Performances Magazine - LA Phil April 2019 by California Media Group

CENTENNIAL SEASON APRIL 2019

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APRIL 2019 CONTENTS

ABOUT THE LA PHIL

NEWS

CENTENNIAL SPOTLIGHT

SUPPORT THE LA PHIL

BOOK I • APRIL 5-10

BOOK 2 • APRIL 12-30

APR 5-7 Mirga Leads Tchaikovsky & Debussy

APR 12 & 13 Salonen’s Stravinsky: Rituals

APR 5 Monterey Jazz Festival on Tour SFJAZZ Collective

APR 14 Salonen’s Stravinsky: Faith

P14 APR 7 Organ Recital: Cameron Carpenter P18 APR 9 Chamber Music: All-Stravinsky P25 APR 10 Philharmonia Baroque Orchestra & Chorale

Cameron Carpenter

Kelley O’Connor

P11 APR 14 Sounds About Town P19 APR 18-20 Salonen’s Stravinsky: Myths P27 APR 21 Colburn Celebrity Recital: Murray Perahia P30 APR 26-28 Salonen Conducts Pines of Rome P35 APR 30 Chamber Music for Strings

Murray Perahia

2 PERFORMANCES MAGAZINE

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PERFORMANCES MAGAZINE is published monthly by Southern California Media Group to serve theatrical attractions throughout the west. © 2019 Southern California Media Group. All rights reserved. Southern California Media Group 3679 Motor Avenue, Suite 300, Los Angeles, CA 90034 Telephone: (310) 280-2880 FAX: (310) 280-2890

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LOS ANGELES PHILHARMONIC ASSOCIATION

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

Welcome! Igor Stravinsky first conducted the Los Angeles Philharmonic in 1935, on his first tour to the West Coast. He subsequently bought a house here and lived in Los Angeles for almost three decades, conducting the LA Phil a number of times and becoming a vital part of the L.A. arts community. This month Esa-Pekka Salonen, our Conductor Laureate, explores Stravinsky’s legacy in three thematic programs: Rituals, Faith, and Myths. These take us from the primal Rite of Spring, through the composer’s expressive rethinking of liturgical and memorial music, to the sensual melodrama Perséphone, staged by Peter Sellars with Cambodian dancers. Esa-Pekka and Stravinsky are a potent combination of long standing; see our Centennial Spotlight on pages 22 and 23 for more about them in an L.A. context. Salonen closes the month with a program of sumptuous delights that begins with an LA Phil-commissioned piece by one of his teachers – Franco Donatoni – and ends with the colorful spectacle of Respighi’s Pines of Rome. Widely acclaimed young pianist Igor Levit plays Ravel’s Concerto for the Left Hand, a masterpiece written for a pianist who lost his right arm in World War I. Mirga Gražinytė-Tyla, our former Associate Conductor and a rapidly rising star, launches the month with a brilliant program, featuring the astonishing Patricia Kopatchinskaja in Tchaikovsky’s evergreen Violin Concerto, the world premiere of SPIRA, an LA Phil commissioned piece from Unsuk Chin, and Debussy’s miracle of sonic suggestion, La mer. All of this, plus the Monterey Jazz Festival on Tour and the SFJAZZ Collective, iconoclastic organist Cameron Carpenter and legendary pianist Murray Perahia in recitals, Handel’s haunting dramatic oratorio Saul from Nicholas McGegan and his Philharmonia Baroque forces, two chamber music programs with some of our own resident LA Phil virtuosos, and a next-generation showcase of L.A. musicians with three crack ensembles from USC. Thank you for being here with us. It is never dull in Walt Disney Concert Hall!

DIRECTORS Gregory A. Adams Julie Andrews Wallis Annenberg Thomas L. Beckmen Lynn A. Booth Reveta F. Bowers Linda Brittan Jennifer Broder Kawanna Brown Andrea Chao-Kharma R. Martin Chavez Christian D. Chivaroli, JD Mari L. Danihel Donald P. de Brier* Kenneth M. Doran Louise D. Edgerton Lisa Field Joshua Friedman David Gindler Jennifer Miller Goff Lenore S. Greenberg Carol Colburn Grigor Megan Hernandez Teena Hostovich Jonathan Kagan* Sarah H. Ketterer Darioush Khaledi Dana Marevich Margaret Morgan

Younes Nazarian Becky Novy Leith O’Leary R. Joseph Plascencia Sandy Pressman Ann Ronus Jennifer Rosenfeld Laura Rosenwald Nancy S. Sanders* Eric L. Small G. Gabrielle Starr Jay Stein* Lisa Stevens Christian Stracke* Jason Subotky Ronald D. Sugar* Jack Suzar Sue Tsao Jon Vein Alyce de Roulet Williamson Irwin Winkler HONORARY LIFE DIRECTORS Lawrence N. Field Frank Gehry Ginny Mancini Bowen H. “Buzz” McCoy *Executive Committee Member as of January 1, 2019

Simon Woods Chief Executive Officer, Los Angeles Philharmonic Association

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ABOUT THE LA PHIL

Gustavo Dudamel Driven by an unwavering belief in the power of music to heal, unite, and inspire, Gustavo Dudamel is one of the most distinguished conductors of our day. From the great concert halls to classrooms, video screens, and movie theaters, Dudamel’s remarkable career of musical achievements and championing of access to the arts for young people around the world demonstrates music’s extraordinary capacity to transform people’s lives. Dudamel’s 2018/19 season will center around the Centennial celebration of the Los Angeles Philharmonic and his tenth year as its Music & Artistic Director. Other highlights of the season include his debut at the Metropolitan Opera conducting Verdi’s Otello; tours with the Berlin Philharmonic, Munich Philharmonic, and Mahler Chamber Orchestra; and his first extended academic residency at Princeton University. Under Dudamel’s direction, the LA Phil has become one of the leading orchestras in the world, admired for its unmatched commitment to new music, diversity and inclusion, and the development of groundbreaking digital initiatives. The celebration of the LA Phil’s 100th season showcases the extraordinary versatility and vision of both the orchestra and Dudamel himself, featuring more than 50 commissions. A lifelong advocate for music education and social development through art, Dudamel himself was shaped by his childhood experience with El Sistema, the extraordinary program of immersive musical training initiated in 1975 by José Antonio Abreu. Entering his 19th year as Music Director of the Simón Bolívar Symphony

Orchestra, Dudamel also carries on the work of his late mentor with his ongoing commitment to El Sistema in Venezuela, and by supporting numerous Sistemainspired projects around the world. One of the few classical musicians to truly reach mainstream audiences while maintaining the highest musical integrity, Gustavo Dudamel has been featured three times on CBS’ 60 Minutes and was the subject of a PBS special, Dudamel: Conducting a Life. He had a cameo role in Amazon Studio’s award-winning series Mozart in the Jungle and, together with members of YOLA, became the first classical musician to participate in the Super Bowl Halftime Show, appearing alongside pop stars Coldplay, Beyoncé, and Bruno Mars. At John Williams’ personal request, Dudamel guest-conducted on the soundtrack for Star Wars: The Force Awakens; he also recorded James Newton Howard’s soundtrack to Disney’s holiday blockbuster The Nutcracker, in which he makes an on-screen cameo. Dudamel’s cinema, TV, radio, and online broadcasts have reached hundreds of millions of people around the world. Dudamel’s Grammy Award®-winning discography includes landmark recordings of John Adams’ Gospel According to the Other Mary (commissioned and performed by the Los Angeles Philharmonic) and the soundtrack to the motion picture Libertador, for which Dudamel composed the score. Dudamel has independently produced an all-Wagner recording available exclusively for download and streaming, a set of the complete Beethoven symphonies from Barcelona’s

Palau de la Música, and a broadcast of two Stravinsky ballets in cooperation with the Berlin Philharmonic’s Digital Concert Hall. Gustavo Dudamel is one of the most decorated conductors of his generation. He received the Páez Medal of Art in 2018, the Americas Society Cultural Achievement Award in 2016, and the 2014 Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society from the Longy School of Music. He was named Musical America’s 2013 Musician of the Year and was voted into the Gramophone Hall of Fame. Gustavo Dudamel was born in 1981 in Barquisimeto, Venezuela. His conducting studies began in 1993 when he was hired as an Assistant Conductor with the Amadeus Chamber Orchestra. In 1999, he was appointed Music Director of the Simón Bolívar Youth Orchestra. Inspired by Dudamel’s early musical and mentoring experiences, the Gustavo Dudamel Foundation, a registered charity, was created in 2012. For more information about Gustavo Dudamel, visit his official website: gustavodudamel.com. You can find more about the Gustavo Dudamel Foundation at dudamelfoundation.org.

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Tuesday–Saturday • May 28–June 1, 2019

Tuesday–Saturday • May 28–June 1, 2019 Join us when 15 of the finest young Join us when 15 of the finest young classical guitarists classical guitarists on the on the planet converge onplanet Malibu for this thrilling competition with $65,000 inthrilling cash awards at stake. converge on Malibu for this competition with $65,000 in cash The excitement culminates in the final round on awards at June stake.1, when the three finalists perform with Saturday, a live orchestra and compete for the top cash awards, as well as gold, silver, and bronze medals. The excitement culminates in the final round on Saturday, MayPRELIMINARY 30, when the three finalists ROUND AND SEMIFINAL perform with theROUND Young Musicians Thursday, May 30, 9 am and Foundation Debut Orchestra. Friday, May 31, 1 pm $25 per day Smothers Theatre PRELIMINARY ROUND AND SEMIFINAL ROUND

Thursday (9 am) and Friday (1 pm) FINAL ROUND AND May 28 and 29 AWARDS CEREMONY $25 per day Saturday, June 1, 7:30 pm Smothers Theatre $70 • $40 FINAL ROUND AND Smothers Theatre, black tie optional AWARDS CEREMONY Saturday, May 30 7:30 pm will $70 •also $60 • $40 There be a

special two-day competition for classical guitarists There willthe also be a special under age of 18 on May 28–29. Smothers Theatre, black tie optional two-day competition for classical guitarists under the age of 18 on May 26–27.

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Los Angeles Philharmonic Now in its Centennial season, the Los Angeles Philharmonic has redefined what an orchestra can be. Under the vibrant leadership of Music & Artistic Director Gustavo Dudamel since 2009, it presents an inspiring array of music through a commitment to foundational works and adventurous explorations. At home and abroad, the LA Phil — recognized as one of the world’s outstanding orchestras — leads the way in groundbreaking and diverse programming that demonstrates the orchestra’s artistry and vision, on stage and in the community. The LA Phil performs or presents more than 250 concerts annually at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the finest artists from all genres of music. The orchestra’s involvement with Los Angeles extends far beyond the Concert Hall, with wide-ranging performances in the schools, churches, and neighborhood centers of a vastly diverse community. Among its influential and multifaceted education initiatives is Youth Orchestra Los Angeles (YOLA), inspired by Venezuela’s revolutionary El Sistema. Through YOLA, the LA Phil and its community partners provide free instruments, intensive music instruction, and leadership training to nearly 1,200

students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change. The orchestra also undertakes tours, including regular visits to New York, Paris, and Tokyo, among other cities. The Philharmonic is now the International Orchestral Partner at London’s Barbican Centre. The orchestra’s very first tour was in 1921, and the Philharmonic has toured every season since 1969/70. The LA Phil has a substantial catalog of concerts available online, including the first full-length classical music video released on iTunes. The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a millionaire and amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929); Artur Rodziński (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Eduard van Beinum (1956-1959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (1992-2009); and Gustavo Dudamel (2009-present).

“So far ahead of other American orchestras that it is in competition mainly with its own past achievements.” — The New Yorker’s Alex Ross

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

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

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

FIRST VIOLINS Martin Chalifour Principal Concertmaster

SECOND VIOLINS

BASSES

BASSOONS

PERCUSSION

Lyndon Johnston Taylor Principal

Christopher Hanulik Principal

Whitney Crockett Principal

Matthew Howard Principal

Oscar M. Meza Assistant Principal

Shawn Mouser Associate Principal

David Allen Moore

Michele Grego Evan Kuhlmann

James Babor Perry Dreiman Wesley Sumpter*

Dorothy Rossel Lay Chair

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

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 Rochelle Abramson Camille Avellano Margaret and Jerrold L. Eberhardt Chair

Mark Baranov Minyoung Chang

I.H. Albert Sutnick Chair

Miika Gregg Mischa Lefkowitz Edith Markman Mitchell Newman Stacy Wetzel

VIOLAS Teng Li Principal John Connell Chair

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

CELLOS Robert deMaine Principal Bram and Elaine Goldsmith Chair

Ben Hong Associate Principal Sadie and Norman Lee Chair

Ted Botsford Jack Cousin Jory Herman Brian Johnson Peter Rofé Michael Fuller* Dennis Trembly Principal Bass Emeritus

FLUTES Denis Bouriakov Principal Virginia and Henry Mancini Chair

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

Elise Shope Henry Mari L. Danihel Chair

Sarah Jackson Piccolo Sarah Jackson

OBOES Vacant Principal Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove

Andrew Bain Principal Jaclyn Rainey Associate Principal Gregory Roosa

Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP Lou Anne Neill

Loring Charitable Trust Chair

Brian Drake

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

TROMBONES

CLARINETS

James Miller Associate Principal

Boris Allakhverdyan Principal Michele and Dudley Rauch Chair

Jonathan Karoly

Andrew Lowy David Howard

David Garrett Barry Gold Jason Lippmann Gloria Lum

E-Flat Clarinet Andrew Lowy Bass Clarinet David Howard

LIBRARIANS Kazue Asawa McGregor Kenneth Bonebrake Stephen Biagini

Alan Scott Klee Chair

Amy Jo Rhine

English Horn Carolyn Hove

Burt Hara Associate Principal

Serge Oskotsky Brent Samuel

HORNS

KEYBOARDS

John Cecil Bessell Chair

Dahae Kim Assistant Principal

Linda and Maynard Brittan Chair

Contrabassoon Evan Kuhlmann

David Rejano Cantero Principal

Judith and Thomas L. Beckmen Chair

Paul Radke

PERSONNEL MANAGER Jeffrey Neville

CONDUCTING FELLOWS Nuno Coelho Stephen Mulligan Elena Schwarz Jesús Uzcátegui * Resident Fellows The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically. In those sections where there are two principals the musicians share the position equally and are listed in order of length of service. The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

Bass Trombone John Lofton

TUBA Norman Pearson

TIMPANI Joseph Pereira Principal Cecilia and Dudley Rauch Chair

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NEWS

New Recording Contract Deutsche Grammophon and the LA Phil have entered a major new recording contract that will capture more than 28 concerts with Gustavo Dudamel and the LA Phil. As a capstone to the LA Phil’s Centennial and a companion to Past/Forward: The LA Phil at 100 - a two-volume, slip-cased coffee-table book addressing the history and future of the LA Phil - Deutsche Grammophon will also release a 32-CD / 3-DVD box set of LA Phil recordings, including concerts and sessions from 1928 through the present.

Also scheduled for release in the 2018/19 season is a new 2-CD set of the music of John Williams, recorded live in January at the all-Williams concerts that Dudamel conducted in celebration of his friend and colleague. Later releases will include Dudamel conducting Schumann’s Symphonies Nos. 1-4, recorded in May 2018, and Andrew Norman’s Sustain, premiered to rave reviews by the LA Phil last season. The new recordings feature audiophile sonics by Grammy®-Award-winning producer and engineer Dmitriy Lipay.

Paul Cressey Photography

Symphonies for Schools

Film composer Michael Giacchino hosting Symphonies for Schools for secondary students; Elementary grade students arriving at Walt Disney Concert Hall for Symphonies for Schools.

In February, the LA Phil presented its annual Symphonies for Schools (SFS). Supported by The Walt Disney Company, SFS is an awardwinning, free concert series that brings more than 12,000 students from schools across Southern California to Walt Disney Concert Hall each year. Many of the students who participate in SFS have never been to the Hall nor experienced an orchestral concert. The LA Phil weaves theatrical elements into the concerts, which explore complex themes in the music, add cultural context, and provide an historical background. This year’s elementary school program explored the music and world of William Grant Still and the Harlem Renaissance, connecting with students’ learning about Black History Month in schools and the LA Phil’s main stage programming in February that featured Still’s music. The secondary school program was hosted by celebrated film composer Michael Giacchino, who walked students through the process of scoring a film and connected some of today’s most iconic film scores to the pieces of orchestral music that inspired them. Giacchino’s film music program included four pieces of music written by high schoolaged composers in the LA Phil’s Nancy and Barry Sanders Composer Fellowship Program

(CFP). Each CFP composer scored the same moment from 2016’s Star Trek Beyond, but with a different emotional underpinning to the scene. Composer Fellow Katie Pieschala said of the experience, “To have an orchestra of this caliber play my music is just exciting. Writing for film, you have a specific storyline to follow and a timing, which presents challenges, but also, in a way, guides your piece because you can rely on the emotional framework of the scene.” Symphonies for Schools is supported by The Walt Disney Company, Max H. Gluck Foundation, and the LA Phil’s wide network of donors, whose generosity opens the doors of Walt Disney Concert Hall to young audiences every year.

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COMING SOON

Gustavo Dudamel and the LA Phil; Susanna Mälkki; Leila Josefowicz

2019/2020 Season Announced The Los Angeles Philharmonic’s new century, its 101st season, also marks a new decade for Gustavo Dudamel as its Music & Artistic Director. Dudamel begins the new season with seven different programs, including previews of two stunning lineups that will be toured in three countries. The repertory ranges from symphonies by Beethoven and Bruckner, through favorites composers of the Americas, all the way to recent works by John Adams and Andrew Norman. Joining Dudamel will be artists such as pianists Jean-Yves Thibaudet, Yuja Wang, and Seong-Jin Cho. Subscriptions are available now, Create Your Own packages will become available April 2, and single tickets go on sale August 25. “As the LA Phil begins its second century, and me, my second decade, you can see that we have reaffirmed our commitment to recognizing and respecting the past and redefining the future of classical music,” Dudamel said. “I couldn’t be prouder of this season,

which is as beautiful, diverse, inclusive, and eclectic as Los Angeles itself. “ Dudamel will conduct 17 different programs throughout the 2019/20 season, in a musical spectrum that ranges from Mozart, Adams, and Ginastera to Schoenberg’s vast, late-Romantic Gurrelieder, and a fully staged version of Sondheim’s Sunday in the Park with George. John Adams, the LA Phil’s Creative Chair, will once again organize the bold, forward-looking Green Umbrella series, including the annual Noon to Midnight new-music marathon, culminating this season with a collaboration between composer Steve Reich and visual artist Gerhard Richter. Principal Guest Conductor Susanna Mälkki will return with performances of LA Phil commissions paired with historic repertoire and collaborations with star violinist Leila Josefowicz. Carrying forward the LA Phil’s commitment to contemporary music, the 2019/20 season will include premieres of 22 LA Phil

Photo: Arnaud Pyvka

LA Phil Launches Second Century

T L

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COMING SOON

commissions. Six LA Phil commissions from past seasons will also return, solidifying their place in today’s orchestral repertoire. These highlights will run throughout 2019/20 and will include a season-spanning focus on the music of Andrew Norman. A Gala for Three A once-in-a-lifetime Gala on October 24 will mark the turning of the century, as Dudamel, Conductor Laureate Esa-Pekka Salonen, and Conductor Emeritus Zubin Mehta take turns leading the LA Phil in repertoire closely identified with each, then join forces on the podium for the world premiere of a Daníel Bjarnason composition for orchestra with three conductors. And then, as part of the grand finale to the Centennial, and launch of the second century, all three Music Directors will perform their own individual concerts with signature programs: Mehta with Mahler, Salonen with Sibelius, and Dudamel with a program of Beethoven’s Ninth paired with the world premiere of an LA Phil commission by Gabriela Ortiz for chorus and orchestra. In the Community The LA Phil will continue to expand into the many communities of Los Angeles, including a series of three pre-season concerts conducted by LA Phil Assistant Conductor Paolo Bortolameolli. An extraordinary Power to the People! festival, co-curated by Dudamel and William Powers & Carolyn Powers Creative Chair for Jazz Herbie Hancock, will explore the concern for humanitarian issues that animates so much great music. Reaching further, the LA Phil will tour in 2019/20, traveling to Mexico, Boston, New York, and London, where it will celebrate the first of its three years as the International Orchestral Partner for the Barbican Centre. The LA Phil will also start an ongoing commitment to bringing to the surface the relevant contemporary ideas and issues that run through its programming with a new strand of humanities work intended to convene civil discourse about the sociocultural, political, and community-related themes of the works performed on stage.

" m a w h —

Jazz, World Music, and Songbook Jazz concerts in 2019/20, curated by Herbie Hancock, will feature a celebration of Wayne Shorter with members of his quartet and special guests Terence Blanchard, Kenny Garrett and Joe Lovano, plus West Coast trumpeter Ambrose Akinmusire playing selections from his album Origami Harvest; Christian McBride and Laurie Anderson in collaboration with cellist Rubin Kodelhi; and a big-band line-up of the Maria Schneider Orchestra and the Anat Cohen Tentet. World Music programs will range from the British duo The Cinematic Orchestra through Tune-Yards to The Chieftains in their Irish Goodbye Tour, plus Anoushka Shankar and Norah Jones – Family and Friends Celebrate the Centenary of Ravi Shankar on May 19. The Songbook series this season will include an evening with Melissa Etheridge, an acoustic evening with Jason Isbell, and a performance by Cécile McLorin Salvant of her song cycle Ogresse (also part of the Power to the People! festival). Sylvan Esso presents “WITH,” a special concert that finds them expanding on their emotionally wrenching electro-pop with warm full-band arrangements. Distinguished Guest Artists As always, Walt Disney Concert Hall will welcome an exceptional roster of guest artists. Recitalists include violinist Joshua Bell, violinist Ray Chen, pianist Yuja Wang, pianist Hélène Grimaud, pianist Conrad Tao, participants from the Piatigorsky International Cello Festival, pianist Yefim Bronfman, and pianist Lang Lang. Organists include Jane ParkerSmith, Christian Schmitt, Wayne Marshall, and Monica Czausz. Ensembles scheduled to take the stage are the Academy of Ancient Music, Hespèrion XXI/La Capella Reial de Catalunya led by Jordi Saval, Boston Baroque, the Chinekel Orchestra with pianist Stewart Goodyear, and Les Violons du Roy.

Esa-Pekka Salonen; Yuja Wang; Lang Lang; Cécile McLorin Salvant

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IN MEMORIUM

André Previn 1929-2019 The Los Angeles Philharmonic family was greatly saddened by the death of André Previn, former LA Phil Music Director and one of the world’s most esteemed and multifaceted musicians, in February. Displaying prodigy-level talent on the piano, André Previn entered the Berlin Hochschule für Musik at the age of six. His family fled Nazi Germany in 1938, however, stopping for a year in Paris, where Previn studied with Marcel Dupré at the Conservatory. The following year the family moved to Los Angeles, where his father’s cousin Charles Previn was music director at Universal Studios. André Previn studied composition with other emigres – Joseph Achron, Ernst Toch, and Mario Castelnuovo-Tedesco – and started working in the MGM studios even before graduating from high school. While stationed in San Francisco in the military, he studied conducting with Pierre Monteux. As a music director for MGM he won four

County of Los Angeles

Academy Awards for orchestration. Previn made his Hollywood Bowl debut in 1948, playing Rachmaninoff’s Rhapsody on a Theme of Paganini with the Hollywood Bowl Orchestra under Miklós Rózsa, and he first appeared as a conductor in 1960, leading an all-Gershwin program at the Bowl in which he was also the soloist in the Concerto in F. In 1985 he became the ninth Music Director of the Los Angeles Philharmonic. With the Philharmonic, he made a series of distinguished recordings, particularly of music by Prokofiev. As a pianist, he played concertos and collaborated frequently with Philharmonic musicians in chamber music performances. Previn was also a widely-performed composer of works ranging from film scores (Elmer Gantry, Bad Day at Black Rock), through concertos and song cycles, to operas (A Streetcar Named Desire). He won 10 Grammys, plus the Lifetime Achievement Award.

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

COUNTY ARTS COMMISSION

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

Betty Freeman

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

André Previn rehearsing the LA Phil in the Dorothy Chandler Pavilion.

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Executive Director, Thor Steingraber

Joshua Bell by Luque Photography

BALLET FOLKLÓRICO UNIVERSIDAD DE COLIMA PATRIA GRANDE (BIG HOMELAND) Fri May 3 | 8PM LAS CAFETERAS Sat May 4 | 8PM FIESTA CON SONIA DE LOS SANTOS Sun May 5 | 3PM BELL-ISSERLIS-DENK TRIO Wed May 8 | 8PM

JOSHUA BELL RETURNS TO THE SORAYA

BELL-ISSERLIS-DENK TRIO | MAY 8

VIJAY IYER SEXTET Fri May 10 | 8PM Sat May 11 | 8PM AN EVENING WITH LEA SALONGA Wed May 22 | 8PM Thu May 23 | 8PM

TheSorayaStage | TheSoraya.org | (818) 677-3000

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CENTENNIAL SPOTLIGHT

SALONEN A N D ST R AV I N S K Y : TOGETHER AGAIN Stravinsky is endlessly fascinating. He is quite often compared to “Picasso, which is actually an acute comparison. They were always the hippest of the hip, hanging out with the coolest people of their time. But there is more than that; there is a profound similarity. There is a sort of chameleon-like personality that goes through endless rounds of metamorphosis. Esa-Pekka Salonen, our Conductor Laureate, is one of the world’s great Stravinsky conductors, and his Stravinsky with the LA Phil is a combination renowned for sonic thrills and intense drama. During his 17-year tenure as its Music Director (1992-2009), Salonen introduced the LA Phil to seven works by Stravinsky, including the Cantata, Mavra, The Rake’s Progress, Symphonies for Wind Instruments, and Les noces (in its orchestration by Steven Stucky). He turned to the composer often at key moments, including an all-Stravinsky residency at the Théâtre du Châtelet in Paris in the summer of 1996, the first gala in Walt Disney Concert Hall (October 23, 2003), and his last concert as Music

” — Esa-Pekka Salonen

Director (a double bill of Oedipus rex and Symphony of Psalms, staged by Peter Sellars, April 16-19, 2009). In several ways, Salonen was following in Stravinsky’s footsteps. Both were European modernists from cold northern cities who made their ways to Los Angeles. Both are composers and conductors, though Stravinsky conducted almost exclusively his own music; Stravinsky conducted the LA Phil a number of times. Salonen almost bought Stravinsky’s old house in Beverly Hills in 1996, before deciding that trying to compose with the ghost of the older composer looking over his shoulder was a bad idea. (The house was up for sale again last summer.)

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“It has always astonished me that people don’t realize Stravinsky was a Los Angeles composer,” Salonen said, prior to the Stravinsky Festival he and the orchestra put on in 2001. “So we’re giving this festival, and we’re doing things that have never been performed in Los Angeles before, like Mavra.” That month-long festival was a citywide celebration, as the LA Phil partnered many other Los Angeles organizations. Stravinsky also features prominently in Salonen’s discography with the LA Phil. They recorded “what we like to think of as our greatest party piece,” The Rite of Spring, for Deutsche Grammophon, and they did Stravinsky’s Violin Concerto twice, with Viktoria Mullova on Philips and Cho-Liang Lin on Sony. They also recorded the complete Firebird ballet as a download for DG. Salonen has cited Stravinsky as a master of harmony, orchestration, and “pulse as an active means of expression.” But though Stravinsky often said that music was – or should be – purely abstract, expressing nothing beyond itself, Salonen disagrees, even in Stravinsky’s own music. “I do detect a strong emotional content in this music, even in the most austere stuff he wrote towards the end of his life. I find it really touching.” In three programs over two weekends this month, Salonen explores Stravinsky’s groundbreaking rituals and myths, plus his haunting memorial and sacred music. The first program, “Rituals” (April 12-13), climaxes in The Rite of Spring, Salonen’s crackling speciality and a signature work with the LA Phil. For one afternoon only, “Faith” (April 14) tracks the fascinating

range of Stravinsky’s sacred vocal works, including three memorials celebrating great individuals whom he admired, plus his personal vision of a Requiem. Capping “Myths” (April 18-20), legendary director and longtime Salonen collaborator Peter Sellars stages Stravinsky’s narrated ballet of the Persephone myth in a luminous production with a Cambodian dance company.

Stravinsky by Picasso, 1920

PAST/FORWARD: THE LA PHIL AT 1OO Published on the occasion of the Los Angeles Philharmonic’s Centennial, Past / Forward: The LA Phil at 100 is a two-volume coffee table book that revisits the history of the LA Phil and contemplates the future of “America’s most important orchestra.” The publication offers an unconventional approach to institutional storytelling and includes more than 100 firsthand accounts, music director interviews by Pulitzer Prize winner Tim Page, 150 rarely seen archival photos, and contributions from L.A.-based artists. Available at the LA Phil Store and laphilstore.com PERFORMANCES MAGAZINE 23

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Endowment Donors We are honored to recognize donors to our Endowment Fund, whose generosity ensures a living tradition of world-class music at Walt Disney Concert Hall and the Hollywood Bowl. The following list represents contributions to the Los Angeles Philharmonic Endowment Fund. $25,000,000+ Walt and Lilly Disney Foundation Cecilia and Dudley Rauch

$20,000,000 TO $24,999,999 David Bohnett Foundation

$10,000,000 TO $19,999,999 The Annenberg Foundation Colburn Foundation

$5,000,000 TO $9,999,999 Lenore S. and Bernard A. Greenberg Fund Terri and Jerry M. Kohl Los Angeles Philharmonic Affiliates M. David and Diane Paul Ann and Robert Ronus Ronus Foundation John and Samantha Williams

$2,500,000 TO $4,999,999 Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Dunard Fund USA Elaine and Bram Goldsmith Carol Colburn Grigor Norman and Sadie Lee Foundation Alfred E. Mann Elise Mudd Marvin Trust Barbara and Jay Rasulo Flora L. Thornton

$1,000,000 TO $2,499,999 Linda and Robert Attiyeh Judith and Thomas Beckmen Gordon Binder and Adele Haggarty Helen and Peter Bing William H. Brady, III Linda and Maynard Brittan Richard and Norma Camp Mr. and Mrs. Michael J. Connell Mark Houston Dalzell and James Dao-Dalzell Mari L. Danihel Nancy and Donald de Brier The Walt Disney Company Fairchild-Martindale Foundation Eris and Larry Field Reese and Doris Gothie Janeway Foundation Bernice and Wendell Jeffrey Carrie and Stuart Ketchum Kenneth N. and Doreen R. Klee B. Allen and Dorothy Lay Karl H. Loring Los Angeles Philharmonic Committee Estate of Judith Lynne

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

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

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

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

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 Freya and Mark Ivener Ruth Jacobson Jo Ann and Charles Kaplan Susanne and Paul Kester Vicki King Sylvia Kunin Ann and Edward Leibon Ellen and Mark Lipson B. and Lonis Liverman Glen Miya and Steven Llanusa Ms. Gloria Lothrop Vicki and Kerry McCluggage Diane and Leon Morton Mary Pickford Foundation Sally and Frank Raab Malcolm Schneer and Cathy Liu David and Linda Shaheen Foundation William E.B. and Laura K. Siart Magda and Frederick R. Waingrow Wasserman Foundation Robert Wood Syham Yohanna & James W. Manns

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

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

LOS ANGELES PHILHARMONIC MUSICIANS Anonymous Kenneth Bonebrake Nancy and Martin Chalifour Brian Drake Perry Dreiman Barry Gold Christopher Hanulik Jory and Selina Herman Ingrid Hutman Gloria Lum Joanne Pearce Martin Kazue Asawa McGregor Oscar and Diane Meza Mitchell Newman Peter Rofé Meredith Snow and Mark Zimoski Barry Socher Paul Stein Leticia Oaks Strong Lyndon and Beth Jonston Taylor Dennis Trembly Allison and Jim Wilt Suli Xue We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Development Office at 213 972 0757. Thank you.

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Corporate, Foundation, and Government Gifts We are honored to recognize corporate, foundation, and government donors who generously support the mission of the Los Angeles Philharmonic Association: to perform, present, and promote music in its many varied forms at the highest level of excellence to a large and diverse audience. We are deeply grateful for the following contributions to the Los Angeles Philharmonic and the Hollywood Bowl received between February 2018 and February 19, 2019.

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

Lloyd E. Rigler - Lawrence E. Deutsch Foundation Maestro Fund

$500,000 TO $999,999 Anonymous Acura

American Airlines, Inc.

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

Andrew W. Mellon Foundation Pasadena Showcase House for the Arts Rolex Watch USA, Inc. The Rose Hills Foundation Target Corporation

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

Pepsi Rosenthal Family Foundation Viking Cruises Wells Fargo Foundation Winc

$50,000 TO $99,999 The José Iturbi Foundation The Kimpton Everly The Norman and Sadie Lee Foundation Los Angeles County Arts Commission City of Los Angeles, Department of Cultural Affairs

The Music Man Foundation National Endowment for the Arts Transit Systems Unlimited Inc. Zevia

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

Harman Family Foundation Merrill Lynch and Co., Inc. Meyer Sound Laboratories, Inc. The Jay and Rose Phillips Family Foundation of California Ross Endowment Fund Virginia B. Toulmin Foundation

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

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

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Directed & Choreographed by

SPENCER LIFF

(Broadway’s Head Over Heels, Falsettos, Falsettos Emmy nominee for “So You Think You Can Dance”)

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LOS ANGELES PHILHARMONIC PROGRAM

Friday, Apr 5, 2019 11AM

Saturday, Apr 6 8PM

Sunday, Apr 7 2PM

Mirga Leads Tchaikovsky & Debussy LOS ANGELES PHILHARMONIC

Mirga Gražinytė-Tyla, conductor Patricia Kopatchinskaja, violin

TCHAIKOVSKY Violin Concerto in D major, Op. 35 (c. 35 minutes) Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo

Patricia Kopatchinskaja

INTERMISSION

Unsuk CHIN DEBUSSY

SPIRA, A Concerto for Orchestra (world premiere, LA Phil commission) (c. 20 minutes) La mer (c. 25 minutes) De l’aube à midi sur la mer Jeux de vagues Dialogue du vent et de la mer

Official Timepiece of the Los Angeles Philharmonic The 100 for the 100th: Be Our Guest program provides community members with 100 free tickets to 100 concerts throughout the Centennial season. Tickets for Saturday’s concert were generously underwritten in memory of Gunjit and Margarete Sikand / The Sikand Foundation. Sunday’s performance is made possible in part by the generous support of the Kohl Virtuoso Violin Fund.

4/7 Generously sponsored by Pasadena Showcase House for the Arts Programs and artists subject to change.

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ABOUT THE PROGRAM

Violin Concerto in D major, Op. 35 PETER ILYICH TCHAIKOVSKY Composed: 1878 ORCHESTRATION 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, strings, and solo violin

COMPOSER PROFILE

FIRST LOS ANGELES PHILHARMONIC PERFORMANCE January 7, 1921 with violinist Max Rosen, Walter Henry Rothwell conducting

Born: 1840, Votkinsk, Russia Died: 1893, St. Petersburg, Russia

Talking about what he called his “whole Earth theory of music,” pianist Christopher O’Riley once described the movements of a classical sonata or concerto as “head, heart, and dancing feet.” The typical opening movement is in the so-called “sonata form” — exposition, development, recapitulation — of tonal dialectics and motivic dissection. The lyrical slow movement represents the emotional core of the work, and the finale is usually a sprightly rondo, witty and nimble. This “head, heart, and dancing feet” characterization works well enough for Tchaikovsky’s Violin Concerto. The realization of the form, of course, is Tchaikovsky puro, endlessly graceful in melody and passionate in expression. The immediate inspiration was Édouard Lalo’s Symphonie espagnole, a vivid manifestation of similar traits (and a violin concerto in all but name). Tchaikovsky was at Clarens, in Switzerland, after months of travel recuperating from the self-inflicted trauma of his marriage the year before. His brother Modest was with him, and a group of friends including the young violinist Yosif Kotek. For communal entertainment they played through new music, including Lalo’s concerto, which had generated a huge stir when the great Spanish virtuoso Pablo de Sarasate had given the premiere in Paris in 1875. What Tchaikovsky found in the Symphonie espagnole was “freshness, piquant rhythms, [and] beautifully harmonized melodies,” from a composer who “studiously avoids all commonplace routine, seeks new

forms without wishing to appear profound, and, unlike the Germans, cares more for musical beauty than for mere respect for the old traditions,” as Tchaikovsky wrote to his new patroness, Nadezhda von Meck. For her part, Madame von Meck found Tchaikovsky’s first movement, the brainy head, too “cerebral.” Tchaikovsky wrote back: “I must defend a little the first movement. Of course it houses, as does every piece that serves virtuoso purposes, much that appeals chiefly to the mind; nevertheless, the themes are not painfully evolved. The plan of this movement sprang suddenly in my head, and quickly ran into its mold. I shall not give up hope that in time the piece will give you greater pleasure.” This movement is one of sweeping melodies, decorated with virtuoso flourishes of great technical brilliance covering the full range of the instrument. The cadenza is Tchaikovsky’s own, and further develops the material. Madame von Meck was not the only one to have problems with this piece. Tchaikovsky dedicated it to Leopold Auer, the Hungarian violinist teaching in Saint Petersburg and concertmaster of the Imperial Orchestra, as something of a fait accompli in the already printed piano score. Auer considered some of the solo part unidiomatic and declined to play it, as did — much to the composer’s chagrin — Kotek. Everyone, however, was in agreement about the heart of the concerto, the Canzonetta (“Little song”). Auer remarked on the “charm of the sorrowfully inflected

Peter Ilyich Tchaikovsky

Tchaikovsky was a Romantic master who successfully merged nationalistic energies with the Classical tradition. His gift for the apt melodic expression of strong emotion and his sense of rhythmic character helped make masterpieces of theater works such as the opera Eugene Onegin and the ballets Swan Lake and The Nutcracker. The intensity of his music brought it immediate success and has kept it popular with every succeeding generation of music lovers. His music has been a staple of the LA Phil – like almost every orchestra in the world – since its first season. It is a particular favorite of current Music & Artistic Director Gustavo Dudamel, who has programmed it prominently and often, including TchaikovskyFest in 2014. Further listening: Symphonies Nos. 1-6 Los Angeles Philharmonic Zubin Mehta (Decca) The Nutcracker (1892) Los Angeles Philharmonic, Gustavo Dudamel (DG)

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ABOUT THE PROGRAM

second movement,” and even the celebrated critic Eduard Hanslick found the work “not without genius” at its Vienna premiere. That assignment had fallen to Adolf Brodsky, who prepared his part well, but found himself tremulously accompanied by the usually reliable Hans Richter and the Vienna Philharmonic on the wan strength of a single rehearsal. The Canzonetta, Hanslick wrote, “is well on the way to reconciling us and winning us over when, all too soon, it breaks off to make way for a finale that transports us to

the brutal and wretched jollity of a Russian church festival.” That would be those dancing feet which so offended Hanslick. Tchaikovsky does indeed quote Russian folk material there, but with joyous revelry, not wretched jollity. The finale exults in sheer physicality, in sudden shifts of mood and meter, and in a gleeful fiddling essence unfettered by “mere respect for the old traditions” of proper Germanic concerto writing. — John Henken

Unsuk Chin

Born: 1961, Seoul, South Korea

SPIRA, A Concerto for Orchestra UNSUK CHIN Composed: 2019 ORCHESTRATION 3 flutes (2nd = alto flute, 3rd = piccolo), 3 oboes (3rd = English horn), 4 clarinets (2nd = E-flat clarinet), 3 bassoons (3rd = contrabassoon), 6 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (2 vibraphones, washboard, guiro, triangle, chimes, flextone, 2 metal blocks, crotales, 3 suspended cymbals, snare drums, bass marimba, xylophone, splash cymbal, 3 tam-tams, crash cymbals, tambourine, glockenspiel, bass drum, thunder sheet), harp, piano (= celesta), & strings FIRST LOS ANGELES PHILHARMONIC PERFORMANCES (world premiere)

Among the musical institutions I have worked with frequently, the decade-long working relationship with the Los Angeles Philharmonic has been among the most inspiring ones. These wonderful experiences inspired me to write SPIRA, a concerto for orchestra. What fascinates me about this chameleonic genre is not only that it challenges musicians to peaks of virtuosity, but especially that it can coax unprecedented textures, sonorities, and forms from the symphony orchestra. The orchestra can be presented as one entity, a “super-orchestra,” but also in various chamber-like combinations, and one can also highlight a certain section or even single musicians as soloists. Another major influence was the bio-

COMPOSER PROFILE

logical process of growth and metamorphosis, with complex material evolving from simple germ motives in unexpected ways. SPIRA, the title of the work, is derived from the concept of the self-similar spiral curve (also called “growth spiral”), which was nicknamed Spira mirabilis (marvelous spiral”) by the 17th-century mathematician Jacob Bernoulli. In this case, the resonance of the vibraphone constituted the sonic “ur-cell,” calling forth manifold colors and intricate textures, as if zooming in with a microscope to research the inner life of sound, on the molecular level, and uncover previously invisible structures. Two vibraphones are placed spatially apart, each one with an additional musician being in charge of the

As a child born and raised during a time of immense difficulty in the history of South Korea, Unsuk Chin was almost exclusively selftaught, learning the basics of music theory and piano from her father. She began her formal training at Seoul National University, where she was introduced to post-war, avant-garde Western compositional techniques and electronic music. In 1985, she relocated to Hamburg, where she studied composition with György Ligeti until 1988. In 2004, her Violin Concerto earned the Grawemeyer Award. In 2007, her first opera, Alice in Wonderland, was premiered at the Bavarian State Opera; it was subsequently released on DVD and Blu-Ray, and was restaged by the LA Phil at Walt Disney Concert Hall in 2015. Chin’s compositions are known for their virtuosity and playfulness, meshing a musical language steeped in nonEuropean influences with modern techniques that push the boundaries of Western structure. Further Listening: Violin Concerto (2001) Viviane Hagner; Montreal Symphony Orchestra, Kent Nagano (Analekta) Fantasie mécanique (1994/1997) Ensemble Intercontemporain (Deutsche Grammophon)

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controller and regulating the instruments’ resonance up from zero to the maximum. The resonance of the two vibraphones runs through the whole work as a kind of “halo,” but it constantly varies in detail, which results in complex interferences and changing rhythmic patterns. At some point, this concept is taken over by the string section in a magnified guise, fluctuating between consonant harmony and extreme tone clusters. This simple idea forms the basis of the work, whose structure grows from the conflict and

interaction between the underlying “ur-cell” and the reactions of other groups of instruments, with the music constantly changing in terms of density, color, character, and pulse, shifting between chaos and order, activity and repose. The work can be perceived in a multitude of ways from different angles: while it may seem volatile on the level of details, it is highly goal-directed and linear in terms of the grand structure. — Unsuk Chin

Claude Debussy

Born: 1862, St. Germain-en-Laye, France Died: 1918, Paris, France

La mer CLAUDE DEBUSSY Composed: 1903-1905 ORCHESTRATION 3 flutes (3rd = piccolo), 3 oboes (3rd = English horn), 2 clarinets, 4 bassoons (4th = contrabassoon), 5 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tam-tam, triangle), celesta, 2 harps, and strings FIRST LOS ANGELES PHILHARMONIC PERFORMANCE February 27, 1925, Walter Henry Rothwell conducting

However problematic the label “impressionistic” is for the music of Claude Debussy, it does serve to highlight a crucial moment in the relationship between music and the other arts. After a century in which the Romantics celebrated music as the highest form of artistic expression, writers and painters began to free themselves from the ties to concrete reality that had seemed so limiting next to music’s ineffable, abstract qualities. Their resultant breakthroughs inspired composers, most fruitfully Debussy, to think about the materials of their art in new and previously unimaginable ways. Specific visual inspiration for the 1905 orchestral triptych La mer (The Sea) came, ironically, from the earlier generation of painters: Joseph Turner (1775-1851), whom Debussy lauded as the “finest creator of mystery in art,” and Katsushika Hokusai

COMPOSER PROFILE

(1760-1849), whose “The Great Wave Off Kanagawa” print was the composer’s choice to adorn the title page of the score. Debussy’s own life experience provided an emotional canvas; he had thought at one point to become a sailor and kept a lifelong attachment to “my old friend, the sea; it is always endless and beautiful. It is really the thing in nature which best puts you in your place.” Among the artists’ innovations was the use of color as an end in itself, and among the most influential legacies of Debussy was the use of musical color as an end in itself. The most obvious way Debussy achieves his sonorities is by augmenting the standard orchestra with some glitter: two harps and a large percussion section. But other musical elements also become agents of color. Harmonic changes serve as color washes; chords dissolve rather than

Many call Debussy a musical impressionist, and his works certainly share an atmosphere with paintings by artists such as Monet. Debussy didn’t like the designation, arguing that music “can represent all the variations of color and light in one go,” whereas painting was limited to capturing just one moment. His innovative style, which moved away from the heavy, Wagner-influenced sound of his predecessors, had a profound impact on subsequent composers. He was a master of orchestration, and his works are filled with shimmering colors and subtle harmonies. The LA Phil played several of Debussy’s pieces in its first season, and the orchestra’s subsequent history with the composer includes a number of distinguished recordings and important performances, such as a new production of Pelléas et Mélisande at LA Opera, with Conductor Laureate Esa-Pekka Salonen conducting, in 1995. Further listening: Pelléas et Mélisande (opera; 1895-1902) Soloists, Royal Opera, Covent Garden, Pierre Boulez (Sony Classical) Preludes, Books I and II (1910, 1913) Arturo Benedetti Michelangeli, piano (DG)

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ABOUT THE PROGRAM

resolve. Short melodic motives rather than fully developed themes sparkle in brief solos, substituting timbre and movement for narrative coherence. Throughout the first movement, “From Dawn to Noon on the Sea,” motives interplay with quick timbral changes to suggest the sea’s dual nature: ever-changing on the surface but with an underlying eternal and static quality. The opening wavelike figure gradually accelerates; several thematic

gestures emerge as the sea awakens, then subsides as a brass chorale suggests the ocean’s depths. “Play of the Waves” functions as a symphonic scherzo, its evanescent interaction of timbre, non-Western scales, and crossrhythms portraying the unsettled nature of the waves that dance, break apart, and come back together. As its title suggests, “Dialogue of the Wind and the Sea” offers more traditional

thematic interchange, enhanced by the return of material from the first movement; this thematic repetition gives the piece a sense of settling down. There is an especially delicious effect when a solo trumpet rises above the fray momentarily, only to be reabsorbed into the orchestra. The ending washes over us with forceful dissonance, leaving the sensation Debussy identified of being “in your place.” — Susan Key

the Komische Oper Berlin, and in Bern, where she served as Kapellmeister. In North America, she has worked with the symphony orchestras of Philadelphia, Seattle, and San Diego and led the Metropolitan Opera Orchestra at Carnegie Hall. With the Los Angeles Philharmonic, Gražinytė-Tyla was a Dudamel Fellow in the 2012/13 season, Assistant Conductor (2014-2016), and Associate Conductor (2016/17 season). Gražinytė-Tyla was the

Music Director of the Salzburg Landestheater from 2015 until 2017. Winner of the prestigious Salzburg Festival 2012 Young Conductors Award, she subsequently made her debut with the Gustav Mahler Youth Orchestra in a symphonic concert at the Salzburger Festspiele. Gražinytė-Tyla was discovered by the German Conducting Forum (Deutsches Dirigentenforum) in April 2009. A native of Vilnius, Lithuania, she was born into a

About the Artists MIRGA GRAŽINYTĖ-TYLA Mirga Gražinytė-Tyla was named Music Director of the City of Birmingham Symphony Orchestra in February 2016 following in the footsteps of Sir Simon Rattle, Sakari Oramo, and Andris Nelsons. Her Music Directorship was extended through the 2020/21 season. Highlights of her 2018/19 season include numerous European tours with the City of Birmingham Symphony Orchestra, performances with the New York Philharmonic, NDR Elbphilharmonie Orchestra, Swedish Radio Orchestra, Filharmonica della Scalla, Los Angeles Philharmonic, and the National Symphony Orchestra. She will also take part in highly anticipated events such as the CBSO Song Festival and the BBC Proms. Gražinytė-Tyla has electrified audiences as a guest conductor all over the world. In Europe, she has collaborated with the Lithuanian National Symphony Orchestra, the Beethoven Orchestra Bonn, the Deutsche Radiophilharmonie, the Choir of the Bavarian Radio Symphony Orchestra, the MDR Symphony Orchestra, as well as the Chamber Orchestras of Vienna, the Danish National Symphony Orchestra, the Mozarteum Orchestra and the Camerata Salzburg, and the Orchestra of the Komische Oper in Berlin. At the Kremerata Baltica, Mirga has enjoyed a dynamic collaboration with Gidon Kremer on numerous European tours. She has led operas in Heidelberg, Salzburg, at

Mirga Gražinytė-Tyla

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musical family. Before pursuing her studies at the Music Conservatory in Zurich, she studied at the Music Conservatory Felix Mendelssohn-Bartholdy in Leipzig and at the Music Conservatory in Bologna, Italy. She graduated with a bachelor’s degree in choral and orchestral conducting from the University of Music and Fine Arts, Graz, Austria. Mirga has participated in numerous master-classes and conducting workshops and worked with many established conductors and professors such as Christian Ehwald, George Alexander Albrecht, Johannes Schlaefli, Herbert Blomstedt, and Colin Metters. PATRICIA KOPATCHINSKAJA Moldovan-born violinist and “one of the most distinctive voices in the violin world,” Patricia Kopatchinskaja’s unique approach shows itself in her diverse repertoire ranging from Baroque and Classical works played on gut strings, to new commissions and re-interpretations of modern masterpieces. 2018/19 is another exciting season for Patricia as she continues to collaborate

with leading conductors and orchestras. The season begins with her debut with Orchestre symphonique de Montréal under the baton of Kent Nagano, followed by performances with the Bayerisches Staatsorchester and Berliner Philharmoniker under Kirill Petrenko, and a European tour with Kammerorchester Basel, conducted by renowned composer Heinz Holliger. Further ahead, she will join the City of Birmingham Symphony Orchestra and Los Angeles Philharmonic conducted by Mirga Gražinytė-Tyla, to give her unique interpretation of the Tchaikovsky Violin Concerto. In the U.S., Kopatchinskaja will make another important debut, giving concerts with the Cleveland Orchestra performing Eötvös’ Seven. Under the baton of Teodor Currentzis, she will perform Tchaikovsky’s Violin Concerto with Musica Aeterna, a piece she recorded with the ensemble and released on Sony in 2016. They will also tour to Japan with dates in Tokyo and Osaka. On the recital platform, Kopatchinskaja partners regularly with artists such as Anthony Romaniuk, Jay Campbell, and Sol Gabetta, appearing at leading venues

Patricia Kopatchinskaja

such as the Berlin Konzerthaus, Vienna Konzerthaus, and Concertgebouw Amsterdam. With pianist Polina Leschenko, she released Deux in 2018 for Alpha, which the duo toured to summer festivals including Mecklenburg – Vorpommern, Engadin, and Gstaad. The 2018/19 season will see the duo make their debut on tours to the U.S. and Japan, including performances in Washington, San Francisco, Nagoya, and Tokyo. With the Saint Paul Chamber Orchestra, Kopatchinskaja has held the position of Artistic Partner since 2014 and was awarded a Grammy® in the Best Chamber Music/ Small Ensemble Performance category in 2018 for Death and the Maiden recorded with the Orchestra and released on Alpha Classics. Other accolades include the prestigious Swiss Grand Prize for Music, which recognizes exceptional talent and innovation, awarded by the Federal Office of Culture for Switzerland in 2017. Last season began with the world premiere of her new project, Dies Irae, at the Lucerne Festival where she was “artiste étoile.” Following the success of Bye Bye Beethoven with Mahler Chamber Orchestra in 2016, the second staged project was conceptualized using a theme from the Latin Requiem Mass and features music by composers such as Scelsi, Biber, and Ustvolskaja. The project was given its North American premiere as part of Kopatchinskaja’s position as Music Director at the 2018 Ojai Music Festival. Other highlights included performances at the Salzburger Festspiele featuring pieces by Ustvolskaja and Hartmann. A prolific recording artist, in the last few seasons she has released a number of recordings on Alpha Classics including an album of Kancheli’s music with Gidon Kremer and the Kremerata Baltica and a disc of duos entitled Take Two. Kopatchinskaja has recorded Schumann’s Violin Concerto and Fantasy with WDR Sinfonieorchester Köln under Heinz Holliger for Audite, and a selection of concertos by Bartók, Ligeti, and Peter Eötvös for Naïve, which garnered a Gramophone Recording of the Year Award in 2013 and a 2014 Grammy nomination.

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JAZZ PROGRAM

Friday, Apr 5, 2019 8PM

Monterey Jazz Festival on Tour featuring Cécile McLorin Salvant, Bria Skonberg, Melissa Aldana, Christian Sands, Yasushi Nakamura, & Jamison Ross • SFJAZZ Collective Plays Jobim MONTEREY JAZZ FESTIVAL ON TOUR Cecile McLorin Salvant, vocals Bria Skonberg, trumpet / vocals Melissa Aldana, tenor saxophone Christian Sands, piano / music director Yasushi Nakamura, bass Jamison Ross, drums / vocals

SFJAZZ Collective Matt Brewer, bass Obed Calvaire, drums / cymbals Etienne Charles, trumpet Marshall Gilkes, trombone David Sánchez, tenor saxophone Edward Simon, piano / keys Warren Wolf, vibraphone Miguel Zenón, alto saxophone

SFJAZZ Collective Plays Jobim INTERMISSION

MONTEREY JAZZ FESTIVAL ON TOUR 60th Anniversary Celebration

Programs and artists subject to change.

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About the Artists MONTEREY JAZZ FESTIVAL ON TOUR The Monterey Jazz Festival, the longest continuously-running jazz festival in the world, presents its fifth national tour (March 15–April 14, 2019), featuring some of the most critically-acclaimed, Grammy®winning and Grammy®-nominated jazz artists of their generation, including three winners of the Thelonious Monk International Jazz Competition. The MJF on Tour 60th Anniversary Celebration features a top roster of diverse and international millennial talent and the leaders of jazz’s future, including Cécile McLorin Salvant, vocals; Bria Skonberg, trumpet, vocals; Melissa Aldana, tenor saxophone; Christian Sands, piano, musical director; Jamison Ross, drums, vocals; and Yasushi Nakamura, bass. In addition to having three unique and talented vocalists on the tour, and an equal balance of men and women, the show features renditions of classic jazz standards, along with originals penned by the members. Each musician is an outstanding representative of the next generation of jazz artists and educators, each with a close relationship with Monterey that represent both its musical excellence and jazz education activities — core components of Monterey Jazz Festival’s mission statement. To celebrate the 60th Anniversary of the Festival’s inception, in 2018 Artistic Director Tim Jackson put together an all-star band that represented the future of jazz in a nationwide tour. Previous incarnations include a 50th anniversary tour in 2008, and additional national tours in 2010, 2013, and 2016, with a combined 163 performances to over 115,000 fans across the country.

Cécile McLorin Salvant

Bria Skonberg

CÉCILE McLORIN SALVANT

BRIA SKONBERG

One of the most acclaimed vocalists of her generation, Cécile McLorin Salvant is the winner of the 2010 Thelonious Monk International Jazz Competition. Other honors include her being selected for Jazz Album of the Year by the DownBeat International Critics Poll and NPR, as well as Up-and-Coming Jazz Artist of the Year and Top Female Vocalist from the Jazz Journalists Association. Cécile grew up in a bilingual household in Miami and traveled to Aix-en-Provence to pursue a degree in French law while training as a classical and baroque singer before switching to jazz. “If anyone can extend the lineage of the Big Three — Billie Holiday, Sarah Vaughan and Ella Fitzgerald — it is [her],” wrote The New York Times. Her last two Mack Avenue releases, For One to Love and Dreams and Daggers, each won Grammy Awards for Best Jazz Vocal Album. Her newest Mack Avenue release, The Window, an album of duets with the pianist Sullivan Fortner, was released on September 28, 2018. Rolling Stone describes Cécile as “one of the greatest jazz singers of her generation, but that label sells her short.”

Canadian singer, trumpeter, and songwriter Bria Skonberg has been described as one of the “most versatile and imposing musicians of her generation” by the Wall Street Journal, recognized as one of 25 for the Future by DownBeat Magazine, and cited as a millennial “shaking up the jazz world” by Vanity Fair. Signed to Sony Music Masterworks’ OKeh Records, Bria released her eponymous major-label debut in 2016, winning a Canadian Juno award and making the Top 5 on Billboard jazz charts. Her many accolades include Best Vocal and Best Trumpet awards from Hot House Jazz Magazine, Outstanding Jazz Artist at the New York Bistro Awards, and DownBeat’s Rising Star award. In addition to performing at jazz festivals around the world, Bria is an avid educator and supporter of publicschool opportunities, giving numerous workshops and concerts for students of all ages. Bria debuted at the Monterey Jazz Festival in 2016.

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Melissa Aldana

Christian Sands

Jamison Ross

MELISSA ALDANA

CHRISTIAN SANDS

JAMISON ROSS

Tenor saxophonist Melissa Aldana was born in Santiago, Chile, and in 2013, she became the first female instrumentalist and the first South American ever to win the Thelonious Monk Competition. Aldana attended the Berklee College of Music, studying with George Garzone, Danilo Pérez, and Patricia Zarate, while hitting the clubs with Greg Osby and George Coleman, among others. She is also a recipient of the Martin E. Segal Award from Jazz at Lincoln Center and a two-time recipient of the Altazor Award, Chile’s prestigious national arts prize. She has released four albums as a leader, including her latest, Back Home, on the Concord label. Melissa “balances technical bravura with musical depth, a hallmark of her playing,” writes the Chicago Tribune. Melissa made her MJF debut in 2014.

Pianist Christian Sands is a five-time Grammy nominee. As a child in New Haven, CT, he began music classes at age four, started playing professionally at the age of 10, and received his Bachelor of Arts and master’s degrees from the Manhattan School of Music. A protégé of Dr. Billy Taylor, Christian began a six-year association with bassist Christian McBride in 2009, touring jazz festivals and clubs worldwide. Sands has followed in Dr. Taylor’s footsteps by encouraging, inspiring, and advocating for the preservation and history of jazz, teaching young people as well as adult audiences. In 2015, he started the Jazz Kids of Montmartre in Copenhagen, Denmark; he also teaches at Jazz in July, where he is an alumnus. His recent debut for Mack Avenue, Reach, “showcases his significant talents as an imaginative composer, a clever arranger, and a skillful technician with a fluid style,” wrote DownBeat. His new Mack Avenue release, Facing Dragons, was released on September 21, 2018 and was reviewed by NPR as a “crisply assured new album...that expresses new ideas without abandoning the old.” Sands has performed several times at the Monterey Jazz Festival with Christian McBride, and was a featured performer in Geri Allen’s Erroll Garner Project at MJF58 in 2015.

Grammy-nominated drummer and vocalist Jamison Ross won the Thelonious Monk International Jazz Competition in 2012. A Jacksonville, Florida native, Jamison received his B.A. in Jazz Studies from Florida State University and his master’s from the University of New Orleans. He has toured internationally and recorded with a variety of esteemed jazz artists including Cécile McLorin Salvant, Jonathan Batiste, Dr. John, Jon Cleary, Christian McBride, and Carmen Lundy. His debut album, Jamison, was released on Concord Records and was Grammy-nominated for Best Jazz Vocal Album in 2015. He released his latest album, All for One, in January 2018. Jamison’s “roots in jazz and gospel give him thrilling chops and unfailing feel,” writes NPR. Jamison made his MJF debut in 2016.

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Yasushi Nakamura

YASUSHI NAKAMURA Bassist Yasushi Nakamura is one of the most commanding voices on bass today. Born in Tokyo, Nakamura moved to Seattle, Washington, eventually receiving his bachelor’s degree in jazz performance from Berklee College of Music, and an artist diploma from the Juilliard School. He has recorded or performed around the world with Wynton Marsalis, Wycliffe Gordon, Toshiko Akiyoshi, Hank Jones, Dave Douglas, and many others. As an educator, Nakamura has led master classes and summer intensive courses at Juilliard, The New School, Koyo Conservatory, Osaka Geidai, and Savannah Swing Central. Nakamura made his highly-anticipated album debut as leader in late 2016 with A Lifetime Treasure, followed by Hometown in 2017. Nakamura first appeared at MJF in 2004. ABOUT MONTEREY JAZZ FESTIVAL’S EDUCATION PROGRAMS World-renowned for its artistic excellence, sophisticated informality, and longstanding mission to create and support year-round jazz education and performance programs in local, regional, national, and international venues, Monterey Jazz Festival has stayed true to expanding live performances of jazz around the country since 2008 by presenting national tours that have reached over 100,000 fans in 135 shows across the United States and Canada.

Matt Brewer

The Monterey Jazz Festival has presented nearly every major jazz star — from Billie Holiday and Louis Armstrong to Esperanza Spalding and Trombone Shorty — since it was founded in 1958. Held every third full weekend in September on the Monterey County Fairgrounds, the Monterey Jazz Festival is a three-day celebration of music, commissioned jazz compositions, in-depth conversations with artists, panel discussions, workshops, exhibitions, clinics, and an international array of food, shopping, and festivities spread throughout 20 acres. A nonprofit organization, Monterey Jazz Festival now budgets more than $500,000 annually for jazz education. Cutting-edge educational components include the Jazz in the Schools program; the Festival’s Summer Jazz Camp; the Instrument and Sheet Music Library; the Digital Education Music Project; the Monterey County High School All-Star Bands; the national Next Generation Jazz Orchestra; and the Next Generation Jazz Festival — which draws thousands of the most talented young musicians from across the country and around the world to Monterey, California each spring. The Artist-In-Residence Program, a key component of Monterey Jazz Festival’s philosophy of bringing leading jazz performers to work with students throughout the year, includes their appearance at the Next Generation Jazz Festival, Summer Jazz Camp, and the Monterey Jazz Festival, both in performance and instruction. A leader in jazz education, the Festival

Obed Calvaire

has also presented the winning bands from its high school competition since 1971 and has showcased talented young musicians in its all-star student big band, the Next Generation Jazz Orchestra. Throughout the years, many legendary and influential artists — including Ray Brown, Ron Carter, Max Roach, Dizzy Gillespie, and Benny Golson — have mentored and performed with the all-star students, often premiering original works written for the band. Some of the alumni of the group include Ambrose Akinmusire, Joshua Redman, Patrice Rushen, Donny McCaslin, Ted Nash, Dave Koz, Eric Marienthal, Gordon Goodwin, Larry Grenadier, and Benny Green, to name a few. The MJF on Tour 60th Anniversary Celebration is produced by Danny Melnick for Absolutely Live Entertainment (ALE), which also produced two previous MJF tours, in 2013 and 2016. SFJAZZ COLLECTIVE An all-star ensemble comprising eight of the finest performer/composers at work in jazz today, the SFJAZZ Collective’s mission each year is to perform fresh arrangements of works by a modern master and newly commissioned pieces by each Collective member. Through this pioneering approach, simultaneously honoring music’s greatest figures while championing jazz’s up-to-the-minute directions, the Collective embodies SFJAZZ’s commitment to jazz as a living, ever-relevant art form.

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Etienne Charles

Over its 13-year existence, the Collective has honored artists including John Coltrane, Herbie Hancock, Wayne Shorter, Chick Corea, Michael Jackson, and others.

Marshall Gilkes

Obed can be found playing with Monty Alexander, Richard Bona, Sean Jones, and Yosvany Terry. ETIENNE CHARLES

MATT BREWER Born in Oklahoma City to a family of musicians, Matt Brewer (Bass) began as a 10-year-old prodigy, studying at the Interlochen Academy and later as part of the inaugural class at the Juilliard Jazz Program. He has recorded three albums as a leader for the Criss Cross label, including his 2019 trio album, Ganymede, and his résumé includes work with Gonzalo Rubalcaba, Steve Coleman, Lee Konitz, Gerald Clayton, Vijay Iyer, Antonio Sánchez, and Mark Turner. Brewer is an adjunct professor at The New School in New York. He joined the SFJAZZ Collective in 2018.

“A daring improviser who delivers with heart-wrenching lyricism” (JazzTimes), the Trinidad-born trumpeter Etienne Charles was named a Guggenheim Fellow in 2015 and has performed with Wynton Marsalis, María Schneider, and the Count Basie Orchestra. His collaboration with RwandanAmerican vocalist Somi, Petite Afrique, won Outstanding Jazz Album at the 2018 NAACP Image Awards, and his 2019 release, Carnival: The Sound of a People Vol.1, is his most audacious project yet. He is a professor at Michigan State University and joined the SFJAZZ Collective in 2018. MARSHALL GILKES

OBED CALVAIRE A Miami native of Haitian descent, Obed Calvaire (Drums/Cymbals) is one of the most exciting young drummers on the current jazz scene. A member of the SFJAZZ Collective since 2013, Calvaire has performed and recorded with artists as diverse as Wynton Marsalis, Seal, Eddie Palmieri, Vanessa Williams, Dave Holland, Mary J. Blige, Stefon Harris, Kurt Rosenwinkel, Peter Cincotti, Musiq Soulchild, Nellie McKay, Joshua Redman, and Lizz Wright, to name a few. Currently,

David Sánchez

ria Schneider Orchestra and the Edmar Castañeda Trio while teaching and offering master classes at institutions including The Banff Center, Berklee College of Music, the New School for Jazz and Contemporary Music, and the Brubeck Institute. Gilkes is an artist for Edwards Instruments. DAVID SÁNCHEZ A native of Guaynabo, Puerto Rico, tenor saxophonist David Sánchez is a 2004 Grammy winner, a six-time nominee, and recipient of a Chamber Music America grant. He has recorded 10 albums, co-led the Ninety Miles project with Stefon Harris and Christian Scott, and performed with a roster of greats, including Dizzy Gillespie, Charlie Haden, Roy Haynes, Kenny Barron, and Eddie Palmieri. His newest project, Carib, traces the musical connections between West Africa, Haiti, and Puerto Rico. He joined the SFJAZZ Collective in 2012.

Simply considering the range of music that Marshall Gilkes (Trombone) has played over the course of his career, it would be easy to assume that the trombonist/composer is a musical chameleon, able to alter his sound to fit into whatever situation he finds himself. His complex and memorable compositions have begun to attract notice from jazz festivals and educational institutions across the country and around the world, leading to invitations for Gilkes as a composer, bandleader and clinician. He continues to work regularly with the Ma-

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Edward Simon

Warren Wolf

Miguel Zenón

EDWARD SIMON

WARREN WOLF

MIGUEL ZENÓN

Edward Simon (Piano/Keys) was born in the coastal town of Punta Cardón, Venezuela. He is a three-time Chamber Music America New Jazz Works grantee, a 2014 Doris Duke Impact Award nominee, and a 2010 Guggenheim Fellow. He has produced 15 critically acclaimed albums as a leader, including two New York Times top ten jazz records of the year. His 2016 Sunnyside album, Latin American Songbook, won an NAACP Image Award, and his new release, Sorrows and Triumphs, features Imani Winds, Brian Blade, and Gretchen Parlato. Simon has been part of the SFJAZZ Collective since 2010.

Whether on piano, drums, vibes, or marimba, Baltimore native Warren Wolf has grown into one of the most in-demand instrumentalists in jazz. In addition to his work as a fifth-year member of the SFJAZZ Collective, the Berklee alum has worked with Christian McBride’s Inside Straight, Tia Fuller, Joey DeFrancesco, the Aaron Diehl Quartet, and his own group, WOLFPACK, among others. His most recent Mack Avenue album, Convergence, features pianist Brad Mehldau, bassist Christian McBride, drummer Jeff “Tain” Watts, and guitarist John Scofield.

Multiple Grammy nominee, Guggenheim and MacArthur Fellow Miguel Zenón (Alto Saxophone) was born and raised in San Juan, Puerto Rico. He’s a four-time DownBeat Critics Poll winner and has released 11 recordings as a leader, including his 2018 Grammy-nominated album, Yo Soy la Tradición. He has collaborated with numerous jazz greats, including Charlie Haden, Bobby Hutcherson, David Sánchez, and Steve Coleman, and founded the Caravana Cultural initiative to bring jazz concerts and education to rural Puerto Rico. Miguel is a founding member of the SFJAZZ Collective.

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ORGAN

PROGRAM

Sunday, Apr 7, 2019 7:30PM

Cameron Carpenter Cameron Carpenter, organ

BACH

Prelude and Fugue in D major, BWV 532

BACH French Suite No. 5 in G major, BWV 816 /CARPENTER Allemande Courante Sarabande Gavotte Bourrée Loure Gigue BACH

Prelude and Fugue in B minor, BWV 544

BACH

In dulci jubilo, BWV 608

BACH

Prelude and Fugue in A minor, BWV 543

INTERMISSION

BACH Toccata and Fugue in D minor, BWV 565 /CARPENTER Cameron CARPENTER

Serenade and Fugue on B.A.C.H.

CARPENTER Improvisation BACH

Passacaglia and Fugue in C minor, BWV 582

Philip Smith is Walt Disney Concert Hall Organ Conservator. Manuel Rosales and Kevin Gilchrist are principal technicians for the Walt Disney Concert Hall organ. Programs and artists subject to change.

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Notes by John Henken Johann Sebastian Bach (1685-1750) was famous for his virtuosity on the organ, with tales of cowed wannabe competitors and royal command performances circulating widely during his lifetime. Dating Bach’s early organ music is difficult, since most of it exists only in later copies, but the great Prelude and Fugue in D major, BWV 532, comes from Bach’s Weimar period, c. 1709-1710. The Prelude is itself in three sections: a quasi-improvisational, toccata-like fantasy; a tautly festive central alla-breve passage; and a harmonically striking transitional Adagio. The irresistible pell-mell Fugue develops the momentum of a joyful dance – appropriate, considering how active the virtuoso pedal-work is! Although the identifier is not original with the composer, Bach’s six “French” Suites, BWV 812-817, came by the name naturally enough, at least as nomenclature. Several of them, including No. 5, bear the very French title “Suite pour le Clavessin” (clavecin, or harpsichord) in the Notenbüchlein of Anna Magdalena Bach, the composer’s second wife. The names of the individual dances are also in French, and the title distinguishes them from the six “English” Suites, which acquired their national designation for no discernible reason not long after Bach’s death. Dance suites at that time were international anyway, at root. The core dances – allemande, courante, sarabande, and gigue – were German, French, Spanish, and Italian or English in origin, no matter the spelling, and long established. All were binary movements, with each of the two parts repeated. Bach’s Allemande here is as stately as expected, but energized by the almost ceaseless 16th-note motion and chromatic urgings. The Courante is a quick one in the Italian style of the dance, basically a two-part invention for all but a few bars. His Sarabande is elegant, with the characteristic accent on the second beat of

the 3/4 meter. Bach makes a spectacular finale of the concluding Gigue, its restless leaping figures intensified by counterpoint. A three-part fugue, the voices enter from top down in the opening section, then from bottom up in the second half, with the music inverted. Between the Sarabande and Gigue, Bach inserts three more then-currently fashionable dances. These are cheerful French dances, stepping lively and emphatically in the Gavotte and Bourrée, cascading with a gentle lilt in the Loure. Composed in Leipzig around 1730, the Prelude and Fugue in B minor, BWV 544, features an intricate, restless prelude in 6/8, with two-part canonic writing and distinctive octaves in the bass line. The main fugue subject is a simple up-and-down scale with little turns, but the ensuing counterpoint is intensified by elaborate extensions and Bach’s customary sophisticated harmonic momentum, with a very active pedal part. The German carol tune “In Dulci Jubilo,” a lilting round dance, dates from the early 14th century or even earlier. (It is the oldest carol mixing German and Latin words). It has been set by countless composers, including J.S. Bach, who was responsible for playing preludes to the chorales sung by the congregations at his church posts. This setting – with its joyful triplets and clever canons – comes from Bach’s collection of chorale preludes, the OrgelBüchlein (Little Organ Book). The Prelude and Fugue in A minor, BWV 543, is in some ways a mirror image to the B-minor Prelude and Fugue. Here it is the fugue that is in 6/8 compound meter and the prelude that is in duple meter. It was composed after 1715, probably near the end of Bach’s tenure in Weimar; the fugue is based on an earlier version for harpsichord, which was in turn modeled on a fugue by Giuseppe Torelli; it ends with a virtuoso cadenza, and concludes firmly in the minor mode, unlike the B-minor Prelude and Fugue, where both sections end

in major mode.) This is one of Bach’s more celebrated pieces – Liszt transcribed it for piano and Ennio Morricone reworked it in his score for the 1969 French gangster film Le clan des Siciliens. The Toccata and Fugue in D minor, BWV 565, is probably the best known of all Bach’s organ music, with its spectacular use in Walt Disney’s Fantasia and the stereotypical association of its opening bars with horror films. (It was used over the opening credits for the 1931 Dr. Jekyll and Mr. Hyde, and much copied after that.) This is a piece that emphasizes the rhapsodic, improvisatory elements of the toccata style. Usually strict counterpoint such as a fugue serves as an intensifier, but here the technical and harmonic stress of the opening is such that the fugue actually relaxes the music. After the fugue Bach adds another intense free section, marked recitativo, to be played with great expression and rhythmic freedom, something also indicated throughout by the use of uncommonly wide tempo markings for the era, ranging from adagissimo to prestissimo. Cameron Carpenter (b. 1981) is a composer as well as an organist, and one of his earlier formalized works is this Serenade and Fugue on B.A.C.H., premiered in 2009; Carpenter played the work on his Walt Disney Concert Hall debut recital in May 2011. (Then described as his Op. 2. Carpenter said that he wrote the big tune in the lyrical Serenade when he was eight years old.) In German solfege syllables, the letters of Bach’s name yield the pitches B-flat, A, C, and B-natural, and many composers have used that tight, crossing motif in musical reference to the German composer, including Bach himself as a coded signature. Carpenter’s intricate, mercurial fugue explores that tense chromatic figure obsessively. One of the great glories of the organ literature, the Passacaglia and Fugue in C minor, BWV 582, is found in several

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manuscripts known to have been written before 1710. It was probably composed shortly before Bach began his Weimar tenure, possibly in response to the death of Dietrich Buxtehude in 1707. A passacaglia is a form of continuous variations

over, under, or around a recurring theme. Bach took four bars from a much smaller passacaglia by the French organist André Raison and expanded it to eight measures. After stating this theme starkly alone in the pedals to begin, Bach builds 20 variations

over, under, and around it. The theme then explodes into a massive double fugue of astonishing virtuosity for both creator and performer.

Tallinn, Moscow, and Saint Petersburg. Core of Carpenter’s repertoire in the current season will be J.S. Bach’s Goldberg Variations, as well as his transcription of Howard Hanson’s Symphony No. 2, “Romantic.” Carpenter will also appear as soloist with the Bamberger Symphoniker under the baton of Christoph Eschenbach in Bamberg and Munich, as well as with the Zürcher Kammerorchester. Born in 1981 in Pennsylvania, USA, Carpenter performed J.S. Bach’s WellTempered Clavier for the first time when he was eleven and became a member of the American Boy Choir School in 1992. Besides his mentor Beth Etter, it was John Bertalot and James Litton who also

taught him. At the North Carolina School of Arts, he studied composition and organ with John E. Mitchener. Carpenter has transcribed more than 100 works for organ, among them, Mahler’s Symphony No. 5. He composed his first original works during his studies at the Juilliard School in New York, 2000-2006, where at the same time he also had piano lessons with Miles Fusco. In 2011, his concerto for organ and orchestra, The Scandal, was premiered by the Deutsche Kammerphilharmonie Bremen at the Philharmonie Cologne. In 2012, he received the Leonard Bernstein Award of the Schleswig-Holstein Music Festival and was Artist-in-Residence of Konzerthaus Berlin in the 17/18 season.

About the Artist CAMERON CARPENTER With his exceptional musicality, sheer endless technical ability, and pioneering spirit, the extraordinary organist Cameron Carpenter is already leaving his mark on recent music history. Ever since the completion of his own instrument, the International Touring Organ (ITO) in 2014, Cameron has defied initial skepticism towards this digital instrument and established the ITO on the world’s most prestigious stages. By now, he almost exclusively performs on the ITO, be it in recital or concerto appearances. This tailor-made instrument, based on Carpenter’s own plans, allows him to perform at almost any location worldwide. Thus far, he has taken it on tour to Australia, New Zealand, Russia, and Asia in addition to numerous appearances around Europe and the U.S. In spring 2016, following the Echowinning release of If You Could Read My Mind (2014), his second album for Sony Classical, All You Need is Bach appeared, described as “unconventional” and “supremely agile” (Rolling Stone). Additionally, Carpenter became the first organist ever to receive a Grammy nomination, for his album Revolutionary (2008) which he recorded for Telarc, the label that has also released his Bach recording, Cameron Live! Selected highlights in the 2018/19 season in Europe include recitals with the ITO at the Lucerne Festival, Philharmonie Cologne, Festspielhaus Baden-Baden, Philharmonie Luxembourg, and his debut at the Cité de la Musique, Paris, in addition to concerts in Stockholm, Dubrovnik,

Cameron Carpenter

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WALT DISNEY CONCERT HALL ORGAN STOP LIST

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

SWELL – MANUAL III (enclosed) 16ʹ Bourdon 8ʹ Diapason 8ʹ Flûte traversière 8ʹ Bourdon 8ʹ Viole de Gambe 8ʹ Voix céleste (CC) 8ʹ Dulciane doux 8ʹ Voix angélique (TC) 4ʹ Principal 4ʹ Flûte octaviante 2-2/3ʹ Nasard 2ʹ Octavin 1-3/5ʹ Tierce 1ʹ Piccolo III-V Plein jeu harmonique (2-2/3ʹ) 16ʹ Bombarde 8ʹ Trompette 8ʹ Hautbois 8ʹ Voix humaine 4ʹ Clairon Fast Tremulant Slow Tremulant Trompeta de Los Angeles 8ʹ 8ʹ Llamada Swell to Swell 16ʹ Swell Unison off 4ʹ Swell to Swell Sostenuto

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

LLAMARADA – MANUAL IV (enclosed) 8ʹ Flautado grandiso 4ʹ Octava real Compuestas V V Lleno fuerte 16ʹ Contra Tromba Tromba 8ʹ 4ʹ Tromba Clarion Tremblante Chimes (unenclosed) 8ʹ Trompeta de Los Angeles (horizontal) 16ʹ Llamada (ext.) 8ʹ Llamada (horizontal Tuba) 4ʹ Llamada (ext.) Llamadas transfer to Great Sostenuto Cymbelstern (high pitched bells) Campanitas (low pitched bells) Pajaritos (4 pipes)

PEDAL 32ʹ Flûte 32ʹ Violonbasse 32ʹ Bourdon Flûte (ext.) 16ʹ 16ʹ Prestant (Gr.) 16ʹ Violonbasse (Gr.) 16ʹ Subbass Bourdon (Sw.) 16ʹ 10-2/3ʹ Grosse Quinte 8ʹ Octave 8ʹ Flûte (ext.) 8ʹ Violoncelle (Gr.) 8ʹ Bourdon (ext. Subbass) 4ʹ Super Octave 4ʹ Flûte (ext.) V Mixture (5-1/3ʹ) 64ʹ Contre Basson (BBBBB) 32ʹ Contre Bombarde 32ʹ Contre Basson (Gr.) Grande Bombarde (ext.) 16ʹ 16ʹ Llamada (Lla.) Contra Tromba (Lla.) 16ʹ 16ʹ Basson (Gr.) Trompeta de Los Angeles (Lla.) 8ʹ 8ʹ Llamada (Lla.) Basson (Gr.) 8ʹ 4ʹ Trompeta de Los Angeles (Lla.) Llamada (Lla.) 4ʹ Pedal Chimes Pedal Divide (adjustable)

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CHAMBER MUSIC

PROGRAM

Tuesday, Apr 9, 2019 8pm

All-Stravinsky Members of the Los Angeles Philharmonic

STRAVINSKY

Histoire du soldat for violin, clarinet, and piano (c. 15 minutes) The Soldier’s March The Soldier’s Violin The Little Concert Three Dances: Tango, Waltz, Ragtime The Devil’s Dance

Bing Wang, violin Boris Allakhverdyan, clarinet Joanne Pearce Martin, piano

STRAVINSKY

Octet for Winds (c. 17 minutes) Sinfonia Tema con variazioni Finale

David Howard, clarinet Catherine Ransom Karoly, flute Evan Kuhlmann, Michele Grego, bassoons James Wilt, Christopher Still, trumpets David Rejano Cantero, John Lofton, trombones

INTERMISSION

STRAVINSKY

Histoire du soldat (The Soldier’s Tale) (c. 60 minutes) The Soldier’s March The Soldier’s Violin Pastorale Royal March The Little Concert Three Dances: Tango, Waltz, Ragtime The Devil’s Dance The Great Chorale Triumphant Dance of the Devil

Martin Chalifour, violin Oscar M. Meza, bass Andrew Lowy, clarinet Evan Kuhlmann, bassoon Thomas Hooten, trumpet David Rejano Cantero, trombone Matthew Howard, percussion Stephen Mulligan, conductor

STRAVINSKY, Suite italienne for violin and cello Arr. (c. 15 minutes) PIATIGORSKY Introduzione Serenata Aria Tarantella Gavotta con due variazioni Menuetto e finale

Lyndon Johnston Taylor, violin Gloria Lum, cello

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association. The 100 for the 100th: Be Our Guest program provides community members with 100 free tickets to 100 concerts throughout the Centennial season. Tickets for tonight’s concert were generously underwritten in memory of Gunjit and Margarete Sikand / The Sikand Foundation. Programs and artists subject to change.

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Music by Igor Stravinsky (1882-1971)

Histoire du soldat (The Soldier’s Tale) Toward the end of World War I, Stravinsky was facing the harsh realities of economic deprivation: payments from his German publishers were being held back, and the Russian Revolution had cut off his income from the family estate. Sensing disaster, Stravinsky, ever a pragmatist, formulated with his friends, writer C.F. Ramuz and conductor Ernest Ansermet, a plan to get himself out of this vexing situation. As he explained it: “Ramuz and I got hold of the idea of creating a sort of little traveling theater, easy to transport from place to place and to show in even small localities.” Thus out of necessity came the chamber-sized neo-classic orchestra. As for their first project, Stravinsky recalled, “We were particularly drawn to the cycle of legends dealing with the adventures of the soldier who deserted, and the Devil who inexorably comes to carry off his soul.” Armed with the fool-proof dramatic

stuff of the Faust story, the two created The Soldier’s Tale, “to be read (Narrator, Soldier, Devil), played, and danced (Princess).” Stravinsky and Ramuz plunged into their tasks of creating, respectively, music and libretto, with the composer assisting considerably in the latter. The score emerged a marvel of economy and ingenuity, foregoing the large ballet orchestra of The Firebird, Petrushka, and The Rite of Spring. The composer reasoned that he would have to select a group of instruments that could include the most representative types, in treble and bass, of the different instrumental families. Stravinsky’s own trio arrangement of the work seems to have evolved as something of a sentimental/economic compromise, having been made for the benefit of Werner Reinhart, an amateur clarinetist who had “paid for everybody and everything, including the

music” involved in the work’s first production, in Lausanne in September 1918. In his Chronicle, Stravinsky explains that he had considered using the piano in his original scoring, but decided against it for a number of reasons. His motive for the transcription aside, the Suite in trio form has clearly afforded the music the opportunity for extensive exposure. Either in its original version for seven musicians or the trio arrangement, the music itself has a raw, biting edge that slices away any and all vestiges of Romanticism, exposing a sardonic heart that beats with constantly shifting rhythmic accents, is propelled by obsessive ostinatos (a device to which the composer was dedicated throughout his life), and sets up dissonances that crackle abrasively within an essentially diatonic harmonic structure. — Orrin Howard

Octet for Wind Instruments “I conducted the first performance of the Octet myself, and I was extremely nervous about doing it,” Igor Stravinsky once confessed. The premiere on October 18, 1923, at the Paris Opera house occurred at the beginning of his conducting career. In addition, the neoclassical style which Stravinsky had recently adopted greatly disappointed his contemporaries. According to Jean Cocteau, the Octet was received with a scandal du silence. The 22-year-old Aaron Copland witnessed the first performance and described the “general feeling of mystification that followed the initial hearing. Everyone was asking why Stravinsky should have exchanged his Russian heritage, and a neoprimitive style all his own, for what looked very much like a mess of 18th-century man-

nerisms. The whole thing gained Stravinsky the unanimous disapproval of the press. No one could have possibly foreseen, first, that Stravinsky was to persist in this new manner of his, or, second, that the Octet was destined to influence composers all over the world in bringing the latent objectivity of modern music to full consciousness by frankly adopting the ideals, forms, and textures of the pre-Romantic era.” The unusual scoring of the Octet, which combines four woodwind and four brass instruments, was inspired by a dream Stravinsky had one night in Biarritz in late 1922. He began to compose the work immediately and finished it in Paris the following May. The result was an emotionally restrained score based on traditional forms, filled with lively wit and elegant counterpoint.

The opening Sinfonia marks the composer’s rediscovery of sonata form. Stravinsky liked to compare its slow pastoral preamble to the introductions which prefaced late Haydn symphonies. The sonata-allegro proper in E-flat features a spiky march-inspired theme and a metronomic free-forall for winds. The second movement represents Stravinsky’s first musical essay in variation form. The waltz episode was composed first. Stravinsky then derived the 14-bar theme at the beginning of the movement from the waltz because, as he said, “I recognized it as an ideal theme for variations. I then wrote the rubans des gammes (ribbons of scales) variation as a prelude introduction to each of the other variations.” Stravinsky considered the final

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fugato variation in 5/8 time the most interesting episode in the entire Octet and noted, “The point of the fugato is that the theme is played in rotation by the instrumental pairs (flute-clarinet, bassoons, trumpets, trombones) which is the combination idea at the root of the Octet.”

Suite italienne

To create his fugato subject, Stravinsky inverted the intervals of his theme. The rondoesque finale grows out of a flute cadenza at the end of the fugato. Its clean staccato lines were inspired by the clarity and economy of J.S. Bach’s TwoPart Inventions for keyboard. In the end,

the movement abandons its crackling energy and impertinent attitude to conclude with the languorous syncopations of what sounds like an exotic Latin dance. — Kathy Henkel

arr. Piatigorsky

The ballet Pulcinella (1920) was one of those collaborations among gigantic talents that seemed to have taken place repeatedly in the early years of the last century. The backstage cast included Igor Stravinsky (composer), Serge Diaghilev (producer), Pablo Picasso (designer), and Léonide Massine (choreographer). The conductor was Ernest Ansermet, and the dancers included Tamara Karsavina (who a decade earlier had created the title role in Stravinsky’s Firebird and the Ballerina in his Petrushka) and the Diaghilev company’s ballet master, Enrico Cechetti, who had danced in the world premiere of Tchaikovsky’s Sleeping Beauty in 1890 and who had been a primary teacher of Pavlova, Karsavina, and Nijinsky. Hovering over them all was the benign spirit of the short-lived (1710-1736) Neapolitan composer Giovanni Battista Pergolesi, on whose music Stravinsky based his witty score — or so he thought. With all that genius on one spot, however, nothing was likely to progress smoothly. Rehearsals began with a battle between designer and producer over the set, which Diaghilev rejected as being unsuited to the commedia dell’arte scenario. Picasso gave in and created one of the most celebrated designs in ballet history, a charmingly eccentric, faintly menacing view of a narrow, moonlit street, with Vesuvius crowning the Bay of Naples in the background. Then came an even more alarming set-to between Stravinsky and Massine during an early piano rehearsal with the full cast. Massine, having been misinformed by Diaghilev, was under the impression that Pulcinella was being scored for full orches-

tra rather the 33 players specified by the composer. Massine therefore had created steps and gestures that were several sizes too large for their context. He, too, gave in — grudgingly. Pulcinella was not only successful as a ballet, but proved a rich source for arrangements — and therefore somewhat of a cash cow — for Stravinsky, who used its numbers for four additional works. There were others, too, who mined Pulcinella for their personal musical needs, including the great Russian-born cellist Gregor Piatigorsky, who further arranged the Suite italienne (as Stravinsky called his own versions for violin and piano and for cello and piano) as a vehicle for himself and his friend and frequent collaborator, violinist Jascha Heifetz. The numbers of the Piatigorsky arrangement, with their original composers in parentheses, are as follows: 1. Introduzione (Gallo); 2. Serenata (Pergolesi); 3. Aria (Pergolesi); 4. Tarantella (Gallo); 5. Gavotta con due variazioni (Monza); 6. Menuetto (Pergolesi) e finale (Gallo). — Herbert Glass

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About the Artists BORIS ALLAKHVERDYAN Boris Allakhverdyan was appointed Principal Clarinet of the Los Angeles Philharmonic in 2016. He previously served as Principal Clarinet of the Metropolitan Opera Orchestra and Associate Principal Clarinet of the Kansas City Symphony. Allakhverdyan is a founding member of the Prima Trio, the Grand Prize and Gold Medal winner of the prestigious 2007 Fischoff National Chamber Music Competition. Allakhverdyan is a winner of the RimskyKorsakov International Woodwind Competition, the Rozanov International Clarinet Competition, the Hellam Concerto Competition, and the Tuesday Musical and the Oberlin Concerto competitions. As a chamber musician, Boris Allakhverdyan has performed throughout the U.S. and Europe on such series as Chicago Chamber Music Society, La Jolla Athenaeum, Dumbarton Oaks, the Dayton Art Institute, CityMusic Columbus, Da Camera Society, Fontana Chamber Arts, and Cleveland Chamber Music Society. As a Buffet Group Artist and Vandoren Performing Artist, Allakhverdyan performs exclusively on Buffet Crampon clarinets and Vandoren reeds. borisallakhverdyan.com MARTIN CHALIFOUR Martin Chalifour began his tenure as Principal Concertmaster of the Los Angeles Philharmonic in 1995. The recipient of various grants and awards in his native Canada, he graduated with honors from the Montreal Conservatory at the age of 18 and then moved to Philadelphia to pursue studies at the Curtis Institute of Music. Chalifour received a Certificate of Honor at the Tchaikovsky Competition in Moscow and is also a laureate of the Montreal International Competition. Apart from his LA Phil duties, he maintains an active solo career, playing a diverse repertoire of more than 60 concertos. Chalifour has

appeared as soloist with conductors Pierre Boulez, Gustavo Dudamel, Charles Dutoit, Christoph Eschenbach, Sir Neville Marriner, and Esa-Pekka Salonen. Outside the U.S., he has played solos with the Auckland Philharmonia, the Montreal Symphony, the Hong Kong Philharmonic, the National Orchestra of Taiwan, and the Malaysian Philharmonic, among others. Chalifour began his orchestral career with the late Robert Shaw and the Atlanta Symphony, playing as Associate Concertmaster for six years. Subsequently he occupied the same position for five years in The Cleveland Orchestra, where he also served as Acting Concertmaster under Christoph von Dohnányi. While in Cleveland, Chalifour taught at the Cleveland Institute of Music and was a founding member of the Cleveland Orchestra Piano Trio. Chalifour is a frequent guest at several summer music festivals, including the Sarasota Festival, the Mainly Mozart Festival, and the Reno Chamber Music Festival. In December 2014, at the same Nevada festival, Chalifour was featured with his friend and colleague Noah Bendix-Balgley in a special program entitled “The Concertmasters of the Berlin Phil and the LA Phil.” Maintaining close ties with his native country, he has returned there often to teach and perform as soloist with various Canadian orchestras, most recently with the Vancouver Symphony and Bramwell Tovey. He was featured in the Tchaikovsky Violin Concerto in the opening week of the Hamilton Symphony’s 2017/2018 season. Martin Chalifour has recorded solo and chamber music for the Telarc, Northstar, and Yarlung labels. He teaches at the USC Thornton School of Music and Caltech. MICHELE GREGO Michele Grego joined the Los Angeles Philharmonic as second bassoon in March 1996. She is a native of Minneapolis, where she began playing the bassoon at the age of 15.

She studied with John Miller at the University of Minnesota and received a Bachelor of Music degree from the University of Southern California, where she was a student of Norman Herzberg. Grego went on to earn her Master of Music degree from the Juilliard School; she also attended the Music Academy of the West and studied with David Breidenthal. She performed with the Colorado Philharmonic Orchestra in the orchestra and as soloist and was a winner of the prestigious Coleman Award from the Coleman Chamber Music Society. Prior to her Philharmonic appointment, Grego held the position of principal bassoon with the Hollywood Bowl Orchestra, and the Santa Barbara Chamber Orchestra, was a member of the LA Opera orchestra, and the Long Beach Symphony, and appeared as a guest artist at the La Jolla Chamber Music Festival. Since joining the orchestra, she has performed with the LA Phil’s New Music Group and Chamber Music Society. In October 1997, Grego was a featured soloist with the Orchestra in Mozart’s Sinfonia concertante in E-flat, K. 297B, with EsaPekka Salonen conducting. In January 2005, she performed the North American premiere of Salonen’s woodwind quintet, Memoria. Grego is currently on the faculty at the Bob Cole Conservatory of Music at Cal State University – Long Beach and has an appointment with the Master of Arts in Teaching (MAT) program at the Longy School of Music at Bard College. THOMAS HOOTEN Thomas Hooten is Principal Trumpet of the Los Angeles Philharmonic Orchestra, a position that he has held since 2012. Prior to joining the LA Phil, he served as Principal Trumpet in the Atlanta Symphony from 2006 to 2012 and as Assistant Principal Trumpet with the Indianapolis Symphony. Hooten began his career in 2000 with a

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trumpet/cornet position in “The President’s Own” United States Marine Band in Washington, D.C. He released Trumpet Call, his first solo album, in 2011. Hooten, along with his wife Jennifer Marotta, edited the most recent version of Arban’s Complete Conservatory Method for Trumpet, one of the most widely used etude books for trumpet students and players, published by Carl Fischer. Hooten is currently on the faculty at the USC Thornton School of Music and he also serves as a guest artist and teacher for the Aspen Music Festival. While in Atlanta, he taught trumpet at Kennesaw State University. Hooten travels across the world as a soloist and clinician, and he is currently active in the Los Angeles studio scene. A native of Tampa, Florida, he earned his Bachelor of Music degree from the University of South Florida and his Master of Music degree from Rice University. His primary trumpet teachers have included Armando Ghitalla, John Hagstrom, and Don Owen. Hooten is a Yamaha performing artist. DAVID HOWARD Clarinetist David Howard has been a member of the Los Angeles Philharmonic since 1981, when, at age 25, he was hired by then Music Director Carlo Maria Giulini. Over the last few seasons, he has performed and given master classes at international festivals in Tel Aviv, Vancouver, Helsinki, Beijing, London, Stockholm, and Caracas. With the LA Phil New Music Group, Howard performed as soloist in John Harbison’s Concerto for Oboe, Clarinet, and Strings under the direction of the composer; he was also the bass clarinet soloist in Iannis Xenakis’ Échange, conducted by Esa-Pekka Salonen. In February 2015, Howard was featured as soloist in the role of the Caterpillar in Unsuk Chin’s Alice in Wonderland. Previously, Howard was principal clarinetist with the New Jersey Symphony and the New Haven Symphony. A Los Angeles native, Howard received a B.A. in Russian Literature from Yale University, graduating magna cum laude. In collaboration with former Philharmonic pianist

Zita Carno, Howard recorded a compact disc for the Centaur label entitled Capriccio: Mid-century Music for Clarinet, which includes works by Leonard Bernstein, Paul Hindemith, and Witold Lutosławski. He has also released a compact disc on the Yarlung label, which includes works by Esa-Pekka Salonen, Steven Stucky, Galina Ustvolskaya, and Brahms; this disc was also released as a high-resolution download by Linn Records. Since 1986, he has served on the faculty of the USC Thornton School of Music. davidhowardclarinet.com MATTHEW HOWARD Matthew Howard currently resides back home in Los Angeles, as the new Principal Percussionist with the Los Angeles Philharmonic, the same orchestra he grew up watching. He comes from Miami, where he was a Fellow with the New World Symphony under the direction of Michael Tilson Thomas. He has performed with such groups as the San Francisco Symphony, Kansas City Symphony, Santa Barbara Symphony, and Boston Ballet. He also has been a member in the National Repertory Orchestra, Verbier Festival Orchestra, and Tanglewood Music Center Orchestra. He began playing drum set at the age of 15 and played in his high school jazz band. By 18, he found himself enthralled with the world of percussion and started studying with a local percussionist, John Magnussen. While studying with John, he also studied with recording legend Emil Richards on jazz vibraphone, Judy Chilnick on timpani, and Jerry Steinholtz on hand percussion. After a year of community college, he transferred to the USC Thornton School of Music’s Percussion Department, studying with Erik Forrester. The following year, Joseph Pereira and Jim Babor of the Los Angeles Philharmonic took over as faculty at USC. After graduating, he headed out to Boston to study with Will Hudgins of the Boston Symphony Orchestra at the New England Conservatory. Immediately after graduating in 2015, he was offered a fellowship with the New World Symphony for up to three years.

CATHERINE RANSOM KAROLY Catherine Ransom Karoly was appointed Associate Principal Flute by former Music Director Esa-Pekka Salonen in March 2009. She joined the Los Angeles Philharmonic as second flutist in May 1996. In October 2000, she made her solo debut in Ibert’s Flute Concerto with Salonen conducting the Philharmonic. Before coming to Los Angeles, Karoly spent three seasons as flutist in the New World Symphony in Miami, Florida under music director Michael Tilson Thomas. She appeared as soloist with the NWS on several occasions. As a member of the award-winning Dorian Wind Quintet from 1994 to 1996, she appeared regularly on chamber music series throughout the U.S. She has participated in numerous music festivals, including Marlboro, Tanglewood, and the Spoleto Festival in Italy. She has been a featured performer at La Jolla Music Society’s SummerFest since 1991. Born in Minneapolis, Minnesota, Catherine Ransom Karoly received a Master of Music degree from The Juilliard School, where she studied with Carol Wincenc. Karoly graduated from the University of Wisconsin in Madison with Phi Beta Kappa honors and was the recipient of a Fulbright Grant to England. Her other teachers include Trevor Wye, Mary Kay Fink, Robert Cole, and Susan Morris DeJong. She is married to LA Phil cellist Jonathan Karoly; together they have three children. EVAN KUHLMANN Evan Kuhlmann was appointed Contrabassoon of the Los Angeles Philharmonic by Gustavo Dudamel in 2018, shortly after completing his twelfth season as Assistant Principal Bassoon and Contrabassoon of the Oregon Symphony. A native Seattleite, he is a graduate of Interlochen Arts Academy and the Juilliard School, where he earned a B.M. in Bassoon Performance with Scholastic Distinction as a student of Frank Morelli, a Graduate Diploma in Music Composi-

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tion as a student of Robert Beaser, and the Peter Mennin Prize for Outstanding Achievement and Leadership in Music. Evan also studied bassoon with Francine Peterson, Barrick Stees, and Eric Stomberg; and composition with Samuel Jones, Stanley Wolfe, and Philip Lasser. Evan has performed with numerous orchestras internationally including the St. Louis, San Diego, and Seattle Symphonies, the Orpheus Chamber Orchestra, Orchestra of St. Luke’s, All-Star Orchestra, Grant Park Orchestra, and Orchestra of the Festival dei Due Mondi in Spoleto, Italy. He has appeared as a soloist with the Seattle Symphony at Benaroya Hall, the Marrowstone Festival Orchestra, and alongside Jethro Tull with the Oregon Symphony. As Principal Bassoon of the Cabrillo Festival Orchestra, Evan has performed countless premieres, including works of John Adams, Magnus Lindberg, and James MacMillan. A dedicated teacher, Evan has served on the faculty of Portland State University and the Marrowstone Music Festival. He has also coached the bassoonists of the Filarmónica Joven de Colombia, Portland Youth Philharmonic, and Metropolitan Youth Symphony. JOHN LOFTON A native of Philadelphia and a graduate of the Oberlin College Conservatory of Music, John Lofton began his professional career as Bass Trombonist with the State Orchestra of Mexico. After his years in Toluca, Mexico, Lofton moved to Hawaii to perform with the Honolulu Symphony and later became the Bass Trombonist of the Phoenix Symphony. In 2008, he was appointed to the Los Angeles Philharmonic as Bass Trombonist. In addition to his responsibilities with the LA Phil, he has toured and recorded with the Cleveland Orchestra and performed with the San Francisco Symphony as well as the Santa Fe Opera. Lofton’s musical interests also include chamber music; he has performed with several brass quintets and is a faculty member at the Rafael Mendez

Brass Institute featuring the Summit Brass. He teaches at California State University, Long Beach and has students from several L.A. colleges. In addition to appearing on several soundstage recordings, Lofton has produced both solo and chamber recordings. ANDREW LOWY Andrew Lowy joined the Los Angeles Philharmonic as Second/E-flat Clarinet in 2014, having previously served for four seasons as Principal Clarinet of the North Carolina Symphony, a position he was awarded at the age of 22 while pursuing graduate studies at the USC Thornton School of Music. While a member of the North Carolina Symphony, Andrew was featured frequently as a soloist, playing works of Debussy, Mozart, Weber, and Derek Bermel. Other concerto engagements include performances with the Queens Symphony Orchestra and Yonkers Philharmonic. Originally from Hastings-on-Hudson, New York, Andrew attended the Manhattan School of Music Precollege Division while in high school and completed his bachelor’s degree at Harvard College, where he studied music and linguistics. His primary clarinet teachers were Yehuda Gilad, Larry Guy, and Tom Martin. Andrew has held summer fellowships at the Tanglewood Music Center and at Music Academy of the West, and has appeared as a guest artist at Twickenham Fest. Also active as a recitalist, chamber musician, and teacher, Andrew has recently presented master classes at the Juilliard School, the New England Conservatory, and USC. In 2018, he recorded his first album as soloist in Chad Cannon’s clarinet concerto Dreams of a Sleeping World, which was released on Tōrō Records. Andrew is a Buffet-Crampon Clarinet Artist and a Vandoren Performing Artist. GLORIA LUM Cellist Gloria Lum, a native of Berkeley, California, attended both the University of California at Los Angeles and the University

of Southern California, graduating from the latter institution magna cum laude. A student of Gabor Rejto and Ronald Leonard, she was a member of the Oakland Symphony and the Denver Symphony before joining the Los Angeles Philharmonic in 1985. She currently holds the Linda and Maynard Brittan Chair. A frequent participant of the Philharmonic’s Green Umbrella series, Gloria has been involved in tributes to Elliott Carter, György Ligeti, and Witold Lutosławski, and most recently appeared in a solo work by David Lang. On the Chamber Music series, she has appeared with André Previn, Emanuel Ax, Lars Vogt, and Joshua Bell. In the summer of 2015 she was a featured artist in the Cactus Pear Music Festival in San Antonio, Texas. Gloria currently teaches cello and chamber music at Occidental College. JOANNE PEARCE MARTIN Pianist Joanne Pearce Martin was appointed to the Los Angeles Philharmonic by Esa-Pekka Salonen in 2001. She holds the Katharine Bixby Hotchkis Chair for keyboards. A native of Allentown, PA and a graduate of Philadelphia’s Curtis Institute, she balances a busy career as soloist, chamber musician, and recording artist. She has been featured with the LA Phil on multiple occasions both at the Hollywood Bowl and Walt Disney Concert Hall. She has also performed at dozens of music series and festivals spanning four continents and has been guest soloist with many other orchestras in the U.S. and abroad. Martin has made numerous television appearances, some of the most recent ones having been with violinist Joshua Bell at the Smith Center in Las Vegas and on the Tavis Smiley show. This season she is also featured on PBS television’s Grammy Salute to Music Legends - representing the LA Phil along with Martin Chalifour, Robert deMaine, and Boris Allakhverdyan - performing John Williams’ Air and Simple Gifts as part of the segment that honors Williams. Martin enjoys delving into new musical

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projects, such as playing the theremin. She has performed and recorded a commissioned piece (Theremin’s Journey) by Gernot Wolfgang, in which she plays both the theremin and piano. She also recently commissioned a solo piano work (D’Nato) by composer and LA Phil Principal Timpanist Joseph Pereira. This season she and her husband Gavin Martin continue to concertize together in the U.S. and abroad as a two-piano team. She also collaborates periodically with pianist Jeffrey Kahane. When she’s not making music, you might find Joanne up in the air – she is an instrument-rated airplane pilot and master-rated skydiver. Joanne Pearce Martin is a Steinway Artist. OSCAR M. MEZA Bassist Oscar M. Meza, performing regularly with the Los Angeles Philharmonic as a substitute musician beginning in July of 1990, won the audition for the post of Assistant Principal Bass in March of 1993. Born in Southern California, Meza began playing the bass at the age of nine under the tutelage of his father, Oscar Meza Sr., who has been his principal teacher. He studied with Nathaniel Gangursky in 1973 and graduated from Sylmar High School in 1975. Meza went on to study with Arni Egilsson at California State University, Northridge as a bass performance major. He participated in the Congress of Strings at the University of Washington in Seattle in 1975 and 1976 and began his professional career in the fall of 1976 as a member of the San Diego Symphony as a section bass player. In 1985, he auditioned for and won the post of Associate Principal Bass, then auditioned again in 1989 and won the Principal Bass position. During those years, he also served as Principal Bass in the San Diego Opera and San Diego Chamber orchestras. Meza has performed chamber music at Gindi Auditorium and participates regularly in the LA Phil’s Green Umbrella series. He also maintains a connection to the city of

San Diego by performing in the La Jolla Chamber Music and Mainly Mozart festivals. Meza currently teaches bass at California State University, Northridge.

with Toshiyuki Shimada, at the Peabody Institute with Gustav Meier, Markand Thakar, and Marin Alsop, and at the Aspen Music Festival and School with Robert Spano.

STEPHEN MULLIGAN

DAVID REJANO CANTERO

American conductor Stephen Mulligan is currently in his second season as Assistant Conductor of the Atlanta Symphony Orchestra and Music Director of the Atlanta Symphony Youth Orchestra. This season, Mulligan also serves as a Dudamel Conducting Fellow with the Los Angeles Philharmonic, leading the orchestra on the Toyota Symphonies for Youth series and assisting Music & Artistic Director Gustavo Dudamel, Conductor Laureate Esa-Pekka Salonen, and guest conductors Lionel Bringuier, Mirga Gražinytė-Tyla, Zubin Mehta, and Michael Tilson Thomas. During the 2017/18 season, his first with the Atlanta Symphony Orchestra, Mulligan stepped in on short notice for three classical subscription programs over the course of six weeks, working with mezzo-soprano Jennifer Johnson Cano and pianists Jorge Osorio and Behzod Abduraimov to critical acclaim. In spring of 2018, Mulligan was awarded a prestigious 2018 Solti Foundation U.S. Career Assistance Award. Highlights of recent seasons include appearances with the St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo Symphony Orchestra, Reading Symphony Orchestra, London Symphonia, and Aspen Philharmonic Orchestra. From 2014 to 2016, Stephen Mulligan served as Assistant Conductor of the Winston-Salem Symphony and Music Director of the Winston-Salem Symphony Youth Orchestras Program. In the summer of 2015, after winning the Aspen Conducting Prize, he served as the Assistant Conductor of the Aspen Music Festival. A native of Baltimore, MD, Stephen Mulligan began his music studies with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony Orchestra. He studied conducting at Yale University

David Rejano is the Principal Trombone of the Los Angeles Philharmonic Orchestra since 2016. Before that, he served as Principal Trombone with the Orquestra Sinfonica de Navarra from 2002 to 2007, Principal Trombone with the Orquestra del Gran Teatro del Liceu de Barcelona from 2007 to 2010, and Principal Trombone with the Münchner Philharmoniker from 2010 to 2016. He has also performed as a guest with the Berliner Philharmoniker, Orchestre National de France, Seoul Philharmonic, Symphonieorchester des Bayerischen Rundfunks, and the Orchestre de l’Opéra de Paris. David Rejano appears frequently as a soloist at the Sapporo Festival, Summer Brass Festival, and the International Trombone Festival, as well as with top orchestras. He frequently works together with Gustavo Dudamel, Valery Gergiev, and Zubin Mehta. His new solo album, entitled Everything but Trombone, was released in 2018. As a sought-after teacher, David gives master classes as well as coaches youth orchestras all over the world, including Austria, China, France, Germany, Guatemala, Japan, South Korea, Spain, and the U.S. CHRISTOPHER STILL Christopher Still joined the Los Angeles Philharmonic in 2007. Before coming to California, he was the Principal Trumpet of the Colorado Symphony Orchestra. He has also held the positions of Associate Principal Trumpet of the Dallas Symphony and Principal Trumpet of the Charleston (SC) Symphony. Additionally, Christopher has served as Assistant Principal Trumpet with the Grant Park Festival Orchestra in Chicago’s Millennium Park and Guest Principal with the St. Louis Symphony. He has performed with numerous other orches-

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tras including the Boston Symphony, the Boston Pops, and the Orquesta Sinfónica de Galicia in La Coruna, Spain. He has appeared as a soloist with the Chamber Orchestra of Northern New York and the Colorado and the Littleton (CO) symphonies. He can be heard on recordings with the Los Angeles Philharmonic, Grant Park, Dallas, and Albany (NY) symphony orchestras. A Yamaha Artist, Christopher is a dedicated educator and an active clinician. Having grown up in a musical household, Christopher originally intended to become a band director and earned a Bachelor of Music Education degree from the Crane School of Music (SUNY-Potsdam). Switching to performance, he received his Master of Music Performance degree from the New England Conservatory in Boston. He was a Tanglewood Music Center Fellow in 1995 and 1996. Christopher’s favorite aspect of his job is the orchestra’s frequent performance of contemporary music, especially the Green Umbrella concert series. Christopher lives in Altadena with his wife, clarinetist Amanda McIntosh, and two children. He enjoys distance running, skiing, brewing beer, and hiking in the trails behind his house. LYNDON JOHNSTON TAYLOR Violinist Lyndon Johnston Taylor comes from a family of musical excellence. While his parents performed as duo pianists, he and his siblings concertized as the Taylor String Quartet, appearing extensively throughout the U.S. and abroad, including performances at over 50 colleges and universities, and on national radio and TV in Great Britain, Sweden, and Norway. Taylor earned a Bachelor of Science degree in chemistry and obtained graduate training in medicine and cell biology in preparation for a career in medical research. But after two years in an MD-PhD program, he recognized his passion for music and obtained a teaching position at the University of Redlands. He completed the Master of Music degree at California State University, Northridge and the

Doctor of Musical Arts Degree at The Juilliard School under the direction of Dorothy DeLay, where he received the Fritz Kreisler Scholarship. Taylor has been the recipient of numerous honors and awards, among them the Coleman Chamber Music Award, the Civic Orchestra of Chicago Soloist Auditions, the Joseph Fischoff National Chamber Music Competition, the Rodolfo Lipizer International Competition (Italy), and the 2000 Adventist Alumni Achievement Award for the Arts. Dr. Taylor has taught at University of Redlands, Andrews University, La Sierra University, and the USC Thornton School of Music. He is currently the Benjamin H. Culley Teaching Artist in Residence at Occidental College. Taylor’s orchestral career began as concertmaster of both the Redlands and Riverside symphony orchestras. From 2007 to 2011, Taylor served as Assistant Concertmaster for the New Zealand Symphony. He is now Principal Second Violin of the Los Angeles Philharmonic. BING WANG Violinist Bing Wang joined the Los Angeles Philharmonic as Associate Concertmaster in 1994. She previously held the position of Principal Second Violin of the Cincinnati Symphony, and has served on the faculty and as concertmaster at the Aspen Music Festival and School since 2003. Since 2009, she has also been Guest Concertmaster of her hometown orchestra, the Shanghai Symphony Orchestra, where her tenure was highlighted by a televised New Year’s concert conducted by Riccardo Muti. As a soloist, Wang has won critical praise for her appearances with the Los Angeles Philharmonic. Wang has also appeared regularly with the American Youth Symphony since 1997, and she has also been featured as a soloist with the Cincinnati Symphony, the Manhattan Symphony, and other orchestras. In 2002, she gave her first performances in China since emigrating to the U.S., touring as a soloist with the Shanghai Symphony Orchestra.

Active as a chamber musician, Wang has collaborated with such distinguished artists as Lang Lang, Yefim Bronfman, Emanuel Ax, and Jean-Yves Thibaudet, among others. Bing Wang began studying the violin with her parents at the age of six. She entered the middle school of the Shanghai Conservatory of Music, where she was concertmaster of the school orchestra, and graduated with highest honors. After coming to the United States to study with Berl Senofsky at the Peabody Conservatory, she received her master’s degree from the Manhattan School of Music under the tutelage of Glenn Dicterow. In 2012, Bing Wang was named an Adjunct Associate Professor at the USC Thornton School of Music. JAMES WILT James Wilt joined the Los Angeles Philharmonic in March 2003 as Associate Principal Trumpet. Prior to this, he spent 14 years as the Associate Principal Trumpet of the Houston Symphony. Wilt has also held positions with the New York Philharmonic, the Denver Symphony, the Rochester Philharmonic, and the Dayton Philharmonic. Since joining the LA Phil, he has performed regularly on the Chamber Music and Green Umbrella series. In 1999 and 2002, Wilt traveled to Japan to perform as principal trumpet of the Super World Orchestra at the Tokyo Music Festival. In January of 2007, he was invited to be guest principal trumpet with the Symphonica Toscanini under Lorin Maazel during a United States tour. Wilt received his B.M., magna cum laude from the University of Cincinnati College Conservatory of Music, where he studied with Eugene Blee. His graduate work was done at the Eastman School of Music, where he studied with Charles Geyer. He recently completed his master’s degree from Eastman following a 30-year hiatus. Other teachers include Edward Treutel, Gordon Smith, and John Chipurn. He is currently the trumpet professor at the Colburn Conservatory of Music.

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BAROQUE PROGRAM

Wednesday Apr 10, 2019 8PM

Philharmonia Baroque Orchestra & Chorale PHILHARMONIA BAROQUE ORCHESTRA & CHORALE Nicholas McGegan, conductor Sherezade Panthaki, soprano (Michal) Yulia Van Doren, soprano (Merab) Aryeh Nussbaum Cohen, countertenor (David) Aaron Sheehan, tenor (Jonathan) Daniel Okulitch, baritone (Saul) Jonathan Smucker, tenor (Witch of Endor, Abner, Amalekite) Christian Pursell, bass-baritone (Samuel, Doeg) Philharmonia Chorale Bruce Lamott, director

HANDEL Saul, HWV 53 (c. 180 minutes)

Act I

INTERMISSION

Act II

PAUSE

Act III

Programs and artists subject to change.

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Notes by Howard Posner Saul appears to have begun with the 18th-century equivalent of a cold call, when Charles Jennens, a wealthy landowner, sent Handel a libretto for an oratorio in July 1735. Handel had known Jennens for years and was on friendly terms with him, unlike most of Jennens’ social circle, who found him overbearing and called him “Suleyman the Magnificent.” Handel wrote back that he was setting off on a trip and hadn’t time to give the text “the attention it deserves” but “what I could read of it in haste, gave me a great deal of satisfaction.” He also wrote that there were no firm plans for the next theater season, “but it is probable that some thing or other may be done” with the libretto. If, as is likely, Jennens’ libretto was indeed Saul, Handel didn’t get around to doing some thing or other with it until July 1738, when the opera company he was to direct closed after years of cutthroat competition with a rival company that had folded the previous year. The writing was on the wall for the London Italian opera business, and Handel immediately began composing Saul, his fourth Englishlanguage oratorio. Handel’s audience would have known the basic Biblical story of Saul and David, though the details might have been unclear, as is the story itself. The First Book of Samuel was likely compiled from several sources, and reads in places like the work of a committee that never met. For example,

in the space of a few paragraphs, David is introduced for the first time no less than three times, something Jennens cleaned up in his libretto. (Jennens kept another plot hole: Saul trying to kill David with his spear and then expressing anger and surprise later when David doesn’t show up for dinner.) But an English person who could afford a ticket to a Handel oratorio would have known that the prophet and priest Samuel, the last of the “judges” who ruled ancient Israel, reluctantly gave in to demands to establish a monarchy, and plucked out of obscurity for the role an equally reluctant Saul, whose only apparent qualifications were that he was handsome and very tall. Saul proved a forceful governor and capable military commander, but Samuel continued to give Saul orders and expect obedience. When Samuel said God commanded Saul to annihilate the Amalekites, and Saul failed to kill their king, Samuel announced (many years prematurely) that Saul’s reign was over. God then directed Samuel to anoint David, Jesse’s eighth son, as king, which Samuel did in the presence of David’s brothers and no one else, so that for years Israel would have two anointed kings, and almost no one, least of all Saul, knew it. David was brought to the royal court to sooth Saul’s dark moods by playing the harp, and killed the Philistine Goliath to become more popular than Saul, driving Saul to homicidal envy and David into exile in the countryside, where he commanded followers who evaded Saul’s soldiers while

they lived as brigands, raiders and even, for a while, mercenaries in the service of the Philistine king. David became king when Saul died in battle. Jennens’ libretto leaves out much of the story, including David’s anointing and brigand years, which did not fit Jennens’ themes of a blameless David and a Saul destroyed by jealousy. It also leaves out David’s marriage to Abigail during those years, which did not fit the love story between David and Saul’s daughter Michal. Jennens visited Handel in September 1738, when he was finishing the oratorio, and wrote to an aristocratic friend that Handel’s head was “more full of maggots [i.e., whimsical fancies] than ever.” One was a “very queer instrument,” a set of bells played from a keyboard, with which “he designs to make poor Saul stark mad.” Indeed they do, accompanying the women who arouse Saul’s envy with their praise of David’s military prowess. Handel uses a lavish palette of instrumental color for striking effects elsewhere as well, among them David’s harp; the otherwordly bassoons heralding the entry of Samuel’s ghost; the blazing brass in a half-minute-long Symphony representing Saul’s last battle; and the alto and tenor trombones playing the famous Dead March in unison with the first and second violins, respectively, creating a gentle but slightly unfocused sound, as if seeing the dead king through tears.

“an expert in 18th-century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. The 2018/19 season marks his 34th year as music director of Philharmonia Baroque Orchestra and Chorale and he is also Principal Guest Conductor of the Pasadena Symphony. Best known as a baroque and classical specialist, McGegan’s approach — intelligent, infused with joy, and never dogmatic

— has led to appearances with many of the world’s major orchestras. At home in opera houses, McGegan shone new light on close to 20 Handel operas as the Artistic Director and conductor at the Göttingen Handel Festival for 20 years (1991-2011) and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990s. At the same time, he was principal conductor of the Drottningholm Opera in Sweden. McGegan has established the San

About the Artists NICOLAS McGEGAN As he embarks on his fifth decade on the podium, Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (London Independent) and

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Francisco-based Philharmonia as one of the world’s leading period-performance ensembles, with notable appearances at Carnegie Hall, Lincoln Center, the London Proms, the Amsterdam Concertgebouw, and the International Handel Festival, Göttingen. One of their greatest successes was the recent fully-staged modern-day premiere of Jean-Philippe Rameau’s 1745 opera-ballet Le Temple de la Gloire. McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded over 50 albums of Handel, McGegan has explored the depths of the composer’s output with a dozen oratorios and close to 20 of his operas. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia has recently released almost a dozen acclaimed albums of Handel, Domenico Scarlatti, Vivaldi, Brahms, Haydn, Beethoven, Alessandro Scarlatti, and the modern-day premiere of the original version of Rameau’s Le Temple de la Gloire. Born in England, Nicholas McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music, London. He was made an Officer of the Most Excellent Order of the British Empire (OBE) in the Queen’s Birthday Honors for 2010 “for services to music overseas.” He was also awarded the Verdienstkreuz (am Bande) from Niedersachsen (Germany) in 2011. In 2016 he was the Christoph Wolff Distinguished Visiting Scholar at Harvard and is a frequent visitor to Yale. SHEREZADE PANTHAKI Soprano Sherezade Panthaki’s international success has been fueled by superbly honed musicianship; “shimmering sensitivity” (Cleveland Plain Dealer); “radiant” voice (The Washington Post); and vividly passionate interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). An acknowledged star in the early-music field, Panthaki (Michal) has ongoing collaborations with leading

early-music interpreters, including Nicholas McGegan, Simon Carrington, Matthew Halls, and Masaaki Suzuki, with whom she made her New York Philharmonic debut. A recent performance with Philharmonia Baroque Orchestra and conductor Nicholas McGegan was described as “a breathtaking combination of expressive ardor, tonal clarity, technical mastery and dramatic vividness” by The San Francisco Chronicle. Panthaki’s 2018/19 season includes orchestral performances with Detroit Symphony and Calgary Philharmonic (both with conductor Nicholas McGegan) as well as with Minnesota Orchestra with Nicholas Kraemer conducting. She makes returns to Philharmonia Baroque Orchestra (including the role of Michal in Handel’s Saul), Music of the Baroque, Ars Lyrica, Bach Festival Society of Winter Park, and Tafelmusik, and debuts with Musica Angelica. Throughout the season, Panthaki tours with the viol consort Parthenia, with stops in Ohio, Houston, and Pennsylvania. Abroad, she performs Handel’s Samson with NDR Radiophilharmonie. Panthaki’s repertoire extends well beyond the music of the Renaissance and Baroque to works such as Orff’s Carmina Burana with the Houston Symphony, John Tavener’s The Last Discourse with Orchestra of St. Luke’s, Beethoven’s Symphony No. 9 with American Classical Orchestra, and Rachmaninoff’s Vocalise and Strauss lieder at the Bari International Music Festival. Panthaki holds an Artist Diploma from the Yale School of Music and a master’s degree from the University of Illinois. YULIA VAN DOREN Recognized by Opera as “A star-to-be” following her Lincoln Center debut, young Russian-American soprano Yulia Van Doren’s debut with the Toronto Symphony Orchestra was acclaimed as a “revelation… a ravishing lyric voice and an ease with vocal ornamentation that turned her into an enchanted songbird” (Toronto Star). For her last-min-

ute step-in with the Cleveland Orchestra, the Cleveland Plain Dealer praised Van Doren as an artist of “melting poignancy” and added, “To Van Doren, one could easily have listened for hours.” Highlighting Van Doren’s 2018/19 season are returns to Philharmonia Baroque Orchestra under Nicholas McGegan (as Merab in Handel’s Saul) and music of the Baroque (Bach’s Christmas Oratorio) and appearances with the St. Louis Symphony (Haydn’s Creation), National Symphony (Messiah), and Seattle Symphony (Messiah). A dedicated interpreter of repertoire off the beaten path, career highlights include creating the lead female role in the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter Sellars and released on Deutsche Grammophon; two Grammy-nominated opera recordings with the Boston Early Music Festival; the modern revival of Monsigny’s opera Le roi et le fermier at Opera de Versailles, Lincoln Center, and the Kennedy Center (recorded for Naxos); a tour of Handel’s Orlando with Philharmonia Baroque Orchestra to the Mostly Mozart, Ravinia, and Tanglewood festivals; a leading role in Scarlatti’s Tigrane at Opera de Nice; nationally-televised performances at the Cartagena International Music Festival with soprano Dawn Upshaw, an important mentor; and creating a leading role in the world premiere staging of Lera Auerbach’s The Blind, an a cappella opera, in the Lincoln Center Festival. Especially recognized for her work in the Baroque repertoire, Van Doren has performed with the majority of the North American Baroque festivals and orchestras and has the distinction of being the only singer awarded a top prize in all four U.S. Bach vocal competitions. Other recent debuts and engagements include performances with the San Francisco, Toronto, Houston, Cincinnati, Nashville, Colorado, Baltimore, Indianapolis, and Milwaukee symphonies; the Cleveland Orchestra; the Los Angeles Master Chorale; Washington, D.C.’s Folger Consort; and two trips to the Netherlands for performances with the Nederlands Radio Kamer Filharmonie. Born in Moscow, Yulia Van Doren was raised in the United States in a music-filled

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household in which she and her seven younger siblings were taught by her Russian mezzo-soprano mother and American jazz pianist father. Van Doren is honored to be an Astral Artist, a Paul and Daisy Soros Fellow, and as the recipient of a Beebe Grant she spent the 2011/12 season based in Paris. ARYEH NUSSBAUM COHEN Recently recognized in the 2019 Grammy® Awards, 25-year-old American countertenor Aryeh Nussbaum Cohen (David) is one of opera’s most promising rising stars. First Prize Winner and Audience Choice Award recipient at the 2018 Dallas Opera Guild Vocal Competition, in his breakout 2016/17 season, Aryeh Nussbaum Cohen was awarded the Grand Prize of the Metropolitan Opera National Council Auditions and was the recipient of a Sara Tucker Study Grant from the Richard Tucker Music Foundation. He was First Prize winner of the Houston Grand Opera Eleanor McCollum Competition, and winner of the Irvin Scherzer Award from the George London Foundation. His first commercial recording project - the world premiere recording of Kenneth Fuchs’ Poems of Life with the London Symphony Orchestra, conducted by JoAnn Falletta - was recently honored with a 2019 Grammy Award in the Best Classical Compendium category, which honors albums with multiple soloists and multiple works. Aryeh Nussbaum Cohen joined San Francisco Opera’s Adler Fellowship program in autumn 2018 and he makes a main stage debut with the Company as Medoro in Orlando in a bold new production by English director Harry Fehr in summer 2019 under the baton of Christopher Moulds. Performances of the season also include the role of David in Handel’s Saul with Nicholas McGegan and the Philharmonia Baroque Orchestra, including his debut

at Walt Disney Concert Hall, Ottone in Handel’s Agrippina in staged performances with Ars Lyrica Houston conducted by Matthew Dirst and directed by Tara Faircloth, Bach’s Christmas Oratorio with Matthew Dirst and the Portland Baroque Orchestra, the world premiere of a ballet by Yuri Possokhov with the San Francisco Ballet, and a gala concert with American Bach Soloists, with whom he then records his debut solo album. He covers the role of Polinesso in Handel’s Ariodante conducted by Harry Bicket at the Lyric Opera of Chicago. The New York City native became the first countertenor in the history of the Houston Grand Opera Studio where he was a member during the 2017/18 season. His performances for the company included the roles of Nireno in Handel’s Giulio Cesare and Second Maid in Strauss’ Elektra, both under the baton of Music Director Patrick Summers. He made his Cincinnati Opera debut in a new production by Zack Winokur of Monteverdi’s L’incoronazione di Poppea conducted by Gary Thor Wedow and appeared in concert programs of Bach and Handel with the American Bach Soloists and with Ars Lyrica Houston. Aryeh Nussbaum Cohen made his European debut at the Theater an der Wien singing Timante in Gluck’s Demofonte with Baroque ensemble Il Complesso Barocco, under the baton of Alan Curtis. His opera roles also include Nerone and Ottone in Monteverdi’s L’incoronazione di Poppea, Raphael (The Angel) in Jonathan Dove’s Tobias and the Angel, The Son in Philip Glass’ The Juniper Tree, and Cefalo in Cavalli’s Gli Amori di Apollo e Dafne. The artist’s experience in the world of sacred music is no less impressive and highlights include serving as the alto soloist in Bach’s Magnificat with the Leipzig Barockorchester in the Thomaskirche in Leipzig, Germany. Aryeh Nussbaum Cohen earned a bachelor’s degree in History from Princeton University (with a concentration in Intellectual and Cultural History) and was awarded academic certificates in Vocal Performance and Judaic Studies.

AARON SHEEHAN Aaron Sheehan (Jonathan) performed the title role in La déscente d’Orphée aux enfers by M.A. Charpentier with Boston Early Music Festival, which won the 2015 Grammy Award for Best Opera Recording. A first-rate interpreter of the works of Bach, Handel and Mozart, he has performed at Tanglewood, at Lincoln Center, the Metropolitan Museum of Art, Washington National Cathedral, the early music festivals of Boston, San Francisco, Vancouver, Washington, D.C., Carmel, and Regensburg, and with Seattle Symphony, American Bach Soloists, Handel and Haydn Society, Boston Baroque, Tafelmusik, Calgary Philharmonic, North Carolina Symphony, Charlotte Symphony, and Pacific Music Works. A regular soloist with Boston Early Music Festival and Boston Baroque, his many roles have included L’Amour and Apollon in Psyché, the title roles in Actéon and Orfeo, Acis in Acis and Galatea, Orphée in Le Carnaval de Venise, Liberto/Soldato in L’incoronazione di Poppea and Telemaco/ Eurimaco in Il ritorno d’Ulisse in patria. Recent stage engagements have included Apollon and Trajan in Rameau’s Le Temple de la Gloire (Philharmonia Baroque), the title role in Gluck’s Orphée (Pacific Music Works), The Orpheus Project (New Zealand Dance Company), Eumete in Il ritorno d’Ulisse in patria (Opera Atelier) and Dom Pedro and Ottavio in Campra’s L’Europe galante (Centre de music baroque de Versailles at the Musikfestspiele Potsdam Sanssouci). In 2019, he makes his debuts with the National Symphony of Peru (Evangelist in St Matthew Passion), at the Handel Festival in Halle (Handel’s La Resurrezione), and at the Berlin State Opera (Scarlatti’s Oratorio a quattro voci). Other engagements include Jonathan in Saul and Glaucus in Scylla e Glaucus (Philharmonia Baroque

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Orchestra); Orlando in Orlando generoso (Boston Early Music Festival), and further performances of Bach’s St. Matthew Passion, St. John Passion, Mass in B Minor, and Magnificat; and Mozart’s Mass in C minor and Requiem. His many recordings for BEMF include the Grammy-nominated operas Thésée and Psyché, Steffani’s Niobe, and Acis and Galatea. DANIEL OKULITCH Canadian bass-baritone Daniel Okulitch (Saul) is a leading interpreter of Mozart roles, most notably Don Giovanni, Almaviva, and Figaro, which he has performed at New York City Opera, Teatro Colón, LA Opera, Santa Fe Opera, Palm Beach Opera, Moscow Philharmonic, Opera Warsaw, Vancouver Opera, Dallas Opera, New Orleans Opera, Portland Opera, Michigan Opera Theater, Hawaii Opera, Manitoba Opera, and Lyric Opera Kansas City. Okulitch has also equally excelled in creating leading roles in contemporary opera, most notably the roles of Ennis del Mar in Charles Wuorinen’s Brokeback Mountain at Teatro Real in Madrid and New York City Opera; Mark Rutland in Nico Muhly’s Marnie at English National Opera; Seth Brundle in Howard Shore’s The Fly at the Théâtre du Châtelet in Paris and at LA Opera; Willy Wonka in Peter Ash’s The Golden Ticket at Opera Theatre of Saint Louis and Atlanta Opera; LBJ in JFK with Fort Worth Opera and Opéra de Montréal; and Herman Broder in Ben Moore’s Enemies, A Love Story at Palm Beach Opera. Engagements this season include performances as General Groves in a new production of John Adams’ Doctor Atomic at Santa Fe Opera and in the title role in Handel’s Saul with the Philharmonia Baroque Orchestra and Chorale at Walt Disney Concert Hall. Okulitch also returns to Calgary Opera as Beck Weathers in the

Canadian premiere of Joey Talbot’s Everest and to Manitoba Opera in the title role of Don Giovanni. He makes his debut with the San Diego Symphony as baritone soloist in Puccini’s Messa di Gloria. Okulitch’s career first garnered national attention when he appeared as Schaunard in the original cast of Baz Luhrmann’s Tony Award-winning Broadway production of La Bohème. Other career highlights include his La Scala debut as Theseus in Britten’s A Midsummer Night’s Dream; his Washington National Opera debut in the role of Swallow in Peter Grimes, which he also performed at La Scala; Creonte in Médée with Opera Genève; his return to Vancouver Opera as Joseph De Rocher in Jake Heggie’s Dead Man Walking; and his role debut as Leporello in Don Giovanni at Opéra de Montréal. Okulitch can be heard on the original cast recording of Baz Luhrmann’s production of La Bohème, Chausson’s Le Roi Arthus with the BBC Symphony Orchestra, Thomas Pasatieri’s Frau Margot, and David DiChiera’s Cyrano de Bergerac. His first solo recording, The New American Art Song, featuring the songs of Ricky Ian Gordon, Jake Heggie, Lowell Liebermann, and Glen Roven, was released on GPR Records in March of 2011. Daniel Okulitch is the recipient of numerous awards and prizes, including first prize from the George London Foundation, the Joyce Dutka Arts Foundation and the Sullivan Foundation, and second prize from the Licia Albanese / Puccini Foundation Competition. JONATHAN SMUCKER Ohio-born tenor Jonathan Smucker (Witch of Endor / Abner / Amalekite) has sung more than 50 diverse roles in opera, oratorio, operetta and musical theater. This season, he was tenor soloist in Beethoven’s Choral Fantasy and Mass in C Major with

Sacramento Philharmonic & Opera, and in June he sings the role of First Elder/ Tassi/Oculist in the West Coast premiere of Laura Schwendinger’s opera Artemisia with Left Coast Chamber Ensemble. A longtime member of the Philharmonia Baroque Chorale, he appears frequently with PBO in solo parts, including the recordings of Handel’s Teseo and Joseph and his Brethren. He joins PBO next April as First Propétide and Un Berger in a fully staged production of Leclair’s Scylla et Glaucus in San Francisco and Versailles. Hailed as “a polished singing actor” by San Francisco Classical Voice, Jonathan has sung in numerous operatic premieres and workshops, including the San Francisco readings of Mason Bates’s The (r)Evolution of Steve Jobs, Laura Kaminsky’s Today it Rains, and Jack Perla’s Shalimar the Clown. A committed music educator, he serves on the voice faculty at San José State University and is the voice department chair at San Francisco Community Music Center, where he recently conceived and coordinated Trans and Singing: A Symposium for Voice Teachers and Singers of All Genders. CHRISTIAN PURSELL American bass-baritone Christian Pursell (Samuel / Doeg) is quickly establishing himself as one of the rising stars of the next generation of singers. Currently an Adler Fellow at the San Francisco Opera, this season he appeared onstage there as Walter Raleigh in Roberto Devereux, the Jailer in Tosca, Count Lamoral in Arabella, and as part of the Angel Quartet in Jake Heggie’s It’s a Wonderful Life. This spring he also sings the role of Samuel in Handel’s Saul in performances with Philharmonia Baroque in both San Francisco and at Walt Disney Concert Hall in Los Angeles. This summer he covers the role of Zoroastro in Orlando and Escamillo in Carmen at the San Francisco Opera, and next season he

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continues his second year as an Adler Fellow with roles in several of the company’s 2019/20 season productions. Pursell’s other recent engagements have included his debut at Houston Grand Opera as Tom in Laura Kaminsky’s Some Light Emerges, Liberto/Littore in L’Incoronazione di Poppea and roles in the premiere of Gregory Spears’ critically acclaimed opera Fellow Travelers at the Cincinnati Opera, his debut at the Vienna State Opera in Prokofiev’s The Gambler, and Dandini in La Cenerentola with the Merola Opera Program at the San Francisco Opera. Additional roles include Marcello in La Bohème, Belcore in L’Elisir d’Amore, Pandolfe in Cendrillon, and Harašta in The Cunning Little Vixen. As a concert soloist, Pursell has performed Britten’s War Requiem, Brahms’ Ein deutsches Requiem, Beethoven’s Symphony No. 9, Haydn’s The Creation, Faure’s Requiem, and Handel’s Messiah. Pursell’s first commercial recording, the world premiere recording of Gregory Spears’ Fellow Travelers with the Cincinnati Symphony Orchestra, was released in fall 2017. A native of Santa Cruz, CA, Pursell is a graduate of the San Francisco Conservatory of Music and received his Master of Music degree at the University of Cincinnati – Conservatory of Music (CCM). He was recently awarded a 2018 Richard F. Gold Career Grant and was Winner of the 2018 Partners for the Arts Competition. Other past awards include a 2017 Sara Tucker Study Grant from the Richard Tucker Music Foundation, Second Award of the 2017 Jensen Foundation Competition, and being named Winner of the 2017 Theodor Uppman Award from the Sullivan Foundation. PHILHARMONIA CHORALE Philharmonia Chorale has been critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text since its founding in 1995. Under the direction of Chorale Director and PBO Scholar-in-Residence Bruce Lamott

since 1997, the Chorale was formed to provide a vocal complement whose fluency in the stylistic language of the Baroque period matched that of Philharmonia Baroque Orchestra. Members of the Chorale are professional singers with distinguished solo and ensemble careers. They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles. The Chorale’s repertoire has included oratorios by Handel and Bach, and masses by Beethoven and Mozart. The singers have appeared on tour with Philharmonia Baroque Orchestra at Walt Disney Concert Hall in Los Angeles, and at New York City’s Lincoln Center and Carnegie Hall. The Chorale appears on the Orchestra’s recordings of Arne’s Alfred, Beethoven’s Symphony No. 9, Scarlatti’s La Gloria di Primavera, and Rameau’s Le Temple de la Gloire. PHILHARMONIA BAROQUE ORCHESTRA Under the musical direction of Nicholas McGegan for 34 years, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America’s leading historically-informed ensemble. Using authentic instruments and stylistic conventions of the Baroque to early Romantic periods, the Orchestra engages audiences through performance, tours, recordings, commissions, and education of the highest standard. Founded in the Bay Area in 1981, the ensemble is the largest of its kind in the United States. PBO’s musicians are among the best in the country and serve on the faculties of The Juilliard School, Harvard, and Stanford, among others. The Orchestra performs an annual subscription season in four venues throughout the San Francisco Bay Area as well as its alternative concert series, PBO Sessions. In April 2017, PBO performed the modern-day premiere of Rameau’s Le Temple de la Gloire. The fully-staged opera included an international cast of singers and

dancers and celebrated sold-out audiences and critical acclaim from around the world. Each season welcomes eminent guest artists such as mezzo-soprano Anne Sofie von Otter, countertenor Anthony Roth Costanzo, cellist Steven Isserlis, and maestro Richard Egarr. The Orchestra enjoys numerous collaborations, including a regular partnership with the Mark Morris Dance Group and tours regularly to venues such as Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, and Tanglewood. Among the most recorded orchestras in the world, PBO boasts a discography of over 40 recordings and launched its own label on which it has released ten recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson singing Berlioz’s Les nuits d’été, and received a Grammy® nomination for a recording of Haydn symphonies. The Orchestra recently released the world-premiere recording of Rameau’s original 1745 version of Le Temple de la Gloire. In 2015, Philharmonia launched its Jews & Music Initiative – a permanent effort to explore and understand the relationship between Jews and music from the 17th to the 21st centuries. And in 2016, PBO launched its New Music for Old Instruments Initiative as an effort to commission and perform new works written expressly for period instruments. Recent commissions include a songcycle by Pulitzer Prize-winning composer Caroline Shaw. To foster historically-informed performance, Philharmonia established a permanent partnership with the Juilliard School’s Historical Performance program to train the next generation of period instrumentalists and vocalists.

Philharmonia Baroque Orchestra & Chorale’s Los Angeles appearance is made possible in part by generous support from David Low & Dominique Lahaussois, and the Waverley Fund.

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Philharmonia Baroque Orchestra Nicholas McGegan, conductor

Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLAS Maria Ionia Caswell *

VIOLINS Elizabeth Blumenstock, concertmaster

Anonymous, Germany, 18th Century

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Egon & Joan von Kaschnitz Concertmaster Chair

Jolianne von Einem Rowland Ross, Guildford, England, 1979; after A. Stradivari

Anonymous, Mittenwald, Germany, c. 1800

Ellie Nishi

David Sego Colin Nicholls, London, England, 1980; after Amati

Aaron Westman Francis Beaulieu, Montreal, Canada, 2012; after Bros. Amati, Cremona, c. 1620

VIOLONCELLOS Phoebe Carrai bc

OBOES Gonzalo X. Ruiz * Joel Robinson, New York, 1990; after Saxon models, c. 1720 Principal Oboe Chair in Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Marc Schachman H.A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710 BASSOONS Danny Bond * Peter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1760

TIMPANI Allen Biggs * England, c. 1847

THEORBO David Tayler bc

Andreas von Holst, Munich, Germany, 2004; after Magno Tieffenbrucker, Venice, Italy, 1610

HARPSICHORD Hanneke van Proosdij bc

John Phillips, Berkeley, 2010; after Johann Heinrich Gräbner, Dresden, 1722 Generously lent by Peter & Cynthia Hibbard

ORGAN Jory Vinikour bc

Lisa Grodin

Anonymous, Italy, c. 1690

Kate van Orden

Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

Peter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1760

Gerrit C. Klop, Holland, 1990

Paul Hale

TRUMPETS John Thiessen *

Yamaha, Japan

Katherine Kyme Carlo Antonio Testore, Milan, Italy, 1720

Tyler Lewis Anonymous, Italy, c. 1800

Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Osher Cello Chair Endowment

Robert Howard Anonymous, Venice, Italy, 1750 Zheng Cao Memorial Cello Chair

Anthony Martin

William Skeen

Thomas Oliver Croen, Walnut Creek, California, 2005; after F. Gobetti, Venice, Italy, 1717

BASSES

Carla Moore Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski David Tecchler, Rome, Italy, 1733

Sandra Schwarz Anonymous, School of Cremona, 1745

Noah Strick † Celia Bridges, Cologne, Germany, 1988

Anna Washburn

Rainer Egger, Basel, Switzerland, 2003; after Ehe, 1746

Anonymous, Northern Italy, c. 1680

Kristin Zoernig bc Joseph Wrent, Rotterdam, Holland, 1648

Michael Minor

Fred Holmgren Fred Holmgren, Massachusetts, 2005; after Johann Leonhard Ehe III

Adolf Egger, Basel, Switzerland, 2001; after Johann Joseph Schmied

Erik Schmalz

FLUTES Janet See *

Rainer Egger, Basel, Switzerland, 2005; after Johann Joseph Schmied, 1778

Mindy Rosenfeld

* Principal † Principal 2nd Violin bc Continuo

TROMBONES Greg Ingles *

Anonymous, Bohemia, 1890

Martin Wenner, Singen, Germany, 2014; after Carlo Palanca, Turin, Italy, c. 1740

KEYBOARD GLOCKENSPIEL Jory Vinikour

Mack Ramsey Ewald Meinl, Geretsried, Germany, 2005; after late 18th century originals

Martin Wenner, Singen, Germany, 2011; after Carlo Palanca, Turin, Italy, c. 1750

Anonymous, Tyrol, Italy, c. 1760

Lisa Weiss Anonymous; after Testore

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ABOUT THE ARTISTS

Philharmonia Chorale Bruce Lamott, chorale director Robert & Laura Cory Chorale Director Chair

Philharmonia Baroque Orchestra & Chorale Community Fund for Choral Music SOPRANOS Tonia d’Amelio Angela Arnold Radoslava Biancalana Cheryl Cain Claire Kelm Christa Pfeiffer Barbara Rowland Helene Zindarsian

ALTOS Natasha Hoehn Katherine McKee Casie Walker Heidi Waterman Celeste Winant Jacque Wilson

TENORS Kevin Baum Kevin Gibbs Corey Head David Kurtenbach Mark Mueller Jonathan Smucker

BASSES Paul Boyce Jeffrey Fields Sepp Hammer Tom Hart James Monios Chad Runyon

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Annual Donors The LA Phil is pleased to recognize and thank donors to our Annual Fund. The following list includes donors who have contributed $2,000 or more to the Annual Fund and Special Events between February 2018 and February 19, 2019. The LA Phil gratefully acknowledges Al Mann’s leadership gift of $10 million to make possible the Alfred E. Mann Los Angeles Philharmonic Association Administrative Building.

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66 PERFORMANCES MAGAZINE

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72 PERFORMANCES MAGAZINE

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74 PERFORMANCES MAGAZINE

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Affiliates FOOTHILL PHILHARMONIC COMMITTEE

On February 11, 2019, the Foothill Philharmonic Committee celebrated 60 years of support for the LA Phil with a Diamond Anniversary Gala in the Dorothy Chandler Pavilion Founders Room. Over 100 members and guests enjoyed champagne, Brahms by an LA Phil string quintet, and a festive lunch. The FPC received congratulatory certificates from the Claremont Unified School District, The City of Claremont, and The Honorable Judy Chu recognizing its outstanding work and generosity for the LA Phil over the past 60 years. Simon Woods, CEO of the LA Phil, spoke about the past, present, and future of the LA Phil and gave a heartfelt tribute to Dudley Rauch, former LA Phil Board of Directors member, generous benefactor, and friend of the FPC. The FPC is one of 17 Affiliate committees that support the LA Phil. The committee fundraises for the LA Phil, staffs youth events given by the orchestra, and locally presents the Music Mobile to all third graders in Claremont and to schools in Pomona and Ontario. Each month, committee members join for lunch and enjoy musical entertainment from a broad range of very skilled musicians. Five years ago, the committee initiated a Community Outreach Program with a series of engaging speakers, who have shared their unique knowledge of classical music and the American musical with the public at these free events. Members, friends, and business sponsors join together to support the LA Phil financially. The FPC thanks the following business sponsors for their leadership gifts: MAESTRO ($1000 and up) Gould Asset Management, Mt. San Antonio Gardens, Pomona Valley Hospital Medical Center; WOODWINDS ($500) Jeffrey K. Stark Associates, Rosemont Mortgage / Christine Shaner, and Suzanne H. Christian CFP. To learn more about the FPC, please visit foothillcommittee.org

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76 PERFORMANCES MAGAZINE

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S CALPULSE DISCOVER THE BEAT OF SOUTHERN CALIFORNIA

S O C A L P U L S E .CO M

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PHOTO: DAVID RODGERS

ANNUAL DONORS

Hollywood is

sin-sational!

Die, Mommie, Die! WRITTEN BY AND STARRING

Charles Busch DIRECTED BY CARL ANDRESS

Angela Arden wants to be free of her suffocating marriage to film producer Sol Sussman. What better way than poison? Charles Busch stars in the role he originated, in this side-splitting sendup where tongues aren’t the only things dipped in acid!

MAY 17-19

JAMES BRIDGES THEATER/UCLA UPCOMING

HEDDA GABLER

JUN 28-30

By Henrik Ibsen. Translated by Doug Hughes. Hedda’s boredom with her new marriage leads her down a dangerous path that leaves no one unscathed. Up Close and Personal L.A. Theatre Works has entertained the world for over 40 years with our signature radio theatre format.

TICKETS AND INFORMATION

LATW.org | 310.827.0889

Carol and Doug Mancino Elisa and William Marks Paul Martin Dr. and Mrs. Allen W. Mathies Scott Mattingly and Christina Steinberg Ms. Jerilyn McAniff Mr. and Mrs. John C. McCarthy Mr. David McGowan Cathy and John McMullen Ms. Irene Mecchi Ms. Margaret Meehan and Mr. Joaquin Nunez Mr. Jorge Mestman Mr. and Mrs. Mark Mischel Mr. Sean Moriarty Mr. Buddy Morra Ms. Marsha L. Morton Bengt Muthen Mr. Emory R. Myrick Dr. David Neer Liron Nelik Mr. and Mrs. John W. Newbold Ms. Rozann Newman Ms. Norma Nicolayevsky Mr. and Mrs. Oberfeld Mr. and Mrs. Steven Olsen Adriana Ortiz Kim and P.F. James Overton Mr. Ralph Page Bob and Brana Paster Foundation Mr. Thomas C. Payne Nicholas Pepper Mr. Jack Perry Mrs. Charlotte Pinsky Ms. Eleanor Pott Elizabeth Price Ms. Marci Proietto Janet and Gerald Puchlik Mr. Frank Reddick and Ms. Lisa Goquen Mr. and Mrs. Richard G. Reinis, Esq. Mr. Eduardo Repetto Ms. Irene Ribner Ms. Ann Rice Mr. William Robinson Mr. Ernesto Rocco Ms. Kristina Rodgers Mr. and Mrs. William C. Roen Michelle and Mark Rosenblatt Lois and Rabbi Moshe Rothblum Ms. Lori Rothschild Ms. Karen Roxborough Mr. Andrew E. Rubin Mr. David Rudy Ann M. Ryder Mr. Michael J. Sabat Mr. and Mrs. Michael Sanders Allen Satenberg Mr. Kevin J. Savage and Ms. Britta Lindgren Mark Sawicki Ms. Maryanne Sawoski Andy and Danielle Schlei Carol (Jackie) and Charles Schwartz Ms. Alicia Schwarz Mr. and Mrs. Peter Segal Mr. and Mrs. Jeffrey Alan Seymour Mr. Robert Shabkie Ruth and Mitch Shapiro Abby Sher Jodi Sherman Pamela and Russ Shimizu

Dr. and Mrs. David B. Sievers Dr. and Mrs. Lee B. Silver Dr. and Mrs. Robert Sinskey Mr. and Mrs. Peter R. Skinner Mr. Kenneth Sleeper Cynthia and John Smet Ms. Roberta Smith Sodexo Mr. and Mrs. William Sollfrey Al and Joyce Sommer Mr. Scott Sorrentino SouthWest Heights Philharmonic Committee Alison D. Sowden Speakers Bureau Mr. and Mrs. Richard Spelke Mrs. Louise M. Spillman Mr. Abraham L. Stein Louis Stern Ms. Margaret Stevens Dr. Angie Stockwell and Mr. Herbert Kanigher Mr. Roy Sukimoto I.H. Sutnick Mr. Edmund J. Sutro Mr. Bradley Tabach-Bank Mr. David Jan Takata Tad Tanoura Ms. Amy Thomas Ms. Angela Tietze Mr. and Mrs. Robert Tokashiki Bonnie K. Trapp Jean Trebek Mr. Paul Tripodi Ms. Vera Tsai Christine Upton Ms. Edelisa Uy Vargo Physical Therapy Perry Vidalakis Mr. and Mrs. Carl R. Waldman Dr. Marlene M. Schultz and Philip M. Walent Ms. Shirley Starke Mr. Robert M. Walp Mrs. Edna Weiss Mr. and Mrs. Kenneth Williams Ms. Susan M. Wolford Ms. Eileen Wong William Wortman Mrs. Linda Schwartz-Wright Mr. Michael Yeaman Ms. Stacie Yee Mr. and Mrs. Larry Yust Rachel and Michael Zugsmith

Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit laphil.com. If your name has been misspelled or omitted from the list in error, please contact the Development Department at 213 972 0757. Thank you.

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SUPPORT THE LA PHIL ANNUAL FUND From the concerts that take place on stage at Walt Disney Concert Hall and the Hollywood Bowl, to the education programs that fill our community with music, it is support from Annual Donors that makes our work possible. We hope you, too, will consider joining the LA Phil family. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music — sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our success. FRIENDS OF THE LA PHIL Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall and the Hollywood Bowl as well as groundbreaking educational initiatives such as YOLA, which provides free after-school music instruction to children in underserved communities throughout Los Angeles. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, please call 213 972 7557. BOARD OF OVERSEERS Jack Suzar and Linda May, Chairs Jonathan and Monique Kagan, Vice Chairs The Board of Overseers is a vital leadership group, providing critical resources in support of the LA Phil’s general operations. Their vision and generosity enables the LA Phil to recruit the best musicians, invest in groundbreaking educational initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to con-sider joining the Board of Overseers. For more information, please call 213 972 7209.

TUNE IN OR STREAM SUN APRIL 14 9PM Available on the Free PBS App

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

CITY COUNCIL

Distinctive Residential Settings | Chef-Prepared Dining and Bistro Premier Health and Wellness Programs | Award-Winning Memory Care Professionally Supervised Therapy and Rehabilitation Services

HW_Performances_social_GPTW_4_2019.indd 1

2/18/19 10:32 AM

# Love S o C a l

Bob Blumenfield Mike Bonin Joe Buscaino Gilbert Cedillo Marqueece Harris-Dawson Jose Huizar Paul Koretz Paul Krekorian Nury Martinez Mitch O’Farrell Curren D. Price, Jr. Monica Rodriguez David Ryu Herb J. Wesson, Jr. President

DEPARTMENT OF CULTURAL AFFAIRS

Danielle Brazell General Manager

CULTURAL AFFAIRS COMMISSION Charmaine Jefferson President John Wirfs Vice President Jill Cohen Thien Ho Evonne Gallardo Eric Paquette Elissa Scrafano

WHERE TO EAT WHERE TO SHOP

WALT DISNEY CONCERT HALL HOUSE STAFF

WHERE TO GO

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

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

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.

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Los Angeles Philharmonic Association Simon Woods

CHIEF EXECUTIVE OFFICER David C. Bohnett Chief Executive Officer Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CEO

Gail Samuel

EXECUTIVE DIRECTOR

Chad Smith

CHIEF OPERATING OFFICER

Kathleen Kane

CHIEF ADVANCEMENT OFFICER

Alison Sowden

CHIEF FINANCIAL OFFICER

Laura Connelly

VICE PRESIDENT, PRESENTATIONS

ARTISTIC PLANNING Phillippa Cole

COMMUNITY & GOVERNMENT AFFAIRS

Kristen Flock-Ritchie

DIGITAL ARCHIVES MANAGER

ASSOCIATE DIRECTOR, ARTISTIC PLANNING ASSISTANT MANAGER, ARTISTIC PLANNING

Maren Quanbeck

MANAGER, ARTIST SERVICES

Ebner Sobalvarro

ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

Julia Ward

AUDIENCE SERVICES Denise Alfred

J. Philip Koester

PATRON / AUDIENCE SERVICES REPRESENTATIVE

Vilma Alvarez

Gloria Balcom

AUDIENCE SERVICES SUPERVISOR

Meghan Martineau

Brendan Broms

Mona Patel

Grace Chapron

VICE PRESIDENT, ARTISTIC PLANNING

AUDIENCE SERVICES SUPERVISOR

VICE PRESIDENT, HUMAN RESOURCES AND GENERAL COUNSEL

AUDIENCE SERVICES REPRESENTATIVE

Daniel Song

VICE PRESIDENT, PHILHARMONIC AND PRODUCTION

Leni Isaacs Boorstin

Jacqueline Ferger

PATRON / AUDIENCE SERVICES REPRESENTATIVE

Stephen Gluck

AUDIENCE SERVICES REPRESENTATIVE

Jennifer Hugus

SENIOR ADVISOR, EXTERNAL ENGAGEMENT

PATRON / AUDIENCE SERVICES REPRESENTATIVE

DIRECTOR, STRATEGY AND SPECIAL PROJECTS

AUDIENCE SERVICES REPRESENTATIVE

Summer Bjork

ADMINISTRATION Maxwell Adams

RISK AND LOGISTICS MANAGER

Michael Chang

DATABASE ADMINISTRATOR

Lauren Coakley

HUMAN RESOURCES MANAGER

Christine Correa

Bernie Keating

Aurelio Minchaca

AUDIENCE SERVICES REPRESENTATIVE

Rosa Ochoa

AUDIENCE SERVICES SUPERVISOR

Claudia Rhodes

AUDIENCE SERVICES REPRESENTATIVE

Randolph Stephen

Rose Doylemason

RECEPTIONIST/HR ASSISTANT

Samantha Ganeku

HUMAN RESOURCES MANAGER

Alex Hernandez

MAIL ROOM ASSISTANT

Kevin Higa

CLOUD INFRASTRUCTURE ENGINEER

Dean Hughes

HELP DESK SPECIALIST

Charles Koo

INFRASTRUCTURE MANAGER

Rik Martin

ADMINISTRATIVE SERVICES MANAGER

Jeff Matchan

DIRECTOR, INFORMATION TECHNOLOGY

Petra McNeilly Rutledge

MANAGER, STRATEGY AND SPECIAL PROJECTS

Sergio Menendez SYSTEM SUPPORT I

Thelma Meza

HUMAN RESOURCES COORDINATOR

Angela Morrell

TESSITURA SUPPORT

Shawn Newmann-Batarse EXECUTIVE ASSISTANT TO THE EXECUTIVE DIRECTOR

Frank Park

INFRASTRUCTURE ENGINEER

Sean Pinto

DATABASE APPLICATIONS MANAGER

Miguel A. Ponce, Jr. SYSTEM SUPPORT I

Christopher Prince TESSITURA SUPPORT

Shannon Thal

SENIOR BENEFITS MANAGER

Aly Zacharias STAFF ATTORNEY

PAYROLL SPECIALIST

Helen Allemano

ASSISTANT MANAGER, ANNUAL FUND

Joshua Alvarenga

SENIOR MAJOR GIFTS OFFICER

Malorie Barbee

SENIOR MANAGER, ANNUAL FUND / MEMBERSHIP

Tess Carota

DEVELOPMENT OPERATIONS, GIFT AND DATA SPECIALIST

Michael Cocks

DEVELOPMENT OPERATIONS PROJECT MANAGER

Julia Cole

DIRECTOR, INSTITUTIONAL GIVING AND STEWARDSHIP

Christina Hall

SENIOR MAJOR GIFTS OFFICER

Gerry Heise

SENIOR MAJOR GIFTS OFFICER

Sara Kim

OPERATIONS ADMINISTRATOR

Anita Lawson

PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA

SENIOR GRANT WRITER

Angie Lee

Allison Mitchell

Katherine Nicolai Rachel Pryzgoda

Susan Erburu Reardon DIRECTOR, GIFT PLANNING

Alicia Rhymes

Carina Sanchez Kristina Schaaf

MANAGER, CORPORATE SPONSORSHIP

Erica Sitko

Stefanie Sprester Kylee Teti

MANAGER, DEVELOPMENT COMMUNICATIONS

2ND ASSISTANT TREASURER

DIRECTOR, LEADERSHIP GIFTS

Kim Kevorkian

Jennifer Hoffner

SENIOR ADVERTISING MANAGER

Linda Holloway

PATRON SERVICES MANAGER

Alexis Kaneshiro GRAPHIC DESIGNER

Amanda Lester

ASSISTANT MANAGER, AUDIENCE DEVELOPMENT AND INSIGHTS

Yuko Makuuchi

ASSISTANT MANAGER, RETAIL OPERATIONS

Brant Markley

Mark Ladd

ASSOCIATE DIRECTOR, OPERATIONS

Joie Marites Lopez EVENT MANAGER

Rafael Mariño

PRODUCTION COORDINATOR

George Portillo

THEATER MAINTENANCE MANAGER

Johanna Rees

DIRECTOR, PRESENTATIONS

Ruben Reyes

POOL CIRCLE MANAGER

Ayrten Rodriguez

CONCERT MANAGER, PRESENTATIONS AND HOLLYWOOD BOWL ORCHESTRA

Edgar Tom

DIRECTOR, OPERATIONS

Tom Waldron HOUSE MANAGER

Herbie Hancock

PROGRAM ADVISOR FOR JAZZ

Morgan Walton

Darlene Chan, FestivalWest Inc.

MARKETING & COMMUNICATIONS

Natalie White

Melissa Achten

ASSOCIATE DIRECTOR, DEVELOPMENT SENIOR RESEARCH AND PROSPECT MANAGER

ASSOCIATE DIRECTOR, SOCIAL INNOVATION

Angelica Cortez

EDUCATION PROJECT MANAGER

Fabian Fuertes

EDUCATION PROJECT MANAGER

Alexis Gallardo

EDUCATION COORDINATOR

ASSISTANT MANAGER

Anwar Nasir

ASSISTANT DIRECTOR, SALES AND CUSTOMER ENGAGEMENT

Cindy Ly Rozas Richard Rubio

Martin Sartini Garner CREATIVE COPYWRITER

Mary Smudde ART DIRECTOR

Natalie Suarez

CREATIVE DIRECTOR

Jonathan Thomas

MARKETING DATABASE SPECIALIST

Sherry Wallace

SALES OPERATION COORDINATOR

Lauren Winn

PROJECT MANAGER

ORCHESTRA MANAGEMENT & PRODUCTION Lila Atchison

ORCHESTRA OPERATIONS COORDINATOR

Shana Bey

ASSOCIATE ORCHESTRA PERSONNEL MANAGER

Taylor Comen

DIRECTOR, PRODUCTION

Jessie Farber

ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Lyla Forlani

PRODUCTION MANAGER

Raymond Horwitz

PROJECT MANAGER, MEDIA INITIATIVES

Kimberly Mitchell PRODUCTION MANAGER

Rita Santos

PRODUCTION ASSOCIATE

Michael Vitale

PRODUCTION MANAGER

Kelvin Vu

PRODUCTION MANAGER ASSOCIATE DIRECTOR, PRODUCTION

Bill Williams

PRODUCTION ASSOCIATE

ASSISTANT MANAGER, MUSIC BUYER

Mary Allen

ADVERTISING COORDINATOR

Tomorrow Kitchen

Ino Mercado

Jeff Wallace

Richard T. Watkins

MANAGER, SPECIAL EVENTS

MANAGER, REVENUE STRATEGIES AND ANALYTICS

TRAFFIC AND PARKING MANAGER

Kimberley Valentine

Phil Bravo

TICKET SELLER

Brian Grohl

WILLIAM POWERS & CAROLYN POWERS CREATIVE CHAIR FOR JAZZ

EDUCATION

Jose Villasenor

Kerri Bershon

Derek Traub

Laurel Harris

2ND ASSISTANT TREASURER

Stephanie Bates

Jen Kehs

TICKET SELLER

1ST ASSISTANT TREASURER

HOLLYWOOD BOWL & PRESENTATIONS PRESENTATIONS ASSISTANT

CAMPAIGN PROJECT MANAGER

TICKET SELLER

MANAGING EDITOR

AUDIENCE SERVICES MANAGER

Kimberly White

Genevieve Goetz

2ND ASSISTANT TREASURER

Angelia Franco

Pamela Li

John Henken

PAYROLL TECHNICIAN

DIRECTOR, CORPORATE SPONSORSHIP

TICKET SELLER

STAFF ACCOUNTANT I

CREATIVE COPYWRITER

MARKETING COORDINATOR, PROMOTIONS AND PARTNERSHIPS

TICKET SELLER

Nancy Fitzgerald

Geoffrey Kwok

Paul Gibson

SUPERVISING SENIOR ACCOUNTANT

CAMPAIGN MANAGER

BOX OFFICE — GROUP SERVICES

ASSISTANT CONTROLLER

Marianne Valmonte

2ND ASSISTANT TREASURER

Carlie Tomasulo

Dustin Hsu

DIGITAL COORDINATOR

Justin Foo

TREASURER

John Tadena

EXECUTIVE ASSISTANT TO THE CFO

MANAGER, VOLUNTEER ACTIVITIES

RESEARCH ANALYST

Elias Santos

Ashley Hofer

Tara Gardner

Joseph Feneck

PROJECT MANAGER, DONOR RELATIONS

Cathy Ramos

ARTIST PAYMENT SPECIALIST

ASSISTANT DIRECTOR, MARKETING

ACCOUNTS PAYABLE MANAGER

TICKET SELLER

Carolina Orellana

Lisa Hernandez

Elizabeth Rojo

DEVELOPMENT WRITER

1ST ASSISTANT TREASURER

PAYROLL COORDINATOR

ANNUAL FUND OFFICER

TICKET SELLER

Ariana Morales

Steve Flores

Cynthia Fuentes

Chelsea Downes

MANAGER, MAJOR GIFTS

Page Messerly

CONTROLLER

SENIOR MANAGER, CREATIVE SERVICES

FINANCIAL PLANNING MANAGER

2ND ASSISTANT TREASURER

Elia Luna

Genevieve Dunaway

Debbie Marcelo

BOARD LIAISON / SENIOR GIFT OFFICER

2ND ASSISTANT TREASURER

SENIOR ADVISOR, STRATEGIC FINANCIAL PLANNING

CORPORATE SPONSORSHIP COORDINATOR

ASSOCIATE MANAGER, SPECIAL EVENTS

Amy Lackow

David Cherpin

Melissa Falchini

ACCOUNTS PAYABLE COORDINATOR

1ST ASSISTANT TREASURER

Alex Hennich

PAYROLL MANAGER

DIRECT MARKETING COORDINATOR

Victoria Dinu

2ND ASSISTANT TREASURER

Veronika Garcia

Melisa Arnold

ANNUAL FUND COORDINATOR

DIRECTOR, DEVELOPMENT OPERATIONS

Christy Galasso

STAFF ACCOUNTANT II

LaTonya Lindsey

2ND ASSISTANT TREASURER

Donella Coffey

Xyra Aranda

Samantha Escobar

SENIOR ACCOUNTANT

DIRECTOR, INDIVIDUAL GIVING

Toliman Au

Toi Duckworth

Constance Dewey

TICKET SELLER

Manuel Reed

SYSTEM SUPPORT II

DIGITAL ASSET MANAGER

ASSOCIATE DIRECTOR, MAJOR GIFTS

Joe Chang

DIGITAL OPERATIONS MANAGER

Adriana Aguilar

MANAGER, GIFT PLANNING

Spring Ake

DIGITAL PRODUCER

PROGRAM MANAGER YOLA@TORRES

Meredith Reese

PATRON / AUDIENCE SERVICES REPRESENTATIVE

WALT DISNEY CONCERT HALL BOX OFFICE

Ian Richard

FINANCE

SENIOR MANAGER, DEVELOPMENT OPERATIONS AND DIGITAL STRATEGY

HR GENERALIST

DIRECTOR, SALES AND CUSTOMER EXPERIENCE

EDUCATION PROJECT MANAGER

ASSISTANT ARCHIVIST

Robert Albini

Joe Carter

Sarah Little

Kelly Kress

AUDIENCE SERVICES SUPERVISOR’

Robert Ullrich

EDUCATION PROJECT MANAGER

ARCHIVES AND MUSEUM DIRECTOR

DEVELOPMENT

Elsje Kibler-Vermaas

VICE PRESIDENT, MARKETING AND COMMUNICATIONS

Ljiljana Grubisic

DIRECTOR, HUMANITIES

AUDIENCE SERVICES REPRESENTATIVE

VICE PRESIDENT, LEARNING

Selena Chau

Emily Lair

Daniel Anderson VIDEO PRODUCER

Janice Bartczak

DIRECTOR, RETAIL SERVICES

Nora Brady

DIRECTOR, AUDIENCE STRATEGIES AND INSIGHTS

Lisa Burlingham

DIRECTOR, MARKETING

Charles Carroll

DIRECT MARKETING MANAGER

PUBLIC RELATIONS Lydia Fong PUBLICIST

Sophie Jefferies

DIRECTOR, PUBLIC RELATIONS

Lisa White PUBLICIST

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

PERFORMANCES MAGAZINE 83

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2018/2019 MUSIC CENTER BOARD OF DIRECTORS

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

Jay Rasulo

Robert J. Abernethy Cindy Miscikowski Vice Chairs

Lisa See

Rachel S. Moore President and Chief Executive Officer Diane G. Medina Secretary Susan M. Wegleitner Treasurer

Joseph Rice Richard K. Roeder Catharine Soros Marc I. Stern Philip A. Swan Cary H. Thompson Walter F. Ulloa Timothy S. Wahl Alyce Williamson Jay Wintrob

William Taylor Assistant Treasurer and Chief Financial Officer

Rollin A. Ransom General Counsel

MEMBERS AT LARGE Charles F. Adams

DIRECTORS EMERITI Peter K. Barker

William H. Ahmanson Wallis Annenberg Jill Baldauf Phoebe Beasley Darrell Brown Kimaada M. Brown Dannielle Campos Greg T. Geyer Lisa Gilford Kiki Ramos Gindler Maria Rosario Jackson Glenn Kaino Stefanie Kane

Leave of absence

Judith Beckmen Eli Broad Ronald W. Burkle Amb. (ret.) John B. Emerson* Lois Erburu Richard M. Ferry Brindell Gottlieb Bernard A. Greenberg Stephen F. Hinchliffe, Jr. Amb. (ret.) Glen A. Holden Stuart M. Ketchum Amb. (ret.) Lester B. Korn

General Information (213) 972-7211 | musiccenter.org

Cary J. Lefton Richard Lynn Martinez

Robert F. Maguire, III

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

Bowen “Buzz” H. McCoy Mattie McFaddenLawson

Ginny Mancini Edward J. McAniff

Elizabeth Michelson

Fredric M. Roberts

Be a Music Center Docent If you love the arts and enjoy sharing this enthusiasm with the public, we invite you to join the Symphonians. musiccenter.org/symphonians symphonians@musiccenter.org

David Lippman

Darrell D. Miller Shelby Notkin Michael Pagano Cynthia M. Patton Karen Kay Platt Rory Pullens Max Ramberg ^

Kent Kresa

Walter M. Mirisch Claire L. Rothman Joni J. Smith Cynthia A. Telles James A. Thomas Andrea L. Van de Kamp* Paul M. Watson Thomas R. Weinberger Rosalind W. Wyman * Chairman Emeritus

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Illustrations by: Down The Street Designs

A s one of the nation’s largest performing arts centers and a cultural and civic anchor in Los Angeles County, The Music Center convenes artists, communities and ideas with the goal of deepening the cultural lives of every resident in the county. The Music Center is poised to become a multidisciplinary arts center for the 21st century, not only as a home for classical art forms, but also as a driving artistic voice for diversity and inclusion that reflects and responds to the ever-evolving landscape of Los Angeles. Through compelling programs that are relevant to a range of audiences, serving Los Angeles in all its breadth, The Music Center is both the home and the force behind some of the greatest creative expression today.

OFFICERS Lisa Specht Board Chair

3/7/19 3:23 PM

OPENING LABOR DAY WEEKEND! Enjoy a warm and inviting public space that welcomes all to engage and connect with each other. Get ready for your new Plaza, Los Angeles!

NOW OPEN AT THE MUSIC CENTER! UPSTAGE BURGER

The quintessential L.A. burger joint that brings a new casual dining option to The Music Center. Upstage Burger offers a comfortable spot to grab a high-quality burger, sip an ice cold beer, hang out with friends and enjoy the surrounds. Located on The Music Center Plaza at 1st Street and Grand Avenue, adjacent to The Music Center’s Dorothy Chandler Pavilion.

COCINA ROJA

Inspired by the flavors and unique spirit of Mexico City, Cocina Roja is the ideal outdoor Music Center dining option. This traditional Mexican al fresco taqueria offers authentic tacos, larger entrées and street fare, which can be paired with an array of legitimate libations. Located on The Music Center Plaza at Temple Street and Grand Avenue, adjacent to The Music Center’s Ahmanson Theatre.

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APRIL TUE 02 APR / 8:00 p.m. Lackawanna Blues CENTER THEATRE GROUP @ Mark Taper Forum Thru 4/21 TUE 02 APR / 11:00 a.m. Grand Park’s LUNCH À LA PARK: Food Trucks @ Grand Park Every Tue/Wed/Thu WED 03 APR / 7:30 p.m. Alvin Ailey American Dance Theater THE MUSIC CENTER @ Dorothy Chandler Pavilion Thru 4/7 THU 04 APR / 8:30 p.m. Los Angeles Poverty Department (L.A.P.D.): I Fly! or How to Keep the Devil Down in the Hole REDCAT @ Roy And Edna Disney / CalArts Theater Thru 4/6 THU 04 APR / 12:15 p.m. Grand Park’s LUNCH À LA PARK: SPRING CONCERTS featuring L.A.’s Youth Artists @ Grand Park Performance Lawn Every Thu FRI 05 APR / 11:00 a.m. Mirga Leads Tchaikovsky & Debussy LA PHIL @ Walt Disney Concert Hall Thru 4/7 FRI 05 APR / 8:00 p.m. Monterey Jazz Festival on Tour featuring Cécile McLorin Salvant, Bria Skonberg, Melissa Aldana, Christian Sands, Yasushi Nakamura & Jamison Ross LA PHIL @ Walt Disney Concert Hall

FRI 05 APR / 12:15 p.m. Grand Park’s LUNCH À LA PARK: Yoga reTREAT @ Grand Park Performance Lawn Every Wed/Fri

MON 15 APR / 8:30 p.m. Allan Sekula: Selected Films & Books REDCAT @ Roy And Edna Disney / CalArts Theater

SAT 06 APR / 11:00 a.m. Toyota Symphonies for Youth: Ravel’s Bolero LA PHIL @ Walt Disney Concert Hall Thru 4/20

TUE 16 APR / 8:00 p.m. Falsettos CENTER THEATRE GROUP @ Ahmanson Theater Thru 5/19 THU 18 APR / 8:00 p.m. Salonen’s Stravinsky: Myths LA PHIL @ Walt Disney Concert Hall Thru 4/20

SUN 07 APR / 7:30 p.m. Cameron Carpenter LA PHIL @ Walt Disney Concert Hall

SUN 21 APR / 7:30 p.m. Murray Perahia LA PHIL @ Walt Disney Concert Hall

MON 08 APR / 8:30 p.m. Note to Self: Films by Nazlı Dinçel REDCAT @ Roy And Edna Disney / CalArts Theater

MON 22 APR / 5:00 p.m. OUR L.A. VOICES — L.A. Arts Festival @ Grand Park Performance Lawn Thru 4/28

TUE 09 APR / 8:00 p.m. All-Stravinsky LA PHIL @ Walt Disney Concert Hall

THU 25 APR / 8:30 p.m. John Kelly: Time No Line REDCAT @ Roy And Edna Disney / CalArts Theater Thru 4/27

WED 10 APR / 8:00 p.m. Philharmonia Baroque Orchestra & Chorale LA PHIL @ Walt Disney Concert Hall THU 11 APR 9:00 a.m. – 2:00 p.m. Earth Day LA GRAND PARK + THE MUSIC CENTER + DWP @ Grand Park

FRI 26 APR / 8:00 p.m. Salonen Conducts Pines of Rome LA PHIL @ Walt Disney Concert Hall Thru 4/28

FRI 12 APR / 8:00 p.m. Salonen’s Stravinsky: Rituals LA PHIL @ Walt Disney Concert Hall

MON 29 APR / 8:30 p.m. James Benning: Two Films REDCAT @ Roy And Edna Disney / CalArts Theater

SUN 14 APR / 2:00 p.m. Salonen’s Stravinsky: Faith LA PHIL @ Walt Disney Concert Hall

TUE 30 APR / 8:00 p.m. Chamber Music for Strings LA PHIL @ Walt Disney Concert Hall

SUN 14 APR / 7:30 p.m. USC Thornton Wind Ensemble • USC Thornton Symphony and Choral Artists • USC Thornton Symphony LA PHIL @ Walt Disney Concert Hall

2019 Visit musiccenter.org for additional information on all upcoming events. facebook.com/MusicCenterLA

@MusicCenterLA

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3/7/19 3:23 PM

The Royal Ballet Returns to Los Angeles for the first time in 24 years!

INTRIGUE PASSION SCANDAL

Kenneth MacMillan’s Mayerling The Music Center’s Dorothy Chandler Pavilion July 5 – 7

musiccenter.org/mayerling | (213) 972-0711 GROUPS OF 10+: (213) 972-8555 | mcgroupsales@musiccenter.org The Royal Ballet Mayerling photo credits: Background: Steven McRae ©ROH 2017. Photo by Alice Pennefather; Top left: Natalia Osipova, Ryoichi Hirano ©ROH 2018. Photo by Helen Maybanks; Top right: Lauren Cuthbertson ©ROH 2018. Photo by Bill Cooper; Middle: Natalia Osipova, Ryoichi Hirano ©ROH 2018. Photo by Helen Maybanks.

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3/7/19 3:24 PM

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

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

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B E AU T Y I S A B*T C H RNS RETU 14

“HARROWING, HEARTBREAKING, HILARIOUS … [Grant] spins her childhood traumas into occasionally painful, ultimately uplifting comic gold.”

JUNE

–Los Angeles Times

“RECOMMENDED… STAGE RAW TOP TEN … beautifully constructed… laced throughout with explosive, edgy one-liners … a tale about the possibility of forgiveness.” –Stage Raw

A HEARTBREAKING COMEDY Written and Performed by

Barra Grant

With Monica Piper Directed by Eve Brandstein

JUNE 14THAUGUST 4TH

2437 Main Street Santa Monica, CA 90405

PHONE LINE: 323.285.2078

Valet parking available on site. Metered parking available on Main Street and Lot 11 across the street.

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EDGEMAR CENTER FOR THE ARTS

3/11/19 2:28 6:32 PM PM 3/12/19

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3/6/19 2:34 PM