LOS ANGELES CHAMBER ORCHESTRA

TABLE OF CONTENTS

Programs at a Glance...... 4 Los Angeles Chamber Orchestra Biography...... 6 Orchestra Roster...... 8 Board of Directors...... 10 Administration...... 11 Letter from Margaret...... 13 Handel’s Water Music...... 15 Baroque Brass III...... 21 Beethoven & Strauss Septets...... 27 Music Director Jaime Martín...... 34 About the Artists...... 36 Donor Recognition...... 41 Gifts in Tribute...... 45 Institutional Donors and LACO Legacy Society...... 46 Special Thanks...... 47 Endowment Funds and Matching Gifts...... 48 WINTER PROGRAM

ADVERTISING This program is published in association with Onstage Publications, Onstage Publications 1612 Prosser Avenue, Kettering, OH 45409. This program may not 937-424-0529 | 866-503-1966 be reproduced in whole or in part without written permission from e-mail: [email protected] the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2019. All rights reserved. Printed in the U.S.A. www.onstagepublications.com 3 PROGRAMS AT A GLANCE BAROQUE CONVERSATIONS HANDEL’S WATER MUSIC (pg. 15) THURSDAY, NOV. 21 @ 7:30 p.m., First Presbyterian Church FRIDAY, NOV. 22 @ 7:30 p.m., The Huntington JAIME MARTÍN CONDUCTOR JOSHUA RANZ CLARINET KENNETH MUNDAY BASSOON Santa Monica TELEMANN Selections from Overture in F major R. STRAUSS Duet-Concertino for Clarinet and Bassoon HANDEL Water Music, Suite No. 1 BAROQUE BRASS III (pg. 21) THURSDAY, JAN. 16 @ 7:30 p.m., First Presbyterian Church FRIDAY, JAN. 17 @ 7:30 p.m., The Huntington MICHAEL THORNTON CO-LEADER & HORN DAVID WASHBURN CO-LEADER & TRUMPET MOLTER Symphony in C major ANONYMOUS Untitled HANDEL Eternal Source of Light Divine David Washburn VIVALDI Concerto in F major for 2 Horns PURCELL “Sound the Trumpet” from Come ye Sons of Art A. SCARLATTI Mio tesoro per te moro HANDEL “Va tacito” from Julius Caesar BACH Fugue in B minor (arr.) A. GABRIELI Ricercar del duodecimo tuono

The Huntington

4 IN FOCUS BEETHOVEN & STRAUSS SEPTETS (pg. 27) THURSDAY, FEB. 20 @ 7:30 p.m., First Presbyterian Church FRIDAY, FEB. 21 @ 7:30 p.m., The Huntington MARGARET BATJER CURATOR R. STRAUSS Metamorphosen (arr. for string septet) BEETHOVEN Septet, Op. 20 ADDITIONAL EVENT SHEKU & ISATA IN RECITAL TUESDAY, DEC. 3 @ 8 p.m., Zipper Hall SHEKU KANNEH-MASON CELLO ISATA KANNEH-MASON PIANO BEETHOVEN 12 Variations in F major on “Mädchen oder Weibchen” from Die Zauberflöte LUTOSŁAWSKI Grave BARBER Cello Sonata RACHMANINOFF Cello Sonata 2020 GALA CELEBRATION SATURDAY, MAY 9 @ 5:30 p.m., InterContinental

Los Angeles Downtown © Lars Borges Sheku Kanneh-Mason JAIME MARTÍN CONDUCTOR HONOREES JAMES NEWTON HOWARD EXECUTIVES OF THE CAPITAL GROUP

© Robin Clewley © Robin Isata Kanneh-Mason

5 LOS ANGELES CHAMBER ORCHESTRA Los Angeles Chamber Orchestra (LACO), ranked among the world’s top musical ensembles, marks an exciting new era in Southern California as it welcomes Jaime Martín in his debut year as Music Director. Martín builds upon LACO’s rich legacy as a preeminent interpreter of historical masterworks and, with eight ASCAP Awards for Adventurous Programming, a champion of contemporary composers. Headquartered in the heart of the country’s cultural capital, LACO is “more important with each passing year,” (Los Angeles Times), “America’s finest chamber orchestra” (Public Radio International) and “one of the world’s great chamber orchestras” (KUSC Classical FM). Martín’s appearance as LACO’s Music Director Designate in early 2019 was described by the Los Angeles Times, as “a thrilling performance, and the orchestra played like it was having the time of its life,” adding, “he will make fans very quickly.” Overseas, he has been praised as “a visionary conductor, discerning and meticulous” (Platea Magazine), and London’s The Telegraph said, “his infectious enjoyment of the music communicated to the orchestra and audience alike.” Highlights of LACO’s 2019/20 Season include world premieres by Andrew Norman, Juan Pablo Contreras and Derrick Spiva Jr., all LACO commissions; a West Coast premiere by Missy Mazzoli; and a co-commission from Albert Schnelzer and a commission from Sarah Gibson, both inspired by the legacy of Clara Schumann. Martín’s debut season showcases several exceptional guest artists with whom he has enjoyed particularly meaningful professional relationships — mezzo-soprano Anne Sofie von Otter, violinist Christian Tetzlaff and pianist Denis Kozhukhin — as well as British cello virtuoso Sheku Kanneh-Mason, pianists Jeremy Denk and David Fray and guest conductors Nicholas McGegan and Ruth Reinhardt. As Beethoven’s 250th anniversary approaches, Martín leads three of the composer’s most revolutionary works. The Orchestra also performs works by Schubert, R. Strauss, Berlioz, Prokofiev, Ravel, Stravinsky and Dvořák. Critically acclaimed composer and 2019 Pulitzer Prize-Winner Ellen Reid begins her three-year tenure as LACO’s Creative Advisor and Composer-in-Residence, creating new works for the Orchestra on and off the concert hall stage and working closely with Martín to play an important role in LACO’s artistic trajectory.

6 LACO performances create a rich dialogue between audiences and performers. The Orchestra presents seven Orchestral Series concerts at Glendale’s Alex Theatre and UCLA’s Royce Hall, with select performances at Northridge’s The Soraya, Costa Mesa’s Segerstrom Center for the Arts and Santa Barbara’s Granada Theatre; three Baroque Conversations and three In Focus chamber music concerts at First Presbyterian Church of Santa Monica and The Huntington in San Marino; and two SESSION experiences that explore classical music’s cutting-edge sounds and challenge traditional concert-going expectations. Deeply committed to the power of collaboration, LACO partners with the Inner City Youth Orchestra of Los Angeles (ICYOLA), the country’s largest African American-majority youth orchestra, and USC Thornton School of Music, one of the country’s top music programs, to run The Los Angeles Orchestra Fellowship. Launched in August 2018, the groundbreaking two-year training program is designed to increase diversity in American orchestras by providing top-tier post-graduate string musicians from underrepresented communities a 360-degree view of a career as an orchestral musician. LACO’s long history of educational outreach further encompasses programs that reach thousands of young people and inspire a love of the invigorating power of classical music. Los Angeles Chamber Orchestra was founded in 1968 as an artistic outlet for the recording industry’s most gifted musicians. Founder and cellist James Arkatov envisioned an ensemble that would allow these conservatory- trained players to balance studio work and teaching with pure artistic collaboration at the highest level. LACO presented its first performances with the financial backing of philanthropist Richard Colburn and managerial expertise from attorney Joseph Troy, who became the Orchestra’s first president. Sir Neville Marriner, Gerard Schwarz, Iona Brown, Christof Perick and Jeffrey Kahane, LACO’s illustrious Music Directors, each built upon a foundation of joyous music-making performed by exceptional artists as adept in the Baroque as in the music of today, and Jaime Martín continues this tradition. The Orchestra has made 32 recordings, including, most recently, a 2019 BIS Records release of works for violin and chamber orchestra that features Concertmaster Margaret Batjer and the world premiere recording of Pierre Jalbert’s Violin Concerto (a LACO co-commission). LACO, with offices located in downtown Los Angeles, has toured Europe, South America and Japan, and performed across North America. 7 ROSTER 2019/20 SEASON Jaime Martín VIOLIN II Music Director Josefina Vergara Jeffrey Kahane principal Conductor Laureate Sarah Thornblade Ellen Reid associate principal Creative Advisor Cheryl Norman-Brick & Composer-In- Carrie Kennedy Residence Joel Pargman Derrick Spiva Jr. Artist Educator VIOLA Juan Pablo Contreras Erik Rynearson 2019/20 Sound principal Investment Victoria Miskolczy Composer associate principal Robert Brophy* VIOLIN I Carole Castillo Margaret Batjer concertmaster CELLO Tereza Stanislav Andrew Shulman assistant principal concertmaster Armen Ksajikian Jacqueline Brand associate principal Jennifer Munday Trevor Handy Julie Gigante* Giovanna Clayton Maia Jasper White Tamara Hatwan Susan Rishik

8 BASS HORN THE LOS ANGELES David Grossman Michael Thornton ORCHESTRA principal principal FELLOWSHIP Kristy McArthur Morrell Ayrton Pisco FLUTE violin Joachim Becerra TRUMPET Bradley Parrimore Thomsen David Washburn viola principal principal Juan-Salvador Carrasco Sandy Hughes Erick Jovel cello OBOE HARP *On leave 2019/20 Claire Brazeau Joann Turovsky principal principal Our thanks to Dana & Allan Vogel chair, Ned Newman for their generous gift to the endowed by the KEYBOARD Patricia Mabee endowment in support of Henry Family the Dana & Ned Newman Adrienne Malley principal Musician’s Lounge. CLARINET TIMPANI/ Joshua Ranz PERCUSSION principal Wade Culbreath Chris Stoutenborough principal BASSOON LIBRARIAN Kenneth Munday Serge Liberovsky principal PERSONNEL Damian Montano MANAGER Ryan Sweeney

9 BOARD OF DIRECTORS 2019/20 officers emeritus honorary council Leslie Lassiter board of directors Alan Chapman chair James Arkatov, Suzanne Lloyd Ruth L. Eliel Founder, Ginny Mancini vice chair in memoriam Zev Yaroslavsky Raymond Lowe Hilda Herrera Adler treasurer Roberto Apelfeld chairs emeriti Shaheen Nanji Bob Attiyeh Richard D. Colburn, secretary Titus Brenninkmeijer in memoriam Bruce Broughton Robert DeWitt, members at large Nicholas G. Ciriello in memoriam Ahsan Aijaz David Cohen Jennifer Diener Lee Chu Russell B. Faucett Lois Evans, Peggy Falcon John Fibiger in memoriam Anne Grausam Joyce Fienberg J. Stuart Fishler, Jr. June Li Sanford Gage David L. Gersh Dana Newman Debra Gastler David K. Ingalls Eugene M. Ohr Ahmad Gramian, Morton B. Jackson, Gene Shutler in memoriam in memoriam Anne-Marie Spataru Warner Henry Walter McBee, Stephen A. Kanter, MD, in memoriam advisory council in memoriam Dana Newman Alan Arkatov Hanna M. Kennedy, Edward J. Nowak Alex Birkhold in memoriam Frederic M. Roberts Stephen Block Stuart Laff Michael Rosen Leticia Rhi Buckley Gary Larsen Ronald S. Rosen, NancyBell Coe Martin C. Recchuite in memoriam Gail Eichenthal Judith Rosen Carol D. Ross Kay Duke Ingalls Brigitta Troy Gene Shutler Charmaine Jefferson Edith H.L. Van Huss Gregory J. Soukup Allan Kotin Richard S. Volpert Joseph Troy, Saul Levine Les J. Weinstein in memoriam Toby Mayman Stephen F. Weiner, Winifred White Neisser in memoriam Bruce Ross Gil Tong 10 ADMINISTRATION

EXECUTIVE MARKETING, SALES & Special thanks to Ruth L. Eliel COMMUNICATIONS Dennis Bade for Co-Interim Justus Zimmerman his collaboration Executive Director Director of Marketing in editing this Leslie Lassiter & Communications program book. Co-Interim Coleman Richardson Executive Director Assistant Director of Thanks also to Patron Journey Los Angeles Arts ADVANCEMENT Michael Mancillas Commission summer Julia Paras Assistant Director of interns Sophie Wong Director of Digital Strategy for her assistance Development & Design in preparing the Brandon Faber Marika Suzuki season’s program Assistant Director Marketing & Design books and Ryan of Individual Giving Coordinator Chao for his behind- & Events Libby Huebner the-scenes efforts Laurie Dowling Laura Stegman to help prepare the Development Advisor Public Relations concert season. Marc Haupert Institutional Giving ARTISTIC Consultant OPERATIONS & COMMUNITY FINANCE & PROGRAMS ADMINISTRATION Andrea Laguni Karin Burns Interim General Director of Finance Manager & Administration Taylor Lockwood Zachary Olea Operations Manager Accounting Associate David Rakita Artistic Coordinator Stephanie Yoon Community Engagement Coordinator Tor Cronin Stage Manager 11

DEAR FRIENDS, I welcome you to the 2019/20 season of Baroque Conversations and In Focus. In my new role as Director of Chamber Music and Training programs at LACO, I hope to share my love of chamber music with you for many years to come. This season marks the beginning of our two- year celebration of Beethoven’s 250th birthday. His 16 string quartets are arguably some of his greatest compositions and were a large part of my own personal journey as a musician. I felt it was important to present two of these miraculous works during this celebration. We are thrilled to welcome the Miró String Quartet at the end of April, who will perform his Opus 127 string quartet, followed by Mendelssohn’s string octet. During the 2020/21 season, In Focus will welcome the great Emerson Quartet in a performance of Beethoven’s middle string quartet, Opus 95, followed by the octets of Shostakovich and Bruch. At each concert this season and next, you will hear the artistry of our own LACO musicians, special guest artists Jaime Martín, Jeffrey Kahane, and Andrew von Oeyen, as well as new LACO commissions by Sarah Gibson and Samuel Adams. I look forward to sharing these two seasons of beautiful and compelling concerts with all of you! Warmly,

Margaret Batjer Concertmaster & Director of Chamber Music & Training Programs

HANDEL’S WATER MUSIC PART OF BAROQUE CONVERSATIONS This concert JAIME MARTÍN CONDUCTOR (pg. 34) is dedicated to JOSHUA RANZ CLARINET (pg. 38) Warner & Carol KENNETH MUNDAY BASSOON (pg. 37) Henry for their unflagging support THURSDAY, NOV. 21 @ 7:30 p.m., of chamber music First Presbyterian Church in Southern FRIDAY, NOV. 22 @ 7:30 p.m., The Huntington California. TELEMANN Selections from Overture in F major, TWV 55: F3 Ouverture Sarabande La Badinerie Réjouissance Fanfare R. STRAUSS Duet-Concertino, Trv 293 Allegro moderato Andante Rondo Mr. Ranz, Mr. Munday

INTERMISSION

HANDEL Water Music: Suite No. 1, HWV 348, F major Ouverture (Largo – Allegro) Adagio e staccato [Allegro] Andante [Allegro] Minuet Air Minuet Bourrée Hornpipe [Allegro moderato] Alla Hornpipe from HWV 331 15 PROGRAM NOTES TONIGHT IN Telemann Selections from Overture in F major, TWV 55: F3 (1728–1729) LACO HISTORY Orchestration: 2 oboes; bassoon; 2 horns; strings Tonight’s and continuo performance begins Estimated duration: 18 minutes with selections R. Strauss Duet-Concertino (1947) from Telemann’s Overture in F major, Orchestration: harp; strings; solo clarinet; which has never solo bassoon been performed Estimated duration: 18 minutes in LACO’s history. Handel Water Music Suite No. 1, The Duet-Concertino HWV 348, F major (1717) for Clarinet and Bassoon, composed Orchestration: 2 oboes; bassoon; 2 horns; strings by R. Strauss, was and continuo last performed in Estimated duration: 35 minutes 1980, conducted by Music Director George Frideric Handel and Georg Philipp Gerard Schwarz. Telemann were contemporaries. Along with Selections from Johann Sebastian Bach, this group formed Water Music were something of a triumvirate of the best in the last performed in late Baroque period. They were all highly 2013 and featured skilled, prolific composers, each with his own Principal Flute specialty. Handel made his greatest fortune David Shostac. in vocal music, opera and oratorios, although this evening’s concert features one of his best- known instrumental works. Telemann excelled at composing music that incorporated French, Italian, and German styles. We round out our program with Richard Strauss, a composer born two centuries after the other two, yet in the Duet-Concertino for Clarinet and Bassoon, Strauss gives a nod to the baroque genre of the concerto grosso.

16 PROGRAM NOTES Georg Philipp Telemann was a composer who DID YOU KNOW? wrote quickly and with confidence. This led some early critics to dismiss him as careless and Handel composed inauthentic. Reappraisal, however, finds that Water Music in 1717, Telemann was quite masterful in his writing. He more than 300 years incorporated elements of German high baroque, ago. The suites were Italian opera, and French rococo styles into a written for an outside tapestry uniquely his own. The Overture in F performance for favors the French style established by Jean- King George I on the Baptiste Lully, an Italian-born composer who River Thames. dominated the French musical scene from the court of Louis XIV. His many contributions to musical life included numerous operas and dances, the latter often collected into suites. The French were captivated by dance — Louis XIV was an avid dancer himself — and suites allowed for audiences to enjoy stylized versions of these dance forms. Telemann composed well over a hundred of these suites, which he called “Overtures.” The traditional structure of a suite like this begins with a French overture followed by a collection of dances, often in the same key but contrasting in mood, meter and tempo. There is a pleasing variety in these dances, and they were chosen according to the composer’s taste and the available instrumentation. Richard Strauss was born two hundred years after Handel and Telemann, and although his musical style reflects late German romantic sensibility, he sometimes drew on earlier styles. Strauss learned music first from his father, a successful musician. Franz Strauss was the principal horn player at Munich’s Court Opera. The younger Strauss attended rehearsals there, and it was an assistant conductor there who taught the budding musician and composer music

17 PROGRAM NOTES theory and orchestration. Strauss was a precocious little boy, writing his first piece at the age of six, and his exposure to all the important operas by Wagner and Mozart certainly had a great effect on his development as a composer. He composed most of his chamber works in his early years, but the Duet-Concertino for Clarinet and Bassoon was the last instrumental piece Strauss wrote. It was completed in 1947 and premiered in 1948, one year before Strauss’s death. Strauss composed the work with Hugo Burghauser in mind. Burghauser had been the principal bassoonist for the Vienna Philharmonic, which Strauss had conducted on various occasions. In 1946, Strauss corresponded with Burghauser, mentioning an idea for a double concerto with bassoon and clarinet. In a later letter, Strauss wrote that the underlying program could be about a dancing princess and a dancing bear, the latter of whom turns into a prince. Strauss didn’t specify this program — or any program — but in hearing the music, one can imagine this as a fitting story. It’s almost a bit of a throwback to the tone poems Strauss had composed decades before, but he very pointedly offered no descriptive title. The Duet-Concertino was dedicated to Burghauser. It has three movements, with the second acting as a short transitional interlude between the more substantial outer movements. The orchestration has a few special elements, including a harp. Strauss also draws upon the structure of a baroque concerto grosso by designating five soloists from the strings: leaders from each of the five sections (violin 1, violin 2, viola, cello, and double bass). These five, which would have formed the concertino, or solo group, in a baroque concerto grosso, open the first movement before the sweeping melodic entrance of the clarinet. The bassoon’s entrance brings a dramatic change in mood. The bassoon appears to try to match the graceful lyricism of the clarinet line, haltingly at first, and with greater success as the passage goes on. The bassoon solo of the central movement is quite lovely and gentle; when the clarinet enters, the two solo lines truly mesh for the first time. In a dramatic touch, the orchestra drops out as the soloists play each other’s themes; it is a moment of true understanding between them. The final movement is a lively rondo — another touch from earlier musical forms — which draws upon already established musical ideas.

18 PROGRAM NOTES George Frideric Handel was in the employ of the Elector of Hanover when he had an opportunity to move to London in 1712. The two would meet up again two years later when the Elector became King George I of England in 1714. The king requested some entertainment for a large boating party on the Thames, which was to take place on July 17, 1717. Handel composed music for fifty musicians to play on a barge adjacent to the king’s. Handel called his collection of musical pieces Water Music. The composer’s great skill is evident here, as he takes music that could have simply been light entertainment and makes it artful. If it had just been background music, it might have faded into the past without a second thought, but it was a hit not only on the night it was performed (the king reportedly called for encores) but has stood the test of time. Water Music is a collection of movements, often separated into three suites, each in a different key: F major, G major and D major. Handel specified no set order for the movements, leaving that up to the discretion of the conductor. This arrangement allowed the musical performance to be long or short, loud or soft, depending on the length of the journey and how close Handel’s barge was to the king’s. Water Music begins with a French overture, a two-part, stand-alone piece that opens the proceedings. The first part of the overture is a majestic processional with dotted rhythms and a stately character. The second part is faster and imitative. Each section is repeated, but the ending usually recaps the opening mood and musical material. The following movements feature dances like the Bourrée and the Minuet, and some other forms common to suites like Airs. In the scoring Handel chose, not every instrument is present in every movement, lending a sense of variety to the suite. Because the piece was written for performance on a moving watercraft, Handel omitted two instruments he would have normally used in a piece like this: harpsichord and timpani. The harpsichord would not have fared well on the water. Handel was sensitive to the absence of those instruments and masterfully orchestrated the piece to respond to this, although later versions for indoor performance sometimes restore these instruments to their place in the orchestra. Handel was also sensitive to the outdoor performance venue and chose instruments whose sounds traveled well outside like trumpets and winds. Handel’s Water Music was a fantastic night’s entertainment that surely pleased all in earshot that evening on the Thames and continues to please today. Christine Lee Gengaro, PhD.

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BAROQUE BRASS III PART OF BAROQUE CONVERSATIONS MICHAEL THORNTON HORN & LEADER (pg. 39) DAVID WASHBURN TRUMPET & LEADER (pg. 40) ELISSA JOHNSTON SOPRANO (pg. 36) JESSIE SHULMAN MEZZO-SOPRANO (pg. 38)

THURSDAY, JAN. 16 @ 7:30 p.m., First Presbyterian Church FRIDAY, JAN. 17 @ 7:30 p.m., The Huntington

MOLTER Symphony in C major ANONYMOUS No Title HANDEL Eternal Source of Light Divine Ms. Johnston VIVALDI Concerto in F major for 2 horns, RV 538 Allegro Largo Allegro non molto PURCELL “Sound the Trumpet” from Come ye Sons of Art Ms. Johnston, Ms. Shulman

INTERMISSION

A. SCARLATTI Mio tesoro per te moro Ms. Johnston HANDEL “Va Tacito” from Julius Caesar Ms. Shulman BACH Fugue in B minor, BWV 579 (arr) A. GABRIELI Ricercar del duodecimo tuono 21 PROGRAM NOTES TONIGHT IN Molter Symphony in C major LACO HISTORY Orchestration: 2 trumpets; 2 horns Estimated duration: 6 minutes Tonight’s program Anonymous No Title features seven pieces new to LACO: Orchestration: 2 trumpets; 1 horn Molter’s Symphony Estimated duration: 3 minutes in C major, Handel’s Handel Eternal Source of Light Divine (1713) Eternal Source of Light Divine, Purcell’s Orchestration: trumpet; continuo; solo soprano “Sound the Trumpet” Estimated duration: 4 minutes from Come ye Sons Vivaldi Concerto in F major for 2 Horns, of Art, Scarlatti’s RV 538 (1742) Mio tesoro per te moro, Handel’s Orchestration: 2 horns “Va tacito” from Estimated duration: 9 minutes Julius Caesar, Bach’s Purcell “Sound the Trumpet” Fugue in B minor, and from Come ye Sons of Art (1694) Gabrieli’s Ricercar del duodecima tuono. Orchestration: horn; trumpet; soprano; alto This is the second Estimated duration: 3 minutes performance of A. Scarlatti Mio tesoro per te moro Vivaldi’s Concerto in F major for Two Orchestration: trumpet; strings; Horns. The first continuo; solo soprano performance, in 1993, Estimated duration: 5 minutes was conducted by Handel “Va tacito” from Julius Caesar (1724) LACO’s third Music Director, Iona Brown. Orchestration: horn; strings; continuo; solo alto Estimated duration: 7 minutes Bach Fugue in B minor, BWV 579 (arr) (1708–1717) Orchestration: 2 trumpets; 2 horns Estimated duration: 6 minutes

22 PROGRAM NOTES A. Gabrieli Ricercar del duodecimo tuono DID YOU KNOW? Orchestration: 2 trumpets; 2 horns Estimated duration: 3 minutes Andrea Gabrieli was reluctant to This Baroque Conversations concert features publish his own members of Los Angeles Chamber Orchestra’s work, so much of brass section. The co-leaders of this program it was published — Michael Thornton, principal horn, and by his nephew, David Washburn, principal trumpet — have composer Giovanni curated a colorful selection of musical works. Gabrieli, after his The pieces touch on everything from birthday uncle’s death. odes for royalty to opera arias to purely instrumental pieces. The music of Johann Melchior Molter begins the program. Molter was born in Germany in 1696. He was a notable violinist and composer, who studied his craft in Italy for two years. He was Kapellmeister first at Karlsruhe and at the court of Duke Wilhelm Heinrich in Eisenach. Although he wrote some vocal music, he is probably best known for his instrumental works, which include the symphony featured on this evening’s concert, but also concertos and chamber music. The Symphony in C major was written, presumably, for two horns and two trumpets, based on the evidence of the surviving autograph score. The movements are quite short but show the balance and clarity common to the style of the very early Classical symphony. Celebratory songs from two birthday odes appear on our program. The first is Eternal Source of Light Divine, the Ode for the birthday of Queen Anne, composed by George Frideric Handel in 1713. Elissa Johnston is the soloist for this

23 PROGRAM NOTES beautiful and thoughtful piece which allows the voice and the trumpet to share both the spotlight and the long and sinuous melody. The second Ode was composed by Henry Purcell for the birthday of Queen Mary in 1694 (the ode is also known by the title Come ye Sons of Art). The third movement of this ode is the one we present this evening, a duet for voices called “Sound the Trumpet.” For this work, soprano Elissa Johnston is joined by Jessie Shulman, alto. Antonio Vivaldi wrote hundreds of concertos, many of them for strings. The Concerto in F major, RV 538 features two horns as the solo instruments. Throughout, Vivaldi drew upon the two musical gestures in which the natural horns of the time excelled: fanfares and hunting calls. In the opening movement of the work, the horns often work in tandem, either echoing each other or playing lines in harmony. The central movement slows the tempo and changes to a minor key. Because natural horns were unsuited to the shift in mode, they remain tacet for the second movement, allowing the cello to play a heartfelt aria. The last movement is a lively Allegro non molto in which the horns return, conversing and harmonizing in a sprightly fashion until the final chord. Each of our featured singers will present a solo aria that also features brass. Johnston will be singing “Mio tesoro per te moro,” for voice, trumpet, and continuo, by Alessandro Scarlatti (father of the celebrated keyboard composer, Domenico Scarlatti). The elder Scarlatti, whose style fits firmly into the high baroque, is best known for his vocal music, and is recognized as the main exponent of the Neapolitan school of opera. This aria is constructed in an ABA form, known as “da capo,” since it returns to the beginning for the third section. (Da capo means literally from the head or top). The central section provides contrast, and the second A allows the singer to improvise on the established melody. In the text, the singer calls to be reunited with a sweetheart. Shulman will sing the aria “Va tacito” from Handel’s opera, Julius Caesar. Originally intended for a castrato, the aria speaks of a hunter who works silently and stealthily. The use of brass is fitting here as part of the hunting metaphor. Like “Mio tesoro per te moro,” “Va tacito” is constructed in the da capo form, which was standard for operas and oratorios in the Baroque period.

24 PROGRAM NOTES Our concert ends with two instrumental works. Johann Sebastian Bach’s Fugue in B minor, originally written for keyboard, was arranged for brass quartet by Mike Magatagan. The fugue is an imitative work; that is to say, it presents a musical theme that is repeated and expanded upon by other voices. The different timbres of the instruments allow for the listener to follow the musical theme more easily as it moves from voice to voice. Andrea Gabrieli has the final word, with his Ricercar del duodecimo tuono. Composed in the late sixteenth century, it explores some counterpoint, albeit much simpler than that in the fugue of Bach. The attraction here is in the mixing of timbres and the different pairings of instruments. Beginning in duple meter, the work also has triple-meter sections that break up the structure and provide contrast. It is a majestic and fitting end to a varied and eclectic program. Christine Lee Gengaro, PhD.

25 26 BEETHOVEN + STRAUSS SEPTETS PART OF IN FOCUS MARGARET BATJER CURATOR (pg. 36)

THURSDAY, FEB. 20 @ 7:30 p.m., First Presbyterian Church FRIDAY, FEB. 21 @ 7:30 p.m., The Huntington

R. STRAUSS Metamorphosen for String Septet

INTERMISSION

BEETHOVEN Septet, Op. 20 in E-flat major Adagio - Allegro con brio Adagio cantabile Tempo di menuetto - Trio Tema con variazioni. Andante Scherzo. Allegro molto e vivace - Trio Andante con molto alla marcia - Presto

27 PROGRAM NOTES TONIGHT IN R. Strauss Metamorphosen for String Septet (1945) LACO HISTORY Orchestration: 2 violins; 2 violas; 2 cellos; 1 bass Estimated duration: 27 minutes Tonight’s Beethoven Septet, Op. 20 (1800) performance of R. Strauss’s Orchestration: 1 clarinet; 1 bassoon; 1 horn; 1 violin; Metamorphosen 1 viola; 1 cello; 1 bass for String Septet Estimated duration: 43 minutes is LACO’s fifth in its history. Its first Septets are the star of this In Focus concert. performance of The first is a string septet: two violins, two Metamorphosen violas, two cellos, and one double bass. Together, — in April 1971 and these instruments are capable of creating varied with it’s original 23 textures, but especially excel at exuding both musicians — was warmth and richness. We begin our program conducted by LACO’s with music that Richard Strauss originally first music director, composed for an ensemble of twenty-three Sir Neville Marriner. strings. Metamorphosen was completed in 1945; This is the first time this arrangement — by Rudolf Leopold — was LACO performs the published in 1996. The other septet features version arranged violin, viola, cello, and double bass along with for septet. This is clarinet, bassoon, and horn. Beethoven’s Septet, also LACO’s first Op. 20 was composed in 1799 and premiered performance of in 1800 to instant popularity. It was cast in Beethoven’s Septet, the Mozartian mold of Classical divertimenti Op. 20. and displays a gentility we don’t automatically associate with our moody image of Beethoven. Richard Strauss began writing the original version of Metamorphosen in the late summer of 1944. Europe had been at war for nearly five years, and the destruction of lives, institutions (including all of the great opera houses), and spirit had taken its toll on the population. Strauss, who courted controversy by attempting to work within the system to protect his Jewish daughter-

28 PROGRAM NOTES in-law and his grandchildren and to preserve the DID YOU KNOW? musical legacies of other composers whose works might have been lost, was heartsick at what Nazi R. Strauss leadership and war had cost his homeland. It was collaborated with in this state of mind that he took up composition the Jewish dramatist of Metamorphosen, a deeply emotional work with Stefan Zweig on a dark ending. Although Strauss did not directly a comic opera, indicate what he felt the music represented, Die schweigsame Frau musicologist Michael Kennedy described the work (The Silent Woman) as “an elegy for the German musical life of which in 1935. This Strauss had been a leader for half a century.” collaboration was Strauss wrote of his feelings at the end of the unacceptable to war, stating that for a dozen years, ignorance and the Nazis and was “anti-culture” reigned, bringing about the end of banned after four two thousand years of “cultural evolution.” Some performances. It was verses by Goethe were also on his mind at the revived in Dresden time (he was sketching a choral setting for them), in 1946. and in these the poet strives to understand his role in the world. Metamorphosen was commissioned by Swiss conductor Paul Sacher, who had founded the Basel Chamber Orchestra and the Zürich Collegium Musicum. The Collegium is the dedicatee of Metamorphosen and premiered it in early 1946. This was part of a group of important works that Strauss wrote near the end of his life, among them the Oboe Concerto and the Four Last Songs. In Metamorphosen, as in these other works, Strauss focused on small melodic motives, continually developing them throughout the course of the piece. In Metamorphosen, there are a few of these, like a minor-mode motive with triplets that dip down and then ascend. Another gesture that permeates the work consists of three notes followed by a longer note. We might see this as a nod to the opening gambit of

29 PROGRAM NOTES Beethoven’s Fifth Symphony or even to Mozart’s “Jupiter” Symphony finale. We know without a doubt that Strauss quoted directly from Beethoven’s “Eroica” Symphony a few measures before the ending. The three lowest instruments quote the funeral march from the “Eroica.” As if the significance of this might be lost, in the original score, Strauss wrote “IN MEMORIAM!” under the lowest staff. We don’t know for sure what Strauss was grieving for, but the sense of loss is unmistakable. Metamorphosen is organized in three main sections, although there are no breaks between them. A solemn introduction opens the work. Rich chords support long melodic lines brought out by first a viola, then a cello. There is an overwhelming feeling of sadness and grief, yet with sometimes bright moments of hopeful major-mode passages. The center section nudges the tempo a bit faster, and the lines of the instruments likewise become more active, culminating in an Agitato section about halfway through the proceedings. The final section returns to the tempo and mood of the opening, which is all the more devastating in light of the aching beauty of the central section. In this last section, a full measure of rest interrupts a phrase, almost like a voice suddenly silenced. And then we press on until the conclusion, a nod to the past with Beethoven, grief over unspeakable losses, and an uncertain future. We shift gears entirely with Ludwig van Beethoven’s Septet, Op. 20. Beethoven began composing this work in 1799, when there was nothing in front of him but a new century and his bright future. The models for this work were the divertimenti and serenades that were the popular party music for the aristocracy. Mozart composed numerous works like these during his career. They were written for chamber ensembles, with no set number of movements, but they were mostly bright and sunny, though not too bombastic, so as not to interrupt party conversation or meals. While many of these works disappeared as soon as they were played, the serenades and divertimenti of Haydn and Mozart displayed skill and art, although they were meant to stay in the background. The Septet of Beethoven, however, took center stage at a concert in April 1880, premiering on a bill with his Symphony No. 1. Beethoven dedicated the work to Empress Maria Theresa, sister-in-law of Archduke Rudolf.

30 PROGRAM NOTES There are six movements in the work, starting with an Adagio that gives way to a charming Allegro con brio. The rising melody, first presented by the violin and then echoed by the clarinet, is perfectly balanced and graceful, the epitome of the classical style. The development section makes it feel more like a symphonic movement than a serenade, yet it stays light to the end. Beethoven follows this with a lilting Adagio cantabile, featuring the clarinet and violin as the primary carriers of melody. This is not to say he ignores the other voices. On the contrary, Beethoven shows a wonderful sensitivity to all of the instruments at his disposal, allowing each a moment to shine. The horn solo is particularly lovely here. The third movement is a courtly minuet, followed by a theme and variations. For this, Beethoven chose the folk tune “Ach Schiffer, lieber Schiffer” as his subject. With each passing variation, Beethoven finds new and inventive ways to combine the instruments of his ensemble. In the fifth movement, Beethoven diverges from the Mozartian model by offering a scherzo rather than another minuet. The horn opens this movement and leads the charge. The cello carries the melody of the trio section, shifting both the mood and the color. The finale opens with a minor-mode, slow introduction. It brings to mind sudden cloud cover on an otherwise sunny day. But not to worry, because the clouds dissipate as quickly as they arrived, and in a moment, we’re onto a playful rondo. The violin steps into the spotlight for a cadenza towards the ending. The sprightly closing and the work’s overall good feeling greatly pleased that first audience, and the Septet became one of Beethoven’s greatest hits, so to speak. In fact, the composer later came to resent its relentless popularity, as he was moving on to more serious things and leaving old ways behind. Still, it’s wonderful to enjoy this youthful yet sophisticated work and all the skill and potential displayed in it. Christine Lee Gengaro, PhD.

31 32 33 34 MUSIC DIRECTOR National andStaatskapelle deMontpellier Halle. Australian and Sydney symphony orchestras, Orchestre debuts includeengagements West withtheMelbourne, Spring Festival withOrquestra Other orchestral deCadaqués. tour ofSwitzerland andmadeanappearance at the Prague Amsterdam with theGävle Symphony, undertook anextensive debutatJaime madehisconducting theConcertgebouw in Kölner PhilharmonieinGermany. Inthe2018–19 season, including performances at theGasteig inMunichandthe tour ofEurope withtheLondon PhilharmonicOrchestra, Symphony. InJanuary2019, Jaimecompleted anine-concert andPinchasZukermanPhilharmonic, withtheColorado Madrid andLondon, withtheRoyal JoshuaBell Stockholm Christian Tetzlaff withthe London Symphony Orchestra in Autumn debutperformances: 2018sawhighlysuccessful Philharmonique deRadioFrance. Orchestra, RadioPhilharmonieandtheOrchestre Deutsche Academy ofSt Paul MartinintheFields,Saint Chamber andPhilharmoniaOrchestras, Gulbenkian Philharmonic, New Zealand Symphony, QueenslandSymphony, Essen Orchestra, SwedishRadioSymphony, Barcelona Symphony, Royal Royal Liverpool Philharmonic, Scottish National the London Frankfurt Philharmonic, RadioSymphony, worked withanimpressive list oforchestras, including turned to full-time conducting in2013. Sincethen,hehas conductors ofourtimeasahighlyregarded flautist, Jaime Having many spent years workingwiththemost inspiring and touring performances. international recognition through highlyacclaimedrecordings histimethere2013; brought theorchestra anewlevel of Principal Conductor ofGävle Symphony Orchestra since been Artisticbeen Director and Orchestra inIreland. Hehas National Symphony Conductor oftheRTE Orchestra andPrincipal Los Chamber Angeles as MusicDirector of MARTÍN’s first seasons Fall JAIME 2019marks many ofhisformer students inorchestras around the world. where hewas aflute professor. Henowenjoys working with Jaime isaFellow oftheRoyal CollegeofMusicinLondon, andballeteducation workshops companies. ranging from symphony orchestras andbaroque to ensembles a platform for someofthemost exciting artists intheirfields, last five years, hehasbrought financialstability andcreated Jaime istheArtistic Director oftheSantander Festival. Over the hisassociation withthemhasspannedover2012, thirty years. has heldthetitleofChiefConductor withtheorchestra since founding oftheOrquestra member andwhilehe deCadaqués, and Academy ofSt MartinintheFieldsfor Sony. Hewas alsoa and Bach’s for works flute, violin,andpianowithMurray Perahia Xavier Montsalvatge andconducted by Gianandrea Noseda; Sinfonietta Concerto for Flute andOrchestra written for himby first MusicDirector, SirNeville thepremiere Marriner; of soloist, herecorded Mozart’s flute concertos withLACO’s and London PhilharmonicOrchestra. Avery soughtafter English National Opera, Academy ofSt MartinintheFields Philharmonic Orchestra, Orchestra Chamber ofEurope, aflautist,As Jaimewas Principal Flute oftheRoyal 2014 to TheMarriageof conduct Figaro. of Seville TheBarber conducting ledto areturn inautumn His debutat theEnglishNational Opera inFebruary 2013 Festival Sebastián MadridandSan El Escorial inAugust 2012. Jaime madehisoperatic TheMagicFlute debutconducting at Philharmonic Orchestra. for Four HornsandOrchestra,” withtheLondon “Collage: Horner’sJames AConcerto last symphonic work, Symphony Orchestra for Tritó Records. In2015, herecorded Orquestra withtheBarcelona andvarious deCadaqués discs No. 9andBeethoven’s Symphony No. 3, “Eroica,” with February 2019. Hehasalso recorded Schubert’s Symphony Brahms PianoQuartet arranged by Schoenberg, released in Choirin2017, Chamber Eric Ericson andarecording ofthe andchoral ofDestiny Serenades, Song withthe works Gävle Symphony Orchestra. ThisincludedtheBrahms Jaime recorded for aseries OndineRecords withthe

35 JAIME MARTÍN 36 ARTIST BIOGRAPHIES the Long Symphony, Beach theMassinBMinorand Los Orchestra, Chamber Angeles Cantatas 51 and82 with has recently performed Cantatas Bach with and84 54 Festival. Particularly drawn to themusicofJ.S. she Bach, and David Lang’s thelittlematch girlpassionat theRavinia Poisson RougewiththeNewYork NewMusicEnsemble, Chin’s Akrostichon Wortspiel , ChinaryUng’sAura at Le Ann LeBaron, Unsuk Music, Chamber both withSouthwest and theworldpremiere Not ofSome ThingsDo Move, by USC Thornton ofMusicandtheColburn School. School Laureate, Jeffrey Kahane. Sheserves ontheviolinfaculty at PärtBach, &Vasks,” featuring LACO andits Conductor appearance onBISRecords withherlatest album,“Jalbert, . Batjer madeherfirst Focus In musicseries, chamber Summerfest, amongothers, andisthecurator ofLACO’s appeared at theMarlboro MusicFestival andLaJolla Orchestra. anesteemed As musician,shehas chamber the Prague Orchestra Chamber Symphony andtheBerlin Dallas symphony orchestras, Orchestra Chamber ofEurope, including thePhiladelphiaOrchestra, St. Louis, and Seattle She hasperformed oforchestras, withasuccession Symphony Orchestra. of 15withtheChicago appearance at theage She madeherfirst solo Orchestra since1998. of Los Chamber Angeles served asConcertmaster MARGARET BATJERhas Carter’s What are Years Coast premiere ofElliott Orchestra, theWest the Telemann Chamber in Tokyo andOsaka with include Handel’s Messiah recent performances ELISSA JOHNSTON’S circular breathing and other extensive techniques. Records, a19-minute piecerequiring solo bassoon double He hasrecorded Luciano Berio’s XIIfor Sequenza Naxos including Star Wars withJohnWilliams. on hundreds offilmscores andcommercial recordings An active studio musicianfor 40years, Kenneth hasplayed Credo and was ontheGrammy principalbassoon Award-winning participated intheMarlboro MusicFestival inVermont, He hasperformed at theOregon Festival Bach years, for 25 Offering andthe Orchestra Chamber Los Angeles Winds. from born musicensembles chamber withinLACO: Musical Kenneth hastoured andrecorded albumswithtwo Neville Marriner. label. Classical Schizophrana, whichwas released ontheSony soundtracks, andisfeatured inDanny Elfman’s Serenata and PianoSpheres. heard be Elissacan ondozens offilm Harawi withpianist VickiRay at both Jacaranda Music andhassungMessiaen’sand Cambodia, epicsongcycle MusicandtouredChamber withtheensembleinVietnam Elissa recorded ChinaryUng’s Aura Oregon Festival. Bach has appeared with Los basedBach’s Angeles Circle at the Master Chorale, and St. Matthew Passion withtheL.A. by Krysztof Penderecki. beginning withSir beginning director oftheOrchestra, soloist withevery music he hascollaborated as Orchestra,Chamber ofLos Bassoon Angeles 44 seasonsasPrincipal In KENNETHMUNDAY’s with Southwest withSouthwest

37 ARTIST BIOGRAPHIES 38 ARTIST BIOGRAPHIES in theworldof opera, Jessie’s roles includeCherubino confessore andBerlioz’s Les nuitsd’été. Equally at home Haydn’s inAngustiis Missa , Mozart’s Vesperae de solennes performed Beethoven’s Symphony No. 9, Verdi’s, Requiem Pacific Opera Project. aconcertsoloist, As shehas also in theWest Coast premiere ofRossini’s La gazetta with tramontoIl withtheFiato Quartet, andMadamalaRose Master Chorale, Respighi’sHandel’s withtheL.A. Messiah Her recent performances includeDuruflé’s Requiem and at Pomona CollegeandLong CityCollege. Beach College andYale Ranzhaspreviously ofMusic, School taught at theBiolaConservatory Agraduate ofMusic. ofHarvard ofMusicasLecturer School Alpert inClarinet. Healsoteaches In thefall of2018, Mr. Ranzjoinedthefaculty at UCLA’s Herb Star Wars VII, the recent filmshehasplayed onincludeCoco Horner,James RandyNewmanandmany others. of Some composers asJohnWilliams,MichaelGiacchino, Ranz hasplayed onover 100soundtracks for such He performs regularly withtheLos Philharmonic. Angeles Orchestra Chamber Angeles andtheNewWest Symphony. The Incredibles 2. One,andTheIncredibles Rogue is Principal Clarinet ofLos Concerto, JOSHUARANZ of theCoplandClarinet and an“exciting” version Mozart Clarinet Concerto “stunning rendition” ofthe asofferingTimes a Hailed intheLos Angeles chamber music. chamber song, choral and withorchestra,works art avid performer ofconcert JESSIE SHULMANisan repertoire,and classical background inopera With anextensive , Lady Bird, Colorado at Boulder. Michael isalsoafaculty oftheUniversity member of performer at conferences andhornsymposia worldwide. more. Heappears regularly asamaster clinicianand Symphony Korea), (South Toronto Symphony andmany Philadelphia Orchestra, St. Paul Orchestra, Chamber KBS has performed, toured andrecorded withthe asaguest from Yo-Yo Mato IanAnderson ofJethro Tull. Michael hehasworked ensembles, withartists these Between Colorado Symphony. Horn withboth Los Orchestra Chamber Angeles andthe Conservatory at California State University, Long Beach. ofMusic degree andaBachelor Music, from Cole theBob the University of ofCincinnati College-Conservatory the Baroque. SheholdsaMaster ofMusicdegree from Chorus, Cincinnati Opera Chorus,andChicago’s Musicof Shulman isaformer Symphony oftheChicago member active singingcareer session inLos Angeles. heard inmany majormotion pictures, andshemaintains an Dorothée (Cendrillon ), amongothers. also be Shulmancan Kate Julian(Owen Wingrave (La), Tisbe Cenerentola), and (Le nozze diFigaro ), Nicklausse(Les contesd’Hoffmann),

© Michael Kroth position ofPrincipalposition — currently holdsthe (Fanfare Magazine) control, andarticulation” technique, pitch, breath tone andhis“sureness of recognized for hisnoble MICHAEL THORNTON—

39 ARTIST BIOGRAPHIES 40 ARTIST BIOGRAPHIES Korea inthecomingseason. in Taiwan, NewYork City, Chicago, HongKong andSeoul, performingHe willbe theBrandenburg Concerto No. 2 University ofCalifornia, IrvineandAzusa Pacific University. David iscurrently afaculty at member BiolaUniversity, Trumpet for Section over 20years. among others. apartoftheJohnWilliams Hehasalsobeen Wars 9,Toy episode Story4,Coco,, Avatar Godzilla his credit —Spider-ManFar from 2,Star Home,Incredibles studios, David hasnumerous motion picture soundtracks to of LincolnCenter inNewYork. Active intherecording Hong Kong MusicSociety andtheChamber philharmonics many different orchestras includingthe and Los Angeles a featured soloist with Orchestra. David hasbeen trumpet oftheLAOpera associate principal Orchestra, aswell Los Chamber Angeles is Principal Trumpet of DAVID WASHBURN , Titanic, DONOR RECOGNITION Los Angeles Chamber Orchestra gratefully acknowledges the generous bequest from our friend, advocate and board member, Hanna M. Kennedy.

Generosity comes in many forms. This list reflects comprehensive giving for annual fund, special events and special projects between July 1, 2018 and September 30, 2019. For information about giving to LACO, visit laco.org/support.

$100,000+ Maurice Marciano $10,000—14,999 Ruth Eliel & Family Foundation Jeff & Joan Beal Bill Cooney Shaheen & Anil Nanji Evelyn & Warner & Carol Henry Robert & Ann Ronus Stephen Block Terri & Jerry Kohl David Colburn June & Simon Li $15,000—24,999 Ray Duncan & Ned & Dana Newman Friend of LACO (2) Lauren Crosby Gene Shutler Hilda Herrera Adler Carol Eliel & Lynn K. Altman, Tom Muller $50,000—99,999 in memoriam Anne & Jeffrey Leslie Lassiter John & Ginny Grausam Ray & Ann Lowe Cushman Ann Horton Ann Mulally Peggy & Jack Falcon James Newton James Mulally Sanford M. & Howard Catherine & Pat Gage Ellen & Harvey Knell Eugene Ohr Thierry & Allan & Muriel Kotin Anne-Marie & Katharina Leduc George Kunkel Alex Spataru Cheryl K. Petersen & Guy & Maria Marilyn Ziering Roger H. Lustberg Ponticiello Elizabeth & Justus Brigitta B. Troy & $25,000—49,999 Schlichting Alden Lawrence Dr. Diane Henderson Gregory J. Soukup & Howard & Mary Jo Carr Judith Jelinek

41 DONOR RECOGNITION $5,000—9,999 Robert & Kerry Shuman Richard Nave & Friend of LACO Eric W. Sigg & Lois B. Miller Ahsan Aijaz Michael Mackness Gay Phinny Clare Baren & Joyce & Al Sommer Martin & Dorothy David Dwiggins Eric & Karen Warren Recchuite Ken & Christine Bender Les & Karen Weinstein Phil Alden Robinson & J. Robert & Barbara John & Samantha Paulette Bartlett Bragonier Williams Robert R. Schatz Jane & Louis Castruccio Dr. & Mrs. Hervey D. Lee Chu & Jongmin Lee $2,500—4,999 Segall Mr. Nicholas & Friend of LACO Ms. Abby Sher Dr. Janet Ciriello Robert C. Anderson Howard & Raye NancyBell Coe & Dennis & Patricia Burke Stapleton William Burke Catherine & Bill Lee G. & Ann Cooper Carmody $1,000—2,499 Deborah Cussen Brian & Yun Chung Friend of LACO (2) Robert A. Cutietta & John & Phyllis Conkle Barbara Aran & Mist Thorkelsdottir Siavash Dejgosha Lawrence Hawley H. Allen Evans & Sharon K. DeMuth & Bob Attiyeh & Mike Rosell Anna Rosicka Hugh Watts Janet & Hunt Batjer Margaret Batjer & Dr. & Mrs. Caleb Finch Jennifer Diener Joel McNeely William Kennedy BJ Dockweiler & Jacqueline Blew Gary & Sandi Larsen Frank Stiefel Rita Bower & Ray Friend Dr. Ellen J. Lehman & Dr. & Mrs. William M. Leticia Rhi Buckley Dr. Charles Kennel Duxler Martin & Nancy Chalifour Raulee Marcus Ann Graham Ehringer Polina Chapiro Joan Marcy Russell & Carol Faucett Laurel Clark Ernest Meadows Debra A. Gastler & Robert Cowan Paul & Arlene Meadows Andrew Malloy Louise Edgerton Mahnaz & David Fariba Ghaffari Jackie & Donald Feinstein Newman J.H.B. Kean & Michele Felix Randall & Gretchen Toby E. Mayman Ms. Gina Furth Newman Albin C. & Harriet Koch Ronald S. Gabriel Bronya & Andrew Galef Phyllis Parvin & Renee & Meyer Luskin Drs. Stephen & Sheldon Slaten Steven D. McGinty Lyn Greenberg Rudy & Peekie Schaefer Leslie Mitchner Barbara B. Herman

42 DONOR RECOGNITION Jeffrey & Martha Kahane Vasi & Deborah Vangelos Tom & Faith Lyons Sharon Kerson Ralph Walter Dr. Susan Lovell Charles & Alexandra Mr. & Mrs. Ian McLaughlin & Kivowitz White-Thomson Mr. John D. McLaughlin Linda Kleiger Andrew & Blenda Wright Evelyn & Martin Lutin Ted & Lynn Kotzin Bonnie Youngdahl Sylvia L. & Lanny Miller Mike & Aliza Lesser Ray & Cristine Morris Saul Levine $500—999 Sunny Moss Thomas M. Lucero Barbara Abell Marilyn K. Oltmans Lynne Ludeke & Richard Allen Gary & Katie Palmquist Brian MacGregor Mary Anderson Mr. & Mrs. Michael Parks Claudette Lussier Roberto & Claudia Thomas Peterson Dwight & Rhoda Makoff Apelfeld Dr. Hanna and Emil Mr. John & Mrs. Susan Robert S. & Linda Attiyeh Reisler Mamer Kat Au Ralston & Lisa Robertson Pauline Mayer Peter Briger Spencer Smith Sharon C. McNalley Elizabeth J. Brooks Philip Spataru Lynn & Stanley Morris Gary Cohn Harris & Linda Sperling Gretl & Arnold Mulder Fernando Contreras Carol Z. & Joseph P. Gail Natzler Palomar Sullivan Andrew Norman & Nathalie Corry William & Jessica Turner Alex Birkhold Kate Crane & Pat L. Walter Edward & Sara Nowak the Hon. Milan D. Smith Brad & Helen Warnaar Kurt D. & Johannah Oliver Donald H. Crockett Herbert Weinberg Ms. Lee Ramer Patrick & Judith Falzone & Pauline Kay & Bob Rehme William & Trish Marks-Weinberg Joanne & Lars Reierson Flumenbaum Max & Diane Weissberg Mr. & Mrs. Alan I. Debra Frank Suzanne Weitz & Rothenberg Dr. & Mrs. Sandy Gaynor Kenneth Shoor Peter & Kay Skinner Gordon Gerson Gloria Werner Marc & Eva Stern Tina Gittelson Mr. & Mrs. Mark Mark H. & Patricia S. Stephanie M. Hayutin Wiedenbeck Stern Mr. Willard Huyck Albert & Marilouise Zager Mike Stoller & Laurence S. Kaufman Corky Hale Stoller Thomas & Margaret $250—499 Lois Tandy Keene Friend of LACO Laney & Tom Techentin Mr. & Mrs. Charles Liska Yamada Darani Tsao Knobler Carole & Jesus Arellano J. Thomas & Brigitte Langeneckert Diana Lee Bartera Edith Van Huss Philip & Shirley Levine 43 DONOR RECOGNITION Mr. Steve Beimler Jim & Ginny Heringer Louise Peebles Dr. Malcolm Bersohn James & Marilynn Sue & Mike Pelman Devra Breslow Hildebrandt Mr. Perez Philippa Calnan David Hurwitz & Esther Prince John & Judy Campbell Kara Klein Kai-Li & Hal Quigley Jenny Chartoff Anna Iglesias Courtney Rangen Gaby & Gregory Alex Jacobs Ms. Kathryn Rogers & Chazanas Alan D. Jacobson Daniel R. Gilbert, Jr. Warren Choi Bernardo Jaduszliwer & Rosaline Sackstein Judith Collas Carol Felixson Robert Carl & Margaret Cummings David Johnson & Irene Scherzinger Hashimoto Eve Haberfield Richard & Stephonie Mr. & Mrs. Hugo D. Ann Jopling Seibel de Castro Isabel & Harvey Kibel Ruth Slater Laurie Dowling & Martha Kirkpatrick & Laurie Samitaur Smith Michael Woo Nadia Doubins Laura & Hugh Stegman John & Julie Eidsvoog Ralph & Antoinette Mari Subburathinam Annette Ermshar Kirshbaum F. Lloyd Tanner Dr. Randall Espinoza Kenneth Korman Mr. & Mrs. Greg Taylor Dr. James & Ruth Fleisher Arthur & Rini Kraus Melinda Taylor George B. & Marilyn R. John Kronstadt & Meredith & Richard Forbes Helen Bendix Taylor Adrienne Forst Elizabeth R. Lesan & Richard & Ann Tell J.M. & Elizabeth Fuster Katsuyoshi Nishimoto Roselyn Teukolsky David L. Gersh Gayle & Steve Lund Jean-Yves Thibaudet Robert Gerst Ronald & Jill Lundgren Irene Tong Mr. & Mrs. Gesell Fred Manaster Jorge A. Uribe Caryn S. Espo Mary Ann & Dr. & Mrs. Kenneth Uslan Michelle M. Gonzalez Bernie Marshall Allan Vogel & Danny Guggenheim Karen McCurdy & Janice Tipton Jochen Haber & Paul Miller Richard & Marcia Volpert Carrie Chassin Larry Moline Don Walters Mr. & Mrs. Peter & Henry Moon John & Gudrun Wasson Gretchen Haight Sarah Morris & Mitchel Whitehead Dr. & Mrs. Jerome A. John Papadopoulos Werner & Mimi Wolfen Hamburger Michael M. Mullins & Gernot Wolfgang & Stephen Hanna James A. Newman Judith Farmer Scott Harrison & Erin Natter Ms. Anna Wu Work Angela Detlor Robin Nydes Ms. Zinn

44 GIFTS IN TRIBUTE LACO thanks those supporters who have honored their friends or loved ones or members of the LACO community with a gift to the Orchestra. To make a gift in memory or honor, please visit laco.org/donate or call 213 622 7001 ext. 4. gifts in memory of: gifts in honor of: Pat & Sandy Gage James Arkatov Ahsan Aijaz by Elaine Caplow by Janet Guggenheim by Peter Briger by Evelyn & Martin Lutin by MJ Hsieh by Anna Iglesias Margaret Batjer Scott Harrison by Steve Kandell & by Robert S. & Linda Attiyeh by Laura & Hugh Stegman Elena Estrin by Devra Breslow by Arthur & Rini Kraus by Martin & Nancy Chalifour Lacey Huszcza by Leslie Lassiter by Brian & Yun Chung by Martin & Nancy Chalifour by Janice A. Lazarof by NancyBell Coe & by Gail Natzler William Burke Terri & Jerry Kohl by John Sonego by H. Allen Evans & by Martin & Nancy Chalifour by Marc & Eva Stern Anna Rosicka by Ruth Eliel & Bill Cooney by Sanford M. & Pat Gage by Leslie Lassiter Sid Bower by Bronya & Andrew Galef by Rita Bower & Ray Friend by Ralph & Antoinette Andrea Laguni Kirshbaum By Steven Shuman & Sylvia Edelstein by Mollie Kommel Brad Kane by Joseph & Adrienne by Sharon Robinson Laredo Marchland & Jaime Laredo Leslie Lassiter by June & Simon Li by Jennifer Lassiter Sarah Gyer by Mahnaz & by P. W. Howard David Newman Annie Luck by Rudy & Peekie Schaefer by Kuan Chen Ahmad Gramian and Hanna M. Kennedy Lee Chu Ned & Dana Newman by Michelle Weger by Capital Group Companies by Leslie Lassiter Charitable Foundation Sandi Larsen Robert & Ann Ronus by Anne & Jeffrey Grausam Ruth Eliel and by Louise Edgerton Bill Cooney Roger Mayer by Jane M. Spinak & Andrew Shulman by Pauline Mayer Warren B. Scharf by Mahnaz & David Newman Lawrence Ross Dr. Dorothy Fleisher by Brad Ross by W. M. Keck Foundation LACO Musicians and Staff Sharon Steck by Friend of LACO by Brigitte Langeneckert

45 INSTITUTIONAL DONORS LACO programs would not be possible without support from many institutional donors. We are exceedingly grateful to the following: The Ahmanson Foundation Gumpertz Charitable Pasadena Showcase House Amazon Smile Gift Fund for the Arts Supervisor Kathryn Barger Inner City Youth Orchestra Pircher, Nichols & BCM Foundation of Los Angeles Meeks LLP California Community Jaffe Raitt Heuer & Weiss Lloyd E. Rigler-Lawrence E. Foundation Jewish Community Deutsch Foundation Capital Group Companies Foundation of Santa Monica Westside Charitable Foundation Los Angeles Legacy Fund for Women Clarence E. Heller Charitable W.M. Keck Foundation and Girls Foundation Los Angeles County The Spot Gourmet Colburn Foundation Arts Commission John & Beverly Stauffer Dain, Torpy, Le Ray, Wiest & City of Los Angeles Foundation Garner, P.C. Department of The Ronald Newburg East West Bank Cultural Affairs Foundation Lois Evans Guest Andrew W. Mellon Supervisor Mark Artist Fund Foundation Ridley-Thomas Faucett Catalyst Fund E. Nakamichi Foundation Thomas Company First American Title National Endowment Walter J. & Holly O. Insurance for the Arts Thomson Foundation Genesis Motor America Kenneth T. & Eileen L. Western Asset Management Gibson, Dunn & Norris Foundation Company Charitable Crutcher LLP The Ralph M. Parsons Foundation Foundation LACO LEGACY SOCIETY Friend of LACO Anne & Jeffrey Grausam Dr. Susan Lovell McLaughlin Lynn K. Altman, Susan Greenberg & & Mr. John D. McLaughlin in memoriam Michael Norman Kristy McArthur Morrell Salome Arkatov Dr. & Mrs. George Gross Sunny Moss Jacqueline Blew Danielle Harrell Ann Mulally Jane Buel Bradley Liz Harris Mahnaz & David Newman T. Robert Chapman, Warner & Carol Henry Bruce S. Ross in memoriam Kay & David Ingalls Carol D. Ross Jennifer Diener David & Elizabeth Kalifon Eileen Salmas Nadia Doubins Stephen A. Kanter, MD, Gene Shutler in memoriam in memoriam Gregory J. Soukup & Ruth Eliel & Bill Cooney Hanna M. Kennedy, Mary Jo Carr H. Allen Evans & in memoriam Les & Karen Weinstein Anna Rosicka Allan & Muriel Kotin Nahum Zimmer, Lois Evans, Leslie Lassiter in memoriam in memoriam Ernest Lieblich, in memoriam SPECIAL THANKS Friend of LACO Freeway Communications, Max Naseck Association of California LLC Winifred White Neisser Symphony Orchestras Jenna Friedman Ned & Dana Newman American Youth Symphony Sanford M. & Pat Gage Cody Noreiga Roberto & Claudia Apelfeld The Honorable Carlos Eugene & Catherine Ohr Ikem Asimonye Garcia de Alba & Omni Hotel and Suites Clare Baren Ms. Fiona Roche Panda Restaurant Group Margaret Batjer Christine Lee Gengaro, PhD PATH North Hollywood Curtis Berak Glendale Arts Pillsbury Winthrop Beyond the Bell Anne Grausam Shaw Pittman Alex Birkhold Diane Henderson Bridget Prince Jacquie Blew Warner & Carol Henry Ravi Rajan Brandpie Foundation The Henry Wine Group Residency Art Academy Cal State Northridge Barbara Herman Robert & Ann Ronus Alan Campos Herzog Winery Matthew Turner Shelton Capital Group The Huntington Library and Gene Shutler Lee Chu Botanical Gardens Joyce Sommer Giovanna Clayton Inner City Youth Orchestra Anne-Marie Spataru The Colburn School of Los Angeles The Spot Gourmet Constitutional Rights InterContinental Los Steinway & Sons Foundation Angeles Downtown Street Symphony Consulate General of Jamison Services, Inc. Studley Mexico in Los Angeles Charmaine Jefferson Polly Sweeney Juan Pablo Contreras Jerry & Terri Kohl Mist Thorkelsdottir Bill Cooney & Ruth Eliel Anna Koucherov Mauara Tuffy David Coscia KUSC 91.5 FM University of Southern Deborah Cussen Leslie Lassiter California Jennifer Diener League of American Vespaio Disney VoluntEARS Orchestras Allan Vogel Robert Dolan Thierry & Katharina Leduc Jim Walker Gibson Dunn June Li Wells Fargo Sue Edwards Raulee Marcus Whispering Pine Tea House Gail Eichenthal Natasha Marin & Garden Peggy Falcon Midnight Mission Lauren Wing FIG Restaurant Michael Miller Photography Simon Woods Anil & Shaheen Nanji Stacie Yee

47 ENDOWMENT FUNDS Gifts to LACO’s endowment provide for the Orchestra’s long-term financial stability. All endowment-designated gifts are listed for 12 months and endowment-designated gifts of $5,000 or more will be listed for 15 years. Bob Attiyeh & William Randolph Ned & Dana Newman Mike Rosell Hearst Foundation Gene Shutler Colburn Foundation Warner & Carol Henry Brigitta B. Troy & Carol Colburn Grigor & Ann Mulally Alden Lawrence Murray Grigor Shaheen & Anil Nanji Nahum Zimmer MATCHING GIFTS LACO also thanks the following institutions for matching contributions made by their employees and retirees. Benevity Mass Mutual Teradata Capital Group

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