Los Angeles Philharmonic/ Gustavo Dudamel: 2019 Residency 18–20 Nov 2019

Los Angeles Philharmonic Gustavo Dudamel conductor Yuja Wang piano Herbie Hancock piano/keys Ryan Hunter Ryan

Part of Barbican Presents 2019–20

Please do ... Turn off watch alarms and phones during the performance. Please don’t ... Take photos or make recordings during the performance. Use a hearing aid? Please use our induction loop – just switch your The City of London hearing aid to T setting on entering the hall. Corporation is the founder and principal funder of Programme produced by Harriet Smith; the Barbican Centre advertising by Cabbell (tel 020 3603 7930) 2 James Genus Herbie Hancock Gustavo Dudamel Philharmonic Los Angeles with orchestra andafullbandset Herbie Hancock interval (European premiere) Gabriela Ortiz premiere) Paul Desenne 7.30pm, BarbicanHall Herbie Hancock withLA Phil/Dudamel Tue 19Nov Yuja Wang Philharmonic Los Angeles Stravinsky interval London premiere) Tunes? John Adams Ginastera 7.30pm, BarbicanHall Mon 18Nov Youth Orchestra of Great Britain. (Youth Orchestra LosAngeles)and TheNational in rehearsal withfellow musiciansfrom YOLA most passionate young musicians willbeguided Led by Gustavo Dudamel,over 100 of theUK’s 11am, BarbicanHall with Gustavo Dudamel Tuning into ChangeOrchestra Wed 20 Nov Justin Tyson Lionel Loueke Gustavo Dudamel Residency 2019 Philharmonic LA (Los Angeles Philharmonic commission; (Los AngelesPhilharmoniccommission; 20minutes 20minutes Variaciones concertantes piano The Rite of Spring drums drums Must theDevil Have AlltheGood bass guitar Guasamacabra (European Téenek–Invenciones deTerritorio piano/keys a selectionof hisown material conductor conductor

7.30pm, BarbicanHall 10am & Drama Lecture Recital Room, GuildhallSchoolof Music 10am Milton CourtConcertHall Mon 18Nov 6pm 2pm 10am & Drama Lecture Recital Room, GuildhallSchoolof Music Sun 17Nov The LA Philmasterclasses Gustavo Dudamel Philharmonic Los Angeles Bruckner Andrew Norman 2pm 10am & Drama Lecture Recital Room, GuildhallSchoolof Music 10am Silk Street MusicHall Wed 20 Nov 10am Silk Street MusicHall Sarah Jackson, piccolo David Rejano Cantero, trombone Ben Hong,cello Whitney Crockett, bassoon Matthew Howard, percussion Thomas Hooten, trumpet Burt Hara,Burt clarinet Andrew Bain,horn Chalifour,Martin violin Symphony No 4,‘Romantic’ Sustain (European premiere) conductor

20th century:Stravinsky’s ends withoneof thegreatest works of the giving here attheBarbican.Theorchestra this marks thefirst of several concertssheis the focus of anArtistSpotlight thisseasonand the work inthespringLosAngeles.Sheis superstar pianistYujaWang, whopremiered Have AlltheGoodTunes? in histhird pianoconcerto: Creative ChairJohnAdams posesaquestion his with thecaptivating rhythms of Ginastera in Tonight’s programme takes usto Argentina Creative Chairfor Jazz,HerbieHancock. well asacollaboration withthePhilharmonic’s centenary, whichwillincludefour premieres as host thisresidency celebrating theorchestra’s as itsInternational Orchestra Partner and to Barbican isproud to present theLAPhilharmonic mainly withitsown pastachievements’. The American orchestras thatitisincompetition the LAPhilharmonicas‘sofar ahead of other writing in as oneof theworld’s pre-eminent ensembles; of thenext 100 years established areputation concert on24 October 1919 andover thecourse Dudamel. TheLAPhilharmonicgave itsvery first its inimitable Music&ArtisticDirector Gustavo residency attheBarbicanunderdirection of Welcome to theLosAngelesPhilharmonic’s2019 Welcome Variaciones concertantes The New Yorker Rite of Spring , Alex Ross describes The soloist is the The soloististhe Must theDevil . LA Philharmonic . LAPhilharmonic . I hopeyou enjoy theresidency. It promises to beathrillingfew days. Drama work withprincipalsfrom theLAPhil. students from theGuildhallSchoolof Music& event, asare themasterclasses inwhich Los Angeles.Thisisalways aneagerly awaited Orchestra of Great Britain andYouth Orchestra young musiciansfrom TheNationalYouth Wednesday morningandbringingtogether rehearsal, given by Gustavo Dudamelon As well asconcerts,there willbeanopen a concertaudience100 years inthefuture. Andrew Norman’s prefaced by another European premiere – Bruckner’s richlylyricalFourth Symphony, The residency endsonWednesday with ends theevening withasethisband. with theLAPhilharmonic,before thejazzlegend to thestage to perform someof hisclassic hits Dudamel willthenwelcome HerbieHancock the Mexican composerGabrielaOrtiz.Gustavo Desenne and Guasamacabra programme, withtheEuropean premieres of Tomorrow we have atypically wide-ranging Head of Music Huw Humphreys Téenek–Invenciones deTerritorio by Dudamel’scompatriot Paul Sustain , inwhichheimagines by by

3 Welcome 4 The featuring different soloinstrumentswiththe for winds)thenframe seven character variations Two interludes (thefirst for strings,thesecond key areas of thewholeset.) supply variation material andrepresent themain final variation. (Thesepitches –E,A,D,G,Balso the themeatbeginning,andagain before the heard intheharpundersolocellostatement of derived from theopenstringsof theguitar, as characteristic musicalsymbol of thisisharmony idealised andsublimated inapersonalway. One in whichfolkloric andtraditional materials are nationalism’ of Ginastera’s secondstylisticperiod, This was acentral work of the‘subjective the premiere inJune1953. in BuenosAires, where IgorMarkevitch conducted to himfrom theAsociación AmigosdelaMúsica commissions suchasthe he had beendoingsince1942, andaccepting Plata. Hesupported himselfby scoringfilms, as conservatory attheNationalUniversity of La forced himto resign asdirector of themusic as politicalconflicts withthePerón government in 1953, duringadifficult periodfor Ginastera, Variaciones concertantes Alberto Ginastera November 18 Monday Variaciones concertantes Variaciones were composed , which came , whichcame (1916–83) that was another primesymbol for Ginastera. voltage ( A final variation, for thefullensemble,ensues but thistimewithdoublebasstaking upthetune. main theme,again accompanied by theharp Ginastera rounds thisoff withareprise of the ( offers alyricallypoisedtake ontheoriginaltheme To closethiscentral group of variations, thehorn whirlwind ( basically asplashy fanfare for theensuingviolin for trumpetandtrombone ( ( modo diScherzo an edgierromp featuring clarinet( flute ( orchestra. Thefirst isasparkyscamperfor the Programme note ©JohnHenken points. instrumental with virtuosicandjazzyflourishes comingfrom all The steady repeated notes represent tapping feet, ( next variation, aduskyduetfor oboeandbassoon group. Itsmodalchords seemto spillover into the Variazione inmododiRondo Variazione pastorale Variazione drammatica Variazione canonica Variazione giocosa malambo (1953) (1953) Variazione inmododiMoto perpetuo ). The haunting elegy for the viola ). Thehauntingelegyfor theviola , the competitive gaucho dance , thecompetitive gauchodance ). The brief, brilliant variation ). Thebrief,brilliantvariation ). ) is much the longest of the ) ismuchthelongestof the ), whichleads directly into Variazione ritmica ). Thisisahigh- Variazione in ) is ) is ). ). with agospel-like riff(marked ‘Gritty, Funky’). Piano andorchestra begininthebassregister, format, withthepianosoloistactive throughout. sections follow thetraditional fast–slow–fast movement, itsthree seamlesslyconnected While theconcerto isinonecontinuous number of 18th- and19th-century theologians. variously attributed to MartinLutheranda points outthattheoriginof thephrase hasbeen more of afunk-invested American-style.’Adams Totentanz waiting for apiece.Thephrase suggested a thought to myself thatwas agoodtitlejust “Must theDevil Have AlltheGoodTunes?” I write apiecewiththattitle,whenIsaw thephrase “Hallelujah Junction”andknew thatIhad to the sameway thatIfirst encountered thename Day inavery oldcopy of that thetitle‘camefrom anarticleaboutDorothy Rolls Adams’s third pianoconcerto, following Must theDevil Have AlltheGoodTunes? Yuja Wang (2019) Devil Tunes? Good the Have the All Must Adams John (1996) and , onlynot intheLisztianmanner, but London premiere piano Eros Piano The New Yorker (1989). Heexplains (born 1947) (born is John isJohn Century Century . In . In propels theconcerto to aboisterous close. interruptions of aheldoctave Dintheorchestra, keyboard which,after three mysterious, brief energetic pianopartranging across theentire from other Adams finales, withabrilliantly The virtuosityandplayfulness here are familiar rocking 12/8 rhythm, marked ‘Obsession/Swing’. noticeable, asgentlepulsinggives way to a The transition to thethird sectionisbarely especially by YujaWang’s lyricalplaying.) (Adams says thatinthissectionhewas inspired over thedelicately ornamented pianosolo. section emerges withsuspendedstrings between pianoandorchestra, thesecond After aseriesof questioningchords indialogue punctuation, providing anoff-kilter lurch. divides into aneven 4/4plusoneextra quaver Even withasteady groove, themetre of 9/8 interval Programme note ©Sarah Cahill 20minutes

5 Mon 18 Nov 6 Dance of the ChosenOne One –Evocation of the Ancestors –Ritual Action of the Ancestors –Sacrificial Introduction –Mystic Circles of the Young Girls–Glorification of theChosen Part 2: The Sacrifice of theSage – Adoration – of theEarth TheSage–Danceof theEarth Capture –SpringRound-dances –Gamesof theRival Tribes –Procession Introduction – Auguries of Spring–Dancesof the Young Girls–Gameof Part 1: Adoration of theEarth RiteThe of Spring Stravinsky Igor rhythmic, itwas experimenting withthe‘primitive’ and the music andwhileeven thenew jazzwas also 19th-century Russianandmore contemporary past, whileitbuiltondevelopments inboth with it.Whileitssources lay deepinaRussian it castashadow over allwhocameinto contact concert piece.From theinstant itwas first heard, impact of None of this,however, shoulddeny theongoing ‘Exactly whatIwanted!’ Diaghilev. Smiling,heisallegedto have uttered, master impresario of theBallets Russes,Sergey then, was aone-off, engineered largely by the subsequent performances. Thepremiere, had infact passedwithoutincident,asdid which both Debussy andRavel were present, The publicdress rehearsal theday before, at Nijinsky’s choreography andStravinsky’s music. impossibility of anyone actually focusing on a punch-up,thearrival of thepoliceand aristocrats andyoung aesthetes, withcatcalling, on each retelling into abattlebetween elderly into mythology. Thetale hasbeenelaborated be fullyknown, astheevent passedquickly truth of whathappenedthatevening may never the Théâtre desChamps-Élysées inParis. Butthe undoubtedly acommotion on29May 1913 at Rite of Spring Riot at The Rite The Rite hardly needsretelling. There was . Thestory of thefirst nightof The Rite of Spring , both asaballetand thatacquired (1911–13) (1911–13) The The (1882–1971) Nicholas Roerich, thecurtain thenrose to reveal nature. Intheoriginalproduction, designedby instruments joininto create acacophony of sound of peasantpipes.Oneby onetheother put it.Itisareworked folk melodyimitating the renewing itself’,asoneversion of thescenario in spring,‘thesublimeupsurge of nature A solobassoon,highinitsregister, ushers in 1913. exciting anddisturbingasitmusthave seemed line upto remake it,whilethemusicisasfresh, it packs apowerful punch.Choreographers today, more than100 years sinceitspremiere, the reputation asthemodernistlandmark.Still entire work. perhaps themostraw andinsistent musicof the part closeswiththewild‘Danceof theEarth’, like somesortof terrible machine. Thefirst repeating ideaslayered one ontop of another, to the‘Procession of the Sage’, withominous energetic ‘Gamesof theRival Tribes’, leading savage climax. Hornsandtimpanidominate the khorovod Round-dances’, aversion of theancientSlavic a sacrificial victim,followed by the‘Spring This isthecontext for thestart of thequestfor in dupletime,butwithdisruptive cross-accents. one dissonantchord isrepeated many times, a hard-edged evocation of spring,inwhich a primitive hill.‘Dancesof theYoung Girls’is orround-dance, whichbuildsto a Programme note ©JonathanCross unleashed. of thecollective violencethatwas soonto be hindsight, uncannilyprescient of thebarbarity World War –itsterrifying conclusionis,with The Rite climax. of flux, drive themusictowards anorgiastic metre seemsto beinanalmostcontinuousstate One. Itscomplex rhythmic repetitions, inwhich represents thedanceto thedeathof theChosen down onhisprey. The‘Sacrificial Dance’ as ifto signalthatthehunter isatlastbearing in itssteady tread, punctuated by blaringhorns, sacrifice witharitualisticmusicthatismenacing Chosen One. The Ancestors prepare for the final the glorification of thesacrificial victim,the Young Girls.Ferocious drumstrokes announce emerges another circle dance,thistimefor the Part 2beginsshrouded inmystery, outof which was premiered ontheeve of theFirst

7 Mon 18 Nov 8 Smallz and Raskind music educationandsocialdevelopment Gustavo Dudamelisanardent advocate for Spielberg’s new adaptation of also conductBernstein’s iconicscore for Steven Accademia NazionalediSanta Cecilia.Hewill Blancas choir, andanItalian tour withthe Chamber Orchestra andtheVenezuelan Manos Fidelio touring aconcertversion of Beethoven’s opera for atwo-week residency atLincolnCenter, Tokyo, conductingtheNew York Philharmonic concerts for the2020Olympicscelebrations in include leading theBerlinPhilharmonicinfour America – period’.Otherhighlightsof theseason the LAPhilas‘themostimportant orchestra in expansive vision led Philharmonic, where hisboldprogramming and the Music&ArtisticDirector of theLosAngeles This seasonseeshimenter hisseconddecade as countless peopleinunderserved communities. has helpedto provide access to theartsfor music to new audiencesaround theworld and for artseducation,hehasintroduced classical presence onthepodiumandhistireless advocacy and to changetheworld. Through hisdynamic music hasthepower to transform lives, to inspire, Gustavo Dudamelisdriven by thebeliefthat Gustavo Dudamel About the performers Gustavo Dudamel throughout Europe with the Mahler The New York Times conductor West SideStory

to hail .

Kirk Edwards Yuja Wang and dudamelfoundation.org For more information visitgustavodudamel.com Inglewood, designedby architect Frank Gehry. its own permanent,purpose-builtfacility at leadership training. Next year YOLA willhave music instruction,academic supportand young peoplewithfree instruments,intensive serves more than1,200 musiciansproviding (Youth Orchestra LosAngeles),whichnow and itscommunitypartnersfounded YOLA Inspired by ElSistema, in2007he,theLAPhil initiated in1975 by Maestro JoséAntonio Abreu. extraordinary programme andphilosophy his childhoodexperience withElSistema, the through art,having himselfbeenshapedby and conductors. some of theworld’s mostvenerated ensembles recitals, concertseriesandextensive tours with new heights thisseason,whichfeatures captivating stage presence, isset to achieve celebrated for hercharismaticartistryand dazzling career. TheBeijing-born pianist, have continuouslyfollowed YujaWang’s Critical superlatives andaudienceovations Yuja Wang piano Recital recently, a performances andrecordings, including,most artists, withasuccessionof criticallyacclaimed established herplace amongtheworld’s leading an exclusive contract withDGandshehassince Symphony Orchestra. Two years later, shesigned Martha Argerich assoloistwiththeBoston breakthrough camein2007whenshereplaced Music underGaryGraffman. Herinternational Canada andatPhiladelphia’s CurtisInstitute of Yuja Wang received advanced training in major tour of theUSA. frequent collaborator GautierCapuçonfor a Good Tunes? performances of Philharmonic Orchestra to give thefirst-ever Angeles, SeoulandTokyo withtheLosAngeles In spring2019 sheembarked onatour of Los Schönbrunn Palace withGustavo Dudamel. as well astheSummerNightConcertat the ViennaPhilharmonicOrchestra atVersailles, Philharmonie. Highlightsincludedconcertswith with a‘Portrait’ seriesandtheLuxembourg ‘Perspectives’ series,theViennaKonzerthaus New York’s CarnegieHallwithaseason-long Residence atthree of theworld’s leading venues: Last seasonshewas featured asanArtist-in- orchestras andtheCleveland Orchestra. the Boston andSanFrancisco Symphony Vienna andNew York Philharmonicorchestras, with theStaatskapelle Dresden, NDRHamburg, August. Engagements thisseasonincludeconcerts with LeonidasKavakos attheLucerneFestival in She toured throughout Europe, includingarecital and Gustavo DudamelattheHollywood Bowl. written for her–withtheLosAngelesPhilharmonic the Devil Have AlltheGoodTunes? Last summersheperformed JohnAdams’s . Gramophone , aswell asreuniting withcellistand Must theDevil Have Allthe Award for – a work –awork The Berlin The Berlin Must Must El Sistema. Through YOLA, theLAPhilandits Angeles ),inspired by Venezuela’s revolutionary learning initiatives isYOLA (Youth Orchestra Los community. Amongitsinfluential andmultifaceted and neighbourhoodcentres of avastly diverse ranging performances intheschools,churches extends beyond theconcerthall,withwide- The orchestra’s involvement withLosAngeles genres of music. Hollywood Bowl, hostto thefinest artistsinall music. Since1922 itssummerhomehasbeenthe enhance theaudience’sexperience of orchestral and other thematicprogrammes designedto 165 performances, theLAPhilcreates festivals Walt Disney ConcertHall,withapproximately Hollywood Bowl. Duringitswinter seasonat iconic venues: Walt Disney ConcertHallandthe more than250concertsannuallyatitstwo leadership theLAPhilperforms orpresents Director since2009,andunderhischarismatic Gustavo DudamelhasbeenMusic&Artistic on stage andinthecommunity. programming, demonstrating itsartistryandvision leads theway ingroundbreaking anddiverse outstanding orchestras athomeandabroad and explorations. Itisrecognised asoneof theworld’s commitment to core repertoire andadventurous presents aninspiringarray of musicthrough a can be.Now inits 101st season,theLAPhil Philharmonic hasredefined whatanorchestra Over thecourseof 100 seasons,theLosAngeles Los AngelesPhilharmonic Gustavo Dudamel(2009–present). (1985–9); Esa-Pekka Salonen (1992–2009); and Carlo MariaGiulini(1978–84); André Previn van Beinum (1956–9); ZubinMehta (1962–78); (1933–9); Alfred Wallenstein (1943–56); Eduard ´nskiArtur Rodzi (1929–33); Otto Klemperer in thatcapacity: Georg Schnéevoigt (1927–29); since then,10 renowned conductors have served became itsfirst MusicDirector, servinguntil1927; and amateur musician.Walter HenryRothwell 1919 by WilliamAndrews Clark,Jr, amillionaire The LosAngelesPhilharmonicwas founded in neighbourhoods. to nearly1,200 studentsfrom underserved intensive musicinstruction,andleadership training community partnersprovide free instruments,

9 About the performers 10 Wilson Chair Wilson Connell Marjorie Concertmaster Principal Martin Chalifour Violin 1 John Adams Creative Chair Williams Samantha John and Paolo Bortolameolli Conductor Associate Chair Ronus Ann Susanna Mälkki Conductor Principal Guest Esa-Pekka Salonen Laureate Conductor Zubin Mehta Emeritus Conductor Chair Disney Lilly and Walt Gustavo Dudamel Director Music &Artistic Rochelle Abramson Michele Bovyer Affiliates Chair Philharmonic Concertmaster Assistant Akiko Tarumoto Rasulo Chair Barbara andJay Concertmaster Associate WangBing Ernest FleischmannChair Concertmaster Associate First Cole Nathan Los Angeles Philharmonic Angeles Los

Associate Principal Principal Associate Silverman Dale Hikawa Chair Connell John Teng Li Viola Peña-Kim ** Gabriela Suli Xue Michelle Tseng Tang * Yun Varty Manouelian Guido Lamell Nickolai Kurganov Chao-Hua Jin Tianyun Jia Jin-Shan Dai Ingrid Chun Dale Breidenthal Johnny Lee Kristine Whitson Violin 2 Justin Woo Stacy Wetzel Rebecca Reale Community for ArtisticServiceto the James Dao-Dalzell Chair Mark Houston Dalzelland Mitchell Newman Edith Markman Mischa Lefkowitz Jordan Koransky Miika Gregg I HAlbert SutnickChair Minyoung Chang L Eberhardt Chair Margaret andJerrold Camille Avellano Associate Principal Associate Mark Kashper Chair Lay Rossel Dorothy Taylor Lyndon Johnston Principal Principal Principal

Goldsmith Chair Goldsmith Elaine and Bram Principal Robert deMaine Cello Minor LWetzel Leticia Oaks Strong Meredith Snow Hui Liu Michael Larco Ingrid Hutman John Hayhurst Richard Elegino Dana Lawson Principal Assistant Ben Ullery David Garrett Jonathan Karoly Principal Assistant Dahae Kim Chair Lee Norman and Sadie Principal Associate Ben Hong Ted Botsford David AllenMoore Principal Assistant Oscar MMeza Principal Christopher Hanulik Double Bass Brent Samuel Serge Oskotsky Tao Ni Chair Brittan Maynard and Linda Gloria Lum Jason Lippmann Barry Gold

Peter Rofé Rofé Peter Brian Johnson Jory Herman Jack Cousin David Howard Andrew Lowy Principal Associate Burt Hara Chair Rauch Dudley and Michele Principal Boris Allakhverdyan Clarinet Carolyn Hove Cor anglais Carolyn Hove Anne MarieGabriele Principal Associate Marion ArthurKuszyk Vacant Oboe Sarah Jackson Piccolo Sarah Jackson Chair Danihel L Mari Elise ShopeHenry Chair Smith Russell H Mrs and Mr Principal Associate Karoly Catherine Ransom Chair Mancini Henry and Virginia Principal Denis Bouriakov Flute Principal BassEmeritus Dennis Trembly Fuller ** Michael Principal

Hellman Chair Bud andBarbara Assistant Ethan Bearman Gothie Chair Reese andDoris Drake * Brian Trust Chair Loring Charitable Amy JoRhine Alan Scott KleeChair Gregory Roosa Principal Associate Jaclyn Rainey Chair Bessell Cecil John Andrew Bain Horn EvanKuhlmann Contrabassoon Evan Kuhlmann Michele Grego Principal Associate Shawn Mouser Principal Whitney Crockett Bassoon David Howard Bass Clarinet Andrew Lowy E flatClarinet

Principal

Norman Pearson Tuba Lofton John Bass Trombone Paul Radke Chair Brown Linda and Abbott Principal Associate James Miller Cantero David Rejano Trombone Jeffrey Strong Chair Sugar Valerie and Ronald Christopher Still Chair Brier de Donald and Nancy Principal Associate James Wilt Chair Paul Diane and David M Principal Thomas Hooten Trumpet ely Sumpter ** Wesley Perry Dreiman James Babor Principal Matthew Howard Percussion Rauch Chair and Dudley Cecilia Principal Pereira Joseph Timpani

Principal

Philharmonic string Philharmonic string The LosAngeles ** Resident Fellows * onsabbatical Anna Rakitina Enluis Montes Olivar Marta Gardolinska Hilo Carriel Conducting Fellows Jeffrey Neville Manager Personnel Stephen Biagini McGregor Kazue Asawa Librarians Lou AnneNeill Harp Chair Hotchkis Bixby Katharine Joanne Pearce Martin Keyboards Local 47, AFM. Professional Musicians are represented by Angeles Philharmonic The musiciansof theLos of length of service. and are listed inorder the positionequally the musiciansshare there are two principals In thosesectionswhere seats periodically. alphabetically change basis. Players listed seating onasystematic section utilisesrevolving

11 About the performers Yuja Wang 148x210monoprogramme ad.indd1 12 and Yujaand Wang recital in Andreas Ottensamer Thu 21 Nov Yujawith Wang LA Phil/Dudamel 18Mon Nov Artist Spotlight Yuja Wang:

‘An with artist Yuja Wang recital in Tue 31 Mar Yujaand Wang Gautier Capuçon 13Mon Jan Financial Times Financial fire in her soul’ her in fire poetry as well as as well as poetry

08/11/2019 17:57