Performances Magazine -- LA Phil October 2018

CENTENNIAL SEASON OCTOBER 2018

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R u s n a k O n l i n e.com

PRO U D LY S E RVI N G SO UTH E R N C ALI FO R N IA FO R OVE R 50 Y E ARS

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“PRICELESS.

POETRY IN MOTION...”

— Siegfried & Roy, Masters of the Impossible

Where Art Connects Heaven & Earth “Demonstrating the highest realm in the arts.”

—Chi Cao, principal dancer, Birmingham Royal Ballet, and star of Mao’s Last Dancer

“This is the highest and the best of what humans can produce.”

—Olevia Brown-Klahn, singer and musician

“Absolutely the No.1 show in the world.”

—Kenn Wells, former lead dancer of the English National Ballet

“Absolutely the greatest of the great!

It must be experienced.”

—Christine Walevska, “goddess of the cello”, watched Shen Yun 5 times

SHEN YUN’S unique artistic vision expands theatrical experience into a multi-dimensional, inspiring journey through one of humanity’s greatest treasures—the five millennia of traditional Chinese culture.

This epic production immerses you in stories reaching back to the most distant past. You’ll explore realms even beyond our visible world.

Featuring one of the world’s oldest art forms— classical Chinese dance—along with patented scenographical effects and all-original orchestral works, Shen Yun opens a portal to a civilization of enchanting beauty and enlightening wisdom.

Let Shen Yun take you on an unforgettable journey…

MAR 23–MAY 11, 2019 Long Beach • Santa Barbara • Thousand Oaks • Claremont Downtown LA • Costa Mesa • Northridge • Hollywood • Palm Desert

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Tickets: 800-880-0188 ShenYun.com/LA Early Bird Code：Early19 Get best seats & waive fee by Dec.31

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Andrew Norman

Moby

OCTOBER 2018 CONTENTS

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22

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ABOUT THE LA PHIL

NEWS

CENTENNIAL SPOTLIGHT

SUPPORT THE LA PHIL

BOOK I • OCTOBER 2-14

BOOK II • OCTOBER 18-31

P1

OCT 2 Chamber Music: All-Russian

P6

OCT 4-7 LA Fest: Dudamel Kicks Off the 100th Season

P1

OCT 18-21 LA Phil: Romeo & Juliet

P5

OCT 22 Oneohtrix Point Never: Myriad

P12 OCT 7

Organ Recitals:

Renée Anne Louprette

P7

OCT 23 Sounds About Town: Colburn Orchestra with Valery Gergiev

P16 OCT 9

LA Fest: LA’s Newest Music

P15 OCT 24

Colburn Celebrity Recital:

Seong-Jin Cho

P21 OCT 11

LA Fest: Andrew Bird & the LA Phil P24 OCT 12

LA Fest: Moby & the LA Phil P27 OCT 13

LA Fest: Herbie Hancock & the LA Phil P30 OCT 12

LA Fest: La Santa Cecilia • Cuco

La Santa Cecilia

LA Dance Project

P18 OCT 26-27

LA Phil:

Bruckner’s Fourth, “Romantic” P24 OCT 30

Chamber Music:

Mendelssohn & Sibelius

Seong-Jin Cho

P30 OCT 31

Halloween Organ & Film:

Nosferatu

2 PERFORMANCES MAGAZINE

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4 PERFORMANCES MAGAZINE

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LOS ANGELES PHILHARMONIC ASSOCIATION

CHAIR Jay Rasulo* CEO Simon Woods VICE CHAIRS David C. Bohnett* Jerrold L. Eberhardt* Jane B. Eisner* David Meline* Diane Paul*

Welcome to the Centennial Season!

We begin our 100th season with LA Fest, a thrilling festival in which we turn our attention to the city that has been inspiring us so powerfully for so long. Gustavo Dudamel, our Music & Artistic Director, opens with a concert exploring the virtuosity of the LA Phil and our own composers — Conductor Laureate Esa-Pekka Salonen and Andrew Norman, Director of our Nancy and Barry Sanders Composer Fellowship Program. And three of our virtuoso principals are the soloists in Beethoven’s ebullient Triple Concerto.

The LA Phil’s commitment to championing new music is second to none, and this month’s Green Umbrella program — curated by Andrew Norman — consists entirely of new commissions, as do all of the Green Umbrella concerts this season!

All our non-classical series also launch during LA Fest: Jazz with Herbie Hancock and Songbook with Andrew Bird, both with Gustavo and the orchestra. La Santa Cecilia and Cuco open the World Music series, and Moby partners with Gustavo and the orchestra in a special non-subscription concert.

This month also brings Romeo and Juliet, an exciting crossdisciplinary collaboration with L.A. Dance Project Artistic Director Benjamin Millepied in Prokofiev’s beloved ballet score. Daniel Harding makes a welcome return to lead Bruckner’s “Romantic” Symphony No. 4 and the West Coast premiere of Olga Neuwirth’s vivid Masaot/Clocks without Hands.

And in the extravagance of the opening festivities, don’t miss our more intimate offerings: Colburn Celebrity Recitals, with brilliant Korean pianist Seong-Jin Cho in a program of Debussy and Chopin; young French-American organist Renée Anne Louprette, launching the series on our magnificent organ; and our own LA Phil musicians offering two rewarding chamber music programs.

Thank you for joining us as our Centennial season gets underway!

We are grateful for your presence and you support, and we hope to see you again many times during this historic year.

Simon Woods Chief Executive Officer, Los Angeles Philharmonic Association

DIRECTORS Gregory A. Adams Julie Andrews Wallis Annenberg Thomas L. Beckmen Lynn A. Booth Reveta F. Bowers Linda Brittan Kawanna Brown Andrea Chao-Kharma Christian D. Chivaroli, JD Mari L. Danihel Donald P. de Brier* Kenneth M. Doran Louise D. Edgerton Lisa Field Joshua Friedman Jennifer Miller Goff Lenore S. Greenberg Carol Colburn Grigor Pierre Habis Megan Hernandez Teena Hostovich Jonathan Kagan* Sarah H. Ketterer Darioush Khaledi Dana Marevich Margaret Morgan Younes Nazarian Becky Novy Leith O’Leary William Powers Sandy Pressman Ann Ronus Jennifer Rosenfeld Laura Rosenwald Nancy S. Sanders* Eric L. Small Jay Stein

Lisa Stevens Christian Stracke* Jason Subotky Ronald D. Sugar* Jack Suzar* Sue Tsao Jon Vein Alyce de Roulet Williamson Irwin Winkler Marilyn Ziering HONORARY LIFE DIRECTORS Lawrence N. Field Frank Gehry Ginny Mancini Bowen H. “Buzz” McCoy Rocco C. Siciliano *Executive Committee Member as of September 1, 2018

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“ MUSIC IS A

FUNDAMENTAL HUMAN RIGHT ” - Gustavo Dudamel

LINDA MAY

Congratulates the Los Angeles Philharmonic for its innovative 100 years of musical enlightenment that has inspired us, fostered artistic growth & enriched the denizens of our community & beyond. Here’s to 100 more prolific years as the extraordinary orchestra of the future!

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ABOUT THE LA PHIL

Gustavo Dudamel Driven by an unwavering belief in the power of music to heal, unite, and inspire, Gustavo Dudamel is one of the most distinguished conductors of our day. From the great concert halls to classrooms, video screens, and movie theaters, Dudamel’s remarkable career of musical achievements and championing of access to the arts for young people around the world demonstrates music’s extraordinary capacity to transform people’s lives.

Dudamel’s 2018/19 season will center around the Centennial celebration of the Los Angeles Philharmonic and his tenth year as its Music & Artistic Director. Other highlights of the season include his debut at the Metropolitan Opera conducting Verdi’s Otello; tours with the Berlin Philharmonic, Munich Philharmonic, and Mahler Chamber Orchestra; and his first extended academic residency at Princeton University.

Under Dudamel’s direction, the LA Phil has become one of the leading orchestras in the world, admired for its unmatched commitment to new music, diversity and inclusion, and the development of ground breaking digital initiatives. The celebration of the LA Phil’s 100th season showcases the extraordinary versatility and vision of both the orchestra and Dudamel himself, featuring more than 50 commissions.

A lifelong advocate for music education and social development through art, Dudamel himself was shaped by his childhood experience with El Sistema, the extraordinary program of immersive musical training initiated in 1975 by José Antonio Abreu. Entering his 19th year as Music Director of the Simón Bolívar Symphony

Orchestra, Dudamel also carries on the work of his late mentor with his ongoing commitment to El Sistema in Venezuela, and by supporting numerous Sistemainspired projects around the world.

One of the few classical musicians to truly reach mainstream audiences while maintaining the highest musical integrity, Gustavo Dudamel has been featured three times on CBS’ 60 Minutes and was the subject of a PBS special, Dudamel: Conducting a Life. He had a cameo role in Amazon Studio’s award-winning series Mozart in the Jungle and, together with members of YOLA, became the first classical musician to participate in the Super Bowl Halftime Show, appearing alongside pop stars Coldplay, Beyoncé, and Bruno Mars. At John Williams’ personal request, Dudamel guest-conducted on the soundtrack for Star Wars: The Force Awakens; he also recorded James Newton Howard’s soundtrack to Disney’s holiday blockbuster The Nutcracker, in which he makes an on-screen cameo.

Dudamel’s cinema, TV, radio, and online broadcasts have reached hundreds of millions of people around the world. Dudamel’s Grammy Award®-winning discography includes landmark recordings of John Adams’ Gospel According to the Other Mary (commissioned and performed by the Los Angeles Philharmonic) and the soundtrack to the motion picture Libertador, for which Dudamel composed the score. Dudamel has independently produced an all-Wagner recording available exclusively for download and streaming, a set of the complete Beethoven symphonies from Barcelona’s

Palau de la Música, and a broadcast of two Stravinsky ballets in cooperation with the Berlin Philharmonic’s Digital Concert Hall.

Gustavo Dudamel is one of the most decorated conductors of his generation.

He received the Paez Medal of Art in 2018, the Americas Society Cultural Achievement Award in 2016, and the 2014 Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society from the Longy School of Music. He was named Musical America’s 2013 Musician of the Year and was voted into the Gramophone Hall of Fame.

Gustavo Dudamel was born in 1981 in Barquisimeto, Venezuela. His conducting studies began in 1993 when he was hired as an Assistant Conductor with the Amadeus Chamber Orchestra. In 1999, he was appointed Music Director of the Simón Bolívar Youth Orchestra. Inspired

by Dudamel’s early musical and mentoring experiences, the Gustavo Dudamel Foundation, a registered charity, was created in 2012.

For more information about Gustavo Dudamel, visit his official website: gustavodudamel.com. You can find more about the Gustavo Dudamel Foundation at dudamelfoundation.org.

8 PERFORMANCES MAGAZINE

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Los Angeles Philharmonic Now in its Centennial season, the Los Angeles Philharmonic has redefined what an orchestra can be. Under the vibrant leadership of Music & Artistic Director Gustavo Dudamel since 2009, it presents an inspiring array of music through a commitment to foundational works and adventurous explorations. At home and abroad, the LA Phil — recognized as one of the world’s outstanding orchestras — leads the way in groundbreaking and diverse programming that demonstrates the orchestra’s artistry and vision, on stage and in the community.

The LA Phil performs or presents more than 250 concerts annually at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the finest artists from all genres of music.

The orchestra’s involvement with Los Angeles extends far beyond the Concert Hall, with wide-ranging performances in the schools, churches, and neighborhood centers of a vastly diverse community.

Among its influential and multifaceted education initiatives is Youth Orchestra Los Angeles (YOLA), 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 1,200

students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change.

The orchestra also undertakes tours, including regular visits to New York, Paris, and Tokyo, among others. The Philharmonic is now the International Orchestral Partner at London’s Barbican Centre. The orchestra’s very first tour was in 1921, and the Philharmonic has toured every season since 1969/70.

The LA Phil has a substantial catalog of concerts available online, including the first full-length classical music video released on iTunes.

The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a millionaire and amateur musician.

Walter Henry Rothwell became its first Music Director, serving until 1927; since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929); Artur 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).

“So far ahead of other American orchestras that it is in competition mainly with its own past achievements.”

— The New Yorker’s Alex Ross

PERFORMANCES MAGAZINE 9

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Los Angeles Philharmonic Gustavo Dudamel Music & Artistic Director Walt and Lilly Disney Chair

Esa-Pekka Salonen Conductor Laureate Susanna Mälkki Principal Guest Conductor Ann Ronus Chair

Paolo Bortolameolli Assistant Conductor John Adams John and Samantha Williams Creative Chair

FIRST VIOLINS Martin Chalifour Principal Concertmaster

Marjorie Connell Wilson Chair

Nathan Cole First Associate Concertmaster

SECOND VIOLINS

BASSES

BASSOONS

PERCUSSION

Lyndon Johnston Taylor Principal

Dennis Trembly Principal

Whitney Crockett Principal

Matthew Howard Principal

Christopher Hanulik Principal

Shawn Mouser Associate Principal

Oscar M. Meza Assistant Principal

Michele Grego

James Babor Perry Dreiman Wesley Sumpter*

Dorothy Rossel Lay Chair

Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal Ingrid Chun Jin-Shan Dai Tianyun Jia Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Yun Tang Michelle Tseng Suli Xue Eduardo Rios*

Ernest Fleischmann Chair

VIOLAS

Bing Wang Associate Concertmaster

Teng Li Principal

Barbara and Jay Rasulo Chair

Akiko Tarumoto Assistant Concertmaster Philharmonic Affiliates Chair

Rebecca Reale Michele Bovyer Rochelle Abramson Camille Avellano Margaret and Jerrold L. Eberhardt Chair

Mark Baranov Minyoung Chang

I.H. Albert Sutnick Chair

Miika Gregg Vijay Gupta

ark Houston Dalzell and M James Dao-Dalzell Chair

Mischa Lefkowitz Edith Markman Mitchell Newman Stacy Wetzel

John Connell Chair

Dale Hikawa Silverman Associate Principal Ben Ullery Assistant Principal Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel Andrew François*

CELLOS Robert deMaine Principal Bram and Elaine Goldsmith Chair

Ben Hong Associate Principal Sadie and Norman Lee Chair

Dahae Kim Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum Linda and Maynard Brittan Chair

Tao Ni Serge Oskotsky Brent Samuel

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

FLUTES Denis Bouriakov Principal Virginia and Henry Mancini Chair

Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair

Elise Shope Henry

Contrabassoon (Vacant)

HORNS Andrew Bain Principal John Cecil Bessell Chair

Jaclyn Rainey Associate Principal Gregory Roosa Alan Scott Klee Chair

Amy Jo Rhine

Loring Charitable Trust Chair

Brian Drake

Reese and Doris Gothie Chair

Ethan Bearman Assistant

Bud and Barbara Hellman Chair

Sarah Jackson

TRUMPETS

Piccolo Sarah Jackson

Thomas Hooten Principal

OBOES

James Wilt Associate Principal

Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove English Horn Carolyn Hove

CLARINETS Boris Allakhverdyan Principal Michele and Dudley Rauch Chair

Burt Hara Associate Principal Andrew Lowy David Howard E-Flat Clarinet Andrew Lowy Bass Clarinet David Howard

Joanne Pearce Martin Katharine Bixby Hotchkis Chair

Mari L. Danihel Chair

Ramón Ortega Principal

KEYBOARDS

M. David and Diane Paul Chair

Nancy and Donald de Brier Chair

Christopher Still Ronald and Valerie Sugar Chair

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

Paul Radke Bass Trombone John Lofton

HARP Lou Anne Neill

LIBRARIANS Kazue Asawa McGregor Kenneth Bonebrake Stephen Biagini

PERSONNEL MANAGER Jeffrey Neville

CONDUCTING FELLOWS Nuno Coelho Stephen Mulligan Elena Schwarz Jesús Uzcátegui * Resident Fellows The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.

In those sections where there are two principals the musicians share the position equally and are listed in order of length of service.

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

TUBA Norman Pearson

TIMPANI Joseph Pereira Principal Cecilia and Dudley Rauch Chair

10 PERFORMANCES MAGAZINE

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NEWS

YOLA Center @ Inglewood Design Unveiled

Design rendering; Gustavo Dudamel and Frank Gehry; Simon Woods, Mark Ridley-Thomas, James T. Butts, Gustavo Dudamel

Reaffirming its commitment to the mission of music education and community service, in August the Los Angeles Philharmonic unveiled the architectural design by Gehry Partners, LLC, for its new Judith and Thomas L. Beckmen YOLA Center @ Inglewood: the first permanent, purpose-built facility for Youth Orchestra Los Angeles (YOLA).

Established by the LA Phil in 2007 and led by Music & Artistic Director Gustavo Dudamel, YOLA currently serves more than 1,200 students in South L.A., the Rampart District, Westlake/MacArthur Park, and East L.A., providing free, high-quality music training and academic support. YOLA has grown to become one of the most influential community-based music education programs in the United States, while taking its place at the core of the LA Phil’s identity.

Now, the LA Phil is aiming to double the number of students that YOLA serves by establishing a permanent base for the program. The new Center will be, in effect, a third venue for the Los Angeles Philharmonic Association, alongside Walt Disney Concert Hall and the Hollywood Bowl.

Gustavo Dudamel said, “As a young child in Venezuela, I joined El Sistema and learned firsthand that music has the power to change people’s lives. Now the LA Phil is doing just that through YOLA. We know that our engagement with young people in our classes in the Rampart District or East L.A. is every bit as important as our involvement with the

audiences in Walt Disney Concert Hall. In fact, one side of what we do is incomplete without the other. That’s why it’s so important to build this permanent home for YOLA, and why I’m so grateful to Frank Gehry for understanding the LA Phil’s hopes and the dreams of our students.”

The 25,000-square-foot, $14.5 million construction project will transform the former branch office of Security Pacific Bank located at 101 South La Brea Avenue, in the civic center of the City of Inglewood. Frank Gehry, the world-renowned architect who designed Walt Disney Concert Hall, has developed the design for this Center in close collaboration with Gustavo Dudamel, creating a light-filled, flexible facility for rehearsals, classes, and performances.

The new YOLA Center is being realized thanks to a leadership gift from Judith and Thomas L. Beckmen. The LA Phil has acquired the site from the City of Inglewood with the support of Mayor James T. Butts and the City Council, as well as the encouragement of Los Angeles County Supervisor Mark Ridley-Thomas.

The LA Phil expects to begin construction in spring 2019.

12 PERFORMANCES MAGAZINE

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NEWS

LA Phil Welcomes New Members In September, Ramón Ortega joined the Los Angeles Philharmonic as Principal Oboe.

The two-time ECHO Award winner is recognized around the world as one of the most outstanding musicians of his generation.

He received solid training early from Miguel Quirós at the conservatory of his native city of Granada. Ortega became a member of the Andalusian Youth Orchestra as a twelve-yearold. In 2003, the oboist cleared an important hurdle when conductor Daniel Barenboim accepted him as a member of the East-West Divan Orchestra. One of Ramón Ortega’s finest hours was winning First Prize at the ARD Music Competition held in Munich in September 2007. Since Spring 2008, he has been Principal Oboe of the Bavarian Radio Symphony Orchestra, under its Principal Conductor Mariss Jansons.

In 2015 Ortega played the world premiere of the oboe concerto Legacy, which composer Oscar Navarro dedicated to him. The concert season 2017/18 brought Ortega to several concerts in Spain with the Orquesta de Extremadura as well as the Orquesta de Castilla y León, to Finland, and on a tour through the Netherlands with the Philharmony Zuidnederland. With the wind quartet variation5, with whom his last album, variation5, was released on Berlin Classics (Edel), he was on tour in Spring 2018.

His debut CD, Shadows (Solo Musica), won the ECHO KLASSIK award in 2011. In 2012 he was awarded with his second ECHO KLASSIK, which he received with his colleagues Sebastian Manz, Marc Trenel, David Alonso Fernandez, and Herbert Schuch for the “Chamber Music Recording of the Year.”

Other recordings have been released on Genuin, recorded with the Kammerakademie Potsdam and with the pianist Kateryna Titova.

In 2015 his solo album Bach: New Oboe Sonatas was recorded for the label EDEL. Ramón Ortega is a fellowship award-winner of the Borletti Buitoni Trust London.

Jaclyn Rainey was appointed Associate Principal Horn of the Los Angeles Philharmonic in September. Prior to her appointment, Rainey served as Third Horn with the Atlanta Symphony for four seasons, and Acting Principal Horn with the Naples Philharmonic, as well as Associate Principal

Horn with the Louisiana Philharmonic. During the summer of 2015 Rainey joined the Boston Symphony Orchestra in Carnegie Hall and on their European Tour. A Louisville, KY, native, Rainey has also performed with the Buffalo Philharmonic, Cincinnati Symphony, Kansas City Symphony, Louisville Orchestra, Milwaukee Symphony, San Antonio Symphony, and Sarasota Orchestra, and she spent two summers as a fellow at the Tanglewood Music Center.

Rainey was a winner of the MTNA Senior Brass Solo Competition. She has also served on the faculties of Georgia State University and Emory University.

She received her undergraduate degree in horn performance from the Eastman School of Music, followed by a master’s degree at the New England Conservatory of Music. She has studied with W. Peter Kurau, Richard Sebring, and James Sommerville.

In August, Teng Li joined the Los Angeles Philharmonic as the orchestra’s new Principal Viola. Teng Li is establishing herself as a diverse and dynamic performer internationally.

Along with her many solo appearances with the Toronto Symphony Orchestra (where she has been Principal Viola since 2004), Li has performed with the National Chamber Orchestra, the Santa Rosa Symphony, the Munich Chamber Orchestra, the Haddonfield Symphony, Shanghai Opera Orchestra, the Canadian Sinfonietta, and Esprit Orchestra.

Her performances have been broadcast on CBC Radio 2 (Canada), National Public Radio (NPR), WQXR (New York), WHYY (Pennsylvania), WFMT (Chicago), and Bavarian Radio (Munich).

Li is also an active recitalist and chamber musician, participating in the festivals of Marlboro, Santa Fe, Mostly Mozart, Music from Angel Fire, Rome, Moritzburg (Germany), and the Rising Stars Festival in Caramoor. She has performed with the Guarneri Quartet in New York (04/05), at Carnegie Hall (Weill Recital Hall), and with the 92nd St. “Y” Chamber Music Society. Teng was also featured with the Guarneri Quartet in their last season (2009) and was also a member of the prestigious Lincoln Center Chamber Music Society Two Program.

Li has won top Prizes at the Johanson International and the Holland-America Music

Ramon Ortega, Jaclyn Rainey, Teng Li, Paul Radke

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NEWS

Society competitions, the Primrose International Viola Competition, the Irving M. Klein International String Competition, and the ARD International Music Competition in Munich, Germany. She was also a winner of the Astral Artistic Services 2003 National Auditions.

Teng is a graduate of the Curtis Institute of Music in Philadelphia.

In July, Paul Radke joined the Los Angeles Philharmonic trombone section. Paul began playing the trombone at the age of 10 on his father’s instrument, which was originally obtained in a trade for a pig. He grew up in Overland Park, Kansas, where he studied with Dr. Nathan Dishman and Roger Oyster. Paul holds a bachelor’s degree from the Eastman School of Music, where he studied under

Dr. John Marcellus and Larry Zalkind, and a master’s degree from Rice University’s Shepherd School of Music, where he studied under Allen Barnhill.

Most recently, he spent the 2017/18 season as Acting 2nd Trombone with the San Francisco Ballet Orchestra. He has also performed with the San Francisco Symphony and the Houston Symphony. In 2016, Paul won the Frank Smith Solo Competition and the Lewis Van Haney Philharmonic Prize at the International Trombone Festival, held in New York City. He has spent summers at the Eastern Music Festival, the Aspen Music Festival, and the Chautauqua Music Festival.

Paul is also an Eagle Scout. In his free time, he enjoys hiking, barbequing, reading, and watching baseball.

Inaugural Resident Fellows Announced The LA Phil Resident Fellowship launches this season as a centerpiece initiative of the LA Phil’s Centennial, creating a pathway towards a more diverse and inclusive orchestra of tomorrow.

An annual cohort of up to five Resident Fellows will be appointed as musicians playing with the Los Angeles Philharmonic for up to three years while they receive a salary and benefits package. Resident Fellows will focus on their artistic development through orchestral, chamber music, new music, and education concerts performed at Walt Disney Concert Hall, the Hollywood Bowl and in community settings. They will also have the opportunity to participate in tours. Mentorship from LA Phil Musicians and assistance with audition preparation are added benefits to prepare Resident Fellows for future roles in major professional orchestras, including the LA Phil.

The LA Phil Resident Fellows program is supported by The Andrew W. Mellon Foundation and the Eugene and Marilyn Stein Family Foundation.

Michael Fuller, Eduardo Rios, Wesley Sumpter, Andrew François

Born and raised in Kankakee, IL, violist Andrew François began his musical studies at the age of ten on violin in his school’s string program.

As a chamber musician and soloist, François has given recitals throughout the United States and Europe, and has performed

with such esteemed artists as Joshua Bell, Alexander Kerr, Jorja Fleezanis, Eric Kim, and Stephen Wyrczynski. He also serves on the artist faculty of the Anchorage Chamber Music Festival. As an avid orchestral player, François has played with the Verbier Festival Orchestra, the Louisville Orchestra, and New World Symphony Orchestra, among others.

François enjoys teaching and community outreach, and has traveled to Medellín, Colombia to teach masterclasses and lessons at EAFIT Universidad. While an undergraduate student, he was a teaching assistant and private instructor at Illinois State University in their String Project program. As a graduate of the Jacobs School of Music, studying under string department chair Stephen Wyrczynski, François held the title of Graduate and Teaching Assistant for the string department, and sat on the Jacobs School of Music Council as a Graduate representative. After his studies, François was a Viola Fellow at the New World Symphony from 2014 to 2018.

Michael Fuller is a first-year Resident Fellow at the Los Angeles Philharmonic. Born and raised in the City of Brotherly Love, Fuller began playing the bass at the age of 12 with the help of Benjamin Blazer, Nanette Foley, and Marjorie Keefe. He attended the city’s prestigious High School for Creative and Performing Arts (CAPA).

Continued on next page

16 PERFORMANCES MAGAZINE

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NEWS

Fuller is a former member of the Philadelphia Youth Orchestra and Philadelphia’s All-City Orchestra. Prior to his senior year of high school, he began taking lessons with Philadelphia Orchestra bassist John Hood. He obtained full scholarships for two performance degrees: a bachelor’s degree from the Eastman School of Music (class of 2013), where he studied with Professor James VanDemark, and a master’s degree from Rice University’s Shepherd School of Music (class of 2015), where he studied with Professor Timothy Pitts.

Following his time at Rice, Fuller was invited to join the New World Symphony, where he spent three seasons performing under Music Director Michael Tilson Thomas. During his time at the New World Symphony, Fuller performed on a “Luigi Chiericato” model bass constructed by Barrie Kolstein in 2008, a loan made possible with the generous support of Mr. Kolstein, for winning the Doublestop Foundation’s 2016 Instrument Loan Competition.

Winner of the 2015 Sphinx Competition, 21-year-old violinist Eduardo Rios was born and raised in Lima, Peru. Eduardo began

playing the violin at age ten and made his solo debut at age 14 with the National Symphony Orchestra of Peru. He made his American solo debut with the Houston Symphony and has also performed with the Nashville Symphony, Charlotte Symphony, Colburn Orchestra, Brevard Concert Orchestra, and the National Repertory Orchestra. He has worked with worldrenowned conductors, including Carlos Kalmar, Tito Muñoz, Andrew Grams, Ken Lam, Geregely Madaras, and David del Pino.

Rios has participated in tours and festivals around the globe, including the New York String Orchestra Seminar at Carnegie Hall, Aspen Music Festival, Festival de Música de Santa Catarina (Brazil), and Traveling Notes in Armenia. Upcoming festivals include a European Tour with the Youth Orchestra of the Americas, where he will be concertmaster and featured as a soloist.

Rios is pursuing an Artist Diploma with Robert Lipsett at the Colburn Conservatory of Music, where he is co-concertmaster of the Colburn Orchestra.

Wesley Sumpter is a percussionist and drummer from Atlanta, GA. He holds a Bachelor’s Degree in Percussion Performance from the University of Georgia,

under the love and guidance of former Pittsburgh Symphony timpanist Timothy Adams Jr. and former Tucson Symphony timpanist Kimberly Toscano. Wesley is currently pursuing his master’s degree at the University of Southern California under the LA Phil’s own James Babor and Joseph Pereira. Wesley has performed as percussionist and timpanist with the Louisiana Philharmonic, Santa Barbara Symphony, Atlanta Symphony, and Los Angeles Philharmonic.

As a member of the percussion trio Lineage, Wesley and his friends Lauren Floyd and Trevor Barroero made history in May of 2016, winning the bronze medal in the Wind Division at the Fischoff National Chamber Music Competition.

An avid drummer, Wesley has performed as a studio drummer and freelancer throughout Athens and Atlanta, GA. He has played with artists such as Macy Gray and frequently with his band Misnomer, who just released their debut album, Neighborhood, on Spotify and Apple Music. In the summer of 2018, Wesley will be featured on Alfred Music’s new instructional DVD entitled Sound Percussion.

WDCH Dreams For WDCH Dreams, the LA Phil is collaborating with media artist Refik Anadol to celebrate our history and explore our future. Using Google’s machine-intelligence tools, Anadol is applying custom algorithms to the LA Phil digital archives, allowing unprecedented access to the orchestra’s past in non-traditional ways. A highly visible aspect of this public art installation will project transformed archival materials onto the exterior of Walt Disney Concert Hall in animated, data-driven patterns, seeming to give consciousness to the architectural landmark. (September 28–October 6) Inside Walt Disney Concert Hall, visitors will be able to immerse themselves in a companion installation. The compact Ira Gershwin Gallery of the Library of Congress will be transformed into a U-shaped, mirrored, and interactive space, where attendees will be able to manipulate — and even “fly through” — a futuristic universe made up of thousands of LA Phil performances and millions of memories going all the way back to 1919.

The projections and gallery installation of WDCH Dreams are supported by the David C. Bohnett CEO’s Discovery and Innovation Fund.

18 PERFORMANCES MAGAZINE

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NEWS

In Memoriam The LA Phil bid farewell this summer to Board Member Dudley Rauch (1941-2018), one of its most beloved leaders, longtime champions, and generous benefactors. A humble, unassuming figure with a keen intellect, Rauch quietly supported the LA Phil for more than five decades.

Since joining the Board in 2002, Rauch helped usher in an era of revitalization for the LA Phil, including the opening of Walt Disney Concert Hall, the appointment of Gustavo Dudamel, and the hiring of Chief Executive Officer Simon Woods.

“Dudley had a profound impact on all corners of our institution — our Board, orchestra, and staff — every step of the way,” LA Phil Board Chair Jay Rasulo said of Rauch.

“Dudley approached all he did with his whole heart and a profoundly generous spirit. He sought not only having a positive effect on the institutions he was involved with, but also — and more importantly — on the individuals at these institutions.”

Like his impact on the LA Phil, Rauch’s philanthropy was outsized. His investments in the LA Phil’s Centennial, which totaled more than $25 million, began more than seven years ago, when he and his wife Cecilia (who passed away in 2011), decided that they would commit a significant portion of their wealth to help secure the future of the LA Phil.

In an interview conducted last spring, Rauch spoke about his legacy at the LA Phil with his trademark humility and earnestness: “When I pass this earth, I will have the satisfaction of knowing that I’ve helped in a small way to make the Phil what it is today, along with lots of other people.”

Rauch is survived by his second wife Michele, his daughter, and a community of millions of music lovers across Southern California who will continue to benefit from his tremendous generosity.

In July, the Los Angeles Philharmonic family was saddened to hear of the passing of trumpet legend Thomas Stevens (1938-2018), the long-time Principal Trumpet of the orchestra.

Stevens was appointed to the orchestra in 1965 by then-Music Director Zubin Mehta, who named him Principal Trumpet in 1972, a position he held until his retirement in 2000.

The Los Angeles appointment was preceded by a stint in the U.S. Army as solo trumpeter with the West Point Band, followed by a one year engagement with the Dallas Symphony Orchestra. Stevens also served as Principal Trumpet with the “World Orchestra for Peace,” Sir George Solti’s hand-picked group assembled in Geneva for the celebration of the 50th anniversary of the United Nations, and with the Casals Festival Orchestra in Puerto Rico.

In addition to his work as an orchestral musician, Stevens performed and recorded as a soloist and chamber musician with major organizations worldwide, including the Chamber Music Society of Lincoln Center.

He was a founding member of the Los Angeles Brass Quintet and also maintained an active presence in the Hollywood recording studios for many years.

Stevens is perhaps best known for his activities in the promotion, performance, and premiere recordings of new music for solo trumpet. His efforts have resulted in many works which have become staples of the genre, including the Sequenza X by Luciano Berio, which was written specifically for him.

Stevens was also a published composer, arranger, and orchestrator whose works have been performed in major concert venues and on recordings. His original educational materials are used in music schools throughout the world.

Dudley Rauch, Thomas Stevens

20 PERFORMANCES MAGAZINE

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CENTENNIAL SPOTLIGHT

LA PHIL: THE FIRST 1OO YEARS This season has truly been 100 years in the making. Like the diverse city it calls home, the Los Angeles Philharmonic was built by grand visions and is sustained by a spirit of artistic and cultural restlessness.

On these pages throughout the season, we will be making connections between our past, present, and future.

The Hollywood Bowl in 1926

1919

William Andrews Clark, Jr. founds the Los Angeles Philharmonic. Walter Henry Rothwell is named the orchestra’s first music director, and the first concert is held on October 24, when they play Dvořák’s “New World” Symphony, Liszt’s Les Preludes, and more. The following year, the orchestra will move to Philharmonic Hall.

1922

The Los Angeles Philharmonic plays its first concert at the Hollywood Bowl, performing selections from Wagner, Brahms, Grieg, and Rossini.

1925 British pianist and composer

Ethel Leginska becomes the first woman to conduct the Los Angeles Philharmonic.

1928 The orchestra is recorded live for the first time. Symphonies Under the Stars becomes the first in a long line of recordings featuring the LA Phil.

Dorothy Chandler fundraising with County Supervisors.

1935

A pair of legendary musical mavericks — Igor Stravinsky and Arnold Schoenberg — lead the LA Phil on separate occasions.

1943

The LA Phil holds the first of its many Symphonies for Youth, a creation of music director Alfred Wallenstein.

1951 In a move that will shape the

future of the LA Phil for decades to come, Dorothy Chandler becomes executive vice president of the Southern California Symphony Association.

1961

Zubin Mehta is named music director during the opening concert of the 1961/62 season. The elated audience gives a standing ovation in response.

Philharmonic Hall, Pershing Square

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Zubin Mehta, Music Director 1962-1978

1964 The Los Angeles Philharmonic

moves into the newly opened Music Center, a three-venue campus that is largely the brainchild of Dorothy Chandler.

1984 André Previn is named music

director of the LA Phil. A gifted pianist and composer, Previn is a four-time Oscar® winner and the recipient of ten Grammys®.

1992 Esa-Pekka Salonen leads his first

concert as music director of the Los Angeles Philharmonic. Under his baton, the LA Phil will give the world or American premieres of 120 compositions.

Walt Disney Concert Hall at sunrise

2003

The LA Phil moves into its current home, Walt Disney Concert Hall.

A marvel of architecture and acoustic engineering, the Frank Gehry — designed masterpiece instantly becomes an icon of the city of Los Angeles.

2018 The LA Phil enters a new era with the dawning of its Centennial.

2007 Youth Orchestra Los Angeles (YOLA) is founded. YOLA will go on to provide instruments, education, and performance experience to thousands of young musicians.

2009

Gustavo Dudamel debuts as music director of the LA Phil. Eighteenthousand people descend on the Hollywood Bowl for ¡Bienvenido Gustavo!, the scene of his first-ever U.S. concert.

Gustavo Dudamel, Music & Artistic Director 2009-Present

Esa-Pekka Salonen, Music Director 1992-2009

PAST/FORWARD: THE LA PHIL AT 1OO Published on the occasion of the Los Angeles Philharmonic’s centennial, Past / Forward: The LA Phil at 100 is a two-volume coffee table book that revisits the history of the LA Phil and contemplates the future of “America’s most important orchestra.” The publication offers an unconventional approach to institutional storytelling and includes more than 100 firsthand accounts, music director interviews by Pulitzer Prize winner Tim Page, 150 rarely seen archival photos, and contributions from LA-based artists.

Available at the LA Phil Store and laphilstore.com PERFORMANCES MAGAZINE 23

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NEWS

A

Upcoming Orchestral Highlights NOV 1-3 8PM · NOV 4 2PM

NOV 30 & DEC 1 8PM · DEC 2 2PM

Mälkki, Reich & Mahler

“Pathétique” with MTT

Los Angeles Philharmonic Susanna Mälkki, conductor Steve REICH Music for Ensemble and Orchestra (world premiere, LA Phil commission) MAHLER Symphony No. 5

Los Angeles Philharmonic Michael Tilson Thomas, conductor Measha Brueggergosman, mezzo-soprano Michael TILSON THOMAS Four Preludes on Playthings of the Wind TCHAIKOVSKY Symphony No. 6, “Pathétique”

One of music’s towering figures, Steve Reich has composed a new work for our Centennial, which is sure to be unforgettable under Principal Guest Conductor Susanna Mälkki. To complete the program, she reveals the vast emotional landscape that is Mahler’s Fifth.

NOV 8-9 8PM · NOV 10 2PM

The Tempest

Los Angeles Philharmonic Susanna Mälkki, conductor The Old Globe Barry Edelstein, director SIBELIUS and SHAKESPEARE Ariel, Prospero, Caliban, Miranda — unforgettable characters from Shakespeare’s enchanting masterpiece about a shipwreck on a magical island who have inspired creators for hundreds of years. For this collaboration with The Old Globe, we will combine Sibelius’ evocative music with the Bard’s timeless words for a captivating original production.

Susanna Mälkki

L.A. favorite Michael Tilson Thomas partners with the orchestra for his own newest work, followed by the passionate emotional depths of Tchaikovsky’s “Pathétique.”

DEC 7 11AM · DEC 8 8PM · DEC 9 2PM

Tchaikovsky & Ives with MTT Los Angeles Philharmonic Michael Tilson Thomas, conductor Gautier Capuçon, cello Los Angeles Master Chorale Grant Gershon, Artistic Director TCHAIKOVSKY Romeo and Juliet Overture-Fantasy TCHAIKOVSKY Variations on a Rococo Theme IVES A Symphony: New England Holidays

After two of Tchaikovsky’s most loved shorter works, MTT takes on Ives’ rarely performed, mighty and massive Holidays Symphony, whose movements mash up familiar hymns, marches, and songs from the composer’s New England childhood.

County of Los Angeles BOARD OF SUPERVISORS Hilda L. Solis Mark Ridley-Thomas Sheila J. Kuehl Chair Janice K. Hahn Kathryn Barger

COUNTY ARTS COMMISSION

Eric R. Eisenberg President Helen Hernandez Vice President Constance Jolcuvar Secretary Liane Weintraub Executive Committee Pamela Bright-Moon Immediate Past President Darnella Davidson Eric Hanks Liz Schindler Johnson Bettina Korek Alis Clausen Odenthal Claire Peeps Norma Provencio Pichardo David Valdez Hope Warschaw Rosalind Wyman Kristin Sakoda Executive Director

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

Gautier Capuçon

24 PERFORMANCES MAGAZINE

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Endowment Donors We are honored to recognize donors to our Endowment Fund, whose generosity ensures a living tradition of world-class music at Walt Disney Concert Hall and the Hollywood Bowl. The following list represents contributions to the Los Angeles Philharmonic Endowment Fund.

$25,000,000+ 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 Lenore S. and Bernard A. Greenberg Fund Terri and Jerry M. Kohl Los Angeles Philharmonic Affiliates 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 Dunard Fund USA Elaine and Bram Goldsmith Carol Colburn Grigor The Norman and Sadie Lee Foundation 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 Janeway Foundation Bernice and Wendell Jeffrey Carrie and Stuart Ketchum Kenneth N. and Doreen R. Klee B. Allen and Dorothy Lay Karl H. Loring Los Angeles Philharmonic Committee

Estate of Judith Lynne MaddocksBrown Foundation Ginny Mancini Raulee Marcus Barbara and Buzz McCoy Merle and Peter Mullin Carolyn Powers William Powers Nancy and Barry Sanders H. Russell Smith Foundation Ronald and Valerie Sugar I.H. Sutnick

$500,000 TO $999,999 Ann and Martin Albert Abbott Brown Jerrold L. Eberhardt Yvonne and Gordon Hessler Joan and John Hotchkis Ernest Mauk and Doyce Nunis Mr. and Mrs. David Meline Sandy and Barry D. Pressman Earl and Victoria Pushee William and Sally Rutter Christian Stracke Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

$250,000 TO $499,999 Baker Family Trust Veronica and Robert Egelston Gordon Family Foundation Joan Green Harris Trust Bud and Barbara Hellman Gerald L. Katell Norma Kayser Joyce and Kent Kresa Raymond Lieberman Mr. Kevin MacCarthy and Ms. Lauren Lexton Jane and Marc B. Nathanson Y & S Nazarian Family Foundation Nancy and Sidney Petersen Rice Family Foundation Robert Robinson Katharine and Thomas Stoever Donna Swayze Sue Tsao Alyce and Warren Williamson

$100,000 TO $249,999 Mr. Robert J. Abernethy William A. Allison Rachel and Lee Ault W. Lee Bailey, M.D. Angela Bardowell Lynn and Otis Booth Deborah Borda The Eli and Edythe Broad Foundation Jane Carruthers James and Paula Coburn Foundation

Mr. and Mrs. Terry Cox Silvia and Kevin Dretzka Allan and Diane Eisenman Christine and Daniel Ewell Arnold Gilberg, M.D., Ph.D. David and Paige Glickman Nicholas T. Goldsborough Gonda Family Foundation Kathryn Kert Green and Mark Green Ms. Kay Harland Freya and Mark Ivener Ruth Jacobson Jo Ann and Charles Kaplan Susanne and Paul Kester Vicki King Sylvia Kunin Ann and Edward Leibon Ellen and Mark Lipson B. and Lonis Liverman Glen Miya and Steven Llanusa Ms. Gloria Lothrop Vicki and Kerry McCluggage Diane and Leon Morton Mary Pickford Foundation Sally and Frank Raab Malcolm Schneer and Cathy Liu David and Linda Shaheen Foundation William E.B. and Laura K. Siart Magda and Frederick R. Waingrow Wasserman Foundation Robert Wood Syham Yohanna & James W. Manns

$25,000 TO $99,999 Marie Baier Foundation Dr. Richard Bardowell, M.D. Jacqueline Briskin Dona Burrell Ann and Tony Cannon Dee and Robert E. Cody The Colburn Fund The Geraldine P. Coombs Trust in memory of Gerie P. Coombs Mr. Allen Don Cornelsen Ginny and John Cushman Marilyn J. Dale Mrs. Barbara A. Davis Dr. and Mrs. Roger DeBard Jennifer and Royce Diener The Englekirk Family Claudia and Mark Foster Lillian and Stephen Frank Dr. Suzanne Gemmell Paul and Florence Glaser Good Works Foundation Margaret Grauman Anne Heineman Ann and Jean Horton Drs. Judith and Herbert Hyman Albert E. and Nancy C. Jenkins Robert Jesberg and Michael J. Carmody Stephen A. Kanter, M.D. Ms. Ann L. Kligman

Sandra Krause and William Fitzgerald Michael and Emily Laskin Sarah and Ira R. Manson Carole McCormac Meitus Marital Trust Sharyl and Rafael Mendez, M.D. John Millard National Endowment for the Arts Alfred and Arlene Noreen Occidental Petroleum Corporation Dr. M. Lee Pearce Lois Rosen Anne and James Rothenberg Donald Tracy Rumford Family Trust The SahanDaywi Foundation Mrs. Nancie Schneider William and Luiginia Sheridan Virginia Skinner Living Trust Nancy and Richard Spelke Mary H. Statham Ms. Fran H. Tuchman Rhio H. Weir Jean Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zino

LOS ANGELES PHILHARMONIC MUSICIANS Martin Chalifour Brian Drake Barry Gold Christopher Hanulik Ingrid Hutman Gloria Lum Joanne Pearce Martin Kazue Asawa McGregor Oscar M. Meza Mitchell Newman Peter Rofé Meredith Snow Barry Socher Paul Stein Dennis Trembly James Wilt Suli Xue We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Development Office at 213.972.0757.

Thank you.

26 PERFORMANCES MAGAZINE

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FNTC 5

CHAMBER MUSIC

PROGRAM

Tuesday, Oct 2, 2018 8PM

All-Russian Chamber Music MEMBERS OF THE LOS ANGELES PHILHARMONIC

PROKOFIEV

Sonata for Two Violins in C major, Op. 56 (c. 14 minutes) Andante cantabile Allegro Commodo (quasi allegretto) Allegro con brio

Lyndon Johnston Taylor, Tianyun Jia, violins

Mark Kashper, violin Barry Gold, cello Lucy Nargizyan, piano

SHOSTAKOVICH Piano Trio No. 2 in E minor, Op. 67 (c. 25 minutes)

Andante

Allegro con brio

Largo

Allegretto

INTERMISSION TCHAIKOVSKY

String Sextet in D minor, Op. 70, “Souvenir de Florence” (c. 34 minutes) Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro con brio e vivace

Nathan Cole, Akiko Tarumoto, violins Ingrid Hutman, Ben Ullery, violas Dahae Kim, Gloria Lum, cellos

Programs and artists subject to change.

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

PERFORMANCES MAGAZINE P1

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ABOUT THE PROGRAM

Sonata for Two Violins, Op. 56 SERGEI PROKOFIEV (1891-1953) The 1932 Sonata for Two Violins was, like Prokofiev’s earlier Overture on Hebrew Themes, composed for a specific ensemble: the Parisian new-music group Le Triton.

Modeled on the Baroque sonata da chiesa, the piece compresses a wide-ranging musical experience into four compact move-

ments. The first, Andante cantabile, begins with a long-breathed solo soon overlaid by the second part; together, they evoke the melismatic lines and close harmonies of eastern European folk singing. The subsequent Allegro moves from song to dance; sharp chords move into swirling patterns, at

times overlapping like partners in a dance.

The graceful lines and carefully placed major chords give the Commodo (quasi Allegretto) a sweet serenity; in contrast, the final Allegro con brio finds Prokofiev at his neoclassical best: clear, sparkling, and fugal.

— Susan Key

Piano Trio No. 2 in E minor, Op. 67 DMITRI SHOSTAKOVICH (1906-1975) The personal and the political are inextricably linked in a work begun only days after the death of Shostakovich’s friend, musicologist Ivan Sollertinsky, in February of 1944. “I owe him my entire development.

You can’t imagine how difficult it will be for me to live without him,” lamented Shostakovich. Outside events were equally bleak, as Russians struggled valiantly against a long German occupation.

However dramatic the events that inspired the work, it begins subtly, with a solo

cello playing high harmonics. The effect of the unusual timbre persists as the violin enters in its low register; by the time the piano joins the canon, each instrument seems trapped in its own space, as if alienated.

The second movement is a kind of “black scherzo,” whose compulsive rhythms, cascading patterns, and pizzicato are always threatening to veer out of control.

The Largo begins with a piano chorale that establishes a passacaglia pattern; as it repeats, its hint of dissonance leads into a

denser and more uncomfortable texture, though never abandoning a dark beauty. Its elegiac character, expressing the composer’s sorrow for his personal loss, leads directly into the agitated dance of the last movement. A Jewish tune, ever more frenzied, is allegedly a response to the horror of the concentration camps. The return of material from previous movements brings us full circle, tying together the personal, the political, and the unknowable.

— Susan Key

String Sextet in D minor, Op. 70, “Souvenir de Florence” PETER ILYICH TCHAIKOVSKY (1840-1893) This sextet occupied Tchaikovsky for several years, the first sketches having been made in 1887 and revisions dating up to 1892. But the main work on it was done in 1890, upon his return from a stay in Florence, thus his own application of the title, Souvenir de Florence.

The writing of the sextet seems to have come about as a welcome change of pace from his labors on the opera Pique Dame and the ballet The Nutcracker, and also as an offering to his benefactress, Nadezhda von Meck, who was ailing at the time and not able to leave her home. Tchaikovsky

wrote to her: “I know you love chamber music and I am glad you will be able to hear my sextet…. I wrote it with the greatest enthusiasm and with the least exertion.”

The first movement begins with a vigorous main theme that is later contrasted by a theme that is possibly the single melody in the sextet whose airiness has an Italian lyricism. The Adagio second movement opens with a kind of slow version of the first movement’s main theme, and then goes on to a gracious melody supported by a pizzicato accompaniment. In the middle

section, Tchaikovsky abandons songfulness to produce an episode that is sheer soundeffect, with the strings playing rapidly on the point of the bow. The third movement is all carefree brightness, with a trio section that reminds us Tchaikovsky had The Nutcracker dancing in his head at the time. For the finale, the composer reached out for a trifling tune, probably of folk origin, sending it through all manner of activity, including, surprisingly enough, a fugato, just before the brilliant close. — Orrin Howard

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ABOUT THE ARTISTS

About the Artists NATHAN COLE First Associate Concertmaster Nathan Cole, who joined the LA Phil in 2011, has appeared as guest concertmaster with the orchestras of Pittsburgh, Minnesota, Houston, Ottawa, Seattle, and Oregon. He was previously a member of the Chicago Symphony and Principal Second Violin of the Saint Paul Chamber Orchestra. A native of Lexington, Kentucky, he made his debut with the Louisville Orchestra at the age of ten while studying with Donna Wiehe. After eight years working with Daniel Mason, Cole enrolled at the Curtis Institute of Music. In addition to his studies there with Pamela Frank, Felix Galimir, Ida Kavafian, and Jaime Laredo, Cole formed the Grancino String Quartet, debuting in New York’s Weill Hall.

Nathan’s articles and videos on practicing, performing, teaching, and auditioning have helped thousands of violinists worldwide. Visit natesviolin.com for the complete collection. In addition to his online teaching, Nathan is currently on faculty at the Colburn School for the Performing Arts, with classes at the Colburn Conservatory and USC. His articles and photographs have also appeared in Strings, Symphony, and Chamber Music magazines.

Nathan is married to Akiko Tarumoto, the LA Phil’s Assistant Concertmaster.

Together they host the weekly podcast Stand Partners for Life, an inside look at orchestra life which can be heard at standpartnersforlife.com. Nathan and Akiko live in Pasadena with their three children.

BARRY GOLD Los Angeles-born cellist Barry Gold, a member of the Los Angeles Philharmonic since 1982, began studying cello with Gretchen Geber. A Young Musicians Foundation scholarship recipient, Gold began his performing career as a member of the

YMF Debut Orchestra of Los Angeles; while still a teenager, he was a member of a piano trio that won a prestigious Coleman Chamber Music Prize. He earned both his bachelor’s and master’s degrees from The Juilliard School of Music, which awarded him the Eduard Steuermann Memorial Prize upon his graduation in 1979.

In addition to cello studies with Harvey Shapiro, he studied chamber music with Felix Galimir and members of the Juilliard String Quartet.

Prior to joining the Los Angeles Philharmonic, Gold participated in the Tanglewood and Victoria (BC) summer festivals and was a member of both the Pasadena and Long Beach symphonies. He has appeared as a soloist with the Philharmonic, is a frequent performer at LA Phil’s Chamber Music concerts, and has participated in a number of world premieres on the LA Phil New Music Group programs. He is also featured with the New Music Group on the recording of John Harbison’s The Natural World.

INGRID HUTMAN Violist Ingrid Hutman is a native of Sierra Madre and she began her music education in the Pasadena public schools. She was a member of the American Youth Symphony under the direction of Mehli Mehta and played in the Young Musicians Foundation Debut Orchestra and other southland youth ensembles. She studied viola performance at California State University Northridge with Louis Kievman and Heiichiro Ohyama, at the Encore School of Music and the Cleveland Institute of Music with Robert Vernon. She participated in the Los Angeles Philharmonic Institute in 1987 and 1988.

Since joining the Los Angeles Philharmonic in 1991, Hutman has performed with Los Angeles Philharmonic Chamber Music and the Los Angeles Philharmonic New Music Group. An advocate for music educa-

tion and training, Hutman has taught viola privately and at the Colburn Community School of Performing Arts. She performed in school programs and judged instrumental competitions sponsored by the Los Angeles Philharmonic Department of Education; she coached young musicians in the Santa Monica public schools, at USC, and through YOLA, and she served on the Board of Directors of Elemental Music, a non-profit training organization that trains young musicians to play in ensembles.

Outside of her musical endeavors, Hutman is an avid explorer of the peaks and canyons of the Eastern Sierra Nevada, the San Bernardinos, the San Gabriels, the Verdugos, and the Santa Monicas. She grows organic tomatoes, leafy greens, and herbs in her kitchen garden and she makes a distinctively strong cup of coffee.

TIANYUN JIA Tianyun Jia is a multiple award-winning violinist and avid chamber musician hailing from China. Tianyun received her early formal training in Shanghai, where she rapidly rose through the schools affiliated with the Shanghai Conservatory of Music. She moved to London in 2008 to pursue her studies at the Royal Academy of Music, where she received her Bachelor and Master of Music degrees. She was awarded Second Prize in the 2011 Third China Violin Competition, which was held in Qingdao, China.

Tianyun has given several solo recitals at prestigious venues, such as London’s Royal Festival Hall, the Purcell Room in the Southbank Centre, and Singapore’s Victoria Concert Hall. In her native China, she has performed as soloist in Shanghai Concert Hall and Beijing Concert Hall. In recent seasons she has made solo appearances with the Qingdao Symphony Orchestra and the Xiamen Philharmonic Orchestra.

Tianyun is continuing her studies as a Starling Fellow at the University of Southern California Thornton School of Music

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ABOUT THE ARTISTS

under the tutelage of Midori Goto. Tianyun is currently a faculty member of the Zhejiang Conservatory of Music in Hangzhou, China. She been a member of the Los Angeles Philharmonic since September 2017.

MARK KASHPER Born and raised in St. Petersburg, Russia, Mark Kashper started taking violin lessons at the age of five. In addition to being a graduate of the Moscow Conservatory, where he was one of the last and favorite pupils of the legendary David Oistrakh, Kashper also graduated from the Leningrad Conservatory. As the assistant concertmaster and soloist with the Moscow Conservatory Chamber Orchestra, he concertized extensively throughout the Soviet Union, Europe, and Latin America.

In February 1978, Kashper arrived in the United States as a refugee, and three months later won an audition to become a member of the Los Angeles Philharmonic. In September 1979, he was promoted to the first violin section and, after progressing steadily through its ranks, won another audition to become the orchestra’s Associate Principal Second Violin in May 1986. In March of 1987, Kashper won high praise for his performance of Luciano Berio’s Corale in its West-Coast premiere with the Los Angeles Philharmonic under the direction of Pierre Boulez. He has also appeared as soloist with the Orchestra at the Hollywood Bowl and at the Ojai Festival. Between 2007 and 2011, Kashper led the Los Angeles Philharmonic’s second violin section as its Acting Principal.

Since the creation of the Los Angeles Jewish Symphony in the spring of 1994, Kashper has also been busy as that orchestra’s founding principal concertmaster and frequent featured soloist. In February 2000, Kashper was the soloist in performances of Korngold’s Violin Concerto with the Santa Barbara Symphony Orchestra conducted by its then-Music Director, Gisèle Ben-Dor. In September 2001, in Japan, Kashper participated in the concerts of the Super

World Orchestra – an ensemble made up of principal players from most of the world’s greatest orchestras – under the direction of Lorin Maazel. In June 2006, in France, he proudly represented the United States in the concerts of the World Philharmonic Orchestra – a unique ensemble that included principal players of the leading symphony orchestras from 80 countries.

DAHAE KIM Cellist Dahae Kim joined the Los Angeles Philharmonic as Assistant Principal in 2016.

Previously she served as Assistant Principal Cello of the Detroit Symphony Orchestra.

She has been featured as soloist with the DSO in the Benjamin Lees Concerto for String Quartet and Orchestra led by Leonard Slatkin and with the Detroit Medical Orchestra performing the Saint-Saëns Cello Concerto No. 1 in 2014.

Dahae completed her studies at the New England Conservatory of Music in 2013 as the recipient of the Gregor Piatigorsky Scholarship, earning bachelor’s and master’s degrees as a student of Laurence Lesser and Paul Katz. She also studied privately with famed cellist Bernard Greenhouse, formerly of the Beaux Arts Trio. She won first place in the 2010 Hudson Valley Philharmonic Strings Competition, returning the following year to perform Shostakovich’s Cello Concerto No. 1. She was a participant at the Tanglewood Music Center for three years and served as Principal Cello of the National Repertory Orchestra in the summer of 2012, where she also performed as soloist in the Lalo Cello Concerto. As a chamber musician, she has performed on numerous occasions in Jordan and Ozawa Hall, and coached with members of the Cleveland, Takács, Borromeo, and Juilliard string quartets.

Dahae was born in Seoul, Korea, and first studied music with her mother, who taught her piano and violin. She moved to Rockland County, New York with her family at age eight; there she took up cello studies with Irene Sharp and New York Philharmonic cellist Qiang Tu.

GLORIA LUM Cellist Gloria Lum, a native of Berkeley, California, attended both the University of California at Los Angeles and the University of Southern California, graduating from the latter institution magna cum laude. A student of Gabor Rejto and Ronald Leonard, she was a member of the Oakland Symphony and the Denver Symphony before joining the Los Angeles Philharmonic in 1985. She currently holds the Linda and Maynard Brittan Chair.

A frequent participant of the Philharmonic’s Green Umbrella series, Gloria has been involved in tributes to Elliott Carter, György Ligeti, and Witold Lutosławski, and most recently appeared in a solo work by David Lang. On the Chamber Music series, she has appeared with André Previn, Emanuel Ax, Lars Vogt, and Joshua Bell.

In the summer of 2015 she was a featured artist in the Cactus Pear Music Festival in San Antonio, Texas. Gloria currently teaches cello and chamber music at Occidental College.

LUCY NARGIZYAN Lucy Nargizyan has been featured as soloist and collaborative pianist throughout the United States, England, Wales, Austria, Italy, Poland, Czech Republic, Bulgaria, Canada, Mexico, and Russia. Her performances have been broadcast on Russian Radio and Television and on KUSC. Dr. Nargizyan has won numerous competitions, including the Moscow Young Artist Competition, the San Diego Duo Piano Competition, the Peninsula Young Artists International Festival, the Los Angeles Liszt Competition, and the USC Concerto Competition. She was a finalist in the Mu Phi Epsilon National Competition and the recipient of the “Most Distinguished Musician Award” at the IBLA International Competition in Italy.

As a member of the Elixir Piano Trio, Dr. Nargizyan performs traditional and modern repertoire in the United States and internationally. Elixir has performed many newly

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written works and recently recorded compositions by local composer Penka Kouneva.

Lucy Nargizyan was raised in Moscow, Russia. She holds a bachelor’s degree in piano performance from Moscow State Music College, and Master of Music and Doctorate degrees in Piano Performance from the University of Southern California.

At USC, she studied with Daniel Pollack, Kevin Fitz-Gerald, and Dennis Thurmond.

Dr. Nargizyan is currently an Assistant Professor of Music at East Los Angeles College.

AKIKO TARUMOTO Akiko Tarumoto began her violin studies at age five. Her principal teachers have been Masao Kawasaki, Dorothy DeLay, and Glenn Dicterow. A native of Eastchester, New York, Tarumoto studied at the preparatory division of The Juilliard School and received her bachelor’s degree in English and American Literature with honors from Harvard University in 1998. In 2000, she received her Master of Music degree from The Juilliard School and joined the second violin section of the Los Angeles Philharmonic.

In 2004, she was appointed to the first violin section of the Chicago Symphony Orchestra under Daniel Barenboim. While in Chicago, she performed on the Rush Hour and Chicago Symphony chamber series, at the Winter Chamber Music Festival at Northwestern University, and on the MusicNOW contemporary series.

Tarumoto returned to the Los Angeles Philharmonic in the fall of 2011 as a member of the second violin section and was appointed to fifth chair of the first violin section in March 2015. In January 2017, she was named Assistant Concertmaster. She is a frequent performer on the LA Phil’s Chamber Music and Green Umbrella series and has been featured as a soloist with the orchestra. Tarumoto has performed in the summer festivals of Aspen, Taos, and Spoleto, Italy. She has also appeared at the Mimir Festival in Fort Worth, Texas, and at the Chamber

ABOUT THE ARTISTS

Music Festival of Lexington, Kentucky. Her husband is First Associate Concertmaster Nathan Cole.

LYNDON JOHNSTON TAYLOR Violinist Lyndon Johnston Taylor comes from a family of musical excellence. While his parents performed as duo pianists, he and his siblings concertized as the Taylor String Quartet, appearing extensively throughout the United States and abroad, including performances at over 50 colleges and universities, and on national radio and TV in Great Britain, Sweden, and Norway.

Taylor earned a Bachelor of Science degree in chemistry and obtained graduate training in medicine and cell biology in preparation for a career in medical research. But after two years in an MD-PhD program, he recognized his passion for music and obtained a teaching position at the University of Redlands. He completed the Master of Music degree at California State University Northridge and the Doctor of Musical Arts Degree at The Juilliard School under the direction of Dorothy DeLay, where he received the Fritz Kreisler Scholarship. Taylor has been the recipient of numerous honors and awards, among them the Coleman Chamber Music Award, the Civic Orchestra of Chicago Soloist Auditions, the Joseph Fischoff National Chamber Music Competition, the Rodolfo Lipizer International Competition (Italy), and the 2000 Adventist Alumni Achievement Award for the Arts.

Dr. Taylor has taught at University of Redlands, Andrews University, La Sierra University, and the USC Thornton School of Music. He is currently the Benjamin H. Culley Teaching Artist in Residence at Occidental College.

Taylor’s orchestral career began as concertmaster of both the Redlands and Riverside symphony orchestras. From 2007 to 2011, Taylor served as Assistant Concertmaster for the New Zealand Symphony. He is now Principal Second Violin of the Los Angeles Philharmonic.

BEN ULLERY Ben Ullery is Assistant Principal Viola of the Los Angeles Philharmonic, a position he has held since 2012. Prior to moving to Los Angeles, he spent three seasons as a member of the Minnesota Orchestra. Recently, he was Guest Principal Viola with the Detroit Symphony, the Australian Chamber Orchestra, and the Aspen Chamber Symphony.

Ullery has been featured in chamber music performances on NPR’s Performance Today as well as local broadcasts on KUSC in Los Angeles and Minnesota Public Radio. He has recorded chamber works for Bridge and Albany labels. Recent summer festival appearances include the Aspen, Grand Teton, Mozaic, and Music in the Vineyards festivals. In the upcoming season, he will be featured in the Emerald City (Seattle, WA), Music at Millford (SC), La Sierra University (Riverside, CA), and Virtuosi USA (Los Angeles) chamber series.

Ullery is a faculty member at the Colburn School, where he teaches orchestral repertoire and coaches the Colburn Orchestra’s viola section. His students have gone on to hold positions in major orchestras in the U.S. and Europe.

Ullery is a graduate of the Oberlin Conservatory, where he studied violin with Gregory Fulkerson and received numerous honors upon graduation. He later attended New England Conservatory and the Colburn School, studying with James Buswell and Paul Coletti, respectively. He has also studied chamber music with members of the Guarneri, Takács, Vermeer, Borromeo, Miró, and St. Petersburg quartets.

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LOS ANGELES PHILHARMONIC

Thursday, Oct 4, 2018 8PM

PROGRAM

Friday, Oct 5 11AM

Saturday, Oct 6 8PM

Sunday, Oct 7 2PM

LA Fest: Dudamel Kicks Off the 100th Season LOS ANGELES PHILHARMONIC

Gustavo Dudamel, conductor Martin Chalifour, violin Robert deMaine, cello Joanne Pearce Martin, piano

Esa-Pekka SALONEN LA Variations (c. 19 minutes) BEETHOVEN

Concerto for Violin, Cello, and Piano in C major, Op. 56 (c. 37 minutes) Allegro Largo (attacca) Rondo alla polacca

Martin Chalifour Robert deMaine Joanne Pearce Martin

INTERMISSION Andrew NORMAN

Sustain (c. 45 minutes) (world premiere, LA Phil commission, with generous support from Lenore S. and Bernard A. Greenberg)

Official Timepiece of the Los Angeles Philharmonic.

The Sunday, October 7, performance is generously underwritten by Bernice and Wendell Jeffrey.

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

Programs and artists subject to change.

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ABOUT THE PROGRAM

LA Variations ESA-PEKKA SALONEN Composed: 1996 ORCHESTRATION piccolo, 2 flutes (2nd = alto flute), 2 oboes, English horn, 2 clarinets (2nd = E-flat clarinet), bass clarinet, contrabass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (vibraphone, 4 tuned gongs, 4 log drums, 6 bongos, marimba, tubular bells, 4 tom-toms, 3 tam-tams, crotales, glockenspiel, 2 congas, 4 roto-toms, pipe rack), harp, celesta, synthesizer, and strings FIRST LOS ANGELES PHILHARMONIC PERFORMANCE January 16, 1997, Esa-Pekka Salonen conducting (world premiere)

LA Variations is essentially variations on two chords, each consisting of six notes.

Together they cover all twelve notes of a chromatic scale. Therefore the basic material of LA Variations has an ambiguous character: sometimes (most of the time, actually) it is modal (hexatonic), sometimes chromatic, when the two hexachords are used together as a twelve-tone structure.

This ambiguity, combining serial and non-serial thinking, is characteristic of all my work since the mid-’80s, but LA Variations tilts the balance drastically towards the non-serial. This piece, some 19 minutes of music scored for a large orchestra, is very clear in its form and direct in its expression.

The two hexachords are introduced in the opening measures of the piece together in the chromatic phenotype. Alto flute, English horn, bass clarinet, and two bassoons, shadowed by three solo violas, play a melody which sounds like a kind of synthetic folk music, but in fact is a horizontal representation of the two hexachords transposed to the same pitch.

Some of the variations that follow are based on this melody, others are the deeper, invisible (or inaudible) aspects of the material. There are also elements that never change, like the dactyl rhythm first heard in the timpani and percussion halfway through the piece.

This is a short description of the geography of LA Variations:

1) The two hexachords together as an ascending scale. Movement slows down to 2) Quasi folk-music episode (which I described before).

3) First Chorale (winds only).

4) Big Chord I. 5) Scherzando, leggiero.

6) A machine that prepares the even semi-quaver movement of 7) Variation of the melody in trumpets and Violin I. 8) Fastest section of the piece. An acrobatic double bass solo leads to 9) Variation for winds, percussion, harp, celesta.

10) Canon in three different tempos.

11) Big Machine I. Percussion prepares the mantra rhythm; brass chords in the Big Machine are my homage to Sibelius.

12) Second Chorale.

13) A new aspect of the melody in unison strings.

14) Canon à 3.

15) Big Machine II. Probably the most joyful music I’ve ever written.

16) Big Chord II. Repeated mantra rhythm grows to maximum power.

17) Coda. Two hexachords together as in the beginning.

I wrote LA Variations specifically for the players of the Los Angeles Philharmonic. I’m very proud of the virtuosity and power of the orchestra.

— Esa-Pekka Salonen

COMPOSER PROFILE

Esa-Pekka Salonen Born: 1958 Helsinki, Finland

After making his U.S. conducting debut with the Los Angeles Philharmonic in 1984, Esa-Pekka Salonen returned to the orchestra often and became its tenth Music Director in 1992. The following 17 years – the longest tenure of any Los Angeles Philharmonic Music Director – were an era of unprecedented artistic and institutional growth for the orchestra. During that period, Salonen led the orchestra on 23 international and domestic tours, inaugurated Walt Disney Concert Hall, hired over 50 new members, and introduced 215 works. Starting even before he became Music Director and continuing afterwards, Salonen and the Philharmonic have made 33 recordings together.

“What I have experienced is a journey that has completely exceeded my wildest dreams about what it could be to be a Music Director of an orchestra… I think we have achieved something here which is quite extraordinary and also gives me a lot of satisfaction every time I hear the orchestra play.”

Further listening: Piano Concerto (2007), Helix (2005), Dichotomie (2000) Yefim Bronfman Los Angeles Philharmonic, Salonen (DG)

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ABOUT THE PROGRAM

Concerto in C major for Piano, Violin, Cello, and Orchestra, Op. 56 LUDWIG VAN BEETHOVEN Composed: 1803-1804 COMPOSER PROFILE ORCHESTRATION flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo violin, cello, and piano FIRST LOS ANGELES PHILHARMONIC PERFORMANCE April 17, 1937, Otto Klemperer conducting, with violinist John Pennington, cellist Alexander Borisoff, and pianist Richard Buhlig

The chamber music ensemble consisting of piano, violin, and cello was a familiar one in the late 18th century. Obviously an appealing salon combination, this instrumental trio proved to be yet another medium in which the piano — the then-new and fascinating keyboard instrument which was supplanting the harpsichord as the preferred instrument for concert hall and home — could be exploited.

Proof of the combination’s viability is seen in Beethoven’s having chosen three piano trios to be published as his Opus 1 in 1795. In the ensuing years, Beethoven and the piano were inseparable; the composer, a virtuoso pianist, was virtually always writing for his favored instrument, whether in a solo, chamber, or concerto context.

But not until 1803 was he to be tempted again by the piano trio. This time, however, the trio was to be, collectively, the soloist in a concerto, a role in which it had not been cast by any other great composer before. The reason for the daring venture is said to have been to provide the Archduke Rudolph, then a 16-year-old student of the composer, with a performing vehicle that would not be as exposing as a solo concerto. At any rate, the first and apparently only performance of the Triple Concerto during Beethoven’s lifetime occurred in May 1807, and it is not certain whether royal or a commoner’s hands were at the piano.

Beethoven did not set himself an easy task. The problems are vexing: balancing the three distinctly different timbres of the solo instruments with the orchestral body; allotting the themes equitably to each soloist and the orchestra; creating materials terse enough that they do not become unmanageable, yet flexible enough to do duty for all involved. In the matter of equality among the soloists, Beethoven, perceiving that the cello could get lost in the sonic shuffle, gave the low string instrument prominence by writing in its top register and by having it introduce most of the thematic material.

The success of Beethoven’s balancing act is in direct proportion to the virtuosity of the soloists and the discretion of the conductor. The success of the composer’s thematic invention must also rely upon the performers, for, in themselves, the themes tend toward severity. Even so, the Triple Concerto boasts extraordinary bravura and grandeur in the outer movements, and affecting expressiveness in the relatively brief slow movement. — Orrin Howard

Ludwig van Beethoven Born: 1770, Bonn, Germany Died: 1827, Vienna, Austria

Beethoven’s symphonies and concertos are at the foundation of the Western symphony orchestra, and, not surprisingly, have been a part of every Los Angeles Philharmonic season since the iconic Fifth Symphony opened the second program of its history. Important Beethoven projects under its music directors include notable recordings by Zubin Mehta and Carlo Maria Giulini, and the festivals Beethoven Unbound under Esa-Pekka Salonen and Immortal Beethoven under Gustavo Dudamel.

The Triple Concerto entered the LA Phil repertory in 1937 and has been performed many times since, sometimes with stellar guests (such as Isaac Stern/Eugene Istomin/Leonard Rose, Pinchas Zukerman/Daniel Barenboim/ Jacqueline du Pré, Shlomo Mintz/ Yefim Bronfman/Yo-Yo Ma, the Beaux Arts Trio, and Renaud Capuçon/Jean-Yves Thibaudet/ Gautier Capuçon), and sometimes with the orchestra’s own resident virtuosos.

Further listening: Symphony No. 3 Los Angeles Philharmonic Carlo Maria Giulini (DG) Symphony No. 7 Los Angeles Philharmonic Zubin Mehta (Decca Eloquence)

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ABOUT THE PROGRAM

Sustain ANDREW NORMAN Composed: 2018 ORCHESTRATION 3 flutes (3rd = piccolo), 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bell tree, crotales, glockenspiel, 4 log drums, 4 pieces of wood, tam-tam, 4 temple blocks, vibraphone), harp, piano, quarter-tone piano, and strings

COMPOSER PROFILE

Andrew Norman

Born: 1979 Grand Rapids, Michigan

FIRST LOS ANGELES PHILHARMONIC PERFORMANCES

My first thought in writing Sustain was to imagine the audience that will sit in Walt Disney Concert Hall one hundred years from now, during the 200th season of the Los Angeles Philharmonic. What will it mean to gather as a community and listen to an orchestra in 2118? How will the ears and minds of those people be different from ours? How will they be the same?

How will their notions of time and space and sound and history be shaped by the world around them, and what will that world outside the Hall look like? What place will the art of live symphonic performance have in such a society?

These are broad and bottomless questions which led me in many directions, but gradually they coalesced around a pair of subjects. The first is time. Perhaps, one hundred years from now, the act of sitting quietly and listening to a symphonic argument unfold over 45 minutes will mean even more than it does today. Perhaps, in a time when humans will be bombarded with increasingly atomized bits of information, when overstimulation, fragmentation, and isolation will be the given norms of experience and discourse, perhaps then communal listening to a single, long unbroken musical thought will carry a kind of significance, sacrifice, and otherness we can’t yet really imagine.

I realized, as I was trying to conceptualize Sustain as one long unbroken musical thought, that I was attempting to access and understand spans of time that were

much bigger than my own, that I was trying to move from times with which I was familiar — that of a tweet, or a work day, or a year — to things I could never personally experience, like the rise and fall of species, the movement of tectonic plates, the birth and death of stars.

And this thinking brought me around to what is perhaps at the heart this piece: the natural world. Midway through writing Sustain I discovered that I was really writing a piece about the Earth, and my — and our — relationship to it. All the work I was doing with long spans of musical time and geologically-unfolding sonic processes was in many ways my attempt to place us, the listeners in Walt Disney Concert Hall, in relation to things in nature which are unfathomably bigger and longer than we are. And if there is a sense of sadness or loss that permeates this music, it comes from the knowledge that we, at this critical moment in our history, are not doing enough to sustain the planet that sustains us, that we are not preparing our home for those who will inhabit it in the next hundred, thousand, or million years. — Andrew Norman

On the faculty of the USC Thornton School of Music and director of the LA Phil’s Barry and Nancy Sanders Composer Fellowship Program, Andrew Norman is deeply embedded in the L.A. creative music scene. The LA Phil first presented his music in 2010 and has since commissioned and given the world premieres of four major works by Norman. He was Musical America’s Composer of the Year in 2017 and won the Grawemeyer Award for Play, which also received a Grammy® nomination.

“Walt Disney Concert Hall and the Los Angeles Philharmonic have meant so much to me over the years that the overwhelming desire to write for them the perfect piece was enough to stop me dead in my tracks….The best thing I could do to honor the adventurous spirit of the Philharmonic and Disney Hall was to try as many new things as I could, to embrace the risk and failure and serendipitous discovery implicit in the word ‘try.’”

Further listening: Play (2013/16), Try (2011) Boston Modern Orchestra Project Gil Rose (Bmop/Sound) Switch (2015) Colin Currie, Thierry Fischer Utah Symphony Orchestra (Reference)

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ABOUT THE ARTISTS

About the Artists GUSTAVO DUDAMEL For a biography of conductor Gustavo Dudamel, please turn to page 8.

MARTIN CHALIFOUR Martin Chalifour began his tenure as Principal Concertmaster of the Los Angeles Philharmonic in 1995. The recipient of various grants and awards in his native Canada, he graduated with honors from the Montreal Conservatory at the age of 18 and then moved to Philadelphia to pursue studies at the Curtis Institute of Music.

Chalifour received a Certificate of Honor at the Tchaikovsky Competition in Moscow, and is also a laureate of the Montreal International Competition. Apart from his LA Phil duties, he maintains an active solo career, playing a diverse repertoire of more than 60 concertos. Chalifour has appeared as soloist with conductors Pierre Boulez, Gustavo Dudamel, Charles Dutoit, Christoph Eschenbach, Sir Neville Marriner, and Esa-Pekka Salonen. Outside the U.S., he has played solos with the Auckland Philharmonia, the Montreal Symphony,

the Hong Kong Philharmonic, the National Orchestra of Taiwan, and the Malaysian Philharmonic, among others.

Chalifour began his orchestral career with the late Robert Shaw and the Atlanta Symphony, playing as Associate Concertmaster for six years. Subsequently he occupied the same position for five years in The Cleveland Orchestra, where he also served as Acting Concertmaster under Christoph von Dohnányi. While in Cleveland, Chalifour taught at the Cleveland Institute of Music and was a founding member of the Cleveland Orchestra Piano Trio.

Chalifour is a frequent guest at several summer music festivals, including the Sarasota Festival, the Mainly Mozart Festival, and the Reno Chamber Music Festival.

In December 2014, at the same Nevada festival, Chalifour was featured with his friend and colleague Noah Bendix-Balgley in a special program entitled “The Concertmasters of the Berlin Phil and the LA Phil.” Maintaining close ties with his native country, he has returned there often to teach and perform as soloist with various Canadian orchestras, most recently with

Martin Chalifour

the Vancouver Symphony and Bramwell Tovey. He was featured in the Tchaikovsky Violin Concerto in the opening week of the Hamilton Symphony’s 2017/2018 season.

Martin Chalifour has recorded solo and chamber music for the Telarc, Northstar, and Yarlung labels. He teaches at the USC Thornton School of Music and Caltech.

ROBERT DEMAINE Robert deMaine is an American virtuoso cellist who has been hailed by The New York Times as “an artist who makes one hang on every note.” He has distinguished himself as one of the finest and most versatile instrumentalists of his generation, performing to critical acclaim as soloist, recitalist, orchestra principal, recording artist, chamber musician, and composer-arranger. In 2010, DeMaine was a founding member of the highly acclaimed Ehnes String Quartet and completed several world tours and recordings with the ensemble. In 2012, he was invited to join the Los Angeles Philharmonic as Principal Cello. He collaborates often in a piano trio with violinist Hilary Hahn and pianist Natalie Zhu. A first-prize winner in many national and international competitions, deMaine was the first cellist ever to win the grand prize at San Francisco’s Irving M. Klein International Competition for Strings. As soloist, he has collaborated with many distinguished conductors, including Neeme Järvi, Peter Oundjian, Joseph Silverstein, and Leonard Slatkin, and has performed nearly all the major cello concertos with the Detroit Symphony Orchestra, where he served as principal cello for over a decade.

His recording of the John Williams Cello Concerto (Detroit Symphony, Leonard Slatkin conducting) is available on Naxos.

His latest recital CD of works by Fauré, Grieg, and Rachmaninoff with pianist Andrew Armstrong, will be followed by recordings of the complete works of Beethoven for piano and cello with pianist

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ABOUT THE ARTISTS

Robert deMaine

Peter Takács, and the Haydn Cello Concertos with the Moravian Philharmonic of the Czech Republic.

DeMaine studied at The Juilliard School, the Eastman School of Music, the University of Southern California, Yale University, and the Kronberg Academy in Germany. Please visit robertdemaine.com to learn more.

JOANNE PEARCE MARTIN Pianist Joanne Pearce Martin was appointed to the Los Angeles Philharmonic by Esa-Pekka Salonen in 2001. She holds the Katharine Bixby Hotchkis Chair as the LA Phil’s keyboardist. A native of Allentown, PA and a graduate of Philadelphia’s Curtis Institute, she balances a busy career as soloist, chamber musician, and recording artist.

She has been featured with the LA Phil on multiple occasions at both the Hollywood Bowl and Walt Disney Concert Hall. In 2016 she was the piano soloist in a sold-out and critically-acclaimed performance of Messiaen’s epic Des canyons aux étoiles at London’s Barbican Centre with the LA Phil and Gustavo Dudamel. She has also performed at dozens of music series and festivals spanning four continents, collaborating with artists such as Joshua Bell, Lynn Harrell, James Galway, Jean-Pierre Rampal, Julius Baker, and Joseph Silverstein. She has been guest soloist with many other orchestras in

the U.S. and abroad, including the Philadelphia Orchestra, Charlotte Symphony, Los Angeles Chamber Orchestra, Florida West Coast Symphony, and England’s Huddersfield Philharmonic.

Martin has made numerous television appearances, including recent ones with violinist Joshua Bell at the opening of the Smith Center in Las Vegas and on the Tavis Smiley show. This month she is also featured on PBS television’s “GRAMMY Salute to Music Legends” – along with her Beethoven Triple partners Martin Chalifour

and Robert deMaine and LA Phil principal clarinet Boris Allakhverdyan - performing John Williams’ Air and Simple Gifts as part of the segment that honors Williams.

Martin enjoys delving into new musical projects; her latest adventure is playing the theremin. She has performed and recorded a commissioned piece (Theremin’s Journey) by Gernot Wolfgang, in which she plays both the theremin and piano. She also recently commissioned a solo piano work (D’Nato) by composer and LA Phil Principal Timpani Joseph Pereira.

This season, she and her husband Gavin Martin continue to concertize together in the U.S. and abroad as a two-piano team.

She also collaborates with pianist Jeffrey Kahane, in performances of Mozart’s Concerto for Two Pianos, as well as the world premiere of Andrew Norman’s Frank’s House and the West Coast premiere of John Adams’ Roll Over Beethoven.

Her playing has been described by the Los Angeles Times as possessing “unusual fervor and fluency” and “stirring virtuosity.” When she’s not making music, you might find Joanne up in the air – she is an instrument-rated airplane pilot and master-rated skydiver.

Joanne Pearce Martin is a Steinway Artist.

Joanne Pearce Martin

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ORGAN RECITAL SERIES

PROGRAM

Sunday, Oct 7, 2018 7:30PM

Renée Anne Louprette Renée Anne Louprette, organ Ivan Goff, uilleann pipes / Irish flute

BACH

Prelude and Fugue in G, BWV 541 (c. 8 minutes)

MARAIS

(transc. Louprette)

Alcyone: Suites des airs à joüer (c. 16 minutes) Ouverture Marche pour les Bergers et le Bergères Menuet pour les Bergers et les Bergères Deuxième Menuet pour les mêmes Bourée pour les Bergers et les Bergères Prélude de l’Acte Troisième Chaconne pour les Tritons

Lament for Limerick – The Rolling Wave (c. 8 minutes) TRADITIONAL (arr. Goff & Louprette) Renée Anne Louprette

Ivan Goff

Eve BEGLARIAN

Were You at the Rock? (c. 10 minutes) (world premiere, LA Phil commission)

Renée Anne Louprette Ivan Goff

INTERMISSION ALAIN

Litanies (c. 5 minutes)

TRADITIONAL The Angel’s Share – An Buachaill Caol Dubh (c. 10 minutes) (arr. Goff & Louprette) Renée Anne Louprette

Ivan Goff

DURUFLÉ Suite for Organ, Op. 5 (c. 24 minutes)

Prélude

Sicilienne

Toccata

Philip Smith is Walt Disney Concert Hall Organ Conservator.

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

Programs and artists subject to change.

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One of the most sparkling organ works by Johann Sebastian Bach (1685-1750), the Prelude and Fugue in G major, BWV 541, was probably originally written around the middle of Bach’s formative period in Weimar, 1708-1717, but revised in Leipzig sometime after 1740. The Prelude is an ebullient affair, a joyful stream of 16th-notes punctuated by repeated chords. The Fugue is a somewhat sterner companion, in darker, arresting harmonies as well as its contrapuntal intensity and the driving repeated notes of the fugal subject.

Recognized as a bold interpreter of French organ music, Renée Anne Louprette presents her own transcription of a suite of elegant dances by French Baroque master Marin Marais (16561728) from his 1706 opera Alcyone. The five-act tragedy – with a happy ending!

– produced a famous tempest scene and several popular dances, including a march that became the music for the Christmas carol “Masters in This Hall.”

The duo of Ivan Goff and Renée Anne Louprette was formed in 2017, bridging the traditional Irish and classical music worlds through a highly expressive palette of sonic color. Equally gifted as an Irish concert flute and whistle player, Goff showcases each of these traditional instruments in combination with Louprette’s subtle and powerful facility on the pipe organ to create new works of extraordinary beauty and stylistic variety.

Goff and Louprette debuted their collaboration in 2018 in an acclaimed recital performed at the Church of St. Ignatius Loyola in New York. Their 2018/19 season includes tonight’s performance at Disney Hall in Los Angeles which features the world premiere of a new work for uilleann pipes and organ by New York-based composer Eve Beglarian, commissioned for the duo by the Los Angeles Philharmonic, along with their arrangements of the traditional tunes “Lament for Limerick – The Rolling Wave” and “The Angel’s Share – An Buachaill Caol Dubh.” The duo will release a debut recording this

ABOUT THE PROGRAM

month, presenting compelling arrangements of traditional Irish airs and dances as well as an eclectic mix of original compositions.

An internationally-recognized interpreter of Irish slow airs, Ivan Goff is a longtime collaborative partner of celebrated sean-nós singer Iarla Ó Lionáird, bringing an intimate familiarity with the expressive vocal style that forms the foundation of this duo’s collaboration. In addition to presenting traditional forms of Irish music in stunning arrangements of lively jigs, hornpipes, reels, slides, and other dances, the core focus of the Goff-Louprette duo is the Irish sean-nós, slow air tradition.

Were You at the Rock? is a set of variations on the Irish traditional tune “An Raibh tú ag an gCarraig?” by Eve Beglarian (b. 1958). “As I was imagining the piece, I was thinking about dolmens (megalithic burial mounds), and about a painting of a dolmen I inherited, which is now gradually disintegrating as it sits on a large rock on my land in Vermont,” she writes.

“I was also meditating on this text from Portrait of the Artist as a Young Man: ‘Michael Robartes remembers forgotten beauty and, when his arms wrap her round, he presses in his arms the loveliness which has long faded from the world. Not this.

Not at all. I desire to press in my arms the loveliness which has not yet come into the world.’

“I have come to realize that embracing the future requires embracing the disintegration that the future invariably bestows on the present. This is not what Joyce’s protagonist meant at all, nor what I meant when I copied this excerpt into my commonplace book at age 17, but it is what I have come to understand as the fatal paradox of loving the future too much: by the time you get there, you yourself are fading.”

Marie-Claire Alain was an organist who recorded Jehan’s music (as well as three traversals of the complete organ works of Bach).

Jehan Alain was only 29 when he was killed in battle in World War II (receiving a posthumous Croix de Guerre), but he had already created a substantial body of distinctive music. Composed in 1937, the short but ecstatically driving Litanies is probably his best-known work. “You must create an impression of passionate incantation,” Alain wrote about playing this piece. “Prayer is not a lament but a devastating tornado, flattening everything in its way. It is also an obsession. You must fill people’s ears with it, and God’s ears too! If you get to the end without feeling exhausted you have neither understood it nor played it as I would want it.”

Maurice Duruflé (1902-1986) dedicated the three-movement Suite he composed in 1933 to Paul Dukas, his composition teacher. The Prélude is in E-flat minor, rising from Stygian depths with somber power, before settling into pensive rumination. The graceful Sicilienne suggests that Duruflé learned as much from Debussy and Ravel as he did from plainchant, a gentle but hauntingly colored dance for an organ’s flute, reed, and string stops. The concluding Toccata is a dazzling, multi-layered tour-de-force for both composer and performer (Duruflé was never completely satisfied with it, revising it several times for different printings). It goes from fast to carefully calibrated faster, from skittish play through rumbling menace to blazing B-major glory – about as far as you can get in harmony, color, and character from the Suite’s opening.

Jehan Alain (1911-1940) was heir to the French organ tradition, literally and figuratively. His father was organist and composer Albert Alain, his brother Olivier Alain was a pianist and composer, and his sister

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ABOUT THE ARTISTS

About the Artists RENÉE ANNE LOUPRETTE Hailed by The New York Times as “splendid,” and “one of New York’s finest organists,” Renée Anne Louprette has established an international career as organ recitalist, accompanist, conductor, and teacher. She is University Organist and Coordinator of the Organ Department at Mason Gross School of the Arts, Rutgers University, and a former member of the organ faculty at the Manhattan School of Music, The Hartt School of the University of Hartford, and the John J. Cali School of Music at Montclair State University.

She has performed with the Mostly Mozart Orchestra, Voices of Ascension, American Symphony Orchestra, New York Choral Society, and Piffaro, among numerous others, and has appeared in performances at most of the major New York City concert halls. International tours have taken her throughout the United Kingdom and Ireland, including Westminster Abbey and the Temple Church (London), St. Giles Cathedral and Dunblane Cathedral (Scotland), and Galway Cathedral (Ireland), and as soloist with the Queensland Symphony Orchestra in Brisbane, Australia. She has been featured at regional and national conventions of the American Guild of Organists including Washington, D.C. (2010) and Boston (2014). The 2018/19 season will feature Louprette’s début with the American Brass Quintet, and continuing collaborations with Musica Viva NY under conductor Alejandro Hernandez-Valdez, classical saxophonist Paul Cohen, and traditional Irish musician Ivan Goff, including tonight’s recital at Walt Disney Concert Hall in Los Angeles.

Her recording of J.S. Bach’s “Great Eighteen Chorales” (on the Acis label) was named a classical music Critics’ Choice 2014 by The New York Times. Her latest CD, Une Voix Française: A French Voice, was released In February 2018, also on the Acis label. Her upcoming recordings include

Bach’s Clavier-Übung III on the Acis label, recorded on the Craighead-Saunders organ of Christ Church, Rochester, New York, and a collaborative recording of original compositions and arrangements of traditional Irish repertoire with uilleann piper Ivan Goff, recorded at the Church of St. Ignatius Loyola in New York City.

Louprette holds a Bachelor of Music degree and a Graduate Professional Diploma from The Hartt School, University of Hartford. She was awarded a Premier Prix from the Conservatoire National de Région de Toulouse, France and a Diplôme Supérieur for organ from the Centre d’Études Supérieures de Musique et de Danse de Toulouse, where she studied with Michel Bouvard, Jan Willem Jansen, and Philippe Lefebvre. Additional studies have been with Dame Gillian Weir, James David Christie, and Guy Bovet. She is presently a candidate for the Master of Music degree in conducting from Bard College Conservatory.

IVAN GOFF Ivan Goff, originally from Dublin and now based in Brooklyn, plays the uilleann pipes (Irish bellows-blown pipes), Irish wooden flute, and pennywhistles. As a child, he took lessons from the legendary Dan O’Dowd. When he was older, Ivan turned to Mick O’Brien, his mentor and biggest musical influence, to study both pipes and pennywhistle. Apart from solo work, Ivan has toured with Irish traditional bands Dervish, Danú, Lúnasa, Téada, The Green Fields of America with Mick Moloney, and is a former member of the Eileen Ivers Band. He has dueted with many traditional musicians over the years including Míchéal Ó Raghallaigh, Tony DeMarco, Tom Morrow, and Patrick Ourceau. Ivan is a member of recently formed Ghost Trio with Iarla Ó Lionáird and Cleek Schrey.

His work crosses and combines many musical genres. He has performed with

jazz saxophonists, Paul Winter, Matt Darriau, and Ada Rovatti-Brecker, and his music has featured in work as diverse as acclaimed experimental art-film Cremaster 3 (dir.

Matthew Barney), exhibited in the Guggenheim museum; in live accompaniment for 1922 silent film Come on Over, performed at MOMA in association with the Irish Film Institute; and in theatrical productions such as Peter and Wendy (Mabou Mines, dir. Lee Breuer). He has worked as soloist with composers throughout the world on various projects including a specially commissioned concerto for uilleann pipes with the Albany Symphony Orchestra (comp.

Robinson McLellan) and, more recently, a new-music piece with bass clarinet and 23-piece orchestra (comp. Elizabeth Hoffman). Ivan has also performed in wellknown productions including extended engagements with Riverdance (U.S. tour and Broadway) and Michael Flatley’s Lord of the Dance.

Ivan Goff holds a BA in music from Maynooth University, an MA in Computer Composition and Music Technology from Queens University, Belfast, and an MA in Musicology from University College Dublin.

He is currently a PhD candidate in music at New York University.

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WALT DISNEY CONCERT HALL ORGAN STOP LIST

GREAT – MANUAL II Violonbasse 32ʹ Prestant 16ʹ 16ʹ Violonbasse 16ʹ Bourdon 8ʹ Principal Diapason à Pavilon 8ʹ 8ʹ Violoncelle 8ʹ Flûte harmonique Chimney Flute 8ʹ Bourdon 8ʹ 5-1/3ʹ Grand Nasard 4ʹ Octave Spire Flute 4ʹ 3-1/5ʹ Grande Tierce 2-2/3ʹ Octave Quinte 2ʹ Super Octave Grande Fourniture (16ʹ series) III VIII Mixture (8ʹ series) IV Cymbale (4ʹ series) Corneta Magna VII 32ʹ Contre Basson (ext. 16ʹ) 16ʹ Basson 8ʹ Basson 4ʹ Basson 8ʹ Trompeta de Los Angeles 16ʹ Great to Great Tremolo Sostenuto

SWELL – MANUAL III (enclosed) Bourdon 16ʹ 8ʹ Diapason Flûte traversière 8ʹ 8ʹ Bourdon Viole de Gambe 8ʹ Voix céleste (CC) 8ʹ 8ʹ Dulciane doux 8ʹ Voix angélique (TC) 4ʹ Principal Flûte octaviante 4ʹ 2-2/3ʹ Nasard 2ʹ Octavin 1-3/5ʹ Tierce Piccolo 1ʹ III-V Plein jeu harmonique (2-2/3ʹ) 16ʹ Bombarde 8ʹ Trompette 8ʹ Hautbois 8ʹ Voix humaine Clairon 4ʹ

Fast Tremulant Slow Tremulant

8ʹ Trompeta de Los Angeles Llamada 8ʹ 16ʹ Swell to Swell

Swell Unison off 4ʹ Swell to Swell Sostenuto

POSITIVE – MANUAL I (enclosed) Quintaton 16ʹ Principal 8ʹ Unda Maris (CC) 8ʹ 8ʹ Gambe Flûte harmonique 8ʹ Gedackt 8ʹ Octave 4ʹ 4ʹ Hohlflöte 2-2/3ʹ Nasard 2ʹ Super Octave 2ʹ Waldflöte 1-3/5ʹ Tierce 1-1/3ʹ Larigot IV Mixture (1-1/3ʹ) 8ʹ Trompette Cromorne 8ʹ Cor Anglais 8ʹ 4ʹ Clairon Tremolo 16ʹ Llamada Llamada 8ʹ Llamada 4ʹ 16ʹ Trompeta de Los Angeles (TC) Trompeta de Los Angeles 8ʹ 16ʹ Positive to Positive

Positive Unison off 4ʹ Positive to Positive Harp Celesta Sostenuto

LLAMARADA – MANUAL IV (enclosed) 8ʹ Flautado grandiso Octava real 4ʹ V Compuestas Lleno fuerte V 16ʹ Contra Tromba 8ʹ Tromba 4ʹ Tromba Clarion Tremblante

Chimes (unenclosed) Trompeta de Los Angeles 8ʹ (horizontal) 16ʹ Llamada (ext.)

Llamada (horizontal Tuba) 8ʹ 4ʹ Llamada (ext.)

Llamadas transfer to Great Sostenuto

Cymbelstern (high pitched bells)

Campanitas (low pitched bells) Pajaritos (4 pipes)

PEDAL 32ʹ Flûte Violonbasse 32ʹ Bourdon 32ʹ 16ʹ Flûte (ext.)

16ʹ Prestant (Gr.) Violonbasse (Gr.) 16ʹ 16ʹ Subbass 16ʹ Bourdon (Sw.) 10-2/3ʹ Grosse Quinte 8ʹ Octave 8ʹ Flûte (ext.)

8ʹ Violoncelle (Gr.) Bourdon (ext. Subbass) 8ʹ Super Octave 4ʹ 4ʹ Flûte (ext.)

V Mixture (5-1/3ʹ) Contre Basson (BBBBB) 64ʹ Contre Bombarde 32ʹ 32ʹ Contre Basson (Gr.) 16ʹ Grande Bombarde (ext.)

16ʹ Llamada (Lla.) 16ʹ Contra Tromba (Lla.) 16ʹ Basson (Gr.) Trompeta de Los Angeles (Lla.) 8ʹ 8ʹ Llamada (Lla.) Basson (Gr.) 8ʹ 4ʹ Trompeta de Los Angeles (Lla.) Llamada (Lla.) 4ʹ

Pedal Chimes

Pedal Divide (adjustable)

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GREEN UMBRELLA

PROGRAM

Tuesday, Oct 9, 2018 8PM

LA Fest: LA’s Newest Music LA PHIL NEW MUSIC GROUP

Gustavo Dudamel, conductor Paolo Bortolameolli, conductor Nuno Coelho, conductor Boris Allakhverdyan, clarinet Denis Bouriakov, flute Nathan Cole, violin Andrew Norman, curator

Ethan BRAUN

Natacha DIELS

The Lost Ones (c. 10 minutes) (world premiere, LA Phil commission)

Nathan Cole, violin Paolo Bortolameolli, conductor

Daniel ALLAS

to be tender (c. 15 minutes) (world premiere, LA Phil commission, with generous support from Nancy S. and Barry Sanders)

Laughing to Forget (c. 15 minutes) (world premiere, LA Phil commission, with generous support from the Virginia B. Toulmin Foundation)

Boris Allakhverdyan, clarinet Nuno Coelho, conductor

INTERMISSION

Tina TALLON

Carolyn CHEN

…for we who keep our lives in our throats… (c. 10 minutes) (world premiere, LA Phil commission, with generous support from the Hillenburg Family) The Sleeper and the Drinker (c. 15 minutes) (world premiere, LA Phil commission, with generous support from the Deborah Borda Women in the Arts Initiative) Denis Bouriakov, flute Gustavo Dudamel, conductor

We invite you to visit an immersive sound and art installation in Keck Amphitheatre before tonight’s concert.

Live performances can be heard starting at 7pm, or during the intermission.

Ellen REID

Oscillations: One Hundred Years and Forever (c. 8 minutes) (world premiere, LA Phil commission)

Programs and artists subject to change.

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Los Angeles deserves an orchestra that is as creative, welcoming, and vibrant as the city itself.

For the past 100 years, the LA Phil has been that orchestra and more. The Centennial Campaign will enable the LA Phil to continue imagining new frontiers for its art form, venues, audiences, and educational offerings.

The future of the LA Phil begins today.

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The Centennial Campaign will enable the LA Phil to build on its reputation for innovation, advancing orchestral music and music education, revolutionizing audience development, and preparing our venues for the next century.

It will ensure that, for generations to come, the LA Phil continues to serve as the soul of the city, uniting all those who share in the common, transformative language of music.

“The music of the LA Phil feeds my mind, soul, and heart. I give to the LA Phil because it gives me satisfaction to support one of the best orchestras in the world, and I want to do all I can to keep live, quality music in L.A.” Ron Myrick LA Phil donor since 2002 Member, Friends of the LA Phil

“My advice to those considering a gift to support the LA Phil’s Centennial is that it’s not important at what level one gives; what’s important is that one gives at any level. The benefits for the donor, and the recipient, are matched in value and inspiration.”

David C. Bohnett Centennial Campaign Steering Committee Chair Member, Board of Directors

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Donors to the Centennial Campaign will help the LA Phil create a bold future.

The Future of Music

The Future of Education

The LA Phil will define the future of music, building on its established preeminence, promoting artistic excellence and investing in innovation.

The LA Phil will define the future of education, empowering children with the greatest needs and fewest resources.

The Future of the Hollywood Bowl

The Future of Audiences

The LA Phil will define the future of the Hollywood Bowl, continually improving the historic venue to expand access and meet the needs of today’s artists and audiences.

The LA Phil will define the future of audiences, creating unprecedented access to its offerings through new pathways and technologies.

You are part of the LA Phil story. Help us define the future of music in Los Angeles. Make a gift today!

Online: campaign.laphil.com Email us: campaign@laphil.org

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By phone: 213 972 7557

By mail: Los Angeles Philharmonic Association Office of Development 151 S. Grand Ave. Los Angeles, CA 90012

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We are grateful for the generosity of our Centennial Partners.

Thank you to all who have supported the Centennial Campaign in its earliest stages.

$25,000,000+ Cecilia* and Dudley* Rauch $20,000,000 TO $24,999,999 David C. Bohnett Foundation $5,000,000 TO $9,999,999 Anonymous The Annenberg Foundation Judith and Thomas L. Beckmen The Eli and Edythe Broad Foundation Colburn Foundation Dunard Fund USA Mr. Lawrence N. Field Lenore S. and Bernard A. Greenberg Fund Terri and Jerry M. Kohl The Norman and Sadie Lee Foundation Los Angeles Philharmonic Affiliates M. David and Diane Paul James D. Rigler / Lloyd E. Rigler – Lawrence E. Deutsch Foundation John and Samantha Williams $2,500,000 TO $4,999,999 Anonymous Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Elaine and Bram* Goldsmith Andrew and Jacinta Hewitt Live Nation Entertainment Elise Mudd Marvin Trust Barbara and Jay Rasulo Bill Silva $1,000,000 TO $2,499,999 Anonymous (4) Amgen Foundation Linda and Maynard Brittan Mr. and Mrs. Richard Camp Mark Houston Dalzell and James Dao-Dalzell Mari L. Danihel Nancy and Donald de Brier The Walt Disney Company Mr. Paul Dupree and Mr. David Peterson Louise and Brad Edgerton / Edgerton Foundation

Kiki and David I. Gindler Reese* and Doris* Gothie Elizabeth B. Janeway Foundation Bernice* and Wendell* Jeffrey Janet and Marvin Jubas Kenneth N. and Doreen R. Klee B. Allen and Dorothy Lay Los Angeles Philharmonic Committee MaddocksBrown Foundation Barbara and Buzz McCoy William C. Powers Nancy S. and Barry Sanders Mr. Lev Spiro and Ms. Melissa Rosenberg Ronald and Valerie Sugar I.H. Sutnick Margo and Irwin Winkler $500,000 TO $999,999 Anonymous Michael J. Connell Foundation Richard Hobbs Monique and Jonathan Kagan Carrie and Stuart M. Ketchum Ernest Mauk* and Doyce Nunis* Rob Lovelace and Alicia MiĂąana Christian Stracke Jack Suzar and Linda May Toyota Motor Sales U.S.A., Inc. Sue Tsao $250,000 TO $499,999 Anonymous Lynn A. Booth / Otis Booth Foundation Jan Colburn Elizabeth and Kenneth M. Doran Margaret* and Jerrold L. Eberhardt Nita Heimbaugh Mr. and Mrs. Michael S. Hersh Sheila and Ronald Litzinger Living Legacy Foundation Michael J. Napoli Y&S Nazarian Family Foundation Nancy* and Sidney Petersen Sandy and Barry D. Pressman James and Laura Rosenwald / Orinoco Foundation Jill and Neil Sheffield Eugene and Marilyn Stein Family Foundation

*deceased As of August 2018

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ABOUT THE PROGRAM

The Lost Ones ETHAN BRAUN (B. 1987) Ethan Braun makes music and sound installations for the concert hall and the stage. He studied at UCLA, Peabody, and the Royal Conservatory, The Hague before completing his studies with a DMA at Yale University. He is currently collaborating with or writing for Adam Linder, Contemporaneous, Kenturah Davis, Ensemble Klang, Sam Gendel, and the Los Angeles Philharmonic.

“The Lost Ones takes its title from the Samuel Beckett novella of the same name.

Inspired by divergent sources – the Beckett, performances and songs by Meshell Ndegéocello, George Carlin, UK rapper The Streets, Jimi Hendrix, Rahsaan Roland Kirk, and Lauryn Hill – The Lost Ones meditates on virtuosity, arises at an intersection of live performance and the anonymity and

immersiveness of digital media. The headings, named in deference to those listed above, respectively from Ndegéocello, are as follows: Prologue: “All I got is...time to spend... wasted time” I: “The high-tech low-lifes” II: “Put on yer mittens for these sub-zero conditions” III: “I can see my rainbow calling me” / ”... can I get my spirit back?”

Epilogue: “wake up, wake up, wake up, wake up, wake up, wake up, wake up, wake up, wake up” The music was composed as an impossibly virtuosic work for a perhaps impossible ensemble – the 99 digital quintets. The live, “real,” quintet performs a reduction of the digital music. This reduction was made

with the assistance of software old and new, in addition to the composer’s eyes, ears, and hands. The live performers are presented with a formidable challenge, as the music they’re given to play lies at the limit of possibility. It’s digital music.

The performers walk on stage, but head to the back. Some are seated, some remain standing; they seem to be waiting. Waiting for what? As though they’re at a bus stop out in the middle of the desert, they’re waiting for the right line, their ticket out of there.

But which line is it?” — Ethan Braun

Three ways laughter might disappear from your skill set: Ordinary life events Disastrous special occasions Untouchable pain, from loss or loneliness These three are not mutually exclusive, but growing like bamboo into one another, colliding vacantly.

Laughing to forget is intentional memory — rebuilding history in the image of strength, solidarity, and compassion.

Laughing to Forget NATACHA DIELS (B. 1981) Natacha Diels’ work includes the completion of a series of fairytales/nightmares for performers, and the construction of a Portal with her performance duo On Structure. Natacha founded the experimental music collective Ensemble Pamplemousse in 2003 and continues to be its director and flutist. In 2009 she co-founded the performance duo On Structure with Jessie Marino. Natacha holds degrees in flute performance and integrated digital media from NYU, in music composition from Columbia University, and currently teaches composition and computer music at the University of California, San Diego.

To relearn laughter means: To peer curiously into the glued-on googly eyes of a fish on ice without considering death.

To feel and live all that is around you, when before it was as though everything beautiful was wrapped in cellophane — inaccessible and noisy.

To have available to you all the loves — friends, lovers, strangers, art, children, words…

To dance on uneven ground.

From Milan Kundera, The Book of Laughter and Forgetting: It takes so little, so infinitely little, for someone to find himself on the other side of the border, where everything— love, convictions, faith, history— no longer has meaning. The whole mystery of human life resides on the fact that it is spent in the immediate proximity of, and even in direct contact with, that border, that it is separated from it not by kilometers but by barely a millimeter. — Natacha Diels

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ABOUT THE PROGRAM

to be tender DANIEL ALLAS (B. 1993)

Daniel Allas is a composer of instrumental and electronic music. His recent work researches performative interpretation, the physicality of sound, and the poetics of musical signifiers. Daniel has collaborated with many performers and music groups, including the Los Angeles Philharmonic, Peter Evans and the International Contemporary Ensemble, wild Up, and the Lydian String Quartet, among others. His music has been performed at the Next

on Grand Festival, So Percussion Summer Academy, and the Milwaukee Symphony Orchestra’s 2015 Composer Institute.

He was born in Boston and now lives in Los Angeles.

“I like to write music that contains some level of instability. For me, this instability symbolizes the imperfect, the flawed. I also like to think of my pieces as reflections of catharsis, building to an emotional moment

that leads to peace (perhaps overcoming an internal definition of imperfection).

And recently I have found myself seeking out sparsity in music, reducing material to only what is essential. This refining has many meanings to me; related to notions of truth, the divine, and the ineffable. In all this, I am searching for a music that offers much in spite of how little attention it demands.”

— Daniel Allas

…for we who keep our lives in our throats…

TINA TALLON (B. 1983)

Tina Tallon is a San Diego-based composer, computer musician, soprano, and arts documentarian pursuing her doctoral studies in composition at the University of California, San Diego. Her music has been performed around the world by ensembles such as Ensemble Intercontemporain, wild Up, Talea, St. Lawrence String Quartet, Calder Quartet, members of the JACK Quartet, h2 quartet, and Transient Canvas. Other recent commissioners include the Los Angeles Philharmonic, Steven Schick and the La Jolla Symphony, wild Up, HOCKET Duo, and the SJSU Wind Ensemble. Tallon holds BS degrees in Biological Engineering and Music from MIT and an MFA in Composition and Music Theory from Brandeis University.

Inspired by a similarly-titled poem in Nay-

yirah Waheed’s 2013 anthology “salt.”, …for we who keep our lives in our throats… aims to create a soundscape replete with the muted whispers, tortured murmurings, and choked admissions of those who have been forced to remain silent for far too long. The piece strains and creaks under the weight of all that is left unsaid, with the seething silence threatening to give way as the underlying expressions of truth struggle toward comprehension. It also incorporates live electronic processing, which involves both the generation of new sounds and the amplification and real-time modification of the instrumentalists’ material. This processing allows for the production of vocal sounds (whether whispered, spoken, sung, or screamed) using the spectral profiles of the sounds produced by the players. In this

way, technology allows them to use their agency to give voice to those who have historically been silenced.

I am grateful to both the players and the Los Angeles Philharmonic Association for their support of not only this commission, but also those of many other artists from groups which have for too long been ignored. We are currently experiencing a watershed moment with respect to societal conversations surrounding abuse, assault, injustice, and the power dynamics that serve to silence those who would speak out against them. While many composers hope that their music stays relevant long after its premiere, I can say with certainty that I hope this piece does not. It is time for change, and that change requires both individual and collective action. — Tina Tallon

The Sleeper and the Drinker CAROLYN CHEN (B. 1983) Carolyn Chen has made music for supermarket, demolition district, and the dark.

Her work reconfigures the everyday to retune habits of our ears, through sound, text, light, image, and movement. For over a decade her studies of the guqin, the

Chinese seven-string zither traditionally played for private meditation in nature, has informed her thinking on listening in social spaces. Recent projects include a marble chase and commissions for Klangforum Wien and the LA Phil New Music Group.

Chen earned a Ph.D. in music from UC San Diego, and an M.A. in Modern Thought and Literature and B.A. in music from Stanford University, with an honors thesis on free improvisation and radical politics. She lives in Los Angeles.

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“The Sleeper and the Drinker takes inspiration from Rebecca Solnit’s The Faraway Nearby, in particular, its book-length running footnote about moths that drink the tears of sleeping birds. The writing follows a constantly rotating subject, turning from scientific report to the formal structures of fairytales, and the migration and transformation of the Cupid and Psyche story, while circling back to the writer’s own experience with her aging mother’s memory loss.

In this piece, the flute acts as a narrator or walker moving through different worlds, alternately guiding, commenting on, or camouflaging into the changing musical

ABOUT THE PROGRAM

environment which sometimes blossoms from images in the text. There are bouts of flickering energy recalling fluttering wings or eyelids, ornaments that multiply into tangles of vines, and memories that ripple and warp as they repeat. Instrumental sounds blend with the everyday world – breathing, sleep-talking, circling spoons, tinkling toys. Instruments take on the variable intonation and flexible rhythms of conversation.

At moments players speak quietly through their instruments about apricots, namesake of the book’s first and last chapters.

Apricot kernels are a component of traditional Chinese medicine. Confucius taught surrounded by a wood of apricot trees, and Dong Feng, doctor of the Three Kingdoms period, asked no payment from patients aside from planting an apricot tree upon recovery.

The brevity of apricot season led to the Arabic expression filmishmish (in apricot season), referring to an unlikely prediction.

In Turkish, the idiom “the only thing better than this is an apricot in Damascus” means it does not get any better than this.” — Carolyn Chen

Oscillations: One Hundred Years and Forever ELLEN REID Ellen Reid is a composer and sound artist whose work is largely collaborative and takes the form of opera, chamber music, electronic pop songs, immersive interactive media, and scores for film and theater. Ellen received her BFA from Columbia University and her MA from California Institute of the Arts. She splits her time between her two favorite cities – Los Angeles and New York.

Keith Skretch, Hana S. Kim, video artists Sarah LaBrie, librettist Sayd Randle, lead researcher Kelci Hahn, Angelica Rowell, Jodie Landau, Joel Nesvadba, vocal soloists Sidney Hopson, Jodie Landau, percussion

Members of the USC Thornton Choral Artists Tram Sparks, Jo-Michael Scheibe, Cristian Grases, conductors Donald Brinegar Singers Donald Brinegar, conductor UCI Chamber Singers Seth Houston, conductor Seth Houston, music director

generation. A Dudamel Fellow for the LA Phil’s 2016/17 season, Bortolameolli enjoys conducting, working with youth orchestras, collaborating with today’s composers, lecturing, and writing.

Bortolameolli debuted with the LA Phil in a Toyota Symphonies for Youth concert in February 2017. He was the 2017 Guest Conductor in Residence with YOA Orchestra of the Americas and was a semifinalist in the 2016 Mahler Competition. He was cover conductor for Marin Alsop and the Baltimore Symphony Orchestra in 2014/15 and Principal Conductor of the New Haven Chamber Orchestra during the 2012/13 season. In 2013, he debuted with the Orquesta Filarmónica de Santiago (Chile),

celebrating the centennial anniversary of The Rite of Spring, in a performance that garnered him the Special Award from the Chilean Critics Association.

Bortolameolli holds a Master of Music degree in orchestral conducting from the Yale School of Music (Shinik Hahm, 2013) and a Graduate Performance Diploma from the Peabody Institute (2015), where he studied under the guidance of Gustav Meier and Markand Thakar. He graduated from the Arts Faculty of the University of Chile (David del Pino Klinge, 2011) and from the Universidad Católica de Chile, where he studied piano with Professor Frida Conn.

About the Artists GUSTAVO DUDAMEL For a biography of conductor Gustavo Dudamel, please turn to page 8.

PAOLO BORTOLAMEOLLI Praised by composer George Crumb for his “sensitive and insightful interpretation,” Paolo Bortolameolli has been gaining international attention as one of the most interesting young South American conductors of his

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ABOUT THE ARTISTS

NUNO COELHO Nuno Coelho was awarded First Prize at the Cadaqués International Conducting Competition in December 2017, winning him engagements with over 30 major orchestras in Europe, Asia, and South America over the next three seasons. Other accolades include First Prize at the Portuguese Radio Conducting Competition, Finalist at the Nestlé and Salzburg Festival Young Conductors Competition, and the Neeme Järvi Prize at the Gstaad Menuhin Festival.

As Assistant Conductor of the Netherlands Philharmonic from 2015-17, Coelho conducted the orchestra on numerous occasions, in addition to working with Marc Albrecht on symphonic projects and a producion of Parsifal at the Dutch National Opera. Coelho has also collaborated extensively with the Orquestra Gulbenkian, and the 2018/19 season will see him further develop this relationship as the orchestra’s Guest Conductor, leading subscription concerts and tours.

Born in Porto in 1989, Coelho studied violin in Klagenfurt and Brussels and conducting with Johannes Schaefli at the Zurich University of the Arts.

BORIS ALLAKHVERDYAN Boris Allakhverdyan was appointed Principal Clarinet of the Los Angeles Philharmonic in 2016.

He previously served as Principal Clarinet of the Metropolitan Opera Orchestra and Associate Principal Clarinet of the Kansas City Symphony. Allakhverdyan is a founding member of the Prima Trio, the Grand Prize and Gold Medal winner of the prestigious 2007 Fischoff National Chamber Music Competition.

Allakhverdyan is a winner of the RimskyKorsakov International Woodwind Compe-

tition, the Rozanov International Clarinet Competition, the Hellam Concerto Competition, and the Tuesday Musical and the Oberlin Concerto competitions.

As a chamber musician, Boris Allakhverdyan has performed throughout the United States and Europe on such series as Chicago Chamber Music Society, La Jolla Athenaeum, Dumbarton Oaks, the Dayton Art Institute, CityMusic Columbus, Da Camera Society, Fontana Chamber Arts, and Cleveland Chamber Music Society. borisallakhverdyan.com DENIS BOURIAKOV Denis Bouriakov has been Principal Flute of the Los Angeles Philharmonic since 2015. Before joining the LA Phil, he was Principal Flute of the Metropolitan Opera from 2009. He has won prizes in many of the most important international competitions, including the Munich ARD, Jean-Pierre Rampal, the Prague Spring, the Carl Nielsen, and the Kobe competitions, to name a few.

Bouriakov looks beyond the standard flute repertoire for works that allow the flute to shine, transcribing and performing violin concertos and sonatas. His first solo CD included the Sibelius Violin Concerto and Bach Chaconne in his own arrangements. In collaboration with the Lithuanian Chamber Orchestra, Denis recorded his latest album of Romantic-era violin and flute concertos, including the Mendelssohn Violin Concerto.

Denis Bouriakov was born in the Crimea in 1981. At the age of ten, he was given a place at the Moscow Central Special Music School, where he studied with Professor Y.N. Dolzhikov. With the support of the “New Names” International Charity Foundation and the Vladimir Spivakov Foundation, he toured in the next few years as a prodigy soloist to over 20 countries in Europe, Asia, South America, and the U.S. When he turned 18, he went on to attend the Royal Academy of Music in London, studying with William Bennett, OBE. His graduation

in 2001 was accompanied by the Principal’s Award, the diploma for Outstanding Recital, and a Teaching Fellowship Award for the following year. In 2006, the Academy awarded him the title Associate of the Royal Academy of Music. In 2014, he was awarded the title of Fellow of the RAM. Denis plays on an Altus PS model flute and a Miguel S. Arista headjoint.

NATHAN COLE First Associate Concertmaster Nathan Cole, who joined the LA Phil in 2011, has appeared as guest concertmaster with the orchestras of Pittsburgh, Minnesota, Houston, Ottawa, Seattle, and Oregon. He was previously a member of the Chicago Symphony and Principal Second Violin of the Saint Paul Chamber Orchestra. A native of Lexington, Kentucky, he made his debut with the Louisville Orchestra at the age of ten while studying with Donna Wiehe. After eight years working with Daniel Mason, Cole enrolled at the Curtis Institute of Music. In addition to his studies there with Pamela Frank, Felix Galimir, Ida Kavafian, and Jaime Laredo, Cole formed the Grancino String Quartet, debuting in New York’s Weill Hall.

Nathan’s articles and videos on practicing, performing, teaching, and auditioning have helped thousands of violinists worldwide. Visit natesviolin.com for the complete collection. In addition to his online teaching, Nathan is currently on faculty at the Colburn School for the Performing Arts, with classes at the Colburn Conservatory and USC. His articles and photographs have also appeared in Strings, Symphony, and Chamber Music magazines.

Nathan is married to Akiko Tarumoto, the LA Phil’s Assistant Concertmaster.

Together they host the weekly podcast Stand Partners for Life, an inside look at orchestra life which can be heard at standpartnersforlife.com. Nathan and Akiko live in Pasadena with their three children.

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SONGBOOK PROGRAM

Thursday, Oct 11, 2018 8PM

LA Fest: Andrew Bird LOS ANGELES PHILHARMONIC

Andrew Bird • Gustavo Dudamel

STUCKY Symphony (LA Phil commission) (c. 22 minutes) Introduction and Hymn Outcry Flying Hymn and Reconciliation Andrew BIRD

Time Is a Crooked Bow (Song Suite with Orchestra) (c. 33 minutes)

Andrew Bird, vocals / violin Gabriel Kahane, electric guitar Los Angeles Philharmonic

INTERMISSION Selections by Andrew Bird will be announced from the stage.

We invite you to visit an immersive sound and art installation in Keck Amphitheatre before tonight’s concert.

Live performances can be heard starting at 7pm, or during the intermission.

Ellen REID

Oscillations: One Hundred Years and Forever (c. 8 minutes) (world premiere, LA Phil commission)

Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change.

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ABOUT THE PROGRAM

Symphony STEVEN STUCKY (1949-2016) Composed: 2012 ORCHESTRATION piccolo, 3 flutes (3rd = alto flute), 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bongo, chimes, crotales, glockenspiel, marimba, snare drum, suspended cymbal, tam-tam, tom-toms, vibraphone, wood blocks, xylophone), harp, piano (= celesta), and strings FIRST LOS ANGELES PHILHARMONIC PERFORMANCE September 28, 2012, Gustavo Dudamel conducting (world premiere)

Choosing to call a new work a symphony means confronting the genre’s long, intimidating history and its powerful traditions.

It is a history ineluctably tied to older eras and tied, too, to the materials and means of those older eras: strong melodic themes, well-defined formal patterns, developmental techniques. Thus, to the extent that symphonies did continue to flourish in the 20th century, they did so largely among the less modernist, more traditional masters.

So what does it mean for a composer of my generation to haul the title Symphony out of his closet in 2012? I myself had written four symphonies before the age of 30 (two of them juvenilia, the other two more advanced student works, all of them now withdrawn), but then I turned my back on the idea for another 30 years. Not that I abandoned the medium of the symphony orchestra, which has remained my artistic home.

But many of my works over these past 30 years have been coloristic: the imagedriven Pinturas de Tamayo, for example, or Impromptus, or Son et lumière. Several have been concertos with soloists; three more concertos have made the orchestra itself the star. More recently, I have been drawn to single-movement orchestral forms that combine several sections of different moods and tempos into one large, encompassing musical journey, such

as Radical Light (Los Angeles, 2007) and Silent Spring (Pittsburgh, 2011). I guess we would have to call such works tone poems or symphonic poems (even without overt extra-musical programs), though those terms too fall quaintly on the postmodern ear. At the same time, one would have to notice that their aims and methods are not so very different from one-movement symphonies like the Sibelius Seventh or the Barber First.

My new Symphony is much like Radical Light and Silent Spring: a single expanse of music that travels through a series of emotional landscapes, depositing us at the end of our journey in a different place from where we set out. Why “symphony,” then?

Perhaps the very word is meant to assert that it’s time for me to face squarely my own relation to the symphonic tradition?

Perhaps it’s a call for gravitas, an ambition to treat the material more “symphonically,” including the possibility that ideas might return, develop, evolve?

The narrative is a purely musical one (no Mahler- or Tchaikovsky-style personal confessions), but it is a narrative no less personal, dramatic, or emotional. “In Introduction and Hymn,” we begin with lonely woodwind solos, led by the oboe and later flute, which swell then into billows of woodwind texture before delivering us onto the shore of a slowly developing, hymn-like brass chorale.

Very suddenly, the peaceful conclusion of this first section is interrupted by a two-note motif signaling the second section, “Outcry.” Something has gone terribly wrong: music of hope and peace has been replaced by music of turmoil, even anguish. Spurred on again and again by the two-note motif, this music becomes ever faster and more agitated, hurtling toward the third section, “Flying.” Now it is as if the orchestra (and we along for the ride) has broken free of the emotional clutches of the second section and can really let itself go in fast, virtuoso playing. (This is the only section that corresponds neatly to a conventional symphony movement, namely a scherzo.) When this fast music has worked itself into as frenzied and as glittery a state as it can manage, suddenly it gives way to the final “Hymn and Reconciliation”: massive string chords against which, one by one, earlier musics return.

We hear the brass hymn and the woodwind billows from the first section, the turbulent theme from the second section now recollected in tranquility, and finally the two-note outcry motif, once anguished but now serene.

Symphony was commissioned by the Los Angeles Philharmonic Association, with major support provided by Lenore S. and Bernard Greenberg. — Steven Stucky

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ABOUT THE PROGRAM

Time Is a Crooked Bow ANDREW BIRD (B. 1973) For many years, I’ve been interested in how what we hear affects how we perceive time; those cinematic moments where time seems to slow down. When I left the urban canopy of Chicago for an expansive valley in western Illinois in 2001, I experienced how it goes both ways and how what you see can calibrate your mind to hear a different kind of music. Seeing a storm roll through the valley, pass overhead, and move on had

a significant effect my writing. The songs within the suite Weather Systems, Armchairs, and Scythians are from this period and I think embody the ebbing and flowing, crooked bow of time.

In working with Gabriel I found an ideal collaborator, one who intimately understands how to straddle these two worlds.

We wanted to do more than just create tasteful arrangements of my songs, but

instead make something entirely new that makes full use of the colors a world-class orchestra can create. Despite being raised playing classical music, this concert is a first for me. Since I left Northwestern School of Music 22 years ago, I’ve come to think of myself as a songwriter who happens to play violin. It will be interesting to see how far afield I’ve travelled.

— Andrew Bird, Los Angeles, 2018

Preservation Hall Jazz Band, appeared as “Dr. Stringz” on Jack’s Big Music Show, and headlined concerts at Carnegie Hall, Sydney Opera House, and festivals worldwide.

In recent years, he performed as the Whistling Caruso in Disney’s The Muppets movie, scored the FX series Baskets, performed at the New Yorker Festival, and collaborated with inventor Ian Schneller on Sonic Arboretum, an installation that exhibited at New York’s Guggenheim Museum, Boston’s ICA, and the MCA Chicago. Bird has been a featured TED Talks presenter, a New York Times op-ed contributor, and is an advocate for Everytown for Gun Safety.

Additionally, Bird hosts an ongoing Facebook Live series of performances called Live from the Great Room, putting the creative process on display for fans as he performs and converses with friends and collaborators in a candid, intimate setting.

More recently, Bird released a series of site-specific improvisational short films and recordings called Echolocations, recorded in remote and acoustically interesting spaces: a Utah canyon, an abandoned seaside bunker, the middle of the Los Angeles River, and a reverberant stone-covered aqueduct in Lisbon. He is currently at work on a new album due for release in 2019.

GABRIEL KAHANE

About the Artists ANDREW BIRD Andrew Bird is an internationally acclaimed multi-instrumentalist, vocalist, whistler, and songwriter who picked up his first violin at the age of four and spent his formative years soaking up classical repertoire completely by ear. Since beginning his recording career in 1997, Bird has released 13 albums and performed extensively worldwide. He has recorded with the

Andrew Bird

The day after the 2016 presidential election, singer-songwriter and composer Gabriel Kahane boarded a train at Penn Station and traveled around the continental U.S., talking to strangers in an attempt to better understand his country and fellow citizens. The resulting album, Book of Travelers (Nonesuch Records), has been hailed by Rolling Stone as “a stunning portrait of a singular moment in America.”

He has been commissioned by, among others, the Brooklyn Academy of Music, Carnegie Hall, the Los Angeles Philharmonic, and Orpheus Chamber Orchestra.

For the Oregon Symphony, he wrote emergency shelter intake form, a nearly hourlong oratorio confronting the resurgence of deep poverty in America.

An avid theater artist, Kahane starred at BAM in the staged version of his Los Angeles-centric album, The Ambassador, in a production directed by John Tiffany.

Gabriel is also the composer-lyricist of the musical February House, which premiered in 2012 at the Public Theater and was recorded by the StorySound label.

A graduate of Brown University, Gabriel lives in Brooklyn, NY.

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PROGRAM

Friday, Oct 12, 2018 8PM

LA Fest: Moby LOS ANGELES PHILHARMONIC

Moby • Gustavo Dudamel The Jason White Singers

Preceding the program, the Jason White Singers will perform sets of gospel selections in BP Hall.

Gabriela ORTIZ Téenek – Territorial inventions (c. 12 minutes) (LA Phil Commission) Julia ADOLPHE Underneath the Sheen (c. 12 minutes) (LA Phil Commission) MOBY

God Moving Over the Face of the Waters (c. 7 minutes)

INTERMISSION

Selections by Moby with and without orchestra will be announced from the stage.

MOBY Moby

Tripp Beam, drums

Mindy Jones, vocals

Julie Mintz, vocals

Apollo Jane, vocals

Jonathan Nesvadba, bass

Adrienne Woods, cello

Los Angeles Philharmonic

The Jason White Singers

We invite you to visit an immersive sound and art installation in Keck Amphitheatre before tonight’s concert.

Recorded performances can be heard starting at 7pm, or during the intermission.

Ellen REID

Oscillations: One Hundred Years and Forever (c. 8 minutes) (world premiere, LA Phil commission)

Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change.

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ABOUT THE ARTISTS

Underneath the Sheen JULIA ADOLPHE (B. 1988) Julia Adolphe’s music works are performed across the U.S. and abroad by renowned orchestras and ensembles such as the New York Philharmonic, Los Angeles Chamber Orchestra, North Carolina Symphony, James Conlon and the Cincinnati May Festival Chorus, soprano Hila Plitmann, pianist Gloria Cheng, and the Bravo! Vail Music Festival, among others. Current commissions include choral works for the Brooklyn Youth Chorus

and Peninsula Women’s Chorus and a comic opera entitled A Barrel of Laughs, A Vale of Tears, based on the novel by Jules Feiffer with a libretto by Stephanie Fleischmann.

A native New Yorker living in Los Angeles, Adolphe pursues a Doctor of Musical Arts degree from the USC Thornton School of Music. Underneath the Sheen was commissioned by the Los Angeles Philharmonic and premiered on September 27, 2018.

(JuliaAdolphe.com) Underneath the Sheen envisions the movement of light edging and shining through a canopy of leaves and branches

as observed from the forest floor. The endurance and quiet omnipotence of California’s Redwood trees served as the source of inspiration. Standing beneath these trees is a humbling and exhilarating experience, a stunning reminder of the simultaneous power and fragility of nature.

The immense roots, twisting and turning, the mist hanging in the air, and the beams of light entering the forest ceiling create a striking enclosure, encasing the observer in an otherworldly realm. The music explores this oddly foreign yet deeply intimate atmosphere, a sense of a lost home, a state of vulnerability. — Julia Adolphe

Téenek – Invenciones de Territorio (Territorial Inventions) GABRIELA ORTIZ (B. 1964) As the daughter of two founders of the group Los Folkloristas, Gabriela Ortiz grew up immersed in the sounds of Mexican vernacular music. Yet she is also highly trained at some of Mexico’s and Europe’s most esteemed music schools, ultimately obtaining a doctorate from London’s City University.

The interaction of street and academy, of improvised traditional music and rigorous electronic formulas, has been crucial in much of her work. The LA Phil commissioned and gave world premiere of Téenek – Invenciones de Territorio in 2017 Téenek is the language spoken in the Huasteca region, which encompasses the states of Veracruz, Tamaulipas, San Luis Potosí, Hidalgo, Puebla, and Querétaro in Mexico. Its name means “local man,” in reference to all the men and women who

belong to a place whose mere existence determines their destinations in time and space: their territories. Indeed, in any region of the world, human beings from any given era determine a way of BEING that transcends time and defines their relationship with their surroundings, no matter what their race, skin color, political borders, or socio-economic condition may be. We are all mortals, just as our domains, differences, borders, and possessions will eventually disappear, if not in decades, over the course of centuries. In the end, human beings transcend such conditions and circumstances by simply BEING, by culturally existing, by everything that remains.

Téenek is a sonorous metaphor of our transcendence, a strength that alludes to a future where there are no borders, but rather, a recognition of the actual particularities and differences between us that propitiate our development while at the same time enriching and uplifting us.

Music thus bears witness to a gradual history of matches and mismatches, of ancient cultures and new symbols, of ways to resist and comprehend the world by imagining sounds and senses, of that vital rhythm that lends meaning to the sense of belonging, and of roots that identify us culturally. Through the plain and simple idea of fitting in, of not dividing but, rather, recognizing otherness, Téenek reflects on the importance of reaffirming identities through fragmentation.

It is precisely because of this that Téenek is composed of a series of apparently dissimilar inventions which find their strength in their differences, enrichment, and musical development: these are interwoven and transformed over time in a discourse that demonstrates how the existence of borders may be diluted in pursuit of the powerful idea that our potential future lies in recognizing our differences.

— Alejandro Escuer

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ABOUT THE ARTISTS

God Moving Over the Face of the Waters MOBY (B. 1965) Originally released on the 1995 album Everything Is Wrong, the composition then found a home in Michael Mann’s lauded L.A. crime drama Heat. Playing over the

climax of the film, as Robert DeNiro and Al Pacino have their final confrontation, this juxtaposition of delicate arpeggios, soaring strings, and bombastic percussion has

become one of Moby’s most enduring and beloved compositions.

For a biography of conductor Gustavo Dudamel, please turn to page 8.

filmmakers. He owns and runs Little Pine, an organic vegan restaurant in Silver Lake, California. 100% of Little Pine’s proceeds go to animal welfare organizations.

MOBY

JASON WHITE

Moby has been making music since he was 9 years old. He grew up playing classical music but after college became a fixture in the late ‘80s New York house and hip-hop scenes. He released his first single, “go” in 1991 (listed as one of Rolling Stone magazine’s best records of all time), and has been making albums ever since. His own records have sold over 20,000,000 copies worldwide, and he’s also produced and remixed scores of other artists.

Moby works closely with a variety of different charities, including the Humane Society, Mercy for Animals, and the Institute for Music and Neurologic Function, and in 2007 he launched “mobygratis,” which provides free music for independent

Jason White is a Dove, Stellar, and GMWA Award-winning producer, composer, arranger, and musician. He has recorded with gospel music’s tenured artists Andrae Crouch, Darryl Coley, and Alvin Slaughter.

Jason served as composer and producer of the critically acclaimed album In the Sanctuary, performed by Kurt Carr, which shot to No. 1 on the Billboard chart, won a Stellar Award, and is RIAA Certified Gold.

Jason has enjoyed a great deal of success in his career, but the crown jewel in his résumé would have to be Norman Hutchins’ song “Emmanuel,” which is one of the most played gospel songs in history.

“Battlefield” is another powerful and popular anthem Jason composed/produced for Norman Hutchins. Jason’s musical associations range from television, video, and film, to many of the great churches and concert halls around the world. He has been recognized for his work as vocal director/contractor on the internationally acclaimed shows American Idol, Grammy Awards, X Factor, and America’s Got Talent.

Born and raised in Los Angeles, California, Jason has traveled extensively nationally and internationally from the shores of America to as far away as South Africa.

His distinctive sound and commitment to

excellence in music have caused him to touch the lives of millions of people with the life-giving message of gospel music.

By 1998, he became the Music Director of West Angeles Church where he went on to produce their highly anticipated recording No Limit in 2002. The album would go on to earn a Grammy nomination. Continuing a legacy of soul-stirring, chart-topping gospel music, Jason has recently worked as composer and music producer for award-winning gospel sensation Tina Campbell (“Only Jesus Did It” from the No. 1 Billboard charting and Stellar Award nominated album, It’s Personal).

Jason is married to the love of his life, Andrea Geneen White. His life’s theme comes from his favorite song, “To God be the glory” which says, “All that I am, or ever hope to be I owe it all to Thee.”

When he is not teaching, composing, or ministering, Jason can be seen tooling around Los Angeles enjoying his favorite past-time, biking!

About the Artists GUSTAVO DUDAMEL

Moby

Jason White

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JAZZ PROGRAM

Saturday, Oct 13, 2018 8PM

LA Fest: Herbie Hancock LOS ANGELES PHILHARMONIC

John ADAMS

Herbie Hancock • Gustavo Dudamel

City Noir (LA Phil commission) (c. 34 minutes) The City and Its Double The Song Is for You Boulevard Night

INTERMISSION

Selections by Herbie Hancock with and without orchestra will be announced from the stage.

Herbie HANCOCK

Herbie Hancock GrandMixer DXT, turntables Vinnie Colaiuta, drums Terrace Martin, keys / sax James Genus, bass

Ellen REID

We invite you to visit an immersive sound and art installation in Keck Amphitheatre before tonight’s concert.

Recorded performances can be heard starting at 7pm, or during the intermission.

Oscillations: One Hundred Years and Forever (c. 8 minutes) (world premiere, LA Phil commission)

Official Timepiece of the Los Angeles Philharmonic.

Media Sponsor: Los Angeles Magazine Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Programs and artists subject to change.

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ABOUT THE PROGRAM

City Noir JOHN ADAMS (B. 1947) Composed: 2009 ORCHESTRATION 3 flutes (3rd = piccolo), piccolo 2, 3 oboes, English horn, 3 clarinets (3rd = bass clarinet 2), bass clarinet, 2 bassoons, contrabassoon, alto saxophone, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (temple block, bongos, castanets, chimes, clave, conga, cowbell, crotales, suspended cymbals, bass drum, snare drum, glockenspiel, tuned gongs, jazz kit, marimba, vibraphone, tambourine, tam-tams, timbale, tom-toms, triangle, xylophone), piano, celesta, 2 harps, and strings FIRST LOS ANGELES PHILHARMONIC PERFORMANCE October 8, 2009, Gustavo Dudamel conducting (world premiere)

Gustavo Dudamel’s first appointment as Music Director Designate of the Los Angeles Philharmonic was to name John Adams to the new position of Creative Chair. Adams has a long and productive history with the orchestra, going back to 1981. City Noir is the final panel in a triptych of orchestral works that “have as their theme the California experience, its landscape, and its culture,” Adams says. The other two are El Dorado (commissioned by the San Francisco Symphony) and The Dharma at Big Sur (a violin concerto commissioned by the Los Angeles Philharmonic for one of the Walt Disney Concert Hall inaugural galas in 2003).

The composer has written the following note about City Noir: City Noir was first suggested by my reading the so-called “Dream” books by Kevin Starr, a brilliantly imagined, multi-volume cultural and social history of California. In the “Black Dahlia” chapter of his Embattled Dreams volume, Starr chronicles the tenor and milieu of the late ’40s and early ’50s as it was expressed in the sensational journalism of the era and in the dark, eerie chiaroscuro of the Hollywood films that have come to define the period sensibility for us: “...the underside of home-front and post-war Los Angeles stood revealed. Still, for all its shoddiness, the City of Angels possessed a certain sassy, savvy energy.

It was, among other things, a Front Page kind of town where life was lived by many

on the edge, and that made for good copy and good film noir.”

Those images and their surrounding aura whetted my appetite for an orchestral work that, while not necessarily referring to the soundtracks of those films, might nevertheless evoke a similar mood and feeling tone of the era. The music of City Noir is in the form of a 30-minute symphony. The formal and expressive weight of its three movements is distributed in pockets of high energy that are nested among areas of a more leisurely — one could even say “cinematic” — lyricism.

The first movement, “The City and Its Double,” opens with a brief, powerful “wide screen” panorama that gives way to a murmuring dialog between the doublebass pizzicato and the scurrying figures in the woodwinds and keyboards. The steady tick of a jazz drummer impels this tense and nervous activity forward — a late-hour empty street scene, if you like. A surging melody in the horns and cellos punctuated by jabbing brass “bullets” brings the movement to a nearly chaotic climax before it suddenly collapses into shards and fragments, a sudden stasis that ushers in the second movement.

The title, “The City and its Double,” is a backward glance to the French playwright Antonin Artaud, who in his writings is said to have “opposed the vitality of the viewer’s sensual experience against [a conventional concept of]

theater as a contrived literary form.”

Hence my “city” can be imagined not just as a geographic place or even as a social nexus, but rather as a source of inexhaustible sensual experience.

As a contrasting relief to the frenzy of the first movement’s ending, “The Song Is for You” takes its time assembling itself.

Gradually a melodic profile in the solo alto sax emerges from the surrounding pools of chromatically tinted sonorities. The melody yearns toward but keeps retreating from the archetypal “blue” note. But eventually the song finds full bloom in the voice of the solo trombone, a “talking” solo, in the manner of the great Ellington soloists Lawrence Brown and Britt Woodman (both, fittingly enough, Angelenos).

“Boulevard Night” is a study in cinematic colors, sometimes, as in the moody Chinatown trumpet solo near the beginning, it is languorous and nocturnal; sometimes, as in the jerky stop-start coughing engine music in the staccato strings, it is animal and pulsing; and other times, as in the slinky, sinuous saxophone theme that keeps coming back, each time with an extra layer of stage makeup, it is inyour-face brash and uncouth. The music should have the slightly disorienting effect of a very crowded boulevard peopled with strange characters, like those of a David Lynch film — the kind who only come out to strut their stuff very late on a very hot night. — John Adams © 2009

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ABOUT THE ARTISTS

About the Artists GUSTAVO DUDAMEL For a biography of conductor Gustavo Dudamel, please turn to page 8.

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

In addition to being recognized as a legendary pianist and composer, Herbie Hancock has been an integral part of every popular music movement since the 1960s.

A member of the Miles Davis Quintet that pioneered a groundbreaking sound in jazz,

he also developed new approaches on his own recordings, followed by his work in the ’70s – with record-breaking albums such as Headhunters – that combined electric jazz with funk and rock in an innovative style that continues to influence contemporary music. “Rockit” and “Future Shock” marked Hancock’s foray into electronic dance sounds; during the same period, he also continued to work in an acoustic setting with V.S.O.P., which included exMiles Davis bandmates Wayne Shorter, Ron Carter, and Tony Williams.

Always an innovative artist, forging new bands led him to record the Grammy®winning River: The Joni Letters, and The Imagine Project, where he collaborated

with contemporary artists such as John Legend, Beck, Pink, Chaka Khan, James Morrison, and Juanes.

In December of 2013, Hancock received a Kennedy Center Honor, and he was the 2014 Norton Professor of Poetry at Harvard University, completing his sixweek lectures series, “The Ethics of Jazz.”

His memoir, Herbie Hancock: Possibilities, was published in 2014, and in February 2016 he was awarded the Grammy Lifetime Achievement Award. Hancock is the William Powers & Carolyn Powers Creative Chair for Jazz for the Los Angeles Philharmonic Association.

Hancock is currently in the studio at work on a new album.

Herbie Hancock

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WORLD MUSIC

PROGRAM

Sunday, Oct 14, 2018 7:30PM

LA Fest: La Santa Cecilia • Cuco La Santa Cecilia Cuco

CUCO

Omar “Cuco” Banos, lead singer / trumpet Jonathan “J-Kwe$T” Lopez, keys Ismael Davila, keys Esai Salas, bass guitar Fernando “Fern” Carbajal, guitar Gabriel “Breeze” Baltazar, guitar Julian “Liano” Farias, drums

MARIACHI LINDAS MEXICANAS Maricela Martinez, trumpet Olga Casillas, violin Guadalupe Cortes, guitar Carla Bibiano, bass Anisa Palomar, violin Bianca Campos, violin Cynthia Gabriela Avila, violin

INTERMISSION LA SANTA CECILIA

Ellen REID

La Marisoul Hernández, vocals José “Pepe” Carlos, accordion / requinto Alex Bendaña, bass Miguel “Oso” Ramírez, percussion Marco Sandoval, guitar with special guest on drums to be announced from the stage

We invite you to visit an immersive sound and art installation in Keck Amphitheatre before tonight’s concert.

Recorded performances can be heard starting at 7pm, or during the intermission.

Oscillations: One Hundred Years and Forever (c. 8 minutes) (world premiere, LA Phil commission)

Programs and artists subject to change.

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ABOUT THE ARTISTS

About the Artists LA SANTA CECILIA La Santa Cecilia started their career by serenading passers-by on the embellished corners of Downtown Los Angeles’ Olvera Street. They are a musical phenomenon that has won a Grammy, toured from coast to coast, collaborated with Elvis Costello, appeared on Conan, and most recently shared the stage with Led Zeppelin’s John Paul Jones.

Named after the patron saint of music, La Santa Cecilia is composed of accordionist and requinto player Jose “Pepe” Carlos, bassist Alex Bendaña, percussionist Miguel “Oso” Ramirez, and vocalist “La Marisoul.”

With a captivating voice that sings about love, loss, and disappointment, the band has become the voice of a new bicultural generation in the United States, fully immersed in modern music, but still close to its Latin American influences and Mexican heritage.

La Santa Cecilia was thrown onto the map in 2011 with the release of its debut album, Noches y Citas. This album gave them their first nomination at the Latin Grammy Awards for the single “La Negra.”

It was also with this release that they first voiced their sympathy and support for various human rights movements; they have since used their music to openly support these causes.

They followed that album with El Valor in 2012, which was named one of the best albums of the year by NPR’s Alt Latino.

And then came the big one – Treinta Días. The album was recorded in 2013 and showed the band moving in a more sophisticated direction, while holding true to itself. They combined cumbia, reggae, soul, tango, and their L.A. spice to create an album that went on to win the Grammy for Best Latin Rock Album, Alternative or Urban, in 2014. The album featured a song called “ICE (El Hielo),” which was a

militant anthem on humanizing the immigration tactics in the USA. The song was controversial, and its accompanying video rang true to many who saw it. The song received accolades from major media outlets around the country, while the video was nominated for Video of the Year at Premios Lo Nuestro.

In 2014, La Santa Cecilia made its major label debut with Someday New, released on Universal. The first single, “La Cumbia Morada,” combined infectious pop melodies with touches of cumbia.

On March 27 of that same year, the band did something they had never imagined – they performed at the legendary Vive Latino in front of thousands of screaming fans.

Summer 2014 was a busy season for the band. They presented their politically-infused video for “Strawberry Fields Forever” at the LULAC (League of United Latin American Citizens) luncheon in New York, accompanied by none other than First Lady

La Santa Cecilia

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ABOUT THE ARTISTS

Michelle Obama. La Marisoul had the honor of singing the national anthem to the over 1,500 Latino leaders in attendance. Later that summer, the band played the sold-out Reventón festival for over 20,000 people.

As if that wasn’t enough, La Santa Cecilia hit the big screen. They recorded the song “Tu Vida Es Un Escenario,” which was included in the award-winning film Cantinflas, and collaborated with Gustavo Santaolalla on “The Apology Song” for the animated hit film The Book of Life, directed

by Mexican director Guillermo del Toro.

The band is also highly synced, with songs appearing in popular TV shows like Weeds, Entourage, and The Bridge.

Marisoul was also featured as a guest performer on Pepe Aguilar’s MTV Unplugged, which turned out to be the first Unplugged by a Ranchero artist. Pepe Aguilar later invited La Santa Cecilia on stage at the National Auditorium in Mexico.

In 2015, the band started dropping hints about a new album. During the summer, they released “I Won’t Cry for You,” produced by multi Grammy-winning Sebastian Krys. The song plays with jazzy nuances, while juxtaposing that with traditional-

sounding accordion riffs and a tasteful pop melody. “Calaverita” was released that fall. The song is a tribute to the great Latin American tradition of Day of the Dead – in celebration of those we’ve lost.

The band ended the year with a momentous appearance on Late Night with Conan O’ Brien, where they played the new single “I Won’t Cry for You.” More recently, in January 2016, the band played Jeff Buck’s Todos Santos Festival in Baja California, joined on stage by none other than Led Zeppelin’s own John Paul Jones on electric mandolin for a special rendition of “La Morena.”

Buenaventura was released in February 2016. They celebrated by playing the Appel Room at Lincoln Center in New York City and a homecoming show at Walt Disney Concert Hall alongside Buika.

CUCO Cuco is a 19-year old self-produced Chicano solo artist from Hawthorne, California. Cuco, born Omar Banos, first began playing music at the age of eight. Starting with guitar, moving on to learning bass,

keys, drums, trumpet, French horn, and mellophone, all before the age of 15. After teaching himself Ableton at 16, Cuco was eager to start independently releasing his own music once he finished high school.

In summer of 2016, Cuco released his first mixtape, Wannabewithu – a collection of teenage heartbreak over abstract chords, lo-fi synths, ambient guitars, punchy drums, and lead trumpets that resonated with thousands of music lovers everywhere. Mere months later at the top of 2017, Cuco welcomed his newfound fans, or “Cuco Pebbles,” with a follow-up mixtape Songs4u. The release of his first bilingual track, “Lo Que Siento,” has moved the needle tremendously with over 3.5 million Spotify streams and counting.

Having only played So-Cal DIY house shows until March of this year, Cuco has had a sold-out touring streak for 2017 including a headlining Viva! Pomona performance, six dates in Texas, and a mainstage slot at this year’s sold-out Tropicalia festival. With his debut album currently in the works and a busy 2018 touring schedule ahead, it’s looking like a life-altering year for Hawthorne’s Cuco.

Cuco

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Corporate, Foundation, and Government Gifts

SISTERS MATSUMOTO

BY PHILIP KAN GOTANDA U.S. INTERNMENT CAMP DURING WORLD WAR II, THREE JAPANESE AMERICAN SISTERS RETURN TO THEIR ONCE PROSPEROUS FAMILY FARM IN STOCKTON, CALIFORNIA DETERMINED TO RECAPTURE THE DREAMS OF THEIR PRE-WAR LIVES. • S P O N S O R E D I N PA R T BY

CALIFORNIA CIVIL LIBERTIES PROGRAM FROM THE

CALIFORNIA STATE LIBRARY

NOV 16 -18 THE JAMES BRIDGES THEATER/UCLA

UPCOMING JAN 25-27

By Tracey Scott Wilson. Civil rights leaders take up the fight against segregation but the shortcomings of their charismatic leader risk the future of the movement.

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MAR 1-3

By E.M. Forster, Adapted by Kate McAll. After a chance encounter in Florence, Lucy must negotiate the demands of her station with the desires of her heart.

Up Close and Personal L.A. Theatre Works has entertained the world for over 40 years with our signature radio theatre format.

TICKETS AND INFORMATION

$1,000,000 AND ABOVE Anonymous Andy & Bill Concerts, LLP Live Nation-Hewitt Silva Concerts, LLC

Lloyd E. Rigler — Lawrence E. Deutsch Foundation

$500,000 TO $999,999 Anonymous Acura

AFTER YEARS AT A

THE GOOD NEGRO

We are honored to recognize corporate, foundation, and government donors who generously support the mission of the Los Angeles Philharmonic Association: to perform, present, and promote music in its many varied forms at the highest level of excellence to a large and diverse audience. We are deeply grateful for the following contributions to the Los Angeles Philharmonic and the Hollywood Bowl received between August 2017 and August 10, 2018.

American Airlines, Inc.

$250,000 TO $499,999 Colburn Foundation County of Los Angeles The Walt and Lilly Disney Foundation Max H. Gluck Foundation The Living Legacy Foundation

Pasadena Showcase House for the Arts Target Corporation The Virginia B. Toulmin Foundation Rolex Watch USA, Inc.

$100,000 TO $249,999 Amgen Foundation Anheuser Busch InBev The Walt Disney Company The Eisner Foundation Heineken USA Incorporated Lyft

MUFG Union Bank, N.A. Pepsi Rosenthal Family Foundation Toyota Motor Sales U.S.A., Inc. Viking Cruises Winc

$50,000 TO $99,999 City of Los Angeles, Department of Cultural Affairs The Everly The Rosalinde and Arthur Gilbert Foundation The José Iturbi Foundation

The Norman and Sadie Lee Foundation Los Angeles County Arts Commission National Endowment for the Arts Transit Systems Unlimited Inc. Zevia

$25,000 TO $49,999 Anonymous Ameriprise Financial The Herb Alpert Foundation Bank of America Cooper Tires Joseph & Bessie Feinberg Foundation The Green Foundation Harman Family Foundation

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Dwight Stuart Youth Fund

$10,000 TO $24,999 Albert and Elaine Borchard Foundation California Arts Council HSBC The Specialty Family Foundation Ella Fitzgerald Charitable Foundation Julia Stearns Dockweiler Charitable Foundation

Kenneth T. & Eileen L. Norris Foundation Pacific Harmony Foundation Sony Pictures Entertainment, Inc. James C. Stewart Charitable Foundation

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Annual Donors

Santa Monica Dream Getaway ENTER TO WIN

The LA Phil is pleased to recognize and thank donors to our Annual Fund. The following list includes donors who have contributed $3,500 or more to the Annual Fund and Special Events between August 2017 and August 10, 2018.

The LA Phil gratefully acknowledges Al Mann’s leadership gift of $10 million to make possible the Alfred E. Mann Los Angeles Philharmonic Association Administrative Building.

$1,000,000 AND ABOVE

POWERED BY

Lloyd E. Rigler - Lawrence E. Deutsch Foundation

$500,000 TO $999,999 Dunard Fund USA

Music Center Foundation

$200,000 TO $499,999 Louise and Brad Edgerton/ Edgerton Foundation Ms. Lisa Field Gordon P. and Ann G. Getty

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Mr. Gregory A. Adams Ms. Wallis Annenberg Judith and Thomas L. Beckmen David Bohnett Foundation Linda and Maynard Brittan Business and Professional Committee California Community Foundation Kevin G. Clifford Dan Clivner and Steven Cochran Mark Houston Dalzell and James Dao-Dalzell Ms. Mari L. Danihel Elizabeth and Kenneth M. Doran Mrs. Danielle Erem Retha Evans and Douglas Diener Mr. Lawrence N. Field Mr. and Mrs. Josh Friedman Ms. Erika J. Glazer Jenny Miller Goff Linda Griego Ms. Olivia Harrison Mr. and Ms. Enrique Hernandez, Jr. Yvonne Hessler Darioush and Shahpar Khaledi Terri and Jerry M. Kohl Dr. Ralph A. Korpman Live Nation Linda May and Jack Suzar

Barbara and Jay Rasulo Ann and Robert Ronus Wells Family Charitable Foundation

Ms. Sarah H. Ketterer Anne Akiko Meyers and Jason Subotky Peninsula Committee Michele Rauch James and Laura Rosenwald/Orinoco Foundation Eric Small and Dorothy Waugh Deanie and Jay Stein Eva and Marc Stern Sue Tsao Alyce de Roulet Williamson

Barbara and Buzz McCoy Janis B. McEldowney Mr. and Mrs. David Meline Maureen and Stanley Moore Y & S Nazarian Family Foundation Shleby Notkin and Teresita Tinajero Mr. and Mrs. Jason O’Leary M. David and Diane Paul William C. Powers Sandy and Barry D. Pressman Jennifer and Evan Rosenfeld Nancy S. and Barry Sanders Elizabeth and Justus Schlichting David and Linda Shaheen Smidt Family Foundation Trust Christian Stracke Ronald and Valerie Sugar Mr. Jon Vein and Mrs. Ellen Goldsmith-Vein The Lee and Hope Landis Warner YOLA Student Fund John and Marilyn Wells Family Foundation Margo and Irwin Winkler Ellen and Arnold Zetcher Ms. Marilyn Ziering

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SUPPORT THE LA PHIL

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wellsfargo.com © 2018 Wells Fargo Bank, N.A. All rights reserved. IHA-23293

ANNUAL FUND From the concerts that take place on stage at Walt Disney Concert Hall and the Hollywood Bowl, to the education programs that fill our community with music, it is support from Annual Donors that makes our work possible. 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.

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 and the Hollywood Bowl as well as groundbreaking educational 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.

BOARD OF OVERSEERS Jack Suzar and Linda May, Chairs Jonathan and Monique Kagan, Vice ChairsThe Board of Overseers 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 educational initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Board of Overseers.

For more information, please call 213.972.7209.

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JOIN US FOR OUR 2018-19 SEASON

BILL T. JONES/ ARNIE ZANE COMPANY

Analogy Trilogy

TERRI LYNE CARRINGTON

Tribute to Joni Mitchell, Tina Turner and Nancy Wilson Fri, Nov 9 @ 8pm Royce Hall, UCLA

Sat, Nov 3 & Sun, Nov 4 @ 2pm Royce Hall, UCLA

ESTONIAN PHILHARMONIC CHAMBER CHOIR & TALLINN CHAMBER ORCHESTRA Sat, Nov 17 @ 8pm Royce Hall, UCLA

UNCABARET

25th Anniversary Show & Celebration Sun, Nov 18 @ 7pm The Theatre at Ace Hotel

SWEET HONEY IN THE ROCK Fri, Nov 30 @ 8pm Royce Hall, UCLA

TICKETS ON SALE NOW!

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Anonymous (5) Mr. Robert J. Abernethy Dr. and Mrs. Keith L. Agre Andy & Bill Concerts, LLP Ms. Kate Angelo Debra and Benjamin Ansell Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Robert and Joan Blackman Family Foundation The Eli and Edythe Broad Foundation Oleg and Tatiana Butenko Mara and Joseph Carieri Ms. Nancy Carson Par and Sharon Chadha Esther S. M. Chui Chao Chevron Products Company James and Paula Coburn Foundation Mr. Richard W. Colburn Mr. and Mrs. Jim Connelly Mr. and Mrs. Robert Cook Donelle Dadigan Orna and David Delrahim The Walt Disney Company Malsi Doyle and Michael Forman Geoff Emery Ms. Nancy Ferguson Austin and Lauren Fite Foundation Daniel and Maryann Fong Foothill Philharmonic Committee Mr. and Mrs. Steven Galson Kiki and David I. Gindler Alexandra S. Glickman and Gayle Whittemore Liz and Peter Goulds Renée and Paul Haas Dwight Hare and Stephanie Bergsma Carol and Warner Henry Mr. Philip Hettema Gerry Hinkley and Allen Briskin Ms. Teena Hostovich and Mr. Doug Martinet Mr. and Mrs. James L. Hunter Mr. and Mrs. William H. Hurt Jo Ann and Charles Kaplan Linda and Donald Kaplan Terri and Michael Kaplan Gerald L. Katell Mr. Eric Kaufman Paul Kester Vicki King Mr. and Mrs. Kenneth N. Klee Ms. Ann L. Kligman Kent Kresa Naomi and Fred Kurata Ken Lemberger and Linda Sasson Saul Levine Ms. Agnes Lew Sheila and Ronald Litzinger Long Beach Auxiliary Jeffrey and Lori Litow Family Trust Lillian Lovelace Elizabeth and Robert J. Lowe Renee and Meyer Luskin Mr. and Mrs. Roger H. Lustberg Matt Construction Corporation Ashley McCarthy and Bret Barker Kelly Sutherlin McLeod and Steven B. McLeod Lisa and Willem Mesdag Y & S Nazarian Family Foundation Ms. Linda L. Pierce Ms. Carol Price Cathleen and Scott Richland Wendy and Ken Ruby Katy and Michael S. Saei Mr. Lee C. Samson Mr. and Mrs. Richard Sandler Carla Sands Ken & Carol Schultz Foundation Mr. and Mrs. Gerry Schwartz SEI Institutional Group Randy and Susan Snyder Mrs. Faith F. Strong Priscilla and Curtis S. Tamkin Michael Frazier Thompson Mr. and Mrs. Thomas E. Unterman Tee Vo and Chester Wang

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“A REVELATION” -The New York Times

Photo by Victor Santiago.

SONYA YONCHEVA SOPRANO

WITH ORCHESTRA

DOMINGO HINDOYAN

CONDUCTOR

WED NOV 7, 2018 / 7:30 PM A Broad Stage concert debut from one of the world’s leading sopranos. #thebroadstage CELEBRITY OPERA SERIES AT THE BROAD STAGE SUPPORTED BY A GENEROUS GIFT FROM LLOYD E. RIGLER – LAWRENCE E. DEUTSCH FOUNDATION

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Anonymous (8) Drew and Susan Adams Honorable and Mrs. Richard Adler Antonieta Arango, In memory of Javier Arango The Aversano Family Trust Lorrie and Dan Baldwin Ms. Elizabeth Barbatelli Judy and Leigh Bardugo The Honorable Frank and Kathy Baxter Dr. William Benbassat Miles and Joni Benickes Mr. and Mrs. Adam Berger Suzette and Monroe Berkman Barbara and Scott Bice Mr. Jay Borzi Ying Cai & Wann S. Lee Foundation Campagna Family Trust Mr. and Mrs. Aubrey Chernick Mr. Pei-yuan Chia and Ms. Katherine Shen Chivaroli and Associates Insurance Services Mr. and Mrs. Jonathan Cookler Lynette and Michael C. Davis Dr. and Mrs. William M. Duxler Ms. Valerie Franklin Joan Friedman, Ph.D. and Robert N. Braun, M.D. Gary and Cindy Frischling Ms. Bonnie Corwin Fuller Mr. Arthur J. Gallagher Dr. Hilary Garland Mr. and Mrs. Jeffrey L. Glassman Mr. and Mrs. Abner D. Goldstine Good Works Foundation and Laura Donnelley Goodman Family Foundation Mr. and Mrs. Daniel M. Gottlieb Diane and Peter H. Gray Tricia and Richard Grey Mr. and Mrs. Paul Guerin Vicken and Susan J. Haleblian Marion and Tod Hindin Liz Levitt Hirsch Fritz Hoelscher Mr. Raymond W. Holdsworth Edward Indvik Mr. and Mrs. Joshua R. Kaplan Mr. and Mrs. Robert A. Kasirer Ms. Nancy Katayama Sandi and Kevin Kayse Mr. Mark Kim and Ms. Jeehyun Lee Cary and Jennifer Kleinman Elaine Kohn and Berndt Lohr-Schmidt Carol Krause Bob and Pamela Krupka Ms. Robin Eisenman and Mr. Maurice LaMarche Charlotte and Thomas Lane Allyn and Jeffrey L. Levine Marie and Edward Lewis Anita Lorber The Luppe and Paula Luppen Family Foundation Mr. Kevin MacCarthy and Ms. Lauren Lexton Theresa Macellaro / The Macellaro Law Firm Ms. Kim McCarthy and Mr. Benjamin Cheng Dwayne and Eileen McKenzie Robert Mendez, M.D. Sharyl and Rafael Mendez, M.D. Dr. Richard N. Merkin David and Margaret Mgrublian Marcy Miller Joel and Joanne Mogy Ms. Lisa Moriyama and Dr. Stanley Wachs Mr. and Mrs. Howard A. Sherwood Deena and Edward Nahmias Mr. and Mrs. Dan Napier D. Orenstein & J. Lu Ms. Mary Jayne Parker and Ms. Beckie Yon Catherine Partridge Gregory Pickert and Beth Price Mr. and Mrs. Joseph Plascencia Mr. Michael Poole Mr. and Mrs. Bruce Ramer Resmark Companies Lloyd E. Rigler — Lawrence E. Deutsch Foundation

74 PERFORMANCES MAGAZINE

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MURDER ON THE ORIENT EXPRESS | OCT 19 – NOV 11, 2018

1776 THE MUSICAL | JAN 11 – FEB 3, 2019

SINGIN’ IN THE RAIN | APR 19 – MAY 12, 2019

BEAUTY AND THE BEAST | MAY 31 - JUNE 23, 2019

LA MIRADA THEATRE

TICKETS ON SALE NOW (562) 944-9801 • www.LaMiradaTheatre.com LAPHIL_WRAP_1018.indd 75

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ANNUAL DONORS

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DONATE TODAY!

CALL FOR PICK-UP 800-400-6259

EIGHT CONVENIENT LOCATIONS West Los Angeles

11801 Santa Monica Blvd. (at Granville)

West Los Angeles

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$10,000 TO $14,999

Anonymous (3) Mr. and Mrs. Robert L. Adler Ms. Mary L. Babbitt Stephanie Barron Mrs. Margaret C. Barry Susan Baumgarten Mr. Frank Baxter Mr. and Mrs. Phil Becker Phyllis and Sandy Beim Mr. Edward Blume III Brass Ring Foundation John and Annette Brende Claudia and Kevin Bright Mr. and Mrs. Steven Bristing Lyn and Frank Campbell Sarah and Roger Chrisman Chubb City National Bank Dr. Marie M. Cohen and Dr. Jared Diamond Collingwood Foundation Jay and Nadege Conger Zoe Cosgrove Darioush Khaledi Winery, LLC Audrey Davis and Peter Dan Levin Dr. and Mrs. Aurelio de la Vega Ann Deal Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Doug Dohring – Age of Learning, Inc. Julie and Stan Dorobek Dr. Paul and Patti Eisenberg Mr. and Mrs. Richard Ellis Fairchild-Martindale Foundation Bonnie and Ronald Fein Mr. Tommy Finkelstein and Mr. Dan Chang Mr. and Mrs. Robert C. Forst Drs. Harold and Gloria Frankl Berta and Frank Gehry Robert Glicksteen Mr. and Mrs. Louis L. Gonda Mr. and Mrs. Ken Gouw Ms. Lynn Gretkowski Beverly and Felix Grossman Mr. William Hair Laurie and Chris Harbert Ms. Carrie Harr Dr. and Mrs. Alan M. Heilpern

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Van Nuys

14526 Victory Blvd. (west of Van Nuys Blvd.)

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21716 Sherman Way (east of Topanga Canyon Blvd.)

COUNCIL THRIFT Follow us at ncjwla.org 76 PERFORMANCES MAGAZINE

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John Peter Robinson and Denise Hudson Linda and Tony Rubin Tom Safran The SahanDaywi Foundation Ron and Melissa Sanders Dena and Irv Schechter/The Hyman Levine Family Foundation: L’DOR V’DOR Dr. and Mrs. Heinrich Schelbert Evy and Fred Scholder Family Mr. and Mrs. Arnold Seidel Dr. Donald Seligman and Dr. Jon Zimmermann Marc Seltzer and Christina Snyder Mr. and Mrs. Pierce T. Selwood Mr. James J. Sepe Elliott Sernel and Larry Falconio Walter H. Shepard and Arthur A. Scangas Grady and Shelley Smith Mr. and Mrs. Richard Sondheimer Angelina and Mark Speare Mr. Lev Spiro and Ms. Melissa Rosenberg Stein Family Fund — Judie Stein Lisa and Wayne Stelmar Mr. Thomas S. Strickler Tracey and Stanley Tatkin Mr. Avedis Tavitian Noralisa Villarreal and John Matthew Trott Elinor and Rubin Turner Jan and Meredith Voboril Charles and Miriam Vogel Warner Bros.

Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Libby Wilson, MD Mahvash and Farrok Yazdi Karl and Dian Zeile Zenith Insurance Co. Bobbi and Walter Zifkin

7/24/18 11:18 AM

9/10/18 4:43 PM

Celebrate

Colburn

The Colburn School congratulates its Gala Honorees — VALERY GERGIEV Artistic Honoree and Guest Conductor

ELIZABETH SEGERSTROM Civic Honoree

YASUHISA TOYOTA Gala Honoree

Tuesday, October 23, 2018 Colburn School Grand Avenue, 6:30 pm CO-CHAIRS Carol Colburn Grigor & Murray Grigor Eva & Marc Stern

Colburn Orchestra at Walt Disney Concert Hall, 7 pm Celebrate Colburn dinner under the stars on Grand Avenue to follow Supporting the full range of academic and performance programs at the Colburn School

— colburnschool.edu/gala

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ANNUAL DONORS

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Mr. Mark Benjamin Mr. and Mrs. Richard Bennett Joyce and Stanley Black and Family Nathalie Blossom and Howard Levy Debra Burdorf Edward Blake Byrne Mr. Eduardo Cetlin Committee of Professional Women Dr. and Mrs. Bruce Gainsley Marty and Cari Kavinoky Patricia Keating and Bruce Hayes Mr. Kent Keller Ellie and Mark Lainer Mr. and Mrs. Norman A. Levin Mr. and Mrs. Ronald Low Mr. Lawrence A. Mirisch Glenn Pittson Joyce and David Primes Ms. Yoriko Saneyoshi and Ms. Kay Harrington Adam Shell and Carla Christofferson Lisa Stevens Mr. Robert E. Willett Nancy Zamora

78 PERFORMANCES MAGAZINE

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Your community music school pasadenaconservatory.org

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Affiliates THE BUSINESS AND PROFESSIONAL COMMITTEE

The Business and Professional Committee of the Los Angeles Philharmonic warmly welcomes all men and women in the business and professional community who seek the camaraderie of other music lovers and a personal experience with the LA Phil.

With a lively history dating back more than 40 years, B&P is an LA Phil Affiliate Committee, and its members enjoy special benefits.

B&P members meet during the season for six delicious luncheons catered by Patina, with enthralling programs of guest speakers and performances by elite members from the music and arts worlds.

Recent luncheon guests have included LA Phil musicians Martin Chalifour, David Rejano Cantero, and Boris Allakhverdyan; conductors Lionel Bringuier and James Conlon; and MacArthur Award-winning opera director Yuval Sharon. Our members were able to experience demonstrations of different instruments and musical techniques, hear discussions of musical history and lore, and to ask their own questions of the musicians. In addition, members enjoy social and musical events during the year, including music salons, backstage tours, rehearsals, and theater and garden parties.

B&P’s unique focus is the support of the LA Phil’s music library. Each year, the Committee hosts a major fundraising dinner gala with performances by LA Phil musicians, and is proud to donate thousands of dollars to help underwrite the cost of musical scores and other needs of the music library.

Members of B&P enjoy a rare opportunity to meet and get to know the musicians of the LA Phil, and to experience the orchestra up-close. Annual membership is $600.

For membership information, please contact June Sattler at junessattler@gmail.com or 818 789 1655.

pbssocal.org

80 PERFORMANCES MAGAZINE

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ANNUAL DONORS $5,500 TO $7,499

Anonymous (3) Ms. Adrienne Alpert Art and Pat Antin Ms. Judith A. Avery Mr. Mustapha Baha Dr. Richard Bardowell, M.D. Karen and Jonathan Bass Mr. Barry Beitler Maria and Bill Bell Michael and Hedvah Berg Ms. Gail K. Bernstein Helen and Peter S. Bing Mr. Kenneth Blakeley Mr. Ronald H. Bloom Joan N. Borinstein Mr. and Mrs. Hal Borthwick Ms. Lynne Brickner Ms. Giusy Buonfantino Fanya Carter, Ph.D. CBS Entertainment Diana Reid and Marc Chazaud Arthur and Katheryn Chinski Dr. Stephanie Cho and Jacob Green Mr. and Mrs. Ronald Clements Mr. David Colburn Mr. and Mrs. Richard W. Cook Mr. Cary Davidson Mr. Howard M. Davine Ms. Cynthia Davis Ms. Raquelle de la Rocha and Mr. Daniel Bussel Ms. Rosette Delug Ms. Mary Denove The Randee and Ken Devlin Foundation Ms. Ira DeWitt Tim and Neda Disney Bill Koier Anna Sanders Eigler Ms. Annmarie Eldering and Ms. Anne Vandenabeele Mr. and Mrs. Burton A. Falk Mr. Walter Fidler Mr. Thomas Ford The Franke Family Trust Mr. Nathan D. Frankel Steven Friednam Dr. and Mrs. David Fung Dr. and Mrs. Stephen A. Geller Leslie and Cliff Gilbert-Lurie The Gillis Family Mr. and Mrs. Herbert Glaser Harriett and Richard E. Gold Cindy and Richard Goldman Lee Graff Foundation Mr. Manuel Graiwer and Ms. Lucrecia Tulic Mr. and Mrs. Paul E. Griffin III Marnie and Dan Gruen Stephanie and Greg Guyett Ms. Marian L. Hall Ms. Rose Ann Hall Dr. and Mrs. Samuel B. Haveson Mr. Willis Hayes Stephen and Hope Heaney Tina and Ivan Hindshaw Anita Hirsh Roberta and Burt Horwitch Dr. and Mrs. Mel Hoshiko Mr. Ralph Hurtado Michele and James Jackoway Mr. and Mrs. Tim C. Johnson Mr. and Mrs. Steaven K. Jones, Jr. Eileen and Ken Kaplan Marilee and Fred Karlsen Richard Kelton Remembering Lynn Wheeler Kinikin Mr. and Mrs. Stephen A. Kolodny Mr. and Mrs. Joseph K. Kornwasser Ms. Phyllis Kupferstein and Mr. Donald O. Farkas Katherine Lance

Mr. and Mrs. Jack D. Lantz Mrs. Grace E. Latt Mr. George Lee Randi Levine Lydia and Charles Levy Mr. Gary Malouf Milli M. Martinez and Don Wilson Leslie and Ray Mathiasen Dr. and Mrs. Gene Matzkin Mr. and Mrs. Thomas E. McCarthy Mr. Sheldon and Dr. Linda Mehr Mr. and Mrs. Dana Messina Ms. Marlane Meyer Joanna Miller O’Malley and Ann Miller Mr. Weston F. Milliken Linda and Kenneth Millman Mrs. Iris Mink Mr. John Monahan Ms. Lillian Mueller Mrs. Cynthia Nelson Mr. and Mrs. Mitchell Newman Mr. and Mrs. Randy Newman Irene and Edward Ojdana Ellen Pansky Ms. Debra Pelton and Mr. Jon Johannessen Mr. and Mrs. Joshua Perttula Robert J. Posek, M.D. Sandra and Lawrence Post Hon. Vicki Reynolds and Mr. Murray Pepper Dr. Susan F. Rice Murphy and Ed Romano and Family Ms. Rita Rothman Dr. Michael Rudolph Mr. and Mrs. Paul Rutter Ann M. Ryder Thomas C. Sadler and Dr. Eila C. Skinner Mr. Alexander Sawchuk Mr. and Mrs. William E. B. Siart Mr. Adam Sidy Mr. Douglas H. Smith Virginia Sogomonian and Rich Weiss Curtis W. Spencer III, M.D. Mr. Brandon Sugimoto Keith and Cecelia Terasaki Warren B. and Nancy L. Tucker Billie and Richard Udko Christopher V. Walker Mr. Nate Walker Bob and Dorothy Webb Mr. and Mrs. Steven White Ms. Lori Williams Karen and Richard Wolfen Ms. Shirley Wong Simon Woods and Karin Brookes Robbi J. Work Mr. and Mrs. Richard Wynne Mr. Nabih Youssef

$3,500 TO $5,499

Anonymous (9) Ms. Janet Abbink and Mr. Henry Abbink ABC Entertainment Dr. and Mrs. Frank Agrama Ms. Rose Ahrens Cary Albertsone Ms. Olga S. Alderson Ms. Lynn Allen Mr. and Mrs. Daniel E. Altman Dr. Philip Anthony Sandra Aronberg, M.D. and Charles Aronberg, M.D. Myla Azer Mr. Craig Bailey Mr. Thomas S. Ballantyne Pamela and Jeffrey Balton Mr. James Barker Mrs. Linda E. Barnes Ken and Lisa Baronsky

Ms. Barbara Barrett Byrne Catherine and Josephe Battaglia Kay and Joe Baumbach Mr. and Mrs. Alan Bell Mr. and Mrs. Philip Bellomy Matthew Benjamin Mr. Ira Bilson and Mrs. Alberta Stahl Mr. and Mrs. Richard Birnholz Dr. Andrew C. Blaine and Dr. Leigh Lindsey Mary Anne and Bradford B. Blaine Ms. Marjorie Blatt Mr. William Bloomfield Jr. Bob and Nita Hirsch Family Foundation Ms. Leslie Botnick Ms. Monica Bouldin Mrs. Marie Brazil Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Drs. Maryam and Iman Brivanlou Vincent and Colleen Caballero Mr. and Mrs. Richard Camp Mr. and Mrs. Tom R. Camp Raphaelle and Philip Cassens Nancy Chalifour Andrea Chao-Kharma and Ken Kharma Mr. Louis Chertkow Mr. Eric Chien Ms. Dana Cioffi David A. Clark Ms. Nancybell Coe Mr. Jonathan Cogut Dr. and Mrs. Lawrence J. Cohen Ms. Barbara Cohn Ms. Ina Coleman Mr. Michael Corben and Ms. Linda Covette Corwin Family Foundation Mr. and Mrs. Bruce Corwin Mr. and Mrs. Richard R. Crowell Dr. Carey Cullinane Dr. and Mrs. Robert A. Cutietta Mrs. Nancy A. Cypert Mr. Lawrence Damon and Mr. Ricardo Torres Mr. and Mrs. Leo David Mr. James Davidson and Mr. Michael Nunez Mr. Rafael de Marchena-Hyuke Ms. Denise DeMan Leslie and John Dorman Mr. and Ms. Gregory C. Drapac Ms. Janelle Dreyfuss Mr. David A. Drummond Ms. Victoria Dummer Mr. Jon Dunham Mr. Paul Dupree and Mr. David Peterson Mr. Marvin Elkin Mrs. Eva Elkins Ismail Elshareef Mr. Burkhard Englert and Ms. Eun Heui Kim Mr. and Mrs. Irwin S. Field Ms. Jain Fletcher Mr. and Mrs. Michael M. Flynn Mr. Jay G. Foonberg Mrs. Diane Forester Mr. Michael Fox Lillian and Steve Frank Linda and James Freund Ms. Noriko Fujinami Dr. E. Peter and Thea Gabor James and Meredith Gauer Mr. Tim Gault A. R. Gendein, M.D. Ms. Beth Gertmenian Mr. and Mrs. Ronald Gertz Mr. and Mrs. Harlan Gibbs Jason Gilbert Dr. and Mrs. Gary Gitnick Ms. Tina A. Gittelson Mr. James Gleason

PERFORMANCES MAGAZINE 81

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1010 000 of

,

tHe storY of 10 extrAorDinArY cHiLDren of tHe 10,000 WHo surViVeD.

cHiLDHooD Left At tHe stAtion: A Tribute to the Children of the Kindertransport August 26-DeceMber 31 Los Angeles Museum of the Holocaust 100 The Grove Drive, Los Angeles, CA 90036 | 323.651.3704 | www.lamoth.org

Unparalleled Performing Arts Education BACHELOR OF FINE ARTS DEGREE and PROFESSIONAL CONSERVATORY PROGRAMS Schedule your audition now! amda.edu 800.281.8156

ANNUAL DONORS Glendale Philharmonic Committee Mr. Gregg Goldman and Mr. Anthony DeFrancesco Dr. Patricia Goldring Ms. Valerie Goo and Mr. Peter Anderson Ms. Teresa Gordon Ms. Karen Caffee and Mr. Manuel Grace Dr. Ellen Smith Graff Mr. George A. Graham, Jr. Nancy and Barry Greenfield Marcy Gross Mr. Gary M. Gugelchuk Mr. William Hague Mr. Robert T. Harkins Harriet & Richard Orkand Family Educational Foundation Mr. and Mrs. Brian L. Harvey Mr. Rex Heinke and Judge Margaret Nagle Dr. Diane J. Henderson Stephen D. Henry and Rudy M. Oclaray Mr. and Mrs. John Hernandez-Storr Myrna and Uri Herscher Family Foundation Mr. and Mrs. Stephen Hillenburg Dr. and Mrs. Hank Hilty David and Martha Ho Janice and Laurence Hoffmann Horlock Foundation Mr. and Mrs. Daniel Paul Horwitz Ms. Marcia H. Howard Dr. Timothy Howard and Jerry Beale Mr. Jonathan Hung Andrei and Luiza Iancu Natalie Irby Mr. and Mrs. Theodore W. Jackson Mr. and Mrs. Richard Jacobs Jaconi Family Kristofer Jorstad Mr. and Mrs. Morley Justman Mr. and Mrs. James Kang Mr. Eugene Kapaloski Mr. and Mrs. Kenneth Karmin Mr. and Mrs. David S. Karton Dr. and Mrs. David Kawanishi Richard and Lauren King Mr. and Mrs. Jon Kirchner Ms. Heidi Klum Mr. and Mrs. Victor Kohn Mr. and Mrs. Bruce Konheim Mrs. Joan Kroll Veronika Kurshinskaya Carole and Norm La Caze Mr. and Mrs. Ronald B. Labowe Mr. and Mrs. Keith Landenberger Ms. Diana Lands Nathanson Mr. and Mrs. Christopher C. Larkin James D. Laur Craig Lawson and Terry Peters Mr. Tom Leanse Mr. Randall Lee and Ms. Stella M. Jeong Mrs. Sandra Lee Mr. Robert Leevan Mr. and Mrs. Michael J. Lesser Mr. Donald S. Levin Peachy Levy Andrew and Grace Liang Mr. David Licata Ms. Joanne Lindquist Ms. Elisabeth Lipsman Mr. and Mrs. Robert Lopata Susan Disney Lord and Scott Lord Crystal and Elwood Lui Mr. and Mrs. Ronald Manzani Mona and Frank Mapel Mr. Allan Marks and Dr. Mara Cohen Clara and Bret Martin Vilma S. Martinez, Esq. Mr. Arthur Maruyama Mr. Gary J. Matus Mr. William McCune Mr. and Mrs. William F. McDonald James B. McKenna Ms. Irene Mecchi Dr. Gary Milan Ms. Barbara J. Miller Ms. Tamara D. Miller Ms. Julie Milligan Mr. and Mrs. Simon Mills

82 PERFORMANCES MAGAZINE

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New season of KCET Originals spotlight Southern California

TUESDAYS STARTING AT 8PM

kcet.org

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ANNUAL DONORS

Anne Marie Ketchum Artistic Director LaraineAccompanist Ann Madden

Julie Makerov Soprano

Janelle deSTefano Mezzo-Soprano

Todd Wilander Tenor

Gabriel Manro

Baritone Excerpts from: Aida, Mefistofele, Samson and Delilah, and more!

more information and to order tickets Sat., Nov. 10 • 7:30 pm For www.verdichorus.org Sun., Nov. 11 • 2:00 pm or call 800-838-3006

$40 Priority Seats, $30 General, $25 Seniors, $10 Students | All Credit Cards Accepted First United Methodist Church 1008 11th Street, Santa Monica

These concerts are made possible in part, by the L.A. County Board of Supervisors, through the L.A. County Arts Commission, and the City of Santa Monica Arts Commission.

Mr. and Mrs. William Mingst Linda and John Moore Mr. David S. Moromisato Mrs. Garna Muller Mr. Ron Nakagawa Mr. and Mrs. Robert Neely Mr. Jerold B. Neuman Mr. Richard Newcome and Mr. Mark Enos Mr. Gary Newman Dr. Robert Noreen Ms. Jeri L. Nowlen Darla S. Nunn, M.D. Howard and Inna Ockelmann Mr. Dale Okuno Ms. Jean Oppenheimer Mrs. Jane C. Parks Mrs. Ethel Phipps Ms. Julie Platt Mrs. Ruth S. Popkin Debbie and Rick Powell Mr. Albert Praw Ms. Miriam Rain Marcia and Roger Rashman Rita and Norton Reamer Resource Direct Ms. Ann Rice Mr. Mark Ridley-Thomas Mr. and Mrs. Norman L. Roberts Jed and Jeff Robinson Mrs. Laura H. Rockwell Mr. and Mrs. William C. Roen Ms. Pauline Romano Dr. David L. Rose Lois Rosen Peter and Marla Rosen Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen Mr. and Mrs. Brad Rosenberg Dr. James M. Rosser David and Lori Rousso Mr. and Mrs. Matthew Rowland Mrs. Dinah Ruch Mr. and Mrs. Rene Santaella Mr. Noriyuki Sasaki Malcolm Schneer Family Trust Arlene Gail and Denise Beth Gellis Dr. and Mrs. Hervey Segall Ms. Amy J. Shadur-Stein Dr. Ava Shamban Ms. Rita Shamban-Hahn Ruth and Mitchell Shapiro Mr. Steven Shapiro Mr. Kevin Shaw Hope and Richard N. Shaw Doreen and Jack Shine Mr. and Mrs. Elliot Shoenman Signal Worldwide, Inc. Ms. Ruth M. Simon Mr. Kurt Skarin Mrs. Leah R. Sklar Mr. Steven Smith Mr. and Mrs. Michael G. Smooke Ms. Katherine Sohigian Mr. Charles P. Souw Shondell and Ed Spiegel Ms. Angelika Stauffer Mr. and Mrs. Pierre Steele Mr. Scott Stephens Mr. and Mrs. Mark Stern Roger Stewart Mr. Max Stolz, Jr. Rose and Mark Sturza Maia and Richard Suckle and The Anna & Benjamin Suckle Foundation Sean and Anne Sullivan Mr. Takehiko Suzuki Brent Sweer Mr. Marc A. Tamaroff Mr. and Mrs. Randall Tamura Thomas and Elayne Techentin Mr. Todd H. Temanson Ms. Gretchen Thompson Mr. and Mrs. Harlan H. Thompson Dr. James Thompson and Dr. Diane Birnbaumer Arlette M. Towner Mr. Michael Tully Mr. and Mrs. Leonard Unger

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ANNUAL DONORS Ciedra Urich-Sass Ms. Kathy Valentino The Valley CommitteeS for the Los Angeles Philharmonic Mr. and Mrs. Peter J. Van Haften David H. Vena Jenny Vogel Mr. Jules Vogel Mr. and Mrs. Terry Volk Felise Wachtel Ms. Shirley Starke Mr. Robert M. Walp Michael Weber and Frances Spivy-Weber Ms. Diane C. Weil and Mr. Leslie R. Horowitz Mr. and Mrs. Doug M. Weitman Fern and Ronald H. Wender Ms. Lori Wenderoff Mrs. Gloria Werner Robert and Penny White The Whittier Trust Company Mr. and Mrs. David Wilson Ms. Tina H. Wilson Mr. Lee Winkelman and Ms. Wendey Stanzler Mr. Kevin Yoder George and Eileen Young 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 DEVELOPMENT DEPARTMENT AT 213 972 0757.

THANK YOU.

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PERFORMANCES MAGAZINE 85 Rachmaninoff Performance Ad—3/2010

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DEPARTMENT OF CULTURAL AFFAIRS

Danielle Brazell General Manager

CULTURAL AFFAIRS COMMISSION Eric Paquette President Charmaine Jefferson Vice President Jill Cohen Josefina Lopez Sonia Molina Elissa Scrafano John Wirfs

WALT DISNEY CONCERT HALL HOUSE STAFF

Ronald H. Galbraith Master Carpenter John Phillips Property Master Terry Klein Master Electrician Kevin F. Wapner Master Audio/Video Greg Flusty House Manager The only upscale boutique in greater Los Angeles for women size 12 and up.

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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.

L O S A N G E L E S • O R A N G E CO U N T Y • S A N D I E G O

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Los Angeles Philharmonic Association Simon Woods

CHIEF EXECUTIVE OFFICER David C. Bohnett Chief Executive Officer Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CEO

Gail Samuel

EXECUTIVE DIRECTOR

Chad Smith

CHIEF OPERATING OFFICER

Kathleen Kane

CHIEF ADVANCEMENT OFFICER

Alison Sowden

CHIEF FINANCIAL OFFICER

Laura Connelly

VICE PRESIDENT, PRESENTATIONS

J. Philip Koester

VICE PRESIDENT, MARKETING AND COMMUNICATIONS

ARTISTIC PLANNING Phillippa Cole

ASSOCIATE DIRECTOR, ARTISTIC PLANNING

Matthew Feldman

ASSOCIATE ARTISTIC ADMINISTRATOR

Patrice Lozano ARTIST LIAISON

Ayrten Rodriguez

MANAGER, ARTIST SERVICES

Petra McNeilly Rutledge CENTENNIAL PROJECT MANAGER

Ebner Sobalvarro

ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

AUDIENCE SERVICES Denise Alfred

AUDIENCE SERVICES REPRESENTATIVE

COMMUNITY & GOVERNMENT AFFAIRS Selena Chau

DIGITAL ARCHIVES MANAGER

Ljiljana Grubisic

ARCHIVES AND MUSEUM DIRECTOR

Kelly Kress

ASSISTANT ARCHIVIST

Meredith Reese

DIGITAL ASSET MANAGER

DEVELOPMENT Robert Albini

ASSOCIATE DIRECTOR, MAJOR GIFTS

Helen Allemano

ASSISTANT MANAGER, ANNUAL FUND

Joshua Alvarenga

SENIOR MAJOR GIFTS OFFICER

Meghan Martineau

Vilma Alvarez

Mona Patel

Gloria Balcom

SENIOR MANAGER, ANNUAL FUND / MEMBERSHIP

Brendan Broms

DEVELOPMENT OPERATIONS COORDINATOR

VICE PRESIDENT, ARTISTIC PLANNING VICE PRESIDENT, HUMAN RESOURCES AND GENERAL COUNSEL

Daniel Song

VICE PRESIDENT, PHILHARMONIC AND PRODUCTION

PATRON / AUDIENCE SERVICES REPRESENTATIVE AUDIENCE SERVICES SUPERVISOR AUDIENCE SERVICES SUPERVISOR

Grace Chapron

AUDIENCE SERVICES REPRESENTATIVE

Leni Isaacs Boorstin

Jacqueline Ferger

Summer Bjork

Stephen Gluck

SENIOR ADVISOR, EXTERNAL ENGAGEMENT DIRECTOR, CENTENNIAL AND STRATEGIC PLANNING

PATRON / AUDIENCE SERVICES REPRESENTATIVE AUDIENCE SERVICES REPRESENTATIVE

Jennifer Hugus

PATRON / AUDIENCE SERVICES REPRESENTATIVE

ADMINISTRATION Maxwell Adams

RISK AND LOGISTICS MANAGER

Michael Chang

DATABASE ADMINISTRATOR

Lauren Coakley

HUMAN RESOURCES MANAGER

Christine Correa

HUMAN RESOURCES COORDINATOR

Bernie Keating

AUDIENCE SERVICES REPRESENTATIVE

Aurelio Minchaca

AUDIENCE SERVICES REPRESENTATIVE

Rosa Ochoa

AUDIENCE SERVICES SUPERVISOR

Claudia Rhodes

AUDIENCE SERVICES REPRESENTATIVE

Randolph Stephen

AUDIENCE SERVICES SUPERVISOR’

Samantha Ganeku

HUMAN RESOURCES MANAGER

Alex Hernandez

MAIL ROOM ASSISTANT

Kevin Higa

CLOUD INFRASTRUCTURE ENGINEER

Ashley Hofer

EXECUTIVE ASSISTANT

Dean Hughes

SYSTEMS SUPPORT SPECIALIST, DESKTOP

Charles Koo

INFRASTRUCTURE MANAGER

Rik Martin

ADMINISTRATIVE SERVICES MANAGER

Jeff Matchan

DIRECTOR, INFORMATION TECHNOLOGY

Sergio Menendez

SYSTEM SUPPORT ASSISTANT, DESKTOP

Thelma Meza

HUMAN RESOURCES COORDINATOR

Angela Morrell

APPLICATION SUPPORT TECHNICIAN

Shawn Newmann-Batarse EXECUTIVE ASSISTANT TO THE EXECUTIVE DIRECTOR

WALT DISNEY CONCERT HALL BOX OFFICE Spring Ake TICKET SELLER

Toliman Au

2ND ASSISTANT TREASURER

Donella Coffey

2ND ASSISTANT TREASURER

Christy Galasso

1ST ASSISTANT TREASURER

Veronika Garcia

2ND ASSISTANT TREASURER

Alex Hennich TICKET SELLER

Amy Lackow

2ND ASSISTANT TREASURER

Elia Luna

TICKET SELLER

Page Messerly TREASURER

Ariana Morales

1ST ASSISTANT TREASURER

Carolina Orellana

Frank Park

2ND ASSISTANT TREASURER

Helena Perry

TICKET SELLER

Sean Pinto

2ND ASSISTANT TREASURER

Miguel A. Ponce, Jr.

TICKET SELLER

INFRASTRUCTURE ENGINEER BENEFITS COORDINATOR DATABASE APPLICATIONS MANAGER SYSTEMS SUPPORT ASSISTANT, DESKTOP CHRISTOPHER PRINCE APPLICATION SUPPORT TECHNICIAN

Manuel Reed

SYSTEMS SUPPORT SPECIALIST, DESKTOP

Shannon Thal

SENIOR BENEFITS MANAGER

Aly Zacharias STAFF ATTORNEY

Michael Cocks Julia Cole

DIRECTOR, INSTITUTIONAL GIVING AND STEWARDSHIP

Shelley De Leon

MANAGER, GIFT PLANNING

Constance Dewey

ANNUAL FUND COORDINATOR

Victoria Dinu

CORPORATE SPONSORSHIP COORDINATOR

Chelsea Downes

ANNUAL FUND OFFICER

Joseph Feneck

MANAGER, VOLUNTEER ACTIVITIES

Justin Foo

MANAGER, DEVELOPMENT OPERATIONS

Genevieve Goetz

EXECUTIVE ASSISTANT TO THE CHIEF ADVANCEMENT OFFICER

Christina Hall

SENIOR MAJOR GIFTS OFFICER

Kristen Flock-Ritchie EXECUTIVE ASSISTANT

Malorie Barbee

Cathy Ramos Elias Santos

John Tadena

Carlie Tomasulo

2ND ASSISTANT TREASURER

Gerry Heise

SENIOR MAJOR GIFTS OFFICER

Jen Kehs

SENIOR GRANT WRITER

Nancy Fitzgerald TICKET SELLER

Angelia Franco TICKET SELLER

Laurel Harris

1ST ASSISTANT TREASURER

Tomorrow Kitchen

2ND ASSISTANT TREASURER

Jose Villasenor TICKET SELLER

ACTING DIRECTOR, EDUCATION INITIATIVES

Emily Lair

EDUCATION COORDINATOR

Sarah Little

EDUCATION PROJECT MANAGER

Ian Richard

PROGRAM MANAGER YOLA@TORRES

Adriana Aguilar PAYROLL SPECIALIST

Xyra Aranda

STAFF ACCOUNTANT II

Melisa Arnold PAYROLL MANAGER

David Cherpin

SENIOR ADVISOR, STRATEGIC FINANCIAL PLANNING

Genevieve Dunaway CONTROLLER

Lisa Hernandez

ARTIST PAYMENT SPECIALIST

Dustin Hsu

ACCOUNTING MANAGER

Pamela Li

SENIOR ACCOUNTANT

Geoffrey Kwok

STAFF ACCOUNTANT I

LaTonya Lindsey

ACCOUNTS PAYABLE COORDINATOR

Debbie Marcelo

FINANCIAL PLANNING MANAGER

Elizabeth Rojo

ACCOUNTS PAYABLE MANAGER

Marianne Valmonte

SUPERVISING SENIOR ACCOUNTANT

Kimberly White PAYROLL SPECIALIST

Kerri Bershon

OPERATIONS ADMINISTRATOR

Brian Grohl

Anita Lawson

TRAFFIC AND PARKING MANAGER

DIRECTOR, DEVELOPMENT OPERATIONS

Angie Lee

ASSOCIATE MANAGER, SPECIAL EVENTS

Allison Mitchell

BOARD LIAISON / SENIOR GIFT OFFICER

Katherine Nicolai DONOR COORDINATOR

Stephanie Prom

VOLUNTEER ACTIVITIES COORDINATOR

Susan Erburu Reardon DIRECTOR, GIFT PLANNING

Alicia Rhymes

PROJECT MANAGER, DONOR RELATIONS

Mike Salerno

DEVELOPMENT OPERATIONS SPECIALIST

Carina Sanchez RESEARCH ANALYST

Kristina Schaaf

MANAGER, CORPORATE SPONSORSHIP

Erica Sitko

CAMPAIGN MANAGER

Kim Kevorkian Mark Ladd

ASSOCIATE DIRECTOR, OPERATIONS

Rafael Mariño

PRODUCTION COORDINATOR

George Portillo

Amanda Lester

MARKETING ASSISTANT

Yuko Makuuchi

ASSISTANT MANAGER, RETAIL OPERATIONS

Brant Markley

MANAGER, AUDIENCE STRATEGIES & ANALYTICS

Ino Mercado

ASSISTANT MANAGER

Anwar Nasir

ASSISTANT DIRECTOR, SALES AND CUSTOMER ENGAGEMENT

Tim Nelson

RETAIL SALES SUPERVISOR

David Van Norden

ASSISTANT MANAGER, MUSIC BUYER

Cindy Rozas

MARKETING COORDINATOR, PROMOTIONS AND PARTNERSHIPS

Richard Rubio

AUDIENCE SERVICES MANAGER

Martin Sartini Garner CREATIVE COPYWRITER

Mary Smudde ART DIRECTOR

DESIGN DIRECTOR

Jonathan Thomas

MARKETING DATABASE SPECIALIST

Katie Travers

GRAPHIC DESIGNER

Sherry Wallace

SALES OPERATION COORDINATOR

Lauren Winn

PROJECT MANAGER

ORCHESTRA MANAGEMENT & PRODUCTION

Jessie Farber

ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Taylor Comen

Robert Ullrich

Lyla Forlani

Tom Waldron

Raymond Horwitz

Herbie Hancock

Rita Santos

DIRECTOR, OPERATIONS PRESENTATIONS ASSISTANT HOUSE MANAGER

Darlene Chan, FestivalWest Inc.

DIRECTOR, DEVELOPMENT COMMUNICATIONS AND STRATEGY

DIRECTOR, RETAIL SERVICES

Nora Brady

DIRECTOR, AUDIENCE STRATEGIES AND INSIGHTS

DIRECTOR, PRODUCTION PRODUCTION MANAGER

PROJECT MANAGER, MEDIA INITIATIVES PRODUCTION ASSOCIATE

Michael Vitale

PRODUCTION MANAGER

Kelvin Vu

PRODUCTION MANAGER

Jeff Wallace

ASSOCIATE DIRECTOR, PRODUCTION

PUBLIC RELATIONS Lydia Fong PUBLICIST

Sophie Jefferies

DIRECTOR, PUBLIC RELATIONS

Lisa White

Lisa Burlingham

PUBLICIST

Charles Carroll

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

DIRECTOR, MARKETING DIRECT MARKETING MANAGER

EDUCATION PROJECT MANAGER

GRAPHIC DESIGNER

Edgar Tom

Janice Bartczak

Fabian Fuertes

Alexis Kaneshiro Jr

ASSOCIATE ORCHESTRA PERSONNEL MANAGER

CONCERT MANAGER, HOLLYWOOD BOWL ORCHESTRA AND PRESENTATIONS

ADVERTISING COORDINATOR

EDUCATION PROJECT MANAGER

PATRON SERVICES MANAGER

Shana Bey

Julia Ward

Angelica Cortez

Linda Holloway

Kylee Teti

Mary Allen

ASSOCIATE DIRECTOR, SOCIAL INNOVATION

SENIOR ADVERTISING MANAGER

ORCHESTRA OPERATIONS COORDINATOR

MANAGER, SPECIAL EVENTS

Phil Bravo

Jennifer Hoffner

POOL CIRCLE MANAGER

Morgan Walton

EDUCATION

John Henken

Lila Atchison

MARKETING & COMMUNICATIONS

SENIOR RESEARCH AND PROSPECT MANAGER

CREATIVE COPYWRITER

Ruben Reyes

Kimberley Valentine

Natalie White

Paul Gibson

PRODUCTION MANAGER

PROGRAM ADVISOR FOR JAZZ

ASSOCIATE DIRECTOR, DEVELOPMENT

DIGITAL COORDINATOR

DIRECTOR, PRESENTATIONS

SPECIAL EVENTS COORDINATOR

Richard T. Watkins

Tara Gardner

Malia Arguello

Amy Thorstenson SENIOR WRITER

ASSISTANT DIRECTOR, MARKETING

Johanna Rees

Stefanie Sprester

Derek Traub

Cynthia Fuentes

THEATER MAINTENANCE MANAGER

WILLIAM POWERS & CAROLYN POWERS CREATIVE CHAIR FOR JAZZ

DIRECTOR, CORPORATE SPONSORSHIP

SENIOR MANAGER, CREATIVE SERVICES

Natalie Suarez

HOLLYWOOD BOWL & PRESENTATIONS

Sara Kim

DIRECTOR, INDIVIDUAL GIVING

Melissa Falchini

MANAGING EDITOR

FINANCE

PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA

DIRECTOR, LEADERSHIP GIFTS

BOX OFFICE — GROUP SERVICES

Elsje Kibler-Vermaas

Joe Carter

DIRECTOR, SALES AND CUSTOMER EXPERIENCE

Joe Chang

DIGITAL PRODUCER

Toi Duckworth

DIGITAL OPERATIONS MANAGER

Samantha Escobar

DIRECT MARKETING COORDINATOR

PERFORMANCES MAGAZINE 87

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9/10/18 5:27 PM

2018/2019 MUSIC CENTER BOARD OF DIRECTORS

Follow The Music Center on Facebook, and follow @MusicCenterLA on Instagram and Twitter.

Support The Music Center (213) 972-3333 musiccenter.org/support (213) 972-7211 musiccenter.org

Jay Rasulo

Robert J. Abernethy Cindy Miscikowski Vice Chairs

Lisa See

Rachel S. Moore President and Chief Executive Officer Diane G. Medina Secretary Susan M. Wegleitner Treasurer William Taylor Assistant Treasurer and Chief Financial Officer MEMBERS AT LARGE William H. Ahmanson

Joseph Rice Richard K. Roeder Catharine Soros Marc I. Stern Philip A. Swan Cary H. Thompson Walter F. Ulloa Timothy S. Wahl Alyce Williamson Jay Wintrob Rollin A. Ransom General Counsel DIRECTORS EMERITI Peter K. Barker Judith Beckmen

Wallis Annenberg

Eli Broad

Jill Baldauf

Ronald W. Burkle

Phoebe Beasley

Amb. (ret.) John B. Emerson*

Darrell Brown Kimaada M. Brown Dannielle Campos Greg T. Geyer Lisa Gilford Kiki Ramos Gindler Maria Rosario Jackson Glenn Kaino Cary J. Lefton David Lippman

Lois Erburu Richard M. Ferry Brindell Gottlieb Bernard A. Greenberg Stephen F. Hinchliffe, Jr. Amb. (ret.) Glen A. Holden Stuart M. Ketchum Amb. (ret.) Lester B. Korn

Richard Lynn Martinez

Kent Kresa

Bowen “Buzz” H. McCoy Mattie McFaddenLawson

Robert F. Maguire, III Ginny Mancini

Elizabeth Michelson

Walter M. Mirisch

Darrell D. Miller

Fredric M. Roberts

Shelby Notkin

Claire L. Rothman

Michael Pagano

Joni J. Smith

Cynthia M. Patton

Cynthia A. Telles

Karen Kay Platt

James A. Thomas

Rory Pullens

Andrea L. Van de Kamp*

Max Ramberg

Paul M. Watson

Edward J. McAniff

Thomas R. Weinberger Rosalind W. Wyman * Chairman Emeritus

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Illustrations by: Down The Street Designs

Los Angeles —the cultural hub of the country—is home to America’s most diverse population and more entertainment options and venues than anywhere else in the U.S. A s one of the nation’s largest performing arts centers, and as a cultural anchor in Los Angeles County, The Music Center convenes artists, communities and ideas with the goal of enriching the lives of every resident.

To help realize its vision, The Music Center is poised to become a multidisciplinary arts center for the 21st century, not only as a home for classical art forms, but also as a driving artistic voice for diversity and inclusion that reflects and responds to the ever-evolving landscape of Los Angeles. Through compelling programs that are relevant to a range of audiences, serving Los Angeles in all its breadth, The Music Center is both the home and the force behind some of the greatest creative expression today.

OFFICERS Lisa Specht Board Chair

9/5/18 11:46 AM

Experience the Magic!

Miami City Ballet George Balanchine’s The Nutcracker

®

The Music Center brings back the best holiday tradition to Los Angeles with George Balanchine’s The Nutcracker ®

by Miami City Ballet. Balanchine’s iconic choreography and Tchaikovsky’s timeless score are paired with whimsical sets and costumes by Cuban-American artists Isabel and Ruben Toledo.

NOVEMBER 30 – DECEMBER 2, 2018 TICKETS ON SALE NOW! THE MUSIC CENTER’S DOROTHY CHANDLER PAVILION musiccenter.org/nutcracker (213) 972-0711

Miami City Ballet’s production of George Balanchine’s The Nutcracker®.Choreography by George Balanchine© The George Balanchine Trust. Photo by Alexander Iziliaev.

GROUPS OF 10+: (213) 972-8555 mcgroupsales@musiccenter.org

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9/5/18 11:46 AM

THE MUSIC CENTER PRESENTS

A BIRTHDAY CELEBRATION LIVE AT THE DOROTHY CHANDLER PAVILION

GLEN HANSARD / EMMYLOU HARRIS NORAH JONES / CHAKA KHAN / DIANA KRALL KRIS KRISTOFFERSON / LOS LOBOS GRAHAM NASH / SEAL / RUFUS WAINWRIGHT NOVEMBER 6 & 7, 2018 TICKETS ON SALE NOW MUSICCENTER.ORG/JONI

MCDEV_1018.indd 3

PHOTOGRAPH BY NORMAN SEEFF.

STAR-STUDDED LINEUP TO PERFORM JONI MITCHELL SONGS IN HER HONOR

9/5/18 11:46 AM

OCTOBER TUE 02 OCT / 8:00 p.m.

All-Russian Chamber Music LA PHIL @ Walt Disney Concert Hall TUE 02 OCT / 8:00 p.m.

Sweat CENTER THEATRE GROUP @ Mark Taper Forum Thru 10/7 TUE 02 OCT / 11:00 a.m.

Grand Park’s LUNCH À LA PARK: Food Trucks @ Grand Park Every Tue/Wed/Thu WED 03 OCT / 12:15 p.m.

Grand Park’s LUNCH À LA PARK: Yoga reTREAT @ Grand Park Every Wed/Fri THU 04 OCT / 7:30 p.m.

Don Carlo LA OPERA @ Dorothy Chandler Pavilion Thru 10/14 THU 04 OCT / 8:00 p.m.

LA Fest: Dudamel Kicks Off the 100 th Season LA PHIL @ Walt Disney Concert Hall Thru 10/7 THU 04 OCT / 8:30 p.m.

David Roussève: Halfway to Dawn REDCAT @ Roy And Edna Disney / CalArts Theater Thru 10/7 FRI 05 OCT / 7:30 p.m.

Company Wayne McGregor | Autobiography THE MUSIC CENTER @ Ahmanson Theatre Thru 10/7 SUN 07 OCT / 7:30 p.m.

Organist Renée Anne Louprette LA PHIL @ Walt Disney Concert Hall MON 08 OCT / 8:30 p.m.

Ken Jacobs: Metropolis Looms And The Bad Maria Is Tuned Up REDCAT @ Roy And Edna Disney / CalArts Theater TUE 09 OCT / 8:00 p.m.

LA Fest: LA’s Newest Music LA PHIL @ Walt Disney Concert Hall

WED 10 OCT / 8:30 p.m.

Reidemeister Move REDCAT @ Roy And Edna Disney / CalArts Theater

MON 22 OCT / 8:00 p.m.

Oneohtrix Point Never: MYRIAD LA PHIL @ Walt Disney Concert Hall

THU 11 OCT / 8:00 p.m.

LA Fest: Andrew Bird & the Los Angeles Philharmonic LA PHIL @ Walt Disney Concert Hall

MON 22 OCT / 8:00 p.m.

OJOBOCA: Extinction Burst Rehearsal REDCAT @ Roy And Edna Disney / CalArts Theater

FRI 12 OCT / 7:30 p.m.

DIAVOLO | Architecture in Motion® THE MUSIC CENTER @ Ahmanson Theatre Thru 10/14

TUE 23 OCT / 7:00 p.m.

Colburn Orchestra with Valery Gergiev LA PHIL @ Walt Disney Concert Hall

FRI 12 OCT / 8:00 p.m.

LA Fest: Moby & the Los Angeles Philharmonic LA PHIL @ Walt Disney Concert Hall

WED 24 OCT / 8:00 p.m.

Seong-Jin Cho LA PHIL @ Walt Disney Concert Hall WED 24 OCT / 8:30 p.m.

Machines and Strings REDCAT @ Roy And Edna Disney / CalArts Theater

FRI 12 OCT / 8:00 p.m.

Angel City Jazz Festival: Noah Preminger, Myra Melford and Wadada Leo Smith REDCAT @ Roy And Edna Disney / CalArts Theater Thru 10/14

FRI 26 OCT / 11:00 a.m.

Bruckner’s Fourth, “Romantic” LA PHIL @ Walt Disney Concert Hall Thru 10/27

SAT 13 OCT / 8:00 p.m.

LA Fest: Herbie Hancock and the Los Angeles Philharmonic LA PHIL @ Walt Disney Concert Hall

SAT 27 OCT / 7:00 p.m.

Grand Park + Self Help Graphics and Art present Noche de Ofrenda @ Grand Park

SUN 14 OCT / 7:30 p.m.

LA Fest: La Santa Cecilia • Cuco LA PHIL @ Walt Disney Concert Hall

SUN 28 OCT Grand Park’s Downtown Día de Los Muertos altars GRAND PARK Thru 11/4

WED 17 OCT / 4:00 + 8:00 p.m.

Dear Evan Hansen CENTER THEATRE GROUP @ Ahmanson Theatre Thru 11/25

TUE 30 OCT / 8:00 p.m.

Mendelssohn & Sibelius Chamber Music LA PHIL @ Walt Disney Concert Hall

THU 18 OCT / 8:00 p.m.

Romeo & Juliet LA PHIL @ Walt Disney Concert Hall Thru 10/21

TUE 30 OCT / 8:00 p.m.

Valley of the Heart CENTER THEATRE GROUP @ Mark Taper Forum Thru 12/19

FRI 19 OCT / 8:30 p.m.

Gob Squad: Creation (Pictures For Dorian) REDCAT @ Roy And Edna Disney / CalArts Theater Thru 10/21

WED 31 OCT / 8:00 p.m.

Halloween Organ & Film: Nosferatu LA PHIL @ Walt Disney Concert Hall

2018 SAT 20 OCT / 7:30 p.m.

Satyagraha LA OPERA @ Dorothy Chandler Pavilion Thru 11/11

Visit musiccenter.org for additional information on all upcoming events. facebook.com/MusicCenterLA

@MusicCenterLA

MCDEV_1018.indd 4

@MusicCenterLA

@MusicCenterLA

9/5/18 11:46 AM

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.

FROM LEFT TO RIGHT: JANICE HAHN, Fourth District; KATHRYN BARGER, Fifth District; SHEILA J. KUEHL, Third District, Chair; HILDA L. SOLIS, First District; and MARK RIDLEY-THOMAS, Second District

MCDEV_1018.indd 5

9/5/18 11:46 AM

The New KCRW App

Discover the latest from KCRW Be your own DJ Integrated with Apple Music and Spotify Custom feed of shows & music Pause live radio

kcrw.com/app

LAPHIL_WRAP_1018.indd 3

9/10/18 5:06 PM

ONE WOMAN PASSION HARD WORK DETERMINATION

310.285.7508 Homes@Jademills.com

Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor agents and are not employees of the Company. Š2018 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo service marks are registered or pending registrations owned by Coldwell Banker Real Estate LLC. CalRE# #00526877

LAPHIL_WRAP_1018.indd 4

9/10/18 5:19 PM