Onstage Program Book Library · 2019. 9. 20. · foundation of joyous music-making performed by exceptional artists as adept in the Baroque as in the music of today, and Jaime Martín

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T A B L E O F C O N T E N T S

Programs at a Glance ....................................................4

Los Angeles Chamber Orchestra Biography .................................................6

Orchestra Roster .............................................................8

Board of Directors .........................................................10

Administration .................................................................11

Letter from Jaime .......................................................... 13

Welcome Jaime! .............................................................. 17

McGegan & Denk ...........................................................23

Pulcinella & Prokofiev ................................................ 29

Tetzlaff plays Beethoven ......................................... 36

About the Artists .......................................................... 42

Donor Recognition .......................................................45

Gifts in Tribute ............................................................... 49

Institutional Donors and LACO Legacy Society ............................................50

Special Thanks ................................................................ 51

Endowment Funds and Matching Gifts .............................................................52

FALL

PRO

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LOS ANGELESCHAMBER ORCHESTRA

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PROGRAMS AT A GLANCE

ORCHESTRAL SERIESWELCOME JAIME! (pg. 17)Saturday, Sept. 28 @ 8 p.m., Alex TheatreSunday, Sept. 29 @ 7 p.m., Royce Hall

Jaime Martín conductorAnne Sofie von Otter mezzo-soprano

Andrew Norman Begin (LACO commission, world premiere)

Berlioz Les nuits d’étéBeethoven Symphony No. 7

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

Nicholas McGegan conductorJeremy Denk piano

Rameau Music from the opera DardanusMozart Piano Concerto No. 19Schubert Overture from Der Häusliche KriegSchubert Symphony No. 6

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

Jaime Martín conductorDavid Grossman double bass

Ravel Le tombeau de CouperinMissy Mazzoli Dark with Excessive Bright for

Double Bass and Strings (West Coast premiere) Stravinsky Pulcinella SuiteProkofiev Symphony No. 1, “Classical”

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TETZLAFF PLAYS BEETHOVEN (pg. 36)Friday, Feb. 7 @ 8 p.m., The SorayaSaturday, Feb. 8 @ 8 p.m., Alex TheatreSunday, Feb. 9 @ 2 p.m., Royce Hall

Jaime Martín conductorChristian Tetzlaff violin

Albert Schnelzer Burn My Letters: Remembering Clara (LACO co-commission, U.S. premiere)

Beethoven Violin ConcertoDvořák Symphony No. 6

ADDITIONAL EVENTS SESSION rountreeFriday, Oct. 11 @ 8 p.m., Pico Union Project

Christopher Rountree curatorFour Larks creative producerswild Up guest artists

SHEKU & ISATA IN RECITALTuesday, Dec. 3 @ 8 p.m., Zipper Hall

Sheku Kanneh-Mason celloIsata Kanneh-Mason piano

Beethoven 12 Variations in F major on “Ein Mädchen oder Weibchen” from Mozart’s Die Zauberflöte

Lutosławski GraveBarber Cello SonataRachmaninoff Cello Sonata

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LOS ANGELES CHAMBER ORCHESTRALos Angeles Chamber Orchestra (LACO), ranked among the world’s top musical ensembles, marks an exciting new era in Southern California as it welcomes Jaime Martín in his debut year as Music Director. Martín builds upon LACO’s rich legacy as a preeminent interpreter of historical masterworks and, with eight ASCAP Awards for Adventurous Programming, a champion of contemporary composers. Headquartered in the heart of the country’s cultural capital, LACO is “more important with each passing year,” (Los Angeles Times), “America’s finest chamber orchestra” (Public Radio International) and “one of the world’s great chamber orchestras” (KUSC Classical FM). Martín’s appearance as LACO’s Music Director Designate in early 2019 was described by the Los Angeles Times, as “a thrilling performance, and the orchestra played like it was having the time of its life,” adding, “he will make fans very quickly.” Overseas, he has been praised as “a visionary conductor, discerning and meticulous” (Platea Magazine), and London’s The Telegraph said, “his infectious enjoyment of the music communicated to the orchestra and audience alike.”

Highlights of LACO’s 2019/20 Season include world premieres by Andrew Norman, Juan Pablo Contreras and Derrick Spiva Jr., all LACO commissions; a West Coast premiere by Missy Mazzoli; and a co-commission from Albert Schnelzer and a commission from Sarah Gibson, both inspired by the legacy of Clara Schumann. Martín’s debut season showcases several exceptional guest artists with whom he has enjoyed particularly meaningful professional relationships — mezzo-soprano Anne Sofie von Otter, violinist Christian Tetzlaff and pianist Denis Kozhukhin — as well as British cello virtuoso Sheku Kanneh-Mason, pianists Jeremy Denk and David Fray and guest conductors Nicholas McGegan and Ruth Reinhardt. As Beethoven’s 250th anniversary approaches, Martín leads three of the composer’s most revolutionary works. The Orchestra also performs works by Schubert, R. Strauss, Berlioz, Prokofiev, Ravel, Stravinsky and Dvořák. Critically acclaimed composer and 2019 Pulitzer Prize Winner Ellen Reid begins her three-year tenure as LACO’s Creative Advisor and Composer-in-Residence, creating new works for the Orchestra on and off the concert hall stage and working closely with Martín to play an important role in LACO’s artistic trajectory.

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LACO performances create a rich dialogue between audiences and performers. The Orchestra presents seven Orchestral Series concerts at Glendale’s Alex Theatre and UCLA’s Royce Hall, with select performances at Northridge’s The Soraya, Costa Mesa’s Segerstrom Center for the Arts and Santa Barbara’s Granada Theatre; three Baroque Conversations and three In Focus chamber music concerts at First Presbyterian Church of Santa Monica and The Huntington in San Marino; and two SESSION experiences that explore classical music’s cutting-edge sounds and challenge traditional concert-going expectations.

Deeply committed to the power of collaboration, LACO partners with the Inner City Youth Orchestra of Los Angeles (ICYOLA), the country’s largest African American-majority youth orchestra, and USC Thornton School of Music, one of the country’s top music programs, to run The Los Angeles Orchestra Fellowship. Launched in August 2018, the groundbreaking two-year training program is designed to increase diversity in American orchestras by providing top-tier, post-graduate string musicians from underrepresented communities a 360-degree view of a career as an orchestral musician.

LACO’s long history of educational outreach further encompasses programs that reach thousands of young people and inspire a love of the invigorating power of classical music.

Los Angeles Chamber Orchestra was founded in 1968 as an artistic outlet for the recording industry’s most gifted musicians. Founder and cellist James Arkatov envisioned an ensemble that would allow these conservatory-trained players to balance studio work and teaching with pure artistic collaboration at the highest level. LACO presented its first performances with the financial backing of philanthropist Richard Colburn and managerial expertise from attorney Joseph Troy, who became the Orchestra’s first president. Sir Neville Marriner, Gerard Schwarz, Iona Brown, Christof Perick and Jeffrey Kahane, LACO’s illustrious Music Directors, each built upon a foundation of joyous music-making performed by exceptional artists as adept in the Baroque as in the music of today, and Jaime Martín continues this tradition. The Orchestra has made 32 recordings, including, most recently, a 2019 BIS Records release of works for violin and chamber orchestra that features Concertmaster Margaret Batjer and the world premiere recording of Pierre Jalbert’s Violin Concerto (a LACO co-commission). LACO, with offices located in downtown Los Angeles, has toured Europe, South America and Japan, and performed across North America. 7

ROSTER2019/20 SEASON

Jaime Martín Music Director

Ellen Reid Creative Advisor & Composer-in-Residence

Derrick Spiva Jr. Artist Educator

Juan Pablo Contreras 2019/20 Sound Investment Composer

Jeffrey Kahane Conductor Laureate

VIOLIN IMargaret Batjer

concertmasterTereza Stanislav

assistant concertmaster

Jacqueline BrandJennifer MundayJulie Gigante*Maia Jasper WhiteTamara HatwanSusan Rishik

VIOLIN IIJosefina Vergara

principalSarah Thornblade

associate principalCheryl Norman-BrickConnie KupkaCarrie KennedyJoel Pargman

VIOLAErik Rynearson

principalVictoria Miskolczy

associate principalRobert Brophy*Carole Castillo

CELLOAndrew Shulman

principalArmen Ksajikian

associate principalTrevor HandyGiovanna Clayton

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BASSDavid Grossman

principal

FLUTEJoachim Becerra

Thomsen principal

Sandy Hughes

OBOEClaire Brazeau

principal Allan Vogel chair, endowed by the Henry Family

Adrienne Malley

CLARINETJoshua Ranz

principalChris Stoutenborough

BASSOONKenneth Munday

principalDamian Montano

HORNMichael Thornton

principalKristy McArthur Morrell

TRUMPETDavid Washburn

principalErick Jovel

HARPJoAnn Turovsky

principal

KEYBOARDPatricia Mabee

principal

TIMPANI/PERCUSSION

Wade Culbreath principal

LIBRARIANSerge Liberovsky

PERSONNEL MANAGER

Ryan Sweeney

THE LOS ANGELES ORCHESTRA FELLOWSHIP

Ayrton Pisco violin

Bradley Parrimore viola

Juan-Salvador Carrasco cello

*On leave 2019/20

Our thanks to Dana & Ned Newman for their generous gift to the endowment in support of the Dana & Ned Newman Musicians’ Lounge.

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BOARD OF DIRECTORS2019/20

officersLeslie Lassiter

chairRuth L. Eliel

vice chairRaymond Lowe

treasurerShaheen Nanji

secretary

members at largeAhsan AijazJulie AndersenLee ChuPeggy FalconAnne GrausamJune LiDana NewmanEugene M. OhrGene ShutlerAnne-Marie Spataru

advisory councilAlan ArkatovAlex BirkholdStephen BlockLeticia Rhi BuckleyNancyBell CoeGail EichenthalKay Duke IngallsCharmaine JeffersonAllan KotinSaul LevineToby MaymanWinifred White NeisserBruce RossGil Tong

emeritusboard of directorsJames Arkatov

Founder, in memoriam

Hilda Herrera AdlerRoberto ApelfeldBob AttiyehTitus BrenninkmeijerBruce BroughtonNicholas G. CirielloDavid CohenRussell B. FaucettJohn FibigerJoyce FienbergSanford GageDebra GastlerDavid L. GershAhmad Gramian,

in memoriamWarner HenryDavid K. IngallsStephen A. Kanter, MD

in memoriamHanna M. Kennedy

in memoriamStuart LaffGary LarsenEdward J. NowakMartin C. RecchuiteJudith RosenCarol RossGregory J. SoukupBrigitta TroyEdith H.L. Van HussRichard S. VolpertLes J. Weinstein

honorary councilAlan ChapmanSuzanne LloydGinny ManciniZev Yaroslavsky

chairs emeritiRichard D. Colburn,

in memoriamRobert DeWitt,

in memoriamJennifer DienerLois Evans,

in memoriamJ. Stuart Fishler, Jr.David L. GershDavid K. IngallsMorton B. Jackson,

in memoriamWalter McBee,

in memoriamDana NewmanEdward J. NowakFrederic M. RobertsMichael RosenRonald S. Rosen,

in memoriamCarol D. RossGene ShutlerGregory J. SoukupJoseph Troy,

in memoriamStephen F. Weiner,

in memoriam

ADMINISTRATION

EXECUTIVERuth L. Eliel

Co-Interim Executive Director

Leslie Lassiter Co-Interim Executive Director

ADVANCEMENTJulia Paras

Director of Development

Brandon Faber Assistant Director of Individual Giving & Events

Laurie Dowling Development Advisor

Marc Haupert Institutional Giving Consultant

FINANCE & ADMINISTRATION

Karin Burns Director of Finance & Administration

Zachary Olea Accounting Associate

MARKETING, SALES & COMMUNICATIONS

Justus Zimmerman Director of Marketing & Communications

Coleman Richardson Assistant Director of Patron Journey

Michael Mancillas Assistant Director of Digital Strategy & Design

Marika Suzuki Marketing & Design Coordinator

Libby HuebnerLaura Stegman

Public Relations

ARTISTIC OPERATIONS & COMMUNITY PROGRAMS

Andrea Laguni Interim General Manager

Taylor Lockwood Operations Manager

David Rakita Artistic Coordinator

Stephanie Yoon Community Engagement Coordinator

Tor Cronin Stage Manager

ADVISORYScott Harrison

Senior Advisor

Special thanks to Dennis Bade for his collaboration in editing this program book.

Thanks also to Los Angeles Arts Commission summer interns Sophie Wong for her assistance in preparing the season’s program books and Ryan Chao for his behind-the-scenes efforts to help prepare the concert season.

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DEAR FRIENDS,In October 2017, I conducted LACO for the first time. I remember the sound of the opening chord the Orchestra played at the first rehearsal, the faces of the musicians looking around, sharing their virtuosity and sensibility with me. Now, two years later, I start as Music Director of this special and unique group. We would like to continue to share with you the finest music from the past along with the works of the most fascinating composers of today, which will become the classics of tomorrow.

I am very excited to welcome Pulitzer Prize-winner Ellen Reid as our Creative Advisor and Composer-in-Residence, Juan Pablo Contreras as 2019/20 Sound Investment Composer and Derrick Spiva Jr. in his role as Artist Educator. Between us all, I hope that we will draw our audience from an ever-wider circle.

Some of the most distinguished artists in the world will join us to bring music alive, to make us cry and laugh, to intrigue and surprise, to challenge us...

Welcome to my new season with Los Angeles Chamber Orchestra!

Jaime Martín Music Director

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2019 marks JAIME MARTÍN’s first season as Music Director of Los Angeles Chamber Orchestra and Principal Conductor of the RTE National Symphony Orchestra in Ireland. He has been Artistic Director

and Principal Conductor of Gävle Symphony Orchestra since 2013; his time there brought the orchestra a new level of international recognition through highly acclaimed recordings and touring performances.

Having spent many years working with the most inspiring conductors of our time as a highly regarded flautist, Jaime turned to conducting full-time in 2013. Since then, he has worked with an impressive list of orchestras, including the London Philharmonic, Frankfurt Radio Symphony, Royal Liverpool Philharmonic, Royal Scottish National, Swedish Radio Symphony, Barcelona Symphony, New Zealand Symphony, Queensland Symphony, Essen Philharmonic, Gulbenkian and Philharmonia Orchestras, Academy of St Martin in the Fields, Saint Paul Chamber Orchestra, Deutsche Radio Philharmonie and the Orchestre Philharmonique de Radio France.

Autumn 2018 saw highly successful debut performances: Christian Tetzlaff with the London Symphony Orchestra in Madrid and London, Joshua Bell with the Royal Stockholm Philharmonic, and Pinchas Zukerman with the Colorado Symphony. In January 2019, Jaime completed a nine-concert tour of Europe with the London Philharmonic Orchestra, including performances at the Gasteig in Munich and the Kölner Philharmonie in Germany. In the 2018-19 season, Jaime made his conducting debut at the Concertgebouw in Amsterdam with the Gävle Symphony, undertook an extensive tour of Switzerland and made an appearance at the Prague Spring Festival with Orquestra de Cadaqués. Other orchestral debuts include engagements with the Melbourne, West Australian and Sydney Symphony orchestras, Orchestre National de Montpellier and Staatskapelle Halle.

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Jaime recorded a series for Ondine Records with the Gävle Symphony Orchestra. This included the Brahms Serenades, Song of Destiny and choral works with the Eric Ericson Chamber Choir in 2017, and a recording of the Brahms Piano Quartet arranged by Schoenberg, released in February 2019. He has also recorded Schubert’s Symphony No. 9 and Beethoven’s Symphony No. 3, “Eroica,” with Orquestra de Cadaqués and various discs with the Barcelona Symphony Orchestra for Tritó Records. In 2015, he recorded James Horner’s last symphonic work, “Collages” for four horns and orchestra, with the London Philharmonic Orchestra.

Jaime made his operatic debut conducting The Magic Flute at El Escorial Madrid and San Sebastian Festival in August 2012. His debut at the English National Opera in February 2013 conducting The Barber of Seville led to a return in autumn 2014 to conduct The Marriage of Figaro.

As a flautist, Jaime was Principal Flute of the Royal Philharmonic Orchestra, Chamber Orchestra of Europe, English National Opera, Academy of St Martin in the Fields and London Philharmonic Orchestra. Very sought after as a soloist, he recorded Mozart’s flute concertos with LACO’s first Music Director Sir Neville Marriner, the premiere of Sinfonietta Concerto for Flute and Orchestra written for him by Xavier Montsalvatge and conducted by Gianandrea Noseda, and Bach’s works for flute, violin, and piano with Murray Perahia and Academy of St Martin in the Fields for Sony. He was also a founding member of the Orquestra de Cadaqués, and while he has held the title of Chief Conductor with the orchestra since 2012, his association with them has spanned over thirty years.

Jaime is the Artistic Director of the Santander Festival. Over the last five years, he has brought financial stability and created a platform for some of the most exciting artists in their fields, ranging from symphony orchestras and baroque ensembles to education workshops and ballet companies.

Jaime is a Fellow of the Royal College of Music in London, where he was a flute professor. He now enjoys working with many of his former students in orchestras around the world. 15

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Jaime Martín conductor (pg. 14)Anne Sofie von Otter mezzo-soprano (pg. 44)

Saturday, Sept. 28 @ 8 p.m., Alex TheatreSunday, Sept. 29 @ 7 p.m., Royce Hall

Andrew NormanBegin (LACO commission, world premiere)BerliozLes nuits d'été

VillanelleLe spectre de la rose

Sur les lagunes: Lamento Absence Au cimetière: Clair de lune L'île inconnue

Ms. von Otter

INTERMISSION

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

WELCOME JAIME!PART OF THE ORCHESTRAL SERIES

Andrew Norman commission Begin is sponsored by Ruth Eliel & Bill Cooney and Leslie Lassiter.

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PROGRAM NOTESTONIGHT IN LACO HISTORY

Tonight’s program begins with the world premiere of a LACO commission from Andrew Norman. It continues with LACO’s second performance of Berlioz’s Les nuits d'été. The first performance, in 1992, was under the direction of LACO’s fourth Music Director, Christof Perick. LACO will be performing Beethoven’s Symphony No. 7 for the fifth time in its history. The first performance was in March 1996, conducted by LACO’s third Music Director, Iona Brown.

Andrew Norman Begin (LACO commission, world premiere) (2019)

Orchestration: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; percussion; harp; piano; strings

Estimated duration: 12 minutes

Berlioz Les nuits d'été (1840-1841)

Orchestration: 2 flutes; oboe; 2 clarinets; 2 bassoons; 3 horns; harp; strings; solo voice


Beethoven Symphony No. 7 in A major, Op. 92 (1811-1812)

Orchestration: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings


To welcome our new Music Director, Jaime Martín, we present a very special opening concert for the 2019/20 Season. What better way to celebrate than with a piece written just for the occasion? We begin with a world premiere from our very own Andrew Norman. Anne Sofie von Otter will then sing Hector Berlioz’s stunning song cycle, Les nuits d’été, and we’ll close with one of Ludwig van Beethoven’s gems, Symphony No. 7.

Award-winning composer Andrew Norman has become a fixture at Los Angeles Chamber Orchestra in the last few years, serving as both composer-in-residence and creative advisor for many years. He is a prolific and innovative composer whose disparate influences — architecture, video games and films — bring a thoughtful energy to all his work. Norman has also been a part of LACO’s community programs, visiting classrooms and encouraging students to become creators. Tonight, we offer the world

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PROGRAM NOTESDID YOU KNOW?

Berlioz advocated for the adoption of the Octobass as an orchestral instrument. The Octobass is larger than a double bass and has only three strings. A musician was to use both their hands and feet to control the levers and pedals due to the instrument’s enormous size.

Les nuits d'été was originally written for soloist and piano accompaniment. Berlioz orchestrated the first song in 1843 and the rest in 1856. The full orchestral version is performed more often in concerts than the original.

premiere of his latest work, which celebrates the inauguration of Jaime Martín’s tenure as Music Director of Los Angeles Chamber Orchestra. This work — the first part of a concerto for chamber orchestra — is called, fittingly, Begin. Norman shares his thoughts on this new composition:

The piece builds itself up from the most basic of musical building blocks: a single pitch and a repeating, obsessive rhythm (not unlike the repeating, obsessive rhythms that permeate Beethoven's Seventh Symphony). It also builds itself from the fragmented utterances of individual players to the sustained, communal sound of the whole orchestra playing together. I am grateful for the six years I served as LACO's composer in residence, and I look forward to seeing where LACO goes from this point of new beginning with Jaime.

Berlioz composed the song cycle Les nuits d’été in 1841 for voice and piano. He chose six poems by Théophile Gautier (1811-1872), a French writer and critic with an interesting and varied style. The two men knew each other, and since Berlioz was familiar with his friend’s work, he chose half a dozen poems from Gautier’s 1838 collection La comédie de la mort. Berlioz called the cycle Les nuits d’été, a name that is something of a puzzle. Perhaps it is a reference to Shakespeare’s A Midsummer Night's Dream, or perhaps it alludes to Joseph Méry’s Les nuits de Londres, a contemporary collection of short stories.

Berlioz, who was a brilliant orchestrator (even penning a lengthy treatise — A Treatise on Modern Instrumentation and Orchestration — on the subject), rendered the fourth song of the cycle in an orchestral version a couple of years after the original composition. More than a dozen years later, Berlioz orchestrated the remainder

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PROGRAM NOTESof the cycle. It is thought that the composer never heard the orchestrated set performed in its entirety. Of the songs he did hear in performance, the first he orchestrated, “Absence,” was sung by Marie Recio, a young singer whom Berlioz would marry after the death of his first wife, Harriet Smithson (the inspiration for his ground-breaking Symphonie Fantastique). Although Berlioz composed more than fifty songs, this is the only set among them. The songs do not tell an overarching story but are linked by the poet and the emotional ideas within. Berlioz said little of them, but there is a distinct feeling of both intimacy and longing. They are quite different from the grand, bombastic works Berlioz is better known for; the instrumentation is noticeably smaller and more intimate.

The set opens with “Villanelle,” a vibrant ode to springtime and new beginnings. The simplicity of the strophic structure is given depth by Berlioz’s shifting harmonies. The second song, “Le spectre de la rose,” shows off Berlioz’s gift for melody. The rose of the title has died but finds eternal repose in paradise. Berlioz put aside the strophic framework of “Villanelle,” instead choosing a more complex through-composed form. The following song, “Sur les lagunes” (“On the Lagoons”), takes a turn for the mournful, as the singer laments a lost lover. The accompaniment suggests the waves in the water, as the poet is sad about having to set out to sea without someone at home to love him. Like the previous song, this structure is through-composed and ends with an unresolved chord. “Absence,” the first song Berlioz orchestrated, is next, with a repeated, increasingly desperate refrain, “Reviens” or “Come back.” The power of this song’s raw emotion is evident. “Au cimetière” (“In the Cemetery”) offers another meditation on grief and memory. The finale is “L’île inconnue” (The Unknown Isle”), which returns to the vitality of the opening. Here the poet speaks of a place where one can love forever. In this song, and in fact all the songs of the set, Berlioz’s delicate orchestration brings clarity to the poetry and allows the voice to shine. The new beginning, as suggested by the final song, brings the set full circle.

Beethoven undertook his Seventh Symphony in 1811. It premiered two years later as part of a charity concert benefitting soldiers wounded in the Battle of Hanau. At the premiere, Beethoven — who conducted the work despite his worsening deafness — stated that it was a “joyful sacrifice” to

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PROGRAM NOTESplay for soldiers who had “sacrificed so much.” The orchestra at the concert was made up of the luminaries of the day including Johann Hummel, Louis Spohr and Antonio Salieri.

There is little tragedy in this symphony; opera composer Richard Wagner famously called it “the apotheosis of dance.” Indeed, this work overflows with rhythm, drive and energy, even in its serious moments. The piece was so well-received, the audience demanded an encore on the spot.

There are four movements, the first of which is preceded by a slow introduction. Once the Vivace section of the movement gets underway, the music simply dances. It is one of Beethoven’s liveliest sonata-form first movements and displays charm and wit, in addition to the intensity we have come to expect from Beethoven. The second movement is a transcendent theme and variations. There is a basic rhythm to this section: long-short-short-long-long. Once introduced by the cellos and basses, it permeates the entire movement. It is like the poetic rhythm dactylic hexameter, which was popular among many epic poets who wrote in Greek and Latin. Homer’s Odyssey and Virgil’s Aeneid are both written in this meter. Beethoven’s favorite book was the Odyssey and there is apparently an entry in Beethoven’s diary that reads, “dactylic hexameter.” Perhaps this work is Beethoven’s Odyssey in music. With each variation, Beethoven adds a bit more complexity, working towards a stunning emotional climax. It’s easy to see why this movement has had its own life away from the rest of the symphony. In recent years, it has become a favorite for film scores; its appearance in 2010’s The King’s Speech is especially effective.

The third movement of Beethoven’s Seventh Symphony is a vivacious scherzo. The composer excelled at these scherzi, writing music that is triumphant and majestic but also fun and energetic. The trio (the second part of the form, usually in a more lyrical contrasting style) is taken from an Austrian folk song that Beethoven encountered on a summer trip to Teplitz. The final movement is another rollicking dance-like movement. From the first moment, the music never seems to stop, galloping along at a vibrant pace. Both joyful and regal, touched with moments of pure sweetness, it provides a superb and lively ending to our celebratory season opener.

Christine Lee Gengaro, PhD

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McGEGAN & DENKPART OF THE ORCHESTRAL SERIES

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

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

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

Mr. Denk

INTERMISSION

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

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This is the second time LACO performs music from Rameau’s opera Dardanus and Mozart’s Piano Concerto No. 19. Their first performances were in 2014 and 2007, respectively. While Schubert’s overture from Der Häusliche Krieg is new to LACO, Symphony No. 6 in C major has been performed by LACO three times before. The most recent performance dates back to 1993, over 26 years ago, under the direction of LACO’s fourth Music Director, Christof Perick.

Rameau Music from the opera Dardanus (1739)

Orchestration: 2 flutes; 2 oboes; 2 bassoons; percussion; strings


Mozart Piano Concerto No. 19 in F major, K. 459 (1784)

Orchestration: flute, 2 oboes, 2 bassoons, 2 horns; strings; solo piano


Schubert Overture from Der Häusliche Krieg (1822-1823)



Schubert Symphony No. 6 in C major, D. 589 (1817-1818)



This evening’s program combines music for the stage with music for the concert hall. We open with selections from Jean-Philippe Rameau’s French Baroque opera, Dardanus, a tragédie en musique from 1739. Then, we present Wolfgang Amadeus Mozart’s Piano Concerto No. 19 from forty-five years later. Jeremy Denk will play the solo part Mozart penned for himself. The final two pieces on the program are by Schubert. The first is the overture for one of Franz Schubert’s attempts at the operatic genre, Der Häusliche Krieg, a one-act singspiel from 1823. Our finale

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Although Schubert only lived to the age of 31, he composed more than 1000 works.

this evening is Schubert’s ambitious Symphony No. 6, a concert work that is itself influenced by opera, specifically the music of Gioachino Rossini.

French Baroque opera was dominated for many years by Jean-Baptiste Lully, an Italian-born composer who became the musical darling of Louis XIV’s court. After Lully’s untimely death — due to gangrene after he accidentally stabbed himself in the foot with a conducting staff — Rameau became the leading voice of French opera. He gained fame late in his career, composing works like Dardanus when he was in his fifties. Rameau’s operas represented a newly developing style that moved away from Lully’s, and the French were divided on how they felt about his innovations. The so-called lullistes opposed Rameau’s new directions, preferring the traditions Lully had established.

Although Rameau’s operas fell out of favor soon after his death, his work has become much more popular recently. Dardanus is a type of opera called tragédie en musique — a narrative based on Classical mythology with a noble and stately mood. It premiered in 1739 but was revamped in the 1740s. Its revival in 1760 cemented its place in Rameau’s oeuvre. Dardanus was the son of Zeus and Electra, and the opera is concerned with the conflict between the title character and King Teucer. The conflict ends when Dardanus kills a monster attacking Teucer’s kingdom. Rameau’s remarkable music reflects the stately mood of the French high Baroque with clarity and charisma and displays the composer’s skill in creating unique examples of established forms.

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PROGRAM NOTESMozart composed the Piano Concerto No. 19 in December 1784. That year had been a fertile year for piano concertos: this was the last of six he composed in that twelve-month span. Mozart was at the height of his powers as a composer and pianist and also at his most popular. The work, one of the many concertos he wrote to play himself, is both energetic and charming. Six years after its premiere, Mozart performed it at the coronation of Leopold II in 1790. For this reason, it is sometimes referred to as the “second coronation concerto” (the first being Concerto No. 26).

Mozart composed in the traditional three-movement structure of Classical concertos. There are a few unique touches, including an opening movement in cut time, which is the only concerto first movement Mozart wrote with this time signature. The rhythmic drive of the opening theme dominates the entire movement, although there are sweeping melodic phrases that are textbook Mozart. The piano entrance is animated, and the orchestra provides support and colorful harmonies as the soloist works his way through the many melodic ideas (some new and differing from the orchestral themes) Mozart puts forth. The orchestra answers with more new musical ideas. This concerto excels at making the interplay between the soloist and the ensemble feel like a lively conversation. The second movement, an Allegretto, is in a lilting 6/8. The accompaniment of the orchestra is particularly delicate, a gossamer texture. We can hear solo lines rising every now and then, especially from the woodwind section. It is a lovely moment of repose before the finale, marked Allegro assai. Again, we return to the rhythmic drive of the opening, underpinned with a focus on counterpoint. Mozart strove to create works within this “happy medium” between ease and difficulty. As usual, Mozart hit the target just right.

Schubert is known best as a composer of song. With over 600 examples of German Lieder in his catalogue, it’s easy to see why. Yet even with his notable and extraordinary gifts for both melody and vocal writing, Schubert is not known for opera. He made many attempts at the genre, never quite reaching the level of popular success one might imagine, given his talent. Tonight, we present an overture from one of his operas, a one-act singspiel (essentially a German opera with spoken dialogue), Der Häusliche Krieg, which is also known as Die Verschworenen. Schubert composed the work in

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PROGRAM NOTES1823, setting the libretto by Ignaz Franz Castelli. Schubert himself provided the spoken lines. The story comes from Aristophanes’ play Lysistrata via the French play Lisistrata, ou Les Athéniennes, Comédie en un acte et en prose, mêlée de vaudevilles by François-Benoît Hoffman. The music of Schubert’s overture is lively and fun, reflecting the comedy in the “domestic war” that Castelli’s title suggests. The influence of Gioachino Rossini is evident in the bouncy ending section, with its drive to an exciting close.

Echoes of Rossini can also be heard in Schubert’s Symphony No. 6, which was composed in late 1817 and early 1818. In 1817, Schubert had composed two “Overtures in the Italian Style,” exploring the popular genre. He arranged one of them, the Overture in C major (D. 591) for two pianos, eight hands in 1818 and performed this version in March of that year. The overture form seems also to have seeped into the first movement of Symphony No. 6, a traditional four-movement symphony in the late-Classical style. The serious Adagio introduction gives way to a playful melody that could easily be an opera aria. The quick and dramatic coda section also gives one the feeling of an overture. The second movement is a lyrical and graceful Andante. Schubert’s gift for melody is on true display here, as one can easily hear how the phrases would be perfectly suited for a vocal line. The middle section ramps up the excitement with strong accents and a shift into the minor mode. The third movement is a scherzo and features surprising and delightful dynamic changes. Similar to Beethoven’s scherzos, there is great rhythmic drive here and captivating energy. The contrasting trio slows things down for a moment before returning to the scherzo and its dramatic mood. The finale introduces a genial opening theme, which has the feel of party music. A new section brings a new musical idea. In fact, the movement abounds with musical ideas, each one forming its own musical vignette. The musical ideas fall away and then return. It’s a fascinating conceit and shows off Schubert’s seemingly endless supply of pleasing melodies. Schubert heard Symphony No. 6 in a private performance soon after its completion, but it wouldn’t receive its public premiere until December 1828, after Schubert’s untimely death earlier that year. It is indeed a shame that he never heard the public’s appreciation for his enchanting work.


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PULCINELLA & PROKOFIEVPART OF THE ORCHESTRAL SERIES

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

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

RavelLe tombeau de Couperin Prélude Forlane Menuet RigaudonMissy MazzoliDark with Excessive Bright for Double Bass and Strings (West Coast premiere)

Mr. Grossman

INTERMISSION

StravinskyPulcinella Suite Sinfonia Serenata Scherzino – Allegretto – Andantino Tarantella Toccata Gavotta con due variazioni Vivo Minuetto FinaleProkofiev Symphony No. 1, “Classical” Allegro con brio Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

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Ravel’s Le tombeau de Couperin has been played five times before by LACO, its most recent performance dating back to 2011 under the baton of LACO’s fifth Music Director and Conductor Laureate, Jeffrey Kahane. LACO will be playing the West Coast premiere of Missy Mazzoli’s Dark with Excessive Bright, a piece inspired by the Baroque and Renaissance eras. Stravinsky’s Pulcinella Suite, a LACO staple, has been performed six times before. Its first performance in 1979 was conducted by Brian Priestman. LACO’s eighth performance of Prokofiev’s “Classical” Symphony will end the night.

Ravel Le tombeau de Couperin (1914-1917)

Orchestration: 2 flutes (2nd flute = piccolo); 2 oboes (2nd oboe = English horn); 2 clarinets; 2 bassoons; 2 horns; trumpet; harp; strings


Missy Mazzoli Dark with Excessive Bright for Double Bass and Strings (West Coast premiere) (2018)

Orchestration: 10 violins; 3 violas; 3 cellos; bass


Stravinsky Pulcinella Suite (1919-1920)

Orchestration: 2 flutes (2nd flute = piccolo); 2 oboes; 2 bassoons; 2 horns; trumpet; trombone; strings


Prokofiev Symphony No. 1, “Classical” (1916-1917)



This evening’s program features four pieces with strong influences from the past. We open with twentieth-century composer Maurice Ravel’s look back at the 18th century, specifically the work of François Couperin. We will also hear the West Coast premiere of Missy Mazzoli’s Dark with Excessive Bright for Double Bass and Strings. Although this is the newest piece on the program, it still owes a debt to earlier music, specifically music of the Baroque and Renaissance periods. Igor Stravinsky’s 1920 ballet Pulcinella marks the composer’s first foray into a style known as neo-

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Maurice Ravel served in the French military as an ambulance driver during World War I. Each movement of his Le tombeau de Couperin is dedicated to the memory of a friend he lost on the battlefield.

classicism. Sergei Prokofiev provides the finale with his Haydnesque “Classical” Symphony.

François Couperin (1688-1733) was the most famous member of a musical family who wrote and performed music during the Baroque period. Couperin le Grand, as François was known, influenced many composers, from Bach to Brahms to Ravel. Between 1914 and 1917, Ravel composed a six-movement suite for solo piano he called Le tombeau de Couperin. Couperin’s music and spirit underpin the work. A “tombeau” (meaning “tomb”) is a musical tribute to someone who has died, and Ravel wrote this in the midst of World War I. The musical world was deeply affected by the conflict, as composers and musicians were among those serving in the military. Orchestras lost members, and many composers shifted focus from large-scale works to smaller, sparser pieces. Ravel, who worked as an ambulance driver in the war (he was nearly 40 when the conflict began), was profoundly changed by the experience, and he wrote a piece to commemorate some of the lives affected by the war.

Although a tombeau was most often written for one person, Ravel dedicated the individual movements to his contemporaries. The Prélude is dedicated to a colleague, Lieutenant Jacques Charlot, who had arranged Ravel’s four-hand work Ma Mère l’Oye for piano solo. The Forlane honors Lieutenant Gabriel Deluc, a painter. The Rigaudon commemorates the lives of brothers Pierre and Pascal Gaudin, who were apparently killed by the same mortar. Ravel was wounded during his service and made his recovery in the home of Jean Dreyfus, to whom the Menuet is dedicated.

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PROGRAM NOTESRavel orchestrated four of the six movements in 1919 (he excluded the Fugue and the Toccata). The piece received its premiere the following year. It is a credit to Ravel’s skills as an orchestrator that he so ably translated this piano music, with its idiomatic keyboard writing, to the larger ensemble. Although the work rings with 20th century harmonies bursting with color and inventiveness, Ravel manages to retain the stunning clarity and rhythmic liveliness so characteristic of Couperin’s music. The upbeat nature of some of the movements led some to wonder why this tombeau wasn’t more somber in character. In response, Ravel simply said, “The dead are sad enough, in their eternal silence.”

Award-winning composer Missy Mazzoli has written music for some of the most prominent performers and ensembles working today. Her vibrant career includes collaborations with ensembles like Roomful of Teeth and the Kronos Quartet, and her compositions, including three operas, have been critically acclaimed. Mazzoli also performs regularly with her own band, Victoire. Passionate about education, Mazzoli and fellow composer, Ellen Reid, LACO Creative Advisor and Composer-in-Residence, founded Luna Lab, a program mentoring female composers ages 13 to 19. Tonight, LACO presents the West Coast premiere of Dark with Excessive Bright, a piece composed for double bass and strings. The soloist for this performance is David Grossman, a Juilliard-educated, bi-coastal musician, educator, and principal bass of Los Angeles Chamber Orchestra. Mazzoli’s thoughts about this new piece are as follows:

I originally composed Dark with Excessive Bright for contrabass soloist Maxime Bibeau and the Australian Chamber Orchestra, which premiered the work in 2018. I was inspired in no small part by Maxime’s double bass, a massive instrument built in 1580 that was stored in an Italian monastery for hundreds of years and even patched with pages from the Good Friday liturgy. While composing I continuously listened to music from the Baroque and Renaissance eras, imagining this instrument as a historian, an object that collected the music of the passing centuries in the twists of its neck and the fibers of its wood, finally emerging into the light at age 400 and singing it all into the world. While loosely based in Baroque idioms, this piece slips between string techniques from several centuries, all while twisting a pattern of repeated chords beyond recognition. “Dark with excessive bright”, a phrase from Milton’s Paradise Lost, is a

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PROGRAM NOTESsurreal and evocative description of God, written by a blind man. I love the impossibility of this phrase, and felt it was a strangely accurate way to describe the dark but heartrending sound of the double bass itself. Dark with Excessive Bright was commissioned by the Australian Chamber Orchestra and the Aurora Orchestra in London.

Neoclassicism in music was characterized, in part, by the emulation of the masters of late Baroque and early Classical. For some composers, however, neoclassicism provided an opportunity to let go of the hyperemotional, overwrought tendencies of late Romanticism and early 20th century experimentation, getting back, as it were, to basics. This must have been attractive to those who had survived the First World War — a way to bring order and look back to what must have seemed a simpler time. If only they could have stayed there forever, suspended in that delightful mixture of old and new.

We tend to think of Stravinsky as a radical “modern” composer, but his output covered many styles over several decades. Stravinsky’s exploration of neoclassicism is associated with his middle period (1920-1951). Stravinsky’s ballet Pulcinella was written for the Ballets Russes after the great triumph of The Firebird and the great scandal of The Rite of Spring, but it marked a new direction. Stravinsky would later remark, “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible.” In the case of Pulcinella, Stravinsky formed a musical pastiche from the works of Giovanni Pergolesi (or those mistakenly attributed to Pergolesi at the time). These works — from disparate genres like trio sonatas, suites and operas — were adapted by Stravinsky through various musical means: lengthening, shortening, cutting, adding new music and changing consonances to dissonances.

The inspiration for Pulcinella, outside of the music of the past, was commedia dell’arte, Italian improvised theater and its stock characters. Commedia dell’arte was extremely popular in the middle of the 19th century, although its popularity extended both before and after its heyday. Pulcinella, also known as “Punch,” is a servant. This comically sad character is often portrayed as mute, helpless, and disfigured. In the staged ballet, Stravinsky reinvented the music with movement, lively characters, and even singing roles. The Pulcinella Suite is a pared-down version of the ballet

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PROGRAM NOTES(nearly half the movements are omitted in the Suite) with instrumental passages replacing the singing roles. Stravinsky’s work with music of the past retains much of the charm of the original pieces, but with harmonic and rhythmic twists that are pure twentieth-century inventiveness, and pure Stravinsky.

At the tender age of 17, Russian composer Prokofiev played his first compositions in public. His music was immediately condemned as avant-garde and difficult to understand, an opinion that suited the arrogant young composer just fine. He was more than willing to trade on the image of a musical renegade. It is intriguing, then, that one of his most famous works is his Symphony No. 1, a piece that looks back to the older style of Haydn and is known by the nickname “Classical.” Prokofiev wrote his Classical Symphony in 1917, the year of the Russian Revolution. The composer traveled quite extensively that year, partly to escape the turmoil in Russia. It was a fertile time for him creatively, and he wrote and premiered many works on his tour.

Between his graduation from the St. Petersburg Conservatory and the premiere of the Classical Symphony, Prokofiev had traveled to London and met many of the musical figures who were shaping contemporary music in Europe. The idea of using modern 20th century harmonies and resources in traditional forms like the symphony was one that occupied many composers in the first decades of the 20th century and beyond. The Classical Symphony meshes the classical tradition of clarity and formality with the renegade spirit of Prokofiev’s early works. Although the Classical Symphony fits the usual definition of neoclassicism, Prokofiev never admitted it. It was an isolated experiment, he explained, adding that he disliked Stravinsky’s preoccupation with neoclassicism, which he famously called “Bach on the wrong notes.”

Classicism was attractive to the unsentimental Prokofiev because it eschewed the overwrought emotion of Romanticism. As a result, throughout the traditional four-movement form of the symphony we hear playful Haydnesque qualities in the Classical Symphony, as well as references to the Classical practice of alternating opposites: loud and soft, high and low, light and dark. One can still hear Prokofiev’s 20th century sensibility, especially his harmonic and rhythmic inventiveness.

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


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TETZLAFF PLAYS BEETHOVENPART OF THE ORCHESTRAL SERIES

Jaime Martín conductor (pg. 14)Christian Tetzlaff violin (pg. 44)

Friday, Feb. 7 @ 8 p.m., The Soraya Saturday, Feb. 8 @ 8 p.m., Alex TheatreSunday, Feb. 9 @ 2 p.m., Royce Hall

Albert SchnelzerBurn My Letters: Remembering Clara (LACO co-commission, U.S. premiere)BeethovenViolin Concerto in D major, Op. 61 Allegro ma non troppo Larghetto Rondo: Allegro

Mr. Tetzlaff

INTERMISSION

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

Albert Schnelzer co-commission Burn my letters is sponsored by Elizabeth & Justus Schlichting and Leslie Lassiter.

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https://en.wikipedia.org/wiki/Furiant

PROGRAM NOTESAlbert Schnelzer Burn my letters: Remembering Clara (LACO co-commission, U.S. premiere) (2019)

Orchestration: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion; strings


Beethoven Violin Concerto in D major, Op. 61 (1806)

Orchestration: flute; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings; solo violin


Dvořák Symphony No. 6 in D major, Op. 60 (1880)

Orchestration: 2 flutes (2nd flute = piccolo); 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; strings


The pieces on this evening’s concert all have connections to important figures in the Romantic period. Even the newest work on the program — Albert Schnelzer’s Burn My Letters: Remembering Clara — was inspired in part by Clara Wieck Schumann. Beethoven’s Violin Concerto was popularized by one of the best-known violinists of the Romantic era, Joseph Joachim, while Dvořák’s Symphony No. 6 owes a great debt to Johannes Brahms. There are many interesting links among these works, showing that the musical life of nineteenth-century Europe was a small world indeed.

TONIGHT IN LACO HISTORY

Tonight’s program begins with the U.S. premiere of Albert Schnelzer’s Burn My Letters: Remembering Clara, commissioned by LACO, RTÉ National Symphony Orchestra, Gävle Symphony Orchestra and Lahti Symphony Orchestra. Beethoven’s Violin Concerto has been performed by the Orchestra six times in its history. The first performance was in December 1980, under the direction of LACO’s second Music Director, Gerard Schwarz. LACO has performed the concerto with such eminent violinists as Henryk Szeryng, Augustin Hadelich and Robert McDuffie. Later in the evening, the Orchestra presents its first performance of Dvořák’s Symphony No. 6.

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Burn My Letters: Remembering Clara takes its title from Clara Schumann’s dying request to her children regarding her correspondence with Brahms.

Dvořák was passionate about folk music and folklore. When he first started his career as a composer, he spent time crafting his own pieces into ones that bore characteristics reminiscent of Czech folk music.

In the creation of his music, Swedish composer Albert Schnelzer draws upon various influences, creating a style intensely unique and personal. Schnelzer’s work has reached audiences all over the world, and both casual listeners and critics have been captivated by the composer’s gift for story-telling. Schnelzer drew upon the legacy of Clara Schumann for his new work, Burn My Letters: Remembering Clara. It will be receiving its U.S. premiere at this concert. As a co-commission with RTÉ National Symphony Orchestra, Lahti Symphony Orchestra and Gävle Symphony Orchestra, the world premiere took place in Gävle, Sweden in November of 2019, and the Irish premiere occurred in December 2019.

Clara Wieck Schumann was a famous piano virtuoso in her day. She was also the wife of fellow composer and musician, Robert Schumann. After the death of her husband, she spent the remaining four decades of her life championing and promoting her husband’s work. A great mystery remains about the true nature of the relationship between Clara Schumann and composer Johannes Brahms, who had become a family friend of the Schumanns when he was an emerging composer. While the true nature of their relationship remains a subject of speculation, we do know that Clara burned some of their letters, adding to the mystery. Thankfully, much of Clara’s correspondence does remain, not just to Johannes, but to many others, and it paints an interesting portrait of a woman deeply involved in 19th century musical life. Schnelzer describes Burn My Letters:

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PROGRAM NOTESIn this piece I have tried to capture both the energy and the hectic life Clara lived as a touring musician, but also her private life with room for doubt, contemplation and also sorrow and grief. The main melodic subject which is introduced in the Presto section is actually one melody but divided between a wild and free flute (Clara) and a more thoughtful bassoon (Johannes). This conversation between instruments continues throughout the piece and depicts an expanding world with fast-paced travels, but also contrasting sections where the mother, the friend, and the very human being Clara shines through.

The Violin Concerto in D major was composed in 1806, during Beethoven’s middle, or Heroic period. At that time, the composer was beginning to develop a more adventurous, forward-looking style, while dealing with a number of personal challenges. This piece in particular was written in difficult times for Beethoven; his deafness was getting worse, his only opera, Fidelio, had been performed just three times before being dropped (the entrance of Napoleon’s troops into Vienna certainly didn’t help matters), and on top of everything else, Beethoven was in love with a woman who would not marry him. Yet, despite this, Beethoven managed to craft an innovative work that, while moody, displays a genteel nature, tinged with darkness.

The Violin Concerto was composed for violinist and conductor Franz Clement, a man who helped Beethoven when he was writing Fidelio. Clement was the conductor of the Theater an der Wien, and played the piece at its premiere, but the evening didn’t quite go as planned. Apparently, Beethoven finished the piece so late that Clement had to sight-read part of it. There is no definite word on whether they argued about the situation, but when the piece was finally published, the dedication was not to Clement. Instead, Beethoven dedicated the piece to his friend, Stephan von Breuning. The Concerto did not become popular at first and largely disappeared from the repertoire until 1844 (17 years after Beethoven’s death), when Felix Mendelssohn conducted a concert featuring the Concerto with soloist Joseph Joachim, who was just 12 years old at the time. Joachim became a world-renowned violinist, inspiring concertos by Brahms (with whom he was good friends), Schumann and Dvořák.

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PROGRAM NOTESA compelling feature of this concerto is the cadenza, or lengthy solo passage. In keeping with tradition, Beethoven did not write one, allowing Clement to improvise one for himself. Since then, various cadenzas for this work have been composed by some of its greatest interpreters, including Joachim and Fritz Kreisler, as well as composers such as Camille Saint-Saëns and Alfred Schnittke. Beethoven re-imagined the Concerto for piano and orchestra (Op. 61a), perhaps trying to make it more popular. In the piano version, Beethoven’s cadenza in the first movement employs the timpanist as well as the piano soloist.

The Concerto is in three movements, following the Classical style, but there are small touches that suggest the work of a more forward-looking visionary. The first movement remains mostly graceful but features the tempestuous shifts of dynamics and mode that Beethoven did so well. In fact, barely a minute into the first movement, there is a stormy idea that seems to come out of nowhere. Beethoven plays with these contrasting emotions throughout the movement. The violinist’s entrance is accompanied only lightly by the orchestra, allowing the melodic solo line to rise up out of the texture into something truly beautiful and ethereal. The second movement, Larghetto, begins exceedingly gently. The warmth of the orchestral accompaniment is particularly effective as a support for the heartfelt lines of the soloist. In the finale, which begins quickly after the coda of the previous movement, there is once again a mix of charm and storminess, perhaps giving voice to some of the difficulties Beethoven was having at the time. Despite this, however, the end of the Concerto feels like a celebration, modest and reserved, but triumphant nonetheless.

In 1871, Antonín Dvořák quit the Provisional Theatre Orchestra to give himself more time to compose. To make extra money, he gave piano lessons and worked as a church organist at St. Adalbert’s in Prague. In 1874, he was also assisted by a public grant, the Austrian State Prize, for young musicians. Dvořák’s submission (which consisted of over a dozen works) greatly impressed the jurors, including music critic Eduard Hanslick and composer Johannes Brahms. When Dvořák received the prize a third time in 1877, Hanslick reached out to the young composer personally. Because of Hanslick, Dvořák had his music assessed and approved by one of the most important taste-makers in European musical life. In Brahms, Dvořák

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PROGRAM NOTEShad both an artistic mentor and a connection who helped get his music published. Encouraged, Dvořák worked tirelessly, and his efforts paid off. In 1880, conductor Hans Richter asked Dvořák to write a symphony to be premiered by the Vienna Philharmonic. Although Dvořák had written five symphonies at that point, the resulting work, Symphony No. 6, was the first heard by an international audience. Dvořák worked quickly, churning out the piece in less than two months. Richter would first conduct the work in London in 1882, but by then, it had already been premiered in Prague (under the baton of Adolf Čech) in 1881.

There are four movements in this lively and energetic work. The opening is joyful and confident. Dvořák knew his way around the orchestra, ably using the rich colors at his disposal to great effect. There are mood changes and dynamic shifts throughout the form, but the overall feeling of the movement is triumphantly satisfying. The second movement is a nocturne-like Adagio, with passionate turns of phrase. There are also moments that bubble over with emotion, and there is a warmth in both the melodic material and in the instrumentation that is quite compelling.

The third movement is a scherzo inspired by the Bohemian folk dance, the Furiant. The rhythmic energy and forcefulness of the Furiant is contrasted with a sweeter trio section. This part of the symphony was so well-received that the audience demanded an immediate encore at its premiere. The fourth movement returns to the mood of the vibrant opening, speeding things up considerably. Dvořák’s musical language throughout this work points to the influence of others. Brahms’ Symphony No. 2 (1877) is a definite presence, and one might also notice the essence of Schubert’s symphonies and even perhaps a nod here and there to Beethoven. His subsequent symphonies would grow further away from these models, and Dvořák would continue honing his own style. Symphony No. 6 is a confident step towards a future that was all his own.


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ESJEREMY DENK, winner of a MacArthur “Genius” Fellowship and the Avery Fisher Prize, is one of America’s foremost pianists. A graduate of Oberlin College, Indiana University and the

Juilliard School, Denk returns frequently to Carnegie Hall and has recently appeared with the Chicago Symphony, Los Angeles Philharmonic and Cleveland Orchestra. His orchestral highlights include play-directing Mozart with the Toronto Symphony and touring the U.S. with the Academy of St Martin in the Fields. Abroad, Denk reunites with the BBC Symphony Orchestra and appears in recital in Europe. His recording c.1300-c.2000, released by Nonesuch Records, contains music ranging from Guillaume de Machaut to Stockhausen.

Double bassist and composer DAVID J. GROSSMAN enjoys a multi-faceted musical career in both classical and jazz genres on both coasts — as bassist in the New York Philharmonic and

Principal Bass of the Los Angeles Chamber Orchestra.

Grossman has given numerous solo recitals and master classes across the country and, as chamber musician, regularly performs in the New York Philharmonic Ensembles Concerts and with the Chamber Music Society of Lincoln Center, among others. Grossman is a member of the double bass faculty at the Manhattan School of Music and Mannes School of Music.

In the field of jazz, Grossman was a member of the Marcus Roberts Trio and has performed with Wynton Marsalis, among many others. He has released two albums (one classical and one jazz) entitled The Bass of Both Worlds.

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English-born NICHOLAS McGEGAN — long hailed as “one of the finest baroque conductors of his generation” by The Independent — is recognized for his probing and revelatory

explorations of music of all periods. The 2019-20 season marks the final year of his 34-year tenure as Music Director of Philharmonia Baroque Orchestra and Chorale. He also serves as the Principal Guest Conductor of the Pasadena Symphony. At home in opera houses, McGegan shone new light on nearly twenty Handel operas as the Artistic Director and conductor at the Göttingen International Handel Festival.

McGegan’s prolific discography includes more than 100 releases spanning five decades. McGegan recently released two albums with the Swedish Chamber Orchestra: Josef Mysliveček’s Complete Music for Keyboard with soloist Clare Hammond and an album of early horn concertos with soloist Alec Frank-Gemmill.

McGegan attended the University of Cambridge and the University of Oxford and is currently an honorary professor at the Georg-August University in Göttingen. He was given an honorary Doctorate of Music at the San Francisco Conservatory of Music. In 2010, he was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.”

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ESMezzo-soprano ANNE SOFIE VON OTTER is one of today’s most recorded artists with an unrivalled discography built across a career spanning more than three decades. Her double CD,

Douce France, received a Grammy Award in 2015 for Best Classical Solo Vocal Album. Von Otter was considered the superlative Octavian (Der Rosenkavalier) of her generation, appearing in the role at the Royal Opera House Covent Garden and The Metropolitan Opera among others. Recent roles include Countess Geschwitz in Christoph Marthaler’s production of Lulu and the lead in the world premiere of Sebastian Fagerlund’s Höstsonaten. A busy schedule takes von Otter to all corners of the world where recent appearances have included the Boston Symphony Orchestra and Royal Stockholm Philharmonic Orchestra.

CHRISTIAN TETZLAFF has been one of the most sought-after violinists and most exciting musicians on the classical music scene for years.

Throughout his career, Tetzlaff has guest-starred

with major orchestras internationally, such as the New York Philharmonic and all of London’s leading orchestras. He has received numerous awards for his recordings, including the “Diapason d’or” in July 2018.

In the 2018/19 season, he was the Artist in Residence of the Seoul Philharmonic Orchestra and the Dresdner Philharmonie. Tetzlaff also performed with his string quartet on their extensive tour.

Tetzlaff plays a violin made by the German violin maker Peter Greiner and teaches regularly at the Kronberg Academy.

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DONOR RECOGNITION

Generosity comes in many forms. This list reflects comprehensive giving for annual fund, special events and special projects between July 1, 2018 and June 30, 2019.

For information about giving to LACO, visit laco.org/support.

$100,000+Ruth Eliel &

Bill CooneyWarner & Carol HenryTerri & Jerry KohlJune & Simon LiNed & Dana NewmanGene Shutler

$50,000—99,999Leslie LassiterRay & Ann LoweAnn MulallyJames MulallyCatherine & Eugene

OhrAnne-Marie &

Alex SpataruMarilyn Ziering

$25,000—49,999Dr. Diane HendersonHoward & Judith

JelinekMaurice Marciano

Family FoundationShaheen & Anil NanjiRobert & Ann Ronus

$15,000—24,999Friend of LACO (2)Hilda Herrera AdlerLynn K. AltmanJohn & Ginny

CushmanPeggy & Jack FalconSanford M. & Pat

GageThierry & Katharina

LeducCheryl K. Petersen &

Roger H. Lustberg

Elizabeth & Justus Schlichting

Gregory J. Soukup & Mary Jo Carr

$10,000—14,999Jeff & Joan BealEvelyn & Stephen

BlockRay Duncan &

Lauren CrosbyCarol Eliel &

Tom MullerAnn HortonJames Newton

HowardEllen & Harvey KnellAllan & Muriel KotinGeorge KunkelGuy & Maria

PonticielloBrigitta B. Troy &

Alden Lawrence

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

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DONOR RECOGNITION$5,000—9,999Friend of LACOAhsan AijazClare Baren &

David DwigginsKen & Christine BenderJ. Robert & Barbara

BragonierJane & Louis CastruccioLee Chu & Jongmin LeeMr. Nicholas &

Dr. Janet CirielloNancyBell Coe &

William BurkeLee G. & Ann CooperDeborah CussenRobert A. Cutietta &

Mist ThorkelsdottirH. Allen Evans &

Anna RosickaDr. & Mrs. Caleb FinchAnne & Jeffrey

GrausamWilliam KennedyGary & Sandi LarsenDr. Ellen J. Lehman &

Dr. Charles KennelRaulee MarcusJoan MarcyErnest MeadowsPaul & Arlene MeadowsMahnaz & David

NewmanRandall & Gretchen

Newman

Phyllis Parvin & Sheldon Slaten

Rudy & Peekie SchaeferRobert & Kerry ShumanEric W. Sigg &

Michael MacknessJoyce & Al SommerEric & Karen WarrenLes & Karen WeinsteinJohn & Samantha

Williams

$2,500—4,999Friend of LACORobert C. AndersonDennis & Patricia BurkeCatherine & Bill

CarmodyBrian & Yun ChungJohn & Phyllis ConkleSiavash DejgoshaSharon K. DeMuth &

Hugh WattsJennifer DienerBJ Dockweiler &

Frank StiefelDr. & Mrs. William M.

DuxlerAnn Graham EhringerRussell & Carol FaucettDebra A. Gastler &

Andrew MalloyFariba GhaffariJ.H.B. Kean &

Toby E. MaymanAlbin C. & Harriet Koch

Renee & Meyer LuskinSteven D. McGintyLeslie MitchnerGay PhinnyPhil Alden Robinson &

Paulette BartlettRobert R. SchatzDr. & Mrs. Hervey D.

SegallMs. Abby SherHoward & Raye

Stapleton

$1,000—$2,499Friend of LACO (2)Barbara Aran &

Lawrence HawleyBob Attiyeh & Mike RosellJanet & Hunt BatjerMargaret Batjer &

Joel McNeelyJacqueline BlewRita Bower & Ray FriendLeticia Rhi BuckleyMartin & Nancy ChalifourPolina ChapiroLaurel ClarkRobert CowanLouise EdgertonJackie & Donald FeinsteinMichele FelixMs. Gina FurthRonald S. GabrielBronya & Andrew GalefDrs. Stephen &

Lyn GreenbergBarbara B. HermanJeffrey & Martha Kahane

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DONOR RECOGNITIONSharon KersonCharles & Alexandra

KivowitzLinda KleigerTed & Lynn KotzinMike & Aliza LesserSaul LevineThomas M. LuceroLynne Ludeke &

Brian MacGregorClaudette LussierDwight & Rhoda MakoffMr. John & Mrs. Susan

MamerPauline MayerSharon C. McNalleyLynn & Stanley MorrisGretl & Arnold MulderGail NatzlerAndrew Norman &

Alex BirkholdEdward & Sara NowakKurt D. & Johannah OliverMs. Lee RamerMartin & Dorothy

RecchuiteKay & Bob RehmeJoanne & Lars ReiersonMr. & Mrs. Alan I.

RothenbergPeter & Kay SkinnerMarc & Eva SternMark H. & Patricia S.

SternMike Stoller &

Corky Hale StollerLois TandyLaney & Tom TechentinDarani Tsao

J. Thomas & Edith Van Huss

Vasi & Deborah VangelosRalph WalterMr. & Mrs. Ian

White-ThomsonAndrew & Blenda WrightBonnie Youngdahl

$500—999Barbara AbellRichard AllenMary AndersonRoberto & Claudia

ApelfeldRobert S. & Linda AttiyehKat AuPeter BrigerElizabeth J. BrooksGary CohnNathalie CorryKate Crane &

the Hon. Milan D. SmithPatrick & Judith FalzoneWilliam & Trish

FlumenbaumDebra FrankDr. & Mrs. Sandy GaynorGordon GersonTina GittelsonStephanie M. HayutinMr. Willard HuyckLaurence S. KaufmanThomas & Margaret

KeeneMr. & Mrs. Charles

KnoblerBrigitte LangeneckertPhilip & Shirley Levine

Tom & Faith LyonsDr. Susan Lovell

McLaughlin & Mr. John D. McLaughlinSylvia L. & Lanny MillerRay & Cristine MorrisMarilyn K. OltmansGary & Katie PalmquistMr. & Mrs. Michael ParksThomas PetersonDr. Hanna and Emil

ReislerRalston & Lisa RobertsonSpencer SmithPhilip SpataruHarris & Linda SperlingCarol Z. & Joseph P.

SullivanWilliam & Jessica TurnerPat L. WalterBrad & Helen WarnaarHerbert Weinberg

& Pauline Marks-Weinberg

Max & Diane WeissbergSuzanne Weitz &

Kenneth ShoorGloria WernerMr. & Mrs. Mark

WiedenbeckAlbert & Marilouise Zager

$250—499Friend of LACOLiska YamadaCarole & Jesus ArellanoDiana Lee BarteraMr. Steve BeimlerDr. Malcolm Bersohn

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DONOR RECOGNITIONDevra BreslowPhilippa CalnanJohn & Judy CampbellJenny ChartoffGaby & Gregory

ChazanasWarren ChoiJudith CollasMargaret Cummings

HashimotoMr. & Mrs. Hugo D.

de CastroLaurie Dowling &

Michael WooJohn & Julie EidsvoogAnnette ErmsharDr. Randall EspinozaDr. James & Ruth FleisherGeorge B. & Marilyn R.

ForbesAdrienne ForstJ.M. & Elizabeth FusterDavid L. GershRobert GerstMr. & Mrs. GesellCaryn S. EspoMichelle M. GonzalezDanny GuggenheimJochen Haber &

Carrie ChassinMr. & Mrs. Peter &

Gretchen HaightDr. & Mrs. Jerome A.

HamburgerStephen HannaScott Harrison &

Angela DetlorJim & Ginny Heringer

James & Marilynn Hildebrandt

David Hurwitz & Kara Klein

Anna IglesiasAlex JacobsAlan D. JacobsonBernardo Jaduszliwer &

Carol FelixsonDavid Johnson &

Eve HaberfieldAnn JoplingIsabel & Harvey KibelMartha Kirkpatrick &

Nadia DoubinsRalph & Antoinette

KirshbaumKenneth KormanArthur & Rini KrausJohn Kronstadt &

Helen BendixElizabeth R. Lesan &

Katsuyoshi NishimotoGayle & Steve LundRonald & Jill LundgrenFred ManasterMary Ann &

Bernie MarshallKaren McCurdy &

Paul MillerLarry MolineHenry MoonSarah Morris &

John PapadopoulosMichael M. Mullins &

James A. NewmanErin NatterRobin Nydes

Louise PeeblesSue & Mike PelmanMr. PerezEsther PrinceKai-Li & Hal QuigleyCourtney RangenMs. Kathryn Rogers &

Daniel R. Gilbert, Jr.Rosaline SacksteinRobert Carl &

Irene ScherzingerRichard & Stephonie

SeibelRuth SlaterLaura & Hugh StegmanMari SubburathinamF. Lloyd TannerMr. & Mrs. Greg TaylorMelinda TaylorMeredith & Richard

TaylorRichard & Ann TellRoselyn TeukolskyJean-Yves ThibaudetIrene TongJorge A. UribeDr. & Mrs. Kenneth UslanAllan Vogel &

Janice TiptonRichard & Marcia VolpertDon WaltersJohn & Gudrun WassonMitchel WhiteheadWerner & Mimi WolfenGernot Wolfgang &

Judith FarmerMs. Anna Wu WorkMs. Zinn

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GIFTS IN TRIBUTELACO thanks those supporters who have honored their friends or loved ones or members of the LACO community with a gift to the Orchestra. To make a gift in memory or honor, please visit laco.org/donate or call 213 622 7001 x 4.

gifts in memory of:James Arkatovby MJ Hsiehby Anna Iglesiasby Steve Kandell &

Elena Estrinby Arthur & Rini Krausby Leslie Lassiterby John Sonegoby Marc & Eva Stern

Sid Bowerby Rita Bower & Ray Friend

Sylvia Edelsteinby Joseph & Adrienne

Marchland

Ahmad Gramianby Gene Shutler

Sarah Gyerby P. W. Howard

Hanna Kennedyby Jacqueline Blewby Ruth Eliel & Bill Cooneyby Lloyd E. Rigler-Lawrence

E. Deutsch Foundationby Mike Stoller &

Corky Hale Stoller

Ahmad Gramian and Hanna M. Kennedy

by Michelle Weger

Roger Mayerby Pauline Mayer

Ned & Dana Newmanby Leslie Lassiter

Lawrence Rossby Brad Ross

Sharon Steckby Brigitte Langeneckert

gifts in honor of:Ahsan Aijazby Peter Briger

Margaret Batjerby Robert S. & Linda Attiyehby Devra Breslowby Martin & Nancy Chalifourby Brian & Yun Chungby NancyBell Coe &

William Burkeby H. Allen Evans &

Anna Rosickaby Sanford M. & Pat Gageby Bronya & Andrew Galefby Ralph & Antoinette

Kirshbaumby Mollie Kommelby Sharon Robinson Laredo

& Jaime Laredoby June & Simon Liby Mahnaz & David

Newmanby Rudy & Peekie Schaefer

Lee Chuby Capital Group Companies

Charitable Foundation

Ruth Eliel and Bill Cooney

by Jane M. Spinak & Warren B. Scharf

Dr. Dorothy Fleisherby W. M. Keck Foundation

Pat & Sandy GageElaine Caplow

Scott Harrisonby Laura & Hugh Stegman

Lacey Huszczaby Martin & Nancy Chalifour

Terri & Jerry Kohlby Martin & Nancy Chalifourby Ruth Eliel & Bill Cooney

Leslie Lassiterby Jennifer Lassiter

Annie Luckby Kuan Chen

Robert & Ann Ronusby Louise Edgerton

Andrew Shulmanby Mahnaz & David

Newman

LACO Musicians and Staff

by Friend of LACO

Beverly Wuby Anne-Marie &

Alex Spataru

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INSTITUTIONAL DONORSLACO programs would not be possible without support from many institutional donors. We are exceedingly grateful to the following:

The Ahmanson FoundationAmazon Smile

Supervisor Kathryn Barger

BCM FoundationCalifornia Community

FoundationCapital Group Companies

Charitable FoundationClarence E. Heller Charitable

FoundationColburn FoundationDain, Torpy, Le Ray, Wiest &

Garner, P.C.East West BankLois Evans Guest

Artist FundFaucett Catalyst FundFirst American Title

InsuranceGenesis Motor AmericaGibson, Dunn &

Crutcher LLP

Gumpertz Charitable Gift Fund

Inner City Youth Orchestra of Los Angeles

Jaffe Raitt Heuer & WeissJewish Community

Foundation of Los Angeles

W.M. Keck FoundationLos Angeles County

Arts CommissionCity of Los Angeles

Department of Cultural Affairs

Andrew W. Mellon Foundation

E. Nakamichi FoundationNational Endowment

for the ArtsKenneth T. & Eileen L.

Norris FoundationThe Ralph M. Parsons

Foundation

Pasadena Showcase House for the Arts

Pircher, Nichols & Meeks LLP

Lloyd E. Rigler-Lawrence E. Deutsch Foundation

Santa Monica Westside Legacy Fund for Women and Girls

The Spot GourmetJohn & Beverly Stauffer

FoundationThe Ronald Newburg

Foundation Supervisor Mark Ridley-Thomas

Thomas CompanyWalter J. & Holly O.

Thomson FoundationWestern Asset Management

Company Charitable Foundation

Friend of LACOSalome ArkatovJacqueline BlewJane Buel BradleyT. Robert Chapman,

in memoriamJennifer DienerRuth Eliel & Bill CooneyH. Allen Evans &

Anna RosickaLois Evans,

in memoriamAnne & Jeffrey Grausam

Susan Greenberg & Michael Norman

Dr. & Mrs. George GrossDanielle HarrellLiz HarrisWarner & Carol HenryKay & David IngallsDavid & Elizabeth KalifonStephen A. Kanter, MD,

in memoriamHanna M. Kennedy,

in memoriamAllan & Muriel KotinLeslie Lassiter

Ernest Lieblich, in memoriam

Dr. Susan Lovell McLaughlin & Mr. John D. McLaughlin

Sunny MossAnn MulallyMahnaz & David NewmanBruce S. RossCarol D. RossEileen SalmasGene ShutlerGregory J. Soukup &

Mary Jo CarrLes & Karen WeinsteinNahum Zimmer,

in memoriam

LACO LEGACY SOCIETY

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SPECIAL THANKSFriend of LACOAssociation of California

Symphony OrchestrasAmerican Youth SymphonyRoberto & Claudia ApelfeldIkem AsimonyeClare BarenMargaret BatjerCurtis BerakBeyond the BellAlex BirkholdJacquie BlewBrandpie FoundationCal State NorthridgeAlan CamposCapital GroupLee ChuGiovanna ClaytonThe Colburn SchoolConstitutional Rights

FoundationConsulate General of

Mexico in Los AngelesJuan Pablo ContrerasBill Cooney & Ruth ElielDavid CosciaDeborah CussenJennifer DienerDisney VoluntEARSRobert DolanGibson DunnSue EdwardsGail EichenthalPeggy FalconFIG Restaurant

Freeway Communications, LLC

Jenna FriedmanSanford M. & Pat GageThe Honorable Carlos

Garcia de Alba & Ms. Fiona Roche

Christine Lee Gengaro, PhDGlendale Arts Anne GrausamDiane HendersonWarner & Carol HenryThe Henry Wine GroupBarbara HermanHerzog WineryThe Huntington Library and

Botanical GardensInner City Youth Orchestra

of Los AngelesInterContinental Los

Angeles DowntownJamison Services, Inc.Charmaine JeffersonJerry & Terri KohlAnna KoucherovKUSC 91.5 FMLeslie LassiterLeague of American

OrchestrasThierry & Katharina LeducJune LiRaulee MarcusNatasha MarinMidnight MissionMichael Miller PhotographyAnil & Shaheen Nanji

Max NaseckWinifred White NeisserNed & Dana NewmanCody NoreigaEugene & Catherine OhrOmni Hotel and SuitesPanda Restaurant GroupPATH North HollywoodPillsbury Winthrop

Shaw PittmanBridget PrinceRavi RajanResidency Art AcademyRobert & Ann RonusMatthew Turner SheltonGene ShutlerJoyce SommerAnne-Marie SpataruThe Spot GourmetSteinway & SonsStreet SymphonyStudleyPolly SweeneyMist ThorkelsdottirMauara TuffyUniversity of Southern

California VespaioAllan VogelWells FargoWhispering Pine Tea House

& GardenLauren WingSimon WoodsStacie Yee

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ENDOWMENT FUNDSGifts to LACO’s endowment provide for the Orchestra’s long-term financial stability.All endowment-designated gifts are listed for 12 months and endowment-designated gifts of $5,000 or more will be listed for 15 years.

Bob Attiyeh & Mike Rosell

Colburn FoundationCarol Colburn Grigor &

Murray Grigor

William Randolph Hearst Foundation

Warner & Carol HenryAnn MulallyShaheen & Anil Nanji

Ned & Dana NewmanGene ShutlerBrigitta B. Troy &

Alden LawrenceNahum Zimmer

MATCHING GIFTSLACO also thanks the following institutions for matching contributions made by their employees and retirees.

BenevityCapital Group

Mass Mutual Teradata

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Documents

Onstage Program Book Library · 2019. 9. 20. · foundation of joyous music-making performed by exceptional artists as adept in the Baroque as in the music of today, and Jaime Martín