DG CONCERTS

Live from Walt Disney Concert Hall

2009|2010 “THE DHARMA AT BIG SUR” LEILA JOSEFOWICZ KRAFT|JOSEPH PEREIRA 4ROSENMAN About the PROGRAM Notes by Deanna Hudgins

Los Angeles Philharmonic In recent commercials inviting viewers to Concerto No. 1 calls for an array of mallets and the use of per- John Adams, conductor “Find Yourself” in California, well-known public William Kraft (b. 1923) cussive techniques not usually written in tim- Joseph Pereira, timpani figures speak to the audience from some of the pani music, such as multiple-bounce, or “buzz” Leila Josefowicz, state’s most recognizable milieus: Jack Nichol- Composed: 1983 rolls. son greets us from his courtside seat at STA- Length: c. 23 minutes If one considers that the percussion-in- PLES Center; Vanessa Williams, Mickey, and Orchestration: 2 flutes (both = piccolo), 2 strument family may be second-oldest only to West Coast, Left Coast Performed live in Walt Disney Concert Hall Minnie wave to us from Disneyland; and of oboes (2nd = English horn) 2 clarinets, 2 bas- the human voice, it seems curious that in the December 5 and 6, 2009 course, Governor Arnold Schwarzenegger and soons, 4 horns, 3 , 3 , , realm of solo literature – or even orchestral Maria Shriver smile at us from a coastal bistro. percussion (6 graduated drums, 4 suspended repertoire – percussion is still in its infancy As Californians, we take for granted the rolling cymbals, , 6 temple blocks, piatti, when compared to strings or , its younger KRAFT Timpani Concerto No. 1 hillsides, crashing surf, and majestic peaks that snare drum, field drum, , triangle, cousins. Still, since the premiere of Kraft’s First surround us...after all, we fly (well, sometimes tam-tam, chimes, bass drum, , Timpani Concerto in 1984 by timpanist A Allegretto crawl) by them on the freeway every day. Cali- lathe on leather), harp, piano (= celesta), Thomas Akins and the Indianapolis Symphony, B Slowly fornia is a state known not only for the broad strings, and solo timpani conducted by John Nelson, the percussion C Fleeting scope of its breathtaking physical landscape, world has seen an explosion of interest, both in Mr. Pereira but for the rich cultural diversity of its people, First Los Angeles Philharmonic performances the study and performance of percussion as a famous for their forward-thinking, go-for-it, career and the discovery of the instruments’ ROSENMAN Suite from Rebel Without a Cause passionate individualism. Born in but raised in Santa Bar- sound potential by composers. Kraft’s percus- D Main Title Today’s selections are a Ghirardelli’s choco- bara, William Kraft has been one of the West sion compositions have remained at the fore- E The Planetarium late sampling of delicacies that embody, musi- Coast’s most important musical voices for front of the literature, inspiring composers to F Love Theme cally, the finest that our Golden State has to nearly four decades. In addition to his tenure as create new solos and chamber pieces for per- G Knife Fight offer. Because no one can mention California the Principal Timpanist of the LA Phil for 18 of cussion, even leading to Kraft’s Second Tim- without evoking images of Hollywood, we hear his 26 years with the , he was assis- pani Concerto, premiered in 2005 – just over H Plato’s Death/Finale a suite from the classic film Rebel Without a tant conductor for 3 years, and served as its two decades after the First – by timpanist ADAMS The Dharma at Big Sur Cause, scored by Leonard Rosenman and star- composer-in-residence from 1981-1985, dur- Dave Herbert and the , ring Tinseltown’s heartthrob bad-boy, James ing which time he founded and directed the Los conducted by Michael Tilson Thomas. I Part I: A New Day Dean. Rounding out the program are offerings Angeles Philharmonic New Music Group. He A solo cadenza starts this Concerto slowly, J Part II: Sri Moonshine from two celebrated composers who share was also the founding director of the Los An- almost disjointedly, and builds to a rhythmic Ms. Josefowicz long and rich histories with California, and geles , and as a percus- groove that crashes into an energetic conver- specifically Los Angeles – William Kraft, former sionist played the American premieres of sation with the low strings and English horn, Principal Timpanist, assistant conductor, and seminal works such as Stockhausen’s . punctuated by comments from pizzicato Audio Recording: composer-in-residence of the LA Phil; and John Kraft’s Concerto, still a standard of percus- strings, winds, and brass. Sweeping lines from 2010 Deutsche Grammophon GmbH, A UNIVERSAL MUSIC COMPANY Adams, the orchestra’s brand-new Creative sion repertoire, casts a spotlight on one of the the brass give way to brilliant chords in the Producers: Bruce Leek, Fred Vogler Chair. orchestra’s largest, possibly loudest, yet most strings and woodwinds as the timpanist con- Engineer: Fred Vogler Editing / Mastering: Bruce Leek, Fred Vogler, Scott Sedillo often “behind-the-scenes” instruments. The tinues with urgent interjections. A prominent Audio Crew: Kevin Wapner, Randy Piotroski timpani evolved from small, rope-tensioned temple block solo echoes the recurring state- Cover Photo Natalie Suarez / Los Angeles Philharmonic · Cover Design: Philipp Starke Arabic drums called nakers, which were car- ments of the timpani and orchestra as the or- Photos: Deborah O’Grady (Adams); Mathew Imaging (Pereira, orchestra) J. Henry Fair (Josefowicz); ried on a sling by the player and played largely chestra rises to an impassioned climax. Seeming for military movements and ceremonies. Mod- to concede, the timpanist gives way with a sigh, ern-day timpani are comprised of large, deep letting the woodwinds and metal sounds have the bowls – often hand-hammered copper – upon last word. The second movement is a release after Program notes Los Angeles Philharmonic Association which synthetic or calfskin heads are stretched the tension of the first; string portamentos move LAPhil.com and tuned using a foot-pedal mechanism. In an the listener across a restless sea of sound-tex- orchestral setting it is most common to find tures; here, the timpanist uses rolls and glissandi four drums in graduated sizes; Kraft’s Concerto to answer and support the gentle crests and falls expands the set to include a fifth. In his work, of the orchestra. The third movement jarringly the composer explores a wide spectrum of ef- interrupts the listener’s dream; pulsing brass and fects on the timpani: the player is instructed to percussion flicker in and out of focus amidst play with hands gloved with different materials music-box-like interludes as the timpanist or with the drums muted to create unconven- emerges full-force, a powerhouse of rhythm and tional timbres, and to play the drums while tun- sound. ing with his foot at the same time, creating a “cascading” glissando sound much like the por- tamentos of the string section. The piece also

2 WEST COAST, LEFT COAST LOS ANGELES PHILHARMONIC LOS ANGELES PHILHARMONIC WEST COAST, LEFT COAST 2 Suite from Rebel Without a Cause film; actually, this suite includes most of the The Dharma at Big Sur real meaning of the music is in between the Junction, the form of The Dharma at Big Sur Leonard Rosenman (1924-2008) music that is heard on screen – at many points John Adams (b. 1947) notes. The slide, the portamento, the ‘blue note’ “loosely mirrors the Indian raga models, begin- there is only dialogue, adding to the impact of – all are essential to the emotional expression, ning with a long, dreamlike opening, similar to Composed: 1955 the score. “The Planetarium” illustrates a scene Composed: 2003 whether it’s a great Indian master improvising the alap…followed by a lightly rhythmized jor Length: c. 20 minutes in which Jim (Dean), Judy (Natalie Wood), and Length: c. 30 minutes on a raga, or Jimi Hendrix or Johnny Hodges section that gradually expands into a final, Orchestration: 3 flutes (2nd + 3rd = piccolo), 2 Plato (Sal Mineo) witness the “end of the world” Orchestration: 2 bass clarinets, 4 horns, 3 bending a blue note right to the floor.” Adams pulse-throbbing virtuosic jhala.” In his website oboes, English horn (= baritone oboe), 3 clar- in Griffith Park’s famous dome. The motive trumpets, 3 trombones, tuba, timpani, percus- composed his piece specifically to feature Sil- notes, Adams identifies the “guardian deity” of inets, , alto saxophone (= tenor), 2 reappears, slightly altered, in the suite’s “Love sion (almglocken, brake drums, chimes, cro- verman’s unique style of playing, writing later “Sri Moonshine” as “, not only the bassoons (2nd = contrabassoon), 3 horns, 3 Theme,” accompanying a scene in which Jim tales, , , , triangles, in his memoir, , that “Tracy’s composer of in C and A Rainbow in Curved Air, trumpets, 3 trombones, tuba, timpani, percus- and Judy share a tender moment. The “Knife vibraphone), 2 harps, piano, 2 keyboard sam- manner of playing was a fusion of styles that but also a master of Indian raga singing.” During sion (bass drum, chimes, cymbals, piccolo xy- Fight” – initiated by Judy’s ne’er-do-well beau, plers, strings, and solo showed his deep knowledge of a variety of mu- this movement, the violin’s voice becomes in- lophone, snare drum, tam-tam, triangle, Buzz – will undoubtedly remind listeners of sical traditions, ranging from North Indian creasingly melismatic, drawing soaring lines vibraphone, xylophone), harp, 2 (2nd = Leonard Bernstein’s “Rumble” from West Side First Los Angeles Philharmonic performance: sarangi playing to that of jazz and rock artists and calling plaintively over a churning orches- celesta and Novachord), and strings Story (the two composers were friends), which October 24, 2003, Esa-Pekka Salonen con- like Stéphane Grappelli, Jimi Hendrix, and John tral sound. “The easygoing roll of the rhythm was written two years after Rebel (although ducting, with soloist Tracy Silverman (world Coltrane, and even to Appalachian fiddling.” gives way to a more insistent throb producing First Los Angeles Philharmonic performance both bear rhythmic resemblance to Bernstein’s premiere) After several collaborative meetings with Sil- a dance-like effect like a giant, pulsing gamelan. (“Main Title” and “Knife Fight”): May 13, 2005, 1954 score for On The Waterfront – a “chicken verman, during which he would improvise The solo violin flies high and swoops down like David Newman or egg” discussion, perhaps?). Dissonant brass For pieces that celebrate and embody the short riffs on Adams’ compositional ideas, a seagull moving in a windstorm. The brass in- and shocking percussion signal that, regret- California spirit, one would be hard-pressed to Adams wrote a part that evokes the feeling of struments, so quiet and reserved at the begin- As a composer in New York, Leonard tably, no happy endings is to be had; the final find a truer example than John Adams’ ode to free improvisation while the utmost detail is ning of the piece, now fill the acoustic space Rosenman supported himself by teaching piano movement, “The Hunt” and “Plato’s Death/Finale,” the sights and sounds of the state. From con- paid to both solo and instrumental parts, all with great surging walls of resonance. Low lessons. One of his students was the young follows the ill-fated trio as their fantasy “fam- ception to genesis to realization, The Dharma written out in precise notation. While this may tuned gongs mark the inner structure of the actor James Dean, who was quickly becoming ily” (mother, father, and son) is violently torn at Big Sur is imbued with the intoxicating seem counterintuitive, part of Adams’ motive music as it vibrates over and over on one enor- (and may still be) one of Hollywood’s most rec- apart. essence of the West Coast and its denizens. In for this very structured writing was to achieve mous, ecstatic expression of ‘just B’.” ognizable stars. When Dean was cast in East of 2002, Los Angeles Philharmonic Music Director the compositional arrangement that he had ob- In Adams’ words, The Dharma at Big Sur ex- Eden, he introduced Rosenman to Elia Kazan, Esa-Pekka Salonen approached Adams and served in the works of . presses the “so-called ‘shock of recognition,’ the film’s director, who hired Rosenman to asked him to write a piece for the inaugural Harrison’s use of “just” intonation – a sys- when one reaches the edge of the continental write the score. The film was a blockbuster, and gala of Walt Disney Concert Hall, which was to tem of tuning that is based solely on the ratios land mass.... For a newcomer, the first exposure thus began Rosenman’s celebrity in film music; be the LA Phil’s new home. Upon seeing artist’s of pitches instead of the traditional Western produces a visceral effect of great emotional his second film, The Cobweb, is also credited as renditions and scale models of the then-unfin- system, which is based on the equal division of complexity.” He “wanted to compose a piece having been the first feature film to exhibit a 12- ished building, Adams was struck by the an octave – was a chief inspiration for the first that embodied the feeling of being on the West tone compositional technique in its score “sweeping, silver-toned clouds and sails of its part of Dharma, titled “A New Day.” In the orig- Coast – literally standing on a precipice over- (Rosenman had studied with Schoenberg and exterior and…its warm and inviting public inal version of the movement, which is dedi- looking the geographic shelf with the ocean ex- Dallapiccola). spaces.” In the program notes for the premiere cated to Harrison, both soloist and orchestra tending far out into the horizon, just as I had East of Eden, The Cobweb, and Rebel performance, Adams expressed his desire to are instructed to play in “”; how- done 32 years before on my arrival at the Pa- Without a Cause were all released in 1955. (Ap- “reflect the experience of those who, like me, ever, because of the inherent nuances of indi- cific’s edge.” parently this was a time before a movie’s pro- were not born here and for whom the arrival on vidual brass and string instruments, achieving duction schedule could stretch over multiple this side of the continent had both a spiritual a perfectly “just” system of tuning proved im- Percussionist Deanna Hudgins is Publications years!) “McCarthyism” was a household word, and physical impact.” possible; in subsequent performances, the Coordinator for the Los Angeles Philharmonic and the concept of “watching thy neighbor” Adams’ original intention was to incorpo- parts were revised so that most of the orches- Association. was all too familiar. During the search for “un- rate a spoken part for narrator in the piece; tra played in a standard system, while some of American” activities, communities were forced while searching for California-based texts the brass, samplers, harps, and pianos re- to look inwards, at the “typical American (which included the accounts of Spanish mis- mained in “just” tuning. The result is a compro- household” – as in, what happened inside the sionaries), he discovered Jack Kerouac’s novel, mise of timbres that still allows for the white picket fence, behind the perfectly mani- Big Sur. While the author’s text bore the closest shimmering resonances of the original version. cured lawn. Seeking to tackle the seemingly resemblance to Adams’ own feelings, the com- In “A New Day,” the solo violin floats freely above age-old question, “what is going on with poser wrote, “I realized that what I had to ‘say’ the drone of the orchestra in a lyrical medita- today’s youth?”, Rebel Without a Cause exam- was something that could only be expressed in tion which dances in and around the key of B ines the tumultuous societal relationships of music.” Enter the violinist, Tracy Silverman. In major (Adams’ choice of key, which echoes three teenagers whose lives meet and inter- 2002, Adams heard Silverman play in a jazz club Harrison’s Concerto in Slendro, is another trib- twine on one very fateful day. in Oakland, CA, and wrote about his reaction in ute to that composer). The rich “Main Title” introduces the seven- notes published on his website: “When I heard In the second movement, “Sri Moonshine,” note motive that forms the foundation of the Tracy play I was reminded that in almost all cul- another titan of the renegade West-Coast theme which will return at key points in the tures other than the European classical one, the sound is venerated. As described in Hallelujah

3 WEST COAST, LEFT COAST LOS ANGELES PHILHARMONIC LOS ANGELES PHILHARMONIC WEST COAST, LEFT COAST 3 About the ARTISTS

JOSEPH PEREIRA was appointed Principal Pereira has also performed with the New tos with Charles Dutoit and the Montreal Sym- Timpanist of the Los Angeles Philharmonic by York Percussion Quartet, the New York New phony. Additional releases include a live Esa-Pekka Salonen in 2007. Before this, he was Music Ensemble, Alea III, the Boston Symphony recording of her performance of the Adams Vi- the Assistant Principal Timpanist/Section Per- Orchestra, the Robert Shaw Festival Singers, olin Concerto with John Adams conducting on cussionist of the from and the New Zealand Symphony Orchestra, as the BBC label and Adams’ , which January 1998 to September 2008. Pereira re- principal timpanist in the latter. He can also received a 2004 Grammy nomination, for ceived his Master’s degree in percussion from be heard on Telarc, Teldec, and Deutsche Nonesuch. Her most recent releases are a the Juilliard School and a double Bachelor’s de- Grammophon recordings. He is an alumnus of recital disc and the Shostakovich Violin Sonata gree in performance and composition/theory the Tanglewood Festival and of the Pacific and Concerto No. 1 with Sakari Oramo and the from Boston University. Currently, he is very Music Festival in Sapporo, Japan. City of Birmingham Symphony Orchestra, active as a composer and teaches timpani and which received a 2007 ECHO Award, both for percussion at the Juilliard School. Warner Classics, and a live recording of the Anthony Tommasini featured Pereira’s Violinist LEILA JOSEFOWICZ has won the Knussen conducted by the work as a composer and percussionist in The hearts of audiences around the world with her composer at the Proms for Deutsche New York Times in 2006. In 2007, his first or- honest, fresh approach to the repertoire and her Grammophon. chestral piece, Mask, was selected by the dynamic virtuosity. She came to national at- A recipient of the Avery Fisher Career Grant American Composers Orchestra annual new- tention in 1994 when she made her Carnegie in 1994 as well as a 2007 United States Artists music readings for top emerging composers. Hall debut with and the Acad- Cummings Fellowship, Leila Josefowicz is a He conducted the premiere of his Quintet for emy of St. Martin in the Fields, and has since graduate of the Curtis Institute of Music, where Winds in 2005 as part of the New York Philhar- appeared with many of the world’s most pres- she studied with and Jascha Composer, conductor, and creative thinker monic Ensembles series at Merkin Concert Hall. tigious and eminent conductors. A Brodsky. She currently performs on a Guarneri The New York Times said, “it is a restless yet lu- regular, close collaborator of leading com- During her 2009/10 season, Josefowicz re- Del Gesù made in 1724. – JOHN ADAMS occupies a unique position in turns to the Cleveland Orchestra and the the world of classical music. Among his most cidly textured work with an astringent har- posers of the day such as John Adams and monic language.” Pereira’s Conversation for , she is a strong advocate of new Toronto Symphony, again to play first perform- famous works are On the Transmigration of ances of the Adès concerto, as well as to the Los Souls; ; and Naive and Senti- Solo Flute was selected by Linda Witherell music — a characteristic that is reflected in her (original solo flutist with IRCAM) in an interna- diverse programs and her enthusiasm for pre- Angeles Philharmonic, the National Arts Centre mental Music. His stage works include Nixon in Orchestra, and the National, Atlanta, Baltimore, China, , I Was Looking tional “Call for Scores” through the American miering new works. During the 2008/09 sea- Music Center. All of his percussion music is son Josefowicz premiered concertos written Indianapolis, Utah, and Colorado symphonies, at the Ceiling and Then I Saw the Sky, El Niño, among others. , and . Adams’ published by Bachovich Music Publications. for her by Esa-Pekka Salonen (with the Los An- geles Philharmonic) and Steve Mackey (with She is equally active internationally; recent newest work is , a co-commission and upcoming engagements in Europe and Asia from the Los Angeles Philharmonic, the Nether- the St. Louis Symphony) and played first per- formances of Thomas Adès’ violin concerto include appearances with the Royal Concertge- lands Radio Orchestra, and the Toronto Sym- bouw and Leipzig Gewandhaus Orchestras, the phony. Concentric Paths with the Or- chestra and with the San Francisco and Seat- London, Munich, and Czech philharmonics, and Adams is an active conductor with many of the Finnish Radio Orchestra; performances of the world’s great orchestras. His 2009/10 sea- tle symphonies. In October 2009 she premiered another concerto written for her the new Salonen Violin Concerto with the son includes appearances at Lincoln Center’s Swedish Radio Orchestra and the Mahler Mostly Mozart Festival and Carnegie Hall, plus by with the City of Birming- ham Symphony Orchestra. In recognition of Chamber Orchestra with the composer on the engagements with the London Sinfonietta, the podium; a tour with the London Symphony Or- London Symphony Orchestra, and the National her passionate advocacy and genuine commit- ment to the music of today, Josefowicz was chestra playing John Adams’ The Dharma at Big Symphony Orchestra at Washington, D.C.’s Sur with Adams conducting; recital and cham- Kennedy Center. He is currently the Creative awarded a 2008 MacArthur Foundation Fel- lowship. ber music performances at the Verbier Festi- Chair for the Los Angeles Philharmonic and is val; and a fourth appearance at the London the artistic mind behind its West Coast, Left Recent appearances in North America in- clude performances with the New York Phil- Proms. Coast festival. Josefowicz’s debut recording with Neville Since its 1985 recording of Harmonielehre, harmonic, the Minnesota Orchestra, and the St. Paul Chamber Orchestra, and the Chicago, Marriner and the Academy of St. Martin in the Nonesuch has released first recordings of all of Fields in 1994 for Philips Classics was awarded Adams’ works. Nonesuch’s 10-disc set, The John Pittsburgh, Detroit, Baltimore, Dallas, Hous- ton, and Cincinnati symphonies; a perform- a Diapason d’or. Subsequent releases on that Adams Earbox, documents his recorded music label include Solo, a disc of unaccompanied through 2000. Hallelujah Junction – Adams’ vol- ance of John Adams’ Violin Concerto in Carnegie Hall with the American Composers works, which also won a Diapason d’or; Bo- ume of memoirs and commentary on Ameri- hemian Rhapsodies, a collection of virtuosic can musical life – was published in 2008. Orchestra under the baton of Adams; and recitals in San Francisco, Baltimore, Los An- works with orchestra; For the End of Time and The official John Adams website is Americana with pianist John Novacek; and the earbox.com. geles, and Philadelphia, and at Zankel Hall at Carnegie Hall. Mendelssohn, Glazunov, and Prokofiev concer-

4 WEST COAST, LEFT COAST LOS ANGELES PHILHARMONIC LOS ANGELES PHILHARMONIC WEST COAST, LEFT COAST 4 LOS ANGELES PHILHARMONIC

Gustavo Dudamel Music Director Richard Elegino CLARINETS KEYBOARDS Walt and Lilly Disney Chair Dana Hansen Michele Zukovsky Principal Joanne Pearce Martin John Hayhurst Lorin Levee Principal Katharine Bixby Hotchkis Chair Esa-Pekka Salonen Ingrid Hutman Monica Kaenzig Mauk/Nunis Chair Conductor Laureate Hui Liu David Howard HARP Lionel Bringuier Associate Conductor Meredith Snow Lou Anne Neill John Adams Creative Chair David Stockhammer E-FLAT CLARINET Deborah Borda President Leticia Oaks Strong Monica Kaenzig Minor L. Wetzel LIBRARIANS Kazue Asawa McGregor FIRST BASS CLARINET Kenneth Bonebrake Martin Chalifour David Howard Stephen Biagini Principal Concertmaster Peter Stumpf Principal Marjorie Connell Wilson Chair Bram and Elaine Goldsmith Chair Alexander Treger Concertmaster Daniel Rothmuller BASSOONS PERSONNEL MANAGER Ernest Fleischmann Chair Associate Principal Shawn Mouser Associate Principal Jeffrey Neville Bing Wang Sadie and Norman Lee Chair Michele Grego Associate Concertmaster Ben Hong Assistant Principal Patricia Kindel PRODUCTION DIRECTOR Mark Baranov Jonathan Karoly Paul M. Geller Assistant Concertmaster CONTRABASSOON Philharmonic Affiliates Chair David Garrett Patricia Kindel CONDUCTING FELLOWS Tamara Chernyak Barry Gold David Afkham Michele Bovyer Jason Lippmann HORNS Diego Matheuz Gloria Lum William Lane Principal Perry So Rochelle Abramson Serge Oskotsky Eric Overholt Associate Principal Christian Vasquez Camille Avellano Brent Samuel Elizabeth Cook-Shen Elizabeth Baker William and Sally Rutter Chair The Los Angeles Philharmonic is reinventing the concept of a 21st-cen- and in terms of visual drama it may have no rival at all.” (The New Yorker)Praise Robert Vijay Gupta BASSES Brian Drake *on sabbatical Mischa Lefkowitz tury orchestra under the exciting new leadership of . Now in for both the design and the acoustics of the Hall has been effusive, and the glis- Dennis Trembly Principal Loring Charitable Trust Chair Edith Markman Christopher Hanulik Principal Bruce Hudson its 91st season, the Philharmonic is recognized as one of the world’s out- tening curved steel exterior of the 293,000-square-foot Walt Disney Concert Judith Mass Oscar M. Meza Assistant Principal Ethan Bearman Assistant The Los Angeles Philharmonic string standing orchestras and is received enthusiastically by audiences and critics Hall embodies the energy, imagination, and creative spirit of the city of Los Mitchell Newman David Allen Moore Bud and Barbara Hellman Chair section utilizes revolving seating on a alike. Both at home and abroad, the Philharmonic is leading the way in inno- Angeles and its orchestra. Barry Socher systematic basis. Players listed alpha- Lawrence Sonderling vative programming that is consistently opening doors and redefining the Inspired to consider new directions, Dudamel and the Philharmonic aim Jack Cousin TRUMPETS betically change seats periodically. Stacy Wetzel Richard D. Kelley musical experience. to find programming that remains faithful to tradition, yet also seeks new Donald Green Principal Peter Rofé James Wilt Associate Principal In those sections where there are two This view is shared by more than one million listeners who experience ground, new audiences, and new ways to enhance the symphonic music ex- SECOND VIOLINS John Schiavo Christopher Still principals the musicians share the po- live performances by the Los Angeles Philharmonic each year. The Philhar- perience. During its 30-week winter subscription season of 110 performances Principal (vacant) Frederick Tinsley Boyde Hood* sition equally and are listed in order of monic demonstrates a breadth and depth of programming unrivaled by other at Walt Disney Concert Hall, the Philharmonic creates festivals, artist residen- Dorothy Rossel Lay Chair length of service. Mark Kashper Associate Principal FLUTES TROMBONES orchestras and cultural institutions, performing or presenting nearly 300 con- cies, and other thematic programs designed to delve further into certain Kristine Whitson The musicians of the Los Angeles Phil- Mathieu Dufour Principal James Miller Associate Principal certs throughout the year at its two iconic venues: Walt Disney Concert Hall artists’ or composers’ work. Johnny Lee harmonic are represented by Profes- Virginia and Henry Mancini Chair Abbott and Linda Brown Chair sional Musicians Local 47, AFM. and the Hollywood Bowl, a popular summer tradition since 1922. The Los Angeles Philharmonic’s commitment to the presentation of music Catherine Ransom Karoly Herbert Ausman The orchestra’s involvement with Los Angeles also extends far beyond reg- of our time is evident in its subscription concerts, in its exhilarating Green Dale Breidenthal Associate Principal Ingrid Chun Mr. and Mrs. H. Russell Smith ular symphony concerts in a concert hall, embracing the schools, churches, Umbrella series, and through its extensive commissioning initiatives. Now in BASS Chao-Hua Jin Chair John Lofton and neighborhood centers of a vastly diverse community. Among its wide- its 27th year, the Los Angeles Philharmonic New Music Group, devoted exclu- Nickolai Kurganov Sarah Jackson ranging education initiatives is Youth Orchestra LA (YOLA). Central to YOLA sively to performing compositions on the cutting edge of the repertoire, at- Guido Lamell Varty Manouelian is the Philharmonic’s plan to build, with community partners, youth orches- tracts leading composers and performers of contemporary music. PICCOLO TUBA Paul Stein tras in communities throughout Los Angeles. The Los Angeles Philharmonic Association expands the cultural offerings Sarah Jackson Norman Pearson Yun Tang Minturn Family Foundation Chair The Los Angeles Philharmonic was founded by William Andrews Clark Jr., by producing concerts featuring distinguished artists in recital, jazz, world Suli Xue OBOES a multi-millionaire and amateur musician, who established the city’s first per- music, songbook and visiting orchestra performances, in addition to special Ariana Ghez Principal TIMPANI manent symphony orchestra in 1919. became its first holiday concerts and series of organ recitals, chamber music, and baroque Marion Arthur Kuszyk Joseph Pereira Principal Carrie Dennis Principal music director, serving until 1927 and, since then, ten renowned conductors music. Associate Principal John Connell Chair Anne Marie Gabriele PERCUSSION have served in that capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski The Philharmonic has led the way into the digital age, being the first or- Dale Hikawa Silverman Carolyn Hove Raynor Carroll Principal (1929-1933); (1933-1939); (1943-1956); Ed- chestra to offer a live concert online exclusively for download within a week Associate Principal James Babor Jerry Epstein uard van Beinum (1956-1959); (1962-1978); of the performance. Through a partnership with Deutsche Grammophon, DG Perry Dreiman ENGLISH HORN (1978-1984); (1985-1989); Esa-Pekka Salonen (1992-2009); and, Concerts began releasing Philharmonic concerts in 2006, including music by Carolyn Hove in his inaugural season, Gustavo Dudamel. Beethoven, Debussy, Falla, Hillborg, Lutoslawski, Pärt, Prokofiev, Ravel, Salonen, In October 2003, the doors to one of the world’s most celebrated venues — Sibelius, and Stravinsky (conducted by Esa-Pekka Salonen), concerts from the the Frank Gehry-designed Walt Disney Concert Hall — were opened and the Minimalist Jukebox and Shadow of Stalin festivals, and music of Bartók, Berlioz, Los Angeles Philharmonic took the stage in its new home, which has become and Mahler (conducted by Gustavo Dudamel). Additional concerts are sched- known not only as a local cultural landmark, but also as “…a sensational place uled for recording in future seasons. to hear music... In richness of sound, it has few rivals on the international scene,

5 WEST COAST, LEFT COAST LOS ANGELES PHILHARMONIC LOS ANGELES PHILHARMONIC WEST COAST, LEFT COAST 5