Los Angeles Master Chorale Grant Gershon, Kiki & David Gindler Artistic Director Anthracite Fields Music of the Coal Miner

Sunday, March 6, 2016 — 7:30 pm Walt Disney Concert Hall

Los Angeles Master Chorale All-Stars Grant Gershon, conductor

Keep Your Lamps arr. André Thomas This concert is made possible, in part, by the National Endowment David Cossin, percussion (b. 1952) for the Arts.

All Is Well Sacred Harp Anthology (1844)

Babel’s Streams Sacred Harp Anthology

Journey Home Sacred Harp Anthology

Wayfarin’ Stranger arr. Craig Zamer Kristen Toedtman, mezzo soprano | Scott Graff, baritone (b. 1978) KUSC is our Proud Media Partner

The Promised Land Sacred Harp Anthology ListenUp! with composer , Artistic Director Grant Gershon and KUSC’s Alan Chapman We’ll Soon Be There Sacred Harp Anthology can be heard online after the concert at www.lamc.org. Wondrous Love Sacred Harp Anthology Your use of a ticket acknowledges your willingness to appear in photographs taken in public areas of Wade in the Water arr. Moses Hogan the Music Center and releases the Zanaida Robles, soprano (1957-2003) Center and its lessees and others from liability resulting from use of INTERMISSION such photographs. Use of any phones, cameras or recording devices is prohibited Anthracite Fields WEST COAST PREMIERE Julia Wolfe during the performance. Program I. Foundation (b. 1958) and artists subject to change. Latecomers will be seated at the II. Breaker Boys discretion of House Management. III. Speech Members of the audience who IV. Flowers leave during the performance will V. Appliances be escorted back into the concert hall at the sole discretion of House Bang on a Can All-Stars Management. Jeff Sugg, scenography and projections

PEFORMANCEs MAGAZINE 1 Anthracite Fields: Music of the Coal Miner

Program notes By Thomas May

of the early decades of the 19th century. The celebrated ethnomusicologist pioneer Alan Lomax made influential field Americans recordings of The Sacred Harp phenomenon in action. For him, this robust, joyfully austere form of music-making represented “a at Work: choral style ready-made for a nation of individualists.” Anthracite Fields Growing up in a small town in Pennsylvania (Montgomeryville), Julia Wolfe’s Julia Wolfe recalls that coal country lay relatively nearby, geographically speaking, by following the highway northward, Innovative Oratorio toward Scranton. Yet it was a world vastly different from the one she knew and “seemed like the Wild West.” By then the heyday of “The thing I love about music is, it’s beyond words. But somehow the anthracite mining operations, once employing nearly 175,000 the words crept back in — big time,” remarked Julia Wolfe in laborers at its peak, had long since passed, though this chapter an interview on NPR’s Studio360 following the announcement has left indelible social and cultural marks on the region. that she had won last year’s Pulitzer Prize in Music for Anthracite Fields. Wolfe’s moving and innovative new oratorio fuses music The boom in mining operations of the anthracite fields — the with words to tell a story deeply rooted in American history — purer, high-carbon-content form of coal (aka “black diamonds”) and one inextricably connected to how we live today. resulting from Appalachian geology and discovered in the 18th century — coincided with the massive waves of immigration By way of a prelude to Anthracite Fields, our program opens with that profoundly shaped America. It also went hand-in-hand with musical selections that set the stage by pointing to the heritage some of the most oppressive labor abuses associated with the and tradition of the coal miners who are the protagonists of Industrial Revolution that transformed the upstart, breakaway Wolfe’s composition. Artistic Director Grant Gershon has curated young Republic into a powerful nation ready to enter the global a sequence of nine pieces exploring themes of homecoming and stage. the journey toward redemption, toward a Promised Land. “These songs represent the heritage of the miners in a very immediate All of these aspects are pertinent to Wolfe’s project. Indeed, and soulful way,” explains Gershon. “Julia Wolfe’s music Anthracite Fields could be said to represent another kind of combines austerity with an incredible flamboyance and energy. I homecoming: to the composer’s long-abiding interest in social think this set of American music in plainspoken arrangements — history and labor issues. That was her focus during Wolfe’s as opposed to ones that seem somewhat ‘prettified’ — reflects college years at the University of Michigan in Ann Arbor, when, the ethos of Anthracite Fields more closely.” she adds, “I was writing songs occasionally but never thought I would become a composer. So this is a return to that early A pair of traditional spirituals (Keep Your Lamps and Wade in interest and to my interest in art as telling history — with an art the Water) frames the concert’s first part to remind us of the documentary attention to the facts, as a poetic history.” African-American contribution to mining — a contribution often overlooked, Gershon points out, in comparison with the crucial Wolfe of course did end up becoming a composer, in the role played by European immigrants. American maverick tradition of a pathbreaker for whom setting new precedents is naturally part of the job description. Wolfe Six of the songs come from The Sacred Harp — the hugely began to make her name through an intriguing stylistic mixture influential anthology, first issued in Georgia in 1844 and of post-Minimalist idioms with various pop-culture influences, subsequently revised and expanded many times, that helped including funk and the exuberantly unbridled energy of rock. She pass America’s shape-note tradition down across generations also became known for her gift for crafting arresting soundscapes who would gather for community “sings.” Gershon explains that and aural images. These traits imbue her score for Anthracite “the simplicity and rawness” of Anthracite Fields “led me to look Fields. again at some of the hymns that resonated most with me in this context. I started gravitating toward the ones that talk the most Together with fellow Yale Music School alums eloquently about our journey to a better place. They talk about and Michael Gordon (who became her husband), in 1987 she death in a very real way but a very joyous way.” founded Bang on a Can, a juggernaut for contemporary music, which in turn spawned the amplified sextet Bang on a Can The Sacred Harp began as an effort to codify an oral tradition All-Stars (in their debut collaboration with the Master Chorale that had sprung into being during the Second Great Awakening tonight). Wolfe’s Pulitzer in 2015 marked the second time that

2 PERFORMANCES MAGAZINe 213-972-7282 | lamc.org distinction had been nabbed by the Bang on a Can triumvirate: clamorous, haunting, exhilarating and sometimes all three in 2008 David Lang won for the little match girl passion (recorded simultaneously.” Asked whether she foresees a similar theatrical by LAMC in January for release this summer, and most recently adaptation of Anthracite Fields, Wolfe responds: “Sometimes less performed by Gershon and the Master Chorale in April, 2014). is more. I’d be wary of over-staging what I feel right now is a nice balance as a concert piece for the audience of visual images and Anthracite Fields also continues a line of development in Wolfe’s the instrumentalists and singers onstage.” work that involves large-scale thematic pieces with a narrative dimension (whether using words explicitly or not). While much The version Wolfe has arrived at integrates her score with of her earlier composition was focused on investigating novel the work of projection design artist Jeff Sugg, who gathered sonorities through instruments alone, in 2004 she wrote a photographs and video documentation of the miners to create piece for string orchestra alluding to the old English ballad Cruel a slowly moving sequence of images that respond to the music. Sister, which incorporated an implicit narrative by following “the Together with his lighting, these projections function as a dramatic arc of the ballad,” as Wolfe explains. “I was fascinated dynamic set without distracting from the visual component and horrified by the overwhelming greed and jealousy of the tale.” of the performers themselves. “For me it’s important that the performance energy of the instrumentalists and singers is also A few years later she collaborated with filmmaker Bill Morrison to visible for the audience to observe,” says Wolfe. create Fuel (2007), a multi-media performance piece reflecting on “the mystery and economy of how things run” and on “the Both she and Sugg discovered a wealth of inspiration from controversy and necessity of fuel,” for which she drew inspiration numerous field trips. In addition to her wide background reading, from the “sounds of transport and harbors … large ships, creaking Wolfe’s research included making descents into the coal mines docks, whistling sounds, and a relentless energy” emanating from and visiting patch towns (the small villages, usually owned New York and Hamburg. by the mining companies that grew up around the towns and comprising simple frame houses). She absorbed a host of colorful Along the way Wolfe had also taken part in creating collaborative details from enthusiastic guides, interviewed miners and their performance projects with her Bang on a Can colleagues Lang descendants, and visited museums like the Anthracite Heritage and Gordon: works built around such themes as the polyphony Museum in Scranton, which commemorates all facets of the of memory (Lost Objects) or our dependence on water (Thirst coal miners’ work and home life. Wolfe completed Anthracite and Water). An important turning point came with Steel Hammer Fields in 2014 on a commission from the Mendelssohn Club of (2009), which reconfigures the legend and lore of the folk hero Philadelphia, which gave the world premiere on April 26, 2014 John Henry into what critic Daniel Stephen Johnson termed “a with the Bang on a Can All-Stars. (Alan Harler, The Mendelssohn passion play for a sort of ordinary Christ figure.” Club’s director until last year, was himself the son of a coal “Steel Hammer is connected to my interest in American folk miner in the Midwest.) Last year a recording of the work with music,” says the composer, who, as she did for Anthracite Fields, the Choir of Trinity Wall Street as the chorus was released on wrote her own libretto — in the former case culling from more the Cantaloupe label; it was also nominated for this year’s Best than 200 versions of the famous ballad about John Henry and Contemporary Classical Composition Grammy Award. his formidable steel hammer (and taking into account Wolfe points out that she wanted to ensure the words could be contradictory versions) to explore “the subject of human versus heard distinctly — “not just the shape of the line” — and thus machine in this quintessential American legend.” That experience had in mind the “clear sensibility” she admired from the Trio rekindled her interest in narrative and in labor history, paving the Mediæval when they collaborated on Steel Hammer. “The quality way for Anthracite Fields. “It feels like a very natural progression,” of this kind of singing takes it out of the opera world, which is one says Wolfe, adding that it may at the same time represent a reason I decided to call Anthracite Fields an oratorio.” The forces new direction. involved are bigger than in her “art ballad” Steel Hammer: a mixed Also written for the Bang on a Can All-Stars, along with the early chorus of flexible size (from 150 heard at the Mendelssohn Club’s music vocal group Trio Mediæval, Steel Hammer’s score manifests premiere to the 32 we hear in this performance, and possibly the influence of folk music likewise heard in the English ballad- even chamber size, she notes) plus the amplified All-Stars sextet tinted Cruel Sisters. In the former, the folk element derives from (clarinets, electric guitar, percussion, piano/keyboard, cello and the sounds of Appalachia, which Wolfe notes “have long been a double bass); two of the players also contribute lead voice for the part of my musical consciousness.” solos on “Breaker Boys” and “Speech” (cellist Ashley Bathgate Last December the director Anne Bogart brought her theatrical and guitarist Mark Stewart, respectively). staging of Steel Hammer to the Brooklyn Academy of Music, “It’s a vast subject to cover, but powerful themes emerged and combining texts by four playwrights with what the New York called out to be in the piece,” the composer remarks. Anthracite Times described as Wolfe’s “galvanizing score — alternately Fields is structured as five movements, each homing in on a

continued on next page... los angeles master chorale PErFORMANCEs MAGAZINE 3 Anthracite Fields: Music of the Coal Miner different aspect of the workers’ experience. Although Wolfe’s would make for an unrelentingly dark piece. But as with “Breaker method turns away from straightforward linear narrative, the Boys,” “Flowers” sheds light on the coping mechanisms of those opening movement (“Foundation”) evokes an unforgettable sonic eking out a life in the heyday of the coal mining operations. She image of setting off into new terrain — or, rather, a descent into a was inspired by an interview with a daughter and granddaughter terrifyingly unfamiliar space. She uses the open lowest string on of miners who spoke of the sense of community that emerged in the double bass, the bottom of the bass clarinet (“a rich, reedy the patch towns. Their gardens served as a much-loved source tone, which I made kind of like a foghorn sound”), percussion, of beauty — Elysian Fields in comparison to the Anthracite Fields and delayed reverb on the electric guitar, played with a kitchen of daily labor. Using a folk-like, flowing melody, Wolfe sets a whisk to enhance the overtones. Wolfe recalls visiting the point Whitman-like catalogue of flower names. during guided tours of the mines when the lights would be turned The final movement “Appliances”( ) connects these images of a off. “I wanted to evoke that echoey experience of being deep vanished era — the main “action” being conceivably set at the underground, of that complete darkness.” turn of the century, into the early decades of the 20th century — As the wordless chorus enters, it is instructed to sing what she to our own time. Wolfe wrote out another catalogue here, listing calls “scratch notes” — incrementally bending the pitches by the countless daily ways in which Americans use electricity, a cupping their hands around the mouth and gradually opening significant portion of which continues to be fueled by coal (“Bake and closing their hands — “to create a gravelly sound at the back a cake.” “ Drill a hole.” “Toast a slice.”). of the throat so it doesn’t sound human.” Eventually they begin A direct connection with the era of the miners enters near to chant a litany of names. Here Wolfe drew from a tragically the end with a reference to a character created in 1900 for an long list of names of victims of mining accidents from an official advertisement created by Earnest Elmo Calkins. (See Composer’s index covering the years 1869 to 1916, choosing only those Notes on opposite page.) named “John” with one-syllable last names. At the center of “Foundation” she sets a geological description of how the coal At the premiere of Anthracite Fields, Wolfe had a chance to was formed that, in this context, takes on a new life as vivid witness first-hand the effect of her desire to pay tribute to the found poetry. workers who helped build the nation. “It meant so much to me to see some of the people I interviewed come to the performance. Following this Requiem-like solemnity comes a remarkable shift I continue to get letters from people who had family involved in tone for “Breaker Boys.” The Stygian darkness of the opening in the mining industry in the past. This way of connecting as a gives way to music of raucous energy and drive, with a text musician to a community is really moving.” adapted from local children’s street rhymes (“Mickey Pick- Slate”). Breaker Boys were assigned to remove debris from the — Thomas May, program annotator for the Los Angeles Master coal as it came rushing down breaker shoots (without gloves); Chorale, writes about the arts and blogs at memeteria.com. in the middle Wolfe uses material taken from a documentary interview with a surviving former breaker boy. A guiding sonic image was the sound of kids rolling sticks against a fence. Wolfe also incorporates the image of boyish energy through newly LAMC 15 | 16 Concert Calendar constructed instruments made of bicycle wheels. The adolescent defiance conjured by the rock idiom is likewise part of the picture, resulting overall in a kind of scherzo counterpart to the darkness UP NEXT of the opening. Despite their punishing working conditions — as Alexander’s Feast Sonic Masterworks cruel as the conditions under which Wagner’s Alberich forces the Sat, Apr 16, 2016 – 2 pm Sun, Jun 5, 2016 – 7 pm enslaved Nibelung miners to endure through the power of the Sun, Apr 17, 2016 – 7 pm Choral music “ear candy” by Ring he has forged — these boys find a way of escape through LAMC’s first Hidden Handel Allegri, Lotti, György Ligeti, their mischievous fun. oratorio dramatically staged Anders Hillborg, Abbie Betinis, by opera and theater director Steven Stucky and more “Speech” addresses the protracted, overtly political struggle Trevore Ross for improved working conditions so essential to this story. Wolfe uses excerpts from a speech by United Mine Workers GUEST APPEARANCE of America’s president John L. Lewis to craft a movement for Tan Dun’s Water Passion After St. Matthew narrating solo tenor and male chorus, alluding to bluegrass idiom Fri, Jun 10, 2016 – 8 pm in the accompaniment. Martin Theater, Ravinia Festival (Chicago) Grant Gershon, conductor When she started working on Anthracite Fields, Wolfe says, she grew concerned that depicting such grim working conditions

4 PERFORMANCES MAGAZINe 213-972-7282 | lamc.org composer’s notes Anthracite Fields By Julia Wolfe

I grew up in a small town, in Pennsylvania – families and the diversity of ethnicity is heard in the Montgomeryville. When we first moved there the names. At the center of Foundation is text from geological descriptions of coal formation. road was dirt and the woods surrounding the house BREAKER BOYS follows next. There were many boys working offered an endless playground of natural forts and in the Pennsylvania coal mines. The younger ones worked in ice skating trails. At the end of the long country the breakers, which were large ominous structures. The coal road you’d reach the highway – route 309. A right would come running down shoots of the breakers, and the turn (which was the way we almost always turned) boys had the painful job of removing debris from the rush led to the city, Philadelphia. A left turn on route 309 of coal. They weren’t allowed to wear gloves, and as a result their fingers were cut and bleeding. The central rhyme of this (which we hardly ever took) led to coal country, movement, Mickey Pick-Slate, is from the Anthracite region. the Anthracite field region. I remember hearing the Others were adapted from children’s street rhymes. In the names of the towns, and though my grandmother center of this movement are the words of Anthony (Shorty) grew up in Scranton, everything in that direction, Slick who worked as a breaker boy. The interview is taken from the documentary film, America and Lewis Hine, directed north of my small town, seemed like the wild west. by Nina Rosenblum. Hine worked for the National Child Labor When the Mendelssohn Club of Philadelphia commissioned Committee and served as chief photographer for the WPA. me to write a new work for choir and the Bang on a Can SPEECH is the third movement. The text is adapted from All-Stars, I looked to the Anthracite region. Anthracite is an excerpt of a speech by John L. Lewis who served as the diamond of coal – the purest form. At the turn of the president of the United Mine Workers of America. Lewis century the Anthracite fields of Pennsylvania became the was an impassioned spokesperson for the miners and power source for everything from railroads to industry to fought hard-won battles for safer working conditions and for heating homes. But the life of the miner was difficult and compensation. dangerous. I had been immersed in issues of the American The fourth movement, FLOWERS, was inspired by an worker – composing Steel Hammer, an evening length art- interview with Barbara Powell, daughter and granddaughter ballad on the legend of John Henry. For Anthracite Fields I of miners. She grew up in a Pennsylvania patch town and had went deeper into American labor history – looking at both many stories to tell about her family life. She never felt poor. local and national issues that arose from coal mining. I went She had an amazing sense of community. Barbara talked down into the coal mines, visited patch towns and the local about how everyone helped each other. In one interview museums where the life of the miners has been carefully Barbara said, in order to brighten their lives, “We all had depicted and commemorated. I interviewed retired miners gardens”, and then she began to list the names of flowers. and children of miners who grew up in the patch. The text is culled from oral histories and interviews, local rhymes, a coal The last movement APPLIANCES ties the new to the old. I advertisement, geological descriptions, a mining accident was struck by John L. Lewis’ line “those of us who benefit index, contemporary daily everyday activities that make use from that service because we live in comfort.” Our days are of coal power, and an impassioned political speech by John L. filled with activities that require power. Even today coal is Lewis, the head of the United Mine Workers Union. fueling the nation, powering electricity. When we bake a cake or grind coffee beans we use coal. The closing words My aim with Anthracite Fields is to honor the people who of Anthracite Fields are taken from an advertising campaign persevered and endured in the Pennsylvania Anthracite coal for the coal-powered railroad. In 1900 Ernest Elmo Calkins region during a time when the industry fueled the nation, and created a fictitious character, a New York socialite named to reveal a bit about who we are as American workers. Phoebe Snow, who rode the rails to Buffalo It used to be a In the first movement, FOUNDATION, the singers chant the dirty business to ride a train But with the diamond of coal names of miners that appeared on a Pennsylvania Mining her “gown stayed white from morn till night, on the road to Accident index 1869-1916. The list is sadly long. I chose only Anthracite” – a stunning contrast to the coal darkened faces the Johns with one-syllable last names in alphabetical order. underground. The piece ends with a setting of the very colorful multi- syllabic names. The miners were largely from immigrant

PEFORMANCEs MAGAZINE 5 Anthracite Fields: Music of the Coal Miner Photo: David Johnston Other appearances: Previous assignments: Grant LA Philharmonic, LA Chamber Assistant Conductor for the LA Orchestra, St. Paul Chamber Philharmonic, Berlin Staatsoper, Gershon Orchestra, Santa Fe Opera, Houston Salzburg Festival, Festival Aix-en- Kiki & David Gindler Grand Opera, Minnesota Opera, Provence Utah Opera, Juilliard Opera Theatre, artistic Director Member of: USC Thornton School of , Zankel Hall, Teatro Music Board of Councilors, Chorus Colón, Trinity Wall Street, Baltimore America Board of Directors Symphony Orchestra and music festivals in Edinburgh, Vienna, On disc: Two Grammy Award®- Now in his fourteenth season as Helsinki, Ravinia, Rome, Madrid and nominated recordings: Sweeney Todd Artistic Director, Grant has led more Aspen; world premiere performances (New York Philharmonic Special than 100 performances with the of The Grapes of Wrath by Ricky Ian Editions) and Ligeti’s Grand Macabre “Invigorating, inventive and Chorale at Disney Hall. In addition to Gordon and Ceiling/Sky by John (Sony Classical); Festival of Carols (LAMC Live), Górecki: Miserere enormously gifted” conducting acclaimed performances Adams (Decca), A Good Understanding of the classics, he has expanded Other current assignments: (Decca), Glass-Salonen (RCM), You — los angeles times the choir’s repertoire significantly Resident Conductor at LA Opera; Are (Variations) (Nonesuch) and by conducting a number of world made his Santa Fe Opera debut in Daniel Variations (Nonesuch) with the premieres: Iri da iri by Esa-Pekka 2011 conducting Peter Sellars’ new Master Chorale; The Grapes of Wrath Salonen, the national anthems production of Vivaldi’s Griselda; led (PS Classics) by David Lang, Songs of Ascent, the world premiere performances Inscapes and Plath Songs by Shawn of Daniel Catán’s Il Postino with Prepared choruses for: Kirchner; Succession by Nackkum LA Opera in September 2010 and Claudio Abbado, Pierre Boulez, Paik, Los Cantores de las Montañas by on tour in Santiago, Chile in 2012; Gustavo Dudamel, Lorin Maazel, Gabriela Lena Frank; Mugunghwa: led LA Opera performances of La Zubin Mehta, Simon Rattle, Esa- Rose of Sharon by Mark Grey; You Traviata in 2009, Madame Butterfly in Pekka Salonen, James Conlon Are (Variations) by ; 2012, Carmen in 2013, Florencia en el On film/tv: PBS Great Requiem by Christopher Rouse; City Amazonas in 2014 and Gianni Schicchi Performances production and DVD of Dis by Louis Andriessen; Sang by in 2015; conducted Madama Butterly of Il Postino, released October 16, Eve Beglarian; A Map of Los Angeles in 2015 and La Traviata at Wolf 2012; vocal soloist in The X-Files (I by David O; Spiral XII by Chinary Trap in 2013; conducted The Gospel Want to Believe); conducted choral Ung; Dream Variations by Andrea According to the Other Mary with sessions for films I Am Legend, Charlie Clearfield; Music’s Music by Steven LAMC and the Chicago Philharmonic Wilson’s War, Lady in the Water and Sametz; Voici le soir by Morten Orchestra at the Ravinia Festival in License to Wed; accompanied Kiri Te Lauridsen; Messages and Brief Eternity 2013; conducted the world premiere Kanawa and José Carreras on The by Bobby McFerrin and Roger Treece; of James Newton’s St. Matthew Tonight Show Broken Charms by Donald Crockett; Passion at the Torino Jazz Festival in Rezos (Prayers) by Tania León. 2015 Photo: Jamie Pham Los Angeles Master Chorale

“The Master Chorale always A Founding Resident Company of the teaches songwriting and collaborative Adams’ The Gospel According to the shines” Music Center in 1964; now in its 52nd skills to more than 300 students each Other Mary and DVD release of Verdi’s season! year; an annual High School Choir Requiem with Gustavo Dudamel and — culture spot la Festival celebrating its 27th year in the LA Philharmonic; with Music Music Directors: Grant Gershon, since 2016; the LA Master Chorale Chamber Director Emeritus Paul Salamunovich 2001; Paul Salamunovich, 1991–2001; Singers, an ensemble from the Chorale includes the Grammy Award®- John Currie, 1986–1991; Roger Wagner, that sings at Voices Within culmination nominated Lauridsen – Lux Aeterna, 1964–1986 performances and the High School Christmas and a recording of Dominick Accomplishments: 47 commissions; Choir Festival; master classes; invited Argento’s Te Deum and Maurice 94 premieres of new works, of which dress rehearsals Duruflé’s Messe “Cum Jubilo” 64 are world premieres; winner of the On disc: with Artistic Director Grant On film: motion picture soundtracks prestigious 2012 Margaret Hillis Award Gershon includes Festival of Carols, with Grant Gershon include Lady in for Choral Excellence from Chorus 50th Season Celebration Concert, the Water, Click and License to Wed; America; ASCAP/Chorus America Górecki: Miserere, Nico Muhly’s A soundtracks with Paul Salamunovich Award for Adventurous Programming Good Understanding (Decca); Philip include A.I. Artificial Intelligence, My (1995, 2003 and 2010); Chorus Glass’ Itaipú and Esa-Pekka Salonen’s Best Friend’s Wedding, The Sum of America Education Outreach Award Two Songs to Poems of Ann Jäderlund All Fears, Bram Stoker’s Dracula and (2000 and 2008) for Voices Within (RCM); and Steve Reich’s You Are Waterworld In the community: a 12-week (Variations) and Daniel Variations (both residency program, Voices Within, that on Nonesuch); Shostakovich’s Orango,

6 PERFORMANCES MAGAZINe 213-972-7282 | lamc.org LOS ANGELES MASTER CHORALE

SOPRANO Alto Tenor Bass Hayden Eberhart Callista Hoffman-Campbell Matthew Brown Michael Blanchard Claire Fedoruk Sarah Lynch Bradley Chapman Reid Bruton Ayana Haviv Adriana Manfredi Timothy Gonzales Dylan Gentile Caroline McKenzie Drea Pressley Blake Howard Scott Graff Beth Peregrine Niké St. Clair Jon Lee Keenan James Hayden Zanaida Robles Kimberly Switzer Shawn Kirchner David Dong-Geun Kim Karen Whipple Schnurr Kristen Toedtman Michael Lichtenauer Chung Uk Lee Suzanne Waters Tracy Van Fleet Matthew Miles Edward Levy

The singers of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO; Dylan Gentile, AGMA Delegate.

BANG ON A CAN ALL-STARS

Anthracite Fields was commissioned through Meet the cello and voice Ashley Bathgate Composer’s Commissioning Music/USA program, which bass is made possible by generous support from the Mary Robert Black Flagler Cary Charitable Trust, Department piano and keyboard Vicky Chow of Cultural Affairs, the William and Flora Hewlett percussion Foundation, and the Helen F. Whitaker Fund. David Cossin Additional support was made possible through the guitar and voice Mark Stewart Mendelssohn Club of Philadelphia Alan Harler New clarinet and bass clarinet Ventures Fund; the Presser Foundation; The Pew Center Ken Thomson for Arts & Heritage through Philadelphia Music Project. sound engineer Jody Elff

SCENOGRAPHY & PROJECTIONS Jeff Sugg bicycle wheel harp design Mark Stewart Very special thanks to:

Booking Direction by David Lieberman/ Alan Harler, conductor emeritus, Artists Representatives Mendelssohn Club of Philadelphia

Post Office Box 10368 Laurie McCants, Bloomsburg Theatre Ensemble, Newport Beach, CA 92658 714-979-4700 coal region consultant [email protected] Barbara Powell, “Coal Miner’s Daughter,” gift shop manager, Anthracite Heritage Museum, Scranton, PA

Tom Supey, Jr., third-generation miner (retired), operator, Lackawanna Coal Mine Tour, Scranton, PA

Chester Kulesa, director, Anthracite Heritage Museum, Scranton, PA

Richard Stanislaus and John Fielding, historians, Anthracite Heritage Museum, Scranton, PA

los angeles master chorale PErFORMANCEs MAGAZINE 7 Anthracite Fields: Music of the Coal Miner

about the artists

Wolfe’s music is distinguished by an intense into frenzied and ecstatic climaxes.” Wolfe’s Cruel Julia Wolfe physicality and a relentless power that pushes Sister for string orchestra, inspired by a traditional composer performers to extremes and demands attention English ballad, was commissioned by the Munich from the audience. Recent projects include her Chamber Orchestra and received its U.S. premiere Julia Wolfe, winner of the 2015 Pulitzer Prize in evening-length Steel Hammer for the Bang on a at the Spoleto Festival. Fuel for string orchestra is music, draws inspiration from folk, classical, and Can All-Stars and singers which is now touring in a collaboration with filmmaker Bill Morrison. She rock genres, bringing a modern sensibility to each an expanded theatrical form with director Anne has collaborated with theater artist Anna Deveare while simultaneously tearing down the walls Bogart and her SITI Company, and received its Smith, choreographer Susan Marshall, designers between them. Her Pulitzer-winning concert- New York premiere at BAM’s 2015 Next Wave Jeff Sugg and Jim Findlay, and director François length oratorio, Anthracite Fields for chorus and Festival. Wolfe’s body concerto riSE and fLY, recently Girard, among others. Her music has been heard at

instruments, draws Photo: Peter Serling performed by the Cincinnati Symphony, features venues throughout the world, including the Sydney on oral histories, percussionist Colin Currie playing rapid-fire Olympic Arts Festival, LG Arts Center (South interviews, speeches body slaps and street percussion. The New York Korea), Settembre Musica (Italy), Theatre de la and more to Philharmonic recently announced her new evening Ville (France), the Brooklyn Academy of Music, honor the people length commission for orchestra and women’s Lincoln Center and Carnegie Hall, and has been who persevered chorus that will premiere in the fall of 2018. For recorded on Cantaloupe Music, Teldec, Point/ and endured in the Philharmonic commission Wolfe continues her Universal, Sony Classical, and Argo/Decca. the Pennsylvania interest in American labor history with the subject Anthracite coal In 2009 Wolfe joined the NYU Steinhardt School of women in the New York’s garment industry at region. Mark Swed composition faculty. Wolfe is co-founder and the turn of the century. of the LA Times co-artistic director of New York’s legendary music wrote Anthracite Wolfe has written a major body of work for strings, collective Bang on a Can. Her music is published Fields “captures from quartets to full orchestra. Her quartets, by Red Poppy Music (ASCAP) and is distributed not only the sadness of hard lives lost...but also as described by The New Yorker, “combine the worldwide by G. Schirmer, Inc. of the sweetness and passion of a way of daily violent forward drive of rock music with an aura of life now also lost. The music compels without minimalist serenity [using] the four instruments as overstatement. This is a major, profound work.” a big guitar, whipping psychedelic states of mind

Bang on a Can All-Stars Photo: Peter Serling Formed in 1992, the Bang on a Can All-Stars are recognized worldwide for their ultra-dynamic live performances and recordings of today’s most innovative music. Freely crossing the boundaries between classical, jazz, rock, world and experimental music, this six-member amplified ensemble has consistently forged a distinct category-defying identity, taking music into uncharted territories. Performing each year throughout the U.S. and internationally, the All- Stars have shattered the definition of what concert music is today. Together, the All-Stars have worked in unprecedented close collaboration with some of the most important and inspiring musicians of our time, including Steve Reich, Ornette Coleman, Burmese circle drum master Kyaw Kyaw Naing, Tan Dun, DJ Spooky and many more. The group’s celebrated projects include their landmark recordings of Brian Eno’s ambient classic Music for Airports and Terry new staged collaboration with SITI Company and China for the Beijing Music Festival and Hong Riley’s In C, as well as live performances with Philip director Anne Bogart; Field Recordings, a major new Kong Arts Festival. With a massive repertoire of Glass, Meredith Monk, Don Byron, Iva Bittova, multi-media project and CD/DVD featuring over works written specifically for the group’s distinctive Thurston Moore, Owen Pallett and others. The All- 20 commissioned works by Tyondai Braxton, Mira instrumentation and style of performance, the Stars were awarded Musical America’s Ensemble Calix, Anna Clyne, Bryce Dessner, Florent Ghys, All-Stars have become a genre in their own right. of the Year in 2005 and have been heralded as “the Michael Gordon, Jóhann Jóhannsson, David Lang, The All-Stars record on Cantaloupe Music and have country’s most important vehicle for contemporary Christian Marclay, Steve Reich, Todd Reynolds, Julia released past recordings on Sony, Universal and music” by the San Francisco Chronicle. Wolfe and more; the world premiere, performances Nonesuch. and recording of Steve Reich’s 2x5 including Recent project highlights include the premiere Bang on a Can All-Stars members include Ashley a sold-out performance at Carnegie Hall; the performances and recording of Julia Wolfe’s Pulitzer Bathgate (cello), Robert Black (bass), Vicky Chow world premiere of The Lord in the Clouds, a new Prize-winning Anthracite Fields for the All-Stars and (piano), David Cossin (percussion), Mark Stewart collaboration featuring Chinese superstar singer guest choir, the record release of Wolfe’s acclaimed (guitars) and Ken Thomson (clarinets). Gong Linna and the group’s multiple visits to Steel Hammer, featuring Trio Mediæval, plus a brand

8 PERFORMANCES MAGAZINe 213-972-7282 | lamc.org Charleston, NC. Bathgate is currently collaborating Jeff Sugg with the Brooklyn-based composer collective Vicky Chow scenography & projections Sleeping Giant, who is writing her a six-movement piano & keyboards suite for solo cello to premiere next year on the Jeff Sugg is a Canadian pianist Metropolis Resident Artist Series in NYC. Her Brooklyn-based Vicky Chow has recorded work can be found on Albany Records, designer and been described as Cantaloupe Music, Innova Recordings, La-La Land multi-award “brilliant” (New York Records, Naxos, Nonesuch and Starkland. Originally winner. His work Times), “a monster from Saratoga Springs, NY, Bathgate resides in New with Broadway pianist” (Time Out York City. theaters includes New York) and “new Macbeth (LCT), A star of new music” Time To Kill, Bring Robert Black (Los Angeles Times). It On, Magic/Bird She joined the Bang and 33 Variations. bass on a Can All-Stars Photo: Thomas Giroir Off-Broadway, he Robert Black in 2009 and is now has worked on the tours the world also a part of Grand productions Fortress of Solitude, An Octoroon, This creating unheard- Band, New Music Detroit, and has collaborated Clement World, Tribes, Slug Bearers of Kayrol Island of music for the with other ensembles such as the International and The Accidental Trilogy. Regional theater credits solo double bass. Contemporary Ensemble, Wet Ink Ensemble, and include Marie Antoinette (Steppenwolf), Camp David He collaborates the Wordless Music Orchestra. She has performed (Arena Stage) and Five Guys Named Moe (Arena/ with the most internationally in Asia, Australia, Europe and North Cleveland Playhouse). He has also worked on the adventurous America. As an artist frequently broadcasted musical projects Anthracite Fields (Julia Wolfe’s composers, on WNYC’s Q2 radio, her recorded work can be Pulitzer-Prize winning composition), and Prince’s musicians, dancers, found on the Nonesuch, New Amsterdam, Tzadik, appearance on Saturday Night Live. Mr Sugg has artists, actors and Cantaloupe, Innova, Hinterzimmer and AltaVoz been awarded a Lortel, an Obie, a Bessie, and two technophiles from labels. Interviews and articles featuring Ms. Hewes Awards. jeffsugg.com. all walks of life. Chow have been published in the Huffington Post, He has commissioned, collaborated, or performed Gramophone, the New York Times, the Vancouver with musicians from John Cage to DJ Spooky, Sun, and many more. In addition to performing, Ms. Ashley Bathgate Elliott Carter to Meredith Monk, Cecil Taylor to Chow produces and curates “Contagious Sounds”, cello young emerging composers, as well as the Brazilian a new music series focusing on adventurous

Photo: Peter Serling painter Ige D’Aquino, Japanese choreographer contemporary artists and composers in New York American cellist Yoshiko Chuma, the American actor Kathryn City. Her recent recordings of Steve Reich’s Piano Ashley Bathgate Walker, the English sound artist/DJ Mira Calix and Counterpoint (Nonesuch) and Tristan Perich’s Surface has been described Swiss-American film maker, Rudy Burckhardt. He Image (New Amsterdam Records) was included as an “eloquent is a founding and current member of the Bang On in the top-albums-of-the-year lists such as Rolling new music A Can All-Stars. In 2015, Robert commissioned Stone and Rhapsody. Her performances of Morton interpreter” (New to compose a 7-movement solo Partita Feldman and John Cage were featured on BBC3‘s York Times) and that includes recited poetry by 7 of downtown documentary series The Sound and The Fury, based “a rising star of New York’s most illustrious musician/poets. His on Alex Ross’ book The Rest is Noise. Her next her instrument” current project, titled Possessed, is a series of solo projects include a piano concerto by American (Albany Times improvisatory outdoor performances in Utah’s composer Ronald Bruce Smith in collaboration with Union) who rugged canyon/desert landscape, which will be BMOP, solo piano works by Pulitzer-nominated combines released in DVD and CD format on Cantaloupe composer Chris Cerrone, Alex Mincek, David “bittersweet Music in 2016. He has also recorded solo CDs for Franszon, and Canadian composers Adam Basanta, lyricism along with ferocious chops”(New York New World Records (Modern American Bass), Mode Fjola Evans and a new piano/percussion duo Magazine). Her “impish ferocity”, “rich tone” and Records (The Complete Bass Music of Christian Wolff work by Vincent Ho. Starting the piano at age 5, “imaginative phrasing” (New York Times) have and The Bass Music of Giacinto Scelsi), O.O. Discs she was invited to perform at the age of 9 at the made her one of the most sought after performers (State of the Bass) and his Bang On A Can All-Stars International Gilmore Music Keyboard Festival. She of her time. The desire to create a dynamic energy recordings on Cantaloupe Music. Robert maintains made her orchestral debut at the age of 10 with the exchange with her audience and build upon a full teaching schedule at The Hartt School at Vancouver Symphony Orchestra and made her NY the ensuing chemistry is a pillar of Bathgate’s the University of Hartford, the Festival Eleazar de orchestral debut appearance at Alice Tully Hall with philosophy as a performer. Her affinity to dynamism Carvalho (Brazil) and the School of the Juilliard Symphony performing Bartok’s Piano drives Bathgate to venture into previously uncharted Music’s Contemporary Performance Program. A Concerto No. 1. www.vickychow.com. areas of ground-breaking sounds and techniques, recipient of numerous grants, he recently received breaking the mold of a cello’s traditionally perceived the Degree of Comendador ­— Mérito Cultural e voice. Most recently Bathgate premiered a new Artistico from the Fundação Educacional, Cultural Cello Concerto by Australian composer Kate continued on next page... e Artistica Elezar de Carvalho in recognition of 25 Moore with the ASKO|Schönberg ensemble years of distinguished contributions to the cultural at the Gaudeamus Festival in Utrecht, NL. She and artistic life of Brazil. www.robertblack.org. subsequently recorded an album of Moore’s solo cello works, which will be released in 2016 on Cantaloupe Music. This past season also brought the world premiere of What Moves You, a collaborative performance project with jookin’ dance sensation Lil Buck at the Spoleto Festival USA in

los angeles master chorale PErFORMANCEs MAGAZINE 9 Anthracite Fields: Music of the Coal Miner

about the artists continued...

instruments; however, upon completing school he co-leads the chamber/punk/jazz band Gutbucket, David Cossin was most drawn to the electric guitar. Today Mark with whom he has toured extensively throughout percussion plays regularly with a wide range of musicians: the USA and internationally over 16 years. He is

Photo: Peter Serling since 1998 he has recorded, toured and been also active as a freelance clarinetist in New York, David Cossin Musical Director with Paul Simon. A founding performing with Ensemble Signal, International was born and member of the Bang on a Can All-Stars, Mark is Contemporary Ensemble and many more. As raised in , also a member of Steve Reich & Musicians and a composer, he has been commissioned by the New York, and the comic duo Polygraph Lounge with keyboard American Composers Orchestra, Bang on a Can, studied classical and theremin wizard Rob Schwimmer and has Doug Perkins and others, and has received awards percussion at the performed with Anthony Braxton, Bob Dylan, Stevie from ASCAP and NewMusic USA. He is a Conn- Manhattan School Wonder, Bruce Springsteen, Bobby McFerrin, Paul Selmer/Selmer Paris and D’Addario Woodwinds of Music. His McCartney, the Everly Brothers, David Byrne and artist. www.ktonline.net interest in classical James Taylor. Mark has collaborated extensively percussion, drum with composer Elliot Goldenthal on music for the set, non-western feature films The Tempest, Across the Universe, Titus, Jody Elff hand drumming, The Butcher Boy, The Good Thief, In Dreams and Heat, composition and sound engineer often playing instruments of his own design and improvisation has led to performances across a construction. He is on the faculty of the Manhattan Jody Elff is an audio engineer, sound artist, musician broad spectrum of musical and artistic forms to School of Music and his New York Lower East and composer. Elff has had the pleasure of working incorporate new media with percussion. David Side “lab” is home to an instrument workshop and in some of the most unusual musical and sonic has recorded and performed internationally with sonic salon where traditional and new instruments environments imaginable. He has worked with composers and ensembles including Steve Reich cohabitate. Stewart can be heard on Warner Bros., Laurie Anderson, Yo-Yo Ma, Paul Winter, Hall & and Musicians, Philip Glass, Yo-Yo Ma, Meredith Sony, Sony Classical, Point/Polygram, Nonesuch, Oates, Paul Simon and many others. In addition, Monk, Tan Dun, Cecil Taylor, Talujon Percussion Label Bleu, Resonance Magnetique, Cantaloupe and Elff has mixed countless televised concert events, Quartet and the trio, Real Quiet. Numerous theater CRI recordings. He lives in New York City making including NBC’s Peter Pan LIVE and Pope Francis’ projects include collaborations with Blue Man his living playing and writing popular music, semi- recent visit to the 9/11 memorial museum. His work Group, Mabou Mines and director Peter Sellars. popular music and unpopular music. with sonic environments has led him to develop a David was featured as the percussion soloist in series of sound art works presented at museums Tan Dun’s Grammy and Oscar winning score to and galleries internationally. He was commissioned Ang Lee’s film Crouching Tiger, Hidden Dragon. Ken Thomson to create a sound art installation­ — “Strata”­ — Most recently, David is happy to have performed clarinets which is permanently on display in Lyon, France. with Sting on his latest world tour, Symphonicity. Jody is also the founder of Little Dog Live, providing David has performed as a soloist with orchestras Ken Thomson Photo: Naomi White high-quality live-streamed broadcasts of concert throughout the world including the Los Angeles is a Brooklyn- events at littledoglive.com. Philharmonic, Orchestra Radio France, Saint Paul based clarinetist, Chamber Orchestra, São Paulo State Symphony, saxophonist Sydney Symphony, Gothenburg Symphony, Hong and composer. Kong Symphony and the Singapore Symphony. In demand as a David’s ventures into other art forms include composer and sonic installations, which have been presented freelancer in in New York, Italy and Germany. David is also an many settings, active composer and has invented several new he moves quickly instruments, which expand the limits of traditional between genres percussion. David is the curator for the Sound Res and scenes, Festival, an experimental music festival in southern bringing a fiery Italy and also teaches percussion at Queens intensity and emotional commitment to every College in New York City. www.davidcossin.com. musical situation; Time Out New York called him “the hardest-working saxophonist in new-music show business.” In addition to the All-Stars, Ken Mark Stewart has been an anchoring force with Bang on a Can guitar as music director and saxophonist with Asphalt Photo: Peter Serling Orchestra and as a faculty member of Bang on a Raised in America’s Can’s Summer Music Festival at MASS MoCA. Dairy Land of With his quintet, Slow/Fast, he has toured and Wisconsin, multi- released two discs including Settle (NCM East instrumentalist, Records, 2014) about which the Chicago Reader singer, composer said, “Few musicians travel as assuredly and and instrument meaningfully between jazz and new music,” designer Mark and The New York Times wrote, “Mr. Thomson’s Stewart has been compositions are intricately wrought and incident- heard around the steeped.” His 2013 CD, Thaw (Cantaloupe Music), world performing of his compositions performed by the heralded old and new JACK Quartet was called the #1 Classical CD of music. Going to 2013 by Rhapsody.com and listed on NPR’s “Top conservatory to study both guitar and cello, he 10 Songs Public Radio Can’t Stop Playing.” Ken came to NYC to work as a performer on both

10 PERFORMANCES MAGAZINe 213-972-7282 | lamc.org soloists

Performs regularly with: San Gabriel Valley Guest Artist Appearances: soloist with Corona Zanaida Robles Chorale Company as artistic director del Mar Baroque Festival Orchestra, Musica Angelica Baroque Orchestra; Guest artist Soprano Tours: Pacific Chorale, the John Alexander with Moira Smiley & VOCO, Duncan Sheik at Singers, USC Thornton Chamber Singers, CSU Seasons with Hotel Cafe and frequent guest artist of singer/ Long Beach Chamber Singers, Citrus Singers Chorale: 3 songwriters David Poe and Brendan Hines Film/TV credits: Glee, Godzilla, Creed Hometown: Monrovia, Recordings: album of all-original songs Limbo California (Baltimore / Los Angeles) (2015); Debut album The Education:­ DMA Fall (2010); Small Mistakes by The Brendan Hines in Choral Music at Kristen Toedtman (featured artist); Carols from the Old and New USC Thornton School Mezzo Soprano Worlds and I am the true vine with Pro Arte Singers of Music, MM in and Paul Hillier for Harmonia Mundi Seasons with Conducting at CSU Tours: 2013 ’ The Gospel According Chorale: 9 Northridge, BM in to the Other Mary world premiere tour with the Vocal Performance at Hometown: Baltimore, LA Phil; 2014 Limbo EP release tour with her east CSU Long Beach Maryland coast band, KT & the Hi 5; 2013 opening for the Milk Carton Kids with Brendan Hines Previous Chorale solos: Bach’s St. Matthew Previous Chorale Passion; Taverner’s Western Wind Mass, Lang’s the solos: Bach’s St. Unique Facts: Performs her songs most often national anthems, Messiah Sing-Along Matthew Passion, at the piano, sometimes on guitar; has toured Guest artist appearances: with John Mauceri, Messiaen Trois Petites playing violin (with Moira Smiley) and electric Jeffrey Kahane Liturgies bass (with Brendan Hines); frequently visits her hometown Baltimore and donates all download Education: BM Recordings and media: Shenandoah: Song of the proceeds of her newest album to the Baltimore in Voice, Indiana American Spirit, the John Alexander Singers, 2009 Algebra Project, a non-profit organization tutoring University; MM in Voice, Peabody Conservatory; on Gothic Records; Transformation, Bill Cunliffe, inner city youth James Walker and the All Saints Choir, 2008 on Britten-Pears School courses; studied with Metre Records Martina Arroyo, Phylis Bryn-Julson and Jayne Campbell

EDUCATION SPOTLIGHT Woman at the Window: The Triangle Factory Fire An original oratorio composed by the students of Grand Arts High School

On February 4th and 5th, the moment in America’s history, establish a safe space to bring Support for this program is provided, students of the Ramón C. the fire prompted changes in out the students’ creativity and in part, by the ASCAP Foundation Cortines High School of Visual safety standards and workers’ and build their confidence. Students Irving Caesar Fund. This vital support benefits not just students, but also and Performing Arts (also known women’s rights. worked in teams to create the provides a rich training ground for the as Grand Arts) choral program words and melodies that turn into teaching artists, offering them the gave a moving performance of Choir students spent 20 weeks arias and choruses that make up means to develop and refine their skills their sixth oratorio as part of with this story, guided by the oratorio. Performances were as creative artists and gain valuable LAMC’s award winning Voices three LAMC teaching artists: met with resounding appreciation hands-on classroom experience, which furthers the field of music education. Within program. This particular LAMC singer Alice Kirwan from both their fellow students oratorio portrayed the tragic 1911 Murray, lyricist Doug Cooney and community members in the Triangle Factory Fire in New York and composer Michael Alfera audience. City, where 146 people, mostly in a collaborative process. The women, perished. A lesser-known teaching artists were able to los angeles master chorale PErFORMANCEs MAGAZINE 11 Anthracite Fields: Music of the Coal Miner

DONOR RECOGNITION 2015 | 2016 Season

Thank You! The Los Angeles Master Chorale is pleased to recognize and thank the individuals, foundations, corporations and government agencies who generously provide resources necessary to sustain our world-class professional choral ensemble and award-winning education programs. The following lists include individual donors who have contributed $300 or more to the annual fund and special events and institutional funders of $1,000 or more from November, 2014 to February, 2016.

Your tax-deductible gifts are an investment in the artistic and educational programs of the Master Chorale. Support the music you love by making a donation today!

Individual Donors Ann Ehringer, Ph.D. Mr. Patrick Fitzgerald Don Wallschlaeger $1 Million and above Marshall Rutter and Terry Knowles Mr. Gerald Flynn Mr. Karl Zeile Kiki and David Gindler Sally and Robert Neely Dr. Harold Frankl, M.D. and Steven Neiffer Mrs. Irene Weinrot $500 to $999 $100,000 to $999,999 Joyce and Donald Nores Mr. and Mrs. Alan G. Freeman William G. and Barbara Adams Anonymous Helen Pashgian Mr. Grant Gershon and Ms. Elissa Johnston Mr. Roger Allers and Ms. Leslee Hackenson Blue Ribbon Committee Lorraine and Joseph Saunders Suzanne Gilman Mr. Patrick Anderson and Mr. Lester Olson Leeba R. Lessin Allen Shay Mr. and Mrs. Richard A. Grant, Jr. Mrs. Geraldean Belleville Michele and Dudley Rauch Nancy and Dick Spelke Drs. Carl and Phyllis Greifinger Stephen Block Laney and Tom Techentin Michele and Russell Spoto, M.D. Mr. Henry Grzes and Ms. Sandi Macdonald Susan G. Bowers Philip V. Swan Mr. and Mrs. Robert Harter Mr. and Mrs. Robert Carlson $25,000 to $99,999 Ellen and Arnold Zetcher Ms. Margaret Hayhurst Ms. Martha Chowning and Mr. Jonathan Groff Abbott Brown Mr. Damon R. Hein Ms. Jacqueline E. Cohl Alicia G. and Edward E. Clark $2,500 to $4,999 Ms. Carolyn Holmes The Honorable and Mrs. Ralph W. Dau The SahanDaywi Foundation Ms. Susan J. Bienkowski and Christina Honchell Mr. and Mrs. Alfred Doering Judi and Bryant Danner Mr. Wang Lee Mr. Takashi Ito Mr. and Mrs. Robert S. Draper Kathleen and James Drummy Marla Borowski Dr. and Mrs. Lawrence W. Jones Ms. Sheila Eaton Lenore S. and Bernard A. Greenberg Fund Mr. and Mrs. Thomas Borys David and Elizabeth Kalifon Richard and Charlotte Eberhart Denise and Robert Hanisee Mrs. Eleanor Congdon Mr. David B. Katzin Ms. Sara Edwards Carol and Warner Henry Dr. and Mrs. James J. Femino Mr. and Mrs. Albin C. Koch Mrs. Lois S. Erburu Jane and Edward J. McAniff Mr. and Ms. Gary N. Frischling Ms. Carol Krause Randall T. Espinoza, M.D. Marian and John Niles Mr. and Mrs. Michael Haggans Sandra Krause and William Fitzgerald Drs. Harold and Eleanor Fanselau Susan Erburu Reardon and Paul and Missy Jennings Mr. Morten Lauridsen William Farnum George Reardon Mr. Curtis R. Joiner, Jr. Mrs. Nili E. Leemon Mr. Gordon A. Fell The Hon. Richard J. Riordan Mr. and Mrs. Craig Justice Lesley Leighton Mr. Michael Fishbein Frederick J. Ruopp Prof. Patricia A. Keating Mr. and Mrs. Jerome Levine David P. Garza Philip A. Swan Ms. Junko Koike* Mr. Robert Lewis and Ms. Frances Wiseman Mr. and Mrs. Solomon W. Golomb Priscilla and Curtis Tamkin Mr. and Mrs. Thomas Lang Richard and Miki Lorentz Olivia Goodkin Marjorie Lindbeck Mr. Warren Lortie Mr. and Mrs. Jean W. Horton $10,000 to $24,999 Dr. and Mrs. Allen Mathies Jr. Dr. and Mrs. Robert K. Maloney, M.D. Mr. and Mrs. Jayson Hwang Virginia N. and Brian P. Brooks Mr. and Mrs. Peter McAniff Mr. and Mrs. Frank B. Mapel Dr. and Mrs. David R. Jones Kathleen and Terry Dooley Mr. Albert J. McNeil Dr. Marguerite Marsh Richard M. and Marlene B. Jones Dr. Annette L. Ermshar and Mr. and Mrs. Eric Olson Dr. Joseph V. Matthews Richard Kagen Mr. Dan Monahan Ms. Laura Ornest Mr. Robin Meadow and Mr. and Mrs. Sonny Kamm Evelyn Feintech Dr. Robert V. Pierre and Ms. Jane W. Sell Ms. Margaret Stevens Ms. Dana B. Kennedy and Ms. Barbara Minton Mr. Ron Hartwig Mr. and Mrs. Harold B. Ray Mr. and Mrs. Everett F. Meiners Brenda S. King-Scoffin Elizabeth Levitt Hirsch Robert Olson Mr. and Mrs. David Meyer Mr. Shawn Kirchner Stephen A. Kanter, M.D. Deborah F. Rutter Steven and Jerri Nagelberg C. Douglas and Susan Kranwinkle Jenny Soonjin Kim Mr. and Mrs. Ian White-Thomson Ms. Susan Olsen Steven Lake Kathleen McCarthy Kostlan John and Ann Perkins Ken Leech Courtland Palmer $1,000 to $2,499 Mr. and Mrs. Carl B. Phelps Mrs. L Whitney Leipzig Cheryl Petersen and Roger Lustberg Gregory J. and Nancy McAniff Annick Sandy and Barry Pressman Deborah Lewis Sonia Randazzo Anonymous Ms. Marilyn J. Prewoznik Mr. and Mrs. Ben Logan Diana Y. and Jon L. Rewinski Mr. and Mrs. Noel H. Applebaum Dr. and Mrs. Timothy Pylko Mr. and Mrs. Robert A. Long Ann and Robert Ronus Lesili Beard and Dr. Iris S. Levine Drs. Richard and Gail Rice John Lundgren Cheryl and David Scheidemantle Mr. and Mrs. Bradford B. Blaine Mr. and Mrs. Richard Rogers Mr. and Mrs. Neil B. Martin Rosemary Schroeder Dr. Susan Brown Winifred H. Rutter Lumsden Mr. Robert S. Martin The Seidler Family Ms. Julie A. Campoy Theodore Rutter Dr. Mark and Mrs. Stephanie Mayerson Eva and Marc Stern Mr. and Mrs. Alex Chaves Mrs. Elizabeth F. Loucks Samson Mrs. Betty H. McLaughlin Katy and Shaun Tucker Mr. Aaron H. Cole Mr. Tom Drucker and Ms. Marcia Seligson Mrs. Peggy Miller James Lyerly and Tracy Van Fleet Dr. David H. Conney Mr. Michael J. Skloff and Chip and Sharyn Moore Jann and Kenneth Williams Ms. Jean Davidson and Mr. Kojiro Umezaki Ms. Marta Kauffman Mr. Brian R. Morrow Mr. and Mrs. Craig Deutsche Mr. and Mrs. George Smith Erica Muhl-Borchetta $5,000 to $9,999 Leslie and John Dorman Dr. Arthur H. Streeter Ms. Beatrice H. Nemlaha Anonymous Ms. Susan L. Efting Mr. J. Theodore Struck and Mr. Al Whitley Mrs. Jeanne M. Neville Joanne and Miles Benickes Ms. Gail Eichenthal Mr. and Mrs. William Switzer Dr. David C. Newell, Ph.D.* Alex Bouzari Mrs. Jeanne R. Faoro Mr. and Mrs. Rick Thyne Michael and Marianne S. Newman Sharon and George Browning Ms. Marjorie Fine Mr. and Mrs. William Timberlake Ms. Kay Paietta Kathy Cairo Mr. Michael Fitzgerald Mrs. Betsy Tyler Dr. and Mrs. Howard R. Panosian, D.D.S. Zoe and Don Cosgrove Janet van Adelsberg

12 PERFORMANCES MAGAZINe lamc.org ARTISTIC DIRECTOR’S CIRCLE Founded in 2012 with a generous gift from Kiki and David Gindler, the Abbott Brown Sheila Muller Artistic Director’s Circle joins together distinguished LAMC supporters Judi & Bryant Danner Michele & Dudley Rauch who share a passion for the Los Angeles Master Chorale and the bold Kathleen & James Drummy Susan & George Reardon vision of Artistic Director Grant Gershon. As key stakeholders, members of Kiki & David Gindler Richard J. Riordan the Artistic Director’s Circle play a vital role in supporting core institutional programming and special initiatives through significant contributions of Lenore S. and Bernard A. Frederick J. Ruopp $50,000 and above; and, in partnership with the Artistic Director, enjoy Greenberg Fund The SahanDaywi Foundation exciting opportunities throughout the season designed to enhance their Carol & Warner Henry Philip A. Swan association with LAMC and its supported programs. Leeba R. Lessin Priscilla & Curtis Tamkin Lillian & Jon Lovelace Laney & Tom Techentin For a list of benefits and requirements for membership, contact Patrick Morrow, Director of Development, at 213-972-3114, or [email protected].

Mr. and Mrs. Richard Patterson Mr. and Mrs. William Greene Mrs. Lois Petzold-Hindin Barbara Hanson Foundation, Government and Corporate Support Mr. John B. Power and Peter and Cheryl Holzer $100,000+ Ms. Sandra Garfield Mr. and Mrs. William Jacobson Harry Bronson and Edith R. Knapp Carol H. Richards Mr. Frank Jarvis Bloomberg Philanthropies Foundation Mark Robeson Mr. and Mrs. Marshall F. Kramer Colburn Foundation* Metropolitan Associates Mr. and Mrs. Kenneth Russak Ms. Fong Z. Liu The James Irvine Foundation* Pasadena Showcase House for Mr. and Mrs. Barry A. Sanders Los Angeles Chamber Choir Music Center Fund for the the Arts Mr. and Mrs. Arthur Schanche Mrs. Ginny Mancini Performing Arts Kenneth T. and Eileen L. Norris Jo-Michael Scheibe Mr. William McCoy Music Center Foundation Foundation Neil Sherman Mr. and Mrs. Kenneth McKenna Patina Restaurant Group Mr. and Mrs. William Sollfrey Mr. and Mrs. Lawrence P. McNeil The Ralph M. Parsons Ms. Rita Spiegel Dr. and Mrs. Nicholas Menzies Foundation* Lon V. Smith Foundation Mr. Donald R. Spuehler and Mr. and Mrs. John Merriam John and Beverly Stauffer Dr. Jill Roth Spuehler Mr. and Mrs. John Nordquist $50,000 to $99,999 Foundation Ms. Deborah K. Streiber Mr. Donald M. Pattison The Ahmanson Foundation Sidney Stern Memorial Trust Mr. Jesse R. Telles Mrs. Rita C. Pudenz City of Los Angeles Department Walter J. and Holly O. Thomson Stuart P. Tobisman and Karen Blackfeld Dr. and Mrs. Gary Raines of Cultural Affairs* Foundation Mr. and Mrs. James S. Toedtman Mr. and Mrs. Charles A. Reardon Wallis Foundation Mr. and Mrs. Douglas A. Upshaw Mr. Kenneth Rhyu Los Angeles County Arts Barbara E. Wagner Dr. Harry E. Rice Commission* Wells Fargo Richard C. Warmer Ms. Carol Rigolot The Lloyd E. Rigler – Lawrence E. Wilshire Bank Mr. Charles E. Wharton Al and Holly Ristuccia Deutsch Foundation Mr. Robert E. Willett Mr. Kenneth Roehrs and Dan Murphy Foundation matching gifts Charles C. and Martha B. Wolf Ms. Sara McGah National Endowment for the Arts The Boeing Company Mr. Robert Wood Alice Rogers The Rose Hills Foundation* Charitable Trust Dr. Ann Ross Edison International Employee $300 to $499 Hugh and Mareleen Scheffy $20,000 to $49,999 Contributions Campaign Mr. and Mrs. Kim Aaron Mary Ann Semler Mr. Robert C. Anderson Dr. Carol A. Smith Patricia Duque Byrne Charitable GE Matching Gifts Program Brandon Bailo Ms. Tracy A. Stone and Foundation IBM International Foundation Tim Baudler Mr. Allen Anderson Capital Group Companies Johnson & Johnson Matching Taylor Benson Mr. Norman G. Taylor Charitable Foundation Gifts Program Carol Blischke Ms. Diane Thomas and The Green Foundation Nestlé Community Care Dr. and Mrs. Stuart P. Bowne Mr. Ray Frauenholz Thelma Pearl Howard Foundation Campaign Mandy and Steve Brigham Marjorie Thomson Los Angeles County Board of Mr. and Mrs. Gerald F. Brommer Ms. Christine H. Thornton Supervisors Mr. and Mrs. Robert F. Brown Mr. and Mrs. Peter Trepp Suzanne C. Brown Mr. Bob Uyetani Dwight Stuart Youth Fund Mr. and Mrs. Allen Bundy Phillip Valentine Mr. David R. Burch Mrs. Myrna Villanueva $1,000 to $19,999 Mr. and Mrs. Richard L. Camp Ms. Pat L. Walter American Business Bank Martha J. Chase Dr. Michelle Ward Ann Peppers Foundation Mr. and Mrs. John S. Clauss, Jr. Mr. Ezra Levy and Ms. Margot Webb The ASCAP Foundation Irving Janice Coleman Elizabeth Wenz Caesar Fund Mr. and Mrs. Walter Coulson Mr. Russell Whittenburg Dr. and Mrs. David G. Covell Mr. and Mrs. David A. Wilson California Arts Council Mr. Doug M. Crowley Mr. Geoffrey Yarema The Aaron Copland Fund for Rosa Cumare Ms. Nancy Zamora Music, Inc. Loretta DeLange The Julia Stearns Dockweiler Mr. and Mrs. Kenneth Diddie * deceased Charitable Foundation Mr. and Mrs. Neal R. Dougherty Edison International Ms. Jain Fletcher and Ms. Silvia Mariscal For more information, contact Employees Community Fund of Dr. Steven and Sylvia Freije Lindsey Lansburgh at 213-972-3138 or For information on institutional giving, Boeing California please contact Julia Gaeta, Institutional Mr. and Mrs. Richard M. Gerber [email protected]; online at www.lamc.org; by mail to: Ann and Gordon Getty Giving Manager at 213-972-3121 or Mary L. Gisbrecht [email protected]. Mr. and Mrs. Fred J. Golob Los Angeles Master Chorale Foundation 135 N. Grand Avenue Ms. Michelle M. Gonzalez Goldman Sachs Los Angeles, CA 90012 * Indicates multi-year commitment Ms. Diana Gould and The William H. Hannon Dr. Kirsten Grimstad, Ph.D. To report an error, omission or change in your listing, please contact us. Foundation

PEFORMANCEs MAGAZINE 13 Anthracite Fields: Music of the Coal Miner LA Master Chorale Records Important Lang Works

A project five years in the making came to match girl passion, and both he and Grant have fruition this January when 32 singers from the dreamed of recording the works together with We are grateful to those whose Los Angeles Master Chorale were brought LAMC. Thanks to a second lead gift from the generous donations supported together by Artistic Director Grant Gershon Greenbergs, and the combined donations of a this important project. to record David Lang’s the national anthems, generous donor consortium, this dream was commissioned by the Chorale in 2014, and realized during a 2-day recording session at Lead Donor: Lenore S. and Bernard A. Greenberg Fund his Pulitzer Prize-winning the little match girl Zipper Hall on the campus of the Colburn passion. The Chorale first approached Lang School in early January. According to Donor Consortium: Jean Davidson & Ko Umezaki, Kathleen & James about commissioning a new work following Gershon, Zipper Hall provided the necessary Drummy, Kiki & David Gindler, Scott its performance of the choral version of the “bright” acoustic for these 2 powerful works. Graff, Robert & Denise Hanisee, Dr. little match girl passion in 2011. Thanks to a The acclaimed Calder Quartet, who performed Stephen A. Kanter, Terry Knowles & generous gift from the Lenore S. and Bernard the national anthems when it premiered, was Marshall Rutter, Carol Krause, Raulee Marcus, Steven Neiffer & Eric Lassiter, A. Greenberg Fund, the Chorale premiered again present for the recording. David Lang, Sally & Robert Neely, Sandy Owen Lang’s new work, the national anthems, at the along with LA Master Chorale Associate final concert of its 50th Anniversary season. Conductor Lesley Leighton, produced the From its inception, Lang has viewed the recording, which is scheduled for release on newer piece as a companion work to the little Cantaloupe Music in early summer 2016.

David Lang, Grant Gershon and Lesley Leighton discuss the recording during a break.

Donor profile: Mireya and Lawrence Jones

Committed donors of the Los Angeles Master Chorale, Mireya and Larry Jones, sat down with Annual Fund Manager, Lindsey Lansburgh, at their coffee shop, Jones Coffee Roasters, in Pasadena. The conversation touched on their relationship with the LA Master Chorale, including stories about their introduction to “Roger Wagner’s chorus,” the time Sir Simon Rattle stayed with them while his wife sang with the Chorale, and even our new Carol Bus this past Christmas! Like many others, Mireya and Larry were first introduced to LAMC after hearing them perform with the Los Angeles Philharmonic. As time went on, not only were they enamored by the beautiful music made over the years, they were in awe of the unique sound produced by the Chorale over a span of multiple music directors ­— from Roger Wagner’s traditional style to Grant Gershon’s vibrant new approach. They soon decided to donate to LAMC’s Annual Fund, where their support, like so many others, has helped shape our organization and will continue to fund the visionary ideas we have planned. Such programs include reaching out to new audiences, sharing a distinctive voice within our community and renewing the Los Angeles choral experience. Mireya and Larry are continued members of the Friends of the LA Master Chorale, which includes membership for donors at all levels. If you would like to become a member, please visit our website at www.lamc.org or call Lindsey Lansburgh at 213-972-4355. She will help you chose which level is best for you. No amount is too small to get started!

14 PERFORMANCES MAGAZINe 213-972-7282 | lamc.org Los Angeles Master Chorale LA Master Chorale Board of Directors 135 North Grand Avenue Los Angeles, CA 90012 David Gindler Cheryl Petersen 213-972-3110 tel. Records Important Lang Works CHAIRMAN Jon Rewinski 213-972-3136 fax Frederick J. Ruopp Robert Hanisee David Scheidemantle [email protected] VICE CHAIR / DEVELOPMENT Philip A. Swan [email protected] Susan Erburu Reardon Elayne Techentin VICE CHAIR / Shaun C. Tucker STRATEGIC INITIATIVES Tracy Van Fleet Kenneth S. Williams VICE CHAIR / MUSIC CENTER Emeriti Donald J. Nores Administration Brian Brooks Marshall Rutter TREASURER Artistic Staff Honorary Stephen A. Kanter, M.D. Grant Gershon, Kiki & David Gindler Artistic Director Morten J. Lauridsen Lesley Leighton, Associate Conductor ASSISTANT TREASURER Clifford A. Miller Lisa Edwards, Pianist/Musical Assistant Kathleen Drummy Ex-Officio Administrative Staff SECRETARY Lesili Beard, Education Programs Manager Grant Gershon George Brietigam, Marketing Associate Directors ARTISTIC DIRECTOR Bryant Danner Andrew Brown, General Manager Patrick Brown, Director of Marketing Annette Ermshar, Ph.D. Jean Davidson Jean Davidson, President & CEO Scott Graff PRESIDENT & CEO Jenny Soonjin Kim Hayden Eberhart, Program Book Coordinator Edward J. McAniff Allie Fukushima, Accounting and Compensation Specialist Julie Gaeta, Institutional Giving Manager Marian Niles Desirée Gagnon, Special Events Planner Kevin Koelbl, Artistic Personnel & Production Manager Lindsey Lansburgh, Annual Fund Manager ENDOWMENT & PLANNED GIVING Patrick Morrow, Director of Development Steven Neiffer, Chief Financial Officer Esther Palacios, Administrative Assistant Roger Wagner Society Lee Stickler, Accounting and Compensation Assistant The Los Angeles Master Chorale established the Roger Wagner Society to Consultants honor and recognize individuals who have expressed their commitment to Ad Lib Communications, Libby Huebner, Publicist King Design Office, Print & Web the art of choral music by making a gift to the Master Chorale’s endowment Walt Disney Concert Hall or a planned gift benefitting LAMC. Through this support, Society members Greg Flusty, House Manager ensure the long-term fiscal stability of the Master Chorale by creating a Jeff Wallace, Stage Manager lasting legacy that will help preserve a vital cultural resource for future Ronald Galbraith, Master Carpenter generations. The Society is named for the late Roger Wagner who founded John Phillips, Property Master Terry Klein, Master Electrician the Master Chorale in 1964 and served as its Music Director until 1986. Kevin F. Wapner, Master Audio/Video ROGER WAGNER SOCIETY

Michael Breitner Raymond R. Neevel* The Los Angeles Master Chorale is supported, in part, through grants from the Abbott Brown Joyce and Donald J. Nores California Arts Council, the City of Los Angeles Department of Cultural Affairs, the Raun and Jerry Burnham Cheryl Petersen and Roger Los Angeles County Board of Supervisors through the Los Angeles County Arts Colburn Foundation Lustberg Commission and the National Endowment for the Arts. William Davis Anne Shaw and Harrison Price* in honor of Ted McAniff Elizabeth and Hugh Ralston Ann Graham Ehringer, Ph.D. Susan and George Reardon Claudia and Mark Foster Elizabeth Redmond* Kathie and Alan Freeman Penelope C. Roeder, Ph.D. Kiki and David Gindler Phyllis and Larry* Rothrock Denise and Robert Hanisee Marshall Rutter and Terry Knowles Geraldine Healy* Carolyn and Scott Sanford Violet Jabara Jacobs* Martha Ellen Scott* Stephen A. Kanter Barbara and Charles Schneider* Joyce* and Kent Kresa Dona* and David Schultz Marjorie and Roger* Lindbeck Nancy and Ralph Shapiro, Lesley Leighton in honor of Peter Mullin For Tickets Los Angeles Master Chorale Nancy and Richard Spelke Associates George Sterne and Nicole Baker (Mon-Sat, 10-6) Patricia A. MacLaren Francine and Dal Alan Swain Phone: 213-972-7282 Drs. Marguerite and Robert* Marsh Philip A. Swan Jane and Edward J. McAniff Laney and Tom Techentin Online: lamc.org Nancy and Robert Miller Madge van Adelsberg* Patrick Morrow Robert Wood* * deceased

los angeles master chorale PErFORMANCEs MAGAZINE 15 facebook.com/MusicCenterLA @MusicCenterLA @musiccenterla MARCH 2016 musiccenter.org

MARK TAPER FORUM DOROTHY CHANDLER CENTER The Mystery of LA PAVILION THEATRE Love & Sex OPERA Madame Butterfly GROUP 8:00 PM 7:30 PM

01 12 Tour photo by Joan Marcus Thru 3/20 Thru 4/3

AHMANSON THEATRE ROY AND EDNA CENTER An Act of God REDCAT DISNEY CALARTS THEATRE 8:00 PM THEATER AHMANSON THEATRE CENTER GROUP Pat O'Neil: Where A Gentleman's Guide 01 12 the Chocolate THEATRE to Love & Murder Thru 3/13 Mountains GROUP 8:00 PM 8:30 PM 22 Thru 5/1 WALT DISNEY LA PHIL CONCERT HALL Static Ecstatic WALT DISNEY ROY AND EDNA 8:00 PM LA PHIL CONCERT HALL REDCAT DISNEY CALARTS 01 American Youth THEATER Symphony Piano Spheres: 13 2:00 PM 22 Mark Robson 8:30 PM

Photo by Robert Millard ROY AND EDNA REDCAT DISNEY CALARTS THEATER ROY AND EDNA Dark Chamber REDCAT DISNEY CALARTS THEATER 14 Disclosure: Companhia Urbana DOROTHY CHANDLER A Projection 23 de Dança: ID: LA PAVILION Performance by Thru 3/24 Entidades & Na Pista OPERA The Magic Flute Sandra Gibson + 8:30 PM 02 7:30 PM Luis Recoder Thru 3/6 8:30 PM WALT DISNEY LA PHIL CONCERT HALL WALT DISNEY ROY AND EDNA LA PHIL CONCERT HALL REDCAT DISNEY CALARTS La Santa Cecilia & LA Dudamel & Mahler 3 THEATER • Buika 26 8:00 PM MASTER 8:00 PM Immigration: Art/ 03 17 Critique/Process Thru 3/18 CHORALE Thru 3/6 4:00 PM WALT DISNEY WALT DISNEY DOROTHY CHANDLER LA PHIL CONCERT HALL LA CONCERT HALL LA PAVILION MUSIC 101 with MASTER Music of the OPERA Domingo/Fleming Classical KUSC's Coal Miner 30 Alan Chapman CHORALE in Concert 06 7:30 PM 18 7:30 PM 7:30 PM Thru 3/6

WALT DISNEY ROY AND EDNA WALT DISNEY LA PHIL CONCERT HALL REDCAT DISNEY CALARTS LA PHIL CONCERT HALL From Bach to THEATER Herbie Hancock Schubert 31 8:00 PM Eve Egoyan: 8:00 PM Thru 4/2 10 Earwitness 18 8:30 PM

WALT DISNEY ROY AND EDNA ROY AND EDNA LA PHIL CONCERT HALL REDCAT DISNEY CALARTS REDCAT DISNEY CALARTS José González THEATER THEATER 8:00 PM Studio: Winter 2016 TeatroCinema: 11 20 8:30 PM 31 Historia de Amor Thru 3/12 Thru 3/21 Thru 4/3 8:30 PM

MC_Perf Mar16_Cal_BW.indd 1 2/17/16 9:54 AM