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LOS ANGELES PHILHARMONIC ASSOCIATION Fact Sheet Founded by William Andrews Clark, Jr., a 42-year-old amateur musician, lawyer, and art patron, the Los Angeles Philharmonic performed its first concert on Friday, October 24, 1919, in Trinity Auditorium with its first Music Director, Walter Henry Rothwell. The Philharmonic’s premiere audience heard Dvořák's New World Symphony, Liszt's Les Préludes, the Overture to Weber's Oberon, and Chabrier's España. The Philharmonic gave concerts in Philharmonic Auditorium from 1920 through the end of the 1963/64 season. In 1964, the orchestra moved to the Dorothy Chandler Pavilion of the Los Angeles Music Center, which was its winter home until their final performances there in May 2003. The orchestra moved to its new home, the 2,265-seat Walt Disney Concert Hall when it opened in October 2003. The Music Directors of the Philharmonic: Walter Henry Rothwell 1919-1927 Georg Schnéevoigt 1927-1929 Artur Rodzinski 1929-1933 Otto Klemperer 1933-1939* Alfred Wallenstein 1943-1956 Eduard van Beinum 1956-1959* Zubin Mehta 1962-1978 Carlo Maria Giulini 1978-1984* André Previn 1985-1989* Esa-Pekka Salonen 1992-2009 Gustavo Dudamel 2009-Present * During the periods when the orchestra had no Music Director, the orchestra performed under the direction of guest conductors. The orchestra consists of 103 musicians: Violins: 33 Flutes (incl. Piccolo): 4 Horns: 6 Violas: 13 Oboes (incl. English Horn): 4 Trumpets: 4 Cellos: 11 Clarinets (incl. Bass Clarinet): 4 Trombones: 4 Basses: 9 Bassoons (incl. Contrabassoon): 4 Tuba: 1 Harp: 1 Timpani and Percussion: 4 Keyboards: 1 BUDGET: The Los Angeles Philharmonic Association's budget for the 2010/11 fiscal year was approximately $98 million. Ticket sales and other earned income represent approximately 70% of the budget. .

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LOS ANGELES PHILHARMONIC Short History
LOS ANGELES PHILHARMONIC Short History The Los Angeles Philharmonic is defining the concept of a “21 st century orchestra” with innovation and exuberance under the dynamic leadership of Esa-Pekka Salonen, music director since 1992 and a distinguished composer in his own right. Now in its 88th season, the Philharmonic is recognized as one of the world’s outstanding orchestras, and is received enthusiastically by audiences and critics alike. Both at home and abroad, journalists agree that,”…in 2006, [it] tops the list of America’s premier orchestras and serves as a lesson in how to update an august cultural institution without cheapening its work.” (The New York Times) This view is shared by more than one million listeners who experience live performances by the Philharmonic each year. The Philharmonic demonstrates a breadth and depth of programming unrivaled by other orchestras and cultural institutions, performing or presenting nearly 300 concerts throughout the year at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl, a popular summer tradition since 1922. The orchestra’s involvement with Los Angeles also extends far beyond regular symphony concerts in a concert hall, embracing schools, churches, and neighborhood centers of a vastly diverse community. The Los Angeles Philharmonic was founded by William Andrews Clark, Jr., a multi-millionaire and amateur musician, who established the city’s first permanent symphony orchestra in 1919. Walter Henry Rothwell became its first music director, serving until 1927 and, since then, nine renowned conductors have served in that capacity: Georg Schnéevoigt (1927-29); Artur Rodzinski (1929-33); Otto Klemperer (1933-39); Alfred Wallenstein (1943-56); Eduard van Beinum (1956-59); Zubin Mehta (1962-78); Carlo Maria Giulini (1978- 84); André Previn (1985-89); and, since the 1992-93 season, Esa-Pekka Salonen.
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LOS ANGELES PHILHARMONIC ASSOCIATION Fact Sheet
LOS ANGELES PHILHARMONIC ASSOCIATION Fact Sheet Founded by William Andrews Clark, Jr., a 42-year-old amateur musician, lawyer, and art patron, the Los Angeles Philharmonic performed its first concert on Friday, October 24, 1919, in Trinity Auditorium with its first Music Director, Walter Henry Rothwell. The Philharmonic’s premiere audience heard Dvorák's New World Symphony, Liszt's Les Préludes , the Overture to Weber's Oberon , and Chabrier's España . The Philharmonic gave concerts in Philharmonic Auditorium from 1920 through the end of the 1963/64 season. In 1964, the orchestra moved to the Dorothy Chandler Pavilion of the Los Angeles Music Center, which was its winter home until their final performances there in May 2003. The orchestra moved to its new home, the 2,265-seat Walt Disney Concert Hall when it opened in October 2003 for the Inaugural season in 2003/2004. The Music Directors of the Philharmonic: Walter Henry Rothwell 1919-1927 Georg Schnéevoigt 1927-1929 Artur Rodzinski 1929-1933 Otto Klemperer 1933-1939* Alfred Wallenstein 1943-1956 Eduard van Beinum 1956-1959* Zubin Mehta 1962-1978 Carlo Maria Giulini 1978-1984* André Previn 1985-1989* Esa-Pekka Salonen 1992- present * During the periods when the orchestra had no music director, the orchestra performed under the direction of guest conductors. The orchestra consists of 105 musicians: Violins: 34 Flutes (incl. Piccolo): 4 Horns: 6 Violas: 13 Oboes (incl. English Horn): 4 Trumpets: 4 Cellos: 12 Clarinets (incl. Bass Clarinet): 4 Trombones: 4 Basses: 9 Bassoons (incl. Contrabassoon): 4 Tuba: 1 Harp: 1 Timpani and Percussion: 4 Keyboards: 1 BUDGET: The Los Angeles Philharmonic Association's budget for the 2006/07 fiscal year was approximately $82 million.
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The Center & Clark Newsletter
THE CENTER & CLARK NEWSLETTER UCLA CENTER FOR 17TH- & 18TH-CENTURY STUDIES WILLIAM ANDREWS CLARK MEMORIAL LIBRARY Number 57 S PRING 2013 Librarian’s Column Gerald W. Cloud, Clark Librarian The first half of 2012–13 at the Clark has seen exceptional activity in acquisitions, exhibitions, public lectures, and a successful new internship program. The opportunity to contribute, participate, and observe these activities makes my role at the Clark a great pleasure, and it is with no little satisfaction that I can report what follows. In the acquisitions department, the Clark continues to collect printed books and manuscript material that document the culture, history, and literature of Great Britain and the Continent. Among the most interesting of our new acquisitions are John Cary’s Survey of the High Roads from London to Hampton Court, Bagshot, Oakingham, Binfield... (London, 1790), an excellent copy of the only edition of a rare guide to the roads, inns and turnpikes in and around London. The survey contains eighty engraved colored maps for which the author has paid close attention to “marking the Gentlemen’s Seats, explaining the trusts of the different turnpike Gates, adding the number of Inns to each separate route, with other occurring matters which will be found on the face of the work.” Cary and his firm were the leading mapmakers of their day, a status earned no doubt by the precise and elegant engravings that comprise our volume. Arthur Hort’s “Materials for an Essay on Painting” (circa 1750s) is an unpublished commonplace book that serves as a guide to the arts by a working artist and teacher in the mid-eighteenth century.
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T H E P Ro G
Sunday, April 29, 2018 at 3:00 pm m a Symphonic Masters r g o Los Angeles Philharmonic r Gustavo Dudamel, Conductor P John Holiday , Countertenor Julianna Di Giacomo , Soprano e Jennifer Johnson Cano , Mezzo-Soprano h Michael König , Tenor T Davóne Tines , Bass-Baritone Concert Chorale of New York James Bagwell , Choral Director BERNSTEIN Chichester Psalms (1965) Part I: Psalm 108:2—Psalm 100 Part II: Psalm 23—Psalm 2:1-4 Part III: Psalm 131—Psalm 133:1 Intermission BEETHOVEN Symphony No. 9 in D minor (1822–24) Allegro ma non troppo, un poco maestoso Scherzo: Molto vivace Adagio molto e cantabile— Presto—Allegro ma non troppo—Allegro assai (Choral finale) Please make certain all your electronic devices are switched off. This afternoon’s performance is dedicated to the memory of Paul Milstein, philanthropist and builder. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Wednesday, May 2 at 7:30 pm in Alice Tully Hall Gerald Finley, bass-baritone Julius Drake, piano Songs by BEETHOVEN, SCHUBERT, TCHAIKOVSKY, and RACHMANINOFF Selection of favorite folk songs Friday, May 4 at 8:00 pm in David Geffen Hall London Symphony Orchestra Simon Rattle, conductor MAHLER: Symphony No.
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Los Angeles Philharmonic Celebrating
CELEBRATING LOS ANGELES PHILHARMONIC CELEBRATING LOS ANGELES PHILHARMONIC 2 A Olympic Fanfare and Theme 4:00 J Theme from Jurassic Park 5:57 B Excerpts from Close Encounters of the Third Kind 8:28 Three Selections from Indiana Jones K Scherzo for Motorcycle and Orchestra 3:07 C Out to Sea and The Shark Cage Fugue from Jaws 4:24 L Marion’s Theme 4:11 M Three Selections from Harry Potter Raiders March 5:08 D Hedwig’s Theme 4:58 N Sayuri’s Theme from Memoirs of a Geisha 4:17 E Fawkes the Phoenix 3:42 Robert deMaine cello F Harry’s Wondrous World 4:41 Three Selections from Star Wars G Theme from Schindler’s List 3:41 O The Imperial March 3:03 Simone Porter violin P Yoda’s Theme 3:36 Q Throne Room and Finale 7:58 H Adventures on Earth from E.T. the Extra-Terrestrial 10:25 R Adagio from Star Wars: The Force Awakens 4:34 I The Flight to Neverland from Hook 4:49 S Superman March 4:26 3 CELEBRATING JOHN WILLIAMS The bonds between composer John Williams and the ably inevitable. More than any other composer, John Los Angeles Philharmonic reach farther back than any- Williams has been responsible for the growing accep- one might imagine. The veteran film composer first tance of film music in the concert hall. He has reminded conducted the orchestra in July 1978 at the Hollywood us all that the greatest music written for films can also, Bowl, in the aftermath of the Oscar-winning success of in the right context, stand alongside the finest concert his music for Star Wars and Close Encounters of the Third music being written today.
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Senza Sordino, October 2013, Volume 51 Number 3
Official Publication of the International Conference of Symphony and Opera Musicians VOLUME 56 NO. 2 JUNE 2018 The LA Philharmonic In This Issue Cleveland Centennials The LA Philharmonic By Joela Jones, TCO ICSOM Delegate Centennial Centennial ..................... 1 By John Lofton, LA Phil ICSOM Cleveland Centennials .. 1 hat do the Cleveland Orchestra and Chairperson’s Report .... 2 former assistant principal oboist Delegate Changing culture Robert Zupnik have in common? President’s Report ........ 3 W n 1919, a copper scion, arts enthusiast, At 100, they are both alive and very well, indeed! and amateur violinist by the name of Wil- Concrete action Cleveland-born Bob Zupnik was already a on diversity liam Andrews Clark Jr. founded the first Courtesy of the Cleveland Orchestra year old when the Cleve- I Secretary’s Report ......... 3 permanent symphony orchestra in the City of An- land Orchestra presented The true nature of an Courtesy of the Author Courtesy of the gels and named it the Los ICSOM conference its first concert in Gray’s Angeles Philharmonic. His The Win/Win/Win/Win Armory on December 11, statement, “We want to be Alzheimer’s Project ....... 4 1918. Much later as a young the best orchestra in Amer- Phoenix’s new initiative college student, Bob played ica,” perhaps reflective of benefits patients when needed as an extra in and musicians the optimistic 1920s era, the orchestra, and in 1946 The End of an Era ........ 6 was nonetheless a commit- JoAnn Falletta announces after serving in the Second ment he took on personally her Virginia retirement World War, he returned to by becoming the LA Phil’s Newslets .......................
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The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more.
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Kaiser Permanente 2019 Rose Parade Media
Contact: Elita Fielder Office: 626-405-3004 Mobile: 626-243-8678 [email protected] FOR IMMEDIATE RELEASE Contact: Lisa White Office: 213-972-3408 Mobile: 213-216-1174 [email protected] Kaiser Permanente’s 2019 Rose Parade ® Float Celebrates Music Moves Us – Inspiring a Healthier World Musicians from LA Phil, Youth Orchestra Los Angeles (YOLA) and Kaiser Permanente will ride atop the float PASADENA, Calif., Dec. 1, 2018 — Kaiser Permanente’s 2019 Rose Parade® float, “Music Moves Us – Inspiring a Healthier World,” showcases the role music plays in supporting healthier lives and embodies the 2019 Tournament of Roses® parade theme, Melody of Life, which celebrates music as a universal language. This year’s float draws its design inspiration from the Hollywood Bowl and Walt Disney Concert Hall, the iconic Los Angeles landmarks that are home to the Los Angeles Philharmonic (LA Phil). Twenty-seven musicians from the LA Phil, Youth Orchestra Los Angeles (YOLA) and Kaiser Permanente will ride atop the float, playing together under the direction of of LA Phil Assistant Conductor Paolo Bortolameolli. “Music helps energize us as individuals and collectively in groups and supports our vision of total health by recognizing the importance of the mind, body and spirit,” said Julie Miller Phipps, regional president, Kaiser Permanente Southern California Health Plan and Hospitals. “We hope this float inspires everyone to enjoy music as a key pathway to their total health, and we are honored to have this incredible partnership with the LA Phil. Kaiser Permanente and the LA Phil have recently begun a multi-year collaboration utilizing Kaiser Permanente’s community health experience and childhood development expertise to support the LA Phil’s renowned YOLA music education program.
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Los Angeles Philharmonic
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Los Angeles Philharmonic CARLO MARIA GIULINI Music Director and Conductor TUESDAY EVENING, DECEMBER?, 1982, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Symphony No. 4 in C minor ("Tragic"), D. 417 .................... SCHUBERT Adagio molto, allegro vivace Andante Menuetto: allegro vivace Allegro INTERMISSION Symphony No. 9 in D minor ................................... BRUCKNER (Nowak Edition) Feierlich, misterioso (solemn, mysterious) Scherzo: bewegt, lebhaft (agitated, lively) Adagio: langsam, feierlich (slow, solemn) Deutsche Grammophon, CBS Masterworks, and London Records. This concert by the Los Angeles Philharmonic has been underwritten, in part, by Michigan Bell I'M association with the Bell System as part of its "American Orchestras on Tour" program. Twentieth Concert of the 104th Season 104th Annual Choral Union Series PROGRAM NOTES by ORRIN HOWARD Symphony No. 4 in C minor, D. 417 ....................... FRANZ SCHUBERT (1797-1828) It would have been difficult if not impossible for a Viennese composer growing up in the first two decades of the 19th century to have avoided going through a Beethoven period. As a teenager, however, as he went about developing his own singular musical voice in hundreds of compositions, Schubert at one point in time must have thought himself the heir-apparent to the mighty Beethoven. That point was in 1816, when at nineteen and apparently under the Ludwig spell, he wrote his Fourth Symphony, later subtitling it Tragic. The work, if somewhat self-consciously dramatic, is still distinctive and compelling in its own right and stands high in the affections of any Schubertphile. In spite of its Beethoven mannerisms of rhythm and accent and of orchestral dynamism, and even though its key is C minor, one of Beethoven's favorites for fist-clenched urgency, the Symphony is less tragic than merely emotional and thus largely begs the issue of its subtitle.
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Network Notebook
Network Notebook Spring Quarter 2021 (April - June) Spring 2021 Series Program Hours Weeks Code Start Date End Date Beethoven Network with Peter van de Graaff 9 -- BN Continuous -- The Chamber Music Society of Lincoln Center 1 52 CMS Continuous -- Chicago Symphony Orchestra Radio Broadcasts 2 52 CSO Continuous -- Collectors’ Corner with Henry Fogel 2 52 CCF Continuous -- Early Music Now with Sara Schneider 1 52 EMN Continuous -- Exploring Music with Bill McGlaughlin 5 (M-F) 52 EXP Continuous -- Fiesta! with Elbio Barilari 1 52 FST Continuous -- Jazz Network 9 -- JN Continuous -- Los Angeles Philharmonic 2 13 LAP 6/25/2019 6/24/2021 The Midnight Special with Marilyn Rea Beyer 2 52 MS Continuous -- Milwaukee Symphony Orchestra – On Stage 2 13 MSO 9/22/2020 9/21/2021 The New York Philharmonic This Week 2 52 NYP Continuous -- San Francisco Symphony (NEW SEASON!) 2 13 SFS 3/22/2021 3/21/2022 Santa Fe Chamber Music Festival (NEW SEASON!) 1 13 SFE 3/23/2021 3/22/2022 Specials Program Hours Weeks Code Start Date End Date A More Perfect Union: A Musical Tribute to Ruth Bader 2 1 RBGa 3/1/2021 3/31/2022 Ginsburg (2-Hour Music Version) (NEW!) A More Perfect Union: A Musical Tribute to Ruth Bader 1 1 RBGb 3/1/2021 3/31/2022 Ginsburg (1-Hour Talk/NPR Version) (NEW!) PROGRAM: Beethoven Network with Peter van de Graaff Code: BN21 Genre: Music, Classical, Overnight Length: 9 one-hour modules daily Frequency: 9 hours per day / 7 days per week Delivery Type: PRX Optional Breaks: Please consult the BN clock Segment Count: 5 segments per hour Air Window: Continuous Program Director/Host: Peter van de Graaff Contact Information: Estlin Usher: 773-279-2112, [email protected] WFMT Radio Network Website Link: http://radionetwork.wfmt.com/programs/beethoven-network/ Broadcast fees apply for the Beethoven Network.
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<3Ntetfiatipnal ~
<3ntetfiatipnal~ THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Los Angeles Philharmonic CARLO MARIA GIULINI Music Director and Conductor SUNDAY EVENING, NOVEMBER 23, 1980, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Symphony No. 94 in G major ("Surprise") ...... HAYDN Adagio, vivace Andante (theme and four variations) Menuetto: allegro Allegro Quiet City, for Trumpet, English Horn, and String Orchestra . COPLAND THOMAS STEVENS, Trumpet ROBERT COWART, English Horn Overture to La Forza del destino ......... VERDI INTERMISSION Symphony No. 2 in D major, Op. 73 ........ BRAHMS Allegro non troppo Adagio non troppo Allegretto grazioso, quasi andantino Allegro con spirito RCA, Deutsche Grammophon, London, and Columbia Records. This evening's concert by the Los Angeles Philharmonic, its third in Ann Arbor, is presented in cooperation with Michigan Bell, with partial funding by the Bell System under its "American Orchestras on Tour" program. 102nd Season Twenty-seventh Concert 102nd Annual Choral Union Series PROGRAM NOTES by ORRIN HOWARD Symphony No. 94 in G major ("Surprise") .... JOSEPH HAYDN (1732-1809) In observing that some 29 of Haydn's 104 symphonies have a name affixed to them, one is moved to paraphrase Shakespeare by saying that "a Haydn symphony by no name at all would sound as sweet." Whether aptly or gratuitously titled, the named works stand completely on their own very remarkable merit, needing no extra-musical suggestion to enhance, define, justify or distinguish them. Perhaps the least well-considered title is the one, "Surprise," appended by English audiences to the Symphony No. 94 simply because of the single loud chord occurring at the end of the quiet second sentence of the Andante movement; after all, dynamic contrast was a thoroughly established musical element long before Haydn closed a soft string passage with a loud, full orchestra (including timpani) exclamation point.
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Los Angeles Philharmonic Gustavo Dudamel, Conductor
Sunday, November 24, 2019 at 3:00 pm Cathedral of Sound Los Angeles Philharmonic Gustavo Dudamel, Conductor BRUCKNER Symphony No. 4 in E-flat major (“Romantic”) (1878/80) Bewegt, nicht zu schnell Andante, quasi allegretto Scherzo. Bewegt—Trio. Nicht zu schnell, keinesfalls schleppend Finale. Bewegt, doch nicht zu schnell This program is approximately 70 minutes long and will be performed without intermission. This concert is also part of Great Performers. Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall White Light Festival The White Light Festival 2019 is made possible by The Shubert Foundation, The Katzenberger Foundation, Inc., Mitsubishi Corporation (Americas), Mitsui & Co. (U.S.A.), Inc., Laura Pels International Foundation for Theater, Culture Ireland, The Joelson Foundation, Sumitomo Corporation of Americas, The Harkness Foundation for Dance, J.C.C. Fund, Japanese Chamber of Commerce and Industry of New York, Great Performers Circle, Lincoln Center Patrons and Lincoln Center Members Endowment support is provided by The Andrew W. Mellon Foundation and the Blavatnik Family Foundation Fund for Dance Lead Support for Great Performers provided by PGIM, the global investment management business of Prudential Financial, Inc. Additional Support for Great Performers is provided by Rita E. and Gustave M. Hauser, The Shubert Foundation, The Katzenberger Foundation, Inc., Audrey Love Charitable Foundation, Great Performers Circle, Lincoln Center Patrons and Lincoln Center Members Endowment support for Symphonic Masters is provided by the Leon Levy Fund Endowment support is also provided by UBS Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M.
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