“What happens here is that you find yourself. You’re actually opening. You’re walking through many, many doors inside of you. I take with me a quietness that I’m able to share and instill in people. Because I’m back as Diane. I’m back whole.”
Seoul
JUNE
Seoul Festival Los Angeles Philharmonic Unsuk Chin & Brahms’ Double Concerto
JUNE 8 COLBURN CELEBRITY
A PERFECT DINING EXPERIENCE TO PAIR WITH YOUR PERFORMANCE
Indulge in a seasonal three-course prix fixe menu at Noé Restaurant & Bar, just a short walk from the theatre. Enjoy a stress-free meal with valet parking for $25 and receive 15% off your bill at Noé when you present your theatre program. Scan the QR code & reserve your table now for an unforgettable evening.
Los Angeles Philharmonic Publications 2025
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ELEVATE YOUR NEXT CORPORATE EVENT, GALA, CONFERENCE, OR WEDDING BY BOOKING WITH HOPE & GRAND AT THE MUSIC CENTERWHERE WE TRANSFORM MOMENTS INTO UNFORGETTABLE EXPERIENCES.
As the 2024/25 Walt Disney Concert Hall season comes to an end, I’d like to share my thanks to everyone who joined us during this extraordinary year. Over the past nine months we premiered more than 20 new works, became the first major symphony orchestra to headline Coachella, opened Carnegie Hall’s season, and went on tour to Colombia. At Walt Disney Concert Hall, we were transported to Houston’s legendary Eldorado Ballroom by Solange Knowles, visited the world of Mahler with Gustavo Dudamel, explored the era of Handel along with Emmanuelle Haïm, and more.
This month, the brilliant composer Unsuk Chin curates our Seoul Festival, celebrating the breadth and creativity of Korean music and art. In conceiving of this festival, Unsuk sought to bring today’s most exciting Korean performers and compositional voices to Los Angeles, home to the largest Korean community outside of Asia. In showcasing the virtuosity, ingenuity, and diversity of Korean artists, Unsuk is strengthening the connections between our communities, across hemispheres and languages.
This season also marks a tremendous milestone for three of our cherished musicians: Principal Concertmaster Martin Chalifour will retire at the end of the summer after a 30-year career with the LA Phil, while both second violinist Dale Breidenthal, who joined in 1983, and violist John Hayhurst, an orchestra member since 1984, retire this month. We celebrate their amazing careers, and they’ll always be part of our LA Phil family.
Warmly,
Kim Noltemy President & Chief Executive Officer
David C. Bohnett Presidential Chair Los Angeles Philharmonic Association
CHAIR
Jason Subotky*
PRESIDENT & CEO
David C. Bohnett Presidential Chair
Kim Noltemy
VICE CHAIRS
Thomas L. Beckmen*
Reveta Bowers*
Jane B. Eisner*
David Meline*
Diane Paul*
Jay Rasulo*
DIRECTORS
Nancy L. Abell
Gregory A. Adams
Julie Andrews
Camilo Esteban
Becdach
Linda Brittan
Jennifer Broder
Kawanna Brown
Andrea Chao-Kharma*
R. Martin Chavez
Christian D. Chivaroli
Jonathan L. Congdon
Donald P. de Brier*
Louise D. Edgerton
Lisa Field
David A. Ford
Alfred Fraijo Jr.
Hilary Garland
Jennifer Miller Goff*
Tamara Golihew
David Greenbaum
Carol Colburn Grigor
Marian L. Hall
Antonia Hernández*
Jonathan Kagan*
Darioush Khaledi
Winnie Kho
Joey Lee
Matt McIntyre
Francois Mobasser
Margaret Morgan
Leith O’Leary
Andy S. Park
Sandy Pressman
Geoff Rich*
Laura Rosenwald
Richard Schirtzer
John Sinnema
G. Gabrielle Starr
Jay Stein*
Christian Stracke*
Ronald D. Sugar*
Vikki Sung
Jack Suzar
Sue Tsao
Jon Vein
Megan Watanabe
Regina Weingarten
Jenny Williams
Alyce de Roulet Williamson
Irwin Winkler
Debra Wong Yang
HONORARY LIFE DIRECTORS
David C. Bohnett
Frank Gehry
Lenore S. Greenberg
Bowen H. “Buzz” McCoy
PAST CHAIRS**
Thomas L. Beckmen
Jay Rasulo
Diane B. Paul
David C. Bohnett
Jerrold L. Eberhardt
John F. Hotchkis†
usbank.com/privatewealth
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Because you’re more than one note — you’re a symphony.
Thank you for sharing the music with us tonight. Enjoy the show.
Gustavo Dudamel is committed to creating a better world through music. Guided by an unwavering belief in the power of art to inspire and transform lives, he has worked tirelessly to expand education and access for underserved communities around the world and to broaden the impact of classical music to new and ever-larger audiences. His rise, from humble beginnings as a child in Venezuela to an unparalleled career of artistic and social achievements, offers living proof that culture can bring meaning to the life of an individual and greater harmony to the world at large. He currently serves as the Music & Artistic Director of the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, and in 2026, he becomes the Music and Artistic Director of the New York Philharmonic, continuing a legacy that includes Gustav Mahler, Arturo Toscanini, and Leonard Bernstein. Throughout 2025, Dudamel will celebrate the 50th Anniversary of El Sistema, honoring the global impact of José Antonio Abreu’s visionary education program across five generations, and acknowledging the vital importance of arts education. Dudamel’s advocacy for the power of music to unite, heal, and inspire is global in scope. In appearances from the United Nations to the White House to the Nobel Peace Prize Concert, Dudamel has served as a passionate advocate for music education and social integration through art, sharing his own transformative experience in Venezuela’s El Sistema program as an example of how music can give a sense of purpose and meaning to young people and help them rise
above challenging circumstances. In 2007, Dudamel, the LA Phil, and its community partners founded YOLA (Youth Orchestra Los Angeles), which now provides more than 1,700 young people with free instruments, intensive music instruction, academic support, and leadership training. In 2012, Dudamel launched the Dudamel Foundation, which he co-chairs with his wife, actress and director María Valverde, with the goal of expanding access to music and the arts for young people by providing tools and opportunities to shape their creative futures. As a conductor, Dudamel is one of the few classical musicians to become a bona fide pop-culture phenomenon and has worked tirelessly to ensure that music reaches an evergreater audience. He was the first classical artist to participate in the Super Bowl halftime show and the youngest conductor ever to lead the Vienna Philharmonic’s New Year’s Day Concert. He has performed at global mainstream events from the Academy Awards to the Olympics, and has worked with musical icons like Billie Eilish, Christina Aguilera, Ricky Martin, Gwen Stefani, Coldplay, and Nas. Dudamel conducted the score to Steven Spielberg’s new adaptation of West Side Story, and at John Williams’ personal request, he guest conducted the opening and closing credits of Star Wars: The Force Awakens. His film and television appearances include Sesame Street The Simpsons Mozart in the Jungle, Trolls World Tour, and The Nutcracker and the Four Realms, and in 2019 Dudamel was honored with a star on the Hollywood Walk of Fame.
The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2024/25 season is the orchestra’s 106th.
Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. 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 Ford,
situated in a 32-acre park and under the stewardship of the LA Phil since December 2019, presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles.
The orchestra’s involvement with Los Angeles extends far beyond its venues. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles). Through YOLA, inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purpose-built facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry.
The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global
Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.
The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy-winning recordings featuring the music of Brahms, Ives, Andrew Norman, Thomas Adès, and Gabriela Ortiz— whose Revolución diamantina received three Grammys in 2025.
The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), O tto 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).
Gustavo Dudamel
Music & Artistic
Director
Walt and Lilly Disney Chair
Zubin Mehta
Conductor Emeritus
Esa-Pekka Salonen Conductor Laureate
Rodolfo Barráez Assistant
Conductor
Ann Ronus Chair
John Adams
John and Samantha Williams
Creative Chair
Herbie Hancock Creative Chair for Jazz
Martin Chalifour
Principal
Concertmaster
Marjorie Connell Wilson Chair
Nathan Cole First Associate
Concertmaster
Ernest Fleischmann Chair
Bing Wang
Associate
Concertmaster
Barbara and Jay Rasulo Chair
Akiko Tarumoto
Assistant Concertmaster
Philharmonic Affiliates Chair
Rebecca Reale
Deanie and Jay Stein Chair
Rochelle Abramson
Minyoung Chang
I.H. Albert
Sutnick Chair
Tianyun Jia
Jordan Koransky
Ashley Park
Justin Woo
Katherine Woo
Melody Ye Yuan Weilu Zhang
SECOND VIOLINS
[Position vacant]
Principal
Mark Kashper
Associate Principal
Isabella Brown Assistant Principal
Kristine Whitson
Johnny Lee
Dale Breidenthal
Mark Houston Dalzell and James DaoDalzell Chair for Artistic Service to the Community
Ingrid Chun
Jin-Shan Dai
Chao-Hua Jin
Jung Eun Kang
Vivian Kukiel
Nickolai Kurganov
Varty Manouelian
Emily Shehi
Michelle Tseng
[Position vacant]
Principal
John Connell Chair
Ben Ullery
Associate Principal
Jenni Seo
Assistant Principal
Dana Lawson
Richard Elegino
John Hayhurst
Ingrid Hutman
Michael Larco
Hui Liu
Meredith Snow
Leticia Oaks Strong
Minor L. Wetzel+
Bradley Parrimore*
* Judith and Thomas L. Beckmen
L A Phil Resident Fellow
+ On sabbatical
Robert deMaine
Principal
Bram and Elaine Goldsmith Chair
Ben Hong
Associate Principal
Sadie and Norman Lee Chair
Dahae Kim
Assistant Principal
Jonathan Karoly
David Garrett
Barry Gold
Jason Lippmann
Gloria Lum
Linda and Maynard
Brittan Chair
Zachary Mowitz
Serge Oskotsky
Brent Samuel
Ismael Guerrero*
Alicia Miñana and Rob Lovelace LA Phil
Resident Fellow Chair
Christopher Hanulik
Principal
Diane Disney Miller and Ron Miller Chair
Kaelan Decman
Associate Principal
Oscar M. Meza
Assistant Principal
David Allen Moore
Ted Botsford
Jack Cousin
Jory Herman
Brian Johnson
Peter Rofé
Nicholas Arredondo*
Alicia Miñana and Rob Lovelace LA Phil Resident Fellow Chair
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
[Position vacant]
Principal
Carol Colburn Grigor Chair
Marion Arthur
Kuszyk
Associate Principal
Anne Marie Gabriele
English Horn [Position vacant]
CLARINETS
Boris Allakhverdyan
Principal
Michele and Dudley Rauch Chair
[Position vacant]
Associate Principal
Andrew Lowy
Taylor Eiffert
E-Flat Clarinet
Andrew Lowy
Bass Clarinet
Taylor Eiffert
BASSOONS
Whitney Crockett Principal
Shawn Mouser+
Associate Principal
Ann Ronus Chair
Michele Grego Evan Kuhlmann
Contrabassoon Evan Kuhlmann
The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
HORNS
Andrew Bain
Principal
John Cecil Bessell Chair
David Cooper
Associate Principal
Gregory Roosa
Alan Scott Klee Chair
Amy Jo Rhine
Loring Charitable Trust Chair
Elyse Lauzon
Ethan Bearman
Assistant
Bud and Barbara Hellman Chair
Elizabeth Linares Montero*
Nancy and Leslie Abell LA Phil Resident Fellow Chair
TRUMPETS
Thomas Hooten
Principal
M. David and Diane
Paul Chair
James Wilt
Associate Principal
Nancy and Donald de Brier Chair
Christopher Still
Ronald and Valerie Sugar Chair
Jeffrey Strong
TROMBONES
David Rejano Cantero
Principal Koni and Geoff Rich Chair
James Miller
Associate Principal
Judith and Thomas
L. Beckmen Chair
Paul Radke
Bass Trombone
John Lofton
Miller and Goff Family Chair
TUBA
Mason Soria
TIMPANI
Joseph Pereira
Principal
Cecilia and Dudley Rauch Chair
David Riccobono
Assistant Principal
PERCUSSION
Matthew Howard Principal
James Babor David Riccobono
KEYBOARDS
Joanne Pearce Martin Katharine Bixby Hotchkis Chair
HARP
Emmanuel Ceysson Principal Ann Ronus Chair
LIBRARIANS
Stephen Biagini
Benjamin Picard
KT Somero
CONDUCTING FELLOWS
Luis Castillo-Briceño
Holly Hyun Choe
Dayner Tafur-Díaz
Molly Turner
The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
Growing up among the Korean diaspora in Pennsylvania, Alex Paik struggled to define what it meant to be Korean. The writer, now based in LA, where he serves on the steering committee of GYOPO, considers his relationship to his culture in the context of the LA Phil’s Seoul Festival, a celebration of Korean music and artistry from June 3 to 10 at Walt Disney Concert Hall.
There was a period in high school when I listened only to classical music. During this time I remember overhearing some of my Korean friends talk excitedly about the Korean rapper Seo Taeji and feeling ashamed that I didn’t know who he was. I felt like not knowing about this musician somehow made me less Korean than my peers, so I bought a Seo Taeji album (on cassette!), hoping that it would help me fit in with the other Korean Americans I saw at church or at language school on the weekends. I remember trying to convince myself that I liked the music in the misplaced hopes that I could prove to others and myself that I was Korean enough. This was a common theme in my youth—feeling like I had to contort myself into unnatural shapes to fit into outside ideas of what it meant to be Korean. My West Coast Asian
friends tell me that this is classic East Coast Asian vibes. From June 3 to 10 at Walt Disney Concert Hall, the Los Angeles Philharmonic presents its Seoul Festival, a celebration of the music and artistry of South Korea and the Korean diaspora. Over this week, five concerts, curated by renowned composer and Seoul native Unsuk Chin, feature Korean musicians performing works from the Western classical repertoire as well as works by some of Korea’s most exciting composers. GYOPO, a nonprofit organization dedicated to the work of Korean diasporic cultural producers, complements these concerts with video installations, a symposium cocurated by Korean American musician SASAMI, new music by KIRARA, and an afternoon of performances as part of GYOPO Diasporic Refractions
in partnership with LA Phil Insight. What’s liberating about the Seoul Festival’s concert series and GYOPO Diasporic Refractions is that they show the breadth of Korean cultural production and the impossibility of trying to limit or pin down what constitutes Korean cultural identity.
It is fitting for an LA-based organization to conduct this exploration into Korean culture. In the aftermath of the Korean War, which caused the deaths of 3 million people from
1950 to 1953 (the majority of whom were civilians), a considerable diasporic population was scattered across the globe, the largest of which settled in the Los Angeles area. GYOPO, which means someone of Korean heritage born or raised outside the country, seeks to uplift the voices of Korean cultural producers who have been marginalized in Korea—adoptees, mixed-race Koreans, and queer people— due to continued nationalism, ethnic essentialism, and queerphobia in South Korea. Bringing the variety of musical talent and perspectives from across the diaspora was a priority of Chin’s. “The programs of the whole festival have an extremely wide spectrum. It starts with classical repertoire and goes to the premieres of brand-new pieces; from instrumental concerto to chamber music,” she says.
Among the more traditional offerings, a chamber concert features works by Debussy, Schoenberg, Schumann, and Brahms on June 10, while Sunwook Kim performs the piece that helped him become the first Asian and youngest competitor in 40 years to win the Leeds International Piano Competition: Brahms’ First Piano Concerto, on June 6. In addition to presenting these incredible interpreters
of Western classical music from Korea, the concert series features world premieres of works by Korean composers Whan Ri-Ahn, Sunghyun Lee, Kay Kyurim Rhie, and Texu Kim and the West Coast premiere of Unsuk Chin’s haunting and colorful Clarinet Concerto. These innovative composers often combine a variety of influences from the Eastern and Western hemispheres and build on top of these traditions. Kay Kyurim Rhie, for example, blends influences from jazz, the European avantgarde, Korean folk music, and the blues in her work.
The June 3 New Voices from Korea concert, part of the Green Umbrella new music series, is dedicated to works by composers Juri Seo, SunYoung Pahg, Yie Eun Chun, and Dongjin Bae.
Throughout the week, A Performing by Flash,
Afterimage, Velocity, and Noise by siren eun young jung will be on view in BP Hall. This large-scale video installation debuted at the Korean Pavilion during the 2019 Venice Biennale. Based on 10 years of research into the genre of Korean theater called yeoseong gukgeuk, in which all roles are performed by women actors, the artwork connects four artists, creating a concise lineage of queer performance. It features Lee Deung Woo, a yeoseong gukgeuk male-role actor; trans electronic musician KIRARA; lesbian actor Yii Lee; and Seo Ji Won, a disabled woman who is a performer and the director of the Disabled Women’s Theater Group “Dancing Waist.” siren eun young jung has said that she intentionally uses flash, afterimage, velocity, and noise—which are traditionally
discouraged elements in video art—to subvert the genre (and, by extension, ideas surrounding gender). This creates a queer aesthetic and politic in a work that is fragmented and frenetic but ultimately liberating and empowering.
One thing that struck me from the sustained, months-long protests in South Korea against former President Yoon Suk Yeol was the critical role of music in Korean protest culture; every protest seemed to include spontaneous chanting, dancing, and singing. On June 7, a timely symposium co-curated by SASAMI will bring together diasporic Korean artists from various disciplines, such as designer Mindy Seu, artist yuniya edi kwon, and musician Baek Hwong (NoSo), to speak about using their work as tools for examining and deconstructing systems of oppression. As part of the event, there will be a performance by yuniya edi kwon and an intimate set
by singer-songwriter NoSo. Capping off the weekend on June 8 is an afternoon of performances in the Blue Ribbon Garden co-curated by Hannah Joo, featuring artists Ari Osterweis, Sharon Chohi Kim, Young Sun Han, and Hwa Records.
The third movement of Juri Seo’s Concertino for piano (which will be performed June 3 as part of the New Voices from Korea program) is a jazzy fugue and an apt metaphor for cultural identity. In a fugue, what’s less important (and less interesting) is each individual voice; what matters instead is the way that these melodic fragments weave and work together. Similarly, each individual artist in this series inverts, flips, reverses, or transposes Korean identity in their own unique fashion, and this week is a way to step back and catch a glimpse of the larger, ever-expanding tapestry of Korean cultural identity, an identity that is complex, improvised, and even playful.
Culture is always changing as people are exposed to and are influenced by others. What this week of programming emphatically states through its sheer breadth and, most interestingly, through its insistence on blending traditions, forms, and genres is that anything done by someone of Korean descent is part of Korean culture—full stop. That boy who thought it was more Korean to like Seo Taeji than it was to love Beethoven and Shostakovich was right about one thing— Korean cultural identity is (still) ungraspable. But he thought it was ungraspable because he was trying to fit into other people’s narrow visions of Korean identity. As this week’s programming attests, Korean cultural identity is ungraspable not because it is too narrow but rather because it is too large to pin down, perpetually evolving as we collectively design and build this identity together.
Alex Paik is an artist, community builder, curator, and writer based in Los Angeles. He is founder and director of Tiger Strikes Asteroid, a nonprofit network of artist-run spaces, and serves on the steering committee at GYOPO, a collective of diasporic Korean cultural producers and arts professionals.
with Evan Kuhlmann, contrabassoon
WHICH PIECE OF MUSIC…
…MAKES YOU SMILE?
There are so many answers. One that comes to mind is John Adams’ Chamber Symphony. My parents were both rock drummers, and this piece just rocks so hard. There’s a place in the last movement where I just start head banging! It’s wild. John Adams says it’s influenced by cartoon music, and it totally is—just goofy. I haven’t played it here yet, but I’d love to do it.
…BRINGS YOU TO TEARS?
I’ve cried a couple times while playing because you just can’t help it. The last movement of Mahler Three is one of those pieces that kind of turn me into a sloppy mess. The last movement of Sibelius’ Fifth Symphony is also just so gorgeous. I think the composer said that he was influenced by watching swans flying over the water. And there’s a piece by Ralph Vaughan Williams called The Lark Ascending that I grew up with. My parents, despite being rock musicians, listened to that a lot, and if I’m not mistaken, they want it to be played at both of their funerals! Maybe that’s too dark to say, but it’s pretty beautiful.
…GIVES YOU CHILLS?
Oh, I love these moments in music. There’s a piece by Missy Mazzoli called Sinfonia (for Orbiting Spheres), and the first time I played it, it changed my idea of what an orchestra could sound like. I just remember my jaw falling down, like “Yeah, let’s do more of this—all the time.” We need more imagination! One of the most exciting things to me is that this art form is still alive and still growing. I don’t think we’ve done the piece here, but I hope we do it soon. It’s phenomenal. —Piper Starnes
On the heels of Revolución diamantina—winner of three 2025 Grammy Awards (Best Orchestral Performance, Best Contemporary Classical Composition, and Best Classical Compendium)—the LA Phil and label Platoon announced the forthcoming release of Yanga, a second album featuring the music of composer Gabriela Ortiz.
Titled after Ortiz’s 2019 suite based on the life of 17th-century freedom fighter Gaspar Yanga, the album also includes Dzonot (2024) and Seis piezas a Violeta (2023). All three works were conducted by Music & Artistic Director Gustavo Dudamel and commissioned by the Los Angeles Philharmonic. The Los Angeles Master Chorale and Tambuco Percussion Ensemble are featured in the performance
of Yanga, and cellist Alisa Weilerstein is the soloist in Dzonot.
“Her ability to bring colors, to bring rhythm and harmonies that connect with you is something beautiful, something unique,” says Dudamel about Ortiz, who has served as curator of the LA Phil’s Pan-American Music Initiative since 2022. The full album will be available on all streaming platforms July 18.
In April, the LA Phil became the first major symphonic orchestra to headline at Coachella. The orchestra performed alongside guest artists Laufey, Maren Morris, Becky G, Ca7riel & Paco Amoroso, Zedd, LL Cool J, Natasha Bedingfield, Dave Grohl, and Cynthia Erivo across the two Saturday sets. Read more about our historic debut at laphil.com/coachella.
For Ken and Doreen Klee, music has always been more than entertainment— it is a lifelong passion and a meaningful thread in their shared journey.
Together since they were 17 and married at 22, the Klees credit classical music as one of the constants that has enriched their lives, both at home and in concert halls across Los Angeles.
Ken’s earliest memory of the LA Phil dates back to when he was 12 years old, attending concerts at Philharmonic Auditorium with his late brother, Alan Scott Klee. Those early experiences sparked a love of music that he and Doreen have nurtured throughout their 53 years of marriage.
Doreen recalls her first Hollywood Bowl concert in 1954, when, at just 5 years old, she danced in the aisles with her best friend during a performance by the Ballet Russe de Monte Carlo.
In 2018, the Klees honored Alan’s memory by endowing the Second Horn position at the LA Phil, held by Gregory Roosa, through a $1 million bequest. “It was deeply meaningful to all of us,” Ken reflected, noting how the gift brought joy to Alan during his lifetime.
As devoted Sundayafternoon subscribers at Walt Disney Concert Hall, the Klees find a deep connection with the music and the community. “I like to leave the concert feeling uplifted and meditative before I go out into LA,” Ken shared. “I do think that it’s very romantic. We get to hold hands; we get to sit and listen to something beautiful. We also like the pre-concert talks—they give us insights into the music.”
For Ken, a retired attorney and professor of law, and Doreen, whose career
spanned social work and fundraising, these musical moments form the fabric of their lives. Looking ahead, the Klees are committed to ensuring that future generations, including their own grandchildren, can share in the transformative power of music.
As they describe it, “Music brings us together—it’s something we’ve always shared. Supporting the LA Phil means supporting a legacy of excellence that will inspire many more years of extraordinary performances.”
To learn more about ways to remember the LA Phil in your estate, please contact legacy@laphil.org
BOARD OF SUPERVISORS
Hilda L. Solis
Holly J. Mitchell
Lindsey P. Horvath
Janice K. Hahn
Kathryn Barger Chair
DEPARTMENT OF ARTS AND CULTURE
Kristin Sakoda Director
COUNTY ARTS COMMISSION
Leticia Buckley
President
Randi Tahara Vice President
Rogerio V. Carvalheiro
Secretary
Sandra P. Hahn
Executive Committee
Member
Liane Weintraub
Immediate Past President
Pamela Bright-Moon
Patrice Cullors
Diana Diaz
Eric R. Eisenberg
Brad Gluckstein
Helen Hernandez
Constance Jolcuvar
Alis Clausen Odenthal
Anita Ortiz
Jennifer Price-Letscher
The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture and from the City of Los Angeles Department of Cultural Affairs.
JULY 5 - AUG. 29, 2025
800-487-3378
PageantTickets.com
WHERE ART COMES TO LIFE No CGI, no deepfakes—just real people stepping into iconic works of art at the Pageant of the Masters in Laguna Beach. Watch masterpieces transform into living pictures, with narration and an original score performed by a live orchestra under the stars. It’s not just a show—it’s an unforgettable experience!
WHERE ART HAPPENS. No screens, no shortcuts—just real artists showcasing original works at the Festival of Arts Fine Art Show in Laguna Beach. Stroll through an outdoor gallery, join free art tours, enjoy live music, and create your own masterpiece in hands-on workshops. It’s art you can explore, experience, and take home. JULY 2 - AUG. 29, 2025 (closed July 4)
LA Phil New Music Group
Ensemble TIMF
Soo-Yeoul Choi, conductor
Unsuk Chin, curator
HieYon Choi, piano
Yoo Hong, daegeum
SooBeen Lee, violin
Yubeen Kim, flute
Juri SEO
Sun-Young PAHG
Concertino for piano and chamber orchestra (c. 14 minutes)
Fanfare-March
Schumann
Jazz Fughetta
Finale
HieYon Choi
LA Phil New Music Group
L‘autre moitié de Silence for Daegum and Ensemble (c. 10 minutes)
Lune diurne
La Libellule
Marcato ma scorrevole
Quatrième Tableau
Persicaire
Yoo Hong
Ensemble TIMF
Yie-Eun CHUN
Violin Concerto (world premiere, LA Phil commission) (c. 15 minutes)
Poco a poco
Passacaglia
Con moto
SooBeen Lee
Ensemble TIMF
LA Phil New Music Group
INTERMISSION
TUESDAY
JUNE 3, 2025 8PM
Dongjin BAE reflective - silky and rough (world premiere, LA Phil commission) (c. 15 minutes)
Yubeen Kim
Ensemble TIMF
LA Phil New Music Group
Unsuk CHIN Gougalon (Scenes from a Street Theater) (West Coast premiere) (c. 20 minutes)
Prologue – Dramatic Opening of the Curtain
Lament of the Bald Singer
The Grinning Fortune Teller with the False Teeth
Episode between Bottles and Cans
Circulus vitiosos – Dance around the shacks
The Hunt for the Quack’s Plait
Joanne Pearce Martin
Ensemble TIMF
To read about the program and the performers, please turn to the enclosed insert.
This performance is generously supported by the Hillenburg Family
Programs and artists subject to change.
Los Angeles Philharmonic
Hankyeol Yoon, conductor
Sunwook Kim, piano
Yura Lee, viola
Unsuk Chin, curator
Sunghyun LEE Clockworks and Fireworks (world premiere, LA Phil commission) (c. 9 minutes)
Kay Kyurim RHIE H’on (world premiere, LA Phil commission) (c. 12 minutes)
Texu KIM
Viola Concerto, “Ko-Oh” (world premiere of revised work, LA Phil commission) (c. 18 minutes)
Andante—Moderato—Andante Vivo
Andante—Moderato—Agitando—Andante Yura Lee
BRAHMS Piano Concerto No. 1 in D minor, Op. 15 (c. 44 minutes)
Maestoso
Adagio
Rondo. Allegro non troppo
Sunwook Kim
Programs and artists subject to change.
FRIDAY
JUNE 6, 2025 8PM
Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall
This concert will be broadcast on Classical California KUSC (91.5 FM) June 29, 2025, at 7PM, and available to stream at kusc.org for seven days following its airing.
This broadcast is made possible through the endowed LA Phil Broadcast Program Fund, generously supported by the Lenore S. and Bernard A. Greenberg Fund
Resilience flows through Korean culture in the form of hon (혼). More than a “spirit” or a “soul,” hon is best understood as an eternal current connecting generations, the collective essence of a nation that cannot be broken. Hon is also the thread that ties together the music on tonight’s program.
Kay Kyurim Rhie’s H’on draws from pansori, the traditional Korean art of musical storytelling, where performers pour their hon into raw and powerful expressions that transcend language and touch something universal. The piece carries sighs and sorrow; despite the forces that threaten to erase it, hon endures.
Texu Kim’s “Ko-Oh,” with its gentle, lullaby-like character, offers a different reflection on hon. It pays tribute to the generation of the composer’s
AND FIREWORKS
Sunghyun Lee (b. 1995)
Composed: 2024
Orchestration: 2 flutes, 2 piccolos, 2 oboes, English horn, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, piccolo trumpet, 3 trombones, tuba, timpani, percussion (glockenspiel, marimba, tubular bells, wah-wah tube, metal wind chime, flexatones, tin cans, waldteufel, vibraphone, crotales, almglockens, anvils, vibraslap, spring coil, triangles, xylophone, suspended cymbals, snare drums, metal blocks, temple blocks, bell trees, wooden ratchet, fishing reel, bass drum, lithophone, thunder sheet, waterphone, kick drum, brake drum, glass wind chime, sistrum, tambourine, whip, cowbells, metal slide whistle), harp, piano, celesta, and strings
parents, who survived the Korean War, rebuilt the country, and sacrificed their own interests for those of their children. Their legacy shapes both family and nation. “Ko-Oh” expresses their longing for peace and rest, and offers them the serenity of a baby sleeping soundly—peaceful and free of the burdens they once carried.
Together, these works celebrate and embody Korea’s enduring spirit, the unbreakable hon of its people.
Also featured on the program are the world premiere of Sunghyun Lee’s Clockworks and Fireworks, commissioned by the LA Phil, and Brahms’ Piano Concerto No. 1, performed by Sunwook Kim, for whom the work remains close to his heart. —Hojoon Kim
First LA Phil performance.
Clockworks and Fireworks was composed shortly after I completed my first chamber opera, M’illumino d’immenso; a cello concerto; a piano trio; and several solo works. After a year of writing large-scale pieces in 2024, I found myself emotionally drained, with little creative energy left. In particular, the opera—centered around themes of death and a tormented soul—left me in need of a psychological and artistic refresh.
While sketching ideas for a short orchestral piece, I revisited Igor Stravinsky’s Feu d’artifice and Oliver Knussen’s Flourish with Fireworks
This naturally brought back memories of the sonic fantasies I had in my early 20s: radiant brilliance and shimmer, rich overtones, playful and shifting
lights, bursts of energy, majestic color, sharply contoured and witty figures, exaggerated virtuosity, and hypercharged motion—all flashing by like a musical roller coaster. I wanted to reconnect with that vivid spirit and intensity. This piece emerged from my admiration for and study of Stravinsky’s early orchestral works. I composed it while imagining how he might have reinterpreted those same sonic fantasies had he lived in the 21st century. In the final section, his shadow flickers briefly—glimpsed between piercing, luminous harmonics—a modest but heartfelt homage. Through Stravinsky’s music, I was able to find renewed energy and step out of the darkness with a reawakened, vibrant spirit. This piece is, in a sense, a document of that personal restoration. —Sunghyun Lee
H’ON
Kay Kyurim Rhie (b. 1971)
Composed: 2024–25
Orchestration: 3 flutes (3rd=piccolo), 2 oboes, English horn, 3 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani (and 2 gongs), percussion (snare drums, vibraphone, tam-tams, chimes, bass drum, floor tom, suspended cymbal, roto-toms, whip, marimba), harp, piano, and strings
First LA Phil performance.
“This identity as a Korean person was always an elusive one,” composer Kay Kyurim Rhie reflects. H’on, commissioned by the LA Phil and premiering during its Seoul Festival, dives into Rhie’s experience as a Korean immigrant living in Los Angeles, where she studies, composes, and teaches Western classical music. The piece, she says, “explores the unyielding energy and enduring memories of Korea’s traditional music, interwoven with the gestures etched in my own recollection of it.” Instead of faithfully re-creating the music she heard as a child, Rhie chose to orchestrate her memories. In doing so, Rhie shows that while Korean motifs permeate her music, the inverse is true too: Years of studying Western traditional music have altered her recollections of Korean sounds. H’on negotiates
between these inspirations, finding tension and beauty in their contrast. As Rhie’s largest orchestral piece to date, H’on contemplates memory, fragmentation, and identity—all ideas that have long been swirling in her work.
H’on is built upon elements of Korean traditional music. Describing the discord that these recurring motives produce, Rhie adds: “These elements frequently confront resistance, teetering on the edge of dissolution within intricate, conflicting textures that threaten to engulf them.” The first element, Rhie notes, is the ritualistic percussion that starts the piece. For this motif, Rhie drew upon her memories of visiting Jongmyo, a shrine in Seoul for kings and queens at which stately, ritual music known as Jongmyo Jeryeak is performed. The music’s homophonic and homorhythmic structure mixed with the shrine’s austerity left a frightening impression upon Rhie: “The court music has recurring drum sections punctuated by bak (a wooden clapper); I emulated the cyclic recurrence of the thunderous drumbeats cut off by the dry sound of the whip throughout the piece.”
Bolstering the eeriness is a type of “sliding glissandi that evoke deep sighs.” These glissandi—often quick escalations followed by slow,
drawn-out plunges—sound like a breathing exercise for strings and horns. Through the glissandi, H’on moves from familiar triads of Western music to a detuned and destabilized sound. The sudden dive into the unfamiliar gives the piece a ghostly tone.
H’on also echoes “the wide, expressive vibratos and dramatic scoops of pansori,” a one-person Korean opera, typically accompanied by a lone drummer. The operatic vibrato rings through H’on, lending dramatic tension while contrasting with another motif, the repeated “sharp pluck of strings,” which seems to suspend time.
The final motif is the “primal pulse of drumbeats” inspired by Korean percussive music known as Samul nori. Rhie evokes the chaotic nature of Samul nori, using the drums as both driving forces and background characters. Unlike the percussion of Jongmyo Jeryeak, Rhie says, “Samul nori percussions are a bit brighter, with increasing speed and dynamism which H’on emulates in its climax with a feverish cacophony.”
In Korean, “H’on” means spirit or soul. Rhie says that “it can be used in many different ways,” often to describe “something or someone’s essence,” adding that she titled her composition H’on because
it is “the essence of who I am as a person, an immigrant, and a musician.” Despite the piece’s turbulent swings and tempests, “the essence of H’on endures, reemerging in ever-shifting hues throughout the work—too deeply rooted to be suppressed or erased.” In trying to audibly render her spirit, Rhie turned to her earliest memories of music—suggesting that the culmination of sounds she’s heard might be her very soul. —Tess Carges
Texu Kim (b. 1980)
Composed: 2014, revised 2024
Orchestration: 2 flutes (2nd=piccolo), oboe, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (suspended cymbals, cowbell, bongos, tam-tam, snare drum, crotales [or glockenspiel], kkwaenggwari), harp, strings, and solo viola
First LA Phil performance.
In 2010, I read two interesting articles on lullabies. One asserted that the most effective way to induce sleep in babies was to play a recording of the heartbeat of their mothers. The other concerned a contest of lullabies (to see who could
get babies to fall asleep the fastest) in Vienna in the 1970s. The contest winner was a Korean folk lullaby sung by a Korean grandmother. Whether or not the articles were reliable, they were inspiring enough for me to compose a piece about them.
The actual composition process, however, did not begin until March 2014. That was when I heard that my father had cancer, a diagnosis that pushed me to complete the piece, hoping that my father could attend its premiere. I realize now that this piece is for my parents and their generation in South Korea—essentially everyone who deserves a quality rest after their arduous day.
My idea quickly expanded into becoming a pseudorequiem—not a real one, which I would love to save for later. One may draw a parallel between sleep and death and, therefore, between lullaby and requiem. Coincidentally, the tragic sinking of the MV Sewol with hundreds of secondary school students occurred on April 16, 2014, leading me to ponder the mystery of life and death further.
The overall structure of “Ko-Oh” reflects a daily cycle (night-day-night) or that of life (birth-life-death), with its symmetrical slow-fast-slow movement arrangement. In addition to the slow tempo, the first and the last movements typically have a handful of characteristics,
such as their tonal center and iambic (short-long) rhythmic figuration. The latter is a shared feature of the heartbeat and the Korean lullaby, which are the significant inspirations for the first and last movements.
The first movement begins with repeated low drum sounds (heartbeats), which give birth to the breathing sound. From there, the solo viola part emerges and evolves into a quasiimprovisatory and exotic melody, foreshadowing the lullaby in the last movement. The nocturnal mood continues in the relatively more active middle section. Descending lines emerge from high, metallic sounds, like light from twinkling stars, and get interwoven complexly to culminate in turbulence. Toward the end, the long descending line of the solo viola gradually sinks back to the dark and calm beginning.
The frenetic second movement, nicknamed “busy, busy!!” is why we need a good rest: long, hectic days. It is full of ascending and descending scales and glissandi at various speeds, which could symbolize the entangled life. One might easily hear traces of the blues, because I, to compose music meant to be comforting, immediately thought of incorporating elements from spiritual songs. At the end of all the dazzling twirls, the viola alone keeps dancing until falling into a faint.
The last movement features a Korean folk lullaby and its further variations. Like other lullabies, it is simple and comforting, with limited pitch material and a repeated rhythmic pattern. However, it can sometimes sound intense and expressive, which I also tried to incorporate into this movement. Ultimately, the solo viola plays the last phrase and fades completely alone, as if everyone else is sleeping.
“Ko-Oh” was written for the Korean National Symphony Orchestra while I was its composer-in-residence. It was premiered by the same orchestra with violist Yura Lee and conductor HunJoung Lim on September 30, 2015, in Zagreb, Croatia; Bratislava, Slovakia; and Linz, Austria, respectively. The viola is the perfect center, with its diverse expressive qualities. It can sound like a birdcall at nightfall, a girl forced to dance continually in her red shoes, or a grandmother’s lullaby.
“Ko-oh” ( 코오 ) is a Korean baby-talk word meaning “sleep.” What follows is a transcription of the original Korean lullaby with its English translation:
자장 자장 우리 애기 Sleep, sleep, our baby.
자장 자장 우리 애기
Sleep, sleep, our baby.
꼬꼬 닭아 우지 마라
Don’t cluck, chickens,
우리 애기 잠을 깰라 Our baby might wake up.
멍멍 개야 짖지 마라
Don’t bark, puppies,
우리 애기 잠을 깰라
Our baby might wake up.
This revision of “Ko-Oh” was commissioned by the LA Phil, almost 10 years after its world premiere. I enhanced its structure and flow primarily by shortening different sections, and I made multiple changes to its orchestration. This process allowed me to see how much I had evolved as a composer and contemplate how much the world still needs music that comforts us.
I am grateful to the LA Phil and festival curator (and my former mentor) Unsuk Chin for this opportunity. I am also indebted to Yura Lee and Hankyeol Yoon for learning this concerto (again, in Yura’s case). —Texu Kim
PIANO CONCERTO NO. 1 IN D MINOR, OP. 15
Johannes Brahms (1833–1897)
Composed: 1854–59
Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, and solo piano
First LA Phil performance: January 2, 1925, Walter Henry Rothwell conducting, with Olga Steeb, soloist
An extraordinary melding of musical heritage and progressive outlook made Brahms an overwhelming presence in the latter half of the 19th century and beyond. The New Grove Dictionary describes him as the “successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in choral music,” adding that he “creatively synthesized the practices of three centuries with folk and dance idioms….” Most of these elements can be discerned in the composer’s monumental First Piano Concerto.
The creation of this gigantic work, longer than Beethoven’s “Emperor” Concerto, occupied Brahms for at least five years. After beginning a two-piano sonata in 1854, he soon realized that the musical material required orchestral treatment. Following the wise decision to combine piano and orchestra, Brahms recast the opening as the first movement of a piano concerto; the other movements of the sonata were discarded (although one reappeared later in the composer’s German Requiem). A jaunty new finale was completed in late 1856, followed by the radiant slow movement, but the composer continued to make adjustments after the first performances of the concerto in January 1859. Considering the intensity of the work, it may not be surprising that a critic wrote that the concerto “cannot give pleasure,” lamenting that it contained “the shrillest dissonances and most unpleasant sounds,” following its second performance, in Leipzig. When compared with the bucolic rapture of the First and Second Serenades
(Ops. 11 and 16), which Brahms composed from 1857 to 1858, the concerto is an uncompromising and awesome piece of work, and it remains so.
The Maestoso first movement opens with a mighty noise: As clarinets, bassoons, timpani, violas, and basses sustain an ominous pedal note, violins and cellos declaim the melody with stabbing accents and menacing trills. Before long, the other winds are added to the violent assault, but then an espressivo variant lends an air of melancholy, with the theme eventually rising to an exalted register in the first violins. Another outburst, with horns reinforcing the theme, subsides to make way for the solo piano, which enters with one of the most understated themes in the concerto literature. There is a hushed, hesitant, almost stuttering quality, which makes it all the more surprising when the piano challenges the orchestra with its own ferocious statement of those menacing trills. As thematic materials are traded back and forth during the 20-plus minutes of this movement,
each element is perfectly suited to the orchestra and to the keyboard.
After the earthly struggles that mark the first movement, the Adagio is a world away. “I am painting a gentle portrait of you,” Brahms wrote to Clara Schumann, whose husband Robert died in 1856. There is a devotional aspect to the music that likely reflects the composer’s appreciation of masters such as Palestrina. Clara herself noted the movement’s “spiritual” quality.
The final Rondo begins with the piano alone and has a structure resembling the finale of Beethoven’s Third Piano Concerto. The truth, as so often with Brahms, is that models and forms fade quickly in the bright light of the composer’s distinctive and charismatic personality. Combining the rhythmic vigor that would become a regular feature of his concerto finales with the “learned” style of the Baroque masters and an ample supply of virtuoso passagework, the music hints toward Brahms’ masterful set of Handel Variations, composed in 1861. —Dennis Bade
The 2024/25 season sees Korean conductor Hankyeol Yoon make his debut with the Symphonieorchester des Bayerischen Rundfunks conducting the ARD International Music Competition, as well as with the Münchner Philharmoniker, Orchestre Philharmonique de Luxembourg, Nürnberger Symphoniker, and the Los Angeles Philharmonic. Winner of the Herbert von Karajan Young Conductors Award at the 2023 Salzburg Festival, Yoon was invited to make his festival debut in 2024 conducting the ORF RadioSymphonieorchester Wien. High-profile invitations also included
the Orchestra del Maggio Musicale Fiorentino’s offer to Yoon to return for a staged production of Mendelssohn’s A Midsummer Night’s Dream that year.
Yoon continues to establish himself in his native Korea, having given critically acclaimed performances with the Seoul Philharmonic, Korean National Symphony, and Hankyung arte Philharmonic, as well as with the KBS Symphony in Tokyo. Yoon made his Taiwanese debut conducting Ensemble TIMF, and this season he makes his Pohang International Festival debut.
Other recent highlights include Mozarteumorchester Salzburg, Stavanger Symphony Orchestra, Bern Symphony Orchestra, Gstaad Festival Orchestra, Kammerorchester Basel, and the George Enescu International Festival.
Yoon became the youngest-ever recipient of the Neeme Järvi Prize at the 2019 Gstaad Conducting Academy, and in 2021 he won both second and audience prizes at the inaugural KSO International Conducting Competition in Seoul. Yoon was a finalist at the 2020 Georg Solti Competition and 2021
Deutscher Dirigentenpreis. In 2021 Yoon stepped down as Second Kapellmeister of Theater und Orchester Neubrandenburg Neustrelitz.
A prize-winning composer, Yoon made his Salzburg Festival debut premiering his own composition, and in December 2021 his work Grande Hipab was premiered by Ensemble Modern in Frankfurt. Yoon was recognized at the Luciano Berio International Composition Competition in 2020, the TONALi Festival in 2018, and other competitions. In 2019 he was one of two composers mentored by the Peter Eötvös Foundation in Budapest, where his compositions were conducted by Eötvös, and he received mentorship from George Benjamin. Yoon made his debut as conductor and composer in South Korea at the Tongyeong International Music Festival, under the artistic directorship of Unsuk Chin. Born in Daegu, South Korea, but calling Munich his home since 2011, Hankyeol Yoon studied conducting, composing, and piano performance at the Hochschule für Musik und Theater München.
Sunwook Kim came to international recognition when he won the prestigious Leeds International Piano Competition in 2006, at age 18, becoming the competition’s youngest winner in 40 years as well as its first Asian winner. Since then, he has established a reputation as one of the finest pianists of his generation, appearing as a soloist with some of the world’s leading orchestras, including the Berliner Philharmoniker, London Symphony Orchestra, Royal Concertgebouw Orchestra, Staatskapelle Dresden, Chicago Symphony Orchestra, Los Angeles Philharmonic, Minnesota Orchestra, Berlin Radio Symphony Orchestra, NDR Elbphilharmonie Orchester, Deutsche
Kammerphilharmonie Bremen, Finnish Radio Symphony, Philharmonia Orchestra, London Philharmonic Orchestra, Royal Scottish National Orchestra, BBC Orchestra of Wales, Orchestre Philharmonique de Radio France, NHK Symphony Orchestra, Hallé Orchestra, City of Birmingham Symphony Orchestra, and the Bournemouth Symphony Orchestra for his BBC Proms debut in summer 2014.
In the 2024/25 season, Kim continues as Music Director of the Gyeonggi Philharmonic Orchestra, with which he conducts works from Mozart and Beethoven to Strauss, Bartók, and Unsuk Chin. Kim also makes his conducting debuts with the Iceland Symphony, Armenian National Philharmonic, and Israel Philharmonic orchestras. Recent conducting highlights include the Seoul Philharmonic Orchestra, KBS Symphony, Macao Orchestra, Franz Liszt Chamber Orchestra, George Enescu Philharmonic, and Filharmonia Śląska (Poland).
Play-directing from the piano, highlights of the season include an extensive tour of Europe and South Korea with the Chamber Orchestra of Europe. As soloist, Kim
returns to the subscription season of the Los Angeles Philharmonic and as part of the Seoul Festival curated by Unsuk Chin. Further recent concerto highlights include collaborations with the London Symphony Orchestra, Atlanta Symphony Orchestra, and Netherlands Radio Philharmonic Orchestra.
In recital, Kim collaborates with violinist Janine Jansen in a European tour with a Brahms and Schumann program.
Sunwook Kim’s debut recital disc, released on the Accentus label in October 2015, features Beethoven’s “Waldstein” and “Hammerklavier” sonatas. A CD featuring Unsuk Chin’s Piano Concerto (2014) attracted outstanding reviews and awards from BBC Music Magazine and International Classical Music Awards.
Born in Seoul in 1988, Sunwook Kim completed an MA in conducting at the Royal Academy of Music and was subsequently made a fellow (FRAM) of the academy in 2019. Besides Leeds, honors include first prize at the 2004 Ettlingen International Piano Competition (Germany) and the 2005 Clara Haskil International Piano Competition (Switzerland).
Violinist and violist Yura Lee is one of the most versatile artists in the world. She is one of the few musicians who has mastery of both violin and viola and actively performs the instruments equally. In her career of more than two decades that has taken her around the globe, she has—both as a soloist and as a chamber musician—captivated audiences with music from the Baroque to the modern eras.
Lee was the only firstprize winner awarded across four categories at the 2013 ARD International Music Competition in Germany. She has won top prizes for both violin and viola in numerous other competitions, including first prize and audience prize at the 2006 Leopold Mozart Competition (Germany), first prize at the 2010 UNISA
International Competition (South Africa), first prize at the 2013 Yuri Bashmet International Competition (Russia), and top prizes in the Indianapolis, Hannover (Germany), Kreisler (Austria), and Paganini (Italy) competitions.
At age 12, Lee became the youngest artist ever to receive the Debut Artist of the Year prize at the Performance Today awards given by National Public Radio. She is also the recipient of the prestigious Avery Fisher Career Grant. Lee’s CD with Reinhard Goebel and the Bayerische Kammerphilharmonie, titled Mozart in Paris (Oehms Classics), received France’s prestigious Diapason d’Or Award.
Lee was nominated and represented by Carnegie Hall for the European Concert Hall Organization series, giving recitals at Carnegie Hall’s Weill Recital Hall, Wigmore Hall (London), Symphony Hall (Birmingham, UK), Musikverein (Vienna), Mozarteum (Salzburg), Palais des Beaux-Arts (Brussels), Concertgebouw (Amsterdam), Stockholm Konserthus, Athens Concert Hall, and Cologne Philharmonie.
As a soloist, Lee has appeared with the New York Philharmonic, Chicago
Symphony, Baltimore Symphony, The Cleveland Orchestra, Detroit Symphony, San Francisco Symphony, and Los Angeles Philharmonic, to name a few. As a chamber musician, Lee regularly takes part in the Salzburg Festival, Verbier Festival, La Jolla SummerFest, Seattle Festival, Caramoor Festival, Kronberg Festival, and Aspen Music Festival, among others. She is a member of the Chamber Music Society of Lincoln Center and the Boston Chamber Music Society.
Yura Lee studied at The Juilliard School, New England Conservatory, Salzburg Mozarteum, and Kronberg Academy (Germany). Her main teachers were Namyoon Kim, Dorothy DeLay, Hyo Kang, Miriam Fried, Paul Biss, Thomas Riebl, Ana Chumachenco, and Nobuko Imai.
Lee plays a Giovanni Grancino violin kindly loaned to her through the Beare’s International Violin Society by generous sponsors. For viola, she plays an instrument made in 2002 by Douglas Cox of Vermont. Lee lives in Portland, OR, and Los Angeles, where she is a member of the faculty at the USC Thornton School of Music.
Unsuk Chin was born in 1961 in Seoul, South Korea. She studied with Sukhi Kang and György Ligeti and has lived in Berlin since 1988. Her music has attracted the attention of international conductors including Simon Rattle, Gustavo Dudamel, Alan Gilbert, Kent Nagano, Esa-Pekka Salonen, David Robertson, Peter Eötvös, Myung-Whun Chung, George Benjamin, Susanna Mälkki, Jukka-Pekka Saraste, François-Xavier Roth, Leif Segerstam, Hannu Lintu, Jakub Hrůša, Kazushi Ono, and Ilan Volkov, among others. It is modern in language, but lyrical and nondoctrinaire in communicative power. Chin has received many honors, including the 2004 Grawemeyer Award for Music Composition for her Violin Concerto No. 1, the 2005 Arnold Schönberg Prize, the 2010 Prince Pierre of Monaco
Foundation Music Award, the 2012 Ho-Am Prize, the 2017 Wihuri Sibelius Prize, the 2019 Hamburg Bach Prize, and the 2020 Kravis Prize, as well as the 2021 Léonie Sonning Music Prize. In 2024, she was awarded the prestigious Ernst von Siemens Music Prize.
Chin has been commissioned by leading performing organizations, and her music has been performed in major festivals and concert series in Europe, Asia, and North America by orchestras and ensembles such as the Berlin Philharmonic, Chicago Symphony Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, Leipzig Gewandhaus Orchestra, BBC Symphony Orchestra, New York Philharmonic, Boston Symphony Orchestra, City of Birmingham Symphony Orchestra, Orchestre Philharmonique de Radio France, Gothenburg Symphony, Los Angeles Philharmonic, Swedish Radio Symphony Orchestra, Tokyo Symphony, São Paulo Symphony Orchestra, Royal Concertgebouw Orchestra, London Sinfonietta, Royal Stockholm Philharmonic, Ensemble Intercontemporain, Ensemble Modern, Kronos Quartet, and Arditti Quartet. In addition, Unsuk Chin has been active in writing electronic music, receiving commissions from IRCAM and
other electronic music studios.
In 2007, Chin’s first opera, Alice in Wonderland, was given its world premiere at the Bavarian State Opera in the opening of the Munich Opera Festival and released on DVD and Blu-ray by Unitel Classica. She has been Composer-in-Residence of the Lucerne Festival, the Festival d‘Automne, Stockholm International Composer Festival, Deutsches Symphonie-Orchester Berlin, the Cologne Philharmonic’s Eight Bridges festival, the São Paulo Symphony, Casa da Música, BBC Symphony’s Total Immersion Festival, Melbourne Symphony, the NDR Elbphilharmonie Orchestra in Hamburg, and many more. Between 2006 and 2017 Chin was Composer-in-Residence with the Seoul Philharmonic Orchestra, overseeing its contemporary music series, which she founded. She served as Artistic Director of the Music of Today series of the Philharmonia Orchestra in London between 2011 and 2020. In 2022 she started a five-year tenure as Artistic Director of the Tongyeong International Festival in South Korea and her Artistic Directorship of the Weiwuying International Music Festival in Taiwan.
Unsuk Chin’s works are published exclusively by Boosey & Hawkes.
Los Angeles Philharmonic
Hankyeol Yoon, conductor
Han Kim, clarinet
Inmo Yang, violin
Jaemin Han, cello
Unsuk Chin, curator
Whan RI-AHN
Unsuk CHIN
Spring Will Come Again (world premiere, LA Phil commission) (c. 12 minutes)
Clarinet Concerto (West Coast premiere) (c. 22 minutes)
Mirage – Fanfare – Ornament
Hymnos (Hymn)
Improvisation on a groove
Han Kim
BRAHMS Double Concerto in A minor, Op. 102 (c. 32 minutes)
Allegro
Andante
Vivace non troppo
Inmo Yang Jaemin Han
Programs and artists subject to change.
SATURDAY
JUNE 7, 2025 8PM
SUNDAY
JUNE 8 2PM
Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall
Saturday’s performance is generously supported by the Bernice and Wendell Jeffrey Fund.
These performances are generously supported in part by the Kohl Virtuoso Violin Fund
A composer’s vision is often shaped by the musicians they write for; a piece becomes a portrait that reflects the performer’s unique strengths, personality, and artistic voice. Both Brahms’ Double Concerto and Unsuk Chin’s Clarinet Concerto exemplify this. Brahms composed his concerto as a peace offering to mend a seven-year rift with violinist Joseph Joachim. In crafting the work for Joachim and cellist Robert Hausmann—both esteemed chamber musicians—Brahms emphasized musical collaboration: The concerto displays the soloistic strengths of each musician while drawing them immediately into dialogue.
Unsuk Chin’s Clarinet Concerto was also inspired by a specific artist: the Finnish clarinetist Kari Kriikku, whose command of extended techniques—such as multiphonics
Whan Ri-Ahn (b. 1996)
Composed: 2024–25
Orchestration: 3 flutes (2nd=piccolo, 3rd=alto flute), 3 oboes (3rd=English horn), 3 clarinets (3rd=bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets (1st=piccolo trumpet), 3 trombones, tuba, timpani, percussion (crotales, cymbals, Japanese rin, temple bowl, wineglasses, buzzing bow, claves, elephant bell, gongs, Korean shaman bells, mark trees, sleigh bells, spring coils, suspended cymbals, tam-tams, thunder sheet, triangle, waldteufel, woodblocks, bell trees, cabasa, rain stick, ratchet, sandbox, tambourine, chimes, vibraslap, bell plates,
that radically transform the clarinet’s sound— shaped the work’s virtuosic character. Chin imagines the soloist not as a competitor to the orchestra but as “primus inter pares” (first among equals). Here, the clarinet leads while the orchestra creates an organic, evershifting environment around it, rather than standing apart as a distinct, opposing force. For this performance, Chin handpicked the young Korean clarinetist Han Kim, whose artistry and technical skill bring a fresh voice to the piece.
Whan Ri-Ahn’s Spring Will Come Again is similarly shaped by personal experience, but in a different light, using shifting harmonies to evoke the cyclical nature of the seasons and the memory of her grandmother, intertwining grief and renewal. —Hojoon Kim
castanets, cencerros, glass chimes, gong, maracas, snare drum, steel pan, temple blocks, waterphone, bongos, bass drum, flexatone, frog rasper, rute, vibraphone, tubular bells), harp, piano, celesta, and strings
In 2016, while still a student at the Royal College of Music, I had the opportunity to compose a piece in collaboration with the National Portrait Gallery in London. I was inspired by a portrait of a newborn infant, which led me to reflect on the passage of time. In the baby’s gaze, I sensed not only the time of its beginning but also the time within me and the time around us. This fascination deepened through
my encounter with the film Spring, Summer, Fall, Winter... and Spring by Kim Ki-duk, which explores the cyclical nature of life. It brought me to the Buddhist concept of samsara: the cycle of birth, return, and rebirth, where time flows as an unbroken, ever-evolving continuum. This inspired me to compose Spring for flute, clarinet, and cello, aiming to evoke the idea of birth and return through shifting modes while exploring various temporal qualities to capture the vitality of the season. At the time, I envisioned this piece as the first in a larger work—a cycle of seasons that would explore the passage of time and the inner transformations that accompany it.
As time passed, the idea of a cycle of seasons continued to evolve. Nearly a decade later, after my grandmother— who was very dear to me—passed away last spring, I felt the moment had come to bring the idea of Spring to life, now shaped by my personal experience of loss. My grandmother had left her hometown of Haeju, now in North Korea, at the age of 20 and was never able to return before her death. She often spoke of how much she missed her parents and siblings, and of the beauty of her hometown, with spring flowers blooming along the hillsides. Her longing and sorrow stayed with me, and after her passing, I felt the need to channel that grief—by imagining the spring landscape she had once cherished, emerging after a long, cold winter. In this piece, I aimed to capture the sense of birth and return by employing shifting harmonic structures, such as the circle of fifths and pentatonic modes. These elements transform and evolve throughout the work, like branches of trees, reflecting the cyclical and ever-changing nature of the seasons. I imagined the orchestra not just as a canvas, but as a multidimensional space—where sounds travel from one space to another, constantly shifting and transforming. In that space, I traced both the landscape
of spring and the inner world of my grandmother, her quiet yearning for the spring that never came. Whether spring truly arrives or whether we remain in winter is left open—much like my grandmother’s longing to return home, which was never answered. —Whan Ri-Ahn
Unsuk Chin (b. 1961)
Composed: 2014
Orchestration: 3 flutes (2nd=alto flute, 3rd=piccolo), 3 oboes (3rd=English horn), 4 clarinets (4th=bass clarinet), 3 bassoons (3rd=contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (vibes, marimba, crotales, glockenspiel, xylophone, bass drum, chimes, triangle, suspended cymbals, tam-tams, harmonicas, cymbal, spring coils, flexatone, side drums, tom-toms, bell tree, washboard, wineglass, fishing reels, vibraslap, guiro, mark tree, maracas, metal rattle, temple blocks, tambourine, tenor drum, thunder sheet, Javanese gongs, bongos, glass wind chime), harp, piano, celesta, strings, and solo clarinet
After solo concertos for piano, violin, cello, sheng, and a double concerto for prepared piano, percussion, and ensemble, my Clarinet Concerto is the sixth in this genre. As in previous
instrumental concertos, I was no longer interested in the traditional idea of a competition between soloist and orchestra. As primus inter pares, the clarinetist, from whom a high level of virtuosity is demanded, is a part of the whole ensemble—apart from a few striking exceptions, in which the clarinet is contrasted with the entire orchestra.
The clarinet sound forms the core of the piece; the orchestra reflects and comments on the clarinet’s impulses in multiple ways. The orchestral sound itself is subjected to incessant processes of transformation. In general, it was a matter—as in my other orchestral works—of creating a virtual “super instrument,” which in this work was a particular challenge, as the clarinet sound is very specific and seems to come from a quite separate sphere. The sound of the symphony orchestra, this wonderful relic from the 19th century, is altered by various playing techniques and by the various combinations of instruments. A small example is the treatment of the percussion group, which, inter alia, is sonically enhanced by “readymades” such as fishing reels, a washboard, coil springs, or a wineglass filled with vinegar water. Nevertheless, the creation of new timbres is not an end in itself, but it is closely linked with harmonic and formal qualities. My enthusiasm for the clarinet stems from its wide range of dynamic shades, the diversity of its expressive
possibilities, and its enormous maneuverability. For the purposes of expressive development, various special techniques were required from the clarinetist. Of the many facets of the clarinet (as, beyond Western classical music, it played a prominent role in early jazz and in many traditional musical cultures from various continents), I was interested in those that seem to lie outside a classically balanced, “cultivated” sphere. Another idée fixe was the presentation of an imaginary, semi-ritual folk music, which is not, however, related to a particular time or place and is implemented in the most artificial manner.
My Clarinet Concerto unfolds in three movements, but the three-movement structure must not be understood in the classical sense. The first movement lasts 10 minutes, by far the longest. It is titled “Mirage – Fanfare – Ornament,” and it is based on three very different musical characters, which merge into one another: The first is volatile, mysterious, and elusive, and was inspired by the phenomenon of whistled languages; the second gives the flavor of a flourish; the third consists of ornaments. The second movement, Hymnos (Hymn), which formally resembles a kind of passacaglia, opens with a quiet and simple solo melody for the clarinet that appears repeatedly in the course of the movement. It is based on very advanced multiphonics,
which give it its fragile nature. The third movement is called “Improvisation on a groove.” It begins without a break and, with its consistently lively and agile character, stands in stark contrast to the previous movements. It consists of various small fragments and resembles a “patchwork”; continuity induces a rhythmic pattern (a “groove”), which runs through the movement like a thread. The musical language is neither avant-garde nor traditional, nor a postmodern collage; I went in search of new harmonic, tonal, and rhythmic processes beyond tonality and atonality.
A premiere of one part of the work took place in Gothenburg under the direction of Kent Nagano in May 2014; the complete work was premiered by Alan Gilbert and the New York Philharmonic in September 2014. The soloist in both cases was Kari Kriikku. —Unsuk Chin
Johannes Brahms (1833–97)
Composed: 1887
Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, solo violin, and solo cello
First LA Phil performance: April 9, 1938, Otto Klemperer conducting, with violinist Bronislaw Gimpel and cellist Alexander Borisoff, soloists
Brahms referred to his Double Concerto with words like “funny,” “amusing,” “folly,” and “prank,” not descriptions that come to mind while hearing the piece. The Double Concerto is a titanic work, seemingly hewn from musical granite. The passages for orchestra are scored with an almost spartan severity, and the writing for the soloists is rugged, almost gruff in places. The work is among the final entries in the great repertory of 19th-century concertos stretching back to Beethoven, who built on the classical concerto tradition of Mozart. Despite Brahms’ characterizations, the reasons behind the Double Concerto are serious. Brahms had broken with his longtime friend and collaborator the violinist Joseph Joachim in 1880. Joachim suspected his wife of having an affair with the composer’s publisher Fritz Simrock. But Brahms believed Frau Joachim’s protestations of innocence, causing a split between composer and violinist. Though Joachim’s name comes up in letters Brahms wrote during the Double Concerto’s composition, the two were not yet back on speaking terms. Brahms’ contemporaries confirmed that the concerto was an overture to Joachim. Clara Schumann noted in her journal, “This concerto is a work of reconciliation— Joachim and Brahms have spoken to each other again for the first time in years.”
Brahms, Joachim, Clara Schumann, and the cellist Robert Hausmann, another artist with whom Brahms had worked, descended on the resort town of BadenBaden in September 1887 to rehearse the concerto. It premiered in October 1887 in Cologne at the Gürzenich Concerts, with Brahms conducting and Joachim and Hausmann as soloists. The Double Concerto was warmly though not rapturously received, and some of Brahms’ closest friends were vicious in their criticism. Clara Schumann wrote, again in her journal, that it lacked “the warmth and freshness which are so often found to be in his works,” and Theodor Billroth, an amateur musician and friend of the composer, described it as “tedious and wearisome, a really senile production.” But others admired the work, and none more so than Joachim. Brahms gave him the manuscript of the work, with the handwritten dedication “to him for whom it was written.”
Commentators have discussed Brahms’ fairly dismissive references to the work as a defense mechanism—a “keep everyone’s expectations low and maybe they’ll be pleasantly surprised” strategy. His equivocal attitude toward the work and the different opinions it elicited from his friends have meant that the Double Concerto has never occupied the kind of place
in the repertory as Brahms’ other concertante works. But the Double Concerto occupies a unique place in Brahms’ output as the only orchestral work he wrote in his leaner late style. The first movement is among the most formally fascinating Brahms composed. It adheres loosely to the strictures of sonata form (exposition-developmentrecapitulation), but whenever themes reappear, Brahms varies them, even in the recapitulation. The exposition of themes at the beginning of the movement progresses in a surprising fashion, and the concept of the exposition repeat, a standard feature of 19th-century sonata form, is approached with great freedom by Brahms. The recapitulation is, like the exposition, an extended double affair, with the return of the first and second themes treated so freely that the signposts indicating the movement’s progress from development to recapitulation are blurred. Here, the soloists join the orchestra in the second half of the recapitulation, and Brahms extends his material, especially the second theme, with the soloists each playing it (first the violin, then the cello) in a passage marked dolce (sweet) that has to be among the most beautiful Brahms ever put on paper. The coda revisits the severity of the opening theme, with staccato, forte writing for the soloists and orchestra that
provides a massive closing.
The ternary-form (A-B-A) Andante recalls the gentle lyricism of many of Brahms’ other orchestral slow movements. A little two-note introduction, played first by the horns, then by all the winds, prefaces the simple opening melody, which is played by the soloists and the strings, colored by flutes, bassoons, and clarinets. The central section begins with the winds, over a pizzicato string chord.
The sonata-rondo finale begins with a desultory, almost sneaky staccato theme, played first by the cello soloist, then taken up by the violinist before erupting with surprising vehemence from the full orchestra. The soloists introduce the rich, mellifluous second theme before the first one returns, fragmented and played by the soloists, then by bassoon, oboe, and flute to begin the development (which also functions as the first contrasting episode in the rondo scheme). The strings then introduce new material: a grand, almost imposing theme, played fortissimo. When the first theme returns, marking the recapitulation, which doubles as the final rondo episode, the winds decorate it discreetly. The concerto concludes with three final, loud chords, a massive and simple gesture that ends a work whose austere surface obscures countless musical and formal riches. —John Mangum
To read about conductor Hankyeol Yoon, please turn to page P9.
KIM
Appointed by Gustavo Dudamel in 2023, clarinetist
Han Kim is Principal Clarinet of the orchestra of the prestigious Opéra national de Paris, the first and only Asian super-soliste in the orchestra in its 350-year history. He is a leading wind instrument player who breaks the prejudice that “Asians are not good at wind instruments,” and promotes the revival of Korean classical
music on the world stage.
Born in Seoul in February 1996, Kim began playing clarinet at age 8. Since he launched his career at 11, he surprised critics and received favorable reviews, such as “Clarinet prodigy” (Dong-A Ilbo), and “For this gifted child, even his breathing is an instrument” (Chosun-Ilbo). He has performed as a soloist from a young age with leading orchestras such as the SWR Symphony Orchestra, the Finnish Radio Symphony Orchestra, the Munich Radio Symphony Orchestra, the Seoul Philharmonic Orchestra, and the KBS Symphony Orchestra.
As a chamber musician, Kim is developing his identity as a young virtuoso through his artistic partnerships with Seong-Jin Cho, Igor Levit, Arto Noras, Daniel MüllerSchott, and others. He has performed at festivals such as the Heidelberg Spring Music Festival in Germany, the City of London Festival, the Pablo Casals Festival in France, the Japan International Clarinet Festival, and the Tongyeong International Music Festival.
During the 2021 season, he was selected as Artist in Residence at Kumho Art Hall in Seoul, the first wind instrument player to be chosen for the position.
An enthusiastic orchestral musician, Kim began his symphonic career as an academist of Zurich Opera orchestra at age 20. He moved to Helsinki in 2019 to join the Finnish Radio Symphony
Orchestra, which he served as Second Clarinet player for four years. He regularly worked as guest principal in numerous orchestras such as the London Symphony Orchestra, Orchestre National de France, and BBC National Orchestra of Wales.
Kim loves the challenge of translating modern and contemporary music into his own style. He has worked with composers such as Magnus Lindberg and Thomas Adès on their orchestral works and performed Brett Dean’s Clarinet Concerto, “Ariel’s Music,” under the baton of the composer. He also premiered Jeajoon Ryu’s Clarinet Sonata and Clarinet Quintet, as well as Fuminori Tanada’s Clarinet Concerto.
Han Kim won the Special Jury Prize at the Second Beijing International Music Competition at age 13 and won both first prize and the audience prize at the Third Jacques Lancelot International Clarinet Competition in 2016. By winning the second prize, the Henle-Urtext prize, and the audience award at the 68th Munich ARD International Music Competition in 2019, Han proved himself as one of the world’s leading next-generation clarinetists.
With a YouTube community of 26,000 subscribers and over 10 million views, Kim is building new audiences for clarinet music. Kim completed his studies with honors at the Musikhochschule Lübeck under Sabine Meyer.
South Korean violinist Inmo Yang’s beguiling sound is imbued with poetry and underpinned by unwavering technical prowess that quickly brought him to some of the most prestigious stages in the world, including the New York Philharmonic and LA Phil this season and Orchestre National de France, BBC Symphony Orchestra, and Carnegie Hall in previous seasons.
The 2024/25 season opens with an Asia tour with Berliner Barock Solisten
and a return to Oulu Symphony Orchestra for its Prokofiev Festival, followed by several important debuts with the Royal Philharmonic Orchestra, Polish National Radio Symphony Orchestra in Katowice, Royal Stockholm Philharmonic Orchestra, Tampere Filharmonia, Dresdner Philharmonie, and BBC Philharmonic. He returns to the Seoul Philharmonic under Music Director Jaap van Zweden for a concert in Abu Dhabi and to the Richmond Symphony and Orchestre de la Suisse Romande.
In previous seasons, Yang appeared with the Helsinki Philharmonic Orchestra, Finnish Radio Symphony Orchestra, Boston Symphony Orchestra, Chicago Symphony Orchestra, Lucerne Symphony Orchestra, Zurich Philharmonic Orchestra, Danish National Symphony Orchestra, and Hong Kong
Philharmonic Orchestra.
He won first prize at the 2015 Paganini Competition in Genoa, Italy, and the 2022 Jean Sibelius Violin Competition in Helsinki.
Yang released his second Deutsche Grammophon album, The Genetics of Strings, in 2021. His debut album, Paganini: 24 Caprices, was recorded live as part of his Kumho Art Hall residency and released by DG in 2018.
Inmo Yang studied with Namyoon Kim at the Korea National University of Arts, Miriam Fried at the New England Conservatory of Music, and Antje Weithaas at both Kronberg Academy and Hanns Eisler Hochschule für Musik in Berlin, where he currently lives.
Yang plays on a violin by G.B. Guadagnini kindly loaned by Jane Ng through J & A Beare and the Beare’s International Violin Society for the International Jean Sibelius Violin Competition.
JAEMIN HAN
Born in 2006 in Wonju, South Korea, cellist Jaemin Han came to international attention in May 2021 when he was awarded first prize in the cello division of the George Enescu International Competition, the youngest prize winner in its history. Further prizes at the Geneva International Music Competition and ISANGYUN Competition followed, establishing him as one of the most exceptional soloists to emerge in recent years. Han has performed with numerous orchestras, including the Seoul Philharmonic Orchestra, Orchestre de Paris, the Rotterdam and Luxembourg philharmonic orchestras, Athens State Orchestra, Stavanger Symfoniorkester, the Latvian National Symphony Orchestra, Auckland Philharmonia, and Filarmonica George Enescu. In the 2024/25 season, Han tours South Korea with Orchestre de Chambre de Lausanne and Renaud Capuçon. As part of his 2024 residency
at Seoul’s Lotte Concert Hall, he performs alongside violinist Kristóf Baráti and pianist Jae Hong Park and returns in December to give the Asian premiere of Donghoon Shin’s Cello Concerto, “Nachtergebung,” as part of BBC Proms in Korea. This event is preceded by the concerto’s Scottish premiere in Glasgow, which represents Han’s debut with the BBC Scottish Symphony Orchestra under Ryan Wigglesworth. He also debuts with City of Birmingham Symphony Orchestra and Royal Northern Sinfonia. In Amsterdam, Han makes his debut at the Concertgebouw with the Korean National Symphony Orchestra, followed by appearances there with the Nordwestdeutsche Philharmonie. Han also makes significant US debuts this season with the Los Angeles Philharmonic and in recital at New York’s Carnegie Hall and for the La Jolla Music Society. He performs with pianist Alexander Malofeev in recitals in Korea and makes his debut with the Taipei Symphony Orchestra. Coming from a family of musicians, Jaemin Han started playing the cello at age 5 and made his debut three years later in his hometown with the Wonju City Symphony Orchestra. He has since performed with all leading Korean ensembles.
His exceptional talent was recognized from an early age when he won first prizes at the Osaka International Music Competition 2015, International Cello Competition “David Popper” for Young Cellists 2017, and International Dotzauer Competition for Young Cellists 2019.
Jaemin Han currently studies at the Kronberg Academy, Germany, under the tutelage of Wolfgang Emanuel Schmidt. Prior to this, he studied with Myung-Wha Chung, Kangho Lee, and Tsuyoshi Tsutsumi at the Korea National Institute for the Gifted in Arts. He is a recipient of a 2020 Shinhan Music Award and holds a scholarship from the Hyundai Motor Chung Mong-Koo Foundation. Han plays a Giovanni Grancino cello on generous loan from the Samsung Foundation of Culture.
To read about curator Unsuk Chin, please turn to page P12
Igor Levit, piano
BACH Chromatic Fantasia and Fugue in D minor, BWV 903 (c. 12 minutes)
BRAHMS
Four Ballades, Op. 10 (c. 24 minutes) No. 1, Andante No. 2, Andante No. 3, Intermezzo: Allegro No. 4, Andante con moto
INTERMISSION
BEETHOVEN, Symphony No. 7 in A major, Op. 92 Transcribed by (c. 36 minutes)
LISZT Poco sostenuto—Vivace Allegretto Presto Allegro con brio
Programs and artists subject to change.
SUNDAY JUNE 8, 2025 7:30PM
This series is generously supported by the Colburn Foundation
The three B’s of classical music—Bach, Beethoven, and Brahms—represent two centuries of sound. Seen as figureheads for their respective eras (Baroque, Classical, and Romantic), the composers are sometimes confined by their legacy. Igor Levit, with an imaginative and playful program, pokes holes in our preconceptions. From Bach’s improvisations on Baroque gestures to Beethoven’s contrapuntal Romanticism, Levit tangles our classifications across three major works. Chromatic Fantasia and Fugue starts in a scurry
and races to find a rest. Raging soliloquies turn to tearful inquiries and the piece finds a sound that is, paradoxically, both extemporaneous and meticulous. Bach’s solemn flurry fades beautifully into Brahms’ Four Ballades, which show the depths of the 21-year-old composer’s mind and foreshadow the musical peaks that waited for him. Liszt’s transcription of Beethoven’s Seventh is a faithful replica; he sustained the pacing of each movement, even the Allegretto’s deceiving briskness, and channeled its symphonic propulsion. —Tess Carges
CHROMATIC FANTASIA AND FUGUE IN D MINOR, BWV 903
Johann Sebastian Bach (1685–1750)
“[You] take one of the strictest musical forms, the fugue, which follows rule after rule after rule. You combine it with the fantasia idea and you get a volcano.” This is how Igor Levit describes Bach’s Chromatic Fantasia and Fugue, a dual piece whose parts, though formally dissimilar, unite to create something wholly new.
Describing the first half, the Fantasia, Levit remarks, “This is when you realize that the introduction you’ve just heard was a false promise, as what follows is far from peaceful. It’s highly chromatic...and so free. Basically, it’s annotated improvisation. You have to really grab the bull by its horns from bar one; it’s a landslide of a piano piece.” It’s true; rooted in D minor but free to roam
across all 12 notes, the Fantasia gathers itself together just to spill again. With an abandon that Baroque compositions seldom suggest, the Fantasia feels limitless. At the end of the piece, after most chords have been rolled to slam into the next, the sudden, doleful descent in the bass line leaves a chill.
Unlike fantasies, fugues have a formal rigidity—a theme is announced and iterated in a contrapuntal manner. One voice begins with its call and the responders trickle in. It’s a nice way to think of it, but what if the voices are yelling across the table at a dinner party, already having forgotten the query? Might a fugue be call-and-call-and-call? The D-minor ditty affirms. Taken together, the Chromatic Fantasia and Fugue might be a predecessor to Beethoven’s Romanticism or Chopin’s play with time; but, in its audacity and
explosiveness, it’s more closely related to the Beatles’ “A Day in the Life” or Tarantino’s Pulp Fiction. —Tess Carges
By 1854, the year of his Four Ballades, Brahms already had several large piano works in his satchel. The previous year, 20-year-old Johannes had presented himself to Robert Schumann and his pianist wife Clara in Düsseldorf. Greeted warmly by the two distinguished musicians, Brahms proceeded to overwhelm them by playing his earliest piano works, the first two Piano Sonatas and the E-flat-minor Scherzo. The Schumanns found in his playing “an intense fire, and a fateful energy and inevitable precision of rhythm which proclaimed the predestined artists.” About the compositions themselves,
Robert’s enthusiasm knew no bounds. “One has come from whom we may expect all kinds of wonders.... His name is Johannes Brahms” was only the effusive introduction to a lengthy article he wrote in unrestrained praise of the gifted youth. The modest, unassuming Johannes turned to a far less ambitious project, the Four Ballades. Unlike Chopin’s Ballades (written between 1831 and 1842), each of which is a completely independent composition, Brahms’ works comprise a cycle, the four pieces intended to be performed together.
No. 1 in D minor. Brahms begins his cycle with a genuine ballade, a piece based on a literary work. His source here is the Scottish ballad Edward, with which he became acquainted through a German translation. Brahms relates the bleak drama of patricide (Edward slays his father at his mother’s request) with striking economy, conjuring the dark, tragic gloom of the text. The faster middle section, which seems to be a development of the main idea, begins in brooding terror, the repeated triplets gradually broadening to bone-chilling surges of passion. The fury then recedes, melting into a return to the main theme, this time with a quietly agitated, fragmented triplet accompaniment.
No. 2 in D major. The serenely expressive main Andante theme, with its F-A-F opening notes—said to
represent Brahms’ personal credo, Frei aber froh (Free but glad)—contrasts with an extensive middle section in B minor at double the speed. Here heavily accented groups of chords establish a stern mood, conveying a sense of restrained anger. This flows into an almost flighty section in staccato triplets with the hands in contrary motion, followed by a return of the stern idea, which ends with a reminder of the staccato section. The main Andante theme returns and the piece ends with a melting coda in which the right hand plays typically Brahmsian rolling arpeggiated chords while the left hand accompanies in gentle syncopation, also a frequent device of the composer.
No. 3 in B minor. This is the first of many pieces Brahms would compose with the title “Intermezzo.” In the first section, a Schumann-esque instability hovers, as a kind of demonic scherzo bristles with quicksilver energy. This energy is calmed by a quiet chordal middle section that is eventually routed by the scherzo, which in turn gives way to a quiet ending. No. 4 in B major. Who starts a B-major piece in B minor? Brahms does. And who creates a haunting and wistful melody over a gently falling accompaniment sounding for all the world like Robert Schumann? Brahms again. Schumann received the score of the Ballades while confined
to the sanitorium from which he never emerged. Brahms had good reason to pay homage to the composer who was his ardent champion, and he does so in a most touching way. The middle section reaches for an entirely different mood. It is marked “with intense sentiment,” and the sentiment is heavy-laden. Perhaps influenced by Schumann’s grave condition, the texture is filled with nonstop triplets in both hands with a somber melody in the middle voice. When the “Schumann” melody returns, it is carried by a piquant staccato accompaniment until a new, chorale-like section brings a dignified resignation to the scene. Instead of a return to the Schumann melody, the “intensely sentimental” section, now in B minor, brings the Ballade to a close, brightened by a turn to B major. —Orrin Howard
SYMPHONY NO. 7
IN A MAJOR, OP. 92
Ludwig van Beethoven (1770–1827)
Transcribed by Franz Liszt (1811–1886)
Beethoven’s Seventh and Eighth symphonies are a set of “untwins,” contrasting works created basically side by side in 1811–1812. They also share a connection with Johann Nepomuk Maelzel (1772–1838), who was part musician and part engineer, but mostly an entrepreneurial salesman.
Maelzel was named Vienna’s imperial court mechanician in 1808, and one of his principal product lines was ear trumpets, which Beethoven eagerly—desperately—tried.
Maelzel also created the Panharmonicon, a mechanical chamber orchestra; created a mechanical trumpeter; and purchased a mechanical chess player for his lineup of traveling robotic attractions.
The inventor persuaded the composer, with a much-needed loan, to write a piece for the Panharmonicon celebrating Wellington’s victory at the battle of Vitoria, which they would take to London, where Wellington was a national hero. To raise money for this tour, they arranged concerts in Vienna, featuring the new piece performed in Beethoven’s version for live orchestra. These concerts were quite successful, but Beethoven and Maelzel fell out over ownership of the music, and Beethoven filed— and eventually dropped—a lawsuit against Maelzel. (This rift did not stop Beethoven from later being an early adopter of the metronome, Maelzel’s brand name for a mechanical timekeeper.)
Those fundraising concerts (two in December 1813 and one in January 1814, after the break with Maelzel) included the premiere of the Seventh Symphony, completed over a year earlier. The first of these concerts was also a charity benefit for soldiers wounded at the recent battle of Hanau—a worthy patriotic
cause but also clever crosspromotion. The occasion and Beethoven’s celebrity attracted an all-star band. Beethoven’s favored quartet leader, Ignaz Schuppanzigh, was the concertmaster, and next to him sat violinist-composer Louis Spohr. Domenico Dragonetti led the basses, and composers and pianists Giacomo Meyerbeer, Johann Nepomuk Hummel, and Ignaz Moscheles played percussion in the battle piece, for which composer Antonio Salieri served as a sort of assistant conductor. Beethoven conducted, and the music was much admired, though to the composer’s irritation the Seventh Symphony was referred to as a “companion piece” to Wellington’s Victory. The symphony begins with a long and profound introduction before kicking into kinetically energized music, which characterizes the entire work. The introduction predicts the harmonic journeys throughout the symphony just as the main body of the movement foretells its rhythmic obsessions and the startling coda walks the wild side.
The following Allegretto—the work doesn’t have a conventional slow movement—has a solemnly welling beauty intensified by counterpoint. It was so popular that audiences demanded an encore at the premiere, and during the 19th century it often was substituted into other Beethoven symphonies.
The scherzo is a blazingly fast one, with a much slower trio section. Beethoven
reverses some of the dynamic surprises for the repeated sections and plays additional jokes with the scoring.
Also fast paced, the finale picks up the wildness initiated in the first movement and spins it into a breathless but utterly joyful mania, ending with a coda that mirrors the aggressive beast that closes the first movement.
—John Henken
Upon publishing his transcriptions of the complete Beethoven symphonies, Liszt wrote, “There is no meditation upon them nor study of them too profound. Consequently, any and every mode of propagating and popularizing them has its place.” Liszt’s transcriptions of the Beethoven symphonies are not only some of the most rigorous and difficult piano transcriptions to play, but also the most sonically faithful. An avid champion of Beethoven and solo-piano works, Liszt transcribed as though he were conducting each note, emulating the orchestra’s range beat by beat. At 26, Liszt had written an open letter defending his pull to piano over symphonic compositions, in which he asserted the piano could convey “the entire scope of the orchestra” and the “harmony of 100 players.” No letter is needed to prove this— his Beethoven transcriptions contain the structure, harmony, and tone of an orchestra at their very best. —Tess Carges
With an alert and critical mind, Igor Levit places his art in the context of social events and understands it as inseparably linked to them. The New York Times describes Levit as one of the “most important artists of his generation,” The New Yorker as a pianist “like no other.” In 2018 Igor Levit was named the eighth recipient of the prestigious Gilmore Artist Award—recognized as one of the world’s most distinguished music awards. Since the 2022/23 season, Igor Levit has been Co-Artistic Director of the Heidelberger Frühling Musikfestival.
With the Lucerne Festival he initiated the Piano Fest, which was held for the third time in 2025.
In the 2024/25 season Igor Levit performs in recital at the Musikverein Vienna, Philharmonie Berlin, La Scala Milan, Carnegie Hall, Walt Disney Concert Hall, and Concertgebouw Amsterdam as well as in Naples, Rome, Stockholm, and Évian, among others. For the inauguration of Christian Thielemann as the General Music Director of the Berlin State Opera, he opened the season with the Staatskapelle Berlin. Further highlights of Igor Levit’s orchestral season are a Prokofiev cycle with the Budapest Festival Orchestra and Iván Fischer and performances of the monumental piano concerto of Ferruccio Busoni with the Gewandhausorchester Leipzig and Sir Antonio Pappano as well as with the Bavarian Radio Symphony Orchestra and Esa-Pekka Salonen.
Born in Nizhni Novgorod, Russia, Igor Levit completed his piano studies in Hanover with the highest score in
the history of the institute. In spring 2019 he was appointed professor for piano at his alma mater, Hanover University of Music, Drama and Media.
For his political commitment Igor Levit was awarded the Fifth International Beethoven Prize in 2019 followed by the award of the “To B remembered” sculpture of the International Auschwitz Committee in January 2020. His 53 Twitter-streamed, live house concerts during the lockdown in spring 2020 garnered a worldwide audience, offering a sense of community and hope in a time of isolation and desperation. In October 2020, Igor Levit was recognized with the Order of Merit of the Federal Republic of Germany. In Berlin, where he makes his home, Igor Levit plays on a Steinway D Grand Piano, kindly given to him by the Trustees of Independent Opera at Sadler’s Wells. Exclusive Worldwide Management: Kristin Schuster, CCM Classic Concerts Management GmbH
Han Kim, clarinet
Novus String Quartet
Inmo Yang, violin
SooBeen Lee, violin
Hayang Park, viola
Jaemin Han, cello
Do-Hyun Kim, piano
DEBUSSY Cello Sonata (c. 12 minutes)
Prologue: Lent, sostenuto e molto risoluto
Sérénade: Modérément animé
Final: Animé, léger et nerveux
Jaemin Han
Do-Hyun Kim
SCHOENBERG
BRAHMS
R. SCHUMANN
Intermezzo from String Quartet in D major (c. 4 minutes)
Novus String Quartet
Clarinet Quintet in B minor, Op. 115 (c. 40 minutes)
Allegro
Adagio
Andantino
Con moto
Han Kim
Novus String Quartet
INTERMISSION
Piano Quintet in E-flat major, Op. 44 (c. 38 minutes)
Allegro brillante
In Modo d’una Marcia: Un poco largamente
Scherzo: Molto vivace — Trio I — Trio II
Allegro ma non troppo
Inmo Yang
SooBeen Lee
Hayang Park
Jaemin Han
Do-Hyun Kim
Programs and artists subject to change.
TUESDAY JUNE 10, 2025 8PM
In curating the LA Phil’s Seoul Festival, Unsuk Chin faced a daunting task of representing an entire varied and complex musical culture across a limited number of events. Asked about her vision for the festival, she was clear about her primary intent: “First of all, I wanted to present the young generation of Korean musicians to the audience in LA.” Tonight’s chamber concert does just that, bringing together an outstanding lineup of emerging talents from South Korea, most of them under age 30. (The Novus String Quartet, the most
veteran of the performers, was established in 2007.) They all were born in South Korea before establishing international careers, and the works they’ve selected—favorites by Debussy, Schoenberg, Brahms, and Schumann— showcase their artistry and technical mastery of the standard repertory. “During this festival, the audience in LA will learn about how outstanding the Korean music scene is at the moment,” says Chin. “And the Koreans living in LA will see what a huge development the country has achieved.”
—Amanda Angel
Claude Debussy (1862–1918)
Composed: 1915
Initially subtitled “Pierrot is angry at the moon,” the Sonata for Cello and Piano does have some of the modernday commedia dell’arte sensibility—a raw, hearton-the-sleeve, dark humor. The Cello Sonata is the most unrefined, emotionally exposed of Debussy’s three sonatas— maybe even of all his works. The opening movement lays out a singing theme in the cello, by turns churning up ecstatic outbursts and quiescent moans. The middle movement is almost jazz-like in its counterpoint among three voices—piano in a dual role of melodic partner with the cello and as plucky, bluesy accompaniment, bowed cello in its upper register sharing the melody with piano, and the cello’s lowest notes, played pizzicato in an elastic syncopation that takes on the role of an upright jazz bass. There is indeed a lunar quality
about this movement: Time stops and starts, melodic and harmonic themes shift between sultry darkness and starlit dances. From the final quiet statement of the serenade spills an exultant duet between cello and piano. The cello’s opening ascending sequence introduces a dancing theme that is folded into the mix for the rondo-like reexamination of the work’s previous themes. —Meg Ryan
Arnold Schoenberg (1874–1951)
Composed: 1897
Arnold Schoenberg’s career as a composer likely began during his violin lessons: “Even before the age of 9, I started writing small and eventually larger pieces for two violins, imitating the music I played with my teacher and a cousin. When I could play the duets
of Viotti, Pleyel, and others, I imitated their style. So I learned to compose to the extent that I learned to play the violin.” In his youth, he wrote mostly songs and smaller instrumental works, probably inspired by his lively chamber music-making with friends. When he found a classmate who played the viola, the duo lineup became a trio. With the money Schoenberg had earned by teaching German, he obtained Beethoven scores: “[...] they were the Third and Fourth Symphonies, two of the Razumovsky Quartets, and the Grosse Fuge for String Quartet, Op. 133. From then on, I had the urge to write string quartets.” The meeting with the violinist and later physician Oskar Adler, Schoenberg’s friend from his secondary school days, was decisive: Adler taught him the basics of harmony and ear training, and together they also played 18th- and 19th-century classics of the string quartet literature among a circle of friends. Schoenberg later vividly recalled that time: “We wanted to play quartets by Mozart and Beethoven, so Adler brought a larger viola strung with
zither strings, on which the pitch and range of a cello could be produced. I was supposed to play this instrument, which I did, using viola fingerings, since I didn’t know any better. Soon afterwards, I acquired a cello, and I also played it with the same fingerings I had used on the violin, viola, and also the (so-called by me) violoncello. This went on for quite a while until Adler heard from a real cellist that fingerings on the cello were different.” Playing quartets had also remained vivid in Adler’s memory, as he reported in 1948: “I often think back to the time when we played quartets together, in the Dienstbotenkammerl in Augartenstrasse [in Vienna] on Sunday afternoons, and the subsequent walks in the Prater engaging in philosophical conversations [...].” From then on, Schoenberg kept honing his compositional skills in numerous quartet projects until he completed a string quartet in D major in 1897, his first surviving large-scale composition.
Schoenberg considered Mozart, Brahms, Beethoven, and Dvořák to be his sources of inspiration at that time. Participating in chamber music-making probably played an essential role in the influence of these composers. Dvořák, who otherwise would hardly be counted among Schoenberg’s models, figured prominently in the concert life of the time. It is therefore hardly surprising that his style, along with that of Johannes Brahms, is noticeable in the string quartet. Schoenberg was largely self-taught as a composer. By his own account, he was able to write his first proper sonata-form movement
only after the eagerly awaited volume S of the encyclopedia Meyers Konversations-Lexikon had appeared. Nevertheless, Schoenberg also received invaluable advice from his friend, and later brother-in-law, Alexander Zemlinsky, whom he consulted again and again when he encountered difficulties. The D-major quartet was thoroughly revised after Zemlinsky’s evaluation. Schoenberg completely rewrote the first and last movements, and the second and probably the third were replaced. Zemlinsky seemed quite pleased with the result, and with his support the quartet was given its unofficial premiere in a private circle on March 17, 1898, by the Wiener Tonkünstlerverein, which was dedicated to promoting contemporary music. Later that year, on December 20, the Fitzner Quartet gave its public premiere in the BösendorferSaal of the Gesellschaft der Musikfreunde. The review in the Neue Freie Presse on December 24 was decidedly positive: “This year’s first quartet evening by Messrs. Fitzner and his fellow performers contained a very pleasant surprise. [...] A new string quartet by Arnold Schönberg not only achieved extraordinary success, but also made the impression on all music lovers present that its author was a true talent who had spoken his first significant word.”
The aforementioned influence of Dvořák can be observed above all in the stylistic elements of some themes, though hardly in the sense of outright quotations. Rather, Dvořák’s influence is discernible in certain rhythmic and melodic details. Structurally,
however, Brahms’ influence is clearly evident. Even this early work contains latent features of what Schoenberg would later call “developing variation.”
The quartet begins with a lively movement in sonata form whose secondary theme is relatively broad. The following Intermezzo impresses with its distinctive, restrained soundscape. The strings play muted throughout. The theme is presented first in the viola, and then in the first violin. This is followed by a passage at a tempo twice as fast, with numerous three-note groupings rapidly succeeding one another. The repeated opening section is followed by a coda in which the theme, underpinned by pulsating figures in the second violin and viola, seems to float away in the high notes played by the first violin. The slow movement presents a series of variations that becomes more thoroughly elaborated during the course of the movement, and the finale, structured in sonata-rondo form, provides a brilliant conclusion to Schoenberg’s earliest string quartet, which, rather than a student exercise, deserves the status of a full-fledged chamber music composition. —Eike Feß © Arnold Schönberg Center, Vienna (schoenberg.at)
Johannes Brahms (1833–97)
In March 1891 Brahms visited Meiningen, where a private performance by the highly regarded clarinetist Richard Mühlfeld was arranged for the composer. Brahms was
entranced with Mühlfeld’s sweet tone and moving interpretations, and that summer he composed the Clarinet Trio, Op. 114, and the Clarinet Quintet, Op. 115. These works premiered in Berlin that year with Mühlfeld in both works (with Brahms himself in the trio and the Joachim Quartet in the quintet). Their success was immediate (the quintet had 50 performances in its first two seasons), and in 1894 Brahms composed two Clarinet Sonatas, Op. 120, which he and Mühlfeld toured throughout Germany and Austria. Brahms was so pleased and impressed that he gave all the fees from their performances to Mühlfeld, as well as lifetime performing rights and the manuscripts of both sonatas.
The four movements of the Clarinet Quintet are connected by a web of motivic crossreferences—so much so that the quintet as a whole seems in retrospect to be a set of variations seeking its theme, which it finds in the finale, itself a theme with five variations and a coda. The sense of elegiac reflection is unmistakable, but this is also music of great emotional urgency and creative passion. The finely spun, arching tranquility of the secondmovement Adagio, for example, is interrupted by an anxious, rhapsodic middle section that could have come directly from one of Brahms’ slower Hungarian Dances. Yet both sections are built from the same motive, heard at the beginning in the clarinet.
“How the subtle fusion of the instruments, with the soft and insistent wail of the clarinet above them, lays hold of one,” Clara Schumann wrote to Brahms after she heard the work. “The joy that I had survives in my heart and for that I am grateful.” —John Henken
Robert Schumann (1810–56)
Composed: 1842
Robert Schumann first met Clara Wieck when he was 18 and she was 9. A dozen years later, the two were married, forever altering his life and the subsequent course of Romantic art. Few other romances in the history of music have yielded as much important work. Schumann wrote a number of works for his talented wife to perform, among them the Piano Quintet in E-flat.
Unlike his friends Mendelssohn, Chopin, and Brahms, all of whom were meticulous and methodical in their working habits, Schumann composed the bulk of his music in white-hot fits of inspiration. The year 1842 was Schumann’s year of chamber music. In April, he ordered the scores of all the Haydn, Mozart, and Beethoven string quartets in print and on June 4 began to write a string quartet of his own. By July 22, all three of the Opus 41 quartets were finished. The two works for piano and strings were written even more quickly: The quintet, Op. 44, was sketched in only five days—the complete score was finished October 12—while the quartet, Op. 47, was sketched between October 24 and 30 and completed within a month.
While Mozart, Beethoven, and Mendelssohn all offered models for the piano quartet, Schumann was the first important German composer to write for the seemingly natural but curiously neglected combination of piano and string quartet. Prior to Schumann, Luigi Boccherini
was the only composer of any consequence to write piano quintets (Brahms, Dvořák, and Franck would subsequently add lasting contributions to the form). Schumann’s source of inspiration for the Piano Quintet may have been Mozart’s arrangements of three of his piano concertos with string quartet accompaniment— like those, the Schumann Quintet is a curious amalgam of concerto and chamber work. Mendelssohn played the piano part at a private concert on December 6, 1842; the first public performance was given at the Leipzig Gewandhaus on January 8 the following year with Clara Schumann, the work’s dedicatee. The first movement, Allegro brillante, begins with one of the boldest of Schumann’s inspirations: a powerfully striding theme from which all of the movement’s other thematic material, including the expressive second subject, is derived. The second movement, In Modo d’una Marcia, is a menacing C-minor march that would strike responsive chords in many late-Romantic composers, most notably Gustav Mahler. The march is interrupted by two wildly disparate contrasting sections, a rich theme in C major and a stormy F-minor episode, suggested, apparently, by Mendelssohn. The brilliant Scherzo is based on a simple scale ingeniously disrupted by a series of misplaced accents. There are two trios: the first containing a veiled reference to the principal theme of the first movement, the second an exuberant country dance with gypsy overtones. The vigorous finale is a fusion of sonata and rondo forms. After the dramatic development, the movement ends with a fugal coda in which the great theme from the first movement returns for the final time.
—Jim Svejda
To read about clarinetist Han Kim, please turn to page P18
“The Novus String Quartet doesn’t need reserves and guardedness. As fiery as it approaches the classics, it already plays right at the top.” – RBB kulturradio
Established at the Korean National University of Arts in 2007, the Novus String Quartet is one of the leading chamber music ensembles in Korea, having first caused a sensation in Europe in 2012 when it earned the second prize in the
string quartet category at the renowned ARD International Music Competition. Two years later the quartet received first prize at the Salzburg Mozart Competition. Ever since, the quartet has been filling international concert halls and inspiring audiences and critics alike.
From 2011 to 2014, the Novus String Quartet studied with professors Christoph Poppen and Hariolf Schlichtig at the Hochschule für Musik und Theater in Munich. In 2016 and 2017, the Novus String Quartet was mentored by the Belcea Quartet and was accepted into the Belcea Quartet Trust Coaching Scheme. In 2020, the musicians moved back to South Korea, where they are now sought-after professors at the Korean National University of Arts (Young-uk Kim in violin, his colleagues for chamber music).
Their first CD (Novus Quartet #1) was released by the French Label Aparté in spring 2016, and it presents works from Beethoven, Webern, and the rarely played Korean composer Isang Yun. The second recording, of Tchaikovsky’s First String Quartet and his sextet Souvenir de Florence, was released in fall 2017, followed in spring 2019 by the group’s recording of Berg’s Lyric Suite and Schubert’s quartet “Death and the Maiden,” which was chosen as “sélection album” by Le Monde in January 2019. Their latest release (spring 2022)
features Shostakovich String Quartets No. 3 and No. 8, on the Aparté label. It was rated 5 out of 5 by Diapason magazine. European highlights of the 2024/25 season include concerts at the Concertgebouw in Amsterdam and Wigmore Hall in London.
INMO YANG
To read about violinist Inmo Yang, please turn to page P19.
Violinist SooBeen Lee has been praised by The Washington
Post for her “poised presence, a luxurious sound, spot-on intonation, and a bow arm that surely will be the envy of her peers.” She has appeared as a soloist with every major Korean orchestra, including the Seoul and Busan philharmonics and the KBS (Korean Broadcasting System) Symphony Orchestra. Other distinctions include performances for former Secretary-General of the United Nations Ban Ki-moon, for the King and Queen of Malaysia, with China’s Wuhan Philharmonic at the Seoul Arts Center, and for many state guests in Korea.
As first-prize winner of the 2014 Young Concert Artists International Auditions, Lee was also honored with the Slomovic Soloist Prize for support for her recital debut at The Kennedy Center; the Michaels Award providing support for her New York recital debut; and three performance prizes including the Korean Concert Society Prize. Lee made her New York concerto debut performing Chausson’s Poème with the Orchestra of St. Luke’s at Alice Tully Hall. Lee has appeared as a soloist with the Detroit Symphony, Oregon Symphony, Gulf Coast Symphony, Rockford Symphony, Plymouth Philharmonic, Longwood Symphony (Boston), Palm Beach Symphony, and the Aiken Symphony. During the 2024/25 season she makes concerto appearances with the Brevard Philharmonic, Columbus Symphony (GA), and the Southwest Florida
Symphony. She has presented recitals for the Isabella Stewart Gardner Museum, Southern Adventist University, Buffalo Chamber Music Society, Abbey Church Events, and the Cosmos Club in Washington, DC.
SooBeen Lee began studying the violin at age 4. At 8 she won the National Competition of the Korean Chamber Orchestra. She won first prize at both the Russia International Youth Violin Competition the following year and the 2013 Moscow International David Oistrakh Violin Competition. Lee currently studies with Miriam Fried at New England Conservatory. Lee plays a Giuseppe Guadagnini Cremona 1794 on loan from Kumho Cultural Foundation.
Hayang Park, a violist born in Seoul in 1998, is currently based in Europe, where she studies at Kronberg Academy in Germany. Park started
playing the viola at an early age and has established herself as an accomplished musician with numerous competition wins, including the Tokyo International Viola Competition, where she won first prize in 2022.
At the age of 13, Park attended the Yewon School of Arts and received a Bachelor’s degree in 2019 from Yonsei University, studying with SangJin Kim. From 2018 to 2021, she studied at the Escuela Superior de Música Reina Sofía in Madrid under the guidance of renowned violist Nobuko Imai, supported by a scholarship from the Fundación Albéniz. Upon graduation, she was awarded the Queen Sofía prize, given to the most outstanding student.
At 12, Hayang Park won the Concours International de musique et d’art dramatique Léopold Bellan. In 2017 she took third prize in the string section of the 15th Tokyo Music Competition and performed Hindemith’s viola concerto “Der Schwanendreher” with the Tokyo Philharmonic Orchestra. She has won numerous prizes in her native Korea, including the Chun-chu Music Competition and the Seoul National Philharmonic Competition.
Park has performed at Tokyo’s Suntory Hall and the Tokyo Bunka Kaikan; Harmony Hall in Matsumoto, Japan, with Seiji Ozawa; Geneva’s Victoria Hall; and Fondation Louis Vuitton in Paris. She
joined the 2023 Musicians from Marlboro North America tour, which took place in major cities such as New York (Carnegie Hall’s Weill Recital Hall), Philadelphia, Washington, and Boston.
She has performed at many international music festivals, including the Marlboro Music Festival, Verbier Festival, and the Seoul International Music Festival. She has performed chamber music with cellists Steven Isserlis and Gary Hoffman; violinists Leonidas Kavakos, Christian Tetzlaff, Antje Weithaas, Kolja Blacher, and Gidon Kremer; and violist Nobuko Imai, among others.
Since October 2021, Park has been studying at Kronberg Academy with Nobuko Imai. Her studies are funded by the Ulla Minners/ Lore Buscher scholarship.
To read about cellist Jaemin Han, please turn to page P20
Pianist Do-Hyun Kim is a captivating, powerful artist who displays incredible depth of artistry in a wide range of repertoire. Winner of a first prize at the 2017 Young Concert Artists International Auditions, Kim debuted at Merkin Hall in New York and the Kennedy Center in Washington. He also won the top award at the Vendome Prize for the Piano 2017. Kim won second prize and the special prize for the best interpretation of contemporary piano music at the Ferruccio Busoni Competition 2021. That same year, he received the grand prize at the Chicago International Music Competition. After being awarded best performance in the semifinal round of the 2019 International Tchaikovsky Piano Competition, he was invited to return to St. Petersburg to perform in a special winners’ concert, and Yamaha invited
him to appear at a Rising Stars Pianists Concert in Tokyo. In April 2022, he performed with the Suwon Philharmonic Orchestra at the Korean Orchestra Festival at the Seoul Arts Center. Originally from Korea, Kim moved to the United States to earn his Bachelor’s degree at the Cleveland Institute of Music, where he studied with HaeSun Paik and Sergei Babayan. He continued his studies with Babayan at The Juilliard School, earning a Master’s in 2019. He then returned to the Cleveland Institute of Music, where he finished his Artist Diploma (2021) and Professional Studies (2024). Do-Hyun Kim has appeared in concerts at the Verbier Festival, Mariinsky International Piano Festival, Honest Brook Music Festival, Bravo! Vail Music Festival, and New York’s Pianofest, among others. In 2023, Mapo Cultural Foundation appointed him as an “M-Artist,” for which he gave four concerts throughout the year. Other notable performances in 2023 included solo recitals at San Diego’s Musica Vivace Piano Series, Kumho Artists Series in Seoul, and the Seoul Arts Center, as well as Rachmaninoff’s Piano Concerto No. 3 with the Bucheon Philharmonic Orchestra. In 2024, he performed solo recitals at the Salle de l’Institut in Orléans, France, and the IBK Chamber Music Hall in Seoul and appeared with the Gangnam Symphony Orchestra, also in Seoul.
Kim Noltemy
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Carina Sanchez
ASSOCIATE DIRECTOR, RESEARCH
Marie Santana
ASSISTANT MANAGER, SPECIAL EVENTS
Rochelle Siegrist
SENIOR COORDINATOR, ANNUAL GIVING
Peter Szumlas
ASSOCIATE DIRECTOR, PHILANTHROPY OPERATIONS
Tyler Teich
SENIOR GIFT AND DATA SPECIALIST
Derek Traub MANAGER, PHILANTHROPY COMMUNICATIONS
Dustin Seo
ANNUAL GIVING OFFICER
Morgan Walton
ASSOCIATE DIRECTOR, AFFILIATES & VOLUNTEER ENGAGEMENT
Meghan Umber
CHIEF PROGRAMMING OFFICER
Johanna Rees VICE PRESIDENT, PRESENTATIONS
Alan J. Benson
DIRECTOR, PROGRAMMING
Courtney Bowling
PROGRAMMING COORDINATOR
Linda Diaz
ARTIST LIAISON
Kristen Flock-Ritchie
ARTISTIC ADMINISTRATOR
Ljiljana Grubisic
ARCHIVES AND MUSEUM DIRECTOR
Rafael Marino
PROGRAM MANAGER
Mark McNeill
CREATIVE PRODUCER
Ray Melencio
PROGRAM MANAGER
Stephanie Yoon MANAGER, ARTIST SERVICES
Julia Ward
SENIOR DIRECTOR, PROGRAMMING
Rebeca Zepeda
ASSISTANT TO THE MUSIC AND ARTISTIC DIRECTOR
Media Initiatives
Jessica Farber
ASSOCIATE DIRECTOR, MEDIA INITIATIVES
Raymond Horwitz
PROJECT MANAGER, MEDIA INITIATIVES
STRATEGIC INITIATIVES AND ENGAGEMENT
Summer Bjork
CHIEF STRATEGY OFFICER
Elsje
Kibler-Vermaas
HEAD, LEARNING
STRATEGIC INITIATIVES
Kevin Ma
ASSOCIATE DIRECTOR, STRATEGIC INITIATIVES
Community and Government Engagement
Cynthia Fuentes
VICE PRESIDENT, COMMUNITY AND GOVERNMENT ENGAGEMENT
Learning Camille
Delaney-McNeil
VICE PRESIDENT, LEARNING
Jermaine Banks
ASSOCIATE OPERATIONS DIRECTOR, YOLA
DuMarkus Davis
PROGRAM MANAGER, YOLA AT TORRES
Lorenzo Johnson
ASSOCIATE DIRECTOR OF PROGRAMS, YOLA
Mariam Kaddoura MANAGER, LEARNING
Sarah Little DIRECTOR, LEARNING
Diana Melgar MANAGER, STUDENT
ENGAGEMENT AND COLLEGE ACCESS, YOLA
Karla Melgar
SENIOR PROGRAM COORDINATOR, YOLA AT TORRES
Michael Salas MANAGER, YOLA NATIONAL
Gaudy Sanchez
YOLA ARTISTIC DIRECTOR
Julie West
FACILITIES MANAGER, BECKMEN YOLA CENTER
Miles Williams
SENIOR PROGRAM COORDINATOR, YOLA AT INGLEWOOD
Lisa Burlingham
SENIOR DIRECTOR, MARKETING & PARTNERSHIPS
PARKING AND TRAFFIC ASSISTANT
Emilia House
EVENT MANAGER
SENIOR RESEARCH ANALYST
Elan Fields
ASSISTANT MANAGER, PHILANTHROPY OPERATIONS
Brian Grohl
ASSOCIATE DIRECTOR, PROGRAMMING
The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email corporatepartnerships@laphil.org.
From the concerts that take place onstage at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford to the learning programs that fill our community with music, it is the consistent support of Annual Donors that sustains and propels our work. We hope you, too, will consider making a gift today. 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 and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA (Youth Orchestra Los Angeles), which provides free after-school music instruction to children in culturally vibrant and ethnically diverse communities across LA County. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, or to learn about membership benefits, please call 213 972 7557 or email friends@laphil.org.
Winnie Kho and Chris Testa, Co-Chairs Christian and Tiffany Chivaroli, Co-Chairs
The Philharmonic Council is a vital leadership group whose members provide critical resources in support of the LA Phil’s general operations. Their vision and generosity enable the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.
We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of January 31, 2025.
$25,000,000 AND ABOVE
Walt and Lilly Disney Foundation
Cecilia and Dudley Rauch
$20,000,000 TO $24,999,999
David Bohnett Foundation
$10,000,000 TO $19,999,999
The Annenberg Foundation
Colburn Foundation
Lenore S. and Bernard A. Greenberg Fund
$5,000,000 TO $9,999,999
Anonymous Dunard Fund USA
Carol Colburn Grigor
Terri and Jerry M. Kohl
Los Angeles
Philharmonic
Affiliates
Diane and Ron Miller
Charitable Fund
M. David and Diane Paul
Ann and Robert Ronus
Ronus Foundation
John and Samantha Williams
$2,500,000 TO $4,999,999
Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann
Lynn Booth/Otis Booth Foundation
Elaine and Bram Goldsmith
Norman and Sadie Lee Foundation
Karl H. Loring
Alfred E. Mann
Elise Mudd
Marvin Trust
Barbara and Jay Rasulo
Flora L. Thornton
$1,000,000 TO $2,499,999
Linda and Robert Attiyeh
Judith and Thomas Beckmen
Gordon Binder and Adele Haggarty
Helen and Peter Bing
William H. Brady, III
Linda and Maynard Brittan
Richard and Norma Camp
Mr. and Mrs. Michael J. Connell
Mark Houston Dalzell and James Dao-Dalzell
Mari L. Danihel
Nancy and Donald de Brier
The Rafael & Luisa de Marchena-Huyke Foundation
The Walt Disney Company
Fairchild-Martindale Foundation
Eris and Larry Field
Max H. Gluck Foundation
Reese and Doris Gothie
Joan and John Hotchkis
Janeway Foundation
Bernice and Wendell Jeffrey
Carrie and Stuart Ketchum
Kenneth N. and Doreen R. Klee
B. Allen and Dorothy Lay
Los Angeles Philharmonic Committee
Estate of Judith Lynne
Maddocks-Brown Foundation
Ginny Mancini
Raulee Marcus
Barbara and Buzz McCoy
Merle and Peter Mullin
William Powers and Carolyn Powers
Koni and Geoff Rich
H. Russell Smith Foundation
Jay and Deanie Stein Foundation Trust
Ronald and Valerie Sugar
I.H. Sutnick
$500,000 TO $999,999
Ann and Martin Albert
Abbott Brown
Mr. George L. Cassat
Kathleen and Jerrold L. Eberhardt
Valerie Franklin
Yvonne and Gordon Hessler
Barbara Leidenfrost
Ernest Mauk and Doyce Nunis
Mr. and Mrs. David Meline
Sandy and Barry D. Pressman
Earl and Victoria Pushee
William and Sally Rutter
Nancy and Barry Sanders
Richard and Bradley Seeley
Christian Stracke
Donna Swayze
Judy Ungar and Adrienne Fritz
Lee and Hope
Landis Warner
YOLA Student Fund
Edna Weiss
$250,000 TO $499,999
Nancy and Leslie Abell
Mr. Gregory A. Adams
Baker Family Trust
Kawanna and Jay Brown
Leah Danberg
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
Alfred E. Mann Charities
Glenn Miya and Steven Llanusa
Jane and Marc B. Nathanson
Miguel A. Navarro
Y & S Nazarian
Family Foundation
Nancy and Sidney Petersen
Rice Family Foundation
Robert Robinson
Kenneth D. Sanson
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
Deborah Borda
The Eli and Edythe
Broad Foundation
Jane Carruthers
Pei-yuan Chia and Katherine Shen
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
Estate of Mary Calfas Janos
Stephen A. Kanter, M.D.
Jo Ann and Charles Kaplan
Yates Keir
Susanne and Paul Kester
Vicki King
Sylvia Kunin
Ann and Edward Leibon
Ellen and Mark Lipson
Ms. Gloria Lothrop
Vicki and Kerry McCluggage
Heidi and Steve McLean in memory of Katharine Lamb
David and Margaret Mgrublian
Diane and Leon Morton
Mary Pickford Foundation
Sally and Frank Raab
Mr. David Sanders
Malcolm Schneer and Cathy Liu
David and Linda Shaheen Foundation
William E.B. and Laura K. Siart
Magda and Frederick R. Waingrow
Wasserman Foundation
Robert Wood
Syham Yohanna and James W. Manns
$25,000 TO $99,999
Marie Baier Foundation
Dr. Richard Bardowell, M.D.
Jacqueline Briskin
Dona Burrell
Ying Cai & Wann S. Lee Foundation
Ann and Tony Cannon
Dee and Robert E. Cody
The Colburn Fund
Margaret Sheehy Collins
Mr. Allen Don Cornelsen
Ginny and John Cushman
Marilyn J. Dale
Mrs. Barbara A. Davis
Dr. and Mrs. Roger DeBard
Jennifer and Royce Diener
Jane B. and Michael D. Eisner
The Englekirk Family
Claudia and Mark Foster
Lillian and Stephen Frank
Margaret E. Gascoigne
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
William Johnson and Daniel Meeks
Ms. Ann L. Kligman
Sandra Krause and William Fitzgerald
Michael and Emily Laskin
B. and Lonis Liverman
Sarah and Ira R. Manson
Carole McCormac
Meitus Marital Trust
Sharyl and Rafael Mendez, M.D.
John Millard
National Endowment for the Arts
Alfred and Arlene Noreen
Occidental Petroleum
Corporation
Dr. M. Lee Pearce
Lois Rosen
Anne and James Rothenberg
Donald Tracy Rumford Family Trust
The SahanDaywi Foundation
Mrs. Nancie Schneider
William and Luiginia Sheridan
Virginia Skinner
Living Trust
Nancy and Richard Spelke
Mary H. Statham
Ms. Fran H. Tuchman
Tom and Janet Unterman
Rhio H. Weir
Mrs. Joseph F. Westheimer
Jean Willingham
Winnick Family Foundation
Cheryl and Peter Ziegler
Lynn and Roger Zino
Anonymous Kenneth Bonebrake
Nancy and Martin Chalifour
Brian Drake
Perry Dreiman
Barry Gold
Christopher Hanulik
John Hayhurst
Jory and Selina Herman
Ingrid Hutman
Andrew Lowy
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 Johnston 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 Philanthropy Department at contributions@laphil.org. Thank you.
The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between February 1, 2024, and January 31, 2025.
$1,000,000 AND ABOVE
Anonymous (3)
$500,000 TO $999,999
Ballmer Group
Max H. Gluck Foundation
$200,000 TO $499,999
Anonymous (3)
Mr. Gregory A. Adams
Judith and Thomas L. Beckmen
R. Martin Chavez
Colburn Foundation Dunard Fund USA
Jane B. and Michael D. Eisner
Lisa Field
$100,000 TO $199,999
Anonymous (4)
Nancy and Leslie Abell
Regina Weingarten and Gregory Annenberg
Weingarten
The Blue Ribbon Kawanna and Jay Brown
Becca and Jonathan Congdon
Michael J. Connell Foundation
Donelle Dadigan
Louise and Brad
Edgerton/Edgerton Foundation
The Eisner Foundation
Ms. Erika J. Glazer
$50,000 TO $99,999
Anonymous (2)
Ms. Kate Angelo and Mr. Francois Mobasser
Antonieta Arango, In memory of Javier Arango
Susan and Adam Berger
David Bohnett Foundation
Linda and Maynard Brittan
Thy Bui
Ying Cai & Wann S. Lee Foundation
Canon Insurance Service
Andrea Chao-Kharma and Kenneth Kharma
Dan Clivner
Mr. Richard W. Colburn
Nancy and Donald de Brier
De Marchena-Huyke Foundation
The Walt Disney Company
Robyn Field and Anthony O’Carroll
Mr. James Gleason
Ellen Goldsmith-Vein and Jon Vein
$25,000 TO $49,999
Anonymous (9)
The Herb Alpert Foundation
Dr. William Benbassat
Samuel and Erin Biggs
Mr. and Mrs.
Norris J. Bishton, Jr.
Jill Black Zalben
Michele Brustin
Gail Buchalter and Warren Breslow
Steven and Lori Bush
California Arts Council
Chevron Products Company
Esther S.M. Chui
Chao and Andrea
Chao-Kharma
Mr. and Mrs. Robert Cook
Orna and David Delrahim
Mr. Lawrence Doyle and Dr. LuAnn Wilkerson
Michael Dreyer
Mike Dreyer
Joseph Drown Foundation
East West Bank
Kathleen and Jerry L. Eberhardt
Edison International
Dr. Paul and Patti Eisenberg
Marianna J. Fisher and David Fisher
Austin and Lauren Fite Foundation
Debra Frank
Drs. Jessie and Steven Galson
The Rosalinde and Arthur Gilbert Foundation
Francis Goelet
Charitable Lead Trusts
Mr. Gregg Goldman and Mr. Anthony
DeFrancesco
Kate Good
Lori Greene Gordon and Neil Gordon
Anne Akiko Meyers and Jason Subotky
Jennifer Miller GoffTerri and Jerry M. Kohl Music Center Foundation
Gordon P. Getty The Hearthland Foundation
Tylie Jones
Alexandra S. Glickman and Gayle Whittemore
Tamara Golihew
The Hillenburg Family
The José Iturbi Foundation
Kaiser Permanente
Winnie Kho and Chris Testa
Madeleine Heil and Sean Petersen
Yvonne Hessler
David Z. & Young
O. Hong Family Foundation
Cindy and Alan Horn
Barbara and Amos Hostetter
Frank Hu and Vikki Sung
Monique and Jonathan Kagan
Mr. and Mrs.
Joshua R. Kaplan
Linda and Donald Kaplan
W.M. Keck Foundation
The Gorfaine/Schwartz
Agency
Liz and Peter Goulds
The Green Foundation
Faye Greenberg and David Lawrence
Renée and Paul Haas
Harman Family Foundation
Lynette Maria
Carlucci Hayde
Walter and Donna Helm
Mr. Philip Hettema
Marion and Tod Hindin
Fritz Hoelscher
Mr. Tyler Holcomb
Thomas Dubois
Hormel Foundation
Ms. Michelle Horowitz
Mr. and Mrs. Daniel
Paul Horwitz
Ms. Teena Hostovich and
Mr. Doug Martinet
Mr. and Mrs.
James L. Hunter
The Music Man Foundation Pasadena Showcase House for the Arts
Barbara and Jay Rasulo
Los Angeles County Department of Arts and Culture
Ms. Irene Mecchi
John Mohme Foundation
Maureen and Stanley Moore
M. David and Diane Paul Peninsula Committee
Paul Kester
Darioush and Shahpar Khaledi
Dr. Ralph A. Korpman
Mr. and Mrs.
Keith Landenberger
The Norman and Sadie Lee Foundation
Live Nation-Hewitt Silva Concerts, LLC
Roger Lustberg and Cheryl Petersen
Alfred E. Mann Charities
Linda May and Jack Suzar
Barbara and Buzz McCoy
The Rauch Family Foundation
James D. Rigler/Lloyd E. Rigler - Lawrence E. Deutsch Foundation
Linda
Sandy and Barry D. Pressman
Koni and Geoff Rich
Rosenthal Family Foundation
James and Laura Rosenwald/Orinoco Foundation
Maria Seferian
Heidi and Steve McLean
Mr. and Mrs. David Meline
Michael and Lori Milken
Family Foundation
Ms. Linda L. Pierce
Wendy and Ken Ruby
Richard and Diane Schirtzer
Howard and Stephanie Sherwood
Smidt Family Foundation Trust
Sony Pictures Entertainment, Inc.
Marilyn and Eugene Stein
Rif and Bridget Hutton
Robin and Gary Jacobs Estate of Mary Calfas Janos
Julia Kalmus
Terri and Michael Kaplan
Elizabeth Kolawa
Delores M. Komar and Susan M. Wolford
David Lee
Mr. and Mrs. Simon K.C. Li
Charlene and Vinny Lingham
Ms. Judith W. Locke
The Seth MacFarlane Foundation
Mrs. Beverly C. Marksbury
Mr. and Mrs.
Andrew W. Marlowe
Ashley McCarthy and Bret Barker
Ms. Kim McCarthy and Mr. Ben Cheng
Coco Miller
Ms. Christine Muller and
Mr. John Swanson
Molly Munger and Stephen English
Deena and Edward Nahmias
Anthony and Olivia Neece
Mr. and Mrs.
Randy Newman
Mr. Robert W. Olsen
Tye Ouzounian
Ellen Pansky
Bruce and Aulana Peters
Dennis C. Poulsen and Cindy Costello
Madeline and Bruce Ramer
Mr. Bennett Rosenthal
Ross Endowment Fund
Bill and Amy Roth
Katy and Michael S. Saei
Mr. Lee C. Samson
San Marino-Pasadena
Philharmonic Committee
Ellen and Richard Sandler
Jay and Deanie Stein Foundation Trust
Alyce de Roulet
Williamson
Margo and Irwin Winkler
Ellen and Arnold Zetcher
Ronald and Valerie Sugar
Cecilia Terasaki
David William Upham Foundation
Mr. Alex Weingarten
John and Marilyn Wells Family Foundation
Estate of Ronald Wilkniss
Jenny Williams
Debra Wong Yang and John W. Spiegel
Lynn and Roger Zino
Miguel Santana
Elizabeth and Justus Schlichting
John Sinnema and Laura Sinnema
Melanie and Harold Snedcof
Randy and Susan Snyder
Jeremy and Luanne Stark
Lisa and Wayne Stelmar
Tom Strickler
Dwight Stuart Youth Fund
Dr. James Thompson and Dr. Diane Birnbaumer
Michael Frazier Thompson
Michael Tyler
Charles Urban
Jennifer and Dr. Ken Waltzer
Walter and Shirley Wang
Debra and John Warfel
Megan Watanabe and Hideya Terashima
Mindy and David Weiner
Zolla Family Foundation
$15,000 TO $24,999
Anonymous (4)
Mrs. Lisette Ackerberg
Drew and Susan Adams
Honorable and Mrs. Richard Adler
Aversa Foundation
Mrs. Stella Balesh
Ms. Elizabeth Barbatelli
Camilo Esteban
Becdach
Miles and Joni Benickes
Mark and Pat Benjamin
Robert and Joan Blackman Family Foundation
Mr. and Mrs.
Geoff C. Bland
Mr. Ronald H. Bloom
Otis Booth Foundation
Mr. and Mrs. Hal Borthwick
Mr. and Mrs.
Steven Bristing
Business and Professional Committee
California Community Foundation
Campagna Family Trust
Dominic Chan
Chivaroli and Associates, Tiffany and Christian Chivaroli
Sarah and Roger Chrisman
Larison Clark
Mr. and Mrs. V.
Shannon Clyne
Faith and Jonathan Cookler
Cary Davidson and Andrew Ogilvie
Victoria Seaver Dean, Patrick Seaver, Carlton Seaver
Jennifer Diener and Eric Small
Michael Dillon
Malsi and Johnny Doyle
James and Andrea Drollinger
Van and
Francine Durrer
Dr. and Mrs.
William M. Duxler
Michael Edelstein and Dr. Robin Hilder
Ms. Robin Eisenman and Mr. Maurice LaMarche
Geoff Emery
Bonnie and Ronald Fein
Evelyn and Norman Feintech Family Foundation
Max Factor Family Foundation
E. Mark Fishman and Carrie N. Feldman
Foothill Philharmonic Committee
Alfred Fraijo Jr. and Arturo Becerra-Fraijo
Tony and Elisabeth Freinberg
Joan Friedman, Ph.D. and Robert N. Braun, M.D.
Mr. and Mrs.
Josh Friedman
Gary and Cindy Frischling
Jane Fujishige
Beth Gertmenian
Mr. and Mrs. Ronald Gertz
$10,000 TO $14,999
Anonymous (3)
Affiliates of the Desert
B. Allen and Dorothy Lay
Tichina Arnold
Ms. Lisette Arsuaga and Mr. Gilbert Davila
Dr. Richard Bardowell,
M.D.
Judy and Leigh Bardugo
Stephanie Barron
Mr. Joseph A. Bartush
Catherine and Joseph Battaglia
Susan Baumgarten
Sondra Behrens
Phyllis and Sandy Beim
Mr. and Mrs.
Bill Benenson
Suzette and Monroe Berkman
Ms. Gail K. Bernstein
Helen and Peter S. Bing
Ken Blakeley and Quentin O’Brien
The Hon. Bob Bowers and Mrs.
Reveta Bowers
Oleg and Tatiana Butenko
Garrett Camp
Ms. Nancy Carson and
Mr. Chris Tobin
CBS Entertainment
Ms. Jessica Chen
Chien Family
Arthur and Katheryn Chinski
Chivaroli and Associates
Insurance Services
Carrie and Rob Glicksteen
Greg and Etty Goetzman
Goldman Sachs Co. LLC
Goodman Family Foundation
Robert and Lori Goodman
Rob and Jan Graner
Mr. Bill Grubman
Marnie and Dan Gruen
Michael Haefliger and Andrea Lötscher
Ms. Marian L. Hall
Laurie and Chris Harbert and Family
Lyndsay Harding
Diane Henderson MD
Jackson N. Henry
Stephen D. Henry and Rudy M. Oclaray
Stephen F. Hinchliffe
Gerry Hinkley and Allen Briskin
Arlene Hirschkowitz
Elizabeth HofertDailey Trust
K. Hohman Family
Deedie and Tom Hudnut
Mr. Gregory Jackson and Mrs. Lenora Jackson
Meredith Jackson and Jan Voboril
Meg and Bahram Jalali
Sharon and Alan Jones
Mr. Eugene Kapaloski
Tobe and Greg Karns
Mr. and Mrs.
Robert A. Kasirer
Sandi and Kevin Kayse
Vicki King
Larry and Lisa Kohorn
Naomi and Fred Kurata
Allyn and Jeffrey L. Levine
Dr. Stuart Levine and Dr. Donna Richey
Ms. Agnes Lew
Marie and Edward Lewis
Karen and Clark Linstone
Anita Lorber
Los Angeles
Philharmonic Committee
Bethany Lukitsch and Bart Nelson
The Mailman Foundation
Raulee Marcus
Vilma S. Martinez, Esq.
Matt Construction Corporation
Jonathan and Delia Matz
Dwayne and Eileen McKenzie
David and Margaret Mgrublian
Marcy Miller
Cynthia Miscikowski
Mrs. Judith S. Mishkin
Marc and Jessica Mitchell
Mr. John Monahan
Ms. Susan Morad at Worldwide Integrated Resources, Inc.
Mr. Brian R. Morrow
John Nagler
Ms. Kari Nakama
Mr. and Mrs. Dan Napier
Mr. Jose Luis Nazar
Shelby Notkin and Teresita Tinajero
Christine M. Ofiesh
Laura Owens
Melissa Papp-Green and Jeff Green
Andy S. Park
Gregory Pickert and Beth Price
Nancy and Glenn Pittson
Cathleen and Scott Richland
Ms. Anne Rimer
John Peter Robinson and Denise Hudson
Mimi Rotter
Linda and Tony Rubin
The SahanDaywi Foundation
Ron and Melissa Sanders
Santa Monica-Westside Philharmonic Committee
Alexander and Mariette Sawchuk
Dena and Irv Schechter/ The Hyman Levine
Family Foundation: L’DOR V’DOR
Evy and Fred Scholder Family
Howard and
Linda Schwimmer
Samantha and Marc Sedaka
Mr. Murat Sehidoglu
Joan and Arnold Seidel
Neil Selman and Cynthia Chapman
Marc Seltzer and Christina Snyder
Jane Semel
Mr. James J. Sepe
Julie and Bradley Shames
Mr. Steven Shapiro
Nina Shaw and Wallace Little
Jill and Neil Sheffield
Arnold Urquidez and
Martha Shen-Urquidez
Lauren Shuler Donner
Grady and Shelley Smith
Mr. and Mrs.
Richard Sondheimer
Terry and Karey Spidell
Stein Family FundJudie Stein
Zenia Stept and Lee Hutcherson
Eva and Marc Stern
Akio Tagawa
Priscilla and Curtis S. Tamkin
Sue Tsao
Warren B. and Nancy L. Tucker
Elinor and Rubin Turner
Charles Edward Uhlmann
Mr. and Mrs.
Leonard Unger
Tom and Janet Unterman
Nancy Valentine
Noralisa Villarreal and John Matthew Trott
Frank Wagner and Lynn O’Hearn Wagner
Warner Bros. Discovery
Stasia and Michael Washington
Mr. and Mrs.
Steven White
Libby Wilson, MD
Alana L. Wray
Mahvash and Farrok Yazdi
Karl and Dian Zeile
Kevork and Elizabeth Zoryan
Dr. and Mrs.
Lawrence J. Cohen
Jay and Nadege Conger
Hillary and Weston Cookler
Alison Moore Cotter
Katie Danois
Dr. and Mrs. Nazareth
E. Darakjian
Lynette and Michael C. Davis
Nancy and Patrick Dennis
Sean Dugan and Joe Custer
Emil Ellis Farrar and Bill Ramackers
Mr. Tommy Finkelstein and Mr. Dan Chang
Ella Fitzgerald
Charitable Foundation
Daniel and Maryann Fong
Mr. Michael Fox
Bernard H. Friedman and Lesley Hyatt
Roberta and Conrad Furlong
Dr. and Mrs.
Bruce Gainsley
Mr. Peter A. Gelles and Mrs. Eve Steele Gelles
Kiki Ramos Gindler and David Gindler
Mr. and Mrs.
Louis L. Gonda
Manuela Cerri Goren
Mr. and Mrs.
Daniel M. Gottlieb
Mr. and Mrs. Ken Gouw
Lenore S. and Bernard
A. Greenberg Fund
Tricia and Richard Grey
Beverly and Felix Grossman
Roberta L. Haft and Howard L. Rosoff
Beth Fishbein Hansen
Ms. Deborah Harkness
Mr. Sam Harris
Mr. and Mrs. Irwin
Helford and Family
Andrew Hewitt
Liz Levitt Hirsch
Jessica and Elliot Hirsch
Mr. Raymond W. Holdsworth
Joyce and Fredric Horowitz
Mr. Frank J. Intiso
James Jackoway
Kristi Jackson and William Newby
Mr. and Mrs.
Steaven K. Jones, Jr.
Dr. William B. Jones
Marilee and Fred Karlsen
Rizwan and Hollee Kassim
Mr. and Mrs.
Stephen Keller
Leigha Kemmett and Jacob Goldstein
Mr. Mark Kim and Ms. Jeehyun Lee
Jay T. Kinn and Jules B. Vogel
Mr. and Mrs.
Kenneth N. Klee
Mr. and Mrs. Scott Krivis
Nickie and Marc Kubasak
Craig Kwiatkowski and Oren Rosenthal
Dr. and Mrs. Kihong Kwon
Lauren B. Leichtman and Arthur E. Levine
Mr. and Mrs.
Norman A. Levin
Randi Levine
Lydia and Charles Levy
Maria and Matthew Lichtenberg
Lynn Loeb
Los Angeles
Philharmonic
Affiliates
Kyle Lott
Theresa Macellaro / The Macellaro
Law Firm
Mona and Frank Mapel
Milli M. Martinez and Don Wilson
Leslie and Ray Mathiasen
Liliane Quon McCain
Cathy McMullen
Ms. Marlane Meyer
Mr. Alexander Moradi
Wendy Stark Morrissey
Carrie Nery
Dick and Chris Newman / C & R Newman Family Foundation
Kenneth T. & Eileen L. Norris Foundation
Mr. John Nuckols
Irene and Edward Ojdana
Steve and Gail Orens
Mr. Ralph Page and Patty Lesh
Ana Paludi and Michael Lebovitz
Loren Pannier
Mr. and Mrs. Carl Pearlston
Ms. Debra Pelton and Mr. Jon Johannessen
Julie and Marc Platt
Robert J. Posek, M.D.
Mark Proksch and Amelie Gillette
William “Mito” Rafert
Lee Ramer
Eduardo Repetto and Carla Figueroa
Risk Placement Services
Hon. Ernest M. Robles
Murphy and Ed Romano and Family
Mr. Steven F. Roth
Ms. Rita Rothman
Mr. and Mrs.
Stanford Rubin
Mr. David Rudy
Jesse Russo and Alicia Hirsch
Mr. and Mrs. Paul Rutter
Ann M. Ryder
Dr. and Mrs. Bernard Salick
Dr. and Mrs. Heinrich Schelbert Dr. Donald Seligman and Dr. Jon Zimmermann
Ruth and Mitchell Shapiro
Gloria Sherwood
The Sikand Foundation
Jennifer Speers
Joseph and Suzanne Sposato
Mr. and Mrs. Mark Stern
James C. Stewart
Charitable Foundation
Rose and Mark Sturza
Marcie Polier Swartz and David Swartz
Jennifer Taguchi
Christine Upton
Kathy Valentino
Rachel Wagman
Bob and Dorothy Webb
Robert Weingarten
Sheila and Wally Weisman
Abby and Ray Weiss
Bryan D. Weissman and Jennifer Resnik
Doris Weitz and
Alexander Williams
Karen and Rick Wolfen
Mr. and Mrs.
Howard Zelikow
Bobbi and Walter Zifkin
$5,500 TO $9,999
Anonymous (6)
Bobken and Hasmik Amirian
Debra and Benjamin Ansell
Art and Pat Antin
Javi Arango
Dr. Mehrdad Ariani
Sandra Aronberg, M.D.
Ms. Judith A. Avery
Mr. Mustapha Baha
Pamela and Jeffrey Balton
Howard Banchik
Mrs. Linda E. Barnes
Reed Baumgarten
Logan Beitler
Maria and Bill Bell
Mr. Alan N. Berro
Richard Birnholz
Mitchell Bloom
Thomas J. Blumenthal
Joan N. Borinstein
Greg Borrud
Ms. Leslie Botnick
Mr. Ray Boucher
Dr. and Mrs. Hans Bozler
Ms. Marie Brazil
Lynne Brickner and Gerald Gallard
Drs. Maryam and Iman Brivanlou
Jennifer Broder and Soham Patel
Ronald Brot
Mrs. Linda L. Brown
Mary Lou Byrne and Gary W. Kearney
Tanille Carter
Dr. Kirk Y. Chang
Mr. and Mrs.
Ronald Clements
Committee of Professional Women
Mr. and Mrs.
Richard W. Cook
Mr. and Mrs.
Bruce Corwin
Lloyd Eric Cotsen
Jessica and James Dabney
Mr. James Davidson and Mr.
Michael Nunez
Ms. Rosette Delug
Elizabeth and Kenneth M. Doran
Julie and Stan Dorobek
Bob Ducsay and Marina Pires de Souza
Steven Duffy
Mr. and Mrs.
Brack W. Duker
Anna Sanders Eigler
Alex Elias
John B. Emerson and Kimberly Marteau
Emerson
Janice Feldman, JANUS et cie
Mr. Gregg Field and Ms. Monica Mancini
Laura Fox, M.D., and John Hofbauer, M.D.
The Franke Family Trust
Linda and James Freund
Ms. Kimberly Friedman
Mrs. Diane Futterman
Ruchika Garga
Dr. Tim A. Gault, Sr.
Gibson, Dunn & Crutcher
Jon M. Gibson
Leslie and Cliff Gilbert-Lurie
Mr. and Mrs.
Herbert Glaser
Glendale Philharmonic Committee
Jory Goldman
Carol Goldsmith
Mr. and Mrs.
Russell Goldsmith
Edith Gould
Lee Graff Foundation
Diane and Peter H. Gray
Mr. and Mrs.
Paul E. Griffin III
Rita and William Griffin
Rod Hagenbuch
Mr. William Hair
Dwight Hare and Stephanie Bergsma
Drs. Susan Hammar and Rick Harrison
Myrna and Uri Herscher
Family Foundation
William Hewes
Tina and Ivan Hindshaw
David and Martha Ho
Janice and Laurence Hoffmann
Eugene and Katinka Holt
Jill Hopper
Dr. and Mrs. Mel Hoshiko
Michael Insalago
International Committee of the LA Philharmonic Association
Libby and Arthur Jacobson
Mrs. Leonard Jaffe
Gordon M. Johnson and Barbara A. Schnell
Doug and Minda Johnstone
Barbara A. Jones
Randi and Richard B. Jones
Mr. William Jordan
Meredith Jury
Robin and Craig Justice
Hun and Jee Kang
Judith and Russell Kantor
Marty and Cari Kavinoky
Ms. Sharon Kerson
Daisietta Kim
Remembering Lynn
Wheeler Kinikin
Phyllis H. Klein, M.D.
Michael and Patricia Klowden
Alan S. Koenigsberg and John A. Dotto
Lee Kolodny
Lori Kunkel
Lena and Mark Labowe
Mr. Richard W. Labowe
Katherine Lance
Mr. and Mrs.
Jack D. Lantz
Joan and Chris Larkin
Mrs. Grace E. Latt
Ms. Jeanne Lawson
Mr. George Lee
Mr. Stephen Leidner
Mr. Benjamin Lench
Lennox Foundation
David and Rebecca Lindberg
Mr. Greg Lipstone
Ms. Diana Longarzo
Scott Lord
Mr. Joseph Lund and Mr. James Kelley
Kevin MacLellan and Brian Curran
Stephen Martinez
Pam and Ron Mass
Mr. and Mrs.
Thomas E. McCarthy
Mr. and Mrs.
William F. McDonald
Courtney McKeown
Lawry Meister
Carlos Melich
Mr. and Mrs.
Dana Messina
Mr. Weston F. Milliken
Linda and Kenneth Millman
Gretl and Arnold Mulder
Sheila Muller
Loretta Munoz
Craig and Lisa Murray
Ms. Yvonne Nam and Mr. David Sands
Rachel Nass
Mrs. Cynthia Nelson
Ms. Kimberly Nicholas
Ms. Mary D. Nichols
Steven A. Nissen
Mr. Michael B. Nissman
Amelia and Joe Norris
Kim and P.F.
James Overton
Cynthia Patton
Alyssa Phaneuf
Peggy Phillips
Lorena and R. Joseph Plascencia
Lyle and Lisi Poncher
Mrs. Ruth S. Popkin
James S. Pratty, M.D.
Joyce and David Primes
Maria Rodriguez and Victoria Bullock
Mr. and Mrs.
William C. Roen
Peter and Marla Rosen
Bill Rowland
Mr. Andrew E. Rubin
Dr. Michael Rudolph
Thomas C. Sadler and Dr. Eila C. Skinner
Thomas Safran
Ms. Maryanne Sawoski
Dr. Marlene M. Schultz and Philip M. Walent
Sue and Don Schuster
Michael Sedrak
John L. Segal
Dr. and Mrs.
Hervey Segall
Laurie Selik
Mr. Chris Sheridan
Pamela and Russ Shimizu
Scott Silver
Loraine Sinskey
Mr. and Mrs.
Peter R. Skinner
Cynthia and John Smet
Mr. Douglas H. Smith
Mr. and Mrs.
Michael G. Smooke
SouthWest Heights
Philharmonic Committee
Shondell and Ed Spiegel
William Spiller
Lael Stabler and Jerone English
Mr. and Mrs. Joseph Stein
Fran Sweeney
Mr. Marc A. Tamaroff
Mr. and Mrs. Randall Tamura
Andrew Tapper and Mary Ann Weyman
Judith Taylor
Mr. Stephen S. Taylor
Mrs. Elayne Techentin
Ms. Evangeline M. Thomson
Jeremy Thurswell
Richard Turkanis and Wendy Kirshner
Kathleen and Louis Victorino
Terry and Ann Marie Volk
Mr. Nate Walker
Lisa and Tim Wallender
Kathy S. Walton
Jeffrey Westheimer
Ms. Jill Wickert
Mr. Robert E. Willett
David and Michele Wilson
Mr. Steve Winfield
Bill Wishner
Mr. and Mrs. Richard Wynne
Mr. Nabih Youssef
Rudolf H. Ziesenhenne
$3,500 TO $5,499
Anonymous (7)
Mr. Robert A. Ahdoot
Ty Ahmad-Taylor
Ms. Rose Ahrens
Cary Albertsone
Adrienne S. Alpert
Edna R.S. Alvarez
Mr. Peter Anderson and
Ms. Valerie Goo
Mr. Robert C. Anderson
Dr. Philip Anthony
Betsy andHarold E. Applebaum
Carlo and Amy Baghoomian
Tawney Bains and Zachary Roberts
Terence Balagia
Clare Baren and David Dwiggins
Ken and Lisa Baronsky
Kay and Joe Baumbach
Mr. Richard Bayer
George andKaren Bayz
Newton and Rochelle Becker
Charitable Trust
Ms. Nettie Becker
Ellis N. Beesley, Jr. M.D.
Garrett Bell and Catherine Simms
Ms. Karen S. Bell and Mr. Robert Cox
Mr. and Mrs. Philip Bellomy
Benjamin Family Foundation
Dr. and Mrs. Gerald Berke
Mr. and Mrs. Gregg and
Dar
Vince Bertoni and Damon Hein
Mr. and Mrs. Dan Biles
Lisa Biscaichipy
Dr. Andrew C. Blaine and Dr. Leigh Lindsey
Michael Blake
Mr. Larry Blivas and Ms. Julie Blivas
Ms. Judith Blumenthal
Leni I. Boorstin
Michael Boucher and Ashley Coats
Jemelia Bowie
Anita and Joel Boxer
Mr. Donald M. Briggs and Mrs. Deborah J. Briggs
Kevin Brockman and Dan Berendsen
Ryan and Michelle Brown
Diana Buckhantz
Mrs. Lupe P. Burson
Michael Chait
Mr. Jon C. Chambers
Adam Chase
Dr. Hai S. Chen
Mr. Louis Chertkow
Dr. Stephanie Cho and Jacob Green
Carla Christofferson
Susan and David Cole
In Honor of Judge John L. Cole and Mrs. Peggy S. Cole
Ms. Ina Coleman
Mr. Michael Corben and Ms. Linda Covette
Mrs. Nancy A. Cypert
Ms. Laurie Dahlerbruch
Mr. and Mrs. Leo David
Mrs. Judi Davidson
Mr. Howard M. Davine
Gloria De Olarte
Ms. Mary Denove
Wanda Denson-Low and Ronald Low
Tim and Neda Disney
R. Stephen Doan and Donna E. Doan
Mr. Anthony Dominici and Ms. Georgia Archer
Mr. Gregory C. Drapac
Victoria Dummer and Brion Allen
Dr. David Eisenberg
Mrs. Eva Elkins
Susan Entin
Douglas D Erenberg
Bob Estrin
Richard and Sara Evans
Jen and Ted Fentin
Lyn and Bruce Ferber
Dr. Walter Fierson and Dr. Carolyn Fierson
Michael Firestein and Deborah Krakow
A.B. Fischer
Steven Fishman
Mr. and Mrs. Michael M. Flynn
Mrs. Diane Forester
Bruce Fortune and Elodie Keene
Lynn Franklin
Ian and Meredith Fried
Steven Friednam
David Fury
Mr. and Mrs. Alan M. Gasmer
Sara and Derek Geissler
Dr. and Mrs. Anthony Gerber
Susan and David Gersh
Susan and Jaime Gesundheit
Mr. and Mrs. Harlan Gibbs
Jason Gilbert
Mr. and Mrs. David A. Gill
The Gillis Family
Stephen Gingold
Tina Gittelson
William and Phyllis Glantz
Madelyn and Bruce S. Glickfeld
Dr. and Mrs. Steven Goldberg
Sheila Golden
Dr. Patricia Goldring
The Honorable and Mrs. Allan J. Goodman
Elliot Gordon and Carol Schwartz
Mr. James Granger
Dr. Stuart and Adrienne Green
Mr. and Mrs. Carl C. Gregory
Barrie Grobstein
Mr. Frank Gruber and Ms. Janet Levin
Mr. Gary M. Gugelchuk
Dr. and Mrs. Charles Gustafson
Judith and Robert D. Hall
Mr. Robert T. Harkins
Mr. and Mrs. Brian L. Harvey
Mr. and Mrs. Lewis K. Hashimoto
Kaitlin and Jonathan Hawk
Mr. Donald V. Hayes
Peter and Nicolette Hebert
Mr. Rex Heinke and Judge Margaret Nagle
Gail and Murray E. Heltzer
Betsydiane and Larry Hendrickson
Mr. and Mrs. Enrique Hernandez, Jr.
Ms. Gail Herring
Jim Herzfeld
CITY OF LOS ANGELES
Karen Bass Mayor
Hydee Feldstein Soto
City Attorney
Kenneth Mejia Controller
CITY COUNCIL
Bob Blumenfield
Marqueece Harris-Dawson
President
Eunisses Hernandez
Heather Hutt
Ysabel J. Jurado
John S. Lee
Tim McOsker
Adrin Nazarian
Imelda Padilla
Traci Park
Curren D. Price, Jr.
Nithya Raman
Monica Rodriguez
Hugo Soto-Martínez
Katy Young Yaroslavsky
OF CULTURAL AFFAIRS
Daniel Tarica
General Manager
CULTURAL AFFAIRS COMMISSION
Robert Vinson President
Natasha Case Vice President
Thien Ho
Ray Jimenez
Asantewa Olatunji
Christina Tung
Tria Blu Wakpa
WALT DISNEY CONCERT HALL HOUSE STAFF
Marcus Conroy
Master Electrician, Steward
Charles Miledi
Master Props
Sergio Quintanar
Master Carpenter
Kevin F. Wapner
Master Audio/Video
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.
The Hill Family
Dr. and Mrs. Hank Hilty
Glenn Hogan
Mrs. Cathy Hong
In Hong
Douglas and Carolyn Honig
Jonathan Howard
Dr. Timothy Howard and Jerry Beale
Francis Hung Jr.
Mrs. Carole Innes
Harry and Judy Isaacs
Jackie and Warren Jackson
Mr. Channing Johnson
Mr. Sean Johnson
Mireya Asturias Jones and Lawrence Jones
Mr. Ken Kahan
Lawrence Kalantari
Catherine and Harry Kane
Karen and Don Karl
Mr. and Mrs. David S. Karton
Aleksey Katmissky
Jonathan Kaunitz
Dr. and Mrs. David Kawanishi
Kayne, Anderson & Rudnick
John Keith
Mr. and Mrs. Michael C. Kelley
Richard Kelton
Jason King
Lauren King
Mr. and Mrs. Jon Kirchner
Sandra Krause and William Fitzgerald
Sharon and Joel Krischer
Brett Kroha and Ryan Bean
Mr. and Mrs. Howard A. Kroll
James Laur and Peter Kongkasem
Craig Lawson and Terry Peters
Mr. Les Lazar
Ms. Leerae Leaver
Mr. Robert Leevan
Dr. Bob Leibowitz
Mr. Donald S. Levin
Mr. and Mrs. Edward B. Levine
Benjamin Bear Levy
David and Meghan Licata
Dr. and Mrs. Mark Lipian
Ms. Elisabeth Lipsman
Mr. and Mrs. Lewis Lipstone
Ms. Bonnie Lockrem and Mr. Steven Ravaglioli
Robert and Susan Long
Jasmine Lord
Susan Disney Lord and Scott Lord
Mr. and Mrs. Boutie Lucas
Crystal and Elwood Lui
Dr. Jamshid Maddahi
Mr. and Mrs. Ronald Manzani
Mr. Allan Marks and Dr. Mara Cohen
Mr. and Mrs. Stanley Maron
Areva Martin
Paul Martin
Mr. Gary J. Matus
Dr. and Mrs. Gene Matzkin
Kathleen McCarthy and Frank Kostlan
Michael and Jan Meisel
Robert L. Mendow
Mr. Robert Merz
Marcia Bonner Meudell and Mike Merrigan
Linda and David Michaelson
MA Mielke
Dr. Gary Milan
Mr. and Mrs. Simon Mills
Janet Minami
Mr. and Mrs. William Mingst
Mr. Lawrence A. Mirisch
Maria and Marzi Mistry
Robert and Claudia Modlin
Katherine Molloy
Linda and John Moore
Toni Hollander Morse and Lawrence Morse
William Morton
Munger, Tolles & Olson
Mr. and Mrs. Jeff Nathan
Bruce Needleman
CONTINUED ON PAGE 34
Robert and Sally Neely
Mr. Liron Nelik
Mumsey and Allan Nemiroff
Ms. Beatrice H. Nemlaha
Mr. Jerold B. Neuman
Bill and Mary Newbold
Mr. John M. Nisley
Ms. Jeri L. Nowlen
Deborah Nucatola
Mr. and Mrs. Oberfeld
Ms. Margo Leonetti O’Connell
Ms. Margaret R. O’Donnell
Mr. John O’Keefe
Mr. Dale Okuno
Sarah and Steven Olsen
David Olson and Ruth Stevens
Michael Olson
Mr. and Mrs. Richard Orkand
John C. Orr
Adriana Ortiz
Sharon Osbourne
Alicyn Packard and Jason Friedman
January Parkos-Arnall
Mrs. Ethel Phipps
Mr. Jeff Polak and Mrs. Lauren Reisman Polak
Ms. Virginia Pollack
Ms. Eleanor Pott
Mr. Joseph S. Powe
Debbie and Rick Powell
Mr. Albert Praw
John R. Privitelli
Ms. Marci Proietto
Q-Mark Manufacturing, Inc.
Ms. Miriam Rain
Bradley Ramberg
Marcia and Roger Rashman
Mr. and Mrs. Wayne Ratkovich
Mr. and Mrs. Harold Ray
Susan Erburu Reardon and George D. Reardon
Gay and Ronald Redcay
David and Mary Beth Redding
Diana Reid and Marc Chazaud
Dr. Susan F. Rice
Mr. Ronald Ridgeway
Mr. and Mrs. Kenneth Riley
Natalie Roberts
Mr. and Mrs. Norman L. Roberts
Robinson Family Foundation
Rock River
Mrs. Laura H. Rockwell
Ms. Kristina Rodgers
In memory of RJ and JK Roe
Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen
Michelle and Mark Rosenblatt
Mr. Richard Rosenthal and Ms. Katherine Spillar
Joshua Roth and Amy Klimek
Nancy and Michael Rouse
Mr. and Mrs. Matthew Rowland
Ms. Karen Roxborough
Betty J Saidel
Valerie Salkin
Ms. Allison Sampson
Curtis Sanchez
Mr. and Mrs. Michael Sanders
Mr. and Mrs. Charles M. Sarff
Ms. Maxine Savitz
Mr. Alan Scolamieri
Mr. and Mrs. Peter Segal
Dr. and Mrs. Hooshang Semnani
Mr. Majid M. Seyedi-Rezvani
Ms. Amy J. Shadur-Stein
Ms. Avantika Shahi
Dr. Ava Shamban
Emmanuel Sharef
Hope and Richard N. Shaw
Dr. Alexis M. Sheehy
Walter H. Shepard and Arthur A. Scangas
Muriel and Neil Sherman
Dr. Stephen and Mrs. Janet Sherman
Mr. and Mrs. Elliot Shoenman
Mr. and Mrs. Michael S. Shore
Mr. Murray Siegel
June Simmons
Jenine Singh
Leah R. Sklar
Donna Slavik
Mr. Steven Smith
Virginia Sogomonian and Rich Weiss
Michael Soloman and Steven Good
Michael and Mildred Sondermann
Dr. Michael Sopher and Dr. Debra Vilinsky
Mr. Hamid Soroudi
James and Tammy Spertus
Ian and Pamela Spiszman
Ms. Angelika Stauffer
Jeff and Peg Stephens
Hilde Stephens-Levonian
Mr. Adrian B. Stern
Ms. Margaret Stevens and Mr. Robin Meadow
The Sugimoto Family
Deborah May and Ted Suzuki
Mr. and Mrs. Larry W. Swanson
Mr. Nick Teeter
Lauren Tempest
Dr. and Mrs. Nicholas Thanos
Suzanne Thomas
Mr. and Mrs. Harlan H. Thompson
Tichenor & Thorp Architects, Inc.
John Tootle
Bonnie K. Trapp
Mr. and Mrs. Peter J. Van Haften
Jack VanAken
Vargo Physical Therapy
Dorrit Vered and Jerome Vered
Jenny Vogel
Elliott and Felise Wachtel
Mr. and Mrs. Carl R. Waldman
Christopher V. Walker
Mr. Eldridge Walker
Mr. Darryl Wash
Mr. Robert Waters and Ms. Catherine Waters
J. Leslie Waxman
Ms. Diane C. Weil and Mr. Leslie R. Horowitz
Mr. and Mrs. Doug M. Weitman
Robert and Penny White
Ms. Iris Whiting
Mr. Kirk Wickstrom and Mrs.
Shannon Hearst Wickstrom
Renae Williams Niles
Mr. and Mrs. Kenneth Williams
Tom and Lisa Williams
Susan Wolf
Ms. Eileen Wong
Mr. and Mrs. Irwin Wong
Linda and John Woodall
Paul and Betty Woolls
Robert Wyman
Ms. Stacie Yee
Mr. Kevin Yoder
Yust Family Trust
Mrs. Lillian Zacky
Edward and Terrilyn Zaelke
Mr. William Zak
Mr. Sanford Zisman and Ms. Janis Frame
David Zuckerman and Ellie Kanner
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 Philanthropy Department at contributions@laphil.org Thank you.
and Home Rentals
Pianos (since 1853) Neupert Harpsichords (since 1868) Schiedmayer Celesta (since 1890)
Thank you for joining us.
The Music Center is your place to experience the joy, solace and transformative power of the arts. Here you can express yourself, connect with others and enjoy incredible live performances and events in our four beautiful theatres, at Jerry Moss Plaza and in Gloria Molina Grand Park.
We promise to provide you with the best experience possible on our campus. Please do your part to help us create a safe, welcoming and inclusive environment by reviewing The Music Center Guest Agreement at musiccenter.org/guestagreement
Visit musiccenter.org to learn about upcoming events and performances.
Enjoy the show!
#BeAPartOfIt
@musiccenterla
General Information (213) 972-7211 | musiccenter.org
Support The Music Center (213) 972-3333 | musiccenter.org/support
Free 90-minute docent-led tours take you through the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum and Walt Disney Concert Hall, along with Jerry Moss Plaza. You’ll learn about the history and architecture of the theatres along with The Music Center’s beautiful outdoor spaces as well as the incredible selection of artwork located throughout the campus.
Tours are offered daily. Check the schedule to plan a fun-filled day in Downtown L.A.!
Visit musiccenter.org for additional information.
OFFICERS
Cindy Miscikowski
Chair
Robert J. Abernethy
Vice Chair
Rachel S. Moore
President & CEO
Diane G. Medina
Secretary
Susan M. Wegleitner
Treasurer
William Taylor
Assistant Treasurer and Chief Financial Officer
MEMBERS AT LARGE
Charlene Achki Repko
Charles F. Adams
William H. Ahmanson
Romesh Anketell
Jill C. Baldauf
Susan Baumgarten
Phoebe Beasley
Kristin Burr
Dannielle Campos
Alberto M. Carvalho
Elizabeth Khuri Chandler
Riley Etheridge, Jr.
Amy R. Forbes
Greg T. Geyer
Joan E. Herman
Jeffrey M. Hill
Jonathan B. Hodge
Mary Ann Hunt-Jacobsen
Carl Jordan
Ronald D. Kaplan
Richard B. Kendall
Terri M. Kohl
Lily Lee
Cary J. Lefton
Keith R. Leonard, Jr.
Kelsey N. Martin
Susan M. Matt
Elizabeth Michelson
Darrell D. Miller
Teresita Notkin
Michael J. Pagano
Karen Kay Platt
Susan Erburu Reardon
Joseph J. Rice
Melissa Romain
Beverly P. Ryder
Maria S. Salinas
Corinne Jessie Sanchez
Mimi Song
Johnese Spisso
Michael Stockton
Jason Subotky
Timothy S. Wahl
Jennifer M. Walske
Jay S. Wintrob
GENERAL COUNSEL
Rollin A. Ransom
DIRECTORS
EMERITI
Wallis Annenberg
Peter K. Barker
Judith Beckmen
Darrell R. Brown
Ronald W. Burkle
John B. Emerson **
Richard M. Ferry
Bernard A. Greenberg
Stephen F. Hinchliffe, Jr.
Kent Kresa
Mattie McFaddenLawson
Fredric M. Roberts
Richard K. Roeder
Claire L. Rothman
Joni J. Smith
Lisa Specht **
Cynthia A. Telles
James A. Thomas
Andrea L. Van de Kamp **
Thomas R. Weinberger
Alyce de Roulet
Williamson
** Chair Emeritus
Current as of 4/30/25
Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.
Janice Hahn Supervisor, Fourth District
Lindsey P. Horvath Supervisor, Third District
Kathryn Barger Chair, Fifth District
Holly J. Mitchell Supervisor, Second District
Hilda L. Solis
Chair Pro Tem, First District
(From left to right)
As a steward of The Music Center of Los Angeles County, we recognize that we occupy land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash Peoples. We honor and pay respect to their elders and descendants — past, present and emerging — as they continue their stewardship of these lands and waters. We acknowledge that settler colonization resulted in land seizure, disease, subjugation, slavery, relocation, broken promises, genocide and multigenerational trauma. This acknowledgment demonstrates our responsibility and commitment to truth, healing and reconciliation and to elevating the stories, culture and community of the original inhabitants of Los Angeles County.
We are grateful to have the opportunity to live and work on these ancestral lands. We are dedicated to growing and sustaining relationships with Native peoples and local tribal governments, including (in no particular order) the:
• Fernandeño Tataviam Band of Mission Indians
• Gabrielino Tongva Indians of California Tribal Council
• Gabrieleno/Tongva San Gabriel Band of Mission Indians
• Gabrieleño Band of Mission Indians-Kizh Nation
• San Manuel Band of Mission Indians
• San Fernando Band of Mission Indians
To learn more about the First Peoples of Los Angeles County, please visit the Los Angeles City/County Native American Indian Commission website at lanaic.lacounty.go
SUN 1 JUN / 1:00 p.m.
Life of Pi
CENTER THEATRE GROUP @ Ahmanson Theatre
SUN 1 JUN / 1:00 p.m. & 6:30 p.m.
Hamlet
CENTER THEATRE GROUP
@ Mark Taper Forum Thru 7/6/2025
SUN 1 JUN / 2:00 p.m.
Tchaikovsky & Pereira LA PHIL
@ Walt Disney Concert Hall
SUN 1 JUN / 7:00 p.m.
New Renaissance
LOS ANGELES
MASTER CHORALE
@ Walt Disney Concert Hall
TUE 3 JUN / 8:00 p.m.
New Voices from Korea LA PHIL
@ Walt Disney Concert Hall
FRI 6 JUN / 8:00 p.m.
Korean Premieres & Sunwook Kim LA PHIL
@ Walt Disney Concert Hall
Visit musiccenter.org for additional information on all upcoming events. @musiccenterla
FRI 6 JUN / 5:00 p.m. dinner; 8:00 p.m. performance
The Music Center's Spotlight
Grand Finale & Grand Gala
THE MUSIC CENTER
@ Dorothy Chandler Pavilion & Ahmanson Theatre
SAT 7 JUN / 8:00 p.m.
Unsik Chin & Brahms'
Double Concerto
LA PHIL
@ Walt Disney Concert Hall
Also 6/8/2025
SUN 8 JUN / 2:00 p.m.
Rigoletto LA OPERA
@ Dorothy Chandler Pavilion Thru 6/21/2025
SUN 8 JUN / 7:30 p.m.
Igor Levit LA PHIL
@ Walt Disney Concert Hall
TUE 10 JUN / 8:00 p.m.
Seoul Chamber Music LA PHIL
@ Walt Disney Concert Hall
SAT 14 JUN / 7:30 p.m.
Renée Fleming & Friends LA OPERA
@ Dorothy Chandler Pavilion
TUE 17 JUN / 8:00 p.m.
Parade CENTER THEATRE GROUP @ Ahmanson Theatre Thru 7/12/2025
FRI 20 JUN / 7:00 p.m.
The Music Center's Dance DTLA
Dance Genre TBA THE MUSIC CENTER
@ Jerry Moss Plaza
THU 26 JUN / 7:30 p.m.
Boston Ballet's Swan Lake
THE MUSIC CENTER
@ Dorothy Chandler Pavilion
Thru 6/29/2025
FRI 27 JUN / 7:00 p.m.
The Music Center's Dance DTLA
Dance Genre TBA
THE MUSIC CENTER @ Jerry Moss Plaza
Camille A. Brown & Dancers
The Music Center’s Ahmanson Theatre
Sep. 12–14, 2025
Complexions Contemporary Ballet
The Music Center’s Dorothy Chandler Pavilion
Oct. 24–26, 2025
Alvin Ailey American Dance Theater
The Music Center’s Dorothy Chandler Pavilion
Mar. 25–29, 2026
New York City Ballet
The Music Center’s Dorothy Chandler Pavilion
Jun. 24–28, 2026
The Music Center’s BalletNOW ®: Superstars of Paris featuring Hugo Marchand & Friends
The Music Center’s Walt Disney Concert Hall
Jul. 31–Aug. 2, 2026
Chef Adolfo Perez of Cilantro Mexican Grill is the newest Emerging Chef-in-Residence at Abernethy's at The Music Center.
Known for his heartfelt approach to Mexican cuisine, Chef Adolfo brings his bold flavors to a new stage at Abernethy’s, expanding his culinary canvas and blending the soul of Cilantro Mexican Grill with new expressions of his evolving craft.
We invite you to come and experience his story through every bite as he introduces modern flare to traditional favorites we all know and love.
LEARN MORE ABOUT CHEF ADOLFO
