LOS ANGELES CHAMBER ORCHESTRA

TABLE OF CONTENTS

Programs at a Glance...... 6 Los Angeles Chamber Orchestra Biography...... 8 Orchestra Roster...... 10 Board of Directors...... 12 Administration...... 13 Letter from Jaime...... 15 Ravel, Strauss + Contreras ...... 17 Romantic Chopin ...... 23 Sheku + Beethoven’s “Eroica”...... 31 About the Artists...... 38 Donor Recognition...... 43 Gifts in Tribute...... 47 Institutional Donors and LACO Legacy Society...... 48 Special Thanks...... 49 Endowment Funds and Matching Gifts...... 52 SPRING 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 © 2020. All rights reserved. Printed in the U.S.A. www.onstagepublications.com 5 PROGRAMS AT A GLANCE ORCHESTRAL SERIES RAVEL, STRAUSS + CONTRERAS (pg. 17) SATURDAY, MARCH 28 AT 8 P.M., Alex Theatre SUNDAY, MARCH 29 AT 7 P.M., Royce Hall

JAIME MARTÍN conductor DENIS KOZHUKHIN JUAN PABLO CONTRERAS ! (Sound Investment commission, world premiere)

Jaime Martín © Jamie Pham RAVEL Piano Concerto in G major R. STRAUSS Le Bourgeois gentilhomme ROMANTIC CHOPIN (pg. 23) SATURDAY, APRIL 18 AT 8 P.M., ALEX THEATRE SUNDAY, APRIL 19 AT 7 P.M., ROYCE HALL

RUTH REINHARDT conductor DAVID FRAY piano LUTOSŁAWSKI Little Suite (Mała Suita) CHOPIN Piano Concerto No. 2 BACEWICZ Concerto for String Orchestra HAYDN Symphony No. 84

Denis Kozhukhin Borggreve © Marco

Ruth Reinhardt © Jessica Schaefer

6 SHEKU + BEETHOVEN’S “EROICA” (pg. 31) FRIDAY, MAY 15 AT 8 P.M., Segerstrom Center for the Arts SATURDAY, MAY 16 AT 8 P.M., Alex Theatre SUNDAY, MAY 17 AT 7 P.M., Royce Hall MONDAY, MAY 18 AT 8 P.M., The Granada Theatre

JAIME MARTÍN conductor SHEKU KANNEH-MASON DERRICK SPIVA JR. Prisms, Cycles, Leaps Part III: “To Be A Horizon” (LACO commission, world premiere)

SAINT-SAËNS Cello Concerto No. 1 David Fray © JB Mondino BEETHOVEN Symphony No. 3, “Eroica”

Sheku Kanneh-Mason Turney © Jake

7 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.

8 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 concerts at First Presbyterian Church of Santa Monica and The Huntington in San Marino; and two SESSION experiences that explore ’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 L.A. 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 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, all 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 that tradition. The Orchestra has made 32 recordings, including, most recently, a 2019 BIS Records release of works for 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. 9 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-Residence Jason Issokson Derrick Spiva Jr. Artist-Educator Carrie Kennedy Margaret Batjer Joel Pargman Director of Chamber Music Erik Rynearson VIOLIN I Principal Margaret Batjer Victoria Miskolczy Concertmaster Associate Principal Tereza Stanislav Robert Brophy* Assistant Concertmaster Carole Castillo Jacqueline Brand Jennifer Munday CELLO Julie Gigante* Andrew Shulman Maia Jasper White Principal Tamara Hatwan Armen Ksajikian Associate Principal Susan Rishik Trevor Handy Giovanna Clayton

10 BASS HORN THE L.A. ORCHESTRA David Grossman Michael Thornton FELLOWS Principal Principal Ayrton Pisco Kristy McArthur Morrell Violin Juan-Salvador Carrasco Joachim Becerra TRUMPET Cello Thomsen David Washburn Principal Principal COMPOSER TEACHING Sandy Hughes Erick Jovel ARTIST FELLOWS Nicholas Bentz OBOE HARP Gabrielle Owens Claire Brazeau JoAnn Turovsky Principal Principal Gillian Perry Allan Vogel chair, *On leave 2019/20 endowed by the KEYBOARD Henry Family Patricia Mabee Our thanks to Dana + Adrienne Malley Principal Ned Newman for their CLARINET generous gift to the TIMPANI/ endowment in support of Joshua Ranz PERCUSSION the Dana + Ned Newman Principal Wade Culbreath Musician’s Lounge. Chris Stoutenborough Principal BASSOON LIBRARIAN Kenneth Munday Serge Liberovsky Principal Damian Montano PERSONNEL MANAGER Ryan Sweeney

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

12 ADMINISTRATION

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

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DEAR FRIENDS, Music has the power to alter your moods, evoke memories and affect your body. It can give you tingles or make you cry. LACO is all about that kind of musical experience — a truly engaging, thoroughly authentic concert hall experience. We’ve strived to create a season that satisfies your deep curiosity, awakens new passions, and fosters the spirit of adventure that makes music so rewarding. Each concert aims to make meaningful connections that deepen our ties to the community — and to engage in ways that are new, unexpected and surprising. These are the moments that result in the richest and most rewarding musical experiences — the sparks that flicker long after we’ve left the concert hall. But what if you could do more than simply listen to the music? What if you could feel it, experience it, immerse yourself in it? What if you could make a new connection with music and enjoy a bigger sense of emotional involvement in LACO? Let’s find out together! Consider subscribing.

JAIME MARTÍN MUSIC DIRECTOR 16 RAVEL, STRAUSS + CONTRERAS PART OF THE ORCHESTRAL SERIES

The appearance of JAIME MARTÍN conductor (pg. 38) Denis Kozhukhin DENIS KOZHUKHIN piano (pg. 38) is made possible by the Lois Evans SATURDAY, MARCH 28 AT 8 P.M., ALEX THEATRE Guest Artist Fund. SUNDAY, MARCH 29 AT 7 P.M., ROYCE HALL

The lead sponsors JUAN PABLO CONTRERAS of the 2019/20 Lucha Libre! (Sound Investment commission, Sound Investment world premiere) program are RAVEL Anne-Marie Piano Concerto in G major Spataru, Leslie Allegramente Lassiter, and Helen Adagio assai Presto + J Schlichting. Mr. Kozhukhin

INTERMISSION

R. STRAUSS Le Bourgeois gentilhomme, Op. 60: Suite Overture Minuet The Fencing Master Entrance and Dance of the Tailors Lully’s Minuet Courante Entrance of Cléonte Prelude The Dinner

17 PROGRAM NOTES TONIGHT IN Juan Pablo Contreras Lucha Libre! (2020) LACO HISTORY Orchestration: 2 ; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; 2 Tonight is the world percussion; harp; piano; strings premiere of Juan Pablo Contreras’ Estimated duration: 15 minutes Sound Investment Ravel Piano Concerto in G major (1929-1931) Commission, Lucha Libre!. Ravel’s Piano Orchestration: 2 flutes (1st flute = piccolo); Concerto in G major, 2 oboes (1st oboe = English horn); 2 clarinets a LACO staple, has (1st clarinet in E-flat); 2 bassoons; 2 horns; been performed trumpet; trombone; timpani; 3 percussion; harp; six times in the strings; solo piano orchestra’s history. Estimated duration: 25 minutes The first performance was in November R. Strauss Le Bourgeois gentilhomme Op. 60: 1991 with LACO’s Suite (1912) fourth Music Director, Orchestration: 2 flutes (both = piccolos); 2 oboes Christof Perick. Past (2nd oboe = English horn); 2 clarinets; 2 bassoons performances have (2nd bassoon = contrabassoon); 2 horns; trumpet; featured pianists trombone; timpani; 5 percussion; harp; piano; 6 Pascal Rogé and ; 4 ; 4 ; 2 basses David Fung. This is LACO’s fifth Estimated duration: 35 minutes time performing R. Strauss’s In compiling program notes, one is always trying Le Bourgeois to discover what inspired a composer to write a gentilhomme; it was piece of music. There are sometimes clues like last played in 2005 an evocative title, but composers may instead under the direction maintain an air of mystery, allowing listeners to of LACO’s fifth draw their own conclusions. We are fortunate Music Director, this evening to have three pieces with interesting Jeffrey Kahane. origin stories and clear histories. We begin this evening’s concert with a world premiere from Juan Pablo Contreras, a composer who has been heavily influenced by his Mexican heritage. A

18 PROGRAM NOTES train ride gave Maurice Ravel the germ of an idea DID YOU KNOW? for his Piano Concerto in G major. And Richard Strauss’ Le Bourgeois gentilhomme grew out of Poet Hugo von a desire to revive and create a new version of a Hofmannsthal was seventeenth century play. Richard Strauss’s Juan Pablo Contreras is the latest composer longtime collaborator, to participate in LACO’s Sound Investment writing libretti for commissioning program. Sound Investment many of Strauss’s began in 2001 as a way for music lovers to operas, in addition become insiders to the creative process. For their to the adaptation contributions, Sound Investment donors meet of Molière’s the composer and follow the creative process Le Bourgeois as a work is written, revised, and polished. gentilhomme. Von Contreras is a wonderful communicator, freely Hofmannsthal’s first sharing his ideas and inspirations in salons, collaboration with videos, and interviews. Contreras was recently Strauss was nominated for a Latin Grammy Award for his Elektra (1909). album, Mariachitlán. He also wrote a piano quintet for LACO last season called Musas Mexicanas, a musical portrait of three important Mexican women. It was commissioned by LACO for its In Focus chamber music series. The piece Contreras has composed for Sound Investment is called Lucha Libre!, and it will receive its world premiere this evening. As the title suggests, it draws inspiration from the Mexican wrestling the composer saw when he was growing up in Guadalajara. In this work, the composer constructs a “battle” among six soloists. Following the lucha libre tradition, there are three rudos (villains) versus three técnicos (heroes). The orchestra is set up in such a way to have these two groups “face off.” For the rudos, we have the principal cello in the role of the evil “.” The principal trumpet is “Jalisco’s Thunder,” and

19 PROGRAM NOTES the timpanist is “,” or “Death.” On the side of the técnicos, we have the principal violin as “” (“The Saint”) — the ultimate Mexican superhero. The principal flute is “One Thousand Masks”; Contreras sees this as the person we all aspire to be: a multi-talented genius. And finally, there is the piano as “Místico,” the representation of religion and faith. During the performance, the soloists will be wearing the actual luchador masks that inspired their music. The masks will sit atop their heads to remind the audience of their identities. Every wrestling match has an announcer, and for this one, the French horn does the honors. The piece is constructed in one movement, like a single wrestling match. The instruments contend with each other in pairs and in groups. Like a true wrestling match, we’ll know it’s over when the opponent is pinned, and the bass drum counts him or her out. This piece is a marvelous example of the way Contreras weaves both western Classical and Mexican folk threads into his creations. To Contreras, Lucha Libre! represents the “ultimate Mexican fiesta,” but also the fight between good and evil that we see in society, and that we feel within ourselves. In this way, the work becomes a relatable struggle. As Contreras explains, “It’s an opportunity for us to interact with our feelings, see them materialize, and root for them. It’s a cathartic experience that’s fun and entertaining at the same time.” And for Contreras personally, it was a way to celebrate the skill and prowess of these LACO musicians, whom the composer calls “my personal superheroes.” As Juan Pablo Contreras found inspiration in the wrestling matches he saw as a kid, Maurice Ravel was struck with a musical idea while riding a train between Oxford and London. Considering that the piano was his primary instrument, Ravel waited a long time to tackle his first piano concerto. But once inspiration struck, he wrote two over the short period from 1929 to 1931. In writing the Piano Concerto in G major, Ravel looked to the examples of Mozart and Saint-Saëns, two composers who wrote light-hearted piano concertos that allowed the grace and beauty of the instrument to shine through. While he was writing, Ravel made plans to play the premiere of the work, but when the time came, illness prevented him from doing so. Instead, Marguerite Long was tapped to debut the concerto, earning the piece’s dedication.

20 PROGRAM NOTES Ravel kept to the classical model of the concerto, with three movements, the outer two quick, and the centerpiece slow and meditative. He infused this classical structure with more modern harmonies, a meshing of contrasting ideals often termed “neo-classical.” The first movement starts at the crack of a whip, followed by the main theme in the piccolo. As soon as the piano gets a solo moment, it outlines a sinuous, jazzy melody that seems to echo Gershwin’s Rhapsody in Blue (another work inspired by a train ride), which had premiered a few years earlier. The slow middle movement allows the soloist to spin a complex line, which eventually sounds like a waltz once the rest of the orchestra enters. The finale is a perpetual motion machine, with two types of themes: those that sound like piano studies for students, and jazz-inspired ideas, stylistically drawing the work together. Again, we hear the crack of the whip, as the piece ends as it began. After the premiere of the opera Elektra in 1909, Richard Strauss’ musical style began to shift. Elektra had been exceedingly dissonant, and it almost seemed as though Strauss began backing away from the possibility of atonality by creating a musical language that combined elements of lush Romanticism with interesting and surprising twentieth-century harmonies. It was in this vein that he created 1911’s wildly successful Der Rosenkavalier, which was an adaptation of a seventeenth-century comedy by Molière. Strauss and his librettist, Hugo von Hofmannsthal, returned to the works of Molière for their next project, Der Bürger als Edelmann, which was an adaptation of the playwright’s 1670 Le Bourgeois gentilhomme. It was quite an ambitious and expensive project, combining elements of a play, an opera, and instrumental music. The musical finale, Ariadne aux Naxos, was a one- act opera that was to be performed at the end of Hofmannsthal’s adaptation of Molière’s play. Because of its unique structure and varied performing forces, the project had difficulty finding an audience. Opera fans didn’t want to sit through an entire play to get to the opera at the end. Fans of the play didn’t want to sit through an opera at the end. Rather than lose the work they’d done, Strauss and Hofmannsthal reworked the elements of this larger work into smaller pieces. Ariadne aux Naxos, for example, got a new prologue and became its own stand-alone opera. The work we’ll hear this evening is another product of this reworking: an orchestral suite compiled and adapted from the incidental music Strauss composed for the play.

21 PROGRAM NOTES Strauss completed the suite Le Bourgeois gentilhomme in 1917, and it premiered in the spring of the following year. There are nine sections to the work, which include most of Strauss’s incidental music, with the exception of two dances. The narrative of the satire follows Monsieur Jourdain — a member of the middle class — as he tries to become a noble gentleman by learning how to dance, fence, and play music. The suite begins with an overture — the overture for the original Ariadne section of 1912 — that displays the interesting interplay between Strauss’s nod to Baroque styles and his twentieth-century tonal language. The second section is a minuet, to be played for the scene in which Monsieur Jourdain tries to learn the dance. Strauss indulged in some self-borrowing here, using a piece he’d composed for a ballet inspired by Jean-Antoine Watteu’s painting The Embarkation for Cythera. The third section is titled “The Fencing Master” for the protagonist’s energetic fencing teacher. The fourth section is “Entry and Dance of the Tailors,” which nods to two dance styles: the Gavotte and the Polonaise. The violin solo truly shines here, and there are also some playful moments for the strings and some mock-serious sections for the brass. Sections 5 and 7 are based on actual pieces by Jean-Baptiste Lully, the most important influential composer of French Baroque opera. Lully was the composer who wrote the music for Molière’s comédie-ballet, Le Bourgeois gentilhomme (a play with music and dancing) when it was performed in 1670. These sections include a minuet (called “Lully’s Minuet”) and the “Entry of Cléonte,” the latter containing musical ideas from two of Lully’s works. The courante in between these two movements is entirely Strauss’s. The penultimate section is Prelude to Act 2, also known as “Intermezzo,” a section traditionally performed between acts of serious opera in the Baroque period. The finale is “The Dinner,” a section filled with musical puns wherein each course of the meal is accompanied by a musical reference. The mutton of the meat course, for example, is represented by the bleating sheep of Strauss’s own tone poem, Don Quixote. Other musical references include a quote from Richard Wagner’s Rheingold, a march from Meyerbeer, and some birdsong (from Der Rosenkavalier) to accompany the serving of larks. Despite the suite’s complex history, Strauss has crafted a work both charming and fun, with more than a few clever winks to music lovers. Christine Lee Gengaro, PhD

22 ROMANTIC CHOPIN PART OF THE ORCHESTRAL SERIES

The appearance RUTH REINHARDT conductor (pg. 39) of Ruth Reinhardt DAVID FRAY piano (pg. 40) is made possible by the Lois Evans SATURDAY, APRIL 18 AT 8 P.M., ALEX THEATRE Guest Artist Fund. SUNDAY, APRIL 19 AT 7 P.M., ROYCE HALL

LUTOSŁAWSKI Little Suite (Mała suita) Fife Hurra pulka Song Dance

CHOPIN Piano Concerto No. 2 in F minor, Op. 21 Maestoso Larghetto Allegro vivace Mr. Fray

INTERMISSION

BACEWICZ Concerto for String Orchestra Allegro Andante Vivo

HAYDN Symphony No. 84 in E-flat major Largo – Allegro Andante Menuet: Allegretto Finale: Vivace

23 PROGRAM NOTES TONIGHT IN Lutosławski Little Suite (1950) LACO HISTORY Orchestration: flute (= piccolo); oboe; 2 clarinets; bassoon; trumpet; percussion; strings These are LACO’s Estimated duration: 11 minutes first performances Chopin Piano Concerto No. 2 in F minor, Op. 21 of Lutosławski’s (1829-1830) Little Suite and Bacewicz’s Concerto Orchestration: 2 flutes; 2 oboes; 2 clarinets; 2 for Strings. LACO has bassoons; 2 horns; 2 trumpets; trombone performed Chopin’s (= bass trombone); timpani; strings; solo piano Piano Concerto Estimated duration: 30 minutes No. 2 three times. Bacewicz Concerto for String Orchestra (1948) Its first performance was in May 1980 Estimated duration: 15 minutes and featured Polish Haydn Symphony No. 84 in E-flat major (1786) pianist Jakob Gimpel. Orchestration: flute; 2 oboes; 2 bassoons; This is LACO’s 2 horns; strings second performance of Haydn’s Symphony Estimated duration: 25 minutes No. 84. The most Conductor Ruth Reinhardt has curated a recent performance fascinating concert featuring three native-born was conducted by Polish composers, all of whom had connections John Harbision back to Paris. Fryderyk Chopin and Witold Lutosławski in 1991, 29 years ago. were born in Warsaw, and Grażyna Bacewicz was born in Łódź. Chopin and Bacewicz lived in Paris, and Lutosławski had plans to study there, although politics and war got in the way of those plans. Joseph Haydn, the only one of our composers born outside of Poland, had his own connection to Paris, writing a series of symphonies (including No. 84) for the city in the 1780s. We open the concert with the music of Witold Lutosławski (1913-1994). His considerable musical talent was shaped and honed by formal schooling in Poland. Just as he was trying to broaden his experiences by studying composition in Paris, 24 PROGRAM NOTES political strife and turmoil thwarted those plans. DID YOU KNOW? He stayed in Poland instead, composing and performing. After World War II, Lutosławski Grażyna Bacewicz further encountered political troubles when was the first Polish his first symphony was dismissed for being female composer “formalist” and not adhering to the doctrine of to achieve national “socialist realism.” In response, the composer and international nurtured a less controversial style, including a stature. To continue greater reliance on folk songs and dances. It was premiering her in this stylistic idiom that the Little Suite (Mała work during World Suita) developed. In 1950, the composer received War II, she gave a commission from Roman Jasiński, who was the secret underground musical director of Polish Radio in Warsaw. The concerts in Warsaw. Little Suite was premiered by the Orchestra of the Polish Radio in 1950. There are four movements in the Little Suite: Fife (Fujarka), Hurra Pulka, Song (Piosenka), and Dance (Taniec). The musical material is drawn from folk melodies, specifically those from Machów, near the city of Rzeszów, which is about a hundred miles east of Krakow. The first movement features the piccolo playing a folk melody. Echoes of a snare drum give this a military character. The orchestra at first provides harmonic support for the melody, but then launches into its own rhythmic theme. The themes are bandied about in dialogue among the different instruments, with different voices emerging from the ensemble to state the theme. The second movement is bursting with lively energy. The oboes present the main melody first, with lots of colorful support from the strings. The entire orchestra joins in for the ebullient Polka. The third movement brings contrast with a slower tempo and a more wistful melody. It begins quietly but grows to a passionate statement of the melody near the end of the movement. The final section,

25 PROGRAM NOTES Dance, draws on the animated Lasowiak dance of Rzeszów. There is a lush and lyrical central section — presenting yet another folk melody — but the piece ends brilliantly, with the entire orchestra providing a dynamic closing. Fryderyk Chopin was born in Warsaw and left Poland in his late teens and early twenties to begin an international career. He intended to return to Poland at some point, but political and health reasons prevented him from doing so. He spent most of his career in Paris, teaching and composing. He disliked playing public concerts, preferring to perform for his friends at small, intimate gatherings. But at the beginning of his career, he had no choice: He had to play at public concerts, to build an audience. It was for these early concerts that Chopin composed his two piano concertos. He completed the first of these in 1830, but it came to be known as the Piano Concerto No. 2 in F minor. (The reversed numbering reflects the order of publication.) It premiered in 1830 in Warsaw to great acclaim. Unlike other Romantic composers like Liszt or even Beethoven, Chopin had no great desire to reinvent the concerto form. There are three movements in the concerto, two more lively outer movements, with a slower, contrasting central movement. The Piano Concerto No. 2 in F minor shows a somewhat conservative style in the orchestral writing, but where it is truly unique and special is in the music for the soloist. This is partially intentional — to let the solo part shine — but it also reflects Chopin’s level of experience; he had an innate understanding of the piano, its strengths and weaknesses and its potential, but he felt less sure in working with the instruments of the orchestra, many of which he had not likely played. The orchestra in Chopin’s concertos supports and encourages. It does not overpower, but rather shapes the harmonies that highlight Chopin’s delightful melodies. Handling those delightful melodies this evening is soloist David Fray. The opening movement, marked Maestoso, is sufficiently dramatic, with the piano soloist taking on most of the thematic development. In this movement, Chopin eschews the traditional cadenza, possibly because the entire movement has had the soloist as its focal point. The second movement seems to draw upon the bel canto style popular in the Italian operas of the time. (Chopin, who did not compose opera, was nevertheless an enormous fan of the genre.) The piano part may seem improvisational, but it was meticulously planned. The delicacy and intimacy of the movement come

26 PROGRAM NOTES more sharply into focus when we realize that while writing this piece, Chopin claimed to have been thinking of a young woman he’d known (and loved) at the Warsaw Conservatory. The final movement, Allegro vivace, was inspired by the mazurka, a Polish dance. The Polish-influenced music Chopin played outside of Poland seemed to be among the most popular. On his first trip to Vienna in 1829, he impressed the crowd with improvised variations on the Polish folk song “Chmiel” and his sprightly Rondo à la Krakowiak. These adaptations of folk music sounded fresh to the ears of the Viennese public, and Chopin understood that the novelty of this music could both boost his popularity and help him distinguish himself from other up-and-coming talents. Using the mazurka was also a way for Chopin to honor his Polish heritage. The piano again gets the spotlight, with the orchestra providing accents and punctuation. The soloist never rests, and indeed the virtuosity, ornamentation, and adventurous lines continue to the very end of this scintillating rondo. Grażyna Bacewicz (1909-1969) studied violin and composition at the Warsaw Conservatory. After graduation, she used a grant from Ignacy Jan Paderewski to travel to Paris and attend the École Normale de Musique. It was there that she studied composition with legendary teacher Nadia Boulanger. She worked primarily as a violinist before the First World War. Bacewicz was the principal violinist for the Polish Radio Orchestra from 1936 to 1938 (the same ensemble that would premiere Lutosławski’s Little Suite in 1950). After the war, she taught at the State Conservatory of Music in Łódź and shifted her main focus from performance to composition. It was around this time that Bacewicz completed her Concerto for String Orchestra (1948), an award-winning work that many have labeled her “magnum opus.” It was premiered by the Polish Radio Orchestra in 1950. It is written in a style that some would classify as “neoclassical,” because of the way Bacewicz crafted the well balanced phrases and retained the three-movement structure found in Baroque and Classical concertos. The moniker “concerto” indicates the presence of a soloist, yet there is not one singular solo voice. Instead, Bacewicz has molded something more in the model of a Baroque concerto grosso, which featured multiple soloists. The first movement begins with a bold statement of the opening theme.

27 PROGRAM NOTES There is seemingly constant motion throughout, drawing comparisons to the concertos — specifically the Brandenburg Concertos — of J.S. Bach. The central movement is slower, although no less passionate and deeply felt. A solo cello presents the main theme, which is then integrated into the ensemble. The lush strings and the emotional melody suggest elements of Romanticism, as does the reliance on continually developing motives. The final movement returns to the energetic motion of the first, supported by rich harmonies and phrases bursting with kinetic energy. Bacewicz ends this movement — seemingly a nod to the lively rondos of the Classical period — with satisfying final chords. In the 1780s, Joseph Haydn traveled to Paris to present six new symphonies he had composed on a commission from the orchestra of Concert de la Loge Olympique, a subscription concert series. Haydn corresponded with the Chevalier de Saint-Georges, who was the musical director of the orchestra. The Symphony No. 84 is the third of this group and is also known by the nickname “In nomine Domini.” There doesn’t seem to be a specific reason for this name, although Haydn often wrote “In nomine Domini” (in the name of the Lord) at the beginning of his manuscripts. Like Chopin’s confusing numbering of the piano concertos, this is also somewhat out of order, as it was the last of the Paris Symphonies to be composed (1786). In keeping with the conventions of the time, there are four movements. The orchestra is somewhat larger than the group Haydn was used to writing for at Eszterháza, the estate where Haydn worked for the Esterházy family. This was one of the most tantalizing things about the commission: the opportunity to work with a larger group with more diverse instrumentation. One can see Haydn using the bigger forces with relish, both in the use of the horns and in the greater emphasis on the role of the woodwinds. The opening movement begins with a slow introduction — a favorite opening gambit of Haydn’s — before launching into a charming Allegro. The horns reinforce the themes, while the woodwinds provide both color and structure. The second movement, an Andante, draws upon the theme and variations form, but with some interesting alterations to the form, including a cadenza- like passage for the woodwinds. The third movement is the typical minuet and trio, both spirited and joyful. The finale is a breathless Vivace, which provides an excellent example of Haydn’s ability to thrill and charm his Parisian audience.

28 Christine Lee Gengaro, PhD 29 30 SHEKU + BEETHOVEN’S “EROICA” PART OF THE ORCHESTRAL SERIES

This concert is JAIME MARTÍN conductor (PG. 38) made possible, in SHEKU KANNEH-MASON cello (PG. 40) part, by a grant from the City FRIDAY, MAY 15 AT 8 P.M., of Los Angeles Segerstrom Center for the Arts Department of SATURDAY, MAY 16 AT 8 P.M., Alex Theatre Cultural Affairs. SUNDAY, MAY 17 AT 7 P.M., Royce Hall MONDAY, MAY 18 AT 8 P.M., The Granada Theatre The appearance of Sheku Kanneh- DERRICK SPIVA JR. Mason is supported Prisms, Cycles, Leaps Part III: “To Be A Horizon” in part by a grant (LACO commission, world premiere) from the National Endowment for SAINT-SAËNS the Arts and in Cello Concerto No. 1 in A minor, Op. 33 part by Evelyn + Allegro non troppo Steve Block. Allegretto con moto Molto Allegro The commission Mr. Kanneh-Mason of Derrick Spiva Jr.’s Prisms, Cycles, INTERMISSION Leaps Part III: “To Be A Horizon” BEETHOVEN is sponsored Symphony No. 3 in E-flat major, Op. 55, “Eroica” by Evelyn + Allegro con brio Steve Block. Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

31 PROGRAM NOTES TONIGHT IN Derrick Spiva Jr. Prisms, Cycles, Leaps Part III: “To Be A Horizon” (LACO commission, world LACO HISTORY premiere) (2019) Tonight is the world Orchestration: 2 flutes; 2 oboes; 2 clarinets; premiere of Derrick 2 bassoons; 2 horns; 2 trumpets; 2 trombones; Spiva Jr.’s “To Be A timpani; 2 percussion; piano; harp; Horizon,” the final electric bass; strings piece in his Prisms, Cycles, Leaps trilogy Estimated duration: 15 minutes commissioned Saint-Saëns Cello Concerto No. 1 in A minor, by LACO. This is Op. 33 (1872) the second LACO performance of Orchestration: 2 flutes; 2 oboes; 2 clarinets; Saint-Saëns’ Cello 2 bassoons; 2 horns; 2 trumpets; timpani; strings; Concerto No. 1 in solo cello A minor. The first Estimated duration: 20 minutes performance, in April 2015, featured cellist Beethoven Symphony No. 3 in E-flat major, Op. Narek Hakhnazaryan. 55, “Eroica” (1803) LACO has performed Beethoven’s Orchestration: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 3 horns; 2 trumpets; timpani; strings Symphony No. 3 three times before, Estimated duration: 50 minutes the first being in 1997 under the direction The musical works on this evening’s concert have of LACO’s fifth something interesting in common: All were written Music Director, by composers who were in their 30s. The first is Jeffrey Kahane. the world premiere of a work by Derrick Spiva Jr. LACO has already presented the first two parts of Prisms, Cycles, Leaps on previous concerts, but tonight we will hear the third part called “To Be a Horizon.” Saint-Saëns’ Cello Concerto No. 1 will follow, featuring the monumental talent of cellist Sheku Kanneh-Mason. And we’ll round out the evening with Beethoven’s ground-breaking

32 PROGRAM NOTES Symphony No. 3, “Eroica.” All of these pieces DID YOU KNOW? show composers coming into their own as artists, moving with purpose into bold new territory: old Beethoven initially enough to understand their own voices, young titled his symphony enough to break some traditions. “Bonaparte” in Derrick Spiva Jr. is a classical composer who has admiration for also studied music from West Africa, Hindustani Napoleon. When (North Indian) classical music, Balkan folk music, Napoleon declared and Persian classical music. A graduate of UCLA himself emperor and the California Institute of the Arts, Spiva is now in 1804, however, the artistic director of Bridge to Everywhere, a Los Beethoven changed Angeles-based music collective that celebrates the title to “cultural diversity through interwoven musical “Eroica” (“heroic”). traditions.” Spiva has been part of the LACO family for several years now. The orchestra performed the world premiere of the first part of Prisms, Cycles, Leaps in 2015, and the second part, From Here a Path in 2018. LACO is delighted to present the third part of this work tonight: “To Be a Horizon.” As in the previous two parts of the suite, “To Be a Horizon” continues to integrate musical practices from various cultures into a Western classical setting. As described and articulated by ethnomusicologist Dr. Kim Nguyen Tran and Spiva himself, the piece includes rhythmic elements from Ghanaian drumming and Indian classical tala, as well as melodic elements found in West and North Africa, blues and gospel music of the United States, and Bulgarian folk music. The work is a tapestry of varying musical ideas, each thread woven into a cohesive whole that is greater than the sum of its parts. Spiva named the Prisms, Cycles, Leaps suite as a reference to “a search for beauty in life and nature through multiple and varied yet cyclical experiences.”

33 PROGRAM NOTES When Camille Saint-Saëns was thirty-seven years old, he hadn’t yet completed many of the works that audiences now know best. He was perhaps best known for his concertos at that point, and so it was with the confidence of experience that he completed his Cello Concerto No. 1 in 1872. The composer had cellist Auguste Tolbecque in mind as both dedicatee and intended soloist. Tolbecque, who came from a well connected and well known musical family, must have been extremely talented, if the piece written for him is any indication. Its virtuosic cello part requires the highest level of skill but does not rely on flash simply for the sake of flash. There is real substance to these musical ideas, and Saint-Saëns’ exploration of these themes requires both technical prowess and passionate expressiveness. Tolbecque did indeed premiere the work in early 1873, playing with the Société des Concerts du Conservatoire. That this work was chosen to be played by that organization, which was one of the most important concert societies in France, was indicative of Saint-Saëns reaching a level of acceptance with the Parisian public and more importantly, the French musical establishment. Rather than constructing the concerto in three movements, as was the Classical custom, Saint-Saëns instead wrote a single movement with three discernible sections. A single orchestral chord punctuates the opening of the Allegro section, and then the soloist launches into the dramatic main theme. The orchestra echoes, supports, accompanies, and offers countermelodies in a conversational manner. Throughout the entire work, Saint-Saëns maintains a spectacular balance between the soloist and the ensemble. The soloist never entirely leaves the spotlight, however, leading every musical gesture and declaiming every topic of conversation. The second section is a lilting minuet that features a cadenza for the cello. The final section is the most technically demanding, but also features beautiful, long-breathed melodies that require delicate phrasing. This section revisits the opening theme but avoids becoming a simple recapitulation by introducing new musical ideas. This work was widely praised by many, including fellow composers like Sergei Rachmaninoff, and has become a favorite piece for many contemporary soloists. Historians have often looked at the output of composers to find definitive shifts in style that mark early, middle, and late periods. Not everyone fits into this paradigm, of course, but Beethoven’s career makes an excellent case

34 PROGRAM NOTES for the tri-partite evolution. The Symphony No. 3 in E-flat major — known as the “Eroica” — marks the beginning of Beethoven’s middle, or “heroic” period. He left behind the relative simplicity of his early style and began to work on pieces large in scale, complex in structure, and deep in meaning. He started composing the Third Symphony quickly after the completion of the Second Symphony, but the two pieces are quite different in scope. Whereas the Second is what we call “absolute music” (with no extra-musical referents), Beethoven had the idea to dedicate the new symphony to Napoleon Bonaparte. He also included musical gestures that suggested meaning — what we call “programmatic” music. Beethoven chose his subject because he felt Napoleon was a symbol of the ideals of the revolutionaries in France. The symphony was to be a grand gesture for a grand man, but Beethoven was sorely disappointed by Napoleon crowning himself emperor. The decision to rename the symphony wasn’t as quick or clear-cut as Beethoven’s early biographers would have us believe, but we did end up with “Eroica” as the name, rather than “Bonaparte.” Musically speaking, this piece is a tour de force. It is much longer than the symphonies that were written at the time. The first movement alone, with repeats, is as long as a typical contemporary symphony. The programmatic aspects of the piece include a funeral march in the second movement, as well as a reference to a ballet in the last. The first time the piece was played for anyone was in the summer of 1804, when Beethoven presented the piece privately for his patron, Prince Lobkowitz. A few months later, the symphony received its first public performance at the Theater an der Wien. Although initial reactions to the symphony were mixed, there is no denying now that Beethoven’s “Eroica” is a watershed, and many see the history of music shifting at this moment. To add another level of meaning to this piece, we must also remember that it was written at the time Beethoven was coming to terms with his worsening deafness. The mixture of emotions displayed in this symphony might in some way reflect the turmoil Beethoven was feeling during this time. As forward-looking as the “Eroica” is, traditional symphonic elements remain. The work is in four movements, and the structure of each movement remains similar to what contemporary composers were writing at the time. Nevertheless, Beethoven imposed an incredible amount of musical material

35 PROGRAM NOTES on these structures. Beethoven’s Third symphony begins with two signal chords, a musical idea that was common in the very earliest symphonies. From there, Beethoven offers an appropriately heroic theme. The constant dynamic shifts show different moods, sometimes bigger than life, sometimes dark and pensive. There is enough emotion and struggle in the first movement to tell an entire story in and of itself, but it is only the beginning. The second movement is a funeral march, a solemn dirge that every so often gives way to sweeter, even optimistic musical interludes. One such interlude culminates in a triumphant moment near the center of the movement, until the original dirge reasserts itself. This is a rondo form, after all, and we must keep returning to the main theme. There are moments of great drama and struggle in this movement, but eventually, the music slowly dies away. This movement in particular has had a life separate from the symphony, as a ceremonial work for occasions of mourning. (It was played at President Franklin D. Roosevelt’s funeral, for example.) The third movement is a quickly moving scherzo that crackles with energy. The play of rhythm in this section is especially inventive. Three horns playing in counterpoint are featured in the Trio section of the Scherzo. The warm timbre of these instruments perhaps brings to mind hunting calls or military ceremonies. Beethoven indulged in a little self-borrowing for the last movement. A few years earlier, he had composed a ballet called The Creatures of Prometheus. The main theme of the ballet’s final movement forms the musical idea on which the last movement of the “Eroica” is based. The story of the ballet deals, of course, with the myth of Prometheus, who stole fire from the gods so that he could give it to human beings, an act for which Prometheus was punished. The theme begins haltingly but soon gains momentum and grace. It is subsequently treated to ever-more-complex variations including fugal sections. The coda is suitably grand, with a triumphant ending. The reference to the Prometheus myth could be understood as an allegory for the creativity of the artist. Beethoven’s creative impulse was a spark, one that was threatened by his deafness, but his will to continue — despite the challenges — allowed the spark to grow into a flame. The “Eroica” Symphony is a brilliant light that led the way into the Romantic period. Christine Lee Gengaro, PhD

36 37 38 ABOUT THE ARTISTS around theworld. working withmany ofhisformer students inorchestras London, where hewas aflute professor. Henowenjoys Jaime MartínisaFellow oftheRoyal CollegeofMusic, Conductor since2012. for thirtyyears, and where hehasheldthe titleofChief Orquesta associated withwhichhehasbeen deCadaqués, in theirfieldsthere. Hewas alsoafounding ofthe member and created aplatform for someofthemost exciting artists Over thelast five years, hehasbrought financial stability Jaime istheArtistic Director oftheSantander Festival. Orchestra, SwedishRadioSymphony, andmany more. Royal Royal Liverpool Philharmonic, Scottish National Royal Stockholm Frankfurt Philharmonic, RadioSymphony, theLondonincludes Symphony, London Philharmonic, he hasworked withanimpressive list oforchestras that Jaime turnedto fulltimein2013. Sincethen, working withthemost inspiringconductors ofourtime, Having many spent years asahighlyregarded flautist, touring performances. recognition through highlyacclaimedrecordings and has brought theorchestra anewlevel ofinternational Symphony Orchestra since2013, andhistimethere Artisticbeen Director andPrincipal Conductor ofGävle Orchestra. Hehas National Symphony Conductor oftheRTÉ Orchestra andChief Los Chamber Angeles Music Director ofthe Jaime Martínisthe JAIME MARTÍN Dallas Symphony three thisseason,to times a conduct Santa Fe, andSarasota. Reinhardt willreturn to the orchestras of Fort Worth, Omaha,Orlando, Portland, Kristiansand Symphony Orchestra and withthesymphony will make debuts withtheGrosses Orchester Graz and Philharmonic insummer2018, this seasonMs.Reinhardt Having madeherdebutwiththeRoyal Stockholm and concludedhertenure at theendof2017/18 season. Orchestra (DSO) for twoseasonsunderJaapvan Zweden Forum andStereophile. Gramophone Editor’s ChoiceandDiscofthemonthinFono Vassily Sinaiskywas received withrave reviews, including No. 1withtheRadioSymphony Orchestra and Berlin Grieg PianoConcerto andTchaikovsky PianoConcerto His debutrecording for Pentatone, thelabel featuring the and PhiladelphiaOrchestra, amongothers. Symphony, London PhilharmoniaOrchestra, Philharmonic, Orchestra, London Symphony, Staatskapelle Chicago Berlin, international orchestras, suchastheRoyal Concertgebouw Kozhukhin frequently appears withmany oftheleading his generation. of theDallas Symphony the Assistant Conductor conductors. Sheserved as and nuancedyoung of today’s most dynamic establishing herself asone Ruth Reinhardt isquickly RUTH REINHARDT of thegreatest pianists of established himselfasone KozhukhinDenis has Brussels at theageof23, Elisabeth Competition in Prize inthe2010Queen Winner oftheFirst DENIS KOZHUKHIN

39 ABOUT THE ARTISTS 40 ABOUT THE ARTISTS and theYoung Talent Award from theRuhr PianoFestival. Echo KlassikPrizeGerman for Instrumentalist oftheYear Fray holdsmultipleawards, includingtheprestigious appearance withLACO. Symphonyand theChicago Hall.ThisisDavid’s second in CarnegieHall,at theMostly Mozart Festival inNewYork 2009 withtheCleveland Orchestra. Recital debuts followed Bayerische Rundfunk andmore. Fray madehisU.S. debutin with theLondon Royal Philharmonic, Concertgebouw, Orchestral highlights inEurope have included performances musician worldwide. University oftheArts. Reinhardt isagraduate ofTheJuilliard andZurich’s School Michael TilsonThomas. Hall’s National Youth Orchestra (NYO-USA), assisting Academy Orchestra. Inaddition,sheworked withCarnegie served astheassistant conductor oftheLucerne Festival andinsummer2018,of theLos she Philharmonic, Angeles Last season,Reinhardt was selected asaDudamelFellow Impuls Festival inGermany. Orchestra, Symphony, Seattle MalmöSymphony, andat the ReMix Shewillalsoreturn series. to theCleveland conduct Dallas communityandtheDSO’s contemporary alternative subscription weekaswellseveral concerts inthegreater soloist andchamber active career asarecitalist, David Fray maintains an player ofhisgeneration,” the most original,Bach most inspired, certainly the as“perhaps Described DAVID FRAY kindly onloanfrom aprivate collection. plays anAntonius andHieronymus Amati celloc.1610, studentScholarship at theRoyal Academy Sheku ofMusic. at theClassicBRITAwards. Heisafull-time ABRSM received theMaleArtist oftheYear Choice andCritics’ chart.at oneontheClassical number InJune2018, Sheku recording, Inspiration, was released, weeks anditspent of Sussex in2018. Prior to hisglobalappearance, hisdebut of theDuke andDuchess performing at thewedding known worldwideafter music scene,became stars ontheclassical of thebrightest young Sheku Kanneh-Mason, one SHEKU KANNEH-MASON

41 ABOUT THE ARTISTS

DONOR RECOGNITION Los Angeles Chamber Orchestra gratefully acknowledges the generous bequest of our friend, advocate and former board member, Hanna M. Kennedy.

Generosity comes in many forms. This list reflects comprehensive giving of $250 and above for annual fund, special events and special projects between January 1, 2019 and December 31, 2019. We also thank all of our donors whose names are not printed here. For information about giving to LACO, visit laco.org/support. $100,000+ Shaheen + Anil Nanji $10,000–14,999 Ruth Eliel + Bill Cooney Robert + Ann Ronus Jeff + Joan Beal Warner + Carol Henry Lee Chu + Terri + Jerry Kohl $15,000–24,999 Jongmin Lee Leslie Lassiter Friend of LACO Mr. Nicholas + June + Simon Li Hilda Herrera Adler Dr. Janet Ciriello Ned + Dana Newman Lynn K. Altman, David Colburn Gene Shutler in memoriam John + Ginny Cushman Evelyn + Stephen Block Deborah Cussen $50,000–99,999 Peggy + Jack Falcon Jennifer Diener Ray + Ann Lowe Russell + Carol Faucett Ray Duncan + James Mulally Sanford M. + Pat Gage Lauren Crosby Catherine + Anne + Jeffrey Carol Eliel + Eugene Ohr Grausam Tom Muller Anne-Marie + George Kunkel Ann Horton Alex Spataru Thierry + David K. + Marilyn Ziering Katharina Leduc Kay Duke Ingalls Cheryl K. Petersen + Ellen + Harvey Knell $25,000–49,999 Roger H. Lustberg Dr. Diane Henderson Allan + Muriel Kotin Elizabeth + Justus Guy + Maria Ponticiello James Newton Howard Schlichting Howard + Brigitta B. Troy + Gregory J. Soukup + Alden Lawrence Judith Jelinek Mary Jo Carr Maurice Marciano Family Foundation

43 DONOR RECOGNITION $5,000–9,999 $2,500–4,999 $1,000–2,499 Ahsan Aijaz Friend of LACO (2) Friend of LACO (2) Clare Baren + Robert C. Anderson Barbara Aran + David Dwiggins Barbara Byrne Lawrence Hawley Margaret Batjer + Catherine + Bill Carmody Bob Attiyeh + Mike Rosell Joel McNeely John + Phyllis Conkle Janet + Hunt Batjer Rita Bower + Ray Friend Ken + Christine Bender Sharon K. DeMuth + Joan Friedman + J. Robert + Barbara Hugh Watts Robert Braun Bragonier BJ Dockweiler + Titus Brenninkmeijer Jane + Louis Castruccio Frank Stiefel Leticia Rhi Buckley Lee G. + Ann Cooper Dr. + Mrs. Dennis + Patricia Burke Robert A. Cutietta + William M. Duxler Polina Chapiro Mist Thorkelsdottir Joyce + Mal Fienberg Brian + Yun Chung Ann Graham Ehringer Dr. + Mrs. Caleb Finch Laurel Clark H. Allen Evans + Debra A. Gastler + Robert Cowan Anna Rosicka Andrew Malloy Philip + Claudia Dichter William Kennedy Fariba Ghaffari Louise Edgerton Gary Larsen J.H.B. Kean + Jackie + Donald Feinstein Dr. Ellen J. Lehman + Toby E. Mayman Michele Felix Walter Fidler Dr. Charles Kennel Albin C. + Harriet Koch Ronald S. Gabriel Raulee Marcus Susan + John Mamer Bronya + Andrew Galef Pauline Mayer Joan Marcy Drs. Stephen + Ernest Meadows Leslie Mitchner Lyn Greenberg Paul + Arlene Meadows Richard Nave + Sharon Kerson Ann Mulally Lois B. Miller Charles + Alexandra Phyllis Parvin + Mahnaz + David Kivowitz Sheldon Slaten Newman Linda Kleiger Rudy + Peekie Schaefer Edward + Sara Nowak Mr. + Mrs. Dr. Hervey + Doris Segall Ann Petersen + Charles Knobler Eric W. Sigg + Leslie Pam Ted + Lynn Kotzin Michael Mackness Martin + Dorothy Ira Krinsky Howard + Cathy Stone Recchuite Mike + Aliza Lesser Saul Levine Eric + Karen Warren Phil Alden Robinson + Lynne Ludeke + Les + Karen Weinstein Paulette Bartlett Brian MacGregor John + Samantha Robert R. Schatz Renee + Meyer Luskin Williams Robert + Kerry Shuman Claudette Lussier Brenn von Bibra Dwight + Rhoda Makoff 44 DONOR RECOGNITION Steven D. McGinty NancyBell Coe + Harris + Linda Sperling Sharon C. McNalley William Burke Karin Stellar Lynn + Stanley Morris Gary Cohn Carol Z. + Joseph P. Sullivan Gretl + Arnold Mulder Robert + Nathalie Corry Pat L. Walter Ms. Claudette Nevins Donald H. Crockett Ralph Walter Mei-Lee Ney Patrick + Judith Falzone Brad + Helen Warnaar Andrew Norman + William + Trish Herbert Weinberg + Alex Birkhold Flumenbaum Pauline Marks-Weinberg Marilyn K. Oltmans Ms. Gina Furth Max + Diane Weissberg Ms. Lee Ramer Dr. + Mrs. Sandy Gaynor Gloria Werner Kay + Bob Rehme David L. Gersh Mr. + Mrs. Joanne + Lars Reierson Stephanie M. Hayutin Mark Wiedenbeck Dr. Hanna + Emil Reisler James + Marilynn Albert + Marilouise Zager Mr. + Mrs. Hildebrandt Alan I. Rothenberg Mr. Willard Huyck $250–499 Mr. + Mrs. Barry A. Sanders Laurence S. Kaufman Friend of LACO Peter + Kay Skinner Thomas + Margaret Keene Carole + Jesus Arellano Doris Sosin Thomas Kontchou Robert S. + Linda Attiyeh Howard + Raye Stapleton John Kronstadt + Diana Lee Bartera Marc + Eva Stern Helen Bendix Mr. Steve Beimler Mark H. + Patricia S. Stern Brigitte Langeneckert Dr. Malcolm Bersohn Lois Tandy Thomas M. Lucero Devra Breslow Darani Tsao Evelyn + Martin Lutin Philippa Calnan J. Thomas + Tom + Faith Lyons John + Judy Campbell Edith Van Huss Dr. Susan Lovell Charles Dillingham + Vasi + Deborah Vangelos McLaughlin + Susan Clines Mr. + Mrs. Mr. John D. McLaughlin Laurie Dowling + Ian White-Thomson Sylvia L. + Lanny Miller Michael Woo Bonnie Youngdahl Ray + Cristine Morris Annette Ermshar + Sunny Moss Dan Monahan $500–999 Gail Natzler Adrienne Forst Friend of LACO Gary + Katie Palmquist J.M. + Elizabeth Fuster Barbara Abell Fernando Contreras Gordon Gerson Mary Anderson Palomar David Gold + Caryn Espo Roberto + Claudia Apelfeld Sue + Mike Pelman Danny Guggenheim Kat Au Thomas Peterson Jochen Haber + Jacqueline Blew, Ralston + Lisa Robertson Carrie Chassin in memoriam Madelon + Spencer Smith Mr. + Mrs. Peter + Peter Briger Mr. + Mrs. Isaac Soffer Gretchen Haight Martin + Nancy Chalifour Philip Spataru 45 DONOR RECOGNITION Dr. + Mrs. Ronald + Jill Lundgren Peter Sawaya Jerome A. Hamburger Fred Manaster Richard + Stephonie Seibel Stephen Hanna Mary Ann + Joyce + Al Sommer Scott Harrison + Bernie Marshall Laura + Hugh Stegman Angela Detlor Karen McCurdy + Mari Subburathinam Diana M. Hawes Paul Miller Mr. + Mrs. Greg Taylor Jim + Ginny Heringer Larry Moline Meredith + Richard Taylor David Hurwitz + Kara Klein Michael M. Mullins + Richard + Ann Tell Alex Jacobs James A. Newman Roselyn Teukolsky Alan D. Jacobson Erin Natter Jean-Yves Thibaudet Bernardo Jaduszliwer + Robin Nydes George-Ann Tobin Carol Felixson David Orenstein + Irene Tong David Johnson + Dixon Lu William + Jessica Turner Eve Haberfield Masako + Wayne Partridge Jorge A. Uribe Richard Horevitz Mr. Edward Perez Dr. + Mrs. Kenneth Uslan Ann Jopling Esther Prince Julio + Josefina Vergara Isabel + Harvey Kibel Kai-Li + Hal Quigley Don Walters Ralph + Antoinette Courtney Rangen John + Gudrun Wasson Kirshbaum Ms. Kathryn Rogers + Julie A. West Arthur + Rini Kraus Daniel R. Gilbert, Jr. Gernot Wolfgang + Elizabeth R. Lesan + Ellen Rothenberg Judith Farmer Katsuyoshi Nishimoto Rosy Sackstein + Ms. Anna Wu Work Philip + Shirley Levine David Roitstein Ms. Zinn Gayle + Steve Lund Laurie Samitaur Smith

46 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: Sandi Larsen Dr. Dorothy Fleisher James Arkatov by Anne + Jeffrey Grausam by W. M. Keck Foundation by Robert S. + Linda Attiyeh by Frank A. Dalcone Dr. S. Michael Marcy Pat + Sandy Gage by Mr. Leslie M. + by Joan Marcy by Elaine Caplow Judith A. Eber by Evelyn + Martin Lutin by Ruth Eliel + Bill Cooney Nils Oliver by Kurt D. + Johannah Oliver by Janet Guggenheim Jerry + Terri Kohl by Martin + Nancy Chalifour by MJ Hsieh Sharon Steck by Ruth Eliel + Bill Cooney by Anna Iglesias by Brigitte Langeneckert by Leslie Lassiter by Steve Kandell + Elena Estrin GIFTS IN HONOR OF: Andrea Laguni by Arthur + Rini Kraus Ahsan Aijaz by Steven Shuman + by Ira Krinsky by Peter Briger Brad Kane by Leslie Lassiter by Laurie Dowling + by Janice A. Lazarof Margaret Batjer Michael Woo by Gail Natzler by Robert S. + Linda Attiyeh by John Sonego by Devra Breslow Leslie Lassiter by Marc + Eva Stern by Martin + Nancy Chalifour by Bob Attiyeh + Mike Rosell by NancyBell Coe + Sid Bower William Burke Ned + Dana Newman by Rita Bower + Ray Friend by H. Allen Evans + by Leslie Lassiter Anna Rosicka Jacqueline Blew by Bronya + Andrew Galef Coleman Richardson by Dietze and Davis, P.C. by Ralph + Antoinette by Andy Richardson Kirshbaum Sylvia Edelstein by Mollie Kommel Robert + Ann Ronus by Joseph + Adrienne by Louise Edgerton by Sharon Robinson Laredo Marchland + Jaime Laredo Gene Shutler Alice Horevitz by Rudy + Peekie Schaefer by John Kronstadt + by Richard Horevitz Helen Bendix Ruth Eliel and Gloria Katz Huyck Leslie Lassiter LACO Musicians and Staff by Mr. Willard Huyck by Margaret Batjer + by Friend of LACO Joel McNeely

Ruth Eliel by Jane + Louis Castruccio

47 INSTITUTIONAL DONORS LACO programs would not be possible without support from many institutional donors. We are exceedingly grateful to the following: Friend of LACO Inner City Youth Orchestra Kenneth T. + Eileen L. Norris The Ahmanson Foundation of Los Angeles Foundation Amazon Smile Jaffe Raitt Heuer + Weiss The Ralph M. Parsons BCM Foundation Jewish Community Foundation California Community Foundation of Los Angeles Pasadena Showcase House Foundation W.M. Keck Foundation for the Arts Capital Group Companies Los Angeles County PG Cutting Services Charitable Foundation Department of Arts Pircher, Nichols + Meeks LLP Colburn Foundation and Culture Santa Monica Dain, Torpy, Le Ray, Wiest + Los Angeles County Board Westside Legacy Fund for Garner, P.C. of Supervisors, District 5 Women and Girls Dietze and Davis, P.C. American Federation of The Spot Gourmet East West Bank Musicians Local 47 John + Beverly Stauffer Lois Evans Guest Artist City of Los Angeles Foundation Fund Department of The Ronald Newburg Faucett Catalyst Fund Cultural Affairs Foundation First American Andrew W. Mellon Thomas Company Title Insurance Foundation Walter J. + Holly O. Gibson, Dunn + Crutcher LLP E. Nakamichi Foundation Thomson Foundation Gumpertz Charitable National Endowment Western Asset Gift Fund for the Arts Management Company Charitable Foundation LACO LEGACY SOCIETY Friend of LACO Lois Evans, Ernest Lieblich, Lynn Altman, in memoriam in memoriam in memoriam Anne + Jeffrey Grausam Kristy McArthur Morrell Salome Arkatov Susan Greenberg + Dr. Susan Lovell McLaughlin Jacqueline Blew, Michael Norman + Mr. John D. McLaughlin in memoriam Dr. + Mrs. George Gross Sunny Moss Jane Buel Bradley Danielle Harrell Ann Mulally T. Robert Chapman, Liz Harris Mahnaz + David Newman in memoriam Warner + Carol Henry Bruce S. Ross Jennifer Diener Kay + David Ingalls Carol D. Ross Nadia Doubins, David + Elizabeth Kalifon Eileen Salmas in memoriam Stephen A. Kanter, MD, Gene Shutler Ruth Eliel + Bill Cooney in memoriam Gregory J. Soukup + H. Allen Evans + Hanna M. Kennedy, Mary Jo Carr Anna Rosicka in memoriam Les + Karen Weinstein Allan + Muriel Kotin Nahum Zimmer, Leslie Lassiter in memoriam 48 SPECIAL THANKS ACSO FIG Restaurant Ernie Meadows American Youth Symphony Friend of LACO Michael Miller Photography Roberto + Claudia Apelfeld Christine Lee Gengaro, PhD Tracy Million Dennis Bade Glendale Arts Anil + Shaheen Nanji Clare Baren Anne Grausam Winifred White Neisser Margaret Batjer Trevor Handy Ned + Dana Newman Curtis Berak Diane Henderson Eugene + Catherine Ohr Alex Birkhold Warner + Carol Henry Omni Hotel and Suites Brand Pie Foundation The Henry Wine Group Pillsbury Winthrop Cal State Northridge Barbara Herman Shaw Pittman LLP Camerata Pacifica Nico Pittance Chamber Music Alan Campos Hogan Lovells US LLP Renaissance Art Academy Capital Group Ann Horton Robert + Ann Ronus Chamber Music LA The Huntington Library and Salastina Music Ryan + Brigitte Chatterton Botanical Gardens Matthew Turner Shelton Lee Chu Inner City Youth Orchestra Gene Shutler Giovanna Clayton of Los Angeles Joyce Sommer The Colburn School InterContinental Los Anne-Marie Spataru Constitutional Rights Angeles Downtown The Spot Gourmet Foundation Jacaranda Music Steinway + Sons Consulate General of Jamison Services, Inc. Street Symphony in Los Angeles Charmaine Jefferson Studley Juan Pablo Contreras Jerry + Terri Kohl Mist Thorkelsdottir Ruth Eliel + Bill Cooney KUSC 91.5 FM University of Deborah Cussen LA Percussion Rentals Southern California Laurie Dowling Leslie Lassiter Vespaio Jennifer Diener League of American Allan Vogel Disney VoluntEARS Orchestras Lauren Wasynczuk Gibson Dunn June Li Wells Fargo Sue Edwards Raulee Marcus Sophie Wong Peggy Falcon

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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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