Performances Magazine | Walt Disney Concert Hall, November 2021

NOV–DEC 2021

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ABOUT THE PROGRAM 2021 NOVEMBER–DECEMBER

CONTENTS 6 BOARD OF DIRECTORS

BOOK I • NOVEMBER 6–21

7

P1

P6

ABOUT THE LA PHIL

12 NEWS:

The Latest from

the LA Phil 18 SUPPORT THE LA PHIL

NOV 6–7 LA Phil: Reich, Adams, and Rachmaninoff

P19

NOV 19 LA Phil: Reel Change: Hildur Guðnadóttir

NOV 10 Songbook: RY X with the LA Phil

P23

NOV 20 LA Phil: Reel Change: Kris Bowers

P27

NOV 21 LA Phil: Reel Change: Nicholas Britell

P9 NOV 11

Colburn Celebrity Recital:

Leonidas Kavakos • Yuja Wang P14 NOV 12–14

LA Phil:

Mozart and Ravel KRIS BOWERS

BOOK II • NOVEMBER 23–DECEMBER 8

NICHOLAS BRITELL

HILDUR GUÐNADÓTTIR

P1

P7

NOV 23 Chamber Music

P12

NOV 27 World Music: Flamenco! Fiesta de la Bulería Jerez

NOV 26 & 28 LA Phil: Brahms and Korngold

P17 DEC 1

Colburn Celebrity Recital:

Jean-Yves Thibaudet P21

DEC 3–5 LA Phil: Beethoven and Julia Adolphe

P26 DEC 8

Colburn Celebrity Recital:

Mahan Esfahani

cover images , clockwise from top :

LEONIDAS KAVAKOS, YUJA WANG, RY X, LEILA JOSEFOWICZ, AND JEAN-YVES THIBAUDET

2 PERFORMANCES MAGAZINE

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4 PERFORMANCES MAGAZINE

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2021 / 2022 Season Thordal Christensen & Colleen Neary Artistic Directors

December 4th ~ 26th

Appearing in

4 Theaters in Los Angeles

Tickets On Sale Now! losangelesballet.org

310.998.7782

Petra Conti & Eris Nezha; Photo: Reed Hutchinson

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LETTER FROM THE CEO

LOS ANGELES PHILHARMONIC ASSOCIATION

Board of Directors CHAIR

Jonathan Kagan*

Thomas L. Beckmen*

Darioush Khaledi Francois Mobasser

CEO

Margaret Morgan

Chad Smith

Leith O'Leary Louise Peebles

WELCOME! The LA Phil has a long history of celebrating what Music & Artistic Director Gustavo Dudamel calls “the tradition of the new.” There are two key ideas that can be found in that phrase. The first is that we create space for new artistic voices whose work speaks to our current moment, while the second relates to the ways in which we connect modern-day audiences with a centuries-old musical tradition.

This month there are opportunities to share in both sides of that mission. For many audiences here in Los Angeles as well as across the country, the start of a lifelong love of orchestral music begins with hearing film scores. With Reel Change (November 19-21), we welcome the next generation of Hollywood composers to the concert hall with programs curated by Kris Bowers, Nicholas Britell, and Hildur Guðnadóttir.

Elsewhere you can hear music by both the leading composers of our day and those whose compositions continue to resonate today with works ranging from Gabriela Lena Frank’s String Quartet, “Quijotadas,” and Steve Reich’s Runner to Brahms’ Symphony No. 4 and Rachmaninoff’s Symphonic Dances.

Whether your concert includes something you are hearing for the first time or a beloved favorite, I hope you listen to it anew and share in our tradition.

Chad Smith Chief Executive Officer, Los Angeles Philharmonic Association

VICE CHAIRS

R. Joseph Plascencia

David C. Bohnett*

Sandy Pressman

Reveta Bowers*

Richard Raffetto

Jerrold L. Eberhardt*

Ann Ronus

Jane B. Eisner*

Laura Rosenwald

David Meline*

Nancy S. Sanders

Diane Paul*

G. Gabrielle Starr

Jay Rasulo*

Jay Stein*

DIRECTORS

Jason Subotky

Christian Stracke* Gregory A. Adams

Ronald D. Sugar*

Julie Andrews

Jack Suzar

Linda Brittan

Sue Tsao

Jennifer Broder

Jon Vein

Kawanna Brown

Megan Watanabe

Andrea Chao-Kharma* Alyce de Roulet R. Martin Chavez

Williamson

Christian D.

Irwin Winkler

Chivaroli, JD

Debra Wong Yang

Barbara Damerel Donald P. de Brier*

HONORARY LIFE

Louise D. Edgerton

DIRECTORS

Marti Farley

Frank Gehry

Lisa Field

Lenore S. Greenberg

David A. Ford

Ginny Mancini

Alfred Fraijo, Jr.

Bowen H. “Buzz”

David Gindler

McCoy

Jennifer Miller Goff* Carol Colburn Grigor

*Executive Committee

Antonia Hernandez*

Member as of

Megan Hernandez

October 1, 2021

Teena Hostovich

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ABOUT THE LA PHIL

GUSTAVO DUDAMEL Music & Artistic Director, Walt and Lilly Disney Chair Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, Dudamel has introduced classical music to new audiences around the world and has helped to provide access to the arts for countless people in underserved communities. As the Music & Artistic Director of the Los Angeles Philharmonic, now in his 12th season, Dudamel’s bold programming and expansive vision led The New York Times to herald the LA Phil as “the most important orchestra in America—period.”

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

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

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

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

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

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

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ABOUT THE LA PHIL

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

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

More than 250 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, The Ford, and the famed Hollywood Bowl. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the worldfamous Hollywood Bowl, host to the finest artists from all genres of music.

Situated in a 32-acre park and under the stewardship of the LA Phil since December 2019, The Ford presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles.

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

The orchestra also undertakes tours, both domestically and

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

internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.

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

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

The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity. Their names are: Georg Schnéevoigt (1927-1929); Artur Rodziński (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Eduard van Beinum (1956-1959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (1992-2009); and Gustavo Dudamel (2009-present).

H ARM

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25TH

ANNIVERSARY

SEASON

POWER OF SAIL WEST COAST PREMIERE

02.01 – 03.13.2022

WRITTEN BY

DIRECTED BY

PAUL GRELLONG

PRODUCED WITH

WEYNI MENGESHA

DARYL ROTH

Harvard professor Charles Nichols (Emmy & Tony Award winner Bryan Cranston) finds himself in hot water after inviting an incendiary white nationalist to speak at his annual symposium in a profoundly relevant new play by Paul Grellong (The Boys, Manuscript).

S I N G L E T I C K E T S O N S A L E I N D EC E M B E R Sign up for pre-sale access at geffenplayhouse.org/powerofsail.

HUGO ARMSTRONG

AMY BRENNEMAN

BRYAN CRANSTON

DONNA SIMONE JOHNSON

Presenting Sponsor

TICKETS

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25th Anniversary Season Sponsor

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ABOUT THE LA PHIL

LOS ANGELES PHILHARMONIC Gustavo Dudamel Music & Artistic Director

Camille Avellano

Margaret and Jerrold L. Eberhardt Chair

Walt and Lilly Disney Chair

Minyoung Chang

Zubin Mehta Conductor Emeritus

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

Esa-Pekka Salonen Conductor Laureate Susanna Mälkki Principal Guest Conductor

I.H. Albert Sutnick Chair

Ann Ronus Chair

SECOND VIOLINS

Paolo Bortolameolli Associate Conductor

Lyndon Johnston Taylor+ Principal

John Adams

John and Samantha Williams Creative Chair

FIRST VIOLINS Martin Chalifour Principal Concertmaster

Marjorie Connell Wilson Chair

Nathan Cole First Associate Concertmaster

Ernest Fleischmann Chair

Bing Wang Associate Concertmaster

Barbara and Jay Rasulo Chair

Akiko Tarumoto Assistant Concertmaster Philharmonic Affiliates Chair

Rebecca Reale Michele Bovyer

Deanie and Jay Stein Chair

Rochelle Abramson

Dorothy Rossel Lay Chair

Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal

Mark Houston Dalzell and James Dao-Dalzell Chair for Artistic Service to the Community

Ingrid Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Varty Manouelian Michelle Tseng Suli Xue Gabriela Peña-Kim* Sydney Adedamola*

Eugene and Marilyn Stein LA Phil Resident Fellow Chair

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

CELLOS Robert deMaine Principal

Bass Trombone John Lofton

Virginia and Henry Mancini Chair

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

Shawn Mouser Associate Principal

Miller and Goff Family Chair

Michele Grego Evan Kuhlmann

(Vacant)

Ann Ronus Chair

Elise Shope Henry

Contrabassoon Evan Kuhlmann

Sarah Jackson

HORNS

Piccolo Sarah Jackson

John Cecil Bessell Chair

Mari L. Danihel Chair

Andrew Bain Principal

Carol Colburn Grigor Chair

Amy Jo Rhine

Marion Arthur Kuszyk+ Associate Principal

(Vacant)

Sadie and Norman Lee Chair

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

Principal (Vacant)

Anne Marie Gabriele Carolyn Hove English Horn Carolyn Hove

Alyce de Roulet Williamson Chair

Linda and Maynard Brittan Chair

CLARINETS

BASSES

Michele and Dudley Rauch Chair

Christopher Hanulik Principal

Burt Hara Associate Principal

Serge Oskotsky Brent Samuel

Diane Disney Miller and Ron Miller Chair

David Allen Moore

on sabbatical

Paul Radke

Whitney Crockett Principal

Ben Hong Associate Principal

Teng Li Principal

Dale Hikawa Silverman Associate Principal

BASSOONS

Denis Bouriakov Principal

OBOES

VIOLAS John Connell Chair

FLUTES

Bram and Elaine Goldsmith Chair

Oscar M. Meza Assistant Principal

* Judith and Thomas L. Beckmen LA Phil Resident Fellows +

Ben Ullery Assistant Principal

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

Boris Allakhverdyan Principal

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

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

Gregory Roosa

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

Ethan Bearman Assistant

Bud and Barbara Hellman Chair

TRUMPETS Thomas Hooten Principal

M. David and Diane Paul Chair

James Wilt Associate Principal Nancy and Donald de Brier Chair

Christopher Still

Ronald and Valerie Sugar Chair

Jeffrey Strong

TROMBONES David Rejano Cantero Principal James Miller Associate Principal

Judith and Thomas L. Beckmen Chair

TUBA TIMPANI Joseph Pereira Principal

Cecilia and Dudley Rauch Chair

PERCUSSION Matthew Howard Principal James Babor Perry Dreiman Wesley Sumpter*

Nancy and Leslie Abell LA Phil Resident Fellow Chair

KEYBOARDS Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP Emmanuel Ceysson

LIBRARIANS Stephen Biagini Benjamin Picard KT Somero

PERSONNEL MANAGER Jeffrey Neville

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

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

10 PERFORMANCES MAGAZINE

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rachmaninoff’s

all-night vigil NOVEMBER 20, 2 PM NOVEMBER 21, 7 PM

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NEWS

SOUND/STAGE RETURNS

Created in response to the global pandemic, Sound/Stage is a free online concert series featuring exclusive performances

by Gustavo Dudamel, the Los Angeles Philharmonic, and guest artists from around the world. Season 3, which launched in October, brings new digital concerts and conversations hosted by Gustavo Dudamel and featuring Billie Eilish, Boston Ballet, Julia Bullock, Father John

Misty, YOLA, and a John Williams 90th birthday celebration.

In addition to standalone performances of Beethoven’s “Serioso” quartet arranged by Mahler and Alberto Ginastera’s Variaciones concertantes, the new season draws on festivals from the LA Phil’s 2021/22 season. Ahead of the Gen X festival (April 22–May 10), enjoy a program on Sound/ Stage of unplugged celebration of anthems that defined a generation.

Composer Jessie Montgomery curates an episode featuring music by her and by Ellen Reid that draws on the ideas behind the Power to the People! festival (May 21–June 7), and Gabriela Ortiz, the curator of the first season of the LA Phil’s Pan-American Music Initiative, joins Gustavo and the LA Phil for an episode that is available to stream now. Learn more at laphil.com/soundstage.

IDEAS TO INFORM, INSPIRE, AND EXPLORE The LA Phil Humanities program takes the work on our stages as a starting point for a larger cultural conversation. By inviting a diverse range of guest curators, artists, and partner organizations to reflect on the themes of our concert programming, our Humanities efforts seek to contextualize the LA Phil’s work in thought-provoking ways, delve deeply into subjects that matter in contemporary society, and provide new points of entry into our art form.

To celebrate the LA Phil’s return to Walt Disney Concert Hall, installation projects—one physical and one virtual—by multidisciplinary artist Chris Kallmyer and theater director Kaneza Schaal in collaboration with multimedia artist and author Christopher Myers will be on

view at Walt Disney Concert Hall beginning on October 9 and November 19, respectively. During the Gen X festival, Humanities co-curators Karen Tongson and Wynter Mitchell, hosts of the Waiting to X-hale podcast, take an LA-centric look at Gen X, exploring the media images and seminal events that altered the nation’s concepts of art, activism, and identity. During the Power to the People! festival, Humanities curator Saul Williams explores the role of spoken word, poetry, hip-hop, and language in helping us find liberation and inspiration, plus Dr. Angela Davis leads a conversation addressing the essential role of art and the imagination in our understanding of what a socially just world could be. Learn more at laphil.com/humanities.

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

DEPARTMENT OF ARTS AND CULTURE Kristin Sakoda Director

COUNTY ARTS COMMISSION Constance Jolcuvar President Darnella Davidson Vice President Liane Weintraub Secretary Tim Dang Executive Committee Eric Hanks Immediate Past President Pamela Bright-Moon Leticia Buckley Patrisse Cullors Madeline Di Nonno Eric R. Eisenberg Helen Hernandez Alis Clausen Odenthal Jennifer Price-Letscher Rosalind Wyman The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.

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MARTHA GRAHAM DANCE COMPANY Fri Nov 19 | 8PM

75th Anniversary of Appalachian Spring Janet Eilber, Artistic Director Wild Up, Christopher Rountree, Conductor The gold standard of modern dance returns for the fourth time with Appalachian Spring, accompanied with live music by Wild Up. Enjoy Copland’s iconic score, played live for the first time, with Graham’s most iconic choreography.

Stewart Copeland

David Sedaris

UPCOMING CONCERTS

Thu Nov 4 | 8PM Stewart Copeland: Police Deranged for Orchestra Music of The Police Cheche Alara, Conductor with Re-Collective Orchestra

Esa-Pekka Salonen

Wed Nov 10 | 8PM An Evening with David Sedaris Sat Nov 13 | 8PM FREE! The Colburn Orchestra Esa-Pekka Salonen, Conductor

Lizz Wright

Wed Nov 17 | 8PM The Legendary Count Basie Orchestra The Music of Ella Fitzgerald Directed by Scotty Barnhart Featuring Lizz Wright

TheSorayaStage

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ENDOWMENT

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

Walt and Lilly Disney Foundation Cecilia and Dudley Rauch

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

David Bohnett Foundation

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

The Annenberg Foundation Colburn Foundation

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

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

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

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

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

$500,000 TO $999,999

Ann and Martin Albert Abbott Brown Mr. George L. Cassat Kathleen and Jerrold L. Eberhardt Valerie Franklin Yvonne and Gordon Hessler Ernest Mauk and Doyce Nunis Mr. and Mrs. David Meline Sandy and Barry D. Pressman Earl and Victoria Pushee William and Sally Rutter Richard and Bradley Seeley Christian Stracke Donna Swayze Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

$250,000 TO $499,999

Mr. Gregory A. Adams Baker Family Trust Veronica and Robert Egelston Gordon Family Foundation Ms. Kay Harland Joan Green Harris Trust Bud and Barbara Hellman Gerald L. Katell Norma Kayser Joyce and Kent Kresa Raymond Lieberman $1,000,000 TO $2,499,999 Mr. Kevin MacCarthy and Linda and Robert Attiyeh Ms. Lauren Lexton Judith and Thomas Beckmen Jane and Marc B. Nathanson Gordon Binder and Adele Haggarty Y & S Nazarian Family Foundation Helen and Peter Bing Nancy and Sidney Petersen William H. Brady, III Rice Family Foundation Linda and Maynard Brittan Robert Robinson Richard and Norma Camp Katharine and Thomas Stoever Mr. and Mrs. Michael J. Connell Sue Tsao Mark Houston Dalzell and Alyce and Warren Williamson James Dao-Dalzell Mari L. Danihel Nancy and Donald de Brier $100,000 TO $249,999 The Walt Disney Company Mr. Robert J. Abernethy Fairchild-Martindale Foundation William A. Allison Eris and Larry Field Rachel and Lee Ault Reese and Doris Gothie W. Lee Bailey, M.D. Joan and John Hotchkis Angela Bardowell Janeway Foundation Deborah Borda Bernice and Wendell Jeffrey The Eli and Edythe Carrie and Stuart Ketchum Broad Foundation Kenneth N. and Doreen R. Klee Jane Carruthers

James and Paula Coburn Foundation The Geraldine P. Coombs Trust in memory of Gerie P. Coombs 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 Margaret Grauman Kathryn Kert Green and Mark Green Joan and John F. Hotchkis Freya and Mark Ivener Ruth Jacobson Stephen A. Kanter, M.D. 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 David and Margaret Mgrublian Diane and Leon Morton Mary Pickford Foundation Sally and Frank Raab Mr. David Sanders 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 and James W. Manns

SA T

I

ENDOWMENT DONORS

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 Mrs. Joseph F. Westheimer Jean Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zino

LA PHIL MUSICIANS

Anonymous Kenneth Bonebrake Nancy and Martin Chalifour Brian Drake Perry Dreiman Barry Gold Christopher Hanulik John Hayhurst Jory and Selina Herman Ingrid Hutman Andrew Lowy $25,000 TO $99,999 Gloria Lum Joanne Pearce Martin Marie Baier Foundation Kazue Asawa McGregor Dr. Richard Bardowell, M.D. Oscar and Diane Meza Jacqueline Briskin Mitchell Newman Dona Burrell Ying Cai and Wann S. Lee Foundation Peter Rofé Meredith Snow and Mark Zimoski Ann and Tony Cannon Barry Socher Dee and Robert E. Cody Paul Stein The Colburn Fund Leticia Oaks Strong Mr. Allen Don Cornelsen Lyndon and Beth Johnston Taylor Ginny and John Cushman Dennis Trembly Marilyn J. Dale Allison and Jim Wilt Mrs. Barbara A. Davis Suli Xue Dr. and Mrs. Roger DeBard Jennifer and Royce Diener Jane B. and Michael D. Eisner We extend our heartfelt The Englekirk Family appreciation to the many Claudia and Mark Foster donors who have contributed Lillian and Stephen Frank to the LA Phil Endowment Dr. Suzanne Gemmell with contributions below Paul and Florence Glaser $25,000, whose names are too Good Works Foundation numerous to list due to space Anne Heineman considerations. If your name has Ann and Jean Horton Drs. Judith and Herbert Hyman been misspelled or omitted from Albert E. and Nancy C. Jenkins this list in error, please contact Robert Jesberg and the Philanthropy Department at Michael J. Carmody contributions@laphil.org.

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LOS ANGELES PHILHARMONIC

Reich, Adams, and Rachmaninoff Los Angeles Philharmonic Susanna Mälkki, conductor Leila Josefowicz, violin

Steve REICH

SATURDAY NOVEMBER 6, 2021 8PM SUNDAY NOVEMBER 7 2PM

Runner (c. 16 minutes)

John ADAMS Violin Concerto (c. 33 minutes) Quarter-note = 78 Chaconne—Body Through Which the Dream Flows Toccare

Leila Josefowicz

INTERMISSION RACHMANINOFF Symphonic Dances, Op. 45 (c. 35 minutes)

Non allegro

Andante con moto (Tempo di valse) Lento assai—Allegro vivace

Official Timepiece of the Los Angeles Philharmonic These performances are generously supported in part by the Kohl Virtuoso Violin Fund.

Programs and artists subject to change.

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AT A GLANCE Music in Motion

The powerful kinetic component to these three pieces should not be surprising, given their close connection to dance. Steve Reich’s volatile Runner was premiered in London by the Royal Ballet, with choreography by Wayne McGregor. The New York City Ballet was a co-commissioner of John Adams’ Violin Concerto, presenting the NYC premiere with choreography by Peter Martins. The death of choreographer Michel Fokine less than two years after Rachmaninoff completed his Symphonic

Dances closed the composer’s hopes for a ballet treatment (Rachmaninoff himself died the following year), but it has been choreographed many times since, including by Peter Martins for NYCB the season before their Adams premiere. There are tunes aplenty too—subtly evoked by Reich, longspun by Adams, and quoted by Rachmaninoff (from his own works and sacred chants)—but set in motion by the earthy propulsion of dance.

—John Henken

RUNNER Steve Reich (b. 1936)

VIOLIN CONCERTO John Adams (b. 1947)

Composed: 2016

Composed: 1993

Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 vibraphones, 2 pianos, and strings

Orchestration: 2 flutes (both = piccolo and alto flute), 2 oboes (both = English horn), 2 clarinets (both = bass clarinet), 2 bassoons, 2 horns, trumpet, timpani, percussion (bass drums, bongos, claves, congas, cowbell, suspended cymbal, guïro, marimba, roto toms, tambourine, timbales, tom toms, tubular bells, bowed vibraphone), 2 keyboard samplers, strings, and solo violin

First Los Angeles Philharmonic performance: November 6, 2021, Susanna Mälkki conducting Runner, for winds, percussion, pianos, and strings, was completed in 2016 and is about 16 minutes in duration. While the tempo remains more or less constant, there are five movements, played without pause, that are based on different note durations. First, even sixteenths; then irregularly accented eighths; then a very slowed down version of the standard bell pattern from Ghana; fourth, a return to the irregularly accented eighths; and finally a return to the sixteenths but now played as pulses by the winds for as long as a breath will comfortably sustain them. The title was suggested by the rapid opening and my awareness that, like a runner, I would have to pace the piece to reach a successful conclusion. —Steve Reich

First Los Angeles Philharmonic performance: May 9, 1997, John Adams conducting, with soloist Gidon Kremer The proposal to write a violin concerto came from the violinist Jorja Fleezanis, a close friend and enthusiastic champion of new music. Composers who are not string players are seriously challenged when it comes to writing a concerto, and close collaborations are the rule, as it was in this case. For those who have not played a violin or a cello, the physical relation of the turned-over left wrist and

grasping fingers defies logic.

Intervals that ought to be simple are awkward, while gestures that seem humanly impossible turn out to be rudimentary.

A concerto without a strong melodic statement is hard to imagine. I knew that if I were to compose a violin concerto, I would have to solve the issue of melody. I could not possibly have produced such a thing in the 1980s because my compositional language was principally one of massed sonorities riding on great rippling waves of energy. Harmony and rhythm were the driving forces in my music of that decade; melody was almost non-existent. The “News” aria in Nixon in China, for example, is less melody than it is declamation riding over what feels like the chords of a giant ukulele.

But in the early 1990s, during the composition of The Death of Klinghoffer, I began to think more about melody. This was perhaps a result of being partially liberated by a new chromatic richness that was creeping into my sound, but it was more likely due to the need to find a melodic means to set Alice Goodman’s psychologically complex libretto.

As if to compensate for years of neglecting the “singing line,”

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the Violin Concerto emerged as an almost implacably melodic piece—a example of “hypermelody.” The violin spins one long phrase after another without stop for nearly the full 35 minutes of the piece. I adopted the classic form of the concerto as a kind of Platonic model, even to the point of placing a brief cadenza for the soloist at the traditional locus near the end of the first movement. The concerto opens with a long extended rhapsody for the violin, a free, fantastical “endless melody” over the regularly pulsing staircase of upwardly rising figures in the orchestra. The second movement takes a received form, the chaconne, and gently stretches, compresses, and transfigures its contours and modalities while the violin floats like a disembodied spirit around and about the orchestral tissue. The chaconne’s title, “Body through which the dream flows,” is a phrase from a poem by Robert Haas, words that suggested to me the duality of flesh and spirit that permeates the movement. It is as if the violin is the “dream” that flows through the slow, regular heartbeat of the orchestral “body.”

The “Toccare” utilizes the surging, motoric power of Shaker Loops to create a virtuoso vehicle for the solo violin. After Jorja Fleezanis’ memorable premiere, many violinists have taken on the piece, and each has played it with his or her unique flair and understanding. Among them are Gidon Kremer (who made the first recording with the London Symphony), Vadim Repin, Robert McDuffie, Midori, and, perhaps most astonishingly of all, Leila Josefowicz, who has made the piece a personal calling card for years.

The Violin Concerto is dedicated to the memory of David Huntley, longtime enthusiast and great champion of my and much other contemporary music. —John Adams

SYMPHONIC DANCES, OP. 45 when I am composing. If there Sergei Rachmaninoff (1873–1943) is love there, or bitterness, or Composed: 1940 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle, and xylophone), piano, harp, and strings First Los Angeles Philharmonic performance: February 18, 1943, William Steinberg conducting We now recognize and admire Rachmaninoff as a creator of moodily memorable melodies, without feeling the need, as we once did, to apologize for the beauty of those melodies—or blame him for being widely emulated by composers of film scores (who, likewise, are now regarded with a degree of respect formerly denied them), or the creators of the popular love songs his melodies inspired.

Rachmaninoff summed up his life as a composer shortly before his death, in Beverly Hills, his final home: “In my own compositions, no conscious effort has been made to be original, or Romantic, or Nationalistic, or anything else. I write down on paper the music I hear within me, as naturally as possible. I am a Russian composer, and the land of my birth has influenced my temperament and outlook.

My music is the product of my temperament, and so it is Russian music... I have been strongly influenced by Tchaikovsky and Rimsky-Korsakov: but I have never, to the best of my knowledge, imitated anyone. What I try to do when writing down my music is to make it say simply and directly that which is in my heart

sadness, or religion, these moods become part of my music, and it becomes either beautiful or bitter or sad or religious.”

For most of his career, Rachmaninoff, also one of the great pianists of his time, was the object of critics’ scorn for remaining stylistically rooted in the 19th century while living in the 20th. At the end of his life, however, with the present Symphonic Dances, Rachmaninoff combined a modernist rhythmic element—inspired by Stravinsky and Prokofiev—with his own unquenchable penchant for the big, big tune.

The Symphonic Dances had its beginnings as far back as 1915, in sketches for a ballet score called The Scythians (not to be confused with a similarly titled work by Prokofiev) that he submitted to dancer-choreographer Mikhail Fokine, who rejected them as “unballetic.” A quarter-century later, while living on New York’s Long Island, Rachmaninoff resurrected ideas from The Scythians to form the first movement of the Symphonic Dances, premiered in 1941 by its dedicatees, Eugene Ormandy and his Philadelphia Orchestra.

The initial reception for what is now widely regarded as Rachmaninoff’s most important symphonic work was lukewarm.

The audience wanted more lushness, the critics less. It has since become the darling of critics among the composer’s scores and, increasingly, an audience favorite.

Interestingly, Rachmaninoff, his performers’ capabilities ever in mind, was in the habit of having an accomplished violinist check the practicability of the bowings for all his works involving strings.

For the Symphonic Dances, this function was fulfilled by no less than Fritz Kreisler, Rachmaninoff’s

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frequent recital partner. Since Kreisler considered no violin part too difficult, the score emerged as music for a virtuoso orchestra.

The terse, march-like opening thematic figure dominates the entire first movement.

It features prominently even in the gorgeously mournful, quintessentially Russian episode for the alto saxophone, whose part was submitted to another expert, the composer and Broadway arranger Robert Russell Bennett, for his approval. The final theme of the movement, announced staccato in the strings, is an exotic, richly chromatic affair that Rachmaninoff seems to have lifted from his de facto orchestration textbook, Rimsky-Korsakov’s opera

The Golden Cockerel. In the coda, Rachmaninoff quotes the opening theme of his First Symphony (1897). Does this act signify coming full circle? One hazards such a guess since the premiere of the Symphony was so disastrous that it caused critics to predict that Rachmaninoff had no future as a composer.

Furthermore, the noisily hostile reception for the symphony, while not quite in a class with that later accorded Stravinsky’s The Rite of Spring, contributed to Rachmaninoff’s subsequent nervous breakdown.

The second dance opens with menacing chords (stopped horns and muted trumpets), followed by an eerie waltz that moves from near-lethargy to extreme agitation. The movement

concludes with soft, scampering woodwind-and-string figures that suggest the participants not so much ending their dance as being blown away, still whirling, out of their dark, ghostly ballroom into an even darker night. The third and final section mixes Russian Orthodox chant and the medieval chant for the dead, Dies irae. The church is further represented by the “Alleluia” theme from the composer’s own choral Vespers (1915), which eventually muscles out the Dies irae: a symbolic triumph of life over death?

Withal, this was the last music Rachmaninoff ever wrote. Two years later, and a month after becoming an American citizen, he died (of cancer), a few days short of his 70th birthday.

—Herbert Glass

audiences with her insightful interpretations, extending the repertory with a fresh and an impressively broad approach to programming. She is also Principal Guest Conductor of the Los Angeles Philharmonic.

Susanna Mälkki appears regularly with top orchestras throughout Europe and North America, including the Philadelphia Orchestra, the Cleveland Orchestra, the New York Philharmonic, Chicago Symphony Orchestra, the Boston Symphony, London Symphony Orchestra, the Münchner Philharmoniker, Wiener Symphoniker, Bayerischer Rundfunk, and the Berliner Philharmoniker. In the 2021/22 season, she makes her debut on the Carnegie Hall stage with the New York Philharmonic.

Equally in demand with major opera houses, she has made notable appearances at the Opéra National de Paris, Teatro alla Scala Milan, the Wiener Staatsoper,

and the Metropolitan Opera, where she will return in 2022 for Stravinsky’s The Rake’s Progress.

Other future operatic titles include Alban Berg’s Wozzeck, also at the Opéra National de Paris, Puccini’s Il trittico, Debussy’s Pelléas et Mélisande, and Beethoven’s Fidelio.

Recognized for her significant contribution to the art form, Mälkki was awarded the Pro Finlandia Medal of the Order of the Lion of Finland—one of Finland’s highest honors—in 2011. She was named Officier de l’Ordre des Arts et des Lettres of France in 2014, and in January 2016, she was made a Chevalier of the Légion d’honneur in France. She is a Fellow of the Royal Academy of Music in London and a member of the Kungliga Musikaliska Akademien in Stockholm. In October 2016, she was named Musical America’s 2017 Conductor of the Year and in November 2017, she was awarded the Nordic Council Music Prize.

ABOUT THE ARTISTS

SUSANNA MÄLKKI Susanna Mälkki is sought after at the highest level by symphony orchestras and in opera houses worldwide. Currently in her sixth season as Chief Conductor of the Helsinki Philharmonic Orchestra, she continues to fascinate

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LEILA JOSEFOWICZ Leila Josefowicz’ passionate advocacy of contemporary music for the violin is reflected in her diverse programs and enthusiasm for performing new works. In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur Fellowship in 2008, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life.

A favorite of living composers, Josefowicz has premiered many concertos, including those by Colin Matthews, Steven Mackey, and Esa-Pekka Salonen, all written specially for her. This season, Josefowicz will give the world premiere of Matthias Pintscher’s Assonanza II for Violin and Chamber Orchestra, with the Cincinnati Symphony Orchestra and then in Europe with Musikkollegium Wintertur, both under the baton of the composer. Other recent premieres include John Adams’ Scheherazade.2

(Dramatic Symphony for Violin and Orchestra) in 2015 with the New York Philharmonic and Alan Gilbert, and Luca Francesconi’s Duende – The Dark Notes in 2014 with Swedish Radio Symphony Orchestra and Susanna Mälkki. Josefowicz enjoyed a close working relationship with the late Oliver Knussen, performing various concerti, including his violin concerto, together over 30 times.

Following summer performances in the U.S. at Santa Fe Chamber Music Festival and Grand Teton Music Festival, Josefowicz’ season begins with a return to Finnish Radio Symphony Orchestra, working with their incoming Music Director Nicholas Collon. Josefowicz will work again with regular collaborators the Los Angeles Philharmonic, San Francisco Symphony, and NAC Orchestra Ottawa, as well as returning to Europe for engagements with Oslo Philharmonic, Dresdner Philharmonie, Concertgebouworkest, and Budapest Festival Orchestra, working with Hannu Lintu, Dalia Stasevska, John Storgårds, Susanna Mälkki, and Esa-Pekka Salonen.

Highlights of recent seasons include her working with the Berliner Philharmoniker, Washington’s National Symphony Orchestra, TonhalleOrchester Zürich, and Boston, Chicago, The Cleveland, and Philadelphia orchestras, where she worked with conductors at the highest level, including Susanna Mälkki, Matthias Pintscher, and John Adams.

Josefowicz has participated in several important projects during the pandemic including the MetLiveArts Spring 2021

series premiering a new work, La Linea Evocativa, by Matthias Pintscher, written especially for her and performed alongside Bach’s Partita No.2 in D minor, staged among masterpieces

by Jackson Pollock and Mark Rothko; as well as a collaboration with the Violin Channel during their Virtual Concert series performing works of Mahler and Sibelius as well as Reflection by Oliver Knussen and the Sonata of Bernd Alois Zimmermann with John Novacek.

Alongside Novacek, with whom she has enjoyed a close collaboration since 1985, Josefowicz has performed recitals at world-renowned venues such as New York’s Zankel Hall and Park Avenue Armory, Washington, DC’s Kennedy Center and the Library of Congress, and London’s Wigmore Hall, as well as in Reykjavík, Chicago, San Francisco, and Santa Barbara. This season Josefowicz gives solo performances at Wigmore Hall and The Phillips Collection in Washington, DC. Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/ Universal, and Warner Classics and was featured on Touch Press’s acclaimed iPad app, ”The Orchestra.” Her latest recording, released in 2019, features Bernd Alois Zimmermann’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted

by Hannu Lintu. She has previously received nominations for Grammy Awards for her recordings of Scheherazade.2 with the St. Louis Symphony conducted by David Robertson, and Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer.

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SONGBOOK

RY X with the LA Phil RY X Los Angeles Philharmonic Anthony Parnther, conductor

WEDNESDAY NOVEMBER 10, 2021 8PM

Official Timepiece of the Los Angeles Philharmonic

Tonight's program is presented without intermission.

Programs and artists subject to change.

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RY X RY X was born into the wild. Born into a tiny island community off Australia’s east coast, he spent his formative years in the sea, exploring the coasts, and surfing. In some way, RY has been striving to find that same purity ever since he left home as a grunge-obsessed kid aged 17.

“It’s been a real journey…” begins RY, whose path to his current home in Los Angeles’ ethereal Topanga Canyon has taken in Costa Rica, Indonesia, Stockholm, London, and Berlin.

Fueled by his deep love of the sea and want to travel, he left Australia, carrying all the music from his dad’s record collection in his heart. He had been dabbling in songwriting since he was 13—and at 16, Jeff Buckley

consolidated a known feeling for him of the gravity that music could carry.

Time spent in Europe led him to explore the concrete hues of techno, which resulted firstly in Howling, a 2012 collaboration with Frank Wiedemann of German electronic duo Ame, and then The Acid, a minimal project with UK DJ Adam Freeland, Seattle-born singer/songwriter Jens Kuross, and Californian producer Steve Nalepa.

When he wasn’t sweating in warehouse clubs in the small hours, RY conceived RY X and wrote fragile songs built on reverb-drenched guitar and his searching vocal. Recording to tape and enjoying the hiss it left on his demos, he made the Berlin EP in 2013. Its release would change everything. A two-minute tearjerker, twisted around wispy guitar and his cracked vocal, the title track drifted out of his insular bubble and onto mainstream radio.

Somehow, a song recorded in a shack found itself nestled next to Rihanna on radio playlists. A track that doesn’t even have a proper chorus has now amassed 150 million Spotify plays and counting. “It’s an anti-single,” RY sums up matter-of-factly.

“There’s something beautiful about a song like that being on the radio—it’s like a breath [of air]. It hurts my heart to hear it, and I couldn’t record it like that again. There’s magic there.”

To stand any chance of getting anywhere near conjuring something similar for the selfproduced Dawn, RY had to reconnect with his quiet wild side once again. “RY X is really honest, it’s so much about what feels right,” he explains, “The EP’s success was an accident, so I had to get back to that space of all heart, no mind. There’s an expectation now in a way, but the music has always led, and as soon as you step away from that, you’re f*cked. I had to make sure each song was a beautiful thing.

You’re really getting the feeling of someone sitting in a room playing the song.”

It’s that feeling that has haunted RY X’s work in the years following the release of Dawn. Whether he’s recording the soundtrack to an antinuclear weaponry film (2017’s The Bomb) and performing it live at the Nobel Peace Prize ceremony, with The Acid, or embarking on an orchestral tour of beautiful European concert halls and theaters in support of sophomore album Unfurl, the fruits of RY X’s creative output have consistently followed a feeling that most musicians spend their entire careers aspiring to experience: the feeling of being creatively free and true to oneself, yet all the while being able to connect with their audience on a raw, emotional, and profoundly human level.

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ANTHONY PARNTHER American conductor Anthony Parnther is the Music Director and Conductor of the San Bernardino Symphony Orchestra and the Southeast Symphony & Chorus in Los Angeles.

Anthony has conducted for artists spanning every musical genre, including Joshua Bell, Jessye Norman, Yundi Li, Lynn Harrell, Frederica von Stade, Roderick Williams, Canadian Brass, Jennifer Holliday,

Kanye West, Imagine Dragons, Omar Apollo, and Alan Walker.

Recent guest conducting engagements include the Los Angeles Philharmonic, Philadelphia Orchestra, Atlanta Symphony, Chineke! Orchestra, Simfònica de Barcelona i Nacional de Catalunya, Jacaranda, Hear Now Music Festival, Pittsburgh Microtonal Festival, Hollywood Chamber Orchestra, BrightworkNewMusic, and the World Opera Forum in Madrid, Spain.

Anthony has led the Hollywood Studio Symphony in recording sessions for many international feature film and television projects including Star Wars: The Mandalorian, Tenet, Little, American Dad, The Hunt, Fargo, The Way Back, The Night Of, Ghostbusters: Afterlife, Encanto, Star Wars: Book of Boba Fett, and Ice Age: Adventures of Buck Wild. His live orchestral concert appearances for e-sports titan League of Legends in Barcelona, Beijing, Seoul, and Los Angeles are among the most widely viewed symphonic concerts in the world, with live audiences of 50,000-75,000 spectators and

a viewership that outpaces the World Series with approximately 100 million viewers live streaming each League of Legends Finals Opening Ceremony concert.

Anthony has restored and performed orchestral works by Florence Price, Zenobia Powell Perry, Margaret Bonds, William Grant Still, Duke Ellington, and Samuel Coleridge Taylor. He has premiered and recorded works

by Anthony Davis, George Walker, Errollyn Wallen, John Wineglass, Gary Powell Nash, Marian Harrison, Renee Baker, James Wilson, Phillip Herbert, Daniel Kidane, Chanda Dancy, and James Newton. In 2015, Anthony was profiled by Los Angeles’ KCET/TV as a “Local Hero” for his extensive community outreach and advocacy for the performance of works by Black, Latino, and women artists.

Anthony studied music performance at Northwestern University and continued his music studies at Yale University, where he studied orchestral conducting with Lawrence Leighton Smith and Otto Werner Mueller. He resides in Los Angeles and Palm Springs.

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COLBURN CELEBRITY RECITAL

Leonidas Kavakos • Yuja Wang Leonidas Kavakos, violin Yuja Wang, piano

THURSDAY NOVEMBER 11, 2021 8PM

BACH Violin Sonata No. 3 in E major, BWV 1016 (c. 16 minutes)

Adagio Allegro Adagio ma non tanto Allegro BUSONI Violin Sonata No. 2 in E minor, Op. 36a (c. 35 minutes)

Langsam—Poco con moto, assai deciso—attacca Presto—attacca Andante, piùttosto grave

INTERMISSION

BACH Violin Sonata No. 1 in B minor, BWV 1014 (c. 13 minutes)

Adagio Allegro Andante Allegro SHOSTAKOVICH Violin Sonata in G major, Op. 134 (c. 31 minutes)

Andante

Allegretto

Largo

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

Programs and artists subject to change.

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VIOLIN SONATA NO. 3 IN E MAJOR, BWV 1016 Johann Sebastian Bach (1685-1750) A capable violinist and thoroughly familiar with trend-setting Italian models, Bach undoubtedly wrote much more chamber music than has come down to us. He was not, however, much attracted to the then-dominant trio sonata form, written for two solo instruments with continuo accompaniment (improvisation over a notated bass line, usually by harpsichord or lute, with the appropriate chords indicated).

On the one hand, he favored the solo sonata without accompaniment, composing a group of six sonatas and partitas for violin, six suites for cello, and a sonata for flute, all of which are astonishing accomplishments of contrapuntal and idiomatically instrumental art. Another type of duo sonata, which he virtually created, leaned the other way, toward a more controlled version of the trio sonata texture.

Bach manipulated and merged conventional forms and genres with uncommon flexibility.

The six sonatas for violin and harpsichord that he wrote liberated the keyboard from the filler functions of continuo accompaniment, creating true partnership with the solo violin.

In those sonatas, the right hand of the keyboard part replaces the second solo part of the trio sonata, over an active bass line that also participates in the polyphonic give-and-take.

This is readily apparent throughout the Sonata in E, No. 3 of the set, as the violin and keyboard parts swap material back and forth in buoyant counterpoint. Less obvious is Bach’s subtle skill

at thematic transformation and motivic development, to use terms usually applied only to much-later music, and his moments of pulse-defying syncopation and metrical shifts.

The structure of the sonata is that of the old Italian sonata da chiesa, or church sonata—four movements, slow-fast-slow-fast.

The fast movements are basically abstracted dances, with threepart imitation as the main ideas are passed around between the violin and the right and left hands of the keyboard part. The slow movements function as lyrically poised preludes. —John Henken

VIOLIN SONATA IN G MAJOR, OP. 134 Dmitri Shostakovich (1906–1975) Composed: 1968 With admirable fairness, Shostakovich composed one sonata each for the three principal string instruments: violin, viola, and cello. The Cello Sonata is an early work, the Viola Sonata a very late work, in fact his last, while the Violin Sonata is a product of his later years, when his productive friendships with the two great Soviet virtuosos, Rostropovich and Oistrakh, produced two cello concertos and two violin concertos, and, in the case of Oistrakh, this violin sonata as well.

The Second Violin Concerto, composed in 1967, was intended as a 60th-birthday present for Oistrakh, but since the composer was too early by one year, he wrote the Violin Sonata the following year to correct his mistake. It falls between the 13th and the 14th symphonies and betrays some

of the desolation and angst that marked his music in his later years. The clearest features of this style are the writing for the piano in plain octaves, without harmony, and the dogged pursuit of abstract forms.

The last movement, for example, is a set of variations (though not so named) on a theme set out with commendable clarity by the violin playing pizzicato alone for 11 bars. The piano answers in its lowest register, and bit by bit more complex textures are introduced while the pulse remains fixed. The eighth variation is, surprisingly, a plain statement of the theme by piano and pizzicato violin one beat behind. This time the variations build in energy, with a powerful solo for the piano and a matching solo for the violin immediately after. The movement still has a way to go before settling into the last page, laden with reminiscences of the first two movements.

Those first two movements are less elaborate, and the almost-12-tone theme that the piano gives out at the beginning does not preclude some lighter passages later in the movement; the second movement begins innocently but soon slips into the style of high-energy burlesque that always makes us wonder if this is a merry Shostakovich or the mockery of a man weighed down by life’s tribulations.

VIOLIN SONATA NO. 1 IN B MINOR, BWV 1014 Johann Sebastian Bach Though not as famous as his sonatas and partitas for solo violin, Bach’s six sonatas for violin and obbligato harpsichord BWV 1014–1019 represented

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a major step forward in the genre. At the time Bach wrote them, Baroque composers would write out a violin or other solo instrument melody while only leaving traditional figured based chord markings for the accompanying continuo musician to improvise during the performance. Starting with BWV 1014 (if it was indeed composed first of the six), Bach wrote out precisely what he wanted to accompany the violin melody, and he asked the harpsichord to not only provide the bass line but a second melody line that promoted the instrument to be an equal to the violinist soloist. —Ricky O’Bannon

VIOLIN SONATA NO. 2 IN E MINOR, OP. 36A Ferruccio Busoni (1866–1924) Composed: 1898–1900 Though he has many champions seeking to bring his music and ideas from academic and connoisseur circles to greater celebration, Ferruccio Busoni has always been something of a cult figure. A child prodigy born to a clarinetist father and a pianist mother, Busoni gave his first public performance on piano at age seven and was marketed by his parents leading him to later remark, “I never had a childhood.”

Busoni started his studies at the Vienna Conservatory at age nine and matured into a widely respected virtuoso pianist.

Based for much of his life in Berlin, Busoni straddled the late Romantic and Modernist eras. As an intellectual, teacher, and author, he is credited with planting seeds of the 20th

century, or at least accurately foretelling what was to come, in his 1907 book Sketch of a New Esthetic of Music. In it, Busoni predicted music would go beyond 12 tones, and he laid out his belief in “Young Classicism” that pointed away from Romantic sensibilities toward returning to and building upon classical forms.

Busoni’s treatise was widely read among figures such as Paul Hindemith, and he regularly exchanged letters with Arnold Schoenberg who would go on to shape the century Busoni’s writings predicted. Further adding to his somewhat underground cult of influence and celebration, Busoni taught both Kurt Weill and Edgard Varèse who became some of his biggest advocates. Writing about his mentor after his death, Weill wrote, “We did not lose a human being, but a value.”

The most meaningful relationship with a fellow composer to Busoni, however, was not with any of his contemporaries but with Johann Sebastian Bach.

Across three decades, Busoni published multiple volumes of arrangements of Bach’s organ and choral works for the piano.

Well aware of the criticism he would receive for the liberties he took with Bach’s intentions, Busoni left a defiant note amid a 36-page essay on his approach to Bach that read, “Musical commoners still delight in decrying modern virtuosi as spoilers of the classics; and yet Liszt and his pupils have done things for spreading a general understanding for Bach and Beethoven beside which all theoretico-practical pedantry seems bungling, and all brow-

puckering cogitations of stiffly solemn professors unfruitful.”

Busoni’s Violin Sonata No. 2, both in the estimation of the composer and musicologists, represents an arrival of the composer’s ideas into his mature later style. Structurally owing to Beethoven’s Piano Sonata No. 30, Op. 109, and thematically channeling Bach, Busoni starts his threemovement sonata with a moody, slow piano introduction followed by two themes: the first a wistful and pensive violin melody, the second offering both more cheer and fire. The ensuing fast movement, which lasts only a few minutes, is a tarantella: a 6/8 folk dance from southern Italy. In a letter to his wife, Busoni described the contrasting second movement as “like going into a thickly populated street on coming out of the Forum, or like a national festival in full swing in front of the Pantheon.”

Lasting almost twice as long as the previous two movements combined, the third and final movement is a theme and variations based on Bach’s “Wie wohl ist mir” chorale theme from the second notebook for Anna Magdalena.

After the statement of the theme, Busoni transforms the material over the course of six wide-ranging variations.

Completed between 1898 and 1900, the sonata was dedicated to violinist and composer Ottokar Nováček who died shortly before its completion. In addition to being a milestone in Busoni’s own development, the sonata was immediately popular in its time and remains one of Busoni’s most celebrated, if still underperformed, works.

—Ricky O’Bannon

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LEONIDAS KAVAKOS Leonidas Kavakos is recognized across the world as a violinist and artist of rare quality, acclaimed for his matchless technique, his captivating artistry, and his superb musicianship, as well as for the integrity of his playing. He works with the world’s greatest orchestras and conductors and plays as recitalist in the world’s premier recital halls and festivals.

The three important mentors in his life have been Stelios Kafantaris, Josef Gingold, and Ferenc Rados, with whom he still works. By the age of 21, Leonidas Kavakos had already won three major competitions: the Sibelius Competition in 1985, and the Paganini and Naumburg competitions in 1988. This success led to him recording the original version of the Sibelius Violin Concerto (1903-04), the first recording of this work in history, and which won a Gramophone Concerto of the Year Award in 1991.

Kavakos is now an exclusive recording artist with Sony Classics. His 2019 recording, released worldwide in

anticipation of the 250th anniversary of Beethoven’s birth in 2020, featured the Beethoven Violin Concerto, which he conducted and played with the Bavarian Radio Symphony Orchestra, coupled with the Beethoven Septet, played with members of the orchestra. In the anniversary year, Kavakos both played and play/conducted the Beethoven Violin Concerto with orchestras across Europe and the U.S. He also played the complete Beethoven Violin Sonata cycle in Shanghai and Guangzhou, Milan and Rome, and gave a number of single Beethoven recitals in various cities, at Wigmore Hall in London, in Barcelona, Parma, and Copenhagen.

In 2007, for his recording of the complete Beethoven Sonatas with Enrico Pace, Kavakos was named Echo Klassik Instrumentalist of the Year.

In 2014, Kavakos was named Gramophone Artist of the Year.

Further accolades came in 2017, when Kavakos was awarded the prestigious Leonie Sonning Prize—Denmark’s highest musical honor, given annually to an internationally recognized composer, conductor, instrumentalist, or singer.

In recent seasons, in addition to concerts with major orchestras in Europe and the United States, Kavakos once again joined Yo-Yo Ma and Emanuel Ax for recitals at Carnegie Hall comprising Beethoven trios and sonatas. He has undertaken two Asian tours, first as soloist with the Singapore Symphony and Seoul Philharmonic and in recital in the NCPA Beijing, and he performed with the Hong Kong Philharmonic and Taiwan National Symphony Orchestra, prior to playing Beethoven

sonata cycles in Shanghai and Guangzhou with Enrico Pace.

In recent years, Kavakos has succeeded in building a strong profile as a conductor and has conducted the London Symphony Orchestra, New York Philharmonic, Houston Symphony, Dallas Symphony, Gürzenich Orchester, Budapest Festival Orchestra, Vienna Symphony, Chamber Orchestra of Europe, Orchestra dell’Accademia Nazionale di Santa Cecilia, Maggio Musicale Fiorentino, Filarmonica Teatro La Fenice, and the Danish National Symphony Orchestra.

In the coming seasons, he will return to two orchestras where he has developed close ties as both violinist and conductor: L’Orchestre de la Suisse Romande and L’Orchestre Philharmonique de Radio France.

He has also play/conducted the Czech Philharmonic, Deutsches Symphonie-Orchester Berlin, and the Orchestra Sinfonica Nazionale della RAI. Born and brought up in a musical family in Athens, Kavakos curates an annual violin and chamber-music masterclass in Athens, which attracts violinists and ensembles from all over the world and reflects his deep commitment to the handing down of musical knowledge and traditions. Part of this tradition is the art of violin and bow-making, which Kavakos regards as a great mystery and an undisclosed secret to this day. He plays the “Willemotte” Stradivarius violin of 1734 and owns modern violins made by F. Leonhard, S.P. Greiner, E. Haahti, and D. Bagué. Intermusica represents Leonidas Kavakos worldwide. leonidaskavakos.com facebook.com/leonidas. kavakos.violin

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YUJA WANG Pianist Yuja Wang is celebrated for her charismatic artistry, emotional honesty, and captivating stage presence. She has performed with the world’s most venerated conductors, musicians, and ensembles, and is renowned not only for her virtuosity, but her spontaneous and lively performances, famously telling The New York

Times, “I firmly believe every program should have its own life and be a representation of how I feel at the moment.”

This skill and charisma were recently demonstrated in her performance of Shostakovich’s Piano Concerto No. 2 at Carnegie Hall’s Opening Night Gala in October 2021, following its historic 572 days of closure.

In 2021/22, she is Artistin-Residence at the Czech Philharmonic and Rotterdam Philharmonic orchestras.

Yuja was born into a musical family in Beijing. After childhood piano studies in China, she received advanced training in Canada and at the Curtis Institute of Music under Gary Graffman.

Her international breakthrough came in 2007, when she replaced Martha Argerich as soloist with the Boston Symphony Orchestra.

Two years later, she signed an exclusive contract with Deutsche Grammophon and has since established her place among the world’s leading artists, with a succession of critically acclaimed performances and recordings.

She was named Musical America’s Artist of the Year in 2017 and, in 2021, she received an Opus Klassik Award for her worldpremiere recording of John Adams’ Must the Devil Have all the Good Tunes? with the Los Angeles Philharmonic under the baton of Gustavo Dudamel.

As a chamber musician, Yuja has developed long lasting partnerships with several leading artists, notably violinist Leonidas Kavakos, with whom she has recorded the complete Brahms violin sonatas and will be performing duo recitals in America in the autumn. In 2022, Yuja embarks on a highly anticipated international recital tour, which sees her perform in world-class venues across North America, Europe, and Asia, astounding audiences once more with her flair, technical ability, and exceptional artistry in a wide-ranging program to include Bach, Beethoven, and Schoenberg.

Intermusica represents Yuja Wang for worldwide general management.

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Mozart and Ravel Los Angeles Philharmonic Conductor to be announced Sunwook Kim, piano

FRIDAY NOVEMBER 12, 2021 11AM SATURDAY NOVEMBER 13 2PM SUNDAY NOVEMBER 14 2PM

RAVEL

Menuet antique (c. 7 minutes)

MOZART Piano Concerto No. 21 in C major, K. 467 (c. 29 minutes)

Allegro maestoso Andante Allegro vivace assai

Sunwook Kim

INTERMISSION RAVEL Le tombeau de Couperin (c. 17 minutes)

Prélude Forlane Menuet Rigaudon RAVEL

Bolero (c. 12 minutes)

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

Programs and artists subject to change.

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AT A GLANCE Mozart/Ravel

All of the Ravel pieces on this program are dance music, but from two very distinctive sides of the composer’s artistic profile. The Menuet antique and the four neo-Baroque dances of the Tombeau de Couperin are elegant orchestrations of piano music, nostalgic for a make-believe past.

(Composed during World War I, the Couperin tribute was a memorial to French cultural glory, and each of its dances was dedicated to a victim of the war.) There is nothing retrospective at all about Bolero, however, a Machine Age marvel of

MENUET ANTIQUE Maurice Ravel (1875–1937) Composed: 1895 Orchestration: 3 flutes (3rd = piccolo), 3 oboes (3rd = English horn), 3 clarinets (3rd = bass clarinet), 3 bassoons (3rd = contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp, and strings First Los Angeles Philharmonic performance: November 12, 2021 Ravel was 20 and still a student at the Paris Conservatory when he wrote his Menuet antique for solo piano. His friend Ricardo Viñes played the premiere in 1898 (when it also became Ravel’s first published work), but the composer subsequently performed it often himself, and he orchestrated it in 1929.

A modest piece in A-B-A form, this little dance is nonetheless remarkably prophetic of its composer’s mature style, and Ravel echoed its modal “antique” spirit in four subsequent minuets, including the one in the Tombeau de Couperin. Despite its “Majestueusement” marking,

remorseless orchestral virtuosity.

Though Ravel’s “antique” minuet was a current dance during Mozart’s time, the Austrian composer’s Piano Concerto No. 21 has more in common with Bolero in its joyfully muscular and forward-looking outer movements. Mozart was Ravel’s greatest musical hero, and Mozart’s haunted central Andante here does evoke dreamlike qualities that echo in Ravel’s fey enchantments, written more than a century later.

—John Henken

the syncopated framing section seems sprightlier and more vivacious than “majestic,” but the gentle center of this musical confection is every bit as sweet as Ravel’s “Doux” suggests.

—John Henken

PIANO CONCERTO NO. 21 IN C MAJOR, K. 467 Wolfgang Amadeus Mozart (1756-1791) Composed: 1785 Orchestration: flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano First Los Angeles Philharmonic performance: April 14, 1938, with pianist Artur Schnabel, Otto Klemperer conducting There is an oldish book for young people titled Mozart the Wonder Boy. If there were a sequel, it would have to be Mozart the Miraculous Man Volume I, and it would be centered on the MM’s piano concertos. Why the piano concertos and not the operas, or the symphonies, or…? Because the keyboard

concertos consistently struck rich melodic veins and, with the minted gold, Mozart dressed his solo protagonist, the piano, in the guises of hero, heroine, villain, supporting player. The keyboard’s reactions and responses to the dramatic stimuli of the orchestra result in shades of interplay that are, in their way, as richly varied as those sung and acted out in his sublime operas.

These are not just frivolous showpieces. In their fusion of symphonic and concerto form, the fluidity of the solo writing, and in the structural originality each work called forth, they form the classical concerto gospel, which was to have as its dedicated disciple the young Beethoven. No formulas bound Mozart. Each concerto, though bearing an unmistakable family resemblance to its siblings, commanded and received specific, thoroughly individual compositional responses.

His keyboard concertos are the most personal of Mozart’s works, most of them having been written to provide the composer with new vehicles for his own public performances. Even the

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first of his original works in this form, K. 175 in D, which dates from 1773, contains important intimations of distinctiveness.

(Earlier catalogued efforts, titled concertos, were merely sonata movements by other composers that he arranged for piano and orchestra.) A few years later, with the appearance of the E-flat Concerto, K. 271, the prognosis was unmistakably positive: the genre would be a very special one for him.

And in Vienna, Mozart more than fulfilled the expectation by producing a series of 17 remarkable works for piano and orchestra, the very least of which sits comfortably at the doorstep of sublimity.

A sad historical footnote reveals that, while his concerto inspiration hardly ever failed him, his public did. Proof of this deplorable fact is seen in the correlation between his Viennese popularity and each year’s need for new concertos: three in 1782 and 1783, six in 1784, three in 1785 (the year of K. 467), a like number in 1786, and one each in 1788 and 1791.

Thank heaven for the successful years; without them there would unquestionably be fewer Mozart piano concertos.

One is given to wondering, however, whether the flighty aristocrats for whom the works were written perceived even faintly the uniqueness of Mozart’s achievement during the time they were making him the fashion of the moment.

The present Concerto (for a time known as the “Elvira Madigan” Concerto because the use of its second movement contributed so strongly to the mood of the film of that name)

was written within the month after the vividly dramatic one in D minor, K. 466, and is like a grand comedic antidote to it. Its quiet, march-like opening in unison strings sets an opera buffa-like stage for the succession of ideas which, though interesting enough in themselves, are completely successful in that they ideally convey a bristling air of expectancy. In this orchestral opening, the winds play important supporting roles: they initiate little fanfares, stride about in busy attendance upon the strings, or capture center stage with bright melodic interjections.

(Mozart’s wind band is utilized richly throughout; the first use of clarinets in the concertos occurs in the next work, K. 482 in E-flat.)

The piano remains in the wings until after the march theme’s third appearance in the orchestra. When it enters, it does so cautiously, almost reluctantly, making two rather timid bids for attention. Summoning more courage, it ventures further, reaches for a higher place on the keyboard, finds it, pauses, then trills exultantly over the march theme in the strings, and is finally off on its liberated way. Before the piano introduces the true second theme, there is a poignant episode that foreshadows the great G-minor Symphony’s opening, but this seriousness is easily banished by the warmth of the incomparably sunny second subject. The remainder of the movement pursues a clearly classical path but with the unlabored energy and

joyousness that show no traces of earth-bound formalism.

The second movement’s fragile, nocturnal atmosphere is borne along by the gentle urgency of a constantly moving triplet-figure accompaniment.

Unusually large melodic leaps invest the music with an underlying restlessness that indeed develops into tragic pathos in a passage darkened by orchestral dissonances and pierced by the solo’s pleading voice. The opening peacefulness resolves the twice-heard conflict, and we are set for a final movement that races along with a kind of devilmay-care rambunctiousness (what could be more antic than the cheeky main theme?).

The entire finale suggests it has nothing more on its mind than pianistic fun and games with an orchestra that is perfectly willing and able to play. —Orrin Howard

LE TOMBEAU DE COUPERIN Maurice Ravel Composed: 1917–19 Orchestration: 2 flutes (2nd = piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, 2 horns, trumpet, harp, and strings First Los Angeles Philharmonic performance: January 14, 1932, Artur Rodziński conducting For Ravel, craftsmanship did not imply sameness: “I have never limited myself to a ‘Ravel’ style,” he once quipped. His music thus abounds with idiosyncratic effects and divergent impulses, its overflowing inventiveness

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shaped by a natural expressive economy and its meticulously crafted phrases awash in sensuous instrumental color.

He was open to the myriad sounds of the early 20thcentury environment; as he expressed to an American journalist, “The world is changing and contradicting itself as never before. I am happy to be living through all this and to have the good fortune of being a composer.”

This ability to retain a sense of balance while surrounded by the artistic and social chaos of early modernism allowed Ravel to find stimulation in an eclectic mix of sources without boxing himself into any particular “ism.” Thus his music retains a freshness that sounds more forward-looking the older it gets.

In the 1917 Le tombeau de Couperin, originally composed for piano, Ravel expressed his modern sensibility in the accents of the 18th century. He described it as an homage “directed less in fact to Couperin himself than to French music of the 18th century.” Disregarding the philosopher (and would-be composer) JeanJacques Rousseau’s 1753 pronouncement that “there is neither rhythm nor melody in French music,” Ravel fused both rhythmic and melodic forms and cadences of Couperin’s time with those of his own. The work conveys a sense of the present as a perennially open dialogue with the past.

The 1919 orchestration stands out even among Ravel’s invariably superb

orchestrations. Crisp tone colors, incisive rhythms, and precise melodic contours are given a modern harmonic twist, but the listener finds no incongruity—only an occasional felicitous surprise.

A restless oboe solo begins the Prélude, returning at intervals amidst fanciful orchestral passages. Ravel’s wide-ranging melody and subtle rhythmic inflections impart a lithe grace to the Italian Forlane. The graceful Menuet sparkles with woodwind solos, while the bustling Rigaudon captures the peculiar vivacity of French society in any century.

—Susan Key

BOLERO Maurice Ravel Composed: 1928 Orchestration: piccolo, 2 flutes, 2 oboes (2nd = oboe d’amore), English horn, E-flat clarinet, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, soprano saxophone, tenor saxophone, timpani, percussion (bass drum, cymbals, gong, and snare drums), celesta, harp, and strings First Los Angeles Philharmonic performance: July 15, 1930, Karl Krueger conducting Bolero grew out of an abortive project to orchestrate piano pieces from Spanish composer Isaac Albéniz’ Iberia to create a ballet, Fandango, for dancer Ida Rubinstein. The Albéniz

pieces were unavailable because another composer had already secured the rights to orchestrate them, and since Ravel had only planned on orchestrating, there really wasn’t time for him to compose something new.

During his summer holiday in St.-Jean-de-Luz, Ravel hit on the ingeniously simple idea of Bolero. He created a single theme, introduced by the flute over a simple rhythmic pattern, and repeated it over and over, in different—and brilliant— instrumental combinations, gradually increasing the dynamic level from pianissimo to fortissimo over the work’s 15-minute span.

With the task of composition drastically minimized, Ravel completed the work in time for its November 1928 premiere at the Paris Opéra, with Rubinstein in the main role of a Spanish dancer. Spain was not the only inspiration— Ravel hinted to his pupil and biographer Roland-Manuel that the relentless rhythm was inspired by the factory, putting the score into the context of other industrial ballets of the period, including Prokofiev’s The Steel Step (which Ravel had seen in Paris in 1927) and such Soviet works as Shostakovich’s The Bolt and Mosolov’s Steel. In fact, Ravel was unhappy about what he described as the “picturesque” Rubinstein production, which featured her dancing on a table in a bar. He expressed his dissatisfaction to his brother Edouard, who oversaw a factory-inspired production at the Opéra in 1941.

—John Mangum

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SUNWOOK KIM Sunwook Kim came to international recognition when he won the prestigious Leeds International Piano Competition in 2006, aged just 18, becoming the competition’s youngest winner in 40 years, as well as its first Asian winner. Since then, he has established a reputation as one of the finest pianists of his generation, appearing as a concerto soloist in the subscription series of some of the world’s leading orchestras, including the London Symphony Orchestra, Berlin Philharmonic Orchestra, Royal Concertgebouw Orchestra, Staatskappele Dresden, Chicago Symphony, Berlin Radio Symphony, NDR Elbphilharmonie Orchester, Deutsche Kammerphilharmonie Bremen, Finnish Radio Symphony, Philharmonia Orchestra, London Philharmonic, Royal Scottish National Orchestra, BBC Orchestra of Wales, RadioFrance Philharmonic, NHK Symphony, Hallé Orchestra, and the Bournemouth Symphony Orchestra for his

BBC Proms debut in summer 2014. Conductor collaborations include appearances with Karina Canellakis, Nathalie Stutzmann, Thomas Sondergard, Tugan Sokhiev, Daniel Harding, Paavo Jarvi, David Afkham, Edward Gardner, John Elliot Gardiner, Myung-Whun Chung, Osmo Vänskä, Vladimir Ashkenazy, Kirill Karabits, Marek Janowski, Sakari Oramo, Andrew Manze, Vassily Sinaisky, Paavo Järvi, Michael Sanderling, Yuri Bashmet, and Sir Mark Elder.

Recital highlights to date include regular appearances at Wigmore Hall, Queen Elizabeth Hall (London International Piano Series), in the ”Piano 4 Etoiles” series at the Philharmonie de Paris and Théâtre des ChampsÉlysées, Piano aux Jacobins Festival, Aix Festival, La Roque d’Antheron International Piano Festival (France), as well as at the Beethoven-Haus, Bonn; KlavierFestival Ruhr; MecklenburgVorpommern Festspiele; Teatro Colón, Buenos Aires; Kioi Hall in Tokyo; Symphony Hall Osaka, and Seoul Arts Centre. Sunwook is also a keen chamber musician and has collaborated with singers such as Robert Holl and Kwang-Chul Youn.

In 2021/22, Sunwook makes his European conducting debut with the Bournemouth Symphony Orchestra, having previously made his international debut with the KBS Symphony Orchestra (Korea) last season. Sunwook performs with the Los Angeles Philharmonic and Minnesota Orchestras (New), with the Royal Scottish National Orchestra (Ollikainen), BBC Philharmonic Orchestra (Sinaisky), BBC Symphony Orchestra (Korea Tour), Lahti Symphony (Cox), as well as making his debut with the City of Birmingham

Symphony Orchestra (Bringuier).

Sunwook Kim’s debut recital disc was released on the Accentus label in October 2015 and featured Beethoven’s Waldstein and Hammerklavier sonatas; this was followed by a recording of Franck’s Prélude, choral et fugue paired with Brahms Sonata No. 3.

He has made further recordings of Beethoven’s Piano Sonatas: Sonata No. 8, ”Pathétique”; Sonata No. 14, “Moonlight,” and Sonata No. 23, “Appassionata”; and released his most recent disc, DVD, and Blu-Ray featuring sonatas No. 30-32, recorded at the Kunstkraftwerk, Leipzig.

His discography also includes multiple concerto recordings: on Accentus Music with the Staatskapelle Dresden conducted

by Myung-Whun Chung featuring Brahms’ Piano Concerto No. 1 and Six Piano Pieces (2020), in addition to recordings on Deutsche Grammophon with the Seoul Philharmonic conducted

by Myung-Whun Chung, a CD featuring Unsuk Chin’s Piano Concerto (2014), which attracted outstanding reviews and awards from BBC Music Magazine and International Classical Music Awards, and a CD featuring Beethoven Concerto No. 5 (2013).

Born in Seoul in 1988, Sunwook completed an MA in conducting at the Royal Academy of Music and was subsequently made a fellow (FRAM) of the Royal Academy of Music in 2019.

Besides Leeds, his international awards include the first prize at the 2004 Ettlingen Competition (Germany) and at the 2005 Clara Haskil Competition (Switzerland).

In 2013, Sunwook was selected by the Beethoven-Haus, Bonn, to become the first beneficiary of its new mentoring program.

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Reel Change: Hildur Guðnadóttir Los Angeles Philharmonic Hugh Brunt, conductor Hildur Guðnadóttir, host/curator

FRIDAY NOVEMBER 19, 2021 8PM

Hildur Under Takes Over (c. 5 minutes) GUÐNADÓTTIR Ryuichi SAKAMOTO

The Revenant Main Theme (c. 3 minutes)

Kaija SAARIAHO Nymphéa Reflection (c. 4 minutes) Feroce Alvin LUCIER

Mica LEVI

Silver Streetcar for the Orchestra (c. 10 minutes) Robyn Schulkowsky, triangle “Love” from Under the Skin (c. 5 minutes)

GÓRECKI Symphony No. 4, Op. 85 (c. 5 minutes) Deciso—Marcatissimo ma ben tenuto

INTERMISSION

Arvo PÄRT

Fratres (c. 10 minutes) for string orchestra & percussion

LIGETI

Atmosphères (c. 8 minutes)

Hildur Battlefield 2042 (c. 13 minutes) GUÐNADÓTTIR and Sam SLATER (arr. Robert Ames) Hildur “Bathroom Dance” from Joker (c. 2 minutes) GUÐNADÓTTIR

Official Timepiece of the Los Angeles Philharmonic

Programs and artists subject to change.

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REEL CHANGE Film music, as we know it, is only about a century old. An infant compared to the timeworn classical genre, and it has often been treated as such inside the concert hall—too derivative, too commercial, too... childish. The first generation of film composers largely came from the concert hall themselves, and contended with internal conflict and external derision of adapting these techniques to a new art form, making up the rules of film scoring on the fly. In time came innovators like Bernard Herrmann and Ennio Morricone who broke those rules and established new models of minimalism and sonic experimentation, without ever losing their grip on beauty and emotion.

Emotion has always been the core of film composition, and even as the style has fluctuated away from and back to an orchestral, symphonic approach, the jazz cats, rock ’n’ rollers, synth

Hildur Guðnadóttir seemingly came out of nowhere when she took the Academy Award for Joker last year, the first female composer to do so in nearly 25 years and only the third in the Academy’s history. But the Icelandic cellist had, in fact, been steadily building a reputation as a sonically adventurous performer, recording artist, and composer for theater, dance, and European film for the past 15 years. And before that, she was in pop bands playing music that, she has pointed out ironically, was “quite cheerful.”

There’s a duality of darkness and light at the heart of this bright, constantly laughing woman whose Icelandic name literally means “War, Daughter of God.” Born in the town of Hafnarfjörður to a clarinetist father and opera singer mother, she came to earth with a mission: her mother claims to have had a premonition while she was pregnant that this little warrior

wizards, samplers, and beat-makers who subsequently rushed into film never abandoned that core. Scores can play many roles, of course— provide subtext, orient audiences in a particular place and time, enhance drama, underline action, even try to liven up a dull scene—but, fundamentally, film music exists to feel.

In the past decade, a new generation of composers has arrived in film to disrupt the old order even more. Practitioners used to be almost exclusively male and white, for one thing, and a wave of color and female power is slowly smashing that foundation rock. These new composers, too, are proving that any musical language can work in film if it supports the story, that music can be an integral part of the filmmaking process at the earliest stages—and that soundtracks still have the power to shock and surprise as well as to move. —Tim Greiving

would be a cellist. “I’m Icelandic,” Guðnadóttir laughs. “We’re all so dramatic.” There was some drama with her prophesied instrument, which she began playing at the age of six, as the little girl lugged this giant wooden contraption to school every day, sometimes getting flown into the air by the cold Nordic winds.

“It was sometimes a bumpy ride that we had,” she says.

That’s partly what drove her into composition and electroacoustic experimentation— far less schlepping involved— making loud and dangerous music. She attended the Reykjavík Music Academy, and she studied composition and new media at the Iceland Academy of the Arts and the Universität der Künste Berlin. But a mysterious thing happened, and she “accidentally fell in love with the cello again”— something about the immediacy of expression, about the relative quietness and calm. The cello became an extension of her

body, as she puts it, and these two streams merged to put Guðnadóttir on her current path. She found her unique voice combining the human cry of the cello and the untold possibilities of warm expression found in cold electronics—which she frequently explores with the halldorophone, a cello with a feedback mechanism in its heart that was invented for her by a childhood friend, Halldór.

As a solo artist, she has explored the beautifully bleak and cryptic spectrum of music with several acclaimed solo albums. She has frequently performed with other simpatico recording artists. Hildur met fellow Icelandic composer Johann Jóhannson as a teenager in Iceland and they became frequent collaborators. She performed on all of his major Hollywood scores, including Sicario and Arrival, and they co-wrote the score for Mary Magdalene in 2018. With Hildur’s

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sound and performance having been a big part of the sound world of Sicario, she was asked to score the sequel, Day of the Soldado.

That was the formal moment of her introduction to Hollywood, even though she’d been scoring film and TV projects overseas for several years. (Her music was also used in Alejandro G. Iñárritu’s 2015 film The Revenant, for which she performed and collaborated with Ryuichi Sakamoto.) But Hollywood was poised and ready for her dark and elemental sound, as well as her slightly unconventional way of working.

Many directors and producers today are listening to records, not classical or film music, and want an individual personality to score their films as opposed to a trained symphonist shapeshifter.

That’s what brought the makers of the HBO series Chernobyl to Guðnadóttir—inspiring a

bittersweet score built from sounds she gathered at a decommissioned power plant— as well as Joker director Todd Phillips. She wrote her solo cello theme before production, which Phillips then played on set, most prominently in a pivotal scene (“Bathroom Dance”) where Joaquin Phoenix sways in response. Guðnadóttir’s music not only set the tone, it inspired the main character in his moment of transformation.

The fact that she was an all-too rare woman to win an Oscar for that score was only one of several achievements.

Guðnadóttir is demonstrating a new way of thinking about film composition—that it can be an extension of an individualistic voice, that it can probe the boundaries beyond a traditional acoustic palette and still find powerful emotion and drama, that music can be as fundamental an ingredient to the

filmmaking process as a script or an actor’s performance.

Among her work for installations and concerts is the 2013 piece Under Takes Over, commissioned by the Iceland Symphony. (It came about, she wrote in her program note, after “my subconscious took over from my typical conscious state.

I don’t particularly recommend losing consciousness, but it can be very effective to ... focus the sense organs in a different way.”)

Her latest experiment is scoring a video game, a storytelling medium that has eclipsed film in popularity (or at least in revenue). Battlefield 2042, which she co-scored with her partner Sam Slater, is the latest chapter in the Battlefield franchise produced by Electronic Arts—and it finds Guðnadóttir, once again, creating dark and icy moods that defy easy categorization. —Tim Greiving

ABOUT THE ARTISTS

HILDUR GUÐNADÓTTIR Hildur Guðnadóttir (host/curator) is an Academy Award-, Golden Globe-, Emmy-, two-time Grammy-, and BAFTA-winning Icelandic artist, who has been manifesting herself at the forefront of experimental pop and contemporary music. In her solo works, she draws out a broad spectrum of sounds from her instrumentation, ranging from intimate simplicity to huge soundscapes.

Her work for film and television includes Sicario: Day of the Soldado, Mary Magdalene, and

the critically acclaimed HBO series Chernobyl, for which she won a Primetime Emmy Award, as well as a Grammy Award.

Guðnadóttir received a multitude of accolades for her work on Joker, directed by Todd Phillips and starring Joaquin Phoenix, including an Academy Award, Golden Globe, BAFTA, and Grammy. In addition, her body of work includes scores for films such as Tom of Finland, Journey’s End, and 20 episodes of the Icelandic TV series Trapped, streaming on Amazon Prime.

In 2021, she co-composed her

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first video game score with Sam Slater, Battlefield 2042, the newest entry in Electronic Arts’ massively successful Battlefield franchise.

Guðnadóttir began playing cello as a child, entered the Reykjavík Music Academy and then moved on to musical studies/composition and new media at the Iceland Academy of the Arts and Universität der Künste Berlin.

She has released four critically acclaimed solo albums: Mount A (2006), Without Sinking (2009), Leyfðu Ljósinu (2012) and Saman (2014). Her records have been nominated a number of times for the Icelandic Music Awards. Her albums are all released on Touch.

She has composed music for theater, dance performances, and films. The Icelandic Symphony Orchestra, National Theatre of Iceland, Tate Modern, The British Film Institute, The Royal Swedish Opera in Stockholm, and Gothenburg National Theater are amongst the institutions that have commissioned new works from her. She curated an exhibit for the opening of the new Academy Museum in Los Angeles, which opened on September 28.

Guðnadóttir has performed live and recorded music with Skúli Sverrisson, Jóhann Jóhannsson, múm, Sunn O))), Pan Sonic, Hauschka, Wildbirds & Peacedrums, Ryuichi Sakamoto, David Sylvian, The Knife, Fever Ray, and Throbbing Gristle, among others.

Guðnadóttir lives in Berlin, Germany.

HUGH BRUNT Hugh Brunt is co-Artistic Director and co-Principal Conductor of the London Contemporary Orchestra, winners at the Royal Philharmonic Society Music Awards. Since 2008, he has led the LCO in innovative programs at UK and European venues and festivals, including the Roundhouse, Barbican, Royal Opera House, Open’er Festival (Poland), Royal Festival Hall, Victoria Hall (Geneva), Tate Modern, Latitude Festival, and live on BBC Radio 3 at the BBC Proms.

Recent and upcoming engagements include the New York Philharmonic, Melbourne Symphony Orchestra, City of London Sinfonia, Iceland Symphony Orchestra, Britten Sinfonia, Orchestra of Opera North, Bournemouth Symphony Orchestra, Orchestre National de Lyon, BBC Concert Orchestra, and the Royal Northern Sinfonia. He has conducted numerous premieres

by leading young composers Francisco Coll, Shiva Feshareki, Martin Suckling, Gabriel Prokofiev, Emily Hall, Valgeir Sigurðsson, and Edmund Finnis.

He conducted the string and choir arrangements on Radiohead’s album A Moon Shaped Pool. A collaborator of composer and guitarist Jonny Greenwood, he has featured as conductor and/ or arranger on his scores for Paul Thomas Anderson’s The Master, Phantom Thread, and Licorice Pizza, Lynne Ramsay’s You Were Never Really Here, and Pablo Larraín’s Spencer. With the LCO, he has premiered seven short works

by Greenwood and conducted the first live screening of the Academy Award-winning There Will Be Blood. He conducted the world premiere of Greenwood’s violin concerto, Horror vacui, at the BBC Proms 2019 with the BBC National Orchestra of Wales. He has also worked with Thom Yorke, conducting and orchestrating his first feature film score, Suspiria (directed by Luca Guadagnino), and Yorke’s latest solo album, Anima, produced by Nigel Godrich.

Other collaborative work includes Mica Levi, Beck, Nicholas Britell, Imogen Heap, Bryce Dessner (The Two Popes), Actress (cowriting tracks on LAGEOS), Bat For Lashes, Foals, Matthew Herbert (A Fantastic Woman, The Cave), Jed Kurzel (Macbeth, Alien: Covenant), and Johnny Klimek and Tom Tykwer on The Matrix Resurrections.

He studied at New College, Oxford, where he held a choral scholarship and at the Lucerne Festival Academy under Heinz Holliger.

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Reel Change: Kris Bowers Los Angeles Philharmonic Anthony Parnther, conductor Andrew Bain, horn Kris Bowers, curator

SATURDAY NOVEMBER 20, 2021 8PM

Inspirations Medley (c. 20 minutes)

Owen PALLETT “Some Other Place” and “Photograph” from Her and Arcade Fire Shigeru UMEBAYASHI

“Yumeji’s Theme” from In the Mood for Love

Ryuichi SAKAMOTO

Theme from Merry Christmas Mr. Lawrence The Sheltering Sky Theme

BJÖRK

“107 Steps” from Dancer in the Dark

Jon BRION “Phone Call” and “Peer Pressure” from Eternal Sunshine of the Spotless Mind Jason MORAN

“Final Speech” from Selma

Kris BOWERS Concerto for Horn (world premiere, LA Phil commission)

(c. 16 minutes)

Andrew Bain

INTERMISSION Kris BOWERS

King Richard Medley (c. 8 minutes)

Kris BOWERS

Green Book Medley (c. 8 minutes)

Kris BOWERS

When They See Us Medley (c. 8 minutes)

Kris BOWERS

Bridgerton Medley (c. 8 minutes)

Official Timepiece of the Los Angeles Philharmonic

Programs and artists subject to change.

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REEL CHANGE Film music, as we know it, is only about a century old. An infant compared to the timeworn classical genre, and it has often been treated as such inside the concert hall—too derivative, too commercial, too... childish. The first generation of film composers largely came from the concert hall themselves, and contended with internal conflict and external derision of adapting these techniques to a new art form, making up the rules of film scoring on the fly. In time came innovators like Bernard Herrmann and Ennio Morricone who broke those rules and established new models of minimalism and sonic experimentation, without ever losing their grip on beauty and emotion.

Emotion has always been the core of film composition, and even as the style has fluctuated away from and back to an orchestral, symphonic approach, the jazz cats, rock

One of the last concerts performed at Walt Disney Concert Hall in 2020 before the pandemic shutdown was the American Youth Symphony’s premiere of a new violin concerto by Kris Bowers, performed by Charles Yang. That event was captured in the short documentary A Concerto Is a Conversation, directed by Bowers and Ben Proudfoot, which was nominated for an Academy Award. The film’s title is the way Bowers defines a concerto for his grandfather Horace, and it features the two men having their own conversation between generations, revealing a story about the elder’s adventures in overcoming Jim Crow racism and moving to Los Angeles to become a successful business owner.

Kris Bowers grew up in LA, near the corner of Crenshaw and Washington and attended the Los Angeles County High School for the Arts. Like Horace, he was often the odd man out—one of the few Black students at his school and later Colburn, where he studied jazz and classical piano. He also felt out of step with the stereotypical music young Black kids were presumed to like; Bowers loved classical music and

’n’ rollers, synth wizards, samplers, and beat-makers who subsequently rushed into film never abandoned that core. Scores can play many roles, of course—provide subtext, orient audiences in a particular place and time, enhance drama, underline action, even try to liven up a dull scene—but, fundamentally, film music exists to feel.

In the past decade, a new generation of composers has arrived in film to disrupt the old order even more.

Practitioners used to be almost exclusively male and white, for one thing, and a wave of color and female power is slowly smashing that foundation rock. These new composers, too, are proving that any musical language can work in film if it supports the story, that music can be an integral part of the filmmaking process at the earliest stages—and that soundtracks still have the power to shock and surprise as well as to move. —Tim Greiving

symphonic film scores by composers like John Williams. Maybe it was that slightly angled posture that gave him the aerodynamics to excel upward, or maybe just the combination of natural talent and enormous discipline, but Bowers leapt to the heights of Juilliard and then, in 2011, won the Thelonious Monk International Jazz Piano Competition.

He was always attracted to hybridization and straddling genres.

After college, while playing jazz gigs around New York, he performed strings and piano on Kanye West and Jay-Z’s Grammy-nominated album Watch the Throne. His Thelonious Monk prize led to a record deal with Concord Jazz, and Bowers’ debut album in 2014, Heroes+Misfits, announced his arrival by combining pretty much all of his inspirations into an ambitious musical mélange— everything from jazz to R&B to electronica to classic film music—in a series of politically charged tone poems and grooving scenes.

It was inevitable that Bowers would bring his misfit synthesis to the screen and fulfill his childhood dream of scoring films—and he has the Queen of Soul to thank for that. Aretha Franklin was at the

Thelonious Monk semifinals and was so impressed by Bowers that she asked to meet him, then called him up a few weeks later to discuss his career. When she heard Bowers wanted to score films, Franklin set him up with her publicist, who landed Bowers his first scoring gig: the 2013 documentary Elaine Stritch: Shoot Me. Soon he was scoring other documentaries (Kobe Bryant’s Muse), television (Dear White People), and feature films.

He was made for the movies, especially at this moment. Bowers’ arrival coincided with an explosion of stories being told by Black filmmakers, as well as a high volume of musiccentric films. In 2018, he was not only called on to provide a dramatic score for the Oscar-winning drama Green Book, but his hands played the jazz piano onscreen for the character of Dr. Donald Shirley (played in the film

by Mahershala Ali). His combined jazz and classical background informed scores for biopics about jazz singer Billie Holiday and about Aretha Franklin herself, bringing it all full circle. But Bowers is too restless, and too versatile, to be trapped in one genre. He scored the Ava DuVernay miniseries, When They See Us, like

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the horror story it was for the four innocent boys falsely imprisoned for the murder of a jogger in Central Park.

He matched the anachronistically pop-meets-19th-century-England aesthetic of the runaway hit Netflix show Bridgerton, time-traveled to the 1970s feminist movement for the series Mrs. America, went to outer space and into the cartoon world with Lebron James in Space Jam: A New Legacy, and, most recently, scored the Will Smith film King James about the father of Venus and Serena Williams.

“For me,” Bowers says, “it’s the alchemy of music and emotion and storytelling. That’s what I loved about being a performer. I didn’t necessarily like the attention of being on stage—I thought that was nice, but that wasn’t the thing that gave me joy. The reason why I love being a pianist, especially in the jazz context, is because most of the time I’m accompanying people.

Even when it was my turn to take a solo, I always thought about storytelling and emotion. How do I feel in this moment? How do I want to convey that feeling? And in the best moments, everything else disappears.” —Tim Greiving

HORN CONCERTO Kris Bowers (b. 1989)

I find composing easiest when I have a narrative to follow. The story and imagery that comes from it seems to pull melodies out of me, Composed: 2021 and I find that there’s always a North Orchestration: 2 flutes (1st = piccolo), Star to come back to if ever I feel a oboe, English horn, 2 clarinets bit lost in the composing process. I (2nd = bass clarinet), 2 bassoons can always go back to the story.

(2nd = contrabassoon), 3 horns, 2 So, for this piece I’ve written a trombones, tuba, percussion, harp, short story, and to help give a bit of and strings. insight into the narrative I created, I’ve asked the poet Yrsa Daley-Ward First Los Angeles Philharmonic to prepare a short poem. performance.

—Kris Bowers When I was first approached to write this concerto, I had a conversation with Andrew [Bain] about the history of the horn and became fascinated with its connection to hunting. I became curious about the musical history surrounding the tradition: when and how the horn is used in the hunt, various hunting calls from different cultures, etc. The idea of hunting also connected me to a quote I heard about being a father, where fathers are encouraged to examine their “hunter” tendencies and to consider what it might mean to be a “gardener” for their children instead.

“Learn to love what surrounds You in every given moment.

Respect the shifting land, the Very nature of life itself.

Have mercy on your softness, It is the strongest part of You. love is a braver warrior Than violence. dedication is More enduring than Dominance. all the things you Gave chase to have brought You thus far. the things you Tried to conquer have taught You this much. the things you Came to slaughter and carry Home as trophies have evaded You, and in doing so, spared your life.

You will learn, but Not without paying a price.”

ABOUT THE ARTISTS

KRIS BOWERS Kris Bowers (curator) is an awardwinning film composer and pianist known for his thought-provoking playing style and genre-defying film compositions that pay homage to his classical and jazz roots.

Since gaining prominence through collaborating with musicians and artists across genres, including Jay Z, Kanye West, Kyle Abraham, chef Fredrik Berselius, Kobe Bryant, Mahershala Ali, Justin Simien, and Ava DuVernay, Bowers has composed music for film, television, documentaries, and video games.

His works include The Snowy Day

(for which he won the Daytime Emmy Award for Outstanding Music Direction and Composition in 2017), Dear White People, Green Book, When They See Us, Black Monday, Madden NFL 20 and Madden NFL 21, Mrs. America, Bridgerton, Bad Hair, The United States vs. Billie Holiday, Space Jam: A New Legacy, Respect, and King Richard. Bowers, an official Steinway Artist, received his bachelor’s and master’s degrees at the Juilliard School under the tutelage of Fred Hersch, Eric Reed, and Kenny Barron. In 2011, Bowers won The Thelonious Monk International Jazz Competition, receiving a recording contract with

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Concord Records and personal acknowledgment from special event honoree Aretha Franklin.

In 2014, after he released his first album, Heroes + Misfits, iTunes named Bowers one of 12 “Artists to Watch.” In 2016, Bowers was selected to perform at the White House for International Jazz Day, hosted by President Barack and First Lady Michelle Obama. Bowers, an avid collaborator, has created wholly unique experiences through performance art and installations with Abraham.In.Motion (led by choreographer Kyle Abraham), Alvin Ailey Dance Company, and artist and professor Ekene Ijeoma.

In 2015, Bowers worked on the Showtime documentary Kobe Bryant’s Muse, directed by Gotham Chopra and starring Bryant himself.

Shortly after, Bowers and Bryant formed a working relationship that would later lead to Bowers scoring music for Bryant’s postbasketball transition into media production. Bowers composed music for several of Bryant’s audiobooks, including the Wizenard and Legacy series. In 2017, Krug commissioned Bowers to create compositions inspired by and paired with new signature vintages of Krug champagne. In 2018, Bowers scored Monsters and Men, which premiered at the 2018 Sundance Film Festival. Bowers’ work also appeared in Ava DuVernay’s Netflix miniseries When They See Us, which earned him an Emmy nomination for Original Dramatic Score in 2019. In 2020, Bowers received an Emmy nomination for Original Dramatic Score for his work on the Hulu/FX show Mrs. America. In 2020, Bowers also codirected the documentary short film A Concerto Is a Conversation with documentary filmmaker Ben Proudfoot. The film, a The New York Times Op-Doc, is executive produced by Ava DuVernay and centers on Bowers’ conversations with his paternal grandfather,

tracking his family’s lineage from Bascom, Florida, and the Jim Crow south to Walt Disney Concert Hall.

The film, which premiered at the 2021 Sundance Film Festival, was an Academy Award nominee for Best Documentary (Short Subject) at the 93rd Academy Awards.

In 2021, Bowers also received Emmy nominations for Original Dramatic Score and Original Main Theme Music for his work on the Netflix series Bridgerton.

ANTHONY PARNTHER For a biography of conductor Anthony Parnther, please turn to page P8

ANDREW BAIN Born and raised in Adelaide, Australia, Andrew Bain was appointed to the Chair of Principal Horn of the Los Angeles Philharmonic by Gustavo Dudamel in May 2011.

Prior to moving to LA, Andrew held positions of Principal Horn of the Melbourne Symphony, Queensland Symphony, Münchner Symphoniker, and the Australian Opera and Ballet Orchestra,

and Associate Principal Horn of the Adelaide Symphony Orchestra. From 2003 to 2012, he was the Principal Horn of the Colorado Music Festival.

A well-regarded solo artist, Andrew has performed regularly as a soloist with the LA Phil since joining the orchestra.

He has also appeared at the front of the stage with the Melbourne and Queensland Symphony orchestras, Alabama Symphony, Colorado Music Festival, Aspen Music Festival, Colburn Orchestra, and with the Berliner Symphoniker at the Philharmonie in Berlin. In 2015, Andrew presented the world premiere of Brad Warnaar’s Horn Concerto with the Hollywood Chamber Orchestra. As a chamber musician, Andrew loves to explore the possibilities of the horn in various ensembles and most recently gave the first performance of Geoffrey Gordon’s Winterleben for mezzosoprano, horn, and piano. Andrew is a regular performer on the LA Phil’s Chamber Music series.

Andrew is passionate about education and is lucky to work with some of the finest young horn players as the Horn Professor at the Colburn School Conservatory, at the Aspen Music Festival, Australian National Academy of Music, and in masterclasses throughout the U.S., Europe, and Australasia.

As well as performing on stage, he can be heard on numerous Hollywood film scores. Performing John Williams’ incredible solos on the soundtracks of Star Wars: The Force Awakens and The Last Jedi are life highlights and a dream come true for Andrew.

Outside of performing and teaching, Andrew loves spending time with his incredible wife Rupal and their two young boys, Jasper and Sebastian.

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Reel Change: Nicholas Britell Los Angeles Philharmonic Hugh Brunt, conductor Nicholas Britell, curator

SUNDAY NOVEMBER 21 2PM

Nicholas BRITELL Selections from Vice Mica LEVI

Selections from Jackie

Gary YERSHON

"Mr. Turner" from Mr. Turner

Terence BLANCHARD

Selections from Malcolm X

INTERMISSION Jonny GREENWOOD

Selections from There Will Be Blood

Nicholas BRITELL Selections from The Underground Railroad Nicholas BRITELL “Encomium” from If Beale Street Could Talk Kathryn BOSTIC

Selections from Toni Morrison: The Pieces I Am

Nicholas BRITELL Selections from Don’t Look Up

Official Timepiece of the Los Angeles Philharmonic

Programs and artists subject to change.

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REEL CHANGE Film music, as we know it, is only about a century old. An infant compared to the timeworn classical genre, and it has often been treated as such inside the concert hall—too derivative, too commercial, too... childish. The first generation of film composers largely came from the concert hall themselves, and contended with internal conflict and external derision of adapting these techniques to a new art form, making up the rules of film scoring on the fly. In time came innovators like Bernard Herrmann and Ennio Morricone who broke those rules and established new models of minimalism and sonic experimentation, without ever losing their grip on beauty and emotion.

Emotion has always been the core of film composition, and even as the style has fluctuated away from and back to an orchestral, symphonic approach, the jazz cats, rock

Every composer’s route to Hollywood is a little different, but Nicholas Britell’s is one of a kind. After a youth spent training to be a concert pianist at Juilliard, he veered off that course to major in psychology at Harvard, where he joined a hip-hop band and began scoring his friends’ student films. When his group broke up, he began trading currencies in New York while continuing to score short films and even write telephone hold music. After quitting his job to focus full-time on composing, Britell found himself—within a few short years—contributing music to director Steve McQueen’s Academy Award-winning Best Picture 12 Years a Slave. That project would lead to a longlasting creative partnership with Plan B’s Jeremy Kleiner and Dede Gardner who went on to introduce Britell to his closest collaborators to date: Academy Award-winning directors Barry Jenkins and Adam McKay. A deep, fraternal collaboration was forged with McKay, who came to rely on Britell to bring

’n’ rollers, synth wizards, samplers, and beat-makers who subsequently rushed into film never abandoned that core. Scores can play many roles, of course—provide subtext, orient audiences in a particular place and time, enhance drama, underline action, even try to liven up a dull scene—but, fundamentally, film music exists to feel.

In the past decade, a new generation of composers has arrived in film to disrupt the old order even more.

Practitioners used to be almost exclusively male and white, for one thing, and a wave of color and female power is slowly smashing that foundation rock. These new composers, too, are proving that any musical language can work in film if it supports the story, that music can be an integral part of the filmmaking process at the earliest stages—and that soundtracks still have the power to shock and surprise as well as to move. —Tim Greiving

big concepts to his apocalyptic movies at the earliest stage possible. For The Big Short, Britell conjured the sound of “dark math.” The composer scored Vice, a cynical portrait of former vice president Dick Cheney, like an epic western gone sour. “Nick was four months ahead of us with his music than we were with the edit,” McKay said. “He was clearly seeing things that we were still trying to figure out.” Their latest project, the Netflix comedy Don’ t Look Up, starring Leonardo DiCaprio and Jennifer Lawrence as two low-level astronomers who go on a giant media tour to warn the planet of an approaching comet, features music for a kitchen-sink big band—filled with toy piano, mandolin, banjo, and celeste—along with big orchestral drama. Today marks the first live performance of music from the film.

Barry Jenkins drew on Britell’s facility with hip-hop in addition to his classical work for the 2016 Academy Award-winning Best Picture, Moonlight. The story

of a gay Black man in Miami was told in three chapters of advancing age, and Britell’s simple, elegant violin theme for the protagonist likewise came of age through the digital slowdown process that characterizes the hip-hop subgenre of “chopped and screwed”—its voice dropping a register with each progression. Like McKay, Jenkins came to prize Britell’s input so much that he’s involved the composer on the ground level for all ensuing projects.

That led to the melancholic, sensual, jazz-flavored score for If Beale Street Could Talk, Jenkins’ poetic adaptation of James Baldwin’s love story set in 1960s Harlem, and, most recently, the earthy horrors and fantasies in the critically acclaimed Amazon series, The Underground Railroad. “What I discovered very early on in the Moonlight process,” Jenkins said, “was how well he is able to receive the spirit of the film, the essence of the film, the energy of the film, and then reflect that in his sound.”

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There’s no one, single Nicholas Britell sound. He used ’70s popinspired minimalism for the Billie Jean King story, Battle of the Sexes, and earlier this year did a completely different take on the poppy ’70s for the London-set Disney film, Cruella.

He wrote moody ballads and hymns for the mud-and-blood Shakespeare epic, The King. And he continues to score HBO’s much loved Succession with his moneyed chamber sounds and intentionally delusional hip-hop beats, and an infectious theme that earned him a Primetime Emmy. “The exciting thing about working in film, and specifically for me, working in film music,” he says, “is that every movie is different. And in every movie you get to explore different characters, different possible sound worlds. That’s really what fascinates me, and I think that’s what continually excites me about the process. Because no two movies are alike. Each movie deserves its own unique soundscape.”

In addition to a selection of Britell’s own varied music for the screen, he has curated a performance celebrating some of his pioneering peers and colleagues. Mica Levi is another artist with an unusual avenue into film: the English violinist started out in the experimental pop group Micachu and the Shapes but turned heads with the neo-Herrmann horror score for Under the Skin. That led to Jackie, an alien-like take on grief and American royalty that defied tradition and earned an Oscar nomination. Jonny Greenwood is one of a growing number of rock stars turned film composers, but far from a gimmick, he is one of the most daring, surprising voices in today’s cinema. His debut, for Paul Thomas Anderson’s There Will Be Blood, was a revelation—a geyser of rushing rhythm and mesmerizing dissonance. Kathryn Bostic is a pianist, singer, and composer of

both film scores and concert works, including a symphony inspired by playwright August Wilson. Her score for the documentary Toni Morrison: The Pieces I Am captured the playful spirit and beautiful prose of the late author with Bostic’s personal expression of Americana.

Gary Yershon is a veteran British composer who has mostly worked in theater, where he often collaborates with stage director and filmmaker Mike Leigh. He has scored all of Leigh’s films since 2008—including Mr. Turner, about the painter J.M.W. Turner. In Yershon’s Oscarnominated score, high sopranino saxophones drip downward like liquid paint. Terence Blanchard is a modern master, best known for his prolific collaborations with director Spike Lee. Malcolm X was an early pinnacle of their work together, and Blanchard’s musical portrait of the fallen firebrand explored stormy symphonic terrain with fiery trumpet solos. —Tim Greiving

Nicholas Britell (curator) is known for his critically acclaimed scores for feature films with Academy Award-winning writer-directors Barry Jenkins and Adam McKay. In 2016, Britell was responsible for the world-renowned score for Best Picture winner Moonlight, written and directed by Jenkins.

Britell received his first Academy Award, Golden Globe, and Critics’ Choice nominations for Moonlight as well as the 2016 Hollywood Music in Media Award for Best Original Score (Dramatic Feature).

The year prior, he wrote the score for McKay’s much-nominated The Big Short, based on Michael Lewis’s best-selling book.

In 2018, Britell wrote the highly acclaimed score for Barry Jenkins’ If Beale Street Could

Talk. Britell received his second Academy Award nomination, as well as BAFTA and Critics’ Choice nominations, for the score and was awarded Best Original Score by numerous critics’ groups, including the Los Angeles, Boston, Chicago, and Washington, DC, Film Critics Associations, New York Film Critics Online, and the Online Film Critics Association. In 2018, he also wrote the score for McKay’s Vice, starring Christian Bale, which went on to receive eight Academy Award nominations, including Best Picture. Britell’s most recent film work is the score for Disney’s Cruella, starring Emma Stone, and Netflix’s The King, starring Timothée Chalamet. In 2019, Britell was honored by the

ABOUT THE ARTISTS

NICHOLAS BRITELL Two-time Academy Awardnominated composer and pianist

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ABOUT THE ARTISTS

World Soundtrack Awards as Film Composer of the Year for his scores for If Beale Street Could Talk and Vice. In 2020, the World Soundtrack Awards honored Britell for a second year running, this time with the TV Composer of the Year Award for Succession.

For his work in television, Britell won an Emmy for Outstanding Original Main Title Theme as well as the 2018 Hollywood Music in Media Award for Best Original Score (TV Show/ Limited Series) for Succession, Season 1, for which he re-teamed with McKay, who directed the pilot. Britell’s score and main title theme have become some of the most talked about music for television on social media, with audience demand leading Britell to produce a remix of the main title theme with lyrics from legendary hip-hop artist Pusha-T (their remix “Puppets” was released in October 2019

by Def Jam Recordings). Most recently, Britell scored Barry Jenkins’ critically acclaimed limited series The Underground Railroad for Amazon.

Britell’s upcoming projects include writing the score for Jenkins’ The Lion King for Disney, HBO’s Succession, Season 3, and Adam McKay’s Don’ t Look Up for Netflix.

In 2017, Britell won the Discovery of the Year Award at the World Soundtrack Awards in Ghent, Belgium, and he also received the Distinguished Composer Award from the Middleburg Film Festival. In May 2019, he was awarded—along with music supervisor Gabe Hilfer— the first-ever ASCAP Harmony Award celebrating outstanding collaborative achievement between composers and music supervisors for If Beale Street Could Talk. In 2012, he was the recipient of a Henry Mancini Fellowship from the ASCAP Foundation and also won the ASCAP/Doddle Award for Collaborative Achievement.

Britell is a Steinway Artist and is also a Creative Associate of the Juilliard School; he speaks often and gives masterclasses at conservatories and universities, including the Eastman School, Harvard University, Columbia University, New York University, the Mannes School of Music, and Vassar College. In December 2018, it was announced that Britell would be part of EsaPekka Salonen’s newly formed “brain trust” as Salonen took the reins as music director of the San Francisco Symphony.

Britell’s public performances have included concerts at

London’s Barbican Hall, the Million Dollar Theatre in Los Angeles, Chicago’s Ravinia, and Lincoln Center’s Alice Tully Hall.

Britell is an honors and Phi Beta Kappa graduate of Harvard University, as well as a piano performance graduate of the Juilliard School’s Pre-College Division. He returned in May 2016 as the Pre-College’s commencement speaker.

HUGH BRUNT For a biography of conductor Hugh Brunt, please turn to page P22

P30 PERFORMANCES MAGAZINE

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COMING SOON

Deck the Hall Holiday Concerts at Walt Disney Concert Hall

TUESDAY, DEC 21 8PM Arturo Sandoval Big Band Swinging Holiday

SATURDAY, DEC 11 8PM SUNDAY, DEC 12 2PM Home Alone in Concert Los Angeles Philharmonic David Newman, conductor John WILLIAMS Home Alone in Concert The LA Phil performs John Williams’ score at two special screenings of the holiday classic. © 1990 Twentieth Century Fox

It’s a jumping, jiving, jingling night at Walt Disney Concert Hall when the Grammy®-winning trumpeter and his Big Band deck seasonal songs in Latin jazz styling.

FRIDAY, DEC 17 8PM CeCe Winans • The Kingdom Choir

One of gospel’s biggestever stars gives a holiday performance with the worldrenowned Kingdom Choir opening the night.

WEDNESDAY, DEC 22 8PM The Doo Wop Project

The six-man singing group brings style and panache to holiday songs from throughout the years.

SATURDAY, DEC 18 11:30AM & 2:30PM Holiday Sing-Along TUESDAY, DEC 14 8PM A Chanticleer Christmas

The beloved Grammy ®winning “orchestra of voices” returns with a signature program.

Melissa Peterman, host John Sutton, conductor Angeles Chorale Raise your voice and your spirit in this annual tradition that offers fun, cheer, and a whole lot of music.

FRIDAY, DEC 31 7PM & 10:30PM New Year’s Eve with Pink Martini featuring China Forbes Count down to 2022 in style with Portland’s celebrated “little orchestra.”

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ABOUT THE LA PHIL

LOS ANGELES PHILHARMONIC ASSOCIATION Chad Smith

CHIEF EXECUTIVE OFFICER David C. Bohnett Chief Executive Officer Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CEO

EXECUTIVE TEAM Renae Williams Niles

CHIEF CONTENT & ENGAGEMENT OFFICER

Summer Bjork CHIEF OF STAFF

Margie Kim

CHIEF PHILANTHROPY OFFICER

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

Brian Grohl

PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA

Janice Bartczak

TICKET SELLER

Lisa Burlingham

WILLIAM POWERS & CAROLYN POWERS CREATIVE CHAIR FOR JAZZ

GENERAL MANAGER, HOLLYWOOD BOWL; VICE PRESIDENT, PRODUCTION

Malorie Barbee

PAYROLL ADMINISTRATOR

DIGITAL OPERATIONS MANAGER

ACCOUNTING MANAGER

ASSOCIATE DIRECTOR, AUDIENCE GROWTH & ENGAGEMENT

DIGITAL ASSET MANAGER

STAFF ACCOUNTANT

Katherine Franklin

VENUE OPERATIONS ACCOUNTANT

Shoaib Ghafoor SENIOR ACCOUNTANT

Lisa Hernandez

Toi Duckworth

Victoria Dinu

ASSISTANT DIRECTOR, SALES AND CUSTOMER ENGAGEMENT

Tara Gardner

PATRON / AUDIENCE SERVICES REPRESENTATIVE

ACCOUNTS PAYABLE COORDINATOR

SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS

AUDIENCE SERVICES SUPERVISOR

FINANCIAL PLANNING MANAGER

SENIOR ADVERTISING MANAGER

AUDIENCE SERVICES SUPERVISOR

PAYROLL MANAGER

AUDIENCE SERVICES REPRESENTATIVE

FINANCIAL PLANNING ANALYST

AUDIENCE SERVICES REPRESENTATIVE

PAYROLL ADMINISTRATOR

PATRON / AUDIENCE SERVICES REPRESENTATIVE

ACCOUNTS PAYABLE SPECIALIST

AUDIENCE SERVICES REPRESENTATIVE

ACCOUNTS PAYABLE MANAGER

AUDIENCE SERVICES SUPERVISOR

STAFF ACCOUNTANT

Jennifer Hugus

Lisa Renteria

Bernie Keating

Elizabeth Rojo

ADMINISTRATION Jason Abbott

Rosa Ochoa

Sierra Shultz

Michael Chang

WALT DISNEY CONCERT HALL BOX OFFICE Spring Ake

HOLLYWOOD BOWL Mark Ladd ASSOCIATE DIRECTOR, OPERATIONS

AUDIENCE SERVICES MANAGER

Toliman Au

OPERATIONS COORDINATOR

CREATIVE COPYWRITER

Donella Coffey

EVENT MANAGER

ART DIRECTOR

Christy Galasso

DIRECTOR, OPERATIONS

CREATIVE DIRECTOR

Veronika Garcia

HOUSE MANAGER

VIDEO PRODUCER

Alex Hennich

LEARNING Emily Bourne

MARKETING DATABASE SPECIALIST

Julia Ward

DIRECTOR, HUMANITIES

ASSISTANT, OFFICE SERVICES DATABASE ADMINISTRATOR

Alex Hernandez

MANAGER, OFFICE SERVICES

Kevin Higa

CLOUD INFRASTRUCTURE ENGINEER

Dean Hughes SYSTEM SUPPORT III

Charles Koo

INFRASTRUCTURE MANAGER

Kristina Louie HR GENERALIST

Jeff Matchan

DIRECTOR, INFORMATION TECHNOLOGY

Maria Mejia HR COORDINATOR

Sergio Menendez SYSTEM SUPPORT I

Angela Morrell TESSITURA SUPPORT

Sean Pinto

DATABASE APPLICATIONS MANAGER

Miguel A. Ponce, Jr. SYSTEM SUPPORT I

Christopher Prince TESSITURA SUPPORT

Aly Zacharias STAFF ATTORNEY

TICKET SELLER

Gina Leoni

2ND ASSISTANT TREASURER

Patrice Lozano

2ND ASSISTANT TREASURER

Edgar Tom

1ST ASSISTANT TREASURER

Tom Waldron

1ST ASSISTANT TREASURER TICKET SELLER

Amy Lackow

2ND ASSISTANT TREASURER

Elia Luna TICKET SELLER

Page Messerly TREASURER

Ariana Morales

1ST ASSISTANT TREASURER

Carolina Orellana 2ND ASSISTANT TREASURER

Cathy Ramos TICKET SELLER

Elias Santos

2ND ASSISTANT TREASURER

John Tadena TICKET SELLER

Carlie Tomasulo 2ND ASSISTANT TREASURER

MANAGER, LEARNING

Phil Bravo

ASSOCIATE DIRECTOR, SOCIAL INNOVATION

Anthony Crespo

PROGRAM MANAGER, YOLA AT TORRES

Camille Delaney-McNeil DIRECTOR, BECKMEN YOLA CENTER

Fabian Fuertes MANAGER, YOLA

Julie Hernandez

FACILITIES MANAGER, BECKMEN YOLA CENTER

Lorenzo Johnson

PROGRAM MANAGER, YOLA AT INGLEWOOD

Gaudy Sanchez

YOLA ARTISTIC ADMINISTRATOR

Stephen Smith

ANNUAL FUND OFFICER

Genevieve Goetz

Annisha Hinkle

ARTIST PAYMENT SPECIALIST

Stephen Gluck

VICE PRESIDENT, PRESENTATIONS

Chelsea Downes

CREATIVE COPYWRITER

AUDIENCE SERVICES REPRESENTATIVE

Nina Phay

Johanna Rees

MAJOR GIFTS OFFICER

Valeri Estrada

Paul Gibson

Yuri Park

VICE PRESIDENT, ARTISTIC PLANNING

DIRECTOR, INSTITUTIONAL GIVING AND STEWARDSHIP

MANAGER, DIGITAL MARKETING

Jacqueline Ferger

Meghan Martineau

ASSOCIATE DIRECTOR, ANNUAL FUND/MEMBERSHIP

Justin Foo

Brendan Broms

VICE PRESIDENT, LEARNING

SENIOR MAJOR GIFTS OFFICER

Julia Cole

Wade Mueller

Elsje Kibler-Vermaas

INTERIM DIRECTOR, MAJOR GIFTS

Elias Feghali

Debbie Marcelo

ADVISOR, CIVIC ENGAGEMENT

Bill Williams

CONTROLLER

Gloria Balcom

Leni Isaacs Boorstin

TECHNICAL DIRECTOR

Joshua Alvarenga

Joe Carter

LaTonya Lindsey

DIRECTOR, THE FORD

Kelvin Vu

DIRECTOR, SALES & CUSTOMER EXPERIENCE

Charles Carroll

Vilma Alvarez

Cynthia Fuentes

DIRECTOR, PRODUCTION

MANAGER, MARKETING COMMUNICATIONS

Jonathan Clemente

AUDIENCE SERVICES Denise Alfred

Michael Vitale

PHILANTHROPY Robert Albini

Steven Cao

ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

PRODUCTION MANAGER

DIRECTOR, MARKETING

Jose Villasenor

MANAGER, ARTIST SERVICES

Ebner Sobalvarro

Christopher Slaughter

PRODUCTION ADMINISTRATOR

Adriana Aguilar

Meredith Reese

PRODUCTION MANAGER

DIRECTOR, RETAIL SERVICES

CONCERT MANAGER, THE FORD

Maren Quanbeck

Alex Rehberger

DIRECTOR, DIGITAL

COORDINATOR, ARTISTIC & HUMANITIES

Karen Sturges

Laura Connelly

Tomorrow Kitchen

FINANCE Jyoti Aaron

ARTISTIC ADMINISTRATOR

Daniel Song

VICE PRESIDENT, MARKETING AND COMMUNICATIONS

Laurel Harris

MARKETING & COMMUNICATIONS COORDINATOR

2ND ASSISTANT TREASURER

Rafael Mariño

SENIOR MANAGEMENT TEAM Nora Brady

TICKET SELLER

Herbie Hancock

ARCHIVES AND MUSEUM DIRECTOR

Mona Patel

CHIEF FINANCIAL OFFICER

Lushia Anson

SOCIAL MEDIA MANAGER

Ljiljana Grubisic

Daniel Mallampalli

CHIEF OPERATING OFFICER

Angelia Franco

TICKET SELLER

1ST ASSISTANT TREASURER

Christine Lim

GENERAL COUNSEL

MARKETING & COMMUNICATIONS Mary Allen

Scott Arenstein

Emanuel Maxwell

CHIEF TALENT & EQUITY OFFICER

BOX OFFICE — GROUP SERVICES Nancy Fitzgerald

Jennifer Hoffner Linda Holloway

PATRON SERVICES MANAGER

Sophie Jefferies

DIRECTOR, PUBLIC RELATIONS

Alexis Kaneshiro GRAPHIC DESIGNER

Brant Markley

MANAGER, REVENUE STRATEGIES & ANALYTICS

Ricky O’Bannon DIRECTOR, CONTENT

Erin Puckett

MARKETING COORDINATOR, PROMOTIONS & PARTNERSHIPS

Tristan Rodman DIGITAL PRODUCER

Richard Rubio

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

SENIOR PROJECT MANAGER, CREATIVE SERVICES

PHILANTHROPY OPERATIONS SPECIALIST MANAGER, GIFT PLANNING

Jeffery Glover

ASSISTANT MANAGER, ANNUAL FUND

Gerry Heise

SENIOR MAJOR GIFTS OFFICER

Madison Huckaby

ASSISTANT MANAGER, SPECIAL EVENTS

Julian Kehs

MANAGER, INSTITUTIONAL GIVING

Sara Kim

DIRECTOR, INDIVIDUAL GIVING

Anita Lawson

DIRECTOR, PHILANTHROPY OPERATIONS

Christina Magaña

DONOR RELATIONS ASSOCIATE

Jediah McCourt

MANAGER, CORPORATE PARTNERSHIPS

Allison Mitchell

BOARD LIAISON / SENIOR GIFT OFFICER

Susan Erburu Reardon DIRECTOR, GIFT PLANNING

Carina Sanchez RESEARCH ANALYST

Erica Sitko

ASSOCIATE DIRECTOR, STRATEGIC ADVANCEMENT

Peter Szumlas

SENIOR MANAGER, PHILANTHROPY OPERATIONS AND ANALYTICS

Tyler Teich

PHILANTHROPY OPERATIONS, GIFT AND DATA SPECIALIST

Derek Traub

MANAGER, PHILANTHROPY COMMUNICATIONS

Kevin Tsao

ANNUAL FUND COORDINATOR

ORCHESTRA MANAGEMENT & PRODUCTION Shana Bey

ASSOCIATE ORCHESTRA PERSONNEL MANAGER

Jessie Farber

ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Isabella Gorden PRODUCTION ASSOCIATE

Raymond Horwitz

PROJECT MANAGER, MEDIA INITIATIVES

Kimberly Mitchell PRODUCTION MANAGER

Morgan Walton

MANAGER, SPECIAL EVENTS

Richard T. Watkins

ASSOCIATE DIRECTOR, PHILANTHROPY

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

MANAGER, YOLA

P32 PERFORMANCES MAGAZINE

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SUPPORT THE LA PHIL

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

$250,000 TO $499,999 Rolex

$100,000 TO $249,999

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

$50,000 TO $99,999

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

$25,000 TO $49,999 Cooper Tires

$10,000 TO $24,999 El Silencio

ANNUAL FUND

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

FRIENDS OF THE LA PHIL

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

PHILHARMONIC COUNCIL

Jack Suzar and Linda May, Chairs Jonathan and Monique Kagan, Vice Chairs Winnie Kho and Chris Testa, Vice Chairs Christian and Tiffany Chivaroli, Vice Chairs

2

T

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

Josep 18 PERFORMANCES MAGAZINE

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BEETHOVEN SYMPHONY No. 7

RHAPSODY IN BLUE

BAROQUE: BRANDENBURG 5

Joseph Young, conductor Randall Goosby, violin

Anna Rakitina, conductor Llewellyn Sanchez-Werner, piano

Nicholas McGegan, conductor Aubree Oliverson, violin

TCHAIKOVSKY VIOLIN CONCERTO

MOZART SYMPHONY No. 40

BEETHOVEN SYMPHONY No. 5

Lidiya Yankovskaya, conductor Chee-Yun, violin

Brett Mitchell, conductor Aldo López-Gavilán, piano

Keitaro Harada, conductor Valentina Lisitsa, piano

OCT 16, 2021

FEB 12, 2022

Joseph Young

Chee-Yun

NOV 13, 2021

MAR 19, 2022

Randall Goosby

Valentina Lisitsa

JAN 22, 2022

APR 30, 2022

Brett Mitchell

Lidiya Yankovskaya

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ANNUAL DONORS

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

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

Judith and Thomas L. Beckmen

Michele Moehring

Ann and Robert Ronus

$500,000 TO $999,999 Norman and Sadie Lee Foundation Zoe Cosgrove Norman and Sadie Lee

Music Center Foundation Music Center Foundation Foundation

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

Louise and Brad Edgerton/ Edgerton Foundation Dr. Hilary Garland

Gordon P. Getty Max H. Gluck Foundation Tylie Jones Mr. Alan S. Klee

Terri and Jerry M. Kohl Mr. and Mrs. David Meline Pasadena Showcase House for the Arts

The Rafael & Luisa de Marchena-Huyke Foundation David and Linda Shaheen

Los Angeles County Department of Arts and Culture Molly Munger and Stephen English The Music Man Foundation

Mr. and Mrs. Jason O'Leary James and Laura M. David and Diane Paul Rosenwald/Orinoco Barbara and Jay Rasulo Foundation James D. Rigler/Lloyd Deanie and Jay Stein E. Rigler—Lawrence E. Toyota Motor Sales Deutsch Foundation U.S.A., Inc. Sue Tsao

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

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

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

Malsi Doyle-Forman and Michael Forman Edison International Marianna J. Fisher and David Fisher Foothill Philharmonic Committee Drs. Jessie and Steven Galson Good Works Foundation and Laura Donnelley The Green Foundation Renée and Paul Haas Dwight Hare and Stephanie Bergsma

Harman Family Foundation Mr. Philip Hettema Mr. and Mrs. Daniel Paul Horwitz Mr. and Mrs. James L. Hunter Mr. and Mrs. William H. Hurt Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan Winnie Kho and Chris Testa Vicki King Lana Del Rey

Ken Lemberger and Linda Sasson Renee and Meyer Luskin Roger Lustberg and Cheryl Petersen The Seth MacFarlane Foundation Ashley McCarthy and Bret Barker Ms. Kim McCarthy and Mr. Ben Cheng Dwayne and Eileen McKenzie Michael and Lori Milken Family Foundation

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

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

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

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

$25,000 TO $49,999 Anonymous (2) Herb Alpert Foundation Debra and Benjamin Ansell Mr. and Mrs. Phil Becker Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Jill Black Zalben Michele Brustin Oleg and Tatiana Butenko Lois and Rene Cailliet The Capital Group Companies Charitable Foundation

Esther S. M. Chui Chao City National Bank City of Los Angeles Department of Cultural Affairs Dan Clivner Mr. Richard W. Colburn Becca and Jonathan Congdon Mr. and Mrs. Jonathan Cookler Donelle Dadigan Lynette and Michael C. Davis Orna and David Delrahim

20 PERFORMANCES MAGAZINE

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WITH AN ALL NEW MUSICAL SCORE!

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as soon as the lights come up!”

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PERFORMANCES MAGAZINE 21

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Anne Marie Ketchum Artistic Director

Laraine Ann Madden Accompanist

Excerpts from the operas: Aida, Mefistofele, I Pagliacci, Carmen shana blake hill Soprano

audRey babcock Mezzo-Soprano alex boyeR Tenor RobeRto PeRlas Gómez Baritone

Sat., Nov. 13 7:30 pm • Sun., Nov. 14 2:00 pm

NEW VENUE: FIRST PRESBYTERIAN CHURCH, SANTA MONICA

Tickets available on line. All credit cards accepted

www.verdichorus.org

A NON-STOP DANCE PARTY SET TO THE MUSIC OF THE GO-GO’S

Songs by THE GO-GO’S Based on The Arcadia by SIR PHILIP SIDNEY

Conceived and Original Book by JEFF WHITTY Adapted by JAMES MAGRUDER

Production Directed, Choreographed and Conceived by JENNY KOONS and SAM PINKLETON

Tickets On Sale Now!

Joel and Joanne Mogy Mr. Robert W. Olsen The Jay and Rose Phillips Family Foundation of California Jennifer and Evan Rosenfeld Mr. Bennett Rosenthal Katy and Michael S. Saei Mr. Lee C. Samson Ellen and Richard Sandler Elizabeth and Justus Schlichting Randy and Susan Snyder Dwight Stuart Youth Fund Michael Frazier Thompson Mr. and Mrs. Thomas E. Unterman David H. Vena Meredith Jackson and Jan Voboril Debra and John Warfel Stasia Washington Mindy and David Weiner Bob and Nita Hirsch Family Foundation Tye Ouzounian and Karyn A. Wong David Zuckerman and Ellie Kanner

$15,000 TO $24,999 Anonymous (6) Drew and Susan Adams Honorable and Mrs. Richard Adler The Aversano Family Trust Ms. Elizabeth Barbatelli Susan Baumgarten Dr. William Benbassat Miles and Joni Benickes Mr. and Mrs. Adam Berger Robert and Joan Blackman Family Foundation Ying Cai & Wann S. Lee Foundation Hyon Chough and Maurice Singer Sarah and Roger Chrisman Jennifer Diener Julia Stearns Dockweiler Charitable Foundation Van and Francine Durrer Dr. and Mrs. William M. Duxler Geoff Emery Bob and Mary Estrin Mr. and Mrs. Josh Friedman Gary and Cindy Frischling The Rosalinde and Arthur Gilbert Foundation Mr. James Gleason Carrie and Rob Glicksteen Goodman Family Foundation Robert and Lori Goodman Mr. and Mrs. Ken Gouw Mr. Bill Grubman Vicken and Susan J. Haleblian Stephen T. Hearst Diane Henderson MD Carol and Warner Henry Marion and Tod Hindin Gerry Hinkley and Allen Briskin Fritz Hoelscher Mr. Eugene Kapaloski Tobe and Greg Karns Mr. and Mrs. Robert A. Kasirer Ms. Nancy Katayama Sandi and Kevin Kayse Larry and Lisa Kohorn Vicki Lan Mr. and Mrs. Keith Landenberger League of American Orchestras' Catalyst Fund David Lee

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Allyn and Jeffrey L. Levine Mr. and Mrs. Simon K.C. Li Theresa Macellaro/ The Macellaro Law Firm The Mailman Foundation Raulee Marcus MasterCard Jonathan and Delia Matz Ms. Irene Mecchi Marcy Miller Mr. Weston F. Milliken Deena and Edward Nahmias

Mr. and Mrs. Dan Napier Shelby Notkin and Teresita Tinajero Christine M. Ofiesh Mr. Charles B. Ortner Ana Paludi and Michael Lebovitz Gregory Pickert and Beth Price John Peter Robinson and Denise Hudson Linda and Tony Rubin

The SahanDaywi Foundation Ron and Melissa Sanders Dena and Irv Schechter/ The Hyman Levine Family Foundation: L'DOR V'DOR Evy and Fred Scholder Family Marc Seltzer and Christina Snyder Jill and Neil Sheffield Mr. and Mrs. Howard A. Sherwood

Grady and Shelley Smith Mr. and Mrs. Richard Sondheimer The Specialty Family Foundation Mr. Lev Spiro and Ms. Melissa Rosenberg Lisa and Wayne Stelmar Tracey Boldemann-Tatkin and Stan Tatkin Elinor and Rubin Turner Judith and Dr. John Uphold

Noralisa Villarreal and John Matthew Trott Tee Vo and Chester Wang Frank Wagner and Lynn O'Hearn Wagner Warner Bros.

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

Bonnie and Ronald Fein Mr. Tommy Finkelstein and Mr. Dan Chang Daniel and Maryann Fong Tatiana Freitas Joan Friedman, Ph.D. and Robert N. Braun, M.D. Dr. and Mrs. David Fung Dr. and Mrs. Bruce Gainsley Greg and Etty Goetzman Harriett and Richard E. Gold Mr. and Mrs. Louis L. Gonda Tricia and Richard Grey Beverly and Felix Grossman Mr. and Mrs. David Haft Laurie and Chris Harbert

Karen Hillenburg Linda Joyce Hodge Mr. Tyler Holcomb Dr. Louise Horvitz and Carrie Fishman Mr. Frank J. Intiso Michele and James Jackoway Kristi Jackson and William Newby Robin and Gary Jacobs Dr. William B. Jones Kashper Family Foundation Mr. and Mrs. Stephen Keller Remembering Lynn Wheeler Kinikin Mr. Gary Kirkpatrick and Mrs. Rebeccah Bush Kirkpatrick

Mr. and Mrs. Kenneth N. Klee Stephanie and Randy Klopfleisch Nickie and Marc Kubasak Mr. and Mrs. Norman A. Levin Dr. Stuart Levine and Dr. Donna Richey Ms. Agnes Lew Maria and Matthew Lichtenberg Ellen and Mark Lipson Macy's Marshall Field's Emil Ellis Farrar and Bill Ramackers Lisa and Willem Mesdag Ms. Marlane Meyer

$10,000 TO $14,999 Anonymous (4) Mr. Robert J. Abernethy B. Allen and Dorothy Lay Bank of America Stephanie Barron Sondra Behrens Phyllis and Sandy Beim Mr. Mark and Pat Benjamin Mr. Barry W. Berkett Suzette and Monroe Berkman Brass Ring Foundation Campagna Family Trust Ms. Nancy Carson and Mr. Chris Tobin Chevron Products Company Jay and Nadege Conger

Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Julie and Stan Dorobek Larry and Janet Duitsman Mr. and Mrs. Brack W. Duker Victoria Dummer and Brion Allen Dr. Paul and Patti Eisenberg Ms. Robin Eisenman and Mr. Maurice LaMarche Ms. Annmarie Eldering and Ms. Anne Vandenabeele Ella Fitzgerald Charitable Fund Fairchild-Martindale Foundation

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PERFORMANCES MAGAZINE 23

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Bond Furs

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Mrs. Judith S. Mishkin Wendy Stark Morrissey Ms. Christine Muller and Mr. John Swanson Ms. Kari Nakama NBC Universal Anthony and Olivia Neece Kenneth T. and Eileen L. Norris Foundation Mr. and Mrs. Peter O'Malley D. Orenstein & J. Lu Loren Pannier Glenn Pittson Mrs. Paula Pitzer Mr. and Mrs. Arnold Porath Lee Ramer Frederick and Julie Reisz Gary Satin Alexander and Mariette Sawchuk Samantha and Marc Sedaka Mr. and Mrs. Arnold Seidel

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

$7,500 TO $9,999 Isaac Barinholtz and Erica Hanson Ellis N. Beesley, Jr. M.D. Ms. Marjorie Blatt Committee of Professional Women Tim and Neda Disney Mr. Lawrence N. Field Alexandra S. Glickman and Gayle Whittemore Ellie and Mark Lainer Cathy and Mark Loucheim Mr. and Mrs. Boutie Lucas

Dr. and Mrs. Jeffrey Morris Santa Monica-Westside Philharmonic Committee United Way of Greater Los Angeles Christine Upton Vargo Physical Therapy Hope Warschaw and John Law Bob and Dorothy Webb Doris Weitz and Alexander Williams Westside Committee

$5,500 TO $7,499 Anonymous (2) Ms. Janet Abbink and Mr. Henry Abbink Alex Alben Bobken & Hasmik Amirian Art and Pat Antin Sandra Aronberg, M.D. and Charles Aronberg, M.D. Ms. Judith A. Avery Ms. Linda Babcock Mr. Mustapha Baha Pamela and Jeffrey Balton Mrs. Linda E. Barnes Mr. Barry Beitler Maria and Bill Bell Mr. Herbert M. Berk Ms. Gail K. Bernstein Mitchell Bloom Roz and Peter Bonerz Mr. and Mrs. Hal Borthwick Dr. and Mrs. Hans Bozler Ms. Lynne Brickner Mr. and Mrs. Steven Bristing Mr. Stuart D. Buchalter Mr. and Mrs. Tom R. Camp Fanya Carter, Ph.D. Mr. and Mrs. Ronald Clements Mr. David Colburn Mr. and Mrs. Richard W. Cook Mr. and Mrs. Leo David Cary Davidson and Andrew Ogilvie Ms. Rosette Delug

The Randee and Ken Devlin Foundation John and Leslie Dorman Joycelyn Fawaz Mr. and Mrs. Michael M. Flynn The Franke Family Trust Beth Gertmenian Ms. Karen Caffee and Mr. Manuel Grace Lee Graff Foundation Mr. and Mrs. Paul Guerin Mr. William Hair Stephen and Hope Heaney Mr. Jeffrey Hendel Stephen D. Henry and Rudy M. Oclaray Myrna and Uri Herscher Family Foundation Roberta and Burt Horwitch Mr. and Mrs. Tim C. Johnson Mr. and Mrs. Steaven K. Jones, Jr. Marilee and Fred Karlsen Marty and Cari Kavinoky Mr. Mark Kim and Ms. Jeehyun Lee Ms. Ann L. Kligman Mr. and Mrs. Stephen A. Kolodny Sandra Krause and William Fitzgerald Naomi and Fred Kurata Mr. and Mrs. Ronald B. Labowe Katherine Lance Mr. and Mrs. Jack D. Lantz

24 PERFORMANCES MAGAZINE

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Mr. George Lee Marie and Edward Lewis Meg Lodise Los Angeles Philharmonic Affiliates Luppe and Paula Luppen Mr. Roger I. MacFarlane Sandra Cumings Malamed and Kenneth D. Malamed Leslie and Ray Mathiasen Dr. and Mrs. Gene Matzkin Lawry Meister Mr. and Mrs. Dana Messina Ms. Lillian Mueller Mrs. Cynthia Nelson Mr. and Mrs. Randy Newman Ms. Margo Leonetti O'Connell Ms. Debra Pelton and Mr. Jon Johannessen Robert J. Posek, M.D. James S. Pratty, M.D. Mr. and Mrs. Wayne Ratkovich Mr. Eduardo Repetto Hon. Vicki Reynolds and Mr. Murray Pepper Cathleen and Scott Richland Murphy and Ed Romano and Family Ms. Rita Rothman Mr. and Mrs. Matthew Rowland Dr. and Mrs. Bernard Salick Malcolm Schneer Family Trust Pamela and Russ Shimizu Mr. Adam Sidy Ms. Ruth M. Simon Mr. and Mrs. Peter R. Skinner Leah R. Sklar Mr. Douglas H. Smith Virginia Sogomonian and Rich Weiss Mason A. Sommers, Ph.D and Rami Izic, M.F.T. Ms. Laura Stanford-Turner Ms. Randi Tahara Mr. and Mrs. Randall Tamura Andrew Tapper and Mary Ann Weyman Mr. Avedis Tavitian Dr. James Thompson and Dr. Diane Birnbaumer Warren B. and Nancy L. Tucker Perry Vidalakis Mr. Nate Walker Acorn Paper Products Company Western Allied Corp Mr. Robert E. Willett David and Michele Wilson Mr. Steve Winfield Karen and Rick Wolfen Rosalind Wyman Mr. and Mrs. Richard Wynne Mr. Nabih Youssef

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

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PERFORMANCES MAGAZINE 25

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ANNUAL DONORS

Catherine and Josephe Battaglia Newton and Rochelle Becker Charitable Trust Benjamin Family Foundation Michael and Hedvah Berg Mr. Stephen Bergens Mr. Malcolm Bersohn Eileen Bigelow and Brien J. Bigelow Mr. and Mrs. Richard Birnholz Dr. Andrew C. Blaine and Dr. Leigh Lindsey Mr. Kenneth Blakeley Shawn Blakeslee Thomas J. Blumenthal Bobrick Washroom Equipment Inc Joan N. Borinstein Mr. Gary Boston Mrs. Susan Bowey Anita and Joel Boxer Dr. Noel G. Boyle Lynn Gordon and Jon Braun Mrs. Marie Brazil Mrs. William Brand and Ms. Carla B. Breitner Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Kevin Brockman Charles Brown Sue and Barry Brucker Thy Bui Business and Professional Committee Dr. and Mrs. R. Melvin Butler Victor Carabello Diana Reid and Marc Chazaud Mr. Louis Chertkow Dr. and Mrs. Michael M. Churukian Susan and David Cole Ms. Laurie Dahlerbruch Mr. James Davidson and Mr. Michael Nunez Ms. Mary Denove Wanda Denson-Low and Ronald Low Dr. Eknath Deo R. Stephen Doan and Donna E. Doan Sean Dugan and Joe Custer Douglas Durst Encore Joyce and David Evans Dr. and Mrs. Arthur A. Fleisher, II

Mrs. Diane Forester Mr. Michael Fox Mr. and Mrs. Alan M. Gasmer Dr. Tim A. Gault, Sr. Dr. and Mrs. Stephen A. Geller Mr. and Mrs. Ronald Gertz Susan and Jaime Gesundheit Jason Gilbert Tina Warsaw Gittelson Glendale Philharmonic Committee Sheila Golden Dr. Patricia Goldring Carol Goldsmith Dr. Ellen Smith Graff Mr. Charles Gross Mr. Frank Gruber and Ms. Janet Levin Mr. Jack L. Edelstein Mr. Gary M. Gugelchuk Mr. and Mrs. Pierre Habis Trish Harrison and John Runnette Mr. and Mrs. Brian L. Harvey Byron and DeAnne Hayes Mr. Rex Heinke and Judge Margaret Nagle Brian Helgoe Arlene Hirschkowitz Janice and Laurence Hoffmann Heather and Chris Holme Eugene and Katinka Holt Andrei and Luiza Iancu Illig Construction Company Michael Insalago Ms. Margaret Jacob Mr. Sean Johnson Ms. Marcia Jones and Mr. George Arias Robin and Craig Justice Mr. and Mrs. David S. Karton Dr. and Mrs. David Kawanishi Kayne, Anderson and Rudnick Richard Kelton Mr. and Mrs. Jon Kirchner Michael and Patricia Klowden Carol Krause Brett Kroha and Ryan Bean Joan and Chris Larkin James D. Laur Craig Lawson and Terry Peters Mr. Tom Leanse Mr. Robert Leevan Andrew and Grace Liang

Ms. Joanne Lindquist Jeffrey and Lori Litow Family Trust Long Beach Auxiliary Mr. Jerry Longarzo and Ms. Diana Longarzo Anita Lorber Susan Disney Lord and Scott Lord Los Angeles Philharmonic Committee Mr. and Mrs. Ronald Manzani Mona and Frank Mapel Mr. Allan Marks and Dr. Mara Cohen Mr. and Mrs. Stanley Maron Paul Martin Milli M. Martinez and Don Wilson Vilma S. Martinez, Esq. Ms. Phyllis Massino Dr. and Mrs. Allen W. Mathies Mr. Gary J. Matus Mr. William McCune Mrs. Velma V. McKelvey Kelly Sutherlin McLeod and Steven B. McLeod Mr. Sheldon and Dr. Linda Mehr Robert L. Mendow Mr. and Mrs. David Michaelson Ms. Barbara J. Miller Janet Minami Mr. and Mrs. William Mingst Cynthia Miscikowski Robert and Claudia Modlin Linda and John Moore Harvey Motulsky and Lisa Norton Mr. Jose Luis Nazar Mr. and Mrs. Robert Neely Mr. Richard Newcome and Mr. Mark Enos Dick and Chris Newman / C & R Newman Family Foundation Mahnaz and David Newman Ms. Kimberly Nicholas Steven A. Nissen Howard and Inna Ockelmann David Olson and Ruth Stevens Ms. Jean Oppenheimer Mr. and Mrs. Richard Orkand

Kim and P.F. James Overton Ms. Melissa Papp-Green Patricia Pengra Mary E. Petit and Eleanor Torres Mr. Brian Platz Mr. Jeff Polak and Mrs. Lauren Reisman Polak Lyle and Lisi Poncher Mrs. Ruth S. Popkin Andrew Powell Joyce and David Primes Ms. Miriam Rain Dr. Robert Rauschenberger Rita and Norton Reamer Ms. Pamela P. Reis Dr. Susan F. Rice Christine Robert Robinson Family Foundation Rock River Mrs. Laura H. Rockwell Mr. and Mrs. William C. Roen Lois Rosen Mrs. Jaclyn Rosenberg Dr. James M. Rosser Mr. Steven F. Roth Mimi Rotter Dr. Michael Rudolph S.S. Russin III Living Trust Ann M. Ryder San Marino-Pasadena Philharmonic Committee Britta Lindgren Dr. and Mrs. Heinrich Schelbert Elliot Gordon and Carol Schwartz Carol (Jackie) and Charles Schwartz Michael Sedrak Dr. and Mrs. Hervey Segall Ms. Amy J. Shadur-Stein Ruth and Mitchell Shapiro Mr. Steven Shapiro Hope and Richard N. Shaw Mrs. Elise Sinay Spilker H. Russell Smith Foundation Mr. Steven Smith Dr. Michael Sopher and Dr. Debra Vilinsky SouthWest Heights Philharmonic Committee Shondell and Ed Spiegel Mr. Donald Spuehler and Mrs. Jill Roth Spuehler

Ms. Angelika Stauffer Mr. Scott Stephens Mr. Adrian B. Stern Takehiko Suzuki Mr. Marc A. Tamaroff Scott Thomas Mr. and Mrs. Harlan H. Thompson Ms. Evangeline M. Thomson Arlette M. Towner Mr. and Mrs. Jim Tranovich Mr. and Mrs. Leonard Unger Kathy Valentino The Valley Committees for the Los Angeles Philharmonic Mr. and Mrs. Peter J. Van Haften VIP Rubber Company Jenny Vogel Mr. Jules Vogel Felise Wachtel Christopher V. Walker Mr. Darryl Wash Craig R. Webb and Melinda Taylor Mr. William A. Weber Rose and Ben Weinstein Ms. Abby Weiss and Mr. Ray F. Weiss Mr. and Mrs. Doug M. Weitman Robert and Penny White Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Linda and John Woodall Mr. Kevin Yoder Mrs. Lillian Zacky Rudolf H. Ziesenhenne Mr. Sanford Zisman and Ms. Janis Frame

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

26 PERFORMANCES MAGAZINE

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Ye Olde King’s Head

World Famous British Pub, Restaurant, Shoppe & Bakery

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

CITY COUNCIL

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

British Fare, imported beers and world famous Fish & Chips.

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DEPARTMENT OF CULTURAL AFFAIRS

Danielle Brazell General Manager

CULTURAL AFFAIRS COMMISSION

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

WALT DISNEY CONCERT HALL HOUSE STAFF

Ronald H. Galbraith Master Carpenter John Phillips Property Master Marcus Conroy Master Electrician Kevin F. Wapner Master Audio/Video Greg Flusty House Manager The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada, Local No. 33.

PERFORMANCES MAGAZINE 27

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Welcome to The Music Center!

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

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

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

2021/2022 BOARD OF DIRECTORS

OFFICERS

GENERAL COUNSEL

Cindy Miscikowski Chair

Rollin A. Ransom

Robert J. Abernethy Vice Chair

DIRECTORS EMERITI

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

MEMBERS AT LARGE

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

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

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

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

Hilda L. Solis Chair, First District

Janice Hahn Supervisor, Fourth District

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Holly J. Mitchell Chair Pro Tem, Second District

Sheila Kuehl Supervisor, Third District

Kathryn Barger Supervisor, Fifth District

10/10/21 1:57 PM

MON 1 NOV / 5:30 a.m.

Grand Park’s Downtown Día de los Muertos TMC ARTS @ Grand Park Thru 11/2/2021 TUE 2 NOV / 7:30 p.m.

Alcina LA OPERA @ Dorothy Chandler Pavilion Thru 11/5/2021 WED 3 NOV / 7:30 p.m.

Tannhauser LA OPERA @ Dorothy Chandler Pavilion Thru 11/6/2021 SAT 6 NOV / 8:00 p.m.

Reich, Adams, and Rachmaninoff LA PHIL @ Walt Disney Concert Hall Thru 11/7/2021 WED 10 NOV / 8:00 p.m.

RY X with the LA Phil LA PHIL @ Walt Disney Concert Hall THU 11 NOV / 8:00 p.m.

Colburn Celebrity Recital: Leonidas Kavakos and Yuja Wang LA PHIL @ Walt Disney Concert Hall FRI 12 NOV / 11:00 a.m.

Mozart and Ravel LA PHIL @ Walt Disney Concert Hall Thru 11/14/2021 FRI 19 NOV / 8:00 p.m.

Reel Change: Hildur Guðnadóttir LA PHIL @ Walt Disney Concert Hall SAT 20 NOV / 2:00 p.m.

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

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

SAT 20 NOV / 7:30 p.m.

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

WED 8 DEC / 8:00 p.m.

Colburn Celebrity Recital: Mahan Esfahani LA PHIL @ Walt Disney Concert Hall

SAT 20 NOV / 8:00 p.m.

Reel Change: Kris Bowers LA PHIL @ Walt Disney Concert Hall

SAT 11 DEC / 8:00 p.m.

Home Alone in Concert LA PHIL @ Walt Disney Concert Hall Thru 12/12/2021

SUN 21 NOV / 2:00 p.m.

Reel Change: Nicholas Britell LA PHIL @ Walt Disney Concert Hall TUE 23 NOV / 8:00 p.m.

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

Brahms and Korngold LA PHIL @ Walt Disney Concert Hall Thru 11/28/2021

TUE 14 DEC / 8:00 p.m.

A Chanticleer Christmas LA PHIL @ Walt Disney Concert Hall

NOV/DEC

Live at The Music Center

FRI 17 DEC / 8:00 p.m.

CeCe Winans . The Kingdom Choir LA PHIL @ Walt Disney Concert Hall

SAT 18 DEC / 11:30 a.m. & 2:30 p.m.

Holiday Sing-Along LA PHIL @ Walt Disney Concert Hall

SAT 27 NOV / 8:00 p.m.

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

SUN 19 DEC / 7:00 p.m.

Handel’s Messiah LOS ANGELES MASTER CHORALE @ Walt Disney Concert Hall

TUES 30 NOV / 8:00 p.m.

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

MON 20 DEC / 7:30 p.m.

40th Annual Messiah Sing-Along LOS ANGELES MASTER CHORALE @ Walt Disney Concert Hall

WED 1 DEC / 8:00 p.m.

Colburn Celebrity Recital: Jean-Yves Thibaudet LA PHIL @ Walt Disney Concert Hall FRI 3 DEC / 8:00 p.m.

Beethoven and Julia Adolphe LA PHIL @ Walt Disney Concert Hall Thru 12/5/2021 SAT 4 DEC / 2:00 p.m.

Festival of Carols LOS ANGELES MASTER CHORALE @ Walt Disney Concert Hall Thru 12/11/2021

TUE 21 DEC / 8:00 p.m.

Arturo Sandoval Big Band Swinging Holiday LA PHIL @ Walt Disney Concert Hall WED 22 DEC / 8:00 p.m.

The Doo Wop Project LA PHIL @ Walt Disney Concert Hall FRI 24 DEC / 3:00 p.m.

62nd Annual L.A. County Holiday Celebration TMC ARTS @ Dorothy Chandler Pavilion FRI 31 DEC / 7:00 p.m. & 10:30 p.m.

New Year’s Eve with Pink Martini LA PHIL @ Walt Disney Concert Hall

@musiccenterla

Photo: Will T. Yang for The Music Center

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A NEW DINING EXPERIENCE FROM CHEF RAY GARCIA

A CELEBRATION OF OUR CULTURAL & CULINARY DIVERSITY OPENING EARLY 2022

SCAN HERE TO STAY UP DATE ON ALL OUR NEW DINING EXPERIENCES DEBUTING SOON

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ON I T A R B E L E C THE HOLIDAY !

E V I L S N R U T RE December 24, 3 p.m. - 6 p.m.

At The Music Center’s Dorothy Chandler Pavilion & on PBS SoCal For more info:

HOLIDAYCELEBRATION.ORG

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HAVE A BALL THIS HOLIDAY SEASON! FAMILY-FRIENDLY SUNDAY MATINEES NOV 28 & DEC 12 EVENINGS: NOV 20, DEC 1, 4, 8

Cinderella L A CENERENTOL A

PHOTOS COURTESY DUTCH NATIONAL OPERA

Tickets for ALL Budgets

Half-Price Tickets for Children

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10/17/21 6:40 PM