ORLI SHAHAM LOS ANGELES DAVID ROBERTSON PHILHARMONIC JON KIMURA PARKER 1 Merican Composers Have Always Pushed Boundaries, As Americans Themselves Have a Pushed West

AMERICAN GRACE Piano music from Steven Mackey | John Adams

ORLI SHAHAM LOS ANGELES DAVID ROBERTSON PHILHARMONIC JON KIMURA PARKER 1 merican composers have always pushed boundaries, as Americans themselves have A pushed West. I feel strongly that John Adams and Steven Mackey are at the forefront of deﬁning what it means to be an American pianist today.

On a stunning summer’s day in 2007 in the inspiring Rocky Mountain valley of Aspen, I found myself as usual underground, in a windowless practice room. One of the magical things about Aspen is that the otherwise oppressive quality of such a room is transformed by the people who inhabit it. I was taking a practice break from Gershwin and Stravinsky, preparing for rehearsal with the orchestra, when Steve Mackey came off the stage from rehearsing his guitar concerto Tuck and Roll. I was seven months pregnant with my twin sons, and Steve and I immediately started to talk about both music and child-bearing, which his wife was soon to do as well. I relished our talk and was further enthralled by Steve’s sizzling guitar playing and magnetic compositional style. For the next months, I ravenously listened to his oeuvre, convincing me that he was the ﬁrst composer I wanted to ask to write me a concerto.

The process was amazing. Steve showed me bits now and again, listened to my recordings and live performances, asked about my hand size, even allowed me a say in the final dramatic turn of the piece. Every time a part of the score came my way, I was more excited to learn it and understand it. The triple fugue at the Orli Shaham and David Robertson’s end both nearly killed me and thrilled every nerdy fiber twins Nathan and Alex and Steven of my being. I think one of our best bonding moments Mackey’s son Jasper playing in Central came when I thanked Steve, after living with that fugue Park. The genesis of Stumble to Grace for a few days, for the enharmonic modulation! I love owes a lot to these three boys. the different pianistic influences that shine through the Photos: David Robertson music – from Thelonious Monk to Mozart piano concerti to Bach’s counterpoint to Vince Guaraldi.

2 Stumble To Grace is a powerful journey 6) The triple fugue which crowns the piece on the roller coaster of youthful human (track 8/02:35). Every time I’ve mentioned to development. I have a million favorite Steve how hard this is to play, his retort is, moments in it, so here are just a few “Well, it is a piano concerto, after all!” highlights to listen for: Sneaky March, which is even more fun when 1) The opening (track 4/00:00), where the you watch an audience of preschoolers harmonic pitch set up by the double bass marching sneakily behind colorful causes the entire orchestra to be slightly out handkerchiefs, has made Steve Mackey a celebrity around my house! of tune, thus making the perfectly in-tune piano sound like a toy at the outset John Adams’ China Gates is to me the opening gambit of contemporary American piano 2) The nostalgic celesta theme creating music. He sets forth in it a lyricism and that nursery atmosphere at the beginning, singing quality without overt jazz which repeated by the piano to close Stage 1 opened up a new compositional direction. (track 4/05:33) I believe it has inspired as many composers as it has pianists with its beauty, simplicity, 3) The wild cross-rhythms in Stage 2 best and complexity all intertwined. heard in the solo piano (track 5/00:44 & 01:08). It was only when I watched Steve perform Hallelujah Junction is a work I can never get songs on his electric guitar that I realized enough of. Adams makes the two pianos ring where that ability to juxtapose conflicting off of each other in a way that is viscerally rhythms over long stretches comes from. satisfying. The rhythms range from utterly It’s as if I’m two guitarists at once in much of off-kilter to pulsating passionately. The piece this Stage is hard as can be, and my favorite words about it are Adams’ own, describing the 4) The Vince-Guaraldi-like moments in “by-now crazed pianists” at the end! Stage 3, the cadenza (track 6/03:35). One of As with China Gates, the lyricism and my prized possessions is a beautiful Peanuts near-impressionism of the middle section are stunning. Jon Kimura Parker was my drawing Charles Schulz once made for me… dream partner for this work, and I am thrilled that he was able to make the time for this. 5) The way the piano invites the orchestra to play along in the opening of Stage 5 I hope you enjoy this recording as much as (track 8/00:00 – 01:40). Oddly, this quirky I’ve enjoyed making it. Here’s to American theme actually resembles (if in a far superior Grace! Steven Mackey, David Robertson, Orli Shaham way!) something I had once written for a after rehearsing Stumble to Grace, April 5, 2013 theory class! Orli Shaham, November 2013 Photo: Martin Chalifour 4 3 performers is that both of them have been indebtedness to rock is often overt. He has classes at a prep school. Adams credits his deeply involved in performance themselves, frequently incorporated electric guitars family’s acquisition of a turntable when he American Grace but that involvement has been significantly and sometimes drum sets into symphonic was in fifth grade with having the greatest different. Mackey is a consummate electric and chamber ensembles. Even in works impact on his development: 5VGXGP/CEMG[œ,QJP#FCOU guitarist who has performed as a soloist that completely eschew these instruments, in his own works as well as music by there is usually still a vestige of rock’s A Magnavox cabinet-version “high fidelity” This recording showcasing pianist Orli his colleagues. Adams, who trained as a bravado and grittiness – e.g., many of his 33-rpm record player had been our Shaham is surprisingly the first-ever CD to clarinetist and has played synthesizers compositions feature occasional microtonal family’s Christmas present to itself in combine works by John Adams and Steven for some of his recordings, now frequently embellishments, a nod to how guitarists December 1957. … We did not own a piano, Mackey. The pairing is extremely apt since conducts his own music plus a wide range and singers bend notes. The influence of so my musical experience up to then was both of these composers’ immediately of repertoire from Haydn and Beethoven jazz on Adams’ music is much subtler. While largely melody driven. Once we acquired recognizable personal styles are the result through to Charles Ives, Duke Ellington, it would rarely be mistaken for jazz, much the Magnavox, a new LP appeared in the of combining the Frank Zappa, and even Steven Mackey. of his music is suffused with jazz-inflected house on a weekly basis, many bought structural rigor of the Adams was born and raised on the East syncopations, altered harmonies and modal at my insistent pleading: Brandenburg European classical Coast but relocated to Northern California, scales, as well as the frenetic restlessness Concertos, Beethoven symphonies, Mozart music tradition which is where he came into his own as of bebop improvisations. string quintets, Rhapsody in Blue, and big Photo: Martin Chalifour Martin Chalifour Photo: with the energy and a composer and where he is still based. band recordings by my parents’ favorites, immediacy of various Mackey was raised in California but came It is interesting to compare these composers’ Benny Goodman and Duke Ellington. American vernacular to the East Coast to study; he eventually formative encounters with classical music . . . and their initial relationship with the piano, musical languages. joined the faculty of Princeton University, Unfortunately, neither my parents nor I which is the common ground linking the Because they both in the process completely revamping the realized until too late how important piano works included on the present recording. In use this approach music department, and he teaches there to lessons could have been. By the time my John Adams’ 2008 autobiography Hallelujah to create music that this day. mother arranged to have a used piano Junction, he described his earliest serious is simultaneously moved into the house my interests were intellectually engaging and emotionally Although Adams and Mackey are a day encounter with music: in third grade, he less than nine years apart from each other asked to study violin at school but was so scattered that I had neither the time satisfying, Adams and Mackey have emerged nor the inclination to start from scratch as key role models for what is now an (Adams was born on February 15, 1947 and too young to qualify for the school’s music Mackey on February 14, 1956), they are from program, so his father – who played clarinet to learn a new instrument. As a result, for all-encompassing polyglot compositional the rest of my life I have had to live with approach in contemporary American music. two very different generations. Adams grew in various regional swing bands – taught him up at a time when classical music still held clarinet. Later in that school year (1956), only the most rudimentary self-taught Presented with an opportunity to hear piano a place of prestige among the general public Adams’ third grade teacher read the class a mode of hunt-and-peck. … I suppose my compositions by Adams and Mackey back to and jazz was still America’s popular music; biography of Mozart which inspired Adams to lifelong frustrations with the piano go hand back, listeners can consider how their voices Mackey is an unabashed by-product of an immediately set out to write his own music. in hand with the birth of many of my best are considerably different from one another. era when pop culture became the dominant Though initially unsatisfied with the results, musical ideas. Part of what makes the music of both of culture and when the most vital form of he kept at it and his parents soon enrolled (from John Adams, Hallelujah Junction. these composers so tactile and idiomatic for popular music was rock-and-roll. Mackey’s him in composition, harmony, and theory New York: Farrar, Straus and Giroux, 2008)

6 7 performers is that both of them have been indebtedness to rock is often overt. He has classes at a prep school. Adams credits his deeply involved in performance themselves, frequently incorporated electric guitars family’s acquisition of a turntable when he American Grace but that involvement has been significantly and sometimes drum sets into symphonic was in fifth grade with having the greatest different. Mackey is a consummate electric and chamber ensembles. Even in works impact on his development: 5VGXGP/CEMG[œ,QJP#FCOU guitarist who has performed as a soloist that completely eschew these instruments, in his own works as well as music by there is usually still a vestige of rock’s A Magnavox cabinet-version “high fidelity” This recording showcasing pianist Orli his colleagues. Adams, who trained as a bravado and grittiness – e.g., many of his 33-rpm record player had been our Shaham is surprisingly the first-ever CD to clarinetist and has played synthesizers compositions feature occasional microtonal family’s Christmas present to itself in combine works by John Adams and Steven for some of his recordings, now frequently embellishments, a nod to how guitarists December 1957. … We did not own a piano, Mackey. The pairing is extremely apt since conducts his own music plus a wide range and singers bend notes. The influence of so my musical experience up to then was both of these composers’ immediately of repertoire from Haydn and Beethoven jazz on Adams’ music is much subtler. While largely melody driven. Once we acquired recognizable personal styles are the result through to Charles Ives, Duke Ellington, it would rarely be mistaken for jazz, much the Magnavox, a new LP appeared in the of combining the Frank Zappa, and even Steven Mackey. of his music is suffused with jazz-inflected house on a weekly basis, many bought structural rigor of the Adams was born and raised on the East syncopations, altered harmonies and modal at my insistent pleading: Brandenburg European classical Coast but relocated to Northern California, scales, as well as the frenetic restlessness Concertos, Beethoven symphonies, Mozart music tradition which is where he came into his own as of bebop improvisations. string quintets, Rhapsody in Blue, and big Photo: Martin Chalifour Martin Chalifour Photo: with the energy and a composer and where he is still based. band recordings by my parents’ favorites, immediacy of various Mackey was raised in California but came It is interesting to compare these composers’ Benny Goodman and Duke Ellington. American vernacular to the East Coast to study; he eventually formative encounters with classical music . . . and their initial relationship with the piano, musical languages. joined the faculty of Princeton University, Unfortunately, neither my parents nor I which is the common ground linking the Because they both in the process completely revamping the realized until too late how important piano works included on the present recording. In use this approach music department, and he teaches there to lessons could have been. By the time my John Adams’ 2008 autobiography Hallelujah to create music that this day. mother arranged to have a used piano Junction, he described his earliest serious is simultaneously moved into the house my interests were intellectually engaging and emotionally Although Adams and Mackey are a day encounter with music: in third grade, he less than nine years apart from each other asked to study violin at school but was so scattered that I had neither the time satisfying, Adams and Mackey have emerged nor the inclination to start from scratch as key role models for what is now an (Adams was born on February 15, 1947 and too young to qualify for the school’s music Mackey on February 14, 1956), they are from program, so his father – who played clarinet to learn a new instrument. As a result, for all-encompassing polyglot compositional the rest of my life I have had to live with approach in contemporary American music. two very different generations. Adams grew in various regional swing bands – taught him up at a time when classical music still held clarinet. Later in that school year (1956), only the most rudimentary self-taught Presented with an opportunity to hear piano a place of prestige among the general public Adams’ third grade teacher read the class a mode of hunt-and-peck. … I suppose my compositions by Adams and Mackey back to and jazz was still America’s popular music; biography of Mozart which inspired Adams to lifelong frustrations with the piano go hand back, listeners can consider how their voices Mackey is an unabashed by-product of an immediately set out to write his own music. in hand with the birth of many of my best are considerably different from one another. era when pop culture became the dominant Though initially unsatisfied with the results, musical ideas. Part of what makes the music of both of culture and when the most vital form of he kept at it and his parents soon enrolled (from John Adams, Hallelujah Junction. these composers so tactile and idiomatic for popular music was rock-and-roll. Mackey’s him in composition, harmony, and theory New York: Farrar, Straus and Giroux, 2008)

6 7 Mackey was thoroughly immersed in rock with adventurous tastes my teacher the piano, the guitar, on the top of a or operates against it, playing phrases in music growing up and already had extensive wisely taught me using the Bartók mountain, or at the computer, have contrary motion as well as placing emphasis experience playing music exclusively by Mikrokosmos. always had a big impact on the music on different downbeats, obscuring the ear as a rock guitarist before he became that results. otherwise regular rhythm. Additionally, interested in composing. But Mackey did By the time I got to graduate school although China Gates is unabashedly diatonic (email correspondence, November 2013) not actively listen to classical music until he I composed entirely on the piano. I and frequently pentatonic (hence China), the was in college, which was also when he first interweaving melodies played by the two wasn’t good at the piano but my interval John Adams’ brief 1977 piano solo China began taking piano lessons in order to better hands flow seamlessly between different geography, my sense of what the notes Gates along with its much longer companion acquaint himself with the extensive classical modes and tonal centers. Adams has stated would sound like, was attached to my piece Phrygian Gates, is among the earliest music literature written for the piano. For visualization of the keyboard. I could that these modes are “familiar territory a while, although he never completely pieces that the composer still acknowledges. for all modern jazz performers.” But his manage (with practice) to give myself Written soon after he turned 30, this music mastered the instrument to his satisfaction, a pretty good idea of what any two part constantly changing mode, something less the piano replaced the guitar as his primary marks the beginnings of Adams’ adaptation common, is why he included “gates” in the counterpoint sounded like and the guitar and expansion of the minimalist aesthetic compositional tool: was too restricted and more difficult in title – an idiosyncratic into a more permeable and expansive co-opting of the word this regard. Besides, I was in a period of technique that would later be described as I was making the rejecting the guitar as an artifact of my used in electronic transition from being post-minimalism. The breezy minimalist music to connote a rock-and-roll past. Perhaps that is why, music of Steve Reich and Philip Glass had a an illiterate (in terms to this day, much of my music is initially switch that changes of musical notation) profound impact on the young John Adams, the configuration conceived as two-part counterpoint who had moved to California six years earlier rock musician to and then fleshed out, orchestrated or or polarity of a becoming a concert in part out of frustration with aesthetic waveform. otherwise extrapolated into a more restrictiveness of the academic music scene music composer. complex texture … or not. At the University on the East Coast. But already in his earliest Adams later Hallelujah forays into repetitive music with gradual Junction (1996), scored Photo: Jane Richey Photo: Steven Mackey of California at It was five or six years after grad school, John Adams Mitchell Margretta Photo: perceptible processes, Adams is venturing for two pianos, is Davis I spent a while teaching at Princeton, that I into new, less stable, terrain. Adams has music of much greater complexity, both summer with Arnold Schoenberg’s started to play the guitar again. The acknowledged that in these pieces there rhythmically and harmonically. The herky- Fundamentals of Musical Composition. guitar is my mother tongue and I am is “no rigorous step-by-step accretive jerky syncopations that pervade the piece This book is almost entirely based on much more comfortable improvising on process,” conceding that using such devices are the by-product of a musical device the piano sonatas of Beethoven. I read the guitar. But I still go to the piano to as the basis for a musical composition is that is akin to a reverse onomatopoeia. and listened obsessively that summer. explore two-part structures. The return I went from never having heard a piano “a process that has never much interested He begins with just the “– lle-lu-jah,” a to the guitar was significant, however, me.” China Gates is basically a two-part three-note motif that ricochets between the sonata to being able to sing the themes in that it precipitated the incorporation for Beethoven’s 32 … especially the late counterpoint consisting of an undulating two pianists, and later adds the rest of the of vernacular music elements into right-hand stream of eighth notes that syllables. The initial alternation between ones. At the same time I started taking my music. The physical activities and piano lessons; as an adult beginner arpeggiate chords and scales while the left the two pianists eventually gives way to a contexts of composing, whether at hand plays material that either shadows it more regular-seeming flow of cascading 8 6 9 Mackey was thoroughly immersed in rock with adventurous tastes my teacher the piano, the guitar, on the top of a or operates against it, playing phrases in music growing up and already had extensive wisely taught me using the Bartók mountain, or at the computer, have contrary motion as well as placing emphasis experience playing music exclusively by Mikrokosmos. always had a big impact on the music on different downbeats, obscuring the ear as a rock guitarist before he became that results. otherwise regular rhythm. Additionally, interested in composing. But Mackey did By the time I got to graduate school although China Gates is unabashedly diatonic (email correspondence, November 2013) not actively listen to classical music until he I composed entirely on the piano. I and frequently pentatonic (hence China), the was in college, which was also when he first interweaving melodies played by the two wasn’t good at the piano but my interval John Adams’ brief 1977 piano solo China began taking piano lessons in order to better hands flow seamlessly between different geography, my sense of what the notes Gates along with its much longer companion acquaint himself with the extensive classical modes and tonal centers. Adams has stated would sound like, was attached to my piece Phrygian Gates, is among the earliest music literature written for the piano. For visualization of the keyboard. I could that these modes are “familiar territory a while, although he never completely pieces that the composer still acknowledges. for all modern jazz performers.” But his manage (with practice) to give myself Written soon after he turned 30, this music mastered the instrument to his satisfaction, a pretty good idea of what any two part constantly changing mode, something less the piano replaced the guitar as his primary marks the beginnings of Adams’ adaptation common, is why he included “gates” in the counterpoint sounded like and the guitar and expansion of the minimalist aesthetic compositional tool: was too restricted and more difficult in title – an idiosyncratic into a more permeable and expansive co-opting of the word this regard. Besides, I was in a period of technique that would later be described as I was making the rejecting the guitar as an artifact of my used in electronic transition from being post-minimalism. The breezy minimalist music to connote a rock-and-roll past. Perhaps that is why, music of Steve Reich and Philip Glass had a an illiterate (in terms to this day, much of my music is initially switch that changes of musical notation) profound impact on the young John Adams, the configuration conceived as two-part counterpoint who had moved to California six years earlier rock musician to and then fleshed out, orchestrated or or polarity of a becoming a concert in part out of frustration with aesthetic waveform. otherwise extrapolated into a more restrictiveness of the academic music scene music composer. complex texture … or not. At the University on the East Coast. But already in his earliest Adams later Hallelujah forays into repetitive music with gradual Junction (1996), scored Photo: Jane Richey Photo: Steven Mackey of California at It was five or six years after grad school, John Adams Mitchell Margretta Photo: perceptible processes, Adams is venturing for two pianos, is Davis I spent a while teaching at Princeton, that I into new, less stable, terrain. Adams has music of much greater complexity, both summer with Arnold Schoenberg’s started to play the guitar again. The acknowledged that in these pieces there rhythmically and harmonically. The herky- Fundamentals of Musical Composition. guitar is my mother tongue and I am is “no rigorous step-by-step accretive jerky syncopations that pervade the piece This book is almost entirely based on much more comfortable improvising on process,” conceding that using such devices are the by-product of a musical device the piano sonatas of Beethoven. I read the guitar. But I still go to the piano to as the basis for a musical composition is that is akin to a reverse onomatopoeia. and listened obsessively that summer. explore two-part structures. The return I went from never having heard a piano “a process that has never much interested He begins with just the “– lle-lu-jah,” a to the guitar was significant, however, me.” China Gates is basically a two-part three-note motif that ricochets between the sonata to being able to sing the themes in that it precipitated the incorporation for Beethoven’s 32 … especially the late counterpoint consisting of an undulating two pianists, and later adds the rest of the of vernacular music elements into right-hand stream of eighth notes that syllables. The initial alternation between ones. At the same time I started taking my music. The physical activities and piano lessons; as an adult beginner arpeggiate chords and scales while the left the two pianists eventually gives way to a contexts of composing, whether at hand plays material that either shadows it more regular-seeming flow of cascading 8 9 7 sixteenth notes. The pianists soon trade piano concerto, and his subsequent Hoodoo narrations about new parenthood. They five “Stages.” These Stages are inspired by chunky chords, accenting different beats, Zephyr (1992), an album of studio produced were very supportive when my boy was those that a young child goes through in which sometimes gives the illusion that this synthesizer music. born two months premature and spent the first years of becoming human.The first music – heretofore cast almost exclusively in six weeks in the NICU and I often think of Stage of Mackey’s concerto opens quietly in triple meter – is shifting meter. After a quick The centerpiece of the present CD is the them and that time as I watch him bound the strings with a celesta lullaby gradually pause, the music begins again, now slower world premiere recording of Mackey’s piano around the house now. emerging as if out of a vapor. Mackey has and somewhat languorous, as if in a dream concerto, Stumble to Grace (2011), which characterized the piano’s initial entrance as state. Against a steady flow of triplets, was expressly written for Orli Shaham and In subsequent correspondence, he described a series of “naïve and awkward plinks and the initial motif returns but is slightly was a co-commission by the Los Angeles his compositional process in greater detail: plunks.” A harp responds to the pianist’s transformed. A series of metric modulations Philharmonic, the St. Louis Symphony, very first utterance with a pitch that’s a leads to the ecstatic, almost semi-crazed and the New Jersey Symphony Orchestra. I was both excited and intimidated at the quarter-tone flat, adding further layers of boogie-woogie section that concludes the Stumble to Grace is Mackey’s first major prospect of composing a concerto for vulnerability. Eventually the piano attempts piece. This is some piano composition. Orli. Since I am a very limited pianist, it to take center stage, of Adams’ jazziest didn’t even occur to me to try to compose but it’s ultimately music, somewhat In Mackey’s published program notes for the the more virtuosic passages at the piano. subverted by even reminiscent of the off- work, he describes how his inspiration came Rather, my approach was to construct more prominent kilter jazz-inflected from observing his then recently born son the music from individual contrapuntal quarter-tones in the player piano studies Jasper “learning to become human”: strands. I would compose each strand at horns and strings. of Conlon Nancarrow, the piano, but imagine – away from the By the second Stage, and it is almost as I began thinking about the piece keyboard by pantomiming in the air – the piano is more difficult to perform. when he was first experimenting with how the strands would fit together, and assertive, forcefully Adams has not written perambulation and now a year later I would make adjustments as necessary. banging out a series much about this piece. I would send the most elaborate music, of strident chords that Photo: Jack Renner Photo: there is a confident lilt to his step. David Robertson Orli and Jaspar Photo: Though its title – are predominantly More generally, I wanted to open my like the fugue at the end, to Orli and she which derives from a truck stop on Highway would tell me what still needed adjusting in quintuple time. The third Stage is compositional process to incorporate 49 on the California-Nevada border – also – for example: “It would be so much an extensive piano solo. But the horns some of the whimsy and exuberance serves as the title for his autobiography, he easier if this note were tied rather than ultimately join in, as if to put the piano in remains frustratingly silent about this piece that he brings to his exploration of the repeating it.” We really didn’t need to its place. Throughout the fourth Stage, therein. In a recent correspondence, Adams world. … A preoccupation with one’s change that much and one of the things the piano and orchestra alternately vie for wrote that this is music that he “wrote just children is common among most new that inspired me from the beginning attention, but by the final Stage, there is no for the pleasure of writing, and beyond that, parents but this seemed a particularly about Orli’s playing is her ability to doubt about which instrument is the focal I’d have to leave it to an outside listener appropriate source of metaphor for a characterize the individual strands in a point of the piece. The counterpoint grows to draw conclusions.” He did, however, piece written for Orli Shaham. She and polyphonic texture. ever denser until a fugue emerges which acknowledge that the music shares a her conductor husband, David Robertson, features a somewhat unstable metrical kinship with his earlier Grand Pianola Music have twins less than a year older than my Although Stumble to Grace is cast in a single interplay between the pianist and the (1982), which is something of a double son and we’ve had play dates and shared 25-minute-long movement, it is divided into orchestra. The piano is completely able 10 11 sixteenth notes. The pianists soon trade piano concerto, and his subsequent Hoodoo narrations about new parenthood. They five “Stages.” These Stages are inspired by chunky chords, accenting different beats, Zephyr (1992), an album of studio produced were very supportive when my boy was those that a young child goes through in which sometimes gives the illusion that this synthesizer music. born two months premature and spent the first years of becoming human.The first music – heretofore cast almost exclusively in six weeks in the NICU and I often think of Stage of Mackey’s concerto opens quietly in triple meter – is shifting meter. After a quick The centerpiece of the present CD is the them and that time as I watch him bound the strings with a celesta lullaby gradually pause, the music begins again, now slower world premiere recording of Mackey’s piano around the house now. emerging as if out of a vapor. Mackey has and somewhat languorous, as if in a dream concerto, Stumble to Grace (2011), which characterized the piano’s initial entrance as state. Against a steady flow of triplets, was expressly written for Orli Shaham and In subsequent correspondence, he described a series of “naïve and awkward plinks and the initial motif returns but is slightly was a co-commission by the Los Angeles his compositional process in greater detail: plunks.” A harp responds to the pianist’s transformed. A series of metric modulations Philharmonic, the St. Louis Symphony, very first utterance with a pitch that’s a leads to the ecstatic, almost semi-crazed and the New Jersey Symphony Orchestra. I was both excited and intimidated at the quarter-tone flat, adding further layers of boogie-woogie section that concludes the Stumble to Grace is Mackey’s first major prospect of composing a concerto for vulnerability. Eventually the piano attempts piece. This is some piano composition. Orli. Since I am a very limited pianist, it to take center stage, of Adams’ jazziest didn’t even occur to me to try to compose but it’s ultimately music, somewhat In Mackey’s published program notes for the the more virtuosic passages at the piano. subverted by even reminiscent of the off- work, he describes how his inspiration came Rather, my approach was to construct more prominent kilter jazz-inflected from observing his then recently born son the music from individual contrapuntal quarter-tones in the player piano studies Jasper “learning to become human”: strands. I would compose each strand at horns and strings. of Conlon Nancarrow, the piano, but imagine – away from the By the second Stage, and it is almost as I began thinking about the piece keyboard by pantomiming in the air – the piano is more difficult to perform. when he was first experimenting with how the strands would fit together, and assertive, forcefully Adams has not written perambulation and now a year later I would make adjustments as necessary. banging out a series much about this piece. I would send the most elaborate music, of strident chords that Photo: Jack Renner Photo: there is a confident lilt to his step. David Robertson Orli and Jaspar Photo: Though its title – are predominantly More generally, I wanted to open my like the fugue at the end, to Orli and she which derives from a truck stop on Highway would tell me what still needed adjusting in quintuple time. The third Stage is compositional process to incorporate 49 on the California-Nevada border – also – for example: “It would be so much an extensive piano solo. But the horns some of the whimsy and exuberance serves as the title for his autobiography, he easier if this note were tied rather than ultimately join in, as if to put the piano in remains frustratingly silent about this piece that he brings to his exploration of the repeating it.” We really didn’t need to its place. Throughout the fourth Stage, therein. In a recent correspondence, Adams world. … A preoccupation with one’s change that much and one of the things the piano and orchestra alternately vie for wrote that this is music that he “wrote just children is common among most new that inspired me from the beginning attention, but by the final Stage, there is no for the pleasure of writing, and beyond that, parents but this seemed a particularly about Orli’s playing is her ability to doubt about which instrument is the focal I’d have to leave it to an outside listener appropriate source of metaphor for a characterize the individual strands in a point of the piece. The counterpoint grows to draw conclusions.” He did, however, piece written for Orli Shaham. She and polyphonic texture. ever denser until a fugue emerges which acknowledge that the music shares a her conductor husband, David Robertson, features a somewhat unstable metrical kinship with his earlier Grand Pianola Music have twins less than a year older than my Although Stumble to Grace is cast in a single interplay between the pianist and the (1982), which is something of a double son and we’ve had play dates and shared 25-minute-long movement, it is divided into orchestra. The piano is completely able 10 11 to stand on its own at this point. Pianists to stand on its own at this point. Pianists ultimately all have different gaits. ultimately all have different gaits.

Mackey’s miniature Sneaky March (2011), Mackey’s miniature Sneaky March (2011), snatches of which found their way into snatches of which found their way into Stumble to Grace as well, was born when Stumble to Grace as well, was born when Shaham asked Mackey to write a brief Shaham asked Mackey to write a brief piano solo for her “Baby Got Bach” series piano solo for her “Baby Got Bach” series for preschoolers. According to Mackey, the for preschoolers. According to Mackey, the music that eventually became this piece music that eventually became this piece “began as a song that I made up with my “began as a song that I made up with my one-year-old son sitting on my lap while one-year-old son sitting on my lap while I sat at the piano. One summer we were I sat at the piano. One summer we were swimming by his grandparents’ pool a lot swimming by his grandparents’ pool a lot and I/we made up a song. The words were and I/we made up a song. The words were sung to the music that makes up the ﬁrst sung to the music that makes up the ﬁrst eight bars of Sneaky March: eight bars of Sneaky March: Jasper and Daddy Jasper and Daddy Jasper and Daddy Jasper and Daddy in the pool Jasper and Daddy Jasper and Daddy in the pool Jasper and Daddy in the pool All day long Jasper and Daddy in the pool All day long “The song was evolved over many short piano lap-sitting sessions.” “The song was evolved over many short piano lap-sitting sessions.” Frank J Oteri Frank J Oteri ASCAP-award-winning composer and music journalist Frank J. Oteri is the Composer Advocate ASCAP-award-winning composer and music for New Music USA and the Senior Editor of its web journalist Frank J. Oteri is the Composer Advocate magazine NewMusicBox (newmusicbox.org). for New Music USA and the Senior Editor of its web magazine NewMusicBox (newmusicbox.org).

Right: Orli Shaham, Jon Kimura Parker Hallelujah Junction ‘it’s in the can’ May 28, 2013 Right: Orli Shaham, Jon Kimura Parker Photo: Jack Renner Hallelujah Junction ‘it’s in the can’ May 28, 2013 12 13 Photo: Jack Renner 12 13 ORLI SHAHAM, piano DAVID ROBERTSONEQPFWEVQT

halls from Carnegie Album (CC02), and Mozart in Paris (CC01). Lyon (2000-2004). In January 2014 he assumed the Dean (Vexations and © Michael Tammaro Hall to the Sydney post of Chief Conductor and Artistic Director of the Devotions for BIS Records) Opera House and most Driven by a passion to bring classical music to Sydney Symphony Orchestra in Australia. and is also integrally of the major venues in new audiences, Orli Shaham maintains an active involved in recordings between, for recitals, parallel career as a respected broadcaster, Under David Robertson’s direction, the St. Louis with his brother-in-law, chamber music, and music writer, and lecturer. On radio, she has Symphony has embarked on American and violinist Gil Shaham, of concerti. Ms. Shaham hosted the nationally-broadcast Dial-a-Musician international tours which have included acclaimed violin concertos from has performed with and America’s Music Festivals series, and served appearances at London’s BBC Proms, the Berlin the 1930s for Canary © Christian Steiner © Christian nearly every major as artist in residence on National Public Radio’s and Lucerne Festivals, and Paris’ Salle Pleyel, as Classics. Robertson is American orchestra, as well as many in Europe, Performance Today. well as New York’s Carnegie Hall. Mr. Robertson is also the architect behind the St. Louis Symphony’s Asia, and Australia. A frequent guest at summer a frequent guest conductor with major orchestras download-only series Live From Powell Hall, which festivals, her appearances include Tanglewood, Inspired by her enthusiasm for introducing young around the world, including Royal Concertgebouw has recordings of works by Adams, Scriabin, and Ravinia, Verbier, Mostly Mozart, and Aspen. children to the pleasures of music, Orli Shaham Orchestra, Staatskapelle Dresden and the Berlin Szymanowski amongst others. Devoted to the intimate genre of chamber music, created Baby Got Bach, a series of interactive Philharmonic. A highly sought-after conductor in Ms. Shaham serves as curator and performer classical concerts for young children which has the USA, he regularly appears with the New York Born in Santa Monica, California, David Robertson in Paciﬁc Symphony’s chamber music series in a devoted following in New York, St. Louis and and Los Angeles Philharmonics, Boston, Chicago trained at London’s Royal Academy of Music, where Costa Mesa, California. other locations. As part of the Baby Got Bach and Cincinnati Symphonies, and the Philadelphia he studied horn and composition before turning program, she continually adds to the repertoire by and Cleveland Orchestras. to orchestral conducting. Mr. Robertson is the In addition to American Grace, Ms. Shaham is in commissioning notable composers to write music recipient of numerous awards and honors. the midst of a multi-volume recording project for pianist with audience participation. With over 50 operas in his repertoire, centering around the late works of Johannes Mr. Robertson has appeared at many of the world’s For more information: orlishaham.com

14 15 ORLI SHAHAM, piano DAVID ROBERTSONEQPFWEVQT

A consummate musician recognized for her Brahms. The recordings feature compositions A masterful programmer, a dynamic presence, most prestigious opera houses, including The grace and vitality, Orli Shaham has established by Brahms and related music from the classical and a consummate musician, David Robertson Metropolitan Opera, La Scala, Opéra de Lyon, an impressive international reputation as one canon, alongside new works commissioned by has established himself as one of today’s most Bayerische Staatsoper, Théâtre du Châtelet, of today’s most gifted pianists. Hailed by critics Ms. Shaham. Her wide variety of repertoire is sought-after conductors. A passionate and Hamburg State Opera, Santa Fe Opera, and on four continents, Ms. Shaham is in demand reflected in her large discography, including compelling communicator with an extensive San Francisco Opera. for her prodigious skills and admired for her Nigunim: Hebrew Melodies (CC10) with her orchestral and operatic repertoire, he has forged interpretations of both standard and modern brother, the violinist Gil Shaham, which includes close relationships with major orchestras around David Robertson has undertaken numerous repertoire. The St. Louis Post-Dispatch has praised the world premiere of a work by Avner Dorman, the world through his exhilarating music-making recordings for Sony Classical, Naive, EMI/Virgin her “wit, passion, delicacy, and humor”; and commissioned by Orli and Gil Shaham; Saint- and stimulating ideas. Since 2005, Mr. Robertson is Classics, Deutsche Grammophon, Erato, Nuema, The Guardian has called Ms. Shaham’s playing Saens’ Carnival of the Animals with the pianist Jon Music Director of the St. Louis Symphony Adès, Valois, Naxos, and Nonesuch, the latter “perfection.” Kimura Parker and the San Diego Symphony; and and was Principal Guest Conductor of the including Adams’ Dr. Atomic Symphony, as well as a CD of chamber music, including the Brahms BBC Symphony Orchestra from 2005-2012. Key City Noir and the Saxophone Concerto premiered in Orli Shaham’s Horn Trio featuring Richard King. Orli and Gil appointments prior to 2005 included Music Director 2013. David Robertson has performance schedule Shaham have collaborated on several other of the Ensemble Intercontemporain (1992-2000) performed and recorded brings her to concert recordings including Dvorˇák for Two, The Prokofiev and Music Director of the Orchestre National de works of composer Brett halls from Carnegie Album (CC02), and Mozart in Paris (CC01). Lyon (2000-2004). In January 2014 he assumed the Dean (Vexations and © Michael Tammaro Hall to the Sydney post of Chief Conductor and Artistic Director of the Devotions for BIS Records) Opera House and most Driven by a passion to bring classical music to Sydney Symphony Orchestra in Australia. and is also integrally of the major venues in new audiences, Orli Shaham maintains an active involved in recordings between, for recitals, parallel career as a respected broadcaster, Under David Robertson’s direction, the St. Louis with his brother-in-law, chamber music, and music writer, and lecturer. On radio, she has Symphony has embarked on American and violinist Gil Shaham, of concerti. Ms. Shaham hosted the nationally-broadcast Dial-a-Musician international tours which have included acclaimed violin concertos from has performed with and America’s Music Festivals series, and served appearances at London’s BBC Proms, the Berlin the 1930s for Canary © Christian Steiner © Christian nearly every major as artist in residence on National Public Radio’s and Lucerne Festivals, and Paris’ Salle Pleyel, as Classics. Robertson is American orchestra, as well as many in Europe, Performance Today. well as New York’s Carnegie Hall. Mr. Robertson is also the architect behind the St. Louis Symphony’s Asia, and Australia. A frequent guest at summer a frequent guest conductor with major orchestras download-only series Live From Powell Hall, which festivals, her appearances include Tanglewood, Inspired by her enthusiasm for introducing young around the world, including Royal Concertgebouw has recordings of works by Adams, Scriabin, and Ravinia, Verbier, Mostly Mozart, and Aspen. children to the pleasures of music, Orli Shaham Orchestra, Staatskapelle Dresden and the Berlin Szymanowski amongst others. Devoted to the intimate genre of chamber music, created Baby Got Bach, a series of interactive Philharmonic. A highly sought-after conductor in Ms. Shaham serves as curator and performer classical concerts for young children which has the USA, he regularly appears with the New York Born in Santa Monica, California, David Robertson in Pacific Symphony’s chamber music series in a devoted following in New York, St. Louis and and Los Angeles Philharmonics, Boston, Chicago trained at London’s Royal Academy of Music, where Costa Mesa, California. other locations. As part of the Baby Got Bach and Cincinnati Symphonies, and the Philadelphia he studied horn and composition before turning program, she continually adds to the repertoire by and Cleveland Orchestras. to orchestral conducting. Mr. Robertson is the In addition to American Grace, Ms. Shaham is in commissioning notable composers to write music recipient of numerous awards and honors. the midst of a multi-volume recording project for pianist with audience participation. With over 50 operas in his repertoire, centering around the late works of Johannes Mr. Robertson has appeared at many of the world’s For more information: orlishaham.com

14 15 ,10-+/74#2#4-'4, piano LOS ANGELES PHILHARMONIC

A veteran of the international concert stage, John Harbison, and Steven Stucky. Parker also The Los Angeles Philharmonic, under the vibrant In 2012, the LA Phil launched Take a Stand, a Jon Kimura Parker has earned accolades for his tours with the Miró Quartet, in a trio with Martin leadership of Music Director Gustavo Dudamel, partnership with the Longy School of Music at performances from audiences and critics alike, Beaver and Clive Greensmith, and in a special is re-inventing the concept of the 21st-century Bard College, which supports social change with the Chicago Tribune praising his project with percussionist Stewart Copeland. orchestra. Both at home and abroad, the through music by providing leaders with tools “…strength and suppleness of line, variety of An unusually versatile artist, he has also jammed Philharmonic – recognized as one of the world’s for growth through a series of conferences touch, and generosity of feeling,” and the Toronto with Audra McDonald, Bobby McFerrin, and outstanding orchestras – is leading the way and workshops, and provides progressive and Star declaring him “Stunning!” Doc Severinsen. In commemoration of his special in innovative programming, which is received rigorous training for performing and teaching performances in war-torn Sarajevo in 1995, he enthusiastically by audiences and critics alike. musicians. Jon Kimura Parker has performed as guest was a featured speaker alongside humanitarians soloist with the Philadelphia Orchestra and Elie Wiesel and Paul Rusesabagina at the Nearly 300 concerts each season are either The Philharmonic continues to broaden its Wolfgang Sawallisch in Carnegie Hall, toured 50th Anniversary of the relief organization performed or presented by the Philharmonic at audience by touring worldwide, offering an Europe with the Royal Philharmonic Orchestra AmeriCares. its two iconic venues: Walt Disney Concert Hall extensive catalog of recorded music, and and André Previn, and and the Hollywood Bowl. These presentations broadcasting concerts on radio and television. In shared the stage with A committed educator, Jon Kimura Parker is represent a breadth and depth unrivaled by partnership with Classical KUSC and the WFMT Jessye Norman at Professor of Piano at The Shepherd School other orchestras or cultural institutions. During Radio Network, LA Phil concerts are heard in

© Tara McMullen © Tara Berlin’s Philharmonie. of Music at Rice University. He is also Artistic its 30-week winter subscription season, the more than 300 markets and reach over 3 million Conductors he has Advisor of the Orcas Island Chamber Music Philharmonic creates festivals, artist residencies, listeners. Through an ongoing partnership with recently worked with Festival, where he has given world premieres of and other thematic programs designed to enhance Deutsche Grammophon, the orchestra also has a include David Afkham, new works by Peter Schickele and Jake Heggie. the symphonic music experience and delve further substantial catalog of concerts available online. Carlos Kalmar, His YouTube channel features the Concerto Chat into certain artists’ or composers’ work. Peter Oundjian, video series, with illuminating discussions of the The Los Angeles Philharmonic was founded by David Robertson, piano concerto repertoire. The LA Phil’s commitment to the music of our time William Andrews Clark, Jr., a millionaire and Xu Zhong, and is also evident in its exhilarating Green Umbrella amateur musician, who established the city’s first Pinchas Zukerman. “Jackie” Parker studied with Edward Parker series and its extensive commissioning initiatives. permanent symphony orchestra in 1919. Walter He has given command and Keiko Parker privately, Lee Kum-Sing The LA Phil also produces concerts featuring Henry Rothwell became its first Music Director, performances for Queen Elizabeth II, the U.S. at the Vancouver Academy of Music and the distinguished artists in recital, jazz, world music, serving until 1927; since then, ten renowned Supreme Court, and the Prime Ministers of University of British Columbia, Robin Wood at songbook, and visiting orchestra performances, conductors have served in that capacity: Georg Canada and Japan. He is an Officer of The Order the Victoria Conservatory, Marek Jablonski in addition to special holiday concerts and series Schnéevoigt (1927-1929); Artur Rodzinski (1929- of Canada, his country’s highest civilian honor. at the Banff Centre, and Adele Marcus at The of chamber music, organ recitals, and Baroque 1933); Otto Klemperer (1933-1939); Alfred Juilliard School. He won the Gold Medal at the music. Wallenstein (1943-1956); Eduard van Beinum Jon Kimura Parker performs as duo partner 1984 Leeds International Piano Competition. He (1956-1959); Zubin Mehta (1962-1978); Carlo Maria regularly with violinists James Ehnes and lives in Houston with his wife, violinist Aloysia The orchestra’s involvement with Los Angeles Giulini (1978-1984); André Previn (1985-1989); Cho-Liang Lin, cellist Lynn Harrell, and, as Friedmann, and their daughter Sophie. extends far beyond symphony concerts in a Esa-Pekka Salonen (1992-2009); and Gustavo on this recording, with fellow pianist Orli concert hall, with performances in schools, Dudamel (2009-present). Shaham. With Cho-Liang Lin, he has given world For more information: jonkimuraparker.com churches, and neighborhood centers of a vastly premieres of sonatas by Paul Schoenfield, and oicmf.org. diverse community. Among its wide-ranging For more information: laphil.com education initiatives is Youth Orchestra LA (YOLA).

16 17 ,10-+/74#2#4-'4, piano LOS ANGELES PHILHARMONIC

16 17 LOS ANGELES PHILHARMONIC #%-019.'&)'/'065 Gustavo Dudamel Kristine Whitson Gloria Lum e-flat clarinet tuba Many thanks to Princeton University, Recording producer and editor: Erica Brenner Music Director Johnny Lee Serge Oskotsky Monica Kaenzig Norman Pearson without whose financial support Mix and mastering engineer: Paul Blakemore Esa-Pekka Salonen Brent Samuel Conductor Laureate Dale Breidenthal bass clarinet timpani the recording of Stumble to Grace Lionel Bringuier Ingrid Chun bass David Howard Joseph Pereira would not have been possible. STUMBLE TO GRACE (tracks 4 – 8) recorded Resident Conductor Jin-Shan Dai Dennis Trembly Principal live at Walt Disney Concert Hall, Los Angeles, John Adams Chao-Hua Jin Principal bassoon California, April 5–7, 2013. percussion Profound thanks to Steve Mackey and John Creative Chair Nickolai Kurganov Christopher Hanulik Whitney Crockett 2014 Los Angeles Philharmonic Guido Lamell Principal Principal Raynor Carroll Adams for such inspired and inspirational Deborah Borda Recording Engineer: Fred Vogler President and Chief Varty Manouelian Oscar M. Meza Shawn Mouser Principal music, and to Jackie Parker, who selflessly Executive Officer Paul Stein Assistant Principal Associate Principal James Babor Assistant Engineer: Sergey Parfenov Yun Tang David Allen Moore Michele Grego Perry Dreiman embraced this musical journey with me. Piano Technician: Ron Elliott first violin Akiko Tarumoto Patricia Kindel Thanks also to David Robertson, whose Audio Crew, Walt Disney Concert Hall: Randy Martin Chalifour Suli Xue* Jack Cousin keyboard passion and support made Stumble to Grace Piotroski, David Crawford, Robert Schraut Joanne Pearce Martin Principal Peter Rofé contrabassoon LA Phil Project Manger: Chris Ayzoukian Concertmaster viola John Schiavo Patricia Kindel come to life in every way, and to Peter Nathan Cole Carrie Dennis Principal Frederick Tinsley harp Robertson, whose artistic vision aligned the First Associate Dale Hikawa horn Lou Anne Neill pieces of this album. Deep admiration and HALLELUJAH JUNCTION (tracks 1 – 3), SNEAKY flute Andrew Bain Principal MARCH (track 9) and CHINA GATES (track 10) Concertmaster Silverman Associate thanks to Gil Shaham for creating Canary Bing Wang Associate Principal Catherine Ransom Eric Overholt Associate librarians recorded at Mechanics Hall, Worcester, Concertmaster Ben Ullery Assistant Karoly Associate Principal Kazue Asawa Classics. Thanks to Deborah Borda, Chris Massachusetts, May 27–28, 2013 McGregor Mark Baranov Principal Principal Gregory Roosa Ayzoukian, Chad Smith, and Jeff Wallace at 2014 Canary Classics LLC Elise Shope Brian Drake Kenneth Bonebrake Assistant the Los Angeles Philharmonic, and Sharon Recording Engineer: Jack Renner Concertmaster Richard Elegino Sarah Jackson Elizabeth Cook-Shen Stephen Biagini Michele Bovyer Dana Hansen Ethan Bearman Onorato, Bob Kennedy, and Joseph Chilorio Piano Technician: Barbara Pease Renner John Hayhurst piccolo Assistant personnel manager at Mechanics Hall for making it happen, and Hamburg Steinway Jeffrey Neville Rochelle Abramson Ingrid Hutman Sarah Jackson to page turners Alyssa Dagenais and Amelia Original recording format: 96kHz/24 bit Camille Avellano Michael Larco trumpet oboe Thomas Hooten conducting fellows Erskine. Lastly to Matthew Freeman and Erica Elizabeth Baker Hui Liu Orli Shaham is a Steinway Artist Minyoung Chang Meredith Snow Ariana Ghez Principal Principal Mirga Grazinyte-Tyla Brenner for making this project a reality by Christopher Lees Tamara Chernyak Leticia Oaks Strong Marion Arthur Kuszyk James Wilt Associate holding my hand every step of the way. Robert Vijay Gupta Minor L. Wetzel Associate Principal Principal Dietrich Paredes Rafael Payare John Adams and Steven Mackey are Mischa Lefkowitz Anne Marie Gabriele Christopher Still published by Boosey and Hawkes Inc. Edith Markman cello Carolyn Hove* Michael Myers *on sabbatical I would like to add undying gratitude to Robert deMaine Judith Mass Herbert Stessin, without whose musical Graphic Design and layout: Rushton Design Mitchell Newman Principal english horn trombone The Los Angeles Philharmonic string section utilizes revolving inspiration and generosity this project would Cover Art: Amy Baird Barry Socher Tao Ni Associate Carolyn Hove * Nitzan Haroz Principal seating on a systematic basis. Lawrence Sonderling Principal James Miller Associate Players listed alphabetically not exist. This album is dedicated with love to Orli Shaham Photography: Christian Steiner clarinet Principal change seats periodically. Stacy Wetzel Ben Hong Assistant In those sections where his memory. Principal Michele Zukovsky Herbert Ausman there are two principals, the Canary Classics LLC is not responsible for content Principal musicians share the position Orli Shaham second violin Jonathan Karoly equally and are listed in on external websites published in this booklet. Lyndon Johnston Monica Kaenzig bass trombone order of length of service. Canary Classics recordings can be ordered from Taylor Principal David Garrett David Howard John Lofton The musicians of the Los our distributors worldwide. For more information Barry Gold Angeles Philharmonic are Mark Kashper represented by Professional canaryclassics.com / [email protected] Associate Principal Jason Lippmann Musicians Local 47, AFM. © 2014 Canary Classics LLC 18 19 LOS ANGELES PHILHARMONIC #%-019.'&)'/'065 Gustavo Dudamel Kristine Whitson Gloria Lum e-flat clarinet tuba Many thanks to Princeton University, Recording producer and editor: Erica Brenner Music Director Johnny Lee Serge Oskotsky Monica Kaenzig Norman Pearson without whose financial support Mix and mastering engineer: Paul Blakemore Esa-Pekka Salonen Brent Samuel Conductor Laureate Dale Breidenthal bass clarinet timpani the recording of Stumble to Grace Lionel Bringuier Ingrid Chun bass David Howard Joseph Pereira would not have been possible. STUMBLE TO GRACE (tracks 4 – 8) recorded Resident Conductor Jin-Shan Dai Dennis Trembly Principal live at Walt Disney Concert Hall, Los Angeles, John Adams Chao-Hua Jin Principal bassoon California, April 5–7, 2013. percussion Profound thanks to Steve Mackey and John Creative Chair Nickolai Kurganov Christopher Hanulik Whitney Crockett 2014 Los Angeles Philharmonic Guido Lamell Principal Principal Raynor Carroll Adams for such inspired and inspirational Deborah Borda Recording Engineer: Fred Vogler President and Chief Varty Manouelian Oscar M. Meza Shawn Mouser Principal music, and to Jackie Parker, who selflessly Executive Officer Paul Stein Assistant Principal Associate Principal James Babor Assistant Engineer: Sergey Parfenov Yun Tang David Allen Moore Michele Grego Perry Dreiman embraced this musical journey with me. Piano Technician: Ron Elliott first violin Akiko Tarumoto Patricia Kindel Thanks also to David Robertson, whose Audio Crew, Walt Disney Concert Hall: Randy Martin Chalifour Suli Xue* Jack Cousin keyboard passion and support made Stumble to Grace Piotroski, David Crawford, Robert Schraut Joanne Pearce Martin Principal Peter Rofé contrabassoon LA Phil Project Manger: Chris Ayzoukian Concertmaster viola John Schiavo Patricia Kindel come to life in every way, and to Peter Nathan Cole Carrie Dennis Principal Frederick Tinsley harp Robertson, whose artistic vision aligned the First Associate Dale Hikawa horn Lou Anne Neill pieces of this album. Deep admiration and HALLELUJAH JUNCTION (tracks 1 – 3), SNEAKY flute Andrew Bain Principal MARCH (track 9) and CHINA GATES (track 10) Concertmaster Silverman Associate thanks to Gil Shaham for creating Canary Bing Wang Associate Principal Catherine Ransom Eric Overholt Associate librarians recorded at Mechanics Hall, Worcester, Concertmaster Ben Ullery Assistant Karoly Associate Principal Kazue Asawa Classics. Thanks to Deborah Borda, Chris Massachusetts, May 27–28, 2013 McGregor Mark Baranov Principal Principal Gregory Roosa Ayzoukian, Chad Smith, and Jeff Wallace at 2014 Canary Classics LLC Elise Shope Brian Drake Kenneth Bonebrake Assistant the Los Angeles Philharmonic, and Sharon Recording Engineer: Jack Renner Concertmaster Richard Elegino Sarah Jackson Elizabeth Cook-Shen Stephen Biagini Michele Bovyer Dana Hansen Ethan Bearman Onorato, Bob Kennedy, and Joseph Chilorio Piano Technician: Barbara Pease Renner John Hayhurst piccolo Assistant personnel manager at Mechanics Hall for making it happen, and Hamburg Steinway Jeffrey Neville Rochelle Abramson Ingrid Hutman Sarah Jackson to page turners Alyssa Dagenais and Amelia Original recording format: 96kHz/24 bit Camille Avellano Michael Larco trumpet oboe Thomas Hooten conducting fellows Erskine. Lastly to Matthew Freeman and Erica Elizabeth Baker Hui Liu Orli Shaham is a Steinway Artist Minyoung Chang Meredith Snow Ariana Ghez Principal Principal Mirga Grazinyte-Tyla Brenner for making this project a reality by Christopher Lees Tamara Chernyak Leticia Oaks Strong Marion Arthur Kuszyk James Wilt Associate holding my hand every step of the way. Robert Vijay Gupta Minor L. Wetzel Associate Principal Principal Dietrich Paredes Rafael Payare John Adams and Steven Mackey are Mischa Lefkowitz Anne Marie Gabriele Christopher Still published by Boosey and Hawkes Inc. Edith Markman cello Carolyn Hove* Michael Myers *on sabbatical I would like to add undying gratitude to Robert deMaine Judith Mass Herbert Stessin, without whose musical Graphic Design and layout: Rushton Design Mitchell Newman Principal english horn trombone The Los Angeles Philharmonic string section utilizes revolving inspiration and generosity this project would Cover Art: Amy Baird Barry Socher Tao Ni Associate Carolyn Hove * Nitzan Haroz Principal seating on a systematic basis. Lawrence Sonderling Principal James Miller Associate Players listed alphabetically not exist. This album is dedicated with love to Orli Shaham Photography: Christian Steiner clarinet Principal change seats periodically. Stacy Wetzel Ben Hong Assistant In those sections where his memory. Principal Michele Zukovsky Herbert Ausman there are two principals, the Canary Classics LLC is not responsible for content Principal musicians share the position Orli Shaham second violin Jonathan Karoly equally and are listed in on external websites published in this booklet. Lyndon Johnston Monica Kaenzig bass trombone order of length of service. Canary Classics recordings can be ordered from Taylor Principal David Garrett David Howard John Lofton The musicians of the Los our distributors worldwide. For more information Barry Gold Angeles Philharmonic are Mark Kashper represented by Professional canaryclassics.com / [email protected] Associate Principal Jason Lippmann Musicians Local 47, AFM. © 2014 Canary Classics LLC 18 19 JOHN ADAMS HALLELUJAH JUNCTION 16:10 1 Movement 1 7:25 2 Movement 2 2:34 3 Movement 3 6:11 Orli Shaham, Jon Kimura Parker, pianos

STEVEN MACKEY STUMBLE TO GRACE* 26:37 4 Stage 1 5:58 5 Stage 2 5:02 6 Stage 3 4:36 7 Stage 4 4:10 8 Stage 5 6:51 Orli Shaham, piano David Robertson, conductor Los Angeles Philharmonic

STEVEN MACKEY 9 SNEAKY MARCH* 1:42 Orli Shaham, piano

JOHN ADAMS 10 CHINA GATES 4:50 Orli Shaham, piano

* World Premiere Recording CC11