cover images: Jen Rosenstein (JON BATISTE); Courtesy of San Francisco Symphony (ESAPEKKA SALONEN); Ben Gibbs (SETH PARKER WOODS); Benjamin Millepied (L.A. DANCE PROJECT); Andrew Eccles (JEAN-YVES THIBAUDET); Courtesy of ISATA & SHEKU KANNEH-MASON; Courtesy of PATRICE RUSHEN
BOOK I • MAY 2–11
MAY 2–4
Los Angeles Philharmonic Beethoven & Dessner with Esa-Pekka Salonen
MAY 2
JAZZ
Patrice Rushen
BOOK II • MAY 13–19
MAY 13
CHAMBER MUSIC
All-Brass Chamber Music
MAY 16–18
Los Angeles Philharmonic Ravel & Adolphe
MAY 8, 10 & 11
Los Angeles Philharmonic Esa-Pekka Salonen Leads Debussy & Boulez
ELEVATE YOUR NEXT CORPORATE EVENT, GALA, CONFERENCE, OR WEDDING BY BOOKING WITH HOPE & GRAND AT THE MUSIC CENTERWHERE WE TRANSFORM MOMENTS INTO UNFORGETTABLE EXPERIENCES.
WELCOME!
These last weeks of our 2024/25 Walt Disney Concert Hall season present performances of beauty, wonder, compassion, and inspiration. Conductor Laureate Esa-Pekka Salonen returns with two extraordinary programs showcasing our collaborative and innovative spirit. The trailblazing musicians Patrice Rushen, Jon Batiste, Max Richter, Cameron Carpenter, and Sheku and Isata Kanneh-Mason bring their inimitable talent to our stage. The season ends with our Seoul Festival (June 3–10), a celebration of music and artistry from South Korea and across the Korean diaspora curated by the brilliant composer Unsuk Chin—and a powerful example of how the arts foster rich explorations of our shared cultures. I hope to see you there! As we head into the final stretch of our season, I want to express my appreciation for everyone who has joined us. We often speak of the magic of live performance, how it connects us, transports us, and gives us the opportunity to listen to and learn from one another. That special alchemy is possible only with you. On behalf of the entire LA Phil family, thank you for being a part of so many unforgettable moments and so many more to come.
Warmly,
Kim Noltemy President & Chief Executive Officer
David C. Bohnett Presidential Chair Los Angeles Philharmonic Association
Board of Directors
CHAIR
Jason Subotky*
PRESIDENT & CEO
David C. Bohnett Presidential Chair
Kim Noltemy
VICE CHAIRS
Thomas L. Beckmen*
Reveta Bowers*
Jane B. Eisner*
David Meline*
Diane Paul*
Jay Rasulo*
DIRECTORS
Nancy L. Abell
Gregory A. Adams
Julie Andrews
Camilo Esteban
Becdach
Linda Brittan
Jennifer Broder
Kawanna Brown
Andrea Chao-Kharma*
R. Martin Chavez
Christian D. Chivaroli
Jonathan L. Congdon
Donald P. de Brier*
Louise D. Edgerton
Lisa Field
David A. Ford
Alfred Fraijo Jr.
Hilary Garland
Jennifer Miller Goff*
Tamara Golihew
David Greenbaum
Carol Colburn Grigor
Marian L. Hall
Antonia Hernández*
Jonathan Kagan*
Darioush Khaledi
Winnie Kho
Joey Lee
Matt McIntyre
Francois Mobasser
Margaret Morgan
Leith O’Leary
Andy S. Park
Sandy Pressman
Geoff Rich*
Laura Rosenwald
Richard Schirtzer
John Sinnema
G. Gabrielle Starr
Jay Stein*
Christian Stracke*
Ronald D. Sugar*
Vikki Sung
Jack Suzar
Sue Tsao
Jon Vein
Megan Watanabe
Regina Weingarten
Jenny Williams
Alyce de Roulet Williamson
Irwin Winkler
Debra Wong Yang
HONORARY LIFE DIRECTORS
David C. Bohnett
Frank Gehry
Lenore S. Greenberg
Bowen H. “Buzz” McCoy
PAST CHAIRS**
Thomas L. Beckmen
Jay Rasulo
Diane B. Paul
David C. Bohnett
Jerrold L. Eberhardt
John F. Hotchkis†
usbank.com/privatewealth
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.
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.
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-winning recordings featuring the music of Brahms, Ives, Andrew Norman, Thomas Adès, and Gabriela Ortiz— whose Revolución diamantina received three Grammys in 2025.
The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), O tto Klemperer (1933-1939), Alfred Wallenstein (1943-1956), Eduard van Beinum (1956-1959), Zubin Mehta (1962-1978), Carlo Maria Giulini (1978-1984), André Previn (1985-1989), Esa-Pekka Salonen (1992-2009), and Gustavo Dudamel (2009-present).
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
SECOND VIOLINS
[Position vacant]
Principal
Mark Kashper
Associate Principal
Isabella Brown Assistant Principal
Kristine Whitson
Johnny Lee
Dale Breidenthal
Mark Houston Dalzell and James DaoDalzell Chair for Artistic Service to the Community
Ingrid Chun
Jin-Shan Dai
Chao-Hua Jin
Jung Eun Kang
Vivian Kukiel
Nickolai Kurganov Varty Manouelian
Emily Shehi
Michelle Tseng
VIOLAS
[Position vacant]
Principal
John Connell Chair
Ben Ullery
Associate Principal
Jenni Seo
Assistant Principal
Dana Lawson
Richard Elegino
John Hayhurst
Ingrid Hutman
Michael Larco
Hui Liu
Meredith Snow
Leticia Oaks Strong
Minor L. Wetzel+
Bradley Parrimore*
* Judith and Thomas L. Beckmen
L A Phil Resident Fellow
+ On sabbatical
CELLOS
Robert deMaine
Principal
Bram and Elaine Goldsmith Chair
Ben Hong
Associate Principal
Sadie and Norman Lee Chair
Dahae Kim
Assistant Principal
Jonathan Karoly
David Garrett
Barry Gold
Jason Lippmann
Gloria Lum
Linda and Maynard
Brittan Chair
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
Kaelan Decman
Associate Principal
Oscar M. Meza
Assistant Principal
David Allen Moore
Ted Botsford
Jack Cousin
Jory Herman
Brian Johnson
Peter Rofé
Nicholas Arredondo*
Alicia Miñana and Rob Lovelace LA Phil
Resident Fellow Chair
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
Ann Ronus Chair
Michele Grego Evan Kuhlmann
Contrabassoon Evan Kuhlmann
The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
HORNS
Andrew Bain
Principal
John Cecil Bessell Chair
David Cooper
Associate Principal
Gregory Roosa
Alan Scott Klee Chair
Amy Jo Rhine Loring Charitable Trust Chair
Elyse Lauzon
Ethan Bearman
Assistant
Bud and Barbara Hellman Chair
Elizabeth Linares Montero*
Nancy and Leslie Abell LA Phil Resident Fellow Chair
TRUMPETS
Thomas Hooten
Principal
M. David and Diane
Paul Chair
James Wilt
Associate Principal
Nancy and Donald de Brier Chair
Christopher Still
Ronald and Valerie Sugar Chair
Jeffrey Strong
TROMBONES
David Rejano Cantero
Principal Koni and Geoff Rich Chair
James Miller
Associate Principal
Judith and Thomas
L. Beckmen Chair
Paul Radke
Bass Trombone
John Lofton
Miller and Goff Family Chair
TUBA
Mason Soria
TIMPANI
Joseph Pereira
Principal Cecilia and Dudley Rauch Chair
David Riccobono
Assistant Principal
PERCUSSION
Matthew Howard Principal
James Babor David Riccobono
KEYBOARDS
Joanne Pearce
Martin Katharine Bixby Hotchkis Chair
HARP
Emmanuel Ceysson
Principal Ann Ronus Chair
LIBRARIANS
Stephen Biagini
Benjamin Picard
KT Somero
CONDUCTING FELLOWS
Luis Castillo-Briceño
Holly Hyun Choe
Dayner Tafur-Díaz
Molly Turner
The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
Ernest Fleischmann at 100
Ernest Fleischmann, the influential impresario who led the LA Phil as its Executive Director from 1969 to 1998, was a visionary. Many of his innovations have become hallmarks of the organization, from the Green Umbrella new music series to the creation of Walt Disney Concert Hall to the expansion of summertime programming at the Hollywood Bowl. He is, however, best known for his ability to find and nurture talent. To commemorate what would have been Fleischmann’s 100th birthday, the LA Phil has dedicated its concert on May 11 to his memory. Here, four artists and arts leaders offer personal tributes to this remarkable figure.
ARA GUZELIMIAN
Artistic and Executive Director of the Ojai Music Festival; served as radio producer and then Artistic Administrator at the LA Phil under Fleischmann
Ernest Fleischmann set the course for the present-day Los Angeles Philharmonic, including the existence of Green Umbrella, its idiosyncratic name, and the very hall in which we sit. More about all that shortly.
This past December marked the centennial of Ernest’s birth, so it is an apt moment to remember and celebrate the legacy of the orchestra’s hugely influential longtime Executive Director. It was Ernest who set in motion many artistic initiatives and a culture of innovation that remains central to the LA Phil’s DNA to this day. He worked particularly closely with Music Directors Zubin Mehta, Carlo Maria Giulini, and Esa-Pekka Salonen— fruitful relationships that each defined a golden era of music-making (the relatively brief tenure of André Previn in the 1980s was marked by tension between the two).
Ernest had an amazing nose for talent—the very young Simon Rattle made his American debut at the Hollywood Bowl at the age of 21(!) in 1976, and there was a glorious period during the Giulini years when Rattle and Michael Tilson Thomas were Principal Guest
Conductors. He famously got on a plane in 1983 to be in attendance for the 25-yearold Esa-Pekka Salonen’s last-minute debut in London with the Philharmonia Orchestra, conducting no less than Mahler’s epic Third Symphony, an encounter that led to Salonen’s being appointed Music Director in LA a few short years later. Fleischmann and Salonen were both on the jury of the first Gustav Mahler Conducting Competition in Bamberg, Germany, in 2004, won by the 23-yearold Gustavo Dudamel, which first brought the Venezuelan conductor to international prominence. Ernest, working with Principal Timpanist and composer William Kraft, launched the LA Phil New Music Group in 1981 with a series of inaugural concerts at the Mark Taper Forum. In a memorable 1987 staff meeting (I know, I was there!), Ernest spontaneously announced that the series would be called “The Green Umbrella” for no apparent reason other than his creative whim. His most enduring legacy is the eloquent presence of Walt Disney Concert Hall, made possible by an initial gift from Lillian Disney in 1987. There was, to be sure, an international architectural competition to create the design of the hall but no question whatsoever of Ernest’s determination and sheer will to make certain
that the commission went to a local hero, Frank Gehry. “He was very demanding when he got going,” Gehry later remembered.
“For Disney Hall, this was his dream and I was being entrusted with delivering that dream. He was quite specific on the issues he wanted to address. Besides the acoustics, he talked a lot of the intimacy of the building, he talked about the democracy of the seating so that all the seats were equal. He thought it through and spent a lot of time thinking about it and he wanted it to be special.”
It took 16 years for the hall to become a reality, a project guided to completion by Ernest’s successor, Deborah Borda. Happily, Ernest was present to savor the moment. Ernest could be imperious and impossible at times but was a most thoughtful leader and loyal friend when needed. His devotion to music and his restless drive for innovation were unwavering. We are all the lucky beneficiaries of his life and work.
(l–r ): ERNEST FLEISCHMANN, SIMON RATTLE, AND ARA GUZELIMIAN
ZUBIN MEHTA
Los Angeles Philharmonic Music Director (1962–1978) and current Conductor Emeritus
Ernest Fleischmann and I always had an ideal working relationship, which became a close friendship. Our discussions always ended in inventing new ways to foster excellent orchestra relationships with the public, like when we introduced marathons of the music of Beethoven and Mozart. Also, our now-famous Star Wars concert at the Hollywood Bowl promoted national tours of the music of John Williams. From the day I spoke to him about leaving London to come to the Los Angeles Philharmonic, we became friends for life, and I miss him earnestly to this day. I wish his family all the best for their future from the bottom of my heart, and my wife joins me, as she and Ernest were great friends.
ESA-PEKKA SALONEN
Los Angeles Philharmonic Music Director (1992–2009), current Conductor Laureate, and noted composer
I remember well the agitated whispers backstage after my London debut concert more than 40 years ago: “Ernest Fleischmann is here!” I must have been the only one there who didn’t have the faintest idea who he was and why his presence would be significant in any way. I was told that he wanted to meet me the next morning at my manager’s office in Hammersmith.
I was of course very curious to see this obviously legendary person. On my way from the hotel to Hammersmith, I was nervously trying to imagine what he wanted from me. It was a relief to be greeted warmly by an affable gray-haired man in his late 50s. I noticed his old-world accent and an unmistakable charisma that seemed to fill the entire room.
Much to my surprise Ernest, without much of an introduction, laid out a scenario which sounded utterly unrealistic and farfetched. He said he was sure that I would enjoy working with the musicians of the Los Angeles Philharmonic, and that I should become their next Music Director. I had read somewhere that Californians liked to smoke little things they called joints and thought that detachment from reality to that degree was possible to achieve only chemically.
I believe everyone has had these seemingly random
encounters that define or at least influence the course of one’s life. For me, meeting Ernest was one of those. Less than 10 years after that initial conversation, I started my long and happy journey as the Music Director of the Los Angeles Philharmonic.
Ernest was a fantastic partner on that journey. He taught me essentially everything I know about running a symphonic organization in this country. Stuff you don’t learn in music schools. He guided me gently (and sometimes less than gently) in programming: how to create a balanced season without losing the sense of curiosity and adventure. His crisis-management skills were amazing—it was almost as if he really enjoyed those difficult moments when everything seemed to be disintegrating and he, with his magic touch, was able to put everything back together again.
I got my driver’s license late in life and never developed into an instinctive, skilled driver. I was consoled by the fact that Ernest was a legendarily terrible driver who nevertheless seemed to enjoy some particular kind of protection from the universe. I could tell hundreds of anecdotes, but one (related to driving) will suffice here:
When the Los Angeles Philharmonic was starting a monthlong residency at the Salzburg Festival in 1992, Ernest offered to drive me from the Munich airport to my house in Anif, a municipality just outside
ERNEST FLEISCHMANN AND ESA-PEKKA SALONEN
(l–r ): FRANK ZAPPA, ZUBIN MEHTA, AND ERNEST FLEISCHMANN, 1970
photo : Ines Gellrich, courtesy of UCLA Library Special Collections
photo : John Malmin/ Los Angeles Times
Salzburg. I realized he hadn’t seen a stick-shift car in decades but decided to keep quiet. We stalled at every set of lights, and the car started to make strange whining noises on the motorway. Ernest said something like BMW doesn’t make cars like they used to. I finally suggested that he shift up from the second gear. We made it to Salzburg in the third gear. For reasons unknown to me, Ernest drove straight into the garage door of the house I was going to stay in and left a considerable dent in both the door and the car. The owner and the realtor were standing on the porch witnessing our arrival. Ernest decided not to notice this little insignificant incident. He got out of the car, greeted the stunned hosts in his beautiful Rhenish-Franconian German accent, introduced me, and finally offered the whiny BMW to me to use for the duration of the festival.
There are still moments when I ask myself: What would Ernest
do in this situation? During institutional turmoil: If Ernest were here this would never have happened. And most often: Ernest, what would be the best wine with this food? We mostly agreed on artistic matters, but things could get a little heated when discussing food and wine.
A preopening acoustic test at Walt Disney Concert Hall with Ernest, Pierre Boulez, and Frank Gehry is an especially happy memory. I will never forget the sight of the elderly statesmen Pierre and Ernest running around the hall like two mad gazelles, making sure they heard the Bach E-major Prelude from every sonic angle imaginable. It gives me a lot of joy to know that Ernest could see the gamechanging building that wouldn’t have been built without his vision and commitment.
I’ve been fortunate to have had Ernest as a mentor, close collaborator, and friend. I wouldn’t be where I am today without him. And I’m not the only one.
GUSTAVO DUDAMEL
Music & Artistic Director of the Los Angeles Philharmonic
Ernest Fleischmann played a significant role in the musical lives of so many artists in Los Angeles and around the world. I first met him in Bamberg, Germany, in 2004, at the Gustav Mahler Conducting Competition, where he was on the jury. Ernest took a keen and personal interest in my life after Bamberg, regularly visiting and sharing fatherly-like wisdom. It was with his enthusiastic blessing that I became Music & Artistic Director of the Los Angeles Philharmonic, the orchestra he had nurtured for nearly 30 years.
His having played such a critical role in my professional life would have been enough, but Ernest was also responsible for everything I love about the LA Phil. He created a supportive environment for musicians, expanded programming at the Hollywood Bowl, made serious investments in living composers, and backed new music in ways that were novel for an American orchestra at the time. Under Ernest’s leadership, the LA Phil was among the first orchestras in the country to dedicate its resources to diversifying our field and lifting up musicians from all walks of life. His is a legacy we continue to build on today.
Ernest is something of a mythic figure in the classical music world, but whether you knew him or not, if you are a music lover in Los Angeles, you have been impacted by his work. I am grateful to have known him, grateful for what he created, and grateful for the music he brought into our world.
GUSTAVO DUDAMEL AND ERNEST FLEISCHMANN, C. 2008
photo : Mathew Imaging
The Moments That Move Me
with Matthew Howard, percussion
WHICH PIECE OF MUSIC…
…MAKES YOU SMILE?
Tell Your Friends was probably the first legit Snarky Puppy album that I listened to on repeat for a while. I was absolutely obsessed.
…MAKES YOU CRY?
The last movement of Mahler 9.
…GIVES YOU CHILLS?
There are a lot of moments like that…every single week, but I might say the third movement of Rachmaninoff’s Second Symphony, the Adagio. Actually, I’ll take that back! Let’s go with the last moment of Rachmaninoff’s Second Piano Concerto. It really is a good one.
THIS MONTH, YOU PREMIERE A NEW PERCUSSION CONCERTO THAT LA PHIL PRINCIPAL TIMPANIST JOSEPH PEREIRA COMPOSED FOR YOU. WHAT DO YOU HOPE AUDIENCES TAKE AWAY FROM IT?
First things first, I requested that Joe compose it with my Japanese heritage in mind, only because Japanese music in particular is so hugely focused on drums—taikos, shime-daikos, cymbals, metals, woods. It’s very percussion focused and, in a way, it’s how I got my start as a musician. The first time I played a drum was in 2003 in a community taiko group out in Culver City, so this is a really cool full-circle moment for me, not only to honor my heritage but to play in the same city where I grew up and got my start, now as a soloist with the Los Angeles Philharmonic. —Piper Starnes
photo: DANNY CLINCH, LA PHIL
A Legacy of Dedication
The Los Angeles Philharmonic Committee’s Enduring Support
For more than 90 years, the Los Angeles Philharmonic Committee has played an essential role in sustaining and enriching the LA Phil’s work, both onstage and in the community.
What began in 1934 as the Los Angeles Junior Philharmonic Committee has grown into one of the most devoted and impactful Affiliates Committees, channeling its passion for music into direct support for the orchestra and the young people of Los Angeles.
The Committee’s commitment has taken many forms over the decades, from advocacy to fundraising to hands-on volunteer efforts that bring music to life for new generations. At the heart of this work is a deep belief in the power of music education—a belief reflected in substantial contributions to the LA Phil’s Endowment Fund.
In 2001, the Committee pledged $500,000 to support youth music education, later
increasing and extending its commitment to nearly $2 million raised in the last quarter century. The generosity of members has helped sustain essential programs, ensuring that music continues to inspire and transform young lives.
Beyond their financial contributions, Committee members give their time and energy to the LA Phil’s Learning programs, particularly Symphonies for Schools and Symphonies for Youth, which introduce thousands of young people each year to orchestral music at Walt Disney Concert Hall. Whether welcoming excited schoolchildren to their very first concert or providing critical support for bus transportation and
ticket access, their efforts make a lasting difference.
“It’s about showing people the impact of their time and support,” says Committee member Ranjit Bhatia. “You see these young people arrive at Walt Disney Concert Hall, their eyes wide with excitement, stepping into a world they never imagined possible. That moment alone makes it all worth it.”
The Los Angeles Philharmonic Committee stands as a testament to what a dedicated community can achieve. Its steadfast support—past, present, and future—ensures that the music of the LA Phil reaches ever-wider audiences and that the next generation experiences the joy and wonder of live orchestral music.
To learn more about joining one of the LA Phil’s Affiliate Committees, please visit laphil.com/affiliates.
MEMBERS OF THE LOS ANGELES PHILHARMONIC COMMITTEE ENJOY SPECIAL OPPORTUNITIES THAT BUILD COMMUNITY (left) AND PROVIDE CRITICAL PHILANTHROPIC SUPPORT FOR SYMPHONIES FOR SCHOOLS PROGRAMS, IN ADDITION TO VOLUNTEER SUPPORT FOR LEARNING INITIATIVES LIKE SYMPHONIES FOR YOUTH (right)
County of Los Angeles
BOARD OF SUPERVISORS
Hilda L. Solis
Holly J. Mitchell
Lindsey P. Horvath
Janice K. Hahn
Kathryn Barger Chair
DEPARTMENT OF ARTS AND CULTURE
Kristin Sakoda Director
COUNTY ARTS COMMISSION
Leticia Buckley
President
Randi Tahara Vice President
Rogerio V. Carvalheiro
Secretary
Sandra P. Hahn
Executive Committee
Member
Liane Weintraub
Immediate Past President
Pamela Bright-Moon
Patrice Cullors
Diana Diaz
Eric R. Eisenberg
Brad Gluckstein
Helen Hernandez
Constance Jolcuvar
Alis Clausen Odenthal
Anita Ortiz
Jennifer Price-Letscher
The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.
GOLDA
SATURDAY, MAY 24 at 6:30 pm
Don’t Miss Golda’s Next Concert of Inspirational & Sacred Music
Patrice Rushen
JAZZ CLASSICS BAND
Patrice Rushen, piano
Ernie Watts, sax
Reggie Hamilton, acoustic and electric bass
Marvin “Smitty” Smith, drums
INTERMISSION
THE BAND
Patrice Rushen, keyboards and vocals
Enzo Iannello, guitar
Rayford Griffin, drums
Andrew Ford, bass
Rastine Calhoun, sax
Chris Gray, trumpet
Alexis Angulo, keyboards and vocals
Programs and artists subject to change.
FRIDAY MAY 2, 2025 8PM
PATRICE RUSHEN
Patrice Rushen is an award-winning musician and composer who is also one of the most sought-after artists in the music industry. She is a classically trained pianist who originally found success in the ’70s and ’80s with her signature fusion of jazz, pop, and R&B. During this era, she composed and recorded the hit song “Forget Me Nots,” which has been frequently covered and sampled by other artists.
Rushen is also a four-time Grammy nominee who has composed scores for movies and television. She
was the first female musical director for many of the entertainment industry’s top award shows, including the Grammy Awards, the Emmy Awards, the People’s Choice Awards, the NAACP Image Awards, and HBO’s Comic Relief V.
Considered one of the world’s top jazz pianists, Rushen has performed with and produced for such esteemed artists as Stevie Wonder, Herbie Hancock, Prince, Lionel Hampton, Carlos Santana, Boys II Men, George Benson, Jean-Luc Ponty, Tom Jones, Nancy Wilson, Michael Jackson, Dianne Reeves, Sheena Easton, Stanley Turrentine, Joshua Redman, and on and on. She has played at some of the world’s most prestigious jazz festivals and events.
Rushen has performed with symphonic orchestras and has written an awardwinning symphony. She served as Composer in Residence with the Detroit Symphony Orchestra for the 2000/01 concert season.
She has composed several symphonic works since 2000, each commissioned by a major orchestra, and the world premiere of each of the works has been performed to rave reviews. She has 14 solo albums to her credit and a greatesthits anthology released on Rhino Records in 1997. She has also recorded two albums with The Meeting, the world-renowned jazz supergroup, which includes Rushen, Ndugu Chancler, and Ernie Watts. Rushen is an Ambassador of Artistry in Education at Boston’s Berklee College of Music and was the chair of the Popular Music program at the USC Thornton School of Music.
Rushen also spends time working with the Los Angeles Cultural Affairs Department, the National Academy of Recording Arts & Sciences’ Grammy in the Schools program, and other organizations dedicated to establishing music education and mentorship programs for underprivileged youth.
Beethoven & Dessner with Esa-Pekka Salonen
Los Angeles Philharmonic
Esa-Pekka Salonen, conductor
Pekka Kuusisto, violin
DEBUSSY Prelude to the Afternoon of a Faun (c. 7 minutes)
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
This concert will be broadcast on Classical California KUSC (91.5 FM) June 1, 2025, at 7PM, and available to stream at kusc.org for seven days following its airing.
This broadcast is made possible through the endowed LA Phil Broadcast Program Fund, generously supported by the Lenore S. and Bernard A. Greenberg Fund
Programs and artists subject to change.
AT A GLANCE
Inspired by a Stéphane Mallarmé poem, Claude Debussy’s Prelude to the Afternoon of a Faun delicately portrays a faun’s dreamlike vision of nymphs. The piece opens with Debussy literalizing one of Mallarmé’s lines: “it is my flute / whose faltering cascade relieves the grove.” Gradually the faun shakes off its slumber as the orchestra rises from the periphery. Bryce Dessner’s Violin Concerto, partially inspired by his walks through the forests of France, is a musical pilgrimage—questing, uncertain, and
tenacious. The concerto capitalizes on the violin’s dynamic scope; at times the soloist seems to disappear into the orchestra, at other times it’s in a passionate battle with its peers. Through this power struggle, Dessner plays with the “heroic form,” a structure that is inextricably linked to Beethoven’s Third Symphony, “Eroica.” Legendary for its inventiveness, bravura, and historical significance, the symphony underscores Beethoven’s profound emotional range.
—Tess Carges
PRELUDE TO THE AFTERNOON
OF A FAUN
Claude Debussy (1862–1918)
Composed: 1892–94
Orchestration: 3 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, small antique cymbals, 2 harps, and strings
First LA Phil performance: September 5, 1922, Alfred Hertz conducting
Claude Debussy came of age as a composer during a particularly rich period in French cultural history. Around 1887, the 25-year-old composer began attending the now legendary Tuesday-evening soirées at the apartment of
his friend the Symbolist poet Stéphane Mallarmé. Regular guests included the sculptor Auguste Rodin, the Impressionist painter Claude Monet, poets Paul Verlaine and Paul Valéry, and writers such as André Gide and Marcel Proust. These associations had a lasting influence on Debussy’s music. His works were shaped by the innovations in visual arts and literature of the time—a period when formal structure took a back seat to mood, atmosphere, and color. It was perhaps Mallarmé who exercised the greatest influence on the young composer. Debussy was quite taken with
Mallarmé’s Afternoon of a Faun, a dreamy poem written in 1876 and inspired by Théodore de Banville’s pastoral play Diane of the Forest. The elaborately constructed poem is a rhapsodic monologue from the point of view of a faun, that mythological halfman, half-goat creature. In a Mediterranean valley of yore, the faun awakens from a nap in the forest on a sunlit afternoon. He tries desperately to remember a dream—or a real encounter—with a pair of amorous nymphs. As the afternoon grows warmer, the faun becomes drowsier and finally drops off to sleep, hoping to meet his elusive
consorts in his dreams.
In the complex structure of Mallarmé’s poem, “an extreme sensuality, an extreme intellectuality, and an extreme musicality are combined, intermingled, and opposed,” as fellow poet Paul Valéry put it. Mallarmé’s philosophy was to suggest rather than to name objects. The hazy ambiguity of the poet’s words is magically mirrored in the fluid rhythms and tonal ambiguities of Debussy’s Prelude to the Afternoon of a Faun, composed during the years 1892 to 1894. In describing the Prelude as a free illustration of Mallarmé’s poem, Debussy said that his music sought to evoke “the successive scenes in which the longings and the desires of the faun pass in the heat of the afternoon.”
As the piece opens, the faun’s flute softly intones the languorously syncopated principal motive, consisting of scalewise passages, chromaticized within the range of three whole tones. Muted horns and soft harp answer. The emphasis is on the tritone, that most ambiguous of intervals. All these elements play a part in re-creating the dreamlike atmosphere of Mallarmé’s poem. The principal theme then passes through various instrumental
colors while tremolando strings create a backdrop of slumbrous noontime haze. After a second and third subject are introduced by the woodwinds, the piece slowly builds to a climax. The first theme then returns, more languorous than ever. Eventually a solo cello, then an oboe, join the flute, as horns, violins, and woodwinds weave an enchanted close, colored by repeated phrases for harp and the bell-like tone of antique cymbals, punctuated by a pair of low, whispering pizzicato strokes.
This quietly sensual score sparked a musical revolution when it premiered on December 22, 1894, at a National Society of Music concert in Paris. Nearly every aspect of this exquisitely wrought music of fragile beauty went against 19th-century musical conventions. A new fluidity of form was one of Debussy’s great contributions to modern music. In addition, the significant role that Debussy granted to instrumental color in his Prelude set it apart from all previous orchestral scores. As his great interpreter Pierre Boulez aptly noted, “The flute of Debussy’s Faune breathed new air into the art of music.” —Kathy Henkel
It is an endeavor as old as civilization to set out on a road that is supposed to take you to the very end of things, if you keep going… So a pilgrim sets off. One thing is certain, one item is constant in the set of beliefs with which he travels. It is simply this, that when you reach the place called the end of the world, you fall off into the water. —Anne Carson, “ The Anthropology of Water”
My Violin Concerto was partly inspired by Anne Carson’s essay “The Anthropology of Water,” which reimagines the pilgrimage to Santiago de Compostela. I now live in the Basque region of France, just beyond the Spanish border on
the Atlantic coast which sits directly on the pilgrimage route. In Carson’s essay, a modern young woman walks the Camino de Santiago. Each diary entry opens with a date, a place on the pilgrimage route (many villages are near where we live), and a quote from an earlier literary pilgrim (Mitsune, Bashō…).
I spent much of 2020 and 2021 at home during the pandemic, often taking long hikes through the oak forests with my 4-year-old son. I considered how journeys by foot create a different connection to the land and environment in which we live. Something about the practice of composing for orchestra, and writing a violin concerto, felt at times like a musical analog to this pilgrimage. Taking a journey that so many have taken before, and in which so many other musical pilgrims have left some of the most iconic and timeless music. So what does it mean for a contemporary artist to make this same journey and how these artifacts left behind by other artists inform our own course. Why are we drawn to a path so many
before us have taken and often? What could I have to say that could be new or specific to my own journey? These were thoughts in my mind as I composed this concerto for my dear friend Pekka Kuusisto, also thinking of the amazing conductors and orchestras who would perform it.
I have also often taken musical inspiration from the sea, a constant source for many artists, and one which has inspired pieces of mine such as St. Carolyn By The Sea and Wave Movements
In the concerto I acknowledge the history and form of the concerto— loosely functioning in three movements with a cadenza between the first and second…while the second and third movements play almost like one large section, and the whole piece is played attacca.
I chose to work with a smaller-size orchestra—which also suits the music well I think. It embraces elements of the heroic form of the violin concerto—with moments of intense interplay between soloist and orchestra—but in other ways I subvert the traditional form, with the solo violin driving large
sections of string tutti in the first movement, and then in the second movement this unison material distills into an individualist polyphony where each instrument, including every string player in the orchestra, has their own solo. Thus inverting the traditional relationships of soloist to orchestra. The third movement reflects back on this pilgrims journey with wavelike gestures in the orchestra giving way to a more driving and pulsing finale.
In Pekka Kuusisto, the violinist for whom my concerto is written and dedicated, I have an ideal collaborator, having previously composed a violin solo, Ornament and Crime (2015), for him, and he has long been a champion of my music both as director and chamber musician. He works at the highest level with a wide range of classical repertoire and is equally hungry for new works. He has a broad knowledge and appreciation of music beyond the walls of the classical genre and brings a creative whimsy to everything he touches.
First LA Phil performance: November 18, 1921, Walter Henry Rothwell conducting
It is wrong to tamper with the description placed at the head of this work by the composer himself. The inscription runs “Heroic Symphony to celebrate the Memory of a Great Man.” In this we see that there is no question of battles or triumphal marches such as many people, deceived by mutilations of the title, naturally expect; but much in the way of grave and profound thought, of melancholy souvenirs and of ceremonies imposing by their grandeur and sadness—in a word, it is the hero’s funeral rites. I know of few examples in music of a style in which grief has been so consistently able to retain such pure form and such nobility of expression. —Hector Berlioz (from À travers chant, 1862)
In 1802, Beethoven, confronted with his growing deafness, produced the document that has since become known as the Heiligenstadt Testament, named for the Vienna suburb where it was written. In it the composer confessed, with wrenching candor, to his altered physical—and, even more, psychological—state. Beethoven later mentioned in correspondence that he was seeking a “new path,” one that at once reflected his anguished state of mind and allowed him to overcome it. This resulting catharsis through composition came simultaneously with Beethoven’s discovery of theater music (primarily the now-forgotten operas of Cherubini and Méhul), composition of the oratorio Christus am Ölberge (Christ on the Mount of Olives), and embarking on his own operatic project, which would ultimately result in Fidelio. The “new path” was the road beyond music in the abstract and in the direction toward a sort of program music, not in the Romantic era’s sense of telling a story (for example Berlioz’s Symphonie
fantastique), but one in which the element of feeling drawn from life experience was prominent. The “Eroica” Symphony is among the most influential responses by a composer to extramusical stimuli. And the stimulus was Napoleon Bonaparte. Beethoven, like many of his educated peers during the Enlightenment, initially regarded Napoleon as the savior of Europe, if not of mankind. And it is his presence that looms over every page of this symphony. In the same vein as many other intellectuals, Beethoven became disenchanted, even disgusted, when Napoleon crowned himself emperor. The inscription “Bonaparte Symphony” was withdrawn and replaced by the less specific “Sinfonia Eroica.”
With those two thunderous E-flat chords that open the symphony, Beethoven becomes a new man—and the creator of a new music. Following those two cannon blasts we hear the cellos intone what seems to be the main theme. But the movement isn’t centered around a principal motif. By bar 85 four separate thematic ideas have
been introduced with more fanfare from the brass section than in any previous symphony by another composer. Too much can be made of the programmatic suggestions of the ensuing slow movement, a funeral march recalling, in the pithy description of the German American critic Paul Bekker, “the emotions of someone watching the funeral procession from afar, passing by, and then fading in the distance.” It has been suggested that with this dirgelike music Beethoven “buries” his erstwhile hero, Napoleon, after his self-aggrandizement. But Napoleon’s power grab did
not take place until after Beethoven had completed the symphony, adding mystery to its meaning.
The dazzlingly fleet, dynamically soft scherzo signifies a revival of the spirit. The trio section serves as a stunning display piece for the horns. In this movement Beethoven fully realizes “Haydn’s desire to replace the minuet by something on a scale comparable to the rest of a great symphony,” according to musicologist Donald Francis Tovey.
The finale is the giant (let’s call him Beethoven) fully reborn. The opening flourish leads into a favorite theme of the composer’s, previously
employed in his Creatures of Prometheus ballet, in the Op. 33 piano variations, and in a little contredanse. The full statement of the theme, in which the trivial is transformed into something splendidly noble, is succeeded by a stirring, relentless march melody. The symphony ends, fittingly, on a note of fiery triumph. The “Eroica” Symphony was first performed at a private concert in the Vienna home of the composer’s patron Prince Lobkowitz in 1804. The public premiere was at the Theater an der Wien, the home of so many other Beethoven firsts, on April 7, 1805. —Herbert Glass
ESA-PEKKA SALONEN
Esa-Pekka Salonen is known as both a composer and a conductor. He is the Music Director of the San Francisco Symphony and Conductor Laureate for the Philharmonia Orchestra, Los Angeles Philharmonic, and Swedish Radio Symphony Orchestra. As a member of the faculty of Los Angeles’ Colburn School, he develops, leads, and directs the preprofessional Negaunee Conducting Program. Salonen co-founded, and from 2003 until 2018 served as the Artistic Director of, the annual Baltic Sea Festival.
Salonen defined his tenure at the San Francisco Symphony with an impulse to expand and embrace the possibilities of the orchestra. In addition to an unprecedented leadership model joined by eight Collaborative
Partners—whose diversity of expertise reflects the scope of experience he envisions as the future of classical music and its audience— Salonen established the California Festival, a two-week, inter-institutional statewide celebration that he conceived alongside Gustavo Dudamel and Rafael Payare, and led a series of collaborations across disciplines and practices that united the musicians and administration into a singular engine dedicated to engaging classical music in novel ways.
This season, Salonen leads the San Francisco Symphony in world premieres of works by Nico Muhly, Xavier Muzik, and Gabriella Smith, among many other programs. He also returns to the Philharmonia Orchestra— both in London and on tour in Italy—and the Los Angeles Philharmonic, where he leads wide-ranging programs including Bryce Dessner’s Violin Concerto with Pekka Kuusisto and Boulez’s Notations with PierreLaurent Aimard. With the Orchestre de Paris, Salonen conducts a reprise of his and Romeo Castellucci’s staged production of Mahler’s Symphony No. 2, “Resurrection,” and a Boulez Centennial celebration with
choreography by Benjamin Millepied, while a Salzburg Easter Festival residency with the Finnish Radio Symphony Orchestra centers on a new Simon McBurney production of Mussorgsky’s Khovanshchina
Salonen’s compositions are programmed with 13 different orchestras this season. He conducts his own Tiu, kínēma, and cello concerto with the Finnish Radio Symphony Orchestra; he also conducts the Cello Concerto with The Cleveland Orchestra and San Francisco Symphony. With the Chicago Symphony Orchestra, he leads his Sinfonia concertante for organ and orchestra.
Salonen is the recipient of many major awards, including the UNESCO Rostrum Prize for his work Floof in 1992, and the Siena Prize, given by the Accademia Chigiana, in 1993; he is the first conductor to receive it. In 1995 he received the Royal Philharmonic Society’s Opera Award and two years later received its Conductor Award. Salonen was awarded the Litteris et Artibus medal by the King of Sweden in 1996. In addition to receiving both the Pro Finlandia Medal of the Order of the Lion of Finland and the Helsinki
Medal, he was named Commander, First Class, of the Order of the Lion of Finland by the President of Finland. Musical America named him its Musician of the Year in 2006, and he was elected an honorary member of the American Academy of Arts and Sciences in 2010. His Violin Concerto won the 2012 Grawemeyer Award for Music Composition. He was the recipient of the 2014 Nemmers Prize in Music Composition, which included a residency at the Henry and Leigh Bienen School of Music at Northwestern University and performances by the Chicago Symphony Orchestra. Also in 2014, he was awarded the Gloria Artis Medal for Merit to Culture by Poland’s Minister of Culture. In 2020, he was appointed an honorary Knight Commander of the Order of the British Empire (KBE) by Queen Elizabeth II. Previously an Officier of the Ordre des Arts et des Lettres, Salonen was awarded the rank of Commandeur by the French government in 2024. In 2024 he received the Polar Music Prize. To date, he has received seven honorary doctorates in four different countries.
PEKKA KUUSISTO
Violinist, conductor, and composer Pekka Kuusisto is renowned for his artistic freedom and fresh approach to repertoire. Kuusisto is Artistic Director of the Norwegian Chamber Orchestra and Principal Guest Conductor and Artistic Co-Director of the Helsinki Philharmonic Orchestra from the 2023/24 season. He is also a Collaborative Partner of the San Francisco Symphony and Artistic Best Friend of the Deutsche Kammerphilharmonie Bremen. In the 2024/25 season Kuusisto appears with the Helsinki Philharmonic and Gothenburg Symphony Orchestra as soloist and conductor and play-conducts the Norwegian Chamber Orchestra, Deutsche
Kammerphilharmonie Bremen, Swedish Chamber Orchestra, Danish National Symphony Orchestra, and Scottish Chamber Orchestra during his two-week residency in March. He conducts the Swedish Radio Symphony Orchestra, Lahti Sinfonia, and Ostrobothnian Chamber Orchestra. He appears as soloist with the Detroit Symphony Orchestra with Tabita Berglund; the NSO Dublin, Brussels Philharmonic, and Orchestre National de Lyon with André de Ridder; and the NDR Elbphilharmonie Orchestra, Los Angeles Philharmonic, and Boston Symphony Orchestra with Esa-Pekka Salonen as well as with Deutsches Symphonie-Orchester Berlin and Finnish Radio Symphony Orchestra. Kuusisto continues his collaboration with Gabriel Kahane as Council following successful tours in the US and Australia.
Recent highlights include appearances with the Mahler Chamber Orchestra, Leipzig Gewandhausorchester,
Berliner Philharmoniker, Helsinki Philharmonic, San Francisco Symphony, Cleveland Orchestra, Los Angeles Philharmonic, NHK Symphony Orchestra Tokyo, and Cincinnati and Boston symphony orchestras. He appeared as guest conductor with the Deutsches Symphonie-Orchester Berlin, Tokyo Metropolitan Symphony Orchestra, Gothenburg Symphony Orchestra, Scottish Chamber Orchestra, Swedish Chamber Orchestra, and Orchestre de chambre de Paris.
Kuusisto is an enthusiastic advocate of contemporary music and a gifted improviser and regularly engages with people across the artistic spectrum. Uninhibited by conventional genre boundaries and noted for his innovative programming, he has recently collaborated with Hauschka and Kosminen, Dutch neurologist Erik Scherder, pioneer of electronic music Brian Crabtree, eminent jazz trumpeter Arve Henriksen, juggler Jay Gilligan, accordionist
Dermot Dunne, and folk artist Sam Amidon, among others.
In 2024, Kuusisto was featured in two releases on Sony—Bryce Dessner’s album Solos, on which he performed the composer’s Ornament and Crime for solo violin, and on Anna Clyne’s and The Knights’ album Shorthand performing Prince of Clouds for two violins. In 2023, Kuusisto was featured conducting the Helsinki Philharmonic Orchestra in the first recording of Jaakko Kuusisto’s Symphony, Op. 39, (BIS) and as a violinist joined Malin Broman and the Ostrobothnian Chamber Orchestra to record works by Andrea Tarrodi, Britta Byström, Mats Larsson Gothe, and Sauli Zinovjev for Alba. In 2022, Kuusisto released his first album as conductor, partnering with Vilde Frang and Deutsche Kammerphilharmonie Bremen to present the Stravinsky and Beethoven violin concertos for Warner (for which he was nominated in the concerto category of
the 2023 Gramophone Awards), and as soloist he made the world premiere recording of Ades’ Märchentänze with Nicholas Collon and the Finnish Radio Symphony Orchestra for Ondine. With Pentatone, Kuusisto and the Norwegian Chamber Orchestra presented the 2021 album First Light featuring the world premiere recording of Nico Muhly’s violin concerto Shrink. Other recent releases include Ades’ Violin Concerto Concentric Paths, recorded with Aurora Orchestra and Nicholas Collon for Deutsche Grammophon; Hillborg’s Bach Materia and Bach’s Brandenburg Concertos Nos. 3 and 4 with the Swedish Chamber Orchestra and Thomas Dausgaard for BIS; and Daníel Bjarnason’s Violin Concerto with the composer conducting the Iceland Symphony Orchestra for Sono Luminus.
Pekka Kuusisto plays the Antonio Stradivari Golden Period “Scotta” violin (c. 1709), generously loaned by an anonymous patron.
Esa-Pekka Salonen Leads Debussy & Boulez
Los Angeles Philharmonic
Esa-Pekka Salonen, conductor
Pierre-Laurent Aimard, piano
L.A. Dance Project
Benjamin Millepied, choreographer
BOULEZ Selections from Notations
IV Rythmique for piano (c. 1 minute)
Pierre-Laurent Aimard
IV Rythmique for orchestra (c. 2 minutes)
VII Hiératique for piano (c. 1 minute)
Pierre-Laurent Aimard
VII Hiératique for orchestra (c. 9 minutes)
THURSDAY
MAY 8, 2025 8PM
SATURDAY
MAY 10 8PM
SUNDAY
MAY 11 2PM
BARTÓK
Piano Concerto No. 3 in E major, Sz. 119 (c. 23 minutes)
Allegretto
Adagio religioso
Allegro vivace
Pierre-Laurent Aimard
DEBUSSY La mer (c. 23 minutes)
De l’aube à midi sur la mer
Jeux de vagues
Dialogue du vent et de la mer
INTERMISSION
BOULEZ Rituel in memoriam Bruno Maderna (c. 24 minutes) (Choreography co-commissioned by the LA Phil with the Orchestre de Paris - Philharmonie, the New York Philharmonic, and L.A. Dance Project)
L .A. Dance Project
Programs and artists subject to change.
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
Sunday’s concert is dedicated to the memory of Ernest Fleischmann
AT A GLANCE
The program featured in these concerts embodies vivid contrasts and deep connections, among the composers and performers alike. The center of attention is Pierre Boulez, whose centenary we mark this year: an uncompromising champion of serialist composition, and a creator whose vibrant, ravishing music defied resistance to that particular strain of modernist art. Boulez was also a compelling conductor of global renown, his keenly analytical mind scouring away encrusted tradition to reveal new facets of cherished standards by composers like Bartók and Debussy. For Esa-Pekka Salonen, Boulez was an honored model as both composer and
SELECTIONS
FROM NOTATIONS
Pierre Boulez (1925–2016)
Composed: Douze Notations for piano, 1945; Notations I–IV for orchestra, 1977–1980, revised 1984 and 1987; Notations VII, 1997–1998, revised 2004
conductor; for Pierre-Laurent Aimard, Boulez was the mentor and comrade who tapped him to become a founding member of his newly formed Ensemble Intercontemporain. As champions of Boulez’s music—and as partners in an illuminating recent recording of Bartók’s piano concertos—Salonen and Aimard have taken up their illustrious forebear’s torch and carried it onward to the future. And by placing one of Boulez’s masterpieces, Rituel in memoriam Bruno Maderna, in conversation with a new dance by Benjamin Millepied, these artists demonstrate how tightly Boulez’s philosophy and music are woven into our modern concert-music world. —Steve Smith
First LA Phil performance: Notations IV, January 28, 1982, Myung-Whun Chung conducting; this is the first LA Phil performance of Notations VII
Contemplating the astonishing paradox represented by Notations, music that Pierre Boulez composed as a youthful radical and then transformed as a mature master, conductor Dennis Russell Davies offers a vivid proposition: “Perhaps the easiest way for a new listener to approach Boulez’s masterpiece is the way I tried to fully appreciate Shakespeare’s A Midsummer Night’s Dream—first reading it (with a dictionary!) and then seeing it on stage.”
The transformation Davies implies is illuminating. The Notations for solo piano, completed in 1945 but unpublished until 1985, conjure Boulez at age 20: fiercely
intellectual, firmly grounded in science and mathematics, and newly committed to 12-tone compositional procedures absorbed from Schoenberg and Webern. In Notations, Boulez tested his own mettle with an extraordinary challenge: Limiting himself to the number 12, he undertook the composition of 12 piano pieces all based on the same 12-tone scale, each exactly 12 bars long. What might sound arid and rigid instead reveals Boulez’s insights into what the instrument he had played since childhood could do. Each Notation is a world unto itself; together, the pieces also catalog lessons the young composer had absorbed from Messiaen (his teacher
at the Paris Conservatoire), Schoenberg, and Stravinsky. Later in life, Boulez revisited his earlier works with increasing frequency: refining and revising some repeatedly; repurposing others as raw material for newer creations. In 1978 he created extravagant orchestral elaborations upon Notations I–IV, which were given their premiere performances by Daniel Barenboim with the Orchestre de Paris in 1980, and then revised by Boulez in 1984 and 1987. Notations VII, again for Barenboim, had its premiere with the Chicago Symphony Orchestra in 1999.
Hearing the original and orchestral versions of Notation IV and Notation VII played in sequence should prove illuminating. In its original form Notation IV (“Rythmique”) can feel monomaniacal, pitting anxiously repeating rhythm patterns in the left hand against brittle right-hand gestures. In the orchestral version, rhythmic intensity remains but is diffused through the prismatic colors of a modern symphony orchestra equipped with eight percussionists, three harps, and celesta.
Notation VII (“Hiératique”) undergoes a more astonishing transfiguration, growing from roughly one minute in duration to nearly 10
minutes in its orchestral guise. Reviewing the Chicago premiere for The New York Times, Paul Griffiths likened the transformation to the process by which an oyster forms a pearl: “As if irritated by the original piano piece, the composer has given it a sumptuous, dense, and opalescent coating, not only expanding it but also, in a way, withdrawing its shock. The violent new influences of 1945 are, in the recomposition, being wiped away.” —S.S.
First LA Phil performance: January 27, 1949, Alfred Wallenstein conducting, with Andor Földes, soloist
The last nine months of Béla Bartók’s time on earth were blessed with commissions, from both his publisher and established artists. Since the Bartóks took up residence in New York City
nearly five years earlier, in October of 1940, their lives were occupied with illness, depression, and financial worries. Aside from his engagement at Columbia University from March 1941 to December 1942 on a Ditson Grant to study and process the Parry Collection of some 2,600 discs of Eastern European folk music, the findings of which he later published, few other opportunities arose. Though he and his wife, Ditta Pásztory, performed as a duo in the first few months of their arrival in New York, the concerts did not furnish an adequate income. No new works flowed from Bartók’s mind to his pen for two years. In 1942, his health began to decline, and by late 1943 the composer had been diagnosed with leukemia, the disease from which he would eventually die. This news was kept from Bartók, which proved to be for the best, as his health and energy began to make a modest comeback along with his creative powers.
The winds of change began to fill Bartók’s artistic sails with commissions. Just before the fatal diagnosis during the summer of 1943, he was approached by the conductor of the Boston Symphony, Serge Koussevitzky, who asked for an orchestral piece in memory of his wife Natalie,
resulting in the Concerto for Orchestra. The completion of this work renewed Bartók’s physical and mental strength. In March 1944, he completed the Sonata for Solo Violin, a commission from Yehudi Menuhin. By the end of 1944, he was able to boast of a “modest living” from his performance royalties and an agreement with his publisher for an advance of $1,400 annually. Add to this a commission from his publisher for a seventh string quartet and one from William Primrose for a viola concerto, and we are brought back to the paradox of a dying person bestowed with more commissions than he could possibly live up to. That is, unless the person was Béla Bartók. During the summer of 1945, with his health waning, Bartók completed the draft of his Viola Concerto, leaving it to be orchestrated. Simultaneously, he was writing his Piano Concerto No. 3 without a commission; in fact, he composed it for his wife. As he wrote to his son Peter: “…I should like to write a piano concerto for Mother. This plan has long been hanging in the air. If she could play it in three or four places then it would bring in about as much money as the one commission I refused….”
He completed all but the orchestration of the last 17 measures; it was his last composition.
The first movement is characterized largely by an ambience of serenity and near weightlessness, largely as a result of ornate melodic writing in which the piano is often reduced to a single-line voice, with few moments of rhythmic independence between hands. A transparent orchestral texture forms the loom on which the piano weaves its melodic threads.
The music of the Adagio religioso is a compendium of highly emotional content, drawing upon a wealth of human feeling contrasted with an evocation of nature. Beethoven of the “Pastoral” Symphony and the Adagio of his late quartet in A minor permeates the atmosphere of this movement. In Bartók’s music, the human and natural realms meld to form a continuum of reverence and awe at the very pulsations of life.
The finale is a rondo structure bearing a theme made up of an iamb followed by a trochee rhythm (shortlong, long-short). This movement is the most contrapuntal, containing fugal and imitative writing in both piano and orchestra. —Steve Lacoste
First LA Phil performance: February 27, 1925, Walter Henry Rothwell conducting
However problematic the label “impressionistic” is for the music of Claude Debussy, it does serve to highlight a crucial moment in the relationship between music and the other arts. After a century in which the Romantics celebrated music as the highest form of artistic expression, writers and painters began to free themselves from the ties to concrete reality that had seemed so limiting next to music’s ineffable, abstract qualities. Their resultant breakthroughs inspired composers, most fruitfully Debussy, to think about the materials of their art in new and previously unimaginable ways. Specific visual inspiration for the 1905 orchestral triptych La mer came, ironically, from the earlier generation of painters: J.M.W. Turner (1775–1851), whom Debussy lauded as the “finest creator of mystery in art,” and Katsushika Hokusai (1760–1849), whose
The Great Wave off Kanagawa print was the composer’s choice to adorn the title page of the score. Debussy’s own life experience provided an emotional canvas; he had thought at one point to become a sailor and kept a lifelong attachment to “my old friend, the sea; it is always endless and beautiful. It is really the thing in nature which best puts you in your place.”
Among the visual artists’ innovations was the use of color as an end in itself, and among the most influential legacies of Debussy was the use of musical color as an end in itself. The most obvious way Debussy achieves his sonorities is by augmenting the standard orchestra with some glitter: two harps and a large percussion section. But other musical elements also become agents of color. Harmonic changes serve as color washes; chords dissolve rather than resolve. Short melodic motives rather than fully developed themes sparkle in brief solos, substituting timbre and movement for narrative coherence. Throughout the first movement, “From Dawn to Noon on the Sea,”
motives interplay with quick timbral changes to suggest the sea’s dual nature: ever-changing on the surface but with an underlying eternal and static quality. The opening wavelike figure gradually accelerates; several thematic gestures emerge as the sea awakens, then subsides, as a brass chorale suggests the ocean’s depths. “Play of the Waves” functions as a symphonic scherzo, its evanescent interaction of timbre, non-Western scales, and cross-rhythms portraying the unsettled nature of the waves that dance, break apart, and come back together. As its title suggests, “Dialogue of the Wind and the Sea” offers more traditional thematic interchange, enhanced by the return of material from the first movement; this thematic repetition gives the piece a sense of settling down. There is an especially delicious effect when a solo trumpet rises above the fray momentarily, only to be reabsorbed into the orchestra. The ending washes over us with forceful dissonance, leaving the sensation Debussy identified of being “in your place.” —Susan Key
First LA Phil performance: May 20, 1984, Pierre Boulez conducting
Perpetual alternation: Litany for an imaginary ceremonial.
Ceremonial of remembrance— whence these recurrent patterns, changing in profile and perspective.
Ceremonial of death, ritual of the ephemeral and the eternal: thus the images engraved on the musical memory— present/absent, in uncertainty. —Pierre Boulez
A year following the death of influential Italian composer and conductor Bruno Maderna (1920–73), Pierre Boulez began composing an “imaginary ceremonial” to his dear friend and colleague. Commissioned by the BBC Symphony Orchestra, Rituel in memoriam Bruno Maderna premiered in April 1975 and received its first performance in the US at Tanglewood that
August. Boulez led the Los Angeles Philharmonic in the work’s West Coast premiere on May 20, 1984, as part of Festival Boulez/ LA, a three-week event that helped inaugurate the new Royce Hall complex at UCLA.
On the occasion of Festival Boulez/LA, the LA Phil provided the following program note:
Rituel is organized in 15 sections of varying lengths, alternating between even-numbered polyphonic sections that are unconducted and unsynchronized and coordinated odd-numbered homophonic sections that are conducted. The large orchestra forces of 32 solo winds, 10 solo strings, and nine percussion players are divided into eight varioussized groups with two of the percussionists functioning as a ninth “group” playing an ostinato of gong and tam-tam sounds. The 15 sections of the work are coordinated by the conductor against this gong/tam background.
The instrumental groups are constituted as follows:
Group 1: one oboe
Group 2: two clarinets
Group 3: three flutes
Group 4: four violins
Group 5: wind quintet
Group 6: string sextet
Group 7: wind septet
Group 8: 14 brass
These groups are placed on the stage so as to achieve a certain amount of acoustic/ timbral separation. Each of the groups 1 through 7 is accompanied by its own percussionist who, in the uncoordinated even sections—completely polymetric with each group playing independently of its neighbors—functions as a kind of “secret” conductor for each group. The brass group only participates in these even-numbered sections. Each group has written materials in rhythmic unison within its members, composed of different overall durations. The main conductor cues the entrance of the seven groups, according to a freely chosen sequence, and as the duration of the groups’ materials varies, it follows that the groups end successively. It is also unlikely, given the manifold mathematical variables contained in these sections, that no section would even turn out exactly the same.
As for the sequence of the work’s 15 sections, Boulez employs an additive approach, successively adding groups until in sections 12 and 13 all instruments are used. From the beginning of section 15 the instrumental groupings are gradually dismantled one by one (as in Haydn’s “Farewell” Symphony), until the final segment (a unison E flat) is
played by two groups (seven and eight), still against a gong and tam-tam background.
Not only in its use of a great variety of percussion instruments (66 in all, many originating from Asia or Africa) but in its overall “ritualistic” continuity and in its use of additive rhythmic structuring, Rituel is a work which derives as much from non-Western musical sources as our own European tradition. —From the Los Angeles Philharmonic Archives
Rituel, a collaboration highlighting Pierre Boulez’s legacy and his impact on contemporary music and dance, is a series of three engagements celebrating the 100th anniversary of the famed composer’s birth. Co-commissioned by the Orchestre de Paris – Philharmonie, the Los Angeles Philharmonic, the New York Philharmonic, and L.A. Dance Project, this performance brings together the artistic expertise of conductor Esa-Pekka Salonen and choreographer Benjamin Millepied. It features Boulez’s composition Rituel in memoriam Bruno Maderna, honoring his friend and fellow composer.
L.A. Dance Project’s participation in Rituel is made possible with the support of Van Cleef & Arpels.
ESA-PEKKA SALONEN
To read about conductor Esa-Pekka Salonen, please turn to page P9.
PIERRE-LAURENT AIMARD
“A brilliant musician and an extraordinary visionary” (Wall Street Journal ), Pierre-Laurent Aimard is widely acclaimed as an
authority on music of our time while recognized also for shedding fresh light on music of the past.
In the 2024/25 season Aimard celebrates the 150th anniversary of Maurice Ravel’s birth with ensembles such as Berner Symphonieorchester, Teatro alla Scala Orchestra, SWR Symphonieorchester, and The Philadelphia Orchestra, and at the Kissinger Sommer and Litomyšl festivals with the Czech Philharmonic. He also marks the centenary of his teacher and close friend Pierre Boulez, appearing as a soloist alongside hr-Sinfonieorchester Frankfurt, Ensemble Intercontemporain, and the Los Angeles Philharmonic and in recital at New York’s Carnegie Hall, Wiener Musikverein, Auditorium National de Lyon, Centro Nacional de Difusión Musical in Madrid, and Festspielhaus Baden-Baden.
Other highlights of 2024/25 include the late Peter Eötvös’ Cziffra Psodia with the Berlin Philharmonic and the world premieres of two works: …selig ist… for piano and electronics by Mark Andre at the Donaueschingen
Festival and a new work for piano four hands by George Benjamin that will be premiered at Berlin’s Boulez Saal with Aimard performing alongside the composer. Aimard has had close collaborations with leading composers including Helmut Lachenmann, Elliott Carter, Harrison Birtwistle, György Kurtág, Karlheinz Stockhausen, Marco Stroppa, and Olivier Messiaen and has given many notable premieres, most recently Clara Iannotta’s Piano Concerto for the Acht Brücken Festival in Cologne, which he repeated with the Wiener Symphoniker under the direction of Elena Schwarz. He also continues his associations with chamber music partners both old and new, notably Tamara Stefanovich at the Leipzig Gewandhaus and Zürich’s Fraumünster and actor Mathieu Amalric at the Théâtre des Champs-Elysées. Aimard features prominently in numerous festival lineups throughout the year, including Musikfestspiel Berlin, Prague Spring Festival, and Klavierfestival Ruhr. His extensive recital
schedule also includes Cité de la Musique in Paris, Amsterdam Muziekgebouw, Seoul Arts Centre, Tokyo’s Bunka Kaikan, Konzerthaus Dortmund, and Alte Oper Frankfurt.
In early 2024 Aimard released Schubert: Ländler. Awarded five stars by BBC Music Magazine, this record is the latest in a series of critically acclaimed collaborations with Pentatone, following his complete Bartók piano concertos with Esa-Pekka Salonen and the San Francisco Symphony (2023), Visions de l’Amen (2022) recorded with Tamara Stefanovich, Beethoven’s Hammerklavier Sonata & Eroica Variations (2021), and Messiaen’s magnum opus Catalogue d’oiseaux (2018), which garnered multiple awards including the prestigious German Record Critics’ Award.
Aimard is the recipient of many prizes, including the prestigious International Ernst von Siemens Music Prize in 2017 in recognition of a life devoted to the service of music and the
Leonie Sonning Music Prize, Denmark’s most prominent music award, in 2022.
A member of the Bayerische Akademie der Schönen Künste, Aimard has held professorships at the Hochschule Köln and was previously an Associate Professor at the Collège de France in Paris. In spring 2020, he relaunched a major online resource, Explore the Score, in collaboration with the Klavier-Festival Ruhr, which centers on the performance and teaching of Ligeti’s piano music.
BENJAMIN MILLEPIED
Benjamin Millepied is a choreographer, filmmaker, and former principal dancer with New York City Ballet. Millepied
studied classical ballet with Vladimir Skouratoff at the Grand Théâtre de Bordeaux and the School of American Ballet with Stanley Williams and Adam Luders before joining the New York City Ballet in 1995, where he was later promoted to Principal Dancer. His choreographic work began in 2001, and he soon after founded a pickup troupe, Danses Concertantes, before serving as choreographer-inresidence at the Baryshnikov Arts Center. Since 2005, he has choreographed for preeminent companies including the New York City Ballet, Paris Opera Ballet, San Francisco Ballet, American Ballet Theatre, Berlin Staatsoper, and Dutch National Ballet.
In 2012, Benjamin Millepied moved to Los Angeles and co-founded L.A. Dance Project with Charles Fabius with the vision to create a new model for a dance organization in America, from both an artistic and an economic perspective.
L.A. DANCE PROJECT
L.A. Dance Project is a nonprofit dance company under the artistic direction of Benjamin Millepied. Founded in 2012, it opened the doors to its studio and performance space in Los Angeles’ downtown Arts District in 2017.
L.A. Dance Project is dedicated to the pursuit of artistic innovation and excellence in the realm of contemporary dance. Its mission is to explore the boundaries of movement, creativity, and expression. Through experimentation and collaboration, it
strives to create captivating performances that challenge, provoke, and inspire audiences worldwide. Grounded in a commitment to artistic integrity and authenticity, L.A. Dance Project aims to cultivate a culture of curiosity, openness, and growth within the company and beyond. With humility and passion, it seeks to contribute to the evolution of dance as a dynamic and transformative art form, enriching lives and fostering connections across cultures and communities.
L.A. Dance Project
Lorrin Brubaker
Jeremy Coachman
Courtney Conovan
Daphne Fernberger
Shu Kinouchi
Audrey Sides
Hope Spears
Max Richter
Max Richter, piano
American Contemporary Music Ensemble
Clarice Jensen, cello and artistic director
Ben Russell, violin
Laura Lutzke, violin
Kyle Miller, viola
Claire Bryant, cello
Max RICHTER The Blue Notebooks INTERMISSION
Max RICHTER In A Landscape
Programs and artists subject to change.
FRIDAY MAY 9, 2025 8PM
MAX RICHTER
Often described as the most influential composer of his generation, Max Richter stands as a pivotal figure on the contemporary music scene. With streaming figures measured in the billions, Richter’s works cross boundaries and genres, encompassing solo artist albums, ballets, concert hall performances, cinema and television scores, video art installations, and theater works.
His last major recorded project, The New Four Seasons, was released in 2022, marking 10
years of his Vivaldi Recomposed project, rerecording the piece with period instruments. Richter is cofounder of Studio Richter Mahr alongside his partner, visual artist Yulia Mahr, in the English countryside in Oxfordshire, and they have powered it with cuttingedge solar and heat-pump technology. The duo has a huge passion for using the 31 acres of woodland to farm and provide a sustainable working environment, serving as a space where emerging and established creatives can come to develop their work.
AMERICAN CONTEMPORARY MUSIC ENSEMBLE
Since 2004, the American Contemporary Music Ensemble (ACME), led by cellist and artistic director Clarice Jensen, has risen to the highest ranks of American new music through a mix of meticulous musicianship, artistic vision, engaging collaborations, and unwavering standards in every regard. The membership of the amorphous collective includes some of the brightest stars in the field. NPR calls them “contemporary music dynamos,” and Strings reports, “ACME’s absorbing playing pulsed with warm energy…. Shared glances and inhales triggered transitions in a flow so seamless it seemed learned in a Jedi temple.” ACME was honored by ASCAP during its 10th-anniversary season in 2015 for the “virtuosity, passion, and commitment with which it performs and champions American composers.”
The ensemble has performed at leading international
venues including Lincoln Center, Carnegie Hall, BAM, The Kennedy Center, Washington Performing Arts, UCLA’s Royce Hall, Stanford Live, Chicago’s Millennium Park, Duke Performances, The Satellite in Los Angeles, STG Presents in Seattle, Melbourne Recital Hall and Sydney Opera House in Australia, and at festivals including the Sacrum Profanum Festival in Poland, All Tomorrow’s Parties in England, Auckland Arts Festival in New Zealand, Summer Nostos Festival in Greece, Boston Calling, and Big Ears in Knoxville, TN. ACME has performed Max Richter’s Sleep, an eight-hour lullaby for a sleeping audience, with him around the world, including at the Great Wall of China; on the piers of Auckland, New Zealand; in Hobart, Tasmania; at the Sydney Opera House; and in LA’s Grand Park, among others.
World premieres given by ACME include Clarice Jensen’s evening-length piece The Exaltation of Inanna for string quartet, guitar, and four singers; Ingram Marshall’s Psalmbook ; Jóhann Jóhannsson’s Drone Mass (commissioned by ACME in 2015); Caroline Shaw's
Ritornello; Phil Kline’s Out Cold; William Brittelle’s Loving the Chambered Nautilus; Timo Andres’ Senior and Thrive on Routine; Caleb Burhans’ Jahrzeit ; and many more. In 2016 at The Kitchen in New York, ACME premiered Jensen’s transcription of Julius Eastman’s The Holy Presence of Joan d’Arc for 10 cellos, the score of which had been lost since the premiere in 1981. Jensen transcribed a recording of the work to re-create the score. ACME’s collaborators have included the Richard Alston Dance Company, Wayne McGregor’s Random Dance, Gibney Dance, Satellite Ballet, Meredith Monk, Jóhann Jóhannsson, Max Richter, actress Barbara Sukowa, filmmaker Jim Jarmusch, Blonde Redhead, Grizzly Bear, Low, Matmos, Micachu & The Shapes, Jeff Mangum, A Winged Victory for the Sullen, Roomful of Teeth, Lionheart, and Theo Bleckmann. In March 2022, ACME released the worldpremiere recording of Jóhannsson’s contemporary oratorio Drone Mass on Deutsche Grammophon, with Theatre of Voices led by Paul Hillier. Gramophone
included the album on its list of Best New Classical Recordings. Of the album, Gramophone said, “Since Jóhann Jóhannsson’s death in 2018 at the age of only 48, his label DG has done much to promote the Icelandic composer’s posthumous reputation by releasing several soundtrack albums and retrospective collections. One nevertheless senses there exists among the many musical cues and film themes a work of real vitality, power and significance—a jewel in the crown of Jóhannsson’s creative achievements.
Drone Mass may well be that work. On one level, this contemporary oratorio for voices, string quartet and electronics— commissioned by the American Contemporary Music Ensemble (ACME) led by cellist Clarice Jensen, who are superb on this recording—is typically Jóhannssonian in its uncanny juxtaposition of the strange with the familiar and its rich interplay of multiple meanings.”
ACME’s discography also includes its first portrait album, Thrive on Routine, on Sono
Luminus; Jóhannsson’s Orphée and Max Richter’s Sleep, both on Deutsche Grammophon; Fantasias with thereminist Carolina Eyck, on Butterscotch Records; Joseph Byrd: NYC 1960–1963, the first commercial recording of the music of the rediscovered American Fluxus composer, Joseph Byrd, on New World Records; and William Brittelle’s electro-acoustic chamber work Loving the Chambered Nautilus and Jefferson Friedman’s On In Love with vocalist Craig Wedren, both on New Amsterdam Records.
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.
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 January 31, 2025.
$25,000,000 AND ABOVE
Walt and Lilly Disney Foundation
Cecilia and Dudley Rauch
$20,000,000 TO $24,999,999
David Bohnett Foundation
$10,000,000 TO $19,999,999
The Annenberg Foundation
Colburn Foundation
Lenore S. and Bernard A. Greenberg Fund
$5,000,000 TO $9,999,999
Anonymous Dunard Fund USA
Carol Colburn Grigor
Terri and Jerry M. Kohl
Los Angeles
Philharmonic
Affiliates
Diane and Ron Miller
Charitable Fund
M. David and Diane Paul
Ann and Robert Ronus
Ronus Foundation
John and Samantha Williams
$2,500,000 TO $4,999,999
Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann
Lynn Booth/Otis Booth Foundation
Elaine and Bram Goldsmith
Norman and Sadie Lee Foundation
Karl H. Loring
Alfred E. Mann
Elise Mudd
Marvin Trust
Barbara and Jay Rasulo
Flora L. Thornton
$1,000,000 TO $2,499,999
Linda and Robert Attiyeh
Judith and Thomas Beckmen
Gordon Binder and Adele Haggarty
Helen and Peter Bing
William H. Brady, III
Linda and Maynard Brittan
Richard and Norma Camp
Mr. and Mrs. Michael J. Connell
Mark Houston Dalzell and James Dao-Dalzell
Mari L. Danihel
Nancy and Donald de Brier
The Rafael & Luisa de Marchena-Huyke Foundation
The Walt Disney Company
Fairchild-Martindale Foundation
Eris and Larry Field
Max H. Gluck Foundation
Reese and Doris Gothie
Joan and John Hotchkis
Janeway Foundation
Bernice and Wendell Jeffrey
Carrie and Stuart Ketchum
Kenneth N. and Doreen R. Klee
B. Allen and Dorothy Lay
Los Angeles Philharmonic Committee
Estate of Judith Lynne
Maddocks-Brown Foundation
Ginny Mancini
Raulee Marcus
Barbara and Buzz McCoy
Merle and Peter Mullin
William Powers and Carolyn Powers
Koni and Geoff Rich
H. Russell Smith Foundation
Jay and Deanie Stein Foundation Trust
Ronald and Valerie Sugar
I.H. Sutnick
$500,000 TO $999,999
Ann and Martin Albert
Abbott Brown
Mr. George L. Cassat
Kathleen and Jerrold L. Eberhardt
Valerie Franklin
Yvonne and Gordon Hessler
Barbara Leidenfrost
Ernest Mauk and Doyce Nunis
Mr. and Mrs. David Meline
Sandy and Barry D. Pressman
Earl and Victoria Pushee
William and Sally Rutter
Nancy and Barry Sanders
Richard and Bradley Seeley
Christian Stracke
Donna Swayze
Judy Ungar and Adrienne Fritz
Lee and Hope
Landis Warner
YOLA Student Fund
Edna Weiss
$250,000 TO $499,999
Nancy and Leslie Abell
Mr. Gregory A. Adams
Baker Family Trust
Kawanna and Jay Brown
Leah Danberg
Veronica and Robert Egelston
Gordon Family Foundation
Ms. Kay Harland
Joan Green Harris Trust
Bud and Barbara Hellman
Gerald L. Katell
Norma Kayser
Joyce and Kent Kresa
Raymond Lieberman
Mr. Kevin MacCarthy and Ms. Lauren Lexton
Alfred E. Mann Charities
Glenn Miya and Steven Llanusa
Jane and Marc B. Nathanson
Miguel A. Navarro
Y & S Nazarian
Family Foundation
Nancy and Sidney Petersen
Rice Family Foundation
Robert Robinson
Kenneth D. Sanson
Katharine and Thomas Stoever
Sue Tsao
Alyce and Warren Williamson
$100,000 TO $249,999
Mr. Robert J. Abernethy
William A. Allison
Rachel and Lee Ault
W. Lee Bailey, M.D.
Angela Bardowell
Deborah Borda
The Eli and Edythe
Broad Foundation
Jane Carruthers
Pei-yuan Chia and Katherine Shen
James and Paula Coburn Foundation
The Geraldine P. Coombs Trust in memory of Gerie P. Coombs
Mr. and Mrs. Terry Cox
Silvia and Kevin Dretzka
Allan and Diane Eisenman
Christine and Daniel Ewell
Arnold Gilberg, M.D., Ph.D.
David and Paige Glickman
Nicholas T. Goldsborough
Gonda Family Foundation
Margaret Grauman
Kathryn Kert Green and Mark Green
Freya and Mark Ivener
Ruth Jacobson
Estate of Mary Calfas Janos
Stephen A. Kanter, M.D.
Jo Ann and Charles Kaplan
Yates Keir
Susanne and Paul Kester
Vicki King
Sylvia Kunin
Ann and Edward Leibon
Ellen and Mark Lipson
Ms. Gloria Lothrop
Vicki and Kerry McCluggage
Heidi and Steve McLean in memory of Katharine Lamb
David and Margaret Mgrublian
Diane and Leon Morton
Mary Pickford Foundation
Sally and Frank Raab
Mr. David Sanders
Malcolm Schneer and Cathy Liu
David and Linda Shaheen Foundation
William E.B. and Laura K. Siart
Magda and Frederick R. Waingrow
Wasserman Foundation
Robert Wood
Syham Yohanna and James W. Manns
$25,000 TO $99,999
Marie Baier Foundation
Dr. Richard Bardowell, M.D.
Jacqueline Briskin
Dona Burrell
Ying Cai & Wann S. Lee Foundation
Ann and Tony Cannon
Dee and Robert E. Cody
The Colburn Fund
Margaret Sheehy Collins
Mr. Allen Don Cornelsen
Ginny and John Cushman
Marilyn J. Dale
Mrs. Barbara A. Davis
Dr. and Mrs. Roger DeBard
Jennifer and Royce Diener
Jane B. and Michael D. Eisner
The Englekirk Family
Claudia and Mark Foster
Lillian and Stephen Frank
Margaret E. Gascoigne
Dr. Suzanne Gemmell
Paul and Florence Glaser
Good Works Foundation
Anne Heineman
Ann and Jean Horton
Drs. Judith and Herbert Hyman
Albert E. and Nancy C. Jenkins
Robert Jesberg and Michael J. Carmody
William Johnson and Daniel Meeks
Ms. Ann L. Kligman
Sandra Krause and William Fitzgerald
Michael and Emily Laskin
B. and Lonis Liverman
Sarah and Ira R. Manson
Carole McCormac
Meitus Marital Trust
Sharyl and Rafael Mendez, M.D.
John Millard
National Endowment for the Arts
Alfred and Arlene Noreen
Occidental Petroleum
Corporation
Dr. M. Lee Pearce
Lois Rosen
Anne and James Rothenberg
Donald Tracy Rumford Family Trust
The SahanDaywi Foundation
Mrs. Nancie Schneider
William and Luiginia Sheridan
Virginia Skinner
Living Trust
Nancy and Richard Spelke
Mary H. Statham
Ms. Fran H. Tuchman
Tom and Janet Unterman
Rhio H. Weir
Mrs. Joseph F. Westheimer
Jean Willingham
Winnick Family Foundation
Cheryl and Peter Ziegler
Lynn and Roger Zino
LA PHIL MUSICIANS
Anonymous Kenneth Bonebrake
Nancy and Martin Chalifour
Brian Drake
Perry Dreiman
Barry Gold
Christopher Hanulik
John Hayhurst
Jory and Selina Herman
Ingrid Hutman
Andrew Lowy
Gloria Lum
Joanne Pearce Martin
Kazue Asawa McGregor
Oscar and Diane Meza
Mitchell Newman
Peter Rofé
Meredith Snow and Mark Zimoski
Barry Socher
Paul Stein
Leticia Oaks Strong
Lyndon and Beth Johnston Taylor
Dennis Trembly
Allison and Jim Wilt
Suli Xue
We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.
Cinderella
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 February 1, 2024, and January 31, 2025.
$1,000,000 AND ABOVE
Anonymous (3)
$500,000 TO $999,999
Ballmer Group
Max H. Gluck Foundation
$200,000 TO $499,999
Anonymous (3)
Mr. Gregory A. Adams
Judith and Thomas L. Beckmen
R. Martin Chavez
Colburn Foundation Dunard Fund USA
Jane B. and Michael D. Eisner
Lisa Field
$100,000 TO $199,999
Anonymous (4)
Nancy and Leslie Abell
The Blue Ribbon Kawanna and Jay Brown
Becca and Jonathan Congdon
Michael J. Connell Foundation
Donelle Dadigan
Louise and Brad Edgerton/Edgerton Foundation
The Eisner Foundation
Ms. Erika J. Glazer
Alexandra S. Glickman and Gayle Whittemore
$50,000 TO $99,999
Anonymous (2)
Ms. Kate Angelo and Mr. Francois Mobasser
Antonieta Arango,
In memory of Javier Arango
Susan and Adam Berger
David Bohnett Foundation
Linda and Maynard Brittan
Thy Bui
Ying Cai & Wann S. Lee Foundation
Canon Insurance Service
Andrea Chao-Kharma and Kenneth Kharma
Dan Clivner
Mr. Richard W. Colburn
Nancy and Donald de Brier
De Marchena-Huyke Foundation
The Walt Disney Company
Robyn Field and Anthony O’Carroll
Mr. James Gleason
Ellen Goldsmith-Vein and Jon Vein
$25,000 TO $49,999
Anonymous (9)
The Herb Alpert Foundation
Dr. William Benbassat
Samuel and Erin Biggs
Mr. and Mrs.
Norris J. Bishton, Jr.
Jill Black Zalben
Michele Brustin
Gail Buchalter and Warren Breslow
Steven and Lori Bush
California Arts Council
Chevron Products Company
Esther S.M. Chui
Chao and Andrea Chao-Kharma
Mr. and Mrs. Robert Cook
Orna and David Delrahim
Mr. Lawrence Doyle and Dr. LuAnn Wilkerson
Michael Dreyer
Mike Dreyer
Joseph Drown Foundation East West Bank
Kathleen and Jerry L. Eberhardt
Edison International
Dr. Paul and Patti Eisenberg
Marianna J. Fisher and David Fisher
Austin and Lauren Fite Foundation
Debra Frank
Drs. Jessie and Steven Galson
The Rosalinde and Arthur Gilbert Foundation
Francis Goelet
Charitable Lead Trusts
Mr. Gregg Goldman and Mr. Anthony
DeFrancesco
Kate Good
Lori Greene Gordon and Neil Gordon
Anne Akiko Meyers and Jason Subotky
Jennifer Miller GoffTerri and Jerry M. Kohl Music Center Foundation
Gordon P. Getty The Hearthland Foundation
Tylie Jones
Tamara Golihew
GRoW @ Annenberg
The Hillenburg Family
Kaiser Permanente
Winnie Kho and Chris Testa
Los Angeles County Department of Arts and Culture
Madeleine Heil and Sean Petersen
Yvonne Hessler
David Z. & Young
O. Hong Family Foundation
Cindy and Alan Horn
Barbara and Amos Hostetter
Frank Hu and Vikki Sung
Monique and Jonathan Kagan
Mr. and Mrs.
Joshua R. Kaplan
Linda and Donald Kaplan
W.M. Keck Foundation
The Gorfaine/Schwartz
Agency
Liz and Peter Goulds
The Green Foundation
Faye Greenberg and David Lawrence
Renée and Paul Haas
Harman Family Foundation
Lynette Maria
Carlucci Hayde
Walter and Donna Helm
Mr. Philip Hettema
Marion and Tod Hindin
Fritz Hoelscher
Mr. Tyler Holcomb
Thomas Dubois
Hormel Foundation
Ms. Michelle Horowitz
Mr. and Mrs. Daniel
Paul Horwitz
Ms. Teena Hostovich and Mr. Doug Martinet
Mr. and Mrs.
James L. Hunter
The Music Man Foundation
Pasadena Showcase House for the Arts
Barbara and Jay Rasulo
The Rauch Family Foundation
James D. Rigler/Lloyd E. Rigler - Lawrence E. Deutsch Foundation
Linda and David
Ms. Irene Mecchi
John Mohme Foundation
Maureen and Stanley Moore
M. David and Diane Paul
Peninsula Committee
Sandy and Barry D. Pressman
Koni and Geoff Rich
Paul Kester
Darioush and Shahpar Khaledi
Dr. Ralph A. Korpman
Mr. and Mrs.
Keith Landenberger
The Norman and Sadie
Lee Foundation
Live Nation-Hewitt Silva Concerts, LLC
Roger Lustberg and Cheryl Petersen
Alfred E. Mann Charities
Linda May and Jack Suzar
Barbara and Buzz McCoy
Rosenthal Family Foundation
James and Laura Rosenwald/Orinoco Foundation
Maria Seferian
Jay and Deanie Stein Foundation Trust
Heidi and Steve McLean
Mr. and Mrs. David Meline
Michael and Lori Milken
Family Foundation
National Endowment for the Arts
Ms. Linda L. Pierce
Wendy and Ken Ruby
Richard and Diane Schirtzer
Howard and Stephanie Sherwood
Smidt Family Foundation Trust
Sony Pictures Entertainment, Inc.
Rif and Bridget Hutton
Robin and Gary Jacobs
Estate of Mary Calfas Janos
Julia Kalmus
Terri and Michael Kaplan
Elizabeth Kolawa
Delores M. Komar and Susan M. Wolford
David Lee
Mr. and Mrs. Simon K.C. Li
Charlene and Vinny Lingham
Ms. Judith W. Locke
The Seth MacFarlane Foundation
Mrs. Beverly C. Marksbury
Mr. and Mrs.
Andrew W. Marlowe
Ashley McCarthy and Bret Barker
Ms. Kim McCarthy and Mr. Ben Cheng
Coco Miller
Ms. Christine Muller and
Mr. John Swanson
Molly Munger and Stephen English
Deena and Edward Nahmias
Anthony and Olivia Neece
Mr. and Mrs.
Randy Newman
Mr. Robert W. Olsen
Tye Ouzounian
Ellen Pansky
Bruce and Aulana Peters
Dennis C. Poulsen and Cindy Costello
Madeline and Bruce Ramer
Mr. Bennett Rosenthal
Ross Endowment Fund
Bill and Amy Roth
Katy and Michael S. Saei
Mr. Lee C. Samson
San Marino-Pasadena
Philharmonic Committee
Ellen and Richard Sandler
Alyce de Roulet Williamson
Margo and Irwin Winkler
Ellen and Arnold Zetcher
Marilyn and Eugene Stein
Ronald and Valerie Sugar
Cecilia Terasaki
David William Upham
Foundation
Mr. Alex Weingarten
John and Marilyn Wells
Family Foundation
Estate of Ronald Wilkniss
Jenny Williams
Debra Wong Yang and John W. Spiegel
Lynn and Roger Zino
Miguel Santana
Elizabeth and Justus Schlichting
John Sinnema and Laura Sinnema
Melanie and Harold Snedcof
Randy and Susan Snyder
Jeremy and Luanne Stark
Lisa and Wayne Stelmar
Tom Strickler
Dwight Stuart Youth Fund
Dr. James Thompson and Dr. Diane Birnbaumer
Michael Frazier Thompson
Michael Tyler
Charles Urban
Jennifer and Dr. Ken Waltzer
Walter and Shirley Wang
Debra and John Warfel
Megan Watanabe and Hideya Terashima
Mindy and David Weiner
Zolla Family Foundation
Rolex Watch USA, Inc.
Shaheen
GALA PERFORMANCE
SATURDAY, MAY 31, 6 PM
SPRING SHOWCASE
SATURDAY, MAY 31, 1 PM AND SUNDAY, JUNE 1, 1 PM
YVONNE MOUNSEY & ROSEMARY VALAIRE
PHOTOGRAPH
$15,000 TO $24,999
Anonymous (4)
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
Mark and Pat Benjamin
Robert and Joan Blackman Family Foundation
Mr. and Mrs.
Geoff C. Bland
Mr. Ronald H. Bloom
Otis Booth Foundation
Mr. and Mrs. Hal Borthwick
Mr. and Mrs.
Steven Bristing
Business and Professional Committee
California Community Foundation
Campagna Family Trust
Dominic Chan
Chivaroli and Associates, Tiffany and Christian Chivaroli
Sarah and Roger Chrisman
Larison Clark
Mr. and Mrs. V.
Shannon Clyne
Faith and Jonathan Cookler
Cary Davidson and Andrew Ogilvie
Victoria Seaver Dean, Patrick Seaver, Carlton Seaver
Jennifer Diener and Eric Small
Michael Dillon
Malsi and Johnny Doyle
James and Andrea Drollinger
Van and
Francine Durrer
Dr. and Mrs.
William M. Duxler
Michael Edelstein and Dr. Robin Hilder
Ms. Robin Eisenman and Mr. Maurice LaMarche
Geoff Emery
Bonnie and Ronald Fein
Evelyn and Norman Feintech Family Foundation
Max Factor Family Foundation
E. Mark Fishman and Carrie N. Feldman
Foothill Philharmonic Committee
Alfred Fraijo Jr. and Arturo Becerra-Fraijo
Tony and Elisabeth Freinberg
Joan Friedman, Ph.D. and Robert N. Braun, M.D.
Mr. and Mrs.
Josh Friedman
Gary and Cindy Frischling
Jane Fujishige
Beth Gertmenian
Mr. and Mrs. Ronald Gertz
$10,000 TO $14,999
Anonymous (3)
Affiliates of the Desert
B. Allen and Dorothy Lay
Tichina Arnold
Ms. Lisette Arsuaga and Mr. Gilbert Davila
Dr. Richard Bardowell, M.D.
Judy and Leigh Bardugo
Stephanie Barron
Mr. Joseph A. Bartush
Catherine and Joseph Battaglia
Susan Baumgarten
Sondra Behrens
Phyllis and Sandy Beim
Mr. and Mrs.
Bill Benenson
Suzette and Monroe Berkman
Ms. Gail K. Bernstein
Helen and Peter S. Bing
Ken Blakeley and Quentin O’Brien
The Hon. Bob Bowers and Mrs.
Reveta Bowers
Oleg and Tatiana Butenko
Garrett Camp
Ms. Nancy Carson and
Mr. Chris Tobin
CBS Entertainment
Ms. Jessica Chen
Chien Family
Arthur and Katheryn Chinski
Chivaroli and Associates
Insurance Services
Carrie and Rob Glicksteen
Greg and Etty Goetzman
Goldman Sachs Co. LLC
Goodman Family Foundation
Robert and Lori Goodman
Rob and Jan Graner
Mr. Bill Grubman
Marnie and Dan Gruen
Michael Haefliger and Andrea Lötscher
Ms. Marian L. Hall
Laurie and Chris Harbert and Family
Lyndsay Harding
Diane Henderson MD
Jackson N. Henry
Stephen D. Henry and Rudy M. Oclaray
Stephen F. Hinchliffe
Gerry Hinkley and Allen Briskin
Arlene Hirschkowitz
Elizabeth HofertDailey Trust
K. Hohman Family
Deedie and Tom Hudnut
Mr. Gregory Jackson and Mrs. Lenora Jackson
Meredith Jackson and Jan Voboril
Meg and Bahram Jalali
Sharon and Alan Jones
Mr. Eugene Kapaloski
Tobe and Greg Karns
Mr. and Mrs.
Robert A. Kasirer
Sandi and Kevin Kayse
Vicki King
Larry and Lisa Kohorn
Naomi and Fred Kurata
Allyn and Jeffrey L. Levine
Dr. Stuart Levine and Dr. Donna Richey
Ms. Agnes Lew
Marie and Edward Lewis
Karen and Clark Linstone
Anita Lorber
Los Angeles Philharmonic Committee
Bethany Lukitsch and Bart Nelson
The Mailman Foundation
Raulee Marcus
Vilma S. Martinez, Esq.
Matt Construction Corporation
Jonathan and Delia Matz
Dwayne and Eileen McKenzie
David and Margaret Mgrublian
Marcy Miller
Cynthia Miscikowski
Mrs. Judith S. Mishkin
Marc and Jessica Mitchell
Mr. John Monahan
Ms. Susan Morad at Worldwide Integrated Resources, Inc.
Mr. Brian R. Morrow
John Nagler
Ms. Kari Nakama
Mr. and Mrs. Dan Napier
Mr. Jose Luis Nazar
Shelby Notkin and Teresita Tinajero
Christine M. Ofiesh
Laura Owens
Melissa Papp-Green and Jeff Green
Andy S. Park
Gregory Pickert and Beth Price
Nancy and Glenn Pittson
Cathleen and Scott Richland
Ms. Anne Rimer
John Peter Robinson and Denise Hudson
Mimi Rotter
Linda and Tony Rubin
The SahanDaywi Foundation
Ron and Melissa Sanders
Santa Monica-Westside Philharmonic Committee
Alexander and Mariette Sawchuk
Dena and Irv Schechter/ The Hyman Levine
Family Foundation: L’DOR V’DOR
Evy and Fred Scholder Family
Howard and Linda Schwimmer
Samantha and Marc Sedaka
Mr. Murat Sehidoglu
Joan and Arnold Seidel
Neil Selman and Cynthia Chapman
Marc Seltzer and Christina Snyder
Jane Semel
Mr. James J. Sepe
Julie and Bradley Shames
Mr. Steven Shapiro
Nina Shaw and Wallace Little
Jill and Neil Sheffield
Arnold Urquidez and Martha Shen-Urquidez
Lauren Shuler Donner
Grady and Shelley Smith
Mr. and Mrs.
Richard Sondheimer
Terry and Karey Spidell
Stein Family FundJudie Stein
Zenia Stept and Lee Hutcherson
Eva and Marc Stern
Akio Tagawa
Priscilla and Curtis S. Tamkin
Sue Tsao
Warren B. and Nancy L. Tucker
Elinor and Rubin Turner
Charles Edward Uhlmann
Mr. and Mrs.
Leonard Unger
Tom and Janet Unterman
Nancy Valentine
Noralisa Villarreal and John Matthew Trott
Frank Wagner and Lynn O’Hearn Wagner
Warner Bros. Discovery
Stasia and Michael Washington
Mr. and Mrs.
Steven White
Libby Wilson, MD
Alana L. Wray
Mahvash and Farrok Yazdi
Karl and Dian Zeile
Kevork and Elizabeth Zoryan
Dr. and Mrs.
Lawrence J. Cohen
Jay and Nadege Conger
Hillary and Weston Cookler
Alison Moore Cotter
Katie Danois
Dr. and Mrs. Nazareth
E. Darakjian
Lynette and Michael C. Davis
Nancy and Patrick Dennis
Sean Dugan and Joe Custer
Emil Ellis Farrar and Bill Ramackers
Mr. Tommy Finkelstein and Mr. Dan Chang
Ella Fitzgerald
Charitable Foundation
Daniel and Maryann Fong
Mr. Michael Fox
Bernard H. Friedman and Lesley Hyatt
Roberta and Conrad Furlong
Dr. and Mrs.
Bruce Gainsley
Mr. Peter A. Gelles and Mrs. Eve Steele Gelles
Kiki Ramos Gindler and David Gindler
Mr. and Mrs.
Louis L. Gonda
Manuela Cerri Goren
Mr. and Mrs.
Daniel M. Gottlieb
Mr. and Mrs. Ken Gouw
Lenore S. and Bernard
A. Greenberg Fund
Tricia and Richard
Grey
Beverly and Felix Grossman
Roberta L. Haft and Howard L. Rosoff
Beth Fishbein Hansen
Ms. Deborah Harkness
Mr. Sam Harris
Mr. and Mrs. Irwin
Helford and Family
Andrew Hewitt
Liz Levitt Hirsch
Jessica and Elliot Hirsch
Mr. Raymond W. Holdsworth
Joyce and Fredric Horowitz
Mr. Frank J. Intiso
James Jackoway
Kristi Jackson and William Newby
Mr. and Mrs.
Steaven K. Jones, Jr.
Dr. William B. Jones
Marilee and Fred Karlsen
Rizwan and Hollee Kassim
Mr. and Mrs.
Stephen Keller
Leigha Kemmett and Jacob Goldstein
Mr. Mark Kim and Ms. Jeehyun Lee
Jay T. Kinn and Jules B. Vogel
Mr. and Mrs.
Kenneth N. Klee
Mr. and Mrs. Scott Krivis
Nickie and Marc Kubasak
Craig Kwiatkowski and Oren Rosenthal
Dr. and Mrs. Kihong Kwon
Lauren B. Leichtman and Arthur E. Levine
Mr. and Mrs.
Norman A. Levin
Randi Levine
Lydia and Charles Levy
Maria and Matthew Lichtenberg
Lynn Loeb
Los Angeles
Philharmonic Affiliates
Kyle Lott
Theresa Macellaro / The Macellaro
Law Firm
Mona and Frank Mapel
Milli M. Martinez and Don Wilson
Leslie and Ray Mathiasen
Liliane Quon McCain
Cathy McMullen
Ms. Marlane Meyer
Mr. Alexander Moradi
Wendy Stark Morrissey
Carrie Nery
Dick and Chris Newman / C & R Newman Family Foundation
Kenneth T. & Eileen L.
Norris Foundation
Mr. John Nuckols
Irene and Edward Ojdana
Steve and Gail Orens
Mr. Ralph Page and Patty Lesh
Ana Paludi and Michael Lebovitz
Loren Pannier
Mr. and Mrs. Carl Pearlston
Ms. Debra Pelton and Mr. Jon Johannessen
Julie and Marc Platt
Robert J. Posek, M.D.
Mark Proksch and Amelie Gillette
William “Mito” Rafert
Lee Ramer
Eduardo Repetto and Carla Figueroa
Risk Placement Services
Hon. Ernest M. Robles
Murphy and Ed Romano and Family
Mr. Steven F. Roth
Ms. Rita Rothman
Mr. and Mrs.
Stanford Rubin
Mr. David Rudy
Jesse Russo and Alicia Hirsch
Mr. and Mrs. Paul Rutter
Ann M. Ryder
Dr. and Mrs. Bernard Salick
Dr. and Mrs. Heinrich Schelbert Dr. Donald Seligman and Dr. Jon Zimmermann
Ruth and Mitchell Shapiro
Gloria Sherwood
The Sikand Foundation
Jennifer Speers
Joseph and Suzanne Sposato
Mr. and Mrs. Mark Stern
James C. Stewart
Charitable Foundation
Rose and Mark Sturza
Marcie Polier Swartz and David Swartz
Jennifer Taguchi
Christine Upton
Kathy Valentino
Rachel Wagman
Bob and Dorothy Webb
Robert Weingarten
Sheila and Wally Weisman
Abby and Ray Weiss
Bryan D. Weissman and Jennifer Resnik
Doris Weitz and
Alexander Williams
Karen and Rick Wolfen
Mr. and Mrs.
Howard Zelikow
Bobbi and Walter Zifkin
CITY OF LOS ANGELES
Karen Bass Mayor
Hydee Feldstein Soto
City Attorney
Kenneth Mejia Controller
CITY COUNCIL
Bob Blumenfield
Marqueece Harris-Dawson
President
Eunisses Hernandez
Heather Hutt
Ysabel J. Jurado
John S. Lee
Tim McOsker
Adrin Nazarian
Imelda Padilla
Traci Park
Curren D. Price, Jr.
Nithya Raman
Monica Rodriguez
Hugo Soto-Martínez
Katy Young Yaroslavsky
DEPARTMENT OF CULTURAL AFFAIRS
Daniel Tarica General Manager
CULTURAL AFFAIRS COMMISSION
Robert Vinson President
Natasha Case Vice President
Thien Ho
Ray Jimenez
Asantewa Olatunji
Christina Tung
Tria Blu Wakpa
WALT DISNEY CONCERT HALL HOUSE STAFF
Marcus Conroy
Master Electrician, Steward
Charles Miledi
Master Props
Sergio Quintanar
Master Carpenter
Kevin F. Wapner
Master Audio/Video
The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada, Local No. 33.
A culinary
for your theatre outing encore
A PERFECT DINING EXPERIENCE TO PAIR WITH YOUR PERFORMANCE
Indulge in a seasonal three-course prix fixe menu at Noé Restaurant & Bar, just a short walk from the theatre. Enjoy a stress-free meal with valet parking for $25 and receive 15% off your bill at Noé when you present your theatre program. Scan the QR code & reserve your table now for an unforgettable evening.
$5,500 TO $9,999
Anonymous (6)
Bobken and Hasmik Amirian
Debra and Benjamin Ansell
Art and Pat Antin
Javi Arango
Dr. Mehrdad Ariani
Sandra Aronberg, M.D.
Ms. Judith A. Avery
Mr. Mustapha Baha
Pamela and Jeffrey Balton
Howard Banchik
Mrs. Linda E. Barnes
Reed Baumgarten
Logan Beitler
Maria and Bill Bell
Mr. Alan N. Berro
Richard Birnholz
Mitchell Bloom
Thomas J. Blumenthal
Joan N. Borinstein
Greg Borrud
Ms. Leslie Botnick
Mr. Ray Boucher
Dr. and Mrs. Hans Bozler
Ms. Marie Brazil
Lynne Brickner and Gerald Gallard
Drs. Maryam and Iman Brivanlou
Jennifer Broder and Soham Patel
Ronald Brot
Mrs. Linda L. Brown
Mary Lou Byrne and Gary W. Kearney
Tanille Carter
Dr. Kirk Y. Chang
Mr. and Mrs.
Ronald Clements
Committee of Professional Women
Mr. and Mrs.
Richard W. Cook
Mr. and Mrs.
Bruce Corwin
Lloyd Eric Cotsen
Jessica and James Dabney
Mr. James Davidson and Mr.
Michael Nunez
Ms. Rosette Delug
Elizabeth and Kenneth M. Doran
Julie and Stan Dorobek
Bob Ducsay and Marina Pires de Souza
Steven Duffy
Mr. and Mrs.
Brack W. Duker
Anna Sanders Eigler
Alex Elias
John B. Emerson and Kimberly Marteau
Emerson
Janice Feldman, JANUS et cie
Mr. Gregg Field and Ms. Monica Mancini
Laura Fox, M.D., and John Hofbauer, M.D.
The Franke Family Trust
Linda and James Freund
Ms. Kimberly Friedman
Mrs. Diane Futterman
Ruchika Garga
Dr. Tim A. Gault, Sr.
Gibson, Dunn & Crutcher
Jon M. Gibson
Leslie and Cliff Gilbert-Lurie
Mr. and Mrs.
Herbert Glaser
Glendale Philharmonic Committee
Jory Goldman
Carol Goldsmith
Mr. and Mrs.
Russell Goldsmith
Edith Gould
Lee Graff Foundation
Diane and Peter H. Gray
Mr. and Mrs.
Paul E. Griffin III
Rita and William Griffin
Rod Hagenbuch
Mr. William Hair
Dwight Hare and Stephanie Bergsma
Drs. Susan Hammar and Rick Harrison
Myrna and Uri Herscher
Family Foundation
William Hewes
Tina and Ivan Hindshaw
David and Martha Ho
Janice and Laurence Hoffmann
Eugene and Katinka Holt
Jill Hopper
Dr. and Mrs. Mel Hoshiko
Michael Insalago
International Committee of the LA Philharmonic Association
Libby and Arthur Jacobson
Mrs. Leonard Jaffe
Gordon M. Johnson and Barbara A. Schnell
Doug and Minda Johnstone
Barbara A. Jones
Randi and Richard B. Jones
Mr. William Jordan
Meredith Jury
Robin and Craig Justice
Hun and Jee Kang
Judith and Russell Kantor
Marty and Cari Kavinoky
Ms. Sharon Kerson
Daisietta Kim
Remembering Lynn
Wheeler Kinikin
Phyllis H. Klein, M.D.
Michael and Patricia Klowden
Alan S. Koenigsberg and John A. Dotto
Lee Kolodny
Lori Kunkel
Lena and Mark Labowe
Mr. Richard W. Labowe
Katherine Lance
Mr. and Mrs.
Jack D. Lantz
Joan and Chris Larkin
Mrs. Grace E. Latt
Ms. Jeanne Lawson
Mr. George Lee
Mr. Stephen Leidner
Mr. Benjamin Lench
Lennox Foundation
David and Rebecca Lindberg
Mr. Greg Lipstone
Ms. Diana Longarzo
Scott Lord
Mr. Joseph Lund and Mr. James Kelley
Kevin MacLellan and Brian Curran
Stephen Martinez
Pam and Ron Mass
Mr. and Mrs.
Thomas E. McCarthy
Mr. and Mrs.
William F. McDonald
Courtney McKeown
Lawry Meister
Carlos Melich
Mr. and Mrs.
Dana Messina
Mr. Weston F. Milliken
Linda and Kenneth Millman
Gretl and Arnold Mulder
Sheila Muller
Loretta Munoz
Craig and Lisa Murray
Ms. Yvonne Nam and Mr. David Sands
Rachel Nass
Mrs. Cynthia Nelson
Ms. Kimberly Nicholas
Ms. Mary D. Nichols
Steven A. Nissen
Mr. Michael B. Nissman
Amelia and Joe Norris
Kim and P.F.
James Overton
Cynthia Patton
Alyssa Phaneuf
Peggy Phillips
Lorena and R. Joseph Plascencia
Lyle and Lisi Poncher
Mrs. Ruth S. Popkin
James S. Pratty, M.D.
Joyce and David Primes
Maria Rodriguez and Victoria Bullock
Mr. and Mrs.
William C. Roen
Peter and Marla Rosen
Bill Rowland
Mr. Andrew E. Rubin
Dr. Michael Rudolph
Thomas C. Sadler and Dr. Eila C. Skinner
Thomas Safran
Ms. Maryanne Sawoski
Dr. Marlene M. Schultz and Philip M. Walent
Sue and Don Schuster
Michael Sedrak
John L. Segal
Dr. and Mrs.
Hervey Segall
Laurie Selik
Mr. Chris Sheridan
Pamela and Russ Shimizu
Scott Silver
Loraine Sinskey
Mr. and Mrs.
Peter R. Skinner
Cynthia and John Smet
Mr. Douglas H. Smith
Mr. and Mrs.
Michael G. Smooke
Los Angeles Jewish Health...Energizing Senior Life!
SouthWest Heights
Philh
Shondell and Ed Spiegel
William Spiller
Lael Stabler and Jerone English
Mr. and Mrs. Joseph Stein
Fran Sweeney
Mr. Marc A. Tamaroff
Mr. and Mrs. Randall Tamura
Andrew Tapper and
Mary Ann Weyman
Judith Taylor
Mr. Stephen S. Taylor
Mrs. Elayne Techentin
Ms. Evangeline M. Thomson
Jeremy Thurswell
Richard Turkanis and Wendy Kirshner
Kathleen and Louis Victorino
Terry and Ann Marie Volk
Mr. Nate Walker
Lisa and Tim Wallender
Kathy S. Walton
Jeffrey Westheimer
Ms. Jill Wickert
Mr. Robert E. Willett
David and Michele Wilson
Mr. Steve Winfield
Bill Wishner
Mr. and Mrs. Richard Wynne
Mr. Nabih Youssef
Rudolf H. Ziesenhenne
$3,500 TO $5,499
Anonymous (7)
Mr. Robert A. Ahdoot
Ty Ahmad-Taylor
Ms. Rose Ahrens
Cary Albertsone
Adrienne S. Alpert
Edna R.S. Alvarez
Mr. Peter Anderson and
Ms. Valerie Goo
Mr. Robert C. Anderson
Dr. Philip Anthony
Betsy andHarold E. Applebaum
Carlo and Amy Baghoomian
Tawney Bains and Zachary Roberts
Terence Balagia
Clare Baren and David Dwiggins
Ken and Lisa Baronsky
Kay and Joe Baumbach
Mr. Richard Bayer
George andKaren Bayz
Newton and Rochelle Becker
Charitable Trust
Ms. Nettie Becker
Ellis N. Beesley, Jr. M.D.
Garrett Bell and Catherine Simms
Ms. Karen S. Bell and Mr. Robert Cox
Mr. and Mrs. Philip Bellomy
Benjamin Family Foundation
Dr. and Mrs. Gerald Berke
Mr. and Mrs. Gregg and
Dar
Vince Bertoni and Damon Hein
Mr. and Mrs. Dan Biles
Lisa Biscaichipy
Dr. Andrew C. Blaine and Dr. Leigh Lindsey
Michael Blake
Mr. Larry Blivas and Ms. Julie Blivas
Ms. Judith Blumenthal
Leni I. Boorstin
Michael Boucher and Ashley Coats
Jemelia Bowie
Anita and Joel Boxer
Mr. Donald M. Briggs and Mrs. Deborah J. Briggs
Kevin Brockman and Dan Berendsen
Ryan and Michelle Brown
Diana Buckhantz
Mrs. Lupe P. Burson
Michael Chait
Mr. Jon C. Chambers
Adam Chase
Dr. Hai S. Chen
by
LUCAS HNATHdirectedbyJENNIFER
a doll’s house part 2
Don’t miss this AUDACIOUS sequel 146 years after Ibsen’s CLASSIC .
MAY 14JUNE 8
Mr. Louis Chertkow
Dr. Stephanie Cho and Jacob Green
Carla Christofferson
Susan and David Cole
In Honor of Judge John L. Cole and Mrs. Peggy S. Cole
Ms. Ina Coleman
Mr. Michael Corben and Ms. Linda Covette
Mrs. Nancy A. Cypert
Ms. Laurie Dahlerbruch
Mr. and Mrs. Leo David
Mrs. Judi Davidson
Mr. Howard M. Davine
Gloria De Olarte
Ms. Mary Denove
Wanda Denson-Low and Ronald Low
Tim and Neda Disney
R. Stephen Doan and Donna E. Doan
Mr. Anthony Dominici and Ms. Georgia Archer
Mr. Gregory C. Drapac
Victoria Dummer and Brion Allen
Dr. David Eisenberg
Mrs. Eva Elkins
Susan Entin
Douglas D Erenberg
Bob Estrin
Richard and Sara Evans
Jen and Ted Fentin
Lyn and Bruce Ferber
Dr. Walter Fierson and Dr. Carolyn Fierson
A.B. Fischer
Steven Fishman
Mr. and Mrs. Michael M. Flynn
Mrs. Diane Forester
Bruce Fortune and Elodie Keene
Lynn Franklin
Ian and Meredith Fried
Steven Friednam
David Fury
Mr. and Mrs. Alan M. Gasmer
Sara and Derek Geissler
Dr. and Mrs. Anthony Gerber
Susan and David Gersh
Susan and Jaime Gesundheit
Mr. and Mrs. Harlan Gibbs
Jason Gilbert
Mr. and Mrs. David A. Gill
The Gillis Family
Stephen Gingold
Tina Gittelson
William and Phyllis Glantz
Madelyn and Bruce S. Glickfeld
Dr. and Mrs. Steven Goldberg
Sheila Golden
Dr. Patricia Goldring
The Honorable and Mrs. Allan J. Goodman
Elliot Gordon and Carol Schwartz
Mr. James Granger
Dr. Stuart and Adrienne Green
Mr. and Mrs. Carl C. Gregory
Barrie Grobstein
Mr. Frank Gruber and Ms. Janet Levin
Mr. Gary M. Gugelchuk
Dr. and Mrs. Charles Gustafson
Judith and Robert D. Hall
Mr. Robert T. Harkins
Mr. and Mrs. Brian L. Harvey
Mr. and Mrs. Lewis K. Hashimoto
Kaitlin and Jonathan Hawk
Mr. Donald V. Hayes
Peter and Nicolette Hebert
Mr. Rex Heinke and Judge Margaret Nagle
Gail and Murray E. Heltzer
Betsydiane and Larry Hendrickson
Mr. and Mrs. Enrique Hernandez, Jr.
Ms. Gail Herring
Jim Herzfeld
The Hill Family
Dr. and Mrs. Hank Hilty
Glenn Hogan
Mrs. Cathy Hong
In Hong
Douglas and Carolyn Honig
Jonathan Howard
Dr. Timothy Howard and Jerry Beale
Francis Hung Jr.
Mrs. Carole Innes
Harry and Judy Isaacs
Jackie and Warren Jackson
Mr. Channing Johnson
Mr. Sean Johnson
Mireya Asturias Jones and Lawrence Jones
Mr. Ken Kahan
Lawrence Kalantari
Catherine and Harry Kane
Karen and Don Karl
Mr. and Mrs. David S. Karton
Aleksey Katmissky
Jonathan Kaunitz
Dr. and Mrs. David Kawanishi
Kayne, Anderson & Rudnick
John Keith
Mr. and Mrs. Michael C. Kelley
Richard Kelton
Jason King
Lauren King
Mr. and Mrs. Jon Kirchner
Sandra Krause and
William Fitzgerald
Sharon and Joel Krischer
Brett Kroha and Ryan Bean
Mr. and Mrs. Howard A. Kroll
James Laur and Peter Kongkasem
Craig Lawson and Terry Peters
Mr. Les Lazar
Ms. Leerae Leaver
Mr. Robert Leevan
Dr. Bob Leibowitz
Mr. Donald S. Levin
Mr. and Mrs. Edward B. Levine
Benjamin Bear Levy
David and Meghan Licata
Dr. and Mrs. Mark Lipian
Ms. Elisabeth Lipsman
Mr. and Mrs. Lewis Lipstone
Ms. Bonnie Lockrem and Mr. Steven Ravaglioli
Robert and Susan Long
Jasmine Lord
Susan Disney Lord and Scott Lord
Mr. and Mrs. Boutie Lucas
Crystal and Elwood Lui
Dr. Jamshid Maddahi
Mr. and Mrs. Ronald Manzani
Mr. Allan Marks and Dr. Mara Cohen
Mr. and Mrs. Stanley Maron
Areva Martin
Paul Martin
Mr. Gary J. Matus
Dr. and Mrs. Gene Matzkin
Kathleen McCarthy and Frank Kostlan
Michael and Jan Meisel
Robert L. Mendow
Mr. Robert Merz
Marcia Bonner Meudell and Mike Merrigan
Linda and David Michaelson
MA Mielke
Dr. Gary Milan
Mr. and Mrs. Simon Mills
Janet Minami
Mr. and Mrs. William Mingst
Mr. Lawrence A. Mirisch
Maria and Marzi Mistry
Robert and Claudia Modlin
Katherine Molloy
Linda and John Moore
Toni Hollander Morse and Lawrence Morse
William Morton
Munger, Tolles & Olson
Mr. and Mrs. Jeff Nathan
Bruce Needleman
VISIONARIES:
MARTÍN + BEETHOVEN
MAY 10 | 7:30 PM | Alex Theatre MAY 11 | 4 PM | The Wallis
Jaime Martín CONDUCTOR Nemanja Radulović VIOLIN
CELESTIALS:
MOBLEY + VIVALDI
MAY 20 | 7:30 PM | The Wallis
MAY 22 | 7:30 PM | The Huntington
Margaret Batjer LEADER
Reginald Mobley COUNTERTENOR
2024/25 SEASON
MAESTROS:
MARTÍN + BACH
MAY 31 | 7:30 PM | The Wallis JUN 1 | 4 PM | The Huntington
Jaime Martín
CONDUCTOR + SOLO FLUTE
Radulović
Reginald Mobley COUNTERTENOR
Jaime Martín MUSIC DIRECTOR
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Robert and Sally Neely
Mr. Liron Nelik
Mumsey and Allan Nemiroff
Ms. Beatrice H. Nemlaha
Mr. Jerold B. Neuman
Bill and Mary Newbold
Mr. John M. Nisley
Ms. Jeri L. Nowlen
Deborah Nucatola
Mr. and Mrs. Oberfeld
Ms. Margo Leonetti O’Connell
Ms. Margaret R. O’Donnell
Mr. John O’Keefe
Mr. Dale Okuno
Sarah and Steven Olsen
David Olson and Ruth Stevens
Michael Olson
Mr. and Mrs. Richard Orkand
John C. Orr
Adriana Ortiz
Sharon Osbourne
Alicyn Packard and Jason Friedman
January Parkos-Arnall
Mrs. Ethel Phipps
Mr. Jeff Polak and Mrs. Lauren Reisman Polak
Ms. Virginia Pollack
Ms. Eleanor Pott
Mr. Joseph S. Powe
Debbie and Rick Powell
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John R. Privitelli
Ms. Marci Proietto
Q-Mark Manufacturing, Inc.
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Gay and Ronald Redcay
David and Mary Beth Redding
Diana Reid and Marc Chazaud
Dr. Susan F. Rice
Mr. Ronald Ridgeway
Mr. and Mrs. Kenneth Riley
Natalie Roberts
Mr. and Mrs. Norman L. Roberts
Robinson Family Foundation
Rock River
Mrs. Laura H. Rockwell
Ms. Kristina Rodgers
In memory of RJ and JK Roe
Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen
Michelle and Mark Rosenblatt
Mr. Richard Rosenthal and Ms. Katherine Spillar
Joshua Roth and Amy Klimek
Nancy and Michael Rouse
Mr. and Mrs. Matthew Rowland
Ms. Karen Roxborough
Betty J Saidel
Valerie Salkin
Ms. Allison Sampson
Curtis Sanchez
Mr. and Mrs. Michael Sanders
Mr. and Mrs. Charles M. Sarff
Ms. Maxine Savitz
Mr. Alan Scolamieri
Mr. and Mrs. Peter Segal
Dr. and Mrs. Hooshang Semnani
Mr. Majid M. Seyedi-Rezvani
Ms. Amy J. Shadur-Stein
Ms. Avantika Shahi
Dr. Ava Shamban
Emmanuel Sharef
Hope and Richard N. Shaw
Dr. Alexis M. Sheehy
Walter H. Shepard and Arthur A. Scangas
Muriel and Neil Sherman
Dr. Stephen and Mrs. Janet Sherman
Mr. and Mrs. Elliot Shoenman
Mr. and Mrs. Michael S. Shore
Mr. Murray Siegel
June Simmons
Jenine Singh
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Donna Slavik
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Virginia Sogomonian and Rich Weiss
Michael Soloman and Steven Good
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Dr. Michael Sopher and Dr. Debra Vilinsky
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Ms. Angelika Stauffer
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Hilde Stephens-Levonian
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The Sugimoto Family
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Lauren Tempest
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Suzanne Thomas
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Tichenor & Thorp Architects, Inc.
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Jack VanAken
Vargo Physical Therapy
Dorrit Vered and Jerome Vered
Jenny Vogel
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Mr. and Mrs. Carl R. Waldman
Christopher V. Walker
Mr. Eldridge Walker
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Mr. Robert Waters and Ms. Catherine Waters
J. Leslie Waxman
Ms. Diane C. Weil and Mr. Leslie R. Horowitz
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Rachel and Michael Zugsmith Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit laphil.com
If your name has been misspelled or omitted from the list in error, please contact the Philanthropy Department at contributions@laphil.org Thank you.
KASIMOFF-BLÜTHNER PIANO CO.
and Home Rentals Blüthner Pianos (since 1853) Neupert Harpsichords (since 1868) Schiedmayer Celesta (since 1890)
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
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 as well as the incredible selection of artwork located throughout the campus.
Tours are offered daily. Check the schedule to plan a fun-filled day in Downtown L.A.!
Visit musiccenter.org for additional information.
OFFICERS
Cindy Miscikowski
Chair
Robert J. Abernethy
Vice Chair
Rachel S. Moore
President & CEO
Diane G. Medina
Secretary
Susan M. Wegleitner
Treasurer
William Taylor
Assistant Treasurer and Chief Financial Officer
MEMBERS AT LARGE
Charlene Achki Repko
Charles F. Adams
William H. Ahmanson
Romesh Anketell
Jill C. Baldauf
Susan Baumgarten
Phoebe Beasley
Kristin Burr
Dannielle Campos
Alberto M. Carvalho
Elizabeth Khuri Chandler
Riley Etheridge, Jr.
Amy R. Forbes
Greg T. Geyer
Joan E. Herman
Jeffrey M. Hill
Jonathan B. Hodge
Mary Ann Hunt-Jacobsen
Carl Jordan
Richard B. Kendall
Terri M. Kohl
Lily Lee
Cary J. Lefton
Keith R. Leonard, Jr.
Kelsey N. Martin
Susan M. Matt
Elizabeth Michelson
Darrell D. Miller
Teresita Notkin
Michael J. Pagano
Karen Kay Platt
Susan Erburu Reardon
Joseph J. Rice
Melissa Romain
Beverly P. Ryder
Maria S. Salinas
Corinne Jessie
Sanchez
Mimi Song
Johnese Spisso
Michael Stockton
Jason Subotky
Timothy S. Wahl
Jennifer M. Walske
Jay S. Wintrob
GENERAL COUNSEL
Rollin A. Ransom
DIRECTORS
EMERITI
Wallis Annenberg
Peter K. Barker
Judith Beckmen
Darrell R. Brown
Ronald W. Burkle
John B. Emerson **
Richard M. Ferry
Bernard A. Greenberg
Stephen F. Hinchliffe, Jr.
Kent Kresa
Mattie McFaddenLawson
Fredric M. Roberts
Richard K. Roeder
Claire L. Rothman
Joni J. Smith
Lisa Specht **
Cynthia A. Telles
James A. Thomas
Andrea L. Van de Kamp **
Thomas R. Weinberger
Alyce de Roulet
Williamson
** Chair Emeritus
Current as of 3/28/25
Alvin Ailey American Dance Theater’s Yannick Lebrun. Photo by Dario Calmese.
John McCoy for The Music Center.
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.
Janice Hahn Supervisor, Fourth District
Lindsey P. Horvath Supervisor, Third District
Kathryn Barger Chair, Fifth District
Holly J. Mitchell Supervisor, Second District
Hilda L. Solis
Chair Pro Tem, First District
(From left to right)
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.
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
Photo Credit: David Franco, Los Angeles County Board of Supervisors Photographer.
Happening at The Music Center
FRI 2 MAY / 11:00 a.m.
Beethoven & Dessner
with Esa-Pekka Salonen
LA PHIL
@ Walt Disney Concert Hall Thru 5/4/2025
FRI 2 MAY / 8:00 p.m.
Patrice Rushen
LA PHIL
@ Walt Disney Concert Hall
FRI 2 MAY / 7:30 p.m.
Grupo Corpo
THE MUSIC CENTER
@ Ahmanson Theatre
Thru 5/4/2025
SAT 3 MAY / 11:00 a.m.
The Music Center's
Very Special Arts Festival: Family Day
TMC ARTS
@ Jerry Moss Plaza
SAT 3 MAY / 7:30 p.m.
Ainadamar
LA OPERA
@ Dorothy Chandler Pavilion Thru 5/18/2025
SUN 4 MAY / 7:00 p.m.
Rufus Wainwright's Dream Requiem
LOS ANGELES
MASTER CHORALE
@ Walt Disney Concert Hall
TUE 6 MAY / 8:00 p.m.
Life of Pi
CENTER THEATRE GROUP
@ Ahmanson Theatre Thru 6/1/2025
MAY 2025
Visit musiccenter.org for additional information on all upcoming events. @musiccenterla
THU 8 MAY / 8:00 p.m.
Esa-Pekka Salonen Leads
Debussy & Boulez
LA PHIL
@ Walt Disney Concert Hall Thru 5/11/2025
FRI 9 MAY / 8:00 p.m.
Max Richter
LA PHIL
@ Walt Disney Concert Hall
TUE 13 MAY / 8:00 p.m.
All-Brass Chamber Music
LA PHIL
@ Walt Disney Concert Hall
FRI 16 MAY / 8:00 p.m.
Ravel & Adolphe
LA PHIL
@ Walt Disney Concert Hall
Thru 5/18/2025
SAT 17 MAY / 11:00 a.m.
Symphonies for Youth: Painting with Music
LA PHIL
@ Walt Disney Concert Hall
Also 5/24/2025
SAT 17 MAY / 4:00 p.m.
The Music Center’s On The Record: Vinyl Fair
TMC ARTS
@ Jerry Moss Plaza
SUN 18 MAY / 7:30 p.m.
Cameron Carpenter
LA PHIL
@ Walt Disney Concert Hall
MON 19 MAY / 8:00 p.m.
Jon Batiste
LA PHIL
@ Walt Disney Concert Hall
TUE 20 MAY / 8:00 p.m.
Mozart, Shaw & Smith
LA PHIL
@ Walt Disney Concert Hall
FRI 23 MAY / 8:00 p.m.
Gershwin & Strauss
LA PHIL
@ Walt Disney Concert Hall Thru 5/25/2025
WED 28 MAY / 8:00 p.m.
Hamlet
CENTER THEATRE GROUP
@ Mark Taper Forum Thru 7/6/2025
WED 28 MAY / 8:00 p.m.
Sheku Kanneh-Mason
Isata Kanneh-Mason
LA PHIL
@ Walt Disney Concert Hall
THU 29 MAY / 8:00 p.m.
Tchaikovsky & Pereira
LA PHIL
@ Walt Disney Concert Hall Thru 6/1/2025
SAT 31 MAY / 7:30 p.m.
Rigoletto
LA OPERA
@ Dorothy Chandler Pavilion Thru 6/21/2025
Will Yang for The Music Center.
SWAN LAKE
The Music Center’s Dorothy Chandler Pavilion
Thursday, June 26, 2025 / 7:30 p.m.
Friday, June 27, 2025 / 7:30 p.m.
Saturday, June 28, 2025 / 1:00 p.m.
Saturday, June 28, 2025 / 7:30 p.m.
Sunday, June 29, 2025 / 2:00 p.m.
Enter the enchanting world of Swan Lake, where romance and betrayal unfold through breathtaking choreography and Tchaikovsky’s timeless score. Boston Ballet’s exquisite production brings this iconic masterpiece to life with dazzling precision, evocative storytelling and stunning design.
The Music Center’s Dorothy Chandler Pavilion musiccenter.org/bostonballet | (213) 972-0711
BRING A GROUP AND SAVE! Contact marketing@musiccenter.org for more information.
TICKETS ON SALE NOW!
Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor; courtesy of Boston Ballet.
