evy and Fred Scholder Family Marc Seltzer and Christina Snyder

Jill and Neil Sheffield Mr. and Mrs. Howard A. Sherwood Grady and Shelley Smith Mr. and Mrs. Richard Sondheimer The Specialty Family Foundation Mr. Lev Spiro and

Ms. Melissa Rosenberg Lisa and Wayne Stelmar Tracey Boldemann-Tatkin and Stan Tatkin Elinor and Rubin Turner Judith and Dr. John Uphold Noralisa Villarreal and John Matthew Trott Tee Vo and Chester Wang

Frank Wagner and Lynn O'Hearn Wagner Warner Bros.

Wells Fargo Libby Wilson, MD Mahvash and Farrok Yazdi Karl and Dian Zeile Bobbi and Walter Zifkin

Mr. Maurice LaMarche Ms. Annmarie Eldering and Ms. Anne Vandenabeele Fairchild-Martindale Foundation Bonnie and Ronald Fein Mr. Tommy Finkelstein and Mr. Dan Chang Daniel and Maryann Fong Tatiana Freitas Joan Friedman, Ph.D. and Robert N. Braun, M.D. Dr. and Mrs. David Fung Dr. and Mrs. Bruce Gainsley Greg and Etty Goetzman Harriett and Richard E. Gold Mr. and Mrs. Louis L. Gonda Tricia and Richard Grey Beverly and Felix Grossman Mr. and Mrs. David Haft Laurie and Chris Harbert Karen Hillenburg Linda Joyce Hodge Mr. Tyler Holcomb Dr. Louise Horvitz and Carrie Fishman Mr. Frank J. Intiso

Michele and James Jackoway Kristi Jackson and William Newby Robin and Gary Jacobs Dr. William B. Jones Kashper Family Foundation Mr. and Mrs. Stephen Keller Remembering Lynn Wheeler Kinikin Mr. Gary Kirkpatrick and Mrs. Rebeccah Bush Kirkpatrick Mr. and Mrs. Kenneth N. Klee Stephanie and Randy Klopfleisch Nickie and Marc Kubasak Mr. and Mrs. Norman A. Levin Dr. Stuart Levine and Dr. Donna Richey Ms. Agnes Lew Maria and Matthew Lichtenberg Ellen and Mark Lipson Macy's Marshall Field's

Emil Ellis Farrar and Bill Ramackers Lisa and Willem Mesdag Ms. Marlane Meyer Mrs. Judith S. Mishkin Wendy Stark Morrissey Ms. Christine Muller and Mr. John Swanson Ms. Kari Nakama NBC Universal Anthony and Olivia Neece Kenneth T. and Eileen L. Norris Foundation Mr. and Mrs. Peter O'Malley D. Orenstein & J. Lu Loren Pannier Glenn Pittson Mrs. Paula Pitzer Mr. and Mrs. Arnold Porath Lee Ramer Frederick and Julie Reisz Gary Satin Alexander and Mariette Sawchuk Samantha and Marc Sedaka Mr. and Mrs. Arnold Seidel Dr. Donald Seligman and Dr. Jon Zimmermann

Neil Selman and Cynthia Chapman Gloria Sherwood The Sikand Foundation June Simmons Angelina and Mark Speare Joseph and Suzanne Sposato Mr. and Mrs. Mark Stern James C. Stewart Charitable Foundation Priscilla and Curtis S. Tamkin Thomas and Elayne Techentin Mr. and Mrs. Terry Volk Dr. Marlene M. Schultz and Philip M. Walent Bryan D. Weissman and Jennifer Resnik Mr. and Mrs. Howard Zelikow Susan Zolla, In Memory of Edward M. Zolla Kevork and Elizabeth Zoryan

Tim and Neda Disney Mr. Lawrence N. Field Alexandra S. Glickman and Gayle Whittemore Ellie and Mark Lainer Cathy and Mark Loucheim

Mr. and Mrs. Boutie Lucas Dr. and Mrs. Jeffrey Morris Santa Monica-Westside Philharmonic Committee United Way of Greater Los Angeles

Christine Upton Vargo Physical Therapy Hope Warschaw and John Law Bob and Dorothy Webb

Doris Weitz and Alexander Williams Westside Committee

Ms. Lynne Brickner Mr. and Mrs. Steven Bristing Mr. Stuart D. Buchalter Mr. and Mrs. Tom R. Camp Fanya Carter, Ph.D. Mr. and Mrs. Ronald Clements Mr. David Colburn Mr. and Mrs. Richard W. Cook Mr. and Mrs. Leo David Cary Davidson and Andrew Ogilvie Ms. Rosette Delug The Randee and Ken Devlin Foundation John and Leslie Dorman Joycelyn Fawaz Mr. and Mrs. Michael M. Flynn The Franke Family Trust

Beth Gertmenian Ms. Karen Caffee and Mr. Manuel Grace Lee Graff Foundation Mr. and Mrs. Paul Guerin Mr. William Hair Stephen and Hope Heaney Mr. Jeffrey Hendel Stephen D. Henry and Rudy M. Oclaray Myrna and Uri Herscher Family Foundation Roberta and Burt Horwitch Mr. and Mrs. Tim C. Johnson Mr. and Mrs. Steaven K. Jones, Jr. Marilee and Fred Karlsen Marty and Cari Kavinoky Mr. Mark Kim and Ms. Jeehyun Lee

Ms. Ann L. Kligman Mr. and Mrs. Stephen A. Kolodny Sandra Krause and William Fitzgerald Naomi and Fred Kurata Mr. and Mrs. Ronald B. Labowe Katherine Lance Mr. and Mrs. Jack D. Lantz Mr. George Lee Marie and Edward Lewis Meg Lodise Los Angeles Philharmonic Affiliates Luppe and Paula Luppen Mr. Roger I. MacFarlane Sandra Cumings Malamed and Kenneth D. Malamed Leslie and Ray Mathiasen Dr. and Mrs. Gene Matzkin

Lawry Meister Mr. and Mrs. Dana Messina Ms. Lillian Mueller Mrs. Cynthia Nelson Mr. and Mrs. Randy Newman Ms. Margo Leonetti O'Connell Ms. Debra Pelton and Mr. Jon Johannessen Robert J. Posek, M.D. James S. Pratty, M.D. Mr. and Mrs. Wayne Ratkovich Mr. Eduardo Repetto Hon. Vicki Reynolds and Mr. Murray Pepper Cathleen and Scott Richland Murphy and Ed Romano and Family Ms. Rita Rothman

$10,000 TO $14,999 Anonymous (4) Mr. Robert J. Abernethy B. Allen and Dorothy Lay Bank of America Stephanie Barron Sondra Behrens Phyllis and Sandy Beim Mr. Mark and Pat Benjamin Mr. Barry W. Berkett Suzette and Monroe Berkman Brass Ring Foundation Campagna Family Trust Ms. Nancy Carson and Mr. Chris Tobin Chevron Products Company Jay and Nadege Conger Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Julie and Stan Dorobek Larry and Janet Duitsman Mr. and Mrs. Brack W. Duker Victoria Dummer and Brion Allen Dr. Paul and Patti Eisenberg Ms. Robin Eisenman and

$7,500 TO $9,999 Isaac Barinholtz and Erica Hanson Ellis N. Beesley, Jr. M.D. Ms. Marjorie Blatt Committee of Professional Women

$5,500 TO $7,499 Anonymous (2) Ms. Janet Abbink and Mr. Henry Abbink Alex Alben Bobken & Hasmik Amirian Art and Pat Antin Sandra Aronberg, M.D. and Charles Aronberg, M.D. Ms. Judith A. Avery Ms. Linda Babcock Mr. Mustapha Baha Pamela and Jeffrey Balton Mrs. Linda E. Barnes Mr. Barry Beitler Maria and Bill Bell Mr. Herbert M. Berk Ms. Gail K. Bernstein Mitchell Bloom Roz and Peter Bonerz Mr. and Mrs. Hal Borthwick Dr. and Mrs. Hans Bozler

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Mr. and Mrs. Matthew Rowland Dr. and Mrs. Bernard Salick Malcolm Schneer Family Trust Pamela and Russ Shimizu Mr. Adam Sidy Ms. Ruth M. Simon

Mr. and Mrs. Peter R. Skinner Leah R. Sklar Mr. Douglas H. Smith Virginia Sogomonian and Rich Weiss Mason A. Sommers, Ph.D and Rami Izic, M.F.T.

Ms. Laura Stanford-Turner Ms. Randi Tahara Mr. and Mrs. Randall Tamura Andrew Tapper and Mary Ann Weyman Mr. Avedis Tavitian Dr. James Thompson and Dr. Diane Birnbaumer

Warren B. and Nancy L. Tucker Perry Vidalakis Mr. Nate Walker Acorn Paper Products Company Western Allied Corp Mr. Robert E. Willett

David and Michele Wilson Mr. Steve Winfield Karen and Rick Wolfen Rosalind Wyman Mr. and Mrs. Richard Wynne Mr. Nabih Youssef

Mr. Stephen Bergens Mr. Malcolm Bersohn Eileen Bigelow and Brien J. Bigelow Mr. and Mrs. Richard Birnholz Dr. Andrew C. Blaine and Dr. Leigh Lindsey Mr. Kenneth Blakeley Shawn Blakeslee Thomas J. Blumenthal Bobrick Washroom Equipment Inc Joan N. Borinstein Mr. Gary Boston Mrs. Susan Bowey Anita and Joel Boxer Dr. Noel G. Boyle Lynn Gordon and Jon Braun Mrs. Marie Brazil Mrs. William Brand and Ms. Carla B. Breitner Mr. Donald M. Briggs and Mrs. Deborah J. Briggs

Kevin Brockman Charles Brown Sue and Barry Brucker Thy Bui Business and Professional Committee Dr. and Mrs. R. Melvin Butler Victor Carabello Diana Reid and Marc Chazaud Mr. Louis Chertkow Dr. and Mrs. Michael M. Churukian Susan and David Cole Ms. Laurie Dahlerbruch Mr. James Davidson and Mr. Michael Nunez Ms. Mary Denove Wanda Denson-Low and Ronald Low Dr. Eknath Deo R. Stephen Doan and Donna E. Doan Sean Dugan and Joe Custer

Douglas Durst Encore Joyce and David Evans Dr. and Mrs. Arthur A. Fleisher, II Mrs. Diane Forester Mr. Michael Fox Mr. and Mrs. Alan M. Gasmer Dr. Tim A. Gault, Sr. Dr. and Mrs. Stephen A. Geller Mr. and Mrs. Ronald Gertz Susan and Jaime Gesundheit Jason Gilbert Tina Warsaw Gittelson Glendale Philharmonic Committee Sheila Golden Dr. Patricia Goldring Carol Goldsmith Dr. Ellen Smith Graff Mr. Charles Gross Mr. Frank Gruber and Ms. Janet Levin

Mr. Jack L. Edelstein Mr. Gary M. Gugelchuk Mr. and Mrs. Pierre Habis Trish Harrison and John Runnette Mr. and Mrs. Brian L. Harvey Byron and DeAnne Hayes Mr. Rex Heinke and Judge Margaret Nagle Brian Helgoe Arlene Hirschkowitz Janice and Laurence Hoffmann Heather and Chris Holme Eugene and Katinka Holt Andrei and Luiza Iancu Illig Construction Company Michael Insalago Ms. Margaret Jacob Mr. Sean Johnson Ms. Marcia Jones and Mr. George Arias Robin and Craig Justice Mr. and Mrs. David S. Karton

$3,500 TO $5,499 Anonymous (7) Anonymous in memory of Dr. Suzanne Gemmell Pacific Harmony Foundation Edgar Aleman Alex J. Ettl Foundation Alan and Halina Alter Mr. and Mrs. Daniel E. Altman American Federation of Musicians Local 47 Mr. Robert C. Anderson Dr. Philip Anthony Myla Azer Bank Of America Charitable Gift Fund Mr. James Barker Catherine and Josephe Battaglia Newton and Rochelle Becker Charitable Trust Benjamin Family Foundation Michael and Hedvah Berg

Focus.

Learn acting for film, television, and new media.

The new Acting for Camera Degree and Certificate Programs at AMDA New York and Los Angeles.

Now accepting applications for the Fall 2021 semester.

Learn more at amda.edu/camera

PERFORMANCES MAGAZINE 23

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PTZ LA Op

Bond Furs

ANNUAL PRIVATE SALE

Custom Designed or Ready Made Garments, Alter ations, Restyling, Stor age, Cleaning & Glazing.

SATURDAY & SUNDAY DECEMBE R 7 th & 8 th 626.471.9912 bondfurs.com 114 W. Lime Ave, Monrovia, CA 91016

Dr. and Mrs. David Kawanishi Kayne, Anderson and Rudnick Richard Kelton Mr. and Mrs. Jon Kirchner Michael and Patricia Klowden Carol Krause Brett Kroha and Ryan Bean Joan and Chris Larkin James D. Laur Craig Lawson and Terry Peters Mr. Tom Leanse Mr. Robert Leevan Andrew and Grace Liang Ms. Joanne Lindquist Jeffrey and Lori Litow Family Trust Long Beach Auxiliary Mr. Jerry Longarzo and Ms. Diana Longarzo Anita Lorber Susan Disney Lord and Scott Lord Los Angeles Philharmonic Committee Mr. and Mrs. Ronald Manzani Mona and Frank Mapel Mr. Allan Marks and Dr. Mara Cohen Mr. and Mrs. Stanley Maron Paul Martin Milli M. Martinez and Don Wilson Vilma S. Martinez, Esq. Ms. Phyllis Massino Dr. and Mrs. Allen W. Mathies Mr. Gary J. Matus Mr. William McCune Mrs. Velma V. McKelvey Kelly Sutherlin McLeod and Steven B. McLeod Mr. Sheldon and Dr. Linda Mehr Robert L. Mendow Mr. and Mrs. David Michaelson Ms. Barbara J. Miller Janet Minami Mr. and Mrs. William Mingst Cynthia Miscikowski Robert and Claudia Modlin Linda and John Moore Harvey Motulsky and Lisa Norton Mr. Jose Luis Nazar Mr. and Mrs. Robert Neely Mr. Richard Newcome and Mr. Mark Enos Dick and Chris Newman / C & R Newman Family Foundation Mahnaz and David Newman Ms. Kimberly Nicholas Steven A. Nissen Howard and Inna Ockelmann David Olson and Ruth Stevens Ms. Jean Oppenheimer Mr. and Mrs. Richard Orkand Kim and P.F. James Overton Ms. Melissa Papp-Green Patricia Pengra Mary E. Petit and Eleanor Torres Mr. Brian Platz Mr. Jeff Polak and Mrs. Lauren Reisman Polak Lyle and Lisi Poncher Mrs. Ruth S. Popkin Andrew Powell Joyce and David Primes Ms. Miriam Rain Dr. Robert Rauschenberger Rita and Norton Reamer

Ms. Pamela P. Reis Dr. Susan F. Rice Christine Robert Robinson Family Foundation Rock River Mrs. Laura H. Rockwell Mr. and Mrs. William C. Roen Lois Rosen Mrs. Jaclyn Rosenberg Dr. James M. Rosser Mr. Steven F. Roth Mimi Rotter Dr. Michael Rudolph S.S. Russin III Living Trust Ann M. Ryder San Marino-Pasadena Philharmonic Committee Britta Lindgren Dr. and Mrs. Heinrich Schelbert Elliot Gordon and Carol Schwartz Carol (Jackie) and Charles Schwartz Michael Sedrak Dr. and Mrs. Hervey Segall Ms. Amy J. Shadur-Stein Ruth and Mitchell Shapiro Mr. Steven Shapiro Hope and Richard N. Shaw Mrs. Elise Sinay Spilker H. Russell Smith Foundation Mr. Steven Smith Dr. Michael Sopher and Dr. Debra Vilinsky SouthWest Heights Philharmonic Committee Shondell and Ed Spiegel Mr. Donald Spuehler and Mrs. Jill Roth Spuehler Ms. Angelika Stauffer Mr. Scott Stephens Mr. Adrian B. Stern Takehiko Suzuki Mr. Marc A. Tamaroff Scott Thomas Mr. and Mrs. Harlan H. Thompson Ms. Evangeline M. Thomson Arlette M. Towner Mr. and Mrs. Jim Tranovich Mr. and Mrs. Leonard Unger Kathy Valentino The Valley Committees for the Los Angeles Philharmonic Mr. and Mrs. Peter J. Van Haften VIP Rubber Company Jenny Vogel Mr. Jules Vogel Felise Wachtel Christopher V. Walker Mr. Darryl Wash Craig R. Webb and Melinda Taylor Mr. William A. Weber Rose and Ben Weinstein Ms. Abby Weiss and Mr. Ray F. Weiss Mr. and Mrs. Doug M. Weitman Robert and Penny White Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Linda and John Woodall Mr. Kevin Yoder Mrs. Lillian Zacky Rudolf H. Ziesenhenne Mr. Sanford Zisman and Ms. Janis Frame

Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit laphil.com. If your name has been misspelled or omitted from the list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.

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We invite you to make history with us.

Introducing the reimagined Providence Cedars-Sinai Tarzana Medical Center.

Coming early 2023.

To ensure the very best in health care, it’s going to take a community.

Join us. Make a gift today.

Contact the Foundation at 818-757-4384 or CAFoundation@Providence.org www.tarzanafoundation.org

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ABOUT THE LA PHIL

LOS ANGELES PHILHARMONIC ASSOCIATION Chad Smith

CHIEF EXECUTIVE OFFICER David C. Bohnett Chief Executive Officer Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CEO

EXECUTIVE TEAM Renae Williams Niles

CHIEF CONTENT & ENGAGEMENT OFFICER

Summer Bjork CHIEF OF STAFF

Margie Kim

CHIEF PHILANTHROPY OFFICER

ARTISTIC PLANNING AND PRESENTATIONS Kristen Flock-Ritchie ASSISTANT MANAGER, ARTISTIC PLANNING AND HUMANITIES

Brian Grohl

PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA

Janice Bartczak

TICKET SELLER

Lisa Burlingham

WILLIAM POWERS & CAROLYN POWERS CREATIVE CHAIR FOR JAZZ

GENERAL MANAGER, HOLLYWOOD BOWL; VICE PRESIDENT, PRODUCTION

Malorie Barbee

PAYROLL ADMINISTRATOR

DIGITAL OPERATIONS MANAGER

ACCOUNTING MANAGER

ASSOCIATE DIRECTOR, AUDIENCE GROWTH & ENGAGEMENT

DIGITAL ASSET MANAGER

STAFF ACCOUNTANT

Katherine Franklin

VENUE OPERATIONS ACCOUNTANT

Shoaib Ghafoor SENIOR ACCOUNTANT

Lisa Hernandez

Toi Duckworth

Victoria Dinu

ASSISTANT DIRECTOR, SALES AND CUSTOMER ENGAGEMENT

Tara Gardner

PATRON / AUDIENCE SERVICES REPRESENTATIVE

ACCOUNTS PAYABLE COORDINATOR

SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS

AUDIENCE SERVICES SUPERVISOR

FINANCIAL PLANNING MANAGER

SENIOR ADVERTISING MANAGER

AUDIENCE SERVICES SUPERVISOR

PAYROLL MANAGER

AUDIENCE SERVICES REPRESENTATIVE

FINANCIAL PLANNING ANALYST

AUDIENCE SERVICES REPRESENTATIVE

PAYROLL ADMINISTRATOR

PATRON / AUDIENCE SERVICES REPRESENTATIVE

ACCOUNTS PAYABLE SPECIALIST

AUDIENCE SERVICES REPRESENTATIVE

ACCOUNTS PAYABLE MANAGER

AUDIENCE SERVICES SUPERVISOR

STAFF ACCOUNTANT

Jennifer Hugus

Lisa Renteria

Bernie Keating

Elizabeth Rojo

ADMINISTRATION Jason Abbott

Rosa Ochoa

Sierra Shultz

Michael Chang

WALT DISNEY CONCERT HALL BOX OFFICE Spring Ake

HOLLYWOOD BOWL Mark Ladd ASSOCIATE DIRECTOR, OPERATIONS

AUDIENCE SERVICES MANAGER

Toliman Au

OPERATIONS COORDINATOR

CREATIVE COPYWRITER

Donella Coffey

EVENT MANAGER

ART DIRECTOR

Christy Galasso

DIRECTOR, OPERATIONS

CREATIVE DIRECTOR

Veronika Garcia

HOUSE MANAGER

VIDEO PRODUCER

Alex Hennich

LEARNING Emily Bourne

MARKETING DATABASE SPECIALIST

Julia Ward

DIRECTOR, HUMANITIES

ASSISTANT, OFFICE SERVICES DATABASE ADMINISTRATOR

Alex Hernandez

MANAGER, OFFICE SERVICES

Kevin Higa

CLOUD INFRASTRUCTURE ENGINEER

Dean Hughes SYSTEM SUPPORT III

Charles Koo

INFRASTRUCTURE MANAGER

Kristina Louie HR GENERALIST

Jeff Matchan

DIRECTOR, INFORMATION TECHNOLOGY

Maria Mejia HR COORDINATOR

Sergio Menendez SYSTEM SUPPORT I

Angela Morrell TESSITURA SUPPORT

Sean Pinto

DATABASE APPLICATIONS MANAGER

Miguel A. Ponce, Jr. SYSTEM SUPPORT I

Christopher Prince TESSITURA SUPPORT

Aly Zacharias STAFF ATTORNEY

TICKET SELLER

Gina Leoni

2ND ASSISTANT TREASURER

Patrice Lozano

2ND ASSISTANT TREASURER

Edgar Tom

1ST ASSISTANT TREASURER

Tom Waldron

1ST ASSISTANT TREASURER TICKET SELLER

Amy Lackow

2ND ASSISTANT TREASURER

Elia Luna TICKET SELLER

Page Messerly TREASURER

Ariana Morales

1ST ASSISTANT TREASURER

Carolina Orellana 2ND ASSISTANT TREASURER

Cathy Ramos TICKET SELLER

Elias Santos

2ND ASSISTANT TREASURER

John Tadena TICKET SELLER

Carlie Tomasulo 2ND ASSISTANT TREASURER

MANAGER, LEARNING

Phil Bravo

ASSOCIATE DIRECTOR, SOCIAL INNOVATION

Anthony Crespo

PROGRAM MANAGER, YOLA AT TORRES

Camille Delaney-McNeil DIRECTOR, BECKMEN YOLA CENTER

Fabian Fuertes MANAGER, YOLA

Julie Hernandez

FACILITIES MANAGER, BECKMEN YOLA CENTER

Lorenzo Johnson

PROGRAM MANAGER, YOLA AT INGLEWOOD

Gaudy Sanchez

YOLA ARTISTIC ADMINISTRATOR

Stephen Smith

ANNUAL FUND OFFICER

Genevieve Goetz

Annisha Hinkle

ARTIST PAYMENT SPECIALIST

Stephen Gluck

VICE PRESIDENT, PRESENTATIONS

Chelsea Downes

CREATIVE COPYWRITER

AUDIENCE SERVICES REPRESENTATIVE

Nina Phay

Johanna Rees

MAJOR GIFTS OFFICER

Valeri Estrada

Paul Gibson

Yuri Park

VICE PRESIDENT, ARTISTIC PLANNING

DIRECTOR, INSTITUTIONAL GIVING AND STEWARDSHIP

MANAGER, DIGITAL MARKETING

Jacqueline Ferger

Meghan Martineau

ASSOCIATE DIRECTOR, ANNUAL FUND/MEMBERSHIP

Justin Foo

Brendan Broms

VICE PRESIDENT, LEARNING

SENIOR MAJOR GIFTS OFFICER

Julia Cole

Wade Mueller

Elsje Kibler-Vermaas

INTERIM DIRECTOR, MAJOR GIFTS

Elias Feghali

Debbie Marcelo

ADVISOR, CIVIC ENGAGEMENT

Bill Williams

CONTROLLER

Gloria Balcom

Leni Isaacs Boorstin

TECHNICAL DIRECTOR

Joshua Alvarenga

Joe Carter

LaTonya Lindsey

DIRECTOR, THE FORD

Kelvin Vu

DIRECTOR, SALES & CUSTOMER EXPERIENCE

Charles Carroll

Vilma Alvarez

Cynthia Fuentes

DIRECTOR, PRODUCTION

MANAGER, MARKETING COMMUNICATIONS

Jonathan Clemente

AUDIENCE SERVICES Denise Alfred

Michael Vitale

PHILANTHROPY Robert Albini

Steven Cao

ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

PRODUCTION MANAGER

DIRECTOR, MARKETING

Jose Villasenor

MANAGER, ARTIST SERVICES

Ebner Sobalvarro

Christopher Slaughter

PRODUCTION ADMINISTRATOR

Adriana Aguilar

Meredith Reese

PRODUCTION MANAGER

DIRECTOR, RETAIL SERVICES

CONCERT MANAGER, THE FORD

Maren Quanbeck

Alex Rehberger

DIRECTOR, DIGITAL

COORDINATOR, ARTISTIC & HUMANITIES

Karen Sturges

Laura Connelly

Tomorrow Kitchen

FINANCE Jyoti Aaron

ARTISTIC ADMINISTRATOR

Daniel Song

VICE PRESIDENT, MARKETING AND COMMUNICATIONS

Laurel Harris

MARKETING & COMMUNICATIONS COORDINATOR

2ND ASSISTANT TREASURER

Rafael Mariño

SENIOR MANAGEMENT TEAM Nora Brady

TICKET SELLER

Herbie Hancock

ARCHIVES AND MUSEUM DIRECTOR

Mona Patel

CHIEF FINANCIAL OFFICER

Lushia Anson

SOCIAL MEDIA MANAGER

Ljiljana Grubisic

Daniel Mallampalli

CHIEF OPERATING OFFICER

Angelia Franco

TICKET SELLER

1ST ASSISTANT TREASURER

Christine Lim

GENERAL COUNSEL

MARKETING & COMMUNICATIONS Mary Allen

Scott Arenstein

Emanuel Maxwell

CHIEF TALENT & EQUITY OFFICER

BOX OFFICE — GROUP SERVICES Nancy Fitzgerald

Jennifer Hoffner Linda Holloway

PATRON SERVICES MANAGER

Sophie Jefferies

DIRECTOR, PUBLIC RELATIONS

Alexis Kaneshiro GRAPHIC DESIGNER

Brant Markley

MANAGER, REVENUE STRATEGIES & ANALYTICS

Ricky O’Bannon DIRECTOR, CONTENT

Erin Puckett

MARKETING COORDINATOR, PROMOTIONS & PARTNERSHIPS

Tristan Rodman DIGITAL PRODUCER

Richard Rubio

Martin Sartini Garner Mary Smudde Natalie Suarez Kahler Suzuki Jonathan Thomas Lauren Winn

SENIOR PROJECT MANAGER, CREATIVE SERVICES

PHILANTHROPY OPERATIONS SPECIALIST MANAGER, GIFT PLANNING

Jeffery Glover

ASSISTANT MANAGER, ANNUAL FUND

Gerry Heise

SENIOR MAJOR GIFTS OFFICER

Madison Huckaby

ASSISTANT MANAGER, SPECIAL EVENTS

Julian Kehs

MANAGER, INSTITUTIONAL GIVING

Sara Kim

DIRECTOR, INDIVIDUAL GIVING

Anita Lawson

DIRECTOR, PHILANTHROPY OPERATIONS

Christina Magaña

DONOR RELATIONS ASSOCIATE

Jediah McCourt

MANAGER, CORPORATE PARTNERSHIPS

Allison Mitchell

BOARD LIAISON / SENIOR GIFT OFFICER

Susan Erburu Reardon DIRECTOR, GIFT PLANNING

Carina Sanchez RESEARCH ANALYST

Erica Sitko

ASSOCIATE DIRECTOR, STRATEGIC ADVANCEMENT

Peter Szumlas

SENIOR MANAGER, PHILANTHROPY OPERATIONS AND ANALYTICS

Tyler Teich

PHILANTHROPY OPERATIONS, GIFT AND DATA SPECIALIST

Derek Traub

MANAGER, PHILANTHROPY COMMUNICATIONS

Kevin Tsao

ANNUAL FUND COORDINATOR

ORCHESTRA MANAGEMENT & PRODUCTION Shana Bey

ASSOCIATE ORCHESTRA PERSONNEL MANAGER

Jessie Farber

ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Isabella Gorden PRODUCTION ASSOCIATE

Raymond Horwitz

PROJECT MANAGER, MEDIA INITIATIVES

Kimberly Mitchell PRODUCTION MANAGER

Morgan Walton

MANAGER, SPECIAL EVENTS

Richard T. Watkins

ASSOCIATE DIRECTOR, PHILANTHROPY

The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.

MANAGER, YOLA

26 PERFORMANCES MAGAZINE

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City of Los Angeles Eric Garcetti Mayor Mike Feuer City Attorney Ron Galperin Controller

CITY COUNCIL

Bob Blumenfield Mike Bonin Joe Buscaino Gilbert Cedillo Kevin de León Marqueece Harris-Dawson Paul Koretz Paul Krekorian John S. Lee Nury Martinez President Mitch O’Farrell Curren D. Price, Jr. Nithya Raman Mark Ridley-Thomas Monica Rodriguez

DEPARTMENT OF CULTURAL AFFAIRS

Danielle Brazell General Manager

CULTURAL AFFAIRS COMMISSION

Elissa Scrafano President Thien Ho Vice President Evonne Gallardo Charmaine Jefferson Ray Jimenez Eric Paquette Robert Vinson

WALT DISNEY CONCERT HALL HOUSE STAFF

Ronald H. Galbraith Master Carpenter John Phillips Property Master (Vacant) Master Electrician Kevin F. Wapner Master Audio/Video Greg Flusty House Manager 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.

PERFORMANCES MAGAZINE 27

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Welcome to The Music Center!

We are so glad to have you back! Safety is our number one priority, and we promise to provide you the best, safest experience possible on our campus. We are working with both the State of California and the Los Angeles County Department of Public Health and have embraced the highest standards of safety, sanitation and security. Visit musiccenter.org/safety for more information.

No matter the state of our world, we know the arts add joy to our lives and offer opportunities for self-expression and connection to one another. We are honored you have chosen to experience the arts at The Music Center. #WeBelieveinArts @musiccenterla General Information (213) 972-7211 | musiccenter.org Support The Music Center (213) 972-3333 | musiccenter.org/support

Situated on the ancestral and sacred land of the Tongva and many other indigenous groups who call these grounds home, The Music Center acknowledges and honors with gratitude the land itself and the First People who have been its steward throughout the generations.

2021/2022 BOARD OF DIRECTORS

OFFICERS

GENERAL COUNSEL

Cindy Miscikowski Chair

Rollin A. Ransom

Robert J. Abernethy Vice Chair

DIRECTORS EMERITI

Darrell R. Brown Vice Chair Rachel S. Moore President & CEO Diane G. Medina Secretary Susan M. Wegleitner Treasurer William Taylor Assistant Treasurer and Chief Financial Officer

MEMBERS AT LARGE

Charles F. Adams William H. Ahmanson Wallis Annenberg Jill C. Baldauf Susan E. Baumgarten Phoebe Beasley Thomas L. Beckmen Kimaada M. Brown Dannielle Campos Greg T. Geyer Lisa Gilford Jeffrey M. Hill Maria Rosario Jackson Carl Jordan Stefanie Kane Terri M. Kohl Kent Kresa Cary J. Lefton Keith R. Leonard, Jr. David B. Lippman Richard Lynn Martinez Mattie McFaddenLawson Elizabeth Michelson Darrell D. Miller Shelby Notkin Michael J. Pagano Cynthia M. Patton Karen Kay Platt Joseph J. Rice Melissa Romain Beverly P. Ryder Maria S. Salinas Lisa See Mimi Song Matthew J. Spence Johnese Spisso Philip A. Swan Walter F. Ulloa Timothy S. Wahl Jennifer M. Walske Alyce de Roulet Williamson Jay S. Wintrob

Peter K. Barker Judith L. Beckmen Ronald W. Burkle John B. Emerson ** Richard M. Ferry Brindell Gottlieb Bernard A. Greenberg Stephen F. Hinchliffe, Jr. Glen A. Holden Ginny Mancini Edward J. McAniff Walter M. Mirisch Fredric M. Roberts Richard K. Roeder Claire L. Rothman Joni J. Smith Lisa Specht ** Cynthia A. Telles James A. Thomas Andrea L. Van de Kamp ** Thomas R. Weinberger Rosalind W. Wyman ** Chair Emeritus Current as of July 1, 2021

Photos: John McCoy for The Music Center; right photo: ABT’s Katherine Williams and Blaine Hoven perform the pas de deux in A Time There Was at The Music Center.

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BOARD OF SUPERVISORS COUNTY OF LOS ANGELES Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.

Hilda L. Solis Chair, First District

Janice Hahn Supervisor, Fourth District

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Holly J. Mitchell Chair Pro Tem, Second District

Sheila Kuehl Supervisor, Third District

Kathryn Barger Supervisor, Fifth District

9/22/21 6:24 PM

Live at The Music Center SUN 03 OCT / 2:00 p.m.

II Trovatore LA OPERA @ Dorothy Chandler Pavilion Thru 10/10/2021

SUN 31 OCT / 7:30 p.m.

Halloween Organ, Film & Music: Dr. Jekyll and Mr. Hyde LA PHIL @ Walt Disney Concert Hall

SAT 20 NOV / 2:00 p.m.

Rachmaninoff’s All-Night Vigil LOS ANGELES MASTER CHORALE @ Walt Disney Concert Hall Thru 11/21/2021

SAT 09 OCT / 7:00 p.m.

Homecoming: A Special Concert & Fundraiser LA PHIL @ Walt Disney Concert Hall

TUES 2 NOV / 7:30 p.m.

Alcina LA OPERA @ Dorothy Chandler Pavilion Thru 11/5/2021

SAT 20 NOV / 7:30 p.m.

Cinderella LA OPERA @ Dorothy Chandler Pavilion Thru 12/12/2021

THU 14 OCT / 8:00 p.m.

Dudamel Conducts Strauss LA PHIL @ Walt Disney Concert Hall Thru 10/17/2021

SAT 6 NOV / 8:00 p.m.

Reich, Adams, and Rachmaninoff LA PHIL @ Walt Disney Concert Hall Thru 11/7/2021

SAT 20 NOV / 8:00 p.m.

Reel Change 2 LA PHIL @ Walt Disney Concert Hall

SAT 16 OCT / 7:30 p.m.

Tannhauser LA OPERA @ Dorothy Chandler Pavilion Thru 11/6/2021

WEDS 10 NOV / 8:00 p.m.

RY X with the LA Phil LA PHIL @ Walt Disney Concert Hall

THU 21 OCT / 8:00 p.m.

Mahler, Montgomery, and Mackey with Dudamel LA PHIL @ Walt Disney Concert Hall Thru 10/24/2021

FRI 12 NOV / 11:00 a.m.

Mozart and Ravel LA PHIL @ Walt Disney Concert Hall Thru 11/14/2021

FRI 29 OCT / 8:00 p.m.

Tchaikovsky and Saariaho with Mälkki LA PHIL @ Walt Disney Concert Hall Thru 10/31/2021

FRI 19 NOV / 8:00 p.m.

Reel Change 1 LA PHIL @ Walt Disney Concert Hall

Visit musiccenter.org for additional information on all upcoming events. @musiccenterla

TUES 23 NOV / 8:00 p.m.

Chamber Music — November LA PHIL @ Walt Disney Concert Hall FRI 26 NOV / 8:00 p.m.

Brahms and Korngold LA PHIL @ Walt Disney Concert Hall Thru 11/28/2021 SAT 27 NOV / 8:00 p.m.

Flamenco! Fiesta de la Bulería Jerez LA PHIL @ Walt Disney Concert Hall

OCT/NOV

SUN 17 OCT / 7:30 p.m.

Cameron Carpenter LA PHIL @ Walt Disney Concert Hall

THU 11 NOV / 8:00 p.m.

Colburn Celebrity Recital: Leonidas Kavakos and Yuja Wang LA PHIL @ Walt Disney Concert Hall

SUN 21 NOV / 2:00 p.m.

Reel Change 3 LA PHIL @ Walt Disney Concert Hall

TUES 30 NOV / 8:00 p.m.

A Christmas Carol CENTER THEATRE GROUP @ Ahmanson Theatre Thru 1/1/2022

Photo: Will T. Yang for The Music Center

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To learn more, be inspired and support our vision, visit:

musiccenter.org @musiccenterla

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PARTIN G TH O U G H T

reprogra mmed!

Performances Magazine unveils new platform for shows and concerts. by caleb wachs

DROP DOWN MENU Table of app contents.

SEARCH Find whatever it is you want to know—easily.

REGISTER Stay arts-engaged, access past programs.

SIGN IN Link to your performing-arts companies and venues.

THE ESSENTIALS Acts, scenes, synopses, repertory and notes.

THE PLAYERS Bios and background for cast, crew and creators.

CONTRIBUTORS Donors and sponsors who make it all possible—you!

NO RUSTLING PAGES, no killing trees.... Of all the innovations to have come out of the pandemic, the new Performances program platform, accessed on any digital device, may be least likely to disappear in the foreseeable future.

Not only has its time come—it was long overdue.

Performances provides the programs for 20 SoCal performingarts organizations, from the Los Angeles Philharmonic and the Ahmanson to San Diego Opera, where the app made its debut.

WHAT’S ON What’s coming at a glance with ticket information.

The touchless platform provides cast and player bios, donor and season updates and arts-centric features. Audiences receive a link and code word that instantly activate the app; QR codes are posted, too.

Screens go dark when curtains rise and return with the house lights.

Updates—repertory changes, understudy substitutions, significant donations—can be made right up to showtime, no inserts necessary.

Other features include video and audio streams, translations and expanded biographies.

For those who consider printed programs keepsakes, a limited number, as well as commemorative issues for special events, will continue to be produced. Collectibles!

Meanwhile, there will be less deforestation, consumption of petroleum inks and programs headed for landfills. For the ecologically minded, the platform gets a standing ovation.

Theaters and concert halls are reopening after a year-long intermission. The stage is set, excitement is mounting. Activate your link and enjoy the shows.

30 PERFORMANCES SPRING 2021

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ONE WOMAN PASSION HARD WORK DETERMINATION

310.285.7508 Homes@JadeMills.com JadeMills.com

Not intended as a solicitation if your property is already listed by another broker. Affiliated real estate agents are independent contractor sales associates, not employees.

2021 Coldwell Banker. All Rights Reserved. Coldwell Banker and the Coldwell Banker logos are trademarks of Coldwell Banker Real Estate LLC. The Coldwell Banker System is comprised of company owned offices which are owned by a subsidiary of Realogy Brokerage Group LLC and franchised offices which are independently owned and operated. The Coldwell Banker System fully supports the principles of the Fair Housing Act and the Equal Opportunity Act.

CalRE# #00526877

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