Los Angeles Chamber Orchestra

LOS ANGELES CHAMBER ORCHESTRA

TABLE OF CONTENTS

Programs at a Glance...... 4 Los Angeles Chamber Orchestra Biography...... 6 Orchestra Roster...... 8 Board of Directors...... 10 Administration...... 11 Letter from Jaime...... 13 Welcome Jaime!...... 17 McGegan & Denk...... 23 Pulcinella & Prokofiev...... 29 Tetzlaff plays Beethoven...... 36 About the Artists...... 42 Donor Recognition...... 45 Gifts in Tribute...... 49 Institutional Donors and LACO Legacy Society...... 50 Special Thanks...... 51 Endowment Funds and PROGRAM FALL Matching Gifts...... 52

ADVERTISING This program is published in association with Onstage Publications, Onstage Publications 1612 Prosser Avenue, Kettering, OH 45409. This program may not 937-424-0529 | 866-503-1966 be reproduced in whole or in part without written permission from e-mail: [email protected] the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2019. All rights reserved. Printed in the U.S.A. www.onstagepublications.com 3 PROGRAMS AT A GLANCE ORCHESTRAL SERIES WELCOME JAIME! (pg. 17) Saturday, Sept. 28 @ 8 p.m., Alex Theatre Sunday, Sept. 29 @ 7 p.m., Royce Hall

Jaime Martín conductor Anne Sofie von Otter mezzo-soprano

Andrew Norman Begin (LACO commission, world premiere) Berlioz Les nuits d’été Beethoven Symphony No. 7

McGEGAN & DENK (pg. 23) Saturday, Oct. 26 @ 8 p.m., Alex Theatre Sunday, Oct. 27 @ 7 p.m., Royce Hall

Nicholas McGegan conductor Jeremy Denk piano

Rameau Music from the opera Dardanus Mozart Piano Concerto No. 19 Schubert Overture from Der Häusliche Krieg Schubert Symphony No. 6

PULCINELLA & PROKOFIEV (pg. 29) Saturday, Nov. 16 @ 8 p.m., Alex Theatre Sunday, Nov. 17 @ 7 p.m., Royce Hall

Jaime Martín conductor David Grossman double bass

Ravel Le tombeau de Couperin Missy Mazzoli Dark with Excessive Bright for Double Bass and Strings (West Coast premiere) Stravinsky Pulcinella Suite Prokofiev Symphony No. 1, “Classical”

4 TETZLAFF PLAYS BEETHOVEN (pg. 36) Friday, Feb. 7 @ 8 p.m., The Soraya Saturday, Feb. 8 @ 8 p.m., Alex Theatre Sunday, Feb. 9 @ 2 p.m., Royce Hall

Jaime Martín conductor Christian Tetzlaff violin

Albert Schnelzer Burn My Letters: Remembering Clara (LACO co-commission, U.S. premiere) Beethoven Violin Concerto Dvořák Symphony No. 6 ADDITIONAL EVENTS SESSION rountree Friday, Oct. 11 @ 8 p.m., Pico Union Project

Christopher Rountree curator Four Larks creative producers wild Up guest artists SHEKU & ISATA IN RECITAL Tuesday, Dec. 3 @ 8 p.m., Zipper Hall

Sheku Kanneh-Mason cello Isata Kanneh-Mason piano

Beethoven 12 Variations in F major on “Ein Mädchen oder Weibchen” from Mozart’s Die Zauberflöte Lutosławski Grave Barber Cello Sonata Rachmaninoff Cello Sonata

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

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

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

BASSOON LIBRARIAN Kenneth Munday Serge Liberovsky principal Damian Montano

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

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

DEAR FRIENDS, In October 2017, I conducted LACO for the first time. I remember the sound of the opening chord the Orchestra played at the first rehearsal, the faces of the musicians looking around, sharing their virtuosity and sensibility with me. Now, two years later, I start as Music Director of this special and unique group. We would like to continue to share with you the finest music from the past along with the works of the most fascinating composers of today, which will become the classics of tomorrow. I am very excited to welcome Pulitzer Prize- winner Ellen Reid as our Creative Advisor and Composer-in-Residence, Juan Pablo Contreras as 2019/20 Sound Investment Composer and Derrick Spiva Jr. in his role as Artist Educator. Between us all, I hope that we will draw our audience from an ever-wider circle. Some of the most distinguished artists in the world will join us to bring music alive, to make us cry and laugh, to intrigue and surprise, to challenge us... Welcome to my new season with Los Angeles Chamber Orchestra!

Jaime Martín Music Director 14 MUSIC DIRECTOR Montpellier andStaatskapelle Halle. and SydneySymphony orchestras,Orchestre Nationalde include engagements withtheMelbourne, WestAustralian with OrquestradeCadaqués. Otherorchestraldebuts and madeanappearance at thePragueSpringFestival Symphony, undertookan extensive tourofSwitzerland at theConcertgebouwinAmsterdam withtheGävle the 2018-19season,Jaime madehisconductingdebut Munich andtheKölnerPhilharmonieinGermany.In Orchestra, includingperformancesattheGasteigin concert tourofEuropewiththeLondonPhilharmonic Symphony. InJanuary2019,Jaimecompletedanine- Philharmonic, andPinchasZukermanwiththeColorado Madrid andLondon,JoshuaBellwiththeRoyalStockholm Christian TetzlaffwiththeLondonSymphonyOrchestra in Autumn 2018sawhighlysuccessfuldebutperformances: Philharmonique deRadioFrance. Orchestra, DeutscheRadioPhilharmonieandtheOrchestre Academy ofStMartinintheFields,SaintPaulChamber Philharmonic, GulbenkianandPhilharmoniaOrchestras, Zealand Symphony,QueenslandEssen Swedish RadioSymphony,BarcelonaNew Royal LiverpoolPhilharmonic,ScottishNational, the LondonPhilharmonic,FrankfurtRadioSymphony, worked withanimpressivelistoforchestras,including turned toconductingfull-timein2013.Sincethen,hehas conductors ofourtimeasahighlyregardedflautist,Jaime Having spentmanyyearsworkingwiththemostinspiring recordings andtouringperformances. level ofinternationalrecognitionthroughhighlyacclaimed since 2013;histimetherebroughttheorchestraanew and PrincipalConductorofGävleSymphonyOrchestra has beenArtisticDirector Orchestra inIreland.He National Symphony Conductor oftheRTE Orchestra andPrincipal Los AngelesChamber as MusicDirectorof MARTÍN’s firstseason 2019 marksJAIME the world. with manyof hisformerstudentsinorchestras around where hewas afluteprofessor.Henow enjoysworking Jaime isaFellow oftheRoyalCollege MusicinLondon, ballet companies. and baroqueensemblesto educationworkshopsand artists intheirfields,ranging fromsymphonyorchestras and createdaplatformfor someofthemostexciting Over thelastfiveyears,hehasbroughtfinancialstability Jaime istheArtisticDirectorofSantanderFestival. with themhasspannedoverthirtyyears. Conductor withtheorchestrasince2012,hisassociation de Cadaqués,andwhilehehasheldthetitleofChief Sony. HewasalsoafoundingmemberoftheOrquestra Murray PerahiaandAcademyofStMartinintheFields for Noseda, andBach’sworksforflute,violin,piano with him byXavierMontsalvatgeandconductedGianandrea Sinfonietta ConcertoforFluteandOrchestrawritten first MusicDirectorSirNevilleMarriner,thepremiereof a soloist,herecordedMozart’sfluteconcertoswithLACO’s and LondonPhilharmonicOrchestra.Verysoughtafteras English NationalOpera,AcademyofStMartinintheFields Philharmonic Orchestra,ChamberOrchestraofEurope, As aflautist,JaimewasPrincipalFluteoftheRoyal autumn 2014toconductTheMarriageofFigaro. 2013 conductingTheBarberofSevilleledtoareturnin 2012. HisdebutattheEnglishNationalOperainFebruary at ElEscorialMadridandSanSebastianFestivalinAugust Jaime madehisoperaticdebutconductingTheMagicFlute Philharmonic Orchestra. “Collages” forfourhornsandorchestra,withtheLondon In 2015,herecordedJamesHorner’slastsymphonicwork, with theBarcelonaSymphonyOrchestraforTritóRecords. “Eroica,” withOrquestradeCadaquésandvariousdiscs Symphony No.9andBeethoven’s3, released inFebruary2019.HehasalsorecordedSchubert’s the BrahmsPianoQuartetarrangedbySchoenberg, Eric EricsonChamberChoirin2017,andarecordingof Serenades, SongofDestinyandchoralworkswiththe Gävle SymphonyOrchestra.ThisincludedtheBrahms Jaime recordedaseriesforOndineRecordswiththe

15 JAIME MARTÍN 16 WELCOME JAIME! PART OF THE ORCHESTRAL SERIES Andrew Norman Jaime Martín conductor (pg. 14) commission Begin is Anne Sofie von Otter mezzo-soprano (pg. 44) sponsored by Ruth Eliel & Bill Cooney and Leslie Lassiter. Saturday, Sept. 28 @ 8 p.m., Alex Theatre Sunday, Sept. 29 @ 7 p.m., Royce Hall

Andrew Norman Begin (LACO commission, world premiere) Berlioz Les nuits d'été Villanelle Le spectre de la rose Sur les lagunes: Lamento Absence Au cimetière: Clair de lune L'île inconnue Ms. von Otter

INTERMISSION

Beethoven Symphony No. 7 in A major, Op. 92 Poco sostenuto – Vivace Allegretto Presto – Assai meno presto Allegro con brio

17 PROGRAM NOTES TONIGHT IN Andrew Norman Begin (LACO commission, world premiere) (2019) LACO HISTORY Orchestration: 2 flutes; 2 oboes; 2 clarinets; 2 Tonight’s program bassoons; 2 horns; 2 trumpets; percussion; begins with the world harp; piano; strings premiere of a LACO Estimated duration: 12 minutes commission from Berlioz Les nuits d'été (1840-1841) Andrew Norman. It continues with Orchestration: 2 flutes; oboe; 2 clarinets; 2 bassoons; 3 horns; harp; strings; solo voice LACO’s second performance of Estimated duration: 30 minutes Berlioz’s Les nuits Beethoven Symphony No. 7 in A major, Op. 92 d'été. The first (1811-1812) performance, in Orchestration: 2 flutes; 2 oboes; 2 clarinets; 1992, was under the 2 bassoons; 2 horns; 2 trumpets; timpani; strings direction of LACO’s fourth Music Director, Estimated duration: 35 minutes Christof Perick. LACO To welcome our new Music Director, Jaime Martín, will be performing we present a very special opening concert for the Beethoven’s 2019/20 Season. What better way to celebrate Symphony No. 7 than with a piece written just for the occasion? for the fifth time We begin with a world premiere from our very in its history. The own Andrew Norman. Anne Sofie von Otter will first performance then sing Hector Berlioz’s stunning song cycle, was in March 1996, Les nuits d’été, and we’ll close with one of Ludwig conducted by LACO’s van Beethoven’s gems, Symphony No. 7. third Music Director, Award-winning composer Iona Brown. Andrew Norman has become a fixture at Los Angeles Chamber Orchestra in the last few years, serving as both composer-in-residence and creative advisor for many years. He is a prolific and innovative composer whose disparate influences — architecture, video games and films — bring a thoughtful energy to all his work. Norman has also been a part of LACO’s community programs, visiting classrooms and encouraging students to become creators. Tonight, we offer the world 18 PROGRAM NOTES premiere of his latest work, which celebrates the DID YOU KNOW? inauguration of Jaime Martín’s tenure as Music Director of Los Angeles Chamber Orchestra. This Berlioz advocated work — the first part of a concerto for chamber for the adoption of orchestra — is called, fittingly, Begin. Norman shares his thoughts on this new composition: the Octobass as an orchestral instrument. The piece builds itself up from the most basic The Octobass is of musical building blocks: a single pitch and larger than a double a repeating, obsessive rhythm (not unlike the bass and has only repeating, obsessive rhythms that permeate three strings. A Beethoven's Seventh Symphony). It also builds musician was to use itself from the fragmented utterances of both their hands and individual players to the sustained, communal sound of the whole orchestra playing together. feet to control the I am grateful for the six years I served as levers and pedals due LACO's composer in residence, and I look to the instrument’s forward to seeing where LACO goes from this enormous size. point of new beginning with Jaime. Les nuits d'été was Berlioz composed the song cycle Les nuits d’été originally written for in 1841 for voice and piano. He chose six poems soloist and piano by Théophile Gautier (1811-1872), a French writer accompaniment. and critic with an interesting and varied style. Berlioz orchestrated The two men knew each other, and since Berlioz the first song in 1843 was familiar with his friend’s work, he chose half and the rest in 1856. a dozen poems from Gautier’s 1838 collection The full orchestral La comédie de la mort. Berlioz called the cycle version is performed Les nuits d’été, a name that is something of a more often in puzzle. Perhaps it is a reference to Shakespeare’s concerts than A Midsummer Night's Dream, or perhaps it the original. alludes to Joseph Méry’s Les nuits de Londres, a contemporary collection of short stories. Berlioz, who was a brilliant orchestrator (even penning a lengthy treatise — A Treatise on Modern Instrumentation and Orchestration — on the subject), rendered the fourth song of the cycle in an orchestral version a couple of years after the original composition. More than a dozen years later, Berlioz orchestrated the remainder 19 PROGRAM NOTES of the cycle. It is thought that the composer never heard the orchestrated set performed in its entirety. Of the songs he did hear in performance, the first he orchestrated, “Absence,” was sung by Marie Recio, a young singer whom Berlioz would marry after the death of his first wife, Harriet Smithson (the inspiration for his ground-breaking Symphonie Fantastique). Although Berlioz composed more than fifty songs, this is the only set among them. The songs do not tell an overarching story but are linked by the poet and the emotional ideas within. Berlioz said little of them, but there is a distinct feeling of both intimacy and longing. They are quite different from the grand, bombastic works Berlioz is better known for; the instrumentation is noticeably smaller and more intimate. The set opens with “Villanelle,” a vibrant ode to springtime and new beginnings. The simplicity of the strophic structure is given depth by Berlioz’s shifting harmonies. The second song, “Le spectre de la rose,” shows off Berlioz’s gift for melody. The rose of the title has died but finds eternal repose in paradise. Berlioz put aside the strophic framework of “Villanelle,” instead choosing a more complex through-composed form. The following song, “Sur les lagunes” (“On the Lagoons”), takes a turn for the mournful, as the singer laments a lost lover. The accompaniment suggests the waves in the water, as the poet is sad about having to set out to sea without someone at home to love him. Like the previous song, this structure is through- composed and ends with an unresolved chord. “Absence,” the first song Berlioz orchestrated, is next, with a repeated, increasingly desperate refrain, “Reviens” or “Come back.” The power of this song’s raw emotion is evident. “Au cimetière” (“In the Cemetery”) offers another meditation on grief and memory. The finale is “L’île inconnue” (The Unknown Isle”), which returns to the vitality of the opening. Here the poet speaks of a place where one can love forever. In this song, and in fact all the songs of the set, Berlioz’s delicate orchestration brings clarity to the poetry and allows the voice to shine. The new beginning, as suggested by the final song, brings the set full circle. Beethoven undertook his Seventh Symphony in 1811. It premiered two years later as part of a charity concert benefitting soldiers wounded in the Battle of Hanau. At the premiere, Beethoven — who conducted the work despite his worsening deafness — stated that it was a “joyful sacrifice” to

20 PROGRAM NOTES play for soldiers who had “sacrificed so much.” The orchestra at the concert was made up of the luminaries of the day including Johann Hummel, Louis Spohr and Antonio Salieri. There is little tragedy in this symphony; opera composer Richard Wagner famously called it “the apotheosis of dance.” Indeed, this work overflows with rhythm, drive and energy, even in its serious moments. The piece was so well-received, the audience demanded an encore on the spot. There are four movements, the first of which is preceded by a slow introduction. Once the Vivace section of the movement gets underway, the music simply dances. It is one of Beethoven’s liveliest sonata-form first movements and displays charm and wit, in addition to the intensity we have come to expect from Beethoven. The second movement is a transcendent theme and variations. There is a basic rhythm to this section: long-short-short-long-long. Once introduced by the cellos and basses, it permeates the entire movement. It is like the poetic rhythm dactylic hexameter, which was popular among many epic poets who wrote in Greek and Latin. Homer’s Odyssey and Virgil’s Aeneid are both written in this meter. Beethoven’s favorite book was the Odyssey and there is apparently an entry in Beethoven’s diary that reads, “dactylic hexameter.” Perhaps this work is Beethoven’s Odyssey in music. With each variation, Beethoven adds a bit more complexity, working towards a stunning emotional climax. It’s easy to see why this movement has had its own life away from the rest of the symphony. In recent years, it has become a favorite for film scores; its appearance in 2010’s The King’s Speech is especially effective. The third movement of Beethoven’s Seventh Symphony is a vivacious scherzo. The composer excelled at these scherzi, writing music that is triumphant and majestic but also fun and energetic. The trio (the second part of the form, usually in a more lyrical contrasting style) is taken from an Austrian folk song that Beethoven encountered on a summer trip to Teplitz. The final movement is another rollicking dance-like movement. From the first moment, the music never seems to stop, galloping along at a vibrant pace. Both joyful and regal, touched with moments of pure sweetness, it provides a superb and lively ending to our celebratory season opener. Christine Lee Gengaro, PhD

21 22 McGEGAN & DENK PART OF THE ORCHESTRAL SERIES

Nicholas McGegan conductor (pg. 43) Jeremy Denk piano (pg. 42)

Saturday, Oct. 26 @ 8 p.m., Alex Theatre Sunday, Oct. 27 @ 7 p.m., Royce Hall

Rameau Music from the opera Dardanus Ouverture (Lent et majestueux) 1er Tambourin 2e Tambourin Air vif 1er Air (Grave) Air gai en Rondeau, “Les niaïs de Sologne” Chaconne Mozart Piano Concerto No. 19 in F major, K. 459 Allegro Allegretto Allegro assai Mr. Denk

INTERMISSION

Schubert Overture from Der Häusliche Krieg (The Domestic War) Schubert Symphony No. 6 in C major, D. 589 Adagio – Allegro Andante Scherzo: Presto; Trio: Piu lento Allegro moderato

23 PROGRAM NOTES TONIGHT IN Rameau Music from the opera Dardanus (1739) LACO HISTORY Orchestration: 2 flutes; 2 oboes; 2 bassoons; percussion; strings This is the second Estimated duration: 15 minutes time LACO performs Mozart Piano Concerto No. 19 in F major, music from Rameau’s K. 459 (1784) opera Dardanus and Mozart’s Orchestration: flute, 2 oboes, 2 bassoons, 2 horns; Piano Concerto strings; solo piano No. 19. Their first Estimated duration: 30 minutes performances were Schubert Overture from Der Häusliche Krieg in 2014 and 2007, (1822-1823) respectively. While Schubert’s overture Orchestration: 2 flutes; 2 oboes; 2 clarinets; from Der Häusliche 2 bassoons; 2 horns; 2 trumpets; timpani; strings Krieg is new to LACO, Estimated duration: 7 minutes Symphony No. 6 in Schubert Symphony No. 6 in C major, D. 589 C major has been (1817-1818) performed by LACO three times before. Orchestration: 2 flutes; 2 oboes; 2 clarinets; The most recent 2 bassoons; 2 horns; 2 trumpets; timpani; strings performance dates Estimated duration: 25 minutes back to 1993, over 26 years ago, under the This evening’s program combines music for the direction of LACO’s stage with music for the concert hall. We open fourth Music Director, with selections from Jean-Philippe Rameau’s Christof Perick. French Baroque opera, Dardanus, a tragédie en musique from 1739. Then, we present Wolfgang Amadeus Mozart’s Piano Concerto No. 19 from forty-five years later. Jeremy Denk will play the solo part Mozart penned for himself. The final two pieces on the program are by Schubert. The first is the overture for one of Franz Schubert’s attempts at the operatic genre, Der Häusliche Krieg, a one-act singspiel from 1823. Our finale

24 PROGRAM NOTES this evening is Schubert’s ambitious Symphony DID YOU KNOW? No. 6, a concert work that is itself influenced by opera, specifically the music of Gioachino Rossini. Although Schubert French Baroque opera was dominated for many only lived to the years by Jean-Baptiste Lully, an Italian-born age of 31, he composer who became the musical darling composed more of Louis XIV’s court. After Lully’s untimely than 1000 works. death — due to gangrene after he accidentally stabbed himself in the foot with a conducting staff —Rameau became the leading voice of French opera. He gained fame late in his career, composing works like Dardanus when he was in his fifties. Rameau’s operas represented a newly developing style that moved away from Lully’s, and the French were divided on how they felt about his innovations. The so-called lullistes opposed Rameau’s new directions, preferring the traditions Lully had established. Although Rameau’s operas fell out of favor soon after his death, his work has become much more popular recently. Dardanus is a type of opera called tragédie en musique — a narrative based on Classical mythology with a noble and stately mood. It premiered in 1739 but was revamped in the 1740s. Its revival in 1760 cemented its place in Rameau’s oeuvre. Dardanus was the son of Zeus and Electra, and the opera is concerned with the conflict between the title character and King Teucer. The conflict ends when Dardanus kills a monster attacking Teucer’s kingdom. Rameau’s remarkable music reflects the stately mood of the French high Baroque with clarity and charisma and displays the composer’s skill in creating unique examples of established forms.

25 PROGRAM NOTES Mozart composed the Piano Concerto No. 19 in December 1784. That year had been a fertile year for piano concertos: this was the last of six he composed in that twelve-month span. Mozart was at the height of his powers as a composer and pianist and also at his most popular. The work, one of the many concertos he wrote to play himself, is both energetic and charming. Six years after its premiere, Mozart performed it at the coronation of Leopold II in 1790. For this reason, it is sometimes referred to as the “second coronation concerto” (the first being Concerto No. 26). Mozart composed in the traditional three-movement structure of Classical concertos. There are a few unique touches, including an opening movement in cut time, which is the only concerto first movement Mozart wrote with this time signature. The rhythmic drive of the opening theme dominates the entire movement, although there are sweeping melodic phrases that are textbook Mozart. The piano entrance is animated, and the orchestra provides support and colorful harmonies as the soloist works his way through the many melodic ideas (some new and differing from the orchestral themes) Mozart puts forth. The orchestra answers with more new musical ideas. This concerto excels at making the interplay between the soloist and the ensemble feel like a lively conversation. The second movement, an Allegretto, is in a lilting 6/8. The accompaniment of the orchestra is particularly delicate, a gossamer texture. We can hear solo lines rising every now and then, especially from the woodwind section. It is a lovely moment of repose before the finale, marked Allegro assai. Again, we return to the rhythmic drive of the opening, underpinned with a focus on counterpoint. Mozart strove to create works within this “happy medium” between ease and difficulty. As usual, Mozart hit the target just right. Schubert is known best as a composer of song. With over 600 examples of German Lieder in his catalogue, it’s easy to see why. Yet even with his notable and extraordinary gifts for both melody and vocal writing, Schubert is not known for opera. He made many attempts at the genre, never quite reaching the level of popular success one might imagine, given his talent. Tonight, we present an overture from one of his operas, a one-act singspiel (essentially a German opera with spoken dialogue), Der Häusliche Krieg, which is also known as Die Verschworenen. Schubert composed the work in

26 PROGRAM NOTES 1823, setting the libretto by Ignaz Franz Castelli. Schubert himself provided the spoken lines. The story comes from Aristophanes’ play Lysistrata via the French play Lisistrata, ou Les Athéniennes, Comédie en un acte et en prose, mêlée de vaudevilles by François-Benoît Hoffman. The music of Schubert’s overture is lively and fun, reflecting the comedy in the “domestic war” that Castelli’s title suggests. The influence of Gioachino Rossini is evident in the bouncy ending section, with its drive to an exciting close. Echoes of Rossini can also be heard in Schubert’s Symphony No. 6, which was composed in late 1817 and early 1818. In 1817, Schubert had composed two “Overtures in the Italian Style,” exploring the popular genre. He arranged one of them, the Overture in C major (D. 591) for two pianos, eight hands in 1818 and performed this version in March of that year. The overture form seems also to have seeped into the first movement of Symphony No. 6, a traditional four-movement symphony in the late-Classical style. The serious Adagio introduction gives way to a playful melody that could easily be an opera aria. The quick and dramatic coda section also gives one the feeling of an overture. The second movement is a lyrical and graceful Andante. Schubert’s gift for melody is on true display here, as one can easily hear how the phrases would be perfectly suited for a vocal line. The middle section ramps up the excitement with strong accents and a shift into the minor mode. The third movement is a scherzo and features surprising and delightful dynamic changes. Similar to Beethoven’s scherzos, there is great rhythmic drive here and captivating energy. The contrasting trio slows things down for a moment before returning to the scherzo and its dramatic mood. The finale introduces a genial opening theme, which has the feel of party music. A new section brings a new musical idea. In fact, the movement abounds with musical ideas, each one forming its own musical vignette. The musical ideas fall away and then return. It’s a fascinating conceit and shows off Schubert’s seemingly endless supply of pleasing melodies. Schubert heard Symphony No. 6 in a private performance soon after its completion, but it wouldn’t receive its public premiere until December 1828, after Schubert’s untimely death earlier that year. It is indeed a shame that he never heard the public’s appreciation for his enchanting work. Christine Lee Gengaro, PhD

27 28 PULCINELLA & PROKOFIEV PART OF THE ORCHESTRAL SERIES

Jaime Martín conductor (pg. 14) David Grossman bass (pg. 42)

Saturday, Nov. 16 @ 8 p.m., Alex Theatre Sunday, Nov. 17 @ 7 p.m., Royce Hall

Ravel Le tombeau de Couperin Prélude Forlane Menuet Rigaudon Missy Mazzoli Dark with Excessive Bright for Double Bass and Strings (West Coast premiere) Mr. Grossman

INTERMISSION

Stravinsky Pulcinella Suite Sinfonia Serenata Scherzino – Allegretto – Andantino Tarantella Toccata Gavotta con due variazioni Vivo Minuetto Finale Prokofiev Symphony No. 1, “Classical” Allegro con brio Larghetto Gavotte: Non troppo allegro Finale: Molto vivace 29 PROGRAM NOTES TONIGHT IN Ravel Le tombeau de Couperin (1914-1917) LACO HISTORY Orchestration: 2 flutes (2nd flute = piccolo); 2 oboes (2nd oboe = English horn); 2 clarinets; Ravel’s Le tombeau 2 bassoons; 2 horns; trumpet; harp; strings de Couperin has Estimated duration: 17 minutes been played five Missy Mazzoli Dark with Excessive Bright times before by for Double Bass and Strings (West Coast LACO, its most recent premiere) (2018) performance dating back to 2011 under Orchestration: 10 violins; 3 violas; 3 cellos; bass the baton of LACO’s Estimated duration: 15 minutes fifth Music Director Stravinsky Pulcinella Suite (1919-1920) and Conductor Laureate, Jeffrey Orchestration: 2 flutes (2nd flute = piccolo); Kahane. LACO will 2 oboes; 2 bassoons; 2 horns; trumpet; be playing the West trombone; strings Coast premiere of Estimated duration: 25 minutes Missy Mazzoli’s Dark Prokofiev Symphony No. 1, “Classical” (1916-1917) with Excessive Bright, a piece inspired Orchestration: 2 flutes; 2 oboes; 2 clarinets; by the Baroque 2 bassoons; 2 horns; 2 trumpets; timpani; strings and Renaissance Estimated duration: 15 minutes eras. Stravinsky’s Pulcinella Suite, a This evening’s program features four pieces with LACO staple, has strong influences from the past. We open with been performed twentieth-century composer Maurice Ravel’s look six times before. Its back at the 18th century, specifically the work first performance in of François Couperin. We will also hear the West 1979 was conducted Coast premiere of Missy Mazzoli’s Dark with by Brian Priestman. Excessive Bright for Double Bass and Strings. LACO’s eighth Although this is the newest piece on the program, performance of it still owes a debt to earlier music, specifically Prokofiev’s “Classical” music of the Baroque and Renaissance periods. Symphony will end Igor Stravinsky’s 1920 ballet Pulcinella marks the the night. composer’s first foray into a style known as neo-

30 PROGRAM NOTES classicism. Sergei Prokofiev provides the finale DID YOU KNOW? with his Haydnesque “Classical” Symphony. François Couperin (1688-1733) was the most Maurice Ravel served famous member of a musical family who wrote in the French military and performed music during the Baroque period. as an ambulance Couperin le Grand, as François was known, driver during influenced many composers, from Bach to Brahms World War I. Each to Ravel. Between 1914 and 1917, Ravel composed movement of his a six-movement suite for solo piano he called Le tombeau de Le tombeau de Couperin. Couperin’s music and Couperin is dedicated spirit underpin the work. A “tombeau” (meaning to the memory of a “tomb”) is a musical tribute to someone who has friend he lost on died, and Ravel wrote this in the midst of World the battlefield. War I. The musical world was deeply affected by the conflict, as composers and musicians were among those serving in the military. Orchestras lost members, and many composers shifted focus from large-scale works to smaller, sparser pieces. Ravel, who worked as an ambulance driver in the war (he was nearly 40 when the conflict began), was profoundly changed by the experience, and he wrote a piece to commemorate some of the lives affected by the war. Although a tombeau was most often written for one person, Ravel dedicated the individual movements to his contemporaries. The Prélude is dedicated to a colleague, Lieutenant Jacques Charlot, who had arranged Ravel’s four-hand work Ma Mère l’Oye for piano solo. The Forlane honors Lieutenant Gabriel Deluc, a painter. The Rigaudon commemorates the lives of brothers Pierre and Pascal Gaudin, who were apparently killed by the same mortar. Ravel was wounded during his service and made his recovery in the home of Jean Dreyfus, to whom the Menuet is dedicated.

31 PROGRAM NOTES Ravel orchestrated four of the six movements in 1919 (he excluded the Fugue and the Toccata). The piece received its premiere the following year. It is a credit to Ravel’s skills as an orchestrator that he so ably translated this piano music, with its idiomatic keyboard writing, to the larger ensemble. Although the work rings with 20th century harmonies bursting with color and inventiveness, Ravel manages to retain the stunning clarity and rhythmic liveliness so characteristic of Couperin’s music. The upbeat nature of some of the movements led some to wonder why this tombeau wasn’t more somber in character. In response, Ravel simply said, “The dead are sad enough, in their eternal silence.” Award-winning composer Missy Mazzoli has written music for some of the most prominent performers and ensembles working today. Her vibrant career includes collaborations with ensembles like Roomful of Teeth and the Kronos Quartet, and her compositions, including three operas, have been critically acclaimed. Mazzoli also performs regularly with her own band, Victoire. Passionate about education, Mazzoli and fellow composer, Ellen Reid, LACO Creative Advisor and Composer-in-Residence, founded Luna Lab, a program mentoring female composers ages 13 to 19. Tonight, LACO presents the West Coast premiere of Dark with Excessive Bright, a piece composed for double bass and strings. The soloist for this performance is David Grossman, a Juilliard-educated, bi-coastal musician, educator, and principal bass of Los Angeles Chamber Orchestra. Mazzoli’s thoughts about this new piece are as follows: I originally composed Dark with Excessive Bright for contrabass soloist Maxime Bibeau and the Australian Chamber Orchestra, which premiered the work in 2018. I was inspired in no small part by Maxime’s double bass, a massive instrument built in 1580 that was stored in an Italian monastery for hundreds of years and even patched with pages from the Good Friday liturgy. While composing I continuously listened to music from the Baroque and Renaissance eras, imagining this instrument as a historian, an object that collected the music of the passing centuries in the twists of its neck and the fibers of its wood, finally emerging into the light at age 400 and singing it all into the world. While loosely based in Baroque idioms, this piece slips between string techniques from several centuries, all while twisting a pattern of repeated chords beyond recognition. “Dark with excessive bright”, a phrase from Milton’s Paradise Lost, is a 32 PROGRAM NOTES surreal and evocative description of God, written by a blind man. I love the impossibility of this phrase, and felt it was a strangely accurate way to describe the dark but heartrending sound of the double bass itself. Dark with Excessive Bright was commissioned by the Australian Chamber Orchestra and the Aurora Orchestra in London. Neoclassicism in music was characterized, in part, by the emulation of the masters of late Baroque and early Classical. For some composers, however, neoclassicism provided an opportunity to let go of the hyperemotional, overwrought tendencies of late Romanticism and early 20th century experimentation, getting back, as it were, to basics. This must have been attractive to those who had survived the First World War — a way to bring order and look back to what must have seemed a simpler time. If only they could have stayed there forever, suspended in that delightful mixture of old and new. We tend to think of Stravinsky as a radical “modern” composer, but his output covered many styles over several decades. Stravinsky’s exploration of neoclassicism is associated with his middle period (1920-1951). Stravinsky’s ballet Pulcinella was written for the Ballets Russes after the great triumph of The Firebird and the great scandal of The Rite of Spring, but it marked a new direction. Stravinsky would later remark, “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible.” In the case of Pulcinella, Stravinsky formed a musical pastiche from the works of Giovanni Pergolesi (or those mistakenly attributed to Pergolesi at the time). These works — from disparate genres like trio sonatas, suites and operas — were adapted by Stravinsky through various musical means: lengthening, shortening, cutting, adding new music and changing consonances to dissonances. The inspiration for Pulcinella, outside of the music of the past, was commedia dell’arte, Italian improvised theater and its stock characters. Commedia dell’arte was extremely popular in the middle of the 19th century, although its popularity extended both before and after its heyday. Pulcinella, also known as “Punch,” is a servant. This comically sad character is often portrayed as mute, helpless, and disfigured. In the staged ballet, Stravinsky reinvented the music with movement, lively characters, and even singing roles. The Pulcinella Suite is a pared-down version of the ballet

33 PROGRAM NOTES (nearly half the movements are omitted in the Suite) with instrumental passages replacing the singing roles. Stravinsky’s work with music of the past retains much of the charm of the original pieces, but with harmonic and rhythmic twists that are pure twentieth-century inventiveness, and pure Stravinsky. At the tender age of 17, Russian composer Prokofiev played his first compositions in public. His music was immediately condemned as avant- garde and difficult to understand, an opinion that suited the arrogant young composer just fine. He was more than willing to trade on the image of a musical renegade. It is intriguing, then, that one of his most famous works is his Symphony No. 1, a piece that looks back to the older style of Haydn and is known by the nickname “Classical.” Prokofiev wrote his Classical Symphony in 1917, the year of the Russian Revolution. The composer traveled quite extensively that year, partly to escape the turmoil in Russia. It was a fertile time for him creatively, and he wrote and premiered many works on his tour. Between his graduation from the St. Petersburg Conservatory and the premiere of the Classical Symphony, Prokofiev had traveled to London and met many of the musical figures who were shaping contemporary music in Europe. The idea of using modern 20th century harmonies and resources in traditional forms like the symphony was one that occupied many composers in the first decades of the 20th century and beyond. The Classical Symphony meshes the classical tradition of clarity and formality with the renegade spirit of Prokofiev’s early works. Although the Classical Symphony fits the usual definition of neoclassicism, Prokofiev never admitted it. It was an isolated experiment, he explained, adding that he disliked Stravinsky’s preoccupation with neoclassicism, which he famously called “Bach on the wrong notes.” Classicism was attractive to the unsentimental Prokofiev because it eschewed the overwrought emotion of Romanticism. As a result, throughout the traditional four-movement form of the symphony we hear playful Haydnesque qualities in the Classical Symphony, as well as references to the Classical practice of alternating opposites: loud and soft, high and low, light and dark. One can still hear Prokofiev’s 20th century sensibility, especially his harmonic and rhythmic inventiveness.

34 PROGRAM NOTES The first movement is a playful exploration of jaunty themes, with great clarity in both the orchestration and the form. The second movement is a charming Larghetto, while the subsequent Gavotte confidently dances along. The finale, marked Molto vivace, speeds to its ending, never pausing for breath. This experiment — juxtaposing a modern style with the traditional four-movement formality of the Classical-era symphony — allows for moments of parody and humor. Prokofiev claimed that the Classical Symphony is what Haydn might have written had he lived in another century, and any fan of Haydn knows that the older composer would have appreciated the humor and the craftsmanship of Prokofiev’s work. Christine Lee Gengaro, PhD

35 TETZLAFF PLAYS BEETHOVEN PART OF THE ORCHESTRAL SERIES

Albert Schnelzer Jaime Martín conductor (pg. 14) co-commission Burn Christian Tetzlaff violin (pg. 44) my letters is sponsored by Elizabeth & Justus Schlichting and Friday, Feb. 7 @ 8 p.m., The Soraya Leslie Lassiter. Saturday, Feb. 8 @ 8 p.m., Alex Theatre Sunday, Feb. 9 @ 2 p.m., Royce Hall

Albert Schnelzer Burn My Letters: Remembering Clara (LACO co-commission, U.S. premiere) Beethoven Violin Concerto in D major, Op. 61 Allegro ma non troppo Larghetto Rondo: Allegro Mr. Tetzlaff

INTERMISSION

Dvořák Symphony No. 6 in D major, Op. 60 Allegro non tanto Adagio Scherzo (Furiant): Presto Finale: Allegro con spirito

36 PROGRAM NOTES Albert Schnelzer Burn my letters: Remembering TONIGHT IN Clara (LACO co-commission, U.S. premiere) (2019) LACO HISTORY Orchestration: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; Tonight’s program tuba; timpani; percussion; strings begins with the Estimated duration: 15 minutes U.S. premiere of Albert Schnelzer’s Beethoven Violin Concerto in D major, Burn My Letters: Op. 61 (1806) Remembering Clara, Orchestration: flute; 2 oboes; 2 clarinets; commissioned by 2 bassoons; 2 horns; 2 trumpets; timpani; strings; LACO, RTÉ National solo violin Symphony Orchestra, Gävle Symphony Estimated duration: 40 minutes Orchestra and Lahti Dvořák Symphony No. 6 in D major, Op. 60 (1880) Symphony Orchestra. Beethoven’s Violin Orchestration: 2 flutes (2nd flute = piccolo); 2 Concerto has been oboes; 2 clarinets; 2 bassoons; 4 horns; performed by the 2 trumpets; 3 trombones; tuba; timpani; strings Orchestra six times in Estimated duration: 40 minutes its history. The first performance was The pieces on this evening’s concert all have in December 1980, under the direction of connections to important figures in the Romantic LACO’s second Music period. Even the newest work on the program — Director, Gerard Albert Schnelzer’s Burn My Letters: Remembering Schwarz. LACO Clara — was inspired in part by Clara Wieck has performed the Schumann. Beethoven’s Violin Concerto was concerto with such popularized by one of the best-known violinists of eminent violinists the Romantic era, Joseph Joachim, while Dvořák’s as Henryk Szeryng, Symphony No. 6 owes a great debt to Johannes Augustin Hadelich Brahms. There are many interesting links among and Robert McDuffie. these works, showing that the musical life of Later in the evening, nineteenth-century Europe was a small the Orchestra world indeed. presents its first performance of Dvořák’s Symphony No. 6.

37 PROGRAM NOTES DID YOU KNOW? In the creation of his music, Swedish composer Albert Schnelzer draws upon various influences, creating a style intensely unique and personal. Burn My Letters: Schnelzer’s work has reached audiences all Remembering Clara over the world, and both casual listeners and takes its title from critics have been captivated by the composer’s Clara Schumann’s gift for story-telling. Schnelzer drew upon the dying request to her legacy of Clara Schumann for his new work, children regarding . It will her correspondence Burn My Letters: Remembering Clara be receiving its U.S. premiere at this concert. As with Brahms. a co-commission with RTÉ National Symphony Dvořák was Orchestra, Lahti Symphony Orchestra and Gävle passionate about folk Symphony Orchestra, the world premiere took music and folklore. place in Gävle, Sweden in November of 2019, and When he first started the Irish premiere occurred in December 2019. his career as a Clara Wieck Schumann was a famous piano composer, he spent virtuoso in her day. She was also the wife of time crafting his own fellow composer and musician, Robert Schumann. pieces into ones that After the death of her husband, she spent the bore characteristics remaining four decades of her life championing reminiscent of Czech and promoting her husband’s work. A great folk music. mystery remains about the true nature of the relationship between Clara Schumann and composer Johannes Brahms, who had become a family friend of the Schumanns when he was an emerging composer. While the true nature of their relationship remains a subject of speculation, we do know that Clara burned some of their letters, adding to the mystery. Thankfully, much of Clara’s correspondence does remain, not just to Johannes, but to many others, and it paints an interesting portrait of a woman deeply involved in 19th century musical life. Schnelzer describes Burn My Letters:

38 PROGRAM NOTES In this piece I have tried to capture both the energy and the hectic life Clara lived as a touring musician, but also her private life with room for doubt, contemplation and also sorrow and grief. The main melodic subject which is introduced in the Presto section is actually one melody but divided between a wild and free flute (Clara) and a more thoughtful bassoon (Johannes). This conversation between instruments continues throughout the piece and depicts an expanding world with fast-paced travels, but also contrasting sections where the mother, the friend, and the very human being Clara shines through. The Violin Concerto in D major was composed in 1806, during Beethoven’s middle, or Heroic period. At that time, the composer was beginning to develop a more adventurous, forward-looking style, while dealing with a number of personal challenges. This piece in particular was written in difficult times for Beethoven; his deafness was getting worse, his only opera, Fidelio, had been performed just three times before being dropped (the entrance of Napoleon’s troops into Vienna certainly didn’t help matters), and on top of everything else, Beethoven was in love with a woman who would not marry him. Yet, despite this, Beethoven managed to craft an innovative work that, while moody, displays a genteel nature, tinged with darkness. The Violin Concerto was composed for violinist and conductor Franz Clement, a man who helped Beethoven when he was writing Fidelio. Clement was the conductor of the Theater an der Wien, and played the piece at its premiere, but the evening didn’t quite go as planned. Apparently, Beethoven finished the piece so late that Clement had to sight-read part of it. There is no definite word on whether they argued about the situation, but when the piece was finally published, the dedication was not to Clement. Instead, Beethoven dedicated the piece to his friend, Stephan von Breuning. The Concerto did not become popular at first and largely disappeared from the repertoire until 1844 (17 years after Beethoven’s death), when Felix Mendelssohn conducted a concert featuring the Concerto with soloist Joseph Joachim, who was just 12 years old at the time. Joachim became a world-renowned violinist, inspiring concertos by Brahms (with whom he was good friends), Schumann and Dvořák.

39 PROGRAM NOTES A compelling feature of this concerto is the cadenza, or lengthy solo passage. In keeping with tradition, Beethoven did not write one, allowing Clement to improvise one for himself. Since then, various cadenzas for this work have been composed by some of its greatest interpreters, including Joachim and Fritz Kreisler, as well as composers such as Camille Saint-Saëns and Alfred Schnittke. Beethoven re-imagined the Concerto for piano and orchestra (Op. 61a), perhaps trying to make it more popular. In the piano version, Beethoven’s cadenza in the first movement employs the timpanist as well as the piano soloist. The Concerto is in three movements, following the Classical style, but there are small touches that suggest the work of a more forward-looking visionary. The first movement remains mostly graceful but features the tempestuous shifts of dynamics and mode that Beethoven did so well. In fact, barely a minute into the first movement, there is a stormy idea that seems to come out of nowhere. Beethoven plays with these contrasting emotions throughout the movement. The violinist’s entrance is accompanied only lightly by the orchestra, allowing the melodic solo line to rise up out of the texture into something truly beautiful and ethereal. The second movement, Larghetto, begins exceedingly gently. The warmth of the orchestral accompaniment is particularly effective as a support for the heartfelt lines of the soloist. In the finale, which begins quickly after the coda of the previous movement, there is once again a mix of charm and storminess, perhaps giving voice to some of the difficulties Beethoven was having at the time. Despite this, however, the end of the Concerto feels like a celebration, modest and reserved, but triumphant nonetheless. In 1871, Antonín Dvořák quit the Provisional Theatre Orchestra to give himself more time to compose. To make extra money, he gave piano lessons and worked as a church organist at St. Adalbert’s in Prague. In 1874, he was also assisted by a public grant, the Austrian State Prize, for young musicians. Dvořák’s submission (which consisted of over a dozen works) greatly impressed the jurors, including music critic Eduard Hanslick and composer Johannes Brahms. When Dvořák received the prize a third time in 1877, Hanslick reached out to the young composer personally. Because of Hanslick, Dvořák had his music assessed and approved by one of the most important taste-makers in European musical life. In Brahms, Dvořák

40 PROGRAM NOTES had both an artistic mentor and a connection who helped get his music published. Encouraged, Dvořák worked tirelessly, and his efforts paid off. In 1880, conductor Hans Richter asked Dvořák to write a symphony to be premiered by the Vienna Philharmonic. Although Dvořák had written five symphonies at that point, the resulting work, Symphony No. 6, was the first heard by an international audience. Dvořák worked quickly, churning out the piece in less than two months. Richter would first conduct the work in London in 1882, but by then, it had already been premiered in Prague (under the baton of Adolf Čech) in 1881. There are four movements in this lively and energetic work. The opening is joyful and confident. Dvořák knew his way around the orchestra, ably using the rich colors at his disposal to great effect. There are mood changes and dynamic shifts throughout the form, but the overall feeling of the movement is triumphantly satisfying. The second movement is a nocturne-like Adagio, with passionate turns of phrase. There are also moments that bubble over with emotion, and there is a warmth in both the melodic material and in the instrumentation that is quite compelling. The third movement is a scherzo inspired by the Bohemian folk dance, the Furiant. The rhythmic energy and forcefulness of the Furiant is contrasted with a sweeter trio section. This part of the symphony was so well-received that the audience demanded an immediate encore at its premiere. The fourth movement returns to the mood of the vibrant opening, speeding things up considerably. Dvořák’s musical language throughout this work points to the influence of others. Brahms’ Symphony No. 2 (1877) is a definite presence, and one might also notice the essence of Schubert’s symphonies and even perhaps a nod here and there to Beethoven. His subsequent symphonies would grow further away from these models, and Dvořák would continue honing his own style. Symphony No. 6 is a confident step towards a future that was all his own. Christine Lee Gengaro, PhD

41 42 ARTIST BIOGRAPHIES

© Henry Grossman © Shervin Lainez classical and one jazz)entitledTheBassofBoth Worlds. among many others.Hehasreleasedtwo albums(one Roberts Trioandhasperformed withWyntonMarsalis, In thefieldofjazz,Grossman wasamemberoftheMarcus and MannesSchoolofMusic. the doublebassfacultyat theManhattanSchoolofMusic of LincolnCenter,amongothers.Grossmanisamember of Ensembles ConcertsandwiththeChamberMusicSociety regularly performsintheNewYorkPhilharmonic classes acrossthecountryand,aschambermusician, Grossman hasgivennumeroussolorecitalsandmaster Principal BassoftheLosAngelesChamberOrchestra. de MachauttoStockhausen. Nonesuch Records,containsmusicrangingfromGuillaume in Europe.Hisrecordingc.1300-c.2000,releasedby with theBBCSymphonyOrchestraandappearsinrecital Academy ofStMartinintheFields.Abroad,Denkreunites withthe the TorontoSymphonyandtouringU.S. orchestral highlightsincludeplay-directingMozartwith Los AngelesPhilharmonicandClevelandOrchestra.His and hasrecentlyappearedwiththeChicagoSymphony, Juilliard School,DenkreturnsfrequentlytoCarnegieHall University andthe Oberlin College,Indiana pianists. Agraduateof America’s foremost Fisher Prize,isoneof Fellowship andtheAvery of aMacArthur“Genius” JEREMY DENK,winner York Philharmonicand — asbassistintheNew jazz genresonbothcoasts career inbothclassicaland multi-faceted musical GROSSMAN enjoysa composer DAVIDJ. Double bassistand © RJ Muna services tomusicoverseas.” the MostExcellentOrderofBritishEmpire(OBE) “for Conservatory ofMusic.In2010,hewasmadeanOfficer of given anhonoraryDoctorateofMusicattheSanFrancisco at theGeorg-AugustUniversityinGöttingen.Hewas University ofOxfordandiscurrentlyanhonoraryprofessor McGegan attendedtheUniversityofCambridgeand soloist AlecFrank-Gemmill. Clare Hammondandanalbumofearlyhornconcertoswith Mysliveček’s CompleteMusicforKeyboardwithsoloist two albumswiththeSwedishChamberOrchestra:Josef releases spanningfivedecades.McGeganrecentlyreleased McGegan’s prolificdiscographyincludesmorethan100 Handel Festival. Director andconductorattheGöttingenInternational new lightonnearlytwentyHandeloperasastheArtistic Symphony. Athomeinoperahouses,McGeganshone serves asthePrincipalGuestConductorofPasadena of PhilharmoniaBaroqueOrchestraandChorale.Healso marks thefinalyearofhis34-yeartenureasMusicDirector explorations ofmusicallperiods.The2019-20season probing andrevelatory is recognizedforhis The Independent— of hisgeneration”by baroque conductors as “oneofthefinest McGEGAN —longhailed English-born NICHOLAS

43 ARTIST BIOGRAPHIES 44 ARTIST BIOGRAPHIES Kronberg Academy. maker Peter Greiner andteachesregularly atthe Tetzlaff playsaviolinmade bytheGermanviolin quartet ontheirextensive tour. Philharmonie. Tetzlaffalso performedwithhisstring of theSeoulPhilharmonic OrchestraandtheDresdner In the2018/19season,hewasArtistinResidence the “Diapasond’or”inJuly2018. has receivednumerousawardsforhisrecordings,including Philharmonic andallofLondon’sleadingorchestras. He with majororchestrasinternationally,suchastheNew York Orchestra andRoyalStockholmPhilharmonicOrchestra. recent appearanceshaveincludedtheBostonSymphony schedule takesvonOttertoallcornersoftheworldwhere premiere ofSebastianFagerlund’sHöstsonaten.Abusy Marthaler’s productionofLuluandtheleadinworld Recent rolesincludeCountessGeschwitzinChristoph Garden andTheMetropolitanOperaamongothers. appearing intheroleatRoyalOperaHouseCovent superlative Octavian(DerRosenkavalier)ofhergeneration, Classical SoloVocalAlbum.VonOtterwasconsideredthe Douce France,receivedaGrammyAwardin2015forBest decades. HerdoubleCD, spanning morethanthree built acrossacareer unrivalled discography recorded artistswithan is oneoftoday’smost SOFIE VONOTTER Mezzo-soprano ANNE Tetzlaff hasguest-starred Throughout hiscareer, for years. the classicalmusicscene most exciting musicians on sought-after violinistsand has beenoneofthemost CHRISTIAN TETZLAFF DONOR RECOGNITION Los Angeles Chamber Orchestra gratefully acknowledges the generous bequest from our friend, advocate and board member, Hanna M. Kennedy.

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

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

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

46 DONOR RECOGNITION Sharon Kerson J. Thomas & Tom & Faith Lyons Charles & Alexandra Edith Van Huss Dr. Susan Lovell Kivowitz Vasi & Deborah Vangelos McLaughlin & Linda Kleiger Ralph Walter Mr. John D. McLaughlin Ted & Lynn Kotzin Mr. & Mrs. Ian Sylvia L. & Lanny Miller Mike & Aliza Lesser White-Thomson Ray & Cristine Morris Saul Levine Andrew & Blenda Wright Marilyn K. Oltmans Thomas M. Lucero Bonnie Youngdahl Gary & Katie Palmquist Lynne Ludeke & Mr. & Mrs. Michael Parks Brian MacGregor $500—999 Thomas Peterson Claudette Lussier Barbara Abell Dr. Hanna and Emil Dwight & Rhoda Makoff Richard Allen Reisler Mr. John & Mrs. Susan Mary Anderson Ralston & Lisa Robertson Mamer Roberto & Claudia Spencer Smith Pauline Mayer Apelfeld Philip Spataru Sharon C. McNalley Robert S. & Linda Attiyeh Harris & Linda Sperling Lynn & Stanley Morris Kat Au Carol Z. & Joseph P. Gretl & Arnold Mulder Peter Briger Sullivan Gail Natzler Elizabeth J. Brooks William & Jessica Turner Andrew Norman & Gary Cohn Pat L. Walter Alex Birkhold Nathalie Corry Brad & Helen Warnaar Edward & Sara Nowak Kate Crane & Herbert Weinberg Kurt D. & Johannah Oliver the Hon. Milan D. Smith & Pauline Ms. Lee Ramer Patrick & Judith Falzone Marks-Weinberg Martin & Dorothy William & Trish Max & Diane Weissberg Recchuite Flumenbaum Suzanne Weitz & Kay & Bob Rehme Debra Frank Kenneth Shoor Joanne & Lars Reierson Dr. & Mrs. Sandy Gaynor Gloria Werner Mr. & Mrs. Alan I. Gordon Gerson Mr. & Mrs. Mark Rothenberg Tina Gittelson Wiedenbeck Peter & Kay Skinner Stephanie M. Hayutin Albert & Marilouise Zager Marc & Eva Stern Mr. Willard Huyck Mark H. & Patricia S. Laurence S. Kaufman $250—499 Stern Thomas & Margaret Friend of LACO Mike Stoller & Keene Liska Yamada Corky Hale Stoller Mr. & Mrs. Charles Carole & Jesus Arellano Lois Tandy Knobler Diana Lee Bartera Laney & Tom Techentin Brigitte Langeneckert Mr. Steve Beimler Darani Tsao Philip & Shirley Levine Dr. Malcolm Bersohn

47 DONOR RECOGNITION Devra Breslow James & Marilynn Louise Peebles Philippa Calnan Hildebrandt Sue & Mike Pelman John & Judy Campbell David Hurwitz & Mr. Perez Jenny Chartoff Kara Klein Esther Prince Gaby & Gregory Anna Iglesias Kai-Li & Hal Quigley Chazanas Alex Jacobs Courtney Rangen Warren Choi Alan D. Jacobson Ms. Kathryn Rogers & Judith Collas Bernardo Jaduszliwer & Daniel R. Gilbert, Jr. Margaret Cummings Carol Felixson Rosaline Sackstein Hashimoto David Johnson & Robert Carl & Mr. & Mrs. Hugo D. Eve Haberfield Irene Scherzinger de Castro Ann Jopling Richard & Stephonie Laurie Dowling & Isabel & Harvey Kibel Seibel Michael Woo Martha Kirkpatrick & Ruth Slater John & Julie Eidsvoog Nadia Doubins Laura & Hugh Stegman Annette Ermshar Ralph & Antoinette Mari Subburathinam Dr. Randall Espinoza Kirshbaum F. Lloyd Tanner Dr. James & Ruth Fleisher Kenneth Korman Mr. & Mrs. Greg Taylor George B. & Marilyn R. Arthur & Rini Kraus Melinda Taylor Forbes John Kronstadt & Meredith & Richard Adrienne Forst Helen Bendix Taylor J.M. & Elizabeth Fuster Elizabeth R. Lesan & Richard & Ann Tell David L. Gersh Katsuyoshi Nishimoto Roselyn Teukolsky Robert Gerst Gayle & Steve Lund Jean-Yves Thibaudet Mr. & Mrs. Gesell Ronald & Jill Lundgren Irene Tong Caryn S. Espo Fred Manaster Jorge A. Uribe Michelle M. Gonzalez Mary Ann & Dr. & Mrs. Kenneth Uslan Danny Guggenheim Bernie Marshall Allan Vogel & Jochen Haber & Karen McCurdy & Janice Tipton Carrie Chassin Paul Miller Richard & Marcia Volpert Mr. & Mrs. Peter & Larry Moline Don Walters Gretchen Haight Henry Moon John & Gudrun Wasson Dr. & Mrs. Jerome A. Sarah Morris & Mitchel Whitehead Hamburger John Papadopoulos Werner & Mimi Wolfen Stephen Hanna Michael M. Mullins & Gernot Wolfgang & Scott Harrison & James A. Newman Judith Farmer Angela Detlor Erin Natter Ms. Anna Wu Work Jim & Ginny Heringer Robin Nydes Ms. Zinn

48 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 x 4. gifts in memory of: Lawrence Ross Dr. Dorothy Fleisher James Arkatov by Brad Ross by W. M. Keck Foundation by MJ Hsieh by Anna Iglesias Sharon Steck Pat & Sandy Gage by Steve Kandell & by Brigitte Langeneckert Elaine Caplow Elena Estrin by Arthur & Rini Kraus gifts in honor of: Scott Harrison by Leslie Lassiter Ahsan Aijaz by Laura & Hugh Stegman by John Sonego by Peter Briger by Marc & Eva Stern Lacey Huszcza Margaret Batjer by Martin & Nancy Chalifour Sid Bower by Robert S. & Linda Attiyeh by Rita Bower & Ray Friend by Devra Breslow Terri & Jerry Kohl by Martin & Nancy Chalifour by Martin & Nancy Chalifour Sylvia Edelstein by Brian & Yun Chung by Ruth Eliel & Bill Cooney by Joseph & Adrienne by NancyBell Coe & Marchland William Burke Leslie Lassiter by H. Allen Evans & by Jennifer Lassiter Ahmad Gramian Anna Rosicka by Gene Shutler by Sanford M. & Pat Gage Annie Luck by Bronya & Andrew Galef by Kuan Chen Sarah Gyer by Ralph & Antoinette by P. W. Howard Kirshbaum Robert & Ann Ronus by Mollie Kommel by Louise Edgerton Hanna Kennedy by Sharon Robinson Laredo by Jacqueline Blew & Jaime Laredo Andrew Shulman by Ruth Eliel & Bill Cooney by June & Simon Li by Mahnaz & David by Lloyd E. Rigler-Lawrence by Mahnaz & David Newman E. Deutsch Foundation Newman by Mike Stoller & by Rudy & Peekie Schaefer LACO Musicians Corky Hale Stoller and Staff Lee Chu by Friend of LACO Ahmad Gramian and by Capital Group Companies Hanna M. Kennedy Charitable Foundation Beverly Wu by Michelle Weger by Anne-Marie & Ruth Eliel and Alex Spataru Roger Mayer Bill Cooney by Pauline Mayer by Jane M. Spinak & Warren B. Scharf Ned & Dana Newman by Leslie Lassiter 49 INSTITUTIONAL DONORS LACO programs would not be possible without support from many institutional donors. We are exceedingly grateful to the following: The Ahmanson Foundation Gumpertz Charitable Pasadena Showcase House Amazon Smile Gift Fund for the Arts Supervisor Kathryn Inner City Youth Orchestra Pircher, Nichols & Barger of Los Angeles Meeks LLP BCM Foundation Jaffe Raitt Heuer & Weiss Lloyd E. Rigler-Lawrence E. California Community Jewish Community Deutsch Foundation Foundation Foundation of Santa Monica Westside Capital Group Companies Los Angeles Legacy Fund for Women Charitable Foundation W.M. Keck Foundation and Girls Clarence E. Heller Charitable Los Angeles County The Spot Gourmet Foundation Arts Commission John & Beverly Stauffer Colburn Foundation City of Los Angeles Foundation Dain, Torpy, Le Ray, Wiest & Department of The Ronald Newburg Garner, P.C. Cultural Affairs Foundation East West Bank Andrew W. Mellon Supervisor Mark Lois Evans Guest Foundation Ridley-Thomas Artist Fund E. Nakamichi Foundation Thomas Company Faucett Catalyst Fund National Endowment Walter J. & Holly O. First American Title for the Arts Thomson Foundation Insurance Kenneth T. & Eileen L. Western Asset Management Genesis Motor America Norris Foundation Company Charitable Gibson, Dunn & The Ralph M. Parsons Foundation Crutcher LLP Foundation LACO LEGACY SOCIETY Friend of LACO Susan Greenberg & Ernest Lieblich, Salome Arkatov Michael Norman in memoriam Jacqueline Blew Dr. & Mrs. George Gross Dr. Susan Lovell McLaughlin Jane Buel Bradley Danielle Harrell & Mr. John D. McLaughlin T. Robert Chapman, Liz Harris Sunny Moss in memoriam Warner & Carol Henry Ann Mulally Jennifer Diener Kay & David Ingalls Mahnaz & David Newman Ruth Eliel & Bill Cooney David & Elizabeth Kalifon Bruce S. Ross H. Allen Evans & Stephen A. Kanter, MD, Carol D. Ross Anna Rosicka in memoriam Eileen Salmas Lois Evans, Hanna M. Kennedy, Gene Shutler in memoriam in memoriam Gregory J. Soukup & Anne & Jeffrey Grausam Allan & Muriel Kotin Mary Jo Carr Leslie Lassiter Les & Karen Weinstein Nahum Zimmer, 50 in memoriam SPECIAL THANKS Friend of LACO Freeway Communications, Max Naseck Association of California LLC Winifred White Neisser Symphony Orchestras Jenna Friedman Ned & Dana Newman American Youth Symphony Sanford M. & Pat Gage Cody Noreiga Roberto & Claudia Apelfeld The Honorable Carlos Eugene & Catherine Ohr Ikem Asimonye Garcia de Alba & Omni Hotel and Suites Clare Baren Ms. Fiona Roche Panda Restaurant Group Margaret Batjer Christine Lee Gengaro, PhD PATH North Hollywood Curtis Berak Glendale Arts Pillsbury Winthrop Beyond the Bell Anne Grausam Shaw Pittman Alex Birkhold Diane Henderson Bridget Prince Jacquie Blew Warner & Carol Henry Ravi Rajan Brandpie Foundation The Henry Wine Group Residency Art Academy Cal State Northridge Barbara Herman Robert & Ann Ronus Alan Campos Herzog Winery Matthew Turner Shelton Capital Group The Huntington Library and Gene Shutler Lee Chu Botanical Gardens Joyce Sommer Giovanna Clayton Inner City Youth Orchestra Anne-Marie Spataru The Colburn School of Los Angeles The Spot Gourmet Constitutional Rights InterContinental Los Steinway & Sons Foundation Angeles Downtown Street Symphony Consulate General of Jamison Services, Inc. Studley Mexico in Los Angeles Charmaine Jefferson Polly Sweeney Juan Pablo Contreras Jerry & Terri Kohl Mist Thorkelsdottir Bill Cooney & Ruth Eliel Anna Koucherov Mauara Tuffy David Coscia KUSC 91.5 FM University of Southern Deborah Cussen Leslie Lassiter California Jennifer Diener League of American Vespaio Disney VoluntEARS Orchestras Allan Vogel Robert Dolan Thierry & Katharina Leduc Wells Fargo Gibson Dunn June Li Whispering Pine Tea House Sue Edwards Raulee Marcus & Garden Gail Eichenthal Natasha Marin Lauren Wing Peggy Falcon Midnight Mission Simon Woods FIG Restaurant Michael Miller Photography Stacie Yee Anil & Shaheen Nanji

51 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