A CHARGED EMBRACE Program Notes The Harpsichord Resuscitated Bach was so completely out of fashion when he died William Kraft: Quillery for harpsichord (2013) that it wasn’t until a teenaged Felix Mendelsohn re- , harpsichord discovered the Saint Matthew Passion through the activities of his aunt, Sarah Levy, an influential sing- : Sonata for Cello & (2012) er in Berlin’s most important choral society. She was Andrew Shulman, cello; Robert Thies, piano also a harpsichordist trained by Bach’s eldest son, Veronika Krausas: Sillages for 4 double basses (2013) Wilhelm Friedemann. After a century of neglect and Nico Abondolo, Steve Dress, Christian Kollgaard & Denis five years of editorial and preparational effort, the Trembly, double basses twenty-year-old Mendelsohn conducted the redis- covered work in 1829 with a vast and historically Broughton: for Cello & Ten Instruments (2015) incorrect chorus nearing 400. According to con- Andrew Shulman, cello; Sara Andon, ; Keve Wilson, oboe; temporary accounts, the German King and his Eric Jacobs, clarinet; Anthony Parnther, bassoon; Daniel Rosen- boom, ; Allen Fogle, horn; Noah Gladstone, bass trom- entire court attended, and a thousand people were bone; Aron Kallay, piano; Sidney Hopson, percussion; Thomas turned away. That night the direction of music his- Harte, double bass; conducted by Benjamin Wallfisch tory changed: the floodgates opened to the past.

In 1924, when Man Ray painted “f” holes on a nude In 1850, the Bach Society (Gesellschaft) was founded photograph of his inamorata Kiki de Montparnasse, to publish all of his known works. That enterprise who was posed to resemble a stringed instrument, was finally completed in 1900. The next phase of the photographer paid homage to his favorite artist rediscovering and performing Bach would be the Jean-Auguste-Dominique Ingres (1770-1867). This reintroduction of lost or “obsolete” instruments and painter of elongated nudes and commanding port- pursuing the forensics of performance practice. Harp- raits, notably a huge canvas of Napoleon at his peak sichords were often fragile and nearly superseded of power, had a secondary passion for playing the by evolving generations of . In Paris, many of violin. Ingres’ ability on the instrument became fa- the large harpsichords were destroyed in the mous not for his virtuosity, but because his willing French Revolution, leaving behind the smaller ones chamber music partners were major celebrities – associated later with the “authenticity” movement. Franz Liszt and Niccolò Paganini. On the street, it soon became cool to call someone’s hobby his Between the wars, the enterprising keyboard artist violon d’Ingres. By making that persistent vulgarism Wanda Landowska, a Polish Jew, single-handedly the name of the altered photograph he re-photogra- revived the manufacture of harpsichords by travel- phed, Ray suggested that the painter’s real hobby ing to museums and libraries, taking measurements. was voluptuous women (as was his own) and so Harpsichords never attained any level of standard- visually established a potent musical metaphor for ization, so the instruments Landowska encounter- a charged embrace. ed varied greatly. She wanted a harpsichord loud and bright enough to be heard in modern concert Ray’s homage coincided with Stravinsky’s 1923 land- halls and suitable for concerto commissions from mark “neoclassical” Octet for Winds, a jazz-infused living such as Francis Poulenc and Man- deconstruction of the Mozartian wind serenade, and uel de Falla. She pressed Pleyel, the reigning French the very first “surrealist” exhibition – in which Ray was piano builder, to reinvent a large instrument with a included. After the late-romantic emotion of Mahler 16-foot stop. The Grand Modèle de Concert, with and Strauss, the heated expressionism of Schoen- the weight and sturdiness of a small piano, was loose- berg and Berg, the hyper-sensuality of Debussy and ly fashioned after surviving large German and British Ravel, lurid colors of Scriabin’s Poem of Ecstasy, as instruments, particularly one owned by G. F. Handel. well as the no-holds-barred savagery of Stravin- sky’s Rite of Spring, better-mannered serenades, Another pinnacle moment for Bach arrived in 1933 suites, and concerti grossi became the post WWI when Landowska recorded the complete Goldberg vogue. Variations for the first time. Her School of Ancient Music in Paris, founded in 1927, was abandoned Between the wars, the public mood favored clarity after the German invasion in 1940. She arrived in and economy of means. While Johann Sebastian New York the same days as the Japanese invasion Bach was a model for some, Domenico Scarlatti, and of Pearl Harbor. The jazz great Artie Shaw is likely Francois Couperin also prevailed as the ideal har- to have heard Landowska’s recording because he bingers of balance, restraint and invention. incorporated a harpsichord player into his band, Gramercy Five, from 1940 until the end of the war. writing devices from the moulted wing feathers of a goose or swan. However, for a harpsichord the cen- By the middle of the 20th century, with access to tral shaft of a crow feather was preferred. facsimiles of the original manuscripts, scholars and artists were beginning to engage with the 19th cen- Instead of striking a taut string from below, as with tury editions of Bach’s music and to question com- a piano, the quill plucks with action from above the monly-held assumptions. They set about to decipher string. Given the challenges needed to maintain an what was actually intended by Bach and to imagine organic plectrum, the plastic known as delrin emer- how modern players and audiences could come to ged with enough theoretical superiority to become terms with a lost era of performance practice. Over the preferred material for quills in the late 20th cen- time, the “authenticity” movement emerged to dis- tury. Now, as the amount of scholarly experience tance new performance standards from “romantic” and numbers of practitioners and viable instruments conceptions inherited from the embryonic stages of (many built from kits) grows, a movement to recon- musicology. What also emerged was a fascination sider organic quills has surfaced, if not definitively. on the part of composers with the harpsichord’s bright timbre, the fleetness of its keyboard action, The opportunity for the Piano Spheres commission and sense of historic rootedness. The brilliant 1952 arose due to the determination of Lefteris Padavos, Sonata for flute, oboe, cello and harpsichord crow- Cheng’s enterprising husband, to build a large ned Elliott Carter’s neo-classic phase. French-style transposing harpsichord when an at- tractive kit became available. With a push of a peg, While substantial scholarship on Baroque perform- the instrument can play at both historically correct ance was brought to public attention, the inherent and contemporary tuning. Kraft’s interest in the chal- subjectivity of performing could not eviscerate the lenge, plus his extraordinary history of writing for tastes and expectations of the times. As recordings solo instruments, and his close friendship with the multiplied and musician/scholars engaged in turf artist, made Quillery an ideal commission. battles defending their surpassing correctness, the realization of a “historically informed” performance While paying brief homage to Scarlatti, during its that furthers an endless continuum of discovery is seven minutes, Quillery employs some techniques all that could, and can, be realistically hoped for. associated with György Ligeti’s 1968 harpsichord “Authenticity” was a phantom. masterpiece Continuum. Ligeti recognized that the instrument’s capacity for speed is so close to the Quillery number of notes-per-second needed to achieve a John Elliott Gardiner, in his highly acclaimed book continuous sonic patina that the “ancient” instru- Bach: Music in the Castle of Heaven, (Alfred A. Knopf, ment gained a space age currency in his hands. 2013), shares new knowledge about the composition- “Bill's piece references Ligeti in the opening,” says al nitty gritty, as it were, of paper, inkpots, quills, Cheng, “references Scarlatti later on, but above all sand, pencils and knives. Bach used a five-nibbed is a very characterful piece, that's by turns playful, pen called a rastrum for drawing the staves on the eloquent, ‘percussive,’ and whimsical just like Bill.” extra heavy paper he preferred. “On his desk,” writes Gardiner “were inkpots filled with black, sepia, red At age 96, Kraft is the distinguished dean of Amer- tints and a supply of copper-gallic ink powder ready ican composers universally admired for his idiom- for mixing with water. It was the acidity in this ink atic approach to instrumental character. Born in Chi- that was eventually responsible for its bleeding cago, he studied with two great America pioneers through the manuscript pages and, over time, sev- Henry Cowell and Henry Brant. He came to Los erely damaging the paper on which he wrote.” Angeles and became a fixture with the legendary Monday Evening concerts founded by Peter Yates. Quillery was written by William Kraft for keyboardist Gloria Cheng’s 2013 Piano Spheres concert of new Kraft served as Stravinsky’s timpanist and perc- harpsichord music. The sharpness of a quill point on usssionist for all of the composer’s the barrel of feather pen, the spicy aroma of tightly performances and recordings for Columbia (Sony). rolled cinnamon bark, a place where hedgehogs are As a percussion soloist, he performed in the Amer- bred and nurtured, and plectra plucking the strings ican premieres of Zyklus by Stockhausen, Le of a harpsichord – such are the associations with Marteau sans Maître by Boulez, and in addition to the fanciful word quillery. The art of quilling a harpsi- recording Histoire du Soldat under Stravinsky’s chord was related to the common practice of making direction. Among many awards (two Kennedy Center Fried- or affectionately, the bull fiddle. It is played differ- heims!) and prestigious fellowships (two Guggen- ently in a variety of music genres, and seems to have heims!), he was awarded the Certificate of Distinc- quite varied shapes, sizes and characteristics due tion by New Music USA in 2013. From 1981 to 1985, to regional style preferences. Some “ancient” viols he was the ’s composer- have been written about being the size of persons, in-residence and the founding director of the orch- while inner construction details relate the bass to estra’s Philharmonic New Music Group. Kraft was the violin family. As many as fifty different tunings a member of the orchestra for 26 years. His brilliant have been documented resulting from physical Timpani Concerto is considered a classic and the differences among instruments. For these reasons, standard by which all others have since been mea- and some that may forever remain a mystery, the sured. The uniquely expansive set of fifteen Encoun- double bass has never been standardized. ters exploits the seemingly inexhaustible world of percussion-generated sound, with and without other Sillages for four double basses instrumental partners. Of Lithuanian heritage, Krausas was born in and raised in ; she has lived in Los Angeles Instruments with strings since receiving her doctorate from the Thornton Sephardic Jews driven from Spain by the Inquisition School of Music at University of Southern Calif- at the end of the 15th century were largely respon- ornia, where she is currently on faculty in the Com- sible for forming the consort of viols – rooted in position Department. Her music is stimulated by texts Moorish and ancient Hebrew culture. With music by and dramatic situations. ’s Globe & Mail writes Dowland and Byrd, at its peak of popularity, the "her works, whose organic, lyrical sense of storytel- Elizabethan consort of viols typified what was known ling are supported by a rigid formal elegance, give as a “whole,” or same family consort, versus the her audiences a sense that nature's frozen objects “broken” consort eventually supplanted by the Bar- are springing to life." oque concerto grosso. The viol family has many district features that separate it from the string fam- Krausas was among six composers selected for ily that evolved into the modern instruments of to- The Industry’s acclaimed mobile project, Hop- day. Viols have “c” holes instead of “f” holes, flat scotch, premiered in Los Angeles in 2015. Krausas backs, different shaped “shoulders,” more strings, has directed, composed for, and produced multi- and use “underhanded” bowing techniques. The media events that incorporate music, dance, largest viol approximates the size of a cello, but all acrobatics and video. Mark Swed of the LA Times viols are played sitting down – secured by the legs, said of her chamber opera The Mortal Thoughts of or “da gamba.” Due to their close gradations in Lady Macbeth “Something novel this way comes.” size, the viol consort lacks the dynamic range of Her chamber orchestra work analemma was an of- the violin, viola, cello, bass family. ficial selection of the U.S. for the 2012 World Music Days in Belgium, performed by Musique Nouvelles. The unified sound of a “whole” consort, typically a She was the featured composer at the 2013 Céret quartet of viols, provides a distant, if intriguing, pre- Music Festival. cedent for the double bass quartet Sillages by Ver- onika Krausas. In this evolutionary path was the vio- Ghost Opera, mounted in Banff, was named the lone, a bass violin larger than a cello due to techno- Canadian Opera of the year in 2019. Her music has logy not yet advanced enough to produce the low been performed by New York City Opera, The Van- notes needed. The luthier Andrea Amati (1581-1632) couver Symphony, Fort Worth Opera, Esprit Orch- was most famous among the three credited with in- estra, Ensemble musikFabrik at the Darmstadt Fer- venting of the “large small violin,” aka violoncello. ienkurs für Neue Musik, ERGO Projects, San Fran- More famous still was Antonio Stradivari (1644-1737), cisco Choral Artists with the Alexander String Quar- who by 1710 was producing cellos that we would tet, Toca Loca, Motion Music, the Penderecki String recognize today. The composer and cello virtuoso Quartet, and by pianists Gloria Cheng, Aron Kallay Luigi Boccherini, due to his relative standardiza- and Steven Vanhauwaert. tion, greatly advanced the technical range of the instrument. The first major work composed for the Krausas holds composition degrees from the Univ- cello was the six solo suites by Bach. ersity of Toronto and McGill University in . She is a frequent pre-concert lecturer for the LA Confusingly, the double bass is also known as the Phil and an advisor to Jacaranda and People Inside contrabass, string bass, upright bass, bass fiddle, Electronics. The French word sillage literally means wake or trail. After the concert, in the dressing room, Andrew’s Its common usage in perfumery refers to the degree wife suggested a chamber concerto for cello. En- to which a perfume's fragrance lingers in the air after thusiasm for the idea made me suggest it to the its source has departed a room or elevator. composer surrounded by his fans in the hall. Without missing a beat, Bruce said he would write if I would “When I first heard the term, “Krausas explains “I program it. I could not hedge, or say no. Hearing knew I would use it for the title of a piece. Then David his 2010 Five Pieces for Piano the following Nov- Allen Moore (from LA Phil’s double bass section) ember on a program of music by composers (the asked me to write a work for double bass quartet basis for Cheng’s recording and Emmy-winning and I started with that as the title. To combine two video about the making of Montage) only deepen- seemingly disparate ideas - large double basses and ed my conviction of that unhesitating response. the delicate waft of a scent - I asked Canadian writer André Alexis for a poem that did just that. His text As was evident from the Cello Sonata, Broughton is the poetic inspiration of this work originally for is extremely knowledgeable about the classical rep- the four amazing LA Phil bassists: Moore, Chris- ertoire and comfortable in his skin as a composer topher Hanulik, Oscar Meza, and Peter Rofé.” of concert music, as well as film music, for which he is more broadly known. Broughton’s concert Sillages by André Alexis music includes at least 13 works for orchestra, 15 for symphonic winds, and 34 for chamber groups A roar carves into the land and solos, performed by such ensembles as rumbling something floral. Cleveland Orchestra, Chicago Symphony and LA Under last year's straw Chamber Orchestra, as well as such distinguished the civet comes to life solo artists as Shulman and Cheng.

While plows with fragrant wrists Throughout the concerto, Broughton’s cello writing stutter and dig the crumbling fields. is hand in glove with Shulman’s radiant lyricism, lus- trous tone and hyper-alert sense of rhythm. Shards Lumbering beasts with delicate minds, of color seem to flick from his bow as the other in- They leave quartz and citrus, almonds and rust. struments – flute, oboe, clarinet, bassoon, horn, trum- pet, trumpet, piano, percussion, and bass – dabble Broughton Sonata and Concerto in delicate klangfarbenmelodie, the effect of match- The circumstances under which the Concerto for ing pitch while changing the color with micro-unison Cello and Ten Instruments was conceived relate playing. The cello opens each movement, with the directly to the Centenary. In Jan- most extended statement of the thematic material uary 2013, Mark Alan Hilt and I drove to the Palos at the outset. Molecular gastronomy is the metaphor Verdes peninsula to hear the British-born Andrew that comes to my mind for this arresting appetizer Shulman perform the Britten Cello Sonata Op. 65 – only more nourishing and ultimately substantial as (commissioned by Mstislav Rostropovich) with pian- it gains variations and elaboration. ist Robert Thies. Not surprisingly, it was worth the trip for Britten’s great music and a sterling perform- The material is developed with sure-handed wizardry ance of it, but what really made the afternoon mem- – puffs of smoke, flashes of light, things appearing orable was the premiere of the absolutely superb and disappearing with the magician in the center Sonata for Cello & Piano by Bruce Broughton. always holding focus. The slow middle movement is a chaconne, a repetitive harmonic progression – A singular characteristic of Broughton’s sonata is that again with a late 16th-century Spanish pedigree. it seems effortlessly fresh while being intricately shaped for virtuosi. Perhaps, as a cosmopolitan re- In Broughton’s hands the form gains some asym- sident of the salad bowl that is Los Angles, with its metry that mediates against expectation. If there intellectual diaspora, and filmic lingua franca, the had been any doubt about the nationality of the poetry of Britten, the pathos of Shostakovich, the composer owing to the international sophistication playfulness of Prokofiev and the wit of Stravinsky of the first movement, open lyricism resonates here have been seamlessly polished with the craftsman- with an expansive American character. After little ship of a Hindemith while never seeming remote. more than a gesture from the cello to signal, the This is an engaging music that relishes its warmly ensemble takes off with an often-flinty fervor, rest- American intimacy. ing only for a large-scaled solo cadenza and onward into a rollicking finale. For all the ingenuity of the ormance without Orchestra. A second Grammy concerto’s construction its core is warmly human. nomination followed for her 2013 recording, The Edge of Light: Messiaen/Saariaho. Her themed Broughton’s credits, awards and recognition for his recital, CD, and documentary MONTAGE: Great work in film and television are well known to cine- Film Composers and the Piano (Breakwater Stu- astes, buffs and fans; they are also easily apprehen- dios, Vimeo.com) featuring works written for her by ded online for those unfamiliar with his distinguish- Bruce Broughton, , , ed output. This body of work should cause us to pon- , , and John der how the vast legacy of classical music is likely Williams, won the 2018 Los Angeles Area Emmy to coexist in the future with the boundary-blurring for independent programming. Cheng has curated of an increasingly mediated cultural environment. programs at Black Mountain College, the Hammer

Broughton regularly works with classically trained Museum, and Inside the (G)Earbox, a daylong musicians who spend a substantial amount of their symposium at UCLA celebrating John Adams’ 70th professional lives in studio recording environments. birthday. She is Adjunct Professor of Contem- Without question his new concerto is the product porary Music, Music Performance, and Perform- of an agile mind trained to respond professionally, ance Studies at UCLA Herb Alpert School of Music. on demand, to narrative structures and visual stimuli. He is also a highly literate composer and Nico Abondolo, double bass, made his debut at age 14 with the LA Phil and in 1983 became the successful educator with a serious relationship to the traditions of classical music. Members of the LA first double bassist to win first place in the Inter- studio community have access to vast amounts of national Competition for Musical Performers in musical stimulation be it esoteric, culturally specific, Geneva, Switzerland. He has since appeared with commercial and/or everything in between. The largest orchestras and in recital throughout the U.S. and library of sound samples is in Santa Monica where Europe. He regularly performs chamber music at Jacaranda resides. the La Jolla Music Society SummerFest and the Ojai and St. Bart’s festivals, and with the exper- Perhaps it should be of greater public interest what imental chamber ensemble Concert Nova. He has such artists choose to do with their spare time, and appeared with the Chamber Music Society of Lin- reason to cheer that this fascinating Concerto for coln Center and has toured with the Chamber Cello and Ten Instruments could be created under Orchestra of Europe under Claudio Abbado, Sir such circumstances. Georg Solti, and Lorin Maazel. He has premiered PATRICK SCOTT © 2020 solo works by Sofia Gubaidulina and Henry Brant, and has received commissions from Concert Nova ARTIST BIOS and Chamber Music Unbound. He has served as Gloria Cheng, harpsichord, has performed at Ojai principal bass for San Francisco’s Grammy-nom- Festival, William Kapell Festival, Tanglewood Fest- inated New Century Chamber Orchestra, LA Cham- ival of Contemporary Music, Carnegie Hall's Mak- ber Orchestra, and for motion picture composers ing Music, San Francisco Performances, and Stan- , , and . ford Lively Arts. She is a principal artist with Piano Spheres, and is a frequent guest with Green Um- Steve Dress, double bass, has been a featured brella. In 2003, at Pierre Boulez's invitation, Cheng bassist at Carnegie Hall, Alice Tully Hall, Avery joined him in performing Olivier Messiaen's Ois- Fisher Hall, and The Juilliard Theater with members eaux exotiques with LA Phil during its final con- of New York Philharmonic and the Metropolitan certs in the Dorothy Chandler Pavilion. Her exten- Opera Orchestra. As a special guest of LA Phil's sive list of premieres includes Esa-Pekka Salo- Principal Concertmaster, Martin Chalifour, and So- nen's Dichotomie, composed for and dedicated to nus Quartet, Steve performed in a series of cham- her, John Adams' Hallelujah Junction for two ber music concerts during the inaugural season at pianos, and Steven Stucky's Piano Sonata. She Walt Disney Concert Hall. He has performed with and Thomas Adès premiered his 2-piano Concert Los Angeles Chamber Orchestra, Andrea Boccelli, Paraphrase on Powder Her Face, and ’s Natalie Cole, U2, Reba McIntyre, Jeff Beck, Lady Cheng Tiger Growl Roar for 4-hands along with the Gaga, Beck, and Chris Botti. Dress has performed composer. Cheng’s 2008 release, Piano Music of on television at The Grammy Awards, The Jay Salonen, Stucky, and Lutosławski, was awarded Leno Show, and the American Music Awards, and the Grammy for Best Instrumental Soloist Perf- on film scores including Alice in Wonderland, Argo, Man of Steel, and Despicable Me. He performs with Piatigorsky, and Sonoma, collaborating with such Dakah Hip-Hop Orchestra, including appearances artists as Jeffrey Kahane, Sir James Galway, Truls at South by Southwest Music Festival (Austin, TX), Mork, Cho-Liang Lin, Leif Ove Andsnes, and Wit- and JazzFest (New Orleans, LA). old Lutoslawski. He has recorded over twenty-five CDs as cellist of the Britten Quartet for EMI, Vivaldi Dennis Trembly, double bass, has performed with cello for Virgin Classics, Janacek's Pohadka Hudson Valley Philharmonic, Village Light Opera, for EMI, cello works by Delius (a world premiere American Opera Society, and American Symphony recording) and was solo cello on 's Orchestra under Leopold Stokowski. From 1968 to 'Candle in the Wind 1997.' In 1986, he was best- 1970, he was the bassist in the Don Shirley Trio. owed with an 'Honorary RCM' by The Queen Mother, Trembly joined the Los Angeles Philharmonic in and subsequently became a professor at the Royal 1970 and became one of two principal bassists in College of Music in . He has given master- the 1973-74 season. He has been featured in classes throughout Europe, Scandinavia, Russia, recital at several International Society of Bassists the US, South America, Asia, and New Zealand. In conventions, and won second prize at the 1978 1990 he won the Piatigorsky Artist Award at New International Double Bass Competition on the Isle Conservatory in Boston. In 1999 he was of Man. Trembly has performed chamber music appointed principal cello of LA Phil, a position he with Menahem Pressler, Midori Goto, and Pinchas held until his departure in 2002. As part of the Zukerman. He gave the world premiere of Lee 'Britten 100' celebrations he performed the Britten Hyla's Detour Ahead, for solo bass, commissioned cello sonata together with the premiere of Bruce by the Philharmonic for the first Green Umbrella Broughton's Sonata for Cello and Piano. He add- concert in the Walt Disney Concert Hall. He has itionally premiered Broughton's Concerto for Cello performed and taught at universities in the US, and Ten Instruments in 2015, and has premiered Mexico, and Europe, and was a faculty member at works by composers including Aaron Zigman, Maria the University of Southern Flora L. Newman, and Christopher Stone. Thornton School of Music from 1981 through 2010. Robert Thies, piano, won Gold Medal at the Se- Christian Kollgaard, double bass, has been a cond International Prokofiev Competition in St. member of the Pacific Symphony since the late Petersburg, Russia in 1995, becoming the first Amer- 1980s. He has played under conductors and com- ican pianist to win first prize in a Russian piano posers Aaron Copland, Pierre Boulez, David Zinman competition since Van Cliburn in 1958. He has ap- Gustav Meyer, and Maris Jansons. He is a former peared with St. Petersburg Philharmonic, Mexico member of Hollywood Bowl Orchestra, LA Opera, City Philharmonic, Naples Philharmonic, and at Rav- Long Beach Symphony and the inia, Aspen, Sedona, Music Academy of the West, Orchestra and is a current member of Pasadena and Mostly Mozart festivals. In 1997 Thies worked Symphony. He has over one thousand film scores alongside composer Henryk Górecki on the United to his credit, beginning with 1985’s “Out of Africa” States premiere of his Piano Sonata, which was and including such as “Titanic”, “Back to the chronicled in the 2012 documentary, Please Find Future”, “Indiana Jones” and the recent “Star Wars” Henryk Mikolaj Górecki. To commemorate the fif- movies. He can be heard on recordings from such tieth anniversary of Arnold Schoenberg’s death, diverse artists as Prince, Madonna, Celine Dion, Thies was invited to Mexico City’s Palacio de Bellas Whitney Houston, Frank Sinatra, Barbra Streisand Artes to perform the composer’s seldom-heard Piano and the Red Hot Chili Peppers. Concerto with National Symphony of Mexico. He Andrew Shulman, cello, is Adjunct Associate Prof- has worked with film composers James Newton essor of Violoncello at USC, and has been prin- Howard, , , John Wil- cipal cellist with LACO since 2008. He has directed liams, and Lalo Schifrin. In conjunction with the and performed cello concertos with orchestras in- Hollywood premiere of Roman Polanski’s 2002 film cluding , the Academy of The Pianist, he performed Władysław Szpilman’s St. Martin-in-the-Fields, Royal Liverpool Philharmonic, Concertino for Piano and Orchestra with the Los and Singapore Symphony. He has given recitals at Angeles Jewish Symphony. His playing can be heard Wigmore Hall, London, the Royal Palace in Stock- on ’s Oscar-winning score to The holm, and Buckingham Palace. He has performed Life of Pi. In 2017 he was a featured soloist in at festivals including Aspen, Aldeburgh, Bath, Edin- ’s score to Jane, a documentary about burgh, La Jolla Summerfest, Mainly Mozart, Mons, Jane Goodall, protector o chimpanzees.

Benjamin Wallfisch, conductor, has led orchestras such as London Philharmonic, Philharmonia, LA Phil, Los Angeles Chamber Orchestra and Symphony at venues including Hollywood Bowl, Sydney Opera House and . He has recorded and performed his music with artists including , and . He has worked on over 75 feature films and has received Golden Globe, BAFTA, Grammy, and Emmy nominations. He has scored films including Shazam, It and , 's Hellboy, Serenity, Annabelle: Creation, A Cure for Wellness, and The Invisible Man (2020). He co- composed the BAFTA-nominated score for 2049 with Hans Zimmer. His 2017 score for , co-composed with Zimmer and , was nominated for a Golden Globe. He has written additional music for films such as 12 Years a Slave, Dunkirk, Moon, The Little Prince, and v Superman: Dawn of Justice. Wallfisch has been a member of the BAFTA® Academy since 2009, and has been an Associate of the , London, in 2014. In 2017, he was invited to join the Academy of Motion Picture Arts and Sciences. He has released over 25 albums on Deutsche Grammophon and Epic Records.