Performances Magazine | LA Phil, March 2025

MARCH 202 5

EMMANUELLE HAÏM

JASON ISBELL

HERBIE HANCOCK

GUSTAVO DUDAMEL MIDORI

JULIUS EASTMAN

JOANA MALLWITZ

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MARCH 2025

Contents 6

WELCOME MESSAGE

9

ABOUT THE LA PHIL

10 FEATURE The Moments That Move Me David Allen Moore 13 NEWS LA Phil Honored with Three Grammys

BOOK I • MARCH 4–16

BOOK II • MARCH 21–30

MAR 4

MAR 21–23 Los Angeles Philharmonic Haïm Leads Handel & Bach

GREEN UMBRELLA

To the Fullest: The Music of Julius Eastman and Arthur Russell MAR 6–9 Los Angeles Philharmonic Mahler’s Fifth with Dudamel MAR 13

16 PHILANTHROPY Pasadena Showcase House for the Arts

Midori

MAR 14–16 Los Angeles Philharmonic Tchaikovsky & Schubert MAR 14

SONGBOOK

Jason Isbell

22 SUPPORT THE LA PHIL

COLBURN CELEBRITY RECITAL

Le Concert d’Astrée Ode for St. Cecilia’s Day MAR 27

COLBURN CELEBRITY RECITAL

COLBURN CELEBRITY RECITAL

14 FEATURE Previewing the 2025 Hollywood Bowl Season

MAR 25

Le Concert d’Astrée The Triumph of Time and Disillusion MAR 29 Gregory Alan Isakov with the LA Phil MAR 30 JAZZ

Herbie Hancock

24 ENDOWMENT DONORS 26 ANNUAL DONORS P1 PROGRAM NOTES

SASHA COOKE

AUGUSTIN HADELICH

Im the

2 PERFORMANCES MAGAZINE

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Through May 25 Getty Center Organized by the J. Paul Getty Museum, the Musée d’Orsay, Paris, and the Art Institute of Chicago.

FREE ADMISSION Plan your visit

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Image: Boating Party (detail), about 1877–78. Gustave Caillebotte. Oil on canvas. Musée d’Orsay, Paris. Painting listed "national treasure" by the French Republic, acquired with the exclusive patronage of LVMH, major patron of the Musée d'Orsay, 2022. Photo: Grand Palais RMN (Musée d'Orsay) / Franck Raux. Text and design © 2025 J. Paul Getty Trust

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Los Angeles Philharmonic Publications 2025 Editor Amanda Angel

HERE’S TO YOU

Art Director Natalie Suarez Design Studio Fuse Explore more at: laphil.com

Publisher Jeff Levy Art Director Carol Wakano Production Manager Glenda Mendez Production Artist Diana Gonzalez Digital Program Manager Audrey Duncan Welch Digital Manager Lorenzo Dela Rama

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4 PERFORMANCES MAGAZINE

s 5

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Dinner and a Show

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LA BOHÈME Giacomo Puccini

THE MARRIAGE OF FIGARO Wolfgang Amadeus Mozart

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WELCOME FROM THE PRESIDENT & CEO ABOUT THE PROGRAM

LOS ANGELES PHILHARMONIC ASSOCIATION

Board of Directors CHAIR

Joey Lee

Jason Subotky*

Matt McIntyre Francois Mobasser

PRESIDENT & CEO David C. Bohnett Presidential Chair

Kim Noltemy

VICE CHAIRS Thomas L. Beckmen* Reveta Bowers* Jane B. Eisner*

WELCOME! Over the past weeks and months, the LA Phil has been profoundly moved by the ways our community has come together, from our resilient neighbors and fellow Angelenos who inspire us daily to our friends around the country and world who have warmed our hearts with their wellwishes. To all of you, we are deeply thankful. Being at Walt Disney Concert Hall over this period has been a great reminder of music’s unparalleled power to connect us—audience and performers alike—and to find strength and solace in these communal experiences.

This March, a number of collaborations exemplify the potent alchemy of creative energy that happens when we come together. We kick off the month with LA-based new music ensemble Wild Up and our neighbors at REDCAT joining us for an electrifying series, To the Fullest, celebrating the work of pioneering artists Julius Eastman and Arthur Russell. And we close with what will undoubtedly be an inspiring evening featuring our Creative Chair for Jazz Herbie Hancock. In between, we welcome back old friends Midori, Augustin Hadelich, and Jason Isbell and embrace new ones such as conductor Joana Mallwitz, Gregory Alan Isakov, and many others.

It’s a month filled with treats for the ears and spirits, and we cannot wait to share them with you.

Warmly, Kim Noltemy President & Chief Executive Officer David C. Bohnett Presidential Chair

Los Angeles Philharmonic Association

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

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

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*

HONORARY LIFE DIRECTORS

David C. Bohnett Frank Gehry

Lenore S. Greenberg Bowen H. “Buzz” McCoy

Tamara Golihew

PAST CHAIRS**

Carol Colburn Grigor

Thomas L. Beckmen

Marian L. Hall

Jay Rasulo

Antonia Hernández*

Diane B. Paul

Jonathan Kagan*

David C. Bohnett

Darioush Khaledi

Jerrold L. Eberhardt

Winnie Kho

John F. Hotchkis †

B o

Tha

In Memoriam Executive Committee Member as of December 10, 2024 ** From the opening of Walt Disney Concert Hall on October 24, 2003, to present †

*

Offi

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Kaiser Permanente cares for all that is you

Because you’re more than one note — you’re a symphony.

Thank you for sharing the music with us tonight. Enjoy the show.

Official partner in health & harmony

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ABOUT ABOUT THE THE PROGRAM LA PHIL

Gustavo Dudamel Music & Artistic Director Walt and Lilly Disney Chair 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.

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FEATURE

The Moments That Move Me with David Allen Moore, bass WHICH PIECE OF MUSIC… …BRINGS YOU TO TEARS? Mahler Five, for sure. It’s hard to narrow it down between the Mahler symphonies because each one of them is this epic journey of life from beginning to end, but this one stands out for sure. …GIVES YOU CHILLS? Anything by Bartók—either his Concerto for Orchestra or Music for Strings, Percussion and Celesta is definitely one that has that vibe to it.

…MAKES YOU SMILE? I honestly can’t narrow it down to a single piece, so I would have to say anything by Mozart. To a non-musician, in a lot of ways, Mozart is seen as being very dignified and proper and all this kind of stuff. But I’ve read things that theorize that he might have had Tourette’s and was a relentless prankster. There’s a lot of joy and puckishness in his music that’s always really engaging. —Piper Starnes photo : DANNY CLINCH, LA PHIL

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ABOUT THE LA PHIL

Los Angeles Philharmonic The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, 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 Awardwinning recordings featuring the music of Johannes Brahms, Charles Ives, Andrew Norman, and Thomas Adès—whose Dante won the 2024 Grammy for Best Orchestral Performance.

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), Otto Klemperer (1933-1939), Alfred Wallenstein (1943-1956), Eduard van Beinum (1956-1959), Zubin Mehta (1962-1978), Carlo Maria Giulini (1978-1984), André Previn (1985-1989), Esa-Pekka Salonen (1992-2009), and Gustavo Dudamel (2009-present).

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ABOUT THE LA PHIL

Los Angeles Philharmonic Gustavo Dudamel Music & Artistic Director 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

FIRST VIOLINS Martin Chalifour Principal Concertmaster Marjorie Connell Wilson Chair

Nathan Cole First Associate Concertmaster

Ernest Fleischmann Chair

Bing Wang Associate Concertmaster

Barbara and Jay Rasulo Chair

Akiko Tarumoto Assistant Concertmaster Philharmonic Affiliates Chair

Rebecca Reale

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

Robert deMaine Principal Bram and Elaine Goldsmith Chair

Ben Hong SECOND VIOLINS Associate Principal [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

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

BASSES Christopher Hanulik Principal

Diane Disney Miller and Ron Miller Chair

VIOLAS

Kaelan Decman Associate Principal

[Position vacant] Principal

Oscar M. Meza Assistant 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 LA Phil Resident Fellow +

CELLOS

On sabbatical

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

FLUTES Denis Bouriakov Principal

Virginia and Henry Mancini Chair

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

Elise Shope Henry

Mari L. Danihel Chair

Sarah Jackson Piccolo Sarah Jackson

OBOES [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

HORNS Andrew Bain Principal

John Cecil Bessell Chair

David Cooper Associate Principal

Bass Trombone John Lofton Miller and Goff Family Chair

TUBA Mason Soria

Gregory Roosa

TIMPANI

Amy Jo Rhine

Joseph Pereira Principal

Alan Scott Klee Chair 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

Ann Ronus Chair

James Miller Associate Principal

Michele Grego Evan Kuhlmann

Paul Radke

Judith and Thomas L. Beckmen Chair

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

Contrabassoon Evan Kuhlmann

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

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

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ABOUT THE PROGRAM NEWS

LA Phil Honored with Three Grammys

a bov e : GABRIELA ORTIZ ACCEPTS THE GRAMMY FOR BEST CLASSICAL COMPENDIUM.

Revolución diamantina, the first full album of Gabriela Ortiz’s symphonic works, featuring Music & Artistic Director Gustavo Dudamel leading the Los Angeles Philharmonic, won Best Orchestral Performance and Best Classical Compendium, and the title work, Revolución diamantina, received Best Contemporary Classical Composition at the 2025 Grammy Awards on February 2.

In accepting the award, Ortiz said, “This is my first major orchestral album, and I feel so grateful [for] all the people that have been involved in making this dream come true. All my gratitude to the Los Angeles Philharmonic, Gustavo Dudamel, LA Master Chorale, and María Dueñas. All of you are the most important musical inspiration.

I would also like to thank Gustavo Dudamel and [Chief Content Officer] Meghan Umber for their guidance and support.”

Released on Platoon in July, the album documents a substantial part of the LA Phil’s

Pan-American Music Initiative, of which Ortiz is curator. It features three of the composer’s works that were commissioned for the orchestra: the concert version of Revolución diamantina performed with the LA Master Chorale; Altar de cuerda, a violin concerto featuring soloist María Dueñas; and the orchestral work Kauyumari.

“Gabriela Ortiz’s compositions embody a rare fusion of primal energy and deep emotional resonance, speaking directly to both the body and the soul,” Dudamel said. “For years, I’ve dreamed of dedicating an album

solely to her incredible music, and now, with the LA Phil and Platoon, we’ve made that dream a reality.

These Grammys are recognition of her singular artistry, and of the unique, shared journey we’ve embarked on together through the beauty of music.”

Two LA Phil recordings accounted for a total of six 2025 Grammy nominations. Both Revolución diamantina and the orchestra’s recording of John Adams’ opera Girls of the Golden West were nominated for Best Engineered Album, Classical, and the latter was nominated for Best Opera Recording.

For more information on the LA Phil’s recordings, please visit laphil.com/recordings.

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FEATURE

With last month’s announcement of the 2025 Hollywood Bowl season, summer can’t come soon enough. From our Blue Note Jazz Festival and the Bowl’s first Classical Pride concert to beloved traditions such as the Tchaikovsky Spectacular, this season is filled with classical masterpieces, jazz legends, pop icons, and fresh new talents.

Find out more at hollywoodbowl.com.

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FEATURE

GUSTAVO DUDAMEL

THORGY THOR

HERBIE HANCOCK

YUJA WANG

ANNE AKIKO MEYERS

RAFAEL PAYARE

DIANA ROSS

DANIIL TRIFONOV

ANTHONY ROTH COSTANZO

VILDE FRANG

YO-YO MA & ANGÉLIQUE KIDJO

RHIANNON GIDDENS

DALIA STASEVSKA

SEONG-JIN CHO

ALISA WEILERSTEIN

THOMAS WILKINS

KIRILL GERSTEIN

HÉLÈNE GRIMAUD

LEONARD SLATKIN

GRACE JONES

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PHILANTHROPY

Pasadena Showcase House for the Arts

THE C

Celebrates 77 Years of Support for the LA Phil

photo : Susan Pickering

Pasadena Showcase House for the Arts—founded in 1948 as the Pasadena Junior Philharmonic Committee—is proud to celebrate 77 years of support for the LA Phil.

With the dedication of its 240 volunteer members, Pasadena Showcase raises funds from its major benefit, the annual Pasadena Showcase House of Design, one of the oldest, largest, and most successful home and garden tours in the country.

Throughout its history, Pasadena Showcase has given more than $26 million to nonprofit organizations in

support of music education, scholarships, concerts, and music therapy, while continuing to support the LA Phil and its Learning and Community Engagement programs. Pasadena Showcase also nurtures the study and appreciation of music among young people with its three music programs: the Music Mobile™, which has introduced orchestral instruments to more than 125,000 third-grade students; the Instrumental Competition, which has awarded more than $700,000 in monetary prizes to exceptionally talented young musicians; and the Youth Concert, which has

brought nearly 260,000 fourth graders to Walt Disney Concert Hall for exuberant performances presented by the LA Phil.

This year’s Pasadena Showcase House of Design will take place at Bauer Estate & Gardens, a 1928 Monterey colonial designed by renowned Pasadena architect Reginald D. Johnson. Honored as the 60th Showcase House, Bauer Estate & Gardens will feature more than 15,000 square feet of interior design trends alongside five acres of beautifully manicured gardens. Public tours of the Pasadena Showcase House of Design will take place April 20 to May 18, 2025.

Visit pasadenashowcase.org for more information.

Esm

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2024/25 SUNDAYS WITH COLEMAN AFTERNOONS AT CALTECH’S BECKMAN AUDITORIUM

THE COLEMAN CHAMBER MUSIC ASSOCIATION

“Music... life to everything”

03.09.2025

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Praised for their warm sound and powerful stage presence, the Esmé Quartet was formed in 2016 at the Hochschule für Musik und Tanz in Cologne, Germany by four musicians who were already friends and shared common interests and passions in music, the arts, and life. In 2018 the quartet won the first prize as well as sweeping four special prizes at the prestigious Wigmore Hall International String Quartet Competition in London, and also became HSBC Laureate of the Académie du Festival d’Aix. The quartet’s name— Esmé—is derived from medieval French and means “beloved.”

The Poulenc Trio has earned critical acclaim over its 20-year history, with the New York Times praising their “elegant rendition” of Piazzolla’s tangos and the Washington Post commending them for honoring their namesake with an “intriguing and beautifully played program” that exuded “convincing elegance, near effortless lightness, and grace.” Pianist Irina Kaplan Lande teaches at the Peabody Institute, oboist Aleh Remezau is renowned for his “incredibly expressive” playing (Vancouver Sun), and Bryan Young is principal bassoonist at the Baltimore Chamber Orchestra. Guest Boris Allakhverdyan is principal clarinetist of the Los Angeles Philharmonic.

Esmé Quartet

Poulenc Trio with Boris Allakhverdyan

The Coleman Chamber Music Association 35 North Lake Avenue, Suite 710, Pasadena For Additional Concert Information: Events.Caltech.edu or call or text the Coleman office: 626/793-4191

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GREEN UMBRELLA

To the Fullest: The Music of Julius Eastman and Arthur Russell Christopher Rountree, conductor Wild Up, ensemble Adam Tendler, piano Andrew Yee, cello and vocalist Robin Pecknold, vocalist serpentwithfeet, vocalist Vicky Chow, piano

Julius EASTMAN

TUESDAY MARCH 4, 2025 8PM

Evil N– (c. 22 minutes) Adam Tendler, piano Vicky Chow, piano

Arthur RUSSELL

The Arthur Russell Songbook (c. 30 minutes) Jodie Landau, arranger and vocalist Darian Donovan Thomas, violin, arranger, and vocalist Andrew Yee, cello and vocalist Christopher Rountree, vocalist Shelley Washington, saxophone and arranger Andrew Tholl, arranger serpentwithfeet, vocalist Robin Pecknold, vocalist Julius EASTMAN

Gay Guerrilla (c. 29 minutes)

Produced in collaboration with Wild Up Production Director for Wild Up, Brian Sea

This performance will be presented without intermission.

Executive Producer for Wild Up, Elizabeth Cline

Programs and artists subject to change.

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“WHAT I AM TRYING TO ACHIEVE IS TO BE WHAT I AM TO THE FULLEST—BLACK TO THE FULLEST, A MUSICIAN TO THE FULLEST, AND A HOMOSEXUAL TO THE FULLEST.” —Julius Eastman

Radical figures in New York’s 1970s–’80s “downtown” scene, Julius Eastman and Arthur Russell transcend all attempts to categorize them—their genre-bending music fused pop and avant-garde worlds in ways that still feel ahead of their time. Maverick composerperformers, they exuded a creative freedom that was ultimately sourced to a greater Mystery, which they explored through spiritual discipline and its musical applications. Eastman, who proudly celebrated his Black identity, and Russell have become gay icons for the glorified sexuality that inhabits their music—though their queerness extended beyond sex and gender. In an unjust society, both pursued absolute freedom, as Eastman insisted, “sexually, spiritually, musically, in terms of an entire life and an entire way of being—refusing the position of victim and instead claiming that of ‘warrior.’”

Sexually, spiritually, and musically they’ve gifted us a powerful vulnerability

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and a mercurial force that continues to challenge all obstacles to freedom.

Nowhere is this more audible than in tonight’s stellar program, featuring two of Eastman’s militantly spiritual piano quartets and a selection of Russell’s most treasured songs.

Christopher Rountree leads the Grammynominated orchestral collective Wild Up, joined by special guests Robin Pecknold, serpentwithfeet, and Andrew Yee.

SEXUALLY

Eastman’s notorious performance of John Cage’s Song Books (1970) had him declaiming the joys of homosexuality while writhing across two people stripping naked. “I don’t approve,” an infuriated Cage said, “because the ego of Julius Eastman is closed in on the subject of homosexuality.” Eastman was known to put lipstick on during his composition lessons, give pedicures at men’s shelters, and wear a dress when performing his breathtaking composition

Femenine. At the same time, he was gender-transmuting pronouns in a 1979 article: “The composer is therefore enjoined to accomplish the following: she must establish himself as a major instrumentalist, he must not wait upon a descending being, and she must become an interpreter.”

These loud celebrations of homosexuality and gender nonconformity bravely defied a culture that was aggressively demonizing both.

The sexual union of masculine and feminine energies was fundamental to Russell’s Buddhist practice.

His homosexuality was awakened by beat poet Allen Ginsberg, and the two went on to perform Ginsberg’s songs, like “Everybody Sing” (which begins with the lyric, “Everybody’s just a little bit homosexual, whether they like it or not,” alongside Buddhist chants. Ginsberg’s view of homosexuality was inspiringly political, spiritual, and creative, and this found communal elevation when Russell discovered Manhattan’s queer-friendly

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ABOUT THE PROGRAM

disco culture. Among their many collaborations, we can hear Eastman’s orgasmic vocals on Russell’s experimental disco track “Go Bang!” Though, as Steven Hall notes, “Arthur’s work was more sexual than homosexual.

He was inclusive in a way that even some early gay pride pioneers were not.” Always dissolving stereotypes, Eastman and Russell fearlessly lived into their sexuality in the wake of the Stonewall riots in 1969 and the immediate terror of HIV/ AIDS, the latter tragically taking Russell’s life.

SPIRITUALLY

Both artists also embraced a spiritual intentionality that would serve as the guiding context for their life and art, helping them flower to their fullest and unify their manifold natures. Having joined a Bay Area Buddhist commune as a teenager, Russell would seek to channel Buddhist teachings directly into his music for the rest of his life. He did this through the use of mantra, mandala, meditation, divination (numerology and astrology), and their musical applications. With Russell’s spiritual aims and the 1960s pop fad in mind, Ginsberg memorably described his music as

“Buddhist bubblegum.”

Never attaching himself to any single tradition, Eastman devoured a vast array of mystical perspectives. In his list of works we find references to Buddhism, Christianity, Zen, Taoism, Islam, and more. Toward the end of his life, Eastman wore a white robe and identified as “a wandering monk.” Speaking more candidly about his spiritual perspective in a 1984 interview with David Garland, he reflected, “I just worship the pure essence, I don’t mess around with anything else.” In many ways heretical, Eastman’s music was spiritually militant and, like Russell’s, tuned to the moment.

MUSICALLY

Contrasting the highly controlled and conceptual minimalism of composers like Philip Glass and Steve Reich, Eastman and Russell nurtured an improvisatory take on repetition via dance culture and world music traditions. A spontaneous openness pervades their work, or as Russell noted, “It’s based on hearing what you do while you do it.”

Synthesizing their musical and spiritual intentions, both artists developed their own method of scored improvisation. Their queering of categories is palpable here, too, as such

methods blur the lines between performer and composer, foreground and background, form and formlessness.

Eastman employed what he called his “organic” method of composition, which would define his best-known works, including the two works on tonight’s program. By this method, the latter third section of a piece of music contains all of the musical material that precedes it, the whole being developed through a process of accumulation and disintegration.

Though less audible tonight, Russell explored a divination-like “matrix” process involving a vast array of pitches he’d work with for over a decade. Devised for and best represented by his multimedia magnum opus, Instrumentals— once conducted by Eastman—he also applied this method to his dance works and songwriting.

Such approaches summon the performer to greater creative participation than the average concert repertoire. Or, as Wild Up director Christopher Rountree has described, they “send musicians closer to themselves, to force agency on them, and pull their insides out.” c ontinued

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EVIL N– Julius Eastman (1940–1990) The provocative names of Eastman’s works often meet the listener before the music does. “These names,” he stated at the premiere, “either I glorify them or they glorify me.” Both being true, they glorify what culture at large is wrongfully compelled to demonize. They are, he continues, “the field n——s on which the American economic system was built… that fundamental thing which eschews the superficial or, can we say, elegant.” Rather than be wounded and defeated by bigoted language, he wears it as a badge of honor. He doubles down with additional negative qualifiers, proudly repurposing the language with a musical militancy rarely placed on a historically white, male concert stage. And he glorifies this language, equating the “many kinds of N——s” with the 99 names of Allah.

This work is designed according to Eastman’s “organic” method of composition. Beginning with a three-note figure (F-E-D), on this tactile bed of pitches he introduces a seven-note “Dies irae” theme, which anchors the work at various points with tremendous gravitas.

This is heightened by Eastman’s audible count-offs, cuing the only moments the performers synchronize. As the work storms into being, this theme returns like a clap of thunder, elsewhere evanescing like angels descending into the world. Projecting it into various key centers, dense atmospheres of sound accrue. Moving through these harmonic fields, a cascade of moods transfigures like the iridescent colors of a pearl, before disintegrating into silence.

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THE ARTHUR RUSSELL SONGBOOK Arthur Russell (1951–1992) The songs of Arthur Russell are a kaleidoscope of American pop history, uniquely channeled through his unmistakable voice and cello-driven harmonies. It’s hard to think of a genre he didn’t inhabit.

His lyrics drew from everyday observation, experimental poetry, Buddhist philosophy, and memories of his childhood in Oskaloosa, IA. Seeking a middle ground between the everyday and enigmatic abstraction, Russell would often consult his East Village neighbor Allen Ginsberg for guidance. And he would frequently metamorphose his songs into wildly different styles, from boisterous dance tracks to serenely sparse cello hymns. In the spirit of their author, his songs remain ripe for covering and remixing.

Tonight we are fortunate to hear eight reimaginings of some of Russell’s most beloved songs.

Each song has been arranged by members of the collective and is sung by members Jodie Landau, Darian Donovan Thomas, and Christopher Rountree, alongside special guests cello virtuoso Andrew Yee, luminary vocalists Robin Pecknold and serpentwithfeet, and saxophonist Shelley Washington. The songs offered here range from Russell’s earliest folk efforts (“Close My Eyes,” “I Never Get Lonesome”) to his later infectious pop anthems (“Keeping Up,” “Wild Combination”) and close out with Yee’s arrangement and performance of an unreleased song, “Out on the Porch.”

GAY GUERRILLA Julius Eastman Proudly gay and militantly so, Gay Guerrilla is a sibling work to Evil N— in both commentary and compositional process. As he glorified the N-word and its “Evil” qualification in the latter, he says of the former, “in the case of ‘guerrilla,’ that glorifies ‘gay.’” Both works orient themselves around a minor key, while Gay Guerrilla begins with a comparatively more gentle pulsation. But in like manner this pulse develops according to Eastman’s “organic” process, as harmonies arise and dissolve into serene mosaics and volatile abstractions.

Having referenced Islam in regard to Evil N—, Eastman incorporates a Christian perspective into Gay Guerrilla. The slow, somber pulsing in this work is akin to the tolling of cathedral bells. Eastman directly incorporates “A Mighty Fortress Is Our God,” a hymn composed by Martin Luther in 1527. It appears in canon form toward the end of the work, where it invokes the deity as a shield and protector. Referring us back to the composer’s spoken commentary, the lyrics of this hymn touch on Eastman’s emphasis on principled conviction and self-sacrifice in the name of truth and freedom. Or, as Luther penned: “The body they may kill/God’s truth abideth still.” —Matt Marble

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ABOUT THE ARTISTS

CHRISTOPHER ROUNTREE

Three-time Grammy-nominated conductor and composer Christopher Rountree is the music director of Long Beach Opera, co-founder of the Los Angeles Conducting Co-op, and perhaps best known as founder, conductor, and Artistic Director of the pathbreaking orchestral collective Wild Up. The group’s eccentric mix of new music, pop, and performance art quickly jumped from raucous DIY bar shows to being lauded as the vanguard of classical music by critics for the Los Angeles Times, The Wall Street Journal, public radio’s Performance Today, and The New York Times.

Wild Up started in 2010 with no funding and no musicians, driven only by Rountree’s vision of a world-class orchestra that creates visceral, provocative experiences that are unmoored from classical traditions.

In 2019 he curated and conducted the Los Angeles Philharmonic’s Fluxus Festival, the experimental music component of the LA Phil’s 100th season, in collaboration with the Getty Research Institute. The 16-concert Fluxus Festival united icons of contemporary art with classical music for the first time, placing Yoko Ono next to Ryoji Ikeda and Luciano Berio. Ragnar Kjartansson’s Bliss, an ecstatic 12-hour rendering of Mozart, stood next to Alison Knowles’ Make a Salad, performed by 1,700 people.

David Lang’s crowd out took over downtown LA as orchestra musicians launched watermelons called for in Ken Friedman’s Sonata for Melons and Gravity off the top of Walt Disney Concert Hall.

As he’s become regarded as one of the most exciting and iconoclastic conductors and programmers in the field, Rountree’s inimitable style has

led to collaborations with Björk, John Adams, Yoko Ono, David Lang, Scott Walker, La Monte Young, Esa-Pekka Salonen, Mica Levi, Alison Knowles, Yuval Sharon, Sigourney Weaver, Tyshawn Sorey, Ragnar Kjartansson, Ash Fure, Julia Holter, Claire Chase, Missy Mazzoli, Ryoji Ikeda, Du Yun, Thaddeus Strassberger, Ellen Reid, Ted Hearne, James Darrah, and many of the planet’s greatest orchestras and ensembles, including the National, San Francisco, Houston, Cincinnati, Colorado, San Diego, and Chicago symphonies, the Los Angeles Philharmonic, International Contemporary Ensemble, Roomful of Teeth, Opéra national de Paris, the Washington National, Los Angeles, Omaha, San Diego, and Atlanta operas, and the Martha Graham Dance Company. He has presented compositions and concerts at Walt Disney Concert Hall, Palais Garnier, Mile High Stadium, LA Memorial Coliseum, the Echoplex, Kennedy Center, Philadelphia Museum of Art, Ace Hotel, National Sawdust, a basketball court in Santa Cruz, and Lincoln Center for the New York Philharmonic’s Biennial.

WILD UP

Called “a raucous, grungy, irresistibly exuberant…funloving, exceptionally virtuosic family” (The New York Times), Wild Up has been lauded as one of new music’s most exciting groups by virtually every significant institution and critic within earshot. Artistic Director Christopher Rountree started the orchestral collective in 2010 to eschew outdated concert

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traditions by experimenting with different methodologies, approaches, and contexts.

After a decade and a half of rampant creativity and curiosity Wild Up is an ambassador of West Coast music. The group has collaborated with a wide range of composers, performers, and cultural institutions, premiering and creating hundreds of new works. They accompanied Björk at Goldenvoice’s FYF Fest, sung into a Picasso with Pamela Z at LACMA, and created Democracy Sessions—playing against growing autocracy at MOCA. They premiered David Lang and Mark Dion’s anatomy theater at LA Opera, collaborated with the Martha Graham Dance Company, and performed scores for Under the Skin by Mica Levi and Punch-Drunk Love by Jon Brion at the Regent Theater and Ace Hotel. They were booed out of Toronto for playing a piece too quietly. Wild Up premiered a new opera by Julia Holter at National Sawdust, debuted an avant-pop work by Scott Walker at Walt Disney Concert Hall, sustained 12 hours of Ragnar Kjartansson’s Bliss at REDCAT, and championed Julius Eastman’s music worldwide.

Their decade-long, critically acclaimed, multi-Grammy nominated Julius Eastman Anthology has been celebrated as “a masterpiece” (The New York Times), “instantly recognizable” (Vogue), and “singularly jubilant…a bit in your face, sometimes capricious, and always surprising” by NPR, which named the anthology’s first installment, Julius Eastman, Vol. 1: Femenine, among its top 10 records of 2021 in all genres.

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album of works by Julius Eastman, If You’re So Smart, Why Aren’t You Rich?, as well as solo albums of music by Robert Palmer and Franz Liszt and of his own music.

ADAM TENDLER

Grammy-nominated pianist Adam Tendler is a recipient of the Lincoln Center Award for Emerging Artists and the Yvar Mikhashoff Prize.

He is considered “currently the hottest pianist on the American contemporary classical scene” (Minneapolis Star Tribune) and an “intrepid...maverick pianist” (The New Yorker). At 23, Tendler performed solo recitals in all 50 states as part of a grassroots recital tour called America 88x50, the subject of his coming-out memoir, 88x50.

He has gone on to perform with the London Symphony, Los Angeles Philharmonic, Sydney Symphony, Toronto Symphony, Vermont Symphony, and New Jersey Symphony.

Tendler’s recordings include Inheritances, an album comprising 16 new works for piano from composers including Laurie Anderson, Nico Muhly, Dev Hynes, and Missy Mazzoli. His recordings also include Wild Up’s Grammy-nominated

ANDREW YEE

Two-time Grammy Awardwinning cellist and composer Andrew Yee (she/they) loves making art. She is a founding member of the Attacca Quartet, whose recordings of string quartets of Caroline Shaw, Orange and Evergreen, have each won Grammy Awards. They can also be heard on the score of the Alfonso Cuarón show Disclaimer by Finneas O’Connell and on Billie Eilish’s album Hit Me Hard and Soft.

As a composer she has written for film and television, including Wu Tsang’s Moby Dick; Love, Jamie; and the BBC show We Might Regret This. She has had pieces premiered by the Zurich Chamber Ensemble, the New York Philharmonic, and Caroline Shaw. Her new version of the opera

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Carmen was premiered in Zurich in 2024.

As well as performing with orchestras and chamber groups around the world as a soloist, Yee also has a solo project called “Halfie” that draws from her experience as a trans woman and being biracial.

SERPENTWITHFEET

ROBIN PECKNOLD

Robin Pecknold is an American singer-songwriter best known as the principal songwriter and vocalist for Fleet Foxes. He has recorded four studio albums: Fleet Foxes (2008), Helplessness Blues (2011), Crack-Up (2017), and Shore (2020), along with live albums A Very Lonely Solstice (2021) and Live On Boston Harbor (2024).

Pecknold, who is originally from Seattle, has received Grammy nominations for Best Folk Album and Best Alternative Music Album. He recently published the lyric book Wading in Waist-High Water: The Lyrics of Fleet Foxes (Tin House and Faber).

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serpentwithfeet is an alternative r&b artist. The Baltimore-born singersongwriter, whose influences include Geoffrey Holder, Toni Morrison, Brandy, and Nina Simone, is taking the natural steps as a versatile talent from chapter to chapter in his career. serpent’s third album, GRIP, is the result of these latest steps. GRIP finds its home on the dance floor of Black gay clubs and the intimate moments that happen there and afterward, no matter the location.

Through all of his music, he allows compassion to be the backbone of his art, as he communes with his most loving self.

In 2021, serpent released his sophomore album, DEACON, which enshrined the Black, queer love at its center as something blessedly uncomplicated and precious. The following year, he released a content series, serpent’s Parlor, which was accompanied by the smooth, propulsive single “I’m Pressed.”

VICKY CHOW

Hong Kong/Canadian/American pianist Vicky Chow has been described as “one of our era’s most brilliant pianists” (Pitchfork).

Since joining the Bang on a Can All-Stars in 2009, she has collaborated and worked with artists such as Tania León, Meredith Monk, Julia Wolfe, David Lang, Steve Reich, Philip Glass, Terry Riley, John Zorn, and George Lewis, as well as organizations such as the Bill T. Jones/Arnie Zane Dance Company, BBC Orchestra, Los Angeles Philharmonic, and International Contemporary Ensemble, to name a few. She has toured over 40 countries and performed in venues such as Carnegie Hall, Walt Disney Concert Hall, Muziekgebouw, Hong Kong Arts Centre, Barbican Centre, Royal Albert Hall, L’Auditori, City Recital Hall, POLIN Museum, and Teatro Colón. She serves as faculty at the Bang on a Can Summer Institute and Nief-Norf Summer Festival, and has been on faculty at the Banff Centre for Arts and Creativity. A graduate of The Juilliard School and the Manhattan School of Music, Chow is a Yamaha Artist.

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LOS ANGELES PHILHARMONIC

Mahler Grooves Festival

Mahler’s Fifth with Dudamel Los Angeles Philharmonic Gustavo Dudamel, conductor Sasha Cooke, mezzo-soprano

A. MAHLER, Five Songs (c. 12 minutes) Orchestrated by Die stille Stadt David and In meines Vaters Garten Colin Matthews Laue Sommernacht

THURSDAY MARCH 6, 2025 8PM FRIDAY MARCH 7 8PM SATURDAY MARCH 8 8PM SUNDAY MARCH 9 2PM

Bei dir ist es traut Ich wandle unter Blumen

Sasha Cooke

INTERMISSION G. MAHLER

Symphony No. 5 in C-sharp minor (c. 68 minutes)

Part I Trauermarsch Stürmisch bewegt, mit grösster Vehemenz Part II Scherzo: Kräftig, night zu schnell Part III Adagietto: Sehr langsam Rondo-Finale: Allegro

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall Concerts in the Thursday 2 subscription series are generously supported by The Otis Booth Foundation.

The Mahler Grooves Festival is generously supported by the Frank Gehry Fund for Creativity.

Programs and artists subject to change.

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ABOUT THE PROGRAM

AT A GLANCE Much has been written and even more has been speculated about the marriage of Gustav and Alma Mahler. Their union brought together two of the most captivating personalities of fin-de-siècle Vienna: He was director of the Court Opera and a composer of renown, while she dazzled the city with her riveting mix of wit, talent, and charm.

Alma and Gustav began work on the Five Songs and Fifth Symphony, respectively, prior to meeting and completed them during their courtship. Alma’s song about blooming love, “In meines Vaters Garten,” was written around the time she met Gustav. The famous Adagietto of the Fifth Symphony, meanwhile, was presented to Alma as a love letter. The conductor Willem

FIVE SONGS Alma Mahler (1879–1964) Orchestrated by David Matthews (b. 1943) and Colin Matthews (b. 1946) Composed: 1900–01, orchestrated 1996, 2024 Orchestration: 2 flutes (2nd=piccolo), 2 oboes (2nd=English horn), 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (tam-tam, triangle), harp, strings, and solo voice First LA Phil performance.

Alma Schindler was destined for greatness.

Born in Vienna in 1879 to

Mengelberg attested: “This Adagietto was Gustav Mahler’s declaration of love for Alma! Instead of a letter, he sent her this in manuscript form; no other words accompanied it. She understood....”

Amid this torrid affair, Gustav penned his infamous letter to Alma in which he laid out their roles: his as a composer and hers to support him. She would all but abandon her musical career (almost all of her existing works—exclusively songs for voice and piano— were written before the marriage). This program focuses on the brief moment before compromises, dashed dreams, personal tragedies, and affairs—when two of Vienna’s blazing intellects and artists found boundless inspiration in one another. —Amanda Angel

painter Emil Schindler and operetta singer Anna Sofie, Alma had talent, brains, and beauty, which captivated many of the leaders among Vienna’s cultural class. Her first kiss was rumored to have been with Secessionist artist Gustav Klimt, when still a teenager. She would eventually count composer Gustav Mahler, Bauhaus founder Walter Gropius, and writer Franz Werfel among her husbands, and composer Alexander Zemlinsky and artist Oskar Kokoschka as lovers.

With the company she kept, it’s no wonder that Alma Mahler became known as one of history’s great muses, but it came

at the expense of her recognition as an artist in her own right. Before she met any of these men, Alma Schindler was a talented pianist and aspiring composer. She began writing music at the age of 9 and poured herself into piano studies following the death of her father, when she was 12. A few years later, she began composition lessons with the well-known musician Josef Labor and eventually Zemlinsky, who also taught Arnold Schoenberg. With Zemlinsky, Schindler began an ill-fated love affair; while she admired his talents and intellect, she mocked his physical appearance and stature c ontinued

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in Viennese society. The relationship ended abruptly as her whirlwind romance with Gustav Mahler started.

They met in November 1901, married in March 1902, and welcomed their first child later that fall.

The Five Songs were written from 1900 to 1901, during the tumultuous period of Alma’s relationship with Zemlinsky and her courtship with Mahler. The order in which they were composed is unclear, but Alma’s skills as a pianist and her literary tastes are on display in the accompaniment and texts.

The first song, “Die stille Stadt” (The quiet town), sets a poem by Richard Dehmel, whose “Verklärte Nacht” (Transfigured night) inspired Arnold Schoenberg’s first masterpiece in 1899.

Harmonically the most complex of the set, “Die stille Stadt” begins on Richard Wagner’s enigmatic “Tristan” chord, setting the scene for a traveler’s journey through misty mountains at dusk.

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“In meines Vaters Garten” (In my father’s garden) is the longest of the set and was likely written the same month that Alma met Gustav. It begins as a smiling waltz to Otto Erich Hartleben’s lyrics of blooming love underneath an apple tree, but a red morning and the sounds of drums ominously signal war. In “Laue Sommernacht” (Mild summer night), the piano ascends chromatically as two lovers find each other in a dark night only to find the ecstatic light of love. Mahler continues to explore the nuances of all-consuming passions in the gently rocking “Bei dir ist es traut” (With you I feel at ease), with texts

by Rainer Maria Rilke. The final song, “Ich wandle unter Blumen” (I wander among flowers), barely one minute long, tiptoes upward in the first of two short verses by Heinrich Heine before rapturously erupting, “drunk with love.”

Though the songs were written before Alma and

Gustav wed, it took nearly a decade and a marital crisis to bring about their publishing. During their brief courtship, Gustav wrote Alma a 20-page letter in which he set forth the terms of their forthcoming union— specifically that their marriage could support only one artist, and telling Alma, “You have only one profession from now on: to make me happy!”

Alma’s unhappiness came into full relief for Gustav in 1910, when he came into possession of one of her letters from Gropius. It laid bare their affair and sent Gustav into a tailspin.

Gustav sought help from Sigmund Freud and made arrangements for Alma’s songs to be published.

Recitals featuring Alma’s songs were received warmly in Vienna and New York. Arnold Schoenberg, who heard the songs in Vienna, wrote to Alma, “A pity you didn’t continue that work. It would certainly have led somewhere.”

—Amanda Angel

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SYMPHONY NO. 5 IN C-SHARP MINOR Gustav Mahler (1860–1911) Composed: 1901–04 Orchestration: 4 flutes (3rd and 4th=piccolos), 3 oboes (3rd=English horn), 3 clarinets (3rd=E-flat clarinet and bass clarinet), 3 bassoons (3rd=contrabassoon), 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, orchestral bells, snare drum, slapstick, tam-tam, and triangle), harp, and strings First LA Phil performance: February 28, 1929, Georg Schnéevoigt conducting Since his death in 1911, Gustav Mahler has come to occupy a central place in the history of music and in the orchestral repertory. With advances in recording technology, his symphonies—many of them clocking in around 80 minutes, perfect for a single CD—have found a huge audience, beyond the handful of dedicated acolytes who championed his music in the decades after his death. Mahler has also emerged as a crucial bridge between the Romanticism of the 19th century and the modernism of the 20th, a composer who simultaneously summed up the achievements of his predecessors and pointed the way forward.

The Fifth Symphony occupies a pivotal place in Mahler’s endlessly fascinating output. It was his first purely instrumental symphony since

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the First, which he had worked on during the 1880s and subjected to heavy revision in 1893. He composed the Fifth during the summers of 1901 and 1902, during his annual holiday from his job as director of the Vienna Court Opera. It was in Vienna, the November after beginning the Fifth Symphony, that Mahler met Alma Schindler, the beautiful daughter of a famous landscape painter.

Mahler proposed to her in December 1901, and the symphony, with its trajectory from mourning to triumph, reflects this development in its composer’s personal life.

The symphony is in five movements, grouped into three parts. The work opens with a funeral march that starts with a trumpet fanfare whose rhythm dominates the movement.

The march contrasts with two trio sections: the first bursting out of near silence like some sort of terrifying, demonic carnival music; and the second a more somber, restrained passage for the strings. The second movement builds on the demonic first trio material. This is intense, raw music, with Mahler whipping up a frenzy. The only respite comes with the appearance of a D-major chorale, a joyous, hymn-like passage that finds the sun temporarily piercing the charged gray hues of surrounding storm clouds.

Taken together, these two movements make up the first part of the symphony and foreshadow its overall

trajectory, as the D-major chorale’s reappearance in the finale confirms.

The third-movement Scherzo is the symphony’s longest movement and comprises the work’s entire second part. The music’s episodic nature has a strong dramatic trajectory, balancing the tone of folksy Austrian country dances and the more cultivated elegance of the Viennese waltz. The central trio section, with its evocative horn solo (the horn plays a prominent role in the whole of this movement) and shadowy writing for orchestra, has much in common with the “night music” movements of Mahler’s Seventh Symphony, the Fifth’s underappreciated but closest relative in the composer’s output.

The symphony’s third and final part begins with the Adagietto, arguably Mahler’s “greatest hit.” Often performed as a stand-alone piece, it most famously was conducted by Leonard Bernstein at Robert Kennedy’s funeral in 1968.

According to the conductor Willem Mengelberg, an early Mahler champion, the movement was intended not as a eulogy but rather “a declaration of love for Alma!” This rapturous slow movement silences everyone in the orchestra except for the luscious strings and harp.

The brilliant Rondo-Finale ensues without pause, a lively celebration capped by the return of the D-major chorale theme from the second movement. —John Mangum

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GUSTAVO DUDAMEL

To read about Music & Artistic Director Gustavo Dudamel, please turn to page 9.

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SASHA COOKE

Two-time Grammy-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” by The New York Times and “equal parts poise, radiance and elegant directness” by Opera News.

Cooke has sung at the Metropolitan Opera, San Francisco Opera, English National Opera, Seattle Opera, Opéra National de Bordeaux, and Gran Teatre del Liceu, as well as with over 80 symphony orchestras worldwide, frequently in the works of Mahler. This season, Cooke debuts at La Monnaie / De Munt as Emilie Ekdahl in the world premiere of Fanny and Alexander, sings Marguerite in La damnation de Faust at the

Bard Festival and Brannen in Tristan und Isolde at the Gstaad Menuhin Festival, and returns to Houston Grand Opera as Venus in Francesca Zambello’s new production of Tannhäuser.

On the concert stage, Cooke reprises much of her most celebrated repertoire, joining orchestras such as the Vienna Symphony, San Francisco Symphony, St. Louis Symphony, Vienna Radio Symphony, Netherlands Radio Philharmonic, Cologne Philharmonic, Tucson Symphony Orchestra, Los Angeles Philharmonic, Philharmonia Orchestra, Oslo Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Slovenian Philharmonic Orchestra, collaborating with conductors such as EsaPekka Salonen, Marin Alsop, Cristian Măcelaru, Gustavo Dudamel, Trevor Pinnock, Klaus Mäkelä, Gemma New, Karina Canellakis, and Daniel Harding. In recital, Cooke returns to Wigmore Hall for a recital with pianist Malcolm Martineau and Carnegie Hall for Shostakovich’s From Jewish Folk Poetry with pianist Evgeny Kissin.

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COLBURN CELEBRITY RECITAL

Midori Midori, violin Özgür Aydin, piano

THURSDAY MARCH 13, 2025 8PM

Che BUFORD

Resonances of Spirit (c. 16 minutes)

BRAHMS

Sonata No. 1 in G major, Op. 78 (c. 21 minutes)

Vivace ma non troppo Adagio Allegro molto moderato

INTERMISSION POULENC

Sonata for Violin and Piano (c. 18 minutes)

RAVEL, Arranged by GARBAN

Kaddish from Deux mélodies hébraïques (c. 5 minutes)

RAVEL

Tzigane (c. 9 minutes)

Allegro con fuoco Intermezzo Presto tragico

This series is generously supported by the Colburn Foundation.

Programs and artists subject to change.

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ABOUT THE PROGRAM

AT A GLANCE This program, of musical reflections on suffering and loss, is inspired by the Spanish writer Federico García Lorca and his poem “Casida of the Lament,” written shortly before his assassination in the early days of the Spanish Civil War. Francis Poulenc’s Violin Sonata, composed during World War II, was dedicated to the great poet’s memory, while the Brahms Sonata No. 1 is in part based on Brahms songs that equate rain with tears,

RESONANCES OF SPIRIT Che Buford (b. 2000) When Midori asked me to create a piece based on Negro spirituals—focusing on the violin’s capacity to express pain and sorrow and fitting into a program that explores diverse spiritual influences—I was immediately intrigued. However, I spent time reflecting on how I could approach this in a new, personal way. I have always been deeply moved by the way Negro spirituals express profound sorrow and pain, but also resilience and joy. Yet, rather than referencing them in a literal or transparent way, I wanted to capture their emotional essence and transform it through my own musical language that includes incorporating electronic elements and my own improvisational practice as a performer.

As I started this process, I found myself drawn to spiritual methodologies from the African diaspora, particularly Yoruba practices.

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much as García Lorca’s “Casida” is saturated in a country’s weeping. Ravel set the Kaddish, the Jewish prayer for the dead, while his Tzigane in part pictures the tribulations of a wandering life. A group of spirituals, performed in transcription, take on a special authority in the violin’s particular capacity for expressing pain and sorrow. These pieces depict spiritual verities that tie humanity together, in the depth and beauties of lamentation. —Midori

I began asking: What recurring themes exist between Yoruba spiritual traditions and the messages conveyed in these songs? How broadly can “spirituals” be interpreted in the context of sound as a vehicle for spirituality? This led me to explore concepts of ancestral memory and the ways memory is embedded in nature.

The piece contains sounds of water, wind, deep vibrating sine tones, electronic drones, whispers of Yoruba prayer, and my own humming and singing within the electronics.

The violin blends with these elements, enhancing the atmosphere through exploration of texture and timbre, while remaining fragmented and lyrical.

Resonances of Spirit is part of a multipiece project that continues to explore these themes of memory, spirituality, and nature.

This piece for solo violin and electronics, written for Midori, is Volume 1 of the series. —Che Buford

SONATA NO. 1 IN G MAJOR, OP. 78 Johannes Brahms (1833–1897) The Sonata for Violin and Piano in G major, known to us as the first, was actually Brahms’ fifth for this combination; his scrupulous judgment of what was fit to represent him caused the composer to suppress many important finished works, including his first four attempts in this medium.

Composed from 1878 to 1879, when Brahms was already in his late 40s, the G-major Sonata heralded the mature productions of his later life.

This work shows its composer in his most genial mood and is remarkable for an extraordinary predominance of lyrical cantabile playing.

Throughout this work, the violin provides the leading voice. The first movement begins with transparent chords in the piano against which the violin presents the first theme.

As the piano part grows thicker, the violin continues to lead the way until the development section provides the work’s only stormy passages.

The Adagio consists of a highly developed A-B-A structure. It is solemn and dramatic, and its themes exhibit great rhythmic freedom. The coda augments the

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ABOUT THE PROGRAM

themes from the middle section, providing tremendous depth to the proceedings. Some scholars have pointed out the influence derived from the Adagio of Beethoven’s Op. 96 Sonata.

The work concludes with a flowing rondo in G minor. This movement is the most closely related to Brahms’ two songs that inspired the whole work, “Regenlied” and “Nachklang.” The main theme is derived from the two and provides one of the rare instances when Brahms alluded to specific external influences, though the musical depiction of falling rain would not be obvious without knowing the source: a song in which rain is the main theme. The concluding coda is in G major, and its new rhythmic figuration provides a series of modulations that foreshadow the solemn conclusion of the Third Symphony. —Edgar Colón-Hernández

SONATA FOR VIOLIN AND PIANO Francis Poulenc (1899–1963) A sonata as intense and deeply felt as this one—and for a solo string instrument, at that—is something of an anomaly in Poulenc’s output. An urbane master of musical sarcasm and sentiment, working happily in miniatures and parody, Poulenc was one of the last century’s most inspired songwriters.

Writing for solo winds also proved congenial, but Poulenc acknowledged his unhappiness composing for solo strings.

He had written and destroyed two violin sonatas (in 1919 and 1924) before completing the present work in 1943 (revised

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in 1949). Poulenc remained in occupied France during World War II and expressed his political opposition musically often through his choice of poetry that he set. He dedicated this Sonata to Federico García Lorca, the Spanish poet who was shot

by Fascists at the outbreak of the Spanish Civil War, in 1936.

In that context, movement headings such as “Allegro con fuoco” and “Presto tragico” have a double meaning. Those passionate outer movements express both fury and grief over the tragedy of Lorca’s murder in terms of pointed rhythmicality, abated occasionally by softer sentiment.

The Intermezzo, however, is a gentle elegy, more sad than angry. Marked “very slow and calm,” it also carries a quotation from Lorca—“the guitar makes dreams weep.” Pizzicatos suggest Lorca’s guitar, and there are hints of French ideas about Spanish languor in the supple main melody, a plaint as tender and expressive as any that Poulenc ever wrote for voice.

The Sonata premiered on June 21, 1943, in Paris, with violinist Ginette Neveu and Poulenc himself at the piano.

—John Henken

KADDISH FROM DEUX MÉLODIES HÉBRAÏQUES Maurice Ravel (1875–1937) Arranged by Lucien Garban (1877–1959) Throughout his life, Ravel was broadly and creatively engaged with the music of other times and places. He imitated and referenced a wide range of music from previous eras and other countries, and even harmonized

and arranged traditional melodies from various cultures. After the success of Ravel’s four Chants populaires (1910), which included a “Chanson hébraïque,” Alvina Alvi, a soprano with the Saint Petersburg Opera, asked him to arrange two additional Hebrew melodies, “Kaddisch” and “L’énigme éternelle.” The latter was a Yiddish folk song that had been published in a Russian collection in 1911; the “Kaddisch” is a liturgical chant, and Ravel gives its spellbinding cantorial melismas a rhapsodic flow, with tolling chords in the piano part.

Alvi gave the premiere of the songs in June 1914, in Paris, with the composer at the piano. These were the last traditional melodies that Ravel would harmonize; he orchestrated them from 1919 to 1920. —John Henken

TZIGANE Maurice Ravel Several foreign lands received the brushstrokes of Ravel’s pictorialism and Gallic wit: Spain—Rapsodie espagnole; Vienna—La valse; and Hungary—Tzigane. The latter work, written in 1924 and dedicated to the violinist Jelly d’Arányi, who gave its first performances, was described by the composer as “a virtuoso piece in the style of a Hungarian Rhapsody.” Clearly, Ravel’s simple description is adequate for the musical situation.

The Frenchman’s Tzigane is all fiery temperament, from the extended solo cadenza with which the piece opens to the breathless closing. And if this performer doesn’t make their violin cry, they make it dazzle by using nearly every technical trick in the book. —John Henken

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ABOUT THE ARTISTS

MIDORI

Midori is a visionary artist, activist, and educator who explores and builds connections between music and the human experience and breaks traditional boundaries, which makes her one of the most outstanding violinists of our time. Her trailblazing performances, which exude style, beauty, intimacy, and intensity, are celebrated worldwide.

Midori has performed with the London, Chicago, and San Francisco symphony orchestras; the Sinfonieorchester des Bayerischen Rundfunks; the Berlin and Vienna philharmonics; the Mahler Chamber Orchestra; and Festival Strings Lucerne, among others. She has collaborated with such outstanding musicians as Claudio Abbado, Emanuel Ax, Leonard Bernstein, Jonathan Biss, Constantinos Carydis, Elim Chan,

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Christoph Eschenbach, Daniel Harding, Paavo Järvi, Mariss Jansons, Yo-Yo Ma, Susanna Mälkki, Joana Mallwitz, Antonello Manacorda, Zubin Mehta, Donald Runnicles, Jean-Yves Thibaudet, and Omer Meir Wellber.

Midori’s 2024/25 season opened with performances at the Aspen Music Festival, Tanglewood Music Festival, Hollywood Bowl, and Edinburgh International Festival. She returns to the Vienna Philharmonic to play Prokofiev’s Violin Concerto No. 1 at the Musikverein and Wiener Konzerthaus, followed by a major tour with the orchestra to South Korea and Japan.

Further highlights include appearances with Deutsches Symphonie-Orchester Berlin, Seattle Symphony, and Gürzenich Orchestra.

Midori also embarks on recital tours across Europe and North America.

Her diverse discography includes the 2020 recording with the Festival Strings Lucerne of Beethoven’s Violin Concerto and two Romances on Warner Classics and a Grammy Award-winning recording of Hindemith’s Violin Concerto with Christoph Eschenbach conducting the NDR Symphony Orchestra as well as Bach’s Sonatas and Partitas for Solo Violin filmed at Köthen Castle for Accentus.

Marking the 40th anniversary of her professional debut, Midori released a landmark recording of Beethoven sonatas performed with Jean-Yves Thibaudet (Warner Classics).

Deeply committed to furthering humanitarian and educational goals, she has founded several nonprofit organizations.

Midori & Friends, now with over 30 years of service, provides music programs for New York City youth and communities, and MUSIC SHARING, a Japan-based foundation, brings both Western classical and Japanese music traditions to children and adults in Japan and throughout Asia. For her Orchestra Residencies Program (ORP), Midori commissioned composer Derek Bermel to write a new piece, Spring Cadenzas, which was premiered (mostly virtually) by student orchestras in 2021 and continues to be performed

by ORP participants. Through Partners in Performance (PiP), Midori co-presents chamber music concerts around the US, focusing on smaller communities that are outside the radius of major urban centers and have limited resources. In 2022, Midori appeared in Carnegie Hall’s benefit Concert for Ukraine.

In recognition of her work as an artist and humanitarian,

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ABOUT THE ARTISTS

Midori serves as a United Nations Messenger of Peace.

She is a recipient of the Asian Cultural Council’s 2021 John D. Rockefeller 3rd Award and the 2020 Brahms Prize from the Schleswig-Holstein Brahms Society. In recognition of her lifetime of contributions to American culture, Midori is a Kennedy Center Honoree and was celebrated by Yo-Yo Ma, Bette Midler, and John Lithgow, among others, during the May 2021 ceremony.

Midori was born in Osaka in 1971 and began her violin studies with her mother, Setsu Goto. In 1982, conductor Zubin Mehta invited the then 11-year-old Midori to perform in the New York Philharmonic’s annual New Year’s Eve concert, laying the foundation for her career. Midori is the Dorothy Richard Starling Chair in Violin Studies at the Curtis Institute of Music and a Distinguished Visiting Artist at the Peabody Institute of the Johns Hopkins University. Midori is the newly appointed Artistic Director of Ravinia Steans Institute’s Piano & Strings program, overseeing the program since summer 2024.

Midori plays the 1734 Guarnerius del Gesù “ex-Huberman.” She uses four bows: two by Dominique Peccatte, one

by François Peccatte, and one by Paul Siefried.

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ÖZGÜR AYDIN

Turkish American pianist Özgür Aydin made his major concerto debut in 1997 in a performance of Brahms’ Piano Concerto No. 1 with the Bavarian Radio Symphony Orchestra. In the same year, he won the renowned ARD International Music Competition in Munich and the Nippon Music Award in Tokyo—recognition that has since served as the basis for an active and diverse international performing career. He is also a laureate of the Cleveland International Piano Competition.

Aydin has appeared as soloist with orchestras in Germany and Turkey, as well as with the BBC Concert Orchestra (London), the Simón Bolívar Symphony Orchestra (Venezuela), the Slovak Philharmonic, and the Calgary Philharmonic. He is frequently invited to summer music festivals and has appeared at Salzburg, Schleswig-Holstein, Rheingau, Ravinia, and

Edinburgh. He is a guest at many prestigious venues, including New York’s Carnegie Hall, London’s Wigmore Hall, Munich’s Herkulessaal, and Tokyo’s Suntory Hall.

Aydin has recorded solo piano works by Beethoven, Schumann, Chopin, Liszt, and Rachmaninoff for the European labels Videal and Yapi Kredi. His performances of complete cycles of Beethoven’s 32 piano sonatas and five concertos as well as Bach’s Well-Tempered Clavier have been praised by critics.

A dedicated chamber musician, Aydin enjoys recurrent collaborations with violinists Midori and Kolja Blacher, cellist Clemens Hagen, violist Naoko Shimizu, and members of the Berlin Philharmonic. A recording with Midori of works by Bloch, Janáček, and Shostakovich was released in fall 2013 on Onyx Classics.

Born in Colorado to Turkish parents, Aydin began his musical studies with Professor Kartal at the Ankara Conservatory in Turkey. He subsequently studied with Peter Katin at the Royal College of Music in London and with Karl-Heinz Kämmerling at the Hanover University of Music, Drama and Media. He has also received valuable instruction from artists such as Tatiana Nikolayeva and András Schiff.

Aydin lives in Berlin.

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LOS ANGELES PHILHARMONIC

Tchaikovsky & Schubert Los Angeles Philharmonic Joana Mallwitz, conductor Augustin Hadelich, violin

FRIDAY MARCH 14, 2025 11AM SATURDAY MARCH 15 8PM SUNDAY MARCH 16 2PM

Marko NIKODIJEVIC

GHB/tanzaggregat (c. 6 minutes)

TCHAIKOVSKY

Violin Concerto in D major, Op. 35 (c. 33 minutes)

Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo

Augustin Hadelich INTERMISSION

SCHUBERT

Symphony No. 9 in C major, D. 944, “The Great” (c. 48 minutes)

Andante—Allegro, ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall These performances are generously supported in part by the Kohl Virtuoso Violin Fund.

Programs and artists subject to change.

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AT A GLANCE Like most of Schubert’s major instrumental works, his “Great” C-major Symphony No. 9 was largely unknown when he died in 1828. (Ironically, perhaps, the only one of his symphonies to receive a true public performance in his lifetime seems to have been the “Little” C-major Symphony, No. 6.) But after Schumann discovered the manuscript and extolled its “heavenly length, like that of a thick novel,” its wonders became known and admired by musicians and audiences alike. When Tchaikovsky reviewed a Moscow performance of it in 1874,

GHB/TANZAGGREGAT Marko Nikodijevic (b. 1980) Composed: 2011 Orchestration: 3 flutes (3rd=piccolo), 2 oboes, 3 clarinets (3rd=bass clarinet), 3 bassoons (3rd=contrabassoon), 4 horns, 3 trumpets, 3 trombones (3rd=bass trombone), timpani, percussion (triangles, conga, tom-toms, glockenspiel, flexatone, side drum, log drum, hi-hat, woodblocks, agogo, marimba), harp, piano, and strings First LA Phil performances.

“GHB” is the abbreviation for a drug that is quite popular in the techno scene. In line with the aesthetic and interactive orientation of this scene, the drug has euphoric, disinhibiting effects and enhances the feeling of direct physical closeness: communal closeness and empathetic compassion as states of intoxication within

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he could identify it as “Schubert’s famous Symphony in C.” It was not a specific model for Tchaikovsky, but many of the qualities he praised in it—its wealth of beautiful and original melodies particularly—also characterize the Violin Concerto he would compose four years later.

Preceding these two works, Marko Nikodijevic alludes to Serbian folk music and Khachaturian’s ballet music in his recent techno-inspired GHB/tanzaggregat (dance aggregation), a percussion-rich evocation of euphoric intoxication. —John Henken

the rituals of techno culture.

This orchestral piece aims to evoke such states without actually producing techno music. It is, therefore, a kind of synesthetic transference.

However, GHB has inscribed itself into the piece in another way: It is also the pitch cell G-H-B [G, B, and B-flat in English notation] that is processed using a fractal algorithm at the very beginning of the piece, thereby generating the pitch material. This material is processed with complex high-speed rhythms derived from electronic dance music as commonly used in the techno scene.

As in most of my pieces, this orchestral work engages with a kind of archival or referential approach to other music and its history.

On one hand, a Serbian folk song (“Lela Vranjanka”) is sampled here. On the other hand, deliberate allusions

to the ballet music of the Armenian composer Aram Khachaturian are created as a conscious homage.

This homage is intentional because Khachaturian’s ballet music seems to me no less a resounding, uninhibited physical action than the pulsating energy of a techno night.

Additionally, Khachaturian’s refined approach to instrumentation serves as an inspiration for the orchestral writing in this piece.

Finally, there is one more note regarding the continuity of this orchestral piece.

Like most of my works, this orchestral piece is characterized by features that could be summarized with the following keywords: states of intoxication, electronic music, sampling techniques, and the world of fractal beauties. The piece is dedicated to Bernd Künzig. —Marko Nikodijevic/ Courtesy of Boosey & Hawkes

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ABOUT THE PROGRAM

VIOLIN CONCERTO IN D MAJOR, OP. 35 Pyotr Ilyich Tchaikovsky (1840–1893) Composed: 1878 Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, and solo violin First LA Phil performance: January 7, 1921, Walter Henry Rothwell conducting, with Max Rosen, soloist Tchaikovsky composed his Violin Concerto during a stay in Switzerland in 1878. Inspired by the presence of the young violinist Josef Kotek in his circle there, the composer completed the entire concerto in less than a month. During the work’s composition, Kotek and Tchaikovsky collaborated closely, but almost as soon as the ink on the manuscript had dried, Kotek began to cool toward the work. This, added to Tchaikovsky’s need for a famous name on the work’s title page to guarantee performances in Western Europe and America, meant that the dedication was offered to the Hungarian violinist Leopold Auer. Auer declined it, declaring the work too long and the solo

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part unplayable, something Tchaikovsky had heard before and a reminder that the composer’s music wasn’t always considered comfortable for listeners and performers.

Russian-born violinist Adolf Brodsky eventually mastered the concerto’s technical challenges well enough to premiere it in Vienna, where it was not well received.

The critic Eduard Hanslick, whose staunch support of Brahms helped—perhaps a bit unfairly—to brand Brahms as a conservative, heaped abuse on the work’s innovative layout and Tchaikovsky’s composition of the solo part in his review of the first performance.

“For a while, it moves along well enough, musical and not lacking in spirit, but soon the roughness gets the upper hand and remains in charge until the end of the first movement. It is no longer a question of whether the violin is being played, but of being yanked about and torn to tatters. Whether it is at all possible to extract a pure sound out of these hair-raising acrobatics I do not know, but I do know that in making the attempt Mr. Brodsky tortured his audience

no less than he did himself.”

Hanslick would further elaborate, claiming the concerto “stank to the ear.”

Tchaikovsky’s concerto appears unconventional when placed alongside stalwarts of the genre by other composers (not least the Brahms concerto, which premiered two years before Tchaikovsky’s and no doubt was fresh in Hanslick’s mind). The first movement combines lyricism with nobility, as the violin spins out the movement’s two themes over an ever-shifting accompaniment. The slow movement, which Tchaikovsky labeled “Canzonetta” (Little song), opens with a delicate woodwind introduction, before the violin’s melancholy entry. The movement leads without pause to the rondofinale, a movement with rhythmic abandon and a folklike flavor. The rondo, which alternates a main theme with contrasting episodes, gives the violinist a chance for reckless bravura display.

In a sense, Tchaikovsky’s concerto is guilty of some of the charges made by Hanslick, but what good concerto doesn’t benefit from some “hair-raising acrobatics”? —John Mangum

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SYMPHONY NO. 9 IN C MAJOR, D. 944, “THE GREAT” Franz Schubert (1797–1828) Composed: 1825–26 Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings First LA Phil performance: August 3, 1926, Willem van Hoogstraten conducting Schubert’s early—and even relatively recent— romantically inclined biographers would have been devastated to learn (some did) that the grandiose, swaggering C-major Symphony, to many minds the greatest of the 19th century’s postBeethoven symphonies, was not written at the end of his life, in heroic defiance of the encroaching reaper, but at a time when things were going well for the composer.

The period of this C-major Symphony’s birth centered on Schubert’s long recital tour in 1825, covering the length and breadth of Austria, with the principal interpreter and dedicatee of his songs, the baritone

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Michael Vogl. The tour brought the young composer more recognition than he had ever known, as well as a decent income. It was during this trip that he was once assumed to have written the “Gastein Symphony,” long the subject of speculation as being the composer’s “lost masterpiece.” It is now widely assumed that there is no lost symphony at all: What we had been looking for all these years is actually the present “Great C-major” Symphony.

It was probably early in 1826 that the “Great C-major” Symphony was finished. A performance, however, had to wait until 1839, 11 years after Schubert’s death, when Mendelssohn conducted a truncated version in Leipzig. The symphony had been brought to Mendelssohn’s attention

by Robert Schumann, who found the score amid a pile of manuscripts in the care of Schubert’s brother Ferdinand. It nonetheless took more than half a century after the Leipzig premiere before performers could cope with the symphony’s daunting length and technical difficulties. By the early years of the 20th century,

it had settled comfortably into the repertory.

What settled in, however, was hardly an accurate reflection of Schubert’s intent. It took several decades for published editions to root out countless errors when compared with the original manuscript, which now resides in the library of the Gesellschaft der Musikfreunde in Vienna.

On the most basic level, the symphony emerges a faster, more taut, more nervous composition than old-time performances would have had us believe, and indeed as earlier performers could not help thinking it was. Its driving power, its dissonant harmonies, and the striking trombone coloring take it a giant step even beyond the highly original “Unfinished” Symphony No. 8 (1822).

The simple correction of the score’s opening marking, from the published versions’ four beats in a bar to the manuscript’s two (alla breve), greatly changes the character of the first movement, and by extension the entire Symphony, from Brucknerlike massiveness to something more lithe and springy—more Schubertian, if you will—if no less heroic. —Herbert Glass

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ABOUT THE ARTISTS

JOANA MALLWITZ

Joana Mallwitz has been Chief Conductor and Artistic Director of the Konzerthausorchester Berlin since the start of the 2023/24 season, becoming the first woman to lead one of Berlin’s major orchestras.

Since her acclaimed debut at the 2020 Salzburg Festival with Mozart’s Così fan

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tutte, she has been one of the outstanding female conductors of her generation on the international stage.

Mallwitz has also enjoyed great success with new productions at the Semperoper Dresden, the Nationale Opera Amsterdam, the Royal Opera House Covent Garden, the Bavarian State Opera, the Frankfurt Opera, and the Royal Opera House in Copenhagen.

She is a regular guest with major orchestras worldwide.

These include the Bavarian Radio Symphony Orchestra, the Royal Concertgebouw Orchestra Amsterdam, the Vienna Philharmonic Orchestra, the Boston Symphony Orchestra, the NDR Elbphilharmonie Orchester, the Philharmonia Orchestra, the Munich

Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, Orchestre National de France, Orchestre de Paris, and the Gothenburg Symphony Orchestra.

Mallwitz is an exclusive artist of Deutsche Grammophon and dedicated her first joint CD project with the Konzerthausorchester Berlin to the works of Kurt Weill.

In the 2024/25 season, she performs with the Konzerthausorchester Berlin at Musikfest Berlin and makes guest appearances in Dortmund and on a European tour in Essen, Antwerp, and Zurich. She also debuts with the Berliner Philharmoniker, the Los Angeles Philharmonic, and the Metropolitan Opera.

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Concertgebouw Orchestra Amsterdam, Vienna Philharmonic, Gewandhausorchester Leipzig, Los Angeles Philharmonic, and The Cleveland Orchestra.

Hadelich will also perform with the Frankfurt Radio Symphony, Royal Stockholm Philharmonic, Danish National Symphony Orchestra, Tonhalle-Orchester Zürich, Vienna Symphony, London Philharmonic, Sydney Symphony, New Zealand Symphony, and Orquesta Nacional de España as well as AUGUSTIN HADELICH Augustin Hadelich is one of the the symphony orchestras of great violinists of our time. Known Baltimore, Dallas, and Seattle. for his phenomenal technique, As artist-in-residence, he performs with the Dresden insightful and persuasive Philharmonic throughout the interpretations, and ravishing season, and he tours with the tone, he appears extensively RSB Radio Orchestra Berlin, on the world’s foremost Mahler Chamber Orchestra, concert stages. Hadelich has Mozarteum Orchestra Salzburg, performed with all the major the Academy of St Martin American orchestras as well in the Fields. He performs as the Berlin Philharmonic, solo violin recitals in London, Vienna Philharmonic, Royal Barcelona, Gothenburg, Concertgebouw Orchestra Tallinn, and Abu Dhabi, as well Amsterdam, Bavarian Radio as duo recitals with pianist Symphony Orchestra, London Francesco Piemontesi in Philharmonic, and many other Budapest, Dresden, Katowice eminent ensembles.

(Poland), Rome, and Bologna. In During the 2024 summer summer 2025, he will perform festival season, Hadelich extensively in Asia, including appeared at the Hollywood engagements with the Seoul Bowl with the Los Angeles Philharmonic, Yomiuri Nippon Philharmonic, Tanglewood Symphony Orchestra, Hong Music Festival with the Boston Kong Philharmonic, Shanghai Symphony, Bravo! Vail with Symphony Orchestra, Guangzhou the New York Philharmonic, Symphony Orchestra, and Ravinia Festival with the tour concerts in Taiwan with Chicago Symphony, Aspen the Berliner Barock Solisten.

Music Festival in Colorado, Hadelich received a Grammy and in Mexico City with the Orquesta Sinfónica de Minería. Award for Best Classical Instrumental Solo in 2016 for Highlights of the 2024/25 his recording of Dutilleux’s season include returns to the concerto L’Arbre des songes Berlin Philharmonic, Royal

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with the Seattle Symphony and Ludovic Morlot. A Warner Classics Artist, he released his most recent album, American Road Trip, a journey through the landscape of American music with pianist Orion Weiss, in August 2024. Other albums for Warner Classics include Paganini’s 24 Caprices (2018); the Brahms and Ligeti Violin Concertos (2019); the Grammynominated Bohemian Tales, which includes the Dvořák Violin Concerto with the Bavarian Radio Symphony Orchestra and Jakub Hrůša (2020); the Grammy-nominated recording of Bach’s complete Sonatas and Partitas; and Recuerdos, a Spain-themed album featuring works by Sarasate, Tarrega, Prokofiev, and Britten (2022).

Hadelich, an American and German citizen born in Italy to German parents, rose to fame when he won the Gold Medal at the 2006 International Violin Competition of Indianapolis.

Further distinctions followed, including an Avery Fisher Career Grant (2009), the UK’s Borletti-Buitoni Trust Fellowship (2011), and an honorary doctorate from the University of Exeter in the UK (2017). In 2018, he was named Instrumentalist of the Year

by Musical America. Hadelich holds an Artist Diploma from The Juilliard School, where he studied with Joel Smirnoff, and in 2021, he was appointed to the violin faculty at Yale School of Music. He plays a 1744 violin by Giuseppe Guarneri del Gesù, known as ‘Leduc, ex Szeryng,’ on loan from the Tarisio Trust.

PERFORMANCES MAGAZINE P23

2/13/25 2:17 PM

SONGBOOK

An Evening with Jason Isbell Jason Isbell

JASON ISBELL

Critically acclaimed for his raw emotional honesty, singer, guitarist, and actor Jason Isbell has steadily earned his place as one of music’s greatest

P24 PERFORMANCES MAGAZINE

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FRIDAY MARCH 14, 2025 8PM

performing songwriters. The six-time Grammy winner and rock ’n’ roll icon celebrated a remarkable year in 2023, starring in Martin Scorsese’s Killers of the Flower Moon, releasing his ninth studio album, Weathervanes, and adding three Grammy nominations to his growing list of accolades. Isbell lights up any stage with “brutally beautiful” (Rolling Stone) songs such as “Cover Me Up,” “If We Were Vampires,” “King of Oklahoma,” and “Cast Iron Skillet.” His new album, Foxes in the Snow, was released earlier this month.

Programs and artists subject to change.

BOOK I • MARCH 4–16

2/13/25 2:17 PM

LOS ANGELES PHILHARMONIC STAFF

Kim Noltemy

Miguel A. Ponce, Jr.

Alex Hennech

Monica Ly

David C. Bohnett Presidential Chair

Christopher Prince

Amy Lackow

Bryan Namba

PRESIDENT & CEO

Paula Michea

EXECUTIVE ASSISTANT TO THE CEO

EXECUTIVE TEAM Mitch Bassion

CHIEF PHILANTHROPY OFFICER

Summer Bjork CHIEF OF STAFF

Nora Brady

CHIEF MARKETING & COMMUNICATIONS OFFICER

SYSTEM SUPPORT I

TESSITURA SUPPORT

Mark Quinto

DIRECTOR, IT SERVICES

Meredith Reese

SENIOR MANAGER, INFORMATION TECHNOLOGY

Aly Zacharias DIRECTOR, LEGAL

PROGRAMMING Alan J. Benson

DIRECTOR, PROGRAMMING

Glenn Briffa

Linda Diaz

Emanuel Maxwell

Kristen Flock-Ritchie

CHIEF FINANCIAL OFFICER CHIEF TALENT & EQUITY OFFICER

Mona Patel

GENERAL COUNSEL

Daniel Song

CHIEF OPERATING OFFICER

Meghan Umber

CHIEF CONTENT OFFICER

SENIOR MANAGEMENT TEAM Laura Connelly

GENERAL MANAGER, HOLLYWOOD BOWL; VICE PRESIDENT, PRODUCTION

Cynthia Fuentes

ARTIST LIAISON

ARTISTIC ADMINISTRATOR

Brian Grohl

ASSOCIATE DIRECTOR, PROGRAMMING

Ljiljana Grubisic ARCHIVES & MUSEUM DIRECTOR

VICE PRESIDENT, PROGRAMMING

Julia Ward

DIRECTOR, PROGRAMMING

Elia Luna

2ND ASSISTANT TREASURER

Page Messerly TREASURER

Ariana Morales

1ST ASSISTANT TREASURER

Carolina Orellana

2ND ASSISTANT TREASURER

Cathy Ramos TICKET SELLER

Elias Santos

2ND ASSISTANT TREASURER

John Tadena TICKET SELLER

Carlie Tomasulo

2ND ASSISTANT TREASURER

FINANCE Jyoti Aaron CONTROLLER

Rafael Mariño Ray Melencio

Steven Cao

Mark McNeill

Katherine Franklin

Stephanie Yoon

Lisa Hernandez

PROGRAM MANAGER

PAYROLL ADMINISTRATOR

PROGRAM MANAGER

ACCOUNTING MANAGER

CREATIVE PRODUCER

VENUE ACCOUNTING SUPERVISOR

ARTIST SERVICES MANAGER

Rebeca Zepeda

ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

Elsje Kibler-Vermaas AUDIENCE VICE PRESIDENT, LEARNING SERVICES Sara Kim Denise Alfred Johanna Rees

2ND ASSISTANT TREASURER

Adriana Aguilar

DIRECTOR, THE FORD

VICE PRESIDENT, PHILANTHROPY

TICKET SELLER

ACCOUNTS PAYABLE MANAGER

Debbie Lang To

LaTonya Lindsey

ASSOCIATE OPERATIONS DIRECTOR, YOLA

DuMarkus Davis PROGRAM MANAGER, YOLA AT TORRES

Camille Delaney-McNeil DIRECTOR, YOLA & BECKMEN YOLA CENTER

Julie Hernandez FACILITIES MANAGER, BECKMEN YOLA CENTER

Lorenzo Johnson PROGRAM MANAGER, YOLA AT INGLEWOOD

Mariam Kaddoura MANAGER, LEARNING

MANAGER, AUDIENCE GROWTH & ENGAGEMENT

Lev Mamuya

Jediah McCourt MANAGER, CORPORATE PARTNERSHIPS

Nina Phay

SENIOR FINANCIAL ANALYST PAYROLL ADMINISTRATOR

MANAGER

1ST ASSISTANT TREASURER

Joshua Alvarenga

Ricky O’Bannon

BOARD LIAISON

Leah Price

MANAGER, GIFT PLANNING

Erin Puckett

SENIOR GIFT PLANNING OFFICER

Andrew Radden

DATABASE MANAGER, PHILANTHROPY OPERATIONS

Anna Ress

DIRECTOR, INSTITUTIONAL GIVING

Jennifer Berger

DIRECTOR, CONTENT

Taylor Burrows

DIRECTOR, PUBLIC RELATIONS

Abigail Butts

MARKETING MANAGER

Michelle Carrasquillo

DIRECTOR, CORPORATE PARTNERSHIPS

Julia Cole

Joel Fernandez

SENIOR DIRECTOR, COMMUNICATIONS

SENIOR RESEARCH ANALYST

Rochell Rotenberg

Elan Fields

Sadie Sartini Garner

Fabian Fuertes

Mary Smudde

Freyja Glover

Michael Salas

Piper Starnes

Genevieve Goetz

Gaudy Sanchez

Natalie Suarez

Angelina Grego

Miles Williams

Kahler Suzuki

Sarah Little

DIRECTOR, LEARNING

Diana Melgar MANAGER, YOLA

Karla Melgar

SENIOR PROGRAM COORDINATOR, YOLA AT TORRES MANAGER, YOLA NATIONAL YOLA ARTISTIC DIRECTOR

SENIOR MANAGER, CORPORATE PARTNERSHIPS CREATIVE COPYWRITER

ASSOCIATE CREATIVE DIRECTOR CREATIVE COPYWRITER SENIOR CREATIVE DIRECTOR SENIOR VIDEO PRODUCER

Jonathan Thomas MARKETING DATABASE SPECIALIST

MANAGER, SOCIAL MEDIA

ASSISTANT MANAGER, PHILANTHROPY OPERATIONS GIFT PLANNING OFFICER MANAGER, ANNUAL GIVING

DIRECTOR, GIFT PLANNING MANAGER, AFFILIATES & VOLUNTEER ENGAGEMENT

Gerry Heise

SENIOR MAJOR GIFTS OFFICER

Julian Kehs

MANAGER, INSTITUTIONAL GIVING

Emily Lair

SENIOR MAJOR GIFTS OFFICER

Shannon K. Larner DIRECTOR, ANNUAL GIVING

ORCHESTRA Emily LaSalle MAJOR GIFTS OFFICER MANAGEMENT & Mary Allen Christina Magaña SENIOR MANAGER, SOCIAL MEDIA MEDIA INITIATIVES MANAGER, DONOR RELATIONS Amanda Angel Lila Atchison Allison Mitchell DIRECTOR, EDITORIAL OPERATIONS MANAGER, RETAIL

MANAGER, ORCHESTRA Lisa Renteria PERSONNEL ACCOUNTS PAYABLE SPECIALIST Lushia Anson Holloway MARKETING & COMMUNICATIONS Shana Bey ADMINISTRATION Linda PATRON SERVICES MANAGER Sierra Shultz OPERATIONS MANAGER DIRECTOR, ORCHESTRA STAFF ACCOUNTANT Jennifer Hugus MANAGEMENT Stephanie Bates Scott Arenstein Robert Siegel PATRON SERVICES CONTRACTS & RISK SENIOR DIRECTOR, BRAND Jessica Farber SENIOR ACCOUNTANT MANAGEMENT ADMINISTRATOR REPRESENTATIVE ASSOCIATE DIRECTOR, Janice Bartczak Bernie Keating MEDIA INITIATIVES Michael Chang DIRECTOR, RETAIL SERVICES HOLLYWOOD BOWL REPRESENTATIVE DATABASE ADMINISTRATOR Raymond Horwitz Lisa Burlingham & THE FORD Melissa Magana PROJECT MANAGER, Sarita Eldridge SENIOR DIRECTOR, REPRESENTATIVE MEDIA INITIATIVES DIRECTOR OF SAFETY MARKETING & PARTNERSHIPS Steve Arredondo & SECURITY William Minor Maren Slaughter TRANSIT & TRAFFIC MANAGER Charles Carroll REPRESENTATIVE MANAGER, ORCHESTRA Kevin Higa MANAGER, DIRECT MARKETING Dreima Flores PERSONNEL CLOUD INFRASTRUCTURE Rosa Ochoa OPERATIONS ADMINISTRATOR Joe Carter ENGINEER AUDIENCE SERVICES SENIOR DIRECTOR, SALES Sienna Garcia MANAGER Dean Hughes AND CUSTOMER EXPERIENCE PRODUCTION PARKING & TRAFFIC ASSISTANT SYSTEM SUPPORT III Karen O’Sullivan Jacob Cooper Alex Grossman Charee Heard REPRESENTATIVE Charles Koo DIGITAL PRODUCER SENIOR PRODUCTION MANAGER EVENT MANAGER INFRASTRUCTURE MANAGER Eden Palomino Kevine Ecliserio-Velez Tina Kane Gaby Hernandez REPRESENTATIVE Katie Kromelow MARKETING COORDINATOR, SCHEDULING MANAGER COORDINATOR, THE FORD OFFICE MANAGER/ PROMOTIONS & PARTNERSHIPS Richard Ponce RECEPTIONIST Taylor Lockwood Norm Kinard SUPERVISOR Elias Feghali PRODUCTION MANAGER PARKING MANAGER Kevin Ma ASSOCIATE DIRECTOR, AUDIENCE Diana Salazar ASSOCIATE DIRECTOR, Kimberly Mitchell Mark Ladd STRATEGIES & ANALYTICS PATRON SERVICES STRATEGIC INITIATIVES ASSOCIATE DIRECTOR, DIRECTOR, OPERATIONS/ REPRESENTATIVE Justin Foo PRODUCTION HOLLYWOOD BOWL Jeff Matchan DIRECTOR, SALES & Noé Sandoval DIRECTOR, INFORMATION Cameron Pieratt Gina Leoni CUSTOMER ENGAGEMENT REPRESENTATIVE TECHNOLOGY ASSISTANT TECHNICAL DIRECTOR ASSOCIATE DIRECTOR Caila Gale Christopher Selland OF OPERATIONS & Sergio Menendez Christopher Slaughter SENIOR DIGITAL PRODUCER PATRON SERVICES LOGISTICS, THE FORD SYSTEM SUPPORT I ASSOCIATE DIRECTOR, REPRESENTATIVE Tara Gardner PRODUCTION Megan Ly-Lim Edward Mesina SENIOR MANAGER, EVENT MANAGER INFRASTRUCTURE ENGINEER Jonathan Thompson DIGITAL MARKETING WALT DISNEY ASSOCIATE PRODUCTION Tom Waldron Andrew Moreno Karin Haule MANAGER ASSOCIATE DIRECTOR OF CONCERT HALL ASSISTANT, OFFICE SERVICES OPERATIONS, HOLLYWOOD BOWL GRAPHIC DESIGNER Michael Vitale BOX OFFICE Angela Morrell Annisha Hinkle DIRECTOR, PRODUCTION TESSITURA SUPPORT MANAGER, HUMAN RESOURCES SENIOR Alejandra Depaz Kelvin Vu PROMOTIONS & PARTNERSHIPS Marius Olteanu TICKET SELLER TECHNICAL DIRECTOR Bessy Arizmendi IT SUPPORT ENG I Jennifer Hoffner Christy Galasso HR BUSINESS PARTNER ASSOCIATE DIRECTOR, ADVERTISING Bill Williams Sean Pinto 1ST ASSISTANT TREASURER PRODUCTION ADMINISTRATOR Amber Blanco DATABASE APPLICATIONS Alexis Kaneshiro Veronika Garcia HR BUSINESS PARTNER REPRESENTATIVE

DIRECTOR, MAJOR GIFTS ASSOCIATE DIRECTOR, MAJOR GIFTS

RETAIL MANAGER, MERCHANDISING

Melissa Achten

SUPERVISOR

Robert Albini

Ino Mercado

PAYROLL COORDINATOR

Yuri Park

PHILANTHROPY Annalise Aguirre MAJOR GIFTS OFFICER

PUBLICIST

PAYROLL MANAGER

Luz Myrick

SUPERVISOR

Jacquie Ferger

LEARNING Jermaine Banks

Jordan Kauffman

MARKETING & Lauren Winn COMMUNICATIONS SENIOR PROJECT MANAGER, Micaela Accardi-Krown CREATIVE SERVICES

ACCOUNTS PAYABLE COORDINATOR

Kristine Nichols

Diego De La Torre

HR BUSINESS & EDI PARTNER

SENIOR PROGRAM COORDINATOR, FINANCIAL PLANNING MANAGER YOLA AT INGLEWOOD

REPRESENTATIVE

Brendan Broms

HR BUSINESS PARTNER

DIRECTOR, BOARD RELATIONS

Gisela Morales

SENIOR MAJOR GIFTS OFFICER

Michelle Mountain DIRECTOR, SPECIAL EVENTS

Ryan Murphy

ASSISTANT MANAGER, SPECIAL EVENTS

Sophie Nelson

SENIOR COORDINATOR, MAJOR GIFTS

Andrea Perez-Rulfo ASSOCIATE DIRECTOR, ANNUAL GIVING

Claire Pomeroy

DONOR RELATIONS ASSOCIATE

Sofia Rosenberg

COORDINATOR, SPECIAL EVENTS

Carina Sanchez

ASSOCIATE DIRECTOR, RESEARCH

Marie Santana

ASSISTANT MANAGER, SPECIAL EVENTS

Dustin Seo

ANNUAL GIVING OFFICER

Rochelle Siegrist SENIOR COORDINATOR, ANNUAL GIVING

Peter Szumlas

ASSOCIATE DIRECTOR, PHILANTHROPY OPERATIONS

Tyler Teich

SENIOR GIFT & DATA SPECIALIST

Derek Traub

MANAGER, PHILANTHROPY COMMUNICATIONS

Morgan Walton

ASSOCIATE DIRECTOR, AFFILIATES & VOLUNTEER ENGAGEMENT

SENIOR GRAPHIC DESIGNER

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

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SUPPORT THE LA PHIL

Corporate Partners 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.

ANNUAL GIVING

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 OF THE LA PHIL

Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA (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.

PHILHARMONIC COUNCIL

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.

L.

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THE NEW ERA IS NOW. 2024-2025 SEASON

2024 PULITZER PRIZE FINALIST TECTONIC THEATER PROJECT

HERE THERE ARE BLUEBERRIES MAR 13 – 30

AN EVENING WITH ISAAC MIZRAHI

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@ LE G A S .OR N O IS S LL T A KE EW C TI TH

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ENDOWMENT DONORS

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Endowment Donors We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of October 31, 2024. $1,000,000 $500,000 TO $2,499,999 TO $999,999

Walt and Lilly Disney Foundation Cecilia and Dudley Rauch

Linda and Robert Attiyeh Judith and Thomas Beckmen Gordon Binder and Adele Haggarty $20,000,000 Helen and Peter Bing William H. Brady, III TO $24,999,999 Linda and David Bohnett Maynard Brittan Foundation Richard and Norma Camp Mr. and Mrs. $10,000,000 Michael J. Connell TO $19,999,999 Mark Houston Dalzell and The Annenberg James Dao-Dalzell Foundation Mari L. Danihel Colburn Foundation Nancy and Lenore S. and Bernard Donald de Brier A. Greenberg Fund The Rafael & Luisa de Marchena-Huyke Foundation $5,000,000 The Walt Disney TO $9,999,999 Company Fairchild-Martindale Anonymous Foundation Dunard Fund USA Eris and Larry Field Carol Colburn Grigor Max H. Gluck Terri and Jerry M. Kohl Foundation Los Angeles Reese and Philharmonic Doris Gothie Affiliates Joan and Diane and Ron Miller John Hotchkis Charitable Fund Janeway Foundation M. David and Bernice and Diane Paul Wendell Jeffrey Ann and Robert Ronus Carrie and Ronus Foundation Stuart Ketchum John and Kenneth N. and Samantha Williams Doreen R. Klee B. Allen and Dorothy Lay $2,500,000 Los Angeles TO $4,999,999 Philharmonic Committee Peggy Bergmann YOLA Estate of Judith Lynne Endowment Fund in Maddocks-Brown Memory of Lenore Foundation Bergmann and John Ginny Mancini Elmer Bergmann Lynn Booth/Otis Booth Raulee Marcus Barbara and Foundation Buzz McCoy Elaine and Merle and Peter Mullin Bram Goldsmith William Powers and Norman and Sadie Lee Foundation Carolyn Powers Koni and Geoff Rich Karl H. Loring H. Russell Smith Alfred E. Mann Foundation Elise Mudd Jay and Deanie Stein Marvin Trust Foundation Trust Barbara and Ronald and Jay Rasulo Valerie Sugar Flora L. Thornton I.H. Sutnick

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 John Millard Shaheen Foundation National Endowment William E.B. and for the Arts Alfred and Laura K. Siart Magda and Frederick Arlene Noreen R. Waingrow Occidental Petroleum Wasserman Foundation Corporation Robert Wood Dr. M. Lee Pearce Syham Yohanna & Lois Rosen James W. Manns Anne and James Rothenberg Donald Tracy Rumford $25,000 Family Trust The SahanDaywi TO $99,999 Foundation Marie Baier Foundation Mrs. Nancie Schneider Dr. Richard Bardowell, William and M.D. Luiginia Sheridan Jacqueline Briskin Virginia Skinner Dona Burrell Living Trust Ying Cai & Wann S. Nancy and Lee Foundation Richard Spelke Ann and Tony Cannon Mary H. Statham Dee and Ms. Fran H. Tuchman Robert E. Cody Tom and The Colburn Fund Janet Unterman Margaret Sheehy Rhio H. Weir Collins Mrs. Joseph Mr. Allen Don Cornelsen F. Westheimer Ginny and Jean Willingham John Cushman Winnick Family Marilyn J. Dale Foundation Mrs. Barbara A. Davis Cheryl and Dr. and Mrs. Peter Ziegler Roger DeBard Lynn and Roger Zino Jennifer and Royce Diener LA PHIL Jane B. and Michael D. Eisner MUSICIANS The Englekirk Family Anonymous Claudia and Kenneth Bonebrake Mark Foster Nancy and Lillian and Martin Chalifour Stephen Frank Dr. Suzanne Gemmell Brian Drake Perry Dreiman Paul and Barry Gold Florence Glaser Christopher Hanulik Good Works John Hayhurst Foundation Jory and Anne Heineman Selina Herman Ann and Jean Horton Ingrid Hutman Drs. Judith and Andrew Lowy Herbert Hyman Gloria Lum Albert E. and Joanne Pearce Martin Nancy C. Jenkins Kazue Asawa McGregor Robert Jesberg and Michael J. Carmody Oscar and Diane Meza Mitchell Newman Ms. Ann L. Kligman Peter Rofé Sandra Krause and Meredith Snow and William Fitzgerald Mark Zimoski Michael and Barry Socher Emily Laskin B. and Lonis Liverman Paul Stein Leticia Oaks Strong Sarah and Lyndon and Ira R. Manson Beth Johnston Taylor Carole McCormac Dennis Trembly Meitus Marital Trust Allison and Jim Wilt Sharyl and Rafael Suli Xue Mendez, M.D.

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.

24 PERFORMANCES MAGAZINE

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in

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tr

FRI

$25,000,000 AND ABOVE

Ballet Folklórico de México de Amalia Hernández

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his exuberant group travels the world sharing the beauty of Mexico with original choreography, elaborate

costumes, and the finest dancers. Founded in 1952, Ballet Folklórico de México de Amalia Hernández has wowed more than 30 million spectators with traditional dances from Mexico.

14

MAR SAT

FRI

MAR 8PM

15 1PM

SCAN FOR TICKETS

Yamato The Drummers of Japan 人の力 Hito no chikara The Power of Human Strength

M

aking its fifth appearance at The Soraya, YAMATO returns with Hito no chikara, The Power of Human Strength. Packed with

high energy and the traditional sounds of Japan, every YAMATO performance (they’ve done more than 4,000 so far!) engulfs audiences of all ages in the sound of Taiko.

SAT

MAR

22 3PM

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ANNUAL DONORS

Annual Donors The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between November 1, 2023, and October 31, 2024. $1,000,000 AND ABOVE Anonymous (2)

Anne Akiko Meyers and Jason Subotky

$500,000 TO $999,999 Ballmer Group

Max H. Gluck Foundation

Music Center Foundation

The Hearthland Foundation Tylie Jones Terri and Jerry M. Kohl Pasadena Showcase House for the Arts

M. David and Diane Paul Barbara and Jay Rasulo The Rauch Family Foundation

James D. Rigler/Lloyd E. Rigler - Lawrence E. Deutsch Foundation Rolex Watch USA, Inc.

Linda and David Shaheen

Daniel Huh Kaiser Permanente Winnie Kho and Chris Testa Linda May and Jack Suzar John Mohme Foundation

Maureen and Stanley Moore Michael J. Connell Foundation The Ralph M. Parsons Foundation Koni and Geoff Rich Rosenthal Family Foundation

James and Laura Rosenwald/Orinoco Foundation Maria Seferian Elizabeth and Henry T. Segerstrom Jay and Deanie Stein Foundation Trust Christian Stracke

Alyce de Roulet Williamson Margo and Irwin Winkler Ellen and Arnold Zetcher

Madeleine Heil and Sean Petersen Yvonne Hessler Mr. Philip Hettema The Hillenburg Family David Z. & Young O. Hong Family Foundation Cindy and Alan Horn Ms. Michelle Horowitz Barbara and Amos Hostetter Frank Hu and Vikki Sung The Norman and Sadie Lee Foundation Monique and Jonathan Kagan Mr. and Mrs. Joshua R. Kaplan

Linda and Donald Kaplan W.M. Keck Foundation Darioush and Shahpar Khaledi Dr. Ralph A. Korpman Mr. and Mrs. Keith Landenberger Los Angeles County Department of Arts and Culture Live Nation-Hewitt Silva Concerts, LLC Renee and Meyer Luskin Roger Lustberg and Cheryl Petersen Barbara and Buzz McCoy Ms. Irene Mecchi

Mr. and Mrs. David Meline Michael and Lori Milken Family Foundation National Endowment for the Arts Peninsula Committee Ms. Linda L. Pierce Dennis C. Poulsen and Cindy Costello Sandy and Barry D. Pressman Wendy and Ken Ruby Richard and Diane Schirtzer Howard and Stephanie Sherwood Marilyn and Eugene Stein

Ronald and Valerie Sugar Keith and Cecilia Terasaki Sue Tsao David William Upham Foundation Ellen Goldsmith-Vein and Jon Vein Barbara and Robert Veir Mr. Alex Weingarten John and Marilyn Wells Family Foundation Jenny Williams Debra Wong Yang and John W. Spiegel Lynn and Roger Zino

Joseph Drown Foundation Van and Francine Durrer East West Bank Kathleen and Jerry L. Eberhardt Edison International Marianna J. Fisher and David Fisher Austin and Lauren Fite Foundation Debra Frank Tony and Elisabeth Freinberg Drs. Jessie and Steven Galson

The Rosalinde and Arthur Gilbert Foundation Kiki Ramos Gindler and David Gindler Francis Goelet Charitable Lead Trusts Greg and Etty Goetzman Good Works Foundation and Laura Donnelley Kate Good 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 Stephen T. Hearst Walter and Donna Helm David and Martha Ho Fritz Hoelscher Mr. Tyler Holcomb Thomas Dubois Hormel Foundation Mr. and Mrs. Daniel Paul Horwitz

Mr. and Mrs. James L. Hunter Rif and Bridget Hutton Robin and Gary Jacobs Estate of Mary Calfas Janos Terri and Michael Kaplan Tobe and Greg Karns Paul Kester Elizabeth Kolawa Delores M. Komar and Susan M. Wolford David Lee Mr. and Mrs. Simon K.C. Li

$200,000 TO $499,999 Anonymous (2) Judith and Thomas L. Beckmen Colburn Foundation Jane B. and Michael D. Eisner

Lisa Field/Robyn Field and Anthony O’Carroll The Getty Foundation Gordon P. Getty Jennifer Miller Goff

$100,000 TO $199,999 Anonymous (4) Mr. Gregory A. Adams Regina Weingarten and Gregory Annenberg Weingarten R. Martin Chavez Becca and Jonathan Congdon

Donelle Dadigan Dunard Fund USA The Eisner Foundation Ms. Erika J. Glazer Alexandra S. Glickman and Gayle Whittemore Peggy Grauman

$50,000 TO $99,999 Anonymous Nancy and Leslie Abell Alfred E. Mann Charities Amgen Foundation Ms. Kate Angelo and Mr. Francois Mobasser Aramont Foundation Samuel and Erin Biggs David Bohnett Foundation Linda and Maynard Brittan Thy Bui Canon Insurance Service Andrea Chao-Kharma and Kenneth Kharma

Nancy and Donald de Brier De Marchena-Huyke Foundation The Walt Disney Company Louise and Brad Edgerton/Edgerton Foundation Dr. Paul and Patti Eisenberg Robyn Field and Anthony O’Carroll Mr. James Gleason Mr. Gregg Goldman and Mr. Anthony DeFrancesco Tamara Golihew Lori Greene Gordon and Neil Gordon

$25,000 TO $49,999 Anonymous (10) The Herb Alpert Foundation Dr. William Benbassat Susan and Adam Berger Mr. and Mrs. Norris J. Bishton, Jr. Jill Black Zalben Kawanna and Jay Brown Michele Brustin Gail Buchalter and Warren Breslow Steven and Lori Bush Ying Cai & Wann S. Lee Foundation

Chevron Products Company Esther S.M. Chui Chao & Andrea Chao-Kharma Dan Clivner Mr. Richard W. Colburn Mr. and Mrs. Robert Cook Orna and David Delrahim Mr. Lawrence Doyle and Dr. LuAnn Wilkerson Malsi and Johnny Doyle Michael Dreyer

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SUNDAY, MARCH 16, 2025 AT 7PM Carmina Burana’s evocative lyrics, drawn from medieval poetry, speak of love, lust, and the inexorable wheel of fortune. This exhilarating showpiece — arguably the most iconic choral work of the twentieth century — is paired with the world premiere of choral re-imaginings of five Indian folk songs by Swan Family Artist-in-Residence Reena Esmail.

JENNY WONG, CONDUCTOR 88 SINGERS, LOS ANGELES CHILDREN’S CHORUS, NATIONAL CHILDREN’S CHORUS, 3 SOLOISTS, ORCHESTRA GRANT GERSHON KIKI & DAVID GINDLER ARTISTIC DIRECTOR

JENNY WONG

REENA ESMAIL

ASSOCIATE ARTISTIC DIRECTOR

SWAN FAMILY ARTIST-IN-RESIDENCE

L A M AST E R C H O R A L E .O R G · 2 13-97 2-7 2 8 2 This program is made possible by generous support from the Colburn Foundation.

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ANNUAL DONORS City of Los Angeles, Department of Cultural Affairs Los Angeles Philharmonic Affiliates The Seth MacFarlane Foundation Mrs. Beverly C. Marksbury Ashley McCarthy and Bret Barker Ms. Kim McCarthy and Mr. Ben Cheng Heidi and Steve McLean

Coco Miller Ms. Susan Morad at Worldwide Integrated Resources, Inc. Ms. Christine Muller and Mr. John Swanson Molly Munger and Stephen English Deena and Edward Nahmias Mr. and Mrs. Randy Newman Mr. Robert W. Olsen

Tye Ouzounian Laura Owens Bruce and Aulana Peters Gregory Pickert and Beth Price 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 Miguel Santana Dena and Irv Schechter/The Hyman Levine Family Foundation: L’DOR V’DOR Elizabeth and Justus Schlichting Melanie and Harold Snedcof

Randy and Susan Snyder Jeremy and Luanne Stark Lisa and Wayne Stelmar Dwight Stuart Youth Fund Megan Watanabe and Hideya Terashima Dr. James Thompson and Dr. Diane Birnbaumer Michael Frazier Thompson

Michael Tyler Charles Urban Nancy Valentine Jennifer and Dr. Ken Waltzer Walter and Shirley Wang Debra and John Warfel Mindy and David Weiner Libby Wilson, MD Zolla Family Foundation

Beth Gertmenian Mr. and Mrs. Ronald Gertz Carrie and Rob Glicksteen Goldman Sachs Co. LLC Mr. and Mrs. Louis L. Gonda Goodman Family Foundation Robert and Lori Goodman Rob and Jan Graner Mr. Bill Grubman Marnie and Dan Gruen Vicken and Susan J. Haleblian Ms. Marian L. Hall Laurie and Chris Harbert and Family Lyndsay Harding Mr. Sam Harris Diane Henderson MD Jackson N. Henry Stephen D. Henry and Rudy M. Oclaray Carol Henry California Community Foundation Stephen F. Hinchliffe Marion and Tod Hindin Gerry Hinkley and Allen Briskin Jessica and Elliot Hirsch Arlene Hirschkowitz Elizabeth HofertDailey Trust K. Hohman Family Deedie and Tom Hudnut James Jackoway

Mr. Gregory Jackson and Mrs. Lenora Jackson Meredith Jackson and Jan Voboril Meg and Bahram Jalali Mr. Eugene Kapaloski Mr. and Mrs. Robert A. Kasirer Sandi and Kevin Kayse Vicki King Jennifer and Cary Kleinman Larry and Lisa Kohorn Ms. Ursula C. Krummel Naomi and Fred Kurata Mr. and Mrs. Jack D. Lantz Mr. and Mrs. Norman A. Levin Allyn and Jeffrey L. Levine Stuart Levine and Donna Richey Ms. Agnes Lew Karen and Clark Linstone Ms. Judith W. Locke Los Angeles Philharmonic Committee The Mailman Foundation Raulee Marcus Mr. and Mrs. Andrew W. Marlowe Matt Construction Corporation Jonathan and Delia Matz Dwayne and Eileen McKenzie David and Margaret Mgrublian

Marcy Miller Cynthia Miscikowski Mrs. Judith S. Mishkin Mr. John Monahan Mr. Brian R. Morrow Ms. Kari Nakama Mr. and Mrs. Dan Napier NBC Universal Shelby Notkin and Teresita Tinajero Christine M. Ofiesh Steve and Gail Orens Melissa Papp-Green and Jeff Green Andy S. Park Nancy and Glenn Pittson Cathleen and Scott Richland Ms. Anne Rimer John Peter Robinson and Denise Hudson Mimi Rotter Linda and Tony Rubin Mr. David Rudy Thomas Safran Ron and Melissa Sanders Santa MonicaWestside Philharmonic Committee Gary Satin Alexander and Mariette Sawchuk Evy and Fred Scholder Family Michael Sedrak 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 Jill and Neil Sheffield Lauren Shuler Donner Mr. and Mrs. Richard Sondheimer Angelina and Mark Speare Terry and Karey Spidell Stein Family Fund Judie Stein Zenia Stept and Lee Hutcherson Eva and Marc Stern Tom Strickler Akio Tagawa Priscilla and Curtis S. Tamkin Warren B. and Nancy L. Tucker Elinor and Rubin Turner Mr. and Mrs. Leonard Unger Tom and Janet Unterman Noralisa Villarreal and John Matthew Trott Frank Wagner and Lynn O’Hearn Wagner Warner Bros. Discovery Stasia and Michael Washington Alana L. Wray Mahvash and Farrok Yazdi Karl and Dian Zeile

Chien Family Chivaroli and Associates Insurance Services Dr. and Mrs. Lawrence J. Cohen Susan Colvin Jay and Nadege Conger Mr. and Mrs. Richard W. Cook Hillary and Weston Cookler Alison Moore Cotter Katie Danois Dr. and Mrs. Nazareth E. Darakjian Nancy and Patrick Dennis Steven Duffy

Emil Ellis Farrar and Bill Ramackers Mr. Tommy Finkelstein and Mr. Dan Chang Mr. Michael Fox Bernard H. Friedman and Lesley Hyatt Dr. and Mrs. David Fung Roberta and Conrad Furlong Dr. and Mrs. Bruce Gainsley Mr. Peter A. Gelles and Mrs. Eve Steele Gelles Harriett and Richard E. Gold Jory Goldman Manuela Cerri Goren

Mr. and Mrs. Daniel M. Gottlieb Mr. and Mrs. Ken Gouw Tricia and Richard Grey Beverly and Felix Grossman Roberta L. Haft and Howard L. Rosoff Beth Fishbein Hansen Ms. Deborah Harkness Mr. Rick Harrison and Ms. Susan Hammar Mr. and Mrs. Irwin Helford and Family Linda Joyce Hodge Janice and Laurence Hoffmann Mr. Raymond W. Holdsworth

Joyce and Fredric Horowitz Mr. Frank J. Intiso Kristi Jackson and William Newby Sharon and Alan Jones Mr. and Mrs. Steaven K. Jones, Jr. Dr. William B. Jones Marilee and Fred Karlsen Rizwan and Hollee Kassim Mr. and Mrs. Michael C. Kelley Mr. and Mrs. Kenneth N. Klee Mr. and Mrs. Scott Krivis

$15,000 TO $24,999 Anonymous (3) Mrs. Lisette Ackerberg Drew and Susan Adams Honorable and Mrs. Richard Adler The Aversano Family Trust Mrs. Stella Balesh Ms. Elizabeth Barbatelli Camilo Esteban Becdach Miles and Joni Benickes Robert and Joan Blackman Family Foundation Mr. and Mrs. Geoff C. Bland Mr. Ronald H. Bloom Tracey BoldemannTatkin and Stan Tatkin Otis Booth Foundation Mr. and Mrs. Steven Bristing Jennifer Broder and Soham Patel Business and Professional Committee Campagna Family Trust 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 Lynette and Michael C. Davis Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Jennifer Diener and Eric Small Michael Dillon Dr. and Mrs. William M. Duxler Michael Edelstein and Dr. Robin Hilder Ms. Robin Eisenman and Mr. Maurice LaMarche Geoff Emery Evelyn and Norman Feintech Family Foundation Max Factor Family Foundation E. Mark Fishman and Carrie Feldman Ella Fitzgerald Charitable Foundation Daniel and Maryann Fong Foothill Philharmonic Committee Alfred Fraijo Jr. and Arturo Becerra-Fraijo Joan Friedman, Ph.D. and Robert N. Braun, M.D. Mr. and Mrs. Josh Friedman Ms. Kimberly Friedman Gary and Cindy Frischling Jane Fujishige

$10,000 TO $14,999 Anonymous (4) Affiliates of the Desert B. Allen and Dorothy Lay Dr. Mehrdad Ariani Tichina Arnold Ms. Lisette Arsuaga and Mr. Gilbert Davila Pamela and Jeffrey Balton Dr. Richard Bardowell, M.D. Judy and Leigh Bardugo Stephanie Barron Mr. Joseph A. Bartush Susan Baumgarten Sondra Behrens Phyllis and Sandy Beim

Mr. and Mrs. Philip Bellomy Mark and Pat Benjamin Suzette and Monroe Berkman Ms. Gail K. Bernstein Ken Blakeley and Quentin O’Brien Mr. and Mrs. Hal Borthwick The Hon. Bob Bowers and Mrs. Reveta Bowers Oleg and Tatiana Butenko Garrett Camp Mara and Joseph Carieri Ms. Nancy Carson and Mr. Chris Tobin

CONTINUED ON PAGE 30

28 PERFORMANCES MAGAZINE

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

VITALITY THRIVES IN COMMUNITY.

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, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.

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PERFORMANCES MAGAZINE 29

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ANNUAL DONORS Nickie and Marc Kubasak Craig Kwiatkowski and Oren Rosenthal Ellie and Mark Lainer Mrs. Grace E. Latt Lauren B. Leichtman and Arthur E. Levine Randi Levine Lydia and Charles Levy Marie and Edward Lewis Maria and Matthew Lichtenberg Anita Lorber Kyle Lott Sandra Cumings Malamed and Kenneth D. Malamed Mona and Frank Mapel

Milli M. Martinez and Don Wilson Vilma S. Martinez, Esq. Leslie and Ray Mathiasen Liliane Quon McCain Mr. and Mrs. Thomas E. McCarthy Cathy McMullen Lisa and Willem Mesdag Ms. Joanna Miller Linda and Kenneth Millman Marc and Jessica Mitchell 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 Loren Pannier Ellen Pansky Mr. and Mrs. Carl Pearlston Ms. Debra Pelton and Mr. Jon Johannessen Chris Pine Julie and Marc Platt Mr. Jeff Polak and Mrs. Lauren Reisman Polak Robert J. Posek, M.D.

Joyce and David Primes Mark Proksch and Amelie Gillette William “Mito” Rafert Lee Ramer Diana Reid and Marc Chazaud 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 Dr. Michael Rudolph Ann M. Ryder

Dr. and Mrs. Heinrich Schelbert Samantha and Marc Sedaka Dr. Donald Seligman and Dr. Jon Zimmermann Ruth and Mitchell Shapiro Gloria Sherwood The Sikand Foundation Mr. and Mrs. Michael G. Smooke 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 Jeremy Thurswell Christine Upton Kathy Valentino Rachel Wagman Sheila and Wally Weisman Abby and Ray Weiss Mr. and Mrs. Steven White Karen and Rick Wolfen Mr. Kevin Yoder Mr. and Mrs. Howard Zelikow Bobbi and Walter Zifkin Kevork and Elizabeth Zoryan

Mrs. Susan Bowey Ms. Marie Brazil Lynne Brickner and Gerald Gallard Drs. Maryam and Iman Brivanlou Mrs. Linda L. Brown Diana Buckhantz Tanille Carter CBS Entertainment Dr. Kirk Y. Chang Dr. Stephanie Cho and Jacob Green Mr. and Mrs. Ronald Clements Mr. David Colburn Committee of Professional Women

Mr. Michael Corben and Ms. Linda Covette Mr. and Mrs. Bruce Corwin Lloyd Eric Cotsen Mr. and Mrs. Richard R. Crowell Mr. and Mrs. Leo David Mr. James Davidson and Mr. Michael Nunez Ms. Rosette Delug Ms. Mary Denove The Randee and Ken Devlin Foundation Mr. Kevin Dill

Elizabeth and Kenneth M. Doran Julie and Stan Dorobek James and Andrea Drollinger Bob Ducsay and Marina Pires de Souza Mr. and Mrs. Brack W. Duker Victoria Dummer and Brion Allen Anna Sanders Eigler Alex Elias John B. Emerson and Kimberly Marteau Emerson

Janice Feldman, JANUS et cie Mr. Gregg Field and Ms. Monica Mancini The Hon. Michael W. Fitzgerald and Mr. Arturo Vargas Mr. and Mrs. Michael M. Flynn The Franke Family Trust Dr. and Mrs. Robert Freilich Linda and James Freund Ruchika Garga Gibson, Dunn & Crutcher

$5,500 TO $9,999 Anonymous (9) Ms. Rose Ahrens Bobken and Hasmik Amirian Mr. Robert C. Anderson Debra and Benjamin Ansell Art and Pat Antin Javi Arango Sandra Aronberg, M.D. Ms. Judith A. Avery Mr. Mustapha Baha Tawney Bains and Zachary Roberts Mrs. Linda E. Barnes Karen and Jonathan Bass

Catherine and Joseph Battaglia Reed Baumgarten George and Karen Bayz Ms. Nettie Becker Logan Beitler Maria and Bill Bell Helen and Peter S. Bing Richard Birnholz Mr. Larry Blivas and Ms. Julie Blivas Mitchell Bloom Leni I. Boorstin Joan N. Borinstein Greg Borrud Mr. Ray Boucher

CONTINUED ON PAGE 32

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30 PERFORMANCES MAGAZINE

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ANNUAL DONORS

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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

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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.

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ANNUAL DONORS Leslie and Cliff Gilbert-Lurie Mr. and Mrs. Herbert Glaser Glendale Philharmonic Committee Carol Goldsmith Mr. and Mrs. Russell Goldsmith Edith Gould Lee Graff Foundation Diane and Peter H. Gray Mr. and Mrs. Paul E. Griffin III Mr. and Mrs. Paul Guerin Rod Hagenbuch Mr. William Hair Dwight Hare and Stephanie Bergsma Gail and Murray E. Heltzer Myrna and Uri Herscher Family Foundation William Hewes Tina and Ivan Hindshaw Eugene and Katinka Holt Jill Hopper Dr. and Mrs. Mel Hoshiko Andrei and Luiza Iancu Libby and Arthur Jacobson Mr. and Mrs. Leonard Jaffe Doug and Minda Johnstone

Barbara A. Jones Randi and Richard B. Jones Mr. William Jordan Meredith Jury Robin and Craig Justice Catherine and Harry Kane Judith and Russell Kantor Marty and Cari Kavinoky Mr. and Mrs. Stephen Keller Leigha Kemmett and Jacob Goldstein Ms. Sharon Kerson Daisietta Kim and Rudolf Marloth Mr. Mark Kim and Ms. Jeehyun Lee Mr. and Mrs. Jon Kirchner Phyllis H. Klein, M.D. Alan S. Koenigsberg and John A. Dotto Lee Kolodny Lori Kunkel Dr. and Mrs. Kihong Kwon Vicki Lan Katherine Lance Ms. Jeanne Lawson Ms. Leerae Leaver Mr. George Lee Mr. Randall Lee and Ms. Stella M. Jeong Mr. Stephen Leidner Mr. Benjamin Lench Mary Beth and John Leonard Saul Levine

David and Rebecca Lindberg Mr. Greg Lipstone Lynn Loeb Julie and Ron Long Ms. Diana Longarzo Scott Lord Mr. Joseph Lund and Mr. James Kelley Theresa Macellaro / The Macellaro Law Firm Ruth and Roger MacFarlane Kevin MacLellan Mr. and Mrs. Stanley Maron Stephen Martinez Pam and Ron Mass Mr. Gary J. Matus Andrew Silver Kathleen McCarthy and Frank Kostlan Mr. and Mrs. William F. McDonald Jeffrey and Tracy McEvoy Mr. David McGowan Mr. Sheldon and Dr. Linda Mehr Lawry Meister Mr. and Mrs. Dana Messina Ms. Marlane Meyer Mr. Weston F. Milliken Mrs. Lillian Mueller Gretl and Arnold Mulder Sheila Muller Loretta Munoz Craig and Lisa Murray

Ms. Yvonne Nam and Mr. David Sands Mr. Jose Luis Nazar Anthony and Olivia Neece Mrs. Cynthia Nelson Mumsey and Allan Nemiroff Ms. Beatrice H. Nemlaha Ms. Kimberly Nicholas Ms. Mary D. Nichols Steven A. Nissen Amelia and Joe Norris Mr. and Mrs. Arthur J. Ochoa Ms. Margo Leonetti O’Connell John C. Orr Kim and P.F. James Overton Cynthia Patton Peggy Phillips Lorena and R. Joseph Plascencia Lyle and Lisi Poncher Ms. Eleanor Pott Mr. Joseph S. Powe James S. Pratty, M.D. Hon. Vicki Reynolds and Mr. Murray Pepper Mrs. Laura H. Rockwell Mr. and Mrs. William C. Roen Peter and Marla Rosen Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen Mr. Andrew E. Rubin Mr. and Mrs. Paul Rutter

Thomas C. Sadler and Dr. Eila C. Skinner Dr. and Mrs. Bernard Salick Mark and Valerie Sawicki Dr. Marlene M. Schultz and Philip M. Walent Sue and Don Schuster Mr. and Mrs. Peter Segal Dr. and Mrs. Hervey Segall Laurie Selik Ms. Amy J. Shadur-Stein Ms. Avantika Shahi Dr. Alexis M. Sheehy Mr. Adam Sidy Mr. and Mrs. Peter R. Skinner Professor Judy and Dr. William Sloan Cynthia and John Smet Mr. Douglas H. Smith Mr. Steven Smith SouthWest Heights Philharmonic Committee Shondell and Ed Spiegel William Spiller Lael Stabler and Jerone English Mr. Adrian B. Stern Ms. Margaret Stevens and Mr. Robin Meadow Fran Sweeney Jennifer Taguchi

Mr. Marc A. Tamaroff Mr. and Mrs. Randall Tamura Andrew Tapper and Mary Ann Weyman Mr. Stephen S. Taylor Mrs. Elayne Techentin Mr. and Mrs. Harris Toibb John Tootle Richard Turkanis and Wendy Kirshner Charles and Nicole Uhlmann Mr. and Mrs. Craig Vickers Kathleen and Louis Victorino Terry and Ann Marie Volk Mr. Nate Walker Lisa and Tim Wallender Kathy S. Walton Bob and Dorothy Webb Robert Weingarten Doris Weitz and Alexander Williams Ms. Jill Wickert Mr. Robert E. Willett David and Michele Wilson Mr. Steve Winfield Bill Wishner Mr. and Mrs. Irwin Wong Mr. and Mrs. Richard Wynne Mr. Nabih Youssef

Arthur and Katheryn Chinski Mr. and Mrs. Joel T. Chitea Carla Christofferson Mr. and Mrs. Michael Colby Susan and David Cole In Honor of Judge John L. Cole and Mrs. Peggy S. Cole Ms. Ina Coleman Kevin and Katie Cordano Cox Family - Pernell, Keila, and Harper Q. Mrs. Nancy A. Cypert Jessica and James Dabney Ms. Laurie Dahlerbruch Mrs. Judi Davidson Mr. Howard M. Davine 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 Dr. David Eisenberg Mrs. Eva Elkins Douglas D Erenberg Richard and Sara Evans Ms. Anita Famili 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 Mrs. Diane Forester Bruce Fortune and Elodie Keene Laura Fox, M.D., and John Hofbauer, M.D. Lynn Franklin Mr. and Mrs. Michael Freeland Ms. Alisa J. Freundlich Friars Charitable Foundation Ian and Meredith Fried Steven Friednam David Fury Mrs. Diane Futterman Ms. Sybil Garry Mr. and Mrs. Alan M. Gasmer Dr. Tim A. Gault, Sr. Sara and Derek Geissler Dr. and Mrs. Anthony Gerber Susan and David Gersh Susan and Jaime Gesundheit Mr. and Mrs. Harlan Gibbs Jon M. Gibson Jason Gilbert Mr. and Mrs. David A. Gill The Gillis Family

Stephen Gingold William and Phyllis Glantz The Jacqueline Glass Family Madelyn and Bruce S. Glickfeld Dr. and Mrs. Steven Goldberg The Honorable and Mrs. Allan J. Goodman Elliot Gordon and Carol Schwartz Mr. James Granger Mr. and Mrs. Carl C. Gregory Rita and William Griffin Barrie Grobstein Mr. Frank Gruber and Ms. Janet Levin Mr. Gary M. Gugelchuk Dr. and Mrs. Charles Gustafson Mr. and Mrs. Pierre and Rubina Habis Judith and Robert D. Hall Charles F. Hanes Mr. Robert T. Harkins Mr. and Mrs. Brian L. Harvey Mr. and Mrs. Lewis K. Hashimoto Mr. David R. Hatcher Kaitlin and Jonathan Hawk Byron and DeAnne Hayes Mr. Donald V. Hayes

Peter and Nicolette Hebert Mr. Rex Heinke and Judge Margaret Nagle Betsydiane and Larry Hendrickson Mr. and Mrs. Enrique Hernandez, Jr. Ms. Gail Herring Jim Herzfeld The Hill Family Dr. and Mrs. Hank Hilty Greg and Jill Hoenes Glenn Hogan Mrs. Cathy Hong In Hong Douglas and Carolyn Honig Jonathan Howard Dr. Timothy Howard and Jerry Beale Francis Hung Jr. Harry and Judy Isaacs Mr. and Mrs. Theodore W. Jackson Mr. Channing Johnson Gordon M. Johnson and Barbara A. Schnell Mr. Sean Johnson Mireya Asturias Jones and Lawrence Jones Mr. Ken Kahan Lawrence Kalantari Karen and Don Karl Mr. and Mrs. David S. Karton Aleksey Katmissky Dr. and Mrs. David Kawanishi

$3,500 TO $5,499 Anonymous (5) Dr. and Mrs. Frank Agrama Mr. Robert A. Ahdoot Ty Ahmad-Taylor Cary Albertsone Edgar Aleman Adrienne S. Alpert Edna R.S. Alvarez Mr. Peter Anderson and Ms. Valerie Goo Betsy and Harold E. Applebaum Carlo and Amy Baghoomian Terence Balagia Howard Banchik Clare Baren and David Dwiggins Isaac Barinholtz and Erica Hanson Kay and Joe Baumbach Newton and Rochelle Becker Charitable Trust Ellis N. Beesley, Jr. M.D. Garrett Bell and Catherine Simms Ms. Karen S. Bell and Mr. Robert Cox Mr. Richard Bemis Benjamin Family Foundation Mr. and Mrs. Elliot S. Berkowitz Mr. and Mrs. Gregg and Dara Bernstein Mr. Alan N. Berro Vince Bertoni and Damon Hein

Mr. and Mrs. Dan Biles Lisa Biscaichipy Dr. Andrew C. Blaine and Dr. Leigh Lindsey Michael Blake Mr. Michael Blea Ms. Judith Blumenthal Ms. Leslie Botnick Michael Boucher and Ashley Coats Jemelia Bowie Anita and Joel Boxer Dr. and Mrs. Hans Bozler Mrs. William Brand and Ms. Carla B. Breitner Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Kevin Brockman and Dan Berendsen Ronald Brot Ryan and Michelle Brown Mr. Tad Brown and Mr. Jonathan Daillak Casey and Brea Brumels Mrs. Lupe P. Burson Dan and Catherine Campbell Dexter Cannon and Lee Hendrix Michael Chait Mr. Jon C. Chambers Nolan and Marlene Charbonnet Adam Chase Mr. Louis Chertkow

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ANNUAL DONORS Kayne, Anderson & Rudnick Mary Lou Byrne and Gary W. Kearney Mr. Stephen Keck Richard Kelton Nona Khodai Jason King Richard and Lauren King Jay T. Kinn and Jules B. Vogel Michael and Patricia Klowden Mr. and Mrs. Bruce Konheim Carla and Archy Kotoyantz Sandra Krause and William Fitzgerald Sharon and Joel Krischer Brett Kroha and Ryan Bean Mr. and Mrs. Howard A. Kroll Carole and Norm La Caze Tom Lallas and Sandy Milo Thomas and Gloria Lang Joan and Chris Larkin James Laur and Peter Kongkasem Craig Lawson and Terry Peters Mr. Les Lazar Mr. Robert Leevan Dr. Bob Leibowitz Mr. Donald S. Levin Mr. and Mrs. Edward B. Levine Benjamin Bear Levy Mr. Jeff Levy David and Meghan Licata Dr. and Mrs. Mark Lipian Ms. Elisabeth Lipsman Ms. Bonnie Lockrem and Mr. Steven Ravaglioli Robert and Susan Long Jasmine Lord Susan Disney Lord and Scott Lord Kristine and David Losito Mr. and Mrs. Boutie Lucas Crystal and Elwood Lui Dr. Jamshid Maddahi Mr. and Mrs. Ronald Manzani Dorrie and Paul Markovits Mr. Allan Marks and Dr. Mara Cohen Areva Martin Paul Martin Dr. and Mrs. Gene Matzkin Courtney McKeown Margaret Meehan and Joaquin Nunez Michael and Jan Meisel Carlos Melich Robert L. Mendow Mr. Robert Merz Marcia Bonner Meudell and Mike Merrigan Ms. Janet G. Michaels Larry and Mary Anne Mielke Dr. Gary Milan Mr. and Mrs. Michael D. Miller 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 Toni Hollander Morse and Lawrence Morse William Morton Munger, Tolles & Olson Mr. Ron Myrick Mr. James A. Nadal and Amelia Nadal Rachel Nass Stuart and Bruce Needleman Robert and Sally Neely Mr. Liron Nelik Mr. Jerold B. Neuman Mr. John M. Nisley Ms. Jeri L. Nowlen Deborah Nucatola Mr. and Mrs. Oberfeld

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PERFORMANCES MAGAZINE 33

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ANNUAL DONORS

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Mr. Dale Okuno Mr. and Mrs. John D. Olinski David Olson and Ruth Stevens Mr. and Mrs. Richard Orkand Adriana Ortiz Sharon Osbourne Alicyn Packard and Jason Friedman Mr. Ralph Page and Patty Lesh January Parkos-Arnall Nicholas Pepper Alyssa Phaneuf Mrs. Ethel Phipps Pillsbury Winthrop Shaw Pittman LLP Nancy Pine Mrs. Ruth S. Popkin Debbie and Rick Powell Mr. Albert Praw John R. Privitelli Ms. Marci Proietto 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 David and Mary Beth Redding Resource Direct Dr. Susan F. Rice Mr. Ronald Ridgeway Mr. and Mrs. Kenneth Riley Mr. and Mrs. Norman L. Roberts Natalie Roberts Mr. Jed Robinson Rock River Ms. Kristina Rodgers In memory of RJ and JK Roe Michelle and Mark Rosenblatt Mr. Richard Rosenthal and Ms. Katherine Spillar Mr. Bradley Ross and Ms. Linda McDonough Joshua Roth and Amy Klimek Mr. Michael Rouse Mr. and Mrs. Matthew Rowland Ms. Karen Roxborough James and Marla Ryan Betty J Saidel Valerie Salkin Esa-Pekka Salonen Curtis Sanchez Mr. and Mrs. Michael Sanders Mr. and Mrs. Charles M. Sarff Ms. Maryanne Sawoski Carol (Jackie) and Charles Schwartz Mr. Alan Scolamieri John L. Segal Dr. and Mrs. Hooshang Semnani Dr. Ava Shamban Emmanuel Sharef Hope and Richard N. Shaw Ms. Martha Shen-Urquidez Walter H. Shepard and Arthur A. Scangas Mr. Chris Sheridan Muriel and Neil Sherman Pamela and Russ Shimizu Mr. Murray Siegel Scott Silver June Simmons Loraine Sinskey Leah R. Sklar Donna Slavik 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 Mr. and Mrs. Pierre Steele Mr. and Mrs. Joseph Stein

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Jeff and Peg Stephens Mr. Scott Stephens Hilde Stephens-Levonian The Sugimoto Family Ed and Peggy Summers Deborah May and Ted Suzuki Mr. and Mrs. Larry W. Swanson Judith Taylor Mr. Nick Teeter Mr. Todd H. Temanson Lauren Tempest Dr. and Mrs. Nicholas Thanos Suzanne Thomas Mr. and Mrs. Harlan H. Thompson Ms. Evangeline M. Thomson Tichenor & Thorp Architects, Inc. Tina Gittelson Mr. and Mrs. Robert Tokashiki Bonnie K. Trapp Ingrid Urich-Sass Mr. and Mrs. Peter J. Van Haften Jack VanAken Vargo Physical Therapy David H. Vena Dorrit Vered and Jerome Vered Jenny Vogel Elliott and Felise Wachtel Christopher V. Walker Mr. and Mrs. David Walker Mr. Eldridge Walker Mr. Darryl Wash J. Leslie Waxman Ms. Diane C. Weil and Mr. Leslie R. Horowitz Mr. and Mrs. Doug M. Weitman Robert and Penny White Mr. William A. White Ms. Iris Whiting Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Renae Williams Niles Mr. and Mrs. Kenneth Williams Tom and Lisa Williams Mr. Lee Winkelman and Ms. Wendey Stanzler Dr. and Mrs. Daniel H. Wiseman Ms. Eileen Wong Scott Lee and Karen Wong Linda and John Woodall Paul and Betty Woolls Robert Wyman Ms. Stacie Yee Susan Young Yust Family Trust Mrs. Lillian Zacky Mr. William Zak Zamora & Hoffmeier, A Professional Corporation Dr. and Mrs. Martin Zane Rudolf H. Ziesenhenne David Zuckerman and Ellie Kanner Rachel and Michael Zugsmith

Brett Mitchell MUSIC DIRECTOR

MOZART “TURKISH” VIOLIN CONCERTO MAR 22, 2025

STEFAN JACKIW, violin ADOLPHUS HAILSTORK Baroque Suite PROKOFIEV Classical Symphony STRAVINSKY Suite from Pulcinella

BEETHOVEN “PASTORAL” SYMPHONY MAY 3, 2025

WILLIAM HAGEN, violin SAMUEL JONES Hymn to the Earth BRUCH Violin Concerto No. 1

TICKETS! 626.793.7172 | PASADENASYMPHONY-POPS.ORG

Saturday March 29th at 7 PM Ambassador Auditorium, Pasadena

California Young Artists Symphony Presents

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.

CYAS is an electrifying experience for audience and performers alike, as some of the most exceptional orchestral musicians in the southern California region bring to life the greatest masterpieces of music literature.

Gustav Mahler Symphony No. 9 David Chan, Conductor

TICKETS AND INFORMATION

www.cyasymphony.org PERFORMANCES MAGAZINE 35

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Welcome to The Music Center!

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 Will Yang for The Music Center.

TAKE A TOUR OF THE MUSIC CENTER 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 along with 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.

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2024/2025 BOARD OF DIRECTORS

OFFICERS

GENERAL COUNSEL

Cindy Miscikowski Chair

Rollin A. Ransom

Robert J. Abernethy Vice Chair

DIRECTORS EMERITI

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 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 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

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 1/27/25

Alvin Ailey American Dance Theater’s Yannick Lebrun.

Photo by Dario Calmese.

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BOARD OF SUPERVISORS

COUNTY OF LOS ANGELES

Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.

Hilda L. Solis Chair Pro Tem, First District

Holly J. Mitchell Supervisor, Second District

Lindsey P. Horvath Supervisor, Third District

Janice Hahn Supervisor, Fourth District

Kathryn Barger Chair, Fifth District

LAND ACKNOWLEDGMENT 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.

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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

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Happening at The Music Center

MARCH 2025

SAT 1 MAR / 2:00 & 8:00 p.m.

Stephen Sondheim's Old Friends CENTER THEATRE GROUP @ Ahmanson Theatre Thru 3/9/2025

FRI 21 MAR / 7:30 p.m.

According to Ray: Ray Charles’s Message to America CENTER THEATRE GROUP Presented in partnership with MUSE/IQUE @ Mark Taper Forum Thru 3/23/2025

SAT 1 MAR / 2:30 & 8:00 p.m.

Fake It Until You Make It CENTER THEATRE GROUP @ Mark Taper Forum Thru 3/9/2025 SAT 1 MAR /2:00 p.m.

Dudamel Leads Song of the Night LA PHIL @ Walt Disney Concert Hall SUN 2 MAR / 12:00 p.m.

Mahlerthon: Part One LA PHIL @ Walt Disney Concert Hall SUN 2 MAR / 5:00 p.m.

Mahlerthon: Part Two LA PHIL @ Walt Disney Concert Hall TUE 4 MAR / 8:00 p.m.

To the Fullest: The Music of Julius Eastman and Arthur Russell LA PHIL @ Walt Disney Concert Hall

THU 13 MAR / 8:00 p.m.

Midori LA PHIL @ Walt Disney Concert Hall FRI 14 MAR / 11:00 a.m.

Tchaikovsky & Schubert LA PHIL @ Walt Disney Concert Hall Thru 3/16/2025 FRI 14 MAR / 8:00 p.m.

Jason Isbell LA PHIL @ Walt Disney Concert Hall SAT 15 MAR / 7:30 p.m.

Angel Blue in Concert LA OPERA @ Dorothy Chandler Pavilion SAT 15 MAR / 11:00 a.m.

Symphonies for Youth: Harmony and Structure: An introduction to the string family LA PHIL @ Walt Disney Concert Hall Also 3/22/2025 SUN 16 MAR / 7:00 p.m.

Carmina Burana LA MASTER CHORALE @ Walt Disney Concert Hall

FRI 21 MAR / 8:00 p.m.

Haïm Leads Handel & Bach LA PHIL @ Walt Disney Concert Hall Thru 3/23/2025 TUE 25 MAR / 8:00 p.m.

Le Concert d’Astrée LA PHIL @ Walt Disney Concert Hall Also 3/27/2025 THU 27 MAR / 8:00 p.m.

Le Concert d'Astrée —The Triumph of Time and Disillusion LA PHIL @ Walt Disney Concert Hall SUN 30 MAR / 7:30 p.m.

Herbie Hancock LA PHIL @ Walt Disney Concert Hall Visit musiccenter.org for additional information on all upcoming events.

@musiccenterla

Will Yang for The Music Center.

THU 6 MAR / 8:00 p.m.

Gustav and Alma with Dudamel LA PHIL @ Walt Disney Concert Hall Thru 3/9/2025

SAT 8 MAR / 7:30 p.m.

Così Fan Tutte LA OPERA @Dorothy Chandler Pavilion Thru 3/30/2025

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Feel every movement.

Live every story.

April 2–6, 2025

Experience the power of one of the most acclaimed dance companies in the world in its only Southern California appearance!

The Music Center’s Dorothy Chandler Pavilion musiccenter.org/ailey | (213) 972-0711 BRING A GROUP AND SAVE!

Contact marketing@musiccenter.org for more information.

TI C K E

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Members of Alvin Ailey American Dance Theater. Photo by Dario Calmese.

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Surrender to the pulse of Brazil!

GRUPO CORPO

May 2–4, 2025 Grupo Corpo, one of Brazil’s premier dance companies, blends vibrant Afro-Brazilian rhythms, classical technique and cultural tradition in two powerful works—21 and Gira.

Experience the sheer physical virtuosity and mesmerizing movement that have captivated audiences worldwide.

TI C K E

TS ON SALE N

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The Music Center’s Ahmanson Theatre musiccenter.org/grupocorpo | (213) 972-0711 BRING A GROUP AND SAVE! Contact marketing@musiccenter.org for more information.

Grupo Corpo. Photo by José Luiz Pederneiras.

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PHOTOS BY MATTHEW MURPHY

Boldy Restaged as one Magical Show

The newly expanded Potter universe seamlessly blends movement, magic, and good old-fashioned storytelling, centering on Albus Potter (the middle child of Harry and his wife, Ginny) and Scorpius Malfoy (son of Harry’s rival Draco Malfoy). “I’ve always had the sense that Hogwarts was a world that belonged on stage,”

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Indeed, as they crafted a magicfilled narrative with Rowling’s input and encouragement, Thorne and Tiffany never lost sight of the story’s humanity.

“There were two things I was interested in conveying,” the playwright says. “The first was what it’s like to go to Hogwarts when you don’t fit in, because I was a person who struggled in school. I’m drawn

to outsiders, and so are John and Jo [Rowling]. The other was the notion of what it means to be put in a place you’re uncomfortable with. What would happen if one of Harry’s kids ended up in a house [at Hogwarts] where he thought he didn’t belong, and then discovered through friendship that he did?”

The touring production of Harry Potter and the Cursed Child includes all the breathtaking effects and stunning staging that helped make the play an international hit, attracting enthusiastic theatergoers of all ages. “The magic is there,” promises Tiffany, “and we’re excited to bring the show to as many people as possible. We feel a responsibility to do justice not just to Harry Potter but to theater as an art form. We want this play to be like nothing anyone has ever experienced.”

Hollywood Pantages Now Thru June 22 BROADWAYINHOLLYWOOD.COM INTERESTED IN BRINGING A GROUP OF 10 OR MORE? VISIT BROADWAYINHOLLYWOOD.COM/GROUPS

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Performances Magazine • Ful Pg 6.875” x 10” • March 2025

Harry Potter creator J.K. Rowling ended her epic sevenvolume series of novels with a tantalizing teaser: an epilogue titled “Nineteen Years Later,” in which Harry and his friends Hermione and Ron, now grown, are preparing to send their children off to school at Hogwarts. That brief chapter inspired the spectacular stage production Harry Potter and the Cursed Child, now embarking on its first national tour. Jack Thorne’s Tony Award-winning play, based on an original story

by Rowling, Thorne, and director John Tiffany, takes audiences on an unforgettable adventure in which two generations travel through time to save the wizarding world.

says Tiffany, a Tony winner for his direction.

“I could see suitcases floating and cloaks whirling; arches and columns that could become trees in the forbidden forest. What’s amazing about the fantasy world of Harry Potter is that it allows you to explore the human experience in a magnified and dramatic way.”

E V E RY T H I N G H A S B E AU T Y IT JUST DEPENDS ON HOW YOU LOOK AT THINGS

JADE MILLS 310.285.7508 | HOMES@JADEMILLS.COM CALRE #00526877

Affiliated real estate agents are independent contractor sales associates, not employees. ©2025 Coldwell Banker. All Rights Reserved. Coldwell Banker and the Coldwell Banker logo are trademarks of Coldwell Banker Real Estate LLC. The Coldwell Banker® System is comprised of company owned offices which are owned by a subsidiary of Anywhere Advisors LLC and franchised offices which are independently owned and operated. The Coldwell Banker System fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. 2500RK-DC_GLA_1/25

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