salonen conducts tchaikovsky & bartÓk los angeles … · sunday, october 20, 2019, 3pm...

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sAlonen: CASTOR

Composed: 2019

Orchestration: 3 flutes (3rd = piccolo), 3 oboes,English horn, 3 clarinets (3rd = bass clarinet),contrabass clarinet, 3 bassoons, contrabassoon,4 horns, 3 trumpets, 3 trombones, tuba,2 timpani, percussion (glockenspiel, vibraphone,2 bass drums, marimba, 3 gongs, 5 temple blocks,maracas), harp, piano (= celesta), and strings

First Los Angeles Philharmonic performances:October 18-19, 2019, with the composer conducting(Orange County premiere)

During the composition process of Pollux,I encountered a strange problem: my materialseemed to want to grow in two completelyopposite directions. Finally, I realized thatthese very different musical identities (I hadreferred to them as brothers in my sketches)would not fit into one cohesive formal unit,a single piece. They simply couldn’t coexist.

SUNDAY, OCTOBER 20, 2019, 3PMSegerstrom Center for the Arts | Renée and Henry Segerstrom Concert Hall

Pre-concert lecture at 2pm by Brian Lauritzen

SALONEN CONDUCTSTCHAIKOVSKY & BARTÓK

los Angeles PhilhARMoniCesa-Pekka salonen, conductor

daniel lozakovich, violin

Although rare, all dates, times, artists, programs and prices are subject to change.Photographing or recording this performance without permission is prohibited.

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Castor Esa-Pekka SALONEN(b. 1958)

(Orange County premiere, LA Phil commissionwith generous support from Elizabeth and Justus Schlichting)

Violin Concerto Peter Ilyich TCHAIKOVSKYin D major, Op. 35 (1840-1893)

Allegro moderatoCanzonetta: AndanteFinale: Allegro vivacissimo

Daniel Lozakovich, violin

- INTERMISSION -

Concerto for Orchestra Béla BARTÓK(1881-1945)

Introduzione: Andante non troppo - Allegro vivaceGiuoco delle coppie: Allegretto scherzandoElegia: Andante non troppoIntermezzo interrotto: AllegrettoFinale: Pesante - Presto

(NICOLAS BRODARD)

SPONSORED BY

Donna L. KendallFEATURED ARTIST SPONSORS

Richard and Deborah Polonsky

Camera_LAPhil_Goode_PB_FINAL.qxp_PSOC Template 10-12 9/19/19 9:53 AM Page 8

This made me think of the myth of thenon-identical twins Castor and Pollux whoshare half of their DNA, but have someextreme phenotype differences, and experiencedramatically different fates.

In the Greco-Roman mythology, Polluxwas immortal, as he was fathered byZeus. Castor was mortal, as he was siredby Tyndareus, the king of Sparta, althoughhis status changed post-mortem.

The mother of both was Leda, who whilebeing already pregnant by her husband had atryst with Zeus, who seduced her in the formof a swan. (There’s something intriguing inthe idea of this famed beauty having a penchantfor large water birds.)

My solution was to write two independentbut genetically linked orchestral works. Pollux,slow and quite dark in expression, was thefirst of them. Castor, extroverted and mostlyfast, has now followed.

—Esa-Pekka Salonen

TChAikovskY: violin ConCeRToin d MAJoR, oP. 35

Composed: 1878

Orchestration: 2 flutes, 2 oboes, 2 clarinets,2 bassoons, 3 horns, 2 trumpets, timpani, strings,and solo violin

First Los Angeles Philharmonic performance:January 7, 1921, with violinist Max Rosen,Walter Henry Rothwell conducting

Talking about what he called his “whole Earththeory of music,” pianist Christopher O’Rileyonce described the movements of a classicalsonata or concerto as “head, heart, and dancingfeet.” The typical opening movement is in

the so-called “sonata form”—exposition,development, recapitulation—of tonal dialecticsand motivic dissection. The lyrical slowmovement represents the emotional core of thework, and the finale is usually a sprightly rondo,witty and nimble.

This “head, heart, and dancing feet”characterization works well enough forTchaikovsky’s Violin Concerto. The realizationof the form, of course, is Tchaikovsky puro,endlessly graceful in melody and passionate inexpression. The immediate inspiration wasÉdouard Lalo’s Symphonie espagnole, a vividmanifestation of similar traits (and a violinconcerto in all but name). Tchaikovsky was atClarens, in Switzerland, after months of travelrecuperating from the self-inflicted trauma ofhis marriage the year before. His brotherModest was with him, and a group of friendsincluding the young violinist Yosif Kotek. Forcommunal entertainment they played throughnew music, including Lalo’s concerto, which hadgenerated a huge stir when the great Spanishvirtuoso Pablo de Sarasate had given thepremiere in Paris in 1875.

What Tchaikovsky found in the Symphonieespagnole was “freshness, piquant rhythms,[and] beautifully harmonized melodies,” froma composer who “studiously avoids allcommonplace routine, seeks new forms withoutwishing to appear profound, and, unlike theGermans, cares more for musical beauty thanfor mere respect for the old traditions,” asTchaikovsky wrote to his new patroness,Nadezhda von Meck.

For her part, Madame von Meck foundTchaikovsky’s first movement, the brainy head,too “cerebral.” Tchaikovsky wrote back: “I mustdefend a little the first movement. Of course, ithouses, as does every piece that serves virtuosopurposes, much that appeals chiefly to the mind;nevertheless, the themes are not painfullyevolved. The plan of this movement sprang

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suddenly in my head, and quickly ran into itsmold. I shall not give up hope that in time thepiece will give you greater pleasure.”

This movement is one of sweeping melodies,decorated with virtuoso flourishes of greattechnical brilliance covering the full range of theinstrument. The cadenza is Tchaikovsky’s own,and further develops the material.

Madame von Meck was not the only one tohave problems with this piece. Tchaikovskydedicated it to Leopold Auer, the Hungarianviolinist teaching in Saint Petersburg andconcertmaster of the Imperial Orchestra, assomething of a fait accompli in the alreadyprinted piano score. Auer considered some ofthe solo part unidiomatic and declined to play it,as did—much to the composer’s chagrin—Kotek.

Everyone, however, was in agreement aboutthe heart of the concerto, the Canzonetta(“Little song”). Auer remarked on the “charm ofthe sorrowfully inflected second movement,”and even the celebrated critic Eduard Hanslickfound the work “not without genius” at itsVienna premiere. That assignment had fallento Adolf Brodsky, who prepared his part well,but found himself tremulously accompaniedby the usually reliable Hans Richter andthe Vienna Philharmonic on the wan strengthof a single rehearsal.

The Canzonetta, Hanslick wrote, “is well on theway to reconciling us and winning us over when,all too soon, it breaks off to make way for a finalethat transports us to the brutal and wretchedjollity of a Russian church festival.”

That would be those dancing feet which sooffended Hanslick. Tchaikovsky does indeedquote Russian folk material there, but withjoyous revelry, not wretched jollity. The finaleexults in sheer physicality, in sudden shiftsof mood and meter, and in a gleeful fiddling

essence unfettered by “mere respect for theold traditions” of proper Germanic concertowriting.

—John Henken

BARTók: ConCeRTo FoRoRChesTRA

Composed: 1943

Orchestration: 3 flutes (3rd = piccolo), 3 oboes(3rd = English horn), 3 clarinets (3rd = bassclarinet), 3 bassoons (3rd = contrabassoon),4 horns, 3 trumpets, 3 trombones, tuba, timpani,percussion (bass drum, cymbals, snare drum[without snares], tam-tam, triangle), 2 harps,and strings

First Los Angeles Philharmonic performance:November 28, 1946, Alfred Wallensteinconducting

At the beginning of 1943, while he wasdelivering a series of lectures on folk music atHarvard University, Béla Bartók’s already fragilehealth took a drastic downturn, necessitatinga battery of medical examinations. When theseproved inconclusive, “the Harvard peoplepersuaded me to go through anotherexamination,” the composer wrote, “led by adoctor highly appreciated by them and at theirexpense. This had a certain result as an X-rayshowed some trouble in the lungs which theybelieved to be [tuberculosis] and greeted withgreat joy: ‘at last we have the real cause!’ (I wasless joyful at hearing this news.)”

After the composer returned to his home inNew York, ASCAP (the American Societyof Composers, Authors and Publishers),“somehow got interested in my case,” hecontinues, “and decided to cure me at theirexpense…. They sent me to their doctors whoagain took me to a hospital. The new X-rays,

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however, showed a lesser degree of lungtrouble... maybe not tuberculosis at all!... So, wehave the same story again, doctors don’t knowthe real cause of my illness.”

While in the New York hospital, however, hewas visited by Serge Koussevitzky, conductorof the Boston Symphony, who—at the behestof two of Bartók’s fellow Hungarian expatriates,violinist Joseph Szigeti and conductor FritzReiner—came with a commission for a workin memory of his recently deceased wife, NatalieKoussevitzky. Bartók accepted and producedthe Concerto for Orchestra, his last completedwork save for the Sonata for Solo Violinof 1944.

It was shortly after the meeting withKoussevitzky that leukemia, which was to provefatal two years hence, was diagnosed; but thecomposer was kept in the dark. A wise decision,as it turned out, since during the subsequentmonths he regained strength and, obviously,creativity.

The score was written in only two months at thehealth resort of Saranac Lake in upstate NewYork and completed on October 8, 1943.The first performance, an enormous successwith audience and critics, was given by theBoston Symphony under Koussevitzky onDecember 1, 1944.

The composer, in Boston for the premiere withhis wife, Ditta Pásztory, reported: “We wentthere for the rehearsals and performances—after having obtained the grudgingly grantedpermission of my doctor for this trip.... Theperformance was excellent. Koussevitzky saysit is the ‘best orchestra piece of the last 25years’ (including the works of his idol,Shostakovich!).”

Bartók provided the following brief programnote for the occasion:

“The general mood of the work represents,apart from the jesting second movement, agradual transition from the sternness of the firstmovement and the lugubrious death-song ofthe third, to the life-assertion of the last one...The title of this symphony-like orchestral workis explained by its tendency to treat thesingle orchestral instruments in a concertant orsoloistic manner. The ‘virtuoso’ treatmentappears, for instance, in the fugato sections ofthe development of the first movement (brassinstruments), or in the perpetuum mobile-likepassage of the principal theme in the lastmovement (strings), and especially in the secondmovement, in which pairs of instrumentsconsecutively appear with brilliant passages.”

A charming, seldom-quoted story about thatsecond movement is related by the lateconductor Antal Dorati, who studied pianoand composition with Bartók in Budapest andwould occasionally visit his old teacher in NewYork:

“Once when we were alone, Bartók asked me,‘Do you know what the interruption inthe [Concerto’s] intermezzo interrotto is?’Of course I do, professor. It’s from The MerryWidow.’

‘And who is that?’

“Momentarily nonplussed, I then establishedthat he did, after all, know who Lehár was, andhad heard of The Merry Widow. But because itsmusic was quite unfamiliar to him, and had noconceivable bearing on what he had beenthinking of, he had not grasped what I wasreferring to. “So, evidently it was not a quotefrom there. What was it then? Having extractedmy solemn promise that I would not tell anyonewhile he was still alive... he confided that he wascaricaturing a tune from Shostakovich’s SeventhSymphony, the “Leningrad,” which was thenenjoying great popularity in America, and, inBartók’s view, more than it merited. ‘So, I gavevent to my anger,’ he said.”

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The “Leningrad” punch line is familiar fromrecollections by other members of the Bartókcircle; the Merry Widow reference, less so.The coincidental resemblance to the operetta’sfamous “Da geh’ ich zu Maxim” (you know,‘Lolo, Joujou, Zsazsa,’ etc.) is at least as apparentas is the intended resemblance to the latterpart of the egregious “crescendo theme” in thefirst movement of Shostakovich’s Symphony.

The Concerto for Orchestra follows thepalindromic form Bartók employed in hisFourth String Quartet (1928), in which the coreslow middle movement is surrounded by twoscherzos, which are in turn surrounded bytwo larger movements.

Not least among the many attractions of this,the composer’s most popular orchestral work,is his splendidly achieved end of allowing eachsection of his hundred-headed virtuoso toshine and, finally, to exhibit his virtuosity in aspectacularly complex fugue (in the finale’sdevelopment), prior to the delectablyrabble-rousing conclusion.

— Herbert Glass

esA-PekkA sAlonen

Esa-Pekka Salonen’s restless innovation driveshim constantly to reposition classical music inthe 21st century. He is known as both acomposer and conductor and is currently thePrincipal Conductor & Artistic Advisor for thePhilharmonia Orchestra. He is the MusicDirector Designate of the San FranciscoSymphony; the 2020-21 season will be hisfirst as Music Director. He is the Artist inAssociation at the Finnish National Opera andBallet. He recently joined the faculty of theColburn School, where he leads the NegauneeConducting Program. He is the ConductorLaureate for both the Swedish Radio

Symphony Orchestra and the Los AngelesPhilharmonic, where he was Music Directorfrom 1992 until 2009. Salonen co-founded theannual Baltic Sea festival, serving as ArtisticDirector from 2003 to 2018.

In 2019-20, Salonen takes the PhilharmoniaOrchestra on tour across Europe and Asia andcompletesWeimar Berlin: Bittersweet Metropolis,a series celebrating Weimar-era Germancomposers such as Weill, Hindemith, and Berg.He also begins his first Ring cycle with theFinnish National Opera, conducting DasRheingold in the fall and Die Walküre inthe spring. In February, he conducts two weeksof programming with the San FranciscoSymphony, where he will begin as musicdirector in fall 2020. Recent years have seenSalonen experiment with groundbreakingways to present music, with the firstmajor virtual-reality production from a U.K.symphony orchestra; the award-winningRE-RITE and Universe of Sound installations,and the much-hailed iPad app, The Orchestra.His Violin Concerto, which won theGrawemeyer Award, was featured in a 2014international Apple ad campaign for iPad.Also this season, 11 of Salonen’s works are

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(CLIVE BARDA)


programmed around the world. Among themare Nyx, at the Aspen Music Festival; his Pianoand Violin Concertos, at the PhilharmonicOrchestra of Hradec Kralove and Santa CruzSymphony, respectively; and his CelloConcerto, at the SWR Symphonieorchesterand Tampere Philharmonic. Salonen conductshis own Cello Concerto on tour with thePhilharmonia, with Truls Mørk as soloist,as well as his Violin Concerto with theSan Francisco Symphony, with original soloistLeila Josefowicz. He conducts his new pieceCastor in its world premiere with the L.A. andNew York philharmonic orchestras, alongsideits 2018 companion piece, Pollux.

As the Music Director of the Los AngelesPhilharmonic for 17 years, Salonen is widelycredited with revitalizing the organization.He was instrumental in helping the orchestraopen Walt Disney Concert Hall, presided overcountless premieres of contemporary work,began the Esa-Pekka Salonen CommissionsFund, and made the orchestra one of thebest-attended and funded in the United States.This season, Salonen will bring his Weimarprogramming to the LA Phil, conducting worksby Hindemith, Weill, and Schoenberg.

Salonen has an extensive and varied recordingcareer. An album of Henri Dutilleux’sCorrespondances, recorded with the OrchestrePhilharmonique de Radio France in thepresence of the composer, was released in2013 by Deutsche Grammophon on thecomposer’s 97th birthday. Also that year,Sony completed a project that he beganwith the LA Phil nearly 30 years before: atwo-disc set of the orchestral works of WitoldLutosławski, released in the composer’s100th year. Salonen’s most recent recordingsinclude a release of his Cello Concerto withYo-Yo Ma, released by Sony, a disc ofStravinsky’s Persephone, released byPentatone Music, and a 61-disc box set ofall Salonen’s recordings for Sony.

los Angeles PhilhARMoniC

Over the course of 100 seasons, the Los AngelesPhilharmonic has redefined what an orchestracan be. Now in its 101st season, the LA Philpresents an inspiring array of music through acommitment to foundational works andadventurous explorations. Recognized as one ofthe world’s outstanding orchestras at homeand abroad, the LA Phil leads the way ingroundbreaking and diverse programming,demonstrating the orchestra’s artistry and visionon stage and in the community.

Under the charismatic leadership of Music &Artistic Director Gustavo Dudamel since 2009,the LA Phil performs or presents more than 250concerts annually at its two iconic venues:Walt Disney Concert Hall and the HollywoodBowl. During its winter season at Walt DisneyConcert Hall, with approximately 165performances, the LA Phil creates festivals,artist residencies, and other thematic programsdesigned to enhance the audience’s experience oforchestral music. Since 1922, its summer homehas been the world-famous Hollywood Bowl,host to the finest artists from all genres of music.

The orchestra’s involvement with Los Angelesextends far beyond the concert hall, withwide-ranging performances in the schools,churches, and neighborhood centers of a vastlydiverse community. Among its influential andmultifaceted learning initiatives isYOLA (Youth Orchestra Los Angeles ),inspired by Venezuela’s revolutionaryEl Sistema. Through YOLA, the LA Phil andits community partners provide freeinstruments, intensive music instruction, andleadership training to nearly 1,200 studentsfrom underserved neighborhoods, empoweringthem to become vital citizens, leaders, andagents of change.

The orchestra also undertakes annual tours,including regular visits to New York, Paris, and

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Tokyo, among other cities. The Philharmonic isnow the International Orchestral Partner atLondon’s Barbican Centre. The orchestra’s veryfirst tour was in 1921, and it has touredevery season since 1969-70.

The LA Phil has a substantial catalog ofrecordings, including concerts available online,such as the first full-length classical music videoreleased on iTunes. Deutsche Grammophonhas recently released a comprehensive box set inhonor of the orchestra’s Centennial.

The Los Angeles Philharmonic was foundedin 1919 by William Andrews Clark, Jr., amillionaire and amateur musician. WalterHenry Rothwell became its first Music

Director, serving until 1927; since then, tenrenowned conductors have served in thatcapacity: Georg Schnéevoigt (1927-1929);Artur Rodziński (1929-1933); Otto Klemperer(1933-1939); Alfred Wallenstein (1943-1956);Eduard van Beinum (1956-1959); ZubinMehta (1962-1978); Carlo Maria Giulini(1978-1984); André Previn (1985-1989);Esa-Pekka Salonen (1992-2009); and GustavoDudamel (2009-present).

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dAniel loZAkoviCh, PiAno

Daniel Lozakovich is establishing himself as asought-after violinist on the internationalstage, amazing audiences and critics alikewith his refined, carefully considered playing.Lozakovich performs with such orchestras asthe Orchestre National de France, OrchestrePhilharmonique de Radio France, OrchestreNational du Capitole de Toulouse, GothenburgSymphony Orchestra, Royal StockholmPhilharmonic Orchestra, Swedish RadioSymphony Orchestra, Oslo Philharmonic,Royal Liverpool Philharmonic, MariinskyTheatre Orchestra, National Philharmonic ofRussia, Orchestre de la Suisse Romande,Orchestra Sinfonica Nazionale dellaRAI, Münchner Philharmoniker,hr-Sinfonieorchester, and the Orchesterder Komischen Oper Berlin. Lozakovich iscollaborating with distinguished conductorsincluding Semyon Bychkov, ChristophEschenbach, Valery Gergiev, Neeme Järvi,Klaus Mäkelä, Andris Nelsons, AndrésOrozco-Estrada, Vasily Petrenko, Esa-PekkaSalonen, Lahav Shani, Tugan Sokhiev, LeonardSlatkin, Vladimir Spivakov, Robin Ticciati,Krzysztof Urbanski, and Lorenzo Viotti.

A remarkable 2019-20 season sees Lozakovichreturn to the Boston Symphony Orchestra, aswell as making his debut with the Los AngelesPhilharmonic, The Cleveland Orchestra,Toronto Symphony Orchestra, Orchestre deParis, and Gulbenkian Orchestra. Furtherdebut appearances include the Schleswig-Holstein Musik Festival at Hamburg’sElbphilharmonie with the Moscow ChamberOrchestra, and a recital with Sergei Babayan atthe Menuhin Festival Gstaad.

As a highly regarded recitalist, his previousengagements include appearances at LesGrandes Voix—Les Grands Solistes, FondationLouis Vuitton, Tonhalle Zürich, ConvervatorioG. Verdi Milan, Théâtre des Champs-Élysées,

and Mariinsky Theatre. A regular at numerousinternational music festivals, he has had a closerelationship with the Verbier Festival since hisdebut at age 13. He has appeared at theProgetto Martha Argerich, CarinthischerSommer, Sommets musicaux de Gstaad,SeptembreMusical Montreux Festival, MPHIL360°, Moscow Meets Friends, Gergiev FestivalRotterdam, Baltic Sea Festival, White NightsFestival, Moscow Easter Festival, Festival dePâques—Aix-en-Provence, Tanglewood MusicFestival, Blossom Music Festival, MostlyMozart Festival, Pacific Music Festival, andFestival de Saint-Denis. Lozakovich enjoyscollaborations with artists including Ivry Gitlis,Emanuel Ax, Renaud Capuçon, KhatiaBuniatishvili, Lucas and Arthur Jussen, GeorgeLi, Seong-Jin Cho, Martin Fröst, ShlomoMintz, and Maxim Vengerov.

At age 15, Lozakovich signed an exclusiverecording contract with DeutscheGrammophon, and in June 2018 released hisdebut album of Bach’s violin concertos with the

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Kammerorchester des Symphonieorchesters desBayerischen Rundfunks, coupled with the solopartita No. 2. The album achieved outstandingsuccess, reaching No. 1 in the French Amazoncharts and the classical album charts inGermany.

Awarded numerous accolades, including firstprize at the 2016 Vladimir SpivakovInternational Violin Competition, both firstPrize and the “Grand Prix” at the 2012 EMCYInternational Music Competition, “OhridPEARLS”, Macedonia, and the 2015 ManfredGrommek Prize of the Kronberg Academy,most recently Lozakovich received theExcelentia Prize, awarded to him under thehonorary presidency of Queen Sofia of Spainand “The Young Artist of the Year 2017” awardat the Festival of the Nations.

Born in 2001, Lozakovich took up the violin in2007 and made his concerto debut with theMoscow Virtuosi Chamber Orchestra underVladimir Spivakov two years later. Since 2012,he has studied at the Karlsruhe University ofMusic with Professor Josef Rissin, and since2015 with Eduard Wulfson in Geneva.


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ROSTER

Gustavo DudamelMusic & Artistic DirectorWalt and Lilly Disney Chair

Zubin MehtaConductor Emeritus

Esa-Pekka SalonenConductor Laureate

Susanna MalkkiPrincipal Guest ConductorAnn Ronus Chair

Paolo BortolameolliAssistant Conductor

John AdamsJohn and Samantha WilliamsCreative Chair

FiRsT violinsMartin ChalifourPrincipal ConcertmasterMarjorie Connell Wilson Chair

Nathan ColeFirst Associate ConcertmasterErnest Fleischmann Chair

Bing WangAssociate ConcertmasterBarbara and Jay Rasulo Chair

Akiko TarumotoAssistant ConcertmasterPhilharmonic Affiliates Chair

Michele BovyerRochelle AbramsonCamille AvellanoMargaret and Jerrold L.Eberhardt Chair

Mark BaranovMinyoung ChangI.H. Albert Sutnick Chair

Miika GreggJordan KoranskyMischa LefkowitzEdith MarkmanMitchell NewmanRebecca RealeStacy WetzelJustin Woo

seCond violinsLyndon Johnston TaylorPrincipalDorothy Rossel Lay Chair

Mark KashperAssociate Principal

Kristine WhitsonJohnny LeeDale BreidenthalIngrid ChunJin-Shan DaiTianyun JiaChao-Hua JinNickolai KurganovGuido LamellVarty ManouelianYun Tang+Michelle TsengSuli XueGabriela Peña-Kim *

violAsTeng LiPrincipalJohn Connell Chair

Dale Hikawa SilvermanAssociate Principal

Ben UlleryAssistant Principal

Dana LawsonRichard EleginoJohn HayhurstIngrid HutmanMichael LarcoHui LiuMeredith SnowLeticia Oaks StrongMinor L. Wetzel

CellosRobert deMainePrincipalBram and Elaine GoldsmithChair

Ben HongAssociate PrincipalSadie and Norman Lee Chair

Dahae KimAssistant Principal

Jonathan KarolyDavid GarrettBarry GoldJason LippmannGloria LumLinda and Maynard BrittanChair

Tao NiSerge OskotskyBrent Samuel

BAssesChristopher HanulikPrincipal

Oscar M. MezaAssistant Principal

David Allen MooreTed BotsfordJack CousinJory HermanBrian JohnsonPeter RoféMichael Fuller *Dennis TremblyPrincipal Bass Emeritus

FlUTesDenis BouriakovPrincipalVirginia and Henry ManciniChair

Catherine Ransom KarolyAssociate PrincipalMr. and Mrs. H. Russell SmithChair

Elise Shope HenryMari L. Danihel Chair

Sarah Jackson

PiCColoSarah Jackson

oBoesPrincipal (Vacant)Marion Arthur Kuszyk

Associate PrincipalAnne Marie GabrieleCarolyn Hove

english hoRnCarolyn Hove

ClARineTsBoris AllakhverdyanPrincipalMichele and Dudley RauchChair

Burt HaraAssociate Principal

Andrew LowyDavid Howard

e-FlAT ClARineTAndrew Lowy

BAss ClARineTDavid Howard

BAssoonsWhitney CrockettPrincipal

Shawn MouserAssociate Principal

Michele GregoEvan Kuhlmann

ConTRABAssoonEvan Kuhlmann

hoRnsAndrew BainPrincipalJohn Cecil Bessell Chair

Jaclyn RaineyAssociate Principal

Gregory RoosaAlan Scott Klee Chair

Amy Jo RhineLoring Charitable Trust Chair

Brian Drake+Reese and Doris Gothie Chair

Ethan BearmanAssistantBud and Barbara HellmanChair

TRUMPeTsThomas HootenPrincipalM. David and Diane PaulChair

James WiltAssociate PrincipalNancy and Donald de BrierChair

Christopher StillRonald and Valerie SugarChair

TRoMBonesDavid Rejano CanteroPrincipal

James MillerAssociate PrincipalJudith and Thomas L. BeckmenChair

Paul Radke

BAss TRoMBoneJohn Lofton

TUBANorman Pearson

TiMPAniJoseph PereiraPrincipalCecilia and Dudley RauchChair

PeRCUssionMatthew HowardPrincipal

James BaborPerry DreimanWesley Sumpter *

keYBoARdsJoanne Pearce MartinKatharine Bixby HotchkisChair

hARPLou Anne Neill

liBRARiAnsKazue Asawa McGregorStephen Biagini

PeRsonnel MAnAgeRJeffrey Neville

CondUCTing FelloWsHilo CarrielMarta GardolínskaEnluis Montes OlivarAnna Rakitina

* Resident Fellows+ on sabbaticalThe Los Angeles Philharmonicstring section utilizes revolvingseating on a systematic basis.Players listed alphabeticallychange seats periodically.In those sections where there aretwo principals the musicians sharethe position equally and arelisted in order of length of service.The musicians of the Los AngelesPhilharmonic are represented byProfessional MusiciansLocal 47, AFM.

LOS ANGELES PHILHARMONIC


salonen conducts tchaikovsky & bartÓk los angeles … · sunday, october 20, 2019, 3pm...

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