Halloween Organ, Film & Music: The Hunchback of Notre Dame
ELLEN REID
JOHN ADAMS
YUNCHAN LIM
NICOLE SCHERZINGER
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On behalf of the entire LA Phil, I am delighted to have you join us for a monumental 2025/26 Walt Disney Concert Hall season. This season marks a bittersweet moment for our family with the culmination of a 17-year journey between the Los Angeles Philharmonic and Music & Artistic Director Gustavo Dudamel. Over that time, we’ve grown together, transcended both cultural and physical boundaries, and achieved new artistic heights, all while demonstrating music’s ability to profoundly move us. From the Hollywood Bowl to the Super Bowl and Carnegie Hall to Coachella, the LA Phil’s extraordinary partnership with Gustavo has inspired millions through its artistry, dedication, humanity, and the palpable joy it brings to each performance. His legacy with the LA Phil is unique in the orchestra world.
As we approach the final chapter of Gustavo’s tenure, we are not saying goodbye but rather thank you. Gustavo, your commitment to your art and community, your vision of how music can bridge differences and instill hope, and your tireless optimism in pursuing these goals will continue to inspire us. We watch this special year unfold with the knowledge that the LA Phil will always be an important part of your life. We look forward to your future annual visits.… Gracias, Gustavo!
Warmly,
Kim Noltemy
President & Chief Executive Officer
David C. Bohnett Presidential Chair Los Angeles Philharmonic Association
BOARD OF DIRECTORS
CHAIR
Jason Subotky*
PRESIDENT & CEO
David C. Bohnett Presidential Chair
Kim Noltemy
VICE CHAIRS
Thomas L. Beckmen*
Reveta Bowers*
Jane B. Eisner*
David Meline*
Diane Paul*
Jay Rasulo*
DIRECTORS
Nancy L. Abell
Gregory A. Adams
Julie Andrews
Camilo Esteban
Becdach
Linda Brittan
Jennifer Broder
Kawanna Brown
Andrea Chao-Kharma*
R. Martin Chavez
Christian D. Chivaroli
Jonathan L. Congdon
Donald P. de Brier*
Louise D. Edgerton
Dotty Ewing
Lisa Field
David A. Ford
Alfred Fraijo Jr.
Hilary Garland
Jennifer Miller Goff*
Tamara Golihew
David Greenbaum
Carol Colburn Grigor
Marian L. Hall
Antonia Hernández*
Jonathan Kagan*
Darioush Khaledi
† In Memoriam
Winnie Kho
Joey Lee
Daniel R. Lewis
Francois Mobasser
Margaret Morgan
Leith O’Leary
Andy S. Park
Sandy Pressman
Geoff Rich*
Laura Rosenwald
Richard Schirtzer
John Sinnema
G. Gabrielle Starr
Jay Stein*
Christian Stracke*
Ronald D. Sugar*
Vikki Sung Jack Suzar
Sue Tsao
Jon Vein
Megan Watanabe
Regina Weingarten
Jenny Williams
Alyce de Roulet
Williamson
Irwin Winkler
Debra Wong Yang
HONORARY LIFE DIRECTORS
David C. Bohnett
Frank Gehry
Lenore S. Greenberg
Bowen H. “Buzz” McCoy
PAST CHAIRS**
Thomas L. Beckmen
Jay Rasulo
Diane B. Paul
David C. Bohnett
Jerrold L. Eberhardt
John F. Hotchkis†
Executive Committee Member as of September 26, 2025
From the opening of Walt Disney Concert Hall on October 24, 2003, to present
GUSTAVO DUDAMEL
Music & Artistic Director, Walt and Lilly Disney Chair
Gustavo Dudamel is committed to creating a better world through music. Guided by an unwavering belief in the power of art to inspire and transform lives, he has worked tirelessly to expand education and access for underserved communities around the world and to broaden the impact of classical music on new and ever-larger audiences. His rise, from humble beginnings as a child in Venezuela to an unparalleled career of artistic and social achievements, offers living proof that culture can bring meaning to the life of an individual and greater harmony to the world at large. He currently serves as the Music & Artistic Director of the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, and in 2026, he becomes the Music and Artistic Director of the New York Philharmonic, continuing a legacy that includes Gustav Mahler, Arturo Toscanini, and Leonard Bernstein. Throughout 2025, Dudamel will celebrate the 50th anniversary of El Sistema, honoring the global impact of José Antonio Abreu’s visionary education program across five generations and acknowledging the vital importance of arts education. Dudamel’s advocacy for the power of music to unite, heal, and inspire is global in scope. In appearances from the United Nations to the White House to the Nobel Peace Prize Concert, Dudamel has served as a passionate advocate for music education and social integration through art, sharing his own transformative experience in Venezuela’s El Sistema program as an example of how music can give a sense of purpose and meaning to young people and help them rise above challenging circumstances. In 2007, Dudamel, the LA Phil, and its community
partners founded YOLA (Youth Orchestra Los Angeles), which now provides more than 1,700 young people with free instruments, intensive music instruction, academic support, and leadership training. In 2012, Dudamel launched the Dudamel Foundation, which he co-chairs with his wife, actress and director María Valverde, with the goal of expanding access to music and the arts for young people by providing tools and opportunities to shape their creative futures.
As a conductor, Dudamel is one of the few classical musicians to become a bona fide pop-culture phenomenon and has worked tirelessly to ensure that music reaches an ever-greater audience. He was the first classical artist to participate in the Super Bowl halftime show and the youngest conductor ever to lead the Vienna Philharmonic’s New Year’s Concert. He has performed at global mainstream events from the Academy Awards to Coachella, and has worked with musical icons like Billie Eilish, Christina Aguilera, LL Cool J, Ca7riel & Paco Amoroso, Laufey, Coldplay, and Nas. Dudamel conducted the score to Steven Spielberg’s new adaptation of West Side Story, and at John Williams’ personal request, he guest conducted the opening and closing credits of Star Wars: The Force Awakens. His film and television appearances include Sesame Street, The Simpsons, Mozart in the Jungle, Trolls World Tour, and The Nutcracker and the Four Realms, and in 2019 Dudamel was honored with a star on the Hollywood Walk of Fame.
For more information about Gustavo Dudamel, visit his official website at gustavodudamel.com and the Dudamel Foundation at dudamelfoundation.org.
KEEPING IN TIME
On September 13, 2005, a 24-year-old Venezuelan conductor made his Los Angeles Philharmonic and US debuts at the Hollywood Bowl. The electricity of this union was immediately apparent. The headline on the Los Angeles Times review proclaimed, “He holds Bowl in palm of his hands.”
Four years later, that conductor, Gustavo Dudamel, became the Music Director of the Los Angeles Philharmonic, embarking on a 17-year partnership that saw continent-spanning festivals, ambitious opera productions, the founding and nurturing of YOLA (Youth Orchestra Los Angeles), and much more that enriched this city and the symphonic world.
SEPTEMBER 13, 2005
Gustavo Dudamel makes his US debut conducting the Los Angeles Philharmonic at the Hollywood Bowl.
FALL 2007
Inspired by El Sistema, the music program through which Dudamel received his early training, the Youth Orchestra LA initiative, a collaboration between the LA Phil, the Harmony Project, and EXPO Center, a City of Los Angeles Department of Recreation and Parks facility, is launched. It would eventually become known as YOLA.
APRIL 2010
Dudamel’s inaugural season sees the launch of the Americas & Americans Festival, part of his vision of uniting musical traditions across hemispheres.
JANUARY 4, 2007
Dudamel makes his Walt Disney Concert Hall debut. The Los Angeles Times headline states, “...this guy is the real deal.”
The performance of Bartók’s Concerto for Orchestra is released on iTunes the following month and by Deutsche Grammophon in July.
APRIL 9, 2007
Dudamel is announced as the next Music Director of the LA Phil, succeeding Esa-Pekka Salonen.
OCTOBER 3, 2009
¡Bienvenido Gustavo!, a daylong celebration at the Hollywood Bowl, marks the beginning of Dudamel’s tenure as Music Director.
WINTER/SPRING 2012
Dudamel and the LA Phil embark on two wildly ambitious endeavors: the Mahler Project, a complete cycle of the composer’s symphonies to commemorate the centennial of his death, presented in LA and Caracas; and the Mozart/Da Ponte Trilogy, beginning with the opera Don Giovanni, featuring sets by Frank Gehry and costumes by fashion house Rodarte.
FEBRUARY 17, 2016
Dudamel and YOLA perform on their biggest stage yet, the Super Bowl 50 halftime show, alongside Coldplay’s Chris Martin and Beyoncé.
SEPTEMBER 30, 2018
The LA Phil’s centennial season kicks off with a daylong celebration, featuring a parade from Walt Disney Concert Hall to the Hollywood Bowl, where Dudamel leads a free performance featuring the Los Angeles Philharmonic and YOLA, joined by special guests Katy Perry, Herbie Hancock, and Kali Uchis.
FEBRUARY 24, 2019
Dudamel and the Los Angeles Philharmonic perform at the 91st Academy Awards, showcasing the deep ties between the orchestra and film music.
2021/22
The five-year Pan-American Music Initiative, celebrating musical creativity across the Western Hemisphere, launches with composer Gabriela Ortiz as curator. PAMI has been responsible for 30 commissions in dozens of concerts, as well as three Grammys and two Latin Grammys.
OCTOBER 16, 2021
The Judith and Thomas L. Beckmen YOLA Center, the first permanent, purposebuilt facility for YOLA, designed by Frank Gehry, opens its doors. This “is the realization of a beautiful dream: to create a space where young people can have access to beauty,” says Dudamel.
SCAN to learn more about Gustavo Dudamel’s historymaking tenure with the
LA Phil.
APRIL 2025
The Los Angeles Philharmonic, led by Dudamel, becomes the first major symphony orchestra to play its own set at Coachella. Over two weekends it seamlessly intersperses works by Bach, Strauss, Wagner, and John Williams with pop songs performed by an all-star lineup of guests including Laufey, LL Cool J, Natasha Bedingfield, Ca7riel & Paco Amoroso, Dave Grohl, and Cynthia Erivo.
LOS ANGELES PHILHARMONIC
The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2025/26 season is the orchestra’s 107th.
Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the finest artists from all genres of music. The Ford,
situated in a 32-acre park and under the stewardship of the LA Phil since December 2019, presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles.
The orchestra’s involvement with Los Angeles extends far beyond its venues. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles). Through YOLA, inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purpose-built facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry.
The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global
Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.
The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy-winning recordings featuring the music of Brahms, Ives, Andrew Norman, Thomas Adès, and Gabriela Ortiz— whose Revolución diamantina received three Grammys in 2025.
The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), O tto 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), and Gustavo Dudamel (2009-present).
LOS ANGELES PHILHARMONIC
Gustavo Dudamel
Music & Artistic
Director
Walt and Lilly Disney Chair
Zubin Mehta
Conductor Emeritus
Esa-Pekka Salonen
Conductor
Laureate
Rodolfo Barráez
Assistant
Conductor
Ann Ronus Chair
John Adams
John and Samantha Williams
Creative Chair
Herbie Hancock Creative Chair for Jazz
FIRST VIOLINS
[Position vacant]
Concertmaster
Marjorie Connell Wilson Chair
Bing Wang
Acting Concertmaster
Barbara and Jay Rasulo Chair
[Position vacant]
First Associate
Concertmaster
Ernest Fleischmann Chair
[Position vacant]
Assistant Concertmaster
Philharmonic
Affiliates Chair
Rebecca Reale
Deanie and Jay Stein Chair
Justin Woo
Rochelle Abramson
Minyoung Chang
I.H. Albert Sutnick Chair
Tianyun Jia
Jordan Koransky
Ashley Park
Katherine Woo
Weilu Zhang
SECOND VIOLINS
Melody Ye Yuan
Principal
Mark Kashper
Associate Principal
Isabella Brown
Assistant Principal
Kristine Whitson
Johnny Lee
Ingrid Chun
Jin-Shan Dai
Miika Gregg
Chao-Hua Jin
Jung Eun Kang
Vivian Kukiel
Nickolai Kurganov
Varty Manouelian
Emily Shehi
Michelle Tseng
Gabriel Esperon*
VIOLAS
[Position vacant]
Principal
John Connell Chair
Ben Ullery
Associate Principal
Jenni Seo
Assistant Principal
Dana Lawson
Richard Elegino
Ingrid Hutman
Michael Larco
Hui Liu
Meredith Snow
Leticia Oaks Strong+
Minor L. Wetzel
Bradley Parrimore*
Pasadena Showcase House for the Arts
LA Phil Resident Fellow Chair
CELLOS
Robert deMaine
Principal
Bram and Elaine Goldsmith Chair
Ben Hong
Associate Principal
Sadie and Norman Lee Chair
Dahae Kim
Assistant Principal
Jonathan Karoly+
David Garrett
Barry Gold
Jason Lippmann
Gloria Lum
Linda and Maynard
Brittan Chair
Zachary Mowitz
Serge Oskotsky
Brent Samuel Keeon Guzman*
BASSES
Christopher Hanulik
Principal
Diane Disney Miller and Ron Miller Chair
Kaelan Decman
Associate Principal
Oscar M. Meza
Assistant Principal
David Allen Moore
Ted Botsford
Jory Herman
Brian Johnson
Peter Rofé
Matthew Peralta*
FLUTES
Denis Bouriakov
Principal
Virginia and Henry Mancini Chair
Catherine Ransom
Karoly
Associate Principal
Mr. and Mrs. H. Russell Smith Chair
Elise Shope Henry
Mari L. Danihel Chair
Sarah Jackson
Piccolo
Sarah Jackson
OBOES
Ryan Roberts
Principal
Carol Colburn Grigor Chair
Marion Arthur Kuszyk
Associate Principal
Anne Marie Gabriele
English Horn
[Position vacant]
CLARINETS
Boris Allakhverdyan
Principal
Michele and Dudley Rauch Chair
[Position vacant]
Associate Principal
Andrew Lowy
Taylor Eiffert
E-Flat Clarinet
Andrew Lowy
Bass Clarinet
Taylor Eiffert
BASSOONS
Whitney Crockett Principal [Position vacant]
Associate Principal Ann Ronus Chair
Michele Grego Evan Kuhlmann
Contrabassoon Evan Kuhlmann
* Judith and Thomas L. Beckmen
L A Phil Resident Fellow
+ On sabbatical
The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
HORNS
Andrew Bain
Principal
John Cecil Bessell Chair
David Cooper
Associate Principal
Gregory Roosa
Alan Scott Klee Chair
Amy Jo Rhine Loring Charitable Trust Chair
Elyse Lauzon
Ethan Bearman
Elizabeth Linares Montero*
Nancy and Leslie Abell LA Phil Resident Fellow Chair
TRUMPETS
Thomas Hooten
Principal
M. David and Diane
Paul Chair
James Wilt
Associate Principal
Nancy and Donald de Brier Chair
Christopher Still
Ronald and Valerie
Sugar Chair
Jeffrey Strong
TROMBONES
David Rejano Cantero
Principal Koni and Geoff Rich Chair
James Miller
Associate Principal
Judith and Thomas L. Beckmen Chair
Paul Radke
Bass Trombone
John Lofton
Miller and Goff
Family Chair
TUBA
Mason Soria
Principal
TIMPANI
Joseph Pereira
Principal
Cecilia and Dudley Rauch Chair
David Riccobono
Assistant Principal
PERCUSSION
Matthew Howard Principal
James Babor
David Riccobono
Jeremy Davis*
KEYBOARDS
Joanne Pearce
Martin
Katharine Bixby Hotchkis Chair
HARP
Emmanuel Ceysson
Principal Ann Ronus Chair
LIBRARIANS
Stephen Biagini
Benjamin Picard
KT Somero
CONDUCTING FELLOWS
Kinga Głowacka
Ana María
Patiño-Osorio
José Salazar
Miguel Sepúlveda
The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
THE 2025/26 DUDAMEL FELLOWS
In 2009, Gustavo Dudamel and the LA Phil created the Dudamel Fellowship Program to provide opportunities for emerging conductors from around the world to develop their craft and enrich their musical experience through personal mentorship and participation in the LA Phil’s orchestral, education, and community programs.
Dudamel and the LA Phil selected four rising conductors for the 16th class of the fellowship program, which will run throughout the 2025/26 season.
KINGA GŁOWACKA
JOSÉ ÁNGEL SALAZAR MARÍN
ANA MARÍA PATIÑO-OSORIO
MIGUEL SEPÚLVEDA
—Gustavo Dudamel
“The most important and fulfilling part of my work is to mentor extraordinary young people.”
KINGA GŁOWACKA (Poland)
Głowacka won the 2024 CySO International Conducting Master Class and Competition in Cyprus and the 2023 Ionel Perlea International Conducting Competition in Romania. Upon completing conducting studies at the Krzysztof Penderecki Academy of Music in Kraków, she worked as an assistant conductor to Marin Alsop with the National Symphony Orchestra of Ireland and founded, in 2018, the Kraków chamber orchestra Arco Andare, which she continues to direct.
ANA MARÍA PATIÑO-OSORIO (Colombia)
Patiño-Osorio won the Second Prize, Audience Prize, and Youth Jury Prize at the 2024 Malko Competition in Copenhagen. Following completion of a Master’s program at the Zürcher Hochschule der Künste, she served as assistant conductor of the Orchestre de la Suisse Romande and conducted the Iberacademy Orchestra at Mozartwoche in Salzburg, Orchestre de Chambre de Lausanne, the National Symphony Orchestra of Colombia, and the Philharmonic Orchestra of Bogotá.
JOSÉ ÁNGEL SALAZAR MARÍN (Venezuela)
Salazar was educated within Venezuela’s El Sistema and studied conducting at the Special Program for Academic Development in Caracas. He was a finalist in the first Arthur Nikisch Competition in Bulgaria in 2020, served as the Artistic and Music Director of El Sistema Greece until 2023, and was later appointed the Jette Parker Ballet Conductor at the Royal Opera House in London and worked with the Royal Ballet until 2025.
MIGUEL SEPÚLVEDA (Portugal)
Sepúlveda was the inaugural Sir Donald Runnicles Fellow at the Dresdner Philharmonie and was a Grand Prix winner at the 2025 Rotterdam International Conducting Competition in June (he received the opera, contemporary music, and Codarts awards). He studied at the Royal Northern College of Music in Manchester and has conducted the BBC Philharmonic, Danish National Symphony, and Munich Chamber Orchestra.
DUDAMEL FELLOWS BY THE NUMBERS
56
Rising conductors who have participated in the Dudamel Fellowship program
27
Countries represented by Dudamel Fellows
9
Conducting appearances by former Dudamel Fellows during the 2025 Hollywood Bowl and 2025/26 Walt Disney Concert Hall seasons
26
Dudamel Fellows who have been appointed music director of a symphony orchestra or opera house
usbank.com/privatewealth
MUSICAL CHAIRS
Ryan Roberts appointed Principal Oboe
An alumnus of Santa Monica High School and the Colburn School, Ryan Roberts returns to Southern California as Principal Oboe of the Los Angeles Philharmonic, occupying the Carol Colburn Grigor Chair at the start of the 2025/26 season.
“As a band and orchestra student in Santa Monica’s public schools, I dreamt of performing with the ensemble that I grew up hearing in [Walt Disney Concert Hall]. My earliest memories of an orchestra, and of a conductor, were performances with Gustavo [Dudamel] and the LA Phil,” he said.
It’s a full-circle moment for Roberts, who was a student of the late David Weiss, who held the LA Phil Principal Oboe chair from 1973 to 2003. Roberts most recently served as solo English horn at the New York Philharmonic and Principal Oboe with the Festival Orchestra of Lincoln Center and has appeared with the Chicago Symphony, Philadelphia, San Francisco Symphony, Metropolitan Opera, and National Symphony orchestras. He has also performed at the Marlborough and Rockport music festivals as well as with Gamut Bach Ensemble, Pacifica Quartet, and Emanuel Ax.
IN LOVING MEMORY
Melody Ye Yuan new Principal Second Violin
For its 2020 “30 Hot Canadian Classical Musicians Under 30” list, the CBC featured up-andcoming violinist Melody Ye Yuan. Born in China, raised in Vancouver, and having attended the New England Conservatory, Yuan was happily studying at LA’s Colburn School, where the CBC caught up with her. “I just like the California vibe in general,” she said.
So it’s no surprise that the musician, who debuted as a soloist with the Vancouver Symphony Orchestra at age 14 and won first prize at the Yuri Yankelevitch International Violin Competition and third prize at the Canadian Music Competition, among other awards, decided to stay in Southern California.
After finishing her Master of Music degree from the Colburn Conservatory of Music under Martin Beaver, she joined the LA Phil in the summer of 2024 as part of the first violin section, and this summer Yuan was appointed to Principal Second Violin. She also enjoys going to the beach, watching sunsets, photography, hiking, and sports.
Herbert “Sonny” Ausman 1946–2025
From 1971 to 2016, Herbert Ausman was a member of the Los Angeles Philharmonic’s trombone section. He was born in Alabama and graduated from the Eastman School of Music. In addition to holding the second trombone chair for 45 years, he was a highly regarded recording engineer, videographer, and arranger. Over the course of his career, he collaborated with many of his colleagues on solo and ensemble recordings, winning critical praise for his technical achievements. Ausman is survived by his wife, Erica, and his daughters, Amanda and Emma.
David Stockhammer 1932–2025
A native of Canada, David Stockhammer joined the LA Phil’s viola section in 1973—the beginning of a four-decade tenure—and retired in 2012. He received his Bachelor’s and Master’s degrees from The Juilliard School, where he studied with Ivan Galamian and Dorothy DeLay. He later pursued a doctoral degree from the University of Southern California, studying with Eudice Shapiro. He also performed extensively across the US, western Canada, and in Spoleto, Italy, with ensembles such as the York Quartet, USC String Quartet, Aspen Festival Orchestra, Ojai Festival Orchestra, and Los Angeles Chamber Orchestra.
Your support will make a critical difference for the LA Phil while also preserving your footprint in the cultural landscape of Los Angeles.
If you’ve ever dreamed of leading a world-class orchestra at the Hollywood Bowl, place your bid today to conduct during the summer 2026 season.
one of the LA Phil’s esteemed conductors or Dudamel Fellows
The Ultimate Maestro Experience offers an exclusive opportunity to join the LA Phil as the John F. Hotchkis Banner Conductor at the Hollywood Bowl.
conduct “The Star-Spangled Banner” in front of a live audience at the Hollywood Bowl
The auction closes at 10PM on October 14, 2025. Scan the code or visit laphil.com/maestro to submit your bid today!
KEEP ON BEING THE INSPIRATION
Our history is rich with firsts. Like being the first to identify the AIDS virus and performing the world’s first human bladder transplant. Every step forward is more than a milestone. It’s proof that when we rise, we lift others too.
The connection to the Michele of many, many years ago is still very important. The innocence, the joy, the freedom, the laughter, all of those things still resonate with me as an adult. I came here with some stuff, and I left without the baggage. I find myself at peace, centered in my life, and ready to take on the world.
See Michele’s story and others at
Michele, age 57 Strategic Joy Executive
The Iconic Retreat
County of Los Angeles
BOARD OF SUPERVISORS
Hilda L. Solis
Holly J. Mitchell
Lindsey P. Horvath
Janice Hahn
Kathryn Barger Chair
DEPARTMENT OF ARTS AND CULTURE
Kristin Sakoda Director
COUNTY ARTS COMMISSION
Randi Tahara
President
Rogerio V. Carvalheiro Vice President
Sandra P. Hahn
Secretary
Jennifer Price-Letscher Executive Committee Member
Leticia Buckley Immediate Past President
Pamela Bright-Moon
Diana Diaz
Eric R. Eisenberg
Brad Gluckstein
Helen Hernandez
Constance Jolcuvar
Alis Clausen Odenthal
Anita Ortiz
Tara L. Taylor
Liane Weintraub
WESTSIDE BALLET OF SANTA MONICA PRESENTS
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NOVEMBER 29 — DECEMBER 7, 2025 1PM & 5PM
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ONE DAY WITH THE SUGARPLUM FAIRY, TILER PECK NOVEMBER 30, 2025
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Dudamel Launches His Final Season
Los Angeles Philharmonic
Gustavo Dudamel, conductor
Los Angeles Master Chorale — except friday
Grant Gershon, Artistic Director
Jenny Wong, Associate Artistic Director
Ellen REID Earth Between Oceans (c. 30 minutes) (world premiere, LA Phil commission with generous support from the Esa-Pekka Salonen Commissions Fund) — except friday
Earth Air
Fire Water
Los Angeles Master Chorale
INTERMISSION — except friday
R. STRAUSS
Eine Alpensinfonie (An Alpine Symphony), Op. 64 (c. 47 minutes)
Nacht (Night)
Sonnenaufgang (Sunrise)
Der Anstieg (The Ascent)
Eintritt in den Wald (Entering the Forest)
Wanderung neben dem Bache (Wandering Near the Stream)
Am Wasserfall (At the Waterfall)
Erscheinung (Apparition)
Auf blumige Wiesen (On Blooming Meadows)
Auf der Alm (On the Alpine Pasture)
Durch Dickicht und Gestrüpp auf Irrwegen (Lost in the Thickets and Brush)
Auf dem Gletscher (On the Glacier)
Gefahrvolle Augenblicke (Dangerous Moments)
Auf dem Gipfel (At the Summit)
Vision (View)
Nebel steigen auf (Fog Arises)
Die Sonne verdüstert sich allmählich (The Sun Gradually Darkens)
Elegie (Elegy)
Stille vor dem Sturm (Calm Before the Storm)
Gewitter und Sturm (Thunder and Storm)
Sonnenuntergang (Sunset)
Ausklang (Vanishing Sound)
Nacht (Night)
THURSDAY
SEPTEMBER 25, 2025 8PM
FRIDAY
SEPTEMBER 26 8PM
SATURDAY
SEPTEMBER 27 8PM
SUNDAY
SEPTEMBER 28 2PM
Programs and artists subject to change.
AT A GLANCE
We open our 2025/26 season with a celebration of the natural world—something that inspires us, challenges us, and connects us all. I’m especially proud to begin with the world premiere of Earth Between Oceans by Ellen Reid, a deeply personal and powerful work for both of us. The title reflects the two cities that have shaped our lives—Los Angeles and New York—and the music explores how the four natural elements have shaped them in return. This piece is a meditation on the overwhelming power of nature in the face of rising political and environmental uncertainty. Each movement evokes an element through a specific cityscape: from the frozen soil of a New York winter in “Earth,” to the calm, vast openness of “Air” seen from above the city. “Fire” is a visceral response to the devastating Southern California wildfires of January 2025, and “Water” flows with the spirit of the
Pacific coast. At the heart of Earth Between Oceans is a sense of resilience and hope. Ellen’s music reminds us that the natural forces surrounding us are older, wiser, and more enduring than any moment of crisis. Her focus on rhythm, combined with the unique role of the choir, shapes a sound that feels both rooted and transcendent.
Strauss’ An Alpine Symphony continues this dialogue with nature. It is a story of exploration—of climbing toward something greater, through danger, awe, and beauty. This is my first time performing it with the LA Phil, and I’m honored to take this journey with our extraordinary musicians and our audience. Together, these works remind us of the beauty of the Earth, the challenges we face, and the enduring capacity of music to connect us across distance, time, and experience. —Gustavo Dudamel
through the lens of the four elements: Earth, Air, Fire, and Water. It was written to celebrate conductor Gustavo Dudamel’s deep connection to the cities of Los Angeles and New York, the places I also call home. In writing this piece, I was inspired by the ways in which these natural forces are infinitely more powerful, more ancient, and more resilient than any rising political chaos. Each movement takes inspiration from both a city and an element. Earth, the first movement, opens on New York in winter— patches of hardened soil
harbor life beneath the surface, enduring the cold until they bloom in spring. Piano, harp, tam-tam, and bass drum evoke the stillness and weight of frozen ground, while the ensemble gradually gathers momentum and warmth, culminating in a sense of renewal by the movement’s end. Earth incorporates speech, conjuring the layered soundscape of a densely populated, ever-thriving metropolis. As if viewed from a skyscraper, Air is inspired by New York from above— the wide sky, the water, and the city unfurling far below.
The movement begins and ends with a feeling of vast, open space—a calm detachment from the noise and urgency of life below. In Air, the chorus plays a central role, embodying breath and wind.
Fire is driven by rhythm; pulse and momentum take precedence over melody. I began composing this movement on January 7, 2025—the same day devastating wildfires broke out in Altadena, the Pacific Palisades, and across Southern California. In response to the destruction, I wove a refrain of loss throughout the movement, serving as a moment of reflection amid the recurring rhythmic motif. The movement is dedicated to the people of Southern California, and to the staff and musicians of the Los Angeles Philharmonic whose lives were affected by this tragedy.
Water is inspired by the crashing blue surf and golden light of Los Angeles’ Pacific coast. The ensemble
moves as a unified whole, swelling and receding as strings, voices, and brass carry broad melodic lines. The choir bursts forth from the texture, a cresting wave, then recedes back into the churning mist of the orchestra.
In this work, I took joy in exploring rhythm as a primary compositional element. In Earth, the meter accelerates through the movement, erupting in a guttural peak when the voices from the choir unite for the first time. In Air, a lack of consistent pulse creates a sense of endless space. In Fire, polyrhythms morph, cycle, and grow, and in Water, the rhythm ebbs and flows like the currents of the ocean. Another seismic component to this piece is the large, wordless choir, conceived instrumentally and adding a dynamic timbre to the ensemble.
Earth Between Oceans celebrates the power of nature in conversation with the threats our environment faces.
As a metaphor for the concurrent crises affecting our Earth, I captured field recordings while collecting plastic trash at beaches in Los Angeles (Venice, Santa Monica) and New York City (Rockaway Beach, Coney Island). These field recordings are woven throughout the work as connective tissue, a reminder that we live on a planet whose equilibrium is being challenged by our actions. Finally, Earth Between Oceans is dedicated to Gustavo Dudamel, a bridge builder who forges meaningful connections across communities of people from different backgrounds, cultures, ages, classes, and abilities. His fierce positivity and tremendous talents inspire us to think bigger and do better. Therefore, despite the growing political, environmental, and social challenges we face, I felt deeply committed to ending the work with a sense of optimism—even if it feels out of reach. —Ellen Reid
First LA Phil performance: December 3, 1931, Artur Rodziński conducting
In 1911, Richard Strauss reinvented himself. The “modernist” behind operas Salome and Elektra forged a more subtle and wry style with Der Rosenkavalier, an affectionate backward glance at those other waltzing Strausses of Vienna. Yet he felt the itch to return to an earlier style of his turn-ofthe-century Wagner-inspired
tone poems. He scratched that itch with the grandiloquent Alpine Symphony. He first developed the idea of a tone poem set in the Alps in 1899 but began composing it in earnest the same year Rosenkavalier premiered, finishing its orchestration in 1915, during a break in work on his seventh opera, Die Frau ohne Schatten Strauss was an avid outdoorsman from his earliest days, particularly partial to mountain trekking, as the 14-year-old wrote to another boy composer, Ludwig Thuille, in an 1878 letter in which Strauss describes a summer jaunt that began “at two in the morning…a five-hour climb, a steep three-hour descent during which the group lost its way…everyone finally soaked to the skin, trudging through a thunderstorm to find an unplanned night’s lodging in a peasant cottage.”
The postscript continued, “the next day I portrayed the entire expedition on the piano. Naturally, an enormous tone painting and the whole hash à la Wagner.”
Strauss may not have reheated this youthful hash (the piano sketches do not survive), but the inspiration
for a blockbuster had clearly been sown. Eine Alpensinfonie (An Alpine Symphony) is the longest and loudest of Strauss’ tone poems, employing some 150 musicians, including a gaggle of offstage brass. Not unexpectedly, an equally virtuosic employment of those forces at times creates chamber-like effects.
Comparisons to Mahler and his alternations of the grandiose and intimate within a large ensemble should, however, not be exaggerated. Mahler, who died the year before An Alpine Symphony was begun, deals in intensely varied personal psychological states in his creations, while Strauss’ mighty mountain piece is simply a gorgeously colored, consistently engaging musical travelogue with each of its 22 connected sections bearing a programmatic title: “Night” (the opening and closing sections), “Sunrise,” “The Ascent,” “Wandering Near the Stream,” “At the Summit,” “Thunder and Storm,” and so on.
The Dresden Court Orchestra, under the composer’s baton, introduced An Alpine Symphony to the world in Berlin on October 28, 1915. —Herbert Glass
GUSTAVO DUDAMEL
To read about Music & Artistic Director Gustavo Dudamel, please turn to page 8
LOS ANGELES
MASTER CHORALE
The Grammy-winning Los Angeles Master Chorale is the “the finest-by-far major chorus in America” (Los Angeles Times) and a vibrant cultural treasure. Hailed for its powerful
performances, technical precision, and artistic daring, the Chorale is led by Grant Gershon, Kiki & David Gindler
Artistic Director; Associate Artistic Director Jenny Wong; and President & CEO Scott Altman. Its Swan Family Artistin-Residence is Reena Esmail.
Created by legendary conductor Roger Wagner in 1964, the Chorale is a founding resident company of The Music Center and choir-in-residence at Walt Disney Concert Hall. The Chorale reaches over 175,000 people a year through performances at Walt Disney Concert Hall, its international touring of innovative works, and its collaborations with the Los Angeles Philharmonic and others.
The Chorale’s discography includes the LA Phil’s Deutsche Grammophon recording of Mahler’s Symphony No. 8, for
which the Chorale won a Best Choral Performance Grammy with the National Children’s Chorus, Los Angeles Children’s Chorus, and Pacific Chorale. The Chorale released The Sacred Veil by Eric Whitacre in 2020. Under Gershon’s direction, the Chorale has released eight commercial recordings and is featured on the soundtracks of many major motion pictures, including Star Wars: The Last Jedi and The Rise of Skywalker.
The Chorale toured its productions of Lagrime di San Pietro and Heinrich Schütz’s Music to Accompany a Departure, both directed by Peter Sellars, earning rave reviews across the globe that cited the Chorale’s performances as “painfully beautiful” (Süddeutsche Zeitung) and “transcendent” and “incomparably moving” (Los Angeles Times).
SOPRANO
Tamara Bevard
Christina Bristow
Graycen Gardner
Kelci Hahn
Karen Hogle Brown
Elissa Johnston
Caroline McKenzie
Alina Roitstein
Anna Schubert
Holly Sedillos
Sunmi Shin
Kathryn Shuman
Addy Sterrett
Chloé Vaught
Suzanne Waters
Andrea Zomorodian
ALTO
Garineh Avakian
Anna Caplan
Carmen Edano
Sharon Chohi Kim
Wooyoung Kim
Sharmila G. Lash
Hannah Little
Sarah Lynch
Adriana Manfredi
Julia Metzler
Lindsay Patterson
Abdou
Niké St. Clair
Ilana Summers
Tracy Van Fleet
Elyse Willis
TENOR
Matthew Brown
Bradley Chapman
Jon Lee Keenan
Dermot Kiernan
Charlie Kim
Joey Krumbein
Charles Lane
Kyuyoung Lee
Michael Lichtenauer
Sal Malaki
Matthew Miles
David Morales
Rohan Ramanan
Edmond Rodriguez
Todd Strange
BASS
Derrell Acon
Michael Bannett
John Buffett
Kevin Dalbey
Sean Gabel
Dylan Gentile
Will Goldman
Abdiel Gonzalez
Scott Graff
Luc Kleiner
Chung Uk Lee
Ben Han-Wei Lin
Brett McDermid
Adrien Redford
Mark Edward Smith
Lorenzo Zapata
The Artists of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO, James Hayden, AGMA Delegate.
RY X with Orchestra
RY X
Gene Evaro, Jr., keyboards, vocals, guitar
Frank Colucci, drums, vocals
Eric Price, keyboards, vocals, orchestration
Programs and artists subject to change.
MONDAY
SEPTEMBER 29, 2025 8PM
RY X
Grammy-nominated artist and producer RY X is constantly in pursuit of connection— connection to nature, to spirit, and to the human experience. Expression and vulnerability are at the core of his work and what he evokes as an artist. He has toured and performed around the globe in some of the world’s most iconic spaces and collaborated with orchestras and establishments like the Los Angeles Philharmonic and London Philharmonic Orchestra, along with producing and writing records for artists like Drake, Diplo, Black Coffee, and John Legend.
He has amassed over a billion streams online and
received platinum and gold records for his recordings, along with being invited to share his work at the Nobel Peace Prize concert and places like Notre-Dame in Paris.
He has also scored for the Gothenburg Opera and Nederlands Dans Theater and continues to work in collaboration with dance and other art mediums, along with scoring numerous film projects. His work is multifaceted, deeply emotional, and continually based in a reflection of what it ultimately means to be human, in its wide range of somatic and emotional experience. RY X engages all forms of artistic expression with his heart at the fore.
The Rite of Spring with Dudamel
Los Angeles Philharmonic
Gustavo Dudamel, conductor
John ADAMS
Frenzy: a short symphony (c. 19 minutes)
(US premiere, LA Phil commission with generous support from the Lenore S. and Bernard A. Greenberg Fund)
STRAVINSKY
The Firebird Suite (1919) (c. 19 minutes)
Introduction
Dance of the Firebird
Variation of the Firebird
Dance of the Princesses
Infernal Dance of King Kastchei
Berceuse
Finale
INTERMISSION
STRAVINSKY
The Rite of Spring (c. 33 minutes)
Part I: The Adoration of the Earth
Introduction
Augurs of Spring: Dance of the Young Girls
Ritual of Abduction
Spring Rounds
Ritual of the Rival Tribes
Procession of the Sage
The Kiss of the Earth (The Sage)
Dance of the Earth
Part II: The Sacrifice Introduction
Mystic Circles of the Young Girls
The Naming and Honoring of the Chosen One
Evocation of the Ancestors
Ritual Action of the Ancestors
Sacrificial Dance (The Chosen One)
Programs and artists subject to change.
THURSDAY
OCTOBER 2, 2025 8PM
SATURDAY
OCTOBER 4 8PM
SUNDAY
OCTOBER 5 2PM
Concerts in the Thursday 2 subscription series are generously supported by The Otis Booth Foundation
AT A GLANCE
If the LA Phil has a signature piece, it’s The Rite of Spring. Stravinsky shocked the world when it was first performed more than a century ago, and even today, it still feels bold, modern, and full of energy— just like this orchestra. At the same time, there’s something ancient and raw in the way the music brings the earth to life.
Just a few years before The Rite of Spring, Stravinsky composed The Firebird. It’s a very different kind of music—more lyrical and colorful. While The Rite explores the raw energy of nature, The Firebird tells a
story through sound, with vivid characters and moments of real beauty and surprise. This piece is so special for our orchestra, so much so that we will be incorporating it into our tour of Asia this month.
We open the concert with the US premiere of Frenzy, a powerful new work by my dear friend and longtime collaborator, John Adams. John and I both began our journeys with the LA Phil in 2009, and over these last 16 seasons, we have grown so much together through music. It’s a privilege to bring his latest piece to life with this extraordinary orchestra. —Gustavo Dudamel
Frenzy is a one-movement symphony that in the course of its 20 minutes encompasses a variegated yet unified symphonic structure. Its title notwithstanding, the piece is generally buoyant and extrovert and postpones its real frenetic energy to the concluding moments. What makes Frenzy
unique in comparison to my other works is its focus, almost to the point of obsession, on the development and transformation of small, vivid motives that continue to resurface in various guises throughout the piece. This kind of classic development treatment of motivic ideas—the German term “Durchführung” is familiar to most musicians—differs from the gradual “change-via-repetition” technique in my earlier, minimalist-influenced works. In fact, once completed, Frenzy revealed itself, much to the surprise of its composer, as a melding of the two approaches toward musical form. On the one hand, its rhythmic event horizon is still essentially pulse-driven, while on the other, its melodic world is about shape-shifting and the “spinning out” of ideas.
The opening bars present two contrasting gestures: a punctuated tattoo in the winds and brass and an
urgent, muscular theme in the upper strings. Both these ideas reappear throughout the piece, always transformed in one way or another and yet always identifiable.
In place of a “slow movement” the music’s surface simply quiets down; density and forcefulness yield to a feeling of lightness and transparency. The pulse is still there, now carried along by a congenial interplay among the two harps and celesta while the strings limn a lyrical melody that floats above them.
The final section is indeed frenetic, with hard-driven, choppy string figures, tsunamilike waves of brass, and madly scurrying woodwinds, all of which come together to earn the piece’s title.
Frenzy is dedicated to my longtime friend Simon Rattle, who conducted the first performance with the London Symphony Orchestra in March of 2024. —John Adams
First LA Phil performances: August 10, 1926, Eugene Goossens conducting
It’s intriguing to speculate how the history of music in the last century would have been altered if the extraordinary ballet impresario Serge Diaghilev had not decided to gamble on the young, relatively unknown Stravinsky. Diaghilev’s Ballets Russes—which the émigré Russian had established in Paris—was just starting to take the West by storm, and Diaghilev wanted a splendid new production for the climax of its season in 1910. His initial plans for better-known composers fell through, so Diaghilev, on a hunch, gave the commission to Stravinsky, then in his late 20s. It was a risk for everyone
concerned, since The Firebird would be the first production by the emerging ballet company to feature an entirely new score.
Stravinsky was handed a scenario (devised in part by choreographer Michel Fokine) that drew on old Russian folklore. The Firebird tells of the downfall of a powerful, ogre-like figure of evil, Kastchei the Deathless, who seizes young princesses as captives while turning the knights who arrive to rescue them into stone. The protagonist Crown Prince Ivan enlists the Firebird, so called for her beautiful feathers that glitter and flicker like flames, to help destroy Kastchei and free his victims.
You can readily hear how Stravinsky’s own imagination must have caught fire (he even set aside his work on a bird of a different feather—the fairy-tale opera The Nightingale) when he took up Diaghilev’s invitation. The Firebird ’s score blends the orchestral wizardry Stravinsky had learned as a student of Rimsky-Korsakov with the vitality of Russian folk music to yield a dazzling, evocative atmosphere. Throughout his later career, Stravinsky remained especially fond
of The Firebird, returning to create three concert versions that he himself conducted tirelessly (a savvy financial move on the composer’s part). The most popular is the second of these suites, introduced in 1919, which uses less than half of the original ballet score and simplifies some of its orchestration. The Firebird ’s musical language shifts between chromatic gestures to illustrate the supernatural dimension (including a powerful non-Western scale that would later feature in The Rite of Spring ’s harmonic vocabulary) and the singsong simplicity of folk song for the mortals. The suite opens with a spooky conjuring, low in the strings, of Kastchei’s magical realm. In his illusory garden, Prince Ivan encounters the Firebird, which is depicted with opulent colors and radiant trills. (Diaghilev spared no expense in the similarly gorgeous costumes Léon Bakst designed for this creature.) A calmly pastoral section follows, featuring Stravinsky’s already characteristically imaginative scoring for woodwinds. Prince Ivan observes the princesses who have been captured
by Kastchei performing their ritual Khorovod, or round dance, and falls in love with the one destined to be his bride.
To protect Ivan, the Firebird casts a spell over Kastchei and his monstrous aides. Whipped into motion by Stravinsky’s frenetic rhythms, they are compelled to dance themselves to exhaustion in a savage “Infernal Dance.” Their paroxysms subside, while a serene lullaby, “Berceuse,” lulls the hypnotized Kastchei to sleep, its lazy tune first given by the bassoon. Ivan is instructed to destroy the giant egg containing the ogre’s soul, and Kastchei’s power vanishes. A solo horn, intoning the score’s most famous folk tune, announces the joyful arrival of sunlight. Together with Ivan and his betrothed, the rescued captives celebrate with music that swells and rings out in glorious triumph. The Firebird clearly shows Stravinsky on the cusp of a new world, mixing the orchestral mastery of his Russian mentors with the rhythmic vitality of the revolutionary about to burst out of his shell. —Thomas May
THE RITE OF SPRING
Igor Stravinsky
Composed: 1910–13, rev. 1947
Orchestration: piccolo, 3 flutes (3rd=2nd piccolo), alto flute, 4 oboes (4th=2nd English horn), English horn, 3 clarinets (3rd=2nd bass clarinet), E-flat clarinet, bass clarinet, 4 bassoons (4th=2nd contrabassoon), contrabassoon, 8 horns ( 7th and 8th=Wagner tuba), piccolo trumpet, 4 trumpets, 3 trombones, bass trombone, 2 tubas, 2 sets of timpani, percussion (antique cymbals, bass drum, cymbals, guiro, tam-tam, tambourine, and triangle), and strings
First LA Phil performance: August 31, 1928, Eugene Goossens conducting
“The idea of The Rite of Spring came to me while I was still composing Firebird,” Igor Stravinsky recalled, 45 years after the ballet’s first performance in 1913, in his book Conversations “I had dreamed of a scene of pagan ritual in which a chosen sacrificial virgin danced herself to death.” If Stravinsky is to be believed, this dream marked the beginning of a process that culminated
in the premiere of one of the 20th century’s most important musical works. Stravinsky’s music was meant to capture the spirit of the scenario, which he had outlined with the help of painter and Russian art and history devotee Nicholas Roerich and dancer and choreographer Vaslav Nijinsky during the spring and summer of 1910. Roerich had filled Stravinsky’s head with tales about all sorts of rituals from ancient Russia— divinations, sacrifices, dances, and so on—involving a variety of characters. The ballet that resulted depicts the return of spring and the renewal of the earth through the sacrifice of a virgin. In his handwritten version of the story, Stravinsky described The Rite as “a musical choreographic work. It represents pagan Russia and is unified by a single idea: the mystery and the great surge of the creative power of spring….” Stravinsky completed the score on March 29, 1913, and exactly two months later, the ballet Le Sacre du printemps premiered in Paris at the Théâtre des ChampsÉlysées, where it caused the famous scandal that ushered in modern music. Nijinsky’s choreography
and the wild, unchecked power of Stravinsky’s score were wholly new. Stravinsky wrote for one of his largest orchestras ever in The Rite, and he used it with an assurance and confidence one would hardly expect from a composer just out of his 20s and with only two big successes—The Firebird and Petrushka—behind him. But those two scores, for all of their individuality and accomplishment, did not predict The Rite. What Stravinsky did was totally unexpected. The stage action during the ballet’s second half, leading up to the sacrifice, captured the attention of that raucous audience at the first performance. Finally quiet, they heard Stravinsky’s
score and watched as Maria Piltz, the dancer who played the sacrificial victim, stood motionless as the ritual unfolded around her, gradually coming to life to perform her dance, with its angular contortions and tortured motions. Her collapse, which, according to Stravinsky, represented “the annual cycle of forces which are born, and which fall again into the bosom of nature,” marked the end of another cycle, one that only a few years earlier had culminated in the ultra-Romanticism of Gustav Mahler and the young Richard Strauss. The “bosom of nature” had yielded something new in their stead: Stravinsky and musical modernism. —John Mangum
GUSTAVO DUDAMEL
To read about Music & Artistic Director Gustavo Dudamel, please turn to page 8
Ledisi “for Dinah” A tribute to Ledisi’s lifelong hero, legendary vocalist Dinah Washington
Ledisi, lead vocals
Dr. Brandon Waddles, music director, piano
Greg Clark, Jr., drums
Brandon Rose, bass
Programs and artists subject to change.
FRIDAY
OCTOBER 3, 2025 8PM
LEDISI
After a distinguished twodecade career, Ledisi earned her long overdue and first Grammy Award in March 2021 for Best Traditional R&B Performance for her hit song “Anything For You.” In the summer of 2020, during the pandemic, Ledisi had launched her own label, releasing her LP The Wild Card, which included her Grammy-winning song and first Billboard No. 1 radio hit. By December 2020, she had coproduced her very first PBS special, Ledisi Live: A Tribute to Nina Simone. On the heels of the huge success of The Wild Card, Ledisi released Ledisi Live at the Troubadour in April 2021, accompanied by a pay-per-view virtual concert. Growing up, Ledisi was heavily influenced by many soulful music icons, one in particular being Dr. Nina Simone. Ledisi finally completed and released her dream project on her label titled Ledisi Sings Nina, with the Metropole
Orkest conducted by Jules Buckley and the New Orleans Jazz Orchestra conducted by Adonis Rose. The album also features vocalists Lizz Wright, Lisa Fischer, and Alice Smith. In November 2021, the powerhouse performer received her 14th Grammy nomination, for Ledisi Sings Nina, in the category of Best Traditional Pop Vocal Album. Ledisi has been nominated for 14 Grammys (one for Best New Artist) and garnered three Soul Train Music Awards, 19 NAACP Image Award nominations, an NAACP Theatre Award, and an NAACP nomination for Outstanding Breakthrough Performance in a Motion Picture for her role as Mahalia Jackson in Remember Me. Ledisi has also received two L.A. Stage Alliance Ovation Award nominations, one for Best Featured Actress in a Musical. Ledisi has wowed fans with her unparalleled vocals. She has truly earned a place in the pantheon of the greatest singers of her generation. Ledisi is a favorite of the Obamas and a long list of icons including Patti LaBelle, Smokey Robinson, Stevie Wonder, Chaka Khan, and the late Prince and Natalie Cole. She has headlined four nationally sold-out tours and performed alongside Dave Matthews, Gary Clark Jr., Vince Gill, Keb’ Mo’, and
Maxwell, as well as jazz greats Herbie Hancock, Robert Glasper, and Patti Austin. Born in New Orleans and raised in Oakland, CA, Ledisi is a passionate advocate for the arts, lobbying for young musicians and protecting the rights of creatives. In 2022, she was the first Artist in Residence at the Berklee Institute of Jazz and Gender Justice. She is also the second woman of color to have been president of the Recording Academy’s Los Angeles chapter. She continues to focus her efforts on increasing and giving voice to diversity in everything she does. She wrote and released her first book, Better Than Alright: Finding Peace, Love & Power, as a collaboration with Essence magazine. Her latest book, Don’t Ever Lose Your Walk: How to Embrace Your Journey, was released through her company Chinweya Publishing. When you speak of women in entertainment, Ledisi has brazenly put herself square at the head of the conversation. “I am finally owning my lane as a creative, while understanding what it means to be me…. Ledisi, a black woman, a wife, a bonus mom, a daughter, a sister, a professional storyteller, a passionate advocate, and a stronger businesswoman. All of this...feels like many things. But it feels good.”
Strauss, Pärt & Glass
Members of the Los Angeles Philharmonic
Arvo PÄRT Fratres for violin and piano (c. 11 minutes)
Jin-Shan Dai, violin
Joanne Pearce Martin, piano
Philip GLASS String Quartet No. 2, “Company” (c. 8 minutes)
Justin Woo, violin
Ashley Park, violin
Ben Ullery, viola
Dahae Kim, cello
Benjamin PICARD
Concentric (c. 9 minutes)
Jordan Koransky, violin
Katherine Woo, violin
Jenni Seo, viola
Ingrid Hutman, viola
Robert deMaine, cello
Zachary Mowitz, cello
Kaelan Decman, bass
INTERMISSION
R. STRAUSS Metamorphosen for string septet
Arranged by (c. 30 minutes)
LEOPOLD
Jordan Koransky, violin
Katherine Woo, violin
Jenni Seo, viola
Ingrid Hutman, viola
Robert deMaine, cello
Zachary Mowitz, cello
Kaelan Decman, bass
Programs and artists subject to change.
TUESDAY OCTOBER 7, 2025 8PM
AT A GLANCE
This program brings together four works that explore how musical material can be transformed through repetition. In Arvo Pärt’s Fratres and Philip Glass’ String Quartet No. 2, small musical ideas are continuously looped, stretched, and reframed to create subtly shifting musical landscapes.
My own contribution, Concentric, continues this approach and takes the concept one step further. A pair of violin solos heard at the start and end of the work frame a series of expanding and contracting variations, each one a refracted version of the solo material.
Richard Strauss’ Metamorphosen (heard
FRATRES FOR VIOLIN AND PIANO
Arvo Pärt (b. 1935)
One of the first works to come out of Arvo Pärt’s now-famous “creative silence” of the mid-1970s was Fratres. Composed in 1977 and first performed by the Estonian early music ensemble Hortus Musicus, Fratres is a pillar of the triad-based “tintinnabulation” style Pärt developed, influenced by his study of FrancoFlemish Gothic and Renaissance polyphony.
From this work, originally scored for string quintet and wind quintet, have come further expressions
tonight in its septet realization) is the densest, most heavily wrought expression of this idea. Its long, expressive arc is crafted from melodic and harmonic fragments that repeat and proliferate to express the composer’s deep sorrow following the destruction of a beloved opera house in his home city at the end of World War II. Though these works differ greatly in language and style, they are held together by a common idea: that transformation doesn’t necessarily require reinvention— sometimes it is enough to return to the same place and see how our perspective has changed.
—Benjamin Picard
of the material for various performing forces—all titled Fratres, Latin for “brothers.” The first of these offspring was a set of variations for violin and piano on the theme of the original Fratres, commissioned by the 1980 Salzburg Festival and premiered by its dedicatees, Gidon and Elena Kremer. Other versions have been scored for strings and percussion (with and without solo violin), for wind octet and percussion, for string quartet, and for eight cellos. The six-bar theme is repeated—with a characteristic minimalist emphasis on patterning— and moved to new tonal levels, mostly by thirds.
Its melodic structure is developed by gradually adding on new extensions. The materials are clear and the mechanics transparent, but the effect is far from simplistic. “I have discovered that it is enough when a single note is beautifully played,” Pärt said at the time. “This one note, or a moment of silence, comforts me. I work with very few elements— with one voice, with two voices. I build with the most primitive materials—with the triad, with one specific tonality. The three notes of a triad are like bells. And that is why I call it tintinnabulation.”
—John Henken
STRING QUARTET
NO. 2, “COMPANY”
Philip Glass (b. 1937)
“Company” is the name of a short novel by Samuel Beckett which was adapted for the stage and performed as a monologue by Frederick Neumann. Mr. Neumann had asked and received Beckett’s permission to use an original musical score which I was commissioned to compose. I liked the idea of using the medium of the string quartet that would allow for both an introspective and passionate quality well suited to the text. Beckett picked four places in the work which he referred to as the “interstices as it were.” Not surprisingly these four short movements have turned out to be a thematically cohesive work which now, as my String Quartet No. 2, has taken on a life of its own. —Philip Glass
CONCENTRIC
Benjamin Picard (b. 1991)
Concentric is a piece about expansion and contraction. Almost all the music in this work is derived from the contrasting violin solos that bookend it: the opening one quiet and introspective, the closing one more energetic and bravura. From these seeds the music spirals outwards (or inwards) in a set of variations—each subsequent one stretching the material further in register, resonance, and intensity before receding to reveal the next.
The concept of concentricity wasn’t on my mind when I first started composing, but it gradually became apparent to me in the structure of the music as I worked. I started to think of each variation as a ring or a wave growing out of the initial impetus, like ripples on the surface of water, but rather than losing energy as they expand, they build in momentum and expressive intensity. The ensemble writing also reflects this sense of motion and transformation:
While the violin plays a central, almost soloistic role, each member of the septet contributes to shaping the evolving texture, with their individual voices shifting into and out of focus throughout. Rather than traditional harmonic or melodic development, Concentric relies on more tactile elements—register, timbre, and dynamics—to carry its narrative. The harmony remains deliberately restrained; contrast and tension are achieved instead through shifts in density, instrumental color, and subtle changes in pacing. For me personally, this work represents much more than the concept behind it. For almost five years after moving from London to LA, I wrote no music at all; I believed composing was behind me for good. Then in 2024 my good friend the composer Patrick Cannell invited me to write for his Agreement of Sound series of concerts. Despite my hesitations I agreed to do it, and the result is this piece of music, which I am honored to share with you this evening. —Benjamin Picard
METAMORPHOSEN FOR STRING SEPTET
Richard Strauss (1864–1949)
Arranged by Rudolf Leopold (b. 1954)
Much has been said and written about how oblivious Richard Strauss was to the harsher realities of Nazi Germany. Certainly nothing about the regime and its war seemed to affect him as much as the bombing of the Munich National Theater in October 1943. “The burning of the Munich Hoftheater, the place consecrated to the first Tristan and Meistersinger performances, in which 73 years ago I heard Freischütz for the first time, where my good father sat for 49 years as first horn in the orchestra—where at the end of my life I experienced the keenest sense of
fulfillment of the dreams of authorship in 10 Strauss productions—this was the greatest catastrophe that has ever been brought into my life, for which there can be no consolation and, in my old age, no hope,” Strauss wrote to his biographer, the Swiss critic Willi Schuh. Almost immediately Strauss began sketching a Trauer um München (Mourning for Munich). As the news worsened, he also sought the consolations of Goethe, whose ideas about transformation found in his book The Metamorphosis of Plants (1790) and poem “The Metamorphosis of Animals” (1820) inspired Strauss’ concept of the Study for 23 Strings that Metamorphosen became at the behest of Paul Sacher, who conducted the premiere in Zurich in January 1946.
The theme Strauss had first sketched under the “Trauer um München” title has an important role in the great aching arc of Metamorphosen Four repeated notes and then a bit of a descending minor scale in dotted rhythm, it enters early and unobtrusively and, with three other main themes, is restlessly developed polyphonically. During the last eight minutes, however, it evolves into a clear suggestion of the Funeral March from Beethoven’s “Eroica” Symphony, No. 3, and there Strauss wrote “IN MEMORIAM!” in the score. The memorial was not just for the bombed opera houses, but for the shattered culture that they represented and that Strauss himself had embodied so fruitfully. —J.H.
JIN-SHAN DAI
Dynamic violinist JinShan Dai has performed extensively throughout North America, Europe, and Asia. He joined the Los Angeles Philharmonic at the beginning of the 2010/11 season. Previously, he was a member of the Toronto Symphony from 2004 to 2010 and made his debut as a soloist with that orchestra in 2008, playing Vivaldi’s The Four Seasons. A native of China, Dai studied at the Central Conservatory of Music in Beijing before moving to the US at 17 to continue his studies with Julia Bushkova, Eugene Drucker, Philip Setzer, Ani Kavafian, and Peter Oundjian. He was also greatly influenced by Paul Kantor and Kathleen Winkler.
KAELAN DECMAN
Kaelan Decman was appointed Associate Principal Bass of the Los Angeles Philharmonic by Gustavo Dudamel in spring 2022. Previously, he was a member of the San Diego Symphony Orchestra. Decman began his musical career playing the electric bass while also pursuing intensive classical training on the double bass. He earned a Bachelor of Music degree from the Indiana University Jacobs School of Music and continued graduate studies at the
University of Southern California Thornton School of Music. He has appeared with the Detroit Symphony Orchestra, New World Symphony, Phoenix Symphony, Los Angeles Chamber Orchestra, and Long Beach Symphony Orchestra.
ROBERT de MAINE
Robert deMaine is an American virtuoso cellist who has been hailed by The New York Times as “an artist who makes one hang on every note.” He has distinguished himself as one of the finest and most versatile instrumentalists of his generation, performing to critical acclaim as soloist, recitalist, orchestra principal, recording artist, chamber musician, and composer-arranger. In 2010, deMaine became a founding member of the highly acclaimed Ehnes String Quartet and completed several world tours and recordings with the ensemble. In 2012, he was invited to join the Los Angeles Philharmonic as Principal Cello. He collaborates often in a piano trio with violinist Hilary Hahn and pianist Natalie Zhu.
INGRID HUTMAN
Violist Ingrid Hutman, a native of Sierra Madre, began her music education
in the Pasadena public schools. She studied viola performance at California State University at Northridge with Louis Kievman and Heiichiro Ohyama, the Encore School of Music, and the Cleveland Institute of Music with Robert Vernon. She participated in the Los Angeles Philharmonic Institute in 1987 and 1988. Since joining the Los Angeles Philharmonic in 1991, Hutman has performed in the LA Phil’s Chamber Music series and New Music Group. An advocate for music education and training, Hutman has taught viola and coached young musicians in Santa Monica public schools, at USC, and through YOLA (Youth Orchestra Los Angeles).
DAHAE KIM
Cellist Dahae Kim joined the LA Phil as Assistant Principal in 2016. Previously, she served as Assistant Principal Cello of the Detroit Symphony Orchestra. She was a featured soloist with the DSO in the Benjamin Lees Concerto for String Quartet and Orchestra led by Leonard Slatkin.
Kim earned Bachelor’s and Master’s degrees at the New England Conservatory of Music as a student of Laurence Lesser and Paul Katz. She won first place in the 2010 Hudson Valley String Competition,
was a participant at the Tanglewood Music Center, and served as Principal Cello of the National Repertory Orchestra in summer 2012.
JORDAN KORANSKY
Violinist Jordan Koransky joined the LA Phil in 2019, having previously played with the Houston Symphony for three seasons. A native of Southern California, he attended USC as a Trustee Scholar, receiving a Bachelor of Music degree summa cum laude from the Thornton School of Music, studying under Alice Schoenfeld. He completed his Master of Music degree at Rice University Shepherd School of Music, where he studied with Paul Kantor. Koransky has held fellowships at several music festivals, including Tanglewood, Taos, and the Music Academy of the West. He plays on a violin by Joseph Curtin, made in Ann Arbor in 1998.
JOANNE PEARCE MARTIN
Pianist Joanne Pearce
Martin was appointed to the Los Angeles Philharmonic by Esa-Pekka Salonen in 2001.
The native of Allentown, PA, and graduate of Philadelphia’s Curtis Institute balances a busy career as soloist, chamber musician, and recording artist. Martin has been featured with the LA Phil on multiple
occasions at the Hollywood Bowl and Walt Disney Concert Hall. In 2016, she was the piano soloist in a sold-out and critically acclaimed performance of Messiaen’s epic 100-minute work Des canyons aux étoiles at London’s Barbican Centre with the LA Phil and Gustavo Dudamel. During the 2021/22 season, Martin had the distinct pleasure of working alongside Steven Spielberg as the featured solo pianist in his award-winning semi-autobiographical film The Fabelmans
ZACHARY MOWITZ
A native of Princeton, NJ, cellist Zachary Mowitz made his solo debut with The Philadelphia Orchestra in July 2018 as winner of the Greenfield Competition. Mowitz is the Artistic Director of ensemble132 and Nodality Music, an associated artist at the Queen Elisabeth Music Chapel (Belgium), and co-founder of Trio St. Bernard. He joined the Los Angeles Philharmonic in fall 2024. Mowitz graduated in 2018 from the Curtis Institute of Music, where he studied with Carter Brey and Peter Wiley. He subsequently studied at the Queen Elisabeth Music Chapel with Gary Hoffman and Jeroen Reuling and at the Royal College of Music (UK) with Richard Lester.
ASHLEY PARK
Ashley Jeehyun Park is a violinist from New York. She joined the Los Angeles Philharmonic in February 2022. Park is a graduate of The Juilliard School and studied principally with Joel Smirnoff, Ronald Copes, Hyo Kang, I-Hao Lee, and K.G. Zhang. She served as concertmaster of The Juilliard Orchestra and has performed with the Princeton Symphony Orchestra as visiting Principal Second Violin, with the Verbier Festival Orchestra, and with the New York Philharmonic. Park won first prize at the Hudson Valley String Competition, second prize at the Andrea Postacchini International Violin Competition, and a distinction from the National YoungArts Foundation.
JENNI SEO
Korean violist Jenni Seo is a compelling and versatile musician known for her rich sound and artistic integrity. Before joining the LA Phil, she was Assistant Principal Viola for the Minnesota Orchestra and a member of the Baltimore Symphony Orchestra. She is a frequent substitute violist with the New York Philharmonic and has toured with the orchestra internationally. Seo has made recurring appearances at Music@Menlo; Mainly Mozart; Pro Musica;
the NDSU Chamber, Bridge Chamber, and Lakes Area music festivals; the Bad Leonfelden International Summer Academy; and the Perlman Music Program. As a recitalist, Seo has been presented by the WQXR Midday Masterpieces series, the Harvard Club of New York, and the Neue Galerie.
BEN ULLERY
Praised by the Chicago Tribune for his “febrile intensity,” violist Ben Ullery enjoys a multifaceted career as a soloist, chamber musician, orchestral leader, and educator.
In 2023 he was appointed Associate Principal Viola of the LA Phil, where he had been Assistant Principal since 2012. Ullery has performed as guest Principal Viola with the Chicago Symphony, Pittsburgh Symphony, Minnesota Orchestra, Detroit Symphony, Saint Paul Chamber Orchestra, and Australian Chamber Orchestra. He has been featured on NPR’s
Performance Today and on releases on the Bridge and Albany record labels. A native of St. Paul, MN, Ullery earned a Bachelor of Music degree in violin performance from the Oberlin Conservatory of Music and later studied violin at New England Conservatory of Music and viola at the Colburn School.
JUSTIN WOO
Before joining the Los Angeles Philharmonic in September 2019, violinist Justin Woo served in the St. Louis Symphony in the 2018/19 season. He has performed frequently with the Seattle Symphony as a substitute, as well as the New World Symphony, Minnesota Orchestra, and the New York Philharmonic. Woo received his Bachelor of Music degree from the Cleveland Institute of Music, where he studied with Paul Kantor and Ivan Zenaty. He received his Master’s at the USC Thornton School of Music under the tutelage of Bing Wang.
Born and raised in Washington state, Woo began playing the violin at age 8, studying under Simon James, former Associate Concertmaster of the Seattle Symphony.
KATHERINE WOO
Katherine Woo made her Kennedy Center solo performance debut at the age of 11 and her Carnegie Hall solo debut at the age of 14. Woo was a quarterfinalist in the 2022 Indianapolis International Violin Competition and was invited to compete at the 2022 Henryk Wieniawski International Violin Competition. She won third prize at the 2019 Gisborne International Music Competition in New Zealand and was a quarterfinalist in the 2020 Elmar Oliveira International Violin Competition in Boca Raton, FL. Woo received her Bachelor and Master of Music degrees from The Juilliard School, studying with Sylvia Rosenberg, Masao Kawasaki, and Sheryl Staples.
Dudamel Conducts Mahler’s “Resurrection”
Los Angeles Philharmonic
Gustavo Dudamel, conductor
Chen Reiss, soprano
Beth Taylor, mezzo-soprano
Los Angeles Master Chorale
Grant Gershon, Artistic Director
Jenny Wong, Associate Artistic Director
G. MAHLER
Symphony No. 2 in C minor, “ Resurrection” (c. 80 minutes)
Allegro maestoso
Andante moderato
In ruhig fliessender Bewegung
Urlicht
In Tempo des Scherzos
Programs and artists subject to change.
THURSDAY
OCTOBER 9, 2025 8PM
FRIDAY
OCTOBER 10 11AM
SATURDAY
OCTOBER 11 8PM
SUNDAY
OCTOBER 12 2PM
These performances are generously supported by the Colburn Foundation
AT A GLANCE
Mahler’s Second Symphony is an event. In order to stage a performance, you first need a very large orchestra, then you need a full choir, two exceptional vocal soloists, and an organ. On top of these colossal musical forces, Mahler layers in nothing less than questions of life, death, and rebirth.
I first played Mahler’s Second when I was 13 or 14 years old, and I conducted the first movement when I was 17. As a young musician, I felt that this music was the closest thing to being in heaven, to
SYMPHONY NO. 2 IN C MINOR, “RESURRECTION”
Gustav Mahler (1860–1911)
Composed: 1888–94
Orchestration: 4 flutes (each=piccolo), 4 oboes (3rd and 4th=English horn), 2 clarinets in E-flat, 3 clarinets in B-flat (3rd=bass clarinet), 4 bassoons (3rd and 4th=contrabassoon), 10 horns, 6 trumpets, 4 trombones, tuba, triangle, high and low tam-tams, cymbals, glockenspiel, bells, side drum, bass drum, rute, timpani, 2 harps, organ, strings, soprano and mezzo-soprano soloists, and mixed chorus
First LA Phil performance: May 24, 1935, Otto Klemperer conducting, with Blythe Taylor Burns, Clemence Gifford, and the Los Angeles Oratorio Society
being with God. Even Mahler described his work as coming from another world. The LA Phil and I have gone on many journeys through Mahler’s music together, but we have performed this magnificent symphony together only once before, at the Hollywood Bowl in 2019. Now in my final season as Music & Artistic Director, I am particularly moved to join tonight’s amazing musicians in this exquisite hall to perform one of the most profound musical statements ever written. —Gustavo Dudamel
“Why have you lived? Why have you suffered? Is it all some huge, awful joke? We have to answer these questions somehow if we are to go on living—indeed, even if we are only to go on dying!” These are the questions Mahler said were posed in the first movement of his Symphony No. 2, questions that he promised would be answered in the finale. These questions erupt from a roiling, powerful musical flood. Mahler began work on the C-minor Symphony in 1888 while he was still finishing up his First Symphony, “Titan.” The huge movement he completed in September that year he labeled Todtenfeier (Funeral Rite).
It represented, he said, the funeral of the hero of his First Symphony, whose death provoked those superheated existential questions. For all of its urgent passion and expansive scale, the opening movement of the Second Symphony is also firmly—make that relentlessly—focused. It is in sonata form, in the lateRomantic understanding of contrasting thematic and emotional dialectics. If Death is the thesis, then Resurrection is the antithesis, and Mahler leavens the ominous, obsessive thrust of the movement with a warmly lyrical subject and intimations of the vocal
themes of the symphony’s last two movements.
Having presented his questions so forcefully, Mahler seems to have stumped himself for answers. He did not compose the second and third movements until summer 1893, and the finale waited another year.
This long break is reflected in the symphony itself. In the score, Mahler marks the end of the first movement with firm instructions to pause before launching the Andante. “…[T]here must also be a long, complete rest after the first movement since the second movement is not in the nature of a contrasting section but sounds completely incongruous after the first,” Mahler wrote to conductor Julius Buths in 1903. “This is my fault and it isn’t lack of understanding on the part of the audience…. The Andante is composed as a sort of intermezzo (like an echo of long past days from the life of him whom we carried to the grave in the first movement—‘while the sun still smiled at him’).
“While the first, third, fourth, and fifth movements are related in theme and mood content, the second is independent, and in a sense interrupts
the stern, relentless course of events.”
Mahler cast that second movement as a gentle ländler, a sort of rustic Austrian folk minuet. Its mellow poise and sophisticated lyric flight is interrupted twice, however, by more agitated suggestions that death is still with us.
Although marked “quietly flowing,” the third movement is the second’s evil twin, a sardonic waltzcum-scherzo. It is basically a symphonic adaptation of a song Mahler wrote, “St. Anthony of Padua’s Sermon to the Fish,” on a text from Des Knaben Wunderhorn (The Boy’s Magic Horn), a collection of German folk poetry that was a steady inspiration to the composer. The music picks up the text’s cynicism, with the two contrasting episodes here suggesting superficial sentiment and fake happiness.
Then came the task of creating a finale that would reverse this hellbound train and resolve those initial questions into affirmation. “With the finale of the Second Symphony, I ransacked world literature, including the Bible, to find the liberating word, and finally I was compelled myself to bestow words on my
feelings and thoughts,” Mahler wrote to the critic Arthur Seidl in 1897.
“The way in which I received the inspiration for this is deeply characteristic of the essence of artistic creation. For a long time I had been thinking of introducing the chorus in the last movement and only my concern that it might be taken for a superficial imitation of Beethoven made me procrastinate again and again. About this time [storied conductor Hans von] Bülow died, and I was present at his funeral. The mood in which I sat there, thinking of the departed, was precisely in the spirit of the work I had been carrying around within myself at that time. Then the choir, up in the organ loft, intoned the Klopstock ‘Resurrection’ chorale. Like a flash of lighting it struck me, and everything became clear and articulate in my mind.”
The chorale text, written by German poet and playwright Friedrich Gottlieb Klopstock—to which Mahler added four verses of his own, beginning with “O glaube, mein Herz” (Oh believe, my heart)—provided a goal, a blissed-out heaven to which humanity, and Mahler’s Symphony, might
ascend. To get there, Mahler added another Wunderhorn song, “Urlicht” (Primeval Light), as a bridge to the finale. With this song, Mahler humanized this deeply felt prayer and overthrew the bitterness of the previous movement with a sort of spiritual and musical judo.
But all the questions and the ferocious death march of the opening, haunted by the Dies irae
(the “Day of Wrath” chant from the Gregorian mass for the dead), return at the beginning the finale. Mahler stills a whirlwind of musical images with his grosse Appell, a great call from offstage brass, while onstage a flute and a piccolo flutter birdcalls over the desolation.
Then the chorus makes its entrance with the “Resurrection” chorale, not in a triumphant blast, but at
the softest possible level on the very edge of audibility. This is not weakness, but massive assurance, as if it had always been there below the self-absorbed tumult. The solo voices take flight from the choral sound, ultimately in a ravishing, upwardly yearning duet. From there it is finally a matter of full-resource jubilation, all brilliant fanfares and pealing bells. —John Henken
GUSTAVO DUDAMEL
To read about Music & Artistic Director Gustavo Dudamel, please turn to page 8
CHEN REISS
With “a voice of silver brightness and clarity” ( Bachtrack) and “immaculately produced and enticing tone matched
by superb musicianship” (Opera News), Israeli soprano Chen Reiss came to prominence as a member of the Bavarian State Opera ensemble and as a resident artist at the Vienna State Opera. Her operatic repertoire encompasses the title role in Cavalli’s La Calisto (Teatro alla Scala, Milan), Ginevra in Ariodante (Royal Opera House Covent Garden), Mozart’s Zaide (Teatro dell’Opera di Roma), Donna Anna in Don Giovanni, the Countess in Le nozze di Figaro, Anne Trulove in The Rake’s Progress, Liù in Turandot, Rosalinde in Die Fledermaus, and the title role in Monteverdi’s L’incoronazione di Poppea Highlights of the 2024/25 season included her stage debut as Mozart’s Countess at the Welsh National Opera, the title role in Robert Schumann’s Genoveva at the Kölner Philharmonie, Strauss’ Four Last Songs with the Israel Philharmonic Orchestra, her debut in Vaughan Williams’ A Sea Symphony with Tarmo Peltokoski and the Orchestre national du Capitole de Toulouse, and collaborations
with conductors including Christoph Eschenbach, Zubin Mehta, Ivor Bolton, Lahav Shani, and Alain Altinoglu.
Recent highlights include the position of Artist in Residence at the Rotterdam Philharmonic Orchestra, the Royal Concertgebouw Orchestra’s Christmas Day concert under Klaus Mäkelä, and her debuts in Beethoven’s Missa Solemnis at the Philharmonie de Paris, Mahler’s Das klagende Lied at the Leipzig Gewandhaus Mahler Festival, and Dvořák’s Stabat Mater
Recent recordings include Mendelssohn’s Lobgesang with the Tonhalle-Orchester Zürich and Paavo Järvi (Alpha Classics), Mahler’s Fourth Symphony with the Czech Philharmonic and Semyon Bychkov (Pentatone), Schreker’s Vom ewigen Leben with Eschenbach and the Konzerthausorchester Berlin (Deutsche Grammophon), lieder and scenas of Fanny Hensel and Felix Mendelssohn with the Jewish Chamber Orchestra of Munich, and Beethoven arias and scenas with the Academy of Ancient Music.
BETH TAYLOR
Lauded by The Guardian for her “dark and focused” voice, “sensational coloratura,” and “spectacular singing” and by The Times of London for her “fierce, indeed terrifying, caneswishing” characterizations, Beth Taylor is one of today’s most electrifying young mezzo-sopranos. Taylor begins her 2025/26 season singing the title role in the final scene of Rossini’s Ermione with the Monteverdi Choir at London’s Cadogan Hall. She then joins the
Los Angeles Philharmonic and Gustavo Dudamel for Mahler’s Symphony No. 2 in Los Angeles and on tour. She returns to the US for Beethoven’s Symphony No. 9 at Carnegie Hall with the Orchestra of St. Luke’s under Raphaël Pichon and performs the work with the Vienna Symphony Orchestra at the Vienna Konzerthaus. Further highlights include her return to the Berlin Philharmonic for Bach’s Mass in B minor and Mahler’s Symphony No. 8 with Kirill Petrenko and a performance of Elgar’s Sea Pictures with the London Philharmonic Orchestra. Taylor also appears with the Bavarian Radio Symphony Orchestra in Mahler’s Second Symphony under Sir Simon Rattle, the Munich Philharmonic for Elgar’s The Dream of Gerontius, and the Munich Radio Orchestra in Karl Jenkins’ The Armed
Man. At Tokyo’s Suntory Hall, she sings The Dream of Gerontius with the Yomiuri Nippon Symphony Orchestra and Ivor Bolton. With pianist Hamish Brown, she sings a recital at Wigmore Hall.
In addition to her concert work, Taylor appears as Speranza in a staged performance of Monteverdi’s L’Orfeo in Bilbao and tours as Cornelia in Handel’s Giulio Cesare with Il Pomo d’Oro to Vienna, Budapest, Amsterdam, Paris, Barcelona, Madrid, Valencia, Warsaw, and Essen.
Beth Taylor is a grand finalist of the 2023 BBC Cardiff Singer of the World competition, the winner of the 2022 Elizabeth Connell Award, third-prize winner of the 2019 Wigmore Hall Competition, and the winner of the 2018 Gianni Bergamo Classic Music Award. She is a graduate of the Royal Conservatoire of Scotland and The Open University.
LOS ANGELES MASTER CHORALE
To read about the Los Angeles Master Chorale, please turn to page P5.
SOPRANO
April Amante
Tamara Bevard
Christina Bristow
Natalie Buickians
Harriet Fraser
Graycen Gardner
Kelci Hahn
Ayana Haviv
Karen Hogle Brown
Elissa Johnston
Juhye Kim
Sarah Lonsert
Caroline McKenzie
Alina Roitstein
Anna Schubert
Holly Sedillos
Sunmi Shin
Kathryn Shuman
Addy Sterrett
Nicole Taylor
Chloé Vaught
Suzanne Waters
Andrea Zomorodian
ALTO
Garineh Avakian
Anna Caplan
Janelle DeStefano
Carmen Edano
Zineb Fikri
Michele Hemmings
Callista
Hoffman-Campbell
Shabnam Kalbasi
Sharon Chohi Kim
Wooyoung Kim
Sharmila G. Lash
Hannah Little
Sarah Lynch
Adriana Manfredi
Julia Metzler
Lindsay Patterson Abdou
Laura Smith Roethe
Jessie Shulman
Niké St. Clair
Ilana Summers
Kimberly Switzer
Tracy Van Fleet
Elyse Willis
TENOR
Casey Breves
Matthew Brown
Bradley Chapman
Michael Jones
Dermot Kiernan
Shawn Kirchner
Joey Krumbein
Bryan Lane
Charles Lane
Kyuyoung Lee
Michael Lichtenauer
JJ Lopez
Sal Malaki
Matthew Miles
David Morales
Robert Norman
Rohan Ramanan
Evan Roberts
Edmond Rodriguez
Darita Seth
Todd Strange
Matt Thomas
Matthew Tresler
BASS
Derrell Acon
Michael Bannett
Mark Beasom
John Buffett
David Castillo
Kevin Dalbey
Sean Gabel
Dylan Gentile
Will Goldman
Abdiel Gonzalez
Scott Graff
James Hayden
David Dong-Geun Kim
Luc Kleiner
Chung Uk Lee
Scott Lehmkuhl
Ben Han-Wei Lin
Brett McDermid
Steve Pence
Adrien Redford
Mark Edward Smith
Lorenzo Zapata
Shuo Zhai
The Artists of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO, James Hayden, AGMA Delegate.
Paul Jacobs
SUNDAY OCTOBER 12, 2025 7:30PM
J.S. BACH The Art of Fugue, BWV 1080 (c. 75 minutes)
Contrapunctus 1
Contrapunctus 2
Contrapunctus 3
Contrapunctus 4
Contrapunctus 5
Contrapunctus 6. a 4 in Stylo Francese
Contrapunctus 7. a 4 per Augmentationem et Diminutionem
Contrapunctus 8. a 3
Contrapunctus 9. a 4 alla Duodecima
Contrapunctus 10. a 4 alla Decima
Contrapunctus 11. a 4
Contrapunctus inversus 12.1 a 4
Contrapunctus inversus 12.2 a 4
Contrapunctus inversus 13.1 a 3
Contrapunctus inversus 13.1 a 3
Canon per Augmentationem in Contrario Motu
Canon alla Ottava
Canon alla Decima Contrapunto alla Terza
Canon alla Duodecima in Contrapunto alla Quinta
Contrapunctus 14 (Fuga a 3 Soggetti)
This program will be presented without intermission. Programs and artists subject to change.
This performance is generously supported by the Valerie Franklin Baroque Music Fund
Michael Wilson is Walt Disney Concert Hall Organ Conservator.
Manuel Rosales and Morgan Byrd are principal technicians for the Walt Disney Concert Hall organ.
laphil.com/organstoplist
Paul Jacobs, organ
AT A GLANCE
The Art of Fugue is steeped in more intrigue than any other work of Bach. It’s some of the purest music ever conceived. Many unanswered questions surround it, including for which instrument, or instruments, he intended it to be performed—if at all. For an organist, a particularly daunting puzzle presents itself, beginning with deciding which two feet and hands will play each of the simultaneously interweaving lines of music. —Paul Jacobs
THE ART OF FUGUE, BWV 1080
Johann Sebastian Bach (1685–1750)
Bach wrote canons and fugues throughout his creative life. But in his final decade he turned to those old procedures of imitative counterpoint with renewed inspiration and intensity. The Goldberg Variations, the Canonic Variations on the Christmas Song “Vom Himmel hoch,” The Musical Offering, and The Art of Fugue are all rigorously organized, large-scale works based on a single theme. Against the prevailing grain of the modish galant style, Bach explored the farthest technical and expressive reaches of complex counterpoint.
“I think that Bach was, in a sense, ‘out for blood’ when composing The Art of Fugue,” Paul Jacobs has said. “After all, musical
tastes were changing dramatically in the mid18th century. Bach’s own sons were catalysts for displacing his preferred ‘old’ contrapuntal style for a lighter, simpler music. Possibly as an act of artistic defiance, Bach set out to prove that there was still much to express in writing intricate fugues. The jaw-dropping complexity of this uncompromising work, left unfinished on his deathbed, has proven a crowning achievement in the history of music.”
Time has vindicated Bach and his monumental efforts, though the fugue in general not so much. “Why should I write a fugue or something that won’t appeal to anyone, when the people yearn for things which can stir them?” Elgar asked rhetorically about a century ago, and the old joke that a fugue is a piece of music in which the parts come in one after
another and the listeners go out one after another still has some currency.
But for Bach, the recursive layers of fugues intensified the expressive power of a theme. He exploited the techniques not just in pieces that carried “fugue” as a title, but also at climactic moments or movements in choral, orchestral, and chamber music works of all kinds, including the almost paradoxical fugues for solo violin and cello.
Bach composed The Art of Fugue in two stages— possibly interrupted by the creation of The Musical Offering for Frederick the Great in 1747—during the last five years of his life. He was preparing the work for publication when he died, leaving behind an incomplete manuscript and a host of questions. The main body of this ostensibly pedagogical
work consisted of 14 fugues, organized roughly in order of increasing complexity. (Bach used the word “contrapunctus,” an archaic term even then, instead of “fugue” on these pieces.) There are also four canons—a stricter, less flexible implementation of the fugal principle—on the same D-minor subject, and alternative versions of some of the fugues.
The final fugue, which was intended to be an epic with four subjects, is unfinished in the manuscript. It just stops in mid-flow, after the introduction of the third subject, which was based on Bach’s own name. (In the German system, B-AC-H are the pitches B-flat, A, C, B-natural, a pattern that also represents a cross.) At that point in the
manuscript, Bach’s son Carl Philipp Emanuel Bach wrote, “While working on this fugue, which introduces the name BACH in the countersubject, the composer died.”
That is probably not true, though the image of the composer dying just as he musically signed this masterpiece-inthe-making has given it the nickname “Death Fugue” for some writers. Bach’s handwriting at that point has not changed, indicating that he had not yet tried to correct his worsening eyesight. He turned to one Dr. John Taylor, a depressingly successful traveling quack, for surgical treatment. After a cataract operation, he regained some sight, but it faded quickly and the procedure had to be
repeated. This left Bach completely blind and greatly weakened; in the postoperative aftermath he suffered a stroke and died 10 days later. (Handel survived an operation by the same doctor; he lived seven more years, but almost completely blind.)
Many musicians have completed this fugue, but many others, such as Paul Jacobs, prefer to play it as it is, crashing into an echoing well of silence. Other questions about the work abound, including which instrument(s) it was intended for, if any. But even with the uncertainties, this is as transcendental a farewell as any composer has ever left, probing the mysteries of pure beauty with the exacting but simple tool of the fugue. —John Henken
PAUL JACOBS
Heralded as “one of the finest organists and teachers of our day” by Zachary Woolfe of The New York Times, “one of the major musicians of our time” by Alex Ross of The New Yorker, and as “America’s leading organ performer” by The Economist, the internationally celebrated organist Paul Jacobs combines a probing intellect and extraordinary technical mastery with an unusually large repertoire, both old and new. He has performed to great critical acclaim on five continents and in each of the 50 United States. The only organist ever to have won a Grammy Award—in 2011 for Messiaen’s towering
Livre du Saint-Sacrement Jacobs is an eloquent champion of his instrument both in the US and abroad. Jacobs has transfixed audiences, colleagues, and critics alike with landmark performances of the complete works for solo organ by J.S. Bach and Messiaen. A fierce advocate of new music, Jacobs has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Bernd Richard Deutsch, John Harbison, Wayne Oquin, Stephen Paulus, Christopher Theofanidis, and Christopher Rouse, among others. As a teacher he has also been a vocal proponent of the redeeming nature of traditional and contemporary classical music.
No other organist is repeatedly invited as soloist to perform with prestigious orchestras, thus making him a pioneer in the movement for the revival of symphonic music featuring the organ. Jacobs regularly appears with the Chicago Symphony, Cincinnati Symphony, The Cleveland Orchestra, Edmonton Symphony, Indianapolis Symphony,
Kansas City Symphony, Los Angeles Philharmonic, Lucerne Symphony Orchestra, Minnesota Orchestra, Montreal Symphony, Nashville Symphony, National Symphony Orchestra, Pacific Symphony, The Philadelphia Orchestra, Phoenix Symphony, San Francisco Symphony, Toledo Symphony, Utah Symphony, and Warsaw Philharmonic, among others. Jacobs studied at the Curtis Institute of Music with organist John Weaver and harpsichordist Lionel Party, and at Yale University with Thomas Murray. He joined the faculty of The Juilliard School in 2003 and was named chairman of the organ department in 2004, one of the youngest faculty appointees in the school’s history. He received Juilliard’s prestigious William Schuman Scholar’s Chair in 2007. In 2017 he received an honorary doctorate from Washington and Jefferson College. In 2021, the American Guild of Organists named him recipient of the International Performer of the Year Award. Jacobs has written several articles for The Wall Street Journal
MOCA Focus: Takako Yamaguchi
Takako Yamaguchi, Stitch (detail), 2023. Courtesy of the artist; Ortuzar, New York; and as-is.la, Los Angeles. Photo: Gene Ogami.
CORPORATE PARTNERS
The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email aradden@laphil.org.
ANNUAL GIVING
From the concerts that take place onstage at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford to the learning programs that fill our community with music, it is the consistent support of Annual Donors that sustains and propels our work. We hope you, too, will consider making a gift today. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music—sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our success.
FRIENDS OF THE LA PHIL
Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA (Youth Orchestra Los Angeles), which provides free after-school music instruction to children in culturally vibrant and ethnically diverse communities across LA County. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, or to learn about membership benefits, please call 213 972 7557 or email friends@laphil.org.
PHILHARMONIC COUNCIL
Winnie Kho and Chris Testa, Co-Chairs
Christian and Tiffany Chivaroli, Co-Chairs
The Philharmonic Council is a vital leadership group whose members provide critical resources in support of the LA Phil’s general operations. Their vision and generosity enable the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.
January 29-31, 2026 The Wallis
Celebrating our Past, Present, and Future: 20 Years of Los Angeles Ballet
Rubies
Frank Bridge Variations
World Premiere by Melissa Barak
January 29-31, 2026
The Wallis
2025/2026 Season
Giselle April 30-May 3, 2026
Ahmanson Theatre
The Nutcracker December 12-28, 2025
Royce Hall at UCLA
Dolby Theatre
Learn more losangelesballet.org
ENDOWMENT DONORS
We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of July 31, 2025.
$25,000,000 AND ABOVE
Walt and Lilly
Disney Foundation
Cecilia and Dudley Rauch
$20,000,000 TO $24,999,999
David Bohnett Foundation
$10,000,000 TO $19,999,999
The Annenberg Foundation
Colburn Foundation
Lenore S. and Bernard A. Greenberg Fund
$5,000,000 TO $9,999,999
Anonymous Dunard Fund USA
Carol Colburn Grigor
Terri and Jerry M. Kohl
Los Angeles
Philharmonic
Affiliates
Diane and Ron Miller
Charitable Fund
M. David and Diane Paul
Ann and Robert Ronus
Ronus Foundation
John and Samantha Williams
$2,500,000 TO $4,999,999
Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann
Lynn Booth/The Otis Booth Foundation
Elaine and Bram Goldsmith
Norman and Sadie Lee Foundation
Karl H. Loring
Alfred E. Mann
Elise Mudd
Marvin Trust
Barbara and Jay Rasulo
Flora L. Thornton
$1,000,000 TO $2,499,999
Linda and Robert Attiyeh
Judith and Thomas Beckmen
Gordon Binder and Adele Haggarty
Helen and Peter Bing
William H. Brady, III
Linda and Maynard Brittan
Richard and Norma Camp
Mr. and Mrs.
Michael J. Connell
Mark Houston
Dalzell and James
Dao-Dalzell
Mari L. Danihel
Nancy and Donald de Brier
The Rafael & Luisa de Marchena-Huyke Foundation
The Walt Disney Company
Fairchild-Martindale Foundation
Eris and Larry Field
Max H. Gluck Foundation
Reese and Doris Gothie
Joan and John Hotchkis
Janeway Foundation
Bernice and Wendell Jeffrey
Carrie and Stuart Ketchum
Kenneth N. and Doreen R. Klee
B. Allen and Dorothy Lay
Los Angeles Philharmonic Committee
Estate of Judith Lynne
Maddocks-Brown Foundation
Ginny Mancini
Raulee Marcus
Barbara and Buzz McCoy
Merle and Peter Mullin
William Powers and Carolyn Powers
Koni and Geoff Rich
H. Russell Smith Foundation
Jay and Deanie Stein Foundation Trust
Ronald and Valerie Sugar
I.H. Sutnick
$500,000 TO $999,999
Ann and Martin Albert
Abbott Brown
Mr. George L. Cassat
Kathleen and Jerrold L. Eberhardt
Valerie Franklin
Yvonne and Gordon Hessler
Barbara Leidenfrost
Ernest Mauk and Doyce Nunis
Mr. and Mrs. David Meline
Sandy and Barry D. Pressman
Earl and Victoria Pushee
William and Sally Rutter
Nancy and Barry Sanders
Kenneth D. Sanson
Richard and Bradley Seeley
Christian Stracke
Donna Swayze
Judy Ungar and Adrienne Fritz
Lee and Hope Landis Warner
YOLA Student Fund
Edna Weiss
$250,000 TO $499,999
Nancy and Leslie Abell
Mr. Gregory A. Adams
Baker Family Trust
Kawanna and Jay Brown
Leah Danberg
Veronica and Robert Egelston
Gordon Family Foundation
Ms. Kay Harland
Joan Green Harris Trust
Bud and Barbara Hellman
Gerald L. Katell
Norma Kayser
Joyce and Kent Kresa
Raymond Lieberman
Mr. Kevin MacCarthy and Ms. Lauren Lexton
Alfred E. Mann Charities
Glenn Miya and Steven Llanusa
Jane and Marc B. Nathanson
Miguel A. Navarro
Y & S Nazarian
Family Foundation
Nancy and Sidney Petersen
Rice Family Foundation
Robert Robinson
Katharine and Thomas Stoever
Sue Tsao
Alyce and Warren Williamson
$100,000 TO $249,999
Mr. Robert J. Abernethy
William A. Allison
Rachel and Lee Ault
W. Lee Bailey, M.D.
Angela Bardowell
Deborah Borda
The Eli and Edythe
Broad Foundation
Jane Carruthers
Pei-yuan Chia and Katherine Shen
James and Paula Coburn Foundation
The Geraldine P. Coombs Trust in memory of Gerie P. Coombs
Mr. and Mrs. Terry Cox
Silvia and Kevin Dretzka
Allan and Diane Eisenman
Christine and Daniel Ewell
Diane Futterman
Arnold Gilberg, M.D., Ph.D.
David and Paige Glickman
Nicholas T. Goldsborough
Gonda Family Foundation
Margaret Grauman
Kathryn Kert Green and Mark Green
Freya and Mark Ivener
Ruth Jacobson
Estate of Mary Calfas Janos
Stephen A. Kanter, M.D.
Jo Ann and Charles Kaplan
Yates Keir
Susanne and Paul Kester
Vicki King
Sylvia Kunin
Ann and Edward Leibon
Ellen and Mark Lipson
Ms. Gloria Lothrop
Vicki and Kerry McCluggage
Heidi and Steve McLean in memory of Katharine Lamb
David and Margaret Mgrublian
Diane and Leon Morton
Mary Pickford Foundation
Sally and Frank Raab
Mr. David Sanders
Malcolm Schneer and Cathy Liu
David and Linda Shaheen Foundation
William E.B. and Laura K. Siart
Tom and Janet Unterman
Magda and Frederick R. Waingrow
Wasserman Foundation
Robert Wood
Syham Yohanna and James W. Manns
$25,000 TO $99,999
Mr. and Mrs. Karl J. Abert
Marie Baier Foundation
Dr. Richard Bardowell, M.D.
Jacqueline Briskin
Dona Burrell
Ying Cai & Wann S. Lee Foundation
Ann and Tony Cannon
Dee and Robert E. Cody
The Colburn Fund
Margaret Sheehy Collins
Mr. Allen Don Cornelsen
Ginny and John Cushman
Marilyn J. Dale
Mrs. Barbara A. Davis
Dr. and Mrs. Roger DeBard
Jennifer and Royce Diener
Jane B. and Michael D. Eisner
The Englekirk Family
Claudia and Mark Foster
Lillian and Stephen Frank
Margaret E. Gascoigne
Dr. Suzanne Gemmell
Paul and Florence Glaser
Good Works Foundation
Anne Heineman
Ann and Jean Horton
Drs. Judith and Herbert Hyman
Albert E. and Nancy C. Jenkins
Robert Jesberg and Michael J. Carmody
William Johnson and Daniel Meeks
Ms. Ann L. Kligman
Sandra Krause and William Fitzgerald
Michael and Emily Laskin
B. and Lonis Liverman
Sarah and Ira R. Manson
Carole McCormac
Meitus Marital Trust
Sharyl and Rafael Mendez, M.D.
John Millard
National Endowment for the Arts
Alfred and Arlene Noreen
Occidental Petroleum Corporation
Dr. M. Lee Pearce
Lois Rosen
Anne and James Rothenberg
Donald Tracy Rumford Family Trust
The SahanDaywi Foundation
Mrs. Nancie
Schneider
William and Luiginia Sheridan
Virginia Skinner
Living Trust
Nancy and Richard Spelke
Mary H. Statham
Ms. Fran H. Tuchman
Rhio H. Weir
Mrs. Joseph F. Westheimer
Jean Willingham
Winnick Family Foundation
Cheryl and Peter Ziegler
Lynn and Roger Zino
LA PHIL MUSICIANS
Anonymous Kenneth Bonebrake
Nancy and Martin Chalifour
Brian Drake
Perry Dreiman
Barry Gold
Christopher Hanulik
John Hayhurst
Jory and Selina Herman
Ingrid Hutman
Andrew Lowy
Gloria Lum
Joanne Pearce Martin
Kazue Asawa
McGregor
Oscar and Diane Meza
Mitchell Newman
Peter Rofé
Meredith Snow and Mark Zimoski
Barry Socher
Paul Stein
Leticia Oaks Strong
Lyndon and Beth
Johnston Taylor
Dennis Trembly
Allison and Jim Wilt
Suli Xue
We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.
ANNUAL DONORS
The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between August 1, 2024, and July 31, 2025.
$1,000,000 AND ABOVE
Anonymous (2)
$500,000 TO $999,999
Anne Akiko Meyers and Jason Subotky
Anonymous Ballmer GroupJennifer Miller Goff Music Center Foundation
$200,000 TO $499,999
Anonymous
Judith and Thomas L. Beckmen
Canon Insurance Service
Colburn Foundation
Michael J. Connell Foundation
Jane B. and Michael D. Eisner
Lisa Field
$100,000 TO $199,999
Anonymous (4)
Nancy and Leslie Abell
Mr. Gregory A. Adams
The Blue Ribbon
Kawanna and Jay Brown
R. Martin Chavez Dunard Fund USA
Louise and Brad Edgerton/Edgerton Foundation
The Eisner Foundation Estate of Joseph Garcia
Alexandra S. Glickman and Gayle Whittemore
$50,000 TO $99,999
Anonymous
Ms. Kate Angelo and Mr. Francois Mobasser
Mr. Joe Berchtold
David Bohnett
Foundation
Linda and Maynard Brittan
Andrea Chao-Kharma and Kenneth Kharma
Dan Clivner
Nancy and Donald de Brier
De Marchena-Huyke Foundation
The Walt Disney Company
Kathleen and Jerry L. Eberhardt
Dr. Paul and Patti Eisenberg
Mr. James Gleason
Lori Greene Gordon
Faye Greenberg and David Lawrence Harman Family Foundation
Yvonne Hessler
Mr. Philip Hettema
Alexa Hong and Derek Reeves
$25,000 TO $49,999
Anonymous (11)
The Herb Alpert Foundation
Dr. William Benbassat
Susan and Adam Berger
Samuel and Erin Biggs
Mr. and Mrs.
Norris J. Bishton, Jr.
Jill Black Zalben
Michele Brustin
Gail Buchalter and Warren Breslow
Thy Bui
Steven and Lori Bush
Business and Professional Committee
Ying Cai & Wann
S. Lee Foundation
Chevron Products Company
Esther S.M. Chui
Chao & Andrea
Chao-Kharma
Mr. Richard W. Colburn
Mr. and Mrs.
Robert Cook
Faith and Jonathan Cookler
Orna and David Delrahim
Mike Dreyer
Joseph Drown Foundation
East West Bank
Edison International
Marianna J. Fisher and David Fisher
Austin and Lauren Fite Foundation
Debra Frank
Drs. Jessie and Steven Galson
The Rosalinde and Arthur Gilbert Foundation
Francis Goelet
Charitable Lead Trusts
Robyn Field and Anthony O’Carroll
Gordon P. Getty
Ms. Erika J. Glazer
Max H. Gluck Foundation
Tamara Golihew
GRoW @ Annenberg
The José Iturbi Foundation
Kaiser Permanente
Winnie Kho and Chris Testa
David Z. & Young O. Hong Family Foundation
Barbara and Amos Hostetter
Monique and Jonathan Kagan
Mr. and Mrs.
Joshua R. Kaplan
Linda and Donald Kaplan
Terri and Michael Kaplan
W.M. Keck Foundation
Darioush and Shahpar Khaledi
Delores M. Komar and
Susan M. Wolford
Dr. Ralph A. Korpman
Ms. Susanne H.
Goldstein
Kate Good
Liz and Peter Goulds
Marnie and Dan Gruen
Renée and Paul Haas
Vicken and Susan J. Haleblian
Sam Harris
Lynette Maria
Carlucci Hayde
Madeleine Heil and Sean Petersen
Donna and Walter Helm
Stephen D. Henry and Rudy M. Oclaray
Marion and Tod Hindin
Mr. Tyler Holcomb
Thomas Dubois Hormel
Foundation
David and Michelle Horowitz
The Hearthland Foundation
The Hillenburg Family
Tylie Jones
Terri and Jerry M. Kohl
The Music Man Foundation
County of Los Angeles
Ms. Irene Mecchi
Michael and Lori Milken Family Foundation
John Mohme Foundation
Maureen and Stanley Moore
Mr. and Mrs. Keith Landenberger
Norman and Sadie Lee Foundation
Los Angeles County Department of Arts and Culture
Roger Lustberg and Cheryl Petersen
Alfred E. Mann Charities
Linda May and Jack Suzar
Barbara and Buzz McCoy
Mr. and Mrs.
David Meline Peninsula Committee
Ms. Teena Hostovich and Mr. Doug Martinet
Frank Hu and Vikki Sung
Jim and Joanne Hunter
Rif and Bridget Hutton
Robin and Gary Jacobs
Julia Kalmus and Abe Lillard
Paul Kester
Vicki King
Elizabeth Kolawa
Mrs. Grace E. Latt
David Lee
Ms. Agnes Lew
Simon and June Li
Charlene and Vinny Lingham
Live Nation-Hewitt Silva Concerts, LLC
Ms. Judith W. Locke
City of Los Angeles, Department of Cultural Affairs
M. David and Diane Paul
Barbara and Jay Rasulo
The Rauch Family Foundation
Rolex Watch USA, Inc.
Maria Seferian
Koni and Geoff Rich
Michael Ritz
The Rose Hills Foundation Rosenthal Family Foundation Snap Foundation
Ms. Linda L. Pierce
Sandy and Barry D. Pressman
James D. Rigler/Lloyd E. Rigler - Lawrence E. Deutsch Foundation
Richard and Diane Schirtzer
Audre Slater Foundation
Smidt Family Foundation Trust
Sony Pictures Entertainment, Inc.
Marilyn and Eugene Stein
Los Angeles Philharmonic Affiliates
The Seth MacFarlane Foundation
Mrs. Beverly C. Marksbury
Matt Construction Corporation
Ms. Kim McCarthy and Mr. Ben Cheng
Heidi and Steve McLean
Coco Miller
Ms. Christine Muller and Mr. John Swanson
Molly Munger and Stephen English
Deena and Edward Nahmias
Anthony and Olivia Neece
Linda and David Shaheen
Jay and Deanie Stein Foundation Trust
Alyce de Roulet Williamson
Margo and Irwin Winkler
Ellen and Arnold Zetcher
Ronald and Valerie Sugar
Cecilia Terasaki
Sue Tsao
David William Upham Foundation
Ellen Goldsmith-Vein and Jon Vein
Mr. Alex Weingarten
John and Marilyn Wells Family Foundation
Jenny Williams
Debra Wong Yang and John W. Spiegel
Mr. and Mrs.
Randy Newman
Estate of Robert W. Olsen
Tye Ouzounian
Mr. Ralph Page and Patty Lesh
Ellen Pansky
Bruce and Aulana Peters
Dennis and Cindy Poulsen
Madeline and Bruce Ramer
Mr. Bennett Rosenthal
Ross Endowment Fund
Bill and Amy Roth
The Ruby Family
Katy and Michael S. Saei
Mr. Lee C. Samson
San Marino-Pasadena
Philharmonic Committee
Pasadena Showcase House for the Arts
Join us for fearless and transformative theater, dance and music that unites and inspires.
Featuring:
> Arturo O’Farrill and the Afro Latin Jazz Ensemble
> Joy Guidry > David Roussève/REALITY > Jlin
> Tiago Rodrigues > Wild Up > d. Sabela grimes
> Third Coast Percussion and Salar Nader > Lucìa
Don’t just watch— come and complete the experience.
TIAGO RODRIGUES
Photo by Christophe Raynaud de Lage
Ellen and Richard Sandler
Miguel Santana
Elizabeth and Justus Schlichting
Howard and Stephanie Sherwood
Ms. Pilar Simmons
John Sinnema and Laura Sinnema
Melanie and Harold Snedcof
Randy and Susan Snyder
$15,000 TO $24,999
Anonymous (2)
Mr. Robert J.
Abernethy
Drew and Susan Adams
Honorable and Mrs.
Richard Adler
Tichina Arnold
Ms. Michelle Ashford and Mr. Greg Walker
Mrs. Stella Balesh
Ms. Elizabeth Barbatelli
Karen Barragan
Joni and Miles Benickes
Robert and Joan Blackman Family Foundation
Mr. and Mrs.
Geoff C. Bland
Mr. Ronald H. Bloom
Tracey BoldemannTatkin and Stan Tatkin
The Otis Booth Foundation
Mr. and Mrs. Wade Bourne
Campagna Family Trust
Mara and Joseph Carieri
Dominic Chan
Marlene Schall Chavez, Ph.D
Sarah and Roger Chrisman
Larison Clark
Mr. and Mrs. V. Shannon Clyne
Cary Davidson and Andrew Ogilvie
Victoria Seaver Dean, Patrick Seaver, Carlton Seaver
Jennifer Diener and Eric Small
Malsi and Johnny Doyle
James and Andrea Drollinger
Van and Francine Durrer
Dr. and Mrs.
William M. Duxler
Michael Edelstein
Ms. Robin Eisenman and Mr. Maurice LaMarche
Geoff Emery
Bonnie and Ronald Fein
Evelyn and Norman Feintech Family Foundation
E. Mark Fishman and Carrie N. Feldman
Ella Fitzgerald Charitable Foundation
Foothill Philharmonic Committee
Tony and Elisabeth Freinberg
Joan Friedman, Ph.D., and Robert N. Braun, M.D.
Mr. and Mrs.
Josh Friedman
Gary and Cindy Frischling
Lisa Fung
Beth Gertmenian
Mr. and Mrs. Ronald Gertz
Leslie and Cliff Gilbert-Lurie
Carrie and Rob Glicksteen
Greg and Etty Goetzman
$10,000 TO $14,999
Anonymous (5)
Ameriprise Financial
Debra and Benjamin Ansell
Ms. Lisette Arsuaga and Mr. Gilbert Davila
Aversa Foundation
Judy and Leigh Bardugo
Stephanie Barron
Mr. Joseph A. Bartush
Catherine and Joseph Battaglia
Susan Baumgarten
Sondra Behrens
Mr. and Mrs.
Philip Bellomy
Mr. and Mrs.
Bill Benenson
Mark and Pat Benjamin
Suzette and Monroe Berkman
Ms. Gail K. Bernstein
Helen and Peter S. Bing
Kenneth Blakeley and Quentin O’Brien
Mitchell Bloom
Jeremy and Luanne Stark
Eva and Marc Stern
Megan Watanabe and Hideya Terashima
Dr. James Thompson and Dr. Diane Birnbaumer
Mr. Gregg Goldman and Mr. Anthony DeFrancesco
Goodman Family Foundation
Robert and Lori Goodman
Rob and Jan Graner
Mr. Bill Grubman
Laurie and Chris Harbert and Family
Lyndsay Harding
Erin W. Hearst
Diane Henderson, M.D.
Jackson N. Henry
Stephen F. Hinchliffe
K. Hohman Family
Deedie and Tom Hudnut
International Committee of the LA Philharmonic Association
Mr. Gregory Jackson and Mrs. Lenora
Jackson
Meredith Jackson and Jan Voboril
Meg and Bahram Jalali
Sharon and Alan Jones
Dr. William B. Jones
Robin and Craig Justice
Mr. Eugene Kapaloski
Tobe and Greg Karns
Rizwan and Hollee Kassim
Diann Kim
Mr. and Mrs. Elmar and Katrina Klotz
Larry and Lisa Kohorn
Naomi and Fred Kurata
Arthur E. Levine and Lauren B. Leichtman
Mr. and Mrs.
Hal Borthwick
Mr. and Mrs. Steven Bristing
Oleg and Tatiana Butenko
Garrett Camp
Ms. Nancy Carson and Mr. Chris Tobin
Ms. Jessica Chen
Chien Family
Chivaroli and Associates, Tiffany and Christian Chivaroli
Dr. and Mrs.
Lawrence J. Cohen
Jay and Nadege Conger
Hillary and Weston Cookler
Alison Moore Cotter
Jessica and James Dabney
Lynette and Michael C. Davis
Rosette Delug
Nancy and Patrick Dennis
Michael Frazier
Thompson
Michael Tyler
Jennifer and Dr. Ken Waltzer
Walter and Shirley Wang
Allyn and
Jeffrey L. Levine
Saul Levine
Dr. Stuart Levine and Dr. Donna Richey
Karen and Clark Linstone
Anita Lorber
Bethany Lukitsch and Bart Nelson
The Mailman Foundation
Raulee Marcus
Mr. and Mrs.
Andrew W. Marlowe
Jonathan and Delia Matz
Dwayne and Eileen McKenzie
David and Margaret Mgrublian
Marcy Miller
Mrs. Judith S. Mishkin
Mr. John Monahan
The Morad Family
Mr. Brian R. Morrow
John Nagler
Ms. Kari Nakama
Mr. and Mrs. Dan Napier
Mr. Jose Luis Nazar
NBC Universal
Shelby Notkin and Teresita Tinajero
Laura Owens
Melissa Papp-Green and Jeff Green
Andy S. Park
Gregory Pickert and Beth Price
Nancy and Glenn Pittson
Cathleen and Scott Richland
The Randee and Ken Devlin Foundation
Michael Dreyer
Sean Dugan and Joe Custer
Victoria Dummer and Brion Allen
Mr. Tommy Finkelstein and Mr. Dan Chang
Daniel and Maryann Fong
Mr. Michael Fox
Ms. Kimberly Friedman
Dr. and Mrs.
David Fung
Roberta and Conrad Furlong
Dr. and Mrs.
Bruce Gainsley
Kiki Ramos Gindler and David Gindler
Tina Warsaw Gittelson
Harriett and Richard E. Gold
Carol Goldsmith
Mr. and Mrs.
Louis L. Gonda
Manuela Cerri Goren
Debra and John Warfel
Stasia and Michael Washington
Mindy and David Weiner
Alana L. Wray and Chase Thomas
Anne Rimer
John Peter Robinson and Denise Hudson
Mimi Rotter
Linda and Tony Rubin
Thomas Safran
The SahanDaywi Foundation
Ron and
Melissa Sanders
Alexander and Mariette Sawchuk
Dena and Irv Schechter/The Hyman Levine Family Foundation: L’DOR
V’DOR
Evy and Fred Scholder Family
Howard and Linda Schwimmer
Samantha and Marc Sedaka
Mr. Murat Sehidoglu
Joan and Arnold Seidel
Neil Selman and Cynthia Chapman
Marc Seltzer and Christina Snyder
Mr. James J. Sepe
Julie and Bradley Shames
Mr. Steven Shapiro
Nina Shaw and Wallace Little
Jill and Neil Sheffield
Grady and Shelley Smith
Mr. and Mrs. Richard Sondheimer
Angelina and Mark Speare
Terry and Karey Spidell
Lynn and Roger Zino Zolla Family Foundation
Joseph and Suzanne Sposato
Stein Family Fund -
Judie Stein
Zenia Stept and Lee Hutcherson
Katharine and Thomas Stoever
Tom Strickler
Akio Tagawa
Priscilla and Curtis S. Tamkin
Warren B. and Nancy L. Tucker
Elinor and Rubin Turner
Charles Edward Uhlmann
Mr. and Mrs.
Leonard Unger
Tom and Janet Unterman
Arnold Urquidez and Martha Shen-Urquidez
Nancy Valentine
Noralisa Villarreal and John Matthew Trott
Frank Wagner and Lynn O’Hearn
Wagner
Warner Bros. Discovery
Sheila and Wally Weisman
Mr. and Mrs.
Steven White
Libby Wilson, M.D.
Karl and Dian Zeile
Kevork and Elizabeth Zoryan
Mr. and Mrs.
Daniel M. Gottlieb
Mr. and Mrs. Ken Gouw
Tricia and Richard Grey
Cindi Griffith
Beverly and Felix Grossman
Roberta L. Haft and Howard L. Rosoff
Ms. Marian L. Hall
Beth Fishbein Hansen
Mr. and Mrs.
John R. Harbison
Mr. and Mrs. Irwin
Helford and Family
Betsydiane and Larry Hendrickson
Carol Henry
Mr. and Mrs. Enrique Hernandez, Jr.
Jessica and Elliot Hirsch
Liz Levitt Hirsch
Elizabeth Hirsh
Elizabeth Hofert-
Dailey Trust
Mr. Raymond W. Holdsworth
Joyce and Fredric Horowitz
Mr. Frank J. Intiso
Harry and Judy Isaacs
Kristi Jackson and William Newby
Elizabeth Bixby
Janeway Foundation
Doug and Minda Johnstone
Mr. and Mrs.
Steaven K. Jones, Jr.
Marilee and Fred Karlsen
Marty and Cari Kavinoky
Estate of Yates Keir
Mr. and Mrs.
Stephen Keller
Jay T. Kinn and Jules B. Vogel
Mr. and Mrs.
Kenneth N. Klee
Mr. and Mrs.
Scott Krivis
Nickie and Marc Kubasak
Hon. Ruth A. Kwan
Craig Kwiatkowski and Oren Rosenthal
Ellie and Mark Lainer
The Laufey Foundation
Mr. and Mrs. Norman A. Levin
Randi Levine
Marie and Edward Lewis
Maria and Matthew Lichtenberg
Lynn Loeb
Milli M. Martinez and Don Wilson
Vilma S. Martinez, Esq.
Leslie and Ray Mathiasen
Janis B. McEldowney
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“THE
IMPACT OF A DONOR’S GIFT IS AMPLIFIED BY ITS ABILITY TO CHANGE THE CITY”
“THE IMPACT OF A DONOR’S GIFT IS AMPLIFIED BY ITS ABILITY TO CHANGE THE CITY”
The Music Center Foundation was established in 1973 by Dorothy Bu um Chandler to provide endowment support to The Music Center, its educational activities, dance programs, and its four Resident Company campus partners: Center Theatre Group, LA Master Chorale, LA Opera, and LA Philharmonic.
The Music Center Foundation was established in 1973 by Dorothy Bu um Chandler to provide endowment support to The Music Center, its educational activities, dance programs, and its four Resident Company campus partners: Center Theatre Group, LA Master Chorale, LA Opera, and LA Philharmonic.
Lifting up the performing arts in Los Angeles is a unique opportunity that we can take on together. By making a gift through the Foundation, you can be a part of supporting inspirational new work that threads our community together through a vibrant, emotional connection to the performing arts.
Lifting up the performing arts in Los Angeles is a unique opportunity that we can take on together. By making a gift through the Foundation, you can be a part of supporting inspirational new work that threads our community together through a vibrant, emotional connection to the performing arts.
In the spirit of Mrs. Chandler, the impact of a donor’s gift is amplified by its ability to change Los Angeles.
In the spirit of Mrs. Chandler, the impact of a donor’s gift is amplified by its ability to change Los Angeles.
To learn more about how to leave a lasting legacy with the Music Center Foundation, contact Joanna Calabrese: 213-972-8047, jcalabrese@musiccenterfoundation.org
To learn more about how to leave a lasting legacy with the Music Center Foundation, contact Joanna Calabrese: 213-972-8047, jcalabrese@musiccenterfoundation.org
For more information on the Music Center Foundation musiccenterfoundation.org
For more information on the Music Center Foundation musiccenterfoundation.org
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BANC WITH STRENGTH
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CONTINUED ON PAGE 40
Nove mber
8PM THU
PMariza
ortugal’s foremost cultural ambassador, Mariza brings the soulful magic of fado—Portugal’s traditional music—to life with her captivating voice. With over 30 platinum recordings and worldwide acclaim, she transports audiences to Lisbon’s late-night cafés with every performance, inviting you to immerse yourself in its rich, emotional spirit. 6 NOV
Ballet BC BOLERO X
Ravel’s Bolero nears its 100th year, still pulsing with the familiar energy heard from parades to commercials. Israeli choreographer Shahar Binyamini brings a bold new vision to Ballet BC, tripling the company’s size by teaming with dancers from USC’s Glorya Kaufman School. Hailed as “breathtaking” and “a triumph,” this sweeping, vibrant work radiates pure joy and ushers in an exciting new chapter for a timeless classic.
MOMIX Alice
MOMIX founder Moses Pendleton reimagines Alice in Wonderland in a dazzling adventure for all ages. Eight “dancer illusionists” morph into familiar characters with surreal costumes, colorful projections, and mind-bending feats—set to a wildly eclectic soundtrack from Bollywood to Danny Elfman to Jefferson Airplane. A visual feast and a sensory thrill for the whole family!
A new work by Sofia Nappi SWAY by Medhi Walerski BOLERO X by Shahar Binyamini
CITY OF LOS ANGELES
Passion Meets Purpose
Karen Bass Mayor Hydee Feldstein Soto City Attorney Controller Marqueece Harris-Dawson
Eunisses Hernandez
Hugo Soto-Martínez
DEPARTMENT OF CULTURAL AFFAIRS
La Sings!
What a Beautiful City
A mega sing-along that transforms the audience into one big choir at Walt Disney Concert Hall. Come celebrate the tapestry of voices that makes our treasured city so beautiful.
GRANT GERSHON & RACHAEL WORBY CONDUCTORS
40 singers, soloists, musicians from MUSE/IQUE
NOV 9, 2025 | 7PM
before and after nature is composer David Lang’s meditation on the natural world, both before human existence and after humans are gone. Lang addresses ways we defi ne and understand nature now that it has been forever changed by our behavior. With video projections and Bang on a Can All-Stars, the result is an immersive spectacle of sound and vision.
GRANT GERSHON CONDUCTOR 20 singers, Bang on a Can All-Stars, Video by TAL ROSNER
NOV 16, 2025 | 7:30PM
Photo by Brandon Patoc
TICKETS ON SALE NOW!
Allan Marks and Dr. Mara Cohen
Mr. and Mrs. Stanley Maron
Samantha Grant Marsh
Paul Martin
Phillip and Stephanie Martineau
Stephen Martinez
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Ms. Paula Meichtry
Michael and Jan Meisel
Robert L. Mendow
MARTÍN + HAMELIN + BRAHMS
Oct 25 | 7:30 | ZIPPER HALL
Oct 26 | 4 | THE WALLIS
Jaime Martín Music Director
Marc-André Hamelin Piano
L. Farrenc, Symphony No. 2 in D major
J. Brahms, Piano Concerto No. 1 in D minor
Marcia Bonner Meudell and Mike Merrigan
Linda and David Michaelson
MA Mielke
Dr. Gary Milan
Mr. and Mrs. Simon Mills
Janet Minami
Mr. and Mrs. William Mingst
Mr. Lawrence A. Mirisch
Cynthia Miscikowski
Maria and Marzi Mistry
Robert and Claudia Modlin
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Linda and John Moore
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Kathy and Michael Moray
William Morton
Gretl and Arnold Mulder
Munger, Tolles & Olson
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Rachel Nass
Mr. and Mrs. Jeff Nathan
A BRAHMSIAN AFFAIR
Nov 22 | 7:30 | ZIPPER HALL
Nov 23 | 4 | THE WALLIS
Margaret Batjer
Director of Chamber Music
J. Brahms, String Sextet No. 2 in G major
Julia Moss, WORLD PREMIERE
J. Brahms, String Sextet No. 1 in B-flat major
Bruce Needleman
Robert and Sally Neely
Mr. Liron Nelik
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Sabraj Nijjar
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Ms. Margaret R. O’Donnell
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David Olson and Ruth Stevens
Michael Olson
Susan Oppenheimer
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Adriana Ortiz
Sharon Osbourne
RICHARD GOODE PLAYS MOZART
Dec 14 | 4
| THE WALLIS
Dec 16 | 7:30 | ZIPPER HALL
Margaret Batjer
Director of Chamber Music
Richard Goode Piano
R. Schumann, Violin Sonata No. 1 in A minor
W. Mozart, Piano Quartet in E-flat major
L. Beethoven, Septet in E-flat major
TICKETS AVAILABLE AT LACO.ORG
Alicyn Packard and Jason Friedman
January Parkos-Arnall
Mr. and Mrs. Robert D. Paster
Mrs. Ethel Phipps
Mr. Jeff Polak and Mrs. Lauren Reisman Polak
Ms. Virginia Pollack
Ms. Eleanor Pott
Joseph Powe
Mr. Albert Praw
Joyce and David Primes
John R. Privitelli
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Q-Mark Manufacturing, Inc.
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Susan F and Donald B Rice
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Mr. Charles Richter
Mr. Ronald Ridgeway
Mr. and Mrs. Kenneth Riley
Mr. and Mrs. Norman L. Roberts
Natalie Roberts
Mr. Jed Robinson
SYMPHONIE FANTASTIQUE!
SEASON 25 26 6
NOVEMBER 8, 2025
ORION WEISS, piano
JIM SELF Tour de Force
RAVEL Piano Concerto in G Major
BERLIOZ Symphonie Fantastique
MENDELSSOHN & MEYER
JANUARY 24, 2026
TCHAIKOVSKY PATHÉTIQUE
FEBRUARY 21, 2026
MICHELLE CANN, piano
JEFFREY NYTCH Beacon
MOZART Piano Concerto No. 23
TCHAIKOVSKY Symphony No. 6 “Pathétique”
TESSA LARK, violin
BEETHOVEN EROICA
APRIL 25, 2026
JULIAN SCHWARZ, cello
QUINN MASON Heroic Overture
JENNIFER HIGDON Cello Concerto †
BEETHOVEN Symphony No. 3, “Eroica”
MENDELSSOHN The Hebrides Overture
EDGAR MEYER Violin Concerto
MENDELSSOHN Symphony No. 3, “Scottish”
Robert Robinson
Rock River
Mrs. Laura H. Rockwell
Ms. Kristina Rodgers
In memory of RJ and JK Roe
Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen
Michelle and Mark Rosenblatt
Mr. Richard Rosenthal and Ms. Katherine Spillar
Mr. Bradley Ross and Ms. Linda McDonough
Joshua Roth and Amy Klimek
Nancy and Michael Rouse
Mr. and Mrs. Matthew Rowland
Ms. Karen Roxborough
Valerie Salkin
Ms. Allison Sampson
Curtis Sanchez
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Ms. Maryanne Sawoski
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Claudia and John Schauerman
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Mr. Alan Scolamieri
John L. Segal
Mr. and Mrs. Peter Segal
FROM THE NEW WORLD
MARCH 21, 2026
JUAN PABLO CONTRERAS, composer & special guest
CONTRERAS Symphony No. 1*
Cyrus Semnani
Dr. and Mrs. Hooshang Semnani
Mr. and Mrs. Jeffrey Alan Seymour
Ms. Amy J. Shadur-Stein
Ms. Avantika Shahi
Shamban Family
Dr. Ava Shamban
Emmanuel Sharef
Hope and Richard N. Shaw
Dr. Alexis M. Sheehy
BERNSTEIN Three Variations from Fancy Free
DVOR ˇ ÁK Symphony No. 9, “From the New World”
AMERICA @ 250
MAY 30, 2026
JOYCE YANG, piano
JOHN WILLIAMS Selections from American Journey
JONATHAN LESHNOFF Rhapsody on “America” * †
COPLAND Appalachian Spring Suite
COPLAND Lincoln Portrait
Dr. Stephen and Mrs. Janet Sherman
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Mr. Murray Siegel
Scott Silver
June Simmons
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Hilde Stephens-Levonian
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Tichenor & Thorp Architects, Inc.
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Yust Family Trust
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KASIMOFF-BLÜTHNER PIANO CO.
L.A.’s oldest piano store
Concert and Home Rentals
Blüthner Pianos (since 1853)
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Schiedmayer Celesta (since 1890)
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If your name has been misspelled or omitted from the list in error, please contact the Philanthropy Department at contributions@laphil.org Thank you.
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TAKE A TOUR OF THE MUSIC CENTER
Free 90-minute docent-led tours take you through the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum and Walt Disney Concert Hall, along with Jerry Moss Plaza. You’ll learn about the history and architecture of the theatres along with The Music Center’s beautiful outdoor spaces as well as the incredible selection of artwork located throughout the campus.
Tours are offered daily. Check the schedule to plan a fun-filled day in Downtown L.A.!
Visit musiccenter.org for additional information.
OFFICERS
Robert J. Abernethy
Chair
Cary J. Lefton
Darrell D. Miller
Vice Chairs
Rachel S. Moore
President & CEO
Susan M. Wegleitner
Treasurer
William Taylor
Assistant Treasurer and Chief Financial Officer
MEMBERS AT LARGE
Charlene Achki Repko
Charles F. Adams
William H. Ahmanson
Romesh Anketell
Jill C. Baldauf
Phoebe Beasley
Kristin Burr
Dannielle Campos
Alberto M. Carvalho
Elizabeth Khuri Chandler
Riley Etheridge, Jr.
Amy R. Forbes
Greg T. Geyer
Joan E. Herman
Jeffrey M. Hill
Jonathan B. Hodge
Mary Ann Hunt-Jacobsen
Ronald D. Kaplan
Richard B. Kendall
Lily Lee
Keith R. Leonard, Jr.
Kelsey N. Martin
Elizabeth Michelson
Cindy Miscikowski
Teresita Notkin
Michael J. Pagano
Karen Kay Platt
Susan Erburu Reardon
Joseph J. Rice
Beverly P. Ryder
Thomas L. Safran
Maria S. Salinas
Corinne Jessie
Sanchez
Mimi Song
Johnese Spisso
Michael Stockton
Jason Subotky
Timothy S. Wahl
Jennifer M. Walske
GENERAL COUNSEL
Rollin A. Ransom
DIRECTORS
EMERITI
Peter K. Barker
Judith Beckmen
Darrell R. Brown
Ronald W. Burkle
John B. Emerson **
Richard M. Ferry
Bernard A. Greenberg
Stephen F. Hinchliffe, Jr.
Kent Kresa
Mattie McFaddenLawson
Fredric M. Roberts
Richard K. Roeder
Claire L. Rothman
Joni J. Smith
Lisa Specht **
Cynthia A. Telles
James A. Thomas
Andrea L. Van de Kamp **
Thomas R. Weinberger
Alyce de Roulet
Williamson
** Chair Emeritus
Current as of 8/25/2025
John McCoy for The Music Center.
Alvin Ailey American Dance Theater's James Gilmer and Samantha Figgins. Photo by Andrew Eccles.
BOARD OF SUPERVISORS
COUNTY OF LOS ANGELES
Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.
Janice Hahn Supervisor, Fourth District
Lindsey P. Horvath Supervisor, Third District
Kathryn Barger Chair, Fifth District
Holly J. Mitchell Supervisor, Second District
Hilda L. Solis
Chair Pro Tem, First District
(From left to right)
LAND ACKNOWLEDGMENT
As a steward of The Music Center of Los Angeles County, we recognize that we occupy land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash Peoples. We honor and pay respect to their elders and descendants — past, present and emerging — as they continue their stewardship of these lands and waters. We acknowledge that settler colonization resulted in land seizure, disease, subjugation, slavery, relocation, broken promises, genocide and multigenerational trauma. This acknowledgment demonstrates our responsibility and commitment to truth, healing and reconciliation and to elevating the stories, culture and community of the original inhabitants of Los Angeles County.
We are grateful to have the opportunity to live and work on these ancestral lands. We are dedicated to growing and sustaining relationships with Native peoples and local tribal governments, including (in no particular order) the:
• Fernandeño Tataviam Band of Mission Indians
• Gabrielino Tongva Indians of California Tribal Council
• Gabrieleno/Tongva San Gabriel Band of Mission Indians
• Gabrieleño Band of Mission Indians-Kizh Nation
• San Manuel Band of Mission Indians
• San Fernando Band of Mission Indians
To learn more about the First Peoples of Los Angeles County, please visit the Los Angeles City/County Native American Indian Commission website at lanaic.lacounty.go
Photo Credit: David Franco, Los Angeles County Board of Supervisors Photographer.
Happening at The Music Center
WED 1 OCT / 7:30 p.m.
Jaja's African Hair Braiding CENTER THEATRE GROUP
@ Mark Taper Forum Thru 11/9/2025
THU 2 OCT / 8:00 p.m.
The Rite of Spring with Dudamel
LA PHIL
@ Walt Disney Concert Hall Thru 10/5/2025
FRI 3 OCT / 8:00 p.m.
Ledisi "for Dinah"
LA PHIL
@ Walt Disney Concert Hall
SAT 4 OCT / 7:30 p.m.
West Side Story
LA OPERA
@ Dorothy Chandler Pavilion
Thru 10/12/2025
SUN 5 OCT / 7:00 p.m.
Two Titans | The Music of Beethoven and Verdi
LOS ANGELES
MASTER CHORALE
@ Walt Disney Concert Hall
TUE 7 OCT / 8:00 p.m.
Strauss, Pärt & Glass
LA PHIL
@ Walt Disney Concert Hall
THU 9 OCT / 8:00 p.m.
Dudamel Conducts Mahler's "Resurrection"
LA PHIL
@ Walt Disney Concert Hall Thru 10/12/2025
SUN 12 OCT / 7:30 p.m.
Paul Jacobs
LA PHIL
@ Walt Disney Concert Hall
TUE 14 OCT / 7:00 p.m.
LA Phil Gala: Gustavo's Fiesta
LA PHIL
@ Walt Disney Concert Hall
THU 16 OCT / 8:00 p.m.
Yunchan Lim
LA PHIL
@ Walt Disney Concert Hall
FRI 17 OCT / 8:00 p.m.
Ivan Lins
LA PHIL
@ Walt Disney Concert Hall
SAT 18 OCT / 8:00 p.m.
Los Fabulosos Cadillacs
LA PHIL
@ Walt Disney Concert Hall Thru 10/19/2025
OCTOBER 2025
FRI 24 OCT / 7:30 p.m.
Complexions Contemporary Ballet
THE MUSIC CENTER
@ Dorothy Chandler Pavilion Thru 10/26/2025
SAT 25 OCT / 8:00 p.m.
Boz Scaggs
LA PHIL
@ Walt Disney Concert Hall
TUE 28 OCT / 8:00 p.m.
An Evening with Itzhak Perlman
LA PHIL
@ Walt Disney Concert Hall
WED 29 OCT / 8:00 p.m.
Jacob Collier: The Djesse
Solo Show
LA PHIL
@ Walt Disney Concert Hall
THU 30 OCT / 8:00 p.m.
Nicole Scherzinger
LA PHIL
@ Walt Disney Concert Hall
FRI 31 OCT / 8:00 p.m.
The Hunchback of Notre Dame
LA PHIL
@ Walt Disney Concert Hall
Visit musiccenter.org for additional information on all upcoming events. @musiccenterla
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Photo by John McCoy for The Music Center.
Photo credits: Top left by John McCoy for The Music Center; bottom left by Hanako Doerr for The Music Center; right image by Michelle Shiers for The Music Center.
NOW FEATURING
CHEF LUCIO BEDON
NORTHERN ITALIAN CUISINE
With decades of cooking in Southern California, Chef Bedon celebrates his familial roots from Italy’s Veneto region with elegantly prepared dishes that showcase his passion for impeccably sourced ingredients.
Some of these dishes have lived with me for generations, while others are a reflection of experimentation and the way we enjoy eating now in Los Angeles. “ “
